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The Oaksterdam crackdown

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Smuggled from Iran Embattled filmmaker Jafar Panahi’s This Is Not a Film P26

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Undersea visions. Van Jones’s new dream. Pocket parks. Designer microbes. And much much more. Our annual special P10


         

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APRIL 4 - 10, 2012 / SFBG.com




editorials

Businesses charge a health-care surchare then keep the money.

for more news content visit sfbg.com/politics

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Reject the CPMC deal

who bombed judi bari? A court case — and a new film — delve into the unsolved question P8

the green issue

Playing God?

Synthetic biology is creating jobs and promising innovations, but critics say it’s dangerous and lacks proper safeguards P10

We and Mr. Jones

The ousted White House green jobs adviser is ready for more people power P12

Sea, here

A conversation with our cover photographer, underwater explorer David Hall P14

Parks and storage

Tiny green urban refuges — and hot danger underground P15

herbwise P16 food + drink

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Rollercoaster

Hop on the Bear in Heaven thrill ride P21

trash P22 Dream layers

Dark nightmares inspire pop-prog Brooklyn act Chairlift P24

Cooking without borders Collaborative cuisine blossoms between the Bay Area and Japan at OPENharvest P25

The necessity of images

Jafar Panahi tests the limits of his filmmaking ban with This Is Not a Film P26 MUSIC listings 27 / STAGE listings 29 FILM listings 30 / CLASSIFIEDS 33

For the record

After running a Q&A email interview with “The Legend of Zelda: Symphony of the Goddesses Tour” producer Jason Michael Paul, arranged through Fresh PR, in last week’s issue, we were contacted by the Vancouver Observer about some distinct similarities between the answers Paul gave us and comments the Observer had published from Jeron Moore and Chad Seiter, creator and musical director of the “Symphony of the Goddesses.” When we contacted Fresh PR, Jeannine Jacobi explained that the staff generated answers to media questions internally and that various members of the team did interviews using those answers. In other words, the producer, creator and musical director all were using the same script in different interviews with different publications -- making it appear that the answers to a later interview were cribbed from what ran in an earlier publication. We apologize to the Observer and anyone else confused by this highly unorthodox public relations practice.

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End the health-care scam

by David Campos and Tom Ammiano

Last year, after receiving data from San Francisco, the Wall Street Journal reported on an investigation into the use of health reimbursement accounts by several local restaurants. It showed a group of employers evading the city’s health care law while charging their customers a “Healthy San Francisco” surcharge that is never actually spent on employees’ health care. Rather than providing health coverage to their workers, as customers are led to believe, the restaurants are allocating funds for HRAs — and taking back the funds before they can be used. The numbers speak for themselves: Of the $62 million that was set aside for health care accounts in 2010, more than $50 million was kept by employers. Workers spoke about never being notified about the accounts; being forced to jump through numerous, often onerous hoops to receive reimbursements or never receiving reimbursements; facing severe restrictions on use of the funds; and fearing retaliation for seeking to access the funds. It was clear that as long as employers can take back unspent editorials

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funds they have a large incentive to restrict workers’ access. In response, Supervisor Campos drafted an amendment to the Health Care Security Ordinance (known as Healthy San Francisco) that would have closed this loophole, which was being exploited by a small number of employers. The Chamber of Commerce, accompanied by the San Francisco Chronicle, made hysterical claims about impending job loss and business closures, and after the Board of Supervisors approved the legislation on a 6-5 vote, Mayor Ed Lee vetoed it. Supervisors Malia Cohen and David Chiu then authored “compromise” legislation that actually didn’t address the problem. Their version merely allowed employers to take back workers’ health care dollars after two years instead of one. This cosmetic change did, however, provide enough window dressing to please the Chamber, so the supervisors approved it and Mayor Lee signed it into law. Now, just a few months later, an article in the Public Press showed exactly why we opposed the Cohen/ Chiu amendment in the first place: It doesn’t really close the loophole. Employers can still take money back from the HRAs. This creates a clear incentive to choose HRAs

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over insurance — the worst option for workers. Furthermore, the loophole leaves responsible businesses that provide health coverage to employees through insurance or HSF competing against employers that exploit it by paying less into HRAs. Who’s gaming the system? A complete guide to restaurants with surcharges — and where the money goes — at sfbg.com/hsfscam We find it unconscionable that there are businesses charging customers a health-care surcharge and then keeping the money for profit. What is more unconscionable is that City Hall passed an amendment that continues to let it happen. The Department of Labor Standards Enforcement compliance data for 2011 will be available next month — and if that continues to show abuse of the HRA provision, then it’s time for the Board of Supervisors to end the charade and truly close the loophole once and for all. Healthy San Francisco is about providing health care for workers — not creating additional profit for businesses. 2 Assemblymember Tom Ammiano represents the 13th District. Supervisor David Campos represents District 9.

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EDITORIAL For most of the past year, Mayor Ed Lee had been taking a tough line with California Pacific Medical Center, the healthcare giant that wants to build a state-of-the-art 555-bed hospital on Cathedral Hill. The mayor had been telling a stunningly recalcitrant CMPC management that the outfit would have to put upwards of $70 million into affordable housing and spent millions more on transit, neighborhood and charity-care programs to mitigate the impacts of the massive project. But late in March, something happened. Under immense pressure from the Chamber of Commerce and other big business groups, the mayor buckled and agreed to a deal with woefully inadequate mitigation measures. The supervisors should reject the plan and force CPMC to do better. The biggest problem with a project this size is the mix of jobs and housing. Lee is properly concerned about creating jobs in a city where unemployment in some neighborhoods is stubbornly high. But the proposed deal only guarantees a tiny fraction of the 1,500 permanent new jobs for San Francisco residents. That means a city that has almost zero vacancy in affordable housing is going to have to absorb a workforce much of which won’t be able to buy or rent anything at current market rates. That means more competition for scarcer housing and higher rents and home costs for everyone. By any basic planning logic, CPMC should be on the hook for providing enough affordable housing for at least some reasonable percentage of its workforce. Instead, the hospital chain is offering about $33 million, only $3 million of which will be paid up front. That won’t even address half of the housing impact. Besides, the jobs will be there when construction starts, and more when the hospital opens; the limited affordable housing money will come much later. The highest-paid doctors and administrators may be able to afford the pricey new market-rate condos the city is madly approving — but

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editorials where, exactly, are the nurses, orderlies, clerks, janitors and other health-care workers going to live? CPMC has agreed to provide charity care at the same level is currently does — which is abysmally low, among the lowest of all nonprofit hospital chains in California. So that’s not an advantage. And it has promised to keep open St. Luke’s Hospital in the Mission — the only full-service hospital other than SF General in the southeast part of town. But the proposal calls for cutting the number of beds by nearly twothirds, from 229 to 80. And it allows for the closure of that hospital if CPMC’s system-wide operating margin falls below 1 percent (something that will be hard for the city to challenge, since CPMC handles the books).

where, exactly, are the nurses, orderlies, clerks, janitors and other healthcare workers going to live?

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It’s cynical how CPMC is using this critical medical facility in an underserved area as a bargaining chip. Already, hospital lobbyists are warning that St. Luke’s will be shut down if they don’t get what they want on Cathedral Hill. Meanwhile, CPMC has labor trouble and is refusing to guarantee that existing employees at facilities that will be demolished will be able to keep their jobs and seniority at the new hospital. We realize that CPMC needs to build a new facility to replace aging and seismically unsafe structures elsewhere in town. But the hospital chain also has a responsibility to address the impacts this project will have on San Francisco. And right now, it’s not a good deal. 2 editorials

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APRIL 4 - 10, 2012 / SFBG.com




NEWS

THE BOMBING, WHICH THE GUARDIAN INVESTIGATED 10 YEARS AGO, SINCE HASN’T BEEN SOLVED.

WHO BOMBED JUDI BARI?

THIS WEEK AT

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ON THE BLOGS POLITICS Myrna Melgar, friend of Eliana Lopez, responds to the critics of her Guardian op-ed Progressives and women at the DCCC Which restaurants have a health insurance scam?

NOISE Marke B.’s Party Radar: Safe Word, Christiana Chatfield, Trannyshack Reno A live review of San Diego post-hardcore legends Hot Snakes Heads Up! Our new web column recommends a bunch of local bands playing cheap shows and charity benefits

PIXEL VISION More Green Issue goodies, including our enviro-friendly shopping guide to SF fashion, health, housewares, and more Cheryl Eddy interviews the worm holewandering authors of a new guide to time traveling

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A court case — and a new film — delve into the unsolved question

BY YAEL CHANOFF news@sfbg.com Darryl Cherney is determined. “I have a mission in life,” he says. “And that is to find out who bombed Judi Bari.” Cherney was in the car with Bari, a fellow environmental activist from Earth First, when a pipe bomb wrapped with nails exploded, maiming Bari and leaving Cherney with serious injuries. It was 1990, and the two were in Oakland on their way to speak about the upcoming Redwood Summer, three months of picketing, tree-sitting, and otherwise blocking the clear-cutting of the California redwoods. The Redwood Summer went on, but not before Bari and Cherney were arrested. The Oakland Police Department said they had constructed the bomb themselves and were transporting it in the back seat. Before Bari and Cherney went to trial, it became clear that the bomb had been under the front seat (Exhibit A: Bari’s shattered pelvis and the unscathed backseat), and that there was absolutely no evidence Bari or Cherney had known it was there, and the charges were dropped. But the true culprit was never found — and, according to a new legal motion, crucial evidence was never tested for clues. In 2002, Cherney sued the FBI for attempting to frame him and Bari (who died in of breast cancer in 1997), and won. But he’s still set on testing the remaining evidence for DNA. “We rely on the government to examine physical evidence in a violent criminal case, and when they fail to do that, we have to react,” Ben Rosenfeld, Cherney’s attorney, told the Guardian. “It should be an open attempted-murder investigation.” Now the plaintiffs are trying to get that investigation on track. Last year, Cherney’s legal team secured an order preventing the FBI from destroying evidence that could contain the bomber’s DNA and ordering it turned over to an independent lab for testing. The FBI appealed, but on April 2, U.S. District Court Judge Claudia Wilkens issued an order preserving the material. EDITORIALS

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Now Cherney’s lawyers will ask the judge to certify a private lab to test the material. In August 2010, government lawyers had unceremoniously announced that they planned to destroy the case’s remaining evidence — the remnants of the bomb, a poster found in the car that was near the bomb when it detonated, and fingerprints and other results of fingerprint analysis. Lawyers for Cherney responded with a motion calling instead

Once again, the government was opposed, saying that “fundamentally, the plaintiff’s motion mistakes the absence of a decision for a decision.” But Wilkens disagreed, saying the evidence should be preserved and asking for what should be a noncontroversial proposal allowing the transfer to the Hayward lab. Bari’s case came out at the start of what became a large-scale FBI crackdown on environmental justice movements in the

for testing of the evidence; the government opposed the motion. But at a Sept. 8, 2010 hearing, Magistrate Judge James Larson ordered the FBI to turn the evidence over to an independent analyst for testing. Again, the feds opposed the order, and asked for a de novo review of the case, essentially asking that the court go over all previous briefings once again. The motion seemed like a stalling tactic, and it worked; the motion was pending in court for a year. Recently, it was brought back up again, when the plaintiff’s motioned to move forward with testing the evidence. They suggested a lab in Hayward, Forensic Analytics Laboratories.

1990s and throughout the 2000s. Activists protesting companies that they thought were harmful towards animals and the earth became a special a special target of the FBI in what became known as the “Green Scare.” The era was characterized by crackdowns on the Earth Liberation Front and the Animal Liberation Front, although it also affected groups like Food Not Bombs and Earth First. “The case was an early forerunner of what we call the Green Scare cases, where the government sets out to make examples of people it perceives as leaders to try to chill activism in the environmental movement,” said Cherney. “It was quite a scary season for

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environmental activists.” The Green Scare did a lot to quell environmental activism, and many who were arrested at its peak remain in prison. But it didn’t stop many — including Bari and Cherney — from continuing their work. “Both Judi and I continued right out of jail. Actually, in jail the police wrote in their police report that I was trying to convert them to environmentalism,” laughed Cherney. “But yes, I participated in Redwood Summer, the Headwater Forest Campaign right through 1999 and continued through 2003 and now I’m making a movie about it.” The movie, Who Bombed Judi Bari? has been doing well since it had its world premiere at the SF Green Film Festival March 2. The film’s reception is “definitely very gratifying,” says Mary Liz Thomson, the film’s director, who “spent a lot of time editing it living in a cabin on [Cherney’s] land up in the woods, using solar power.” Now she’s touring California with sold-out screenings, as well as some free screenings, including a well-attended March 26 screening at Occupy Oakland. Thomson says she has gotten positive feedback from occupiers and others currently working in social movements. “We’re just at the beginning of our launch and people are saying that it’s really relevant right now. The timing was great” Indeed, laws that build on the Green Scare have been rapidly passed in recent months, targeting other political groups. Controversy flared after President Obama signed the National Defense Authorization Act, which allows the U.S. to detain suspects without charge. Attorney General Eric Holder claimed that the government can kill its own citizens abroad without trial. And on Feb. 27, The House of Representatives voted in favor of HR 347, the so-called “Anti-Occupy Bill.” Who Bombed Judi Bari? is an important history lesson for those faced with these new challenges. And Cherney may finally be on track to finding out the answer to the title’s question. 2

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the green issue

RESEaRcHERS IN THIS fEdERal JoINT BIoENERGy INSTITUTE vIdEo SavE THE PlaNET USING SyNETHETIc BIoloGy. | www.jbei.org

