San Francisco Bay Guardian

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The media and Occupy Boots Riley on the biased press P2

Busting big box

SF looks at better controls P7

Regulate it! New pot initiative seeks clear rules P9

‘California’s Best Large Weekly’ – California Newspaper Publishers Association

celebrating 45 years

the san francisco bay guardian | sfbg.com december 28, 2011 - january 3, 2012 | Vol. 46, No. 13 | Free

The Year in Film take shelter photo by grove hill productions

Guardian critics look back at 2011’s sex symbols (Ryan Gosling, Miss Piggy), artists we’ll miss (George Kuchar), and standout flicks (3D glasses not required) — and look ahead to the apocalypse. Plus: our top 10s! P14

editorials

The mainstream press is always on the wrong side of history

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Tim Redmond

Money and values

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Warren Hellman played a unique role in San Francisco and left a void that needs to be filled P4

alerts P5 All backed up

City begins to rectify chronic problems with overflowing sewers after settling a lawsuit P6

Battling big box

City officials and small businesses seek more studies and controls on formula retailers P7

iProtest

The revolution will not be powered by smartphones (but these apps might help it along) P8

herbwise P9 food + drink

appetite P10 cheap eats P11 picks

guardian picks P12 arts + culture

Doom lens

Are you ready for the end? P14

Zero for conduct Contemplating the filmmaker as teacher P15

Hey girl

In praise of the actors who redefined “sex symbol” in 2011 P17

top flix P17 Crazy, sexy (?), movies Parsing the po-mo rom-com P18

On nostalgia

You’ve finally made a Muppet out of me P19

The brawn identity

Captain America: The First Avenger wins 2011’s battle of the superhero movies P20

Pop your cork

New Year’s Eve blowouts (and New Year’s Day backups) to get you toasted P21 MUSIC listings 22 / STAGE listings 26 FILM listings 27 / CLASSIFIEDS 29 SAN FRANCISCO BAY GUARDIAN

the guardian editorial

PG&E’s system fails — again EDITORIAL There’s no question that officials from Santa Clara — thrilled to have finalized financing for a new 49ers stadium — were taking full political advantage of the Dec. 19 blackouts at Candlestick Park. There’s no question that the event Mayor Ed Lee called a “national embarrassment” helped guarantee that the team will leave San Francisco after one more season. But this is about more than football — and the mayor and the supervisors ought to using this latest PG&E screw-up to take a serious look at the company’s reliability and its impact on the city. This is hardly the first embarrassing PG&E blackout in San Francisco. For the past few years, the private utility’s aging infrastructure has been failing, leaving businesses and residents in the dark. And while PG&E officials are trying to blame the city for the latest snafu, everyone admits that the problem started when a PG&E power line snapped. editorials

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Snapping power lines are a dangerous prospect — in this case, nobody was hurt and the arcing electricity didn’t start any fires. But that was largely a matter of luck — the jolt from the broken line lit up TV screens all over the country and if it had happened close to some flammable object (or, worse, some live person), the damage could have been serious. As it was, millions of people watched San Francisco’s football stadium go dark — twice. The electricians at Candlestick patched things together and the game went on, but the message was clear: PG&E can’t be trusted to keep its equipment in safe, operating condition. The city of San Bruno is still trying to recover from the natural gas explosion that killed eight people and leveled a neighborhood. And while local and state officials are giving increased scrutiny to PG&E’s underground gas pipes, the electricity system isn’t CONTINUES ON PAGE >>

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Occupy and the hostile media By Boots Riley

OPINION Every progressive movement in U.S. history was portrayed negatively by mainstream media at the time it was happening. It’s no surprise that the media portray the Occupy Wall Street movement in the same light. During the Montgomery bus boycott, mainstream media outlets interviewed Black folks who were against it and talked about how the boycott was misguided and hurt the local economy. The day after the boycott started, the Montgomery Advertiser ran a story featuring the manager of the bus lines saying that bus drivers were being shot at and rocks were being thrown at them. During the rest of the civil rights movement, protesters who were fire-hosed and otherwise brutalized were called “violent protesters” in the mainstream media, which again featured interviews with people saying that the protests were wrongheaded. During the Anti-Vietnam War movement, the mainstream CONTINUES ON PAGE >>

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I’m not good at holidays. When your world is made of deadlines, the holidays are just one more — gotta get the kids presents, gotta get the tree, gotta make plans, gotta do dinner ... one more set of hassles. Bah humbug. And I’ve never been a big fan of New Year’s Eve. Too many people acting like they’ve never been drunk before and will never be drunk again, and everything costs too much. I drink every day; I can miss New Year’s Eve. Party pooper. So I don’t do my own new year’s resolutions; I do them for other people. This is what I would like everyone else to do in 2012: I would like the Occupy organizers to put together a massive day of teach-ins and a march on Washington in the spring, to keep the movement alive and bring in a lot more people. I would like my fellow dog owners to pick up the shit off the sidewalks. I would like the Department of Parking and Traffic to put up No Left Turn signs on 16th Street at Potrero and Bryant. I would like Visconti to lower the price on that really cool lava fountain pen. I would like the transportation whizzes at City Hall to figure out how to put bike lanes on Oak Street so I can ride back from Golden Gate Park as safely as I can ride to the park. I would like the supervisors to change the rules for Question Time so the mayor doesn’t get all the questions in advance and there’s a chance for real discussion that isn’t stupid and boring. I would like middle school English teachers in San Francisco to explain to their students that homeless people are not “hobos.” I would like the Obama Administration to quit hassling pot dispensaries. I would like the airlines to start serving cocktails before takeoff. I would like the thriller writers of America to learn how to write decent sex scenes. I would like Jerry Brown to endorse the initiative to outlaw the death penalty. I would like everyone in politics to stop saying the words “together” and “shared” since we aren’t together and I don’t want to share with the rich. Anything else? Happy New Year. 2

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editorials pg&E’s systEm fails — again CONT>>

in much better shape. Blackouts are more than an embarrassment — they cost the city and its businesses money. And, as the almost certain loss of the 49ers shows, unreliable infrastructure doesn’t help the local business climate. As Santa Clara Mayor Jamie Matthews told the Bay Citizen: “The reason they moved to Santa Clara is the reliability of our services. We have reliability in our electricity system that is unparalleled.” One reason: Santa Clara has its own municipal power system. Rates are lower, blackouts are unheard of and the equipment is well maintained. Compare that to PG&E, where company executives diverted gas line maintenance money to pay themselves bonuses, and you see why San Francisco, which relies on the private monopoly, has a problem. The supervisors ought to take this opportunity to hold hearings on the reliability of PG&E’s electric and gas system in the city — looking not just at the Candlestick problem but at the maintenance records, the age of crucial equipment, the company’s replacement plans and the economic impact of a shoddy electrical system. That should be part of Mayor Lee’s investigation, too. At some point, San Francisco residents are going to have to pay to rebuild this system. They can pay through higher PG&E rates when the utility finally gets around to it — or they can begin the process of creating a municipal utility, which can do the job right, bring down rates and improve the business climate that the mayor so loves to discuss. 2 occupy and thE hostilE mEdia CONT>>

media portrayed protesters as out of touch, violent, and dirty. There was a picture in the San Francisco Chronicle of a guy who was throwing back a tear gas canister that had been shot at the peaceful crowd. This was shown as proof of protesters being wild, out of touch, and violent. The Black Panther Party had free breakfast programs and was beloved worldwide — but every mainstream media outlet that covered it, covered it negatively. There has never been any strike, work stoppage, or union action editorials

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that was supported by the mainstream media at the time that it was happening. The mainstream press didn’t support the Anti-Apartheid movement and doesn’t support the boycott, disinvestment and sanctions movement for Palestine. The mainstream press is always on the wrong side of history because it’s always on the side of the status quo, which is capitalist exploitation and oppression. Here’s an example: Every article about the port shutdown featured a trucker speaking against the shutdown. However, the Occupy movement received and circulated a letter from an organization representing hundreds of port truckers which thanked us all for this action in support of their struggle. None of those folks were interviewed by media. Another example: In any movement we will make in the U.S. that is multi-racial, there will be real problems to fix around race. These are good problems, because they come from the fact that a lot of different groups of people who normally wouldn’t work together are doing so now. But the article in the Chronicle that supposedly showed that Occupy Oakland doesn’t connect with Black folks was poor and unethical journalism. The paper quoted only two Black folks; one said the answer is to tell other Black folks to “Stop The Violence.” Okay. But the Chron didn’t interview any of the folks in the neighborhood around Gayla Newsome who was put back into her foreclosed home. They didn’t interview anyone from the neighborhood around 10th and Mandela, where the Tactical Action Committee has made a foreclosed Fannie Mae home into a community center with workshops for the community. They didn’t interview anyone involved with Occupy Oakland’s November 19th march, which was 2,000 strong and focused on school closures. They didn’t interview any of the many Black union members who have worked with us. They didn’t interview anyone in the People Of Color Caucus, or anyone else who is Black and works with Occupy Oakland. Don’t be surprised at the media’s negative portrayal of our movement. It’s happening because we are growing, we are effective, and we are right. 2 Boots Riley is a musician and activist. picks

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december 28, 2011 - january 3, 2012 / SFBG.com

NEWS

“I DON’T THINK ANYONE EVER SAW WARREN HELLMAN TALK DOWN TO ANYBODY.” — MUSICIAN RON THOMASON

THIS WEEK AT

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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 Reader’s Choice: We want you to share your wildest and wackiest political stories from 2011 Tim Redmond makes New Year resolutions for local politicians Stay up-to-date on who Ed Lee will appoint as the new District Five supervisor

NOISE Localized Appreesh gets in with local garage rockers Buffalo Tooth Album reviews of the latest releases from Mwahaha, Thee Oh Sees, and Super 11 Marke B. prowls the clubs – and writes about it! – for his new column Nite Trax

PIXEL VISION If these streets could talk: Period Piece delves into the history behind SF’s most famous thoroughfares From shearling to funnel coats, Style Paige tracks the latest cold weather trends Including play-dough recipes and a menstrual cycle tracker, a local man has packed all you need to know into his self-published SF dayplanner

SEX SF Missed year nine of SF’s International Day to End Violence Against Sex Workers? Find out how the “high whore holiday” was commemorated Hot sexy happenings! Track the Bay’s perversion in our weekly events column 4 SAN FRANCISCO BAY GUARDIAN

MONEY AND VALUES

BY STEVEN T. JONES steve@sfbg.com Warren Hellman left a hole in the heart of San Francisco when he died on Dec. 18 at the age of 77. That’s where he existed, right in the city’s heart, keeping the lifeblood of money and values flowing when nobody else seemed up to that task. But as the outpouring of affection and appreciation that followed his death attests, he set an example for others to follow...and maybe they will. Hellman was born into one of San Francisco’s premier wealthy families, a status he maintained by becoming a rich and famous investment banker. His great-grandfather founded Well Fargo, as well as the Congregation Emanu-El, the spectacular temple where Hellman’s memorial service was held Dec. 21, attended by a huge crowd ranging from Gov. Jerry Brown to young country music fans. Hellman was more than just a philanthropist who funded key institutions such as the San Francisco Free Clinic, the Bay Citizen newsroom, and a variety of programs and bond measures benefiting local public schools. He was more than the go-to guy for mediating sticky political problems such as this year’s pension reform struggle. Hellman was the conscience of San Francisco, reminding his rich friends of their obligations to fair play and the common good. And he was the rhythm of the city, single-handedly creating and funding the Hardly Strictly Bluegrass Festival, perhaps the greatest free music festival in the country. And he was so much more. “What do banjos, garages, Levis, 50- and 100-mile runs, ride and tie, investment banking, public policy, ballot measures, free medical clinics, and a zest for women,” U.S. Sen. Dianne Feinstein said at his service, causing the room to erupt in laughter at the misstated last item, “for winning — correction, a zest for winning — have in common? The answer, of course, is simple: Warren Hellman.” It was a gaffe that Hellman probably would have appreciated as much as anyone. Speaker after EDITORIALS

NEWS

Warren Hellman played a unique role in San Francisco and left a void that needs to be filled

speaker attested to his marvelous, and often risqué, sense of humor. It was a theme that ran through the testimonials almost as strongly as two of his other key qualities: his competitiveness and his compassion. For a charter member the 1 percent, Hellman had a deep appreciation for the average person of goodwill, and he found those people as often on the bottom of the socioeconomic ladder as he did on the top. While most of his contemporaries in San Francisco’s uber-wealthy class, such as Don Fisher and Walter Shorenstein, often used their money to wage class warfare on the 99 percent, Hellman used his wealth and influence to bridge the divide. He generously gave to good causes and advocated for higher

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taxes on the wealthy to lessen the need for such charity. Hellman understood that we all help make San Francisco great, and that perspective animated his love of bluegrass music, which he called “the conscience of our country.” As he told me in 2007, “A big passion of mine is to try to help — and people have defined it too narrowly — the kinds of music that I think have a hell of a lot to do with the good parts of our society.” Hellman may have started the Hardly Strictly Bluegrass Festival because it was music he loved and played, but he turned it into such a major spectacle — booking some of the biggest acts from around the country, going as big as the city and space would allow — because he thought it was important to the soul of his city. MUSIC LISTINGS

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“I’m glad that we have firstrate opera, but it’s equally important that we foster the kind of music, lyrics, etc., that support all this,” Hellman told me. And by “all this,” he was talking about the grand social bargain, the fact that we’re all sharing this planet and we’ve got to understand and nurture one another. At the memorial service, that attitude came through most strongly in the words — spoken with a country twang — of musician Ron Thomason, who became good friends with Hellman through their shared loves of bluegrass music and horseback riding, including the endurance rides in which they each competed. “I know I’m amongst all good folks,” Thomason told the packed synagogue. “The plain truth is Warren didn’t tolerate the other kind.” That was true. No matter your perspective or station in life, Hellman wanted to know and appreciate you if had a good heart and curious mind. And if not, he would let you know — or cut you off, as he did with the political group he helped start, SFSOS, after its director Wade Randlett launched nasty attacks on progressive politicians and advocates. Thomason joked about how ridiculous much of this country has become. “It’s hard to believe that only half the people are dumber than average,” he said. “But I don’t think anyone ever saw Warren Hellman talk down to anybody.” He told the story of meeting Hellman backstage at Hardly Strictly. Thomason knew Hellman from equestrian events and didn’t know that he was a wealthy banker or that he created and funded the festival. And Hellman didn’t immediately offer that information, telling his friend that he was just backstage because he knew someone in management. “He knew everyone in management, and he expected them to do right,” Thomason said, later adding, “In his mind, there should not be any disenfranchised.” It was a perspective that was echoed by people from all parts of Hellman’s life, from his family members to his business partners. “He taught us to respect people from all walks of life,”

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said Philip Hammarskjold, the CEO of Hellman & Friedman and Hellman’s business partner of 17 years, describing how Hellman was as engaged with and curious about the firm’s low-level support staff as he was its top executives, an attitude that infected those around him. “His culture is now our culture. His values are now our values.� “Money meant noting to Warren,� said his sister, Nancy Bechtle. “But in business, money was the marker that you won and Warren always wanted to win.� He was a competitive athlete and an investment banker who wanted to give companies the resources they needed to succeed, rather than slicing and dicing them for personal gain. And he used the wealth he accrued in the process to make San Francisco a better place. “He treated San Francisco as if it were part of his family, nurturing its health and education,� said his granddaughter, Laurel Hellman. Personally, he was an iconoclast with a lively sense of play. “He never worried about the things that most parents worried about,� said Frances Hellman, the eldest of Warren’s four children. Rather than getting good grades and staying out of trouble, Hellman wanted his children to be happy, hard-working, respectful of people, and always curious about the world. She told stories about taking Hellman to his first Burning Man in 2006 (along with Rabbi Sydney Mintz, who led the service), an event he loved and returned to the next two years, and watching his childlike pleasure at leaving his painted footprints on a sail that was headed around the world, or with just sitting on the playa, picking his banjo, watching all the colorful people go by. “I love him and I miss him more than I can express,� she said. As Hellman told me in 2007, he just loved people and was genuinely curious about their perspectives. “I’m so grateful for the friendship of Warren, to know this incredible man,� singer Emmylou Harris — one of Hellman’s favorite musicians — said before singing for a crowd of others who felt just the same way. 2 editorials

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december 28, 2011 - january 3, 2012 / SFBG.com

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IslaIs Creek often BaCks up Into the sewer system durIng heavy raIns, one of many faCtors that overwhelms It. | Guardian photo by Mirissa neff

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By yael Chanoff and nena farrell news@sfbg.com In February 2004, San Francisco saw an usually strong winter storm. More than an inch and a half of rain fell within 30 minutes, too much to handle for the wastewater system, which in parts of the city is more than 100 years old. In the Mission and Bayview, some homes were flooded with rainwater and raw sewage. Before adjourning for the year, the Board of Supervisors on Dec. 13 approved payments settling a lawsuit filed in January 2005 by some of the residents affected by the storm. The main plaintiffs in the case were Jane Martin and David Baker, whose home in the Mission district were flooded.

More than 40 individuals and businesses joined the lawsuit as plaintiffs, with San Francisco and its San Francisco Public Utilities Commission (PUC) as the sole defendant in the case. The plaintiffs sued for dangerous conditions of public property, failure to maintain public property, negligence, nuisance, and the trespass of water and sewage onto the plaintiff’s properties. The settlement totaled $624,930 in compensation for property damage, including $50,000 for Martin and Baker, and many of the other plaintiffs getting around $25,000 each. “Simply put, the city wasn’t doing proactive maintenance,” Baker told us. Representatives of the SFPUC are trying to change that. There

are currently several projects in the works to address issues with the city’s sewers, including flooding. These include Model Block improvement programs, such as green streetscaping meant to soak up rainfall, and a Sewer System Improvement Program that is in its early stages. According to SFPUC spokesperson Jean Walsh, the SSIP is meant to tackle a number of issues with the sewer system, including flooding. She listed “seismic reliability issues” and a projected increase in major storms due to climate change as pressing reasons for the plan. Besides the ancient pipes, the city’s network of storage transport boxes is routinely overloaded. These boxes are underground containers that catch water and hold it until it can be processed

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through the system and through to water treatment plants. Walsh says that they “surround the city like a moat... When those boxes fill up and all our capacity is full, the system overflows.” This can cause flooding, especially in low-lying areas of the city and natural creek beds. Precita Creek, which once flowed freely along what is now Cesar Chavez Street, has been a site of overflows and flooding since it was first incorporated into the city’s sewer system in 1878. Nearby Islais Creek has also been diverted into sewers in the flooding-prone area. The SSIP will have a particular focus on green technology. “One way that we’re going to address the flooding issue is by using low-impact design,” Walsh said. “We’re looking at permeable paving, bio-retention swales, and rainwater harvesting as ways to reuse the rainwater.” Walsh says that the Model Block program has been a pilot for the SSIP. In May, the city and the Environmental Protective Agency unveiled a new green “streetscape,” part of the Model Block program, on the 1700 block of Newcomb Avenue. Areas of the sidewalk were replaced with permeable pavement, trees and gardens, meant to improve beauty and calm traffic as well as soak up rainwater so that it does not flow directly into the sewer system. In 2010, a similar project was completed on Leland Avenue between Bayshore Boulevard and Cora Street. Neighborhoods in San Francisco’s southeast, particularly the Mission and Bayview, have been disproportionately affected by problems with the sewer system. Olin Webb, a lifelong Bayview resident and member of the group Bayview Hunters Point Community

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Advocates, says that sewer improvements are long overdue. “Whenever it storms, there’s an overflow here,” Webb said. “Every time it rains, you can smell the raw sewage.” Bayview community organizations have been campaigning for improvement to the sewer system for decades. Webb said some progress has been made in the past few years, including the installation of a pathway at Yosemite Slough Park, part of an effort to restore the wetlands in the area and turn it into a pleasant community space. Webb was ambivalent about recent improvements. Bayview Hunters Point, like most of San Francisco, has lost much of its African American population during a recent surge in out-migration. According to a 2010 census, San Francisco’s black population has declined by 22.6 percent in the last decade. “This took too long,” Webb said of the sewer improvement. “I’ve been here 60-something years, my mother worked on this before me. It’s like a joke to me that now everything’s getting fixed up and most of the people can’t enjoy it.” Residents may still have to wait for SSIP projects to begin construction. The program will likely span 15-20 years, and is currently in its early stages. “The project is still in design and planning stages,” Walsh said. “It needs to be validated and budgeted. We know it’s going to cost multiple billions of dollars” Yet Walsh is optimistic that the project will make real change in a sewer system that’s been inadequate for decades. “It’s going to be an impactful project,” she said. “People are going to notice it happening.” 2

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Lowe’s on Bayshore has hurt locally owned competitors such as Cole Hardware.

