2012

Coachella lineup revealed, many reunited acts

Tony Robles
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Coachella lineup revealed, many reunited acts

It’s official: the Coachella lineup for 2012 is out and it’s a doozy. The mix of acts in the sunbaked California desert will surely please all camps; there’s the hip new guard, and more importantly, there are some thrilling reunions.

Friday night headliners include the Black Keys, Pulp, Refused, Arctic Monkeys, and Mazzy Star; the mid-range boasts Tim Armstrong, Girls, Rapture, Frank Ocean, Yuck, and Neon Indian, and below those some newbies such as WU LYF, EMA, and LA Riots are listed (along with dozens of others).

Saturday brings back Radiohead and gains the elusive Jeff Mangum, along with the Shins, Bon Iver, fIREHOSE, Andrew Bird, Feist, A$AP ROCKY, Buzzcocks — the list surely goes on and on.

Sunday seems perhaps the most eclectic lineup with Dr. Dre and Snoop Dogg headlining, softly below that a reunited At The Drive-In, along with Justice, Florence and the Machine, Beirut, the Hives (huh?), Wild Flag, Greg Ginn, araabMUZIK, and just gaggles more.

I’m running out of ways to say additional bands here. Why not take a look for yourself.

Tickets go on sale Friday at 10 a.m. PST. Or you could stay in San Francisco and soak up our cooling fog.

Who will push progressive taxes in 2012?

Zelda Bronstein
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Who will push progressive taxes in 2012?

Mayor Ed Lee talked to the Examiner about his plans for the next year, and it’s a lot of the usual political crap: I’m going to create jobs, I’m going to bring people together and promote civility, ho hum. But he did mention, briefly, the need to change the city’s business tax, and here’s how he put it:

We have given ourselves four months to reach out to all the business groups. There will be different views and opinions. You can have a hybrid [between a payroll and gross receipts tax], and you can also have a phase-in period of time. We want to have a good conversation with everybody and get their best ideas, and then use those ideas to craft what we think could be on the ballot. We’re not saying it has to be on the November ballot, but it could be. We want to have something that is not job punishing, but also something that does not decrease our revenue.

First: He’s going to reach out to all the business groups — but what about everyone else in the city? The level of business taxes has a direct impact on city services; is that not part of the equation? Clearly, he’s talking about something that’s at best revenue-neutral, something that “does not decrease our revenue.”

And please, don’t tell me about “job punishing” — it makes me even crazier than I already am. Look: There has to be a business tax in San Francisco. And any time you tax businesses, you take money for the city that could be used for other things. In some cases — not that many — the extra money might be used to hire a few people. In reality, for most businesses, the payroll tax is absolutely NOT a factor in job creation. It sounds bad — Gasp! a tax on jobs! — but the truth is that payroll is a rough approximation for the size of a company, and that’s what the city uses as a tax base.

Of course, we could change that to a gross receipts tax — another rough approximation for the size of a company. It’s also imperfect — some companies have a lot of money (VC funding, for example) and a lot of employees, but at this point not much in the way of sales. Some companies (supermarkets, for example) have high gross receipts but relatively low profit margins. And, of course, if you do a gross receipts tax the same people who complain about the payroll tax will have a new line: The GR tax penalizes growth! It penalizes success! The more money you make the more you pay! Unfair! Un-American! Job killer!

Because some people in this town (mostly big business types) just want lower taxes, period — not different taxes, lower taxes

So let’s get rid of the “job killer” rhetoric and start talking about what the city’s tax policy should be. And it should go like this: The individuals and businesses with the most money should pay the highest tax rates. The rich don’t pay their fare share anywhere in the U.S., and while the mayor and the supervisors can’t change federal policy, they can do their part on a modest level at home.

This a great year for tax reform in San Francisco. The spirit of Occupy is very much alive. There is, for the first time in decades, a national discussion about income and wealth inequality. There’s strong evidence that the middle class is vanishing in San Francisco. And, thanks to the wierdness of state law, in 2012, when there’s an election for the Board of Supervisors, a tax measure can pass with a simple majority vote In many ways, this is the single most important policy issue in the city, the one that defines who pays for what and who gets what and whether (public sector) jobs are created or destroyed and what kind of a city we want to be.

So let’s take it seriously. Instead of allowing Mayor Lee and the (big) business folks set the agenda, the progressives really need to move forward on a tax-reform plan that looks at making big business pay more and small business pay less — and that brings in another $250 million a year for the local coffers If gross receipts is the flavor of the day, I’m good with that — but not a flat tax. Exempt, say, the first $250,000 (or the first $500,000, whatever, run the numbers and see what we can afford). Put a 1 percent tax on the next million, a 1.5 percent tax on all receipts between $1.5 million and $5 million, a 2 percent tax on $5 million to $10 million and 3 percent on everything higher. Adjust the numbers either way, but that’s the general idea. Then add in a tax on commercial rents (again, exempt the first $500,000 or whatever) to make sure the the big landlords (who get away with murder under Prop. 13) are paying, too. And yes, based on market supply and demand, some will try to pass that on to their tenants, but companies (including a lot of law firms) that rent enough space to be paying millions of dollars a year in rent can afford to modest tax hike.

It will take the city controller or the city’s economist to do the math and see what the options are and how you get to $250 million net new revenue, so my proposal is just a start. But somebody needs to take this on, some member of the Board of Supervisors — or else we’ll just be responding to what the Chamber of Commerce wants. Who wants to be the champion of Tax Reform for the 99 Percent? Time is getting short.

Nite Trax: Techno wizard Never Knows’ 11 from ’11

Jesse Hawthorne Ficks
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Nite Trax: Techno wizard Never Knows’ 11 from ’11

Local techno producer and live performer Marc Kate, a.k.a. Silence Fiction, a.k.a. Husband, a.k.a. Never Knows comes to us from the future with this heady emendation of the recent musical past, replete with technicolor shadows, tripped-out mixtape passings, overdue redos, shapeshifting pop sublimity, fortunate live distortion, and bass hauntology. Check it.  

>>Young Galaxy, “Shapeshifting”

I can’t imagine pop music being more sublime than this. 

>>Trish’s Mind Bending Motorway Mix

On January 14th, we lost Trish Keenan, vocalist of Broadcast, one of the most beautiful and haunting voices of our time. Before she passed, she made this bizarre, tripped-out mixtape for a friend.

01 Mind Bending Motorway Mix – Single Track by Abandapart

>>The Horrors, Skying

They’ve traded their Prayers on Fire and Tago Mago for Madchester and Ultravox. My favorite retro-synthesists.

>>The Soft Moon live at Milk

The worst live sound I’ve ever heard. As if someone treated the speakers to violent stabbings at soundcheck. Somehow, the torrential force of the Soft Moon through that PA created a gorgeous, terrifying squalor.

>>Simon Reynolds, Retromania

A great diagnosis for the current cultural trap we’re all in – reveling in the past rather than evolving towards an unknown future. Too bad it doesn’t come with a repair kit.

>>My Bloody Valentine, Loveless Remastered

This release was delayed several times in 2011. And at this rate, it may never come out. Sometimes perfection takes a little time. Or sometimes an endless amount of silence before the sensuous scream.

>>Blondes live at Public Works

Tabletop electronics that fuse techno with Krautrock. I love their recordings, but live, they created an even more technicolor density.

