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Interest-swap deals squeeze local government P8

Bank fraud You’ll laugh, you’ll barf Fighting back against mortgage scams P9

Cheryl Eddy on Tim and Eric’s Billon Dollar Movie P19

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the san francisco bay guardian | sfbg.com february 29 - march 6, 2012 | Vol. 46, No. 22 | Free

62 outrageous parties you should be going to right now. by Marke B. P14 Plus: did we just win the War on Fun? guardian photos by matthew reamer

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A thriving nightlife scene is key to our city’s cultural identity and economic future. the guardian editorial

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How interest rate swap deals are causing local government agencies to pay millions of dollars to the biggest banks P6

alerts P8 Save our homes

Activists push banks and public officials to stop the foreclosures P9

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appetite P10 cheap eats P11 picks

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62 parties you should check out this spring P14

The war is over. Fun won San Francisco nightlife is finally getting some political support P18

trash P19 The unidentifiable dance grooves of ESG How a group of sisters from the South Bronx made music on the cusp of punk, no wave, and hip-hop P20

Back in sight

No longer missing psychedelic architect Roky Erickson P21

Agrarian visions

“Land/Use” examines pastoral lives through a contemporary lens P22

Revisiting the classics Two veteran choreographers visit the Bay Area with groundbreaking new works P23

Dame good fun

Seedy delights from early Hollywood sleaze up the Roxie P24

MUSIC listings 26 / STAGE listings 29 FILM listings 30 / CLASSIFIEDS 33 SAN FRANCISCO BAY GUARDIAN

Nightlife: Fun plus jobs By Scott Wiener

OPINION We all know the cultural benefits of nightlife. It’s fun. We get to meet people — friends, lovers, and all the rest. We build community. We hear great music. We dance. We spend time outside on our streets. For LGBT people, we meet other LGBTs and keep our community strong. The list goes on: Without a strong entertainment scene, including bars, clubs, live music venues, arts venues, nighttime restaurants, and street fairs, our city would be a less interesting and less diverse place. But the undisputed cultural importance of nightlife isn’t the whole story. Nightlife is a significant economic contributor to San Francisco. It creates jobs, particularly for working-class and young people. It generates tax revenue that helps fund Muni, health clinics, and parks. It allows creative entrepreneurs to start businesses. It generates tourism. It draws foot traffic into neighborhoods to the benefit of other neighborhood businesses. This is all pretty intuitive. Yet, as a city, we’ve never actually measured the economic impact of our nightlife scene. One of my first acts a member of the Board of Supervisors was to request the city economist to conduct an economic impact study editorials

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doing just that. The study is almost done, and we already have a few preliminary results. Nightlife in San Francisco generates $4.2 billion a year in spending, with $1 billion of that amount coming from bars, clubs, performance venues, and art spaces. Some 48,000 people are employed in nightlife businesses, and these businesses contribute $55 million a year in local taxes. On March 5, we’ll announce the full results of the study at a hearing of the Land Use and Economic Development Committee. This data will help us make smart public policy around nightlife. In the past, those decisions frequently have been driven by anecdote and over-reaction to isolated events. Trouble near a small number of nightclubs? The city responds by making it difficult for all nightclubs to operate, even those with excellent safety records and despite the dramatic improvement in the Entertainment Commission’s oversight. Or, the city goes even further and proposes requiring all clubs, even small ones, to scan ID cards of everyone who enters. (That proposal, thankfully, was roundly rejected.) Entertainment is under pressure in San Francisco. There are neigh-

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borhoods with significant friction between housing and nightlife. Some of that friction results from a small number of problem venues. Other times, a good venue is jeopardized for simply conducting its business within the limits of San Francisco law. We also continue to have bizarre Planning Code restrictions that undermine entertainment, such as the Mission Alcohol Special Use District, which makes it difficult or impossible to start creative new businesses in the Mission if alcohol is involved. This provision almost prevented a new bowling alley from locating at 17th and South Van Ness. Similarly, some are concerned that the Western SOMA Plan, as currently written, will undermine nightlife on 11th Street by surrounding clubs with new housing and by reducing the number of venues. A thriving nightlife scene is key to our city’s cultural identity and economic future. Now that we have the data on its benefits, we can take a more balanced and thoughtful approach. 2 Supervisor Scott Wiener represents District 8 on the Board of Supervisors. The March 5 hearing will start with a noon rally on the steps of City Hall followed by the hearing at 1 p.m. in City Hall Room 263. music listings

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EDITORIAL The mortgage crisis in San Francisco isn’t just devastating to homeowners and to the southeast neighborhoods where foreclosures are most common — it’s clear evidence that lenders and their affiliates are and have been acting illegally. This city ought to be taking the lead on pressing civil and criminal charges against the mortgage outfits. City Assessor Phil Ting commissioned a report in February that showed that nearly every one of 382 foreclosures actions in the city between January 2009 and October 2011 had at least some irregularities. In more than 80 percent of the cases, the report identified direct violations of law. The report comes as Occupy protesters in San Francisco are moving aggressively to target banks that are tossing people out of their homes and at a time when county sheriffs in other parts of the country are refusing to execute foreclosure orders. Both City Attorney Dennis Herrera and District Attorney George Gascon have asked for more material from Ting’s office, although neither has announced a formal investigation. But every day that this goes on, more people lose their homes and more crimes are committed — and both offices should move as quickly as possible to take action. There’s nothing in the federal settlement over fraudulent mortgage activity that prevents local officials from taking this sort of action. There’s nothing preventing Herrera from seeking an injunction against further foreclosures or preventing Gascon from indicting the lenders and their executives. Meanwhile, Ting told us that he’s asking Attorney General Kamala Harris to investigate, because the pattern of violations almost certainly goes beyond San Francisco. State Sen. Mark DeSaulnier has introduced a bill that would mandate transparency in foreclosures, so at least homeowners would know who to contact to seek a modification. That’s a good start. But holding these sleazy operators accountable would send a message that San Francisco isn’t going to let this sort of behavior continue. 2

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Politics the latest on the ever-evolving america’s Cup deal Mayor Lee addresses the nightlife community a showdown between Occupy Oakland and the cops –- at a Neo-Nazi rally? Yael Chanoff has the scoop

noise Maximum Consumption: our tasty music column has a Q&a with Ghostly international’s Christopher willits about music-food event Overlap Lo-fi, nouveau-grunge act Cloud Nothings makes it to sF from Cleveland this weekend

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sex sf ever seen a lady squirt to the strums of live cello? soojin Chang did, and wrote about it

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the losing bets )PX JOUFSFTU SBUF TXBQ EFBMT BSF DBVTJOH MPDBM HPWFSONFOU BHFODJFT UP QBZ NJMMJPOT PG EPMMBST UP UIF CJHHFTU CBOLT by Darwin bonDgraham news@sfbg.com Wall Street’s massive taxpayer funded bailout, initiated by the Bush administration and carried forward under President Obama, never really ended — it just shifted from federal to local sources of funding. Even while local and state governments have been forced to cut back on crucial services, wealthy banks and investment firms are being padded with enormous cash flows sucked directly from the already strained budgets of cities, counties, and public agencies. That’s the message a growing chorus of activists in the Bay Area are bringing before the boards, councils, and commissions that entered into complex financial deals with Wall Street banks, deals that turned toxic in the crash of 2008. Activists want elected officials and the banks to cancel the contracts and refund the public. The Bay Area is the epicenter of this renewed movement for financial justice. Last week, teachers from Peralta College, organizers with the Alliance of Californians for Community Empowerment (ACCE), Oakland religious leaders, and Occupy Oakland activists organized four protests contesting what they say is bank predation on local communities. At issue are arcane financial instruments called interest rate swaps. Sold by banks to virtually every sizable government and local agency in the US through the 2000s, rate swaps promised governments the ability to “swap� their potentially costly variable rate payments on bonds into a synthetic fixed rate. Seeking to protect local taxpayers during the volatile 2000s, when floating interest rates were rising, local leaders eagerly signed on. But the economic meltdown turned those tools into golden handcuffs for local government agencies. Taxpayers are now forced to regularly pay millions to the banks simply because variable interest rates, at the urging of the Federal Reserve, have fallen far below the synthetic rates. These deals might seem numbingly complex, but the effects on local communities are clear and painful. music listings

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“The Metropolitan Transportation Commission is paying upwards of $53 million a year on rate swaps,� said Alia Phelps of ACCE at a protest on Feb. 21 outside of the former Bank of America building at 555 California Street. “This is money that isn’t going to keep routes in service, that isn’t paying drivers, nor going to repair buses, or to keep fares lower. We need these swaps renegotiated.� That protest included visits to half a dozen banks. Activists demanded branch managers fax a letter to their corporate headquarters calling on the banks to voluntarily renegotiate swaps signed with the Metropolitan Transportation Commission (MTC), the Bay Area’s regional transportation authority, which has lost over $100 million on toxic swap deals. In 2002 the Bay Area Toll Authority (BATA), a state-level agency operated by the MTC, issued more than $1 billion in bonds to pay for repairs and seismic upgrades of regional toll bridges. Three financial giants stepped forward promising to lower MTC’s long-term borrowing costs on these bonds by using interest rate swaps. Ambac, Solomon Smith Barney and Morgan Stanley signed deals with the MTC to cover $300 million in debt. “With this transaction, we are getting the peace of mind of a fixed debt payment at a significant discount from traditional price levels,� MTC’s Chief Financial Officer Brian Mayhew said at the time of the deal. Basically the swap agreement had the MTC paying a fixed interest rate of 4.1 percent to the banks, while the banks paid 65 percent of the London Interbank Offered Rate (LIBOR), a key benchmark used in global financial markets. Whichever party’s sum happened to be higher when payments came due would pay the difference. The advantage of the deal, in the eyes of the MTC’s managers, was that it would lock-in a low interest rate on MTC’s debt, potentially saving as much as $45 million. “We think it’s a good time to lock in these low rates,� Mayhew said in 2002. Fast forward to 2009. A year into the financial crisis, interest rates collapsed. LIBOR, which had

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Activists demonstrAte outside BAnk of AmericA in sAn frAncisco on feB. 21. | PhOTO by LUkE ThOmAS/FOG CITy JOUrNAL been fluctuating around 5 percent and reached a peak of 5.8 percent in September of 2007, plummeted to virtually zero. The flow of payments became entirely one-sided, from MTC to banks that offered this deal. The advantage of the swap evaporated, and it became a toxic asset. While the Federal Treasury would offload similar toxic assets from the “too big to fail banks� using the TARP program, local governments were stuck with them. As Ambac careened toward bankruptcy in 2010 due to its absurdly over-leveraged portfolio of credit default swaps, the MTC was forced to terminate its swap agreement with the company, paying the exorbitant sum of $104 million, after already having paid out $23 million in interest. All of this was essentially bridge toll money, surrendered by drivers crossing the seven state-owned bridges administered by BATA: the Bay, Antioch, Benicia-Martinez, Carquinez, Dumbarton, Richmond-San Rafael, and San Mateo bridges. The drain on MTC funds indirectly affects all of its programs, including operational support for AC Transit, Muni, and other regional bus and train services. According to its most recent Comprehensive Annual Financial Report, MTC and its transit agency partners are on the hook for another $235 million in interest rate payments due on swaps with a rogue’s gallery of banks including Wells Fargo, Morgan Stanley, Citigroup, editorials

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Bank of America, JP Morgan, Bank of New York, and Goldman Sachs. All of this money will be diverted from the MTC’s various transit infrastructure, planning, and operations accounts. “The big picture is service cuts, pay cuts, work speed ups, fare hikes, route eliminations, and other things that harm working people who ride transit,� said retired Muni worker Ellen Murray. The MTC’s quarter-billion dollar rate swap nightmare is only the most obvious part of a more systemic problem. Until at least 2030, given current conditions, San Francisco’s Airport Commission must make costly rate swap payments to numerous banks, including JP Morgan Chase, Goldman Sachs, Depfa, Bank of America, and Merrill Lynch, on agreements associated with more than a half-billion in debt. Much of this is linked to commercial paper issued to pay for infrastructure at the Airport (SFO). Unlike the MTC, SFO’s financial managers were more prudent in entering swap agreements, and therefore secured better terms that have produced a net savings. “The Airport has saved about $92 million to date,� Assistant Deputy Airport Director Kevin Kone told us, referring mostly to gains made between 2005 and late 2007. But since 2008, SFO’s swaps have been losing money. When Lehman Brothers collapsed, and Bear Stearns imploded and was CONTINUES ON PAGE >>

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absorbed into JP Morgan, SFO was forced to terminate swaps with both companies, costing $6.7 million. Last year SFO paid $6.65 million to terminate a rate swap agreement with Ireland’s Depfa Bank. In September, the Airport paid another $4.6 million to end yet another rate swap with JP Morgan. These specific swap agreements, Kone says, “were functioning as they should have early on, providing savings,� but now they’re draining public funds. SFO’s seven remaining swaps have a negative value of $67 million, according to San Francisco’s 2011 Comprehensive Annual

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Financial Report. As with the MTC, SFO’s debts will ultimately be paid by passengers and taxpayers. Kone says nobody really knows how much these swaps could ultimately impact the airport, either in terms of cost or savings. “If interest rates rise, they could have a positive cost savings impact on the airport,� he said. Joe Keffer of the Service Employees International Union (SEIU) Local 1021 said at the Feb. 21 rally that Oakland has already paid Goldman Sachs $26 million on a swap that dates back to 1997, and that under current market conditions, the city will have to pay roughly another $25 million until the contract expires in 2021. Oakland’s toxic deal with Goldman Sachs is now the subject of much scrutiny. The newly formed Coalition for Economic and Social Justice —made up of churches, labor unions, neighborhood groups, and SAN FRANCISCO BAY GUARDIAN

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Occupy Oakland activists— took up the issue with the City Council on Feb. 21, packing the chamber with one of the more diverse activist coalitions in recent memory. “We’re here to implore you to get the City of Oakland out of this toxic relationship,� Rev. Daniel Buford of the Allen Temple Baptist Church told the council. Members of the Oakland City Council are sympathetic to this message. In a letter sent last June, Council member Rebecca Kaplan implored Goldman Sachs CEO Lloyd Blankfein to spare Oakland’s taxpayers: “By bringing the contract to conclusion with no penalty fees, and negotiating a reasonable exit strategy, you would be demonstrating good faith to public taxpayers in the most substantial way.� At the conclusion of public comment Tuesday night, Oakland Council member Libby Schaaf promised the public action on the swap. In a Valentine’s Day protest the previous week, 50 activists visited the Oakland offices of Morgan Stanley. Faculty and students from the Peralta Community College system went there demanding the bank renegotiate a rate swap that is estimated to have cost the college $1.6 million last year. The same day the college’s board of trustees discussed the need to cut $12 million more from the budget in 2012. Morgan Stanley CEO James Goreman’s pay for 2011 was $14 million, opponents of the swap point out. Peralta student and Bay Area transit activist Adam Ross attempted to reach the 9th floor offices of Morgan Stanley in a small delegation to deliver a letter demanding the bank renegotiate the swap: “There were signs on the door saying the office was closed. They probably got tipped off and locked the doors.� Afterward, Caesar Swaby of Riders for Transit Justice addressed the rally, connecting dots for the different constituencies present: “Morgan Stanley is taking money from Peralta College, causing classes to be cut. Morgan Stanley is also taking money from transit riders. Morgan Stanley has a $3 million rate swap with the MTC, causing cuts to bus and train services.� A Morgan Stanley representative declined to comment for this report. Goldman Sachs did not return calls and emails. A spokesperson for the MTC was unable to be reached by deadline. 2 music listings

