2012

Bands on the Rise 2012

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emilysavage@sfbg.com

MUSIC There’s no underlying theme running through the 12 acts profiled here other than geographic: they all reside somewhere in the Bay Area. Well, that and we think they’ll break huge this year. Or at least, deserve a larger audience in 2012. It’s not based on buzz or hype, I can assure you of that. It’s about their artistic output, innovation, and listenability, the grand scheme of the band’s lifespan (just how many EPs did they record?), and the current cultural zeitgeist as we see it.

Perhaps what links them is what divides them — their musical diversity. As opposed to recent years, we are not in 2012 overloaded with a single genre. That blanket, behemoth of fuzzed out garage rock, which at times felt overdone, overhyped, and overworked, is finally expanding. That’s not to say we aren’t fans of garage, it’s just a note that there’s so much more out there in our freaky little section of the West Coast. This year feels electric; it began with a refreshing mix of acts on the rise.

In the Bay Area blender there’s doomy metal, tropical synth pop, cloud rap, moombahton, dirty rock, and all the gratuitous additional descriptors you can stomach. In asking the chosen acts how they personally described their sound, I got back cerebral explanations such as “post-Apocalyptic-art-wave,” “zenith snowflake pop” and “an avalanche of barbed wire and rabid sharks.” I can’t stop listening.

Some of the bands and DJs have been haunting around Bay for nearly a decade, others picked up their instruments as a collective just last year. Some have amassed thousands of social media fans, a modern indicator of popularity if ever there was one, while others currently hover around 100 likes. Most have an exciting new release coming in the next twelve months, and all will likely be touring to a city near you.

It can be difficult to capture the essence of a living, breathing band, so we went straight to the source. I asked the tough questions — how would you describe your sound (as in, here’s a soapbox, let’s get it right this time) — and the headier ones, because everyone wants to know what musicians eat, right? Below, I’ve given you a brief wrap-up of who they are and why they should be on your radar in 2012. Following that you’ll see their answers to our quickie take off the Proust questionnaire.

>>DIRTY GHOSTS

>>DJ THEORY

>>METAL MOTHER

>>MAIN ATTRAKIONZ

>>SEVENTEEN EVERGREEN

>>JHAMEEL

>>TERRY MALTS

>>FUTURE TWIN

>>BLACK COBRA

>>SILVER SWANS

>>LE VICE

>>TYCHO

 

Lookin’ good

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culture@sfbg.com

BODY If your New Year’s resolution is flagging, here are some budget boosts to kickstart your makeover (or de-stress) ambitions. Never give up! Deals are for February: call ahead for more details or restrictions information.

 

FITNESS

Sivananda Yoga Vedanta Center 1200 Arguello, SF. (415) 681-2731, www.sfyoga.com Find your center at this Inner Sunset nonprofit that’s run by world peace-inspired volunteers. Get your first class for free, and 50 percent off the 10-class ($95-115) or monthly unlimited pass ($110). Individual classes are $10-15 each.

Planet Granite 924 Mason, SF. (415) 692-3434, www.planetgranite.com An indoor climbing gym and yoga studio in the Presidio that boasts of the best views in the Bay Area. A belay lesson for $34 comes with free gear rental and one-day pass.

START Fitness 1625 Bush, SF. (415) 225-5715, www.STARTfitness.com These Pacific Heights bootcamp workout programs are designed by an army fitness trainer. START claims to be the oldest program of its kind in the country. Four-week bootcamp $199, from regular price of $290.

Bianchi Fitness 566 Dolores, SF. (415) 218-7045, www.bianchifitness.com Year-round outdoor fitness training in the Castro that takes advantage of the Bay Area’s natural beauty, offering group and individual classes. Take as many classes as you want during a two-week period for $75.

Body Mechanix Fitness Cooperative 219 Brannan, SF. (877) 658-4757, www.body-mechanix.com An independently-owned fitness cooperative in SoMa offering innovative training programs. $49 for a $120 certificate.

ODC School and Rhythm and Motion Dance Program 351 Shotwell, SF. (415) 863-9830, www.odcschool.org This Mission District mainstay offers classes in all styles of dance, from ballet to hip hop, at every level of ability, from amateur to professional. $14 per dance class, $7 for seniors and teens.

Chestnut Pilates 1877 Chestnut, SF. (415) 673-3280, www.chestnutpilates.com Run by dancer Cathie Caraker, this Cow Hollow studio guides students to toned abs and inner peace through a better understanding of the body. $60 for $80 certificate.

Primal Health and Training 1074 Folsom, SF. (510) 432-9648, www.primalhealthsf.com At his SoMa studio, Khalid Kohgadai teaches how to overcome inertia and unwanted weight gain through the methods that worked for him. $50 for two sessions.

Caitlin Weeks Nutrition and Personal Training 2435 Polk, Suite 8, SF. (415) 624-5121, www.grassfedgirl.com In Russian Hill, Weeks teaches methods for battling obesity gathered from her personal experience of dropping 80 pounds and keeping it off. $75 for a $100 certificate.

Yoga Garden 286 Divisadero, SF. (415) 552-9644, www.yogagardensf.com This tucked-away studio is committed to teaching safe, accessible classes in Iyengar, Asthanga, Vinyasa, Hatha and pre-natal yoga in the Lower Haight. Get a four-week introductory membership for $65. First timers score an hour-long massage for $49. Get a class-a-day membership plus monthly massage for $120/month.

Jamz Trainings 292 4th Street, Oakl. (415) 857-5269, www.jamztraining.com In Oakland, James Robinson customizes personal programs specializing in weight loss, athletic performance, motivation, and strengthening. $50 for $75 certificate.

Bridges Rock Gym 5635 San Diego, El Cerrito. (510) 525-5635, www.bridgesrockgym.com This El Cerrito gym offers indoor “bouldering,” relatively short climbs full of obstacle arrangements designed to test problem-solving skills. $25 for a three-visit pass and climbing gear.

 

BEAUTY

The Barber Lounge 854 Folsom, SF. (415) 934-0411, www.barberlounge.com This 2012 industrial warehouse approximation of an old-fashioned barbershop caters to men and women in sunny, art-bedecked loft space. $15 brow-shapings, Mon.-Fri. 4 p.m.-8 p.m. Book a cut and color and receive $20 off a facial or massage of at least 60 minutes.

John Francis Spa Martin De Porres Medical Building, 4200 18th St., Suite 101, SF. (415) 861-3000, www.johnfrancisspa.com The staff at this Castro spa offers holistic massage, waxing and skin care, plus mineral makeup, and tension relief foot treatments. Glycolic peels are reduced from $75 to $35 when combined with a facial. Registered clients receive 20 percent off on facials on their birthdays. $20 off when combining facial and massage on the same day.

Shear Bliss Salon 275 Gough, SF. (415) 255-8761, www.shearblisssalon.com These Aveda-trained stylists use eco-friendly styling techniques and products. The salon focuses on straight perms, coloring, extensions, and curly hair. New clients receive $20 off hair coloring.

San Francisco Community Acupuncture 220 Valencia, SF. (415)675-8973, www.missionsfca.com Affordable acupuncture is offered here in a comfortable, calm group setting. Pay $25-50 per treatment, sliding scale. Yelp users can receive a $40 gift certificate for $25.

Love Your Face SF 1075 Pacific, Suite A, SF. (415)529-2368, www.loveyourfacesf.com Curious about semi-permanent eyelash curling or eyelash-eyebrow tinting and ditching the daily regimen? LYF is the place to check out. Also: Ayuvedic ear treatments for wax removal and nourishment of the ear canal and drum. Refer a friend for $5 off your next service. Purchase five services and get one free. Yelp users get $50 worth of treatments for $35.

Earth Body 534 Laguna, SF. (415) 552-7200, www.earthbody.net This organic skin care spa takes a holistic, sustainable approach that draws on ancient traditions of healing. First time clients receive $15 off any treatment Mon.-Fri. Add a supplemental foot therapy, facial massage, or heated neck therapy to your session for free.

Chez Sylva 1310 8th Ave., SF. (415) 242-1100, www.chezsylva.com Salon offers waxing, threading, and a number of signature facials, but is best known for electrolysis and permanent hair removal. New clients receive a 10 percent discount on first treatment. Mention its website and receive an additional 5 percent discount.

Flourish Skin and Wax 1905 Union, SF. (415) 370-6559, www.flourishskinandwax.com Cheerful pastel walls and mellow music here eases the usual pain of waxing. Perfectionist waxers can satisfy even the most sensitive skin types. Book a Flourish facial and receive a complimentary cleanser; book a Brazilian wax and receive a complimentary brow wax.

Rincon Chiropractic Massage and Acupuncture 101 Howard, Suite D, SF. (415) 896-2225, www.rinconchiro.com Rincon focuses on the relationship between the structure and function of your spine. It provides a wide range of services, like rehabilitation therapies, mother-to-be, and stress-relieving massages. $25 off for students who bring in a valid student ID. Yelp users can get a $90 specialty massage for $50.

Tiptoes Nail Spa 300 De Haro, Suite 336, SF. (415) 626-9637, www.tiptoesnailspa.com This swanky Potrero Hill spot uses vegan and DBP, touelene and formaldehyde-free nail polish as well as botanical-based, petrochemical-free products. Go for a relaxing ambiance, cool chairs, and free Red Vines. Early bird special: mani-pedis for $35 before 3 p.m.

Curl Up and Dye Beauty Salon 350 Alabama, SF. (415) 861-2515, www.curlupanddyesf.net Ally likes big hair and monster movies. Jerry likes cheeseburgers and tight fades. Both have trained with Vidal Sassoon, Bumble and bumble, and Kevin Murphy. Both have devoted clients who come back time and time again for bold cuts and sexy styles. Receive $20 off a cut or color with either stylist.

Rep Clock

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Schedules are for Wed/8-Tues/14 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. Dirty Looks presents: City of Lost Souls, Fri, 8. “Mindscapes,” short films, Sat, 8.

CALIFORNIA COLLEGE OF THE ARTS 1118 Eighth St, SF; www.dirtylooksnyc.org. Free. Dirty Looks presents: “Queer Conversations on Culture in the Arts,” with selections from the “Female Trouble” experimental shorts program and a conversation with Margaret Tedesco, Thurs, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Pickpocket (Bresson, 1959), Wed, 3:30, 7:15, and American Gigolo (Schrader, 1979), Wed, 4:55, 8:45. •Beauty and the Beast (Cocteau, 1946), Thurs, 3:05, 7, and No Such Thing (Hartley, 2001), Thurs, 4:55, 8:50. “Midnites for Maniacs: I’m Black and I’m Proud:” •I’m Gonna Git You Sucka (Wayans, 1988), Fri, 7:30; Pootie Tang (Louis CK, 2001), Fri, 9:30; CB4 (Davis, 1993), Fri, 11:30. French American International School presents: “I-Speak: Celebrating 50 Years of International Education,” Sat, 6:30. This event, $5-10; tickets at www.internationalsf.org. •Do The Right Thing (Lee, 1989), Sun, 2, 8, and Malcolm X (Lee, 1992), Sun, 4:15. “Love: Ali MacGraw:” Love Story (Hiller, 1970), Tues, 8. With pre-show gala performance and MacGraw in person; for tickets ($25-45), visit www.ticketfly.com.

