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JANUARY 25 - 31, 2012 / SFBG.com

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the interests of the LGBT community have always been united with the interests of public space editor’s notes

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Are residents angry at bureaucratic bungling — or just with the loss of free street parking? P8

OPINION The San Mateo Community College District Board of Trustees has announced the upcoming sale of its independent public television station, KCSM-TV. Some potential new owners are cause for alarm.

A Jan. 10 walk-though for potential bidders was attended by the Christian broadcasting giant Daystar Television. The fastestgrowing faith-based network in the country, Daystar’s mission is to reach souls with the good news of Jesus Christ as one of a “new breed of televangelists.”

While the prospect of San Mateo Community College bringing Daystar to the Peninsula is the most dramatic possible outcome of the district’s decision to sell, some of the other bidders present challenges as well.

Public Media Company, controlled by radio brokers Public Radio Capital and much in the news for its role in the still-contested sale of KUSF’s radio license to the formerly commercial sta-

I wonder if all the top Republicans who love big corporations and support unlimited corporate spending on campaigns have any idea what it’s done to their party.

The Citizens United decision, handed down by a 5-4 Supreme Court vote with all of the justices appointed by modern Republicans voting on one side and all three justices appointed by Democrats (and the one appointed by oldtime Republican Gerald Ford) voting the other way.

Republican leaders immediately hailed the decision, with GOP Senate leader Mitch McConnell calling it “a blow for the First Amendment.”

The ruling, of course, allowed unlimited corporate spending on elections, creating the so-called super PACs that are now dominating the Republican primary campaigns.

And look at what they’ve done.

Newt Gingrich has used his super PAC to attack Mitt Romney.

Romney has used super PAC money to attack Gingrich. Both of them are bloodied — and it’s only going to get worse in Florida.

Over the next week, the Sunshine State is going to see millions of dollars in attack ads (from undisclosed corporate donors) on both sides. Romney will be portrayed (by a right-wing opponent) as a heartless rich capitalist who destroyed jobs. Gingrich will be attacked as an adulterous creep who can’t be trusted. If Rick Santorum or Ron Paul appears to be gaining momentum, one of the Gingrich or Romney super PACS will try to chop off their heads, too.

It couldn’t happen to a nicer bunch of guys. And the main impact will be to weaken the eventual nominee and help reelect President Obama.

Because while primaries are often nasty, the big money from the super PACs has been almost entirely negative. That’s going to continue.

If Florida is close, Romney and Gingrich, both with very rich backers, will continue assailing each other for weeks to come.

Negative TV ads work. That’s why political consultants use them.

But Republicans aren’t the only ones who will see the ads — Democrats and independents have TVs in Florida, too. That may be a swing state in the fall, and after seeing

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Occupy is back — with horns and glitter An energetic day of action shows that the movement is very much alive P10

What are people?

Occupy protesters and progressive politicians call for end to corporate personhood P11

Legal, not legal

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Whatever Happened to Baby Jaymes?

Seven years after his landmark Ghetto Retro, the Bay’s hip-hop soul phenom returns with a new EP P20

trash P21 Sorrow, tears, blood — and dance

Old friends and inspired musicians revisit Fela Kuti’s influence P22

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Carlton Melton — ex-Zen Guerrilla — creates psychedelic noise in a geodesic structure P23

Frilly werewolf Christine Beatty is Not Your Average American Girl P24

Too much in the son

A theater director wrestles history and Hamlet in Ghost Light, and this time it’s personal P25

The best medicine

Valérie Donzelli draws on her real-life experiences as mother to a sick child in the whimsical, likable Declaration of War P26

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Public TV, Plazas are public space for sale the guardian editorial EDITORIAL The attack on public space has been underway for years now in San Francisco. Parks and recreation centers have been turned into pay-to-enter facilities rented out to private organizations. The sit-lie law restricts the use of public sidewalks. Occupy protesters have been evicted from a public plaza. And now, Supervisor Scott Wiener wants to put new restrictions on the miniparks and plazas that have been a rare bright spot in the battle to reclaim the streets.

Wiener has introduced legislation that would ban camping, cooking, four-wheeled shopping carts, and the sale of merchandise in Harvey Milk Plaza and Jane Warner Plaza, near Market and Castro. He argues that the two parklets — one reclaimed from what had been roadway — are in legal limbo: They aren’t parks, so the city’s park codes don’t apply, and they aren’t sidewalks, so rules like the sit-lie law don’t apply, either.

But there are serious problems with the Wiener legislation. For one thing, it’s clearly directed at homeless people — the ban on shopping carts makes no sense at picks

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all except for the fact that a lot of homeless people carry their possessions in those carts. And the ban on camping (which isn’t a problem right now in the two plazas) could be used to prevent an Occupy-style action in the Castro.

The ACLU says there are serious constitutional issues with the bill. In a Jan. 21 letter, ACLU staff attorney Linda Lye notes that the ban on the sale of merchandise without a permit could “burden expressive activity.” And she explains that the shopping cart rules have exceptions for bicycles, strollers, and two-wheeled carts, but “it is wholly unclear why some but not other wheeled conveyances are singled out for prohibition, other than to restrict the activities of an unpopular group.”

A letter signed by 21 members of the Harvey Milk Club, including co-founders Harry Britt and Cleve Jones, Assemblymember Tom Ammiano, and eight past club presidents, points out that “the interests of the LGBT community have always been united with the interests of public space. As a community that is CONTINUES ON PAGE >>

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january 25 - 31, 2012 / SFBG.com

editorials plazas are public space CONT>>

forced—far too often and for far too long—to spend much of our collective lives ‘in the closet,’ the ability to be free in public spaces has been tremendously liberating.

Harvey Milk knew that liberation was only possible if we escaped the shadows of anonymity and invisibility. When we restrict these spaces—even when those restrictions are meant, initially, to be applied to another group of people—we damage ourselves.�

The issue goes far beyond the Castro. There are a growing number of small plazas in the city, part of the popular and successful Pavement to Parks Program — and the last thing the city should be doing is putting undue restrictions on their use.

Wiener, to his credit, has been in touch with the ACLU, and amended his original proposal to exempt the sale of newspapers and other printed material.

But that doesn’t solve the First Amendment issues — for example, would the sale of T-Shirts with political slogans be banned?

Could the city decide which political candidates or causes could get a permit and which couldn’t?

The whole thing seems like a solution in search of a problem.

The plazas, like most of the city’s parklets, are for the most part clean and well-maintained community gathering spots that don’t need new rules or restrictions.

The supervisors should reject the Wiener legislation. 2

H ow does the body heal the mind?

public tv, for sale CONT>>

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tion KDFC, also toured the station on Jan. 10.

Public Media Company/Public Radio Capital is based in Boulder, Colorado. The intertwined family of limited liability companies has been buying up college radio stations at fire-sale prices all over the country and folding them into tight National Public Radio classical or jazz-only formats.

Independent musicians have expressed alarm at the loss of accessible college radio outlets, and the San Francisco Board of Supervisors denounced the loss of KUSF to San Francisco’s cultural fabric in a 2011 resolution.

Other possible bidders included the mysterious Locust Point Networks, a website without a music listings

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definition beyond “an early stage telecommunications company,� and Cheifet Productions, which produced programming on Silicon Valley for the PBS Nightly Business Report. Also in the potential market are Independent Public Media, a satellite TV service created by one of the founders of Free Speech TV, and KAXT, a South-Bay based family of foreignlanguage stations founded by a former KGO reporter.

In the Bay Area, public broadcasting is dominated by the vast KQED, which owns television and radio stations from Sacramento to Salinas to San Jose. KQED has long been criticized for a paucity of local programming and news, and a fondness for cooking shows.

The absorption of independent outlets into the KQED structure promises more standardization and less variety for peninsula residents.

The district claims the sale of the educational, noncommercial TV license is a necessity because operating an independent public television station is not compatible with the core mission of educating students. But the district will continue to operate the radio station Jazz 91 radio station.

District officials also said that the TV station was losing money.

But a financial statement posted with bid materials seemed to include many shared radio/TV expenses.

The district trustees meet Jan. 25 at 6:00 p.m. at the College of San Mateo, 3401 College of San Mateo Drive. They should be told in no uncertain terms that a sale to a Christian broadcaster is unacceptable — and that that any sale must protect the public interest in localism, independence, and a diversity of points of view. 2 Tracy Rosenberg is the executive director of Media Alliance, a Bay Area nonprofit that advocates for democratic communications. www. media-alliance.org editor’s notes CONT>>

all this ugly shit about Romney followed by more ugly shit about Gingrich, the incumbent is going to look more and more appealing.

In fact, oddly enough, the super PACs funded by conservative billionaires may end up reelecting the man they want so badly to unseat.

Citizens United sinks the GOP. How appropriate. 2

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JANUARY 25 - 31, 2012 / SFBG.com

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You have expensive housing for people and free parking for cars.

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Politics It ain’t over yet: Occupiers take over an abandoned hotel on Van Ness Scott Weiner’s plan for the plaza Castro and Market runs into strong opposition from LGBT leaders Continued coverage of the Mirakarimi domestic abuse charges Tim Redmond on the GOP primaries

Noise Marke B.’s Nite Traxx column tells you the latest tidings from around the clubland watering hole Local musicians cover Nick Drake’s “Pink Moon” at the Rickshaw Stop Emily Savage’s Localized Appreesh questionnaire draws out the finest in our local music gonna-be stars

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Are residents angry at bureaucratic bungling — or just with the loss of free street parking?

By Steven T. Jones steve@sfbg.com The San Francisco Municipal Transportation Agency has hailed the success of its SFpark program — which uses high-tech meters and demand-variable pricing to manage on-street parking — noting that expired meter citations are down and meter revenue is way up. The resulting 11 percent net increase in revenue is all going to improve Muni. So transit improves, drivers get more spots and fewer tickets — everybody wins.

But the SFMTA has run into a hornet’s nest of opposition with its latest proposal to expand SFpark into the Northeast Mission District, Potrero Hill, Dogpatch, and Mission Bay, largely because the plan involves placing meters on streets where parking is now free. And even those who don’t object to paying for parking say the SFMTA has bungled this process.

The problem isn’t just what critics say are arrogance and dubious outreach efforts by agency officials. It may be that the SFMTA pursued too many goals at once, mixing them in ways that muddled the message. Or it may just be that charging for parking will always anger drivers, no matter how it’s proposed.

The agency wants to discourage driving — particularly cruising for parking, hence SFpark’s “Circle Less, Live More” slogan — to speed up Muni and reduce traffic congestion. But that also means charging for street parking so cars won’t just sit in those spaces, and that involves a complicated balancing act in mixed use neighborhoods.

Residents, many employers, and commuters want all-day street parking, preferably free and easy. But most business owners want enough parking turnover so their customers can find a spot.

City policies call for prioritizing residents’ needs, and the SFMTA needs money to fund and expand Muni service.

Meeting all of those needs isn’t easy. But over the last couple of months, the SFMTA’s effort to expand its successful and popular SFpark program have managed editorials

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to turn thousands of residents angrily against that program, the agency, and the proposition that people shouldn’t expect free parking.

Community outrage Architect John Lum and artist/clothing designer Miranda Caroligne didn’t know each other a couple months ago, but now they’re helping to lead a movement that is uniting neighborhood groups in the Mission, Dogpatch, and Potrero Hill against the parking meter proposals.

“You have an agency that is not listening at all to the community. That’s fascism!” declares Lum. He’s actually an amiable and softspoken young guy who employs 10 people at his architecture firm near 17th and Capp streets, but this issue really gets his blood boiling.

And Lum isn’t alone, as the Jan. 13 public meeting before an SFMTA hearing officer showed. Not only did everyone who streamed to the microphone voice opposition to the proposals, but they usually did so in angry and accusatory ways, saying it would destroy businesses, punish the poor, and result in conditions that are simply unworkable and intolerable. And they said the SFMTA simply doesn’t care.

“If you’re a PDR business,” Caroligne said, referring to the Production, Distribution, and Repair businesses whose last bastion is some of the targeted areas, “you’re never going to get

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people to work at a place that doesn’t have parking...This proposal will push them out.”

There are myriad ways that the plans are flawed, say their critics: Meters were proposed on some residential streets in initial plans, despite SFMTA policies to the contrary; traffic surveys had too small a sampling and weren’t realistic; residential permit districts would be replaced by meters, or meters would be placed where districts might work better; transit service on Potrero Hill is too bad to expect people to use it; live-work spaces were inappropriately treated like retail outlets; and meters near the 22nd Street Caltrain station could actually discourage the use of public transit.

“There’s not that much disagreement, but where there is, it’s really important,” said Tony Kelly, president of the Potrero Boosters Neighborhood Association. “I’m someone who supports parking management, and I’m frustrated that the MTA is so tone deaf with this. We’ve been through a lot of fake public outreach efforts and this is looking like one of those.”

Janet Carpinelli, president of the Dogpatch Neighborhood Association, said her members feel like the SFMTA is ramming this through without regard for the needs or input of that neighborhood.

“The real issue is it’s a very big inconvenience to the businesses and residents in this neighborhood and it’s not really helping anything.

It’s just a revenue grab by the MTA,” she said.

Potrero Hill resident Jim Wilkins was so outraged by the proposal to install music listings

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meters along Pennsylvania Street outside his home that he started an online petition against the proposals that has so far garnered about 1,300 signatures. “We’re forming an organization to resist these proposals,” he told us.

Lum was already a member of the 17th Street Coalition, which formed in 2010 to oppose the renewal of a liquor license at the local Gas’n’Shop, but more recently organized opposition to the meter proposal. It attracted Caroligne, and now they’ve formed a new group, Northeast Mission Neighbors, which held a joint organizing meeting with the Dogpatch and Potrero groups on Jan. 23. They’re all determined to delay and modify the SFMTA’s proposal, which had been scheduled for adoption by the SFMTA Board of Directors Feb. 7.

Lum said the proposed changes are tough to accept: “I don’t think this is about free parking, it’s about living and working in a community with certain things and now those things are changing.”

Change is hard The biggest target of critics’ ire is Jay Primus, who runs the SFpark program for the SFMTA. He maintains that he’s done extensive outreach and gathered community input that has shaped the plans. “These are still proposals and nothing has been approved yet,” he told us.

For example, Wilkins told us his campaign continued even after the meters in front of his house were eliminated from the proposal last month. Primus also noted the proposed meters allow for all-day parking at just 25 cents an hour in most places, so it isn’t really such an inconvenience or financial hardship. And Primus just announced that the Feb. 7 hearing is being pushed back by at least two weeks to heed more community input.

But most of the opposition to the proposals isn’t surprising, and Primus thinks it comes more from the idea of charging for street parking than with the specifics of the proposal.

“Parking is always an emotional and delicate issue in San

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news Francisco, as it is in most cities,� Primus said, citing protests against charging for parking going back to when the first meters were installed in 1947. “This has happened at every block that has gotten meters.�

But now, there are even more benefits and ease of use with modern meters, which motorists can pay with a credit card or even remotely. Variable pricing is also used to ensure more parking based on demand, although it’s being kept at a very low rate in areas where businesses or residents still need all-day parking. “If people are opposed to paying 25 cents per hour, the lowest rate in the city, then they are opposed to paying for parking,� Primus said. He said it’s a matter of equity among citizens: “There’s nothing equitable about providing parking for free and asking people to pay $4 for a round trip Muni ride.�

That’s a notion that is echoed by others who say it’s time for motorists to start paying their fair share. “Everybody wants something for nothing. We all want that.

Nobody wants to pay for parking, not even me,� Don Shoup, the UCLA professor who wrote the influential book The High Cost of Free Parking, told us. He later added, “That whining you hear is the sound of change.�

At a time when governments are hurting for revenue to provide basic services — among them, maintaining extensive roadway systems for motorists whose taxes don’t come anywhere near covering their societal impacts — he said it just doesn’t make sense to continue subsidizing the storage of automobiles. “San Francisco has some of the most valuable land on earth.

You have expensive housing for people and free parking for cars. It’s not surprising that San Francisco has homeless people and traffic congestion,� Shoup said. “There was never a city that is so liberal about other people’s affairs and so conservative about its own affairs.�

But Shoup did agree with critics that the real goal of managing parking isn’t to discourage driving, although he applauds the SFpark program for using its increased revenue on public transit, which he thinks makes sense from a social justice perspective.

Jason Henderson, a professor of geography at San Francisco editorials

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State and author of an upcoming book on the politics of parking and mobility, goes even further than Shoup in saying that San Francisco should use its parking policies to discourage driving. But at the very least, Henderson said it is counterproductive to offer free parking. “The city is giving away valuable real estate with all of this free and underpriced curbside parking at a time when the city’s transportation infrastructure is crumbling and essential city services for parks, after school programs, and libraries are constantly being cut. And here we have thousands of acres of real estate just being given away,�

Henderson told us. “If anything, it needs to be done citywide so that it’s judicious and level, so that merchants won’t say that people won’t come to their neighborhood because they can go to a different neighborhood where there’s free parking.�

Primus said there is a particularly strong need to manage parking around Mission Bay and the North Mission, where much of the city’s growth is occurring. “In a way, the SFMTA is catching up with the growth of the city. These are some of the last remaining areas that are residential-commercial mixed use areas with no parking management,� Primus said.

Kelly agrees that time has come, but he doesn’t think the SFMTA has helped its case, particularly given the emotions surrounding the issue and the need to maintain public support for improved transit service. “They’ve been spending all their waking hours in the last couple years pissing people off over parking meters, do you really think people will then support their revenue proposals?� Kelly questioned.

Lum and Caroligne both said the SFMTA should have been willing to make the fundamental argument to people that the days of free parking are coming to an end. “That’s where a lot of the anger is coming from, you’re doing this for all these reasons that don’t make sense and treating us like children,�

Caroligne said, although she also added, “I agree with you that there would still be some outrage, even if the outreach had been better.� 2 picks

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JANUARY 25 - 31, 2012 / SFBG.com

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Occupy protesters create a People’s Food Bank of America (left) and block bank entrances (center) while Interfaith Allies of Occupy invoke Leviticus. | Guardian photos by Luke Thomas

Occupy is back — with horns and glitter An energetic day of action shows that the movement is very much alive

By Yael Chanoff yael@sfbg.com

On Jan. 20, hundreds of activists converged on the Financial District in a day that showed a reinvigorated and energized Occupy movement.

The day of action was deemed “Occupy Wall Street West.” Despite pouring rain, the numbers swelled to 1,200 by early evening.

Critics have said that the Occupy movement is disorganized and lacks a clear message. Some have decried its supposed lack of unity. Others have even declared it dead.

But the broad coalition of community organizations that came together to send a message focused on the abuses of housing rights by corporations and the 1 percent sent a clear message: The movement is very much alive.

A full schedule Protesters packed the day with an impressive line-up of marches, pickets, flash mobs, blockades, and everything in between.

The action began at 6:30 a.m., when dozens chained and locked themselves together, blocking every entrance to the Wells Fargo’s West Coast headquarters at 420 Montgomery Street. The bank didn’t open for business that morning.

Another group of protesters did the same thing at the Bank of America Building around the corner.

A dozen blockaded one of the bank’s entrances from 8:30 a.m. to 6 p.m., preventing its opening. A group organized by Act Now to Stop War and End Racism (ANSWER) closed down the Bank of America branch at Powell and Market for several hours.

The Bank of America branch at Market and Main was also closed when activists turned it into “the Food Bank of America.” Several chained themselves for the door, while others set up a table serving 10 SAN FRANCISCO BAY GUARDIAN

donated food to hundreds of people.