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Guardian photo by Mirissa Neff

By Christine Deakers

must abide by that and also include health care if implemented in local government [legislation],” Mar said. But Steven Pitts, a labor policy specialist at UC Berkeley, told us there is a connection between low prices and low wages. “People who work at Walmart are poorer than those who shop there,” he told us. “Therefore, if prices were raised to increase wages for employees, the burden wouldn’t be on people of lower income.”

news@sfbg.com In neighborhood commercial districts, national chains and other formula retail stores such as PETCO, Target, Subway, Walmart, and Starbucks are hot button issues for residents who don’t want to see San Francisco turn into a strip mall or have local money pulled from the community. Sup. Eric Mar and other city officials want to make sure local small businesses aren’t being unnecessarily hurt by competition from national chains, which is why he called a hearing on Dec. 5 to discuss big box retailers and their impacts on San Francisco’s small businesses, neighborhoods, workers, and economy. “There is no vehicle to see the impacts of big business on the city,” Mar told us, saying he is contemplating legislation to do just that. Mar was part of city efforts to keep formula pet stores from locating in the Richmond area, working with a coalition of pet food small businesses concerned about PETCO and Pet Food Express trying to move into the area. But it isn’t just pet stores. “There is a perception that Walmart might make a move into the city since we already have stores like Fresh n’ Easy,” Mar’s Legislative Aide Nick Pagoulatos told us. The city doesn’t have a comprehensive analysis on how these companies impact San Francisco. Mar says he wants to “have a clear scale of their influence and see what we need to do to protect small business in San Francisco.”

History of wariness In 2004, the Board of Supervisors adopted the first Formula Retail Use Control legislation, an ordinance that “prohibited Formula Retail in one district; required Conditional Use Authorization in another; and established notification requirements in all neighborhood commercial districts.” The Planning Code changed again after a voter ballot initiative in 2007, Proposition G, required any formula retail use in neighborhood commercial districts to obtain a conditional use permit, which gave neighboring businesses a chance to weigh in during a public hearing. Mar said the intent wasn’t to bar big box retail from entering the city, but to simply give neighborhoods a voice. But now, he said the city needs to take a more comprehensive look at what’s coming and how they will impact the city. editorials

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Opposing Walmart

Battling big box

City officials and small businesses seek more studies and controls on formula retailers Small Business Commissioner Kathleen Dooley echoed the concern, which extends even beyond city limits. “I’ve heard through the rumor mill that Lowe’s in South San Francisco is going to close and Walmart is looking to take that space since they know they’d never get into the city,” she told us. “It’s bad enough that Target is opening stores [in San Francisco]. They are the quintessential big box because they sell everything.” Target is in the process of opening a massive store inside the Metreon in SoMa, and another store at Geary and Masonic. Mar isn’t diametrically opposed to the big box industry, but he thinks those companies should be appropriately situated. “I’ve seen that people in Richmond are positive toward big box like Target coming into the district, but some are nervous that it will take down business,” he told us. “There are some property spaces that are supposed to be for big box, like the property at Geary and Masonic where the old Sears and Toys”R”Us used to be.” But it’s not easy to figure out what other big box stores have their sights set on the city. The Planning Department’s list of projects in the pipeline aren’t always filed under the name of the business, making it difficult to stay vigilant. For example, while application #3710017 at 350 Mission Street describes the project as a “95,000 sq. ft. building of office, retail and picks

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accessory uses,” it isn’t clear what businesses are actually setting up shop. And these days, some big box stores are coming in smaller boxes. Prototype stores such as Unleashed by PETCO are specifically designed to squeeze into smaller property spaces so they can get into neighbor corridors that are typically reserved for small businesses.

More help needed During the Dec.5 hearing before the Land Use and Economic Development Committee, Sup. Scott Wiener echoed Mar’s concerns, commenting that he wants to see how the Planning Commission could “improve the conditional use process since we see a pushback of strong neighborhood activity.” Dooley recalled an issue from 2009 when the Small Business Commission formally asked the Planning Commission not to authorize a PETCO in the Richmond because “the surrounding area was already well served by pet stores.” The board ultimately stopped PETCO, but Pet Food Express did locate a store nearby, which Dooley said has already taken a toll on the locally owned pet food suppliers. “Big box stores carry a huge number of products that impact other stores,” she said. “Big box is a category killer in the neighborhood...the Planning Commission needs new criteria for formula retail because there are several different types.”

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Some superstores require parking lots, taking up additional land, and increasing traffic in certain neighborhoods. Yet one trait that most chain stores have in common is that they extract more money from San Francisco than locally owned businesses, whose revenues tend to circulate locally. “With every dollar spent at local stores, 65 cents will go back into the community, while only a quarter will be returned from a big box,” Rick Karp, owner of the 50-year-old Cole Hardware, said at the hearing, citing various studies on the issue. Small business owners are asking for economic impact reports to be included in project applications from chain stores to see just how they measure up to their locally owned counterparts. When Lowe’s entered his district, Karp says he lost 18 percent of his business and was forced to eliminate six full-time jobs. He appealed to city officials to “keep big box out of San Francisco because it impacts the efficacy of neighborhood shopping.” Once chain stores put the locals out of business, the consumer is stuck with set prices and reduced variety. But critics say it isn’t just consumers and small business owners who suffer, but workers as well. They singled out Walmart as notorious for union-busting and poor labor standards. “We can use our land use ordinances and powers to set a basic minimum labor standard. Big box film listings

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To illustrate how Walmart would adversely affect San Francisco’s workforce, the hearing included two employees of Walmart, Barbara Collins and Ronald Phillips from Placerville, who helped create Organization United for Respect at Walmart (OURWalmart) to push for better benefits and labor standards. “We want to hold Walmart accountable,” said Collins, whose last annual income from Walmart was $15,000 annually, a salary she realized couldn’t support her four children. “Walmart says they pay living wages. No, they don’t.” Phillips said that Walmart has “a tendency to fire people for any reason and then does not have to pay for the benefits... I was one of these people, but I was rehired.” For the past three months, Phillips says she has worked at least six days and 40 hours per week, but that she still qualified for welfare assistance. Also at the hearing, SF Locally Owned Merchants Alliance unveiled a study showing that formula retail costs nearly as many jobs as it creates. A domino effect occurs when stores close because fewer customers circulate to other nearby stores. But the group noted that consumer habits are probably even more important than city regulations. The SFLOMA study found that if 10 percent of San Franciscans shifted their spending to locally owned small businesses, consumers would create 1,300 jobs and $190 million in the city. And that would be good for everyone: owners, consumers, and workers. Steven Cornell, owner of Brownie’s Hardware, said that small business pays good wages, typically above the minimum wage, as well as sick leave, health coverage, and other benefits. As he told the hearing, “Local businesses have been doing this for 20 to 30 years since we are already invested in the community.” 2

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Dovetail wants to allow protesters like the OccupySF march communicate even if cell phone service is down. | guardian photo by lucy schiller

iProtest

The revolution will not be powered by smartphones (but these apps might help it along) By Rebecca Bowe rebeccab@sfbg.com The year 2011, marked by mass uprisings in the Arab world followed by the wildfire-like Occupy Wall Street movement, also brought a handful of incidents that inspired mobile application developers to invent new tools for protesters taking to the streets. There was the time Sam Zimmerman, a media producer in New York City, received a series of frantic texts from his girlfriend, who was getting arrested and wrapped up in orange mesh by New York Police Department officers along with a crowd of demonstrators at an Occupy Wall Street protest. Then there were the protesters targeting Bay Area Rapid Transit (BART) stations to denounce the fatal police shooting of a homeless man who learned BART had cut off passenger cell phone service to thwart their efforts. Activists criticized the BART cell-phone service shutdown as “pulling a Mubarak,” because it seemed to echo an earlier incident that year, when Egyptian dictator Hosni Mubarak cut off cell phone and Internet service to quell pro-democracy protests in Tahrir Square. In all, 2011 was a banner year for free speech crackdowns — and finding innovative ways around them. Shortly after Mubarak tried unsuccessfully to stem the tide of texts and Tweets unleashed early in the Arab Spring uprising, New Orleans attorney Kevin Vogeltanz learned what had happened while SAN FRANCISCO BAY GUARDIAN

listening to a broadcast on NPR. It planted the kernel of an idea for a smartphone app that would allow people in crowds to communicate with one another through anonymous messaging, regardless of whether their phones were getting a signal. “What they really needed,” Vogeltanz told us, “was a way to communicate through their cell phones peer-to-peer.” The project may have seemed an unlikely fit for a lawyer whose day job is working in maritime, oilfield, and insurance law, with some experience in white collar criminal defense. But he said he was stirred to action. In the fall, Vogeltanz caught wind of BART’s unprecedented cell service disruption. “What I was incredulous about was, this is America,” he said. He was infuriated, but that served as motivation to hammer out the app. He convened a team of collaborators with knowledge in computer science to help tackle the challenge. The app has been dubbed Dovetail. While still a work in progress, the plan is to use wifi transmitters built into smartphones to send short-range message bursts to other smartphones in the vicinity. People who install it will be able to send or receive messages, anonymously, to people around them — regardless of whether cell phone service is functional. In New York, meanwhile, the plight of Zimmerman’s girlfriend inspired app developer Jason Van Anden to create the I’m Getting Arrested app. This tool for Android editorials

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phones, which has been downloaded roughly 17,000 times so far, allows protesters who anticipate that they’ll soon be wearing handcuffs to instantly send emergency notifications to lawyers or loved ones. “I researched it very quickly, and put it together,” explained Van Anden, who has a background in fine art and software engineering and develops mobile apps through his company, Quadrant2. “It was a way I could contribute to what was happening with the demonstrations.” The I’m Getting Arrested app is free to download. To use it, arrestees hold their finger down on a bullseye on the phone screen before their wrists are constrained with zip-ties. The phone vibrates to let them know the message has been sent, and the pre-written distress signal goes out to previously selected contacts. Since Van Anden released it this fall, just as the Occupy Wall Street protests were beginning to heat up and make international headlines, I’m Getting Arrested has been translated into more than a dozen foreign languages, with more — including Turkish and Azerbaijani — in the works. “In the last two weeks, we’ve had about 1,000 new downloads from people in Russia,” Van Anden noted. In early December, Russian riot police arrested hundreds in Moscow protests led by citizens angered over election fraud, and voicing opposition to Prime Minister Vladimir Putin’s ruling party. The year’s protests have sparked ideas for other apps,

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too. Mobizi’s Rich-O-Meter, for Android, features a circular gauge with a needle that points to your standing on the spectrum from 99-percent-to-1-percent, based on personal income. Although learning how one stacks up against billionaires may have limited appeal, the app’s usefulness is revealed by pressing the red “Occupy Wall Street” button. That brings up a comprehensive

“We’re cutting the cell phone companies out of the equation.” — Kevin Volgeltanz

“Actions and Directory” listing of Occupy websites and Twitter feeds from around the globe — from Fresno to Istanbul, with hundreds in between. Then there’s the Shouty app — which still might not be as effective as the Occupy-inspired People’s Mic, an echo delivered with old-fashioned vocal chords. Shouty helps amplify sound in large crowds or spaces where sound systems have been banned by authorities. Developed by coder Nathan Hamblen and others at the “social coding” site Github, Shouty music listings

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for more news content visit sfbg.com/politics is a live-streaming tool that broadcasts sound as an MP3 stream so others in the crowd can pick up what is being said, even if they’re out of earshot. Other sound apps may still catch on, like the just-released Occupy Drum Circle, which allows one to “start your own drum circle protest anywhere,” according to an description posted by developer Michael Desmond. For newshounds, there’s Occupy Wall Street News, an iPhone app, plus about a dozen others that aggregate information and news updates relating to Occupy and display it in a common feed. I’m Getting Arrested, Shouty, Occupy Drum Circle, and Occupy Wall Street News all require cell service or an Internet signal to function, but Dovetail will be unique in that it’s designed to operate even if cellular towers have come down or a repressive government has sought to block the free flow of information by silencing networks. It could also be used in a natural disaster scenario. Vogeltanz and his team have tested out Dovetail using Bluetooth transmitters, which send information over a shorter range than wifi, but project team member Robert Meredith, an IT director, says he thinks they’ll be able to harness wifi transmitters to improve the distance messages can travel. They plan to make it available for a free download, and it would be free to send and receive messages. In a protest situation, there would be nothing barring law enforcement agencies from outfitting their own devices with the app to see what people in a crowd were saying to one another via Dovetail — but theoretically, they wouldn’t be able to pinpoint the senders. To help their project along, the Dovetail developers have started a Kickstarter page where they hope to raise $30,000 by Jan. 23. Much of the funding will go toward purchasing phones for testing. “We’re cutting the cell companies out of the equation,” Vogeltanz explained. “You’re using the built-in equipment on your cell phone to send a short-range radio burst.” Messages sent via Dovetail would be more resilient in a denser and larger group, he added. “There will be no viable way to shut down that communication,” he said, “unless you disperse the real-life group.” 2

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What the neW yeaR BRingS By Caitlin Donohue caitlin@sfbg.com heRBWiSe was a harsh year for medical marijuana. During its first half, the number of California dispensaries burgeoned. But a federal crackdown in September has left much of the industry shaking in its buds. By bombarding landlords with cease-and-desist letters threatening 40 years of jail time if they continue to let marijuana be sold on their property, the Department of Justice has effectively closed down walk-up operations for many smaller dispensaries. But as we head into the year of the Mayan overhaul, one thing seems certain: advocates for safe and available access to medical cannabis aren’t going anywhere. How can they? Since Proposition 215 made it legal in 1996, 200,000 Californians have gotten physician recommendations to alleviate health concerns with marijuana. People use it for chronic pain, to make it through chemotherapy, for multiple sclerosis, severe anxiety. “We can’t wait for the federal government to do the right thing in California,� says the state director of Americans for Safe Access Don Duncan. “As the state of California gets its marijuana house in order there will be less incentive for the feds to come in.� Duncan and his organization were co-authors of the Medical Marijuana Regulation, Control, and Taxation Act — a unified voter initiative that was turned in to the California Secretary of State’s office last Wednesday, Dec. 21. Other contributors include NORML, the California Cannabis Association, the Humboldt Growers Associations, and the United Food and Commercial Workers — the union that now represents workers across the state, including editorials

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Oaksterdam University employees. “We’re hoping that this policy will reassure people that we can have a rational system,� continued Duncan in a phone interview with the Guardian. Duncan is convinced that the recent aggression by the Obama administration can be traced to people’s discomfort with the industry’s wild growth, and that a good faith effort to institute a comprehensive regulation system will assuage people’s confusion and fears about marijuana. His initiative calls for the establishment of a centralized bureau of medical marijuana enforcement, to be comprised of 21 members from various state government offices, patients, advocates, a physician, a nurse, individuals from the marijuana research and policy fields, and six people with experience in dispensary operations. The bureau would be in charge of cannabis registration, industry regulations, and the use of funds that are generated by administrative fees. The initiative also calls for a sales tax of 2.5 percent on medical marijuana retail sales and states that cities — unless voters approve other guidelines — must follow a minimum zoning restriction of a dispensary for every 50,000 people. In January, a campaign supporting the initiative will begin to drum up awareness. Backers are hoping that by instituting stricter and more consistent controls of dispensaries and growing operations, 2012 will look a lot brighter for the Californians that have relied on their marijuana prescription to live their lives. “I think this is really going to resonate with voters,� said Duncan. “We just need for officials to be able to step outside the controversy of it all.� It’s a hopeful stance. Let’s see how it holds up in the roiling of the upcoming election year. 2 picks

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aPPeTiTe As we arrive at the end of 2011, here are a few dishes of soothing comfort for a winter’s night from four under-the-radar places.

egg noodles in a JaPanTown culinary resPiTe Bushi-Tei (1638 Post, SF. 415-4404959, www.bushi-tei.com) has long been one of my underrated restaurant picks. There’s much to love in the two-tiered space lined in rugged Japanese woods, with 18-foot communal table, and eversure conversation starter: Japanese toilets in the bathrooms (air dryers and seat warmers!) When I heard new chef Michael Hung Jardiniere and pastry chef Yuko Fujii of Fifth Floor were coming aboard, I hoped the refined French Japanese cuisine would remain intact. I was delighted after a couple visits to see Hung has married comfort and intricacy, inventiveness and tradition. Tasting menus are $55, or $8-18 starters, $17-27 main courses. Tak and Keiko Matsuba thankfully still run the restaurant: they’re among the most adorable husband-wife teams I’ve met. They bring a gentle passion to each aspect of the place, including Tak’s thoughtful wine pairings, like an Alsace Riesling with fish or sake with noodles. There’s a Sunday brunch offering elegant bowls of egg noodles in Sonoma duck ragout editorials

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or Haiga rice porridge laced with salt-roasted albacore tuna and a poached farm egg. A small serving of grilled Monterey calamari ($8) in a ginger bourride (a stew made with egg yolk and garlic) impresses with nuanced sauce and juicy squid. Memorable dinner dishes include tataki of Hawaiian albacore ($12), a delicate, sashimistyle starter over black sesame aioli. Handmade egg noodles ($17) steal the show from worthy entrees like roasted Kurobuta pork Nabemono (Japanese stew). Hung makes his egg noodles with egg and soda, and at a recent dinner tossed them in brown butter cauliflower and hatcho miso, a miso from South Central Japan. Fujii shows her skills in a unique dessert of Kabocha squash and matcha mochi dotting a coconut tapioca broth. Dense and warm, it is thankfully unsweet and richly satisfying, its three lush bean pastes — red bean, green tea, squash — the shining finish. Post-dinner, Tak offers a pour of Denshin “Yuki� Junmai Ginjo sake brewed by Ippongi Kubohonten Co. He spoke of its cowboy boot, kimono-wearing sake maker whose area of Japan, Fukui, was hit hard by the recent earthquake. Matsuba loves to support such producers, welcoming them when they are in the States. We’re lucky to have this haven of pristine East-West cuisine in our city.

