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F . WARREN HELLM A N

July 25, 1934 – December 18, 2011 The Jewish Community Federation and Endowment Fund mourns the loss of Warren Hellman, one of our community’s greatest leaders. His passion for philanthropy and dedication to improving life for San Franciscans and for the Jewish community locally and worldwide is a proud legacy and a virtuous model for civic engagement. Warren once said to his grandchildren, “There’s no such thing as being too philanthropic.” If everyone gave their time and resources like Warren did, the world would truly be a better place. Warren was Chair of the Jewish Community Federation’s Endowment Fund and a member of the Executive Committee of the Board. His contributions to our organization were vast. He enriched our lives and our community beyond measure, helping Federation evolve for success in the 21st century, working tirelessly by our side, never shying away from a good challenge. The JCF is but one of many organizations and causes Warren touched so significantly. As a dedicated student of the Torah, Warren was always finding inspiration and discovering life lessons, particularly in regards to how we treat others and how we use philanthropy to express our values. For Warren, the flaws and mistakes of the human condition were important to appreciate and to contrast with the tremendous potential for decency. We will miss our leader, our mentor and our dear friend. May he rest in peace, and his memory be a blessing for all time. Jewish Community Federation of San Francisco, the Peninsula, Marin and Sonoma Counties 121 Steuart Street, San Francisco, CA 94105 | 415.777.0411 | Jewishfed.org

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[warren hellman] felt an obligation to use his wealth for the common good. editor’s notes

NEWS

The unlikely sheriff

Steven T. Jones steve@sfbg.com

Michael Hennessy has battled through controversies and cop culture to create the most progressive Sheriff’s Department in the nation P6

Occupying the future

Forum raises the question of what’s next for Occupy and the audience offers myriad answers P9

Are we green yet?

San Francisco’s ambitious clean-power program moves toward approval P10

herbwise P11 food + drink

appetitE P12 cheap eats P13 picks

guardian picks P14 arts + culture

Top flight

In 2011, dancers excelled with exciting new work (and vintage classics), and redefined the concept of “performance space” P16

trash

New (open) world order P17

The bottom of the top The year in Gamer P17

The reluctant soloist

Away from his Australia-based band, Michael Beach finds solace in solitude P19

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What we’re listening to right now P19

Curtain calls

The return of the Upstage/Downstage Awards P21

Pre-Occupied

Can the various democratizations of 2011 art trickle up? P22

‘Twas the night before degeneracy... But you can still find great last minute holiday gifts P23

The unbearable triteness of being

Obnoxious I Melt With You is not destined for any top 10 lists P24

SUPER EGO P25 MUSIC listings 26 / STAGE listings 28 on the cheap 29 / FILM listings 30 CLASSIFIEDS 36 editorials

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The right Making CleanPowerSF work way to rebuild CPMC the guardian editorial EDITORIAL The way the San Francisco Chronicle describes it, the city’s new green power program “won’t come cheap.” That’s a line that Pacific Gas and Electric Co. will use over and over again in the next few months as the city finally prepares to get into the retail electricity business, 98 years after Congress mandated public power for San Francisco. CleanPowerSF will offer 100 percent clean energy — and yes, right now, this spring, it will cost a little bit more than buying nuclear and coal power from PG&E. But that price differential will change dramatically in the next few years — if the city goes forward not just with buying and aggregating power from the commercial market but developing renewable energy on its own. That’s the key to the future of CleanPowerSF — and as a proposed contract to get the system up and running comes to the Board of Supervisors, the need for a city buildout of at least 210 megawatts of energy generation capacity is, and must be, an essential part of the plan. The fact that the city, at long last, is moving toward implementing this program is a testament to the work of Sup. Ross Mirkarimi, who pushed it for years, and Sup. David Campos, who more recently took over the lead role. Both deserve picks

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immense credit for their work. As Rebecca Bowe reports on page 10, there’s some disagreement about the contract proposed by the San Francisco Public Utilities Commission. The deal with Shell Energy North America would have the energy giant buy green power wherever it can, deliver it to San Francisco customers along PG&E’s lines — and charge enough to pay for the power and overhead expenses. That, initial reports say, could raise the bill of an average customer somewhere between $7 and $50 a month, depending on use. For most residential customers, the increase is going to be on the low end. The problem is that the PUC estimates from the start that twothirds of the potential customers will drop out of the program and stick with PG&E. That’s an abysmal projection, reflecting in part the PUC’s long reluctance to take the program seriously, in part a failure to plan an aggressive marketing campaign — and in part the lack of a long-term vision for the program. The bottom line is simple: As long as the city is buying energy from somebody else, there are going to be problems. Right now, renewable energy demand exceeds supply, so prices are high. That’s going to fluctuate over the next decade. CONTINUES ON PAGE >>

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By Steve Woo, Emily Lee, and Gordon Mar OPINION As 2011 comes to an end, San Francisco witnesses yet another year with community stakeholders and city officials mired in conflict over Sutter Health’s plans to rebuild its massive CPMC hospital system. In what has proven over the years to be an intensely complicated, politicized, and polarizing issue, one important point has been left out of the public dialogue — this conflict is entirely resolvable. Very few parties have stated outright opposition to Sutter’s CPMC project. In fact, the unifying demand of a city-wide coalition with nearly 60 community and labor organizations is to “Rebuild CPMC, the Right Way.” What exactly is the “right way?” It’s simple: There’s a proven tool used in cities across America known to resolve complex standoffs such as this one — a community benefits agreement (CBA). A CBA would bring this project to a resolution in two ways. First, it would provide direct accountability between the community and CPMC. A CBA is a legally binding contract between a developer and CONTINUES ON PAGE >>

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Hugely influential political figures died in the last week: Czech playwright-turned-president Vaclav Havel, North Korea’s “dear leader” Kim Jong-Il, and writer Christopher Hitchens, who shaped perceptions of war and religion. But it was the death of investment banker Warren Hellman that has most affected me and the rest of San Francisco. It wasn’t just because I knew and greatly respected the man, but it was how I came to know Warren and the unique role that he played in this polarized city. Up until 2007, I saw Hellman as just another wealthy Republican power broker pumping money into conservative campaigns that the Bay Guardian and progressives were constantly fighting. Even before Occupy coined that new paradigm, I saw him as part of the 1 percent working to keep the 99 percent down, and I bitterly resented what the very rich were doing to San Francisco. But increasingly, Hellman began to break with his downtown allies, partnering with bicyclists, burners, and music lovers on various pursuits. So I decided to do an in-depth profile of this courageously independent man (see “Out of downtown,” 5/19/07) and that evolved into an ongoing relationship. Like everyone else, I appreciate what Warren has done for San Francisco, particularly his creation of the Hardly Strictly Bluegrass Festival, the Bay Citizen, the San Francisco Foundation, and other important institutions. He felt an obligation to use his wealth for the common good. But even more striking was his humble and cooperative approach. He believed luck matters more than ability in people’s socioeconomic status. So Warren brought goodwill and real curiosity to all his interactions — he wanted to learn from San Franciscans of all kinds, to let them shape him and this city. I can think of no better example to follow during this holiday season and the fraught political year that follows. 2 december 21 - 27, 2011 / SFBG.com

editorials making cleanpowersf work CONT>>

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But it’s entirely possible for the city to build its own renewable infrastructure and generate power that will beat PG&E’s prices in the shortterm future — and will be far, far less expensive a decade down the road. CleanPowerSF will never work to its full potential unless the city owns a significant part of the generation system. (Ultimately, the city will never see the full economic benefits of public power until it buys out PG&E or builds its own delivery system.) The PUC included — at the demand of public-power advocates — a clause in the contract stating that a city build-out was part of the plan. The proposal before the board only includes the contract with Shell — but the final deal should include specific plans for how much local power will be generated, how it will be funded — and how it will ultimately replace the power Shell is providing. The city should start right now looking for sites (there’s lots of surplus city land) and seeking bids for construction, and if the PUC can’t come up with enough revenuebonding money, the board should put a comprehensive clean energy bond on the November ballot. The Local Clean Energy Alliance estimates that building 210 megawatts of clean power in San Francisco would generate nearly 1,000 direct jobs and as many as 4,300 indirect jobs. That sort of program would be a boost to the economy and guarantee the city stable energy sources for the future. And it would allow the PUC to market CleanPowerSF not as a plan that will cost consumers more today — but as a plan that the city can allbut guarantee will save you money, substantial amounts of money, over the next 10 years. 2 the right way to rebuild cpmc

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community and labor organizations that can be enforced on an ongoing basis without city involvement. And a CBA gives valuable assurances to developers that community and labor organizations will not politically or legally oppose the project — and in many cases, results in these groups providing public support. Community stakeholders are often positioned to negotiate a stronger agreement than the city. They best understand the needs that have to be met in their neighborhoods and the adverse consequences that have to be avoided. And the city isn’t legally allowed to address any labor issue subject to a collec-

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tive bargaining agreement — but a CBA is an independent agreement that can bring unions to the table in a meaningful way to resolve basic workers’ rights issues. A recently released study by Hastings College of the Law cites the enormous profits made by CPMC ($744 million from 2006 to 2010), yet points out that the organization spends proportionally far less on charity care for poor residents than other private nonprofit hospitals. At a time when the 99 percent are standing up to corporate profiteering, a strong CBA can be a tool to help address the growing inequality in this city. Among other things, a strong CBA should include: Appropriate mitigation fees to address the full impact CPMC’s new workforce will have on one of the nation’s most expensive housing markets. CPMC estimates the project will increase demand for San Francisco housing by 1,440 new households. More job opportunities for San Franciscans. CPMC is projecting an increase of over 4,100 new jobs by 2030, but the city has only negotiated a promise that 40 permanent jobs a year for the first five years will go to San Francisco residents. Basic worker’s rights, including the right for current CPMC employees who are displaced to transfer to comparable jobs at new facilities and the right for workers at the new Cathedral Hill campus to join a union of their choosing without management intimidation. Stipulation of key community clinics for CPMC to partner with. Although CPMC says it will increase its Medi-Cal service, it currently refuses to link its new hospital to any of the major clinics Medi-Cal patients use to access services. A stronger guarantee to operate St. Luke’s Hospital over the long term. CPMC has agreed to a 20-year guarantee but has insisted on a “trigger” clause that will release it from this obligation, of which the details are unknown right now. Without a CBA, the ongoing struggle between CPMC and affected communities across San Francisco will continue to delay this project. CPMC should meet with community stakeholders before any development agreement is approved and negotiate a community benefits agreement. 2 Steve Woo is a Community Organizer with Tenderloin Neighborhood Development, Emily Lee is a Lead Organizer at Chinese Progressive Association, and Gordon Mar is Executive Director of Jobs with Justice.

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DECEMBER 21 - 27, 2011 / SFBG.com

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Sheriff Michael Hennessey tells us the long, strange story of his 32-year career. Guardian photo by Mirissa neff

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Politics Steven T. Jones on the time he spent with Warren Hellman The sleazy operators behind 8 Washington The fate of Sharp Park lies in the hands of Gavin Newsom — ahem, Ed Lee

Noise Le Colonial’s Wednesday night jazz and swing band Cosmo Alleycats finally put out its own album. Localized Appreesh has the scoop We penetrate the fog of CK One that enveloped the Dinosaur Jr. show last week at the Fillmore — check out the flicks Marke B.’s super-secret bonkers top 11 for 2011 — revealed!

Pixel Vision From three-course meals at the Cliff House to offbeat Mission District guidebooks and homemade CDs, perfect last minute gifts Ariel Soto photographs the gonzo circus of Sweet Can Productions POOR Magazine’s revolutionary holiday craft fair

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The unlikely sheriff

Michael Hennessy has battled through controversies and cop culture to create the most progressive Sheriff’s Department in the nation By Steven T. Jones steve@sfbg.com Michael Hennessey has served as San Francisco’s sheriff for half of his life, the longest such career in California history — and by all accounts the most progressive. Since taking office in 1980, Hennessey has been an island of liberal enlightenment in a political climate and law enforcement culture where tough-talking conservatism has been ascendant. Yet in that era, Hennessey pioneered the creation of innovative programs to compassionately deal with drug abuse, violence, recidivism, and lack of education among jail inmates. He proactively brought unprecedented numbers of minorities, women, LGBT employees, and ex-convicts onto his staff. And he sometimes resisted carrying out evictions or honoring federal immigration hold orders, bold and risky socialjustice stands. His stances drew scorn from the local law enforcement community, which never endorsed him in contested elections, and criticism from political moderates and national media outlets. But San Francisco voters reelected him again and again, until he finally decided to retire as his current term ends next month. He credits his success and editorials

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longevity to the people of San Francisco, who have also bucked the harsh national attitude toward criminals and the poor. “San Francisco is still largely a liberal voting town,” he told us in his well-worn office at City Hall, “and not many liberals run for sheriff.” That logic held up in this year’s election when progressive Sup. Ross Mirkarimi — Hennessey’s hand-picked successor — was elected to the post. Mirkarimi, who led a tribute to Hennessey at the Dec. 13 Board of Supervisors meeting, said he’s honored to be able to continue the legacy of someone he called “the most innovative sheriff in the United States.”

Long record Hennessey was a 32-year-old Prisoner Legal Services attorney for the Sheriff’s Department in 1979 as he watched thenSheriff Eugene Brown letting go of reform-minded staffers and ending his predecessor Dick Hongisto’s early experiment with a school in the jail. So Hennessey quit his job and focused on running for the office. “I said to myself that I’m not sure if I’ll be a good sheriff or not, but I know I’m better than anyone else running,” he told us, later adding, “I certainly never expected to be sheriff for 32 years.”

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Rank-and-file deputies — with whom Hennessey has periodically clashed throughout his career — always preferred one of their own in the job. “As seen in this election, they would like to see someone coming from their ranks,” said Hennessey, even though he notes that at this point, he has hired all but three of the department’s nearly 1,000 employees. But Hennessey’s outsider status allowed him to deal with the inmate population in a way that the average San Franciscan appreciated, even if the average cop didn’t. “When you’re in law enforcement, all you see are criminals, victims, and people in law enforcement. But I would talk to all kinds of people in the community,” Hennessey said, noting that his experience as a jailhouse attorney gave him a holistic view of his job. “I worked in the jail and I got to know prisoners as people.” They were people who had certain needs and problems, such as substance abuse, a common problem among criminals. And they were people who would be returning to society at some point, as Hennessey constantly reminded those who expected prisoners to be treated harshly or simply warehoused. So he broke down the wall between the jail and the community, bringing the city’s social music listings

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service providers and educators to work programs in the jails, and developing anti-recidivism and vocational programs that allowed ex-offenders to re-engage with the local community. “Take the bold step of inviting the public in, not all the public, but those who can provide services and help address people’s problems,” Hennessey said. “Then we took the same concept and applied it to violent offenders, which is a little riskier.” But it was a risk that has paid off as recidivism rates among jail inmates has dropped, and it’s been without any serious cases of inmates harming outsiders. Hennessey is particularly proud of the high school he created in the jail, which will graduate its next class on Jan. 3. He said the school can truly transform those who end up behind bars. “It gives them a leg up and it’s like a booster shot,” Hennessey said. “They’re at the lowest point in their lives when the come to jail, and then they’re given an opportunity to accomplish something they haven’t been able to on the outside.” One of many controversial moves during Hennessey’s storied career was his decision to allow female inmates to leave the jails and perform in theaters around San Francisco with the Medea Project, which was created by Rhodessa Jones and the Culture Odyssey art collective to turn the stories of female inmates into plays. “Rhodessa is a very persuasive person who talked me into letting these women out of jail to perform,” Hennessey said, smiling at the memory. “It was very controversial.”

Hiring reformers Hennessey’s mentor in the Sheriff’s Department — the man who hired him, ran his first campaign, and then became his longtime chief-of-staff — was the late Ray Towbis, a tough activist whose social justice stands on behalf of tenants, prisoners, and other marginalized members of society would sometimes put Hennessey into difficult positions. “Ray caused me aggravation many times,” said Hennessey, who nonetheless kept a life-sized cutout photo of Towbis in his office long after he was gone, a reminder to fight for the values he believed in. CONTINUES ON PAGE >>

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There was the time when Towbis angrily flipped over a table and cursed at a panel of parole commissioners after failing to win the release of a model inmate, triggering a demand from the presiding judge that Hennessey fire Towbis, which the sheriff ignored. Later, Towbis adopted a compassionate approach to the evictions that sheriff’s deputies are forced to perform, allowing deputies to spare tenants who were disabled or elderly and personally calling journalists to help publicize cases in which the parties bringing the eviction action might back off. That sensitivity stays with Hennessey today. “That’s one of the tough spots I’m in is doing these foreclosure evictions,� Hennessey said, clearly troubled by his duty but also aware that it is one that he is required to perform, despite pressure from progressive groups urging him to refuse to carry them out. As a lawyer, Hennessey said he must respect court orders and avoid being held in contempt of court, as Hongisto was in the mid1970s for refusing to carry out evictions against tenants in the International Hotel. Hennessey and his staff have always been willing to help tenants resist eviction. His office has an eviction assistance program, and Towbis would sometimes tip off the media to publicize certain unjust evictions. One time, Hennessey said Towbis even called hotel magnate Leona Helmsley and talked her out of allowing her company to evict an elderly ParkMerced resident. Instead, Helmsley allowed the woman to live rent-free for the rest of her life, an unlikely gesture of kindness from the “queen of mean� that Towbis helped publicize. Hennessey draws the line at outright refusal to carry out a judge’s eviction order. “The sheriff shouldn’t be a law-breaker,� he says. Yet Hennessey’s lawyerly approach to complex issues also resulted in his recent policy of not honoring federal detention holds on undocumented immigrants in the jail, after discovering that the holds are administrative — different than arrest warrants — so defying them isn’t a crime. The policy Hennessey created last year was to ignore ICE requests for prisoners who aren’t

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charged with felonies or domestic violence charges, noting that the latter charges are often brought but eventually dropped against people who are the victims of domestic violence. Hennessey tapped federal and foundation grant money to fund his new treatment and educational programs, hiring an ex-convict to write his grant proposals, something that particularly irked many of his deputies. But Hennessey believed that ex-offenders had something to offer the department so he didn’t back down in hiring them,

“ThaT’s one of The Tough spoTs I’m In Is doIng These foreclosure evIcTIons.� — sherIff mIchael hennessey

going so far as to elevate Michael Marcum, who had gone to prison for killing his own abusive father, to the top position of undersheriff in 1993. Police groups were outraged, but Hennessey said he had known Marcum for many years and valued his counsel and perspective on the criminal justice system. “It wasn’t hard because I knew him and I know of his integrity and loyalty,� Hennessey said. Hennessy also irked conservative cop culture for aggressive efforts to make the department more diverse. “We wanted more minorities, we wanted more women, and we wanted gay people,� said Hennessey, who initiated outreach efforts to each of those communities. In 1984, when he approved of an outreach event in Chaps, a gay leather bar in the Castro — complete with flyers around the Castro publicizing the event — it generated a furor that made headlines not just locally in the San Francisco Chronicle, but the National Enquirer tabloid as well. music listings

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Yet Hennessey was able to ride out each of the controversies, many of which happened to fall years away from his next reelection campaign. “Those are good times to make dramatic changes,� Hennessey said. And because he also saw to some neglected basics in the Sheriff’s Department — such as improving training and the jails’ physical structures to prevent escapes and instituting policies to reduce violence between inmates and guards — Hennessey endured and became a beloved sheriff.

