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editorials the problem of the u.c. police CONT>>

have poor supervision, poor training and limited civilian oversight. The chancellor of U.C. Davis doesn’t know anything about running a police department; she’s an electrical engineer and an academic. If she resigns, she’ll be replaced by another academician who knows nothing about law enforcement. And if the U.C. police misbehave, where do people go to complain? There’s no independent auditor, no office of citizen complaints. If the Oakland police run rampant — and they have been known to do exactly that — at least the elected mayor can be held accountable. Same for any city that has a municipal force. But when campus and transit security operations turn into armed paramilitary agencies, it’s a recipe for trouble. At the very least, the U.C. police — like the BART police — need an independent oversight agency to handle complaints. But it might be time to discuss whether campuses can best be protected with unarmed security guards supported by local municipal police. The University of California will never take that step on its own, so the state Legislature needs to evaluate whether lawmakers should force the issue. 2

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last time city department heads have left their offices and taken a walk through the Tenderloin, just minutes away from the San Francisco Occupy site? Smells of human waste? Evidence of street drug use? Garbage on the street? It’s there and has been for years, the inevitable consequence of the lack of affordable housing and years of cutbacks to mental health and substance abuse funding in San Francisco.� As far as overcrowding of tents, Hawthorne goes on to note: “Overcrowding? Go anywhere in the city with a public health nurse. You’ll see multiple families living in one flat, sharing a kitchen, having their own tiny room if they are lucky and can afford it. People sleep in shifts and live elbow-to-elbow in garages, basements, closets, old office spaces — and they are the ones we nurses music listings

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can see, because at least they have an address. “ The one percent is attempting to maintain control by blaming the victim. Rather than blame the marginalized for their misery, the Occupy movement opens an opportunity for dialogue and mass mobilization while providing tangible assistance to those in need of help right now. Homeless and mentally ill individuals have been receiving food and shelter at Occupy encampments everywhere. The Occupy movement is making visible the public health consequences of insatiable corporate greed. Income inequality is closely paralleled, unsurprisingly, by poorer health outcomes. The rich are not only getting richer, they are living longer, healthier lives than the majority of us in the 99 percent. Despite months of Occupy experience world-wide, the only evidence of ill health and injury directly related to the camps can be found in the hundreds of nonviolent activists exposed to clouds of tear gas, fountains of pepper spray, myriads of beatings, and volleys of rubber bullets. These incidents of state-sponsored violence can cause lasting health impacts on the individuals who are exercising their right to free speech and assembly. We can do better than this. We need to use this gathering as a reminder that health care is a human right and do everything in our power to help, not hinder, the populations we serve. Like thousands of other public health workers, I believe that the Occupy movement is creating an incredible opportunity that needs to be protected and expanded. Public health does need to be protected — and one of the best ways is through engagement with the Occupy movement, not through its eviction. 2 Sasha J. Cuttler, R.N., Ph.D, is a nurse and SEIU Local 1021 activist editor’s notes CONT>>

I can talk forever about fossil fuels and climate change and air pollution and all the reasons people should get out of their cars. But all you have to do to convince any reasonable person that driving from S.F. to L.A. is a bad idea is to do it. 2

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NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

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A rendering of the proposed soccer complex (left), where critics say bright lights and tree removal will diminish bird habitat. | hawk photo by joseph moss

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Psychic Dream astrology, complete events, alerts, art, and music listings, Hotlist, comments, and so much more! Follow us on Twitter: www.twitter.com/sfbg

on the blogs Politics Why won’t Jerry Brown speak out about the UC Davis pepper spray attack? Stay up on the UC students’ strike and the protests aimed at the university system’s Board of Regents Eyewitness coverage of all Bay Area Occupy encampments

Whose park?

Proposal to build a large artificial turf soccer complex in Golden Gate Park sparks controversy By Lisa Carmack news@sfbg.com

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Golden Gate Park and Ocean Beach have long been destinations for locals and tourists to take in natural beauty within an urban setting, but a controversial plan to build a complex of artificial turf soccer fields at their intersection is drawing opposition from neighbors and environmentalists. The project seems to belie the original intent of Golden Gate Park as a uniquely wild setting. The Master Plan for Golden Gate Park, drafted in 1995, emphasizes environmental stewardship and maintaining the park in a natural, multiuse way. Among its provisions are “major meadows and lawns should be adaptable to host a wide variety of activities, rather than designed for a specific use.” But the Recreation and Park Department (RPD) and sports advocates are pushing a plan to install seven acres of synthetic turf fields, complete with 60-foot, 150,000watt lighting that will shine until 10 p.m. year-round. The project will have its first major public hearing before the Planning Commission on Dec. 1 at 5 p.m. in Room 400 at City Hall. Public comments on the project’s Draft Environmental Impact Report, which was released in October, will be accepted at the Planning Department until 5 p.m. on Dec. 12. Critics of the plan, including the Ocean Edge Steering Committee, have been distributing editorials

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educational materials and trying to energize people to oppose a project that the group says runs counter to the park’s purpose and which will harm wildlife and cause other negative impacts. The fields are slated to be installed over the four existing run-down grass fields in the Western Edge of Golden Gate Park, which sits directly across from Ocean Beach and next to the Beach Chalet historical building and restaurant. The project is projected to cost up to $48 million, about $20 million of which comes from the Clean and Safe Neighborhood Parks bond measure approved by city voters in 2008. Advocates for the synthetic fields — most notably the City Fields Foundation, the main proponent of converting grass to turf in city parks (see “Turf wars,” 10/13/09) — say that this project will only take up a fraction of the natural space in the park, and that turf has many benefits over natural parkland. “You can put a grass field in, but then you have to limit public access,” said Patrick Hannan, communications director for the City Fields Foundation. “If you want to have grass, there’s only so much sports play that can happen.” Hannan says that this project is a response to the high demand for usable athletic fields and the limited play provisions of grass fields and availability of usable fields also limits the number of adults and children able to play sports. RPD spokesperson Connie Chan

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was not responsive to Guardian questions about the project’s consistency with the Master Plan, and on the main project, she referred to a statement on the RPD website: “We are proposing to renovate the dilapidated Beach Chalet Athletic Fields in the western end of Golden Gate Park with synthetic turf, field lights and other amenities because Beach Chalet is one of three primary ground sports fields in San Francisco but unfortunately, these fields are in abysmal condition, often closed, and lacking spectator seating.” But activists say the RPD shouldn’t disregard its own planning documents. “It took a long time to draft the Master Plan,” said Shawna McGrew, an activist who worked at RPD for 30 years. “They have no legal obligation, but a moral obligation to uphold the Master Plan.” The grass soccer fields have been run down due to lack of maintenance and a continuing gopher problem. But environmental advocates argue that installing the planned light fixtures and synthetic turf will interfere with the wildlife, particularly the nesting birds. “It’s been referred to as the mothership landing,” said Nature Trip tour guide and bird watcher Eddie Bartley, discussing the impact of the proposed lighting fixtures. Environmentalists are seeking a greener alternative to this project. “We feel that there’s a compromise alternative that should really satisfy the concerns that everyone has,” said Katherine Howard of the Ocean Edge Steering Committee. She said her group’s goal is “to renovate the athletic fields, but to do it with real grass. They need a good drainage system, a state of the art irrigation system, gopher control music listings

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barriers, and top notch grass.” Howard has spent a significant amount of time approaching people at Golden Gate Park to inform them of the upcoming plans. She believes that not enough park users have been notified about the proposal to install the synthetic turf. “I had no idea that they were going to do that,” native San Francisco resident Rick Rivero said in response to Howard’s description of the plans. “I played soccer in this field myself and I don’t want to see them changed.” Rivero said that he hadn’t seen any flyers around the park mentioning plans to change the soccer fields. RPD originally tried to do the project with conducting an EIR to study alternatives and environmental impacts, but groups like the San Francisco Audubon Society and Ocean Edge objected. The resulting DEIR stated that, after a few alterations and formal recommendations, the project will have a “less than significant impact” on the biological resources of the area. But environmentalists are dissatisfied with the report. Among their objections was the report labeling some trees as “tall shrubs” in order to allow for their removal. Studies cited in the DEIR state that water toxicity from the runoff of synthetic turf fields — which can contains plastic and other waste products — “decreased over time” and should have no effect on those using them. But there have been conflicting studies of that issue, the subject of controversy through the country. Environmentalists noted that water used in natural fields filters down CONTINUES ON PAGE 10 >>

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into the underground aquifer where it can be reused, whereas runoff from the turf will be need to be treated as wastewater, a fact given short shrift in the DEIR. “In our opinion, the EIR is inadequate and incomplete,� Howard said. “And we will be submitting letters to that effect before Dec. 12th, as well as testifying to that on Dec. 1st.� But the DEIR doesn’t wholly endorse the project. For example, it also states that the project’s impact on cultural resources, referring to the original intent of Golden Gate Park, will be “significant and unavoidable.� Some parents and sports enthusiasts are disappointed with this backlash and argue that the turf fields will provide an important asset to the city. “I’m 60, but a few decades ago I played soccer on the Beach Chalet Fields. They were in crappy condition [then] and they’re still in crappy condition,� said Tim Colen, a “soccer parent� we were referred to by Hannan. Colen is also executive director of the San Francisco Housing Action Coalition and someone who regularly testifies at City Hall in favor of large development projects. “It surprises me that a small minority of people has been able to obstruct this project,� Colen said, noting that many parents support the project because the shortage of fields is forcing families out of the city and toward the readily available fields in the suburbs. Community meetings and even mayoral forums have addressed the proposed Beach Chalet fields. As reported by the RichmondSF blog, mayoral candidate Joanna Rees showed up to a debate wearing her daughter’s soccer jersey and voiced opposition to the artificial turf. Board of Supervisors President David Chiu also reminisced about the joy of playing soccer on grass fields. Other community meetings have been flooded with youth soccer players from San Francisco and beyond advocating the installation of the turf fields. But local environmentalists say Golden Gate Park was meant to be a refuge for all city residents and visitors. “Golden Gate Park was created as a place for people to get away from the city,� Howard said. “The amount of contiguous park land is very important.� 2 MUSIC LISTINGS

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adultS aRe the moSt viSiBle face of homeleSSneSS — But a gRowing numBeR of childRen aRe alSo on the StReetS. | Guardian photo by Luke thomas

StReet kidS :PVUI IPNFMFTTOFTT JT PO UIF SJTF JO 4BO 'SBODJTDP By ReBecca Bowe rebeccab@sfbg.com Picture a homeless person, and a child might not be the first to come to mind. Yet the number of homeless children attending public schools in San Francisco is on the rise, and the San Francisco Unified School District’s (SFUSD) resources are stretched thin as it struggles to keep pace with providing services for this population. This isn’t the only development that has homeless advocates discouraged this holiday season. The federal agency that oversees funding allocation for homeless services has released new regulations essentially redefining who is and isn’t homeless, drawing criticism from service providers who say it’s a deceptive way of keeping official tallies of the nation’s homeless population artificially low. On Tuesday, Nov. 29, the Coalition on Homelessness planned to lead homeless parents to City Hall to demand a meeting with Mayor Ed Lee to ask him to work with them on solutions for families who’ve found themselves without a permanent home in San Francisco. In late October, “We sent him a request saying, why don’t you respond to our ideas to alleviate this crisis?” said executive director Jennifer Freidenbach. “And it’s been silence ever since.” Last November, there were 1,791 youth without permanent residences enrolled in the school district, said SFUSD spokesperson Gentle Blythe. This November, there were 2,167. The instability can affect students in the longterm, Blythe noted. “The more changes students have in their personal lives, it obviously makes it more challenging for them to be successful,” she said. SFUSD is granted just $275,000 in federal funding to assist youth with bus passes and other needs such as backpacks or school supplies, she said, and with more and more students in need, it’s looking like it won’t be enough. The housed segment of the public school population, meanwhile, isn’t exactly sheltered from instability, either — 61 percent of youth in SFUSD qualify for reduced or free lunch, Blythe editorials

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noted. The lunch program is part of a separate federal program. The spike in numbers of homeless youth reported by SFUSD correlate with waitlists for nonemergency shelters. As of Nov. 23, there were 267 families signing up for that temporary housing, said Freidenbach. In the summer of 2007, just before the economic recession, there were 75 families seeking shelter. A year later, that number had jumped to 150. In a 10-year citywide plan for providing housing for homeless people, Friedenbach noted, 303 out of 2,794 units would be set aside specifically for homeless families. All of this comes at a time when U.S. Housing and Urban Development (HUD) is tweaking the definition of homeless, essentially excluding those who are in transitional housing or couch-surfing situations, thus making it harder for them to access services allocated for homeless people. At the same time, HUD is demanding more documentation proving that people are homeless, making it more difficult for undocumented immigrants to access transitional housing or emergency homeless services. “It’s a lot cheaper to pay somebody to screen somebody out of a program than to provide services for a family,” said Paul Boden, director of the Western Regional Advocacy Project (WRAP). “The whole thing around homelessness being an emergency and a crisis is gone,” Boden said. “Now, it’s treated like a welfare program.” Meanwhile, San Francisco stacks up poorly compared with 234 U.S. cities when it comes to treatment of the city’s homeless population, according to a report issued by the National Law Center on Homelessness & Poverty. The organization grades San Francisco with a “D” for the extent of homepicks

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lessness in the city as well as what it deems the criminalization of that population, with emphasis on how both have increased since the organization’s last report in 2009. The law center defines criminalization as laws prohibiting sleeping, camping, sitting, lying, urinating, defecating, or begging on public sidewalks; as well as sweeps, and “quality of life” ordinances aimed at clearing homeless population from certain cities or neighborhoods. The report references a cost study by the Federal Strategic Plan to End Homelessness, which included San Francisco in its survey of cities, finding that “on average, cities spend $87 a day to jail a person, compared to $28 a day for shelter.” “In San Francisco alone, over 100,000 homeless people have been cited in the past 15 years. The consequences are severe: the resulting warrants and criminal records often keep homeless people on the street by creating barriers to jobs, services, and housing. Additionally, warrants and arrests often result in a loss of housing — pushing many people back into homelessness. Point-intime counts of the San Francisco County Jail population have indicated that a quarter of the jail population is homeless.” Friedenbach said solutions for homeless families included working with the San Francisco Housing Authority to turn over vacant units in San Francisco public housing projects, and increasing the availability of a local rental subsidy program by 50 families. The waitlists for public housing and Section 8 housing assistance vouchers have long since maxed out and closed, Friedenbach said, and stands at a combined 37,000 individuals. 2 Yael Chanoff contributed to this report.

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that mandated that everyone 18 and over in a household receiving CalFresh be fingerprinted. New laws have also ended a rule requiring CalFresh participants to file quarterly reports. Instead, California will switch to simplified semi-annual, or roughly twice a year reporting, beginning in 2013. But there are still challenges and threats ahead. “The recession has erased a lot of the social gains made during the 1990s, so it will take a number of years to make that up,” said Caroline Danielson of the Public Policy Institute of California in Oakland. She also points to a need for smarter policies such as placing jobs closer to communities and public transit. There is also concern that the current deficit reduction talks at the federal level could also add to the burden on households, increasing their need for supplemental help. “The [deficit reduction talks] could reduce support for lowincome families,” Stanford’s Wimer said. While the food stamp program may not be target, he added, related services such as a women and child component known as WIC could be on the chopping block. “We’ll have to see how it plays out,” added CFPA’s Sharp. “But right now there is extreme pressure on households and they are struggling to find adequate resources. It is certainly not unreasonable to try to close that 50 percent [CalFresh] gap.” 2

news@sfbg.com Here’s something to chew on with your bagel and coffee— assuming you can afford that in these trying times. Roughly, 2.3 million Californians are receiving official help getting enough to eat, but nearly 3 million others who qualify are not. In fact, California’s low enrollment in the federal food stamp program, known officially as the Supplemental Nutrition Assistance Program or in California, CalFresh, is costing the state both socially and economically. “There’s a deepening crisis,” Matthew Sharp, a senior advocate with the nonprofit California Food Policy Advocates, said. “California’s high housing costs and extreme unemployment are two forces that have put pressure on households.” Despite increasing need, however, less than half of those eligible for Cal Fresh assistance receive it, placing California next to last nationally. In other states, about 75 percent of those eligible for federal food stamp help take part, and some states are well above that threshold. Oregon, for instance, reaches about 90 percent of those who qualify. In California, though, just about 43 percent of those eligible take part. Socially, this means, of course, that millions of people are not getting enough to eat, leading to a range of other issues including health problems and hungry children underperforming at school. (In California, about 17 percent of children live in poverty, including roughly 3 million who qualify for free or reduced price meals.) Economically, low participation in CalFresh also leaves money on the table at time when businesses and California’s tax bureau are badly in need of funds. While the money per day may seem small, $4.50 for individual or about the cost of that bagel and coffee, it can still go a long way. Weekly CalFresh assistance equals $31 for an individual, or $325 monthly for a family of four. “Food stamps stimulate the economy in a variety of ways,” explained Chris Wimer, associate director of the Stanford Center for the Study of Poverty and Inequality. 12 san FranCisCo Bay guarDian

hungry muCh? California Faces Food aid gap in time of need For instance, the U.S. Department of Agriculture—the federal administrator of the food stamp program—has found that every $5 spent from food stamps generates about $9 in related economic activity. Additionally, CFPA has found that boosting California’s food stamp participation to the 75 percent level would generate about $131 million in sales tax revenue, including $27 million for nongeneral fund expenses. But instead, low enrollment means California’s loses out on about $5 billion annually or nearly $9 billion in related economic activity. On the county level, this includes losses as well. Los Angeles County is estimated to lose out on $1.3 billion in direct assistance and $2.4 billion in related activity; Alameda County, $106 million and $191 million; San Diego County, $354 million and $634 million. At the same time, the level of need continues to increase due to a stalled economy and flat wages. “Overall wages have dramatically declined, particularly in the eDitorials

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services industries such as hotel workers,” Sharp said from CFPA’s Los Angeles office, noting that falling incomes have made Cal Fresh an increasingly common supplement to family’s budgets. In addition, the type of person in need of help has also shifted, and can include college students, those with jobs but not making enough to get by, and senior citizens. “The variety of households taking part has increased astronomically,” Sharp said. “This includes families that have never struggled with unemployment before and it has had a staggering effect on them.” Elizabeth Kneebone, a senior research associate at the Brookings Institution, said the changing face of poverty now increasingly includes the suburbs as well as inner-city neighborhoods. In California, inland cities such as Riverside and Fresno have seen rapid spikes in suburban poverty, she said, sometimes double the levels in urban areas. (In a report published this month, Kneebone also determined that Fresno

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ranked fifth nationally for neighborhoods with extreme poverty.) Despite this grim news, California is making some strides towards helping those in need. In October, for example, Gov. Jerry Brown signed into law several bills that eliminated obstacles to CalFresh enrollment. Assembly Bill 6, for example, ended California’s unusual requirement

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This story was funded by a grant from the Sierra Health Foundation to do independent reporting on the topic of food access in California.

