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NOVEMBER 23 - 29, 2011 / SFBG.com

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John Avalos demonstrated what can be accomplished with a new kind of progressive leadership.

Lessons of the Avalos campaign

NEWS

The faces and voices of Occupy

Who are the 99 percent — and what are they saying? It’s not what you read in the daily papers P8

By N’Tanya Lee

alerts P10

It’s the middle of the night. His two kids and wife are home in bed. Supervisor John Avalos, candidate for mayor, heads downtown in his beat-up family car. He parks and walks over to 101 Market Street, and casually starts talking to members of OccupySF. He’s a city official, but folks camped out are appreciative when they see he’s there to stand with them, to try to stop the cops from harassing them, even though it’s 1 a.m. and he should be in bed.

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The One Percent on the waterfront EDITORIAL While Mayor Ed Lee struggles with the Occupy SF encampment, another, very different group has its eyes on the city’s waterfront. On the edges of the ground where protesters are talking about the one percent of Americans that control the vast majority of the nation’s wealth, two major development projects aimed entirely at that very wealthy sliver are starting to move forward. At 8 Washington and 75 Howard, developers want to build a total of 365 condominiums aimed at people with incomes that place them in the top sliver of the richest Americans. It will be a key test for the Ed Lee administration: Will he evict the Occupy protesters and allow the One Percent to claim choice property on the waterfront? The 8 Washington project calls for 165 of what developer Simon Snellgrove says will be the most expensive condos ever built in San Francisco. The 12-story picks

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building, sitting on the edge of the Embarcadero, would include units selling for as much as $10 million, and even the low-end places would go for $2.5 million or more. At 75 Howard, the Paramount Group and Morgan Stanley want to demolish a parking garage and erect a 284-foot tower with units that the San Francisco Business Times predicts would sell for at least $1,000 a square foot. Just to be clear what we’re talking about here, a $2.5 million condo, according to real estate experts, would require that a buyer have $625,000 cash to put down and an income of more than $450,000 a year. Either that or millions in spare cash to plunk down. That, needless to say, is not the majority of the working people in San Francisco. There’s no conceivable planning or housing-policy rationale for either of these projects. They offer nothing that the city needs;

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there is absolutely no shortage of housing for people with that kind of income. In fact, allowing these two projects to proceed would directly violate the city’s own General Plan and every regional planning proposal for San Francisco’s housing mix. The General Plan states that some 60 percent of all the new housing built in San Francisco should be below market rate. Environmental sanity suggests that the city ought to be building housing for people who work here — high housing costs have driven thousands of local workers to live in the East Bay or further out, leading to long, energy-intensive commutes. And the more of this ultra-luxury housing the city builds, the more the housing balance gets disrupted — and the more rapidly San Francisco becomes a city of, by and for the One Percent. The two projects have powerful support — among other things, Lee’s friend and ally Rose Pak is promoting 8 Washington, as is lobbyist Marcia Smolens. If Lee has any scrap of independence he’ll make it clear that both of these projects are dead on arrival. 2 film listings

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John Avalos was the first elected official to personally visit Occupy SF. It wasn’t a publicity stunt — his campaign staff didn’t even know he was going until it was over. He arrived and left without an entourage or TV cameras. This kind of moment — defined by John’s personal integrity and the strength of his personal convictions — was repeated week after week, and provides a much-needed model of progressive political leadership in the city. John Avalos is more than “a progressive standard bearer,” as the Chronicle likes to call him. He’s also a Spanish-speaking progressive Latino, rooted in community and labor organizing, with a racial justice analysis and real relationships with hundreds of organizers and everyday people outside of City Hall. He’s demonstrated an authentic accountability to the disenfranchised of the city, to communities of color and working people, and he knows that ultimately the future of the city is in our hands. Some accomplishments of John’s campaign for mayor are already clear: He consolidated the progressive-left with 19%, or nearly 40,000, first-place votes, despite the confusion of a crowded field; he came in a strong second to incumbent Ed Lee despite being considered a long shot even weeks before the election; after RCV tallies, he finished with an incredible 40% of the vote, demonstrating a much wider base of support across the city than he began with, and much broader than former frontrunners Leland Yee and David Chiu, who outspent him 3-1. He won the Castro, placed third in Chinatown (ahead of Yee), and actually won the election-day citywide vote. Not bad. In fact, remarkable, CONTINUES ON PAGE >>

november 23 - 29, 2011 / SFBG.com

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editorials lessons of The AvAlos cAmpAIgn CONT>>

for a progressive Latino from a working class district in the southern part of town, running in his first citywide race. I believe John Avalos demonstrated what can be accomplished with a new kind of progressive leadership — and suggests the elements of a new progressive coalition that can be created to win races in 2012, and again, in 2015.

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It’s Monday afternoon, 1:35 pm, time for our weekly Campaign Board meeting. John rushes in, after a dozen appointments already that day. The board makes the key strategy, message, and financial decisions. There are no high paid political consultants here. Most of us are, or have been, organizers. Today, we need to approve the campaign platform. Finally. We’ve decided to get people excited about our ideas, an agenda for change. We leave the meeting excited and nervous, wondering if anyone will get excited about the city creating its own Municipal Bank. We were an unlikely crew to lead a candidate campaign — even a progressive one in San Francisco. We come from membership based community and labor organizations, and share a critique of white progressive political players and electeds who spend too few resources on building power through organizing and operate without accountability to any base. We are policy and politics nerds, but we hate traditional politics. Seventy percent of us are people of color — Black, Filipina, Latino, and Chinese. We are all women except John, the candidate, and nearly half of us are balancing politics with parenting. The campaign board — including John himself—shared a vision for building progressive power. The campaign plan was explicit and specific about achieving outcomes that included winning room 200 but went beyond that central goal. We set out to strengthen progressive forces, to build towards the 2012 Supervisor races, and increase the capacity of the community-based progressive electoral infrastructure so we can keep building our collective power year-round, for the long-term. We hope these victories will shape progressive strategy moving forward: 1. In just a few months, Team Avalos consolidated a new and unique progressive bloc. We brought together people and organizations who’d never worked together before SAN FRANCISCO BAY GUARDIAN

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— white bike riders and Latino anti-gentrification organizers, queer activists and African American advocates for Local Hire. The Avalos coalition was largely community forces: SF Rising’s base in working class Black, Latino, Filipino and Chinese communities; the Bike Coalition’s growing base of mostly white bike riders; affinity groups like Filipinos, Queers, Latinos and Arabs for Avalos; progressive Democrats; social networks of creative, young progressive activists affiliated with the League of Young Voters; and loyal families and neighborhood leaders from John’s own District 11. The campaign prioritized communicating to voters in four languages. And then, in the great surprise development of the race, supporters of the new national occupy movement came to be a strong part of the Team Avalos base because the campaign was so well positioned to resonate with the call to take on the one percent. 2) Team Avalos built popular support for key progressive ideas. We used the campaign to build popular support for a citywide progressive agenda. Instead of leading with our candidate we led with bold, distinctive issues that provided a positive alternative vision to the economic crisis: Progressive taxation, municipal banking, and corporate accountability for living wage jobs instead of corporate tax breaks. 3) Team Avalos built the electoral capacity of grassroots organizations whose members have the most at stake if progressives gain or lose power in SF: poor and working-class communities of color. We developed the electoral organizing skills of a large new cohort of grassroots leaders and organizers of color with no previous leadership experience in a candidate campaign. They are ready for the next election. Let’s build on these gains. In the coming weeks and months, we must be thorough in our analysis of this election, engage and expand the Avalos coalition base, and build unity around one or more collective demands of Mayor Lee from the left. And in time, we will have a progressive voting majority and a governing bloc in City Hall. We will win, with the mass base necessary to defend gains, hold our own electeds accountable, and truly take on the city’s one percent. 2 NTanya Lee was the Executive Director of Coleman Advocates for Children & Youth, and served as a volunteer chair of the Avalos for Mayor campaign board.

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MON - SAT: 11AM-7PM NOVEMBER 23 - 29, 2011 / SFBG.com

NEWS

THEY MET THE FIRST AMENDMENT WITH VIOLENCE— OCCUPIER JESSICA MARTIN

THE FACES AND VOICES OF OCCUPY Who are the 99 percent — and what are they saying? It’s not what you read in the daily papers

To read some of the accounts in the daily papers in San Francisco, and hear some of the national critics, you’d think the people in the local Occupy movement were mostly filthy, drunk, violent social outcasts just looking for a place to party. Or that they’re mad-eyed anarchists who can’t wait to break windows and throw bottles at the police. Or that they’re a confused and leaderless band that can’t figure out what it wants. When you actually go and spend time at Occupy SF

and Occupy Cal and Occupy Oakland, as our reporters have done, you get a very different picture. The Occupy movement is diverse, complex and powerful. It’s full of people with different backgrounds and perspectives. And they all agree that economic injustice and inequality are at the root of the major problems facing the United States today. Here are some of those people, the faces and the voices of Occupy — and a celebration of the lives they’re living and the work they’re doing.

GUARDIAN PHOTO BY REBECCA BOWE

THE STUDENT JESSICA MARTIN REFLECTS ON THE FIRST AMENDMENT

Jessica Martin stood and held her sign high on the steps of Sproul Hall, at the Universit y of California at Berkeley, while a jubilant crowd of students jammed to classic dance party tunes and set up tents. They were invigorated by a general assembly that had attracted thousands following a Nov. 15 student strike and Day of Action called as part of the Occupy movement. (Their tents were cleared in a police raid two days later, yet students responded with flair, suspending tents high in the air with balloons.) Martin’s sign proclaimed, “Remember the First Amendment,” and she’d written the text of the Constitutional right to free speech on the other side. “My mother stood on the steps [of the Lincoln Memorial] in D.C. with Martin Luther King as part of the ‘I Have a Dream’ speech,” said the graduating senior, who’s majoring in Japanese and Linguistics. “And now I stand on the steps of Sproul Hall,” — the birthplace of Berkeley’s Free Speech Movement — “in front of the Martin Luther King Student Union, to defend my First Amendment rights.” She expressed solidarity with students who were brutalized by police Nov. 9 following their first attempt to establish an occupation. “Part of what [police] are here to serve and protect is the First Amendment,” Martin said. But on that day, “They met the First Amendment with violence.”(Rebecca Bowe)

MARCHERS AT THE OAKLAND GENERAL STRIKE GUARDIAN PHOTO BY REBECCA BOWE

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NATE PALUGA DEALS WITH CAMP

CONFLICT

Depends on your perception of Does this man look like he’s an occupier? a bike mechanic who lives in Nob he’s — the movement. He’s not homeless accepts that he’s camping in Justin Hill and whose girlfriend only tentatively esses the intense gaze of an activposs and , Herman Plaza. He is young, blunt biker’s cap with “USA” emblazoned on ist, belied by a snug red-white-and-blue the underbelly of its brim. has grabbed upon the concepts of Paluga, a self-proclaimed philosopher, Occupy. “This movement means of s value “fairness and equality” as the core le, but I haven’t found anyone that dissomething different to different peop s,” he said as he showed off the bike value agrees with those being some core . ds of food and equipment for the camp he uses to move as much as 100 poun SF: peacepy Occu at role other his in lines His core values are his guide inter vene in the disagreements that keeper. Paluga said he and others often populated by diverse socioeconomic tion situa can arise in a group -run housing and cultural backgrounds. s it’s important to reinforce why He said that with aggressive individual lplaces where there wasn’t a lot of equa they’re all there. “They’re coming from in and tell step gotta You . them with that ing ity and justice and they’re bring hue) them it’s gonna be okay.” (Caitlin Dono

TALK ABO

UT QUEER OCCUPY Queers have long been resisting the ravag es of the one percent on the 99 percent. Resistance has looked like comi ng together on our own, on our own terms, with our own names, genders, and chosen families. Like the (decolonize) occupations in San Francisco, Oakl and, around the country and world, our resistance is made out of a stubb orn imagination, and can be messy. We are a menagerie of magnificent beasts, with all of our strug gles and limitation s firmly at the center of the fabulous and fucked-up world we make for ourselves. In HAVOQ/ SF Pride at Work, we imag ine queerness not as a What, an identity whose boundaries we seek to police, a platform from which to put forth our One Demand. Rather, we imag ine it as a How: a way of being with one another. We call it Fabulosity. And Fabu losity means drawing on queer histories of re-imagining family as a way of expa nding circles of care and responsibility. Fabulosity is to affirm the self-determ ination of every queer to do queer just exactly how they do. It affirms that unde r the banner of the 99 percent, we are all uniquely impacted by the ravages of the 1 percent and we come with a diver sity of strategies and tactics to resist and survive. In the gray areas lives our emerging auton omy and interdependence — an autonomy not contingent on capitalism’s insistence on utility. We are not useful. We are not legible. And in that lack of utility and that illegibility, we are not controllabl e. Because we do not have one demand, but rather a cornucopia of desire. We’re making our fabulous fucked-up world for ourse lves, with each other. We always have. (Morales and Goldberg) Li Morales and Molly Goldberg are members of SF Pride at Work / HAVOQ, a San Francisco-based colle ctive of queers organizing for socia l and economic justice.

THE ARTIST

GUARDIAN PHOTO BY REBECCA BOWE

POLITICS A strange letter from the Alameda County sheriff Video, photos, and words from the Occupy movement as it continues to evolve What’s happening with the cop who pepper sprayed the Cal students?

NOISE

ERNEST DOTY RESPONDS TO POLICE BRUTALITY

In Oakland, a young veteran named Scott Olsen suffered a fractured skull and brain injuries after being hit with a police projectile at an Oct. 25 Occupy Oakland protest. Ernest Doty was one of several who ran to Olsen’s aid and carried him to safety. “Immediately after I saw Scott go down ... I knew I had to get him, and get ran him out of there,” Doty recounted. “I whistled at another guy, and we both said, he up, ran they As bullets.” rubber with us at shooting were in. The cops a flash grenade blew up next to Olsen’s face, just inches from his head injury. Doty, 32, recently moved to the Bay Area from Albuquerque, New Mexico. An artist who also does spoken word performances, he’s camped overnight at Occupy Oakland and has incorporated words and images from the Occupy movement into his artwork and poetry. He’s also been personally impacted by tragedies arising from police interactions: Both his stepbrother and his cousin — a veteran who suffered from post-traumatic stress disorder — were shot and killed by police in New Mexico. Occupy Oakland “has managed to create a community out of chaos,” Doty said. “I think that this movement is going to continue to grow. It’s the 1960s all over again, but it’s broader. It’s going to be a long road. I think encampments, marches, and protests are going to continue into the next year.” (Bowe) + Ernest Doty’s next art show is Dec. 2 from 7 to 11 p.m. at Sticks Stones Gallery, 815 Broadway, in Oakland.

Localized Appreesh takes on doo-wop loving Oakland rapper G-Eazy James H. Miller reviews Kimya Dawson’s stop at the Rickshaw Frances Capell talks with Friendzone about its new mixtape

PIXEL VISION It’s almost Turkey Day – how did the first gobblers get to California? Period Piece has the report Style Paige interviews local Peeko Apparel designer Brooke Fung Dave Eggers’ new art show features brown paper bag kids art

SEX SF Madison Young and Maxine Holloway’s new feminist porn website Turkey’s not all you’ll be gobbling this week – check out the sex events columns for holiday horny

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Sativex: iS thiS hoW oBama thinkS CannaBiS ShoulD look?

DeaR oBama By Caitlin Donohue caitlin@sfbg.com heRBWiSe Dear Obama, Hey, how are you? You haven’t responded to my tweets, so I though I’d get at you on here. We have some things to discuss. In all of the hubbub surrounding Occupy, the nationally-coordinated strikes on encampments, the general unrest, and the inspirational organizing taking place during this dour period of history our country is now experiencing, you’ve made next to no response.

$

But your federal agencies have managed to find time in the middle of said havoc to attack marijuana dispensaries and grow-ops that are legal under state law. Last week, they raided (way too much of that word going around these days) 15 of them in Washington State. Weird, why? On a related note, we need to talk about Sativex. Oh what, you thought we didn’t know? Don’t make this turn into a Beyonce video. Let me tell you what I’m for

sure about, and then we can talk about what I don’t understand. I know for sure that Sativex is a drug developed by British company GW Pharmaceuticals, which declined to answer any of my phone calls while researching this letter so it’s a little unclear where exactly the drug stands on its path to legality in the US (it’s already being prescribed in Europe and Canada). Sativex is used to treat multiple sclerosis spasticity, or muscle tightness. Currently, it is in Stage III trials in the United States for use in the treatment of cancer patients, trials that are being conducted by Otsuka Pharmaceuticals, the company handling the drug’s development in the US. Sativex (and this really gets to the heart about why I’m writing to you via the Guardian cannabis column) is made from marijuana. It has been tinctured and refined into a mouth spray that contains both THC, and — unlike the synthetically engineered Marinol, which is currently being prescribed in the United States to deal with nausea and lack of appetite in cancer patients — cannabidiol, or CBD, the other cannabinoid in marijuana. It doesn’t work as fast as smoking the stuff though, in a doobie say, or bong. But it is still cannabis albeit in an adulterated form and if things proceed as they have been, doctors will be able to legally prescribe it. Of course, it’ll be way more expensive than Humboldt’s finest — estimates for cost of treatment are pegged around $16 a day. Now. The other day, as I wrote in this selfsame column (“Some joy in Mudville�, 10/16/11) I ran into a one Lynette Shaw, who runs the Marin Alliance for

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Medical Marijuana. She’s a patient herself and has been fighting for safe, comprehensive access to medical cannabis for over two decades. Her Fairfax dispensary, which sits on land the city specifically zoned for the purpose, is in danger of being closed because federal agents have threatened her landlord with jail time for allowing his property to host illegal drug trafficking. Marin County, for whatever reason, has one of the highest incidents of breast cancer in the country. Is this where Sativex will be marketed? We’ve all been wondering, Prez, why on Earth your administration would choose this moment in time to make moves on state-legal growing operations. We’ve been told that it’s election year maneuvering, but even that’s not cynical enough for me. Here is what is not: you’ve received more than $1.6 million from the health sector — doctor’s associations, health insurance companies, pharmaceutical companies — since the beginning of the year. That’s more than any other candidate, in fact you edged out the next runner-up Mitt Romney by over $700,000. It would appear that Big Pharma has identified its horse in this race. So that’s it on my end. From you, I’m just looking for some answers. Why processed drugs over plants? Why does cannabis have to be passed through a lab and profit the pharmaceutical industry to get fair clinical trial testing? Must all of our medicine be corporatized to be deemed beneficial to us? My email’s up there. Sincerely, A Concerned Citizen 2

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clockwise from left: the pastry cupboard, baker and banker, beachside coffee bar and kitchen, and little griddle | guardian photos by virginia miller

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1998 2007

www.sushi-hunter.com Mention this ad and receive a small size house hot sake (one per table)

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Come visit our newest location:

3211 Mission st. @ Valencia 14 SAN FRANCISCO BAY GUARDIAN

hecho en san francisco 3071 16th st., sf @Valencia (415) 864-8840 365 B st., san Mateo (650) 343-4123 editorials

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Sunday Brunch decadence

1998 2006

By Virginia Miller aPPeTiTe San Francisco has long been a brunch town, and brunching is a weekend sport. But we also excel at that mysterious (for many of us) weekday meal called breakfast. Recent rising, shining, and exploring has yielded three newer breakfast options (which also serve on weekends), and one Sunday-only brunch so good I just had to include it.