Meanwhile, activists with the SF Housing Rights Coalition and Tenants Union occupied the offices of Fortress Investments, a hedge fund that has overseen the destruction of thousands of rent controlled apartments at Parkmerced. Direct actions also took place at the offices of Bechtel, Goldman Sachs, and Citicorp.

Hundreds picketed the Grand Hyatt at Union Square in solidarity with UNITE HERE Local 2 hotel workers.

A group of about 600 left from Justin Herman Plaza at noon and marched to offices of Fannie Mae, Wells Fargo, and the Immigration and Customs Enforcement Agency (ICE) in a protest meant to draw attention to housing and immigrant-rights issues.

“It’s not just a corporate problem. The government has been complicit in these abuses as well,” said Diana Masaca, one of the protest’s organizers.

More than 100 activists from People Organized to Win Employment Rights (POWER) and the Progressive Workers Alliance “occupied Muni,” riding Muni buses on Market Street with signs and chants demanding free transit for youth in San Francisco.

Another 200 participated in an “Occupy the Courts” action at the Ninth Circuit Court of Appeals, in protest of the Citizens United Supreme Court decision and corporate personhood.

Glitter and Brass Exhausted, soaked protesters managed to keep a festive spirit throughout the day, with colorful costumes, loud music, and glitter — lots of glitter.

The Horizontal Alliance of Very Organized Queers (HAVOQ) and Pride at Work brought the sparkly stuff, along with streamers and brightly colored umbrellas, to seveditorials

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eral different actions. Many painted protest slogans onto their umbrellas, proclaiming such sentiments as “I’ll show you trickle down” and “Not gay as in happy, queer as in fuck capitalism.”

According to protester Beja Alisheva, “HAVOQ is about bringing fabulosity to the movement with glitter, queerness, and pride. All day we’ve been showing solidarity between a lot of different types of oppression.”

There was also the Occupy Oakland party bus — a decked-out former AC transit bus — and carnival, a roving party that shut down intersections and bank entrances in its path while providing passengers a temporary respite from rain.

The Brass Liberation Orchestra, a radical marching band that has been energizing Bay Area protests for a decade, showed up in full force with trumpets, drums, trombones, and a weathered sousaphone.

The Interfaith Allies of Occupy also used horns to declare their message. About 30 participated in a mobile service, sounding traditional rams’ horns and declaring the need to “lift up human need and bring down corporate greed.”

Said Rabbi David J. Cooper of Kehela Community Synagogue in Oakland: “Leviticus 19 says, do not stand idly by in the face of your neighbor’s suffering. Well, we’re all neighbors here. Ninety-nine percent of us are suffering in some way, economically or spiritually. And maybe that number is 100 percent.”

Focus on housing A coalition called Occupy SF Housing called for and organized the day of action, but the messages ranged from environmental to antiwar to immigrant rights.

Many groups did focus in on housing-related issues — and a takeover of a vacant hotel building stressed the urgency and need to

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house homeless San Francisco residents.

Housing protests included an occupation led by the Chinese Progressive Association at the offices of CitiApartments, an action at the offices of Fortress Investments to demand a halt to predatory equity, and an “Occupy the Auction” demonstration in which protesters with Occupy Bernal stopped the day’s housing auction (at which foreclosed homes are sold) at City Hall.

“A lot of the displacement in this city is happening because of banks and because of things that are out of peoples’ control,” said Amitai Heller, a counselor with the San Francisco Tenants Union. “People will live in a rent controlled apartment for 20 years thinking that they have their retirement planned. A lot of the critiques of the movement are, if you couldn’t afford it you should move.

But these people moved here knowing they could afford it because of our rent controls.”

Liberate the commons Most of the early protests drew a few hundred people. But when the 5 p.m. convergence time rolled around, many people got off work and joined the march. A rally at Justin Herman Plaza brought about 600; by the time the march joined up with others at Bank of America on Montgomery and California, the numbers had doubled.

The evening’s demonstration, deemed “liberate the commons,” was also more radical than other tactics throughout the day; organizers hoped to break into and hold a vacant building, the 600-unit former Cathedral Hill Hotel at 1101 Van Ness.

When protesters arrived at the site, police were waiting for them.

Wearing riot gear and reinforced by barricades, the cops successfully blocked the Geary entrance to the former hotel. music listings

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The darkness, rain, and uncertainty created a chaotic environment as protesters decided how to proceed. Some attempted to remove barricades; others chanted antipolice slogans.

Soon, cries of “Medic! We need a medic!” pierced the air. A dozen or so protesters had been pepper sprayed.

Police Information Officer Carlos Manfredi later claimed that the pepper spray was in response to “rocks, bottles and bricks” thrown by protesters. He also claimed that one officer was struck in the chest by a brick, and another “may have broken his hand.”

But I witnessed the entire incident, and I can say that no rocks, bottles or bricks were thrown at police.

When protesters opted to march down Van Ness, apparently towards City hall, several broke windows at a Bentley dealership at 999 Van Ness.

The march then turned around and headed back up Franklin, ending at the former hotel’s back entrance. There, it became clear that some protesters had successfully entered the building; they unfurled a banner from the roof reading “liberate the commons.”

Soon, many other protesters streamed into the building. They held it, with no police interference, for several hours.

Around 9:30, police entered the building and arrested three protesters for trespassing. About 15 others remained in the building, but left voluntarily by midnight.

This building has been a target of protest campaigns in San Francisco since it was purchased by California Pacific Medical Center, which closed the hotel in 2009.

There are plans underway for a hospital to open at the site in 2015.

The project has been met with opposition from unions such as SEIU United Healthcare Workers West and UNITE HERE Local 2.

The California Nurses Association (CNA) has also come out against CONTINUES ON PAGE 12 >>

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occupy activiStS demand and end to corporate perSonhood. | GUArdIAN PhOTO by LUkE ThOmAS

what are people?

0DDVQZ QSPUFTUFST BOE QSPHSFTTJWF QPMJUJDJBOT DBMM GPS FOE UP DPSQPSBUF QFSTPOIPPE

By Shawn Gaynor news@sfbg.com Protesters from the Occupy movement and beyond gathered in front of the Ninth Circuit Court of Appeals in San Francisco on Jan. 20, calling for the adoption of a 28th amendment to the U.S. Constitution aimed at refuting the idea that corporations should have the same rights as people, a legal doctrine know as corporate personhood.

The event was part of a day of action at courthouses around the country, seeking to raise public awareness about the unfettered influence of corporate money in U.S. elections and draw attention to the second anniversary of the landmark corporate personhood decision by U.S. Supreme Court, Citizens United vs the Federal Elections Commission.

“We are here not to protest, not to petition, and not to plead, but to proclaim a truth that should be self evident, even to the Supreme Court: Corporations are not people; money is not speech,” said Abraham Entin, of North Bay Move To Amend, addressing a crowd gathered at the courthouse. “Corporations work very hard to convince us that we cannot do without them and the products they produce. They tell us they are too big to fail, and that our survival is dependent on their survival ...

Occupy has changed all that.”

In a contentious 5-4 ruling handed down on Jan. 21, 2010, the Citizens United case solidified the legal framework that bequeaths corporations the same rights under the Constitution as real, living, breathing, U.S. citizens, and by merit of their First Amendment rights as citizens bars any restrictions placed on a corporation’s ability to spend money to influence elections.

When Republican presidential candidate Mitt Romney famously editorials

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said on the campaign trail that “corporations are people, my friend, because corporations have people inside them,” he is reflecting the logic of the majority opinion in the Citizens United case. The court’s majority asserted that corporations are essentially an association of people and thus enjoy the same rights as individuals.

The court also claimed that it is impossible to distinguish between the corporate media outlets and other corporate speech, so all corporations should enjoy the free speech rights saved for the press.

Furthermore, because journalists often have to spend money to achieve speech, money spent on messaging by all corporations represents protected speech.

Corporations, a relatively modern invention, aren’t actually discussed in the Constitution. But the notion of corporation personhood began around 1886 in the case of Santa Clara County v. Southern Pacific Railroad. What Citizens United did was equate corporate money spent to influence elections with protected political speech, upending attempts at election reforms and gutting the McCain-Feingold Act of 2002 that regulated federal election campaigns.

That corporations act to corrupt our democratic systems for their own profit is not conspiracy, it’s simply a byproduct of what they are.

Corporations are legally obligated to act to maximize their profits for the benefit of their shareholders, otherwise their board and corporate officers are considered negligent of their obligations to their shareholders’ financial interests. Unlike journalists, whose professional credo calls for fairness and acting in the public interest, corporations are designed to act in their own interests.

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JANUARY 25 - 31, 2012 / SFBG.com

11

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As Justice John Paul Stevens wrote for the dissenting judges in Citizens United, â&#x20AC;&#x153;Corporations have no consciences, no beliefs, no feelings, no thoughts, no desires.

Corporations help structure and facilitate the activities of human beings, to be sure, and their â&#x20AC;&#x2DC;personhoodâ&#x20AC;&#x2122; often serves as a useful legal fiction. But they are not themselves members of â&#x20AC;&#x2DC;We the Peopleâ&#x20AC;&#x2122; by whom and for whom our Constitution was established.â&#x20AC;?

The resulting flood of corporate money into election campaigns since the courtâ&#x20AC;&#x2122;s ruling is delivered through an aqueduct known as the Super PAC (political action committee). In the wake of Citizens United, election spending by Super PACs in the 2010 midterm elections exceeded $300 million dollars, more spending than the overall spending in the previous five midterm elections combined.

Unlike donations to campaigns, which so far remain regulated, Super PAC money is spent directly by the Super PAC, and can be spent attacking as well as supporting candidates, leading to fears that corporations can exert influence on incumbents before a re-election campaigns by threatening to spend money attacking them in the upcoming election cycle. â&#x20AC;&#x153;Corporations are human creations, state creations, legal entities ... There is no reason we cannot limit their spending,â&#x20AC;? said Carlos Villarreal, executive director of the National Lawyers Guildâ&#x20AC;&#x2122;s Bay Area chapter. â&#x20AC;&#x153;Nonprofit organizations are limited in their political spending. Churches and charitable organizations are also limited in their spending. So why not for-profit corporations?â&#x20AC;?

Perhaps no group knows more about government limits to free speech than participants of the Occupy movement. Elastic restrictions on individual free speech and freedom of association rights spelled out in the First Amendment, resting on alleged risks to health and public safety, have led to Occupy encampments across the nation being restricted and evicted, at times enforced by brutal police crackdowns.

The right of the government to restrict individual and group speech that officials believe represents a clear and present danger was established by the Supreme Court in the 1919 Schenck v United States case â&#x20AC;&#x201D; the famous â&#x20AC;&#x153;donâ&#x20AC;&#x2122;t yell fire in a crowded theaterâ&#x20AC;? case. What is not widely known is that this case

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was a re-examination of the famous 1917 Espionage Act. The â&#x20AC;&#x153;crowded theaterâ&#x20AC;? was our nationâ&#x20AC;&#x2122;s entry into World War I, and those being jailed for â&#x20AC;&#x153;yelling fireâ&#x20AC;? were labor organizers and pacifists expressing their opposition to our entry into the war.

Relying on Schenck, courts have consistently defended restrictions on individual free speech when there is a compelling interest to public safety, the so-called â&#x20AC;&#x153;clear and present dangerâ&#x20AC;? standard. Villarreal and the crowd gathered before the Ninth Circuit asserted that corporate influence in our democratic processes represents a clear and present danger to society. â&#x20AC;&#x153;There is no more compelling interest than protecting democracy,â&#x20AC;? said Villarreal.

Despite the apparent double standard, legal experts say the courts action in the Citizens United case leaves a constitutional amendment as the only avenue left for regulating corporate money in elections and ending corporate personhood, but the movement to take on that Herculean task has already begun.

U.S. Sen. Bernie Sanders (I-VT) and Rep. Ted Deutch (D-FL) have introduced legislation proposing a 28th Amendment to the Constitution. While the language differs from another amendment presented by the group Move to Amend, it also takes aim at ending corporate personhood. â&#x20AC;&#x153;Two years ago, the United States Supreme Court betrayed our Constitution and those who fought to ensure that its protections are enjoyed equally by all persons regardless of religion, race or gender, by engaging in an unabashed power-grab on behalf of corporate America,â&#x20AC;? Sanders wrote in a Jan. 20 Guardian(UK) column.

In Sandersâ&#x20AC;&#x2122; home state of Vermont, the state Senate is also considering a resolution calling for a constitutional amendment against corporate personhood. A similar resolution, authored by Alix Rosenthal, was adopted by the San Francisco Democratic County Central Committee during a special meeting on Jan. 21. There was just one dissenting vote, and DCCC members say they plan to push for the state party organization to also adopt the stance.

The hurdles set forth to amend the U.S. Constitution, outlined in Article V, are substantial. In order for an amendment to even be considered, a super majority of both houses of Congress must initiate the process, or two-thirds of states must call for the amendment. Proposed amendments passing this threshold are then adopted only after threemusic listings

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quarters of state legislatures ratify the proposed amendment. But that difficult road is one the protesters said they are ready to travel. â&#x20AC;&#x153;We are here on a rainy day with warm hearts and wet feet. We are the 100 percent, the humans.

No corporation has every experienced the thrill of wet feet,â&#x20AC;? said Gangs of America author Ted Nace. â&#x20AC;&#x153;We are the fools who go out on a wet day to fix a broken world.

Eighty percent of the public want to fix this. That means we are halfway to our goal. What remains is organization, mobilization.â&#x20AC;? 2 occupy is back CONT>>

the hospital proposal. In fact, it was the target of a CNA protest earlier in the day Jan. 20, when protesters created a â&#x20AC;&#x153;human billboardâ&#x20AC;? reading â&#x20AC;&#x153;CPMC for the one percent.â&#x20AC;?

At a Jan.18 press conference, CNA member Pilar Schiavo said that at the former Cathedral Hill Hotel site, â&#x20AC;&#x153;A huge hospital is being planned with is being likened by Sutter to a five-star hotel. At the same time, Sutter is gutting St. Lukes Hospital, which is essential to providing healthcare for residents in the Mission, the Excelsior and Bayview- Hunterâ&#x20AC;&#x2122;s Point.â&#x20AC;?

Homes Not Jails, a group that finds housing for the homeless, often without regard to property rights, was crucial to planning the â&#x20AC;&#x153;Liberate the Commonsâ&#x20AC;&#x2122; protest. The group insists that the 30,000 vacant housing units in San Francisco should be used to shelter the cityâ&#x20AC;&#x2122;s homeless, which they estimate at 10,000.

rainy rebirth Wet and cold conditions were not what Occupy SF Housing Coalition organizers had in mind they spent weeks planning Occupy Wall Street West, which was billed as the reemergence of the Occupy Movement in San Francisco for 2012.

Yet for many, the day was still a success. â&#x20AC;&#x153;The rainâ&#x20AC;&#x2122;s a downer. But I think it speaks to the power of the movement, the fact that all these people are still out getting soaked,â&#x20AC;? said Heller on Jan. 20.

Perhaps hundreds of â&#x20AC;&#x153;fairwhether activistsâ&#x20AC;? did forgo the dayâ&#x20AC;&#x2122;s events to stay out of the cold.

If thatâ&#x20AC;&#x2122;s the case, then occupy protesters with big plans for the spring should be pleased.

At this rate, it seems that Occupy will survive the winterand emerge with renewed energy in 2012. 2

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inner weed world workings at Harborside Health Center were one focus of Discovery Channel’s Weed Wars | PHOTOs COURTESY DISCOVERY CHANNEL

Legal, not legal

Notes on the evolving state of California cannabis culture

By Caitlin Donohue caitlin@sfbg.com HERBWISE It’s been a weird year to start a marijuana column. Shortly after we started Herbwise, which was intended to be our weekly look at marijuana culture and events, politics reared its ugly head, rendering it necessary to go to hearings at the State Building, call up California Assembly members, and occasionally wade through seas of legalese. Such is the state of cannabis under ongoing federal prohibition, but it’s been a particularly dramatic year.

And in some moments, news and culture reporting melded together in the marijuana world.

Take, for example, the case of Oakland’s Harborside Health Center, which is often called the largest dispensary in the world (it is certainly the largest in California).

After years of painstakingly crafting a working relationship with city government, the business was heavily audited by the IRS. The federal agency decided Harborside fell under the jurisdiction of Section 280E of the Internal Revenue Code, which denies tax refunds for businesses involved in illegal drug trafficking. The collective now owes $20 million in back taxes, an amount that founder Steve DeAngelo asserts will bankrupt it if his business is forced to pay up.

Despite the ever-growing acceptance of the plant in the United States — a Gallup poll put the number at 50 percent in the fall of 2011 — medical marijuana is under attack editorials

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by the federal government. Last fall, US Attorney for Northern California Melinda Haag sent out letters to the landlords of roughly a dozen Bay Area dispensaries threatening them with civil forfeiture, or possibly four decades in prison, if they failed to move this “trafficking” off their property within 45 days. The letters targeted dispensaries considered to be in a school zone.

Most left without a fight. In San Francisco, the Tenderloin’s Divinity Tree Patients Wellness Cooperative, the Market Street Collective on Upper Market, and the Mission District’s Medithrive and Mr. Nice Guy were among the businesses that shut their doors, some completely and some to transition into delivery-only services.

Fairfax’s sole dispensary, Marin Alliance for Medical Marijuana, was forced to close after 15 years of legal operation overseen by long-time cannabis activist Lynette Shaw. The 7,500-person Marin County berg’s town council passed a resolution supporting the Alliance, which served as a symbol of popular support for legal cannabis in a county beset with some of the highest breast cancer rates in the country.

Assemblymember Tom Ammiano and Sen. Mark Leno have been the most outspoken California politicians in coming out against the federal government’s meddling with the state’s cannabis. At a press conference at San Francisco’s State Building in October 2011, Ammiano announced his frustration that the feds would “upset the will of the people” by curtailing picks

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safe patient access. Proud to be an elected gay official, he promised to continue to crusade for an issue that he says disproportionately affects the LGBTQ community.

One of the steps Ammiano took was to meet with Haag to discuss what could be done to assuage her concerns with the industry. “That was very, very disappointing,” Ammiano commented on this initial talk. In a recent phone interview with the Guardian, he remembered that Haag implied that the order was coming from above, from high up in the Obama Administration.

Ammiano doubts her assertion that she had little discretion in the matter. “She said she was only doing what the boss was telling her to do. We had a hard time with that.”

He does think that the Obama Administration is sending its attorneys mixed messages — case in point, US Attorney General Eric Holder’s repeated comments that federal interference in state-legal marijuana operations would be “a low priority.” Ammiano also makes the connection between the attacks on cannabis and the self-sustaining industries behind the War on Drugs. “The DEA, some of the diehards, this is like a jobs program for them,” he said.

His meeting with California Attorney General Kamala Harris went more smoothly. Ammiano says Harris, who voiced cautious support for the industry last fall, was eager for a more comprehensive regulatory system to be

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put into place, but she supported Proposition 215 — the 1996 measure that legalized medical marijuana in California — on principle.

Faced with an ambiguous future, medical cannabis’ proponents — politicians, activists, entrepreneurs, and patients — are putting forth plans for just such a system. This year will be the playing field for a passel of campaigns to take medical marijuana out of the under-supervised arena in which it’s found itself.