>>Kangding Ray – OR

My favorite raster-noton release in a long time. It’s austere and lush and a bit EBM and a bit techno and even skirts the edges of hauntological dubstep.

>>Bear in Heaven – I Love You, It’s Cool streaming preview

This album doesn’t come out until April 2012, but it’s streaming from the band’s website. However, it has been time-stretched to take four months to play beginning to end. Go there now. I’m sure it’s still droning on.

>>Honey Soundsystem

I don’t make it down to the Holy Cow every Sunday night for the HSS party, but I’m always thankful when I do. Favorite weekly.

>>Occupy

What’s more compelling than people vocalizing their righteous discontent? I’m excited to hear what’s next.

What? Glenn Beck in for Strephanie Miller on Green 960

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As we were driving to work this morning (1/4/2012), we were surprised and angered to find Glenn Beck, the rightwing  broadcaster who was too much for Fox News, replacing Stephanie Miller, the liberal, articulate, and clever talk show host on Green 960. How in the world could that be?  How in the world could the Clear Channel broadcast conglomerate put Beck on morning drive time on Green 960, which up to now had “proudly” proclaimed itself as the progressive radio station in progressive San Francisco? .How could it make this crucial political change at the very start of the presidential electon season?  Was it because Clear Channel is now owned by another conglomerate involving Mitt Romney? (In 2008, a Boston-based private equity firm purchased Clear Channel in a leveraged buyout, according to the Bradblog.)  Has Clear Channel/Romney no shame?

I have often tried in vain through the years to contact Clear Channel for explanation or comment on news stories. This time, I  am happy to turn the job over to the Bradblog below, operated by Brad Friedman, who runs an excellent independent blog specializing in investigative reporting, broadcast analysis, and election integrity issues.

Read what he has to say and get good and mad. Clear Channel is screwing the City and County of San Francisco yet again. Resist! B3
http://www.bradblog.com/?p=8974


Calvin Trillin: Deadline poet on Rick Perry and Tim Tebow

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Rick Perry Compares Himself to Denver Broncos Quarterback Tim Tebow

So Perry is fond of debates now,

He’s calling himself in these rumbles

An Iowa caucus Tebow–

Except for how he fumbles.

(Calvin Trillin, Deadline Poet, The Nation (1/9/2012)

How scary is Iowa?

Zelda Bronstein
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How scary is Iowa?

I know, I know: It doesn’t deserve the hype. And Mitt Romney’s going to be the Republican nominee anyway; the rest is all theater. And I was just joking about how it might help Obama if one of the true wingnuts won the Iowa Caucuses.

But in the cold light of a Jan. 4 morning, I have to say:

It’s pretty fucking scary that the voters in Iowa not only took seriously but gave a fair amount of support to someone who has made much of his career out of being a homophobe and a racist. Oh, and really, really stupid:

“There are people who were gay and lived the gay lifestyle and aren’t anymore. I don’t know if that’s the similar situation or that’s the case for anyone that’s black. It’s a behavioral issue as opposed to a color of the skin issue, and that’s the diff for serving in the military.”

Seriously: I know that he only got 30,000 votes, and there are a lot of evangelical Christians in Iowa, and I suppose not all of them hate queer people. Al Sharpton — and whatever you say, Sharpton’s no political fool — says that Santorum helps the Democrats by forcing Romney to continue to pander to the right. And I don’t believe that even 25 percent of the Republican voters in the nation as a whole would support someone with Santorum’s views.

But still: It’s 2012. And the most virulently antigay candidate in a right-wing field is right up near the top in the first real contest.

Isn’t that a little bit alarming?

Our Weekly Picks: January 4-10

Andrew Lam
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WEDNESDAY 4

Starfucker

Reptilians, the latest LP from Portland, Ore.’s Starfucker, shows a clear obsession with death. But, you might not realize it from the opening track, “Born,” which takes a Flaming Lips style approach and brings some rock skuzz to a child-like stare into the abyss. This band keeps getting bigger (as does its audience — this Oakland date was added after two scheduled shows this week sold out,) and now with five touring members, the sounds gotten more expansive: euphoric electronica, Australian/Minogue-ish pop, 8bit arpeggios, Pixies’ bass lines, plus the signature Alan Watts samples. It could be a little much for a synth rock group, but for now, considering impending annihilation, Starfucker doesn’t seem to give a fuck. (Ryan Prendiville)

With Painted Palms, and Feelings

9 p.m., $20–$23

New Parish

579 18th St., Oakl.

(415) 371-1631

www.thenewparish.com

 

Week End

Yes, there was a standout 2011 movie called Weekend — Nottingham guy meets bound-for-America Nottingham guy for a one-night stand that turns out to be something more — but this screening is of another film with a very similar name, 1967’s Week End. Pro-tip: add Weekend to your Netflix queue and add Week End to your weekend plans. Jean-Luc Godard’s surreal, prescient satire of our ever-declining civilization, featuring cinema’s most epic (and most epically-filmed) traffic jam, unspools on the big screen in the form of a brand-new 35mm print. Oui-kend! (Cheryl Eddy)

Fri/6-Sun/8, 7 and 9:15 p.m. (also Sat/7-Sun/8, 2:30 and 4:45 p.m.), $7.50–<\d>$10

Castro Theatre

429 Castro, SF

(415) 621-6120

 

Grass Widow

Celebrate the first Friday of 2012 in Oakland with a free performance by San Francisco’s popular harmonizing punk trio, Grass Widow. Traipse through forward-thinking art instillations at nearby galleries as part of Art Murmur, then pop into the Uptown for an early start — doors are at 6 p.m. so there’s ample drinking time before bands. And those bands are high quality. Every time I see Grass Widow live, I’m smacked with its sheer blistering force; last catching the act upon its return from tour at a Public Works show featuring the resurgent Erase Errata, I was again swept up by the pummeling skills of guitarist Raven Mahon, drummer Lillian Maring, and bassist Hannah Lew. Art, drinks, and cheap-o rock’n’roll, it’ll be a solid First Fridays escape from reality. (Emily Savage)

With Culture Kids, Churches, and Wave Array

9 p.m., free

Uptown 1928 Telegraph, Oakl.

