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the san francisco bay guardian | sfbg.com january 18 - 24, 2012 | Vol. 46, No. 16 | Free

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Making even a minor, eminently reasonable change in Prop. 13 is tough.

NEWS

editor’s notes

Staying on track

Tim Redmond

Top political leaders defend highspeed rail from right-wing attacks P6

Tredmond@sfbg.com

alerts P7 Occupy Nation

Let’s take back the country — starting now P8

Occupy America is already underway P9 herbwise P11 food + drink

appetite P13 cheap eats P14 picks

guardian picks P16 arts + culture

Abstract truth

Navigating an art movement — and a local gallery’s history — in “Surrealism: New Worlds” P18

trash P19 We want the airwaves Where KUSF stands now, exactly 12 months after the shutdown P20

What recession?

Art Basel Miami take one: Buzz outflashed protest at this year’s beachside art fair P21

Wall played

Art Basel take two: Street art in Wynwood, it’s complicated P22

Way out East

A dose of American Realness amid the NYC festival season P24

In the realms of the unreal

Wim Wenders’ stunning Pina pays tribute to acclaimed choreographer Bausch P25

Female trouble

Noir City X raises a glass to cinematic bad girls P26

Conflict revolution

Well-crafted A Separation examines a modern Iranian marriage P27

super ego P28 MUSIC listings 29 / STAGE listings 32 on the cheap 33 / FILM listings 34 CLASSIFIEDS 37 editorials

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Exporting Ed Lee and Prop. 13 our brains the guardian editorial

EDITORIAL You want a quick way to cut a huge chunk out of the city’s budget deficit? A way to save essential services without having to put a tax increase before the voters? Just force the owners of large commercial properties to pay their property taxes. It’s an open secret in California that the biggest properties are bought and sold under a loophole in the Proposition 13 that prevents city’s from reassessing them. It’s a fairly easy scam, one that almost never happens with lower-priced residential property: Instead of selling, say, a large commercial office building, the owners simply incorporate the building as a limited liability corporation and then sell shares in the LLC. That doesn’t count as a property transfer under Proposition 13, so the building is never reassessed. That means a building that may have sold for $500 million still pays taxes on an earlier assessment, which is often far, far lower. That loophole alone is costing San Francisco millions of dolpicks

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lars a year, according to Assessor Phil Ting. The California Tax Reform Association, in a May, 2010 report, notes that many of the biggest mergers, acquisitions, and property sales in the state over the past 30 years have taken place with legal tricks that keep property taxes artificially low. Assembly Member Tom Ammiano has introduced a bill, AB 448, that would classify any substantive transfer of property, even if it’s done through subsidiaries and corporate shells, as a sale and allow counties to reassess the property. It’s a fairly mild step, far short of a split-roll measure that would treat commercial and residential property differently. In fact, Ting told us, 99 percent of all commercial sales (mostly smaller properties) don’t use the loophole. It’s just (once again) the 1 percent taking advantage of everyone else. Los Angeles Mayor Antonio Villaraigosa has contacted Ammiano and asked to testify and help pass the bill. But at press CONTINUES ON PAGE >>

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By Gray Brechin The chancellor was absent as University of California police, kitted out in battle gear, vigorously beat and arrested students and professors at on the Berkeley campus. Called to account by the Academic Senate two weeks later, Robert Birgeneau explained that he had been on a trip through Asia at the time. The trip, he said, concluded with a “phenomenally successful,” though unspecified, mission to Shanghai, so he did not hear how badly things went at home until the following day. What Chancellor Birgeneau and the dean of Berkeley’s College of Engineering did on the trip was sign an agreement to open a 50,000-square-foot building in Shanghai’s Zhangjiang High-Tech Park two days after clubs fell on Cal students agitated by what they perceive as the progressive privatization and commercialization of CONTINUES ON PAGE >>

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When I was working on my college paper, the vice-president for academic affairs, a rather serious man named William Brennan, delivered a lecture on some obscure topic to a group of, I think, economic majors, and somehow, a Wesleyan Argus reporter was there to cover it. The young journalist gave a fair rendition of the event, and the headline an editor wrote was about the most accurate thing I’ve ever seen in a newspaper. It read: “Brennan bores small crowd.” The New York Times, which never runs headlines like that, is having an internal debate over — seriously — whether its reporters should be free to tell the truth. That’s right: The Public Editor, Arthur S. Brisbane, asked in his Jan. 12 column whether “reporters should challenge ‘facts’ that are asserted by newsmakers they write about.” In other words, if the president tells an obvious, outright lie, should the Times point that out — or just repeat his inaccurate statement as fact, since in fact the president said it? Should newspaper reporters be reporters, or stenographers? It’s so silly, but it reminds me of what’s always annoyed me about the skilled, highly trained and often brilliant staff people at the Times: They’re not allowed to tell the truth. After just about every press conference on the War in Iraq, for example, I would have written: “President Bush lied to the public again today, noting — in direct contrast to the evidence on the ground — that the war is going well and that the invasion had nothing to do with oil.” I know the Times would never go that far, but Brisbane actually had to ask: “On the campaign trail, Mitt Romney often says President Obama has made speeches ‘apologizing for America,’ a phrase to which Paul Krugman objected in a December 23 column, arguing that politics has advanced to the ‘post-truth’ stage. “As an Op-Ed columnist, Mr. Krugman clearly has the freedom to call out what he thinks is a lie. My question for readers is: should news reporters do the same?” Huh? Should reporters be able to report that the likely Republican candidate for president is making stuff up that he knows or ought to know has no basis in factual reality? Is that something the voters need to know? And the big papers wonder why they’re losing readers. 2 january 18 - 24, 2012 / SFBG.com

editorials ed lee and prop. 13 CONT>>

time, Ammiano had heard nothing from San Francisco Mayor Ed Lee. (Lee’s spokesperson, Christine Falvey, told us she didn’t think the bill was still alive. It is.) Lee needs to take a high-profile position in support of this bill — and he needs to encourage every other mayor in the state to do the same. The Board of Supervisors ought to pass a resolution of support — and push the County Supervisors Association of California to make this bill a top priority. Making even a minor, eminently reasonable change in Prop. 13 is tough, and Ammiano’s best chance is if local elected officials really push for this. It’s crazy that Mayor Lee isn’t leading the way. 2

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exporting our brains CONT>>

their university. According to The New York Times, the new branch will give U.C. an Asian beachhead by opening “a large research and teaching facility as part of a broader plan to bolster its presence in China.� Other premier American universities such as Duke, NYU, and Stanford are, for a price, establishing similar “partnerships� that China “hope[s] will form the base of a modern high-tech economy.� As U.S. funding dries up, college administrators hope that such collaborations will “support fundraising efforts that target wealthy Chinese alumni� — not to mention attracting their children, who are more able to pay ever-rising tuition than American students. California’s business elite until recently oversaw the establishment and growth of a prestigious 12-campus system that was meant to do for the Golden State what the university now will do for China. The promise of a virtually free and high quality education for Californians worked well to that end until 1978 when voters overwhelmingly passed Proposition 13 to cut their taxes. Starved of funding, California’s public schools plummeted from the best to near worst — but many believed that the University of California’s crucial role in the state’s and the nation’s economy would immunize it food + Drink

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from the rot consuming the rest of the Golden State’s educational apparatus. But as California piled up multi-billion dollar deficits, U.C inevitably joined the rest of the public sector on the dream factory’s cutting room floor. As with any organism fighting for its life, available money has moved like blood from regions the university administration considers expendable to those regarded as vital profit centers — like business, biotechnology, sports, and online learning initiatives — as well as lavish executive pay packages. Last year, for example, the university’s flagship campus at Berkeley quietly divested itself of its outstanding Water Resource Center Archives to save the cost of four clerical positions and thus free space for the expanding College of Engineering. At UC San Diego, three specialty libraries closed altogether while a fourth — the largest oceanographic library in the world — will close in 2012. Advanced communications and information technology will be among the first areas of research undertaken by the College of Engineering’s new partnership with Chinese industries seeking to overtake California’s fabled Silicon Valley. For centuries, city states and nations jealously guarded their home industries to the point of sending assassins to dispatch those trading secrets with rivals. Decades of neoliberalism have encouraged today’s elites to do the opposite. Availing themselves of the deregulation and lowered trade barriers for which they paid and the communications technology they developed, they exported their industries and jobs to wherever labor costs are lowest and environmental constraints absent. Derelict factories, ruined towns, failing infrastructure, and prisons now pock those countries still imagining themselves members of the First World. The screams of students belabored for asking where their university is going and for whom raises the question whether intelligence will be our last export, or whether it was among our first. 2 Gray Brechin is the author of Imperial San Francisco: Urban Power, Earthly Ruin. A version of this piece ran first in the Anderson Valley Advertiser.

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JANUARY 18 - 24, 2012 / SFBG.com

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Construction of the first high-speed rail section, in the Central Valley, is slated to get underway this year. courtesy of California High-speed rail authority

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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

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Politics Anna Conda becomes the first drag queen to head up the Harvey Milk LGBT Democratic Club You want me to pay what? A citizen’s uproar over proposed parking fees Continuing coverage of Ross Mirakarimi’s domestic violence allegations

Noise Punk-folk thrillsters the Fucking Buckaroos celebrate the release of their new album with a show at the Knockout Marke B. interviews the creators of alternaqueer drag weekly Some Thing on the state of the queen in San Francisco

Pixel Vision Learning ceviche secrets under the tutelage of Culture Kitchen Stand-up Frankie Quinones gets positive via For the People Comedy

SEX SF Secrets from the academy: learn what it’s like to be an official voter for the AVN porn awards Caitlin Donohue hits the AVN Awards in Vegas — red carpet coverage, anyone? SAN FRANCISCO BAY GUARDIAN

Staying on track

Top political leaders defend high-speed rail from right-wing attacks By Steven T. Jones steve@sfbg.com After weeks of attacks from critics of the high-speed rail system now being built in California — a campaign that even came home to San Francisco City Hall last week, when Sup. Sean Elsbernd challenged Mayor Ed Lee on the issue and called for a hearing — Gov. Jerry Brown and other supporters have stepped up efforts to keep the train from being derailed. With seed money from a $10 billion bond measure that California voters approved in 2008 and an initial federal grant of $3.3 billion to help build the Central Valley section of the track, the California High Speed Rail Authority is working on construction of a bullet train that would carry riders from San Francisco to downtown Los Angeles in about 2.5 hours, traveling at speeds of up to 220 mph. The next phase would extend service to Sacramento and San Diego, with the total project slated to cost about $100 billion. But Republicans in Congress and the California Legislature began to balk at funding the project last year. Earlier this month, a report by the California High-Speed Peer Review Group recommended that the Legislature indefinitely delay issuing $2.7 billion in rail bonds, citing the editorials

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uncertainty of future funding sources and problems with the project’s business plan. “It does not take a rocket scientist to see the future of highspeed rail is in serious doubt,” Elsbernd said at the Jan. 10 Board of Supervisors meeting, where he used the monthly mayoral question time to ask Lee, “What is Plan B with Transbay Terminal if the high-speed rail money does indeed go away? What do we do?” The Transbay Terminal is now being rebuilt downtown. The first phase includes a $400 million “train box” being built with high-speed rail funds, and the next phase will require billions of dollars more to build train tunnels into the station from the current Caltrain terminus at 4th and King streets. “I’m committed to seeing the full implementation of high speed rail, which includes having a northern terminus at the Transbay center,” Lee replied, refusing to entertain the idea that the bullet trains won’t be coming into San Francisco, a stand he communicated to state officials in a recent letter. “I want to state my unwavering support for the notion of high-speed rail. It is the future of transportation in this state.” Lee acknowledged that cost estimates for the project have gone up and there are uncertainties over future funding, but he said

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the state will need to make the investment either way. “California is growing and those people need to move up and down the state. The question is do we make transportation investments on bigger, wider highways and airport runways? I’d say no, that this perpetuates a car-dependent culture.” Instead, Lee says the state must find a way to build highspeed rail, whatever the obstacles. But Elsbernd called for a hearing on the issue before the Board of Supervisors, telling the Guardian that he supports the project, “but high-speed rail is in trouble and we need to acknowledge that.” Meanwhile Gov. Brown — who has rejected calls to delay issuing the rail bonds — was working behind-the-scenes to get the project back on track. Sources say he asked for CHSRA Executive Director Roelof van Ark and CHSRA Board Chair Tom Umberg to resign, which they did at the Jan. 12 meeting, with Brown appointee Dan Richard becoming the new chair. Richard and fellow new Brown appointee Mike Rossi spearheaded the creation of a proposed new business plan for the project that was unveiled in November. While it addresses some of the criticisms of the project, it raises fresh concerns about whether the bullet trains will arrive in Transbay Terminal. music listings

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In fact, it calls for high-speed rail service to end in San Jose, where S.F.-bound riders would have to transfer to Caltrain, largely to placate citizens and politicians on the peninsula who have objected to trains rocketing through their communities and filed lawsuits challenging the project. “That business plan is unrealistic and unreasonable,” said Quentin Kopp, the former state senator from San Francisco who authored of the original legislation to create high-speed rail and has helped shepherd the project. He said having to transfer twice from S.F. to L.A. would discourage riders and hurt the project. Kopp isn’t a fan of the Transbay Terminal rebuild, which he derides as “a real estate project” because its funding plan relies on significant private residential and commercial development; he’s called for the trains to stop at the current Caltrain station for financial reasons. But Elsbernd — who also chairs the Peninsula Corridor Joint Powers Authority, which operates Caltrain — wants to ensure the Transbay project is completed and worth the investment. “I’m terrified that we continue moving along and then we end up with that being just a big, beautiful bus terminal,” he told us. Adam Alberti, a spokesperson

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news for the TJPA, said California needs to have improved rail service to handle a growing population and the Transbay Terminal is being build to accommodate that, whether it be Amtrak, Caltrain, or high-speed rail trains coming into the station. “We are steadfast in our belief that it makes sense to have highspeed rail in California,� he said. “When it does happen, we will have the infrastructure already in place to receive it.�

i want to state my unwavering support For the notion oF highspeed rail. it is the Future oF transportation in this state. - mayor ed lee

Furthermore, he expects that the CHSRA business plan, which is the subject of a public comment period that ends Jan. 17, will extend the service beyond San Jose. “They’ll lose significant ridership and revenues if they don’t bring it into San Francisco,� Alberti said. Sen. Mark Leno, who chairs the Senate Budget Committee, also expressed confidence that current efforts to derail highspeed rail won’t be successful. “What is the alternative if we don’t do this? California will grow by 10-20 million people in the next decade. There’s no way we could build enough freeways and airport expansions to handle that,� Leno told us. “I don’t think we have the option not to make this work.� Leno also said he was pleased to see top political leaders stepping up to defend the project: “I’m impressed by the governor’s steadfastness, as well as President Obama’s stand. Leadership from the top is important, particularly during difficult times like this.� 2 editorials

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JANUARY 18 - 24, 2012 / SFBG.com

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Occupy groups from around the country could travel together in zig-zagging paths to the Capitol, stopping and rallying in — indeed, Occupying! — every major city in the country along the way. | route illustration by mirissa neff

Occupy Nation

Let’s take back the country — starting now

By Steven T. Jones, Yael Chanoff and Tim Redmond News@sfbg.com The Occupy movement that spread across the country last fall has already changed the national discussion: It’s brought attention to the serious, systemic problem of gross inequities of wealth and power and the mass hardships that have resulted from that imbalance. Occupy put a new paradigm in the political debate — the 1 percent is exploiting the 99 percent — and is tapping the energy and imagination of a new generation of activists. When Adbusters magazine first proposed the idea of occupying Wall Street last summer, kicking off on Sept. 17, it called for a focus on how money was corrupting the political system. “Democracy not Corporatocracy,” the magazine declared — but that focus quickly SAN FRANCISCO BAY GUARDIAN

broadened to encompass related issues ranging from foreclosures and the housing crisis to self-dealing financiers and industrialists who take ever more profits but provide fewer jobs to the ways that poor and disenfranchised people suffer disproportionately in this economic system. It was a primal scream, sounded most strongly by young people who decided it was time to fight for their future. The participants have used the prompt to create a movement that drew from all walks of life: recent college graduates and the homeless, labor leaders and anarchists, communities of colors and old hippies, returning soldiers and business people. They’re voicing a wide variety of concerns and issues, but they share a common interest in empowering the average person, challenging the status quo, and demanding economic justice. editorials

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We chronicled and actively supported the Occupy movement from its early days through its repeated expulsions from public plazas by police, particularly in San Francisco, Oakland, and Berkeley. We supported the right of the protesters to remain — even as we understood they couldn’t and shouldn’t simply stay forever. Occupy needed to evolve if it was to hold the public’s interest. The movement would ultimately morph into something else. That time has come. This spring, Occupy is poised to return as a mass movement — and there’s no shortage of energy or ideas about what comes next. Countless activists have proposed occupying foreclosed homes, shutting down ports and blocking business in bank lobbies. Those all have merit. But if the movement is going to challenge the hegemony of the 1 percent, it will

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involve moving onto a larger stage and coming together around bold ideas — like a national convention in Washington, D.C. to write new rules for the nation’s political and economic systems. Imagine thousands of Occupy activists spending the spring drafting Constitutional amendments — for example, to end corporate personhood and repeal the Citizens United decision that gave corporations unlimited ability to influence elections — and a broader platform for deep and lasting change in the United States. Imagine a broad-based discussion — in meetings and on the web — to develop a platform for economic justice, a set of ideas that could range from self-sustaining community economics to profound changes in the way America is governed. Imagine thousands of activmusic listings

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ists crossing the country in caravans, occupying public space in cities along the way, and winding up with a convention in Washington, D.C. Imagine organizing a week of activities — not just political meetings but parties and cultural events — to make Occupy the center of the nation’s attention and an inspiring example for an international audience. Imagine ending with a massive mobilization that brings hundreds of thousands of people to the nation’s capitol — and into the movement. Occupy activists are already having discussions about some of these concepts (see sidebar). Thousands of activists are already converging on D.C. right now for the Occupy Congress, one of many projects that the movement can build on. CONTINUES ON PAGE 10 >>

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occupy nation

to the complicated problems we face, it would represent the simple premise our nation was founded on: the people’s right to create a government of their choosing. There’s already an Occupy group planning a convention in Philadelphia that weekend, and there’s a lot of symbolic value to the day. After all, on another July 4th long ago, a group of people met in Philly to draft a document called the Declaration of Independence that said, among other things, that “governments ... deriv[e] their just powers from the consent of the governed ... [and] whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.”

CONT>>

Defining moments Mass social movements of the 20th Century often had defining moments — the S.F. General Strike of 1934; the Bonus Army’s occupation of Washington D.C.; the Freedom Rides, bus boycotts and Rev. Martin Luther King Jr.’s March on Washington; Earth Day 1970; the Vietnam War teach-ins and moratoriums. None of those movements were politically monolithic; all of them had internal conflicts over tactics and strategies. But they came together in ways that made a political statement, created long-term organizing efforts, and led to significant reforms. Occupy can do the same — and more. At a time of historic inequities in wealth and power, when the rich and the right wing are stealing the future of generations of Americans, the potential for real change is enormous. If something’s going to happen this spring and summer, the planning should get under way now. A convention could begin in late June, in Washington D.C. — with the goal of ratifying on the Fourth of July a platform document that presents the movement’s positions, principles, and demands. Occupy groups from around the country would endorse the idea in their General Assemblies, according to procedures that they have already established and refined through the fall, and make it their own. This winter and spring, activists would develop and hone the various proposals that would be considered at the convention and the procedures for adopting them. They could develop regional working groups or use online tools to broadly crowd-source solutions, like the people of Iceland did last year when they wrote a new constitution for that country. They would build support for ideas to meet the convention’s high-bar for its platform, probably the 90 percent threshold that many Occupy groups have adopted for taking action. Whatever form that document takes, the exercise would unite the movement around a specific, achievable goal and give it something that it has lacked so far: an agenda and set of demands on the existing system — and a set of alternative approaches to politics. While it might contain a multitude of issues and solutions 10 SAN FRANCISCO BAY GUARDIAN

On the road If the date is right and the organizing effort is effective, there’s no reason that Occupy couldn’t get close to a million people into the nation’s capital for an economic justice march and rally.