Three ballot initiative campaigns seek to address the issue. Two — Regulate Marijuana Like Wine and Repeal Prohibition — would legalize cannabis use for adults across the board. Another, which has perhaps the most likely chance to succeed in the $2 million process of getting onto the ballot, is being put forth by patient advocacy group Americans for Safe Access, the United Food and Commercial Workers (the union that represents many cannabis workers in California), and marijuana collectives. It’s called the Medical Marijuana Regulation, Control, and Taxation Act. “We decided to focus on medical because we figured that taking that further step at this point is unwise given the federal government’s actions over the last months,” said attorney George Mull, who is part of the team that proposed the measure. If passed, the initiative would establish a 21-member state regulatory board comprised of doctors, industry folk, patients, activists, government officials, and others. A state supplemental tax on cannabis would be levied and local governments would be required to allow one dispensary per 50,000 residents. Ammiano said that he and Leno were also working on proposing legislation that would film listings

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provide regulations.

But the future of medical marijuana in California remains somewhat cloudy. “I’m worried that even if we come up with the regulations, the feds will find something else,” said Ammiano. Complicating the matter, the California Supreme Court moved unanimously on Jan. 18 to review the power that cities and counties have to make their own laws concerning cannabis accessibility — plus, it plans to look at the old disconnect between state and federal law on the matter..

So much for the politics of marijuana in 2012. Away from the headlines, it’s plain to see that the plant is increasingly accepted in popular culture. On a local level, East Bay YouTube stoner Coral Reefer continues to tweet to thousands of followers every time she sparks a bowl, and on the national stage, Miley Cyrus admits to smoking “way too much fucking weed,” after seeing the birthday cake friends had gotten her. (It had Bob Marley’s face on it.)

On television, the United States is learning about Harborside’s travails — but not just from the news shows. Discovery Channel shot a season of reality TV following DeAngelo and his staff, telling the stories of patients and about the reality of running a dispensary for a show they entitled Weed Wars even before the final $20 million IRS ruling. As the collective is being persecuted by the feds, its fan base across the country grows.

Will Discovery Channel renew Weed Wars for a second season?

Regardless of the network’s views on the protagonists’ profession, if the cameras are kept rolling they’re sure to capture another year of interesting times for California cannabis. 2 january 25 - 31, 2012 / SFBG.com

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the Green CroSS 5IJT JT POF PG 4BO 'SBODJTDPµT QSFNJFS DBOOBCJT DMVCT TFUUJOH UIF TUBOEBSE GPS FWFSZPOF FMTF JO UFSNT PG RVBMJUZ QSPGFTTJPOBMJTN BOE BEWPDBDZ GPS UIF JOEVTUSZ .Z TPVSDFT IBE MPOH CFFO UFMMJOH NF UIBU UIF (SFFO $SPTT DBSSJFT UIF CFTU XFFE JO UIF DJUZ ± JOGPSNBUJPO WBMJEBUFE CZ UIF MPOH TUSJOH PG BXBSET JU BDDVNVMBUFT BU DBOOBCJT DPNQFUJUJPOT "OE GPVOEFS ,FWJO 3FFE IBT CFFO B QBTTJPOBUF IJHI QSPGJMF MFBEFS JO UIF DPNNVOJUZ GPS ZFBST #VU * CFDBNF FWFO NPSF JNQSFTTFE PODF * BDUVBMMZ VTFE UIF TFSWJDF *UT HSFBU XFCTJUF GFBUVSFT UIF CFTU EFTDSJQ UJPOT PG JUT OFBSMZ UXP EP[FO TUSBJOT PG MBC UFTUFE NBSJKVBOB JODMVEJOH XIFSF BOE IPX JU XBT HSPXO BT XFMM BT QSPE VDUT SBOHJOH GSPN JOFYQFOTJWF QJQFT UP FZF ESPQT * TFUUMFE PO B FJHIUI PG #MVF %FMJBI B TBUJWB EPNJOBOU IZCSJE UIBU MPPLFE CPUI DIFBQ BOE HPPE 8JUIJO BCPVU NJOVUFT UIF GSJFOEMZ EFMJWFSZ HVZ TIPXFE VQ BU NZ BQBSUNFOU IBOEFE NF B XIJUF QBQFS CBH GVMM PG HPPEJFT BOE DIBSHFE NF XJUI NZ OFX DVTUPNFS EJTDPVOU *OTJEF UIF CBH UIFSF XBT B HSJOEFS B DPPM KBS SPMMJOH QBQFST B MJHIUFS BOE PUIFS (SFFO $SPTT TXBH B QPU DPPLJF OPO NFEJDBUFE NVODIJFT BO JOGPSNB UJPO QBDLFU B SFDFJQU TUVDL UP UIF JOTJEF music listings

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PG UIF CBH ± BOE B CBHHJF PG CFBVUJGVMMZ USJNNFE CVET www.thegreencross.org (415) 648-4420 Opened in 2004 Price: Low to average Selection: Huge and high-quality Delivery time: Super fast Sketch factor: Very low Access: Secure but easy to use

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FoGGy DAze DeLIvery 5IJT QMBDF QPQT VQ QSPNJOFOUMZ XIFO QFPQMF (PPHMF NBSJKVBOB EFMJWFSZ TFS WJDFT JO 4BO 'SBODJTDP CVU PUIFS QBSUT PG JUT PQFSBUJPO EPOµU TFFN RVJUF BT UJHIU BT JUT TFBSDI FOHJOF TBWWZ &WFO

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cannabis club guide 2012 JUT SFBEJMZ BWBJMBCMF XFCTJUF * MFBSOFE XIJMF USZJOH UP PSEFS IBT BO PVUEBUFE NFOV PG BWBJMBCMF JUFNT 'PS XIBU JU BDUVBMMZ PGGFST DVTUPNFST OFFE UP WJTJU XXX XFFENBQT DPN XIFSF UIF HVZ TBJE UIF NFOV XPVME RVJDLMZ BQQFBS XIFO * UZQFE JO ²GPHHZEB[F ³ CVU JU EJEO¾U 'JOBMMZ * KVTU BTLFE IJN UP SFDPN NFOE B HPPE TBUJWB TUSBJO BOE IF NFO UJPOFE KVTU UXP UIBU UIFZ IBE JO TUPDL )FBECBOE BOE $IFF[MF 4IPPUJOH JO UIF EBSL * XFOU XJUI BO FJHIUI PG $IFF[MF GPS BOE IF PGGFSFE NF B OFX NFN CFS HJGU PG B KPJOU PS TBNQMF PG FRVBM PS MFTTFS QSJDFE XFFE * PQUFE GPS UIF KPJOU CFDBVTF JU KVTU TFFNFE FBTJFS BU UIBU QPJOU QBSUJDVMBSMZ TJODF NZ JOJUJBM DBMM XFOU UP WPJDFNBJM BOE UIFO * IBE UP XBJU NJOVUFT UP HFU NZ JOGPSNBUJPO WFSJ GJFE "O IPVS MBUFS IF TBJE JU XPVME CF NJOVUFT * IBE NZ XFFE $PNQBSFE UP UIF CBE PME EBZT PG PSEFSJOH XIBUFWFS NZ VOEFSHSPVOE ESVH EFBMFS IBE BOE KVNQJOH UISPVHI XIBUFWFS IPPQT IF SFRVJSFE 'PHHZ %B[F JT NVDI CFUUFS #VU JO UIF NPEFSO NBSJKVBOB TDFOF JO UIJT IJHIMZ FWPMWFE DJUZ 'PHHZ %B[F EPFTO¾U RVJUF NFBTVSF VQ BT JT www.foggydazedelivery.com (415) 200-7451 Price: Average Selection: Small Delivery time: OK, but slow on verification Sketch factor: Medium Access: Pretty good

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apothecarium *U XBT POMZ B NBUUFS PG UJNF CFGPSF TPNFPOF IBE UIF JEFB UP SFBMMZ FNQIBTJ[F FYDFMMFOU QFSTPOBM TFSWJDF XJUI IJHI FOE QSPEVDUT JO BO FMFHBOU FOWJSPONFOU Âą CVU UIF GPMLT BU "QPUIFDBSJVN IBWF EPOF JU JO B XBZ UIBU SFBMMZ TFUT UIFN BQBSU GSPN UIF SFTU PG UIF QBDL 5IJT QMBDF JT BO FYQFSJFODF NPSF UIBO KVTU B QMBDF UP TDPSF XFFE NVDI UIF TBNF XBZ BEWFOUVSPVT CBST MJLF "MFNCJD BSFOÂľU KVTU BCPVU HFUUJOH UJQTZ CVU BQQSFDJBUJOH KVTU XIBU B DPDL UBJM DBO CFDPNF JO UIF SJHIU IBOET 7JTJUPST UP UIF "QPUIFDBSJVN BSF XBSNMZ HSFFUFE BOE TFBUFE JO GSPOU PG BO FYUFOTJWF BOE XFMM EFTJHOFE

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PG ZPV UP JOTQFDU XIJMF IF XFJHIT PVU ZPVS DIPJDF PG TNBMM PS MBSHF CVET XJUI BO BJS PG TIPXNBOTIJQ apothecarium 2095 Market, SF. (415) 500-2620 www.apothecariumsf.com Buds weighed on purchase Opened in 2011 Price: High to low (â&#x20AC;&#x153;compassionately pricedâ&#x20AC;? strains available) Selection: Large, extremely informative menu available Ambiance: Looks like a fancy hair salon, hardwood floors and patterned wallpaper Smoke on site: No Sketch factor: Low Access/security: Secure but easy access

1944 ocean collective %FTQJUF B TPNFXIBU GPSCJEEJOH XBJUJOH SPPN UIJT OFJHICPSIPPE EJTQFOTBSZ PO B NFMMPX TUSFUDI PG *OHMFTJEF¾T 0DFBO "WFOVF IBT B SFBM GBNJMZ GFFM PODF ZPV TUFQ POUP UIF TBMFTGMPPS * XBT JO UIF NBSLFU GPS FEJCMFT XIFO * XFOU UP BOE DIBUUFE XJUI UIF KPDVMBS TBMFT TUBGG BCPVU XIJDI BWBJMBCMF FEJCMF XPVMEO¾U HJWF NF DPVDI MPDL PS QBSBOPJB ¹ B GVMMZ GVODUJPOJOH USFBU BT JU XFSF .Z CVEUFOEFS QPJOUFE NF UPXBSET B TBUJWB CBTFE QFBOVU CVUUFS DPPLJF XJUI IJHI QPUFODZ BOE UIFO NBEF NF GFFM 0, BCPVU PVS EJGGJDVMUZ NBLJOH B EFDJTJPO ²8F¾SF BMM TUPOFST IFSF ³ IF MBVHIFE 0ODF ZPV NBLF ZPVS TFMFDUJPO BNPOH UIF FEJCMFT GMPXFST BOE UJOD UVSFT PO PGGFS IFBE UP UIF CBDL PG UIF MPX HMJU[ DPNGPSUBCMZ BQQPJOUFE SPPN UP HJWF ZPVS NPOFZ BU UIF DBTI SFHJTUFS )FBE CBDL UP UIF CVE DPVOUFS UP QJDL VQ ZPVS TFMFDUJPO ¹ JG ZPV¾SF MVDLZ ZPV DBO HSBC B CSPXOJF CJUF DVQ PG UFB PS BQQMF GSPN UIF CVGGFU UP BTTVBHF ZPVS NVODIJFT 5IFSF¾T FWFO B TJHO UIBU BOOPVODFT UIF EJTQFOTBSZ¾T KPC DPVOTFMJOH BOE SFTVNF XSJUJOH DMBTTFT " TPNFXIBU DPME FYUFSJPS TVSF CVU JU CFMJFT B XBSN IFBSU (reviewed by caitlin Donohue)

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1944 ocean collective 1944 Ocean, SF. (415) 239-4766 Buds weighed on purchase Opened in 2004 Price: From cheap to high Selection: Large Ambiance: Comfortable seating, jovial staff, family feel Smoke on site: No Sketch factor: Forbidding waiting room, friendly inside Access/security: Tight 2

Find our full Cannabis Club Guide at www.sfbg.com/cannabisguide

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15

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SAL CIMINO OF 1512 SPIRITS IN hIS NOB hILL BARBERShOP As with a good whiskey, I like to sip Bols Barrel-Aged Genever neat, pre- or post- dinner, but it also gives intriguing dimensions to classic cocktail greats like a Mint Julep or Manhattan (substitute whiskey for genever). Bottles are $49.99.

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BARREL-AGED BEAuTIES

By Virginia Miller virginia@sfbg.com

A resource guide for your vegetarian restaurant and shopping needs!

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APPETITE Here are two new barrelaged beauties worth seeking out, plus more to look forward to in 2012.

1512 SPIRITS BARREL-AGED 100% RYE I’ve enthused about small production 1512 Spirits (www.1512spirits. com) rye before, crafted by Salvatore “Sal” Cimino with a unique custom still up in Santa Rosa. During the day you’ll find him giving shaves and cutting hair in his classic Nob Hill barbershop, at 1512 Pine Street (www.1512barbershop.com).

His brand new release is a barrel-aged 100 percent rye, just on the market in a very limited release ($59.99 per half-bottle) with the largest allocation available through K&L Wines, www.klwines.com.

Ryes are (blessedly) flooding the market these days but only a handful are made from 100 percent rye and even less with the one-man attention that goes into 1512. Sal cautiously guards his process, not allowing anyone else present when distilling.

Whiskey fans may quibble about a $60 half bottle when they can get cheaper ryes (or stand-outs like Thomas H. Handy Sazerac Rye, available at Cask, www.caskstore. com). But this rye is the opposite of high production whiskey. One tastes the hands-on care in each sip.

Though 100 proof, it is bright, fresh, popping with apple, vanilla, pepper, a gentle rather than bracing spice, and a lingering complexity.

I had the privilege of tasting early batches of Cimino’s future releases, including a 105 proof poitín, or “poteen” in the States, a rare Irish spirit made in this case from potatoes. (The word poteen

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refers to small pot stills in which the liquor is historically made). Despite the use of potatoes, I would not liken this to potato vodka. Clear, bold and light, it evokes cucumber and summer, with the spirit of an eau de vie and robustness of a white whiskey. There’s nothing in the US quite like it. (Release is set for April.)

Also later in 2012, Cimino is releasing a bracing 120 proof, 100 percent white wheat spirit. For that proof, it’s awfully smooth, evoking surprising flavors from straightup wheat bread to clean chocolate notes. Another unusual sip, it confirms that this Nob Hill barber is creating some of California’s (and yes, the country’s) more interesting, very small batch, historical spirits.

BOLS BARREL-AGED GENEVER The classic Dutch spirit, Bols Genever (www. bolsgenever.nl), has been produced by the Lucas Bols company since 1575.

Not many distilleries can boast such a heritage.

Master distiller Piet Van Leijenhorst has crafted the spirit for more than 25 years. Genever is often referred to as the original gin that London dry and other gins descended from. It’s worlds apart from what we commonly call gin, more akin to whiskey in boldness but with its own unique, herbaceous profile.

In trying the new Bols BarrelAged Genever, which Esquire magazine just named best new liquor of 2011, I notice the complexity rises a few more notches. Made with traditional botanicals (like cloves, anise, hops, ginger, juniper, etc...), the genever is aged 18 months in French Limousin oak. Bottled in a grey, earthenware bottle, it is as striking visually as it is in flavor. It drinks bold with a silky texture — subtly sweet with vanilla honey, cinnamon spice, wood and pepper linger on the finish. music listings

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Food and wine are the draws at gorgeous Fifth Floor (www.fifthfloorrestaurant.com), but bartender Brian Means, formerly of Zero Zero, has created singular cocktails worth a stop in the mellow lounge. Perhaps you’ll skip dinner entirely.

The unassuming Mr. Means creates some of the more promising recipes I’ve tasted from an up-and-coming crafter. As I judge multiple cocktail contests, his entries consistently exhibit a surprising level of sophistication, often placing high. He shakes (and stirs) with an unfussy hand, comprehending classic cocktail foundations, but varying off-path enough to keep it interesting.

Here are three of his cocktails I’d recommend, currently on the Fifth Floor menu: Pink Elephant — Death’s Door (one of my favorite gins), with rosato vermouth, pineapple gomme syrup, orange bitters and smoked absinthe. Means doesn’t let the smoke overpower. Rather, it gives off a faint smoke aroma, hinting at brawn behind a delicate surface.

Don’t judge it by its color.

Loretto Wrangler — Named after a key Kentucky bourbon town (home of Maker’s Mark, the Wrangler’s base spirit), Loretto Wrangler includes Cynar (Italian artichoke liqueur), Graham’s Six Grapes port, Dubonnet Rouge, and Bitter Truth chocolate bitters. It may sound like a lot of ingredients, but never fear. Playing like a classic, spirit-driven whiskey cocktail, it unfolds with layers of bitter, sweet, boozy, and — thanks to the choco bitters — meaty, goodness.

Spanish Maiden — El Tesoro blanco tequila and elderflower liqueur with a lemon twist makes for an obviously pleasing aperitif pre-dinner, right? Add in a dash of sherry and this bright refresher takes on depth and dimension, if ever so subtly, while still remaining stimulating and light. 2 Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www. theperfectspotsf.com

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A rEAL SF TwEET

By L.E. LEonE le.chicken.farmer@gmail.com CHEAP EATS I keep buying little plants and killing them. This makes me miss chickens, which are, in my experience, both easier to keep alive and more gratifying to kill. Now that they come from the grocery store, I cook more chickens than ever.

Therefore, I would like to have fresh herbs in my kitchen.

Therefore, I keep buying these little plants.

And killing them.

Luck would have it, I was in New Orleans when the 49ers beat the Saints. Did you see that? Both Coach and Wayway, with whom I was in constant textual contact that day, described hoots, honks, and general happiness in our neighborhood here. And that was before kick-off! I can imagine what it was like after.

Here there was dead-ass silence for a change. Except me and Hedgehog, who were writhing and screaming on our leather couch in front of our 50-inch flat screen plasmatic TV. Until we both wet our pants and had to jump in our Jacuzzi bathtub.

By our I mean someone elseâ&#x20AC;&#x2122;s.

Except the pants.

Next day on KCBS John Madden called it the best game he ever saw â&#x20AC;&#x201D; which is saying something, as heâ&#x20AC;&#x2122;s seen a lot of games. Me, I am not so prone to hyperbole. Either that or I am journalismically challenged by the old-fashionedest of lag times between my opinion of Things and publication. (Donâ&#x20AC;&#x2122;t worry; as we speak, Hedgehog is teaching me how to twit.)

Well, whatever happens(ed) with the rest of this football season, I want you to know where Iâ&#x20AC;&#x2122;ll be watching the games next season, since in real life I donâ&#x20AC;&#x2122;t even own a TV, let alone a big flat plasmatic one .. .

At my new favorite restaurant: The Old Clam House!

Twenty-two years Iâ&#x20AC;&#x2122;ve been living in and around this city, and for exactly that long have I been meaning to eat at The Old Clam House. Itâ&#x20AC;&#x2122;s the oldest restaurant in San Francisco! In the same location! Since 1861!

To give you some idea of how long ago that is, think of it like this: 151 years. editorials

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Considering what all has gone down since then â&#x20AC;&#x201D; the big earthquake, the other one, and Donte Whitnerâ&#x20AC;&#x2122;s hit on Pierre Thomas â&#x20AC;&#x201D; itâ&#x20AC;&#x2122;s amazing that even some of the Clam House is still standing. But the bar area is original, according to them. And from the photos you can tell that it is.