(510) 451-8100

www.uptownnightclub.com

 

Stripmall Architecture

The video for Stripmall Architecture’s “Radium Girls” features a neon-painted Rebecca Coseboom making weird “come hither” faces as she sings into the camera. It’s trippy and alluring, and it’s precisely how I would describe the local quartet’s dark-tinted pop music. Though Stripmall Architecture might be somewhat under your radar, founding couple Rebecca and Ryan Coseboom have worked with DJ Shadow, and Cocteau Twins guitarist Robin Guthrie, and toured the country with Bob Mould. The group wails on guitars and synthesizers, but Rebecca’s angelic voice is the driving force of its sound. After watching “Radium Girls,” I found a bunch of clips of the freaky light show the band puts on for live performances. So, you should probably check them out. (Frances Capell)

With Return to Mono and TIGERcat

9 p.m., $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


FRIDAY 6

Frank & Tony

Francis Harris (a.k.a. Adultnapper) has a gift for building minimal tracks. One of the best songs of the last year, “Idiot Fair (feat. Black Light Smoke)” was a restrained bit of deep tech house released on Berlin’s Poker Flat Recordings. A steady bump with a little shake and some alternating clipped keys and snares for five minute — it didn’t slow build, it pleasantly idled — until a pair of brooding, stressed male vocals dropped into play. While Scissor and Thread — a Brooklyn-based label Harris started with players including French DJ (Tony) Anthony Collins — bills itself as an independent rather than dance imprint, the releases so far from Harris and Black Light Smoke sound quite promising. (Prendiville)

With Adnan Sharif (Forward), Michael Perry (Fedora)

9:30 p.m., $10–$15

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

The Proud

Local playwright Aaron Loeb’s previous work was entitled Abraham Lincoln’s Big, Gay Dance Party and featured a chorus line of dancin’ beardos in stovepipe hats. His latest, The Proud, workshopping at Dance Brigade’s Dance Mission Theater, features a more serious subject matter (presented in collaboration with Iraq Vets Against the War, the play is about post-traumatic stress disorder) — but a no less memorable chorus, in the form of Dance Bridgade’a formidable drummers and dancers. The Proud is drawn from interviews with Bay Area veterans of Iraq and Afghanistan, focusing on both PTSD and — in keeping with Dance Brigade’s commitment to feminist themes — the treatment of women in the military. Even in “staged reading” form, The Proud promises to be powerful stuff. (Eddy)

Sat/7, 8 p.m.; Sun/8, 6 p.m.; Mon/9, 5 p.m., free

Dance Mission Theater

3316 24th St., SF

(415) 826-4441

www.dancemission.com


SATURDAY 7

“Primo”

What gentle vibrations run through a family that produces a plural of career artists? Somewhere back in the generations was a genetic seed planted, later blooming into progeny given to walking the world with paint-spattered paws and dreamy gazes fixed on rooftops or the curvature of a cat’s cheekbones? Pending a scientific conclusion, we can look to the new art exhibition by cousins Hugh and David D’Andrade for clues. Budding geneticists will find comparisons of the two’s bodies of work — Hugh’s illustrative dream world most recently featured on an iconic Occupy flier, David’s sweeps of pigment that seem almost sculpture-like — to be catnip for the dabbler in DNA studies. (Caitlin Donohue)

Through Feb. 18

Opening reception: 6-9:30 p.m., free

a.Muse gallery

614 Alabama, SF

(415) 279-6281

www.yourmusegallery.com


“Accordions with Love II”

This event is actually a double whammy, two full shows of squeezebox pride. First, there’s the early show, “Accordion Babes Review” which kicks off at happy hour and includes accordion-filled sets by Yeti, Amber Lee & the Anomalies, Luz Gaxiola & Circus Finelli, Vagabondage, and more. Next up, there’s “The Big Squeeze,” the nighttime show beginning at 9 p.m. This one features Mark Growden, Gabrielle Ekedal & Angus Matin, Eggplant Casino, and yes, even more. It’s a packed lineup, one that should envitably lead to your perfect come-on for the night, “My, how your accordion bellows.” (Savage)

5 p.m. and 9 p.m., $10 per show

Amnesia

835 Valencia, SF

(415) 970-0012

www.amnesiathebar.com

Phonte and 9th Wonder

It’s a little hard to wrap my head around the notion that Charity Starts At Home, released in September, is the debut solo album from North Carolina Justus League rapper Phonte. One of the most straight-talking, artistically varied artists around, Phonte has done practically everything but a solo album: classic underground records with the group Little Brother, the electronic R&B project Foreign Exchange with Dutch producer Nicolay (hip-hop’s answer to the Postal Service), and alter-egos like Tigallo and the hilariously authentic old school soul singer, Percy Miracles. Among it’s highlights, Charity sees the MC once again collaborating (after a 6 year break) with top-tier producer and former Little Brother member 9th Wonder. (Prendiville)

With Median, Rapsody

9 p.m., $22-40

New Parish

579 18th St., Oakl.

(415) 371-1631

www.thenewparish.com


SUNDAY 8

The Future of Motive Power

Nikola Tesla died at the New Yorker Hotel in 1943, alone and without a cent to his name. In the last years of his life, the “electric wizard” behind wireless communication and the induction motor had been promoting a death ray, subsisting on vegetable potions, and obsessing about pigeons (he claimed to love one pigeon like “a man loves a woman”). Future Motive Power, a play by the local performance ensemble Mugwumpin, is inspired by the inventor-wizard’s life, its peculiarities and myths, and the science that lives in its wake. Created specifically for the historic Old Mint, it’s a self-proclaimed “performative fever dream.” (James H. Miller)

8 p.m., $30 includes drinks and hors d’oeuvres

Old Mint

88 Fifth St., SF

(415) 967-1574

www.mugwumpin.org


MONDAY 9

Soft White Sixties

A congregant at the church of classic, mind-reeling Seventies rock, Soft White Sixties once described its sound as “Rock ‘n’ roll, heavy on the roll, dipped in soul.” This audio-fanatic show is particularly fitting for SWS and its followers for it’s part of Communion, a live music forum began in the UK by Mumford & Sons’ Ben Lovett, Kevin Jones, and noted producer Ian Grimbl. Established in 2006 London, Communion began as a monthly showcase for emerging singer-songwriters, a modern-day creative salon. It came to San Francisco near the end of last year, and continues to produce unique lineups and fanciful collaborations monthly at Cafe Du Nord. (Savage)

With Zane Carney, Big Eagle, Gabriel Kelly, and Amy Blashkie

8:30pm, $12.

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com


TUESDAY 10

Thee Cormans

In the grand tradition of costumed surf punk bands that straddle rock’n’roll and comedic timing (Phantom Surfers, Mummies), here comes Thee Cormans, a green-skinned, gorilla-masked, bug-eyed gang of wily monster motorcyclists in ripped vests riding curling waves of reverb. And like its rowdy foreparents, this fuzzed out Southern California based band has a live show that puts tender mumbling indie acts to shame. That exuberance also fits in neatly with Thee Cormans’ label, In the Red, which itself is making waves for a future-retro mishmosh output of eccentric weirdos, cultured punks, and generally genre-less acts. Viva costumery. (Savage)

With the Shrouds, the Khans, and Swiss Family Skiers

8:30 p.m., $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com 

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City Hall’s 2012 agenda

Andrew Lam
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EDITORIAL There’s so much on the to-do list for San Francisco in 2012 that it’s hard to know where to start. This is a city in serious trouble, with unstable finances, a severe housing crisis, increased poverty and extreme wealth, a shrinking middle class, crumbling and unreliable infrastructure, a transportation system that’s a mess, no coherent energy policy — and a history of political stalemate from mayors who have refused to work with progressives on the Board of Supervisors.

Now that Ed Lee has won a four-year term, he and the supervisors need to start taking on some of the major issues — and if the mayor wants to be successful, he needs to realize that he can’t be another Gavin Newsom, someone who is an obstacle to real reform.

Here are just a few of the things the mayor and the board should put on the agenda for 2012:

• Fill Sup. Ross Mirkarimi’s seat with an economic progressive. This will be one of the first and most telling moves of the new Lee administration — and it’s critical that the mayor appoint a District 5 supervisor who is a credible progressive, someone who supports higher taxes on the rich and better city services for the needy and is independent of Lee’s more dubious political allies.