[Occupy America] would represent the simple premise our nation was founded on: the people’s right to create a government of their choosing. That, combined with teachins, events and days of action across the country, could kick off a new stage of a movement that has the greatest potential in a generation or more to change the direction of American politics. Creating a platform for Constitutional and political reform is perhaps even more important than the final product. In other words, the journey is even more important than the destination — and when we say journey, we mean that literally. editorials

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Occupy Wall Street West

illustration by eric drooker

Occupy groups from around the country could travel together in zig-zagging path to the Capitol, stopping and rallying in — indeed, Occupying! — every major city in the country along the way. It could begin a week or more before the conference, along the coasts and the northern and southern borders: San Francisco and Savannah, Los Angeles and New York City, Seattle and Miami, Chicago and El Paso, Billings and New Orleans — Portland, Oregon and Portland, Maine. At each stop, participants would gather in that city’s central plaza or another significant area with their tents and supplies, stage a rally and general assembly, and peacefully occupy for a night. Then they would break camp in the morning, travel to the next city, and do it all over again. Along the way, the movement would attract international media attention and new participants. The caravans could also begin the work of writing the convention platform, dividing the many tasks up into regional working groups that could work on solutions and new structures in the encampments or on the road. At each stop, the caravan would assert the right to assemble for the night at the place of its choosing, without seeking permits or submitting to any higher authorities. And at the end of that journey, the various caravans could converge on the National Mall in Washington D.C., set up a massive tent city with infrastructure needed to maintain it for a week or so, and assert the right to stay there until the job was done. The final document would probably need to be hammered

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The Occupy movement in San Francisco has been relatively quiet for the past few weeks, but it’s planning to reemerge with a bang on Jan. 20, with an all-day, multi-event rally and march that aims to shut down the Financial District. The protest is an effort to bring attention to banks’ complicity in the housing crisis plaguing the United States, and how that process manifests itself here in San Francisco. At least 20 events are planned, centered in the Financial District. The plans range from teach-ins at banks to “occupy the Civic Center playground” for kids to a planned building takeover where hundreds are expected to risk arrest. A list of planned events can be found at www. occupywallstwest.org/wordpress/?page_id=74. The day is presented by the Occupy SF Housing Coalition, which includes 10 housing rights and homeless advocacy groups. Dozens of other organizations will be involved in demonstrations throughout the day. “We’re asking the banks to start doing the right thing,” said Gene Doherty, a media spokesperson for the Occupy SF Housing Coalition. “No more foreclosures and evictions for profits. On the 20th, we will bring this message to the headquarters of those banks.” (Yael Chanoff) 2 out in a convention hall with delegates from each of the participating cities, and those delegates could confer with their constituencies according to whatever procedures they prescribe. This and many of the details — from how to respond to police crackdowns to consulting of experts to the specific scope and procedures of this democratic exercise — would need to be developed over the spring. But the Occupy movement has already started this conversation and developed the mechanisms for self-governance. It may be messy and contentious and probably even seem doomed at times, but that’s always the case with grassroots organizations that lack top-down structures. Proposals will range from the eminently reasonable (asking Congress to end corporate personhood) to the seemingly crazy (rewriting the entire U.S. Constitution). But an Occupy platform will have value no matter what it says. We’re not fond of quoting Milton Friedman, the late right-wing economist, but he had a remarkable statement about the value of bold ideas: “It is worth discussing radical changes, not in the expectation that they will be adopted promptly, but for two other reasons. One is to construct an ideal goal, so that incremental changes can be judged by whether they move the institutional structure toward or away from that ideal. The other reason is very different. It is so that if a crisis requiring or facilitating radical change does arrive, alternatives will be available that have been carefully developed and fully explored.” After the delegates in the convention hall have approved the music listings

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document, they could present it to the larger encampment — and use it as the basis for a massive rally on the final day. Then the occupiers can go back home — where the real work will begin. Because Occupy will wind up spawning dozens, hundreds of local and national organizations — small and large, working on urban issues and state issues and national and international issues.

Washington’s been occupied before The history of social movements in this country offers some important lessons for Occupy. The notion of direct action — of in-your-face demonstrations designed to force injustice onto the national stage, sometimes involving occupying public space — has long been a part of protest politics in this country. In fact, in the depth of the Great Depression, more than 40,000 former soldiers occupied a marsh on the edge of Washington D.C., created a self-sustaining campground, and demanded that bonus money promised at the end of World War I be paid out immediately. The so-called Bonus Army attracted tremendous national attention before General Douglas Macarthur, assisted by Major George Patton and Major Dwight Eisenhower, used active-duty troops to roust the occupiers. The Freedom Rides of the early 1960s showed the spirit of independence and democratic direct action. Raymond Arsenault, a professor at the University of South Florida, brilliantly outlines the story of the early civil rights actions in a 2007 Oxford University Press book (Freedom

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Rides: 1961 and the Struggle for Racial Justice) that became a national phenomenon when Oprah Winfrey devoted a show and a substantial online exhibition to it. Arsenault notes that the rides were not popular with what was then the mainstream of the civil rights movement — no less a leader than Thurgood Marshall thought the idea of a mixed group of black and white people riding buses together through the deep south was dangerous and could lead to a political backlash. The riders were denounced as “agitators” and initially were isolated. The first freedom ride, in May, 1961, left Washington D.C. but never reached its destination of New Orleans; the bus was surrounded by angry mobs in Birmingham, Alabama, and the drivers refused to continue. But soon other rides rose up spontaneously, and in the end there were more than 60, with 430 riders. Writes Arsenault: “Deliberately provoking a crisis of authority, the Riders challenged Federal officials to enforce the law and uphold the constitutional right to travel without being subjected to degrading and humiliating racial restrictions ... None of the obstacles placed in their path—not widespread censure, not political and financial pressure, not arrest and imprisonment, not even the threat of death—seemed to weaken their commitment to nonviolent struggle. On the contrary, the hardships and suffering imposed upon them appeared to stiffen their resolve.” The Occupy movement has already shown similar resolve — and the police batons, tear gas, pepper spray, and rubber bullets have only given the movement more energy and determination. David S. Meyer, a professor at U.C. Irvine and an expert on the history of political movements, notes that the civil rights movement went in different directions after the freedom rides and the March on Washington. Some wanted to continue direct action; some wanted to continue the fight in the court system and push Congress to adopt civil rights laws; some thought the best tactic was to work to elect African Americans to local, state and federal office. Actually, all of those things were necessary — and Occupy will need to work on a multitude of level, too, and with a diversity of tactics.

Single-day events have had an impact, too. Earth Day, 1970, was probably the largest single demonstration of the era — in part because it was so decentralized. A national organization designed events in some cities — but hundreds of other environmentalists took the opportunity to do their own actions, some involving disrupting the operations of polluters. The outcome wasn’t a national platform but the birth of dozens of new organizations, some of which are still around today. There’s an unavoidable dilemma here for this wonderfully anarchic movement: The larger it gets, the more it develops the ability to demand and win reforms, the more it will need structure and organization. And the more that happens, the further Occupy will move from its original leaderless experiment in true grassroots democracy. But these are the problems a movement wants to have — dealing with growth and expanding influence is a lot more pleasant than realizing (as a lot of traditional progressive political groups have) that you aren’t getting anywhere. All of the discussions around the next step for Occupy are taking place in the context of a presidential election that will also likely change the makeup of Congress. That’s an opportunity — and a challenge. As Meyer notes, “social movements often dissipate in election years, when money and energy goes into electoral campaigns.” At the same time, Occupy has already influenced the national debate — and that can continue through the election season, even if (as is likely) neither of the major party candidates is talking seriously about economic justice. That’s why a formal platform could be so useful — candidates from President Obama to members or Congress can be presented with the proposals, and judged on their response. Some of the Occupy groups are talking about creating a third political party — a daunting task, but certainly worth discussion. But the important thing is to let this genie out of the bottle, to move Occupy into the next level of politics, to use a convention, rally, and national event to reassert the power of the people to control our political and economic institutions — and to change or abolish them as we see fit. 2

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JANUARY 18 - 24, 2012 / SFBG.com

11

herbwise

ENTER TO WIN

A pair of tickets to see legendary South African trumpeteer

HUGH MASEKELA

Blundstone Step into a legend

Sunday, February 12 Napa Valley Opera House 1030 Main Street Napa, CA “Like” the SF Bay Guardian’s Facebook page and post: “Jazz in Napa” to automatically be entered to win.

1017 Bush Street (415) 441-5319 www.ausfair.com

memBeRS of the KingS of DeStRuCtion Rep theiR t-ShiRt DeSignS on the guaRDian Roof. | Guardian photo by caitlin donohue

Chem DaWg to the ReSCue

$

By Caitlin Donohue

45 50 $

Renewable FRom anY DoctoR (even

iF expiReD)

caitlin@sfbg.com

New PatieNts

A resource guide for your vegetarian restaurant and shopping needs!

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Want to prevent wrinkling from UV sunlight exposure? The foods found to be best at preventing wrinkles are apples, prunes, and green tea. All are healthy foods. Buy them at Rainbow Grocery. High intakes of leafy greens, broad beans and legumes, healthy oils such as olive oils, and cheeses are beneficial for skin. Reduce meat, dairy, margarine, and sugar. And, don’t forget the sun block. Find more information about the benefits of wholesome foods at our website www.rainbow.coop

Brought to you By rainBow grocery a worker-owned cooperative 12 SAN FRANCISCO BAY GUARDIAN

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heRBWiSe The Kings of Destruction, more popularly known as KOD, were an hour and a half late for our interview. Being that the hip-hopgraff-clothing-medical-marijuanaadvocacy collective is from the East Bay and we had arranged to meet at the Guardian Potrero Hill office, I figured I’d better look for them. I didn’t have to go far: all five of the group’s members who had stopped by were sitting amid SF political activists in the Guardian conference room, mistakenly ensconced in a discussion of the new supervisoral district lines. They’d introduced themselves along with everyone else, but then faltered when the meeting’s facilitator asked to what he owed the pleasure of having Oakland residents at the table. All good. Soon enough I have Dogz One, Lil’ Zane, Josh, Tase 1, and Don Juan assembled on the roof standing around a picnic table and talking about marijuana. They’ve brought some of their products for show ‘n’ tell; t-shirts emblazoned with characters culled from local marijuana strains. They’ve brought Grape Ape, a gorilla pulling on a joint with a purple berryemblazoned baseball hat. Another shirt features Chem Dawg, a husky that figures in an upcoming KOD comic book in which the character (Dogz One is his alter-ego) will fight the government’s attempts to keep marijuana from the people. Pending designs include Girl Scouts Cookies, which will feature a woman wearing a midriff-bearing scout uniform in honor of the SF-specific strain rumored to smell of pastries (those buds available locally at the Green Door dispensary). Kings of Destruction started out as a graffiti crew, and though members still throw up pieces on walls occasionally (“go down around the music listings

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train tracks, you’ll see some things,” counsels Don Juan) now its focus is on — state — legal activities: music, clothing, and the catalyst for this interview, advocating for medical marijuana. Though I’m unable to hear samples of the tracks before press time, the group tells me members have been in the studio laying down tracks about their medicine, and they hope to join this spring’s Prohibition Tour (www.prohibitiontour.com), a California college event series that plans to raise awareness among students this spring with lectures and musical performances. “Oakland has been on the forefront of the medical marijuana movement, so we’re trying to keep everything alive so that everyone can keep their medicine,” says Don Juan. Many in the group are patients and growers themselves who naturally find themselves in the activist role around friends and family who don’t use weed. KOD sees marijuana as a healthy alternative to pharmaceuticals — many of which have adversely affected friends’ lives in their East Bay community. A prime example is bo, as the promethazine-codeine cough syrup that figures prominently in Bay Area hip-hop these days is popularly called. Compared to the dangers of that kind of drug, KOD members say, the federal government’s resistance to legalizing marijuana seems foolish. Not that there aren’t side effects of marijuana: “You might get a little hungry, might go to sleep,” says Don Juan. “You might just lay back instead of getting mad when somebody cusses you out,” adds Tase 1. In closing, I ask KOD to tell me a story about the group and marijuana. They give each other looks and chuckle. Finally Tase 1 steps up to the plate. “One time, we were going to do something bad. And then we smoked some weed.” 2 Find KOD clothing at www.kronicoverdose.com

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THriFTy new CHOiCeS inClUDe CHUBBy nOODle in nOrTH BeaCH, rigHT, anD FiDi’S galeTTe 88 | guardian photos by virginia miller

3ERVING THE #ASTRO SINCE

Latin American Tapas & Cocktails

happy hour 4-7 daily

!LWAYS &RESH „ !LWAYS $ELICIOUS %34

!- 0$!),9

2368 Third Street (@ 20 th Street) (415) 643-3900 poquitosf.com

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Down The STreeT from The ballpark!

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virginia@sfbg.com aPPeTiTe Despite all its high-end culinary buzz, San Francisco is loaded with amazing cheap eats (as my colleague L.E. Leone has been documenting for decades for the Guardian). Here are three new places I consider worth adding to your go-to list.

CHUBBy nOODle Chubby Noodle easily counts as a best cheap eats opening of 2011. In the back of comfortably retro Amante (www.amantesf.com) bar, order at a kitchen window, illuminated in neon by the word “Hungry?� Then slide into roomy booths to fill up on fresh, daily ceviche, Hawaiian tuna poke ($11), and heartwarming red miso ramen ($9 with pork and poached egg; $11 with shrimp). I expected good from owners of the excellent, neighboring Don Pisto’s — but it’s better than good. Whatever you do, don’t miss organic, buttermilk-brined, Mary’s fried chicken ($9 for five-piece wings or strips, 2 piece drum and thigh meal $7). It’s traditional American fried chicken with a contemporary Asian attitude, dipped in habit-forming, creamy sambal dipping sauce. Tender chicken strips are an elevated, gourmet version of chicken tenders from childhood. House kimchi is no slouch, working its gently heated wonders as a side ($4) or on a kimchi kobe beef hot dog ($6). Besides the fried chicken, my other favorite dish is spicy garlic noodles ($8). Chewy and homemade, they’re oozing with garlic, oyster sauce, and a little jalapeno kick. The Korean pork tacos ($9) aren’t carbon copies of the usual trendy dish. Instead of shrededitorials

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ded pork, chunks of Niman Ranch rib chop give beefy heft, contrasted by Korean pickles, yogurt sauce, and arbol chile vinegar. 570 Green, SF. 415-361-8850, www.thechubbynoodle.com

rOOSTerTail Roostertail is, yes, another rotisserie joint. A few visits after the recent opening, I’m impressed with the friendly staff who exude a warm welcome, even when merely grabbing take-out (Note the just-launched curbside pickup with prepaid phone orders). The space boasts silver counter tops and bright red stools, festive with beer and wine on draft. When it comes to rotisserie, I’ll take dark meat, thanks ($5.75– $18.50, quarter to whole birds). The organic, juicy meat is delightful with the garlicky green house sauce. Husband-wife team, Gerard Darian and Tracy Green, get their mainstay right. A pulled pork sandwich ($10.75) is a solid sandwich pick, on an Acme bun topped with fresh coleslaw unencumbered by mayo. Tiny chicken wings didn’t excite (I prefer Hot Sauce & Panko’s creative, meatier wings), nor did the cheesesteak sandwich. But there’s brisket, five different sandwiches, or hefty salad options, along with soulful sides ($4–$5.50) like brisket baked beans or brussels sprouts with bacon. 1963 Sutter, SF. (415) 776-6738, www.roostertailsf.com

galeTTe 88 There’s a Ti Couz-shaped hole where my Brittany crepe hunger resides. Through the years, crepes didn’t get better than at the nowdefunct Ti Couz in the Mission. At the end of an alley off Kearny, the new Galette 88 isn’t exactly a replacement. There’s not quite the same depth of buckwheat earthipicks

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ness. The French galettes (a.k.a. buckwheat crepes; savory: $6–$10, sweet: $5–$6) are even thinner, still crisp, a little less flavorful, but nonetheless worthwhile. Gluten-free and healthy, they’re made with only three ingredients — water, sea salt, buckwheat flour made from buckwheat which is a plant, not a grain — loaded with fiber, vegetable protein, calcium, iron. Order Four Barrel coffee, Mighty Leaf tea, or hard cider and choose a crepe. Bruce’s Choice ($10) is my first pick, layered with smoked salmon, caramelized onions, and capers, topped with avocado slices, greens, and a tart/sweet lemon chive creme fraiche. Light yet filling, the zesty lemon sauce makes it. Bleu Velvet ($9) is a savorysweet choice with blue cheese, browned apples, arugula, honey, and toasted almonds. Dessert crepes (lemon sugar, roasted apples with salted caramel, chocolate with candied orange peel, or Nutella), made with eggs, milk, wheat flour and sugar, lacked the subtle chewiness and flavor of Ti Couz’s wheat dessert crepes. But in their absence, Galette 88’s crepes contend for the best in town. It’s already one of the more pleasant FiDi lunch options (with just-added dinner, Wed.-Fri.): casual, order-at-the-counter ease, the owner flitting about, ensuring water cups are filled and everyone is content. The space is minimalist with live birch trees towering in one corner and a decidedly Mission air that’s rare in FiDi. 88 Hardie Pl., (415) 989-2222, www.galettesf.com 2

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

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6/*7&34"-

cafe closed december 24th & 25th

Open New Year’ s Eve for Brunch & Dinner brunch only on new year’s day

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m Pupusas m Yuca m Plaintain m Tamales m Soups m Fried Chicken m Hamburgers 2721 Mission @ 23rd 415-285-7796 Open 7 Days a Week 8:30am-9:30pm

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365 B st., san Mateo (650) 343-4123

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BENDER’S GRILL NEW MENU!! NoW W/TATER ToTS!! TUE-fRI 6pM-11pM, SAT 4pM-10pM

hAppy hoUR M-f 4-7pM WhISkEy WED pBR & ShoT $5 fREE BBq SUNDAyS 4-7pM JANUARY 18 - 24, 2012 / SFBG.com

13

272 Claremont Blvd. San FranĂŁsco 415.682.1000

1998 2006

1998 2007

taqueria can-cun Delivery is on us! “Whisper our name� for 10% off your dinner www.Tybistrosf.com

(( 2009 (( ( best taqueria ( ( (

Best Veggie Burrito in san Francisco!

Bay guardian “Best of the Bayâ€? 1998, 1999, 2000, 2001, 2002, 2003, 2005, 2006, 2007, 2008 • open everyday •

2288 Mission st. @ 19th (415) 252-9560

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ADVERTISING DEADLINE JANUARY 25TH 2012 Contact your Account Executive at (415) 487-4600 or admanagers@sfbg.com for special pricing. 14 SAN FRANCISCO BAY GUARDIAN

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food + drink: cheap eats

Try your LuCk By L.E. LEonE

le_chicken_farmer@yahoo.com CHEAP EATS Here’s how I’m different from most people, yo. When most people go to a restaurant and become gastrointestinally challenged on the walk home to the point of very nearly having to do something undignified in the bushes, they don’t go back to that restaurant. Me, I not only go back, I order the exact same thing! I don’t think it’s stupidity, per se. Maybe it’s patience. Extraordinary patience. Or curiosity. I needs to know, is all. In fact, maybe I needs to know more than I needs almost anything in life, including I guess dignity. My motto is: Poison me once, shame on you. Poison me twice, shame on you again, mother fucker. And poison me three times . . . ack-ga goddamn it, stop poisoning me! So . . . I don’t know, maybe it is stupidity. You tell me: The first time I ate at Ly Luck, I got a li’l unlucky with a bowl of duck wonton noodle soup. Is all. But maybe it wasn’t the soup, either. Maybe it was something I picked up off the floor and licked earlier that morning, at home. Or maybe a bug one of the childerns gave me, when I picked them up off the floor and licked them. Who knows? Point is: usually, as you know, duck soup is medicine to me. This being flu season, I couldn’t just throw my leftovers away. I couldn’t. Even with just a common cold, you don’t always feel like going out, and there was, as I hope I have established, at least a chance that this soup wasn’t poisonous. I got what was left to go, fridged it, and a few days later I took a look. Maybe it was a week. Anyway, it looked fine. Just fine, but not like a lot of soup. So, being very hungry, and not at all sick, I put my old leftovers back in the back of the fridge and made some eggs. For the record, it smelled fine too. But then I ate my eggs and went about my little life, trying to write, taking long baths, cooking up stuff for Hedgehog, playing my various sports, and just generally thinking about tomamusic listings

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toes, when all of a sudden one day, many weeks later around lunch time, I found myself on Fruitvale Avenue, returning a library book or something, and there was Ly Luck. I didn’t think about it, I ducked in for the duck soup doover. Instead of duck wonton noodle soup, however, I accidentally ordered duck yee wonton soup. In Chinese, yee means that the wontons are fried, the broth is gelatinous glop, and the duck is just little tiny pieces of duck, and peas. And, you know, carrots and things ($5.50). But mostly gelatinous glop and fried wontons. Yum! I love gelatinous glop with fried wontons in it, turns out, but while it didn’t make me sick, luckily for Ly Luck (not to mention me) I couldn’t really call it medicine, either. I mean, fried things can be health food, in my book, but probably they don’t have curative powers. (This may require research.) Anyway, when I was done with the duck yee wonton soup, I ordered an order of duck wonton noodle soup to go. This did I store in my fridge until dinner time, around about which I got hungry again. Where was Hedgehog during all this? Welding class. New Orleans. Writer’s meetings. On an airplane. I think she was on an airplane exactly then, yes, about 30,000 feet over Albuquerque. I think she heard me scream, over all those feet and the roars of all those engines, not to mention the episode of This American Life I was listening to when I dug distractedly into our refrigerator and pulled out the to-go container of soup in the little plastic white bag. And opened it. And saw the horror movie science project that I saw, all fuzzy and colorful and fingery, kind of clawing (or so I imagined) for my throat. I had grabbed the wrong one. Which settled it for me: New favorite restaurant! 2 Ly Luck Sun.-Thu. 11 a.m.-9 p.m.; Fri.-Sat. 11 a.m.-9:30 p.m. 3537 Fruitvale Ave., Oakland (510) 530-3232 MC/V Beer & wine

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JANUARY 18 - 24, 2012 / SFBG.com

15

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What is this shit?