So that was where we sat.

Checkerboard floor, wood trim, old-fangled ceiling tiles, and the Niners game on TV. Mind you, I had just played football, over at Crocker Amazon, so I probably didnâ&#x20AC;&#x2122;t smell very pretty. Or look nice.

In fact I was starving, cold, and frazzled. And my hamstring was gone, so I had to sit on ice.

We ordered clams paella acini and Swiss chard with onions and bacon, and Hedgehog ordered something stiff to drink, because as hard as it is to play on my football team, I think itâ&#x20AC;&#x2122;s even harder to watch.

The paella was delicious, and in an unusual way: cioppino sauce, sausage, olives, cheddar cheese. And acini are little tiny pastas, between couscous and orzo. Weâ&#x20AC;&#x2122;d have preferred rice, but it was good this way too. The clams were good, and plentiful, the sausage so-so, and the Swiss chard of course was great. (Bacon.)

As for the bread and butter, besides being pretty good breads and butters, I like it that they tell you on the menu not only where the bread comes from, but where the butter comes from: Acme and Strauss, respectively.

Butter does matter.

My favorite touch, however, was the little glass of warm clam broth with onions that they brought to our table first. That was a yummy, warming treat, and a very nice touch.

Plus I ordered a Coke and it came in a carafe.

But listen up, Mr. Madden: I totally agree. And for more upto-date (and shorter) musings on sports, food, and Things, you can henceforth tweeter me at @ lechickenfarmer. 2

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17

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AVENGERS PHOTO BY Marcus Leatherdale.

Award-winning stoner.

avengers see thursday/26

Wednesday 1/25 The Gary Bartz Project feat. Bilal and Aloe Blacc There’s a bunch of shows taking place this week for the corporate philanthropy/ musical TED conference that is The Red Bull Music Academy. Most interesting to me is this jazz event with saxophonist Gary Bartz and singers Bilal and Aloe Blacc. Both singers have a proven versatility, crossing between hip hop and R&B, that should help them match Bartz’s range.

Given his lengthy career spent playing in ensembles with Miles Davis, Donald Byrd, Cecil Taylor, and many more, along with his own genre-bending NTU Troop and releases including the Mizell Brothers produced classic soul jazz record, Music Is My Sanctuary, Bartz can certainly go in a lot of directions. (Ryan Prendiville) 8 p.m., $30 Yoshi’s Jazz Club 1330 Fillmore, SF (415) 655-5600 www.yoshis.com

Thursday 1/26 Avengers Here’s a good time to remind listeners of a certain punk truism: while your favorite band has grown iconic thanks to its place in a scene decades ago, it didn’t remain stagnant, locked forever in your personal memory. With shocks of 18 SAN FRANCISCO BAY GUARDIAN

lightning white spiked hair, the Avengers first stormed the San Francisco punk underworld in 1977, and while the band is now rereleasing two (sturdy punkwave) albums from its short-lived initial go at it (a period which included opening for the Sex Pistols in SF), it never has dwelt too long on the past. Prolific lead singer Penelope Houston has continued to break down barriers — for women, for talented lyricists ‘round the world — and she keeps on releasing folk-tinged solo records under her own name, including 2012’s On Market Street. Yet she also keeps spreading the Avengers lore with live shows like this one. (Emily Savage) With Boats!, and Midnight Snaxx 9 p.m., $13 Bottom of the Hill 1233 17th St., SF (415) 621-4455 www.bottomofthehill.com

Thursday 1/26 Fitz and the Tantrums The two-toned cover of its 2010 debut album Pickin’ Up the Pieces — featuring singers Michael Fitzpatrick and Noelle Scaggs — will tell you the basic story: he’s cool and she’s hot. With Fitz and the Tantrums’ Motown throwback sound it’s sort of an Ike and Tina set-up, or, given Fitzpatrick’s white soul, Hall and Oates with a statuesque beauty instead of, well, Oates. Whatever.

Having seen the group open for and nearly upstage Sharon Jones and the Dap-Kings, I can say that it’s not on the sleeve or even the editorials

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record that FATT has it going on, it’s as a stellar live act, driven by the pair’s bombastic charisma and a tight, sax-driven, soul-strutting band.(Prendiville) With Dale Earnhardt Jr. Jr., American Tomahawk 8 p.m., $25 Regency Ballroom 1300 Van Ness, SF (800) 745-3000 www.theregencyballroom.com

Thursday 1/26 Push the Feeling There’s a new monthly party in Lower Haight, and it’s for everyone of course (because we are all special), but it’s especially for those of us who frequent dives bars more often than large-scale clubs. Push the Feeling mixes DJs with the art of live electronic music. First up in this series, there will be DJ sets by YR SKULL — who also happens to be one half of Silver Hands — and epicsauce DJs, along with a performance by Magic Touch (a.k.a Damon Palemro of Mi Ami). Using a variety of drum machines and other digital instruments, Magic Touch — whose debut record, I Can Feel The Heat, was released on 100% Silk last year — creates a sound described as 90s-era house meets vintage disco. Did I mention the whole shebang it totally free with RSVP? Let’s hope this feeling lasts forever. (Savage) 9 p.m., free with Facebook RSVP Underground SF 424 Haight, SF www.epicsauce.com/pushthefeeling

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Friday 1/27 Ghostly Meets Spectral The As You Like It crew is presenting this party as a showcase for sister labels Ghostly International and Spectral Sound, and while exciting on its own, that’s not the whole picture. The headlining electronic avant-pop and dance labels will certainly be represented — by Ryan Crosson (half of Bird & Souls or a quarter of Visionquest, depending on your measure), Osbourne, and a live set by the lightly industrial Solvent — but there will also be a stellar deep house and disco lineup in the Oddjob room upstairs. Most notably Let’s Play House and DFA DJ Jacques Renault, as well as a collab set between wolf + lamb’s Eric Johnston and AYLI’s Rich Korach. (Prendiville) With Mossmoss, Conor, and Brian Bejarano Public Works 161 Erie, SF (415) 932-0955 www.publicsf.com

Friday 1/27 So I Married Abraham Lincoln...

Get your #HonestAbe hashtag ready: it is officially the Year of Abraham Lincoln. The 16th president is trending big-time nearly 150 years after his death. stage listings

Fri/27-Sat/28, 8 p.m.; Sun/29, 7 p.m., $15–$18 Dance Mission Theater 3316 24th St., SF www.brownpapertickets.com

Saturday 1/28 “Pop My Culture”

9 p.m., $10-15 Presale

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Hollywood knows it, with both Spielberg biopic Lincoln — just give Daniel Day-Lewis the damn Oscar now — and horror fantasy Abraham Lincoln: Vampire Hunter slated for release.

Just ahead of what would’ve been Abe’s 203rd birthday, local choreographer Randee Paufve debuts So I Married Abraham Lincoln..., focusing on the life of troubled First Lady Mary Todd Lincoln. Paufve Dance’s seven performers bring history to (surreal) life, with ghostly characters including the stovepipe hat-wearing prez himself. Mrs. Lincoln, famously fascinated with spiritualism, would’ve approved. (Cheryl Eddy)

Pop My Culture found itself toward the top of many a “best of” list this past year — and rightfully so. The podcast kind of embodies what can be so simple and charmingly effective about the form, with its no frills mix of comedy and pop culture discussion. Hosted by SF Sketchfest co-founder Cole Stratton and comedian Vanessa Ragland, the Los Angeles-based show succeeds in large part because of the duo’s upbeat and engagingly dorky senses

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of humor, in addition to some inspired guest choices (Dave Coulier! Rider Strong!). Stratton and Ragland will be joined by Drew Carey for this special live recording of the show. (Landon Moblad)

“reggie watts: just the music” see tuesday/31

bling a boat on high seas. (Rita Felciano) 8 p.m., $28–$68; 3 p.m., $14–$34, Stanford University Memorial Auditorium, Palo Alto (650) 725-ARTS livelyarts.stanford.edu

1 p.m., $20

Saturday 1/28

Eureka Theatre 215 Jackson, SF (415) 788-7469 www.theeurekatheatre.com

Saturday 1/28 Diavolo Dance Company In dance we have learned to distrust virtuosity as empty if it is touted for its own sake. We want more than gymnastics or circus. If truth be told, those flip distinctions have always been too easy. There is something eminently poetic about the body pushing itself to the extremes of its capabilities.

Jacques Heim’s Diavolo Dance Company works inside that blur of categories. Heim puts his artists into unstable, constructed environments where they leap like antelopes, fly like birds, and swim like fishes. His newest piece, “Fearful Symmetries” is performed on a shape-shifting cube and choreographed to John Adams’ eponymous orchestral score. The program, which also includes excerpts from the previously seen “Trajectoires,” is realized on a huge rocking platform resemeditorials

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Haunted by Heroes Haunted by Heroes goes to 11 — years old. Billed as the “world’s youngest rock band,” the Pacifica quintet have the power and skill to transcend their fresh-faced gimmick. Rock and roll music has always subsisted on a measure of childlike abandon — think Angus Young doing the duck walk, or Keith Moon’s flamboyant drumming — but Haunted by Heroes has the real thing. Mixing a few originals with classic covers, their energetic live shows suggest a bright future for five local headbangers, including Geddy, their aptly named lead guitarist. (Ben Richardson) With Damage, Inc. (Metallica Tribute), Ozzy Alive 9 p.m., $13 Slim’s 333 11th St., SF (415) -255-0333 www.slims-sf.com

Saturday 1/28 “Jon Benjamin Has a Van” Most known for his voice acting picks

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roles on animated hits such as Dr. Katz, Home Movies, Bob’s Burgers, and Archer, Jon Benjamin has perfected the art of the sarcastic and subtly snarky delivery. Last year saw him step outside of the vocal booth and into regular live action work with the Comedy Central show Jon Benjamin Has a Van, a wild mix of man-on-thestreet interviews, sketch comedy, and collaborations with the likes of Tim and Eric (Awesome Show, Great Job!, Tom Goes to the Mayor). Benjamin and the rest of the cast will be rolling through Cobb’s this week as a part of SF Sketchfest. (Moblad) 8 p.m., $25 Cobb’s Comedy Club 915 Columbus, SF (415) 928-4320 www.cobbscomedyclub.com

Sunday 1/29 “Doug Loves Movies” Stand-up comic, writer, and award-winning stoner Doug Benson sets his sights on the film world with his “Doug Loves Movies” podcast. Though it often includes some legitimate movie analysis, the show is really more of a medium for Benson to hangout and riff with his comedy buddies — which is more than fine for the podcast’s legions of devoted listeners. The guest list from the show’s two seasons reads like a who’s who of the modern comedy scene (Patton Oswalt, David Cross, Sarah Silverman, Paul F. Tompkins), so

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it’ll be interesting to see which yet-to-be-revealed performers Benson has planned for this panel discussion and live podcast recording. (Moblad) 4:20 p.m., $20 Cobb’s Comedy Club 915 Columbus, SF (415) 928-4320 www.cobbscomedyclub.com

Monday 1/30 Graveyard The top comment on the YouTube page for the lo-fi, black and white video for Graveyard’s “Hisingen Blues” sums it up pretty well: “How is this not from the ‘70s?” Confusion, feigned or actual, can be easily understood once the song begins, and mustachioed long-hairs commence with the sweet, soulful, psyched-out metal, pleading “Awww, Lucifer — come take my hand!” You’d be forgiven for assuming these dudes arrived via time machine from Flower Power-era Frisco, but nay. These lads hail from Gothenburg, Sweden, a place known more for melodic death metal than stony throwback jams. “Where is the future?” Graveyard asks. Clearly, it’s been (awesomely) inspired by the past. (Eddy) With Radio Moscow 8 p.m., $12 Cafe Du Nord 2170 Market, SF (415) 861-5016 www.cafedunord.com

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Tuesday 1/31 “Reggie Watts: Just the Music” Can a comedian be taken seriously as a musician? Would they want to?

How precisely does one make a fuck shit stack? These are just a few of the questions surrounding Reggie Watts, a performer hailed as both “Black Galifianakis” and “a human dandelion.” The singer of Seattle’s Maktub, Watts emerged as a solo artist in recent years, with appearances on Conan (and as opener for The Legally Prohibited From Being Funny On Television Tour) and at LCD Soundsystem’s final show.

Blending beat boxing, an array of vocal styles, and looping pedals, Watts is building a reputation for being able to do anything. The first night of SF Sketchfest’s four-part “Reggidency,” this will focus on Watts’s solo music, wherever he draws that line. (Prendiville) 8 p.m., $25 Yoshi’s Jazz Club 1330 Fillmore, SF (415) 655-5600 www.yoshis.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.

january 25 - 31, 2012 / SFBG.com

19

arts + culture: music

Despite his heightened local profile in the mid-2000s, BJ preserves his mystique.

for more music content visit sfbg.com/noise

Whatever Happened to Baby Jaymes?

Seven years after his landmark Ghetto Retro, the Bay’s hip-hop soul phenom returns with a new EP

By Garrett Caples arts@sfbg.com MUSIC One day in November 2004, my then-girlfriend returned to our Oakland apartment all excited. “I just heard this on KMEL,” she said.

She handed me a CD, Baby Jaymes, Ghetto Retro (Underground Soul), while she unwrapped the included Ghetto Retro EP and cued up “Nice Girl.” “He sounds like Prince,” she enthused—we were Prince geeks— ”but he’s from East Oakland!”

Something in the way the vocals were layered, the tasty guitar and bass details under aloof keyboards, and the idiosyncratic, non-pimp, non-player personality that disclosed itself seemed to justify the comparison, particularly as we moved on to the LP. The hidden track “Ev’ry Nuance,” for example, could be a Lovesexy outtake, even as its more lo-fi aesthetic seemed to allude knowingly to 1999-era bootlegs.

Comparisons to Prince would be made in nearly every review of Ghetto Retro, though the insistence was a little misleading. While Prince is definitely an influence, BJ — as he’s known — isn’t especially well-versed in the Purple One’s catalog. Some of the resemblance stems from the common influence of 1960s and ‘70s soul; Motown, particularly Smokey Robinson, and Stax loom much larger for Baby Jaymes, and in many ways, the similarly pint-sized singer is the anti20 SAN FRANCISCO BAY GUARDIAN

Prince, possessing no conventional technical musical ability, depending on collaborators to translate the melodies and arrangements he hears in his head.

In 2007, I had the experience of watching him cajole a string trio from blank incomprehension into a soaring, unscripted overdub reminiscent of a Paul Riser classic.

Yet I’ve also seen the comparatively simple matter of a guitar overdub founder for want of a common vocabulary.

“It’s all about energy to me,” BJ says, “but I can’t always articulate it in a way that musicians understand. But if I articulate it emotionally they might be like, yes! and we’re there. I used to knock myself out because I can’t play, but that’s part of my gift. I’ve gotten to the place where I’m ok with that.”

The other major difference is the difference between Minneapolis and East Oakland, for while Prince has profoundly influenced hip-hop, he’s never known what to do with it, whereas it’s second nature to BJ, hailing from the notorious Rollin’ 100s (99th and MacArthur, to be exact).

Much of Ghetto Retro is built on heavily manipulated samples, augmented with instruments, and though he’s the furthest thing from a thug — I’ve never heard him cuss, though I have heard him say “my goodness” and even “golly”—Baby Jaymes sounds entirely natural with Turf Talk on his 2008 single editorials

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“The Bizness” or The Jacka on his new EP, Whatever Happened to Baby Jaymes?, released late last year on Hiero-imprint Clear Label Records.

The shift The EP’s title, BJ admits, was the brainchild of Souls of Mischief and Hieroglyphics member and Clear Label head Tajai Massey, both punning off the Bette Davis film and nodding to the sevenyear wait since Ghetto Retro. BJ initially resisted.

“I disappeared,” he admits.

“But I don’t want people to think I wasn’t doing anything.”

“I was bummed out with the artist thing,” he continues. “People remember me — which is a good thing. But I couldn’t imagine life not having anonymity. To this day I can’t go anywhere in the Town without seeing at least one person that knows me. It can be overwhelming.”

BJ’s local profile, elevated by airplay on KMEL, national press from Fader and XLR8R, and even a 2005 GOLDIE, was complicated by the chronic difficulty of making money as a Bay Area urban artist.

In the mid-’00s, besides longstanding major label distinterest, Bay Area independent artists suddenly saw their financial foundations crumble with the decline of CD sales.

“You have to preserve your mystique,” he says, “but you don’t have money to be that guy all the time. I might really be on the bus and you

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see me on the bus and it just kills my whole thing for you. So I decided I just wanted to make music, not make music to be famous.”

Instead BJ moved to L.A. to pursue licensing deals in movies and TV. Even before Ghetto Retro, he’d already tapped into Hollywood money, writing a song (“Without a Daddy” by Touché) that appears in Oliver Stone’s Any Given Sunday (1999). (His own version appears on Ghetto Retro as “Black Girl/White Girl.”) Since relocating, he’s racked up an oddball assortment of screen credits, from a few seconds of music in a Nicole Kidman vehicle (2007’s The Invasion) to production work on Fox’s intro to the 2008-09 NFC Championship broadcast (apparently Cleatus the Robot’s first foray into hip-hop).

More recently NCIS used a snippet “so small and incidental, you can barely hear it,” but this brings in incomparably more money than dropping a Bay Area hip-hop soul classic. Essentially BJ makes the bulk of his modest income off five song placements and would like to bring that number up to around 40 reliable ones, which he estimates would bring in a comfortable enough existence to fulfill his artistic ambitions.

The proverbial return For, despite his earlier discomfort, Baby Jaymes’s artistic ambitions remain, and Tajai was able to induce him to sign to Clear Label to record a new album, for which music listings

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the seven-song Whatever Happened is simply a calling card. Still, after so long a hiatus, the EP is a joy to hear. I’d wondered if BJ and longtime collaborator, producer Marc Garvey, would shy away from the sound they’d crafted in favor of something more obviously commercial, but instead they’ve dug deeper, returning to the samplesplus-hip-hop-drums core that makes Ghetto Retro feel so warm and timeless.

The single, “Heart & Soul,” captures the throbbing drama of a kind of vintage R&B that concerns matters of deeper import than Bentleys and Belvedere, serving by turns as a declaration of love and an artistic manifesto. Yet BJ also shows off a new swag with an inventive reimagining of 50 Cent’s “21 Questions” over a live band, co-produced by Ledisi mastermind Sundra Manning.

This more than anything else gives a foretaste of the album to come, judging from the unreleased tracks he played me, all of which featured live instrumentation. This is a far more expensive way to make a record, but he hopes to have complete and release it sometime in 2012.

“Honestly, if Tajai hadn’t said, ‘We should do a record, I’ll help you pay for it,’ I probably wouldn’t have been able to do it,” he says, clearly relishing the new material. “I do it for the love of music, nothing else.” 2

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LoCATion, LoCATion, LoCATion: HoRRoRS AwAiT ALL wHo EnTER The house By The CemeTery. | Photos courtesy of Blue underground

Ding-Dong, youâ&#x20AC;&#x2122;RE DEAD TRASH It takes a certain kind of sicko to fall in love with Italian horror, what with all the oozing maggots, spurting jugulars, WTF plot twists, weird zooms, jarring musical cues, and supporting characters who do completely bizarre things that are never explained.

