SFBG Blogs

The crowd goes ballistic for Gotye’s hit song

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There is nothing quite like hearing the song that’s been stuck in your head — persistently playing on repeat — finally materialize in front of you.

When the all-too-recognizable trickles of the xylophone and Gotye’s effortlessly poignant voice introduced  “Someone That I Used To Know” last night at the Bill Graham Civic Auditorium, the crowd went ballistic; a collective jolt of ecstatic bliss took over, followed by a vigil of raised iPhones and Androids.

With over 160 million views on YouTube, “Someone That I Used To Know” may be what brought the Belgian-Australian musical extraordinaire to the forefront of the American audience’s minds, but his undeniably skillful performance showed San Francisco that his vocal and instrumental mastery began long before this viral sensation.

Gotye is anything but a one-trick pony — a common pitfall for Billboard chart toppers — and his performance extended beyond his breezy ability to soar from crooning falsettos to a satisfying cry of yearning.

http://www.youtube.com/watch?v=HKdVo21j1FM

If you could divert your attention away from the earnest balladeering and were to look just at his hands — crossing over one another schematically, swiftly pushing on electronic triggers, and handling a motley collection of percussion devices — you could have mistaken him for a chef cooking an extravagantly complex meal.

But of course, he is not a cook, but a sonic connoisseur, who has an obsession with crafting a fusion of noises to deliver a rather different sensual experience for each song.

The reggae-tinted “State Of The Art” had the crowd smoothly rocking to the drop of the heavy tech-beats, whereas the ethereal echoes of “Bronte” captured the listener in personal contemplation.

The comic-style (think non-demented Gorillaz) visuals that were projected on the massive screen gave his rather organic execution a futuristic sparkle — and all the gleeful weed smokers in the building seemed sincerely grateful.

Gotye’s original show was booked for the 500-capacity Independent before upsizing to the 8,000-capacity Bill Graham. Hopefully his recent blow up will bloom in to a fruitful career so that he’ll continue to grace us with more poptastic ballads – not just end up as somebody that we used to know.

SEIU rally draws 1,000 to city hall

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More than 1,000 city employees gathered at City Hall April 18 for a protest that ended in 23 arrests.

The protest comes as the SEIU Local 1021 contract negotiations with the city’s employee relations division are underway. According to Larry Bradshaw, Local 1021 vice president, the city’s proposal may result in pay cuts and health care cost increases for city workers.

“Here’s your negotiations update. The city and county wants you to take another 2 ½ percent pay cut this year and next year. The courts want their court-workers to take a five percent pay cut indefinitely,” Bradshaw, who works as a paramedic, told the crowd.

He also claimed that: “If you have Kaiser, under the city’s proposal you’re going to pay six times more than you’re paying currently. If you have Blue Shield, you’re going to pay twice as much. If you’re on the city plan—I’m not making this up—you’re going to pay one hundred times more than what you’re paying right now.”

Workers at the rally ranged from hall janitors to General Hospital nurses to Department of Emergency Management dispatchers donning shirts reading, “we run 911!”

Workers from the International Federation of Professional and Technical Engineers Local 21 also attended to show solidarity.

Sups Avalos, Mar, Kim, Chiu, Campos and Olague offered their support at the rally.

Around 6:30, the group left city hall and marched down Polk St. City workers then stretched caution tape across Market at Van Ness, in front of a Bank of America branch, and 23 sat down on the street. After a police warning, they were arrested for obstructing the sidewalk.

“We’re sitting to protest the greed of the city. The man is getting raises. The district attorney and the city attorney are getting raises. And they want us to take more pay cuts and furloughs,” said Arlette Smith, a protective services social worker, ten minutes before she was arrested.

The union wants to take these pay cuts off the table.

SEIU Local 1021 spokesperson Carlos Rivera also noted, “we’re sitting by Bank of America because banks and corporations don’t pay their fair share.”

The union is calling into question a tax settlement from 2001, in which a court ruled in favor of several corporations that sued the city over a hybrid payroll and gross receipts tax structure. The union characterizes the resulting loss of about $25 million per year in tax revenue as a loophole.

“The payroll tax is only paid by ten percent of San Francisco businesses, yet they’re asking city workers and non profit workers to continue to shoulder these massive budget deficits year after year,” said SEIU spokesperson Anna Bakalis.

Bakalis said that the SEIU is focusing on reinstating a gross receipts tax after researching alternative solutions for the city budget, if the pay cut and health care increases do not go though.

“We want to be able offer some solutions,” she told the Guardian. “We want to help them fix the budget.”

The union plans to return to city hall for further demonstration April 30 “if they have not taken those pay cuts and health care cuts off the table,” according to Bradshaw.

“This was such a wipeout psychologically”: Mirkarimi tells the story Lee didn’t want to hear

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As Ross Mirkarimi and his legal team prepare for a trio of legal hearings that could determine the future of his career, the suspended sheriff sat down with the Guardian for nearly two hours in his first extended interview recounting what happened during that fateful New Year’s Eve conflict with his wife, their actions in its aftermath, and whether any of it should cost him his job.

As the story continues to unfold, and the facts come out, it’s becoming more and more clear that neither of two central players – Mirkarimi’s wife, Eliana Lopez, and the neighbor who called the police, Ivory Madison – had any idea how this would play out, or, apparently, any desire for the incident to bring down the elected sheriff.

Mirkarimi has been in a bind for much of the last four months: Because of a pending criminal case, he hasn’t been able to tell his side of the story. And since he pled guilty instead of going to trial, his version of events is only now beginning to trickle out.

And the interview made clear that the man who has in the past been accused of arrogance has lost a lot of his ego.

“This was such a wipeout psychologically,” Mirkarimi said. “It makes me immensely insecure and has left me in vulnerable state.”

He looks it – the elected sheriff’s face is drawn, almost haggard. His once-frequent smile and laughter is almost gone.

>>Read our full Mirkarimi coverage here.

He’s a politician who freely admits he had marital troubles, was in some ways a bad husband, treated his wife poorly and, in an incident sparked by his own anger, physically hurt her. He knows he’s let down his supporters and damaged his once-bright political future.

He’s struggling to keep his job, arguing that the incident has been blown out of proportion and inappropriately used to remove him from elected office, with Mayor Ed Lee showing a reckless disregard for the truth before making the rare decision to institute official misconduct proceedings.

And you don’t have to endorse Mirkarimi’s actions or even agree that he should stay in office to find indications that the mayor’s case against him is shaky and at times clearly unfair.

Judge Harold Kahn will hear arguments today [April 19] that the City Attorney’s Office should be barred for overseeing the official conduct proceedings, and the next day he will hear Mirkarimi’s main challenges to Lee’s actions, including the arguments that the city’s official misconduct statute is unconstitutionally broad and that Mirkarimi was denied due process before being suspended without pay.

Then, on April 23, the Ethics Commission will convene to discuss procedures for handling the case.

Some key issues that could affect the outcomes of the city and court processes involve what Mirkarimi actually did – as opposed to what others have suggested he did. The whole thing may hinge on whether the sheriff did anything to hinder the domestic violence investigation, what his plea deal to official misconduct entailed – and whether the mayor made efforts to differentiate between fact and rumor.  

But let’s start at the beginning, just before lunchtime on New Year’s Eve, with a story that Mirkarimi told in great detail as we peppered him with questions seeking details on what happened, what his motivations and thoughts were at critical junctures, and what it all meant.

Around 11:45 am on Dec. 31, Mirkarimi, Lopez, and their nearly three-year-old son, Theo, got into their red 1998 Dodge Caravan to go to lunch at Delfina Pizzeria. Just before leaving their house on Webster Street, the couple had started talking about how Lopez wanted to take Theo on a trip to her native Venezuela to visit her father, who is battling cancer.

“It was not an unfamiliar topic,” Mirkarimi said, recounting how it had become an issue of increasing concern by him after her three previous trips had each been extended. They had been having marital problems, and he told us he was concerned that she might not come back – or that Theo could be at risk of kidnapping.

“We didn’t have a plan and there was no permission,” Mirkarimi said, with “permission” meaning his written permission to take their son out of the country, which he had learned from a lawyer was required. “The body of our quarrel on Dec. 31 is we need a plan.”

But Lopez told him in the car than she had also talked to an attorney and she contested that it was as clear-cut as Mirkarimi claimed. He later learned that the “attorney” Lopez was referring to was their neighbor, Ivory Madison, a writer who had attended law school and noted her “legal training” on the www.redroom.com website she ran with her husband, lawyer Abraham Mertens. But Madison hadn’t taken the bar exam and wasn’t licensed to practice law in California.

“This was a sucker punch, it really walloped me,” Mirkarimi said of the news that Lopez was speaking with an attorney, and it made him angry. “I was acting inappropriately, I swore at my wife and said ‘where is this coming from?’ So I could have handled it better.”

“I decided, because we were quarreling, to make the unilateral decision against Eliana’s wishes to turn the car around,” he said.

This, he contends, was the act that constituted false imprisonment, the misdemeanor charge that he pled guilty to last month in exchange for prosecutors dropping misdemeanor charges of domestic violence, dissuading a witness, and child endangerment. Mirkarimi contends this was the only point in their conflict in which he restrained his wife’s freedom. Other reports suggest that he didn’t let her leave the house shortly after the conflict, which he denies.

Mirkarimi’s criminal attorney, Lidia Stiglich, told us false imprisonment is a very broad term, and because it was such low-level charge, there wasn’t a specific action it covered. In other words there’s nothing factual in the legal record or anywhere supporting the notion that Mirkarimi actually held his wife against her will.

