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After the tear gas

Sorting out Occupy Oakland P7

The people’s map SHAPE UP! A community alternative for supe districts P8

Fitness specials, beauty tips, and bamboo bikes in our Body section P11

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The era of free parking in San Francisco is coming to an end.

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NEWS

Transfer of power

Tim Redmond

The San Francisco Redevelopment Agency is gone, but questions remain about how its authority was absorbed by the Mayor’s Office P6

Tredmond@sfbg.com

After the tear gas clears

What are the lessons from the violent conflicts of the latest Occupy Oakland action? P7

District lines: A community alternative A draft proposal for new supervisorial districts P8

Burned

Burning Man ticket fiasco renews criticism of SF-based Black Rock City LLC P9

herbwise P10 body

Lookin’ good

February fitness and spa specials shape you up for spring P11

Toward the sun

Heliotrope brings new local beauty products to light P12

Bike lightly

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On the township

After 50 years, Lionel Rogosin’s groundbreaking doc Come Back, Africa finally gets its due P20

trash P21 On the rise

The 12 musical acts we’d like to see break big in 2012 P22

First Lady blues

Paufve Dance reinterprets history in standout So I Married Abraham Lincoln P27

Hello, Carol!

Carol Channing: Larger Than Life celebrates a legend P28

Have you heard the good news?

Marjoe (and other praise-worthy oddities) at “The Second Coming of the Vortex Room” P29 MUSIC listings 30 / STAGE listings 32 on the cheap 33 / FILM listings 34 CLASSIFIEDS 37 editorials

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the guardian editorial

The parking war EDITORIAL When you talk about changing parking rules in San Francisco, you’re setting off the political equivalent of a shooting war. Nobody wants more parking tickets, nobody wants more expensive parking meters, nobody wants to pay for parking that’s been free for years — and the Municipal Transportation Agency has, by most accounts, done a pretty poor job of selling its new parking management program. That’s too bad, because the MTA proposals aren’t all bad. In fact, the agency is doing exactly the right thing by looking at a long-term citywide plan for altering the way people pay for and use on-street parking. If the bureaucrats at a city department that isn’t used to San Francisco’s often slow community-oriented planning process can shift their outreach efforts into a different gear, there’s no reason they can’t come up with a plan that most neighborhood residents and small businesses will support. The MTA’s SFPark program uses high-tech meters that accept credit cards and change prices at different points of the day to picks

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maximize turnover on the streets. That’s actually good for local businesses — the less time people spend circling the block looking for a parking space, the more likely they are to stop and shop. Limiting the number of cars cruising for a space improves traffic flow. And parking for an hour or two at a meter is still much cheaper than parking in a garage. But when the MTA announced that it was expanding SFPark into the Northeast Mission, Dogpatch, Potrero Hill and Mission Bay, the neighborhoods rebelled. Some of that was just anger over the prospect of meters being installed on streets that don’t have them. Some of it comes from the changing land use in areas that are increasingly both residential and commercial. Some of it comes from the intense development pressure in those areas. But a lot of it was a legitimate response to a perception that the MTA was trying to ram the changes through without making a serious effort to work with the community. It’s not surprising — the MTA has been somewhat isolated from the CONTINUES ON PAGE >>

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Two clean-energy tracks for SF By John Rizzo OPINION CleanPowerSF, San Francisco’s green electricity alternative to Pacific Gas and Electric Co., is set to launch this year. The program is following two parallel paths — one to build renewable energy in San Francisco and create thousands of local jobs, the other to purchase clean power from remote sources from Shell Energy. While both tracks bring advantages, this bifurcated approach could end up serving only 30 percent of city residents. Fortunately, the city can easily improve the launch of CleanPowerSF by merging the two tracks. Enacted by the Board of Supervisors and Mayor Gavin Newsom in 2004 and in 2007, CleanPowerSF is not a public-power program like Santa Clara’s Silicon Valley Power or Alameda Municipal Power. CleanPowerSF is a public-private partnership, much like the successful Marin Clean Energy, which can buy power in bulk from outside companies — and also generate its own renewable energy. PG&E still CONTINUES ON PAGE >>

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I used to go to Grateful Dead shows at the Oakland Auditorium, which is now called the Kaiser Convention Center. One night I saw Bill Graham, the late concert promoter, ride a zip line from up near the ceiling to the stage in a giant paper mache joint called the “S.S. Columbian,” which looked like it was going to fall apart at any minute as he swung back and forth 50 feet over the crowd, trying to smile and wave in a bizarre promotional stunt that confused even the deadheads. I bet he shit his pants. The place was a pretty good venue for a big concert, but it never worked out as a convention center, and the city shut it down in 2005. It needs seismic work and about $5 million in maintenance. It sits near Lake Merritt, on the edge of downtown Oakland, a giant empty building just waiting for something to happen to it. It’s a perfect spot for an Occupy Oakland headquarters. I’m surprised it took the Occupy folks this long to figure it out. Look: Oakland’s a working-class city, and it’s having severe financial problems, and sending hundreds of cops to arrest Occupy protesters is sucking up money that’s desperately needed for other things. Mayor Jean Quan complains that police were unable to respond to emergency calls in other parts of the city because they were all downtown dealing with the demonstration. Understood — and it’s clear that the Oakland Police, whether the Occupy folks like it or not, are going to arrive in mass numbers to make sure that there’s no damage to local businesses or City Hall (where, oddly, there were no arrests, because the cops were elsewhere). But the empty Kaiser Center, which isn’t even in the downtown center? Why bother? Seriously: Why not just give it to Occupy Oakland? Tell the group that the city will strictly enforce fire and health codes, that the Occupy people will have to clean the place up and keep it clean, that they can’t damage the place ... and hand over the keys. It’s public property. Nobody’s using it now. Occupy might actually bring some excitement to the scene. If it became a center for political meetings and organizing, for education and performances, it could be a be a very positive thing. Declare a truce in the Occupy wars. Let the cops go after murderers; give Occupy the vacant convention center. Nothing else is working. It’s worth a try. 2 february 1 - 7, 2012 / SFBG.com

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politics of land use and planning in the city. So the staff isn’t used to the fact that San Francisco is a process-oriented place where a wide range of constituent groups want input before anything happens where they live or work. The neighborhoods need to understand reality, too: The era of free parking in San Francisco is coming to an end. That’s a good thing — the city as a matter of policy should discourage the use of cars, and charging drivers for parking (and using that money to improve Muni) is an obvious solution. And the proposals aren’t that onerous: Paying 25 cents an hour for all-day parking where you work is hardly a terrible financial burden. (And let’s face it — the neighborhood parking stickers are way, way too cheap.) But much of the southeast is badly served by transit and there are vehicle-intensive production, distribution and repair uses, and MTA needs to understand that. The agency has wisely delayed the program -and after its shown it can work with the neighborhoods, this sort of bold initiative will be possible. 2 two clean-energy tracks for sf CONT>>

owns the transmission grid and will deliver electricity to customers, who then have the option of choosing between CleanPowerSF and PG&E. The San Francisco Public Utilities Commission has embarked on a detailed analysis of PG&E electricity data to find out how much electricity is used in different parts of the city at different times of the day and how much it costs. That will pinpoint exactly where in San Francisco renewable energy should be built for the highest efficiency and lowest costs to ratepayers. While this analysis is being conducted, the SFPUC plans to initiate the second track, offering ratepayers 100% renewable electricity purchased from Shell Energy North America. That will get CleanPowerSF up and running quickly — but would cost ratepayers between $6.70 and $54.50 more a month more than PG&E. As a result, the SFPUC estimates that as many as 70% of ratepayers could leave CleanPowerSF and go back to PG&E. The SF PUC plans to offer CleanPowerSF to two-thirds of San SAN FRANCISCO BAY GUARDIAN

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Francisco customers — 230,000 residences — with as many as 155,000 opting out. Once these people opt out, they won’t be customers of the cheaper, locally produced, job-creating, green energy that will come later. By comparison, only 20% of Marin Clean Energy customers opted out at initial rollout. That’s because Marin Clean Energy offers a 27% renewable energy option in addition to a highercost 100% green option. The “light-green� option is cheaper because it mixes in lower-cost, non-renewable electricity. The PUC could keep more San Franciscans in CleanPowerSF by integrating the local generation and data analysis and purchasing tracks. First, it could include a cheaper light-green option like Marin’s. To determine what mix of renewable and non-renewable electricity would be cost-competitive with PG&E, the PUC would use the results from the first track, the analysis of electricity usage data, expected this spring. The Board of Supervisors could make these changes when it takes up the Shell contract this month or next. In the past few months, CleanPowerSF has made much progress thanks to San Francisco Supervisor David Campos and Ed Harrington, general manager of the San Francisco Public Utilities Commission. The addition of a cost-competitive light-green option would enable CleanPowerSF to better compete with PG&E and keep more San Franciscans in the program — for the long term. That would significantly increase the number of new local jobs created and have a greater effect in fighting global climate change. It worked in Marin, and it can work in San Francisco as well.. 2 John Rizzo is former chair of the Sierra Club Bay Area Chapter and current president of the San Francisco Community College Board

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Mission Bay (shown here), Bayview-Hunters Point, and Mid-Market are among the former redevelopment areas that will be managed by a new oversight board. | Guardian photo by Mirissa Neff

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Transfer of power

The San Francisco Redevelopment Agency is gone, but questions remain about how its authority was absorbed by the Mayor’s Office Politics Guardian journo Yael Chanoff weighs in on Occupy Oakland’s Move-In Day –- after she makes it out of jail Will there be enough Burning Man tickets for everyone who wants to go home? Today’s lottery results may leave some out of the dust. Berkeley dumps Wells Fargo –- will SF follow suit?

Noise We interview Twin Cities DIY hip-hop collective Doomtree Localized Appreesh talks to Ash Reiter, a super-sweet indie pop group named after its super-sweet lead singer Complete Red Bull Music Academy coverage, including conversations with Gary Bartz, Stretch and Bobbito, and Masters at Work Marke B. on Alcoholocaust, the Bunker, Forro Brazuca, Mike “Agent X” Clark and more nightlife.

Pixel Vision Magnolia Brewery head sudster David McLean on the can’t-miss SF Beer Week events The Tipsy Vegan shares some of his favorite booze-inflected vegan recipes for your Super Bowl party

SEX SF Swingers, dungeon dames, leather lovers: our sex events columns get you clued in on where to get off this week SAN FRANCISCO BAY GUARDIAN

By Yael Chanoff yael@sfbg.com Feb. 1 marks the first day that San Francisco and other California cities no longer have redevelopment as a tool for building affordable housing or dealing with urban blight, but questions remain about how the power and functions of the San Francisco Redevelopment Agency (SFRA) will now be used. On Dec. 29, the California Supreme Court upheld the validity of Assembly Bill 26, which dissolved all redevelopment agencies throughout the state and redirected the property tax revenue they accumulated to prevent deep cuts to public schools. Redevelopment agencies, established in California in 1948, were charged with revitalizing “blighted” areas of cities. There were 400 such agencies throughout California, funded by incremental increases in property taxes within a redevelopment zone. Agencies could borrow against that revenue source to subsidize development projects. AB26 mandated that all cities dissolve their redevelopment agencies by Feb. 1 and transfer assets to successor agencies meant to “expeditiously wind down the affairs of the dissolved redevelopment agencies,” according the bill’s text. A resolution passed by the Board of Supervisors on Jan. 24 authorized the transfer of SFRA affordable housing assets to the Mayor’s Office of Housing (MOH) and its non-housing assets to the city’s Department of Administrative Services. It also created a board to oversee the implementation of the SFRA’s ongoing projects. Now, San Francisco is faced with the task of continuing to fund affordable housing projects and other development without editorials

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the SFRA, and the board’s resolution laid out some of the terms for how the city will do that, although much remains to be determined. Mayor Ed Lee appointed all members of the oversight board, which includes Planning Director John Rahaim; MOH Director Olson Lee; Nadia Sesay, director of the Mayor’s Office of Public Finance; and Bob Muscat, director of International Federation of Professional and Technical Engineers, Local 21. In recent weeks, some groups have raised concerns that these appointees are not representative of the communities impacted by the ongoing redevelopment projects that they will be entrusted with overseeing, and that too much power is concentrated in the Mayor’s Office. “One of our biggest concerns is that the oversight body could be made much more accountable and democratic,” said Jeron Browne of People Organized to Win Employment Rights (POWER)Bayview. Much of Bayview-Hunters Point is no longer under the authority of the Planning Commission or any regular zoning laws since it was declared a redevelopment project site in 2000. Sup. Malia Cohen, who represents the area, added an amendment to the board’s resolution that would impose term limits on oversight board positions. “I understand that there are a number of concerns that have been raised about the composition of the board. However, given the short time frame and the technical nature of the board and its obligations, I’m very comfortable with these appointees that they will be able to make decisions necessary to make the projects move forward. Additionally, with the inclusion of staggering terms we will be able to

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ensure that there is ample opportunity to include representation from affected communities,” Cohen said at the meeting. The board also passed an amendment to “clarify that the land use controls granted by the oversight board are consistent with previous land use authority granted by the Board of Supervisors and the redevelopment commission,” as a response to concerns that the oversight board will have too much power over land use in project areas. Tiffany Bohee, interim director of the SFRA, said that the court’s ruling was the “least desirable possible outcome.” Bohee said the SFRA has spent recent weeks analyzing all enforceable obligations outlined by the ruling to make sure that the transition complies with the law and is as fair as possible to SFRA employees. The positions that these 101 workers filled at the SFRA will no longer exist as of Feb. 1, and layoffs are underway. However, most will remain employed throughout a transition period that ends March 31, and Bohee said that many will find work in city agencies that will be charged with continuing the work of the SFRA, such as MOH and the Planning Department. MOH was historically responsible for allocating federal housing grants to city agencies. In past decades, federal budget cuts have severely limited the grants to build affordable housing. Now, although MOH has some power over city housing policy and allocation of funds to build housing, many of those responsibilities had been transferred to the Planning Department — or, until recently, the Redevelopment Agency. The Planning Department is governed by the Planning music listings

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Commission with four mayorappointed members and three members appointed by the Board of Supervisors. The Planning Department implements planning standards and signs off on structural changes to the city, ranging from homeowner requests to alter houses to developer requests to build high-rises. In many ways, the Redevelopment Agency was redundant, shadowing work done by the Planning Department. When an area was designated an SFRA project area, the planning code and zoning restrictions no longer applied, and developers working in partnership with the city had the power to define new land-use regulations. Many critics of the SFRA said that private developers were able to use this lack of regulation to take advantage of the significant amount of money reserved for the agency. Deepening this concern was the fact that the Redevelopment Commission, which oversaw the SFRA, was composed entirely of mayoral appointees, which some felt were less accountable to the public interest than the Planning Commission. Some feel that the oversight board, composed entirely of mayoral appointees, will repeat the same lack of accountability to neighborhoods. “The city is setting up a planning commission for the 1 percent. And the Planning Commission that we have is the for the 99 percent,” said Tom Radulovich, executive director of Livable City, which works on land use issues. He said that with the dissolution of the SFRA, the city has an opportunity to facilitate the construction of affordable housing in a more democratic fashion. His organization expressed concerns to the Board of Supervisors, cautioning that the Oversight Board should not have undue power over landuse in development project areas and that the new structure in city government for facilitating development projects should be created with the input of communities. The Board of Supervisors made clear Jan. 24 that the Oversight Board and its appointees are a temporary measure to comply with AB26 by the Feb. 1 deadline. As Sup. Christina Olague said, “I just want to assure the public that this isn’t the end-all, be-all of this discussion, that it will be ongoing, and we welcome any of your concerns at any time.” 2

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Tear gas and police violence: A line of cops tries to block Occupy protesters Jan. 28. photo by Luke Thomas

After the tear gas clears What are the lessons from the conflicts of the latest Occupy Oakland action? By Yael Chanoff yael@sfbg.com After a chaotic day of marches and confrontations between police and protesters Jan 28, I was arrested along with about 400 others who were trapped by police in front of the downtown Oakland YMCA. Seven of us were journalists. The goal of the march was to take over an abandoned building — an the vacant Kaiser Convention Center, a city-owned building that’s been closed since 2005, was a prime target. I have not yet been able to retrieve my property, including my recorder and notebook, which is being held by the Oakland Police Department. What follows is a piecedtogether account and a perspective on what the events of Jan. 28. I spend 20 hours behind bars, and missed the later parts of the action. But I was able to observe what happened in jail and make some sense of what went on. Occupy people are constantly debating tactics and goals, and for many, the idea of occupying a vacant building made sense. When Occupy Oakland had a camp in Frank Ogawa Plaza, also known as Oscar Grant Plaza, and commonly shortened to OGP, it created a strong community. That community bridged divides between the homeless and the housed, between students and labor organizers, and between Oakland residents of different races, genders and levels of ability in an unprecedented fashion. The camp had a kitchen that fed hundreds of people everyday and a network of shared tents and blankets that welcomed in hundreds who otherwise would have slept on the streets, often feeling isolated from editorials

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other residents of their city and made to feel inferior. The camp was repeatedly raided, Occupiers were tear gassed and shot with rubber bullets, and when OGP was cleared out, the community no longer had a home. And the police started that violence. That was the practical reason for wanting to occupy a vacant building: to have a social center for Occupy Oakland. Of course, there are other reasons. There’s the question that many squatters and homeless advocacy groups have been making for decades: why let buildings lie vacant while people freeze on the street? Remember: The building that Occupy wanted to occupy is public property, and right now nobody is using if for anything. In one exchange in jail, a guard asked a protester why the activists thought they had the right to take over a vacant building. “I mean, it’s not yours,” he insisted. The protester replied that many vacant buildings are government-owned and therefore public. “So it’s the government’s,” the cop said. “But I pay taxes,” the protester responded. “Me too!” replied the cop. “It’s mine!” “It’s both of ours,” smiled the protester. “It’s all of ours.” That’s what made the convention center action such a clear and easy political decision. A lot of people in Occupy would go further, saying that at a time of a severe housing crisis, it’s perfectly legitimate to take over privately owned buildings that are sitting there vacant. It’s part of the central argument of Occupy — that corpopicks

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rations and the rich unfairly own and continue to acquire much more wealth than the majority of people. For many people, owning a vacant building and doing nothing with it, while hundreds freeze on the streets, is a crime itself.

