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Ed Lee’s challenges

Andrew Lam
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2

EDITORIAL Mayor Ed Lee has always talked about bringing the city together, about avoiding division and harsh conflict. And how that he’s won a four-year term, he’s going to have to address a wide range of city problems that in the past haven’t responded well to consensus and compromise.

He’s going to have to do it in the wake of an election in which the centrist candidates all finished low in the pack — and the strongest progressive actually won more votes than anyone else on Election Day. And his victory comes at a time when there’s more concern over economic inequality than this country has seen since the 1930s — represented most visibly by the large and growing OccupySF encampment.

The mayor received huge financial support — in the hundreds of thousands of dollars — from some of the same people and businesses that the Occupy movement is targeting. Some of his campaign contributors have an conservative economic agenda that’s way to the right of the center of San Francisco politics. And some of his closest allies (and strongest supporters) are, to put it kindly, ethically challenged.

So it’s not going to be easy for the mild-mannered mayor to lead the city — and if he wants to be successful, he needs to work with and not ignore the left.

There are a few critical steps that would show the people who opposed him that he’s not a captive of big-business interests and that he can be trusted:

1. Appoint a real progressive to Sheriff-elect Ross Mirkarimi’s District Five supervisorial seat. If Lee is really a mayor who’s above petty politics, the chief criterion for the appointment shouldn’t be loyalty to Lee.

District Five supported Avalos over Lee by a solid margin (in the Haight, Avalos got twice as many votes as Lee). The district has been represented by two people, Matt Gonzalez and Mirkarimi, both of whom were elected as Green Party members. It’s almost certainly the most left-leaning district in the city, and deserves a supervisor who represents that political perspective. Most of the qualified people who fit that description supported a candidate other than Ed Lee for mayor.

2. Don’t send the cops to roust OccupySF. The movement has support all over the city and is making an historic statement. It’s probably the most important political demonstration in San Francisco since the 1960s. A mayor who has any shred of a progressive soul should recognize that the most important issue facing this city and this nation is the wealth and income gap and help OccupySF make its voice even louder.

3. Present a plan for more than a “cuts only” budget. Yes, the sales tax measure lost, putting a hole in the city budget, and yes, it will be a year before a credible new revenue measure can go on the ballot. But now is the time to start bringing people together to look at what comprehensive tax reforms might be more appealing than a regressive sales tax.

4. Don’t give away the city to the One Percent. A developer wants to build 160 condos for the very, very rich on the waterfront at 8 Washington. Mayoral ally Rose Pak supports the project. It’s about as blatant an example as possible of something that only benefits multimillionaires, and it will be one of the first major land-use decisions Lee will have to grapple with. Making his opposition clear would demonstrate his independence.

5. Run an open administration. Both previous mayors, Gavin Newsom and Willie Brown, were openly hostile to the press, hostile to open government and supremely arrogant. Lee has a different personal style — and he ought to show that he respect the Sunshine Ordinance by directing his departments to abide by the rulings of the Sunshine Task Force.

That’s what good government would look like.

Alerts

Andrew Lam
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0

alert@sfbg.com

WEDNESDAY 16

Confront the UC Regents

Editor’s Note: The UC canceled this meeting as we were going to press, citing public safety concerns, and protest organizers were figuring out how to respond. Check our Politics blog or www.makebankspaycalifornia.com for the latest.

The UC Board of Regents will be meeting at the UCSF Mission Bay Campus at 10 am, and students have been organizing for months to make their voices heard. The message: stop tuition hikes, budget cuts, and privatization of public schools; tax the 1 percent.

ReFund California and the Northern California Convergence will join up with OccupySF and Occupy encampments being set up on various college campuses this week to “Shut down the UC Regents meeting and take control of our education and our future.” ReFund California is also threatening to march on the Financial District to shut down banks if the Regents don’t support their five-point pledge of action (see “The growing 99 percent,” 11/9).

OccupySF will be marching from their encampment at Justin Herman Plaza (Market and Embarcadero) to the Mission Bay Campus starting at 7 am. UC Berkeley students can board a ReFund California bus at 7 am at Bancroft and Telegraph in Berkeley.

10 a.m., free

UCSF Mission Bay Campus

1675 Owens, SF

(650) 238-4821

www.occupyed.org

makebankspaycalifornia.com

occupyoureducation@gmail.com

rose.goldman@gmail.com

 

THURSDAY 17

Changing Congress

San Francisco Progressive Democrats of America hosts a discussion with Norman Solomon, a prolific progressive political writer who is running for Congress to replace retiring Rep. Lynn Woolsey (D-Marin), a member and former chair of the Congressional Progressive Caucus. The event opens the floor for questions and concerns regarding future legislation.

7-9 p.m., free

Harry R. Bridges Memorial Building, ILWU, 4th Floor

1188 Franklin, SF

sig4re@comcast.net

www.pdamerica.org


SATURDAY 19

Addiction & Society

Our capitalist society may be to blame for our addictive tendencies and obsessive consumerism. Dr. Gabor Mate, an author and physician who focuses on mental illness, explains how our market economy drives us crazy and leads us down a path toward dependency. Speak Out Now’s colloquium event will help listeners connect the dots between two of our country’s most prevalent concerns.

5-7 p.m., $2 suggested donation

South Berkeley Senior Center 2939 Ellis, Berk.

contactspeakout@gmail.com

www.speakout-now.org


MONDAY 21

“Gay Politics in Africa”

Beyond our own shores, homophobia persists to infiltrate government and subjugate people with leaders who use religion and law as instruments to thwart the freedom of sexual expression. Dr. Sylvia Tamale, renowned African feminist, analyzes the Ugandan Anti-Homosexuality Bill and opines on the roots of homosexual suppression in Africa and Western societies.

6- 7:30 p.m., free

Berman Hall in the Fromm Building, USF Golden Gate and Parker, SF

510-663-2255

priorityafrica@priorityafrica.org

www.priorityafrica.org

Visual wizard

Jesse Hawthorne Ficks
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0
Visual wizard

arts@sfbg.com

FILM Having brought life to a host of magical creatures and creations in movies including the original Star Wars trilogy, Jurassic Park (1993), RoboCop (1987), Starship Troopers (1997), and more, special effects legend Phil Tippett’s film credits span more than three decades and counting.

Fans of his work and films are in for a special treat Thursday and Friday, when Tippett will be appearing at the Pacific Film Archive in Berkeley as part of its “Behind the Scenes: The Art and Craft of Cinema” series. Tippett, who was born and raised in Berkeley, will give an illustrated talk, screening film clips from a variety of films that influenced him, then move on to cover his career, showing more clips and behind-the-scenes photos, and sharing personal anecdotes about working on different projects.

“King Kong came on television in 1955, when I was 4 years old, and my brain just couldn’t even comprehend what I was seeing. I guess parents didn’t care if kids watched stuff that freaked them out back then,” Tippett laughs.

“Then when I was seven, in ’58, I saw The 7th Voyage of Sinbad — it just totally knocked my socks off. I was never the same after that. It was like a lightning bolt had hit me, and over the years I just tried to figure out what that was that I was looking at, because it was just mesmerizing,” he remembers. “There weren’t really the trade periodicals and journals that they have today. The only thing we had was Forry Ackerman’s Famous Monsters of Filmland.”

Tippett religiously read the magazine, and eventually befriended Ackerman, who in turn introduced the budding filmmaker to Ray Harryhausen, the legendary stop motion animation pioneer who had worked on The 7th Voyage of Sinbad. Tippett went on to hone his stop-motion skills without the benefit of a formal education, gleaning what he could while offering to help out others already in the industry.

“I never took any film or animation classes or anything like that, but found the people that did, and availed myself to them — you know, throw some hay down in the back room somewhere and I’ll sleep there and help you out,” recalls Tippett. “I was just lucky, being in the right place at the right time.”

Although he remains humble, Tippett has created some of the most iconic images and scenes in modern movie history. Some of his most recognizable work includes the Imperial AT-AT Walkers and Tauntauns from 1980’s The Empire Strikes Back, the design of Jabba the Hutt in 1983’s Return of the Jedi, the ED-209 from Robocop, and several dinosaurs from Jurassic Park. Tippett has run his own studio based in Berkeley for the last 25 years, and is still very active in the movie business, with his company being involved with the production of current films such as Immortals, which came out last week.

Although the industry has largely shifted from stop motion animation to computer animation, and Tippett Studios is at the top of the game in that realm, Tippett himself still prefers the classic, old-school method to movie magic making.

“It’s the whole craft — it’s some kind of weird alchemy,” says Tippett. “You are just looking for this thing that’s always elusive and you always surprise yourself in what you find.”

“BEHIND THE SCENES: THE ART AND CRAFT OF CINEMA: PHIL TIPPETT, SPECIAL EFFECTS MASTER”

Thurs/17-Fri/18, 7 p.m., $5.50–<\d>$9.50

Pacific Film Archive

2757 Bancroft, Berk.

(510) 642-5249 bampfa.berkeley.edu

Let’s get lost

Jesse Hawthorne Ficks
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0
Let’s get lost

FILM Dragonslayer tags along with Josh “Skreech” Sandoval, a Fullerton, Calif. skater celebrated for shredding pools and living a vagabond’s life. First-time director Tristan Patterson fronts with the kind of side-winding portraiture that prizes sensory impressions instead of back-story, but whittle away Dragonslayer‘s loose ends and you end up with an unremarkable lost generation romance, a Bonnie and Clyde with lower stakes. If Dragonslayer‘s Sundance awards and Christine Vachon executive producer credit are any indication, Patterson’s combination of familiar character packaging and cool reality effects has already been a lucrative one.

The film meets Skreech at 23: he’s turned his back on sponsorship gigs and a romance that produced a son (no trace of the mother here). In an arbitrarily defined chapter structure, Skreech investigates freshly abandoned pools, squats in a friend’s backyard, shows off his medical marijuana license, and cracks tallboys in Southern California’s magic light. He’s stunned by a pretty girl’s red lipstick and fades into a relationship with her (it takes a while before the movie treats her as anything more than scenery). He takes a few earnest stabs at fatherhood and rehearses his principles of no principles to the soundtrack’s well-stocked bangs.

There are a few genuinely poignant moments — Skreech’s taking a call from his estranged mother in a bus full of punks — but in general Dragonslayer is too caught up in its own glossy reverie to register emergent emotions. Patterson’s tendency to use editing as dramatic shorthand is evident in an early sequence of Skreech muffing a skate contest abroad: repeated shots of Skreech wiping out are cut with the eventual winner’s triumphs and then back to our hero’s defeated expression. Arranged in the foregone style of reality television, the actual event is given no room to breathe. This kind of telescoping becomes even more calculating when Patterson treads into Skreech and Leslie’s garbled romance. Patterson seems eager to place the movie in the tradition arty wasted youth pics (take your pick), but Dragonslayer‘s riskless form makes like Real Skaters of Orange County.