PlayING God? 4ZOUIFUJDCJPMPHZ JTDSFBUJOHKPCTBOE QSPNJTJOHJOOPWBUJPOT  CVUDSJUJDTTBZJUµT EBOHFSPVTBOEMBDLT QSPQFSTBGFHVBSET By STEvEN T. JoNES steve@sfbg.com THE GREEN ISSUE When Richmond was selected as the site for Lawrence Berkeley National Laboratory’s huge second campus in January, city officials and community leaders celebrated the “green” jobs it would create, hundreds of them, diversifying an economy dependent on Chevron and its massive oil refinery. But a new coalition called Synbiowatch (www.synbiowatch.org) is questioning how green those jobs really are and raising fears about the new scientific realm on which they rely. It’s called synthetic biology, which combines engineering and computer science with the biological sciences to design new microbes that don’t exist in nature — living, self-replicating organisms — taking the field of genetic engineering to another level by allowing scientists to actually write new DNA codes and incubate new life forms. Proponents tout myriad potential benefits from the approach, from medical treatments (such as developing new anti-malarial drugs or creating new viruses that would attack cancer cells in humans) to the creation of renewable energy sources that might eventually replace fossil fuels, a major focus of the new lab and its main partner, the U.S. Department of Energy’s Joint BioEnergy Institute (JBEI). “JBEI researchers are engineering new types of microbes using the latest tools in biotechnology,” notes a cartoonish video on its website (www.jbei.org) explaining how these engineered organisms will turn grasses and other abundant biomass matter into powerful fuels — a task that is not yet possible — which can run cleaner burning internal combustion engines. 10 SAN FRANCISCO BAY GUARDIAN

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But the environmentalists, labor organizers, scientists, and community activists who make up Synbiowatch say this technology not only doesn’t live up to its speculative hype, but that it is being developed too rapidly and without adequate oversight given its potential to alter natural ecosystems in unpredictable ways. “We need a precautionary approach to health and safety,” Jim Thomas — program manager for ETC Group (which stands for Erosion, Technology, and Concentration) and lead author of the 2007 report “Extreme Genetic Engineering: An Introduction to Synthetic Biology” — told journalists during a March 28 briefing at Center for Genetics and Society in Berkeley. He was joined by UC Berkeley microbial ecologist Ignacio Chapela, a researcher who has publicized environmental impacts of the biotechnology industry; Nnimmo Bassey, executive director of Environmental Rights Action in Nigeria and chair of Friends of the Earth International; molecular biologist Becky McClain, who won a $1.4 million civil lawsuit against her old employer, Pfizer, after blowing the whistle on safety violations in its biotech research; Henry Clark of the West County Toxics Coalition; and Richmond activist Gopal Dayaneni of Movement Generation Justice and Ecology Project. All took part in a conference the next day entitled “Unmasking the Bay Area Bio Lab and Synthetic Biology: Health, Justice, and Communities at Risk.” Thomas said this coalition formed in recent years to counter the rapid development of what he says is now a $1.6 billion indus-

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try that has successfully resisted meaningful government regulation and oversight, despite the fact that the microbes it produces “have no analog in nature, and they will grow and reproduce.” With no natural predators, the new microbes could reproduce unchecked. “We cannot allow these corporations to play God. They are not God,” said Bassey, who has spent a career combating the false claims and environmental degradation of some of the same big energy corporations (such as Chevron, Shell, and BP) sponsoring this new research. “It’s reckless, it’s out of control, it’s all about money.” The biggest target of these activists’ ire is Jay Keasling, who directs the JBEI program, helped found the Richmond lab, and has pioneered synthetic biology research for LBNL and UC Berkeley, in addition to starting several companies to take advantage of that research. His latest is Lygos, which he formed in February to develop commercial applications for JBEI’s work on developing new fuels. Keasling tells us that his critics are wrong and that these new microbes are basically just modifications of substances that scientists have worked with for decades and know how to safely handle. “What we’re trying to do is make the engineering of biology more reliable, so it’s safer and more predictable,” Keasling told us. He dismissed the idea that these new microbes could threaten ecosystems if they escape from the lab, noting that microbes whose genetic sequencing has been altered in experiments over the last 40 years haven’t proven

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the green issue to be resilient in nature. “When they’re exposed to the environment, they generally don’t survive,” he said. “They get eaten by the other microbes completely.” But the fear raised by Synbiowatch is that these rapid technological advances could produce a more durable new microbe, and that these scientists are essentially playing God with the basic building blocks of life before they really understand the implications of what they’re creating. Does Keasling think it’s possible that one of his new microbes might be more of a survivor than its predecessors? “There’s always a possibility, but in 40 years of doing research in this area, that has not been found,” Keasling told us. That’s not good enough for Synbiowatch and other critics, who say that it’s important to practice the Precautionary Principle — which places the burden of proof on innovators to prove that new technologies won’t be harmful to the environment or human health — before this new lab ramps up its research and development. The new facility is expected to produce more than 800 jobs. Dayaneni said it’s understandable that Richmond officials embraced the new lab and the prospect of green jobs, but he called the promises of synthetic biology “a wolf in sheep’s clothing, or a wolf genetically engineered to look like a sheep.” He called the new lab “a shell institution for a host of corporate interests” seeking to “synthesize fuel in a petri dish” as much to create an economic bubble as a long-term energy solution. But he and Bassey said the nascent industry isn’t focused on the many potential downsides of its pursuit, including the degradation of vast tracts of land and consumption of natural resources in order to acquire the sugars needed to fuel the process. “They will need a massive amount of land,” Bassey said. “This is what the progenitors of synthetic biology have failed to acknowledge.” Keasling does acknowledge that to develop large-scale energy production of the new technology — something he said is still decades away from being viable — will indeed require vast tracts of land growing crops such as jatropha that have been developed for their fuel production potential, something Bassey said editorials

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will displace poor people around the world. “Farmers are being tricked to grow crops that are only for industrial uses,” he said. “Farmers that would normally grow crops for food will now be growing it for machines.” Bassey ridiculed claims that such crops would only utilized marginal lands, but Keasling said the idea is to make use of currently nonproductive vegetation such as switchgrass, using the new microbes to extract sugars from their cellulose. “My hope is the plants will be grown on marginal land and the people who own it will make money from growing it,” Keasling said. “In some ways, it’s giving something back to the farmers.” Dayaneni compared the new facility and industry to the short-sighted hubris of the nuclear industry before Japan’s Fukushima disaster: “You don’t build a nuclear power plant on the edge of the ring of fire and you don’t build a synthetic biology laboratory on the edge of the ring of fire either.” Yet Keasling said he and his colleagues are far more aware of these issues and the need for safety and security than activists are giving them credit for. “The synthetic biology community is made up of people who are really concerned about the environment,” Keasling told us. But McClain said her case shows corporations will often disregard worker safety and environmental consequences in pursuit of profits, often with the complicity of scientists enamored by new discoveries. “There is a lack of integrity and leadership in our scientific leadership,” she said, later adding, “The bottom line is we’re giving the scientific community the right to self-regulate, but that comes with responsibility.” Keasling said he thinks there is a middle ground possible because “we’re not against regulation, we believe in regulation, it’s important, but it has to be sensible.” He also defended the role that large energy and biotechnology corporations have played in funding this research and licensing the patented new technologies it produces. “We live in a capitalist system, somebody has to fund this research and science,” Keasling said. “The government doesn’t have the money.” 2 food + Drink

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Father River Sims 415.305.2124 temenos@gmail.com http://www.temenos.org PO Box 642656 SF, CA 94164 Temenos is a 501c charitable organization and is also affiliated with United Way where you can designate funds to specifically benefit this effort.

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We anD MR. JoneS 5IFPVTUFE8IJUF)PVTFHSFFOKPCTBEWJTFS JTSFBEZGPSNPSFQFPQMFQPXFS By Caitlin Donohue caitlin@sfbg.com the GReen iSSue No one can accuse Van Jones of being a one trick pony. In the early days of his activist career he monitored police violence in the Bay Area, and from there gradually widened the lens of his activist efforts. Jones formed the Ella Baker Center for Human Rights in Oakland in 1996, then became a green jobs pioneer, promoting environmentally-friendly work in low income communities — a revolutionary tactic that eventually landed him a short-lived adviser position within President Obama’s Council on Environmental Quality. In his new book Rebuild the Dream (Nation Books, 278pp, $25.99) Jones has expanded his talking points to include the ways in which the financial sector has let us down, how Obama only did what we forced him to do (we gotta yell louder, Jones says), and how we can help fix the economy by focusing on “collaborative consumption.� Call it holistic activism. He’s launched a national junket to talk Rebuild that will bring him to the Commonwealth Club on April 16. arts + culture

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It is perhaps this kind of nuanced approach that scared the bejeezus out of the conservative demagogues whose smear campaign convinced Jones to resign from his White House post in 2009. Leave it to Glenn Beck to shame someone for saying he wanted “a whole new system� (as Jones proclaimed in a speech at a youth climate change conference.) The conservative media accused Jones of a communist past — which was accurate enough — and of signing a 9/11 truther petition that said that George Bush had prior knowledge of the World Trade Center attacks. He was innocent of this last point, the organization in question admitted months later, to a deafening media silence. But Jones hasn’t retracted his call for a new system. In fact, in the pages of Rebuild the Dream he seems to step into a post-resignation hybrid role, in which he is no longer an outsider activist, but still has no formal role in Washington, D.C. Accordingly, he seems less fired up by the actions of national politicians as the agenda-pushing energy of the Tea Party and

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the green issue Occupy movements, which his new book spends entire chapters analyzing and critiquing. Even certain innovative businesses get a shout-out. “You have Kiva, Kickstarter, Airbnb, and Zip Car already beginning to point to a future economy where more people are sharing fewer things,� Jones told the Guardian in a phone interview last week. “That’s good for people and the planet. You are also are saving money and you’re relying on people and relationships rather than dollars, you’re refinancing your social capital.� He calls this economic ethos “collaborative consumption,� and it’s a heady idea for proponents of self-sustaining communities. Building a new economy on this business model, however, will take some tweaking that’s not covered in Rebuild -- the city-level debate on whether SF Airbnb users should be subject to the city’s 14 percent hotel tax is one current-day example of how things can get complicated. Rebuild offers a fairly honest critique of Obama’s successes and failures during the president’s first year in office. Nonetheless, the timing of the book, with it’s underlying message that we need to stay engaged in the political system to achieve real change, seems somewhat cagily timed. Is Rebuild the Dream part of Obama’s re-election campaign? “The answer is no,� Jones is quick to reply. “We’re a non-partisan organization, we don’t endorse political candidates.� But the election year publication is no coincidence: he wants all candidates to start talking about fixing the institutional reasons behind inequality. “The two factors once used to pull people out of poverty were home ownership and education,� he says. “Those have now become the two factors by which people are being pulled into poverty because of the underwater mortgage problem and the fact that kids are coming away from college with massive debt and no ability to get a job. We think that these are issues that the politicians need to be forced to respond to and rethink.� 2

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Van Jones April 16, 7pm, $20 Commonwealth Club 595 Market, Second flr., SF (415) 597-6700 www.commonwealthclub.org

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the green issue

Deep iN THe pacific NorTHwesT: caNDy sTripe sHriMp wiTH a criMsoN aNeMoNe, a HarBor seaL scraTcHiNG iTs Back, aND eerie sockeye saLMoN | beneath cold seas photos by david hall

sea, Here

By Mirissa Neff arts@sfbg.com THe GreeN issUe Most people associate underwater photography with the tropics, but the beautiful shots that appear in Beneath Cold Seas (University of Washington, $45, 160pp) were shot in the Pacific Northwest. Whatâ&#x20AC;&#x2122;s most striking about the book is the color and vibrance that photographer David Hall was able to capture. Itâ&#x20AC;&#x2122;s a bit mind-blowing to imagine that the hooded nudibranches and grasping octopi found in the book live in the inky depths abutting our very own rocky shores. The next time you take a dip at Baker or Muir Beach donâ&#x20AC;&#x2122;t forget that youâ&#x20AC;&#x2122;re frolicking with some seriously stunning fauna. sfBG: Where did you shoot Beneath Cold Seas? DaViD HaLL: I shot Beneath Cold Seas in British Columbia. The water tends to be more clear and thereâ&#x20AC;&#x2122;s less pollution because of the small population density. But the same animals in the book are found in Northern California, they donâ&#x20AC;&#x2122;t recognize international borders. Technically biologists say the ecosystem extends from Southern Alaska down to Point Conception (north of Santa Barbara). That

14 SAN FRANCISCO BAY GUARDIAN

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"DPOWFSTBUJPOXJUIPVSDPWFSQIPUPHSBQIFS VOEFSXBUFSFYQMPSFS%BWJE)BMM entire area is referred to as the Pacific Northwest. sfBG: What environmental issues are facing the Pacific Northwest? DH: One problem is the introduction of alien species. For instance farm-raised salmon taken from New England genetic stock occasionally escape and interbreed with the five or six Pacific species. So youâ&#x20AC;&#x2122;re getting a genetic mixture which endangers the original Pacific species. But the environmental issues that most people are worried about are overfishing and pollution, like oil spills. As more Canadian oil is being developed and exported to places like China, it will have to be shipped across these waters. So that becomes a concern, especially after what happened in the Gulf of Mexico last year. sfBG: When did you start taking photos underwater? DH: Many years ago I took a trip to the Virgin Islands. Iâ&#x20AC;&#x2122;d never seen a coral reef before and was completely overwhelmed by what I saw while snorkeling. I felt that I had to photograph it because Iâ&#x20AC;&#x2122;m not so