Victory of persistence “I’ve always felt somewhat isolated in these beliefs,� said Hennessey, who said that the biggest failure of his career was not proselytizing those beliefs to a statewide and national audience more aggressively. Instead, he has focused on San Francisco, quietly turning the city into a national model for a different kind of policing. Despite his progressive record, Hennessey has won plaudits and respect from across the political spectrum. In the last election, even the cops who sought to replace him and to undermine his endorsement of Mirkarimi — Chris Cunnie, Paul Miyamoto, and David Wong — all praised Hennessey and promised to continue his programs. During the Dec. 13 board meeting, Sup. Mark Farrell — consistently one of the most conservative votes on the board — said he has known Hennessey almost his entire life (the sheriff and Farrell’s dad were law school classmates). “I cannot think of anyone with more integrity, a more trustworthy and honest person, than I’ve ever know in my life,� Farrell said. Sup. David Campos said the immigrant community owes Hennessey a tremendous debt of gratitude. “You have been a tremendous champion for civil rights,� Campos said. “For that, history will judge you very kindly.� It is a history that Mirkarimi pledges to continue. “Who’s going to fill his shoes? It’s impossible,� Mirkarimi said at the board meeting. “But we certainly have an incredible standard to try to live up to.� As for Hennessey, he has a fairly clear idea of what he plans to do now that his long and unlikely run as one of the city’s top cops is over: “I’m going to goof around.� 2

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occupy supporters discuss strategy before the commonwealth club forum. goals of Occupy. They just disagreed on how to get there. Discussing, debating, and creatively bridging these differences has been one of the movement’s greatest struggles. But the more Occupy succeeds on the thorny path to unity, the more its strength builds.

Misrepresenting anarchism

Occupying the future Forum raises the question of what’s next for Occupy and the audience offers myriad answers Yael Chanoff news@sfbg.com It was a funny feeling, seeing so many faces from Occupy San Francisco and Occupy Oakland in the bright, clean “Gold Room” of San Francisco’s Commonwealth Club, particularly after spending so many nights camping with them and covering the movement. But they were there on Dec. 15, just up Market Street from their old campsites, along with a couple hundred supporters and interested community members, attending a forum on “Occupy: What now? What’s next?” Facilitator Caroline Moriarty Sacks announced that she “expected a civic conversation.” What she got was a very Occupy answer to the question of the evening which, in typical style, redefined the very concept of “civic” conversation. The forum involved voices from many different parts of the left. Jean Quan, the Oakland mayor with a progressive activist past. George Lakoff, an outspoken liberal professor of linguistics at UC Berkeley. In the audience, dozens of people who support or are interested in Occupy, the mostly leftist San Francisco political milieu. And, of course, representing most of the panel and a good chunk of the audience were the active occupiers: anarchists, peace activists, labor organizers, and everything in between. During the panels, their perspectives clashed. Yet Occupy strives editorials

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to be a coalition of everyone, and all of these voices will be important as it progresses. Sacks had planned a 90-minute forum, featuring a panel to answer both moderator and audience questions, a break-out session, and summary reports back. In their quest to practice participatory democracy, Occupy protesters have become used to long meetings that strive for non-hierarchical structure and a platform to hear the voice of anyone who would like to speak. If there’s one thing they can all agree upon, it’s that they’re a little tired of waiting patiently for their voices to be heard. During the panel discussion, a few Occupiers started a Peoples Mic, interrupting Mayor Quan. They were escorted out. This fazed no one, and by the time she left the panel, chants demanding her recall rang in the hall. At each disruption, some Occupy-involved folks would object, “Listen to her! I want to hear all viewpoints!” The tone was rowdy, but not aggressive. Minutes after disrupting the forum, protesters were back on schedule, sitting in small groups engaged in dialogue with other audience members. Even Quan was fine with it; she told the Oakland Tribune, “It was a chance to talk and have dialogue...We fostered a debate.” This event was a microcosm of the thorny but crucial way that Occupy is uniting the left. The people in the room had something in common: belief in the visions and picks

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Civil disobedience, peace, nonviolence—all of these are critical concepts for the Occupy movement, and wrestling with them frankly has been part of the long road towards unification. This has been done through the application of what’s originally an anarchist concept: embracing a diversity of tactics. This is what the Occupy protesters did at the Commonwealth Club Forum. Some disapproved of disruptions, others thought them necessary. Individuals acted as they felt was right. The Occupy supporters who turned their backs on Quan and interrupted her didn’t do it because they are inexplicably rude. They gave their reasons, including still being hurt and angry after Quan unleashed police using tear gas, rubber bullets, and aggression to break up their encampment on Oct. 25. Quan also was displeased about that night’s events, saying, “No one is happy about what happened around the tear gas and mutual aid.” The second reason for the reactions was what an Occupy Oakland protester who mic-checked Quan called her “misrepresentation of anarchism.” This has been dismissed and mocked by many press outlets, as if to say: What’s the point of bothering to understand anarchism? Many people who identify with anarchist principles and tactics are involved with Occupy groups. This has contributed to the growth and development of autonomous communities at camps, as many anarchists have extensive knowledge and practice in building alternative communities based on horizontalism and collective management of resources. Occupy’s anarchist roots go deep. This has also created controversy when tactics like property destruction and the black bloc, both associated with anarchism, become a part of Occupy. One example was the bank windows smashed and vacant building occupied during Occupy Oakland’s General Strike on Nov. 2, and riot police again responded with tear gas that night. The next day, 700 attended a General Assembly meeting to focus on discussing violence, its nature, and the ethics surrounding it. Many have been quick to char-

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acterize this ongoing debate as a division in the movement. But if unity is to be achieved, these tough conversations are necessary.

Bringing it home Occupy has been criticized for its lack of leaders, but that has left it open to exciting possibilities. To start a new Occupy project, you just have to convince some people to help you out—you must gain approval from no one. Some have described the organization as a “doocracy.” Don’t ask for permission, they say, just do it. As such, the ideas for moving forward span from handfuls of people on street corners to millions converging on Washington. At the Commonwealth Club, Lakoff presented a concept he called “Occupy Elections.” Lakoff said, “Join Democratic clubs, and insist on supporting those people with your general moral principles. If you join Democratic clubs soon, you decide who gets to run. This is how the Tea Party took over.” Like most ideas floating around in Occupy, there’s already something similar underway. Berkeley resident Joshua Green started the Occupy the Congress initiative, which hopes to organize and fund efforts for candidates “who support the declaration of the occupation of Wall Street.” Congressional candidates such as Elizabeth Warren in Massachusetts and Norman Solomon here in California have expressed support for and goals similar to the Occupy movement. Occupy Washington DC has taken the message to Congress in other ways. In an open forum with supporters and renowned economists, they developed their Budget Proposal for the 99 Percent and are coordinating with Occupy groups throughout the country to call for a National Occupation of Washington DC starting March 30. A call to action like that has a chance of being huge. With the West Coast Port Shutdown on Dec. 12, Occupy has demonstrated an ability to coordinate nationally. Those actions also showed Occupy’s growing unity with labor groups, as ILWU members worked closely with Occupy to plan those actions. On Dec. 6, Occupy demonstrated its dedication to yet another new frontier—occupying foreclosed homes. That was a national day of action called by Occupy Our Homes and Occupy groups in over two dozen cities participated, defending homeowners threatened with eviction and moving the homeless into empty properties. film listings

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Hibernation By the time moderator Melissa Griffin asked her final question to the panel, it was clear that the “civic conversation” had not gone as planned. Two Occupy protesters had been escorted out for interrupting Jean Quan. A handful of others had stood and turned their backs when she spoke. The crowd was restless for their own chance to grill the panelists, and there were only a few minutes left. With a faint look of dismay and hopelessness, Griffin asked the question that had no chance of being quickly answered: What’s next for occupy? She quoted Kalle Lasn, cofounder of Adbusters, the “culturejamming” organization credited with prompting Occupy Wall Street. In a recent interview with NPR, Lasn said: “I think that we should hibernate for the winter. We should brainstorm with each other. We should network with each other and then come out swinging next spring.” Griffin asked the panelists if they agreed with that statement. Of course, some did and some didn’t. In fact, some form of “hibernation” is what many plan to do. In San Francisco, Occupy reading groups, workshops, and educational circles are on the rise. Small actions happen almost daily, ranging from workshops to meetings to marches to pop-up occupations. Occupiers who were kicked out of camps are sleeping in networks of squats, safe-houses, and what one long-time camper described as “little homeless encampments around the city. We don’t put up an Occupy banner, and police don’t arrest us.” The forum was a microcosm of the debates and plans brewing within Occupy, and it ended like most Occupy events. New connections had been made. Most people trickled out while several Occupy campers stayed to help stack chairs and clean up from the event. They all eventually exited the warm building, with its empty lobby that could have slept at least 50 people. OccupySF and Oakland activists chatted and advised each other on where to go. Occupy is a resurgence in the spirit and power of protest and peoples movements, a recognition that the personal is political, that individuals losing their jobs and their homes can have more power in numbers. Organizing and protest has become a lifestyle. As the Occupiers left the Commonwealth Club building, the future seemed thrilling, although many still needed a place to sleep for the night while those possibilities continued to percolate. 2 december 21 - 27, 2011 / SFBG.com

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A contract agreement for San Francisco’s innovative clean energy program, CleanPowerSF, could be approved by the San Francisco Board of Supervisors as soon as January, representing a major milestone for efforts to put the city in the retail electricity business. CleanPowerSF, which stands out as one of California’s most ambitious community choice aggregation (CCA) municipal energy programs, would offer San Francisco customers the option of powering their homes with 100 percent renewable energy instead of the standard mix of predominantly gas and nuclear-generated power supplied by PG&E. According to a draft contract introduced at the board, energy would be purchased on the open market by Shell Energy North America and delivered to residential customers, who would pay a modest premium for the service. The first phase would target a narrow customer base, with plans for expansion. In the long run, the San Francisco Public Utilities Commission (SFPUC) has committed to constructing city-owned wind farms, solar arrays, and combinedheat-and-power systems to generate green power locally, which would ultimately lock in lower electricity rates — but this remains in an early assessment phase. Energy consultant Paul Fenn of Local Power Inc. is conducting the study.

HuRRy up and wait?

The fact that a draft contract agreement is under consideration signifies a breakthrough for a program that for years crept along at a snail’s pace, as tension simmered between SFPUC officials and members of the Local Agency Formation Commission (LAFCo), the body overseeing CleanPowerSF implementation. “We have been waiting for this for so many years,� remarked Sup. David Campos, who chairs LAFCo. editorials

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“We pushed the [SFPUC] really hard.� Yet longtime advocates of San Francisco’s CCA, like Eric Brooks and other environmentalists affiliated with the Local Clean Energy Alliance, worry that CleanPowerSF will never hit its stride because it won’t be accessible to customers who want to go green but can’t afford the higher price tag. In an ironic twist, he and others who previously excoriated the SFPUC for its sluggish progress are now urging the lead agency to pause instead of steamrolling ahead. “We did not want things to go the way they did,� Brooks said. “We’re saying, you should not finalize the contract with Shell until we have the build-out information. It enables us to get better rates,� he added. With detailed, shovel-ready plans in place, Brooks said, arrangements with Shell could hinge on plans for city-owned generation. Early plans for city-generated power call for enough projects and retrofits to account for 360 megawatts of efficient and renewable energy capacity, including 31 MW of solar panels and 150 MW from a wind farm, plus a combination of weatherization and other efficiency measures. The Local Clean Energy Alliance estimates that more than 1,000 jobs associated with these projects could be created within the first three years. SFPUC officials and Campos remain unconvinced that it’s a good idea to hold off on finalizing the Shell contract. “We’re all kind of moving toward the same goal,� SFPUC spokesperson Charles Sheehan said. “If we wait a year or two years, you don’t know what’s going to happen in the future. We have to seize the moment.� Campos and Sheehan both said advocates’ concerns would be addressed by a contract provision allowing the city to swap green power purchased by Shell with green power produced locally, once the electricity becomes available. The SFPUC also agreed to a provi-

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sion committing to the build-out program, on a separate track from the Shell contract. “We’re not going to be able to [start building] unless we have the customer base to begin with,� Campos pointed out. “I have a different perspective in terms of why it’s important to move forward,� he acknowledged, but said he was looking forward to a “healthy debate� at the board. For all its complications, CleanPowerSF is a quintessential example of that progressive adage “think globally, act locally.� In early November, the International Energy Agency issued a warning calling for dramatic changes in power generation. With so many coal-fired power plants under construction worldwide, the agency noted, the opportunity to avert the worst impacts of global climate change will have passed completely by 2017.

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San Franciscans will be able to reduce personal energy usage and perhaps shed some consumer guilt by participating in the CCA program. Under the plan, Shell will purchase electricity from carbonfree sources and sell it to the SFPUC for distribution to CleanPowerSF customers. The shift will green the power mix on the grid while sending market signals that the demand for renewable power is on the rise. At the start of the program, which the SFPUC pegs as July or August of 2012, up to 270,000 residential customers will be automatically enrolled. Targeted customers will also receive notices asking them to choose whether to stay with the program, or opt out and continue receiving power from PG&E. Exact rates won’t be hammered down until February or March of 2012, but preliminary estimates suggest most customers will pay roughly $7 a month more for the green power, though a few (those who use a lot of electricity) could wind up paying as much as $50 more. The price tag could prove to music listings

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be a tough sell, even in affluent San Francisco. “We’ve done extensive market research,� explained Sheehan. “And we have taken into account PG&E’s opposition campaign,� an all-but-guaranteed response to the program which the utility giant unleashed in full force when neighboring Marin County undertook its own CCA. Based on the research, “We are forecasting a two-thirds opt-out rate,� Sheehan explained. Initially, this means only around 10 percent of San Francisco residents — a population likely limited to those in higher income brackets — are expected to enroll. From there, new rounds of enrollment and opt-out noticing would follow. The draft contract includes a $19.5 million appropriation, which includes operating reserves plus a $15 million escrow account. That’s the maximum payout Shell could receive if the city terminated the contract before the agreed-upon date and left the company stuck with unused power. “It’s one way of showing we have some skin in the game,� Sheehan explained. Shell would only be eligible for $15 million at the start of the 4.5 year contract, he added, and even then it would only take effect if Shell was forced to sell the excess power at a lower price than it paid. The Shell contract cannot go into effect until several steps have been accomplished. First, the board must give its stamp of approval for the contract and the $19.5 million appropriation. The SFPUC must then finalize program rates. The SFPUC is also awaiting a ruling from the California Public Utilities Commission (CPUC) determining a bond amount required for all CCA programs. The bond is “kind of a mechanism to make PG&E whole, if in the very unlikely circumstance, this program would cease,� and PG&E had to absorb all CCA customers immediately, Sheehan explained. He said a ruling is expected in February. The plan to offer ultra green power at a higher price is a departure from the original program goals, which were to offer greenerthan-average power at or below PG&E electricity rates. That concept was jettisoned after SFPUC staff determined the objective wouldn’t pencil out in the short term. Whether or not the supervisors will sign off on the contract as it stands remains to be seen, though Sheehan was optimistic. Campos said it would be important to educate members of the board of supervisors and the public about the program. “It’s going to be investment that’s going to pay for itself,� he said, “many years down the road.� 2

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FaiRFax CounCilpeRSon laRRy BRagman in FRont oF the toWn’S noW eviCteD maRin allianCe FoR meDiCal maRijuana | GUARDIAN PHOTO BY CAITLIN DONOHUE the space would soon be gone. “I thought that a press blackout meant that we wouldn’t talk to press,” a woman spits at me when I ask the man at the front desk when they would be closing. It was hard to be frustrated with her truculence. Bragman went so far as to call Haag to try to reason with her letter’s logic. “I said ‘you’re going to encourage the black market traffickers which we all know are a threat to the community. It’s unbelievable. It’s just so stupid.” 2

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Small toWn valueS By Caitlin Donohue caitlin@sfbg.com heRBWiSe When we arranged to meet Fairfax (population 7,500) councilperson Larry Bragman, he suggested a rendezvous at “the coffeeshop.” When asked to be more specific, he clarified he meant Fairfax Coffee Roastery. “But you’ll see it, it’s right there.” Bragman is a San Francisco-educated attorney who began coming to the small Marin County town decades ago. He’s been on town council — whose members pass around the title of mayor every year — since 2003. He was mayor in November, when the four-member council passed Resolution No. 11-58. Bragman’s voice clogs a little with emotion when asked why the resolution was passed. “I don’t understand how you can justify a policy that denies help for patients that are going through that kind of hardship and suffering.” The only medical marijuana dispensary in Fairfax — and improbably, in all of Marin County, where the breast cancer rate in women is nearly 50 percent — closed its doors last weekend. The Department of Justice’s Melinda Haag sent a letter to the Marin Alliance for Medical Marijuana’s landlord, the likes of which are all too familiar to the medical cannabis industry nowadays. The dispensary was located in a school zone. Landlord Fred Ezazi had 45 days to evict the dispensary, it said, or he would face up to 45 years in prison or civil forfeiture. (See 12/14/11’s Herbwise column “For the kids?” about an SF dispensary that received a similar notice) “It feels like a violation,” says Bragman when asked how it feels to be a small town politician being railroaded by federal agencies. Resolution No. 11-58 supports editorials

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the Alliance and other California dispensaries’ right to continue business. San Francisco’s Board of Supervisors passed a similar resolution in October. Bragman insists that the policies his city developed to regulate the Alliance were exemplary. When the dispensary was founded by longtime marijuana activist Lynette Shaw shortly after Proposition 215 passed, Fairfax “had the foresight and courage to create the first use permit in the state of California [for a marijuana dispensary],” says Bragman. When called for comment, the city’s finance director Michael Vivrette said the Alliance was one of the top ten sales tax contributors in a town struggling with budgetary woes. Later, we walk the three blocks to the Alliance, which is (was) located on a quiet street next to a Little League field in a nondescript office building. You have to walk up a flight of stairs and peer inside its windows to even know what it is. A few despondent marijuana patients lingered in the waiting room, sadfaced and bewildered that

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

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aPPeTiTe We seek wine recommends the year ‘round, but never more than the during the holiday season. Here’s some affordable sipping assistance for ringing in the new year or decking the halls with friends. (Key local shops like K&L Wine Merchants, Jug Shop, Arlequin, Bi-Rite, or SF Wine Trading Co., may stock these bottles or can likely get them for you).

going BuBBly Nothing says New Year’s Eve like champagne, and at a recent Bubble Lounge industry tasting my palate was piqued by a few. I cannot afford armand de Brignac champagne, but if you can splurge, by all means, be my guest. Offered in elaborate, hand-carved bottles marked by pewter labels, attention to detail is paramount. Thankfully, the champagne is as elevated as the package. The Blanc de Blanc is buttery with oak, balanced by a chardonnay crispness; the Rose is a gently flushed beauty; Brut Gold is a showcase blend of Pinot Noir, Chardonnay, and Pinot Menuier. I may never be able to stock my wine cabinet with a bottle — it’s often priced at more than $300 a bottle — but I anticipate the joy of tasting it again. However, at a ridiculously reasonable $7.99 per bottle, Spain’s Jaume Serra Cristalino Brut earned my kudos with earthy, citrus notes and bone-dry finish. The Cristalino rose was also lovely, redolent of mushroom and tart cherry, made with Pinot Noir and the less common Trepat grape. Cloverhill Sparkling from Tasmania, priced around $30, is bready and crisp, balanced with honey. Zardetto rose raboso Veronese and Zeta Prosecco are both real values: the Rose is laden with strawberry and vanilla cream, while the acidic Prosecco is food friendly. (Both around $15).