for more visit sfbg.com

“four samurai classics” see wednesday/18

Friday 1/20 The Meters Talented artists like the Meters manage to maintain careers spanning decades. Consider the fact that mainstream audiences might not be able to identify one of their songs, and yet the Meters have been playing their own brand of jazz and funk since the ‘60s, and have performed with the likes of James Brown and Paul McCartney. The group’s music never goes out of style. High energy, sensual, groovy, these masters of soul and syncopation have left a lasting impression. Go see them before it’s too late. Last year, they hit Outside Lands, this week, Brick & Mortar Music Hall. The soul train keeps moving for all rhythm lovers ready to board. (Courtney Garcia) With Korty & Friends feat. Members of Vinyl & The Monophonics 9 p.m., $25 Brick & Mortar Music Hall

Wednesday 1/18

— who also hosted the TV show Creature Features on KTVU — has combed through his extensive files and archives and compiled some of them into his new book The Gang That Shot Up Hollywood (Atlas Books), a treasure trove of film history that Bay Area movie buffs are sure to devour. (Sean McCourt)

“Four Samurai Classics” Forget Tom Cruise’s preposterous The Last Samurai (2003) — if you haven’t already. The only true samurai films come from Japan, not Hollywood, and the classics of the genre all emerged during the country’s post-World War II rebuilding years. With their tales of collapsing empires, and themes of corruption and courage, the films simultaneously addressed both historical and present-day struggles (and tended to star legendary actor Toshiro Mifune). The San Francisco Film Society unfurls four classics, starting with Masahiro Kobayashi’s Harakiri (1962) and followed by three of Mifune’s 16 collaborations with director Akira Kurosawa: 1961’s Yojimbo, 1962’s Sanjuro; and 1954’s epic Seven Samurai. (Cheryl Eddy) Wed/18-Thurs/19, $10–$11 SFFS | New People Cinema 1746 Post, SF www.sffs.org

Wednesday 1/18 “Rock ‘N’ Sock Hop for Jonathan Toubin” On Dec. 8 of last year a taxi crashes through the first floor bedroom of a Portland, Ore. motel. A man is found pinned under the car then taken to a hospital in critical condition. Just a few days earlier, Jonathan Toubin was DJing at 16 SAN FRANCISCO BAY GUARDIAN

the Knockout as New York Night Train, spinning 45s and running his wild and sweaty Soul Clap and Dance-Off. Hailing from NYC but with followers and fans in many places, Toubin is in stable condition but on a slow road to recovery. A number of friends have come together to raise money for his hospital bills. This SF benefit includes support from soul brother and Oldies Night hero DJ Primo, Ty Segall, and Shannon and the Clams. (Ryan Prendiville) With Hank IV, Lenz, and more 8 p.m., $10 Mezzanine 444 Jessie, SF (415) 625-8880 www.mezzaninesf.com

Thursday 1/19 John Stanley On the entertainment beat for the San Francisco Chronicle from the 1960s through the early ‘90s, John Stanley scored rare, oneon-one interviews with legendary actors and performers such as Clint Eastwood, Jane Russell, Lauren Bacall, James Stewart and plenty more. The local writer editorials

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7 p.m., free Books Inc., Opera Plaza 601 Van Ness, SF (415) 776-1111 www.booksinc.net

Thursday 1/19 “Nameless forest” The line between performance and performer, audience and artist, is an ongoing concern of much contemporary work. It’s maybe all the more salient in the wake of the Occupy Wall Street eruption —where habitual passivity gives way to spontaneous popular action and organic community. The divide between art and social action comes in for some more suggestive blurring as YBCA presents the West Coast premiere of choreographer Dean Moss’s cross-disciplinary, cross-cultural collaboration with Korean sculpture artist Sung-Myung Chun (set design), six dancers, and maybe a dozen audience members (the last invited onstage at the outset to join in the proceedings). The games, stories, movements, and meanings that follow are framed by Moss’s three-part conceit,

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but also very much in collective hands. (Robert Avila) Through Sun/21, 8 p.m.; Thurs., $5, FriSat., $20–$25

1710 Mission, SF (415) 800-8782 www.brickandmortarmusic.com

Yerba Buena Center for the Arts 701 Mission, SF (415) 978-2728 www.ybca.org

Thursday 1/19 Jesse & Aaron of Brazilian Girls The rhythm section of Brazilian Girls, drummer Aaron Johnston and bassist Jesse Murphy, will blend live instrumentation with Djing at the Mighty, which should be very easy to dance to, considering some of the low-slung groovelines the band is know for. The collaborators are part of a band that broke through in 2005 with dynamic party music created by multi-instrumentalist Didi Gutman, Johnston, and Murphy, along with the sultry singing of Sabina Sciubba; you may have heard that “Good Time” track on commercials for a certain, non-heavy Dutch beer. Lately, the band has unofficially been on hiatus as members have been pursuing their own personal projects but a reunion may be in the works. (Kevin Lee) With Dylan McIntosh of BLVD 9 p.m., $15–$20 Mighty

Passion Pit dj set Yes, Passion Pit has this sweet electropop sound when it plays live as a band. And a lot of Passion Pit remixes on tracks from Bruno Mars, Phoenix, Tegan and Sara, the Yeah Yeah Yeahs keep in that same vein, with soaring melodies and catchy hooks. But Passion Pit: The DJ extravaganza (my title, not theirs) features the band’s remixer and synthesizer specialist Ayad Al Adhamy opting for less sugar and more bass. Passion Pit tracks are sure to get some love (hit track “The Reeling” will likely make an appearance in one form or another), but with this event, Al Adhamy and gang show they are not afraid of delving into some electro house, techno and maybe even an oldie or two. (Lee) With White Mike, Derrick Love, Nisus, Kool Karlo, Ant-1, DJ Drome 10 p.m., $10–$15

119 Utah, SF

1015 Folsom

(415) 762-0151 www.mighty119.com

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Friday 1/20

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(415) 762-0151 www.1015folsom.com

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Yojimbo photo Courtesy of San Francisco Film Society; jonathan Toubin photo courtesy of Roger Kisby; Passion Pit Photo by Kyle Dean Reinford, “ScrewTape Letters” photo by Gerry Goodstein; LEVYdance PHOTO by Pepe Zhou; Greil Marcus Photo By Thierry Arditti, Paris.

Saturday 1/21

War Memorial Opera House

“LevyDANCE’s Salon”

(415) 394-4400

Monday 1/23

301 Van Ness, SF

The muses must have been with Ben Levy when he was looking for a home because he found it in a hidden-gems alley (8th Street between Folsom and Harrison) and, appropriately, named it Studio Gracia. The place is elegant, spacious and grass green; so why not call his annual January party/ performance events “The Salon?” Sounded classy, perhaps a little decadent, but highly intriguing. No need to dress up, however, for this fun mix of socializing, dance watching, and a DJ dance party. In the middle of the evening (9 p. m.), ten choreographers — from quasi-famous to neophyte — will showcase five-minute snippets of works of their own choosing. You’ll get a whiff of just how rich in contemporary dance this ol’town is. (Rita Felciano) 8 p.m., $10 Studio Gracia 16 Heron, SF (415) 701-1300 www.studiogracia.com

Wolves in the Throne Room

www.screwtapeonstage.com

Sunday 1/22 “Undercover Presents: Nick Drake’s Pink Moon” Before he died from an antidepressant overdose at the age of 26, English songwriter Nick Drake recorded Pink Moon, an intense, lugubrious album that’s evidence of his immeasurable talent, and that keeps you in a state of wretched astonishment listen after listen. Arising from similar events with Doolittle and The Velvet Underground & Nico, “Undercover Presents: Nick Drake’s Pink Moon” enlists a ragtag group of local musicians — a whopping 50 of them — to honor and reinterpret the monument that is Pink Moon. With the event’s music director Darren Johnston, and artists like the Real Vocal String Quartet (who recorded on Feist’s Metals), jazz singer Kally Price, and the Balkan Romani band Brass Menaûeri, you’ll hear idiosyncratic covers all night. (James H. Miller) With Kapowski, David Boyce, Pocket Full of Rye, and more 7:30 p.m., $20

In theory, Denmark’s WhoMadeWho is a rock band. (Named after an AC/DC song, after all.) But in practice, it’s pitched for the club, and approaches both kinetic live shows and disco/electro infused records more like DJs, with a clear feeling for progression and mood. The trio is set to release its latest album (and second album in 12 months,) Brighter, in February on Kompakt, but to get a sense of what to expect from this DJ set, give a listen to drummer Tomas Barfod’s killer Killing Time With Dancing mixtape, featuring their own tracks, a seriously stellar reworking of Siriusmo’s “Nights Off,” and (personal favorite) Connan Mockasin’s “Forever Dolphin Love.” (Prendiville) With Sleazemore (Lights Down Low), Nolan Haener (Re:Body)

161 Erie, SF

(415) 861-2011

(415) 932-0955

www.rickshawstop.com

Recent film versions of C.S. Lewis’ Chronicles of Narnia tales have hooked the Jesus fish pretty hard, but even atheists can appreciate the author’s vivid imagination and talent for fantasy storytelling. J.R.R. Tolkien’s homeboy was also unafraid to embrace darker themes (and satire), as evidenced by his 1942 novel The Screwtape Letters — about a bureaucratic demon advising his nephew on the fine art of tempting, with the end goal of securing a particular man’s soul. Touring company Fellowship for the Performing Arts touches down with its award-winning theatrical adaptation, featuring lead demon Screwtape (Max McLean) re-imagined as “Satan’s chief psychiatrist.” How’s that for evil? (Eddy)

WhoMadeWho DJ set

Public Works

155 Fell, SF

“The Screwtape Letters”

Sunday 1/22

9 p.m., $5–$8

Rickshaw Stop

Saturday 1/21

for more visit sfbg.com

www.publicsf.com

With Celestial Lineage (Southern Lord, 2011), the most recent fulllength release from Wolves in the Throne Room, the venerable Olympia, Wash. band continues to explore the weird Lovecraftian depths and textures immanent to the black metal genre. The new record is the group’s most sonically defined, but the pervading sense of mystery, the exploration of a gnarly sonic wilderness that made Wolves’ lo-fi output so thrilling permeates the album. Live, Wolves are ferocious, a raw tidal wave of blast beats and cascading guitars, and massive slabs of tone that wash over venue. The effect is as hypnotic as it is awe-inspiring. The band returns to San Francisco Monday night at Slim’s. (Tony Papanikolas) With Worm Ouroboros, Ash Borer 8 p.m., $16

Morrison, the Band, and dozens of others since then. His latest book, The Doors: A Lifetime of Listening to Five Mean Years, takes a swing at the popular ‘60s band (its music, not its lead singer). “ ‘Fire’ — it’s a door swinging open in the wind, seen from a distance,” he writes in the prologue, musing on a bootleg recording of “Light My Fire” (that revered and abhorred song). It sounds like a line from Rainer Maria Rilke. And indeed, it takes somebody with the vision of a poet to say something new about the Doors. (Miller) 7:30 p.m., free Booksmith

Slim’s 333 11th St., SF 415-255-0333 www.slimspresents.com

Tuesday 1/24 Greil Marcus Music critic Greil Marcus wrote a notorious review of Bob Dylan’s Self-Portrait for Rolling Stone Magazine in 1970. It began with four words: “What is this shit?” He’s published definitive books and essays on Dylan, Elvis, Van

1644 Haight, SF (415) 863-8688 www.booksmith.com 2 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.

“levydance’s salon” see saturday/21

Sat/21, 4 and 8 p.m.; Sun/22, 3 p.m., $29–$59

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january 18 - 24, 2012 / SFBG.com

17

arts + culture: visual art

From left, Gordon Onslow Ford’s Birth of Venus (1947); Oscar Domínguez’s Three Figures (1947); and André Masson’s Le Centaure Porte-Clé (1947). | Photos by Nicholas Pishvanov

Abstract truth

Navigating an art movement — and a local gallery’s history — in “Surrealism: New Worlds” By Garrett Caples arts@sfbg.com VISUAL ART A museum-quality show in terms of ambition and achievement, “Surrealism: New Worlds” fleshes out a forgotten, if not effaced, chapter in American art history, even as it incidentally tells the story of the gallery showing it. For the éminence grise of the Weinstein Gallery was Gordon Onslow Ford (1912-2003), who, in addition to his role in the evolution of abstract art, was also one of the great collectors of modernism. Along with his friends Roberto Matta and Esteban Frances, the British-born Onslow Ford joined André Breton’s Surrealist Movement in Paris in 1938, and would subsequently pursue an increasingly visionary, Zen-influenced abstraction in New York City, Mexico, and finally Northern California, where he lived from 1947 until his death. Onslow Ford’s influence helped transform Weinstein — his exclusive dealer — into a serious gallery for historically-connected surrealist art; through him, the gallery would forge links with other, then-living surrealists like Enrico Donati (1909-2008), and even now, after his death, it continues to gather his fellow travelers, as when it began representing the estate of Gerome Kamrowski in 2005, or the estate of Jimmy Ernst (Max’s son) in 2010. 18 SAN FRANCISCO BAY GUARDIAN

As befits its plural title, “New Worlds” doesn’t present anything like a unified aesthetic, because surrealism alone among the modernisms isn’t an aesthetic but rather a critical assault on the conventions of reality. Thus abstraction mingles freely with figurative art, assemblages with bronzes, an automatic work like Oscar Domínguez’s Three Figures (1947) with a meticulous imitation readymade like Marcel Duchamp’s Eau & Gaz à tous étages (1958). Drawn from a roughly 30year time span, the 1930s to the ‘60s, the show lists some 22 artists — an unlisted Dorothea Tanning (still alive at 101, though more active these days as a writer than a painter) brings that number up to 23 — all of whom were connected to some degree to Breton’s group. The theme, broadly speaking, is the encounter between the European-formulated surrealism and the “new world” of America. Being a gallery, Weinstein naturally leans most heavily on painters it represents; Onslow Ford, Donati, Kamrowski, and Leonor Fini are the pillars of this show, along with substantial contributions from Matta and Jimmy Ernst. What is remarkable, therefore, is how deftly the gallery has filled out the show with works from big-name artists from the surrealist pantheon. A pair of Max Ernsts — Convolvulus! Convolvulus! (1941) and Head of a Man (1947) — gives as good an impression editorials

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of his mercurial range as possible from merely two paintings, the former an Henri Rousseau-like jungle of hidden creatures emerging from weird plumes of color, the latter an austere though colorful Neo-Cubist mask. A single André Masson must suffice for that artist’s equally varied output, but the massive Le Centaure PorteClé (1947) (or “centaur key-ring”) is a real stunner whose mutating image suggests something of his graphic work. Large canvases by seldom seen surrealists like Domínguez and Kurt Seligmann lend the show considerable depth. The most crucial of the surrealist old masters represented here, however, is Yves Tanguy, who stakes out his own wall with three oils and one of his delicately rendered gouaches. All are what you would call prime works of the artist, with significant pedigrees: one belonged to the early surrealist poet Paul Éluard, another to Hans Bellmer, and even the gouache has appeared in books and museums. But to identify Tanguy as more “crucial” here than, say, Masson or Max Ernst isn’t to remark on the greater significance and number of the works in question; rather, the influence of Tanguy on painters like Onslow Ford, Donati, Matta, Kamrowski, and William Baziotes feels more pronounced, and brings us to the heart of the show. For while, again, “New Worlds” showcases the surrealism’s variety over a 30-year span,

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the main thrust of the show inevitably becomes the development of abstract surrealism, particularly as affected by the arrival of Breton, Tanguy, and other members of the surrealist group in NYC in the early ‘40s, fleeing the Nazi occupation of Paris. The encounter between the European surrealists and American artists like Kamrowski and Baziotes is the chapter of art history largely effaced through the application of the term “abstract expressionism” to NY artists of the late ‘40s and the ‘50s. The term was already in use, coined in 1919 in German and brought into English by the Museum of Modern Art’s first curator, Alfred Barr (see his 1936 book Cubism and Abstract Art), to describe Kandinsky. But the term was anachronistically applied by American art critics like Clement Greenberg as a way to avoid the label “abstract surrealism.” With its communist and anarchist associations, “surrealism” carried too much revolutionary baggage for the post-war political climate in the US. The move also helped elide the stubborn political reality that abstract art was first achieved in Germany by a Russian artist, as if to suggest that historical “expressionism” hadn’t really been “abstract” and only here in America had become so. Thus Greenberg, in his essay “ ‘American-Type’ Painting” (1955, 1958), elaborates an account of music listings

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art as a series of laws, problems, and solutions in order to write: “The early Kandinsky may have had a glimpse of this solution, but if he did it was hardly more than a glimpse. Pollock had had more than that.” Though no one believes in laws of painting anymore, the eclipse of abstract surrealism from American art history has proved curiously durable. But “New Worlds” illustrates the pivotal role of surrealism with a collaborative poured painting by Kamrowski, Baziotes, and Jackson Pollock, uncertainly dated “Winter 19401941.” Given that Onslow Ford began pouring paint in 1939, and gave a series of lectures on surrealism in NYC attended by at least two if not all three of the young American artists beginning in January 1941, it’s hard not to conclude that Pollock’s initial inspiration for his drip paintings was Onslow Ford’s account of surrealist automatism. This is the type of connection the label “abstract expressionism” obscures. Yet this historical neglect has paved the way for Weinstein’s success, as the gallery has become an effective advocate for abstract surrealism. 2 “Surrealism : New Worlds” Through Feb. 11 Weinstein Gallery 291 Geary, Second Flr., SF (415) 362-8151 www.weinstein.com

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ARTS + CULTURE: TRASH

POP CULTURE NEWS, NOTES, AND REVIEWS

HIGHER AND HIGHER

dic homage. It has its own thing, TRASH Rejected by audiences. Panned by critics. Beloved by a loyal its own sensibility.� Part of that sensibility includes cadre of alternative comedy fans. a talking can of mixed vegetables Wet Hot American Summer may (voiced by H. Jon Benjamin), a not have found success when it cameo by falling Russian space premiered in 2001, but the offbeat station Skylab, and Black having comedy has since become — like steamy storage shed sex with future so many underrated flops — a cult Sexiest Man Alive Bradley Cooper. classic. “I’m always amazed that some critics didn’t just dislike it, they were outright hostile to it,� says David Wain, who directed the film and co-wrote it with Michael Showalter. “But those who keyed into it, whether the first time or second or third, seemed to really key into it. And for that I’m grateful.� Those diehard Wet Hot devotees came out in droves when SF Sketchfest announced a live radio play version of the movie: tickets to the event quickly THIS PERFORMANCE IS, SADLY, SOLD OUT, sold out. At the BUT SF SKETCHFEST’S SCHEDULE (AT WWW. event, Wain will SFSKETCHFEST.COM) IS JAM-PACKED WITH join Showalter and MORE COMEDY EVENTS. other cast members, including Paul “It was kind of awkward Rudd, Amy Poehler, and Michael because neither of us had ever Ian Black. been with another man before, Black remembers when he first but once we got into it, it was realized Wet Hot had achieved cult fine,� Black recalls. “I thought, status. ‘Oh, this is pretty much just like “About two or three years making out with a girl, only with after the film came out, people a dick.’ � started hosting midnight screenBecause Wet Hot is the kind ings at various theaters around of movie fans watch and rewatch the country,� he says. “It’s very endlessly —something I can gratifying, particularly because its attest to from personal experipopularity has remained pretty ence — those attending the live consistent over the last decade, show probably have a pretty and has found new fans among good idea of what to expect. Still, people who are unaware of our Wain promises a unique theatriwork — The State, Stella — beyond cal experience. that movie.� “We’ve gathered much of Those who missed the sketch the original cast and many comedy of The State and Stella other awesome comedy folks, were likely the same audience and we’ll have a live band and members baffled by Wet Hot, a we’ll do an audio version of the film that is gleefully strange and movie,� he says. “Should be a — past the simple premise of “last blast!� (Louis Peitzman) 2 day at summer camp� — difficult to explain. SF SKETCHFEST “Wet Hot does not fit into neat Jan. 19-Feb. 4, $10–$75 categorizations,� Black reflects. Various venues, SF “It’s not a parody, it’s not a www.sfsketchfest.com romantic comedy, it’s not a comeeditorials

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oakland music complex Monthly Music Rehearsal Studios

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JANUARY 18 - 24, 2012 / SFBG.com

19

ArTS + cUlTUre: mUSic get tickets at

The proTeSTS For KUSF conTinUe To ThiS dAy. Photos courtesy of IrwIn swIrnoff

yoshis.com

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

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

YOSHI’S LOCAL TALENT SERIES

Free Live Music in the Lounge every night 6:30-11pm Weekly Jazz Jam Wed 9:30-11pm

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Wed-Thurs Jan 18-19

Shawn Colvin Fri-Sat Jan 20-21 Birthday Celebration!

bobby hutCheRSon w/warren wolf

Sun, Jan. 22 2nd Show added!

SF SketChFeSt PReSentS

THE PAUL F. TOMPKINS SHOW Mon, Jan 23

We Want the aIrWaveS

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JeFF loRbeR FuSion Tues, Jan 24

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Jill Sobule HALLE PETRO

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Wed, Jan 25 Red Bull Music Academy Presents:

the gaRy baRtZ PRoJeCt feat.

bilal and aloe blaCC Thu-Sat Jan 26-28

Stanley ClaRke band Sun, Jan 29

.ALAN . . . . . . . . . . PARSONS . . . . . . . . . . . . . . . . .LIvE . . . . . . . . PROJECT ...............

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kai eCkhaRdt band Fri-Sun Jan 20-22 Robben FoRd Mon, Jan 23

taRa linda & THE RUMOR MILL Tues-Wed Jan 24-25

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ANN MAgNUSON: DRAwINg ROOM ApOCALYpSE

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weSla whitField w/ the Mike gReenSill tRio Fri-Sun Jan 27-29

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the jazz collaboration All shows are all ages. Dinner Reservations Recommended.