Sickos take note: Yerba Buena Center for the Arts is screening an uncut 35mm print of Lucio Fulciâ&#x20AC;&#x2122;s 1981 The House By the Cemetery.

HUGE. Within the gore-splattered Fulci canon, House is maybe not as well-known as 1981â&#x20AC;&#x2122;s The Beyond, 1980â&#x20AC;&#x2122;s City of the Living Dead, or 1979â&#x20AC;&#x2122;s Zombie (which made a recent local appearance thanks to Blue Underground, the cult champions also responsible for this showing of House). But itâ&#x20AC;&#x2122;s no less essential or enjoyable than the others, despite suffering from one nearly insurmountable flaw. (More on that that in a minute.)

Houseâ&#x20AC;&#x2122;s story is actually pretty straightforward, as Fulci flicks go.

After a mysterious murder-suicide claims his colleague, professor Norman Boyle (Paolo Malco) uproots his family, including wife Lucy (Fulci scream queen Catriona MacColl) and young son Bob (Giovanni Frezza), from New York City to small-town Massachusetts, where he plans to finish the dead manâ&#x20AC;&#x2122;s research. Fate or something worse means the Boyles will be bunking in â&#x20AC;&#x153;the Freudstein place,â&#x20AC;? a notorious mansion once occupied by â&#x20AC;&#x153;a certain Dr. Freudstein â&#x20AC;&#x201D; a turn-of-the-century surgeon with a penchant for illegal experiments.â&#x20AC;?

Uh-oh. That the family is merely renting this sinister abode is ignored by the filmâ&#x20AC;&#x2122;s ad campaign: â&#x20AC;&#x153;Read the fine print. You just may have mortgaged your life!â&#x20AC;?

That may be so, but the truth is Bobâ&#x20AC;&#x2122;s dubbed-over voice is the scariest thing in this movie.

Among the House DVD extras is an editorials

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interview with a grown-up Frezza; the first thing out of his mouth is an apology. (His later filmography includes Lamberto Bavaâ&#x20AC;&#x2122;s ludicriously amazing 1985 Demons, so heâ&#x20AC;&#x2122;s off the hook as far as Iâ&#x20AC;&#x2122;m concerned.) Itâ&#x20AC;&#x2122;s a distraction that elevates Bob from a mere rip-off of the kid in 1980â&#x20AC;&#x2122;s The Shining, an obvious House influence, to eardrum-torturing moppet from hell.

Fortunately, the rest of House is weird enough to cushion this sonic godawfulness, or at least blunt it a bit; it helps that the other kid in the movie â&#x20AC;&#x201D; Silvia Collatina as Mae, the Scatman Crothers to Bobâ&#x20AC;&#x2122;s Danny Torrance â&#x20AC;&#x201D; sounds perfectly normal. There are plenty of juicy bits for Italian horror geeks, including Ania Pieroni as a creepy, glaring babysitter (doing a slight variation on her creepy, glaring Mother of Tears in Dario Argentoâ&#x20AC;&#x2122;s 1980 Inferno) and Carlo De Mejo (star of City of the Living Dead) as a helpful librarian. The traditional Fulci cameo casts the director as Dr. Boyleâ&#x20AC;&#x2122;s bow tie-wearing academic peer, uttering the immortal line â&#x20AC;&#x153;I adore New England!â&#x20AC;?

Speaking of, the titular house actually exists, though itâ&#x20AC;&#x2122;s not actually located by a cemetery as advertised. Also the setting for Umberto Lenziâ&#x20AC;&#x2122;s 1988 Ghosthouse (sickos know Lenziâ&#x20AC;&#x2122;s name well, thanks to grindhouse nuggets like 1981â&#x20AC;&#x2122;s Cannibal Ferox and 1980â&#x20AC;&#x2122;s Nightmare City), itâ&#x20AC;&#x2122;s the historically significant Ellis House in Scituate, Mass. No word, however, if the arts association that now maintains the property accommodates curious horror fans â&#x20AC;&#x201D; or if the basement dĂŠcor is still keepinâ&#x20AC;&#x2122; it funky. (Cheryl Eddy) 2

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JANUARY 25 - 31, 2012 / SFBG.com

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By KimBerly Chun arts@sfbg.com muSiC Musical genius, human rights activist, cultural legend, African icon â&#x20AC;&#x201D; late Nigerian Afrobeat pioneer Fela Kuti encompassed multitudes, but to his 1980s-era guitarist Soji Odukogbe, he provided not only inspiration but a way into his music. â&#x20AC;&#x153;The music was written by Fela, so if you were good enough, you could add to it, and he wouldnâ&#x20AC;&#x2122;t say anything. But if you were not good enough, heâ&#x20AC;&#x2122;d say, â&#x20AC;&#x2DC;This is the line,â&#x20AC;&#x2122;â&#x20AC;? explains Odukogbe, 49, by phone from Berkeley where he now lives. â&#x20AC;&#x153;Afrobeat is a written music â&#x20AC;&#x201D; you canâ&#x20AC;&#x2122;t add to it. You can add if you know your instrument, and itâ&#x20AC;&#x2122;s sweet enough, then you can go there.â&#x20AC;?

Fortunately the Legos, Nigeria, native â&#x20AC;&#x201D; who as a child was inspired enough by Felaâ&#x20AC;&#x2122;s hits to take a wood plank, hammer a nail into it, and pretend it was a guitar â&#x20AC;&#x201D; was good enough to take his liberties on guitar on legendary Fela albums like Teacher Donâ&#x20AC;&#x2122;t Teach Me Nonsense, Beasts of No Nation, and Underground System (all Barclay; 1986, 1989, and 1992). â&#x20AC;&#x153;[Fela] was anxious to meet me [after he got out of prison], and when he saw me, he was so happy â&#x20AC;&#x201D; he said, â&#x20AC;&#x2DC;I have a guitar player thatâ&#x20AC;&#x2122;s really good!,â&#x20AC;&#x2122;â&#x20AC;? recalls Odukogbe, who joined Felaâ&#x20AC;&#x2122;s band in â&#x20AC;&#x2DC;85. â&#x20AC;&#x153;One day I said, â&#x20AC;&#x2DC;Fela, I want to take a guitar solo. He only allowed horn and keyboard solos, and he said, â&#x20AC;&#x2DC;Yeah, go ahead,â&#x20AC;&#x2122; and I blew his mind. He was so proud of me.â&#x20AC;? Odukogbe appears with kindred Fela player Baba Ken Okulolo at a â&#x20AC;&#x153;Fela Kuti Extravaganzaâ&#x20AC;? dance party at Cafe Du Nord Jan. 28.

The guitarist played with Fela for five years before deciding to editorials

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take his chances in the U.S. where a so-called world music movement was catching fire with the success of Nigerian juju master King Sunny AdĂŠ, Le Mystere des Voix Bulgares (Nonesuch, 1987), and Brazil Classics 1: Beleza Tropical (Luaka Bop, 1990).

Now, with publications such as The New York Times trumpeting an â&#x20AC;&#x153;African invasionâ&#x20AC;? in indie rock and a fascination with African music takes hold once more â&#x20AC;&#x201D; morphed and bent to new ends by performers ranging from Vampire Weekend to Dirty Projectors to this yearâ&#x20AC;&#x2122;s Pazz and Jop poll-topping tUnE-yArDs â&#x20AC;&#x201D; the time seems right to revisit Felaâ&#x20AC;&#x2122;s legacy.

Long before African outfits like Tinariwen and Blk Jks threaded rock â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; roll guitar into indigenous rhythms, and hipster-cred comps such as the Ethiopiques and Congotronics series touched down stateside, Fela was hybridizing jazz and highlife with a potent dose of James Brown-style funk, a black power sensibility (not for nothing did he dub himself the Black President), and a driving thirst for justice, even after being jailed some 200 times, suffering at the hands of soldiers (the wounds Fela revealed when he dropped his trousers in the 1982 documentary Music Is the Weapon are heartbreaking), and undergoing a level of government harassment and abuse that would break most mortals. It all appeared to climax in 1977 after the release of his military-mocking 1977 LP Zombie (Barclay) and the subsequent invasion of his Kalakuta Republic commune by soldiers, which led to the death of his mother and the beating and brutalization of the performer, his family, wives, and friends.

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Though mainstream superstars Will Smith and Jay-Z threw their producing weight behind the recent Tony Award-winning musical production of Fela!, itâ&#x20AC;&#x2122;s tough to imagine an artist quite like Fela in todayâ&#x20AC;&#x2122;s music scene, fighting back from the top of the pop charts, occupying the public imagination with his radical politics and spiritual beliefs, and speaking his mind, loudly and outrageously. Still, Felaâ&#x20AC;&#x2122;s story and music speak louder than ever, especially in the context of indieâ&#x20AC;&#x2122;s less-than-political appropriation of African sounds, the recent SF run of Fela!, the 2011 rerelease of Felaâ&#x20AC;&#x2122;s Universal-controlled albums in North America by Knitting Factory Records, the upcoming film directed by artist-filmmaker Steve McQueen, and continuing tide of injustice in Nigeria, where weeks of protests continue over fuel prices and the country has undergone its worst oil spill in a decade. â&#x20AC;&#x153;The thing thatâ&#x20AC;&#x2122;s most interesting about Felaâ&#x20AC;&#x2122;s music is how traveling and seeing other cultures, going to the United States, and getting familiar with American music and James Brown and American politics inspired him to fulfill his own roots and look back on himself and to really see these international forces as part of his background and his own culture,â&#x20AC;? observes Will Magid, 26, who organized the Fela dance party and has played with Odukogbe and Okulolo. Magidâ&#x20AC;&#x2122;s own forthcoming debut album promises to mix Kutiâ&#x20AC;&#x2122;s influence with Balkan, pop, and funk sounds. â&#x20AC;&#x153;We need more people who are like that and who are speaking up.â&#x20AC;?

El Cerrito-by-way-of-Nigeria bassist Okulolo played with Fela music listings

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as well as King Sunny Ade and has performed with Odukogbe in the Kotoja, the Western African Highlife Band, and the Nigerian Brothers. Magidâ&#x20AC;&#x2122;s friend and mentor since the two met through Okuloloâ&#x20AC;&#x2122;s son at UCLA, the musician sees â&#x20AC;&#x153;Fela Kuti Extravaganzaâ&#x20AC;? as a teaching opportunity. â&#x20AC;&#x153;Fela was a great musician, and his music will never die,â&#x20AC;? says Okulolo. â&#x20AC;&#x153;I think it would be a good idea to continue educating people about his music and how beautiful it is. I worked with [Fela] briefly, and I know the man well, and so many bands are playing Afrobeat now â&#x20AC;&#x201D; generally the music needs to be out there.â&#x20AC;? â&#x20AC;&#x153;It has funk; it has jazz; it has an African beat; it has everything,â&#x20AC;? he continues. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s our opportunity to showcase it to as many people as we can and make it valuable, to put it in a category that someday will be what reggae is today.â&#x20AC;?

And during hard times, we can all learn something from Fela, his still-vibrant music, and his way of moving, fluidly and artfully, through oppression, through pain. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s this element of social consciousness, of people dancing and then hearing about these oil spills,â&#x20AC;? muses Magid of the upcoming dance party. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s a different kind of dancing when youâ&#x20AC;&#x2122;re dancing through suffering.â&#x20AC;? 2 Will Magidâ&#x20AC;&#x2122;s World Wide dance Party: Fela extravaganza With Baba Ken Okulolo and Soji Odukogbe, Will Magid Trio with Fely Tchaco, MSK.FM, and izzy*wise Sat/28, 9:30 p.m., $15 Cafe Du Nord 2170 Market, SF www.cafedunord.com

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arts + Culture: MusiC

Carlton mElton tEarS it Up at (lEft) an oUtDoor Show for friEnD anD artiSt wEnDEll JonES anD (right) thE riCkShaw Stop. | Photos by birgit brunar and Chris stevens

DomE roCk $BSMUPO .FMUPO Âą FY ;FO (VFSSJMMB Âą DSFBUFT QTZDIFEFMJD OPJTF JO B HFPEFTJD TUSVDUVSF

By Emily SavagE emilysavage@sfbg.com mUSiC â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t know if youâ&#x20AC;&#x2122;ve ever been in a geodesic dome,â&#x20AC;? says drummer-guitarist Andy Duvall, formerly of Zen Guerilla, and currently one third of the improvisational space rock outfit Carlton Melton. â&#x20AC;&#x153;But if you stand right in the middle, thereâ&#x20AC;&#x2122;s a sweet spot.â&#x20AC;?

Carlton Melton records all its stripped down, lo-fi material in a dome house located a few hours north of here, though the three mainstays â&#x20AC;&#x201D; Duvall, Rich Millman, and Clint Golden â&#x20AC;&#x201D; call Oakland and San Francisco home. As for their process: â&#x20AC;&#x153;We just go up, hang out, and record all weekend. Itâ&#x20AC;&#x2122;s very sloppy in many ways but Iâ&#x20AC;&#x2122;ve always been a fan of slop. I think perfection can be a little boring.â&#x20AC;?

During recording other musician pals drop in and out. Live, the trio switches up the instrumentation mid-set. Duvall, a gifted, frenetic drummer influenced

by Colm Ă&#x201C; CĂ­osĂłig of My Bloody Valentine among others (â&#x20AC;&#x153;[Heâ&#x20AC;&#x2122;s] completely overlooked when people talk of their brillianceâ&#x20AC;?), added guitar to his repertoire for Carlton Melton. The band will again show its live prowess locally this Saturday at El Rio. In the few years since the vocal-less act formed in 2008 â&#x20AC;&#x201D; I use â&#x20AC;&#x153;formedâ&#x20AC;? tentatively, as it was more of a natural progression than the word implies â&#x20AC;&#x201D; itâ&#x20AC;&#x2122;s released a cluster of DIY material on indie labels and its own, Mid-To-Late Records. There was the initial, editorials

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2008 â&#x20AC;&#x153;Live in Point Arenaâ&#x20AC;? CD-R, an Empty Shapes split LP, another split with Qumran Orphics and a few seven-inches on SFâ&#x20AC;&#x2122;s Valley King Records and the Irish Trensmat Records (which specializes in â&#x20AC;&#x153;transmitting drone, noise, oscillations and groovesâ&#x20AC;?), both in 2011. In 2012 theyâ&#x20AC;&#x2122;ll put out yet another long-player (already recorded), likely in spring, and are currently hammering out the details for a European tour.

Last year also saw the release of the swirling, spacey Country Ways LP, a record that begins with the 20-minute titular track, a slow-building stunner of dangling drums and psychedelic guitar with the irregular cosmic zap. A track that seemingly has no beginning or end, with the foggy vortex of pleasing chords hanging on for eternity, itâ&#x20AC;&#x2122;s trance-like, sensory, afferent. And something clicks when you remember they made this sound while cracking beers amongst friends over a few days in a specially-shaped structure.

The band actually came to be because of the dome. After Zen Guerrilla â&#x20AC;&#x201D; a band that, should be noted, amassed many local fans and was a 2001 GOLDIES winner â&#x20AC;&#x201D; split up in 2003, Millman was busy raising his two kids. Duvall was happily spending time with his girlfriend and their two cats, Gerard and Cheval. In 2008, Millman called Duvall, and asked if heâ&#x20AC;&#x2122;d want to start playing again.

He agreed but it was mostly to jam with an old friend, the opposite of a definition band. The two, now picks

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both 44, who first began creating music together in 1990 when they lived in Delaware, talked to the owner of the dome and said â&#x20AC;&#x153;hey, weâ&#x20AC;&#x2122;re going to come up and bring some amps and make a bunch of noise at your place, do you mind?â&#x20AC;?

Back to that sweet spot â&#x20AC;&#x201D; it naturally enriches sound. â&#x20AC;&#x153;If youâ&#x20AC;&#x2122;re talking, your voice just instantly amplifies. Same thing happens with music, youâ&#x20AC;&#x2122;re playing guitar and itâ&#x20AC;&#x2122;s just swirling around in the dome. Itâ&#x20AC;&#x2122;s sort of ideal for psychedelic music.â&#x20AC;? says Duvall in a phonecall from his home in Oakland.

That first night up north was magic. They realized they needed name. Duvall, with all his genial charm recalls the conversation then whispers â&#x20AC;&#x153;Carlton Melton.â&#x20AC;?

Melton was a cool guy he knew from junior high in Delaware, a real bad-ass. Strangely, Millman, who went to another school, also knew Melton in Delaware â&#x20AC;&#x201D; theyâ&#x20AC;&#x2122;d played one another in football. Years later, Duvall and Melton happen to meet another dude named Carlton Melton, and that last bit of coincidence seems to have sealed the nameâ&#x20AC;&#x2122;s fate. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s bizarre but it really fits the band. I just hope the guy from Delawareâ&#x20AC;&#x2122;s not offended, because we named the band after him for all the right reasons.â&#x20AC;? 2 Carlton Melton With Feral Ohms, and Glitter Wizard Sat/28, 9 p.m., $8 El Rio 3158 Mission, SF www.elriosf.com

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JANUARY 25 - 31, 2012 / SFBG.com

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FrILLy werewoLF $ISJTUJOF #FBUUZ JT Not Your Average American Girl

By Marke B. marke@sfbg.com LIT â&#x20AC;&#x153;When youâ&#x20AC;&#x2122;ve lived so far like I have,â&#x20AC;? Christine Beattyâ&#x20AC;&#x2122;s wry voice came crackling through the phone as she drove to Las Vegas to play the slots, â&#x20AC;&#x153;you sometimes just have to catch your eye in the rearview mirror and laugh. Iâ&#x20AC;&#x2122;ve led such a charmed life, really.â&#x20AC;?

Some doe-eyed Wisconsinite may have snagged the Miss America crown last week, but in terms of representing this nations glorious variousness, that tiara should be tucked neatly into Beattyâ&#x20AC;&#x2122;s glovebox. A transsexual activist, author, and good-time girl, Beatty just published her memoir, Not Your Average American Girl on her newly christened Glamazon Press (available at Modern Times bookstore in the Mission, www. mtbs.com). In it, she tells her story of growing up and discovering her inner self during a very turbulent time in Northern California, through the stoner 1970s to the economically rocky â&#x20AC;&#x2DC;80s to our own time, when trans people have gained an unprecedented visibility yet still find themselves the targets of discrimination from both conservative quarters and other LGBTs. â&#x20AC;&#x153;I started Glamazon Press because I want transwomen to have another outlet for expression that I think is lacking, â&#x20AC;&#x153; Beatty said. â&#x20AC;&#x153;I feel that the Internet has brought us more visibility, but weâ&#x20AC;&#x2122;re still tucked under the wing of the gay movement, and maybe itâ&#x20AC;&#x2122;s time to move out. I donâ&#x20AC;&#x2122;t want to divorce the â&#x20AC;&#x2DC;Tâ&#x20AC;&#x2122; from LGBT, itâ&#x20AC;&#x2122;s been very politically beneficial in many ways. But we need to develop our own voice. There are situations unique to us â&#x20AC;&#x201D; the surgery costs money, and weâ&#x20AC;&#x2122;re completely vulnerable in the work place from a legal viewpoint, if people employ us at all.â&#x20AC;?

In her memoir, a significant amount of valuable San Francisco history is unearthed. Not Your Average American Girlâ&#x20AC;&#x2122;s juiciest bits, for me, recall her life as a trans newbie in the Tenderloin in the â&#x20AC;&#x2DC;80s, hanging out at the Spirit Club and music listings

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embracing sex worker life â&#x20AC;&#x201D; a period vividly evoked, the city seething with a grimy energy and sense of family, a lost drama of payphones, sex ads, and backrooms. And then sheâ&#x20AC;&#x2122;s a â&#x20AC;&#x2DC;90s rocker with her band Glamazon, the book also nailing the electrifying live scene of the time.

