Volume 40 [2005–06]

Taking spills

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> kimberly@sfbg.com

It takes a lot to knock an obsession out of Built to Spill singer-songwriter-guitarist Doug Martsch. Behind the beard, the down-low home life with wife and child, and the phone conversation padded with softly undercutting “Oh, I dunno’s,” once lay the heart of a raging pickup basketball junkie.
“I kinda got sucked into the NBA play-offs seven or eight years ago,” explains Martsch, 37, from his home in Boise, Idaho. “Then I quit smoking cigarettes five or six years ago, and when I quit smoking, I decided to go shoot hoops, and then I just got really addicted to it, totally loved it. That was kind of my main passion.
“Yeah, I played music somewhat, but basketball was what I lived for and did every day.”
A seemingly harmless hobby, except that Martsch threw himself so vigorously into the game that he was starting to do some real damage — to himself. Most recently, Built to Spill — one of Northwestern rock’s most respected representatives and one of ’90s indie/alternative/modern rock/whatev’s most influential bands — had to push back the tour dates for their new album, You in Reverse (Warner Bros.), because of a detached retina Martsch suffered while banging around the court. And then there was the last time Built to Spill played in San Francisco, two years ago …
The band was staying at the Phoenix, and as usual while on tour, Martsch ventured out, looking for a local pickup game. He found one at the Tenderloin Golden Gate YMCA. “I was playing noon ball with the people there, and I got smacked in the ear and popped my eardrum, and I was deaf in my right ear for a couple months,” he recalls. “I kept waiting for my hearing to come back. We had to finish the tour, and I could only hear out of one ear, and it was driving me crazy!” After he returned home Martsch finally, reluctantly broke the news to his wife, who had been worried about basketball injuries for some time. One can imagine the I told you sos ringing out all over Boise.
“Yeah, I had my right ear destroyed, and my right eye destroyed so far, and my right knee also,” continues Martsch, who, at one point, also suspected he had a torn ACL. “So, I dunno — I’m about done. I also started taking it a little too seriously. I started not having very much fun unless I was playing well. If I missed a few shots, I’d just become really frustrated, and I wasn’t really enjoying myself.” After his eye injury Martsch followed his doctor’s orders to stop playing for a few months, and in the process, some of the fixation dissipated (though plucky challengers can get a taste of it by playing Martsch via a game on the band’s Built to Spill Web site).
Luckily for patient Built to Spill fans, Martsch reimmersed himself in music. Those listeners had been waiting for five years for a studio follow-up to Ancient Melodies of the Future (Warner Bros.). Touched by Martsch’s passion for the Delta blues — which resulted in his 2002 solo album, Now You Know (Warner Bros.) — You in Reverse finds the band shaping less characteristic jams and experimenting in the studio, sans their longtime producer Phil Ek and accompanied by only engineer Steven Wray Lobdell (who ended up getting the producer credit). Pitting himself against longtime contributing guitarist–turned–permanent member Brett Netson of Caustic Resin, Martsch unfurls guitar solos that are both economical and impassioned, beginning with the lengthy, multitextured suite “Goin’ Against Your Mind.” He buries his vocals as guitars chime brightly in the foreground on “Liar,” then throws indie listeners for a loop with souped-up ska and flamenco tempos (“Mess With Time”). In all, Martsch sounds more like a ’burb-bound Neil Young than ever before, harnessing a semi-tamed Crazy Horse for his garage jams with his Seattle- and Boise-based bandmates while sidestepping the dangers of repeating himself and working in almost undetectable jabs at the current political environment.
Looking back at the gap between Ancient Melodies and You in Reverse, Martsch is quick to point out that the band actually took only a yearlong breather between tours and recording. But the reason they took the break, he confesses, was that “I just really burned out. I was just kind of tired of Built to Spill and wasn’t very interested in alternative rock in general.” He discovered Delta blues around the time he recorded Keep It Like a Secret and, he explains, “that’s all that sounded very good to me.”
That changed when the group got together to jam for You in Reverse, which Martsch describes as Built to Spill’s most collaborative album yet. He hopes with the official addition of Netson that he can write songs with the rest of the band while Built to Spill is on tour and recording songs at studios across the country. “I’m just kind of excited,” says Martsch. And that’s a major score for someone who claims he doesn’t think he has a “real lust for life.”
“I think the best things Built to Spill ever does are yet to come on some sort of level.” SFBG
BUILT TO SPILL
Wed/21-Sat/24, 9 p.m.
Slim’s
333 11th St., SF
$18
(415) 522-0333
www.builttospill.com

THE LATE, GREAT JOBRIATH

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Before Hedwig was a glimmer in John Cameron Mitchell’s eye, before some Bowie-imitation bathhouse spillage bloomed into Velvet Goldmine’s Brian Slade, before Freddie Mercury was frightened mid-rhapsody by thunderbolts and lightning, there was Jobriath, the first (and the lost) truly out, gay glam rock star. “He’s one of my favorite artists,” the Ark’s Ola Salo enthuses when the stage name of Bruce Wayne Campbell, the man behind epics like “Space Clown,” is mentioned.
The recent compilation Lonely Planet Boy (Sanctuary) takes its title from a New York Dolls tune, but the songs are by the one and only Jobriath, and for every hilarious Ziggy Stardust–inspired misfire there is an odd moment of spine-tingling magic, such as agoraphobe ballad “Inside,” which could give Rufus Wainwright a lesson or two about how to rein in the braying while racing up and down the scales. A street hustler and classically trained pianist, Jobriath was also a self-described schizophrenic, just one of many reasons why his valiant attempt to kick down the closet door and race to the top of 1973’s charts was doomed.
Lonely Planet Boy songs such as “Be Still” and “Ecubyan” prove just how eerily beautiful — if not exactly commercial — Jobriath’s page from the book of glam could be, but he also was no slouch at giving a good quote. The gatefold sleeve of his first album featured a nude Jobriath with a truncated lower torso. “They used a mannequin’s ass and it wasn’t as round as Jobriath’s,” the artist himself told one interviewer. “That’s probably why Jobriath didn’t make it.” It is odd how closely the manic Oz-like titters of Jobriath’s “What a Pretty” resemble some Klaus Nomi songs, because Nomi and Jobriath were two of the earliest casualties of AIDS. A Chelsea Hotel resident who appeared in a BBC documentary about it, Jobriath died there in 1981.
Lonely Planet Boy was reissued thanks to one of Jobriath’s longtime fans, Morrissey. “I’d told the reps from Elektra in Sweden that they should reissue the Jobriath albums or put them out on CD,” says the Ark’s Salo. “So when that comp appeared, I thought that was very nice.” The author of Lonely Planet Boy’s liner notes, Manchester-based Robert Cochrane is working on a Jobriath biography titled Gone Tomorrow, and it’s fair to say that Jobriath, however obscurely, is here today. His follies are now successfully realized in the celebratory sound of the Ark. (Huston)

Calleth he, calleth I

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> johnny@sfbg.com

When I reach the Ark’s rock idol Ola Salo on the phone at his apartment in Malmö, Sweden, he’s getting ready to meet friends to watch his country’s team take on Paraguay in the World Cup. Sheer lack of time calls for forward gestures, so I ask him to describe his boudoir, a CD- and book-strewn “one and a half” room apartment. “It looks like a pretty storage room,” he says, amusedly. “I have a plastic chandelier. I’ve got my big black piano and my black angel wings. I have art and furniture that friends of mine have made, such as a big purple lamp made out of ladies’ stockings. The apartment is a color explosion of chlorophyll green and bright yellow and pink and black and white. That’s the scheme — and purple. It’s harmonic but playful and energetic.”
Sort of like the Ark’s music, as showcased on State of the Ark (Virgin), the band’s first US album and third to date. In the recent glam sweepstakes, Salo and his four bandmates trump the Darkness with greater songcraft and less falsetto gimmickry — they also have more chops than any prefab pseudo-punk American loogie hocked up by the MTV machine in the last decade. Basically, the Ark prove a 21st-century band can honor the likes of the New York Dolls, Bowie, Queen, and company while still being relevant. On songs like the fabulous handclap stomper “Calleth You, Calleth I” (from the 2002 Virgin import In Lust We Trust) they are capable of turning a banal gesture — in this case, the fleeting impulse to reach out to phone an ex — into an act of ludicrously glorious, wide-screen, Bic-waving grandeur.
Perhaps it’s fate that gave Salo a last name that echoes the subtitle of Pier Paolo Pasolini’s filmic revision of the Marquis de Sade’s 120 Days of Sodom. Because he’s the son of a priest, it’s tempting to think of him as a real-life rock version of bishop’s stepson Alexander from Ingmar Bergman’s Fanny and Alexander, rebelling against punishing strictures. But it’s a bit more complicated — Salo taps into and adds a twist to his religious roots, embracing the Bible’s (and rock’s) messianic outcast aspects and imagining his own miracles. One example is In Lust We Trust’s “Father of a Son,” which hit big in Sweden at the precise moment that a law preventing homosexuals from adopting children was banished. The song doesn’t just refer to queer parenthood, it drapes an ascendant Salo in choral hallelujahs.
“The Book of Revelations was the coolest part of the Bible to me because of all the parts about smoke and fire and demons,” Salo says. “It’s very heavy metal. Growing up in a Christian family gives you this kind of stigma of being a pussy. People think that Christians are … forget pussy, they’re Ned Flanders–like. I wanted to do something of Biblical proportions, something magical or sensational, something with power and joy, something that if people thought it was silly or uncool or ludicrous I wouldn’t mind.”
The Ark’s new State of the Ark might not contain anything quite as spine-tingling and sublime as “It Takes a Fool to Remain Sane,” the gauntlet-throwing leadoff hit from their 2000 debut We are the Ark. (That track has the “Hand in Glove” urgency of someone who has waited years to sing their life, and in pledging allegiance to the queer kids, the weird kids, and the fat kids, Salo’s probably saved some lives.) But it has some great moments, such as the single “One of Us Is Gonna Die Young,” an anthem to the joy of life rather than the allure of death. On State of the Ark, as on the Ark’s previous album, Salo called upon Velvet Goldmine soundtracker and ex–Shudder to Think member Nathan Larson (whose girlfriend Nina Persson fronts Malmö’s other top group, the underrated Cardigans) to help him recognize the difference between “stupid strange” and “creative strange” English lyrics.
Nonetheless, Salo agrees that one billion ABBA fans can’t be wrong in noting that a Swedish band’s approach to the English language as an “artifact” yields special interpretive appeal. He’s also more than willing to discuss the country’s past and current role in the musical landscape, lauding Göteburg-based Sarah Assbring’s el Perro del Mar project for making “probably last year’s best debut album” and playfully admonishing me for ignoring ’60s garage instrumentalists the Sputniks when I race through a shorthand version of the country’s pop history. “Sweden has a very good social welfare system and people have good living standards and we haven’t had any wars,” he pointedly observes. “We have had a lot of time to do luxurious peacetime things like making pop music.”
Perhaps because Salo is “too egocentric” to be a fan of the past rock stars he admires, the Ark’s brand of performance is exactly the type designed to incite maniacal worship. Such fan-demonium hasn’t kicked in all over the United States, but it has in other countries. “Fans are crazy in Italy, which you know if you’ve ever watched Italian television,” says Salo. “And the paparazzi — there’s a reason why that’s an Italian word.” He goes on to tell the story of a girl who was paid by an Italian tabloid to sleep with him. “I was not interested at all,” he concludes, with a dry laugh. “She got drunk and failed at her goal — miserably.”
As opposed to Salo, who is more than ready to seduce at any time. All those who saw or read about the Ark’s springtime South by Southwest shows know that he has no qualms about treating an industry barbecue like a stadium gig — he’ll bump and grind in his boots and tighty whities right on past the most jaded zombie. Something tells me that sort of attitude and behavior mean this city will love him even more frenziedly than he might love it. What might he wear, or not wear, for his first visit to San Francisco? “Some flowers in my hair, I guess,” he deadpans. “I’ve heard that’s obligatory. Actually I’m getting a new suit, or dress, for the SF shows. I hope it’s a smash.”
That said, it’s World Cup time, and who is Salo’s favorite player on the Swedish team? “Zlatan Ibrahimovic,” he answers, in a tone suggesting that looks might have something or everything to do with it. “Now I’m going to go watch him do his thing.” SFBG
THE ARK
With Mon Cousin Belge
Fri/23, 9 p.m.
Cafe du Nord
2170 Market, SF
$13
(415) 861-5016
www.cafedunord
SF Pride Festival
Sun/25, 3:30 p.m. (Shadowplay stage) and 5:15 p.m. (main stage)
Civic Center, SF
Free
(415) 864-3733
www.sfpride.org
www.thearkworld.com