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ProteSterS demonStrate outSide Well fargo Ceo John StumPf’S home on feB. 21. | Photo by occuPy SF Media: KriSSana LiMLaMai

Save our homeS "DUJWJTUT QVTI CBOLT BOE QVCMJD PGGJDJBMT UP TUPQ UIF GPSFDMPTVSFT By yael Chanoff yael@sfbg.com Bay Area activists, fueled in part by the Occupy movement, have recently taken stands against police brutality, for the rights of the homeless, against the corporate power of banks, and much more. But, arguably, nowhere has the movement been more successful than in the fight against foreclosures and evictions. With the support of Alliance of Californians for Community Empowerment (ACCE) and the Bayview Foreclosure Fighters, several Bayview residents whose homes had already been sold continue to occupy them, and in some cases sales have been rescinded. Occupy Bernal has used civil disobedience to postpone six housing auctions, keeping their neighbors in their homes that much longer. They secured a meeting with Diana Stauffer, Wells Fargo Home Mortgage senior vice president, and David Campos, District 9 supervisor, to delay foreclosure proceedings. But the activists are pushing for a full moratorium on foreclosures and evictions in San Francisco. Such a moratorium is not without precedent. In recent years, sheriffs have stopped evictions and foreclosures in Wayne Country, Michigan; Cook County, Illinois; Butler County, Ohio; and Philadelphia County, Pennsylvania. When Cook County Sheriff John Dart imposed his moratorium in 2010, he said, “I can’t possibly be expected to evict people from their homes when the banks themselves can’t say for sure everything was done properly. I need some kind of assurance that we aren’t evicting families based on fraudulent behavior by the banks.� San Francisco seems ripe for a similar stance, as Assessor-Recorder Phil Ting recently released a report revealing widespread lawbreaking in editorials

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foreclosure proceedings. The report found that 84 percent of foreclosures in San Francisco over the last three years involved faulty paperwork, some of it amounting to fraud. Representatives from the District Attorney’s and the City Attorney’s offices told the Guardian that they are concerned about the report. These bodies may be starting the process of further investigating findings. Last week, Sheriff Ross Mirkarimi, whose office carries out the county’s evictions, said he has begun an initiative to collect and analyze the city’s foreclosure data. But Mirkarimi’s hands may be tied. As he told Ann Garrison of KPFA radio Feb. 25, “I don’t have the latitude or discretion, much as I would like, because there would need to be a change in state law that empowers municipal sheriffs to be able to use that discretion.� Occupy Bernal formed just a couple months ago, but it has emerged as a powerful advocate for homeowners facing foreclosure. The neighborhood-based branch of the Occupy movement chose to focus specifically on preventing the evictions of Bernal Heights residents, where over 100 homes face foreclosure. They kept the pressure up Feb. 25, when a group of supporters convened at 1090 Chestnut Street, the residence of John Stumpf, the CEO of Wells Fargo. That bank owns the majority of mortgages on Bernal homes facing foreclosure. The protest wasn’t meant to block the street and no one tried to enter the building where Stumpf owns three of the 14 floors. But police decided that the group of about 150 warranted blocking off the entire block to traffic, to the annoyance of many neighbors. “You collected $43.7 billion in taxpayer money and have since made record profits at the expense picks

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of low-income communities, while repeatedly breaking your legal and moral obligations as a creditor. You have failed to comply with loan modification requirements under your own lending agreements,� said a blown-up “foreclosure notice� outside Stumpf’s home. In the spirited street theater scene, activists dressed as an auctioneer and a larger-than-life John Stumpf played out a fake auction of Stumpf’s property. Dexter Cato, a father of four whose wife was recently killed in a car crash in the midst of monthslong loan modification proceedings, faces foreclosure from his Bayview home of 40 years. “Stumpf, we want a new address for you,� said Archbishop Franzo King of the Western Additions’ John Coltrane church, “850 Bryant Street!� The crowd then proceeded to chant this address: the San Francisco Hall of Jusice and County Jail. “We understand that some of our customers are going through difficult times during this economic recovery,� said Jim Foley, president of Wells Fargo’s Greater Bay Area region, in a press release responding to the Feb. 25 protest. The company plans to hold “Home Preservation Workshops� in Richmond March 7 and 8 to help homeowners facing foreclosure. Public officials may be a long way from locking up CEOs for foreclosure fraud, but some have taken notice of complaints against the banks. On Feb. 2, the Berkeley City Council voted not to extend its contract with Wells Fargo to manage $300 million in city assets, citing its foreclosures on city residents. On a national level, activists have been successful in persuading people to transfer their money to local banks and credit unions in recent months. Javelin Strategy and Research came out with statistics that 5.6 million Americans have switched bank service providers in the past 90 days, three times the normal transfer rate. Bank Transfer Day in early October was specifically cited as the trigger by 610,000 of those people. The recent $25 billion settlement between the five largest banks and attorneys general in California and other states over mortgage fraud made big headlines, but activists note that it allocates a measly $2,000 for those facing foreclosure. Occupy Bernal’s Buck Bagot said people need more protection from powerful banks. “Banks suckered people into this stuff, and they have made billions,� Bagot said. “We’re not saying people shouldn’t have to pay off the money they borrowed, but it took two to tango.� 2

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aPPeTiTe Enter through a corner door into a restaurant lined with high communal tables, upstairs seating area, and a redwood bar backed by a stone wall overflowing with plant life. Formerly RNM, Maven is a sleek new cocktail haven in Lower Haight. I knew the drinks would be good, but I was pleasantly surprised at how strong the food is. Maven opened as a “drink with food pairing” concept venue: the menu lists three pairing columns. In the middle are generously-sized “small” plates, a couple entrées and dessert. To the left is a “distilled” column of cocktails, to the right, “fermented” beer and wine offerings. While co-owners Jay Bordeleau and David Kurtz (Kurtz is also executive chef) have worked in numerous fine dining and popular establishments like Michael Mina, Saison, Beretta, in keeping with the times, Maven is decidedly casual yet chic, focused on quality over pomp. Sous chef Matt Brimer, formerly of Maverick, works with Kurtz on dishes more interesting than they read on paper. Wise they were to bring on Kate Bolton as bar manager. Elegant restraint is something she honed during her days at Michael Mina. Working my way through each of her balanced cocktails, there was little down time. Jamie Pait, who worked in pastry at Slanted Door, made the slew of house syrups, like ginger and five spice, which Bolton uses in her recipes. Pait’s hazelnut orgeat simply rocks. Orgeat is a creamy, nutty almond syrup. With hazelnuts instead of almonds it is equally silky — fantastic even on its own. In

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Nauti’ Mermaid ($10), it adds sexy layers of nuttiness to Jamaican rum, lime, orange and coconut juices. Thai spirit shines in the cocktail’s vacation-like smoothness as it cools a dish of Monterey calamari ($9) laden with Thai chilies, ginger, coriander. The calamari cleverly comes two ways: fried and grilled. Another happy match occurs in braised fennel and watercress ($9), again far more satisfying than it sounds. Grilled fennel works beautifully with creamy burrata cheese and charred cherry tomatoes — a twist on a Caprese — over grilled toast. Its cocktail match is International Mistress ($11), a soft but powerful mix of Nonino amaro and Sombra mezcal, luxurious with orgeat and grapefruit, with just a hint of mezcal smoke. Also more exciting than the overwrought sliders category would suggest are Chinatown duck sliders ($9), like a gourmet Chinatown sandwich with tender duck, shiitake mushrooms, bitter greens and a smack of bacon. Its cocktail pairing is the 5 Spot ($10), a bright blend of La Favorite rhum agricole, lime, maple, and house ginger and five spice syrups, crowned with a Thai basil leaf. Lush and subtle co-exist on the menu — and Bolton generally keeps cocktails light enough on alcohol so as not to overwhelm the food. Global Warming ($11) is a unique aperitif. Not only do you get dry riesling, but sake, even a splash of Ransom’s Old Tom Gin. Tart with lemon, a little scoop of absinthe sorbet permeates the drink as it melts. Brilliant. Its food spouse is a superior scallop crudo ($12), silken paired with hazelnut, shiso, and tart apple. Contrast raw scallop freshness with rich broccoli agnolotti ($11/$18), a pasta meaty with music listings

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southern Tasso ham, savory with orange-hued mimolette cheese and cipollini onions. Its drink mate is a full-bodied, but not overwhelming, Hometown Vixen ($9). Bolton infused black pepper in Four Roses bourbon, mixing it with lemon and two house syrups: gomme and a luxurious roasted pistachio. The only dish I wasn’t as taken with is still well-executed: seared arctic char ($23) swimming in smoked fume broth with carrots and turnips. There’s nothing wrong with the soft white fish — it just lacked the flavor punch found in its accompanying pickled PEI mussels. Its match was one of the best cocktails on the menu, Hibiki Highball ($12), showcasing Japanese whisky — Hibiki 12-year in this case — with a giant ice cube, house ginger syrup, bitters, and soda water. Wine and beer pairings are likewise thoughtful: Hennepin, Ommegang’s farmhouse saison beer, with a mushroom tart, or Poco a Poco’s funky, fun Chardonnay with the arctic char. Dessert could easily be Beach and Hyde, an off-menu cocktail named after the cross streets of legendary bar Buena Vista. Inspired by Buena Vista’s famed Irish coffees, the drink is Evan Williams bourbon, coffee brewed with cocoa nibs and vanilla, plus egg white and orange zest. If you want to actually eat dessert, you won’t suffer with dark Mayan chocolate in browniereminiscent slices, accented by black cardamom ice cream. In fact, you won’t suffer here at all. 2 MaVen 598 Haight, SF. 415-829-7982 www.maven-sf.com

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

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fooD + Drink: cheap eats

1998 2006

SidESwiSE By L.E. LEonE le.chicken.farmer@gmail.com CHEAP EATS So happens that Hedgehog’s birthday coincided with Mardi Gras weekend this year. And she had just finished filming her first ever co-wrote TV show. And Isabella Rossellini, into whose beautiful mouth Hedgehog had “put words,� gave her a hug when it was done. Meaning: by the transitive property of hugging, I hugged Isabella Rossellini! To celebrate all of the above without being distracted by parades, parties, and drunken mayhem, we decided to get the hell out of New Orleans and do what we, as a couple, do best: drive around the country playing catch and eating barbecue. And barbecue. And barbecue. Hedgehog’s cowriter, who very literally wrote the book on barbecue, got us a reservation at City Grocery in Oxford, Mississippi. Which was the one thing we ate that wasn’t barbecue. On the other hand, as serendipity would have it, exactly as we were being served complementary glasses of champagne, thanks to said cowriter and important personage, he was accepting an NAACP Image Award in L.A. — so we had even more things to toast. But speaking of toast, City Grocery made the best gnocchi I have ever eaten. They might have been fried in butter. The outside of each dumpling was pleasantly crusty, and inside, my tongue found potatoey fluffs of heaven. I’ve got a 10-pound sack of russets in my pantry, and a brick of good butter, and I might just devote the rest of my life to replicating this feat. Next day we drove all over the place looking for — and finally finding — this off-off the beaten path barbecue joint called Betty Davis hiding out near Waterford. That was lunch: pulled pork and spareribs. And for dinner we went to Memphis and had spareribs and pulled pork and barbecued spaghetti at The BarB-Q Shack. In-between, we got to see Memphis get crushed by Oklahoma at roller derby, and for her birthday Hedgehog bought me some red athletic socks that are going to go great with my pink football uniform. They say BACON on them. But getting back to barbecued spaghetti: you ask me, it works. editorials

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Like Cincinnati chili or kimchi burritos, it’s just one of those things. Chopped barbecued pork on top of spaghetti and smothered in tomatobased barbecue sauce ... count me in. In fact, I liked it better than the barbecue barbecue that we had there, in Memphis. Next day we woke up and drove down the Mississippi Blues Trail to Abe’s Bar-B-Q at the Crossroads in Clarksdale, where Bessie Smith died and Robert Johnson sold his soul to the devil. Slightly more to the point, for our purposes, it’s where people put barbecue sauce on potato chips, by way of an appetizer. This does not work as well, in my opinion, as barbecued spaghetti. In fact, it doesn’t work as well as barbecue potato chips. But, on the plus side, the meats were great. Again: ribs, pulled pork, and tenderer and flavorfuller than the other ones we ate. Plus, points for no-mayo slaw. All of these Mississippi-ish barbecues, for the record, were recommended to us by Sal, my beloved Secret Literary Agent or Whatever (SLAW). Sal the Pork Chop apparently spends a lot of time in Mississippi, and now I’m going to, too. In fact, it might be my new favorite state. In fact, it is. Because on our way back to New Orleans, almost as an afterthought, we dropped in for lunch at Taylor Grocery, which had the best fried chicken I’ve had since the Gravy days. Seriously, I almost cried. The charm alone — with its middle-of-nowhere graffiti plastered walls and general down-home rustickness — makes this my new favorite restaurant in the world. But nobody lives in Taylor, Mississippi — not even you. So until you get there, here’s who I like in San Fran: Morning Due CafÊ, in the Castro. Its free-range chickens are brined for 24 hours, then marinated, then rotisseried. Sideswise, it’s not as good as Limon Rotisserie, but you can’t argue with the chicken, and they’re less likely to have a line. Check it out. 2

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FEBRUARY 29 - MARCH 6, 2012 / SFBG.com

11

picks

Let’s start a cult.

for more visit sfbg.com Whatever you do, keep watching the skies! (Cheryl Eddy)

ty segall see friday/2

7 p.m., free Forbidden Island Tiki Lounge 1304 Lincoln, Alameda (510) 749-0332 www.forbiddenislandalameda.com

to the masses, belting and wailing while electronic glitch samples and piano chords crash against each other. Most recent release Conatus (Sacred Bones Records) is something akin to industrial sprinkled with a pinch of classical, culled together by Danilova’s haunting, resonant voice. (Lee) With Wymond Miles of the Fresh & Onlys, Talk Normal 9 p.m., $21 Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.slimspresents.com

Friday 3/2

Thursday 3/1 RED BULL Thre3STYLE DJ COMPETITION

Wednesday 2/29

death row inmate Barbara Graham as noir cabaret. (Ryan Prendiville)

Jacques Lu Cont

8 p.m., $30

Stuart Price is a mixmaster of mystery. The British producer-DJ goes by many aliases, including Paper Faces, Thin White Duke, Jacques Lu Cont, and Les Rythmes Digitales. How could a Brit use French pseudonyms? Well, after you’ve won three Grammy Awards and worked with an entire spectrum of musicians ranging from Madonna to Miike Snow, from the Killers to Kylie Minogue, from Seal to the Scissor Sisters, then you’re off the hook for that faux pas. Price, the son of two classically trained pianists, developed his version of French electro house after hearing the sounds of the Human League. Expect Price and his trusty synthesizers to give guilty-pleasure makeovers to familiar songs and vocals (Kevin Lee). With Robb Green 10 p.m., $5 Vessel 85 Campton, SF (415) 433-8585 www.vesselsf.com

12 SAN FRANCISCO BAY GUARDIAN

Rrazz Room 222 Mason, SF (415) 394-1189 www.therrazzroom.com

Thursday 3/1

Wednesday 2/29

It Came From Hangar 18 book party

Nellie McKay in “I Want To Live!” From the get-go, Nellie McKay has bucked against the typical musical confines: releasing her first album in 2004 as a double CD when it might have fit in one, calling it Get Away From Me in a jab at Norah Jones and to avoid being lumped in as just another female jazz singer. One listen to her actual music then and since, a maddening blend of pop, calypso, hip-hop, rock, reggae and (yes) vocal jazz, with maddening humor and reassuring warmth, assured that one label would simply never work. “I Want To Live!” showcases all McKay’s uncaged skill as performer as she reinvents the story of San Quentin editorials

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Two men, one brand-new sci-fi epic: It Came From Hangar 18 touches down from Planet Pulp this week at the Forbidden Island Tiki Lounge, which is actually one of the book’s settings, and serves a mighty tasty array of exotic cocktails to boot. Written by noted B-movie film programmer and author Will Viharo (A Mermaid Drowns in the Midnight Lounge) and software-engineerwith-a-dark-side Scott Fulks, Hangar 18 is self-described as “the most action-packed, erotic science fiction epic since the Bible — but with even more sex and violence!” Also: vampires, mobsters, and (I’m guessing) umbrella drinks galore. The release party features live surf music by retro-futurists Tomorrowmen.