Reservations Recommended

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Husband/wife duo, Lori Baker and Jeff Banker, interact with diners during Sunday brunch at their restaurant Baker and Banker. Jeff delivers dishes to tables, chatting with patrons, while Lori spends her time between the restaurant and nextdoor bakery. In keeping with the delights available for dinner, the fairly recent addition of Sunday brunch offers joys beyond mere scrambles and pancakes. While it’s still fall, do yourself a favor and order the cinnamon and spice-dusted donuts ($9), filled with a blessedly less-than-sweet pumpkin pie cream. Five to a basket, these warm rounds of autumn goodness disappeared quickly. One hopes they will stay on the menu, their filling changing seasonally. On the savory side, there’s housesmoked trout on latkes, roasted squash salad, brisket hash, and Cajun eggs benedict. I’d like to single out mascarpone brown butter polenta as the decadent base for the eggs in purgatory ($14). Two semi-runny eggs over polenta are peppered with house sausage, swimming in a spicy-sweet tomato sauce adding a Southern Italian dimension. It’s an utterly satisfying breakfast dish seemingly half the restaurant ordered. 1701 Octavia, SF. (415) 351-2500, www.bakerandbanker.com

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hiP yeT unhiPSTer One of the best things to come along on a particular stretch of Market Street in awhile is little griddle, a few months old corner breakfast spot and burger joint. Blue collar workers and Civic Center government employees line up for bagels and Zoka coffee in the morning, while a large selection of around 15 burgers is the crowd favorite throughout the day. Little Griddle was serving the sadly now defunct Spot Bagels. It currently offers New York Bagels (from Richmond, CA), delivered fresh daily. Breakfast platters of omelets or scrambles are massive, enough for two at roughly $8–$11, with crispy hash browns or salad. I like the Sandbox ($10.75): Black Forest ham, apple-smoked bacon, avocado, crimini mushrooms, yellow onions. Griddle cakes ($5–$8) are likewise massive and come double- or triple-stacked, topped with strawberries and bananas, or dotted with pecans or chocolate chips. Little Griddle’s space is humble. I relish orange floor tiles and the 1970s spirit of the tiny, triangular space. It keeps the gourmet, local approach from feeling hipster or put-on. In fact, it’s a neighborhood joint equipped for commuters, offering quality sans pretension. 1400 Market, SF. (415) 864-4292, www.twitter.com/littlegriddlesf

Bakery TreaTS Near the busy Van Ness Muni/BART stop, The Pastry cupboard is a couplemonths-old bakery from Chona Piumarta who was executive pastry chef at Slanted Door. Pastry Cupboard leans towards American baked goods with cakes, pies, cookies, and Piumarta’s signature coconut almond macaroons music listings

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(puffy and cake-like with a caramelized exterior). Scones and danishes cater to a morning appetite, but my poison is a cherry chocolate strudel. With a sugar icing and almonds on top, tart cherries and dark chocolate are layered inside a pastry shell with sweet cream cheese. Like a Bavarian version of a danish, it happily pairs with a robust espresso. 1596 Market, SF. (415) 864-2755, www.pastrycupboard.com

ireland on The Beach Beachside coffee Bar and kitchen (from the owners of neighboring Java Beach) is a roughly three months old cafe at the edge of the city, merely a block from the ocean. Coffee is a highlight here, made with care, cup by cup, sourcing beans from varying parts of the world. In a cozy, simple space, friendly staff serve vegetarian or vegan bahn mi, fried egg and bacon or sausage sandwiches on brioche, and all things waffles: bacon waffles, Belgian waffles, chicken and waffles. On a recent rainy morn, I was sold on the Irish breakfast sandwich ($6.95 regular, $9.95 large). Transported back to rainier days this summer traveling Ireland, I was delighted to eat Irish bacon and sausage, white and black pudding, and grilled tomatoes all packed into one sandwich with an egg. Though not quite the supreme blood sausages I’ve had in Ireland or Scotland, they are well-made and the real deal. With an accompanying chutney to dip the sandwich in, I was transported straight back to Ireland’s windswept shores... not unlike our own on a day of massive waves and fog. 4300 Judah , SF. (415) 682-4961, www.javabeachsf.com/beachside

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, at www.theperfectspotsf.com

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Latin American K8HL<I@8 Tapas & Cocktails happy hour 4-7 daily I<@E8Ă‹J (

A PiTCH And A Swing By L.E. LEonE le.chicken.farmer@gmail.com CHEAP EATS We went to see Moneyball. You know: We have soft spots in our hearts for baseball. Additionally, Hedgehog has a wet spot in her panties for Brad Pitt; and I in mine, truth be told, for Jonah Hill. Before he lost the weight, mind you — although he’s pretty funny after, too. Anyway, it was a good movie, and Jonah Hill was fat, and the popcorn was quite good, but still I had a nervous breakdown afterwards. No idea why. I think it had something to do with a shot near the end of the movie. Brad Pitt, as Billy Beane, driving on I-880 I believe, and through his window the stacks and stacks of cargo containers down the harbor. Maybe the familiarity was too familiar for comfort (I once had a panic attack on that exact stretch of freeway) or the bounce of the frame or the camera angle. Something. Something took the fight right out of me. I tried to compose myself in the ladies room after. “I exist, therefore I am,� I wrote, on toilet paper. “Now,� I continued, plagiarizing shamelessly: “Whether I shall turn out to be the hero of my own life ...� No. I composed and composed. I stole, I borrowed, I begged, I vandalized, I unraveled and unraveled, but could not find the little bouncy rubber ball at the center of things. Not even for the life of me. So, after a fairly normal amount of time had passed, I flushed and washed and walked back out into the lobby, all dry-eyed and dignified-like. Hedgehog smiled. We rode down the escalator together. Nervous breakdowns are hard to explain. “Sushi, or ramen?� she said. (We were after all in Japantown.) I would have jumped at either, normally. I love the sushi. I love the ramen. But to give me a choice, at a time like this, was cruel and unusual. Or would have been, if she only knew what I was going through. Nevertheless, I thought I would have something by the time we reached the bottom. If not an answer, a word. A question. A rubber ball. A look. Anything. But I could not, would not, Sam-I-Am. I was nothing but fear . . . of absoeditorials

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lutely nothing. So paralyzed, so empty, that I could not lift my feet and was sucked like a stick-figured cutout into the machinery of it all, the gear and grind, sending me back up, undersided and undecided, crinkle, fold, and rip. Hedgehog does not have patience for indecision, let alone cartoonery. “Ramen?� she said. “Or sushi.� As if changing the order of things would fix it for me. I managed to say something. We were standing at the foot of the escalator, by the door. “I’m having a panic attack,� I said. And — for those of you who can relate, so you know, there is something about calling your panic attack a panic attack, out loud and in the middle of it, that kind of diffuses the situation. Try it. I was still scared and empty, but I could step again, at least, and think, and imagine food. “Ramen,� I said. And say. And we walked very slowly to Suzu. Probably for the best, we had to sit outside, which doesn’t mean outside outside. It means out in Japantown Center, instead of in the small, cozy, bustling restaurant. But at least we could sit right away and have a glass of water. I had of course warned Hedgehog that anxiety and panic were possible parts of the package, although neither had really attacked me, as such, in a year or two. Now, while we waited on our Spicy Ramen (me) and Tokyo Ramen (her), I tried to gauge whether she still loved me or not, or the same. And all the while I still wasn’t totally convinced that I wasn’t about to drop dead, either. Love and life notwithstanding, what we learned that day was that, yo, we kinda needed each other. My ramen was so insanely spicy, and hers so ridiculously bland, that the only way either one of us could be quite satisfactorily nourished was to mix the two together. And as we did, spoon by spoon, we relished the weirdness of eating outside of an indoor restaurant, in a mall, and gradually my heart beat, breathing, and dimensionality came back to me. New favorite restaurant:

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1825 Post St., SF. (415) 346-5083 MC/V Beer & wine

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NOVEMBER 23 - 29, 2011 / SFBG.com

15

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Sweat the gravy out.

for more visit sfbg.com Thanksgiving, when touring bands are presumably in food comas? Thankfully, there’s still down and dirty shows like this to sweat the gravy out, featuring a big lineup of international and SF DJs including Nadastrom, the progenitors of the bastard toddler of Dutch house and reggaeton: moombahton. Put on by Soundpieces, Camp?, and Irie Cartel, the proceeds of the event will benefit DJs Bogl and Benjammin Taylor, who lost their home in the fire above the Haight and Fillmore Walgreens a couple months back. (Ryan Prendiville)

metal mother see tuesday/29

With Truth (NZ), Stylust Beats (CAN), Lorne B (CAN), Tuffist (SP), Dnae Beats and more 10 p.m., $15 advance 103 Harriet, SF (415) 431-1200 www.1015.com

Friday 11/25

With Chino XL, Da Circle, DJ GI Joe 8 p.m., $32.50 Fillmore 1805 Geary, SF (415) 346-6000

“Sing-A-Long Sound of Music”

www.thefillmore.com

Wednesday 11/23 MOM’s Family Funk’tion

Wednesday 11/23 Immortal Technique “So now that it’s proven, that a soldier of revolution/ Or head of an empire, disguised in a constitution/ Can not escape the retribution or manipulation/ Of the self-appointed rulers of the planet’s corporations.” So says Afro-Peruvian rapper Immortal Technique on new mixtape The Martyr (Viper Records). Born Felipe Coronel, Tech seizes every opportunity to eviscerate American class warfare and excoriate the United States government’s complicity. Tech’s angry sermons get a little lost in the first half of Martyr because of distracting riffs taken from the Beatles, Aerosmith, and The Goonies soundtrack, though there is a clever reworking of ABBA’s “Money, Money, Money” in reference to this generation’s “Rich Man’s World (1%).” Pure, undiluted Tech shines through on the mixtape’s second half. Swill with care. (Kevin Lee) 16 SAN FRANCISCO BAY GUARDIAN

Before you indulge in caloric binges, first endear yourself to the soulful 1960s sound that has always sounded sweeter during the holidays: Motown. No one knows and appreciates this more than the masterminds behind MOM (Motown on Mondays) who bring originals, remixes, and “close relatives” of Motown label songs to venues and events across San Francisco, including Madrone Art Bar, Public Works, SF Funk Fest, even the Treasure Island Music Festival. The first MOM’s Family Funk’tion goes down the night before the turkey funeral that is Thanksgiving at Brick & Mortar, with DJs Gordo, Timo, Phleck, and Matteo spinning the tracks that get the tail-feathers shaking. The crew from MOM promises to provide “toasty soul and fresh funk jams.” (Emily Savage) 10 p.m., $5 Brick & Mortar Music Hall 1710 Mission, SF (415) 800-8782 www.brickandmortarmusic.com

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Wednesday 11/23 tUnE-YarDs Before her set at Pitchfork Music Festival last summer, we were all given tubes of neon yellow warpaint so we could emulate tUnE-YarDs’ Merrill Garbus. Though we may have resembled her, it was no use. We would never be as badass as the woman on stage looping ukulele, smashing drums, and wailing something fierce. With help from additional saxophonists and drummers, the playful jams of Garbus’ quirky hit album w h o k i l l (4AD) burst forth into the calculated cacophony that is tUnE-YarDs. (Frances Capell) With Pat Jordache 8 p.m., $23 Regency Ballroom 1300 Van Ness, SF (415) 673-5716 www.theregencyballroom.com

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Chances are “Sing-A-Long Sound of Music,” the classic musical from 1964 with lyric subtitles so the whole theater can burst into song, is your mother’s dream come true — unless I am the only one who has watched their mom caper around the house, singing “My Favorite Things” (a possibility). It’s fortunate that “Sing-A-Long Sound of Music” should show the weekend after Thanksgiving. If mom’s in town, it’s your best bet. Additionally, the theater hands out goody bags, holds a pre-film concert featuring organist David Hegarty, as well as a costume contest. Your mom can dress up as Maria, of course, and you can dress as one of the Von Trapp children. Come on, do it for family. (James H. Miller) 7 p.m., $15 Castro Theater 429 Castro, SF (415) 621-6120 www.castrotheater.com

Friday 11/25 Nadastrom Are there a lot of orphans in the DJ community? Why are they active the weekend after music listings

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Friday 11/25 “Velveteen Rabbit” There is a lovely tradition in English children’s books that dresses issues around growing up with imagination and a gentle but firm hold on reality. Winnie the Pooh and Wind in the Willows are two of them. Marjorie Williams’ 1922 The Velveteen Rabbit is another. ODC/ Dance’s KT Nelson, a young mother at the time, choreographed it 24 years ago. Today, it’s as fresh and imaginative as ever, with wonderfully colorful costumes, Benjamin Britten’s splendid score and Geoff Hoyle’s intimate narration. The two-person high Nana has just a touch of Victorian strictness about cleaning up the nursery but her efficiency is more than held in check by the toys who have minds of their own. Opening performance is Grandparents’ (20 percent off) and photo day (Rita Felciano) Through Dec. 11, times vary, $15–$45 Novellus Theater Yerba Buena Center for the Arts 700 Howard, SF (415) 978-2787 www.ybca.org

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Immortal Technique Photo Courtesy of Viper Records; Metal Mother photo by Travis Shotwell; Tune-Yards photo by Anna M Campbell; velveteen Rabbit Photo by R.R.Jones; Boys Noize Photo by NADIne Bleses; retox photo by Ian CampBElL.

Friday 11/25 “Great Dickens Christmas Fair” Do not discount the Dickens Fair’s potential for holiday weekend shenanigans. Opportunities for hijinx abound, and not just because the fair’s 800 performers — from dirty-overcoated “guvnah!” drunks to crinoline-encased ladies who tea — are encouraged to interact in character with passers-by (mess with them gently! They love it!) The fair fills the cavernous Cow Palace, and houses a corsetry with live models coordinated by local cinchers Dark Garden, an adventurer’s salon where you can share your rollicking tales of shot glass exploration with fantastically mustached gents — and yes, you can booze your face off. Four bars, people! Including an absinthery in an alley, where you can mix chemically-induced hallucinations in with your environment-induced ones. (Caitlin Donohue) Through Dec. 18, $22–$25 Cow Palace 2600 Geneva, SF 1-800-510-1558 www.dickensfair.com

retox see tuesday/29

musicians. You can bet that the acoustics in the church — itself known for a strong music program — will render the experience even more amen-worthy. (Cheryl Eddy)

10 p.m., $30 Mezzanine 444 Jessie, SF (415) 625-8880

With Gloaming Boys 6 p.m., $8–$20 (no one turned away for lack of funds) Episcopal Church of St. John the Evangelist 1661 15th St., SF

the ontology and ethics of filming. It’s fitting that You All Are Captains is making its local premier in a classroom: a U.C. Berkeley student group flying under the banner of “Picturing Neo-Imperialism” has invited Laxe to present his debut in person more than a year after it won the FIPRESCI critics’ award at Cannes. (Max Goldberg) 7 p.m., free

www.saintjohnsf.org

UC Berkeley Dwinelle B-4, Berk. www.pnwg.wordpress.com/events

Saturday 11/26

Sunday 11/27

Boys Noize

Jeffrey Luck Lucas and Nebulous Orchestra

Here’s a great way to shed those new extra turkey (or Tofurkey) pounds — waddle into the Mezzanine Saturday night in your most comfortable tight jeans and dance your ass off. Boys Noize throws down the kind of relentlessly squelchy music that might make pioneers of Detroit’s minimal techno scene wince. Noize, actually the moniker of German DJ Alex Ridha, has been busy as of late, pushing releases on his record label, BoysNoize Records and its digital offshoot BNR Trax. The label’s sounds range from acidy techno to sinister electro, with a sprinkle of wobbly dubstep and a dash of oddball, leftfield sounds — much like the label’s creator himself. (Lee) editorials

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The Mission District’s Episcopal Church of St. John the Evangelist is no ordinary church — sure, it holds regular worship services, but it is also highly progressive (vocally supportive of LGBT rights, for example), boasts a colorful mural on one of its exterior walls, and is staunchly community-oriented, welcoming the occasional secular event into its historic (circa 1910, after being rebuilt post-1906 quake) building. Tonight’s performance features Mission troubadour Jeffrey Luck Lucas, heading up an “orchestra” (pipe organ, oboes, clarinets, strings, and more) comprised of other local picks

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Tuesday 11/29 Metal Mother

Monday 11/28 “You Are All Captains” A beguiling and beautiful meta-fiction, You All Are Captains grew out of Oliver Laxe’s experience teaching film workshops to local kids in Tangiers. Everyone plays themselves in this reflexive movie, though Laxe casts himself as the fool — a presumptuous European director guiding students to his own ends. The disguise allows him to realize sly but substantive reflections upon

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By some standards, Oakland’s Tara Tati came into music fairly late: she didn’t take up the piano seriously until she was 23. But you wouldn’t guess as much listening to her ethnic fusion project, Metal Mother. On the debut album Bonfire Diaries, the singersongwriter builds up a bold and elemental sound. With its trudging percussion and distinctly dark temper, Metal Mother invokes ‘80s goth rock, ethnic fusion bands like Dead Can Dance, and at times, world ambient soundscapes. And yet, at heart, Tati sounds like a pop artist in the same vein as Björk circa Homogenic, and that alone implies talent. (Miller) With Horns of Happiness, Mortar and Pestle, Birdseye

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8 p.m., $10 Cafe Du Nord 2170 Market, SF (415) 861- 5061 www.cafedunord.com

Tuesday 11/29 Retox Is the Locust a joke? With its speedy deliver, high vocals, beepy attack synth, and masked personas, I never could quite decide. And yet, who cares? The energy level was always high, the shows always masterful absurdist romps. Justin Pearson and Gabe Serbian from the screamy ‘90s-born Three One G act have now formed Retox — like Locust 2.0. Masks now off, and sounds a bit filled in (but really, just a smidge — its new album clocks in at 13 minutes total), it’s shinier, thicker, less jokey. It’s helter-skelter rock’n’roll, minus the screeching buzz-saw, the painful intro to “Boredom is Counter-Revolutionary” notwithstanding. The band is matched well with frantic experimental Japanese noise-punk act MeltBanana. Anticipate high-energy, non-medical spasms. (Savage) With Melt-Banana, Peace Creep 9 p.m., $14 Bottom of the Hill 1233 17th St., SF (415) 621-4455 www.bottomofthehill.com 2

november 23 - 29, 2011 / SFBG.com 17

arts + culture: music

Music machers David Katznelson and Jewlia Eisenberg share a laugh in the newly stocked Tikva Records. Guardian Photos by Mirissa Neff

Tradition!

A Jewish record store is coming to the Mission — briefly By Emily Savage emilysavage@sfbg.com MUSIC Row after row of sentimental — sometimes kitschy, sometimes renowned — vinyl albums are lining pristine white walls in a small storefront, waiting for the opening of a record store that will exist for just one month. Quite possibly the world’s first Jewish pop-up record shop, it’s in San Francisco on the edge of Mission and Bernal, in rotating art-music space, Queens Nails. Like flashes of nostalgic dreams, each cardboard cover at the shop is its own piece of art: there’s the colorful impressionist style square enclosing Fred Katz’s trippy 1958 klezmer-meets-folk record Folk Songs for Far Out Folk, the shelf above holds Johnny Mathis’ breathtaking Kol Nidre, along with the campy Mickey Katz album, Mish Mosh — the cover of which depicts the artist as a (hopefully kosher) butcher posing with both meat-links and brass instruments. There also are brand new copies of the recently released Songs for the Jewish American Jet Set, a compilation of wildly varying tracks (surf rock from the Sabras, deep soul Morrocan-born singer Jo Amar doing “Ani Ladodi”) culled from the archives of nowdefunct Tikva Records, a Jewish label that was around from 1950 through 1973. 18 SAN FRANCISCO BAY GUARDIAN

The Idelsohn Society for Musical Preservation released Songs for the Jewish American Jet Set, and is hosting the pop-up store, also dubbed Tikva Records. The group, whose mission focuses on preserving the 20th century Jewish experience through recorded sound, also has put out a number of reissues and hosted live music events in the past — this store will encompass both. “When we initially did the reissues, we went out and found a lot of the artists on these records and we realized we really wanted to tell the stories of the music,” explains David Katznelson, the music biz veteran behind Birdman Records, president of the San Francisco Appreciation Society, and one of four Idelsohn Society co-founders. So, in addition to selling vintage records and reissues, the store also will play host to a series of Jewish and Hebraic-themed live acts. Beginning Dec. 1 with the official opening party, artists will drop by for free, by donation performances: on Dec. 2, founding Los Lobos member Steve Berlin will original score a silent film, Los Angeles band Fool’s Gold will celebrate the release of its second LP with an in-store performance Dec. 7, classic duo the Burton Sisters will perform live for only the second time in the past five decades on Dec. 8, members of Dengue Fever will play live Dec. 10. And plenty more follow. editorials

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The Chanukah candle lighting ceremonies will begin with a performance by Zach Rogue — the leader of Oakland’s Rogue Wave who recently released Come Back To Us under the name Release the Sunbird. While some of the others acts were a natural fit in the Tikva lineup, Rogue was one that surprised me — his music has always seemed rather secular to me, so I asked him about it. Turns out, it will be his first time playing a Chanukah event. So will he play Rogue Waves songs, Release the Sunbird jams, or traditional Chanukah melodies? “I’m trying to figure that out now. I wouldn’t say that Chanukah songs are necessarily the top my repertoire.” He explained his reasoning for participating in the event, “When I think back in terms of what got me into wanting to play the guitar, my parents raised me on psychedelic, ‘60s British invasion stuff, but in terms of the actual acoustic guitar, a lot of it was Jewish summer camp — Camp Swig in Saratoga,” adding, “I was fascinated with the song leaders and the cadence of Jewish folk songs and Eastern European sound.” Weaving around the ‘50s epoch furniture (solid hand carved shelves and credenzas that look like wet bars, record players) of the newly constructed pop-up shop with “Tikva Records” in red lettering on the window front, I got a sense of a cozy, hangout for record lovers, Jewish or not, which

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lead me to again question: what exactly makes music Jewish? Vibrant, and clearly enamored with these albums, Katznelson was on hand with some helpful thoughts. “I think, like all music, it’s open to interpretation. What we do is use this music to look at Jewish history — it’s beyond Jewish music, it’s music that has affected the Jewish experience.” Jewlia Eisenberg, leader of SF group Charming Hostess, was also previewing the store — it was her first time taking a peek around too, and she seemed ecstatic, slipping records out of the shelves and commenting, “oh my god, look at this one!” Along with the help of a few volunteers, Eisenberg will be running the shop during the month of December. Katznelson and Eisenberg pulled out records to examine, including the classic Fiddler on the Roof, but more so albums that recently came back to light, like the Latin-tinged Bagels and Bongos — another album the Idelsohn Society reissued. Says Katznelson, “Hybrids happened, and it created new sounds — so what are those new sounds called?” An example of the modern Jewish hybrid: Jeremiah Lockwood, New York-based bandleader of the Sway Machinery and grandson of legendary cantor Jacob Konigsberg, who will light the final two nights of Chanukah candles at the store, and perform live. music listings

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During his second appearance, Ethan Miller of Howling Rain and Luther Dickinson of the North Mississippi All Stars will join Lockwood in performance. He met Dickinson back in 1998 when they worked on a friend’s album together. Says Lockwood. “It was my first trip to the South after spending my adolescence obsessed with country blues and it made a big impression on me.” The rest of his performances will be a mixed bag, reflecting decades of the Jewish — and American — music experience. “I’m most comfortable playing blues-oriented material when I play solo, but I definitely plan to hit some tunes from the new Sway Machinery album,” he says, “I will certainly dig out some of my family’s Chanukah standards...very beautiful bits of Jewish folklore I grew up on and that were a part of the family Chanukah lighting ceremony.” And just like that, after a month of record-selling and live performances culminating with holiday revelry, the pop-up will end, and it’ll be on to the next great idea for the Idelsohn Society. Like it was all some nostalgic, farout folk dream. 2 Tikva Jewish Pop-up Record Store Dec. 1-Dec. 28, times vary, free (donations suggested) 3191 Mission, SF www.tikvarecords.eventbrite.com

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GUARDIAN DEALS ON THE FLY @ FORKFLY. COM nov.

