Print Sections Archives — Page 207 of 493 — San Francisco Bay Guardian Archive 1966

Blue cheer

Jesse Hawthorne Ficks

-

January 25, 2011

marke@sfbg.com

SUPER EGO “Do you think that rats … think that bats … are angels?” cracked tall, curly-haired Brendan Lynch, nicknamed Skeletor for kicks, at the opening night of Big Al’s Big Ass Comedy Jam at John Colins on Jan. 19. I’m breaking one of the cardinal rules of comedy journalism (“ha”) by giving away a punch line, but Lynch lobbed and landed so many Moebius-like thought-twisters — think Steven Wright minus Valium — I’m sure he won’t pummel me too much. Yes, I’m flirting.

The other comics peopling the raucous, as in both hysterical and L-O-U-D, new weekly jam (Wednesdays, 9 p.m.-10:30 p.m. with dancing afterward to DJ Whooligan, $5. John Colins, 138 Minna, SF. www.johncolins.com) were pretty damn good, too, although the night could have used a woman’s perspective to help vary the mainly bro-to-bro subject matter. Paging Ali Wong and Marga Gomez! There’s a Big Ass calling your names!

Affable, and yes slightly king-sized, producer Big Al is pretty much an underground comedy legend ’round these parts — his weekly Monday comedy throwdowns at live jazz spot Club Deluxe have been going strong for the past seven years. (Mondays, 9 p.m., $5. Club Deluxe, 1511 Haight, SF. www.sfclubdeluxe.com). There, he usually brings in more established yuksters. But if you’re looking to have your ears scalded by a wildly diverse group of youngsters, get your big ass down to John Colins, order one of their awesome “sidecars de Nicaraguan,” and settle in.

NICK CURLY

Sophisticated party techno is in danger of becoming too homogenous, no matter how perfect it is for people with brains who like to scramble them with killer beats. Yes, Nick Curly is another German dude with a residency at Space in Ibiza, a couple labels, and immediate access to all tomorrow’s hit tracks. But his spin is intriguingly different — he helped delineate the percussive, wide-swinging “Mannheim sound” that’s become de rigueur the past two years, and his attention to texture never tips into fussiness. Oh yeah, and he’s not too hard to look at either.

Thu/27, 9:30 p.m., $20. Vessel, 85 Campton Place, SF. www.vesselsf.com

BUZZED OUT ELECTRO BALL

French hardcore electro DJ Toxic Avenger is the headliner here — if you want to see how much the sound has become pop fodder, look no further than his Facebook-cheeky vid with rapper Orelsan, “N’Importe Commente.” But true banger bangers may want to check out Canadian duo Autoerotique, who claim allegiance to both Dutch house and Norwegian black metal.

Fri/28, 9 p.m., $20. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

KODE 9

The heady Glaswegian dubstep originator has a degree in philosophy — maybe that’s why his business is melting faces off, so he can better examine our minds? In any case, his Hyperdub label and style are anything but predictable, except for the impeccable low-end fulfillment, and he can stake some claim to helping the grime revival and future bass scenes along, too. He helps celebrate the monthly Icee Hot party’s first anniversary.

Sat/29, 10 p.m.–3 a.m., $15. SOM, 2925 16th St., SF. www.som-bar.com

GADI

Regular readers know I gladly suckle at the wicked-soulful teat of Wolf + Lamb Records, the label run by duo Gadi Mizrahi and Zev Eisenberg. Plundering signifiers from Motown to R. Kelly, Burning Man to Brooklyn, they’ve helped bring sexy back to underground dance floors. Gadi on his own is an aural ladies man: smooth, sensuous, and full of devilish sonic winks.

Sat/29, 9:30 p.m.–3:30 p.m. $15. Public Works, 161 Erie, SF. www.publicsf.com

BONJAY

I’ve been totally grooving on this Toronto duo’s charmingly kick-ass meld of reggae and experimental electronics. Santigold comparisons abound, not a bad thing, and somewhere Diplo, or at least Poirier, is probably waiting to pounce. But singer Alanna Stuart and DJ Pho have an energy, and emotive electronic future-tropics sound, all their own. With Ghosts on Tape and Casy & Brian.

Sun/30, 8 p.m., $7. Rickshaw Stop, 155 fell, SF. www.rickshawstop.com

Que tristeza

Jesse Hawthorne Ficks

-

January 25, 2011

0

arts@sfbg.com

FILM Whether or not they planned it from the beginning — though there was certainly grandiosity there at the start — Alejandro González Iñárritu and Guillermo Arriaga have been interesting as probably the first major narrative filmmakers to make post-NAFTA globalization their ongoing subject. The three-part Amores Perros (2000), while set entirely in Mexico City, found within it layers of society as remote from one another (if united in a fatalism, brutality, and one “accidental” twist of fate) as if they were continents apart.

Moving north into Hollywood funding and movie stars, the effortfully bleak 21 Grams (2003) again mixed up chronology, crisscrossing multiple story threads, and with big issues — religion, recovery, mortality — crossing literal and figurative borders. Babel (2006) went whole-hog, leaping from sunny SoCal and merely baked Northern Mexico to frenetic Tokyo and the Moroccan desert, finding or manufacturing crises everywhere, hang-wringing out questions you might boil down to “Can’t we all get along?” Or perhaps, to use the name of onscreen director Joel McCrea’s proposed pretentious magnum opus in Sullivan’s Travels (1941), O Brother, Where Art Thou?

These movies played God way beyond the ken of average auteurism, deus ex machinizing all over the joint to place actors in award-worthy emotional extremis and give us extended doses of that feeling experienced by characters in movies who shake their fists at the unforgiving sky and shout “WHHHHYYYY!?!!!” They were fairly humorless, highly contrived, and eager that you appreciate both qualities. They were also structurally ingenious, and in extended passages — like Rinko Kikuchi’s night on ecstasy and the Mexican wedding in Babel — purely cinematically dazzling. All these films speak to social injustice, the rising desperation that turns problem-solving violent, to connectivity (and disconnectivity) across cultures and economies. But what exactly director Iñárritu and scenarist Arriaga were saying was often much less persuasive, or clear, than the sheer bravado of their ambitions.

It was certainly hard to imagine one — intricately mapped screenplays, showily accomplished filmmaking — without the other. But the two indeed had a falling out after Babel, reportedly in part because Iñárritu (whose films are now “A Film By Iñárritu”) was kinda hogging the glory, downplaying his creative partner’s contribution.

So Arriaga wrote and directed 2008’s The Burning Plain, another elaborate multistory miserabilist exercise, albeit one that critics and audiences were catastrophically cold toward. Now Iñárritu is flying solo with Biutiful — oh, you just know that title is hiding a cruel irony — and it, too, is a problem.

Instead of weaving multiple story arcs in different locations to encapsulate man’s inhumanity to man circa now, he (working as scenarist for the first time, with Nicolás Biacobone and the late Armando Bo credited as cowriters) simply unloads several characters and continents’ worth of woe onto one continuous story. Or rather, one sagging man: Uxbal (Javier Bardem), a wearily hustling dude of all trades who seems to be keeping half of Barcelona’s marginalia afloat, if barely. He mediates between corrupt police who require bribes (then still fuck him over), illegal Chinese immigrant sweatshop workers who make designer purse knockoffs, the illegal African immigrants who sell them, and the bosses who just want him to exploit everybody faster and harder. It’s all falling apart even as he keeps slapping fresh papier-mâché on the teetering gray-market apparatus.

Meanwhile, he’s dad to two adorable young children and failed (but still trying) savior to their mother, who is bipolar with a vengeance. He’s also got a fuckup brother and various other satellites revolving around his warm but ebbing sun. Plus Uxbal can talk to dead people. You heard me. They generally tell him to inform surviving friends and lovers “Don’t worry, be happy,” which incites grateful tears. (Though nobody here is ever, ever happy.) All this and bloody urine too — no wonder our hero, reluctantly consulting a doctor, can’t quite believe the news he gets. Cancer? Terminal? Like, soon?!? As if he doesn’t already have enough on his plate. Now they’re just going to take the plate.

Biutiful dumps all this grief on Bardem’s shoulders and danged if he doesn’t just about hold up the whole movie, refusing to ham, marching through this two-hour Passion of Uxbal with enough wry dignity and palpable exhaustion to almost achieve credibility. Still, he’s a movie star, and that becomes one more way in which Iñárritu turns harsh “realism” into excess. This director is at his best in primarily visual set pieces, but his script here provides few such opportunities: the film flickers alive during an early police chase and a shocking later sweatshop discovery (though we’ve seen it coming). The scenes with Maricel Álvarez as crazy ex-wife Marambra are also effective because her character is complicated in ways that go beyond mere schematic usefulness in the movie’s overall whatsit of suffering piled upon suffering.

Biutiful isn’t a bad movie, but it attempts to mean so much there’s something painful in the degree to which it doesn’t move us as planned. Rather than making a universal statement about humanity at millennial wit’s end — with Bardem as Incredible Shrinking Everyman — Iñárritu has made a high-end soap opera teetering on the verge of empathy porn. He was better with Guillermo Arriaga, and vice versa.

BIUTIFUL opens Fri/28 in Bay Area theaters.

Enter the void

Jesse Hawthorne Ficks

-

January 25, 2011

3

arts@sfbg.com

NEWS/MUSIC/CULTURE Anyone who entered University of San Francisco’s Presentation Hall the night of Jan.19 was confronted by the signs — literal and figurative — of a participatory approach to media. A sizable number of the almost 500 people packed into the site for a public meeting to discuss the abrupt sale of KUSF were carrying cameras. Other brandished signs, with slogans running the gamut from pointedly angry (“KUSF is Our Radio”; “Shame on USF”) to comic (“Suck It”).

The scene was a public meeting to discuss KUSF. In a matter of hours the previous morning, the station had gone from a left-of-the-dial college station of 34 years with deep and numerous local community connections, to an online-only operation, its frequency now owned by the USC-affiliated Classical Public Radio Network.

The atmosphere itself was contemporary political — and perhaps religious — theater brought to life, a loud embodiment of scripted and spontaneous dissent regarding education, the changing face and nature of radio and media, and cultural shifts in San Francisco. Before the event got underway, chants of “Community” broke out, and KUSF music director Irwin Swirnoff addressed the crowd in an attempt to ensure the venue’s balcony was opened up to people still left outside. As USF faculty arranged a pair of podiums on stage, a call-of-response of “What do we want? Noise rock! When do we want it? Now!” briefly went up from the back of the hall.

Father Stephen A. Privett, the president of the Jesuit university,soon stepped into view, taking a place behind a stage-right podium at some distance from the audience. “Thank you for being here with me this evening,” Privett began, before leading those assembled (or some of them) in prayer. “It’s very clear to me that there is justifiable anger with the decision I made. I don’t anticipate or expect you to agree with me.”

The decision Privett referred to and sometimes took full responsibility for was the choice to sell KUSF to CPRN, a move that, brokered by Greg Guy of Patrick Communications, came cloaked in a nondisclosure agreement. He was correct to not expect approval. Privett’s initial statement contextualized the $3.8 million sale of the station within his responsibility to provide a “quality education” for USF’s students, only a small percentage of which he felt were engaged with the station. “We teach broadcasting, we aren’t fundamentally a radio station,” Privett said of USF, in one of many assertions that drew jeers from some of the crowd.

The floor was then opened to questions from those assembled, as a school representative kept hold of the microphone. Linda Champagne, a KUSF DJ, was first to speak, holding back emotion as she told Privett that the sale of the station “should have been handled better.” Dorothy Kidd, a media studies professor, wanted to know why the decision took place while USF was on break, and the school’s faculty and students weren’t notified. “If the station is to be a teaching facility, why is the first time I learned about this decision last night?,” she asked Privett to roaring applause. “I am a teacher, [and] there are a lot of faculty members who are angry you made that agreement.”

LEFT IN THE DARK

KUSF’s sudden disappearance from the airwaves has left a void in its wake, and a wide variety of questions and contradictions swirl within it. It’s clear that Classical Public Radio Network is “flipping” KUSF’s former frequency, 90.3, to the classical music station KDFC (formerly on 102.1 FM), shifting KDFC to noncommercial status. But while USF’s Privett claimed that he accepted “the first offer that came across [his] desk” and had not actively put KUSF on the market, on the Jan. 19 installment of KQED’s Forum, CPRN Managing Director Brenda Barnes asserted that the company only solicited radio stations that were for sale.

One avenue for those protesting the sale of KUSF is to take their case to the FCC, while another is to increase scrutiny of USC’s role. Nikk Fell, a DJ on KUSF’s “Liquid Konspiracy,” sees hope in the fact that the FCC has not yet approved KUSF’s sale. “The FCC has not received the contract yet,” he says. “We think we have a chance to change the decision, and that’s one of our plans right now.”

“I was on a street law program the other day and there was talk about pursuing an injunction,” says attorney and former Supervisor Matt Gonzalez. “Jello Biafra also had an interesting idea — he thought the pressure should be put on USC.”

USC’s involvement in the purchase of KUSF is one of a number of recent acquisition moves by USC within the radio marketplace. It left KUSF a casualty of a growing related trend, in which commercial classical musical stations are being shifted to nonprofit public radio status — thanks in part to USC, a college station that broadcast many languages and musical genres (including classical) and foregrounded local music was booted off the dial and replaced by KDFC’s uniformly classical programming. “Every major city has at least one college station,” observes Krystal Chambers, who co-DJed “Liquid Konspiracy” with Fell. “Cleveland has four college stations and L.A. has three. For San Francisco to have no station is a travesty. We felt the voice of San Francisco was sold to a Southern California conglomerate. They have four other stations — why do they need us?”

The sudden erasure of KUSF — which had strong ties to the local music scene and related venues and businesses, as well as sponsored events such as Rock ‘n’ Swap — has cultural repercussions on a local and broader scale. “It’s going to have a huge impact,” Carolyn Keddy, who DJed at KUSF and volunteered for the station for 20 years, says. “So many voices were silenced. It isn’t just about the change of format and the loss of programming.” According to Keddy, who managed KUSF’s website until she was suddenly denied access to it on the morning of Jan. 18, the university’s abrupt sale and closure of the on-campus station was akin to saying, “Thanks for making us look good and doing all that work for us. Now get the hell out of here.”

LEFT OF THE DIAL

Of course, KUSF’s former staff and volunteers are not going away quietly. Initially, Privett had not planned on attending the Jan. 19 meeting regarding KUSF’s sale, but the immediate media response and subsequent public outcry changed at least that decision on his part. The sale of KUSF cuts to the heart of disputes about outside corporate influences on the local media landscape, and more directly about San Francisco itself: what the city represents, and its changing — more generic and corporate? — public identity. Three of its call letters may have been shared with the university, but KUSF didn’t have that name for nothing. It was a musical nexus for the city, and in the musician community, a bridge to and from San Francisco and the rest of the world.

“Takeovers like this seem all too common in our greedy little country, but I can’t accept the fact that they’re trying to do this in San Francisco,” says Howard Ryan, a.k.a. DJ Schmeejay, who was kicked off the air without an opportunity to sign off when the station was locked down by campus police on Jan. 18. “This city sets the example. This city doesn’t take shit lying down. I’m trusting that the citizens, the Board of Supervisors, and support from the international community will stop the sale from going through and we can return [the station] to the airwaves where it belongs.”

Ryan, Keddy, Hardwick, Edna Barron, and others who had volunteered at KUSF agree that the online-only version of KUSF will bear little resemblance to the station that had been on the radio. “I want to clear up the myth about the online fate of the station,” says Barron, a.k.a dj nobody. “It will not include any aspect of the community. Father Privett made it abundantly clear during the [Jan. 19] meeting that the online station will only be open to training students.”

SILENCE, THEN LOUDER

A week after KUSF went off the airwaves, it’s fair to say that the covert way in which the change went down has resulted in an overt and spreading reaction. Besides local and national media coverage in mainstream and independent outlets, as of Jan. 24, close to 6,000 people had joined a “Save KUSF” page on Facebook. Other sites, including www.savekusf.org, have also been started in response to the sale.

One of the more interesting and in-depth responses is an open letter to Privett published by the veteran East Coast-based music magazine and website The Big Takeover. The author of the letter, local musician Chris Stroffolino, begins by praising Privett’s and USF’s rescue efforts during the Salvadorean war, before delving into questions regarding USF possible redistribution of funds from the sale. “Even in 2010,” Stroffolino writes, “the medium of radio has a power that cannot be denied, a power in bringing people together even when apart.”

It’s one irony of recent times that the actual sale of KUSF made this power physically tangible, in events such as the Jan. 19 meeting. Stroffolino’s letter looks to a 1932 essay by Bertolt Brecht to illustrate what distinguished KUSF’s public, participatory nature from that of ordinary radio stations, and the dilemma those involved in the station face today. “Radio is one-sided when it should be two,” Brecht wrote. “It is purely an apparatus for distribution, for mere sharing out. [Radio should] step out of the supply business and organize its listeners as suppliers. Any attempt by radio to give a truly public character to public occasions is a step in the right direction.”

In talking with some of KUSF’s DJs for this piece, it seemed worthwhile to ask what song they would have signed off with to comment on the sale, had they been given the opportunity. Barron chose “The Boiler” by the Specials, while Hardwick and Fell mentioned “Generika,” a song by their space rock band Galaxy Chamber. “I would play Bad Brains’ “Pay to Cum”,” Keddy said, going on to recite a lyric: “And all of this time, with just our minds, we soon will find, what’s left behind.”

Ryan, who was in the studio when KUSF was taken off the air, had another perspective. “My last two songs were Bobby Goldsboro’s “Danny is a Mirror to Me” — he turned 70 that day — and Vangelis Papathanissiou’s “Apocalypse des Animaux,” he said. “Maybe two of the saddest songs I’ve ever played on [the program] Radiodrome. I’ve thought a lot about what I would have played had I known what was happening. I don’t think I’d want to change a thing.”

Addititional writing and reporting by Carly Nairn.

www.facebook.com/SaveKUSF

www.ipetitions.com/savekusf/

www.savekusf.org

Burn the Bay

Jesse Hawthorne Ficks

-

January 25, 2011

0

Self-medicate and simmer? Hardly. A nice big toke deserves (another and) a trip out and about to see some of the Bay Area’s finest sites to be stoned in. Just don’t flash that bong around — we hear that shit’s still illegal (?). Here are the Guardian staff picks for places around town that your buzz will love.

GOOD MANG KOK BAKERY

Post-Mary munchies are no joking matter. Yeah, you laugh when your buddy eats sausages dipped in maple syrup, but when it’s your turn the joke’s on you. Fortunately, Good Mang Kok Bakery in Chinatown is there to get you through those funky hunger spells. It’s got it all: pork buns, shrimp dumplings, egg tarts, mochi, sesame balls, chow mein — more grease and sugar than you can shake a spliff at. The joint (ha!) smells like stoner heaven, but the best part about Good Mang Kok is that it won’t leave a dent in your wallet — three steamed pork buns cost only $1.50 and all the food a stoner can eat won’t ever cost more than a 10 spot. Peep the window sign that says “Dim Sum Nice Food” and you’ll know you’re at the right place.

1039 Stockton, SF. (415) 397-2688

KADAMPA BUDDHIST TEMPLE’S “MEDITATIONS ON WORLD PEACE”

It’s Sunday morning, you’re stoned, and your heart is full of love. Kumbaya friend, mosey down to the Mission’s Kadampa Buddhist Temple for its weekly group meditation on world peace — because we all know that war, violence, and suffering are huge mellow-harshers. Inside the small building you’ll find a meeting room lined with chairs, Buddhist art, and sculpture — take a seat and be on time. Class includes a guided prayer, a spiritual teaching (try not to space, because if you pay attention here you can learn a lot), and refreshments. Every level of experience is welcome and no stoner will be turned away for lack of funds.

Sundays, 10:30 a.m.–noon, $10 donation suggested. 3324 17th St., SF. (415) 503-1187, www.meditationinnortherncalifornia.org

REVOLUTION CAFE

We regard the Revolution Cafe as its own mythic country, one in which bearded men and dashing women from various cosmopolitan European, Latin-American, and African cities epically lounge, smoke from their spliffs still lingering in their leather jackets and hand-woven mountain sweaters. In this convivial company, there is no better vantage point to regard the Mission’s ragtag parade from behind the fog of (medicinal, surely) Humboldt fog, particularly with a glass of house red or cappuccino in hand. Languid inter-table conversation is a mandate on the Revolution porch — retreat inside to giggle at The Awl’s witticisms on your laptop or take in the piano-guitar duo occupying Rev’s tiny corner that is allotted to its live music offerings.

3248 22nd St., SF. (415) 642-0474

ZEUM

Who says you have to be a kid to get a kick out of this museum’s interactive art and technology exhibits? Twist one up and try your hand at photo manipulation, animation, and video-mixing geared toward the mini-mind. And while we’re feeding our heads here, why not go truly techno-psychedelic with the kids’ museum’s Z Dance — dance in front of a green screen and a computer will transfer your image to a trippy backdrop (see Jefferson Airplane’s Smothers Brothers Comedy Hour performance of “White Rabbit” for inspiration). For gizmo gear-heads to blasé Betties, some advice for truly groking the beauty of Zeum: nothing will awaken your childlike wonder like a little William’s Wonder.

221 Fourth St., SF. (415) 820-3320, www.zeum.org

SEWARD STREET SLIDES

In 1966, Seward Street minipark was the site of a neighborhood sit-in that saved the last remaining open space between Seward and Corwin streets from encroaching development. Honor the community protesters’ struggle in true ’60s spirit by lighting up, grabbing a cardboard box, and flying down the polished concrete flumes for freedom (you can also slide at the chutes in Children’s Playground and Bernal Heights). Getting blazed is a good way to mitigate small bruises and the burn of climbing to the top of the remarkably long chute. But if intoxication and high velocity isn’t your favorite mix, there are plenty of places to perch peacefully and watch the action.

Acme between Seward and Corwin, SF

BERKELEY BOWL

This locally-owned grocery chain is a stoner’s dream, whether you alight on the 40,000 square foot megastore or the sleek new western location complete with parking lot: an added convenience for pre-browse hot-boxing. From asparagus to zatar (a Lebanese spice related to mint), the Technicolor aisles tantalize tokers’ taste buds, and are the ideal playscape for customer antics — shopping cart drag races are not unheard of. Feeling peckish? Avoid being “that hippy” shoving patchouli-scented paws in the bulk bins. Try baking among the baked goods at the store café, where you’ll find plenty of fresh soups, sandwiches, and company to ponder universal truths with.

2020 Oregon, Berk. (510) 843-6929; 920 Heinz, Berk. (510) 898-9555, www.berkeleybowl.com

WESTFIELD MALL ESCALATORS

Try to accomplish anything at the Westfield Mall while sober and you will surely end up crying outside of Jamba Juice, then struggling for hours more just to find the first floor exit. A better way of approaching the shiny downtown consumerist behemoth is to get faded and ride the escalators for, like, a really long time. The inter-floor specimens at the Westfield are a sight to behold. Unlike boring linear escalators, these zigzag upward and downward in Escher-esque profundity, caged in the mall’s dome-like interior. Those seeking ascent or descent must navigate a loop of shiny retail spaces just to find their way to the next moving staircase. Keep your wits about you — if you know which way is up, you may just reach Century Theatres!

865 Market, SF. (415) 512-6776, www.westfield.com/sanfrancisco

AUDIUM

Seeing the sights while stoned is all well and good, but you can give your optic nerves the night off and still totally trip off of SF. The wonder that makes it all possible is the Audium, where synapse-stimulating sound sculptures are unleashed on listeners seated in a round auditorium that is darkened to blackness to further heighten the experience. This place was constructed to get you high off auditory fumes. Sayeth Stan Shaff, the composer who co-masterminded the Audium concept back in the 1950s: “As people walk into a work, they become part of its realization. From entrance to exit, Audium is a sound-space continuum.” Somehow we’ve made it through this entire paragraph without using the term “mind-blowing.” Shoulder pat.

Performances Fridays and Saturdays, 8:30 p.m. 1616 Bush, SF. (415) 771-1616, www.audium.org

NORTHERN CALIFORNIA COAST GALLERY AT THE STEINHART AQUARIUM

Look, for those riding the green hornet, buzziness doesn’t get much better done than at the California Academy of Sciences. The Morrison Planetarium sends not just cosmic gas and glistening stars whirling around your dome, but protozoan tendrils and glimmering ambient sounds as well, as part of the current “Life” show. Iridescent butterflies flit unfettered about the Buckyball-like “Rainforests of the World” structure. And of course there’s Claude the preening albino alligator and a clownish troupe of cavorting penguins. But for sheer shivery loveliness, we like to slip into the basement for the Steinhart Aquarium’s gorgeously curated exhibits of regional undersea habitats. The Philippine Coral Reef wastes our retinas with its neon delights and the generalist Water Planet Galleries include infinite otherworldly species. But it’s the Northern California Coast Gallery that keeps us rooted in a meditative pose with its hypnotically undulating anemones and sensuously intertwined towers of opalescent kelp. Think about it. That’s, like, right off Ocean Beach, dude. Your pipe is your snorkel.