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Every year, Red Bull pops in to provide a swell showcase of our current nightlife scene, inviting a variety of local disc jocks to compete for the chance to advance to national and international levels — and possibly win an enormous golden calf that squirts endless supplies of energy drink from its nipples. KIDDING. I’m sure they win something, but the real reward is ours, watching fine hometown talent display some flexibility on the decks. (The “Thre3style” part means competitors must include three different genres of music in their 15-minute sets.) This year’s amped qualifiers are KingMost, Zita, Theory, Just, Miles Medina, and John Beaver, as well as Seattle winner Four Color Zack and Portland winner Playtime. If last year’s wonderfully diverse crowd and hyper energy are anything to go by, this will be the party. (Marke B.)

O’ Brother A brutally captivating four-piece out of Atlanta, O’ Brother combines industrial, screaming metal, and the hard edge of Southern rock. A barrage of guitars —grounded by drummer Michael Martens, with shifting vocals by Tanner Merritt — results in a sound that’s syrupy and sludgy one moment, airy the next. Released in late 2011, O’ Brother’s first full length album, Garden Window, recalls the drive of Queens of the Stone Age, the atmosphere of Sigur Ros, and the march of Tool, without being too heavily indebted to any one part. (Prendiville) With Junius, Happy Body Slow Brain 9 p.m., $12 Bottom of the Hill 1233 17th St., SF (415) 621-4455 www.bottomofthehill.com

9 p.m. (show at 9:30 p.m.), $12, 18+ Ruby Skye 420 Mason, SF. (415) 693-0777 www.redbullusa.com/thre3style

Friday 3/2

Thursday 3/1

Prizehog

Zola Jesus Russian-American Nika Roza Danilova grew up in Wisconsin, which is pretty much as close to Russia, climate-wise, as you’re going to get in the continental U.S. In the bitter cold of the Midwest, young Danilova sang opera before transitioning into rock, nabbing a keyboard here and a drum machine there. A few EPs, studio albums, and a critically acclaimed LP later, Danilova’s Zola Jesus is preaching music listings

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Don’t let the lack of a bassist fool you — Prizehog gets heavy. The San Francisco trio deploys a keyboard alongside large-gauge drums and down-tuned guitar to create music that veers effortlessly between tectonic post-rock, thundering doom blues, and Hawkwind-style, spaceship-launch psychedelia. Patience and an open mind are two necessary virtues; they’ll prepare you for the band’s shuddering builds, non-traditional arrangements, and sudden stylis-

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Ty Segall photo by Denee Petracek; Nellie McKay photo by Rick Gonzalez; Red Bull Thre3style photo by Carlo Cruz/Red Bull Content Pool; Bad Weather California Photo by Cory Gustason; Mia Doi Todd Photo by Carl Lindstrom; “Romeo And Juliet” photo by Erik Tomasson.

tic shifts. Concertgoers looking for a potent dose of local, experimental volume should look to get high on the ‘Hog. (Ben Richardson) 9 p.m., $8

without preachy religiosity. The Akron/Family label-mates have a sunny optimism in the face of bad shit and a sound that might have you going along. Maybe even that cult part. (Ryan Prendiville)

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With He’s My Brother She’s My Sister

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(415) -252-1330

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With Bobb Saggeth, Hell Ship

for more visit sfbg.com

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(415) 800-8782

Friday 3/2

www.brickandmortarmusic.com

Ty Segall Ty Segall has managed to produce ecstatic, psychedelic lo-fi garage punk rock that retains the catchiest elements of rock’n’roll — seductive drumbeats, wailing guitars, and arresting lyrics — really quickly. Last year he released full-length album Goodbye Bread, along with three EPs. This spring he’s touring with Tim Presley of White Fence to promote their collaborative LP, Hair, out April 28. Hair features Segall’s brand of bright and fuzzy electric doo-wop and Lucy-in-the-Sky-with-Diamondsinspired melodic distortion. Segall rocked the Great American Music Hall last year with his curly blonde head-banging antics and returns this week to shake it out some more. (Mia Sullivan) With White Fence, Mikal Cronin, the Feeling of Love 8:30 p.m., $15 Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.gamh.com

Sunday 3/4 “Balboa Birthday Bash” Hey, jazz baby: between 2011 hits The Artist, Hugo, and Midnight in Paris, the 1920s are the cinematic decade du jour. What better way to re-live the flapper era than at a movie theater that’s been around since 1926? Cheer the Balboa’s 86th birthday — yep, it’s older than the Oscars — at a fiesta co-presented by the San Francisco Silent Film Festival. On tap are a screening of Harold Lloyd classic Safety Last! (1923) on 35mm with piano accompaniment by Frederick Hodges; a screening of shorts by Georges Méliès (a.k.a. Ben Kingsley’s character in Hugo); a live vaudeville show; an illustrated lecture by author and Safety Last! expert John Bengtson; birthday cake; and more. As they said in the ‘20s (or at least, they always say in movies set in the ‘20s), it’ll be the cat’s pajamas. (Eddy) 7 p.m., $7.50–$10 Balboa Theatre 3630 Balboa, SF

Saturday 3/3

www.balboamovies.com

Let’s start a new religion. Let’s start a cult. Let’s go to bed. Let’s get high. Let’s get fucked up. Let’s start a band. Let’s get a van. Let’s make some music. Whatever its problems may be, Denver-based freaked out rocker band Bad Weather California offers a lot of simple solutions, without falling into the typical pratfalls of musical contrivance. It’s a rebellious rock streak without being punk, hippy utopian idealism without being a jam band, spiritual fervor editorials

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Monday 3/5 The Driftwood Singers Listening to the Driftwood Singers makes you feel like you’re ambling down a dusty country road toward something that might not exist anymore. This lo-fi folk duo of Pearl Charles and Kris Hutson writes foreboding, bluesy love ballads laden with longing nostalgia. Charles’ warm, milky vocals blend seamlessly with Hutson’s slightly twangy voice as Charles picks her picks

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mind a couple taking a post-luau stroll on the beach. The take-away message might best be encapsulated by Cosmic’s last track, a touching cover of Chilean Folk artist Violeta Parra’s “Gracias a la vida.” (Lee)

2170 Market, SF

of the subject matter’s complexity, not to speak of an audience’s expectation about a beloved story and, of course, the music. Helgi Tómasson has the chops. His 1994 version is gorgeous, sumptuously choreographed and designed. The depth of the company is such that it has any number of first-rate dancers to fill the roles, not just the major ones of the lovers, but minor characters — the villain and the best friend, the gypsy girls and the rejected suitor. (Rita Felciano)

With Birdhouse, Lauren Shera, and Infantree

1330 Fillmore

8:30 p.m., $12

www.yoshis.com

(415) 861-5016

Through March 11, 8 p.m., $36–$285

www.cafedunord.com

War Memorial Opera House

Café Du Nord

With Bells 8 p.m., $16–$26 Yoshi’s (415) 655-5600

301 Van Ness, SF

(415) 221-8184

Bad Weather California

autoharp and Hutson strums his guitar (or mandolin/banjo, depending on the number). This pair hails from LA (no, really) and recorded their debut EP, Look!, with a Sony Walkman. Their upcoming seveninch, out March 27, was recorded a bit more expertly, but channels the same raw honesty. (Sullivan)

Tuesday 3/6

(415) 865-2000

Mia Doi Todd

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.

www.sfballet.org 2

Los Angeles singer-songwriter Mia Doi Todd’s latest offering, Cosmic Ocean Ship (City Zen Records), was inspired by journeys into Cuba, Brazil, France, Mexico, and India. Her lilting, reflective vocals relay tones of nostalgia, affection, and optimism. Opening track “Paraty” refers to a Brazilian coastal town and brings in some lighthearted samba, while “Under the Sun” sees Todd turn tropical island chanteuse; her romantic crooning bringing to

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Tuesday 3/6 Romeo and Juliet Romeo and Juliet is the only 20th century ballet that can give a run to the 19th century biggies Nutcracker and Swan Lake. No matter who choreographs, it will find an audience. Fortunately, you have to be really good to keep control film listings

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february 29 - march 6, 2012 / SFBG.com

13

arts + culture: nightlife

Surf the vibes: Every second Saturday, Debaser dives into ‘90s rock and hip-hop. debaser photo by Chris Brennan. night people photos by matthew reamer

club action

By Marke B. marke@sfbg.com This past year was pretty dang rad in the clubs (and here I must stop to thank my fantastic hairstylist, Paul at Zip Zap, for helping make it especially happen for me). Despite the recession -- and the continued flight of us decadent types -- the parties never stopped. In fact, they seem to have gotten even more varied and creative, with a sophisticated energy that’s welcoming and ecstatic, flinging their doors open wide for hot-footed like minds. I was inspired during a particularly riotous drag show featuring flaming dildos, pancake batter, and Shabba Ranks to put together this list of regular happenings I’m into, a kind of snapshot of our fine nightlife, and a guide to more good times, if you feel me. That 62 recommendations for weekly and monthly parties sprang to mind immediately -- bluegrass, rocksteady, gay goth, electro-cumbia, zouk, hypercrunk, Brit pop, etc -- shows out the sheer vibrance of the local scene. The parties listed below are ones I wholeheartedly recommend: friendly, affordable, no dress codes or booth reservations, full of adventurous music and folks who aren’t afraid to move a little sideways when they dance, rather than just nod their heads or pump their fists (and who actually have fun, rather than act like they’re having fun in a video). There’s oodles more shindigs I itched to list — some are too new for me to get a proper handle on yet, others I’ve only popped in on, and I’m sure a few I forgot (I’m permastoned.). Also, I didn’t throw down in the East Bay as much as I’d have liked; send me your hot tips for next time. This list will live and grow at www.sfbg. com/nightlife2012, where you’ll also find my favorite roving parties and chill-out spots. And follow our music listings and my weekly Super Ego column for special nightlife events. Enough blather, Barbra! Tonight, we dance.

MONDAYS Bluegrass Mondays Live bands, wellpicked tunes, and a hootenanny crowd help get the new week twang on right — strumming legend Toshio Hirano appears

“one of my favorite club nights is honey soundsystem.”

- krylon superstar, electro-hop duo double duchess 14 SAN FRANCISCO BAY GUARDIAN

“i love afrolicious and dub mission.”

62 parties you should check out this spring

monthly to show how it’s really done. 9 p.m., free. Amnesia, 853 Valencia, SF. www.amnesiathebar.com Death Guild Our fair burg’s weekly 18+ goth classic, bursting with kohl-rimmed, cyber-punk joy, now going on 21 years of dark celebration. DJs Decay, Melting Girl, and more deliver chills from Cocteau Twins wormholes to bleeding edge nu-IDM. 9:30 p.m.-afterhours. $3 before 10 p.m., $5 after, 18+. DNA Lounge, 375 11th St., SF www.deathguild.com Motown on Mondays The SF scene’s Monday go-to for some soulful comfort food, with a swinging crowd and some mighty fine Motown and more selections from DJ Gordo and guests. 6 p.m., free. Madrone, 500 Divisadero, SF. www.madronesf.com Skylarking High-flying hazy fantasia of roots reggae and dub goodness from a host of local reggae royalty with a more-thanwelcoming vibe. 10 p.m., free. 3089 16th St., SF. www.skylarkbar.com Wanted A very sexy mixed party in the Castro for indie dance and electro rockoriented folks who aren’t quite ready to end the weekend. Gives a downtown NYC vibe with SF (lack of) attitude. With DJs Key&Kite and Richie Panic. 9 p.m., free. QBar, 456 Castro, SF. www.sfwanted.com Viennetta Discotheque What other intimate, kooky-lovely queer party would celebrate its recent anniversary with 40 McDonald’s cheeseburgers and a platter of fries for hungover voguers to “serve?” From over-thetop disco to tomorrow’s dub-techno to just WTF, DJs Stanley Frank and Robert Jeffrey whip it up. 10 p.m., free. UndergroundSF, 424 Haight, SF. 133 Turk, SF.

TUESDAYS Bass Cellar An uncomplicated blast of

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dubstep (tending toward the brostep variety) with a crowd that mixes the mainstream with the more devoted, and never fails to deliver on the wob-wobs. 10 p.m., free. The Cellar, 685 Sutter, SF. www.thecellarsf.com Bless Up Premier reggae, riddim, and dancehall crew Jah Warrior Shelter Hi Fi keep the Upper Haight rocksteady with live guests, smokin’ tunes, and a forest of cute dreds. This is the good stuff. 10 p.m., $5. 1840 Haight, SF. www.milksf.com High Fantasy Apocalyptically glamorous queer rabble-rousers Alexis Bair Penney and Myles Cooper make gutter dreams come true in the Tenderloin, with artistically challenging drag performances, international surprise guests, and polymorphous perversity on taptap-tap. 10 p.m., $2. Aunt Charlie’s Lounge, 133 Turk, SF. www.auntcharlieslounge.com

WEDNESDAYS Booty Call Ever-gorgeous queen Juanita More and ever-energetic promoter Joshua J host this weekly queer night bursting with forward looks and youthful cuteness. The stated draw is the fun photobooth in back, tricked out by noted artists, but the freespirited, non-pop house tunes are tasty, too. 9 p.m., $3. QBar, 456 Castro, SF. www.bootycallwednesdays.com Housepitality Good ol’ back-tobasics, world class house dancing with a warm, family vibe and some refreshing sophistication without pretension — also, some mighty hot hoofers on the dancefloor and guests in the booth. Pretty much a perfect hump night out. 9 p.m., $5 before 11 p.m., $10 after. Icon, 1192 Folsom, SF. www.housepitalitysf.com Coo Yah DJs Green B and Daneekah up the steamy reggaeton and dancehall ante with some strong female power behind the decks, live Caribbean and UK guests, and a diverse

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- vicki virk, non stop bhangra

crowd who know how to put one leg up with the jams. 9 p.m., free. SOM, 2925 16th St., SF. www.som-bar.com Bondage a Go Go The teasing tension between what can legally go on at this polyamorous showcase (now approaching its 20th year) and what actually might go on is just one of the exquisite tortures/pleasures for its many fans. DJs Damon and Tomas Diablo keep the rock and retro atmosphere dark and hot. 9:30 p.m., $10. Cat Club, 1190 Folsom, SF. www.bondage-a-go-go.com