Skreech’s interesting face is the only thing that counts. Like a punk Giacometti, he appears very differently from one angle to the next. His rotating hairstyles and t-shirts provide visual fizz, and he’s also good for sweetly stoned bits of dropout philosophy. With all that said, it’s difficult to imagine Patterson pulling off the same frictionless portraiture with one of the punks squatting in Oscar Grant Plaza — someone, that is, who would necessitate difficult editorial decisions. I didn’t love Matthew Porterfield’s 2010 Putty Hill — another portrait of lost youth with plenty of other elements in common — but its canny diffusion of grief and formally inscribed layers of knowledge make for an instructive comparison with Dragonslayer‘s shallow depths. The filmmaker’s hand is both invisible and inescapable in Dragonslayer, its main purpose to score the artistic equivalent of a contact high.

After inking Skreech with a tribute to his son, a tattooist speaks wistfully about how the young man’s wild style hearkens back to the days before skateboarding was another ESPN sport. For his own part, Skreech listens to the Germs when he’s cruising Fullerton with his infant son. There’s an interesting question of punk nostalgia lurking here, but Dragonslayer is too caught up banking a pretty picture to address it.

DRAGONSLAYER opens Fri/18 at the Roxie.

Blue Hawaii

Jesse Hawthorne Ficks
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0
Blue Hawaii

arts@sfbg.com

FILM Alexander Payne turned 50 this year, and surely ranks somewhere on the list of American directors (and scenarists) whose efforts are counted on as a reliable plus. Yet he’s only been at it for 15 years, making just five features — a decent number, until you realize it’s been seven years since the last one. By contrast, since 2004 Woody Allen has made eight features, a couple his best in some time. Still, not one of those is as good as Sideways.

Like all Payne’s films save 1996 debut Citizen Ruth, The Descendants is an adaptation, this time from Kaui Hart Hemmings’ excellent 2007 novel. It’s the kind of book whose story scale is ideal for a movie — nothing important need be cut — even if its very literary pleasures of tone, style, and voice might resist translation.

Matt King (George Clooney) is a Honolulu lawyer burdened by various things, mostly a) being a haole (i.e. white) person nonetheless descended from Hawaiian royalty, rich in real estate most natives figure his kind stole from them; and b) being father to two children by a wife who’s been in a coma since a boating accident three weeks ago. Already having a hard time transitioning from workaholic to hands-on dad, Matt soon finds out this new role is permanent, like it or not — spouse Elizabeth (Patricia Hastie, just briefly seen animate) will not wake up, and her living will requires life support end should such a circumstance arise.

The Descendants covers the few days in which Matt has to share this news with Elizabeth’s loved ones, mostly notably Shailene Woodley and Amara Miller as disparately rebellious teen and 10-year-old daughters. (Also notable, for less poignant reasons, is Robert Forster as the wife’s obnoxious, bullying, blindsided father.)

Meanwhile, there is the inconvenient and pressing business of 25,000 inherited Kauai acres — a last great chunk of unsullied “paradise” — which most of the extended King clan want sold to a big developer for a cool half billion bucks. Matt’s reluctant status as primary trustee makes him appear like the very definition of haole greed, even if his family’s roots go back here 150 years.

Last, there’s the unpleasant discovery that the glam, sporty, demanding wife he’d increasingly seemed “not enough” for had indeed been looking elsewhere and found it, in a casting surprise I’ll leave unspoiled.

The novel’s sly, self-deprecating wit is posited as Matt’s own. Reading it, Paul Rudd seemed a perfect choice. When has George Clooney suggested insecurity enough to play a man afraid he’s too small in character for a larger-than-life spouse? But dressed here in oversized shorts and Hawaiian shirts, the usually suave performer looks shrunken and paunchy, like any middling h.s. athlete turned desk jockey; his hooded eyes convey the stung joke’s-on-me viewpoint of someone who figures acknowledging depression would be an undeserved indulgence. Clooney has only fairly recently become as much an actor as a movie star. He’ll probably never have great range. But if this is his Oscar turn, we could all do a lot worse. (Such as Leonardo DiCaprio’s J. Edger Hoover, the showy-miscasting antithesis to nuanced understatement.)

Payne’s film can’t translate all the book’s rueful hilarity, fit in much marital backstory, or quite get across the evolving weirdness of Miller’s Scottie — though the young actors are fine, not least Nick Krause as Sid, the boorish yet useful teenaged tool Woodley’s Alex insists on bringing along as an ally.

These are small quibbles, anyway. The Descendants is hardly The Tree of Life — yay — but its reined-in observations of odd yet relatable adult and family lives are all the more satisfying for lack of grandiose ambition. There are moments here when Payne’s restraint itself is a thing of beauty, like a discreet late cut to some landscape shots where shameless tearduct-milking would normally go. The oil-and-water seriocomedy of a well-intentioned recent movies like 50/50 reveals how tricky this director’s customary feat really is, of making the serious and the comic blend together seamlessly.

THE DESCENDANTS opens Fri/18 in San Francisco.

Peeping tomato

Jesse Hawthorne Ficks
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0

le.chicken.farmer@gmail.com

CHEAP EATS The wind blew our giraffe over. Technically, it’s the neighbor’s giraffe: a fantastic yard sculpture made of tin and holes in tin. But we look out our bedroom window at it. At night, it casts a shadow on our shades. So we consider it ours, too.

Another thing the neighbors have that I covet is a neglected cherry tomato plant, just exploding with clusters and clusters of perfectly ripe tomatoes. I spend a lot of time at our kitchen sink, my hands raisinating in warm, soapy water, just looking out the window at this plant and imagining salads and sauces.

It’s Oakland! There are tomatoes in our yard, too, and our landlordladyperson has kindly welcomed us to them, so we have plenty. But I am a poacher by nature. I pretty much grew up in a state of constant trespass. No lie: as often as possible, I slept in the woods and ate lunch in trees. And while many of the acres that I habitated belonged to my grandparents, most did not.

I love how Mountain Sam, my northerly kindred spirit, refers to certain walnut trees that he harvests as his walnut trees. He has apple trees, persimmon trees, and plum trees too — none of which are on his property. But they’re his. I wouldn’t be surprised if he has a secret stash of cows somewhere.

Of course, Mountain Sam is a Native American Injunperson, so he may have a more legitimate claim to his various steaks than I do. Nevertheless, I’d been threatening since we moved in here to go over the wall. Under cover of night — but only because it sounds good to say so.

I rarely see my neighbors in their beautiful yard, or even looking out their windows at their beautiful yard. And — not that I keep a constant vigil — but I’ve never once seen them eat a tomato.

Meanwhile, tomatoes and tomatoes just hang there, perfectly ripe. And the giraffe blows over in the wind.

But if ever a person’s personality was defined by the air-freshener hanging from the rear-view mirror of their car, that person is Hedgehog. It’s lost its smell entirely. The picture is of a beautiful woman holding a beautiful tomato next to her sweet, smiling face. The words are: YOU SAY TOMATO, I SAY FUCK YOU.

Point being that a couple weeks ago when I said “Fuck you, Just For You,” and this paper edited it to just “Just For You,” that pissed Hedgehog off.

“Where the fuck did the fuck go?” she said when she read that particular work of art for the second time, this one in the paper.

A couple days later she asked, out of the blue, “Hey, did you ever ask your editor about that fuck?”

“Yeah,” I said. “He said to tell you, Tomato.”

Right across the street from my new favorite restaurant (that I accidentally keep forgetting to write about) is my new favorite restaurant, Thai Time. I can’t tell you where it is, or you’ll know what’s across the street.

Anyway, first time I went there was with Hedgehog, after having a balance test. Which is a story unto itself. Suffice to say: in order to try and figure out what’s making you dizzy, they make you very dizzy.

So my appetite was less than healthy to begin with. To boot, the little shoe repair shop next door was just then having some kind of a glue explosion. The smell was everywhere — on the sidewalk, in the doorway, and (gasp) even inside my new favorite restaurant. I was in no condition for strong industrial-style smells. In fact, although they had duck noodle soup on the menu, I couldn’t imagine eating it with the door open.

They were kind enough to close it for me, but still I only ordered a bowl of plain rice noodles, and Tom Yum minus mushrooms. It was fantastic. Hedgehog got a lunch combo. We were both happy, but my favorite thing was how happy the people working there were. Joking and laughing in the kitchen . . . a true cute little cozy little ma-and-pa-style joint.

With good food. Including the duck soup, which I sneaked back for a few days later.

THAI TIME

Sun., Tue.-Thu. 11:30 a.m.-10 p.m.; Fri.-Sat. 11:30 a.m.-10:30 p.m.

315 8th Ave., SF.

(415) 831-3663

AE/MC/V

Beer and wine

 

Contemplating Appetite

Jesse Hawthorne Ficks
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1
Contemplating Appetite

virginia@sfbg.com

APPETITE My adventures in food and drink have been the subject of my SFBG Appetite column for nearly three years online at SFBG.com. As of last month, you now also find me in print every week. Many have asked where I am going with this column — some expecting a formal weekly review, others a mix of subjects and directions. The latter is true. I cannot replace former Guardian food critic Paul Reidinger’s eloquence and decades-long experience as a food writer (and I’m glad to say we will continue to hear from him in various articles). I take this opportunity to explain where I’ve come from and my philosophy in covering the edible world.

First and foremost, I bring to the table passion. From mostly Italian and German stock, I’ve eaten heartily since early childhood in Oklahoma and Missouri, 16 total years of my youth in Southern California and New Jersey (just outside LA and NYC respectively), and travel over five continents. As an incessant reader and writer since girlhood, books first opened me up to the world, though I dreamed of having my own adventures to write about. Moving to San Francisco a decade ago, I was wowed not only by its unique, radiant beauty, but by the consistent quality of food, spending spare dollars eating out constantly. Though SF wasn’t the immediate love affair for me New York was, it is a love that has only increased each year, the home I would happily end up in. This city still takes my breath away.

Patricia Unterman’s original San Francisco Food Lover’s Guide was my food bible in those early days. I connected with her quest for the authentic, no matter the cuisine. I ate my way through neighborhoods, marking up her book (and all my dining guides) until I had been to every single restaurant, market, and bar in its pages. Eventually, requests asking me where to go and what to eat reached a fever pitch, so my husband (and partner in taste and travel) helped create my own humble website, The Perfect Spot, to share my reviews and finds. I’ve been sending out a bi-weekly newsletter for nearly four years based on my writings for the site. I also write for an ever-increasing number of magazines and websites.