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11/25

GAMer Historical fiction tale and science fiction soap opera about a man who relives his ancestors’ memories through a special machine, Assassin’s Creed is a satisfying fusion of the stealth and platforming techniques pioneered by publisher Ubisoft with its Prince of Persia and Splinter Cell franchises. And each year fans cringe at the prospect that the ambitious saga is spreading its potential thin with an annual release model. The fourth entry in as many years, Revelations has players catching up with Italian assassin Ezio Auditore. Now a much older gentleman, Ezio arrives in 16th century Istanbul in search of physical recordings of the memories of the life of Altair, the first game’s protagonist. As Ezio uncovers Altair’s memories, there’s a bit of Inception going on: you’re reliving the memories of a man reliving the memories of another man. But, in choosing to address the existing mysteries of the series rather than create new ones, Revelations manages to close Ezio’s story with grace, and legitimize Altair’s brief presence in the series. By the fourth game, handholding tutorials should no longer be necessary, but Revelations is eager to introduce new gameplay elements, at the expense of the open-world exploration and colorful characters that make the series intriguing. Topping the list of new gameplay features are bomb-crafting editorials

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and a tower-defense mini-game that tasks Ezio with controlling armies of assassins against waves of attacking Templars. The tower defense is fun enough, and makes sense thematically, but it feels like a different game and the pressure to constantly protect your assassin dens is frustrating. Likewise, the constrictive spotlight on bomb-crafting is surprising considering how much less practical bombs are than sneaking and platforming. Failed though these features are, the core of Revelations holds a technically brilliant game, and Ezio’s story is told with some nuance — an all too undervalued commodity in the game industry. If there’s a crack in the story execution it lies with present-day descendant Desmond, who is comatose and silent throughout most of the game. Collecting Animus fragments in Constantinople opens first-person puzzle levels for Desmond, which are unwieldy and — again — out of place, but at least offer a unique way to relive Desmond’s preAnimus life. Last year’s Assassin’s Creed: Brotherhood might have been cosmetically similar to its predecessors, but it was also a showpiece for the marriage of storytelling and gameplay. Revelations’ clumsy new ideas make it a trickier sell and, ultimately, skipping it won’t make a lot of difference storywise. If you’re invested in the travails of Ezio, the few answers in Revelations make it a must-play, but it’s the first game in the Creed series to feel inessential. (Peter Galvin) 2 picks

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BENDERS BAR & GRILL 806 S. VAN NESS @ 19TH 415.824.1800 MON-THU 4PM-2AM FRI-SUN 2PM-2AM WWW.BENDERSBAR.COM

Kevin Epps

Last night Of thE sEasOn

From 5–8:45pm with free programs and live music. Enjoy cocktails and a dinner menu in the cafÊ.

> VIEW the special exhibition Masters of Venice:

Renaissance Painters of Passion and Power from the Kunsthistorisches Museum, Vienna.

WED Nov 23 9pm, $7

INDIAN (Relapse)

THU Nov 24 9pm,

DJ CRAZY LUNATIC

Creepers, Lycus

Michael Beach Hypatia Lake (Seattle)

FRI Nov 25 CAVE (Drag City) 9:30pm, $7 Jealousy, Dark Materials SAT Nov 26 9:30pm $6

PRE-LEGENDARY AND THE DREAMERS

SUN Nov 27 7pm, $6

POOR BAILEY

MON Nov 28 7PM, $5

PORCHLIGHT OPEN DOOR

TUE Nov 29 9pm, $6

LADY LAZARUS

WED Nov 30 9pm, $6

WEAPONS OF THE FUTURE

Mist and Mast, Billy and Dolly

Yawpers, The Rabbles

Pregnant, Jib Kidder

> CELEbrATE the last Friday Night of the season with

Pure Ecstasy’s musical performances reminiscent of Motown and Soul. Friday Nights will return on March 30, 2012.

> ENJoY the premiere screening of Fam Bam by Artist Fellow Kevin Epps. In the Koret Auditorium at 6:30 and 7:15pm, Q&A with the artist at 7:45pm. Seating is on a ÀUVW FRPH ÀUVW VHUYHG EDVLV

> VISIT WKH FORVLQJ UHFHSWLRQ IRU 1RYHPEHU $UWLVW LQ

residence, John Wehrle and see the completed community mural. In the Kimball Education Gallery from 6—8:30pm.

> CrEATE your own family tree artwork with artist Nannette Harris.

Friday Nights at the de Young is part of FAMSF’s Cultural Encounters initiative generously funded by The James Irvine Foundation, The Wallace Foundation, the Institute of Museum and Library Services, the Columbia Foundation, and the Winifred Johnson Clive Foundation.

Deeper, The Cuss

UPCOMING: Cave (Drag City), Jealousy, Pre-Legendary and The Dreamers, Mist and Mast, Poor Bailey, Porchlight Open Door, Lady Lazarus, Weapons of the Future, Chasms, Tied To The Branches, Slick 46, Sydney Ducks, Yo! Majesty, Casy & Brian, Scout Niblett

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Golden Gate Park 50 Hagiwara Tea Garden Drive deyoungmuseum.org 415.750.3600

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NOVEMBER 23 - 29, 2011 / SFBG.com

19

arts + culture: music

oaklanD rapper k. flay keepS her ‘eyeS Shut’ anD her feet on the grounD.

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20 SAN FRANCISCO BAY GUARDIAN

L GMBZ TLJQT UIF LJUTDI HFUT TUSBJHIU UP UIF SBQQJOH By Caitlin Donohue caitlin@sfbg.com MuSiC The contrast was almost too much to bear. There she stood atop a pile of glittering, emoticoned video shares: Kreayshawn, repping for white girls in Oakland ‘til the cows come home. Her N-word spouting sidekick and dookie gold everything, the perfectly-packaged “Gucci Gucci� video and swagpumping ovaries. Everywhere, just everywhere. You’d think she was the only one doing the hip-hop thing in the East Bay, or maybe you’d think that’s just how East Bay honky female emcees get down — but only if you didn’t know about k.flay (which can totally be remedied, by the way. She’s playing Wed/23 at the Independent). You probably wouldn’t dress up like Kristine “k.flay� Flaherty for Halloween. She doesn’t wear curlers out or mess with bifurcated hair coloring, but she has been diligently laying down soul-baring flows on catchy beats in the Bay Area for years. It was k.flay’s voice you heard drifting through the hook of Zion I’s “Coastin.’� She spits verses about Diet Coke addiction, waking up in your exboyfriend’s bed when you didn’t mean to. You want to be her editorials

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— and she’s not going to make you regret saying that. Because not to belabor the Kreayshawn comparison, but k.flay will never inspire blog posts about racial appropriation. A Stanford grad (but still funky) she stepped into the hip-hop scene like she didn’t even need a costume to kick it — almost like she was of a generation that grew up with the music. One need only check the video for “Party,� a song off her 2011 mixtape I Stopped Caring in ‘96 for an example of k.flay’s style. Witty, driving, contagious, her flows employ the use of newborns, hot guys, and the “old school cast of Felicity� to evoke house partygood times. Throughout, k.flay is flinging her arms around, the girl too cool to care that she looks like a goober. Still, in a phone interview with the Guardian on a recent trip back to San Francisco (she was crashing in New York to record the album, “like one of those extended stay hotels,� she says) k.flay copped to the fact that she’s still considered a novelty in the industry — and that there’s a good reason for that. “There’s never been someone who has had a long career and been really prolific and successful for a long time who was a white

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female rapper. There’s been a lot of blips here and there of people who have popped up and made some noise and doing some cool stuff, but I think no one’s really had a ton of staying power yet.� She’d like to change that. Though the emcee has been known to roll around between genres (her new five-song album Eyes Shut features the co-producing chops of the Prodigy’s Liam Howlett and embraces electronic music), she’s got too much going on in her head to leave hip-hop. “Maybe it’s a bad tendency, but I have this tendency to fill space with a lot of crap. It’s kind of good for me,� she laughs. The question begged to be asked — how did the Summer of Kreayshawn strike k.flay? Turns out, k.flay’s “Gucci Gucci� remix wasn’t the two women’s first runin. They had hooked up in 2010 to talk about Kreayshawn directing a k.flay video. “ I remember her saying to me ‘yeah my sister raps and it’s fucking horrible,’� k.flay says, adopting a slightly more nasal tone. “And showed me a video of it. I didn’t know she was doing anything at the time. And then one day I got a million emails about it and I was like, what is this and I realized it was her. Yeah, it was pretty random.� What came after — music listings

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Kreayshawn’s 500,000 Twitter followers, that weird beef with Rick Ross, life wrought large on a ghettoblaster-Sanrio-glitter tip — k.flay’s too cool to find fault with. “To be honest I think in a way it was a bad situation for her. Anybody who has that big of a blow up, there’s so much pressure implicit in that. I would be freaked out if that had happened to me early on. I’m happy for anybody who is going to be successful as long as they’re obviously not like supporting genocide or doing something terrible.� This is not k.flay’s first rodeo. Her debut album, Suburban Rap Queen, came out in 2004. And the new album? She feels great about where she was at creatively when she made it. And so maybe now she’s ready for viral. Asked about projects for the future, besides the frenetic touring that will mark her 2012, her answer implies a readiness for the next step in what’ll hopefully be a long career. “I’m down to do anything, down for whatever.� 2 k.flay feat. a-1, Vice, and dJ lil elle Wed/23 7:30 p.m., $12–$14 The Independent 628 Divisadero, SF (415) 771-1421 www.theindependentsf.com

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guardian illustration by aaron lawrence aaronlawrencedesigns.com

Page holiday guide 2011 | san francisco bay guardian

h o l i d ay g u i d e

TERRARIUM

Mission Statement Photo by paige A. ricks

Gifticle

26 local presents for $10 and under to kickstart your holiday shopping spree By Caitlin Donohue, Paige A. Ricks, and Lucy Schiller

culture@sfbg.com

We know. Between the blasts of pepper gas you sustained at the last Cal protest and all those “support needed” texts you’ve been receiving from Occupy Everything, Everywhere, All the Time you’ve barely had a spare moment to think about your holiday shopping list. Easy now, no need to get your bandanna in a twist. We’ve been trekking around the city (and that hella occupied burg on the other end of the Bay Bridge) for the very best in affordable presents this holiday season, all of which we found at locally owned businesses. So don’t break the bank — occupy its lobby instead, conquered shopping list in hand. 2

BLOOD ORANGE BITTERS, $5.50 Blackwell’s Wine and Spirits

The average behind-the-bar adventurer knows bitters to be highly concentrated blends of herbs, spices, rinds, and roots sure to add zing to a standard cocktail. This non-alcoholic blood orange bottle lends a deep, pumpkin-y hue to your drinks — as well as a slightly sweet taste. 5620 Geary, SF. (415) 386-9463, www.blackwellswines.com

MY MISSION GUIDEBOOK, $7 Mission loc@l

Mission Loc@l’s guidebook lives up to the neighborhood news site’s name: their pocket-sized collection of various Missionites’ (from grade-schoolers to aging boho poets)

favorite places in the ‘hood could open the eyes of the most seasoned South Van Ness dweller to hidden gems amidst the murals and taco shops.

Available at various SF locations. Order online at www.missionlocal.org (search term: guidebook)

VINTAGE BOWTIES, $10 Paul’s Hat Works

Paul’s Hat Shop has been around since 1918 — and the same goes for many of its hat styles. Check out the silky old bowties that sit seductively on a countertop. They come in patterns that haven’t seen the light of day for decades, guaranteeing that vintage fans recipients will wear them with care. 6128 Geary, SF. (415) 221-5332, www.hatworksbypaul.com

CANDY NIPPLE TASSELS, $10 Good Vibrations

Open the door to the best kind of trouble with these dangling pasties, made from the same chalky rainbow sweets as traditional candy necklaces. Swing by Good Vibe’s newest store at 899 Mission to check out the sex toy vanguard’s downtown flavor. Various Bay Area locations. www.goodvibes.com

JAPANESE HOUSE SLIPPERS, $4.89 Sakura Discount Store

Unless your recipient’s feet fall outside the size four to thirteen range, they can rest easy in the soft silken threads of Sakura’s house slippers. A jam-packed and family-run Japanese discount store, this spot stocks hundreds of the kicks, which are CONTINUES ON PAGE >>

Vegan MAPLE PECAN PIE Your Kitchen

Of course, you can always give them something that will, without fail, ensure that sharp intake of breath that marks the happy receipt of a caloric holiday gift-bomb. This holiday sweet from Isa Chandra Moskowitz and Terry Hope Romero’s Vegan Pie in the Sky (DaCapo Press, 233pp, $17) should do just the trick — and will win the heart of gentle vegans and fierce omnivores alike. Makes one nine-inch pie or one 11-inch pie

INGREDIENTS: 1 nine-inch pie crust

Filling: 1/2 cup sugar 1/2 cup brown sugar 1/2 cup pure maple sugar 1/4 cup nonhydrogenated margarine

6 ounces extra-firm silken tofu 1/4 cup cold unsweetened plain nondairy milk 2 tablespoons cornstarch 1/2 teaspoon salt 1 teaspoon pure vanilla extract 2 cups pecan halves

First, we’re going to make a caramel. In a two quart saucepan, mix together the sugars and the maple syrup. Heat over medium heat, stirring often with a whisk. Once small bubbles start rapidly forming, stir pretty constantly for about 10 minutes. The mixture should become thick and syrupy. It shouldn’t be boiling too fiercely; if big bubbles start climbing the walls of the pan then lower the heat a bit. Add the margarine and stir to melt. Turn the heat off, transfer the mixture to a mixing bowl, and let it cool for a bit. In the meantime, prepare the rest of the filling. Crumble the tofu into a blender or food processor, along with the milk, cornstarch, and salt. Puree until completely smooth, scraping down the sides of the blender to make sure you get everything. Transfer the filling to the prepared pie crust and bake for 40 minutes. When done, the pie is going to be somewhat jiggly, but it should appear to be set. Let cool, slice, and serve! No cheating and pulling

pecans off the pie. Variation: Sprinkle 1/2 teaspoon coarse sea salt over the cooled pie. For more vegan recipes from Isa Chandra Moskowitz, check out www.theppk.com

sfbg.com | holiday guide 2011 Page

h o l i d ay g u i d e WOMEN’S SHOES, $8 Clothes CoNtaCt

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DIY HOLLOW BOOK, COST OF SUPPLIES Your house (You’ve got old books, right?)

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CANDY NIPPLE TASSELS good vibratioNs Page holiday guide 2011 | san francisco bay guardian

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Tha Bay Area's premier purveyor of new, used, and vintage musical supplies! Featuring: Tama, Craviatto, Keeley Electronics, Zvex, Ibanez, Vox, Orange, Moog, Line 6, Yamaha, M-Audio, Zoom and much more...

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1563 Polk St. @ Sacramento 415-673-8900 • brownies@acehardware.com

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ICE CREAM CONE EARRINGS, $1-4 BooBadeeBoo Jewelry

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ONE POUND OF INCENSE, $10 Buddhism Feng shui supply

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Page holiday guide 2011 | san francisco bay guardian

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Page 10 holiday guide 2011 | san francisco bay guardian

h o l i d ay g u i d e Union Square iceskating rink Good news for nervous wall-grabbers and double axel spinners alike: the holiday ice rink is back at Union Square. Cue icicle lights, grand romantic gestures, and seizing onto strangers for suddenlyneeded support.

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Through Jan. 16. 10 a.m.-11:30 p.m. except for when closed for private parties, $10 for 90minute session. Union Square, SF. www.unionsquareicerink.com

Dec. 9, 5-9 p.m., free. Mission Cultural Center for Latino Arts, 2868 Mission, SF. www.lacocinasf.org

Winter Wunderkammer holiday art sale The most you can spend here on one item is 50 bucks, the least a dollar. Accompanied by spiced wine and tunes, small-format works from local artists are on sale. Proceeds from this walk-in curio cabinet benefit The Lab and participating artists.

Great Dickens Fair Before Harry Potter and Kate Middleton transformed young Americans into full-blown Anglophiles, a whole different conception of Britain flourished stateside: the Dickensian version, replete with scones and hot toddies. Walk off your burgeoning middle with a jaunt through the Cow Palace’s temporary lamp-lit alleys.

Opening party Dec. 9, 6-11 p.m., free. Also Dec. 10, 11 a.m.-4 p.m., free. The Lab, 2948 16th St., SF. (415) 864-885, www.thelab.org

Saturdays and Sundays through Dec. 18, 11 a.m.-7 p.m., $25. Cow Palace, 2600 Geneva, SF. www.dickensfair.com

California Revels Ah, the revels. This year, the interactive period presentation will sit you smack down at the Round Table. Dance and sing, young knight — no one’s mocking you at this costume-heavy conclave.

“The Best Time of Year” SF Symphony Christmas special concert The San Francisco Symphony and Chorus exhale classical Christmas picks and carols to a fully-bedecked Davies Symphony Hall.

Dec. 9-11, 16-18; Fri. 8 p.m., Sat. and Sun. 1 p.m. and 5 p.m., $19-52. Scottish Rite Theater, 2850 19th Ave., SF. (510) 452-8800, www.californiarevels.org

Nov.30-Dec.1, 8 p.m., $25–$68. Davies Symphony Hall, 201 Van Ness, SF. (451) 864-6000, www.sfsymphony.org

SF Ballet’s Nutcracker Even with its lampoonable name, the Nutcracker remains a incomparable date choice for its lush costumes, fantastical storyline, and ability to trigger childhood flashbacks.

Working Solutions holiday gift fair Showcasing San Francisco businesses assisted by Working Solutions’ micro loan programs, this fair lets shoppers pick up everything from Bernal Heights-wrought knives to chunks of Mission-crafted chocolate.

Dec. 9-25, various times, $25–$285. War Memorial Opera House, 301 Van Ness, SF. (415) 8652000, www.sfballet.org

Misfit Toy Factory For one evening, artists cobble together sculptures, toys, and gifts under one roof to the beat of DJ Yukon Cornelius. Items are sold at the end of the evening for a fixed price of forty dollars.

