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Pamalot

0

cheryl@sfbg.com

FILM Say the name “Pam Grier” and certain things come to mind: the iconic poster for her 1973 breakout, Coffy, about a nurse turned vigilante (“the baddest one-chick hit squad that ever hit town!”); or her cool-as-ice, career-reviving turn in 1997’s Jackie Brown.

What you don’t think of, probably, is blaxploitation’s most gorgeous badass puttering around on a Colorado farm. Make no mistake, Grier is a badass (onscreen and off), but this was the first thing she said, over the phone, after a breathless greeting: “I was just stacking some hay!” With that image lodged in my brain, I chatted with Grier about her upcoming event in San Francisco with Peaches Christ.

SFBG The Castro is screening films that span your career: Coffy and Jackie Brown. Did you realize, at the time, that Coffy would have such an impact?

Pam Grier I knew that Coffy was representing the women’s liberation movement. But it was also representing my mother — as we were all trying to survive the Jim Crow era, she was the nurse in our community — and my grandfather, who was the first feminist in my life. He required the girls to learn as much as the boys, and to be self-sufficient. He said, “Men will respect you when you can do something.” And I brought that to film. It was about literally giving women across the world a voice. I didn’t invent it — I just happened to be the one who could show it onscreen. I think women [realized] “Yes! We’ve always had that freedom. Why haven’t we utilized it?” It was a real revolutionary movement.

SFBG What was it like working with director Jack Hill?

PG He was great. He and Roger [Corman] were very much into authenticity, and they wanted their actors to be as raw as possible. It was great that they didn’t want to overly polish me and cover me in blue eyeshadow.

SFBG You first encountered Jackie Brown director Quentin Tarantino when he was casting 1994’s Pulp Fiction. What was that initial meeting like?

PG I walked into his office and all of my posters were on his wall. Very impressive. I said, “Did you put them up because I was coming?” He said, “No, I was gonna take them down, so I didn’t seem like a stalker!” He is so enamored with film — how could you not respect someone with such a great appreciation of cinema and art?

I remember I was watching Reservoir Dogs in New York City, and the characters talked about “Pam Grier, that badass chick.” My friends around me started screaming and pointing at me! I said, “He gave me an homage! Amazing!” You never know when you’ll impress other people by just being yourself.

SFBG Aside from being a film star — with roles in multiple upcoming films, including the RZA’s directorial debut, The Man With the Iron Fists — you are also a huge film fan as well.

PG I love the cinema, and I have respect for all films whether I like them or not. I love good storytelling. [My career is] always an adventure. It’s always interesting. I’m never bored! *

“PAM GRIER IS LIVE AND IN-PERSON!”

Sat/17, 8 p.m., $10-$55

Castro Theatre

429 Castro, SF

www.peacheschrist.com

Where there’s a Will

0

arts@sfbg.com

FILM You gotta love a guy who is willing to poke fun at his man handles. But the consistency with which Will Ferrell is willing to drop trou has had even Terry Gross wondering, what’s with the vast expanses of exposed carne asada, dude?

Ferrell’s new Casa de mi Padre — a Spanish-language jab at telenovelas, spaghetti-burrito westerns, and just plain low-budget moviemaking, circa the early 1970s — is no exception. It, er, climaxes with a sweet, sweet love scene, complete with close-ups on rumps.

“Well, that was always in the script — that was literally written in the stage direction: lots of butts. Way too many butts. And that made me laugh, if that was going to be our big crescendo lovemaking scene,” Ferrell says gamely. “Of course, lit beautifully with soft lenses and elegant tracking shots and dissolves.”

Tanned, gold-tressed, and outfitted in a gingham shirt and khakis, the actor resembles the tall, well-groomed human incarnation of a Steiff teddy bear. He also comes off as one of the nicest every-guy movie stars around — the kind that justifies the response you get when you tell someone you’re interviewing Will Ferrell (inevitably: “Omigod, I love him!”)

Maybe that appeal has to do with a willingness to embrace the painfully awkward. Anything to heighten the comedy of the moment, he explains, but also, “I think we’re so body- and image-conscious in this culture, and there’s so much emphasis on staying in shape, looking good, plastic surgery, this, that, and the other, that it’s just kind of my protest against all of that. It’s just, that’s what real bodies look like, and if mine happens to look funny, then that’s good, too.”

The latest challenge in a long line of actorly exercises and comic gestures — from his legendary stint on Saturday Night Live and his Funny or Die videos, to his long list of comedies probing the last gasps of American masculinity, and such serious forays as Stranger Than Fiction (2006) — is Casa de mi Padre. Here Ferrell tackles an almost entirely Spanish script (with only meager high school and college language courses under his belt) alongside Mexican superstars Gael García Bernal and Diego Luna and telenovela veteran Genesis Rodriguez.

The entire project, directed by Matt Piedmont and written by Andrew Steele, sprang from Farrell’s noggin. “I had this idea for the longest time, just from watching telenovelas,” he recounts. “It’s one of those things where you’re cruising around the dial, and you stop, and you watch it for four or five minutes, and it’s like, my god. It’s way over the top, but it was so funny to put myself in that world. I’ve never seen that before and I thought, wow, it would be a unique opportunity to take someone from American comedy and have them commit to speaking Spanish. That could be a cool movie.”

So Ferrell worked with Patrick Pérez, who translated the script from English to Spanish, before the shoot and then during the production, driving to and from the set every day, going over lines and working on pronunciation. “It was a little bit crazy — a lot crazy,” Ferrell confesses. “But it was so much fun. I don’t know if I’ve ever had a more fun yet stressful experience.”

All of which led to almost zero improvisation on the actor’s part; plenty of meta, Machete-like spoofs; and a new twist in the world of Ferrell’s films, which seem to all share a glee at poking holes in American masculinity. Yes, Casa punctures padre-informed transmissions of Latin machismo, but it equally ridicules the idea of a gringo actor riding in and superimposing himself, badly or otherwise, over another country’s culture.

“That theme of the macho Americans, ‘USA! We’re number one!’ has been so fascinating and such a great thing to make fun of. That we think we’re the best,” Ferrell observes. “I’ve always been fascinated with that level of ego.” 

CASA DE MI PADRE opens Fri/16 in Bay Area theaters.

The great unknown

0

arts@sfbg.com

DANCE The United States Bicentennial, 1976, was also the middle of what some have called the Golden Age of American dance. Balanchine premiered Union Jack; Twyla Tharp turned ballet inside out with Baryshnikov in Push Comes to Shove; the Philip Glass-Robert Wilson-Lucinda Childs team had a monster hit with Einstein at the Beach (side note: Berkeley’s Cal Performances presents it in October); and the Merce Cunningham Dance Company was invited to the prestigious Avignon Festival for the first time.

At the Performing Garage, Manhattan’s dumpiest theater in not-yet-chic SoHo, two small, skinny, New York-based Japanese dancers — just back from Europe where they had soaked up what had remained of German Expressionism — premiered White Dance. They were Eiko and Koma. An excerpt from that early work will close their two-week residency at Yerba Buena Center for the Arts.

Eiko and Koma have changed dance the way few others have. They have redefined theatrical time and space, the body as an instrument, and concepts surrounding expressivity. With but a few exceptions, they have always created on themselves. One man, one woman — and the universe. Most remarkably, to this day they have no imitators. They are truly unique.

While they sometimes paint their bodies white and have learned from Butoh’s glacial sense of time — they were early, though for a short time only, students of Butoh founder Tatsumi Hijikata — their works have none of that art’s existential emptiness; neither its twist of anarchy and despair, nor its dark sense of humor. Eiko and Koma see themselves connected to something larger than ourselves. They call their pieces Tree, Breath, River, Echo, Land, Wind. Their latest work is Naked.

David Harrington, founder and first violinist of the Kronos Quartet, has known the duo for close to 20 years. Speaking from Toronto, where the musicians are on tour, he describes what these dancers do as “traveling through time, memory, and experience to find something that, perhaps, we didn’t know existed.”

Watching Naked, he says, “I totally understood nakedness and the reason for it. There was something so honest and revealing and personal, and it was dangerous as well. They are about my age, and there they were offering themselves to the universe in such an incredible way. My feeling at the moment was that all of us, no matter how old we get, were very, very young. The flesh takes on different forms of age, but still we almost become like babies. Age no long had any meaning because I thought they were communicating with the universe in this incredible way.”

Drawing on this experience encouraged Harrington to commit to the four-hour Fragile, a collaborative installation between Kronos and Eiko and Koma this coming weekend. Harrington remembers that the duo had told him of three events that had formed their creativity and outlook: the dropping of the atomic bomb that happened before their birth; the 1967-68 student riots in Tokyo in which they participated, and the recent tsunami. So he composed Fragile‘s score from documentary material and music from Kronos’ repertoire plus — a first for Kronos — by Richard Wagner.

The following weekend’s Regeneration will offer Raven, Night Tide, and an excerpt from White Dance. At pre-performance event March 24, kindred spirit Shinichi Iova-Koga of inkBoat will interview the two artists about their working method and other topics.

“What I remember about their work is the images,” Iova-Koga explains. (He has seen their three local performances.) “Besides any particular beauty, these images were long enough to burn themselves into my memory. Years and years later I can still recall them. Part of Eiko and Koma’s power comes from all of this time of making pieces on a one-on-one relationship: two bodies relating to each other.” *

EIKO AND KOMA

Fragile with Kronos Quartet

Thurs/15-Fri/16, 5-9 p.m.; Sat/17, 3-7 p.m., $10

Regeneration: Raven (2010), Night Tide (1984), and White Dance (1976)

March 22-24, 8 p.m., $25

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

St. Patrick’s Day events

0

culture@sfbg.com

WEDNESDAY 14

“THE HISTORY OF THE IRISH COFFEE” PRESENTATION

If you’re already weary of the beer-overkill this weekend entails, celebrate St. Patrick’s with a different type of festive drink — the Irish coffee. The Buena Vista Cafe holds a collection of clippings and photographs that track the beginnings of Irish coffee in San Francisco from as far back as the 1960s. Luckily, the drink is still around to salvage everyone’s hangover this weekend. Presented as part of the Crossroads Irish American Festival.

5:30 p.m.-7:30 p.m., free. California Historical Society, 678 Mission, SF. (415) 357-1848, www.irishamericancrossroads.org

 

“AMID A SPACE BETWEEN: IRISH ARTISTS IN AMERICA” ART EXHIBIT

This exhibit features six Irish artists living in America who fuse their multifaceted Irish identities and cross-cultural exchanges in to their creative work.

Through April 19. Gallery hours Tues.-Sat. 11:30 a.m.-5:30 p.m., free to members; $18 regular museum admission; $11 for students; half-price admission Thursday evenings. SFMOMA Artist Gallery at Fort Mason, Buchanan at Marina, SF. (415) 441-4777, www.sfmoma.org

 

IRISH WHISKEY COMPETITION

Bartenders from Txoko, 15 Romolo, Campanula, and Bottle Cap (all fine North Beach establishments) will be whipping up their most innovative cocktail made with Michael Collins Irish whiskey. Celebrate Ireland’s fine contribution to the mixology scene, and sample all four concoctions.

6 p.m., $5–$10. Bottle Cap, 1707 Powell, SF. www.bottlecapsf.com

 

THE HOOKS

Club Six’s new indie rock room gets a rowdy opening concert with this punk group, originally from County Sligo. The Hooks weave traditional Irish rawkus with good old agit-punk — just the way to kick off your week of celebrations.

With The California Celts. 9 p.m.-2 a.m., $5. RKRL, 52 Sixth St., SF. www.clubsix1.com

 

THURSDAY 15

ST. PATRICK’S NIGHTLIFE

Cal Academy’s yearly tribute to the Irish gets grounded by the presence of SF’s Érie arbiters, the United Irish Cultural Center (it’ll have a booth), and maintains its scientifical presence with step dancing in the Africa room, planetarium shows, and a lecture on the biological significance of the four-leaf clover.