Cocktail safari

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> barsandclubs@sfbg.com

The quality, consistency, and creativity of cocktails in San Francisco (and of the bartenders who mix them) has been improving by leaps and bounds over the past couple of years, unbeknownst to people who actually go to restaurants to eat. When I sit down at a bar and ask for a menu, the last thing I expect to see on it is food. Drinking is the new eating.
Our expectations increase along with the caliber of our cocktails, and we demand that our mixologists do more work than a performing chef at Benihana, twisting, infusing, and muddling fresh and trendy ingredients into our drinks. My assignment was to investigate the latest in liquor-slinging calisthenics and hunt down the most exotic cocktail ingredients in the city. It’s dangerous work, but I was up for it.
My first stop was the Redwood Room (495 Geary, SF. 415-775-4700, www.clifthotel.com). The drinks on the menu revolve around house-made simple syrups infused with floral flavors like lavender, elderflower, and hibiscus. And though simple syrups are the salad dressings of cocktails, it’s not fair to expect bartenders to defoliate the floral arrangements every time I’m thirsty. (I think I just came up with a great new idea for a theme bar!) I purchased an Elderflower Collins made with syrup, gin, and muddled blackberries and raspberries and topped with soda water that nullified most of the flavor in the drink. So I recommend one of the other cocktails instead. I mentioned the nature of my quest to the lovely bartender, who asked if I’d noticed all the pomegranate drinks on bar menus lately. Pomegranate? Let me just grab my iPod and I’ll meet you down at the Ultra Lounge for pomegranate cosmopolitans because it’s obviously still 2005.
No, baby, this is the Summer of ’Six and all the cool kids are cuckoo for yuzu.
I popped over to Ponzu (401 Taylor, SF. 415-775-7979, www.ponzurestaurant.com), where they have two(!) yuzu cocktails on the menu. The Sultana, made with yuzu juice (it’s a Japanese fruit), vanilla vodka, and mint, is surprisingly together. The excessive sweetness of vanilla is cut short by the tart yuzu and cooled by the mint that floats on the top of the drink (and then gets stuck in your teeth). But the aptly named Yuzu has caused me to reconsider my pledge to give up vodka (the new schnapps). It’s got vanilla vodka along with yuzu and ginger juices, served up. The interplay of the vanilla with the two juices is so interesting and well balanced that you’ll be too busy thinking about the magic happening in your mouth to mind that you’re drinking it out of one of Ponzu’s aluminum martini glasses. (For real.)
The Lobby Bar at the St. Regis Hotel (125 Third St., SF. 415-284-4000, www.stregis.com) is a post-2000, sleek, grand room (ultra-lobby?) where you can still get a seat because the XYZ crowd hasn’t discovered it yet. The yuzu lemon drop doesn’t sound good at all, but I’m starting to think this fruit can fix anything. It’s made with vodka, Cointreau, sugar, and yuzu juice and is served in a martini glass with a sugared rim. Everything is wrong with that sentence except for “yuzu” and “glass.” Sugar rims are the fake boobs of cocktails, but it still turned out great. Go yuzu! Also on the menu are a margarita with yuzu, a kaffir lime gimlet (the new martini), and a blood orange cocktail. Also note: The bar snacks rock.
Over at Cortez (550 Geary, SF. 415-292-6360, www.cortezrestaurant.com), the soon-to-be rotated seasonal drink menu boasts two elderflower cocktails. I ordered the Elderflower No. 10, made with elderflower syrup, Tanqueray No. 10 gin, lemon juice, and orange bitters, the last of which gives this drink a surprising level of complexity. Superb. At Rye (688 Geary, SF. 415-786-7803), the most exotic ingredients used are blackberries and cucumbers (the new strawberries), which just aren’t freaky enough for the purposes of this safari, although they do make a mean basil gimlet.
After waking the next day reeking of elderflower and ginger, I changed my shirt and hit Aziza (5800 Geary, SF. 415-752-3056, www.aziza-sf.com), the Moroccan restaurant on Geary at 22nd Avenue. Aziza uses überdramatic cocktail ingredients like smoked almonds, kumquats, thyme, and nutmeg. I started with the tarragon caipirinha, which has cardamom pods muddled into the drink along with the eponymous ingredient. Then I tried the rhubarb one with strawberry, wild fennel, and vodka, and followed it with the celery one muddled with vanilla vodka and dusted with crushed peppercorns. All three drinks were too sweet for my taste (probably to match the sweet and savory flavors in the food), and it appears the rest of the menu is too. The rhubarb was my favorite of the three, as the plant gave the drink a creamy, clean texture. The pepper atop the celery was another nice touch (and I’m seeing this done with watermelon cocktails at other venues), but overall the unique ingredients used in the cocktails seem more fancy than functional.
At Solstice (2801 California, SF. 415-359-1222, www.solsticelounge.com), most of the drinks involve the latest standard fresh ingredients, like raspberries, pomegranate, ginger, and lychee, made into preprepared purees, juices, and flavored syrups. (I’m sure it saves time muddling.) One drink uses fresh lemongrass (the new basil), but I went with the Sol Provider, made with vodka, maraschino liqueur (the new triple sec), and ginger, muddled with cucumber and mint. It was a fresh, crisp cocktail that didn’t need as much syrup as was used, but invites exploration of the rest of the drink menu.
After stopping into a few other venues not worth mentioning except that they all served basil or cilantro gimlets, I hit the Mission’s Bissap Baobab (2323 Mission, SF. 415-826-9297, www.bissapbaobab.com), which uses fresh house-made hibiscus, tamarind, and ginger juice in its specialty drinks. I started with the Salaan, a tamarind margarita that’s one of three on the menu. It was deliciously different and avoided the usual margarita maladies — too sweet or too salty. The Sedeem uses all three juices along with white rum and tastes like a rum punch, except it’s a smooth and interesting drink instead of the usual headache-inducing Kool-Aid. Baobab also features rums infused with coconut, pear, pineapple, and other flavors, served on the rocks. Everything here tastes like summer.
From there I walked over to Noe Valley’s Fresca (3945 24th St., SF. 415-695-0549, www.frescasf.com). All three outlets of this Peruvian restaurant use the same drink menu, which highlights eight variations of the pisco sour (the new caipirinha), as well as pisco sangria and the old caipirinha. Fresca no longer offers the chirimoya colada that’s still on the menu, because it can’t acquire any more of the chirimoya fruit. How’s that for exotic? The Cojita is a mojito made with coca leaf–infused rum that imparts only a subtle dried-leaf flavor to the drink. It was tastier for its innate mojito qualities than for the added flavor of the coca leaves. Maybe it needed more of them. The chicha sour is a pisco sour with added chicha morada, a sweet dark purple juice with a hint of clove made from boiled purple corn in Fresca’s kitchen. It was also a solid and well-mixed drink (frothy egg white cocktails, we don’t have enough of), but very straightforward. These might make better sense accompanying a spicy meal here than on their own. If you’re into the whole eating thing.
At this point, I’d overspent my drink stipend and had to end my adventure. I’d skipped the bars already well known for their creative specialty cocktails (Orbit Room, Frisson, Absinthe — all tropical drink bars) because they’re too easy, and my quest for exotic cocktails would have been less like a hunting safari and more like shooting zoo animals. This still leaves plenty of unexplored bars with “in”-gredients like lemongrass, balsamic vinegar (the new Worcestershire), and cayenne pepper on their drink menus. Hunting them down is left as an exercise for the adventurous drinker. SFBG
Camper English is the new Purple Hooter and the author of Party like A Rock Star: Even When You’re Poor As Dirt. Share the adventure at www.cramper.com. Got a favorite local exotic cocktail? Spill it: barsandclubs@sfbg.com.