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good at describing things. I went out and bought the best camera I could afford which was a Kodak Instamatic in a plastic housing with flashbulbs. That was how it all started. In those days the bar was very low, if you got an underwater photograph that was somewhat recognizable you could get it published. sfBG: What would you say inspired this project? DH: At first I started going because I loved the diving, I enjoyed being there and getting photographs. But after the first half dozen trips I realized that the material I was getting was good enough for a book. I got the idea for the book about five years ago, but all in all it took about 15 years. sfBG: What was a typical shoot like? DH: I was living on a small boat for a couple of weeks at a time, doing three dives a day, and then reviewing photos at night. The days would be consumed with getting ready for the dive, getting all the equipment on, waiting until the current was just right, getting into the water, diving for an hour, getting back to

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the boat, getting warm â&#x20AC;&#x201D; which takes another hour or two â&#x20AC;&#x201D; and then getting ready to dive again. Altogether I made about 500 dives from 1995 to 2010. Photographing underwater is much more difficult than photographing in air, and photographing in cold water is that much more difficult than photographing in warm water. No one had ever published a good book on underwater photography from a cold water destination in North America before. There are plenty of field guides, and fish ID books for fisherman, but no one had ever published a photographic book that tried to show the character of the ecosystem in an artistic way. The book required getting a lot of wide angle shots to include the scenery as well as the animals. Getting good clear, colorful photographs in cold water is difficult because of visibility issues. Also cold water filters out all of the warm colors in the spectrum (red, orange, yellow) so to see the colors you have to add light back. So I dive with a pair of powerful flash units that attach to the camera by way

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sfBG: So there wasnâ&#x20AC;&#x2122;t someone handling lighting for you? DH: If I were a National Geographic contract photographer Iâ&#x20AC;&#x2122;d probably have had a few assistants holding lights for me, but I wasnâ&#x20AC;&#x2122;t so lucky. I had to do everything myself. And in most cases I was diving completely alone. sfBG: People donâ&#x20AC;&#x2122;t associate such colorful and exotic creatures with our coast. Itâ&#x20AC;&#x2122;s really wonderful that your book is changing that perception. DH: I certainly hope thatâ&#x20AC;&#x2122;s whatâ&#x20AC;&#x2122;s happening. The book has been very well received, largely because nobody was aware of what was down there. I mean marine biologists and divers were, but ordinary people had no idea. People tend to protect what they know and value. Most Americans and Canadians are familiar with the aquatic species that we eat, but thereâ&#x20AC;&#x2122;s a whole ecosystem there that the great majority of us are completely unfamiliar with. I hope my book will make people aware that these things exist and want to feel more protective toward that whole environment. 2 XXXCFOFBUIDPMETFBTDPN

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HERBWISE

activiStS heckle the raidinG FedS. Photo by tim Daw

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FedS raid oakSterdam UniverSity By Shawn Gaynor news@sfbg.com HERBWISE In a continuation of federal law enforcementâ&#x20AC;&#x2122;s recent campaign against Californiaâ&#x20AC;&#x2122;s state-sanctioned medical marijuana industry, agents from the DEA, IRS, and US Marshals Service â&#x20AC;&#x201D; supported by riot police from the Oakland Police Department â&#x20AC;&#x201D; on Monday (4/2) raided five locations associated with industry advocate and educator Oaksterdam University. â&#x20AC;&#x153;It is another example of going after folks that are trying to obey the law. Iâ&#x20AC;&#x2122;m baffled,â&#x20AC;? said Oaksterdam Executive Director Dale Sky Jones, who was at the scene addressing the media outside Oaksterdamâ&#x20AC;&#x2122;s downtown Oakland campus building as the federal raid was ongoing inside. Jones said the home of Oaksterdam founder, medical marijuana patient, and advocate Richard Lee was among the other raided locations, as well as a storage facility on 15th street and another private residence. Lee spearhead the failed 2010 Prop. 19 state ballot measure which would have legalized the sale of marijuana for recreational use. Lee reportedly spent in excess of $1.5 million of his own money on the effort. Federal officials have said little about the reasons for the raid, except that it was approved by a federal judge as part of an ongoing investigation. DEA agents and US Marshals on hand refused to comment. A crowd of some 200 people, many students at Oaksterdam, gathered at the scene to express their agitation as authorities loaded about 25 garbage bags of marijuana, a safe, and boxes of paperwork into a box truck. It was no secret that medical marijuana was being produced in 16 SAN FRANCISCO BAY GUARDIAN

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the building, given that the facility exists to teach those in the industry how to grow it and operate legally under California law. â&#x20AC;&#x153;We need to take this out of the hands of violent criminals and into regulated law. We are a school. We train people how to obey the stateâ&#x20AC;&#x2122;s laws. I hope they are still going after the guys with guns. Iâ&#x20AC;&#x2122;m outraged that we are not focused on gun crime,â&#x20AC;? Jones said. Many in Oakland would agree. Oakland City Council member Rebecca Kaplan, who has worked to legitimize and tax the cityâ&#x20AC;&#x2122;s medical cannabis industry, was on hand to signal her disapproval. She has described Oaksterdam and the industry as important to the cityâ&#x20AC;&#x2122;s struggling economy. Outside the campus building, students of the school said that the training in how to legally produce a small quantity of regulated marijuana was an economic lifeline to them in a city where unemployment remains high. â&#x20AC;&#x153;Oakland had a school shooting today, and people are dead and people are hurt,â&#x20AC;? said an Oaksterdam student named Anthony, referring to a shooting spree at Oikos University that left at least seven dead. â&#x20AC;&#x153;These cops are here instead, raiding an educational facility.â&#x20AC;? Many in the crowd attempted to block the caravan of departing federal agents with their bodies, some laying in front of cars and others obstructing the road with their wheel chairs as the frustrations of Oaksterdam students and medical marijuana patients simmered. Oakland police intervened to escort the caravan, making two arrests outside the building. Jones said Oaksterdam intended to reopen quickly in the wake of the federal raid. 2

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Boars, ghosTs, negronis â&#x20AC;&#x201D; resTauranT 1833 lighTs uP MonTerey wiTh BewiTching aMBience and qualiTy fare. | photos by virginia miller

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The dreaM of 1833 By Virginia Miller virginia@sfbg.com aPPeTiTe Thereâ&#x20AC;&#x2122;s nothing quite like Montereyâ&#x20AC;&#x2122;s Restaurant 1833 in San Francisco. Yes, we boast fantastic food, cocktails, wine and beer lists that are competitive with the best in the world. But 1833â&#x20AC;&#x2122;s magical setting sets it apart, truly the whole package. Housed in an adobe structure from 1833 (hence the name), I was captivated from the moment I stood on the patio lined with firepits, beneath a sprawling oak. A giant palm tree and redwoods tower over an expansive side deck. 1833 evokes New Orleans or haunted Savannah in Spanish-influenced California architecture. A broad wood door opens onto a series of enchanting rooms. Red velvet antique couches sit in front of a roaring library fireplace, an absinthe bar is tucked away upstairs, dining rooms are presided over by ghosts that have haunted the house over a century (note Hattieâ&#x20AC;&#x2122;s Room upstairs). Thereâ&#x20AC;&#x2122;s an intimate, onetable dining room, Gallitanâ&#x20AC;&#x2122;s Room, with a boarâ&#x20AC;&#x2122;s head guarding relics from the restaurantâ&#x20AC;&#x2122;s former incarnation as Gallatinâ&#x20AC;&#x2122;s, a restaurant where presidents and movie stars dined in decades past. The bar is mesmerizing â&#x20AC;&#x201D; an illuminated white onyx top glows under slanted roof rafters, imbibers perched in coveted raised booths gaze down at the scene. But what about the food? This no style-over-substance scenario. Chef Levi Mezickâ&#x20AC;&#x2122;s menu wanders from whole-roasted meats to pizzas and pastas. Thereâ&#x20AC;&#x2122;s bone-in ribeye for two ($75) or a real splurge (temporary until the foie ban kicks in this June) of whole roasted lobe of foie gras ($150). Whole truffle chicken ($38) is blissfully decadent. The chicken is brined for two days with truffle butter injected under the skin. Pizzas editorials

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($16-17) are topped with Dungeness crab and leeks or pineapple and sopressatta, while dense, pillowy gnocchi ($22) rest in Parmesan cream with Swiss chard, chanterelles, pickled onions, and crispy croutons. Appetizers shine, like a delicate beet salad ($12) accented with Greek yogurt and hazelnuts, or a heartwarming helping of bone marrow ($16) with horseradish crust. Bites offer more gourmet delights, particularly fresh, raw hamachi ($6) dotted with pickled jalapenos, avocado, oranges. Among the best items on the entire menu are $4 biscuits: sundried tomato feta biscuits with roasted garlic basil butter or a bacon cheddar choice with maple chili butter. Both are flaky, dreamy delights, warm and soft under a smear of butter. Generous portions leave you fat and contented, while drink offerings threaten to outshine the food. Wine director Ted Glennon curates a playful, sophisticated wine list highlighting the best of the Central Coast and the world. His passion and palate have deservedly led to accolades such as being named one of 2012â&#x20AC;&#x2122;s Food and Wineâ&#x20AC;&#x2122;s top 10 sommeliers. Glennonâ&#x20AC;&#x2122;s wine list is whimsically annotated with comments such as this one about Chardonnay: â&#x20AC;&#x153;The blonde bombshell has taken the hearts of so many...â&#x20AC;? Thereâ&#x20AC;&#x2122;s no slacker in any of his pairings. I was absolutely smitten with 2000 LĂłpez de Heredia ViĂąa Tondonia RosĂŠ ($50 bottle). This stunning rosĂŠ is unlike any Iâ&#x20AC;&#x2122;ve ever had, crisp and acidic, yes, but also funky, earthy, with notes of mushroom and ripe cheese. As it sits it sweetens, evoking sherry while maintaining its crispness. Local highlights were 2006 Caraccioli Cellars 2006 Santa Lucia Highlands Brut RosĂŠ, a dry, floral, sparkling beauty, and 2007 Pelerin food + Drink

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Wines Rosellaâ&#x20AC;&#x2122;s Vineyard Pinot Noir, from a Santa Lucia micro-winery producing age-worthy California Pinot. With acidity and body, green tea and licorice notes play with cranberry and dark cherry â&#x20AC;&#x201D; lovely with the truffled chicken. As a cocktail destination, 1833 has no equal in the Bay Area. Bar manager Michael Lay oversees aging cocktails in barrels with colonial names like Betsy and Abigail. Layâ&#x20AC;&#x2122;s talent is apparent in a range of classically influenced cocktails like Commander in Chief ($11), Bulleit Rye whiskey, Carpano Antica sweet vermouth, Campari, Cherry Heering, and orange bitters with a peaty Laphroaig Scotch rinse. Besides a tableside absinthe cart (brilliant), offering some of my favorites like Duplais or Vieux Pontarlier, Lay makes a mean Hot Buttered Rum prepared tableside. His recipe is perked up with pumpkin pie spice and lemon peel. My favorite cocktail here is a twist on the Penicillin, a Penicillin No. 2 ($11). Instead of Scotch, Lay uses Tres Agaves Reposado Tequila and tops the drink with smoky mezcal, alongside the usual lemon and candied ginger. Further fun is had comparing barrel-aged Negronis, a nine-week-aged Abigail ($12) using Tanqueray gin, Campari, Amaro Nonino, Carpano Antica sweet vermouth, and Ruth-Anne, a more ginforward Negroni. Weâ&#x20AC;&#x2122;ve seen each of these parts, yes, but not this exact whole. I long for more settings in my own city as bewitching and multifaceted as 1833. Thankfully, Monterey is not too far away. 2

A resource guide for your vegetarian restaurant and shopping needs!

Paleolithic Diet. Going Paleolithic at mealtime benefits our health. Paleolithic people ate some animal products, lots of vegetables (including lots of roots and leafy greens), some fruit, little grains, and nearly no legumes. They were taller than we are and free of the â&#x20AC;&#x153;diseases of civilizationâ&#x20AC;? that we suffer. 10,000 years ago people walked ten miles a day for a Paleolithic diet. All you have to do is come over to Rainbow Grocery for your vegetable products. Find more information about the benefits of wholesome foods at our website www.rainbow.coop

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le.chicken.farmer@gmail.com CHEAP EATS The morning after Piggy and the Conch Shells got bonked in the first round of the playoffs, I packed a bag of ice and some turkey jerky and boarded a train for here. I had three days on that train to study my San Francisco teamâ&#x20AC;&#x2122;s playbook, but of course I didnâ&#x20AC;&#x2122;t. I hobnobbed with stranger-than-life strangers, listened to Utah Phillips albums, wrote half a book, and just generally stared out the window. The chunks de la Cooter were waiting for me in Emeryville, all turning five and shit, and just as cute as buttons, if not a little cuter. Which is to take nothing away from the cuteness of my SF womenâ&#x20AC;&#x2122;s flag football team, which was practicing without me, just then, across the water. Coach picked me up at BART next afternoon and we drove down the peninsula to buy a new bike for her because she only has six. And this is how I knew that our beloved young team had â&#x20AC;&#x201D; in only its third season â&#x20AC;&#x201D; come of age. Instead of describing our new recruits to me in terms of how hot they all are, Coach first enumerated their various skill sets. So-and-so has really good hands, and such-and-such is super fast, and so on and so forth ... who, if I remember correctly, excels in pass coverage. Then, OK, she told me how hot they all were. Are. I got to find out for my very own self the next morning, bright and early. Or I should say drizzly and early. Having spent the better part of the year this year so far in New Orleans, I was suffering from climate-shock, and could barely get out of bed without being wrapped up like a mummy. Not entirely convinced I could run crisp routes in a sleeping bag, however, I drew a hot bath, stewed in it for a while, and then jumped straight back into my pajamas and put my uniform on over them. Thankfully, by the time I got outside it had stopped raining, and by the end of the game â&#x20AC;&#x201D; Us 25, Them 0 â&#x20AC;&#x201D; the sun was almost even shining through the haze, and I was as happy as a clam, if not a little happier. This team we beat, they werenâ&#x20AC;&#x2122;t no pushover, yo. They were understaffed, compared to usâ&#x20AC;&#x2122;ns, arts + culture