6 p.m.-10 p.m., $12. California Academy of Sciences, 55 Music Concourse, SF. 1-888-670-4433, www.calacademy.org

 

CROSSROADS FESTIVAL IRISH AMERICAN WRITING AWARD CEREMONY AND OPEN MIC

Brooklyn writer Kathleen Donohoe already won this year’s top honors for her short story, “You Were Forever.” But anyone from the Irish diaspora is encouraged to have his or her five minutes of fame during the open mic. RSVP to secure a time slot.

7 p.m.-9p.m., free. University of San Francisco, Fromm Hall, 2130 Fulton, SF. (415) 810-3774, www.irishamericancrossroads.org

 

FRIDAY 16

PRE-ST. PATRICK’S DAY ALLEYS AND BLOCK PARTY

With thousands predicted to show up at FiDi’s annual block party, every nook and cranny will be shamrock-filled at this tavern’s fourth annual shindig. Arrive hungry as there will be food trucks, and thirsty as your first beer is free before 6:30 p.m.

5 p.m.-10 p.m., free with RSVP. Taverna Aventine, 582 Washington, SF. (415) 981-1500, www.aventinesf.com

 

SHAMROCK BALL

For a staid, grown-people St. Patrick’s Day, cruise over to this casino event, sponsored by the California Irish-American Alliance. Why would a group committed to preserving Irish heritage in the Golden State produce a casino night with a partially hosted bar, gambling, and dancing for St. Patty’s Day? Because the Californian Irish have a history of having a real good time, that’s why.

7 p.m.-midnight, $85. Marines’ Memorial Club and Hotel, 609 Sutter, SF. (415) 713-6341, www.shamrockball.com

 

SATURDAY 17

FARLEY’S COFFEE BIRTHDAY BAGPIPES

The Guardian’s staff respirates to the beat of our cups of joe from our neighbor up Potrero Hill, so we are pleased as punch to announce that our fave cafe is turning 23 — and as always, it’s having a green-themed birthday party. To whit, live bagpipers will accompany your morning scone and paper. The pipers will play in the morning, other Irish tunes in the afternoon.

7:30 a.m.-9:30 p.m., free. Farley’s, 1315 18th St., SF. (415) 648-1545, www.farleyscoffee.com

 

ST. PATRICK’S DAY PARADE AND FESTIVAL

Watch our city turn a shade greener as Irish dance troupes, marching bands, and hundred of floats make their way around West Coast’s largest Patty’s Day event. Celebrate Irish culture and history in an alcohol-free, yet still fun way — we’re talking ponies, mechanical rides, and finger-lickin’ Irish food.

Parade: 11:30 a.m., free. Starts at Market and Second Street; Festival: 11 a.m.-5 p.m., free.

Civic Center Plaza, SF. (415) 203-1027, www.sresproductions.com

 

FINANCIAL DISTRICT’S BLOCK PARTY AND LIVE MUSIC

Between this and yesterday’s street party, the Financial District has two chances to take off its usual gray suit for a “Kiss Me I’m Irish” tee and a pair of shamrock glasses.

9 a.m.- midnight, free. Irish Bank, 10 Mark, SF. (415) 788-7152, www.theirishbank.com

 

HABITOT MUSEUM’S SHAMROCK DAY

Getting drunk seems to be the St. Patrick’s Day highlight for many in San Francisco, but for kids the high point is usually pinching buddies for not wearing green and finding little emerald men in the clover field. At least at this event. Embrace your inner leprechaun and find gold at the end of the rainbow.

9:30 a.m.-12:30 p.m., $9 museum admission. Habitot Children’s Museum, 2065 Kittredge, Berk. (510) 647-1111, www.habitot.org

 

IRISH BRUNCH, BLOCK PARTY, AND LIVE MUSIC

Bands like Blue on Green and the Whelan Academy of Irish Dance will accompany your boxty pancakes and Irish car bombs. Fifth round’s the charm, right?

Brunch 8 a.m.-12:30 p.m.; block party 1 p.m.-11 p.m., $10 for block party. O’Riley’s, 622 Green, SF. (415) 989-6222, www.sforileys.com

 

UNITED IRISH CULTURAL CENTER CORNED BEEF AND CABBAGE DINNER

For perhaps the most traditional celebration in San Francisco, head to this Outer Sunset hub of Irish culture. Load up on calories in the dining room with the center’s ladies auxiliary-sponsored traditional Irish eats, then work them off to the live Irish bands that’ll be keeping it lively.

Dinner seating starts at 3:30 p.m., no reservations necessary. United Irish Cultural Center, 2700 45th Ave., SF. (415) 661-2700, www.irishcentersf.org

 

CULANN’S HOUNDS

In Irish folklore, a great hero was named Cuchulainn — a moniker which translates to “hound of Culann” — after defeating a savage beast in self-defense. This SF-based Irish folk band channels the authentic, legendary spirit in a high-energy, 21st century kind of way.

9 p.m., $20. Slim’s, 333 11th St., SF. (415) 255-0333, www.slims-sf.com

 

QUIN AND THE PAT O’DONNELL BAND LIVE PERFORMANCE

Catch SF-based Celtic folk-indie band (sham)rocking out in this laidback bar of great Guinness and Kilkenny — the Richmond’s got most of SF’s best Irish bars, so a cruise in this direction is a great bet this weekend.

9 p.m., $6. The Plough and Stars, 116 Clement, SF. (415) 751-1122, www.theploughandstars.com

 

ST. PATRICK’S DAY CELEBRATION WITH LUCIA COMNES

Comnes takes traditional Irish folk music and layers it with Indian tabla, Turkish rhythms, and Motown grooves. Pair this melodic stew with a $4 pint of Murphy’s Irish stout, and get ready for a night of banjos, jigs, and polkas.

9 p.m., $20. Cafe Du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

 

BOOTIE ST. PATRICK’S DAY

With emcee O’Kingfish setting the mood and wacky blenderized beats served by DJ Tripp and DJ Ajazx, don’t think that this is just another regular party looking to cash in on St. Patty’s blarney with a few shamrocks stuck on the walls. Burly Q’s of Hubba Hubba Revue will be performing a very special Irish-themed burlesque program.

9 p.m.-late night, $10-$20. DNA Lounge, 375 11th St., SF. www.dnalounge.com

 

PADDY’S DAY WITH THE DOCSTEADY SOUNDSYSTEM

Enjoy $4 Jameson shots and Guinness pints with SF’s favorite half Irish-half Filipino sound guy, DJ Doc Fu. He’ll be spinning rebel music, fight songs, and hip-hop for your sláinte, along with PK and Cutz on Demand.

10 p.m., free. Showdown, 10 Sixth St., SF. (415) 503-0684, www.showdownsf.com

 

SUNDAY 18

GREEN FEST BLOCK PARTY

Java Beach’s zoo-side location hosts this family-friendly outdoor event, just outside the United Irish Cultural Center. Irish music and dancing is promised, as is face painting for the wee ones, and that most Irish of all traditions: the bouncy castle.

11 a.m.-4 p.m., free. 45th Ave. and Sloat, SF. www.javabeachsf.com

St. Patrick’s Day events

0

culture@sfbg.com

“THE HISTORY OF THE IRISH COFFEE” PRESENTATION

If you’re already weary of the beer-overkill this weekend entails, celebrate St. Patrick’s with a different type of festive drink — the Irish coffee. The Buena Vista Cafe holds a collection of clippings and photographs that track the beginnings of Irish coffee in San Francisco from as far back as the 1960s. Luckily, the drink is still around to salvage everyone’s hangover this weekend. Presented as part of the Crossroads Irish American Festival.

Wed/14, 5:30 p.m.-7:30 p.m., free. California Historical Society, 678 Mission, SF. (415) 357-1848, www.irishamericancrossroads.org

 

IRISH WHISKEY COMPETITION

Bartenders from Txoko, 15 Romolo, Campanula, and Bottle Cap (all fine North Beach establishments) will be whipping up their most innovative cocktail made with Michael Collins Irish whiskey. Celebrate Ireland’s fine contribution to the mixology scene, and sample all four concoctions.

Wed/14 6 p.m., $5–$10. Bottle Cap, 1707 Powell, SF. www.bottlecapsf.com

 

THE HOOKS

Club Six’s new indie rock room gets a rowdy opening concert with this punk group, originally from County Sligo. The Hooks weave traditional Irish rawkus with good old agit-punk — just the way to kick off your week of celebrations.

With The California Celts. Wed/14, 9 p.m.-2 a.m., $5. RKRL, 52 Sixth St., SF. www.clubsix1.com

 

ST. PATRICK’S NIGHTLIFE

Cal Academy’s yearly tribute to the Irish gets grounded by the presence of SF’s Érie arbiters, the United Irish Cultural Center (it’ll have a booth), and maintains its scientifical presence with step dancing in the Africa room, planetarium shows, and a lecture on the biological significance of the four-leaf clover.

Thu/15, 6 p.m.-10 p.m., $12. California Academy of Sciences, 55 Music Concourse, SF. 1-888-670-4433, www.calacademy.org

 

“AMID A SPACE BETWEEN: IRISH ARTISTS IN AMERICA” ART EXHIBIT

This exhibit features six Irish artists living in America who fuse their multifaceted Irish identities and cross-cultural exchanges in to their creative work.

Through April 19. Gallery hours Tues.-Sat. 11:30 a.m.-5:30 p.m., free to members; $18 regular museum admission; $11 for students; half-price admission Thursday evenings. SFMOMA Artist Gallery at Fort Mason, Buchanan at Marina, SF. (415) 441-4777, www.sfmoma.org

 

CROSSROADS FESTIVAL IRISH AMERICAN WRITING AWARD CEREMONY AND OPEN MIC

Brooklyn writer Kathleen Donohoe already won this year’s top honors for her short story, “You Were Forever.” But anyone from the Irish diaspora is encouraged to have his or her five minutes of fame during the open mic. RSVP to secure a time slot.

Thu/15, 7 p.m.-9p.m., free. University of San Francisco, Fromm Hall, 2130 Fulton, SF. (415) 810-3774, www.irishamericancrossroads.org

 

PRE-ST. PATRICK’S DAY ALLEYS AND BLOCK PARTY

With thousands predicted to show up at FiDi’s annual block party, every nook and cranny will be shamrock-filled at this tavern’s fourth annual shindig. Arrive hungry as there will be food trucks, and thirsty as your first beer is free before 6:30 p.m.

Fri/16, 5 p.m.-10 p.m., free with RSVP. Taverna Aventine, 582 Washington, SF. (415) 981-1500, www.aventinesf.com

 

SHAMROCK BALL

For a staid, grown-people St. Patrick’s Day, cruise over to this casino event, sponsored by the California Irish-American Alliance. Why would a group committed to preserving Irish heritage in the Golden State produce a casino night with a partially hosted bar, gambling, and dancing for St. Patty’s Day? Because the Californian Irish have a history of having a real good time, that’s why.

Fri/16 7 p.m.-midnight, $85. Marines’ Memorial Club and Hotel, 609 Sutter, SF. (415) 713-6341, www.shamrockball.com

 

FARLEY’S COFFEE BIRTHDAY BAGPIPES

The Guardian’s staff respirates to the beat of our cups of joe from our neighbor up Potrero Hill, so we are pleased as punch to announce that our fave cafe is turning 23 — and as always, it’s having a green-themed birthday party. To whit, live bagpipers will accompany your morning scone and paper. The pipers will play in the morning, other Irish tunes in the afternoon.