“Diet,” “lowfat,” and “hold the cream” are words you’ll never hear me say. My hunger for food as adventure means I make it a goal to have no food prejudices. Many say, “I’ll try anything once,” but my philosophy is to keep trying anything I don’t like until I do. The food may not have been prepared properly; it was perhaps of poor quality; maybe the palate wasn’t quite ready for it — dishes still deserve to be known at their best. I spent years trying to overcome my aversion to uni (sea urchin), for example. Eating chef David Bazigran’s brilliant uni flan at Fifth Floor early this year was a revelation. I realized it was uni’s texture, not its of-the-sea flavor, turning me off. I’ve enjoyed uni ever since, though only when ultra-fresh. From personal experience, I know one can change one’s abhorrence of a food, and in so doing expand one’s horizons another inch, uncovering another of life’s simple delights.

Sometimes fear arises around unfamiliar foods — and the unfamiliar in general. Without variety and a vast range of expression, the world loses it color — and its joy. While sameness can be comforting (and there’s a time for that), it is entirely boring. To go through any part of life bored or complacent is simply lazy. As with music or books, one can discover unknown lands with a few new ingredients, enlivened by the hands of a gifted, caring chef. Whether food cart or fine dining, there’s no reason to settle for mediocrity, not with the unreal produce, vision, and talent surrounding us.

Internationally, I’ve fallen in love with black pudding in Ireland, extreme spice in Thailand, Tyrolean food in the Italian Alps. I’ve explored wine chateaus in Bordeaux, agave fields in Mexico, gin distilleries and cocktail labs in London, whisk(e)y houses in Scotland and Ireland. I’ve frequented restaurants, coffee havens, bars, chocolate shops, farmers markets everywhere. I sample obsessively and comparatively. Rather than one single review, I prefer to cover a mixture of highlights in any given week. I’m opinionated, yes, but don’t care much for snark, flippancy, or jadedness. Though honest assessment is crucial, rather than rip apart the few not doing it well, I’d rather focus on the many having fun with or perfecting their craft.

My “holy trinity” of US cities for food and culture, though, consists of New York, New Orleans, and San Francisco. Travel is one of life’s greatest gifts, yet when I cannot afford to go, I am able to travel in my own city. Authentic foods transport me back to the place in which that food was illuminated — anchovies on the coast of Italy, bastilla in Morocco, Creole cream cheese in New Orleans, or bahn mi in Vietnam. It helps to live in a place as international and cosmopolitan as SF. But even in nondescript towns, I uncover gems. The hunt is a key part of the thrill.

Besides travel, you’ll notice I also write about drink… a lot. Whether coffee, spirits, and cocktails (my first love), wine and beer (the ultimate food accompaniments), my knowledge of drink grows along with the culinary. Even at 21, I wanted a grown-up atmosphere in which to imbibe, detesting noisy, crowded “scenes.” Drink, for me, is similar to food: it’s about quality, artistry, and adventure, not buzz or quick consumption. A memorable meal isn’t complete without the right sip to begin, pair, or end with.

As with food, Northern California was instrumental in furthering my taste for fine drink, though global explorations have shaped my standards of comparison. It started with cocktails years ago as SF (and, of course, NYC) lead the way in reviving classics, and creating experimental, culinary drinks. The artistry and history behind these drinks intrigued me, connecting to my Old World, retro, jazz-loving self.

Delving into cocktails inevitably led to my great love of craft spirits, many of our country’s trailblazers and innovators being based right here. (Thank you, St. George, Charbay, Germain-Robin, Anchor Distilling, et. al.) Our local Wine Country and craft beer pioneers like Fritz Maytag likewise have shaped the world, while local personalities such as Kermit Lynch and Rajat Parr in the wine realm are experts on global glories in drink.

What makes a great meal? Service, setting, and, of course, food are crucial. Ultimately, I see eating as a communal ritual. A thoughtfully-prepared meal surprises and nourishes the body and spirit. We engage (or should — put those cell phones away!) over a meal, reflect on our day, truly taste, actually look at and listen to each other. Expect me to share with you the best tastes and backdrops from these moments.

While I don’t expect our tastes to be the same, I do look forward to embarking on delicious adventures together throughout the food realm. *

BEST NEW OPENINGS OF 2011

In the spirit of ushering in my print column, I recap the year with my list of 2011’s best new openings, realizing we still have a few weeks worth of openings left:

CASUAL

Wise Sons Deli www.wisesonsdeli.com. Although not getting a brick and mortar location until 2012, this pop-up deli (every Tuesday at the Ferry Plaza) was one of the year’s great new delights, filling a gaping vacancy of quality Jewish food with excellent babka, bialy, and corned beef.

Hot Sauce and Panko 1545 Clement, SF. (415) 387-1908, www.hotsauceandpanko.com. With an impressive array of hot sauces from around the world, addictive chicken wings in a crazy range of sauces (tequila-chipotle-raspberry jam!), this quirky take-out also has a hilarious blog.

Mission Cheese 736 Valencia, SF. www.missioncheese.net. Mission Cheese serves not only lush cheeses and wines, but some of the best grilled cheese sandwiches around in a chic cafe setting.

MID-RANGE

Bar Tartine 561 Valencia, SF. (415) 487-1600, www.bartartine.com. Though not a new opening, I refer to the complete revamp and Eastern European-influenced menu under chef Nick Balla that happened this year. Unusual dishes, Hungarian and beyond, and Balla’s impeccable technique make this menu unlike any other.

Boxing Room 399 Grove, SF. (415) 430-6590, www.boxingroomsf.com. It’s refreshing to get some New Orleans breezes in SF from a Louisiana chef making his own Creole cream cheese and frying up fresh alligator.

Nojo 231 Franklin, SF. (415) 896-4587, www.nojosf.com. We’ve had a glut of izakayas open over the past few years, but this one stands above in warm, hip atmosphere and consistently delightful food.

Park Tavern 1652 Stockton, SF. (415) 989-7300, www.parktavernsf.com. From the owners of Marlowe, this immediately feels like the buzzing destination restaurant of Washington Square Park for satisfying American food with gourmet edge.

Jasper’s Corner Tap 401 Taylor, SF. (415) 775-7979, www.jasperscornertap.com. All things to all people: comfortable meet-up spot with perfect cocktails, craft beers and wines aplenty, and the food is consistently heartwarming.

 

Her way

Jesse Hawthorne Ficks
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4
Her way

arts@sfbg.com

DANCE Early in the 20th century, Ezra Pound declared “the artist is the antenna of the race.” True or false? Do artists have the ability to predict the future, or are they stuck in the present?

Krissy Keefer, artistic director of Dance Brigade and Dance Mission Theater, tends to side with Pound. While she wouldn’t go as far as writer-performer Guillermo Gómez-Peña, who considers the artist a shaman, she does think that “there is something about the artistic process that opens your brain to see into the future, to see things happening before they actually happen.”

This weekend Keefer and her troupe are celebrating the 35th anniversary of Dance Brigade and its antecedents the Wallflower Order. The performances, all with free admission, include a retrospective of works spanning the last three decades, plus the 2009 Great Liberation Upon Hearing, based on the Tibetan Book of the Dead; Keefer created the work after losing two close friends within the same year.

Women taking charge of their own fate may not be news today, but in 1975, Wallflower’s five female warriors were pioneers. The turmoil of the post-Vietnam era and the rise of feminism had created a climate in which audiences hungered for dance that spoke to their lives. Many of them were women. The company was made up of contentious women, strong dancers, committed activists. They were not about to be stopped, much like their “grandmothers” Isadora Duncan and Martha Graham or, in terms of politics, the characters in 1964 Chinese ballet The Red Detachment of Women.

Most remarkably, Keefer’s commitment to make art addressing issues that matter has not waned — she’s as ready as ever to mount the barricades and make her voice heard through art. In retrospect, it is surprising how much of her past work was highly prescient.

She recently called my attention to my reservations about her having drenched one section of the 2002 Cave Women in images of extreme destruction and war. (At the time, the bloodiness seemed over the top). Almost immediately, all hell broke loose in Afghanistan and the Middle East. Revolutionary Nutcracker Sweetie, a huge success from 1987-1997, features one-percenters the McGreed family, an abused undocumented servant in Clara, and a homeless Sugar Plum Fairy. Issues that were under the radar at the time have become headlines.

Appearing in Nutcracker — with an excellent, Tchaikovsky-based score by jazz composer Mary Watson — were then-little-known artists like Axis Dance Company and aerial dance pioneer Terry Sendgraff; Keith Hennessy played the McGreed’s renegade son.

For all her predilection for “making art that includes themes of social responsibility and dealing with real situations with real people,” Keefer is also very much a creature of the theater. The work has to stand on its artistic feet, perhaps not surprising for a woman who trained as dancer at age six — long before she knew what she wanted to dance about.

The 2005 Dry/Ice, a look at the effects of global warming, for instance, was a commission from the San Francisco International Arts Festival. Now who else, except someone who besotted by the stage, would lug a cast-iron bathtub, weighing over 300 pounds, into Theater Artaud for two performances? “I just wanted to do something about the environment,” she recalls. (Al Gore’s An Inconvenient Truth came out the next year.)

In the 2004 Spell, a collaboration with Hennessy, Keefer became a raging goddess-witch figure doing an exorcism for peace and economic justice. It was a power performance that, given the lives many people have today, probably would play well in the suburbs.

Keefer also takes her social activism outside the theater. In 2000, when she felt that the criteria for acceptance to the San Francisco Ballet School were unjustifiable — based on the experiences of her daughter, eight years old at the time — she complained loud and clear. It started discussions about the female dancer’s body at the time when academics had barely touched the subject. In 2006, she was so furious about the country’s priorities that she ran for Congress. Of course, she knew that she wouldn’t win — but she wanted to take a stand. Even her parents encouraged her to do so. “I can’t believe that I ran against Nancy Pelosi when she was poised to become Speaker of the House,” she laughs today.

Meditation has helped Keefer step away from anger, what she called her “habitual response” to injustice. The resolve was shaken, however, this past summer, when — coming back from a successful East Coast and Caribbean tour with Liberation — all the costumes (transported via Greyhound, the only shipping the company could afford) were stolen. “What can you do?” she shrugs. This Mother Courage of dance will just put her shoulder to the wheel a little harder. 