ELMWOOD 10070 San Pablo, El Cerrito; www.rialtocinemas.com. Free. “Community Cinema:” More Than a Month: One Man’s Journey to End Black History Month (Tilghman, 2012), Wed, 7.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. “Rafael Film Club:” “Jan Wahl,” Thurs, 1. Pina (Wenders, 2011), call for dates and times. “Mostly British Film Festival:” Route Irish (Loach, 2010), Wed, 7; Albatross (MacCormick, 2011), Thurs, 7. “2012 Oscar Nominated Short Films,” narrative and documentary (separate admission), Feb 3-9, call for times.

LAMORINDA THEATRES Four Orinda Theatre Square, Orinda; www.caiff.org. $12-15. “California Independent Film Festival,” 11 features, plus docs, shorts, and educational seminars, Feb 10-16.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: Hollywood Dames: Beauty and Brains:” Intermezzo (Ratoff, 1939), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Documentary Voices:” The Green Wave (Ahadi, 2010), Wed, 7. “Seconds of Eternity: The Films of Gregory J. Markopoulos:” “Markopoulos: The Early Films (1940-49)” Thurs, 7; “Eros and Myth (1950-63),” Sat, 6:30. “Austere Perfectionism: The Films of Robert Bresson:” The Trial of Joan of Arc (1962), Fri, 7; Les dames du Bois du Boulogne (1945), Fri, 8:25; Lancelot of the Lake (1974), Sat, 8:30. “Screenagers: 14th Annual Bay Area High School Film and Video Festival,” Sat, 3. “Howard Hawks: The Measure of Man:” The Criminal Code (1931), Sun, 4:30; Bringing Up Baby (1938), Tues, 7. “African Film Festival 2012:” Viva Riva! (Munga, 2010), Sun, 6:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Come Back, Africa (Rogosin, 1959/2012), Wed-Thurs, 6:45, 8:30. Drive (Winding Refn, 2011), Wed, 8:45. Into the Abyss (Herzog, 2011), Wed, 6:45. SF IndieFest, Feb 9-23. Visit www.sfindie.com for complete schedule.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. Domain (Chiha, 2010), Wed-Thurs, 2, 4:30, 7, 9:30. Once Upon a Time in Anatolia (Ceylan, 2011), Feb 10-16, 2, 5:30, 8:30.

VOGUE 3290 Sacramento, SF; www.mostlybritish.org. $12.50. “Mostly British Film Festival:” Black Butterflies (van der Oest, 2011), Wed, 5; London Boulevard (Monahan, 2010), Wed, 7:15; The Great White Silence (Ponting, 1924), Wed, 9:30; A Passionate Woman (2010), Thurs, 5; Route Irish (Loach, 2010), Thurs, 7:30.

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $7 donation. “The Second Coming of the Vortex Room:” The Second Coming of Suzanne (Barry, 1974), and Marjoe (Kernochan and Smith, 1972), Thurs, 8.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Bros Before Hos:” The Killing of a Chinese Bookie (Cassavetes, 1976), Thurs, 7:30; “Female Trouble,” experimental shorts program presented by Dirty Looks curator Bradford Nordeen, Sun, 2.

Our Weekly Picks: February 1-7

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WEDNESDAY 1

Kapowski

Oakland-based indie pop quartet Kapowski is celebrating the release of its debut album, Boy Detective, with a party at Rickshaw Stop. With influences including George Gershwin, the Velvet Underground, and David Bowie, it’s no wonder Kapowski’s sound seems very much its own unique creation — sort of a dreamy, eerie, dissonant electric piano-driven march. While Thursday marks the release of the band’s debut album, Kapowski’s vibe has been slow cooking since front man and group visionary Jesse Rimler began collaborating with bassist Jon Gondo during middle school. (Mia Sullivan)

With Mwahaha and Bells

8 p.m., $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


THURSDAY 2

Mostly British Film Festival

February is traditionally an uber-boring month for cinemaniacs — but fret not, local film fans: you need not resort to queuing up at the megaplex to weep at Channing Tatum’s romantic troubles. Not only is IndieFest looming (opening night is Feb. 9), but the Mostly British Film Festival — co-presented by the San Francisco Neighborhood Theater Foundation and the California Film Institute — kicks off tonight, with 28 new and vintage films from the U.K. (duh), Ireland, Australia, and South Africa. Highlights include Ken Loach’s latest, political thriller Route Irish; a complete screening of Michael Apted’s “Up” documentary series; and swinging London time capsule Performance (1970). (Cheryl Eddy)

Through Feb. 9, $12.50

Vogue Theatre

3290 Sacramento, SF

Christopher B. Smith Rafael Film Center

1118 Fourth St., San Rafael

www.mostlybritish.org

 

moe.

There’s nothing quite like seeing a jam show. They tend to involve hours of emphatic lyric shouting, sensual hip swinging, and persistent head nodding. The air smells more like pot than oxygen, lulling you into a stupor that causes you to forget you’ve been expressively swaying to the same song for thirty minutes. While lesser known than Phish and its omnipotent predecessor, the Grateful Dead, moe. has developed a similarly fanatical fan base by producing fun, danceable jams, perfecting the art of improvisation, and consistently engaging audiences at live venues. moe.’s been at it since 1989 and shows no signs of subsiding into irrelevance. Not to be missed. (Sullivan)

Thurs/2-Fri/3, 9 p.m., $30

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

“Elegy”

A beatific child, arms outstretched, rides a polar bear through a snowy landscape. A baby rhinoceros ascends through a pink cloudscape, glowing halo floating above its wrinkly gray ears. A brown-robed Saint Francis gazes upon a bleeding fawn — but, wait a second, what’s that falling space junk in the background? And how’d that toy robot get in there? Menlo Park native David Michael Smith’s drawings and paintings “hearken back in style to elegant Renaissance Madonnas and saints, while simultaneously borrowing images from contemporary pop culture,” according to Dana DeKalb’s essay in the catalogue for “Elegy,” his new solo exhibition. The drawings and paintings, many situated in elaborate frames constructed by the artist, have an effect that’s as calming as it is unsettling. (Eddy)

Through March 17

Reception tonight, 5:30 p.m.-7:30 p.m., free

Scott Richards Contemporary Art

251 Post, Ste. 425, SF

(415) 788-5588

www.srcart.com

 

Dengue Fever

During a trip to Cambodia in the 1990s, Zac Holtzman became enamored with ’60s Cambodian pop and set out to create a sound that integrated the genre’s powerful female vocals with the psychedelic surf sound of the American ’60s. Enter Dengue Fever — a six-piece rock band whose Cambodian female vocalist, Chhom Nimol, sings in Khmer and English (sometimes in the same song, often wearing something sparkly), while Holtzman puts down a dazed, surf riff reminiscent of “Wipe Out” with his double-necked guitar chapei. Dengue Fever is set to shake the Great American Music Hall on Thursday and Slim’s Friday, to the delight of Bay Area indie pop fusion enthusiasts. (Sullivan)

With Secret Chiefs 3

8:30 p.m., $20–<\d>$44.95

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com


FRIDAY 3

“WTF with Marc Maron”

Part comedy discussion and part no holds barred interview program, Marc Maron’s WTF podcast has emerged as can’t miss listening for anyone curious about the thought processes of modern comedians and performers. The stripped-down feel and anything goes attitude of the show has led to some incredibly personal moments — Todd Glass coming out on a recent episode immediately comes to mind — that are respectfully ushered along by Maron’s neurotic but attentive and no bullshit personality. In a special live taping of the show, he’ll be chatting with a handful of eclectic guests that includes political satirist Will Durst, Arden Myrin (Chelsea Lately), and original Saturday Night Live cast member, Laraine Newman. (Landon Moblad)

10:30 p.m., $25

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com


SATURDAY 4

“Between Me and the Other World”

Dissecting wounds in under-reported aspects of American history has allowed Joanna Haigood to create some of the Bay Area’s most remarkable dance theater works. So there is every reason to look forward to her newest endeavor, “Between Me and the Other World,” which examines W.E.B. Du Bois’ concept of “double-consciousness,” as analyzed in his The Souls of Black Folk. Using the “veil” as a metaphor, Du Bois eloquently explained the fractured state of being imposed on people who are not allowed to be themselves. Written in 1903, his observations have stood the test of time. For “Between” Haigood, in addition to her own dancers, has enlisted first-rate collaborators in Antony Brown for the music and David Slzasa for the design. This is a work in progress showing and includes a post-performance discussion. (Rita Felciano)

2 p.m., free

ODC Theater

3153 17th St., SF

(415) 822-6744

www.zaccho.org

 

Bob Odenkirk with The Birthday Boys in “Seven-Man Sweater”

Bob Odenkirk (Mr. Show) joins up-and-coming Upright Citizens Brigade troupe The Birthday Boys for two Saturday night performances of “Seven-Man Sweater.” Gaining steam over the past couple years with videos for Funny or Die and writing jobs for the MTV Movie Awards, The Birthday Boys create comedy that successfully blends smart satire and pop culture send-ups. The Los Angeles-based troupe’s style should mesh well with Odenkirk — a legend of the sketch form — in this sure to be hilarious mix of live performance and video shorts. (Moblad)

8 p.m. and 10:30 p.m., $20

Eureka Theatre

215 Jackson, SF

(415) 788-7469

www.sfsketchfest.com

 

Exodus

In the 1980s, thrash reaffirmed the faster-is-better trajectory of heavy metal that was already developing in the mechanistic speed and rhythm of acts like Judas Priest, replacing the big, rounded tones and psychedelic aftertaste of the ’70s with piston-like riffs and angular dual-guitar leads. Thrash, the supremely-aggro next step in this sequence, exists today as something of a brief and punctual link in the great, forbidding chain of heavy metal, but one whose dogged endurance (see: Slayer) guarantees it a permanent appeal. The show brings together fellow Bay Area thrash legends Possessed, Heathen and Forbidden in a memorial for Paul Baloff, the late vocalist of Exodus, who died 10 years ago. (Tony Papnikolas)

With Mad at Sam, Angerhead, Mudface, Hysteria, Hell Fire, and the Venting Machine

6 p.m., $30

Oakland Metro

630 Third St., Oakl.

(510) 763-1146

www.oaklandmetro.org


SUNDAY 5

Apocalypse Cakes Reading + Eating”

The world is ending soon. Why not eat as much dessert as possible before the inevitable? And why not get into the end-times spirit by whipping up one of Shannon O’Malley’s concoctions from Apocalypse Cakes: Recipes for the End? O’Malley’s book (an offshoot of her tasty and notorious blog) has all the recipes you’ll need to celebrate doomsday, as long as you have a sense of humor: Black Deforestation Cake, Impending Meteorite Rock Candy Cake, Whore of Babylon Fruit Tart, Shifting Poles Pineapple Upside-Down Cake, and, yes, 2012 Mayan Chocolate Cupcakes. Swing by Omnivore Books for a reading and tasting — the countdown is on, so calories totally don’t count. Right? (Eddy)

3 p.m., free

Omnivore Books

3885a Cesar Chavez, SF

www.apocalypsecakes.com


MONDAY 6

Thee Silver Mt Zion

You know how the creation of epic classical music appears to be on the edge of madness, at least, the way it’s depicted in Amadeus (1984)? All ferocious scribblings, and sore hands from tearing furiously into instruments with the passion of a particular set of notes pumping through the veins for hours, days, months. Bloody hands arise, ‘I’ve got it!’ This is how I picture Thee Silver Mt. Zion working. A modern, Canadian, post-punk version of that. Perhaps it’s because of the frequent title reworkings that suggests hyper attention to detail: A Silver Mt. Zion, The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band, Thee Silver Mt. Zion Memorial Orchestra and Tra-La-La Band with Choir and Thee Silver Mountain Reveries. As part of the Godspeed You! Black Emperor collective, the Montreal-based band gained notoriety for its likewise stunning arrangements, droning movements, improvisational jazz style, and punk ethos. With name changes, lineup shifts, and sound tweaks over the past decade, it’s a wonder they’ve yet to collapse. (Emily Savage)

With Matina Roberts

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com


TUESDAY 7

Leni Stern and the Masters of African Percussion

When German-born guitarist Leni Stern traveled to Mali in 2005, she met master musician Bassekou Kouyate, and became entranced with the local percussion instruments and style — later releasing albums such as 2007’s Africa and 2010’s Sa Belle Belle Ba, incorporating the West African sound. A lifelong musician (she won Gibson’s Female Jazz Guitarist of the Year award for five consecutive years) and traveler, she was inspired, to the say the least. At Yoshi’s, she’ll play guitar, n’goni ba, and jeli n’goni, alongside Kofo on talking drum, Alioune Faye on djembe, and Mamadou on bass and additional percussion. (Savage)

8pm, $16.