“You don’t need to agree to a factual basis to plead to a misdemeanor,” Stiglich said, noting that Mirkarimi’s interpretation is reasonable, but prosecutors might mean something different by it. “We can agree to disagree,” she said, although she acknowledges that vagueness has opened him up to a variety of interpretations in the political arena.

In other words, the notion that a sheriff, who oversees the jails, has pled guilty of false imprisonment looks just terrible, and has been been played up in the press. But it’s not clear that he actually imprisoned anyone, beyond refusing to take his wife and son to lunch. It’s an oddity of law, and the nuance doesn’t play well in a scandal-crazed media.  

But back to the day of the incident.

“I was loud, I was gruff, I was just pissed off, and I am ashamed of my behavior,” Mirkarimi said. By the time they got back home, the sheriff-elect had calmed down, but Lopez was getting increasingly angry at being mistreated.

He said she quickly got out of the car and was brusquely trying to remove Theo, who was crying and upset over his parents’ conflict, from his car seat. “I got scared because Theo was in danger a little bit,” he said, his voice choking up and eyes filled with tears, saying that he reached back and grabbed Lopez’s right arm, with three fingers under her arm, while he was still seatbelted into the front seat.

“Eliana reacted like, get away from me, and she tugged her arm,” he said. “The incident was minutes.”

Inside the house, tensions quickly de-escalated, he said, and they didn’t discuss the conflict again that day. They went grocery shopping together, brought home takeout for dinner, and Lopez went out briefly that night while Mirkarimi stayed home with their son.

But the next morning, she showed him the bruise that had formed on her right bicep where he grabbed her. “She said, ‘Look,’ and it just crushed me,” Mirkarimi said, adding that he apologized for hurting her and that he agreed to go to couples counseling.

Lopez had been asking her husband to seek counseling for some time, he acknowledged, and he’d been putting it off. “I take full blame that that didn’t happen earlier,” he said.

Then, mid-morning, Lopez told him that she was going to talk with their neighbors, Madison and Mertens, who Mirkarimi considered “nice people. They were supporters during my race, but I didn’t know them that well.” He said that he didn’t think much of it or worry that she might talk about the previous day’s incident, although he said he did make the connection after she left that perhaps this was the “lawyer” Lopez has referred to the day before – something she later confirmed.

From Mirkarimi’s perspective, the next few days were uneventful. The family left for a long-planned vacation to Monterey the next day, staying at the Intercontinental Hotel and taking Theo to the Monterey Bay Aquarium. He said they talked “a little” about their New Year’s Eve conflict. “We were trying to gauge each other and our comfort level in talking about this,” he said. 

But Mirkarimi didn’t know about the storm that was brewing. He said he had no idea that Lopez had heeded Madison’s suggestion on Jan. 1 to make a video in which Lopez tearfully recounted the grabbing incident and displayed her bruise. Lopez, a former Venezuelan soap opera star, has consistently denied publicly that Mirkarimi ever abused her and has said, directly and through attorney Paula Canny, that the video was intended solely to be used in child custody proceedings if their marriage continued to devolve and that Lopez assumed she was getting legal advice and that the communications were private and subject to attorney-client privilege.

But Madison, who has not returned calls from the Guardian or other media outlets, wrestled with whether to go to the police and sought counsel on the question from several people, as information obtained by Mirkarimi’s team during discovery showed, including Phil Bronstein, the former editor for the Examiner and Chronicle who now chairs the board of the Center for Investigation and Bay Citizen.

Madison had two phone conversations with Bronstein, the veteran journalist told us. He said he knew Madison socially and “she gave me a brief narrative of the events.

“I said you should do whatever you think you should do to keep Eliana safe,” Bronstein told us.

Bronstein said he doesn’t know what happened between Mirkarimi and Lopez, but he understood from Madison that she was acting on behalf of Lopez, that the two women were communicating by text and e-mail, and that “I got the impression that Eliana was still trying to figure out what she wanted to do.”

“Eliana was continuing to e-mail with Ivory, saying he was being nicer now,” Bronstein said, but Madison was still concerned enough that she didn’t want to let the incident go, so Bronstein said she decided to call the San Francisco Police Department on Jan. 4 to get information on whether domestic violence incidents could be reported several days after they occurred, a decision he learned about after the fact.

“Ivory called the police hotline hypothetically to get information on when they can file,” Bronstein said, recounting a phone conversation they had on the afternoon of Jan. 4. But he said Madison was told by police that she could be charged with obstruction of justice for not reporting a crime – which isn’t exactly true under California law – and that SFPD had sent officers to her house to discuss the matter.

Shortly after that visit from police, Madison called Bronstein to tell him the story. “She was surprised that an inquiry had triggered a police investigation,” Bronstein said. Madison’s initial refusal to turn the videotape over to police, who needed a court order to seize it, is another indication that perhaps she didn’t want this case to explode the way it did.

In one version of events that Bronstein has discussed, Madison told him she wanted to help Lopez get in touch with three people who might be able to talk to Mirkarimi and convince him to seek counseling. Madison asked Bronstein if he had phone numbers for Aaron Peskin, Mike Hennessey and Art Agnos.

The odd thing about that is that Lopez already knew the three, and that their contact information was in the couple’s house.

But Mirkarimi had no idea any of this was going on, or even that his wife had discussed their conflict with Madison and made the videotape. “Everything happened on the 4th of January and literally I was the last one to know,” Mirkarimi told us.

Months later, Mertens wrote an op-ed for the Chronicle (“A neighbor’s side of Ross Mirkarimi case,” 3/20) in which he alleges Mirkarimi “paid a team of lawyers to relentlessly attempt to discredit, dissuade, and harm my wife,” although he didn’t return Guardian calls seeking comment or clarification of what he meant.

“The last time I spoke to Eliana was when she called me on Jan. 4. I recognized what I thought was Ross’ voice in the background as Eliana pressured me to destroy evidence and lie to the police. Then she repeatedly called Ivory, demanding that Ivory destroy the video, e-mail and texts from Eliana about the incident,” Mertens wrote. The allegation was parroted in the city’s official misconduct charges against Mirkarimi, which claim he “or his agents” sought to destroy evidence and obstruct the investigation.

But Mirkarimi and his lawyers say the charge is simply untrue. “The idea that he sought to get the videotape back or destroy it is nonsense,” Waggoner said, noting that Mirkarimi wasn’t even home as these events unfolded – on that fateful January day, he attended a ceremony marking the demolition of the old jail and then was in a long Budget Committee meeting, followed by a farewell celebration from the Local Agency Formation Commission. In other words, he couldn’t have been “in the background” during that call.

In fact, as far as we can tell, there is no evidence anywhere that Mirkarimi ever contacted Madison or Mertens. “I never talked to Ivory Madison and I never talked to her husband, Abraham Mertens, after any of this happened,” Mirkarimi said.

Mirkarimi said that Lopez first told him that she had told Madison about the grabbing incident by phone on the afternoon of Jan. 4, shortly after Madison told her in the street that she had called the police and they were on the way. Lopez didn’t know what to do and wanted to come meet her husband near City Hall. The officers that came tried to talk to Lopez, but she refused.

“She was panicked because she thought things were getting out of control with this neighbor and she asked for my recommendation,” Mirkarimi said, noting that Lopez literally ran from their home to City Hall and met Mirkarimi outside on Grove Street. It was then, he said, that Lopez first told Mirkarimi about making the videotape.

Mirkarimi said he greeted the news with stunned disbelief, and that his first instinct was to try to help his panic-stricken wife, but that he didn’t know what to do. “She was petrified about what was going on…She was frantic and I was getting frantic too,” he said. “I didn’t have a remedy, except oh my God, I think we need an attorney.”

They made a couple calls to find an attorney, and he said Lopez had the idea of having their friend, Linnette Peralta Haynes, a domestic violence advocate with the Our Family Coalition, reach out to Madison about why she had gone to police and what could be done at that point. “I had no idea what they were going to talk about,” Mirkarimi claims. Peralta Haynes didn’t return our calls and she is reportedly being sought as a witness by the City Attorney’s Office in the official misconduct proceedings.

Mirkarimi is adamant that he never did anything to gain possession of the videotape, dissuade his wife or any other witnesses from talking to police or prosecutors, or otherwise interfere with the investigation, even though Lopez was appealing to him to do something.

“She really wanted me to stop it, and I was like, dear, this bell has already rung and I don’t think we can unring it,” Mirkarimi said.

Lopez has said publicly that she felt betrayed by Madison, and Canny filed motions to suppress the video on the grounds of attorney-client privilege, conflicts that seem to have soured the relationship between the two women and fed feelings by Mertens that Madison was wronged for doing the right thing during the media circus that followed.

As a result, as part of Mirkarimi’s plea deal last month, the District Attorney’s Office insisted that Mirkarimi publicly apologize to Madison. It was an odd demand, since nobody (other than an op-ed writer in the Chron who gave no substantiation for his charges) had ever said that Mirkarimi had any contact at all with Madison.

DA’s spokesperson Stephanie Ong Stillman explained the insistence to us this way: “Ivory Madison’s actions were courageous. She found herself in a difficult situation trying to protect a friend who was in danger. In a surprising and disappointing turn, she was vilified for this act of courage. She suffered much unnecessary public scrutiny.”

Stillman wouldn’t deviate from that prepared statement when we asked specifically what Mirkarimi had done to Madison – or if there was any indication that the sheriff had ever done anything to “vilify” her – but she did said that the insistence on that direct apology was about encouraging witnesses of domestic violence, an underreported crime, to come forward. “We didn’t want other witnesses to be discouraged from reporting crimes after seeing what Ivory Madison went through,” she said.

Yet Stiglich said Canny’s motions and the divisions that developed between Lopez and Madison had nothing to do with Mirkarimi: “There were lot of actions taken by Eliana’s lawyers that caused a backlash that affected Ross.”