Sat/17 7:30 a.m.-9:30 p.m., free. Farley’s, 1315 18th St., SF. (415) 648-1545, www.farleyscoffee.com

 

ST. PATRICK’S DAY PARADE AND FESTIVAL

Watch our city turn a shade greener as Irish dance troupes, marching bands, and hundred of floats make their way around West Coast’s largest Patty’s Day event. Celebrate Irish culture and history in an alcohol-free, yet still fun way — we’re talking ponies, mechanical rides, and finger-lickin’ Irish food.

Sat/ 17 Parade: 11:30 a.m., free. Starts at Market and Second Street; Festival: 11 a.m.-5 p.m., free.

Civic Center Plaza, SF. (415) 203-1027, www.sresproductions.com

 

FINANCIAL DISTRICT’S BLOCK PARTY AND LIVE MUSIC

Between this and yesterday’s street party, the Financial District has two chances to take off its usual gray suit for a “Kiss Me I’m Irish” tee and a pair of shamrock glasses.

Sat/17 9 a.m.- midnight, free. Irish Bank, 10 Mark, SF. (415) 788-7152, www.theirishbank.com

 

HABITOT MUSEUM’S SHAMROCK DAY

Getting drunk seems to be the St. Patrick’s Day highlight for many in San Francisco, but for kids the high point is usually pinching buddies for not wearing green and finding little emerald men in the clover field. At least at this event. Embrace your inner leprechaun and find gold at the end of the rainbow.

Sat/17 9:30 a.m.-12:30 p.m., $9 museum admission. Habitot Children’s Museum, 2065 Kittredge, Berk. (510) 647-1111, www.habitot.org

 

IRISH BRUNCH, BLOCK PARTY, AND LIVE MUSIC

Bands like Blue on Green and the Whelan Academy of Irish Dance will accompany your boxty pancakes and Irish car bombs. Fifth round’s the charm, right?

Sat/ 17, Brunch 8 a.m.-12:30 p.m.; block party 1 p.m.-11 p.m., $10 for block party. O’Riley’s, 622 Green, SF. (415) 989-6222, www.sforileys.com

 

UNITED IRISH CULTURAL CENTER CORNED BEEF AND CABBAGE DINNER

For perhaps the most traditional celebration in San Francisco, head to this Outer Sunset hub of Irish culture. Load up on calories in the dining room with the center’s ladies auxiliary-sponsored traditional Irish eats, then work them off to the live Irish bands that’ll be keeping it lively.

Sat/17, dinner seating starts at 3:30 p.m., no reservations necessary. United Irish Cultural Center, 2700 45th Ave., SF. (415) 661-2700, www.irishcentersf.org

 

CULANN’S HOUNDS

In Irish folklore, a great hero was named Cuchulainn — a moniker which translates to “hound of Culann” — after defeating a savage beast in self-defense. This SF-based Irish folk band channels the authentic, legendary spirit in a high-energy, 21st century kind of way.

Sat/17 9 p.m., $20. Slim’s, 333 11th St., SF. (415) 255-0333, www.slims-sf.com

 

QUIN AND THE PAT O’DONNELL BAND LIVE PERFORMANCE

Catch SF-based Celtic folk-indie band (sham)rocking out in this laidback bar of great Guinness and Kilkenny — the Richmond’s got most of SF’s best Irish bars, so a cruise in this direction is a great bet this weekend.

Sat/17, 9 p.m., $6. The Plough and Stars, 116 Clement, SF. (415) 751-1122, www.theploughandstars.com

 

ST. PATRICK’S DAY CELEBRATION WITH LUCIA COMNES

Comnes takes traditional Irish folk music and layers it with Indian tabla, Turkish rhythms, and Motown grooves. Pair this melodic stew with a $4 pint of Murphy’s Irish stout, and get ready for a night of banjos, jigs, and polkas.

Sat/ 17, 9 p.m., $20. Cafe Du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

 

BOOTIE ST. PATRICK’S DAY

With emcee O’Kingfish setting the mood and wacky blenderized beats served by DJ Tripp and DJ Ajazx, don’t think that this is just another regular party looking to cash in on St. Patty’s blarney with a few shamrocks stuck on the walls. Burly Q’s of Hubba Hubba Revue will be performing a very special Irish-themed burlesque program.

Sat/17 9 p.m.-late night, $10-$20. DNA Lounge, 375 11th St., SF. www.dnalounge.com

 

PADDY’S DAY WITH THE DOCSTEADY SOUNDSYSTEM

Enjoy $4 Jameson shots and Guinness pints with SF’s favorite half Irish-half Filipino sound guy, DJ Doc Fu. He’ll be spinning rebel music, fight songs, and hip-hop for your sláinte, along with PK and Cutz on Demand.

Sat/17 10 p.m., free. Showdown, 10 Sixth St., SF. (415) 503-0684, www.showdownsf.com

 

GREEN FEST BLOCK PARTY

Java Beach’s zoo-side location hosts this family-friendly outdoor event, just outside the United Irish Cultural Center. Irish music and dancing is promised, as is face painting for the wee ones, and that most Irish of all traditions: the bouncy castle.

Sun/18 11 a.m.-4 p.m., free. 45th Ave. and Sloat, SF. www.javabeachsf.com

Lunch hour

0

virginia@sfbg.com

APPETITE Lunch-hour quality advances around town with a slew of notable openings or recently launched lunch menus. In a two part series (click here for part two), here are some of the best new mid-day meals.

NOMBE

Nombe faced a bit of a struggle recovering from uber-talented chef Nick Balla’s departure to Bar Tartine. The Mission izakaya now boasts of new executive chef Noriyuki Sugie, who has cooked in NY, Chicago, France, Sydney and the like. With Sugie’s cooking, Nombe proves to be as much a gem as it ever was. An excellent sake list and caring service set it apart, but wait till you try Sugie’s ramen (thankfully just added to the dinner menu in addition to lunch). There’s a lot of great ramen out there, but I tend to be one of the unconverted who registers ramen’s comfort factor but can often find the taste bland. I realize once I finally fulfill my dream of traveling to Japan, I may change my mind, particularly if ramen tastes like Sugie’s.

Order: Ramen noodles are house made, subtly chewy, with accompanying meat. While I enjoy options like oxtail, my favorite is a heaping bowl of beef cheek ramen ($13). The tender meat is savory and robust… and, oh, the broth! No blandness here — it’s layered with flavor. Scallions, mushrooms, umami foam, and soy-marinated egg add extra dimension. If not ordering sake, try the matcha ice milk or lavender oolong ice tea ($4 each) to drink.

2491 Mission, SF. (415) 681-7150, www.nombesf.com

903

Laid-back Bernal Heights claims one of the best new lunch spots in town. 903 just opened weeks ago from owners of nearby Sandbox Bakery. As with Sandbox, Asian influences enliven American food. The former Maggie Mudd’s space was dim and unmemorable, but they’ve transformed it with soothing colors, flowers, a communal table, and bench dotted with pillows. There are bento boxes of chicken tsukune or miso salmon, while the bulk of the daytime-only menu is sandwiches and a few breakfast items.

Order: Crispy shrimp balls in a challah hot dog bun ($8.50) may not jump off the menu, but juicy shrimp lightly fried in three crispy balls in a bun are delightful, particularly with garlic aioli, Sriracha, and sweet and sour plum sauce. The one vegetarian sandwich is no afterthought. Baked tofu ($7.50) has more texture and flavor than is typical on a “burger bun” made entirely of rice (which is also available with the Japanese karaage fried chicken sandwich). Pickled carrots, soy tahini, baby greens, and a layer of nori complete the sandwich.

903 Cortland, SF.

SWEET WOODRUFF

The TenderNob has a new destination café in Sweet Woodruff, the casual second space opened by owners of upscale Sons and Daughters. With an open kitchen, high ceilings, muted gray-blue walls, and stools lining rustic wood counter tops, the place feels completely San Francisco, with expected gourmet elevation of sandwiches and casual dishes. Takeout is ideal for nearby workers, but giant, corner windows make it a welcome place downtown to linger.

Order: Pheasant hot pocket ($7) is the most playful of early offerings. A flaky phyllo pastry stuffed with peas, carrots, and, of course, pheasant is warm and comforting. Cream of parsley root soup ($6) nurtures, set apart with green garlic, pine nuts and a welcome tinge of sweetness from golden raisins. A suckling pig sandwich ($9.50) is appropriately tender, contrasted by pickles, though with ghost pepper aioli I expected serious heat (not so). For dessert, a peanut and sweet soy tart ($4).

798 Sutter, SF. (415) 292-9090, www.sweetwoodruffsf.com

SOUTHIE

While I enjoyed Rockridge’s Wood Tavern from the first time I visited years ago, I didn’t exactly rush out after hearing about its sandwich offshoot last year on the same block, Southie. Do we really need another pork sandwich spot in the Bay? But I was pleasantly surprised to find Southie’s sandwiches among the better I’ve had all year. Wine on tap makes lingering at high tables in the narrow space a pleasant lunch respite.

Order: A Dungeness crab roll ($18) trumps most crab sandwiches. On a buttery brioche, it explodes with succulent crab meat. Celery root remoulade and Meyer lemon brown butter elevate it to near perfection. An expensive sandwich to be sure, but there was no skimping on the crab. “Spicy Hog” ($10) is the popular pulled pork sandwich on an Acme roll. Again, it seems everyone is doing a Southern-influenced pork sandwich these days, but Southie’s is strong, loaded with coleslaw, pickled jalapeno, and lime aioli.

6311 College, Oakl. (510) 654-0100, www.southieoakland.com 

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

 

Punk rock Robin Hoods

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MUSIC In today’s modern music world, when iTunes and MP3s have dominated the mainstream market, and digital distribution is now the norm, a lot of vinyl aficionados wax nostalgic about the thrill of buying a new record, pulling out the disc, checking out the gatefold art, reading the liner notes, and enjoying a multifaceted musical experience.

Although vinyl records obviously never really went away, the quality of releases declined steadily over the years as consumer demand waned and the number of manufacturers around the world dwindled. But that void has been filled by — among other indie labels — local imprint Pirates Press Records. The independent manufacturer and record label has been reissuing Cock Sparrer’s older records; it also released a live LP/DVD, Back In SF, recorded in 2009 at the Pirates Press fifth anniversary party at Great American Music Hall.

Eric Mueller, 31, started Pirates Press in 2004 out of a love for vinyl, after he grew disillusioned with the way he saw another manufacturer he was working for treating their clients and employees.

“I decided to take my business and hard work and put it elsewhere, and did it with people who were of like-minded motivations,” says Mueller in his office in Potrero Hill, surrounded by an array of records and posters that Pirates Press made. He added, “We’re all super big vinyl nerds — it’s fun to make records, and we enjoy collecting the products that we make.”

That mindset, that a record doesn’t have to simply be a medium by which one listens to music, is palpable when browsing through the company’s releases. Brightly colored vinyl, picture discs, and even specially-shaped records — designed locally, and manufactured at a special pressing plant in the Czech Republic — display the label’s rich artistry and imaginative outlook on the industry.

“We’ve developed a lot of new products and technologies — we have proprietary software and hardware that allows us to cut records in a completely unique way from every other manufacturer,” says Mueller.

Another example of the company’s innovation is its current focus on flexis — thin, flexible discs that were popular inserts in magazines and other publications in the past, but have mostly ceased to be made. Thanks to three years worth of work by Pirate Matt Jones, 29, advances in materials and manufacturing have helped Pirates Press make flexis that sound far superior to those of the past — the company is even starting to make paper postcards with grooves that play music.

The label, which pressed nearly 1.75 million records last year, has certainly grown since it began as a bedroom operation, but the initial goals remain the same: try to make the process as easy as possible for all involved — something Mueller proudly stands behind.

Mueller is also proud of the artists that Pirates Press Records is releasing: punk icons such as Cock Sparrer along with up-and-coming local bands.