Yoshi’s

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com


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Future Twin

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The two females in Future Twin (www.futuretwin.com) — Jean Yaste and Stephanie Rose — met one another in a moped gang called the Lockits, another member of the band was in a moped crew called Treats of the Loin; I’m not sure if you can concoct a greater back-story than that but I’d be hard-pressed to find one. And the San Francisco fivesome, which formed in December 2010 originally as a trio, makes the equivalent of moped rock on its debut EP cassette, Situation (which is also available for download, for those without a tape player). Released Jan. 31, Situation revs up with roaring guitar, and incorporates field recordings of gunshots and small engines such as lawnmowers and of course, mopeds, but veers from blunt roughness, instead leaning towards powerful girl group-style vocals and multi-part harmonies.

While the first release is a small one, the Mission-based band has chops, brains, and a clear bond. Though perhaps not tight enough to get all its members to a photoshoot — while the drummer Antonio “Tones” Roman-Alcala with strep throat made it, another Future Twin simply texted, “yo, just didn’t feel like going.” No matter, Future Twin celebrates the release of Situation at the Hemlock this Thu/2 (9 p.m., $6. 1131 Polk, SF. www.hemlocktavern.com).

Description of sound: Psychedelic farmageddon grandma rock.

What do you like most about the Bay Area music scene: The things we liked most was the Clarion Alley block party until the damn breeders built their precious condos next door and started their war on fun. These people need to be taken out and the “scene” will heal itself.

What piece of music means the most to you and why: Rap News Occupy 2012. Why? No reason.

Favorite local eatery and dish: Secret Spot has delicious bagels, fresh squeezed juice, and homegrown greens.

Who would you most like to tour with: Bill Murray (as a zombie) and Kool Keith (as himself).

Seventeen Evergreen

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Seventeen Evergreen (www.seventeenevergreen.com) occasionally sounds like evil video game music to me. The San Francisco band consists of Caleb Pate and Nephi Evans, both writers-producers who sing and play drums, synths, and Asiatic stringed instruments among other contraptions. Though it has roots in garage, the duo mostly sticks to experimental psych-pop, and sometimes incorporates aggressive dance beats that lend to gaming — you can almost picture shattered gold rings falling through the sky in a winning ding-ding-ding during moments in the forthcoming Steady On, Scientist! LP (March 27, Lucky Number). The next show is Feb. 25 with Atlas Sound at Bimbo’s as part of Noise Pop (8 p.m., $20. 1025 Columbus, SF. www.bimbos365club.com).

The album standout is “Polarity Song,” with its catchy, repetitive hook and provocative lyrics. The song also was featured on the Psyentist EP, released last December and subsequently, there was a music video. While the EP and video by Terri Timely, which played up a rainbow of yarn spun thrift store monsters, were released last year to local acclaim, the full-length will be out in 2012, making it the perfect year for the band to reach its deserved position beside fellow danceable indie giants. After watching Seventeen Evergreen live last year, the phrase “embrace the polarity of life” was bumping about my brain for weeks. Undoubtedly, this will happen to you too.

Description of sound: Somewhere between zenith snowflake pop and psychedelic cave techno.

What do you like most about the Bay Area music scene: The Asian influence on the avant garde, the room for innovation, and the many different scenes which may or may not always celebrate the out-and-out sonic weirdness that this city has produced over the years.

What piece of music means the most to you and why: No one piece could ever answer this one so far, but last year Cass McCombs’ “County Line” was a favorite. “Golden Lady” by Stevie Wonder and nearly anything by Moondog come to mind as perennials.

Favorite local eatery and dish: So many options here but let’s nominate the Chilaquiles at the farmer’s market in the Ferry Building or a number of places in the Mission for the same.

Who would you most like to tour with: ELO.

Main Attrakionz

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Why is Oakland’s Main Attrakionz (www.mainattrakionz.com) on the rise? It’s because everybody’s talking about it, and with good reason. Last year’s massive 808s & Dark Grapes II mixtape wowed the underground hip-hop world, and with every passing month the act — rapper-producer Squadda B and rapper Mondre M.A.N. — catches the attention of yet another publication, and yet another rising producer — there have been collaborations with A$AP Rocky, Clams Casino, Kool A.D. of Das Racist and Danny Brown, among others.

The cloud-rap duo got a write-up on the Guardian’s Noise blog in December in which writer Frances Capell effused, “Main Attrakionz is carving out its own place in hip-hop by pioneering a new sub-genre” and later, “a refreshing realness runs throughout Main Attrakionz’s lyrics.” In 2012 there will be solo mixtapes from both rappers, along with the collaborative effort Bossalini’s & Fooliyones. With all this skill and regard it’s easy to forget how young the crew really is, it got its start in high school — way back in 2007.

Description of sound: Really can’t describe it. All of our music sounds different.

What do you like most about the Bay Area music scene: The fact that only we know what they talking about.

What piece of music means the most to you and why: The beat to “Da Art of Storytellin” by Outkast featuring Slick Rick, produced by Mr. DJ. It just reminds me of my childhood staying up to watch Rap City countdown and the song was usually number one. Whenever I hear the beat, I think of the puppets in the video.

Favorite local eatery and dish: Buffet Fortuna in Downtown Oakland; chow fun noodles

Who would you most like to tour with: Lil Wayne; as far as performances go, he’s gotta be the top rapper who been performing 10+ years. I wanna learn how he stays ready and energetic for all these years.

Metal Mother

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Like some sort of neon, acid-drenched wood nymph, Metal Mother’s (metalmother.bandcamp.com) Tara Tati wanders through the leafy, NSFW video for the haunting art-pop “Shake” off last year’s Bonfire Diaries and into the mind’s eye. In 2012, there will be a first trip to SXSW, more videos (yay!), a few remixes, and, fingers crossed, another full length out toward the end of this year. And as the shimmering Tati says, she’ll “Continue dismantling the mundane and mediocre thought systems that are ruling the planet.”

Tati and her band, which came together shortly after the release of Bonfire proved most theatrical of the Guardian photoshoot, with glittering headpieces and flexible posing. In setting up the right headspace for a photo Tati at one point explained, “I imagine we’re on a wind-torn beach in Scotland.” Appropriate given the band’s atmospheric sound. Before embarking on tour, Metal Mother will play Disco Volante on March 3 (347 14 St., Oakl. www.discovolanteoakland.com)

Description of sound: Post-apocalyptic-art-wave.

What do you like most about the Bay Area music scene: Oakland (where I live) has the feeling of being a fairly insulated city, and I think because it feels like we’re off the mainstream radar a bit, in combination with the massive artist population, there’s more support here for being ‘experimental’ and trying new things, than there is for being traditional. There’s this intense camaraderie, like it’s all for one and one for all, yet at the same time, there’s a crazy bullshit filter that really keeps us all in our most authentically creative place.

What piece of music means the most to you and why: The piece that’s recently gotten the most consistent play on my iPod is Sufjan Stevens’ latest album, Age of Adz. I’ve realized that most music that has lasting power for me usually has some symphonic, classical element to it, and he really nailed it with this album. Its masterfully produced; the arrangements are shockingly complex yet have this unyielding elegance that still gets me all emotional. To me, it’s a perfect blend of sweetness, humility, passion, and absurdity; there’s never a dull moment!

Favorite local eatery and dish: Tacubaya in Berkeley, all the vegetarian dishes are amazing. My favorite is probably the ‘seasonal vegetable’ tamales.

Who would you most like to tour with: It’s a tie between Sufjan Stevens and Bjork.

Jeffrey Sachs: The necessity for sustainable development

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By Jeffrey D. Sachs
Jeffrey D. Sachs is Professor of Economics and Director of the Earth Institute at Columbia University. He is also Special Adviser to United Nations Secretary-General on the Millennium Development Goals.

ADDIS ABABA – Sustainable development means achieving economic growth that is widely shared and that protects the earth’s vital resources. Our current global economy, however, is not sustainable, with more than one billion people left behind by economic progress and the earth’s environment suffering terrible damage from human activity. Sustainable development requires mobilizing new technologies that are guided by shared social values.

United Nations Secretary-General Ban Ki-moon has rightly declared sustainable development to be at the top of the global agenda. We have entered a dangerous period in which a huge and growing population, combined with rapid economic growth, now threatens to have a catastrophic impact on the earth’s climate, biodiversity, and fresh-water supplies. Scientists call this new period the Anthropocene – in which human beings have become the main causes of the earth’s physical and biological changes. 

The Secretary-General’s Global Sustainability Panel has issued a new report that outlines a framework for sustainable development. The GSP rightly notes that sustainable development has three pillars: ending extreme poverty; ensuring that prosperity is shared by all, including women, youth, and minorities; and protecting the natural environment. These can be termed the economic, social, and environmental pillars of sustainable development, or, more simply, the “triple bottom line” of sustainable development.

The GSP has called for world leaders to adopt a new set of Sustainable Development Goals, or SDGs, that will help to shape global policies and actions after the 2015 target date for achieving the Millennium Development Goals (MDGs). Whereas the MDGs focus on reducing extreme poverty, the SDGs will focus on all three pillars of sustainable development: ending extreme poverty, sharing the benefits of economic development for all of society, and protecting the Earth.

It is, of course, one thing to set SDGs and quite another to achieve them. The problem can be seen by looking at one key challenge: climate change. Today, there are seven billion people on the planet, and each one, on average, is responsible for the release each year of a bit more than four tons of carbon dioxide into the atmosphere. This CO2 is emitted when we burn coal, oil, and gas to produce electricity, drive our cars, or heat our homes. All told, humans emit roughly 30 billion tons of CO2 per year into the atmosphere, enough to change the climate sharply within a few decades.

By 2050, there will most likely be more than nine billion people. If these people are richer than people today (and therefore using more energy per person), total emissions worldwide could double or even triple. This is the great dilemma: we need to emit less CO2, but we are on a global path to emit much more.

We should care about that scenario, because remaining on a path of rising global emissions is almost certain to cause havoc and suffering for billions of people as they are hit by a torrent of droughts, heat waves, hurricanes, and more. We have already experienced the onset of this misery in recent years, with a spate of devastating famines, floods, and other climate-related disasters.