 

“FROM WALLFLOWER ORDER TO DANCE BRIGADE: A 35-YEAR RETROSPECTIVE CELEBRATION”

Fri/18-Sat/19, 8 p.m.; Sun/20, 2 p.m., free

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF www.dancebrigade.org

“MORE THAN THE SUM OF ITS PARTS:” LOCAL ARTS LUMINARIES TOAST DANCE BRIGADE

 

DANCE From Brady Street to Dance Mission and beyond, Krissy [Keefer] has been one of the true champions of our dance community, in no small part due to her own artistry. The spirit of her work is visually and musically rich, fundamentally diverse, and deeply committed to social relevance — attributes she’s manifested on so many levels in a long and vital career. Rob Bailis, Former Artistic Director, ODC Theater

In the dance ecology of the Bay Area, Dance Brigade, and especially Krissy Keefer, play such vital role. I can’t think of anyone else as fierce about what she believes in, what she cares about, and how she creates work to reflect those beliefs. In many ways she is our conscience when we might waver in the face of budget cuts and the endless struggle to get money to do work. Because she is so strong about this herself, I really count on her to keep us honest around our vision and our integrity of purpose. Kenneth J. Foster, Executive Director, Yerba Buena Center for the Arts

Krissy Keefer’s life energy is totally invested in professional, community-based, inclusive, and affordable feminist art. She has consistently supported women artists for over 30 years. It is no easy task to maintain an artistic vision and a financially secure organization, and to be able to deal with the high volume of traffic that is required to run a studio anywhere, much less in the most expensive city in the U.S. That piece of real estate at 24th and Mission has always been a port in the storm for the dance community. Mary Alice Fry, Artistic Director, Footloose Dance Company and Shotwell Studios

What makes Dance Brigade’s work special and important is how they take on the big issues facing the world and then find a way to make us laugh. Krissy Keefer is the Jon Stewart of the dance world! Krissy’s perspective, passion and tenacity are testament to the company’s longevity; that a Dance Brigade show dealing with war, greed, or even addressing violence towards women, can be entertaining is powerful. Krissy, in her wonderfully brash and focused manner, has the ability to remind us that we are citizen-dancers, that we need to participate, and that big messages, abstract dance and the hope for social change can happily co-exist on stage. Wayne Hazzard, Executive Director, Dancers’ Group

Dance Brigade’s legacy in the Bay Area is huge. By not allowing their company to become mainstream, they paved the way for alternate companies to see that there is a place at the table for work that is not shiny, slick and influenced by institutional homogenization. Dance Brigade has demonstrated by example that contemporary dance can be messy, political, and uncomfortable. By blurring the lines between politics and art, a whole new generation of politicized artists have been given permission to emerge and that has infused Bay Area dance with a lot of new ideas and energy. Joe Landini, Director, The Garage

Krissy and the Dance Brigade have been at the forefront of bringing political concerns into the theater. They have paved the way, both artistically and practically, for dozens of politically engaged artists who may or may not identify with their work. To me, Dance Mission is a physical embodiment of the importance of the Dance Brigade’s values of democracy. It’s not easy to separate the artistic and the community legacy of Dance Brigade’s work; it’s the combination that makes them so powerful. Jessica Robinson Love, Executive and Artistic Director, CounterPULSE

When Dance Brigade emerged in San Francisco in the mid-’80s as an outgrowth of the nearly-mythical Wallflower Order, they brought together a number of tendencies that were already percolating in the dance community: using dancers of widely varying body types, introducing world music (sometimes performed by the dancers), spoken word, and text narrative, circus and vaudeville tricks and, always, no-holds-barred political content. Dance Brigade inspired other companies to be braver through their example of what might be called gonzo feminist dance. Krissy and her dancers and collaborators took these disparate influences and turned them into powerhouse performances where the whole was more than the sum of its parts. Kary Schulman, Director, Grants for the Arts. (Compiled by Rita Felciano)

Rank complaints

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steve@sfbg.com

Even before all the votes had been cast on election day, the two most conservative members of the San Francisco Board of Supervisors proposed a ballot measure to repeal the city’s ranked-choice voting (RCV) system, prompting all the usual critics of this voter-approved electoral reform to denounce it as confusing and undemocratic.

Those same two supervisors, Sups. Sean Elsbernd and Mark Farrell, were also the ones who unsuccessfully pushed for a weakening of the public financing system last month, changes that will likely be wrapped into discussions in the coming weeks over how elections are conducted in the city. And progressive supporters of both systems warn that district supervisorial elections will probably be the next target of this concerted push to roll the clock back on electoral reforms in the city.

"The [San Francisco] Chronicle and the [San Francisco] Chamber [of Commerce] have been at it from day one," Steven Hill, who helped crafted both the RCV and public financing systems, told us. "They’re really clear about what they want to eliminate, so we should be clear about what we need to defend and we can’t get confused by this."

Indeed, the Chronicle ran an editorial Nov. 14 advocating the repeal of ranked-choice, calling it "a fundamentally flawed system that is fraught with unintended consequences." The paper, as well as its allies at the Chamber and other downtown institutions, has been equally vociferous in criticizing public financing and district elections.

Hill said that’s because moneyed interests prefer systems that they can manipulate using the millions of dollars in unregulated independent expenditures they can summon — an ability they demonstrated again in his election on behalf of Mayor Ed Lee — such as low-turnout runoff elections, citywide supervisorial races, and elections without the countervailing force of public financing. "They’ve been doing this steadily and looking for ways to chip away at it," Hill said.

But conservatives aren’t the only ones raising questions about RCV; some progressives say the system needs adjustment, too.

Although Farrell opposes all three of those electoral reforms, he insists that his concerns about RCV are about voter confusion and the perception that winners don’t have majority support and could be viewed as illegitimate. "There is just so much voter confusion out there," Farrell said, citing comments from voters who don’t understand how their votes are tabulated to produce a winner.

Hill counters that voters do have a clear understanding of how to rank their choices, downplaying the importance of whether they understand all the details of what happens next. But Farrell said that and the majority rule issue have undermined people’s faith in the elections.

"People get very upset when they realize someone didn’t get a majority of the vote," he told us, referring to how the majority threshold drops as voters’ top three candidates are eliminated. "To me, it’s just simpler to go back to the runoff system."

Many moderate politicians agree. "I don’t like ranked choice voting and I never have," City Attorney Dennis Herrera, who finished third in the mayor’s race, told us on election night. "I defended it all the way to the 9th Circuit [Court of Appeals in his role at City Attorney], but I think it’s bad policy."

Sup. Scott Wiener, a Herrera supporter we spoke to at the same election night party, also wants to see a change. "I supported ranked-choice voting and until recently I continued to support it, but this race changed by mind," Wiener said, attributing the large mayoral candidate field and free-for-all debates to RCV. "There is no way most voters will be able to distinguish among the candidates."

But Hill says it’s a mistake to attribute the large field to RCV, or even to the public financing system that some are also trying to blame, a problem he said can be addressed in other ways, such as changing when and how candidates qualify for public matching funds.

Wiener said he hasn’t made up his mind about repealing RCV, and he said that he absolutely opposes a return to the December runoff election. One alternative he suggested was a system like that in place in New York City, with the initial election in September and the runoff during the general election in November. But he does think some change is needed, and he’s glad Elsbernd and Farrell proposed an RCV repeal.

"They’re starting a conversation with the repeal, but that’s not where it’s going to end," Wiener said.

Indeed, the system still has the support of most progressives, even Sup. John Avalos, who finished second in the mayor’s race and would now be headed into a runoff election against Ed Lee under the old system. "I continue to support ranked choice voting," Avalos told us. It takes six supervisors to play the charter amendment repealing RCV on the ballot.

Sup. Ross Mirkarimi, who was narrowly elected sheriff in the ranked-choice runoff despite a 10-point lead in first place votes, said of the Farrell and Elsbernd proposal, "I do want to hear their criticisms."

"I understand the larger discussion, which was a bit of a misguided approach that some of our colleagues used to go after ranked choice voting on election day," Mirkarimi said. "But they are good politicians and they seized an opportunity."

Mirkarimi did say he was open to "maybe some tweaks. I do think ranked choice works better when you have many choices." Others, such as former Sup. Matt Gonzalez, have also recently advocated a ranked-choice system that allows more choices, which would address the majority-vote criticism because fewer ballots would be exhausted.

Hill said the legislation that voters approved back in 2002 already calls for more choices, but the technology used in the city’s current system only allows three choices. Yet he said the city’s vendor, Dominion Voting Systems, has developed a system allowing up to 11 choices, for which it is currently seeking federal certification.

Although he said various tweaks are possible, "I think the system worked well in this election," Hill said, noting that few San Franciscans would have wanted to drag this long campaign out by another month or to pay for another election.

State of the occupations

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State of the occupations

rebeccab@sfbg.com

The police evictions of OccupyOakland and OccupyCal over the last week, and the looming threat of another attempt to evict OccupySF, presented challenges for the Bay Area protests just as similar police crackdowns targeted Occupy encampments in Portland, Denver, New York, and other cities nationwide.

These fast-moving developments also come at a time when university students from around California will be descending on San Francisco for a Nov. 16-17 University of California Board of Regents meeting that was canceled this week because of public safety concerns. All of this adds up to a big and unpredictable moment for the widening movement (see “The growing 99 percent,” 11/9).

So we’ve decided to start a regular feature to track the latest developments in an Occupy movement that seems adamant about standing its ground even as it’s forced to deal with threats from police, organizing challenges, and the coming of winter.

 

#OCCUPYCAL GROWS UP FAST

Students at the University of California at Berkeley burst onto the Occupy scene Nov. 9 with the launch of OccupyCal, a student-led protest that made waves nationally after university police advanced on around 500 students in Sproul Plaza, the historic epicenter of the Free Speech Movement, and struck them with batons after they tried to set up camp.

UCB police made 39 arrests in two separate actions against protesters, fueling student protesters’ resolve at a general assembly convened afterward that drew more than 1,000 people and lasted well into the night. At around 1:30 am, students voted to hold a student strike on Nov. 15 in solidarity with others throughout the UC system.

The harsh police response prompted condemnation from the Free Speech Movement Archives (FSM-A). “It appears that the campus police are in need of remedial education concerning fundamental protections offered by the US Constitution — including First Amendment rights to Free Speech and Free Assembly that were clearly recognized and enshrined on the UCB campus 47 years ago on these very steps,” the group noted in an open letter.

UC Berkeley Chancellor Robert J. Birgeneau, who was out of the country during the violent police crackdown, issued a statement on Nov. 14 ordering a third-party investigation of the clash and granting amnesty under the Student Code of Conduct to all students who were arrested for blocking police from removing the encampment.

“It was only yesterday that I was able to look at a number of the videos that were made of the protests on November 9. These videos are very disturbing. The events of last Wednesday are unworthy of us as a university community. Sadly, they point to the dilemma that we face in trying to prevent encampments and thereby mitigate long-term risks to the health and safety of our entire community,” he wrote. “Most certainly, we cannot condone any excessive use of force against any members of our community.”

 

#OCCUPYSF, THE NEXT BATTLEGROUND

At press time, student and labor groups that were planning to converge on the UC Regents meeting at UCSF Mission Bay on Nov. 16 by the thousands were deciding how to respond to the meeting cancellation, but protests are still planned for that day, with support from OccupySF.