Dec. 1, 5-8 p.m., free. 101 Second St., SF. (415) 655-5433, www.tmcworkingsolutions.org

The Golden Girls: The Christmas Episodes Trannyshack takes on the blue-haired wonder that was The Golden Girls in a glitzy, raucous yearly San Francisco tradition.

Dec. 10, 7-10 p.m., free. Root Division, 3175 17th St., SF. (415) 863-7668, www.rootdivision.org

The Revolutionary Nutcracker Sweetie A radical alternative to the holiday classic, Dance Brigade’s version features Clara, an undocumented worker, a homeless Sugar Plum Fairy, and an angel of resistance.

Thursdays, Fridays, and Saturdays Dec. 1-23, 8 p.m., $25–$30. Victoria Theater, 2961 16th St., SF. www.trannyshack.com

A Christmas Carol There’s no better way to get in the mistletoe mood than to watch old Ebenezer slowly thaw out his icy, pinched heart in the Deco glory of the ACT Theatre.

Dec. 1-24, 7 p.m., $20–$75. American Conservatory Theatre, 415 Geary, SF. (415) 749-2228, www.act-sf.org

Holiday tree-lighting ceremony Jack London Square becomes a Bay-side holiday crèche two hours with live reindeer, snow, wintry tunes, and a tree-lighting to launch the flurry of the holidays. Dec. 2, 5-7 p.m., free. Jack London Square, Oakl. www.jacklondonsquare.com

Oakland-Alameda Estuary lighted yacht parade How can yachts parade, you ask? With style, we answer — East Bay boat owners trick out their vessels with festive lights visible from the shore. Dec. 3, 5:30 p.m., free. Visible from Jack London Square, Oakl. www.lightedyachtparade.com

Fantasy of Lights celebration ‘Tis the season for brilliant night-time lights, and Union Street will not be an exception. Stately Victorians provide the glowing background for a holiday gathering featuring everything from a monkey to Santa and his elves. Dec. 3, 3-7 p.m., free. Union between Van Ness and Steiner, Fillmore between Union and Lombard, SF. www.sresproductions.com

San Francisco Forest Choir Imagine yourself in a snowy Narnia glen, the Forbidden Forest, or roaming through the woods with Hansel and Gretel to the music of the San Francisco Forest Choir, an all-female group who sing in Japanese and English at the Western Addition library.

Dec. 3, 3-4 p.m., free. Western Addition branch library, 1550 Scott, SF. (415) 355-5727, www. sfpl.org.

Sharon Art Studio winter pottery and craft sale Thousands of gleaming pieces are up for sale by this staple of the Bay Area craft scene; lug your loot home and get your bicep curls out of the way for a week.

Dec. 4, 11 a.m., free. Sharon Art Studio, Children’s Playground, Golden Gate Park, SF. (415) 7537005, www.sharonartstudio.org

SF Chamber Orchestra holiday family concert Circus Bella and the SF Chamber Orchestra team up for a strangely compelling holiday pairing: clownish acrobatics set to the strains of classical music. Dec. 4, 3-4 p.m., free with RSVP. Bayview Opera House, 4705 Third St., SF. (415) 824-0386, www.bayviewoperahouse.org

Gourmet Ghetto’s snow day For those Bay citizens unfamiliar with the bliss of a true snow day, the Gourmet Ghetto’s version provides a superior version to the rest of the country’s admittedly frigid ones: real snow, yes, but also crafting, hot cocoa and cookies, a Snow Queen, and the warmth of community. Dec. 5 10 a.m.-3 p.m., free. Andronico’s parking lot, 1550 Shattuck, Berk.; 1-4 p.m., free. M. Lowe and Co., 1519 Shattuck, Berk.; Noon-4 p.m., free. Twig and Fig, 2110 Vine, Berk. www.gourmetghetto.org

“Winter in the Wineries” Sixteen wineries will stamp your passport for a twomonth period starting December 2, enabling you to enjoy unlimited tastings, tours, and meet-and-greets throughout Napa Valley. Various locations and times, Calistoga. www.calistogavisitors.com. $50 for one passport ticket

Palestinian Craft Fair Straight from the hands of Palestinian artists and craftspeople: olive oil-based soap, embroidery, glassware, ceramics, books, honey, and Dead Sea products sold to benefit their makers an ocean away. Dec. 4, 10 a.m.-4 p.m., free. Live Oak Park, 1301 Shattuck, Berk. (510) 548-0542, www.mecaforpeace.org

“Songs and Harps to Celebrate the Holiday Season” Harpists of the Bay, unite! The young pluckers of the Bay Area Youth Harp Ensemble join the Triskela Celtic Harp Trio to perform holiday pieces from around the world. Singing along is not only encouraged but expected. Dec. 6, 6 p.m., free. Main Library, 100 Larkin, SF. (415) 557-4400, www.sfpl.org

“Drag Queens on Ice” Break out your very best glitz for a night spent skating next to legions of SF’s drag personalities. A 9:30 p.m. performance by the queens in question ends the evening. Dec. 8, 8 p.m., $10 for 90-minute session. Union Square, SF. www.unionsquareicerink.com

La Cocina gift fair Its cryptic but tasty-sounding “tamale alley” should provide enough of a draw, but La Cocina’s gift fair also promises local vendors selling organic olive oils, handmade pasta, and mushrooms nourished by recycled coffee grounds. Pretty easy to stomach.

Dickens and drag queens and dreidels (oh my!) By Caitlin Donohue and Lucy Schiller culture@sfbg.com

You know what would be a good present to yourself this holiday season? Some ankle weights. Imagine all the almond cake and vegan eggnog you’ll have shoved into your belly by this time next month, you soon-to-be-less-svelte snowy sexpot. Not into approximating a house arrest prisoner? How about pledging to run about to as many as the Bay’s holiday hotspots as possible this year — you’ll be a Kwanzaa cutie in no time a’tall. And with such jingling gems — from costume fairs to drag queens in Union Square and free chamber orchestra performances — you’ll come out on the other side (2012) cut and cultured.

Dec. 10, 2 p.m. and 6 p.m.; Dec. 11, 1 p.m. and 5 p.m., $15–$17. Brava Theater, 2781 24th St., SF. www.dancemission.com

Hanukah festival of light Geared towards the younger set and their handlers, the JCC East Bay’s festival of light features storytelling, menorah making, dreidel games, and a concert by Isaac Zones, a mainstay in the Bay’s Jewish music scene. Dec. 11, 10 a.m-2 p.m., $5. JCC East Bay, 1414 Walnut, Berk. www.jcceastbay.org.

“Holidays: Christmas, Chanukah, and Other Festive Celebrations” lecture Library docents present an examination of paintings from around the world dealing with everyone’s favorite subject: the giving, feasting, and receiving endemic to the holiday season. Dec. 14, 6:30-7:30 p.m., free. Glen Park branch library, 2825 Diamond, SF. (415) 355-2858, www.sfpl.org

Mechanics’ Institute holiday gift and poster sale The staggeringly lovely Mechanics’ Institute hosts a large sale of hard-cover and paperback books, gifts, and posters straight from its library. Dec. 15, 4:30-6:30 p.m., free. Mechanics’ Institute, 57 Post, SF. (415) 393-0100, www.milibrary.org

Holiday youth mariachi concert Three zestful youth mariachi bands perform traditional Mexican holiday music, providing an energizing segue into a sometimes exhausting season. Dec. 16, 7:30 p.m., $10. Mission Cultural Center for Latino Arts, 2868 Mission, SF. (415) 6432785, www.missionculturalcenter.org

Holiday Memories double feature Head back to the times of toboggans and candle-lit windows with two short films recounting rural winters of yesteryear. A Child’s Christmas in Wales visualizes Dylan Thomas’ Welsh childhood; The Sweater animatedly recounts Roch Carrier’s Quebecois, hockey-centered upbringing.

Dec. 17, 2 p.m., free with $15 museum admission. The Exploratorium, 3601 Lyon, SF. (415) 5610360, www.exploratorium.edu

Renegade Craft Fair holiday market For the third year and showcasing more than 250 makers and craftspeople, the Renegade Craft Fair’s holiday happening can be a bit overwhelming. But it’s an undeniably great answer to gifting woes: pick up jewelry, body products, paper goods, clothing, and way, way more, all DIY enough to satisfy your most loca-ttired friend. Dec. 17-18, 11 a.m.-6 p.m., free. Concourse Exhibition Center, 635 Eighth St., SF. www. renegadecraft.com

Reclaiming Yule ritual It may be chilly outside, but Sebastapol’s midwinter celebration (led by Starhawk, a leader in Bay Area earth-based spirituality) is indoors and full of warmth-inducing activities, namely dancing in honor of the Earth and Sun.

Dec. 18, 6:30 p.m., $7. Sebastopol Community Center, 390 Morris, Sebastapol. www.reclaiming.org

holiday youth mariachi concert

Solstice Eve celebration With a bonfire and roles doled out to participants (rocks, trees and mists), celebrating the longest night of the year on Ocean Beach is actually rather toasty. Bring items to release into the transformative fire — love letters are just the starting point. Dec. 20, 3:30 p.m., free. Ocean Beach at Taraval, SF. www.reclaiming.org

Bill Graham menorah lighting The lighting itself takes place at 5 p.m., but the hours-long run-up is by no means lacking: traditional Jewish music, arts and crafts, and menorahs for every child fill Union Square starting at 3 p.m. Dec. 20, 5 p.m., free. Union Square, SF. www.chabadsf.org

Kujichagulia celebration Kwanzaa’s day of personal definition and expression comes to City Hall, followed by a candle-lighting ceremony and dinner at Gussie’s, known for its fried tasties, red velvet cake, and Southern sweet tea. Dec. 27, noon, City Hall, SF., 6 p.m., Gussies Chicken and Waffles, 1521 Eddy, SF. www.kwanzaasanfrancisco.com

Ujima celebration On Ujima, the third day of the week-long Kwanzaa holiday, community members gather to celebrate a collective spirit of responsibility and work. Dec. 28, 3-6 p.m., free. Bayview Hunters Point YMCA, 1601 Lane, SF. www.sfpl.org

“A Very Shut-Ins Xmas” The vanguard leaders of the “hulabilly” sound, the Shut-Ins return with a Christmas show to benefit San Francisco’s Legal Assistance to the Elderly.

Keeping Score: Ives Holiday Symphony screening Unrecognized at the time of his death, experimentalist composer Charles Ives labored over his Holiday Symphony, which now gets fitting recognition by the San Francisco Symphony in a library concert that follows an hour-long documentary on the man.

Golden Gate Park tree lighting Golden Gate Park’s hundred-foot Monterey cypress (shouldn’t it have a name by now?) transforms into a light-bedecked behemoth for the 82 year.

Kuumba celebration Fittingly, the main San Francisco celebration of Kwanzaa’s Kuumba (day of creativity) occurs in the Jazz Heritage Center, a space shared by musical hotspot Yoshi’s. Celebrate the Fillmore’s manifold musical virtuosos on the last day of the year.

Dec. 8, 5:30-8 p.m., $20. 50 Mason Social House, 50 Mason, SF. (415) 538-3333, www.laesf.org

Dec. 8, 5 p.m., free. McLaren Lodge, 501 Stanyan, SF.

Dec. 29, noon, free. Main Library, 100 Larkin, SF. (415) 557-4400, www.sfpl.org

Dec. 31, 1-5 p.m., free. Jazz Heritage Center, 1330 Fillmore, SF. www.jazzheritagecenter.org

sfbg.com | holiday guide 2011 Page 11

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arts + culture: music

Ty SeGAll kICkS BACk, enjoyS The releASe of hIS SInGleS ColleCTIon

GArAGe TroUBAdoUr 5IF DPMMFDUFE XPSLT PG 4BO 'SBODJTDPµT PXO 5Z 4FHBMM By Andre Torrez arts@sfbg.com MUSIC “I did something really stupid,” was pretty much the first thing Ty Segall said to me as we walked to Philz Coffee in the Mission. Originally the plan was to sit at El Metate, but that got nixed as we agreed an afternoon jolt of caffeine was more important. I asked what he had done that was so stupid, but it wasn’t specifically clear which act he was referring to. On the defensive, he went off on a tangent about how he perceives his guitars almost as talismans. “It’s like voodoo,” he said. That’s how he explains his behavior when he gives a guitar away to somebody. Other times he goes with the more cliched rock ritual of destroying one on stage. This also led to his purchase of a 1965 sea-foam green Mustang Fender. The excitement in his voice as he described his new toy was apparent. Music is what makes him tick. I interviewed him in 2009 when Lemons (Goner Records) came out, but that was forever ago considering his well-documented abundance of releases. Now that Goner is putting out a double LP, Singles 2007-2010 (out this week), it seemed like an appropriate time to catch up and see how constant touring may be taking its toll on the 24-year-old garage rock answer to a troubadour. editorials

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We settled at a picnic table at a nearby soccer park where Segall, clad in Ray Bans and a brown cardigan, explained his fatigue from life on the road. He had just wrapped up a slew of local gigs, including a Halloween show where he and his band performed as the Spits. There, they struggled for the spotlight as an unruly woman from the audience — who was allegedly “humping everything” — stole a purse, and had to be bounced. Then it was off to Austin for a couple of dates where he performed alongside Thee Oh Sees, who he considers the best live band San Francisco has to offer, Black Lips and the Damned at the three-day Fun Fun Fun Fest. “We never really stop touring. I wonder how we’re still here,” he said in bewilderment of both the physical and mental drain bands endure. “Everybody hits a wall.” He was referring to breaking points, but was also responding to my prodding about a previous interview he gave to Spinner.com where he commented on the fragility of one’s mind, and how you can “lose it at any moment”. Just as he was admitting his own sensitivity, three pugs walked over to him, as if on cue. I watched him pet the triplets in a moment of adorably comforting symbiosis. It appears he’s learning his limits, coping with an picks

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over-analytical brain and growing a thicker skin. But that’s not to say his creative well is running dry any time soon. While the singles compilation is a retrospective, along with some unreleased material, Segall said he’s still “psyched” to record something new. 2012 promises to be fruitful as his booking agent claimed the native So Cal. surfer has three records coming out next year. While he doesn’t see himself as being in a “party band”, he’s been given the unique opportunity to partake in the second annual Bruise Cruise. It’s a threeday cruise to the Bahamas loaded with garage bands, their fans, and 75 percent regular ol’ tourists, according to Segall. The concept seems a bit ridiculous in the sense that trash rockers will converge with such decadence. This year he’s joining a super group of sorts called the Togas with Shannon Shaw of Shannon and the Clams, Phillip Sambol from Strange Boys, and Lance Willie (drummer from the Reigning Sound). But for now Segall can hold off and breathe for a second before setting sail. He can enjoy what he considers the vacation of just being home, doing his laundry, and all the other domestic yearnings that come with wanting a house with a yard and a basement. 2

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NOVEMBER 23 - 29, 2011 / SFBG.com

21

FELA!

Original Broadway Cast Recording

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FELA! tells the true story of the legendary Nigerian musician Fela Kuti, whose soulful Afrobeat rhythms ignited a generation. A civil rights champion, he defied a corrupt and oppressive military government and devoted his life and music to the struggle for freedom and human dignity.

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tHeAteR The immigrant experience has some familiar familial dynamics across the board. Parents, for instance, can easily discover their Americanized children becoming embarrassed by the older generation’s “foreign� ways. Unhip parents are the bane of any child’s existence, but dad walking around the mall in a gallibaya doesn’t make it any easier (as hip as that may sound to you or me). Allegiances potentially strain much further, however, when the immigrant story gets entwined with a little narrative called the “war on terror.� That’s the volatile mixture at the center of Yussef El Guindi’s Language Rooms, a somewhat uneven but ultimately worthwhile

chaplain accused (but never convicted) of espionage while ministering to Guantanamo detainees. El Guindi centers the action on a bad day in the otherwise workaday life of Ahmed (James Asher), a second-generation Arab American working as a translator and interrogator for an unnamed department in the vast multi-agency American security state. It’s not a glamorous job. The workplace is comprised of bland rooms (courtesy of scenic designer Mikiko Uesugi): white panel walls and mismatched furniture dingy under fluorescent tubes, a metal filing cabinet in the corner, some hulking box cloaked by a sheet, and a metal rolling tray piled with the ordinarily harmless contents of your average utility drawer. The only relief to the eye comes from a plastic container of honey shaped like a bear, which

relate to his nervous subordinate with a paternal regard — assuring him he’s experienced divided loyalties himself during his teeth-cutting days as a COINTELPRO provocateur among black nationalists. Ahmed, desperate to prove himself red-white-and-blue, finally gets his chance when he’s handed a new prisoner to interrogate — a man who turns out to be his estranged father (played with agile charm by Terry Lamb). If the setup initially feels a little neat, it’s at this stage that the play gets really interesting and the dialogue most subtle, as father and son act as mutual confessors amid the distorting input from surrogate father (and stand-in for the nation state) Kevin. As the play’s title suggests, the freighted specificity of language is at the center of it all — a theme never more poignantly con-

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new play that leverages absurdist comedy to interrogate the perversion of basic human sympathies post-9/11. Seattle-based playwright El Guindi (whose other Bay Area productions include Back of the Throat and the hilarious Jihad Jones and the Kalashnikov Babes) well knows that the transformation of nightmare into bureaucratic routine is a reality sometimes best broached in a comic vein, since comedy has such a ready taste for the contortions of Orwellian doublethink. Set in 2005 (when Guantanamo and CIA “black sites� were still a Bush thing, not an enduring bipartisan shame), the play, directed by Evren Odcikin for co-producers Golden Thread and Asian American Theater Company, takes inspiration from the 2003 case of James J. Yee, the Muslim Chinese American and US Army 22 SAN FRANCISCO BAY GUARDIAN

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sits merrily beside the other clutter atop a small wooden desk. In a rude awakening from his somnambulant occupation, Ahmed has learned from colleague Nasser (William Dao) — the only other Muslim working in their unit — that he’s under suspicion for his failure to adequately meld with his American fellows. This suspicion apparently rests on Ahmed’s noted reluctance toward public showering as well as his failure to show up at a recent Super Bowl party. Ahmed, playing ingenuously to the cameras he knows are fixed in every corner of every room, is taken aback and increasingly worried. When he’s called into a meeting with his boss, Kevin (a winningly subtle Mujahid Abdul-Rashid), the older African American man seems to be both interrogating Ahmed and trying to music listings

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veyed than when Ahmed’s father recounts the first English words he taught Ahmed years earlier, when America was still a hopeful dream a father was instilling in his son. Ahmed has made good on that dream, while also perverting it out of recognition. “Better to ride the lion than be eaten by it,� offers his father encouragingly. But a moment later his father is turning over in his hands the tools of Ahmed’s trade with wonder and disgust. “It is not for you to get me out of here,� his father decides. “It is for me to get you out.� 2 Language Rooms Through Dec. 11 Thurs.-Sat., 8 p.m. (no show Thurs/24); Sun, 7 p.m., $20-$28 Thick House 1695 18th St., SF www.brownpapertickets.com

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arts + culture: dance

FRom leFt: leVyDance’S ROMP; JeRemiah cRank in liSS Fain Dance’S The False and TRue aRe One. | ROMP photo by rapt productions/kitfox valentin; FALSE And TRuE photo by rj muna

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StanDing Room only -PDBM DPNQBOJFT TDPSF XJUI OPO USBEJUJPOBM TUBHJOH By Rita Felciano arts@sfbg.com Dance We go to dance performances to be entranced, or at least intrigued, by well-physicalized movement ideas. But it helps if choreographers work with collaborators who not only enhance basic concepts but also bring their own perspectives to the dance-making process. Two programs last weekend, Liss Fain Dance’s playfully evocative The False and True Are One and LEVYdance’s delicious ROMP, showed just how successful the result of that kind of cooperation can be. Interestingly, Liss Fain and Benjamin Levy also contributed to the recent trend of abandoning the proscenium theater — too expensive? Too hierarchical? Too restrictive? — in favor of “installations� in which audiences move around the performance space. Choreographers seem to feel that nudging audiences out of their seats will engage them more actively because they can choose when they want to focus on something. Personally, I am not convinced that this process involves a viewer more intently. editorials

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However, the format’s informality, its sense of being invited in, suggests a welcoming atmosphere that can make dance watching, at least for a time, a lot of fun. Perhaps the greatest gain that the installation format offers is the closeness it offers between audience and dancers. To observe muscles stretching less than a foot away, to hear the breathing that accompanies a strenuous lift, and to see a tiny adjustment to balance and gravity that a dancer makes is a gift that a traditional theater cannot provide. What you loose in overall perspective is compensated for by the intimacy between observer and performer. For that to happen, choreographers need designers who can create the appropriate environment. False and True’s Matthew Antaky and ROMP’s Jack Beuttler chose the square as a basic format. Both modulated the idea to support the choreography to excellent effect. Antaky’s transparent fiberglass panels made for muted perspectives on the four squares within the bigger square that the dancers inhabited. The design looked a little like a board game picks

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and was airy enough to allow for a number of pathways for the dancers. Into the absolute center he placed a slightly raised podium — suggesting a private writing and thinking space — for narrator Nancy Shelby, whose reading of Lydia Davis’ musings set False and True’s tone. Fain’s controlled yet free-flowing choreography for nine dancers — the uneven number was most refreshing given Antaky’s strict geometry — constantly shifted between all the available spaces and groupings. Dancers picked up and modified sequences in a game of unstated rules, but they also became part of the audience, watching their colleagues or listening intently to Shelby. Beuttler’s square for the rambunctious ROMP at first suggested a town plaza in which people, i.e. the audience, had pulled chairs around into an informal cafÊ setting. In the latter part of the work, tables around the periphery reseated the audience banquet-style; they both framed a central performing area and then became the platform for a moving menu of passing delicacies as dancers slithered, cavorted, and leapt in close-up.