So, how can the world’s people – especially its poor people – benefit from more electricity and more access to modern transportation, but in a way that saves the planet rather than destroys it? The truth is that we can’t – unless we improve dramatically the technologies that we use.

We need to use energy far more wisely while shifting from fossil fuels to low-carbon energy sources. Such decisive improvements are certainly possible and economically realistic.

Consider the energy inefficiency of an automobile, for example. We currently move around 1,000 to 2,000 kilograms of machinery to transport only one or just a few people, each weighing perhaps 75 kilograms (165 lbs.). And we do so using an internal combustion engine that utilizes only a small part of the energy released by burning the gasoline. Most of the energy is lost as waste heat.

We could therefore achieve huge reductions in CO2 emissions by converting to small, lightweight, battery-powered vehicles running on highly efficient electric motors and charged by a low-carbon energy source such as solar power. Even better, by shifting to electric vehicles, we would be able to use cutting-edge information technology to make them smart – even smart enough to drive themselves using advanced data-processing and positioning systems.

The benefits of information and communications technologies can be found in every area of human activity: better farming using GPS and micro-dosing of fertilizers; precision manufacturing; buildings that know how to economize on energy use; and, of course, the transformative, distance-erasing power of the Internet. Mobile broadband is already connecting even the most distant villages in rural Africa and India, thereby cutting down significantly on the need for travel.

Banking is now done by phone, and so, too, is a growing range of medical diagnostics. Electronic books are beamed directly to handheld devices, without the need for bookshops, travel, and the pulp and paper of physical books. Education is increasingly online as well, and will soon enable students everywhere to receive first-rate instruction at almost a zero “marginal” cost for enrolling another student.

Yet getting from here to sustainable development will not just be a matter of technology. It will also be a matter of market incentives, government regulations, and public support for research and development. But, even more fundamental than policies and governance will be the challenge of values. We must understand our shared fate, and embrace sustainable development as a common commitment to decency for all human beings, today and in the future.

Jeffrey D. Sachs is Professor of Economics and Director of the Earth Institute at Columbia University. He is also Special Adviser to United Nations Secretary-General on the Millennium Development Goals.

Copyright: Project Syndicate, 2012.
www.project-syndicate.org

Sundance Diary, volume two: ‘Beasts’ and ‘Daughters’

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In a series of posts, Midnites for Maniacs curator-host and Academy of Art film-history teacher Jesse Hawthorne Ficks reports on the 2012 Sundance Film Festival. Check out his first entry here.

The surprise hit at this year’s Sundance Film Festival was Benh Zeitlin’s Beasts of the Southern Wild, which not only has the power to hypnotize but to also enlighten with its striking cinematography, fantastical special effects (wonderfully designed by San Francisco’s own Academy of Art University), and a truly guttural performance by newcomer Quvenzhané Wallis. She plays Hushpuppy, a precocious six-year-old searching to understand a world post-Katrina, post-race, and more importantly post-childhood.

Combining David Gordon Green’s George Washington (2001), Spike Jonze’s Where the Wild Things Are (2008), and most appropriately Julie Dash’s Daughters of the Dust (1991), Zeitlin has created a genuinely haunting enigma for modern audiences that deserves multiple viewings for maximum understanding. But even though it won both the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Excellence in Cinematography Award at this year’s festival, will Beasts ultimately be able to find an audience outside of the festival?

As it happens, Daughters of the Dust was restored for this year’s festival (and correctly color timed for the first time ever!) This visual poem exploring South Carolina’s coastal Gullah culture is as modern, historical, profound, and universal as Jane Campion’s The Piano (1993) and Terrence Malick’s Tree of Life. Yet for some reason, the film did not find a very large audience. With Sundance holding a 30-plus minute Q&A with Dash herself following the screening, many historical and symbolic details were explored — but more importantly, you were able to just sit with the film.

http://www.youtube.com/watch?v=c4PEcVK6gbM

When I was in college, Daughters was truly was one of the most difficult movies for me to keep up with (I fell asleep multiple times, couldn’t understand the character’s accents, etc.) Seeing it again for its 20th anniversary, the film feels more than ever like a revelatory example of visual narrative cinema: images and sounds sweep the viewer into a place where they can slow down and absorb the kind of filmmaking that can resonate in your soul.

Up next: Jesse Hawthorne Ficks goes doc-wild in his third Sundance Diary.

An expert’s pour: What and where to drink during SF Beer Week

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Now that Drynuary has basically curled up into a ball and died (take that, seasonal sobriety!), it’s time to turn our gaze to SF Beer Week. 10 days of heavyweight gourmet beer drinking lie ahead of us, Bay Area. Even if your hankering for a beer paunch pales in comparison, say, to your desire to fit into your Valentine’s Day party dress, you have a responsibility to indulge.

For Beer Week is not just a gustatory pleasure — it supports what has burgeoned in SF into a thriving biz. Breweries sized from nano to Anchor are filling a six pack near you. Feb. 10-19 will conjure everything from urban beer hikes to beer-and-chocolate pairing events, beer-and-cheese couplings to the finest in bitter ales. Quite recently, we had the pleasure to one-on-one (via email) with David McLean, the mastermind behind all the brews at Magnolia Brewery. This isn’t his first time talking with the Guardian about the miracles of local boozing, but this time we’ve captured his can’t-miss picks for hobnobbing and hops that will take place Feb. 10-19 (and yes, they include an stout made with Hog Island oysters).

San Francisco Bay Guardian: In general, what are your top picks for Beer Week this year? 

David McLean: There are still so many incoming events in the queue to be posted to the schedule that I’m not sure we’ve even been exposed to half of what 2012’s SF Beer Week has to offer. But what I think we are starting to see is a more developed, organic process of brewers and other food-beverage professionals coming together in all kinds of great collaborations. This being the fourth year, my sense is that everyone’s creativity is much better developed following a few years of trying things out, seeing what works, seeing what other people are doing, and so forth. I’m not sure events like the SpeakeasySchmaltzNinkasiHomebrew Chef [tasting dinner with circus performers at the Elk Lodge] or the Trumer and Bols dinner at Comstock Saloon could have happened in year one, for example. And, the big opening celebration (Feb. 10) got a lot bigger this year, having moved to a new venue for us — the Concourse Exhibition Center. [Plus, we’ve] partnered with Noise Pop for the music and Off the Grid and other great vendors for the food. 

SFBG: Anyone new on the scene whose brews you’re excited to sample?

DM: After many delays (all par for the course) it is super-exciting to have Southern Pacific Brewing Company open just in time for SF Beer Week. As the first new brewery built in San Francisco in many years (close to 10), that one leads the pack in terms of excitement level. But the big story in craft beer this year is growth and newcomers to the industry — there are a number of other new beers and brewing companies in the Bay Area that are all worth trying. Another SF company just getting off the ground is Pacific Brewing Laboratories, which is starting to get its Squid Ink IPA and a couple of other beers into bars and restaurants. Almanac’s latest seasonal release, Winter Wit, should be hitting the streets just in time for Beer Week too, and it’s worth hunting down.

SFBG: A new release from a well-established local brewery you’re excited about?

DM: There are a handful of interesting collaborations among established breweries timed for Beer Week releases, but the one I am most excited about is the SF Strong Ale event that all members of the SF Brewers Guild collaborated on (and which was brewed at Speakeasy). It will debut at the opening celebration and then will be available in a very limited draft release around San Francisco (including at all Guild brewpubs).

SFBG: A food-beer pairing event you think is a can’t-miss?

DM: The creativity now happening in the world of beer dinners is something to behold. To me, the range of pairing dinners throughout Beer Week is one of its most impressive strengths. But some pairings are just so perfect as to be timeless — they’re less about being creative and more about flavors that need no help fitting together. A personal favorite is oysters and beer, particularly oysters and certain kinds of stout (especially dry stouts). We go a step further at Magnolia with an oyster stout we make using Hog Island Sweetwater oysters in the beer. The effect is subtle, and maybe it is gilding the lily, but a few freshly-shucked Sweetwaters and a glass of that beer (Oysterhead Stout) is about as good as it gets. We’ll be spending all day on Valentines Day shucking a variety of oysters and serving them with that stout and some other good oyster-pairing beers until the oysters run out. But, if I was free on February 13, you might find me at the Butcher and the Beer at the Beast and the Hare – it’s a dinner with Ryan Farr and Almanac Beer.

SFBG: Your tip for making it through Beer Week — how DO you do it?

DM: The well-timed vacation waiting on the other side of Beer Week helps maintain my sanity during Beer Week. I think many of us are already buried in Beer Week-related planning and work and the week hasn’t even started yet. With multiple events to work everyday, some near, some far, it’s a definitely a marathon and not a sprint. But it is also one of the premier celebrations of craft beer in the country and the sense of enthusiasm, camaraderie, and support from the beer community is more than enough to help us all get through the week. It’s energizing, actually. But don’t forget to hydrate.

SFBG: Has there been an increase in Bay Area craft breweries over the past year? What are the new ones?

DM: Here and everywhere. We started in 2011 with about 1,700 breweries in the country. We are creeping up on 2,000 a year later and there are something like 800 or so known to be in planning. It’s safe to say craft beer is exploding right now, and consumers have never had more quality choices for their beer drinking. In the Bay Area, some notable highlights are Southern Pacific, Elevation 66, Dying Vines, Pacific Brewing Laboratories, and Heretic Brewing. But, there are plenty more on the way in 2012.

For a full list of SF Beer Week events, head over to www.sfbeerweek.org

 

Sundance Diary, volume one: the hipster chronicles

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In a series of posts, Midnites for Maniacs curator-host and Academy of Art film-history teacher Jesse Hawthorne Ficks reports on the 2012 Sundance Film Festival.

This was my 22nd consecutive Sundance Film Festival (which is well over half of my life), and I found myself more excited than ever to pack in as many films as humanly possible in seven days. Thirty-seven programs were achieved, and mind you: the trick is not to fall asleep, which so often happens at press screenings, resulting in many critics hypocritically denouncing whatever film they slept through.

Oddly enough, two of the biggest world premieres of the festival, Lee Toland Krieger’s Celeste and Jesse Forever and Josh Radnor’s Liberal Arts both explore the lives of thirtysomething men named Jesse who “have a lot of potential” but for some reason just aren’t making the most of their lives.

Krieger’s film is about a couple who have decided to get a divorce, yet find themselves spending even more time together than when they were married. Rashida Jones (from Parks and Recreation) and Andy Samberg (can we just talk about how underrated his 2007 film Hot Rod was?) star in an amazing dramatic comedy that allows a difficult subject (“How to break up with a loved one?”) to sneak up on you by the gripping third act. Allusions to Marc Webb’s decade-defining 500 Days of Summer (2009) are well-deserved; I found this film to be an instant classic.

Liberal Arts is Radnor’s follow-up to last year’s Dramatic Audience Award winner, Happythankyoumoreplease; it tells the (terrifyingly) relatable story of a thirtysomething intellectual (Radnor as Jesse) who falls for a plucky young student who is wise beyond her years; she’s played by Elizabeth Olsen, fresh off her astounding performance in last year’s Sundance hit Martha Marcy May Marlene. But this ode to Woody Allen’s Manhattan (1979) has more going for it than just an age-gap relationship dilemma. Not only does Zac Efron pop up as Jesse’s spiritual guru (which garnered major gasps from many audience members), but Richard Jenkins delivers a haunting performance as Jesse’s “second favorite professor” who has finally decided to retire from his tenured position. Radnor achieves a surprising amount of poignancy by way of light-hearted comedy. Woody Allen would no doubt approve.