“It’s like ‘punk rock Robin Hood’ in a sense,” Mueller says. “I can make money pressing records for everybody under the sun, big label, small label — and turn around and take some of our profits and reinvest them into music that everybody in the office stands behind.”

www.piratespress.com

Cock Sparrer is mates first

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arts@sfbg.com

MUSIC While it may not be a household name in the mainstream music world, Cock Sparrer has been one of the most beloved and influential bands in punk rock for four decades and counting.

Hailing from the East End of London, childhood friends Colin McFaull, Mick Beaufoy, Steve Burgess and Steve Bruce — who all remain members of the group today, along with Daryl Smith, who joined in 1992 — formed the band in 1972.

I first encountered Cock Sparrer blasting out of a stereo at a friend’s house in high school during the mid-1990s, and became an immediate fan of its powerful, sing-along anthems propelled by simple, yet infectiously catchy and memorable melodies and hooks. This is all with lyrics that — while written about growing up working class in England — anybody who grew up in a similar environment could relate to regardless of geography.

A few years after I was bitten by the Sparrer bug, it was announced that the band would be coming to the United States to play a few shows, something it had never done before. One of those gigs in 2000 was at the Great American Music Hall in San Francisco, so I made the trek up the coast from Santa Cruz with a big group of friends, and we were not disappointed — it was an amazing experience, a huge sing-along that felt more like a giant party than paid concert.

Two return shows in 2009 in the city delivered the same adrenaline and endorphin rush, as did the one I flew to Las Vegas for last year. Local fans can rejoice again, as Cock Sparrer will be gracing us with its presence at two special 40th anniversary shows at the Warfield, co-headlining with Rancid, which will be marking its 20th year.

“We wanted to celebrate our 40th birthday with some special shows and when the opportunity came up to return to San Francisco, we jumped at the chance,” singer Colin McFaull told me from his home in England. “The city holds a special place in the history of Cock Sparrer and we love playing there.”

McFaull points to the fact that band was born out of a group of friends, and that they all remain close, as one of the main reasons that Cock Sparrer has managed to survive for so long, and outlast many of its punk contemporaries.

“We’ve always maintained that we are mates first and band second. We tend to do things at our pace and on our terms. Someone once described us as ‘the biggest little band you’ve never heard of’ and we like that.”

Forty years ago, when the group first got together, this frame of mind was in place — it informed the naming of the band. “We wanted to have a name that was synonymous with where we came from — it’s just an old East London term of affection and means ‘friend.'”

Despite the fact that Cock Sparrer has influenced generations of streetpunk and Oi bands, and the group plays to sold-out crowds when it does venture out to perform live, all the band members still have regular jobs back at home in England — which McFaull says he is perfectly fine with.

“It would be possible to earn more from the band but that’s not really what we’re about — we’ve never taken ourselves too seriously, there are no egos in Cock Sparrer, we wouldn’t allow it. We don’t believe in putting on rock star airs and graces.”

“We’re the sort of band that you’ll find in the bar of the venues we play chatting to fans and on the odd occasion even buying the beers.” 

COCK SPARRER

With Rancid and Factory Minds

March 23-24, 8 p.m., $30 (March 23 sold out)

Warfield

982 Market, SF

www.thewarfieldtheatre.com

Freeing the information

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news@sfbg.com

The Society of Professional Journalists, Northern California chapter, will honor champions of the First Amendment at the 27th annual James Madison Awards Banquet on Thursday, March 15, at the City Club of San Francisco.

William Bennett Turner, who has spent his career defending the First Amendment and civil rights, as well as 25 years teaching new generations of journalists and attorneys, is to receive this year’s Norwin Yoffie Award for Career Achievement from the Society of Professional Journalists, Northern California Chapter.

Turner heads a list of a dozen recipients of the James Madison Awards that SPJ NorCal presents annually to champions of the First Amendment and freedom of information.

In his legendary career, Turner has argued three cases before the U.S. Supreme Court, two on First Amendment rights, published more than 40 law review articles and taught First Amendment law at the University of California, Berkeley, for 25 years. He was instrumental in overhauling conditions in the Texas prison system and in 2011 he published the critically-acclaimed book, Figures of Speech: First Amendment Heroes and Villains.

The Yoffie award is named for one of the founders of SPJ NorCal’s Freedom of Information Committee, who as an editor and publisher of the then-family-owned Marin Independent-Journal was a vigorous advocate for transparency and accountability in the public-services sector. Other honorees are:

– Roger Woo, a teacher at Tokay High School in Lodi, California, has forged a strong reputation for quality teaching over decades of instruction. He has seen the work of his students recognized hundreds of times for stories, photos and layout. And in the words of a former student, now a newspaper publisher, Woo taught ethics, pride, and professionalism. Woo will be honored with the Beverly Kees Educator Award, named for a late, former SPJ NorCal president who was an educator and nationally recognized journalist.

– Attorney Cindy Cohn, legal director of the Electronic Frontier Foundation, will receive the Legal Counsel award for her litigation and oversight of countless significant First Amendment and open government cases. She is currently challenging the National Security Agency for alleged spying on the communications of Americans.

– Erin Siegal is being honored in the Author category for her investigation of human rights abuses in Guatemala’s adoption industry, as well as the U.S. government’s role, in which children have been stolen, sold, and offered as orphans to well-intentioned Western parents. Her book, Finding Fernanda, has received wide acclaim.

– The Hercules Patch, the local news site operated by America Online, receives the News Media award for its dogged tracking of the questionable financial management practices in the East Bay city of Hercules. Patch produced more than 13 investigative stories and 100 daily stories, and created 20 databases to follow the money.

– The San Francisco Chronicle, also will be honored in the News Media category for keeping a spotlight on the aftermath of the deadly PG&E natural gas line explosion and fire in San Bruno. The Chronicle’s persistence on the story kept readers abreast of the political fallout, the bureaucratic failings, and reform measures meant to prevent another such disaster.

– Tim Redmond, executive editor of The San Francisco Bay Guardian, receives the Professional Journalist award for his investigation of state agencies’ legally questionable acquisitions of a drug used for lethal injections that is no longer produced in the United States.

– Patrick Monette-Shaw, this year’s Advocacy award recipient, spent nearly two years following a crooked money trail to expose mishandling of millions of dollars at San Francisco’s Laguna Honda Hospital. The scandal he reported in the Westside Observer and his examiner.com articles led to an investigation of the city controller’s Whistleblower program.

– Susie Cagle, a cartoonist and journalist, has earned this year’s Cartoonist Award for her dedicated reporting on Occupy Oakland and for portraying the confrontation through her art. Additionally, she stood up for the rights of all journalists after being arrested at an Occupy Oakland rally that turned violent.

– Citireport.com, produced by Larry Bush, gets the accolade in the Community Media category for shining a bright light not only on San Francisco government but also on the city’s Byzantine political world. Bush, as editor and publisher, has spent nearly 30 years fighting to keep city government publicly accountable.

– Allen Grossman is the recipient of this year’s Citizen award for his efforts over the past several years to advance open government at San Francisco City Hall, whether by prodding the city’s Sunshine Ordinance Task Force to hold agencies and public officials accountable or by prying loose disclosable records that Ethics Commission staff aides wanted to withhold.

– The Bay Citizen, which put campaign finance data to good use, is to receive the Computer-Assisted Reporting award for its detailed political database on the San Francisco mayor’s race in 2011. The Bay Citizen made it easy to track contributions of every stripe. In addition, The Bay Citizen’s use of police records and public input has produced a highly interactive chart of bicycle accidents, letting riders pinpoint the most dangerous routes in the city.

The James Madison Freedom of Information Awards is named for the creative force behind the First Amendment and honors local journalists, organizations, public officials, and private citizens who have fought for public access to government meetings and records and promoted the public’s right to know and freedom of expression. Award winners are selected by SPJ NorCal’s Freedom of Information Committee.

JAMES MADISON AWARDS BANQUET

Thu/15 reception at 5:30 p.m., dinner and awards ceremony at 6:30 p.m., $50 SPJ members and students/$70 general admission

City Club of San Francisco

155 Sansome, SF

www.spjnorcal.org

Alerts

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yael@sfbg.com

WEDNESDAY 14

Protest Wells Fargo

Occupy Bernal is at it again, fighting for neighborhood residents facing foreclosure. Organizers surveyed foreclosures in their neighborhood and found that the bank that owned most of them was none other than Wells Fargo, a bank that happens to have a largely San Francisco-based Board of Trustees. They recently took their indignation to the home of Wells CEO John Stumpf (see “Save Our Homes,” 2/28/12.) Now, they’ll bring it to the offices of Dignity Health, where board member Lloyd H. Dean is CEO. 

Noon, free

185 Berry, SF

www.occupybernal.org

 

Rebooting the rainbow

Before the 99%, and before Jesse Jackson’s Rainbow PUSH Coalition, there was the original Rainbow Coalition: a 1960s partnership between the Puerto Rican Young Lords, the White Young Patriots Organization, and the Black Panther Party for Self Defense. These visionaries hoped to bring together people fighting to protect their communities towards a united goal of justice for all. In this talk, part of the Shaping San Francisco series, three activists from back in the day– Pam Tau Lee, Joe Navarro, and Kiilu Nyasha—will discuss that history. They’ll also speak to “what it’s going to take to keep the 99 percent together for the long haul.”

7:30 p.m., free

CounterPULSE

1310 Mission, SF

www.shapingsf.org

 

SATURDAY 17

Homes not jails benefit

This homeless advocacy organization is fiercely dedicated to making sure those who want it have a roof over the heads at night, and many San Franciscans won’t sleep in the cold tonight due to their efforts. Come celebrate their efforts at this benefit. There will be live music from local favorites Little Wolves, Shakes Gown, Molly and the Mad Science and LPD, not to mention new zines and Homes Not Jails t-shirts. 

7 p.m., donation suggested

Redstone Building

2940 16th St., SF

www.indybay.org

 

SUNDAY 18

Dream Memoirs of a Fabulist

It’s queer, surreal, and will probably blow your mind. This book hints of ghosts, photography, gender, and language. In a review, Janice Lee says the book includes, “the dizzying abyss of self-imposed identity, and the gravitational field of language itself, the pronouns textually speaking to one another, dragging memory from one space into another.” To truly understand it, head to Modern Times for a reading and talk with author Doug Rice and artist Stephanie Sauer. 

7 p.m., free

Modern Times Bookstore

1919 24th St., SF

www.mtbs.com/events

Domestic violence is not a private matter

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EDITORIAL The legal case against Sheriff Ross Mirkarmi has been essentially settled, with the sheriff pleading guilty to false imprisonment and avoiding a trial on domestic violence charges, but the political case is just beginning.

Already, there are calls for Mirkarimi to step down. And Mayor Ed Lee announced March 12 that he’s Mirkarimi’s plea to “a very serious charge that had introduce a new set of legal issues” merits a thorough review.

That could lead to an explosive scenario where the Board of Supervisors, in an election year, would have to vote on whether to remove a sheriff who many of the supervisors have worked with and supported over allegations that are in effect political poison. Anyone who wasn’t ready to throw the sheriff out of office could be accused of coddling a wife-beater.

Mirkarimi’s friends and allies say the sheriff didn’t want to plead guilty to anything. But the questionnaires that potential jurors had filled out showed that virtually everyone who might sit in judgment had read the sensational media coverage of the case, and Judge Garrett Wong had refused to move the trial elsewhere. The judge also rejected every significant motion Mirkarimi’s attorney, Lidia Stiglich, made, and allowed into evidence material that the sheriff’s team didn’t think should be admissible. So the situation looked bleak, and Mirkarimi took a deal.