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The audience ate it up, laughing, talking, and taking pictures. I wouldn’t have been surprised if they had tried tip the artists. Levy’s fast-paced and exuberant choreography for himself, MÊlodie Casta, and Scott Marlowe pulled in a group of nine auxiliary dancers — some of them still students — who raced and dove between the seated audience without a single misstep. Their energy was that of kids released at the end of the school year, but their discipline and exactitude was that of professionals. An intricately structured trio for Levy’s own dancers highlighted their eccentric individuality but gradually deepened into cheek-to-cheek slow dancing. As for that audience participation that both choreographers wanted, Levy’s public lustily participated. But a funny thing happened during False and True. Despite the exhortation to move around, the audience mostly stood and sat. Seeing those dancers be so vigorous and intent and yet so quiet — Dan Wool’s score was a modicum of discreteness — cast a spell that you didn’t want to break. 2 film listings

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sMaLL-screen Hero By Dennis Harvey

CUSTOMIZED LEATHER BEER HOLSTERS

JoHn Korty (LeFt) is aLso noteD For His Big-screen FiLMs, incLuDing 1976’s Alex And the Gypsy.

FiLM While he’s always kept a fairly low profile doing it, probably no director who calls the Bay Area home has balanced our penchant for documentary work and independence with a successful commercial (meaning Hollywood) career as gracefully, or as long, as John Korty. Now 75, the Marin resident is in the midst of a major retrospective — incredibly, his first — at the Christopher B. Smith Rafael Film Center, which runs through December 4. You’ve already missed his first feature (whimsical 1966 indie The Crazy-Quilt), his latest (veteran rock ‘n’ roller portrait John Allair Digs In!), and one of the most popular broadcast documentaries ever: 1977’s Who Are The DeBolts (And Where Did They Get 19 Kids?), about a Piedmont, Calif. couple and their huge clan of mostly adopted children, many disabled war orphans. But there’s still plenty left that conveys the diversity of Korty’s output, even if it just scratches the surface of his nearly 50-year career — which began auspiciously enough with an Oscar nomination for 1964’s short anti-smoking satire Breaking the Habit. That same year the native Hoosier moved with his Bolex to Stinson Beach. Filled with the era’s infinite youthful ambition, he made three features in fast succession, though despite all awards and admiring reviews, they took much longer actually getting released at a time when art house meant foreign films. The Crazy-Quilt mixed Chaplin-esque pathos with the antic and existential in its charting a dedicated cynic and a “girl who believed in everything� from meet-cute to

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shared grumpy old age. Likewise shot all over SF and Marin, 1967’s Funnyman had influential improv group the Committee member (and future sitcom staple) Peter Bonerz as a gifted comedian who’s a petulant boy-man offstage. Barely theatrically released in 1971, four years after its festival debut, its Rafael showing was probably its first local appearance in decades. Korty had resisted Hollywood overtures since Crazy-Quilt, though he did work for Francis Ford Coppola’s then-fledgling American Zoetrope for a couple of years. In 1972, however, he commenced a prolific 26-year run of major-network TV movies, starting on a high note with odd utopian sci-fi fantasy The People (in which William Shatner restrains himself) and permanently-scarring teen cautionary tale Go Ask Alice. Sometimes the material was a little schlocky (like 1991’s Suzanne Somers autobiographical dramatization Keeping Secrets, not to mention a little thing from 1984 called The Ewok Adventure), but more often his sights were set unusually high, with results sometimes among the very finest in the much disparaged telepic genre. Certainly considered such were two landmark films the Rafael shows for free over the next couple weeks: 1974’s The Autobiography of Miss Jane Pittman, with Cicely Tyson as the ex-slave whose 100 years take her all the way to a 1960s civil rights march; and 1976’s Farewell to Manzanar, depicting America’s internment camps for Japanese-heritage citizens during World War II. Once he’d crossed into broadcast, Korty had relatively few bigscreen opportunities; the drippy 1978 Love Story sequel Oliver’s Story probably made him wish for even music listings

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fewer. Getting a very rare revival at the Rafael is the more indie-sensibility ‘76 Alex and the Gypsy, an offbeat if uneven comic romance between delightful Geneviève Bujold’s Roma woman and Jack Lemmon (basically playing Jack Lemmon) as her bail bondsman. Korty’s longtime animation jones has rarely won much attention, despite its scattered presence in his filmography (like Funnyman’s brief cartoon interludes). But it found full expression in 1983’s feature Twice Upon a Time, which closes the Rafael series. Regrettably underseen even by professed animation fanatics, a theatrical nonstarter, and DVD (let alone Blu-ray) holdout, it utilizes cut-out techniques Korty devised himself to follow “all purpose animalâ€? Lorenzo, his sidekick Mum (who “speaksâ€? in foley effects), and their fight to prevent evil Synonamess Botch from dropping “nightmare bombsâ€? into the subconscious minds of sleepers worldwide. It’s a charming odyssey that recalls 1968’s Yellow Submarine in applying adult wit and design imagination to childfriendly ‘toonery. As if all this weren’t rangy enough, a November 27 shorts program traverses ground from a 1961 documentary (The Language of Faces, chronicling a Quaker peace vigil at the Pentagon) to brief Sesame Street animations and 1974’s The Music School, a half-hour John Updike miniature from PBS’ American Short Stories series. 2 “The Films oF John KorTyâ€? Through Dec. 4, $6.75–$10.25 Christopher B. Smith Rafael Film Center 1118 Fourth St., San Rafael (415) 454-1222 www.cafilm.org

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“PLeBeian anD Perverse”: iMages FroM 1980’s Taboo (The Single and The lP).

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rare anD juicy ²-PBET PG $VSU .D%PXFMM³ QBZT USJCVUF UP BO VOEFSHSPVOE MFHFOE By Dennis Harvey arts@sfbg.com FiLM Longtime San Francisco resident George Kuchar’s death this September was a reminder of how many had been influenced by his loveably eccentric movies, from famous early fans like Andy Warhol and John Waters to the hundreds of students who passed through his San Francisco Art Institute courses over the decades. Among the latter, for a long time his most famous protégé — at least locally — was Curt McDowell, who started out as a teacher’s pet, moved on to heavy petting with teacher, and remained close to Kuchar as both friend and collaborator until his own AIDSrelated demise in 1987. George Kuchar’s half-centuryplus output was always joyfully accessible “avant-garde” cinema, its mixture of the personal and the purple drawing on the conventions of those Hollywood melodramas he and brother Mike (who’s taking over George’s teaching responsibilities at SFAI) grew up watching in the 1950s Bronx. His films’ popularity was perhaps most hindered by the simple fact that he only felt moved to direct something in the more marketable feature length form once — 1973’s The Devil’s Cleavage. McDowell’s films, often heavily influenced by George Kuchar’s (even when the latter wasn’t operating as scenarist and actor on them), also had a wide streak of camp parody, a Warholian mini-constellation of “stars,” a vivid aesthetic, and impulse toward autobiography. They were much more aggressively sexual, and ambitious — during his much-too-short career he made no less than four features, two of which were porn in the graphic-content if not commercial sense. The hourlong Peed in the Wind (1972), the editorials

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same year’s Lunch, and 1985’s verylong-in-the-making Sparkle’s Tavern are basically forgotten now, the last not screened in the Bay Area for at least a decade, the others possibly unseen since the 1970s. Thundercrack! (1975) — an even more daft shot at “adult” cinema than the experimental-minded Lunch — is better known, having had at least the beginnings of a midnight movie cult following. But with all its baroque, still-singular The Old Dark House (1932) meets Tennessee Williams charms (there is surely no other porn flick remotely like it), why isn’t it now as well known as, say, Pink Flamingos (1972) or Eraserhead (1977)? Part of that doubtless has to do with the disarray McDowell’s body of work has been in, access-wise, for nearly 25 years now. Some of his films are distributed by (but seldom rented from) Canyon Cinema. Others are in storage, or presumed lost. Nothing is available on DVD, and any videotapes have long gone out of print. Whether this is due to strife, disorganization, or financial limitations among the guardians of his trust remains as murky as it was in the 1990s, when the last, brief issue of Thundercrack! and some shorts on VHS occurred. Thus, it’s sadly rare to get a McDowell program even here in SF, where his memory should flourish rather than be slowly slipping from public awareness. Just such an occasion arrives this week at the Roxie — co-founded by his longtime creative and domestic partner, Robert Evans — as two shows spread over three days reprise some (relatively) familiar as well as barely-seen material. The main attraction, as well as the scarcest, is 1980’s 55-minute Taboo (The Single and the LP), which will be shown on projected VHS due to a typical bad-luck hurdle: picks

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its original materials, plus those for other films, were sent to New York’s Museum of Modern Art years ago, only to go missing in transit. While McDowell often echoed George Kuchar’s use of narrative more as an erratic reference point than a rule to follow, Taboo has an unusually abstract relation to story even by his standards, at least those of his longer works. Purportedly crafted over four years — his output slowed considerably after Evans had replaced the incredibly prolific Kuchar as boyfriend — it has buxom, blonde-bewigged sis Melinda McDowell, recently departed Thundercrack! mad diva Marion Eaton, and a glowering Kuchar as three parts of a tempestuous twocouple marital equation variously simmering with unmet desire and boiling over with orgiastic excess. But it’s the fourth player who dominates the filmmaker’s attention. One of his numerous onscreen Joe Dallesandros, but evidently a source of particular longtime obsession, Fahed (a.k.a. David) Martha hailed from a Palestinian family that owned the grocery store next to the Roxie; his petite yet muscle-bound Sal Mineolike appeal piqued McDowell, who didn’t mind the frequent presence of an equally young girlfriend. (In fact, he freely admitted “really getting turned on by straight men.”) Throughout Taboo’s mix of the poetical and camp, the black and white camera salivates over this nearly-naked Adonis’ body and cocky attitude; in turn, he displays an exhibitionist zeal he probably didn’t know he had in him. A producer here and close friend, former Castro Theatre programmer and current San Francisco Silent Film Festival artistic director Anita Monga says McDowell “just saw the deep sexual beauty in everyone,”

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turning them on with the sheer voracity of his admiring gaze. In one of the shorts the Roxie is showing in a separate program, 1972’s Confessions, McDowell interviews friends and lovers, asking them to describe his best and worst qualities. Perhaps straddling both, one confides “You’ve always had this energy, it’s like an explosion. I think when people see your films they have to understand, like, sex. It seems like you need so much more sex than other people.” A satyr-like omnivorous seduction and insatiability still sweats off many of his films as if through pores, most notoriously 1985’s Loads (a Dionysian compilation of guys he’d lured up to masturbate and service in his Mission studio). McDowell was a happily selfcorrupted transplant from the Heartland (with typical alliterative flair, Kuchar called him “curt, cute, controversial, and not celibate ... poet of the plebeian and perverse”); he enjoyed shocking the staid society left behind — 1970’s A Visit to Indiana is his amusingly sulky chronicle of a most reluctant trip home. Also on the Roxie bill are such examples of pure, impish silliness as 1972’s Siamese Twin Pin Heads, a short perhaps dated by a “look ma, we’re naked!” glee that looked a lot more rebellious back then. But 1973’s Boggy Depot is a homemade musical anticipating Thundercrack!’s puppet theater-Gothic look. Its variously scheming and schemedagainst protagonists trill their ridiculous operetta-style lyrics to found orchestral tracks. This is one McDowell film in which people keep their pants on, but these 17 sublime minutes are orgasmically pleasurable nonetheless. 2 “Loads of Curt MCdoweLL” Sat/26-Sun/17, 1 p.m.; Mon/28, 10 p.m., $5-9.75 Roxie 3117 16th St., SF (415) 863-1087

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wED ELbo room prESENTS 11/23

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no BoMBsHeLL

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26 SAN FRANCISCO BAY GUARDIAN

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FiLM There’s a new movie built around a performer’s brilliant evocation of a Golden Age Hollywood star’s charisma, ebullience, and vulnerability. And it’s not My Week With Marilyn — it’s The Artist, the forthcoming French “silent� feature in which Jean Dujardin (of the OSS 117 spy spoofs) miraculously channels the Brylcreem’d charm of pre-sound swashbuckler Douglas Fairbanks, Sr. (with a bit of John Gilbert thrown in). It’s a wonderful performance, but a) who’s ever heard of Dujardin outside France, and b) Oscar is seldom impressed by mere comedy. Statuette-clutching odds are higher for Michelle Williams, as her impersonation of another famous dead celebrity is “well-rounded� in the sense that we get to see her drunk, disorderly, depressed, and so forth. (Never mind that Dujardin does all these things too, albeit in a pastiche homage rather than a drippily conventional, sentimental biopic.) Her Monroe is a conscientious performance. But when the movie isn’t rolling in the expected pathos, it’s having other characters point out how instinctive and “magical� Monroe is onscreen — and Williams doesn’t have that in her. Who could? (Actually, Theresa Russell came closer despite a much looser physical-vocal resemblance 26 years ago in Insignificance, but then that movie eschewed historical literalism for a fantasia wherein Love Goddess, Einstein, and Joes DiMaggio and McCarthy meet one night.) Williams is remarkable playing figures so ordinary you might look right through them on the street, in Wendy and Lucy (2008), Blue Valentine (2010), Brokeback Mountain (2005), etc. But as Monroe, all she can do is play the little-lost girl behind the sizzle. Without the sizzle. Which is, admittedly, exactly what My Week — based on a dubious true story — asks of her. It is true that in 1956 the Hollywood icon traveled to England to costar with director Sir Laurence Olivier (Kenneth Branagh) in a fluff romance, The Prince and the Showgirl; and that she drove him crazy with her tardiness, mood music listings

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i wanna Be LoveD By you: artHur MiLLer (Dougray scott) anD MariLyn Monroe (MicHeLLe wiLLiaMs) in My Week With Marilyn. Photo by Laurence cendrowicz

swings, and crises. It’s debatable whether she really got so chummy with young production gofer Colin Clark, our wistful guide down memory lane. He’s played with simpering wide-eyed adoration by Eddie Redmayne, and his suitably sameaged secondary romantic interest (Emma Watson) is even duller. This conceit could have made for a sly semi-factual comedy of egos, neurosis, and miscommunication. But in a rare big-screen foray, U.K. TV staples director Simon Curtis and scenarist Adrian Hodges play it all with formulaic earnestness — Marilyn is the wounded angel who turns a starstruck boy into a brokenhearted but wiser man as the inevitable atrocious score orders our eyes to mist over. Meanwhile, a roll call of wasted A-list British acting talent includes Dame Judi Dench, Dougray Scott, Dominic Cooper, and Toby Jones, wringing their hands in the background. Branagh is good and Williams works admirably hard, but it’s his Sir Larry who unintentionally nails the pandering movie’s relationship to real life when he snipes that coaxing Monroe to act is “like teaching Urdu to a badger.� 2 My weeK witH MariLyn opens Wed/23 in Bay Area theaters.

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Making you palpitate: “Houserobics” star cHerie lily coMes to town to werk us out | photo by Natasha GorNik

GOBBLe aND BLOw

Nebakaneza, Johnny 5, Mr Kitt, Foobz, and Ro Knew wobble your knees for free.

marke@sfbg.com

Thu/24, 10 p.m., free. Temple, 540 Howard, SF. www.templesf.com

CHerIe LILy

By Marke B.

SUPer eGO So there is an official cocaine bar now — did you hear about this? (bit.ly/msI1Z) It’s called Route 36, it’s in La Paz, Bolivia, it serves up pure product — and apparently it’s frequented by a lot of British backpackers. It also sounds horrifying. First of all, because of course: drug wars killing poor people and destroying indigenous communities for rich kids’ amusement. Secondly, trapped with hyperactive, teethgrinding, constipated Brits in a tiny backroom for days? Thanks, I’d rather be in a Katy Perry parody video on Fire Island in a rainbow mankini. Thirdly, cocaine: really? We can do better than 2006, and we can do it American-style: in chains. Snort me awake when designer drug outlets Bed, Bath Salts, and Beyond or Hello Kitty Meow Meow open up in the mall. T.G.I.Premazepam! 7-hydroxymitragynine-11! Victoria’s Sativex! AppleBromoDragonFLYbee’s! (Too far.) Anywaddle, it’s Thanksgiving vacation -- cue tiny Muppet voice in the background yelling, “Yaaay!” Put down that straw and let’s just dance ourselves high, OKaine?

aLLaND ByaLLO SF’s DJ ambassador of quality techno (and Kontrol crew member) decamped to Berlin last year, but we won’t hold that against him — anymore. He’ll deliver the warm fuzzies and hot strokes in a homecoming set to launch his new label “Bad Animal” at the Housepitality weekly. Oh hey, free food too! Wed/23, 9 p.m., $5 before 11 p.m., $10 after. Icon, 1192 Folsom, SF. Facebook: Housepitality

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Does it really take a gorgeous and gorgeously toned white lady in fluorescent Danskins from Chicago to revive old school NYC club kid and voguing culture — via serious aerobics (“Houserobics”)? No, but we’re nuts for her anyway. Ms. Lily shakes your tailfeather with a gaggle of dragsters and hosts Carnita and Heklina at a party called WERK. Wed/23, 10 p.m.-late, $8. Rebel, 1760 Market, SF. Facebook: Werk Cherie Lily

NIGHT BeFOre THaNkSGIVING New venue alert: the kids from much-missed Triple Crown (and some impressive others) continue to give us the royal treatment with Monarch, down in the old Room-Lit-Pow! space. Classic SF house and disco re-edit slinger Spun breaks in the floor. Wed/23, 7 p.m., $5 before 11 p.m., $10 after. Monarch, 101 Sixth St., SF. Facebook: Monarch Thanksgiving

Pre-FeaST FreakOUT Psychedelic garage rap mayhem, with some electronic instrumentalism and rock thrown in? Truss me up and roast it, let’s do this. Wide-eared local beats producer Al Lover celebrates the release of his new cassette mixtape, “Satanic Tambourines.” Sleazyfuzzy band Burnt Ones, country rappers Fist Fam, and disco punker POW open up. Wed/23, 9 p.m., $5. Milk, 1840 Haight, SF. www.milksf.com

rITUaL DUBSTeP THaNkSGIVING Set your basters to boom-tastic for SF’s only weekly dubstep party — and it has nothing to do with Burning Man! Residents picks

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TUBeSTeak CONNeCTION It wouldn’t be Squat and Gobble Day without some big gay doubleentendres! So: something something stuffing, something something sweet potatoes, something something lumpy gravy, something fist up a bird’s ass. Now, go make out with hot boys at DJ Bus Station John’s weekly bathhouse disco party. Thu/24, 10 p.m., $5. Aunt Charlie’s Lounge, 133 Turk, SF. www.auntcharlieslounge.com

PLaID Ed Handley and Andy Turner’s work together in the 1990s as the Black Dog was stellar, helping to define IDM and protect techno’s standards in an age of crass commercialization. They continued that mission as Plaid, and new album Scintilli is definitely raveworthy. They’ll be backed by delicious Austrian DJ John Tejada. Fri/25, 9 p.m., $18. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

INDIe CeNT I’ve been keeping this too cute alternaqueer-friendly indie pop monthly under my man-hat for far too long now. Since it’s going all charitable this month, I think it’s time to spring it. As part of the whole Movember thing (us. movember.com), kids with mustaches get in free — and donations and proceeds will go toward prostate and testicular cancer awareness and prevention. With DJs Key&Kite and Haute Toddy. Grow it, baby! Sat/26, 10 p.m., $5. Underground SF, 424 Haight, SF. Facebook: Indie Cent 2