Foreign cures

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> barsandclubs@sfbg.com

It’s Saturday morning, 10 a.m., and the sun streaming into your bedroom is driving a wedge into your brain. Someone put little socks on your teeth while you were sleeping. You smell like a distillery. You failed to follow any of the drunken rules when you stumbled home, pantsless, the night before: You didn’t drink a big jug of water and take two ibuprofen, and you didn’t make yourself a fried egg sandwich. (You know about that one, right? Grilled cheese sandwich with a fried egg and mayo inside — works every time.) You promise yourself you’re never going to mix mai tais, margaritas, and merlot again. With a Mary Jane finale.
But if you’re up for some real chow (instead of crackers, club soda, and Emergen-C), fortunately you’ll find salvation in a number of our city’s dining outposts. Since there are cultures that have been dealing with hangovers for many moons longer than our little post–Barbary Coast enclave has, I went on a citywide tour to unearth the best international food cures to help counteract the deleterious effects of knowing a bartender, blacking out at bachelor parties, or just drinking to forget.
A hot bowl of the Vietnamese noodle soup pho (pronounced fuh) comes highly recommended as a restorative by a couple restaurant owners I know, and some bona fide boozehounds. Turtle Tower (631 Larkin, SF. 415-409-3333) in Little Saigon has the best pho in the city, and number nine, the Pho Ga/chicken noodle soup — a steaming bowl of silky, hand-cut rice noodles and some darned good white chicken meat — is your rescue. Since Turtle Tower’s pho is considered to be northern, or Hanoi, style, it comes in a light broth with cilantro and a side of lemon and sliced peppers. Order the small size — it’s plenty big enough, trust. Back it up with a tangy lemon soda and you are seriously set. Lucky you, they’re open early, so you can get your slurp on.
Some other folks wise to the soup-as-hangover-antidote method are those wild ones of the mountains, the Basque. Sheepherders really know how to party. (What else can you do there? Wait, don’t answer that — just leave the sheep out of this.) Their classic day-after elixir is garlic soup. Visit Piperade (1015 Battery, SF. 415-391-2555, www.piperade.com) and order a bowl of hearty soup made with rock shrimp, bacon, bread, garlic, and egg. It covers all the bases. You can eat at the cozy bar, so don’t let the white tablecloths scare you.
OK, everyone has heard of the infamous Mexican hangover cure, menudo. (No jokes about the band, please, that’s tired.) Menudo is a soup made with beef tripe (yes, it comes from three of a cow’s four stomachs), hominy, onion, and spices. Sometimes you’ll find some pork knuckles or calf’s foot. The Greeks have a version of it; same goes for a number of South American countries, and you’ll even find a variant in the Philippines. Menudo is traditionally only available on the weekends, so I made sure I was good and hungover the Sunday I stumbled into Chava’s (2839 Mission, SF. 415-282-0283) to try it. How hungover? How about a wedding rehearsal dinner the night prior, with a cavalcade of flutes of sparkling wine, red wine, and a couple French 75s followed by two old-fashioneds? Yeah, I was feeling it.
But, um, here’s what I’ve decided about menudo: On the days when you’re so nauseated you need to get sick, come to Chava’s, get a bowl of menudo to go, bring it home, and open the lid. Just one whiff, partnered with the sight of the rubbery tripe and animal parts, will inspire a great big Technicolor yawn. No offense to Chava’s, but you simply had to grow up with the stuff to be able to eat it, let alone eat it when you’re hungover.
Speaking of fatty food: It’s supposedly tough on your liver the day after, since it’s already working double time to flush out all those nasty toxins, but I say whatever — if the fat makes you feel good, eat up. This is where el Farolito (2951 24th St., SF. 415-641-0758) lives up to its “little lighthouse” name, especially for those who can’t see through their morning-after daze. The doctor is ready to see you now: The super quesadilla suiza is a flour tortilla exploding with a mass of carne asada, cheese, meat, avocado, salsa, and sour cream that you can pick up and hold in your quivering DTs-afflicted hands. It’s so huge you can bring the rest of it home for when you’re hungry again. (What is it about hangovers that turns everyone into Count Snackula?)
A runner-up in the “Mexican food–bad for you” category are the nachos (and a Pacifico, if you can manage it) at Taqueria Can-Cun (2288 Mission, SF. 415-252-9560). The nachos saved me one afternoon after a bleary night in North Beach with some Italians (don’t ask). You’ll get a pile of meat, refried beans, avocado, cheese, sour cream, jalapeños, and their lousy grainy chips that actually come to life in the nachos. Spicy too. Feeling more arriba now?
The Irish know a thing or two about hangovers, and you can find a hearty Irish breakfast — sausage, bacon, black-and-white pudding (you might not want to eat it — it’s made with blood), baked beans, potatoes, mushrooms, and eggs any style — at the Phoenix Bar and Irish Gathering House (811 Valencia, SF. 415-695-1811, www.phoenixirishbar.com). The place is nice and dark, even during the day, so you don’t have to dine in your sunglasses (unless someone punched you in the eye because you were mouthing off). There are all kinds of brunch dishes and other greasy foods served until late in the day, and you have plenty of options for some hair of the dog at the bar. I’d say they know their clientele.
A partyer pal was kind enough to let his secret out of the (barf) bag for me: the Korean dish bi bim bap from Hahn’s Hibachi (1305 Castro, SF. 415-642-8151), a magic combo of chicken, pork, or marinated beef and vegetables on a bed of rice, with a raw egg on top. Throw some hot sauce on and mix it all up in its hot stone bowl so the bits of rice on the edge get crispy and the egg cooks. The name literally means “thrown-together rice,” and while there are definitely more authentic places around town, hangover day is never good for serious exploration — you need a sure thing.
The hungover French (well, those from the region of Brittany, anyway) would surely cosign a crepe from Ti Couz (3108 16th St., SF. 415-252-7373). These aren’t the finest crepes in the world, but I would say an order of the complete crepe (ham, cheese, and a sunny-side up egg inside) with the Ti Couz mimosa (made with peach schnapps — I know, you thought you were done with schnapps) while sitting out in the sun will get you feeling très bon again.
Lastly, our tour of the culinary landscape of San Francisco wouldn’t be complete without a couple classic American burger options. I am not alone in vouching for the wonders of a Whiz Burger (700 S. Van Ness, SF. 415-824-5888) cheeseburger and a root beer freeze. There’s even a decent veggie burger, and tasty seasoned waffle fries. But it’s hard to beat a giant juicy burger hot off the grill while hanging out on the patio of Zeitgeist (199 Valencia, SF. 415-255-7505) on a Sunday, with an ice-cold beer or one of their Bloody Marys. My badass bartender friend Kenny Meade from Vertigo Bar recommends either a shot of Fernet or, post-Zeitgeist, a Mexican chocolate milkshake from Mitchell’s Ice Cream (688 San Jose, SF. 415-648-2300, www.mitchellsicecream.com). He’s gotten me drunk enough times for me to totally trust him on this little piece of advice. SFBG
In between potential Betty Ford benders, Marcia Gagliardi somehow publishes a delicious weekly column about the SF restaurant scene, the Tablehopper, at www.tablehopper.com. Got a favorite foreign hangover cure? Let us know: barsandclubs@sfbg.com.

DJ without borders

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> barsandclubs@sfbg.com

If you were born in Algeria, of Jewish and Berber descent, and had a penchant for classical Indian raga, you might be as disinclined to align yourself with any one school of thought or music as genre-blending DJ Cheb i Sabbah is. Equally at home in Morocco, France, India, and San Francisco, he has been skillfully infusing traditional South Asian, Arabic, and North African melodies with modern electronic beats in the Lower Haight since 1990, first at Nickie’s BBQ and now every Wednesday night at Underground SF. On June 16, Cheb i Sabbah celebrates the release of his sixth album with Six Degrees Records, La Ghriba, with 1002 Nights, his performance group of vocalists, percussionists, and dancers, and superstar Senegalese singer Baaba Maal.
SFBG You started DJing in Paris, how many years ago now?
DJ CiS It makes me look ancient, but 1963, 1964 is when I started. I was 17.
SFBG And have you DJed continuously for 40 years?
DJ CiS I’ve had three professional DJ incarnations. In 1963 that was the first one. Second one was 1980, also in Paris, and then the next one was about 16 years ago, here. In between I performed with the Living Theatre, then raised a family. Working at Rainbow Grocery, working at Amoeba Records …
SFBG You worked at Rainbow?
DJ CiS Actually it’s a funny story, because that’s how I started spinning again. I worked at the one on 15th, before the big new one opened on Folsom. I would make tapes, and then whenever I went to work, if somebody liked my tape, they would play it. One day this guy comes up to me, his name is Bradley, and he says, “Man, this music is cool.” I say, “Yeah, that’s raï music from Algeria,” and he says, “You know what, I have a little club in the Lower Haight called Nickie’s, and if you want to come on a Tuesday Night and spin some music, I’ll give you $40.” At first I was, like, “I don’t know about this, it’s not like Paris,” although within two weeks there was a line outside the door. Then [legendary jazz musician and sometime Sabbah collaborator] Don Cherry would come to Nickie’s, and I would say to him, “I don’t know if I’m going to stick with it,” and he actually forced me to. He said, “No, you should stick with it. It’s important.”
SFBG So we have Don Cherry to thank.
DJ CiS From there I spent 10 years spinning at KPFA. Later on I became the world music buyer in Berkeley for Amoeba, and in those 14 years I put on close to 40 shows which I produced.
SFBG The 1002 Nights shows?
DJ CiS Yes, with Khaled. With Nusrat Fateh Ali Khan. It was a period where I did quite a few shows.
SFBG And you’re going to be doing that again, the 1002 Nights?
DJ CiS Yeah, but this time I’m being hired more than actually putting on the show. The last show I did produce, which was actually a huge one, and very successful, was one I recently did with Khaled at the Berkeley Community Theatre, and there were 3,300 people there.
SFBG Do you decide in the club what kind of beats you’re going to add, or do you decide in the studio?
DJ CiS I think the producing aspect is different than the dance floor one. However, the great thing about being a DJ is if you do a mix, you can try it out right away. You don’t have to wait to find out if people like it or not. But it’s really two different approaches, because also it’s very subjective. Is Shri Durga [his first record on Six Degrees] a danceable album or not? Well, I don’t know. I think it is. Maybe not every track, but not every minute of the day is there to dance. And it does have a focus on the tradition, you know. I’m not trying to do such a modern thing with just a little bit of the tradition. I’m doing the opposite. The tradition is first; second is bringing in what we call these days “global electronica,” which is better than “world music.”
SFBG You’ve referred to it as “outernational” music. How is that different from “international”?
DJ CiS It just goes … out [gestures, hands apart]. It seems like “outer” opens it up to the idea that we don’t need national boundaries and restrictions and all of that, but maybe that’s a whole other discussion. I think the challenge for a DJ is to never refuse any kind of audience. If you were to spin a heavy metal set, you would find the heavy metal that appeals to you, because there’s good music in every area. It’s a gift, Don Cherry would say. You have to give it. SFBG
DJ CHEB I SABBAH AND 1002 NIGHTS WITH BAABA MAAL
Fri/16, 8 p.m.
Masonic Auditorium
1111 California, SF
(415) 776-4702
www.masonicauditorium.com
www.sixdegreesrecords.com