With two films at the festival, cult actor-directors Tim Heidecker and Eric Wareheim (Tim and Eric Awesome Show, Great Job!) proved that they could tackle both heaven and hell. The comedy duo’s directorial debut, Tim and Eric’s Billion Dollar Movie, brought their purposefully clunky and abstract comedy to the big screen with some very mixed results. Following in the footsteps of such surreal “nonsense” masterpieces as H.C. Potter’s Hellzapoppin’ (1941), Bob Rafelson’s Head (1970), and Tom Green’s Freddy Got Fingered (2001), fans of the show will be treated to many truly disgusting and hilarious sequences along with a ton of cameos, leaving the uninitiated understandably dumbfounded.

However, the 90-minute film did seem to have some trouble translating the chaotic immediacy of Awesome Show‘s 11-minute episodes, leaving many in the midnight premiere wanting desperately to laugh a whole lot more. (Not sure I agree with the film’s “Better than The Lorax” ad campaign, but they get points for inventive advertising.)

But not to fear, Rick Alverson‘s ironically titled The Comedy was the jewel of the festival, or the anti-jewel — it was the most polarizing film of Sundance 2012. It follows a 35-year-old Williamsberg hipster named Swanson (stunningly played by Heidecker) as he antics through his daily quest: attempting to get any reaction from any sort of person. This leads him to say and do some of the most confusing and borderline offensive stuff imaginable.

While this sent many towards the exit doors (and left a fair amount baffled in their seats, whispering “This has got to be the worst film ever made!”), audience members who dared remain were treated to a perceptive, modern-day study of hipster culture that reveals a despicable and terrible truth. You may find yourself relating to Alverson’s perceptive anti-hero in ways comparable to Robert DeNiro in Taxi Driver (1976), Peter Falk in Husbands (1970), and Jack Nicholson in Five Easy Pieces (1970). And since The Comedy was made not necessarily to be enjoyed, it will probably, sadly, take 20 years for people to recognize that there is no finer film to define this generation.

This isn’t to say that there aren’t going to be more films presenting what it is to be modern day man-child — after all, mumblecore movies and hipster cinema emerged as early as 1991 with Richard Linklater’s Slacker. I noticed that many people at Sundance were immediately averting themselves from Destin Daniel Cretton’s I Am Not a Hipster, just because of its title. It’s a curious dilemma that plagues this era (and it relates directly to Alvie Singer’s life philosophy: “I would never want to belong to any club that would have someone like me for a member.” This quote from Woody Allen’s 1977 Annie Hall, itself a Groucho Marx reference, seems to be one of the most difficult hurdles for super-self-aware hipster culture to overcome.)

Cretton’s film focuses on Brook (played by Dominic Bogart), a skinny-jeaned indie rocker who finds himself trapped in a cycle of contempt and cynicism. Suddenly his three sisters arrive (Greek chorus, anyone?), thus beginning a surprisingly genuine exploration of the kind of grumpy guy that most of us thirtysomethings have either been or encountered this past decade. Some very true emotions are earned by the end of this 90 minutes; hopefully audiences will confront their individual issues and start taking that next step towards embracing their own hipster tendencies. Or not.


Up next: Jesse Hawthorne Ficks’ second Sundance Diary, covering even more dramatic competition films, midnight movies, and more. He saw 37 films, people. His diary is epic!

The sex heard ‘round the world: [SSEX BBOX] documentary premieres

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Scenes from [SSEX BBOX], the global sexuality documentary project whose long-awaited first episode will premiere at the Center of Sex and Culture on Mon/30:

One. A protest in Berlin, where a presentation is being made on the 16th century physical punishments that religious institutions imposed on sexually “immoral” people. 

Two. A conversation between two transgendered men living in Brazil.

Filmed in the form of interviews and group discussions, [SSEX BBOX] is a social justice film project that takes viewers on tour through the different understandings of gender and sexuality from around the globe. The documentary engages the ongoing conversation regarding the cultural, social, and even linguistic implications that are intertwined within sexuality. It will air 15 10-minute episodes bi-weekly from January to August 2012 — but the Mon/30 screening will offer the chance to talk face-to-face with the team behind the project. 

[SSEX BBOX] sexuality out of the box! from SSEX BBOX on Vimeo.

Priscilla Bertucci, the executive producer and director of [SSEX BBOX], holds that in an environment where something so primary as a noun is categorized as male or female, sexism and strict gendering become strongly embedded in cultural perceptions of sexuality. Looking back at the project, she commented to the Guardian in a recent phone interview:

SF and Berlin are pioneering cities in that there is a lot of sexual education and many years of work have been [put into those places towards] bringing about awareness. [Exploring sexuality] is definitely more difficult in Barcelona and Brazil where there are still a lot judgments.  People perceive gender as male or female, straight or gay, and don’t really think of what may be outside of this divided box. 

On location with [SSEX BBOX]. Photo by Danila Bustamante

When shooting in Sao Paulo, Bertucci encountered numerous individuals who had never been exposed to the idea of alternative sexual orientations. That lack of experience wasn’t a surprise to her — she was raised there:

I grew up in Brazil and I experienced a gap in information first hand. In places like Sao Paulo, there is a huge lack of sex education in schools and sex educators in general. When I was very young, I was aware of the gay and lesbian community. But at some point, I started not fitting in the box because I would sometimes be attracted to men and I didn’t really identity as bisexual. But later, I became aware that I could identify as queer or gender queer. But it took me a long time and I had to go out and learn a lot of things on my own. A project like [SSEX BBOX] helps people understand that they don’t have to choose [from] a binary.

Bertucci’s film features interviews with sex activists, educators, psychotherapists, and average citizens from all over the spectrum of sexuality. The documentary was mostly edited here in San Francisco, but its crew was comprised of a globetrotting crew of directors and cinematographers traveling through Sao Paulo, Berlin, and Barcelona. 

The international affair was made possible through efficient Skype meetings and Dropbox, and [SSEX BBOX] will continue to embrace the web as a way to distribute their films. The team also launched a pocket-size zine in fall of 2011 that included photography, personal narratives, cartoons, paintings, and writings on gender expression which you can order online in digital or paper form.

 

[SSEX BBOX] documentary premiere 

Mon/30 7:30-11 p.m., free. 

Center for Sex and Culture

1349 Mission, SF

(415) 902-2071

www.sexandculture.org

Dome rock

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MUSIC “I don’t know if you’ve ever been in a geodesic dome,” says drummer-guitarist Andy Duvall, formerly of Zen Guerilla, and currently one third of the improvisational space rock outfit Carlton Melton. “But if you stand right in the middle, there’s a sweet spot.”

Carlton Melton records all its stripped down, lo-fi material in a dome house located a few hours north of here, though the three mainstays — Duvall, Rich Millman, and Clint Golden — call Oakland and San Francisco home. As for their process: “We just go up, hang out, and record all weekend. It’s very sloppy in many ways but I’ve always been a fan of slop. I think perfection can be a little boring.”

During recording other musician pals drop in and out. Live, the trio switches up the instrumentation mid-set. Duvall, a gifted, frenetic drummer influenced by Colm Ó Cíosóig of My Bloody Valentine among others (“[He’s] completely overlooked when people talk of their brilliance”), added guitar to his repertoire for Carlton Melton. The band will again show its live prowess locally this Saturday at El Rio.

In the few years since the vocal-less act formed in 2008 — I use “formed” tentatively, as it was more of a natural progression than the word implies — it’s released a cluster of DIY material on indie labels and its own, Mid-To-Late Records. There was the initial, 2008 “Live in Point Arena” CD-R, an Empty Shapes split LP, another split with Qumran Orphics and a few seven-inches on SF’s Valley King Records and the Irish Trensmat Records (which specializes in “transmitting drone, noise, oscillations and grooves”), both in 2011. In 2012 they’ll put out yet another long-player (already recorded), likely in spring, and are currently hammering out the details for a European tour.

Last year also saw the release of the swirling, spacey Country Ways LP, a record that begins with the 20-minute titular track, a slow-building stunner of dangling drums and psychedelic guitar with the irregular cosmic zap. A track that seemingly has no beginning or end, with the foggy vortex of pleasing chords hanging on for eternity, it’s trance-like, sensory, afferent. And something clicks when you remember they made this sound while cracking beers amongst friends over a few days in a specially-shaped structure.

The band actually came to be because of the dome. After Zen Guerrilla — a band that, should be noted, amassed many local fans and was a 2001 GOLDIES winner — split up in 2003, Millman was busy raising his two kids. Duvall was happily spending time with his girlfriend and their two cats, Gerard and Cheval. In 2008, Millman called Duvall, and asked if he’d want to start playing again. He agreed but it was mostly to jam with an old friend, the opposite of a definition band. The two, now both 44, who first began creating music together in 1990 when they lived in Delaware, talked to the owner of the dome and said “hey, we’re going to come up and bring some amps and make a bunch of noise at your place, do you mind?”

Back to that sweet spot — it naturally enriches sound. “If you’re talking, your voice just instantly amplifies. Same thing happens with music, you’re playing guitar and it’s just swirling around in the dome. It’s sort of ideal for psychedelic music.” says Duvall in a phonecall from his home in Oakland.

That first night up north was magic. They realized they needed name. Duvall, with all his genial charm recalls the conversation then whispers “Carlton Melton.” Melton was a cool guy he knew from junior high in Delaware, a real bad-ass. Strangely, Millman, who went to another school, also knew Melton in Delaware — they’d played one another in football. Years later, Duvall and Melton happen to meet another dude named Carlton Melton, and that last bit of coincidence seems to have sealed the name’s fate. “It’s bizarre but it really fits the band. I just hope the guy from Delaware’s not offended, because we named the band after him for all the right reasons.”

CARLTON MELTON

With Feral Ohms, and Glitter Wizard

Sat/28, 9 p.m., $8

El Rio

3158 Mission, SF

www.elriosf.com

Like the Oscars, only sluttier: the Guardian reports from the AVN Awards red carpet

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All Guardian photos by Caitlin Donohue unless otherwise noted

“We gotta get 500 girls through here in two hours.” 

Pre porn star-strutting, the faces on the red carpet before the AVN Awards 2012 were grim. Vegas raged around us journalists, the Hard Rock Hotel – site of the awards ceremony, countless before-during-after-parties, and annual fan expo – awash in men trying to appear nonchalant and tired women in heels. We had many rivers to cross and many starlets to question before the awards ceremony would begin.

The Guardian team was stationed between Howard Stern’s ex-security guard (sample question from the gent, who was wildly popular with the more silicon-ed of the starlets who roamed the runway: “What is the strangest thing you’ve ever put in your asshole?”) and a dapper Frenchman from his country’s first porno channel XXL. 

We’d been chatting up porn stars for days (most significantly, Courtney Trouble’s queer porn posse and the lesbian beauties from Jincey Lumpkin’s Juicy Pink Box about the growth of queer adult films – read about those interviews in the Feb. 8 print edition) – but this was different, red carpet-different. 