It’s not a minor issue: The allegation that Mirkarimi attempted to dissuade witnesses and used his official position to gain advantage is central to the mayor’s formal misconduct charges. But Mirkarimi and Stiglich maintain that there is nothing in the public record that supports the charge that he dissuaded witnesses or that he used his position as sheriff to gain advantage either before or after the incident.

“I was very surprised to see the allegation from the Mayor’s Office about dissuasion [of witnesses or interfering with the investigation] because there was no evidence of that,” Stiglich said. “He was the last person to know there was a video and that police were involved.”

It appears that Mirkarimi thought his guilty plea would end the case – and it was crafted not to give the mayor any grounds for removal. “I would not have entered a plea in a way that would inhibit my ability to be sheriff,” Mirkarimi said. “This was a very lucid conversation.”

In fact, he said, his instinct was to fight the charges all the way. “We were dying to go to trial,” Mirkarimi said.

But the cops and the DA’s Office did an excellent job of creating pre-trial publicity that made it almost impossible for Mirkarimi to get an impartial jury pool. Jury surveys showed that more than 70 percent of the potential jurors had already formed a negative opinion about Mirkarimi based on news coverage, he said.  

He has belatedly sought to address other oft-repeated misimpressions, disputing telling his wife that he would get custody because “I am a powerful man” (he says he told her the U.S. has powerful child custody laws) and saying journalists have distorted his comment that the conflict was “a private matter.”

In a charge that will be central to the upcoming legal battles, Mirkarimi and his attorneys say Mayor Lee wasn’t interested in hearing from Mirkarimi or discovering the truth about what happened before deciding to suspend Mirkarimi without pay and bring official misconduct charges against him. That, they say, denied the elected sheriff his due-process rights.

In his sworn affidavit in the case, Lee characterized his March 19 meeting with Mirkarimi – which he began by asking Mirkarimi to resign within 24 hours or be suspended – this way: “I explained to Sheriff Mirkarimi that I wanted to give him an opportunity to talk to me about this issue. It was a free flowing conversation with no time constraints. Sheriff Mirkarimi told me that he has not yet told his side of the story. I said, Okay, and waited for him to tell me his side of the story. He did not. Instead, after pausing, he asked me whether the suspension was based on his conduct as Sheriff. I responded that it was based on his conduct as a public official. I paused again and waited for Sheriff Mirkarimi to give me whatever information he thought important. He did not. Instead, Sheriff Mirkarimi asked me whether the suspension would be with or without pay. I told him it would be without pay. After giving him another chance to ask questions or give more information, I told Mr. Mirkarimi to consider my instruction to resign over the next 24 hours.”

But Mirkarimi said that narrative isn’t accurate or complete. He had sought to talk with Lee the previous week to explain what happened, but Lee refused. And when he showed up to talk to Lee on the March 19, he brought Sheriff’s Department legal counsel Freya Horne with him and asked that she be included in the conversation, but Lee refused, so there were no witnesses to the conversation.

“I went into that meeting with the express purpose to tell the mayor everything…As soon as I walk in the door, he gives me a little bit of preamble and then asks me to resign,”Mirkarimi said. “I said I’d really like you to talk to Eliana, can I give you her phone number? Nothing…I was asking questions and I wasn’t getting answers.”

Asked why he didn’t just start telling the full story, as Lee’s narrative indicates he was ready to hear, Mirkarimi insists that Lee simply informed him of the decision he had made and didn’t want to hear anything else. “He wanted the meeting to end after a minute, and I dragged it out by asking questions,” Mirkarimi said of the 15-minute meeting. Asked why he didn’t take a more forceful position, insisting on Horne being there or telling his full story, Mirkarimi said, “I’m the guy who’s trying to be contrite, not the one to walk in there with muscle.”

But now that those lines have been drawn, Mirkarimi says he intends to mount a vigorous defense, and he has some serious muscle on his legal team, including Waggoner and Shepard Kopp, who has worked on a variety of high profile cases.

Waggoner said the mayor’s affidavit, which he made under penalty of perjury, “is not truthful,” noting the inconsistency between telling Mirkarimi that he had made a decision to suspend him and saying he wanted to hear his side of story.

“That claim is undermined by his statements after when he describes how the meeting went down,” Waggoner said, saying he’s hopeful that the courts will agree that Lee acted inappropriately. “All that language undermines his initial claim that the purpose of the meeting was to gather information.”

That’s a central question: Did the mayor give the sheriff a chance to defend himself before making the highly unusual decision to suspend him? Or did Lee base that decision on evidence (like Mertens’ opinion piece) that lacked substantiation without giving Mirkarimi a chance to rebut it?

In other words, was Lee’s decision already made when he met with Mirkarimi? And if so, did the city’s chief executive deny another elected official the basic legal right to a fair hearing?

That’s what the courts will address.

Then if the case moves forward, the Ethics Commission will hold hearings –and again, Mirkarimi is at a disadvantage. The Mayor’s Office, through the city attorney, is already sending subpoenas to witnesses and preparing testimony. The defense can’t do that – because there are, at this point, no rules of evidence, no rights for the defense to compel testimony and, frankly, nothing for Mirkarimi’s lawyers to go on.

Four of the five members of the Ethics Commission are lawyers. At some point, they’re going to have to find a way to make this case comply to the rule of law.

Live Shots: Refused and the Hives at the Warfield

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Photographer Charles Russo shot Refused and the Hives at the Warfield. 

It took 14 years to happen, but the sweaty, sold-out, packed-to-the-rafters crowd at the Refused concert Wednesday night would tell you it was worth the wait.

Playing the Warfield at the top of supercharged sets by the Bronx and the Hives, Refused took to its old noise with new moxy, setting the dedicated crowd into a frenzy with favorites like “Refused are Fucking Dead” and “Liberation Frequency.” By the time the Swedish hardcore group got to “New Noise” the band had vaulted well beyond even the epic expectations put on them last night. Can they scream? Yes, yes they can.

Get your hands up: Wild Flag at Fillmore

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San Franciscans faced a sort of litmus test Wednesday night: which popular band would they see live when given copious quality options, what does that say about their whole being, and who among us chose best? Thanks to Coachella and just lucky circumstance, there were major acts playing sold out or close-to-it shows all around town last night: Godspeed, Gotye, Refused, and Wild Flag.

So the city split open. Shows were carefully chosen based on sound, legacy, fun-factor, and proximity. Massive carved doors swung open, and venues were crowded on this refreshingly warmish midweek night. We’ll have more on the other offerings about town. But here’s what went down at the Fillmore.

Top 15 moments during Wild Flag and EMA’s Fillmore appearance:

1. EMA’s stylish ’80s dancing-with-myself movement techniques and matching ’80s ensemble (billowy T-shirt, tights with shorts)

2. EMA’s fiddler. Electro-pop begs for more violin.

3. Janet Weiss’ showy drum solo during “Glass Tambourine.” Had there been such an item, it would’ve shattered into tiny glittery bits.

4. More glitter: the matchy-not matchy sparkle-accented red, black, and white ensembles on all four Wild Flag ladies.

5. A proggy new song with Carrie Brownstein’s vocals sublimely echoing into the deep effects abyss.

6. The song “Racehorse” played before “Romance,” and being about not being able to love another. “You can’t love no one/you don’t love know one.”

7. “None of those other songs were about love, but this one is” — the introduction to final pre-encore song and fan favorite, “Romance.”

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

8. The awesome, yet expected, but still very welcome close interplay and noodling interactions between the four Wild Flag members, particularly Brownstein and Mary Timony.

9. Timony’s feedback fetish, and the moments when she crumbled to her knees in showmanship.

10. Brownstein holding her guitar straight up in the air, in another statement on instrument worship.

11. The David Cross-alike in the crowd’s not-as-stylish interpretative dance techniques, with awkward shoulder jerks and fluttering hands matching Wild Flag’s riffs.

12. The Fillmore’s chandeliers timed to match the aforementioned hard riffs. Light ’em up big.

13. The DC/Portland based band again using its encore for awesome covers, including Television and Fugazi. Though no Misfits this time unless I missed it. Did I miss it?

14. The feeling that this band will undoubtedly go down in history as shattering preconceived notions of femininity, musicianship, and rock’n’roll, just as its predecessors Sleater-Kinney and Helium.

15. Supposedly, Fred Armisen was there, which make sense as he and his Portlandia co-star, Brownstein, were at a 826 Valencia benefit earlier in the day. 


Calvin Trillin: End of the line for Newt?

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End of the line for Newt?

Sheldon Adelson, the Las Vegas billionaire who has been the biggest backer to a group supporting Newt Gingrich, said this week that Mr. Gingrich had reached ‘the end of the line’ in his bid for the presidency.” New York Times

So Newt’s coming closer to facing defeat?

His main sugar daddy’s no longer so sweet.

And Newt never was: why when he had the power

Of all that sugar, he still sounded sour.

Calvin Trillin.The Nation. 4/21/2012.

 

 

 

 

Where would Jesus park?

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The Examiner’s big front-page head, “Pay to Pray,” reflects the opposition of some religious folk, including the Rev. Amos Brown, who was one of the worst supervisors in San Francisco history, to Sunday afternoon meter enforcement. OMG! People won’t be able to go to church because they’ll have to feed the meter! It’s sexist, too, since: Women go to church! And, apparently, none of the Rev. Brown’s parishoners walk or take the bus.

But let’s put a little reality into this. First of all, the meters are good for four hours, and if you’re listening to Rev. Brown preach for that long, you need to take a break to feed the meter anyway. But in all seriousness, we know exactly what’s going to happen here: The cops and meter-readers who patrol the areas around the churches aren’t going to issue tickets while services are going on. They never do. Anywhere. 