WEDNESDAY MONTHLIES Shutter Goth glamour exquisitely laid over indie sensibilities: modern darkwave and ‘80s synth strains form the backdrop for a monthly ball of debaucherous shivers and Romantic excess. Fourth Wednesdays, 10 p.m., $5. Elbo Room, 647 Valencia, SF. www.facebook.com/Shutter.SF Stay Gold Adorably spazzy neon-sweatered, asymmetrically haircutted, often pantsless sexy young queer people unite! And get down to some pretty fierce reggaeton, hiphop, and non-ironic pop jams from DJs Pink Lightning and Rapid Fire. Last Wednesday of the month, 10 p.m., $3 before 11 p.m., $5 after. Public Works, 161 Erie, SF. www. facebook.com/staygoldsf Qoöl Mammoth One of our oldest funky techno crews, Qoöl, joins forces with beloved insane Burning Man camp Pink Mammoth for a monthly SF scene reunion — as a happy hour, which means we’re growing up? Oh dear. Last Wednesday of the month, 6 p.m.-11 p.m, free. The EndUp, 401 Sixth St., SF. www.qoolsf.com

THURSDAYS Afrolicious All things awesomely funky, especially Latin and African, for a

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packed house, from adorable DJ brothers Pleasuremaker and Señor Oz. Live percussion and performances, international guests, and a free-spirited atmosphere keep it lively. 9:30 p.m., $5. Elbo Room, 647 Valencia, SF. www.elbo.com Base Upscale club Vessel dips into the scrappy underground (a little) by hosting some of the most consequential names in international techno every week for an adoring, knowledgeable, dance-ready audience. 10 p.m., $10. Vessel, 85 Campton Pl., SF. www.vesselsf.com Future Perfect This packed party pretty much realizes its admirable aim to demolish all genre boundaries and just play “cool, contemporary music no matter what.” That makes it hard to write about, but easy to dig, especially with yummy weekly live guests that have included Light Asylum, Cold Cave, and Dubbel Dutch. 10 p.m., $10–$15. Monarch, 101 Sixth St., SF. www.monarchsf. com The Monster Show If San Francisco has a drag sweetheart, it must be the loveable Cookie Dough, who isn’t afraid to dump buckets of blood around the stage or skewer Toddlers and Tiaras or Whitney Houston for her gently twisted, often outrageous Monster Show performance night. 10 p.m., $5. Midnight Sun, 4067 18th St., SF. www. cookievision.com NightLife Hey smart peeps (and friends), the incredible Cal Academy of Sciences puts on one of the best parties in the city, with different intelligent but fun themes, exciting DJs, and informative talks each week. Yes, there are multiple bars and dancefloors. Yes, there are penguins. 6 p.m.-10 p.m., $12. California Academy of Sciences, 55 Music Concourse Dr., Golden Gate Park, SF. www. calacademy.org/nightlife Popscene All the bright young indie pop fans converge on this long-running 18+ party to peep up-and-coming international live bands often so fresh the Internet has yet to discover them — plus some touching nods to the alternative pop styles of yore. 10 p.m., $10–$15, 18+. Rickshaw Stop, 155 Fell, SF. www.popscene-sf.com Ritual Our best dubstep party, mixing anarchic raving with some damn smart programming and top notch selections. DJs Nebakaneza, Johnny5, and the Irie Cartel keep the sound an art form, exploring its

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ARTS + cUlTURe: nighTlife

50 KicK Ass Beers on DrAught

cluB ActioN CONT>>

over 100 different bottles, specializing in Belgians

all, indeed. Fourth Fridays, 10 p.m., $10. The Knockout, 3223 Mission, SF. www. theknockoutsf.com

A Beer Drinker’s PArADise!

SATURDAYS

since 1987

Bootie The grandpappy of mashup clubs, going on eight years of bastard pop and cheeky pirate-themed fun. The crowd may have broadened, but Bootie head DJs Adrian and Mysterious D still program mindfuck drag performances and leftfield happenings to keep merry dancers (and loud singersa-long) on their toes. They can even turn a Katy Perry-themed night into something subversive. 9 p.m.-afterhours. $10 before 10 p.m., $15 after. DNA Lounge, 375 11th St., SF. www.bootiesf.com el Superritmo! Your best weekly bet for baile funk and Afro-Latin jams, with a whole tropical world of other styles thrown into the mix by spunky resident DJs Roger Mas and Kool Kyle. The crowd can get a wee bit dressy (so polish your patent leather Keds), but the floor never quits. 10 p.m., $5. Make-Out Room, 3225 22nd St., SF. www. makeoutroom.com.

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WED Feb 29 Letha Melchior-Rodman cancer 9pm fund benefit show with Sliding scale donation

HANK IV

Bill Orcutt Musk (ex-Killer’s Kiss)

THU Mar 1 THEY ARE ALL DEAD 9pm, $6 Monogamy Party (Seattle) Dead Man FRI Mar 2 STARLIGHT GIRLS 9:30pm, $7 (Brooklyn) Stages of Sleep Gorgeous Byrdmen SAT Mar 3 MJ’S BRASS BOPPERS 9:30pm, $10 East Bay Brass Band

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GENIES THU Mar 8 TORTURED Curious Mystery (K) 9pm, $7 The Grace Sings Sludge (Grace from The Sandwitches) FRI Mar 9 9:30pm, $6

THE CRAZIES WILL DESTROY YOU

The Shotgun Break The Hi-Tones (Austin) Upcoming: Grave Babies, Permanent Collection, Chasms, Bottom, Backwoods Payback, Grandma’s Boyfriend, Pink Films, ReCardiacs Fly, Tied to the Branches

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16 SAN FRANCISCO BAY GUARDIAN

HAçeteriA Acid house, early industrial, classic rave, warm Italo: A heartfelt tribute to Manchester and Chicago warehouse sounds of the ‘80s and early ‘90s with a few nifty musical spanners thrown into the works. First Saturdays, 9 p.m.-3 a.m., free before 10:30 p.m., $3 after. Deco Lounge, 510 Larkin, SF. www.facebook.com/rancheria HArD FreNcH Amazing queer soul party that digs up vintage 45s from the ‘50s on up and spins a patio full of jiggling personalities into a smiley lather. DJs Carnita and Brown Amy crank the ol’ Victrola. First Saturdays, 2 p.m.-8 p.m., $7. El Rio, 3158 Mission, SF. www.hardfrench.com KoNtrol For six years the top-notch Kontrol crew has brought some of the finest innovators in techno to play live sets all night at the EndUp. Don’t worry, the sometimes wonky intelligence and occasional tech crowd overload never overshadow the ecstatic

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“i love TRAnnYShAck of coURSe, becAUSe ThAT’S wheRe i cUT mY TeeTh. booTie Sf iS AlSo fAnTASTic.�

- cookie DoUgh, The monSTeR Show

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dancing to be had. First Saturdays, 10 p.m.6 a.m., $20, The EndUp, 401 Sixth St., SF. www.kontrolsf.com leiSure 1990s Britpop and trip hop, plus mod ‘60s scooter gems and bubble gum pop from DJs Omar and Aron Axelson make everything laidback, baby. First Saturdays, 10 p.m.-3 a.m., $5. Cat Club, 1150 Folsom, SF. www.sfcatclub.com DeBASer After four years of excellently reviving grunge and alternative rock for flannel-shirted, babydoll-dressed 1990s fanatics, DJs Jamie Jams and Emdee are incorporing hip-hop and taking on a huge project: dedicating a night to every year of that nutso decade, starting with 1989 on March 10. Second Saturdays, 10 p.m., free with flannel before 11 p.m., otherwise $5. The Knockout, 3223 Mission, SF. www. debaser90s.com love Will Fix it Those questing to slake their thirst for vinyl ‘70s and ‘80s funk and R&B classics (a surprisingly rare flavor on the scene these days) played in a Market Street hole-in-the-wall bursting with positivity and hot-hot gays and friends need look no further than DJ Bus Station John’s latest venture. Second Saturdays, 10 p.m., $5. The Hot Spot, 1414 Market, SF. BeAtpig Intensely fun and charitable gay times at the Powerhouse bar in SoMa, as DJs Juanita More and Sidekick and host W. pack the leather-lovin’ hole with nightlife personalities, pleasant dancing, and often much sex cruising. Third Saturdays, 9 p.m., $5. Powerhouse, 1347 Folsom, SF. www. beatpigsf.com NoN Stop BHANgrA Welcoming and wild, this tribute to the contemporary Punjabi (via London) dance sound mixes in plenty of tasty bass variants and one of the most diverse crowds in the Bay. DJ Jimmy Love and the dholrhythms dancers host awesome, global-eared guests. Second Saturdays, 9 p.m.-3 a.m., $10–$15. Public Works, 161 Erie, SF. www.publicsf.com tormeNtA tropicAl Electro-cumbia heaven, as a hip crowd gets down to the latest dance music of the Latin American diaspora. Absolutely filthy-lovely global grooves right here, from DJs Oro11 and Shawn Reynaldo. Second Saturdays, 10 p.m., $5 before 11 p.m., $10 after. Elbo Room, 647 Valencia, SF. www.elbo.com BootY BASSmeNt “Squat! Squat! Gobble! Gobble! Squat-squat! Gobble-gobble!� If shouting these words in your head makes you want to slip down your hot pants and show your silky thong for $$$, this hipstery-butfine booty music paradise has your bottom number. Third Saturdays, 10 p.m., $5. The Knockout, 3223 Mission, SF. www.facebook. com/bootybassment oK Hole Real risk-taking live electronic, synth, and leftfield analog music performances for enthusiastic spectators, with jaggedy dance tunes from resident DJs Nay Nay, C.L.A.W.S., and (Keep It) Keith Slogan. Third Saturdays, 9 p.m., $5. Amnesia, 853 Valencia, SF. www. amnesiathebar.com. icee Hot The city’s best showcase for razor’s edge developments in underground bass music and the UK sounds of now — with a some classic house and techno stunner guests thrown in for megameasure. A lifeline for those tired of hearing this good stuff via Internet. Fourth Saturdays, 10 p.m.-3 a.m., SF. $5 before 10:30, $10 after. Public Works, 161 Erie, SF. www.publicsf.com go BANg! DJ Steve Fabus has been spinning since the earliest days of San Fran-disco, and when teamed up with young fanatic DJ Sergio — it’s been fire. Each month brings an onslaught of disco heat, with repolished red-light classics and rare vinyl revivals stoking an eager, off-the-shoulder crowd. Fourth Saturdays, 9 p.m., $5. Deco Lounge, 510 Larkin, SF. www.gobangsf.com

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#&45 0' 5)& #": 8*//&34

“beNDers aND kilowatt are the places i frequeNt most ofteN.�

- Dj love guN, iroN maiDeN laNe #&3,&-&: "-#"/: XXX TBDSFESPTFUBUUPP DPN 2*161 $; 56#%; 217.15

Reggae gold Don’t let the classy, sparkling crowd of gorgeously toned people throw you off — there’s plenty of friendliness here for all. Top dance hall and reggae, flavored with spicy soca and and hip-hop, yes please. Fourth Saturdays, 10 p.m.-4 a.m., $5–$10. Six, 66 Sixth St., SF. www.reggaegoldsf. com (Also second Saturdays at New Parish in Oakland). daRk Room Campy gay goth glory, replete with shivery drag performances, industrial tunes, and plenty of upside-down crucifix earrings in only one ear. Spooky and successful. Last Saturday of the month, 10 p.m., $5, The Hot Spot, 1414 Market, SF.

suNDaYs dub mission For 15 years, DJ Sep and friends have kept the Bay flame alive for deliciously heavy dub and classic rocksteady rhythms (now with a bit of dubstep). I often feel like I’m in some underground club in Jamaica or London in the early ‘80s when I’m here, which is pretty much the coolest feeling there is. 9 p.m., $6. Elbo Room, 647 Valencia, SF. www.dubmissionsf.com FoRwaRd am Um, why the heck wouldn’t you “get up� at 6 a.m. to hit up this rise ‘n shine tech-house gem, putting North Beach back on the map for serious party fanatics. 6 a.m.-1 p.m., $10. Monroe, 473 Broadway, SF. www.forwards.com Honey soundsystem Timeless, pumping house music so well-curated, and scruffy hot queer freak dancers looking so high out of their minds on the dance floor, that I feel gross and a little violated just being there. 9 p.m., $5. Holy Cow, 1535 Folsom, SF. www.honeysoundsystem.com sunday sessions One of the last bastions of soulful, family-style deep house music in San Francisco, especially during the monthly Harlum Muziq label showcase with David Harness and Chris Lum, every third Sunday of the month. 8 p.m., $10–$20. the EndUp, 401 Sixth St., SF. www.theendup.com sweateR Funk Not sweat or funk — sweat and funk, in spades, as the tiny basement of Chinatown’s Li Po Lounge gets off on a huge dose of classic and contemporary boogie and soul from a crew of true connoisseurs. 9:30 p.m., free. Li Po Lounge, 916 Grant, SF. www.facebook.com/sweaterfunk 2

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FEBRUARY 29 - MARCH 6, 2012 / SFBG.com

17

arts + culture: nightlife

tHe war IS over. Fun won 4BO 'SBODJTDP OJHIUMJGF JT GJOBMMZ HFUUJOH TPNF QPMJUJDBM TVQQPSU By Steven t. JoneS steve@sfbg.com nIGHtLIFe Two years ago, the war on fun that the Guardian had been chronicling and decrying since 2006 — involving overzealous cops, NIMBY neighbors complaining about noise, escalating fees on outdoor events, and politicians scapegoating nightclubs for urban violence –- seemed to be reaching a peak of official intolerance. The San Francisco Police Department and California Department of Alcoholic Beverage Control were running amok, with an especially troublesome pair of enforcers harassing disfavored club owners and guests, getting rough with patrons at private parties, and seizing laptop computers from DJs and cameras from those who documented the abuses (see “The new War on Fun,” 3/23/10). Then-Mayor Gavin Newsom and then-Police Chief Heather Fong and their underlings only fed the conflict with brash statements and by refusing to support the nightlife industry. But today, all involved say the situation has turned completely around, with the nightlife industry asserting its importance to San Francisco’s culture and economy and getting key support from a new generation of political leaders. It may be too early to say the war on fun is over, but everyone is certainly enjoying a welcome cease-fire. Police Chief Greg Suhr has longstanding relationships with many leaders in the nightlife community -– and he’s someone who says that he goes out regularly and has a son who plays drums for a local band. “I consider many of the people in the entertainment community to be personal friends,” Suhr told us. “And if there’s a problem, I don’t think anyone has been shy about approaching me personally.” At the same time, the industry has taken on a higher political profile in town since forming the California Music and Culture Association two years ago during the height of the conflicts with the city and the ABC. The group now has monthly meetings with a night18 SAN FRANCISCO BAY GUARDIAN

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life liaison that Suhr has assigned to work through issues. “The lines of communication are open. Despite some differences in opinion, there is a growing sense of trust and respect that is developing in these meetings,” CMAC co-chair Alix Rosenthal told us. Rather than bashing the nightclubs as a source of trouble, political officials have been openly courting CMAC, which holds regular public events and forums on nightlife issues, including an “Industry Cocktail Hour with Mayor Ed Lee” on the evening Feb. 29 from 5-7 p.m. at The Grand, a club owned by the newest Entertainment Commission member, Steven Lee. Sup. Scott Wiener has also been a strong advocate for nightlife issues, and has commissioned a city study on the economic benefits of the nightlife industry, which he discusses in this week’s Guardian op-ed and which will be the subject of March 5 rally and hearing at City Hall. Preliminary results in the study, with was conducted by City Economist Ted Egan, show that the nightlife industry generates $4.2 billion in annual spending, $55 million in taxes, and employs 48,000 people. And those figures don’t include outdoor events such as street fairs or the Outside Lands Festival, which another recent study by concert organizers found generated $60.6 million in San Francisco and $6.6 million in surrounding communities last year. “People coming into the city to enjoy themselves is our number one industry,” Suhr said, noting how important it is to balance public safety concerns with support for the city’s cultural and entertainment offerings. Rosenthal said CMAC was happy that Wiener commissioned the study. “This study is going to be helpful,” she said. “We’ll have hard data to show how much the entertainment economy contributes to San Francisco’s entire economy.” 2

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Free Music in the Lounge every night 6:30pm-11pm Weekly Jazz Jam Wed 9:30-11pm Tim Heidecker And eric wAreHeim geT A billion To mAke A movie — And prompTly blow iT All — in Tim and Eric’s Billion dollar moviE. | Photo courtesy of Magnet releasing

..................................................... Wed, Feb 29 Let it Whip!