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The Lusty Lady San Francisco music listings

for more music content visit sfBg.com/noise

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wednesday 23 Rock /Blues/hip-hop

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28 SAN FRANCISCO BAY GUARDIAN

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fRiday 25 Rock /Blues/hip-hop

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thuRsday 24 Rock /Blues/hip-hop

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folk / woRld/countRy

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music listings Hubba Hubba Review: Murder %/" -PVOHF QN #VSMFTRVF NZTUFSZ XJUI MJWF QFSGPSNBODF CZ +JMM 5SBDZ BOE %+ 4UBS Old School Dance Party &M 3JP QN %+T TQJOOJOH GSFFTUZMF OFX XBWF IJQ IPQ BOE PME TDIPPM KBNT Teenage Dance Craze ,OPDLPVU QN 4VSG HBSBHF BOE TPVM XJUI 3VTTFM 2VBO E9UIF 'VOLZ (SBOQBX BOE 0LJFSPBO 4DPUU Vintage 0STPO 'PVSUI 4U 4' QN GSFF %+ 5PQI0OF BOE HVFTU TQJO KB[[Z CFBUT GPS DPDLUBMJBOT

saturday 26 rock /Blues/hip-hop

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jazz/new music

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folk / world/country

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sunday 27 rock /Blues/hip-hop

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Stan Erhart Band +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN GSFF

jazz/new music

Blues organ party with Lavay Smith and Chris Siebert 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Tom Lander & Friends .FKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Little Brown Brother Blues & Jazz Jam 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBO OBKB[[ DPN QN

folk / world/country

Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI (FPSHJB 4QVST QN GSFF Yaelisa Y Caminos Flamencos :PTIJÂľT QN

dance cluBs

Batcave $MVC UI 4U 4' QN %FBUI SPDL HPUI BOE QPTU QVOL XJUI 4UFFQMFSPU 9$ISJT5 /FDSPNPT BOE D@EFBUI Dub Mission &MCP 3PPN QN %VC EVC TUFQ SFHHBF EBODFIBMM XJUI %+ 4FQ .BOFFTI UIF 5XJTUFS BOE HVFTU +BI :[FS 45Club ,OPDLPVU QN GSFF 'VOLZ TPVM SFDPSET XJUI %JSUZ %JTIFT &OHMJTI 4UFWF E9 UIF 'VOLZ (SBOQBX Jock -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN 3BJTF NPOFZ GPS -(#5 TQPSUT UFBNT XIJMF FOKPZJOH %+T BOE ESJOL TQFDJBMT La Pachanga #MVF .BDBX .JTTJPO 4' XXX UIFCMVFNBDBXTG DPN QN 4BMTB EBODF QBSUZ XJUI MJWF "GSP $VCBO TBMTB CBOET

monday 28 rock /Blues/hip-hop

Damir +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN GSFF

jazz/new music

LZY Cdk# '( +eb"&%eb

Bossa Nova 5VOOFM 5PQ #VTI 4' QN GSFF -JWF BDPVTUJD #PTTB /PWB Candye Kane :PTIJÂľT QN Sundra Manning & Russo Alberts Trio :PTIJÂľT QN

76C< 76C< Âť++ I]gj Cdk# '+

OOO 444

dance cluBs

Hdad :m]^W^i^dc

Death Guild %/" -PVOHF QN (PUIJD JOEVTUSJBM BOE TZOUIQPQ XJUI +PF 3BEJP %FDBZ BOE .FMUJOH (JSM M.O.M. .BESPOF "SU #BS QN GSFF %+T 5JNPUFP (JHBOUF (PSEP $BCF[B BOE $ISJT 1IMFL QMBZJOH BMM .PUPXO FWFSZ .POEBZ Sausage Party 3PTBNVOEF 4BVTBHF (SJMM .JTTJPO 4' QN GSFF %+ %BOEZ %JYPO TQJOT WJOUBHF SPDL 3 # HMPCBM CFBUT GVOL BOE EJTDP BU UIJT IBQQZ IPVS TBVTBHF TIBDL HJH

Wn BZg`aZn 444

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tuesday 29

9g^c` heZX^Vah

( 9gV[i * LZaa + L^cZ

rock /Blues/hip-hop

Atomatronic, Headphone Union #PPN #PPN 3PPN QN GSFF Jefferson Bergey 4PDJBM .BTPO )PVTF 4' XXX NBTPOTPDJBMIPVTF DPN QN Will Downing :PTIJÂľT QN Faster Faster, White Cloud &MCP 3PPN QN Girl in a Coma, Fences *OEFQFOEFOU QN John Lawton Trio +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN GSFF Lady Lazarus, Pregnant, Jib Kidder )FNMPDL 5BWFSO QN Melt-Banana, Retox, Peace Creep #PUUPN PG UIF )JMM QN Metal Mother, Horns of Happiness, Mortar and Pestle, Birdseye $BGF %V /PSE QN My Body Sings Electric ,JNPÂľT QN

Eajh 7gj\Va Gjb 9g^c` HeZX^Vah

&&& B^ccV <VaaZgn

dance cluBs

&&& B^ccV HigZZi 5 'cY Hi &&&B^ccV<VaaZgn#Xdb )&*#.,)#&,&. ™DkZg '& dcan#

Eclectic Company 4LZMBSL QN GSFF %+T 5POFT BOE +BZCFF TQJO PME TDIPPM IJQ IPQ CBTT EVC HMJUDI BOE FMFDUSP 2

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NOVEMBER 23 - 29, 2011 / SFBG.com

29

Please Visit

cafedunord .com Available for Private Rental Dinner ‘til 11PM WeDNeSDAY NOVeMBeR 23RD 9:30PM $5 (gLAM/ROck/eLectRO)

DARk SPARkLe’S 12th ANNuAL hOLiDAY PARtY

get tickets at

san francisco 1 3 3 0 f i L L m o r e s t. 4 1 5 - 6 5 5 - 5 6 0 0

FRiDAY NOVeMBeR 25th 8PM $13/$15 (cOuNtRY-BLuegRASS)

YOSHI’S LOCAL TALENT SERIES

SheLBY ASh PReSeNtS:

Free Music in the Lounge! Tues-Sat 6:30pm-11pm

tuRkeY tROt 2011: 9th ANNuAL AMeRicANA MuSic FeASt

New! Weekly Jazz Jam! Wed 9:30p-12am

..................................................... Wed, Nov 23 First Lady of Flute

BoBBi HuMPHRey 40th Anniversary of her historic Blue Note release

FeAtuRiNg:

the WhiSkY RichARDS

Fri-Sat Nov 25-26

WiNDY hiLL BLuegRASS BAND the B-StARS SNAP JAckSON & the kNOck ON WOOD PLAYeRS

10th Annual SF Funk Festival Closing Party!

s.o.s. Band

SAtuRDAY NOVeMBeR 26th 9:30PM $15 (BRAziLiAN)

thANkSgiViNg SAMBA PARtY! FeAtuRiNg:

Take Your Time (Do It Right)! Sat, Nov 25, 10:30pm in the Lounge

Rodney-o (of Rodney-O & Joe Cooley)

............................................... Sun, Nov 27 Contemporary/Traditional Flamenco

yaelisa y caMinos FlaMencos ...............................................

BROtheRS cALAtAYuD & LittLe BRASiL With

the SAMBA DA teRRA DANceRS JOSe RiVeRA OF FOgO NA ROuPA cOeLhO & RiDNeLL DJ ALDie1BAteRiA

Mon, Nov 28 Groovin’ Double Bill:

sundRa Manning’s “HOLIDAY JAM” + Russo alBeRt tRi0

Tues-Wed, Nov 29-30

tueSDAY NOVeMBeR 29th 8PM $10 (iNDie)

Will doWning Birthday Celebration!

MetAL MOtheR

hORNS OF hAPPiNeSS MORtAR AND PeStLe BiRDSeYe

Thurs-Sun, Dec 1-4

eddie PalMieRi salsa oRcHestRa

WeDNeSDAY NOVeMBeR 30th 7:30PM $22 (ROck/POP/cOMeDY)

Celebrating Eddie’s 75th Birthday!

Mon, Dec 5

PAuL AND StORM

teRRy disley BiG ExpERiEnCE

WeDNeSDAY NOVeMBeR 30th 8PM $25 (SiNgeR-SONgWRiteR) ALL AgeS

pERFORM “THE JAzz nuTCRACkER”

HiRosHiMa cHRistMas DEC 10-11

uPStAiRS At the SWeDiSh AMeRicAN hALL:

Rhett MiLLeR

oakland

MichAeL cAPOzzOLA (cOMeDiAN) thuRSDAY DeceMBeR 1St 8:30PM $10 (ROck)

SiDDhARthA / SWAhiLi BLONDe LOVe DiMeNSiON FRee MORAL AgeNtS

510 embarcadero west, 510-238-9200

Wed, Nov 23 Latin Rock & Reggae

Ruckatan

Fri-Sat, Nov 25-26

SAtuRDAY DeceMBeR 3RD 9:30PM $12 (iNDie/PSYch)

avant The voice of modern soul

the eNtRANce BAND

MONDAY DeceMBeR 5th 8PM $12/$15 (iNDie)

cOMMuNiON FeAtuRiNg: theMeS SeVeNteeeN eVeRgReeN eLizAVetA 3 LeAFS ARieLLA DALY

Sun, Nov 27 Ellen Seeling, director

MontclaiR WoMen’s Big Band ............................................... Mon, Nov 28 Grateful Dead’s master drummer

Mickey HaRt Band

...............................................

Tues, Nov 29 Québécois folk

le Vent du noRd ...............................................

tueSDAY DeceMBeR 6th 9PM $12 (iNDie)

OtheR LiVeS

Wed, Nov 30 Hip-hop lyricist & pianist

JBM

FRiDAY DeceMBeR 9th 8PM $18/$20 (SiNgeRSONgWRiteR) ALL AgeS

uPStAiRS At the SWeDiSh AMeRicAN hALL:

keV cHoice enseMBle: the art of composition

...............................................

Thurs, Dec 1 Renowned guitarist & composer

teDDY thOMPSON

niLs

ezRA FuRMAN

Fri-Sun, Dec 2-4

SAtuRDAY DeceMBeR 10th 8PM $15/$20 (SiNgeR-SONgWRiteR) ALL AgeS

LaLah hathaway Where It all begIns tour

uPStAiRS At the SWeDiSh AMeRicAN hALL: kc tuRNeR PReSeNtS:

AN AcOuStic eVeNiNg With MegAN SLANkARD

Wed, Dec 7 Traditional Jewish surf rock

SAtuRDAY DeceMBeR 10th 9:30PM $12 (ROck)

eRic McFADDeN AND FRieNDS SuNDAY, MONDAY, tueSDAY & WeDNeSDAY DeceMBeR 11th, 12th, 13th & 14th 7:30PM $12-$20 SLiDiNg ScALe (ROck) ALL AgeS

news

Thurs, Dec 8 The Magic of Duke Ellington Holiday Concert & Dance

w/ laVay sMitH

Mike steRn DEC 9-11

2170 MARket StReet • 415.861.5016 Box Office Now Open for Phone Sales ONLY Mon-Fri, 2-6pm editorials

MesHugga BeacH PaRty ............................................... & HeR Red Hot skillet lickeRs

BLue BeAR SchOOL OF MuSic BAND ShOWcASeS

30 SAN FRANCISCO BAY GUARDIAN

yoshis.com

student discounts of 50% off are back! Check yoshis.com/discounts for available shows!

All shows are all ages. Dinner Reservations Recommended.

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club list AMNESIA 853 Valencia (415) 970-0012 ARGUS LOUNGE 3187 Mission (415) 824-1447 ASIASF 201 Ninth St (415) 255-2742 ATLAS CAFE 3049 20th St (415) 648-1047 ATMOSPHERE 3 447 Broadway (415) 788-4623 BAMBUDDHA LOUNGE 601 Eddy (415) 885-5088 BAOBAB 3388 19th St (415) 643-3558 BEAUTY BAR 2299 Mission (415) 285-0323 BIMBO’S 365 CLUB 1025 Columbus (415) 474-0365 BISCUITS AND BLUES 401 Mason (415) 292-2583 BOLLYHOOD CAFÊ 3372 19th St (415) 970-0362 BOOM BOOM ROOM 1601 Fillmore (415) 673-8000 BOTTOM OF THE HILL 1233 17th St (415) 621-4455 BRICK AND MORTAR MUSIC HALL 1710 Mission www.brickandmortarmusic.com BROADWAY STUDIOS 435 Broadway (415) 291-0333 BRUNO’S 2389 Mission (415) 643-5200 CAFE COCOMO 650 Indiana (415) 824-6910 CAFÊ DU NORD 2170 Market (415) 861-5016 CASANOVA LOUNGE 527 Valencia (415) 863-9328 CAT CLUB 1190 Folsom (415) 431-3332 CLUB DELUXE 1509 Haight (415) 552-6949 CLUB 525 525 Howard (415) 339-8686 CLUB SIX 60 Sixth St (415) 863-1221 DALVA 3121 16th St (415) 252-7740 DELIRIUM 3139 16th St (415) 552-5525 DNA LOUNGE 375 11th St (415) 626-1409 DOLORES PARK CAFE 501 Dolores (414) 621-2936 DOUBLE DUTCH 3192 16th St (415) 503-1670

editorials

news

EDINBURGH CASTLE PUB 950 Geary (415) 885-4074 ELBO ROOM 647 Valencia (415) 552-7788. ELEMENT LOUNGE 1028 Geary (415) 571-1362 ENDUP 401 Sixth St (415) 357-0827 FILLMORE 1805 Geary (415) 346-6000 540 CLUB 540 Clement (415) 752-7276 FLUID ULTRA LOUNGE 662 Mission (415) 615-6888 GLAS KAT 520 Fourth St (415) 495-6626 GRANT AND GREEN 1371 Grant (415) 693-9565 GREAT AMERICAN MUSIC HALL 859 O’Farrell (415) 885-0750 HEMLOCK TAVERN 1131 Polk (415) 923-0923 HIFI 2125 Lombard (415) 345-TONE HOTEL UTAH SALOON 500 Fourth St (415) 546-6300 ICON ULTRA LOUNGE 1192 Folsom (415) 626-4800 INDEPENDENT 628 Divisadero (415) 771-1421 INFUSION LOUNGE 124 Ellis (415) 421-8700 IRELAND’S 32 3920 Geary (415) 386-6173 JOHNNY FOLEY’S 243 O’Farrell (415) 954-0777 KIMO’S 1351 Polk (415) 885-4535 KNOCKOUT 3223 Mission (415) 550-6994 LASZLO 2526 Mission (415) 401-0810 LEXINGTON CLUB 3464 19th St (415) 863-2052 MADRONE ART BAR 500 Divisadero (415) 241-0202 MAKE-OUT ROOM 3225 22nd St (415) 647-2888 MEZZANINE 444 Jessie (415) 625-8880 MIGHTY 119 Utah (415) 626-7001 MILK 1840 Haight (415) 387-6455 MISSION ROCK CAFÊ 817 Terry Francois (415) 626-5355 MOJITO 1337 Grant (415) 398-1120 NICKIE’S 466 Haight (415) 255-0300

food + Drink

111 MINNA GALLERY 111 Minna (415) 974-1719 PARADISE LOUNGE 1501 Folsom (415) 252-5018 PARKSIDE 1600 17th St (415) 252-1330 PIER 23 Pier 23 (415) 362-5125 PLOUGH AND STARS 116 Clement (415) 751-1122 POLENG LOUNGE 1751 Fulton (415) 441-1710 PUBLIC WORKS 161 Erie www.publicsf.com PURPLE ONION 140 Columbus (415) 217-8400 RASSELAS JAZZ 1534 Fillmore (415) 346-8696 RED DEVIL LOUNGE 1695 Polk (415) 921-1695 RED POPPY ART HOUSE 2698 Folsom (415) 826-2402 REGENCY BALLROOM 1300 Van Ness (415) 673-5716 RETOX LOUNGE 628 20th St (415) 626-7386 RICKSHAW STOP 155 Fell (415) 861-2011 EL RINCON 2700 16th St (415) 437-9240 EL RIO 3158 Mission (415) 282-3325 RIPTIDE BAR 3639 Taraval (415) 240-8360 ROCKIT ROOM 406 Clement (415) 387-6343 RRAZZ ROOM 222 Mason (415) 394-1189 RUBY SKYE 420 Mason (415) 693-0777 SAVANNA JAZZ 2937 Mission (415) 285-3369 SHANGHAI 1930 133 Steuart (415) 896-5600 SHINE DANCE LOUNGE 1337 Mission (415) 255-1337 SKYLARK 3089 16th St (415) 621-9294 SLIDE 430 Mason (415) 421-1916 SLIM’S 333 11th St (415) 255-0333 SOM. 2925 16th St (415) 558-8521 SPACE 550 550 Barneveld (415) 550-8286 STUD 399 Ninth St (415) 252-7883 SUB-MISSION 2183 Mission (415) 255-7227

picks

SUPPERCLUB 657 Harrison (415) 348-0900 TEMPLE 540 Howard (415) 978-9942 1015 FOLSOM 1015 Folsom (415) 431-1200 330 RITCH 330 Ritch (415) 541-9574 TOP OF THE MARK Mark Hopkins Intercontinental Hotel 1 Nob Hill (415) 616-6916 TUNNEL TOP 601 Bush (415) 986-8900 UNDERGROUND SF 424 Haight (415) 864-7386 VESSEL 85 Campton (415) 433-8585 WARFIELD 982 Market (415) 345-0900 YOSHI’S SAN FRANCISCO 1330 Fillmore (415) 655-5600

BAY AREA ANNA’S JAZZ ISLAND 2120 Allston Way, Berk (510) 841-JAZZ ASHKENAZ 1317 San Pablo, Berk (510) 525-5054 BECKETT’S 2271 Shattuck, Berk (510) 647-1790 FOX THEATER 1807 Telegraph, Oakl 1-800-745-3000 FREIGHT AND SALVAGE COFFEE HOUSE 1111 Addison, Berk (510) 548-1761 JUPITER 2181 Shattuck, Berk (510) THE-ROCK 924 GILMAN STREET PROJECT 924 Gilman, Berk (510) 525-9926 LA PEùA CULTURAL CENTER 3104 Shattuck, Berk (510) 849-2568 SHATTUCK DOWN LOW 2284 Shattuck, Berk (510) 548-1159 STARRY PLOUGH 3101 Shattuck, Berk (510) 841-2082 STORK CLUB 2330 Telegraph, Oakl (510) 444-6174 21 GRAND 416 25th St, Oakl (510) 444-7263 UPTOWN 1928 Telegraph, Oakl (510) 451-8100 YOSHI’S 510 Embarcadero West Jack London Square, Oakl (510) 2389200 2

arts + culture

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happy hour t-f 5-8pm $3 well/draft $5 bloody mary & fry bread w/ rocky tree m/w/f/sat

50 KicK Ass Beers on DrAught over 100 different bottles, specializing in Belgians

K/(- ,- "/ + K

A Beer Drinker’s PArADise!

7 - 9]ĂŠ "6 ,ĂŠĂ“ĂŽ

7pm 8pm 9pm

since 1987

red hots burlesque omG! karaoke /0 '30/5 300. wave well, la fin absolute du monde &-&$530

/ 1,- 9]ĂŠ "6 ,ĂŠĂ“{

closed for turkey day , 9]ĂŠ "6 ,ĂŠĂ“x 5:30pm '3&& 0:45&34 0/ 5)& )"-' 4)&-- &7&3: '3*%": 6pm dJ’s carmen & miranda "5 5)& &- 3*0 '36*5 45"/% '6/, %*4$0 101 /0 7:30pm red hots burlesque 9pm old school JamZ - 0-% 4$)00- '6/, )*1 )01 0-%*&4 3 # /0 - /1, 9]ĂŠ "6 ,ĂŠĂ“Ăˆ

3pm 9pm

" 48&&5 4&9: '6/ '03 80.&/ 5*-- seXpistolwhip - -06% %*35:

%"/(&3064 406/%4 /0 pterodactyl /:$ bad bibles &91&3*.&/5"- 30$, " 9]Ê "6 ,ÊÓn 1#3 8&-- %0--"3 %": "-- %": 9pm radical vinyl - %+¾4 41*/ '6/, )*1)01 0-%*&4 16/, /0 /1 - 9]Ê "6 ,Êә 5pm ."3("3*5"4 "-- /*()5

9pm

for future event info looK @ toronADo.com

hAPPY hour every Day until 6:00 pm hours: Daily 11:30 am to 2:00 am

7pm

)"*()5 45 ! '*--.03&

Jacques ibula, riley tolstedt

"$0645*$ '3&& '30/5 300. 4)08

&@JJ@FE ,KI<<K ,

XXX UPSPOBEP DPN

www.elriosf.com ~ 415-282-3325

DAVE “The BestE VComedy E R Y T UClub E S D Ain Y The 2 FUSA!� O R 1 –W I TCHAPPELLE H THIS AD EVERY SUNDAY! S F COMEDY S HOWCASE

SF COMEDY SHOWCASE - EVERY SUNDAY! O=<F=K<9Q ))'*+ % K9LMJ<9Q ))'*. FROM LAST COMIC STAnDInG!