55 Music Concourse Dr., Golden Gate Park, www.calacademy.org

List assembled by Emily Appelbaum, Marke B., Caitlin Donohue, and Hannah Tepper.

Gorgeous George

Jesse Hawthorne Ficks

-

January 25, 2011

0

TRASH She’s an unstoppable force, that Sherri Frankenstein. As embodied by Linda Martinez in an anything-but-soggy serial by George Kuchar, Sherri is endlessly buffeted by life — shoved, mutilated, or worse by rapacious characters ever-eager to administer injections. She’s prone to oracular gestures so lengthy and dizzyingly impulse-driven that their conclusions directly contradict the reality around her. But whether she’s carousing at a go-go club or distractedly presiding over a Dracula’s castle-turned-home for wayward women, Sherri’s is a spirit that will not be snuffed.

Sherri’s odyssey begins in 2003’s Kiss of Frankenstein, a screen adaptation of a 2003 play’s torrid and torrential vomitous verbiage. Shot in three hours for $500 and post-dubbed in a bathroom, Kiss is an orgy of all that Kuchar in dramatic mode has to offer — a DayGlo video update of the old dark house scenario of his and Curt McDowell’s classic Thundercrack! (1975) with live action-meets-animation interiors that outdo Dario Argento’s Suspiria (1977) in terms of lurid décor. Martinez’s sheer organza negligee is only the raciest fabric in a dance of the 700 veils to rival Kenneth Anger’s Puce Moment (1949). The dreamy-eyed male lead’s hairy chest and right nipple peeks out from a torn pajama top. A maze of maniacal monologues and mythical machinations — listening to Kuchar’s characters rattle off narration, one can’t help but ponder the narcissistic nature of memoir — in the form of a hungry Hungarian “pilgrimage for the palate,” the first chapter in Kuchar’s monstrous equivalent to Wagner’s Ring includes a sudden ax attack rendered in the style of William Castle.

Fresh from an acid facial, Sherri is back and pig-biting mad in 2005’s The Fury of Frau Frankenstein, another of Kuchar’s collaborations with his students at San Francisco Art Institute. Abandoning Kiss‘s monologues for title cards and visual tale-spinning, Fury introduces Sherri’s buxom niece Leticia, whose fate is watched by a Ryan Gosling-like newspaper reporter named Bruce. (In a bit part, young filmmaker Sarah Hagey almost steals the movie while her man is stolen.) Kuchar unleashes a blitz of post-production video effects, placing party scenes within envelopes and sprinkling digital glitter on Sherri’s face. Shot for $100 less than its predecessor, Fury is pure cinematic gluttony on a budget: a stew is stirred with a dismembered hand, a glimmering spider web curtain from the previous movie returns as one character’s cape, and a bat scurries across a floor in a manner that evokes not just the ravenous killer brains of the 1958 British horror flick Fiend Without a Face, but also furry slippers.

Technical difficulties prevented a viewing of the climax of Kuchar’s Frankenstein Cycle, 2008’s Crypt of Frankenstein. But Sherri returns in a sequel to the series, 2010’s Jewel of Jeopardy, whose cast includes an M.D. A little weary and slurry and lost in the length and relentlessness of her monologues, she’s soon helpless — gleefully so — to stop a Dracula who “burns quite easily” as he feasts on the “nubile necks” of her female charges, administering “hellish hickeys.” Here, the prop-mad and pixelated fervor of Kuchar’s meta-montage reaches its apex: digital blood drapes the screen, hairdos morph into spider webs, a character is beaten with his own severed leg, a Santa Claus wall hanging beams green rays from its eyes, Martinez’s flesh is visually rhymed with a Frankenstein mask, and the cast is momentarily lost in a blizzard of animated hearts and stars that would bring a blush to the face of the Lucky Charms leprechaun.

It’ll end in puke, of course, but anyone with a hungry eye should welcome the Roxie’s decision to put three nights of movies by George Kuchar on its menu. Or a hungry heart: the cheerful gastric onslaughts of Kuchar’s Frankenstein cycle are countered by the disarmingly poignant mortal attention to digestion and bodily function in his recent diary films, Vintage Visits, The Nutrient Express, and Dribbles, all from 2010. The time is right to gorge with George.

BY, FOR, AND ABOUT GEORGE KUCHAR

Fri/28–Sun/30, $6–$10 (Fri/28: The Frankenstein Cycle; Sat/29: It Came From Kuchar plus two Kuchar shorts; Sun/30: new video diaries by George Kuchar)

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

On the Cheap Listings

Andrew Lam

-

January 25, 2011

0

On the Cheap listings are compiled by Jackie Andrews. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 26

BAY AREA

Mallrats Actual Cafe, 6334 San Pablo, Oakl.; (510) 653-8386. 6-8 pm, free with food and drink purchase. Hang with Brody and friends during a special screening of this classic Kevin Smith stoner flick. No need to bring a bagged lunch, snootchie-bootchies — there will be cheap beer and sandwiches on order at the cafe counter.

THURSDAY 27

Phil Manley solo performance Amoeba Music, 1855 Haight, SF; www.amoeba.com. 6 pm, free. Couldn’t make to Manley’s show at Hemlock Tavern on the 25th? Then head on over to Amoeba in the Haight and see Trans Am’s finest perform tracks from his new solo album Life Coach, a homage to legendary German record producer and musician Conny Plank.

“Rent is Too Damn High!” party Latin American Club, 3286 22nd St., SF; (415) 703-8634, info@hrcsf.org. 6-8:30 pm, $5-50 suggested donation plus drink purchase. The Housing Rights Committee of San Francisco is having a party to raise funds for its fight for tenants’ rights with live music. The special guest list will include Best of the Bay hero Supervisor David Campos, a fountain flowing with Four Barrel Coffee, free food, prizes, and cheap booze.

SF Vegan Drinks Martuni’s, 4 Valencia, SF; www.sfvegandrinks.com. 7:30pm, free with drink purchase. Meet like-minded vegans with an affinity for happy hour cocktails and cruelty-free cuisine. Plus, get down on the unlimited spread of vegan hot dogs and popcorn (dinner, consider yourself covered!) and specially priced $5 Bloody Marys.

BAY AREA

Erotic reading and cupcakes Good Vibrations, 2504 San Pablo, Berk.; www.goodvibes.com. 6:30pm, free. Rachel Kramer Bussel will be reading form her two new collections of erotic stories — Best Bondage Erotica 2011 and Passion: Erotic Romance for Women. A good bondage story always calls for a cupcake, so stick around for an excellent combination of sugary sweet and fibrous restraint.

FRIDAY 28

Yes We Can Can: San Francisco food drive Mighty, 119 Utah, SF; (415) 377-3325, www.crazylegsworkshop.com. 10pm-2am, free before 10:30 with three can donations; $5 before 11:30pm and $10 after. Enjoy a night of dancing and positive vibes with Crazy Legs, Tony Touch, Shortkut, and others. Bring canned food for donation to the SF Food Bank, which provides much-needed food to over 400 local nonprofit organizations, including neighborhood food pantries, soup kitchens, senior centers, homeless shelters and youth programs.

SATURDAY 29

ATA Art Auction and FUNraiser Artists’ Television Access, 992 Valencia, SF; (415) 824-3890, www.atasite.org. 11am-noon and 3-4pm, free. Get arty and celebrate 26 years of Artists’ Television Access’ contribution to SF arts at their appropriately entitled FUNraiser, featuring an auction of 50 established and emerging artists — including Chris Johanson, Kottie Paloma, and Beth Lisick — musical performances by local faves Grass Widow and Puce Moment, visual presentations, and much more.

BAY AREA

Benefit for East Bay Free Skool Revolution Cafe, 1610 7th St., Oakl.; (510) 526-7858, www.eastbayfreeskool.wikia. 7-11pm, $3-5 suggested donation. The East Bay Free Skool, if y’all don’t already know, is a kick-ass organization that provides free classes like yoga, pilates, cooking — even circus arts. It also puts on the monthly Hella Free Day swap meet where everything is, well, hella free. In order to do all of these awesome things, it needs money, so help out by attending its fundraiser with a ton of bands and good people. While you’re at it, check out their calendar and sign up for a class or two, or enlist to teach one of your own.

SUNDAY 30

Hotties 4 H0m0 Health Care El Rio, 3158 Mission, SF; (415) 901-7131, Facebook: Hotties for H0m0 Health Care. 7-9pm, $5-20 sliding scale donation. Support Lyon Martin Health Services, the only community clinic in California with a specific emphasis on queer women and transgender healthcare, with a fundraiser featuring performances by bands and burlesquers: Kentucky Fried Woman, Drew Montana, Brock Cocker, Lyric Styles, and Dottie Lux. Drop it like it’s hot to jams provided by DJ Booty Klap and DJs HLAWS & Jxn James, and maybe win one of many sexy raffle prizes while you’re there.

TUESDAY 1

Literary Speed Dating San Francisco Public Library, 100 Larkin, SF; (415) 557-4277, www.sfpl.org. 5:45-7:45pm, free (pre-registration required). 2011 could be the year for love, so start if off right by attending this speed dating event for 20 and 30-something book lovers. You will have about 5 minutes to find out what your potential next boo — or best friend thinks about the whole Kindle thing. Spaces are limited, so make sure you RSVP early.

Film Listings

Andrew Lam

-

January 25, 2011

0

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide at www.sfbg.com. For complete film listings, see www.sfbg.com.

OPENING

Biutiful See “Que Tristeza.” (2:18) California.

*Ip Man 2: Legend of the Grandmaster There’s an ounce of irony that the Wing Chun master who ended up popularizing martial arts throughout the world by way of his most famous pupil, Bruce Lee, would still be the subject of contention (see dueling biopics like Wong Kar-wai’s forthcoming The Grandmasters) and the center of passionate nationalism. In 2008’s Ip Man, the modest master (Donnie Yen) pit his considerable skills against the karate of the invading Japanese army, and here, in ’50s Hong Kong, he tests his skills against the British colonists’ boxing champion. Imperial villainy is painted in broad strokes, but that’s the only predictable stumble in this otherwise step-above effort, with its handsome, sepia-toned art direction and its martial arts choreography by Sammo Hung. As 2 opens, the noble Ip Man has survived the tribulations of WWII only to find himself tussling with rival martial arts groups in rough-and-tumble HK in his efforts to start a Wing Chun school. His most formidable opponent is the powerful master Hung Chun-nam (Hung, who threatens to steal scenes from an earnest if adept Yen), until the two are finally brought together by shared Chinese family values in the ugly face of colonial injustice. The focus of this sequel, once pegged to Ip Man and Lee’s relationship, shifted when director Wilson Yip and company failed to finalize film rights with the star’s descendants, yet much like its near-saintly subject, Ip Man 2 succeeds despite all obstacles. (1:48) Four Star, Shattuck. (Chun)

*Lemmy: 49% Motherfucker, 51% Son Of A Bitch One thing is certain: Motorhead’s Lemmy Kilmister is a total badass. Greg Olliver and Wes Orshoski’s adoring portrait is strongest when it captures the legend going about his everyday business: rocking out onstage before thousands; obsessing over a video game at his favorite Sunset Strip hangout, the Rainbow; kicking it at his humble, jam-packed, rent-controlled apartment. The seemingly ageless Lemmy (he’s 65!) is a fascinating character, a complete original who does whatever he likes (gambles, collects Nazi memorabilia as an offshoot of his military-history fascination, speed) and doesn’t particularly give a fuck what anyone thinks. This lifestyle works only because he is such an inherently cool cat, with a mystifying ability to put away endless amounts of booze and drugs. As such, he’s worshiped not just by average-human Motorhead fans, but also a huge array of celebrities, many of whom were apparently lining up to appear in this film. Some participants make sense (Ozzy Osbourne), others (Billy Bob Thornton?) just pad the doc’s already overlong running time. Still, despite quite a bit of unnecessary fawning, Lemmy offers an entertaining look at the man behind the myth — and pretty leads one to believe that the myth is, indeed, 100 percent real. (1:57) Roxie. (Eddy)

The Mechanic B-movie bros Jason Statham and Ben Foster play assassins with revenge on the brain. (1:40)

Nenette Veteran French documentarian Nicolas Philibert’s latest spends just over an hour gazing into the infinitely weary visage of its title figure, a Bornean orangutan who’s spent nearly all of her 40 years as a star resident at the zoo within Paris’ Jardin des Plantes. Now very old by the species’ standards, she’s “had three husbands and wore them all out” — as her longest-running attendant says — along with four babies, one of whom still lives with her. As Nenette can’t speak for herself, the director lets humans try to do so while revealing much about themselves, from the institution’s multinational visitors (one child regards the doughy, pendulant-breasted subject and says “She’s almost as big as Mum!”) as well as her professional keepers, who reveal some surprising insights into Nenette’s personality. One of the latter waxes philosophic about the “life in captivity” that has left Nenette so inert and seemingly depressed: “she spends her whole life doing nothing. Everything comes to her. She doesn’t have to fight or resist or come up with ways to deal with things. She’s like a kept woman, a hairy one. A victim of her rarity.” In its wry and modest way, Philibert’s film ponders the relationship between keepers and kept, wondering if in response to an endless parade of spectator curiosity Nenette might simply be thinking “When are they going to leave me alone?” It is preceded by the director’s 11-minute Night Falls on the Menagerie. (1:17) Lumiere, Shattuck. (Harvey)

The Rite Anthony Hopkins plays a priest whose exorcism-y past comes back to haunt him. (1:47) Shattuck.

ONGOING

*Another Year (2:09) Albany, Embarcadero.

Barney’s Version (2:12) Embarcadero, Shattuck, Sundance Kabuki.

Bhutto (1:51) Opera Plaza.

*Black Swan (1:50) California, Empire, 1000 Van Ness, Piedmont, Presidio, Sundance Kabuki.

*Blue Valentine Sometimes a performance stands out and grabs attention for embodying a particular personality type or emotional state that’s instantly familiar yet infrequently explored in much depth at the movies. What’s most striking about Derek Cianfrance’s Blue Valentine is the primary focus it lends Michelle Williams’ role as the more disgruntled half of a marriage that’s on its last legs whether the other half knows that or not. Ryan Gosling has the showier part — his Dean is mercurial, childish, more prone to both anger and delight, a babbler who tries to control situations by motor-mouthing or goofing through them. But Williams’ Cindy has reached the point where all his sound and fury can no longer pass as anything but static that must be tuned out as much as possible so that things get done. Things like parenting, going to work, getting the bills paid, and so forth. It’s taken a few years for Cindy to realize that she’s losing ground in her lifelong battle for self-improvement with every exasperating minute she continues to tolerate him. Williams’ bile-swallowing silences and the involuntary recoil that greets Dean’s attempts to touch Cindy are the film’s central emotional color: that state in which the loyalty, obligation, fear, pity, or whatever has kept you tied to a failing relationship is being whittled away by growing revulsion. Gosling’s excellent stab at an underwritten part is at a disadvantage compared to Williams, who just about burns a hole through the screen. (1:53) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Harvey)

Casino Jack (1:48) Opera Plaza.

Country Strong (1:51) 1000 Van Ness.

The Dilemma (1:58) 1000 Van Ness, SF Center.

Evangelion 2.0: You Can (Not) Advance (1:52) Viz Cinema.

The Fighter (1:54) Marina, 1000 Van Ness, SF Center, Sundance Kabuki.

*The Girl Who Kicked the Hornet’s Nest (2:28) Opera Plaza.

*The Green Hornet (1:29) 1000 Van Ness, SF Center, Sundance Kabuki.

*I Love You Phillip Morris (1:38) Lumiere.

*The Illusionist (1:20) Clay, Shattuck, Smith Rafael.

Inside Job (2:00) Lumiere, Shattuck.

The King’s Speech (1:58) Albany, Embarcadero, Empire, Marina, 1000 Van Ness, Piedmont, Sundance Kabuki.

No Strings Attached The worst thing about No Strings Attached is its advertising campaign. An eyeroll-worthy tagline — “Can sex friends stay best friends?” distracts from the fact that this is a sharp and satisfying romantic comedy. Perhaps it’s not the most likely follow-up to Black Swan (2010), but Natalie Portman is predictably charming, and Ashton Kutcher proves he’s leading man material after all. They’re aided by an exceptional supporting cast, including indie darlings Greta Gerwig and Olivia Thirlby, and underrated comic actors Lake Bell and Mindy Kaling. No Strings Attached is a welcome return to form from director Ivan Reitman, who gave us classics like Ghostbusters (1984) before tainting his image with Six Days Seven Nights (1998) and My Super Ex-Girlfriend (2006). There are likely going to be many who will dismiss Reitman’s latest out of hand — and with those misleading trailers and posters, it’s hard to blame them. But I advise you to give No Strings Attached a chance: at the very least, it’ll counter the image of Portman tearing at a stubborn hangnail. (1:50) 1000 Van Ness, Presidio. (Peitzman)

*Nuremberg: Its Lesson For Today (1:18) Opera Plaza, Shattuck, Smith Rafael.

127 Hours (1:30) Presidio.

*Rabbit Hole (1:32) Embarcadero.

Season of the Witch (1:38) 1000 Van Ness.

*The Social Network (2:00) Four Star, Shattuck.

Somewhere (1:38) SF Center, Shattuck.

Tangled (1:32) 1000 Van Ness.

Tron: Legacy (2:05) 1000 Van Ness.

*True Grit (1:50) California, Empire, Four Star, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki.

*Two in the Wave Emmanuel Laurent chronicles the hugely influential French nouvelle vague through the lives of its flagship auteurs in Two in the Wave. Raised in hardscrabble poverty, Francois Truffaut made films that reflected an increasingly sentimental yearning for the middle class. Jean-Luc Godard was raised in Swiss bourgeois comfort — yet he gravitated toward a Marxist proletarianism perversely avant-garde in the extreme. Both shared (and fought over) onscreen muse Jean-Pierre Léaud, plucked from Parisian streets to star in Truffaut’s 1959 The 400 Blows. One might reasonably conclude from evidence here that Truffaut, dead from a brain tumor in 1984, was the greater artist — or at least humanitarian. Yet coldly intellectual, ever-more-bilious Godard continues into his 80s, last year’s abstract Film Socialisme restoring him to rarefied critical if not popular favor. This dual portrait reaches an ingratiating zenith toward its end, when we see surviving interviewee Léaud growing up onscreen, anxious to please twin mentors. The Roxie’s weeklong showcase is double-billed with all five films in which the actor played Truffaut alter ego Antoine Doinel, from Blows to 1979’s Love on the Run. (1:33) Roxie. (Harvey)

The Way Back Master director Peter Weir returns to the man-versus-nature-and-each-other canvas of his previous film, 2003’s Master and Commander: The Far Side of the World, for this truth-based tale about a multinational crew of gulag escapees during the early days of World War II. Figuring he’d rather take his chances battling the elements (bitter cold, extreme heat, wolves, bounty-hunting natives, would-be cannibals) than face certain death doing back-breaking work in Siberia, Polish prisoner Janusz (Jim Sturgess from 2007’s Across the Universe) organizes a breakout. Joining him are a ragtag group, most of whom have been incarcerated for minor offenses that nonetheless rankled the ruling Communists. (One exception: Colin Farrell’s heavily tattooed, knife-wielding career criminal.) As the men, including taciturn American Mr. Smith (Ed Harris), slog across treacherous terrain, they lose some of their own numbers, and pick up another fugitive, fragile teenager Irina (Saoirse Ronin). The Way Back is a high-quality production, and certainly one of recent years’ most successful attempts at this kind of survivalist epic. But it throws exactly no curveballs (see: Werner Herzog’s 2006 Rescue Dawn, similar but far less predictable), and like its characters trudges toward a dutifully noble finish. (2:13) Bridge, Shattuck. (Eddy)<\!s>

Stage Listings

Andrew Lam

-

January 25, 2011

0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

ONGOING

Audition – A Play Exit Theater, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. Call for price. Thurs and Sat, 8pm; Sun, 3pm. Through Feb 13. GenerationTheatre presents a comedy of the absurd by Roland David Valayre.

Bone to Pick and Diadem Exit on Taylor, 277 Taylor; (800) 838-3006, www.cuttingball.com. $15-50. Thurs-Sat, 8pm; Sun, 5pm. Through Feb 13. Cutting Ball Theatre presents a pair of plays by Eugenie Chan.

Clue Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-35. Wed-Fri, 8pm; Sat, 7 and 10pm. Through Feb 19. A play based on a film based on a board game is just the kind of tangled genealogy much goodtime theater is made of these days. So there’s nothing too new about Boxcar’s stage adaptation of the manic 1985 comedy derived from a once popular Parker Bros. diversion. In fact, it’s at least the second stage adaptation of same to be offered in San Francisco. (Impossible Productions remounted its version at the Dark Room just last year.) Nevertheless, led by adapter-director Nick A. Olivero, Boxcar’s production pursues its vision like a mad yen, with a loving fidelity and self-referential glee that are not so much inspired as just plain zealous (although Olivero’s scenic design does reach new heights: a TV-toned board-game set that the audience peers down on from six-feet-high balconies ringing the stage). Performances are dutiful and solid for the most part, with especially nice work from Brian Martin (as the butler) and J. Conrad Frank (as Mrs. Peacock). Although there’s something vaguely and not unpleasantly hypnotic about it all, groups of cult-film line-gleaners may be the best audience for this one. (Avila)

*The Companion Piece Z Space at Theatre Artaud, 450 Florida; (800) 838-3006, www.themarsh.org. Call for price. Thurs 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Feb 13. Z Space presents the world premiere of a new play by Mark Jackson, with Beth Wilmurt and Christopher Kuckenbaker.

*A Hand in Desire Viracocha, 998 Valencia; www.viracochasf.com. $10-20. See website for dates and times. Through 1/29 Even though the card game of choice in Tennesee Willams’ A Streetcar Named Desire is poker, it’s fitting that the five-member cast of EmSpace Dance’s adaptation A Hand in Desire should play at hearts instead. After all, as Mitch (Christopher White) reminds us, “poker shouldn’t be played in a house with women” And besides, hearts are very much the core of each character: the heart of Blanche, a flighty bird, the heart of Stella, a string of colored lights, the heart of the doomed Allen Grey (Kegan Marling), an open wound. As the cast plays onstage with a custom-designed deck, each trump card is turned over to a laconic narrator/conductor (Heather Robinson) who names the scene they are to play next. Each evening promises a different sequence of scenes, some of which stick more closely to the original script than others. However, the ensemble is at it’s best when it lets go of text altogether, such as the scene “a cleft in the rock of the world I could hide in,” during which Stella (Natalie Greene) and Stanley (Peter Griggs) get it on, and Blanche (Rowena Richie) awkwardly waltzes with Mitch as Alan insinuates himself into their duet. Musicians Joshua Pollock and Chris Broderick tie the whole experiment together with aplomb. (Gluckstern)

Out of Sight The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Thurs and Sat, 8pm; Sun, 3pm. Through Feb 13. The Marsh presents a new solo show by Sara Felder.

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Spalding Gray: Stories Left to Tell Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $10-25. Thurs-Sat, 8pm. Through Feb 19. Custom Made Theatre presents stories by the late writer and performer.

Treefall New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $24-40. Call for dates and times. Through Feb 27. New Conservatory Theatre Center presents a tale of erotic attraction by Henry Murray.

BAY AREA

The Agony and the Ecstasy of Steve Jobs Berkeley Rep, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Call for dates and times. Through Feb 27. Storyteller Mike Daisey spins a yarn about the Apple head.

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Feb 13. Don Reed’s one-man show continues its extended run.

Heartbreak House Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-0999, www.berkeleyrep.org. $12-15. Fri-Sat, 8pm (also Feb 13, 2pm; Feb, 17, 8pm). Through Feb 19. Actors Ensemble of Berkeley presents the George Bernard Shaw comedy set just before World War I.

The Last Cargo Cult Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Call for dates and times. Through Feb 20. As fans of J. Maarten Troost have learned, life on an island “paradise” is far less idyllic than the imagination yearns to believe. So it’s hardly surprising that Mike Daisey’s monologue The Last Cargo Cult begins with a white-knuckle ride in a prop plane piloted by a man with a milky eye. Daisey’s destination, the Pacific island of Tanna, is the location of one of the world’s last so-called “cargo cults”, and their big celebration “John Frum Day” is approaching. Daisey’s intention to hang out at the festivities smacks a little of entitled voyeurism, but the parallel he manages to draw between the complexities of a religion dedicated to a mythical cargo of “awesome shit”, and our own dedication to the acquisition of same, is a striking one. From our almost blind faith in the value of basically valueless currency, to our even blinder faith that indenturing ourselves by debt will enrich us, the foundations of our own “cargo cult” are revealed smartly by Daisey to be just as precarious as if built at the base of a volcano as in Tanna. Still, I found the most revealing thing about the evening to be the moment when the couple next to me took off with a $100 bill they’d acquired free-of-charge at the door, to which I can’t help but ask them: “Did you get your money’s worth?” (Gluckstern)

No Good Deed Pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Fri, 8pm; Sat, 8pm; Sun, 2pm. Pear Avenue Theatre presents a world premiere noir-inflected play by Paul Braverman.