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Antonia Williams (from left), Jazz Vassar and Kenny Hill uproot a fresh crop of leeks at Bridgeview Community Gardens in Bayview. | Guardian photo by Christopher D. Cook

The food divide

By Christopher D. Cook news@sfbg.com Antonia Williams is part of a slow, quiet food revolution. After battling obesity for much of her adult life, the 26-year-old lifelong Bayview resident did some research. “I realized it had a lot to do with the food I consumed,” she told us. “As a result of growing up in the neighborhood, I suffer from obesity. I’m overweight because of the lack of options for good healthy food.” “It’s what I grew up on, McDonald’s and a lot of fried food for dinner,” she recalls. “The grocery stores in the area were very limited in what they offered. I believe my parents weren’t as educated or aware” about health and nutrition. Williams managed to escape this bad foods trap, change her personal diet, and now works as a “food guardian” for the nonprofit Southeast Food Access (SEFA), helping to bring more nutritious fare to the Bayview. The complex of challenges Williams faced simply to eat well—the fast food all around her, the dearth of grocery stores, and lack of awareness—reflects the array of systemic barriers to good food that keep tens of thousands of San Franciscans in chronically poor health. Under the weight of recession and double-digit unemployment, San Francisco’s chronic food divide has grown deeper and wider. From regions of the city like Bayview, Excelsior, and other Southeast neighborhoods, to seniors surviving on marginal fixed incomes, to the city’s swelling unemployed and underemployed who rely on food pantries, access to fresh food is a daily geographic and economic battle. Roughly one in five San Franciscans each day has no reliable source of adequate sustenance and must scramble for food from soup kitchens, food pantries, or other “emergency” supplies that have become a structural part of the city’s food system, according to the San Francisco Food Bank. Each month, more than 100,000 families rely on the Food Bank to help feed themselves — nearly double the amount from 2006. Economic recession has dramatically increased the number of city residents using food stamps (known as “CalFresh”) each month, rising from 29,008 in 2008 to 44,185 in 2010. editorials

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San Francisco is a city of haves and have-nots when it comes to nutrition

Yet even that rise belies a far deeper need: only 47 percent of those qualifying for CalFresh are actually accessing benefits, according to a data analysis by California Food Policy Advocates; at minimum, more than 40,000 additional city residents are entitled to get this help, and thus eat better. Across the city, parallel economic and food divides compound one another, spelling serious trouble for people’s basic nutrition and health — in turn depleting their energy, cognition, and ability to do everything from succeeding in school to getting a job.

Beyond grocery stores In Bayview, where poverty and unemployment run about picks

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double citywide averages, these geographic and economic food divides come to a head. District 10, encompassing Bayview/ Hunters Point (BVHP), features some of the city’s most groceryimpoverished neighborhoods, and has the highest rates of CalFresh usage. This confluence of lack and need—compounded by a prevalence of fast food and liquor stores over fresh food offerings—has inspired Antonia Williams and other residents to fight for better food in their neighborhoods. As one of four paid Food Guardians for SEFA, Williams spends about 20 hours a week examining grocery store shelves in Bayview, talking with consum-

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ers and food retailers, and educating both about the need for more fresh non-processed foods. One recent victory: armed with customer survey data, she convinced the Bayview Foods Co. to stock low-sodium tomato paste. Next on Williams’ food improvement list is getting more low-sodium products, less cholesterol, and more fiber on the shelves. These may sound like small steps, but they’re part of a larger effort to get healthier food in Bayview, where chronic diseases such as obesity, diabetes and heart disease are rampant. “I think a lot of people just don’t know the link between the food we are eating and these chronic film listings

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for more news content visit sfbg.com/politics diseases,” says Williams. The Bayview is among the city’s most food-deprived districts, with just 63 percent of residents living within a half-mile of a supermarket (in Excelsior, it’s 57 percent), compared with 84 percent citywide. That ratio improved somewhat with the arrival this August of Fresh & Easy supermarket on Third Street, but access to fresh produce remains limited — a situation that numerous studies show contributes greatly to chronic undernourishment and disease. Indeed, statistics show Bayview area residents suffer by far the city’s “highest rates of everything negative,” as former district supervisor Sophie Maxwell puts it: obesity, diabetes, heart disease, and cancer. Ironically, the Bayview’s Third Street is home to the city’s bustling produce warehouses, which rattle early every morning with trucks and crates full of fruits and vegetable, “but you have to go out of the district to get it,” says Maxwell, who helped spearhead a Food Security Task Force while in office. “I was very much aware of [the food access problem] because of what I had to do to get food myself.” Much of Third Street remains a boulevard of liquor stores and fried and fast food. According to Tia Shimada of California Food Policy Advocates, “A lot of what we see instead of food deserts is food swamps, where the amount of healthy nutritious food available is overwhelmed by all the fast food and junk food.” Despite a seemingly diverse landscape of food businesses, “There’s a saturation in neighborhoods with unhealthy choices,” Tracey Patterson with SEFA argues. “When the cheapest choice in front of you is fatty comfort food and fast food, that’s what you get accustomed to eating. The easier options quickly become habit.” Kenny Hill, a 23-year-old food guardian and Bayview resident, puts it like this: “What we have in our community, that’s what we eat.” But he says history and culture play a role, too. “We need to change the culture of what’s considered good...Growing up eating salad, people would say, ‘Why are you eating that? That’s white people’s food.’ ” In other words, it takes more than getting a grocery store— CONTINUES ON PAGE 14 >>

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which itself involved a nearly 20-year struggle for Bayview residents and leaders. “Food access is just one part of the issue. Even if you get a grocery store, that doesn’t solve the problem,” says Patterson, whose group, SEFA, espouses “three pillars” to fix the area’s food problems: more grocery stores; education and health literacy; and expanded urban agriculture. “None on their own is enough.”

Hunger crosses lines Getting a job isn’t enough either, statistics show. A recent study by the USDA cited by the Food Security Task Force shows that 70 percent of families nationwide with “food insecure” children have at least one member working full-time. And in San Francisco, the task force found, “39 percent of the households that receive weekly groceries through the SF Food Bank include at least one working adult. Only 18 percent of clients are homeless.” At least by federal definitions of poverty, food insecurity isn’t just for poor people anymore — particularly in San Francisco, where exorbitant housing and other costs compound people’s struggles to meet their food needs. “If you just look at the poverty level, you’re missing a lot of people who are struggling to make ends meet,” says Colleen Rivecca, advocacy coordinator with St. Anthony’s Foundation. “Hunger and health and housing are so interconnected.” Indeed, while the Federal Poverty Level for a family of three is $18,310, cost-of-living research by the INSIGHT Center for Community Economic Development found that in San Francisco, this family would need almost $40,000 more than that to make ends meet. Rivecca says the ongoing recession is simultaneously deepening the food divides and undermining efforts to address it. For instance, SSI recipients must make do with $77 a month less than they got in 2009, while California is the only state where SSI cannot be supplemented by food stamps. According to the Food Security Task Force, San Francisco “has an inordinately high number of residents who 14 SAN FRANCISCO BAY GUARDIAN

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are elderly, low-income and/or blind and disabled — over 47,000 residents receive SSI.” Many are homebound, socially isolated, and living in SRO units without kitchens, and no means of preparing their own food. So it’s no surprise that these same people, who need help the most, often get it the least. Due to “misconceptions about what qualifies,” says CFPA’s Kerry Birnbaum, only 5 percent of Californians eligible for Social Security participate in CalFresh. “Senior citizens are more isolated, and the more isolated you are, the less likely you are to know about it.” Birnbaum says that leads to lower nutrition, less energy, and greater hospitalization rates. “It’s not having food on the table — choosing between food and medicine.” A 2006 study by the San Francisco Department of Aging and Adult Services found that while the city’s elders “received approximately 12.2 million free meals through all of the programs in the City including food pantries, free dining rooms, and home delivered meals, the gap between the number of meals served and the number of meals needed was somewhere between 6 [million] and 9 million meals annually.”

Band-aid food system As television cameras made clear on Thanksgiving, there’s no shortage of food and meal giveaway programs, soup kitchens run by churches and nonprofits — a whole constellation of ad hoc benevolence spread across the city. But this kind of “emergency food assistance” has become a structural part of the city’s dietary landscape. Another main ingredient in the city’s food infrastructure is seemingly cheap fast food, which for many poor people becomes the diet of first and last resort. Sup. Eric Mar recalls meeting with teenage mothers and hearing one parent speak about dumpster diving at McDonald’s for what she called “fancy dinner.” “The cheapest possible food like McDonald’s is seen as a luxury,” says Mar, who last year passed legislation preventing fast food chains from selling kids meals with toys unless they improved their nutrition content. “Poor people rely on whatever’s out there, and when McDonald’s or Burger King sells cheap, it

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undercuts families’ efforts to get healthy.” District 10 Sup. Malia Cohen sees the impacts of fast food and junk food every day in Bayview. “There is no infrastructure out there to de-program people” from long-standing fast food habits. “I don’t fault people for eating fast food, but I do want them to think twice and know they have a choice.” So what is the choice, and how will the city address its deep food divides, which cut across geographic and demographic lines?

Food access is just one part oF the issue. even iF you get a grocery store, that doesn’t solve the problem. - tracey patterson, southeast Food access

So far, it’s a patchwork project. As one step, the supervisors in April passed a new zoning ordinance designed to encourage more urban food production. In Bayview, Cohen says, “We’re looking at urban agriculture as something that’s viable” to feed low-income residents. Despite the arrival of Fresh & Easy, BVHP remains a critical flashpoint for the food security fight. Markets for fresh produce are few and far between. In 2006 the Department of the Environment teamed with Girls 2000 and Literacy for Environmental Justice to create the Bayview Hunters’ Point Farmers Market, but for a variety of reasons, the customer base wasn’t sufficient for farmers to keep selling there, and the project stalled. Now there is talk of reviving a farmers market in the area. But for larger, more structural change to take hold, Mar argues, music listings

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the food gap “has to be a citywide goal and priority.” And, he notes, bigger forces — notably agribusiness lobbies and congressional agriculture committees — make local progress more difficult. “It’s hard because the Farm Bill allows these food companies and commodity groups to keep their prices lower, and small businesses and producers have a hard time keeping their prices low,” encouraging more fast food and obesity and other diet-related diseases.

green glimmers On a chilly gray late afternoon the day before Thanksgiving, we met with Patterson, Williams, and two other food guardians at Bridgeview Community Garden on the corner of Newhall and Revere in Bayview. Perched on a small chunk of slope overlooking houses and freeway traffic, the plot offers a thriving little harvest of tomatoes, kale, leeks, basil, and other vegetables and herbs. It’s not a lot of food, but along with other nearby agriculture, such as Quesada Gardens and the larger Alemany Farm, it helps bolster residents’ weekly dose of fresh produce. Equally important, it gives budding food activists like Antonia Williams and Kenny Hill reason to believe things can change. After yanking a healthy crop of leeks from the soil, fellow food guardian Jazz Vassar, 25, notes, “There are a lot of community organizations doing good work here. We have high hopes to change things.” Even as they work to nourish a different food future, the food guardians are acutely aware of the jagged rocks and stubborn old roots that need to be cleared. Asked what the city should do about Bayview’s many-layered food struggles, Hill responds: “Realize there is a problem in Bayview, and allocate resources here. There are statistics that this is a food desert, there are high rates of crime—people have to wake up and see that people here have been disenfranchised.” It’s not about having the city do it for them, says Hill. “Give us something to latch on to so we can help ourselves.” 2 Former Bay Guardian city editor Christopher D. Cook is the author of Diet for a Dead Planet: Big Business and the Coming Food Crisis, and his website is www. christopherdcook.com.

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ongoing ReSeaRCh By Caitlin Donohue caitlin@sfbg.com

holotropic breathwork, a self-healing technique that involves quickened breathing and music engineered to take listeners to another stage of consciousness. The conference’s “most festive occasion,” according to Wallace, will be Saturday, Dec. 10’s late-night “Medicine Ball,” featuring glitchy DJs like LA’s Sugarpill and Canadian soul vocalist Ill-Esha. Of course, it won’t be all fun and games at the Oakland City Center Marriott. The days’ programs are filled with hallucinogenic and marijuana-themed lectures and workshops. Cannabis enthusiasts will be stoked on opportunities to learn about the cutting-edge of research theories, even if the government is being prohibitive about

heRBWiSe The Multidisciplinary Association for Psychedelic Studies (MAPS) is better known for its scientific research on hallucinogenic drugs than on marijuana. That’s because the federal government is holding, but it won’t share with the decades-old nonprofit. “The National Institute of Drug Abuse is ‘the National Institute of Drug Abuse,’” said MAPS director of field development Brian Wallace in a recent phone interview with the Guardian. “It’s not ‘the National Institute of Drug Research’. Its members are focused on the abuse of drugs, not their potential applications.” Wallace — who was in the midst of preparing for “Cartographie Psychedelica,” next week’s MAPS 25th Anniversary Conference in downtown Oakland — was speaking about the NIDA’s decades of refusal to sell clinical study-grade cannabis to his organization. CeleBRating a legaCy of DRug teSting at MAPS’ mission is to learn more about the potential of a paSt MapS event. | photo courtesy maps psychedelics and marijuana in treating ailments that Western testing the theories out. A full day’s medicine has proven ineffective in workshop on the science and polimitigating. tics of medical marijuana is planned “It’s a conflict of interest that featuring doctors and activists for they have the monopoly on that can- Friday, Dec. 9. Those unwilling to sit nabis,” said Wallace, adding that a through that many hours of dishing farm located on the outskirts of the on dank can check out University University of Mississippi is the only of California San Francisco Osher enterprise legally permitted by the Center’s Donald Abrams, who will federal government to produce buds. be giving a run-down of the past The continued rebuff means that two decades of medical marijuana studies that could potentially prove research in a lecture on the afterthe medicinal properties of cannabis noon of Saturday, Dec. 10. are impossible to conduct. Not that Wallace hopes that the conferthere aren’t better buds out there. ence will provide a learning oppor“Any medical marijuana patient has tunity — even to those who are not access to better weed in California’s died-in-the-wool drug users. dispensaries,” says Wallace, noting “We have people that come that government-approved weed isn’t dressed in a suit and tie and we have available with the same diversity of people that come dressed in tie-dye,” cannabinoid levels. he says of his organization’s reach. Ironically, MAPS has had more “The MAPS community is expandluck obtaining MDMA for its clinical ing and growing to be much more studies than marijuana, which they expansive, to the point that a veteran hope someday to test in post-trauwho is affected with PTSD will know matic stress disorder among veterans. about the work that we do.” 2 But the group has had its share “Cartographie psyChedeliCa : Maps 25 th of victories to celebrate over the last anniversary ConferenCe” few decades. Enter the anniversary Dec. 8-12, all access conference pass conference, five days of lectures, $310–$455 workshops, and parties that will Medicine Ball Party assemble drug experts to speak on Dec. 10, 8 p.m., $25–$35 the past, present, and future of drug Oakland Marriott Civic Center research. The event will feature a www.maps.org/25 banquet to honor the progenitors of music listings

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FOOD + DRINK

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$1 Taco Happy Hour 2-6PM 415.826.8116 4697 Mission @ Ocean 2022 Mission @ 16th film listings

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17

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GrAnd rE-EnTrAnCE By L.E. LEonE

le.chicken.farmer@gmail.com CHEAP EATS It was one of those rainy rainy cold cold days, when all you can think about, if you’re me, is a steaming bowl of noodle soup. It was Sunday. Hedgehog was taking an all-day welding class at the Crucible. My football season was over, and I couldn’t play soccer because I’d yanked my hamstring playing football the weekend before, then ripped it playing racquetball. So I was under doctor’s orders to sit the hell still for a time. Tick. Times like these, the thenimpendingness of my favorite holiday (the food one) notwithstanding, make me bat-shit crazy. I sat in our cozy little cottage in my mismatched pajamas, looking out the window at the rain, falling out of shape, and just generally going to guano. I felt bad for my soccer buds, because — even though I’m the worst player on the team — they kinda needs me. For numbers. I tried to get Papi, who’s actually good, to play in my place, but (go figure) she didn’t feel like running around in the rain. I did! Except I couldn’t, so I told my team I would show up and just stand on the field, just stand there, if it meant we wouldn’t forfeit. That’s how desperate I was. “Don’t worry,â€? they said. “It’ll work out.â€? Which it did: we won without me. Plus Papi wanted to get dinner later, so that gave me something to think about and look forward to. Then do, when Hedgehog finally finished welding. We trucked over to the city to dine with Papi. At the re-grandly opened Lotus Garden! Their words: “Re.â€? “Grand.â€? “Opening.â€? On a banner hanging off the awning. (The punctuation is mine.) I would have put that differently, and I don’t mean Grand Reopening; I’d have said Do-Over, Redo, Take 2, or even Mulligan. The menu has changed. The dĂŠcor has changed even more dramatically than the menu. And, finally, I have changed: 11 years ago or so when I reviewed Lotus Garden — not long after they grand-opened for the first time — I complained about small portions and probably tablecloths. Even music listings

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though the people there were the friendliest people in the world and the food was, in my own words, great, I never went back. Word. What a lug nut! I lived four blocks away. Vietnamese is my favorite kind of food. It always was. But I was more interested in quantity than quality, back then, as a matter of policy. And I thought this was cute. Ergo, the mulligan is as much mine as theirs. Or — as a do-over implies having screwed up the first time — it’s all mine, I should say. Lotus Garden never did anything wrong. They caught on fire. Or the building next door did, last Spring, and they got licked by it. And by smoke and by water. Blue Plate, on the other side of the fire, was back in bidness the next day. They didn’t get as licked. It took Lotus Garden half a year to re-grand-open, in which time they changed some things: They got rid of the table cloths. Or maybe they just burned away. But I’ll be damned if it doesn’t look lower scale than it used to. I like that. I love this restaurant. Here’s the hell why: in addition to all the usual pho and hot and sours, they have lemon grass noodle soup! I’m pretty sure that’s one of the new things, or else I’d have ordered it eleven years ago. I just loves me my tom yum, and this was practically that, only with noodles, and not only shrimp but catfish too! When beautiful things like that happen, we’re talking new favorite restaurant. Papi thumbs-upped her vegetarian pho (also new, I’m thinking), and my beloved welder was wild about her grilled lemon-grass chicken, wrapped with lettuce, carrots, cucumber, mint, and peanuts in do-it-yourself rice papers. This is Lotus’s signature dish. Or signature-ish, anyway. The owner of the place grills it at your table. She apologized for the wait: “Sorry it took so long. We had to go out back and catch the chicken. And kill it. And cut it up. You know,� she said. “Ha ha ha.� It was love at first goofiness, as far as Hedgehog was concerned. Me too. 2 Lotus Garden Tue.-Sun.: 11 a.m.-10 p.m.; closed Monday 3216 Mission, SF (415) 282-9088 D/MC/V Beer and wine

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DUBLIN 925.828.9826 FREMONT 510.651.0305 MOUNTAIN VIEW 650.969.1938 stage listings

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SANTA ROSA 707.540.9025 SARATOGA 408.871.8765

NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

19

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Fierce swagger.