• Make the local tax code more fair — and bring in some new revenue. Everybody’s talking about changing the payroll tax, which makes sense: Only a small fraction of city businesses even pay the tax (which is not a “job killer” but is far too limited). Sup. David Chiu had a good proposal last year that he abandoned; it called for a gross receipts tax combined with a commercial rent tax — a way to get big landlords and companies (like law firms) that pay no business tax at all to contribute their fair share. That’s a good starting point — but in the end, the city needs more money, and the new system should be set up to bring in at least $100 million more a year.

• Create a linkage between affordable and market-rate housing. This has to be one of the key priorities for the next year: San Francisco’s housing stock is way out of balance, and it’s getting worse. The city’s own General Plan mandates that 60 percent of all new housing should be available at below-market-rate prices; the best San Francisco ever gets from the developers of condos for the rich is 20 percent. The supervisors need to enact legislation tying the construction of new market-rate housing to an acceptable minimum level of affordable housing to keep the city from becoming a place where only the very rich can live.

• Demand a good community-benefits agreement from CPMC. The California Pacific Medical Center has a massive new hospital project planned for Van Ness Avenue — and so far, CPMC officials are refusing to provide the housing, transportation and public health mitigations that the city is asking for. This will be a key test of the new Lee administration — the mayor has to demonstrate that he’s willing to play hardball, and refuse to allow the project to move forward unless hospital officials reach agreement with community activists on an acceptable benefits agreement.

• Make CleanEnergySF work. A recent study by the website Energy Self-Reliant States shows that by 2017 — in just five years — the cost of solar energy in San Francisco will drop below the cost of Pacific Gas and Electric Company’s fossil-fuel and nuclear mix. So the city’s new electricity program, CleanEnergySF, needs to be planning now to build out both a large-scale solar infrastructure system and small-scale distributed generation facilities on residential and commercial roofs and set the agenda of offering clean, cheaper energy to everyone in the city. The money from the city’s generation can be used to purchase distribution facilities to phase out PG&E altogether.

• Don’t let Oracle Corp. take over even more of the waterfront. The America’s Cup continues to move forward — but at every step of the way, multibillionaire Oracle CEO Larry Ellison is trying to squeeze the city for more. Mayor Lee has to make it clear: We’ve given one of the richest people in the world vast amounts of valuable real estate already. He doesn’t need a giant TV screen in the Bay or more land swaps or more city benefits. Enough is enough.

There’s plenty more, but even completing part of this list would put the city on the right road forward. Happy new year.

OccupyOakland rings in the new year with protests against police

Sasha Cuttler
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OccupyOakland rings in the new year with protests against police

Occupy Oakland kicked off the year with two marches protesting police and prisons. A march to the Oakland City Jail on New Year’s Eve was followed by a march against police brutality on New Year’s Day, ending with a rally against police violence. Speakers at the rally indicated that the Bay’s most radicalized Occupy group may focus on an anti-police repression theme in the new year.

About 300 people attended a nighttime demonstration in Oakland City Center on Dec. 31. Protesters left Oscar Grant/Frank Ogawa Plaza at 9:45 and marched to the city jail. About 20 Occupy Oakland protesters remain in jail after several different incidents of arrest in the past weeks.

At the jail, protesters spoke about police repression, set off fireworks, and chanted “inside or outside, we’re all on the same side.” Many reported seeing solidarity fists sticking out from between bars on the jail’s windows.

The demonstration was part of a national call for New Year’s Eve jail solidarity protests, and similar “noise demonstrations,” in which protesters made noise outside jails to show solidarity with inmates. Similar protests took place in 25 cities around the world.

The march featured a giant banner stating “Fuck the police.”

Around 11:30 pm, protesters marched back for a dance party on the plaza. “At midnight, we did the countdown like everyone else,” said Patrick, who has been involved in OccupySF and Occupy Oakland.

A banner dropped in the plaza read, “Out with the old. Occupy 2012.”

At 1 pm on Jan. 1, Occupy Oakland participants gathered once again. They marched to Fruitvale Bart Station in an anti-police brutality march commemorating Oscar Grant. The unarmed young Oakland man was killed on Jan. 1, 2009 by BART Police Officer Johannes Mehserle, who was convicted of involuntary manslaughter for the shooting and given a two-year prison sentence.

The march was followed by a rally and speak-out with about 500 in attendance. Several women with sons and grandsons who had been killed by police in San Francisco and Oakland shared their experiences. Adam Jordan, member of the Oscar Grant Committee for Justice, said that Occupy Oakland had helped unify the local community against police brutality.

Several speakers agreed that police violence against the poor and people of color and recent arrests at Occupy Oakland, as well as tear gas and other weapons used against Occupy Oakland protesters, are all connected. “It’s all systemic. It’s the same problem,” Jordan said. “The police that are attacking everyone in Occupy Oakland now have been attacking black people for centuries.”

Members of Oscar Grant’s family, including his mother, his young daughter, his fiancé, his uncle, and several cousins, were also present, and many spoke.

Gerald Smith, an organizer with Occupy Oakland and member of the Oscar Grant Committee Against Police Brutality and Repression, read aloud a message from Angela Davis, who has proposed nationwide demonstrations to free political prisoners on Feb. 20. He also talked about several proposals to continue to protest against police violence in the East Bay, including picketing the Alameda County District Attorney’s office and emergency meetings the following day every time an Oakland resident is killed by a police officer.

In a reference to the leaderless, “horizontal” structure that has defined Occupy groups around the world, Smith said to the crowd, “How much will we do this? It’s up to you. I hope you know by now, you decide everything.”

The Performant: The Great Leap Forward

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The Performant: The Great Leap Forward

A year on the city’s wilder side, and looking ahead to more fine times

End-of-the-year roundups are all well and good, allowing us the opportunity to celebrate one last time the innovations of the past. But I’ve always preferred to look ahead into the future, so in that spirit here’s a shortlist of some of my fave Performant coverage from 2011 of ongoing and perennial events that you can still look forward to checking out in 2012—and beyond!


Sea Chantey Sing: The monthly Sea Chantey sing <www.nps.gov/safr/historyculture/chantey-sing.htm> at Hyde Street pier just turned thirty, but it feels utterly timeless, and is guaranteed the most fun you’ll ever have sober on a Saturday night, no contest. The multi-generational turnout always includes salty old pros benignly rubbing elbows with landlubbers who think the Pogues wrote “South Australia,” and just as no-one is turned away for lack of funds (it’s a free event), no-one is turned away from participating, even if “participating” means sitting in gap-mouthed awe of the regulars whose encyclopedic recall of dozens of Chanteys would make Alan Lomax weak at the knees.

Home Theatre Festival: It’s almost embarrassing how I can’t stop gushing about the homegrown phenomenon that is The Home Theatre Festival. Seriously, it’s like I’m a pre-pubescent girl at the Gymkhana, swooning over the stallions. But it’s hard not to be enamored of an event that took a devastatingly simple concept (hey artists, make art at home for fun and profit!) and turned it into a branded, annual festival whose participants span the globe and whose influence just keeps spreading. Don’t think art made at home is “legit”? You’re on the wrong side of history, friend.