Up against the cops Then there’s the question of the police — and violence. The word “nonviolent” has a specific meaning in the history of political movements. Martin Luther King Jr. defined it in his essay “The Meaning of Non-Violence”: “If you are hit you must not hit back; you must rise to the heights of being able to accept blows without retaliating ... But it also means that you are constantly moving to the point where you refuse to hate your enemy. You are constantly moving to the point where you love your enemy.” It’s a philosophy but also, in political terms, a tactic. Many of the people who make up Occupy Oakland got their start as activists organizing against police brutality in a city that has longstanding problems with violent and undisciplined officers. Police Chief Howard Jordan said in a press release that “It became clear that the objective of this crowd was not to peacefully assemble and march, but to seek opportunity to further criminal acts, confront police, and repeatedly attempt to illegally occupy buildings.” It was certainly clear that the intent of the crowd was to illegally occupy a building. And any honest assessment of Occupy Oakland would have to acknowledge that some members are not wedded to King-style nonviolent civil disobedience. (Neither, by the way, were a lot of the protest movements of the

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1960s.) Many protesters wore masks and bandanas to disguise their identities and protect them from tear gas and pepper spray, and the march was led by protesters with makeshift shields, which suggests that they expected to be attacked. You could certainly argue that what those people were doing wasn’t confrontation; it was self-defense. Frankly, it made sense to be prepared: In other Occupy Oakland actions, police have attacked with batons, tear gas, pepper spray, flashbang grenades, and smoke bombs. And for quite a few Oakland residents, the police have always been seen as an outside force that can’t be trusted. In fact, violence did break out. Many, including myself, have eyes still stinging from tear gas. I saw several wounds caused by rubber bullets shot at protesters. I spoke individually to at least a dozen people — one of them a pregnant woman — who were struck with police batons. And protesters did not remain peaceful while this violence was being used against them. Some picked up tear gas canisters and threw them back towards police; that much I saw. I also saw protesters throw empty plastic bottles at police. According to the police, they also threw metal pipes, rocks and bricks. According to the protesters, they threw mainly empty plastic bottles and fruit at police. But as protesters often say of the police, “They’re the ones who showed up with the guns.” If the cops didn’t want violence, why unleash such an arsenal of weapons? People got hurt, protesters and police alike. Several bystanders who had nothing to do with the situation were swept up in the mass arrest. The city of Oakland, already in dire financial straits, likely spent hundreds of thousands of dollars film listings

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reacting to the protests. Police claim that they were unable to sufficiently respond to violent crimes over the weekend, including five murders, because they were overwhelmed with Occupy troublemakers. Of course, city officials were the ones who decided to arrest 400 people — with all the expense that involves. There are, at this point, no reports of serious injuries to any police officers. However, at least a dozen protesters had welts on their faces or bodies from being beaten by clubs or shot with rubber bullets. One woman was shot in both arms with rubber bullet; one man was shot in the face with rubber bullets while holding a video camera to document the events. Several protesters were shoved to the ground and received wounds on their faces while being arrested. Police raised their rubber-bullet rifles to the faces of protesters throughout the day, threatening attacks. A rubber bullet to the face can cause brain damage and blindness.

Did it have to happen? How could this have been prevented? Police say that “while peaceful forms of expression and free speech rights will be facilitated, acts of violence, trespassing, property destruction and overnight lodging will not be tolerated.” But 40 people were arrested during an ongoing Occupy Oakland vigil in the first weeks of January for having “illegal property” at OGP in what many saw as clearly a peaceful expression of First Amendment rights. On KGO radio Jan. 29, Chief Jordan said that he has allowed Occupy Oakland to protest without a permit and would continue to do so, but those early January raids were ostensibly due to permit violations — violations of the terms of a permit that Occupy Oakland did in fact have. CONTINUES ON PAGE >>

february 1 - 7, 2012 / SFBG.com

news after the tear gas clears CONT>>

There’s no question: The police response to Occupy Oakland over the past few months has caused some people in the movement to get more radical. Many Occupy Oakland-affiliated medics condemned those who threw objects at police, saying that they provoked a backlash that caused more injuries. Many Oakland residents who might be in line with the socio-economic critique presented by the Occupy movement feel endangered and confused by marches that result in the massive use of police weapons in broad daylight. A lot of people would rather protest in a lot of ways that less resemble urban warfare. On the other hand, there are also ways that Oakland officials could have prevented the consequences of weapons deployed and 400 arrested Jan. 28. They could, for example, have allowed protesters to occupy the vacant building. When protesters seized a building Jan. 20 in San Francisco, police first attempted to prevent them. They lined up in front of the targeted building. They deployed pepper spray and struck several protesters with batons. When they were unsuccessful, and protesters entered the building from the back, they opted to block the surrounding streets and wait until the time seemed right to enter the situation and make arrests. Police spokesperson Carlos Manfredi told me that the cops were not going to rush into the situation and were trying to prevent injury and violence. The Kaiser Convention Center has been vacant for years. The city of Oakland recently made plans to sell it to its Redevelopment Agency, but that plan fell into legal limbo when Gov. Jerry Brown signed AB26, a bill that dissolved all California redevelopment agencies. At this point, nobody at Oakland City Hall has any plans whatsoever for the big, empty structure. Why not allow Occupy to use the convention center? It’s not downtown, where Mayor Quan says businesses have been adversely affected by Occupy Oakland’s presence. It would give the movement a chance to stop focusing on trying to occupy spaces and start focusing on benefiting the community with food, shelter, and community programs that they provided when they had a camp. It would give the building tenants who could be held responsible for maintaining it. It might even help get Occupy Oakland and the Oakland Police SAN FRANCISCO BAY GUARDIAN

Department out of the cycle of violence that they have been spiraling into for months. Each time arrests occur, each time violence occurs, both sides blame the other. Both sides are correct that they were provoked. Both sides are correct that something that they think is worth defending was violated — for the cops, it’s the law. For the protesters, it’s the right of the people to assemble. In fact, many Oakland residents have experienced violence at the hands of the Oakland Police Department for years before Occupy began. There was already a mass movement formed around the murder of Oscar Grant, and thousands of people fed up with police murders of unarmed, often black, suspects. In recent decades, other radical groups, notably the Black Panthers, insisted that their community

Each time arrests occur, each time violence occurs, both sides blame the other. lacked basic needs because the city of Oakland refused to prioritize them. The Black Panther free breakfast program served food in a strikingly similar way to Occupy Oakland. Black Panthers were also notorious for carrying guns to defend themselves against police violence. Occupy Oakland protesters (unlike Tea Party members) certainly don’t carry guns. But, more and more, they cry “fuck the pigs” as much as any Panther. For much of the Occupy movement’s 99 percent, unjust actions by banks, corporations, and the government officials that they have often bought and paid for are the worst problems facing the United States today. For others, particularly the poor and people of color, these problems are magnified and exacerbated by the fact that they feel the threat of police harassment every day. For years, they’ve understood that police disproportionately do not investigate or solve crimes that happen to them and their families.

The radicals and the broader movement The Oakland General Assembly Jan. 29 was the biggest it’s been in editorials

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weeks. While there were still over 300 people in jail, 300 more came out to get involved with the meeting. That happened at the same time that many who felt that inexcusable violence and property destruction occurred Jan. 28 and concluded they could no longer have anything to do with Occupy Oakland. It’s a challenge for the movement nationally, too: How do you accept and encourage the people whose legitimate anger at economic injustice and police abuse turns them toward more radical responses — and at the same time make room for a people who want nothing to do with black bloc tactics, vandalism, and confrontation with the police? There are tactical issues with the way the building occupation was planned. Many who were completely in line with the concept felt unsafe and uncomfortable with the secretive nature of the organizers who planned it. The location of the building targeted for occupation was kept secret for practical reasons; police could easily prevent a successful takeover. Supporters must often be led to the locations of planned takeovers without knowing where the action is and how they’ll get there. But how do you reconcile this with the transparency required when organizers are leading more than 1,000 people who want to use tactics they feel comfortable with and make their own choices? Occupy Oakland is asking the people to imagine a world where property rights wouldn’t prevent them from doing all the good that they could do with a building like the Kaiser Convention Center. They must also ask themselves to imagine a world in which goals like a building occupation can be achieved in a way that everyone involved is able to consent to their involvement. These debates continue to occur at Occupy Oakland. Some will leave the movement, some will join. Some will take the ideas and try to manifest them in new and different ways. Participants in Occupy Oakland desperately want basic needs of food and shelter met for their community members, and for the system that governs the city to do so in a way that allows people to thrive when it comes to health, education, and opportunities for creativity and growth. They think that they have the beginnings of a community and a process that can achieve those visions, better than the city government ever has, and they care more about achieving it than respecting the property rights of the owners of abandoned buildings. 2

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Burning Man ticket fiasco renews criticism of SFbased Black Rock City LLC By Steven T. Jones steve@sfbg.com Burning Man is a hyper-collaborative event controlled by its tens of thousands of participants — except when it isn’t, as when policies are dictated by the six-member board of SF-based Black Rock City LLC. And that core conflict now has many burners seething, without tickets to this year’s event, critical of a badly designed new ticket distribution system, and wary of reassurances being offered by the LLC. Two of the most influential board members — event founder Larry Harvey and Marian Goodell, who handles business operations and communications — called me on Jan. 27 to tip me off that the new lottery-based ticketing system had way too many ticket requests and to enlist my help to spreading the word that burners should remain calm, trust that there will be enough tickets circulating in the burner community, and avoid buying from scalpers. They were confident that people were gaming the new system by registering for the maximum of two tickets and even using friends, family members, or secondary credit cards to improve their odds of getting some of the 40,000 tickets being sold for $240-390. “It’s big enough that we believe that all the demand for tickets is not new folks,” Harvey told me. But they didn’t want people to panic on Feb. 1 when everyone who registered was to be notified about whether they were awarded tickets. So they’re quickly designing an aftermarket ticket exchange that will debut in a couple weeks and telling people to use it and refuse to pay more than face value for tickets. “The secondary market is the community, and we don’t want people to feel they have a commodity in their hand that will help them make the rent,” Goodell said, chiding burners who are tempted to make a profit by saying, “You’re really hurting your community if you’re treating this like a commodity.” But online responses to the news have been blistering, with many expressing frustrations at the unilateral approach the LLC has music listings

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taken to leading such a collaborative culture. “It’s exactly as expected. How anyone could have thought this would go any other way is beyond me. They should scrap the entire lottery and just open general ticket sales before more damage is done,” Christopher Bently wrote as a comment on my Facebook link to my Guardian post. As a business person and owner of the Bently Reserve, which hosts many burner events, Bently isn’t a typical LLC basher. In fact, he’s such a strong supporter that the LLC last year appointed him a board member of the Burning Man Project, the new nonprofit entity that Harvey and his board created to take over operations of the event sometime in the next few years. But Bently said the new ticketing system, about which he was not consulted, was a mistake. “The second I saw it announced, I knew there would be problems. It didn’t seem very well thought out or planned out,” he told me. This is just the latest in a string of missteps by the LLC in the last year, as my online commenters attested. First, people were mad about how the LLC board is tightly controlling the transition to a nonprofit. Then they were mad that tickets sold out early last year, with little done to prevent gouging by scalpers. And then they were upset with the new lottery-based ticketing system. In each case, the criticism was the same: why isn’t the LLC enlisting help from its community to create better systems? For example, when I asked Harvey and Goodell last year why they didn’t create ticket registration and aftermarket systems to prevent scalping -– a question I reiterated this year regarding the new system -– they said they just didn’t want to take that step, that it was too difficult, and that everything would work out. But now, people’s faith in their leadership and reassurances is being tested once again. Yet they don’t seem to acknowledge their mistakes or need for help, except perhaps in Harvey’s vague statement to me that, “If we have it to do over, we might do some things differently.” 2

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This map shows The firsT drafT of a communiTy alTernaTive for new supervisorial disTricT lines. The old borders are shown wiTh Thick black lines; The new proposals are shown wiTh The colored areas. The numbers show how close The populaTion is To The median disTricT size. | Map by Fernando Marti

disTricT lines: a communiTy alTernaTive " ESBGU QSPQPTBM GPS OFX TVQFSWJTPSJBM EJTUSJDUT by Tim redmond tredmond@sfbg.com Early in April, a seven-member task force most San Franciscans have never heard of will draw lines that could change local politics for a

decade. The Redistricting Task Force is using the 2010 U.S. Census data to adjust supervisorsial districts to reflect changes in the city’s population. Some shifts are dramatic — the area now covered by District 6 has some 25,000 new residents,

February 4th- 5th

and will have to shrink. Others will have to grow. And the way the new boundaries are set could affect the representation of ethnic groups, the political leanings of the board members, and the ability of progressives to pass legislation.

The task force has held a series of hearings on individual district lines. The S.F. Board of Realtors and other downtown groups are drawing their own maps. But almost nobody on the left has been looking at the city as a

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whole and how the different district lines can impact our ability to get six votes. As campaign consultant David Looman puts it, “what downtown wants is clear — they want to quarantine all the progressives in districts five, six and nine, so they can control the rest.” What do the rest of us want? The Guardian held a forum on the topic Jan 26, and about 70 people from across the wide rainbow that is the city’s progressive moment attended. The goal: To create a community alternative to what downtown, the Mayor’s Office, and possibly a majority of the task force members is suggesting. The map above represents a first draft. Fernando Marti, a community architect and housing activist, did the heavy lifting, looking for ways to keep ethnic communities, neighborhoods, and other so-called communities of interest together, while still avoiding the downtown quarantine. It’s not an easy task, and there was a lot of discussion around some of the lines. Many of the people in the room were unhappy with the border between District 8 and District 6; in the next draft, that will probably be moved back from Valencia to Guerrero. There was discussion about whether Japantown should be in District 1 or District 5. It’s a work in progress — but we’re publishing it to get some feedback, to let people know that the process is going on, and to let progressive and independent neighborhood activists know that the task force decision, which can’t be appealed or overturned, is critical to the city’s future. 2 A scaleable PDF is available at sfbg.com. Email comments to map@sfbg.com.

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FEBRUARY 1 - 7, 2012 / SFBG.com

Herbwise alerts By yael Chanoff yael@sfbg.com

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heRBWiSe “Never in a million years would I have chosen to do this,� wrote Randy Thompson’s mother in the September 1997 issue of Good Housekeeping. The title of Karen Thompson’s article was “I Broke the Law to Save My Son.� Her choice? To allow Randy to use marijuana to mitigate the gastrointestinal irritation, nausea, vomiting, and lack of appetite he suffered chronically from his Chron’s Disease. Two months after Karen’s article appeared, the magazine published letters it had received in response under the header “A Controversial Choice.� One respondent, a Chron’s sufferer who opted to have her small bowels re-sectioned to mitigate her symptoms, claimed to be “disgusted� with the Thompsons: “It was the best decision I ever made. How foolish of Simon’s parents to not exhaust all medical possibilities before allowing him to smoke pot.� Today Randy, undeterred by such suggestions, helps other cannabis users to find healthy ways to smoke. He is the sole proprietor of a San Jose vaporizer distribution company, Puff It Up (www. puffitup.com). Medical studies have suggested that using vaporizers dramatically cuts down the amount of tar ingested compared to smoking joints. Johnson’s company is entirely staffed by patients — he has had his card since before Proposition 215 passed — and tries to stock the “little guys� of the vaporizer world, like San Diego’s Magic-Flight company. Surprisingly, Puff It Up doesn’t sell Volcano vaporizers, the most popular “vape� brand whose products

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you’ve probably seen filling massive plastic bags with smoke on a dorm room coffee table somewhere. Randy says Volcanoes, which begin at $539 for a starter package, just aren’t practical. “Simplicity, that’s what we’re going for,� he says. Thompson’s favorite vaporizers — which he proceeded to pull out of his backpack by the handful at his Guardian interview on a sunny day on the Zeitgeist patio — are the kind of affordable, easy-to-use, portable tools you would expect people to use for self-administering medicine. Many of the models he brought go for under $200. “We’re non-evil,� he says of Puff It Up’s small box approach. “We don’t like to think of ourselves as profit-driven, we’re just trying to get the word out that there’s a better way to smoke.� Randy is still dealing with blowback from his decision to be involved with marijuana. Like many greater Bay Area dispensaries, Puff It Up received a letter from the Department of Justice a few months ago threatening punitive action if it did not stop selling vaporizers, which exist in a legal netherworld. In the 1997 article, the Thompsons went by aliases. But in 2012, Randy is done with hiding. He thinks it’s important to stick his neck out for the medicine that he says has made his life better so that other people might have the same option. In the struggle to make cannabis accessible to everyone who needs it, he thinks patients have a big role to play. Says Randy: “People need to stand up and say ‘I’m human too.’� 2

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Next week iN Herbwise: We test out Randy Thompson’s favorite vaporizer — does the Magic Flight live up to its name?

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shine On: JOnathan PlOtzker Of heliOtrOPe at his nOe valley BOutique Guardian Photos by mirissa neff

tOward the sun )FMJPUSPQF CSJOHT OFX MPDBM CFBVUZ QSPEVDUT UP MJHIU By Marke B. marke@sfbg.com BOdy I was pretty excited to hear about Heliotrope (www.heliotrope. com), the new line of locally sourced, all-natural, unisex, essential oilbased, mostly fragrance-free beauty products launched by Bay Area style maven Jonathan Plotzker. I got more excited when Heliotrope’s exquisite, neighborhood-feeling retail boutique opened in Noe Valley (1515 Church, SF. 415-643-4847) — you mean I can grab some insanely good hot and sour soup from Eric’s Chinese and snag some natural product to vanish my all-night party bags? OK! But things really got crazy for me when Plotzker told me over the phone about Heliotrope’s massage candles — when the candles melt, the heated wax dissolves into an oil perfect for an intimate rubdown. “We’re all about integration,� he said with a laugh, “our candles will melt you two ways.� Yes, I could go for a two-way melt right about now, in the middle of winter. Plotzker had just returned from a visit to one of his chemists in Sonoma. “One of my original visions for the line was to help bring to light a lot of the small-batch local beauty developing going on,� he said. “The name Heliotrope means ‘turn toward the sun’ — but besides have the connotation of ‘enlightenment,’ I just really like the word. I think it describes our customers: smart, nature-oriented, and confident.� He adds that the company’s wood-grain logo comes from a scan of an actual redwood log that he happened to have in his car when he met with a graphic designer, giving it an extra local angle. Heliotrope puts out dozens of products, from Witch Hazel and Birch Head-to-Toes Wash to single-note lemongrass essential oil. (The Heliotrope boutique sells a full range of accessories as well.) I asked Plotzker to pick out a few favorites that he’d recommend for our unique Bay Area winter. 2

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JuStin aguinalDO Of BamBOO Bike StuDiO DemOnStrateS hOw tO BuilD a lightweight yet SturDy riDe. Photos by nick wade

Bike lightly #VJME ZPVS PXO CBNCPP TUFFE JO UIJT OFX 5FOEFSMPJO TIPQ By Dan alvarez culture@sfbg.com BODy DIY has long been an integral part of San Franciscan culture. Underground music venues, art cars, pop-up food trucks — San Franciscans have been crafting their own good times for years. And while the concept of creating and customizing your own bike isn’t new, a bike studio in the Tenderloin is putting a lightweight, environmentallyfriendly spin on it. Bamboo Bike Studio, started in 2009 by three Brooklyn-based bike obsessives, gives patrons the opportunity to build a safe, quality, visually-striking bike from the ground up by attending one of its weekend workshops. (Kits start at $459.) The shop uses bamboo — a plentiful, regenerative material — harvested from the Yucatan Peninsula. While the concept of creating a bike from scratch may seem like a tall order, the friendly, committed staff makes the bike-building fun and fascinating. (For those without a lot of time to tinker, the studio also offers a steel frame option that only takes about four to six hours to complete.) Worries about the legitimacy, safety, and durability of bamboo bikes can be assuaged by a quick test-drive and conversation with someone who has either built one or ridden one. The bikes come in a variety of different sizes and with a variety of fixtures and are exceptionally smooth and strong. They are also pretty light and easy to take care of, perfect for commuters. And if you ever have a problem with your bike, you can editorials

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always drop into the studio and get it fixed. “It was intimidating for me before I built them,� says BBS co-founder Justin Aguinaldo, a Mendocino County native who originally opened the shop in Brooklyn, but moved it here in 2009. “I can understand that. But actually, we are specifically looking to help people who are not already experienced builders because the empowerment from building your own things so exceeds the part of being afraid. It’s something that everyone can enjoy and benefit from, which is what we build our program around. Aguinaldo, a longtime bike messenger, never seems far from two wheels. “I ride a bamboo bike mostly because it’s incredibly comfortable. I use other bikes, but I mostly ride bamboo. I don’t use it for racing or working, but just day-to-day and functionality-wise, it’s really enjoyable and reliable.� When you walk into the Tenderloin BBS studio, it’s clear that the DIY ethos is as integral to the shop as the bikes themselves. From the homemade tool racks to the not-yet-completed shop sign that is being worked on by an employee, nearly everything (save for the foosball table) was built by the studio workers from scratch. As someone who struggles to tie their own shoes, just being in the place was inspiring, and the process of building my own bike was, well, enlightening. “DIY has always really appealed to me,� studio worker Erik Castillo said. “You don’t have to go get a fancy bike and pay for the brand. You can get just as picks

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good a bike here — whether it’s the steel frame ones or the bamboo ones. The actual bamboo bike is just one of our ships that we use to get where we’re going.� That’s what’s really interesting about the studio — that its goal is not even necessarily to get you on their bamboo wheels, but to spread bike culture in general. In 2010, the founding members of the studio even traveled to Ghana to help open up a bamboo bike factory to serve those who couldn’t afford expensive rides.