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but they are also overtalented. Our league has four teams which could, Iâ&#x20AC;&#x2122;m convinced, beat the 49ers, or at least the Raiders. And then four like ours who are having fun trying to score a touchdown or two. As the saying goes: any given Sunday ... And last Sunday was ours. So, yeah: happiness and hilarity. Oh, and hunger, because I had gotten up too late to eat breakfast. So I caught the first ride away from Crocker Amazon, which happened to be with one of my all-time favorite teammates, Cat E. Wampus, our pass-rush specialist who strikes popcorny thoughts of butter into the hearts of opposing quarterbacks. Never mind fear. One glimpse of her yellow-swirling spin move and they melt with confusion and throw the ball to me. Wampus is a wrestler too. And a lot of other things too cool to mention in a restaurant review. Speaking of which, where we eventually wound up eating was the Precita Park CafĂŠ, down on the southwest corner of Dog Shit Park, my old stomping grounds. Or I should say stepping gingerly grounds. But of course this place wasnâ&#x20AC;&#x2122;t there before. Itâ&#x20AC;&#x2122;s the latest venture of the Dolores Park CafĂŠ and Duboce Park CafĂŠ folks, who are apparently trying to corner the market on all the corners of all our parks. Fine by me. Itâ&#x20AC;&#x2122;s not the best food in the world, but it sure did hit the spot: eggs with sun dried tomatoes, pancetta, mozz, and basil, hold the mushrooms. They call it Augustoâ&#x20AC;&#x2122;s Scramble. Comes with toast with real butter and strawberry jam. Spot spot spot. And the coffee was good, and the biscotti I had by way of an appetizer, and the place is just all-around pretty great. Nice and bright and airy, with a little kids section, and if you see a shiny red really nice bicycle locked up outside, whatever you do DONâ&#x20AC;&#x2122;T STEAL IT. OK? 2 Precita Park cafe Mon.-Sat. 7am-10pm; Sun. 8am-8pm 500 Precita Ave., SF. (415) 647-7614 www.doloresparkcafe.com/precita MC,V Beer & wine

Follow L.E. on the Twitter: @lechickenfarmer

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dammit, we dance.

“Beautiful rebels: a celebration of the fashion world of jean paul gaultier” see friday/6

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Wednesday 4/4

Wednesday 4/4

Nile

Cults

Death metal fans are eagerly awaiting At the Gate of Sethu, the newest album from South Carolina speeddemons Nile. Influenced, as always, by singer-guitarist Carl Sanders’ exhaustive study of Egyptian history and myth, the band’s new offering is sure to feature Nile’s distinctive traits: impossibly fast blastbeats (courtesy of drummer George Kollias), keening, Middle Eastern chords, and creepy, atmospheric interludes played on traditional instruments. Still, the chief delight for any Nile fan should be witnessing the band’s superhuman stamina and chops in person — despite a truncated opening set, few bands can play more individual notes in a single night.(Ben Richardson)

Cults sound like a ‘60s girl group (think the Shangri-Las/Ronettes) drenched in dreamy, lo-fi noise. New York-based couple and artistic collaborators Madeline Follin and Brian Oblivion began making music in their home as a hobby

With the Black Dahlia Murder, Skeletonwitch, Hour of Penance 7:30pm, $21 Slim’s 333 11th St., SF (415) 255-0333 www.slimspresents.com

Wednesday 4/4 Blank Tape Beloved featuring Brother Ali “Sometimes I don’t write a lot/ I know folks out there call that writer’s block/ I just call it my process/ It comes out when it’s ready to, I guess...” So explains Brother Ali in new single “Writer’s Block,” perhaps as a reply to fans asking about the lengthy stretches between releases.

bampfa.berkeley.edu

Thursday 4/5 Argentine Tango USA Festival not too long ago. Shortly after their hit single “Go Outside” went viral in the blogosphere, however, they landed a record deal and released their first album (Cults). Their vocals, which Follin belts out in a sweet, crooning manner, suggest foreboding themes like senseless depression, unalterable inadequacies, and uneven, entrapping love. You’ll most likely want to slowly sway to these songs — and reverently mimic Oblivion’s steady, controlled head banging. (Mia Sullivan) With Spectrals, Mrs. Magician 8pm, $21 Great American Music Hall 859 O’Farrell, SF

2170 Market, SF (415) 861-5016 www.cafedunord.com

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Thu/5, 8pm, $21 Slim’s 333 11th St., SF (415) 255-0333

As a costume designer in Hollywood, Deborah Nadoolman Landis has worked on a host of legendary films and created iconic looks such as the fedora and jacket of Harrison Ford (Indiana Jones) in Raiders of The Lost Ark (1981), the candy apple red leather jacket for Michael Jackson in Thriller, the “College” shirt worn by John Belushi in Animal House (1978), and many more. Landis will be appearing at PFA this week to discuss her work as part of “Behind The Scenes: The Art and Craft of Cinema,” a special two-night program — on Thursday she will be joined by her film listings

There are few cities more similar to San Francisco than Buenos Aires — leaving aside the vagaries of bistec versus burrito and geographic shaping (121 compared to 203 square kilometers). The two are major cities with world-class art scenes, passionate histories of social protest, and dammit, we dance. Be you a hippie-shaker or a vogue hand-waver, the motion in your ocean will most surely respond to the sultry allure of tango, brought to us this week in spades in a big-time competition authorized by the Buenos Aires city government. Spring to attend a milonga, which is like a tango jam session, or take a seat to watch the pros pivot it out. (Caitlin Donohue) Thu/5-Sun/8, $20 competition spectator admission Check website for competition times San Francisco Airport Marriott 1800 Old Bayshore Highway, Burlingame www.argentinetangousa.com

(415) 885-0750

“Behind The Scenes: The Art and Craft of Cinema”

Cafe Du Nord

Pacific Film Archive (510) 642-1412

Thursday 4/5

9pm, $10

Thu/4-Fri/5, 7pm, $5.50–$9.50 2575 Bancroft Way, Berk.

www.slimspresents.com

The Minneapolis-based emcee brings a big-picture perspective, striking a lyrical balance between brevity and bookishness. New (and free!) seven-song EP The Bite Marked Heart provides the appetizer for upcoming LP Mourning in America and Dreaming in Color. Ali brings in the band Blank Tape Beloved for what he describes as an impromptu and intimate performance. (Kevin Lee)

husband, director John Landis, for a screening of Three Amigos! (1986) — one of several projects they’ve worked on together over the years. On Friday she will join fellow costume designer Aggie Guerard Rodgers for a talk and screening of the classic American Graffiti (1973). (Sean McCourt)

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Thursday 4/5 Dark Star Orchestra Depending on how much secondhand pot you’ve smoked, if you close your eyes and listen up to Dark Star Orchestra, it’s possible to convince yourself you’ve transported back to 1969 for a Grateful

Dead show. Yes, DSO is a nationally recognized and acclaimed Dead tribute act (seriously, the band really sound like the Dead) that is coming to show us young whippersnappers what we missed CONTINUES ON PAGE 20 >>

APRIL 4 - 10, 2012 / SFBG.com

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in the 1960s, ‘70s, ‘80s, and ‘90s. So melt into the sunny jams that have shaped our fair city’s culture, expose your inner ecstasy, and rub against the person next to you; lovingly. Also, consider this is a prime opportunity to people-watch and swap Jerry Garcia-related personal transformation stories. (Sullivan) 9pm, $35 Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.slimspresents.com

Friday 4/6 Yours and Mine If contemporary performance originated partly in response to the cultural primacy of visual art, Macklin Kowal’s Yours and Mine suggests a full-circle act of reclamation in which performance shares not only space but a full dynamic partnership with other objets d’art. In it Kowal, a San Francisco

performer-choreographer and current artist-in-residence at Meridian Gallery, responds with capable, thoughtful intelligence to an exhibition by leading Irish contemporary painter Patrick Graham, in an hour-long performance installation involving ten dancers and all three floors of the gallery. The piece promises a further livening of the rooms beyond the already electric effect of Graham’s roiling canvases, as well as an exploration of the way we literally embody the aesthetic experience. (Robert Avila) Fri/6-Sat/7, 7:30pm, $10–$20 Meridian Gallery 535 Powell, SF (415) 624-6765. www.meridiangallery.org

Friday 4/6 “Beautiful Rebels: A Celebration of the Fashion World of Jean Paul Gaultier” You got epaulet envy trawling the paparazzi shots from the opening of 20 SAN FRANCISCO BAY GUARDIAN

Jean Paul Gaultier exhibit photo © Paolo Roversi ; brother ali photo by Julian Murray; cults photo by Martin Sanmiguel; dark star orchestra photo by Ben Pier; Macklin Kowal for Yours and Mine photo by Mara Poliak; Jeff mangum photo by Corey Greenwell.

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the JPG-de Young exhibit a few weeks ago. Chin up girl, your chance to fete fashion’s enfant terrible hasn’t passed you by. Sashay to Golden Gate Park to hang with the Guardian (we’re the media sponsors) at this Friday night happy hour event. Drag-cinema supernova Peaches Christ will be doing us the honor of emceeing, and would you believe there will be a fashion show featuring the work of Mister David and others — not to mention a performance by SF’s queerhop representatives Double Duchess and a craft table by Some Thing artisan Haute Gloo? (Donohue)

With Municipal Waste, Ghoul, Legacy of Disorder

Fri/6 5:30pm, free de Young Museum 50 Hagiwara Tea Garden, SF (415) 750-7694

Assalti Frontali to become AP2P (aka All Power to the People). But dead prez is still very much alive, continuing to tour and working on the long-delayed LP Information Age. (Lee) With Los Rakas, DJ Mr. E

metal and spit it out stylishly” auditory sensation contest. Coda: I was advised against relating Thrones in any way to Games of Thrones, but it has now just happened, so do with that what you will. (Emily Savage)

9pm, $20

With Helms Alee, Grayceon

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9:30pm, $10

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Game on: the band Thrones has been around far longer than that newbie medieval fantasy television show (though not quite as long as the book series it’s based

Facebook: Beautiful Rebels www.peacheschrist.com

1300 Van Ness, SF (415) 673-5716 www.theregencyballroom.com

Jeff Mangum

Friday 4/6

Thrones

Regency Ballroom

Monday 4/9

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Friday 4/6

8pm, $25

GWAR You know a band is worth seeing when the singer has a seven-syllable name for his prosthetic penis. The “Cuttlefish of Cthulu”

How much do we owe the Elephant Six Recording Company collective for our current slate of folk and indie rock? Two decades after a group of four friends launched their own record label in Denver, Elephant Six bands and spin-off projects

argentine tango usa festival see thursday/5

Friday 4/6 dead prez The dead prez anthem “It’s Bigger Than Hip-Hop” may as well apply to both dead prez lyricists-producers M-1 and stic.man. Since teaming together in New York in the mid-1990s in New York, M-1 and stic.man have developed from hip-hop artists into social change activists, revolutionary lecturers, and health advocates. (Legend has it the duo used to fling apples into the crowd at concerts.) Both have kept busy with their own projects — stic.man came out with a “fithop” album The Workout (Boss Up Inc) espousing the benefits of good breathing tactics and calisthenics, while M-1 has paired with Italian electro producer Bonnot of editorials

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(The Apples in Stereo and of Montreal among them) are still pushing critically acclaimed music. Core member Jeff Mangum remains among the collective’s most followed musicians, even though his Neutral Milk Hotel released the last of its two LPs fifteen years ago. The everlasting appeal of On Avery Island and In the Aeroplane Over the Sea may stem from a refreshing rawness devoid of glossy production. In these two shows before Coachella, Mangum’s acoustic performances highlight his signature sweet serenade. (Lee)

on). Another key difference, this Thrones is actually just one dude: Seattle’s Joe Preston, the metalgrinding doom bassist/Moog-

With Laura Carter and Andrew Rieger of Elf Power and Scott Spillane of the Gerbils Mon/9-Tue/10, 8pm, $36 Fox Theater 1807 Telegraph, Oakl. (510) 548-3010 www.thefoxoakland.com 2

enthusiast who’s spent time on tastemaker labels Kill Rock Stars and Southern Lord, and played alongside Earth, the Melvins, and High on Fire. If Preston were to play his own Thrones game, it would likely involve some sort of underground “chew up this sheet

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has flopped mightily at the forefront of GWAR shows for over 20 years, and the Richmond, Va. outfit shows no signs of slowing down. The tunes are still mostly straightforward, forgettable headbanger fuel, but the elaborate costumes and stage show change every tour — half the fun is discovering which foam-rubber politician effigy GWAR is going to disembowel next. My money’s on Rick Santorum this time around. (Richardson) arts + culture

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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.