Mirkarimi maintains his innocence, and says he has no intention of stepping down. He agreed to plead guilty to a crime that had very little to do with what happened New Year’s Eve, when the District Attorney’s Office said he got into a physical altercation with his wife that left her with a bruise on her arm. False imprisonment was never one of the original charges; as is often the case in criminal cases, both sides accepted a less-serious charge in the name of getting the deal done.

Why Mayor Lee sees that as “a new set of legal issues” is baffling; the issues are exactly the same as they were before the plea bargain. None of this is to say that the original charges, backed up by well-publicized (although never fully examined in court) evidence, aren’t serious. Domestic violence, as we’ve said repeatedly, is not a private matter, is not a minor crime, and has far too often been ignored by the courts, police, and prosecutors, sometimes with deadly consequences.

But the way this could play out will open Lee to charges of political opportunism. The mayor would need to charge Mirkarimi with “official misconduct,” which is defined in the City Charter:

“Official misconduct means any wrongful behavior by a public officer in relation to the duties of his or her office, willful in its character, including any failure, refusal or neglect of an officer to perform any duty enjoined on him or her by law, or conduct that falls below the standard of decency, good faith and right action impliedly required of all public officers and including any violation of a specific conflict of interest or governmental ethics law.”

Other than the “standard of decency” statute, which is pretty vague, there’s not much in there for Lee to go on. Unless you say that because Mirkarimi pleaded guilty to a crime with “imprisonment” in the name he’s somehow a threat to the inmates at the county jail, which is a huge stretch, it’s hard to call this “official misconduct.” (There is, on the other hand, the argument that Mirkarimi will be on probation, and thus part of the criminal justice system he oversees, and that it’s an inherent conflict of interest. That, however, would mean any sheriff who was on probation for anything would be ineligible to serve, which again is a stretch.)

If the mayor files official misconduct charges, and the Ethics Commission, by a supermajority, agrees, then the Board of Supervisors would serve in effect as a trial body, much as the U.S. Senate does in an impeachment case. Nine of the 11 supervisors would have to vote to permanently remove the sheriff from office.

If Lee takes that path, he’ll be setting in motion a political process that was designed in the Charter for highly unusual situations and has only been used once in the past 40 years. (And in that case, involving Airport Commission member Joe Mazzola, a court later ruled that the charges, involving his role in plumbers’ strike, didn’t rise to the standard of official misconduct.) You have to ask: Is this case, and this misdemeanor charge, worthy of the exercise of what is, by any standard, an extraordinary power vested in the city’s chief executive? Is it worth the political circus that would result from a trial by the supervisors (some of whom might well be asked to recuse themselves because of their prior relationships with Mirkarimi, making it almost impossible to reach the magic number of nine anyway)?

If the voters of San Francisco think the sheriff needs to go, there’s the right of recall — and it will be available the first week in July, when Mirkarimi will have served six months. If there’s not enough organized opposition to make that happen, he’ll be facing the electorate again in three years (and trust us, he will be opposed and every details of these charges will be part of the campaign). He’s going to pay for this far beyond his court-ordered probation and fine.

Whatever the plea deal, Mirkarimi was clearly involved in a bad conflict with his wife that turned physical. Unless the evidence we’ve seen so far is completely misleading, it’s clear that he left her with a bruise — and that he was at the very least nasty and more likely emotionally abusive to her. Now that the legal case is over, he needs to come clean and tell the public exactly what happened that day, at which point we can all decide if we believe him, if he’s shown that he’s changed, and if the public is willing to give him a chance at redemption.

But Lee should think very seriously before he escalates this by filing misconduct charges. Since the ones who have the most to lose from that are the progressives on the board who are often Lee’s foes, it will have the stench of political maneuvering — and at this point, nobody needs that. The mayor says he’s a unifier; this would be the most divisive thing he could do.

Cruising for a bruising

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MUSIC On my first foray to Florida, I’d be checking into a hotel in Miami’s South Beach for a night then immediately embarking on the Carnival Imagination for the second annual Bruise Cruise to Nassau, Bahamas.

Over the next three days I’d witness a pole-dancing waiter, seasick garage rockers, and a bachelorette party that could easily be recognized by excitable shouts of “woooo!” Indeed, some of this was expected as part of the cruise culture that had mockingly seeped its way into both my reality and that of about 500 others. Together we’d bear witness to what at heart was a music festival where bands, usually in the cruise-ship lounges, gave their all. Apprehensive at first, I was ready to submit to a bizarre and unlikely voyage.

“I’d hug you, but I just barfed all over myself,” was the first thing Shannon Shaw said to me from the point of take off. Slightly worse for wear from a late night and pre-party performance where she joined Ty Segall in a cover band called the Togas, she and Segall’s drummer Emily Rose Epstein rolled in with instruments and prepared to check in. Later I’d join them for a cafeteria-style lunch and listen rapt during their stories of touring Europe: apparently German prostitutes have turf wars and badass outfits.

The Bay Area presence on the Bruise Cruise was heavy and I was genuinely thrilled to take it all in. Before I could see Thee Oh Sees, but not before a double rainbow mystically appeared during our safety briefing out on deck, the Dirtbombs had the first crack on the Xanadu Lounge’s stage. That’s when it hit me.

The first rough waves became apparent. I joined seemingly unlimited punk-rock paparazzi near the front. The entire audience was swaying, but not necessarily to the music. It was every bit as disorienting as a drug experience. The band ripped through its recognizable hybrid of Detroit rock and soul while a pina colada quelled my nerves.

Thee Oh Sees charged through a 45-minute set in typical electrifying fashion and I caught up with band member Brigid Dawson afterward. She said the camaraderie amongst our local music scene was one of her favorite things about it. “We’re just lucky. We have a lot of great bands right now. There are a lot of us here,” she said.

After confiding to her that I nearly had a panic attack from the vertigo, she recommended fresh ginger or Dramamine. Nonetheless, I was feeling better and it was time to experience what Carnival calls “fine dining.”

This was a more overt example of the Bruisers — if not easily identifiable by their tattoos, then by the fluorescent green wrist bands — co-existing with the normals, aka common cruise ship goers, for a unique mealtime experience. Once you managed to get the meal down (I didn’t hear too much praise for the fare and my fish was rubbery) before you knew it, T-Pain’s “Apple Bottom Jeans” was blaring while the mostly male waitstaff danced suggestively. Right before this, a call and response announcement was made that, “Whatever happens on the ship, stays on the ship!”

Other highlights included the Bruise Cruise Dating Game, followed by Vockah Redu’s request not to label him “sissy bounce” as he got a blow-up doll in a memorable display of athleticism before snagging one of his hair extensions on a stage fixture in a whirlwind of choreography.

Day two left Bruisers to their own vices for relaxation and an opportunity to explore Nassau. Strange Boys’ Philip Sambol, who wears a toga well, and Reigning Sounds’ Lance Wille rounded out the aforementioned cover band performing searing renditions of ’60s psych nuggets. Fanaticism trumps criticism as I thought their set blew Soft Pack’s and Fucked Up’s away. I thoroughly enjoyed listening to the Toga’s versions of “Helter Skelter,” “Teenage Kicks,” “96 Tears, and even a Pleasure Seekers cover, of course sung by Shaw.

By Sunday morning we were back on international waters and the waves were noticeable. Quintron hand delivered non-drowsy anti-nausea medication to a fellow rocker. Meanwhile, Miss Pussycat’s “Puppets and Pancakes Breakfast” was a hit.

I somehow missed Kyp Malone from TV On the Radio’s performance in which he announced Whitney Houston’s death. Shortly after, San Francisco’s Mikal Cronin took the stage and delivered a solid performance with Segall doing double duty on guitar.

Things reached a fever pitch when an open bar was called during Quintron and Miss Pussycat’s energetic set. Then a feather-adorned King Khan & the Shrines followed as the final live act.

In one of the last dance opportunities aboard the ship, Quintron DJ’d a Swamp Stack Dance Party mixing Archie Bell and the Drells’ “Tighten Up” with the infectious Bohannon beat.

Three days on a cruise ship is ridiculous enough, but adding the Bruise Cruise to the mix is insane. You meet people, you make friends, but you’ll be happy to see your next show back on land.

Occupying the Capitol

5

It’s an unseasonably hot day at UC Davis, and student activists are milling around a tent city, set up especially for 100 people arriving from a four-day March on Education. The school, one of the hubs of the Occupy movement, gained notoriety when public safety Officer John Pike casually pepper sprayed a line students during a sit-in back in November. Now, officers bike through the idyllic scene, smiling and chatting up occupiers.

Everyone is preparing for the next day, March 5, the statewide day to defend education that will bring thousands of students and teachers to Sacramento to demand an end to budget cuts and fee hikes at California’s schools, community colleges, and universities.

Those on the march hope to highlight the importance of this issue, marching 79 miles from the Bay Area. The first night, the march stayed in Richmond, and the next day Richmond’s Mayor Gayle McLaughlin came out to welcome them.

Students march annually on Sacramento, and say they won’t stop until education is affordable (or, as some would demand, free). A climate of worldwide protest over disparities in wealth and opportunity, including Occupy protests in the United States, helped fuel a larger than usual turnout this year.

More than 5,000 people converged in Sacramento March 5 and marched to the Capitol building, occupying the Rotunda all day. Many chanted “no cuts, no fees, education must be free.”

Community college student throughout the state are reeling from the cuts, and resulting fee hikes—course units, once free, were raised from $26 to $36 per unit last year, and will be increased another $10 this summer. These costs go towards closing the state budget deficit, and not toward a bigger course catalogue; classes continue to be slashed.

Frances Gotoh of San Bernardino Valley College is back at school after being laid off from her longtime job at Bank of America. She said she desperately needs the retraining; without it her job prospects look dim. She needs to support her family—her 20-year-old son is also a college student—but says she can’t afford the increasing fees. “Why is education being taken away?” asked Gotoh. “It belongs to the people.”

Josselyn Torres, a psychology major at Sonoma State University, felt similarly. “Every year, the fees are getting higher but the class size is getting bigger,” said Torres, who noted that many of her friends won’t be graduating with her because so many of the classes they needed were cut. “The politicians have all gone to college. If they keep cutting our education, how can we make it as far as them?”

When the march reached the Capitol, student and state government leaders spoke on the importance of education. Students demanded an end to fee hikes and budget cuts. Assembly Speaker John Perez (D-Los Angeles) and Senate President Pro Tem Darrell Steinberg (D-Sacramento) praised student activists and expounded on the necessity of accessibility to education. Almost all speakers decried the two-thirds majority needed to raise taxes, allowing just a few Republicans to block them.

Lt. Gov. Gavin Newsom also spoke, describing the need to support education in staunchly free-market terms: “You can’t have an economic development strategy without a workforce development strategy.”

Periodically, the crowd interrupted Newsom and other politicians in the midst of making promises with chants of “show us.” They also chanted this election year threat: “You’ll hear us out or we’ll vote you out!”

Around 12:30 p.m., the permitted rally ended and thousands dispersed. About 400 stayed to “Occupy the Capitol.” The group streamed into the building and into the rotunda. California Highway Patrol officers, responsible for policing the Capitol, blocked more than 150 from entering the central area. So, communicating via the Peoples Mic with several rounds of crowd repetition for every sentence spoken, the group participated in a statewide general assembly.

Some building employees showed support, but the only politician to sit down with the protesters was Newsom, who sits on the UC Board of Regents and CSU Board of Trustees. He chatted with students, some of whom requested that he ask police to stop blocking students from meeting in the same area; he didn’t do so, but was able to convince them to give protesters in the rotunda access to bathrooms.

The group managed to collectively decide on demands of the state: support the Millionaire’s Tax ballot initiative, repeal Prop. 13, cancel all student debt, fund all education through college, and democratize the Board of Regents. When building closed at 6 p.m., officers declared the assembly unlawful and arrested 70 who refused to disperse.