The shop is also committed to integrating into the Tenderloin, and building a inspiring, positive haven in a community that is short on such places. Spend a half an hour in the unpretentious studio, and you’re liable to meet a cast of characters including bike messengers, regular citizens working on their bikes, and Tenderloin neighbors. “It’s not closed off to anyone,� Castillo explained. “It’s totally open to everyone. If you need help, we are here for you.

But if you want to just hang out, you can do that too. Everyone is welcome.� “If just owning a bamboo bike was the end goal, we’d just build them for you,� Aguinaldo told me. “For us, it’s about empowering more people and providing people with the value of creating your own thing. The bike isn’t the end goal. It’s about building it, riding it, learning from it — seeing how it affects everything else in life.� 2 BamBOO Bike StuDiO 982 Post, SF. www.bamboobikestudio.com

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BauMÊ’s arTful auTuMn salad, eggnog, and fig PisTachio “focacciaâ€? reduce us To sighs. | guardian photos by virginia miller

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aPPeTiTe There are meals that live on in memory: dioramas of conversation, heartwarming food, and that misty glow from a fine bottle of wine. Then there are those that are game-changers, the food an elaborate tapestry, weaving complex threads of creativity into an unexpected whole as impacting to the taste buds as to the eye. It borders on art. BaumĂŠ (pronounced “bo-mehâ€?) in Palo Alto vies for the latter category at a level not seen enough in the Bay Area. Foams may be long over, but for an adventurous food lover, to sit down for three hours with merely a list of ingredients and almost 20 bites and courses, is an exciting event. I’d call BaumĂŠ one of our best fine dining restaurants. It is artful, employing molecular processes alongside classic French technique. A list of menu ingredients like vadouvan, Calvados, kabocha, caviar, and the like tease, but essentially give little intimation as to what lies ahead. Naming BaumĂŠ one of 2010’s best new restaurant openings in both the Guardian and my Perfect Spot newsletter, I found chef Bruno Chemel’s vision inspiring, even as the restaurant was still discovering itself. Returning at the end of 2011, it is coming into its own. Prices reflect this “sense of self.â€? Formerly just over $100 per person, it’s now a whopping $168 without drink. Add on wine pairings and it’s $288 (or $368 if you desire the premium wine pairing). It’s one mighty expensive night out. But there are more courses than there were before, more intermezzos, bites, and delights at every turn. If you’re going to splurge, BaumĂŠ is one of the more experimentally satisfying options. The setting is understated, modern, but still a little staid, even museum-like. Thankfully, intimacy and bright orange and brown tones keep it from being cold, with one small room of four or five tables and additional individual tables behind curtains. Service is seamless — although with this many courses, expect to see waitstaff often throughout the meal. I am always impressed when I can ask even a server filling my water about ingredients and all are wellversed on each dish. This level of care is crucial in a place like BaumĂŠ. Even a menu of expensive aperitifs (four, ranging from $15-28) has been elevated since my last visit. A BaumĂŠtini ($18) is dramatically presented with sparkling sake poured over liquid nitrogen lilikoi and passion fruit “ice,â€? a frosty haze erupting from the glass. The taste is tart, intense, palate-cleansing. On a white, indented ceramic block sits a round roll of fig pistachio “focacciaâ€? — the bread course. Looking more akin to mochi, the warm, green roll perks up in yuzu glaze with salt flecks. This was followed by juicy beets and onions in panko crumbs with a potent shot of celery beet juice. In 2010, Chef Chemel’s most memorable dish was a 62-degree egg. This is the only dish I recognize from the year before, silky as ever, though its presentation is different over lentils in a vermouth sabayon, topped with tiny sage leaves and toasted garlic bread crumbs. Chemel shines at produce: a delicate autumn salad is one of the most beautiful and finest tasting dishes. It combines bits of apple, pear, squash, and vivid red leaves with acorn wafers. The dish blossoms with a gorgeous pairing of 2005 Domaine des Baumard Clos du Papillion Savennieres from the Loire, a 100 percent

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Chenin Blanc that surprises with orchard fruit contrasted by mineral earthiness. Other stand-out moments included the add-on course (yes, for even more money) of Alba white truffles from Piemonte, Italy, in season and available for a matter of days. The staff generously shaved a luxurious truffle over cauliflower tapioca risotto, pairing it with 2006 Morey-Coffinet Morgeot Chassagne-Montrachet 1er Cru from Burgundy. Fatty suckling pig in crispy skin is a winning main with braised endive and ginger foam. Apple plays prominently in both freeze-dried green apple slices and a sauce of balsamic Calvados (French apple brandy). A bright, acidic 1999 Heitz Cellars Trailside Vineyard Cabernet from Napa alternately displays a raisin richness reminiscent of port, making it an ideal apple-pork companion. Dessert comes in four parts, but it’s a liquid shot that leaves an impression: fizzy young coconut water soda with a creamy lychee float. After dessert, I was served house eggnog with nutmeg foam in an egg shell. Perfect for December, it was a playfully refined statement to end a nearly three-hour feast. 2 BaumÊ 201 S. California Ave., Palo Alto (650) 328-8899 www.baumerestaurant.com

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food + drink: cHeap eats

An uPSidE By L.E. LEonE

le.chicken.farmer@gmail.com CHEAP EATS I’ve been saving something for you. Something special. For a time just like this. The 49ers have fizzled in the drizzle, and the spring season of dyke football is a long way off. Not to mention spring training. Not to mention Spring. Sportswise we are left with the Warriors. And speaking of loselose situations, there’s the murky mess that our sheriff is in. Oh, and the Republican candidates for prez, whose collective aim is so untrue (also speaking of the Warriors) that even those of us who try and stay out of it are covered in mud and shit. Is everyone sick and suicidal, or just sick? Well, my dears, I have something for you, and it isn’t duck soup. It’s better. It’s butter corn ramen at Halu, which is my new favorite restaurant by 10 miles. Or at least thirty blocks. Unfortunately, we aren’t the only ones who know about it. Halu isn’t open for lunch and doesn’t accept reservations for dinner. It’s a hole in the wall. So, unless you get there at five, expect a line. And expect that line to be worth waiting in. (I rarely say that.) About a year ago or so I started hearing about this place from all sides. Alice Shaw the Person gave me its business card. Which I lost. But I still recall her rhapsodic description of skewered scallops wrapped in bacon. We were getting ready to play soccer. “One of the best things I ever ate,” she said. “The scallops ...” Her eyes fluttered and started to roll back under their lids, until I thought she might lose consciousness. Which would have sucked because we’d have had to forfeit. Then Papa, my butcher, started in on it. “Pork jowls,” she kept saying. At football practice. In the huddle. Every time I saw her: “Pork jowls.” When people say pork jowls, I listen. They only need to say it once. After three or four times, I start to dream cheeky things. So, long before I ever ate there, Halu was on my mind and under my skin. I tried to go once with a big group, but at least one of us was too hungry to stomach the wait, so we wound up at the Burmese place 16 SAN FRANCISCO BAY GUARDIAN

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around the corner on Clement. Then, finally, last summer while Hedgehog and me were house sitting in the Richmond one week, we walked over right at five and sat right down and ordered all the wrong things. Lava ramen, which was the best and second-spiciest bowl of ramen I had ever had, but it wasn’t spicy butter corn ramen. Or, as they inexplicably call it, spicy corn butter ramen. Which, I would have to wait three more months to learn, is even better. Amazingly tender roast pork, crisp kernels of fresh corn, and pats of butter melting into it as they bring the bowl to your table. The noodles taste homemade, and the broth has an insane amount of flavor to it. I must not have looked at the menu the first time I was there, or I would have become a Halu addict sooner. But the lava ramen was on the wall, with a lot of other yummy sounding dishes, and all the Beatles posters and ‘60s stuff — including a cool old bass and an even cooler acoustic guitar. The yakitori menu is on the wall too, and every time I get my butter corn butter ramen butter fix, I sample one or two of these, on the side. So far I’ve had mochi bacon, which was divine, and of course the pork jowls, which were even diviner. Chicken livers. Good. The boneless short ribs were a little dry. Oddly, since it was what sold me on the place in the first place, I have yet to try the baconwrapped scallops. (Sorry, Alice Shaw the Person.) Other didn’tget-yets include asparagus bacon, enoki bacon, and eringi bacon, because in my opinion two of those things are mushrooms. But I do love asparagus. One time we had karaage (fried chicken), by way of an appetizer. It was nothing special. Otherwise, though: worth the wait. Way. Go say hi to Baseball Mary across the corner at Clement Street Bar and Grill. The game’ll be on, if there is one. 2 Halu Tue.-Thu. 5-10 p.m.; Fri.-Sat. 5-11 p.m.; closed Sun.-Mon. 312 8th Ave., SF. (415) 221-9165 MC/V Beer and wine

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FEBRUARY 1 - 7, 2012 / SFBG.com

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What’s that falling space junk? mostly british film festival see thursday/2

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ears. A brown-robed Saint Francis gazes upon a bleeding fawn — but, wait a second, what’s that falling space junk in the background? And how’d that toy robot get in there? Menlo Park native David Michael Smith’s drawings and paintings “hearken back in style to elegant Renaissance Madonnas and saints, while simultaneously borrowing images from contemporary pop culture,” according to Dana DeKalb’s essay in the catalogue for “Elegy,” his new solo exhibition. The drawings and paintings, many situated in elaborate frames constructed by the artist, have an effect that’s as calming as it is unsettling. (Eddy) Through March 17 Reception tonight, 5:30 p.m.-7:30 p. m., free Scott Richards Contemporary Art 251 Post, Ste. 425, SF

Wednesday 2/1 Kapowski Oakland-based indie pop quartet Kapowski is celebrating the release of its debut album, Boy Detective, with a party at Rickshaw Stop. With influences including George Gershwin, the Velvet Underground, and David Bowie, it’s no wonder Kapowski’s sound seems very much its own unique creation — sort of a dreamy, eerie, dissonant electric piano-driven march. While Thursday marks the release of the band’s debut album, Kapowski’s vibe has been slow cooking since front man and group visionary Jesse Rimler began collaborating with bassist Jon Gondo during middle school. (Mia Sullivan)

boring month for cinemaniacs — but fret not, local film fans: you need not resort to queuing up at the megaplex to weep at Channing Tatum’s romantic troubles. Not only is IndieFest looming (opening night is Feb. 9), but the Mostly British Film Festival — co-presented by the San Francisco Neighborhood Theater Foundation and the California Film Institute — kicks off tonight, with 28 new and vintage films from the U.K. (duh), Ireland, Australia, and South Africa. Highlights include Ken Loach’s latest, political thriller Route Irish; a complete screening of Michael Apted’s “Up” documentary series; and swinging London time capsule Performance (1970). (Cheryl Eddy)

sensual hip swinging, and persistent head nodding. The air smells more like pot than oxygen, lulling you into a stupor that causes you to forget you’ve been expressively swaying to the same song for thirty minutes. While lesser known than Phish and its omnipotent predecessor, the Grateful Dead, moe. has developed a similarly fanatical fan base by producing fun, danceable jams, perfecting the art of improvisation, and consistently engaging audiences at live venues. moe.’s been at it since 1989 and shows no signs of subsiding into irrelevance. Not to be missed. (Sullivan)

Through Feb. 9, $12.50

www.theindependentsf.com

Thurs/2-Fri/3, 9 p.m., $30 Independent 628 Divisadero, SF (415) 771-1421

Vogue Theatre 3290 Sacramento, SF Christopher B. Smith Rafael Film Center 1118 Fourth St., San Rafael www.mostlybritish.org

With Mwahaha and Bells 8 p.m., $10 Rickshaw Stop 155 Fell, SF

Thursday 2/2

(415) 861-2011 www.rickshawstop.com

Thursday 2/2 Mostly British Film Festival February is traditionally an uber18 SAN FRANCISCO BAY GUARDIAN

“Elegy”

Thursday 2/2 moe. There’s nothing quite like seeing a jam show. They tend to involve hours of emphatic lyric shouting, editorials

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A beatific child, arms outstretched, rides a polar bear through a snowy landscape. A baby rhinoceros ascends through a pink cloudscape, glowing halo floating above its wrinkly gray

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(415) 788-5588 www.srcart.com

Friday 2/3 “WTF with Marc Maron” Part comedy discussion and part no holds barred interview program, Marc Maron’s WTF podcast has emerged as can’t miss listening for anyone curious about the thought processes of modern comedians and performers. The stripped-down feel and anything goes attitude of the show has led to some incredibly personal moments — Todd Glass coming out on a recent episode immediately comes to mind — that are respectfully ushered along by Maron’s neurotic but attentive and no bullshit personality. In a special live taping of the show, he’ll be chatting with a handful of eclectic guests that includes political satirist Will Durst, Arden Myrin (Chelsea Lately), and original Saturday Night Live cast member, Laraine Newman. (Landon Moblad) 10:30 p.m., $25 Cobb’s Comedy Club 915 Columbus, SF (415) 928-4320 www.cobbscomedyclub.com

Thursday 2/2 Dengue Fever During a trip to Cambodia in the 1990s, Zac Holtzman became enamored with ‘60s Cambodian pop and set out to create a sound that integrated the genre’s powerful female vocals with the psychedelic surf sound of the American ‘60s. Enter Dengue Fever — a six-piece rock band whose Cambodian female vocalist, Chhom Nimol, sings in Khmer and English (sometimes in the same song, often wearing something sparkly), while Holtzman puts down a dazed, surf riff reminiscent of “Wipe Out” with his double-necked guitar chapei. Dengue Fever is set to shake the Great American Music Hall on Thursday and Slim’s Friday, to the delight of Bay Area indie pop fusion enthusiasts. (Sullivan) With Secret Chiefs 3 8:30 p.m., $20–$44.95 Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.gamh.com

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Saturday 2/4 “Between Me and the Other World” Dissecting wounds in underreported aspects of American history has allowed Joanna Haigood to create some of the Bay Area’s most remarkable dance theater works. So there is every reason to look forward to her newest endeavor, “Between Me and the Other World,” which examines W.E.B. Du Bois’ concept of “double-consciousness,” as analyzed in his The Souls of Black Folk. Using the “veil” as a metaphor, Du Bois eloquently explained the fractured state of being imposed on people who are not allowed to be themselves. Written in 1903, his observations have stood the test of time. For “Between” Haigood, in

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Kapowski photo by Katie Munger; moe. photo by Alexandra Valenti; The Ninth Wave from “elegy” by David Michael Smith; Dengue Fever photo by Lauren Dukoff; Robert Henry Johnson in “between Me and the Other World” photo by Joanna Haigood; Thee Silver Mt Zion Photo by Yannick Grandmont; Marc Maron photo by Larry Hirshowitz.

addition to her own dancers, has enlisted first-rate collaborators in Antony Brown for the music and David Slzasa for the design. This is a work in progress showing and includes a post-performance discussion. (Rita Felciano) 2 p.m., free ODC Theater 3153 17th St., SF (415) 822-6744 www.zaccho.org

Judas Priest, replacing the big, rounded tones and psychedelic aftertaste of the ‘70s with pistonlike riffs and angular dual-guitar leads. Thrash, the supremely-aggro next step in this sequence, exists today as something of a brief and punctual link in the great, forbidding chain of heavy metal, but one whose dogged endurance (see: Slayer) guarantees it a permanent appeal. The show brings together fellow Bay Area thrash legends Possessed, Heathen and Forbidden in a memorial for Paul Baloff, the late vocalist of Exodus, who died 10 years ago. (Tony Papnikolas) With Mad at Sam, Angerhead, Mudface, Hysteria, Hell Fire, and the Venting Machine

Monday 2/6 Thee Silver Mt Zion You know how the creation of epic classical music appears to be on the edge of madness, at least, the way it’s depicted in Amadeus (1984)? All ferocious scribblings, and sore hands from tearing

6 p.m., $30

furiously into instruments with the passion of a particular set of notes pumping through the veins for hours, days, months. Bloody hands arise, ‘I’ve got it!’ This is how I picture Thee Silver Mt. Zion working. A modern, Canadian, post-punk version of that. Perhaps it’s because of the frequent title reworkings that suggests hyper attention to detail: A Silver Mt. Zion, The Silver Mt. Zion Memorial Orchestra & TraLa-La Band, Thee Silver Mt. Zion Memorial Orchestra and Tra-La-La Band with Choir and Thee Silver Mountain Reveries. As part of the Godspeed You! Black Emperor collective, the Montreal-based band gained notoriety for its likewise

stunning arrangements, droning movements, improvisational jazz style, and punk ethos. With name changes, lineup shifts, and sound tweaks over the past decade, it’s a wonder they’ve yet to collapse. (Emily Savage) With Matina Roberts Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.gamh.com

Oakland Metro

“wtf with marc maron” see friday/3

630 Third St., Oakl. (510) 763-1146

Saturday 2/4

www.oaklandmetro.org

Bob Odenkirk with The Birthday Boys in “Seven-Man Sweater” Bob Odenkirk (Mr. Show) joins up-and-coming Upright Citizens Brigade troupe The Birthday Boys for two Saturday night performances of “Seven-Man Sweater.” Gaining steam over the past couple years with videos for Funny or Die and writing jobs for the MTV Movie Awards, The Birthday Boys create comedy that successfully blends smart satire and pop culture send-ups. The Los Angelesbased troupe’s style should mesh well with Odenkirk — a legend of the sketch form — in this sure to be hilarious mix of live performance and video shorts. (Moblad) 8 p.m. and 10:30 p.m., $20 Eureka Theatre 215 Jackson, SF (415) 788-7469 www.sfsketchfest.com

Saturday 2/4 Exodus In the 1980s, thrash reaffirmed the faster-is-better trajectory of heavy metal that was already developing in the mechanistic speed and rhythm of acts like editorials

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Tuesday 2/7 Leni Stern and the Masters of African Percussion When German-born guitarist Leni Stern traveled to Mali in 2005, she met master musician Bassekou Kouyate, and became entranced with the local percussion instruments and style — later releasing albums such as 2007’s Africa and 2010’s Sa Belle Belle Ba, incorporating the West African sound. A lifelong musician (she won Gibson’s Female Jazz Guitarist of the Year award for five consecutive years) and traveler, she was inspired, to the say the least. At Yoshi’s, she’ll play guitar, n’goni ba, and jeli n’goni, alongside Kofo on talking drum, Alioune Faye on djembe, and Mamadou on bass and additional percussion. (Savage)

Sunday 2/5 “Apocalypse Cakes Reading + Eating” The world is ending soon. Why not eat as much dessert as possible before the inevitable? And why not get into the end-times spirit by whipping up one of Shannon O’Malley’s concoctions from Apocalypse Cakes: Recipes for the End? O’Malley’s book (an offshoot of her tasty and notorious blog) has all the recipes you’ll need to celebrate doomsday, as long as you have a sense of humor: Black Deforestation Cake, Impending Meteorite Rock Candy Cake, Whore of Babylon Fruit Tart, Shifting Poles Pineapple UpsideDown Cake, and, yes, 2012 Mayan Chocolate Cupcakes. Swing by Omnivore Books for a reading and tasting — the countdown is on, so calories totally don’t count. Right? (Eddy)

8pm, $16. Yoshi’s 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.