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ARts + cultuRE: musIc

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the Brooklyn trIo pUshes Forward. photo By shawn BrackBIll

rollercoaster )PQPOUIF#FBSJO)FBWFOUISJMMSJEF By Frances capell arts@sfbg.com MUsIc “I get frustrated when things are repeating in life,” says Jon Philpot of Brooklyn trio Bear In Heaven. “I feel like I’m always trying to find ways to push people into doing things that maybe they don’t feel comfortable with or haven’t done before.” Phlipot’s penchant for pushing boundaries is likely why each release from these experimental indie rockers is a metamorphosis from one sound to the next. For its third full-length, I Love You, It’s Cool, out yesterday on Dead Oceans/Hometapes, Bear In Heaven embraced a pop sensibility that transformed its inventive layering of swirling, cosmic textures into its most approachable work thus far. “I wanted to make a dance record, that’s for damn sure,” Philpot explains. “We didn’t make a dance record, so we ended up with a record that’s somewhere in between [that] and what we are.” Philpot’s catchy vocal melodies lend an element of familiarity to the epic arrangements of pulsing, otherworldly synthesizers, distorted guitars, and dizzying percussion on I Love You, It’s Cool. It’s a far cry from the bizarre, down-tempo dissonance of 2007’s abstract debut Red Bloom of the editorials

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Boom, but the transition is apparent on its sophomore effort, Beast Rest Forth Mouth, which looked toward a new pop sound while one foot remained firmly planted in droning, avant-garde territory. A surprisingly warm reception to the second album culminated in a year and a half of extensive touring, which also helped shape the band’s current aesthetic. “We used to be like — we didn’t want the audience to enjoy themselves,” says Philpot. “Like, ‘You’re gonna come to our show? Alright, prepare. We’re gonna shred your ears open.’ [Now] we’re into it. When the crowd’s into it, it’s nice.” In making I Love You, It’s Cool, Bear In Heaven was unfazed by the weighty expectations that came with Beast Rest Forth Mouth’s success. “We sort of closed our eyes and ears to all that noise and just made a record that we felt good about,” he says. “We wouldn’t do that kind of thing, try and make something that doesn’t feel natural. There’s not enough incentive in it for us to do that. This is what we are, this is what we’ve done, this is what we’re gonna continue to do. If you like that, welcome aboard.” On board with these straightshooters is a curious number of fellow musicians. “I don’t know why that is, but musicians love us,” he remarks when I mention spotfood + Drink

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ting drummer David Prowse of Canadian rock duo Japandroids in a Bear In Heaven t-shirt. “I guess we’re pretty fun to hang out with, that’s one thing. We’re getting a steady normal people fanbase, too.” Fans recently got a taste of the new tracks at South By Southwest in Austin, TX. “I was nervous,” Philpot admits. “There was a lot to figure out still. At each [show], we fucked up at least once during a song, but I think all in all it was really good. There were a lot of people there.” Philpot also tells me he’s building a light show the band can manipulate from on stage, sounding a little uneasy when he says, “It could be chaos.” In the kaleidoscopic video for the album’s charming lead single, “The Reflection of You,” cameras zoom in and out on Philpot, guitarist Adam Wills, and drummer Joe Stickney at a rapid pace as strobe lights flash beneath them. It’s a hyper-stimulating, entirely accurate depiction of the band’s sound; once the rollercoaster ride is over, you can think of nothing but jumping back in line and doing it all over again. 2 BEAR IN HEAVEN With Blouse, Doldrums Sun/8, 8pm, $15 Independent 628 Divisadero, SF (415) 771-1421 www.theindependentsf.com

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TRASH Nothing dates faster than yesterdayâ&#x20AC;&#x2122;s futurism. Yet particularly at a moment when half the country seems bent on ordering us back to the past â&#x20AC;&#x201D; a past that might variably be identified as the Victorian era, the Inquisition, and the Dark Ages â&#x20AC;&#x201D; there is something comforting in revisiting old visions of the future. For the next seven Thursdays the Vortex Room boldly goes a few places youâ&#x20AC;&#x2122;ve probably been before, several that earn brownie points for foreknowledge, and others that separate the scifi nerd from the sci-fi mega scholar. The familiar titles are still on the cultish side, like the intentionalcamp nirvana created by a double bill of 1980â&#x20AC;&#x2122;s Flash Gordon and 1968â&#x20AC;&#x2122;s Barbarella. Likewise on the spoofy side is John Carpenterâ&#x20AC;&#x2122;s 1974 feature debut, Dark Star. Also fairly famous is horror specialist Mario Bavaâ&#x20AC;&#x2122;s 1965 Planet of the Vampires, a gorgeous color nightmare. But the rest of the â&#x20AC;&#x153;Starship Vortexâ&#x20AC;? series dwells in forgotten netherworlds of cosmic fantasy from the advanced minds of Italian and Danish exploitationists, as well as Communist bloc filmmakers with higher budgets and less strictly-commercial aims. The sole all-Yank effort here is also the earliest, 1961â&#x20AC;&#x2122;s endearing The Phantom Planet, whose brave new universe of 1980 finds an ever-belligerent Ugly American astronaut stranded among Lilliputians (who shrink him down to their size â&#x20AC;&#x201D; the nerve!), whose females fight over this rugged lunk. The assertively bad acting, quaint FX, heavy (and heavy-handed) religious-philosophical overtones, dorky monster, and credit for â&#x20AC;&#x153;Electronic

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Space Equipment by Space Age Rentalsâ&#x20AC;? make this a classic of black and white sci-fi silliness. On the other side of the Iron Curtain, however, people were taking space exploration very seriously â&#x20AC;&#x201D; and no wonder, since the films were state funded, and the U.S.S.R.â&#x20AC;&#x2122;s space program was one indisputable success in which (for a while) it even outpaced the West. Typically earnest was 1963â&#x20AC;&#x2122;s Czech Voyage to the End of the Universe. Satellite â&#x20AC;&#x153;townâ&#x20AC;? Ikaria XB-1 and its 40 inhabitants are liberated from Earth orbit and sent to the closest star outside our solar system. Thereâ&#x20AC;&#x2122;s much attention to interpersonal relationships (as well as scantily clad gymnastics in the exercise lounge â&#x20AC;&#x201D; hey, fitness is important), and despite desultory suspense around radiation exposure, our interplanetary future ultimately looks bright. Interestingly, an assumption shared by nearly all the features here is that any future enemies we faced would be from â&#x20AC;&#x153;out there.â&#x20AC;? The inevitable sprinkling of jerks aside, humanity would have long since been joined in peace and prosperity by a one-government body Ă  la the United Nations. Try floating that concept now. In the Me Decade and after even Socialist sci-fi lightened up, discounting the thesis statements made by Tarkovsky and his ilk. The East German-Romanian In the Dust of the Stars (1976) is a fair riot of silliness as Earth voyagers sample the high life on Tem 4 â&#x20AC;&#x201D; interpretive dancing, flavored inhalers, snakes slithering around party smorgasbords â&#x20AC;&#x201D; until our heroes discover

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artS + culture: traSh the planetâ&#x20AC;&#x2122;s secret slave underbelly, prompting revolutionary class struggle. Just a bit more sober is 1981â&#x20AC;&#x2122;s Soviet To the Stars by Hard Ways, in which an ethereal sole survivor is found on an alien spaceship and brought to Earth, then taken back to save her home planet from death by industrial pollution. Itâ&#x20AC;&#x2122;s a rare post-1977 sci-fi film not influenced by Star Wars, which was imitated more shamelessly the further you went down the exploitation-cinema tunnel â&#x20AC;&#x201D; at least by anyone not using 1979â&#x20AC;&#x2122;s Alien as

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their model. Italy, second only to the U.S. as the drive-in eraâ&#x20AC;&#x2122;s international trash exporter, ground out countless grade-C space operas like 1979â&#x20AC;&#x2122;s Star Odyssey (featuring such spectacular budget-sparing action as two people using their minds to open a door); even Star Pilot, originally shot in 1966, was retitled, re-edited with footage â&#x20AC;&#x153;borrowedâ&#x20AC;? from other movies, and re-released in the U.S. 11 years later to cash in on George Lucasâ&#x20AC;&#x2122; bonanza. Nothing, however, will ever equal the plagiaristic zeal of 1982â&#x20AC;&#x2122;s

The Man Who Saved the World, a.k.a. Turkish Star Wars, which took full advantage of Turkeyâ&#x20AC;&#x2122;s disinterest in copyright law to slap together an unforgettable contraption combining acres of actual Star Wars footage, other stolen elements, and new scenes putting a distinctive bargain-basement regional spin on the whole affair. Gauze too expensive for your zombie-mummies? Use toilet paper! If you havenâ&#x20AC;&#x2122;t overdosed on â&#x20AC;&#x153;futuristicâ&#x20AC;? pastel track suits or annoying comedy robots yet, else-

where in the Vortex series thereâ&#x20AC;&#x2122;s the relatively big budget 1969 British Journey to the Far Side of the Sun, a â&#x20AC;&#x153;parallel planetâ&#x20AC;? tale at its best when flaunting the obvious influence of the prior yearâ&#x20AC;&#x2122;s psychedelic â&#x20AC;&#x153;tripâ&#x20AC;? sequence in 2001: A Space Odyssey. Way down the production-values scale, 1967 European co-production Mission Stardust features thenhot Swedish sexpot Essy Persson, who utters the line â&#x20AC;&#x153;Those robot creatures are great tailors, but they havenâ&#x20AC;&#x2122;t a clue how to put buttons on.â&#x20AC;? Denmarkâ&#x20AC;&#x2122;s 1961 English-lan-

guage Journey to the Seventh Planet adheres to the lava-lamp school of color design in portraying astronauts under mind control that materializes their thoughts â&#x20AC;&#x201D; all of which seem to run toward pin-up girls (including a former Miss Denmark!) in lingerie. (Dennis Harvey) 2 â&#x20AC;&#x153;StarShip Vortexâ&#x20AC;? Through May 17 Thu, 9 p.m., $7 Vortex Room 1082 Howard, SF www.myspace.com/thevortexroom

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APRIL 4 - 10, 2012 / SFBG.com

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arts + Culture: musiC                 

     

        

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24 SAN FRANCISCO BAY GUARDIAN

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By KimBerly Chun arts@sfbg.com muSiC Unable to resist a siren song with dark underpinnings, hanging low with heartbreak then taking you higher? Let Chairlift co-founder Caroline Polachek love you down when it comes to â&#x20AC;&#x153;Take It Out on Me,â&#x20AC;? off her Brooklyn bandâ&#x20AC;&#x2122;s second album, Something (Kanine/Sony). Maybe it has to do with the choked-up soul with which Polachek wraps her hollowedout vocals around the fat, round syllables of the chorus, â&#x20AC;&#x153;Forget forgiveness / Forget all the rules / Just please donâ&#x20AC;&#x2122;t do it here / Bring on the fire / Cause business is cruel.â&#x20AC;? Or the way that the trackâ&#x20AC;&#x2122;s clear, bell-like synth tones shiver delicately in the background â&#x20AC;&#x201D; icicles pelted by a thunder shower of arpeggios. But the overall effect sounds like a consummate sad girlâ&#x20AC;&#x2122;s hit, Ă  la Bonnie Tylerâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Total Eclipse of the Heart.â&#x20AC;? â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;s one of my favorite songs on the record,â&#x20AC;? Polachek, 26, says sincerely as her bandâ&#x20AC;&#x2122;s vehicle makes its way to Montreal for a show. â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t want to get all emo on you in an interview, but it was about a frightening series of events in a dream. My dream family was being threatened, and I offered up myself in exchange for them and I was killed. I witnessed my own funeral at the end, too...â&#x20AC;? She abruptly stops. â&#x20AC;&#x153;Wow, we just saw an eagle, a big white raptor!â&#x20AC;? A moment later sheâ&#x20AC;&#x2122;s back. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s all kinds of vultures circling above us. Well, if our vehicle goes missing, youâ&#x20AC;&#x2122;ll know where we were!â&#x20AC;?

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Edging away from that particular blackened fantasy, Polachek â&#x20AC;&#x201D; part visionary with a watchful, Patti Smith-like eye for opportune inspiration and part down-toearth every-girl happy to start an interview late so she can eat a sandwich â&#x20AC;&#x201D; quickly picks up her thread once more: the blazing hot August 2010 day she and bandmate Patrick Wimberly, 27, worked on the song. â&#x20AC;&#x153;The idea for the vocal movement came into my head, and I got excited about how it was sounding together, but all I could think about this was this horrible dream I had. The mood of the song was so sexy and fun and grooving, but this mood was so dry and awful and dark â&#x20AC;&#x201D; somehow the two things happening at once was what that was. I think thatâ&#x20AC;&#x2122;s one of the neat things about this record â&#x20AC;&#x201D; there are layers like that, and darker songs have elements of lightness.â&#x20AC;? The feeling of willingly bearing adulthoodâ&#x20AC;&#x2122;s burdens â&#x20AC;&#x201D; Chairlift co-founder Aaron Pfenning is long gone â&#x20AC;&#x201D; combined with Polachekâ&#x20AC;&#x2122;s tendency to gravitate to the uncanny has rarely sounded so sumptuously effervescent than with the compulsively listenable, synth-dominated, and undeniably â&#x20AC;&#x2DC;80s-hued Something. If youâ&#x20AC;&#x2122;re itching for pop hooks, discover â&#x20AC;&#x153;Met Beforeâ&#x20AC;? and â&#x20AC;&#x153;Amanaemonesia,â&#x20AC;? but if youâ&#x20AC;&#x2122;re yearning for aural thrills and spills, youâ&#x20AC;&#x2122;ll find those, too â&#x20AC;&#x201D; in the spiraling Slinky keyboard runs of opener â&#x20AC;&#x153;Sidewalk Safariâ&#x20AC;? and the tinkling, buzzing textures of â&#x20AC;&#x153;Frigid

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Spring.â&#x20AC;? The feeling of hermetic sonic richness, combined with Polachekâ&#x20AC;&#x2122;s undulating jazz- and R&B pop-touched vocals, stands alongside nothing less than Kate Bushâ&#x20AC;&#x2122;s The Dreaming (EMI, 1982) in its epic scope, tapestry of fictions, and blending of pop and prog. â&#x20AC;&#x153;I was thinking a lot about textures when I was working on this record,â&#x20AC;? explains Polachek. â&#x20AC;&#x153;I kind of have a mental genre in my own head that kind of sounds like swimming pool music â&#x20AC;&#x201D; with a chorus on it that makes everything sound not culturally cool but literally refreshing. Things that sound frosty and crystalline. â&#x20AC;&#x153;And I got into a mental genre of sounds that were acidic and driving, like a dragon opening its mouth and hissing,â&#x20AC;? she continues. â&#x20AC;&#x153;I was gathering playlists, and some of those ideas found their way into the record. Weâ&#x20AC;&#x2122;re living in a really playlist-y age, digging through the crates of history. Iâ&#x20AC;&#x2122;m really into new age bath-time music.â&#x20AC;? Unfortunately while the pair was busy drawing Somethingâ&#x20AC;&#x2122;s warm bath, Polachekâ&#x20AC;&#x2122;s art-making has fallen by the wayside, apart from Chairlift videos. Still, her creative energies have obviously found a consuming outlet in her band. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s about all the desire,â&#x20AC;? she says, â&#x20AC;&#x153;to play like little kids play.â&#x20AC;? 2 Chairlift With Nite Jewel, Seventeen Evergreen Tues/10, 8pm, $15 Independent 628 Divisadero, S.F. (415) 771-1422 www.theindependentsf.com

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arts + culture: visual art

FRom leFt: examining poliShed RiCe at hakkaiSan Sake BReweRy, niigata; openhaRVeSt logo; haRVeSting RiCe at UonUma FaRm, niigata. | Hakkaisan pHoto by kelly isHikawa; UonUma pHoto by yoko kUmano.