Wednesday 11/30

seat, you realize that dog can bite. (James H. Miller)

“Flotsam and Jetsam: The Spray of History”

9 p.m., $10

The ceaselessly inventive Los Angeles filmmaker Lewis Klahr comes to town for two shows this week. Joseph Cornell’s boxes are perhaps the most convenient reference point for Klahr’s richly emotional collage animation, though his handmade films’ range of tones and complex interlacing of pop culture and personal sentiment really merits stand-alone consideration. This PFA program samples Klahr’s recent short films, while the SF Cinematheque show at Yerba Buena Center for the Arts on Friday focuses on Klahr’s ongoing series of sublime musical memory pieces, Prolix Satori. The two shows have no overlapping films, which among other things means you get to appreciate Klahr’s Brill Building ear for titles (A Thousand Julys, False Aging, Wednesday Morning Two A.M., Daylight Moon, Well Then There Now). (Max Goldberg)

for more visit sfbg.com

Bottom of the Hill

Tanztheater Wuppertal Pina Bausch offers Danzón, Bausch’s poignant, humor-filled celebration of life’s journey in the teeth of death. No 3D specs required. (Robert Avila)

tor Steve Fainaru, a 2008 Pulitzer winner, discussing Iraq; and Brando biographer Peter Manso, reading from his latest Cape Cod-set true crime book. (Cheryl Eddy)

1233 17th St., SF

Through Dec. 3, 8 p.m., $30

7:30 p.m., $10

(415) 621-4455

Zellerbach Hall, Berk.

Make-Out Room

www.bottomofthehill.com

(510) 642-9988

3225 22nd St., SF

www.calperformances.org

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Friday 12/2

Friday 12/2

“True Stories Lounge”

Benoit & Sergio

As the cliché goes, truth is stranger than fiction — and knowing that

“Sergio used to be my English teacher,” reads a YouTube com-

With the Pillowfights!, Matsuri

Friday 12/2 “Danzón” It’s hard to imagine contemporary dance and performance without the seminal influence of German cho-

of the pair’s live show. (Ryan Prendiville) With No Regular Play and DJ sets by Pillowtalk, Thee Mike B, Rich Korach, and more 9 p.m., $15-20 Public Works 161 Erie, SF (415) 932-0955 www.publicsf.com

danzón see fri/2

Saturday 12/3 Papercuts Founder and lead songwriter of Papercuts, Jason Robert Quever, has a knack for softly wooing listeners into his songs. Part of the seductiveness is Quever’s voice. You tend to follow its breathiness until you’re deep in his weightless and roomy dream pop. On Papercuts’ Fading Parade, the band’s debut album on Subpop, which came out earlier this year, Quever can sound like a love sick ghost, padding around and whispering pleas in your ear. His vocals hover over a lulling swathe of reverb, but drums and guitars retain enough crispness so as not to become a colorless drone. It’s a carefully weighted balance, and one that’s well worth witnessing live. (Miller)

7:30 p.m., $9.50 Pacific Film Archive Theater 2575 Bancroft, Berk. (510) 642-1412 www.bampfa.berkeley.edu www.sfcinematheque.org

With Dominant Legs, Tim Cohen’s Magic Trick 9 p.m., $12

Wednesday 11/30

Rickshaw Stop 155 Fell, SF

Lemuria You would think that a band called Lemuria — a hypothetical continent said to have submerged into the depths of the Indian Ocean — would sound along the lines of Vangelis or Tangerine Dream. But the trio from Buffalo, NY, takes after alternative pop-punk predecessors like Superchunk and the Breeders. Sheena Ozella and Alex Kerns started Lemuria in 2004, taking on bass player Jason Draper a year later. Since then, Lemuria has matured into a band that’s at once frisky and endearing, dynamic and biting. On Lemuria’s newest album, Pebble (Bridge 9), Ozella and Kerns alternate on vocals in such a way that inspires deep sighs, like you’ve just spotted an adorable little dog. But when Ozella’s tough and vivacious guitar playing takes a front20 SAN FRANCISCO BAY GUARDIAN

(415) 861-2011 www.rickshawstop.com

Saturday 12/3 reographer-performer Pina Bausch, whose work was so different when it started in the 1970s that it spawned its own genre: dance theater. Bausch’s gorgeous visual aesthetic, wildly eclectic movement, incorporation of speech and unbridled emotion, and her collaborative, searching process all contributed to a remaking of the landscape. The subject of a recent 3D documentary tribute by Wim Wenders, Bausch (who died in 2009) left behind a supreme body of work that her company continues to perform around the world. This weekend, editorials

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a story is true (or at least somewhat “based on a true story,” Texas Chainsaw Massacre-style) makes it all the more fascinating. The ongoing series “True Stories Lounge” brings together a varied slate of wordwranglers to spin compelling nonfiction tales. This edition’s storytellers include spoken word artist Alan Kaufman, who’ll read from his new memoir, Drunken Angel; comedian Marilyn Pittman, talking through a family tragedy; Salon.com founder David Talbot, reading from his soon-to-be-released book of San Francisco history; Bay Citizen edi-

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ment for “Walk and Talk.” How hard it would be to explain a lyric like “My baby does K all day” at a parent-teacher conference? In 2009 Sergio quit the D.C. prep school racket to make music full-time with French expatriate Benoit. The electronic duo has quickly built a reputation on less than a dozen tracks released across Ghostly International, Visionquest, and DFA. With an original sound that mixes ecstatic techno house, melancholic latenight soul, and playfully barbed vocals, this will be the SF debut music listings

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“In the Red — Flaming Lotus Girls Gallery Show” The Flaming Lotus Girls always go big, pushing the envelope on fire arts innovation every year at Burning Man and other festivals. That’s a big reason why I profiled them in my book, The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture. And it’s also why they’re in debt, now more than most years. So come mingle, marvel at their fiery artworks, dance to DJs from Space Cowboys and the Ambient Mafia, buy some

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Lemuria photo by Ryan Russell; “Danzon” photo by Bettina Stofl; Papercuts photo by Chloe Aftel; Sleepy Sun for Bay Brewed photo by Brandon Moore; Anna Calvi photo by Emma Nathan; Other Lives photo courtesy of Paradigm Talent Agency.

art (including photo prints of FLG projects) or shwag (from the FLG’s autographed and lipstick-kissed calendar to copies of my book that I’ll be selling and signing there), and help the Flaming Lotus Girls get out of the red and into active preparations for its next big project. (Steven T. Jones)

songwriter has bounced all over the country, eschewing traditional genre expectations in the process. Wit’s End and Humor Risk, McCombs’ two 2011 albums, fully demonstrate his maturing take on sparse folk, dreamy pop, and melancholic rock spiked with just the right amount of humor.(Moblad)

friends. The group embraced a more experimental sound for this year’s The Moonlight Butterfly (Thrill Jockey), its first release since 2008. Timelessly hip, yet approachable, start your week off right with the effervescent jams of the Sea and Cake. (Frances Capell)

monium and percussion and Daniel Maiden-Wood on drums heightens the drama of Calvi’s cinematic anthems. Armed with a guitar and a voice that’s both sultry and operatic, the fiery Calvi seduces everything in her path. (Capell)

farm animals, and the history of Communism. Is there anything Lewis can’t do? (Capell)

8 p.m., $17

www.rickshawstop.com

With Deckward, 8Ball, Olde Nasty, and more

With White Magic, Liza Thorn

With Lia Ices

Great American Music Hall

8 p.m., $16

8 p.m., $21

859 O’Farrell, SF

6 p.m.-2a.m., free but donations accepted

Great American Music Hall

Great American Music Hall

(415) 885-0750

859 O’Farrell, SF

859 O’Farrell, SF

www.slimspresents.com

(415) 885-0750

(415) 885-0750

www.slimspresents.com

www.slimspresents.com

SomArts 934 Brannan, SF (415) 552-1770

With the Yellow Dress, Tortured Genies 8 p.m., $10 Rickshaw Stop 155 Fell, SF (415) 861-2011

www.flaminglotus.com

anna calvi see tuesday/6

Tuesday 12/6 Other Lives Other Lives is building a lot of momentum in the wake of Tamer Animals (TBD Records), the band’s latest album. The five-piece from Stillwater, Okla., supported Bon Iver on tour, and afterward, played headline shows across Europe. Eclipsing its recent successes, though, was the announcement that it will support Radiohead on its U.S. Tour, beginning in February. The momentum is certainly deserved. Tamer Animals is dim folk-rock that builds on robust orchestration — violins, cellos, clarinets, and horns all have a grand presence on the record. Once an instrumental collaboration called Kunek, Other Lives still has an appreciation for the slightest sonic details, so that nearly every moment has something to call surprising, if not riveting. (Miller)

Saturday 12/3 “The Bay Brewed: A Rock and Roll Beer Festival” Live music and drinking clearly go well with together. Unfortunately, beer festivals too often conjure up images of boring C list jam bands or old-timers working their way through a bunch of Creedence covers. Not the case with The Bay Brewed, a beer festival and music showcase mash-up put on by the folks over at The Bay Bridged blog. Along with unlimited tastings from 21st Amendment, Anchor Steam, Lagunitas, and Magnolia, among others, admission includes performances by some great local bands. Pick up a complimentary mug and catch the shoegaze-y post-punk of Weekend, the psychedelic rock of Sleepy Sun, the dub-tinged Extra Classic, and the punky power pop of Terry Malts. (Landon Moblad)

With JBM 9 p.m., $12 Cafe Du Nord 2170 Market, SF (415) 861-5016

Verdi Club 2424 Mariposa, SF (415) 861-9199 www.thebaybridged.com/the-bay-brewed

Sunday 12/4 Cass McCombs Similar to the nomadic lifestyle he’s maintained over the years, Cass McCombs creates music that can be tough to pin down. Though he was born in Concord and has considered the Bay Area home at various points in his career, the indie singereditorials

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Tuesday 12/6

The Sea and Cake

Anna Calvi

Merely listening to indie veteran the Sea and Cake’s extensive catalog of material is an exhausting feat. With jazz, Brazilian, and African influences, this band has been generating a unique sound for more than 20 years. Characterized by Sam Prekop’s breathy vocals and delicate guitar work, the Sea and Cake has long provided the perfect soundtrack for mellowing out with your

Praised by Brian Eno as “the best thing since Patti Smith,” dark songstress Anna Calvi also exudes the fierce swagger and edgy sex appeal of predecessors PJ Harvey and Pat Benatar. Calvi’s flamenco and bluestinged debut earned her critical acclaim and a Mercury Prize nomination for best album of 2011. A backing band consisting of Mally Harpaz on har-

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Jeffrey Lewis & the Junkyard Jeffrey Lewis is a jack of all trades. His style encompasses both cerebral folk and grungy, distorted garage rock. Though his lyrics may come across as stream-of-conscience tangents, Lewis’ witty songs are brimming with clever and heartbreaking observations. The musician is also an accomplished comic book artist, and his illustrations often accompany his live performances. Topics of discussion include LSD, film listings

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The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e‑mail (paste press release into e‑mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

november 30 - december 6, 2011 / SFBG.com 21

ARTS + CULTURE: SEX

MADISON YOUNG (BOTTOM LEFT, WITH CAMERA) AND MAXINE HOLLOWAY (TOP RIGHT, BLACK UNDERWEAR) SUBVERT PORN CONVENTION ON THE WOMAN’S POV. | PHOTOS COURTESY FEMINIST PORN NETWORK

IT’S ALL IN THE ANGLE

Madison Young’s new porn site puts the female gaze first and foremost BY CAITLIN DONOHUE caitlin@sfbg.com SEX “It’s hard when you’re making out with a babe and it’s really hot and you realize you’ve been videotaping a wall for two minutes.” No one ever said that making self-filmed feminist porn was easy. But for local self-proclaimed “slut kitten” Maxine Holloway, it’s an important — and incredibly arousing — process. Holloway is the newest webmistress on Femina Potens gallery founder and sex activist Madison Young’s Feminist Porn Network. Holloway’s sub-site Woman’s POV (www.thewomanspov.com) is perhaps the first to feature only shoots which are filmed by the actors themselves — the letters in the title standing in for “point of view,” of course. Hence, her phone interview with the Guardian last week had turned to tricky camera angles. It can be incredibly difficult to film your own orgasm, Holloway says. But she’s learned a lot since her first POV scene (in case you were wondering, it involved a passel of “Italian babes” and a hotel room). The key, she says, lies in reconfiguring the way you look at having sex on camera — which inevitably involves spending a lot more time in your viewfinder. Which is not necessarily a bad thing. “You see things that you wouldn’t normally have the time to focus on,”

22 SAN FRANCISCO BAY GUARDIAN

EDITORIALS

Holloway explains. “Twitching fingers, a hand on a thigh that looks amazing.” And she’s hoping that fingers will walk to the site to check out its clothes-on segments, also. “We have these really sexy, amazing, vivacious women on our website, and I want people to lust and jerk off to them. But I also want them to hear what they have to say.” Woman’s POV has posted interviews with Kink.com fetish model Eden Alexander on what it’s like to work in the porn industry. Holloway has penned educational letters to the syphilis infection (Hitler, Van Gogh, Beethoven, and Lincoln, it says, were all rumored to be victims of the STI), and conducted an interview with erotic comedian and dandigrrl AfroDisiac. “We’re showing the wholeness of what makes women attractive,” she says. “It’s not just their breasts or how they fuck, it’s what’s on their minds.” Bay Area women will have a chance to be featured on the site at Mission Control’s monthly queer sex-dance party Velvet on Fri/2 — Holloway and Young will be trucking out a dirty videobooth for self-filmed couplings (or singlings), not to mention conducting a workshop on the empowering and relationshipboosting aspects of filming your hook-ups with a partner. It will be a “fun and safe place for people to explore their exhibitionism on camera,” promises Holloway. This kind of multi-lateral approach to sexuality is just what Young intended when she started her first website, Madison Bound, in 2005. Although she was already a successful sex performer who had been curating sex-art shows at Femina Potens for five years — having recently pulled together “White Picket Fences”, a multi-disciplinary look at what family and future mean to local queer artists and sex workers — she found the web to be a particularly useful tool when it came to advocating alternative sexualities. “The Internet has the capacity to reach a lot more people,” she told the Guardian on a recent afternoon in the large, white Mission-Bernal Heights studio that is serving as the Femina Potens office space while the gallery is between brick and mortar locations. “I’m a girl from Southern Ohio and I’m always thinking about the girl from back there.” Despite her central role in a burgeoning alt sex community here in the Bay Area, she feels a responsibility to make images of queer sex available for Middle America. “You’re just not going to have this stuff happen in front of you in Iowa.” Other subsites on the Feminist Porn Network include Perversions of Feminist Lust, a slutty take on lesbian pop novels, and Live Nude Feminists!, whose appeal is perhaps self-explicatory. Young has known Holloway for years — Holloway has hosted many of Femina Potens’ “Other View” panel discussions on BDSM, consent, and the anti-rape movement — and over the past two has watched her develop a distinctive voice when it comes to directing porn. NEWS

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“I wanted Woman’s POV to be a place where she could explore that voice,” she says. “It’s super empowering for [the webmistresses and actors] because they’re able to find out what they think is hot. Women aren’t usually put in that position to be able to find what turns them on. People are like ‘oh my god that’s hot. Oh my god that’s me!’ ” That kind of discovery, Holloway says, isn’t just sexy — it strikes back at the disempowering way that society treats sex workers. She mentions that she sees the site as an important step in the sex workers’ rights movement. When asked to elaborate, she says that the movement’s about “the ability to support yourself safely and creatively.” In other words, it’s not enough to have a safe working environment for adult film actors — although that’s important too. It’s important that sex workers have the opportunity to portray the kind of intimacy that turns them on. What better way to do that than hand them the camera? 2 VELVET Fri/2 8 p.m.-2 a.m., $20 free membership required Mission Control Private location, see website for details www.missioncontrolsf.org www.womanspov.com

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NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

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oakland music complex Monthly Music Rehearsal Studios

1255 21St St. Oakland, Ca (510) 406-9697 OaklandMusicComplex.com

oaklandmusiccomplex@gmail.com

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24 SAN FRANCISCO BAY GUARDIAN