3 p.m., free Omnivore Books 3885a Cesar Chavez, SF www.apocalypsecakes.com

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february 1 - 7, 2012 / SFBG.com

19

arts + culture: film

Johannesburg serenade: Come Back, Africa spotlights future superstar Miriam Makeba, at left, and street musicians.

On the township

After 50 years, Lionel Rogosin’s groundbreaking doc Come Back, Africa finally gets its due By Dennis Harvey arts@sfbg.com FILM Opposition to apartheid didn’t really pick up steam as a popular cause in the U.S. until the early 1980s. Which makes it all the more remarkable that New York City-based documentarian Lionel Rogosin made Come Back, Africa about a quarter-century earlier — though less surprisingly, the film itself was barely seen here at the time. Now finally playing American theaters outside his home town in a restored print, it’s a time capsule whose background is as intriguing as the history it captures onscreen. The horrors of World War II and some subsequent global travel had stirred a profound awareness of social injustices in Rogosin, who began planning a feature about South Africa while still working at his father’s textile business. He had very little filmmaking experience, however, so he took $30,000 of his earnings and as “practice” made On the Bowery (1956), a semi staged portrait of Manhattan’s skid row area that won considerable praise, if also some shocked and appalled responses from Eisenhower-era keepers of America’s wholesome, prosperous self-image. (It was, as 1959’s Come Back, Africa would also be, much more widely appreciated in Europe.) Armed with the confidence bestowed by that successful effort and several international awards, Bogosin traveled to South Africa 20 SAN FRANCISCO BAY GUARDIAN

— not for the first time, but now with the earnest intent of making his expose. In the mid- to late ‘50s, however, that was hardly a simple task. He and wife Elinor Hart had to do everything clandestinely, from making contacts in the activist underground to recruiting actors and crew. (The latter eventually had to be brought in mostly from Europe and Israel.) To get permits he fed the government authorities a series of lines: first he pretended to be making an airline travelogue to encourage tourism; then a music documentary to show local blacks “were basically a happy people;” then another doc, about the Boer War. Amazingly, despite the myriad likelihoods of being informed on, he shot the entire film without being shut down or deported. It remained, however, a stressful and dangerous endeavor for all concerned. Like On the Bowery, Come Back, Africa qualified as a documentary by the looser standards of the time (Rogosin preferred the term “poetic realism”), but mixed a loose, acted narrative with completely nonfiction elements. Like the prior film, it also followed the luckless wanderings of an agreeable protagonist played by a first-time actor actually found on the street — here Zacharia Mgabi, a 30-ish bearded worker “discovered” on a bus queue. His character, Zachariah, is caught in one catch-22 of apartheid life: he can’t get a job without the appropriate permits, and can’t get editorials

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the permits without a job. First he tries finding employment in the misery of a mining encampment, then travels to Johannesburg — where it’s illegal for him to be without further permits — where he’s bounced from one position to another. Working as “house boy” to a middle-class white couple, he’s fired when the racist, shrewish wife (a memorable performance by Myrtle Berman) catches him sneaking a drink from her own secret booze stash. An auto-shop stint is lost due to a friend’s incessant goofing off, while service as porter in a hotel is terminated when a hysterical white lady guest cries “Rape!” simply because he surprises her in a hallway. Meanwhile Zachariah’s wife arrives from their native KwaZulu, and they tentatively set up house in a Sophiatown shack. (Come Back, Africa is of particular interest for its scenes there — within a few years the government had forcibly emptied this poor black township, having made its population mix of races illegal, and the area was razed to become an unrecognizable whites only suburb.) But even this small foothold on stability is doomed. Just as alcoholism dragged On the Bowery’s hero back into a downward spiral at the end (both on- and offscreen), so Zachariah and his family are helpless to save themselves from the violence, police harassment, and self-destruction apartheid breeds and maintains itself with.

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All show and almost no “tell,” Come Back, Africa pauses around the two-thirds point to let several men pass around a bottle, discussing the nature of and solutions to their oppression. They’re happily interrupted by the incongruity of a young woman in an elegant cocktail dress — no less than a then-unknown Miriam Makeba, who sings a couple of songs in her inimitable voice. When the film was finished, Rogosin bribed officials to get her out of the country, bankrolling his contracted “discovery’s” launch at the Venice Festival, and in the U.S. and England. But to his great disappointment, she was quickly taken under Harry Belafonte’s wing, dismissing her first benefactor as “not very nice” and “an amateur.” Thus a legend was born, with Rogosin pretty much cut out of the resume. Come Back, Africa, too, would disappoint its maker in some respects. With a furious South African government swiftly condemning this portrait as “distorted,” his original plans for a trilogy became impossible. The film won a number of prizes — although unlike On the Bowery, it was pointedly not nominated for a Best Documentary Oscar — and would eventually be widely seen on European television. But it has still never been broadcast in the U.S., and despite Rogosin’s efforts — he went so far as to open NYC’s still-extant Bleeker Street Cinemas in 1960 to show it and other impormusic listings

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bribing, scheming, and shit-kicking to make a clandestine film.

tant new works — it collided with a thud against the overwhelming indifference of middle-class white audiences. They were barely starting to confront such thorny racial issues in their own backyard, much less in far-flung nations. Not shown in South Africa until the late 1980s, Come Back nonetheless proved a great influence on development of the whole continent’s indigenous cinematic voices. A liberal shit-kicker to the end, Rogosin made other documentaries, was integral to the New American Cinema movement (alongside Jonas Mekas, Robert Downey Sr., Shirley Clark, and other experimental luminaries), founded distribution company Impact Films, and moved to England for a spell before dying in Los Angeles at the century’s turn. It’s a pity he didn’t live to see his two first features restored and rediscovered — though interviews late in life suggest he never let limited exposure dampen his activist zeal one whit. 2 COME BACK, AFRICA opens Fri/3 at the Roxie.

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arts + culture: trash

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GelflinGS Jen And KiRA (HoldinG fizzGiG) fiGHT foR THeiR plAneT in 1982’S The Dark CrysTal. | photo Courtesy of the Jim henson Company

CHeeRS, puppeTeeRS! TRASH Showcasing the boldly imaginative and innovative talents of the artisans at the Jim Henson Company, the 1982 fantasy film The Dark Crystal broke new ground when it came to visual special effects and believable creature creations. The movie’s tale — evil Skeksis versus good Gelflings and Mystics, just tryin’ to restore balance and freedom to their world — captivated viewers’ imaginations upon its release, and has gone on to become a beloved part of many people’s childhood memories. And it’s still earning new fans: in honor of the film’s 30th anniversary, SF Sketchfest presents a special Crystal screening with guest Dave Goelz, who performed the puppetry for fan favorite Fizzgig, as well as the Skeksi Garthim Master SkekUng. Goelz, who’ll introduce the film and share some rare, behind-the-scenes footage, is looking forward to marking the movie’s milestone with fans. “What I love about doing these events is that it reminds me of the quality of the things we were doing, and that they are endureditorials

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ing, and how much we enjoyed making them,” he says. Having worked with Henson since 1973, Goelz was no stranger to busting through creative and logistical boundaries on film and television projects, but even he was uncertain for a time about Crystal’s chances of success. “We all knew Jim as an incredible, indefatigable optimist. He was just so positive about everything, and he just believed that we could do anything — and he usually figured out a way to do it,” Goelz remembers. “On the first day of shooting, though, we had to have the Skeksis file by the bedside of their dying emperor, and that was the very first shot that I was in. We were up on a two-foot riser, walking, and each Skeksis has two people inside, and then about four people down below, sort of duck walking on the floor, with each one holding a cable control. Partway through the first shot I fell off the riser — it was dark, I couldn’t see where I was going. I remember thinking at that moment, ‘Jim’s optimism has really caught up with him this picks

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time. We’ll never get this thing shot!’ But of course, within two weeks we were ad-libbing in the characters.” Goelz attributes the film’s success to the hard work of everyone involved, but points especially to Henson’s emotional and financial commitment to the quality of their projects. “These things were developed and rehearsed for months, only Jim Henson would make that kind of investment,” Goelz says. “He was always like that. People who worked in the shop all those years tell me that he never came in and said, ‘You can’t buy that fabric for Miss Piggy. It’s $200 a yard!’ — he never held back on anything for the shop and the characters.” In addition to the time, money, and effort spent on bringing the world of Crystal to life through advances in special effects technology, the crew also found simple ways to add depth to the film’s characters, as was the case with the lovable Fizzgig. “The reason he’s convincing is because he’s used sparingly,” Goelz notes. “He’s a character who can’t really do much; he can move his paws and blink and open his mouth, so if you overexpose him you will realize that he’s limited. But the way he was conceived was to be used sparingly and that was useful. Secondly, the way he traveled was by rolling [himself into a ball], which made it very easy for us to shoot him. We just rolled him across the shot, so that was extremely simple. One of the simplest things in the movie!” Having worked with the Muppets for nearly 40 years (bringing life to much-loved characters like Gonzo and Bunsen Honeydew) and lending his talents to affiliated projects such as Labyrinth (1986), Fraggle Rock, and a host of other films and television shows, Goelz says he loves to see the impact of his efforts on fans. “A lot of people who originally saw these projects [as children] are in their 30s now and have little kids, and they want to pass this along to their kids,” he reflects. “It’s very heartwarming to see there is a legacy.” (Sean McCourt) 2 The Dark CrysTal 30th anniversary celebration Sat/4, 11 a.m., $10 Castro Theatre 429 Castro, SF www.sfsketchfest.com

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FEBRUARY 1 - 7, 2012 / SFBG.com

21

guardian illustration by sophia foster-dimino

arts + culture: bands on the rise

Dirty Ghosts After her other bands naturally fizzled, Allyson Baker was done. “I was burnt,” says the hard-rocking guitarist, clad in her signature black leather jacket, with a rocker’s fringe of black bangs framing her face. Luckily for us, she got the rock’n’roll bug again around 2006, and picked up the pieces for a new project — Dirty Ghosts (www.dirtyghosts. com). Since then the act has gone through a dozen formations, with even more drummers, but one thing remains consistent: Baker herself, a Joan Jett-esque force on stage and off. Over the past few years the singer-guitarist has recorded and rerecorded a core set of 10 songs, some with the digital help of her husband rapper Aesop Rock, others with session musicians and creative pals. She’ll finally release the full length LP Metal Moon (Last Gang Records) Feb. 21. A few days later (Feb. 23) she’ll play an unofficial album release show as part of Noise Pop’s 20th anniversary (9 p.m., $10–$20. Brick and Mortar, 1710 Mission, SF. www.brickandmortarmusic. com). The year is Baker’s for the taking. Description of sound: 1960s funk, ‘70s rock, ‘80s new wave, ‘00s R&B, good times/bad times. What do you like most about the Bay Area music scene: I think this city has a musical history that’s one of the best and most unique, so even to able to exist in the place where that happened I think is pretty special. What piece of music means the most to you and why: New Age by Chrome. It’s so simple and it’s got all of the elements. It’s perfect. Favorite local eatery and dish: I don’t wanna be boring and say the super burrito at Cancún which is my real answer, so the margarita pizza at Una Pizza Napoletana Who would you most like tour with: Swiftumz. 22 SAN FRANCISCO BAY GUARDIAN

On the rise

The 12 musical acts we’d like to see break big in 2012 By Emily Savage with photos by mirissa neff emilysavage@sfbg.com

MUSIC There’s no underlying theme running through the 12 acts profiled here other then geographic: they all reside somewhere in the Bay Area. Well, that and we think they’ll break huge this year. Or at least, deserve a larger audience in 2012. It’s no mere matter of hype or buzz. It’s about their artistic output, innovation, and listenability, the grand scheme of the band’s lifespan (just how many EPs did they record?), and the current cultural zeitgeist as we see it. Perhaps what links them is what divides them — their musical diversity. As opposed to recent years, we are not in 2012 overloaded with a single genre. That blanket, behemoth of fuzzed out garage rock, which at times felt overdone, overhyped, and overworked, is finally expanding. That’s not to say we aren’t fans of garage, it’s just a note that there’s so much more out there in our freaky little section of the West Coast. This year feels electric; it began with a refreshing mix of acts on the rise. In the Bay Area blender there’s doomy metal, tropical synth pop, cloud rap, moombaheditorials

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ton, dirty rock, and all the gratuitous additional descriptors you can stomach. In asking the chosen acts how they personally described their sound, I got back cerebral explanations such as “post-Apocalyptic-art-wave,” “zenith snowflake pop” and “an avalanche of barbed wire and rabid sharks.” I can’t stop listening. Some of the bands and DJs have been haunting around the Bay for nearly a decade, others picked up their instruments as a collective just last year. Some have amassed thousands of social media fans, a modern indicator of popularity if ever there was one, while others currently hover around 100 likes. Most have an exciting new release coming in the next twelve months, and all will likely be touring to a city near you. It can be difficult to capture the essence of a living, breathing band, so we went straight to the source. I asked the tough questions — how would you describe your sound (as in, here’s a soapbox, let’s get it right this time) — and the headier ones, because everyone wants to know what musicians eat, right? Below, I’ve given you a brief wrap-up of who they are and why they should be on your radar in 2012. Following that you’ll see their answers to our quickie take off the Proust questionnaire. arts + culture

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DJ Theory Tropical sounds are once again moving crowds. Moombahton — the curious new dance music genre that started when DJs slowed hyperactive Dutch house music down to a reggaeton-like groove — is definitely having a moment, and steel drums are skittering high atop whomp-whomp beats. DJ Theory (www.facebook.com/deejaytheory) is one of the Bay’s main proponents of this tropical bass movement, but his unflagging energy and genre versatility placed him firmly on our 2012 breakthrough list. “As a teen, I wore out the repeat button on my Discman to Pink Floyd’s ‘Comfortably Numb,’ ” the 26-year-old Massachusetts native told us, as he sipped from a raw coconut, no lie. “But a list of music that means the most to me would include Bob Marley, Augustus Pablo, Wu Tang, and Operation Ivy.” Besides throwing down ubiquitously at Bay Area joints, Theory hosts a regular party called the INTL at Public Works, and is in the process of releasing a slew of remixes and tracks (www. soundcloud.com/deejaytheory), including some tasty collaborations with SF production hero JBoogie.

Description of sound: All genres aside, I’m simply going for something that hits me in the right spot, and can hopefully turn others on too. I like to think of it as music for the body and the dancefloor. It can be very soulful, but often heavy and throbbing with bass. I love all kinds of music. With so much inspiration out there it’s hard to classify “my sound”. What do you like most about the Bay Area music scene? There’s something there for everybody, and a deep appreciation for many different styles of music. Even in a small city like SF, there’s an overwhelming amount of music and nightlife at all times, from the underground to the high-end — and tons of options in between. There’s also a fiercely independent hustle when it comes to Bay Area artists and industry professionals, and I definitely dig that. Favorite local dish Cubano sandwich and sangria from Parada 22 in Upper Haight. Who would you most like to tour with? Buraka Som Sistema from Portugal. Their live show is out of this world.

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arts + culture: bands on the rise

Metal Mother Like some sort of neon, acid-drenched wood nymph, Metal Mother’s (metalmother.bandcamp.com) Tara Tati wanders through the leafy, NSFW video for the haunting art-pop “Shake” off last year’s Bonfire Diaries and into the mind’s eye. In 2012, there will be a first trip to SXSW, more videos (yay!), a few remixes, and, fingers crossed, another full length out toward the end of this year. And as the shimmering Tati says, she’ll “Continue dismantling the mundane and mediocre thought systems that are ruling the planet.” Tati and her band, which came together shortly after the release of Bonfire proved most theatrical of the Guardian photoshoot, with glittering headpieces, and flexible poses. In setting up the right headspace for a photo Tati at one point explained, “I imagine we’re on a wind-torn beach in Scotland.” Appropriate given the band’s atmospheric sound. Before embarking on tour, Metal Mother will play Disco Volante on March 3 (347 14 St., Oakl. www.discovolanteoakland.com) Description of sound: Post-Apocalyptic-art-wave. What do you like most about the Bay Area music scene: Oakland

(where I live) has the feeling of being a fairly insulated city, and I think because it feels like we’re off the mainstream radar a bit, in combination with the massive artist population, there’s more support here for being ‘experimental’ and trying new things, than there is for being traditional. There’s this intense camaraderie, like it’s all for one and one for all, yet at the same time, there’s a crazy bullshit filter that really keeps us all in our most authentically creative place. What piece of music means the most to you and why: The piece that’s recently gotten the most consistent play on my iPod is Sufjan Stevens’ latest album, Age of Adz. I’ve realized that most music that has lasting power for me usually has some symphonic, classical element to it, and he really nailed it with this album. Its masterfully produced; the arrangements are shockingly complex yet have this unyielding elegance that still gets me all emotional. To me, it’s a perfect blend of sweetness, humility, passion, and absurdity; there’s never a dull moment! Favorite local eatery and dish: Tacubaya in Berkeley, all the vegetarian dishes are amazing. My favorite is probably the ‘seasonal vegetable’ tamales. Who would you most like to tour with: It’s a tie between Sufjan Stevens and Bjork.