Drive along Valencia some Sunday morning — the church-goers just park in the middle of the street. It’s fine — no tickets. It annoys the hell out of me, since you can’t go to, say, yoga on Sunday and park in the middle of the street without getting a ticket, maybe because Jesus never did yoga or something, but the reality is, nobody in any of these churches is going to have to pay anything.

At least, the ones who drive won’t. The poor souls who take the bus to church don’t get free passes on Sunday. They have to fork over the full fare like the rest of us.

And shouldn’t all these people of the cloth be encouraging their flocks to be good Christian citizens and avoid driving when they don’t need to? Aren’t all the bishops and stuff denoucing global warming? Isn’t God an environmentalist?

Pay to pray. As they say at the churches back where I came from, Yougoddabefuckinkiddin.

Laksa and lemongrass: a tasty Malaysian cooking class

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Azalina was all smiles. Originally from Malaysia, this spunky chef is now part of the incubator cooking program at La Cocina. He taught a Malaysian street food cooking class this week, which Sam Love and I felt very lucky to be a part of. We visited Malaysia a few years ago and fell in love with the wonderful street food that filled each and every corner with exotic smells. As soon as we entered the kitchen at La Cocina, those smells came right at us — garlic, ginger, chilies, and lemongrass ready to be chopped and roasted and blended into our evening meal.

We spent a large part of the class learning how to make fresh wheat noodles to put in laksa soup, dyed a beautiful orange color with turmeric. Everyone got a turn at rolling and slicing the noodles into thin strips, which were then placed into little mounds that looked like upside-down bird nests. Malaysian food is influenced by Chinese and Indian cooking, while still keeping its own distinctive cooking techniques using caramelized shrimp in palm sugar and garnishing the soup with deep fried tempeh. If you didn’t get a chance to make it to the class, Azalina sells her Malay food products at Bi-Rite (like her amazing coconut jam, which we got to try, drizzled atop fried banana fritters) and she’s also whipping up Malaysian street food every Friday night at Fort Mason for Off the Grid.

This week’s first-runs (to supplement your SFIFF frenzy!)

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Between the San Francisco International Film Festival (kicks off Thu/19! Our coverage starts here) and the Castro Theatre’s weekend schedule of more James Bond classics than you can shake a martini at (or a Heinekin … gaah!), why bother even considering a first-run movie?

Yeah, all right. You make a good point there. But. BUT. Nicholas Sparks fiends aside, there are a few good reasons to hit up the ol’ megaplex (or at least the ol’ multi-screen arthouse). The first is a documentary perfectly suited for its 4/20 release…

http://www.youtube.com/watch?v=IJ7U_3bJoBk

Marley Oscar-winning documentarian Kevin Macdonald (1999’s One Day in September; he also directed Best Actor Forest Whitaker in 2006’s The Last King of Scotland) takes on the iconic Bob Marley, using extensive interviews — both contemporary (with Marley friends and family) and archival (with the musician himself) — and performance and off-the-cuff footage. The end result is a compelling (even if you’re not a fan) portrait of a man who became a global sensation despite being born into extreme poverty, and making music in a style that most people had never heard outside of Jamaica. The film dips into Marley’s Rastafari beliefs (no shocker this movie is being released on 4/20), his personal life (11 children from seven different mothers), his impact on Jamaica’s volatile politics, his struggles with racism, and, most importantly, his remarkable career — achieved via a combination of talent and boldness, and cut short by his untimely death at age 36. (2:25) California, Embarcadero. (Cheryl Eddy)

http://www.youtube.com/watch?v=_j4Gcu7wlMc

(Note: it’ll have English subtitles in the theater, obvi.)

Next up, probably the most intense South Korean-made war epic you’ve ever seen (unless you’ve seen Taegukgi)…

My Way South Korean director Kang Je-gyu (2004 Korean War epic Taegukgi) returns to the battlefield for another bombastic action flick with a very complicated bro-down at its center. This time, it’s World War II, and the head-butting protagonists are not actually brothers, but lifelong frenemies: Japanese Tatsuo (mega-idol Joe Odagiri) and South Korean Joon-sik (Taegukgi star Jang Dong-gun). They meet in occupied South Korea, where class and country lines amp up their frequent confrontations as competitive long-distance runners. When WW2 breaks out, Joon-sik is forced to join the Japanese army, with guess who ordering him around; during My Way’s meaty war-is-hell section, the men’s relationship endures a Soviet labor camp, knife (and fist) fights, blizzards, gunshot wounds, deafness, countless explosions (including lots of exploding bodies), sprints on the beach, bellowing arguments, runaway tanks, grenades, Nazis, D-Day, and moments of heroism, cowardice, insanity, weepy emotion, and dumb luck. Somehow, Kang keeps the pace between “frenetic” and “superfly TNT” for a solid two hours — the man may not care much for subtlety, but My Way is nothing if not insanely entertaining. (1:59) SF Center. (Eddy)

And a thought-provoking documentary about change…

Surviving Progress The very definition of a movie that most needs to be seen by the people least likely to see it — i.e. most folk the right of the political dial — this excellent documentary manages to interweave virtually all the leading planet threatening woes of our era in a succinct and entertaining fashion. Its thesis is author Ronald Wright’s notion that “We’re at the end of a failed experiment.” It’s been around a while, so you’ve doubtless heard of it: the Industrial Revolution. That shift from small-scale, self-sustaining agrarian communities to much larger ones dependent on mass production and import-export created pockets of enormous First World wealth and comfort. But the populations that benefitted used up resources wildly out of proportion to their number; now countries like China and India want their share of the industrialized pie, just as we’ve realized those resources might actually run out. Cue summaries of the harm global warming, overpopulation, consumption, soil depletion, “market fundamentalism,” etc. have done and will do, as duly noted here by a roster of A-list experts including Stephen Hawking and Jane Goodall. (The latter vividly contextualizes just how out of whack humanity has gone by opining that ours is the only species capable of terminating its future by destroying its own habitat.) While this may sound like a bitter pill to swallow, not to mention one you’ve swallowed many times before, Surviving Progress colorfully weaves together a vast assortment of audiovisual materials as well as information, to highly watchable results. Do the earth a favor: see this movie, and drag a skeptic you know along. (1:26) Lumiere, Shattuck. (Dennis Harvey)

BONUS ROUND: speaking of Jane Goodall: Disney nature doc Chimpanzee opens 4/20, too, but with a different holiday in mind: Earth Day. Just the thing if last year’s depress-o-Chimp trend is still giving you the sads.

Coachella Day 3: The Weeknd of Hives and Justice

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All photos by Eric Lynch.

Bears, bloggers and bands, oh my.  Sunday indeed brought sun, by mid afternoon all the good shadows were occupied — the lengths of tree shadows, behind garbage cans, and next to the churro stand. I arrived just as the largest crowd yet was dissipating from Santigold.  

Schoolmarms, Real Estate did nothing to upset our expectations with their “variations on a single theme” set.  Sweet and predictable, like watching old episodes of I Love Lucy to help you sleep — you don’t have to see what’s going to happen, because you already know and everything’s going to be OK.  

The Weeknd captivated with a solid and lively performance. Good stuff.

The Hives were a trip for me. Three songs in the photo pit and I got pushed, trampled, and shoved so many times by photogs trying to get “the shot,” I just kept thinking, “What is this guy, Kanye or something?” I mean c’mon. But Pelle Almqvist was this photographer’s dream. Jumping over the first two pits, climbing on speakers, throwing his mike while doing jumps. These guys were 1920s street buskers with trampolines, and believe me, I was buying.

If Radiohead had their wall of recyclable plastic bottles, then French duo, Justice had their wall of Marshall ’60s speakers-cum-light modulators.  If there’s that many knobs on the front of their set, what the hell is going on on the side? From wherever they conjure those sounds, this Justice-novice is glad the facade is not broken.  

For your consideration: Short takes from SFIFF, week one

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The gargantuan San Francisco Film Festival opens this week after a particularly fraught year in which the San Francisco Film Society tragically lost two well-respected executive directors. But never fear! SFIFF is still tops, and we’re here to guide you through it, from throught-provoking experimental flicks to unheralded-as-of-yet crowd-friendly fare. We’ve rustled upmore than a dozen previews of appealing flicks after the jump — and check out our complete coverage, including indepth features and interviews, here.