For one thing, Dave Navarro was there, escorting two women in sequin thigh-high boots and highly customized steampunk-y ballgowns, both of their skirts’ significantly missing a front section. Robin Leach had ducked out on his anticipated appearance, but an under-done Chyna of WWF fame – also winner in the Best Celebrity Sex Tape category for Backdoor to Chyna – was there, as was a sloppy Dave Attell, manic in the hours leading up to his awards host gig. Creator of “Girls Gone Wild” Joe Francis lurked through en route to presenting a lifetime achievement award, longingly gazing in our direction for an interview that was not forthcoming. 

And of course those 500 porn stars (they weren’t all women), who lined up at the mouth of the red carpet area like so many shiny cattle. Popular looks for the evening included shattered mirror Gaga-inspired bodices, drop-back, crack-baring harem dresses. The self-proclaimed “Valley’s goldstar lesbian” Lily Cade and legendary sex goddess Nina Hartley were notable exceptions to the cleavage-baring carnival at hand — they wore suits. “I’m a fucking professional, so I’m going to dress like a professional,” Cade told us that day at the Expo as she gamely sold her all-girl titles from a booth unfortunately stationed next to a man hawking bargain basement adult DVDs.

Princess Donna found a last-minute date in Bobbi Starr (good choice, Starr took the honors for Female Performer of the Year), porn educatress-onscreen legend Nina Hartley gamely chatted ass acessories with Howard Stern’s buddy and waxed thoughtful on the current state of queer porn with the Guardian. We met porn stars excited about their budding hip-hop careers, porn stars excited about the new Fleshlight modeled after their various orifices, porn stars who were just plain excited. 

Our favorite line of red carpet questioning was as follows:

– What are you up for tonight?

– What was your favorite scene from last year?

– What do you think of the new condom regulations in LA? Is this going to dramatically affect the industry? Cue fallen smiles and synaptic struggles. For the record, talent was divided between the “I’m sexy and people are going to watch me regardless and the “get your laws off my genitals” camps – no one really thought the anti-AIDS measure was a positive thing.

And then it was the awards ceremony, we which will sum up like so.

BIG WINNERS

Portrait of a Call Girl – This drama is reportedly awesome if you like your porn with lots of crying in it. Kudos to lead Jessie Andrews, who was also the most calm actor that made her way across the red carpet. It won Best Feature, Best Director – Feature, and Andrews took Best Actress.

Asa Akira – The woman, thanks in large part to her work in Asa Akira is Insatiable 2, walked with no less than seven awards this year. Though her outburst after winning for Best All-Sex Release was memorable (“my ex boyfriend broke up with me over this movie, so fuck yeah!”), she is indelibly etched in my mind by her acceptance speech for Best Anal Scene, an honor she also took home in 2011. To whit: “Thank you to my asshole for putting up with all my shenanigans.” Akira’s partner for said award-winning anal shenanigans was named Nacho Vidal, which we will now be bestowing on my most swarthy future male child. Vidal was nominated twice in the Anal category – making him and Akira a powerhouse couple not to be denied. 

Good Vibrations – The SF-based chain walked with the Best Boutique award, and since it’s our Bay-Bay that makes us happy. (But does it still qualify as a boutique? Read our interview with the chain’s leaders last week and decide for yourself.)

Too Short — Perfomed a song to close out the show entitled “I Need a Porno Bitch.” He got them — about twenty game female actors swarmed the stage as he happily name-checked many of them in his lyrics. 

 

BIG LOSERS

Whoever was responsible for the Joint’s A/V and technical performance – Truly, everything that could have possibly gone wrong here, did. We’re talking no clips for the Best Actress nominees, people walking off into exits with no outlet onstage (okay, maybe that was the presenters’ fault). The ceremony’s fail screen – a static shot of a galaxy of stars – played so often we became accustomed to it, like a running joke you can’t get your friend to stop telling.

Two-time Female Performer of the Year Tori Black, who was arrested on charges of domestic battery along with her five-month-old son’s father at the Hard Rock in the wee hours of Friday morning. Black says she hadn’t drank in awhile (baby) and stirred up a scene after hitting the town Saturday night. Nothing to see here folks!

Anyone requiring more than four hours of sleep per night, or that enjoys daylight and monogamy.

For a full list of this year’s AVN winners, you should definitely, definitely go here because of winning titles like Mission Asspossible and Internal Damnation 4

Weed on wheels

9

steve@sfbg.com

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 

Find our full Cannabis Club Guide at www.sfbg.com/cannabisguide

Occupy is back — with horns and glitter

8

yael@sfbg.com

On Jan. 20, hundreds of activists converged on the Financial District in a day that showed a reinvigorated and energized Occupy movement.

The day of action was deemed “Occupy Wall Street West.” Despite pouring rain, the numbers swelled to 1,200 by early evening.

Critics have said that the Occupy movement is disorganized and lacks a clear message. Some have decried its supposed lack of unity. Others have even declared it dead.

But the broad coalition of community organizations that came together to send a message focused on the abuses of housing rights by corporations and the 1 percent sent a clear message:

The movement is very much alive.

 

A FULL SCHEDULE

Protesters packed the day with an impressive line-up of marches, pickets, flash mobs, blockades, and everything in between.

The action began at 6:30 a.m., when dozens chained and locked themselves together, blocking every entrance to Wells Fargo’s West Coast headquarters at 420 Montgomery Street. The bank didn’t open for business that morning.

Another group of protesters did the same thing at the Bank of America Building around the corner. A dozen blockaded one of the bank’s entrances from 8:30 a.m. to 6 p.m., preventing its opening. A group organized by Act Now to Stop War and End Racism (ANSWER) closed down the Bank of America branch at Powell and Market for several hours.

The Bank of America branch at Market and Main was also closed when activists turned it into “the Food Bank of America.” Several chained themselves for the door, while others set up a table serving donated food to hundreds of people.

Meanwhile, activists with the SF Housing Rights Coalition and Tenants Union occupied the offices of Fortress Investments, a hedge fund that has overseen the destruction of thousands of rent controlled apartments at Parkmerced. Direct actions also took place at the offices of Bechtel, Goldman Sachs, and Citicorp.

Hundreds picketed the Grand Hyatt at Union Square in solidarity with UNITE HERE Local 2 hotel workers.

A group of about 600 left from Justin Herman Plaza at noon and marched to offices of Fannie Mae, Wells Fargo, and the Immigration and Customs Enforcement Agency (ICE) in a protest meant to draw attention to housing and immigrant-rights issues.

“It’s not just a corporate problem. The government has been complicit in these abuses as well,” said Diana Masaca, one of the protest’s organizers.

More than 100 activists from People Organized to Win Employment Rights (POWER) and the Progressive Workers Alliance “occupied Muni,” riding Muni buses on Market Street with signs and chants demanding free transit for youth in San Francisco.

Another 200 participated in an “Occupy the Courts” action at the Ninth Circuit Court of Appeals, in protest of the Citizens United Supreme Court decision and corporate personhood.

 

GLITTER AND BRASS

Exhausted, soaked protesters managed to keep a festive spirit throughout the day, with colorful costumes, loud music, and glitter — lots of glitter.

The Horizontal Alliance of Very Organized Queers (HAVOQ) and Pride at Work brought the sparkly stuff, along with streamers and brightly colored umbrellas, to several different actions. Many painted protest slogans onto their umbrellas, proclaiming such sentiments as “I’ll show you trickle down” and “Not gay as in happy, queer as in fuck capitalism.”

According to protester Beja Alisheva, “HAVOQ is about bringing fabulosity to the movement with glitter, queerness, and pride. All day we’ve been showing solidarity between a lot of different types of oppression.”

There was also the Occupy Oakland party bus — a decked-out former AC transit bus — and carnival, a roving party that shut down intersections and bank entrances in its path while providing passengers a temporary respite from rain.

The Brass Liberation Orchestra, a radical marching band that has been energizing Bay Area protests for a decade, showed up in full force with trumpets, drums, trombones, and a weathered sousaphone.

The Interfaith Allies of Occupy also used horns to declare their message. About 30 participated in a mobile service, sounding traditional rams’ horns and declaring the need to “lift up human need and bring down corporate greed.”

Said Rabbi David J. Cooper of Kehela Community Synagogue in Oakland: “Leviticus 19 says, do not stand idly by in the face of your neighbor’s suffering. Well, we’re all neighbors here. Ninety-nine percent of us are suffering in some way, economically or spiritually. And maybe that number is 100 percent.”

 

FOCUS ON HOUSING

A coalition called Occupy SF Housing called for and organized the day of action, but the messages ranged from environmental to anti-war to immigrant rights.

Many groups did focus in on housing-related issues — and a takeover of a vacant hotel building stressed the urgency and need to house homeless San Francisco residents.

Housing protests included an anti wage-theft occupation led by the Filipino Community Center and the National Alliance for Filipino Concerns at the offices of CitiApartments, an action at the offices of Fortress Investments to demand a halt to predatory equity, and an “Occupy the Auction” demonstration in which protesters with Occupy Bernal stopped the day’s housing auction (at which foreclosed homes are sold) at City Hall.

“A lot of the displacement in this city is happening because of banks and because of things that are out of peoples’ control,” said Amitai Heller, a counselor with the San Francisco Tenants Union. “People will live in a rent controlled apartment for 20 years thinking that they have their retirement planned. A lot of the critiques of the movement are, if you couldn’t afford it you should move. But these people moved here knowing they could afford it because of our rent controls.”

 

LIBERATE THE COMMONS

Most of the early protests drew a few hundred people. But when the 5 p.m. convergence time rolled around, many people got off work and joined the march. A rally at Justin Herman Plaza brought about 600; by the time the march joined up with others at Bank of America on Montgomery and California, the numbers had doubled.

The evening’s demonstration, deemed “liberate the commons,” was also more radical than other tactics throughout the day; organizers hoped to break into and hold a vacant building, the 600-unit former Cathedral Hill Hotel at 1101 Van Ness.

When protesters arrived at the site, police were waiting for them. Wearing riot gear and reinforced by barricades, the cops successfully blocked the Geary entrance to the former hotel.

The darkness, rain, and uncertainty created a chaotic environment as protesters decided how to proceed. Some attempted to remove barricades; others chanted anti-police slogans.

Soon, cries of “Medic! We need a medic!” pierced the air. A dozen or so protesters had been pepper sprayed.

Police Information Officer Carlos Manfredi later claimed that the pepper spray was in response to “rocks, bottles and bricks” thrown by protesters. He also claimed that one officer was struck in the chest by a brick, and another “may have broken his hand.”

But I witnessed the entire incident, and I can say that no rocks, bottles or bricks were thrown at police.

When protesters opted to march down Van Ness, apparently towards City hall, several broke windows at a Bentley dealership at 999 Van Ness.

The march then turned around and headed back up Franklin, ending at the former hotel’s back entrance. There, it became clear that some protesters had successfully entered the building; they unfurled a banner from the roof reading “liberate the commons.”

Soon, many other protesters streamed into the building. They held it, with no police interference, for several hours.

Around 9:30, police entered the building and arrested three protesters for trespassing. About 15 others remained in the building, but left voluntarily by midnight.

This building has been a target of protest campaigns in San Francisco since it was purchased by California Pacific Medical Center, which closed the hotel in 2009. There are plans underway for a hospital to open at the site in 2015.