20 SAN FRANCISCO BAY GUARDIAN

8IFSF ,64' TUBOET OPX FYBDUMZ NPOUIT BGUFS UIF TIVUEPXO By Andre Torrez arts@sfbg.com MUSIC It was written in an email exchange more than two months before 90.3 FM, better known as KUSF, was abruptly taken off the air. “We expect there will be a vocal minority that will be unhappy with the sale.” That cold-corporate speak delivered plainly from one of the involved entities was an ominous and understated prediction. One year has passed since Jan. 18, 2011, when the station eventually was silenced in a shrouded and complex deal involving conglomerates, brokers, and non-disclosure agreements. However, the University of San Francisco’s attempt to sell the station’s broadcast license to Public Radio Capital and the University of Southern California’s Classical Public Radio Network (CPRN) for $3.75 million is not a done deal. The Federal Communications Commission (FCC) has yet to approve the sale that has thus far been thwarted by a collective of volunteers who secured legal counsel in order to preserve over 33 years of independent, community radio and to resume broadcasting at the 90.3 frequency. According to attorney Peter Franck, co-counsel for Friends of KUSF, a hearing would be the next step in the flurry of legal action if all goes well in the effort to save the station. He’s optimistic that the chances are greater with every day that passes that the sale will be denied and is confident the FCC is taking the situation seriously. “I think it’s a very important case and the trend of college stations disappearing isn’t good. It’s about keepeditorials

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ing the airwaves public,” he said. CPRN initially said the move to acquire the frequency was out of a genuine desire to preserve classical music. But according to the group Save KUSF, Entercom — one of the top five largest radio broadcasting companies in the U.S., is a forprofit entity that was instrumental in orchestrating the deal. Classical and formerly commercial programming, previously heard on KDFC 102.1, took over 90.3 while the ubiquitous sounds of classic rock (KFOX) began emanating from 102.1 and Entercom’s studios. Dorothy Kidd, a media studies professor at USF, who has adamantly opposed the sale because the university kept faculty and students in the dark, speculated that Entercom is footing the bill to keep KDFC afloat, presumably losing hundreds of thousands of dollars. The much larger issue of media consolidation of course goes beyond KUSF. Tracy Rosenberg from Oakland-based Media Alliance noted that colleges and universities are selling their non-commercial educational licenses for millions of dollars. WRVU (Vanderbilt University, Nashville), KTRU (Rice University, Houston) and WDUQ (Duquesne University, Pittsburgh) are going through similar struggles with corporate radio lusting after their licenses. But on a positive note, Rosenberg said smaller, independent stations are banding together and that a coalition has emerged from this issue. “San Francisco is not the same city or as culturally vital without KUSF,” she said. The absence of the station immediately sparked the ire of the community who felt deceived by USF. The man in the middle of it

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all who claimed responsibility for the decision and took some heat for it was USF President Father Stephen A. Privett. A day after the deal was made public; he held an uncomfortable public meeting on campus. There he repeated that KUSF would continue in an “online only” format. In addition, a promise was made that a “teaching lab” would be put in place for students. Though he couldn’t guarantee the full $3.75 million in would-be revenue was going to the department. After talking to faculty, students, and alumni it became clear that no such media lab for students was in place. “The online station is not up and running and most likely will not be until the legal battle is over,” said Chad Heimann, a graduate from the Media Studies Department who was also a KUSF volunteer. He added that he thinks USF doesn’t want to invest in the online station until they know that the station will be sold. “As far as I know, students are not getting an equivalent educational experience. The new digital studio has not been set up,” Professor Kidd concurred. She called any lab offers “rhetoric” on the school’s part, and that the money has been held up, while USF spends on legal fees. According to Friends of KUSF lawyers, CPRN and USF are using FCC lawyers in Washington for their joint response to legal action. With costly litigation involved in the pending decision, there are claims that CPRN and USF didn’t comply with FCC law and that KUSF’s studios were dismantled prematurely in May. Additionally, questions have been music listings

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raised about the operating agreement between the potential buyer and seller and the legality of their fundraising practices. When the FCC asked for copies of emails from the University’s President regarding the sale, they were told Father Privett deletes his emails. “The IT department keeps backup copies. Their claim that they’re gone is ridiculous,” Franck said. Father Privett could not be reached for comment as he was in Africa on business, but according to USF’s media relations department, they, along with CPRN, maintain commitment to the transaction and await FCC action, hoping the matter is resolved in the near future. The legalese may leave you asking, where have all the DJs gone? “One of the issues moving forward is going beyond a grassroots effort,” said Friends of KUSF treasurer Damin Esper. They did reach the milestone of fundraising $50,000 by November, mostly by holding benefits, like their upcoming DJ night at Bender’s. Last spring KUSF- in- Exile emerged as a web stream coming out of the Bayview District’s Light Rail Studios with assistance from WFMU. With roughly 80 volunteers, and a music library being re-built from scratch, they remain committed to the cause, protesting in front of Entercom and playing local music, cultural and independent programming in a nonprofit, commercial-free format, all in the name of community. 2 Andre Torrez is a longtime volunteer and DJ with KUSF and now KUSFin-Exile. SAve KUSF BeneFiT Fri/20, 9 p.m., $5–$10 donation Bender’s Bar and Grill 806 S. Van Ness, SF (415) 824-1800 www.savekusf.org

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arts + culture: visual art

We moved through the fair: a film still from Mélodie Mousset’s Balancing power in fast-changing societal and natural dynamics (on stoning and unstoning), 2010 | Courtesy Susanne Vielmetter Los Angeles Projects

What recession?

By Matt Sussman arts@sfbg.com VISUAL ART Now in its 10th year, Art Basel Miami Beach (ABMB) — the art world’s annual “spring beak” during which power brokers, status-seekers, and a curious public descend on Miami Beach over the first weekend in December — makes for an easy target, engorging South Beach’s already cartoonish version of “living large” by bringing its own cold strains of entitlement, status, and exclusivity. Perhaps this is what advertising mogul and mega-collector Charles Saatchi decried (somewhat sanctimoniously) as “the hideousness of the art world” in an op-ed piece for the UK Guardian, conveniently published during the fair’s run. Those who liked to show off certainly did: luxury SUVs continually clogged the viaducts across Biscayne Bay; I counted more blue-chip handbags and heels than in the September issue of Vogue; and there was always buzz of a party or dinner you weren’t on the list for. (Part-crashing is ABMB’s unofficial blood sport). “I just stopped Tweeting,” remarked a social media manager for a San Francisco museum, as we shared a bleary-eyed ride to the airport on Monday night. “I mean, how many jokes can you make about the money?” My van-mate’s fatigue was understandable. The fair itself is exhausting, having grown to include some 260 international exhibitors that transform the Miami Beach Convention Center into a editorials

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Art Basel Miami take one: Buzz outflashed protest at this year’s beachside art fair warren of aisles and booths, as well as programs of outdoor sculpture, video, and a series of panel discussions and Q&As. And this isn’t even including the aforementioned endless circuit of afterhours soirées. But his bafflement also pointed towards the way business is done at Art Basel, bringing to mind Marx’s characterization of capital as a kind of magic act. Most of the transactions happened offstage, with a majority of pieces selling before the fair had even opened. As a curator friend jokingly asked, echoing sentiments she has been hearing all weekend from gallery associates: “Where’s the recession?” There certainly wasn’t much in the way of finger-pointing on the convention center floor. Threats of an Occupy-style protest remained just that. Danish collective Superflex’s giant flags emblazoned with logos of bankrupt banks (at Peter Blum Gallery) attempted to reveal the elephant in the room. They might have been overpowered, however, by the flash of Barbara Kruger’s riotous wall texts at Mary Boone, which proclaimed “Money makes money” and “Plenty should be enough.” The ripest visual metaphor for wasteful abundance was certainly Paulo Nazareth’s “Banana Market/Art Market,” a green Volkswagen van filled with real bananas that spilled out onto the convention floor. picks

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Even though the writing was on the wall, visitors seemed more keen on getting their pictures taken with some of the single-artist installations that were part of the”Ark Kabinett” program. Ai Weiwei’s barren tree made from pieces of dead tree trunks collected in Southern China had almost as long of a queue as Elmgreen and Dragset’s marble sculpture of a neoclassical male nude hooked up to an IV, the centerpiece of Amigos, the unambiguously gay duo’s deconstructed bathhouse that took over Galeria Helga de Alvear’s booths. There were a few welcome surprises: new LA-based artist Melodie Mousset’s mixed-media piece “On Stoning and Unstoning” (at Vielmetter) offered a politically astute and formally bold tonic to the generally conservative, painting-heavy selection, as did older sexually and politically frank pieces by second-wave feminist artists such as Martha Rosler and Joan Semmel. However, the most exciting art could be found outside the convention center, mainly in the rapidlygentrifying Wynwood neighborhood which now boasts more than 40 galleries (nearly quadruple the number from eight years ago). Many of Miami’s biggest collectors have followed suit, setting up warehouses in the adjacent Design District where their collections are on view to the public.

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“I just stopped Tweeting. I mean, how many jokes can you make about the money?” “Frames and Documents,” the Ella Fontanalas-Cisneros Collection’s sensitively curated selection of Conceptualist art from the 1960s to the late ‘80s — which juxtaposed the work of Central and South American artists with that of their American and European contemporaries — was brimful with lush aesthetic rewards delivered with the barest of means. I renewed too many loves that afternoon (and found some new ones, as well) to list in full, but another institutional stand-out was the Miami Art Museum’s “American People, Black Light,” a retrospective of Faith Ringgold’s early paintings from the ‘60s that capture with unflinching clarity the anguish, ambivalence and rage of the Civil Rights era. Given Ringgold’s profile, it’s shocking that they’ve never been the subject of their own exhibition until now. Much has been made of the film listings

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“trickle down” effect ABMB has had on the cultural revitalization of Miami. (Wynwood is the most frequently cited example). The most hopeful and lasting sign I saw of any such change was a few blocks down from the Cisneros collection, at the small gallery Wet Heat Project. For the group show “A Piece of Me,” pairs of art students from local high schools had been matched with four midcareer alumni from Miami’s New World School of the Arts. Each student team then conceived, developed, and produced a video installation in response to a piece by their alumni mentor, with both the final video pieces and those works that inspired them on display in the gallery. What could’ve been a gimmicky set-up resulted in some truly inventive, thoughtful, and original work on the part of the students. Moreover, “A Piece of Me” offers one portable model for bridging the community at large and the art community. As Max Gonzalez, one of the participating students who was on hand, said of his installation, “It was go big or go home for us.” Next to that vote of confidence, the Miami Beach Convention Center floor — littered with big names and bigger baubles destined for law firm lobbies and penthouse living rooms — seemed that many more miles away. 2 Matt Sussman writes the Guardian’s biweekly Hairy Eyeball column. january 18 - 24, 2012 / SFBG.com

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arts + culture: visual art

Muralation: aerial shot of Ever’s mural in Wynwood; Real estate developer Tony Goldman leans against a Shepard Fairey mural, in front of one by Nunca in the Wynwood Walls complex. | tony goldman photo by mia nunez

Wall played

Art Basel take two: Street art in Wynwood, it’s complicated By Caitlin Donohue caitlin@sfbg.com VISUAL ART The popular face of Miami is made of aqua blue views and chrome rims, but the parts of Wynwood that haven’t been covered by murals yet look more like asphalt and the muted tones of low-cost rentals. Since the 1950s it’s been largely a Puerto Rican neighborhood. It’s also where many African Americans moved when they got priced out of the Overtown neighborhood to the south, where they were originally relegated by Jim Crow laws. But, in a high-low art tornado last month, Wynwood is also where I learn that the popular legend labeling the Mission District the neighborhood with the most denselypacked street art in the world is total bunk. Wynwood’s main drag Second Avenue is Clarion Alley on acid. Having come straight from Miami International Airport, my rental car barely inches down the strip, so omnipresent are the weaving, goggling packs of urban art voyeurs in oversized silk shirt-dresses and vertiginous wedge heels or where’dyou-get-’em sneakers. The only sign of the neighborhood’s year-round residents are the sporadic flaggers in self-bought orange vests waving cars into parking spots. Angry sharks, Persian catwomen, color-washed streetcars, and owls sitting shotgun in convert-

ibles — sometimes layered on top of each other — grace walls here. Designs pour off walls and onto the sidewalk. Here, the fairytale nymphs and walking houses of Os Gemeos on a fancy restaurant; there, a massive black-and-white photo wheatpaste by JR of bulging, watching eyes that echo the look of passers-by. I nearly break my neck on Mexico City artists Sego and Saner’s horned beetle-men, who clutch amulets and wear fanged leopard masks on the backs of their heads. Absolut Vodka has occupied a parking lot with a temporary open-air club, dotting it with human-sized aerosol cans and fencing it off with chainlink. It’s enough to make any street art fan lose their shit, or at least the rental car. I’ve parachuted into the middle of Miami’s yearly art inferno, a.k.a. the week that the Art Basel art fair comes to town. Since 2002, this Swedish import has filled Miami Beach Convention Center with astronomically priced works from over 260 international galleries. Umpteen ancillary art and design fairs populate deco hotel-land and its surrounds during this time — the city becomes one largely, loudly turned-out gallery opening. Wynwood, with its surplus of 80-foot blank walls, hosts many an art collection — but it’s most visible contribution to the scene is its dense network of murals. Of these, the undisputed center is a compound of buildings grouped

Street artist Ever sketched out his regard for the Wynwood scene in this original artwork for the Guardian.

22 SAN FRANCISCO BAY GUARDIAN

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around a courtyard of marquee works dubbed Wynwood Walls. The properties were purchased by (in)famous neighborhood rejuvenator Tony Goldman in 2004. Many hold Goldman responsible for the gentrification of Soho, South Beach, and city center Philadelphia. Wynwood Walls is his carefully orchestrated attempt to use the allure of street art to change the area’s economic fortune. Shortly before Art Basel 2011, Goldman produced a series of YouTube shorts dubbed “Here Comes the Neighborhood,” in which longtime graffiti photographer Martha Cooper cheerfully opines “Now we’ve got something [street art] that people are calling the biggest art movement in history of the world. And it just might be.” The night of my arrival, the amount of in-progress murals at which the crawling traffic gives one an opportunity to gawk is striking. At least a dozen artists labor within a four-block radius, greeting fans, drinking beers and staring up at their half-finished creations contemplatively. Such was the mood in which I find Buenos Aires street artist Ever, who along with an assistant is completing a massive wall featuring two disembodied heads emitting his signature riotously colorful cognitive mapping hives, which in the past he’s painted emerging from the brains of Mao Tse-Tung and his own

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younger brother. Ever was flown up by a community-based Atlanta street art festival, Living Walls, to paint a Second Avenue parking lot wall as part of the festival’s first project outside of Georgia. It’s not his first international street art festival, but Ever is among the artists under-impressed with the Basel-time scene in Wynwood. “It’s like the alcohol. I hate the shit — but one drink more!” We talk when the dust of Basel has long settled; Ever, fellow street and gallery artist Apex, and I perched around Apex’s studio in a Market and Sixth Street garment factory building. Apex, who has been to Miami during Basel week four times, and twice to paint the crystallized, colorsaturated “super burner” murals he is known for, explains that for him, the problem is exploitation. Street artists typically paint walls for a pittance or for free, in a neighborhood where businesses are making boatloads of money off spectators that come to marvel. “You have, like, Tony Goldman, he gives a certain amount of money, property owners make money, but artists, a few make money,” Apex explains. “The rest, no. Artists get caught in the excitement of it. But who is getting paid off of it?” “Who wins,” Ever adds. “If someone is making money off of it, you should know who that is,” concludes Apex. But the two artists agree that music listings

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Art Basel week is an excellent education in the workings of the high art world for aspiring professionals, and that the camaraderie that flourishes between street artists can be important, inspirational. And of course, the parties. Basel is known for them — 2011 featured everything from the $200-a-ticket “Fuck Me I’m Famous” David Guetta show to surprise kudos for the partykids from Pharrell onstage at Yelawolf’s Saturday night gig at a castle-shaped outdoor club in Wynwood. On my first night in town, the whole Living Walls gang — organizers, artists, errant alternative journalist from San Francisco — pile into cars and hit the Design District to check out the opening of the group show of Primary Flight, a local collective that got its start commissioning murals wall-by-wall in Wynwood. “We started noticing we weren’t the breadwinners of the galleries,” Primary Flight founder Books Bischof tells me in a phone interview. “It was like fuck you, we’re going to take to the streets. We’re all curators in a sense, so we might as well get up and be seen.” Bischof logged time connecting with local graffiti crews and Wynwood’s homeless population to make sure he had community support for bringing the art crowd into the neighborhood during Basel week. He somewhat resents Goldman’s “just buy it” approach. “When we learned about

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arts + culture: visual art [his Wynwood building purchases] we were like, well that’s kind of fucked.� (Though officially the two camps exist amicably, Goldman told me he upon arriving in the neighborhood he found Primary Flight’s piecemeal approach to its murals “helter-skelter.�) But along with Wynwood’s art scene, Primary Flight has grown. In addition to its mural program — through which Apex painted his 2011 Miami wall — attendees at the collective’s gallery space could take in traditional paintings and sculptures, but also Mira Kum’s “I Pig, Therefore I Am� installation featuring the artist in the nude, living with two pigs in a small enclosure for 104 hours. “We represent artists with a street art, fuck you swagger,� comments Bischof. Things are much more established now in Wynwood, which by most counts serves as Miami’s arts district year-round. There are expensive coffeeshops and bars, fine restaurants, precious florists, and blocks of galleries selling accessible art. (During Art Basel week, one of these is given over to an artist who specializes in kawaii food art printed onto affordable decals and posters. An entire wall is covered in swirly-topped ice cream cones in a hundred color options.) Though professional street art certainly existed prior to his engagement, this upscaling can largely be attributed to Goldman’s speculative interest. Goldman’s PR agency sends me press materials dubbing Wynwood “the next great discovery in the Goldman Properties portfolio.� His company’s general methodology is to buy up historic buildings in socioeconomically depressed neighborhoods and fill them with upscale businesses that attract more pedestrian traffic. There is little doubt that Goldman envisions the future of Wynwood as a place where housing units rent for far more than many of its current residents can afford. His team has spent considerable time and effort working with Miami’s city council on creating live-work zoning in Wynwood (not unsimilar to the type of zoning that loaded San Francisco’s SoMa with high cost condos). After the Basel hangover has dissipated, I get a chance to talk with him. “When I went to Wynwood and I had boxy warehouse buildings, it was a much different challenge for me,� says Goldman during our decorous phone interview. “Now I could be free. Some people would look at ugly buildings and empty parking lots and loading zones — what I saw editorials

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was an international outdoor street art museum. Huge canvas opportunities.� He bought six of those buildings in the center of the neighborhood, two of which now house spendy restaurants run by his son and daughter. Goldman is not completely without street art cred. Since 1984, he has owned a massive wall on Manhattan’s Bowery and Houston Streets that has hosted murals from Keith Haring, Barry McGee, and Shepard Fairey. “[Street art] is freer in a lot of ways than walking in a

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museum, which a lot of street artists consider graveyards,� he says. “Not that I agree with them, not that I disagree with them either. I think Wynwood Walls is one place that has validated the art form as an important contribution to contemporary art.� But Wynwood Walls also serves as the main attraction to an area in which Goldman Properties has monetarily invested. “It [is] a center place that the arts district really didn’t have, a town square, a centerpiece that was defined architectur-

ally,� reflects Goldman. “It served its purpose.� But perhaps this use of street art as tool of gentrification is not so incongruous. After all, most if not all professional street artists are able to create murals only by selling gallery-ready pieces. Ever tells of painting a mural for Coca-Cola with studiomate Jaz, only to use his paycheck to create three more public walls. “The reality of art is you always need a rich person,� he says. Which is, more or less, to say that even in Wynwood, profes-

sional street art is not entirely soulless. Take for example one of Ever’s favorite Wynwood pieces, done by Spanish artist Escif. The wall was so popular, in fact, it merited a cameo in a “Here Comes the Neighborhood� episode. And not for its bright colors or revolutionary design; it’s just black capital letters on a flat white background. But it does have a pretty direct message for good-intentioned folks in Wynwood. It says: “Remember, u’re not doing it for the money.� 2

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JANUARY 18 - 24, 2012 / SFBG.com

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tHeAteR The shows have been as varied and changeable as the weather this January in New York City, where the annual conference of the Association of Performing Arts Presenters (APAP) acts as catalyst for, by now, no less than four new-work festivals in the realms of theater, dance, and contemporary performance. Near the beginning of the month, it got cold enough at night to make your nose hairs chime like little Christmas tree bells. “Every time you sneeze,� a friend explained to me, “a whole shitload of angels get their wings.� This cheerful seasonal exchange took place in the Lower East Side during a frigid tromp to American Realness, a three-year-old festival offering a vital focus on contemporary dance and performance. Spread across three stages at the Abrons Art Center, American Realness is the brainchild of Ben Pryor, the festival’s 29-year-old curator and producing director, and once again features an eye-catching list of leading and emerging artists. Indeed, 2012’s 11-day program (Jan. 5-15) is really pulling out the stops. Performances I’ve seen thus far have run a wide gamut, in every way, but have consistently attracted capacity houses to American Realness’s intriguing blend of the known, infamous, and brand new. In addition to full-blown productions, the festival has added a new free series this year, “Show and Tell,� offering an opportunity to hear artists discuss their work or to glimpse work-in-progress. One recent afternoon was given over to a three-way discussion among songwriter and performance-maker Holcombe Waller, Cynthia Hopkins (at Yerba Buena Center for the Arts recently with The Success of Failure (Or, the Failure of Success)), and Miguel Gutierrez (last seen EDITORIALS