THU/19

Farewell, My Queen (Benoît Jacquot, France, 2012) Opening early on the morning of July 14, 1789, Farewell, My Queen depicts four days at the Palace of Versailles on the eve of the French Revolution, as witnessed by a young woman named Sidonie Laborde (Léa Seydoux) who serves as reader to Marie Antoinette (Diane Kruger). Sidonie displays a singular and romantic devotion to the queen, while the latter’s loyalties are split between a heedless amour propre and her grand passion for the Duchess de Polignac (Virginie Ledoyen). These domestic matters and other regal whims loom large in the tiny galaxy of the queen’s retinue, so that while elsewhere in the palace, in shadowy, candle-lit corridors, courtiers and their servants mingle to exchange news, rumor, panicky theories, and evacuation plans, in the queen’s quarters the task of embroidering a dahlia for a projected gown at times overshadows the storming of the Bastille and the much larger catastrophe on the horizon. Farewell, My Queen screens as part of the SFIFF’s opening night festivities, which are dedicated to the memory of SF Film Society executive director Graham Leggat. Thu/19, 7pm, Castro. (Lynn Rapoport 

 

FRI/20

Palaces of Pity (Gabriel Abrantes and Daniel Schmidt, Portugal, 2011) Just under an hour, Gabriel Abrantes and Daniel Schmidt’s Portuguese curiosity is hardly fettered by the limits of time, let alone imagination. Its wayward story focuses on two precocious young female cousins whose closeness goes south when their beloved grandmother dies, leaving them rivals for her estate. Before that happens, however, this fabulist curio hits a deadpan peak in an extended medieval dream sequence that pits punitive Catholic Church against happy sodomites — ah, some things never change. Fri/20, 6pm; Sat/21, 7pm; April 26, 9:15pm, Kabuki. (Dennis Harvey)

The Day He Arrives (Hong Sang-soo, South Korea, 2011) Korean auteur (Woman Is the Future of Man, 2004) Hong Sang-soo’s latest exercise in self-consciousness, this black-and-white, fable-like study of a frustrated filmmaker (Yu Jun-sang), returning home to Seoul to visit an old friend after spending time in the countryside teaching, adds up to a kind of formal palimpsest. Surrounded by sycophants, vindictive former leading men, and women who seem to serve a purely semiotic purpose, he participates in an endless loop of drink, smoke, and conversation in a series of dreamlike scenes that play on the theme of coincidence and endless variation. Hong’s layering of alternate scenarios at times feels like a bit of a gimmick, but the way he infuses specific urban spaces with forlorn significance in mostly static shots is affecting — even if the film’s ultimate narrative slightness has the cut-and-paste haphazardness of fridge poetry magnets. Fri/20, 7:15pm; Mon/23, 9:30pm, Kabuki. April 25, 9pm, PFA. (Michelle Devereaux)

Alps (Yorgos Lanthimos, Greece/France, 2011) Yorgos Lanthimos is well on his way to a reputation for sick yet oddly charming high-concept spectacles. Here, a group calling themselves Alps offers substitution services for the recently bereaved — that’s right, they’ll play your dead loved one to fill that hole in your life. Pitch-black comic moments abound, and the sensibility that made 2009’s Dogtooth so thrilling is distinctly present here, if not quite as fresh. Beyond the absurd logline, the plot is rather more conventional: things get out of hand when Alps member Anna (Aggeliki Papoulia, the eldest daughter from Dogtooth) gets too invested in one of her assignments, and the power structure of Alps turns on her. If Alps is not exactly a revelation, it’s still a promising entry in a quickly blossoming auteur’s body of work. Fri/20, 9pm, FSC. Sat/21, 2:30pm; Tue/24, 6:30pm, Kabuki. (Sam Stander)

Gimme the Loot (Adam Leon, U.S., 2012) Biggie Smalls’ track is just a smart starting point for this streetwise, hilarious debut feature by Adam Leon. Young graf artists Malcolm (Ty Hickson) and Sofia (Tashiana Washington) are hustling hard to get paid and fund a valiant effort to tag the Mets’ Home Run Apple to show up rival gang-bangers. The problem lies in raising the exorbitant fee their source demands, either by hook (selling pot to seductive, rich white girls) or crook (offloading cell phone contraband). The absurdity of the pair’s situation isn’t lost on anyone, especially Leon. But their passion to rise above (sorta) and yearning for expression gives the tale an emotional heft. Arriving with much post-SXSW buzz, Gimme the Loot stays with you long after the taggers have moved onto fresh walls. Fri/20, 9:15pm, Kabuki. Sat/21, 9:30pm, FSC. Tue/24, 6:30pm, Kabuki. (Kimberly Chun)

 

SAT/21

Choked (Kim Joong-hyun, South Korea, 2011) Baby, it’s cold outside: urban Seoul is the site of this debut feature by Kim Joong-hyun, but those familiar with the dog-eat-dog realities of getting ahead in the modern world, in any country, will recognize this unrelenting indictment of capitalism. In the de-centered middle of a financial mess left behind by his AWOL mom, the striving, good-looking Youn-ho (Um Tae-goo) holds down an unsavory job, evicting tenants for developers, to raise funds to support his materialistic fiancée. He’s under assault from his mother’s creditors, including her desperate divorcee friend who peddles black-market doodads. Moments of grace — and instances of human connection — are few and far between in this scorched emotional landscape of so-called bad mothers, where unselfish tenderness is scarce and money speaks volumes, and Kim’s smart, humanistic perspective won’t let you tear your eyes away. Sat/21, 1:30pm; April 28, 6pm; May 1, 9pm, Kabuki. (Chun)

Dreileben — Beats Being Dead (Christian Petzold, Germany, 2011) Originally made for German TV, the Dreileben trio is ideally viewed in order, one right after the other (SFIFF offers that option on two different days). It’s worth blocking off time to see all three, for maximum enjoyment of this tense, offbeat crime series; made by different directors, the films — which take place in a small town surrounded by fairy-tale forests containing monsters both real and imagined — link together in unexpected ways. The first entry, Beats Being Dead, focuses on nursing student Johannes (Jacob Matschenz), whose carelessness allows a convicted murderer to escape, and whose recklessness allows him to romance stormy hotel maid Ana (Luna Mijovic), while still pining for his rich, princessy ex (Vijessna Ferkic). Seldom has young love been portrayed so realistically — or set amid such an atmosphere of bucolic foreboding. Sat/21, 1:30pm; Tue/24, 9:45pm; April 29, 2:45, Kabuki. (Cheryl Eddy)

Bitter Seeds (Micha X. Peled, U.S., 2011) Just what we all needed: more incontrovertible evidence of the bald-faced evil of Monsanto. This documentary on destitute Indian cotton farmers follows an 18-year-old girl named Manjusha, a budding journalist who investigates the vast numbers of farmer suicides since the introduction (and market stranglehold) of “BT” cotton — which uses the corporation’s proprietary GMO technology — in the region of Vidarbha. Before BT took over in 2004, these cotton farmers relied on cheap heritage seed fertilized only by cow dung, but the largely illiterate population fell prey to Monsanto’s marketing blitz and false claims, purchasing biotech seed that resulted in pesticide reliance, failing crops, and spiraling debt. It’s a truly heartbreaking and infuriating story, but much of the action feels stagey and false. Should Indian formality be blamed? Considering the same fate befell Peled’s 2005 documentary China Blue, probably not. Still, eff Monsanto. Sat/21, 3:45pm, FSC. Tues/24, 8:50pm, PFA. April 26, 6:15pm, Kabuki. (Devereaux)

The Waiting Room (Peter Nicks, U.S., 2011) Twenty-four hours in the uneasy limbo of an ER waiting room sounds like a grueling, maddening experience, and that’s certainly a theme in this day-in-the-life film. But local documentarian Peter Nicks has crafted an absorbing portrait of emergency public health care, as experienced by patients and their families at Oakland’s Highland Hospital and as practiced by the staff there. Other themes: no insurance, no primary care physician, and an emergency room being used as a medical facility of first, last, and only resort. Nicks has found a rich array of subjects to tell this complicated story: An anxious, unemployed father sits at his little girl’s bedside. Staffers stare at a computer screen, tracking a flood of admissions and the scarce commodity of available beds. A doctor contemplates the ethics of discharging a homeless addict for the sake of freeing up one of them. And a humorous, ultra-competent triage nurse fields an endless queue of arrivals with humanity and steady nerves. Sat/21, 3:50pm, PFA. April 30, 1pm; May 1, 6:30pm, Kabuki. (Rapoport)

Dreileben — Don’t Follow Me Around (Dominik Graf, Germany, 2011) The second Dreileben film offers a shift in tone and style; it’s more of a procedural (but only sorta), and is the only trilogy entry shot on 16mm. Police psychologist Jo (Jeanette Hain) — her full name, Johanna, mirrors that of the first film’s Johannes — is summoned to Dreileben, ostensibly to help local cops track the murderous escapee (and, it would seem, taste the local cuisine, what with the endless dining scenes). But just when you start anticipating Jo slamming the cuffs on the murderer, you realize this story’s really about Jo’s relationship with estranged BFF Vera (Susanne Wolff), who invites Jo to stay at her crumbling country house while working on the case. When the women realize they unwittingly dated the same man years ago, old resentments bubble quickly to the surface. Plus: the pursuit of the killer, with the help of a chainsaw artist. Sat/21, 4pm; April 25, 6:15pm; April 29, 5pm, Kabuki. (Eddy)

Marina Abramović: The Artist Is Present (Matthew Akers, U.S., 2011) Matthew Akers’ sleek and telling doc explores the career and motivations of the legendary Serbian-born, New York-based performance artist on the occasion of 2010’s major retrospective and new work at the New York Museum of Modern Art. Abramović, self-styled the “grandmother of performance art” at an eye-catching 63, steels herself with rare energy — and a determination to gain equal status for performance in the world of fine art — for an incredibly demanding new piece, The Artist Is Present, a quasi-mystical encounter between herself and individual museum patrons that takes the form of a three-month marathon of silent one-on-one gazing. Meanwhile, 30 young artists re-perform pieces from her influential career. Akers gains intimate access throughout, including Abramović’s touching reunion with longtime love and artistic collaborator Ulay, while providing a steady pulse of suspense as the half-grueling, half-ecstatic performance gets underway. A natural charmer, Abramović’s charismatic presence at MoMA is no act but rather a focused state in which audiences are drawn into — and in turn shape — powerful rhythms of consciousness and desire. Sat/21, 4:15pm; April 28, 3:30pm, Kabuki. April 29, 5:40pm, PFA. (Robert Avila)