Great head here

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> barsandclubs@sfbg.com

“Half of Americans haven’t tried decent beer,” says William Brand, the Oakland Tribune’s resident beer columnist and local brew expert. Back in the sixth grade, Nebraska native Brand was himself weaned on the likes of Budweiser, Hamm’s, and Coors, wan beverages he now refers to as mere “alcohol vehicles” — brewed with rice and corn, cheaply made, and lacking any real taste. “That’s not beer,” he says, “that’s just crap.”
Brand encountered his first crap-free beer during a stint in the Navy, when he was stationed near Washington, DC. Friends took him out to a posh German restaurant and there, he recalls, he ordered a Wurzburger amber “in a very nice pilsner glass.”
“I took one taste,” he says, “and it was amazing. I never tasted anything like it. Until then, everything I ever tasted was awful.”
He soon mail ordered a home-brewing kit from England and began his long journey to respected beer connoisseurship. Since 1989, his Oakland Tribune column, “What’s on Tap,” has been steering beer fanatics toward the finest local suds. We asked him to share some Bay Area brewery history and talk about some of his local favorites.
SFBG You used to brew your own beer. Why did you stop?
BRAND I moved to California in 1970. I had one glass of Anchor Steam and realized I didn’t have to brew any beer. And of course then the whole beer-making revolution happened. It really all started in the Bay Area, with the Portland area right behind it. In the United States, home brewing was made legal in ’78. Brewpubs became legal in California in ’81.
SFBG How has the American microbrew movement evolved since then?
BRAND For a while it was all Northern California and the Pacific Northwest. But that’s all ancient history. Young Americans traveled to Europe, discovered good beer, and started brewing it. Now there’s about 1,300, 1,600 breweries in America. There’s more beer — and more styles of beer — in America than in any other country in the world.
SFBG What distinguishes the Bay Area microbrew scene?
BRAND Well, you can’t really say “the Bay Area.” You have to say “Northern California.” And it’s a toss-up between Northern California and the Pacific Northwest for beer nirvana. In the US it’s becoming like Germany or Belgium, where different people from different regions have their own styles. In the Pacific Northwest they go for dark and strong beers. In Northern California we’re famous for extremely hoppy beers.
Beers are measured in international bitterness units — it’s a scale that beers use. For comparison purposes, Budweiser is 13 IBUs; Stella is 30 IBUs. We have lots of beers that are 100 IBUs or more. It’s a style that’s becoming known as double IPA [India Pale Ale].
SFBG With an eye toward both quality and adventurous weirdness, what are some of your favorite Bay Area beers?
BRAND There’s one called Watermelon Wheat from 21st Amendment Brewery in San Francisco. It’s a blend of wheat and barley, and they actually put watermelon in it, which really comes through. You’d think it would be ghastly beer, but it’s quite good. Another of my favorites comes from Drake’s Brewing in San Leandro, and it’s called Papa Denogginizer. It’s hugely hops — and somewhere around 11 percent alcohol. Then go to Marin Brewing Company in Larkspur, and the guy there is making barrel-aged beers. With barrel-aged beers, you brew your beer, you ferment your beer, then you put it in a whiskey barrel or a wine barrel. Going over to Magnolia Brewery on Haight Street, the brewer makes a mild beer in a high hop area. And he brews cask ales — real ale — in the English style.
SFBG If you really want to impress, say, a Belgian — which local beers would you introduce them to?
BRAND Actually, the ones that are really interested in what we’re doing in the US are the Belgians. They’re really smart, and they’re watching us, and there are a few Belgian breweries that are making American-style beer. Most of the Belgians that come over here are looking for something strong and hoppy. So I’d try and find them something like Old Yeltsin — brewed by HopTown Brewing Company in Pleasanton — or a barley wine. There’s a bar and grill called Schooner’s in Antioch that makes a barley wine. It’s quite strong — around 10 or 11 percent — and they age it for a year or two or three, and it’s astounding. So I’d go with our own styles. There are also some American breweries that are doing a Belgian style. In the Bay Area one place for that is Russian River Brewing Company in Santa Rosa — they do stunning stuff.
SFBG So you might say that Europeans understand American beer.
BRAND There’s a lot of respect in Europe for American beer makers today. And there’s no animosity at all. The thing about beer is that people are never snobby. People only become beer snobs when they don’t know what they’re talking about — or when they’re talking about crappy beer. SFBG
Want more brew-haha? Contact William Brand at whatsontap@sbcglobal.net.
THE BREWERIES
21st Amendment Brewery www.21st-amendment.com
Drake’s Brewing www.drinkdrakes.com
Marin Brewing Company www.marinbrewing.com
Magnolia Brewery www.magnoliapub.com
HopTown Brewing Company www.hoptownbrewing.com
Schooner’s www.schoonersbrewery.com
Russian River Brewing Company www.russianriverbrewing.com

CLUB REPORT: RIYADH

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Saudi Arabia is hilarious. Liquor is totally banned, clubbing is seriously frowned upon, and the government can kill you for even glancing at someone in a gay way. Last year more than 100 men there were tortured, publicly flogged, and imprisoned for “dancing and behaving like women” at a wedding. I love our Saudi allies!
Still, you can’t stop the party. Earlier this year in Europe I ran into “Ahmed,” a young Saudi gay man who works in the capital, Riyadh. I immediately asked him how he manages to hook up in such a place:
“Contrary to beliefs, Riyadh has a big social scene. It takes place in the hookah bars, where men get together to relax and smoke and talk, and the women are not there, of course. There are gatherings at people’s houses. And Saudis can be very fashionable and dress in a Western way. I myself find the traditional white thobe, or tunic, and thagiya headwear very comfortable. But then I started to go to the gym on my lunch hour, and it took half an hour to get dressed afterward, so I switched to jeans.
“To find other gays, you use your cell phone and Bluetooth technology. You can identify them when you walk into the hookah bar and log on to a certain IP address. If another person is registered at that address, you can see where they are in the room. This has become less common as people catch on, though.”
What about drag queens? “There are drag performances, usually held at houses. And yes, they do sometimes perform in the abaya, the black dress, and the boshiya, or facial veil. They often perform Madonna.”
So, does he have a lot of success meeting other gay men? “I find that many Saudi men are sexy, but many are uptight. Jordanian boys are easier.” (Marke B.)

CLUB REPORT: BANGKOK

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Clubs in Bangkok are always packed with a mixture of Thais and farang, which means honky or honkies, depending on the number of honkies being talked about. Dressed in perfect designer knockoffs, the local people in Thailand almost never look tacky. The tourists, however, almost always do. Pastel polo shirts, sunglasses at night, and hair that only David Hasselhoff can be blamed for is the standard look for Bangkok’s “cool dudes.” Do not go out on the town wearing a Blue Öyster Cult T-shirt — people will actually be afraid of you.
Probably the hippest club in Bangkok right now is Bed (www.bedsupperclub.com), a massive, hangarlike space divided into two rooms. One room is an enormous dance floor with either thumping techno or prancing house played at a deafening volume. The other half of Bed is where it gets its name. Along the walls of this huge room are big fluffy mattresses with big fluffy pillows on top. Everything is spotless white, so please bathe before climbing up on one.
Santika is the other big mainstream spot. Malls are very popular in Bangkok, and Santika is like a huge mall for clubgoers. The ceilings are about 1,000 feet high, and everything’s very well lit. One room has a stage with live bands playing anything from reggae to metal and a throng of local Thais in front, guzzling whiskey and soda and generally going nuts. Another room has a punishing array of strobe lights and specializes in hip-hop, which in Thailand often means Black Eyed Peas, House of Pain, and Gwen Stefani. Fun.
The best underground “all-Thai” club I’ve been to didn’t have a sign, or a name. My friend led me through a darkened hair salon that was closed for the night (the front door was unlocked), into the next room, up some dimly lit stairs, and then into a darkened room. I half expected to find a game of Russian roulette in progress, but instead the room was packed wall-to-wall with people. Seemingly run by teenagers, the place had, like, two whole lights flashing and was playing authentic hip-hop — every single person was dancing. As the night went on, more and more of the kids came up and wanted to shake my hand and welcome me (the conspicuous farang) to Thailand. It was a really entertaining place but, like many of the best things in Bangkok, totally illegal and transitory. It probably closed down the next night and opened up somewhere else. It’s crazy here. (Mike McGuirk)

CLUB REPORT: REYKJAVIK

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Vikings party, hard. That famous take-no-prisoners vigor applies, big time, when it comes to getting down and conquering pints of good ole bjor (beer by local breweries Viking, natch, Egils, Thule, Spegils, and Litli Jon), the low-alckie malt (brown ale), and lagerol (pale ale). Ducking into Reykjavik’s three-floor dance palace NASA (slogan: “EXPECT HANGOVERS!”), I didn’t glimpse too many elfin Icelanders sucking down the native caraway schnapps, brennivin, also known locally as svartidauoi (“black death” — sch-weet). I was served that on the jet over, along with yummy business-class reindeer sashimi. (Svartidauoi is a very necessary chaser when it comes to tourist palate-tester skyrhakari — putrid shark).
Drinks, schminks, the locals were out on the dance floor, booty dancing to Ali “Dubfire” Shirazinia of Deep Dish live on the tables. Got to love the native boogie that evening: a condensed, pixieish finger-and-shoulder wiggle that was a smidge early Steve Martin and more than a little high-nerd. High, for reals — my sturdy male traveling companions later reported back from the men’s room, which they described as a “total scene.” A woman apparently waltzed in at one point and set up a pharmacy, surrounded by a crowd that proved Viking blood courses through their veins — according to one fellow traveler, they elbow something fierce.
Though the packed club was bustling, I met with no outta-hand shoving, just friendly offers to dance with groups of fresh-faced men, handsome, slender, and high-cheekboned. This evening, the internationally renowned Icelandic ladies paled in comparison — many appeared a wee bit wenchy. You know what I’m talking about — too much maquillage, too little too-tight clothing, too many servings of rotten shark. Meow! Where’s my kitten tartare? Time to repair to a quieter watering hole, like Asian fusion temple Apotek, mod lounge Oliver, or the chandeliered Rex, where Quentin Tarantino is said to have matched shots with Björk and the Iceland cultural minister.
Forget about live music tonight, although Iceland is chock-an-ice-block with creative musical originals. I followed Tarantino’s lead once again — as well as Bill Clinton’s — and ended the morning at the Baejarins Beztu hot dog stand by the wharf, right next to my deco lodging, Hotel 1919, circa 1919. Mind-cleansing, chill sea air. Warm light emanating from the oldest fast-food joint in Reykjavik (established 1935). The finest dog in town (homemade lamb wieners topped with delish dried onion and rémoulade). No better way to watch the dawn melt into day. (Kimberly Chun)