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" EPTF PG "NFSJDBO 3FBMOFTT BNJE UIF /:$ GFTUJWBM TFBTPO locally in July at the Garage with his solo, Heavens What Have I Done) about contemporary song-based performance. The Bay Area’s Keith Hennessy was on hand a couple of days earlier to discuss his collaborative project, Turbulence: A Dance About the Economy, which just had a two-night showing in December at CounterPulse. (Hennessy also premiered Almost, a “spontaneous performance action,� during the last week of the festival.) American Realness opened with an evening lineup that included other San Francisco favorites, namely Laura Arrington Dance and New York–based Big Art Group. Arrington offered the New York premiere of Hot Wings (a piece born of her 2010 CounterPulse residency) to a soldout house in the Abrons Art Center’s 100-seat Experimental Theater; while Caden Manson/Big Art Group debuted Broke House, a purposefully chaotic, multimedia camp meltdown loosely based on Chekhov’s Three Sisters, which sprawled across the proscenium stage in the 300seat Playhouse Theater. The 99-seat Underground Theater, meanwhile, a cozy, brutalist semi-circle carved into the concrete basement, saw a U.S. premiere from Eleanor Bauer and Heather Lang (The Heather Lang Show by Eleanor Bauer and Vice Versa). Those three initial shows together sounded an eclectic key that has been sustained throughout. The cold weather not so much. A few days later it was unseasonably warm. People tried to act concerned about it. Surely this was another sign of impending climactic collapse. But it was just too nice to care very hard about why it might be wrong. The relaxed mood encouraged by the sudden warming trend was

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further augmented by an intimate little walking tour called Elastic City. Artists Todd Shalom and Niegel Smith conduct small groups of people around the grounds of the Abrons Art Center, training everyone’s attention, with a gentle and inviting playfulness, on the smallest and most quotidian details imaginable — with low-key but delighting results. A passage down one maintenance hallway, for instance, was an invitation to notice any little detail that caught the eye and stimulated the imagination and to share it with anyone around you, turning the seemingly bare walls into a topography that might have given a 16thcentury explorer the chills, or ... a woody. At one point, our guides led us outside barefoot onto the wide concrete steps in front of the building, for what was no doubt originally conceived of as a brief but striking encounter with the winter elements. Everyone stood there comfortably, however, thankful for the temperate bath of fresh air. “Yeah, it’s not very cold,� agreed Shalom. “Actually, it’s not cold at all.� A couple more memorable moments as of this writing: Daniel Linehan spinning in a circle for a very long time, declaiming, “This is not about anything� — and variations on that theme. The young choreographer-performer (who’s worked with Big Art as well as Miguel Gutierrez, among others) delivered these poetically schematic lines at intricate length, in a voice precisely doubled by an offstage “doppelganger� piped through a nearby speaker, demonstrating a fairly wowing memory and focus, while alternating both the speed and shape of his whirling form to create a kinetic sculpture of transfixing beauty. MUSIC LISTINGS

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The stunning solo Not About Everything faltered only momentarily for me, when Linehan, pulling out and “reading� a self-conscious letter about his own art and practice from his pocket, shifted from mathematical-geometric abstraction to the all-too-specific. It was an almost rude awakening from a kind of syntactic ecstasy — the motive, unmooring meaninglessness of the mantra — back into the semantics of worldly and solipsistic concerns. It was saved ultimately by a combination of Linehan’s acuity and alacrity as a thinker and performer, however, and it was as fine, moving, and memorable a solo as any seen thus far. Ann Liv Young presented a desultory piece called Sleeping Beauty Part I that held few surprises for anyone remotely familiar with her work. But the audience was caught off guard at one point at least, as Sleeping Beauty, having completed a Showgirls-style dance of seduction, pleads for understanding from her Prince Charming (a blowup doll sitting in the first row of the packed Experimental Theater). At that moment a soap machine above the stage suddenly erupted with a noisy rush of air and fluff, casting a snowlike arc of fine goo down onto the heads of maybe a third of the house, producing amusement and irritation in more or less equal measure. Only one patron actually got up and left. The rest sat stoically, trying to stifle coughs and sneezes for the next 20 minutes as the finer, mistier particles of whatever is in that stuff began lining breathing passages. The remainder of the show was given over to an invitation to have your Polaroid portrait taken with the Sleeping Beauty (two bucks a pop). There were enough takers to drag this process out about half an hour. Then the performers left the stage. More ALY concessions were on sale as you exited. 2 UCTQNHNU DPN ".&3*$"/@ 3&"-/&44@ IUNM

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in the RealMs oF the unReal

Wim Wenders’ stunning Pina pays tribute to acclaimed choreographer Bausch

Ditta MiRanDa JasJFi PeRFoRMs in Vollmond, Pina Bausch’s last coMPlete woRk, in Pina. Photo by Donata WenDers

By Rita Felciano arts@sfbg.com FilM/Dance Watching Pina Bausch’s choreography on film should not have been as absorbing and deeply affecting of an experience as it was. Dance on film tends to disappoint — the camera flattens the body and distorts perspective, and you either see too many or not enough details. Avatar (2009) certainly didn’t convince me that 3D was the answer. However, improved technology gave Wim Wenders (1999’s Buena Vista Social Club; 1987’s Wings of Desire) the additional tools he needed to accomplish what he and fellow German Bausch had talked about for 20 years: collaborating on a documentary about her work. Instead of making a film about the rebel dance maker, Wenders made it for Bausch, who died in June 2009, two days before the start of filming. Pina is an eloquent tribute to a tiny, soft-spoken, mousy-looking artist who turned the conventions of theatrical dance upside down. She was a great artist and true innovator whose thinking was crucially shaped by her work in the 1960s with Antony Tudor and the team of Donya Feuer and Paul Sanasardo. Wenders’ great accomplishment in this beautifully paced and edited document is its ability to elucidate Bausch’s work in a way that words probably cannot. While it’s good to see dance’s physicality and its multi editorials

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dimensionality on screen, it’s even better that the camera goes inside the dances to touch tiny details and essential qualities in the performers’ every gesture. No proscenium theater can offer that kind of intimacy. Appropriately, intimacy (the eternal desire for it) and loneliness (an existential state of being) were the two contradictory forces that Bausch kept exploring over and over. There is something absurd about the way her dancers never tire of being curious, silly, cruel, childish, hysterical, loving, and angry. The nobility and desperation comes from not giving up. By taking fragments of the dances into the environment — both natural and artificial — of Wuppertal, Germany, Wenders places them inside the emotional lives of ordinary people (subjects of all of Bausch’s work), where there is room for a man with rabbit ears to ride public transportation and couples make love at intersections. In Bausch’s work, sets — deluges, walls that crumble, hippos, mountains, floors made from dirt, grass, and carnations — are the obstacles that challenge and dwarf the dancer. Wenders chose his outside “sets” brilliantly to similar effect. Many locations are huge: gyms, factories, convention halls, and quarries — and the performers are clearly strangers. The 3D technology Wenders uses rarely jumps out at the viewer. Instead, his space has a sheen and picks

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glassy quality that is non-realistic; it seems to pervade the whole film even in its more conventionallyshot sequences. While it’s good to see dance’s physical multidimensionality, perhaps even more satisfying is Wenders’s juxtaposing of different senses of dimensionality into a coherent whole that I suspect Bausch would have approved of. It’s the artifice and not the realism that makes Pina the fine work it is. Before her death, Bausch had chosen four choreographies as the film’s core material. They were excellent picks, though it’s curious that three of them are quite early while Vollmond is her last complete work, more in the genre of her later “travel-inspired” pieces. Perhaps she meant to tell us something. Café Mueller shows a young Bausch in a dreamy, nightmarish labyrinthine environment; The Rite of Spring starts her investigation of male-female struggles; and Kontakthof is a work about the eternal mating frenzy as danced by her own company, a group of seniors, and an ensemble of teenagers. Not pre-planned, however, was Wenders’ brilliant decision to include “interviews” with the dancers. They silently look at the camera but their grief-stricken faces speak of loss, loneliness, and a sense of abandonment. They were thinking about Bausch’s death, but perhaps also about her work. 2 Pina opens Fri/20 in San Francisco.

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JANUARY 18 - 24, 2012 / SFBG.com

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arts + culture: film

for more arts content visit sfbG.com/piXel_visioN

naughty gIrLS need Love too: Naked alibi (1954). courtesy of the film noir foundation

FeMaLe trouBLe /PJS $JUZ 9 SBJTFT B HMBTT UP DJOFNBUJD CBE HJSMT By Matt SuSSMan arts@sfbg.com FILM Rooney Mara’s chalk-complected cyberpunk Lisbeth Salander is one of the more fearsome and curious creatures to stalk across movie screens in recent memory, her freak genius and impassive veneer concealing deep reservoirs of pain and rage — and also desire. Cold and distant to the extreme, Salander makes for an odd duck of a femme fatale to disgraced journalist Mikael Blomkvist’s accidental gumshoe. And yet, as many a reviewer has commented of David Fincher’s The Girl With the Dragon Tattoo (2011), the camera spends plenty of time surveying Mara’s naked body as she takes down Sweden’s patriarchal-industrial complex one misogynist at a time. Salander might be more leather than lace, but like many femme fatales before her she flickers (albeit far more unsteadily than her forbearers) between being an object to be desired and a force to be reckoned with. If it is perhaps something of a stretch to claim that the dame26 SAN FRANCISCO BAY GUARDIAN

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heavy titles at this year’s Noir City offer a tour of the more distant branches of Salander’s genealogy, at the very least, the gallery of black widows and Jezebels-in-disguise Eddie Muller has assembled for the festival’s tenth go-round offer a pointed lesson in how hard it has been for Hollywood, tattoos and mad hacking skills aside, to shake its old regimes of visual pleasure. Something of Salander’s icy remove is detectable in mid-1960s Angie Dickinson, who will be feted and interviewed in person at a double bill of two of her best: The Killers (1964) and Point Blank (1967). Whereas Ava Gardner simmered her way through Robert Siodmak’s 1948 adaptation of Ernest Hemingway’s short story, the temperature of Dickinson’s Killers mob girl is harder to take in Don Siegel’s remarkably brutal remake: a Monroe in harsher lines with nothing of the little girl lost about her. So too in Point Blank —which re-teams Dickinson with her Killers costar Lee Marvin — does she put up a good fight, even as she brandishes her sexuality like a semi-automatic. music listings

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You can add Bedelia — writer Vera Caspary’s lesser-known 1945 follow-up to her convoluted 1943 novel Laura — to the canonical list of first-name-basis sirens (also in Noir City X: 1946’s Gilda and the 1944 film version of Laura). Bedelia’s titular heroine was touted on an early cover of the 1945 book that inspired the 1946 film (for which Caspary also wrote the screenplay) as “the wickedest woman who ever loved,” a title more than lived up to by Margaret Lockwood’s performance as the small-town temptress. That description also fits one of noir’s finest leading ladies, Gloria Grahame, who — as always when cast as the bad girl — makes damaged goods look damn fine. In Naked Alibi (1954), she plays a border town torch singer caught in an abusive relationship with a fugitive on the run. Beverly Michaels, on the other hand, is simply damaged (but no less a joy to watch) as the bullet bra-brandishing beauty trying to off her husband for money in Hugo Haas’ sleazoid rarity Pickup (1951). In keeping with the Pacific Film Archive’s unofficial late-January tradition of running complimentary programming during Noir City, a retrospective of the films of French suspense auteur Henri-Georges Clouzot offers a more nuanced gloss on noir’s troubled women. Simone Signoret and Clouzot’s own wife, Véra, deliver a master class in how to simultaneously do and be undone by a dirty deed in Diabolique (1955). Perhaps more apropos to the dragon-tattooed girl is Clouzot’s final feature Woman in Chains (1968), which, much like Michael Powell’s tour de force Peeping Tom (1960), lays bare the operations of cinema’s gendered voyeurism by having the kinky Josée (Elisabeth Wiener) turning the gaze back on both her artist boyfriend and the amateur pornographer who covets her — a reversal that Clouzot formally mirrors in the film’s electric finale. Though she might not show it, I think Lisbeth Salander would be pleased. 2 Noir city X Jan. 20-29, $10-$15 Castro Theatre 429 Castro, SF www.noircity.com “HeNri-GeorGes clouzot: tHe ciNema of DiseNcHaNtmeNt” Through Feb. 4, $5.50-$9.50 Pacific Film Archive 2575 Bancroft, Berk. bampfa.berkeley.edu

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FraCtureD CoupLe siMin (LeiLa HataMi) anD naDer (peyMan MoaDi) in A SepArAtion. | Photo by habib Madjidi

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arts@sfbg.com FiLM Like the Olympics, albeit on a less rigid schedule, the perceived hotspot for evolving cinematic art tends to migrate every few years. Recently we’ve seen the likes of Romania and South Korea thrust into that rarefied limelight, just as decades earlier it had been Italy, France, Japan, or Sweden. Their moment usually occurs when a new generation of filmmakers with shared stylistic and/or political concerns impact as a collective force, reinvigorating the national cinema while making a splash on the international festival and art house circuits. Iran has had a particularly long vogue, one that officially commenced with Abbas Kiarostami’s Where is the Friend’s Home? in 1987 and has only ebbed slightly in the quarter-century since. Contextualized by knowledge of the difficulties their makers have experienced enduring censorship and even imprisonment under the Islamic Republic’s strictures on free expression, it’s hard not to admire the rigor and range of their work — even if by the same token, expressing ambivalence toward it becomes a political and intellectual faux pas seldom allowed in polite circles. Partly to circumvent the censors, Iranian directors (excluding those making seldom-exported lighter entertainments intended solely for domestic audiences) have leaned heavily toward neo-realist poverty dramas, obtuse minimalist poetics, and stories about those typically least-objectionable protagonists, children. Only a philistine would say that many of these movies might reasonably strike a viewer as aridly uninvolving, tedious, or too precious. But there, I just said it. Therefore it’s especially rewarding — even more so when fellow award magnets like 2011’s The Tree of Life and Melancholia are so aesthetically elaborate yet amorphous in narrative shape — to have an Iranian film like A Separation, which is both clear and complex in ways most directly connected to audience engagement. The country’s first movie to win Berlin’s Golden Bear (as well as all its acting awards), this domestic drama reflecting a larger socio-political backdrop is subtly editorials

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proves much more suited to a nurse inured toward patient nudity and bodily fluids. Worse, her apparent abandonment of duty provokes an argument with Nader that drags all concerned into another, potentially much more serious court battle. Farhadi worked in theater before moving into films a decade ago. His close attention to character and performance (developed over several weeks’ pre production rehearsal) has the acuity sported by contemporary playwrights like Kenneth Lonergan and Theresa Rebeck, fitted to a distinctly cinematic urgency of pace and image. None of the protagonists would likely consider themselves highly political. Yet the class differences and overlapping pressures experienced by both the white- and blue-collar couples here reveal a great deal about how a fissuring system is failing ordinary citizens, whether governmentally, economically, or ideologically. There are moments that risk pushing plot mechanizations too far, and the use of both families’ children (esp. the director’s daughter, who looks of voting age while playing an 11-year-old) as silent, accusatory watchers of adult folly borders on clichÊ. But A Separation pulls off something very intricate with deceptive simplicity, offering a sort of integrated Rashomon (1950) in which every participant’s viewpoint as the wronged party is right — yet in conflict with every other. The escalating tensions that result pull you toward a resolution that might bang or whimper, but even there Farhadi springs the kind of high-wire trick that might seem pretentious or a cop-out in any film less exacting in its juggling act. 2

well-crafted on all levels, but most of all demonstrates the unbeatable virtue of having an intricately balanced, reality-grounded screenplay — director Asghar Farhadi’s own — as bedrock. A sort of confrontational impartiality is introduced immediately, as our protagonists Nader (Peyman Moadi) and Simin (Leila Hatami) face the camera — or rather the court magistrate — to plead their separate cases in her filing for divorce, which he opposes. We gradually learn that their 14-year wedlock isn’t really irreparable, the feelings between them not entirely hostile. The roadblock is that Simin has finally gotten permission to move abroad, a chance she thinks she must seize for the sake of their daughter, Termeh (Sarina Farhadi). But Nader doesn’t want to leave the country — for one thing, his senile father (Ali-Asghar Shahbazi) can hardly be uprooted — and is not about to let his only child go without him. Unconvinced of the necessity of Simin’s argument, the judge refuses to grant a divorce, after which she moves into her mother’s house. While seeing both parents (and being the only party aware that both of them are basically waiting for the other to “come to their senses� and reconcile), Termeh stays at home with dad, who is quickly overwhelmed by having to care for grandpa. To pick up the slack he hires Razieh (Sareh Bayat), who desperately needs the income as her husband Hodjat (Shahab Hosseini) is unemployed. Yet she’s afraid to tell the latter about this job, and fears that it might violate their strict religious observances prove wellfounded when what was billed as a simple housekeeping job instead

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a separation opens Fri/20 in San Francisco.

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arts + culture: Nightlife

Now iN its 12th year aNd exteNded to six eveNts, highbrow goth faNtasia edwardiaN ball still gives good ed.

Available for Private Rental Dinner ‘til 11PM WeDNeSDAY JANuARY 18th 8PM $10/$12 (cOuNtRY)

JOSh ABBOtt BAND

thuRSDAY JANuARY 19th 9PM $12/$14 (iNDie)

the SOFt MOON BLOuSe

FRiDAY JANuARY 20th 9PM $12 (ROck/POP)

DuRAN DuRAN DuRAN (tRiBute) ALMOSt hONeSt

SuNDAY JANuARY 22ND 8:30PM $10-$25 SLiDiNg ScALe (ROck/POP)

tReVOR PROJect BeNeFit ShOW FeAtuRiNg:

MiA DYSON / hOteLS & highWAYS eRic hiMAN

MONDAY JANuARY 23RD 9:30PM $12 (iNDie)

the LiFe AND tiMeS tiMe SPeNt DRiViNg

tueSDAY JANuARY 24th 8PM $12 (iNDie)

the SiLeNt cOMeDY

WeDNeSDAY JANuARY 25th 8PM $12 (ROck)

ScARS ON 45

thuRSDAY JANuARY 26th 9PM $10 (ROck)

FiLLigAR

teRRAPLANe SuN WARM WeAtheR

FRiDAY JANuARY 27th 9PM $12 (ROckABiLLY)

A-tOWN AgeNcY AND eVeNtS PReSeNtS:

QuARteR MiLe cOMBO (FAReWeLL ShOW) the B-StARS the RuMBLe StRiPPeRS DJ tANOA “SAMOA BOY�

SAtuRDAY JANuARY 28th 9:30PM $15 (AFROBeAt/WORLD)

WiLL MAgiD’S WORLD WiDe DANce PARtY: FeLA kuti extRAVAgANzA

FeAt. BABA keN OkuLOLO AND SOJi ODukOgBe WiLL MAgiD tRiO FeLY tchAcO (iVORY cOASt) MSk.FM (DJ Set) izzY*WiSe (DJ)

SuNDAY JANuARY 29th 8:30PM $15 (JAzz/FuNk)

the BROuN FeLLiNiS (cD ReLeASe) BLAck QuARteRBAck

MONDAY JANuARY 30th 8PM $12 (ROck)

gRAVeYARD

RADiO MOScOW

WeDNeSDAY FeBRuARY 1St 9:30PM $8 (DANce/ eLectRO) 18+

ANti/LiFe: NeW iNDuStRiAL DANce

FRiDAY FeBRuARY 3RD 9:30PM $10 (iNDie)

JeReMY JAY

SeA LiONS tReMOR LOW DJ PickPOcket

SAtuRDAY FeBRuARY 4th 8PM $20 (iNDie) ALL AgeS

uPStAiRS At the SWeDiSh AMeRicAN hALL:

teituR

SAtuRDAY FeBRuARY 4th 9PM $20 (ROck)

the uNAuthORizeD ROLLiNg StONeS RuDY cOLOMBiNi AND the AMBASSADORS OF LOVe

tueSDAY FeBRuARY 7th 8PM $16 (SiNgeRSONgWRiteR) ALL AgeS

uPStAiRS At the SWeDiSh AMeRicAN hALL:

DAViD chOi

thuRSDAY FeBRuARY 9th 9PM $10/$12 (ROck/ POP) ALL AgeS

the FeAtuReS

FRiDAY FeBRuARY 10th 9PM $15 (ROck)

PettY theFt (the uLtiMAte tRiBute tO tOM PettY AND the heARtBReAkeRS)

PReteNDiNg: tRiBute BAND tO the PReteNDeRS

SuNDAY FeBRuARY 12th 8PM $12/$15 (ROck/ POP) ALL AgeS

JeNNiFeR chuNg

MONDAY FeBRuARY 13th 8PM $20 (ROck/POP)

MAttheW gOOD eMiLY gReeNe

FRiDAY FeBRuARY 17th 9PM $10 (ROck/POP)

SMiLe! RecORDS ViNYL ReLeASe PARtY FeAtuRiNg: BARt DAVeNPORt SAM FLAx & higheR cOLOR extRA cLASSic DJ NeiL MARtiNSON (SMiLe!)