The project has been met with opposition from unions such as SEIU United Healthcare Workers West and UNITE HERE Local 2. The California Nurses Association (CNA) has also come out against the hospital proposal. In fact, it was the target of a CNA protest earlier in the day Jan. 20, when protesters created a “human billboard” reading “CPMC for the 1 percent.”

At a Jan.18 press conference, CNA member Pilar Schiavo said that at the former Cathedral Hill Hotel site, “A huge hospital is being planned with is being likened by Sutter to a five-star hotel. At the same time, Sutter is gutting St. Lukes Hospital, which is essential to providing healthcare for residents in the Mission, the Excelsior and Bayview- Hunter’s Point.”

Homes Not Jails, a group that finds housing for the homeless, often without regard to property rights, was crucial to planning the “Liberate the Commons’ protest. The group insists that the 30,000 vacant housing units in San Francisco should be used to shelter the city’s homeless, which they estimate at 10,000.

 

RAINY REBIRTH

Wet and cold conditions were not what Occupy SF Housing Coalition organizers had in mind they spent weeks planning Occupy Wall Street West, which was billed as the reemergence of the Occupy Movement in San Francisco for 2012.

Yet for many, the day was still a success.

“The rain’s a downer. But I think it speaks to the power of the movement, the fact that all these people are still out getting soaked,” said Heller on Jan. 20.

Perhaps hundreds of “fair-whether activists” did forgo the day’s events to stay out of the cold. If that’s the case, then occupy protesters with big plans for the spring should be pleased.

At this rate, it seems that Occupy will survive the winter- and emerge with renewed energy in 2012.

 

This article has been to corrected. We originally reported that a demonstration at the offices of Citi Apartments was led by the Chinese Progressive Association (CPA). In fact, it was led by the Filipino Community Center and the National Alliance for Filipino Concerns, and supported by a number of organizations including the Progressive Workers Alliance, of which CPA is a member organization. We regret the error.

Barrel-aged beauties

0

virginia@sfbg.com

APPETITE Here are two new barrel aged beauties worth seeking out, plus more to look forward to in 2012.

1512 SPIRITS BARREL-AGED 100% RYE

I’ve enthused about small production 1512 Spirits (www.1512spirits.com) rye before, crafted by Salvatore “Sal” Cimino with a unique custom still up in Santa Rosa. During the day you’ll find him giving shaves and cutting hair in his classic Nob Hill barbershop, at 1512 Pine Street (www.1512barbershop.com).

His brand new release is a barrel-aged 100 percent rye, just on the market in a very limited release ($59.99 per half-bottle) with the largest allocation available through K&L Wines, www.klwines.com. Ryes are (blessedly) flooding the market these days but only a handful are made from 100 percent rye and even less with the one-man attention that goes into 1512. Sal cautiously guards his process, not allowing anyone else present when distilling.

Whiskey fans may quibble about a $60 half bottle when they can get cheaper ryes (or higher-priced stand-outs like Thomas H. Handy Sazerac Rye, available at Cask, www.caskstore.com). But this rye is the opposite of high production whiskey. One tastes the hands-on care in each sip. Though 100 proof, it is bright, fresh, popping with apple, vanilla, pepper, a gentle rather than bracing spice, and a lingering complexity.

I had the privilege of tasting early batches of Cimino’s future releases, including a 105 proof poitín, or “poteen” in the States, a rare Irish spirit made in this case from potatoes. (The word poteen refers to small pot stills in which the liquor is historically made). Despite the use of potatoes, I would not liken this to potato vodka. Clear, bold and light, it evokes cucumber and summer, with the spirit of an eau de vie and robustness of a white whiskey. There’s nothing in the US quite like it. (Release is set for April.)

Also later in 2012, Cimino is releasing a bracing white wheat whiskey — with more than 70 percent wheat. (I sampled it at 120 proof, but it will be bottled closer to, or below, 100 proof.) For that proof, it’s awfully smooth, evoking surprising flavors from straight-up wheat bread to clean chocolate notes. Another unusual sip, it confirms that this Nob Hill barber is creating some of California’s — and yes, the country’s — more interesting, very small batch, historical spirits. Aged Rye $59.99

BOLS BARREL-AGED GENEVER

The classic Dutch spirit, Bols Genever (www.bolsgenever.nl), has been produced by the Lucas Bols company since 1575. Not many distilleries can boast such a heritage. Master distiller Piet Van Leijenhorst has crafted the spirit for more than 25 years. Genever is often referred to as the original gin that London dry and other gins descended from. It’s worlds apart from what we commonly call gin, more akin to whiskey in boldness but with its own unique, herbaceous profile.

In trying the new Bols Barrel-Aged Genever, which Esquire magazine just named best new liquor of 2011, I notice the complexity rises a few more notches. Made with traditional botanicals (like cloves, anise, hops, ginger, juniper, etc…), the genever is aged 18 months in French Limousin oak. Bottled in a grey, earthenware bottle, it is as striking visually as it is in flavor. It drinks bold with a silky texture — subtly sweet with vanilla honey, cinnamon spice, wood and pepper linger on the finish.

As with a good whiskey, I like to sip Bols Barrel-Aged Genever neat, pre- or post- dinner, but it also gives intriguing dimensions to classic cocktail greats like a Mint Julep or Manhattan (substitute whiskey for genever). Bottles are $49.99.

 

COCKTAIL INTELLIGENCE: FIFTH FLOOR DELIGHTS

Food and wine are the draws at gorgeous Fifth Floor (www.fifthfloorrestaurant.com), but bartender Brian Means, formerly of Zero Zero, has created singular cocktails worth a stop in the mellow lounge. Perhaps you’ll skip dinner entirely.

The unassuming Mr. Means creates some of the more promising recipes I’ve tasted from an up-and-coming crafter. As I judge multiple cocktail contests, his entries consistently exhibit a surprising level of sophistication, often placing high. He shakes (and stirs) with an unfussy hand, comprehending classic cocktail foundations, but varying off-path enough to keep it interesting.

Here are three of his cocktails I’d recommend, currently on the Fifth Floor menu:

Pink Elephant — Death’s Door (one of my favorite gins), with rosato vermouth, pineapple gomme syrup, orange bitters and smoked absinthe. Means doesn’t let the smoke overpower. Rather, it gives off a faint smoke aroma, hinting at brawn behind a delicate surface. Don’t judge it by its color.

Loretto Wrangler — Named after a key Kentucky bourbon town (home of Maker’s Mark, the Wrangler’s base spirit), Loretto Wrangler includes Cynar (Italian artichoke liqueur), Graham’s Six Grapes port, Dubonnet Rouge, and Bitter Truth chocolate bitters. It may sound like a lot of ingredients, but never fear. Playing like a classic, spirit-driven whiskey cocktail, it unfolds with layers of bitter, sweet, boozy, and — thanks to the choco bitters — meaty, goodness.

Spanish Maiden — El Tesoro blanco tequila and elderflower liqueur with a lemon twist makes for an obviously pleasing aperitif pre-dinner, right? Add in a dash of sherry and this bright refresher takes on depth and dimension, if ever so subtly, while still remaining stimulating and light. *

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

 

Whatever happened to Baby Jaymes?

1

arts@sfbg.com

MUSIC One day in November 2004, my then-girlfriend returned to our Oakland apartment all excited. “I just heard this on KMEL,” she said. She handed me a CD, Baby Jaymes, Ghetto Retro (Underground Soul), while she unwrapped the included Ghetto Retro EP and cued up “Nice Girl.” “He sounds like Prince,” she enthused—we were Prince geeks—”but he’s from East Oakland!”

Something in the way the vocals were layered, the tasty guitar and bass details under aloof keyboards, and the idiosyncratic, non-pimp, non-player personality that disclosed itself seemed to justify the comparison, particularly as we moved on to the LP. The hidden track “Ev’ry Nuance,” for example, could be a Lovesexy outtake, even as its more lo-fi aesthetic seemed to allude knowingly to 1999-era bootlegs.

http://www.youtube.com/watch?v=YJrO8GoozIE

Comparisons to Prince would be made in nearly every review of Ghetto Retro, though the insistence was a little misleading. While Prince is definitely an influence, BJ — as he’s known — isn’t especially well-versed in the Purple One’s catalog. Some of the resemblance stems from the common influence of 1960s and ’70s soul; Motown, particularly Smokey Robinson, and Stax loom much larger for Baby Jaymes, and in many ways, the similarly pint-sized singer is the anti-Prince, possessing no conventional technical musical ability, depending on collaborators to translate the melodies and arrangements he hears in his head.

In 2007, I had the experience of watching him cajole a string trio from blank incomprehension into a soaring, unscripted overdub reminiscent of a Paul Riser classic. Yet I’ve also seen the comparatively simple matter of a guitar overdub founder for want of a common vocabulary.

“It’s all about energy to me,” BJ says, “but I can’t always articulate it in a way that musicians understand. But if I articulate it emotionally they might be like, yes! and we’re there. I used to knock myself out because I can’t play, but that’s part of my gift. I’ve gotten to the place where I’m ok with that.”

The other major difference is the difference between Minneapolis and East Oakland, for while Prince has profoundly influenced hip-hop, he’s never known what to do with it, whereas it’s second nature to BJ, hailing from the notorious Rollin’ 100s (99th and MacArthur, to be exact).

Much of Ghetto Retro is built on heavily manipulated samples, augmented with instruments, and though he’s the furthest thing from a thug — I’ve never heard him cuss, though I have heard him say “my goodness” and even “golly”—Baby Jaymes sounds entirely natural with Turf Talk on his 2008 single “The Bizness” or The Jacka on his new EP, Whatever Happened to Baby Jaymes?, released late last year on Hiero-imprint Clear Label Records.

THE SHIFT

The EP’s title, BJ admits, was the brainchild of Souls of Mischief and Hieroglyphics member and Clear Label head Tajai Massey, both punning off the Bette Davis film and nodding to the seven-year wait since Ghetto Retro. BJ initially resisted.

“I disappeared,” he admits. “But I don’t want people to think I wasn’t doing anything.”

“I was bummed out with the artist thing,” he continues. “People remember me — which is a good thing. But I couldn’t imagine life not having anonymity. To this day I can’t go anywhere in the Town without seeing at least one person that knows me. It can be overwhelming.”

BJ’s local profile, elevated by airplay on KMEL, national press from Fader and XLR8R, and even a 2005 GOLDIE, was complicated by the chronic difficulty of making money as a Bay Area urban artist. In the mid-’00s, besides longstanding major label distinterest, Bay Area independent artists suddenly saw their financial foundations crumble with the decline of CD sales.

“You have to preserve your mystique,” he says, “but you don’t have money to be that guy all the time. I might really be on the bus and you see me on the bus and it just kills my whole thing for you. So I decided I just wanted to make music, not make music to be famous.”

Instead BJ moved to L.A. to pursue licensing deals in movies and TV. Even before Ghetto Retro, he’d already tapped into Hollywood money, writing a song (“Without a Daddy” by Touché) that appears in Oliver Stone’s Any Given Sunday (1999). (His own version appears on Ghetto Retro as “Black Girl/White Girl.”) Since relocating, he’s racked up an oddball assortment of screen credits, from a few seconds of music in a Nicole Kidman vehicle (2007’s The Invasion) to production work on Fox’s intro to the 2008-09 NFC Championship broadcast (apparently Cleatus the Robot’s first foray into hip-hop).