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egg yolk and ricoTTa raVioli aT a cozy noB Hill sPoT seven Hills (1550 Hyde, SF. 415775-1550, www.sevenhillssf.com) is one of those neighborhood favorites many outside the ‘hood aren’t aware of. An Italian spot run by French natives(?), it’s a mellow respite for conversation with caring service. I enjoy the pasta most, especially in the form of a signature ravioli uovo ($9.50) filled with ricotta, spinach, and oozing Full Belly Farm egg yolk. In a light pool of brown butter and white truffle oil, it flirts with decadence. Spaghetti ($9.50/$19) is a heartwarming bowl (conveniently in two sizes) dotted with French Grandpa George’s recipe of plump fennel sausage, caramelized onions, and bell peppers in tomato sauce.

cHesTnuT souP in a Tiny FrencH BisTro Bouche (603 Bush, SF. 415-9560396 www.bouchesf.com) has only been open a couple weeks and thus is too new to comment in-depth upon. On a recent visit, I suffered tiny pangs of nostalgia, wishing Bar Crudo, since moved to the Panhandle, was still in this tiny, charming space. But the one dish out of a number of Bouche’s small plates ($6-18) that began to assuage those pangs was a creamy chestnut soup ($6). Its aroma evokes a winter panorama, the soup dotted with sage leaves fried in butter (which I could smell downstairs before the dish arrived to my table upstairs), with a side of crispy root vegetable chips to place on top. music listings

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HealTHy “unFried� cHicken in Palo alTo Call it healthy “fast food� for the Peninsula set: lyFe kitchen (167 Hamilton Ave., Palo Alto. 650-325-5933, www.lyfekitchen. com) is a bustling, new eatery in downtown Palo Alto. Draft beers, wines, smoothies, and juices flow, while vegan, vegetarian, and organic foods encourage guilt-free eating. This sort of place would take off in downtown SF: its healthful approach doesn’t leave taste behind, while its connection to celebrity chef Art Smith is a point of interest for foodies. Alhough not everything worked (I’m afraid fries are ultimately better — and less soggy — when actually fried), two stand-outs are Art’s unfried chicken ($11.99) and a roasted beets and farro salad ($7.79). Chicken is a dish I often brush past for more enticing options, but this tender, “unfried� chicken is pounded flat, textural with breaded crust, on a heartwarming bed of roasted squash, brussels sprouts, dried cranberries, tied together by a drizzle of cashew cream and Dijon vinaigrette. The salad is loaded with roasted red beets over wholegrain farro and field greens, with a melange of fennel, walnuts, dried cranberries, oranges, red onion, and basil in maple-sherry vinaigrette. Every bite packs a flavor punch. Here one can fill up with a clear conscience. 2 Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www. theperfectspotsf.com

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CHiP-CHiP-HoorAy By L.E. LEonE le.chicken.farmer@gmail.com CHEAP EATS What’d I say 50 weeks ago? “More fun in one-one,� or something, and, well, I had it! But I earned and deserved this, dear reader, after the shit show that was one-oh. This year, my Favorite Year Ever, started on a choo-choo across the country, and ended with a chocolate chip cookie. In between, I re-rocked Boston and took NOLA by storm (January), fell in love with the prickliest li’l softest-centered dyke that ever strapped on a strap-on (February), befriended yet another awesome little baby (March), was carried off a football field on some shoulders (April), turned forty-fucking-eight (May), restormed NOLA (June), co-chicken-farmed France (July), remembered how to write in Mexico (August), drove across the country (September) ... and so on and also forth — until that cookie I was trying to tell you about. What was so special about this chocolate chip cookie, late December, 2011 (my Favorite Year Ever), was that it didn’t have any chocolate chips in it. I know, right? What seemed like chocolate chips turned out to be raisins; except then what appeared to be raisins turned out to be dried cranberries. Only they weren’t; they were dried cherries. Give or take the ones that weren’t dried cherries either but chocolate covered pretzels — some of which, upon closer examination were butterscotch chips that were really white chocolate chips. In other words, I don’t know what the hell was in them, just that they were the magickest chocolate chip cookies I ever ate, and there’s one left. I’m in love with Hedgehog’s best friend Jellybean over these cookies. The sweetie pie, she let us stay at her apartment while she was out of town, and left a little box of homemade cookies on the kitchen table. When I grow up, I would like to be that thoughtful. Not to mention substitutive (shall we say) with my cookie ingredients. But so long as we’re on the subject of chocolate chip cookies without chocolate chips in them, let me also direct your attention to a strange Mexican restaurant’s turned up last year or editorials

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so like a hole in the head of my very own neighborhood (that I won’t be living in for another six months): the Mission. I’m talking about Reaction, where once I ate with Hedgehog, Coach, and Papa before going out somewheres. The thing to remember about Reaction is: happy hour. Between 5 and 7 you can get five tacos for $5, or a free taco with your fancy-pants drink. Hedgehog got that. Neverminding the drink, the papas taco came with it did not float her boat — although she admits to holding potato tacos to an unreasonably high standard set by Taqueria El Atacor #11 in Los Angeles. Coach got something vegetarian, because that’s the way she is, and both me and our center, Papa, being the other way inclined, got five-for-fives. Strangely — since they open at five and we’d showed up at six — they were out of some of the things on the menu. There was one waiter, and he had two tables. The rest of the restaurant was empty. Just us, sitting in the front window, quietly discussing relationships and pass blocking, and, in the back of the room, in the opposite corner, as far away from our party as it was possible to be, a table full of loud dudes, hooting and drinking and laughing. Two more divergent groups would be possible to imagine, and — as it happened — imagination was not our waiterguyperson’s weak suit. Anyway, he somehow kept confusing our order with theirs, bringing the wrong things to the wrong table, and whatnot. For which I loved him, but ... I mean, even I have to admit: come on. The food at my new favorite restaurant was just OK. Super cheap, though. Thanks to the happiness of the hour, all four of us ate for under thirty, so ... hard to complain. Happy New Year, m’dears. You see? Our 49ers are going to the playoffs for the first time in 10 years! Woo-hoo for one-two. 2 Reaction Mon.-Sat.: 5 p.m.-midnight; closed Sunday 2183 Mission St., S.F.

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901 DivisaDero st @ Mcallister 415.474.4900 open 7aM-11pM film listings

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december 28, 2011 - january 3, 2012 / SFBG.com

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Plucked from the garden pleasantness.

for more visit sfbg.com unforgettable by bringing along a full band. If that’s not incentive enough, Thursday is the release show for Roth’s fresh new Pabst & Jazz Sessions mixtape produced by Blended Babies. (Capell)

x see fri/30

10 p.m., $25 330 Ritch, SF (415) 542-9574 www.330ritch.com

Wednesday 12/28

Friday 12/30

Doe Eye

Wizard Of Oz

With The Trims, Pounders, and Miles the DJ

For more than 70 years and counting, The Wizard of Oz has entertained and fascinated viewers; at the time of its original release, the film’s breathtaking color sequences enthralled audiences still stuck on black and white, and the soundtrack’s beloved songs introduced the world to the talents of Judy Garland. For the majority of us who have grown up watching the movie on television, we are in for a special treat tonight when the grand old Paramount hosts a screening, a rare chance to see such a classic piece of cinema on the big screen, the way it was meant to be viewed. Just watch out for flying monkeys! (Sean McCourt)

9 p.m., $8

8 p.m., $5

When Maryam Qudus — sole member of local indie-pop project, Doe Eye — sings “I Hate You,” it’s hard to believe her. It’s cute as hell. But the point of the song is indeed that. She doesn’t hate the faceless “you,” but is tortured by the affection. It’s that kind of thoughtfulness with an added ear for pop charm that makes Doe Eye a project you can espouse. Doe Eye released the EP, Run, Run, Run, in August, and sure, it’s about as radio-friendly as you can get. But the instrumentation, with its orchestral and wavy synth touches, is undoubtedly inspired by indie-rock acts around today, be it Beach House or St. Vincent. (James H. Miller)

Bottom of the Hill

Michel Legrand, so they carry their complex register of emotions with a lightness that escapes words. (Max Goldberg)

1233 17th St., SF (415) 621-4455 www. bottomofthehill. com

Paramount Theatre

Rickshaw Stop

2025 Broadway, Oakl.

155 Fell, SF

(510) 465-6400

(415) 861-2011

www.paramounttheatre.com

www.rickshawstop.com

3:25 and 7 p.m., $10

Wednesday 12/28

Castro Theatre

Mara Hruby

(415) 621-6120

Michael Jackson doing “Ain’t No Sunshine.” Al Green doing “Light My Fire.” Nina Simone doing “Rich Girl.” (Yeah, Hall and Oates, look it up.) While a cover rarely make the original irrelevant, a good one should make it the artist’s own. On From Her Eyes, a free EP she reportedly sang, arranged, recorded, and engineered, Oakland’s Mara Hruby lent her sweet, soulfully agile voice to tracks by Mos Def, Andre 3000, Bob Marley, Jamiroquai, and others, rendering each different and new. Since then Hruby has been at work on her debut album, teasing songs “Lucky (I Love You)” and “The Love Below” online, and will be including new material at this show. (Ryan Prendiville) With Chris Turner 8 p.m., $15 Yoshi’s Oakland 510 Embarcadero West, Oakl. (510) 238-9200 www.yoshis.com

12 SAN FRANCISCO BAY GUARDIAN

Friday 12/30

429 Market, SF

X

www.castrotheatre.com

Thursday 12/29

Thursday 12/29

Pictureplane

The Umbrellas of Cherbourg and A Woman is a Woman A double bill of The Umbrellas of Cherbourg (1964) and A Woman is a Woman (1961) at the Castro is the stuff cinephilia is made of. Those sweet on The Artist should be sure to check in with these earlier Gallic interpretations of Hollywood razzle dazzle. The first, Jacques Demy’s Umbrellas is the purer confection in many ways, but the film’s tender sentimentalism and radiant color design flow towards a soulful poetry of the everyday. The second, by Jean-Luc Godard, is an early distillation of his complex movie love and a poignant offering to actress Anna Karina. Both films feature scores by editorials

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What do you get when you cross a gutter punk b-boy with a space goth? Sprinkle him with a little MDMA and you’ve got Travis Egedy, a.k.a. Pictureplane. Egedy works clubby ‘90s vocal samples and celestial beats into infectious pop songs, which he sings over in a breathy, lusty moan. With effervescent dance anthems like “Black Nails” and “Trancegender,” Egedy gives goths something to freak to. And you’re just as likely to shake it as you are to wind up in the center of a mosh pit. We should all thank our lucky stars for the weird amalgam of personas that is Pictureplane. Speaking of stars, did I mention he’s really, really into space? (Frances Capell) With Popscene DJs 10 p.m., $12

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Thursday 12/29 Asher Roth Let’s face it. A lot of us love rap, but many of us can’t relate to carrying guns or moving kilos of cocaine. Luckily there’s Asher Roth, a gifted 26-year-old MC who raps about things the everyman can identify with — like partying with friends and soaking up sunshine. Roth may be a college bro, but he’s legit enough to have earned props from the likes of Ludacris and Slick Rick. Roth prides himself on his live performances and makes them music listings

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Taking the same searing energy that propelled its contemporary punk counterparts then add the rock solid drumming of DJ Bonebrake, the guitar virtuosity of Billy Zoom, and the poetic lyrics and intimate vocal interplay of John Doe and Exene Cervenka. Legendary Los Angeles punk rockers X have always distinguished themselves from the other bands of the genre. This holiday season finds the band celebrating with “The Xmas Traveling Rock & Roll Revival,” where fans are sure to hear all of their favorite iconic tunes, and probably a couple of revvedup holiday favorites as well. (McCourt) With Sean Wheeler & Zander Schloss, and the Black Tibetans. 8 p.m. Fri.; 9 p.m. Sat/31, $33–$50 Slim’s, 333 11th St., SF (415) 255-0333 www.slimspresents.com

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Doe Eye Photo By Kimberly Ky; X Photo courtesy of Mad Ink PR; Umbrellas of Cherbourg photo courtesy of Castro Theatre; Asher Roth Photo by Chrissy Piper; Agent Orange Photo Courtesy of Artists Worldwide; Eliza Rickman Photo By Kathryna Hancock; Thee Oh Sees Photo By Kelly O

wild New Year’s Eve and adds more. In part it has to do with the crowd, drawing some serious do-it-themself-ers with fantastically creative outfits. But whatever distractions are off stage, there will be hard competition from a triple bill of headliners including local favorites Beats Antique, infectious dance MC Santigold (who has new material to debut live), and the return of Amon Tobin’s deafening, eyeball melting ISAM set. (Prendiville)

eliza rickman see sun/1

Friday 12/30 Agent Orange In the mid through late 1970s, Southern California was one of the hubs of hardcore punk, with bands like Black Flag, Circle Jerks, and Wasted Youth all forming in the region. It was also a center of skateboarding, thanks to — among other things — a newly developed polyurethane wheel and a drought that left scores of pools empty. The band Agent Orange was a by-product of both of these phenomenons. Formed in Orange County in 1979 by lead singer and guitar player Mike Palm, bassist James Levesque, and drummer Scott Miller, the band took a Dick Dale spin on hardcore and became synonymous with early incarnations of “skate punk.” Skateboarders needed an identity of their own, and Agent Orange helped with that task. Now, 30 years later, you don’t need to know how to do a kick flip to understand why they were so essential. (Miller)

With Claude VanStroke, MarchFourth Marching Band, An-ten-nae, Diego’s Umbrella, and more 8 p.m., $75–$145 SF Concourse Exhibition Center 635 8th St., SF www.seaofdreamsnye.com

Sunday 1/1 Eliza Rickman

With Inferno of Joy, Tokyo Raid, The Nerv, Suggies

Public Works

Red) finds Thee Oh Sees shredding harder and better, but its live shows will melt your face clean off. Enjoy some gnarly guitar riffage, kiss a stranger, and partake in the vices you’ve resolved to quit come sunrise. (Capell)

161 Erie, SF

With The Fresh & Onlys and White Fence

8:30 p.m., $15

(415) 932-0955

9 p.m., $15–$20

330 Ritch, SF

www.publicsf.com

ally suggestive track that proves, as usual, he knows what you really want. (Prendiville)

Great American Music Hall

With LA Vampires, Bobby Browser, Magic Touch, and Pickpocket

www.slimspresents.com

Brick & Mortar Music Hall

859 O’Farrell St., SF (415) 885-0750

9:30 p.m., $10

(925) 541-9574

1710 Mission, SF

www.330ritch.com

Saturday 12/31

Friday 12/30 “I hear you’re buying a synthesizer and an arpeggiator.” James Murphy tipped his hand when he wrote that a decade ago, but while would-be musicians could have gone straight past the irony to eBay, one thing they wouldn’t have was Gavin Russom. The ace up the sleeve, Russom is the tech wizard, creating analog synths for LCD Soundsystem and others. But more guru than a Radio Shack hobbyist, Russon has performed, DJ’ed, and created music on his own and under the aliases of the Crystal Ark and Meteoric Black Star. His latest “Night Sky,” is an epic, speedily slow building, sexueditorials

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(415) 371-1631 www.brickandmortarmusic.com

Primus

Gavin Russom

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Is one of your New Years’ resolutions to go Sailing The Seas Of Cheese? Do you plan on serving up some Frizzle Fry? Imbibing in some Pork Soda? Well, any way you look at it, the two club shows this week by musical boundarybusting Bay Area rock favorites Primus are a rare treat for local fans to see the band up close and personal. You can choose to ring in the New Year with Les Claypool and company on Saturday, or if you prefer, you can work off your holiday hangover on Sunday with the band, which will be performing two sets each night at its Hawaiian Hukilau-themed parties. (McCourt) 9 p.m.; 8 p.m. Sun/1, $50–$65

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With her little toy piano Eliza Rickman makes bewitching alternative folk rock. Listening to her EP, Gild the Lily, is like walking through a life size dollhouse and feeling not sure whether to be frightened or enchanted. There’s something about the nature of the toy piano — its sparkling sound can be at once blood curdling and tender (like John Cages’ Suites for Toy Piano, which popularized the instrument). Similarly, Rickman’s voice has a plucked from the garden pleasantness, but her words tend toward the tragic. This balance between adorable and dreary can even be seen in the titles of her songs, like “Black Rose” and “Cinnamon Bone.” In any event, whether she’s cinnamon, bone, or both, the toy piano under her hands is more than a novelty. (Miller) 7 p.m., free

Saturday 12/31

Amnesia

Thee Oh Sees

(415) 970-0012

There’s no shortage of New Year’s Eve events taking place in the city, but you’re hard-pressed to find a more definitively San Francisco way to spend the evening than with local psych-pop darlings Thee Oh Sees. Though many a band has hopped on the fuzzy garage train in recent years, these guys have been blazing the trail for well over a decade (under various monikers). Each new release, including the spanking new Carrion Crawler/The Dream (In The

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. 2

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853 Valencia, SF www.amnesiathebar.com

Saturday 12/31 “Sea of Dreams NYE 2012” Part carnivale, part circus, part burn, part Halloween, part massive: the annual Sea of Dreams event takes the promise of a film listings

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december 28, 2011 - january 3, 2012 / SFBG.com 13

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Keep watching the skies: Melancholia, Take Shelter; and Tree of Life melancholia photo by christian geisnaes; Take Shelter photo by grove hill productions; Tree of Life photo by merie wallace

for more arts content visit sfbg.com/pixel_vision

Doom lens Are you ready for the end?