Hoodslam: Real-life superhero training or reckless mayhem? This monthly amateur-wrestling tournament, currently located at the Oakland Metro Operahouse, is a rough-and-tumble turf war between spandex-clad Zombies, dubious family dynasties, videogame-inspired villains, mobsters, gimps, dark overlords, and carnivorous werewolves. Further cranking the sensory overload to eleven with acerbic commentators, an aggro-metal house band, fire-eating babes, a seven-foot tall Pink Panther referee, and the uber-suave ring announcer Ike Emilio Burner, whose booming introduction of each match rolls across the room like a tsunami of too cool, Hoodslam taps into an almost primal gladiatorial urge with an unmistakably Oakland swagger.

The Lost Church: Neither lost, nor a church, this hidden temple of tunesmiths and troubadours worships at the altar of Americana with offerings of the dirty blues, Appalachian-style folk, and alt-rock in a retro jewel-box theatre space. And speaking of theatre, they do that too on an occasional basis, and an evening at The Lost Church might turn out to be a combination of all of the above—an intriguing alchemy.

American Tripps: Spreading the gospel of Berlin-style Ping-pong since August 2011, American Tripps has attracted a cult following of sporty young things in sweatbands who gather every couple of weeks around a single ping-pong table for a rousing evening of rundlauf. Another deceptively simple concept just waiting for someone to come forward and run with it (in this instance, Allan Hough of Mission Mission) American Tripps is a perfect balance between being challenging enough to attract good players and easy enough to keep the uncoordinated masses in the game, whether it’s the first round, or the thirtieth.

Give The Performant a reason to Twit. Follow @enkohl for of-the-minute updates from the underground.

Hey kittens! Cat show this weekend in San Jose

Andrew Lam
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Hey kittens! Cat show this weekend in San Jose

Surely the most exciting news to penetrate your post-holiday malaise this morn: on Fri/7 and Sat/8 you will have the chance to attend a bonafide cat show. Fancy beasts, silky coats, whisker wars? You bet.

The Tails and No Tails Cat Club is hosting the two-day extravaganza at the Santa Clara County Fairgrounds. The club is a member of the Cat Fanciers’ Association, the world’s largest pedigreed cat registry that was established back in 1906 to the plaintive meows of a nation of four-legged felines awaiting their dry kibble (or oatmeal and milk-drenched bread, as the case may have been).

Here is what you will find upon your arrival at the show. Furry friends will be competing for best in show honors, from the ear-tufted, behemoth Maine coon to the – here, quoting from the press release – “mysterious Birman cat.” You will have the chance to chop it up with breeders, asking them questions that may well lead them landing your vote for the vaunted Spectator’s Choice award. 

Any feline frenzy that the event evokes in your brand-new 2012 self can be cemented with an on-site adoption from a local agency, and door proceeds will be donated to local cat advocates, like the no-kill shelter Town Cats of Morgan Hill.

How will you make it to Friday with your holiday cheer intact? Taking a look at this history of cat food commercials, perhaps?

 

Tails and No Tails Cat Show

Sat/7 10 a.m.-5 p.m.; Sun/8 9 a.m.-5 p.m., $8

Santa Clara County Fairgrounds

Gateway Hall, 344 Tully, San Jose 

www.tailsandnotails.com

 

Guardian editorial: City Hall’s 2012 agenda

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EDITORIAL There’s so much on the to-do list for San Francisco in 2012 that it’s hard to know where to start. This is a city in serious trouble, with unstable finances, a severe housing crisis, increased poverty and extreme wealth, a shrinking middle class, crumbling and unreliable infrastructure, a transportation system that’s a mess, no coherent energy policy — and a history of political stalemate from mayors who have refused to work with progressives on the Board of Supervisors.

Now that Ed Lee has won a four-year term, he and the supervisors need to start taking on some of the major issues — and if the mayor wants to be successful, he needs to realize that he can’t be another Gavin Newsom, or Willie Brown, mayors who were an obstacle  to real reform.

Here are just a few of the things the mayor and the board should put on the agenda for 2012:

+Fill Sup. Ross Mirkarimi’s seat with an economic progressive. This will be one of the first and most telling moves of the new Lee administration — and it’s critical that the mayor appoint a District 5 supervisor who is a credible progressive, someone who supports higher taxes on the rich and better city services for the needy and is independent of Lee’s more dubious political allies.

+Make the local tax code more fair — and bring in some new revenue. Everybody’s talking about changing the payroll tax, which makes sense: Only a small fraction of city businesses even pay the tax (which is not a “job killer” but is far too limited). Sup. David Chiu had a good proposal last year that he abandoned; it called for a gross receipts tax combined with a commercial rent tax — a way to get big landlords and companies (like law firms) that pay no business tax at all to contribute their fair share. That’s a good starting point — but in the end, the city needs more money, and the new system should be set up to bring in at least $100 million more a year.

+Create a linkage between affordable and market-rate housing. This has to be one of the key priorities for the next year: San Francisco’s housing stock is way out of balance, and it getting worse. The city’s own General Plan mandates that 60 percent of all new housing should be available at below-market-rate prices; the best San Francisco ever gets from the developers of condos for the rich is 20 percent. The supervisors need to enact legislation tying the construction of new market-rate housing to an acceptable minimum level of affordable housing to keep the city from becoming a place where only the very rich can live.

+Demand a good community-benefits agreement from CPMC. The California Pacific Medical Center has a massive new hospital project planned for Van Ness Avenue — and so far, CPMC officials are refusing to provide the housing, transportation and public health mitigations that the city is asking for. This will be a key test of the new Lee administration — the mayor has to demonstrate that he’s willing to play hardball, and refuse to allow the project to move forward unless hospital officials reach agreement with community activists on an acceptable benefits agreement.

+Make CleanEnergySF work. A recent study by the website Energy Self-Reliant States shows that by 2017 — in just five years — the cost of solar energy in San Francisco will drop below the cost of Pacific Gas and Electric Company’s fossil-fuel and nuclear mix. So the city’s new electricity program, CleanEnergySF, needs to be planning now to build out both a large-scale solar infrastructure system and small-scale distributed generation facilities on residential and commercial roofs and set the agenda of offering clean, cheaper energy to everyone in the city. The money from the city’s generation can be used to purchase distribution facilities to phase out PG&E altogether.

+Don’t let Oracle Corp. take over even more of the waterfront. The America’s Cup continues to move forward — but at every step of the way, multibillionaire Oracle CEO Larry Ellison is trying to squeeze the city for more. Mayor Lee has to make it clear: We’ve given one of the richest people in the world vast amounts of valuable real estate already. He doesn’t need a giant TV screen in the Bay or more land swaps or more city benefits. Enough is enough.

There’s plenty more, but even completing part of this list would put the city on the right road forward. Happy new year.

 

 

Nite Trax: EPS1 of Blaktroniks rings it in

Jesse Hawthorne Ficks
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Nite Trax: EPS1 of Blaktroniks rings it in

Local soultronica astronaut EPS1 (aka Edd Dee Pee) of the Bay’s rad Blaktroniks project drops this neo-sexy, chills-up mix in anticipation of his upcoming New Year’s Eve party in San Francisco. This blend features songs released on the Blaktroniks’ label, Tokyo Dawn (with a contribution from my heroes at Oakland’s Deepblak). It’s seriously warming my winter right now — calling up some youthful memories of hanging downtown and looking for love, refracted through forward-thinking production techniques, and then moving on into some deep jams.  