Dreileben — One Minute of Darkness (Christoph Hochhäusler, Germany, 2011) In part three, Molesch (Stefan Kurt), the muddy man we’ve seen skulking around the edges of the first two films, finally comes into focus. Early on, we learn his murder conviction was based on circumstantial evidence — a surveillance camera marred by “one minute of darkness” at a crucial moment. As veteran detective Kirchberg (Marcus Kreil), the Tommy Lee Jones to Molesch’s Harrison Ford, pursues his prey (while reconsidering the man’s guilt), the fugitive hides out in the woods, playing childlike alphabet games and absconding with lunches packed by passing hikers. But we’ve been waiting for the dark twist since part one’s cliffhanger — resolved here, though the events do not neatly align with what’s come before. The only conclusion: in Dreileben, truth is in the eye of the beholder. Sat/21, 6:30pm; April 26, 9:45pm; April 29, 7:15pm, Kabuki. (Eddy) 

Bernie (Richard Linklater, U.S., 2011) Jack Black plays the titular new assistant funeral director liked by everybody in small-town Carthage, Tex. He works especially hard to ingratiate himself with shrewish local widow Marjorie (Shirley MacLaine), but there are benefits — estranged from her own family, she not only accepts him as a friend (then companion, then servant, then as virtual “property”), but makes him her sole heir. Richard Linklater’s latest is based on a true-crime story, although in execution it’s as much a cheerful social satire as I Love You Philip Morris and The Informant! (both 2009), two other recent fact-based movies about likable felons. Black gets to sing (his character being a musical theater queen, among other things), while Linklater gets to affectionately mock a very different stratum of Lone Star State culture from the one he started out with in 1991’s Slacker. There’s a rich gallery of supporting characters, most played by little-known local actors or actual townspeople, with Matthew McConaughey’s vainglorious county prosecutor one delectable exception. Bernie is its director’s best in some time, not to mention a whole lot of fun. Sat/21, 9:30pm, Kabuki. (Dennis Harvey)

SUN/22

Will (Ellen Perry, England/France/Turkey, 2011) A far cry from director Ellen Perry’s 2005 political doc The Fall of Fujimori, this sweet-twee tale follows the adventures of a newly orphaned 11-year-old (Perry Eggleton) who slips away from his nun-run boarding school to attend a Very Important Soccer Game. Improbably kind strangers — including a taciturn Serb (Kristian Kiehling) with a troubled past — help guide Will on his journey. Tears are shed, life lessons are learned, etc. The one thing saving Will from drowning in its own sap is its enthusiastic, endearing embrace of European football culture; the game that Will (a diehard Liverpool supporter) is hellbent on attending is the 2005 Champions League Final. For LFC fans smarting over the current season, Will is a must-see: “You’ll Never Walk Alone” soars, and Steven Gerrard, Jamie Carragher, and “King Kenny” Dalglish make cameos. Sun/22, 11:30am; May 1, 6pm, Kabuki. (Eddy)

An Oversimplification of Her Beauty (Terence Nance, U.S., 2011) Terence Nance’s first feature might remind you of Barry Jenkins’ 2008 Medicine for Melancholy, in that it’s an ambivalent love story between two young African Americans that owes more the restive, intellectually curious, meta-cinema feel of the Nouvelle Vague than more contemporary U.S. cinema. The big differences are that Nance’s vision is both explicitly autobiographical and largely animated. He charts and muses upon an on-off relationship in stream-of-consciousness terms that encompass everything from the summary of a Louise Erdrich novel to an earlier-film-within-the-film (and a Q&A session that occurred after its screening). This kind of structureless navel-gazing can get tired, and indeed Beauty might ideally be experienced in sections rather than over one long haul. But still, just about any chosen few minutes are as clever and inventive as could be. Sun/22, 8:30pm, PFA. April 30, 9pm; May 1, 12:15pm; May 2, 4pm, Kabuki. (Harvey) 

 

MON/23

Darling Companion (Lawrence Kasdan, U.S., 2012) When the carelessness of self-absorbed surgeon Joseph (Kevin Kline) results in the stray dog adopted by Beth (Diane Keaton) going missing during a forest walk, that event somehow brings all the fissures in their long marriage to a crisis point. Big Chill (1983) director Lawrence Kasdan’s first feature in a decade hews back to the more intimate, character-based focus of his best films. But this dramedy is too often shrilly pitched and overly glossy (it seems to take place in a Utah vacation-themed L.L. Bean catalog), with numerous talented actors — including Richard Jenkins, Dianne Wiest, Mark Duplass, Elisabeth Moss, and Sam Shepard — playing superficially etched characters that merely add to the clutter. Most cringe-inducing among them is Ayelet Zurer’s Carmen, a woman of Roma extraction who apparently has a crystal ball in her psychic head and actually speaks lines like “My people have a saying….” Mon/23, 6:45pm; Tue/24, noon, Kabuki. (Harvey)

TUE/24

Target (Alexander Zeldovich, Russia/German, 2011) The year is 2020, and a group of disaffected upper-class Russians make a pilgrimage to an energy accumulator known as the Target, which halts aging, among other effects. The setting is an unsettlingly believable near-future culture based on standardized “ratings” for each member of society and an escalated fixation on age and appearance. What follows the transmutation of these five characters is an operatic mess of love, adultery, debauchery, and violence. It’s a weird admixture of philosophical science fiction, social satire, and intense character drama. In some ways, its closest relative is the bloated Wim Wenders dystopia Until the End of the World (1991), but its absurdities are more calculated and its acting more grounded. Complete with nods to Anna Karenina and Top Chef, it’s a consuming entertainment with consistently surprising creative choices. Tue/24, 2:30pm; April 27, 10pm, Kabuki. (Stander)

The San Francisco International Film Festival runs April 19-May 3; most shows $13. Venues: Castro Theatre, 429 Castro, SF; Pacific Film Archive, 2575 Bancroft, Berk.; SF Film Society Cinema, 1746 Post, SF; and Sundance Kabuki Cinema, 1881 Post, SF. More info at www.sffs.org.

The Performant: Tropical nights and Pacific days

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Stepping out with Brownout and Sunday Streets

It was quite a diverse crowd bobbing and weaving out on the dance floor of the Elbo Room as local Afrolicious stalwart DJ Señor Oz spun a red-hot Latin-fusion funk mix, which belied the blustery weather outside.

The Elbo Room is good for fantasies of decadent tropical nights — it’s a small room which fills up and heats up fast — all that de rigueur protective outerwear coming off pretty quickly when there’s sweaty beats to be had. It was an energetic set, and you could almost visualize a clump of palm trees swaying against the horizon of some pristine, white sand beach, fireflies and paper lanterns to light up the starry night (there actually are paper lanterns dangling from the ceiling of the Elbo Room—which helps the fantasy along).

The vibe became less Caribbean and more Texas borderland via Miami when nine-piece Austin-based Latin-funk band Brownout (Grupo Fantasma’s alter-ego) finally swooped to the stage like the titular eagles from the title track off their second album, Aguilas and Cobras. Suddenly from every corner of the room, a torrent of Texas natives swamped the dance floor from the first strains. The band’s name might sound like a state of electrical failure, but their mostly instrumental onstage powerjam was downright electrifying, a spiraling mix of funky urban grooves, swirling desert psychedelia, and a dollop of spicy Afro-Cuban rhythms, involving three percussionists, three horn players, two guitarists, and an electric bass. Touring to support a brand-new album, Oozy (Nat Geo Music, April 2012), Brownout did not neglect to play some old favorites, including a loopy, spacey “Pole Position,” which literally raised an intergalactic sweat from band members, not to mention their jostling groupies.

http://www.youtube.com/watch?v=i5a6gvc-LcU

The last buzzing traces of the tropics dissolved into the light grey cloud cover of Sunday’s staunchly NorCal climate reality check, as Sunday Streets stormed the beach and swarmed the Great Highway. Sure, Valencia Street might attract more weekend yogis and gourmet popsicle vendors, but there’s something about cruising the Great Highway with the laidback Sunset crowd that really appeals. Certainly no other Sunday Streets route has quite the same visuals — lush springtime parkland and blooming sand dunes, as opposed to the urban density that characterizes the other routes. On the Great Highway, the microclimates and windswept landscapes of Northern California take centerstage rather than the human tide, putting the focus more firmly on the participants rather than the distractions. 

But of course the usual Sunday Streets funmakers were around too. Party bikes decked out with boomboxes and bubble machines. The Sports Basement repair gang fixing flats and tightening brakes. Scattered food trucks and circulating petitioners. Dogs and rollerblades. Kites and kids. One plucky band, Please Do Not Fight,  decked out a pedal rickshaw and rode the full length of the route playing their guitars, while a backup rickshaw took the rear, passing out stickers and enjoying the ride. (Bands on bikes, it would appear, are big these days.) True, they could have maybe used a little more Afro-Cuban percussion to round out their sound, but for a lazy, gauzy Sunday, their good-natured, low-key California vibe fit right in.

SF’s Loquat releases new music video

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Longtime San Francisco indie pop act Loquat released a video for the song “Time Bending” off brand new album We Could Be Arsonists late last week. A bare bones look at a classic act, the video follows the band setting up in the studio and recording the song surrounded by smiling onlookers, welcoming them back into the fold.

The band plays its record release show next Friday, April 27 at the Independent.

10 dishes that’ll bowl you over

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Check out this week’s Feast food and drink supplement for the best in hidden Bay bites

The bowl, the cradle of sustenance, a definite necessity on those windy, overcast days to which SF is so prone. Here are some of my local favorites, from classic French onion from Chez Maman to Coi’s bowl-bound fried egg artistry. 

Pork ramen with buttered corn from Genki Ramen

Ramen, that steaming, succulent noodle soup, is sure-enough Japanese comfort food. Genki does it right, with a well-balanced broth, springy noodles, tender meat, and a heaping spoonful of buttered corn to pack in just a few more decadent calories.