ARTS + CULTURE: TRASH

POP CULTURE NEWS, NOTES, AND REVIEWS

CLARK SHADOWS TRASH If you were around in the waning days of drive-ins and urban grindhouses, the heydays of video stores and 1980s late-night cable, or were a Mystery Science Theatre 3000 fan, the name Greydon Clark might ring a faint bell — maybe even a warning bell. For 25 years Clark was a prolific independent director, writer, producer, and even bit-part actor in the realm of low-budget exploitation movies designed for quick playoff in second-run theaters, graveyardshift broadcast slots, and on rental shelves. Most were retreads of wellworn genre trends, a couple outright imitations of recent hits; they rarely hit the radar of mainstream critics, let alone awards-giving bodies — not even the Golden Raspberries. Though his last two features were futuristic adventures, Clark himself was relegated to cinema’s past by the turn of the millennium, having “aged out� in a business where an obsession with youth trickles down even to the least prestigious off-camera creative roles. Now just short of 70, Clark is still around, selling memorabilia on his website, appearing at fan conventions, and the like. This Friday he’ll be at the Roxie for a Midnites for Maniacs tribute triple-bill featuring rare 35mm screenings of features long out of circulation. First up is 1978’s Hi-Riders, a hybridization of then-current Smokey and the Bandit (1977) knockoffs and the earlier bikerflick vogue that’s one of his most enjoyable films. Frequent Clark collaborator Darby Hinton and busy stunt performer (through 1997’s Titanic) Diane Peterson are the nominal stars of a raucous action cheapie that pits muscle-car aficionados against each other, then against trigger-happy yokels ordered to kill by a vengeful fat cat who proclaims “Animals like that should be exterminated!� Acting pitched at a 10 on the hysteria scale, skinny dipping, and good crashes involving an actual bitchin’ Camaro ensue. This is followed by Joysticks (1983), a prior Midnites for Maniacs midnight selection that remains a giddy high-lowlight in the short-lived 80s subgenre of movies about videogaming. How can it miss, with Porky’s-style gags, a hero named McDorfus, secondary “punk� villain King Vidiot editorials

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(played by Napoleon Dynamite’s future Uncle Rico), and a theme song Tipper Gore might have taken exception to (“Jerk it left, jerk it right, shoot it hard, shoot it straight, video to the maaaaaax!!!�)? Last and quite possibly least is 1982’s Wacko, one of several Airplane!-like slasher spoofs at the time. Its genial flailing about in search of laughs ropes in several of Clark’s favorite falling stars (Joe Don Baker, Stella Stevens, George Kennedy) and one future celebrity (pre-�Dice Man� Andrew Clay, as Fonz-y high school stud Tony Schlongini). If you were 10 years old (or 15 and stoned) in 1982, this was probably the funniest thing ever. So regress already. But this selection offers just the tip of the native Michigander’s celluloid iceberg. Driving west on a whim in the 1960s, Clark managed to score work as both an actor and scenarist with Z-budget multihyphenate role model Al Adamson, including the incredible Satan’s Sadists (1969) and incredibler Dracula vs. Frankenstein (1971). Those experiences empowered him to direct, co-write, and act in 1973’s The Bad Bunch (Kiss The Establishment Goodbye was one of several alternative titles), a drama of Vietnam War-era racial tensions that was shot in Watts for less than $15,000. It was clumsily crafted and crudely melodramatic, but serious-minded enough — despite gratuitous boobs and opening song “Honky Mutha Nigga Lover� — to set him on a more determinedly commercial, costs recouping path from then on. Thus 1976’s Black Shampoo, an outrageous blaxploitation cash-in on Warren Beatty’s heterosexual hairdresser lothario hit, followed quickly by the unforgettably named (if otherwise forgettable) Satan’s Cheerleaders (1977), tentacled-alien-Frisbee-creature horror Without Warning (1980, with a very young David Caruso as one victim), and so forth. They inevitably featured oncehot, now economically-priced Hollywood names of a certain age (Clu Gulager, Jack Palance, Yvonne De Carlo etc.), attractive youngers mostly never to be heard from again, and Clark regulars like actress spouse Jacqueline Cole. (The fact that so many of

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his actors and crew came back for more suggests that he’s a pleasant guy to work for.) Some of these movies actually require the MST3K treatment they got (i.e. 1985 Joe Don vs. Mafia shoot ‘em up Final Justice) to be watchable. Some, like 1990 psychological thriller Out of Sight, Out of Her Mind or 1980 sci-fi fantasy The Return (a rare upgrade to then-current B-level stars in Cybill Shepard and Jan-Michael Vincent), didn’t get it and aren’t. But others are inspirationally silly, with enough hints to make it clear that their creator was in on the joke. Probably the most widely seen of his films is acknowledged camp classic The Forbidden Dance, one of two lambada movies released on the same day in 1990. It stars former Miss USA and future Mulholland Drive (2001) enigma Laura Harring as an Amazonian tribal princess who comes to Beverly Hills (accompanied by “witch doctor� Sid Haig) to attract attention to rainforest destruction via the healing power of public ass-grinding. All this and an ozone depletion message make it Clark’s Inconvenient Truth, just as The Bad Bunch was his Crash. music listings

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Less socially conscious but equally nuts are Uninvited (1988), in which a yacht full of the expected veteran actors and hot young ‘uns are terrorized by a mutant lab-experiment cat puppet; and Russian Holiday (1992), a daft espionage thriller with Susan Blakely as a tourist haplessly playing Nancy Drew amidst Moscow neck-snappings. Then there’s 1989’s Skinheads: The Second Coming of Hate. Its hilarious racist, sexist, swastikaemblazoned goon squad makes the mistake of pursuing clean-cut “good� kids into the wilderness lair of survivalist Chuck Connors, who fought in World War II and knows just what to do with a buncha neo-Nazi scum. It’s pretty much the Reefer Madness of Reagan-era fascist punk gang movies (1982’s Class of 1984, 1984’s Savage Streets, etc.) — a category that surely calls for its own Midnites for Maniacs tribute. (Dennis Harvey) 2 “MORE FUN THAN GAMES! A TRIBUTE TO GREYDON CLARK� Fri/2, triple-feature starts at 7 p.m., $12 Roxie Theater 3117 16th St., SF (415) 863-1087 www.midnitesformaniacs.com

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NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

25

Arts + culture: music

Steve SpaceK and MarK pritchard, encaSed in the Blinding, SpiritUal priSM of good MUSic.

how doeS it MaKe yoU feel? "GSJDB )JUFDI DIBOOFMT UIF JOUPYJDBUJOH CBTT PG UIF +BNBJDBO TPVOE TZTUFN By Michael KriMper arts@sfbg.com MUSic Africa Hitech makes intoxicating music. Programmed polyrhythms snake over punchy bass lines. Synthetic chord progressions crescendo and fall, disrupted by surges of 808 kicks, constellations of snares, outbursts of electric energy. All the while, an offbeat rhythm assaults the interweaving drum patterns, unsettling any steady flow that might have taken shape. This tension pulls the music forward, destining outwards, while the bass anchors the body, whether on the dance floor or just mesmerized inwardly, a head in the groove. The sound builds in momentum, in suspense, but with subtle patience, producing a great gathering of intensity — which if you happen to hear on the right sound system — exceeds its limit, and disorients, overwhelms, destructs, rejuvenates. It’s the Dionysian rave rewired for our times. “We grew up in that whole bass line culture in the UK with dub, reggae, soul, and everything that’s come about after it and around it,” says Steve Spacek, who together with Mark Pritchard makes the duo Africa Hitech. “We try to tap into that amazing feeling of the frequency in the club when everyone’s getting down together on one vibe, one of the best feelings imaginable.” Seasoned producers-vocalists Spacek and Pritchard have pursued this utopian vision of sound in their latest project. In the past couple years, Africa Hitech has released three EPs, including this month’s Do U Really Wanna Fight on Warp, and 26 SAN FRANCISCO BAY GUARDIAN

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dropped a brilliant record earlier this spring, 93 Million Miles. The songs navigate two topological poles: the cosmic and the streets. While “The Sound of Tomorrow” and “Light the Way” evoke otherworldliness, the ecstatic openness of galactic space channeled by the likes of George Clinton’s Mothership and Sun Ra’s Arkestra, “Blen” and “Gangslap” gurgle in the enclosed terrain of frenetic polypercussion and dread inducing low end. Their vocals wreak both havoc and bliss on language: soulful croons give away to disembodied vocoder chants; or, Spacek unleashes a growling patois, and sample cuts dissipate in mutilated mantras, reconfigured on a stuttering trigger pad: “Out/ Out/ Out/ Out in the streets/ Out in the streets/ They call it murrderrrrr.” “We’re trying to preserve the Jamaican sound system in the music we make,” says Spacek. “There’s all these so-called different genres, but we just see them as all just one family. In the end they’re just different tempos and sensibilities of the same rhythm.” That rhythm, the swing, carries traces of its past. Its body has been dispersed across the Atlantic: marked by violence, labor, hybridization, creative upheavals and reversals, restless paths of migration and commerce, moments of resistance and dreams of redemption. In these diasporic unfoldings, the swing has evolved, adapted, mutated. Those struck by the rhythm have both reinvented its prosthetic origins and conjured alternative prophecies, sometimes in folkloric traditions, sometimes in the margins, on the limits of popular music music listings

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or in the neglected underbellies of familiar acoustic space. Recall the recent ancestry. Mystic purveyors of dub armed the bass line in a highly weaponized electronic form; techno rebels programmed the soul of the machine with analog drum machines, keyboards, and sequencers; hip-hop and jungle collagists digitized the beat through cut and paste sample techniques, effect, and manipulation. Today, footwork, dubstep, funky, and all their kin tap into the same alchemy, spread spontaneously through the planetary dissolution wrought by cyberspace. Africa Hitech picks up here. For Spacek and Pritchard, sonic oscillations between the cosmic and street, inner and outer, traces of the past and hyper-tech future, collapse in the simple and pure feeling of the intoxicating bass line. “We’re not trying to make music that’s deep and meaningful. We’re trying to make music that feels good ... the kind of feeling that you can’t escape, and you don’t want to, you get lost in it,” says Spacek, the words now rushing out. “The bass becomes so immense that it’s literally rattling your ribcage. Some call it spiritual. It resonates. It makes sense, intuitively. But there’s some kind of emotion in there that we don’t quite understand. To some degree, we don’t want to understand it, maybe we can’t. We just want to feel it.” 2 AfricA HitecH With Jonwayne, Kush Arora, DJ Dials Thurs/1, 10 p.m. Public Works 161 Erie, SF (415) 932-0955 www.publicsf.com

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VOcaList-Guitarist teri GeNDer BeNDer tears it WiDe OPeN.

Carved Up -F #VUDIFSFUUFTÂľ 5FSJ (FOEFS #FOEFS PO GFNBMF SBHF NVTJD BOE NJTEJSFDUFE NFBU MUSIC For the past few years, Mexican garage punk act Le Butcherettes has been making a clamorous bang touring ‘round the world – that noise thanks in no small part to wild ringleader, Teri Gender Bender. Back in early fall, Bender was expertly matched to fellow wild child, Iggy Pop, in a tour that seemed destined to rule. Tragedy struck when Pop was injured during a live show, and the future of the tour was unclear. Fast-forward three months and the rescheduled shows are finally here, going down at the Warfield. Before the tour, I spoke with the enigmatic Bender – a feminist, a performance artist, and most importantly, a rock’n’roll force to be reckoned with. SFBG What was the reaction when you heard you’d be opening for Iggy Pop? TerI Gender Bender All three of us absolutely fell apart with joy. It’s a dream come true for sure, still pinching myself that it can’t be real. SFBG Any particularly memorable moments from the tours with Dead Weather, Yeah Yeahs, or Deftones? TGB Getting to play in Mexico very early on in this band with Yeah Yeah Yeahs and Dead Weather were such mind blowing experiences. I was only 19 and they were our first big shows. It was a great [yet] nerve racking experience and a real eye opener. We did the Deftones tour with our new lineup, Gabe Serbian who is now the drummer and Jonathan Hischke who plays bass — I did not have a bass player in the early days of the band – we had a lot of good times and weird times – it’s always strange to play first in editorials

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front of people who really are there to see the headline band so it’s very hard work to get them to open their ears and minds to a band they have no idea about. We had a lot of fun also with The Dillinger Escape Plan who were also on the tour. Gabe and Jonathan were friends with all of them from their days in their old bands The Locust and Flying Luttenbachers. It was also a great honor when Chino invited me to sing with him during their song “Knife Party� each night during the Deftones set. Overall we just feel really fortunate to be able to play with and for all kinds of people not just one genre. SFBG How did Serbian end up joining the band? TGB Gabe joined in December of 2010, I met him through my manager Cathy who has known him for a while and suggested that I try jamming with him. We clicked immediately and that was that. She also introduced me to Jonathan who lives at her house and was also friends with Gabe, he had just finished his touring with Broken Bells and said he would love to jam with us and again it just felt great. Our first real shows as the band were this year’s SXSW, which we all had a blast playing. SFBG What music did you grow up listening to? TGB I am not too proud to say I was all about Spice Girls, when I was really You Go Girl power. But I grew up with the music of my father who was all about classic rock and bands like the Beatles played constantly in our house when I was young. picks

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However, I will say that definitely the Spice Girls were not Gabe and Jon’s first CDs. SFBG What inspires your lyrics? TGB My sadness. Loss. Expectations. Deceptions. Women’s Rights. SFBG Does the live show still include food, blood, and/or animals? TGB The live show does not have any of those things now, when I first started the band I used many things like blood and meat as metaphors and symbolism – the meat represented how I felt women were treated, but I grew to realize that people don’t see or necessarily understand that was the message meant by the blood and meat but instead took away a whole different meaning and it became bigger than the music and more the talking point of our show from media – it was not meant as some kind of gimmick, so as soon as [I] felt like that was what it was becoming, I stopped because that was not ever the intention. It came from a place of rage and I channeled those emotions into the music now versus having anything that could be called antics. The only thing left from that period is my bloody apron which really is the notion of the housewife stereotype rebellion. That will go away soon now too as it is also becoming a focus that does not really have the same importance or message once it is co opted into an icon of the band. 2

Sun/4 and Tues/6, 8 p.m., $47 (415) 345-0900 www.thewarfieldtheatre.com

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NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

27

arts + culture: Music

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The oneS yoU love /PUIJOH CVU SBNFO GPS EBZT UP TFF .PSSJTTFZ MJWF By Daniel alvarez arts@sfbg.com MUSiC There are certain people in your life that you will always forgive. No matter how noxious or unreasonable their actions, you’ll always find the silver lining, like a delusional Sam Spade. They could be responsible for defiling a gaggle of farm animals, and you’d convince yourself that the roosters were asking for it. Generally, you are either bonded to these people by blood or have been friends with them for years. However, if you are tragic enough, sometimes this extends to people that you have never met. These are not symbiotic relationships. They don’t care about you, but for whatever reason, you care enough about them to defend them to the death. It’s called being a fanatic. In April of 2009, I made an absurd decision. When roughly 60% of your monthly income goes into paying for your crappy apartment, spending $100 dollars on a concert ticket — ANY concert ticket — is an impossibility. If Jesus Christ and Alexander the Great were in town performing In The Aeroplane Over the Sea in its entirety for a hundred bones, I’d probably settle for watching the clips on YouTube. But this was different. The Moz was in town, and I had to go. Even if it meant eating nothing but ramen for the next 47 days, I had to go see him. Those who had tickets to that Oakland show know what happened next. The day before the gig, Morrissey canceled, claiming that he had returned to England music listings

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because he had been “sickened� at the smell of barbecue at his recent Coachella performance. As absurd as that excuse was, it turns out that it wasn’t even true. He was photographed hanging out at the DNA Lounge the night of the scheduled gig. Reports later surfaced that he really bagged the show because the Fox Theater wasn’t close to sold out. Maybe it was because tickets were 100 FUCKING DOLLARS a pop. I don’t know. I’m not a concert promoter. As angry as I should have been about this, I wasn’t. In fact, I kind of understood. This is Morrissey. As he’s said a million times over, he’s not sorry. And, you know what? He shouldn’t be. How dare the brutes at Coachella infect his air with the smell of murder? How dare the unwashed masses criticize where the great Mozilla spends his evenings? He will play for us when he’s damn well ready. And ready he is (we hope). And like a battered wife, here I am again, prepared to make the exact same absurd decision. Maybe he’ll break my heart again, but I’m willing to take that risk just to see the frontperson from my favorite ever band roll through a couple of his old classics (even if it’s just a couple). Why? It’s because I am a fanatic. And I’m not sorry either. 2 Morrissey Thurs/1, 8 p.m., sold out Fox Theater, 1807 Telegraph, Oakl. (510) 302-2277 www.thefoxoakland.com

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arts + culture: lit

Dave Zirin (left) and John Carlos collaborated on “The John Carlos Story.” Photos courtesy of Haymarket Books

By J.H. Tompkins LIT On October 16, 1968, in Mexico City, American Olympic sprinters Tommie Smith and John Carlos electrified the world by accepting their medals with heads down and gloved fists thrust proudly in the air. Their defiance provided a fitting end for a year that began with Czechoslovakia’s Prague Spring and America’s military humiliation during the Tet Offensive in Vietnam, and saw the assassination of Dr. Martin Luther King Jr. and its explosive aftermath, the general strike in France, the riveting presence and influence of the Black Panther Party, mushrooming opposition to the draft, and rioting in Chicago during the Democratic Convention. Like Mohammed Ali, who in 1967 went to prison rather than fight in Vietnam, Smith and Carlos wrote an important page in American history. Like Ali, they have remained true to the principles they embodied years ago. Now, 43 years down the road, it’s hard to find anyone to speak against what they did. But at the time, precisely because their enemy was weakened by exposure and their supporters inspired, they faced a blistering backlash. They were banished from Olympic Village, and sent back to the United States. Their crime? Smith and Carlos were allegedly guilty of tarnishing the spirit of an Olympic games that were supposed to be above and beyond politics. Author-columnist-cultural critic Dave Zirin, who with Carlos has just published “The John Carlos Story: The Sports Moment That Changed the World,” has more than a few things to say about the sanctity of sports and the way political context shapes athletes as well as the games they play. These days, a conversation with Zirin has a special quality: not only has he written a book that sheds new light on an important, longago event, the present moment is energized by political turmoil that brings to mind the 1960s. “I was an absolute sports junkie in the ‘90s, when I was in college,” Zirin told me in a recent interview. “I memorized stats, followed every sport, it was my oxygen. I didn’t follow politics, much less politics in sports, until something happened that stopped me cold: In 1996 [Denver Nuggets guard] Mahmoud Abdul Rauf made a decision not to stand during the National Anthem. He was asked whether he understood that the flag was a symbol of freedom and equality throughout the world, and he said it may be to editorials