*Of the Earth – The Salt Plays Ashby Stage, 1901 Ashby; (510) 841-6500, www.shotgunplayers.org. $17-30. Thurs-Sat, 8pm; Sun, 5pm. Through Sun/30. If those whom the gods favor die young, it’s probably just as well for Odysseus (Dan Bruno) that Zeus (Rami Margron) happens to be irked at him. That Zeus occasionally manifests as a scary nurse with a penchant for ballroom dance is one of but many mysterious angles Jon Tracy teases out of the standard Odysseus myth. Another involves the instant-messaging potential of paper planes; a third, a blunt addiction metaphor for warmongering. In what must surely be a happy coincidence, the design elements and staging of Of the Earth are curiously similar to those of the recent Cutting Ball production of The Tempest. Characters leaping about from floor-to-ceiling ladders to physically embody shipwrecks and monsters, a handful of actors playing multiple roles, watery video installations, even the allusion to mental illness and modern psychiatry are threads that tie the two productions, however unsuspectingly, together. Happily for The Shotgun Players, their version floats above the comparison with a host of extra tension-drivers—the sinuously menacing fighting-style of Posiedon (Anna Ishida), the heart-throb pounding of Taiko drums, the sensual machinations of Circe (Charisse Loriaux), the clever usage of Penelope’s (Lexie Papedo) “tapestry” to weave together the action. And though at times the thread is broken mid-scene, we are finally given to understand that this epic tale of war’s fallout is first and finally a story of love. (Gluckstern)

Strange Travel Suggestions The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through Feb 19. Jeff Greenwald stars in a one-man show about the vagaries of wanderlust.

The 39 Steps TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-79. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Feb 13. TheatreWorks presents Patrick Barlow’s comic adaptation of the book and movie of the same name.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

Gush Brava Theater, 2783 24th St; 6470-2822, www.brava.org. Call for dates and times (through Jan 29). $15-35. Brava presents a dance series curated by Joe Goode.

A Hand in Desire Viracocha, 998 Valencia; (800) 838-3006, www.brownpapertickets.com. $20. Fri-Sat, 8pm (through Jan 29). EmSpace Dance presents a “remix” of A Streetcar Named Desire.

Women of the Way Festival Shotwell Studios, 3252-A Shotwell; and The Garage, 975 Howard; (800) 838-3006, www.ftloose.org. Call for dates and times (through Jan 30). $15-20. The dance festival celebrates it 11th anniversary with 23 new shows.

BAY AREA

Marga’s Funny Mondays The Cabaret at The Marsh Berkeley, 2120 Allston; (800) 838-3006, www.themarsh.org. Mon/31, 8pm. $10. Marga Gomez hosts a Monday night comedy series.

Rep Clock

Andrew Lam

-

January 25, 2011

0

Schedules are for Wed/26–Tues/1 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. Broken Windows, Open Doors (Karewicz), Thurs, 8. “ATA Art and Action FUNraiser,” with live music by Grass Widow, an art auction, and more, Sat, 5.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-20. “Noir City 9:” •The Woman on the Beach (Renoir, 1947), Wed, 7:30, and Beware My Lovely (Horner, 1952), Wed, 9; •The Two Mrs. Carrolls (Godfrey, 1947), Thurs, 7:30, and My Name is Julia Ross (Lewis, 1945), Thurs, 9:30; •Crashout (Foster, 1955), Fri, 7:30, and Loophole (Schuster, 1954), Fri, 9:30; •Blind Alley (Vidor, 1939), Sat, 1, 4:30, and Secret Beyond the Door (Lang, 1948), Sat, 2:30; •The Strange Affair of Uncle Harry (Siodmak, 1945), Sat, 7:30, and So Evil My Love (Allen, 1948), Sat, 9:15; •Angel Face (Preminger, 1952), Sun, 1, 5, 9, and The Hunted (Bernhard, 1948), Sun, 3, 7. For complete program information, visit www.noircity.com. “SF Sketchfest Great Collaborators Series: Airplane! Tribute to Jim Abrahams, David Zucker and Jerry Zucker,” Mon, 7; “SF Sketchfest Comedy Writing Award:” Broadcast News (Brooks, 1987), with James L. Brooks in person, Tues, 7. For more info on these events (tickets, $25), visit www.sfsketchfest.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. The Illusionist (Chomet, 2010), Wed-Thurs, call for times. August to June (Valens and Valens, 2010), Thurs, 7. Filmmakers Amy and Tom Valens in person. Nuremberg: Its Lesson for Today (Schulberg, 1948/2010), Jan 28-Feb 3, call for times.

EXPLORATORIUM McBean Theater, 3601 Lyon, SF; www.asifa-sf.org. Free. “Open Screening for Animators,” Fri, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: New Year’s Revolutions:” Sade (Jacquot, 2000), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema: Fantasy Films and Realms of Enchantment:” The Thief of Baghdad (Powell, Berger, and Whelan, 1940), Wed, 3:10. Free Radicals: A History of Experimental Film (Chodorov, 2010), Wed, 7:30. “African Film Festival 2011:” One Small Step (Vaughan-Richards, 2010) with “Me Broni Ba” (Owusu, 2008), Thurs, 7; Kirikou and the Wild Beasts (Ocelot and Galup, 2005), Sat, 4:30. “Suspicion: The Films of Claude Chabrol and Alfred Hitchcock:” Strangers on a Train (Hitchcock, 1951), Fri, 7; Les Cousins (Chabrol, 1959), Fri, 9; Le Boucher (Chabrol, 1970), Sat, 8:20. “World Cinema Foundation:” Touki Bouki (Djop-Mambéty, 1973), Sat, 6:30. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” “Punk, Attitudinal: Film and Video, 1977-1987,” Sun, 5:30.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10; www.redvicmoviehouse.com. Tiny Furniture (Dunham, 2010), Wed-Thurs, 7:15, 9:25 (also Wed, 2). “The Good Old Naughty Days,” vintage porn from the early 1900s, Fri-Sun, 7:15, 9:15 (also Sat-Sun, 2, 4). The Room (Wiseau, 2003), Sat, midnight. Ziggy Stardust and the Spiders from Mars (Pennebaker, 1973), Feb 1-3, 7:15, 9:15 (also Feb 2, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Two in the Wave (Laurent, 2009), Wed-Thurs, 7, 9. “Bringing Up Léaud: The Antoine Doinel Cycle:” Love on the Run (Truffaut, 1979), Wed, 6:45, 8:45. “By, For, and About George Kuchar,” film series, Fri, 7; Sat, 6:45; Sun, 4. Bad Blood: A Cautionary Tale (Ness), Mon, call for time. “SF Film Society Education presents: Herzog in Focus,” Mon, 7. Educational program; visit www.sffs.org for additional info. Lemmy (Olliver and Orshoski, 2010), Feb 1-2, call for times.

SAN FRANCISCO PUBLIC LIBRARY 100 Larkin, SF; www.sfpl.org. Free. A Sea Change: Imagine a World Without Fish (Ettinger, 2009), Wed, 6; Sat, 2.

VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10-12. Evangelion 2.0: You Can (Not) Advance (Anno, 2011), Wed-Thurs, 5, 7:15.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Volume 14: Middle East,” nine videos focusing on the Middle East compiled by ASPECT: The Chronicle of New Media Art, Jan 13-March 27 (gallery hours Thurs-Sat, noon-8; Sun, noon-6). “British Television Advertising Awards 2010,” Thurs-Sun, 2, 4, 6 (also Thurs-Sat, 8).

Music Listings

Andrew Lam

-

January 25, 2011

0

Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 26

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8 and 10pm, $15.

Apopka Darkroom, Little Mercury, Brain on Fire Hemlock Tavern. 9pm, $6.

*Blowfly Yoshi’s San Francisco. 8pm, $20.

Domeshots, Kajillion, Ilona Staller Bottom of the Hill. 9pm, $8.

Grand National, Outlier Red Devil Lounge. 8pm, $6.

Handsome Family, Sean Rowe Café Du Nord. 8pm, $15.

Tanya Morgan, Big Pooh, Roc C 330 Ritch. 9pm.

Religious Girls, Actors, Thralls, Spiro Agnew Public Works, 161 Erie, SF; www.publicsf.com. 8pm, $5.

JAZZ/NEW MUSIC

Cat’s Corner with Christine and Nathan Savanna Jazz. 9pm, $10.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Jazz Guys Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Paula West and George Mesterhazy Quartet Rrazz Room. 8pm, $35.

FOLK/WORLD/COUNTRY

Jorge Drexler Mezzanine. 9pm, $32.50.

Victoria George, Tom Luce, Jeremy D’Antonio Hotel Utah. 8pm, $8.

DANCE CLUBS

Audio1 Underground SF. 10pm, $5.

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike and guest DJ Eli Glad.

Club Shutter Elbo Room. 10pm, $5. Goth with DJs Nako, Omar, and Justin.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 27

ROCK/BLUES/HIP-HOP

George Clinton and Parliament Funkadelic Yoshi’s San Francisco. 8 and 10:30pm, $45.

“Finger Gunsapalooza” Stud. 9:30pm, $3. With Zoo, Moira Scar, Prizehog, Broads, and more.

Free Energy, Postelles, AB and the Sea Independent. 8pm, $14.

Kyro, Ben Fuller Band, Chelsea TK and the Tzigane Society Red Devil Lounge. 8pm, $6.

Phil Manley Amoeba, 1855 Haight, SF; www.amoeba.com. 6pm, free.

Moe. Fillmore. 7pm, $27.50.

JT Nero, Suzanne Vallie Amnesia. 9pm, $5.

*Pansy Division, Minks, Bad Backs Eagle. 9:30pm, $8.

Pebble Theory, Whitney Nichols, Kindness and Lies, Keely Valentino Café Du Nord. 8pm, $10.

Garrett Pierce, Miller Carr with Nico Georis Hemlock Tavern. 9pm, $6.

Suzanne Vega Palace of Fine Arts Theatre, 3301 Lyon, SF; www.palaceoffinearts.org. 8pm, $25-100.

Walking in Sunlight, New Heirlooms, Middle Maki, Hugo Hotel Utah. 7:30pm, $7.

JAZZ/NEW MUSIC

Steve Lucky and the Rhumba Bums Biscuits and Blues. 8 and 10pm, $20.

Savanna Jazz Trio and Jam Session Savanna Jazz. 7:30pm, $5.

Stompy Jones Top of the Mark. 7:30pm, $10.

Paula West and George Mesterhazy Quartet Rrazz Room. 8pm, $40.

FOLK/WORLD/COUNTRY

Bluegrass and Old-Time Jam Atlas Café. 8pm, free.

Elaine Romanelli with Josh Fox Union Room at Biscuits and Blues. 8:30 and 10pm, $10.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Gigantic Beauty Bar. 9pm, free. With DJs Eli Glad, Greg J, and White Mike spinning indie, rock, disco, and soul.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With resident DJs Haylow, A-Ron, Prince Aries, Boogie Brown, Ammbush, plus food carts and community creativity.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene Loves the Smiths and Joy Division Rickshaw Stop. 10pm, $10. With live sets by This Charming Band and Dead Souls, plus DJs Aaron and Omar.

FRIDAY 28

ROCK/BLUES/HIP-HOP

“Blues at the Crossroads: Robert Johnson Centennial Concert” Regency Ballroom. 8pm, $33-50.50. With Big Head Todd and the Monsters, David “Honeyboy” Edwards, and more.

Con Brio Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Deerhoof, Ben Butler and Mousepad, Nervous Cop Great American Music Hall. 9pm, $16.

Darwin Deez, Fol Chen, Friends Hemlock Tavern. 9:30pm, $12.

Dopecharge, Rat Face, Desperate Hours, Mundo Muerto, Neighborhood Brats Kimo’s. 9:30pm, $7.

Ian Hunter Fillmore. 9pm, $35.

Monotonix, Ty Segall, Nodzzz Rickshaw Stop. 8:30pm, $12.

Robert Randolph and the Family Band Independent. 9pm, $25.

Rx Bandits, Fake Problems, Native Bottom of the Hill. 9pm, $17.

Thingers, Reptiel Make-Out Room. 7:30pm, $7.

Tip of the Top Sheba Lounge, 1419 Fillmore, SF; www.shebalounge.com. 9pm.

21st Century, Sloe, Roosevelt Radio Café Du Nord. 9pm, $12.

Walter Trout Biscuits and Blues. 8 and 10pm, $22.

Wallpaper, K. Flay, Dance Party Slim’s. 9pm, $19.

FOLK/WORLD/COUNTRY

Albino!, DJ Jeremiah Elbo Room. 10pm, $10.

Baxtalo Drom Amnesia. 9pm, $7-10.

Kitka and Milla Milojkovic with the Chicago Tamburasi Croatian American Cultural Center, 60 Onondaga, SF; www.croatianamericanweb.org. 8pm, $20.

Aaron Novik Red Poppy Art House. 8pm, $10-15.

Chuchito Valdes Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 10pm, $25-45.

JAZZ/NEW MUSIC

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

*Royal Crown Revue Yoshi’s San Francisco. 8pm, $20.

Marlena Teich Savanna Jazz. 7:30pm, $8.

Paula West and George Mesterhazy Quartet Rrazz Room. 8pm, $45.

DANCE CLUBS

DJ Nik Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

Duniya Dancehall Blue Macaw, 2565 Mission, SF; (415) 920-0577. 10pm, $10. With live performances by Duniya Drum and Dance Co. and DJs dub Snakr and Juan Data spinning bhangra, bollywood, dancehall, African, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Lovetech + Slayers Club Two Year Anniversary Party Public Works, 161 Erie, SF; www.publicsf.com. 9pm. With Mochipet, Flying Skulls, Slayers Club, and more.

Meat vs. Death Guild DNA Lounge. 9:30pm, $4-8. Industrial, gothic, and more with Decay, BaconMonkey, Joe Radio, Netik, and Melting Girl.

Psychedelic Radio Club Six. 9pm, $7. With DJs Kial, Tom No Thing, Megalodon, and Zapruderpedro spinning dubstep, reggae, and electro.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Toxic Avenger, Autoerotique, Girls N Boomboxes Mezzanine. 9pm, $25.

*True Skool 1015 Folsom. 10pm, $30. Celebrating 12 years of true hip-hop music with Black Thought of the Legendary Roots Crew, DJ J. Perios, Zumbi of Zion I with DJ Vinroc, and more.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 29

ROCK/BLUES/HIP-HOP

ALO Fillmore. 9pm, $22.50.

Burnt, Synrgy, Santos Perdidos El Rio. 9pm, $5.

George Clinton and Parliament Funkadelic Yoshi’s San Francisco. 8 and 10:30pm, $45.

Get Up Kids, Steel Train, River City Extension Slim’s. 8:30pm, $25.

Hot Toddies, Attachments, Scrabbel Rickshaw Stop. 8:30pm, $10.

Michael Landau Union Room at Biscuits and Blues. 8:30 and 10:30pm, $5.

Mazer, Hyde Street Band El Rio. 6pm, free.

Robert Randolph and the Family Band Independent. 9pm, $25.

Rx Bandits, Fake Problems, Native Bottom of the Hill. 9pm, $17.

Spanish Bombs, Chuck Prophet and Chris Von Sneidern Great American Music Hall. 9pm, $17.

Weekend, Terry Malts, Speculator Hemlock Tavern. 9:30pm, $10.

JAZZ/NEW MUSIC

Feldman Webern Jones San Francisco Conservatory of Music Concert Hall, 50 Oak, SF; www.sfsound.org. 8pm, $15.

Linda Kost Savanna Jazz. 7:30pm, $8.

Bill Ortiz Biscuits and Blues. 8 and 10pm, $20.

Chuchito Valdes Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 10pm, $25-45.

Paula West and George Mesterhazy Quartet Rrazz Room. 8pm, $45.

Zoyres Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

FOLK/WORLD/COUNTRY

La Gente Red Poppy Art House. 8pm, $15.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Big Top Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $5. Nicki Minaj tribute night with DJs Heklina and Josh Sparber.

Boston Beat Anu, 46 Sixth St, SF; www.anu-bar.com. 10pm, free. House, techno, and trance with Doppelganger, Tari, ndK, and David West.

Dance Party Project One Gallery, 251 Rhode Island, SF; www.p1sf.com. 11pm. With Orange Drink Music’s Chicago house chiptunes and more.

DJ Dtek Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

Industry Turns Five! Mighty. 10pm, $30. With DJ Tony Moran, Jamie J. Sanchez, and Luke Johnstone.

120 Minutes Elbo Room. 10pm, $5-8. With Gatekeeper, oOoOO, Whitch, Nako, Robert Disaro, and Sara Toon.

Pop Roxx DNA Lounge. 9pm, $5-10. With a live performance by My First Earthquake, plus DJ sets by KidHack, Aaron, Mitch, and Starr.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 30

ROCK/BLUES/HIP-HOP

Blows, Sonny and the Sunsets Great American Music Hall. 8pm, $15.

Bonjay, Casy and Brian, Ghosts on Tape, Lurv Rickshaw Stop. 8pm, $7.

Daniel Lanois’ Black Dub Independent. 8pm, $27.

44s Biscuits and Blues. 8 and 10pm, $15.

Get Up Kids, Steel Train, River City Extension Bottom of the Hill. 8pm, $25.

Glitter Weekend, Smoke and Feathers, Lecherous Gaze Hemlock Tavern. 9pm, $6.

Jerry Lawson and Talk of the Town Yoshi’s San Francisco. 7pm, $30.

Underoath, Thursday, A Skylit Drive, Animals as Leaders Regency Ballroom. 7:30pm, $22.

JAZZ/NEW MUSIC

John Santos, Larry Vuckovich Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Savannah Jazz Trio and Jam Session Savanna Jazz. 7:30pm, $5.

Paula West and George Mesterhazy Quartet Rrazz Room. 7pm, $40.

FOLK/WORLD/COUNTRY

Go Van Gogh Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Andre Thierry and Zydeco Magic Knockout. 3pm, $5.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Ludachris, and guest DJ Theory.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Superbad Sundays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With DJs Slopoke, Booker D, and guests spinning blues, oldies, southern soul, and funky 45s.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 31

ROCK/BLUES/HIP-HOP

Against Me!, Cheap Girls, Fences Slim’s. 8pm, $16.

Arctic Flowers, Face the Rail, Livid, Hooray for Everything Knockout. 9:30pm, $6.

Kacey Johansing, Bird by Bird, Sean Smith, Revenge of Light Wilderness Elbo Room. 9pm, $5.

*Tift Merritt and Simone Dinnerstein Yoshi’s San Francisco. 8pm, $30.

JAZZ/NEW MUSIC

Lavay Smith Swinget with Jules Broussard Enrico’s, 504 Broadway, SF; (415) 982-6223. 7pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers. Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs. TUESDAY 1 ROCK/BLUES/HIP-HOP Against Me!, Cheap Girls, Fences Slim’s. 8pm, $16. Guverment, Curse of Panties, Broken Cities Elbo Room. 9pm, $6. Lotus Moons, Electric Shepherd, These Hills of Gold Bottom of the Hill. 9pm, $8. Michael Rose, Mysic Roots Band, cvDub Independent. 9pm, $25. Wobbly, Blanketship, Teenage Sweater Hemlock Tavern. 9pm, $7. JAZZ/NEW MUSIC Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Womanizer Bar on Church. 9pm. With DJ Nuxx

Alerts

Andrew Lam

-

January 25, 2011

0

alert@sfbg.com

WEDNESDAY, JAN. 26

Free clinics aren’t free

Nothing like eating and drinking for a cause. To help raise needed funds for the Berkeley Free Clinic, Saturn Cafe will donate 10 percent of your bill to this worthy endeavor.

10 a.m.–midnight, cost of food and drink purchase

Saturn Cafe

2175 Allston, Berk.

pccbfc@gmail.com

FRIDAY, JAN. 28

UNIFEM fundraiser

The United Nations Development Fund for Women is holding a fundraiser for Ninel Babcinschi, a lawyer and advocate for trafficked women in Moldova whose life has been threatened because of her work defending these women. The fundraiser includes an informative lecture and a film screening.

6:30–9:30 p.m., $15 Artists Television Access

992 Valencia, SF www.atasite.org

Rally for Guy Jarreau

Attend a rally demanding a full investigation into the shooting by Vallejo police that resulted in the death of Guy Jarreau, a student and active community member. The Dec. 11 shooting of Jarreau, an unarmed black man, is said to be having a “Mehserle effect” on the community because of its parallels to the Oscar Grant shooting.

1–3 p.m., free Solano County District Attorney’s Office

321 Tuolumne, Vallejo www.northbayuprising.blogspot.com

SATURDAY, JAN. 29

Seattle Solidarity Network discussion

SeaSol, a support group for rights for workers and tenants, holds a discussion about the importance of building solidarity networks and small-scale collective action. Add your two cents to the debate and learn how you may not be getting all that you are entitled to as a worker or tenant.

7–9:00 p.m., free

Station 40

3030B 16th St., SF

www.seattlesolidarity.net

Go, Caltrain

Join the discussion on how to increase Caltrain ridership, improve service, and create sustainable funding. The event offers speakers, panels and workshops. Featured speakers include Sierra Club Executive Director Michael Brune, SF Sup. Sean Elsbernd, and others.

9:00 a.m.–2:30 p.m.

Registration begins at 8:30 a.m., free (RSVP required)

SamTrans Auditorium

1250 San Carlos, San Carlos

www.greencaltrain.com/summit

SUNDAY, JAN. 30

Fred Korematzu Day celebration

In December 2010, California signed a bill into law declaring Jan. 30 the first day in U.S. history named after an Asian American. Honor national civil rights hero and Oakland native Fred Korematzu in at the country’s first Korematzu Day celebration. There will be a reception and film screening, as well as spoken word performance by artist Beau Shea and a keynote speech by the Rev. Jesse Jackson.

1- 5 p.m., $15-100

Wheeler Hall

101 Zellerbach Hall #4800

UC Berkeley, Berk.

(415)882-4673

MONDAY, FEB. 1

Book Club: Trotsky discussion

Read and discuss Leon Trotsky’s History of the Russian Revolution Vol. 1, the Bolshevik revolutionary’s classic book that tells the story of how poor and working class people combined efforts to start the first socialist revolution in history. An optional light supper will be provided.

1–5 p.m., $2/6 donation

625 Larkin, SF

www.socialism.com/sanfrancisco

(415) 864-1278

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Cannabis Club Guide

Jesse Hawthorne Ficks

-

January 25, 2011

8

CANNABIS CLUB GUIDE 2012 When we first created our detailed local Cannabis Club Guide two years ago — which you can find at www.sfbg.com/cannabisguide — it seemed as if the marijuana business had entered a golden age of openness and professionalism in San Francisco. But with a federal crackdown shuttering at least a half-dozen dispensaries in the Bay Area (Market Street Collective, Sanctuary, Mr. Nice Guy, Medithrive, Divinity Tree, Marin Alliance for Medical Marijuana) things have changed. Luckily for needy patients and stoners alike, San Francisco has always been a resourceful city, so those meddling feds have actually done very little to disrupt the free flow of the world’s best marijuana.

Even before the cannabis industry moved above ground and into brick-and-mortar storefronts, there were always pot delivery services here. Now they’re really proliferating, so we thought it was high time to add them to our guide. And once we delved into this realm, we found that it was every bit as civilized and professional as a visit to our friendly neighborhood dispensary — and perhaps even more convenient and cost-effective.

The process seems just as secure and legally compliant as it is at the clubs, with most reputable delivery services requiring that you become a member before accessing their products. That means sending them copies of your doctor’s recommendation and California ID, which can be even done from a photo on your smart phone. After the services verify you, you’re good to go.

We’re starting the guide with just a trio of the most high-profile delivery services, as well as a couple more dispensaries, but we’ll be adding to the online guide throughout the year, so check back frequently for more updates.

DELIVERIES

THE GREEN CROSS

This is one of San Francisco’s premier cannabis clubs, setting the standard for everyone else in terms of quality, professionalism, and advocacy for the industry. My sources had long been telling me that the Green Cross carries the best weed in the city — information validated by the long string of awards it accumulates at cannabis competitions. And founder Kevin Reed has been a passionate, high-profile leader in the community for years.

But I became even more impressed once I actually used the service. Its great website features the best descriptions of its nearly two dozen strains of lab-tested marijuana, including where and how it was grown, as well as products ranging from inexpensive pipes to eye drops. I settled on a $40 eighth of Blue Deliah, a sativa-dominant hybrid that looked both cheap and good.

Within about 30 minutes, the friendly delivery guy showed up at my apartment, handed me a white paper bag full of goodies, and charged me $35 with my new customer discount. Inside the bag, there was a grinder, a cool jar, rolling papers, a lighter and other Green Cross swag, a pot cookie, non-medicated munchies, an information packet, a receipt stuck to the inside of the bag — and a baggie of beautifully trimmed buds.

www.thegreencross.org

(415) 648-4420

Opened in 2004

Price: Low to average

Selection: Huge and high-quality

Delivery time: Super fast

Sketch factor: Very low

Access: Secure but easy to use

MEDITHRIVE

When Medithrive opened as a dispensary in my Mission District neighborhood, it became one of my favorite clubs, so I was disappointed to see it shut down by threats from the federal government late last year. But it immediately reinvented itself as a delivery-only club, and it still retains the friendly service and large selection that first endeared me to it.