Cider SiPPing

415.826.8116

Now serving Vegetarian Burri@tos 2022 Mission 16th 4697 Mission @ Ocean 12 SAN FRANCISCO BAY GUARDIAN

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With a long American history, cider is low in alcohol and a happy food companion... a welcome change of pace from wine

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and champagne. I received a few samples this fall, my pick being an upstate New York duo. newton Pippin original Sin Cider, is made from single heirloom Pippin varietals, known as “the prince of apples�. Uber dry and crisp, it pairs well with a wide range of foods (I rather like it with pretzels and mustard). Cherry Tree original Sin Cider is a winning combo of tart cherries combined with crisp heirloom apples. (Both come at around $12 per bottle.)

Value WineS A few recent favorites that won’t break your bank: lasseter enjouĂŠ, Sonoma — This $24 rose from the just-opened Lasseter Family Winery (you may know John Lasseter as Pixar-Disney’s CFO and director of films like Toy Story) is a dry Rhone-style rose, whispering with Mediterranean breezes and flower gardens. It’s a Syrah, Mourvedre, and Grenache blend, (enjouĂŠ, means “joyful, playfulâ€?). Although winter might not seem ideal, I’d sip this softly acidic beauty for a winter escape or hold onto it until the days lengthen ... my favorite of the four wines at the elegantly understated winery. John, his wife Nancy, and winemaker Julia Iantosca have a love of Bordeaux and Rhone wines, apparent in their blended wines representing varietals from both regions. Purchase online at www.lasseterfamilywinery.com or at the winery (tastings by appointment). gerard Bertrand Chateau l’Hospitalet, France — 2007 Gerard Bertrand Chateau L’Hospitalet Reserve is one of the better French bargain reds. At a mere $8.99 per bottle, this wine from the La Clape region of the Languedoc is fruitforward, begging to partner with a hearty cassoulet or coq au vin. A blend of 30 percent Grenache, 40 percent Syrah, and percent Mourvedre, its soft spice music listings

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is balanced by minerality and subtle oak. landmark 2009 grand detour Pinot noir, Sonoma — At $40, this is Landmark winery’s lower-priced Pinot which I actually prefer to its $65 Kanzler Pinot. It’s robust for a Pinot with earthy cherry and minimal oak, but offers enough acidity to be food friendly, unfolding as it sits. This casual, comfortable winery (with bocce ball and small lake) offers tastings and bottles to purchase or online at www.landmarkwine.com. Mapema Sauvignon Blanc and Malbec, argentina — Mapema’s 2011 Sauvignon Blanc ($14) and 2009 Malbec ($19) are both affordable winners. The Sauv Blanc claims 90 percent stainless steel fermentation (10 percent aged in new French oak), allowing the grape’s zesty, acidic properties to dominate. Lemongrass hints and a well-rounded finish go nicely with seafood. The Malbec offers hints of cherry and cocoa, with solid tannins from 50 percent new and 50 percent one-year French oak, pairing well with pork, lamb, or hearty grains. Huge Bear Sauvignon Blanc, Sonoma — The name Huge Bear might not be poetic (though I dig the old world, Wild West California label), but the 2009 Sauvignon Blanc ($25) offers floral melon and citrus notes, soothing with Asian take-out. The 2009 Chardonnay ($40) is pricey but showcases crisp apple, pear and mineral notes, followed by a butter cream finish. These are small production at merely 150 cases each, fine local retailers at www.hugebearwines.com Kracher’s Cuvee Beernauslese (pronounced bear-en-ow-SCHLAY-zuh) — I adore Austrian wines and this $27 blend of Chardonnay and Welschriesling grapes is much more than a sweet finish to a meal. It’s a layered, acidic dessert wine, dripping with vanilla honey balanced by mineral pineapple and lemon zest. 2 Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, at www. theperfectspotsf.com

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TougH muSTArd By L.E. LEonE le.chicken.farmer@gmail.com CHEAP EATS Zeni said she’d been cooking for three days. But the shopping was the hardest part. She had to go all over town, she said, to get the right sausages and other meat ... things. Such as knuckles. I have a new favorite butcher shop, but first I have to tell you about Zeni’s feijoada. Her man Nutmeg, who plays soccer with me and Alice Shaw the Person (and some other people) has been talking up Zeni’s feijoada for many, many seasons. Most often after the game, when all of us are hungry. But since our team conducts its games in Portuguese, a language I don’t understand, it’s all pretty much feijoada to me. There’s always all this hollering on the field: feijoada, feijoada. “I’m trying,� I say, whenever it seems like they might be talking to me. Generally speaking, we win. But now Nutmeg and Zeni are moving back to Brazil, and as soon as we learned this our post-game chatter shifted from feijoada to feijoada-with-a-senseof-urgency. Then the next thing I knew I had died and gone to heaven. Which I readily identified by the smell of it, and then by this steaming plate of rice and black beans with sausage, pork, and everything but the chicken sink. The dish was sided by finely chopped collard greens, or couve, garnished with orange slices, and sprinkled with farofa — which is cassava flour toasted with butter and bacon. Jesus, Mary and Joseph, I could have gone straight from that meal to the firing squad, uncomplainingly, but as it was I got to go to Berkeley, instead, and make some kitchen noodle soup with Crawdad’s kids. Now, my friend Papa is learning to be a butcher, which is about as admirable and honest a line of work as is out there, to my way of thinking. So every time I saw her I would ask about her career and she would say, among other things, “Steak sandwich!� with the same kind of reverence with which Brazilians say feijoada. I pictured raw, sawed beef on a roll, which made me happy. editorials

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Then one day, eventually, we climbed that hill to Avedano’s, on Cortland St. in Bernal. Or Holly Park. In any case, Avedano’s is a butcherer of local grass-fed beef and other responsibly-raised animals, and they don’t only just saw and hack them for you to take home; they’ll also make you a nice (and entirely cooked) samwich. If you want. Hedgehog had the Tuscan pork sandwich, with pickled onions and tomato. I got the steak with pecorino, arugula, and pickled tomatoes. And these things did we eat on a bench. Outside. There, in the sunlight and warmth of mid-day, San Francisco, my love and I got in a huge fight over mustard. I won’t bore you with the details, cause I don’t remember them. But suffice to say that I loved my sandwich, and Hedgehog loved hers. I’m not a very experienced sandwich eater, though. With my first bite, I lost a big juicy piece of steak to the sidewalk. It landed right between my feet, where other people’s dogs sit on their asses, between other people’s feet, and stare at other people’s sandwiches, panting and trying to make just the right face. “Pick it up and eat it,� Hedgehog said. So I did. I might have pushed the limit of the five-second rule, but it’s the spirit of the rule that matters. And the steak was that good, I’m saying. Slightly rare, succulent ... I couldn’t let some dumbass Bernal dog come and lap it up. It was mine! And it was delicious, even with residual sidewalk all over it. Anyway, I didn’t get any dog ass cooties, or other exotic diseases. That I know of. Yet. Although: a big dumb dog did come along, only moments later, and sniff and lick a little at the spot, before it’s owner tugged him away. “Ha,� I said. I am not, as you know, a dog lover. 2

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DECEMBER 21 - 27, 2011 / SFBG.com

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No Victorian attitudes

for more visit sfbg.com in. The very fact that the Oakland Ballet Company exists again, is a sign of hope. (Rita Felciano)

the gold rush see fri/23

155 Fell, SF (415) 861-2011 www.rickshawstop.com

Through Dec. 24; 2 and 7 p.m., $15–$59.50 Paramount Theater 2025 Broadway, Oakl. (800) 745.3000 www.ticketmaster.com

Thursday 12/22 “Ritlab: Hanukkahhoudini” The Contemporary Jewish Museum’s RitLab (Ritual Laboratory) series stretches the idea of what can be done with such a space as the CJM. Often museums host children’s interactive events, but RitLab is more like afterschool activity time for adults too — I once learned how to make my own spicy pickles at a RitLab event, m’kay? For this Hanukkah-Houdini version, there will be very-mature holiday crafting (magic card wallets, monkey-fist key chains, thaumatropes), a dreidel spin-off, and perhaps most importantly, a performance by Conspiracy of Beards — a local a capella Leonard Cohen cover group. It’ll be fun for kids of all ages, especially those who dig magic and Cohen. (Emily Savage)

With DJ Zeph, Motion Potion

6-8 p.m., free with admission (admission is $5 after 5 p.m.)

9 p.m., free with RSVP www.krafty-xmas. eventbrite.com; $5 at door.

Contemporary Jewish Museum

Mighty

736 Mission, SF

119 Utah, SF

(415) 655-7800

(415) 762-0151

www.thecjm.org

www.mighty119.com

Thursday 12/22

Wednesday 12/21 Wednesday 12/21 Krafty Kuts Before closing out the year with the Sea of Dreams NYE blowout, the party people at Sunset Promotions (along with Metrowize.com) are throwing a community appreciation show and bringing out the U.K.’s Krafty Kuts. He’s best known for his 2006 album Freak Show and a Fabriclive release in 2007, but is largely building a reputation as an international, multiple award-winning breakbeat DJ and turntablist through live performances. Krafty Kuts most recent mix — for his November Canadian tour — unrelentingly shifts between the likes of Beastie Boys, Wolfgang Gartner, Fast Crew, and Bart B More. Like the best of breakbeat, Krafty Kuts plays a high wire act, always keeping energy up without growing tiresome nor ADD addled. (Ryan Prendiville) 14 SAN FRANCISCO BAY GUARDIAN

How The Grinch Stole Christmas: The Musical!

Thursday 12/22 “Nutcracker”

First published in 1957, Dr. Seuss’ How The Grinch Stole Christmas was adapted into an animated film in 1966, featuring the unforgettable narration of Boris Karloff, and a bevy of now-classic songs such as “You’re A Mean One, Mr. Grinch,” belted out by Thurl Ravenscroft. Fans of all ages can relive the beloved holiday special this month when How The Grinch Stole Christmas: The Musical! brings the classic tale to life on stage with colorful costumes and amazing sets that recreate the magical world of Whoville and the inspirational events that transpire there. (Sean McCourt) Through Dec. 29, times vary, $25–$85 Golden Gate Theatre 1 Taylor, SF (888) 746-1799 www.shnsf.com

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There is something about the shortest days of the year that invites you to become hopeful about what lies ahead. Perhaps it is that we know that the sun will be back. So you don’t have to be a Christian or hooked on family traditions to celebrate what is an extraordinary, though yearly occurring season. “Nutcracker,” often for sentimental reasons, is part of that feeling. Graham Lustig’s 2000 version, now part of Oakland Ballet Company, has plenty of sentiments but little sentimentality. No whiff of Victorian attitudes inhabits this family’s turn of the 20th century modernity. The home is what was considered high-tech at the time: tile, steel, concrete, and huge expanses of glass that invite the sunny, snow-covered outside

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“The Coca-Cola Santa Clause is a hoax,” little Pietari tells his friend. He hands him a picture he’s torn from an old book — St. Nicholas with goatish antlers, dropping a child into a boiling cauldron. “The real Santa Clause, he tears naughty kids to pieces.” Rare Exports: A Christmas Tale (2010) — directed by Jalmari Helander and based on ancient Scandinavian mythology — might make the kids sooner want Freddy Kruger coming down the chimney on Christmas rather than Santa. When an archeology dig coincides with a bizarre series of events (slaughtered reindeer, missing children, stolen blow dryers), Pietari knows that the real Santa has been unearthed. Rare Exports is a dark tale that’s full of unsuspecting and outlandish surprises. You’ll never see Santa the same way again. (James H. Miller) SF Film Society Cinema

Popscene is bringing home someone special for its Xmas Gala. An innovative hip-hop and electronic producer, Dan “the Automator” Nakamura needs little introduction. Collaborating with Kool Keith, Del the Homosapien, Prince Paul, Damon Albarn, and Mike Patton on projects such as Dr. Octagon, Deltron, Handsome Boy Modeling School, Gorillaz, and Lovage (to name a few), Automator always looms large. He’s recently produced albums for English rockers Kasabian and locals Dredg, while contributing to Albarn’s Kinshasa One Two charity project along with the likes of Totally Enormous Extinct Dinosaurs and Jneiro Jarel. (And yes, continuing to tease the long awaited follow-up, Deltron 3040.) (Prendiville) 10 p.m., $10–$12

Rare Exports: A Christmas Tale

10:30 p.m., $9–$11

Dan the Automator

With DJs Omar, Miles the DJ

Friday 12/23

1746 Post, SF (415) 561-5000 www.sffs.org

Friday 12/23 The Gold Rush You loved The Artist, and now you’re obsessed with seeing every silent movie you can jam into your sockets. The San Francisco Silent Film Festival isn’t until next summer, but you can check out one of the genre’s very best this week at the Smith Rafael: Charlie Chaplin’s 1925 The Gold Rush, a delightful comedy even Buster Keaton 4-Lyfe Fan Club members can get behind. Unspooling in a snazzily restored 35mm print (with Chaplin’s own 1942 score as accompaniment, arranged by composer Timothy Brock), this film follows the Little Tramp as he tries his luck prospect-

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the Nutcracker photo by David DeSilva; Rare Exports Still credit to Mike Orasmaa; jazz mafia photo by Bill Evans; Broke Ass-Stuart photo courtesy of Matt Kaftor; Tony! Toni! Toné! courtesy of the artist.

ing in the frozen Yukon. As the Smith Rafael notes point out, “it’s the one in which Chaplin eats his boot” and contains “The Dance of the Rolls,” an iconic bit of playingwith-one’s-food familiar to fans of 1993’s Benny & Joon — and the current Muppets movie. (Cheryl Eddy)

down for the holiday. With a lineup featuring Elayne Boosler, Avi Lieberman, Jeff Applebaum, and Lisa Geduldig, what better way to spend the night than with a bit a bit of Jewish comedy — and what better location than in a Chinese restaurant! (McCourt)

Through Dec. 29, call for times, $6.75– $10.25

Through Sun/25, 6 and 9:30 p.m.; Fri.Sat.; 5 and 8:30 p.m. Sun.; $42–$62

Christopher B. Smith Rafael Film Center

New Asia Restaurant

1118 Fourth St., San Rafael

772 Pacific, SF

(415) 454-1222

(415) 522-3737

www.cafilm.org

www.koshercomedy.com

tony! toni! tonÉ! see sat/24

Saturday 12/24 Tony! Toni! Toné!

Friday 12/23 Jazz Mafia Jazz Mafia is a Bay Area institution. With its eclectic influences, cutting edge genre crossovers are this musical collective’s forte. Jazz Mafia has featured a ton of talented players, with founding member and trombonist-bassist Adam Theis contributing to no less than 10 acts since its inception. The Shotgun Wedding Quintet is a dynamic hip-hop and jazz hybrid fronted by exceptionally cool lyricist Dublin. Brass Mafia is a weird and wonderful New Orleans-y brass ensemble that covers songs from the likes of Skatalites and the Rolling Stones. And, well, there are simply too many incredible acts to list. It’s Jazz Mafia’s 11th anniversary, and I’m sure this San Francisco family has plenty of surprises in store. (Frances Capell) With Adam Theis and the Jazz Mafia String Quartet, Joe Bagale, and more 9 p.m., $8–$12 Brick & Mortar Music Hall 1710 Mission, SF (415) 371-1631 www.brickandmortarmusic.com

Friday 12/23 “Kung Pao Kosher Comedy” For those who don’t celebrate Christmas — or those who do, but could use a good laugh after spending the day with family — “The 19th Annual Kung Pao Kosher Comedy” show is a surefire bet for entertainment while much of the rest of the city shuts editorials

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There’s no expression of love more pure than early 1990s-era R&B. And in the golden age of sensual R&B, few could compete with Oakland’s Tony! Toni! Toné!. During the late ‘80s and early ‘90s, this trio cranked out the jams, climbed the Billboard charts, and provided the soundtrack for countless moments of passion and romance. Did you slow dance with your high school sweetheart to “(Lay Your Head On My) Pillow?” Did you bump and grind to “Whatever You Want?” The holidays are a time for nostalgia; a time for showing our loved ones how much we care. Why not spend Christmas Eve with Tony! Toni! Toné!? (Frances Capell) 8 p.m., $26 Yoshi’s 510 Embarcadero West, Oakl. (510) 238-9200 www.yoshis.com/oakland

blame you for schlepping out without him. Hosted by none other than Broke-Ass Stuart, the travel writer behind the recent IFC documentary, Young, Broke & Beautiful, “It’s a Jewish Christmas” also features the sounds of DJs J Dub and M.O.T. Mazz. Ah Freilichen Chanukah! (Miller)

9 p.m., $5 DNA Lounge 375 Eleventh, SF (415) 626-1409 www.dnalounge.com

Sunday 12/25

5 p.m., $10 Make-Out Room

“Death Guild: X-Mess Night”

3225 22nd St., SF (415) 647-2888

Undeniably, the holiday season is an adorable one — children point in store windows and glow; Dads are donned in gay apparel; It’s A Wonderful Life airs without end on basic cable; bells a-ringing, figgy pudding, fa la la la la and what have you. However, for some of us around this time of year, it feels like we’re being smothered by a hand knit stocking. Thankfully Death Guild’s “X-Mess Night” is here for anyone who prefers leather corsets instead of holiday turtle necks, The Sisters of Mercy over Bing Crosby, and of course, gin and tonics, not milk and cookies. DJs Decay, Melting Girl, Daniel Skellington, Sage, and Lexor spin gothic, industrial, synth pop and more. (Miller) picks

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day owning his own club — and plans to seduce a wealthy widow (portrayed by Rita Hayworth) to secure the funding. Things begin to go awry, however, when he meets Kim Novak’s character, and starts to fall for her instead. Featuring the iconic tune “The Lady Is A Tramp,” the film earned Ol’ Blue Eyes a Golden Globe for Best Actor (in a Musical), and remains a shining example of why he was the king of the crooners. (McCourt) Double feature with Bye Bye Birdie, which screens at 2:40 and 7 p.m. 4:45 and 9:05 p.m., $7.50–$10 Castro Theatre

Sunday, 12/25

429 Castro, SF. (415) 621-6120

“It’s a Jewish Christmas”

www.castrotheatre.com

Christmas day falls on the fifth night of Hanukkah. It’s also the Make-Out Room’s “It’s a Jewish Christmas,” which means Jews and Gentiles both face a dilemma. In the case of us Jews, it comes down to either enduring Grandpa Eshkol, or shooting over to the Mission for a Woody Allen film festival, Chinese food, and a salacious game of strip dreidel. With all that being offered, I doubt old Eshkol would

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Tuesday 12/27 Pal Joey Set amongst the swingin’ nightclubs of San Francisco, 1957’s Pal Joey stars Frank Sinatra as a womanizing singer who dreams of one film listings

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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.