Meanwhile, another 400 or so attended a permitted rally on the Capitol lawn called by several Sacramento labor unions to support Occupy the Capitol.

Over the past five years, education funding in California has been cut drastically. Spending per K-12 student per year has gone down by almost $2,000 and higher education has seen program cuts and tuition hikes. Gov. Jerry Brown’s latest budget proposal includes still more cuts to California colleges and universities.

Several proposed ballot initiatives are designed to address this. An initiative sponsored by Brown would bring spending per student per year up by $1,000, stabilizing at $7,658 (it was $7,096 in 2011-12) and reversing a five-year slide. But it would still be less than 2007-08, according to a report from the California Budget Project (CBP).

That report shows K-12 education spending is the biggest piece of the state budget, although California ranks dismally low compared to other states for spending on K-12 education: 47th in the country.

The governor’s proposal would raise funds with a combination of a tax increase for those earning $250,000 and over per year and a sales tax increase. But critics say the increase in the sales tax, which is notoriously regressive, would hurt lower and middle income families.

The measure is up against other potential ballot initiatives that would raise revenue strictly from the wealthiest Californians. The so-called Millionaire’s Tax, for example, would raise funds for education by increasing taxes on those making $1 million or more per year. The Millionaire’s Tax also has the advantage of resulting in a permanent change in the law, while Brown’s measure would apply only for the next five years.

“California’s problems have also been exacerbated by tax cuts, one-time ‘solutions,’ overly optimistic assumptions, and the fact that the two-thirds vote requirement for the legislature to approve any tax measure has blocked adoption of a balanced approach towards bridging the budget gap,” according to the CBP report.

Teachers’ unions are divided over the best ballot measure. The California Teachers’ Association has endorsed Brown’s measure, emphasizing that it includes a plan to close the budget deficit.

“The governor’s initiative is the only initiative that provides additional revenues for our classrooms and closes the state budget deficit, and guarantees local communities will receive funds to pay for the realignment of local health and public safety services that the Legislature approved last year,” said Dean Vogel, CTA president, in a press release.

But the Millionaire’s Tax was sponsored by the California Federation of Teachers, and it has now been endorsed by this student general assembly. John Rizzo, president of the City College of San Francisco Board of Trustees, also endorsed the measure.

“We’ve got to tell the state of California that we cannot continue this. We cannot continue the cuts to our community colleges, to UCs, to the California State Universities,” said Rizzo, speaking at a March 1 rally in San Francisco.

According to a recent report, of five polls conducted throughout California, each initiative has majority support, but voter prefer the Millionaire’s Tax, with a recent Field Poll showing 63 percent support.

Legislators are also at work trying to increase education funding. Assembly Speaker Perez has introduced a bill that would slash tuition fees by two-thirds at CSU and UC schools for students of families making less than $150,000 per year. The bill would also allocate funding to city colleges throughout the state, for them to determine how to best use the money.

The cost of the plan, about $1 billion, would be paid by eliminating a corporate tax loophole that the Legislature approved in 2009, which would allow companies to choose the cheaper of two formulas for calculating their taxes. Critics have called the legislation bad for business, saying that removing tax incentives would hurt California companies.

“The California Middle Class Scholarship Act is very simple,” Perez told students at UC Davis when he unveiled the bill on Feb. 3. “Too many families are getting squeezed out of higher education. For students whose families make $150,000 a year or less, too much to qualify for our current financial aid system, but not enough to be able to write a check for the cost of education, without feeling that pinch, the Middle Class Scholarship Act reduces fees at the UC system and at the CSU system by two-thirds, giving tremendous assistance to those families to make college affordable again.”

Education advocates say California needs to do something to reverse the spiraling cost of higher education in California, which could do long-term damage to the state, affecting young people and businesses that need skilled workers and spiraling out from there. And these advocates say this short-sighted strategy is easily preventable if there is the political will to address it.

“There are a lot of sources of revenue that are not being taken advantage of,” Lisa Schiff, a member of Parents for Public Schools of San Francisco, told us.

Even if tuitions were lowered or—as the most ambitious of protesters demand—higher education was made free, most former students would still be saddled with massive debt. As costs have risen, debts of hundreds of thousands of dollars are commonplace. With the job market recovery slow and painful, graduates often feel helpless to pay back their debt.

Robert Meister, a professor of Political and Social Thought at UC Santa Cruz and president of the Council of UC Faculty Associations, has long argued that the state’s higher education systems ought to focus on keeping tuitions low and student debt in check (see “In the red,” 1/11/11).

Yet he told us that growing income inequality makes people even more desperate for a college education and willing to accept levels of student debt that limit their ability to become anything more than corporate cogs after graduation. “Their ability to raise tuition is a function of the growth of income inequality,” he told us.

In his speech at UC Davis, Perez cast the issue as one of a disinvestment in the state’s future: “California’s public colleges and universities has been one of our most prestigious institutions, and, unfortunately, because of the collapse of the economy, we’ve moved away from fully investing in those universities and colleges.”

A month later, the school again served as a backdrop for illustrating the problem and calling for reform. Dani Galietti, a MFA student at UC Davis who was setting up a performance art piece when I arrived, greets everyone cheerfully and is thrilled about the Occupy movement.

“I wanted to share myself and my work with the movement,” Galietti tells me while taping a “paper trail” to the sidewalk; she plans to walk on it with home-made stamps attached to the bottoms of her shoes.

But her mood darkens when I ask about her student debt. “I came out of five years of education $100,000 in debt,” says Galietti, “and I’m not the only one.”

She is a first generation college student, she explains, who helped pay for school with McNair scholarships.

“I grew up one of five, with a single mother,” Galietti explains. “We struggled my whole life, as a lot of people have, financially.”

“So many people are graduating with so much debt. There’s this looming fear, fear and hopelessness. The economy’s bad, the job market sucks. I’m so thankful that they’re out here. People are active, they’re making a difference.”

“We need education,” Galietti says. “I mean, knowledge is power.”

 

Here’s lookin’ at you, kids

1

arts@sfbg.com

SFIAAFF As the mainstream movie industry undergoes a senior moment and tips toward grandfatherly nostalgia, this year’s San Francisco International Asian American Film Festival seems to be in the throes of a youth movement. You can trace the growth spurt from Eduardo W. Roy Jr.’s reproduction production line Baby Factory and the childhood Xmas fantasy of Kim Sung-Hoon’s Ryang-Kang-Do: Merry Christmas, North! to Wang Xiaoshuai’s coming-of-age snapshot 11 Flowers and the teen gang wars of Byron Q’s Bang Bang. A closer look at three — Christopher Woon’s Hmong hip-hopper doc Among B-Boys, Akira Boch’s girl-band indie The Crumbles, and Takashi Miike’s tot action farce Ninja Kids — finds the disparate troika taking aim at shared themes of bonding and identity.

Among B-Boys gives outsiders an hour-long, respectful immersion in the lives of Hmong breakdancers, here “getting lost” in their impressively athletic moves and speaking for themselves, away from the flinty-eyed filter of Gran Torino (2008). In his quest to follow the Velocity/Soul Rivals and Underground Flow crews, Woon takes his camera from Oklahoma to Left Coast exurbia where the kids are attempting to dream with acrobatic handstands, freezes, and crazy-fancy footwork — and finding their efforts rewarded with trophies.

Their triumphs in gritty gyms and community centers are made that much more poignant in the context of their parents’ memories of war, displacement, and poverty. The elders’ stealth contributions to the CIA’s shadowy adventures in Laos casts a pool of lingering darkness on these hip-hoppers, who are striving to carve out a life for themselves while coping with the unique challenges that the Hmong have encountered in the states. As Joua Xiong, the rare B-girl in the Soul Rivals Crew, explains, “Hmong mean ‘the Free,’ and that’s basically what we are: we don’t have a certain country, but we don’t really know our original customs because we’re so mixed up. We have a lot of Thai, Lao, Chinese in us, and we’ve been running away so much from people trying to destroy our customs and make us conform with them.”

Cast away in a semi-rural Merced, Fresno, and Sacto, these kids appear to be finding another kind of freedom. “It’s not just breaking,” says Soul Rivals’ Kyle Vong. “It’s the culture of hip-hop — it’s about teaching yourself to understand life in general and expressing yourself.”

The awkward slackers and damaged hipsters of The Crumbles seem to be worlds away from the humble, proud B-boys of the Central Valley: theirs is a sun-strafed, paved-over Los Angeles habitat of coffee shops, taco trucks, bookstores, budding filmmakers, and living room-bound band practice. Darla (Katie Hipol) is slouching nowhere fast when her zany, charismatic cool-girl chum Elisa (Teresa Michelle Lee) enters the picture, looking for a place to crash.

Elisa’s wacky, erratic, and unreliable, but she’s also capable of generating real excitement — and a mean little keytar hook — and the girls’ band, the Crumbles, gets off the couch and threatens to get all involved to bust out of their shells. Though director Boch never quite dips into the deep background of his characters’ various dysfunctions — the threatened readings of Darla and Elisa’s psychic friend never quite sheds light — the first-time feature filmmaker has a real feel for the drifting, up-for-anything quality of Cali 20-somethings and an appreciation for their highs and lows that makes this familiar, loving, lets-put-on-show-kids update compelling.

With kindred ultraviolence vet Martin Scorsese throwing himself into his own kiddie roller-coaster of a cinematic ride with last year’s Hugo, it makes some sense that Takashi Miike — whose 2010 13 Assassins might have bested both Ichi the Killer (2001) and 1999’s Audition for sheer bloodletting — would enter the children’s field with such gusto. Manga fans will appreciate Miike’s broadly farcical, spoofy élan with comic book touches — down to the freeze-frame mucus drips, the CGI hatched-background stills denoting way-ramped-up action, and fourth-wall-bust-outs/pop-up trivia interludes by your “friendly ninja trivia commentator.”

http://www.youtube.com/watch?v=HVjoh-jG36o

Rantaro — your archetypal geek toddler, complete with thick glasses and bad haircut — has left the family farm and been sent off to ninja nursery school to learn all about deadly boomeranging stars, big-headed villains with testicular chins, and ninja master-slash-hair stylists. Does Rantaro, er, find himself amid the rigors of class, attacks from dastardly ninja outfits, and a final challenge that has him literally biting the dust? And does it matter when Miike digs in with such glee to lampoon the samurai genre, and kick up dust with the ankle-nibblers in this insanely comical alternate universe of ninja mini-mes?

SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL

March 8-18, various Bay Area venues, most shows $12

www.caamedia.org

DOCS AND SHOCKS: MORE FROM THE SF INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL

SFIAAFF Documentary fans, prioritize Give Up Tomorrow, Michael Collins’ probing examination of a high-profile murder case in the Philippines. If the Paradise Lost films got your blood boiling, expect to rage even harder at the unbelievably shifty way the events detailed here unfolded.

As with the West Memphis Three, the crime at Tomorrow‘s heart is horrific: in 1997, two sisters in their early 20s were kidnapped, raped, and murdered. Or were they? Only one body was found, and it was never quite confirmed that the dead woman was actually one of the missing sisters. Of course, that didn’t stop authorities (almost all of whom had ties to a local drug lord, who was also connected to the victims’ family) from fingering a group of local teens, including Paco Larrañaga — who became the case’s main target, despite the fact that dozens of his culinary-school classmates swore he was with them, hundreds of miles from the crime scene, at the time of the alleged murders.

Give Up Tomorrow offers a searing study of a corrupt court system, and the heartbreak that happens when a cause célèbre falls victim to the short attention span of the international activist community. Without spoiling all of its twists and turns, know that this story is better than any fictionalized crime drama, and more powerfully wrenching for being true.