Meanwhile, Mayor Ed Lee continues to insist that OccupySF break camp, but instead it has only grown larger, with the tents spreading out from Justin Herman Plaza onto the nearby sidewalk along Market Street in front of the Federal Reserve. At press time, protesters feared what seemed an imminent police raid, particularly now that the election is over and busloads of student protesters were headed into town.

 

TRAGEDY STRIKES #OCCUPYOAKLAND

On Nov. 10, Kayode Ola Foster, 25, suffered a fatal gunshot wound to the head following an argument, just yards from the Occupy Oakland encampment in Frank Ogawa Plaza (Oscar Grant Plaza to the occupiers who’d camped there for a solid month).

A somber mood settled over the plaza in the hours following the shooting as the tent city dwellers absorbed the gravity of the situation, and occupy activists held a candlelight vigil. Although initial reports suggested Foster had no relationship to the camp, police later said they believed he and one of two shooting suspects had spent time there.

 

#OCCUPYOAKLAND GETS THE BOOT

Three days after the fatal shooting near the OccupyOakland encampment sparked a hard-line response from local government officials, the camp was dismantled in an early morning police raid Nov. 14, the second to befall the occupation since it began a month ago. That evening, thousands marched back to the plaza in response to the raid and held a general assembly.

On the night of the raid, it took several hours for police to arrive at 14th and Broadway streets, where protesters began congregating in the intersection around 2 a.m. in anticipation of the forced eviction from camp. Law enforcement came en masse, with mutual aid support from seven different regional law enforcement agencies.

While two lines of riot police formed an L-shaped formation blocking protesters’ access to the plaza and nearby streets, hundreds more poured into the plaza to dismantle tents, flatten structures, and make arrests. Police arrested 32, the majority of whom belonged to a group of clergy members from the occupation’s Interfaith Coalition tent who sat calmly together in the plaza and sang by candlelight as they waited for police. Occupiers who witnessed the dismantling of the camp from behind police barricades yelled out, “Shame! Shame! Shame!”

Steven T. Jones contributed to this report.

Party Radar: Rarebits gets eclectic at Truck

Jesse Hawthorne Ficks
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Party Radar: Rarebits gets eclectic at Truck

Well. I was so excited about the return of beloved DJ Chicken to the party-throwing arena that I listed the launch date of his new free monthly shindig, Rarebits at Truck, incorrectly in my latest Super Ego clubs column. It’s actually tomorrow night ( Friday 11/11/11 — the neat date should have been a mnemonic no-brainer, but hey, as I said, I’m still drunk).

So, let’s turn lemonade into vodka lemonade, shall we? I described the night, also featuring fab guest DJ Josh Cheon, of Dark Entries and Honey Soundsystem, as being “eclectic.” What the heck does “eclectic” even really mean? DJ Chicken has curated a collection of neato tracks — from tUnE-yArDs to Captain Beefheart — you may or may not hear tomorrow night at Truck after the jump. I’ll drink to that!     

The Like
http://www.youtube.com/watch?v=42p2nERiNFk

tUnE-yArDs
http://www.youtube.com/watch?v=YQ1LI-NTa2s

Sparks
http://www.youtube.com/watch?v=1JjbFWU6TqI

Captain Beefheart
http://www.youtube.com/watch?v=hCSPf5Viwd0

oOoOO
http://www.youtube.com/watch?v=4TJPbVd0oAM

Anita O’Day
http://www.youtube.com/watch?v=4XH4Uzusrc0

The Family
http://www.youtube.com/watch?v=joI86Fk6lNw

 

RAREBITS

Fri/11, 6 p.m.-10 p.m., free

Truck,

1900 Folsom, SF.

www.trucksf.com

Timber war returns

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Timber war returns

Protestors in flashy animal costumes picketed the appearance of infamous logger Archie “Red” Emerson, who was giving a guest lecture to the Forestry Department, at the University of California Berkeley campus on Oct. 14 to bring awareness to the increasing use of environmentally destructive logging practices.

The protesters were admittedly having fun parading around as skunks and beavers, but there was a heavy point to go with the theatrics. Emerson’s company, Sierra Pacific Industries (SPI) is being targeted by a new campaign to curtail and eventually eradicate the destructive logging technique called “clearcutting.”

The Redding-based Battle Creek Alliance, in cooperation with the Sierra Club, wants Californians to push for environmental protection measures that would ban clearcutting on the state level.

“We’re building a statewide coalition of people from all across the state — and hopefully, eventually, all across the country — who can be helping to call on the state of California and Gov. Brown to stop clearcutting and to protect our forests, watersheds, and wildlife,” said Sierra Club member Sarah Matsumoto, an East Bay resident who has joined the Battle Creek Alliance.

Those living close to clearcut areas say that the damage is devastating

“I live about a mile from most of the clearcutting,” said Patty Gomez, a resident of the Battle Creek area. “We like to call it ground zero.”

The term clearcutting describes the complete eradication of trees and shrubs from forest areas, some the size of Golden Gate Park. The area is then doused with thousands of gallons of herbicides and then replanted as a tree farm.

“Industrial tree farms are sterile and lifeless,” said Juliette Beck, coordinator of the Sierra Club’s Stop Clearcutting Campaign. “This particular method is incredibly ecologically destructive.”

SPI is the largest private landowner in California, owning 1.9 million acres. It owns 24 industrial facilities and employs approximately 3,400 workers.

“SPI own[s] so much land and potentially controls the fate of the forest,” said Beck. “SPI is the poster child for the one percent.” Because of SPI’s scorched-earth policy of completely clearing an area and sterilizing it for replanting, biologists are concerned that crucial plant species will soon become extinct.

“After clearcutting, there is a huge flush of sprouting natural regeneration of native species,” said veteran biologist Vivian Parker, who has lived in the Battle Creek area for 30 years and has worked for the U.S. Forest Service. “When the newly sprouting plant layer is sprayed with chemical herbicides and thus eliminated, the plants do not get a chance to grow and shed their seed.”

Parker argues that this interruption of natural regeneration over several periods of clearcutting will destroy the natural growth of plant life necessary to maintain a healthy forest.

This copious use of herbicides has also been suspect in a strange phenomenon affecting wildlife in North America. According to a study conducted by UC Berkeley professor of endocrinology Tyron Hayes, the use of herbicides, even at extremely small amounts, have been linked to biological mutations such as male frogs growing ovaries.

SPI is insistent that its practices are environmentally sound and internally regulated.

“We monitor all of our own activities to see where we have room for improvement,” Mark Pawlicki, director of Corporate Affairs and Sustainability at SPI, told the Guardian. “In many cases we’ve changed our practices.” New research on the effects of these herbicides have shown that current regulations don’t always address the cumulative impacts of chemical applications and other practices.

“We now know that it is the very diluted amounts of chemicals that [have the potential to] cause the most damage because they behave just like hormones,” Parker said. “The quantities are so small you can barely measure [them], but they have a disproportionate effect.”

Hayes’ study was publicized in a press release several years ago by ForestEthics, an environmental nonprofit intimately involved with campaigning against SPI’s environmentally destructive practices.

“After that release, we started getting calls from families,” said ForestEthics communication director Will Craven. “One family had a six-year-old daughter who developed brain cancer.”

Craven said the family lived across from one of SPI’s mills and close to clearcut areas. He had heard of families developing severe endocrine issues where they could no longer digest fruit or sugar.

Pawlicki cites studies done internally by scientists about the biodiversity of SPI’s land, stating that the proper measures have been taken to put aside enough land for endangered species like the spotted owls and that the effect of the herbicides are negligible if not insignificant.

“People make allegations all the time about us but there’s just no proof,” said Pawlicki. “Show us the proof, tell us the evidence that we’re harming anything.”

Marily Woodhouse, a resident of the Battle Creek area who has been a particularly passionate adversary of SPI, has spearheaded efforts to collect sufficient information in order for the Central Valley Regional Water Quality Control Board and the California Natural Resources Agency to take legal action; a process she said SPI has tried to undermine.

“SPI has given out the Water Board report and disparaged the way we collected the sample at public meetings,” Woodhouse said in an email conversation. “We collected the sample the way the lab instructed us to.”

However, these studies have a financial limit. Some tests can cost up to thousands of dollars, and ensuring that the tests are targeting specific herbicides used by SPI can be a guessing game. SPI is only required to disclose chemical use to the California Department of Pesticide regulation once a month and a yearly report can be requested, but this information is not disclosed to the public at the time of application.

The Water Board, a subsidiary of the Environmental Protection Agency, has conducted water tests and found no significant amount of chemicals in nearby watershed, but Parker said she believes this is because the agency doesn’t test for the specific chemicals used by SPI.

“Although they could request this information from the industry, the water board doesn’t know which chemicals are used, the quantities, or locations where they are applied,” Parker said. “Lack of information and inadequate testing ensures that the company is able to continue doing business.”

Residents and environmental groups have filed several lawsuits against SPI for more than 34 environmental and health policy violations, but have not been successful in curbing SPI’s destructive practices. According to legal experts, this is not necessarily because they don’t have a valid case.

“When you’re challenging these actions by SPI, what you’re really doing is challenging a decision by a state agency for approving their logging plan,” said Justin Augustine a staff attorney at the Center for Biological Diversity. “The agency can get deference from the court when it makes a good decision or a bad decision.”

The state agency Augustine is talking about is the California Department of Fire and Forestry Protection (Cal Fire). In the hierarchy of state agencies, Cal Fire sits next to the Department of Fish and Game and both are directly under the Natural Resources Agency. Each department plays a role in monitoring and enforcing logging practices and code violations.

Logging companies are required to file a Timber Harvesting Plan that describes the biodiversity of plant life, acreage, and wildlife of an area meant for harvesting. Cal Fire then approves or rejects the plan within 10 days of receipt. This approval process shields SPI from directly facing charges in court because Cal Fire is ultimately responsible for approving the plan.

Sierra Club and the Battle Creek Alliance are now fighting for legislation that will bar the use of clearcutting altogether.

“[SPI] could minimize clearcutting. The method is not appropriate to today’s forests,” said Beck. “We are demanding that they make the change to completely stop clearcutting.”

A new report by the State Water Resources Control Board regarding SPI is scheduled to be presented at a Board of Forestry hearing on Nov. 9, describing whether or not sediment from the clearcuts is reaching the creeks and harming the valuable salmon recovery project. The report is available on the Board of Forestry website.

“[There has been] a lot of evidence that the logging roads have to do with the sedimentation,” said Richard Stapler, deputy secretary of communications at the Natural Resources Agency. “It was brought to our attention by Marily Woodhouse, and is very much worth review.”