“It’s definitely been a change for us, but if patients can handle the delivery thing, it ends up being better for everyone,” said the employee who took my order: the Apocalypse Medi-Mix, a mix of high-quality small buds (better for vaporizers) for $40 for four grams. And because I was a newbie to its delivery service, they threw in a free joint.

I called at 3 p.m. and was told to expect delivery between 4:15 p.m.-4:45 p.m. — and it actually showed up at 4 p.m. It wasn’t a problem because I was working at home all afternoon, but I can imagine such a long arrival window wouldn’t be ideal for some. And frankly, the buds were pretty dry, perhaps the result of not moving as much inventory as Medithrive is used to.

But on the whole, it’s still a solid dispensary and a very friendly staff that’s still worth using.

www.medithrive.com

(415) 562-MEDI

Opened in 2010

Price: Average with good deals

Selection: Large

Delivery time: Fast but uncertain

Sketch factor: Low

Access: Secure but easy to use

FOGGY DAZE DELIVERY

This place pops up prominently when people Google marijuana delivery services in San Francisco, but other parts of its operation don’t seem quite as tight as its search engine savvy. Even its readily available website, I learned while trying to order, has an outdated menu of available items. For what it actually offers, customers need to visit www.weedmaps.com, where the guy said the menu would quickly appear when I typed in “foggydaze,” but it didn’t.

Finally, I just asked him to recommend a good sativa strain, and he mentioned just two that they had in stock: Headband and Cheezle. Shooting in the dark, I went with an eighth of Cheezle for $45, and he offered me a new member gift of a joint or sample of equal or lesser priced weed. I opted for the joint because it just seemed easier at that point, particularly since my initial call went to voicemail and then I had to wait 45 minutes to get my information verified. An hour later (he said it would be 45 minutes), I had my weed.

Compared to the bad old days of ordering whatever my underground drug dealer had and jumping through whatever hoops he required, Foggy Daze is much better. But in the modern marijuana scene in this highly evolved city, Foggy Daze doesn’t quite measure up as is.

www.foggydazedelivery.com

(415) 200-7451

Price: Average

Selection: Small

Delivery time: OK, but slow on verification

Sketch factor: Medium

Access: Pretty good

DISPENSARIES

APOTHECARIUM

It was only a matter of time before someone had the idea to really emphasize excellent personal service with high-end products in an elegant environment — but the folks at Apothecarium have done it in a way that really sets them apart from the rest of the pack. This place is an experience more than just a place to score weed, much the same way adventurous bars like Alembic aren’t just about getting tipsy but appreciating just what a cocktail can become in the right hands.

Visitors to the Apothecarium are warmly greeted and seated in front of an extensive (and well-designed) menu, which an knowledgeable staffer patiently and enticingly walks you through, focusing exclusively on you and your needs. Once you finally find what you want, a large jar of your chosen buds emerge, and the employee uses long silver tweezers to place the prettiest ones on a display tray in front of you to inspect while he weighs out your choice of small or large buds with an air of showmanship.

2095 Market, SF

(415) 500-2620

www.apothecariumsf.com

Buds weighed on purchase

Opened in 2011

Price: High to low (“compassionately priced” strains available)

Selection: Large, extremely informative menu available

Ambiance: Looks like a fancy hair salon, hardwood floors and patterned wallpaper

Smoke on site: No

Sketch factor: Low

Access/security: Secure but easy access

1944 OCEAN COLLECTIVE

Despite a somewhat forbidding waiting room, this neighborhood dispensary on a mellow stretch of Ingleside’s Ocean Avenue has a real family feel once you step onto the salesfloor.

I was in the market for edibles when I went to 1944, and chatted with the jocular sales staff about which available edible wouldn’t give me couch lock or paranoia — a fully-functioning treat, as it were. My budtender pointed me towards a sativa-based peanut butter cookie with high potency, and then made me feel OK about our difficulty making a decision. “We’re all stoners here,” he laughed.

Once you make your selection among the edibles, flowers, and tinctures on offer, head to the back of the low-glitz, comfortably appointed room to give your money at the cash register. Head back to the bud counter to pick up your selection — if you’re lucky you can grab a brownie bite, cup of tea, or apple from the buffet to assuage your munchies. There’s even a sign that announces the dispensary’s job counseling and resume writing classes. A somewhat cold exterior sure, but it belies a warm heart. (Reviewed by Caitlin Donohue)

1944 Ocean, SF.

(415) 239-4766

Buds weighed on purchase

Opened in 2004

Price: From cheap to high

Selection: Large

Ambiance: Comfortable seating, jovial staff, family feel

Smoke on site: No

Sketch factor: Forbidding waiting room, friendly inside

Access/security: Tight

2011 REVIEWS

SPARC

The San Francisco Patient and Resource Center, or SPARC (1256 Mission, SF) immediately set a new standard for dispensaries when it opened last August, combining a stunningly beautiful facility with deep connections to the medical marijuana community and a strong commitment to taking care of patients and moving the movement forward.

Even the casual observer can see what a unique place this is. A selection of almost three dozen bud varietals is presented in the style of a Chinese apothecary, each strain laboratory-tested for strength and purity and labeled with THC and CBD levels. The facility was lovingly designed from scratch with state-of-the-art humidors and security systems, creating an environment that is warm, friendly, and secure, with more employees per customer than other clubs.

Below the surface, SPARC is also setting a standard. Founder Erich Pearson and others involved with the club have been movement leaders for many years and they have deep connections with growers, patient groups, and the progressive political community. So they offer everything from free acupuncture and other services to generous compassionate giving programs to strong support for all aspects of the vertically-integrated collective.

But it is the experience of visiting that is most striking. Get expert advice on choosing from a huge range on indoor and outdoor strains and then settle into one of the tables, load a bowl into the high-end Volcano vaporizer, and taste the fruits of SPARC’s expertise.

There are always lots of great deals to choose from, from one-pound bags for baking for $300 to eighths of the finest outdoor weed for as low as $28.

SPARC is truly an industry leader, setting a high bar for what dispensaries can be.

Prepackaged buds

Opened in 2010

Price: Wide range

Selection: Huge!

Ambiance: Warm, comfortable, hip

Smoke on site: Vaporizing only

Sketch factor: Low

Access/security: Tight but welcoming

———–

IGZACTLY HEALTH CENTER

Opening in late 2010, Igzactly (527 Howard, SF) is the new kid of the block — but it’s already establishing itself as one of the best cannabis clubs around. With a rotating supply of almost 40 varieties of buds to choose from at a full range of prices, it has the biggest selection in town. I asked the bud tender how the club is able to offer such a wide array of high-quality buds, and he said it’s because they’re using a different model than most clubs. Rather than buying the buds from growers, Igzactly uses a consignment system, splitting the proceeds with the growers.

Complementing the huge stock of dried buds, Igzactly also has a large selection of cannabis-infused edibles, concentrates, tinctures, ointments, and just about anything you can get weed into. On top of that, Igzactly has a comfortable lounge and is one of just a handful of clubs that allows vaporizing on site, giving clients a choice of using the top-end Volcano or the Zephyr (my personal favorite) vaporizer models. They even offer complimentary teas and coffee.

The staff there is friendly and customer-oriented. For example, when the club opened, it offered prepackaged buds like most clubs, but it heeded customer input and quickly switched to displaying all their buds in huge jars and weighing them out on purchase, which many patients prefer. And he said the club plans to expand the lounge soon and to add on-site laboratory services by year’s end.

If Igzactly is a sign of where the industry’s headed, the future looks bright and verdant.

Buds weighed on purchase

Opened in 2010

Price: From cheap to average

Selection: Huge!

Ambiance: Green, friendly, inviting

Smoke on site: Vaporizing only

Sketch factor: Low

Access/security: Secure but easy access

———–

SHAMBHALA

I visited Shambhala (2441 Mission, SF) on its second day open, when the smell of paint was stronger than that of weed, so it’s hard to judge it fairly. Check-in for new patients was maddening slow to an almost comical degree, they weren’t yet taking credit cards and had no ATM on site, and they offered a bigger selection of rolling papers than bud varieties.

But I still liked this place, the only one in that stretch of Mission Street. The staff is very friendly and they seem to really know their products. Unlike many clubs that offer a few good deals, the only cheap weed here was Afgoo for $25 per eighth, less than half the price of most of the 13 varieties they offered. When I asked why it was so much cheaper, the bud tender explained that the buds weren’t as tight or well-trimmed as the dispensary expects, although it still proved to be plenty strong and tasty.

Beyond the buds, Shambhala is also part head shop, selling lots of nice glass bongs, a display case filled with pipes, and rolling papers of all shapes and flavors. And while its selection of edibles is small, they do feature all of Auntie Dolores’ yummy cookies and savory snacks, even displaying the pretzels, chili-lime peanuts, and caramel corn in large glass jars on the counter.

Once Shambhala finds its groove, it will be a solid addition to the city’s dispensary network.

Prepackaged buds

Open since 2011

Price: Moderate

Selection: Limited buds, lots of paraphernalia

Ambiance: Clean, open, friendly

Smoke on site: No

Sketch factor: Low

Access/security: Tight

———-

MARKET STREET COOPERATIVE

It’s easy to overlook this place (1884 Market, SF), as I did last year when I first began to compile this guide. Nestled into the back of a wide sidewalk courtyard where Market meets Laguna just up the street from the LGBT Center, Market Street Cooperative has low-key signage and doesn’t seem to do much advertising or outreach, particularly compared to marketing-savvy clubs such as the Vapor Room, Medithrive, and SPARC.

But the operators clearly know what they’re doing, offering a wide product selection in a quiet, clean, no-nonsense environment. They offer a choice of buds for every taste and use, from the best high-end buds at a good price down to eighths for a dirt-cheap $18 and three different grades of shake, which many vaporizer users prefer over the tight buds that they need to grind themselves.

Access is limited to members, and the club insists on being able to verify the recommendation of users in a phone call to their doctors, a stricter standard that most clubs use and one that can get users turned away if their visit is after normal business hours (as they unapologetically did to my friend, the first time a club had denied him entry).

But once you’re in, you’re in, and this long-running club will take good care of you.

Prepackaged buds

Opened in 1999

Price: Moderate with lots of good deals

Selection: High

Ambiance: Low-key and business-like

Smoke on site: No

Sketch factor: Very low

Access/security: Tight

RE-LEAF HERBAL CENTER

I wasn’t terribly impressed by ReLeaf (1284 Mission, SF) when I first reviewed the club in 2010, so at their owner’s request I returned recently to give them another look. They have definitely improved in both the feel of the club and its customer service, but it still suffers from some of the same shortcomings I noticed last year.

While they allow smoking on site, which is great, they don’t have any vaporizers or bongs on hand for patients to use, making it seem a little sketchy. The selection of buds is also fairly limited, with about a dozen varieties divided into two pricing tiers (although only a couple selections on each tier really looked and smelled great), and the clones they had on sale during my visit looked scraggly and sickly.

But the employees there are very nice and helpful, and the atmosphere in the club has become more inviting. There carry a large stock of edibles not available in other clubs, including smoothies and other refrigerated snacks that require a special permit from the city to sell. And the customer appreciation barbecue events they offer are a nice touch.

For a small storefront operation, Releaf does a fine job and it’s worth a visit. But with the way in which the bar has been raised for dispensaries in this city, I wouldn’t put Releaf in the top tier. Sorry guys, maybe next year.

Buds weighed on purchase

Open since 2007 ( with three years at previous SF location)

Price: Moderate

Selection: Limited

Ambiance: A loud head shop that also has some weed

Smoke On Site: Yes

Sketch factor: Low

Access/Security: Moderate

—————

2010 REVIEWS

DIVINITY TREE

While the reviews on Yelp rave about Divinity Tree (958 Geary St.), giving it five stars, I found it a little intimidating and transactional (although it was the first club I visited, so that might be a factor). But if you’re looking to just do your business in a no-frills environment and get out, this could be your place.

The staff and most of the clientele were young men, some a bit thuggish. One worker wore a “Stop Snitching” T-shirt and another had “Free the SF8.” But they behaved professionally and were knowledgeable and easy to talk to. When I asked for a strain that would ease my anxiety but still allow me enough focus to write, my guy (patients wait along a bench until called to the counter) seemed to thoughtfully ponder the question for a moment, then said I wanted a “sativa-dominant hybrid” and recommended Neville’s Haze.

I bought 1/16 for $25 and when I asked for a receipt, it seemed as though they don’t get that question very often. But without missing a beat he said, “Sure, I’ll give you a receipt,” and gave me a hand-written one for “Meds.”

Buds weighed on purchase

Open for: four years

Price: Fairly low

Selection: Moderate

Ambiance: A transactional hole in the wall

Smoke On Site: No

Sketch factor: Moderate

Access/Security: Easy. Membership available but not required

————-

GRASS ROOTS

Located at 1077 Post St. right next to Fire Station #3, Grass Roots has the feel of a busy saloon. Indeed, as a worker named Justin told me, many of the employees are former bartenders who know and value customer service. With music, great lighting, and nice décor, this place feels comfortable and totally legit. Whereas most clubs are cash-only, Grass Roots allows credit card transactions and has an ATM on site.

The steady stream of customers are asked to wait along the back wall, perusing the menus (one for buds and another with pictures for a huge selection of edibles) until called to the bar. When asked, my guy gave me a knowledgeable breakdown of the difference between sativa and indica, but then Justin came over to relieve him for a lunch break with the BBQ they had ordered in and ate in the back.

Justin answered my writing-while-high inquiry by recommending Blue Dream ($17 for a 1.2-gram), and when I asked about edibles, he said he really likes the indica instant hot chocolate ($6), advising me to use milk rather than water because it bonds better with the cannabinoids to improve the high. Then he gave me a free pot brownie because I was a new customer. I was tempted to tip him, but we just said a warm goodbye instead.

Buds weighed on purchase

Open for: six years

Price: Moderate

Selection: High

Ambiance: A warm and welcoming weed bar

Smoke On Site: No

Sketch factor: Low

Access/Security: Easy

————–

HOPENET

Hopenet (223 Ninth St.) is one of the few places in the city where you can smoke on site, in a comfortable, homey style, as if you’re visiting a friend’s apartment. In addition to the loveseat, two chairs, and large bong, there is a small patio area for smoking cigarettes or playing a guitar, as someone was doing during my visit.

Although the small staff is definitely knowledgeable, they all seemed stoned. And when I asked about the right weed for my writing problem, a gruff older woman impatiently dismissed any indica vs. sativa distinctions and walked away. But I learned a lot about how they made the wide variety of concentrates from the young, slow-talking guy who remained.

He weighed out a heavy gram of White Grapes for $15, the same price for Blue Dream, and $2 cheaper than I had just paid at Grass Roots. That was in the back room, the big middle area was for hanging out, and the front area was check-in and retail, with a case for pipes and wide variety of stoner T-shirts on the walls.

Buds weighed on purchase

Open for: eight years

Price: Low

Selection: Moderate

Ambiance: Like a converted home with retail up front

Smoke On Site: Yes!

Sketch factor: Low

Access/Security: Easy

————

VAPOR ROOM

Vapor Room (607A Haight, www.vaporroom.com) is San Francisco’s best pot club, at least in terms of feeling like an actual club and having strong connections to its community of patients. It’s a large room where customers can smoke on site, giving this collective a warm, communal vibe that facilitates social interaction and fosters a real sense of inclusiveness.

Each of the four large tables has a high-end Volcano vaporizer on it, there’s a big-screen TV, elegant décor, and large aquarium. There’s a nice mix of young heads and older patients, the latter seeming to know each other well. But, lest members feel a little too at home, a sign on the wall indicates a two-hour time limit for hanging out.

Its early days in the spot next door were a bit grungier, but the new place is bright and elegant. It has a low-key façade and professional feel, and it strongly caters to patients’ needs. Low-income patients are regularly offered free medicine, such as bags full of vapor prepared by staff. Mirkarimi said the Vapor Room is very involved in the Lower Haight community and called it a “model club.”

But they’re still all about the weed, and they have a huge selection that you can easily examine (with a handy magnifying glass) and smell, knowledgeable staff, lots of edibles and concentrates, a tea bar (medicated and regular), and fairly low standardized pot prices: $15 per gram, $25 per 1/16th, $50 per eighth. And once you got your stuff, grab a bong off the shelf and settle into a table — but don’t forget to give them your card at the front desk to check out a bowl for your bong. As the guy told me, “It’s like a library.”

Buds weighed on purchase

Open for: seven years

Price: Moderate

Selection: High

Ambiance: Warm, communal hangout

Smoke On Site: Yes!

Sketch factor: Low

Access/Security: Easy, but membership required

————-

MEDITHRIVE

The newest cannabis club in town, MediThrive (1933 Mission, www.medithrive.com) has a bright, fresh, artsy feel to it, with elegantly frosted windows and a welcoming reception area as you enter. This nonprofit coop takes your photo and requires free membership, and already had almost 3,000 members when I signed up a couple weeks ago. Tiana, the good-looking young receptionist, said the club recently won a reader’s choice Cannabis Cup award and noted that all the art on the walls was a rotating collection by local patients: “We’re all about supporting local art.”

The decorators seemed to have fun with the cannabis concept, with a frosted window with a pot leaf photo separating the reception area from the main room, while the walls alternated wood planks with bright green fake moss that looked like the whole place was bursting with marijuana. There’s a flat-screen TV on the wall, at low volume.

The large staff is very friendly and seemed fairly knowledgeable, and the huge selection of pot strains were arranged on a spectrum with the heaviest indica varieties on the left to the pure sativas on the right. Lots of edibles and drinkables, too. The cheapest bud was a cool steel tin with a gram of Mission Kush for $14 (new members get a free sample), while the high rollers could buy some super-concentrated OG Kush Gold Dust ($50) or Ear Wax ($45) to sprinkle over their bowls.

Prepackaged buds

Open for: one year

Price: Moderate

Selection: High

Ambiance: Professional, like an artsy doctor’s office

Smoke On Site: No

Sketch factor: Very low

Access/Security: Easy, but membership required

————

KETAMA COLLECTIVE

At 14 Valencia St., Ketama is a testament to how silly it is that clubs within 1,000 feet of schools aren’t permitted to allow smoking on site. This former café has a large, comfortable seating area and full kitchen, both of which have had little use since a school opened way down the street last year, causing city officials to ban smoking at Ketama.

Pity, because it seems like a great place to just hang out. Yet now it just seemed underutilized and slow. The staff is small (one door guy and a woman hired last summer doing sales), and we were the only customers during the 20 minutes I was there (except for the weird old guy drinking beer from a can in a bag who kept popping in and out).

But it still had jars of good green bud, several flavors of weed-laced drinks and edibles, and a pretty good selection of hash and kief at different prices, and the woman spoke knowledgeably about the different processes by which they were created. To counteract the slow business, Ketama has a neon sign out front that explicitly announces its business — another indication the industry has gone legit.

Buds weighed on purchase

Open for: six years

Price: Low

Selection: Limited

Ambiance: Hippie hangout, but with nobody there

Smoke On Site: No

Sketch factor: Low

Access/Security: Easy, but free membership required

————

MR. NICE GUY

Belying its name, Mr. Nice Guy (174 Valencia St.) thrilled and scared me, but not necessarily in a bad way. Located across the street from Zeitgeist, the thug factor here was high and so was the security, allowing no human interaction that wasn’t mediated by thick Plexiglass, presumably bulletproof.

After initially being told by a disembodied voice to come back in five minutes, I submitted my doctor’s recommendation and ID into the slot of a teller’s window, darkened to hide whoever I was dealing with. Quickly approved, I was buzzed into a small, strange room with three doors.

I paused, confused, until the disembodied voice again told me, “Keep going,” and I was buzzed through another door into a hallway that led to a large room, its walls completely covered in brilliant murals, expertly painted in hip-hop style. Along the front walls, a lighted menu broke down the prices of about 20 cannabis varieties.

Then finally, I saw people: two impossibly hot, young female employees, lounging nonchalantly in their weed box, like strippers waiting to start their routines. The only other customer, a young B-boy, chatted them up though the glass, seemingly more interested in these striking women than their products.

I finally decided to go with the special, an ounce of Fever, normally $17, for just $10. I opened a small door in the glass, set down my cash, and watched the tall, milk chocolate-skinned beauty trade my money for Fever, leaving me feeling flushed. It was the best dime-bag I ever bought.

Prepackaged buds

Price: Moderate, with cheap specials

Selection: High

Ambiance: Hip hop strip club

Smoke On Site: No

Sketch factor: High

Access/Security: High security but low scrutiny

————-

BERNAL HEIGHTS COLLECTIVE

Bernal Collective (33 29th St. at Mission) seemed both more casual and more strict than any of the other clubs in town — and it also turned out to be one of my favorites.

After refusing to buy pot for a guy out front who had just been turned away, I entered the club and faced more scrutiny than I had at any other club. It was the only club to ask for my doctor’s license number and my referral number, and when I tried to check an incoming text message, I was told cell phone use wasn’t allowed for “security reasons.” On the wall, they had a blown-up copy of their 2007 legal notice announcing their opening.

But beyond this by-the-book façade, this club proved warm and welcoming, like a comfortable clubhouse. People can smoke on site, and there’s even a daily happy hour from 4:20–5:20 p.m., with $1 off joints and edibles, both in abundant supply. Normal-sized prerolled joints are $5, but they also offer a massive bomber joint with a full eighth of weed for $50.

The staff of a half-dozen young men were knowledgeable about the 20 varieties they had on hand and offered excellent customer service, even washing down the bong with an alcohol-wipe before letting a customer take a rip from the XXX, a strong, sticky bud that was just $15 for a gram.

Buds weighed at purchase

Open for: six years

Price: Fairly low

Selection: High

Ambiance: A clubhouse for young stoners

Smoke On Site: Yes

Sketch factor: Low

Access/Security: Fairly tight

————-

LOVE SHACK

This longtime club (502 14th St.) has had its ups and downs, the downs coming mostly because of its location on a fairly residential block. After taking complaints from neighbors, the city required Love Shack to cap its membership, although that seems to be changing because the club let me in, albeit with a warning that next time I would need to have a state ID card. It was the only club I visited to have such a requirement.

Once inside this tiny club, I could see why people might have been backed up onto the street at times. But the staff was friendly and seemed to have a great rapport with the regulars, who seemed be everyone except me. The knowledgeable manager walked me through their 20-plus varieties, most costing the standard street price of $50 per eighth, or more for stronger stuff like Romulan.

On the more affordable end of the spectrum was the $10 special for Jack Herrer Hash, named for the longtime legalization advocate who wrote The Emperor Wears No Clothes, a classic book on the history of the movement.

Buds weighed at purchase

Open for: nine years

Price: Moderate

Selection: High

Ambiance: Small, like a converted apartment

Smoke On Site: No

Sketch factor: Moderate

Access/Security: Tight

————-

COFFEE SHOP BLUE SKY

Blue Sky (377 17th St., Oakland)is based on the Amsterdam model of combining marijuana dispensaries with coffee shops, although it suffers a bit from Oakland’s ban on smoking. Still, it’s a cool concept and one that Richard Lee sees as the future of marijuana-related businesses because of the synergy between smoking and grabbing a bite or some coffee.

Most of Blue Sky is a small coffee shop and smoothie bar, but there’s a little room in back for buying weed. “We’ve got the best prices around,” said the guy who checked my ID, and indeed, $44 eighths and $10 “puppy bags” were pretty cheap. Customers can also sign up to do volunteer political advocacy work for free weed.

The only downside is the limited selection, only four varieties when I was there, although the woman at the counter said the varieties rotate over the course of the day based on the club’s purchases from growers.

Prepackaged buds

Open for: 15 years

Price: Low

Selection: Very limited

Ambiance: A fragrant little room behind a coffee shop

Smoke On Site: No

Sketch factor: Low

Access/Security: Easy

————–

HARBORSIDE HEALTH CENTER

I have seen the future of legitimized medical marijuana businesses, and it’s Harborside (1840 Embarcadero, Oakland). With its motto of “Out of the shadows, into the light,” this place is like the Costco of pot — a huge, airy facility with a dizzying number of selections and even a “rewards card” program.

All new members are given a tour, starting with sign-up sheets for daily free services that include yoga, chiropractic, acupuncture, reiki, consultations with herbalists, and classes on growing. Then we moved to a section with the clones of dozens of pot plant varieties available for purchase (limit of 72 plants per visit), along with a potted marijuana plant the size of a tree.

Harborside is also blazing the trail on laboratory services, testing all of its pot for contaminants and THC content, labeling it on the packaging just like the alcohol industry does. Some of the smaller clubs don’t like how over-the-top Harborside is, and they complain that its prices are high. But those profits seem to be poured back into the services at this unique facility.