More recently NCIS used a snippet “so small and incidental, you can barely hear it,” but this brings in incomparably more money than dropping a Bay Area hip-hop soul classic. Essentially BJ makes the bulk of his modest income off five song placements and would like to bring that number up to around 40 reliable ones, which he estimates would bring in a comfortable enough existence to fulfill his artistic ambitions.

 

THE PROVERBIAL RETURN

For, despite his earlier discomfort, Baby Jaymes’s artistic ambitions remain, and Tajai was able to induce him to sign to Clear Label to record a new album, for which the seven-song Whatever Happened is simply a calling card. Still, after so long a hiatus, the EP is a joy to hear. I’d wondered if BJ and long-time collaborator, producer Marc Garvey, would shy away from the sound they’d crafted in favor of something more obviously commercial, but instead they’ve dug deeper, returning to the samples-plus-hip-hop-drums core that makes Ghetto Retro feel so warm and timeless.

The single, “Heart & Soul,” captures the throbbing drama of a kind of vintage R&B that concerns matters of deeper import than Bentleys and Belvedere, serving by turns as a declaration of love and an artistic manifesto. Yet BJ also shows off a new swag with an inventive reimagining of 50 Cent’s “21 Questions” over a live band, co-produced by Ledisi mastermind Sundra Manning.

This more than anything else gives a foretaste of the album to come, judging from the unreleased tracks he played me, all of which featured live instrumentation. This is a far more expensive way to make a record, but he hopes to have complete and release it sometime in 2012.

“Honestly, if Tajai hadn’t said, ‘We should do a record, I’ll help you pay for it,’ I probably wouldn’t have been able to do it,” he says, clearly relishing the new material. “I do it for the love of music, nothing else.” *

 

Rep Clock

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Schedules are for Wed/25-Tues/31 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ART DECO MOVIE THEATER 2700 Saratoga, Alameda; www.baicff.com. $10-20. "Bay Area International Children’s Film Festival," family films from around the world, Sat-Sun, 10am-5:30pm.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $15-20. "Opera and Ballet at the Balboa Theatre:" Caligula, from the Paris Opera Ballet, Wed, 7:30; Cendrillon, from the Royal Opera House, Sat-Sun, 10am. "Jazz and Film:" A Great Day in Harlem (Bach, 1994), with live performance by Jimmy Ryan’s Balboa Be Bop Band, Sun, 5:30.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, Berk; www.bfuu.org. Hypothesis (Smith), followed by a discussion about 9/11 truth, Thurs, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. "Noir City X:" •House of Bamboo (Fuller, 1955), Wed, 7:30, and Underworld USA (Fuller, 1961), Wed, 9:20; •Naked Alibi (Hopper, 1954), Thurs, 7:30, and Pickup (Haas, 1951), Thurs, 9:20; •Thieves’ Highway (Dassin, 1949), Fri, 7:30, and The Breaking Point (Curtiz, 1950), Fri, 9:30; •Three Strangers (Negulesco, 1946), Sat, 1, 5, 9, and The Great Gatsby (Nugent, 1949), Sat, 3, 7; Roadhouse Nights (Henley, 1930), Sun, noon; The Maltese Falcon (Del Ruth, 1931), Sun, 1:20; City Streets (Mamoulian, 1932), Sun, 3; Mr. Dynamite (Crosland, 1935), Sun, 4:45; The Glass Key (Heisler, 1942), Sun, 7; The Maltese Falcon (Huston, 1941), Sun, 9. Advance tickets (double features, $10-15) and more info at www.noircity.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. "Rafael Film Club:" Complicated Women (Munro Neely, 2003), Thurs, 1. With author and film critic Mick LaSalle. Pina (Wenders, 2011), Jan 27-Feb 2, call for times. Joffrey: Mavericks of Dance (Hercules, 2011), Sat, 10:30am.

JEWISH COMMUNITY CENTER OF THE EAST BAY 1414 Walnut, Berk; (510) 848-0237, www.brownpapertickets.com. $6-8. "San Francisco Jewish Film Festival Presents:" 77 Steps (Mara’ana, 2010), Thurs, 7:30.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. "Film 50: History of Film, Cinema, and the Other Arts:" "Back to the Beginning: From the Cinema of Attractions to Narrative Illusionism," with lecture by Marilyn Fabe, Wed, 3:10. This event, $5.50-11.50. "Documentary Voices:" David Holzman’s Diary (McBride, 1968), Wed, 7. "African Film Festival 2012:" Medicine for Melancholy (Jenkins, 2007), with director Barry Jenkins in person, Thurs, 7; A Screaming Man (Haroun, 2010), Sun, 4:30. "Howard Hawks: The Measure of Man:" Paid to Love (1927), Fri, 7; Scarface (1932), Tues, 7. "Henri-Georges Clouzot: The Cinema of Disenchantment:" Diabolique (1955), Fri, 8:40; The Spies (1958), Sun, 6:30. "Austere Perfectionism: The Films of Robert Bresson:" Pickpocket (1959), Sat, 6:30; Diary of a Country Priest (1950), Sat, 8:10.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Warren Ellis: Captured Ghosts (Meaney, 2011), Wed, 7:15, 9. The Upsetter: The Life and Music of Lee "Scratch" Perry (Higbee and Bhala Lough, 2011), Thurs, 7:30, 9:30. Sing Your Song (Rostock, 2011), Jan 27-Feb 2, 6:45, 8:45 (also Sat-Sun, 2:45, 4:45).

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. Fullmetal Alchemist: The Sacred Star of Milos (Murata, 2011), Wed-Thurs, 2, 4:30, 7, 9:15. Sleeping Beauty (Leigh, 2011), Jan 27-Feb 2, 2, 4:30, 7, 9:15 (no 7pm show Mon/30).

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "British Arrow Awards: Best British Television Commercials of 2011," Thurs-Sun, 2, 4, 6, 8. The House by the Cemetery (Fulci, 1981), Fri-Sat, 10.

ZINC DETAILS 1905 Fillmore, SF; rsvp@zincdetails.com. Free. Eames: The Architect and the Painter (Cohn and Jersey, 2011), Wed, 6. With a discussion about the Eames with former Dwell editor Sam Grawe.

On the Cheap Listings

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Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 25

Bring Me Men: Military Masculinity and the Benign Facade of American Empire author presentation University Press Books, 2430 Bancroft Way, Berk. (510) 548-0585, www.universitypressbooks.com. 6-7:30 p.m., free. Author Aaron Belkin explores the hyper-masculine construction of our armed forces, and the glaring contradictions that lie therein.

Ryan Boudinot’s Blueprints of the Afterlife reading Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30 p.m., free. The apocalypse is undeniably white-like-fire hot these days, what with it being about to happen in 11 months and all. Author Ryan Boudinot is happy to get your cognitive juices flowing on the matter – his new book Blueprints of the Afterlife takes place during the days when glaciers are ravaging the United States’ landscape and human beings’ nervous systems can be hacked.

THURSDAY 26

Author reading: James Martel on Walter Benjamin’s anti-sovereignty theories University Press Books, 2430 Bancroft Way, Berk. (510) 548-0585, www.universitypressbooks.com. 6-7:30 p.m., free. SF State associate professor of political science Martel has written a pair of books that look to dismantle the false choice we are presented between anarchy and sovereignty. His solution to these limited options: the divine game-changing forces presented in the works of German-Jewish intellectual Walter Benjamin.

“Picturing the Contemporary Arts in Ms. Magazine: A Chronological Journey” art exhibit Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2700, www.ybca.org. Through Sun/29. Thu-Sat, noon-8 p.m.; Sun, noon-6 p.m. Since founding editor Gloria Steinham’s talk at Stanford University today is sold out, get your 40 years of Ms. Magazine fix at this free art exhibit, for which YBCA has bedecked its lobby with iconic images from the last four decades of the seminal feminist publication.

“Sex Work and Consent” conversation Center for Sex and Culture, 1349 Mission, SF. www.sexandculture.org. 8 p.m., $10 suggested, no one turned away for lack of funds. Sex workers and community leaders will gather round to discuss consent-rape culture in our society – and there will be a Good Vibrations swag raffle to boot.

Lily Renée, Escape Artist: From Holocaust Survivor to Comic Book Pioneer author presentation Cartoon Art Museum, 655 Mission, SF. (415) CAR-TOON, www.cartoonart.org. 7-9 p.m., free. Trina Robbins wrote (and drew) the book on Renée, a 14-year-old Austrian Jewish girl who fled the Nazis, only to become a dynamic member of the 1960s underground comic scene.

SATURDAY 28

“The Wisdom of Compassion: Teachings with Patrick Gaffney” Rigpa San Francisco Center, 111 New Montgomery, SF. (866) 200-5876, www.rigpabayarea.org. 10 a.m.-5 p.m., free-$50 sliding scale. Sogyal Rinpoche’s most senior student (co-editor of Rinpoche’s The Tibetan Book of Living and Dying) teaches on how to get meditation and compassion into your life in a meaningful way.

“All You Can Dance For $5” Alonzo King LINES dance marathon Alonzo King LINES Dance Center, 26 Seventh St., SF. (415) 863-3040 x221, www.linesballet.org. 1-5 p.m., $5. Never mind lapsed New Year’s resolutions: this afternoon-long event will get you sweating without all that silly gym-angst (or sign-up fees). The well-loved dance company is offering a sampling of its classes – from hip-hop and ballet, to modern and jazz.

Treasure Island Flea Market One Avenue of the Palms, Treasure Island. www.treasureislandflea.com. Also Sun/29. 10 a.m.- 5 p.m., free. Though it’s moved indoors until March, Treasure Island’s oasis of all things old and unique continues to be your go-to monthly spot for quirky home furnishings, bike, clothes, and all kinds of more.

Golden Gate Kennel Club Dog Show Cow Palace, 2600 Geneva, Daly City. www.goldengatekc.com. Also Sun/29. 8:30 a.m.-5 p.m., $12. A plethora of historic events fill the Cow Palace each year — the Grand National Rodeo, weed expos galore, Cirque Du Soliel – but few feature arenas full of fluffy yappers. This dog show is over 100 years old, but still has new tricks. Among the breeds that will be featured for the first time in 2012 are the Swedish valihund and the cane corso.

Good Vibrations Lakeshore Avenue opening party Good Vibrations, 3219 Lakeshore, Oakl. www.goodvibes.com. 6-9 p.m., free. If the born-in-SF sex toy brand’s continued world domination — and new Oakland store — isn’t enough cause for celebration, know that Kani Burress of Real Housewives of Atlanta will be in attendance today, hyping her toy line Bedroom Kandi.

SUNDAY 29

Oakland Museum of California’s Lunar New Year celebration Oakland Museum of California, 1000 Oak, Oakl. (510) 238-2200, www.museumca.org. Noon-4:30 p.m., free with $12 museum admission. Learn to pound mochi, take in Korean drumming and storytelling performances, and get educated on the meaning of Fred Korematsu Day through a presentation by the daughter of the civil rights activist who fled when the US government ordered all Japanese-Americans placed in internment camps during WWII. It’s all here at this event to celebrate the entering of (the year of) the dragon.

MONDAY 30

[SSEX BBOX] sexuality documentary premiere Center For Sex and Culture, 1349 Mission, SF. www.sexandculture.org. 7:30-10 p.m., free. Witness the culmination of this international film project’s world travels, in which its team talked about living and loving outside the box with sex educators, writers, and just plain old hotties. You’ll have the opportunity to meet the director and crew after the film’s screening.