CLUB REPORT: JOHANNESBURG

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“Jozi has an unlawful attitude that ignites your vice,” says my friend Gennaro, a 25-year-old gay South African native and nightlife fiend. “Whatever your flavor, it can be found somewhere between the sprawling inner-city architecture and the rejuvenated urban oases. The streets are adorned with a mesmeric melting pot of cosmopolitan socialites.”
Yes, he really talks like that. South Africa is still madly integrating after the fall of apartheid, and other friends from Jozi — call it Johannesburg and you’ll be seriously snubbed — have remarked that the clubs, especially the gay clubs, are still pretty segregated and homosexuality remains somewhat taboo (hey, kind of like here!). There’s no shortage of gay and lesbian bars, however, and definitely no shortage of straight and mixed clubs featuring live music and dance performances that go all night.
“Jozi’s mixed cultures all find a home in the nightlife,” Gennaro continues. “House is the sound of urban Jozi, mixed with a layer of African rhythms, jazz, and kwaito,

Meth-y behavior

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Perhaps a good indicator of a social problem’s gravity is the number of documentaries it inspires. This year crystal meth addiction, specifically in gay urban communities, brings us two, Meth (Todd Ahlberg, 2005; Fri/16, 3 p.m., Castro) and Rock Bottom: Gay Men and Meth (Jay Corcoran, 2006; Sat/17, 1:15 p.m., Victoria). Watching two treatments certainly seems like a good way to get to the truth — what might be downplayed in one can achieve its rightful resonance with reiteration in the other. And the irony of cautionary tales is that because they admonish by example, they’re inherently fun.
Still, the two films, while stylistically dissimilar, are enough in accordance with one another detail-wise that only one ticket need be purchased. Even the ambivalence in the two, where it shows up, is similar. Another commonality is high quality. When the interviewees in either film aren’t perceptive and articulate about their own predicaments, which is rarely, their evasions and delusions are just as revealing.
The one you decide to see may come down to a packaging preference. Meth is a sleek number whose visuals and soundtrack slyly evoke the circuit parties that took meth abuse under their wing and add the appropriate energy to rapturous accounts of nine-hour sex marathons and wholesale exterminations of self-doubts before serving as an effectively creepy counterpoint to descriptions of the drug’s eventual toll. The film relies solely on interviews with users, however, and though they’re surely an important source for information on the subject, it can feel a little claustrophobic with regard to perspective. Rock Bottom: Gay Men and Meth’s editing will appeal to those who like fewer hospital corners; it also offers more voices, from health care professionals, family, and friends, without skimping on first-hand accounts and without ever sliding into brochure-speak. Either choice is quite an education. (Jason Shamai)

Joke of the day

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Click here

Tea – totaled

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› superego@sfbg.com

SUPER EGO Gurl, I woke up on the wrong side of Tuesday afternoon. I don’t know if it was that pint of Cuervo I ordered for appetizers the night before or that quart of quinine I downed soon after for the tetanus I got from sitting on someone’s iPod, but I was hella hungover. My jaw was swiveling, my heart was pounding, and my languid extremities felt so hot that the unicorns on my nails nearly melted. One minute I was hosting the World Cup in my fantasy bra and panties, the next I was hosting it in my actual head.

“This is it,” I thought through the shuddering echo of tiny cleats. “Mama’s gettin’ middle-aged.” I’d finally hit one of midlife’s big Hs: hot flash, hair loss, hangover. And I’m only 19! Good thing I carry some Remifemin and an extra wig in my beaded Whole Foods evening bag.

Fitfully I scanned the Dumpster for any half-smoked butts and chased my scattered thoughts to their grim conclusions. Folks think I’m frickin’ Carrie Bradshaw, being a columnist, lolling around in my Blahniks, whimsically riffing on the romantic wiles of my telegenic brunchmates, leaping with a shy giggle into the magical dilemmas of contemporary life. But this is clubland, Samantha: Dive too deep down in it and — hey, presto! — abracadrinkingproblem. Ain’t nothing wrong with a little party-party, y’all, but us clubbers gotta watch for that border cross over the Rio Messy: Shit’s about as tasteful as soyr cream on a tofurkey burritofu, but with almost twice the calories.

So, maybe it was time for a tiny hooch holiday. Me, I’m an uncurbed child of the streets, where “time-out” is code for “free clinic” (and “free clinic” means “trick’s bathroom”), but in my new semi–fully employed state I’m always running into vibrant-looking Guardian people taking “a personal time-out” — from drinking, from smoking, from imported prickle-backed Peruvian shellfish, whatever. You’d think my health insurance here would cover hangovers, what with the professional risk involved in my line of work, but alas, “no dice.”

“You can do this,” I assured myself. “Just for a week. It’s not like when the government made you give up Wal-Trim diet pills. That was forever.“

But just because I wasn’t drinking didn’t mean I wasn’t going out altogether. She’s still gotta earn a living, and her living’s spilling tea. Luckily, along with the current wine bar burst, San Francisco’s having a tearoom explosion as well. (No, not that kind of tearoom, perverts. Leaves first, then you pay — not the other way around.) And the goddess of cups provides several venues for bar-hour tea-totaling glee. The slightly hoity-toity yet still chill Samovar Tea Lounge (www.samovartea.com) in the Castro is a bookish, cruisey mecca and just opened a Yerba Buena Gardens outpost to boot. Modern Tea (www.moderntea.com) has taken hold in Hayes Valley, with its stylish presentation and unequaled view of all the tipsy drag queens stumbling from Marlena’s down the street. Hang on to your saucers, ladies.

But the real news on the late-night tea front is the hip-hop-oriented Poleng Lounge. Yep, you read right, it’s a hip-hop tearoom. The kids from Massive Selector have transformed the former 1751 Social Club space into a Bali-inspired wonderland that also hosts performances by some of the top names in roots and electro (Ohmega Watts, Vikter Duplaix, Triple Threat). Poleng’s restaurant and tearoom opens to the public June 9, with a huge kickoff bash featuring Faust and Shortee, Amp Live, host Lateef, and probably more than a few chipped handles. Food and tipple are also available, but the focus, of course, is on the leaf — green and otherwise.

Whew! After all that tea I need to take a leak. But before I saunter off, look at me — I’m fantastic, I’m radiant, I’m slightly hypercaffeinated. I feel like I could do yoga in the street. Maybe I should do this personal time-out thing more often. As they say, the liver the better (just kidney!). Now somebody order me a damn mai tai already. SFBG

“LET THE RHYTHM HIT ’EM”

With Faust and Shortee and Amp Live

Fri/9, 9 p.m.–2 a.m.

Poleng Lounge

1751 Fulton, SF

(415) 441-1751

www.polenglounge.com

Tonight is what it means to be young

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TEEN FLICKS In the late ’70s and early ’80s a funny thing happened at the movies: Suddenly aware of a whole pocket-moneyed demographic betwixt Disney and the R rating, major studios began targeting a median audience, aged 15. (Ultimately they’d even get their very own designation, PG-13.) An explosion of post-Meatballs teen comedies soon replaced sex farce fucking and wanking with peeping and pranking. Even "nicer" films like Fast Times at Ridgemont High and the John Hughes–Molly Ringwald trilogy viewed adolescence as a self-contained world, not the way station to adulthood American Graffiti proposed just a few years earlier.

With the anthemic whining of Pink Floyd’s The Wall as personal soundtrack, kids who’d missed the big party of the ’60s grasped rebellion as attitude, sans social consciousness. Jonathan Kaplan’s Over the Edge (1979) and Adrian Lyne’s Foxes (1980) were fairly realistic portraits of aimless teenage escape from broken institutions (family, school). Exploring the same themes but leaving realism behind, the movies in Jesse Ficks’s Midnites for Maniacs’ "Latch-Key Kids Quadruple Feature" offer archetypal youth-persecution scenarios gone baroque via pop-fantasy tropes and bottomless (if depthless) directorial extravagance. To a generation just learning to want its MTV, albeit with a vengeance, such edgy glamour felt all the more "real" for being surreal.

Following his prior S.E. Hinton adaptation, The Outsiders, Francis Ford Coppola’s 1983 Rumble Fish replaced saturated-color swoon with a B&W faux-beatnik poesy derived equally from American International Pictures, Maya Deren, and Dal??. Its mannerisms are too indulgent to defend, too dazzling to deny — what other movie could stockpile so many desperate debtors to James Dean (Matt Dillon, Mickey Rourke, Dennis Hopper, Tom Waits, Nicolas Cage) and get away with it?

But Rumble Fish is acoustic haiku compared to the florid power balladry of director Walter Hill’s two most delirious action comix. Discarded by Paramount as an exploitation movie and belatedly acclaimed by critics, 1979’s gang warfare phantasmagoria The Warriors was so flagrantly exciting — Bic-waving 60-year-old Pauline Kael called it "visual rock" — that actual gang fights broke out in theaters, causing at least one death and much moral outrage. Its titular protagonists (derived, by way of a 1965 novel, from ancient Greek military history!) are scrappy underdogs fighting through rival gang turfs across a hallucinatory NYC. KISS Army–meets–Marvel Comics pillow hump? Blood-churning metaphor for life itself? Whatever: The Warriors remains trash-treasure gold.

Hill went even more nuts with "rock & roll fable" Streets of Fire, a neon-hued rainbow of ’50s juvenile delinquent nostalgia, new wave futurism, and pure 1983 mainstream cheese. Note the Pat Benatar postures struck by music superstar Ellen Aim (Diane Lane, in her bad "bad girl" period) before she’s abducted by freakazoid fan/rapist Willem Dafoe, necessitating rescue by laconic ex Michael Pare. "It’s so much better going nowhere fast," she wails in the quintessentially flamboyant opening set piece. Exactly! Streets of Fire is a stupid, gorgeous, guilty pleasure.