december 21 - 27, 2011 / SFBG.com

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arts + culture: dance

From left: AXIS Dance Company’s Full of Words by Marc Brew, with dancers Alice Sheppard and Sonsherée Giles; Teatr Zar’s The Gospels of Childhood Triptych; and Lucinda Childs’ Dance. | AXIS Dance Company photo by Andrea Basile

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In 2011, dancers excelled with exciting new work (and vintage classics), and redefined the concept of “performance space” By Rita Felciano arts@sfbg.com YEAR IN DANCE If you are a trend spotter, you will have noticed two changes within the local dance ecology that probably will influence how we see dance in the foreseeable future. First, not only have dancers been foregoing the proscenium theater — after all, there aren’t that many around here — but they’ve also been sidestepping theaters altogether. They find spaces in museums, bars, parks, and streets, even former newspaper offices. Or they perform in studios which become informal community gatherings where audiences, in addition to seeing work, get a sense of participating in something being created. Dancers’ Group and CounterPULSE’s “2nd Sundays,” the RAWDance’s “CONCEPT Series,” and Kunst-Stoff Arts are among the most prominent examples of this. The second change relates to funding. No need to spell out how dire the financial picture has become for big organizations that have infrastructures to support. But for the small and mediumsized companies, it’s been just about catastrophic. So how to get the cash to put on a show or take advantage of a touring opportunity? In the commercial world it’s 16 SAN FRANCISCO BAY GUARDIAN

called “direct marketing.” Dancers are nothing if not entrepreneurial. They are taking to the internet, asking for small donations and keeping people informed about the progress of the “campaign.” Trying to rethink the past 12 months of dance viewing is mind-boggling; coming up with a “best-of list” is no less so. Take the following ten as one observer’s bouquet to all the dancers who have enriched our lives in 2011. They are listed chronologically by when they were seen. In its third program (Feb. 24, War Memorial Opera House), San Francisco Ballet showcased the classical language as infinitely pliable and capable of contemporary expressiveness. Yet Yuri Possokhov and William Forsythe could not have done it more differently. Possokhov’s 2010 smallscaled Classical Symphony — three couples and a corps of eight — seduced with its speed, wit, and exuberance. Forsythe’s 1984 tour de force Artifact Suite challenged a huge ensemble with gale-force attacks, imploding unisons, and ever-changing designs. In this context even Helgi Tomasson’s 1993 Nanna’s Lied looked decent. Spanning 55 years of work, the Merce Cunningham Company (Feb. 3, Cal Performances/Zellerbach Hall) bid its farewell with three pieces that beautifully showcased editorials

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the late choreographer’s extraordinary range. Antic Meet (1958) showed him young and clever; in the lyrical Pond Way (1998) we saw Cunningham’s affinity for the natural world, and in Sounddance (1975) the backdrop swallowed his dancers one by one. It was a goodbye from artist who had the guts to pull the curtain on himself. Zaccho Dance Theatre’s The Monkey and the Devil (April 17, Novellus Theater) didn’t pull any punches about the persistence of racism. A tough show to watch, it was low on “entertainment” values but chock-full of convincingly painful confrontations in which two couples, one white, one black, mirrored each others’ anguish and anger. In 1979, audiences were taken aback by Lucinda Childs’ Dance (April 28, San Francisco Performances/Novellus Theater) which incorporated a film by Sol LeWitt and a score by Philip Glass. Its rigor, aesthetic purity, and pedestrian vocabulary alienated many. Yet Dance is a gorgeous piece of choreographic architecture. How fun it was to watch, in 2011, dancers doing the exact same steps so differently as those caught on the film more than 30 years ago. The Polish Teatr Zar’s stunningly original and impeccably realized The Gospels of Childhood Triptych, (May 25, St. Gregory’s

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Episcopal Church and Potrero Hill Neighborhood House) is one of the reasons that the San Francisco International Arts Festival has to exist. With its ritualistic pacing and its fusion of music, movement, and language (“Zar” means “funeral song”), Gospels attempted to suggest something approaching the divine and the restrictions of the self. Pooling resources is today’s mantra. But few go to the depth of intellectual and emotional sharing that Janice Garrett and Charles Moulton do. They co-choreographed the exhilarating The Experience of Flight in Dreams (June 9, ODC Theater) and came up with a soloists-ensemble format rarely seen in modern dance. To have such a unified and well-realized perspective from such different artists was thrilling. Science, or writers such Maxine Hong Kingston or Gary Snyder, often inspire Kathryn Roszak’s work. The reprise of the fine Pensive Spring (Sept. 25, Hertz Hall, UC Berkeley), based on the works by Emily Dickinson, proved to be a thoroughly intelligent and finely crafted dance theater piece that illuminated a great creative mind through music, dance, and language. AXIS Dance Company (Oct. 7, Malonga Casquelourd Theater) commissioned the Australian choreographer Marc Brew to give music listings

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the company its first story-ballet. Taking a bow to dance history and soap operas, Brew’s slyly voyeuristic Full of Words moved through knotted entanglements with insight, humor, and compassion. It was a fine vehicle for the company and should be around for a long time. José Limón is a giant of early modern dance, yet few practitioners have ever seen his work live. So for tiny San Jose’s sjDANCEco (Oct. 15, California Theatre, San Jose) to attempt Missa Brevis, a major Limon choreography, just about amounted to hubris. But former Limón dancer and sjDANCEco’s artistic director, Gary Masters, scoured the community and trained the dancers — some of them college and high school students — in the requisite combination of strength and restraint. The performance of this jewel of modernism became a minor miracle. Finally, Deborah Slater and Julie Hébert’s Night Falls (Oct. 21, ODC Theater) looked at the process of aging from a “three ages of man” perspective, except that this was a woman’s life crisis. Most intriguing was the way language and dance — much of it gestural — bounced off each other, creating the vibrant environment in which the performers could fully extend themselves. 2

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FOR GAMERS, OBSESSION CAME CALLING IN THE FORM OF THE ELDER SCROLLS V: SKYRIM (LEFT AND CENTER) AND DARK SOULS (RIGHT). THE ELDER SCROLLS V: SKYRIM IMAGES COURTESY BETHESDA GAMES; DARK SOULS IMAGE COURTESY FROM SOFTWARE/NAMCO BANDAI GAMES

NEW (OPEN) WORLD ORDER YEAR IN GAMER In 2010, yearend awards were dominated by one game: Red Dead Redemption. Published by Rockstar Games, the title was a sweeping, epic Western in the best American tradition. Using a proprietary game engine, Rockstar stitched together a giant swath of imaginary frontier, a teeming open world that seems to leap straight from the imagination of John Ford or Sergio Leone. Now that 2011 is nearly done, it’s clear that Red Dead Redemption’s success was merely a sign of things to come. Rival publishers must have watched contentedly as the game’s accolades stacked up. They were about to make 2011 the year of the open world game, ushering in a glut of go-where-you-want, dowhat-you-want, slay-who-you-want titles that would dominate both discourse and sales. Rockstar themselves were the first to get in on the action, taking a second bite at the apple in May with L.A. Noire. Developed by now-shuttered Australian studio Team Bondi, the game takes place in a meticulously recreated version of late-40s Los Angeles. Like Red Dead Redemption, Team Bondi’s title is an engrossing pastiche of classic cinema, drawing on the tropes, mopes, and molls of vintage noir. While critics rightly complained that the game’s open world offered little except the opportunity to drive around and sightsee, the simulated city’s presence added atmosphere and heft to an already immersive game. Explore L.A. Noire’s carefully art-directed metropolis, and the most dangerous thing you’re likely to encounter is fast-talking dame with nothing to lose. Not so in editorials

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Dark Souls, an October release by iconoclastic Japanese studio From Software. From’s open world is a foreboding, twisted take on fantasy gothic, full of decaying grandeur, uncanny creatures, and fetid environs. Players must creep forward against their better judgment, dreading whatever horror lurks around the next corner. Though the game’s uncompromising difficulty acts as a deterrent, Dark Souls’ labyrinthine, deadly world and endless creativity are well worth the frustration. In Batman: Arkham City, British developers Rocksteady Games put Batman in his place: perched on the roof of some crumbling Gotham pile. The game’s titular open world is a vast outdoor prison, an entire urban zip code done up in hyperbolic neon-noir, then filled with psychopaths and super-villains. While he’s not using Rocksteady’s impressive, flowing combat system to put the hurt on Gotham’s criminal underclass, Batman can deploy gadgets like the Batclaw to swoop around. Though Arkham City mostly serves as a backdrop for a fairly linear narrative, but there are also dozens of collectible, limegreen “Riddler Trophies� scattered around, giving gamers an incentive to explore every inch of the game’s open world. For sheer size and scope, you can’t top The Elder Scrolls V: Skyrim, released in November by Marylandbased Bethesda Game Studios. Bethesda have made open worlds something of a specialty in recent years, and Skyrim is the company’s most ambitious effort to date. Set in a frigid, arctic landscape, the game showcases natural beauty on picks

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a grand scale, rendering icy peaks, swampy tundras, and furtive wildlife darting among snow-dappled pines. Players will spend hours completing hundreds of quests, scaling the world’s highest heights and descending into the bowels of its darkest dungeons. Though the game makes it easy to follow a floating arrow directly to you current goal, Skyrim’s best moments are often the product of getting hopelessly lost. When it comes to the sheer joy of exploring an open world, Minecraft reigns supreme. Created on a lark by Swedish programmer Markus Persson, the game randomly generates a gargantuan new environment every time you tell it to. Comprised entirely of chunky, Lego-like blocks, the world can be altered at will — dedicated players have spent hours moving blocks one-by-one to create replicas of things like the USS Enterprise. Minecraft is an impressive indie success story — first released in its alpha version in 2009, the game now boasts nearly 242 million logins per month. What lessons will open world games learn from the class of 2011? Will 2012’s vast gaming environments be welcoming or forbidding? Will players be given long lists of collectibles to hunt, or simply asked to explore for its own sake? Dec. 20, thousands of people logged into Star Wars: The Old Republic for the first time, a big-budget MMORPG from local publishers LucasArts and Electronic Arts. Not content with the vast worlds already available to them, these intrepid gamers opted for an entire galaxy — a galaxy far, far away. (Ben Richardson) 2

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ARTS + CULTURE: MUSIC

AND THE WAVES ROLL IN ON ELECTRIC JELLYFISH’S MICHAEL BEACH | PHOTO BY LINDA NAGLE

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Away from his Australia-based band, Michael Beach finds solace in solitude BY JAMES H. MILLER arts@sfbg.com MUSIC Michael Beach is not the conventional — or, cliché — singer-songwriter. Granted, he writes stripped down folk rock, but he’s not locked in the style. He can swallow the comparisons to Nick Drake or Mason Jennings, but he hasn’t modeled himself after those (or any other) singer-songwriters really. “I think that I would get bored if that’s all I listened to,” he says. It explains why there’s more to his bare bones sound — the dude simply doesn’t fit the mold. “It’s not like I sit at home and read Greek mythology,” Beach tells me over the phone. Yet, in answer to a question about his newest record, Mountains + Valleys, released on Spectacular Commodity/Twin Lake Records, he evokes narratives and characters from biblical text and classical myths. “You take something,” he explains, “a character from a myth, a religious tradition, or a historical figure and that symbolizes an idea. And then you manipulate those ideas by explaining it through the characters.” “So you make it your own in other words,” I counter. “I mean I’m certainly not under the impression that nothing like this has ever been done before.” Beach is quick to pass on credit to others, whether it’s his preEDITORIALS

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decessors or the musicians who’ve lent him a hand in the studio. It makes you think he’s still vaguely uncomfortable as a solo artist. First and foremost, Beach is the guitarist and lead singer of Electric Jellyfish, a rock band based out of Melbourne, Australia. Beach, who’s from Merced, attended La Trobe University in the suburbs of Melbourne and formed the band with Peter Warden and Adam Camilleri roughly seven years back. It was when Electric Jellyfish took a short break that Beach started recording on his own. “I didn’t want to be idle, so I recorded an album.” It was as simple as that — Blood Courses was released in 2008. However, two years later, Beach’s visa expired. He was forced back to the states and made his home in San Francisco. Now the members of Jellyfish take turns touring their respective countries. They have a forthcoming seven-inch entitled Trouble Coming Down, and are on the bill to play Austin, Texas’ SXSW in March. In the meantime, Beach is left to his own devices. Mountains + Valleys shares similarities with Beach’s previous album, but with some notable differences. “[Blood Courses] was really, really sparse and brittle; purposefully one guitar track and one vocal track. I wanted to stretch my legs a little bit and incorporate some other instruments for a whole band sound. PICKS

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But I still wanted to keep things sparse and basic.” Mountains + Valleys is sparse. However, as the title indicates, it ascends in dramatic directions too. Beach may hold back at times, but he can yank those chains off and embrace a devil-may-care attitude. It’s painstaking calculation as much as pure impulse. If Beach is fairly abstruse with his words, he’s clearly vulnerable in his vocal delivery. If “So Said the Birds” has elements you might ascribe to folk, “Straight Spines” gushes with enough drive to call straight indie-rock. Interspersed throughout the album are brief instrumentals that vary from the electric rock collage of “Central San Joaquin” to the more subtle and dissonant “Shasta.” Beach says the inspiration for the instrumentals was Chris Smith’s Bad Orchestra, which wasn’t widely released outside of Australia. “I think [the instrumentals] made me less one-dimensional, less like ‘I’m a guy who writes songs and strums my guitar.’ There’s more than one way of conveying meaning in music.” 2 MICHAEL BEACH With Brian Smith, and the Same Chase Wed/21, 9 p.m., $6 Hemlock Tavern 1131 Polk, SF (415) 596-7777 www.hemlocktavern.com

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THEE OH SEES CARRION CRAWLER/THE DREAM (In The Red) It’s very easy to take things for granted in San Francisco, and in many ways that’s been the demise of so many amazing things in this city; we forget to applaud, support, and revel in the magic when it’s here, only to lament it when it’s taken away. Thee Oh Sees are on fire, this is their second full length of the year. Their work ethic is as charged as the songs that fill this record. Something happens when you listen to Carrion Crawler/The Dream, you blast it loud and then you begin to move, and sweat, and get out of your head and into your body and feel so raw and alive. Don’t take them for granted; they are the best rock band on the planet right now. (Irwin Swirnoff)

SUPER 11 SUPER ONZE (self-released) Led by hand drumming, three-stringed n’goni lute, and organic pitch shifting Malian chant, Super 11’s Super Onze is a compelling set of songs. The band, a collective formed in a remote region of Northern Mali, plays Takamba, a type of music typically created for weddings and other ceremonies. It comes from a rich musical history, linked to other artists in the area, and in style to acts such as Ali Farka Touré. I first came to Super 11 through cantorial-blues act Sway Machinery. The Sway Machinery traveled to Mali a few years back to work on an album and Gao-based Super 11 ended up appearing on the New York act’s double record — a brilliant decision. It’s no wonder the collab worked. Merely explore the fiery opening vocal solo on Super Onze’s “Khoumeissa,” or fall deep into any of the album’s thumping hand-made dance beats. It’s available at www.super11. bandcamp.com. (Emily Savage) FILM LISTINGS

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MWAHAHA MWAHAHA (Mwahaha Music) Poor choice in band name aside, Oakland psych-rock quartet Mwahaha’s debut has a lot to offer. On album opener “Swimmer,” Ross Peacock sings “I swim deeper through darkness and danger / from the surface and its beautiful light” in an alluring falsetto over warm synth tones. The colorful, swirling fractals of an acid trip appear, then the song dips into heavy reverb and clattering percussion as Mwahaha enters noise rock territory. And that’s only the first track. “Poinsettia” is a dark, lusty, drum machine-driven dance anthem. “Love” — featuring tUnE-YarDs’ Merrill Garbus — is all tribal rhythms, wailing guitar, and lush vocal harmonies. Garage rock shifts into the sound of actual rocks being tossed into a pond on “Rivers and Their Teeth,” and closing track “Bathynomus Gigantes” is an 11-minute exercise in weirdness. (Frances Capell)

IN THE CHRISTMAS GROOVE VARIOUS ARTISTS (Strut) Sick of the usual holiday favorites (though I’ll never tired of Saint Mariah), I was pleased as rare twist punch with In the Christmas Groove — a compilation of obscure stone cold soul, funk, and other vintage grooves from Christmas past, namely the 1960s and ‘70s holiday spirits. Kicking off with Jimmy Reed’s funkified “Christmas Presents Blues,” the album can instantly be split into two kinds of songs — those that would stand on their own, Christmastime or not, and those with an unavoidable level of merry X-mas kitsch. Most poignant of the bunch is Harlem Children’s Chorus’ soulful “Black Christmas” hoping for “that moment when/there’s peace on earth/good will to men/in the ghetto/ Black Christmas.” The most James Brown-esque, get-on-your-feet and let’s dance, track come courtesy J.D. McDonald: “Boogaloo Santa Claus.” Hint: there are a few NYE tunes to help you ride out the holidays. (Savage) DECEMBER 21 - 27, 2011 / SFBG.COM

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arts + culture: theater

Bravo to (from left) Beardo, Geezer, Chekhov Lizardbrain, Songs of the Dragon, and A Three Little Dumplings Adventure. | Beardo photo of Anna Ishida by Pak Han; Geezer photo by Patti Meyer; Songs of the Dragon photo by Dave Nowakowski

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a fallen business idol, Seattle-based monologist Mike Daisey, at Berkeley Rep, not-so-quietly reminded people of what a corporation is. Then Occupy Wall Street happened. (Avila)

The return of the Upstage/Downstage Awards By Robert Avila and Nicole Gluckstern arts@sfbg.com YEAR IN THEATER With a grateful nod to former colleague Brad Rosenstein, we re-inaugurate a system of accolades and nah-ccolades celebrating some memorable highs and lows of the rapidly closing year in theater and performance.