Cooking withoUt BoRdeRS $PMMBCPSBUJWFDVJTJOFCMPTTPNTCFUXFFOUIF#BZ"SFBBOE+BQBOBU01&/IBSWFTU By Cynthia SalaySay arts@sfbg.com ViSUal aRtS The aura of old wars was in the room. Sock-footed, sitting on the floor eating bowls of ramen in the old barracks of the Marin Headlands, we were cozy and well-defended from the coastal fog. Once, these barracks were used to keep the Japanese out. But now we were welcoming them in, with every slurp of soup. This was an art event about food and Japan. OPENrestaurant, an art collective of restaurateurs and cooks from the community around Chez Panisse, has been hosting events like these for the past four years. It’s the Alice Waters ethos applied to social practice art — creating food happenings where participants forge new connections, and a deeper understanding of food can hopefully occur. This particular night, a foggy one at the Marin Headlands Center for the Arts, was a quiet one — no pigs butchered, or poultry running amok. It was a show-and-tell of the collective’s OPENharvest project of last fall, in which members — such as Jeremy Tooker from Four Barrel, Kayoko Akabori of Umamimart, and Sam White and Jerome Waag (current head chef) of Chez Panisse — met with people from the Tokyo food scene, to cook and eat beside them during rice harvest season. Scattered throughout the room were mementos of the trip that editorials

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spoke of the commonalities and the strange differences between the two cultures. eatlip gift: Cook book for Cooking People showed page after page of Saveur-esque snapshots of food — but no text. A stack of Café Sweet magazines sat next to the Four Barrel coffee cart, one of which featured photos from the Four Barrel café on Valencia. A small bottle of extra virgin olive oil was labeled in traditional Japanese brush script. Ramen was served, the meaty broth spiked with Meyer lemon, and topped with gushy, soft-boiled egg. So were Japanese whiskey highballs, ubiquitous in Tokyo bars. “There is this parallel community of people out there, who appreciate art and food in the way we do,” said White, a principle organizer of OPENharvest. “In the Bay Area it’s like preaching to the choir, people appreciate foodie-artsy-whatever. But to take it to a different culture, with a different food style, plug in some of our philosophy and have it work — that was super rewarding.” During their trip, they made collaborative dinners with local chefs. Making bouillabaisse involved fishing in Tokyo Bay and calling farms for produce — an uncommon practice there. Local olive oil and wine was used. Dishes combined Japanese and California influences, for example using chestnuts, and kabocha squash as a stuffing for ravioli. Wild deer was butchered in front of their guests, and served. food + Drink

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“Everything tasted sweeter there,” said Waag. Jonathan Waters, wine director at Chez Panisse, also took part. “The Japanese approached wine with an open palate. They were not conditioned to attach flavors to a construct — like dry or sweet. They were more open to the ethereal, mysterious qualities in wine.” The Japanese were just as receptive to learning from OPEN members. “It seemed like it was a good time in the psyche of their country to talk about food,” said White. Sourcing of ingredients take on new meaning in a country dealing with the effects of radiation on agricultural areas. But, said White, “Our Japanese friends said to us, ‘We don’t want to make this [event] a memorial to Japan.’ They didn’t want it to be just about radiation. That definitely exists, that’s a real thing, but there’s also a whole country with a future, stuff to hope for, and work towards.” Last fall’s trip continues to have socio-cultural impact. The restaurants they worked with continue to call farmers directly for produce. And Japanese chefs and artists have since come to learn, cook, and do projects here in the Bay Area. “Part of me feels like it’s not over,” said White. “Because what happened was we opened a door.” 2 www.openharvestjapan.com

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APRIL 4 - 10, 2012 / SFBG.com

25


arts + culture: film

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arts@sfbg.com FILm Jafar Panahi is no longer allowed to make films in Iran. So, with the help of documentarian Mojtaba Mirtahmasb, he made This Is Not a Film. After arrests in 2009 and 2010, Panahi was sentenced to a 20-year ban from filmmaking and a sixyear prison term for “assembly and colluding with the intention to commit crimes against the country’s national security and propaganda against the Islamic Republic,” as reported by the Green Voice of Freedom, a human rights website. He is also barred from leaving the country or giving interviews. This Is Not a Film, an “effort” credited to him and Mirtahmasb, was smuggled from Iran for its premiere at Cannes in 2011. Its title is an obvious provocation, and in translation a nod to Magritte’s ubiquitous painting of (not) a pipe, The Treachery of Images. Its content seems simple: Panahi eats breakfast and gets dressed in long, self-shot takes. Then, after Mirtahmasb arrives to take over the camera, he talks to his lawyer, begins to narrate and reconstruct the last film he was working on, explores memories of filmmaking, and interacts with his neighbors. The editing becomes more complex, more cinematic, and more problematic as the day progresses. Panahi (2006’s Offside, 2000’s The Circle) is an established film-

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maker, a contemporary and collaborator of the renowned Abbas Kiarostami, if slightly less internationally well-known. But as he revisits his past work on a TV in his living room, it is clear that this not-a-film is hardly his first flirtation with metanarrative experimentation. He discusses a sequence in his second film, The Mirror (1997), where the lead actress, a young child, refuses to continue participating in what — up to that point — had been a contained fictional narrative. Her character’s arm is in a cast, but she takes off the cast and walks off the set — and Panahi says he, too, must throw away his cast. This cryptic prescription for his predicament is just the first of an increasingly tortuous set of philosophical considerations he tackles. As he proceeds to read and describe his last screenplay, which he was banned from filming, he maps out the film’s set on his carpet with tape. These shots have more than a little resonance with Charlie Kaufman’s Synecdoche, New York (2008), in which a space for creative performance is inscribed within a real, lived-in space. In some slower and more willfully meta moments, Panahi and Mirtahmasb banter about the filmic potential of the footage they are producing. This could never be part of a film, they say, but documentation is an end in itself. And yet this isn’t pure document — it is edited, and often at strikingly emotional moments, to create cinemat-

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ic effects. One beat, where Panahi halts his narration and looks suddenly overcome with frustration, is suspiciously preceded by a change of camera angle. But then, Panahi and Mirtahmasb even discuss the possibility of editing their footage, so even that aspect is a performative extension of the “documentary” content. Furthermore, the notion that Panahi is not directing is repeatedly challenged by the fact that he can’t stop telling Mirtahmasb when to cut. But the work is not nearly as dry as all this analytical babble might imply. It is also deeply funny, in the parts where the camera follows Igi, Panahi’s daughter’s pet iguana. And then, in a startling final sequence, it becomes weirdly claustrophobic and suspenseful as Panahi joins his building’s custodian on a longish elevator ride. There’s a cliché in criticism that certain technically accomplished movies are “pure cinema,” and in a sense, if this is not a film, it’s pure filmmaking. It presents itself as a document, but its authenticity is questionable, and for a man who is banned from filmmaking, so is its legitimacy. But it is a process in action and in dialogue with itself. It is an act of defiance, and the product of an artist’s self-effacing need to express himself. Whether or not this is a film, it is a profound artistic howl. 2 tHIS IS nOt a FILm opens Fri/6 at SF Film Society Cinema.

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music listings .VTJDMJTUJOHTBSFDPNQJMFECZ&NJMZ4BWBHF 4JODFDMVCMJGFJTVOQSFEJDUBCMF JUÂľTBHPPEJEFBUP DBMMBIFBEPSDIFDLUIFWFOVFÂľTXFCTJUFUPDPOGJSN CPPLJOHTBOEIPVST1SJDFTBSFMJTUFEXIFOQSP WJEFEUPVT7JTJUXXXTGCHDPNWFOVFHVJEFGPS WFOVFJOGPSNBUJPO4VCNJUJUFNTGPSUIFMJTUJOHT BUMJTUJOHT!TGCHDPN'PSGVSUIFSJOGPSNBUJPOPO IPXUPTVCNJUJUFNTGPSUIFMJTUJOHT TFF1JDLT

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for more music content visit sfBg.com/noise Pops 5IFF1BSLTJEFQN  Sleigh Bells, Javelin, Elite Gymnastics 8BSGJFMEQN 

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CONTINUES ON PAGE 28 >>

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Experienceâ&#x20AC;?#SJDLBOE.PSUBS.VTJD)BMMQN  8JUINVTJDCZ5ISBMMTBOE&MMBTUJDP Terry Savastano +PIOOZ'PMFZÂľTQN GSFF

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sunday 8 Rock /blues/hip-hop

Bear in Heaven, Blouse, Doldrums *OEFQFOEFOUQN  Black Seeds, Stranger 4MJNÂľTQN  Jeff Mangum (SFBU"NFSJDBO.VTJD)BMMQN  Midnite Snaxxx, White Murder, Glitz ,OPDLPVUQN Please Do Not Fight, Hell & Lulu, Girl Named T)FNMPDL5BWFSOQN  â&#x20AC;&#x153;Salacious Underground: A Neo-Burlesque

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1

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LennIe (aJ MeIJer) anD GeOrGe (JOs VIraMOnTes) In Of Mice and Men aT THeaTreWOrks. photo by tracy martin

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Free Men "NJENPEFSBUFIPPQMBGPS $BTBCMBODBµTUIBOOJWFSTBSZ JUµTBHPPE UJNFGPSTPNFUIJOHUIBUXBTBXIPMFMPUNPSF DPNNPOCBDLUIFO±BXBSUJNFESBNBOPU BCPVUCBUUMFPSWJDUJNJ[BUJPO CVUFTQJPOBHF JOUSJHVFDSPTTJOHUIFMJOFTCFUXFFONJMJUBSZ EJQ MPNBUJD BOEDJWJMJBOTFDUPST"SSFTUFEGPSQBSUJDJ QBUJOHJOUIFCMBDLNBSLFUJOUIFPDDVQJFE1BSJT PG /PSUI"GSJDBOnNJHSn:PVOFT 5BIBS 3BIJNGSPNµTA Prophet FWBEFTQSJTPOPS EFQPSUBUJPOCZBHSFFJOHUPTQZPOBMPDBMNPTRVF TVTQFDUFECZUIF/B[JTPGIBSCPSJOHBOETNVH HMJOHPVU+FXT)JTDMVNTZFGGPSUTBSFRVJDLMZ GPVOEPVUCZBWJTJUJOHJNBN .JDIBFM-POTEBMF  XJUIUIFSFTVMUUIBU:PVOFT±XIPTFCSPUIFS 'BSJE-BSCJ JTBMSFBEZBDPNNJUUFEGJHIUFSJO UIF3FTJTUBODFVOEFSHSPVOE±XJOETVQQMBZJOH EPVCMFBHFOU QSFUFOEJOHUPTFSWFUIFQPMJDFBOE 44XIJMFBDUVBMMZXPSLJOHBHBJOTUUIFN&OSPVUF IFCFDPNFTFOUBOHMFEJOUIFEJTQBSBUFBHFOEBT PGPUIFSTJODMVEJOH-FJMB -VCOB"[BCBM XIPµT TFDSFUMZJOWPMWFEJOUIF"MHFSJBOMJCFSBUJPONPWF NFOU BOE4BMJN .BINVE4IBMBCZ BOBQPMJUJ DBM CJTFYVBMTJOHFSXIPTFDBSFFSBNCJUJPOTCMJOE IJNUPUIFQFSTPOBMEBOHFSTIFSJTLT*TNBqM 'FSSPVLIJµTIBOETPNF UXJTUZESBNBXPOµUIBWF ZPVXIJUFLOVDLMJOHUIFBSNSFTUT CVUJUµTBO JOUFMMJHFOU TBUJTGZJOHUISPXCBDLUPUIFDPMPSGVM DIBSBDUFSTBOEOBSSBUJWFJOUSJDBDJFTPGBOPUIFS FSBµTDJOFNBUJDNFMPESBNBT±XJUIUIFXFMDPNF

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30 SAN FRANCISCO BAY GUARDIAN