Prepackaged buds

Open for: four years

Price: High

Selection: Huge

Ambiance: A big, open shopping emporium

Smoke On Site: No

Sketch factor: Low

Access/Security: Tight

————-

SANCTUARY

The people who run Sanctuary (669 O’Farrell St.), the first club to fully comply with the new city regulations and get its permanent license, have been active in the political push for normalizing medical marijuana, as a wall full of awards and letters from politicians attests. Owner Michael Welch was commended for his work by the Harvey Milk LGBT Democratic Club, where Sanctuary employee Tim Durning has been an active longtime member and former elected officer.

Sanctuary has a generous compassionate giving program and caters to lots of poor residents of the Tenderloin neighborhood. While the club is prohibited from allowing smoking, they fudge the restriction with a Volcano vaporizer. “A lot of patients are on fixed income and live in the SROs, where they can’t smoke, so we let them vaporize here whether they buy from us or not,” Durning told us.

Those who do buy from them find a huge selection — including 20 different kinds of hash and 17 varieties of buds — at a wide price range. Staffers know their products well and take their business seriously, giving a regular spiel to new members about responsible use, which includes maintaining neighborhood relations by not smoking near the business.

Buds weighed on purchase

Open for: six years

Price: Low to moderate

Selection: High

Ambiance: Campaign headquarters for the marijuana movement

Smoke On Site: No, but vaporizing OK

Sketch factor: Low

Access/Security: Easy

————–

GREEN DOOR

If low prices or a huge selection of edibles are what you seek, Green Door (843 Howard St., www.greendoorsf.com) could be the club for you.

Eighths of good green buds start at a ridiculously low $25 and go up to just $50 (the cheapest price for eighths at many clubs and also the standard black market price). If that’s not low enough, super-broke users can buy a quarter-ounce bag of high-grade shake for $40.

If you didn’t already have the munchies going in, you’ll get them perusing the huge menu of edibles: from weed-laced knockoffs of Snickers bars and Reese’s Peanut Butter Cups for just $5 to cupcakes, ice cream, or Chex party mix. They have lots of hash and other concentrates as well.

Somehow, the club also manages to have a strong compassionate giving program and contibutes to local civic organizations that include the Black Rock Arts Foundation, Maitri AIDS Hospice, and Friends of the Urban Forest.

The club itself is a little sterile and transactional, with an institutional feel and employees stuck behind teller windows. But even though that and the steady flow of tough-looking young male customers raise its thug factor a bit, the employees all seemed friendly and helpful, giving free edibles to first-time customers.

Prepackage buds

Open for: nine years (five here, four in Oakland)

Price: Cheap

Selection: High for edibles, moderate for weed

Ambiance: Like a community bank of cheap weed

Smoke On Site: No

Sketch factor: Moderate

Access/Security: Easy access, high security

————–

Appetite: Germanic adventures

Jesse Hawthorne Ficks

-

January 24, 2011

0

Though I have more than a few food obsessions, there’s something about authentic food and wine from the Germanic countries that comforts me on a profound level. Maybe it’s my German Miller (or Mueller) family heritage on my Dad’s side or the satisfying straightforwardness of dishes like dumplings or sauerkraut. Either way, there’s not enough food around from that region as far as I’m concerned. So it is with great delight I witness the opening of two unique restaurants.

Here’s two early “sneak-peeks” on North German Gaumenkitzel, debuting this week in Berkeley, and Leopold’s, an Austrian restaurant just opened Friday in Russian Hill (see additional photos of both spaces in my next issue of The Perfect Spot, coming out Feb. 1).

LEOPOLD’S – With the words Treffen (meet), Trinken (drink), Essen (eat) painted under the name, Leopold’s offers something with no parallel in our city: an Austrian restaurant. It opened quietly this past Friday night in a cheery, bright space on Polk Street housing animal heads, Austrian art, pine wood tables and booths. Here, the relaxed warmth of a neighborhood beer haus (with a number of beers on tap and by the bottle, including Kostritzer Black Lager and St. Bernardus) meets dirndl-clad waitresses, all the while maintaining a refinement that doesn’t cross the line into kitschy.

Brothers Albert and Klaus Rainer, from my favorite Austrian city, Salzberg, run the place with effusive charm. Though they must be working out new-opening kinks, my initial meal was seamless and delicious. Hungarian Goulash (borders of Hungary and Austria changed so often that regional dishes meld) is tender beef in a paprika-rich sauce with buttery, addictive spaetzle and a green salad brightened by lemon zest. Wiener schnitzel is exemplary: prepared traditionally, lightly breaded, pounded flat with a squeeze of lemon, contrasted perfectly with Lingonberry sauce and a warm escarole potato salad. These entrees are quite filling at a mere $12.75 each, while the highest-priced menu item is Choucroute Garni Platter at $17.75.

As in my travels through Austria, Switzerland and Germany, salads are ultra-fresh. Roasted beet salad ($6.75) rests on a light horseradish creme fraiche in a bed of mache and endive, accented by walnuts and radishes. Additional appealing starters include duck crepinettes, vegetable strudel and house-smoked salmon on potato cakes. An off-menu starter of dense German breads made an impression topped with beets on a creamy liptauer cheese spread (http://en.wikipedia.org/wiki/Liptauer) or Black Forest ham with fresh-shaved horseradish. Wines are affordable at $20-34 a bottle, with plenty of glasses and carafes available. I delight seeing mostly wines from Austria, Switzerland and Hungary, with an additional few from Slovenia, California and Oregon. Save room for a slice of apfelstrudel (apple strudel – $5.75) in warm vanilla cream sauce.

This heartwarming haven is one I’m already plotting my return to.

2400 Polk Street (at Union)
415-474-2000
Sunday-Thursday, 5:30-10pm, until midnight Fri-Sat.

GAUMENKITZEL, meaning ‘delight for the taste buds’, opens later this week (if all goes as planned) in an open, sunny space on San Pablo Ave. in Berkeley. Owner Anja Voth brings restaurant and patisserie experience from Hamburg and Berlin. Her husband Kai Flache constructed and designed the restaurant with his local firm. They operate as a gracious, complimentary team.

A rustic wood ceiling, huge windows and skylight illuminate the yellows, whites, reds and oranges of the clean, modern room. A spare collection of German china and ceramic dolls line the shelves, adding a homey touch. While the main portion of the room is eat-in, one can order take-out or baked goods. A section to the left of the entrance offers stools and countertops for a quick meal.

A pastry chef bakes fresh breads and pastries in-house, including a delicate Linzer torte with red currant jam. Anja operates as chef with assistance from a chef who worked 15 years at Oakland’s now-defunct Citron. I stopped in for a preview lunch, savoring baked goods, beet salad, an addictive caramel custard, and beef roulade with braised red cabbage and creamy mashed potatoes. The beef roulade is Anja’s mother’s recipe, rolled up with pickles and onions, while red cabbage is equal parts apple with a tart, spiced kick.

A breakfast menu lasts all morning with items like German porridge, house-baked rolls, cold cuts, müsli. There’s afternoon tea (2-4:30pm), while lunch and supper entrees cover the gamut from salmon with rhubarb compote to wild mushrooms with spaetzle. They also make their own seasonal jams, like a pleasantly tart/bitter Meyer lemon marmalade I sampled. Menu prices had not yet been finalized on the menus I previewed, but it will be affordable, mid-range.

The joy here is dishes with a predominantly North German focus, a rarity as local offerings are typically of the South German kind. Influences from Anja and Kai’s port city hometown of Hamburg are showcased, like curry (poached fish with curry sauce) and fresh fish (from Monterey Fish Market). Expect authentic German, reliant on local and seasonal ingredients, prepared with care from a couple involved in every aspect of the place.

2121 San Pablo Ave, Berk.
Daily 6am-6:30pm
www.gaumenkitzel.net

–Subscribe to Virgina’s twice monthly newsletter, The Perfect Spot

Appetite: Catching our Fancy

Jesse Hawthorne Ficks

-

January 20, 2011

0

Fancy Food, the largest showcase of specialty foods in North America (held annually in NYC and SF) returned to the Moscone Center. Again this week I explored thousands of products from around the world, with only the limits of my stomach to slow me after hours of sampling.

Fancy Food showcases trends in food, which there’s been much talk of this week already. I didn’t notice many major differences from last year, but saw a welcome increase in spirits vendors (though still merely a handful) and a continued proliferation of healthy, organic, low calorie (therefore sometimes tasteless) products. I was impressed by Teatulia out of Denver and their completely compostable wrappers and packaging. Their clean, 100% organic teas are grown in Bangladesh, subtle but full in flavor. I also took note of Philippe Padovani of Padovani Chocolates‘ sultry chocolates, in flavors ranging from apple banana ganache to lilikoi soft caramel.

Here’s my coverage from last year, and my stand-outs this year:

SPIRITS

Sinai Mezcal – Probably the best taste of the day for this spirits lover was Sinai Mezcal, a tiny, under-the-radar mezcal that, despite tasting numerous brands, is the first to really excite me since Del Maguey. Whether Blanco, Reposado or Anejo, each is smoky, clean with slate and agave. Don’t mind the low budget labels… it’s all in the taste. They need a US distributor (hello, anyone?) At the very least, it should be on the shelf at Tommy‘s.

Velho Barreiro – One of the most popular cachaca brands in Brazil, this bright sugarcane spirit tantalized in a well-made Caipirinha but also stood on its own, whether the traditional Velho Barreiro or Gold (aged) version.

FOOD

La Tourangelle Oils – Based out of Richmond, CA, it’s no surprise these memorable oils are local. La Tourangelle‘s peanut, pistachio, sesame, white & black truffle, and avocado oils are superior to average brands, but their latest releases especially wow: Thai Wok Oil exudes lemongrass and basil essences, while Pan Asian Stir Fry Oil is layered with garlic, ginger, fried onion. You can purchase at Whole Foods, Andronico’s and Williams Sonoma, to name a few.

Rumba Dessert’s Ice Creams – I’d seen Rumba before, but had not been able to try as many of its products as I did here. Whether creamy banana & cinnamon, tart passion fruit ‘maracuya’ or caramel-y lucuma (a tropical Peruvian fruit), I appreciate the robust flavor and care evident in these ice creams. Rumba’s husband/wife team are delightfully engaging (wife, Laly Protzel is president and creates the recipes, while her husband assists with marketing and business). Find Rumba at Noe Valley Whole Foods and RJ’s Market in the Rincon Center, not to mention around the Bay Area.

Tahitian Gold Vanilla Products – Tahitian Gold is an elegantly-packaged line of vanilla products based out of Torrance, CA. Going the 100% natural route, they use a range of beans to create an intense vanilla bean paste, refined extracts for cooking, Tahitian vanilla sugar and fleur de sel. The look and quality is among the best I’ve seen in the vanilla world.

Glop – Glop may not exactly sound appetizing, but it’s a playful spread of Parmesan and Asiago cheeses, olive oil, garlic, herbs and spices. It’s another Bay Area-based company — and the exciting part is they’re working with one of my very favorite chefs, Aziza’s Mourad Lahlaou, who has created sauces and dips they are hoping to sell further into the year. I especially like smoky harissa, chickpea and yogurt herb.

Yarra Valley Dairy’s Marinated Feta – From Australia, Yara Valley Dairy’s (http://www.yvd.com.au/) creamy feta pops with flavors of herbs in uber-fresh cheese. Handmade on the farm, it’s an elegant (and addictive) snack.

Crispy Green & Fruitzio – Usually a long list that includes gluten free, dairy free, vegan, nut free, means I’m not going to like it. In the case of a little bag of freeze-dried fruit from Crispy Green and Fruitzio, I’m pleased at just how edible the product is. Stand-outs were freeze-dried pineapple, banana and kiwi. It’s one of those guiltless snacks that doesn’t compromise flavor. Here’s where to find it.

COFFEE

Malabar Gold Supreme from Josuma Coffee Company – Kudos for a shiny, silver espresso machine calling me like a beacon and perfect espresso preparation of Malabar Gold from Josuma, based in Menlo Park. They sell their beans mainly to cafes or restaurants though are seeking retailers. The crema atop their espresso glows a warm, velvet brown, while the flavor awakens you with robust, elegant force.

Caffe Barbera – From Naples, Italy, Caffe Barbera, a fifth generation coffee company since 1870, likewise served a supreme shot from their gold espresso machine.

–Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot

Music Listings

Jesse Hawthorne Ficks

-

January 18, 2011

0

Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 19

ROCK/BLUES/HIP-HOP

Atlantic/Pacific, Ash Reiter, Sonny Pete, DJs Bagel Ted and Julie T Milk Bar. 8pm, $5.

Tia Carroll and Hard Work Biscuits and Blues. 8 and 10pm, $15.

Dead Westerns, Mosshead, Street Pyramids Hemlock Tavern. 9pm, $6.

Zoe Keating, Inu feat. Zoe Keating, Tycho Independent. 8pm, $17.

Bryan McPherson, Mick Leonardi, Graham Patzner Hotel Utah. 8pm, $7.

Third Victim of Abigail Rutledge, SuperfinosVTO, Young Lovers Kimo’s. 9pm.

White Manna, Greg Ashley, Outlaw, Rachel Fannan Elbo Room. 9pm, $7.

Young Prisms, Melted Toys Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Cat’s Corner with Christine and Nathan Savanna Jazz. 9pm, $10.

Congress, Conspiracy of Venus, Mindi Hadan Café Du Nord. 8:30pm, $10.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Michael Parsons Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $16-22.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $35.

FOLK/WORLD/COUNTRY

Triskela Koret Auditorium, San Francisco Public Library, 100 Larkin, SF; (510) 548-3326. 6pm, free.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 20

ROCK/BLUES/HIP-HOP

Jonathan Coulton, Paul and Storm Great American Music Hall. 7:30pm, $25.

Inferno of Joy, White Barons, Bite, Last Internationale Thee Parkside. 9pm, $6-7.

Mac Miller Slim’s. 9pm, $16.

Nectarine Pie, These Hills of Gold, Memory’s Mystic Band Hemlock Tavern. 9pm, $7.

Peter Wolf Crier, Retribution Gospel Choir, Cannons and Clouds Bottom of the Hill. 9pm, $10.

Johnny Vernazza and the Knockouts Biscuits and Blues. 8 and 10pm, $15.

Wailers, Tomorrows Bad Seeds, Duane Stephenson Independent. 9pm, $25.

Worker Bee, Sleeptalks, Nick Reinhart, Sunbeam Rd. Café Du Nord. 8pm, $10.

JAZZ/NEW MUSIC

Ara Anderson and Michael McIntosh Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $16-22.

Savanna Jazz Trio and jam session Savanna Jazz. 7:30pm, $5.

Stompy Jones Top of the Mark. 7:30pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $40.

FOLK/WORLD/COUNTRY

Adam Traum Atlas Café. 8pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With resident DJs Haylow, A-Ron, Prince Aries, Boogie Brown, Ammbush, plus food carts and community creativity.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene Rickshaw Stop. 9pm, $10. With Royal Bangs and Foster the People.

Two Thousand a LOVE-in Kimo’s. 9pm. With SF Block Party, Seapora, and Gypsy Love.

FRIDAY 21

ROCK/BLUES/HIP-HOP

Bayonics, Skins and Needles Elbo Room. 10pm, $10-13.

Jay Brannan, Dave Smallen, Jhameel Bottom of the Hill. 9:30pm, $14.

Shane Dwight Biscuits and Blues. 8 and 10pm, $20.

Guster Fillmore. 8pm, $27.50.

Man/Miracle, Butterfly Bones, Elephant and Castle Hemlock Tavern. 9:30pm, $7.

Mission Players Coda. 10pm, $10.

Papa Grows Funk, Allofasudden Slim’s. 9pm, $25.

Passenger and Poilot, Black Swan, Hypnotist Collectors Red Devil Lounge. 8pm, $8.

Pimps of Joytime, Staxx Brothers Independent. 9pm, $25.

Planet Booty, Super Adventure Club, Greenhorse, MC Ladyfinger Café Du Nord. 9pm, $12.

Ra Ra Riot, Givers Great American Music Hall. 9pm, $18.

Sassy!!!, Witchburn, Diemond El Rio. 9pm, $5.

Harley White Jr. Studio Gracia, 19 Heron, SF; www.beyondblues.com. 8pm, $15.

JAZZ/NEW MUSIC

Benn Bacot Savanna Jazz. 7:30pm, $5.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Emily Anne’s Delight Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $20-26.

Scott Amendola Quartet Red Poppy Art House. 8pm, $12-20.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $45.

DANCE CLUBS

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

DJ Meat Hookz Thee Parkside. 8pm, free. Funk, soul, and hip-hop.

DJ Momentum Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

DJ What’s His Fuck Riptide Tavern. 9pm, free. Old school punk rock and other gems.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs B-Cause, Vinnie Esparza, Mr. Robinson, Toph One, and Slopoke.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

House of Voodoo Blue Macaw, 2565 Mission, SF; www.houseofvoodoo.com. 9pm, free ($5 after 10pm).

Oldies Night Knockout. 9pm, $2-4. DJs Primo, Daniel, and Lost Cat spin doo-wop, one-hit wonders, soul, and more.

Radioactivity 222 Hyde, 222 Hyde, SF; www.222hyde.com. 6-9:30pm. Kraut-minimal wave-cosmic-Italo standards with Cole Palme, Tristes Tropiques, and Robots.In.Heat.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Singapore 60s Happy Hour Knockout. 5:30pm, free. DJ Sid Presley spins rare pop, garage, and freakbeat from SE Asia, circa 1964-72.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Trannyshack: Star Search DNA Lounge. 9:30pm, $15. Heklina and Peaches Christ host this drag-tastic talent show.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 22

ROCK/BLUES/HIP-HOP

Justin Ancheta, Con Brio, Titan Ups Amnesia. 9pm.

Asylum Street Spankers Great American Music Hall. 8pm, $30.

David Berkeley. Bhi Bhiman Swedish American Hall (upstairs from Café Du Nord). 8pm, $22.

Family Crest, Moanin’ Dove, Welcome Matt Café Du Nord. 9pm, $12.

Fu Manchu, Dusted Angel Bottom of the Hill. 10pm, $12.

Hate Crime, Grandma’s Boyfriend, Symbolick Jews, Dinner With the Kids Li-Po Lounge. 9pm, $5.

Josh Klipp, Joe Stephens, Alex Davis, Storm Florez, Eli Conley El Rio. 6pm, free.

Lecherous Gaze, Ripper Bender’s, 800 S. Van Ness, SF; www.bendersbar.com. 10pm, $5.

Meris, High Horse, Super Proxy Thee Parkside. 3pm, free.

Old 97s Fillmore. 9pm, $26.50.

Pigs, Outdoorsmen, Dead Meat, Dadfag Hemlock Tavern. 9:30pm, $7.

Pimps of Joytime, J Boogie’s Dubtronic Science Independent. 9pm, $25.

Rubber Souldiers, Moonlight Rodeo Slim’s. 9pm, $15.

Sioux City Kid and the Revolutionary Ramblers, That Ghost, Hanalei, Thee Landlords Thee Parkside. 9pm, $7.

Sugaray and CK All Stars Biscuits and Blues. 8 and 10pm, $20.

Wonderbread 5, Foreverland Bimbo’s 365 Club. 9pm, $20.

JAZZ/NEW MUSIC

Gina Harris and Torbie Phillips Savanna Jazz. 7:30pm, $8.

Roy Hargrove Quintet Yoshi’s San Francisco. 8 and 10pm, $26.

Jesse Scheinin Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Thingamajigs Performance Group Meridian Gallery, 535 Powell, SF; (510) 444-1322. 8pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 8pm, $45.

FOLK/WORLD/COUNTRY

Kafana Balkan, Brass Menazeri, DJ Zeljko Rickshaw Stop. 9pm, $10.

Genghis Blues Review Kaleidoscope Free Speech Zone, 3109 24th St, SF; www.kaleidoscopefreespeechzone.com. 8:30pm, $10. With Kongar-ol Ondar and more.

Pickpocket Ensemble Red Poppy Art House. 8pm, $12-15.

“Suonare e Passeggiare: Extravagant Music from 17th Century Italy and Spain” Most Holy Redeemer Church, 100 Diamond, SF; www.musicsources.org. 2pm, $20.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Nuxx.

Barracuda 111 Minna. 9pm, $10. Eclectic 80s music with DJs Damon and Phillie Ocean plus 80s cult video projections, a laser light show, prom balloons, and 80s inspired fashion.

Bootie: Boston in SF with DJ BC DNA Lounge. 9pm, $6-12. Mash-ups from the East Coast.

Debaser Knockout. 9pm, $5. DJ Jamie Jams, Emdee, and Stab Master Arson spin 90s hip-hop.

DJ Duserock Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, $10.

4 Years: One Funktion Elbo Room. 10pm, $5-10. 4OneFunktion hip-hop party four-year anniversary with sets by B. Cause and Mista B, F.A.M.E., Light Up the Darkness, and more.

Go Bang! Deco Lounge, 510 Turk, SF; www.decosf.com. 9pm, free ($5 after 10pm). Atomic dancefloor disco action with Eddy Bauer, DJ FreshStep, and DJ Flight.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip-hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Jersey Score Underground SF. 9pm, free ($5 after 10pm). Jersey Shore-themed gay dance party with DJs Robert Jeffrey and Juan Garcia.

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 23

ROCK/BLUES/HIP-HOP

Angels on Acid, Cystem Cex, NPMN DNA Lounge. 8pm, $10.

Beep!, Dinosaur Feathers, Careerers Hemlock Tavern. 9pm, $6.

Black Swans, Will Sprott, Pancho-San Knockout. 9pm, $5.

Bryan Greenberg Café Du Nord. 8pm, $14.

Madball, Cruel Hand, Crucified, Boundaries Thee Parkside. 7:30pm, $15.

Jake Mann and the Upper Hand, Grand Lake, Il Gato Bottom of the Hill. 8:30pm, $8.

Sour Mash Hug Band, Crux Amnesia. 9pm, $7-10.

Symbolick Jews, Grandma’s Boyfriend, Stowaways, Subfobias Kimo’s. 8pm, $7.

La Veda, Epiphany Castro, Eric De Arantahna El Rio. 6pm, $8.

JAZZ/NEW MUSIC

Los Boleros Savanna Jazz. 7:30pm, $5.

Christy and the Lowdowns Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Lua Hadar, Jason Martineau, Dan Feiszli Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Paula West and the George Mesterhazy Quartet Rrazz Room. 7pm, $40.

FOLK/WORLD/COUNTRY

Blue Diamond Fillups Thee Parkside. 4pm, free.

Kat Parra Latin/World Ensemble Red Poppy Art House. 7pm, $12-20.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, J Boogie, and guest Kentyah.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 24

ROCK/BLUES/HIP-HOP

Midnite, Jah Yzer Independent. 9pm, $28.

War Yoshi’s San Francisco. 8pm, $40.

JAZZ/NEW MUSIC

Lavay Smith Swinget with Jules Broussard Enrico’s, 504 Broadway, SF; (415) 982-6223. 7pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

Smile! Knockout. 9pm, $7. DJ Neil Martinson spins psych, soul, glam, bubblegum, and more.

TUESDAY 25

ROCK/BLUES/HIP-HOP

Paul Banks and the Carousels Elbo Room. 9pm.

Barn Owl, Phil Manley Life Coach, Diego Andres Gonzalez Hemlock Tavern. 9pm, $6.

Sonya Cotton, Honeycomb, Ever Isles Rickshaw Stop. 8pm, $10.

Eli Wise Band, Evon, Steel Hotcakes El Rio. 7pm, free.

Ghost of a Saber Tooth Tiger, Laura Gibson Café Du Nord. 8pm, $17. Amos Lee, Vusi Mahlasela Fillmore. 8pm, $25. Midnite, Jah Yzer Independent. 9pm, $28. Sandwitches, Art Museums, Soft Bombs, Rachel Fannan Slim’s. 8pm, $5. War Yoshi’s San Francisco. 8pm, $40. Wovenhand, Git Some, Common Eider King Eider Bottom of the Hill. 9pm, $13. FOLK/WORLD/COUNTRY Graham Connah Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free. JAZZ/NEW MUSIC Ricardo Scales Top of the Mark. 6:30pm, $5. DANCE CLUBS Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. Extra Classic DJ Night Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 10pm. Dub, roots, rockers, and reggae from the 60s, 70s, and 80s. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Stump the Wizard Argus Lounge. 9pm, free. Interactive DJ game with What’s His Fuck and the Wizard.

Stage Listings

Jesse Hawthorne Ficks

-

January 18, 2011

0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

Audition – A Play Exit Theater, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. Call for price. Opens Thurs/20, 8pm. Runs Thurs and Sat, 8pm; Sun, 3pm. GenerationTheatre presents a comedy of the absurd by Roland David Valayre.

Bone to Pick and Diadem Exit on Taylor, 277 Taylor; (800) 838-3006, www.cuttingball.com. $15-50. Opens Thurs/20, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. Cutting Ball Theatre presents a pair of plays by Eugenie Chan.

The Companion Piece Z Space at Theatre Artaud, 450 Florida; (800) 838-3006, www.zspace.org. $20-40. Call for price. Previews Wed/19-Thurs/20, 7pm; Fri/21, 8pm. Opens Sat/22, 8pm. Runs Thurs 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Feb 13. Z Space presents the world premiere of a new play by Mark Jackson, with Beth Wilmurt and Christopher Kuckenbaker.