Pre 2012 Podcast Blaktroniks by BLAKTRONIKS

This is gonna be a special one.

NYE CONFIDENCE STARTER 2012

9 p.m.-3 a.m., $10.

Siete Potencias Africanas Gallery

777 O’Farrell, SF.

www.sietepotenciasafricanas.com

More info here.

Psychic Dream Astrology

Andrew Lam
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Dec. 28-Jan 3

Happy 2012, y’all!

ARIES

March 21-April 19

Take inventory of all that you’ve achieved in 2011 — the good, the bad and the mediocre. As your year closes an honest appraisal of things will help you to best set goals that nurture your heart and are sustainable as well as attainable. Make this year count.

TAURUS

April 20-May 20

Let your approach to life in the New Year be one of surrender. Do not surrender your will, but your willfulness. Go for what you most want without being attached to how others react or how things need to play out. You can only take responsibility for how you participate, so do your best.

GEMINI

May 21-June 21

The pursuit of happiness should be utmost in your mind, and the practical steps on that path must be considered. In 2012, finding new strategies for understanding and dealing with your anxieties will pave your road with yellow bricks and lollipops! Magic will come after maintenance, Twin Star.

CANCER

June 22-July 22

Stay focused on your goals, even if they feel very far from you. The New Year may bring with it a bit of an existential crises, but don’t despair, sweet Moonchild! You are ready to look at some things you’ve been avoiding and to create a life that is more whole and true to you.

LEO

July 23-Aug. 22

Happy 2012, Leo! Take a solid assessment of the path you have traveled in ’11, and reevaluate your hopes and goals for the New Year. There are many things ending now, so tie up loose ends and focus on what will make you happy as you strive onwards and upwards.

VIRGO

Aug. 23-Sept. 22

You have got to be true to yourself, above all else, Virgo. Regardless of others expectations of you, make certain that you are setting healthy and self-appropriate limits for yourself as you enter the year 2012. Say yes to yourself, even if it means saying no to others.

LIBRA

Sept. 23-Oct. 22

Take risks to improve the state of your relationships and to strengthen family bonds, Libra. The way you bring yourself forward is just as important as what you are bringing; find a way to be authentic in the sharing of your lovely self, or hold back until you can.

SCORPIO

Oct. 23-Nov. 21

You don’t need to know how to carry out all the changes and improvements your life requires, Scorpio. Too much fretting over those details will derail you from the most important work before you: setting yourself on a course the ends the path of bad mental vibes you were on.

SAGITTARIUS

Nov. 22-Dec. 21

Resolve to have a realistic sense of what works for you in 2012, Sag. Do whatever you have to so that you avoid over extending yourself, no matter how awesome your reasons for wanting to do so are! Pace yourself for best results, personally and professionally.

CAPRICORN

Dec. 22-Jan. 19

Don’t strive to improve your life solely on the path of least resistance. Your fears of failure and scarcity are in high gear, but that’s just a fancy way for the Universe to get you to cultivate a new relationship to them. Gather your energy and then move forward, be damned your fears.

AQUARIUS

Jan. 20-Feb. 18

Get your self together because you are about to embark on some major changes, Aquarius. Don’t take anything new on as we cross the threshold of 2012: focus your energies on letting go of old baggage and creating a clean slate for the potential of your New Year to play itself out on.

PISCES

Feb. 19-March 20

Your emotional integrity should act as your compass for navigating the waters of this New Year. Do whatever you’ve gotta to stay in touch with how you feel. There is more freedom in being true to your self than toeing the line will provide. Don’t go for easy, go for realness. 

Jessica Lanyadoo has been a Psychic Dreamer for 17 years. Check out her website at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com

 

Our Weekly Picks: December 25-31

Andrew Lam
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WEDNESDAY 28

Doe Eye

When Maryam Qudus — sole member of local indie-pop project, Doe Eye — sings “I Hate You,” it’s hard to believe her. It’s cute as hell. But the point of the song is indeed that. She doesn’t hate the faceless “you,” but is tortured by the affection. It’s that kind of thoughtfulness with an added ear for pop charm that makes Doe Eye a project you can espouse. Doe Eye released the EP, Run, Run, Run, in August, and sure, it’s about as radio-friendly as you can get. But the instrumentation, with its orchestral and wavy synth touches, is undoubtedly inspired by indie-rock acts around today, be it Beach House or St. Vincent. (James H. Miller)

With The Trims, Pounders, and Miles the DJ

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

Mara Hruby

Michael Jackson doing “Ain’t No Sunshine.” Al Green doing “Light My Fire.” Nina Simone doing “Rich Girl.” (Yeah, Hall and Oates, look it up.) While a cover rarely make the original irrelevant, a good one should make it the artist’s own. On From Her Eyes, a free EP she reportedly sang, arranged, recorded, and engineered, Oakland’s Mara Hruby lent her sweet, soulfully agile voice to tracks by Mos Def, Andre 3000, Bob Marley, Jamiroquai, and others, rendering each different and new. Since then Hruby has been at work on her debut album, teasing songs “Lucky (I Love You)” and “The Love Below” online, and will be including new material at this show. (Ryan Prendiville)

With Chris Turner

8 p.m., $15

Yoshi’s Oakland

510 Embarcadero West, Oakl.

(510) 238-9200

www.yoshis.com


THURSDAY 29

The Umbrellas of Cherbourg and A Woman is a Woman

A double bill of The Umbrellas of Cherbourg (1964) and A Woman is a Woman (1961) at the Castro is the stuff cinephilia is made of. Those sweet on The Artist should be sure to check in with these earlier Gallic interpretations of Hollywood razzle dazzle. The first, Jacques Demy’s Umbrellas is the purer confection in many ways, but the film’s tender sentimentalism and radiant color design flow towards a soulful poetry of the everyday. The second, by Jean-Luc Godard, is an early distillation of his complex movie love and a poignant offering to actress Anna Karina. Both films feature scores by Michel Legrand, so they carry their complex register of emotions with a lightness that escapes words. (Max Goldberg)

3:25 and 7 p.m., $10

Castro Theatre

429 Market, SF

(415) 621-6120

www.castrotheatre.com

 

Pictureplane

What do you get when you cross a gutter punk b-boy with a space goth? Sprinkle him with a little MDMA and you’ve got Travis Egedy, a.k.a. Pictureplane. Egedy works clubby ’90s vocal samples and celestial beats into infectious pop songs, which he sings over in a breathy, lusty moan. With effervescent dance anthems like “Black Nails” and “Trancegender,” Egedy gives goths something to freak to. And you’re just as likely to shake it as you are to wind up in the center of a mosh pit. We should all thank our lucky stars for the weird amalgam of personas that is Pictureplane. Speaking of stars, did I mention he’s really, really into space? (Frances Capell)

With Popscene DJs

10 p.m., $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

Asher Roth

Let’s face it. A lot of us love rap, but many of us can’t relate to carrying guns or moving kilos of cocaine. Luckily there’s Asher Roth, a gifted 26-year-old MC who raps about things the everyman can identify with — like partying with friends and soaking up sunshine. Roth may be a college bro, but he’s legit enough to have earned props from the likes of Ludacris and Slick Rick. Roth prides himself on his live performances and makes them unforgettable by bringing along a full band. If that’s not incentive enough, Thursday is the release show for Roth’s fresh new Pabst & Jazz Sessions mixtape produced by Blended Babies. (Capell)