By Cheryl Eddy cheryl@sfbg.com YEAR IN FILM As everyone and John Cusack knows, 2012 is it. And not in a “billboard-buying Alameda radio preacher Harold Camping’s bungled Rapture predictions” kind of way. This is an all-in situation. The Mesoamerican Long Count calendar, a complicated and ancient system most enthusiastically explained by conspiracy theorists, winds up its 13th 144,000 day cycle on December 21, 2012. TL; DR: we’re toast. Though pesky, facts-knowing Latin American archaeology scholars have suggested that this doesn’t actually mean the end of the world is nigh, good luck dissuading zillions of bloggers, survivalists, religious fanatics, supervolcano watchers, and people who lie awake at night, biting their fingernails over the Large Hadron Collider. Imminent catastrophe awaits! Are you ready? Enter Hollywood, which in its 100-plus year history has never had any qualms about exploiting society’s extant feelings of fear and dread. In 2009, 2012 prophesized global destruction (“Mankind’s earliest civilization warned us this day would come!”) as only a film with a lavish special effects budget could. Yet it offered last-act hope, a preferred tactic of master of disaster Roland Emmerich — who, having 14 SAN FRANCISCO BAY GUARDIAN

ice-aged, Godzilla’d, and alieninvaded the planet in a succession of go-boom films over the past 15 years, switched gears in 2011 with Shakespeare mystery Anonymous. (Last-ditch artistic atonement, perhaps?) The apocalyptic films of 2011 took a different approach, opting to emphasize existential terror instead of fireballs, with no happy endings in sight. Lars von Trier’s Melancholia inspects the one percent by peering into the lives of two privileged sisters: depressed Justine (Kirsten Dunst) and anxious Claire (Charlotte Gainsbourg). The film’s first half unfolds at Justine’s lavish wedding reception — held at Claire’s horsy estate — which devolves into a mini-disaster movie of its own. The stretch limo carrying the newlyweds is too bulky to navigate the property’s narrow, curving driveway, until the bride slides behind the wheel and gets the tires pointed in the right direction. It’s Justine’s last moment of glee, as her marriage-jinxing erratic behavior soon gives way to crippling malaise. As it turns out, a newly-discovered planet, conveniently named Melancholia, is heading toward earth. A collision course is not guaranteed, but it’s pretty obvious where things are heading, and this is not the kind of movie that sends Bruce Willis into space with drilling equipment to save editorials

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the day. As Claire whips herself into a panic, clicking through fear mongering websites (Melancholia’s only evidence of a world beyond the mansion’s well-manicured grounds), Justine accepts the impending apocalypse with cool detachment. “The earth is evil,” she tells her sister. “We don’t need to grieve for it.” Though there’s no looming threat from outer space, the sky looks plenty ominous to Curtis (Michael Shannon), troubled protagonist of Jeff Nichols’ Take Shelter. Nightmares of the Iwake-up-screaming variety have become a regular thing, and though Curtis desperately needs the health insurance provided by his construction job — his daughter (Tova Stewart) is about to get an operation to restore her hearing — he’s become obsessed with upgrading the storm shelter in his backyard. Friends and neighbors, initially supportive, become angry and confused. A public meltdown is inevitable: “There is a STORM coming like nothing you have ever seen, and not A ONE OF YOU is prepared for it!” he bellows at a community dinner, spewing fire like a small-town Cassandra. There’s more: Curtis’ mother is schizophrenic. Is history repeating, or are his visions actually prophetic? Is Nichols hinting at Biblical themes, or is he making a statement about mental illness, or the destruction of the American

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dream? The film’s provocative finale could be interpreted a variety of ways; though there’s no Melancholia-style conclusion, Take Shelter’s message remains memorably unsettling. But even if the world doesn’t actually take a buy-out in 2012, it’ll get there someday — as Terrence Malick’s dreamy Tree of Life, which is more or less the story of everything that has ever and will ever happen, points out. For film fans, the signs of a dying planet are all too clear. Just take a look at the top-grossing movies of 2011: all of them are either sequels or part of a series. Transformers: Dark of the Moon relieved ticket buyers of over $352 million, even though previous installment Transformers: Revenge of the Fallen (2009) was scientifically proven to have sucked the soul out of anyone who watched it. (True story.) With the crap economy making even gigant-o-stars nostalgic for their $20 million paydays, the Hollywood-industrial complex concentrated on proven moneymakers, with a few notable exceptions (bless you, Bridesmaids). In 2011, all bets were off. No cult property was too sacred to remake, no “reboot” deemed unnecessary, no superhero with the word “green” in his name unworthy of an entire feature film, no use of 3D too gratuitous. Original ideas were placed on the music listings

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endangered species list, unless you counted the very small handful of smarter films that somehow managed to break through (look hard; most of them came out in December). Though there’s always a chance that entertainment aimed at the masses will have a brain (2012’s The Dark Knight Rises looks promising), that’s all there is. A chance. Worse yet: recent news that major film studios plan to stop releasing 35mm prints from their archives. Rep houses will be forced to show films either digitally or not at all. It’s a cost-cutting measure that will deny future generations the irreplaceable delight of watching a movie projected from film, as was intended by the artist who made it. (Somewhere, Stanley Kubrick is seething.) Why bother going to see an old movie at all, if you’re just gonna be watching the equivalent of blown-up DVD? Might as well stay home and watch the Kardashians shop for shoes that cost more than your rent. Man, maybe I am ready for 2012 after all. At least there’s an alternative end-times scenario to look forward to: the adaptation of Max Brooks’ excellent novel World War Z, about a world rebuilding itself after a zombie holocaust. Its not-so-coincidental release date? December 21, 2012. You’ve been warned. 2

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top: Don’t ExpEct too Much and WE can’t Go hoME aGain; bottom: GeorGe Kuchar in Jennifer Kroot’s 2009 doc it caME froM Kuchar. | Don’t ExpEct too Much and WE can’t Go hoME aGain photos courtesy of oscilloscope labs; it caME FroM Kuchar photos courtesy www.kucharfilm.com

Zero for conduct $POUFNQMBUJOH UIF GJMNNBLFS BT UFBDIFS by max GoldberG arts@sfbg.com year in film American cinema lost several of its troubadours this past year: genuine independents like Robert Breer, Owen Land, Adolfas Mekas, Richard Leacock, Jordan Belson, and George Kuchar. Critical appraisal of these sui generis filmmakers tends to rest upon masterpieces and technique, but several were also influential as teachers. Mekas founded the film department at Bard College, which today boasts a remarkable faculty including Peter Hutton and Kelly Reichardt. German filmmaker Helga Fanderl dedicated her San Francisco Cinematheque show earlier this fall to Breer, her mentor at Cooper Union. Leacock used his post at MIT in the 1970s to develop relatively affordable video systems for student filmmaking. Kuchar brought several generations of San Francisco Art Institute kids into moviemaking laboratories flying under banners like “AC/DC Psychotronic Teleplays� and “Electro-graphic Sinema.� After Kuchar’s passing SFAI professor and administraeditorials

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tor Jeannene Przyblyski wrote, “I will very much miss waking up at night worrying about what might be going on in Studio 8.� Teaching remains an underappreciated aspect of the whole adventure of avant-garde filmmaking. The late 2010 release Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945–2000 (University of California Press) lovingly detailed the instructional incubators that have contributed to a long-flourishing Bay Area avant-garde, but one still hungers for more particular chronicles along the lines of “Professor Ken,� Michael Zryd’s contribution to Optic Antics: The Cinema of Ken Jacobs (Oxford University Press). Zryd persuasively links Jacobs’ intensive teaching style at SUNY Binghamton to his thrilling feature-length frame analysis, Tom, Tom, the Piper’s Son (1969). The story of the American avant-garde’s alliance with the academy has everything to do with the mid-century college boom and the rise of theory, but this general view doesn’t take into account those outlying autodidact instructors who reoriented the teacher-student exchange in much the same picks

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way that they called upon a different kind of spectatorship. Among the many treasures in the SFAI archive’s George Kuchar file are a couple of his syllabuses: “In this workshop atmosphere we all embark on making a moving picture using the equipment at school and ... whatever else falls into our hands.� Class participation is what the class was. It’s also discretionary: “Come as frequently as you wish so that we can showcase your unique talents or specialty acts and help us try to solve the many technical and creative problems involved in making moving pictures.� Asked about his unorthodox teaching materials, Kuchar responded, “Am I going to show the students Potemkin and then talk about our class movies? With the kind of words I use and my accent? It’ll be like sacrilege or something ... It’s stupid anyway. Renting movies is expensive as hell, and you can put that money into making a movie.� Kuchar’s creativity took a liberating form in the classroom. Elsewhere in the SFAI file, the filmmaker reflects upon having to rescue terrible class productions in the continues on paGe 16 >>

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editing room. One laughs at first and then is touched that he considered these real movies, imperfect but necessary to see through.

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Ray of light, Ray of DaRkness One of the year’s most significant film restorations originated in a comparable workshop environment. Nicholas Ray arrived at SUNY Binghamton in 1971 not having directed since 55 Days at Peking (1963). As in Kuchar’s workshops, he took his students as collaborators: everyone rotated production jobs and worked toward the common ends of We Can’t Go Home Again, an unspooled picture of dissolution spanning the election years of 1968 and 1972. The workshop process became central to the psychodrama itself. As in other films of the era by John Cassavetes, Robert Kramer, and Shirley Clarke, the filmmaking style dives deep into breakdown narratives: he and four students charting out self-destructing versions of themselves. In Leo Tolstoy’s prescriptive essay “Are the Peasant Children to Learn to Write from Us, or Are We to Learn from the Peasant Children?”, the great Russian author dramatizes his teaching experience to show how an attuned instructor can enrich a student’s intrinsic sense of harmony. Ray evinces a similar degree of trust in his pupils, but towards the ends of drawing out their intrinsic disharmony (this was Nixon time, after all). The composition of the drama and the drama itself bleed into one another; performance is inescapable, the film grasping how the phrase “the personal is political” was reversing itself. We Can’t Go Home Again — which plays in a restored and reconstructed version along with Susan Ray’s contextualizing documentary Don’t Expect Too Much at Yerba Buena Center for the Arts in January 2012 — was long thought unsalvageable for both technical and artistic reasons. Ray conceived the film as a multi-projector performance, with several streams of narration playing simultaneously and various 16 mm/Super 8 mm frames affecting a kind of cinematic Guernica. The limitations of the novice crew are readily apparent, though the amateur acting likely plays differently in our present media environment. Ray continued to tinker long after presenting a version at the 1973 Cannes Film Festival, and the present reconstruction doesn’t claim to be definitive. It

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does, however, make Ray’s vision a feasible if still challenging theatrical proposition. As always in the director’s work, the characters’ emotions are primary and sharply defined in space. Vulnerable figures reach across their loneliness; improvised family units emerge from the ashes of corruption and betrayal. The thin veneer of middle-class reality that gives 1955’s Rebel Without a Cause and 1956’s Bigger Than Life their magnificent tension is gone, leaving only the characters’ own psychological mirrors and Ray himself clad in James Dean’s red jacket. Student Tom Farrell is the last of Ray’s boy angels, a bewildered innocent suffering moral estrangement from his policeman father (whom he loves). The agonizing close-up in which he shears his beard in front of both a mirror and Ray’s camera is both visceral and symbolically telling, the beating heart of the film. Though deeply marked by shame and pain, We Can’t Go Home Again also has a comic streak. The counterculture dream is pictured as eating raw cauliflower without any pants on. As he prepares to act out his suicide Ray mutters to himself, “I made ten goddamned westerns, and I can’t even tie a noose.” Of course this kind of flaunted martyrdom requires its own vanity, which might lead one to wonder about the lasting impact of Ray’s teaching — that is, whether his ferocious movie might have superseded the students’ learning. His colleague Ken Jacobs certainly thought so: “I had the dumb idea that he would balance the little department, teaching from his narrative/Hollywood experience but he was self-aggrandizing BS throughout, with tantalizing glimpses of a former self.” Don’t Expect Too Much justifiably avoids department politics to focus on the film itself, but knowing this acrimonious background colors Ray’s former students’ awed remembrances of the Great Artist. There’s a lot of talk about the director working by instinct, exactly the kind of mystification Jacobs targets when he draws a distinction between “living through the cinema” and “using film to enrich your engagement with life and the real world”: “One is an experience that dominates while the other condemns you to be free.” The irony is that it’s hard to imagine a public university giving either man so much freedom today — if they even hired them at all. 2

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In praise of the actors who redefined “sex symbol” in 2011 BY KIMBERLY CHUN arts@sfbg.com YEAR IN FILM Picture this dreamy, steamy “Fuck Yeah! Ryan Gosling” Tumblr thought bubble: “Hey girl, sorry my shirt fell off, but at least I’m one of those new EGOTs (i.e., Emmy, Grammy, Oscar, Tony quadruple threats).” You know, the type that’s got actorly chops, talent, personality, and/ or good works to boot — plus a chiseled chest that looks “totally Photoshopped.” Yes, we’re talking award-fielding hotties à la Michael Fassbender, Ryan Gosling, and Brad Pitt, the kinds of golden boys who can easily pass for Oscar, only with full heads of hair and more soulful glances. This year’s awards-show heartthrob mob comes to you seemingly straight outta the heated imaginations of Sex and the City-fiending hetero ladies and gay connoisseurs of acute cinematic cutie-pie-ness (witness the many, many YouTube re-edits of X-Men: First Class that pump up the erotic undercurrent between Fassbender’s Magneto and James McAvoy’s Charles Xavier). The crowded field of studly talents is sure to be diverting during the inevitable lagging segments of Oscars, Golden Globes, and so forth. (“Reader, I drooled over reaction shots of Mr. Rochester during the technical awards.”) But hasn’t Hollywood always served up heapin’ platters of hunky man meat? Sure, but you’ll EDITORIALS

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probably have to go back as far as Paul Newman and Robert Redford’s ‘70s heyday to find the current crop’s particular combo of art and pulchritude. Ushering in this dear ab-by generation was Brad Pitt, the pretty boy unafraid to spoof vain self-absorption, as a brainless gym-bunny in 2008’s Burn After Reading. Around the same time he bounced on a treadmill for the Coens, Pitt began to consistently hook his star to more ambitious projects than your average loutish, laddish Lautner-esque chisel-head, stretching the skill set while doing his part to further the art and working with Alejandro González Iñárritu, David Fincher, and Quentin Tarantino. None of their Pitt-centric projects were the directors’ best, and that goes double for Bennett Miller’s Moneyball and Terrence Malick’s The Tree of Life (Happy Feet Two, you’re two too much). Nevertheless, Tree of Life, despite its lack of shirtlessness, proved the least commercial and most ambitious widely released feature film of 2011 (in part thanks to co-producer Pitt), and his punishing pater familias was one of the best things about it, grounding Malick’s inner-outer space opera, earth mama twirls, and dinosaur tricks down to earth with his against-type alpha-male hard glances — likely the most demanding performance Pitt has grappled with to date. Shades darker, with a side of honest abs, Ryan Gosling added PICKS

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oft-wordless fashion-plate soul to ‘11: take a page from his Notebook, up-and-coming chestys, because whether you’re crate-digging old footage of the young Mickey Mouse Club kid warbling in floppy PJs alongside Justin Timberlake on YouTube or marveling over his viral snippet of street-fighting men intervention, you know Gosling’s loved. It’s tough to choose between Gosling’s George Clooney impression and cheeseeating Dirty Dancing (1987) tribute in Crazy, Stupid, Love.; his vintage Steve McQueen-James Dean style in Drive (that scorpion jacket launched a jillion Halloween costumes); and his quickly-devolving presidential campaign manager in The Ides of March. In Ides, Gosling’s silky, feline, almost femme-y smoothness hardens into a chilly “Blue Steel,” threatening to plunge into nuttiness, as the film progresses. As with these other award-snagging hunks, he’s an adult caught in the cogs of a terrible, soul-shattering machine, and as Drive’s romantic wheelman, Gosling’s ready to run off the median into an off-roading wilderness of ultraviolence. Of course, the deadliest mechanism lies within, for the driver driven to kill, the ladykiller breaking down the angles, and the political player who grabs his revenge after having his ideals destroyed (and bromantic boss-crush on Clooney’s candidate quashed). The abs — and twinkling, then blistering, peepers — that

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truly seemed to be everywhere this year belonged to Michael Fassbender, who soft-opened the year in an archetypal romantic part, Mr. Rochester, in Jane Eyre. Fassbender went on to add a dose of real class to X-Men: First Class with his vengeance-seeking metalhead Magneto — oh, Jane, his emotional investment in the comic-book creation was the best thing about the reboot. The latter part of 2011 ended with a seismic splash of wish fulfillment for Fassbender fans as his Carl Jung deconstructed — and entangled himself in — sex and the psyche in A Dangerous Method, and as Shame’s corporate hot-shot by day, sex addict by night. His character, Brandon, attempts to lose himself in naked abandon, unable to sustain intimacy with anyone, including his boundary-less sister (see recurring support gal/fan stand-in Carey Mulligan). Shame director Steve McQueen, not be confused with Drive’s inspiration, wisely lets his camera rest, unsettled and ambivalent, on Fassbender’s face at the end of one night of hopeless coitus, after a close brush with a real relationship gets clipped short by flaccidity. Caught in mid-rut, Brandon’s orgasm face is an anguished rictus of painful pleasure, half horrifying tragedy mask, half laughable comedy mask. It’s all there, the sexual fantasy-turnednightmare, the tears behind the dazzling smiles, pecs, and fullfrontal shots, conveying in one look the perils of manhood and the forces these foxes can — and can’t — control. 2

American Teacher (Vanessa Roth and Brian McGinn, U.S.) The Arbor (Clio Barnard, U.K.) Buck (Cindy Meehl, U.S.) The Last Lions (Dereck Joubert, U.S./ Botswana) My Perestroika (Robin Hessman, U.S./U.K./ Russia) Nostalgia for the Light (Patricio Guzmán, France/Germany/Chile) Pianomania (Robert Cibis and Lilian Franck, Austria/Germany) Pina (Wim Wenders, Germany/France/U.K.) Shut Up Little Man! An Audio Misadventure (Matthew Bate, Australia) Vigilante Vigilante: The Battle for Expression (Max Good, U.S.) We Were Here (David Weissman and Bill Weber, U.S.)

DENNIS HARVEY’S FAVORITE NARRATIVE FEATURES OF 2011:

The Artist (Michel Hazanavicius, France/ Belgium) Ceremony (Max Winkler, U.S.) Certified Copy (Abbas Kiarostami, France/ Italy/Belgium) The Descendants (Alexander Payne, U.S.) Drive (Nicolas Winding Refn, U.S.) Happy, Happy (Anne Sewitsky, Norway) Hugo (Martin Scorsese, U.S.) I’m Glad My Mother Is Alive (Claude Miller and Nathan Miller, France) Incendies (Denis Villeneuve, Canada/France) Machotaildrop (Corey Adams and Alex Craig, U.S./Canada) The Mill and the Cross (Lech Majewski, Sweden/Poland) The Names of Love (Michel Leclerc, France) Oka! (Lavinia Currier, U.S.) Rango (Gore Verbinski, U.S.) A Separation (Asghar Farhadi, Iran) The Strange Case of Angelica (Manoel de Oliveira, Portugal/Spain/France/Brazil) Tucker and Dale vs. Evil (Eli Craig, U.S./ Canada) Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, Thailand/U.K./France/Germany/Spain/ Netherlands) Weekend (Andrew Haigh, U.K.) Young Adult (Jason Reitman, U.S.) CONTINUES ON PAGE 18 >>

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BY LYNN RAPOPORT YEAR IN FILM We ask depressingly little of our romantic comedies, particularly considering that they’re meant, one guesses, to cheer us up. While genres like the action thriller and the disaster film engage in an arms race of catastrophe that, while riddled with clichÊs, requires some amount of ingenuity to orchestrate, when it comes to the rom-com, the studios display fierce loyalty to a formula of marquee names, charming emotional baggage, foolish misunderstandings, and final-boardingcall epiphanies. You could say that our relationship with the genre is going nowhere, like the one the perky, anal-retentive heroine is perpetually on the brink of settling for with some handsome, amiable cardboard cutout, too afraid to take a chance on surly, diamond-in-therough Mr. Right. You could say that watching these films is an empty transaction, like those the gleaming-toothed protagonist enters into with a parade of leggy, blank-faced bar pickups before recognizing eureka!-style that the best friend who tolerates his slutty superficiality is clearly a soul mate. We don’t quite buy it, any of it, but back and back and back we go — if often lining up in numbers sustaining the briefest of theater runs, or going no further than the Netflix queue. Which perhaps explains, though just barely, how we (by which, of course, I mean editorials

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I) happened to be in the theater this year for Just Go with It, staring wearily screenward at the companionable but chemistry-free pairing of Adam Sandler and Jennifer Aniston; for the tortured, slightly icky mismatch of Natalie Portman and Ashton Kutcher in No Strings Attached; and even for New Year’s Eve, wherein an ungodly hodgepodge of Hollywood brands are desperately flung at the screen in the hopes that something will stick. Generally compiled from interchangeable parts, the romantic comedy has been manufactured so many times that the players seem exhausted by the effort to find a fresh configuration, something unattempted and captivating. The ghosts of long-ago lighthearted pictures from the golden era of madcap romance, like It Happened One Night (1934) and The Philadelphia Story (1940), hang over the proceedings, sparking wistful visions of some magical cinematic equation that, when X is solved, will result in oldfashioned sensations like a warmed heart and toasty goodwill toward the lip-locked pair over whom the credits are rolling. On the flip side, suffering nearcontinuous abuse at the hands of the studios leaves a person highly susceptible to trace amounts of handcraft and invention. Perhaps only in this spirit could I embrace Friends with Benefits, which brashly arms its hero and heroine (Justin Timberlake and Mila Kunis) to take potshots at the formula while largely hewing to it. Still, as the two

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swear on an iPhone Bible app to uphold a vow of friendship previous to taking all their clothes off, and as they skate along on the fine, funny writing and frank talk and roll around in bed, it does seem like something better than usual has been accomplished. Better by far is Crazy, Stupid, Love., which makes the case that a carefully woven ensemble piece need not jerk you from subplot to subplot, seeking famous-people sightings like an L.A. tourist with a star map. Steve Carell and Julianne Moore’s marriage in quiet paralysis is jarred by infidelity, triggering a badly needed upheaval and bringing one unhappy man (Carell) into the bracing orbit of another (Ryan Gosling). The creepy third-generation subplot involving a kid and his babysitter is hard to forgive, but Gosling and love interest Emma Stone, plus an intelligent script, gamely play with the conventions of the heartless womanizer and the girl who’s too much in her head. And lastly, Bridesmaids, starring and cowritten by Kristen Wiig, arguably sidesteps both the formula and the genre itself, shifting the focus from “boy meets girl� to “woman’s life spirals wildly downward as she attempts to be happy about her best friend’s engagement.� It’s the kind of funny that makes you sink into your seat in horrified anticipation — and the kind of romance where you find yourself rooting for the inevitable rather than just resigned to it. 2 music listings

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1. The Artist (Michel Hazanavicius, France/ Belgium) 2. Young Adult (Jason Reitman, U.S.) 3. Tinker Tailor Soldier Spy (Tomas Alfredson, France/U.K./Germany) 4. Drive (Nicolas Winding Refn, U.S.) 5. Melancholia (Lars von Trier, Denmark/ Sweden/France/Germany) 6. The Descendants (Alexander Payne, U.S.) 7. Shame (Steve McQueen, U.K.) 8. The Trip (Michael Winterbottom, U.K.) 9. Cave of Forgotten Dreams (Werner Herzog, Canada/U.S./France/Germany/U.K.) 10. TrollHunter (AndrĂŠ Ă˜vredal, Norway) 11. The Tree of Life (Terrence Malick, U.S.)