The review may bring about protections for the Battle Creek watershed, but activists remain focused on legislation to prohibit clearcutting on a broad scale. “Right now the only things valued are the short term profit for the timber industry,” said Beck. “There needs to be a change in the way the forests are managed”

Cold snappy

Jesse Hawthorne Ficks
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Cold snappy

SUPER EGO Good thing my decorative Honey Badger-skin leg warmers double as a fierce muff-scarf combo, because Saturday I was stumbling back from a bomb underground warehouse launch — peel your ears for “The New Black” — and it was colder than the all-pleather interior of a second-hand Kardashian. Of-a-sudden! I’m about to wear jeggings over thermies over two pairs of liquor store pantyhose and rap about it just to stay warm. She’ll be serving you Sheer Energy undercover, burning up sidewalks at dawn with her layers of L’Eggs.

I’m still drunk, apparently. Let’s just keep warm the old-fashioned way, OK? Dancing with abandon sure seems melty enough.

 

BITCH HEEL

Nineteen drag queens! That’s how many licks it takes to get to the center of a Tootsie Pop — and to provide overwhelming entertainment at this benefit for Rocket Dog Rescue. Sister Roma and Phatima Rude host. Everybody barks.

Wed/9, 8 p.m. $25. Public Works, 161 Erie, SF. www.publicsf.com

 

BOOTY CALL

Juanita More and Joshua J.’s weekly party draws a lovely queer crowd that certainly knows how to find its light (photos are taken continuously in the backroom). The music’s usually flash-forward , too — for its four-year anniversary, the party pops with NYC’s deliciously hard-driving house DJ W. Jeremy of House of Stank.

Wed/9, 9 p.m., $4. Q Bar, 456 Castro, SF. www.bootycallwednesdays.com

 

SIDESHOW

OK folks it’s definitely benefit season — and this Burner-circus-burlesque party for KSea Flux, cherished SF underground mainstay who fell gravely ill last year, looks the business. Vau de Vire Society, Jill Tracy, Squidling Bros. Sideshow, Bad Unkl Sista, and seemingly zillions more will work their nightlife magic.

Thu/10, 8 p.m., $10. 375 DNA Lounge, 11th St., SF. www.dnalounge.com

 

FALTY DL

Equal parts head-tripper and bass-ripper, the wonderfully complex New Yorker scored big props playing the Radiohead tour, and isn’t afraid to drop Frank Zappa, Mobb Deep, and Aphex Twin into sets that cohere somehow into glistening workouts.

Fri/11, 9:30 p.m.-3 a.m., $10 advance. SOM, 2925 16th St., SF. www.som-bar.com

 

TIAGO

I have been dying to go to Lisbon’s Lux club for years, because hello sweaty Portuguesas getting down to quality music. Sparkling leftfield disco and dubby techno Lux resident Tiago (average set length there: seven hours) represents at the No Way Back monthly party.

Fri/11, 10 p.m., $5–$10. 222 Hyde, SF. www.222hyde.com

 

RAREBITS

Or you could just grab a strong drink at relaunched queer bar Truck and listen to some mighty eclectic tunes at this new monthly party, with cute DJs Josh Cheon, Chicken, and more. No pressure!

Fri/11, 6 p.m.-10 p.m., free. Truck, 1900 Folsom, SF. www.trucksf.com

 

HI-TEK SOUL

Two of the Belleville Three inventors of techno, Derrick May and Kevin Saunderson, have re-teamed up to show the kids how it’s done, Detroit-style. The mere idea of these two actual legends vibing live on four turntables and a drum machine makes me kinda weak.

Sat/12, 10 p.m.-4 a.m., $20. Public Works, 161 Erie, SF. wwwpublicsf.com

 

KOZE

SF’s As You Like It party crew continues its amazing run of special guests with this Hamburg master of harder-end post-minimal techno effects, playing a special four-hour set. The last time I saw him it felt like my chest was thumping a brilliant melody, so get ready for some upfront bass.

Sat/12, 9 p.m.-4 a.m., $25–$30. Beatbox, 314 11th St., SF. www.ayli-sf.com

 

YELLE

Edgy neon pop-dance princess of France puts on one hell of a show, full of catchy tunes, banging drums, and occasional crowd-surfing. Can we have her take over our Top Ten here please?

Sat/12, 9 p.m., $27.50 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

CHEB I SABBAH BENEFIT

This festive benefit for the beloved, cancer-stricken godfather of global dance sounds will feature Cheb himself on the decks joined by guitarist Vir MCoy for live jams, plus DJs Freq Nasty, Janaka Selekta, and Dub Gabriel.

Sun/13, 8 p.m., $15. 1015 Folsom, SF. www.1015.com

 

PROSUMER

The kick-ass cutting-edge tech-house resident of Berlin’s fabled Panoramabar returns to the Honey Soundsystem Sunday weekly party to bring one of the best SF crowds to its knees. ($20 says he’ll be wearing shorts.)

Sun/13, 8 p.m., $5. Holy Cow, 1535 Folsom, SF. www.honeysoundsystem.com

GOLDIES 2011 Lifetime Achievement: Ingrid Eggers

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GOLDIES 2011 Lifetime Achievement: Ingrid Eggers

GOLDIES In a city that boasts far more film festivals than movie theaters, one of the most singularly focused is the annual Berlin and Beyond Film Festival — the largest German-language film festival in the United States. Carefully curated for 14 years by Dr. Ingrid Eggers, former program coordinator of the San Francisco branch of the Goethe-Institut, Berlin and Beyond has showcased an eclectic mix of movies by established filmmakers, debut features, documentaries, shorts, and silent films, from Germany, Austria, and Switzerland. Eggers’ major criteria — that the movies be filmed primarily in German, a language she felt was often missing from San Francisco’s foreign film scene — still left plenty of room for variety. Over the years, quirky documentaries about East German break dancers (Nico Raschick’s 2006 Here We Come) have shared screen space with gritty culture clashes such as Fatih Akin’s 2004 Head-On, wartime dramas such as Margarethe von Trotta’s 2003 Rosenstrasse, and non-traditional romances, such as Andreas Dresen’s 2008 Cloud 9.

Now, two-and-a-half years after her unanticipated removal from the Berlin and Beyond helm, which shocked the San Francisco film community, Eggers insists on looking forward. “We have made our peace,” she says genially, referring to the current incarnation of Berlin and Beyond, which just celebrated its sweet 16 in October.

When Eggers talks film, whether in a café in the Mission or on the stage of the Castro Theatre, her whole face lights up, a beatific glow. She may have reached Germany’s mandatory retirement age of 65 a few years ago, but her youthful vigor attests to a university background in physical education (along with history and literature) and her personal propensity for sport. Every film of the over 500 she’s presented — from the smallest short to the biggest blockbuster — has received a notably warm introduction, and more than one person has remarked in my presence that it is as if she were born to be a festival host. Yet it’s Eggers’ unassuming, collaborative nature rather than any kind of cult of personality that made Berlin and Beyond so successful. For example, it was by working closely with Anita Monga, former Castro programmer, that Eggers learned the ropes of festival scheduling.

“For our opening night in 1996 she insisted we show Fassbinder’s Martha,” Eggers reminisces. “A very difficult film; we had people walk out.”

From early partnerships with the then-San Francisco-based International Film Financing Conference and Kinofest Lünen, a sister festival in Germany’s North Rhine-Westphalia state, to later ones with corporate sponsors such as Kuehne + Nagel, who underwrote the shipping costs of the film canisters, Eggers’ ability to forge unique partnerships has served her in good stead. Her current film festival project — the smaller-scale German Gems — is set to screen for a third year in January 2012.

After that, Eggers is not so sure. “It’s incredibly expensive to put on even such a small festival,” she admits ruefully, though her many years of festival directing has provided her with the unquantifiable currency of influence. The first German Gems festival, a jam-packed day in 2010 at the Castro (with an encore performance in Point Arena), included von Trotta’s biopic of Hildegarde von Bingen, Vision, and received an official blessing from Dieter Kosslick, director of the prestigious Berlin International Film Festival.

Since she’s less interested in competing with than enhancing the selections at Berlin and Beyond, Eggers has shifted German Gems’ focus toward student and first feature films, one of her favorite components of B and B festivals past. But like any proud parent, she still speaks fondly of her first-born festival, pointing out the big-name film personalities who graced Berlin and Beyond’s stage: Bruno Ganz, Michael Verhoeven, and Wim Wenders — coups that put the event on the map, even in Germany. It won’t ever be quite the same without her, but thanks to Eggers’ persistent efforts over the years, the future of San Francisco’s premiere showcase of German cinema seems assured.

GOLDIES 2011 Lifetime Achievement: David Meltzer

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GOLDIES 2011 Lifetime Achievement: David Meltzer

GOLDIES “This isn’t a conflict of interest, I hope?” David Meltzer asks. We’re smoking on the back porch of his Piedmont apartment with his wife, poet Julie Rogers, about two bottles of wine into our interview, wondering whether he’s the first former Guardian contributor to get a Goldie. A decade or so ago, he was writing CD reviews and the odd feature on anything from pedal steel guitar to new age music. But Meltzer had made a reputation long before, as the youngest poet (along with Ron Loewinsohn, now a UC Berkeley professor) in Donald Allen’s seminal New American Poetry (Grove, 1960). Now, at age 74, he’s fresh from his latest achievement, When I Was a Poet, chosen by Lawrence Ferlinghetti as #60 in the City Lights Pocket Poets Series.

Between these two events he’s made so many distinctive contributions to Bay Area culture that his foray into music journalism for the Guardian is simply characteristic of his protean endeavors. Indeed, his musical endeavors alone would earn him a place in San Francisco history, beginning with his late ’50s jazz poetry readings at the Cellar. In the mid-’60s, Meltzer hosted the Monday night hootenannies at the Coffee Gallery — folk jam sessions attracting visitors like David Crosby, as well as now-legendary locals like Jerry Garcia — as well as performing there regularly with his late first wife, Tina Meltzer (who died in 1997).

“It was the genesis of the SF rock scene,” Meltzer says, and he soon found himself, like Dylan, “going electric,” as guitarist, songwriter, and co-lead vocalist of the Serpent Power, a psychedelic folk band featuring Tina on vocals and poet Clark Coolidge on drums, along with stray members of the Grass Roots. Released on Vanguard Records in 1967, Serpent Power’s eponymous LP went nowhere at the time, but in 2007 was named #28 on Rolling Stone‘s top 40 albums of the Summer of Love (which, if you think of the number of classics released in ’67, is extraordinary). As an example of the possibilities of long-form rock, the 13-minute, album-closing “Endless Tunnel” is widely considered ahead of its time.