Other docs worth checking out include Mr. Cao Goes to Washington, an insightful look at the American political system via Joseph Cao, who was the first Vietnamese American elected to Congress. But that wasn’t the most unique thing about him: he was a Republican, elected amid post-Katrina disarray in one of New Orleans’ traditionally African American and staunchly Democratic districts. S. Leo Chiang’s film follows Cao as he makes hard choices in the year leading up to his battle for re-election, including voting first for, then against, President Obama’s health care reform bill. (Reason for the switch: he’s passionately anti-abortion.) Even if you don’t agree with his views, Cao puts a human (and surprisingly honest) face on the great divide between the political parties in this country.

More hopeful is No Look Pass, Melissa Johnson’s quite enjoyable documentary about first-generation Burmese American Emily Tay, a basketball superstar who turns pro after graduating Harvard (eat your heart out, Jeremy Lin), and, oh yeah — happens to be a lesbian. No Look Pass also screened at the San Francisco Independent Film Festival, and it’s not hard to see why it appeals to a wide range of audiences: Tay is an inspiring figure on the court, and endearingly awkward off it, especially when trying to relate to her deeply traditional parents.

Even more uplifting, and perfectly compressed at 39 minutes, is Lucy Walker’s Oscar-nominated The Tsunami and the Cherry Blossom, which examines the “beauty and terror” of nature, as perceived by Japanese survivors of the recent earthquake and tsunami — and the spiritual significance of the cherry blossom, which is shown to be a key element in the country’s healing process.

Genre fans! I Am a Ghost, the world-premiere latest from prolific local H.P. Mendoza (2006’s Colma: The Musical), starts slowly but — holy ghost! — stick with it, and you’ll be shriekingly rewarded. And another recent IndieFest selection, Marlon N. Rivera’s satirical The Woman in the Septic Tank, returns to delight another wave of crowds with its tale of three ambitious filmmakers (and a hell of a leading lady) determined to make the most popular Filipino movie of all time. Best line: “Fuck Cannes, bro! We’re talking Oscars!” (Cheryl Eddy)

Gitane

0

virginia@sfbg.com

APPETITE While I miss the sophisticated, out-of-the-box cocktails of former bar managers Carlo Splendorini and Alex Smith (they both continue to craft excellent drinks, Splendorini at Michael Mina, Smith at Honor Bar), I am pleased to say Gitane, one of the sexiest spots in all of SF, is still a drink-worthy location. I’d be remiss not to likewise return to the Moroccan and Spanish-influenced menu that chef Bridget Batson has been rocking for years.

Sitting at Gitane’s bar under massive chandeliers and deep red tapestries, in a narrow, high-ceilinged space, one feels tucked away in some secret European bordello. The tiny, upstairs dining room is equally seductive and intimate, with a view over the bar. Perched on velvety bar stool, I find an ideal locale for drinks, food and chatting with fellow diners.

Batson’s grilled calamari ($16) stuffed with bacon and onion, and her unparalleled lamb tartare ($18) with three spreads remain top dishes on the menu. Bastilla ($13) and chicken breast tajine ($22) are still Moroccan highlights. Bright and wintery, a citrics salad ($12) is tangerines, cara cara and blood oranges vivid on chicories with Serrano ham in a pumpkin seed pesto.

On the entrée front, Caille ($28) is a hearty quail overflowing with chorizo apple stuffing over celery root gratin in pool of cider jus. I can’t imagine doing much better for a simple meal than a coca (Catalan flatbread, $15–$16) and a cocktail. The coca bread bubbles not unlike a blistered Neapolitan pizza crust. Go the vegetarian route topped with wild mushroom, drunken goat cheese, and oregano, or with my favorite, layered with Serrano ham, Bosc pears, manchego cheese, and thyme.

Keeping food pairing ever in mind, the current bar menu focuses on low alcohol cocktails. The bar is now helmed by Ramon Garcia who worked with both former bar managers. He maintains Gitane’s ethos, its continued sherry focus, its gypsy spirit (Gitane means gypsy, after all). Ramon assembled a new menu with spirits expert and Yamazaki Japanese whiskey brand ambassador Neyah White, who, even after all this time, I still miss behind the bar at Nopa.

There’s a lovely nod to cocktails created here in the past: two classic Gitane recipes are rotated regularly on the menu. The bulk of the new menu goes global, wandering Romany-like with various bartenders from around the world, featuring their best sherry cocktails. In keeping with the gypsy theme, the bar will feature a different spirit every couple months from their extensive collection, showcasing cocktails and traditional serving preparations, like Italian amaro on the rocks in the summer.

From the cocktail list, one of Neyah’s Nopa greats, a Sherry Shrub, is a mix of merely two ingredients: barbadillo manzanilla sherry and a seasonal fruit based shrub (a vinegar-based syrup): sour, vibrant, and palate-cleansing. I’m taken with the Bamboo, by Tokyo bartending legend Hidetsugu Ueno, of Bar High Five: dry and refined, combining dry vermouth, amontillado sherry, and two 1890s bitters recipes created by Louis Eppinger at the Yokohoma Grand Hotel.

On a warmer day, I’d gravitate toward the Caipirinha Con Moras by David Nepove, formerly of Enrico’s, and US Bartenders Guild national president. Fruit will change seasonally, but his take on Brazil’s national cocktail mixes Pedro Ximenez sherry and shaved nutmeg with cachaca (sugar cane rum). Another refresher is the Jenibre Smash from Chris Hannah of New Orleans’ French 75 Bar: Dry Sack sherry, Canton ginger liqueur, lemon, sugar, and mint are served over crushed ice. It’s delicately bright and minty, going down all too easy.

Gitane boasts an Iberian (Spain, Portugal, France) heavy wine list, although California is nicely represented. The sherry list is impressive, with plenty of Madeira, Port, brandies, and after dinner sips. An interesting companion to the hearty quail and chorizo entrée is a 2008 Domaine des Ouled Thaleb Benslimane Zenata ($12 glass, $35 carafe, $48 bottle), a 100 percent Syrah from Morocco. It’s big and bold in keeping with warm Moroccan temperatures, but maintains just enough acidity to pair with food. It’s welcome given the strong Moroccan food influence. After dinner pleasures were strongest in an earthy Charleston Sercial Madeira ($15 glass) from Rare Wine Co., and Gutierrez Colosia Moscatel Soleado Sherry from El Puerto ($10 glass).

My favorite cocktail on the new menu is the oldest recipe from 1800’s San Francisco bartending legend, Cocktail Bill Boothby, after whom our local educational spirits hub, The Boothby Center, is named. The Boothby is essentially a Manhattan (bourbon, sweet vermouth, Angostura bitters) topped with sparkling wine. It’s lush, sexy, and full bodied… not at all unlike Gitane. 

GITANE

6 Claude Lane, SF

(415) 788-6686

www.gitanerestaurant.com

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

 

Against the grain

0

marke@sfbg.com

MUSIC It began as a burbling “Eeep!” It was June 7, 2000; we were in Davies Symphony Hall, in the middle of the second movement of Charles Ives’ super-intense Symphony No. 4 from 1910-1916. Yet despite the whirling maelstrom of that work — imagine three Fourth of Julys at once, in which a vast orchestra overlaps itself with marching band themes, spirituals, dance hall ditties, and children’s songs — I could still make out curious sounds coming from the audience behind me. Soon onlookers were shouting out nonsense; one down our row jumped up from his seat. For my part, I felt my shoulders twitch involuntarily, and my partner let out a loud hee-haw guffaw. The memory-triggering dissonance, expertly transmitted through conductor Michael Tilson Thomas, was having a spazzifying physical effect, making us active participants in Ives’ chaotic Main Street Parade.

http://www.youtube.com/watch?v=iYvWwI6YRsE

San Francisco has never lacked for excellent performances of works still often classified as “contemporary classical,” despite many being a century old. But the first American Mavericks festival, more than a decade ago, did much to elevate San Francisco’s status in the cultural world at large. We were at the very edge of the tech bubble, a maverick cultural achievement of its own, of course. Yet not much bold, native art had risen in response to all that “future now” attention and money. The much-hyped Mission School visual art movement was in its infancy, and concerned more with hermetic understatement than Bay reppin’ (a nice answer, in its way, to Web 1.0 bombast). Native dance music forms like turntablism and dirty breaks were being superseded by bland lounge house, hyphy was only hatching, Green Day was over, and literature hadn’t yet been Eggered and Chaboned.

The SF Symphony is justly famed for its impeccably polished sound and MTT’s cheeky programs pairing classical comfort food with spunky aperitifs. But American Mavericks was pretty damned ballsy for a major symphony — almost a month’s worth of edgy, attention-grabbing, well-funded gems from 20th century composers like Ruth Crawford Seeger, George Antheil, Meredith Monk, Duke Ellington, Steve Reich, Frank Zappa, Lukas Foss, and a dozen more. There was a plethora of symphonic reconfigurations and unique instrumentations: an extra brass section blared from the basement for the Ives symphony; audience members brought their own instruments to play along with Terry Riley’s ecstatic “In C.” At a very materialistic moment, American Mavericks illuminated the wild-eared, transcendentalist spirit of native music while showing the world that SF still had a huge, unfettered freak flag to fly.

American Mavericks is back Thu/8-Sun/18, this time spreading its wings to include Symphony stops in Chicago, Ann Arbor, and Carnegie Hall. And while some have bemoaned fewer and somewhat less ambitious performances on the whole (we’re in a recession, after all), there are plenty of pieces to jump up and shout about.

Ives returns, this time with astonishing masterpiece A Concord Symphony — I always hear crisp leaves crunch beneath my mental feet when this is played. Profoundly quirky enchantress Meredith Monk is back as well: in a coup of idiosyncrasy, she’ll be singing John Cage’s Song Books with magnificent diva Jessye Norman and experimental champion Joan La Barbara. Later, Hometown hero John Adams will premiere a new work, Absolute Jest, as will local techno-influenced composer Mason Bates, with “Mass Transmission.” There’s loads more packed into a mere 10 days, including pieces from Oakland instrument-inventor Harry Partch, San Francisco Tape Music Center founder Morton Subotnick, and Bay Area indigenous music devotee Lou Harrison.

Will it have the same cultural impact? Here we are back in an overconfident tech bubble — and once again our total cultural output seems a bit, well, blah. An irony of the social media onslaught is that all this personal expression seems to be quashing true individuality. So we’re having a materialist and conformist moment. A good dose of musical eccentricity from old school visionaries/crazies who turned their backs on the rat race might just do us a world of good. Here’s to more “Eeeps!” among the bleeps.

AMERCAN MAVERICKS FESTIVAL

Thu/8-Sun/18, various prices and times

Davies Symphony Hall

201 Van Ness, SF.

(415) 864-6000

www.americanmavericks.org

 

Hits and misses

0

arts@sfbg.com

DANCE When choreographers Sue Li Jue and Nina Haft found that they shared a common interest in exploring the body’s memory — of personal experience, history, origins — they decided to make a work in which their individual choreographies would take turns on the stage. Thus the problematic this.placed was born.

In the past Li Jue has created beautifully designed dance theater pieces that explored her Chinese American heritage from a decidedly contemporary perspective. She did it poignantly, and often with a sense of humor. Haft’s interest in Jewish American history has led her to create theatrically pungent works about writers (Gertrude Stein) as well as gangsters (unnamed, though their stories are well known). Additionally, she has quite successfully examined the theatrical potential of specific locations, cemeteries and docks among them.

this.placed is an intriguing, perhaps even fun idea in terms of rethinking presentational formats. It certainly is something that theater artists, dancers, among them, increasingly examine. Yet I don’t think this one flew.

For one thing, the 75-minute evening consisted primarily of duets and trios. Though some of them were finely chiseled, more rhythmic variety was needed. Also lacking, I felt, was a sturdier thread that held the individual dances together beyond their place in the lineup. After all, the perspectives by these choreographers are different.