Jhameel

Terry Malts

Jhameel (www.jhameel.com) once said to me, “I only have one life to do this.” As cliché as it might seem, it feels like the Oakland-based classical pop virtuoso is living his dream. Near the end of last year he began releasing a new song a week on his site in a series dubbed Waves (available now on Spotify). In the next couple of months, he’ll release another wave, this time of collaborations, and there is a super-secret major release coming in the spring. He’s creating his own innovative world of modern, synthy R&B pop, often with the assist of the Web. The multi-instrumentalist routinely turns to his Twitter and Facebook fans to crowdsource ideas (like his Halloween costume last year — they suggested “Rufio” from Hook) and gives back to all those who “like” as well. Whenever he reaches a new high goal of followers, he records a drunken video for fans — taking shots on camera then attempting to play. It’s frankly adorable and just another way to connect. Another reason 2012 is the year for Jhameel? His Waves song “Collision” was just featured in a Droid Razr commercial. His next local show is at Bottom of the Hill (9 p.m., $10. 1233 17th St., SF. www.bottomofthehill.com).

Terry Malts (www.facebook.com/terrymalts) had me at “Your love makes me nauseous,” a line from its upcoming release. The Guardian covered the band before, but this year something has shifted. The previously secretive act (the trio still posed for us with bags over their heads, though I can assure you, all three have faces) is stepping one pinkie toe out into the public sphere; at least, it’s finally releasing its debut LP, Killing Time, Feb. 21 on Slumberland Records. (There also will be a split seven-inch in a few months on Loglady Records with LA’s Dead Angle.) Described perfectly to-the-bone as chainsaw pop, Killing Time is gloriously melodic slop packed with noisy punk riffs, classic SST evoking lyrics, and the all-important yet now often forgotten samples peppered throughout; there’s one from Suburbia (1984) — “don’t I even get a goodbye this time?” — and another that’s just a faded/manipulated Beach Boys strain. Fans of Crass and Flipper,

Nathan Sweatt, Corey Cunningham, and Phil Benson have all spent time in other local acts. On Dec. 16, 2009, at a Slobber show at Pissed Off Pete’s, the trio came up with the name Terry Malts and thus a new project. It should be noted that Terry Malts were the only band that offered me a beer at the shoot — Budweiser, natch.

Description of sound: Black Tambourine Flag. What do you like most about the Bay Area music scene: Tell you what we don’t like instead. The Bay Area music scene seems to get defined by a handful of bands that have been deemed “The Sound Of San Francisco” and it’s very limited in scope. Not everything is garage rock here. What piece of music means the most to you and why: The Buzzcocks’ “Singles Going Steady” is a good meeting point for all three us. Favorite local eatery and dish: The #6 at Turtle Tower, best for hangovers. Who would you most like to tour with: A reunited Henry’s Dress (c’mon HARTMAN).

Description of sound: A minimalist combination of Prince, Michael Jackson, and whatever I feel on that day. What do you like most about the Bay Area music scene: Bottom of the Hill. What piece of music means the most to you and why: The piece of music that means the most to me changes almost on a daily basis, it depends on what is meaningful to me at that point in time. “Over My Dead Body” by Drake emanates an emotion that’s really hitting home for me right now. Favorite local eatery and dish: Cheeseboard Pizza in Berkeley. Perfect vegetarian pizzas. Who would you most like tour with: Janelle Monae. I have a crush on her.

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arts + culture: bands on the rise

Main Attrakionz

Silver Swans When is the cover better than the original? When the original is by newbie/vitriolic web backlash victim Lana Del Rey, and the cover is a sensual send-up by seasoned San Francisco duo Silver Swans (silverswans.bandcamp.com). The local act split open the pop song — “Video Games” — slowed it down, and filled it with chilly synth floating below breathy vocals. But we’re not here to debate Del Rey’s musical ability; we’re here to keep a glossy superhero eye on Silver Swans. Formed by Las Vegas-born vocalist Ann Yu and Jamaica-bred effects wizard/ DJ Jon Waters in 2007, the band has delivered a lovely catalogue — most recently 2010’s Secrets EP and the upcoming LP Forever (Feb.7) — of heart-wrenching synth pop and shoulder-dancing, Manchester-evoking icy club rock. It’s high time they get their international due.

Description of sound: Someone else said it best: “tropical synths and stuttering 808s” wrapped in ambivalent romance and bittersweet longing. Like most about the Bay Area music scene: The Bay Area music scene is both sophisticated yet charming. So many amazing bands come out of SF, yet you can still create your own place here and find people who appreciate what you do. In that sense, it’s still fresh here. The scene isn’t jaded and over-saturated, there’s charm and new inspiration everywhere. What piece of music means the most to you and why: This is a hard one, so many songs have come into my life and forever changed me, the first mixtape I got had a song on it called “So Said Kay” by The Field Mice and I think I could have listened to that song on repeat for days reading into every lyric and just taking in the voice. It made me sad too, and just made me feel exactly what I wanted to feel at the time. It was one of the first songs to inspire me to write and also tap into that unknown territory where you don’t care about how unique or difficult a part is write, you just let yourself get carried away in the moment of the song itself and let it almost write itself. Favorite local eatery and dish: El Metate Mexican Veggie burrito, the vegetables are roasted and always fresh. Everything there is delicious and on the cheap, right down to their alfajore cookies, I fully endorse the entire menu. Who would you most like to tour with: Karin Dreijer Andersson, Jon and I are both admirers of everything she does, she is a true artist and I get lost in her songs always. 24 SAN FRANCISCO BAY GUARDIAN

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Why is Oakland’s Main Attrakionz (www.mainattrakionz.com) on the rise? It’s because everybody’s talking about it, and with good reason. Last year’s massive 808s & Dark Grapes II mixtape wowed the underground hip-hop world, and with every passing month the act — rapper-producer Squadda B and rapper Mondre M.A.N. — catches the attention of yet another publication, and yet another rising producer — there have been collaborations with A$AP Rocky, Clams Casino, Kool A.D. of Das Racist and Danny Brown, among others. The cloud-rap duo got a write-up on the Guardian’s Noise blog in December in which writer Frances Capell effused, “Main Attrakionz is carving out its own place in hip-hop by pioneering a new sub-genre” and later, “a refreshing realness runs throughout Main Attrakionz’s lyrics.” In 2012 there will be solo mixtapes from both rappers, along with the collaborative effort Bossalini’s & Fooliyones. With all this skill and regard it’s easy to forget how

young the crew really is, it got its start in high school — way back in 2007.

Description of sound: Really can’t describe it. All of our music sounds different. What do you like most about the Bay Area music scene: The fact that only we know what they talking about. What piece of music means the most to you and why: The beat to “Da Art of Storytellin” by Outkast featuring Slick Rick, produced by Mr. DJ. It just reminds me of my childhood staying up to watch Rap City countdown and the song was usually number one. Whenever I hear the beat, I think of the puppets in the video. Favorite local eatery and dish: Buffet Fortuna in Downtown Oakland; chow fun noodles Who would you most like to tour with: Lil Wayne; as far as performances go, he’s gotta be the top rapper who been performing 10+ years. I wanna learn how he stays ready and energetic for all these years.

Future Twin The two females in Future Twin (www.futuretwin.com) — Jean Yaste and Stephanie Rose — met one another in a moped gang called the Lockits, another member of the band was in a moped crew called Treats of the Loin; I’m not sure if you can concoct a greater backstory than that but I’d be hard-pressed to find one. And the San Francisco fivesome, which formed in December 2010 originally as a trio, makes the equivalent of moped rock on its debut EP cassette, Situation (which is also available for download, for those without a tape player). Released Jan. 31, Situation revs up with roaring guitar, and incorporates field recordings of gunshots and small engines such as lawnmowers and of course, mopeds, but veers from blunt roughness, instead leaning towards powerful girl group-style vocals and multi-part harmonies. While the first release is a small one, the Mission-based band has chops, brains, and a clear bond. Though perhaps not tight news

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enough to get all its members to a photoshoot — while drummer Antonio “Tones” Roman-Alcala with strep throat made it, another Future Twin simply texted, “yo, just didn’t feel like going.” No matter, Future Twin celebrates the release of Situation at the Hemlock this Thurs/2 (9 p.m., $6. 1131 Polk, SF. www.hemlocktavern.com). Description of sound: Psychedelic farmageddon grandma rock. What do you like most about the Bay Area music scene: The things we liked most was the Clarion Alley block party until the damn breeders built their precious condos next door and started their war on fun. These people need to be taken out and the “scene” will heal itself. What piece of music means the most to you and why: Rap News Occupy 2012. Why? No reason. Favorite local eatery and dish: Secret Spot has delicious bagels, fresh squeezed juice, and homegrown greens. Who would you most like to tour with: Bill Murray (as a zombie) and Kool Keith (as himself). stage listings

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arts + culture: bands on the rise

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arts + culture: bands on the rise

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arts + culture: dance

PauFve Dance PeRFoRmeRs inteRPRet maRy toDD lincoln’s tRouBleD liFe. | photo by pak han

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By Rita Felciano arts@sfbg.com Dance Randee Paufve’s voice is quiet. But once you have heard her speak through her dances, you are unlikely to forget the strength of what she has to say. Her craft is impressive, her topics are manylayered, and the resulting choreography is pared down to its essence. Sometimes, I have even wished for a little more looseness just so I could catch my breath. So I Married Abraham Lincoln takes on the life of Mary Todd Lincoln, wife and widow of a President, a life-long Washington outsider, the target of vicious gossip, a spiritualist, perhaps mentally unstable, and a mother of four sons — only one of whom outlived her. In this hour-long work, set on seven primary and nine additional dancers, Paufve examines the sense of restriction — personal, social, political — with which this Kentuckyborn outcast, a free spirit at one time, had to cope. Though Married starts with the figure of Todd Lincoln, it opens up to include all the First Ladies whose identities disappeared into their positions. In the work’s main section, in a take-off on beauty pageants, they parade down a runway cooing their first names. Taking a broader perspective, Paufve also addresses the toll taken when anyone — one of the wives is danced editorials

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by a man — is forced into a role and is not allowed to be him or herself. Married is structured in the now-fashionable installation format, in which the audience travels through a series of episodes. At its premiere at Dance Mission Theater, it opened with an informal lobby overture of short individualized solos that were probably meant to highlight each dancer’s uniqueness (sight lines were difficult). Then Paufve moved the show down a narrow hallway, segueing through several studios and ending in the theater proper. The idea, again, was clearly to focus on one woman and then widen the lens. Theoretically, the format looked good, but the logistics of having to squeeze all the audience members (the show was more than sold out) through narrow doorways, and then cram them into places to sit, stand, or lean, impeded the piece’s flow. Todd Lincoln first appears on a throne-like chair at the end of the hallway, contemplating her life and people’s expectations and misperceptions of her. Her words echo back to her as from another world. A couple of scenes later, we find ourselves around a low table outlined with burning tea lights. Two women in white shifts (costumes by Keriann Egeland) anxiously crowd into a corner. Perhaps they are ghosts, perhaps they are mourners. The real action, however, happens above the table where — in a stroke picks

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of genius — designer Jack Carpenter suspended linked teacups over the candles. The rising heat makes the cups tinkle, and they gently dance. Though it has its moments of levity and softness, Married aims for a stark, uncompromising perspective, with choreography that is linear, pattern-oriented, and rigorous. It’s powerful in the way it suggests a sense of objectification. You sense an invisibly controlling hand as women are moved around like figures on a chessboard. In the last scene, they parade, they strut, they primp, and they pose. When the bugle calls, off they march. You watch Todd Lincoln awkwardly trying to weave gaudy flowers into her hair, and you hear a voice cry out against “that ugly home,� presumably the White House. Several times in the middle of scurrying activity, like a photo you can’t forget, you see identical images of a body being mourned. Lincoln? His sons? Soldiers, then and now? At the same time, Heather Heise’s lovely songs recall wistful folk traditions and suggest the possibility of a communal purpose. Beginning with a single voice, the music opens into rich harmonies. One of tunes starts with “Oh Mary, don’t you weep, don’t you mourn.� And as the piece comes to a quiet ending, the women sing “Oh where are our dear mothers?/They are gone to heaven a’shouting/Day is a’breaking/In my soul.� 2

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FILM It is close to impossible not to love Carol Channing; those who would protest otherwise are simply heartless. The only adequate response to her is unconditional surrender, as if standing before an oncoming cyclone filled with puppies. With her saucer eyes topped with false lashes that could give Bette Davis’ a run for her money and a mouth that seems as if it could swallow the world, Channing is a living incarnation of a Muppet (to watch her duet with Miss Piggy just seems natural, somehow). And yet, despite her cartoonish physicality and exaggerated appearance, there is nothing false or put-on about Channing. When I hear that voice — dripping with whiskey, smoke, and honey, begging to be imitated — the effect is instant happiness. Everything just feels right. As

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Roland Barthes writes in his essay “The Grain of the Voice,� I then must face the task of articulating “the impossible account of an individual thrill I constantly experience in listening to singing.� Dori Bernstein’s sweet if worshipful documentary Carol Channing: Larger Than Life necessarily fails at that task, even as it proves the now 91-year-old Broadway legend more than lives up to the second half of the film’s title. Now slightly stooped, her hair in a choppy gray bob, which she occasionally pulls into a Peggy Moffitt-esque topknot, and her lips a smear of Malibu pink, Channing is still ever the professional, hilariously impersonating a Russian theater troupe one moment and chatting with young dancers in Times Square the next. The life Channing recounts is an abbreviated and selective version of the one detailed in her 2002 memoir Just Lucky I Guess: her childhood in San Francisco spent being the class clown and music listings

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worshiping Ethel Waters; her first big Broadway break playing Lorelei Lee in Gentlemen Prefer Blondes; and her career-cementing role as Dolly Levi in Hello, Dolly! And many of the memoir’s same supporting characters, such as frequent TV variety show co-star Loni Anderson and Dolly composer Jerry Herman, also make appearances here. What Bernstein’s documentary offers is the rare chance to witness the palpable impact Channing has made on others. In personal interactions, she gives her attention equally and wholly to anyone who seeks it (including the camera). Those who have worked with her — particularly the many gay chorus members interviewed here — speak of her as a mother rather than a diva. The film’s most touching footage is of Channing with her late husband Harry Kullijian, who passed away last year. The two were childhood sweethearts who some 70 years later tied the knot (in Channing’s fourth go at marriage), and seeing them joke together and read aloud poetry passages they shared as love-struck teens is the very definition of adorable. Curiously, Kullijian’s passing is not mentioned in the film, even as a postscript. You get that the sense more generally that Bernstein tried to stay clear of reopening any old wounds with her subject. The awful tempestuousness of Channing’s second marriage to her publicist and manager Charles Lowe is referenced by others but not Channing, who speaks only in passing of the toll life on the road took on her relationship with her son from her first marriage. Additionally, despite her fame, Channing has always had to share the larger cultural spotlight with Marilyn Monroe and Barbra Streisand, powerhouses in their own right who became associated with the roles she originally made famous on stage (Channing would have her Hollywood comeuppance in 1967 when she was nominated for a Best Supporting Actress Oscar for 1967’s Thoroughly Modern Millie). Larger Than Life attempts to provide a corrective to this, but its motivations for doing so are as transparent as they are understandable. This film is a mash note to Channing as much as it is a gift to her fans, who, rest assured, didn’t need any more reason to love her. 2 CaroL CHannIng: Larger tHan LIFe opens Fri/3 in Bay Area theaters.

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tHree Faces oF gortner, FroM LeFt: preacHing to tHe FaitHFuL; counting tHe FaitHFuL’s Money; anD as a pint-sizeD evangeList.

Have you HearD tHe gooD news?