KIMBERLY CHUN’S TOP 10 FILM “LIKES� OF 2011 (ALPHABETICAL)

Please don’t speak: The Artist (Michel Hazanavicius, France/Belgium) Scrappy apocalypse: Attack the Block (Joe Cornish, U.K./France) Scraps of footage refashioned: The Black Power Mixtape 1967-1975 (Goran Olsson, Sweden) Best long-form music video: Drive (Nicolas Winding Refn, U.S.) Personal apocalypse: The Future (Miranda July, Germany/U.S.) The lives of others: Margin Call (J.C. Chandor, U.S.) Feel-good apocalypse: Melancholia (Lars von Trier, Denmark/Sweden/France/Germany) Body Con: Shame (Steve McQueen, U.K.) Body Con 2: The Skin I Live In (Pedro Almodóvar, Spain) Two-state evolution: The Time That Remains (Elia Suleiman, U.K./Italy/ Belgium/France)

RYAN LATTANZIO’S TOP 11 OF 2011 1. Melancholia (Lars von Trier, Denmark/ Sweden/France/Germany) 2. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, Thailand/U.K./France/Germany/Spain/ Netherlands) 3. We Need to Talk About Kevin (Lynne Ramsay, U.K./U.S.) 4. Drive (Nicolas Winding Refn, U.S.) 5. Certified Copy (Abbas Kiarostami, France/Italy/Belgium)

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6. A Separation (Asghar Farhadi, Iran) 7. Into the Abyss: A Tale of Death, a Tale of Life (Werner Herzog, Germany/Canada) 8. Weekend (Andrew Haigh, U.K.) 9. Shame (Steve McQueen, U.K.) 10. Meek’s Cutoff (Kelly Reichardt, U.S.) 11. The Future (Miranda July, Germany/U.S.)

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WALTER (LEFT) AND JASON SEGAL SHARE BROTHERLY LOVE, DESPITE A CERTAIN FELT VS. FLESH DISPARITY, IN THE MUPPETS. PHOTO BY PATRICK WYMORE

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JESSE HAWTHORNE FICKS’ PICKS FOR 2011(FOLLOWED BY THE AMOUNT OF TIMES HE’S SEEN EACH FILM, IF MORE THAN ONCE) 1. Attack the Block (Joe Cornish, U.K./France) Subversive, prophetic, and totally addictive! This is one best films of the decade! Believe, bruv! (7) 2. Midnight in Paris (Woody Allen, Spain/U.S.) Just because this is a crowd pleaser should not detract from Allen shining as bright as ever. Re-watch and be stunned that the ending is much more profound than you may have first noticed. (7) 3. Season two of Louie (FX Network) Louis C.K. transcended his own brilliant comedy and created 13 genuine existential classics. 4. The Trip (Michael Winterbottom, U.K.) Steve Coogan finally achieved his art house goal with this pitch-perfect exploration of a man and his own worst enemy. Winterbottom’s six-part miniseries for British television was great, but the edited-down feature film is downright life affirming. (6) 5. We Need to Talk About Kevin (Lynne Ramsay, U.K./U.S.) Director Ramsay (our modern-day Orson Welles, anyone?) and editor Joe Bini have created an hypnotic ride of poetic cinema. Do we really have to wait 10 more years before her Ramsay’s next show stopper, like we did after 2002’s Morvern Callar? 6. (tie) Hanna (Joe Wright, U.S./U.K./ Germany) A flawless reworking of La Femme Nikita (1991) with crisp dialogue that was light years ahead of anything else this year. 6. (tie) The Woman (Lucky McKee, U.S.) Audiences were running for the doors at Sundance. This high-concept allegory is one of the most disturbing explorations of misogyny ever put on film. (3) 6. (tie) Sucker Punch (Zack Snyder, U.S./ Canada) This fast and furious pseudo-�feminist� flick seemed to be unfairly treated and totally misunderstood by audiences and critics alike. Get the 127-minute director’s CONTINUES ON PAGE 20 >>

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YEAR IN FILM I haven’t laughed so hard or so deeply in a movie theater as I did watching The Muppets after a languorous Thanksgiving dinner. Perhaps it was as much due to the tryptophan, sugar, and booze coursing through my system as to the welcomely familiar zaniness transpiring onscreen, but more and more my chuckling was subtended by the throaty chokes that presage a good, deep cry. And when I caught the pointedly placed photo of Jim Henson in the background of an interior shot, it finally hit me: that warm lump in my chest was nostalgia. For a movie as universally praised as The Muppets has been (and let it be said, its 97 percent approval rating on Rotten Tomatoes is totally deserved), most of the nitpicking I’ve noticed has centered around whether the film pours on the sentiment too thickly, spoiling the fun with too much maudlin self-awareness about the Muppets’ past. “Nostalgia and reverence are anti-Muppet,� wrote one reviewer. But I don’t know if Jason Segal — who, aside from co-writing and starring in the film, was also the project’s greatest proselytizer — could have made The Muppets any other way. For starters, the Muppets, for all their “let’s put on a show� tenacity and plain old absurdity, are like many professional entertainers, a vulnerable bunch. Think of Gonzo or Fozzie’s frequent moments of self-doubt, or Kermit’s periodic disilpicks

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lusionment with his role as ringmaster. The crestfallen wistfulness he displays at the start of The Muppets isn’t too far removed from the midcareer crisis he underwent in The Muppets Take Manhattan (1984). After all, it’s not easy being green. The Muppets is also startlingly self-reflexive about the disjuncture between the Muppets’ status as Disney-owned intellectual property (acquired from Henson’s family in 2004) and their legacy as beloved cultural icons. The movie’s climax dramatizes this situation, effectively condensing the entire operation of emotional rescue that the film is premised on: having failed to raise enough money through their spirited telethon to buy back the rights to their name, Kermit and company nevertheless exit the old Muppet theater to an adoring public who, like much of the audience watching the film, never forgot them in the first place. The drama at heart of the Muppets, what gives their wacky antics such emotional heft, and what necessarily makes The Muppets a reconnaissance mission and not just another franchise reboot, is this: becoming aware of one’s vulnerability is a huge and unavoidable part of growing up. Life can’t always be fun or fair. Eventually, we put away our stuffed animals and frayed blankets and take bigger risks, only to return to those objects as adults when we want to retreat from putting ourselves on the line again and again. But we can’t go back; not really. We can only move forward. The show must go on. 2

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Shawn Pimental

oakland 510 embarcadero west, 510-238-9200

Wed, Dec 28 Rising Songstress

MArA hrUby with Chris turner

Thurs-Sun Dec 29-Jan 1

nEW yEAr’S with

BRian CuLBeRTson Tues-Wed Jan 3-4 and Fri-Sun Jan 6-8

toWEr of PoWEr back to oakland Thurs, Jan 5

MAriA MUldAUr

& Her Red Hot Bluesiana Band ...................................................

Mon, Jan 9 Jazz Saxophonist & Vocalist

MiChAEl o’nEill KEnny WAShington

& ................................................... Tues, Jan 10 latin rock and balada

CArloS xAviEr

Wed, Jan 11 organ-driven rock & Soul

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

dAvid K. MAthEWS’ rAy ChArlES ProJECt

feat. Tony Lindsay, CHRis Cain & GLenn WaLTeRs ...................................................

Thurs, Jan 12

SiStErS of SoUl

siLk-e, Ryan niCoLe, Mi Mi, kHeLa, BuT-TaH & dJ PaM THe FunksTRess

feat.

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

Fri, Jan 13

THe ManzaRek-RoGeRs Band

feat. Roy RoGeRs & Ray ManzaRek (of The doors) All shows are all ages. Dinner Reservations Recommended.

20 SAN FRANCISCO BAY GUARDIAN

THE BRAWN IDENTITY Captain America: The First Avenger XJOT µT CBUUMF PG UIF TVQFSIFSP NPWJFT BY SAM STANDER arts@sfbg.com YEAR IN FILM How did the tiger get its stripes? Or, more pertinently, how did the superman get his tights? This has been the thrust of most big-budget superhero movies since the genre’s big boom a decade ago — a strict adherence to monomythic convention, with modern action movie trappings to make the material accessible to newcomers. But these titans from Marvel and DC’s pages weren’t born yesterday. Indeed, many are inextricable from the historical contexts that birthed them. Recent adaptations often seek contemporary relevance or fresh spins on old characters. Sure, some of these superfolks need an upgrade, but when new interpretations have the integrity to treat the source comics as stories worth telling on their own terms, the results can far surpass convoluted attempts to “improve” upon the originals. The heroes finally returned to their roots in 2011, with two major productions taking up specific historical periods. Matthew Vaughn’s sleek if slightly smarmy X-Men: First Class flashes back to the merry mutants’ rise during the swingin’ sixties, while Joe Johnston forges a thrilling wartime adventure in Captain America: The First Avenger. But not all period superhero movies are created equal. editorials

news

First Class is, for all its potential, a mishmash of sub-Mad Men costuming and mortifyingly hamfisted social messages. Inspired casting doesn’t salvage the film from its central flaw: it’s a standard-issue superhero blockbuster masquerading as something savvier. It plays fast and loose with genre but never to its advantage, and mishandles the source material’s anti-prejudice themes. It also warps real history, revising the Cuban Missile Crisis in order to force a historical context. But its mawkish civil rights rhetoric and Cold War paranoia can’t conceal the fact that the film feels essentially contemporary. Captain America, conversely, hits all the right beats. Others have noted that Johnston previously helmed 1991’s The Rocketeer, so it’s no surprise he knows how to put on a good pulpy show. But the movie blends Nazi occult weirdness with a grounded, convincing patriotism that reinforces the World War II setting. It has its problems as a historical film — for one thing, it never directly treats the Holocaust. But it doesn’t feel like the same origin story we’ve repeatedly seen; instead it feels like a superhero movie successfully taking on a different genre. It’s just this sort of adventurousness we can hope for as the studios continue to mine the funnybooks for ideas — comics have a rich history, so why not explore it instead of update it? 2

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cut on Blu-ray, stop letting fanboy nonsense bully you, and revel in Emily Browning’s tour de force performance. (2) 7. Certified Copy (Abbas Kiarostami, France/Italy/Belgium) This unofficial remake of Roberto Rossellini’s Journey to Italy (1954) still kept me guessing; it also features another jawdropping performance by Juliette Binoche. 8. (tie) Hugo (Martin Scorsese, U.S.) Who says 3D isn’t art? Did studios really allow Scorsese to show multiple Georges Méliès’ films in 3D? Plus, Sacha Baron Cohen gives a truly Oscar-worthy supporting performance. 8. (tie) Drive Angry (Patrick Lussier, U.S.) Lussier, director of 2009’s absolutely brilliant My Bloody Valentine remake, facilitated a priceless Nicolas Cage performance — he drinks from a freakin’ human skull, in 3D — but keeps things so frenetic, I had to sit in the theater for a second viewing as soon as it was over! (2) 8. (tie) Final Destination 5 (Steven Quale, U.S.) In which the entire franchise of entitled 20-somethings dying gruesome deaths comes full circle by concluding with every single grisly death from all five films in glorious 3D. 9. Heartbeats (Xavier Dolan, Canada) This 22-year-old writer-director-star’s mash-up of My Own Private Idaho (1991) and In the Mood for Love (1999) captures our era’s hipster insecurities so flawlessly that it’ll take a decade for people to recognize how important this film actually is. (3) 10. Take Shelter (Jeff Nichols, U.S.) Michael Shannon’s performance is creepy. Nichols’ ending is even creepier. 11. Beginners (Mike Mills, U.S.) Who wants their heart broken? (3) 12. The Beaver (Jodie Foster, U.S./United Arab Emirates) Mel Gibson is a damn fine actor and Jodie Foster is a true mensch! Dark and deeply personal. 13. Melancholia (Lars von Trier, Denmark/ Sweden/France/Germany) Von Trier’s “nicest” film is genuine therapy for a neurotic soul. 14. Crazy Horse (Frederick Wiseman, U.S./ France) Wiseman does burlesque. My dream film! 15. One Day (Lone Scherfig, U.S./U.K.) Stop telling me the book was so much better! With a Same Time, Next Year (1978) structure, this film’s deep emotions (courtesy of Anne Hathaway) shook me to the core. 16. The Off Hours (Megan Griffiths, U.S.) This is the type of film that used to win Sundance! Don’t miss this small yet worthy film when it pops up online. 17. Tyrannosaur (Paddy Considine, U.K.) Who wants their stomach punched? 18. The Mill and the Cross (Lech Majewski, Sweden/Poland) Rutger Hauer + 143 Digital layers = monumental experimental art for the ages! 19. Rakhta Charitra and Rakhta Charitra 2 (Ram Gopal Varma, India) Ram Gopal Varma’s films should compete at Cannes. (2) 20. Bill Cunningham New York (Richard Press, U.S./France) This doc’s inspiring message: do what you love every day of your life, and don’t ever slow down. Jesse Hawthorne Ficks teaches film history at the Academy of Art University and curates and hosts Midnites for Maniacs, a film series emphasizing dismissed, underrated, and overlooked films. music listings

stage listings

LYNN RAPOPORT’S TOP 8 FILMS OF 2011 1. The Artist (Michel Hazanavicius, France/Belgium) 2. Beginners (Mike Mills, U.S.) 3. Tomboy (Céline Sciamma, France) 4. Dirty Girl (Abe Sylvia, U.S.) 5. Bridesmaids (Paul Feig, U.S.) 6. Pariah (Dee Rees, U.S.) 7. Young Adult (Jason Reitman, U.S.) 8. Crazy, Stupid, Love. (Glenn Ficarra and John Requa, U.S.)

SAM STANDER’S TOP 10 FILMS OF 2011 1. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, Thailand/ U.K./France/Germany/Spain/Netherlands) 2. Meek’s Cutoff (Kelly Reichardt, U.S.) 3. Drive (Nicolas Winding Refn, U.S.) 4. Midnight in Paris (Woody Allen, Spain/U.S.) 5. Certified Copy (Abbas Kiarostami, France/Italy/Belgium) 6. The Tree of Life (Terrence Malick, U.S.) 7. Essential Killing (Jerzy Skolimowski, Poland/Norway/Iceland/Hungary) 8. The Future (Miranda July, U.S.) 9. Bridesmaids (Paul Feig, U.S.) 10. Captain America: The First Avenger (Joe Johnston, U.S.)

MAX GOLDBERG’S TOP 10 FILMS OF 2011 (SAN FRANCISCO OPENINGS) The Arbor (Clio Barnard, U.K.) Attenberg (Athina Rachel Tsangari, Greece) Get Out of the Car (Thom Andersen, U.S.) The Kid with a Bike (Jean-Pierre Dardenne and Luc Dardenne, Belgium/France/Italy) Mysteries of Lisbon (Raúl Ruiz, Portugal) Of Gods and Men (Xavier Beauvois, France) Oki’s Movie (Hong Sang-soo, South Korea) Road to Nowhere (Monte Hellman, U.S.) Terri (Azazel Jacobs, U.S.) Señora con Flores/ Woman with Flowers (Chick Strand, U.S./Mexico) 2

on the cheap

film listings

classifieds

arts + culture: nightlife

let’s Do this, nye-style: AmAliA PeRfoRms At sweAteRfunk, BoBB sAggeth At elBo Room, AnD ZAP mAmA At eclectic feveR.

PoP youR coRk

leA DelARiA

/FX :FBSµT &WF CMPXPVUT BOE /FX :FBSµT %BZ CBDLVQT UP HFU ZPV UPBTUFE

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By emily sAvAge, cAitlin Donohue, AnD mARke B.

7 p.m. and 9 p.m., $30– $35, Victoria Theatre, 2961 16th St., SF. www.therhino.org

#FMPX BSF PVS QJDLT UP SJOH JO UIF OFX &WFOUT BSF MJTUFE BMQIBCFUJDBMMZ 1BSUJFT FOE BU B N FYDFQU XIFSF OPUFE 'PS NPSF /FX :FBSµT &WF QBSUJFT TFF 5IJT 8FFLµT 1JDLT 'PS /FX :FBSµT %BZ QBSUJFT TFF UIF /PJTF CMPH BU 4'#( DPN -BNQTIBEF IBUT OPU JODMVEFE

eclectic feveR

lexington nye BlAckout

" HMPXJOH HMPCBM QBSUZ UP EJWF JOUP XJUI UIF FGGFSWFTDFOU ;BQ .BNB QMVT 4JMB /PO 4UPQ #IBOHSB 4BNCBYF %BODF BOE %+T + #PPHJF +JNNZ -PWF %+ +FSFNJBI BOE .BUU )B[F " SFBM FBS PQFOFS GPS

*G ZPV DBOµU SFNFNCFS XIP ZPV LJTTFE BU NJE OJHIU EPFT JU SFBMMZ DPVOU 'JOE PVU BU 4'µT GBWPSJUF MFTCJBO CBS XIFO SPDLJOµ %+T "OESF BOE +FOOB 3JPU BOE IPTU 4BSB (PPENBO UVSO PVU ZPVS MJHIUT ± BOE UVSO PO UIF DSB[JOFTT 0CMJWJPO BXBJUT

1984

8:30-4 a.m., $65. 1290 Fillmore, SF. zapmama. eventbrite.com

-JHIU PO UIF 0SXFMMJBO UPUBMJUBSJBOJTN BOE IFBWZ PO DFBTFMFTTMZ QVNQJOH ´ T NVTJD MPOHUJNF GBWPSJUF SFUSP OJHIU UBLFT ZPV CBDL UP UIF GVUVSF PODF BHBJO "OE JU JT GSFF

el suPeRRitmo!