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The message of 1968

Author Dave Zirin talks about a sports moment that changed the world some, but to others it’s a symbol of oppression and tyranny. This was before the spread of the Internet, and Rauf’s stand was only covered by the mainstream media. They crushed him.” Zirin realized then that there was an aspect of sports history he hadn’t concerned himself with, “the place where social justice and sports intersect,” as he put it. It has shaped the work he’s done since. Among many other things, Zirin writes a column, “Edge of Sports” for the Sports Illustrated Website, has a weekly radio show called “Edge of Sports Radio” on XM, and contributes regularly to The Nation and SLAM Magazine. Along with “The John Carlos Story,” he was written books including “What’s My Name, Fool? Sports and Resistance in the United States,” “Welcome to the Terrordome: The Pain, Politics, and Promise of Sports,” and “A People’s History of Sports in the United States.” As Zirin and Carlos point out in the book, the futures of both runners were shaped by what they did in Mexico City. They struggled to find jobs, stability, and peace of mind. Still, Zirin writes “Unlike other 1960s iconography — Woodstock, Abbie Hoffman, Richard Nixon — the moment doesn’t feel musty. It still packs a wallop.” It resonates because the injustices they protested are still rife in America, and because the arena in which they took their stand picks

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— sports — creates common ground for so many people. “I don’t think there’s any place where the contradictions in American society are on such sharp display as in sports,” Zirin told me. “Think back to African American boxing champions Jack Johnson and Joe Louis. Neither made explicit political statements, but they had representative political power, representing power and pride in the context of racism and white supremacy. They weren’t just entertainers but in fact their presence, the inspiration they provided, was a threat to the established order of things.” In sports today, there’s no doubt that athletes, in particular African American athletes, play a similar role. NBA hall of famer Charles Barkley once objected — perhaps with his tongue somewhat in his cheek — to the idea that he was a role model. Zirin laughed at the mention of this, saying, “Yeah, and the sky isn’t blue. You don’t chose to be a role model, you are one. It’s an objective thing. And if people are going to be role models, like it or not, then we all have to examine what they’re modeling. If you believe that the fact that a player can dunk makes him a great person, that says one thing. If having a sense of purpose in politics is important, then that says something very different.” When Zirin and Carlos planned their book, both agreed that they weren’t interested in producing a

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sports memoir. “We didn’t want to say ‘look at me, genuflect at my athletic greatness.’ We wanted to say that not everyone can run at a world-class speed, but anyone can live a life dedicated to a sense of purpose.” That approach runs head-on into a mainstream media that has made a point of emphasizing how “today’s pampered athletes,” as the media often put it, want nothing more than a fat pay check. There’s truth in this perspective — although it should be noted that both the NFL and NBA have experienced lockouts this year and that the same media outlets rarely describe the fabulously wealthy owners of professional franchises as pampered billionaires. “I wrote an article,” he explained, called “ ‘NBA Players: Welcome to the 99%.’ Despite their money and privilege, they found themselves in a position where they were facing arrogant billionaires asking for a bailout because they made a lot of bad business decisions as NBA owners. It’s just like Wall Street bankers want American working people to cover all their bad bets. Will their proposed savings go back to fans? I don’t think so, they’ll just get a bigger slice of the pie.” Besides, Zirin pointed out that there’s a lot more to the story that rarely reaches the public. Professional sports will publicly punish athletes who are caught crossing certain lines. But when it comes to speaking to the politics film listings

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of injustice, the leagues try to deal with transgressions behind the scenes. “There’s a ton of corporate and financial pressure on these athletes,” he says. “And these players talk to each other about guys like Craig Hodges [a guard on three Chicago Bulls championship teams], who in 1992 passed a note to Bush Sr. about Iraq War I when the Bulls visited the White House. He was drummed out of the league for that and these stories are passed down almost like scare stories. At the end of the day, we have to remember what Carlos and Smith did was in the context of global revolt and crisis. It was a symbol of the moment and a perfect merging of movements and moments. We can’t forget that.” Although Zirin makes a point in his work to include athletes of all nationalities and sexual preferences, he has particular insights into the role African American athletes play in American culture. “John Thompson says that Black athletes have the blessing of the burden of representation,” he noted. “It’s a burden because if one athlete does something, then it’s an issue for all Black athletes to deal with, for instance Michael Vick’s involvement with dog fighting. It’s not Peyton Manning’s problem that Chris Herron [a white one-time basketball standout from the mid2000s] got on drugs. It works in a different way for Black athletes. The blessing part is the you’re part of a tradition, you stand on the shoulders of men and women like Jim Brown, Bill Russell, Wyomia Tyus, and Mohammed Ali, and you have an ownership of that tradition. It’s true that Steve Nash and all athletes are part of the tradition, but it runs more seamlessly through the African American community.” These days, the sports world is talking about another scandal, this time the ugly situation at Penn State. Zirin discusses those problems in the context of a bankrupt culture, where the NCAA — the selfproclaimed moral arbiter of college sports — refuses to speak to hypocrisy that links all the problems in order to ensure its own survival. Sooner or later, he said, the NCAA will either sink beneath its own corrupt weight, or athletes — who because of the professionalization of youth sports know each other in many cases from their early teens — band together and demand some compensation for the money that they generate. College presidents are the loudest complainers and the most important enablers.” 2

november 30 - december 6, 2011 / SFBG.com

29

ARTS + cuLTuRE: vISuAL ART

fRoM LEft: Ray BELDnER, Jared Loughner (drawn by the hand of a young woman), 2011; Ray BELDnER, barack 03.02.10, 2011; LESLIE SHowS, detaiL of face r, 2011. | Ray BeldneR images couRtesy of cathaRine claRk galleRy, san fRancisco; leslie shows image couRtesy of the aRtist and haines galleRy

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HaIRy EyEBaLL What more can art tell us about our culture’s conflicted relationship to celebrity, let alone its own conflicted relationship with celebrity? Not much, I suspect. Kim Kardashian needs Barbara Kruger, who collaborated with the self-branding phenom on a now infamous cover portrait for W magazine’s 2010 art issue, like a fish needs a bicycle. And Warhol’s silk-screened Marilyns, or even Jeff Koons’ ceramic tribute to the King of Pop and his pet primate, seem positively quaint next to the hollow extravagance of Siren (2008), Marc Quinn’s life size statue of a yogaposing Kate Moss cast in solid gold. I’m sure, though, that Kruger and Quinn appreciated the press their pieces netted them. So, kudos to Bay Area artist Ray Beldner for attempting to scout some new routes through well-trod terrain. His two series of portraits at Catharine Clark Gallery are as much about the processes used to create them as they are the famous (and sometimes infamous) faces they depict. The results are decidedly mixed. For the ghostly digital portraits in the first series, “101 Portraits,� Beldner overlaid the first 101 results that came up in a Google image search for a given subject, resulting in a hazy composite of that person’s publicly circulated image at a particular moment in time that reveals little of their actual likeness. Some subjects are recognizable by a certain feature (Sarah Palin’s trademark up-do, Barack Obama’s prominent ears), whereas others editorials

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(Michael Jackson, Britney Spears) are nearly unidentifiable, erasermarks of their former selves. The portraits invite allegorical speculation. Is the recognizability of

kIM kaRDaSHIan nEEDS BaRBaRa kRugER LIkE a fISH nEEDS a BIcycLE. Palin and Obama’s outlines a testament to the consistency of image in politics? Does the illegible smudginess of Jackson and Spears offer a formal comment on their respective falls from grace? But why over think things? Beldner’s composites are at their most intriguing when viewed as useless data sets; palimpsestic reminders that for all of the algorithms Google has churning out its top results, the internet is still something of an impenetrable jungle. Gimmickry gets the better of Beldner’s other series, “Drawn by the hand of...,� hung in the gallery’s rear space. Wearing silicone gloves made from casts of other people’s hands, Beldner applied colored ink directly to paper. The resulting ventriloquized finger-paintings — whose sparse, monochromatic figurations recall Raymond Pettibon — are too stylistically uniform to say much about the potential affective affinities between the hand used and the person depicted. Rather, the paintings come off

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as obvious and sometimes ghoulish sight gags: Jackson (again) was drawn using the hand of a young boy; for Jaycee Lee Dugard’s kidnapper Phillip Garrido, Beldner used the hand of a young girl. If the gesture seems familiar, it’s because it’s old news: another Young British Artist alum of Quinn’s, Marcus Harvey, caused much pearl-clutching with his 1995 portrait of British child murderer Myra Hindley, created by applying gray and black acrylic paint using a plaster cast of a child’s open palm.

Rock tuMBLER Leslie Shows’ large-scale mixed media portraits of the many faces of two pyrite chunks are the formidable and beguiling standouts of “Split Array,� her first solo exhibit at Haines Gallery. Despite Shows’ subject matter — fool’s gold — there is no joking around here. The pyrite portraits are the 2006 SECA Award recipient’s most technically finessed exploration of the parallels between geologic formation and the material process of painting to date. Shows has worked layers of Plexiglas, colored ink, Mylar, crushed glass, metal dust, and mirrored shards onto thin, reflective aluminum panels (which she also engraves) to create trompe l’oeil effects that give her compositions dimensional heft despite their bas relief-like surfaces. When viewed head-on, a silvery pyramid-shaped outcrop seems to emerge from the upper left section of Face K (2011), pulling away from its striated Plexiglas backing. Similarly, Face P (2011) seems to extend infinitely back into the upper right hand corner of its aluminum “canvas� even music listings

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as bloodied streaks (ink stains, perhaps?) in the lower half foreground the entire composition’s flatness. However dazzling, the pyrite portraits are not merely the sum of such special effects. A deeper kind of alchemy is going on here beyond Shows’ transformation of industrial materials into representations of a mineral which is, by and large, useless to industry. I’m still trying to put my finger on it. Robert Smithson’s dictum “Nature is never finished� comes to mind as a signpost, although I’m guessing he would’ve had beef with the Faces series. In Smithson’s gallery installations, the mirrors placed to infinitely reflect piles of shells or dirt were reminders of these natural components’ infinite variety and unknowable totality. Nature could be brought into the white cube but the white cube would never fully exhaust it. Show’s pyrite faces — with their man-made materials and Cubist collapsing of multiple perspectives — arrive at a similar conclusion, but through overt representation rather than presentation. To attempt the latter would risk evoking a naive transcendentalism which in this day and age could amount to a fool’s errand. 2 RAY BELDNER: PORTRAITS Through Dec. 23 Catharine Clark Gallery 150 Minna, SF (415) 399-1439 www.cclarkgallery.com LESLIE SHOWS: SPLIT ARRAY Through Dec. 24 Haines Gallery 49 Geary, Fifth Flr., SF (415) 397-8114 www.hainesgallery.com

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arts + culture: theater

tAke A Bite: RiSinG StAR eRin MARkey. Courtesy san FranCisCo Film soCiety

AStRAl pRojectionS 1FSGPSNFS &SJO .BSLFZ CSJOHT IFS ²IPNF NPWJFT³ UP 4BO 'SBODJTDP By RoBeRt AvilA arts@sfbg.com tHeAteR A savage and seductive performer with a potent skill set, Erin Markey has been busy these last several years conquering New York’s downtown performance scene. But she’s no stranger to San Francisco. The rising 30-year-old performance artist, actor, and playwright credits visits to the Bay Area with some formative experiences, including her introduction to pole dancing — subject of her acclaimed onewoman play, Puppy Love: A Stripper’s Tail — and the invention of her drag persona, Hardy Dardy, the Michigan patriarch of her new multimedia, multi-character musical solo show, The Dardy Family Home Movies by Stephen Sondheim by Erin Markey. So it’s fitting as well as plain badass that the new piece receives its world premiere here, this week, under the auspices of the San Francisco Film Society’s KinoTek program. Markey, reared in the South and Midwest, studied theater and gender studies at the University of Michigan, where renowned NEA Four performance artist and faculty member Holly Hughes became a critical influence. Today she enjoys a growing reputation as an intensely charismatic shape-shifter in the queer performance and cabaret scenes, and a sharp and daring actor at large. I spoke with Markey by phone from New York about the background to The Dardy Family Home Movies. San Francisco Bay Guardian You’ve said you became a stripper to save money to move to New York, but were inspired by the pole dancers you’d first seen in SF. It almost sounds like a post-graduate program for you in performance. Was it a big adjustment? erin Markey It was a big adjustment. The dynamics between the girls that work there are really complicated. I knew I was leaving, so I had a different relationship to it than most. But it was hugely influential. It’s such an isolated, specific, weird context, with arbitrary sets of rules that you can only figure out by doing it wrong. It was almost the perfect thing to do for somebody who was studying queer studies and theater practice as well. It was constantly surprising me, and defying everything that I was reading about, in terms of feminism. Because there are camps — people being pro-porn editorials

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or anti-porn, for example. But it’s just so complicated. There’s almost nothing else to do but make creative work around it, just to reflect and acknowledge how complicated it is. I think it does that work much more service than being just “for” or “against.” The experience really changed my relationship to storytelling. Performing there feels really similar to performing for any crowd. But in that context you never know what exploitation means, if you’re being exploited or if you’re exploiting them because you’re affecting this interest. It feels similar to acting and doing cabaret and stuff like that. So I tried to tease out what felt the most sincere, even if it was really absurdist and ridiculous — that feels most sincere sometimes. Those just go in and out: being really absurd and being hard and real. SFBG Can you explain who the Dardys are? eM Actually, maybe 10 years ago, I don’t remember when, but in San Francisco I went to a drag king competition. There was a workshop, and I took it. We were all making drag king characters. I used to sing a little song in my head all the time, like a gibberish song: “hardee, dardee, hardee, har ...” So I just decided to name my guy Hardy Dardy. He ended up being my go-to drag persona. He’s actually been in almost every show I’ve ever made on some level, even if he wasn’t named as Hardy Dardy. He was in Puppy Love, and he was in a show that I made about being my sister’s maid of honor. He had his own show called The Curse, which was talk-show style. During that show, I ended up having to flesh out more of his life. His wife was first introduced in Puppy Love, actually. He mentions briefly that he went to the strip club when he got upset one day. So Molly became his wife, and I became very interested in her. She’s definitely not my mom, but she could be very good friends with her. I started makpicks

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ing the Dardy Family Home Movies based on Molly’s experience mostly — her dealing with her kids leaving home, and having to re-understand her entire identity. I watched my mom go through that. All she wanted to do was be a good stay-at-home mom. It’s not like other professions where the older you get supposedly the higher up you get in the ranks, and the more you become what you wanted to be in the first place. You prepare these children to leave and be good people, and then they leave. SFBG It’s sort of built-in obsolescence. eM I thought about that a lot when I thought about the women at the strip club — how they depreciate in value over time, because youth is a really important part of making money in that context. It seems like this dark cloud hanging over these women’s heads. As an actor, I know what the value of being young is in this industry. It hangs over our heads as well. This show [includes] the conversation between Molly and her daughter, Kelly — who’s “a lot like me,” heh, heh — and who’s ultimately talking about being a performer. These things I’m talking about aren’t crazy explicit [in the show] necessarily. It’s a family of characters that I’ve been developing over years. But in the subtext of everything, this stuff is definitely there. 2 the DarDy Family home movies By stephen sonDheim By erin markey Through Dec. 11 Fri.-Sat., 8 p.m.; Sun., 6 p.m., $15 SFFS New People Cinema 1746 Post, SF www.sffs.org

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NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

31

artS + culture: dance

catching aiR: DuDley FloReS anD Stacey PRintz. Photo by Lois GreenfieLd

Swing, ShiFt

Printz Dance Project pushes the limits of gravity with Hover Space

By Rita Felciano arts@sfbg.com Dance Have you ever climbed a steep mountain but were unsure that your lungs or legs would hold up to get you to the top? Or felt a relationship slip through your fingers before you were barely aware of what happened? How about feeling your feet firmly planted, only to land suddenly on your behind? The performers in Stacey Printz’s new Hover Space, her most ambitious project yet, are finding out that their dance floor is putting the lie to such basic concepts as grounding, balance, gravity, or momentum. The space moves up and down and tilts at precarious angles, and yet the dancers appear to have the times of their lives. At a late rehearsal in Z Space at Theater Artaud for the upcoming Hover Space, they giggle and struggle, accommodate and resist the demands of this unstable environment. The 75-minute work may be physically challenging, but thematically Printz believes that it rests on a solid, if volatile, base. “How do long-term relationships sustain themselves?” the dancer, choreographer, wife, and mother asked herself. “What does it look like in a place of contentment when you have peace and support, though you have learned to listen and compromise?” For Printz it means being feeling grounded, and therefore being secure enough to take larger risks, “do crazier things” and expand into more new worlds. 32 SAN FRANCISCO BAY GUARDIAN

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For some people that solidity comes through relationships, she says; others find it in themselves though “this space cannot be static because the moment you lose the ebb and flow, it’s dead.” It’s good reasoning from a dancer-choreographer who has always refused to be pinned down. Still an awesomely strong performer, Printz draws on jazz, modern, some ethnic forms, and hip-hop, disciplines in which she has both trained and performed. If the term “fusion” didn’t suggest borrowing, perhaps even an essential lack of artistic independence, she wouldn’t mind the description. “But this is who I am,” she says. “This is how I push myself the most.” Having a foot in several worlds has given Printz access to a creative freedom that informs the choreography for her own company but which is most strongly seen in her own dancing. For instance, last October’s WestWave Dance Festival piece If You Knew — a duet with beatboxer-musician Tommy Shepherd — was a fulminating explosion of rhythm and motion, with the two of them challenging each other to an ever-higher degree of virtuosity. But she has also challenged her own (and other) dancers to step beyond their own comfort levels. In the 2009 spitfire Cross Talk, the members of the National Folk Theatre of Ireland loosened up their torsos while Printz’s barefoot dancers shone in pristinely precise footwork. In addition to choreographing music listings

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for her own 11-year old company, Printz regularly collaborates with Marc Bamuthi Joseph on his multigenre theater pieces. “I have known him for a long time, and I know how his body moves, so I can give him what he needs within a specific context,” she explains. But working with Bamuthi gives Printz what few choreographers working on someone else’s show get: time and respect. “He is brilliant and has the resources and a big umbrella under which we all can work together for months,” she says. She also learned that “if you bring in collaborators, let them do what they do best.” Bamuthi lets her make her own gifts to his projects. Printz’s primary collaborators for Hover Space are her 12 dancers, the largest group she has ever worked with locally. The choreography of a dozen or so distinct episodes includes looks at the relationships of three very different couples. While she often uses pre-recorded music, for her first evening-length piece Printz has invited DJ-composer Kraddy (a.k.a. Matthew Kratz) to join the team. Designer Sean Riley suspended the 12x15 movable platform from Z Space’s ceiling. David Szlaza created the lights; Catherine Myre signed on for the costumes. 2 Hover Space Wed/30-Sat/3, 8 p.m., $22–$25 Z Space at Theater Artaud 450 Florida, SF www.brownpapertickets.com

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SCreen dreAm: JeAn duJArdin AS george VAlenTin in The ArTisT.