Out of Sight The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Previews Thurs/20, 8pm. Opens Sat/22, 8pm. Runs Thurs and Sat, 8pm; Sun, 3pm. Through Feb 13. The Marsh presents a new solo show by Sara Felder.

Spalding Gray: Stories Left to Tell Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $10-25. Previews Fri/21-Sat/22, 8pm. Opens Tues/25, 8pm. Runs Thurs-Sat, 8pm. Through Feb 19. Custom Made Theatre presents stories by the late writer and performer.

The 39 Steps TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-79. Previews Wed/19, 7:30pm; Thurs/20-Fri/21, 8pm. Opens Sat/22, 8pm. Runs Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. TheatreWorks presents Patrick Barlow’s comic adaptation of the book and movie of the same name.

Treefall New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $24-40. Previews Fri/21-Sat/22, 8pm; Sun/23, 2pm; Jan 26-28, 8pm. Opens Jan 29, 8pm. Through Feb 27. New Conservatory Theatre Center presents a tale of erotic attraction by Henry Murray.

BAY AREA

The Agony and the Ecstasy of Steve Jobs Berkeley Rep, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Previews Thurs/20-Sat/22, 8pm. Opens Sun/23, 7pm. Call for dates and times. Through Feb 27. Storyteller Mike Daisey spins a yarn about the Apple head.

Heartbreak House Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-0999, www.berkeleyrep.org. $12-15. Opens Fri/21, 8pm. Runs Fri-Sat, 8pm (also Feb 13, 2pm; Feb, 17, 8pm). Through Feb 19.Actors Ensemble of Berkeley presents the George Bernard Shaw comedy set just before World War I.

ONGOING

Clue Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-35. Wed-Fri, 8pm; Sat, 7 and 10pm. Through Feb 19. Boxcar Theatre presents a play based on a movie based on a board game.

No Good Deed Pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Fri, 8pm; Sat, 8pm; Sun, 2pm. Pear Avenue Theatre presents a world premiere noir-inflected play by Paul Braverman.

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

BAY AREA

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Call for times. Through Feb 13. Don Reed’s one-man show continues its extended run.

The Last Cargo Cult Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Call for dates and times. Through Feb 20. Mike Daisey stars in a one-man show about obsession with commerce.

*Of the Earth – The Salt Plays Ashby Stage, 1901 Ashby; (510) 841-6500, www.shotgunplayers.org. $17-30. Thurs-Sat, 8pm; Sun, 5pm. Through Jan 30. If those whom the gods favor die young, it’s probably just as well for Odysseus (Dan Bruno) that Zeus (Rami Margron) happens to be irked at him. That Zeus occasionally manifests as a scary nurse with a penchant for ballroom dance is one of but many mysterious angles Jon Tracy teases out of the standard Odysseus myth. Another involves the instant-messaging potential of paper planes; a third, a blunt addiction metaphor for warmongering. In what must surely be a happy coincidence, the design elements and staging of Of the Earth are curiously similar to those of the recent Cutting Ball production of The Tempest. Characters leaping about from floor-to-ceiling ladders to physically embody shipwrecks and monsters, a handful of actors playing multiple roles, watery video installations, even the allusion to mental illness and modern psychiatry are threads that tie the two productions, however unsuspectingly, together. Happily for The Shotgun Players, their version floats above the comparison with a host of extra tension-drivers—the sinuously menacing fighting-style of Posiedon (Anna Ishida), the heart-throb pounding of Taiko drums, the sensual machinations of Circe (Charisse Loriaux), the clever usage of Penelope’s (Lexie Papedo) “tapestry” to weave together the action. And though at times the thread is broken mid-scene, we are finally given to understand that this epic tale of war’s fallout is first and finally a story of love. (Gluckstern)

Strange Travel Suggestions The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through Feb 19. Jeff Greenwald stars in a one-man show about the vagaries of wanderlust.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

Gush Brava Theater, 2783 24th St; 6470-2822, www.brava.org. Call for dates and times (through Jan 29). $15-35. Brava presents a dance series curated by Joe Goode.

A Hand in Desire Viracocha, 998 Valencia; (800) 838-3006, www.brownpapertickets.com. $20. Fri-Sat, 8pm (through Jan 29). EmSpace Dance presents a “remix” of A Streetcar Named Desire.

Women of the Way Festival Shotwell Studios, 3252-A Shotwell; and The Garage, 975 Howard; (800) 838-3006, www.ftloose.org. Call for dates and times (through Jan 30). $15-20. The dance festival celebrates it 11th anniversary with 23 new shows.

BAY AREA

Marga’s Funny Mondays The Cabaret at The Marsh Berkeley, 2120 Allston; (800) 838-3006, www.themarsh.org. Mon/24, 8pm. $10. Marga Gomez kicks off a Monday night comedy series.

Tango Buenos Aires Zellerbach Hall, UC Berkeley campus, Berk; (510) 642-9988, www.calperformances.org. Fri/21, 8pm. $22-52. The dance company visits the Bay Area as part of a ten-week tour of North America.

Film Listings

Jesse Hawthorne Ficks

-

January 18, 2011

0

P>Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide. Due to the Dr. Martin Luther King, Jr. Day holiday, theater information was incomplete at presstime.

OPENING

Barney’s Version The charm of this shambling take on Mordecai Richler’s 1997 novel lies almost completely in the hang-dog peepers of star Paul Giamatti. Where would Barney’s Version be without him and his warts-and-all portrayal of lovable, fallible striver Barney Panofsky — son of a cop (Dustin Hoffman), cheesy TV man, romantic prone to falling in love on his wedding day, curmudgeon given to tying on a few at a bar appropriately named Grumpy’s, and friend and benefactor to the hard-partying and pseudo-talented Boogie (Scott Speedman). So much depends on the many nuances of feeling flickering across Giamatti’s pale, moon-like visage. Otherwise Barney’s Version sprawls, carries on, and stumbles over the many cute characters we don’t give a damn about — from Minnie Driver’s borderline-offensive JAP of a Panofsky second wife to Bruce Greenwood’s romantic rival for Barney’s third wife Miriam (Rosamund Pike). A mini-who’s who of Canadian directors surface in cameos — including Denys Arcand, David Cronenberg, and Atom Egoyan — as a testament to the respect Richler commands. Too bad director Richard J. Lewis didn’t get a few tips on dramatic rigor from Cronenberg or intelligent editing from Egoyan — as hard as it tries, Barney’s Version never rises from a mawkish middle ground. (2:12) (Chun)

*The Company Men Globalization, recession, and the stockholder-driven bottom line are wreaking havoc on business as usual at GTX, a Boston-based veteran manufacturer of shipping containers. CEO James Salinger (Craig T. Nelson) is coolly unconcerned about deep workforce cuts that preserve his fabulous wealth. But co-founder Gene (Tommy Lee Jones), who was not born with the proverbial silver spoon, is appalled by this willingness to sacrifice jobs for high-end investor wealth. (Nonetheless this doesn’t stop Gene from having as his mistress GTX fiscal hatchet-woman Maria Bello, whose part is the script’s weakest element.) His protests do nothing to halt the grim progression of layoffs — which next strike cocky young sales whiz Bobby (Ben Affleck), who’s furiously unable to cope with this blow to his inflated ego despite the levelheaded support of wife Maggie (Rosemarie DeWitt). Even worse equipped for change is 30-year company drone Phil (Chris Cooper), who’s too old to start again in a market where ruthless downsizing allows considerable ageism. With mortgages, college educations, country club memberships (ya gotta network somewhere), and so forth on the line, the protagonists here run the gamut of distressed emotions in coping with their suddenly reduced economic circumstances. TV-famed producer (ER, The West Wing) John Wells’ debut as feature writer director is a white-collar Arthur Miller update, earnest, meaty, and intelligent if unfashionably literal-minded about middle-to-upper-class angst. It’s engrossing for the most part, affording excellent dramatic opportunities to the estimable Jones, Cooper, and yes Ben Affleck — now that the latter is a respected director himself, you are officially granted permission to allow that he can act. If only this solid albeit unremarkable effort didn’t compromise itself with an ending phoned in by the Make A-Wish Foundation after nearly two hours of sober real-world credence. (1:53) (Harvey)

Evangelion 2.0: You Can (Not) Advance For certain anime fans, the stateside release of Hideaki Anno’s 2009 sci-fi action-adventure entry is a landmark event (see: YouTuber “OtakuCraveTV,” who posted a frame-by-frame analysis of an early Evangelion 2.0 trailer: “The next screen shot shows Eva Unit Two having some kind of jet propeller or jet pack … another cool feature that’s not in the original TV series.”) For the average moviegoer, though, the film might as well not have bothered to include English subtitles — there’s limited exposition and if you don’t know anything about the Evangelion phenomenon, you’ll be lost within minutes. In brief: the TV show was called Neon Genesis Evangelion, and it was a huge hit in Japan in the mid-1990s. This is the second film; 2008’s Evangelion 1.0: You Are (Not) Alone, won a Japanese Academy Prize for Best Animation. The plot involves human race-saving efforts by brave young pilots operating giant, armed robots. (Likely I made multiple factual mistakes in the above paragraph; otakus, please don’t keel-haul me.) Interested parties can read an extremely detailed plot description on the film’s Wikipedia entry — or go check out the movie itself when it opens at Japantown’s Viz Cinema. (1:52) Viz Cinema. (Eddy)

*Ne change rien See “Bye Bye Blackbird.” (1:43) Yerba Buena Center for the Arts.

No Strings Attached Natalie Portman and Ashton Kutcher star as fuck buddies in Ivan Reitman’s rom-com. (1:50)

*Nuremberg: Its Lesson For Today “We will show you their films&ldots;” So said Justice Robert Jackson during his opening remarks at Nuremberg, setting the stage not only for the historic prosecution but also for film history. After so much subsequent repackaging, it’s bracing being returned to this initial use of the Nazi archive as hard evidence in Nuremberg: Its Lessons for Today, the documentary produced by Pare Lorentz and the Schulberg brothers for the Office of Strategic Services in 1948. Though it screened widely in postwar Germany, Nuremberg never made it to American screens — one wonders whether the film’s vision of US-USSR cooperation wasn’t as much a stumbling block as its images of atrocities. While Nuremberg won’t soon replace Eichmann in Jerusalem as a probing account of the war tribunals, this crisp restoration remains a fascinating document of the moral condemnation of Nazi Germany in formation. Modern viewers may be surprised, for instance, by how long it takes before the Holocaust (still not called by that name, of course) is invoked. History casts a withering eye on Russian and American prosecutors denouncing military aggressions and needless civilian deaths, but one is nonetheless struck and even moved by what Nuremberg represents — specifically, the need to give a rational account of the terms of the peace, and to begin remembering. As with all the films produced by Lorenz, Nuremberg benefits from great rhetorical economy and fluid pacing. Now one only wishes that John Huston’s 1946 Let There Be Light — a harrowing postwar document of mentally disturbed veterans also produced for (and then suppressed by) the Army — would receive the same treatment. (1:18) (Goldberg)

*Two in the Wave See Picks. (1:33) Roxie.

The Way Back Master director Peter Weir returns to the man-versus-nature-and-each-other canvas of his previous film, 2003’s Master and Commander: The Far Side of the World, for this truth-based tale about a multinational crew of gulag escapees during the early days of World War II. Figuring he’d rather take his chances battling the elements (bitter cold, extreme heat, wolves, bounty-hunting natives, would-be cannibals) than face certain death doing back-breaking work in Siberia, Polish prisoner Janusz (Jim Sturgess from 2007’s Across the Universe) organizes a breakout. Joining him are a ragtag group, most of whom have been incarcerated for minor offenses that nonetheless rankled the ruling Communists. (One exception: Colin Farrell’s heavily tattooed, knife-wielding career criminal.) As the men, including taciturn American Mr. Smith (Ed Harris), slog across treacherous terrain, they lose some of their own numbers, and pick up another fugitive, fragile teenager Irina (Saoirse Ronin). The Way Back is a high-quality production, and certainly one of recent years’ most successful attempts at this kind of survivalist epic. But it throws exactly no curveballs (see: Werner Herzog’s 2006 Rescue Dawn, similar but far less predictable), and like its characters trudges toward a dutifully noble finish. (2:13) (Eddy)

ONGOING

*Animal Kingdom More renowned for its gold rush history and Victorian terrace homes than its criminal communities, Melbourne, Australia gets put on the same gritty map as Martin Scorsese’s ’70s-era New York City and Quentin Tarantino’s ’90s Los Angeles with the advent of director-writer David Michôd’s masterful debut feature. The metropolis’ sun-blasted suburban homes, wood-paneled bedrooms, and bleached-bone streets acquire a chilling, slowly building power, as Michôd follows the life and death of the Cody clan through the eyes of its newest member, an unformed, ungainly teenager nicknamed J (James Frecheville). When J’s mother ODs, he’s tossed into the twisted arms of her family: the Kewpie doll-faced, too-close-for-comfort matriarch Smurf (Jacki Weaver), dead-eyed armed robber Pope (Ben Mendelsohn), Pope’s best friend Baz (Joel Edgerton), volatile younger brother and dealer Craig (Sullivan Stapleton), and baby bro Darren (Luke Ford). Learning to hide his responses to the escalating insanity surrounding the Codys’ war against the police — and the rest of the world — and finding respite with his girlfriend, Nicky (Laura Wheelwright), J becomes the focus of a cop (Guy Pearce) determined to take the Codys down — and discovers he’s going to have use all his cunning to survive in the jungle called home. Stunning performances abound — from Frecheville, who beautifully hides a growing awareness behind his character’s monolithic passivity, to the adorably scarifying Weaver — in this carefully, brilliantly detailed crime-family drama bound to land at the top of aficionados’ favored lineups, right alongside 1972’s The Godfather and 1986’s At Close Range and cult raves 1970’s Bloody Mama and 1974’s Big Bad Mama. (2:02) (Chun)

*Another Year Mike Leigh’s latest represents a particularly affecting entry among his many improv-based, lives-of-everyday-Brits films. More loosely structured than 2008’s Happy-Go-Lucky, which featured a clear lead character with a well-defined storyline, the aptly-titled Another Year follows a year in the life of a group of friends and acquaintances, anchored by married couple Tom (Jim Broadbent) and Gerri (Ruth Sheen). Tom and Gerri are happily settled into middle-class middle age, with a grown son (Oliver Maltman) who adores them. So far, doesn’t really sound like there’ll be much Leigh-style heightened emotion spewing off the screen, traumatizing all in attendance, right? Well, you haven’t met the rest of the ensemble: there’s a sad-sack small-town widower, a sad-sack overweight drunk, a near-suicidal wife and mother (embodied in one perfect, bitter scene by Imelda Staunton), and Gerri’s work colleague Mary, played with a breathtaking lack of vanity by Lesley Manville. At first Mary seems to be a particularly shrill take on the clichéd unlucky-in-love fiftysomething woman — think an unglamorous Sex in the City gal, except with a few more years and far less disposable income. But Manville adds layers of depth to the pitiful, fragile, blundering Mary; she seems real, which makes her hard to watch at times. That said, anyone would be hard-pressed to look away from Manville’s wrenching performance. (2:09) (Eddy)

Bhutto The glamorous leading late force for progressivism in Pakistan lived a high-profile, highly dramatic life that — along with her nation’s never-ending sociopolitical tumult since World War II — is granted a solid overview in Duane Baughman and Johnny O’Hara’s new documentary. Benazir Bhutto was remarkable on so many grounds, as a female Prime Minister in an overwhelmingly male-centric culture (though she was perhaps too careful not to push a “feminist agenda” with regard to improving fellow countrywomen’s rights), a pro-democracy reformist (albeit one with a very mixed success record), a courageous figure of resistance despite imprisonment, death threats and, finally, assassination. Packed with information, interviews, and archival footage, arguably overpackaged with flashy editing and the kind of incessant music supervision that won’t quit when you really wish it would, this celluloid bio is as flawed as it is valuable. The main problem is that it presents itself so strongly as a definitive portrait. But too often Bhutto feels “authorized” to a fault (one of its producers even co-wrote the subject’s posthumously published tome Reconciliation: Islam, Democracy and the West), skimming over points of controversy and potential criticism. Commentators run a narrow gamut from appreciative allies (e.g. Condi Rice) to tearful surviving intimates (like her daughters). Admittedly, even almost two full hours isn’t enough to do this very complex global figure justice. Still, there’s plenty of space here for a more balanced perspective that the film doesn’t even try to attain. (1:51) (Harvey)

*Black Swan “Lose yourself,” ballet company head Thomas (Vincent Cassel) whispers to his leading lady, Nina (Natalie Portman), moments before she takes the stage. But Nina is already consumed with trying to find herself, and rarely has a journey of self-discovery been so unsettling. Set in New York City’s catty, competitive ballet world, Black Swan samples from earlier dance films (notably 1948’s The Red Shoes, but also 1977’s Suspiria, with a smidgen of 1995’s Showgirls), though director Darren Aronofsky is nothing if not his own visionary. Black Swan resembles his 2008 The Wrestler somewhat thematically, with its focus on the anguish of an athlete under ten tons of pressure, but it’s a stylistic 180. Gone is the gritty, stripped-down aesthetic used to depict a sad-sack strongman. Like Dario Argento’s 1977 horror fantasy, the gory, elegantly choreographed Black Swan is set in a hyper-constructed world, with stabbingly obvious color palettes (literally, white = good; black = evil) and dozens of mirrors emphasizing (over and over again) the film’s doppelgänger obsession. As Nina, Portman gives her most dynamic performance to date. In addition to the thespian fireworks required while playing a goin’-batshit character, she also nails the role’s considerable athletic demands. (1:50) (Eddy)

*Blue Valentine Sometimes a performance stands out and grabs attention for embodying a particular personality type or emotional state that’s instantly familiar yet infrequently explored in much depth at the movies. What’s most striking about Derek Cianfrance’s Blue Valentine is the primary focus it lends Michelle Williams’ role as the more disgruntled half of a marriage that’s on its last legs whether the other half knows that or not. Ryan Gosling has the showier part — his Dean is mercurial, childish, more prone to both anger and delight, a babbler who tries to control situations by motor-mouthing or goofing through them. But Williams’ Cindy has reached the point where all his sound and fury can no longer pass as anything but static that must be tuned out as much as possible so that things get done. Things like parenting, going to work, getting the bills paid, and so forth. It’s taken a few years for Cindy to realize that she’s losing ground in her lifelong battle for self-improvement with every exasperating minute she continues to tolerate him. Williams’ bile-swallowing silences and the involuntary recoil that greets Dean’s attempts to touch Cindy are the film’s central emotional color: that state in which the loyalty, obligation, fear, pity, or whatever has kept you tied to a failing relationship is being whittled away by growing revulsion. Gosling’s excellent stab at an underwritten part is at a disadvantage compared to Williams, who just about burns a hole through the screen. (1:53) (Harvey)

Budrus A stirring political documentary that benefits immensely from its you-are-there footage, Budrus details the unarmed protests held by the residents of a tiny Palestinian village that happened to be smack-dab in the middle of a planned stretch of Israel’s Separation Barrier. Like, literally: the placement of the fence would necessitate the uprooting of thousands of olive trees, as well as bisect the local cemetery. As the community — including a soft-spoken organizer and his remarkably poised teenage daughter — unites for the cause, they earn support from other villages and nations, as well as (kind of) respect from the Israeli soldiers who’ve been told to guard the building site. Avoiding heavy-handedness, director Julia Bacha (who co-directed 2006’s Encounter Point) highlights the hopeful aspects of this inspiring tale. (1:21) (Eddy)

Casino Jack An unfortunate curtain call for director George Hickenlooper, who died two months ago, this biopic about infamous Washington lobbyist Jack Abramoff — sprung from federal prison just in time for Xmas ’10 — is no more successful than his prior stab at Edie Sedgwick, 2006’s Factory Girl. He chooses to portray the real-life protagonist’s wild ride through the Bush years — buying politicians (notably Tom DeLay, who’s about to start his own prison term), screwing the “little guys” (like casino-owning Native tribes), furthering the conservative “values” agenda while pocketing a whole lotta $$$ — as a farcical Horatio Alger success story run amuck, not unlike recent The Informant! (2009) or Catch Me If You Can (2002). But neither script or handling are deft enough to pull that off, resulting in an irksomely broad cartoon of recent events that isn’t tough enough on the crimes and corruption at hand. Worse, the film — and in particular star Kevin Spacey (representing a rare occasion on which Hollywood’s substitute is less handsome than the figure portrayed) — at times seem to actually admire Abramoff as a ballsy, spunky, big swingin’-dick example of all-American go-getter-ness. Sure he’s got flaws, but ya gotta love a guy with such brass cojones, right? Wrong. Spacey is very showy here, misjudging his target such that he comes off an egomaniacal jerk playing an egomaniacal jerk. The film’s stylistic gambits (like its perky 60s vocal-ensemble score) are likewise smug ‘n’ snarky in ways more grating than clever. The one standout in a too-hardworking cast is Jon Lovitz as the sleaziest of all Abramoff’s sleazy-operator cronies; he knows how to go way over the top while maintaining precise, hilarious control. You’re better off seeing Alex Gibney’s recent doc Casino Jack and the United States of Money, which far more skillfully weighs this subject with commingled awe, sarcasm, and revulsion. (1:48) (Harvey)

The Chronicles of Narnia: The Voyage of the Dawn Treader It’s no secret that C.S. Lewis’ Narnia saga is a big ol’ Christian allegory. And hey, that doesn’t mean it’s not entertaining. The film adaptations of his novels have been decent, in that they’ve worked to please both mainstream audiences and religious zealots who want to see the Jesus lion die for our sins. But while The Lion, The Witch and the Wardrobe (2005) and Prince Caspian (2008) were essentially passable, The Voyage of the Dawn Treader is an overwhelming failure. It’s lazy, the plotting is uneven, the CGI is cringe-worthy, and the 3D is the kind of sloppy post-production mess that makes the actors’ faces look concave. Add to that the moral message, which is more hamfisted than ever. In his lengthy climactic sermon, Aslan — he’s known by a different name in our world — tells Lucy (Georgie Henley) and Edmund (Skandar Keynes) that all their adventures have been about bringing them closer to him. Suck it, atheists. (1:52) (Peitzman)

Country Strong We meet country superstar Kelly Canter (Gwyneth Paltrow) as she’s being prematurely checked out of yet another rehab stint by her ambitious husband manager James (Tim McGraw), who’s already booked a concert tour she’s not ready for. While there, however, she’s acquired a friend in staffperson Beau (Garrett Hedlund), an aspiring country singer himself who ends up nabbing the tour’s opening slot alongside ex-beauty queen and fellow unknown Chiles (Leighton Meester). Kelly and Beau are maybe sorta in love, Beau and Chiles might be headed in that direction, Kelly and James are kinda falling out of love, and James might or might not be putting the make on Chiles — which makes four relationships we spend nearly two hours here not caring about. The most one can say for Shana Feste’s drama is that it underplays its many clichés. But even that turns out to be a mistake, since her script is so sketchy that the clichés are all it has going for it. Yes, Paltrow, Hedlund, and Meester can sing (oddly, actual country music star McGraw has a non-singing role), but the songs here are unmemorable and dully staged, albeit invariably greeted by wildly cheering on-screen audiences whose enthusiasm isn’t infectious. Acting-wise, nobody disgraces themselves, but Country Strong feels like a movie pushed into production when its screenplay was still in the development stage — it lacks narrative spine, and the usual factors that might compensate (colorful supporting roles, authentic atmosphere, music-industry insight etc.) are MIA. (1:51) (Harvey)

The Dilemma A dilemma: being stuck with two terrible options, say, having to watch a Vince Vaughn movie (that isn’t 1996’s Swingers) or an episode of the King of Queens, starring Kevin James. With Ron Howard’s The Dilemma, you don’t have to choose. Middle American dreams come true by pairing two actors who define undeserving success. The film plays like an extended episode of a CBS sitcom, complete with the timeless trope of average-looking guys coupled with stunning women. However, like James, some things don’t make the transition to the big screen very well, as Howard illustrates perfectly in an intimate scene by contrasting the faces of Vaughn and actress Jennifer Connelly via extreme close-up. The plot? Ronny (Vaughn) catches Geneva (Winona Ryder) cheating on his BFF (James), but can’t tell because they are working on an important project: developing an electric car that’s not “gay.” (Seriously.) Not quite a dilemma, cheap complications prolong the film to the point that you’ll scream for Vaughn to confess and start the credits. (1:58) (Ryan Prendiville)