3944 Geary, SF. (415) 752-2663, www.genkiramen.com

Onion soup from Chez Maman

Onion soup is such a French classic that when restaurants do it wrong it’s downright shameful, and when they get it right it’s amazing. Chez Maman has the best brew I’ve ever tasted, with just the right ratio of salty beef broth to sweet carmelized onion, topped with a thick soft layer of lightly bruléed gruyere. Even though it’s wonderfully filling, one bowl is never enough. 

1453 18th St., SF. (415) 824-7166, www.chezmamansf.com

Guilin lamb noodle soup from Mission Chinese Food

This trendy spot may be better known for its pork belly, but the noodle soup here is the unsung hero of the menu. Tender braised lamb cheek mingles with thick rice noodles, flavorful peanuts, and crunchy pea shoots in a generously-sized bowl. Eating it makes me think of windswept nights on the Mongolian tundra, cuddling in a yurt. While geographically inaccurate, the fantasy conveys the rugged snuggle of this yummy bowl. 

2234 Mission, SF. (415) 863-2800, www.missionchinesefood.com

Spaghetti with ricotta, fava leaves and black pepper-cured egg yolk from Flour + Water

Finally, a pasta dish in which the focus is on the very essence of pasta: not sauce, or meatballs, just the flour and water of its name. My favorite so far is Flour + Water’s spaghetti, al dente noodles enhanced with minimal topping. With a sprinkling of sweet and salty ricotta, a gentle glaze of egg yolk, and a handful of tender greens, this dish makes me feel like a sophisticated woman in springtime as I slurp.

2401 Harrison, SF. (415) 826-7000, www.flourandwater.com

“Fried egg, not fried” from Coi

This is probably the most artistic bowl on the list. A custardy egg yolk sits atop a nest of breadcrumbs, brassica, and garlic blossoms with a puree of roasted garlic below. The intricate presentation recalls an exhibit in a gastronomic art museum. Tastes like a rarified, amazingly seasoned, smokey toad-in-the-hole.

373 Broadway, SF, (415) 393-9000, www.coirestaurant.com

Seasonal soups from Outerlands

Outerlands caters to a crowd of Sunset-dwellers seeking warmth. The restaurant even offers a basket of blankets in which to wrap yourself. When even that’s not enough, the velvety seasonal soup is always there for you. My favorite is the “early girl” summer tomato. Sweet, tangy, creamy, and fresh, it goes great with their thick, crusty toast or a grilled cheese sandwich. In winter there’s butternut squash, topped with maple hazelnuts and yogurt. Other varieties include carrot ginger, roasted red pepper, potato leek, spicy kale and red bean, broccoli, cauliflower, and lentil.

4001 Judah, SF. (415) 661-6140, www.outerlandssf.com

Vermicelli bowl with roasted pork and imperial rolls from Pho Garden

This staple of Vietnamese menus everywhere is exceptional at Pho Garden. The pork has the right amount of grill char and sweetness, and the imperial rolls are crispy bites of heaven, overflowing with bits of barbecue pork and diced black mushroom. A cheap, thoroughly satisfying meal.

2109 Clement, SF. (415) 379-8677, www.phogardensf.com

Mapo tofu rice bowl with eggplant at Suzu Noodle House

Immensely filling, with soft cubes of tofu swimming in a spicy brown sauce of ground pork and Szechuan pepper, this bowl reminds us of just how delicious tofu can be. The sautéed eggplant is the third delectable component, all stacked atop a sticky, vibrantly white mound of rice. If you finish the entire bowl, you probably won’t have to eat again for a few days.  

1825 Post, SF. (415) 346-5083

Cha Cha bowl at Orlando’s Caribbean BBQ

The Cha Cha bowl is that rare thing – healthy and delicious ballpark food. Rice, black beans, and tender chunks of jerk chicken are topped with pineapple salsa, shredded zucchini, carrots, onions, and one of four sauces – BBQ, chipotle, jalapeño, or habanero. No matter how much sauce you slather on, no worries about spilling on your jersey. It all comes in a neat, portable container. Yay for bowls! 

24 Willie Mays, SF, (415) 972-1800

Bowl of beignets from Spruce

And now for dessert. The beignet is the dainty, fluffy, Southern cousin of the donut hole. Spruce dusts its version with sparkling sugar, and accompanies the treats with twin dishes of chocolate ganache and crème anglaise for dipping.

3640 Sacramento, SF. (415) 931-5100, www.sprucesf.com

 

Attention: Tiny book in your newspaper (Feast is here!)

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Our bi-yearly Feast food and drink magazine hit newsstands today, so strap up your sneaks and step out because you have a lot of dining around to do. Marke B. went on a tapas tour of the city’s sabrosos Spanish spots, Virginia Miller did a neat breakdown (sauce-by-sauce, no less!) of authentic Southern barbecue spots in the Bay Area, and surprising spring cocktail trends. Emily Savage makes it easy for limited-diet types with her exploration of tasty vegan and gluten-free dishes, and I took advantage of flu season to discover the many styles of the city’s tea houses. And special web-only bonus: Ali Lane gets bowled over by the best dishes… in bowls

And click here to see the mag in all its printed glory. And bon appetit, of course.

 

 

Happy Tax Day, suckers

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It’s Tax Day, the deadline for filing income tax returns, which seems like an appropriate time for Senate Republicans to kill President Barack Obama’s proposed Buffett Rule, which would have required the richest Americans to pay at least a 30 percent tax rate rather than using various tax dodges to pay a lower tax rate than most of us.

Honestly, it’s hard to even summon the outrage or indignation anymore over the latest example of life under plutocracy. Most Americans seem resigned to accept being ruled by the rich in crass, obvious, and incredibly short-sighted ways – even on Tax Day, when our class resentments should be finely tuned.

Sure, California voters will probably get a chance to increase taxes on millionaires this November – a proposal that consistently polls well – but even that has now been tied to a sales tax increase. Whatever happened to good ole economic populism? Why has the Occupy Wall Street movement’s brilliant “We are the 99 percent” paradigm faded so quickly from the national stage?

Despite mountains of evidence that the richest individuals and corporations have written tax codes to their benefit, and that the tax code is fundamentally unfair to most Americans and damaging to this country’s long-term economic prospects, Americans seem to accept their lowly fate and role serving the greedy rich.

The latest examples of solid reporting on our corrupt and inequitable tax system come from the New York Times’ David Kocieniewski, whose year-long series “But Nobody Pays That” just won the Pulitzer Prize for explanatory reporting, with the committee calling it a “lucid series that penetrated a legal thicket to explain how the nation’s wealthiest citizens and corporations often exploited loopholes and avoided taxes.”

And yet today, Tax Day, the greedy rich still paid lower tax rates than most of us, and then used their Republican Party enablers to prevent that situation from changing anytime soon. But rather than heeding that simple fact or clicking on my links that explain the problem in more detail, the blog commenters will probably say I’m just jealous. Ugh, I think it’s my nap time.

Localized Appreesh: Grandma’s Boyfriend

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Localized Appreesh is our weekly thank-you column to the musicians that make the Bay. To be considered, contact emilysavage@sfbg.com.

Not only does San Francisco punk act Grandma’s Boyfriend have the best name ever, but the group took it upon itself to add its own questions to the Localized Appreesh survey. Truly, a band after my own heart.

While it doesn’t have any shows this week (check back in early May for a house show in Oakland, and a show June 7 at Knockout, plus July 3 at El Rio), Grandma’s Boyfriend is celebrating a milestone: the release of brand new six-song seven-inch EP on Loglady Records, which can be downloaded here.

It’s agile power pop/snot-punk joy, the Romantics meet FYP, with darker lyrical themes straddling anxiety, fear, love, and redemption. Check out the EP, then check out their answers below.  Just make sure to hide the octogenarians.

Year and location of origin: Grandma’s Boyfriend (originally RubberThumbFoolAroundRachelSweat) formed in San Francisco in October 2009. George joined summer 2010. Thea joined in February 2012. We are all San Francisco natives.

Band name origin: While visiting a friend of ours’ parents, that said friend asked us if we’d met her grandma’s boyfriend. We said “no.”

Band motto: “Fuck if I know.” That’s what it is.

Description of sound in 10 words or less: Rock ‘n’ roll sensori.

Instrumentation: Mike: rhythm guitar and vox; Malcolm: drums; George: bass and vox; Thea: lead guitar

Most recent release: Our self-titled seven-inch. For some reason a lot of them are about getting killed and lost love and girls that just take things too far. It’s being released on Loglady Records later this month (pre-orders up now!!!).

Best part about life as a Bay Area band: The fog.

Worst part about life as a Bay Area band: Bands that form in San Francisco and then move to New York and still try to claim SF.
Interesting tour story: While touring in Japan two summers ago, we arranged to take an overnight bus from Yokohama to Kobe. One of the bands we just played with in Yokohama took us out for “all you can drink” at some restaurant. After drinking and eating for two hours, we were in a rush to get to our bus before it left. Our new friends kept assuring us there was a bathroom on board. There wasn’t. We tried to sleep it off because we weren’t sure when we’d get to a rest stop. I remember waking up in the back row of the bus in the pouring rain to George pissing into a water bottle between Malcolm and myself.

First album ever purchased: Mike: It’s Time to See Who’s Who, Conflict; Malcolm: Rocket to Russia, Ramones; George: Bad Hair Day, Weird Al; Thea: Nevermind, Nirvana

Most recent album purchased/downloaded: Mike: Slave to Love, Symbolick Jews; Malcolm: I vacuumed the floor at Recycled Records for a Smashing Pumpkins tape; George: A copy of Born in the USA Mike found in a box of tapes; Thea: Received a mixtape from a friend of Reigning Sound, True Widow, and the Parting Gifts

What do you see when you look in the mirror?: Mike: Catholic guilt; Malcolm: I’m not answering this. This is question is dumb; George: Fuck if I know; Thea: Solitude, tranquility and balance

Favorite local eatery and dish: Mike: Golden Era – everything; Malcolm: El Castillito on Church & Duboce – burrito; George: Brother’s Pizza – pizza; Thea: El Toro – baby super prawn burrito, no lettuce, no tomato!