9 p.m.-2 a.m., free. Mighty, 119 Utah, SF. www. mighty119.com

All DAy Punk Rock new yeAR’s $POTJEFSJOH XFµSF BCPVU UP FNCBSL VQPO BOPUIFS ZFBS GVMM PG FDPOPNJD HMPPN BOE EPPN UIF CBOE OBNFT GSPN &MJµT MJOFVQ ± 8PSME PG 4IJU 4IPSU $IBOHFE 4PDJFUZ %PH ± BSFOµU UPP VQMJGUJOH #VU BU MFBTU UIFZµMM IFMQ ZPV SBHF UISPVHI 2 p.m.–12:30 a.m., $10. Eli’s Mile High Club, 3629 Martin Luther King Jr. Blvd., Oakl. www. elismilehigh.com

BeARRAcuDA 8IBU DPVME QPTTJCMZ TBZ /FX :FBS NPSF UIBO B IVOLZ NBTT PG TXFBUZ IBJSZ HBZ CFBST HFUUJOH EPXO VOUJM UIF XFF IPVST :PV JO UIF NJEEMF %+T $SBJH (BJCMFS BOE #SJBO .BJFS LFFQ JU TUFBNZ 8 p.m.-3a.m., $25. Club 8, 1151 Folsom, SF. www. bearracuda.com

BoBB sAggeth &MCP 3PPNµT /:& TQFDUBDVMBS JODMVEFT UIF 8FTU $PBTUµT HSFBUFTU #MBDL 4BCCBUI DPWFS CBOE #PCC 4BHHFUI GFBUVSJOH NFNCFST PG 4BWJPVST $JUBZ -FBGT 4FBO 4NJUI 1MVT JUµT EBSL NFUBM MPSET #MBDL $PCSBµT IPNFDPN JOH TIPX /PUF UIF ²HSFBUFTU #MBDL 4BCCBUI DPWFS CBOE³ EFTDSJQUPS JT TFMG JOGMJDUFE UIPVHI BDDVSBUF 8JUI #MBDL $PCSB 9 p.m., $20. Elbo Room, 647 Valencia, SF. www. elbo.com

Bootie .BTIVQ NBZIFN HBMPSF BU UIF PSJHJOBM CBTUBSE QPQ QBSUZ XIPTF TQFDJBM /:& JOTUBMMNFOU JODMVEFT NBTIVQ CBOE 4NBTI 6Q %FSCZ QFS GPSNJOH MJWF BOE %+T "ESJBO BOE .ZTUFSJPVT % .ZLJMM BOE %BEB 1MVT CBMMPO ESPQ 9 p.m.-3 a.m., $25–$50. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

cAlifoRniA honeyDRoPs 8JUI SBVDPVT HSPVQ FGGPSUT UPXBSET CMVFT HPTQFM /FX 0SMFBOT KB[[ BOE 3 # $BMJGPSOJB )POFZESPQT UFOE CSJOH UIF TPOJD QBSUZ XIFS FWFS UIFZ QMBZ ± XIZ TIPVME /:& CF BOZ EJGGFS FOU "ENJTTJPO QSJDF HFUT ZPV MJWF "NFSJDBOB NVTJD BOE B ESJOL PG ZPVS DIPPTJOH 11 p.m., $40. Pizzaiolo, 5008 Telegraph, Oakl. (510) 652-4888, www.pizzaiolooakland.com

editorials

news

food + Drink

8F IBWF B TPGU TQPU GPS UIJT XFFLMZ UISPX EPXO PG UVOFGVM TUZMFT GSPN -BUJO "NFSJDB ± DVNCJB CBJMF GVOL SFHHBFUPO BOE NPSF 5IJT QSPNJTFT CF B XJME JOTUBMMNFOU XJUI SFTJ EFOUT &M ,PPM ,ZMF BOE %+ 3PHFS .gT KPJOFE CZ 3JDLZ (BSBZ BLB 4FvPS .VDIP .VTJDB 9 p.m., $20. Makeout Room, 3225 22nd St., SF. www.makeoutroom.com

foReveRlAnD 5IF TIPX TUBST QJFDF .JDIBFM +BDLTPO USJCVUF CBOE 'PSFWFSMBOE CVU UIFSF BMTP XJMM CF UIF GSJTLZ ,JUUZ ,JUUZ #BOH #BOH #VSMFTRVF BO BQQFBSBODF CZ ²UIF HJSM JO UIF GJTICPXM³ B WJOUBHF #JNCPµT USBEJUJPO DPNQMJNFOUBSZ CVCCMZ QBSUZ GBWPST BOE B USBEJUJPOBM CBMMPPO ESPQ BU DPVOUEPXO 8JUI 4MJN +FOLJOT UIF $PUUPOUBJMT 8 p.m., $65. Bimbo’s, 1025 Columbus, SF. www. bimbos365club.com

9 p.m., free. Lexington Club, 3464 19th St., SF. www.lexingtonclub.com

mAgic leAves 1SFTFOUFE CZ 4FBXFFE 4XBZ -PWJOH $VQ 1SFTFOUT BOE 4POH #JSE UIF TIPX CPBTUT B HMVU PG DSVODIZ MPDBM GSFBL GPML BOE B TJOHVMBS NJEOJHIU DIBNQBHOF UPBTU 4IPVME CF B EFMJHIUGVMMZ BOBMPH FWFOJOH 8JUI -JUUMF 8JOHT 3BOHF PG -JHIU 8JMEFSOFTT "V %VOFT 9 p.m., $15– $20. Amnesia, 853 Valencia, SF. www. amnesiathebar.com

miDnight nye 2012 (FU SFBEZ GPS B CMBTU PG XBSN USPQJDBMJB BOE DMPVET PG GVO BT $MVC 4JY SPDLT TUFBEZ UP SFHHBF EBODFIBMM BOE HMPCBM CBTT TPVOET DPVSUFTZ PG UIF %BEEZ 3PMP 4QJDFZ %FF $FF 4IBLFEPXO DSFXT 8JUI %+T 4IBXO 3FZOBMEP +BI 8BSSJPS 4IFMUFS )J 'J 1BN UIF 'VOLTUSFTT BOE NBOZ NPSF PO UXP GMPPST 8 p.m.-4 a.m., $20– $30. Club Six, 66 Sixth St., SF. www.clubsix1.com

go BAng!

“new yeAR’s eve shAke”

5IJT BXFTPNF NJYFE DSPXE NPOUIMZ EJTDP QBSUZ IBT [FSP BUUJUVEF CVU BMM UIF HMBNPVS *UµT MJLF B 4UVEJP ZPV DBO BDUVBMMZ HFU JOUP "UMBOUBµT %+ 0TNPTF XJMM CSJOH IJT TDSBUDI JOH UVSOUBCMF UFDIOJRVF UP CFBS PO TPNF SBSF EJTDP USBDLT UIJT /:& BMPOH XJUI %PD 4MFFQ &EEJF )PVTF BOE IPTUT 4FSHJP BOE 4UFWF 'BCVT (PPE UJNFT

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9 p.m.-late, $10. Deco Lounge, 510 Larkin, SF. wwwdecosf.com

UIF $VUT BMPOH XJUI 0MEJFT /JHIU SFHVMBST %+ 1SJNP BOE %BOJFM TQJOOJOH UIBU UXJTU XPSUIZ EPP XPQ POF IJU XPOEFST TPVM BOE TDSBUDIZ TFWFO JODI SPDL ´O SPMM 9 p.m.-4 a.m., $10. Knockout, 3223 Mission, SF. www.theknockoutsf.com

oPel nye 5IF TQJSJUVBMMZ NJOEFE CSFBLT PSJFOUFE VOEFSHSPVOE DPMMFDUJWF SJTFT UP UIF PDDBTJPO XJUI BOE B NBE QPTTJCMZ GJSF UXJSM JOH GSFF GPS BMM XJUI UIF 6,µT -FF $PPNCT QMVT NFNCFST PG UIF 4USBUFHJL BOE "NCJFOU .BGJB DSFXT 9 p.m.-4 a.m., $25–$40. Mission Rock, 817 Terry Francois, SF. opelnye.eventbrite.com

sweAteRfunk 'V[[Z MPDBM XFFLMZ QBSUZ 4XFBUFSGVOL IBT LFQU UIF MJHIUT PO GPS TPVMGVM CPPHJF ± BOE JUT NPSF DPOUFNQPSBSZ UXJTUT BOE UVSOT ± JO UIJT DJUZ GPS B XPOEFSGVM XIJMF 'PS /:& TQFDJBM 4XFEJTI GVUVSF GVOLFS HVFTUT 0QPMPQP BOE "NBMJB TIPVME SFBMMZ UVSO ZPV JOTJEF PVU 9 p.m.-3 a.m., $20–$30. SOM, 2925 16th St., SF. www.som-bar.com

the itAliAn JoB (FU B MJUUMF TXBOLZ BU /PSUI #FBDIµT MPWFMZ .POSPF DMVC XJUI TPNF QVNQJOµ IPVTF GSPN *UBMZµT 3VGVT QMVT B ²GBNJMZ³ PG %+T JODMVEJOH 4UFG ²5IF #BSPO ³ 'SBODFTDP 4JHOPSJMF BOE $BSPM 10 p.m., $20–$25. Monroe, 473 Broadway, SF. www.monroesf.com

this must Be the PlAce 5IJT GFTUJWF BGGBJS HJWFT ZPV B OVNCFS PG SFBTPOT UP XFMDPNF JOUP 0BLMBOE BNPOH UIFN B CBOH VQ MJOFVQ PG UFDIOP BOE IPVTF %+T GSPN UIF 4QBDF $PXCPZT DSFX BOE BO BXFTPNF POTMBVHIU PG GVOL BOE IJQ IPQ GSPN UIF MJLFT PG 4BLF 0OF 1MBUVSO BOE +PF 2VJYY 8IBU VQ &BTU #BZ 9 p.m., $25– $85. Oakland Metro, 630 Third St., SF. stayeastbay.eventbrite.com

tRAnnyshAck nye 2VFFOT RVFFOT BOE NPSF RVFFOT ± UIFZµMM CF HVTIJOH PVU MJLF B XBUFSGBMM BU UIJT BOOVBM ESBH IPP IBX XJUI QFSGPSNBODFT CZ )FLMJOB 4VQQPTJUPSJ 4QFMMJOH )PMZ .D(SBJM )POFZ .BIPHBOZ .BUUIFX .BSUJO BOE B NJMMJPO NPSF

9:30 p.m., $10– $15. Starry Plough, 3101 Shattuck, Berk. www.starryploughpub.com.

9:30 p.m.-3 a.m., $25–$39. DNA Lounge, 375 11th St., SF. www.trannyshack.com

kink

new yeAR’s fiRewoRks show

velvet teen

5IF DPMPSGVM CPZT CFIJOE UXP PG UIF #BZµT NPTU WJUBM QBSUZ NBDIJOFT ± )POFZ 4PVOETZTUFN BOE 1BDJGJD 4PVOE 4VOTFU ± KPJO GPSDFT UP CSJOH JO IPU BOE IFBWZ #VMHBSJBO UFDIOP IFSP ,J/, )FµMM CF QMBZJOH MJWF XJUI B GFX NFMUFE NJOET TVSF UP GPMMPX &JHIU PUIFS %+T PO UXP GMPPST XJMM IFMQ JU BMM PVU

5IF EBNQ TUSFOHUI TBQQJOH DIJMM PG NJE OJHIU PO UIF &NCBSDBEFSP JT TUJMM XPSUI UIF NJOVUFT PG QSPNJTFE QZSPUFDIOJD HMPSZ 5IPVTBOET PG 4BO 'SBODJTDBOT IVEEMFE UPHFUIFS VOEFS UIF TLZ NBHJD

5IJT JT ZPVS UXFF GFFM HPPE PQUJPO UIF TPBS JOH TXFFU WPDBMT BOE TIBSQ SJGGT PG QFSFOOJBM #BZ "SFB JOEJF SPDL GBWPSJUFT 7FMWFU 5FFO XJMM BTTVSF B OJHIU PG BSNT TMVOH BSPVOE XBJTUT BOE QFBDIZ GVMM CPEZ TXBZT 8JUI )BQQZ #PEZ 4MPX #SBJO 'BLF :PVS 0XO %FBUI

9 p.m.-5 a.m., $15– $30. Public Works, 161 Erie, SF. www.publicsf.com

kReAyshAwn :FQ 5IF DPOUSPWFSTJBM BOUJ (VDDJ NJOJ SBQ QFS JO UIJDL CMBDL GSBNFT JT CBDL QMBZJOH IFS CJHHFTU 4' WFOVF UP EBUF 5IF TIPX JT BMM BHFT BOE UIF FWFOU JT UJUMFE ²/FWFS $PNJOH %PXO ³ 8JUI 8BMMQBQFS 3PBDI (JH[ 4UBSUJOH 4JY %+ "NFO 9pm, $38. , Regency Ballroom, 1300 Van Ness, SF. www.theregencyballroom.com

picks

arts + culture

12 a.m., free. Pier 14, Embarcadero, SF.

nye confiDence stARteR 2012 " OJDF MJUUMF CBTI PO UIF FEHF PG UIF 5FOEFSMPJO XJUI TPNF RVBMJUZ MPDBM QFFQT %+ &E %FF 1FF XJMM QMBZ ²EPXO UFNQP /FX OFP TPVMUSPOJDB JNQPSUT BOE CSPLFO CFBU JTI TUZMFT ³ 9 p.m.-3 a.m., $10. Siete Potencias Africanas Gallery, 777 O’Farrell, SF.

olDies night’s nAsty Ass lAte new yeAR’s eve PARty 5IF UJUMF JT B NPVUIGVM CVU JU TIPVME CF B HPPE POF 5IFSFµMM CF B MJWF QFSGPSNBODF CZ

music listings

stage listings

on the cheap

10 p.m., $17. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

wAx iDols AnD teRRy mAlts "OE UIFO UIFSF BSF UIF OFX MPDBM GBWPSJUFT 8BY *EPMT BOE 5FSSZ .BMUT ± CPUI CBOET BSF QBSU PG BO FYDJUJOH DMBTTJD HBSBHF QVOL SPDL TVSHF JO UIF #BZ "SFB NVTJD TDFOF "OE JG QVOLT JOEFFE IBWF OP GVUVSF DFMFCSBUF UIF FOE PG UJNFT BU UIF )FNMPDL 5IF TIPX BMTP JODMVEFT DIBNQBHOF UPBTU BU NJEOJHIU 9 p.m., $10. Hemlock Tavern, 1131 Polk, SF. www. hemlocktavern.com 2

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december 28, 2011 - january 3, 2012 / SFBG.com

21

50 KicK Ass Beers on DrAught

music listings

for more music content visit sfBg.com/noise

over 100 different bottles, specializing in Belgians

A Beer Drinker’s PArADise! since 1987

katdelic plays the Boom Boom Room fRi/30. | Photo by tdwmedia.com For our New Year’s eve partY guide, see “pop Your Cork� iN this issue.

for future event info looK @ toronADo.com

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

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

.VTJD MJTUJOHT BSF DPNQJMFE CZ &NJMZ 4BWBHF 4JODF DMVC MJGF JT VOQSFEJDUBCMF JUÂľT B HPPE JEFB UP DBMM BIFBE PS DIFDL UIF WFOVFÂľT XFCTJUF UP DPOGJSN CPPLJOHT BOE IPVST 1SJDFT BSF MJTUFE XIFO QSPWJE FE UP VT 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT! TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

wednesday 28 Rock /Blues/hip-hop

woody allen and his New orleans Jazz Band 3FHFODZ #BMMSPPN QN tia Carroll #JTDVJUT #MVFT BOE QN Cracker, Camper van Beethoven *OEFQFOEFOU QN doe eye, trims, pounders #PUUPN PG UIF )JMM QN down dirty shake, e Minor, Buffalo tooth )FNMPDL 5BWFSO QN on the spot trio #PPN #PPN 3PPN QN JC rockit vs. Jason Marion +PIOOZ 'PMFZÂľT EVFM JOH QJBOPT QN terry savastano +PIOOZ 'PMFZÂľT QN GSFF

jazz/new music

Cat’s Corner with Nathan dias 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN Cosmo alleyCats -F $PMPOJBM $PTNP 1MBDF 4' XXX MFDPMPOJBMTG DPN QN dink dink dink, gaucho, Michael abraham "NOFTJB QN GSFF greg gotelli Quartet .FKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF kim Nally & houston person 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN ricardo scales 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Matthew sweet :PTIJ¾T QN

dance cluBs

Club shutter &MCP 3PPN QN 8JUI %+T /BLP 0NBS BOE +VTUJO Booty Call 2 #BS $BTUSP 4' XXX CPPUZDBMM XFEOFTEBZT DPN QN +VBOJUB .03& BOE +PTIVB + IPTU UIJT EBODF QBSUZ Coo-Yah! 4PN UI 4U 4' QN GSFF %+T %BOFFLBI BOE (SFFO # TQJO SFHHBF BOE EBODFIBMM XJUI XFFLMZ HVFTUT Full-step! 5VOOFM 5PQ QN GSFF )JQ IPQ SFH HBF TPVM BOE GVOL XJUI %+T ,VOH 'V $ISJT BOE #J[[J 8POEB Mary go round -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN %SBH XJUI 4VQQPTJUPSJ 4QFMMJOH .FSDFEF[ .VOSP BOE (JOHFS 4OBQ Megatallica 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX NFHBUBMMJDB DPN QN GSFF )FBWZ NFUBM IBOHPVU vespa Beat #MJTT #BS UI 4U 4' XXX CMJTTCBSTG DPN QN GSFF .4, GN TQJOT SBSF HSPPWFT FMFDUSPTXJOH BOE CPPHJF

thuRsday 29 Rock /Blues/hip-hop

Ferocious Few, B. hamilton, Feral Cat "NOFTJB QN

22 SAN FRANCISCO BAY GUARDIAN

editorials

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Further, phil Lesh and Bob weir #JMM (SBIBN $JWJD "VEJUPSJVN (SPWF 4' XXX BQFDPODFSUT DPN QN Leftover salmon (SFBU "NFSJDBO .VTJD )BMM QN Malice Cooper, punk Floyd, trouble with Monkeys #PUUPN PG UIF )JMM QN John Lawton trio +PIOOZ 'PMFZÂľT QN GSFF Joe Nemeth #JTDVJUT #MVFT BOE QN Nero 3VCZ 4LZF .BTPO 4' XXX SVCZTLZF DPN QN pictureplane, dJs Nako and aaron 3JDLTIBX 4UPQ QN Nathan temby vs. rome Balestrieri +PIOOZ 'PMFZÂľT EVFMJOH QJBOPT QN w-BeeZ #PPN #PPN 3PPN QN Zongo Junction, turkuaz 4MJNÂľT QN