The most resonant parts, all recounted with a kind of surprised honesty, deal with Beattyâ&#x20AC;&#x2122;s deathly drug habit and recovery, her HIV diagnosis 25 years ago, and her journey into transwomanhood, something she approached with such unrelenting drive that her exwife and her mother became two of her biggest supporters, despite initial upset.

Even considering Beattyâ&#x20AC;&#x2122;s storytelling talents, however, itâ&#x20AC;&#x2122;s a wonder that Not Your Average American Girl saw the light of day. It meticulously recreates scenes from Beattyâ&#x20AC;&#x2122;s experiences using entries from the journals that sheâ&#x20AC;&#x2122;s kept all her life. And really, if your mortal coil encompassed typical suburban mamaâ&#x20AC;&#x2122;s boy, stoner hippie, macho soldier, undercover married cross-dresser (â&#x20AC;&#x153;frilly werewolfâ&#x20AC;?), Tenderloin call girl, recovering heroin addict, pioneering rock musician, and author-publisher, how legible would your diary be? â&#x20AC;&#x153;When I went to write the book, I looked at these old journals and I was filled with gratitude. I was so scared, hopeless, resentful in parts. But I see how far Iâ&#x20AC;&#x2122;ve come and Iâ&#x20AC;&#x2122;m still alive. And I must have known I was going to survive â&#x20AC;&#x201D; otherwise why the hell would I write all this down?â&#x20AC;? 2

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arts + culture: theater

By RoBeRt AvilA arts@sfbg.com tHeAteR The Berkeley Rep’s thrust stage sinks to floor-level down front where a simply furnished living room freely communicates with the audience seated nearby, while to the back rises the imposing façade of San Francisco City Hall. The impressive jumble of a set (by Todd Rosenthal) ensures the jarring conflation of private and public life strikes us palpably before a single line is uttered in Ghost Light. As it happens, the first words are those famous ones spoken by Dianne Feinstein from City Hall on November 27, 1978, announcing the assassination of Mayor George Moscone and Supervisor Harvey Milk by former supervisor Dan White. They come over the television to a 14-year-old boy (Tyler James Myers) home sick from school the day his father died.

The dream play that follows is not realistic, but it is also more than fiction. A unique collaboration between Bay Area–based director and California Shakespeare Theater artistic director Jon Moscone (real-life youngest son of the slain mayor) and Berkeley Rep’s Tony Taccone, Ghost Light is an at times promising but otherwise laden attempt to explore the stifled grief of a man haunted by the death of a murdered father — a father who was also a public figure, a political leader whose legacy is in some sense embattled (or at least seriously overshadowed by the subsequent apotheosis of Harvey Milk).

The complex feelings this entails for the son of such a man — whose career in the state senate and as mayor was arguably more important than Milk’s to the legal and social battle for gay rights — are only heightened by the fact that the son is also gay, with a public profile of his own and the mixed blessing of a prominent family name.

If the son in this situationturned-scenario sounds a little like Hamlet, the comparison was not lost on Taccone either, who penned the script while drawing on hours of freewheeling conversations with Jon Moscone, initiator of the project and the play’s director. (Ghost Light had its world premiere last year in Ashland at the Oregon Shakespeare Festival, where it was commissioned as part of its “American Revolutions: The United States History Cycle.”)

Director-turned-playwright Taccone has the character “Jon” (played with manic energy and sudden introspection by a sympathetic Christopher editorials

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to tHine own self Be tRue: tyleR JAmes myeRs (left) And PeteR mAcon in GHost LiGHt. | Photo courtesy of kevinberne.com

too mucH in tHe son

A theater director wrestles history and Hamlet in Ghost Light, and this time it’s personal

Liam Moore) stuck midway through the preparations for a production of Hamlet, unable to decide what to do with the Ghost — indeed, haunted by the whole idea. This unusual block has his best friend and collaborator Louise (a lively if slightly affected Robynn Rodriguez) frustrated and worried.

Jon’s block also feeds a dream life populated by several characters — a Loverboy (Danforth Comins) spun from an online flirtation; his perennially 14-year-old self (Myers) locked in a battle of wills with some cosmic undertaker cum grief councilor named Mister (a sure, larger-than-life Peter Macon); the silent image of his black-veiled widow mother (Sarita Ocón); and a menacing prison guard in a soiled shirt (a sharp Bill Geisslinger), who turns out to be the grandfather he never knew.

It’s suggested more than once in the dialogue that all of these characters stalking his sleep (and often arriving onstage through the portal of Jon’s bed, pitch atop the shiny black granite steps of picks

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City Hall) are merely the dreamer himself in various disguises and aspects. This much, of course, we are already primed to assume. In fact, the fundamental problem facing the main character — namely, his inability to properly let go of his own grief and suffering around the death of his father, which appears here as an inability to let his own father’s “perturbed spirit” rest at last — is equally a condition readily recognizable to a modern audience in a therapeutic age. It may be grounds to build on in terms of character development, but the lack of mystery here also undercuts any suspense in the plot, as the increasingly blurred line between Jon’s dreaming and waking lives points toward nervous collapse and the threat of some self-inflicted disaster (personified by the foul-mouthed, homophobic, and gun-toting prison guard stalking his unconscious).

Taccone makes a valiant attempt to draw together a complicated and wrenchingly personal yet all-too-public story with a set of interrelated subplots and quick-

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moving dialogue (filled with as much quippy humor and menace as pathos). But the results are uneven.

Although Geisslinger makes a serviceable villain, the danger he represents never feels palpable.

Likewise, the underworld subplot involving boyhood Jon (played a little too typically “boyishly” by Myers to be readily believed) comes across as vague and treacly.

Perhaps unsurprisingly, it is the more realistic, down-to-earth scenes that play best and are most evocative. The intricacy of a life divided painfully between public and private personas, public and private pain and loyalties too, comes across best when the character of Jon is operating in the “real” world. To this end, Moscone the director shrewdly brings the audience in at key points as well, raising the houselights for an acting master class led by his onstage character.

Meta-theater, town hall meeting, group therapy — the lines begin to blur here in a lively, resonant discussion of “acting” as social action.

Another interesting scene takes place in a bar, where Jon finally meets Basil (Ted Deasy), the man with whom he’s been having an online fling for weeks (and the inspiration for the Loverboy of his increasingly intrusive dream world).

The awkwardness, defensiveness, and barely contained rage revealed here — as Jon discovers that Basil’s own fantasy projection incorporates his public familial tragedy — speak more eloquently to the messy particulars of the main character’s dilemma then perhaps any other scene in the play.

In the end, the thematic aptness of the mise-en-scène — which forces Jon, for instance, to open the front doors of City Hall just to retrieve a beer from the fridge — speaks also to the monumental task this play has set itself. If the results prove very mixed, they are all the more discomfiting because the root story is so fascinating, the dramatic project itself audacious and strange, and the insight to be potentially gleaned so tantalizing — speaking to our collective intersections with history in the deepest recesses of the psyche. 2

get tickets at

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

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

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 “Eye in the Sky”

AlAn PARsons Live Project + DAviD PACk (oF AMbrosiA)

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

Wed, Feb 1 new series: GivE THE DRUMMER soME!

THE PETER ERskinE nEW TRio ...................................................

Thurs, Feb 2 (8:00pm)

. .THE . . . . . . .GosPEl . . . . . . . . . . . . . .HUMMinGBiRDs ............................

Thurs, Feb 2 (10:30pm)

ShaBaZZ PalaCeS + Siddhartha

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

Fri, Feb 3

MaRianne aya oMaC

w/special appearance by

Joan BaeZ

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

Sat, Feb 4 (8pm) “Love You Madly”

lavay SMith

duke ellington tribute ...................................................

Sat, Feb 4 (10:30pm)

BoBBy BRooM

& the deep blue organ trio

oakland 510 embarcadero west, 510-238-9200

Wed Jan 25

sf sketchfest presents

Ann MAGnUson: DRAwINg ROOm ApOCALYpSE

Thurs, Jan 26

WeSla Whitfield w/ the Mike gReenSill tRio Fri-Sun Jan 27-29

mARk HummEL’S BlUEs HARMoniCA BloWoUT

featuring: charlie Musselwhite, Billy Boy Arnold,

curtis salgado, sugar ray norcia & Little charlie Baty Mon, Jan 30 oakland’s blues queen

sF FiLiPino AMericAn jAzz FestivAL Presents

lady BianCa Tues, Jan 31

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

Dr rock & Latin rock, inc presents

ColoReS

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

Wed, Feb 1 face-melting blues guitarist

CaRolyn WondeRland

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

Thurs, Feb 2

SF SketchFeSt PreSentS

Reggie WattS RoBeRt glaSPeR

+ the jazz collaboration Fri-Sun, Feb 3-5

Ghost liGht Through Feb. 19 Tues., Thurs.-Sat., 8 p.m. (also Sat. and Feb. 16, 2 p.m.); Wed. and Sun., 7 p.m. (also Sun., 2 p.m.), $14.50-$73 Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk.

(510) 647-2949

THE sPinnERs Tues, Feb 7

the PeRSuaSionS

THE MAnHATTAn TRAnsfER Feb 10-12 All shows are all ages.

Dinner Reservations Recommended.

www.berkeleyrep.org

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JANUARY 25 - 31, 2012 / SFBG.com

25

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arts + culture: film

* * *7<*A* 4

vaLĂŠrie DOnzeLLi anD JĂŠrĂŠMie eLkaĂŻM pLay sTar-CrOsseD parenTs in Declaration of War. | Photo courtesy of sundance selects

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26 SAN FRANCISCO BAY GUARDIAN

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FiLM French actor ValĂŠrie Donzelli made her first feature as writerdirector with 2009â&#x20AC;&#x2122;s The Queen of Apples, which trawled the film festival circuit for a couple of years â&#x20AC;&#x201D; eventually getting its title tweaked to The Queen of Hearts â&#x20AC;&#x201D; before making its unheralded U.S. debut at the 2010 Mill Valley Film Festival.

It got a minor theatrical release in France and none at all here.

All this goes to show that, contrary to all optimistic wisdom, not every film will find its audience. Not even when it is, in fact, the kind of movie that tends to win audience awards. Queen was endlessly energetic, quirky, and endearing, in the manner of 1960s independent films whose youthful makers needed to prove they could do every trick and break every rule in the book.

It was charming despite being almost too cute for words, and a mite too pleased with itself. The slender story aimed for little more than charm: Donzelli played a hapless young Parisian flinging herself from one comically doomed love to another before winding up with Mr. Right, played (as were all the Mr. Wrongs) by JĂŠrĂŠmie ElkaĂŻm, who in 2000 was the unstable gay teen in SĂŠbastien Lifshitzâ&#x20AC;&#x2122;s memorable Come Undone. Queen may have been uneven, but it was frequently so funny that hardly mattered.

Obviously somebody noticed, however, since Donzelli is now back with a second feature she co-stars in, and co-wrote with,

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ElkaĂŻm. (Evidently other people like this team as well â&#x20AC;&#x201D; in the interim they got cast opposite one another in Ă&#x2030;lise Gerardâ&#x20AC;&#x2122;s 2010 Belleville-Tokyo.) Itâ&#x20AC;&#x2122;s even playing at a theater near you, at least for the next five minutes.

Though more ambitious as (largely) a serious drama, Declaration of War reprises the same flaws as its predecessor, being over-stuffed with stylistic digressions, a little too eager to please at times. But once again itâ&#x20AC;&#x2122;s a very likable piece of work that largely works on its own terms.

While Queen was primarily content to poke fun at the great French tradition of slender twentysomethings moping lovesick about Paris, War declares itself on something inherently humorless: a childâ&#x20AC;&#x2122;s grave illness. Juliette (Donzelli) meets Romeo (ElkaĂŻm) â&#x20AC;&#x201D; yep, thatâ&#x20AC;&#x2122;s a bit much â&#x20AC;&#x201D; at a punk club, where his pogoing catches her eye. After a very 1960s montage of love al fresco (although they do not run through any flower fields), out pops the no less auspiciously named Adam, and all is well apart from some higher-than normal new-parent exhaustion issues related to the baby crying just about every waking moment.

Eventually, however, Adamâ&#x20AC;&#x2122;s tendency to barf, cough, and tilt his head leftward while showing no interest in learning to walk raises suspicions confirmed by Dr. Prat (BĂŠatrice De StaĂŤl, who was also a standout as the heroineâ&#x20AC;&#x2122;s neurotic flatmate in Queen): little Adam has a brain tumor, and thereâ&#x20AC;&#x2122;s a long uncertain road ahead that puts music listings

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infinite strain on the young coupleâ&#x20AC;&#x2122;s individual emotions, collective resources and future together.

Even in this much more sober story context, Donzetti canâ&#x20AC;&#x2122;t resist cramming in every stylistic whim that comes to mind, from superimpositions to interior voices and multiple anonymous narrators, not excluding a bursting into song.

The cost of her chasing after such spontaneity is that sometimes a gamble falls flat, calling attention to itself without adding anything, like the soundtrack choice of some overly gimmicky electronica when Juliette freaks out during her childâ&#x20AC;&#x2122;s CAT Scan. Eclecticism isnâ&#x20AC;&#x2122;t always an ideal tactic, especially when a subject like this one demands a certain groundedness.

But many of her tactics work, finding humor in surprising places and refreshing some familiar devices of domestic tragedy. Donzetti has a very sure touch with actors; she and the ingratiating ElkaĂŻm work so well together that we donâ&#x20AC;&#x2122;t mind their characters remain in some ways underdeveloped. (In fact this seems somewhat intentional â&#x20AC;&#x201D; Juliette and Romeo plunge into serious commitment before theyâ&#x20AC;&#x2122;re fully formed adults, and the script doesnâ&#x20AC;&#x2122;t spare them the odd outburst thatâ&#x20AC;&#x2122;s childishly unflattering.) Much less melodramatic than its title would suggest, Declaration of War is uneven but full of life and ideas â&#x20AC;&#x201D; thereâ&#x20AC;&#x2122;s room for Donzetti to refine her directorial instincts, but one hopes they stay a little messy. 2 DeCLaraTiOn OF War opens Fri/27 in Bay Area theaters.

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arts + culture: nightlife

MaSTerS aT WOrk, LefT, reUniTe fOr reD BULL anD SUPerDre fLieS hiGh.

TeChnO iS exPenSive

By Marke B. marke@sfbg.com SUPer eGO Letâ&#x20AC;&#x2122;s be honest. Letâ&#x20AC;&#x2122;s start the new year out a month late with honesty. (Gung Hay Fat Choy, btw). Going out these days can really cost you someone, and that someone is named Pretty Penny, if not Armina Leg. The average cover charge in the city, according to my professionally drunken self-survey, is pushing from $10 to $15, if not $20.

Officially a night out â&#x20AC;&#x201D; drinks, cabs, cover, recovery pizza slice â&#x20AC;&#x201D; can run you upwards of $50.

(Unofficially, you may just have to put out for your ride and pony up for new Underoos when the flask seal breaks in your back pocket. I am not advocating anything here.

Just donâ&#x20AC;&#x2122;t opt for Comet instead of blow.)

Some parties are absolutely worth it. If Radiohead tickets are, like $144, then the party of the year so far, Laurent Garnier at Public Works â&#x20AC;&#x201D; a four-hour live set with three musicians, full digital effects, huge bass boost, and a Thursday night crowd of serious dance fiends â&#x20AC;&#x201D; was $25, $15 presale, invested in the supreme life force. There are fortunately still many parties hovering around the $5 mark where you can hear fantastic innovation and occasional international stars. And by all means, if you want to cough up $35 to hear some pop-EDM millionaire douchnozzle vomit down your earhole, be my guest. Just bring me back a pair of neon shutter shades.

(Full disclosure: I gladly pay to get into about 70 percent of the parties I attend.)

But nightlife appears to be recession-proof here, possibly because editorials

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of our tech bubble, and I wonder if one of the most democratic of art forms, dance music, is turning into a prissy connoisseur enterprise that only the wealthy can fully experience and enjoy. The answer, of course, is to go outside and make our own damn noise.

Bull sessions The Red Bull Music Academy has become quite a thing in the past 14 years â&#x20AC;&#x201D; championing some mighty forward-thinking dance music, linking past legends with newbies through interviews, workshops, lectures, and lively parties, and putting me in the funny spot of sounding like a full-on Red Bull product placer.

The Academy itself could number you among its ranks. Itâ&#x20AC;&#x2122;s a group of talented musicians, DJs, and producers chosen to attend a massive, globe-roving yearly summit full of cultural and clubby goodies.

A Hogwarts of hip-hop, an Exeter of electronica, a Quattrocentro of Moombahton. This yearâ&#x20AC;&#x2122;s takes place in NYC in October, but to kick off the Academy application process â&#x20AC;&#x201D; get in gear and apply starting Feb. 2 at www.redbullmusicacademy.com â&#x20AC;&#x201D; Red Bullâ&#x20AC;&#x2122;s launching a series of tasty events here in SF that are open to all.

In the taurine ring? Saxophone deity Gary Bartz (Wed/25, 8:30 p. m., $30. Yoshiâ&#x20AC;&#x2122;s SF, 1300 Fillmore, SF. www.yoshis.com) â&#x20AC;&#x201D; whose African-rooted jazz of the late 1960s and â&#x20AC;&#x2DC;70s became associated with the Black Panther movement â&#x20AC;&#x201D; drops some fierce â&#x20AC;&#x153;Uhuru Sasaâ&#x20AC;? with Aloe Blacc and Bilal. Stretch armstrong and Bobbito (Thu/26.