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The Artist  California, Castro, 1000 Van Ness. The Ballad of Genesis and Lady Jaye  Roxie. Boy   Smith Rafael. Casa de mi Padre  Metreon, Shattuck. The Deep Blue Sea  Embarcadero, Piedmont, Shattuck, Smith Rafael. Dr. Seussâ&#x20AC;&#x2122; The Lorax  Metreon, 1000 Van Ness, Shattuck. Footnote  Clay. Friends With Kids  Four Star, SF Center, Sundance Kabuki. House of Pleasures  SF Film Society Cinema. Hugo  Metreon. The Hunger Games  Balboa, Marina, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. The Hunter   Roxie. Intruders  Metreon. The Iron Lady  Opera Plaza. The Island President 5IFUJUVMBSGJHVSF JT.PIBNFE/BTIFFE SFDFOUMZPVTUFE CZBMMJFTPGUIFEFDBEFTMPOHEJDUBUPSIFµE SFQMBDFE DIJFGFYFDVUJWFPGUIF3FQVCMJDPG .BMEJWFT±BOBUJPOPGTNBMMJTMBOETJOUIF *OEJBO0DFBO+PO4IFOLµTFOHBHJOHEPDVNFO UBSZDISPOJDMFTIJTFGGPSUTVQUPBOEUISPVHIUIF $PQFOIBHFO$MJNBUF4VNNJUUPHBUIFS HSFBUFSJOUFSOBUJPOBMDPNNJUNFOUUPDVSCJOH HSFFOIPVTFHBTFNJTTJPOT5IJTJTIBSEMZEP HPPEFSJTN BCJEGPSFDPUPVSJTN PSQPMJUJDT BTVTVBMTDBSDFMZBCPWFTFBMFWFM XJUIOBSZB IJMM UIF.BMEJWFTXJMMTJNQMZDFBTFUPFYJTUTPPO JGXBUFSTDPOUJOVFUPSJTFBUHMPCBMXBSNJOHµT DVSSFOUQBDF ²*UXPOµUCFBOZHPPEUPIBWFB EFNPDSBDZJGXFEPOµUIBWFBDPVOUSZ ³IFIBMG KPLFTBUPOFQPJOU /BTIFFEJTUJSFMFTT VOKBE FE EFMJHIUGVM BOEXJMMJOHUPEPBOZUIJOH BUPOF QPJOUIPTUJOH²UIFXPSMEµTGJSTUVOEFSXBUFSDBCJ OFUNFFUJOH³ XJUIPYZHFOUBOLT OBUDI BTB QVCMJDJUZTUVOU"DBTITUSBQQFEOBUJPOEFTQJUF JUTTVSGFJUPGXFBMUIZWBDBUJPOFST JUµTTQFOEJOH NPOFZUIBUDPVMEHPUPFEVDBUJPOBOEIFBMUI TFSWJDFTPOUIFQBUIFUJDTUBMMJOHEFWJDFPGTBOE XBMMTJOTUFBE#VUEPCJHHFSQPXFST±OPUBCMZ $IJOB *OEJBBOEUIF64±DBSFFOPVHIBCPVU UIJTCJUQBSUQMBZFSPOUIFXPSMETUBHFUPDIBOHF UIFJSFOFSHZVTFBOEFDPOPNJDIBCJUTBDDPSE JOHMZ  "IJOU*GZPVµWFCFFONVMMJOHB.BMEJWJBO IPMJEBZ UBLFJUOPX 4PNFXIBUJODPOHSVPVT  CVUBOBEEJUJPOBMTBMFTQPJOUOPOFUIFMFTTQSBD UJDBMMZBMMUIFGJMNµTJODJEFOUBMNVTJDDPOTJTUT PGQSFFYJTUJOHUSBDLTCZ3BEJPIFBE   Embarcadero, Shattuck. )BSWFZ

Jeff, Who Lives at Home  California, SF Center, Sundance Kabuki. Jiro Dreams of Sushi  Embarcadero, Piedmont, Shattuck, Smith Rafael. John Carter  Metreon, 1000 Van Ness. The Kid with a Bike 4MJQQFSZBTBOFFM  $ZSJM 5IPNBT%PSFU JTUIFCBOFPGBVUIPSJ UJFTBTIFUSJFTUPSVOBXBZBUBOZPQQPSUVOJUZ GSPNTDIPPMBOEBZPVUIIPNF±CFJOHDPO WJODFEUIBUUIFXIPMFBEVMUXPSMEJTDPOTQJSJOHUP LFFQIJTGBUIFSBXBZGSPNIJN%VSJOHPOFTVDI DIBTFIFMJUFSBMMZSVOTJOUPIBJSTBMPOQSPQSJFUPS 4BNBOUIB $nDJMF%F'SBODF XIPQSPWFTXJMMJOH UPIPTUIJNPOXFFLFOETBXBZGSPNIJTQVCMJD GBDJMJUZ BOEJTBQBUJFOU TUFBEZJOHJOGMVFODF EFTQJUFIJTTUJMMTPNFXIBUFYBTQFSBUJOHCFIBWJPS *UµTTIFXIPPSDIFTUSBUFTBNFFUJOHXJUIIJTEBE +FSnNJn3FOJFS XIPQMBZFEUIFDIJMEJOUIF %BSEFOOFTµCSFBLUISPVHILa Promesse  TP$ZSJMDBODPOGSPOUUIFIBSEGBDUUIBUIJTQB OPUPOMZDBOµUUBLFDBSFPGIJN IFEPFTOµUNVDI XBOUUP4UJMMMPPLJOHGPSTPNFLJOEPGPMEFSNBMF BQQSPWBM $ZSJMGBMMTUPPFBTJMZVOEFSUIFTXBZ PG8FT &HPO%J.BUFP BUFFOBHFUIVHXIPN FWFSZPOFJO4BNBOUIBµTOFJHICPSIPPELOPXT JTCBEOFXT5IJTMBUFTUOFPSFBMJTUTUZMFESBNB GSPN#FMHJVNµT%BSEFOOF#SPUIFSTUSFBETPO WFSZGBNJMJBSHSPVOEGPSUIFN CPUIJOUIFNFT BOEUFSTFFYFDVUJPO*UµTXFMMBDUFE QPUFOUTUVGG  JGMFTTSFTPOBOUJOTVNJNQBDUUIBOUIFJSCFTU XPSL  Embarcadero, Shattuck. )BSWFZ

Mirror Mirror *OUIJTHMJUUFSZ NPEFSBUFMZHJSM QPXFSZBEBQUBUJPOPGUIF4OPX8IJUFUBMF B DPNJDGPJMPGTPSUTUPUIJTTVNNFSµTHMPPNJFS MPPLJOHSnow White and the Huntsman  +VMJB3PCFSUTUBLFTIFSUVSOBTTUFQNPN UPBO FBSOFTUMJUUMFJOHFOVF -JMZ$PMMJOT XIPTFLJOHMZ GBUIFS 4FBO#FBO JTQSFTVNFEEFBEBOEXIPTF SBUIFSUFFOZMPPLJOHLJOHEPNJTDPMMBQTJOHVOEFS UIFXFJHIUPGGJTDBMSVJOBOEBUIJDLTUSBUVNPG

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TOPX*OUPUIJTTPSSZSFBMNSJEFTBDIJTFMFECFFG DBLFOBNFE1SJODF"MDPUU "SOJF)BNNFS XIP IBJMTGSPNQSPTQFSPVT7BMFODJB GBMMTGPS4OPX 8IJUF BOEESBXTUIFBUUFOUJPOTPGUIF2VFFO 3PCFSUT GSPNCPUIBTUSBUFHJDBOEBMJCJEJOBM TUBOEQPJOU4PPOFOPVHI 4OPX8IJUF 4OPX UPIFSGSJFOET JTOBSSPXMZBWPJEJOHFYFDVUJPOBU UIFIBOETPGUIF2VFFOµTTZDPQIBOUJDDPVSUJFS IFODINBO /BUIBO-BOF SVTUMJOHVQCSFBLGBTU GPSBUIJFWJOHCBOEPGTUJMUXBMLJOHEXBSWFT  BOEFOHBHJOHJOTZMWBOIJKJOLTQSFQBSBUPSZUP EFQPTJOHIFSTUFQNPUIFSBOECSJOHJOHMJHIU BOEXBSNUIBOECJSETPOHBOEQFSFOOJBMTCBDL JOUPGBTIJPO%JSFDUPS5BSTFN4JOHI µT The Cell µTImmortals TUBHFTUIFGJMNµT SPZBMQBHFBOUSZXJUIBCSJHIUBSUJTUSZ BOE 3PCFSUTIPMETDPVSUXJUIWJDJPVT BNPSBMSFMJTI BTTIFTFOTFTIFSQPXFSTPGQFSTVBTJPOTMJQQJOH SFMFOUMFTTMZGSPNIFSHSBTQ$BSFGVMMZDBUFSJOH UPUXFFOBOEVOEFSUBTUFTBTXFMMBTUIPTFPG UIFJSDIBQFSPOFT UIFDPNFEZDPNFTJOWBSJPVT CSFBEUIT BOEUIFSFµTNFUBIVNPSJOUIFTJHIUPG 3PCFSUTQBTTJOHUIFQSFUUZXPNBOUPSDI UIPVHI $PMMJOTTFFNTCMBOEMZVOQSFQBSFEUPXJFMEIFS QPXFSXJTFMZPSJOUFSFTUJOHMZ$POTJEFSWBDBUJOH ZPVSTFBUTCFGPSFUIFFYUSBOFPVT#PMMZXPPE TUZMFTPOHBOEEBODFOVNCFSUIBUBDDPNQBOJFT UIFDMPTJOHDSFEJUT  Balboa, Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. 3BQPQPSU

The Raid: Redemption  California, Metreon, Sundance Kabuki. Safe House  SF Center. Salmon Fishing in the Yemen   Albany, Embarcadero, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki. The Salt of Life  Opera Plaza, Shattuck, Smith Rafael. A Separation  Albany, Lumiere. The Secret World of Arrietty   Metreon, Shattuck. Shame 

Opera Plaza. Tim and Ericâ&#x20AC;&#x2122;s Billion Dollar Movie   Roxie. 21 Jump Street  Marina, Metreon, 1000 Van Ness, Shattuck, Sundance Kabuki. Wrath of the Titans 1MBZJOHGBTUBOEMPPTFXJUI (SFFLNZUITCVUOPUBHJMFFOPVHIUPLJDLPVUB CMBDLNFUBMKBNEVSJOHBGMBNJOHVOEFSXPSME QPXFSHSBC Wrath of TitansJT BTFYQFDUFE B CJUPGB$(*DSBNNFENFTT4UJMM UIFTXPSEBOE TBOEBMTGSBODIJTFIBTBUUSBDUFETDBETPGJOUFS OBUJPOBMBDUPSMZUBMFOU±UIFDBTUJTFOSJDIFE UIJTUJNFCZcEHBS3BNrSF[ µTCarlos #JMM /JHIZ BOE3PTBNVOE1JLF±BOEZPVEPHFUBU MFBTUPOFDPPMNPOTUFSBOEQBMUSZFYQMJDBUJPO $FSCFSVT XIJDICPMUTGSPNFBSUIGPSOPEJTDFSO JCMFSFBTPOFYDFQUUIBUNBZCFBMMIFMMJTCSFBLJOH MPPTF +VTUCFDBVTFBDUJPOGMJDLTMJLFCloverfield  IBWFMPOHEJTQFOTFEXJUIOBSSBUJWF IBOEMFCBSTEPFTOµUNFBOUIBUBHFPMETUPSJFT MJLFUIF(SFFLNZUITTIPVMEHFUDPNQMFUFMZ SBOEPNXJUIUIFJSUJUBOJDUBMFTQJOOJOHWrath PQFOTPOUIFUXJMJHIUPGUIFHPET;FVT -JBN /FFTPO JTQSBDUJDBMMZHSPWFMJOHCFGPSF1FSTFVT 4BN8PSUIJOHUPO ±OPXEFUFSNJOFEUPHP TNBMM SBJTFIJTTPO BOEXPSLPOIJTGJTIJOHTLJMMT ±BOEUSZJOHUPQFSTVBEFIJNUPTUFQVQBOE IFMQUIF0MZNQJBOTIPMEPOUPQPXFS'FMMPX;FVT TQBXO"SFT 3BNrSF[ JTBMPOHGPSUIFSJEF TP EFNJHPEVQ 1FSTFVT*OTPNFXFJSE MBTUEJUDI BUUFNQUUPSFBNIJTCSP;FVT UIFPJMZ NVMMFUFE )BEFT 3BMQI'JFOOFT IBTTUSVDLBEFBMXJUI UIFJSFOUSBQQFE DIBPUJD DBTUSBUJOHGJSFCBMMPGB EBE$SPOVTUPMFUUIFNLFFQUIFJSJNNPSUBMJUZ PO UIFDPOEJUJPOUIBU;FVTJTTBQQFEPGIJTQPXFS 1JDLJOHVQ2VFFO"OESPNFEB 1JLF BMPOHUIF XBZ 1FSTFVTHFUTUIFTDPPQPOIPXUPHFUUP)FMM GSPN)FQIBFTUVT /JHIZQMBZJOHUIFEFNFOUFE 7VMDBOMJLFB´TBDJEDBTVBMUZ HJWFOUPDIBU UJOHXJUINFDIBOJDBMPXM#VCP BXJOLUP QSFDVSTPSClash of the Titans XIJDITFUUIF CBSMPXGPSUIFSFNBLF 5IPVHIUIFSFBSFTPNF EJTUSBDUJOHBDUJPOTDFOFT GVMMPGTQFFEZ DIPQQZ FEJUTUIBUDPOGVTFEJTPSJFOUBUJPOGPSFYDJUFNFOU  BOEBGFXJOUSJHVJOHNPOTUFST KVTUIPXEJEUIF .JOPUBVSNBLFJUUPUIJTMBCZSJOUI UIFSFµTOP NPOFZMJOFMJLF²3FMFBTFUIF,SBLFO³UIJTUJNF BSPVOE BOEUIFSFµTwayUPPNVDIOBUUFSJOHPO BCPVUGBUIFSMZSFTQPOTJCJMJUZBOEGPSHJWFOFTT ±NBLJOHUIFTFGFFMHPPEEJWJOJUJFTTPVOEPEEMZ  NBXLJTIMZ$ISJTUJBOBOETPGUIFBEFESBUIFS UIBONZUIJDBMMZQBHBOBOECSBUUJMZPUIFSXPSMEMZ 8BTOµUUIFBQQFBMPGUIFHPETMJOLFEUPUIFGBDU UIBUUIFZBMXBZTBDUFENPSFMJLFPVUUBIBOEBEP MFTDFOUTUIBOIPMJFSUIBOUIPVEFJUJFT *HVFTT UIBUµTXIZOPPOFµTQSBZJOHUPUIFNBOZNPSF  Metreon, 1000 Van Ness. $IVO 2