jazz/new music

Blues organ party 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF stompy Jones 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN tom Lander & Friends .FKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF. “Maceo parker’s New Years eve partyâ€? :PTIJÂľT BOE QN kim Nally & houston person 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN savanna Jazz Jam with Nora Maki 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN

folk / woRld/countRy

twang! honky tonk 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX UXBOHIPOLZUPOL DPN QN -JWF DPVOUSZ NVTJD EBODJOH BOE HJWFBXBZT

dance cluBs

afrolicious &MCP 3PPN QN %+T 1MFBTVSFNBLFS BOE 4FOPS 0[ TQJO "GSPCFBU 5SPQJDgMJB FMFDUSP TBNCB BOE GVOL get Low 4PN UI 4U 4' QN GSFF +FSSZ /JDF BOE "OU TQJO )JQ )PQ ÂľT BOE 4PVM XJUI XFFLMZ HVFTUT thursdays at the Cat Club $BU $MVC QN GSFF CFGPSF QN 5XP EBODF GMPPST CVNQJOÂľ XJUI UIF CFTU PG T NBJOTUSFBN BOE VOEFSHSPVOE XJUI %+ÂľT %BNPO 4UFWF 8BTIJOHUPO %BOHFSPVT %BO BOE HVFTUT tropicana .BESPOF "SU #BS QN GSFF 4BMTB DVNCJB SFHHBFUPO BOE NPSF XJUI %+T %PO #VTUBNBOUF "QPDPMZQUP 4S 4BFO 4BOUFSP BOE .S &

fRiday 30 Rock /Blues/hip-hop

albino!, dynamic truth &MCP 3PPN QN Back pages +PIOOZ 'PMFZÂľT QN GSFF Bro-Mags, Cunt sparrer, girl-illa Biscuits 5IFF 1BSLTJEF QN eight Belles, Misner & smith "NOFTJB QN Foibles, Bottle Fiends, parker Frost )FNMPDL 5BWFSO QN Further, phil Lesh and Bob weir #JMM (SBIBN $JWJD "VEJUPSJVN (SPWF 4' XXX BQFDPODFSUT DPN QN katdelic #PPN #PPN 3PPN QN kraddy, two Fresh *OEFQFOEFOU QN

on the cheap

film listings

classifieds

music listings Jason Marion, Rome Balestrieri, Nathan Temby +PIOOZ 'PMFZÂľT EVFMJOH QJBOPT QN Pollux, Last Man on Earth, Naked Fiction #PUUPN PG UIF )JMM QN Sepalcure, Addison Groove, Mux Mool )BSSJFU 4' XXX DPN QN Slip, Titan Ups $BGF %V /PSE QN Trombone Shorty & Orleans Avenue 'JMMNPSF QN “Xmas Traveling Rock & Roll Revivalâ€? 4MJNÂľT QN 'FBUVSJOH 9 4FBO 8IFFMFS ;BOEFS 4DIMPTT #MBDL 5JCFUBOT

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! LM=K<9Q )*'*/ % O=<F=K<9Q )*'*0 From super hiGh me and the Benson interruption!

<GM? :=FKGF

dan GaBrieL

L@MJK<9Q )*'*1 % K9LMJ<9Q )*'+) F=O Q=9J K =N=

?J=? HJGGHK

Kevin KataoKa, Chris GarCia LM=K<9Q )'+

Happy Holidays from the

;@A;9FG ;GE=<Q 9DDKL9JK

BiG aL GonzaLes, ButCh esCoBar, CarLos rodriGuez, monique FLores

O=<F=K<9Q )', % K9LMJ<9Q )'/ a san FranCisCo Favorite!

jazz/new music

Black Market Jazz Orchestra 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN “Maceo Parker’s New Years Eve Partyâ€? :PTIJÂľT BOE QN Kim Nally & Houston Person 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Savanna Jazz Trio with Sharman Duran 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN

Dance clubs

Braza! 4PN UI 4U 4' QN %+T 4BCP ,FOUP &MBO TQJO #SB[JMJBO #BUVDBEB 4BNCB “Donuts 5 Years Anniversary� 1VCMJD 8PSLT QN 8JUI (BWJO 3VTTPN - " 7BNQJSFT #PCCZ #SPXTFS .BHJD 5PVDI BOE 1JDL1PDLFU Honk %/" -PVOHF QN ,MPXO ,PSQT ,PMMFDUJWF QSFTFOUT SPDL GVOL FMFDUSP CSFBLT BOE LMPXO GJ XJUI (PPGFSNBO 1MBOFU #PPUZ BOE 8BIOEFSMVTU Old School JAMZ &M 3JP QN 'SVJU 4UBOE %+T TQJOOJOH PME TDIPPM GVOL IJQ IPQ BOE 3 # Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Teenage Dance Craze ,OPDLPVU QN 4VSG HBSBHF BOE TPVM XJUI 3VTTFMM 2VBO E9 UIF 'VOLZ (SBOQBX BOE 0LJFPSBO 4DPUU 2 Men Will Move You "NOFTJB QN

LGE J@G<=K

roB F. martinez, GreG edWards

LM=K<9Q )')(

9D=P CGDD

5IBOL :PV UP "MM 0VS "EWFSUJTFST 8F "QQSFDJBUF :PVS $POUJOVFE 4VQQPSU

BuCKy sinister, dave thomason

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

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

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

+-4-*:)<16/ 7=: <0 )661>-:;):A .7: )44 7. ;<,:+(@ :(;<9+(@ 5,> @,(9Âť: ,=,

16/5 630=,9 -YVT ;OL +HPS` :OV^

KITCHEN OPEN MON-SAT AT 6PM

-90+(@ :<5+(@

104 1,--,90,:

8)*4,&: 8&%/&4%": 1#3 4)05 "-- /*()5 -0/( 8*5) 5)& 7"/*--" (03*--" "/% 5)& $"/"%*&/ #",*/

12/28

-YVT /)6

-90+(@ :(;<9+(@

:- :2,;*/-,:; >>> :-:2,;*/-,:; *64

12/30

;<,:+(@

8 &*--&&/ +0*/ 5)& -07&-: &*--&&/ 0' "//*&4 40$*"- $-6# '".& '03 16/,4$)-0$, ,"3"0,& 5)& -"45 '3*%": &7&3: .0/5)

:;,7/,5 4,9*/(5; *V *YLH[VY VM ;OL 6MĂ„JL

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.

12/31

WWW.COBBSCOMEDY.COM

1. / : & 8*5) %&4530:&3

&-&$53*$ '6/&3"-

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.

saturDay 31

1. '3&&

16/,4$)-0$, ,"3"0,& #"4)

-&5ÂŚ4 3*/( 5)& /&8 :&"3 8*5) %&4530:&3 ,*44 $07&34 "/% &-&$53*$ '6/&3"- #-"$, 4"##"5) $07&34 */ 5)& 0-% 4$)00- $-"44*$ 30$, 8":

1/1 4$)-*5; */%6453: /*()5

'3&& 4/"$,4 '30. $-"3&ÂŚ4 4$)-*5; #055-&4 4)054 0' #6--*&5 #063#0/ '&3/&5#3"/$" 450-* 4)",: 4)054 '3&& -"5& /*()5 4/"$,4 5)"/,4 50 $-"3&ÂŚ4 %&-* ! 5) (6&3&330

rock /blues/hip-hop 'PS NPSF /FX :FBSÂľT &WF MJTUJOHT TFF ²1PQ :PVS $PSLÂł JO UIJT JTTVF Rome Balestrieri, Nathan Temby, Jason Marion +PIOOZ 'PMFZÂľT EVFMJOH QJBOPT QN Behrouz 1BMBDF )PUFM /FX .POUHPNFSZ 4' XXX BZLVUFWFOUT DPN QN Black Nature #JTTBQ #BPCBC 4U 4' XXX CJTTBQCBPCBC DPN QN Bob Saggeth, Black Cobra &MCP 3PPN QN Body & Soul +PIOOZ 'PMFZÂľT QN GSFF Fast Times .BHHJF .D(BSSZÂľT (SBOU 4' XXX NBHHJFNDHBSSZT DPN QN GSFF Foreverland, Slim Jenkins, Cottontails #JNCPÂľT QN 8JUI ,JUUZ ,JUUZ #BOH #BOH #VSMFTRVF Further, Phil Lesh and Bob Weir #JMM (SBIBN $JWJD "VEJUPSJVN (SPWF 4' XXX BQFDPODFSUT DPN QN Greyboy Allstars *OEFQFOEFOU QN Lebo & Friends, SF Gramble #PPN #PPN 3PPN QN John Lee Hooker #JTDVJUT #MVFT BOE QN Little Wings, Range of Light Wilderness, Magic Leaves, Au Dunes "NOFTJB QN Slip, Titan Ups $BGF %V /PSE QN Tedeschi Trucks Band, New Mastersounds, DJ Harry Duncan 8BSGJFME QN Trombone Shorty & Orleans Avenue 'JMMNPSF QN “Xmas Traveling Rock & Roll Revivalâ€? 4MJNÂľT QN 'FBUVSJOH 9 4FBO 8IFFMFS ;BOEFS 4DIMPTT #MBDL 5JCFUBOT

jazz/new music

“Maceo Parker’s New Years Eve Partyâ€? :PTIJÂľT BOE QN Kim Nally & Houston Person 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN QN New Year’s Eve Party 4BWBOOB +B[[ .JTTJPO 4' XXX TBWBOOBKB[[ DPN QN 8JUI MJWF KB[[ GPVS DPVSTF EJOOFS

folk / worlD/country

Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN

1/3 WED Dec 28 DOWN DIRTY SHAKE 9pm, $6 E Minor Buffalo Tooth

5&26*-" 5&3303 56&4%":4 5&26*-" 5&$"5& 0/-: 4$3&&/*/( "-- :063 '"703*5& )03303 '*-.4

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

THU Dec 29 Club Chuckles presents 2 Shows TIG NOTARO (Sarah Silverman 7:30pm/10pm Program), $12 Adv., $15 door Sean Keane Adv. Tix On Sale Groomed For Success FRI Dec 30 ACID DAWGZ (ex-Reatards) 6pm Otro Mundo (AZ) FREE EARLY SHOW 9:30pm, $6 FOIBLES Bottle Fiends (ex-Top Critters) Parker Frost SAT Dec 31 New Year’s Eve Bash with 9pm, $10 WAX IDOLS and TERRY MALTS Adv. Tix On Sale deejays MIKE SLUMBERLAND, MATT MANTLE plus champagne toast at midnight SUN Jan 1 9pm, $10

The Burden We Bear, noThing BuT Losers, My PLace of yours, Through The WaLLs, giving The deviL his due

DAVID DONDERO Virgil Shaw

MON Jan 2 Punk Rock Sideshow 9:30 PM, FREE TUE Jan 3 Bartender’s Ball with live 9pm, FREE music by

ENABLERS

Vanishing Breed and guest deejays WED Jan 4 9pm, FREE

12/29 8pm

DJ HANDLEBARS

Upcoming: Genius and The Thieves, The Meat Packers, My Parade, Apogee Sound Club (ex-The Reaction), Wet Illustrated, Meercaz, Swiftumz, Thee Cormans (In The Red), The Shrouds, The Finches, Burnt Ones, The Mallard, KOKO and the Sweetmeats, Silian Rife, Permanent Collection

12/30 8pm

12/31 8:30pm $15

suB•Mission PresenTs:

neW year’s eve shinding!!! oLd TiMe Punk rock gaLa WiTh La PLeBe, TrainWreck riders, aToM age, More TBa

CONTINUES ON PAGE 24 >>

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december 28, 2011 - january 3, 2012 / SFBG.com

23

music listings SaT/31 CONT>>

Dance clubs

Bootie NYE 2012 .F[[BOJOF QN 4IPXDBTF TFUT GSPN SFTJEFOU %+T "ESJBO BOE .ZTUFSJPVT % MJWF NBTIVQ CBOE 4NBTI 6Q %FSCZ Casa Blanca New Year’s Eve Extravaganza ,JOH 4U &WFOU 4QBDF ,JOH 4' XXX OZFTG DPN QN %+T 5XJO 4QJO %3& 3JDI &SB .BVSJDJP BOE NPSF Disco 2012 3JDLTIBX 4UPQ QN 8JUI 3"$ %+T -JNPVTJOFT BOE QPQTDFOF %+T Go Bang! NYE %FDP -PVOHF -BSLJO 4' XXX HPCBOHTG DPN 8JUI %PD 4MFFQ %+ 0TNPTF &EEJF )PVTF 4UFWF 'BCVT BOE 4FSHJP 'FEBT[ Mango New Year’s Eve Party &M 3JP QN )JQ IPQ BOE TQJDZ -BUJO CFBUT Midnight NYE 2012 $MVC UI 4U 4' XXX NJEOJHIUOZF FWFOUCSJUF DPN QN 8JUI UISFF

SPPNT PG %+T TQJOOJOH SFHHBF EBODFIBMM JOUFSOB UJPOBM IJQ IPQ BOE SFNJYFT New Year’s Eve Blackout -FYJOHUPO $MVC UI 4U 4' XXX MFYJOHUPODMVC DPN QN GSFF %+T "OESF BOE +FOOB 3JPU Oldies Night ,OPDLPVU QN /FX :FBS¾T &WF QBSUZ XJUI UIF $VUT BOE %+ 1SJNP BOE %BOJFM TQJO OJOH EPP XPQ POF IJU XPOEFST BOE TPVM Sunset-Honey-Public Works-NYE featuring Honey 1VCMJD 8PSLT QN 8JUI %+T 4PMBS + #JSE (BMFO BOE NPSF Trannyshack: New Year’s Eve %/" -PVOHF QN %SBH QFSGPSNBODFT BOE %+T .$ +PTIVB + +PIO -F1BHF BOE NPSF

sunDay 1

Kally Price Old Blues and Jazz Band "NOFTJB QN Primus “Hawaiian Hukilau� (SFBU "NFSJDBO .VTJD )BMM QN . Eliza Rickman "NOFTJB QN

jazz/new music

“Maceo Parker’s New Years Eve Partyâ€? :PTIJÂľT BOE QN

folk / woRlD/countRy

Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI 8IJTLFZ 5BOHP

Dance clubs

Rock /blues/hip-hop

David Dondero, Virgil Shaw, Gorgeous Byrdmen )FNMPDL 5BWFSO QN

Dub Mission &MCP 3PPN QN 8JUI ES *43"&- BOE %+ 4FQ

No Way Back .POBSDI 4JYUI 4U 4' XXX NPOBSDITG DPN BN 8JUI 5IPNBT 4PMBS $POPS 5IJFWFT BOE +BNFT (MBTT

monDay 2 Freedy Johnston :PTIJÂľT QN Jason Marion +PIOOZ 'PMFZÂľT QN GSFF Belle Monroe and Her Brewglass Boys "NOFTJB QN Bossa Nova 5VOOFM 5PQ #VTI 4' QN GSFF -JWF BDPVTUJD #PTTB /PWB

Dance clubs

Death Guild %/" -PVOHF QN

tuesDay 3 Rock /blues/hip-hop

Rock /blues/hip-hop

jazz/new music

(PUIJD JOEVTUSJBM BOE TZOUIQPQ XJUI %FDBZ +PF 3BEJP BOE .FMUJOH (JSM

“Bartender’s Ball� )FNMPDL 5BWFSO QN GSFF 8JUI MJWF NVTJD CZ &OBCMFST 7BOJTIJOH #SFFE BOE %+T Family Folk Explosion "NOFTJB QN GSFF Fracas, Between Your Teeth ,OPDLPVU QN Jesus and the Rabbis #PPN #PPN 3PPN QN

Dance clubs

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

wED ELbo room prESENTS

CLUb ShUTTEr

12/28 10pm $5 wITh DJS

NAKo, omAr, AND JUSTIN

THU

Afro-TropI-ELECTrIC-SAmbA-fUNK

AfroLICIoUS

12/29 9:30pm wITh DJS/hoSTS: $5

Wed 12/28 8pm FRee!

FRiSCo diSCo!

diSCo no longeR SUCKS! dJ 2Shy-Shy And dJ melT W/ U ClASSiC diSCo, FUnK, & SoUl!

ThU 12/29 6pm no CoVeR!

The hoUSe oF WindSoR

pSyChedeliC, KRAUT-RoCK, ShoegAze Vinyl

pLEASUrEmAKEr & SENor oZ

FRI hEAVy hEAVy AfrobEAT!

ALbINo!

12/30 10pm $10 pLUS SpECIAL gUEST

DyNAmIC TrUTh

SAT

bobb SAggETh

SAbbATh CoVEr bAND, fEAT mEmbErS of CITAy, SAVIoUrS, AND SEAN SmITh) pLUS

9pm no CoVeR!

WeB oF SoUnd!

bLACK CobrA

W/dJ JACKie SUgARlUmpS

(SoUThErN LorD)

DJ moUNTAIN rIDE

AND ADV. TIx: www.browNpApErTICKETS.Com

FRi 13/30 7:30-9:30pm $8

loneSome loComoTiVe KiTChen FiRe

eVeRy FRidAy 10pm $5

looSe JoinTS!

W/ dJS Tom ThUmp, dAmon Bell & CenTipede RARe gRooVe/FUnK/SoUl/hip-hop & moRe!

SUN

SpeCiAl gUeST RiCKy gARAy (AKA SĂŠnoR mUCho mUSiCA)

mon 1/2 8pm FRee!

mAKe oUT FiRST mondAyS WeSTBRooK/WiCK dUo

JohnSTon-goldBeRg-denSon TRio RoB eWing gRoUp

liVe JAzz!

TUe 1/3 6pm FRee!

poWeRpeARlS

W/ dJ nASTy nATe noRTheRn moVeRS & SWeeT SoUl melodieS

9:30pm no CoVeR!

loST & FoUnd

deep & SWeeT 60S SoUl 45S

dJS lUCKy & pRimo & FRiendS 3225 22nd ST. ! miSSion SF CA 94110 415-647-2888 • www.makeoutroom.com 24 SAN FRANCISCO BAY GUARDIAN

prESENTS

EThErIC DoUbLE

(m.o.D./DrEADToNE INT’L/roIr)

DJ SEp

pLUS CELEbrATINg ThE rELEASE of

el SUpeRRiTmo! neW yeAR’S eVe BASh! RogeR mAS y el Kool Kyle

DUb mISSIoN Dr ISrAEL

1/1 9pm $9 ADV wITh SpECIAL gUESTS $12 Door CLIff TUNE &

SAT 12/31 9pm $20

pARTy FAVoRS! BAlloon dRop! ChAmpAgne ToAST AT midnighT!