10 p.m., $25

330 Ritch, SF

(415) 542-9574

www.330ritch.com


FRIDAY 30

Wizard Of Oz

For more than 70 years and counting, The Wizard of Oz has entertained and fascinated viewers; at the time of its original release, the film’s breathtaking color sequences enthralled audiences still stuck on black and white, and the soundtrack’s beloved songs introduced the world to the talents of Judy Garland. For the majority of us who have grown up watching the movie on television, we are in for a special treat tonight when the grand old Paramount hosts a screening, a rare chance to see such a classic piece of cinema on the big screen, the way it was meant to be viewed. Just watch out for flying monkeys! (Sean McCourt)

8 p.m., $5

Paramount Theatre

2025 Broadway, Oakl.

(510) 465-6400

www.paramounttheatre.com

 

X

Taking the same searing energy that propelled its contemporary punk counterparts then add the rock solid drumming of DJ Bonebrake, the guitar virtuosity of Billy Zoom, and the poetic lyrics and intimate vocal interplay of John Doe and Exene Cervenka. Legendary Los Angeles punk rockers X have always distinguished themselves from the other bands of the genre. This holiday season finds the band celebrating with “The Xmas Traveling Rock & Roll Revival,” where fans are sure to hear all of their favorite iconic tunes, and probably a couple of revved-up holiday favorites as well. (McCourt)

With Sean Wheeler & Zander Schloss, and the Black Tibetans.

8 p.m. Fri.; 9 p.m. Sat/31, $33–$50

Slim’s, 333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Agent Orange

In the mid through late 1970s, Southern California was one of the hubs of hardcore punk, with bands like Black Flag, Circle Jerks, and Wasted Youth all forming in the region. It was also a center of skateboarding, thanks to — among other things — a newly developed polyurethane wheel and a drought that left scores of pools empty. The band Agent Orange was a by-product of both of these phenomenons. Formed in Orange County in 1979 by lead singer and guitar player Mike Palm, bassist James Levesque, and drummer Scott Miller, the band took a Dick Dale spin on hardcore and became synonymous with early incarnations of “skate punk.” Skateboarders needed an identity of their own, and Agent Orange helped with that task. Now, 30 years later, you don’t need to know how to do a kick flip to understand why they were so essential. (Miller)

With Inferno of Joy, Tokyo Raid, The Nerv, Suggies

8:30 p.m., $15

330 Ritch, SF

(925) 541-9574

www.330ritch.com

 

Gavin Russom

“I hear you’re buying a synthesizer and an arpeggiator.” James Murphy tipped his hand when he wrote that a decade ago, but while would-be musicians could have gone straight past the irony to eBay, one thing they wouldn’t have was Gavin Russom. The ace up the sleeve, Russom is the tech wizard, creating analog synths for LCD Soundsystem and others. But more guru than a Radio Shack hobbyist, Russon has performed, DJ’ed, and created music on his own and under the aliases of the Crystal Ark and Meteoric Black Star. His latest “Night Sky,” is an epic, speedily slow building, sexually suggestive track that proves, as usual, he knows what you really want. (Prendiville)

With LA Vampires, Bobby Browser, Magic Touch, and Pickpocket

9:30 p.m., $10

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com


SATURDAY 31

Primus

Is one of your New Years’ resolutions to go Sailing The Seas Of Cheese? Do you plan on serving up some Frizzle Fry? Imbibing in some Pork Soda? Well, any way you look at it, the two club shows this week by musical boundary-busting Bay Area rock favorites Primus are a rare treat for local fans to see the band up close and personal. You can choose to ring in the New Year with Les Claypool and company on Saturday, or if you prefer, you can work off your holiday hangover on Sunday with the band, which will be performing two sets each night at its Hawaiian Hukilau-themed parties. (McCourt)

9 p.m.; 8 p.m. Sun/1, $50–$65

Great American Music Hall

859 O’Farrell St., SF

(415) 885-0750

www.slimspresents.com


Thee Oh Sees

There’s no shortage of New Year’s Eve events taking place in the city, but you’re hard-pressed to find a more definitively San Francisco way to spend the evening than with local psych-pop darlings Thee Oh Sees. Though many a band has hopped on the fuzzy garage train in recent years, these guys have been blazing the trail for well over a decade (under various monikers). Each new release, including the spanking new Carrion Crawler/The Dream (In The Red) finds Thee Oh Sees shredding harder and better, but its live shows will melt your face clean off. Enjoy some gnarly guitar riffage, kiss a stranger, and partake in the vices you’ve resolved to quit come sunrise. (Capell)

With The Fresh & Onlys and White Fence

9 p.m., $15–$20

Brick & Mortar Music Hall

1710 Mission, SF

(415) 371-1631

www.brickandmortarmusic.com

 

“Sea of Dreams NYE 2012”

Part carnivale, part circus, part burn, part Halloween, part massive: the annual Sea of Dreams event takes the promise of a wild New Year’s Eve and adds more. In part it has to do with the crowd, drawing some serious do-it-themself-ers with fantastically creative outfits. But whatever distractions are off stage, there will be hard competition from a triple bill of headliners including local favorites Beats Antique, infectious dance MC Santigold (who has new material to debut live), and the return of Amon Tobin’s deafening, eyeball melting ISAM set. (Prendiville)

With Claude VanStroke, MarchFourth Marching Band, An-ten-nae, Diego’s Umbrella, and more

8 p.m., $75–$145

SF Concourse Exhibition Center

635 8th St., SF

www.seaofdreamsnye.com


SUNDAY 1

Eliza Rickman

With her little toy piano Eliza Rickman makes bewitching alternative folk rock. Listening to her EP, Gild the Lily, is like walking through a life size dollhouse and feeling not sure whether to be frightened or enchanted. There’s something about the nature of the toy piano — its sparkling sound can be at once blood curdling and tender (like John Cages’ Suites for Toy Piano, which popularized the instrument). Similarly, Rickman’s voice has a plucked from the garden pleasantness, but her words tend toward the tragic. This balance between adorable and dreary can even be seen in the titles of her songs, like “Black Rose” and “Cinnamon Bone.” In any event, whether she’s cinnamon, bone, or both, the toy piano under her hands is more than a novelty. (Miller)

7 p.m., free

Amnesia

853 Valencia, SF

(415) 970-0012

www.amnesiathebar.com


The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone. *

What the new year brings

Andrew Lam
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What the new year brings

caitlin@sfbg.com

HERBWISE 2011 was a harsh year for medical marijuana. During its first half, the number of California dispensaries burgeoned. But a federal crackdown in September has left much of the industry shaking in its buds. By bombarding landlords with cease-and-desist letters threatening 40 years of jail time if they continue to let marijuana be sold on their property, the Department of Justice has effectively closed down walk-up operations for many smaller dispensaries.

But as we head into the year of the Mayan overhaul, one thing seems certain: advocates for safe and available access to medical cannabis aren’t going anywhere. How can they? Since Proposition 215 made it legal in 1996, 200,000 Californians have gotten physician recommendations to alleviate health concerns with marijuana. People use it for chronic pain, to make it through chemotherapy, for multiple sclerosis, severe anxiety.