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444 BATTERY STREET • 18 & OVER • 2 DRINK MINIMUM • ALL SHOWS ARE LIVE AND SUBJECT TO CHANGE • 415-397-7573

>,+5,:+(@ :<5+(@

do it / sLeePy WiLL / Johnny rascoe, Wisecrack / Wednesday 11/30

thursday - saturday 12/1 - 12/3

neW orLeans susPects

>P[O ZWLJPHS N\LZ[ 9`HU :[V\[ ,K^PU 3P

saturday 11/26

;<,:+(@

)9(+3,@ 3<4 ‹ ;OL ;HP 4HP :O\ :OV^ >,+5,:+(@

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2 FREE TIX WITH THIS AD!

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-YVT *HZO *HI 2L]PU (]LY` +H]L ;OVTHZVU ALL SHOWS: Cover charge plus two beverage minimum • 18 & older with valid ID 915 COLUMBUS AVENUE (@ LOMBARD), SAN FRANCISCO • SHOW INFO: 415-928-4320 Validated Parking @ Anchorage Garage, 500 Beach St.

WWW.COBBSCOMEDY.COM

Call the box office for no service charges! Limit 8 tickets per person. All dates, acts and ticket prices are subject to change without notice. All tickets are subject to applicable service charges.

classifieds

Friday 11/25

Los rakas

1(2, 16/(55:,5

film listings

kao / ms. be yaboi eLJay / aLias John broWn

??? +7**;+75-,A +75 .7447? =; 76 <?1<<-: )6, .)+-*773

San Francisco’s Premiere Comedy Club!

on the cheap

come uP biz boses /Forced1 / rukus

secret secretaries

:G::Q KD9QLGF

stage listings

saturday 11/26

kenviLLe / dice / budbama / city side creW / dJ skeLator sunday 11/27

KEVIn CAMIA

! A-):; 7. ;<)6, =8 +75-,A

Wednesday 11/23

the PeoPLe Party tuesday, 11/29

Lutan Fyah Wedensday, 11/30

dan deacon thursday, 12/01

too short Live!

band incLudes kev choice and martin Wither Friday, 12/02

the entrance band matt baLdWin monday, 12/05

Wax

NOVEMBER 23 - 29, 2011 / SFBG.com

31

sTAgE lisTings

for more arts content visit sfbg.cOm/pixEl_visiOn

“Alfred” oil on canvas 40x30

www.jasoncarnold.com

Mark Foehringer’s nutcracker sweets KicKS OFF THE HOLidAYS AT THE cHiLdREN’S cREATiviTY MuSEuM. | photo by austin forbord, rapt productions 4UBHF MJTUJOHT BSF DPNQJMFE CZ (VBSEJBO TUBGG 1FSGPSNBODF UJNFT NBZ DIBOHF DBMM WFOVFT UP DPO GJSN 3FWJFXFST BSF 3PCFSU "WJMB 3JUB 'FMDJBOP BOE /JDPMF (MVDLTUFSO 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

THEATER OngOing

Absolutely San Francisco "MDPWF 5IFBUFS .BTPO 4UF 4' XXX UIFBM DPWFUIFBUFS DPN 4DIFEVMF WBSJFT UISPVHI %FD /PU 2VJUF 0QFSB 1SPEVDUJPOT QSFTFOUT "OOF /ZHSFO %PIFSUZµT NVTJDBM BCPVU 4BO 'SBODJTDP XJUI GJWF DIBSBDUFST BMM QPSUSBZFE CZ .BSZ (JCCPOFZ Annapurna .BHJD 5IFBUSF #MEH % 'PSU .BTPO $FOUFS .BSJOB BU -BHVOB 4' XXX NBHJDUIFBUSF PSH 4IPXUJNFT WBSZ UISPVHI %FD .BHJD 5IFBUSF QFSGPSNT 4IBSS 8IJUFµT XPSME QSFNJFSF ESBNB BCPVU MPWFµT MPOHFWJUZ Fela! $VSSBO 5IFBUSF (FBSZ 4' XXX TIOTG DPN 8FE 4BU QN BMTP 8FE BOE 4BU QN OP TIPX 5IVST 4VO QN BMTP 4VO QN 5ISPVHI %FD 5IF MJGF BOE NVTJD PG /JHFSJBO TVQFSTUBS 'FMB ,VUJ JT DBQUVSFE JO UIJT TIPX XJUI DIPSFPHSBQIZ CZ #JMM 5 +POFT The Kipling Hotel: True Misadventures of the Electric Pink ‘80s .BSTI 4BO 'SBODJTDP 7BMFODJB 4' XXX UIFNBSTI PSH 4BU QN 4VO QN &YUFOEFE UISPVHI %FD 5IJT OFX BVUPCJPHSBQIJDBM TPMP TIPX CZ %PO 3FFE XSJUFS QFSGPSNFS PG UIF GJOF BOE MPOH SVOOJOH East 14th JT BOPUIFS TMJDF PG UIF BSUJTUµT KPVSOFZ GSPN T 0BLMBOE HIFUUP UP DPNFEZ DJSDVJU SFTQFDUBCJMJUZ ± IFSF WJB B QBSUJBM EFCBUF TDIPMBS TIJQ UP 6$-" 5IF UJUVMBS -PT "OHFMFT SFTJEFODZ IPUFM XBT XIFSF 3FFE MJWFE BOE XPSLFE GPS B UJNF JO UIF T XIJMF BUUFOEJOH VOJWFSTJUZ *UµT BMTP B SJDI NJOF PG NFNPSZ BOE NBUFSJBM GPS UIJT QIZTJDBMMZ QSPUFBO BOE DIBSJTNBUJD DPNJD BDUPS XIP TBJMT UISPVHI UXP BDUT PG PGUFO IJMBSJPVT TPNFUJNFT UPVDIJOH WJHOFUUFT MPPTFMZ TUSVDUVSFE BSPVOE IJT UJNF PO UIF IPUFMµT ZPVOH XBJU TUBGG XIJDI DBUFSFE UP UIF OFFET PG FMEFSMZ QBUSPOT XIP NJHIU OFFE DPOWFSTBUJPO BT NVDI BT CSFBLGBTU 0O PQFOJOH OJHIU UIF FQJTPEJD OBSSBUJWF TFFNFE UP QBTT UISPVHI TFWFSBM FOEJOHT CFGPSF TFU UMJOH PO POF XIPTF UJEZ NPSBM XBT EFMJWFSFE XJUI UPP IFBWZ B IBOE CVU JG UIF QJFDF SVOT B MJUUMF MPOH JUµT POMZ UIF MBTU NJOVUFT UIBU OPUJDFBCMZ NFBOEFST "OE FWFO XJUI TPNF BXLXBSE CVNQT BMPOH UIF XBZ JUµT OFWFS B EVMM UIJOH XBUDIJOH 3FFE XPSL "WJMB

Language Rooms 5IJDL )PVTF UI 4U 4' XXX CSPXOQBQFSUJDLFUT DPN 5IVST 4BU QN OP TIPX 5IVST 4VO QN &YUFOEFE UISPVHI %FD (PMEFO 5ISFBE 1SPEVDUJPOT BOE "TJBO "NFSJDBO 5IFBUFS $PNQBOZ QSFTFOU UIF 8FTU $PBTU QSFNJFSF PG :VTTFG &M (VJOEJµT EBSL DPNFEZ Making Porn #PY $BS 5IFBUSF 4UVEJPT " )ZEF 4' XXX CSPXOQBQFSUJDLFUT DPN 'SJ 4BU QN 4VO QN 3POOJF -BSTFO CSJOHT CBDL IJT DSPXE QMFBTJOH DPNFEZ BCPVU UIF HBZ QPSO JOEVTUSZ Not Getting Any Younger .BSTI 4BO 'SBODJTDP 4UVEJP 5IFBUFS 7BMFODJB 4' XXX UIFNBSTI PSH 5IVST 'SJ QN 4BU QN 4VO QN &YUFOEFE UISPVHI %FD .BSHB (PNF[ JT CBDL BU UIF .BSTI B DPVQMF PG UPP CSJFG EFDBEFT BGUFS JOBVHVSBUJOH UIF UIFBUFSµT OFX TUBHF XJUI IFS GJSTU TPMP TIPX ± BO BQU TFUUJOH JO PUIFS XPSET GPS UIF XSJUFS QFSGPSNFSµT MBUFTU NPOPMPHVF B SFGMFDUJPO PO UIF JOFWJUBCMF QSPDFTT PG BHJOH GPS B -BUJOB MFTCJBO DPNFEJBO BOE BSUJTU XIP TUJMM IBOHT BU 4UBSCVDLT BOE DBOµU CF USVTUFE XJUI UIF EFUBJMT PG IFS PXO 8JLJQFEJB FOUSZ *G UIF UIPVHIU PG TPNFPOF BT QFSFOOJBMMZ JSSFWFSFOU JOTPVDJBOU BOE BQQFBMJOHMZ JNNBUVSF BT (PNF[ NBLFT ZPV EFQSFTTFE UIF TIPX JT TUSBOHFMZ FOPVHI UIF CFTU BOUJEPUF "WJMB

On the Air 1JFS PO UIF &NCBSDBEFSP BU #BUUFSZ 4' MPWF [JO[BOOJ PSH BOE VQ JODMVEFT EJOOFS 4IPXUJNFT WBSZ UISPVHI %FD 5FBUSP ;JO;BOOJµT GJOBM QSPEVDUJPO

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BU JUT MPOHUJNF OFTU PO 1JFS JT B OPTUBMHJB JOGVTFE CBORVFU PG CJUT TUSVDUVSFE BSPVOE BO PME UJNF SBEJP WBSJFUZ TIPX GFBUVSJOH IFBEMJOFST (FPGG )PZMF (Geezer) BOE CMVFT TJOHFS %VGGZ #JTIPQ *G ZPV IBWFOµU TFFO KVHHMJOH PO UIF SBEJP GPS JOTUBODF JUµT QSFUUZ BXFTPNF FTQFDJBMMZ XJUI B QFSGPSNFS MJLF #FSOBSE )B[FOT XIPTF GPPUJOH BUPQ B QSFDBSJPVT UPXFS PG UVCFT BOE DVCFT JT BMSFBEZ DSJOHJOHMZ FYUSBPS EJOBSZ #VU BMM UIF QFSGPSNFST BSF EFQFOEBCMZ GJSTU SBUF JODMVEJOH "OESFB $POXBZµT DPNJD DIBOEFMJFS MVOBDZ BFSJBMJTU BOE FODIBOUJOH TQBDF BMJFO &MFOB (BUJMPWBµT HPSHFPVT ²DJSDFBVY³ BDU HSBDFGVM IBOE CBMBODFS $ISJTUPQIFS 1IJ DMBTT BDU UBQQFS 8BZOF %PCB BOE SBEJP .$ .BU 1MFOEMµT SBVDPVTMZ UXFFOZ IVMB IPPQJOH "EE TPNF TVMUSZ CMVFT OVNCFST CZ SBVODIZ CFMUFS #JTIPQ )PZMFµT NBTUFSGVM DIBSBDUFS J[BUJPOT JODMVEJOH TPNF XPOEFSGVM TIUJDL XJUIJO B TIUJDL BT POF MJOFS NBFTUSP ²3FE #PUUPNT³ B GFX DMBTTJD DPNNFSDJBMT BOE B IFBMUIZ EPTF PG BVEJFODF QBSUJDJQBUJPO BOE ZPV TUBSU UP GFFM OJDFMZ TBUJBUFE BOE SFBEZ GPS B HPPE DJHBS 4NPPUIMZ IFMNFE CZ ;JO;BOOJ DSFBUJWF EJSFDUPS /PSN -BOHJMM On the Air TJHOBMT PGG UIF BJS GPS UIF QPQVMBS EJOOFS DJSDVT ± VOUJM JU DBO TFDVSF B OFX QBUDI PG MPDBM SFBM FTUBUF GPS JUT BOUJRVF TQJFHFMUFOU ± TP UVOF JO XIJMF ZPV NBZ "WJMB

Pellas and Melisande $VUUJOH #BMM 5IFBUFS &YJU PO 5BZMPS 5BZMPS 4' XXX DVUUJOHCBMM DPN 'SJ 4BU QN BMTP 4BU QN 4VO QN 5IF 'SPH 1SJODF 3BQVO[FM UIF 4XBO .BJEFO TIJN NFSJOH TUSBOET PG FBDI UJNFMFTT UBMF UXJTU UISPVHI UIF NFMBODIPMZ UBQFTUSZ PG UIF .BVSJDF .BFUFSMJODL QMBZ Pelleas and Melisande XIJDI PQFOT $VUUJOH #BMM 5IFBUFSµT UI TFBTPO 3FDFJWJOH B MVTIMZ BUNPTQIFSJD USFBUNFOU CZ EJSFDUPS BOE USBOTMBUPS 3PC .FMSPTF UIJT JMM GBUFE 4ZNCPMJTU ESBNB TUBST +PTIVB 4DIFMM BOE $BJUMZO -PVDIBSE BT UIF EPPNFE MPWFST 5SBQQFE JO UIF DMBVTUSPQIPCJD FOWJSPOT PG BO JTPMBUFE DBTUMF BU UIF FEHF PG B GPSCJEEJOH GPSFTU BOE FRVBMMZ USBQQFE JO BO JOBEWFSUFOU MPWF USJBOHMF XJUI UIF IBMF BOE IFBSUZ FMEFS QSJODF (PMBVE %FSFL 'JTDIFS 1FMMFBTµ CSPUIFS BOE .FMJTBOEFµT IVTCBOE UIF EFTQFSBUF VODPOTVNNBUFE QBTTJPO UIBU CVJMET CFUXFFO UIF UXP ZPVOHTUFST SJWBMT UIBU PG 3PNFP BOE +VMJFUµT BOE MFBET UP BO FOEJOH FWFO NPSF USBHJD ± MBDLJOH UIF CJUUFSTXFFU SFDPODJMJBUJPO PG SJWBM GBNJMJFT UIBU TVCWFSUT UIF QVSF NFMPESBNB PG UIF 4IBLFTQFBSFBO DMBTTJD 1SFTFOUFE PO B TQBSF XPPEFO USBWFSTF TUBHF EFTJHOFE CZ .JDIBFM -PDIFS BOE BDDPNQBOJFE CZ B TNPPUIMZ GMPXJOH TDPSF CZ $MJGG $BSVUIFST UIF BDUJPO JT FOIBODFE CZ -BVSB "SSJOHUPOµT IBVOUJOH DIPSFPHSBQIZ B TJMFOU DPOUPSUJPOJTN XIJDI HSJQT FBDI DIBSBDUFS BT UIFZ USZ EFTQFSBUFMZ UP DPOWFZ UIF DPOGMJDUJOH FNP UJPOT XIJDI HSJQ UIFN XJUIPVU CFOFGJU PG EJBMPHVF 5IPVHI EFTDSJCFE CZ .FMSPTF BT B ²GBJSZ UBMF XPSME GPS BEVMUT ³ UIF ESFBNZ HBV[F PG Pelleas and Melisande QFFMT BXBZ RVJDLMZ FOPVHI UP SFWFBM B GMJOUZ BOE VOTFOUJNFOUBM IFBSU (MVDLTUFSO

Savage in Limbo "DUPST 5IFBUSF PG 4BO 'SBODJTDP #VTI 4' XXX BDUPSTUIFBUSFTG PSH 8FE 4BU QN OP TIPX 5IVST 5ISPVHI %FD "DUPST 5IFBUSF PG 4BO 'SBODJTDP QFS GPSNT +PIO 1BUSJDL 4IBOMFZµT FEHZ DPNFEZ SexRev: The José Sarria Experience $PVOUFS16-4& .JTTJPO 4' XXX UIFSIJOP PSH 'SJ 4BU QN BMTP 4BU QN 4VO QN 5IFBUSF 3IJOPDFSPT QFSGPSNT +PIO 'JTIFSµT NVTJDBM DFMFCSBUJPO PG "NFSJDBµT GJSTU RVFFS BDUJWJTU ± B IJU GPS UIF DPNQBOZ JO Shoot O’Malley Twice 4UBHF8FSY 7BMFODJB 4' XXX WJSBHPUIFBUSF PSH 'SJ 4BU QN 7JSBHP 5IFBUFS $PNQBOZ QFSGPSNT +PO #SPPLTµ XPSME QSFNJFSF FYJTUFOUJBM DPNFEZ A Tale of Two Genres 4' 1MBZIPVTF 4VUUFS 4' XXX VO TDSJQUFE DPN 5IVST 4BU BOE %FD QN OP TIPX 5IVST BEEJUJPOBM TIPXT 4BU QN 5ISPVHI %FD 6O 4DSJQUFE 5IFBUFS $PNQBOZ QSFTFOUT BO JNQSPWJTFE NVTJDBM JOTQJSFE CZ $IBSMFT %JDLFOT The Temperamentals /FX $POTFSWBUPSZ 5IFBUSF $FOUFS 7BO /FTT 4' XXX

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ODUDTG PSH 8FE 4BU QN 4VO QN 5ISPVHI %FD /FX $POTFSWBUPSZ 5IFBUSF $FOUFS QFSGPSNT +PO .BSBOTµ ESBNB BCPVU HBZ SJHIUT EVSJOH UIF .D$BSUIZ FSB Totem (SBOE $IBQJUFBV "5 5 1BSL 1BSLJOH -PU " .JTTJPO 3PDL 4' DJSRVFEVTPMFJM DPN UPUFN 5VFT 4VO TDIFEVMF WBSJFT &YUFOEFE UISPVHI %FD $JSRVF %V 4PMFJM SFUVSOT XJUI JUT MBU FTU CJH UPQ QSPEVDUJPO Two dead clowns #PY $BS 5IFBUSF 4UVEJPT " )ZEF 4' XXX CSPXOQBQFSUJDLFUT DPN 'SJ 4BU QN 3POOJF -BSTFOµT OFX QMBZ FYQMPSFT UIF MJWFT PG %JWJOF BOE +PIO 8BZOF (BDZ The Waiting Period .BJO4UBHF .BSTI 4BO 'SBODJTDP 7BMFODJB 4' XXX UIFNBSTI PSH 'SJ QN 4BU QN #SJBO $PQFMBOE (Not a Genuine Black Man) QSFTFOUT B XPSLTIPQ QSPEVDUJPO PG IJT OFX TPMP TIPX Working for the Mouse &YJU 5IFBUSF &EEZ 4' XXX CSPXOQBQFSUJDLFUT DPN 5IVST 4BU QN OP QFSGPSNBODFT 5IVST 4BU 5ISPVHI %FD *U NJHIU OPU DPNF BT B TVSQSJTF UP IFBS UIBU FWFO ²UIF IBQQJFTU QMBDF PO FBSUI³ IBT B EBSL TJEF CVU IFBSJOH 5SFWPS "MMFO EFTDSJCF JU EVSJOH UIJT SFQSJTF PG µT Working for the Mouse XJMM QVU B TNJMF PO ZPVS GBDF BT CJH BT .JDLFZµT 8JUI B CVSTU PG ZPVUIGVM FOFSHZ "MMFO CPVOET POUP UIF UJOZ TUBHF PG *NQBDU 5IFBUSF UP DPOGFTT IJT POF UJNF BTQJSBUJPO UP OFWFS HSPX VQ ± B EFTJSF XIJDI NBEF BVEJUJPOJOH GPS UIF SPMF PG 1FUFS 1BO BU %JTOFZMBOE B TFOTJCMF DBSFFS NPWF #VU JO PSEFS UP CSFBL JOUP UIF CJH UJNF PG ²DIBSBDUFS JOH ³ POF NVTU QBZ TPNF IFBWZ QMVTI DPWFSFE EVFT "T "MMFO DSFFQT VQ UIF DPTUVNFE IJFSBSDIZ POF JDPOJD DBSUPPO GJHVSF BU B UJNF IF GJOET IJNTFMG VOXJUUJOHMZ FONFTIFE JO B XPSME GVMM PG CBDLSPPN QPMJUJDT VOJPO CVTUJOH ESVH BEEMFE TVSGFS EVEFT XJUI QFBDIFT BOE DSFBN DPNQMFYJPOT TFYVBM UFO TJPO TIPXCPBUJOH KPC TVTQFOTJPO .BLF " 8JTI 'PVOEBUJPO IFBSUCSFBL IBTI CSPXOJFT SBCCJU WPNJU BOE BDDJEFOUBM EFDBQJUBUJPO 4NPPUIMZ QBDFE BOE BTUVUFMZ DSBGUFE Mouse XJMM FJUIFS TIBUUFS ZPVS CMJTTGVM JHOPSBODF PS DPOGJSN ZPVS XPSTU TVTQJDJPOT BCPVU UIF DPSQPSBUF %JTOFZ NBDIJOF CVU FJUIFS XBZ JU XJMM QSPCBCMZ NBLF ZPV USFBU BOZ ²$BTVBM 4FBTPOBM 1BHFBOU )FMQFST³ ZPV TFF SVOOJOH BSPVOE JO UIFJS TXFBUZ DIBSBDUFS TVJUT XJUI B XIPMF MPU NPSF FNQB UIZ (Note: review from the show’s recent run at La Val’s Subterranean in Berkeley.) (MVDLTUFSO