Marjoe BOE PUIFS QSBJTF XPSUIZ PEEJUJFT BU ²5IF 4FDPOE $PNJOH PG UIF 7PSUFY 3PPNÂł By Dennis Harvey arts@sfbg.com FiLM Today, seeing high-profile evangelical Christians reveal themselves to be charlatans or hypocrites is old news. Even the spectacle of homophobic mega church prig Ted Haggard, outed as a fan of male hustlers and crystal meth, resurfacing on Celebrity Wife Swap induced a few shudders but no real surprise. The plunge from public sanctimoniousness to scandal and newly angled self-promotion is by now too familiar to shock. A few decades ago, however, the face of American evangelism was inclusive, straight-arrow centrist Billy Graham. Elmer Gantry-like tent revival shows seemed a thing of the past, or at least one whose few remaining practitioners traveled well off the mainstream radar. So there was considerable exoticism to Marjoe, a 1972 documentary that plays the Vortex Room next Thursday as part of a religionthemed February schedule. Its subject was a 28-year-old Pentecostal preacher — titular name a combination of “Maryâ€? and “Josephâ€? — who’d been “The World’s Youngest Evangelist,â€? pushed onto the stage of a lucrative salvation circuit from the age of four. By his own estimation, his parents-managers-slave drivers made $3 million or so off his precocious act as God’s littlest huckster, none of which he ever saw. Some years after running away as a teen, he’d gotten his secular head together, but reluctantly re-entered the revival biz — working it half the year in order to fund the other six months as a California flower child. As ample archival footage shows in Howard Smith and Sarah editorials

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Kernochan’s portrait, Marjoe Gortner was indeed the real thing, at least in terms of having a natural gift for mimicry, rhythmic “testifying,� crowd control, and snakecharming dollars from wallets. But he’d never been a believer, and in adulthood was uncomfortable providing religious experiences to people who innocently assumed he shared in them. His restless showman’s energy needed to be channeled in another direction — rock or movie stardom, perhaps — so Marjoe the Movie was intended to chronicle, expose, and bury one career while hopefully launching a new one. It worked, to an extent. Marjoe got a lot of attention, winning the Best Documentary Feature Oscar. The New York Times called its subject “Evangelism’s answer to Mick Jagger� (whom Gortner admitted stealing moves from). With the youth-oriented Jesus Movement then at its peak, some church leaders were not happy at an instance of Christian hoaxdom getting such wide exposure. Though what’s striking about the film now is not just how charismatic (in the non-divine sense) its protagonist remains, but how sincere he is: Marjoe doesn’t judge, condescend to, or snark at his nightly congregations, whose members he can make faint dead in holy rapture with a laying-on of hands. He knows they’re having an authentic experience, but also that “I don’t have any ‘power.’ Hundreds of people were healed at my crusades, but I know damn well it was nothing I was doing. Sometimes I feel like I should do repentance to the audience.� So Marjoe was the record of his quitting. It was just the start, however, of a wider public’s acquaintance picks

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with Marjoe Gortner. He made one album on a major label called Bad, But Not Evil. (Are the Black Lips aware of this?) Hunky in a slightly goofy way, he soon started guesting — usually as some kind of seductive wacko — in TV series like Kojak, The A-Team, and Fantasy Island. He became a familiar face on the big screen, too, peaking early in commercial terms with a memorable role as a psychotic supermarket employee and National Guardsman who spends all of 1974 disaster epic Earthquake trying to force himself on a ‘fro-haired Victoria Principal. He definitely had ability and magnetism, but also the ill luck to appear in some of next decade-plus’ worst movies: joining William Shatner and Robert Reed as suburban nice guys on vacation with unexpectedly warped neighbor Andy Griffith (!) in Pray for the Wildcats (1974); imperiled by giant rats in The Food of the Gods (1976); in Viva Knievel! (1977), ‘nuff said; Star Wars rip-off Starcrash (1978); horror idiocy Mausoleum (1983); womenin-prison jewel Hellhole (1985); and Rambo-meets-T&A travesty Jungle Warriors (1984) — replacing Dennis Hopper in that one after the latter was found wandering naked and senseless on location. Arguably only Linda Blair made more enjoyably awful movies in a particularly rich period for them. Gortner had produced a 1979 version of the stage play When You Comin’ Back, Red Ryder? as a serious vehicle for himself — in which he was duly impressive, albeit as yet another psychotic — but that flopped. Around the same time he also started filming an autobiographical drama, only to reportedly abscond with the film cans when that never-finished project’s money

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ran out. By 1990 (and American Ninja 3: Blood Hunt), a respectable acting career was clearly not going to happen, and the one he had held little remaining appeal. Gortner spent the next couple decades producing charity sports events. He’s since retired, and shows no sign of any further desire for the public eye. He presumably prefers not being remembered at all to being remembered as a novelty. Marjoe’s co-feature is an obscurity I’d love to see an exposĂŠ documentary about: San Franciscoset The Second Coming of Suzanne (1974), a muddled parable about a megalomaniacal hippie film director (Jared Martin) obsessed with the titular chick (future Clint Eastwood consort Sondra Locke) he casts and, naturally, crucifies as star of his unfathomable film-within-the-film. Suzanne itself is one of the most flabbergastingly pretentious movies ever made, the first and last screen opus of writer-director Michael Barry, son to second-tier Hollywood and Broadway leading man Gene Barry. Featuring a pre-fame Richard Dreyfuss and a pre-Decline of Western Civilization Penelope Spheeris in support roles, it’s such a timepiece — for better and far worse than you can begin to imagine. It should be required viewing for people who worship 70s cinema, as illustration of how easily all that era’s best intentions could go to hell in a hand basket. To wit, “Second Comingâ€? kicks off this week with an inimitable pair: Soul Hustler, a.k.a. The Day the Lord Got Busted (1973), and 1972’s J.C., in which Jesus joins an LSD-crazed biker gang. 2 “the second coming of the Vortex roomâ€? Through Feb. 23 Thurs., 9 p.m., $7 donation Vortex Room 1082 Howard, SF

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Banner Pilot, Shotdown, Hear the Sirens, Shell Corporation 5IFF 1BSLTJEF QN Damir +PIOOZ 'PMFZÂľT QN GSFF Drift, Sean Smith, Satya Sena &MCP 3PPN QN Rick Estrin & the Nightcats #JTDVJUT BOE #MVFT BOE QN Kapowski, Mwahaha, Bells 3JDLTIBX 4UPQ QN Sweet Chariot .BLF 0VU 3PPN QN 8JUI 4VQFS /BUVSBM ,JSB -ZOO $BJO "OESFX $FSWBOUFT XJUI 1BVMB 'SB[FS BOE "NZ 'PXMFS Thrillouette, Warren Teagarden and the Good Grief, Clamhawk Manor #SJDL BOE .PSUBS .VTJD )BMM QN Todd vs. Rome Balestrieri +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT 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 Peter Erskine New Trio :PTIJÂľT QN Ricardo Scales 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN

"OUJ -JGF /FX *OEVTUSJBM %BODF $BGF %V /PSE QN #PPUZ $BMM 2 #BS $BTUSP 4' XXX CPPUZDBM MXFEOFTEBZT DPN QN +VBOJUB .03& BOE +PTIVB + IPTU UIJT EBODF QBSUZ $PP :BI 4PN UI 4U 4' QN GSFF %+T %BOFFLBI BOE (SFFO # TQJO SFHHBF BOE EBODFIBMM XJUI XFFLMZ HVFTUT .BSZ (P 3PVOE -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN %SBH XJUI 4VQQPTJUPSJ 4QFMMJOH .FSDFEF[ .VOSP BOE (JOHFS 4OBQ .FHBUBMMJDB 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX NFHBUBMMJDB DPN QN GSFF )FBWZ NFUBM IBOHPVU 7FTQB #FBU #MJTT #BS UI 4U 4' XXX CMJTT CBSTG DPN QN GSFF .4, GN TQJOT SBSFHSPPWFT FMFDUSPTXJOH BOE CPPHJF

thuRsday 2

Fri-Sun, Feb 10-12 Valentine’s Weekend with

feat. peter washington

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

dance cluBs

reggie watts + robert glasper

Wed, Feb 15

sea lions play cafe du noRd fRi/3. | Photo by Vanessa Darby

Rock /Blues/hip-hop

marianne aya omac w/special appearance by joan baez

feat.

folk / woRld/countRy

wednesday 1

+ siddhartha

Night geNeS

tiDeLANDS YeSWAY (eMiLY Ritz OF hONeYcOMB, DReAMS + kAceY JOhANSiNg)

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.

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

OuteR SuNSet

WeDNeSDAY FeBRuARY 8th 9:30PM $10 (iNDie)

jazz/new music

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

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

DAViD chOi

for more music content visit sfBg.com/noise

Rock /Blues/hip-hop

Emilie Autumn 4MJNÂľT QN Rome Balestrieri vs. Todd +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT QN Dirty Filthy Mugs, Staffer and Fall, Hounds & Harlots 5IFF 1BSLTJEF QN Future Twin, Twin Steps, Ex-Rays, Death Cheetah )FNMPDL QN Mama D and the Dirty Suns #SJDL BOE .PSUBS .VTJD )BMM QN Misisipi Mike and the Midnight Gamblers, Heeldraggers "NOFTJB QN moe. *OEFQFOEFOU QN Secret Chiefs 3, Dengue Fever (SFBU "NFSJDBO .VTJD )BMM QN Martin Sexton, Adam Gontier 'JMMNPSF QN Shabazz Palaces :PTIJÂľT QN Stan Erhart Band +PIOOZ 'PMFZÂľT QN GSFF “Stevie Ray Vaughan Tributeâ€? #JTDVJUT BOE #MVFT BOE QN

food + Drink

picks

arts + culture

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

dance cluBs

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

fRiday 3

jazz/new music

Rock /Blues/hip-hop

Cold Cave, 120 Minutes resident DJs Whitch, Planet Death, Nako &MCP 3PPN QN Dengue Fever, Secret Chiefs 3 4MJNÂľT QN Excuses For Skipping, Schande, Spare Parts for Broken Hearts )FNMPDL QN Foxtails Brigade, Little Teeth, Yesway, Upside Drown #PUUPN PG UIF )JMM QN Harry & the Hit Men, Battlehooch, Sun Hop Fat (SFBU "NFSJDBO .VTJD )BMM QN Highway Patrol, TS and the Past Haunts, Heywood, Foolproof Four 5IFF 1BSLTJEF QN Jeremy Jay, Sea Lions, Tremor Low, DJ Pickpocket $BGF %V /PSE QN Jayhawks, Abigail Washburn 'JMMNPSF QN moe. *OEFQFOEFOU QN Phenomenauts, New Up, Taxes 3JDLTIBX 4UPQ QN “Stevie Ray Vaughan Tributeâ€? #JTDVJUT BOE #MVFT BOE QN Tall Shadows +PIOOZ 'PMFZÂľT QN GSFF Todd, JC Rockit, Rome Balestrieri +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT QN Tribal Seeds, Expanders, Los Rakas, Thrive 3FHFODZ #BMMSPPN QN

jazz/new music

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 1N Marianne Aya Omac, Joan Baez :PTIJÂľT QN QN Mary Stallings & the Eric Reed Trio 3SSB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

dance cluBs

Braza! 4PN UI 4U 4' QN 8JUI 'PSSP #SB[VDB BOE TQFDJBM HVFTU %+ #MV[ QMVT SFTJEFOU %+T &MBO BOE ;BNCB Duniya Dancehall #JTTBQ UI 4U 4' QN 8JUI MJWF QFSGPSNBODF CZ %VOJZB %SVN BOE %BODF $P %+ +VBO %BUB TQJOT CIBOHSB CPMMZXPPE EBODFIBMM "GSJDBO BOE NPSF DJ Hell 1VCMJD 8PSLT QN 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 Stranglove: Seven-Year Anniversary $BU $MVC QN (PUI BOE JOEVTUSJBM XJUI %+T 5PNBT %JBCMP #SZBO )BXL 4BHF BOE .[ 4BNBOUIB

Rock /Blues/hip-hop

+++ (Crosses), Dawn Golden & Rosy Cross, Secret Empire. 4MJNÂľT QN

stage listings

Audium #VTI 4' XXX BVEJVN PSH QN 5IFBUFS PG TPVOE TDVMQUVSFE TQBDF Deep Blue Organ Trio feat. Bobby Broom :PTIJÂľT QN Mary Stallings & the Eric Reed Trio 3SSB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

folk / woRld/countRy

Go Van Gogh #JTTBQ #BPCBC 4U 4' XXX CJTTBQCBPCBC DPN QN Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN

dance cluBs

Cockfight 6OEFSHSPVOE 4' )BJHIU 4' QN 3PXEZ EBODF OJHIU GPS HBZ CPZT Foundation 4PN UI 4U 4' QN %+T 4IPSULVU "QPMMP .S & 'SBO #PPHJF TQJO )JQ )PQ %BODFIBMM 'VOL 4BMTB Haceteria %FDP -PVOHF -BSLJO 4' XXX EFDPTG DPN QN GSFF CFGPSF QN BGUFS 8JUI /JIBS 5SJTUFT 5SPQJRVFT 4NBD BOE +BTPO 1 Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Saturday Night Soul Party &MCP 3PPN QN 8JUI %+T -VDLZ 1BVM 1BVM BOE 1IFOHSFO 0TXBME TQJOOJOH ´ T TPVM T Zev of Wolf + Lamb 1VCMJD 8PSLT -PGU QN

sunday 5 Rock /Blues/hip-hop

August Burns Red, Silverstein, Texas in July 3FHFODZ #BMMSPPN QN Groundation, DJ Jaques *OEFQFOEFOU QN Kally Price Old Blues and Jazz Band "NOFTJB QN Le Mutant, House )FNMPDL QN

jazz/new music

Mary Stallings & the Eric Reed Trio 3SSB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN The Fabulous Bud E. Luv 3SSB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN Kenny Washington, Larry Vuckovich, Nat Johnson #MJTT #BS 4U 4' XXX CMJTTCBSTG DPN

folk / woRld/countRy

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

satuRday 4 music listings

Ash Reiter, Chrystian Rawk, Anna Ash, Heather Show "NOFTJB QN Back Pages +PIOOZ 'PMFZÂľT QN GSFF “Best of Ryan Adams and Whiskeytown: Tribute Showâ€? 1MPVHI BOE 4UBST QN 8JUI 5JOZ 5FMFWJTJPO .JTJTJQJ .JLF BOE NPSF Dark Hollow 3JQUJEF 5BSBWBM 4' XXX SJQ UJEFTG DPN BOE QN GSFF Dead Cat Hat, Hell On Wheels 5IFF 1BSLTJEF QN GSFF Disastroid, Pins of Light, War Child &M 3JP QN Eleanor Friedberger *OEFQFOEFOU QN I Can Dress Myself, Super Adventure Club, 8th Graders #PUUPN PG UIF )JMM QN Jayhawks, Abigail Washburn 'JMMNPSF QN Maylene and the Sons of Disaster, Lionize, Abatis 5IFF 1BSLTJEF QN Barry “The Fishâ€? Melton #JTDVJUT BOE #MVFT BOE QN Mist Giant, Hurry Up Shotgun )FNMPDL QN “SF Yellow Bike Project: Upcycle Ballâ€? 3JDLTIBX 4UPQ QN 'VOESBJTFS QBSUZ XJUI )PUUVC .BVT )BVT %+ %FFQ BOE NPSF Slippery Slope, Jenni & the Jerks .BTPO 4PDJBM )PVTF 4' QN Teitur, Aunt Martha 4XFEJTI "NFSJDBO .VTJD )BMM QN Rags Tuttle, Rome Balestrieri, Todd +PIOOZ 'PMFZÂľT %VFMJOH 1JBOPT QN Twin Sister, Ava Luna, Naytronix (SFBU "NFSJDBO .VTJD )BMM QN Unauthorized Rolling Stones, Rudy Colombini and the Ambassadors of Love $BGF %V /PSE QN

dance cluBs

Batcave $MVC UI 4U 4' QN %FBUI

on the cheap

film listings

classifieds

Music listings SPDL HPUI BOE QPTU QVOL XJUI 4UFFQMFSPU 9$ISJT5 /FDSPNPT BOE D@EFBUI Dub Mission &MCP 3PPN QN 5IF CFTU JO EVC EVCTUFQ SPPUT BOE EBODFIBMM XJUI %+ 4FQ -VEJDISPT BOE 3PCFSU 3BOLJOÂľ Fresh 3VCZ 4LZF .BTPO 4' XXX SVCZTLZF DPN 8JUI %+ ,JNCFSMZ 4 BOE $ISJTUPQIFS # QN Jock -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN 3BJTF NPOFZ GPS -(#5 TQPSUT UFBNT XIJMF FOKPZJOH %+T BOE ESJOL TQFDJBMT La Pachanga #MVF .BDBX .JTTJPO 4' XXX UIFCMVFNBDBXTG DPN QN 4BMTB EBODF QBSUZ XJUI MJWF "GSP $VCBO TBMTB CBOET

Buffalo Tooth, Los Headaches, Shrouds, Poor Sons &MCP 3PPN QN Entrance, Tim Cohen, Hot Lunch, Matt Baldwin, Ready Steady $BGF %V /PSE QN Laura Gibson, Breathe Owl Breathe, Morgan Manifacier #PUUPN PG UIF )JMM QN In Flames, Trivium, Veil of Maya 3FHFODZ #BMMSPPN QN Thee Silver Mt. Zion Memorial Orchestra, Matana Roberts (SFBU "NFSJDBO .VTJD )BMM QN

jazz/new Music

Monday 6

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

rock /blues/hip-hop

folk / world/country

Belle Monroe and Her Brewglass Boys "NOFTJB QN GSFF

Maria Volonte 3SSB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

dance clubs

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

tuesday 7 rock /blues/hip-hop

David Choi 4XFEJTI "NFSJDBO .VTJD )BMM QN Damir +PIOOZ 'PMFZÂľT QN GSFF Fat Tuesday Band #JTDVJUT BOE #MVFT BOE QN

Letters, Poppet, Popdrone, Shannon Harney )FNMPDL QN Mutemath 3FHFODZ #BMMSPPN QN Titan-Ups, Andre Theirry & Zydeco Magic, Lee Vilensky Trio &MCP 3PPN QN Wet Illustrated, Magic Leaves, Noah Gunderson, Painted Palms (DJ set) #SJDL BOE .PSUBS .VTJD )BMM QN GSFF Wild Moth, Heist ,OPDLPVU QN

folk / world/country Leni Stern and the Masters of African Percussion :PTIJÂľT 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

! "

" ! #$

% & #

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GVMM!CBS!8!EBZT!ÂŚ!Ibqqz!Ipvs!N.G-!3.9qn PQFO!FWFSZ!EBZ!BU!3QN LJUDIFO!PQFO!EBJMZ wED ELbo room prESENTS 2/1 9pm $6

ThE DrIfT,

SEAN SmITh (TrIo) pLUS SATYA SENA (of SECrET ChIEfS 3)

THU

pLEASUrEmAKEr

Wed 2/1 7:30pm $8

FRI 120 mINUTES prESENTS

W/ hoST rAul

CoLD CAVE (LIVE)

2/3 10pm $15 pLUS rESIDENT DjS

SWeeT ChArioT • Super nATurAl • KirA lynn CAin AndreW CerVAnTeS W/ pAulA FrAzer • Amy FoWler

whITCh, pLANET DEATh, NAKo

Thu 2/2 6pm no CoVer!

SiCK SoundS!

LASErS bY

fUTUrE wEApoNS

dJ medium rAre & miKey TAShJiAn

rAW Soul, FreAKbeAT, gArAge, bubblegum

SAT

9pm Free!

2/4 10pm $10

dJ FoodCourT And hiS pAlS roCK/pop/Soul/CrAp

Fri 2/3 7:30-9:30pm $8

SUN 2/5 9pm $6

eVery FridAy 10pm $5

looSe JoinTS!

=6GJB H86GJB DeZc^c\ gZXZei^dc ;ZW# ' *eb Dc Y^heaVn i]gdj\] ;ZW# '*

roger mAS y el Kool Kyle

;ZVijg^c\/ 9Vk^Y 7Vaa! ?ZhhZ 7VabZg @Vi]Zg^cZ 7gVccdX`

SAT 2/4 7:30-9:30pm $8

MON

Joel murACh

2/6 9pm $6

The VermS

eVery SATurdAy nighT! 10pm $5

el SuperriTmo!

TUE

CumbiA, dAnCehAll, SAlSA, hip-hop

2/7 9pm $8

Sun 2/5 7:30pm $8

TropiCAl dAnCer

eleCTriC Sheep • TighT liTTle Ship mon 2/6 8pm Free!