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................................................... Thurs, March 1 Afro-Cuban dance music

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Awesome explosion TrAsH It’s almost impossible to describe Adult Swim hit Tim and Eric Awesome Show, Great Job!, but “cable access on acid” comes pretty close. It’s awkward, gross, repetitive, and quotable; it features unsettling characters portrayed by famous comedians and unknowns who may not actually be actors. Tim Heidecker and Eric Wareheim, who are much more low-key than the amplified versions of themselves they play on the show and in the new Tim and Eric’s Billion Dollar Movie, discussed the spoils of cult fame the morning after a recent screening in San Francisco. “Seeing the last ten minutes with our hardcore fans — that was the best, because they’re laughing at everything,” Wareheim says. “Versus, we just came from the Sundance Film Festival, and there were good crowds, but there were a lot of people who didn’t know us. It takes awhile to adjust to what we do, like a learning curve.” Though it opens theatrically this week, Billion Dollar Movie has been available On Demand since the end of January. “The idea is to get it out to as many people as possible, especially people who won’t be able to see it in theaters, since it’s a limited theatrical release,” Wareheim explains. “But I also think that by getting it out there [early], our fans are talking about it, and they’ll go again in the theater.” So, how do you transform something comprised of bite-sized insanity into a feature-length film? “Early on, we made a choice not to do a sketch movie, or just editorials

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houSe of fLoyD: The Music of Pink Floyd

8pm: Dark Side of the Moon | 10pm: Wish You Were Here ...................................................

Sat, March 3

DAve hoLLiSteR ................................................... Sun, March 4 Acclaimed pianist

make a long episode of the show,” Heidecker says. “We felt that the pacing would never sustain itself. We tried to pace it in a way that the craziness would be there, but it just wouldn’t be coming at you so rapidly. But still, some people are saying that it’s completely exhausting. For us, we feel like we scaled down, but that might not be the reaction of the man on the street.” “For someone who’s unfamiliar with us, it’s at least an interesting take on comedy,” Wareheim says. “Some people are really going to enjoy it, some people are not going to get it, and some people are going to hate it.” And though Billion Dollar Movie contains its share of boundary-pushing gags (literally, you will gag), Heidecker and Wareheim’s humor also springs from their deliberately crappy production values, inspired by commercials, TV outtakes, and promo videos — and necessitated by their own low budget (title notwithstanding). Still, Heidecker sees the movie as a turning point for the pair. “We’ve been playing with that aesthetic for awhile now, and it is getting a little redundant,” he says. “As in any kind of aesthetic trend, you’re gonna run out of ammunition. I think in a lot of ways, the movie moves past the aesthetic [of the TV show]. We use it in certain places where it’s appropriate, but it wasn’t like, this is all we do. You gotta have other tools in the toolbox.” 2 Tim And eric’s billion dollAr movie opens Fri/2 in Bay Area theaters.

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RicARDo ScALeS

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

Mon, March 5

teenA mARie biRthDAy tRibute w/3 piece & A biScuit ................................................... Tues, March 6 KcRW.com presents:

miA Doi toDD + beLLS ...................................................

Wed, March 7

oRQueStA LA moDeRnA tRADiciÓn ................................................... Fri, March 9 Grateful Dead Homage

the american beauty project feat. Catherine Russell, David Mansfield, Ollabelle & Jim Lauderdale

oakland 510 embarcadero west, 510-238-9200

Wed-Thurs, Feb 29-Mar 1

ALLen touSSAint Fri-Sat, March 2-3

john SAntoS Sextet cARibe/bRAZiL

w/Jovino SantoS neto & antHonY blea Sun, Mar 4

LiZ StoRy .................................................. Tues, Mar 6

SteW & tHe negro probleM ..................................................

Wed, Mar 7

bARRon eDWARDS’

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pAtRiciA bARbeR

Sat, Mar 10 Grateful Dead Homage

tHe aMeriCan beautY proJeCt

feat. Catherine Russell, David Mansfield, Ollabelle & Jim Lauderdale ...................................................

Sun, Mar 11

LuA hADAR w/ tWiSt ................................................... Tues, Mar 13 Jazz-fusion supergroup

the GeoRGe bRooKS & KAi ecKhARDt tAnGentiAL expeRience All shows are all ages. Dinner Reservations Recommended.

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FEBRUARY 29 - MARCH 6, 2012 / SFBG.com

19

arts + culture: music

alien She: eMerald, Sapphire and Gold.

for more music content visit sfbG.com/noise

The UnidenTifiaBle dance GrooveS of eSG )PX B HSPVQ PG TJTUFST GSPN UIF 4PVUI #SPOY NBEF NVTJD PO UIF DVTQ PG QVOL OP XBWF BOE IJQ IPQ By Michael KriMper arts@sfbg.com MUSic Even the strangest sounds tend to lose their unfamiliar aura after a few listens. But no matter how many times I spin ESG’s “UFO,� I find myself utterly incapable of identifying that synthetic warbling that meanders through the minimal groove. Is it water gurgling in old gas pipes, a whirling police siren, the ferocious grumbling of a subway train? Or something more disturbing: Clanging echoes of gunfire, successive bursts of city noise filtered through apartment hallways? It’s as if the song prompts a flux of associations that never find a place to rest. But as much as the song prompts a heavy dose of uneasiness, it works a curative spell on the body. That mysterious noise, whose relentless growth heightens the pulse

of the rhythm, ultimately triggers an urge to break out in rhythm, and to put it quite simply: dance. “Coming up in the South Bronx, in the 1970s, we watched Star Wars and Close Encounters of the Third Kind,� says lead vocalist and writer, Renee Scroggins, who together with her sisters — Valerie on drums, Deborah on bass guitar, and Marie on congas — originally composed ESG with a couple friends. “At the end of Close Encounters, they have that do do do do in the background when they communicate with the aliens,� she continues. “So I was sitting at home one day, and I thought: What would it be like if a UFO just landed in the middle of the projects? And that’s how I wrote the song. It begins with chaos and craziness, because I know what would happen,� she laughs. Over 30 years have passed since ESG (Emerald, Sapphire and Gold)

pressed “UFO� to wax on its debut seven-inch for Factory Records in 1981. Today, the unlikely story of the vinyl’s origins seems to be the stuff of lore. While still teenagers, the Scroggins sisters had been performing in New York’s downtown scene for a couple of years. “We were opening for A Certain Ratio at a club called Hurrah in New York when Tony Wilson [of Factory Records] heard us,� Renee recalls, “and he said, ‘how would you like to make a record?’ I was like, yeah sure, because I didn’t think he was serious. But this was on a Wednesday night, and by Saturday, we were in the studio recording with Martin Hannett.� Hannett, Factory’s eccentric in-house producer who is likely best known for his work on Joy Division, lent his uncanny touch to ESG’s sound. Bookmarked by the diss song “You’re No Good�

and the other end of the love spectrum, “Moody,� with its emotional highs and lows, the EP consists in a stripped down polypercussive funk that would mark ESG’s style for the rest of its output: loosely structured drum patterns weave around pockets of emptiness and stark bass lines, letting Renee’s vocals flutter and hypnotize. It caught the attention of Ed Bahlman at NY’s 99 Records, who was already unofficially managing the outfit but hadn’t realized its full potential in the studio. The Scroggins followed with another EP and recorded their debut full-length for 99, Come Away with ESG, at Radio City Music Hall in ‘83. Come Away solidified its magnetic role during a fertile period of New York’s musical history, in which at least three strands of musical forms encountered each other to unexpected effect. The angular edge of postpunk deconstructed the blues guitar, no wave bands challenged rock purism by stressing the danceable groove, and block parties exploded in the South Bronx, establishing the conditions for what would eventually come to be known as hip-hop. ESG — which shared the stage with the Clash, Gang of Four, and Grandmaster Flash, and performed at Paradise Garage, Danceteria and the Mudd Club — was at the threshold of all this momentum. What might single ESG out from its peers, though, is its rooted lineage in soul. “James Brown is definitely one of the biggest influences on my writing style,� says Renee. “He would always take it to the bridge, and cut loose, and I’d be like — ‘I didn’t want that part to ever end!’ But, I thought, if I could write a song, and just keep that bridge part going, then people could dance all night.� It’s not all that surprising that ESG’s talent for elaborating, intensifying, and prolonging the aesthetics of the bridge, in frenetic jams off its debut like “Dance,� “The

Beat,� and “Christelle,� would correspond with the birth of the DJ, who would attempt a similar effect by looping breaks found in dusty bins of soul, funk, and rock. Soon enough, “UFO� became one of those sampled records. Listening to “UFO� is all the more disorienting because of the overwhelming dispersion of offspring it calls to mind. That synthetic siren has been sped up, modulated, faded behind layers of reverb, or even spliced in its pure form onto a new backbeat. There are too many to name: Big Daddy Kane’s “Ain’t No Half Steppin’,� Notorious B.I.G.’s “Party and Bullshit,� and countless more from J Dilla, Beastie Boys, QBert, among hundreds, if not thousands of others. You’d think that such an influential legacy would neutralize “UFO,� finally render it to that sterile status of the familiar, but the effect is much the opposite, as if its staggered mutations have only increased the alien, yet maddeningly ecstatic element, within the song. ESG returned to the recording studio in the 2000s, introducing both Renee’s daughter as well as Valerie’s to the family venture. It dropped two albums of solid new material for Soul Jazz, which also released compilations of its classic singles and rarities. But after more than 30 years of performing and making raw grooves as well as some pop oriented songs in the mix, ESG plans to self-release its final record, Closure, this month (www.esgclosure. com), to coincide with a farewell world tour. So this might just be the last time its unidentified funk touches down live in San Francisco. 2 esG Presented by No Way Back, With DJ sets from Solar, Conor, and Junior Sat/March 3, 9 p.m., $20 Mezzanine 444 Jessie St., SF www.mezzaninesf.com

oakland music complex Monthly Music Rehearsal Studios

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

oaklandmusiccomplex@gmail.com

20 SAN FRANCISCO BAY GUARDIAN

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aRts + cultuRE: music

ThE 13 FlooR ElEvaToRs FoUndER siTs now in his own soniC laByRinTh.

BaCk in sighT

no longer missing psychedelic architect Roky Erickson

By Tony PaPanikolas arts@sfbg.com MUsiC Roky Erickson spent much of the past few decades as the subject of endlessly rehearsed cautionary tales about the dangers of mind-altering drugs and mental illness, and romantic anecdotes framing him as a quasi-oracle, gifted and cursed with a second hearing into the weirder vistas of rock ‘n’ roll. Following the release of Keven McAlester’s You’re Gonna Miss Me in 2005, Erickson reemerged as a subject of a different kind, as McAlester’s documentary dispelled some of the more profound biographical shadows, shedding light on the catalogue of ghosts and demons that haunt Erickson’s expansive body of recorded work. Now 64, Roky Erickson has had such an indelible influence on psychedelic music, many would call him an architect. In the 1970s he reappeared, Rip Van Winkle-like, to a changed pop music landscape, where he would take a nascent approximation of punk and run it through his own esoteric sensibilities (“horror rock,” he called it), stumbling upon a lo-fi home recording aesthetic in the interstices of this period, though largely out of necessity, mind. Most recently, Erickson carved out a provisional home in windswept and country-inflected indie. Never permanent, these dwellings serve as temporary shelters — motel rooms — for a restless editorials

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and untethered voice, part Hank Williams, part Howlin’ Wolf, but even this doesn’t do it justice, and the veritable grimoire of demonic (lately divine) lyrical figures through which it moves. His most recent record, True Love Cast Out All Evil (2010, ANTI-) — his first new material in more than a decade — saw collaborating band Okkervil River orchestrate a ghostly kind of folk rock capable of tracing the unpredictable contours of Erickson’s musical ideas. But the most memorable moments occur when the smooth continuity of the record is punctuated by intimate and acoustically frayed sounds emphasizing the fragile nuances of Roky’s performance. The music dissociates into a field of droning harmonies, interspersed with snatches of studio banter, of singing birds and rapidly cycling TV channels. It’s hard not to hear these fragmentary moments as consciously referencing the intrusive sounds and voices that partially characterized his mental illness, yet here they have the feel of an exorcism, casting out, as it were an insistent static. If there’s an underlying consistency to his immense and scattered catalogue, it’s that Erickson is a consummate blues singer, keenly attuned to the expressive potentials of rock n’ roll, and moreover, preternaturally skilled in reaching his listeners. Roky built up a rich lyrical world of vampire bats and B-movie extraterrestrials, and intangible vibrations that, in the picks

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minds and ears of listeners, came to stand in for a wealth of emotional timbres. We feel, however faint or garbled, a connection through the cadences and inflections of Erickson’s voice. Like reading a novel written in a language you only half understand, you experience his music through these shifts in tone, through his alternating waves of anger and frustration and sadness, and the rare moment of contentment where Erickson retires into a sonic labyrinth of his own design. When Elvis Presley died, Lester Bangs made the observation that we were all, effectively, saying goodbye to one another, having lost a figure whose music we could all come to a tentative agreement. Bangs’ fantasy of a capacity for a radical and far-reaching empathy encoded rock ‘n’ roll is one that we’ll most likely never stop repeating to ourselves. Presently, it’s an invitation to patiently listen as the haunting and singular voice of the 13th Floor Elevators, of Roky Erickson and the Aliens, and a vast catalogue of hotel tapes and live recordings and rarities drifts from Austin to San Francisco. 2 Roky ERickson With the Night Beats Sat/3, 9 p.m., $25 Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.slimspresents.com

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FEBRUARY 29 - MARCH 6, 2012 / SFBG.com

21

arts + cULtUre: visUaL art

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22 SAN FRANCISCO BAY GUARDIAN

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²-BOE 6TFÂł FYBNJOFT QBTUPSBM MJWFT UISPVHI B DPOUFNQPSBSZ MFOT By Cynthia SalaySay arts@sfbg.com ViSUal aRt Artists are makers, though rarely of history. But Fernando GarcĂ­a-Dory and Amy Franceschini, two internationally recognized artists, seem to have a gift for it. “Perhaps,â€? GarcĂ­a-Dory says, “when you start with a long perspective on history, you start to make history as well.â€? At the David Brower Center’s Hazel Wolf Gallery, their joint show “Land/Useâ€? presents work that is whimsical and futuristic, yet rooted in traditional agricultural values. It’s like Disney’s Tomorrowland — but on an urban farm, where wheelbarrows are pedal-powered. Or on the rolling green pastures of Spain, where sheep wear GPS transmitters around their necks. Franceschini is one of San Francisco’s own. Her Victory Garden project in 2007 caught the fancy of SF City Hall, with pieces like Trike — a part-cycle, part-wheelbarrow, designed to contain all the supplies necessary to build a small garden. Soon the city began encouraging its residents to grow food, as it did in World War II. City Hall was decked out in raised garden beds, and residents throughout the city began their own vegetable patches. GarcĂ­a-Dory, from Madrid, has worked extensively with the dwindling Basque shepherds of the Pyrenees, where they have lived for centuries. His images and films portray white-haired men stacking golden cheese in ancient caves, or facing the wind, shearing one of their grim-faced flock. The images come from the Shepherds School he created, and from his World Gathering of Nomadic Peoples (2005), in which shepherds and goatherds around the world came together to talk about their way of life, which has become