Most Memorable Food Fight A Three Little Dumplings Adventure Within seconds of the appearance of the three titular protagonists of Megan Cohen’s A Three Little Dumplings Adventure — a hot pink and powder blue hurricane wreaking havoc on the subdued prison of a suburban living room — it was impossible not to get sucked into their chaotic orbit. Alternating between being patently obnoxious, emotionally unanchored, and frankly homicidal, the “three little dumplings” played by Sarah Moser, Molly Holcomb, and Megan Trout teased, baited, jabbed, and wrestled each other across the stage, culminating in Moser pinning Trout to the floor threatening to eat her (“dumpling” being no tidy euphemism here, but a physiological condition). Presented at the Bay One Acts Festival, it was definitely the year’s best meta-cannibalistic food frenzy, and it whetted our appetite for more. (Nicole Gluckstern)

Best Drug Story Greg Proops at “Previously Secret Information” Admittedly the best highs are often hard to remember. Kudos to the seemingly rock-hard memory of otherwise mellow-ab’d comedian Greg Proops, who recalled prodigious intake and takeout as a Chicken Delite delivery boy in 1970s San 20 SAN FRANCISCO BAY GUARDIAN

Carlos for an edition of Joe Klocek’s storytelling series, “Previously Secret Information.” (Robert Avila)

Best Political-Historical Thesis Disguised as a Wildly Funny and Louche “Songplay” Beardo Their own prior hit, 2008’s Beowulf: A Thousand Years of Baggage, was going to be a hard act to follow. But Banana Bag & Bodice and producers Shotgun Players made playwright Jason Craig and composer Dave Malloy’s take on Rasputin look like child’s play — very precocious child’s play — where performances, music, costumes, mise-en-scène, themes, and dialogue all contributed to another hirsute masterpiece. (Avila)

Most Inscrutable Triumvirate Mimu Tsujimura, Lily Tung Crystal, and Katie Chan in Songs of the Dragons Flying to Heaven Speaking of frankly homicidal, the otherwise nameless characters “Korean 1, 2, and 3” in the joint Crowded Fire/Asian American Theater Company production of Young Jean Lee’s Songs of the Dragons Flying to Heaven were as outrageously bloodthirsty a collection of countertypical characters as ever graced the Thick House stage. By turns violent, ecstatic, girlish, and demented, the eclectic trio played by Mimu Tsujimura, Lily Tung Crystal, and Katie Chan skewered every tradition-bound Asian stereotype in the book. Clad in the dazzle camouflage of their flowing silk dresses, rendering their monologues in their respective “mother” tongues, not spoken by this or many other audience members, the fiercely energetic characters expertly revealed themselves by not revealing a thing. (Gluckstern) editorials

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Best Lighting Design Allen Willner for inkBoat’s The Line Between Willner’s worked wonders before, not least with longtime collaborators inkBoat (Heaven’s Radio), but he outdoes himself in this wild and excellent production, making the lighting design a full member of the ensemble with a world of shifting moods and ideas. (Avila)

Best Tentative Revival of a Theatrical Artform Puppetry Where have all the puppets gone? It seemed like for a few years there they all went into hiding, perhaps barricading themselves in little puppet bunkers, awaiting the end times. But a modest slew of puppet-driven performances resurfaced over the course of 2011, reigniting our hopes for a full-blown revival in the future. A shortlist of memorable puppets encountered this year include Lone Wolf Tribe’s dark circus of clowns and war veterans in Hobo Grunt Cycle; a beleaguered Orson Welles puppet manipulated by Nathanial Justiniano’s sociopathic Naked Empire Bouffon Company alter ego Cousin Cruelty; Thomas John’s “hard-boiled” egg puppets who populated his Humpty Dumpty noir thriller The Lady on the Wall; the over-the-top awesomeness of a trio of Audrey Jrs. in Boxcar Theatre’s Little Shop of Horrors, and the silently suffering soldier of Aurora Theatre’s A Soldier’s Tale. Here’s hoping this miscellany foreshadows the triumphal return of the missing puppets, to as opposed to their last hurrah. (Gluckstern)

Nicest timing The Agony and the Ecstasy of Steve Jobs Just before public figures across the spectrum wailed their approval of

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Most Polarizing Descent Into the Reptilian Complex Chekhov Lizardbrain Whether you loved it or loathed it, Pig Iron’s touring production of Chekhov Lizardbrain was certainly one of the year’s most striking. Performing as part of foolsFURY’s Fury Factory, the Philadelphia-based Pig Iron spearheaded an expedition into the inner workings of one man’s brain beset by shifting vagaries of memory and truth. Combining a series of pompouslyreferenced “rules” of drama, stock Chekhovian alter-egos, and the dual personalities — internal and external — of an undersocialized protagonist (James Sugg) struggling to shape his memories into a recognizable narrative, Chekhov Lizardbrain elicited the most polarized reaction from its sold-out houses I saw all year. From a standing ovation to a fair number of disgruntled walk-outs, this dark-edged exploration inspired a panorama of strong responses in its audience, a solid sign of success in my book. (Gluckstern)

Best Labor of Love The Companion Piece Inspired by a concept by Beth Wilmurt, who was inspired by a book about the biological roots of human emotions (A General Theory of Love), Mark Jackson directed Wilmurt and fellow “vaudevillians” Christopher Kuckenbaker and Jake Rodriguez at Z Space in one of the most inspired pieces of devised theater all year (with a close second going to Jackson’s own SF State production of the blissful Wallflower). (Avila)

Best Conversation Starter The closure of a “remixed” Little Shop of Horrors Another polarizing moment in Bay Area theater occurred this summer music listings

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when Boxcar Theatre’s ambitious remix of the cultish Alan Menken and Howard Ashman musical Little Shop of Horrors was shut down by Music Theatre International due to admitted violations of its licensing agreement. The debate inspired by both the violations and the show’s subsequent closure was as passionate and considered as the production that inspired it, from both perspectives of the situation. Without taking sides, I found the conversation about artistic freedom vs. artists’ rights to their own works to be as stimulating and thought-provoking as any night in the theater could strive to be. It seems unlikely that Boxcar Theatre knowingly set out to become the vanguard for opensource theater-making, but here’s hoping it’s a banner they are willing to carry a little longer. (Gluckstern)

Best Part of Getting Old Geezer at the Marsh I’m glad I lived long enough to see Geoff Hoyle live long enough to produce this solo piece extraordinaire. (Avila)

Best Couch-Surfing Opportunity “Home Theater Festival” Sometimes it’s hard to leave the comfort of one’s home to gamble on the capricious vicissitudes of a theater outing. Gambling in the comfort of someone else’s home was, on the other hand, really easy. (Avila)

Best Ostentatious Design Overload The Lily’s Revenge Watching the four-and-a-half-hour epic performance mash-up that was Taylor Mac’s The Lily’s Revenge at the Magic Theatre was in parts harrowing, exhausting, and transcendentally fabulous, but what stuck with me long after the vague twists of plot and character had mostly faded from my memory were indelible images of the seriously overwhelming design. From dazzling, sequined flower costumes by Lindsay W. Davis, to four complete sets built to CONTINUES ON PAGE 21 >>

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In the Maze of Our Own Lives Playwright-director Corey Fischer’s sleekly staged, prescient take on the radically influential Group Theatre ensemble of the thoroughly agitated 1930s, In the Maze of Our Own Lives, which lead off the Jewish Theatre’s 34th and last season. (Avila)

accommodate five acts designed by Andrew Boyce, to the extravagant lighting by Sarah Sidman, The Lily’s Revenge could have been subtitled The Tech Crew’s Revenge, which would have been a fitting description of the glorious fantasia created by the uniformly top-notch production team. (Gluckstern)

Best Jump on GeorGe Clooney Farragut North North is better known to multiplex crowds as The Ides of March. But Bay Area theatergoers were first to get a former Howard Dean speechwriter’s fictionalized story of real-deal electoral politics in a so called democracy — and in a nimble lowbudge production from OpenTab Productions at Noh Space that made it all the sweeter for not being Hollywooden. (Avila)

Best plAnned revitAlizAtion of A theAter distriCt linChpin pianofight at original Joe’s When the venerable, family-run Original Joe’s at 144 Taylor burned down in 2007 it was a catastrophic blow to the neighborhood — especially to all the theaters in the area who had adopted it over the years as a go-to post-show hang-out. It even served as a San Francisco Fringe Festival off-site venue for several years, hosting the likes of RIPE Theatre and Dan Carbone. So it was wonderful news on many levels when the turbo-charged PianoFight theater company signed a ten-year lease with the Duggan family to turn the old Original Joe’s into the new home of PianoFight. In addition to rebuilding the restaurant and bar, PianoFight plans to house two theaters, offices, and rehearsal spaces under the same roof — a huge boost to the neighborhood and greater theatrical community both. (Gluckstern)

Worst-Attended theAtriCAl Gem Hobo Grunt Cycle at the exit theater I’m not sure why there so few people in the audience for this stunning cri de coeur against warfare by Kevin Augustine’s rightly acclaimed New York–based puppet theater ensemble, Lone Wolf Tribe. As hard as it can be to look at the real face of war, this piece brilliantly insisted on the need to do just that: manipulated with consummate grace by one or more black-clad puppeteers, Augustine’s life-sized puppets remained strikingly sentient, heartbreakingly damaged beings you absolutely could not take your eyes off. (Avila) editorials

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Best reAson to Cross the BridGe: sQuArt at headlands Center for the Arts This 24-hour, all-stops-pulled-out version of choreographer Laura Arrington’s shrewd experimental series in collaborative performancemaking capped a residency at the Headlands with a well-attended set of four sneaky, astonishing pieces by a multi-talented ensemble of harried sleep-deprived creatorconspirators. Why isn’t art always made this way? (Avila)

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Lolita Roadtrip at san Jose stage A surprisingly unmoving outing from otherwise quick playwright Trevor Allen, who indeed quickly bounced back with a remounting of his popular solo, Working for the Mouse. (Avila)

strAnGest enCounter BetWeen “performer” And “AudienCe” robert steijn Steijn questioned everything, including what the hell he was doing onstage in front of the people assembled to see the famed Dutch performer at Joe Goode’s new annex in the Mission. They were all good questions, and the micro-choreography of physical and psychic states to which they pointed charged the room with a delicate intensity that encouraged many thoughtful beers afterward. (Avila)

short tAkes: Biggest dick: Kevin Spacey as Richard III. With balls and chops to match. Best Beefcake ham and Cheese on Wry for under $100: Hugh Jackman at the Curran. Best use of salvia: Philip Huang at “Too Much!” Best medicine for complacency: Cancer Cells, selections from late works and words by Harold Pinter by Performers Under Stress. Biggest site-specific punch (with gloves on or off): Peter Griggs’ one-man show, Killer Queen: The Story of Paco the Pink Pounder, at Michael the Boxer Gym and Barbershop. most intellectually stimulating drag lecture: David Greenspan reading Gertrude Stein’s Plays at the Contemporary Jewish Museum. (Avila) 2 arts + culture

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artS + culture: viSual art

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PRE-OccUPIEd $BO UIF WBSJPVT EFNPDSBUJ[BUJPOT PG BSU USJDLMF VQ By Matt SuSSMan arts@sfbg.com YEAR IN VISUAL ART “Occupy the Empty,� Amanda Curerri’s 2010 solo show at Ping Pong Gallery (now Romer Young Gallery), seems about as appropriate a tag line as any for this past year. It’s not just Curerri’s prescient title that resonated with the occupations at Zucotti Park, Frank Ogawa Plaza, and the Mario Savio steps at U.C. Berkeley’s Sproul Hall, as well as the populist expressions of protest seen throughout the Arab Spring that many involved with the Occupy movement looked to, not always unproblematically, as sympathetic precedents. “Occupy the Empty� took seriously the question of how art and aesthetics can create a more democratic society, testing the tensions inherent within the question’s very terms by asking viewers who entered Curerri’s deconstructed courtroom to become witnesses. The efficacy of the entire enterprise was predicated on individuals taking the stand, but also placing their testimony against and alongside those who had spoken before about a form of speech no less personal and performative: last words.

Similarly, the tension of the individual voice in relation to the collective it contributed to has been the engine motor of the Occupy movement. At the encampments no one could speak for anyone else and yet everyone was, at the very least, in agreement on the necessity of being present, a message often relayed (without an apparent sense of irony) back to the assembled, via a re-presentational strategy known as “the human microphone.� One could also point to the whimsical criers and peddlers of Allison Smith’s “Market Day,� a public performance event held on and around Market Street in June as part of her Southern Exposure exhibit “The Cries of San Francisco,� or Stephanie Syjuco’s “Shadow Shop,� a mom-and-pop-style art market that resided for five months at SFMOMA, as other examples of participatory artistic practice that aimed to insert alternative forms of democratic exchange into public life, in some ways anticipating much of the discussions around aesthetics and politics that Occupy generated. Whether this exploratory, incessantly present dynamic will — or can — continue to “trickle up� further through the art world

remains to be seen. Major museums largely played it safe this year going with tried and true blockbusters (locally, Picasso and Impressionism) or spectacular spectaculars that had critics alternately swooning or pointing at the naked emperor’s relentless march, as in the recent retrospectives of Mauricio Catalan and Carsten HĂśller in New York. Certainly, the likes of Charles Saatchi grumpily lecturing about cultural capital and the “vulgarityâ€? of new super-elite art collectors in the pages of the UK Guardian doesn’t make the one percent look necessarily any more “in touch.â€? (Not that any of the moneyed gawkers I encountered at Art Basel Miami would care.) On the other hand, Alice Walton’s recently opened Crystal Bridges Museum of American Art in Arkansas, funded with Wal-Mart cash, can be seen as presenting both a possible new model and a grim augury about how art’s public future will rely even more transparently but no less troublingly on private beneficence. Why must we travel to a major urban center to see outstanding art? Then again, why donate to a museum when you can build you own? 2

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tHE FrUIt GUYs 'PS UIF TVQFS MBTU NJOVUF OPUIJOH CFBUT B TPMJE POMJOF QVSDIBTF 5IF 'SVJU (VZT JT B MPDBM GBSN EFMJWFSZ TFSWJDF UIBU XBT TUBSUFE PVU PG 4PVUI 4BO 'SBODJTDP *UµT CVSHFPOFE ESBNBUJDBMMZ BOE OPX IBT DFOUFST JO 1IPFOJY 1IJMBEFMQIJB BOE $IJDBHP ± TP JG ZPV IBWF SFMBUJWFT JO UIF .JE 8FTU BOE &BTU $PBTU UIBU ²EPOµU HFU³ UIF XIPMF MPDBM GPPE UIJOH HJWF ´FN B MJUUMF HPPTF 'SVJU CPYFT SVO BT MJUUMF BT QFS NPOUI BOE ZPV DBO DFBTF EFMJWFSZ XIFO FWFS ZPV XJTI /PUF *G ZPVS SFMT EPOµU MJWF JO POF PG UIPTF DJUJFT UIF GPPE NJHIU DPNF GSPN B MJUUMF GVSUIFS BXBZ CVU UIF 'SVJU (VZT USZ UP VUJMJ[F MPDBM GBSNT XIFSFWFS UIFZ DBO

(877) 378-4863, www.fruitguys.com

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FOOD shufat market 0QFO VOUJM B N UI 4U 4' 17th and noe Groceteria 0QFO VOUJM Q N UI 4U 4' Art/bOOkstOrEs Green Apple books 0QFO VOUJM Q N $MFNFOU 4' XXX HSFFOBQQMFCPPLT DPN sF mOmA museum store 0QFO VOUJM Q N 5IJSE 4U 4' XXX TGNPNB PSH NVTFVNTUPSF Alexander book Company 0QFO VOUJM Q N 4FDPOE 4U 4' XXX BMFYBOEFSCPPL DPN

tOY/HObbY stOrEs the Ark toy store Open until 7:30 p.m., 2455 Telegraph, Berk. 0QFO VOUJM Q N (510) 549-1125, www.amoeba.com UI 4U 4' GG’s 5IF QMBDF UP MBTU NJOVUF TIPQ GPS NPN JT DMFBSMZ XXX UIFBSLUPZT DPN Jeffrey’s toys ((µT BMUIPVHI ZPV DBO QSPCBCMZ GJOE HJGUT GPS KVTU BCPVU BOZPOF JO UIJT 8FTU 1PSUBM TIPQ ((µT 0QFO VOUJM Q N JT B TQFDJBMUZ TUPSF XJUI B QSPEVDU TFMFDUJPO UIBU .BSLFU 4' USBWFSTFT GSPN UIF DSFBUJWF UP UIF FMFHBOU UP mission skateboards UIF XJUUZ 4FMMJOH KFXFMSZ DBOEMFT MPUJPOT QFS GVNFT BOE TPBQT QSFUUZ MJUUMF UIJOHT XJMM DBUDI 0QFO VOUJM Q N ZPVS FZF BMNPTU HVBSBOUFFE "OE ((µT EPFT EP UI 4U 4' XXX HJGUXSBQ ± B $ISJTUNBT MJGFTBWFS NJTTJPOTL CPBSET DPN Open until 6 p.m., 11 West Portal, SF.

Open until midnight, 474 Columbus, SF. (415) 395-9116, www.zcioccolato.com

COLLAGE GALLErY " TUPSF GVMM PG LOJDL LOBDLT JT B HSFBU CFU GPS GJOEJOH VOJRVF HJGUT GPS ZPVS MPWFE POFT 'SPN MPPTF UZQFXSJUFS LFZT BOE TDSBCCMF QJFDFT UP KFXFMSZ CZ MPDBM BSUJTUT BOE WJOUBHF QVSTFT UIJT 1PUSFSP )JMM TIPQ JT B TVQFS TUPQ XIFO ZPVµWF HPU B GFNNF BSUJTUJD UZQF JO NJOE )BWF B GSJFOE XIP JT EFDPSBUJOH UIFJS OFX BQBSUNFOU 4JT KVTU IBE B CBCZ $PMMBHF (BMMFSZ JT LOPXO GPS IBWJOH UIF NPTU FDMFDUJD DPMMFDUJPOT PG WJOUBHF XBMM MFUUFST OVNCFST BOE DMPDLT 4P UJDL UPDL HFU PWFS UIFSF

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CLOtHInG/ ACCEssOrIEs Gravel and Gold 0QFO VOUJM Q N TU 4U 4' XXX HSBWFMBOEHPME DPN therapy 0QFO VOUJM Q N 7BMFODJB 4' XXX TIPQBUUIFSBQZ DPN Unionmade 0QFO VOUJM Q N 4BODIF[ 4' XXX VOJPONBEFHPPET DPN FLOrAL sHOps verde sF 0QFO VOUJM Q N 'FMM 4' XXX WFSEFTG DPN Utsuwa Floral Design 0QFO VOUJM Q N 1PML 4' XXX VUTVXBGE DPN

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DECEMBER 21 - 27, 2011 / SFBG.com

23

arts + culture: film

BaD BrOMance: I Melt WIth You’s JereMy Piven, rOB LOWe, cHrisTian McKay, anD THOMas Jane. | Photo courtesy Magnolia Pictures

THe UnBearaBLe TriTeness OF Being 0COPYJPVT I Melt With You JT OPU EFTUJOFE GPS BOZ UPQ MJTUT

By Dennis Harvey arts@sfbg.com

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24 SAN FRANCISCO BAY GUARDIAN

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FiLM A lamentation frequently heard is that men don’t know how to express their feelings. At least not the theoretically less “manly� ones of vulnerability, self-doubt, weepiness, affection, “do these board shorts make me look fat?,� etc. Every once in a while, however, there comes an entertainment that makes you think: better to keep those feelings unexpressed, bud. “Entertainment� is a term pretty loosely applied to I Melt With You, which careens drunkenly between the obnoxious, embarrassing, and unintentionally hilarious before really jumping off a cliff of unearned, fatal self importance. Seldom has a potential camp classic induced such strong desire to plug in the slapping machine and subject all its principal participants to some aversion therapy. Amusingly programmed for year-end release well after its heavily hooted Sundance Film Festival premiere — did Magnolia really think it might figure in top ten lists or award races? — its largest potential audience might be snark-seeking Occupy-sympathetic feminists who could treat it as their very own Showgirls (1995). Apart, of course, from ex-golden boys in the upper income percentiles who have “everything� and feel an existential nothing. They will likely be the only folks to grok I Melt as intended, as a mirror held up to My Pain, My Self. The rest of us will be experiencing quite a different sort of pain, in a different location. Richard (Thomas Jane) is a once-promising novelist whose printed output stalled short of the

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sophomore slump, and who’s now reduced to teaching actual sophomores. Jonathan (Rob Lowe) has blown his marriage, child custody, and Hippocratic Oath playing Dr. Feelgood to prescription-addicted socialites. Ron (Jeremy Piven) is a symptom of high-flying Wall Street corruption whose lush life is about to collapse under a hailstorm of federal fraud investigation. Tim (Christian McKay) is depressed — hey, somebody has to be fourth-billed and most expendable plot-wise. They’re gathering at shared age 44 — the horror — for their annual week long bacchanal at an impressive cliffside Monterey manse. They do the conversational equivalent of extended ball-scratching, as well as a whole lotta booze, coke, weed, and miscellaneous pills provided by walking pharmacy Jon. Eventually they invite over some local youth, baiting the dudes with old-fart slurrings of “You don’t know anything!�, slo-mo moshing, and sad sex-having with the chicks (including actual porn star Sasha Grey — membership really does have its privileges!) The sole woman here who’s roughly their age is, naturally, way off the sexual radar. That would be Carla Gugino, stuck with possibly the year’s most thankless female part as a local cop who notices these asshole interlopers and, rather than keeping a nose-pinching distance, becomes increasingly concerned that something bad is about to happen to them. Of course she’s right. Because it turns out these big swinging dicks made a pact when they were 18 that if adult life didn’t turn out to be as exciting and limitless and whatnot as it seemed then, they’d ... well, make like Ian Curtis or Sid Vicious music listings

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or any other punk-rock flameout they trivialize with their self-pitying, worshipful sense of personal identification. (The soundtrack is packed with punk and New Wave oldies meant to affirm that our protagonists remain rebels — but then, every mid-80s frat boy thought liking the Clash made them cool, too.) Faced with the unbearable triteness of their being, these quixotically arrogant self-loathers implode in terms just as meaningful as you’d expect from four reasonably privileged grown white men whose primary source of angst is the fact that life didn’t turn out to be as easy or fun as imagined in their freshman dorm. Credit is due to director Mark Pellington (1999’s Arlington Road) and first-time (possibly last-time) scenarist Glenn Porter for their resolute belief that such crybaby bathos merits tragic grandeur. They take the term “epic failâ€? seriously, making I Melt the GĂśtterdĂŁmmerung of male menopause movies. Seldom has a vanity project (right down to producer Jane’s incessant showcasing of furry abs) backfired so badly, so personally on everyone involved. Because every scorching revelation here falls into the category of stereotypical rich-people’s-problems most Hollywood success stories are smart enough to bare only on their analyst’s couch. Said therapist is well-paid to at least pretend empathy. That Pellington and co. actually expect us to pay cash money for the privilege of watching them bellow like the arrow-felled Last Buffalo is about as ridiculously far as the Peter Pan syndrome can possibly stretch. 2 i MeLT WiTH yOU opens Fri/23 in Bay Area theaters.