ELbo room prESENTS

12/31 NEw yEAr’S EVE 2011 9pm $15 ADV $20 Door (wEST CoAST’S grEATEST bLACK

ghETTo DEfENDANT

LImITED ADV. TIx: www.browNpApErTICKETS.Com & www.JAmbASETICKETS.Com

MON ELbo room IS opEN 1/2

5pm - 2Am

TUE ELbo room IS CLoSED 1/3

wED ELbo room prESENTS 1/4 9pm

ThE DrAmATICS

ThE CompLICATIoNS ThE rAbbLES

UpComINg ThU

1/5 AfroLICIoUS

frI

1/6 120 mINUTES: LADy TrAgIK

SAT

1/7 SAT NITE SoUL pArTy

SUN

1/8 DUb mISSIoN: DJ SEp, J. boogIE

moN 1/9 gIfT of gAb ADVANCE TICKETS

www.browNpApErTICKETS.Com ELbo room IS LoCATED AT 647 VALENCIA NEAr 17Th

editorials

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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 CAFÊ 3372 19th St (415) 970-0362 BOOM BOOM ROOM 1601 Fillmore (415) 673-8000 BOTTOM OF THE HILL 1233 17th St (415) 621-4455 BRICK AND MORTAR MUSIC HALL 1710 Mission www.brickandmortarmusic.com BROADWAY STUDIOS 435 Broadway (415) 291-0333 BRUNO’S 2389 Mission (415) 643-5200 CAFE COCOMO 650 Indiana (415) 824-6910 CAFÊ DU NORD 2170 Market (415) 861-5016 CASANOVA LOUNGE 527 Valencia (415) 863-9328 CAT CLUB 1190 Folsom (415) 431-3332 CLUB DELUXE 1509 Haight (415) 552-6949 CLUB 525 525 Howard (415) 339-8686 CLUB SIX 60 Sixth St (415) 863-1221 DALVA 3121 16th St (415) 252-7740 DELIRIUM 3139 16th St (415) 552-5525 DNA LOUNGE 375 11th St (415) 626-1409 DOLORES PARK CAFE 501 Dolores (414) 621-2936 DOUBLE DUTCH 3192 16th St (415) 503-1670

editorials

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

food + Drink

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

picks

oakland music complex

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

Monthly Music Rehearsal Studios

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

oaklandmusiccomplex@gmail.com

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

arts + culture

music listings

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stage listings

on the cheap

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film listings

classifieds

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xxx/uiffqbsltjef/dpn 2711!28ui!Tusffu!ÂŚ!526.363.2441

december 28, 2011 - january 3, 2012 / SFBG.com

25

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

K/(- ,- "/ + K - /1, 9]Ê ,ÊΣ

new years eVe ...

manGo pm: the sweet & sexy

new years eVe house party! 9pm $15 (hot hip hop and spicy latin beats by selectas edaJ & marcella) 9pm

stage listings

DBMMFE ²)JHI 1PJOU³ ± BSF UIF TUVGG PG SFBM EJTUSFTT 4' 1MBZIPVTF BSUJTUJD EJSFDUPS #JMM &OHMJTI HFUT NPW JOH CVU DMFBS FZFE VOTFOUJNFOUBM QFSGPSNBODFT GSPN IJT TUSPOH DBTU ± CPMTUFSFE CZ +FBO 'PSTNBO BOE +PF .BEFSP BT %PSPUIFBµT QBSFOUT±XIPTF QSJO DJQBMT EP NFBTVSFE KVTUJDF UP UIF DPNQMFY TFYVBM BOE QTZDIPMPHJDBM UFOTJPOT XPWFO UISPVHIPVU *G OPU POF PG 8JMMJBNTµT HSFBU QMBZT UIJT JT BO FOHBHJOH BOE TVSQSJTJOHMZ NFNPSBCMF POF KVTU UIF TBNF XJUI UIF QMBZXSJHIUµT EJTUJODUJWF CMFOE PG UIF NFUBQIPSJ DBM BOE DPODSFUF "T B SBSF TOPXGBMM CMBOLFUT UIJT .FNQIJT $ISJTUNBT &WF TPNFUIJOH EBSL BOE CSPPEJOH MJOHFST JO UIF TUPSZCPPL DIFFS "WJMB

Xanadu /FX $POTFSWBUPSZ 5IFBUSF $FOUFS 7BO /FTT 4' XXX ODUDTG PSH 8FE 4BU QN 4VO QN OP TIPX 4VO 5ISPVHI +BO /FX $POTFSWBUPSZ 5IFBUSF $FOUFS QFSGPSNT UIF SFUSP SPMMFS TLBUJOH NVTJDBM

wednesday 12/28

alli BattaGlia & tHe musical BrewinG co.

sonZ oF raZi, cHris Zanardi & tHe HiGH BeamZ tHursday 12/29

PHisH weBcast ViewinG Fundraiser Friday 12/30

PHisH weBcast ViewinG Fundraiser saturday 12/31

nye witH tHe FresH & onlys and tHee oH sees

bay area

god’s plot "TICZ 4UBHF "TICZ #FSL 1 XXX TIPUHVOQMBZFST PSH 8FE 5IVST QN 'SJ 4BU QN 4VO QN

tHursday 1/05

tHe Brass rinGs

wes leslie and His deadly medley, tHe liZ o sHow HEDCHDG:9 7N

HDJI=:GC 8DB;DGI

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7pm

$1 pbr/$2 well dollar day - all day

lucky dub

strike down babylon the dubinaires

9pm

3&(("& %6#

radical Vinyl -dJ’s spin

funk+hiphop, oldies+punk! no$ /1 - 9]Ê 1 ,9ÊÎ

5pm 9pm

$4 marGaritas all niGht! dJs miss pop and dark dame spinninG new waVe - free

&@JJ@FE ,KI<<K , www.elriosf.com ~ 415-282-3325

wednesday 12/28

G-eaZy & Friends Holiday BasH saturday 12/31

tHe nye PeoPle Party ! wednesday 1/4

Comedian Tig noTaro performs aT The hemloCk Tavern’s “Club ChuCkles” Thurs/29. 4UBHF MJTUJOHT BSF DPNQJMFE CZ (VBSEJBO TUBGG 1FSGPSNBODF UJNFT NBZ DIBOHF DBMM WFOVFT UP DPO GJSN 3FWJFXFST BSF 3PCFSU "WJMB 3JUB 'FMDJBOP BOE /JDPMF (MVDLTUFSO 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

tHeateR ongoing

starFucker

absolutely san francisco "MDPWF 5IFBUFS .BTPO 4UF 4' XXX UIF BMDPWFUIFBUFS DPN 5IVST QN /PU 2VJUF 0QFSB 1SPEVDUJPOT QSFTFOUT "OOF /ZHSFO %PIFSUZµT NVTJDBM BCPVU 4BO 'SBODJTDP XJUI GJWF DIBSBDUFST BMM QPSUSBZFE CZ .BSZ (JCCPOFZ on the air 1JFS PO UIF &NCBSDBEFSP BU #BUUFSZ 4' MPWF [JO[BOOJ PSH BOE VQ JODMVEFT EJOOFS 8FE 'SJ QN BMTP 8FE BN 4BU QN 5FBUSP ;JO;BOOJµT GJOBM QSPEVDUJPO BU JUT MPOHUJNF OFTU PO 1JFS JT B OPTUBMHJB JOGVTFE CBORVFU PG CJUT TUSVDUVSFE BSPVOE BO PME UJNF SBEJP WBSJFUZ TIPX GFBUVSJOH IFBEMJOFST (FPGG )PZMF (Geezer) BOE CMVFT TJOHFS %VGGZ #JTIPQ *G ZPV IBWFOµU TFFO KVHHMJOH PO UIF SBEJP GPS JOTUBODF JUµT QSFUUZ BXFTPNF FTQF DJBMMZ XJUI B QFSGPSNFS MJLF #FSOBSE )B[FOT XIPTF GPPUJOH BUPQ B QSFDBSJPVT UPXFS PG UVCFT BOE DVCFT JT BMSFBEZ DSJOHJOHMZ FYUSBPSEJOBSZ #VU BMM UIF QFS GPSNFST BSF EFQFOEBCMZ GJSTU SBUF JODMVEJOH "OESFB $POXBZµT DPNJD DIBOEFMJFS MVOBDZ BFSJBMJTU BOE FODIBOUJOH TQBDF BMJFO &MFOB (BUJMPWBµT HPSHFPVT ²DJSDFBVY³ BDU HSBDFGVM IBOE CBMBODFS $ISJTUPQIFS 1IJ DMBTT BDU UBQQFS 8BZOF %PCB BOE SBEJP .$ .BU 1MFOEMµT SBVDPVTMZ UXFFOZ IVMB IPPQJOH "EE TPNF TVMUSZ CMVFT OVNCFST CZ SBVODIZ CFMUFS #JTIPQ )PZMFµT NBTUFSGVM DIBSBDUFSJ[BUJPOT JODMVEJOH TPNF XPOEFSGVM TIUJDL XJUIJO B TIUJDL BT POF MJOFS NBF TUSP ²3FE #PUUPNT³ B GFX DMBTTJD DPNNFSDJBMT BOE B IFBMUIZ EPTF PG BVEJFODF QBSUJDJQBUJPO BOE ZPV TUBSU UP GFFM OJDFMZ TBUJBUFE BOE SFBEZ GPS B HPPE DJHBS 4NPPUIMZ IFMNFE CZ ;JO;BOOJ DSFBUJWF EJSFD UPS /PSN -BOHJMM On the Air TJHOBMT PGG UIF BJS GPS UIF QPQVMBS EJOOFS DJSDVT ± VOUJM JU DBO TFDVSF B OFX QBUDI PG MPDBM SFBM FTUBUF GPS JUT BOUJRVF TQJFHFMUFOU ± TP UVOF JO XIJMF ZPV NBZ "WJMB

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Planted Palms Friday 1/6

sister carol

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1

26 SAN FRANCISCO BAY GUARDIAN

editorials

news

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food + Drink

picks

arts + culture

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music listings

stage listings

XIP LJDLT UIF EFWJMµT BTT MJUFSBMMZ BOE USJVNQIT PWFS BEWFSTJUZ XJUIPVU FWFO VUUFSJOH B TJOHMF XPSE "U UVSOT EBSL EFYUFSPVT GBODJGVM BOE GBUBM Bride SJTFT BCPWF UIF VTVBM IPMJEBZ GBSF XJUI B UJNFMFTT FODIBOUNFOU (MVDLTUFSO

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peRfoRmance/dance

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on the cheap

film listings

classifieds

film listings

ADEPERo oDuYE STARS In DEE REES’ CoMInG-oF-AGE DRAMA Pariah, ouT WED/28. | PhOTO COUrTESy fOCUS fEATUrES

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Opening

Holy Rollers: The True Story of Card Counting Christians 'PS B UJNF POF PG UIF NPTU TVDDFTT GVM DBSE DPVOUJOH PVUGJUT JO "NFSJDB XBT ²UIF $IVSDIUFBN ³ B HSPVQ PG TPNFUIJOHT XIP NBQQFE PVU B CVTJOFTTMJLF XBZ PG SFMJFWJOH DBTJOPT PG NJMMJPOT PG EPMMBST 5XP NBOBHFST USBJOFE B QBDL PG QMBZFST XIP XPVME UIFO USBWFM UP -BT 7FHBT BOE PUIFS QMBDFT BSNFE XJUI TUBDLT PG CJMMT DPOUSJCVUFE CZ JOWFTUPST and UIF DPKPOFT UP DIFBU VOUJM UIFZ XFSF ²CBDLFE PGG³ GSPN UIF CMBDLKBDL UBCMF "T µT The Hangover FYDFSQUFE IFSF QPJOUT PVU DPVOUJOH DBSET JTOµU JMMFHBM ± JUµT NFSFMZ ²GSPXOFE VQPO ³ /FBU TUPSZ CVU UIF SFBM IPPL IFSF JT UIBU UIF $IVSDIUFBN XBT DPNQSJTFE BMNPTU FOUJSFMZ PG QSBDUJDJOH $ISJTUJBOT UIFJS TIBSFE GBJUI JOTVSFE UIBU OPCPEZ XPVME TUFBM GSPN UIF UFBNµT QSPGJUT 0G DPVSTF XIFO UIF UFBN TUBSUT MPTJOH BOE UIFGU JT TVTQFDUFE BMM FZFT GBTUFO VQPO UIF TJOHMF OPO $ISJTUJBO JO UIF QBDL 5IF GBTU QBDFE Holy Rollers UFOET UPXBSE UIF IJHIMZ FOKPZBCMF CVU UIF $IVSDIUFBN NFNCFST BSF TP TFMG TBUJTGJFE UIBU UIFZ QSPWF EJGGJDVMU UP SPPU GPS BU UJNFT )PMZ TNVHOFTT CSP Roxie. &EEZ

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Alvin and the Chipmunks: Chip-wrecked

The Artist

Being Elmo: A Puppeteer’s Journey

A Dangerous Method

The Darkest Hour

The Descendants

Drive

The Flowers of War

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Le Havre

Hugo

I Melt With You

J. Edgar

Melancholia

Midnight in Paris

Mission Impossible: Ghost Protocol /P XPSME MBOENBSL UIF ,SFNMJO UIF #VSK ,IBMJGJB JT UPP JDPOJD BOE PS GSFBLJOH UBMM GPS VCFS BESFOBMJ[FE *NQPTTJCMF .JTTJPOT 'PSDF BHFOU &UIBO )VOU 5PN $SVJTF BOE IJT UFBN +FSFNZ 3FOOFS 1BVMB 1BUUPO 4JNPO ²$PNJD 3FMJFG³ 1FHH UP JOGJMUSBUF DMJNC BTTVNF GBMTF JEFOUJUJFT JO VTF BT B IPNF CBTF GPS VOMFBTI JOH GVUVSJTUJD TQZ UFDIOPMPHZ UIBU TFFNT almost QMBVTJCMF XJUI UIF IFMQ PG MPUT PG J1BET SBDF B #.8 UISPVHI FUD 0OF LJOE PG HFUT UIF TFOTF UIBU $SVJTF BOE DPNQBOZ TBU EPXO XJUI B QJFDF PG QBQFS BOE XFSF MJLF ²8IBU TUVOUT haven’t XF EPOF CFGPSF BOE IPX NBOZ PG UIFN DBO * EP XJUI NZ TIJSU PGG ³

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CONTINUES ON PAGE 28 >>

THE WIZARD OF OZ

Friday December 30, 8pm (Doors open 7pm) Our Holiday Tradition Continues Come back and see Dorothy, the Scarecrow, the Cowardly Lion, the Tin Man, and the Wicked Witch of the West, all on the big screen. Paramount Movie Classics include live Wurlitzer organ serenade, Dec-O-Win raffle, newsreel, cartoon and previews. Admission ONLY $5 • ticketmaster.com or 800-745-3000

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FILM LISTINGS

CLASSIFIEDS

DECEMBER 28, 2011 - JANUARY 3, 2012 / SFBG.COM

27

film listings ONGOING CONT>>

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The Muppets

My Reincarnation Roxie, Smith Rafael. My Week With Marilyn

New Year’s Eve

1

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FICTITIOUS BUSINESS NAME STATEMENT FILE NO. 458527. The following person is doing business as Segway of Oakland 212 International Blvd. Oakland, CA 94606. This business is conducted by a Corporation. Registrant commenced business under the above-listed fictitious Nov. 22-Dec. 21 business name on the date 1/1/11. Signed Steven Steinberg, CEO. This statement was filed with the County Clerk the County of Alameda, CA by Patrick O’Connell on November 18, 2011. #113495, December 21, 28, 2011 and January 4, 11, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0339748-00 The following person is doing business as 850 850 Folsom Street, San Francisco, CA 94107. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date NA. Signed by Tommy Cheng, President. This statement was filed by Maribel Jaldon, Deputy County Clerk on November 30, 2011. L#113491, December 7, 14, 21 and 28, Dec. 22-Jan. 19 2011

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0339790-00 The following person is doing business as Elite Fitness 1548 Page Street, San Francisco, CA 94117. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date November 29, 2011. Signed by Danielle Hernandez. This statement was filed by Maribel Jaldon, Deputy County Clerk on November 29, 2011. L#113501, December 28, 2011 and January 4, 11 and 18, 2012

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FICTITIOUS USINESS NAME STATEMENT FILE NO. 459557. The following person is doing business as Casa Bauhaus 2930 Harper Street, Berkelety, CA 94703. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date 12/22/2011. Signed John Meaney. This statement was filed with the County Clerk the County of Alameda, CA by Patrick O’Connell on December 22, 2011. #113502, December 28, 2011 and January 4, 11, and 18, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340196-00 The following person is doing business as Taylor Street Coffee Shop 375 Taylor Street, San Francisco, CA 94102. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date March 23, 2007. Signed by Hoyul Steven Choi, CEO. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on December 22, 2011. L#113500, December 28, 2011 and January 4, 11 and 18, 2012

NOTICE The Annual Report of the Burk Chung Foundation, 837 Washington Street, San Francisco, California 94108 is available at the Foundation’s office for inspection during regular business hours. Copies of the Annual Report have been furnished to the Attorney General of the State of California. Burk Chung, Trustee. Fiscal year ending November 30, 2011. #113493. December 14, 21, 28, 2011 and January 4, 2012

ary 4, 2012

FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340071-00 The followFeb. 19-March 20 as Kathleen ing person is doing business Ink 44 Fairfield Way, San Francisco, CA 94127. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date December 16, 2011. Signed by Kathleen G. Woods. This statement was filed by Jennifer Wong, Deputy County Clerk on December 16, 2011. L#113496, December 21, 28, 2011 and January 4 and 11, 2012

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listed fictitious business name on the date WORK ON JET ENGINES - Train for AviaN/A. Signed by Lassel Silva. This statement SOCIAL SECURITY Disability Benefits. You tion Maintenance Career. FAA approved. was filed by Jennifer Wong, Deputy County Win or Pay Us Nothing. Contact Disability By Jessica lanyadoo Financial aid if qualified - Job placement Clerk on December 16, 2011. L#113497, Group, Inc. Today! BBB Accredited. Call For assistance. CALL Aviation Institute of Jessica Lanyadoo has been a psychic dreamer for 16 years. Check out her Web site at www.lovelanyadoo.com or December 21, 28, 2011 and January 4 Your FREE Book & Consultation. 877-490Maintenance (888) 242-3382 toll free. contact her for an astrology or intuitive6596. reading at (415) 336-8354 or dreamyastrology@gmail.com. and 11, 2012 (Cal-SCAN) (Cal-SCAN)

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340171-00 The following person is doing business as 1. California Towing, 2. Cal Tow, 3. Flatbed Services 1465 Folsom Street, San Francisco, CA 94103. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date January 26, 1978. Signed by George Powning. This statement was filed by Susanna Chin, Deputy County Clerk on December 21, 2011. L#113499, December 28, 2011 and January 4, 11 and 18, 2012

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UtiliQuest is hiring UTILITY LINE LOCAOct. 23-Nov. 21 TORS in your area. GED/HS, drug, MVR, background screen required. Outdoor job. www.UtiliQuest.com, UtiliQuest is an Equal Opportunity Employer. (Cal-SCAN)

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editorials

FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340099-00 The following person is doing business as Cocoon Bare LLC 2435 Polk Street, San Francisco, CA 94109. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Sarah Redmond, Member . This statement was filed by Jennifer Wong, Deputy County Clerk on December 19, 2011. L#113498, December 21, 28, 2011 and January 4 and 11, 2012

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DECEMBER 28, 2011 - JANUARY 3, 2012 / SFBG.com 31

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