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so rarified in these modern times. GarcĂ­a-Dory’s work, in part, uses new technology to protect mobile pastoralism, as it’s called. His piece Bionic Sheep sits in the foyer of the gallery. The device emits ultrasound waves to repel wolves, as shepherds in Spain are no longer allowed to kill them to protect their flock. It also has a GPS so shepherds can keep track of their flock without being chained to the pasture. “They can stay at the bar, and have another beer,â€? Dory explains. Adds Franceschini, “The role of art for us is, in part, utility. It has this negative connotation in the art world, but I think for us it’s important for the work we’re doing to be useful.â€? Their first collaboration, Shepherd’s Wagon, a Blueprint, is “like the blueprint for a molecule that was sent on the Voyager shuttle to Jupiter,â€? says GarcĂ­a-Dory. “It’s a way of saying, ‘Here, it’s a model, and it can be reproduced.’â€? A canopy reaches out over the gallery, mimicking the awning of a shepherd’s wagon, where they sleep. Wooden chairs and a communal table fold down from the wall. As part of the installation, Franceschini and GarcĂ­a-Dory invited young farmers, shepherds, and naturalists to sit together beneath their fragile roof. The forum’s purpose: to discuss how to balance the environmental concerns of naturalists with those of farmers and pastoralists, and forge a new network for social activism. The gallery still holds some of the collective energy of the group. Remnants of their brainstorm litter the gallery like leaves blown over a sidewalk — a chaos of hopeful thoughts and ideas. Phrases like “We all need to come back to understanding the Farm Bill,â€? and “Let’s Shadow Each Other Voluntary Exchange Programâ€? hang from the music listings

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walls. “Promoting a gathering as we did, it’s a way for us to be close to the people and have the direct communication that very often we lack in our lives,â€? says GarcĂ­a-Dory. “I haven’t been involved in food politics and land use in the last two years in the Bay Area,â€? Franceschini says. “For me, it’s a check in. Here’s all the people I’ve met from the Victory Gardens, here’s people I’d like Fernando to meet.â€? Although the Bay Area is a hotbed of environmentalism and the slow food movement, awareness of pastoralism is low. “Dory’s reminding us of the history of the Basque sheepherders and the culture that brought shepherding to the American West,â€? says Brittany Cole Bush of Star Creek Ranch. In the East Bay hills, Basque and Peruvian shepherds, along with young shepherds like Bush, use sheep and goats to reduce fire hazard, target invasive plants, and encourage native grasses to grow. “These animals are helping to revitalize the lands, and at the same time they’re producing a local grassfed product that can be taken to market,â€? explains Bush. Adds GarcĂ­a-Dory, “Maybe sheep are the new celebrity, or should be.â€? The Blueprint isn’t finished yet. “The people [at the gathering] said they would like to keep meeting and working, and that was really very encouraging for us,â€? says GarcĂ­a-Dory. “We hope that the heritage of small farmers and shepherds can be a point of anchor for a new movement.â€? 2 Land/Use Through May 9 Hazel Wolf Gallery David Brower Center 2150 Allston, Berk. (510) 809-0900 www.browercenter.org

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arts + culture: dance

choReogRapheR Bill t. Jones with his aRnie Zane Dance company at cal peRFoRmances.

s ic s s a l c e h t g in Revisit

Photo by Paul b. Goode

rks th groundbreaking new wo wi ea ar y Ba e th it vis rs two veteran choreographe

By Rita Felciano arts@sfbg.com Dance This past weekend two master choreographers, each with more than 30 years experience, still managed to surprise us with fresh goods in their dance bags. Ohad Naharin’s Batsheva Dance Company has a welldeserved reputation for physically lush though highly disciplined choreography. Again presented by San Francisco Performances, Batsheva brought the 2007 Max, whose name may be derived from Naharin’s pseudonym of “Maxin Waratt” as the work’s composer — or simply is an abbreviation of “maximum.” What packed in the audience, which included many dancers, was the Bay Area’s first public opportunity to observe “Gaga” in action. Naharin developed this dance technique in the 1990s while recovering from a back injury. Influenced by yoga and improvisation, this new road to expressive potential has developed an almost cult-like following, in part perhaps because it can only be learned from those accredited for teaching it. At the very least, that is new in contemporary dance. Max, though fabulously performed by an ensemble of five men and five women, looked only partially successful. Naharin’s coupling of explosive individuality with strict unisons works as well ever. But this piece’s primary satisfaction came from watching individual dancers so clearly listening to themselves and each other, and then translating the resulting sensations into editorials

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unadorned and spare movement. Even at their most flailing and angular, they proposed stillness and vulnerability. The jerkiness and matter-of-factness in much of the choreography suggested avoidance of transitions, which might be partially responsible for the impressive clarity of Max’s intent. The regimentation of Naharin’s unisons, while implying a sense of community, often looked disturbingly forceful. Max had plenty of those. The family portraits made you want to become a hermit. In its more percussive moments, Naharin’s score of chanting, babbling in madeup languages, and falling water sounded too much like strict commands. But it was in its overall trajectory that Max fell short. The emphasis on stasis within the dance itself — despite its vigorous individuality and countdown of accretions in its latter part — did not sufficiently take into account theatrical time. Early in his career, Bill T. Jones, and his late partner Arnie Zane, pioneered the use of text in dance. At the time, they shocked some, delighted others. Jones has ever since worked to find structural formats with which to employ both of these languages. In his latest endeavor, Story/Time, he has created one of his most delightful pieces yet. In this delicious though quite serious 70-minute entertainment, Jones talks, the dancers dance. Both do it well. Acknowledging a debt to John Cage, who used a similar format in his 1958 Indeterminacy — stringing together randomlypicks

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chosen, one-minute stories — Jones assembled a collection of anecdotes, many of them (no surprise from this artist) autobiographical. Then he and his company developed the choreography that stormed, slithered, and leapt around him as he sat center stage, the fulcrum of the action. With his massive legs bracing a simple table, Jones looked like one of Michelangelo’s prophets. Employing his beautifully modulated and rich voice to marvelous effect, he carefully controlled the timing with pauses, silences, accelerations, and suspensions. Here, the choreographer was also a first-rate musician. Jones’ words originated in real-life observations, musings, opportunities for name-dropping, family history, and, perhaps an urban myth or two. Into the core of these often humorous accounts, Jones also placed a dark, dramatic meditation on death. The tales occasionally left the audience hanging with unanswered questions. Some, probably too many, depended on a punch line to make their point. Story kept viewers on their toes, trying to figure out whether the detailed, chock-full-of-ideas choreography swirled by independently, was engaged in a conversation with Jones’s text, or was acting out a narrative. What was certain: the work got its power from affirming life in all its messiness. It was in the text, the individual dances, the communal lines, and even the double roundelays that opened and closed these well-told tales. 2

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arts + culture: film

LiFe iMitates art: CLara Bow in 1932’s Call Her Savage. | photo courtesy of elliot lavine

DaMe gooD Fun

seedy delights from early Hollywood sleaze up the roxie

By Dennis Harvey arts@sfbg.com FiLM What with the Internet, the paparazzi, Rupert Murdoch’s CIAlevel spy techniques, and the general displacement of actual news by “celebrity news,” it’s pretty hard these days for a star of any sort to keep their debauchery private. Not like the good old days, when Hollywood carefully stage-managed publicity and only those who’d become a real liability risked having their peccadilloes exposed. Such rare windfalls aside, the public were mostly restricted to watching beautiful people behave badly onscreen — a pastime that took a big blow once the censorious Production Code was instituted in 1934. Elliot Lavine’s latest Roxie retrospective of movies from that golden-shower period of post-silents, pre-Nannywood licentiousness — this time entitled “Hollywood Before the Code: Nasty-Ass Films for a Nasty-Ass World!” — provides plentiful early talkie titillation. Now that the bodies involved are long buried, we also know a few tales of their stars’ off-screen misadventures, too. The week-long series of double bills sports its share of familiar titles, notably Howard Hawks’ terrific original Scarface (1934); Edgar G. Ulmer’s Karloff vs. Lugosi smack24 SAN FRANCISCO BAY GUARDIAN

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down The Black Cat (1934); and the first, probably best version of H.G. Welles’ prescient biotech fable Island of Lost Souls (1932). There are women in prison (1931’s Ladies of the Big House), women in Faulkner (1933’s The Story of Temple Drake, a watered-down adaptation of W.F.’s then-notorious Sanctuary), women in everything else (1932’s Three On a Match, whose Depressionera Valley of the Dolls-esque trio includes a very young Bette Davis), and just plain Joan Blondell (1933’s Blondie Johnson). It’s a few choice dames in lesserremembered pictures that provide the biggest “nasty-ass” discoveries this go-round, however. March 4 offers a shocking double dose of pure white femininity finding themselves in, ahem, “Yellow Peril” — miscegenation being something Hollywood could only begin to embrace a few decades later. Frank Capra’s atypically erotic The Bitter Tea of General Yen, with Barbara Stanwyck alllllmost surrendering the white flag to a “charismatic Chinese warlord” (Swede Nils Asther, eyes narrowed), has become a minor classic since flopping in 1933. No such luck for The Cheat (1931), a remake of Cecil B. DeMille’s 1915 shocker that was part of Paramount’s brief, failed attempt to make stage sensation Tallulah Bankhead a movie star. Her gammusic listings

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bling-addicted socialite gets branded (literally) in lieu of repayment not by the original’s Far East businessman (dashing Sessue Hayakawa) but by a mere rich Caucasian perv with Sinophile pretensions (Irving Pichel). The big courtroom climax is a notable howler. Bankhead remained a Broadway star and a popular “personality,” her throaty voice hinting at a semi-private life that included a great deal of bourbon, a fondness for unexpected nudity, and sexual appetites all along the Kinsey scale. After two decades off screen she arguably found her camp métier as a berserk Bible-clutching hag terrorizing Stefanie Powers in 1965’s Die! Die! My Darling. Much less of a survivor was poor Clara Bow, who was beloved when she played the wild thing yet unduly punished when it turned out that role had relevance in real life. The quintessential flapper and “It Girl” (“it” meaning sex appeal) was never much of an actress, but an incandescent, live-wire screen presence. Call Her Savage (1932) is a preCode jaw-dropper that was supposedly her personal favorite. Running an A-to-Z gamut of emotions (and hairstyles), her Texas heiress heroine Nasa “Dynamite” Springer is “never two minutes the same” — a nice way of saying she’s nuts. In 88 minutes she rides a horse like

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arts + Culture: film it’s something else, plays with her mastiff likewise, is near-raped by an estranged husband, turns streetwalker, causes a brawl in Greenwich Village café catering to “wild poets and anarchists,” gets in two catfights, hits the bottle, and finds peace upon discovering she’s a part Indian “half-breed,” which apparently explains all. Emotionally unstable, due in part to a pretty horrific upbringing, Bow must have related. At the time she was enduring myriad problems, notably some embarrassing public revelations spilled by a blackmailing secretary. Savage would be her nextto-last film, after which she retired into a deep and troubled seclusion. Heading thataway as well was Juanita Hansen, a silent star who’d gone down in flames a decade earlier thanks to a “Queen of Thrills” image that unfortunately she enacted a little too enthusiastically in real life. She quit cocaine, got hooked on morphine, quit that, and became an anti-drug crusader — but nothing re-ignited her career. Certainly not lone comeback vehicle Sensation Hunters, a 1933 Poverty Row exploiter in which she was fifth-billed as “Trixie Snell,” manager-slashmadam to a troupe of “Hot-Cha Girls” who kinda dance, kinda sing, but mostly roll customers at Panama City’s “Bull Ring Club.” It was a sad exit. Puffy and peroxided, Hansen is all too convincing as a woman with too many hard miles on her to go anywhere but further downhill. Waaaay uptown — glittering Broadway via glossy Paramount — 1934’s Murder at the Vanities offered the last hurrah for pre-Code naughtiness. And what a hurrah: chorus girls in pasties and less (at one point they simply clutch boobs as if on a latter-day Vanity Fair cover); production numbers like “The Rape of the Rhapsody” (the “rape” being Duke Ellington’s “colored” jazz musicians and dancers invading a classical orchestra with something called “Ebony Rhapsody” — until a white gangster jokingly machine-guns them all down); plus sexual humor so blunt that Jack Oakie ends the film telling a giggly blonde “Come on, let’s do it,” meaning exactly what you think. On the side of the angels — definitely for losers here — there are numerous horrible songs (excepting standard “Cocktails for Two”), gag-inducingly sweet romantic leads, and kitschy-great ideas like having stage impresario Earl Carroll’s patented “Most Beautiful Girls in the World” pose en masse as tropical waves and cosmetics products. Representing Satan and editorials

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evening gown-wearing pot smokers everywhere is villainous Gertrude Michael, who infamously sings torch song “Sweet Marijuana.” Michael was an elegant stage and radio star whose own recreational taste leaned more toward cocktails for one. Indeed, she was fictionalized as the hard-drinking love object in one-time lover Paul Cain’s 1932 novel Fast One, an early classic of hard boiled American pulp. Saving the sleaziest for last, the series will truly flabber your gast with its closer. Normally prim MGM found itself reviled in early 1932 with the fleeting release of Tod Browning’s Freaks (playing the Roxie March 3), a much-misunderstood, now celebrated fable starring actual circus sideshow performers. It was considered so grotesque and unsettling that Freaks was banned in many areas — Britain didn’t see it until 1963. Yet there’s no evidence of any similar backlash to the infinitely scuzzier Kongo, unleashed by Metro a few months later. A remake of Browning’s 1928 Lon Chaney vehicle West of Zanzibar, it stars Walter Huston as wheelchair-bound “Deadlegs” Flint. He’s used cheap magic tricks to appoint himself fearsome white-man “god” amongst spear-carrying tribesmen in a “dunghill” African outpost, all part of an elaborate, insidious plan to wreak vengeance on the rival who stole his wife and health long ago. What this revenge eventually encompasses reads like a list of nearly everything the Production Code would soon bar from the screen: depicted or suggested drug addiction, alcoholism, prostitution, rape, sadism, and a convent-bred ingénue (Virginia Bruce) recalling “hot hairy hands pawing and mauling” her unwilling virginal body. Not to mention human sacrifice and a unique substance abuse “cure” using leeches. One can almost hear the censuring voice of Will Hays, the Code’s original enforcer, when one character tells Deadlegs “The swamp’s wholesome compared to you!” It would arguably be 40 years before MGM distributed another movie so flagrantly perverse — and even then the studio was so ashamed they put it (Paul Bartel’s 1972 Private Parts) out under a fake subsidiary’s auspices. 2 Hollywood Before tHe Code: Nasty-ass films for a Nasty-ass world!