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ARTS + CULTURE: NIGHTLIFE

HARK, THE HAIRY ANGEL! AMBROSIA SALAD HOSTS I LOVE COCHINA TONGA’S! | IMAGE BY NATHAN RAPPORT

HAIL, MARY BY MARKE B. marke@sfbg.com SUPER EGO This is gonna be one of those super-queeny “I do this, I do that� gossip-type columns because some of you schadenfreudanistas have been poking me relentlessly for that — and, well, happy Kwanzaa ladies! Here’s the tea. Honey Bunny This is the name of my new favorite cocktail, basically an Odwalla with tequila (OK, carrot-orange juice with agave syrup, cayenne rim, and fancy tequila, no homo), at “trying a bit too hard but cheapish and open late, yay� new BBQ joint Southpaw. Unfortunately, my ex choked on his steamy beef brisket while we were dining there — and no, even though he’s a famous porn director this is not a lame joke about swallowing. I’m not Gloss magazine! One hilariously executed Heimlich and an extended hospital stay later, he’s OK. The moral is: bring your ex here if you want to kill him. The cocktails are delicious. Cassy-o-pee-a? About an hour into Berlin minimal house goddess Cassy’s ace set at Vessel (www.vesselsf.com) in Union Square a couple Thursdays ago, dancers were treated to a supremely strange two-fer. Suddenly the lights went on, and one of the obviously inebriated promoters got on the mic yelling something about “toilets!� and “Cassy made you all take a shit on the dancefloor!� This went on for about 10 minutes. (Cassy deserves the Nobel Peace Prize for smiling politely and not decking this dude.) Luckily, a more cogent person took over and explained that the plumbing had backed up — and the entire party was being moved to Monroe (www.monroesf. com) in North Beach. Anyone for shared taxis? The switch actually went off without a hitch and ended up costing nothing, although I lost my favorite fauxfur in all the hubbub. Anybody seen a Honey Badger muff? Where the fuck should I go for drinks? Blackle it, it’s cute. editorials

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Project One.2 Potrero Hill’s already pretty brill afterhours club and gallery Project One (www.p1sf. com) just tore off the bandage from a wee nip/tuck — and she looks good now, with the turntables no longer blocking my way to the bathroom for refreshment. Hopefully the promotions will get a revamp too, so I’ll actually know what’s going on there in time to tell y’all.

Marcus Worgull from Wuppertal, Germany, was whipping a totally fun and colorful crowd into a deep tech-house froth. (Go see Luna City Express there this Thu/22.) Best of all, there was so much bass I could feel my clothes, which is just how I like it. Just in time, too, since one of my other favorite sweet spots, 222 Hyde, is closed for a remodel until next year. She all lit up I am going to say here that Lil Miss Hot Mess’s performance of Bette Midler’s “Light One Candle� while crucified on a flashing light-bulb menorah at last week’s Some Thing party at the Stud (www.studsf.com) has restored my faith in truly tasteless drag. Too much Oh hey, I started a new thing on SFBG’s Noise blog called Nite Trax, so I can gossip about clubland adventures all the more (and just riff on the current nightlife zeitgeist). Let’s do it!

KEN VULSION Friendly Wednesday weekly Housepitality party gets all disco Christmas (Chrisco?) on us, with the gloriously historical Honey Soundsystem founder joined by DJs Bus Station John and Robert Jeffrey. A nice winter warmup. Wed/21, 9 p.m., $5. Icon, 1192 Folsom, SF. www.housepitalitysf.com

I LOVE COCHINA TONGA’S! (FELIX NAVIDAD!)

Nobody ever suspects the butterfly I finally made it to Monarch, the slick new venue from some of the OM Records and late Triple Crown club folks, yet another redo of the former Pow!, Lit, and The Room space. The Room, like the movie of the same name, had a rep as being one of the worst things ever — but unlike the movie, not in a supremely enjoyable, cult-ready way. Monarch must have burnt some sage in there or something, because when I descended from the sparkling lounge area to the justright basement dance floor, DJ picks

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How many exclamation points do you need, Guapa? Dragsplosion Ambrosia Salad and DJs Taco Tuesday and Stanley Frank stuff your stocking with Mexican, as they take over the Castro’s Lookout bar and turn it into the Christmas cabana of your dreams. Picante performances and questionable improvisations will abound. Thu/22, 9 p.m., free. The Lookout, 3600 16th St., SF. Facebook: Cochina Tonga’s

oakland music complex Monthly Music Rehearsal Studios

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

oaklandmusiccomplex@gmail.com

KITCHEN OPEN MON-SAT AT 6PM 12/21 9pm $5/$8

12/27 8pm FREE

12/29 8pm

12/30 8pm FREE

12/30 8:30pm $15

SUB MiSSion & Reaction ReStaURant PReSentS

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the BURden We BeaR nothing BUt loSeRS My Place oF yoURS thRoUgh the WallS giving the devil hiS dUe SUB MiSSion PReSentS: BandS tBa

neW yeaRtS eve Shinding!!!

old tiMe PUnk Rock gala With:

la PleBe tRainWReck RideRS atoM age & MoRe tBa

Fri/23, 9 p.m.-3 a.m., $5. Public Works, 161 Erie, SF. www.publicsf.com 2

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12/26

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

9ec\ehj Ijob[ Cocktails 22 Tap Beers Pool Tables

CASUAL ENCOUNTER An all-star cast of SF’s twisted underground gathers for this frolicsome affair, putting the XXX in Xmas. (Wow, maybe I am Gloss magazine.) It’s an “anything goes� theme, as musical styles galore clash and fascinate like an Ohio grandma’s sweater, with DJs Primo, Vivian, X2SIH, Chris Orr, and Monsieur M., and hostess Alexis Blair Penney.

12/21

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DECEMBER 21 - 27, 2011 / SFBG.com

25

music listings

for more music content visit sFBg.com/noise Tom Lander & Friends .FKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF. Brian McKnight :PTIJÂľT BOE QN Savanna Jazz Jam with Nora Maki 4BWBOOB +B[[ .JTTJPO 4' QN Stompy Jones 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN

Folk / woRld/countRy

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

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

FRiday 23 Rock /Blues/hip-hop

BRian mcknight plays yoshi’s wed/21 thRough FRi/23. .VTJD MJTUJOHT BSF DPNQJMFE CZ &NJMZ 4BWBHF 4JODF DMVC MJGF JT VOQSFEJDUBCMF JU¾T B HPPE JEFB UP DBMM BIFBE PS DIFDL UIF WFOVF¾T XFC TJUF UP DPOGJSN CPPLJOHT BOE IPVST 1SJDFT BSF MJTUFE XIFO QSPWJEFE UP VT 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTUJOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

wednesday 21 Rock /Blues/hip-hop

Brian Bergeron +PIOOZ 'PMFZ¾T QN GSFF California Honeydrops, Andre Thierry & Zydeco Magic, Grand Nationals &MCP 3PPN QN Growlers, Tomorrow’s Tulips, Abigails *OEFQFOEFOU QN Pryor Baird Band & the Deacons #JTDVJUT BOE #MVFT BOE QN Brian Smith, Sam Chase, Michael Beach )FNMPDL 5BWFSO QN Soul Train Revival, Ezekial McCarter #PPN #PPN 3PPN QN Greg Zema vs. Yoel +PIOOZ 'PMFZ¾T EVFMJOH QJBOPT QN

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Cat’s Corner with Nathan Dias 4BWBOOB +B[[ .JTTJPO 4' QN Cosmo AlleyCats -F $PMPOJBM $PTNP 1MBDF 4' XXX MFDPMPOJBMTG DPN QN Dink Dink Dink, Gaucho, Michael Abraham "NOFTJB QN GSFF Greg Gotelli Quartet .FKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Brian McKnight :PTIJ¾T QN Ricardo Scales 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN

26 SAN FRANCISCO BAY GUARDIAN

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Booty Call 2 #BS $BTUSP 4' XXX CPPUZDBMMXFEOFTEBZT DPN QN +VBOJUB .03& BOE +PTIVB + IPTU UIJT EBODF QBSUZ Coo-Yah! 4PN UI 4U 4' QN GSFF %+T %BOFFLBI BOE (SFFO # TQJO SFHHBF BOE EBODFIBMM XJUI XFFLMZ HVFTUT Mary Go Round -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN %SBH XJUI 4VQQPTJUPSJ 4QFMMJOH .FSDFEF[ .VOSP BOE (JOHFS 4OBQ Megatallica 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX NFHBUBMMJDB DPN QN GSFF )FBWZ NFUBM IBOHPVU Vespa Beat #MJTT #BS UI 4U 4' XXX CMJTTCBSTG DPN QN GSFF .4, GN TQJOT SBSFHSPPWFT FMFDUSPTXJOH BOE CPPHJF

thuRsday 22 Rock /Blues/hip-hop

Alvon #JTDVJUT BOE #MVFT BOE QN Erik Deutsch & Scott Amendola Red Poppy Art House. 7:30pm, $12-$20. Dir En Grey 3FHFODZ #BMMSPPN QN Hanin Elias, Violent Vickie, Joey Casio )FNMPDL 5BWFSO QN Gemini 6 5IFF 1BSLTJEF QN Hobo Goblins, Barbary Ghosts, Samuel Doores and the Tumbleweeds "NOFTJB QN Mad Noise, Gavilan, Cool Ghouls )PUFM 6UBI QN Stan Erhart Band +PIOOZ 'PMFZÂľT QN GSFF Yoel vs. Greg Zema +PIOOZ 'PMFZÂľT EVFMJOH QJBOPT QN

jazz/new music

Blues organ party 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF

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“Backwoods Vaudeville Road Show Presents: Jingle Ballâ€? )FNMPDL 5BWFSO QN Baxtalo Drom "NOFTJB QN Elvin Bishop #JTDVJUT BOE #MVFT BOE QN Glider, Victor Krummenacher Trio $BGF %V /PSE QN Infected Mushroom 'JMMNPSF QN Kill Yer Idols ,OPDLPVU QN 4POJD :PVUI USJCVUF CBOE Plastic Fauxno Band performs John Lennon’s music 4MJNÂľT QN #FOFGJU GPS -B[BSFY $BODFS 'PVOEBUJPO Top Secret Band +PIOOZ 'PMFZÂľT QN GSFF Greg Zema , Rags Tuttles, Yoel +PIOOZ 'PMFZÂľT EVFMJOH QJBOPT QN

jazz/new music

Black Market Jazz Orchestra 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIF NBSL DPN QN Brian McKnight :PTIJÂľT BOE QN Savanna Jazz Trio 4BWBOOB +B[[ .JTTJPO 4' QN

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A Funky Christmas &MCP 3PPN QN GSFF 8JUI %+ 7JOOJF &TQBS[B BOE GSJFOET Old School JAMZ &M 3JP QN 'SVJU 4UBOE %+T TQJOOJOH PME TDIPPM GVOL IJQ IPQ BOE 3 # Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVE JOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Pledge: Fraternal -PPLPVU QN #FOFGJUJOH -(#5 BOE OPOQSPGJU PSHBOJ[BUJPOT #PUUPNMFTT LFHHFS DVQT BOE QBEEMJOH CPPUI XJUI %+ $ISJTUPQIFS # BOE %+ #SJBO .BJFS That 90s Dance Party %/" -PVOHF QN 8JUI #BDPO.POLFZ /FUJL 4BHF BOE NPSF

Damir +PIOOZ 'PMFZÂľT QN GSFF Sista Monica #JTDVJUT BOE #MVFT BOE QN

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“Clairdee’s Christmasâ€? :PTIJÂľT QN

Folk / woRld/countRy

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

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Bootie SF %/" -PVOHF QN 9 NBT &WF CJSUIEBZ QBSUZ GPS #PPUJF 4' IPTU BOE %+ "ESJBO Paris to Dakar -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVE JOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF

sunday 25 Rock /Blues/hip-hop

“Black X-Mass� &MCP 3PPN QN 8JUI "CV (IBSJC .FUSP .JDUMBO #JUF BOE NPSF

jazz/new music

“Bud E. Luv’s Annual Christmas Spectacular� 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

Folk / woRld/countRy

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

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Death Guild: X-Mess Night %/" -PVOHF QN (PUIJD JOEVTUSJBM BOE TZOUI QPQ XJUI %FDBZ .FMUJOH (JSM BOE %BOJFM 4LFMMJOHUPO

monday 26 Rock /Blues/hip-hop Damir +PIOOZ 'PMFZÂľT QN GSFF

jazz/new music

Bossa Nova 5VOOFM 5PQ #VTI 4' QN GSFF -JWF BDPVTUJD #PTTB /PWB Jerry Lawson and the Talk of the Town :PTIJÂľT QN

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Death Guild %/" -PVOHF QN (PUIJD JOEVTUSJBM BOE TZOUIQPQ XJUI %FDBZ +PF 3BEJP BOE .FMUJOH (JSM

tuesday 27 Rock /Blues/hip-hop

Grand Lodge, Beehavers, Gosta Berling )FNMPDL 5BWFSO QN “Save Our Strawderâ€? &MCP 3PPN QN CZ EPOBUJPO #FOFGJU GPS 3PC 4USBXEFS WJDUJN PG UIF UI BOE .JTTJPO GJSF Stan Erhart Band +PIOOZ 'PMFZÂľT QN GSFF

jazz/new music

Kim Nalley & Houston Person 3SB[[ 3PPN .BTPO 4' XXX UIFSSB[[SPPN DPN QN

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satuRday 24 Rock /Blues/hip-hop

“Slim’s 24th Annual Oakland Interfaith Gospel Ensembleâ€? 4MJNÂľT BOE QN

Brazilian Wax &MCP 3PPN QN 8JUI %+ $BSJPDB BOE %+ 1 4IPU 'PSSP #SB[VDB QFSGPSNJOH MJWF Eclectic Company 4LZMBSL QN GSFF %+T 5POFT BOE +BZCFF TQJO PME TDIPPM IJQ IPQ CBTT EVC HMJUDI BOE FMFDUSP 2

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

editorials

news

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

food + Drink

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

picks

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

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

arts + culture

HAPPY HOUR T-F 5-8PM $3 WELL/DRAFT $5 BLOODY MARY & FRY BREAD W/ ROCKY TREE M/W/F/SAT

50 KicK Ass Beers on DrAught Wednesday 12/21

YuKoN bloNdE, THE FlING Thursday 12/22

baYoNICS Friday 12/23

JaZZ maFIa

11 YEar aNNIVErSarY SHowCaSE THE SHoTGuN wEddING QuINTET, braSS maFIa Wednesday 12/28

over 100 different bottles, specializing in Belgians

A Beer Drinker’s PArADise! since 1987

allI baTTaGlIa & THE muSICal brEwING Co.