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.JDIFM )B[BOBWJDJVT USJVNQIT CFZPOE IPNBHF XJUI The Artist By KimBerly Chun arts@sfbg.com Film With the charisma-oozing agility of Douglas Fairbanks swashbuckling his way past opponents and the supreme confidence of Rudolph Valentino leaning, mid-swoon, into a maiden, French director-writer Michel Hazanavicius hits a sweet spot, or beauty mark of sorts, with his radiant new film The Artist. In a feat worthy of Fairbanks or Errol Flynn, Hazanavicius juggles a marvelously layered love story between a man and a woman, tensions between the silents and the talkies, and a movie buff’s appreciation of the power of film — embodied in particular by early Hollywood’s union of European artistry and American commerce. Dashing silent film star George Valentin (Jean Dujardin, who channels Fairbanks, Flynn, and William Powell — and won this year’s Cannes best actor prize) is at the height of his career, adorable Jack Russell by his side, until the talkies threaten to relegate him to yesterday’s news. The talent nurtured in the thick of the studio system yearns for real power, telling the newspapers, “I’m not a puppet anymore — I’m an artist,” and finances and directs his own melodrama, while his youthful protégé Peppy Miller (Bérénice Béjo) becomes a yakky flapper age’s new It Girl. Both a crowd-pleasing entertainment and a loving précis on early film history à la Martin Scorsese’s Hugo, The Artist never checks its brains at the door, remaining selfaware of its own conceit and its forebears, yet unashamed to touch editorials

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the audience, without an ounce of cynicism. And if you blink, you might miss the allusion to The Artist’s backstory: in the opening film-within-a-film, Valentin dons a mask and a top hat in a swift tip of the topper to iconic French villainantihero Fantômas, which provided the initial inspiration for producer Thomas Langmann to approach Hazanavicius. Langmann wanted the director to do a remake of the 1960s Fantômas movies starring Jean Marais. “I said, ‘No, I can’t do that. It doesn’t interest me,’” recalls the director on a recent visit to San Francisco. Langmann, however, insisted on a movie with the director, who had made the Bond-parody OSS 117 series with Dujardin. “So I said, OK, I’ll do your Fantômas — not your high-tech one, but the 1905 one, the real one, and I’ll do it in black-and-white, and silent.” In the end, Langmann gave the go-ahead for a silent movie untethered to the Fantômas franchise — “I knew when we met that he was crazy enough to follow me and to support me,” quips Hazanavicius — and with the Valentin character on his mind and two scripts on hand, one for The Artist as it stands and one for the adventure comedy that materializes as the initial filmwithin-a-film, the director made the silent he had dreamed of, shooting at Hollywood locales such as the Paramount Studio and Mary Pickford’s mansion and utilizing far-from-analog technology when needed (for example, the Hollywood sign is transformed into its original “Hollywoodland” state digitally, and the film’s luminous black-and-white picks

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was rendered using 500 ASA color film to get a grainier look). One of the keys to casting the period spell was keeping everything simple, rather than highlighting obvious tropes. “I put a lot of things out of the frame, always,” Hazanavicius explains, “because when there are too many things, it’s just too much. You show the audience, ‘Look it’s the ‘20s! It’s so ‘20s! Did you not know we were in the ‘20s?’ Sometimes you have to just show a white wall, and that’s enough. The audience is there to believe, so the more you let them believe, the better it is.” Likewise the lightest touch was required with the actors, who worried about replicating the silent era’s performances and were tasked with conveying everything with the briefest flicker of emotion dancing across the face, or body language (which Béjo memorably plays with in a scene when she mimes an embrace with her would-be heartthrob’s jacket). “I know it was stressful for the actors in the beginning because they wanted to know if I asked for something very special, but I didn’t,” says the director. “They don’t play silent, really — they play ‘20s, and I think it’s different. We think [silent film players] overact not because the movies are silent but because the codes of the ‘20s are very different from the codes of acting today. “So what I said to [Dujardin] was very simple: ‘Don’t be upset with the silent thing,’” Hazanavicius continues. “‘You don’t have anything special to do. You have to do what you usually do — you come with your face, your body, your smile, your charm, and you embody the

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character, and you respect the situation, and everything will be fine.’” Also fueling the feel was the fact that The Artist was shot at 22 frames a second, rather than the standard 24. “It gave us a very small acceleration in the gesture so the way they move is a little bit too fast, so that gives a flavor of the ‘20s,” adds the filmmaker. For Hazanavicius, the draw to make a silent was multipronged. “I wanted to share my experience as an audience member because I love the way the story is told to you in a silent movie,” he says. “There’s a lot of room for you. You can make your own movie. You participate in the storytelling process. I really like it because you’re very close to the story — it’s your voices, your dialogue, your sound design — you’re part of the process, so I really love that.” Another enticement was the formal challenge of not only assembling the narrative about early film stars, which incidentally echoes that of John Gilbert and Greta Garbo, but shooting in a silent style, playing with era’s visual codes. To that end, Hazanavicius and leading lady (and romantic partner) Béjo did enormous amounts of research, poring through the period’s films and actors and directors’ biographies. “I hope my future movies will be better thanks to this one,” says the director. “When I wrote the script, I sent it to the script supervisor, and she said to me, ‘You really want to, I don’t know how to say, show off!’” he remembers. “‘You really want to be remarked [upon].’ I said, ‘Yes!’ I think we all want to be remarked [upon]. I don’t want to make a discreet movie that nobody wants to see.” Sounds like the words of a real artist. 2 The ArTiST opens Fri/2 in San Francisco.

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arts + culture: nightlife get tickets at

FIre INSIDe: THeaTre FLaMeNCO’S JUaN SIDDI aND CarOLa ZerTUCHe | photos by russ gelardi

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will DowNiNg the prince of Sophisticated Soul Thurs-Sun, Dec 1-4

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w/ RAnDy bREckER, DAviD SAnchEz, Antonio SAnchEz & Scott collEy ................................................... Thurs, Dec 8, 8pm

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coMing Soon: Spyro gyra dec 16-17 All shows are all ages. Dinner Reservations Recommended.

34 SAN FRANCISCO BAY GUARDIAN

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GyPSy qUeeN By Marke B. marke@sfbg.com SUPer eGO It was one of those nightlife experiences so magical it turned anthropological, so dreamlike it felt familiar — a long-awaited re-encounter, a foretold déjà vu, a pre-jà vu, if you will. (And I just know you will.) The dustsoaked Spanish heat, the rustle of pleated lace, the handclaps, the catcalls, the foot-stomps. Ancient, Roma-derived acoustic rhythms knotted together in the windowless tavern’s charged air, its tiled, yellowed interior crowded with dark oak tables and heavily varnished paintings — and more than a few heavily varnished patrons, besides. Earlier this year, we’d braved a gaudy riverfront of Euro-douche tourist bars in Seville to seek out famous flamenco hideaway Casa anselma, which instantly whisked us back hundreds of years to an idealized Spanish moment of clanking tankards, bangle-clad gypsies, passionate duels, tragic affairs, and completely bonkers over-the-top drama (not to mention stabbed bulls and expelled Jews, ahem). All the overbearing sorrow and icy hauteur of traditional flamenco was found there, but with a wink of course. The traditional art form is nothing if not a party, with its songs about drunken flirtation and impulsive action, its motion composed of impatient seductions and ridiculous come-ons, edged toward climactic applause by alternating spells of self-conscious posing and cartoonish rejection. And then, after her students had twirled before the claque of ace musicians, the imposing Doña

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Anselma herself rose, ordered all the lights out but the candle at her table — this was at three in the morning — and launched throatfirst into a series of epic cantes that held us rapt for over an hour. Olé! I recently relived that heady experience at Theatre Flamenco of San Francisco’s “45 Años de Arte Flamenco” performance at Marines Memorial Theater. The fantastic local professional dance company — the second oldest in the state, and the first to mount full-length Spanish dance numbers (www.theatreflamenco.org) — proudly fierced up rapturous chills, led by charismatic artistic director Carola Zertuche with great performances by dancers Juan Siddi and Cristina Hall, and a crackerjack band of musicians, including singer Kina Mendez and guitarists José Luis Rodriguez and José Tanaka. (Another lauded local flamenco troup Caminos Flamencos, comes to Marines Memorial Fri/2-Sun/4, www. caminosflamencos.com.) As it happens, we have a great, free(ish) weekly flamenco fix in San Francisco — Sunday night’s Flamenco room at Thirsty Bear Brewing Co., with shows at 7:30 and 8:30 (www.thirstybear. com/flamenco) Thirsty Bear’s a neat spot that safely navigates the heretofore undiscovered Bermuda Triangle separating zesty local microbrews, authentic Spanish tapas, and adventurous young techies. It’s super cute. The small Flamenco Room troupe, led by Kerensa DeMars, puts on an energetic but absorbing 20-or-so minute set, guitarist’s fingers and dancers’ feet flying — you can grab a housemade barleywine or a $6 beer-cheese pairing and watch music listings

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from the bar, or reserve a table for a full-on tapas meal — duck rillettes and a glass of Cava, sí. Stop in on your way back from the weekend, or your way out for the week, for a hot-cool Spanish treat.

DaNNy krIVIT I spent a good part of the late ‘90s flying to NYC for the ridiculously transporting Body and Soul parties this man threw with Francois K. and Joe Clausell, mixing everything from Nuyorican funk and bebop jazz to gospel house and Detroit techno for everyone from gangstas to voguers (and gangstavoguers). Danny’s vinyl style is expansive, witty, and welcoming, he’s a true spirit of the night. Fri/2, 10 p.m.-4 a.m., $10 before 11 p. m., $15 after. Beatbox, 314 11th St., SF. www.beatboxsf.com

NO ParkING ON THe DaNCeFLOOr Before you groan at this party’s title, know that fab club Mighty almost got shut down by an SFMTA proposal to ban all parking and stopping in its area. (I usually take the 22 Fillmore there, but still.) An online petition went admirably viral and Mighty’s here to stay. This free “thank you” party features DJs Galen, Syd Gris, Ren the Vinyl Archeologist, and tons more SF biggies. Fri/2, 9 p.m.-late, free. Mighty, 119 Utah, SF. www.mighty119.com

Mark e. One of my favorite dance music producers of the past few years (not just because of his name), Birmingham, UK’s Mark E. builds meticulous, entrancing grooves out of stripped -down 90s jam loops, redlight disco snippets, and ‘80s analogue overhears that teem with relaxed intelligence — and lots of sexy-sexy. Kids get down to him at this week’s Honey Sundays. 2 Sun/4, 9 p.m., $5. Holy Cow, 1535 Folsom, SF. Facebook: Honey With Mark E

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jazz/new music

Lisa B, Frank Martin, Fred Randolph, Akira Tana 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN Black Market Jazz Orchestra 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN “Blue Note Rendezvous� .BTPO 4PDJBM )PVTF 4' XXX NBTPOTPDJBMIPVTF DPN QN #FTP /FHSB BOE CFMMZ EBODFST

picks

arts + culture

DEAD NATION PRESENTS folk / woRld/countRy

Eddie Palmieri :PTIJÂľT BOE QN

dance cluBs

Benoit & Sergio, No Regular Play with Lights, Down Low 1VCMJD 8PSLT 1N Braza! 4PN UI 4U 4' QN %+T 4BCP ,FOUP &MBO TQJO #SB[JMJBO #BUVDBEB 4BNCB Fringe %/" -PVOHF QN *OEJF NVTJD WJEFP EBODF QBSUZ XJUI #MPOEJF , BOE TVC0DUBWF Duniya Dancehall #JTTBQ UI 4U 4' QN 8JUI MJWF QFSGPSNBODFT CZ %VOJZB %SVN %BODF $P BOE 8POUBOBSB 3FWPMVUJPO %+ +VBO %BUB TQJOT CIBOHSB CPMMZXPPE EBODFIBMM BOE NPSF Oldies Night ,OPDLPVU %+ 1SJNP %BOJFM BOE -PTU $BU TQJOOJOH EPP XPQ TPVM BOE TDSBUDIZ TFWFO JODIFT Old School JAMZ &M 3JP QN 'SVJU 4UBOE %+T TQJOOJOH PME TDIPPM GVOL IJQ IPQ BOE 3 # 120 Minutes &MCP 3PPN QN 8JUDI IPVTF XJUI +BNFT 'FSSBSP MJWF BOE %+T 8IJUDI /BLP BOE (V..Z#F"3 Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Strangelove: Germany Calling $BU $MVC QN (FSNBO JOEVTUSJBM FMFDUSP HPUI XJUI %+T 5PNBT +PF 3BEJP 6OJU BOE 9BOEFS

DJ DRagonFly & thE Dogon lIghts

FRI DEC 9th 30 6+2: ‡

satuRday 3 Rock /Blues/hip-hop

Back Pages +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN “Bay Brewed: Rock and Roll Beer Festivalâ€? 7FSEJ $MVC .BSJQPTB 4' XXX UIFCBZ CSJEHFE DPN QN 8JUI 8FFLFOE 4MFFQZ 4VO &YUSB $MBTTJD BOE 5FSSZ .BMUT Dangermaker, Hello Monster, Robot Ears, Currents 4VC .JTTJPO QN Dead to Me, Comadre, Atlas 5IFF 1BSLTJEF QN Digital Tape Machine 4MJNÂľT QN Entrance Band $BGF %V /PSE QN Fast Times .BHHJF .D(BSSZÂľT (SBOU 4' XXX NBHHJFNDHBSSZT DPN QN GSFF Freezepop &MCP 3PPN QN Guella .BTPO 4PDJBM )PVTF 4' XXX NBTPOTPDJBMIPVTF DPN QN GSFF Karen Lovely #JTDVJUT BOE #MVFT BOE QN National, Local Natives, Wye Oak #JMM (SBIBN $JWJD "VEJUPSJVN (SPWF 4' XXX BQFDPODFSUT DPN QN Troy Neihardt, Rome Balestrieri & Guido +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT 0Âľ'BSSFMM 4' XXX EVFMJOHQJBOPTBUGPMFZT DPN QN New Orleans Suspects #SJDL .PSUBS QN Papercuts, Dominant Legs, Tim Cohen’s Magic Trick 3JDLTIBX 4UPQ QN “Rex Foundation Benefitâ€? 'JMMNPSF QN 8JUI 3VO GPS UIF 3PTFT UIF &WFSZPOF 0SDIFTUSB Jake Shimabukuro, Leftover Cuties 8BSGJFME QN Shannon and the Clams, Mikal Cronin, Pangea &M 3JP QN Slouching Stars, SorryEverAfter, Primitive Heart ,OPDLPVU QN Sting /PC )JMM .BTPOJD $FOUFS $BMJGPSOJB 4' XXX NBTPOJDBVEJUPSJVN DPN QN Tijuana Panthers, the She’s, Melted Toys #PUUPN PG UIF )JMM QN Quick and Easy Boys, Gold Diggers, Gayle Lynn and the Hired Hands "NOFTJB QN Weakerthans, Ford Pier *OEFQFOEFOU QN Welcome Matt )PUFM 6UBI QN Yo! Majesty!, Bam! Bam!, Parentz )FNMPDL 5BWFSO QN

$%# 4( s 0- 3(/7 !,, !'%3 s /. 3!,% ./7

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jazz/new music

Grex .FSJEJBO (BMMFSZ 1PXFMM 4' XXX NFSJEJ BOHBMMFSZ DPN 1N Wake the Dead, Rowan Brothers 4U $ZQFSJBOÂľT $IVSDI 5VSL 4U 4' QN

folk / woRld/countRy

Eddie Palmieri :PTIJÂľT BOE QN Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Skillet Licorice $BGF *OUFSOBUJPOBM )BJHIU 4' QN GSFF

GET GUARDIAN DEALS ON FORKFLY.COM NOW!

dance cluBs

Bootie SF %/" -PVOHF QN .BTIVQT Debaser ,OPDLPVU QN GSFF XJUI GMBOOFM CFGPSF QN ´ T BMUFSOBUJWF EBODF QBSUZ XJUI %+ +BNJF +BNT BOE &NEFF PG $MVC /FPO CoNtiNUeS oN PAGe 36 >>

music listings

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on the cheap

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classifieds

NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

35

music listings

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

SAT/3 CONT>>

K/(- ,- "/ + K

A Beer Drinker’s PArADise!

7 - 9]ĂŠ "6 ,ĂŠĂŽä

7pm 8pm

since 1987

red hots burlesque omG! karaoke /0 '30/5 300.