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FEBRUARY 29 - MARCH 6, 2012 / SFBG.com

27

Music listings SuNDAY/4

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folk / world/country

Justin Ancheta (MFO 1BSL 4UBUJPO %JBNPOE 4' XXX KVTUJOBODIFUB DPN QN GSFF Twang Sundays 5IFF 1BSLTJEF QN GSFF 8JUI #BSCXZSF .BVSJDF 5BOJ 'SJFOET

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2/29

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for more arts content visit sfbg.com/pixEl_vision 5IVST 4BU QN 5ISPVHI .BSDI /P /VEF .FO 1SPEVDUJPOT QFSGPSNT 4VTBO 4PCFMPGGµT UBMF PG UXP TJTUFST USZJOH UP CBMBODF GJOBODJBM TUBCJMJUZ BOE DBSFFS TBUJTGBDUJPO

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1

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In Darkness "HOJFT[LB )PMMBOE JT UIBU LJOE PG GJMNNBLFS XIP DBO CFDPNF B XFMM LOPXO SFTQFDUBCMF WFUFSBO XJUIPVU BOZPOF CFJOH RVJUF TVSF XIBU UIPTF EFDBEFT IBWF BEEFE VQ UP )FS NFOUPS XBT "OES[FK 8BEKB UIF MBTU IBMG DFOUVSZµT MFBEJOH 1PMJTI EJSFDUPS BNPOH UIPTF XIP OFWFS MFGU )F IFMQFE TIBQF B QFODIBOU GPS IFBWZ IJTUPSJDBM ESBNB BOE B TPNFUJNFT DMVOLZ TUZMF OPU GBS GSPN IJT PXO 4IF DPNNFODFE IFS JOUFSOBUJPOBM DBSFFS XJUI µT Angry Harvest BCPVU UIF BNPSPVT SFMBUJPOTIJQ CFUXFFO B 1PMJTI NBO BOE UIF "VTUSJBO B +FXJTI XPNBO IF IJEFT EVSJOH /B[J PDDVQBUJPO )FS POF JOEJTQFOTBCMF GFBUVSF JT µT Europa, Europa BO JEFBM WFIJDMF GPS IFS GBWPSFE NJY PG UIF HSPUFTRVF TPCFS BOE GBDUVBM ± GPMMPXJOH B +FXJTI CPZ XIP QBTTFE BT "SZBO (FSNBO 5IF OFX In Darkness JT IFS CFTU TJODF UIFO BOE JU DBOµU CF DIBODF UIBU UIJT UPP ESBNBUJ[FT B OPUBCMZ CJ[BSSF DBTF PG SFBM MJGF QFSJM BOE TVSWJWBM VOEFS UIF /B[JT *UT QSPUBHPOJTU JT -FPQPME 4PDIB 3PCFSU 8JFDLJFXJD[ BO PSEJOBSZ GBNJMZ NBO JO -WPW 1PMBOE UIFO 6LSBJOF OPX XIPµT OPU BCPWF FYQMPJU JOH UIF EJTBSSBZ PG PDDVQBUJPO BOE XBS UP NBLF FOET NFFU " TFXFS JOTQFDUPS IF VTFT IJT LOPXMFEHF PG VOEFSHSPVOE UVOOFMT UP IJEF +FXT XIP DBO QBZ FOPVHI XIFO FWFO UIF GFODFE PGG HIFUUP JT OP MPOHFS TBGF 'PS TVDI B MPOH PQQSFTTJWF BOE MJUFSBMMZ EBSL GJMN UIJT POF QBTTFT RVJDLMZ NBJOUBJOJOH UFOTJPO BT XFMM BT B QBMQBCMF QIZTJDBM EJTDPNGPSU UIBU EPVCU MFTTMZ TVHHFTUT KVTU B GSBDUJPO XIBU UIF SFGVHFFT BDUVBMMZ TVGGFSFE In Darkness JTOµU RVJUF B HSFBU NPWJF CVU JUµT B QPXFSGVM FYQFSJFODF "U UIF FOE JUµT JNQPTTJCMF UP CF VONPWFE OPU MFBTU CFDBVTF UIF EJSFDUPSµT SFTJTUBODF UPXBSE 4QJFMCFSHJBO FYBMUBUJPO JOTJTUT PO UIF CBOBM BOE FWFSZEBZ FWFO JO IVNBO USJVNQI Embarcadero. )BSWFZ

Rampart 'BOT PG Dexter BOE B DFSUBJO EBSL LOJHIU XJMM FNQBUIJ[F XJUI UIJT GJOBM IPMEPVU GPS SPHVF MBX FOGPSDFNFOU -"1% TUZMF JO UIF XBOJOH EBZT PG UIF MBTU DFOUVSZ "OE 8PPEZ )BSSFMTPO NBLFT JU FBTZ GPS FWFSZPOF FMTF UP TVNNPO B MJUUMF TZNQBUIZ GPS UIJT EFWJM JO B CMVF VOJGPSN IF TMJQT TP DPNQMFUFMZ CFIJOE UIF TVO BOE CPP[F CVSOU GBDF PG %BWJE ²%BUF 3BQF³ #SPXO BO -"1% DPQ XIP SJEJDVMFT ZPVOH GFNBMF DPQT XJUI UIF TBNF TDBSZ CVMMZJOH DFSUBJOUZ UIBU IF BQQMJFT UP JOUFSSPHBUJPOT XJUI CBE HVZT 5IF QJDUVSF JT DPNQMJDBUFE IPXFWFS CZ UIF DPOTUFMMBUJPO PG XPNFO UIBU %BUF 3BQF IBT TIFMUFSFE IJNTFMG XJUI "MXBZT DSVJTJOH GPS PUIFS MPOFMZ IFBSUT MJLF MBXZFS -JOEB 3PCJO 8SJHIU IF TUJMM MJWFT XJUI UIF UXP TJTUFST IF PODF NBSSJFE $ZOUIJB /JYPO "OOF )FDIF BOE UIFJS EBVHIUFST JODMVEJOH UIF SFCFMMJPVT )FMFO #SJF -BSTPO XIP TFFNT UP TFF IFS GBUIFS GPS XIP IF JT ± B GMBXFE GMBJMJOH BOUJ IFSP TVGGFSJOH GSPN TFWFSF UFTUPTUFSPOF QPJTPOJOH BOE HJWFO UP BDUJOH PVU )BSSFMTPO EPFT BO 0TDBS XPSUIZ KPC PG IVNBOJ[JOH UIBU FWFSZEBZ NPOTUFS BT EJSFDUPS 0SFO .PWFSNBO µT The Messenger XIP DPXSPUF UIF TDSFFO QMBZ XJUI +BNFT &MMSPZ UBLFT IJT UJNF UP CMVS PVU BOZ SFTJEVBM KVEHFNFOU XJUI CPLFI JTI QPJOUT PG MJHIU XIJMF #SPXO ± B GMJQ MFHJU TJEF PG 5SBWJT #JDLMF ± KVTU LFFQT ESJWJOH VOBCMF UP TFF IJT XBZ PVU PG UIF EBSL OFTT Embarcadero. $IVO

Roadie .JDIBFM $VFTUBµT GJSTU GJMN BT CPUI EJSFDUPS BOE XSJUFS BHBJO DP BVUIPSJOH XJUI CSPUIFS (FSBME TJODF µT TUBSUMJOH EFCVU GFBUVSF L.I.E. JT BMTP IJT CFTU XPSL TJODF UIFO "GUFS OFBSMZ B RVBSUFS DFOUVSUZ TQFOU TDIMFQQJOH FRVJQNFOU GPS #MVF 0ZTUFS $VMU ± UIF BSUZ NFUBM CBOE ²%POµU 'FBS UIF 3FBQFS ³ J F ²NPSF DPXCFMM ³ UIBU XBT BMSFBEZ TMJEJOH GSPN UIF TQPUMJHIU XIFO IF TJHOFE PO ± +JNNZ 5FTUFSHSPTT 3PO &MEBSE JT GJSFE UIF SFBTPOT VOLOPXO UP VT 8JUI OPXIFSF FMTF UP HP IF MBOET PO UIF EPPSTUFQ PG IJT DIJMEIPPE IPNF JO 2VFFOT XIFSF IF IBTOµU CFFO TFFO JO BU MFBTU

RISKy BUSINESS? HIGH-SCHooL CoMEDy Project X oPENS FRI/2. photo by beth dubber

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CoNtINueS oN pAGe 32 >>

music listings

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FEBRUARY 29 - MARCH 6, 2012 / SFBG.com

31

film listings ONGOING cont>>

ZFBST .PN -PJT 4NJUI JT HPJOH TFOJMF UIPVHI TPNFIPX IFS EJTBQQSPWBM DPNFT UISPVHI XJUI QFSGFDU DMBSJUZ BOE IBTOµU DIBOHFE JO BMM UIBU UJNF 4FFLJOH B MJRVJE TPMBDF BU B CBS PVS IFSP JOTUFBE SVOT JOUP 3BOEZ #PCCZ $BOOBWBMF XIP CVMMJFE IJN NFSDJMFTTMZ XBZ CBDL XIFO ± BOE JT OPX NBSSJFE UP ²+JNNZ 5FTUJDMFµT³ TUJMM IPU GPSNFS HJSMGSJFOE /JLLJ +JMM )FOOFTTFZ XIP IBT SPDL TUBS BTQJSBUJPOT PG IFS PXO 5BLJOH QMBDF PWFS MFTT UIBO IPVSTµ TQBO Roadie JT B WFSZ TNBMM DIBSBDUFS TUVEZ CVU B XFMM PCTFSWFE POF ²%FWFMPQNFOUBMMZ TUVOUFE CZ SPDL ´Oµ SPMM ³ BT POF DIBSBDUFS QVUT JU XIFO JU FNFSHFT TPNFUIJOH +JNNZ IBT OFWFS MFBSOFE UP NBLF DPGGFF GPS IJNTFMG JUT QSPUBHPOJTU JT UIF LJOE PG MJLBCMF CPZ NBO MPTFS VTVBMMZ GPVOE JO 'PVOUBJOT PG 8BZOF TPOHT BO BHJOH MJGFMPOH BJS HVJUBSJTU QJOJOH PWFS HPPE PME EBZT UIBU QSPCBCMZ XFSFOµU FWFO UIBU HPPE )JT OPTUBMHJB JT BT UPVDIJOHMZ IBQMFTT BT IJT EVCJPVT GVUVSF SF Film Society Cinema. )BSWFZ

A Separation *SBOµT GJSTU NPWJF UP XJO #FSMJOµT (PMEFO #FBS BT XFMM BT BMM JUT BDUJOH BXBSET UIJT EPNFTUJD ESBNB SFGMFDUJOH B MBSHFS TPDJP QPMJUJDBM CBDLESPQ JT TVCUMZ XFMM DSBGUFE PO BMM MFWFMT CVU NPTU PG BMM EFNPOTUSBUFT UIF VOCFBUBCMF WJSUVF PG IBWJOH BO JOUSJDBUFMZ CBMBODFE SFBMJUZ HSPVOEFE TDSFFOQMBZ ± EJSFDUPS "THIBS 'BSIBEJµT PXO ± BT CFESPDL " TPSU PG DPOGSPOUBUJPOBM JNQBSUJBMJUZ JT JOUSPEVDFE JNNFEJ BUFMZ BT PVS QSPUBHPOJTUT /BEFS 1FZNBO .PBEJ BOE 4JNJO -FJMB )BUBNJ GBDF UIF DBNFSB ± PS SBUIFS UIF DPVSU NBHJTUSBUF ± UP QMFBE UIFJS TFQBSBUF DBTFT JO IFS GJMJOH GPS EJWPSDF XIJDI IF PQQPTFT 8F HSBEVBMMZ MFBSO UIBU UIFJS ZFBS XFEMPDL JTOµU SFBMMZ JSSFQB SBCMF UIF GFFMJOHT CFUXFFO UIFN OPU FOUJSFMZ IPTUJMF 5IF SPBECMPDL JT UIBU 4JNJO IBT GJOBMMZ HPUUFO QFSNJT TJPO UP NPWF BCSPBE B DIBODF TIF UIJOLT TIF NVTU TFJ[F GPS UIF TBLF PG UIFJS EBVHIUFS 5FSNFI 4BSJOB 'BSIBEJ #VU /BEFS EPFTOµU XBOU UP MFBWF UIF DPVOUSZ BOE JT OPU BCPVU UP MFU IJT POMZ DIJME HP XJUIPVU IJN 'BSIBEJ XPSLFE JO UIFBUFS CFGPSF NPWJOH JOUP GJMNT B EFDBEF BHP )JT DMPTF BUUFOUJPO UP DIBSBDUFS BOE QFS GPSNBODF EFWFMPQFE PWFS TFWFSBM XFFLTµ QSF QSPEVD UJPO SFIFBSTBM IBT UIF BDVJUZ TQPSUFE CZ DPOUFNQP SBSZ QMBZXSJHIUT MJLF ,FOOFUI -POFSHBO BOE 5IFSFTB 3FCFDL GJUUFE UP B EJTUJODUMZ DJOFNBUJD VSHFODZ PG QBDF BOE JNBHF 5IFSF BSF NPNFOUT UIBU SJTL QVTIJOH QMPU NFDIBOJ[BUJPOT UPP GBS CZ A Separation QVMMT PGG TPNFUIJOH WFSZ JOUSJDBUF XJUI EFDFQUJWF TJNQMJDJUZ PGGFSJOH B TPSU PG JOUFHSBUFE Rashomon JO XIJDI FWFSZ QBSUJDJQBOUµT WJFXQPJOU BT UIF XSPOHFE QBSUZ JT SJHIU ± ZFU JO DPOGMJDU XJUI FWFSZ PUIFS Albany, Embarcadero. )BSWFZ

The Secret World of Arrietty *UµT CFFO GBS UPP MPOH CFUXFFO µT Ponyo UIF MBTU PGGFS JOH GSPN 4UVEJP (IJCMJ BOE UIJT GFBUVSF MFOHUI BEBQUBUJPO PG .BSZ /PSUPOµT DIJMESFOµT DMBTTJD The Borrowers CVU UIF TIFFS CFBVUZ PG UIF TUVEJPµT IBOE ESBXO BOJNBUJPO BOE UIF FGGPSUMFTT XPOEFS PG JUT UBMF NPSF UIBO NBLF VQ GPS UIF XBJU 5IJT 6 4 SFMFBTF VOEFS UIF WFSZ BQSPQPT BVTQJDFT PG 8BMU %JTOFZ 1JDUVSFT DPNFT XJUI BO "NFSJDBO WPJDF DBTU JO DPOUSBTU XJUI UIF 6 , WFSTJPO BOE UIF USBOTJUJPO BQQFBST UP CF TFBNMFTT ± UIPVHI PG DPVSTF UIF CBDLHSPVOE JT TVCUMZ FNCMB[POFE XJUI LBOKJ UIFSF BSF EFUBJMT MJLF UIF EJOOFSUJNF DIPQTUJDLT BOE UIF DIBSBDUFSTµ TQFFDI SIZUINT EPXO UP UIF ²TPV LB³ BGGJSNBUJWF UIBU QFQQFST BMM +BQBOFTF EJBMPHVF )FSF JO UIJT EPXO MPX IZCSJEJ[FE SFBMN UIF GFBSMFTT GPVS JODIFT UBMM "SSJFUUZ WPJDFE CZ #SJEHJU .FOEMFS IBT HSPXO VQ JNBHJOBUJWF ZFU MPOFMZ CFMJFWJOH IFS QFUJUF GBNJMZ JT UIF MBTU PG UIFJS LJOE UIFZµSF #PSSPXFST B SBDF PG UJOZ QFPQMF XIP MJWF CFOFBUI UIF GMPPSCPBSET PG GVMM TJ[FE IVNBOµT EXFMMJOHT BOE UBLF XIBU UIFZ OFFE UP TVSWJWF %FTQJUF UIF XPSSJFT PG IFS NPUIFS )PNJMZ "NZ 1PFIMFS "SSJFUUZ CFHJOT UP FNCBSL PO CPSSPXJOH FYQFEJUJPOT XJUI IFS GBUIFS 1PE 8JMM "SOFUU ± UIFSF BSF DSJNQT JO IFS QMBOT IPXFWFS UIFJS IPVTFµT OFX SFTJEFOU B TJDLMZ CPZ OBNFE 4IBXO %BWJE )FOSJF DBUDIFT B HMJNQTF PG "SSJFUUZ JO UIF HBSEFO BOE DBSFUBLFS )BSB $BSPM #VSOFUU IBT B CJU PG BO VMUFSJPS NPUJWF XIFO JU DPNFT UP SPPUJOH PVU UIF XFF GPML Arrietty NJHIU OPU CF GPS FWFSZPOF ± TPNF LJET NJHIU DIVSO JO UIFJS TFBUT XJUI "%% TUZMF JNQB UJFODF BU UIJT HSBDFGVM HFOUMF UISPXCBDL UP B QSF EJHJ UBM BOJNBUJPO BHF ± CVU JO UIF DBSF PG GJSTU UJNF EJSFD UPS )JSPNBTB :POFCBZBTIJ BOE (IJCMJ NBTUFSNJOE )BZBP .JZB[BLJ XIP XSPUF DP XSPUF UIF TDSFFOQMBZ Arrietty XJMM USBOTGJY PUIFS ZPVOHTUFST BOE BOJNBUJPO GBOT PG BMM BHFT XJUI UIF HMPSJPVT EFUBJM PG JUT OBUVSBM XPSME BMM CFBVUJGVMMZ BNQMJGJFE BOE TVGGVTFE XJUI FWFSZEBZ NBHJD XIFO WJFXFE UISPVHI UIF FZFT PG B QPDLFU TJ[FE BEWFOUVSFS California, 1000 Van Ness, Sundance Kabuki. $IVO