K/(- ,- "/ + K

CLOSED TIL NEW YEARS EVE FOR... - /1, 9]ĂŠ ,ĂŠĂŽÂŁ

9PM

MANGO PM:

THE SWEET & SEXY NEW YEARS EVE HOUSE PARTY! $15

SoNZ oF raZI, CHrIS ZaNardI aNd THE HIGH bEamZ Thursday 12/29 Free

PHISH wEbCaST saTurday 12/31

(HOT HIP HOP AND SPICY LATIN BEATS

NYE wITH THE FrESH & oNlYS aNd THEE oH SEES, wHITE FENCE

BY SELECTAS EDAJ & MARCELLA) 9PM

HEDCHDG:9 7N

HDJI=:GC 8DB;DGI

Thursday 12/22

for future event info looK @ toronADo.com

FINISH TICKET THE SHE’S, TumblEwEEd waNdErErS, loCal HEro Wednesday 12/28

G-EaZY & FrIENdS HolIdaY baSH saTurday 12/31

THE NYE PEoPlE ParTY! wEdNESdaY 1/4

STar FuCKEr, PaINTEd PalmS

music listings

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

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

&@JJ@FE ,KI<<K , WWW.ELRIOSF.COM ~ 415-282-3325

WED Dec 21 BRIAN SMITH EARLY 9pm, $6 The Sam Chase Michael Beach THU Dec 22 HANIN ELIAS 9pm $10 (ex-Atari Teenage Riot) Violent Vickie Joey Casio FRI Dec 23 8pm, $10

The Backwoods Vaudeville Roadshow presents

SAT Dec 24 8pm, FREE

CHRISTMAS EVE

“THE JINGLE BALL�

bar open from 6pm-12am

DJ BIG NATE

SUN Dec 25 Christmas Night with 9pm, FREE DJ FLOYD-A-CLAUS MON Dec 26 7PM, $5

PORCHLIGHT OPEN DOOR

TUE Dec 27 9pm, $6

GRAND LODGE

WED Dec 28 9pm, $6

DOWN DIRTY SHAKE

Beehavers Gosta Berling E Minor Buffalo Tooth

12/31HEMLOCK TAVERN NEW YEAR’S BASH with Wax Idols, Terry Malts, deejays Mike Slumberland, Matt Mantle. Champagne toast at midnite. 9:00pm, $10. adv. tix on sale.

stage listings

on the cheap

film listings

classifieds

DECEMBER 21 - 27, 2011 / SFBG.com

27

sTAgE lisTings

for more arts content visit sfbg.com/pixEl_vision

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THEATER ongoing

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28 SAN FRANCISCO BAY GUARDIAN

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ÉvA MAGyAr in BErkElEy rEp’S The Wild Bride. photo by steve tanner

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The World’s Funniest Bubble Show .BSTI #FSLFMFZ 5IFBUFS4UBHF "MMTUPO #FSL XXX UIFNBSTI PSH 4VO BOE %FD BN OP TIPX 4VO 5ISPVHI %FD -PVJT ²5IF "NB[JOH #VCCMF .BO³ 1FBSM SFUVSOT XJUI UIJT LJE GSJFOEMZ CVCCMF UBTUJD DPNFEZ

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“Cut the Crap! With Semi-Motivational Guru, Clam lynch” %BSL 3PPN .JTTJPO 4' XXX EBSLSPPNTG DPN +BO BOE +BO QN (FU NPUJWBUFE XJUI TFMG IFMQ HVSV TBUJSJ[JOH DPNFEJBO $MBN -ZODI “Dieter und Shiela at the San Francisco international youth Hostel” &VSFLB 5IFBUSF +BDLTPO 4' XXX DPNCJOFEBSUGPSN DPN 8FE 'SJ QN 8JMM 'SBOLFO QSFTFOUT IJT MBUFTU TPMP NVMUJ DIBSBDUFS DPNFEZ “kung pao kosher Comedy” /FX "TJB 3FTUBVSBOU 1BDJGJD 4' XXX LPTIFSDPNFEZ DPN 'SJ 4BU BOE QN 4VO BOE QN /PX JO JUT UI ZFBS UIJT OJHIU PG ²+FXJTI DPNFEZ PO $ISJTUNBT JO B $IJOFTF SFTUBVSBOU XIFSF FMTF ³ GFBUVSFT IFBEMJO FST &MBJOF #PPTMFS "WJ -JCFSNBO +FGG "QQMFCBVN BOE -JTB (FEVMEJH Mark Foehringer Dance project | SF $IJMESFOµT $SFBUJWJUZ .VTFVN 'PVSUI 4U 4' XXX CSPXOQBQFSUJDLFUT DPN 8FE 'SJ BN BOE QN 5IF DPOUFNQPSBSZ CBMMFU DPNQBOZ QFS GPSNT Mark Foehringer’s Nutcracker Sweets. “Santaland Diaries” &VSFLB 5IFBUSF +BDLTPO 4' XXX DPNCJOFEBSUGPSN DPN 5IVST 4BU BOE %FD QN BMTP 'SJ 4BU QN $PNCJOFE "SUGPSN QSFTFOUT %BWJE 4FEBSJTµ IPMJEBZ DPNFEZ Smuin Ballet :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX TNVJOCBMMFU PSH 8FE 'SJ QN BMTP 8FE QN 4BU QN 5IF DPNQBOZ QFSGPSNT JUT BDDMBJNFE USJCVUF UP UIF IPMJEBZT The Christmas Ballet. “Tenderloin Christmas Hustler: Occupy the ‘loin!” 1IPFOJY 5IFBUFS .BTPO 4JYUI 'MS 4' XXX UFOEFSMPJOYNBTIVTUMFS DPN 8FE 'SJ QN .BTI VQ $ISJTUNBT QBSPEZ DPNQMFUF XJUI TPDL QVQQFU +FTVT BU JOUFSNJTTJPO “Welcome to Boswick’s House” 4' 1MBZIPVTF 4VUUFS 4' XXX CPTXJDL OFU 5IVST 'SJ BOE .PO 5VFT BN #PTXJDL UIF $MPXO QFS GPSNT B HPPGZ IPMJEBZ TIPX BJNFE BU LJET BHFT ZFBST PME “yes Sweet Can” %BODF .JTTJPO 5IFBUFS UI 4U 4' XXX TXFFUDBOQSP EVDUJPOT DPN %FD BOE QN %FD BOE QN %FD +BO QN 4XFFU $BO 1SPEVDUJPOT QSFTFOUT BO IPVSMPOH FYUSBWB HBO[B PG DJSDVT BSUT GPS UIF IPMJEBZT 2

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SHort FIlm WeStern SPAgHettI mAKeS dInner From yArn And ruBBerBAndS -- CHeW CAreFully At ItS exPlorAtorIum SHoWIng. See mon/26. 0O UIF $IFBQ MJTUJOHT BSF DPNQJMFE CZ -VDZ 4DIJMMFS 4VCNJU JUFNT GPS UIF MJTUJOHT BU MJTU JOHT!TGCH DPN 'PS GVSUIFS JOGPSNBUJPO PO IPX UP TVCNJU JUFNT GPS UIF MJTUJOHT TFF 1JDLT

wednesday 21 Cartoonist-palooza gift sale and concert .FSDVSZ $BGn 0DUBWJB 4' XXX TUFWFMBGMFS OFU Q N GSFF -MPZE %BOHMF B MPOHUJNF EFGU MBNQPPOFS PG UIF POF QFSDFOU JO IJT Troubletown DPNJD TUSJQ IFBEMJOFT B OJHIU PG DPNJD PSJFOUFE IPMJEBZ PGGFSJOHT BOE MJWF NVTJD .BUT +FGG 3PZTEPO 4UFWF -BGMFS BOE UIF %JDL /JYPO &YQFSJFODF SFTQPOTJCMF GPS UIF POF BOE POMZ ²0BYBDBCJMMZ³ TPVOE KPJO Winter Solstice celebration .VJS 8PPET 7JTJUPS $FOUFS .VJS 8PPET 3E .JMM 7BMMFZ XXX QBSLTDPOTFSWBODZ PSH Q N GSFF :PV DBO TQFOE UIF MPOHFTU OJHIU PG UIF ZFBS TQFOU VOEFSOFBUI UIF MPOHFTU USFFT BSPVOE 4PMTUJDF DSPXO NBLJOH NVTJDBM QFSGPSNBODFT BOE MVNJOBSJB HVJEFE KBVOUT BMPOH .VJS 8PPET USBJMT MJHIU VQ UIF OJHIU

thursday 22 Objectified screening 1IZMMJT 8BUUJT 5IFBUFS 4'.0." 5IJSE 4U 4' XXX TGNPNB PSH Q N 'SPN UIF WFSZ TBNF GPMLT XIP FYBN JOFE HMZQIT BOE TFSJGT JO UIF GJMN Helvetica DPNFT B GJMN PO UIF EFTJHO PG TPNF PG PVS NPTU NVOEBOF PCKFDUT 1PUBUP QFFMFST BOE UPPUI CSVTIFT XJMM CPUI CF VOEFS EJTDVTTJPO Animation Workshop 3PDL 1BQFS 4DJTTPST $PMMFDUJWF 5FMFHSBQI 0BLM XXX SQTDPM MFDUJWF PSH Q N TMJEJOH TDBMF #FGPSF HJGT UIFSF XBT UIF FWFO TJNQMFS TUVGG DVU PVU BOE TUPQ NPUJPO BOJNBUJPO 3PDL 1BQFS 4DJTTPST IPMET NPOUIMZ XPSLTIPQT PO TVDI TUZMFT PG ZPSF &BHFS XPVME CF BOJNBUPST BSF JOWJUFE UP DPNF BOE DSFBUF UIFJS PXO TIPSU GJMNT

friday 23 Berlin-Style Ping-Pong 1SPKFDU 0OF 3IPEF *TMBOE 4' Q N 8JUI UXP XIPMF SFBTPOT UP DFMFCSBUF UIF GJSTU CFJOH UIBU JUµT 'SJEBZ UIF TFDPOE UIBU JUµT $ISJTUNBT &WF &WF UIFSFµT BCTPMVUFMZ OP FYDVTF UP QBTT VQ UIF MBUFTU NBUDI PG ²#FSMJO TUZMF³ QJOH QPOH UIF QBEEMFE DSB[F TXFFQJOH UIF DJUZ +PJO UIF GSBO UJD SVOOFST SPVOE UIF UBCMF

saturday 24 Mittens and Mistletoe %BODF .JTTJPO

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Wed 12/21 8pm no CoVeR!

5IFBUFS UI 4U 4' XXX EBODFNJTTJPO PSH "MTP 4VO Q N BOE Q N PO XXX CSPXOQBQFSUJDLFUT DPN %JSFDUFE CZ UXP CPOBGJEF DMPXOT $PWFOUSZ BOE ,BMV[B UIF XJOUFS UIFNFE WBSJFUZ TIPX SF JNBHJOFT USBTI DBOT CSPPNT BOE TJNJMBSMZ PSEJOBSZ PCKFDUT XJUI UIF IFMQ PG TMBDL MJOFT BDSPCBUJDT BOE UIF VTVBM DJSDVT NBHJD

BuRn doWn The diSCo! 80S dAnCe pARTy dj 2Shy-Shy & dj melT W/u Thu 12/22 7pm $20

pARkeR’S holidAy CRApTACulAR!

mARC & The CASuAlS

sunday 25

mARk eiTzel • kelley STolTz • heAVenly STATeS • pAulA FRAzeR

Free admission day $POUFNQPSBSZ +FXJTI .VTFVN .JTTJPO 4' XXX UIFDKN PSH B N Q N GSFF 4VSF UIFSFµT $IJOFTF GPPE BOE UIF $JOFQMFY #VU GPS UIPTF $ISJTUNBT %BZ XBOEFSFST MPPLJOH GPS DVMUVSBM FOMJHIUFO NFOU UIF $+. PQFOT JUT EPPST GPS B EBZ PG TQJO OJOH UPQ NBLJOH BOE HVJEFE UPVST JODMVEJOH POF PG UIBU TXFFU )PVEJOJ FYIJCJU “It’s a Jewish Christmas” .BLF 0VU 3PPN OE 4U 4' XXX NBLFPVUSPPN DPN Q N 4USJQ ESFJEFM B SFBM EFBM $IBOVLBI CVTI BMUFSOBUJOH XPSLT PG OFVSPUJD CSJMMJBODF CZ 8PPEZ "MMFO BOE -BSSZ %BWJE BOE B MBWJTI TQSFBE PG DIPX NFJO NBLF UIJT UIF CFTU VO $ISJTUNBT FWFS Schlitz and free country music #FOEFSµT 4PVUI 7BO /FTT 4' XXX CFOEFSTCBS DPN Q N GSFF 5XP EPMMBST GPS UIF CFFS UIBU NBEF .JMXBVLFF GBNPVT JT HSFBU FOPVHI CVU BEE UIF UXBOHJOH HSPPWFT PG MPDBM HSPVQ UIF %FBE 8FTUFSOT BOE ZPV NBZ OFWFS NBLF JU PVU PG #FOEFSµT

BeneFiT FoR SF FoodBAnk!

FRi 12/23 7:30pm $8

All hAil FeSTiVuS!

muShRoom • AliSon leVy • RAlph CARney • jeAn CAFFeine eVeRy FRidAy 10pm $5

looSe joinTS!

W/ djS Tom Thump, dAmon Bell & CenTipede RARe gRooVe/Funk/Soul/hip-hop & moRe!

SAT 12/24 9pm $5

el SupeRRiTmo! xmAS eVe dAnCe pARTy! RogeR mAS y el kool kyle W/ gueST djS

dj RiCky gARAy AkA SeÒoR muCho muSiCA

monday 26

CumBiA, dAnCehAll, SAlSA, hip-hop

Kwanzaa in San Francisco 5ISPVHI +BO 7BSJPVT UJNFT BOE QMBDFT 4' XXX LXBO[BBT BOGSBODJTDP DPN $FMFCSBUF UIF "GSJDBO IPMJEBZ PG GBJUI TFMG EFUFSNJOBUJPO VOJUZ BOE PUIFS VOJWFSTBMMZ DMVUDI QSJODJQMFT XJUI UIFTF TFWFO EBZT PG GSFF FWFOUT )JHIMJHIUT UIF .PO LFZOPUF TQFFDI CZ $JUZ $PMMFHF USVTUFF %S #SFOEB 8BEF %FD µT POF XPNBO QMBZ PO UIF MJGF PG )BSSJFU 5VCNBO BOE GFBTUT FWFSZ OJHIU PG UIF GFTUJWJUJFT Holiday Animation Film Festival .D#FBO 5IFBUFS &YQMPSBUPSJVN -ZPO 4' XXX FYQMPSBUPSJVN FEV /PPO BOE Q N GSFF XJUI NVTFVN BENJTTJPO &WFO JG ZPV TUBSU XBUDIJOH B IPMJEBZ UIFNFE TIPSU TDSFFOFE BT QBSU PG UIF IPMJEBZ BOJNBUJPO GFTUJWBM BOE JU EPFTOµU UJDLMF ZPVS GBODZ DIBODFT BSF ZPVµWF POMZ HPU BCPVU B NJOVUF PS UXP MFGU UP HP CFGPSF JUµT PWFS 4DSPPHF )BOE QBJOUFE QBQFS TDSBQT TUPQ NPUJPO BOJNBUJPO BOE TUVGGFE BOJNBMT IFBEMJOF UIF TIPX 2

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Sun 12/25 5pm $10

iT’S A jeWiSh ChRiSTmAS, SAn FRAnCiSCo Woody Allen FilmS

djS & dAnCing • ChineSe BuFFeT STRip dReidel! mon 12/26 6pm FRee!

Fly me To The moon! 9:30pm no CoVeR!

dj puRple kARAoke Tue 12/27 9:30pm no CoVeR!

loST & Found

deep & SWeeT 60S Soul 45S

djS luCky & pRimo & FRiendS 3225 22nd ST. ! miSSion SF CA 94110 415-647-2888 • www.makeoutroom.com stage listings

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DECEMBER 21 - 27, 2011 / SFBG.com

29

film listinGs

for more arts content visit sfbG.cOm/pixel_visiOn TUSBOHFS FTTFOUJBMMZ ± BOE UIBU ZPVS MJGF JT B NFSF TIBEPX PG UIBU TPNFPOFµT QBTU MJGF "U UIF IFBSU PG +FOOJGFS 'PYµT TXFFQJOH EPDVNFOUBSZ JT B GBUIFS TPO SFMBUJPOTIJQ TUSBJOFE CZ UIJT DMBTI CFUXFFO 8FTUFSO DVMUVSF BOE #VEEIJTU USBEJUJPO 'JMNFE PWFS ZFBST UIF EPDVNFOUBSZ GPMMPXT B 5JCFUBO #VEEIJTU .BTUFS $IzHZBM /BNLIBJ /PSCV BOE IJT TPO :FTIJ XIP JT CFMJFWFE UP CF UIF SFJODBSOBUJPO PG IJT HSFBU VODMF :FTIJ JT B OPSNBM *UBMJBO UFFOBHFS XIP XBOUT UP CF B QIPUPHSBQIFS BOE QMBZ NVTJD BOE SFDFJWF TPNF BUUFOUJPO GSPN IJT EFUBDIFE GBUIFS #VU $IzHZBM /BNLIBJ /PSCV JOTJTUT PO USFBUJOH IJT TPO MJLF B TUVEFOU OPU IJT PXO GMFTI BOE CMPPE Reincarnation JT B WBTU BOE JOUSJHVJOH MPPL BU B GBJUI BOE B GBNJMZ IPX UIF UXP JOUFSUXJOF BOE IPX UIFZ DBO CPUI VMUJNBUFMZ DIBOHF Roxie, Smith Rafael. +BNFT ) .JMMFS

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We Bought A Zoo /PUPSJPVT IFBSUTUSJOH NBOJQ VMBUPS $BNFSPO $SPXF EJSFDUT UIJT UBMF PG B TJOHMF EBE .BUU %BNPO XIP VOFYQFDUFEMZ CFDPNFT UIF PXOFS PG B TNBMM [PP Balboa.

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The Darkest Hour "MJFOT JOWBEF BOE ESBJO UIF QMBOFUµT QPXFS TVQQMZ PS TPNFUIJOH 4BWF VT &NJMF )JSTDI Shattuck. The Flowers of War $ISJTUJBO #BMF TUBST JO ;IBOH :JNPVµT QFSJPE ESBNB BT B NBO XIP QPTFT BT B QSJFTU UP QSPUFDU B HSPVQ PG XPNFO EVSJOH UIF /BOLJOH .BTTBDSF Bridge. The Girl With the Dragon Tattoo 5IF NFFUJOH PG 4UJFH -BSTTPOµT GJSTU ².JMMFOOJVN³ CPPL BOE %BWJE 'JODIFS QSPNJTFE GJSFXPSLT BT IFµT B EJSFDUPS XIP DBO CF FRVBMMZ WJWJE BOE FYBDUJOH XJUI KVTU UIF FMFNFOUT LFZ UP UIF TFSJFT QSPDFEVSBM EFUBJM PCTFTTJPO WJP MFODF UXFBLFE HFOSF DPOWFOUJPOT NJOE HBNFT

1

THE WIZARD OF OZ

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

2025 Broadway, Oakland 30 SAN FRANCISCO BAY GUARDIAN

Take BART exit 19th St. station

1

510-465-6400

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IBVOUFE QSPUBHPOJTUT BOE FYQBOTJWF TUPSZ BSDT #VU QFSIBQT CFDBVTF UIJT QPTTJCMF GSBODIJTF MBVODI IBE UP CF SVTIFE JOUP QSPEVDUJPO UP SJEF UIF -BSTTPO XBWF XIBU TIPVME IBWF CFFO B UFSSJGJD NBUDIVQ UVSOT PVU UP CF KVTU B HPPE POF ± TVQFSJPS JO TPNF TUZMJTUJD EFQBSUNFOUT OPUBCMZ 5SFOU 3F[OPS BOE "UUJDVT 3PTTµ QVMTJOH TDPSF CVU PWFSBMM OFJUIFS BO JNQSPWFNFOU OPS B EJTBQQPJOUNFOU JO DPNQBSJTPO UP UIF VOJOTQJSFE CVU FGGFDUJWF 4XFEJTI GJMN WFSTJPO %BOJFM $SBJH QMBZT .JLBFM #MPNLWJTU UIF NVDLSBLJOH 4UPDLIPMN KPVSOBMJTU XIPTF QVCMJD EJTHSBDF BGUFS B GBJMFE FYQPTF PG B TVTQFDU DPSQPSBUF UZDPPO NBLFT IJN UIF QFSGFDU DBOEJEBUF GPS BO VOFYQFDUFE BTTJHONFOU TUBZJOH TFRVFTUFSFE JO UIF XFBMUIZ XBSSJOH 7BOHFS DMBOµT JTMBOE IPNF UP TFDSFUMZ JOWFTUJHBUF B UFFOBHF HJSMµT EJTBQQFBS BODF BOE QSFTVNFE NVSEFS ZFBST BHP )JT UFTUZ IFMQNBUF JT UIF TJOHVMBS -JTCFUI 4BMBOEFS 3PPOFZ .BSB BOUJTPDJBM IBDLFS SFTFBSDIFS BOE FY NFOUBM QBUJFOU QBS FYDFMMFODF /FBSMZ UISFF IPVST MPOH UIF DPNQSFTTFE TMJHIUMZ BMUFSFE HFU PWFS JU TUPSZMJOF OPOFUIFMFTT GFFMT SVTIFE BU UJNFT 'JODIFS NBOBHFT UIF SBSF GFBU PG NBLJOH NPTUMZ JOUFSOFU SFTFBSDI FYDJUJOH JO GJMNJD UFSNT ZFU PEEMZ UIF CPPLµT NPSF TIPDLJOH FQJTPEFT PG TFY BOE PS NBZIFN EPOµU IBWF UIF NFNPSBCMF JNQBDU POF NJHIU FYQFDU GSPN IJN 5IF MFBET BSF GJOF BT JT UIF CJH TVQQPSU DBTU PG SFDPHOJ[BCMF GBDFT $ISJTUPQIFS 1MVNNFS 4UFMMBO 4LBSTHÅSE 3PCJO 8SJHIU FUD #VU UIF LOPDLPVU TVTQFOTF BUNPTQIFSF BOE VSHFODZ POF IPQFE GPS JTOµU QSFTFOU JO UIJT JOUFMMJHFOU OPU FOUJSFMZ TBUJTGZJOH USFBUNFOU 0O UIF PUIFS IBOE NBZCF UIPTF XIPµWF BMSFBEZ SFBE UIF CPPLT BOE TFFO UIF QSJPS GJMNT IBWF BMSFBEZ IBE TP NVDI FYQPTVSF UP UIJT NBUFSJBM UIBU B SFWFMBUPSZ FYQFSJ FODF JT OP MPOHFS QPTTJCMF Four Star, Presidio. )BSWFZ