Meltzer’s a natural raconteur — easily outlasting my digital recorder — because his life’s been so extraordinary. By the time he moved from L.A. to SF in 1957, first inhabiting the window display area of a defunct radio repair shop at 1514 Larkin, the Brooklyn-born Meltzer was already a former child performer on radio and TV, as well as a recent participant in the art scene around Wallace Berman. But SF was an irresistible lure for a 20-year-old poet.

“It seemed to be the place of a kind of creative surge,” he recalls, having already encountered Pocket Poets books such as Ferlinghetti’s Pictures of the Gone World (1955) and Allen Ginsberg’s Howl (1956). “I needed to be in a place where you dealt with language rather than paint and images.”

“Of course, when I got here, the first place I went to was City Lights,” Meltzer continues. “It was much smaller back then, like a more proletarian Gotham Bookmart, with an emphasis on literary production.”

By 1961, Meltzer would find himself co-editor of the first issue of City Lights’ occasional Journal for the Protection of All Beings, the first of several projects he worked on at the press. But, despite Ferlinghetti’s admiration for his work, When I Was a Poet is Meltzer’s first book of poems for City Lights, some 54 years after his arrival. “It’s just one of those things,” says Meltzer, who published many books over the years on presses ranging from Black Sparrow to Penguin.

Space precludes a full rehearsal of Meltzer’s career, and significant items — such as editing the poetry and kabbalah journal Tree in the ’70s or co-founding the New College poetics program in ’80s — can only be mentioned in passing. His precociousness has engendered a sort of perpetual youth, and you can still find Meltzer giving readings around town, solo or in tandem with Julie Rogers. He remains one of the key people who make San Francisco great.

GOLDIES 2011: Tammy Rae Carland

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GOLDIES 2011: Tammy Rae Carland

GOLDIES The beds in the photographs are like any other unmade beds — messes of rumpled sheets and dented pillows occasionally punctuated by a stray article of clothing or a curious pet. Except that they are not like other beds: they are, as the title of Tammy Rae Carland’s 2002 series of depopulated portraits informs the viewer, “lesbian beds.”

The distinction is crucial, critical. A smart conceptual retort to the hoary stereotype of lesbian bed death, Carland’s photographs of one of the places where women share their lives (and their bodies) with other women also make clear the political stakes of representing even the most quotidian objects.

At the same time, there is nothing in or about the photographs that signifies “lesbian.” Indeed, it is very banality of the images’ content, the very familiarity of the scene that is repeatedly depicted in “Lesbian Beds,” that makes them so immediately relatable. And yet to uncouple these photographs from the title which brackets them would be to disregard the difference the entire series makes visible.

This sometimes uneasy mix of representational politics and sentimental attachment to objects is at the core of Carland’s work. She cites her longtime involvement in the queer and feminist punk scenes that sprung up in Pacific Northwest in the early ’90s — where she made zines, ran a gallery space, booked shows and, later, ran the successful and politically progressive indie label Mr. Lady Records with her partner — as a catalyst for her interest in, “marginal identities and marginal bodies.”

“[And] not just in regards to sites of oppression,” explains Carland — who has lived in Oakland for close to a decade and now chairs the California College of the Arts’ photography department — “but alternative sites where people function.” It is often the material possessions accumulated at those sites, rather than the people themselves, that catch Carland’s sympathetic eye and form the genesis for a new project. For her series “Outposts,” it was the (unpopulated) encampments within the “women born, women only” space of the Michigan Womyn’s Music Festival. In “My Inheritance,” Carland turned the camera on the inventory of her late mother’s apartment — the entirety of which could fit in a paper grocery bag.

Carland’s latest project, “I’m Dying Up Here,” which was recently featured as part of Yerba Buena Center for the Arts’s triennial Bay Area Now 6, takes a different tack, focusing on stand-up comedy and the figure of the self-deprecating comedian. Pieces include staged photographs of local female performers, their faces often obscured, caught mid-routine, as well as a bar stool and microphone — the tools of the trade — cast in white porcelain.

Like beds, the comedy club stage is also a site of vulnerability, albeit a public one. For female comedians, the price of admission is often predicated on making themselves the butt of their own jokes. The melancholy and tender pieces in “I’m Dying Up Here” convey that moment, pregnant with empowerment but also the threat of rejection. A joke, like an artwork, can always flop or the audience just might not get it. A bed is just a bed; but then it isn’t, if two women share it. Carland’s work routinely foregrounds this riskiness while extending a reassuring hand as if to say, “it’s ok if this fails, because we both still tried.”

GOLDIES 2011: Paul Clipson

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GOLDIES 2011: Paul Clipson

GOLDIES Whether we’re talking about his verging live projections or crystalline short films, Paul Clipson makes things happen onscreen. His exploratory form of lyricism is composed for Super 8 film. That for is critical, since Clipson shoots with a well-practiced intuition for what shows up as gold in Super 8 (an increasingly rare form of presentiment). While taking great advantage of the small-gauge camera’s pencil-like responsiveness to movement, Clipson works from a keen appreciation for the interrelation between fine-grained detail and expansive volumes. In the words of Gaston Bachelard, a writer Clipson admires, “Sometimes the transactions between small and large multiply, have repercussions.” Clipson’s intensive approach in both shooting and projecting his work definitely angles towards a repercussive cinema.

Compound Eyes, a series of short subjects created with musician Jefre Cantu-Ledesma during a recent residency at the San Francisco Exploratorium, puts a fine point on the phenomenological tuning of Clipson’s art. The images envision insect life in a manner unlike traditional nature documentaries, with Clipson’s suggestible camera swallowed in an unfamiliar network of spatial relations and glistening surfaces. Urban architectures emerge in juxtaposition, freshly uncertain in the face of our new sense of scale and environmental experience. Clipson tells me about chasing “the startling fact of the insect’s existence” one recent sunny afternoon. “To understand the animal,” he says, “you have to understand how it understands space — which we can’t do. What’s important to me than is sensitizing the view and creating an awareness of how the space is traversed.”

Discovery is primary to Clipson’s work, not only in his cinematographic concentration of visual phenomena, but also in his oblique tangents upon highly specific shards of film history, and especially in his approach to live performance. The shows place Clipson’s footage in dynamic relation to music performed by artists equally concerned with dynamics of time and space (many of them record for Cantu-Ledesma’s Root Strata label). For the audience, it means a good shot at a heightened state of being.

In all iterations, Clipson’s images are delighted by the ephemerality of that which passes before the camera (“I like the idea that [the insects] leave very quickly and that it’s this continual chase rather than something conditioned”). At the same time, the films realize a remarkable persistence of vision. Clipson’s open channeling of inspiration makes his films as instructive as they are beautiful; it also delivers the good news that there’s more to come.

GOLDIES 2011: Dirty Cupcakes

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GOLDIES 2011: Dirty Cupcakes

GOLDIES It was the summery music video that launched a thousand bubblegum crushes. Guitarist-vocalist Lauren Matsui, drummer Laura Gravander, and bassist Sola Morrissey, a.k.a the Dirty Cupcakes, adorably lust after unrequited love. The cute boy of their dreams prefers other boys, and he sexily smooches another man, while the girls swoon from different spots around San Francisco, including a Sandy-in-Grease bedroom scene. “I feel like it’s a San Francisco thing to be in love with a gay man, or somebody that you can’t have,” says Matsui.

The addictive video, created by their pals Jen Dorn, Kevin Jardin, and Aya Carpio for the band’s garage pop jam “I Want It (Your Love),” was an insta-hit this summer, gaining the relatively unknown trio more than 15,000 page views to date.

It was a rough cut of the video that convinced Matthew Melton of Bare Wires to put out the trio’s record as the first release on his new label, Fuzz City. Just released last month, the I Want It seven-inch was recorded in Melton’s bedroom in Oakland and a studio in the Tenderloin beginning late 2009. The Cupcakes were born just a year prior.

It almost began on a lark. On a sunny day in Dolores Park in 2008, some strippers were holding a bake sale, and a friend of Matsui and Morrissey’s brought back a treat. Hence the name, Dirty Cupcakes. “We didn’t even have a band, but we had the name,” Matsui laughs. Matsui, who had been playing guitar since she was 13 (thanks to A Hard Day’s Night), taught Morrissey to play the bass and they picked up Gravander shortly there after.

Gravander was playing with Nobunny at the now-shuttered Eagle Tavern when Matsui gathered some “liquid courage” and asked Gravander to join her band: “She was so awesome and totally had the energy we needed.”

The band, influenced by stripped-down bubblegum punk like Nikki and the Corvettes and early Go-Go’s, has since played throughout the Bay, most often at the Knockout (“we’re basically the resident band,” Matsui jokes) and house shows in the East Bay — Nov. 9, they’ll play Oakland’s New Parish for the first time.

Live, they play fast and loud, wearing matching costumes — colorful ’60s-esque stripey shifts, Girl Scout uniforms, dinosaur heads. At one Oakland house show, Gravander recalls things getting particularly hectic. “During the last half of our last song, the drums collapsed and I was like, ‘No! I won’t end like this!’ So I pulled the snare and held it on my lap and kept playing.”

It’s the band’s cheerful take on punk that has endeared them to locals and other bands like Shannon and the Clams. They make fun songs (including one about robot love) and videos, wear creative frocks, and say they feel the freedom to do whatever they want as band — I guess, save for making out with gay boys.

GOLDIES 2011: Katie Faulkner

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GOLDIES 2011: Katie Faulkner

GOLDIES In 2005, in deference to the shaky ground we walk on, choreographer Katie Faulkner dubbed her new ensemble little seismic dance company. For an upstart, it seemed an oddly modest name — considering the waves she’d been making, something grander might have been more appropriate. But then that’s not Faulkner’s style. Her choreography doesn’t shout; it grabs you because her dances are full of surprises, finely crafted, and have a strong sense of identity.

Most exhilarating about Faulkner’s work is its sense of adventure. You never know what this North Carolina-born choreographer will dive into next. She thrives on intimacy — a solo physicalizing the process of dying in the Road Ahead — as well as the messy process of choreographing by committee. She created Terra Incognita, Revisited, shown last summer at the 2011 WestWave Dance Festival, with colleagues Kara Davis, Manuelito Biag, and Alex Ketley. For We Don’t Belong Here, a recent commission for the Dancers’ Group ONSITE series, she needed 20 dancers. So she held “very stringent auditions,” explaining, “I needed people who could hold their own and also contribute to the process.”

Perhaps Faulkner developed her appetite for the untried through an early interest in theater. An inspiring teacher in a playwriting class encouraged her to “take myself more seriously as a creative person.” She never did finish that play, opting for what she thought dance would give her over the precision of language: “a sense of looseness and abstraction.” But it’s not by chance that she has worked so often with former ODC dancer Private Freeman, an intensely physical and dramatic performer.