2/8 9pm $5

JordAn glenn group

roVA SAXophone QuArTeT KnudSen-ArKin-ColemAn Trio

news

food + Drink

DUb mISSIoN

prESENTS ThE bEST IN DUb, DUbSTEp, rooTS & DANCEhALL wITh

Dj SEp, LUDIChrIS AND SpECIAL gUEST robErT rANKIN’ $2 DrINK SpECIALS

poor SoNS,

mEAT mArKET, LoS hEADAChES (mExICo CITY), bUffALo TooTh ELbo room prESENTS

TITAN-UpS,

ANDrE ThIErrY & ZYDECo mAgIC, ThE LEE VILENSKY TrIo

END.USEr

(AD NoISEAm) AND (bELgIUm),

wArbrEAKEr, boNK, LADY mS. b

UpComINg ThU 2/9 AfroLICIoUS: ANjUmA & oNoLA frI 2/10 ThE hop: SLIm jENKINS SAT 2/11 TormENTA TropICAL SUN 2/12 DUb mISSIoN : Dj SEp, mISTA ChATmAN

W/ dJ nASTy nATe

editorials

LUCKY, pAUL pAUL, phENgrEN oSwALD wITh DjS

wED fLATwooDS CrEATIVE prESENTS

mAKe ouT FirST mondAyS

Tue 2/7 6pm Free!

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

SATUrDAY NIghT SoUL pArTY

(mASSIVE SoUND INTErNATIoNAL/KKUp)

poWerpeArlS &&& B^ccV <VaaZgn

SpINNINg 60S SoUL 45S

($5 DISCoUNT IN SEmI-formAL ATTIrE)

KiT & The brAnded men WeST CoAST rAmblerS

AfroLICIoUS

2/2 9:30pm wITh Dj/hoST: $5

penny ArCAde

W/ dJS Tom Thump, dAmon bell & CenTipede rAre grooVe/FunK/Soul/hip-hop & more!

Afro-TropI-ELECTrIC-SAmbA-fUNK

“norThern moVerS & SWeeT Soul melodieS� 9:30pm no CoVer!

loST & Found

deep & SWeeT 60S Soul 45S

dJS luCKy & primo & FriendS

ADVANCE TICKETS

www.browNpApErTICKETS.Com

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

arts + culture

music listings

ELbo room IS LoCATED AT 647 VALENCIA NEAr 17Th

stage listings

on the cheap

film listings

classifieds

XFEOFTEBZ!302!!9QN!%90%21

CBOOFS!QJMPU

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GSJEBZ!304!:QN!%7

IJHIXBZ!QBUSPM UT!BOE!UIF!QBTU!IBVOUT IFZXPPE GPPMQSPPG!GPVS

TBUVSEBZ!305!!4QN!GSFF

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NBZMFOF!BOE!UIF! TPOT!PG!EJTBTUFS MJPOJ[F-!BCBUJT

TVOEBZ!306!!5QN!GSFF ! UXBOH!TVQFS! CPXM!TVOEBZ"!

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30:!!.!!!EJNQMFT-!UIF!NP!PEET-!UIF!GMBJMT!!!!!!!!!!!!!!UIF!QJOL!GJMNT 3021!.!!!ESBH!UIF!SJWFS-!UVNCMFEPXO!!!!!!!!!!!!!!!KBZ!OPUIJOHUPO!)TPMP* 3022!.!!!UIF!HSBOOJFT-!CPUUPN-!DPSNPSBOU 3024!.!!NJLF!NJLFĂ–T!QSF.WBMFOUJOFĂ–T !!!!!!!!!!!!!!!EBZ!NBTTBDSF!X0!EK!NFBUIPPL[ 3025!.!!!NBKPS!QPXFST!'!UIF!MP.GJ!TZNQIPOZ!!!!!!!!!!!!!!EPU!QVOUP-!BTILPO 3027!.!!!GJMUIZ!UIJFWJOH!CBTUBSET-! ! !!!UIF!NJHIUZ!SFHJT-!NS/!MPOFTPNF! !!!!!!!!!!!!!!!BOE!UIF!CMVFCFMMFT 3029!.!!!XJDLFE!NFSDJFT-!UIF!UPOUPOT-!! ! !!!UIF!HZQTZ!NPPOMJHIU!CBOE 3029!.!!SBEJP!SFFMFST-!UIF!CBSCBSJD!UIVHT!!!!!!!!!!!!!!!PJM"-!QBQFS!CBHT 302:!.!!!SFUPY-!EPPNTEBZ!TUVEFOU!!!!!!!!!!!!!!!!TFDSFU!GVO!DMVC-!IJEFT 3034!.!!!UIF!NPPOMJHIU!PSDIFTUSB-! ! !!!UIF!TBMWBEPST-!UBMLZ!UJOB 303:!.!!!UIF!CVTJOFTT-!UIF!EPXOUPXO!TUSVUT!!!!!!!!!!!!!!!TZEOFZ!EVDLT 403!!!.!!!CPCC!TBHHFUI-!QSJ[FIPH-!IFMM!TIJQ 4033!.!!!QFUFS!BOE!UIF!UFTUVCF!CBCJFT!!!!!!!!!!!!!!!UIF!HFOFSBUPST-!TZEOFZ!EVDLT!!!!!!!!!!!!!!UIF!HVJUBS!HBOHTUFST

xxx/uiffqbsltjef/dpn 2711!28ui!Tusffu!ÂŚ!526.363.2441 FEBRUARY 1 - 7, 2012 / SFBG.com

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sTAgE lisTings

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1

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THEATER opEning

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Bay aRea

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ongoing

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32 SAN FRANCISCO BAY GUARDIAN

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Olivia’s Kitchen &YJU 5IFBUSF &EEZ 4' XXX HFOFSBUJPOUIFBUSF DPN 'SJ 4BU QN 4VO QN 5ISPVHI 'FC (FOFSBUJPO5IFBUSF PGGFST UIJT ²SFNJY³ PG 4IBLFTQFBSFµT Twelfth Night. “SF Sketchfest” 7BSJPVT WFOVFT 4' XXX TGTLFUDIGFTU DPN 8FE 4BU 5IF UI 4BO 'SBODJTDP $PNFEZ 'FTUJWBM JOWBEFT WFOVFT JO EBZT XJUI MPDBM BOE DFMFCSJUZ QBDLFE BOE MPDBM DFMFCSJUZ QBDLFE QFSGPSNBODFT GJMN FWFOUT JNQSPW TIPXT BOE NPSF Vice Palace: The Last Cockettes Musical 5ISJMMQFEEMFSTµ )ZQOPESPNF UI 4U 4' XXX UISJMMQFEEMFST DPN 'SJ 4BU QN 5ISPVHI .BSDI 5ISJMMQFEEMFST SFWJWFT UIF $PDLFUUFTµ NVTJDBM FYUSBWBHBO[B Waiting for Godot 3PZDF (BMMFSZ .BSJQPTB 4' XXX UJEFTUIF BUSF PSH 5IVST 4BU QN 5ISPVHI 'FC 5JEFT 5IFBUSF $PNQBOZ EFCVUT XJUI B CPME JOUFSQSFUBUJPO PG UIF #FDLFUU DMBTTJD

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arms and the Man -FTIFS $FOUFS GPS UIF "SUT .BSHBSFU -FTIFS 5IFBUFS $JWJD 8BMOVU $SFFL XXX DFOUFSSFQ PSH 8FE QN 5IVST 4BU QN 4VO QN 5ISPVHI 'FC $FOUFS 3&1FSUPSZ $PNQBOZ QSFTFOUT (FPSHF #FSOBSE 4IBXµT DMBTTJD SPNBOUJD DPNFEZ Body awareness "VSPSB 5IFBUSF "EEJTPO #FSL XXX BVSPSBUIFBUSF PSH 1SFWJFXT 8FE QN 0QFOT 5IVST QN 3VOT 5VFT QN 8FE 4BU QN 4VO BOE QN 5ISPVHI .BSDI "VSPSB 5IFBUSF QFSGPSNT "OOJF #BLFSµT DPNFEZ Ghost Light #FSLFMFZ 3FQFSUPSZ 5IFBUSF 5ISVTU 4UBHF "EEJTPO #FSL XXX CFSLFMFZSFQ PSH 5VFT 5IVST 4BU QN BMTP 4BU BOE 'FC QN 8FE BOE 4VO QN BMTP 4VO QN 5ISPVHI 'FC #FSLFMFZ 3FQ QFSGPSNT 5POZ 5BDDPOFµT XPSME QSF

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pERfoRmAncE/dAncE

“Cabaret of Love” 4UBHF 8FSY 7BMFODJB 4' XXX CSPXOQBQFSUJDLFUT DPN .PO BOE QN 1JDLMFXBUFS $MPXO $BCBSFU QFSGPSNT JO DFMFCSBUJPO PG 7BMFOUJOFµT %BZ Company C Contemporary Ballet :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' 'FC QN 'FC QN HBMB CFO FGJU BOE 'FC QN 5IF DPNQBOZ PQFOT JUT UI BOOJWFSTBSZ TFBTPO “elect to Laugh” 4UVEJP 5IFBUFS .BSTI 4BO 'SBODJTDP 7BMFODJB 4' XXX UIFNBSTI PSH 5VFT QN 0OHPJOH UISPVHI /PW 8JMM %VSTU BOE GSJFOET QFSGPSN JO UIJT XFFLMZ QPMJUJDBM IVNPS TIPX UIBU GPDVTFT PO UIF VQDPNJOH QSFTJEFOUJBM FMFDUJPO “The eric Show” .JML #BS )BJHIU 4' XXX NJMLTG DPN 5VFT QN POHPJOH -PDBM DPNFEJBOT QFSGPSN XJUI IPTU &SJD #BSSZ “Fortunate daughter” 4UBHF 8FSY 7BMFODJB 4' XXX CSPXOQBQFSUJDLFUT DPN 4VO .BSDI "QSJM .BZ QN 5IBP 1 /HVZFO QFS GPSNT IFS TPMP TIPX BCPVU CFJOH DBVHIU CFUXFFO IFS GBNJMZ BOE IFS GSJFOET JO UIF RVFFS DPNNVOJUZ “The Mandrake” )BTUJOHT 4UVEJP 5IFBUFS (FBSZ 4' XXX BDU TG PSH 8FE 4BU BOE 'FC QN "NFSJDBO $POFSWBUPSZ 5IFBUFSµT .'" DMBTT PG QFSGPSNT .BDIJBWFMMJµT UI DFOUVSZ TBUJSF PG *UBMJBO TPDJFUZ “The News” 4PNBSUT $VMUVSBM $FOUFS #SBOOBO 4' XXX TPNBSUT PSH 5VFT QN 5IJT OFX NPOUIMZ RVFFS QFSGPSNBODF TFSJFT IJHIMJHIUT OFX BOE FYQFSJNFOUBM XPSLT BOE XPSLT JO QSPHSFTT “Precious drop: african and afro-Fusion dance, Music, and Theater” $PVOUFS16-4& .JTTJPO 4' XXX DPVO UFSQVMTF PSH 'SJ 4BU QN .PIBNFE -BNJOF #BOHPVSB XJUI +BBSB %BODF BOE %SVN BOE #V 'BMMF "GSJDBO %SVN BOE %BODF QSFTFOU B XPSL JO QSPHSFTT BCPVU UIF HMPCBM JNQPSUBODF PG XBUFS

Bay aRea

“Cordelia, Mein Kind” 5IFBUFS4UBHF BU .BSTI #FSLFMFZ "MMTUPO #FSL XXX UIFNBSTI PSH 5IVST 'SJ QN 4BU QN 4VO QN 5IF .BSTI #FSLFMFZ DPMMBCPSBUFT XJUI UIF .BHOFT $PMMFDUJPO PG +FXJTI "SU BOE -JGF UP QSFTFOU UIJT NVMUJNFEJB "VTUSBMJBO JNQPSU CZ %FCPSBI -FJTFS .PPSF “The Second Sin again...” #MBDL 3FQFSUPSZ (SPVQ 5IFBUFS "EFMJOF #FSL XXX QVOB OZUJDLFUT DPN 4BU QN 1VOBOZ 1PFUT QFSGPSN B NJY PG FSPUJD QPFUSZ EBODF DPNFEZ BOE UIFBUFS 2

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oN thE chEAp

for more arts content visit Sfbg.com/pixEl_viSioN UXP GMPPST PG TIFFU NVTJD BOE SFDPSEJOH TBNQMFT PG TPOHT DPNQPTFE JO $BMJGPSOJB GSPN UISPVHI UIF T 5IJT JT FRVJWBMFOU UP TUSJLJOH HPME GPS BOZ NVTJD MPWFS FTQFDJBMMZ UIPTF XIP BSF OPTUBMHJD GPS UIF TPVOET PG $BMJGPSOJB QSF ,BUZ 1FSSZ “acknowledged: portraits of project homeless Connect” exhibition opening 4BO 'SBODJTDP 1VCMJD -JCSBSZ -BSLJO 4' XXX TGQM PSH 5ISPVHI .BSDI -JCSBSZ IPVST .PO Q N 5VF 5IVST Q N 'SJ OPPO Q N 4BU Q N 4VO OPPO Q N GSFF " QJDUVSF JT XPSUI B UIPVTBOE XPSET ± BOE ZPV OFFE XPVME OFFE FWFO NPSF UIBO UIBU UP EFTDSJCF XIBU JUµT MJLF UP CF IPNFMFTT JO 4BO 'SBODJTDP 1IPUPHSBQIFS +PF 3BNPT IBT QBSUOFSFE VQ XJUI 1SPKFDU )PNFMFTT $POOFDU UP GFBUVSF QSPHSBN QBSUJDJQBOUT JO UIJT QPXFSGVM MPPL BU PVS TPDJFUZµT VOIPVTFE

thURSDAY 2 FaCeS oF San FranCiSCanS without homeS, “aCknowledGed” in a photo exhibit openinG wed/1. | “ethel” phOtO BY JOe RAMOS On the Cheap listings are compiled by Soojin Chang. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 1 “Singing the Golden State” early Californian music exhibition 4PDJFUZ PG $BMJGPSOJB 1JPOFFST 'PVSUI 4U 4' XXX DBMJGPSOJBQJPOFFST PSH 5ISPVHI %FD (BMMFSZ IPVST 8FE 'SJ Q N GPS TFOJPST BOE TUVEFOUT HFOFSBM BENJTTJPO 5IF 'SFEFSJDL 4IFSNBO $PMMFDUJPO BOE UIF QSJWBUF DPMMFDUJPO PG +BNFT . ,FMMFS KPJO NVTJDBM GPSDFT UP CSJOH UP ZPV

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“bourbon and bull” nightlife at the academy $BMJGPSOJB "DBEFNZ PG 4DJFODFT .VTJD $PODPVSTF 4' XXX DBMBDBE FNZ PSH OJHIUMJGF Q N .JY B TIPU PG (FPSHF %JDLFM 8IJTLZ BOE B TBNQMF PG #VMMFJU #PVSCPO XJUI UIF BDPVTUJD UVOFT PG +FBOJF BOE $IVDLµT $PVOUSZ 3PVOEVQ /PX BEE BO FMFDUSJD CVMM UP UIF NJY 4PVOET MJLF PVS ESFBN DPDLUBJM after dark: Heartworks &YQMPSBUPSJVN -ZPO 4' XXX FYQMPSBUPSJVN FEV Q N GSFF XJUI NVTFVN BENJTTJPO 8JUI 7BMFOUJOFµT %BZ MPPNJOH BOOPZJOHMZ DMPTF NBOZ BSF BMSFBEZ XFBSZ BU BOZ NFOUJPO PG UIF XPSE ²IFBSU ³ #VU CFGPSF XSJUJOH PGG MPWF BT BO FTPUFSJD GJC KPJO UIF &YQMPSBUPSJVN GPS B IBOET PO FYQFSJ NFOU XJUI B NBO NBEF NFUBM IFBSU ± BOE NBZCF MFBWF XJUI B NPSF UBOHJCMF VOEFSTUBOEJOH PG XIBU NBLFT ZPVS UJDLFS TLJQ B CFBU bicycle bingo fundraising event and launch party "DUVBM $BGF 4BO 1BCMP 0BLM XXX BDUVBMDBGF DPN Q N GSFF .BLF 5IVSTEBZ OJHIU B CJOHP OJHIU BOE XJO BO BTTPSU NFOU PG QSJ[FT XIJMF HJWJOH CBDL UP UIF #BZ "SFB DPN NVOJUZ BU UIF EFCVU PG UIJT XFFLMZ DIBSJUZ GVOUBDVMBS "MM CJOHP DBSE QSPDFFET BMPOH XJUI QFSDFOU PG DBGF SFWFOVFT XJMM HP EJSFDUMZ UP UIF OPOQSPGJU PG UIF XFFL 5POJHIU QMBZ GPS UIF &BTU #BZ #JDZDMF $PBMJUJPO /FYU XFFL 3FCVJMEJOH 5PHFUIFS 0BLMBOE

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fRiDAY 3 Secession from the Broadcast: The Challenge to Create on the Same Scale as We Can Destroy film screening and director presentation :#$" .JTTJPO 4' XXX ZCDB PSH QN ° (FOF :PVOHCMPPE IBT CFFO UBMLJOH BCPVU BMUFSOBUJWF DJOFNB BOE NFEJB EFNPD SBDZ TJODF UIF T )F VTFE UP XSJUF BCPVU UIJOHT MJLF UIF #FBUMFT BOE (FPSHF -VDBT ± UPOJHIU ZPV DBO KPJO IJN BT IF UBMLT BCPVU UIF OFX TISJFL JOEVD JOH GBE UIF *OUFSOFU urbanYenta launch party 3PF /JHIUDMVC )PXBSE 4' XXX SPF TG DPN Q N GSFF %JE ZPVS MBTU POMJOF EBUF KVTU DPN QMFUFMZ GSFBL ZPV PVU /PX XIFO EBUFT HPFT XSPOH ZPV IBWF BO BDUVBM IVNBO NBUDINBLFS UP HP DSZ UP JOTUFBE PG GSBOUJDBMMZ DIFDLJOH PGG DPNNFOU CPYFT IPNF BMPOF PO B 4BUVSEBZ OJHIU 6SCBO:FOUB IPQFT UP NBUDI ZPV OPU KVTU XJUI B QJYJMBUFE JNBHF CVU B QBSUOFS XIP XJMM EP ZPV SJHIU