/ 1,- 9]ĂŠ ,ĂŠÂŁ

casino niGht Go deep: let’s wrestle

6pm 9pm

, 9]ĂŠ ,ĂŠĂ“

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]Ê ,ÊÎ 9pm seXpistolwhip- -06% %*35: %"/(&3064

shannon and the clams, mikal cronin, panGea 406/%4 /0

9pm

("3"(& 16/, -1 9]ĂŠ ,ĂŠ{

eaGle in eXile

3pm

" 9]ĂŠ ,ĂŠx 1#3 8&-- %0--"3 %": "-- %": 9pm black carl, tba %&4&35 406- 9pm radical Vinyl - %+Âľ4 41*/ '6/, )*1)01 0-%*&4 16/, /0 /1 - 9]ĂŠ ,ĂŠĂˆ ."3("3*5"4 "-- /*()5

for future event info looK @ toronADo.com

hAPPY hour every Day until 6:00 pm

sarah allner and the seedlinGs, mike Johnson ".&3*$"/" '0-, /0 camp out, Julia weldon, GiGGle party

7pm

hours: Daily 11:30 am to 2:00 am

9pm

*/%*& #"$,300.

dJs miss pop and dark dame

9pm

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

41*//*/( /&8 8"7& /0

&@JJ@FE ,KI<<K ,

XXX UPSPOBEP DPN

www.elriosf.com ~ 415-282-3325

Cockfight 6OEFSHSPVOE 4' )BJHIU 4' QN 3PXEZ EBODF OJHIU GPS HBZ CPZT Foundation 4PN UI 4U 4' QN %+T 4IPSULVU "QPMMP .S & 'SBO #PPHJF TQJO )JQ )PQ %BODFIBMM 'VOL 4BMTB Haceteria %FDP -PVOHF -BSLJO 4' XXX GBDF CPPL DPN SBODIFSJB QN 8JUI 4FBO %JNFOUJB Holidaze with Lee Combs 1VCMJD 8PSLT 1N Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Saturday Night Soul Party &MCP 3PPN QN %+T -VDLZ 1BVM 1BVM BOE 1IFOHSFO 0TXBME TQJOOJOH ´ T TPVM T

sunday 4 Rock /blues/hip-hop

Marco Benevento *OEFQFOEFOU QN Black Heart Procession, Chelsea Wolfe #PUUPN PG UIF )JMM QN Cass McCombs Band, White Magic, Liza Thorn (SFBU "NFSJDBO .VTJD )BMM QN Tommy Castro #JTDVJUT BOE #MVFT BOE QN Iggy & the Stooges, Le Butcherettes 8BSGJFME QN Lucky Jesus, Victory and Associates 5IFF 1BSLTJEF QN Mournful Congregation, Aldebaran, Anhedonist, Vastum )FNMPDL 5BWFSO QN Next Big Thing Tour 4MJNÂľT BN Peach Kelli Pop, Wrong Words, Preteen ,OPDLPVU QN 8JUI %+ 5PVCJOÂľT 4PVM $MBQ BOE %BODF 0GG Eliza Rickman "NOFTJB QN Terry Savastano +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN

jazz/new music

Blues organ party with Lavay Smith and Chris Siebert 3PZBM $VDLPP .JTTJPO 4' XXX

SPZBMDVDLPP DPN QN GSFF Kally Price Old Blues and Jazz Band "NOFTJB QN Tom Lander & Friends .FKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Le Hot Jazz )FSCTU 5IFBUSF 7BO /FTT 4' XXX TGQFSGPSNBODFT PSH BN

folk / woRld/countRy

Eddie Palmieri :PTIJÂľT BOE QN Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI $PVOUSZ $BTBOPWBT Leah Tysse, Mike Blankenship #MJTT #BS UI 4U 4' XXX CMJTTCBSTG DPN 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 EVCTUFQ SPPUT BOE EBODFIBMM XJUI %+ 4FQ .BOFFTI UIF 5XJTUFS BOE HVFTU /FCBLBOF[B 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 5 Rock /blues/hip-hop

Damir +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN Frail, Young Digerati &MCP 3PPN QN “Help is on the Way for the Holidays Xâ€? .BSJOFT .FNPSJBM 5IFBUSF 4VUUFS 4' XXX IFMQJTPO UIFXBZ PSH QN Sea & Cake, Lia Ices (SFBU "NFSJDBO .VTJD )BMM QN Slow Poisoner, Drum Stringer, Jordan B. Wilson #PUUPN PG UIF )JMM QN GSFF Themes, Seventeen Evergreen, Elizaveta, 3 Leafs, Ariella Daly $BGF %V /PSE QN

jazz/new music

Bossa Nova 5VOOFM 5PQ #VTI 4' QN GSFF -JWF BDPVTUJD #PTTB /PWB

dance clubs 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!

WED Nov 30 9pm, $6 THU Dec 1 9pm, $6

O=<F=K<9Q ))'+( % K9LMJ<9Q )*'+ WInnER OF LAST COMIC STAnDInG!

secreT secreTaries

>=DAH= =KH9JR9

WEAPONS OF THE FUTURE

Thursday, 12/1,Friday 12/2 & saTurday 12/3

LARRY “BUBBLES� BROWn, MARTIn RIZO

LM=K<9Q )*'.

Deeper, The Cuss

@9 @9 @=9L@=FK @GDA<9Q =<ALAGF

CHASMS

MARGA GOMEZ, KEITH LOWELL JEnSEn, KURT WEITZMAnn, CAITLIn GILL

Tied to the Branches, Mountshout

O=<F=K<9Q )*'/

JG:=JL <M;@9AF= JASOn WHEELER, GRAnT LYOn

FRI Dec 2 THE OLD FIRM CASUALS 8:30pm, $10 Slick 46(Australia), adv. tix Toughskins, Harrington Saints, on sale Sydney Ducks

YO! MAJESTY

:G::Q KD9QLGF ROBERT DUCHAInE, GRAnT LYOn

SUN Dec 4 7pm, $10 adv. tix on sale

MOURNFUL CONGREGATION

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

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

MON Dec 5 9PM, FREE

PUNK ROCK SIDESHOW

TUE Dec 6 9pm, FREE

DJ’S ERIC & JULIETTE

WED Dec 7 9pm, $5

CASY & BRIAN

>,+5,:+(@

*6))Âť: *64,+@ :/6>*(:, ;/<9:+(@ :<5+(@

1,--9,@ 96::

-YVT [OL *VTLK` *LU[YHS 9VHZ[Z 2LSS` 7Y`JL 4PSLZ 2

;/<9:+(@

9,*6=,905. *6440,:

Waldo Astoria, Symbolick Jews

2PYH :VS[HUV]PJO =SHKPTPY 2OS`UPU 1HUPUL )YP[V *OYPZ .HYJPH @\YP 2HNHU

Upcoming: Scout Niblett (adv. tix on sale), Picastro, Sweet Chariot, Gypsy Moonlight, Trainwreck Riders, Slow Trucks, Daniel Hart, Skystone, Big Eagle, Night Genes, Love Inks (adv. tix on sale), Phantom Kicks, New Year’s Eve with Wax Idols and Terry Malts

36 SAN FRANCISCO BAY GUARDIAN

2 FREE TIX WITH THIS AD!

-90+(@ :<5+(@

),5 )(03,@

-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.

editorials

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food + Drink

picks

arts + culture

tuesday 6 Rock /blues/hip-hop

Anna Calvi (SFBU "NFSJDBO .VTJD )BMM QN Broken Cities, Moonbell, Atlas &MCP 3PPN QN Fat Tuesday Band #JTDVJUT BOE #MVFT BOE QN Iggy & the Stooges, Le Butcherettes 8BSGJFME QN Jesus and the Rabbis #PPN #PPN 3PPN QN GSFF John Lawton Trio +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX KPIOOZGPMFZT DPN QN Jeffrey Lewis & the Junkyard, Yellow Dress, Tortured Genies 3JDLTIBX 4UPQ QN Lost Lander, Radiation City #PUUPN PG UIF )JMM QN Other Lives $BGF %V /PSE QN Serpent Crown, Witch Hunt, Asada Messiah ,OPDLPVU QN

oF The sMoKinG PoPes Tuesday, 12/6

FPod bPod, uncLe rebeL suGar candy MounTain

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

San Francisco’s Premiere Comedy Club!

Aldebaran, Anhedonist, Vastum

FeaTurinG MeMbers oF The neviLLe broThers, dirTy doZen and The radiaTors, caMiLe baudoin

Josh caTerer

L@MJK<9Q )*'0 % K9LMJ<9Q )*')( THE PITBULL OF COMEDY IS BACK!

Parentz, Bam!Bam!

neW orLeans susPecTs sunday, 12/4

2 FREE TIX WITH THIS AD!

HMF;@DAF=;GE=<Q;DM:&;GE >9;=:GGC&;GE'HMF;@DAF=K> LOALL=J&;GE'HMF;@DAF=K>

SAT Dec 3 9:30pm $8

Wednesday, 11/30

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

Wednesday 11/30

dan deacon Thursday 12/1

Too shorT Live!

jazz/new music

band incLudes Kev choice and MarTin LuTher

The enTrance band

“Fall Jazz Concert� $JUZ $PMMFHF PG 4BO 'SBODJTDP %JFHP 3JWFSB 5IFBUFS 1IFMBO 4' 8JUI +FGG $MBZUPO BEWBODFE KB[[ CBOE BOE KB[[ SPDL JNQSPWJTBUJPOBM XPSLTIPQ

Monday, 12/5

folk / woRld/countRy

Wed, 12/7

dance clubs

Friday, 12/2

MaTT baLdWin

Pert Near Sandstone )PUFM 6UBI QN

WaX

oaKLandish Give bacK bash!

dynaMic / caLiFornia honeydroPs,eMiLy’s arMy / Quinn deveauX, Main aTTraKionZ / dein decibeL / WonWay PosibuL

music listings

stage listings

Eclectic Company 4LZMBSL QN GSFF %+T 5POFT BOE +BZCFF TQJO PME TDIPPM IJQ IPQ CBTT EVC HMJUDI BOE FMFDUSP Post-Dubstep Tuesdays 4PN UI 4U 4' QN GSFF %+T %OBF #FBUT &QDPU 'PPUXFSLT TQJO 6, 'VOLZ #BTT .VTJD 2

on the cheap

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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 CAFé 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 CAFé 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 CAFé 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

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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 PEñA 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

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DID SoMEonE SAY CHEESECAkE? DoroTHY (HEkLInA), SopHIA (CookIE DouGH), roSE (poLLo DEL MAr), AnD BLAnCHE (MATTHEW MArTIn) In The Golden Girls: The ChrisTmas episodes. | photo by jose guzman colon 4UBHF MJTUJOHT BSF DPNQJMFE CZ (VBSEJBO TUBGG 1FSGPSNBODF UJNFT NBZ DIBOHF DBMM WFOVFT UP DPOGJSN 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 MJTU JOHT TFF 1JDLT 'PS DPNQMFUF MJTUJOHT TFF XXX TGCH DPN

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Cinderella #VSJFM $MBZ 5IFBUFS "GSJDBO "NFSJDBO "SU BOE $VMUVSF $PNQMFY 'VMUPO 4' XXX BGSJDBO BNFSJDBOTIBLFT PSH 0QFOT 'SJ QN 3VOT 'SJ 4BU QN BMTP 4BU BOE %FD QN 4VO QN 5ISPVHI %FD "GSJDBO "NFSJDBO 4IBLFTQFBSF $PNQBOZ PQFOT JUT TFBTPO XJUI B SF UFMMJOH PG UIF GBJSZ UBMF TFU JO UIF CBZPVT PG -PVJTJBOB The Golden Girls: The Christmas Episodes 7JDUPSJB 5IFBUSF UI 4U 4' XXX USBOOZ TIBDL DPN 0QFOT 5IVST QN 3VOT 5IVST 4BU QN 5ISPVHI %FD )FLMJOB $PPLJF %PVHI .BUUIFX .BSUJO BOE 1PMMP %FM .BS TUBS JO UIJT ESBH UBTUJD IPMJEBZ USJCVUF UP UIF DMBTTJD TJUDPN Dr. Strangelove: LIVE %BSL 3PPN .JTTJPO 4' XXX EBSLSPPNTG DPN 0QFOT 5IVST QN 3VOT 5IVST 4BU QN 5ISPVHI %FD 4UBHF BEBQUBUJPO PG 4UBOMFZ ,VCSJDLµT DMBTTJD DPME XBS DPNFEZ Ladies in Waiting &YJU 4UBHF -FGU &EEZ 4' XXX IPSSPSVOTQFBLBCMF DPN 0QFOT 5IVST QN 3VOT 5IVST 4BU QN 5ISPVHI %FD /P /VEF .FO 1SPEVDUJPOT QSFTFOUT UISFF POF BDUT CZ "MJTPO -VUFSNBO $MBJSF 3JDF BOE )JMEF 4VTBO +BFHUOFT The Last Five Years #PYDBS 1MBZIPVTF /BUPNB 4' XXX CSPXOQBQFSUJDLFUT DPN 1SFWJFXT 'SJ QN 0QFOT 4BU QN 3VOT 5IVST 4BU QN 4VO QN 5ISPVHI %FD 1PPS .BOµT 1MBZFST QFSGPSNT +BTPO 3PCFSU #SPXOµT SFMB UJPOTIJQ ESBNB BT JUT JOBVHVSBM QSPEVDUJPO Mommy Queerest #JOEMFTUJGG 4UVEJP 4JYUI 4U 4' XXX CSPXOQBQFSUJDLFUT DPN 0QFOT 5IVST QN 3VOT 5IVST 4BU QN 5ISPVHI %FD ,BU &WBTDP QFSGPSNT IFS BVUPCJPHSBQIJDBM TIPX BCPVU CFJOH UIF MFTCJBO EBVHIUFS PG B MFTCJBO NPUIFS Three Sisters &VSFLB 5IFBUSF +BDLTPO 4' XXX OETUNPPO PSH 1SFWJFXT 8FE QN 5IVST 'SJ QN 0QFOT 4BU QN 3VOT 8FE QN 5IVST 'SJ QN 4BU QN BMTP %FD QN 4VO QN 5ISPVHI %FD OE 4USFFU .PPO QFSGPSNT +FSPNF ,FSO BOE 0TDBS )BNNFSTUFJO **µT 8PSME 8BS * TFU NVTJDBM The Treasure of the Himawari Shrine: Another Mr. YooWho Adventure /0)TQBDF .BSJQPTB 4' XXX CSPXOQB QFSUJDLFUT DPN 1SFWJFXT 5IVST QN 0QFOT 'SJ QN 3VOT 'SJ 4BU QN 4VO QN 5ISPVHI %FD .BTUFS DMPXO .PTIF $PIFOµT DSFBUJPO .S :PP8IP SFUVSOT XJUI B +BQBO TFU BEWFOUVSF

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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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± BOE OPSNBMMZ OBLFE UPP BU UIF NPNFOU &NNB TIPXT VQ IF IBQQFOT UP CF GSZJOH TPNF TBVTBHFT TP IFµT HPU B MJUUMF BQSPO PO BT XFMM BT BO PYZHFO UVCF GPS IJT EJSF FNQIZTFNB #VU IF IBT DPOUJOVFE UP XSJUF VOBOTXFSFE MFUUFST UP IJT TPO BOE DPNQPTFE PWFS ZFBST BO FQJD XPSL DPN QBSJOH MPWF UP UIF BMMVSJOH CVU EFBEMZ NPVOUBJOUPQ UIBU HJWFT UIF QMBZ JUT UJUMF 'PS IFS QBSU &NNB IBT MFGU IFS TFDPOE IVTCBOE JO BOPUIFS NJEEMF PG UIF OJHIU GMJHIU CVU IFS SFBTPOT BSF B MJUUMF EJGGFSFOU UIJT UJNF 8F TFOTF TIF OFWFS HPU PWFS 6MZTTFT FJUIFS CVU UIFSFµT B OBHHJOH VSHFODZ UP IFS BSSJWBM UPP SFMBUFE UP UIFJS OPX HSPXO VQ TPO XIJDI JT HSBEVBMMZ SFWFBMFE JO UIF DPVSTF PG UIFJS TPNFUJNFT UPP HMJC PS GPSDFE JOUFSBDUJPOT 5IFSFµT NPSF UIBO B XIJGG PG 4BN 4IFQBSE BCPVU UIJT MPOFMZ DPXCPZ QPFU BOE IJT FTUSBOHFNFOU CVU UIF TUPSZ JT OPU OFBSMZ BT DPNQFMMJOH PS TVTQFOTFGVM BT B 4IFQBSE QMBZ JO QBSU CFDBVTF DIBSBDUFST BOE QMPU BSF OPU WFSZ CFMJFWBCMF BOE UIF TUPSZ JT CMVOUMZ TFOUJNFOUBM UP CPPU "WJMB

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not Getting Any Younger .BSTI 4BO 'SBODJTDP 4UVEJP 5IFBUFS 7BMFODJB 4' XXX UIFNBSTI PSH 5IVST 'SJ

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Savage in Limbo "DUPST 5IFBUSF PG 4BO 'SBODJTDP #VTI 4' XXX BDUPSTUIF BUSFTG PSH 8FE 4BU QN "DUPST 5IFBUSF PG 4BO 'SBODJTDP QFSGPSNT +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 DFMFCSB UJPO PG "NFSJDBµT GJSTU RVFFS BDUJWJTU ± B IJU GPS UIF DPNQBOZ JO A Tale of Two Genres 4' 1MBZIPVTF 4VUUFS 4' XXX VO TDSJQUFE DPN 5IVST 4BU BOE %FD QN BMTP 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 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 $JSRVF %V 4PMFJM SFUVSOT XJUI JUT MBU FTU CJH UPQ QSPEVDUJPO Working for the Mouse &YJU 5IFBUSF &EEZ 4' XXX CSPXOQBQFSUJDLFUT DPN 5IVST 4BU QN 5ISPVHI %FD *U NJHIU OPU DPNF BT B TVSQSJTF UP IFBS UIBU FWFO ²UIF IBQQJFTU QMBDF PO FBSUI³ IBT B EBSL TJEF CVU IFBSJOH 5SFWPS "MMFO EFTDSJCF JU EVSJOH UIJT SFQSJTF PG µT Working for the Mouse XJMM QVU B TNJMF PO ZPVS GBDF BT CJH BT .JDLFZµT 8JUI B CVSTU PG ZPVUIGVM FOFSHZ "MMFO CPVOET POUP UIF UJOZ TUBHF PG *NQBDU 5IFBUSF UP DPOGFTT IJT POF UJNF BTQJSBUJPO UP OFWFS HSPX VQ ± B EFTJSF XIJDI NBEF BVEJUJPOJOH GPS UIF SPMF PG 1FUFS 1BO BU %JTOFZMBOE B TFOTJCMF DBSFFS NPWF #VU JO PSEFS UP CSFBL JOUP UIF CJH UJNF PG ²DIBSBDUFS JOH ³ POF NVTU QBZ TPNF IFBWZ QMVTI DPWFSFE EVFT "T "MMFO DSFFQT VQ UIF DPTUVNFE IJFSBSDIZ POF JDPOJD DBSUPPO GJHVSF BU B UJNF IF GJOET IJNTFMG VOXJUUJOHMZ FONFTIFE JO B XPSME GVMM PG CBDLSPPN QPMJUJDT VOJPO CVTUJOH ESVH BEEMFE TVSGFS EVEFT XJUI QFBDIFT BOE DSFBN DPNQMFYJPOT TFYVBM UFO TJPO TIPXCPBUJOH KPC TVTQFOTJPO .BLF " 8JTI 'PVOEBUJPO IFBSUCSFBL IBTI CSPXOJFT SBCCJU WPNJU BOE BDDJEFOUBM EFDBQJUBUJPO 4NPPUIMZ QBDFE BOE BTUVUFMZ DSBGUFE Mouse XJMM FJUIFS TIBUUFS ZPVS CMJTTGVM JHOPSBODF PS DPOGJSN ZPVS XPSTU TVTQJDJPOT BCPVU UIF DPSQPSBUF %JTOFZ NBDIJOF CVU FJUIFS XBZ JU XJMM QSPCBCMZ NBLF ZPV USFBU BOZ ²$BTVBM 4FBTPOBM 1BHFBOU )FMQFST³ ZPV TFF SVOOJOH BSPVOE JO UIFJS TXFBUZ DIBSBDUFS TVJUT XJUI B XIPMF MPU NPSF FNQBUIZ (Note: review from the show’s recent run at La Val’s Subterranean in Berkeley.) (MVDLTUFSO 2