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Annie #FSLFMFZ 1MBZIPVTF +VMJB .PSHBO $FOUFS GPS UIF "SUT $PMMFHF #FSL XXX CFSLFMFZQMBZIPVTF PSH 5IVST 4BU QN 4VO OPPO BOE QN 5ISPVHI %FD #FSLFMFZ 1MBZIPVTF QFSGPSNT UIF DMBTTJD NVTJDBM Rambo: The Missing Years $BCBSFU BU .BSTI #FSLFMFZ "MMTUPO #FSL XXX UIFNBSTI PSH 5IVST 'SJ QN 4BU QN 5ISPVHI %FD )PXBSE ²)BOPJ )PXJF³ 1FUSJDL QSFTFOUT IJT TPMP TIPX BCPVU CFJOH BO BOUJ XBS EFNPOTUSBUPS ± XIJMF BMTP TFSWJOH JO UIF "SNZ Sam’s Enchanted Evening 5IFBUFS4UBHF BU .BSTI #FSLFMFZ "MMTUPO #FSL XXX UIFNBSTI PSH 'SJ QN 4BU QN 5IF 3FTJEFOUT XSPUF UIF TDSJQU BOE EJE UIF NVTJDBM BSSBOHFNFOUT GPS UIJT NVTJDBM GFBUVSJOH TJOHFS 3BOEZ 3PTF BOE QJBOJTU +PTIVB 3BPVM #SPEZ The Soldier’s Tale "VSPSB 5IFBUSF "EEJTPO #FSL XXX BVSPSBUIFBUSF PSH 5VFT QN 8FE 4BU QN 4VO BOE QN 5ISPVHI %FD "VSPSB 5IFBUSF QSFTFOUT B SF JNBHJOFE WFSTJPO PG *HPS 4USBWJOTLZµT NVTJ DBM CZ 5PN 3PTT BOE .VSJFM .BGGSF The World’s Funniest Bubble Show .BSTI #FSLFMFZ 5IFBUFS4UBHF "MMTUPO #FSL XXX UIFNBSTI PSH 4VO BOE 'SJ 4BU BOE %FD BN OP TIPX %FD 5ISPVHI %FD -PVJT ²5IF "NB[JOH #VCCMF .BO³ 1FBSM SFUVSOT XJUI UIJT LJE GSJFOEMZ CVCCMF UBTUJD DPNFEZ

pERfORmAncE/dAncE

Russell Brand 1BMBDF PG 'JOF "SUT -ZPO 4' XXX TMJNTUJDLFUT DPN 5VFT QN 5IF CBXEZ DPNFEJBO QFSGPSNT UP CFOFGJU UIF %BWJE -ZODI 'PVOEBUJPO carolina Lugo and carolé Acuña’s Ballet Flamenco 1FvB 1BDIBNBNB 1PXFMM 4' XXX CSPXOQBQFSUJDLFUT DPN 4VO QN 4QBJO DPNFT UP /PSUI #FBDI XJUI GPPUXPSL TPOH DBTUBOFUT IBOE DMBQQJOH BOE HVJUBS Mark Foehringer dance Project | SF $IJMESFOµT $SFBUJWJUZ .VTFVN 'PVSUI 4U 4' XXX CSPXOQB QFSUJDLFUT DPN 4BU 4VO BN QN QN OP QN TIPX 4VO %FD BN BOE QN 5ISPVHI %FD 5IF DPOUFNQPSBSZ CBMMFU DPNQBOZ QFSGPSNT Mark Foehringer’s Nutcracker Sweets. Odc/dance /PWFMMVT 5IFBUFS :FSCB #VFOB $FOUFS GPS UIF "SUT )PXBSE 4' XXX PEDEBODF PSH 'SJ 4VO %FD BOE QN %FD BOE BN %FD BOE BOE QN 5IF DPNQBOZ QSFTFOUT UIF UI BOOJWFSTBSZ PG ,5 /FMTPOµT The Velveteen Rabbit. “San Francisco Theater Pub” $BGn 3PZBMF 1PTU 4' .PO QN 'SFF " OFX QMBZ CZ #SJBO .BSLFZ 2

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THANkSGiViNG COMeS Free AND rAW AT CAFé GrATiTuDe (See THu/24). | photo courtesy café gratitude 0O UIF $IFBQ MJTUJOHT BSF DPNQJMFE CZ -VDZ 4DIJMMFS 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTU JOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

wednesday 23 Broken Circles reading and benefit 4BDSFE (SPVOET $PGGFF )PVTF )BZFT 4' XXX KPBOHFMGBOE DPN Q N GSFF 0O UIF FWF PG UIF MBSHFTU GFBTU PG UIF ZFBS JU NBZ CF QSVEFOU UP SFNFNCFS UIBU OPU FWFSZPOF DBO DFMFCSBUF 5IBOLTHJWJOH PWFS IFBQJOH QJMFT PG GPPE *OTQJSJOH TJTUFS SFBEJOHT BSPVOE UIF DPVOUSZ Broken Circles: A Gathering of Poems for Hunger IBT DPNQJMFE UIF XPSL PG OVNFSPVT QPFUT XSJUJOH PO UIF FWFS QSFTTJOH TVCKFDU PG IVOHFS $BOOFE GPPE BOE NPOFUBSZ EPOBUJPOT BTTJTU UIF 4BO 'SBODJTDP 'PPE #BOL

Thursday 24 Thanksgiving Dinner $BGn (SBUJUVEF )BSSJTPO 4' 4IBUUVDL #FSL 'PVSUI 4U 4BO 3BGBFM XXX DBGFHSBUJUVEF DPN /PPO ° Q N GSFF .FBUZ ESVNTUJDLT NBZ OPU CF GPS FWFSZPOF CVU EFDBEFOU NJE BGUFSOPPO GFBTUT TVSF BSF $BGn (SBUJUVEF TFSWFT B GSFF WFHBO WFSTJPO PG UIF USBEJUJPOBM TNPSHBTCPSE PGGFSJOH B CVUUFSOVU TRVBTI UBNBMF QFDBO BOE QFSTJNNPO TBMBE DSBOCFSSZ TBMTB BOE DIPDP MBUF NBDBSPPOT 7PMVOUFFST BSF OFFEFE UP IFMQ PGGJDJBUF TFF XFCTJUF UP TJHO VQ

Friday 25 Parade of Lights and Winter Wonderland BOE " 4U 4BO 3BGBFM ° Q N "MTP 4BU B N ° Q N GSFF *G JUµT QPTTJCMF UP POF VQ BOZ PG UIF BENJUUFEMZ HSFBU IPMJEBZ GBJST GSPN UIF QBTU GFX NPOUIT 4BO 3BGBFMµT XJOUFS UIFNFE WFSTJPO EPFT JU UIJT ZFBS XJUI GPSUZ UPOT PG TOPX EVNQFE POUP B EPXOUPXO TUSFFU GPS LJETµ TMFE EJOH (PU B MJUUMF DPVTJO ZPVµWF CFFO NFBOJOH UP TQFOE 25 XJUI "TL +JNNZµT NPN GPS B QMBZEBUF XJUI UIF MJUUMF NBO Ways and Means Committee concert :PTIJµT 'JMMNPSF 4' ° Q N GSFF :PTIJµT USJFE BOE USVF TVTIJ BOE KB[[ DPNCP DPNFT UP UIF FWFSZQFSTPO XJUI B OFX GSFF TFSJFT TQPUMJHIUJOH MPDBM NVTJDJBOT 5IJT XFFL UIF TJY NFNCFS 8BZT BOE .FBOT $PNNJUUFF UI

saTurday 26 Christmas in San Francisco Crystal Fair #VJMEJOH " 'PSU .BTPO $FOUFS .BSJOB 4' XXX DSZTUBMGBJS DPN "MTP 4VO B N ° Q N 8IFUIFS ZPVµSF IFSF CFDBVTF PG BO PGG LJMUFS BVSB CBE CBDL PS GPS XBOU PG B OJDF OFDLMBDF UIPVTBOET PG HMFBNJOH SPDLT BXBJU BU 'PSU .BTPO

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Berkeley Artisans Holiday Open Studio 7BSJPVT MPDBUJPOT #FSL XXX CFSLFMFZBSUJTBOT DPN "MTP 4VO BOE %FDFNCFS XFFLFOET B N Q N GSFF )BEMFZ 8JMMJBNT XIP DSF BUFT FYRVJTJUF QJFDFT GSPN BNPOH PUIFS UIJOHT QBTUB BOE NBTLJOH UBQF BOE -FXJT 4V[VLJ B ZFBS PME MBOETDBQF QBJOUFS BSF BNPOH UIF #FSLFMFZ BSUJTUT PQFOJOH UIFJS TUVEJPT PO XFFL FOET GPS UIF OFYU NPOUI

sunday 27 Golden Gate Park Cyclocross .FUTPO -BLF .JEEMF %SJWF 8FTU (PMEFO (BUF 1BSL 4' XXX CBZBSFBDY DPN B N ° Q N GSFF "GUFS ZFBST PG TMJHIU UXFBLJOH UIF DPVSTF GPS UPEBZµT SBDF JT QSPKFDUFE UP QSPWJEF TFSJPVT DIBMMFOHFT UP FWFO UIF NPTU RVBESJDFQ CMFTTFE PG SJEFST 3VOOJOH CFIJOE .FUTPO -BLF BOE UISPVHI UIF USFFT PG (PMEFO (BUF 1BSL UIF $ZDMPDSPTT JT PQFO UP MBTU NJOVUF FOUSJFT BT XFMM BT UIPTF SFBEZ UP TUBOE GPS IPVST XBUDIJOH UIF BUIMFUJDBMMZ HJGUFE

monday 28 A Night with Peter Stamm, $ISPOJDMF #PPLT OE 4U 4' XXX DBUSBOTMBUJPO PSH Q N GSFF 4XJTT BVUIPS 1FUFS 4UBNN NVTU QFO HPPE ESJOLJOH QSPTF B EJTDVTTJPO PG IJT XFMM SFDFJWFE OPWFMT DPNFT BDDPNQBOJFE CZ BO PQFO CBS GVOEFE CZ UIF 4XJTT $POTVMBUF

Tuesday 29 The Problem of the Color(blind) discussion 6OJWFSTJUZ 1SFTT #PPLT #BODSPGU #FSL XXX VOJWFSTJUZQSFTTCPPLT DPN ° Q N GSFF #SBOEJ $BUBOFTF UFBDIFT JO UIF UIFBUFS BOE "GSJDBO "NFSJDBO TUVEJFT EFQBSUNFOUT BU $BM 5IF UXP EJTDJQMJOFT JOGPSN IFS MBUFTU CPPL PO SBDF OFVUSBMJUZ XJUIJO "NFSJDBO QPQVMBS DVMUVSF *O JU TIF DPWFST UPQJDT SBOHJOH GSPN *DF $VCFµT GBNJMZ NPWJF TUBS TUBUVT UP QMBZXSJHIU "VHVTU 8JMTPO “History of Noe Valley” talk 4U 1IJMJQµT $BUIPMJD $IVSDI %JBNPOE 4' XXX GSJFOE TPGOPFWBMMFZ DPN ° Q N #JMM :FOOF IBT JMMVTUSBUFE GPS Rolling Stone )FµT XSJUUFO TJY CPPLT PO UIF TVCKFDU PG CFFS )FµT BVUIPSFE XPSLT PO 4JUUJOH #VMM BOE "MFYBOEFS UIF (SFBU )FµT BMTP BO FYQFSU PO B TVCKFDU DMPTFS UP IPNF /PF 7BMMFZ XIFSF IFµT MJWFE GPS UIJSUZ TFWFO ZFBST Journalism, Academia and Censorship talk ,PSFU "VEJUPSJVN .BJO -JCSBSZ -BSLJO 4' XXX TGQM PSH Q N GSFF %BWJE #BSTBNJBO GPVOEFS PG "MUFSOBUJWF 3BEJP BOE SFQFBUFE JOUFS WJFXFS PG /PBN $IPNTLZ UBMLT DFOTPSTIJQ *UµT B TVCKFDU IF LOPXT XFMM #BSTBNJBO XBT EFQPSUFE PO BDDPVOU PG IJT PQJOJPOT GSPN *OEJB UIJT QBTU 4FQUFNCFS 2

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NOVEMBER 23 - 29, 2011 / SFBG.com

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QFPQMF BDDVTUPNFE UP CBSJOH UIFJS TPVMT JO UIFJS TPOHT BHSFF UP GBDF UIF DBNFSB GPS B MJUUMF XIJMF MPOHFS SFFS New People Cinema. 3BQPQPSU

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Dragonslayer Roxie. Drive Lumiere. Happy Feet Two Four Star, 1000 Van Ness, Presidio. Le Havre Bridge. Immortals 1000 Van Ness. In Time 1000 Van Ness, Shattuck. Into the Abyss: A Tale of Death, a Tale of Life Embarcadero, Shattuck. J. Edgar Four Star, Marina, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. Jack and Jill 1000 Van Ness, Shattuck. Like Crazy California, Piedmont, SF Center, Sundance Kabuki. Love Crime Lumiere. Margin Call Presidio, Sundance Kabuki. Martha Marcy May Marlene

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A Very Harold and Kumar 3D Christmas 1000 Van Ness. The Woman on the Sixth Floor Opera Plaza, Shattuck. The Woodmans Roxie. Young Goethe in Love Embarcadero, Shattuck. 2

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film listings rep clock 4DIFEVMFT BSF GPS 8FE 5VFT FYDFQU XIFSF OPUFE %JSFDUPS BOE ZFBS BSF HJWFO XIFO BWBJMBCMF %PVCMF BOE USJQMF GFBUVSFT BSF NBSLFE XJUI B Â… "MM UJNFT Q N VOMFTT PUIFSXJTF TQFDJGJFE ARTISTS’ TELEVISION ACCESS 7BMFODJB 4' XXX BUBTJUF PSH ²0UIFS $JOFNB ³ The Price of Sex $IBLBSPWB 4BU CASTRO $BTUSP 4' XXX DBTUSPUIFBUSF DPN ²8PPEZ 8FEOFTEBZT ³ Â…Stardust Memories "MMFO 8FE BOE Vicky Christina Barcelona "MMFO 8FE The Sound of Music 8JTF /PW %FD BMTP 'SJ BOE 4BU 4VO 1SFTFOUFE TJOH BMPOH TUZMF UIJT FWFOU CHRISTOPHER B. SMITH RAFAEL FILM CENTER 'PVSUI 4U 4BO 3BGBFM XXX DBGJMN PSH Melancholia WPO 5SJFS 8FE 5IVST DBMM GPS UJNFT ²5IF 'JMNT PG +PIO ,PSUZ ³ The Autobiography of Miss Jane Pittman 4VO GSFF BENJTTJPO ²" 7BSJFUZ PG 4IPSUT ³ 4VO PACIFIC FILM ARCHIVE #BODSPGU #FSL CBNQGB CFSLFMFZ FEV ²4PVUIFSO %JT $PNGPSU 5IF "NFSJDBO 4PVUI JO 'JMN ³ The Beguiled 4JFHFM 4BU Hurry Sundown 1SFNJOHFS 4VO ²+FBOOF .PSFBV &OEVSJOH "MMVSF ³ La notte "OUPOJPOJ 4BU Diary of a Chambermaid #VvVFM 4VO ²,JOP &ZF

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5IF 3FWPMVUJPOBSZ $JOFNB PG %[JHB 7FSUPW ³ Three Heroines 5VFT ROXIE BOE UI 4U 4' XXX SPYJF DPN Dragonslayer 1BUUFSTPO 8FE 5IVST Public Speaking 4DPSTFTF 8FE 5IVST The Woodmans 8JMMJT 8FE 5IVST ²-PBET PG $VSU .D%PXFMM ³ 4BU .PO DBMM GPS UJNFT ²*UµT UIF 1BVM .FJOCFSH 4IPX ³ 5VFT Sigur Rós: Inni .PSJTTFU /PW %FD BMTP 4BU 4VO SFFS | NEW PEOPLE CINEMA 1PTU 4' XXX TGGT PSH The Swell Season "VHVTU 1FSOB .JSBCFMMB %BWJT BOE %BQLJOT /PW %FD BMTP 'SJ 4VO 2

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FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338803-00 The following person is doing business as Clyde Properties, LLC 14 Mint Plaza, 5th floor, San Francisco, CA 94103. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date October 13, 2011. Signed by Patrick McNerney, President. This statement was filed by Melissa Ortiz on October 13, 2011. L#113477, November 2, 9, 16 and 23, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0339246-00 The following person is doing business as Symbolist Studio 604 Mississippi St., San Francisco, CA 94107. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date November 1, 2011. Signed by Stephanie Heald. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on November 1, 2011. L#113488, November 23, 30, December 7, and 14, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338589-00 The following person is doing business as Delis Janitorial 86 Reddy Street San Francisco, CA 94124. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date October 3, 2011. Signed by Delis A. Reyes. This statement was filed by Susanna Chin, Deputy County Clerk on October 3, 2011. L#113478, November 2, 9, 16 and 23, 2011

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FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338601-00 The following person is doing business as Mapleton Hill Design & Build 1261 30th Avenue, San Francisco, CA 94122. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date October 1, 2011. Signed by William Johnson. This statement was filed by Melissa Ortiz on October 1, 2011. L#113476, November 2, 9, 16 and 23, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338910-00 The following person is doing business as Roxie Market & Delicatessen 500 Kirkham Street San Francisco, CA 94122. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date October 17, 2011. Signed by Zhang Lily- Sui, Manager. This statement was filed by Maribel Jaldon, Deputy County Clerk on October 18, 2011. L#113482, November 9, 16, 23 and 30, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0339371-00 The following person is doing business as 4 Corners 1875 Union Street, San Francisco, CA 94123. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by David Vance, CEO + President. This statement was filed by Susanna Chin, Deputy County Clerk on November 8, 2011. L#113485, November 16, 23, 30 and December 7, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0339395-00 The following person is doing business as ABL Restaurant 2052 Mission Street, San Francisco, CA 94110. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date November 9, 2011. Signed by Alfredo Bello. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on November 9, 2011. L#113486, November 16, 23, 30 and December 7, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0339412-00 The following person is doing business as Cheap Eats Media 1426 12th Ave., San Francisco, CA 94122. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date November 9, 2011. Signed by Tom James. This statement was filed by Jennifer Wong, Deputy County Clerk on November 9, 2011. L#113487, November 16, 23, 30 and December 7, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0339568-00 The following person is doing business as Unlimited Livery Service 3283 25th Street #2, San Francisco, CA 94110. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date November 16, 2011. Signed by Frederick Schulz. This statement was filed by Susanna Chin, Deputy County Clerk on November 17, 2011. L#113489, November 23, 30, December 7, and 14, 2011 NOTICE OF APPLICATION TO SELL ALCOHOLIC BEVERAGES Date of Filing Application: October 28, 2011. To Whom It May Concern: The name of the applicant is: ANDRE BOUDIN BAKERIES INC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 2890 TAYLOR ST, SAN FRANCISCO, CA 94133-1012. Type of License Applied for: 47 - ON-SALE GENERAL EATING PLACE . Publication dates: November 9, 16 and 23, 2011 L#113481

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NOVEMBER 23 - 29, 2011 / SFBG.COM 39

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