2170 MARket StReet • 415.861.5016 Box Office Now Open for Phone Sales ONLY Mon-Fri, 2-6pm 28 SAN FRANCISCO BAY GUARDIAN

Get Gorey By Marke B. marke@sfbg.com SUPer eGo Wax up your handlebar mustache, dust off your stripy topcoat, burnish your steampunk petticoats, and oil those wheezy accordions: The Edwardian Ball, that phenomenal annual gathering of exquisitely decked-out freaks, is back for its 12th installment of mannered mayhem. This time it aims to quell any kvetching about crowding by stretching itself over five official local events (and a satellite ball in Los Angeles next month). But the Fri/20 World’s Faire and the Sat/20 Ball itself will still be the main attraction for thousands of Friends of Ed. Where did it come from, the distinctly San Franciscan style that the Edwardian Ball represents, the curious — and, in some pale lights, socially conservative — amalgamation of circus revivalism, steampunk mechanicals, Wild West gumption, burlesque peekaboo, 1990s anarcho-sincerity, and more than a hint of Burning Man fairy dust. The ball itself, launched in 2000 by Justin Katz of “premiere pagan lounge ensemble� Rosin Coven and Mike Gaines of the neo-cirque Vau de Vire Society, delectable conflates affection for Edwards Gorey, author, and Windsor, British king, producing a turn-of-the-lastcentury highbrow goth fantasia that’s impossible to resist. There’s more than a hint of Burtonesque Scissorhands-worship in there as editorials

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well, bringing our Ed count to three. (Check out my revealing interview with founders Katz and Gaines on SFBG.com’s Noise blog.) Like absinthe, the ball’s drink of choice, I savor this native subculture most in small, strong doses — sometimes its sheer mass can overwhelm, and its style seems always in a state of coalescence rather than expansion. (An Edwardian Ball in 2112 would, and probably should, be much like the one next week, hover-bikes notwithstanding.) That’s why the ball’s a perfectly cromulent occasion to check in on the dark-eyed, ruby-red, velvety feast of one of our essential undergrounds. Promenade, anyone? Fri /20: edwardian World’s Faire Kinetic Steam Works, Cyclecide, Vau de Vire, games, and more Fri /21: edwardian Ball 2012 “the Iron tonic� with Jill Tracy, The Fossettes, Miz Margo and more Both at Regency Ballroom, 1300 Van Ness, SF. All ages, see www. edwardianball.com for prices, times, and more events.

BeNeFItS For DJ toPH oNe Beloved “wino� Toph One got struck while riding his bike by a hit-and-run driver on Sun/8 and was hospitalized with a broken pelvis and internal bleeding. The DJ, bike activist and annual AIDS Rider, and party promoter (of the incredibly long-running Red Wine Social and Pepper) is OK and in good spirits now. And the great Bay Area nightlife scene is banding together once again to help out a friend

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in need. There are going to be two big benefits — all proceeds going to Toph’s bills — that are also serving as major Bay talent summits. One’s at Public Works (Fri/20, 9 p.m.-3 a.m., $10. 161 Erie, SF. www.publicsf.com) with J-Boogie, Jimmy Love, Matt Haze, Pleasure Maker, E Da Boss, Chris Orr, and many more. The other’s at SoM (Sun/22, 8 p.m., $10–$20 but no one turned away. 2925 16th St., SF. www.som-bar.com) with Billy Jam, Sake One, DJ Pause, Rolo 1-3, Rascue, Jah Warrior Shelter Hi-Fi, and tons more. Get well soon, buddy — and anyone with information on the crime please call the anonymous police tip line at (415) 575-4444 or send a tip by text message to TIP411.

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Fri/20, 9 p.m.-4 a.m., $15. www. clubsix1.com

Thu/19, 9 p.m.-3 a.m., $15–$25. Public Works, 161 Erie, SF. www.publicsf.com

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Sat/21, 9 p.m., $5. Milk, 1840 Haight, SF. www.milksf.com

octave oNe 5IF DMBTTJD %FUSPJU UFDIOP #VSEFO #SPUIFST XIPTF TFNJOBM ²* #FMJFWF³ BOE ²#MBDL 8BUFS³ XJMM BMXBZT HFU NF PO UIF EBODF GMPPS IPMMFSJOH BOE XBWJOH NZ BSNT BSPVOE MJLF UIF IPNPTFYVBM NVQ QFU * BN IBWF CFFO UPVSJOH TVDDFTT GVMMZ $BUDI UIFN PO UIF TXFMM $MVC 4JY TPVOE TZTUFN

SoUkI ,PPLZ SBE NPOUIMZ RVFFS BOE GSJFOET QBSUZ %JBM 6Q EJBMT VQ B TQFDJBM 'SJEBZ OJHIU XJUI #FSMJO ´T 4PVLJ XIPTF EFFQ CVU GSJFOEMZ UFDIOP QSPXFTT JT NBLJOH SFDFOU XBWFT 4IF¾MM CF QFSGPSNJOH B MJWF 1" TVSF UP HFU GVOLZ Fri/20, 9 p.m.-3:30 a.m., free before 10 p.m., $6 after. Public Works, 161 Erie, SF. www.publicsf.com

DUBSteP ProDUcer BattLe FINaLe 4PNF HSFBU CFBUT IBWF DPNF PVU PG UIF SPVOET MFBEJOH VQ UP UIJT HSBOE XPCCMF GJOBMF Âą OJDF UP TFF TP NVDI MPDBM UBMFOU IPMEJOH GPSUI BOE TUSFUDIJOH UIF PGUFO OBSSPX EVCTUFQ EFGJOJUJPO $PNF KJHHMF BOE TVQQPSU GJOBMJTUT 'JWFM 5BTP BOE ,POUSPM 'SFRT BU UIF OFX 'VFM -PVOHF GPSNFSMZ &UJRVFUUF Fri/20, 9 p.m., $5 before 10 p.m., $10 after. Fuel, 1108 Market, SF. www.fuelsf. com 2

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for more music content visit sfBg.com/noise

jazz/new music

Blues organ party 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Shawn Colvin :PTIJÂľT QN Jack Jones 3SB[[ 3PPN .BTPO 4' XXX UIFS SB[[SPPN DPN QN Stompy Jones 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Tom Lander & Friends .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF. Herman Lara and His Jazz Nexus :PTIJÂľT -PVOHF QN

Blouse plays cafe du noRd thuRs/19 with the soft moon. .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 CPPL JOHT BOE IPVST 1SJDFT BSF MJTUFE XIFO QSPWJEFE 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 18 Rock /Blues/hip-hop

Shareef Ali, Fleeting Trance, Terese Taylor #PUUPN PG UIF )JMM QN Damir +PIOOZ 'PMFZÂľT QN GSFF Dirt Daubers, El Cajon )FNMPDL 5BWFSO QN Josh Abbott Band, Whiskey Dawn $BGF %V /PSE QN Jason Marion vs. Jeff +PIOOZ 'PMFZÂľT EVFMJOH QJB OPT QN Caden Myles, Jro Project &M 3JP QN Religious To Damn, Wax Idols, Alexis &MCP 3PPN QN “Rock’n’Sock Hop for Jonathan Toubinâ€? .F[[BOJOF QN 8JUI 5Z 4FHBMM 4IBOOPO UIF $MBNT )BOL *7 BOE NPSF

jazz/new music

Shawn Colvin :PTIJÂľT QN Cosmo AlleyCats -F $PMPOJBM $PTNP 1MBDF 4' XXX MFDPMPOJBMTG DPN QN Chris Amberger Trio and Jazz Jam :PTIJÂľT -PVOHF QN Dink Dink Dink, Gaucho, Michael Abraham "NOFTJB QN GSFF Greg Gotelli Quartet .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Jack Jones 3SB[[ 3PPN .BTPO 4' XXX UIFS SB[[SPPN DPN QN Ricardo Scales 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN

dance cluBs

Booty Call 2 #BS $BTUSP 4' XXX CPPUZDBM MXFEOFTEBZT 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 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 19 Rock /Blues/hip-hop

Augustana, Graffiti6 (SFBU "NFSJDBO .VTJD )BMM QN Chris Carrabba (Dashboard Confessional), Barcelona 4MJNÂľT QN Deep Teens, Jealousy, Dadfag, Nathan Grice "NOFTJB QN Dirty Ghosts, Swiftumz, City Deluxe ,OPDLPVU QN Laurent Garnier, L.B.S., Benjamin Rippert 1VCMJD 8PSLT QN Jeff vs. Guido +PIOOZ 'PMFZÂľT EVFMJOH QJBOPT QN Jesse & Aaron of Brazilian Girls .JHIUZ QN Katy B, Good Natured, Takashi Miyaki 3JDLTIBX 4UPQ QN La Corde, Balaclavas, Dark Materials )FNMPDL 5BWFSO QN Limousines, Hundred Days, AB & the Sea, Doe Eye *OEFQFOEFOU QN Rin Tin Tiger, DownDownDown, Dear Indugu #PUUPN PG UIF )JMM QN Stan Erhart Band +PIOOZ 'PMFZÂľT QN GSFF Soft Moon, Blouse $BGF %V /PSE QN White Cloud, Jeffertitti’s Nile, Moccretro, Arms ‘N’ Legs 5IFF 1BSLTJEF QN

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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 %+ 1MFBTVSFNBLFS TQJOT "GSPCFBU 5SPQJDgMJB FMFDUSP TBNCB BOE GVOL Arcade -PPLPVU QN GSFF *OEJF EBODF QBSUZ 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 20 Rock /Blues/hip-hop

Authority Zero, Voodoo Glow Skulls, Skyfox 4MJN¾T QN Carl Sonny Leyland Trio, Big Joe Louis 7FSEJ $MVC .BSJQPTB 4' XXX WFSEJDMVC OFU QN Cut Loose Band +PIOOZ 'PMFZ¾T QN GSFF Duran Duran Duran, Almost Honest $BGF %V /PSE QN El Elle, Minipop, prgrm, DJ Aaron Axelsen 3JDLTIBX 4UPQ QN #FOFGJU GPS #BZ "SFB (JSMT 3PDL $BNQ Fake Your Own Death, Kill Moi )FNMPDL 5BWFSO QN Guido, Jeff, Nathan Temby+PIOOZ 'PMFZ¾T EVFMJOH QJBOPT QN Mr. December "NOFTJB QN NOFX, No Use For A Name, Old Man Markley 'JMMNPSF QN Owen, Survival Guide, El May #PUUPN PG UIF )JMM QN Ronkat Spearman’s Katdelic #PPN #PPN 3PPN 'JMMNPSF 4' XXX CPPNCPPNSPPNCMVFT DPN QN Sioux City Kid, Whiskerman, Misisipi Mike & the Midnight Gamblers 5IFF 1BSLTJEF QN Zero (SFBU "NFSJDBO .VTJD )BMM QN

jazz/new music

Audium #VTI 4' XXX BVEJVN DPN QN 5IFBUFS PG TPVOE TDVMQUVSFE TQBDF Black Market Jazz Orchestra 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Bobby Hutcherson Birthday Celebration with Warren Wolf :PTIJÂľT QN QN Jack Jones 3SB[[ 3PPN .BTPO 4' XXX UIFS SB[[SPPN DPN QN “San Francisco Tape Music Festivalâ€? 0%$ 5IFBUFS UI 4U 4' TGTPVOE PSH UBQF QN $MBTTJD BVEJP BSU BOE OFX GJYFE NFEJB DPNQPTJUJPOT Carrie Shandobill “Miss Hix and the Super Thicksâ€? :PTIJÂľT -PVOHF QN

folk / woRld/countRy

“Viva La Milpa� #MVF .BDBX .JTTJPO 4' XXX WJWBMBNJMQB DPN 1N -JWF 1VFSUP 3JDBO NVTJD XJUI )FDUPS -VHP : -B .JYUB $SJPMMB BOE NPSF

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“Benefit for Toph One Evans� 1VCMJD 8PSLT QN 8JUI + #PPHJF #SBTT 5BY $SFX (VJMMFSNP ,JSL UIF 4FMFDUPS $ISJT 0SS & %B #PTT BOE NPSF Dancing Ghosts $BU $MVC 'PMTPN 4' XXX GBDFCPPL DPN EBODJOHHIPTUT QN GSFF CFGPSF QN BGUFS 8JUI %KT 9BOEFS 4BHF #VSOJOH 4LJFT BOE $@%FBUI TQJOOJOH EBSLXBWF EFBUISPDL QPTU QVOL JOEVTUSJBM BOE FMFDUSP USJCVUF UP .VUF 3FDPSET Hella Tight "NOFTJB QN Jah Yzer, DJ Daneekah &MCP 3PPN QN Old School JAMZ &M 3JP QN 'SVJU 4UBOE %+T TQJO OJOH 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

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Pledge: Fraternal -PPLPVU QN #FOFGJUJOH -(#5 BOE OPOQSPGJU PSHBOJ[BUJPOT #PUUPNMFTT LFHHFS DVQT BOE QBEEMJOH CPPUI XJUI %+ $ISJTUPQIFS # BOE %+ #SJBO .BJFS “Save KUSF Benefitâ€? #FOEFSÂľT #BS (SJMM 4 7BO /FTT 4' XXX CFOEFSTCBS DPN QN 8JUI %+T .JSBOEB $BSPMZO .FUB BOE /BUIBMJF

satuRday 21 Rock /Blues/hip-hop

Steve Aoki, Datsin #JMM (SBIBN $JWJD "VEJUPSJVN (SPWF 4' XXX BQFDPODFSUT DPN QN Back Pages +PIOOZ 'PMFZÂľT QN GSFF Case in Theory, Seeking Empire, New Diplomat #PUUPN PG UIF )JMM QN Concrete Blonde, David J #JNCPÂľT QN DaMADa 8FTUTJEF "SU )PVTF #BMCPB 4' XXX XFTUTJEFBSUIPVTF DPN QN Forrest Day, sYzYgY, Le Vice 3JDLTIBX 4UPQ QN Doormats, Songs For Snakes, Sunset Republic, Last Free Man 5IFF 1BSLTJEF QN GSFF Filthy Thieving Bastards, Fucking Buckaroos, Deadly Gallows ,OPDLPVU QN Kennedy Veil, In Dismemberance, Dissipate, Gary Busey Amber Alter 5IFF 1BSLTJEF QN Mustache Harbor: Yacht-Rock Explosion, Sean Tabor Band 4MJNÂľT QN NOFX, No Use For A Name, Old Man Markley 'JMMNPSF QN Real Nasty #PPN #PPN 3PPN 'JMMNPSF 4' XXX CPPNCPPNCMVFT DPN QN Nathan Temby, Jeff, Guido +PIOOZ 'PMFZÂľT EVFMJOH QJBOPT QN Tortured Genies, Black Swans, Fisherman Three, John Bernson )FNMPDL 5BWFSO QN “2Racks Rap Contestâ€? $MVC 4JY 4JY 4U 4' QN )PTUFE CZ 4FMMBTTJF Keller Williams (SFBU "NFSJDBO .VTJD )BMM QN QN

GVMM!CBS!8!EBZT!ÂŚ!Ibqqz!Ipvs!N.G-!3.9qn PQFO!FWFSZ!EBZ!BU!3QN LJUDIFO!PQFO!EBJMZ UIVSTEBZ!202:!!:QN!%6

XIJUF!DMPVE

KFGGFSUJUUJĂ–T!OJMF NPDDSFUSP BSNT!Ă•OĂ–!MFHT ! GSJEBZ!2031!!:QN!%8

jazz/new music

TJPVY!DJUZ!LJE

Audium #VTI 4' XXX BVEJVN DPN QN 5IFBUFS PG TPVOE TDVMQUVSFE TQBDF Bobby Hutcherson Birthday Celebration with Warren Wolf :PTIJÂľT QN QN Jack Jones 3SB[[ 3PPN .BTPO 4' XXX UIFS SB[[SPPN DPN QN “San Francisco Tape Music Festivalâ€? 0%$ 5IFBUFS UI 4U 4' TGTPVOE PSH UBQF QN $MBTTJD BVEJP BSU BOE OFX GJYFE NFEJB DPNQPTJUJPOT Ways and Means Committee :PTIJÂľT -PVOHF QN

XIJTLFSNBO NJTJTJQJ!NJLF!XPMG!' UIF!NJEOJHIU!HBNCMFST TBUVSEBZ!2032!4QN!

IBQQZ!IPVS!TIPX UIF!EPPSNBUT TVOTFU!SFQVCMJD TPOHT!GPS!TOBLFT UIF!MBTU!GSFF!NBO

folk / woRld/countRy

Go Van Gough 3FWPMVUJPO $BGF OE 4U 4' QN Ramblin’ Jack Elliot, Vikki Lee $ZQFSJBO¾T 5VSL 4' QN Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN

:QN

DPOUPSUFE!SFDPSET!QSFTFOUT;

UIF!LFOOFEZ!WFJM

JO!EJTNFNCFSBODF EJTTJQBUF HBSZ!CVTFZ!BNCFS!BMFSU

dance cluBs

Bootie SF: Bootie Fiesta %/" -PVOHF QN 8JUI "NZMVMJUB +VBO %BUB " % 4NBTI 6Q %FSCZ )PMZ .D(SBJM BOE SFTJEFOU %+T "ESJBO BOE .ZTUFSJPVT % Burnlesque: Animal Style 1VCMJD 8PSLT QN 'VSSZ CVSMFTRVF %+ %BWJE )BSOFTT BOE UIF 4VOTFU DSFX (BMFO BOE + #JSE Fringe .BESPOF "SU #BS QN *OEJF NVTJD WJEFP EBODF QBSUZ XJUI %+ #MPOEJF , BOE TVC0DUBWF New Wave City $BU $MVC 'PMTPN 4' XXX OFXXBWFDJUZ DPN QN 4BMVUF UP /FX 3PNBOUJD XJUI %+T 4LJQ BOE 4IJOEJH O.K. Hole "NOFTJB QN Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Saturday Night Soul Party &MCP 3PPN QN 8JUI %+T -VDLZ 1BVM 1BVM BOE 1IFOHSFO 0TXBME TQJOOJOH ´ T TPVM ´ T Smiths Night SF 3PDL *U 3PPN QN GSFF 3FWFM JO T NVTJD GSPN UIF 4NJUIT +PZ %JWJTJPO /FX 0SEFS BOE NPSF Radio Franco #JTTBQ UI 4U 4' QN 3PDL $IBOTPO 'SBODBJTF #MVFT 4FOFHBMFTF GPPE BOE MJWF NVTJD Wild Nights ,PL #BS4' 'PMTPN 4' XXX LPLCBSTG DPN QN 8JUI %+ 'SBOL 8JME

TVOEBZ!2033!!5QN!GSFF

UXBOH!TVOEBZ DPVOUSZ!USBTI

VQDPNJOH!TIPXT 2036!!!.!!!!!NPCJMF!EFBUIDBNQ-!QPUUZNPVUI 2039!!!.!!!!!EPMESVNT-!MPT!IFBEBDIFT-! !!!!!!!!!!!!!!!!!!!!UIF!TISPVET 302!!!!!.!!!!!!CBOOFS!QJMPU-!TIPUEPXO-! !!!!!!!!!!!!!!!!!!!!IFBS!UIF!TJSFOT-!UIF!TIFMM!! DPSQPSBUJPO 303!!!!!.!!!!!!EJSUZ!GJMUIZ!NVHT-!TUBHHFS!'!GBMM-!! !!!!!!!!!!!!!!!!!!!!IPVOET!'!IBSMPUT 304!!!!!.!!!!!!IJHIXBZ!QBUSPM-!UT!'!UIF!QBTU!IBVOUT-! !!!!!!!!!!!!!!!!!!!IFZXPPE-!GPPMQSPPG!GPVS 305!!!!!.!!!!!NBZMFOF!BOE!UIF!TPOT!PG!EJTBTUFS-! !!!!!!!!!!!!!!!!!!!MJPOJ[F 3021!!!.!!!!!ESBH!UIF!SJWFS-!UVNCMFEPXO!!!!!!!!!!!!!!!!!!!!KBZ!OPUIJOHUPO 3022!!!!.!!!!!CPUUPN-!DPSNPSBOU 3028!!!!.!!!!!XJDLFE!NFSDJFT-!UIF!UPOUPOT 3029!!!.!!!!!SBEJP!SFFMFST-!TIBSQ!PCKFDUT-! !!!!!!!!!!!!!!!!!!!PJM-!CBSCBSJD!UIVHT-!UIF!QBQFS!CBHT

sunday 22 Rock /Blues/hip-hop

DJs Eva Von Slutt and Pretty Ricky )FNMPDL 5BWFSO QN GSFF Mia Dyson, Hotels & Highways, Almost Honest $BGF %V /PSE QN 5SFWPS 1SPKFDU #FOFGJU 4IPX $0/5*/6&4 0/ 1"(&

music listings

stage listings

on the cheap

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

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JANUARY 18 - 24, 2012 / SFBG.com