10 p.m., $8. Mighty, 119 Utah, SF. www.mighty119.com) revive their groundbreaking hip-hop days as hosts on Columbia Universityâ&#x20AC;&#x2122;s picks

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WKCR in the early â&#x20AC;&#x2DC;90s. And finally, in a coup that has the classic house community abuzz, Nuyorican heroes Kenny Dope and Lil Louie Vega, a.k.a. Masters at Work (Fri/27, 10 p.m., $15. 103 Harriet, SF. www.1015.com) will reunite for the first time in 10 years. Iâ&#x20AC;&#x2122;ll take them wings, gimme.

rOCkeT " OFXMZ GPSNFE QBTTFM PG MPDBM RVFFS UFDIOP %+T UIF 3PDLFU $PMMFDUJWF .BU %PT 4BOUPT #SJBO .BJFS 5SFWPS 4JHMFS %BWJE 4UFSOFTLZ JT TIPPUJOH GPS UIF NPPO XJUI UIJT VOEFSHSPVOE TPVOE PSJFOUFE QBSUZ XIJDI CFOFGJUT EJGGFSFOU #VSOJOH .BO DBNQT FWFSZ NPOUI "MXBZT FOFS HFUJD ESBH BTUSPOBVUT Âą ESBHTUSPOBVUT Âą "NCSPTJB 4BMBE BOE .JTT 3BIOJ QFSGPSN Sat/28, 10 p.m., $7. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

SUPerDre 4VQFSIPU GVOLZ CBTT BOE NJOJNBM UFDI %+ BOE #BTT $BOEJ MBCFM PXOFS GMBVOUT IFS TVQSFNF UFDIOJRVF Âą IFS TFUT BSF XJEF SBOHJOH TVSWFZT PG UIF CFTU WBSJPVT DVSSFOU EBODF NVTJD HFOSFT IBWF UP PGGFS CVU XIP DBSFT XFÂľSF EBODJOH 8JUI EJSUZCJSEÂľT 8PSUIZ -JUUMF +PO PG 3BJOEBODF BOE NPSF Sat/28, 9 p..m.-3:30 a.m., free before 10 p.m., $5 after. Public Works, 161 Erie, SF. www.publicsf.com

C.L.a.W.S. 3FWFSFOE #FSUJF 1FBSTPO UIF DPPM DMFSJD XIP CSPVHIU VT UIF BCTPMVUFMZ FQJD &QJTDPEJTDP QBSUJFT BU (SBDF $BUIFESBM JT OPX BU UIF &QJTDPQBM $IVSDI PG 4U +PIO UIF &WBOHFMJTU Âą BOE UIFSFÂľT OP XBZ UIBU DIVSDI XPOÂľU TFF TPNF OJHIUMJGF CMPXPVUT BT XFMM -JLF UIJT BMM BHFT CMBTU GFBUVSJOH MPOHUJNF MPDBM FYQFSJNFOUBM UFDI DBU $ - " 8 4 XJUI DVUF ²QSPUP TZOUIQPQ XJUIPVU SBQJOH JUÂł CBOE 4IBLFT (PXO BOE BMTP &BSUI +FSLT Sun/29, 6 p.m.-10 p.m., all ages, $5â&#x20AC;&#x201C;$10 sliding scale, no one turned away. Episcopal Church of St. John the Evangelist, 1661 15th St., SF. www.saintjohnsf.org 2

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JANUARY 25 - 31, 2012 / SFBG.com

27

music listings

for more music content visit sfBg.com/noise

jazz/new music

Blues organ party 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Stompy Jones 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Tom Lander & Friends .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF.

folk / woRld/countRy

Twang! Honky Tonk 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX UXBOHIPOLZUPOL DPN QN -JWF DPVOUSZ NVTJD EBODJOH BOE HJWF BXBZT

dance cluBs

BenyaRo plays hotel utah thuRs/26. | Photo by AdAm Lerner PhotogrAPhy .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 DPO GJSN CPPLJOHT 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 25 Rock /Blues/hip-hop

Circus Finelli, Black Hats &M 3JP QN

Jefferson Starship 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Eric Johnson 4MJNÂľT QN Jake Mann, Upper Hand, Tommy Keene, Sally Crew & the Sudden Moves 3JDLTIBX 4UPQ QN Mobile Deathcamp, Pottymouth 5IFF 1BSLTJEF QN moe. "NPFCB )BJHIU 4'

QN GSFF Pageant, Swells, Weather )FNMPDL 5BWFSO QN Rumer #JNCPÂľT QN â&#x20AC;&#x153;Sanfranolaâ&#x20AC;? 1VCMJD 8PSLT QN GSFF $FMFCSBUJPO PG DPNNPOBMJUJFT CFUXFFO 4BO 'SBODJTDP BOE /FX 0SMFBOT XJUI %+ #SJDF /JDF -BHOJBQQF #SBTT #BOE BOE NPSF Terry Savastano +PIOOZ 'PMFZÂľT QN GSFF Scars on 45 $BGF %V /PSE QN Nathan Temby vs. Lee Huff +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT QN Tom Tom Club .F[[BOJOF QN Whiskey Row, Whiskey Pill, Fiasco ,OPDLPVU QN Worth Taking, Glass Gavel, Minor Kingdom #PUUPN PG UIF )JMM QN

jazz/new music

Cosmo AlleyCats -F $PMPOJBM $PTNP 1MBDF 4' XXX MFDPMPOJBMTG DPN QN Dink Dink Dink, Gaucho, Michael Abraham "NOFTJB QN GSFF Greg Gotelli Quartet .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Ricardo Scales 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN

dance cluBs

Booty Call 2 #BS $BTUSP 4' XXX CPPUZ DBMMXFEOFTEBZT DPN QN +VBOJUB .03& BOE +PTIVB + IPTU UIJT EBODF QBSUZ Club Shutter &MCP 3PPN QN 8JUI %+T /BLP 0NBS BOE +VTUJO

28 SAN FRANCISCO BAY GUARDIAN

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Coo-Yah! 4PN UI 4U 4'

QN GSFF %+T %BOFFLBI BOE (SFFO # TQJO SFHHBF BOE EBODFIBMM XJUI XFFLMZ HVFTUT Full-Step! 5VOOFM 5PQ QN GSFF )JQ IPQ SFHHBF TPVM BOE GVOL XJUI %+T ,VOH 'V $ISJT BOE #J[[J 8POEB Housepitality *DPO 6MUSB -PVOHF 'PMTPN 4' XXX IPVTFQJUBMJUZTG DPN QN GSFF CFGPSF QN XJUI 3471 8JUI +BZ 5SJQXJSF .JHVFM 4PMBSJ 7JDUPS 7FHB BOE NPSF 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 26 Rock /Blues/hip-hop

Allstar Weekend, After Party, Hollywood Ending, Before You Exit 'JMMNPSF QN

ArnoCorps, Mick Foley, Counte Dante & the Black Dragon Fighting Society 4MJNÂľT QN

Avengers, Boats!, Midnight Snaxxx #PUUPN PG UIF )JMM QN Iggy Azela 3JUDI 4' XXX SJUDI DPN QN Benyaro, Mortar & Pestle, Tzigane Society )PUFM 6UBI QN Vicky Cryer, popscene DJs 3JDLTIBX 4UPQ QN Fillager, Terraplane Sun, Warm Weather $BGF %V /PSE QN Fitz and the Tantrums, Dale Earnhardt Jr. Jr., American Tomahawk 3FHFODZ #BMMSPPN QN Lee Huff vs. Nathan Temby +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT QN Jefferson Starship 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

John Lawton Trio +PIOOZ 'PMFZÂľT QN GSFF New Spell, Red Weather, Solwave )FNMPDL 5BWFSO QN No Statik, Walls, True Radical Mirage, Smell &M 3JP QN JL Stiles $BGF 3PZBMF 1PTU 4'

QN GSFF â&#x20AC;&#x153;Voices of Latin Rock: Benefit for Autismâ&#x20AC;? #JNCPÂľT QN 8JUI 'BNJMZ 4UPOF #JBODB .JMFT PG 8JMM BOE NPSF

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Afrolicious &MCP 3PPN QN %+ IPTU 1MFBTVSFNBLFS TQJOT "GSPCFBU 5SPQJDgMJB FMFD USP TBNCB BOE GVOL Get Low 4PN UI 4U 4'

QN GSFF +FSSZ /JDF BOE "OU TQJO )JQ )PQ ÂľT BOE 4PVM XJUI XFFLMZ HVFTUT Thursdays at the Cat Club $BU $MVC QN GSFF CFGPSF QN 5XP EBODF GMPPST CVNQJOÂľ XJUI UIF CFTU PG T NBJOTUSFBN BOE VOEFS HSPVOE 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 & Push The Feeling 6OEFSHSPVOE4' )BJHIU 4' FQJDTBVDF DPN QVTIUIFGFFMJOH QN GSFF XJUI 'BDFCPPL 3471 8JUI SFTJEFOU %+T :3 4,6-- BOE FQJDTBVDF %+T BOE MJWF TFU CZ .BHJD 5PVDI Stretch Armstrong & Bobbito, DJ Shorkut .JHIUZ QN

fRiday 27 Rock /Blues/hip-hop

Baxtalo Drom "NOFTJB QN Elvin Bishop, John Nemeth (SFBU "NFSJDBO .VTJD )BMM QN Blisses B, Moonlight Orchestra, Stars Turn Me On #PUUPN PG UIF )JMM QN Fast Times .BHHJF .D(BSSZÂľT (SBOU 4' XXX NBHHJFNDHBSSZT DPN QN GSFF Fitz and the Tantrums, Dale Earnhardt Jr. Jr., American Tomahawk 3FHFODZ #BMMSPPN QN Jefferson Starship 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Kids on the Crime Spree, Bad Bibles, Adios Amigo )FNMPDL 5BWFSO QN Mint Condition 8BSGJFME QN Mixers +PIOOZ 'PMFZÂľT QN GSFF Pimps of Joytime, Afrolicious, Senor Oz *OEFQFOEFOU QN Quarter Mile Combo, B-Stars, Rumble Strippers $BGF %V /PSE QN JC Rockit, Nathan Temby, Lee Huff +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT QN Matt Skiba, Mike Park, Vittu 4MJNÂľT QN

Social Club, Wildfire Control, City of Women 3PDLJU 3PPN $MFNFOU 4' XXX SPDL JU SPPN DPN QN

jazz/new music

Adam Theis Trio $BTB 4BODIF[ 4U 4' XXX VSCBONVTJDQSFTFOUT DPN QN Audium #VTI 4' XXX BVEJVN PSH QN 5IFBUFS PG TPVOE TDVMQUVSFE TQBDF Black Market Jazz Orchestra 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN

folk / woRld/countRy

Robin Galante 4JNQMF 1MFBTVSFT #BMCPB 4' XXX TJNQMFQMFBTVSFTDPGGFF DPN QN GSFF â&#x20AC;&#x153;Kitka and Svetlana Spajic: To the Singers of Talesâ&#x20AC;? $PVOUFS16-4& .JTTJPO 4' XXX DPVOUFSQVMTF PSH QN

dance cluBs

As You Like It: Ghostly Meets Spectral 1VCMJD 8PSLT QN 8JUI 3ZBO $SPTTPO 0TCPSOF 4PMWFOU MJWF .PTTNPTT BOE NPSF Charles Feelgood, Chaos, Soundsex, Miki Mayhem .JHIUZ QN Lagos Roots Afrobeat Ensemble &CMP 3PPN QN 8JUI %+ 4FMFDUB 3JEEN

on the cheap

film listings

classifieds

music listings Old School JAMZ &M 3JP QN 'SVJU 4UBOE %+T TQJOOJOH PME TDIPPM GVOL IJQ IPQ BOE 3 # Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Pledge: Fraternal -PPLPVU QN #FOFGJUJOH -(#5 BOE OPOQSPGJU PSHBOJ[BUJPOT #PUUPNMFTT LFHHFS DVQT BOE QBEEMJOH CPPUI XJUI %+ $ISJTUPQIFS # BOE %+ #SJBO .BJFS Teenage Dance Craze ,OPDLPVU QN 4VSG HBSBHF TPVM BOE NPSF XJUI 3VTTFMM 2VBO BOE E9 UIF 'VOLZ (SBOQBX

saturday 28 rock /Blues/hip-hop

Birdmonster, SorryEverAfter, IFFG #PUUPN PG UIF )JMM QN

Carlton Melton, Feral Ohms, Glitter Wizard &M 3JP QN Damage Inc. (Metallica tribute), Ozzy Alive, Haunted by Heroes 4MJNÂľT QN

Doldrums, Los Headaches, Shrouds 5IFF 1BSLTJEF QN â&#x20AC;&#x153;Fela Kuti Extravaganzaâ&#x20AC;? $BGF %V /PSE QN 8JUI #BCB ,FO 0LVMPMP BOE 4PKJ 0EVLPHCF 8JMM .BHJE 5SJP 'FMZ 5DIBDP BOE NPSF Frankenstein Livs, My Name is Joe 5IFF 1BSLTJEF QN GSFF Lee Huff, Rags Tuttle, Nathan Temby, +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT QN Jefferson Starship 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN BOE QN

Impalers 3JQUJEF 5BSBWBM 4' XXX SJQ UJEFTG DPN BOE QN GSFF O.A.R., Parachute 'JMMNPSF QN

Outdoorsmen, FM Bats, Sensitive Side, Glitz )FNMPDL 5BWFSO QN Swann Dagger, Crimson Scarlett ,OPDLPVU QN Top Secret Band +PIOOZ 'PMFZÂľT QN GSFF â&#x20AC;&#x153;Tour de Songs and Stringsâ&#x20AC;? "NOFTJB QN 8JUI &EEJF $PIO 'BU 0QJF BOE (SFHPSZ +BNFT #BOE â&#x20AC;&#x153;Tour de Rocksteady and Soul Rhythmsâ&#x20AC;?

"NOFTJB QN 8JUI 8JDLFE .FSDJFT BOE 5JUBO 6QT Wood Brothers, Sarah & Christian Dugas (SFBU "NFSJDBO .VTJD )BMM QN

jazz/new music

Audium #VTI 4' XXX BVEJVN PSH QN 5IFBUFS PG TPVOE TDVMQUVSFE TQBDF

folk / world/country

John Calloway Trio $BTB 4BODIF[ 4U 4' XXX VSCBONVTJDQSFTFOUT DPN QN Los Cochinos $POOFDUJDVU :BOLFF $POOFDUJDVU 4' XXX UIFZBOLFF DPN QN

Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Peter Yarrow +$$4' $BMJGPSOJB 4' XXX KDDTG PSH QN

dance cluBs

Chunky Bits &MCP 3PPN QN GSFF CFGPSF QN BGUFS 2VFFS GBU QP[J EBODF QBSUZ XJUI %+T 4JTTZ 4MBQ 4US ) BOE 0EE(SSSM0VU Go Bang! %FDP -PVOHF -BSLJO 4' XXX HPCBOHTG DPN QN GSFF CFGPSF QN BGUFS "UPNJD EBODFGMPPS EJTDP BDUJPO XJUI $PMF

.FEJOB 5BM . ,MFJO 3JDI ,JOH BOE NPSF Icee Hot 2-Year Anniversary 1VCMJD 8PSLT -PGU QN 8JUI .PTDB "MUFSFE /BUJWFT BOE SFTJEFOUT 4IBXO 3FZOBMEP (IPTUT PO 5BQF BOE 3PMMJF 'JOHFST Mission Street Disco ,OPDLPVU QN %FFQ EJTDP IPVTF XJUI %+T .BVSJDJP "WJMFT BOE 3ZBO 1PVMTFO Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Rocket 3JDLTIBX 4UPQ QN "MUFSOBUJWF RVFFS EBODF GMPPS FYQFSJFODF Roots and Rhythm Series "NPFCB .VTJD )BJHIU 4' XXX BNPFCBNVTJD DPN 8JUI %+ )BSSZ %VODBO Superdre, Worthy, Little John 1VCMJD 8PSLT QN CONTINUES ON PAGE 30 >>

FULLBAR7DAYSâ&#x20AC;˘HappyHourM-F,2-8pm PQFO!FWFSZ!EBZ!BU!3QN LJUDIFO!PQFO!EBJMZ XFEOFTEBZ!2036!!9QN!%9

NPCJMF!EFBUIDBNQ QPUUZNPVUI MPHJTUJD!TMBVHIUFS

UIVSTEBZ!2037!6QN

DMPTFE!GPS!QSJWBUF!QBSUZ" TBUVSEBZ!2039!4QN!GSFF

IBQQZ!IPVS!TIPX GSBOLFOTUFJO!MJWT NZ!OBNF!JT!KPF

:QN!%9

EPMESVNT MPT!IFBEBDIFT UIF!TISPVET

TVOEBZ!203:!!5QN!GSFF

UXBOH!TVOEBZ CMVF!EJBNPOE!GJMMVQT

UpcoMing SHowS 302!!!!.!!!CBOOFS!QJMPU-!TIPUEPXO!!!!!!!!!!!!!!!!!!IFBS!UIF!TJSFOT-!UIF!TIFMM!DPSQPSBUJPO 303!!!!.!!!EJSUZ!GJMUIZ!NVHT-!TUBHHFS!BOE!GBMM!!!!!!!!!!!!!!!!IPVOET!'!IBSMPUT 304!!!!.!!!IJHIXBZ!QBUSPM-!UT!BOE!UIF!QBTU!IBVOUT-!! !!!!!!!!!!!!!!!!!!IFZXPPE-!GPPMQSPPG!GPVS 305!!!!.!!!NBZMFOF!BOE!UIF!TPOT!PG!EJTBTUFS!!!!!!!!!!!!!!!!MJPOJ[F-!BCBUJT 30:!!!.!!!UIF!NP!PEET-!UIF!GMBJMT-!EJNQMFT-! !!!!!!!!!!!!!!!UIF!QJOL!GJMNT 3021!.!!!ESBH!UIF!SJWFS-!UVNCMFEPXO-! !!!!!!!!!!!!!!!!KBZ!OPUIJOHUPO!)TPMP* 3022!!.!!!UIF!HSBOOJFT-!CPUUPN-!DPSNPSBOU 3027!.!!!GJMUIZ!UIJFWJOH!CBTUBSET-! !!!!!!!!!!!!!!!!UIF!NJHIUZ!SFHJT 3028!!.!!!XJDLFE!NFSDJFT-!UIF!UPOUPOT 3029!!.!!!SBEJP!SFFMFST-!UIF!CBSCBSJD!UIVHT-! !!!!!!!!!!!!!!!PJM"-!QBQFS!CBHT 302:!!.!!!SFUPY-!EPPNTEBZ!TUVEFOU!!!!!!!!!!!!!!!TFDSFU!GVO!DMVC-!IJEFT 303:!.!!!UIF!CVTJOFTT-!UIF!EPXOUPXO!TUSVUT!!!!!!!!!!!!!!!!TZEOFZ!EVDLT 4033!!.!!!QFUFS!BOE!UIF!UFTUVCF!CBCJFT!!!!!!!!!!!!!!!!UIF!HFOFSBUPST-!TZEOFZ!EVDLT!!!!!!!!!!!!!!!!UIF!HVJUBS!HBOHTUFST

7G6O>A >C I=: H>MI>:H

&&& B^ccV <VaaZgn &&& B^ccV HigZZi 5 'cY Hi &&&B^ccV<VaaZgn#Xdb )&*#.,)#&,&. Â&#x2122;DkZg '& dcan#

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JANUARY 25 - 31, 2012 / SFBG.com

29

music listings folk / woRld/countRy

CONT>>

sunday 29 Rock /blues/hip-hop

Jessie Baylin, Watson Twins *OEFQFOEFOU QN Jefferson Starship 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Native Melodies plays Talking Heads #SJDL BOE .PSUBS .VTJD )BMM .JTTJPO 4' XXX CSJDLBOENPSUBNVTJDIBMM DPN QN

jazz/new music

Broun Fellinis, Black Quarterback $BGF %V /PSE QN Faith Winthrop Trio #MJTT #BS 4'

QN

Afro Cuban Jazz Cartel Quintet $BTB 4BODIF[ 4U 4' XXX VSCBONVTJDQSFTFOUT DPN QN Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI #MVF %JBNPOE 'JMMVQT

dance clubs

Batcave $MVC UI 4U 4' QN %FBUI SPDL HPUI BOE QPTU QVOL XJUI 4UFFQMFSPU 9$ISJT5 /FDSPNPT BOE D@EFBUI DJ Handlebars )FNMPDL 5BWFSO QN GSFF Dub Mission &MCP 3PPN QN 5IF CFTU JO EVC EVCTUFQ SPPUT BOE EBODFIBMM XJUI %+T 4FQ BOE -VEJDISJT BOE HVFTU #J0OJ$ -P7F 4P6O%4Z4U&N Jock -PPLPVU UI 4U 4' XXX MPPL

PVUTG 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

jazz/new music Bossa Nova 5VOOFM 5PQ #VTI 4'

QN GSFF -JWF BDPVTUJD #PTTB /PWB Hot Club of Cowtown "NOFTJB QN

dance clubs

monday 30 Rock /blues/hip-hop

Fujiya & Miyagi, Frail *OEFQFOEFOU QN Graveyard, Radio Moscow $BGF %V /PSE QN Megaton Leviathan, Abstracter,Shock Diamond &MCP 3PPN QN Primary Colors, Group Rhoda, Head/Head, John Brothers Piano Company #PUUPN PG UIF )JMM QN GSFF

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 31 Rock /blues/hip-hop

Marianne Dissard )PUFM 6UBI QN Doomtree 4MJNÂľT QN Family Folk Explosion "NOFTJB QN GSFF Foreign Cinema, Moonbell )FNMPDL 5BWFSO QN Lauren Pehoski $BGF 3PZBMF 1PTU 4'

QN GSFF Plastic Villains, BrightLighters, Paranoids &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 ELbo room prESENTS

CLub ShuTTEr

1/25 10pm $5 wITh DJS

NAKo, omAr, JuSTIN

THU

Afro-TropI-ELECTrIC-SAmbA-fuNK

AfroLICIouS

1/26 9:30pm wITh DJS/hoST: $5

pLEASurEmAKEr

FRI

1/27 10pm $10 ADV $12

ELbo room prESENTS

LAgoS rooTS AfrobEAT ENSEmbLE fEATurINg mEmbErS

ELbo room prESENTS

The hoUSe oF WindSoR

ChuNKy bITS oDDgrrLouT

Dub mISSIoN

1/29 prESENTS ThE bEST IN Dub, DubSTEp, 9pm rooTS & DANCEhALL wITh $6 DJ SEp, LuDIChrIS

TUE

FRi 1/27 7:30-9:30pm $8

mike CoykendAll (old Joe ClARkS)

CARloS FoRSTeR (FoR STARS) â&#x20AC;˘ bRiAn belknAp

eveRy FRidAy 10pm $5

looSe JoinTS!