Simple guilt motivates the evening’s opening anomaly. Cipher in the Snow is a somber 21-minute lesson produced in 1973 by Brigham Young University in which a teenage boy exits a school bus to enigmatically expire in the wintry drifts. Why? As various authorities puzzle out later, nobody bothered to love him. Shown even in non-Mormon classrooms for several years, Cipher left a lasting impression on many because it explicitly amplified what many 15-year-olds think: No one cares about me, but if I just died, they’d be soooo sorry. (Dennis Harvey)

LATCH-KEY KIDS QUADRUPLE FEATURE

Cypher in the Snow, 7 p.m.; Rumble Fish, 7:45 p.m.; The Warriors, 9:45 p.m.; Streets of Fire, 11:59 p.m.

$10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.midnitesformaniacs.com

Goode is great …

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› a&eletters@sfbg.com

Before his dancers had even taken a single step, a huge round of applause greeted Joe Goode at his group’s 20th-anniversary concert at the Yerba Buena Center for the Arts. Goode is probably the best-loved choreographer in town. For two decades he has chronicled his generation’s unease about living in its own skin. When AIDS began to devastate this town in the early ’80s, Goode was there to speak out with pieces that were blunt, poignant, and theatrically savvy.

Goode is the poet of anxiety, pain, and uncertainty. He’s able to see a major catastrophe on its own terms but also as a metaphor for what ails us. His heroes — and they are heroes — are the outsiders, the watchers, and the misfits whose values and existence society would like to deny. He has a self-deprecatory wit that makes us wince and laugh at the same time. And he has developed a genre of dance theater that’s exceptionally successful at blending speech and movement. Very few choreographers have Goode’s ability to use language so acutely.

The anniversary concert offered the standing-room-only audience two pieces, the new Stay Together, to a score by San Francisco Symphony music director Michael Tilson Thomas, and the haunting 1998 Deeply There (stories of a neighborhood).

In Stay Together, Goode tackles what is glibly summarized as the midlife crisis: when long-term relationships unravel, careers begin to meander, and time ahead is shortening. A secondary strand explores the process of creating a piece, of finding a direction in which to take it. The ever-efficient Liz Burritt, clipboard in hand and glasses on her nose, was there to give the largely silent Goode plenty of advice of the “listen deeply” and “be in the moment” type.

The challenge here for Goode was to make a work about being clueless without coming up with a piece that goes nowhere. It’s a challenge he doesn’t quite meet. To achieve “a perfect little euphoria” is, no matter what Burritt says, no easier in art than it is in life. Despite good collaborators and several splendid episodes, there’s something wan about Stay Together that makes for a disconcerting theatrical experience.

Tilson Thomas’s score is perfectly serviceable, with monochromatic sections punctuated by percussive elements. Several times it hilariously called up sci-fi and Movietone music associations.

Goode and Melecio Estrella, as his maybe young lover, maybe younger self, had some telling shadowing duets together. During their first meeting, silhouetted against separate screens, heads longingly turning toward each other, they almost trembled with excitement and fragility. Throughout, Austin Forbord’s live videos contributed excellent tonal nuances and a sense of sometimes almost painful intimacy.

Stay Together‘s most theatrically cutting moment came with Marit Brook-Kothlow’s sex-starved Norma Desmond figure. The intensity of the character’s obsession split her screen image and spilled over into some vigorous dancing.

Deeply There remains one of Goode’s finest works. Robin Holcomb’s on-tape score, with its echoes of Shaker and Americana folk tunes, is inspired; the a cappella singing by Goode’s dancer-actors, haunting. With this quasi–musical theater work, Goode hones in on and pays tribute to a community that pulled together and learned to take care of and bury its own. Goode’s piece just barely avoids sentimentality by calling up equal measures of laughter and tears.

On many levels the piece remains disjointed. The outrageous Imelda figure (Ruben Graciani) and a voguing Jackie O sequence have little to do with the work’s subject except to point to the excesses of the times. These are the segments that today seem the most dated, perhaps because they look so innocent.

Yet the work rode an emotionally convincing trajectory from the opening prologue between Frank (Goode) and little Willis (Joshua Rauchwerger), who wants to know where Goode’s lover Ben is, to the last monologue about carrying on, however uncertainly. The scenes seamlessly flowed one to the next; the characters looked all too plausible. Estrella as the well-meaning goody-goody neighbor was positively nauseating, while Brook-Kothlow has grown in stature as D.D. the dog and Felipe Barrueto Cabello’s silent Mauricio has more backbone. The only false note remains Joyce (Burritt), Ben’s virago of a sister. She is still too much of a caricature. SFBG

joe goode performance group

Fri/9–Sat/10, 8 p.m.; Sun/11, 7 p.m.

Yerba Buena Center for the Arts Theater

700 Howard, SF

$16–$40

(415) 978-2787,

Beast of the Bay

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› a&eletters@sfbg.com

Woe to you, Oh Earth and Sea, for the Devil sends the Beast with wrath, because he knows the time is short…. Let him who hath understanding reckon the number of the beast for it is a human number, its number is six hundred and sixty six.

— Revelation 13:18

This week marks an unusual holiday — or unholy day — that only comes along once every 100 years: the Day of the Beast, 6/6/06. For some it is a day to fear, when the Antichrist of Christian mythology will finally be revealed. For others it is a time of hope and celebration for precisely the same reason. For me, it is a time to rock. The Number of the Beast, Iron Maiden’s third studio album, was released in 1982. Vocalist Bruce Dickinson had just joined the band, and Maiden was at the height of its powers. My best friend Mike and I listened to the entire record every day after school for months. We would sit on the edge of my bed and stare at the record cover, trying to decipher its hidden meanings and getting off on the comic book/metal imagery. As true fans and converts, we felt compelled to spread the word, or at least show how cool we thought we were.

So one morning before school, we took a black Magic Marker to a couple of white T-shirts, writing three big 6s on the fronts and “The Number of the Beast” on the backs. We were so proud of ourselves walking to school, but our bubble was burst as soon as we got there: The teacher sent us straight back home to change, telling us, “Some of the other children might find it offensive.” Mike and I both played it off like we were innocent little rock fans, with no intentions of offending or converting anyone to Satanism. We were just celebrating our favorite band — and song.

The title song in question is, to my mind, one of the most rocking ever recorded. Maiden bassist Steve Harris wrote it, and it is a true metal classic: heavy riffs, strong, catchy hooks, and vaguely sinister metal lyrics. The words put the listener straight into the narrator’s mind, witnessing the dawn of Hell on Earth: “Torches blazed and sacred chants were praised/ As they start to cry, hands held to the sky/ In the night, the fires burning bright/ The ritual has begun, Satan’s work is done.”

Dickinson invokes dark, paranoid imagery as if channeling Poe or Lovecraft, and when he spits out the chorus of “6-6-6/ The Number of the Beast,” he conjures up all that is implied in the evil numerology: the tension between the narrator’s juvenile fascination with evil — much like our own — and the higher impulse to overcome and reject it.

“But I feel drawn to the chanting hordes / They seem to mesmerize, can’t avoid their eyes.”

In the end, the narrator appears to be swayed, or possessed, by the dark forces, and joins them. But don’t worry, for we are shown the way to salvation by the album’s cover art: Amid a field of flames and an ominous night sky, a small man, representing humanity, dances on puppet strings held by a horned, red devil, who is himself attached to strings wielded by Eddie, Maiden’s ubiquitous undead mascot. The message is clear: While humankind may be weak and easily led astray by the Hoofed One, it is the power of rock — or more specifically, metal, as represented by Eddie — that can save us and help us to conquer our fears. The words of the song tell one story, but the sheer visceral power of the music itself transforms and redeems the lyrical narrative. Evil may exist — in ourselves, on Earth, and in the universe — but by the empowering grace of metal, we can exorcise our demons and tame the beast within. Metal becomes the negation of the negation.

Theologically, of course, before the devil became the grotesque and irredeemable character of novels and horror movies, he was the Adversary, the Fallen Angel, the Forsaken One of Jewish, Christian, and Muslim traditions. Remember his friendly wager with God over Job’s soul, or his cordial philosophical debates with the Nazarene, long before Faust’s wager or Linda Blair’s projectile vomiting. It was he who questioned and encouraged others to do the same, the one who opposed and dared to think for himself. He was the rebel, the gadfly, the thorn in the side. The subsequent notion that questioning authority and tradition is the devil’s work, though intended to scare us straight, gives rise to a certain curiosity — and yes, sympathy — toward Lucifer, in some who cherish freedom of thought and expression. No doubt some of the titillation we feel watching Rosemary’s Baby or listening to the “The Number of the Beast” comes from such an impulse to defy a hallowed authority, from the safety of our imaginations.

Twenty-four years after it was released, the Iron Maiden album retains its power and vitality. It continues to be a benchmark for good, honest heavy metal now obscured by retro-fixated irony, emo-inspired whininess, embarrassing misappropriations of hip-hop, and false metal generally. The fact that Maiden has stuck to its guns through the waxing and waning of true metal’s popularity and has continued to record and tour on its own terms to this day somehow adds to the record’s staying power. The music is not tainted by revisionist questions about the band’s motives or integrity. In this, as well as the music, Maiden continues to be an inspiration to generations of musicians and fans.

I like to think of “The Number of the Beast” as a kind of “White Christmas” for the day of the beast. (Too bad it’s a holiday that only happens once a century — it could mean a gold mine in royalties for Harris and co.) Never mind that the nice chaps in Maiden are not actually Satanists at all — Irving Berlin was Jewish, and we all know you don’t have to be a Christian to have a tree. It’s the spirit of the day that counts. So on 6/6/06, do yourself a favor and crank up some Maiden. If you listen carefully, you might almost hear the children’s voices caroling:

“666 — The number of the beast/ 666 — The one for you and me.” SFBG

Devin Hoff lives in Oakland and plays the bass with Redressers, Good for Cows, Nels Cline Singers, and others.

Shoot for the contents

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› a&eletters@sfbg.com

"Who is going to tell our stories if we don’t?" asks Madeleine Lim, founder and director of the Queer Women of Color Media Arts Project. She has a point. After wracking my brain to recall queer women or trans people of color who have graced a movie screen this year outside of a film festival, all I could come up with was Alice Wu’s Saving Face — which certainly didn’t play at the multiplex. Lim firmly believes that "as long as we’re not in the studio systems writing, directing, and producing these films, we’re never going to see ourselves on the big screen." Her "little stab" at putting such stories front and center was creating the QWOCMAP program, which offers free digital filmmaking workshops to queer women and trans folks of color.