Perhaps joining AXIS Dance Company straight out of Mills College (she earned her MFA in 2002) also created possibilities a more conventional company might not have offered. Not only did Faulkner’s four years with AXIS challenge her to perform a wide range of repertoire, she also watched experienced choreographers step into what was for them virgin territory. It was at AXIS that Faulkner had her first taste of choreography. The intricate, yet crystal-clear Decorum looked at sibling rivalry within a constrained environment. In it she remembered having grown up in a community “where there was a right and wrong way to look and to be.”

Faulkner, who calls her own work “imagistic,” also has made intriguing dance films and will, if she has anything to say about it, do more. The duo Loom (2008) is set on San Francisco’s rooftops; for the quartet High Tide (2006) she traveled to the edge of the continent. Up next is a still vague project about multiple perspectives. She might want to take a look at Rashomon.

GOLDIES 2011: Ana Teresa Fernandez

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GOLDIES 2011: Ana Teresa Fernandez

GOLDIES When I meet Ana Teresa Fernandez at her studio at the furthest edge of Hunters Point, she tells me she has just come from surfing. Water, it seems, is very much Fernandez’s element, frequently appearing in her dream-like video installations and her gorgeous, large-scale, photorealistic oil paintings as both setting and metaphor — and sometimes even as medium.

“My work is about an energy that is placed in an object that creates a kind of strangeness,” she explains. More often than not that object is a body of water: a swimming pool, a bathtub, the polluted shallows of the Pacific at the San Diego-Tijuana border (Fernandez was born in Tampico, Mexico), and the San Francisco Bay itself. The strangeness emerges out of the choreographies of resistance and restraint — ritually washing herself; performing household chores; walking, or more often than not, swimming in heels — that Fernandez executes at these symbolically-charged sites, documented in the larger-than-life scale of her videos and paintings.

For its many beautiful surfaces, Fernandez’s art doesn’t let you forget that the actions depicted are rarely neutral, even if the ways in which they’ve been gendered, raced, and classed have been naturalized. The glossy realism of Fernandez’s aesthetic also foregrounds the physicality and sensuality of what she’s doing or enduring. For example, in the video of her performance Ice Queen, Fernandez wears high heels made of ice while standing on an Oakland storm drain until her footwear has entirely melted back into the Bay some 45 minutes later. In one of the paintings from the “Pressing Matters” series, Fernandez is shown mopping the beach at US-Mexico border while in pumps that sink into the sand, an image that is the very definition of Sisyphean.

Fernandez wears that uniform of a black cocktail dress and matching heels in many of her performances. It simultaneously draws attention to her body through its very incongruity with her setting or actions while also rendering her archetypical feminine. When I ask her about this tension, Fernandez, who swam competitively for 14 years, informs me that to wear clothing while racing is called drag, leading to a half-joking assessment of her performance getup as “wearing the weight of femininity.”

But for Fernandez, who cites modern artist Marilyn Minter and Neoclassical painter Jean-Auguste-Dominique Ingres as inspirations in the same breath, the point is not accusatory per se, but to explore how that weight can or can’t be shifted through a willful blending of the metaphoric and the physical. Water can drag you down, but it also provides buoyancy. “There are these moments of seduction that occur because of the element itself, whether its the beauty of the sea or the allure and sensuality of dance. I throw a wrench into all that,” Fernandez explains. “Actually, I throw the whole toolbox.”

GOLDIES 2011: San Francisco Hip Hop DanceFest

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GOLDIES 2011: San Francisco Hip Hop DanceFest

GOLDIES “Five, six, seven, eight!” Micaya — teacher, choreographer, and unstoppable producer of the San Francisco Hip Hop DanceFest (the 2011 edition is coming up Nov. 18-20 at the Palace of Fine Arts) — is counting off for her beginners’ class at ODC. Some of these Saturday-morning devotees are skinny; others are not. One has gray hair, most do not; some are dancers, while some … “They are all dancers. We are all dancers,” Micaya (who often calls herself “Mama”) insists after class.

There is something, perhaps not exactly maternal, but definitely loving and encompassing about the way she talks about dance in general and the Hip Hop DanceFest in particular. No matter whether she is, as now, in worn pedal pushers and thick-bottom sneakers or, as emcee at the Palace, in five-inch heels and a tight skirt barely longer than the heels are high — one way or the other, you get a sense that she feels a personal responsibility for the dancers in her life.

As a producer Micaya is a phenomenon. She has single-handedly moved hip-hop from the studio and community hall to a proscenium theater, giving it widespread recognition and enthusiastic audiences. Uniquely, she has done so by honoring the art as a social activity and in its more theatrically evolved expressions. On Micaya’s stage there is room for the recreational dancer and the professional. Significantly, she refers to all of them as “companies,” preferring that term to “crews” or “troupes.” “It’s a matter of respect,” she insists.

Yet the Hip Hop DanceFest, now in its 13th year, started on a hunch. In the late 1980s, Micaya had just arrived from the South, a dirt poor single mom with her small son in tow. “I know what it means to live on food stamps,” she remembers. But she had two kinds of wealth: love for dance (ballet, Latin, modern, jazz, African, hip-hop) and an embracing attitude towards difference, something to which she credits her upbringing. Teaching hip-hop in San Francisco, she offered yearly recitals at Dance Mission. “They always sold out,” she remembers. So she started a festival, and “that’s when I found out how big and rich Bay Area hip-hop is.”

This year the festival had over 100 applicants, from as far away as Kenya and Uganda. Seventeen of them — local, national and international — made the cut. Yet Micaya is a still frustrated producer: so much good art, so little money. No matter, she’ll soon be back on the Palace of Fine Arts stage, pointing to the dancers and exhorting audiences to “give ’em love!”

GOLDIES 2011: Philip Huang

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GOLDIES 2011: Philip Huang

GOLDIES An air of perspiration-inducing mystery attends an appearance by Philip Huang. Something in the playfully relaxed mien of this queer performance artist just whispers loose cannon. A notable short story writer who reinvented himself a few years ago with help from artist friend Khalil Sullivan, Huang now crops up in a variety of contexts — including a steadily expanding parade of YouTube high jinks — but is inclined to épater le bourgeois whatever the occasion. And when fired up he’s got an edge like a rotary saw.

Since college in the 1990s, Huang has lived in a rent-controlled apartment a few blocks south of the UC Berkeley campus, a modest residence also known as the Dana Street Theater. Shortly after christening his bedroom a neighborhood playhouse, Huang founded a DIY delicacy known as the Home Theater Festival. Accomplished with little more than a website and the willing participation of friends and strangers around the world, 2011’s second annual HTF included 30 shows across the Bay Area, New York, Japan, the Czech Republic, and Australia.

Huang’s own work, wildly ludicrous and rigorously un-PC, is that of a conceptual comedian. Context is often key (arriving at an anti-gay demonstration, for instance, with a rice cooker pot on his head, a homemade sign reading “No Fags on the Moon,” and a bounding enthusiasm that flummoxes demonstrators, counter-demonstrators, and cops alike). He travels somewhat incongruously in contemporary dance and performance circles, including recent appearances at Too Much! and the National Queer Arts Festival. “There are a lot of shows that will be like, modern dance, modern dance, modern dance — me — modern dance, lesbian poetry,” he allows.

Many times audiences don’t know how to react to his performances. Huang says he likes that confusion.

“A lot of shows are like, this is a serious moment; this is a funny moment,” explains the lanky, Taiwanese-born 30-something over tea at his Dana Street abode. “But it’s very tricky, those moments when you pull the rug out. That’s a precious moment for me. The room — you’re in it. You’re aliiiive!”

Hailed in his early 20s as the “next big thing” in Asian American fiction, early success drove Huang along a roller coaster track of highs and lows ending in career paralysis. Then the thought struck him he didn’t need a publisher or much of anything else to put on a show in his bedroom. That ultimately necessitated founding a theater festival to showcase the work, and an ethic of self-sufficiency Huang now shares with other artists he sees in need of a similar epiphany.

“I just got sick of this mentality artists had,” explains Huang. “They were always only receiving resources, and institutions were always only giving resources. The Home Theater Festival is about putting an idea into practice, but also it’s to change people’s mindset. No, we’re self-generative. We create opportunities. We can do it ourselves. We can make a name for ourselves. We can do everything we want right now with nothing extra added.”

GOLDIES 2011: Religious Girls

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GOLDIES 2011: Religious Girls

GOLDIES If they suddenly became stupidly rich, the trio behind Oakland’s Religious Girls would purchase a warehouse to turn into an all-ages venue/home-recording studio, with maybe some laser tag. Or they’d buy a food cart. If that isn’t the epitome of the modern Bay Area band, I don’t what is.

Gutted, then formed from the meat of other local acts, Religious Girls — Nicholas Cowman, Guy Culver, and Christopher Danko — became a unit in the summer of 2008. When asked if Oakland influenced their sound, Danko says, “It really did. We came together in Oakland, and grew together, our music as well.” The arty noise act’s music is that of the futurist multitasker: overflowing synth and samplers, beeping keyboard, near-tribal drumming, and three wordless chanting vocalists. Conspicuously absent are the given instruments of traditional rock ‘n’ roll.

The band is electrifying live, all loose limbs, hard-hitting drums solos, and musty, foggy chants, formed in a claustrophobic circle (more like a triangle, to be mathematically accurate), each musician clearly feeding off the energy of the others. This past summer, the rest of the country got to catch the live act — the Religious Girls (time to note: no actual females play in the band) spent 45 days on the road on their own Shred Til We Ded tour. They toured the East Coast in a giant school bus (dubbed “The Rad Bus”) with Blastoids and the Prophet Nathan, both of Tennessee, and from that trip fondly recall “jumping off a bridge and riding a waterfall in Washington, making a whirlpool with Japanther in Montana, and [getting] the stomach flu!”

The cross-country journey was in support of the recently released 12-inch EP Midnight Realms, which came out on two labels, Everybodies Stomached (in L.A.) and Echolalic Records (Seattle). To be released yet again next year, this time on German label Alien Transistor, the record is fraught with mind-expanding moments of ecstasy. The thrill of the twinkling keyboard build-up in “OG” (named for BART cop shooting victim Oscar Grant) plateaus with guttural screams and fuzzy daggers of laser synth, breaking down into near chiptune digi-video game bleeps and clacking drums. It’s pieces like this that explain the band’s magnetism, having been described as “feral and bubbly,” “fucking MONSTERS” (in a YouTube comment), and “like a more ambient Battles “(okay, that last one was me).

And in truth, it’s just really getting started, the momentum building thanks in no small part to the EP. The band is in the final stages of mixing its full-length record, set to be released next year, and has more tour plans in 2012: the trio will hit the West Coast in January, and take its first European jaunt in April after SXSW — where they’ll undoubtedly pick up a few additional fans, further spreading the good word on Oakland sound.

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