29

music listings folk / world/country

SUNDAy 22 CONT>>

Meat Sluts, Paper Bags, Berzerks ,OPDLPVU QN Sugar Blue #JTDVJUT BOE #MVFT QN “UnderCover Presents: Nick Drake’s Pink Moon� 3JDLTIBX 4UPQ QN 8JUI #SBTT .FOB[FSJ ,BQPXTLJ 3FBM 7PDBM 4USJOH 2VBSUFU ,BMMZ 1SJDF BOE NPSF Wu-Tang Clan 3FHFODZ #BMMSPPN QN

jazz/new music

Ken Berman, Mike Abraham #MJTT #BS 4U 4' QN Broken Strings :PTIJÂľT -PVOHF QN Jack Jones 3SB[[ 3PPN .BTPO 4' XXX UIFS SB[[SPPN DPN QN “San Francisco Tape Music Festivalâ€? 0%$ 5IFBUFS UI 4U 4' TGTPVOE PSH UBQF QN $MBTTJD BVEJP BSU BOE OFX GJYFE NFEJB DPNQPTJUJPOT

Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Jen Tucker #SBJOXBTI $BGF 'PMTPN 4' XXX CSBJOXBTI DPN QN Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI $PVOUSZ 5SBTI

dance clubs

Batcave $MVC UI 4U 4' QN %FBUI SPDL HPUI BOE QPTU QVOL XJUI 4UFFQMFSPU 9$ISJT5 /FDSPNPT BOE D@EFBUI Dub Mission &MCP 3PPN QN %VC EVCTUFQ SPPUT BOE EBODFIBMM XJUI %+ 4FQ .BOFFTI UIF 5XJTUFS BOE 7JOOJF &TQBS[B Jock -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN 3BJTF NPOFZ GPS -(#5 TQPSUT UFBNT XIJMF FOKPZJOH %+T BOE ESJOL TQFDJBMT La Pachanga #MVF .BDBX .JTTJPO 4' XXX UIFCMVFNBDBXTG DPN QN 4BMTB EBODF QBSUZ XJUI MJWF "GSP $VCBO TBMTB CBOET Tigergrrrl #FBVUZ #BS .JTTJPO 4' XXX UIF

CFBVUZCBS DPN QN GSFF 3JPU HSSSM BOE QVOL WJOZM XJUI #SZBOOB $@%FBUI .FDIBOJD BOE /FUTVJ

monday 23 rock /blues/hip-hop

A Lull, Deleted Scenes, Ravenna Woods 3JDLTIBX 4UPQ QN Marissa Guzman, Erica Dee, Hopscotch &MCP 3PPN QN Life and Times, Time Spent Driving $BGF %V /PSE QN Skystone, Buffalo Tooth, Jefferetitti’s Nile, Creepers ,OPDLPVU QN Wolves in the Throne Room, Worm Ouroboros, Ash Borer 4MJN¾T QN

jazz/new music

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

Jeff Lorber Fusion :PTIJÂľT QN Jimmy Kansau and His Trio 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN NaJe :PTIJÂľT -PVOHF QN

dance clubs

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

tuesday 24 rock /blues/hip-hop

Barcelona, Release the Sunbird, Evaline,

Thrulow *OEFQFOEFOU QN )PNF PG UIF 4MBWF B CFOFGJU GPS WJDUJNT PG IVNBO USBGGJDLJOH Damir +PIOOZ 'PMFZÂľT QN GSFF Gregors, Love Dimension, Down Dirty Shake #PUUPN PG UIF )JMM QN Mean Jeans, Pangea, Toad ,OPDLPVU QN Silent Comedy $BGF %V /PSE QN Steve Morse Band 4MJNÂľT QN Sweet Bones, Max Pain and the Groovies, Knives )FNMPDL 5BWFSO QN Th Mole, rtype, Nakedslice AKA Squideye &MCP 3PPN QN

dance clubs

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

wED ShUTTEr prESENTS 1/18 9pm $5

THU

rELIgIoUS To DAmN (Ny), wAX IDoLS, ALEXIS pLUS DJS JErALyN (wIErD), TAmAryN, NAKo

Afro-TropI-ELECTrIC-SAmbA-fUNK

AfroLICIoUS

1/19 9:30pm wITh DJ/hoST: $5 pLEASUrEmAKEr

FRI

Wed 1/18 8pm no CoVeR!

EArShoT ENTErTAINmENT prESENTS

BuRn doWn The diSCo!

JAh yZEr

1/20 10pm (JAh wArrIor ShELTEr hIfI), $5 DJ DANEEKAh

80S dAnCe pARTy

dj 2Shy-Shy & dj melT W/u

(Coo yAh gIrLS)

Thu 1/19 9pm FRee!

hoSTED by ALECIA S

SAT

ChuB-e-FReeZ!

EArLy Show:

W/ dj BiG nATe

mUNI DIArIES

1/21 6:30pm $12 10pm LATE Show: SpINNINg 60’S SoUL 45’S $10

All hip-hop, All Vinyl! SpeCiAl GueSTS: dj hi-phi & lydiA!

SATUrDAy NIghT SoUL pArTy wITh

FRi 1/20 7:30-9:30 $8

WeSley Woo And The hAlFTime heRoeS The GReG CRoSS BAnd

DJS

eVeRy FRidAy 10pm $5

LUCKy, pAUL pAUL, phENgrEN oSwALD ($5 DISCoUNT IN SEmI-formAL ATTIrE) SUN

looSe joinTS!

W/ djS Tom Thump dAmon Bell & CenTipede

DUb mISSIoN prESENTS ThE bEST IN DUb, DUbSTEp,

RARe GRooVe/Funk/Soul/hip-hop & moRe!

mANEESh ThE TwISTEr (SUryA DUb) AND

The SilVeR SCReen The RoCkyS (Thu neW RoCkeRS)

SAT 1/21 1pm mATinee ShoW $10

1/22 rooTS & DANCEhALL wITh 9pm $6 DJ SEp

SF RoCk pRojeCT

VINNIE ESpArZA MON

1/23 9pm $5 b4 10pm $10 AfTEr

TUE

1/24 9pm $5

7:30-9:30pm $8

pASTyChoRdS

ELbo room prESENTS

mArISSA gUZmAN

jenni And The jeRkS

(JUICy LUCy),

eVeRy SATuRdAy niGhT! 10pm $5

hopSCoTCh (AhANATA SoUND), mISS ErICA LEE (L.A.), ShAUNA rEgAN, EmILy foX

el SupeRRiTmo!

RoGeR mAS y el kool kyle

CumBiA, dAnCehAll, SAlSA, hip-hop

oAKAgAS AND fooTworKS prESENT

Sun 1/22 1pm mATinee ShoW $10

Th’ moLE

SF RoCk pRojeCT

rTypE NAKEDSLICE AKA SQUIDEyE VIC VANKmEN VS. gDS bATTLEShEp DESTroyEr

The SilVeR SCReen The RoCkyS (Thu neW RoCkeRS) 7:30pm $8

SpiRiT ViBRATionS pReSenTS

wED ELbo room prESENTS

The SilVeR ThReAdS • The jAy TRAineR BAnd • mike johnSTon

CLUb ShUTTEr

1/25 10pm wITh DJS $5

NAKo, omAr, JUSTIN

7G6O>A >C I=: H>MI>:H I = J G H 9 6 N ?6CJ6GN &.I= *EB

mon 1/23 6pm FRee!

Fly me To The moon!

UpComINg ThU 1/26 AfroLICIoUS frI 1/27 LAgoS rooTS AfrobEAT ENSEmbLE SAT 1/28 ChUNKy bITS QUEEr DANCE pArTy SUN 1/29 DUb mISSIoN: DJ SEp, bionic LoVe SoUnDSyStem

dj dj And BRyAn duRAn! 9:30pm no CoVeR!

dj puRple kARAoke Tue 1/24 Tue 1/24 9:30pm no CoVeR!

loST & Found

deep & SWeeT 60S Soul 45S

ADVANCE TICKETS

djS luCky & pRimo & FRiendS

ELbo room IS LoCATED AT 647 VALENCIA NEAr 17Th

3225 22nd ST. ! miSSion SF CA 94110 415-647-2888 • www.makeoutroom.com

www.browNpApErTICKETS.Com 30 SAN FRANCISCO BAY GUARDIAN

D e Z c ^ c \ G Z X Z e i ^ d c

editorials

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food + Drink

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

music listings

stage listings

on the cheap

film listings

classifieds

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

editorials

news

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

food + Drink

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

picks

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

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

K/(- ,- "/ + K

WED Jan 18 9pm,$7

7 - 9]ĂŠ 1 ,9ĂŠÂŁn

7pm 8pm 9pm

red hots burlesque $5-10 omG! karaoke no$ front room

cadence myles

the Jro proJect 30$, 406-

/ 1,- 9]Ê 1 ,9Ê£™

8pm

the broonies

the iditarod starskate ("3"(& -0 '* , 9]ĂŠ 1 ,9ĂŠĂ“ä

5:30pm free oysters on the half shell 6pm dJ’s carmen & miranda at the el rio fruit stand '6/, %*4$0 101 5*-- ". /0 7:30pm red hots burlesque $5-10 9pm old school JamZ 0-% 4$)00- '6/,

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

Wed 1/18

music listings

)*1 )01 0-%*&4 3 # /0 - /1, 9]ĂŠ 1 ,9ĂŠĂ“ÂŁ

9pm

seXpistolwhip %+ +".&4 (*("/503 41*/4 16/, /&8 8"7&

*/%*& (05) 30-- /0 $07&3 '30/5 300. -1 9]ĂŠ 1 ,9ĂŠĂ“Ă“

closed sundays in winter " 9]ĂŠ 1 ,9ĂŠĂ“ĂŽ 7pm 1#3 8&-- %0--"3 %": "-- %":

9pm 9pm

the heiGht

the am’s the blame 30$,

radical Vinyl %+Âľ4 41*/

'6/, )*1)01 0-%*&4 16/, /0 /1 - 9]ĂŠ 1 ,9ĂŠĂ“{

5pm 9pm

$4 marGaritas all niGht! color humano w/ dJ aaron lindell -"5*/ 406- "'30 14:$) '3&&

&@JJ@FE ,KI<<K ,

THE DIRT DAUBERS

(members of The Legendary Shack Shakers) El Cajon

THU Jan 19 LA CORDE 9pm $7 Balaclavas (Houston, Dull Knife) Dark Materials FRI Jan 20 FAKE YOUR OWN DEATH 9:30pm, $7 Kill Moi SAT Jan 21 SF Sketchfest and Club Chuckles EARLY 5:30pm, $10 Present: The Legacy Music Dance Party ADV TIX ON SALE MAME THAT CHUNE with Brent Weinbach and Rob F. Martinez LATER TORTURED GENIES 9:30pm, $7 The Black Swans The Fisherman Three John Bernson (Exrays) SUN Jan 22 9pm, FREE

DJS EVA VON SLUT & PRETTY RICKY

The fall riSk

feaT. Jeff pehrSon of furThur Thu 1/19

Zodiac deaTh valley

MiSTer loveleSS, baby Talk, The SpyralS Fri 1/20

The MeTerS experience feaTurinG leo nocenTelli

and Special GueST bernie worrell (froM p-funk) korTy & friendS feaT. MeMberS of vinyl & The MonophonicS SaT 1/21

TokeSon buyeponGo Wed 1/25

Guy fox

buxTer hooT'n, The beST friendS Thu 1/26

only you

blackSTrap MolaSSeS Fri 1/27

dead winTer carpenTerS david JacobS-STrain HEDCHDG:9 7N

HDJI=:GC 8DB;DGI

TUE Jan 24 THE SWEET BONES 9pm, $6 Max Pain and the Groovies Knives WED Jan 25 PAGEANT 9pm, $6 Swells Weather UPCOMING: New Spell, Red Weather, Kids on a Crime Spree, Bad Bibles, Outdoorsmen, FM Bats, Porchlight Open Door, Foreign Cinema, Emperor X, Future Twin, Excuses for Skipping, Mist Giant

www.elriosf.com ~ 415-282-3325

Thurday 1/19

howe Gelb of GianT Sand

pluS very Special SupporT Tba Soon friday 1/20

el Ten eleven raceS SaTurday 1/21

Zen road piloTS wiTh Special GueSTS

harvey Mandel and The Snake crew

50 KicK Ass Beers on DrAught

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

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over 100 different bottles, specializing in Belgians

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)'*(%*) JGF >MF;@=K FA;C L@MF= )'*(%*) EGK@= C9K@=J B=KKA CD=AF )'*)%+HE L@= C=NAF HGDD9C ;@9L K@GO )'*/%*0 FACCA ?D9K=J :J=F<GF O9DK@ )'*/%*0 EQI C9HD9F K@=F? O9F? )'*0%+HE ?J=? HJGGHK HG<;9KL

LM=K<9Q )'*,

CG ;GE=<Q

KaBir SinGH, SaMMy K. oBeiD 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

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*6))Âť: *64,+@ :/6>*(:, -69 ;0? >0;/ ;/0: (+

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-69 ;/, 7,673, *64,+@ 79,;;@ .66+ -90,5+: 74 (5 (-;,95665 >0;/ ,(.3,/(9; +,36*(;,+ >0;5,:: 796.9(4 >/0;,:; 20+: < 256> *64,+@ >0;/6<; ( 5,; -90+(@ 165 ),51(405 /(: ( :(;<9+(@ =(5 30=, : ! 74 +6<. 36=,: :2,;*/-,:; 46=0,: 76+*(:; >>> :-:2,;*/-,:; *64 :46+*(:; 30=,

for future event info looK @ toronADo.com

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

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.

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

WWW.COBBSCOMEDY.COM

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

XXX UPSPOBEP DPN stage listings

on the cheap

film listings

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JANUARY 18 - 24, 2012 / SFBG.com

31

sTAgE lisTings

for more arts content visit sfbg.com/pixEl_vision TBUJPO BT NVDI BT CSFBLGBTU 0O PQFOJOH OJHIU UIF FQJTPEJD OBSSBUJWF TFFNFE UP QBTT UISPVHI TFWFSBM FOEJOHT CFGPSF TFUUMJOH PO POF XIPTF UJEZ NPSBM XBT EFMJWFSFE XJUI UPP IFBWZ B IBOE CVU JG UIF QJFDF SVOT B MJUUMF MPOH JUµT POMZ UIF MBTU NJOVUFT UIBU OPUJDFBCMZ NFBOEFST "OE FWFO XJUI TPNF BXLXBSE CVNQT BMPOH UIF XBZ JUµT OFWFS B EVMM UIJOH XBUDIJOH 3FFE XPSL "WJMB

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The World’s Funniest Bubble Show .BSTI #FSLFMFZ 5IFBUFS4UBHF "MMTUPO #FSL XXX UIFNBSTI PSH &YUFOEFE SVO 4BU 'FC .BSDI BOE BN -PVJT ²5IF "NB[JOH #VCCMF .BO³ 1FBSM SFUVSOT XJUI UIJT LJE GSJFOEMZ CVC CMF UBTUJD DPNFEZ

1

PaTriCK JONeS aNd PauL WHiTWOrTH iN Lee HaLL’S The PiTmen PainTers aT THeaTreWOrKS. | photo by tracy martin 4UBHF MJTUJOHT BSF DPNQJMFE CZ (VBSEJBO TUBGG 1FSGPSNBODF UJNFT NBZ DIBOHF DBMM WFOVFT UP DPOGJSN 3FWJFXFST BSF 3PCFSU "WJMB 3JUB 'FMDJBOP BOE /JDPMF (MVDLTUFSO 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTU JOHT TFF 1JDLT

THEATER opEning

Cabaret :PVOH 1FSGPSNFST 5IFBUSF 'PSU .BTPO $FOUFS #MED $ 3PPN .BSJOB BU -BHVOB 4' DBCBSFUTG XPSEQSFTT DPN 1SFWJFXT 5IVST 'SJ QN 0QFOT 4BU QN 3VOT 5IVST 4BU QN 4VO QN 5ISPVHI 'FC 4IBLFTQFBSF BU 4UJOTPO BOE *OEFQFOEFOU $BCBSFU 1SPEVDUJPOT QFSGPSN UIF ,BOEFS BOE &CC DMBTTJD JO BO JOUJNBUF TFUUJOH Olivia’s Kitchen &YJU 5IFBUSF &EEZ 4' XXX HFOFSBUJPOUIFBUSF DPN 0QFOT 'SJ QN 3VOT 'SJ 4BU QN 4VO QN 5ISPVHI 'FC (FOFSBUJPO5IFBUSF PGGFST UIJT ²SFNJY³ PG 4IBLFTQFBSFµT Twelfth Night. “SF Sketchfest” 7BSJPVT WFOVFT 4' XXX TGT LFUDIGFTU DPN +BO 'FC 5IF UI 4BO 'SBODJTDP $PNFEZ 'FTUJWBM JOWBEFT WFO VFT JO EBZT XJUI MPDBM BOE DFMFCSJUZ QBDLFE BOE MPDBM DFMFCSJUZ QBDLFE QFSGPSNBODFT GJMN FWFOUT JNQSPW TIPXT BOE NPSF Waiting for Godot 3PZDF (BMMFSZ .BSJQPTB 4' XXX UJEFTUIF BUSF PSH 0QFOT 'SJ QN 3VOT 5IVST 4BU QN 5ISPVHI 'FC 5JEFT 5IFBUSF $PNQBOZ EFCVUT XJUI B CPME JOUFSQSFUBUJPO PG UIF #FDLFUU DMBTTJD

Bay area

The Pitmen Painters 5IFBUSF8PSLT BU .PVOUBJO 7JFX $FOUFS GPS UIF "SUT $BTUSP 4' XXX UIFBUSFXPSLT PSH 1SFWJFXT 8FE 'SJ QN 0QFOT 4BU QN 3VOT 5VFT 8FE QN 5IVST 4BU QN BMTP 4BU QN 4VO BOE QN 5ISPVHI 'FC 5IFBUSF8PSLT QFSGPSNT B OFX DPNFEZ GSPN UIF BVUIPS PG Billy Elliot BCPVU B HSPVQ PG #SJUJTI NJOFST XIP CFDPNF BSU XPSME TFOTBUJPOT.

ongoing

Food Stories: Pleasure is Pleasure ; 4QBDF 5IFBUFS "SUBVE 'MPSJEB 4' XXX CSPXO QBQFSUJDLFUT DPN 8FE 5IVST QN 'SJ 4BU QN 4VO QN 5ISPVHI 'FC 8PSE GPS 8PSE QSFTFOUT QFSGPSNBODFT PG TIPSU TUPSJFT CZ 5 $ #PZMF BOE "MJDF .D%FSNPUU Future Motive Power 0ME .JOU 'JGUI 4U 4' XXX NVHXVNQJO PSH 'SJ 4VO QN 5ISPVHI +BO .VHXVNQJO UBLFT PO UIF MJGF PG /JLPMB 5FTMB JO JUT MBUFTU QFSGPSNBODF QJFDF

32 SAN FRANCISCO BAY GUARDIAN

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Humor abuse "NFSJDBO $POTFSWBUPSZ 5IFBUFS (FBSZ 4' XXX BDU TG PSH 5VFT 4BU QN 5VFT TIPX BU QN BMTP 8FE BOE 4BU QN OP NBUJOFF 8FE 4VO QN 5ISPVHI 'FC "$5 QSFTFOUT -PSFO[P 1JTPOJ BOE &SJDB 4DINJEUµT UBMF CBTFE PO 1JTPOJµT MJGF IF JT BMTP UIF TPMF QFSGPSNFS PG B DIJME HSPXJOH VQ BNJE 4BO 'SBODJTDPµT 1JDLMF 'BNJMZ $JSDVT New Fire: To Put Things right again #SBWB 5IFBUFS UI 4U 4' XXX CSBWB PSH 5IVST 4BU QN 4VO QN 5ISPVHI +BO #SBWB 5IFBUFS QSFTFOUT B XPSME QSFNJFSF CZ #SBWB GPVOEJOH NFNCFS $IFSSrF .PSBHB Not Getting any younger .BSTI 4BO 'SBODJTDP 4UVEJP 5IFBUFS 7BMFODJB 4' XXX UIFNBSTI PSH 'SJ QN 4BU BOE QN &YUFOEFE UISPVHI 'FC .BSHB (PNF[ JT CBDL BU UIF .BSTI B DPVQMF PG UPP CSJFG EFDBEFT BGUFS JOBVHVSBUJOH UIF UIF BUFSµT OFX TUBHF XJUI IFS GJSTU TPMP TIPX ± BO BQU TFUUJOH JO PUIFS XPSET GPS UIF XSJUFS QFSGPSNFSµT MBUFTU NPOPMPHVF B SFGMFDUJPO PO UIF JOFWJUBCMF QSPDFTT PG BHJOH GPS B -BUJOB MFTCJBO DPNFEJBO BOE BSUJTU XIP TUJMM IBOHT BU 4UBSCVDLT BOE DBOµU CF USVTUFE XJUI UIF EFUBJMT PG IFS PXO 8JLJQFEJB FOUSZ *G UIF UIPVHIU PG TPNFPOF BT QFSFOOJBMMZ JSSFWFSFOU JOTPVDJBOU BOE BQQFBMJOHMZ JNNBUVSF BT (PNF[ NBLFT ZPV EFQSFTTFE UIF TIPX JT TUSBOHFMZ FOPVHI UIF CFTU BOUJEPUF "WJMB