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APRIL 4 - 10, 2012 / SFBG.com

31


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32 SAN FRANCISCO BAY GUARDIAN

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  BOEBlue Valentine $JBOGSBODF   8FE  ²+FBO1BVM(BVMUJFS'BTIJPO'JMN 4FSJFTÂłÂ&#x2026;Truth or Dare ,FTIJTIJBO  5IV   BOEThe Cook, The Thief, His Wife and Her Lover (SFFOBXBZ  5IV Â&#x2026;The Fifth Element #FTTPO  'SJ  BOEThe City of Lost Children $BSPBOE+FVOFU  'SJ  The Artist )B[BOBWJDJVT  4BU5VF   BMTP4BU4VO    CHRISTOPHER B. SMITH RAFAEL FILM CENTER 'PVSUI4U 4BO3BGBFM   XXX DBGJMNPSHBoy 8BJUJUJ  DBMMGPS

arts + culture

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EBUFTBOEUJNFTThe Deep Blue Sea %BWJFT   DBMMGPSEBUFTBOEUJNFTJiro Dreams of Sushi (FMC   DBMMGPSEBUFTBOEUJNFTThe Salt of Life EF (SFHPSJP  DBMMGPSEBUFTBOEUJNFT OAKLAND MUSEUM OF CALIFORNIA 0BL  0BLMXXXPJGGPSH0BLMBOE*OUFSOBUJPOBM'JMN 'FTUJWBM TIPSUGJMNTBOEGFBUVSFT 'SJ4VO PACIFIC FILM ARCHIVE #BODSPGU #FSL    CBNQGBCFSLFMFZFEV ²'JMN)JTUPSZPG$JOFNB 'JMNBOEUIF0UIFS "SUTÂłRed Desert "OUPOJPOJ  8FE  8JUIBMFDUVSFCZ.BSJMZO'BCF²5IF-JCSBSZ-PWFS 5IF'JMNTPG3B|M3VJ[ÂłThe Penal Colony   8FE ²$PTUVNF%FTJHOFS%FCPSBI/BEPPMNBO -BOEJT #FIJOEUIF4DFOFT5IF"SUBOE$SBGUPG $JOFNB5IF(PPE UIF#BE BOEUIF#FBVUJGVMÂł ÂĄThree Amigos! -BOEJT  5IV American Graffiti -VDBT  'SJ ²"GUFSJNBHF+BNFT *WPSZ5ISFF'JMNTGSPN/PWFMTÂłChekhov for Children 8BUFST'SFZFS  4BU A Soldierâ&#x20AC;&#x2122;s Daughter Never Cries *WPSZ  4BU  ²)PXBSE)BXLT5IF.FBTVSFPG.BOÂłGentlemen Prefer Blondes  5VF  ROXIE BOEUI4U 4'    XXXSPYJFDPNThe Ballad of Genesis and Lady Jaye -PTJFS  8FE5IV  The Hunter 1JUUT  8FE5IV   Tim and Ericâ&#x20AC;&#x2122;s Billion Dollar Movie )FJEFDLFS BOE8BSFIFJN  8FE5IV ²3JTFBOE 'BMM5FFOBHF$PSSVQUJPO$MBTTJDTÂłÂ&#x2026;Desperate Teenage Lovedolls .BSLFZ  'SJ BOE  BOEChristiane F &EFM  'SJ  ²4BO'SBODJTDP'BTIJPO'JMN'FTUJWBM Âł4BU4VO ²4BWF,64'ÂłMonks: Transatlantic Feedback 1PTUBOE1BMBDJPT  XJUIâ&#x20AC;&#x153;Cloven Hoofedâ&#x20AC;? 1PTU  BOEâ&#x20AC;&#x153;Crime +Punishmentâ&#x20AC;? 1BSS  .PO I Think Itâ&#x20AC;&#x2122;s Raining .PPSF   5VF  ²4''4'JMN"SUT'PSVN#FZPOE'JMN 4DIPPM Âł5VF  SAN FRANCISCO CINEMATHEQUE 4'.0."  5IJSE4U 4'XXXTGDJOFNBUIFRVFDPN ²5FYUTPG-JHIU*4FDSFU)JTUPSZPGUIF%JWJEJOH-JOF  "5SVF"DDPVOUJO/JOF1BSUTÂą1BSUT**7 Âł5IV  :FSCB#VFOB$FOUFSGPSUIF"SUT .JTTJPO  4'4BNFDPOUBDUBOEQSJDF²5FYUTPG-JHIU**'PVS 'JMNT5PXBSE1BSU7PGA Secret History of the Dividing Line, A True Account in Nine Parts,Âł 4BU "SUJTUTÂľ5FMFWJTJPO"DDFTT 7BMFODJB  4'4BNFDPOUBDUBOEQSJDF²5FYUTPG-JHIU***4JMFOU .PVOUBJOT 4JOHJOH0DFBOT BOE4MJWFSTPG5JNF Âł 4VO %BWJE(BUUFOJOQFSTPOBUBMMTDSFFOJOHT SF FILM SOCIETY CINEMA 1PTU 4' House of Pleasures #POFMMP  8FE5IV     This Is Not a Film 1BOBIJ   "QSJM      VORTEX ROOM )PXBSE 4'XXXNZTQBDF DPNUIFWPSUFYSPPNEPOBUJPO²4UBSTIJQ7PSUFYÂł Â&#x2026;Mission Stardust ;FHMJP  5IV  BOEIn the Dust of the Stars ,PMEJU[  5IV  YERBA BUENA CENTER FOR THE ARTS  .JTTJPO 4'   XXXZCDBPSH ²(SFBU%JSFDUPST4QFBLÂłÂ&#x2026;Marcel Ophuls and Jean-Luc Goddard: The Meeting in St-Gervais $IPGGBUBOE-PXSZ  BOEJohn Cassavetes -BCBSUIF  5IV 2

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

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Representative: Earn supplemental income placing and supervising high school exchange students. Volunteer host families also needed. Promote world peace! www.afice.org/reps (Cal-SCAN) NEW TO TRUCKING? Your new career starts now! *$0 Tuition Cost, *No Credit Check, *Great Pay & Benefits. Short employment commitment required. Call: 1-866-2753249. www.JoinCRST.com (Cal-SCAN) WANTED: LIFE AGENTS. Earn $500 a Day. Great Agent Benefits. Commissions Paid Daily, Liberal Underwriting. Leads, Leads, Leads. Life Insurance License Required. Call 1-888-713-6020. (Cal-SCAN)

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NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGE LICENSE Date of Filing Application: March 27, 2012. To Whom It May Concern: The name of the applicant is: KOR HOTELS LLC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 1108 MARKET STREET, B, SAN FRANCISCO, CA 94102-3804. Type of License Applied for: 48 - ON-SALE GENERAL PUBLIC PREMISES . Publication dates: April 4, 2012. L#113562 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342166-00 The following person is doing business as Wak Shack Salon 782 Haight Street, San Francisco, CA 94117. This business is conducted by an individual. Registrant commenced business under the abovelisted fictitious business name on the date March 19, 2012. Signed by Filomena Bettencourt . This statement was filed by Mariedyne L. Argente, Deputy County Clerk on March 21, 2012. L#113557, March 28, April 11 and 18, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342167-00 The following person is doing business as JL Imagination 1858 40th Avenue, San Francisco, CA 94122. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Julio Lujan. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on March 21, 2012. L#113556, March 28, April 11 and 18, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341288-00 The following person is doing business as BMD Materials Inc. 1644 Sanchez Street Apt B, San Francisco, CA 94131. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date February 14, 2012. Signed by Brandan Mac Domhnaill. This statement was filed by Alex Liang, Deputy County Clerk on February 14, 2012. L#113555, March 28, April 11 and 18, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341820-00 The following person is doing business as Grace In Motion Physical Therapy 1494 44th Avenue San Francisco, CA 94122-2929. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date March 6, 2012. Signed by Meenakshi Prabhakar. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on March 5, 2012. L#113546, March 14, 21, 28 and April 4, 2012

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341875-00 The following person is doing business as Tantrum 858 Cole Street San Francisco, CA 94117. This business is conducted by a general partnership. Registrant commenced business under the above-listed fictitious business name on the date March 8, 2012. Signed by Michael Ghadieh. This statement was filed by Maribel Jaldon, Deputy County Clerk on March 8, 2012. L#113545, March 14, 21, 28 and April 4, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341903-00 The following person is doing business as Rocketship 1770 Post Street #220 San Francisco, CA 94115. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Mark S. Shannon, CEO. This statement was filed by Jennifer Wong, Deputy County Clerk on March 09, 2012. L#113549, March 21, 28, April 4 and 11, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341931-00 The following person is doing business as Cityscape Entertainment 660 4th Street Suite #804 San Francisco, CA 94107. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Ian Elliot Gressett, Manager Member. This statement was filed by Magdalena Zevallos, Deputy County Clerk on March 09, 2012. L#113550, March 21, 28, April 4 and 11, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0341944-00 The following person is doing business as HayaHon 4167 17th Street San Francisco, CA 94114. This business is conducted by co-partners. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Charles Hayashida. This statement was filed by Magdalena Zevallos Deputy County Clerk on March 12, 2012. L#113548, March 14, 21, 28 and April 4, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342036-00 The following person is doing business as Park Chow 1240 9th Avenue, San Francisco, CA 94122. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date August 17, 1998. Signed by Chalen Mitchell, Manager Member. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on March 15, 2012. L#113551, March 21, 28, April 4 and 11, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342037-00 The following person is doing business as Chow 215 Church Street, San Francisco, CA 94114. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date May 13, 1997. Signed by Chalen Mitchell, Manager Member. This statement was filed by Mariedyne L. Argente, Deputy County Clerk on March 15, 2012. L#113551, March 21, 28, April 4 and 11, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342066-00 The following person is doing business as Class One Analytics 1720 Market Street, San Francisco, CA 94102. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date March 1, 2012. Signed by Ari Bronstein. This statement was filed by Maribel Jaldon, Deputy County Clerk on March 15, 2012. L#113553, March 21, 28, April 4 and 11, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342082-00 The following person is doing business as All Rooter & Plumbing Service Inc. 238 Ocean Ave., San Francisco, CA 94112. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date March 15, 2012. Signed by Mihn G. Luc, President. This statement was filed by Jennifer Wong, Deputy County Clerk on March 16, 2012. L#113554, March 21, 28, April 4 and 11, 2012

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FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342171-00 The following person is doing business as Osha Express 1 Market Street Suite 21B, San Francisco, CA 94105. This business is conducted by a corporation. Registrant commenced business under the abovelisted fictitious business name on the date March 21, 2012. Signed by Lalita Souksamlane, President. This statement was filed by Alex Liang, Deputy County Clerk on March 21, 2012. L#113558, March 28, April 11 and 18, 2012 FICTITIOUS BUSINESS NAME STATEMENT FILED NO. A-0342318-00 The following person is doing business as Passive House BB 2875 21st Street Apt 4, San Francisco, CA 94110. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date October 20, 2011. Signed by Bronwyn Barry. This statement was filed by Jennifer Wong, Deputy County Clerk on March 28, 2012. L#113563, April 4, 11, 18 and 25, 2012 NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGE LICENSE Date of Filing Application: March 22, 2012. To Whom It May Concern: The name of the applicant is: MOSS AND STONE LLC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 55 MUSIC CONCOURSE DR., SAN FRANCISCO, CA 94118-4503. Type of License Applied for: 47 - ON-Sale General Eating Place and 58 - Caterer’s Permit . Publication dates: April 4, 2012. L#113560 NOTICE OF APPLICATION FOR CHANGE IN OWNERSHIP OF ALCOHOLIC BEVERAGE LICENSE Date of Filing Application: March 29, 2012. To Whom It May Concern: The name of the applicant is: ANA D FLORES . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 3486 MISSION STREET, SAN FRANCISCO, CA 94110-5437. Type of License Applied for: 41 - ON-SALE BEER AND WINE EATING PLACE . Publication dates: April 4, 2012. L#113561 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-12548456. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Harlan Tuinman Wood for change of name. TO ALL INTERESTED PERSONS: Petitioner Harlan Tuinman Woodl filed a petition with this court for a decree changing names as follows: Present Name Harlan Tuinman Wood. Proposed Name: Harlan Knight Wood . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: May 1, 2012. Time: 9:00 AM room - 514. Signed by Donald Sullivan, Presiding Judge on February 23, 2012. Endorsed Filed San Francisco County Superior Court on February 23 by The Deputy Clerk. Publication dates March 14, 21, 28 and April 4, 2012. L#113547

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