*Fair Game Doug Liman’s film effectively dramatizes yet another disgraceful chapter from the last Presidential administration: how CIA agent Valerie Plame (Naomi Watts), who’d headed the Joint Task Force on Iraq investigating whether Saddam Hussein had WMDs, was identified by name in the Washington Post as a covert agent — thus ending her intelligence career and placing many of her subordinates and sources around the world in danger. This info was leaked to the press, it turned out, by highest-level White House officials as “punishment” for the New York Times editorial former ambassador Joe Wilson (Sean Penn) — Plame’s husband — wrote condemning their insistence on those WMDs to justify the Iraq invasion by then already well in progress. (The CIA task force had also found zero evidence of mass-destruction weapons, but Bush and co. chose to come up with their own bogus “facts” to sway US public opinion.) Purportedly, Karl Rove clucked to CNN’s Chris Matthews that Wilson’s awkwardly-timed dose of sobering truth rendered his spouse “fair game” for exposure. Unfortunately opening here several days after it might theoretically have done some election-day good — not that many Republican voters would likely be queuing up — Fair Game may be a familiar story to many. But its gist and details remain quite enough to make the blood boil. While the political aspects are expertly handled in thriller terms, the personal ones are a tad less successful. That’s partly because we never quite glimpse what brought these two very busy, business-first people together; but largely, alas, because so many of Wilson’s diatribes come off all too much as things that might be said by Sean Penn, Rabble-Rouser and Humanitarian. This is perhaps a case of casting so perfect it becomes a distracting fault. (1:46) (Harvey)

The Fighter Once enough of a contenda to have fought Sugar Ray Leonard — and won, though there are lingering questions about that verdict’s justice — Dicky (Christian Bale) is now a washed-up, crack-addicted mess whose hopes for a comeback seem just another expression of empty braggadocio. Ergo it has fallen to the younger brother he’s supposedly “training,” Micky (Mark Wahlberg), to endure the “managerial” expertise of their smothering-bullying ma (Melissa Leo) and float their large girl gang family of trigger-tempered sisters. That’s made even worse by the fact that they’ve gotten him nothing but chump fights in which he’s matched someone above his weight and skill class in order to boost the other boxer’s ranking. When Micky meets Charlene (Amy Adams), an ambitious type despite her current job as a bartender, this hardboiled new girlfriend insists the only way he can really get ahead is by ditching bad influences — meaning mom and Dicky, who take this shutout as a declaration of war. The fact-based script and David O. Russell’s direction do a good job lending grit and humor to what’s essentially a 1930s Warner Brothers melodrama — the kind that might have had Pat O’Brien as the “good” brother and James Cagney as the ne’er-do-well one who redeems himself by fadeout. Even if things do get increasingly formulaic (less 1980’s Raging Bull and more 1976’s Rocky), the memorable performances by Bale (going skeletal once again), Wahlberg (a limited actor ideally cast) and Leo (excellent as usual in an atypically brassy role) make this more than worthwhile. As for Adams, she’s just fine — but by now it’s hard to forget the too many cutesy parts she’s been typecast in since 2005’s Junebug. (1:54) (Harvey)

*The Girl Who Kicked the Hornet’s Nest If you enjoyed the first two films in the Millennium trilogy — 2009’sThe Girl With the Dragon Tattoo and The Girl Who Played With Fire — there’s a good chance you’ll also like The Girl Who Kicked the Hornet’s Nest. Based on the final book in Stieg Larsson’s series, the film begins shortly after the violent events at the conclusion of the second movie. There are brief flashes of what happened — the cinematic equivalent of TV’s “previously on&ldots;” — but it’s likely an indecipherable jumble to Girl first-timers. Hornet’s Nest presents the trial of Lisbeth Salander (Noomi Rapace), the much-abused, much-misunderstood, entirely kick-ass protagonist of the series. With the help of journalist Mikael Blomkvist (Michael Nyqvist) and his sister Annika (Annika Hallin) as her lawyer, Lisbeth finally gets her day in court. The conspiracy that drives the story is somewhat convoluted, and while it all comes together in the end, Hornet’s Nest isn’t an easy film to digest. Still, it’s a well-made and satisfying conclusion to the trilogy — as long as you caught the beginning and middle, too. (2:28) (Peitzman)

*The Green Hornet I still don’t understand why this movie had to be in 3D, or what Cameron Diaz’s character has to do with anything, but I liked The Green Hornet in spite of myself. Only in Hollywood could artsy director Michel Gondry hook up with self-satisfied comedian Seth Rogen, who stars in and co-wrote this surprisingly amusing (if knowingly lightweight) superhero entry. After the death of his father (a megarich newspaper owner — how retro!), Rogen’s party boy Britt Reid decides, either out of boredom or misdirected rebellion, to become an anti-crime vigilante only pretending to be a criminal. (And that’s about as complicated as this movie gets.) Helping him, which is to say creating all of the cool cars and gadgets and single-handedly winning all of the fist fights, is Kato (Taiwanese actor Jay Chou, taking over the role Bruce Lee made famous). As himself, Reid is so obnoxious he pisses off newspaper editor Axford (Edward James Olmos); as the Hornet, he’s so obnoxious he pisses off actual crime boss Chudnofsky, played by movie highlight Christoph Waltz — more or less doing a Eurotrash twist on his Oscar-winning Inglourious Basterds (2009) Nazi. (1:29) (Eddy)

*I Love You Phillip Morris Given typically imitation-crazed Hollywood’s failure to built on the success of 2005’s Brokeback Mountain success — or see it as anything more than a fluke — the case of I Love You Phillip Morris is interesting for what it is and isn’t. It is, somewhat by default, the biggest onscreen gay romance (not including foreign and indie productions, which are always ahead of the curve) since that earlier film. What Phillip Morris is not, however, is a Hollywood or even American film, all appearances to the contrary. Its financing was primarily French — presumably because there wasn’t enough willing coin on this side of the Atlantic. We meet Steven Jay Russell as an uber-perky all-American lad — a nascent Jim Carrey. A near-fatal accident, however, induces him to merrily chuck it all and live life to the fullest by moving from Georgia to South Beach and becoming a “big fag.” He soon discovers that “being gay is really expensive,” or at least his chosen A-lister lifestyle is, so he turns to crime as a means of support. During one hoosegow stay, he meets the non-tobacco-related Phillip Morris (McGregor), a sweet Southern sissy. Directors Glenn Ficarra and John Requa approach their fascinating material with brashness and some skill, but without the control to balance its steep tonal shifts. Surprisingly, it’s in the “love” part that they often succeed best. While their comic aspects sometimes tip into shrill, destabilizing caricature — the excess that brilliant but barely-manageable Carrey will always drift toward unless tightly leashed — this movie’s link to Brokeback is that it never makes the love between two men look inherently ridiculous, as nearly all mainstream comedies now do to get a cheap throwaway laugh or three. (1:38) (Harvey)

*The Illusionist Now you see Jacques Tati and now you don’t. With The Illusionist, aficionados yearning for another gem from Tati will get a sweet, satisfying taste of the maestro’s sensibility, inextricably blended with the distinctively hand-drawn animation of Sylvain Chomet (2004’s The Triplets of Belleville). Tati wrote the script between 1956 and 1959 — a loving sendoff from a father to a daughter heading toward selfhood — and after reading it in 2003 Chomet decided to adapt it, bringing the essentially silent film to life with 2D animation that’s as old school as Tati’s ambivalent longing for bygone days. The title character should be familiar to fans of Monsieur Hulot: the illusionist is a bemused artifact of another age, soon to be phased out with the rise of rock ‘n’ rollers. He drags his ornery rabbit and worn bag of tricks from one ragged hall to another, each more far-flung than the last, until he meets a little cleaning girl on a remote Scottish island. Enthralled by his tricks and grateful for his kindness, she follows him to Edinburgh and keeps house while the magician works the local theater and takes on odd jobs in an attempt to keep her in pretty clothes, until she discovers life beyond their small circle of fading vaudevillians. Chomet hews closely to bittersweet tone of Tati’s films — and though some controversy has dogged the production (Tati’s illegitimate, estranged daughter Helga Marie-Jeanne Schiel claimed to be the true inspiration for The Illusionist, rather than daughter and cinematic collaborator Sophie Tatischeff) and Chomet neglects to fully detail a few plot turns, the dialogue-free script does add an intriguing ambiguity to the illusionist and his charge’s relationship — are they playing at being father and daughter or husband and wife? — and an otherwise straightforward, albeit poignant tale. (1:20) Smith Rafael. (Chun)

Inside Job Inside Job is director Charles Ferguson’s second investigative documentary after his 2007 analysis of the Iraq War, No End in Sight, but it feels more like the follow-up to Alex Gibney’s Enron: The Smartest Guys in the Room (2005). Keeping with the law of sequels, more shit blows up the second time around. As with No End in Sight, Ferguson adeptly packages a broad overview of complex events in two hours, respecting the audience’s intelligence while making sure to explain securities exchanges, derivatives, and leveraging laws in clear English (doubly important when so many Wall Street executives hide behind the intricacy of markets). The revolving door between banks, government, and academia is the key to Inside Job‘s account of financial deregulation. At times borrowing heist-film conventions (it is called Inside Job, after all), Ferguson keeps the primary players in view throughout his history so that the eventual meltdown seems anything but an accident. The filmmaker’s relentless focus on the insiders isn’t foolproof; tarring Ben Bernanke, Henry Paulson, and Timothy Geithner as “made” guys, for example, isn’t a substitute for evaluating their varied performances over the last two years. Inside Job makes it seem that the entire crisis was caused by the financial sector’s bad behavior, and this too is reductive. Furthermore, Ferguson does not come to terms with the politicized nature of the economic fallout. In Inside Job, there are only two kinds of people: those who get it and those who refuse to. The political reality is considerably more contentious. (2:00) (Goldberg)

The King’s Speech Films like The King’s Speech have filled a certain notion of “prestige” cinema since the 1910s: historical themes, fully-clothed romance, high dramatics, star turns, a little political intrigue, sumptuous dress, and a vicarious taste of how the fabulously rich, famous, and powerful once lived. At its best, this so-called Masterpiece Theatre moviemaking can transcend formula — at its less-than-best, however, these movies sell complacency, in both style and content. In The King’s Speech, Colin Firth plays King George VI, forced onto the throne his favored older brother Edward abandoned. This was especially traumatic because George’s severe stammer made public address tortuous. Enter matey Australian émigré Lionel Logue (Geoffrey Rush, mercifully controlled), a speech therapist whose unconventional methods include insisting his royal client treat him as an equal. This ultimately frees not only the king’s tongue, but his heart — you see, he’s never had anyone before to confide in that daddy (Michael Gambon as George V) didn’t love him enough. Aww. David Seidler’s conventionally inspirational script and BBC miniseries veteran Tom Hooper’s direction deliver the expected goods — dignity on wry, wee orgasms of aesthetic tastefulness, much stiff-upper-lippage — at a stately promenade pace. Firth, so good in the uneven A Single Man last year, is perfect in this rock-steadier vehicle. Yet he never surprises us; role, actor, and movie are on a leash tight enough to limit airflow. (1:58) (Harvey)

Little Fockers (1:50)

*Made in Dagenham I hesitate to use the word “spunky,” lest I sound condescending, but indeed that’s what we have here: the spunky tale, drawn from real life, of women who worked sewing seats at a British Ford factory in the late 60s — and fought for equal pay, despite the tide of sexism that desperately tried to hold them down. Heading the charge is Rita (Sally Hawkins from 2008’s Happy-Go-Lucky), a married mom who becomes a feminist icon (and a labor hero) without really meaning to; she’s the most developed character in a script that mostly calls forth types (Bob Hoskins as the encouraging union man; Rosamund Pike as the frustrated intellectual-turned-housewife; Rita’s slutty factory co-worker with the enormous beehive; steely-eyed Ford execs). Adding spark is Miranda Richardson as Britain’s no-nonsense Secretary of State Barbara Castle, a legendary Labour party politician. Though it’s packaged a bit too neatly — from frame one, the film’s peppy tone all but guarantees a happy ending — Made in Dagenham‘s message is uplifting and worthy, and a reminder that it wasn’t so long ago that women were fighting for the seemingly most obvious of rights. (1:53) (Eddy)

*On the Bowery The Roxie offers a re-release showcase of On the Bowery, a 1956 piece of early U.S. independent cinema that won major prizes. But many observers at the time wanted it dragged into some dark alley under cover of darkness, then quietly removed, lest polite society sift through the unflattering mess. The 65-minute feature echoed Italian neo-realism’s influence, as it mixed documentary footage with dramatic elements using nonprofessional actors basically playing themselves. It also provided a filmmaking “school” for debuting director Lionel Rogosin. Interviewed just before his turn-of-millenium death for 2009’s The Perfect Team: The Making of On the Bowery, which the Roxie is also showing, Rogosin recalls approaching this endeavor (initially planned as a short) with characteristic immersive fervency. Having decided to focus on New York’s Skid Row district — the onetime flourishing heart of Manhattan whose slow degeneration began when an overground rail built in the 1870s bypassed stopping there — he spent a full six months befriending and bar-crawling with “Bowery bums.” In the saloons and flops he found his cast, and even his crew. On the Bowery won great acclaim in Europe and an eventual Oscar nomination as Best Documentary. Yet Eisenhower America preferred the less seemly aspects of its domestic life be kept hidden from view. The film’s shocking vistas of bruised, broken, passed-out “forgotten men” littering already decrepit city sidewalks at dawn seemed not just an ugly truth but an unallowable one. (1:15) Roxie. (Harvey)

127 Hours After the large-scale, Oscar-draped triumph of 2008’s Slumdog Millionaire, 127 Hours might seem starkly minimalist — if director Danny Boyle weren’t allergic to such terms. Based on Aron Ralston’s memoir Between a Rock and a Hard Place, it’s a tale defined by tight quarters, minimal “action,” and maximum peril: man gets pinned by rock in the middle of nowhere, must somehow free himself or die. More precisely, in 2003 experienced trekker Ralston biked and hiked into Utah’s Blue John Canyon, falling into a crevasse when a boulder gave way under his feet. He landed unharmed … save a right arm pinioned by a rock too securely wedged, solid, and heavy to budge. He’d told no one where he’d gone for the weekend; dehydration death was far more likely than being found. For those few who haven’t heard how he escaped this predicament, suffice it to say the solution was uniquely unpleasant enough to make the national news (and launch a motivational-speaking career). Opinions vary about the book. It’s well written, an undeniably amazing story, but some folks just don’t like him. Still, subject and interpreter match up better than one might expect, mostly because there are lengthy periods when the film simply has to let James Franco, as Ralston, command our full attention. This actor, who has reached the verge of major stardom as a chameleon rather than a personality, has no trouble making Ralston’s plight sympathetic, alarming, poignant, and funny by turns. His protagonist is good-natured, self-deprecating, not tangibly deep but incredibly resourceful. Probably just like the real-life Ralston, only a tad more appealing, less legend-in-his-own-mind — a typical movie cheat to be grateful for here. (1:30) (Harvey)

*Rabbit Hole If Rabbit Hole doesn’t sound like the kind of movie you’d want to watch, I don’t blame you. Following the lives of a married couple dealing with the loss of their young son, the film sounds a lot like the kind of Lifetime movie you accidentally spend a hung over Sunday sniffling through. But Rabbit Hole is a smart, complex addition to the genre, with exceptional performances from leads Nicole Kidman (Becca) and Aaron Eckhart (Howie), and a script by David Lindsay-Abaire, adapting his Pulitzer Prize-winning play. Director John Cameron Mitchell infuses Rabbit Hole with his trademark dark humor, creating a film that understands the serious toll grief takes but isn’t afraid to step back and laugh at life, too. Special attention must also be paid to the supporting cast, including Dianne Wiest as Becca’s mother, and newcomer Miles Teller as Jason. Explaining Jason’s role would be giving away too much — it’s enough to say that his presence is part of what elevates Rabbit Hole from grief porn to one of this year’s best. (1:32) (Peitzman)

Season of the Witch Donovan’s song surely deserves a more worthy cinematic outing as its namesake. In any case the vague miasma of suspicion and paranoia propelling the tune has little to do with the Dominic Sena’s Season of the Witch: the only mystery here is how Nicolas Cage manages to carry off the many ratty mullets he must wear in his fantasy epics — and how Cage and company manage to stomach the quasi-misogynistic supernatural fantasy-horror proceedings. Sure, there’s a certain wan, mouth-breathing Kristen Stewart-like charm to Claire Foy’s performance as the sorcerer accused of bringing the bubonic plague to an undefined set of hapless villagers. And there’s a kind of all-too-contemporary buddy film chemistry between Cage, as contentious-crusader-on-the-run Behmen, and Ron Perlman, as his knightly wingman Felson — you almost expect first pumps, knuckle bumps and cries of “Dude!” as they charge the infidels. But that’s not enough to save the movie — not certain if it’s a horror film, up-with-Catholicism exorcism outing, or weak, remote appeal to the Harry Potter legion — or make the cheers emitting from the audience when onscreen women get hit any more palatable. Amid all the feisty girls in the movie houses these days — from True Grit‘s Mattie Ross to Winter’s Bone‘s Ree Dolly (both films 2010) — the fear of women pervading Season of the Witch feels downright, er, medieval. (1:38) (Chun)

*The Social Network David Fincher’s The Social Network is a gripping and entertaining account of how Facebook came to take over the known social-networking universe. In this version of events — scripted by Aaron Sorkin and based on Ben Mezrich’s book The Accidental Billionaires, in turn based substantially on interviews with FB cofounder Eduardo Saverin, with input from Mark Zuckerberg icily absent — a girlfriend’s dumping of Zuckerberg (Jesse Eisenberg) on a crisp evening in 2003 is the impetus in his headlong quest for a “big idea.” The film is structured around the conference-room depositions for two separate lawsuits, brought against Zuckerberg by Saverin (Andrew Garfield) and by fellow Harvard entrepreneurs Tyler and Cameron Winklevoss (Armie Hammer) and Divya Narendra (Max Minghella) for crimes involving intellectual property and vast scads of retributive money. Unless Zuckerberg decides to post it on Facebook (which he probably shouldn’t, given the nondisclosure vows that capped off the first round of lawsuits), we’ll never know what truly motivated him and how badly he screwed over his friends and fellow students. But Fincher and Sorkin have crafted a compelling, absorbing, and occasionally poignant tale of how it could have happened. (2:00) Castro. (Rapoport)

Somewhere A lonely Ferrari zooms around a deserted track, over and over and over again. The opening scene of Sofia Coppola’s latest, Somewhere, is such an obvious metaphor that at first I thought the director was joking. Actually, she’s not: Somewhere is indeed a repetitous movie about a very boring, very ennui-laden individual, who happens to be a movie star with the marquee-ready name of Johnny Marco (Stephen Dorff). Now that you’ve been smacked over the head with metaphor, feel free to play spot the subtext: Johnny lives at Sunset Boulevard haunt the Chateau Marmont, legendary for its often-behaving-badly celebrity clientele. His life is an endless progression of blah (wake up, smoke, pop a Propecia, eyefuck and fuck random female admirers), broken up by job obligations — the tedium of a press conference here, the drudgery of a visit to the special-effects make-up studio there. Sigh. Would any director not as privileged as Coppola dare to focus on a character whose massive wealth can’t at all assuage his existential crisis? Money may not buy happiness, but it’s kind of hard to feel sorry for a guy whose depression plays out as he floats the day away at a luxury hotel. Fortunately, there is a bright spot in all this: mostly-absentee dad Johnny has a kid, Cleo, a tween sprite played by the charming Elle Fanning. Cleo is the only meaningful thing in Johnny’s life, and the only interesting thing that happens in this glacially-paced, bellybutton-obsessed movie. (1:38) (Eddy)

Tangled In its original form, Rapunzel‘s a pretty brutal fairy tale: barely pubescent girl gets knocked up by a prince — who’s then blinded by her evil witch guardian — leaving Rapunzel to fend for herself as she’s exiled into the desert and bears twins. Relax, that isn’t the story Tangled tells. The new Disney film is a complete revamping of the tale: Rapunzel (Mandy Moore) escapes the clutches of Mother Gothel (Donna Murphy) with the help of ne’er-do-well Flynn Ryder (Zachary Levi). Along the way, there are songs and slapstick moments and, yes, anthropomorphic animals. But unlike the classic feel of last year’s The Princess and the Frog, Tangled comes across as recycled. It’s just not as fresh and sharp as it should be, especially given recent Disney accomplishments like Toy Story 3. Kids will enjoy it and adults won’t be bored, but it’s a step backward for the House of Mouse. And don’t expect to be humming any of the songs after you exit the theater. (1:32) (Peitzman)

The Tourist Ah, all the champagne wishes and caviar dreams and daydreams of bouncing truffles off Angelina Jolie’s pillowy pout couldn’t quite stop The Tourist from going very much astray. How many ways can a movie go wrong? There’s the by-the-numbers yet somehow directionless direction from filmmaker Florian Henckel von Donnersmarck, who made one of the most absorbing film about surveillance to date with The Lives of Others (2006), only to completely miss the mark with this tone-deaf attempt at a Charade-like romantic escapade. The musty, fussy bodice-swelling score by James Newton Howard. A glassy-eyed Jolie somehow mistaking stony inexpressiveness for Garbo-esque mystique? The list goes on — at core, the casting is perhaps the sole compelling reason to see this waxy, museum-piece remake of the French film Anthony Zimmer (2005) — though the chemistry is negligible between the film’ attractive stars, with Jolie in particular waltzing through like a beautiful Euro-zombie, seemingly intent on sleepwalking through Venice and saving her better efforts for a more socially conscious film. Her disdain for the material sucks the air from this entire enterprise. The only bit of un-snuffable charm here lies in Johnny Depp’s naifish delivery and the murky, ironic humor he unobtrusively layers into his bemused performance. But then he’s just a tourist, passing through and providing the only scrap of pleasure in an otherwise dull outing. (1:44) (Chun)

Tron: Legacy A rare sequel among remakes, Tron: Legacy remains true to the 1982 nerd cult classic: it’s essentially a silly movie about being transported into a computer world where everyone dresses in rave couture. Jeff Bridges returns, now in opposing roles. On one side he’s computer genius Kevin Flynn, bearded zen master, and across the uncanny valley he’s CLU, an ageless software lord. Flynn’s been stuck in the Matri…er…Grid for decades, as CLU followed his programming to its logical conclusion: genocide. This is a bit too heavy of a theme for a film where almost every character gets blown to bytes upon introduction (cough, Michael Sheen, cough) but the light cycles and death pong are really cool in 3D. The plot, when it’s not setting up Disney’s inevitable sequels (hello, pointless Cillian Murphy) is Star Wars (1977), except Obi-wan Lebowski is the father. The son is Sam (Garrett Hedlund), whose good looks, penchant for extreme sports, and vacuous personality are the perfect avatar for our geek fantasy, where women strip us bare and are sexy guard dogs (Olivia Wilde.) While not passing the Bechdel Test, the film may be worth admission to hear the Dude’s Jedi utter “It’s biodigital jazz, man!” Look out for a special cameo by Daft Punk, playing hits from its score, which sounds like Kraftwerk mixing Vangelis and Danny Elfman (available in stores now.) They’ll be the ones wearing helmets. No, the other ones. (2:05) (Prendiville)

*True Grit Jeff Bridges fans, resist the urge to see your Dude in computer-trippy 3D and make True Grit your holiday movie of choice. Directors Ethan and Joel Coen revisit (with characteristic oddball touches) the 1968 Charles Portis novel that already spawned a now-classic 1969 film, which earned John Wayne an Oscar for his turn as gruff U.S. Marshall Rooster Cogburn. (The all-star cast also included Dennis Hopper, Glen Campbell, Robert Duvall, and Strother Martin.) Into Wayne’s ten-gallon shoes steps an exceptionally crusty Bridges, whose banter with rival bounty hunter La Boeuf (a spot-on Matt Damon) and relationship with young Mattie Ross (poised newcomer Hailee Steinfeld) — who hires him to find the man who killed her father — likely won’t win the recently Oscar’d actor another statuette, but that doesn’t mean True Grit isn’t thoroughly entertaining. Josh Brolin and a barely-recognizable Barry Pepper round out a cast that’s fully committed to honoring two timeless American genres: Western and Coen. (1:50) (Eddy)

Psychic Dream Astrology: Oct 1-6, 2014

Jesse Hawthorne Ficks

-

January 18, 2011

0

Oct. 1-7, 2014

Mercury goes retrograde Oct. 4-25. Don’t take it personally when miscommunications occur, and triple-check things on your end, friends.

ARIES

March 21-April 19

You don’t need to know how you’re going to get it done, but you do need to commit to trying. This week will test your resolve to make good on some changes you’re trying to execute, Aries. Set yourself up for success by putting yourself into situations you can handle, even if that means moving slower than you’d prefer.

TAURUS

April 20-May 20

You may find yourself pulled by the lure of the brightest and shiniest thing, instead of what you believe would make you most happy. Choose wisely, Taurus! When opportunity tests your values is when your true colors come out; do what’s right, and not just what’s convenient right now.

GEMINI

May 21-June 21

This week you’ve got to be willing to step forward and do what’s right, Twin Star. You are changing and you have your sights set on much brighter horizons (hazzah!), but if you keep on acting like the same, small old you, how will the world know it? Step up and be the person you want to become.

CANCER

June 22-July 22

Everything is moving slowly and it’s a test of your patience and an opportunity to grow deeper roots. Let go of what’s not working for you, Moonchild, because you’re going someplace new and you don’t want your old crap polluting the pool of your new awesomeness. Slow and steady wins this race.