Bay area

Ghost Light #FSLFMFZ 3FQFSUPSZ 5IFBUSF 5ISVTU 4UBHF "EEJTPO 4' XXX CFSLFMFZSFQ PSH 5VFT 5IVST 4BU QN BMTP 4BU 5IVST BOE 'FC QN OP NBUJOFF 4BU 8FE BOE 4VO QN BMTP 4VO QN 5ISPVHI 'FC #FSLFMFZ 3FQ QFSGPSNT 5POZ 5BDDPOFµT XPSME QSFNJFSF QMBZ BCPVU (FPSHF .PTDPOFµT BTTBTTJOBUJPO EJSFDUFE CZ UIF MBUF 4BO 'SBODJTDP NBZPSµT TPO +POBUIBO .PTDPOF The Kipling Hotel: True Misadventures of the electric Pink ‘80s /FX WFOVF .BSTI #FSLFMFZ "MMTUPO #FSL XXX UIFNBSTI PSH 4BU QN 4VO QN 5ISPVHI 'FC 5IJT OFX BVUPCJPHSBQIJ DBM TPMP TIPX CZ %PO 3FFE XSJUFS QFSGPSNFS PG UIF GJOF BOE MPOH SVOOJOH East 14th JT BOPUIFS TMJDF PG UIF BSUJTUµT KPVSOFZ GSPN T 0BLMBOE HIFUUP UP DPNFEZ DJSDVJU SFTQFDUBCJMJUZ ± IFSF WJB B QBSUJBM EFCBUF TDIPMBSTIJQ UP 6$-" 5IF UJUVMBS -PT "OHFMFT SFTJEFODZ IPUFM XBT XIFSF 3FFE MJWFE BOE XPSLFE GPS B UJNF JO UIF T XIJMF BUUFOEJOH VOJWFSTJUZ *UµT BMTP B SJDI NJOF PG NFNPSZ BOE NBUFSJBM GPS UIJT QIZTJDBMMZ QSPUFBO BOE DIBSJTNBUJD DPNJD BDUPS XIP TBJMT UISPVHI UXP BDUT PG PGUFO IJMBSJPVT TPNFUJNFT UPVDIJOH WJHOFUUFT MPPTFMZ TUSVDUVSFE BSPVOE IJT UJNF PO UIF IPUFMµT ZPVOH XBJU TUBGG XIJDI DBUFSFE UP UIF OFFET PG FMEFSMZ QBUSPOT XIP NJHIU OFFE DPOWFS

1

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pERfoRmAncE /dAncE

Caroline Lugo and Carolé acuña’s Ballet Flamenco 1FvB 1BDIBNBNB 1PXFMM 4' XXX CSPXOQBQFSUJDLFUT DPN 4VO QN 'MBNFODP TPOH BOE EBODF GSPN B NPUIFS EBVHIUFS UFBN davalos dance Company $PVOUFS16-4& .JTTJPO 4' XXX DPVOUFSQVMTF PSH 'SJ 4BU QN 5IF DPOUFNQPSBSZ EBODF DPNQBOZ QFSGPSNT ²" 8JOUSZ .JY ³ “The Gondoliers” :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX MBNQMJHIUFST PSH 'SJ 4BU QN BMTP 4BU QN 4VO QN "MTP +BO QN BMTP +BO QN +BO QN -BNQMJHIUFST .VTJD 5IFBUSF QFSGPSNT UIF (JMCFSU BOE 4VMMJWBO PQFSFUUB “Nameless forest” :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX ZCDB PSH 5IVST 4BU QN .VMUJEJTDJQMJOBSZ QFSGPSNBODF NBUDIJOH UIF UBMFOUT PG DIPSFPHSBQIFS %FBO .PTT XJUI TDVMQ UPS QPFU 4VOHNZVOH $IVO San Francisco Cabaret Opera $BGn 3PZBMF 1PTU 4' 8FE QN 'SFF 1FSGPSNBODF PG ²5IF ,VSU 8FJMM 1SPKFDU ³ “The Screwtape Letters” 8BS .FNPSJBM 0QFSB )PVTF 7BO /FTT 4' XXX TDSFXUBQFPOTUBHF DPN 4BU BOE QN 4VO QN "EBQUBUJPO PG UIF $ 4 -FXJT OPWFM BCPVU TQJSJUVBM XBSGBSF GSPN B EFNPOµT 107

Bay area

Company C Contemporary Ballet -FTIFS $FOUFS GPS UIF "SUT $JWJD 8BMOVU $SFFL 'SJ 4BU QN BMTP 4BU QN "MTP +BO QN BOE +BO QN $BTUSP 7BMMFZ $FOUFS GPS UIF "SUT 3FEXPPE $BTUSP 7BMMFZ "MTP 'FC QN 'FC QN HBMB CFOFGJU BOE 'FC QN :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' 5IF DPNQBOZ PQFOT JUT UI BOOJWFSTBSZ TFBTPO Peking acrobats ;FMMFSCBDI )BMM #BODSPGU BU 5FMFHSBQI 6$ #FSLFMFZ #FSL XXX DBMQFSGPS NBODFT PSH 'SJ 4BU QN 4VO QN 5IF $IJOFTF GPML BDSPCBUJD DPNQBOZ QFSGPSNT 2

on the cheap

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on the cheap

for more arts content visit sfbg.com/pixel_vision ZPV GFFMJOH B MJUUMF VOEFS UIF GPH DPWFS )FBE PVU UP UIJT ZVDLGFTU GFBUVSJOH %BOOZ %FDIJ BOE B QBTTFM PG IJT GVOOZ CVEEJFT +JMM #PVSRVF %IBZB -BLTINJOBSBZBOBO .JLF $BQP[[PMB BOE 3FCFDDB "SUIVS UP OBNF B GFX

thursday 19 *OTJEF 4UPSZ 5JNF $BGn 3PZBMF 1PTU 4' XXX DBGFSPZBMF TG DPN Q N -PDBM BVUIPST EPJOH SFBEJOHT UIBU NBUDI UPOJHIUµT UIFNF ²BTQJSBUJPOT ³ )PQFGVM SFBEJOHT BU UIBU &SJD 4IBOPXFSµT 3PBE UP 0[ $BSUPPO "SU .VTFVN .JTTJPO 4' XXX DBSUPPOBSU PSH Q N TVHHFTUFE EPOBUJPO "DDPNQMJTIFE DBSUPPOJTU &SJD 4IBOPXFS IBT NBEF JU IJT MJGFµT XPSL UP DPOWFSU - 'SBOL #BVNµT 0[ CPPLT JOUP .BSWFM $PNJDT HSBQIJD OPWFMT )F EFUBJMT IJT KPVSOFZ EPXO IJT PXO ZFMMPX CSJDL SPBE BT B TUSVHHMJOH BSUJTU

friday 20

After spending time At A filipino mAssAge school for the blind, ginA osterloh lectures on sAt/21 on vision-boggling imAges like the one Above. | PHOTO COURTESY OF GINA OSTERLOH 0O UIF $IFBQ MJTUJOHT BSF DPNQJMFE CZ -VDZ 4DIJMMFS BOE $BJUMJO %POPIVF 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

wednesday 18 1JOCBMM UPVSOBNFOU 7JUVT #SPBEXBZ 0BLM XXX WJUVTPBLMBOE DPN Q N 5IPTF BEFQU BU GMJQQJOH UIF CJSE NBZ EJTDPWFS BO FBTZ DSPTTPWFS JOUP UIF EFYUFSPVT XPSME PG QJOCBMM 7JUVT

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IPTUT B UPVSOBNFOU DIPDL GVMM PG SBGGMF QSJ[FT " /FHPUJBUFE -BOETDBQF EJTDVTTJPO 6OJWFSTJUZ 1SFTT #PPLT #BODSPGU #FSL XXX VOJWFSTJ UZQSFTTCPPLT DPN Q N GSFF 6SCBO TUVE JFT QSPGFTTPS +BTQFS 3VCJO GPMMPXT BOE FYBNJOFT UIF QPMJUJDBM XSBOHMJOHT PWFS UIF 4BO 'SBODJTDP XBUFSGSPOU JO IJT MBUFTU CPPL EFUBJMJOH HSBTTSPPUT BDUJWJTN BHBJOTU NBKPS EFWFMPQNFOU QSPKFDUT 4UBOE VQ DPNFEZ TIPXDBTF #B[BBS $BGF $BMJGPSOJB 4' XXX EBOOZEF DIJ DPN Q N GSFF #J[BSSP XJOUFS HFSNT HPU

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'VMMNFUBM "MDIFNJTU UIF 4BDSFE 4UBS PG .JMPT TDSFFOJOH 'JMN 4PDJFUZ $JOFNB 1PTU 4' XXX TGGT PSH Q N 5IF MBUFTU JOTUBMMNFOU JO BO BOJNF TFSJFT XIJDI FYQMPSFT &VSPQFµT JOEVTUSJBM SFWPMVUJPO BMDIFNZ BOE QPQV MBS SFTJTUBODF DPNFT UP UIF 4' 'JMN 4PDJFUZ 4' %VNQ BSUJTU JO SFTJEFODZ BSU PQFOJOH &OWJSPONFOUBM -FBSOJOH $FOUFS (BMMFSZ 5VOOFM 4' XXX SFDPMPHZTG DPN Q N GSFF "MTP 4BU Q N GSFF 5IFSF DBO CF OP DPPMFS BSUJTU JO SFTJEFODZ QSPHSBN UIBO UIBU PG 3FDPMPHZ XIJDI TFUT VQ JUT DSFBUJWF UZQFT UP DSBGU BSU GSPN UIF EFUSJUVT GPVOE JO UIF EVNQ JUTFMG (SFBU XPSLT IBWF TQSVOH GSPN UIJT DPMMBCPSBUJPO BOE UIJT XFFLFOE &UIBO &TUFTT %POOB "OEFSTPO BOE 5FSSZ #FSMJFS XJMM TVSFMZ BEE UP UIBU DBOPO

saturday 21 (JOB 0TUFSMPI MFDUVSF :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX ZCDB PSH Q N 0TUFSMPIµT MBUFTU XPSL "OPOZNPVT 'SPOU DSF BUFE JO DPOKVODUJPO XJUI B NBTTBHF UIFSBQZ TDIPPM

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on the cheap

GPS UIF CMJOE JO UIF 1IJMJQQJOFT FYQMPSFT CMJOEOFTT BOE JEFOUJUZ XJUI FZF EFDFJWJOH QIPUPHSBQIT *LFCBOB EFNPOTUSBUJPO 0SUFHB #SBODI -JCSBSZ 0SUFHB 4' XXX TGQM PSH Q N GSFF $IJ[VLP /BLBNVSB HFOUMZ DPBYFT GMPXFST JOUP TPQIJTUJDBUFE TVCNJTTJPO JO B EFNPOTUSBUJPO PG UIF USBEJUJPOBM +BQBOFTF BSSBOHJOH BSU ,VMJOBSZB " 'JMJQJOP DVMJOBSZ TIPXEPXO $BSOFMJBO CZ UIF #BZ 'FSSZ 1MB[B 4' XXX LVMJOBSZB FWFOUCSJUF DPN Q N GSFF 'FBUVSJOH B DPSOVDPQJB PG 'JMJQJOP FEJCMFT BOE HPPET UIJT TFDPOE BOOVBM FWFOU TIPXDBTFT UIF QJMJ OVU XIJDI BDDPSEJOH UP POF FYQFSU JT QSFUUZ NVDI UIF OFYU NBDBEBNJB

sunday 22 4FBTPOBM QMBOU TBMF )BZFT 7BMMFZ 'BSN -BHVOB 4' XXX IBZFTWBMMFZGBSN DPN /PPO Q N GSFF 8JOEPXCPY DIBSE CFBUT PVU UIF TJY EPMMBS WBSJFUZ BOZ EBZ )BZFT 7BMMFZ 'BSN QSP WJEFT TUVSEZ TFFEMJOHT IBSEZ GSVJU USFFT JODMVE JOH QMVPUT BOE UIPTF FWFS QSPMJGJD TFFECPNCT QFSGFDU GPS UIPTF XIPTF QFSTPOBM HSFFO TQBDF JT DPOTUSBJOFE UP B DSBDL JO UIF TJEFXBML

monday 23 #FO &ISFOSFJDI BOE 3PCFSU "SFMMBOP SFBEJOH 5IF #PPLTNJUI )BJHIU 4' XXX CPPLTNJUI DPN Q N GSFF &ISFOSFJDIµT EZTUPQJBO OPWFM &UIFS IBT CFFO MJLFOFE UP ²#BNCJ EJSFDUFE CZ 2VFOUJO 5BSBOUJOP ³ XIJMF "SFMMBOPµT $VSTF UIF /BNFT JT UIF TUPSZ PG BO BQPDBMZQTF UP CF EFFQ JO UIF 4BOHSF EF $SJTUP .PVOUBJOT

tuesday 24 5IF -BOHVBHF PG 'MPXFST MFDUVSF 4BO 'SBODJTDP -JCSBSZ -BSLJO 4' XXX TGQM PSH Q N GSFF /FWFS TFOE BO JMM UJNFE DISZTBOUIFNVN BHBJO "VUIPS 7BOFTTB %JGGFOCBVHI JT EPJOH B SFBEJOH GSPN IFS OFX CPPL BCPVU UIF 7JDUPSJBO BSU PG GJHVSJOH PVU XIBU TFWFSFE EFBE CMPPNT DBO TBZ BCPVU ZPV BOE UIF PCKFDU PG ZPVS BGGFDUJPO 2

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GUARDIAN DEALS ON THE FLY @ FORKFLY. COM

JANUARY 18 - 24, 2012 / SFBG.com

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Kf X[m\ik`j\ `e fli Ôcd j\Zk`fe ZXcc +(,$,/,$0'0/%

film listinGs

for more arts content visit sfbG.cOm/pixel_visiOn

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OpeninG

Addiction Incorporated $IBSMFT &WBOT +S µT EPDVNFOUBSZ SFWJTJUT UIF IJTUPSZ PG UIF UPCBDDP JOEVTUSZµT EFDFQUJPOT NBDIJOBUJPOT BOE PUIFS

Kf X[m\ik`j\ `e fli Ôcd j\Zk`fe ZXcc +(,$,/,$0'0/% RAlph FIennes (who Also dIRected) And VAnessA RedgRAVe stAR In Coriolanus, out FRI/20. Photo by Larry D. horricks

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1

34 SAN FRANciSco BAY GUARdiAN

editoRiAlS

NewS

Food + dRiNk

pickS

ARtS + cUltURe

mUSic liStiNGS

StAGe liStiNGS

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Film liStiNGS

clASSiFiedS

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1

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JANUARY 18 - 24, 2012 / SFBG.com

35

Kf X[m\ik`j\ `e fli Ôcd j\Zk`fe ZXcc +(,$,/,$0'0/%

film listings rep clock

4DIFEVMFT BSF GPS 8FE 5VFT FYDFQU XIFSF OPUFE %JSFDUPS BOE ZFBS BSF HJWFO XIFO BWBJMBCMF %PVCMF BOE USJQMF GFBUVSFT BSF NBSLFE XJUI B Â… "MM UJNFT Q N VOMFTT PUIFS XJTF TQFDJGJFE ALA COSTA CENTER 3PTF #FSL NJTTSFQMBDPTUB FWFOUCSJUF DPN Miss Representation 4JFCFM /FXTPN 'SJ #FOFGJUT "MB $PTUBÂľT "EVMU 5SBOTJUJPO 1SPHSBN GPS ZPVOH BEVMUT XJUI EFWFMPQNFOUBM EJTBCJMJUJFT BALBOA #BMCPB 4' XXX CSPXOQBQ FSUJDLFUT DPN ²0QFSB BOE #BMMFU BU UIF #BMCPB 5IFBUSF Âł Don Giovanni GSPN -B 4DBMB 8FE Caligula GSPN UIF 1BSJT 0QFSB #BMMFU 4BU 4VO BN CASTRO $BTUSP 4' XXX DBTUSPUIFBUSF DPN Â…Lenny 'PTTF 8FE BOE American: The Bill Hicks Story )BSMPDL BOE 5IPNBT 8FE ²4' 4LFUDIGFTU Âł ²/JHIU PG UIF 4IPSUT *** 5IF 4FBSDI GPS

MICHELANGELO ANTONIONI’S FIRST COLOR FILM, 1964’S Red deseRt, SCREENS AT YERBA BUENA CENTER FOR THE ARTS. photo courtesy janus films

4DIMPDL Âł XJUI ,FWJO .VSQIZ BOE #JMM $PSCFUU 5IVST 5IJT FWFOU GPS UJDLFUT BOE NPSF JOGP WJTJU XXX TGTLFUDIGFTU DPN ²/PJS $JUZ 9 Âł Â…Dark Passage %BWFT 'SJ BOE The House on Telegraph Hill 8JTF 'SJ Â…Okay, America (BSOFUU 4BU BOE Afraid to Talk $BIO 4BU Â…The Killers 4JFHFM 4BU XJUI "OHJF %JDLJOTPO PO TUBHF JOUFSWJFX BGUFS UIF GJMN BOE Point Blank #PPSNBO 4BU Â…Laura 1SFNJOHFS 4VO BOE Bedelia $PNGPSU 4VO Â…Gilda 7JEPS .PO BOE The Money Trap ,FOOFEZ .PO Â…Unfaithfully Yours 4UVSHFT 5VFT BOE The Good Humor Man #BDPO 5VFT "EWBODF UJDLFUT EPVCMF GFBUVSFT BOE NPSF JOGP BU XXX OPJSDJUZ DPN CHRISTOPHER B. SMITH RAFAEL FILM CENTER 'PVSUI 4U 4BO 3BGBFM XXX DBGJMN PSH ²'PS :PVS $POTJEFSBUJPO " 4FMFDUJPO PG 0TDBS 4VCNJTTJPOT GSPN "SPVOE UIF 8PSME Âł A Simple Life )VJ 8FE Patagonia &WBOT 8FE Once Upon a Time in Anatolia $FZMBO 5IVST Hipsters 5PEPSPWTLZ 8FE 5IVST DBMM GPS UJNFT PACIFIC FILM ARCHIVE #BODSPGU #FSL CBNQGB CFSLFMFZ FEV ²'JMN )JTUPSZ PG 'JMN $JOFNB BOE UIF 0UIFS "SUT Âł ²$PVSTF *OUSPEVDUJPO 5IF -BOHVBHF PG $JOFNB Âł XJUI MFDUVSF CZ .BSJMZO 'BCF 8FE 5IJT FWFOU ²)FOSJ (FPSHFT $MPV[PU 5IF $JOFNB PG %JTFODIBOUNFOU Âł Manon 8FE Miquette and Her Mother 'SJ The Wages of Fear 4BU ²"VTUFSF 1FSGFDUJPOJTN 5IF 'JMNT PG 3PCFSU #SFTTPO Âł Au hasard Balthazar 5IVST Mouchette 4BU ²)PXBSE )BXLFT 5IF .FBTVSF PG .BO Âł Fazil 'SJ A Girl in Every Port 5VFT ROXIE BOE UI 4U 4' XXX SPYJF DPN ²*UÂľT UIF 1BVM .FJOCFSH 4IPX Âł Bachelor’s Daughters 4UPOF 8FE Battle for Brooklyn (BMJOTLZ BOE )BXMFZ 5IVST Drive 8JOEJOH 3FGO 8FE 5IVST Everyday Sunshine: The Story of Fishbone "OEFSTPO BOE .FU[MFS 8FE 5IVST SFFS | NEW PEOPLE CINEMA 1PTU 4' XXX TGGT PSH ²'PVS 4BNVSBJ $MBTTJDT Âł Harakiri ,PCBZBTIJ 8FE Yojimbo ,VSPTBXB 8FE Sanjuro ,VSPTBXB 5IVST Seven Samurai ,VSPTBXB 5IVST Fullmetal Alchemist: The Sacred Star of Milos .VSBUB +BO VICTORIA THEATER UI 4U 4' XXX TUBSU TPNFXIFSF DPN Miss Representation 4JFCFM /FXTPN 5VFT #FOFGJUT 4UBSU0VUÂľT OFX -FTCJBO &OUSFQSFOFVSTIJQ NFOUPSJOH QSPHSBN YERBA BUENA CENTER FOR THE ARTS .JTTJPO 4' XXX ZCDB PSH Red Desert "OUPOJPOJ 5IVST BOE 4BU 4VO 2

MR. SMITH GOES TO WASHINGTON Friday January 20, 8pm (Doors open 7pm)

In Frank Capra’s Oscar winner, the idealistic Mr. Smith (Jimmy Stewart) is appointed to ďŹ ll a vacancy in the US Senate. His ideals promptly collide with political corruption. Paramount Movie Classics include live Wurlitzer organ serenade, Dec-O-Win rafe, newsreel, cartoon and previews. Admission ONLY $5 • ticketmaster.com or 800-745-3000

2025 Broadway, Oakland 36 SAN FRANCISCO BAY GUARDIAN

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NOTICE OF APPLICATION TO SELL ALCOHOLIC BEVERAGES Date of Filing Application: January 4, 2012. To Whom It May Concern: The name of the applicant is: I LATINA INC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 3230 & 3234 22ND STREET, SAN FRANCISCO, CA 94110-3007. Type of License Applied for: 47 - ON-SALE GENERAL EATING PLACE . Publication dates: January 11, 18 AND 25, 2012 L#113508 FICTITIOUS BUSINESS 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-0339758-00 The following person is doing business as Big Hats Music 138 Dolphin Ct., San Francisco, CA 94124. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Kevin Carpenter. This statement was filed by Alan Wong, Deputy County Clerk on November 30, 2011. L#113503, January 4, 11, 18 and 25, 2012 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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