SAtURDAY 4 “the uncomfortable Zones of Fun” experimental performance workshop 5FNFTDBM "SU $FOUFS UI 4U 0BLM XXX UFNFTDBMBSU DFOUFS PSH Q N GSFF ²6ODPNGPSUBCMF³ BOE ²GVO³ BSF PGUFO IBSE UP VTF JO UIF TBNF TFOUFODF #VU MFBWF JU 'SBOL .PPSF XPSME LOPXO QFSGPSNBODF BSUJTU UP QBJS UIF UXP JO IJT JNQSPW EBODF BDUJOH BOE NVTJD DMBTT #SJOH ZPVS JOTUSVNFOUT BOE TFOTF PG IVNPS little Song sonnet writing workshop 1SP "SUT (BMMFSZ 'SBOL 0HBXB 1MB[B 0BLM XXX QSPBSUTHBMMFSZ PSH Q N GSFF 1PFUSZ JT TBJE UP CF B XBZ PG UBLJOH MJGF CZ UIF UISPBU ± UBLF IPME BOE FYQSFTT ZPVS TPVMµT EFTJSFT JO UIJT TPOOFU XPSLTIPQ 5IFSF XJMM CF B MJNJU PG QFPQMF BOE TFBUJOH XJMM CF GJSTU DPNF GJSTU TFSWFE upcycle ball San Francisco Yellow bike project fundraiser and dance party 3JDLTIBX 4UPQ 'FMM 4' XXX SJDLTIBXTUPQ DPN Q N QSFTBMF BU EPPS " CJLF FOUIV TJBTUµT WFSTJPO PG XIBU QSPN OFWFS XBT 3BJTF GVOET GPS UIF WPMVOUFFS QPXFSFE DPNNVOJUZ TIPQ XIJMF ZPV EBODF ZPVS XIFFMT PGG UP MJWF QFSGPSNBODFT CZ NBVT IBVT )PUUVC %+ %FFQ BOE .S 1JMM[

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bernal Yoga literary Series author readings 5IF #FSOBM :PHB 4UVEJP $PSUMBOE 4' XXX CFSOBMZPHBTFSJFT XPSEQSFTT DPN Q N TVHHFTUFE EPOBUJPO " MJUFSBSZ FWFOU QBDLFE XJUI CSFBUIUBLJOH SFBEJOHT GSPN MPDBM BVUIPST 5IF FWFOJOH XJMM GFBUVSF XSJUFST +FGG )PGGNBO -J .JBP -PWFUU BOE 1FUFS 0SOFS QMVT MPDBM BVUIPST 5PN $PNJUUB -BSB %VSCBDL BOE .BSJTFMB 5SFWJvP 0SUB

GUARDIAN DEALS ON THE FLY @ FORKFLY. COM

SUNDAY 5 Year of the dragon celebration "TJBO "SU .VTFVN -BSLJO 4' XXX BTJBOBSU PSH B N Q N GSFF $FMFCSBUF UIF :FBS PG UIF %SBHPO XJUI MJPO EBODFST B DIBODF UP MJTUFO UP ESBHPO UBMFT BSUT BOE DSBGUT BOE FWFO B ZPHB GMPX TFTTJPO BU UIF FOE PG UIF EBZ 5IJT FWFOU JT QFSGFDU GPS QFPQMF XIP BMSFBEZ HBWF VQ PO UIFJS /FX :FBSµT SFTPMVUJPO BOE XBOU B SF EP

moNDAY 6 The Right to Love: An American Family film premiere $BTUSP 5IFBUSF $BTUSP 4' XXX DBTUSPUIFBUSF DPN Q N GSFF GPS TUVEFOUT #BZ "SFB GJMNNBLFS $BTTJF +BZF GPMMPXT +BZ BOE #SZBO -FGGFX B MFHBMMZ NBSSJFE HBZ DPVQMF MJWJOH JO 4BOUB 3PTB BOE UIFJS UXP BEPQUFE LJET %BOJFM BOE 4FMFOB 5IF GBNJMZ CFDBNF B :PV5VCF TFOTBUJPO BGUFS QPTUJOH UIFJS IPNF WJEFPT PO B DIBOOFM DBMMFE ²(BZ 'BNJMZ 7BMVFT ³ .FFU XJUI UIF BXFTPNF -FGGFXT BU UIF GJSTU QVCMJD TDSFFOJOH PG UIFJS EPDVNFOUBSZ

tUESDAY 7 Exit Strategies Granta & Zyzzyva literary event and launch party $JUZ -JHIUT #PPLT $PMVNCVT 4' XXX DJUZMJHIUT DPN Q N GSFF %P ZPV GJOE ZPVSTFMG SFQFBU FEMZ TDSBUDIJOH ZPVS XBZ PVU PG UIF IPMF ZPV EVH XJUI ZPVS PXO IBOET %BOJFM "MBSDPO [PPNT JO PO UIJT DPOVOESVN JO IJT MBUFTU OPWFM SJHIUMZ UJUMFE Exit Strategies )F XJMM CF GPMMPXFE VQ CZ ;:;;:7" XIP XJMM QSFTFOU UIFJS MBUFTU XJOUFS JTTVF XIJDI JODMVEFT QBHFT PG QPFUSZ QSPTF BOE WJTVBM BSU NBEF CZ 8FTU $PBTU XSJUFST BOE BSUJTUT 2

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FEBRUARY 1 - 7, 2012 / SFBG.com

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DReW BARRyMoRe sTARs IN ResCue ADveNTuRe Big Miracle, ouT FRI/3. | photo by darren MIchaels

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Carol Channing: Larger Than Life 4FF ²)FMMP $BSPM ³ Opera Plaza, Shattuck. Chronicle " HSPVQ PG UFFOT EFWFMPQ TVQFSQPXFST ± GVO UJNFT VOUJM POF PG UIFN UVSOT UP UIF EBSL TJEF ± JO UIJT TDJ GJ GJMN TIPU JO UIF FWFS QPQVMBS ²GPVOE GPPUBHF³ TUZMF

Come Back, Africa 4FF ²0O UIF 5PXOTIJQ ³ Roxie.

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Domain 5IJT NPPEZ 'SFODI ESBNB BCPVU UIF DP EFQFOEFOU SFMBUJPOTIJQ CFUXFFO B NJEEMF BHFE ZFU TUJMM HMBNPSPVT BMDPIPMJD #nBUSJDF %BMMF BOE IFS KVTU DPNJOH PVU UFFOBHF OFQIFX 1JFSSF *TBuF 4VMUBO IBE UIF EJTUJODUJPO PG UPQQJOH +PIO 8BUFSTµ MJTU PG GBWPSJUF NPWJFT JO Enter the Void XBT OVNCFS UXP Jackass 3D XBT OVNCFS TJY *UµT VODMFBS JG UIF #PSEFBVY TFU Domain SFMFBTFE JO XPVME CF IJUUJOH UIFBUFST OPX XJUIPVU 8BUFST BT JUT DIBNQJPO CVU GJSTU UJNF GFB UVSF EJSFDUPS 1BUSJD $IJIB ± XIP XSPUF UIF TDSFFO QMBZ FTQFDJBMMZ GPS %BMMF B DVMU GBWPSJUF GPS IFS SPMF BT B NFOUBMMZ EJTUVSCFE CFBVUZ JO µT Betty Blue ± LFFQT UIF NFMPESBNB UP B NJOJNVN JOTUFBE SFMZJOH PO TVCUMF IJOUT UIBU DPPM TPQIJTUJ DBUFE "VOU /BEJBµT MJGF JT TMPXMZ EJTBQQFBSJOH JOUP B CPUUMF PG XIJUF XJOF 4VMUBO JT B MJUUMF POF OPUF CVU %BMMF QSPWFT IFBSUCSFBLJOH BT B HPPE UJNF HBM XIP EPFTOµU RVJUF IBWF UIF TUSFOHUI UP GBDF IFS JMM OFTT SF Film Society Cinema. &EEZ

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The Right to Love: An American Family 5IJT FBS OFTU EPD TQSJOHCPBSET PGG UIF :PV5VCF GBNF PG UIF BEPSBCMF Star Wars PCTFTTFE -FGGFX GBNJMZ XIP TUBSUFE CFBNJOH WJEFPT GSPN UIFJS 4BOUB 3PTB IPNF DIBOOFM OBNF ²(BZ 'BNJMZ 7BMVFT³ BT B SFTQPOTF UP BUUBDLT PO NBSSJBHF FRVBMJUZ %JSFDUPS $BTTJF +BZF XJTFMZ VTFT RVJUF B CJU PG #SZBO BOE +BZµT PXO GPPU BHF XIJDI EFQJDUT B MPWJOH GBNJMZ HPJOH BCPVU UIFJS CVTJOFTT VOEFS OPSNBM GBNJMZ EJOOFST BOE TQFDJBM PDDBTJPO FYDJUFEMZ QMPUUJOH UP MFBWF UPPUI GBJSZ MPPU VOEFS UIFJS ZPVOH EBVHIUFSµT QJMMPX DJSDVNTUBODFT #VU JUµT OPU BMM TVOTIJOF BOE SBJOCPXT XJUI UIF VHMZ SFBMJUZ PG 1SPQ BOE NPTU USPVCMJOHMZ #SZBOµT PXO GBNJMZ NFNCFST TUBVODIMZ TFU JO UIFJS EJTBQQSPWBM PG TBNF TFY NBSSJBHF EFTQJUF UIF IJHIMZ GVODUJPOBM FYBNQMF JO UIFJS NJETU 5IJT XPSME QSFNJFSF $BTUSP TDSFFOJOH GFBUVSFT JO QFSTPO BQQFBSBODFT CZ The Right to LoveµT EJSFDUPS BOE TVCKFDUT WJTJU XXX 3 -NPWJF DPN GPS BEEJUJPOBM JOGPSNBUJPO PO UIF FWFOU Castro. &EEZ

The Woman in Black %BOJFM 3BEDMJGGF QMBZT B MBXZFS UVSOFE HIPTU CVTUFS JO UIJT )BNNFS 'JMNT UISJMMFS BEBQUFE GSPN 4VTBO )JMMµT CFTU TFMMJOH BOE QSFWJPVTMZ BEBQUFE GPS TUBHF BOE TDSFFO OPWFM Shattuck.

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ON the CheAp

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FeBRUARY 1 - 7, 2012 / SFBG.COm

35

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film listings rep clock

BAY AREA FILMMAKER CASSIE JAYE’S MARRIAGE-EQUALITY DOC, The RighT To Love: An AmeRicAn FAmiLy, PREMIERES AT THE CASTRO THEATRE. photo courtesy of cassie jaye

36 SAN FRANCISCO BAY GUARDIAN

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FICTITIOUS BUSINESS NAME STATE-

MENT FILED NO. A-0340644-00 The sagittariUs

following person is doing business as Flash22-Dec. Car Service Nov. 21 239 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

5IF XPSTU UIJOH ZPV DPVME EP UIJT XFFL JT UP USZ UP GJY ZPVS TJUVBUJPO 4BH $PODFOUSBUF PO DPQJOH XJUI ZPVS NFOUBM IFBMUI CFDBVTF ZPV BSF OPU FICTITIOUS BUSINESS NAME STATETFFJOH UIJOHT DMFBSMZ #Z MENT FILED NO. A-0340880-00 The MPPLJOH UPP DMPTFMZ BU TUVGG following person is doing business as Change Gently Energy Work 1029 B ZPV BSF NJTTJOH UIF CJHHFS Fell Street, San Francisco, CA 94117. This business is conducted by an indiQJDUVSF BOE QPUFOUJBM PQQPS vidual. Registrant commenced business under the above-listed fictitious business UVOJUJFT $VMUJWBUF QFSTQFD name on the date January 27, 2012. UJWF Signed by Julia Conner. This statement was filed by Alex Liang, Deputy County

Clerk on January 27, 2012. L#113519, capricorn February 1, 8, 15 and 22, 2012

Virgo

STATEMENT OF ABANDONMENT Dec. 22-Jan. 19

"TTFSU ZPVSTFMG XJUIPVU CFJOH JOTFOTJUJWF UP UIF JNQBDU JU IBT PO PUIFST 7JSHP 4IBSQFO ZPVS DPNNVOJDBUJPO UPPMT BTL RVFTUJPOT BOE MJTUFO DBSFGVMMZ UP QFPQMFÂľT BOTXFST :PV EFTFSWF UP JNQSPWF ZPVS MJGF EPOÂľU JOEVMHF JO TUSFTTGVM IFBE HBNFT UP BDIJFWF UIBU HPBM UIJT XFFL

-BZ GPVOEBUJPOT UIBU BSF NAME The registrant listed below have abandoned the use of the fictitious busiJOGPSNFE CZ BMM UIBU ZPVÂľWF ness name 850 850 Folsom Street, San Francisco, CA 94107. The fictitious MFBSOFE $BQQZ :PV BSF JO B business name was filed in the County of TQFDJBM TQPU SJHIU OPX UIBU San Francisco under File# 0339748-00 on: 11/30/2011. NAME AND ADDRESS BMMPXT ZPV UP MBZ B GSBNFXPSL OF REGISTRANTS (as shown on previous statement): Triple Crown Inc 850 Folsom GPS UIF GVUVSF UIBU ZPV XBOU St. San Francisco, CA 94107. This business was conducted by a corporation. UP IBWF 5SVTU ZPVS JOTUJODUT Signed Tommy Cheng, President. Dated: BOE QBDF ZPVSTFMG 8JUI December 20, 2011 by Alan Wong, Deputy County Clerk. #113512 January FWFSZ OFX CFHJOOJOH DPNFT 25, February 1, 8 and 15, 2012 FICTITIOUS BUSINESS NAME STATEJOFWJUBCMF FOEJOHT Âą MFU MENT FILED NO. A-0340222-00 The folUIFN IBQQFO QBM lowing person is doing business as Exult

liBra

Union Street, aQUariUs

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OF USE OF FICTITIOUS BUSINESS

Positive Psychology Service 2155 Suite #2, San Francisco, CA 94123. This business is conducted by an Individual. Registrant commenced Jan. 20-Feb. 18 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

$POOFDU XJUI ZPVS GSJFOET UIJT XFFL "RVBSJVT #F PO HVBSE GPS ZPVS FHP UP XBHF B CBUUMF XJUI ZPVS USVF FNP FICTITIOUS BUSINESS NAME STATEUJPOBM OFFET %POÂľU QVTI MENT FILED NO. A-0340287-00 The following person is doing business as Giron QFPQMF BXBZ PS SVTI UPXBSET Construction 5 Thomas Mellon Circle, Suite 108, San Francisco, CA 94134. This UIFN UP BWPJE XIBUFWFS JU JT business is conducted by a corporation. UIBU ZPV GFFM 4JU JO UIF DPN Registrant commenced business under the above-listed fictitious business name QMFYJUZ PG ZPVS FNPUJPOT XJUI on the date N/A. Signed by Bruce A. Giron, President. This statement was filed QFPQMF TP ZPV DBO HSBDFGVMMZ by Mariedyne L. Argente, Deputy County Clerk on January 3, 2012. L#113506, NPWF CFZPOE UIFN January 11, 18, 25 and February 1,

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Oct. 23-Nov. 21

MENT19-March FILED NO. A-0340370-00 The Feb. 20

"MM UIJOHT FOE 4DPSQJP UIF HPPE UIF CBE BOE UIF VHMZ ADVERTISE a display BUSINESS CARD %POÂľU USZ UP IPME POUP XIBU sized ad in 140 California newspapers for one low cost of $1,550. Your display OFFET UP QBTT BXBZ BOE EPOÂľU 3.75x2ĂŽ ad reaches over 3 million+ BTTVNF UIBU UIF TUSVHHMFT Californians. Free brochure call Ekizabeth (916)288-6010. (Cal-SCAN) PS UIF IJHIT PG UPEBZ XJMM CF $$$HELP WANTED$$$ BSPVOE UPNPSSPX &NCSBDF Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our JNQFSNBOFODF :PV EPOÂľU Live Operators Now! 1-800-405-7619 EXT 2450 www.easyworkjobs.com (AAN CAN) IBWF UP DBSSZ UIJT MPBE UIBUÂľT CFFO XFJHIJOH ZPV EPXO QBM Âą KVTU QVU JU EPXO

:PV BSF SFBEZ UP LJDL PGG as 1. Cinemasters 2. One Hundred Percent 999 Green Street, #3001, TPNFUIJOH OFX CVU SVO UIF San Francisco, CA 94133. This business is conducted by an Individual. Registrant SJTL PG EPJOH JU JO BO PME XBZ commenced business under the abovelisted fictitious business name on the #F DBSFGVM PG GBMMJOH JOUP ZPVS date January 1, 2012. Signed by William PME QBUUFSOT 1JTDFT ´DBVTF Joseph Lervold. This statement was filed by Maribel Jaldon, Deputy County Clerk on ZPV BSF SFBEZ UP CF JOOPWB January 6, 2012. L#113509, January 11, 18, 25 and February 1, 2012 UJWF BOE CPME "TTFSU ZPVS FICTITIOUS BUSINESS NAME STATETFMG XJUI DPOTJEFSBUJPO PG MENT FILED NO. A-0340393-00 The following person is doing business ZPVS OFFET TP ZPV EPO¾U DVU as Thriving Life Wellness Center 557 Waller Street, San Francisco, CA PGG ZPVS OPTF UP TQJUF ZPVS 94117. This business is conducted by QSFUUZ MJUUMF GBDF an Individual. Registrant2 commenced

FICTITIOUS BUSINESS NAME STATEfollowing person is doing business

business under the above-listed fictitious Call NOW! 1-866-562-3650 ext. 60 www. PREGNANT? CONSIDERbusiness name on the date January 1, SouthEasternHS.com (Cal-SCAN) ING ADOPTION? 2012. Signed by Christine Cantwell. This Teach English Abroad! 4-week TEFL course Talk with caring agency specializing in statement was filed by Maribel Jaldon, Byin Jessica lanyadoo Prague. Job assistance worldwide. We matching Birthmothers with Families Deputy County Clerk on January 6, 2012. have over 1500 graduates teaching in nationwide. LIVING EXPENSES PAID. Call Web site Jessica Lanyadoo has been a psychic dreamer for 16 years. Check out her at www.lovelanyadoo.com or L#113510, January 11, 18, 25 and 24/7 Abby’s One True Gift Adoptions 86660+ countries! www.teflworldwideprague. February 1, 2012 413-6293at (Void in Illinois) (AAN CAN) contact her for an astrology or intuitive reading (415) 336-8354 or dreamyastrology@gmail.com. com info@teflworldwideprague.com

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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 RobertĂ­s 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 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340605-00 The following person is doing business as GanimĂ­s Market 1135 18th Street, San Francisco, CA 94107. This business is conducted by a corporation. Registrant commenced business under the abovelisted fictitious business name on the date January 3, 2012. Signed by Isa Ganim, President. This statement was filed by Maribel Jaldon, Deputy County Clerk on January 18, 2012. L#113517, February 1, 8, 15 and 22, 2012 NOTICE OF APPLICATION TO SELL ALCOHOLIC BEVERAGES Date of Filing Application: January 25, 2012. To Whom It May Concern: The name of the applicant is: JOHN LOUFAS . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 243 W Portal Ave SAN FRANCISCO, CA 94127-1401. Type of License Applied for: 41 - ON-SALE BEER AND WINE- EATING PLACE . Publication dates: February 1, 8 and 15, 2012. L#113518

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psychic dream astrology Feb 1-7, 2012 aries

liBra

March 21-April 19

Sept. 23-Oct. 22

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June 22-July 22

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february 1 - 7, 2012 / SFBG.com 39

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