I Melt With You 4FF ²5IF 6OCFBSBCMF 5SJUFOFTT PG #FJOH ³ Lumiere. Mission Impossible: Ghost Protocol /P XPSME MBOENBSL UIF ,SFNMJO UIF #VSK ,IBMJGJB JT UPP JDPOJD BOE PS GSFBLJOH UBMM GPS VCFS BESFOBMJ[FE *NQPTTJCMF .JTTJPOT 'PSDF BHFOU &UIBO )VOU 5PN $SVJTF BOE IJT UFBN +FSFNZ 3FOOFS 1BVMB 1BUUPO 4JNPO ²$PNJD 3FMJFG³ 1FHH UP JOGJMUSBUF DMJNC BTTVNF GBMTF JEFOUJUJFT JO VTF BT B IPNF CBTF GPS VOMFBTIJOH GVUVSJTUJD TQZ UFDIOPMPHZ UIBU TFFNT almost QMBVTJCMF XJUI UIF IFMQ PG MPUT PG J1BET SBDF B #.8 UISPVHI FUD 0OF LJOE PG HFUT UIF TFOTF UIBU $SVJTF BOE DPNQBOZ TBU EPXO XJUI B QJFDF PG QBQFS BOE XFSF MJLF ²8IBU TUVOUT haven’t XF EPOF CFGPSF BOE IPX NBOZ PG UIFN DBO * EP XJUI NZ TIJSU PGG ³ $FMFCSBUFE BOJNBUJPO EJSFDUPS #SBE #JSE µT The Incredibles) JT SJHIU BU IPNF XJUI Ghost Protocol BT IJT GJSTU MJWF BDUJPO FGGPSU ± UIF GJMNµT QMPU TFU JO UIF QSFTFOU EBZ JU JOWPMWFT B QPTJUJWFMZ WJOUBHF CMFOE PG 3VTTJBOT BOE OVLFT BOE FWFO JUT VONFNPSBCMF WJMMBJO UBLF B CBDL TFBU UP $SVJTFµT TFDSFU BHFOU TIFOBOJHBOT NPTU PG XIJDI UBLF UIF GPSN PG B DSB[Z QMBO UIBU NVTU CF BMUFSFE BU UIF MBTU NJOVUF SFTVMUJOH JO BO FWFO DSB[JFS QMBO XIJDI NVTU CF JNQMFNFOUFE EFTQJUF UIF TVEEFO BQQFBSBODF PG ZFU BOPUIFS MVEJDSPVTMZ EBVOUJOH PCTUBDMF MJLF TBZ B IPXM JOH TBOETUPSN 'PS NBYJNVN CJH EVNC GVO NBLF TVSF ZPV DBUDI UIF *."9 WFSTJPO " XBSO JOH UIPVHI BOZ UJNF UIF NPWJF TDSFFDIFT UP B IBMU UP FYQMPSF FNPUJPOT PS BUUFNQU DIBSBDUFSJ[B UJPO [[[ Presidio. &EEZ

My Reincarnation 3FJODBSOBUJPO NBZ OPU POMZ TPVOE GBS GFUDIFE UP B 8FTUFSOFS CVU BMTP VOTFUUMJOH *NBHJOF CFJOH UPME UIBU ZPVµSF UIF NBOJGFTUBUJPO PG TPNFPOF FMTF ± B EFBE

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1

OnGOinG

Alvin and the Chipmunks: Chip-wrecked 1000 Van Ness. Arthur Christmas 1000 Van Ness. The Artist 8JUI UIF DIBSJTNB PP[JOH BHJM JUZ PG %PVHMBT 'BJSCBOLT TXBTICVDLMJOH IJT XBZ QBTU PQQPOFOUT BOE UIF TVQSFNF DPOGJEFODF PG 3VEPMQI 7BMFOUJOP MFBOJOH NJE TXPPO JOUP B NBJEFO 'SFODI EJSFDUPS XSJUFS .JDIFM )B[BOBWJDJVT IJUT B TXFFU TQPU PS CFBVUZ NBSL PG TPSUT XJUI IJT SBEJBOU OFX GJMN The Artist *O B GFBU XPSUIZ PG 'BJSCBOLT PS &SSPM 'MZOO )B[BOBWJDJVT KVHHMFT B NBSWFM

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CONTINUES ON PAGE 32 >>

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film listings ONGOING CONT>>

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Read the digital version of the Guardian online at sfbg.com

CZ IJT TJEF VOUJM UIF UBMLJFT UISFBUFO UP SFMFHBUF IJN UP ZFTUFSEBZµT OFXT 5IF UBMFOU OVSUVSFE JO UIF UIJDL PG UIF TUVEJP TZTUFN ZFBSOT GPS SFBM QPXFS UFMMJOH UIF OFXTQBQFST ²*µN OPU B QVQ QFU BOZNPSF ± *µN BO BSUJTU ³ BOE GJOBODFT BOE EJSFDUT IJT PXO NFMPESBNB XIJMF IJT ZPVUIGVM QSPUnHn 1FQQZ .JMMFS #nSnOJDF #nKP CFDPNFT B ZBLLZ GMBQQFS BHFµT OFX *U (JSM #PUI B DSPXE QMFBTJOH FOUFSUBJONFOU BOE B MPWJOH QSnDJT PO FBSMZ GJMN IJTUPSZ The Artist OFWFS DIFDLT JUT CSBJOT BU UIF EPPS SFNBJOJOH TFMG BXBSF PG JUT PXO DPODFJU BOE JUT GPSFCFBST ZFU VOBTIBNFE UP UPVDI UIF BVEJFODF XJUIPVU BO PVODF PG DZOJDJTN California, Embarcadero, Piedmont. $IVO

Being Elmo: A Puppeteer’s Journey Opera Plaza, Shattuck. A Dangerous Method Albany, Embarcadero, Sundance Kabuki. The Descendants California, Marina, 1000 Van Ness, Piedmont, SF Center, Sundance Kabuki. Drive Castro, Lumiere. Footprints Roxie. Le Havre Opera Plaza. Hugo 1000 Van Ness, Shattuck, Sundance Kabuki. Immortals 1000 Van Ness. J. Edgar 1000 Van Ness, Opera Plaza, SF Center. Melancholia Lumiere, Shattuck. Midnight in Paris Shattuck. The Muppets 1000 Van Ness, Presidio. My Week With Marilyn Albany, Clay, 1000 Van Ness, Piedmont. New Year’s Eve 1000 Van Ness, Sundance Kabuki. Paul McCartney: The Love We Make Roxie. Shame Embarcadero, Shattuck, Sundance Kabuki. Sherlock Holmes: A Game of Shadows .BZCF (VZ 3JUDIJF TIPVMEµWF RVJU XIJMF IF XBT BIFBE 5IBOLT UP TUSPOH QFSGPSNBODFT GSPN 3PCFSU %PXOFZ +S BOE +VEF -BX UIF #SJUJTI EJSFDUPSµT GJSTU )PMNFT GMJDL QSPWFE TVSQSJTJOHMZ GVO 5XP ZFBST MBUFS JUµT DMFBS UIBU 3JUDIJFµT XFMM PG DSFBUJ UJWJUZ IBT SVO ESZ Sherlock Holmes: A Game of Shadows JT DMJDIFE BOE PWFSMPOH CVSZJOH B GFX HPPE JEFBT VOEFS BO BWBMBODIF PG UJSFE BDUJPO NPWJF TUBMXBSUT HPOF TUFBNQVOL 5P CF GBJS UIF TFU EFTJHO BOE BSU EJSFDUJPO BSF TUJMM TVNQUVPVT DSFBUJOH B IZQFSCPMJD EFUBJMFE WJTJPO PG 7JDUPSJBO

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&VSPQF /FX DBTU BEEJUJPOT +BSFE )BSSJT BT .PSJBSUZ NBMJDJPVTMZ QPMJUF BOE 4UFQIFO 'SZ BT .ZDSPGU FDDFOUSJD BOE OVEF EP XFMM XJUI MJNJUFE NBUFSJBM /PPNJ 3BQBDF QMBZJOH B IFMQGVM HZQTZ JT TVQFSGMVPVT %PXOFZ +S BOE -BX BSF TUJMM HBNF GPS TPNF BNVTJOH 1( IPNPFSPUJDJTN CVU JUµT UIF GPSNFSµT EJTJOUFSFTUFE QFSGPSNBODF UIBU FOTVSFT UIF NPWJFµT EPXOGBMM 'PSDFE UP NBLF EP XJUIPVU XJUUZ RVJQT PS JOUFSFTUJOH EFEVD UJPOT UIF )PMNFT PG A Game of Shadows JT QBSU CSVJTFS QBSU CVGGPPO 5IF HBNFµT B GMPQ 8BUTPO Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. #FO 3JDIBSETPO

The Sitter 1000 Van Ness. The Skin I Live In Opera Plaza, Shattuck. Tinker Tailor Soldier Spy SF Center, Shattuck, Sundance Kabuki. Tomboy Shattuck. The Tree of Life .BJOTUSFBN "NFSJDBO GJMNT BSF TP SBSFMZ BEWFOUVSFTPNF UIBU PWFSSFBDUJWF HSBUJUVEF GSFRVFOUMZ HSFFUT UIPTF SBSF TFMG DPO TDJPVT VTVBMMZ 0TDBS CBJUJOH TUBCT BU QSPGVOEJUZ 5FSSFODF .BMJDL IBT NBEF UIPTF HFTUVSFT TP TQBSJOHMZ PWFS GPVS EFDBEFT UIBU IJT TDBSDJUZ JT XJEFMZ UBLFO GPS HFOJVT /PX UIFSFµT The Tree of Life BU PODF BTUPOJTIJOHMZ BNCJUJPVT ± JOTPGBS BT HFOFSBM BEESFTTJOH UIF PSJHJO NFBOJOH PG MJGF HPFT ± BOE B TNBMM EPNFTUJD OBSSBUJWF BSUJGJDJBMMZ JOGMBUFE UP B NBYJNBMMZ QSFUFOUJPVT QSFTTVSF QPJOU 5IF UIFTJT IFSF JT B DPOGMJDU CFUXFFO ²OBUVSF³ UIF XBZ PG TUSJWJOH EJTTBUJTGJFE BOHSZ IVNBOJUZ BOE ²HSBDF³ UIF XBZ PG MPWF GFNJOJO JUZ BOE (PE "GUFS B XIJMF Tree TFUUMFT JOUP B GBJSMZ DPOWFOUJPOBM OBSSBUJWF HSPPWF EJTTFDUJOH ± BMCFJU JO NFBOEFSJOH GBTIJPO ± UIF USBWBJMT PG B NJEEMF DMBTT 5FYBT IPVTFIPME XIPTF QBUSJBSDI B TPMJE #SBE 1JUU JT TUFSOMZ EFNBOEJOH PG IJT UISFF ZPVOH TPOT "T B NPEFSO EBZ TVSWJWPS PG UIBU IPVTFIPME .BMJDLµT DBSFFS SFWJWJOH BMMZ 4FBO 1FOO IBT MJUUMF UP EP CVU MPPL BOHTU SJEEFO XIJMF XBOEFSJOH BCPVU WBSJPVT BMJFO MBOETDBQFT 4FU JO 8BDP CVU BMTP TIPU JO 3PNF BU 7FSTBJMMFT BOE JO 4BUVSOµT PSCJU USVTU NF The Tree of Life JT TP BTUPOJTIJOHMZ TFMG JNQPSUBOU XIJMF TP VOEFSOPVSJTIFE PO TPNF CBTJD MFWFMT UIBU JU XPVME CF FBTZ UP EJTNJTT BT MPGUZ CVMMTIJU *UT $BOOFT QSFNJFSF BVEJFODF CPPFE BOE DIFFSFE ± CPUI GBDUJPOT SJHIU UP BO FYUFOU Castro. )BSWFZ

Twilight Saga: Breaking Dawn — Part One 1000 Van Ness, SF Center. Young Adult California, 1000 Van Ness. 2

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RUSSIAN ROAD MOVIE Silent SoulS OPENS AT SFFS | NEW PEOPLE CINEMA FRI/23. | COurTesy saN fraNCisCO film sOCieTy 4DIFEVMFT BSF GPS 8FE 5VFT FYDFQU XIFSF OPUFE %JSFDUPS BOE ZFBS BSF HJWFO XIFO BWBJM BCMF %PVCMF BOE USJQMF GFBUVSFT BSF NBSLFE XJUI B Â… "MM UJNFT Q N VOMFTT PUIFSXJTF TQFDJGJFE BALBOA #BMCPB 4' XXX CSPXOQBQ FSUJDLFUT DPN ²0QFSB BOE #BMMFU BU UIF #BMCPB 5IFBUSF ³ The Nutcracker QFS GPSNFE CZ UIF 3PZBM #BMMFU BOE UIF PSDIFTUSB PG UIF 3PZBM 0QFSB )PVTF 8FE CASTRO $BTUSP 4' XXX DBTUSPUIFBUSF DPN Â…Drive 8JOEJOH 3FGO 8FE BOE The American $PSCJKO 8FE The Tree of Life .BMJDL 5IVST ²+PZPVT +PMMZ +JOHMFT 4BO 'SBODJTDP (BZ .FOµT $IPSVT OE "OOVBM )PNF GPS UIF )PMJEBZT ³ 4BU Â…Meet Me in St. Louis .JOOFMMJ .PO BOE The Band Wagon .JOOFMMJ .PO Â…Bye Bye Birdie 4JEOFZ 5VFT BOE Pal Joey 4JEOFZ 5VFT CHRISTOPHER B. SMITH RAFAEL FILM CENTER 'PVSUI 4U 4BO 3BGBFM XXX DBGJMN PSH The

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Gold Rush $IBQMJO %FD DBMM GPS UJNFT 3FTUPSFE NN QSJOU My Reincarnation 'PY %FD DBMM GPS UJNFT EXPLORATORIUM .D#FBO 5IFBUFS -ZPO 4' XXX FYQMPSBUPSJVN FEV 'SFF XJUI BENJTTJPO ²)PMJEBZ "OJNBUJPO 'JMN 'FTUJWB ³ .PO 'SJ OPPO PACIFIC FILM ARCHIVE #BODSPGU #FSL CBNQGB CFSLFMFZ FEV 5IFBUFS DMPTFE UISPVHI +BO ROXIE BOE UI 4U 4' XXX SPYJF DPN Footprints 1FSPT 8FE 5IVST Paul McCartney: The Love We Make .BZTMFT BOE ,BQMBO 8FE 5IVST My Reincarnation 'PY %FD BMTP 4BU 4VO SFFS | NEW PEOPLE CINEMA 1PTU 4' XXX TGGT PSH Rare Exports: A Christmas Tale )FMBOEFS 'SJ Silent Souls 'FEPSDIFOLP %FD 4BU BOE POMZ OP TIPXT 4VO 2

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

first run venues 5IF GPMMPXJOH JT DPOUBDU JOGPSNBUJPO GPS #BZ "SFB GJSTU SVO UIFBUFST Balboa UI "WF #BMCPB XXX CBMCPBNPWJFT 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 San Francisco Film Society ] New People 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

brewholstercult.com 34 SAN FRANCISCO BAY GUARDIAN

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Go to forkfly.com for hundreds of nearby Guardian deals*! Our picks this week: $30 off Glow on the Go facial

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Get a free gift with urchase of $25 or more Belle Cose & Molte Cose

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DECEMBER 21 - 27, 2011 / SFBG.com

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classifieds DONATE YOUR CAR, TRUCK OR BOAT TO HERITAGE FOR THE BLIND. Free 3 Day Vacation, Tax Deductible, Free Towing, All Paperwork Taken Care Of. 888-902-6851. (Cal-SCAN)

SELL Your CAR, TRUCK or SUV Today! All 50 states, fast pick-up and payment. Any condition, make or model. Call now 1-877-8188848. www.MyCarforCash.net (Cal-SCAN)

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REACH CALIFORNIANS WITH A CLASSIFIED IN ALMOST EVERY COUNTY! Experience the power of classifieds! Combo~California Daily and Weekly Networks. One order. One payment. Free Brochures. maria@cnpa.com or (916)2886010. (Cal-SCAN) Auto Accident Attorney. INJURED IN AN AUTO ACCIDENT? Call Jacoby & Meyers for a free case evaluation. Never a cost to you. Don’t wait, call now, 888-685-5721. (Cal-SCAN)

ADVERTISE YOUR AUCTION in 240 California newspapers for one low cost of $550. Your 25 word classified ad reaches over 6 million+ Californians. Free brochure call Elizabeth (916)288-6010. (Cal-SCAN)

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36 SAN FRANCISCO BAY GUARDIAN

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

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The Annual Report of the Burk Chung Foundation, 837 Washington Street, San Francisco, California 94108 is available at the Foundation’s office for inspection during regular business hours. Copies of the Annual Report have been furnished to the Attorney General of the State of California. Burk Chung, Trustee. Fiscal year ending November 30, 2011. #113493. December 14, 21, 28, 2011 and January 4, 2012 NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGES LICENSE Date of Filing Application: December 6, 2011. To Whom It May Concern: The name of the applicant is: KABUKI FUND L-PSHIP . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 1625 POST STREET, SAN FRANCISCO, CA 94115-3603. Type of License Applied for: 47 - ON-SALE GENERAL EATING PLACE . Publication dates: December 21, 2011 L#113494

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Meet Eliana. She is a Venezuelan/Canadian, who started with the company at age fifteen, as a retail employee in Ottawa. She now lives in Los Angeles, and is a member of the Product Development and Creative teams. Eliana is wearing the Unisex Fisherman’s Pullover.

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