Straight Outta Hunters Point 2 *O GJMN NBLFS ,FWJO &QQT UVSOFE B DBNFSB PO IJT PXO OFJHICPSIPPE #BZWJFX )VOUFST 1PJOU UIF TPVUI FBTUFSO 4BO 'SBODJTDP DPNNVOJUZ CFTU LOPXO CZ PVUTJEFST GPS $BOEMFTUJDL 1BSL UPYJD QPMMVUJPO BOE HBOH WJPMFODF Straight Outta Hunters Point XBT BO FZF PQFOFS OPU KVTU MPDBMMZ CVU JOUFSOBUJPOBMMZ BT JUT SVOBXBZ TVDDFTT PQFOFE EPPST GPS &QQT UP USBWFM XJUI UIF GJMN BOE FTUBCMJTI IJT DBSFFS 5IFTF EBZT &QQT JT OP MPOHFS BO FNFSHJOH UBMFOU ± IFµT B GVMM UJNF JOEFQFOEFOU GJMNNBLFS XJUI NVMUJQMF DSFEJUT JODMVEJOH The Black Rock B EPDVNFOUBSZ BCPVU

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32 SAn FRAnCiSCo BAY GUARdiAn

EditoRiAlS

nEwS

Food + dRink

piCkS

ARtS + CUltURE

"MDBUSB[µT "GSJDBO "NFSJDBO JONBUFT BOE IJQ IPQ GJMN Rap Dreams DPMMBCPSBUJPOT XJUI $VSSFOU 57 BOE PUIFST BOE BO BSUJTU GFMMPXTIJQ BU UIF EF :PVOH .VTFVN VOEFS IJT CFMU 'PS IJT OFXFTU QSPKFDU IF SFUVSOT UP UIF TDFOF PG IJT GJSTU XPSL )F OP MPOHFS SFTJEFT JO #BZWJFX )VOUFST 1PJOU CVU IF TUJMM MJWFT DMPTF CZ BOE IFµT OFWFS MPTU UPVDI XJUI UIF DPNNV OJUZ UIBU JOTQJSFE UIF GJSTU GJMN BOE FODPVSBHFE IJN UP NBLF JUT GPMMPX VQ %FTDSJCFE CZ &QQT BT B ²DPOUJOV BUJPO PG UIF DPOWFSTBUJPO³ MBVODIFE CZ UIF GJSTU GJMN SOHP 2 JOWFTUJHBUFT UIF DPNNVOJUZ BT JU TUBOET UPEBZ XJUI CPUI FYUFSOBM SFEFWFMPQNFOU BOE JOUFS OBM WJPMFODF QSFTTVSFT TIBQJOH UIF MJWFT PG UIPTF XIP MJWF UIFSF *UµT B SBX SFBM TUPSZ UIBU VOTQPPMT XJUI VSHFODZ BOE UIF VOWBSOJTIFE QFSTQFDUJWF PG BO FNCFEEFE FZFXJUOFTT Roxie. &EEZ

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first run venues 5IF GPMMPXJOH JT DPOUBDU JOGPSNBUJPO GPS #BZ "SFB GJSTU SVO UIFBUFST Balboa UI "WF #BMCPB XXX CBM CPBNPWJFT DPN Bridge (FBSZ #MBLF Century Plaza /PPS PGG &M $BNJOP 4PVUI 4' Century 20 +VOJQFSP 4FSSB +PIO %BMZ %BMZ $JUZ Clay 'JMMNPSF $MBZ Embarcadero Center Cinema &NCBSDBEFSP $FOUFS QSPNFOBEF MFWFM Empire 8FTU 1PSUBM 7JDFOUF Four Star $MFNFOU SE "WF kabuki Cinema 1PTU 'JMMNPSF Lumiere $BMJGPSOJB 1PML Marina Theatre $IFTUOVU XXX MOUTG DPN NBSJOB@UIFBUSF Metreon 'PVSUI 4U .JTTJPO '"/%"/(0 Metro 6OJPO 8FCTUFS 1000 Van Ness 7BO /FTT Opera Plaza 7BO /FTT (PMEFO (BUF Presidio $IFTUOVU SF Film Society Cinema 1PTU XXX TGGT PSH SF Centre .JTTJPO CFUXFFO 'PVSUI BOE 'JGUI TUT Stonestown UI "WF 8JOTUPO Vogue 4BDSBNFOUP 1SFTJEJP

OAkLAND

Grand Lake (SBOE 0BLM Jack London Stadium 8BTIJOHUPO +BDL -POEPO 4RVBSF 0BLM Piedmont 1JFENPOU TU 4U 0BLM

BERkELEY AREA

Albany 4PMBOP "MCBOZ AMC Bay Street 16 4IFMMNPVOE &NFSZWJMMF California ,JUUSFEHF 4IBUUVDL #FSL Cerrito 4BO 1BCMP &M $FSSJUP Emery Bay $ISJTUJF &NFSZWJMMF Rialto Cinemas Elmwood $PMMFHF "WF BU "TICZ #FSL Shattuck Cinemas 4IBUUVDL #FSL UA Berkeley 4IBUUVDL #FSL 2

MUSiC liStinGS

StAGE liStinGS

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JACk LEMMON IN The ApArTmenT (1960), SCREENING SUN/4 AT THE CHRISTOPHER B. SMITH RAFAEL FILM CENTER. | courtesy christopher b. smith rafael film center

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340747-00 The following person is doing business as Pak Enterprises 283 4th Ave #4, San Francisco, CA 94118. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date January 24, 2012. Signed by Jung Pak. This statement was filed by Jennifer Wong, Deputy County Clerk on January 24, 2012. L#113521, February 8, 15, 22 and 29, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341070-00 The following person is doing business as J Q Autotech 845 Polk Street, San Francisco, CA 94109. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date February 6, 2012. Signed by Yao Liu, President. This statement was filed by Susanna Chin, Deputy County Clerk on February 6, 2012. L#113525, February 8, 15, 22 and 29, 2012

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for more visit sfbg.com/classfieds FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340812-00 The following person is doing business as Twin Peak Consulting 315 28th Street, San Francisco, CA 94131. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date November 11, 2011. Signed by Alan Tabor. This statement was filed by Melissa Ortiz, Deputy County Clerk on January 28, 2012. L#113520, February 8, 15, 22 and 29, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0340868-00 The following person is doing business as Reed and Stilskin Production LLC 875 Waller Street #2, San Francisco, CA 94117. This business is conducted by an limited liability company. Registrant commenced business under the above-listed fictitious business name on the date April 4, 2007. Signed by Kathryn Reed, member/owner. This statement was filed by Jennifer Wong, Deputy County Clerk on January 27, 2012. L#113522, February 8, 15, 22 and 29, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341053-00 The following person is doing business as Noobís Auto Detail 5120 Equestrian Way Antioch, CA 94531. This business is conducted by limited an individual. Registrant commenced business under the above-listed fictitious business name on the date February 3, 2012. Signed by John Reed Jr.. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on February 3, 2012. L#113536, February 29, March 7, 14 and 21, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341166-00 The following person is doing business as Creekside Villa 696 Monterey Blvd. San Francisco, CA 94127. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Xiaotong Zhu, Manager Member. This statement was filed by Susanna Chin, Deputy County Clerk on February 8, 2012. L#113532, February 29, March 7, 14 and 21, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341206-00 The following person is doing business as Kuíu Up Mexican Maya Cuisine 2052 Mission Street San Francisco, CA 94110. This business is conducted by limited an individual. Registrant commenced business under the above-listed fictitious business name on the date February 9, 2012. Signed by Alfredo Bello. This statement was filed by Mellissa Ortiz , Deputy County Clerk on February 9, 2012. L#113535, February 29, March 7, 14 and 21, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341211-00 The following person is doing business as SF Green Limo 1124 Versailles Ave., Alameda, CA 94501. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date February 9, 2012. Signed by Anoush E. Khajvandi. This statement was filed by Elsa Campos, Deputy County Clerk on February 9, 2012. L#113527, February 15, 22, 29 and March 7, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341272-00 The following person is doing business as 1. Mini Mays 2. Nayos 161 Majestic Ave San Francisco, CA 94112. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date February 1, 2012. Signed by Karen Hastie. This statement was filed by Elsa Campos, Deputy County Clerk on February 13, 2012. L#113529, February 22, 29, March 7 and 14, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341308-00 The following person is doing business as Got2Move? 447 A Visitacion Ave San Francisco, CA 94134. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date January 1, 2012. Signed by David Holsan. This statement was filed by Alex Liang, Deputy County Clerk on February 14, 2012. L#113530, February 22, 29, March 7 and 14, 2012

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341358-00 The following person is doing business as The Light of Stars 265 Valdez Ave. San Francisco, CA 94127. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Carl Woebcke, Owner.. This statement was filed by Alex Liang, Deputy County Clerk on February 3, 2012. L#113537, February 29, March 7, 14 and 21, 2012 NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGE LICENSE Date of Filing Application: February 13, 2012. To Whom It May Concern: The name of the applicant is: URBAN VENTURING LLC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 696 MONTEREY BLVD. SAN FRANCISCO, CA 94127- 2347. Type of License Applied for: 41 ñ ON-SALE BEER AND WIEND ñ EATING PLACE . Publication dates: February 29, 2012. L#113533 NOTICE OF PETITION TO ADMINISTER ESTATE OF: Solomon S. Kahn. CASE NUMBER: PES-12- 295420. To all heirs, beneficiaries, creditors, contingent creditors, and persons who may otherwise be interested in the will or estate, or both, of Solomon S. Kahn. A Petition for Probate has been filed by: Nicole Cronin and Peter Kahn in the Superior Court of California, County of SAN FRANCISCO. The Petition for Probate requests that Nicole Cronin and Peter Kahnbe appointed as personal representative to administer the estate of the decedent. The petition requests authority to administer the estate under the Independent Administration of Estates Act. The independent administration authority will be granted unless an interested person files an objection to the petition and shows good cause why the court should not grant authority. A Hearing on the petition will be held in this court SUPERIOR COURT OF CALIFORNIA, COUNTY OF SAN FRANCISCO, 400 McAllister St. San Francisco, CA 94102. as follows: March 21, 2010, Probate Department, Time: 9:00 AM room- 204. Endorsed Filed, San Francisco County Superior Court of California on February 21, 2012 by Noelia Rivera, Deputy Clerk. If you object to the granting of the petition, you should appear at the hearing and state your objections or file written objections with the court before the hearing. Your appearance may be in person or by your attorney. If you are a creditor or a contingent creditor of the decedent, you must file your claim with the court and mail a copy to the personal representative appointed by the court within four months of the date of first issuance of letters as provided in Probate Code section 9100. The time for filing claims will not expire before four months from the hearing date noticed above. You may examine the file kept by the court. If you are a person interested in the estate, you may file with the court a Request for Special Notice (form DE-154) of the filing of an inventory and appraisal of estate assets or of any petition or account as provided in Probate Code section 1250. A Request for Special Notice form is available from the court clerk. Attorney for Petitioner: William J Rogers, Esq 19 Fourth St., Ste 203 Petaluma, Ca 94952 . TELE: 707-775-3090. #113539 February 29, March 7, 14 and 21, 2012 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-12548402. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Yulia Jong for change of name. TO ALL INTERESTED PERSONS: Petitioner Yulia Jong filed a petition with this court for a decree changing names as follows: Present Name Yulia Jong. Proposed Name: Lera Alexa deJong . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: April 10, 2012. Time: 9:00 AM room ñ 514. Signed by Tomar Mason, Presiding Judge on February 7, 2012. Endorsed Filed San Francisco County Superior Court on September 17, 2011 by The Deputy Clerk. Publication dates February 15, 22, 29 and March 7, 2012. L#113528

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ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-12-548407. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Amy Louise Hall for change of name. TO ALL INTERESTED PERSONS: Petitioner Amy Louise Hall filed a petition with this court for a decree changing names as follows: Present Name Amy Louise Hall. Proposed Name: Amy Louise Reece . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: April 12, 2012. Time: 9:00 AM room ñ 514. Signed by Tomar Mason, Presiding Judge on February 10, 2012. Endorsed Filed San Francisco County Superior Court on February 10, 2012 by The Deputy Clerk. Publication dates February 29, March 7, 14 and 21, 2012. L#113534 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-12-548462. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Shawna Morrison + Jose Ruizvelasco for change of name. TO ALL INTERESTED PERSONS: Petitioner Shawna Morrison + Jose Ruizvelasco filed a petition with this court for a decree changing names as follows: Present Name Drake Ruizvelasco Morrison. Proposed Name: Drake Morrison . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: May 3, 2012. Time: 9:00 AM, Dept 514. Signed by Donald Sullivan, Presiding Judge on February 27, 2012. Endorsed Filed San Francisco County Superior Court on February 27, 2012 by The Deputy Clerk. Publication dates February 29, March 7, 14 and 21, 2012. L#113538 STATEMENT OF WITHDRAWAL FROM THE PARTNERSHIP OPERATING UNDER USE OF FICTITIOUS BUSINESS NAME The registrant listed below have withdrawn as general partner from the partnership operating under the following fictitious business name Philan Aural-Visual Enterprise (dba Philan Enterprises) 915 Fulton Street, San Francisco, CA 94117. The fictitious business name was filed in the County of San Francisco under File# A-0329632-00 on: 8/11/2010. NAME AND ADDRESS OF REGISTRANTS (as shown on previous statement): Mark B. Anstendia 915 Fulton St. San Francisco, CA 94117. This business was conducted by a general parnership. Signed Mark B. Anstendia. Dated: January 23, 2012 by Melissa Ortiz, Deputy County Clerk. #113531 February 22, 29, March 7 and 14, 2012 SWF Seeking Someone to Spoil Me ñ 25, blonde I’m a clean, young sexy girl seeking a generous older man for some adult fun. I can host in a safe, discreet place. Only contact me if youíre serious. Check out my profile and photos at www.EstMen. com/Ashlee4

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