Why, for instance, would a sardonic duet about the wreckage life has inflicted on a woman’s face be followed by a trio about happy Chinese adoptees? Misfortune vs. happiness? Or an encounter between two men be preceded by a woman’s observations about her mother? Because both vignettes involved memory?

I would like to see this.placed again as two halves of the same program, with perhaps a rethinking of some the dances and some additional material. Conventional as that might be, it might strengthen the focus on the commonality and difference between the two choreographers.

Haft’s dynamic interpretations of Britta Austin’s gutsy prose certainly warrant additions. The mostly gestural language (for the mouth) of Bite Marks — performed by Jill Randall and Amanda Whitehead — infused a macabre sense of humor on the process of rotting while alive. In Trouble, the mysterious and ever so elegant dancing by Pailing Kao provided a foil to her sturdier “daughter” Sarah Keeney. Flesh, Taste, Fiction started on a note of voyeurism but quickly grew into an obsessively meaty mating à trois. Let You Go‘s desperate fierce struggle between Carol Kueffer and Lisa Bush left one of them “dead,” the other one just about.

Haft’s misjudgment was in entrusting one of Austin’s texts to a student group. Some of these performers may eventually become dancers. At this point, they belong in a studio setting.

Li Jue’s Half the Sky, a pastoral tribute to unwanted Chinese girls who have been adopted abroad, was cloying. It’s almost impossible for adult women to suggest the happiness and frolicking quality of childhood. If the choreography was supposed to recall some of the more naïve perspectives of Chinese folk dancing for women, it didn’t work.

The Lost and Found looked as murky as Ian Winter’s accompanying video. It featured a quartet of women arriving from different directions, coalescing into a pile of bodies and splitting into double duets. Linnea Snyderman was carried aloft, and Frances Sedayao rolled over everybody (side note: Sedayao danced in four of the nine selections — what a treat she was). More eminently legible was the nightmarishly dramatic and excellently danced duet Remember Me? for Masataka Aita and Nhan Ho. Aita at first seemed like a pesky intruder into Ho’s life. But he became the leech, or perhaps the incubus to the increasingly desperate Ho. At the end both seemed destroyed.

Not What She Seams started as a fine solo at last year’s WestWave Dance Festival. It now has expanded into an equally fine quintet which also sings. Huge bolts of fabric became the means by which these “seamstresses” expressed their anger and desperation, but also their resilience and hope.

The patient that time forgot

0

caitlin@sfbg.com

HERBWISE I contact a lot of stoners throughout the course of writing Herbwise — activists, businessmen, artists — but none has had a more crisp-sounding receptionist answer the phone than Ft. Lauderdale stockbroker Irvin Rosenfeld, who is one of four citizens of the United States legally allowed to smoke marijuana by the federal government.

No really, he is.

In 1982, Rosenfeld hit upon a winning combination of perseverance, legal precedent, and audacity when he succeeded in suing the US government to prescribe him cannabis for his painful, bone growth-causing condition. After filing a civil suit that claimed weed was the only palliative that helped his intense physical discomfort, Rosenfeld became part of the FDA’s short-lived Investigational New Drug Program. Calling Rosenfeld, original patient Robert Randall, and the subsequent 11 others who qualified for the program participants in a clinical study was the only way the feds could justify supplying the weed.

In 1992, the program was terminated. But the 13 patients — only four survive today — continued to receive tins of pre-rolled joints, the cannabis for which is grown (shoddily) at a government-run farm near the University of Mississippi. Rosenfeld tells me the weed he smokes is “12 years old,” and so dry that he’s compelled to unroll the cigarettes, store with fresh lettuce for six to eight hours to rehydrate the bud, then re-roll before smoking.

He tokes nine ounces a months and, he says, never gets high. He tells all his clients about his prescription because, as he puts it “I don’t want them seeing, for example, this article and thinking ‘oh, he lost us that money because he was high off that marriage-ja-wanna.'”

I ask him if he’s surprised, 20 years since he won his legal battle, that patients like himself are still battling for access to the plant. He reels off a series of crucial court hearings that, to his disbelief, swung time and time again in the direction of continued Schedule I status for cannabis. Rosenfeld says has made it able for him to leave the house on a regular basis.

“As a stockbroker I look at it economically. I think about, if I didn’t have my medicine, where would I be today? I’d be homebound. Is it just me? Or maybe there’s other people sitting at home that could be productive members of society. It irritates me.”

Our conversation is over, but there’s time left for two plugs from Rosenfeld. One for his book, My Medicine: How I Convinced My Government to Provide My Marijuana and Helped Launch a National Movement (www.mymedicinethebook.com). Buy it?

The second is for himself. Anyone need a stockbroker with experience in battling the US government?

“The expertise I used to take on the federal government is the same expertise I use in my business,” Rosenfeld assures me before we hang up. “If you want that expertise, you should hire me as your broker. If you don’t, then have a good life.”

Together forever

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arts@sfbg.com

FILM It’s hard to imagine taking on the controversial subject of genre-defying performance artist and musician Genesis Breyer P-Orridge and finding a hitherto-unexploited angle of approach — but Marie Losier’s delicate filmic collage of an artist as an elder pandrogene is full of whimsy and surprise. Losier’s portraits in film of other counter-culture figures, most notably both Mike and George Kuchar, helped shape her into the ideal candidate to tackle filming P-Orridge and her late, great life partner, Lady Jaye Breyer P-Orridge, over the course of several years, documenting their partnership and their pandrogeny project for posterity.

SFBG There’s a whole backstory about how you two met, that you stepped on Gen’s foot at a party, but how did the relationship develop from there?

Marie Losier It was immediate in the sense that I had seen Genesis reading poetry and songs with Thee Majesty [the night before]. I was kind of shy, and I said, “I really loved what you did,” and she looked at me with her big smile and her gold teeth appeared — and I was like, “Wow, that’s beautiful!” And we just spoke shortly but it was very tender and I felt it was very unusual because of the coincidence of timing, and she said, “You can write to me,” and gave me her card, and I emailed her. That was the beginning, for me, of a great adventure. I had no idea about the pandrogeny project except that I was discovering [Genesis and Jaye’s] resemblance and their love, and that’s when I started filming, without knowing that this would become the main subject.

SFBG How much of the film is your footage?

Losier The only archival footage was this tiny minute of William Burroughs, one minute of Gen in Throbbing Gristle, and this really great footage of Coum Transmission where Gen is really young. Then, the archive of [P- Orridge’s children] Genesse and Caresse singing “Are You Experienced?”, and a little tiny image of Jaye performing when she was much younger in New York City.

SFBG That moment when they are in the alley, dressed up in leather, and Gen has the little Hitler mustache?

Losier Sorry, yes, this is footage that Bruce LaBruce gave me. That was interesting because I would not have staged that, but it showed Jaye in a way that I didn’t have.

SFBG One thing that strikes me is that there’s quite a large chunk in the middle in which Jaye does not appear. I wonder if you had originally intended to interview her more about her past and her art? Losier Yes, but Jaye was a lot more shy, or a lot more fleeting in front of the camera, so I spent more time, in a way with Gen. But even if you don’t see her as much in the film, she’s very present. S/he never dies because even to the end she’s still there, and also you feel her in the atmosphere all the time through the film. But it’s true I had less footage of Jaye, and it was only when s/he passed away that I realized I didn’t have enough to make her own full story, but in a way that also made sense. She was very kind but also kind of wild, more secretive than Gen, so it also corresponded to her personality.

SFBG Were you ever intentionally trying to go for a cut-up feeling or technique while you were filming the film, or trying to shape it?

Losier To be totally honest, it’s really the way I edit. If you see my short films, they are all made this way because they are all shot with non-sync sound, 16mm, three-minute rolls of film … so it’s already a collage. I also always mix between the surreal aspect of tableau vivant, and the construction of daily life. I think with Gen and Jaye I found the symbiosis of the perfect cut-up couple to match how I work, and how I build a story.

Check out Pixel Vision for an extended version of Nicole Gluckstern’s interview with Marie Losier and film subject Genesis Breyer P-Orridge.

THE BALLAD OF GENESIS AND LADY JAYE opens Fri/9 in Bay Area theaters.

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Schedules are for Wed/7-Tues/13 except where noted. Director and year are given when available. Double features are marked with a •. All times p.m. unless otherwise specified.

BAY THEATER Aquarium of the Bay, Embarcadero at Beach, SF; www.oceanfilmfestival.org. $8-12. “San Francisco Ocean Film Festival,” films about and inspired by the oceans, Thurs-Sun.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, SF; www.wesurge.org. “Social Uprising, Resistance, and Grassroots Encouragement (S.U.R.G.E.) Film Festival,” social justice films and script readings, Thurs, 7-11.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Manhattan (Allen, 1979), Wed, 3, 7, and Welcome to L.A. (Rudolph, 1976), Wed, 4:55, 8:55. San Francisco International Asian American Film Festival, Thurs and Sun. For tickets and program info, visit www.caamedia.org. “Midnites for Maniacs: Grunge Love Triple Bill:” •Reality Bites (Stiller, 1994), Fri, 7:15; My Own Private Idaho (Van Sant, 1991), Fri, 9:30; and Freeway (Bright, 1996), Fri, 11:30. Triple-feature, $12. Children of Paradise (Carné, 1946), Sat, 2:30, 7:30. My Week with Marilyn (Curtis, 2011), Tues, 2:30, 4:45, 7, 9:10.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Chico and Rita (Trueba, 2010), call for dates and times. Crazy Horse (Wiseman, 2011), call for dates and times. “2012 Oscar Nominated Short Films,” narrative and documentary (separate admission), call for dates and times.

ELMWOOD 10070 San Pablo, El Cerrito; www.rialtocinemas.com. Free. “Community Cinema:” Revenge of the Electric Car (Paine, 2011), Wed, 7.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema, Film, and the Other Arts:” Throne of Blood (Kurosawa, 1957), Wed, 3:10. With lecture by Marilyn Fabe. “Documentary Voices:” Le Quattro Volte (Frammartino, 2010), Wed, 7. “Dark Past: Film Noir by German Emigrés:” High Wall (Bernhardt, 1948), Thurs, 7. San Francisco International Asian American Film Festival, Fri-Sun. For tickets and program info, visit www.caamedia.org. “Howard Hawks: The Measure of Man:” The Big Sleep (1945), Tues, 7.

PALACE OF FINE ARTS 3301 Lyon, SF; rei.com/sanfrancisco. $20. REI presents films from the Banff Mountain Film Festival, Wed-Thurs, 7-10. Proceeds benefit GirlVentures.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Straight Outta Hunters Point 2 (Epps, 2012), Wed-Thurs, 7. Pariah (Rees, 2011), Wed-Thurs, 8:45. “Hollywood Before the Code: Nasty-Ass Films for a Nasty-Ass World!:” •The Story of Temple Drake (Roberts, 1933), Wed, 6:30, 9:45, and Call Her Savage (Dillon, 1932), Wed, 8; •The Black Cat (Ulmer, 1934), Thurs, 6:40, 9:45, and Kongo (Cowan, 1932), Thurs, 8. Lou Harrison: A World of Music (Sotes, 2012), March 9-15, 7, 8:50 (also Sat-Sun, 3:15, 5).

SF FILM SOCIETY CINEMA 1746 Post, SF. “San Francisco Green Film Festival,” features and shorts with environmental themes, Wed. This event, $10-50; more info at www.sfgreenfilmfest.org.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Human Rights Watch Film Festival:” Better This World (Galloway and Duane de la Vega, 2011), Thurs, 7:30. San Francisco Cinematheque presents: “Jaap Blonk: Soundtracks, Scores, Interactive Animations, ” Fri, 7:30. This event, $10.