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friday 2 true Stories Lounge .BLFPVU 3PPN OE 4U 4' XXX NBLFPVUSPPN DPN Q N 5IF MJOFVQ GPS UIF TFDPOE 5SVF 4UPSJFT -PVOHF ± LJOE PG B KVJDJFS JO EFQUI BOE PGUFO MPDBMMZ TMBOUFE WFSTJPO PG The Moth ± JT VOCFBU BCMF "MBO ,BVGNBO BVUIPS PG Jew Boy %BWJE 5BMCPU GPVOEFS PG 4BMPO DPN .BSJMZO 1JUUNBO MPDBM DPNFEJBO 4UFWF 'BJOBSV FEJUPS JO DIJFG PG UIF Bay Citizen BOE 1FUFS .BOTP DPOUSPWFS TJBM CJPHSBQIFS XJMM SFBE

DON’T WORRY: No goats are harmed in the production of our pizza. V I S I T U S O N L I N E AT

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Stage and War veteranS unite for Make drag, not War! See Sun/4. photo by Shot in the City

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gourmet ghetto Snow day "OESPOJDPµT 4IBUUVDL #FSL XXX HPVSNFUHIFUUP PSH B N Q N GSFF 1PTTJCMZ UIF DMBTTJFTU BOE XBSN FTU TOPX EBZ JO UIF 6OJUFE 4UBUFT #FSLFMFZµT WFSTJPO IPMET DJEFS DPPLJFT DSBGUJOH BOE PG DPVSTF TOPX Palestinian Bazaar -JWF 0BL 1BSL 4IBUUVDL #FSL XXX NFDBGPSQFBDF PSH B N Q N GSFF 8BOEFS UISPVHI SPXT PG PMJWF PJM CBTFE QSPEVDUT BOE XPWFO HJGUT IBOEDSBGUFE CZ 1BMFTUJOJBO BSUJTUT Winter Pottery and Craft Sale 4IBSPO "SU 4UVEJP (PMEFO (BUF 1BSL 4' XXX TIBSPOBSU TUVEJP PSH B N Q N GSFF *UµT USJWFU UJNF TUPDL VQ PO EJOOFSXBSF GPS BMM UIPTF JNNJOFOU XJOUFS HPSHFGFTUT 1SPDFFET GSPN UIF NBTTJWF BMM IBOENBEF TBMF EJSFDUMZ CFOFGJU 4IBSPO "SU $FOUFSµT DPNNVOJUZ PSJFOUFE BSU QSPHSBNT Chamber orchestra and Circus Bella family concert #BZWJFX 0QFSB )PVTF 5IJSE 4U 4' XXX CBZWJFXPQFSBIPVTF PSH Q N GSFF 5ISPXJOH PGG UIF XFJHIUZ ZPLF UIBU JT UIF UFSN ²FMFWBUPS NVTJD ³ UIF 4' $IBNCFS 0SDIFTUSB KPJOT XJUI $JSDVT #FMMB UP QSFTFOU B IJHIMZ JOUFSBDUJWF JOUSPEVDUJPO UP UIF HFOSF GPS LJET BOE GBNJMJFT Make Drag, Not War! %BODF .JTTJPO 5IFBUSF UI 4U 4' XXX EBODFNJTTJPO DPN Q N TMJEJOH TDBMF 7FUFSBOT PG UIF ESBH TDFOF BOE PG UIF *SBR "GHIBOJTUBO BOE 7JFUOBN XBST UFBN VQ GPS BO BDUJWJTU UIFBUSF QFSGPSNBODF CFOFGJUJOH 7FUFSBO "SUJTUT &Y TPMEJFST WPJDF UIFJS TUPSJFT UP ESBH SFBMJ[BUJPOT GPS UIF UIJSE ZFBS

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Call

Wildlife Works launch party )BOHS 7BMFODJB 4' XXX IBOHS DPN Q N GSFF XJUI 3471 UP STWQ!XJMEMJGFXPSLT DPN 8JMEMJGF 8PSLT BO FDPMPHJDBMMZ PSJFOUFE DMPUIJOH DPNQBOZ XJUI BO BDSF XJMEMJGF TBODUVBSZ JO ,FOZB JT BMM BCPVU SFTQPOTJCMF DPOTVNQUJPO BOE GPS POF OJHIU ± B OJHIU UIBU JODMVEFT QJ[[B BOE XJOF ± XJMM DFMFCSBUF JUT OFX DMPUIJOH DPMMFDUJPO BWBJMBCMF BU )BOHS B .JTTJPO CPVUJRVF Working Solutions holiday gift fair 4FDPOE 4U 4' XXX UNDXPSLJOHTPMVUJPOT PSH Q N GSFF 3FBQ UIF CPVOUZ PG UIF NJDSP MPBOFE IBSWFTU UIBU 8PSLJOH 4PMVUJPOT IBT CVJMU UISPVHIPVU 4BO 'SBODJTDP GSPN #FSOBM )FJHIUT XSPVHIU LOJGF NBLFST UP IBOE DSBGUJOH DIPDPMBUJFST Doubt, Atheism, and the 19 th Century Russian Intelligentsia discussion 6OJWFSTJUZ 1SFTT #PPLT #BODSPGU #FSL XXX VOJWFSTJUZ QSFTTCPPLT DPN Q N GSFF 7JDUPSJB 'SFEF BO BTTPDJBUF QSPGFTTPS PG IJTUPSZ BU $BM EJTDVTTFT IPX GSFFUIJOLJOH 3VTTJBO JOUFMMFDUVBMT TUVDL JU UP UIF CJHHFTU HVOT BSPVOE ± UIF UTBS BOE (PE Writ Writer screening and discussion &MMFO %SJTDPMM 1MBZIPVTF )JHIMBOE 1JFENPOU XXX EJWFSTJUZGJMNTFSJFT PSH Q N GSFF 'SFE $SV[ B QJPOFFS PG UIF QSJTPOFSTµ SJHIUT NPWFNFOU UBVHIU IJNTFMG UIF MBX XIJMF JO QSJTPO BOE CFDPNF B UJSFMFTTMZ PVUTQPLFO BEWPDBUF GPS JONBUFTµ SJHIUT Writ Writer QJFDFT UIF TUPSZ UPHFUIFS GSPN $SV[µT KPVSOBMT MFUUFST BOE GJMFE EPDVNFOUT

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NOVEMBER 30 - DECEMBER 6, 2011 / SFBG.com

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Friday dec 2 @ bam/PFa

$7

'JMN MJTUJOHT BSF FEJUFE CZ $IFSZM &EEZ 3FWJFXFST BSF ,JNCFSMZ $IVO .BY (PMECFSH %FOOJT )BSWFZ -ZOO 3BQPQPSU BOE .BUU 4VTTNBO 'PS SFQ IPVTF TIPXUJNFT TFF 3FQ $MPDL 'PS DPNQMFUF GJMN MJTU JOHT TFF XXX TGCH DPN

otherworld

opening

(machine)

doors 5 Pm*PerFormance 7:30 Pm

*Programmed by kamau Patton mixed-media PerFormance * mash-uP oF live and virtual * dance

for more arts content visit sfbg.com/pixel_vision

Answers to Nothing %BOF $PPL &MJ[BCFUI .JUDIFMM BOE +VMJF #FO[ TUBS JO UIJT -PT "OHFMFT TFU FOTFNCMF ESBNB 4FF SFWJFX BU XXX TGCH DPN

The Artist 4FF ²4JMFODF *T (PMEFO ³ Embarcadero. ”Christmas in Acidland” 1TZDIFEFMJD JU NBZ OPU CF CVU UIF 3PYJFµT UXP EBZT PG :VMFUJEF XFJSEOFTT DVSBUFE CZ +PIOOZ -FHFOE PGGFST QMFOUZ PG TFBTPOBM OPTUBMHJB IFBWJMZ TFBTPOFE CZ LJUTDI 5IF UXP UJUVMBS QSPHSBNT DPNQJMF 9NBT UIFNFE FSSBUB JODMVEJOH BOJNBUJPO TIPSUT NVTJDBM JOUFS MVEFT -JCFSBDF 3JDLZ /FMTPO B USBORVJMJ[FE MPPLJOH 3PTFNBSZ $MPPOFZ B CJ[BSSFMZ NBVEMJO TPOH GSPN OPOF PUIFS UIBO +PBO 3JWFST B ²-JUUMF

1 1 MICHAEl FASSBENdEr PlAyS A SEx-AddICTEd NEW yorKEr IN Shame, ouT FrI/2. PhOTO by AbbOT GENSEr

galleries oPen until 9 Pm sun works

*silke otto-knaPP*richard misrach

1

Friday night Film @ PFa theater

$9.50, add’l Feature $4; Free admission to l@te with same-Friday PFa ticket

afterimage: the Films of nicholás Pereda

nicholás Pereda in Person!

together 7 Pm (Pereda, 2009; 73 mins) introduction: robert koehler

PerPetuum mobile 8:45 Pm

(Pereda, 2010; 86 mins)

get more

* facebook.com/bampfa *

bampfa.berkeley.edu/late bam/PFa: 2626 bancroFt way

PFa theater: 2575 bancroFt way

coming december 9: negativwobblyland & bryan boyce

l@te is made possible in part by the continued support of the BAM/PFA Trustees. Media Sponsor:

l@te

1

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The Man Nobody Knew: In Search of My Father, CIA Spymaster William Colby " NBO XIP EPWF TUSBJHIU GSPN DPMMFHF JOUP JOUFMMJHFODF XPSL ± KPJOJOH UIF $*" BGUFS 8PSME 8BS ** BOE XPSLJOH BHBJOTU DPNNVOJTN JO *UBMZ TVDDFTTGVMMZ BOE 7JFUOBN OPU TP NVDI ± 8JMMJBN $PMCZ CFDBNF IFBE PG UIF $*" BNJE UIF PSHBOJ[BUJPOµT NPTU UVNVMUVPVT ZFBST IF XBT DBMMFE CFGPSF BO BOHSZ $POHSFTT NVMUJQMF UJNFT JO UIF NJE T UP BOTXFS RVFTUJPOT BCPVU UIF BHFODZµT UPQ TFDSFU ²'BNJMZ +FXFMT³ EPDVNFOUT BNPOH PUIFS DPWFS VQT 5IJT EPDVNFOUBSZ NBEF CZ IJT TPO $BSM DPNCJOFT CONTINUES ON PAGE 42 >>

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OngOing

Anonymous Four Star. Arthur Christmas 1000 Van Ness, Presidio, Shattuck. The Descendants California, 1000 Van Ness, Piedmont, SF Center, Sundance Kabuki. Drive Lumiere. Happy Feet Two 1000 Van Ness. Le Havre Opera Plaza. Hugo Hugo UVSOT PO BO PCWJPVTMZ HFOJVT DPODFJU .BSUJO 4DPSTFTF XPSLJOH XJUI % $(* BOE B IPTU PG PUIFS HJNNJDLZ FGGFDUT DSFBUFT B DIJMESFOµT GBCMF UIBU VMUJNBUFMZ DPODFSOT POF PG FBSMZ GJMNµT QJPOFFS JOH TQFDJBM FGGFDUT GBOUBTJTUT 5IBU FOUIVTJBTN GPS NPWJFNBLJOH NBHJD USBOTGFSSFE BDSPTT NPSF UIBO B DFOUVSZ PG GJMN IJTUPSZ XBT DBUDIJOH KVEHJOH GSPN 4DPSTFTFµT GJ[[Z FYIJMBSBUJOH BMNPTU OBVTFBUJOH WBVMU UISPVHI BO PI TP GBVY 1BSJTJBO USBJO TUBUJPO BOE IJT DBSFGVMMZ MBZFSFE WPSUFY PG QJDUVSF QMBOFT BT )VHP $BCSFU "TB #VUUFSGJFME BO JOUSFQJE FOHJOFFSJOH HFOJVT PG BO VSDIJO TDSBNCMFT BDSPTT DBUXBML BCPWF B CV[[JOH TUBUJPO BOE B IPUIFBEFE TUBUJPO JOTQFDUPS 4BDIB #BSPO $PIFO %FTQJUF UIF TQFDJBM FGGFDUT GJSFXPSLT HPJOH PGG BMM BSPVOE IJN )VHP IBT JU SPVHI BGUFS UIF QBTTJOH PG IJT CFMPWFE GBUIFS +VEF -BX IF IBT CFFO TUVDL XJUI BO OBTUZ ESVOL PG B DBSFUBLFS VODMF 3BZ 8JOTUPOF XIP MFBWFT IJT EVUJFT PG DMPDL

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eDItORIAlS

NewS

FOOD + DRINk

pICkS

ARtS + CUltURe

mUSIC lIStINGS

StAGe lIStINGS

ON the CheAp

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food + Drink

Mercury is retrograde! When in doubt, talk it out. ARIES

LEO

SAGITTARIUS

March 21-April 19

July 23-Aug. 22

Nov. 22-Dec. 21

There’s such a thing as too much forethought. Seek the magical and creative space where the middle ground is not a compromise but instead a moderate expression of where you’re at. Things need to develop, so try and buy some time without overthinking the details as you do.

Love and pleasure can be like fluff in your life or lead towards amazing depth. This week challenge yourself to grow through your passions. This will require that you choose to pursue the things or people that benefit your long-term interests, not just the ones that feel good in the now, Leo.

Don’t create the very things you are trying to avoid by being a spazzy worrywart, Sagittarius. You need a time out, (remember that you’re supposed to take a minute per year you’re alive!). Calm yourself down so you don’t make a mess of things out of reckless impulse.

TAURUS

VIRGO

Dec. 22-Jan. 19

April 20-May 20

Aug. 23-Sept. 22

If you let your ego get in the way you’ll embark upon the wrong road, creating more trouble than it’s worth. Take a risk and act in spite of your fears this week. They may be convincing, so this’ll be hard to pull off! Deal with what’s on your plate and don’t add anything more until you do.

When you have healthy boundaries you will sometimes disappoint people, or come across as selfish to folks who don’t have any themselves. Deepen your relationship to interpersonal responsibility this week, and look beyond the surface of your connections with others.

GEMINI

Trust in the developments of your life even if they look scary, Virgo. The universe wants you to relinquish your controlling hand over things without going limp in the pursuit of your goals. Participate without pushing this week as your life hands you circumstances you don’t quite understand yet.

May 21-June 21

LIBRA

You are meant to look back on the past three years to see the role that your personal relationships have played in your life, Gemini. Have you been happy with your connections? Is it time for an overhaul? And is the way you have been acting in concert with how you want to be? Assess and assimilate this week.

Sept. 23-Oct. 22

SCORPIO

CANCER

Feb. 19-March 20

Oct. 23-Nov. 21

June 22-July 22

Your best course of action this week is to parse out what is, versus what feels as your emotions are coloring your response to things. Your feelings are real and super-valid, but not part of the larger shared experience. Address the needs of your heart and your circumstances separately, Scorpio.

Don’t try to control the outcome of stuff, just your participation in it, okay Pisces? You can affect things without forcing them this week. Don’t be disheartened, though! Live by your highest standards, even if that’s the harder choice as you do what’s right for you, not what you’re “supposed” to do. 2

You are pushing it, Moon Maid, and you’re setting yourself up for an unnecessary fall. Instead of overdoing things and overwhelming your delicate senses, try enjoying the moment that you’re in for a minute more. Let things settle before you strike out this week.

Frustration and worry can inhibit you from seeing clearly, Libra. Gestate on your options and opportunities before you make a move, as you are unlikely to be seeing the whole picture this week. Accept whatever your circumstances are before you figure out what should come next.

CAPRICORN

AQUARIUS Jan. 20-Feb. 18

In the wise words of Mr. Sammy Davis Jr., “if you’re gonna go away baby, don’t go away mad”. Let go without bitterness, or you’re not really releasing anything, pal. Take responsibility for your choices this week and tend to the needs of your heart by doing what you need, even if it’s not what you want. PISCES

By Jessica Lanyadoo

Rocker Rehearsal

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psychic dream astrology 11.30-12.6

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Jessica Lanyadoo has been a psychic dreamer for 16 years. Check out her Web site at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com. arts + culture

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connections LOVE IN THE AFTERNOON

THE ONE FOR ME?

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STERN BLACK NUNS

Sisters of the order of St. Dominadora. Seeks submissive repair man as boy toys, cross-dressers can work in drag. Surrender to a higher Female Power. 809149

LET’S LAUGH TOGETHER!

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EUROPEAN WOMAN

SF, 50s, N/S, tri-lingual, classy, healthy, personable, I like to grow orchids, sailing, boating, traveling, long drives, the beach. Seeking a similar male, 40-59, for friendship leading to possible LTR. 332835

LET’S MEET

SF, 40s, adaptable, ambitious, friendly, caring, honest, feminine, optimistic, hardworking and compassionate. Enjoys music, dancing, traveling, reading, hiking, long drives and more. Seeking SM, 40-59, for possible LTR. 332973

EXOTIC, EROTIC LATINA

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DOMINANT ATTITUDE

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SEEKS ONE SPECIAL GUY

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SEEKING A FRIEND

Hispanic American lady, 64, attractive, educated and stable seeking Irisih Catholic gentleman, 75+, with education, for friendship. 861416

LOVELY LADY

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LET’S CELEBRATE SUMMER!

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GOOD TIMES TOGETHER

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SEEKING MY BASHERT

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CARING & COMPASSIONATE

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VINTAGE EYEGLASSES

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LIFE IS AN ADVENTURE

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