Editorial: Free Muni tickets for kids makes sense

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San Francisco is a transit-first city that has spent millions of dollars over the years trying to convince people to ride Muni. And yet, one of the best and most effective ways to get people out of their cars is facing surprising opposition.

Sup. David Campos has been pushing for months to get Muni to allow young people to ride free. It makes immediate sense: The school district, perpetually short on funds, is cutting back bus service (which is preferable to cutting back classroom instruction). For low-income families, the disappearance of a yellow school bus, which offered transportation free of charge, is a financial obstacle — and the last thing anyone needs is another obstacle to keep kids out from coming to school.

Reduced-fare youth passes are already available — but they aren’t easy to get. Parents need to show up in person, during the day, with a birth certificate, passport or other government ID; that’s hard for a lot of working parents. The school district ought to be able to sell the passes, but right now nobody has the resources to make that happen.

It’s possible to create a system to identify and offer free service to low-income families, but again, unless it’s done through the schools, where that data is already kept (for reduced-price lunches), we’re talking about creating a complicated bureaucracy that isn’t remotely necessary.

According to Campos, the cost of providing free service for all youth is only $8 million a year — and he’s identified regional transit funds to pay for much of it. Muni has a deep budget deficit already, and anything that costs more money has to be carefully evaluated, but there are so many ways to cover the price tag. (Why is Muni still paying the Police Department tens of millions of dollars to get cops on the buses when that’s part of the department’s job already?)

And this goes beyond the very clear needs of low-income families. Getting young people onto the buses is an excellent way to convince the next generation of San Franciscans that it’s not necessary to own and operate a motor vehicle in the city. The message is already getting out — according to an April 5, 2012 study by the Frontier Group, the number of car miles driven by people between 16 and 34 dropped 23 percent between 2001 and 2009. That trend crosses class lines — in fact, among young people who earned more than $70,000 a year, public transit use rose 100 percent over the decade and biking by 122 percent.

In other words, it’s proving to be a massive challenge to get older people out of their cars, but the kids are already moving in that direction. With a little help and push, San Francisco could make giant strides in the next few years.

And a significant reduction in car use would more than pay for the cost of free Muni for youth. Every car off the road means less road maintenance, less air pollution — and perhaps more important, less congestion to slow down the buses. Faster buses means more riders and more fares (and less money spent paying drivers to sit in traffic).

So it’s a great idea that pays for itself and helps the environment. And yet some city officials (led by Sup. Scott Wiener) still resist. They should back off. The city should move to approve this plan immediately.

 

Talking with Etgar Keret (supposedly)

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You can’t imagine the writerly crisis I experienced typing up the questions for my Etgar Keret interview. What responses could I possibly elicit from Israel’s most prominent fabulist that would rival the odd, sparkling stories of his latest, Suddenly, a Knock on the Door (FSG Originals, 208pp, $14)? Better just to publish one of his pieces, perhaps the titular account of a man forced at gunpoint to overcome writer’s block or the story of the guy who falls (via a buried gumball machine) into a world populated by characters from the fibs he’s told over the year.

But running through the — dare I say — whimsy of his work, there is a metallic vein of reality about life in the Middle East. Far be it for me to deprive Guardian readers of the chance to hear original thought from Keret. And so I wrote, and he wrote back, and I wrote again, and he wrote back again, and so it went until we had fashioned a call-and-response that just nearly did justice to his books. He’ll be in town, in conversation with Michael Chabon at the Jewish Community Center on Mon/23. That’ll be a fun thing to hear, also.

>>Ira Glass reads the titular story from Suddenly, a Knock on the Door. For more information on the book’s star-studded audio release featuring Willem Dafoe, Ben Marcus, Gary Shteyngart, Michael Chabon, and others, click here

SFBG: Hi Etgar. We’re conducting this interview via email, can you please tell me how my readers and I know it’s really you answering the questions?

EK: Well, to be honest, it isn’t really me answering this. It is the same guy who writes my stories. He is really good and hardworking and starting June 1 he’ll start walking the dog and playing with the kid too.

SFBG: Speaking of language boundaries. Do you ever chat with the folks who translate your work before they start? What advice do you give them?

EK: I always try to have a dialogue with my translators. Some of them are happy with it, others openly admit that they prefer translating dead authors who are not trying to befriend them or send them 15 consecutive emails about a story’s title. The bottom line is that translator is the boss but I’m very happy to help if they are willing to let me. 

SFBG: How do Israeli and United States audiences react to the work? Can you sense a national difference in its reception?

EK: There is something very intimate with a Israeli audience, the most common Israeli question I get is if a certain story is about a guy that served in the army with them. It is fun to be close to your readers but it is also very rewarding to have a dialogue with readers who come to my stories tabula rasa and who don’t personally know your mom.

SFBG: You went through a spate of writer’s block before writing Suddenly, a Knock on the Door that you once attributed to the change in lifestyle you underwent when you became a family man. How did that writer’s block feel?

EK: Most of the time I didn’t feel it. But there were those moments when I thought I had a story to write but when I sat down in front of the computer I found out I didn’t, which felt very much like a phantom pain.

SFBG: How did you pull out of it?

EK: I’m not sure. After a very long time thinking that I have a story to tell and then discovering I don’t know how to tell it, I sat down next to a computer and a story did come out.

SFBG: Have you gone through spates since in which you weren’t inspired?

EK: I hardly wrote any fiction in the past 18 months. But know, after I’ve overcame a block, it feels slightly less fatal. (But it is still very scary.)

SFBG: Do we get the full experience of your stories when we read them in English?

EK: They read very differently in any language which isn’t Hebrew. The thing I like the most about Hebrew colloquial speech is that it allows you to switch between registers mid-sentence. A typical Hebrew slang sentence would be reconstructed both from ancient biblical words and from Russian, English, Arabic, or simply made-up ones. There is something about this tension between the ancient and the traditional on the one hand and the chaotic and the contemporary on the other that creates an amazing and explosive energy in almost any random sentence. Many times my stories intentionally and unintentionally tap into that energy and this is one thing that inherently doesn’t pass translation. I couldn’t wish myself for better translators to English but there are times in which the only thing that we can all do after looking together at some Hebrew sentences is to start crying or to bang our head into a wall.    

SFBG: Tell us about your writing routine. Has it changed over time?

EK: For me, the term “writing routine” sounds like an oxymoron. It is a bit like saying “having-a-once-in-a-lifetime-insight-which-makes-you-want-to burst-into-tears routine.” There has never been anything routine-like about writing for me. I sit down and start writing only when I have a story in mind. In my 20s this could have happened three times a week, these days it happens much less often but when it does, it feels much more like getting an unexpected present than like something I actually initate.

Etgar Keret in conversation with Michael Chabon

Mon/23 7pm-8:30pm, $17-$25

Jewish Community Center

3200 California, SF

(415) 292-1200

www.jccsf.org

Coachella Day 2: All about Azealia (and Radiohead)

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All photos by Eric Lynch

If Friday was about the weather and a few stellar performances, Saturday was all about the music. Larger, happier crowds with pants rolled higher and enthusiasm to match.

Azealia Banks broke it down 1980s style for what she said was her largest crowd ever.  Love the nails Azelia!

Annie Clark, aka St. Vincent, belted it out soon after the sun went down and managed to change guitars four times. 

There were so many Radiofans camped out at the Coachella Stage during the Shins I wondered if SBTRKT could host a nice crew. But the Gobi Tent was bursting with amped Gen Zeders ready for one of the funner performances of the day.

And then Radiohead‘s polished master stroke hypnotized the willing. I couldn’t get over Thom’s wall of recycled plastic bottles reinvented as a 30-foot-high light wall. 

Outside Lands 2012 announced: Stevie Wonder, Metallica, Jack White

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Holy cow, the Outside Lands lineup is out and it is packed full of major, big name acts. How long ’till San Francisco festival season? More thoughts on this to come. But for now, confirmed Outside Lands 2012 lineup is below:

 
Stevie Wonder
Metallica
Neil Young & Crazy Horse
Jack White
Foo Fighters
Beck
Skrillex
Sigur Ros
Justice
Norah Jones
Dispatch
The Kills
Regina Spektor
Passion Pit
Andrew Bird
Grandaddy
Big Boi
Bloc Party
Explosions In The Sky
Franz Ferdinand
Mstrkrft
Rebelution
Die Antwoord
Fitz and The Tantrums
Portugal. The Man
Amadou & Mariam
Wolfgang Gartner
Fun.
Dr. Dog
The Walkmen
Washed Out
City and Colour
Two Gallants
Of Monsters and Men
Mimosa
Alabama Shakes
Reggie Watts
Trampled By Turtles
Tame Impala
Jovanotti
The Be Good Tanyas
Geographer
Sharon Van Etten
Yacht
Sean Hayes
Bomba Estereo
Dirty Dozen Brass Band
Big Gigantic
Thee Oh Sees
Wallpaper
Tennis
Zola Jesus
White Denim
Allen Stone
The M Machine
Michael Kiwanuka
Tanlines
Father John Misty
Electric Guest
Caveman
Yellow Ostrich
Papa
Honey Island Swamp Band
Animal Kingdom
 
Even more bands will be announced in the coming weeks.

The festival takes place Aug. 10-12, 2012. Three-day $195-$225 tickets (and $495 VIPs) go on sale this Thu/19 (April 19) at noon PST.