LEO

July 23-Aug. 22

The shit that isn’t working is here for a reason, Leo. Don’t get so attached to your idea about how life ‘should’ be that you ignore what is. If you stop trying to control things and go with the flow, things will be much easier for you this week. Try really hard to stop trying so hard, my friend.

VIRGO

Aug. 23-Sept. 22

You don’t need to fix stuff this week, even if you feel uncomfortable. When things aren’t secure there’s often a reason for that, so ask yourself how you got here, because it wasn’t by accident, Virgo. Retrace your steps so you can see where you need to pick up and reroute your progress.

LIBRA

Sept. 23-Oct. 22

Your relationships are in a great place, but are you in the right position within them? In your efforts to be diplomatic you may find that you’re not always totally being yourself, and it’s hard to have meaningful intimacies with people if you’re not totally there. Show up with all your ugly bits this week.

SCORPIO

Oct. 23-Nov. 21

Fear of failure will stop you in your tracks and mess with your beautiful head if you let it. Instead of looping through a mental obstacle course of what-ifs, be proactive, Scorpio. You are capable and strong; all you’re missing is belief in yourself and a bit of patience. It’s better to try and fail than sit around worrying about it, pal.

SAGITTARIUS

Nov. 22-Dec. 21

Move slowly enough to take your vulnerabilities with you, Sag. It’s easy enough to have an inspired vision for what you want, but the hard part is being emotionally rooted enough to receive it. Get right with yourself before you put yourself out there this week, so when you do, you can take in what’s coming your way.

CAPRICORN

Dec. 22-Jan. 19

Your job is to receive the love being offered to you, Capricorn. Let it light up the parts inside of you that you’re all too used to keeping in the dark. This week the stars are trying to get you to (for reals) let happiness, love, and success in. Stop working so hard to get it and absorb what you’ve already got.

AQUARIUS

Jan. 20-Feb. 18

There’s no reason for you to feel bad about where you’re at, Aquarius. You’re not in control of what’s coming your way, but you can take responsibility for how you respond. Be willing to learn from your past and you’ll be able to see that this is just part of your process when it comes to big transitions.

PISCES

Feb. 19-March 20

Go forth slowly, my friend. Everything thing is awesome in your life but I fear that you somehow missed that memo. Take a breather and consider all that you have to be grateful for. Don’t just think about it; really feel good about what you’ve got going for you. Gratitude is a fear-buster, Pisces.

Want more in-depth, intuitive or astrological advice from Jessica? Schedule a one-on-one reading that can be done in person or by phone. Visit www.lovelanyadoo.com

Rep Clock

Jesse Hawthorne Ficks

-

January 18, 2011

0

Schedules are for Wed/19–Tues/25 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $5. “OpenScreening,” Thurs, 7:30. For participation info, email ataopenscreening@atasite.org.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-20. The Social Network (Fincher, 2010), Wed, 2, 4:30, 7, 9:20. “SF Sketchfest: Tribute to It’s Garry Shandling’s Show,” Thurs, 7; “Night of the Shorts,” Thurs, 9:30. For tickets ($25) visit www.sfsketchfest.com. “Noir City 9:” •High Wall (Bernhardt, 1947), Fri, 7:30, and Stranger On the Third Floor (Ingster, 1940), Fri, 9:30; •Strangers in the Night (Mann, 1944), Sat, 1, 4:40, and Gaslight (Cukor, 1944), Sat, 2:20; •They Won’t Believe Me (Pichel, 1947), Sat, 7:30, and Don’t Bother to Knock (Baker, 1952), Sat, 9:30; •A Double Life (Cukor, 1947), Sun, 1, 4:15, 7:45, and Among the Living (Heisler, 1941), Sun, 3, 6:15; •The Lady Gambles (Gordon, 1949), Mon, 7:30, and Sorry, Wrong Number (Litvak, 1948), Mon, 9:30; The Dark Mirror (Siodmak, 1948), Tues, 7:30, and Crack-Up (Reis, 1947), Tues, 9:30. For complete program information, visit www.noircity.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10.25. “For Your Consideration:” The Human Resources Manager (Riklis, 2010), Wed, 7; Steam of Life (Berghäll and Hotakainen, 2010), Thurs, 7. The Illusionist (Chomet, 2010), Jan 21-27, call for times.

FIRST UNITED METHODIST CHURCH Nine Ross Valley Dr., San Rafael; www.miffamericas.org. $5-10. Why We Come, Fri, 7:30.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. Casino Jack and the United States of Money (Gibney, 2010), Wed, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: New Year’s Revolutions:” A Tale of Two Cities (Conway, 1935), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema: Fantasy Films and Realms of Enchantment:” Beauty and the Beast (Cocteau, 1946), Wed, 3:10. “Radical Light: Alternative Film and Video in the San Francisco Bay Area:” “Luminous Projections: Light in Bay Area Film and Performance,” Wed, 7:30; “Post-Conceptual Performance Video, 1977-1997,” Sun, 5:30. “World Cinema Foundation:” Dry Summer (Erksan, 1964), Thurs, 7; Al Momia (Salam, 1969), Sat, 6:30; The Housemaid (Kim, 1960), Sat, 8:35; The Wave (Zinnemann and Muriel, 1936), Sun, 4. “Suspicion: The Films of Claude Chabrol and Alfred Hitchcock:” Blackmail (Hitchcock, 1929), Fri, 7; This Man Must Die (Chabrol, 1969), Fri, 8:40.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10; www.redvicmoviehouse.com. Breakfast at Tiffany’s (Edwards, 1961), Wed-Thurs, 7, 9:25 (also Wed, 2). Let Me In (Reeves, 2010), Fri-Sat, 7, 9:25 (also Sat, 2, 4:25). Last Train Home (Fan, 2009), Sun-Mon, 7:15, 9:15 (also Sun, 2, 4). Tiny Furniture (Dunham, 2010), Jan 25-27, 7:15, 9:25 (also Jan 26, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. •On the Bowery (Rogosin, 1956) and The Perfect Team (Rogosin, 2009), Wed-Thurs, call for times. Two in the Wave (Laurent, 2009), Jan 21-27, call for times. “Bringing Up Léaud: The Antoine Doinel Cycle:” The 400 Blows (Truffaut, 1959), Fri, 6:45, 8:45; Made in the U.S.A. (Godard, 1966), Sat, 3:15, 5:15, 6:45, 8:45; Masculine Feminine (Godard, 1966), Sun, 2:45, 4:45, 9:15; La Chinoise (Godard, 1967), Sun, 7:15; Stolen Kisses (Truffaut, 1968) with “Anton Et Colette” (1962), Mon, 6:30, 9; Bed and Board (Truffaut, 1970), Tues, 6:45, 8:45.

VIZ CINEMA New People, 1746 Post, SF; www.vizcinema.com. $10-12. Evangelion 1.0: You Are (Not) Alone (Anno, 2009), Wed-Thurs, 7:15; Evangelion 2.0: You Can (Not) Advance (Anno, 2011), Jan 21-27, check website for times.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Volume 14: Middle East,” nine videos focusing on the Middle East compiled by ASPECT: The Chronicle of New Media Art, Jan 13-March 27 (gallery hours Thurs-Sat, noon-8; Sun, noon-6). Ne change rien (Costa, 2009), Thurs, 7:30; Sun, 2. DE YOUNG MUSEUM Koret Auditorium, 50 Hagiwara Tea Garden Dr., SF; www.ruthstable.org. Free. Ruth Asawa: Roots of an Artist (Toy, 2011), Fri, 6, 7:15.

On the Cheap Listings

Jesse Hawthorne Ficks

-

January 18, 2011

0

Events listings are compiled by Jackie Andrews. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Weekly Picks.

WEDNESDAY 19

Tom Rachman Bookshop West Portal, 80 West Portal, SF; (415) 564-8080. 7p.m., free. Like books on tape, only better — Tom Rachman reads from his highly acclaimed debut novel The Imperfectionist, a collection of short stories set in and around an Italian English language newspaper for travelers and ex-pats. A journalist himself, Rachman’s writing has been described as alternately hilarious and heart-wrenching. Come see what all the hullabaloo is about.

THURSDAY 20

Pitchapalooza: American Idol for Books Booksmith, 1644 Haight, SF; (415) 863-8688, www.booksmith.com. 7:30pm, free. This American Idol-like event for writers unfortunately doesn’t feature a drunk and effed-up-on-pills Paula Abdul, but it could take you one step closer to becoming a published author. Pitch your book in one minute or less to an all star cast of publishing experts — the most convincing scribe gets an introduction to an agent that can help them realize their book dreams. Anyone who buys a book in the store that day gets a free consultation, making this a must-do for all you struggling artistes.Bay Area

Wild World of Frogs Randall Museum, 199 Museum Way, SF; (415)554-9600, www.randallmuseum.org. 7:30pm, free (donations encouraged). Dr. Jerry Kreiger, Save the Frogs! founder and director, will tell you everything you didn’t know you wanted to learn about frogs — from the interesting and funny to the downright sad (200 species of our skin breathing homies have become extinct over the last 30 years). Support the first and only public charity dedicated to amphibian conservation.

FRIDAY 21

Birds and Bees Collide Space Gallery, 1141 Polk, SF; (415)377-3325, www.birdlovesbee.com. 8pm, free. Celebrate the release of Birdlovesbee: Artists in Collaboration with writer Camille Ikalina Robles– founder of One Red Delicious Press — and a bevy of emerging artists. For Birdlovesbee, Robles passes her writing off to an artist who, in turn, creates a reaction in their chosen medium, resulting in beautiful, handmade zines. Collaborators include photographer Marie Dewitt and film artist Dennis Maxwell. Special musical performance by Silian Rail and DJ set by DJ Shortround.

SATURDAY 22

The Uncomfortable Zones of Fun Temescal Arts Center, 511 48th St., Oakl.; (510) 526-7858, www.temescalartscenter.org. 8pm, donations suggested. Prepare to get … uncomfortable. Frank Moore, shaman, disabled performance artist, and 2008 presidential candidate, merges music, dance, erotica, religion and improv to create an experience few people have an easy time describing.

Jewelry-making class The Bead Store, 417 Castro, SF; (415) 861-7332, www.thebeadstoresf.com. 11am-noon and 3-4pm, free (plus materials purchase). Tucked away on Castro Street amidst the countless bear bars and penis-shaped pasta peddlers lies a cozy little shop for all of your jewelry-making needs, including monthly classes. Perhaps you would like to recreate a piece of jewelry you once owned but lost after a night of too many Racer 5’s? You’ll want to attend the 11am “Bring Your Project” class. Stick around for the 3pm “Made with Love” class and make your sweetheart a heart-shaped pendant or earrings with materials provided by the shop. Call to reserve a spot because spaces are limited.

ChicaChic opening reception California Institute of Integral Studies, 1453 Mission, SF; (415) 575-6242, www.ciis.edu. 6-8 pm, free. Five leading chicana visual artists show their greatly varying work, which honors the themes and iconography of the Chicano civil rights movement of the 1960s and ’70s, yet at the same time provides new imagery for a newer and faster paced media-saturated society. Reception includes a panel discussion featuring the exhibition artists and curator.

SUNDAY 23

Cal Science and Engineering Festival UC Berkeley Sutardja Hall, Berk., (510) 642-0352, www.scienceatcal.berkeley.edu/festival. 11 am-3 pm, free. Cal drops the science from astronomy to zoology. Join the search for extraterrestrial intelligence, witness unicycle basketball, touch a real human brain, excavate fossils, make an earthquake, play silly animal games, and yes, there will be liquid nitrogen! Honorary UC Berkeley science degree not included.

TUESDAY 25

Delectable Delights: Tales of Food and Disaster Space Gallery, 1141 Polk, SF; (415) 377-3325, www.litupwriters.com. 7:30-9pm, free. LitUp Writers’ Humor Storytelling Series combines everyone’s favorite defense mechanism: humor, with everyone’s favorite coping mechanism: food. Sounds like a win-win right? Local writers perform, sharing funny stories about their obsessions with, or disgust for, the things we eat.

Alerts

Jesse Hawthorne Ficks

-

January 18, 2011

0

alert@sfbg.com

WEDNESDAY, JAN. 19

Money and politics

Alex Gibney’s 2010 documentary Casino Jack: The United States of Money discusses the relationship between politics and money and how the almighty dollar is used to manipulate government decisions. The film uses the well known story of lobbyist Jack Abramoff to illustrate the greed, lies, and corruption in U.S. politics by following Abramoff’s money trail around the world.

7:30–9:30 p.m., $5 suggested

Humanist Hall

390 27th St., Berk.

(510)681-8699

March for Oscar Grant

Join the struggle for justice and reparations for the family of Oscar Grant, who was killed by a BART cop on New Year’s Eve 2009. Meet at the West Oakland BART station and march through the historic sites of Marcus Garvey and the Black Panther movement. A rally is planned for after the march.

Noon ( 2 p.m. rally), free

West Oakland BART station

1451 Seventh St., Oakl.

www.inpdum.org

THURSDAY, JAN. 20

Become a climate leader

Free training for anyone interested in providing climate change workshops. Receive the tools and materials to lead community members in calculating and reducing their carbon footprint and in creating positive change throughout their communities.

6:30–9 p.m. The Ecology Center

2530 San Pablo, Berk. www.ecologycenter.org/climatechange

SATURDAY, JAN. 22

Pro-choice parade

Celebrate and defend the 37th anniversary of Roe v. Wade. March through downtown and rally for the cause — which also happens to be a counter demonstration for the annual pro-life Walk for Life parade. Bring your signs, costumes, creativity, and SF pride.

11a.m.–1 p.m.

Harry Bridges Plaza (in front of the Ferry Building)

Market and Embarcadero, SF

www.bacorr.org

Commemorate the Triangle Fire

Help build and plan the March 2011 events for the 100th anniversary of the Triangle Shirtwaist Factory fire, the most disastrous industrial event in New York City history. The fire led to legislation requiring improved factory safety standards and helped spur the growth of the International Ladies Garment Workers Union.

11a.m.–1 p.m., free

City College of San Francisco, Mission campus

1125 Valencia, Room 277, SF

(415) 867-0628

Talking truth

Cambiz A. Khosravi’s film A Really Inconvenient Truth goes a step beyond Al Gore’s popular documentary by framing the current climate crisis within the context of capitalism.

7–9 p.m., free

Niebl-Proctor Marxist Library

6501 Telegraph, Oakl.

(510) 595-7417

SUNDAY, JAN. 23

Radical roots sing-a-long

Sing along to your favorite old-timey songs of struggle and dissent. This session focuses on songs from the civil rights and labor movements. Don’t know the words? Lyric sheets provided.

5 p.m., donation

Modern Times Book Store

888 Valencia, SF

(415) 282-9246

To Haitian women

Ayana Lobossiere, Judith Mirkinson, and Leslie Mullin — who recently visited Haiti and interviewed hundreds of Haitian women — report on the remarkable grassroots women’s groups working to rebuild Haiti, end the cholera epidemic, fight for democracy, and advocate for the people.

5:30–8:30 p.m., free

Albany United Methodist Church

980 Stannage, Albany

(510) 526-7346 2

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Lee should stop the recycling eviction

Jesse Hawthorne Ficks

-

January 18, 2011

3

EDITORIAL Mayor Ed Lee needs to demonstrate, as we noted last week, that he’s making a clean break from the politics and policies of the Newsom administration — and there are things he can do immediately to reassure San Franciscans that he’s going to offer more than another 11 months of a failed administration.

He can start by calling off the eviction of the Haight Ashbury Neighborhood Recycling Center.

The move by Newsom to evict the recycling center, on the edge of Golden Gate Park, was part of his administration’s war on the poor. It made no sense from a financial or environmental perspective. The center, which pays rent to the city, would be replaced by a community garden, which would pay nothing. The center creates green jobs that pay a living wage; all the workers would be laid off under Newsom’s plan. The center also operates a native plant nursery and provides a drop-off recycling site for local businesses.

A community garden makes only limited sense in a shady area that gets fog most of the year.

The only reason Newsom was determined to get rid of the place is that low-income people who collect bottles and cans around the city (an environmentally positive activity, by the way) come by the center to drop them off and pick up a little cash. Some of the wealthier residents of the Haight don’t like poor people wandering through their neighborhood. It’s class warfare, declared by the Newsom administration — and Lee, who got his start as a poverty lawyer, doesn’t have to tolerate it.

Lee should direct the Recreation and Parks Department to cease the eviction proceedings and negotiate a long-term lease for the Frederick Street site.

It seems like a small item in the long list of issues the new mayor will have to deal with — but the HANC recycling center has strong symbolic importance. Ending the eviction and allowing the center to stay would be a sign that Lee intends to be a mayor who is willing to work with the progressives and that he’s not going to try to solve all the city’s problems by blaming, harassing, and criminalizing people who are barely surviving in San Francisco.

The new mayor could take another simple step toward broad credibility by opening up his office — to the public and the press. Under Newsom, Room 200 was an unfriendly place to outsiders, and often the news media were treated as enemies. Lee should start holding regular press conferences — not just stage-managed events designed to showcase one issue, but broad-ranging, open sessions where reporters can ask questions about anything his administration is doing. And he ought to direct his press office to make compliance with the Sunshine Ordinance a priority.

For starters, he could release whatever proposed budget cuts Newsom left behind. It’s hard to believe the former mayor just turned them over to Lee without a list of things that were on the chopping block. The sooner the public sees where the previous administration was going, the sooner we can all determine what, if anything, Lee will do differently.

Editor’s Notes

Jesse Hawthorne Ficks

-

January 18, 2011

2

Tredmond@sfbg.com

I talk to the Unitarians sometimes. I’m not much for church myself, but the Unitarians are pretty mellow. My neighbor, who grew up Unitarian, tells me that Unitarians “believe in one God … at most.” There’s even an atheist caucus at the Unitarian Church on Franklin Street. That works for me.

So a couple of times a year, they invite me to come and talk to their discussion forum Sunday morning, before services, and I always go — sweet, wonderful people who are about as liberal as religious people get, and they actually listen to me and ask intelligent questions.

So I was there two weeks ago talking about the year ahead in local politics, and after I went on far too long complaining about a city and a society that don’t want the wealthy to pay taxes, a woman walked up to the mic and made a really interesting point.

When you get your property tax bill in San Francisco, she said, there’s a little box you can check to make a voluntary contribution to the arts. Why, she asked, is there nothing about contributing to the public schools?

It’s not an academic point. In most states, local property taxes support local schools. In California, Proposition 13 forced the state to take on that responsibility. Now the state’s broke, and education has taken huge cuts. And even if San Francisco wanted to put more local money into the schools, the local budget has no extra room, either.

But almost everyone who owns property in San Francisco is getting a great deal from Prop. 13. My brother owns a house in upstate New York that cost about $100,000 — and his property taxes are higher than mine, and my house in San Francisco cost a good bit more than that. Warren Buffet complained about it to former Gov. Arnold Schwarzenegger; Buffet’s place in Southern California has lower taxes than his home in Omaha — and the tax bills don’t exactly reflect the comparative assessed values.

Now, I’m not into charity. I mean, I’m fine with charity, and people should be generous and all that, but when it comes to essential public services, charity won’t cut it. Rich people should pay taxes, and elected representatives should decide how to prioritize where the money is spent.

But here we are in San Francisco, with all these wealthy people not paying fair taxes on their property and Prop. 13 seemingly set in stone. So maybe we could start a campaign. It’s not hard to figure out how much you’re getting away with under Prop. 13. Take the actual value of your house (come on, you know what the place down the street just sold for); multiply it by the current tax rate (it’s on the invoice); and subtract the amount of your bill. Yeah, you’re saving a lot of money. Some of you are saving a whole lot of money.

Then the tax collector can put a box on the property tax bill that lets you make a voluntary contribution to the public schools that reflects some of that savings. Just some, a little bit. If we all did it, we’d make a huge difference.

Uncertain developments

Jesse Hawthorne Ficks

-

January 18, 2011

0

sarah@sfbg.com

Gov. Jerry Brown’s proposal to eliminate redevelopment agencies and enterprise zones has San Francisco officials confused about which local projects will be affected.

Currently, the state allows municipalities to redevelop specified areas by borrowing against estimated future property taxes. Brown says he doesn’t want to interfere with any redevelopment bonds or commitments that have been contractually entered into — but the plan would redirect billions from development projects to schools, public safety, and other local programs.

“Redevelopment takes money from schools, cities, and counties,” Brown said at a Jan. 10 budget proposal press conference. “We want to take that money and leave it at the local level for the purposes it was historically intended. That’s police or fire or local activities, county, or schools.”

Brown says his proposal will save the state’s general fund $2.7 billion over the next 18 months. And he wants to help cities and counties raise taxes to replace that money.

But local officials say it remains to be seen what Brown’s plan means for existing obligations, and details won’t emerge until the governor releases a draft budget in March.

“I don’t think we’ll really know until we see what the legislation says,” said Redevelopment general counsel Jim Morales. “Clearly if you have a binding contract, that’s enforceable in court. The Legislature couldn’t pass a law that interferes with that.”

Redevelopment already has contracts related to the Hunters Point Naval Shipyard and Mission Bay. “The fact that we have an agreement is helpful. But a redevelopment plan of itself is not an agreement,” Morales said. “It goes to the question of what is the obligation, who gets it, and what tools do they have to fulfill those obligations.”

Morales said he believes the passage of Proposition 22 in November — which blocked the state from taking local redevelopment funds — lies at the heart of Brown’s proposal.

“The way Prop. 22 was drafted doesn’t give the state Legislature much room to use these funds except to eliminate redevelopment agencies,” he said. “It’s a legal as well as a political strategy to amend by another ballot measure or somehow modify Prop. 22.”

Brown’s bombshell landed just as city officials announced that a settlement had been reached with the Sierra Club and Golden Gate Audubon Society over charges that the city’s environmental impact report for Lennar Corp.’s massive development proposal for Candlestick Point and the former Naval Shipyard was inadequate.

The agreement includes criteria for the design and construction of a bridge across Yosemite Slough to lessen environmental impacts and provide habitat improvements.

“A settlement that provides great benefits to people and wildlife is not one that is often achievable. We’re extraordinarily pleased to have done so in this case,” said Arthur Feinstein, chair of the Sierra Club’s San Francisco Bay Chapter in a Jan. 8 press release.

“The agreement creates benefits for the community and the open space, habitats, and wildlife throughout the project area,” said Mark Welther, executive director of the Golden Gate Audubon Society. “The lagoon and other improvements will create an area whose beauty and ecological significance will rival Crissy Field.”

Lennar’s Kofi Bonner said the settlement helps clear the way for fundraising efforts. “It means we have one less lawsuit to deal with,” Bonner told the Guardian at the Jan. 11 swearing-in for interim Mayor Ed Lee.

Still on the table is a suit that Bayview-based Green Action and Power (People Organized to Win Employment Rights) brought against the city’s EIR for Lennar’s project.

Bonner said POWER’s lawsuit is about issues that the developer does not control. “POWER’s suit is about toxins removal and how the Navy is handling the issue,” he said.

POWER counters that it’s premature for the city to certify the EIR for the Lennar project. “The problem is that we are asking the city to approve future uses at the shipyard when we don’t know the result of the Navy’s clean-up process,” said Jaron Browne, a spokesperson for POWER.

Browne said that there’s nothing in POWER’s lawsuit to prevent Lennar from moving forward at Candlestick Point or with rebuilding the Alice Griffith public housing project.

Print sections as they appeared in the early 2010s

Print Sections

NICK CURLY

BUZZED OUT ELECTRO BALL

KODE 9

GADI

BONJAY

LEFT IN THE DARK

LEFT OF THE DIAL

SILENCE, THEN LOUDER

GOOD MANG KOK BAKERY

KADAMPA BUDDHIST TEMPLE’S “MEDITATIONS ON WORLD PEACE”

REVOLUTION CAFE

ZEUM

SEWARD STREET SLIDES

BERKELEY BOWL

WESTFIELD MALL ESCALATORS

AUDIUM

NORTHERN CALIFORNIA COAST GALLERY AT THE STEINHART AQUARIUM

Free clinics aren’t free

UNIFEM fundraiser

Rally for Guy Jarreau

Seattle Solidarity Network discussion

Go, Caltrain

Fred Korematzu Day celebration

DELIVERIES

THE GREEN CROSS

MEDITHRIVE

FOGGY DAZE DELIVERY

DISPENSARIES

APOTHECARIUM

1944 OCEAN COLLECTIVE

SPARC

IGZACTLY HEALTH CENTER

SHAMBHALA

MARKET STREET COOPERATIVE

RE-LEAF HERBAL CENTER

DIVINITY TREE

GRASS ROOTS

HOPENET

VAPOR ROOM

MEDITHRIVE

KETAMA COLLECTIVE

MR. NICE GUY

BERNAL HEIGHTS COLLECTIVE

LOVE SHACK

COFFEE SHOP BLUE SKY

HARBORSIDE HEALTH CENTER

SANCTUARY

GREEN DOOR

Money and politics

March for Oscar Grant

Become a climate leader

Pro-choice parade

Commemorate the Triangle Fire

Talking truth

Radical roots sing-a-long

To Haitian women