This weekend brings the Queer Women of Color Film Festival, an official event of the National Queer Arts Festival that Lim organizes and curates along with M??nica Enr??quez and Darshan Elena Campos. "Tender Justice," the first evening’s program (Thurs/8, 7 p.m.), showcases shorts by young women aged 18 to 25. Many deal with issues of violence and assault, some obliquely: In the experimental piece Messages, by Alyssa Contreras, a girl wanders through a surreal red-and-black nightmare listening to hateful cell phone messages left by various family members.

On the second evening, queer Latina filmmakers come together for "En Mi Piel: Borders Redrawn" (Fri/9, 7 p.m.). The event, which includes a panel discussion, is entirely bilingual: "It is political to reclaim spaces that are bilingual, in light of the immigration debate and the backlash and racism that it has generated," says cocurator Enr??quez. There are shorts by Bay Area and Los Angeles filmmakers, as well as a group of Mexican filmmakers who traveled here on a grant from the Global Fund for Women. One highlight is filmmaking collective Mujeres y Cultura Subterranea’s La Dimensi??n del Olvido, a gritty documentary that chronicles the lives of women and startlingly young girls who live on the streets in Mexico. Others include Liliana Hueso’s Las Mujeres de Mi Vida; Aurora Guerrero’s Pura Lengua, which skillfully handles a narrative about a Los Angeles Latina queer woman who deals with a horrific police assault; and Amy André’s En Mi Piel, in which an FTM half-white, half-Chicano trans man named Logan recalls his journey back to Mexico, the search for his roots becoming part of his new identity.

The third evening, "Heart of the Flame" (Sat/10, 7 p.m.), features works by students of Lim’s over the age of 25. One such is Kenya Brigg’s Forgiven, an autobiographical narrative about recognizing her grandmother’s strength of forgiveness, which she observes when the elderly African American woman uses a cake to bury the hatchet with a white neighbor who once signed a petition to keep her from buying a house in their Castro neighborhood. SFBG

QUEER WOMEN OF COLOR
FILM FESTIVAL

Thurs/8–Sat/10

SF LBGT Community Center,
Rainbow Room

1800 Market, SF

(415) 752-0868

Free

www.qwocmap.org

Light after darkness

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› johnny@sfbg.com

Cracked walls, peeling plaster, empty light sockets, patterns of wallpaper, and scraps of old headlines — devoid of human activity, the shots within poet, novelist, critic, painter, and occasional filmmaker Weldon Kees’s only solo directorial effort, Hotel Apex (1952), convey what biographer James Reidel deemed a fascination with “the pathos of objects.” It’s little wonder Jenni Olson feels a certain kinship with Kees: Her recent ode to San Francisco loneliness, 2005’s The Joy of Life, also mines emotion from urban spaces some might consider empty or left behind. “He’s very quirky about the banal and the mundane, and kind of poetic and melancholy,” notes Olson, when asked about a bond. “He’s a role model.”

Because The Joy of Life‘s soundtrack features Kees’s “The Coastline Rag,” Olson’s exploration of landscape and longing might seem like a direct tribute to Kees’s film work — after all, Olson’s film deals partly with the Golden Gate Bridge and suicide, and Kees was fatally drawn to the landmark. That isn’t the case, though: It turns out Olson only recently learned of Hotel Apex‘s existence, in the process of putting together a film program devoted to Kees, with some help from Reidel.

Such a project couldn’t have been simple. A too-easy source like IMDb.com is definitely not the place to go to learn about Kees’s links with film, as the site only credits his contributions as a composer to The Joy of Life and James Broughton’s Adventures of Jimmy, an oft-hilarious short with ultra-fey narration by Broughton that resonates with the real-life sexual ambiguity of both its director and (perhaps a bit less) its music contributor.

In fact, Kees was involved in more than a handful of short films. Unsettling when one digs beneath its ordinary surface, the Gregory Bateson collaboration Hand-Mouth Coordination (1952) resembles a home movie of a mom and child that includes footage of the father figure — who actually turns out to be Kees — at work behind a Bolex. If the scenario seems a bit like the filmed experiments that distort the protagonist of Michael Powell’s 1960 Peeping Tom as a child, the comparison isn’t completely off base. “The film is meant to be a depiction of a schizopregenic — a cold mother who doesn’t properly bond with her kid,” Olson explains while describing one of a few projects partly derived from Kees’s links to the local Langley Porter Psychiatric Clinic. “Kees was very particular about the idea that the filmmaker should be visible, in a way that — 50 years ago — was new. He was influenced by Helen Levitt.”

An acknowledgement, however unconventional, of the filmmaker’s role — something troublesomely absent from Eric Steel’s controversial, not-yet-released Golden Gate Bridge suicide documentary The Bridge — is something that unites Kees’s and Olson’s movie projects. Kees’s physical presence within a 1955 film by William Heick, also called The Bridge, is the more subtle and historically engaged riddle about life, death, and the Golden Gate Bridge at the core of Olson’s program, which she’s put together in conjunction with San Francisco Cinematheque and the Poetry Center. In The Bridge, Heick and Kees draw upon Hart Crane’s poem of the same name: Although the structure itself is no longer the Brooklyn but rather the Golden Gate span, Crane’s words become an elegy not just for himself but for fellow poet Kees as well.

Beyond the films he was involved in, Kees’s ties to film history are rich ones. Briefly a movie critic at Time, he was close to James Agee, and as Reidel’s bio notes in passing, no less a talent than friend and fellow painter-critic Manny Farber praised Hotel Apex‘s unorthodox camera work for its “crawl” down a steam pipe “at the pace of a half-dead bug.” (Kees also rubbed shoulders and butted heads with Clement Greenberg, Mary McCarthy, Kenneth Rexroth, William Carlos Williams, and others.) Pauline Kael often cursed herself for not recognizing self-destructive signs in her friend, as she was one of the last people to see Kees with any regularity in the last year of his life. For those who know little about Kees’s ties with Kael, or the role moviegoing plays in one of his most effective and contemporary poems, Olson’s program might bring a surprise or two. SFBG

KEES KINO: THE FILM WORK OF WELDON KEES

Sun/11, 7:30 p.m.

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.sfcinematheque.org

www.butch.org

Gnaw on this

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› cheryl@sfbg.com

There’s always room for another film festival in this town, especially when said fest is drowning in blood, guts, and supernatural shenanigans. The San Francisco Independent Film Festival’s festering youngest child, Another Hole in the Head, returns this week for its third year of ghouls gone wild.

Standouts include The Hamiltons (think Party of Five meets Martin), directed by a local duo whose enticing nom de screen is "the Butcher Brothers,” and, from Greece, Yorgos Noussias’s excellent To Kako (Evil), which cribs from Romero and 28 Days Later in its tale of a ragtag band of urban survivors scrambling to evade the marauding undead. And yes, it does incorporate the dreaded fast-moving breed of zombies, but even genre purists turned off by that factoid will forgive the film once things start going apeshit; I’m thinking in particular of a scene in a deserted restaurant that unleashes 2006’s most satisfying head-squashing to date. The film also has enough of a sense of humor to include the line "If you don’t trust me, trust this!" (cut to: a giant rifle) and a last shot of near-genius proportions.

Per usual, HoleHead brings in several Asian horror flicks, including Shinya Tsukamoto’s enduringly creepy Haze and Yudai Yamaguchi (Battlefield Baseball) and Junichi Yamamoto’s disappointing Meatball Machine. There are also a handful of classics, like Bruce Kessler’s 1971 psych-out Simon: King of the Witches and — in perhaps the festival’s most inspired move — John Boorman’s 1973 Zardoz. Sean Connery’s spectacular loincloth is but the first of many, many reasons to view this neglected masterpiece on the big screen.

Also well worth catching (either at the fest or during their June 29–July 2 run at CELLspace): splat-happy theater troupe the Primitive Screwheads (Evil Dead: Live!, Re-Animator of the Dead), who return with their latest, The Chainsaw Massacres, which boasts a rumored 60 gallons of stage blood poised to rain down on the audience. Plus: disco!

ANOTHER HOLE IN THE HEAD

June 8–15

See Film listings for venue and ticket information

www.sfindie.com

Mini mini CinemaScope!

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The term CinemaScope might conjure a 2.66-to-1 vision of an extra-bodacious Marilyn Monroe in How to Marry a Millionaire, or, if you’re a certain breed of movie maniac, it might inspire a recitation of Fritz Lang’s famous Contempt-uous remark that the format is fine for filming snakes and coffins, but not for capturing people. Bizarre, then, that Liu Jiayin has taken an outmoded approach known for gargantuan celluloid spectacle and revived it — brilliantly — for small-scale digital family portraiture. Winner of numerous festival prizes, including the competitive Dragons and Tigers award bestowed in Vancouver last fall, Liu’s BetaSP debut feature, Ox Hide, has more than once been deemed the most important first feature to emerge from China since Jia Zhangke’s 2000 Platform. That’s a fest obsessive’s way of saying that Liu is the real deal — in addition to possessing a charismatically baby-butch camera presence, she knows how to write, stage, and shoot a funny, unsettling, and pointed scene.

Twenty-three scenes, to be exact, a number reflecting Liu’s age when she made the movie. Ox Hide consists of just that many immobile but rarely "static" shots, each used to depict a moment from the cramped and quarrelsome domestic life she shares with her mother and her father, the latter a stubborn and slowly failing leather goods merchant. (Thus the title.) Making "reality" TV look about as stupid as it is, Liu shares a unique use of format and a sharp focus on the family with ’90s teen PixelVision pioneer — and former Le Tigre member — Sadie Benning, and like Benning, she’s got terrific timing both on-screen (bickering about noodles at the dinner table) and off (using a close-up of a printer to reveal her kin’s economic struggles). Local curator Joel Shepard deserves thanks for bringing this movie to the Bay Area, kicking off a "Beijing Underground" series that will span a few more Fridays this month. (Johnny Ray Huston)

OX HIDE

Thurs/8, 7 and 9 p.m.

Yerba Buena Center for the Arts

701 Mission, SF

$5–$8

(415) 978-2787

www.ybca.org

Honeycomb hideout

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› johnny@sfbg.com

Cast a spell — that is what movies (at least nondocumentary ones) are or were supposed to do, and yet how often do they achieve that aim today? V??ctor Erice’s original feature, 1973’s The Spirit of the Beehive, is partly about the spell a masterful movie can cast, and also is a many-shaded masterpiece that casts an unforgettable spell, a waking dream that disperses in a way that seems to infect the world outside the darkened rooms in which it breathes and lives.