FUnk RoCk - The AnonymoUS RoCkyS

mEgAToN LEVIAThAN, AbSTrACTEr, ShoCK DIAmoND ChAD STAb prESENTS

pLASTIC VILLAINS, brIghT LIghTErS, ThE pArANoIDS

wED ELbo room prESENTS 2/1 9pm $6

Web oF SoUnd!

W/dJ JACkie SUGARlUmpS

LuCIfErâ&#x20AC;&#x2122;S hAmmEr prESENTS

$2 DrINK SpECIALS 1/31 9pm $6

pSyChedeliC, kRAUT-RoCk, ShoeGAze 9pm no CoveR!

W/ dJS Tom ThUmp, dAmon bell & CenTipede RARe GRoove/FUnk/SoUl/hip-hop & moRe!

(bEATS wIThouT borDErS / bEATS bAzAAr / mAuI)

1/30 9pm $5

ThU 1/26 6pm no CoveR!

bioniC LoVe SounDSyStEm AND guEST

MON

10pm FRee!

FRiSCo diSCo!

dJ 2Shy-Shy And dJ melT W/ U ClASSiC diSCo, FUnk, & SoUl!

rIDDm

1/28 10pm frEE b4 QuEEr fAT pozI DANCE pArTy 10:30pm fEATurINg DJS $5 AfTEr SISSy SLAp, STr8 h8,

SUN

Tony SpARkS â&#x20AC;˘ ChRiS GARCiA

CAiTlin Gill â&#x20AC;˘ STeFAn dAviS â&#x20AC;˘ dAvid GboRie

of fELA KuTI AND AfrIKA 70 pLuS DJ SELECTA

SAT

Wed 1/25 7:30pm $7/$10

The RomAne evenT Comedy ShoW

ThE DrIfT,

SEAN SmITh (TrIo) pLuS SATyA SENA (of SECrET ChIEfS 3)

upComINg Thu 2/2 AfroLICIouS frI 2/3 120 mINuTES: CoLD CAVE SAT 2/4 SAT NITE SouL pArTy SuN 2/5 Dub mISSIoN: DJ SEp, robErT rANKINâ&#x20AC;&#x2122;

SAT 1/28 1pm mATinee ShoW $10

SF RoCk pRoJeCT 7:30-9:30pm $8

SeA dRAmAS okAy JoSe

eveRy SATURdAy niGhT! 10pm $5

el SUpeRRiTmo!

RoGeR mAS y el kool kyle

CUmbiA, dAnCehAll, SAlSA, hip-hop

SUn 1/29 1pm mATinee ShoW $10

SF RoCk pRoJeCT

FUnk RoCk - The AnonymoUS RoCkyS 7:30pm $8

SenTimenTAl SUndAyS

Tbd â&#x20AC;˘ RUSTy milleR â&#x20AC;˘ The SenTimenTAlS mon 1/30 8pm FRee!

â&#x20AC;&#x153;TURn yoUR mondAy inTo A FUndAy!â&#x20AC;?

W/ Comedy And live mUSiC:

mARy-AliCe mCnAb â&#x20AC;˘ ivoR J. CollinS â&#x20AC;˘ AnneTTe bohle & Shelley mACkAy TUe 1/31 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 â&#x20AC;˘ www.makeoutroom.com

www.browNpApErTICKETS.Com 30 SAN FRANCISCO BAY GUARDIAN

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club list AMNESIA 853 Valencia (415) 970-0012 ARGUS LOUNGE 3187 Mission (415) 824-1447 ASIASF 201 Ninth St (415) 255-2742 ATLAS CAFE 3049 20th St (415) 648-1047 ATMOSPHERE 3 447 Broadway (415) 788-4623 BAMBUDDHA LOUNGE 601 Eddy (415) 885-5088 BAOBAB 3388 19th St (415) 643-3558 BEAUTY BAR 2299 Mission (415) 285-0323 BIMBOâ&#x20AC;&#x2122;S 365 CLUB 1025 Columbus (415) 474-0365 BISCUITS AND BLUES 401 Mason (415) 292-2583 BOLLYHOOD CAFĂŠ 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 BRUNOâ&#x20AC;&#x2122;S 2389 Mission (415) 643-5200 CAFE COCOMO 650 Indiana (415) 824-6910 CAFĂŠ 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 Oâ&#x20AC;&#x2122;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 IRELANDâ&#x20AC;&#x2122;S 32 3920 Geary (415) 386-6173 JOHNNY FOLEYâ&#x20AC;&#x2122;S 243 Oâ&#x20AC;&#x2122;Farrell (415) 954-0777 KIMOâ&#x20AC;&#x2122;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 CAFĂŠ 817 Terry Francois (415) 626-5355 MOJITO 1337 Grant (415) 398-1120 NICKIEâ&#x20AC;&#x2122;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 SLIMâ&#x20AC;&#x2122;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 YOSHIâ&#x20AC;&#x2122;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

7 - 9]Ă&#x160; 1 ,9Ă&#x160;Ă&#x201C;x

7pm 8pm 9pm

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

THU Jan 26 NEW SPELL 9pm $6 Red Weather Solwave

circus finelli, the black hats

,-&;.&3 $*3$64 4-*%*/( 4$"-& / 1,- 9]Ă&#x160; 1 ,9Ă&#x160;Ă&#x201C;Ă&#x2C6;

8pm

no statik, walls, true radical miracle, the smell 16/,

FRI Jan 27 KIDS ON A CRIME SPREE 9:30pm, $7 Bad Bibles Adios Amigo

, 9]Ă&#x160; 1 ,9Ă&#x160;Ă&#x201C;Ă&#x2021;

5:30pm free oysters on the half shell 6pm dJâ&#x20AC;&#x2122;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 ANNAâ&#x20AC;&#x2122;S JAZZ ISLAND 2120 Allston Way, Berk (510) 841-JAZZ ASHKENAZ 1317 San Pablo, Berk (510) 525-5054 BECKETTâ&#x20AC;&#x2122;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 PEĂąA 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 YOSHIâ&#x20AC;&#x2122;S 510 Embarcadero West Jack London Square, Oakl (510) 2389200 2

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31

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1

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FROM COMICS UNLEASHED AND COMEDY.TV!

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

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32 SAN FRANCISCO BAY GUARDIAN

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1

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DAnCe youR JAnuARy gRAyS AWAy – foR only $5! – on SAt/28.

Photo courtesy of Alonzo King lines DAnce center

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saturday 28 0O UIF $IFBQ MJTUJOHT BSF DPNQJMFE CZ $BJUMJO %POPIVF 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTU JOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

wednesday 25 Bring Me Men: Military Masculinity and the Benign Facade of American Empire author presentation 6OJWFSTJUZ 1SFTT #PPLT #BODSPGU 8BZ #FSL XXX VOJWFSTJUZQSFTTCPPLT DPN Q N GSFF "VUIPS "BSPO #FMLJO FYQMPSFT UIF IZQFS NBTDV MJOF DPOTUSVDUJPO PG PVS BSNFE GPSDFT BOE UIF HMBSJOH DPOUSBEJDUJPOT UIBU MJF UIFSFJO Ryan Boudinot’s Blueprints of the Afterlife reading #PPLTNJUI )BJHIU 4'

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thursday 26 Author reading: James Martel on Walter Benjamin’s anti-sovereignty theories 6OJWFSTJUZ 1SFTT #PPLT #BODSPGU 8BZ #FSL XXX VOJWFSTJUZQSFTT CPPLT DPN Q N GSFF 4' 4UBUF BTTPDJ BUF QSPGFTTPS PG QPMJUJDBM TDJFODF .BSUFM IBT XSJUUFO B QBJS PG CPPLT UIBU MPPL UP EJTNBOUMF UIF GBMTF DIPJDF XF BSF QSFTFOUFE CFUXFFO BOBSDIZ BOE TPWFSFJHOUZ )JT TPMVUJPO UP UIFTF MJNJUFE PQUJPOT UIF EJWJOF HBNF DIBOHJOH GPSDFT QSFTFOUFE JO UIF XPSLT PG (FSNBO +FXJTI JOUFM MFDUVBM 8BMUFS #FOKBNJO “Picturing the Contemporary Arts in Ms. Magazine: A Chronological Journey” art exhibit :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX ZCDB PSH 5ISPVHI 4VO 5IV 4BU OPPO Q N 4VO OPPO Q N 4JODF GPVOEJOH FEJUPS (MPSJB 4UFJOIBNµT UBML BU 4UBOGPSE 6OJWFSTJUZ UPEBZ JT TPME PVU HFU ZPVS ZFBST PG .T .BHB[JOF GJY BU UIJT GSFF BSU FYIJCJU GPS XIJDI :#$" IBT CFEFDLFE JUT MPCCZ XJUI JDPOJD JNBHFT GSPN UIF MBTU GPVS EFDBEFT PG UIF TFNJOBM GFNJOJTU QVCMJDBUJPO “Sex Work and Consent” conversation $FOUFS

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“the Wisdom of Compassion: teachings with Patrick gaffney” 3JHQB 4BO 'SBODJTDP $FOUFS /FX .POUHPNFSZ 4'

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for more arts content visit sfbg.com/pixel_vision " QMFUIPSB PG IJTUPSJD FWFOUT GJMM UIF $PX 1BMBDF FBDI ZFBS ± UIF (SBOE /BUJPOBM 3PEFP XFFE FYQPT HBMPSF $JSRVF %V 4PMJFM ° CVU GFX GFBUVSF BSFOBT GVMM PG GMVGGZ ZBQQFST 5IJT EPH TIPX JT PWFS ZFBST PME CVU TUJMM IBT OFX USJDLT "NPOH UIF CSFFET UIBU XJMM CF GFBUVSFE GPS UIF GJSTU UJNF JO BSF UIF 4XFEJTI WBMJIVOE BOE UIF DBOF DPSTP good Vibrations lakeshore Avenue opening party (PPE 7JCSBUJPOT -BLFTIPSF 0BLM XXX HPPEWJCFT DPN Q N GSFF *G UIF CPSO JO 4' TFY UPZ CSBOEµT DPOUJOVFE XPSME EPNJOB UJPO BOE OFX 0BLMBOE TUPSF JTOµU FOPVHI DBVTF GPS DFMFCSBUJPO LOPX UIBU ,BOJ #VSSFTT PG 3FBM )PVTFXJWFT PG "UMBOUB XJMM CF JO BUUFOEBODF UPEBZ IZQJOH IFS UPZ MJOF #FESPPN ,BOEJ

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monday 30 [SSeX BBoX] sexuality documentary premiere $FOUFS 'PS 4FY BOE $VMUVSF .JTTJPO 4' XXX TFYBOEDVMUVSF PSH Q N GSFF 8JUOFTT UIF DVMNJOBUJPO PG UIJT JOUFSOBUJPOBM GJMN QSPKFDUµT XPSME USBWFMT JO XIJDI JUT UFBN UBMLFE BCPVU MJWJOH BOE MPWJOH PVUTJEF UIF CPY XJUI TFY FEVDBUPST XSJUFST BOE KVTU QMBJO PME IPUUJFT :PVµMM IBWF UIF PQQPS UVOJUZ UP NFFU UIF EJSFDUPS BOE DSFX BGUFS UIF GJMNµT TDSFFOJOH 2

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GUARDIAN DEALS ON THE FLY @ FORKFLY. COM

JANUARY 25 - 31, 2012 / SFBG.com

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OpeninG

HArry BelAFoNTe AND MiriAM MAkeBA â&#x20AC;&#x201D; GrAMMy WiNNers For THeir 1966 AlBuM ToGeTHer â&#x20AC;&#x201D; perForM iN AN ArcHivAl sHoT FroM Sing Your Song, ouT Fri/27. | courtesy of www.singyoursongthemovie.com

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34 SAN FRANCISCO BAY GUARDIAN

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to place an ad call 415-255-7600 or email us at classifieds@sfbg.com

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ARTSEARCH * The Essential Source for a Career in the Arts * Over 5,000 jobs posted annually. Trusted for over 30 years. Create email alerts for your customized searches. Navigate hundreds of online opportunities. Subscribe now for as low as $40. www.tcg.org/artsearch Movie Extras. People needed now to stand in the background for a major film Earn up to $300 per day. Exp not REQ. CALL NOW AND SPEAK TO A LIVE PERSON 877-824-7260 Paid In Advance! Make $1000 a Week mailing brochures from home! Guaranteed Income! FREE Supplies! No experience required. Start Immediately! www.homemailerprogram.net (AAN CAN)

Seeking Sr. Software Engineers

Sr. Software Engineers. Ektron, Inc.seeks Sr. Software Engineers in San Francisco, California with strong analytical skills to design, develop, and maintain software solutions, independently and in team environment; participate in architecture and design of user interfaces, business objectives, and overall infrastructure; communicate with technical and business resources; maintain and create business objects for Content Management System; develop web user interface for applications; create and maintain customized software modules using Microsoft Technologies; ensure customer expectations are clear and deadlines are met; embrace Agile development methodology for providing fast and efficient delivery of solutions; and investigate and resolve customer and platform related issues. Requirements: Masterís degree in IT, Computer Science, Engineering, or equivalent discipline; 1 yr technical & functional engineering experience, along with experience with C#.Net, ASP.Net, VB.Net, JavaScript, HTML, XML, XSLT, Object Oriented Programming, Visual Studio development tool, technical problem solving, and supporting production applications. Proof of legal authority to work in U.S. Permanent, F/T. Forward 2 copies of resume and letter of application referencing Job #103 to Lisa Kaempf, Ektron, Inc., 542 Amherst St., Nashua, NH 03063. An EEO employer.

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SSR TRADE is offering a position of Payment Clerk and Office Manager where you can earn extra income at your own flexible schedule plus benefits that takes only little of your time.

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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 FILED NO. A-0340644-00 The following person is doing business as Flash Car Service 239 Santa Dominga Ave., San Bruno, CA 94066. This business is conducted by an Individual.

Registrant commenced business under the above-listed fictitious business name on the date January 20, 2012. Signed by Vania Pinheiro. This statement was filed

by Maribel Jaldon, Deputy County Clerk on January 20, 2012. L#113514, January 25, February 1, 8, and 15, 2012 STATEMENT OF ABANDONMENT OF USE OF FICTITIOUS BUSINESS NAME The registrant listed below have abandoned the use of the fictitious business name 850 850 Folsom Street, San Francisco, CA 94107. The fictitious business name was filed in the County of San Francisco under File# 0339748-00 on: 11/30/2011. NAME AND ADDRESS OF REGISTRANTS (as shown on previous statement): Triple Crown Inc 850 Folsom St. San Francisco, CA 94107. This business was conducted by a corporation.

Signed Tommy Cheng, President. Dated: December 20, 2011 by Alan Wong, Deputy County Clerk. #113512 January 25, February 1, 8 and 15, 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 abovelisted fictitious business name on the date N/A. Signed by Kevin Carpenter.

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340162-00 The following person is doing business as Class One Analytics 1467 Hayes Street, Apt A, San Francisco, CA 94117. This business is conducted by an individual.

Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Ari Bronstein.

This statement was filed by Jennifer Wong, Deputy County Clerk on December 21, 2011. L#113503, January 4, 11, 18 and 25, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340222-00 The following person is doing business as Exult Positive Psychology Service 2155 Union Street, Suite #2, San Francisco, CA 94123. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed

by Jacinta Jimenez. This statement was filed by Melissa Ortiz, Deputy County Clerk on December 27, 2011. L#113505, January 11, 18, 25 and February 1, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340287-00 The following person is doing business as Giron Construction 5 Thomas Mellon Circle, Suite 108, San Francisco, CA 94134. This business is conducted by a corporation.

Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Bruce A. Giron, President. This statement was filed

by Mariedyne L. Argente, Deputy County Clerk on January 3, 2012. L#113506, January 11, 18, 25 and February 1, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340370-00 The following person is doing business as 1. Cinemasters 2. One Hundred Percent 999 Green Street, #3001, San Francisco, CA 94133. This business is conducted by an Individual. Registrant commenced business under the abovelisted fictitious business name on the date January 1, 2012. Signed by William Joseph Lervold. This statement was filed

by Maribel Jaldon, Deputy County Clerk on January 6, 2012. L#113509, January 11, 18, 25 and February 1, 2012

FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340393-00 The following person is doing business as Thriving Life Wellness Center 557 Waller 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 January 1, 2012. Signed by Christine Cantwell. This statement was filed by Maribel Jaldon, Deputy County Clerk on January 6, 2012.

L#113510, January 11, 18, 25 and February 1, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340519-00 The following person is doing business as 1.

Sashas Dive Services 2. Art Invention Music 951 Hudson Ave. , San Francisco, CA 94124. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date January 12, 2012. Signed by Sasha Leitman. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on January 12, 2012. L#113515, January 25, February 1, 8, and 15, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340527-00 The following person is doing business as Holding Ground Productions 55 van Buren Street, San Francisco, CA 94131.

This business is conducted by a general partnership. Registrant commenced business under the above-listed fictitious business name on the date January 13, 2012. Signed by Mark A. Lipman. This statement was filed by Magdalena Zevallos, Deputy County Clerk on January 13, 2012. L#113513, January 25, February 1, 8, and 15, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340554-00 The following person is doing business as Robert’s Espresso 1708 Irving Street, San Francisco, CA 94122. This business is conducted by an Individual.

Registrant commenced business under the above-listed fictitious business name on the date January 17, 2012. Signed by Robert Ayanian. This statement was filed

by Melissa Ortiz, Deputy County Clerk on January 17, 2012. L#113516, January 25, February 1, 8, and 15, 2012

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