At first glance the story seems so simple, and after all, it is set "Once upon a time …," as an intertitle announces, just after a credit sequence featuring objects relevant to the story — a beekeeper’s mask, a train, a well, a mushroom, and that surrealist standby, a clock — drawn by the film’s lead actors. But more specifically, it takes place somewhere on the Castilian plateau of Spain around 1940, as Frankenstein comes to town. Ana (Ana Torrent) and older sister Isabel (Isabel Teller??a) are among the children who race through the barren rural landscape to a movie barn to see James Whale’s classic chiller, but it is only Ana who cranes like a lunar flower under the projected light, ignoring a prelude from the film’s producers that warns viewers not to take what they see too seriously. Before Ana and her sister emerge playfully shrieking from the darkened building, Erice has already allowed Frankenstein‘s influence to seep outside, into the seemingly oblivious existences of the girls’ mutually alienated parents, a beekeeper (Fernando Fern?

Blinded by Scientists?

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› kimberly@sfbg.com

SONIC REDUCER It may be yet another sign of a time-space-buckling rock apocalypse. Or a chilling harbinger of imminent, sonic-subtlety-be-damned deafness. Or simply a case of sudden, acute perceptiveness. But you had to wonder, watching We Are Scientists and Arctic Monkeys at the Warfield on May 31, how two such different bands (at least on record) could blur together into one indistinctive, loudly guitar-oriented mass. And I like that fetchingly raucous and hook-slung Arctic Monkeys album. I enjoy the forceful post-punk rock of We Are Scientists, live — wisecracks about dead dads, babes up front, and all.

Both bands work hard for their money — though I can’t speak for the second half of Arctic Monkeys’ set. I had to flee because of my lumbago, left charring in the oven. But as I was racing to my vehicle, I did wonder about the so-called ’00s rock revolution: Could it have gotten stalled somewhere around the time the Arctic Monkeys decided to jettison their straight-forward approach at Great American Music Hall earlier this year and reach for the shadows, smoke machines, and drum-triggered, classically trite rock light show?

Perhaps they’re trying too hard, and if the bands aren’t, then someone is, be it their stylists or marketing departments. What they and other nouveau rock heads should realize is that some arts are beyond science. It’s too easy to slag We Are Scientists, as so many have, starting with a tone set by wink-wink song titles like “This Scene Is Dead” and “Cash Cow” and gamboling forth to the canny exploitation of cute kittens on the cover of With Love and Squalor (Virgin). The cellular building blocks of a fun, poppy, and even harder rock band are there, once you start hacking away at the thick, waxy snark buildup. It’s not that I don’t want to hear about the bad new good times of bands like We Are Scientists and the Killers — but whether they dig deeper and darker into the not-so-secret life of hotties or step back (rather than up, to a privileged perch) and develop a sense of songcraft, they need to make me wanna walk on their wild side.

Killers and bad dudes Speaking of Killers, word has it the Hundred Days show at Bottom of the Hill June 3 was buzzing with A&R types because the SF band’s demo was mixed by Mark Needham, who also worked with the Killers. Colin Crosskill e-mailed me to confirm that Killers producer Jeff Saltzman has expressed interest in working with Hundred Days on their next album, based on the recordings…. Shoplifting’s name, unfortunately, proved too prescient: The Seattle band’s gear was lifted from their van parked on Guerrero Street before their May 29 SF show. They’ve posted a list of stolen gear at www.myspace.com/shoplifting for sharp eyes at Bay Area shops and swap meets…. In other thieving matters, Annie of Annie’s Social Club had a green-and-white guitar autographed by X stolen from her premises; if you have info, contact anniesbooking@gmail.com.

Running in the streets Paranoia, punch-ups, temper tantrums, spread-betting losing sprees, and banging cracked-out, nameless pop stars — nope, that wasn’t the scene at Sonic Reducer’s recent birthday splashdown. Instead that’s all on the new album from the Streets (a.k.a. Mike Skinner), The Hardest Way to Make an Easy Living (Vice/Atlantic), a riff on the trials and tribulations of fame that has divided many who have heard it.

“Honesty has always been what I’ve been good at,” says a subdued Skinner, calling from his London home. Making Machiavelli look like a po-faced naïf, one crack at a time, he adds, “People have definitely not liked it as much. But on the whole I think it’s gone down really well.”

I spoke to Skinner when his first CD, Original Pirate Material, came out stateside, when neither of us was completely sure his brand of hip-hop would go over well in the United States. Even now, Skinner says, “I didn’t expect anyone outside the UK to give a shit about it,” so sidestepping the gangster game seems easy. These days, he believes, “it’s a competition to be the hardest. Who’s the most credibly tough. I do think it’s very difficult to stand out against that.”

Why get rich and die trying? Worse, you can stiff like 50 Cent in his own biopic. Instead, Skinner sounds like he’s going the Jay and Em route and concentrating on running his own label, the Beats. “I just want to stay busy and hopefully never work at Burger King again.” SFBG

The Streets with Lady Sovereign

Fri/9, 9 p.m.

Fillmore

1805 Geary, SF

$21.50

(415) 346-6000

OH, THE PLACES YOU’LL GO!

Cat Empire

Putf8um-selling Aussie Latin-jazz-ska-hip-hop fusion purveyors make the Latin-jazz-ska-hip-hop kittens purr. Fri/9, 9 p.m., Independent, 628 Divisadero, SF. $15. (415) 771-1421.

Oakley Hall

Back-to-the-garden refusniks? Cali-fucked-up dreamers? Brooklyn’s mega ensemble can’t stop putting out music this year; their latest is the bejeweled Gypsum Strings (Brah). Fri/9, 9 p.m. Cafe du Nord, 2170 Market, SF. $12. (415) 861-5016.

Soundwave Series

Its first Live Play show at ATA will be documented by KQED’s Spark. Myrmyr, Luz Alibi/Mr Maurader, and Moe! Staiano’s Quintet with guest curator Matt Davignon improvise to previously unseen videos culled by 21 Grand’s Sarah Lockhart. Fri/9, 8 p.m., Artists’ Television Access, 992 Valencia, SF. $6–$10. www.projectsoundwave.com.

James Blackshaw

The young UK guitarist grabbed Wire and Fakejazz’s attention with last year’s O True Believers (Important) — and now has ours. Sat/10, 9:30 p.m., Hemlock Tavern, 1131 Polk, SF. $10. (415) 923-0923.

Twain shall meatless

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› le_chicken_farmer@yahoo.com

CHEAP EATS You’re probably tired of hearing about my dehumidifier. What? No? You can’t get enough of it? Well that’s great because it’s kind of like my curse, or part of it, to have to call ’em like I see ’em, no matter how boring or embarrassing. And I know this is embarrassingly boring, but I gotta tell you: Dehumidifiers are where it’s at, man.

I can dry my hands on a towel now and they actually get less wet. Things like salt once again work. I can write with pens, on paper! My keys aren’t rusty. I no longer have to squeegee the mirror every morning just to see my mildewy face. And best of all I can once again cook spaghetti without having to put on my bathing suit.

The timing couldn’t be better, because I just got the results of my latest blood test and my testosterone level has dropped below the normal range for men. After months and months of popping the little blue-greenies, I am finally running on “E,” so to speak. I’ve decided, almost arbitrarily, that eating lots and lots of pasta now will help me to have boobs, and that having boobs will help me to have a boyfriend, or a girlfriend who’s into girls. And chickens.

Speaking of which, it’s been four weeks now since I published my funny little personal ad right here in Cheap Eats, and the responses have slowed to a trickle. Let’s see, all said there were one, two, well, one response, technically, and our exchange of e-mails and phone calls ended in him asking me to fuck off. But not in those words. His exact words, I believe, were "go fuck off." The italics are mine. The fault being mine too, I had no choice but to eat my bandana and fuck off. Which I did. But I didn’t go fuck off. I just fucked off. I still have my pride.

Anyway, so, OK, online dating . . . check. Done that. Done with that. What was I thinking? I’m not in a hurry. I actually love being alone. I love people too, all of them — but not equally. My personal preference leans toward those who aren’t stomping on my fingers or kicking my shins.

Oh, and, duh, I don’t need to place personal ads in this column. That was stupid. Cheap Eats practically is a personal ad. People write to me all the time, entirely unsolicited, and say, "I feel like I know you. I have this new favorite restaurant, and if you’re ever in the neighborhood, and hungry . . ." Which I always eventually am and am, respectively. In the past, I have not always been the best corresponder; but I’m trying, and getting better.

Give you an example: Around the same time, around four weeks ago, I also received an e-mail from a fan of my old band who wanted to send the chicken farmer a book about chickens. I gave her my address, got the book, which was written for 9- to-12-year-olds, and cried at the ending.

She mentioned in the letter her new favorite Indian restaurant in Berkeley, which I should probably review, and if I was ever in the neighborhood, and hungry . . . And she asked, in passing, for the name of my new band — so that she could more easily stalk me, she said. She tried to make a joke out of it, but I took this very seriously. As a public figure, you have to. Someone uses that word, you have to err on the side of serious.

So I wrote back and said, in effect, "Complete Stranger, you don’t have to stalk me. I’ll come to you!"

Made a date, she bought me lunch, and I have this to say about her new favorite Indian restaurant: Mine too! It’s south Indian style, which is dosas and stuff. In case you don’t know what a dosa is, it’s yet another style of flat bread, like roti, which I love, and naan, which I love.

I love dosa.

But get this: no meat. We’re getting down with this awesome okra curry dish and dosa, and this other thin, crispy crepe-y crackery thing and all these other dip-into’s, a white one, and a soupy one with carrots, and probably you gotta figure some other things I’m not remembering . . . The point is: no meat. And yet: delicious, filling, fun. And cheap! Our little lunch came to $15.

All we talked about was food, mostly Roscoe’s Chicken and Waffles, and cupcakes, and curry goat, and Roscoe’s Chicken and Waffles. My new friend Carrie is not no vegetarian, and yet her favorite restaurant really is a vegetarian one. So let that tell you something. SFBG

Udupi Palace

Daily: 11:30 a.m.–10:00 p.m.

1901–1903 University Ave., Berkeley

(510) 843-6600

Takeout available

No alcohol

Credit cards not accepted

Quiet

Wheelchair accessible

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