“We can’t wait for the federal government to do the right thing in California,” said the state director of Americans for Safe Access Don Duncan. “As the state of California gets its marijuana house in order there will be less incentive for the feds to come in.”

Duncan and his organization were co-authors of the Medical Marijuana Regulation, Control, and Taxation Act — a unified voter initiative that was turned in to the California Secretary of State’s office last Wednesday, Dec. 21. Other contributors include NORML, the California Cannabis Association, the Humboldt Growers Associations, and the United Food and Commercial Workers — the union that now represents workers across the state, including Oaksterdam University employees.

“We’re hoping that this policy will reassure people that we can have a rational system,” continued Duncan in a phone interview with the Guardian. Duncan is convinced that the recent aggression by the Obama administration can be traced to people’s discomfort with the industry’s wild growth, and that a good faith effort to institute a comprehensive regulation system will assuage people’s confusion and fears about marijuana.

His initiative calls for the establishment of a centralized bureau of medical marijuana enforcement, to be comprised of 21 members from various state government offices, patients, advocates, a physician, a nurse, individuals from the marijuana research and policy fields and six people with experience in dispensary operations.

The bureau would be in charge of cannabis registration, industry regulations, and the use of funds that are generated by administrative fees. The initiative also calls for a sales tax of 2.5 percent on medical marijuana retail sales and states that cities — unless voters approve other guidelines — must follow a minimum zoning restriction of a dispensary for every 50,000 people.

In January, a campaign supporting the initiative will begin to drum up awareness. Backers are hoping that by instituting stricter and more consistent controls of dispensaries and growing operations, 2012 will look a lot brighter for the 200,000 Californians that have relied on their marijuana prescription to live their lives.

“I think this is really going to resonate with voters,” said Duncan. “We just need for officials to be able to step outside the controversy of it all.” It’s a hopeful stance. Let’s see how it holds up in the roiling of the upcoming election year.

Zero for conduct

Andrew Lam
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Zero for conduct

arts@sfbg.com

YEAR IN FILM American cinema lost several of its troubadours this past year: genuine independents like Robert Breer, Owen Land, Adolfas Mekas, Richard Leacock, Jordan Belson, and George Kuchar. Critical appraisal of these sui generis filmmakers tends to rest upon masterpieces and technique, but several were also influential as teachers.

Mekas founded the film department at Bard College, which today boasts a remarkable faculty including Peter Hutton and Kelly Reichardt. German filmmaker Helga Fanderl dedicated her San Francisco Cinematheque show earlier this fall to Breer, her mentor at Cooper Union. Leacock used his post at MIT in the 1970s to develop relatively affordable video systems for student filmmaking. Kuchar brought several generations of San Francisco Art Institute kids into moviemaking laboratories flying under banners like “AC/DC Psychotronic Teleplays” and “Electro-graphic Sinema.” After Kuchar’s passing SFAI professor and administrator Jeannene Przyblyski wrote, “I will very much miss waking up at night worrying about what might be going on in Studio 8.”

Teaching remains an underappreciated aspect of the whole adventure of avant-garde filmmaking. The late 2010 release Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945–2000 (University of California Press) lovingly detailed the instructional incubators that have contributed to a long-flourishing Bay Area avant-garde, but one still hungers for more particular chronicles along the lines of “Professor Ken,” Michael Zryd’s contribution to Optic Antics: The Cinema of Ken Jacobs (Oxford University Press). Zryd persuasively links Jacobs’ intensive teaching style at SUNY Binghamton to his thrilling feature-length frame analysis, Tom, Tom, the Piper’s Son (1969). The story of the American avant-garde’s alliance with the academy has everything to do with the mid-century college boom and the rise of theory, but this general view doesn’t take into account those outlying autodidact instructors who reoriented the teacher-student exchange in much the same way that they called upon a different kind of spectatorship.

Among the many treasures in the SFAI archive’s George Kuchar file are a couple of his syllabuses: “In this workshop atmosphere we all embark on making a moving picture using the equipment at school and … whatever else falls into our hands.” Class participation is what the class was. It’s also discretionary: “Come as frequently as you wish so that we can showcase your unique talents or specialty acts and help us try to solve the many technical and creative problems involved in making moving pictures.” Asked about his unorthodox teaching materials, Kuchar responded, “Am I going to show the students Potemkin and then talk about our class movies? With the kind of words I use and my accent? It’ll be like sacrilege or something … It’s stupid anyway. Renting movies is expensive as hell, and you can put that money into making a movie.”

Kuchar’s creativity took a liberating form in the classroom. Elsewhere in the SFAI file, the filmmaker reflects upon having to rescue terrible class productions in the editing room. One laughs at first and then is touched that he considered these real movies, imperfect but necessary to see through.

 

 

RAY OF LIGHT, RAY OF DARKNESS

 

One of the year’s most significant film restorations originated in a comparable workshop environment. Nicholas Ray arrived at SUNY Binghamton in 1971 not having directed since 55 Days at Peking (1963). As in Kuchar’s workshops, he took his students as collaborators: everyone rotated production jobs and worked toward the common ends of We Can’t Go Home Again, an unspooled picture of dissolution spanning the election years of 1968 and 1972. The workshop process became central to the psychodrama itself. As in other films of the era by John Cassavetes, Robert Kramer, and Shirley Clarke, the filmmaking style dives deep into breakdown narratives: he and four students charting out self-destructing versions of themselves.

In Leo Tolstoy’s prescriptive essay “Are the Peasant Children to Learn to Write from Us, or Are We to Learn from the Peasant Children?”, the great Russian author dramatizes his teaching experience to show how an attuned instructor can enrich a student’s intrinsic sense of harmony. Ray evinces a similar degree of trust in his pupils, but towards the ends of drawing out their intrinsic disharmony (this was Nixon time, after all). The composition of the drama and the drama itself bleed into one another; performance is inescapable, the film grasping how the phrase “the personal is political” was reversing itself.

We Can’t Go Home Again — which plays in a restored and reconstructed version along with Susan Ray’s contextualizing documentary Don’t Expect Too Much at Yerba Buena Center for the Arts in January 2012 — was long thought unsalvageable for both technical and artistic reasons. Ray conceived the film as a multi-projector performance, with several streams of narration playing simultaneously and various 16 mm/Super 8 mm frames affecting a kind of cinematic Guernica. The limitations of the novice crew are readily apparent, though the amateur acting likely plays differently in our present media environment. Ray continued to tinker long after presenting a version at the 1973 Cannes Film Festival, and the present reconstruction doesn’t claim to be definitive. It does, however, make Ray’s vision a feasible if still challenging theatrical proposition.

As always in the director’s work, the characters’ emotions are primary and sharply defined in space. Vulnerable figures reach across their loneliness; improvised family units emerge from the ashes of corruption and betrayal. The thin veneer of middle-class reality that gives 1955’s Rebel Without a Cause and 1956’s Bigger Than Life their magnificent tension is gone, leaving only the characters’ own psychological mirrors and Ray himself clad in James Dean’s red jacket. Student Tom Farrell is the last of Ray’s boy angels, a bewildered innocent suffering moral estrangement from his policeman father (whom he loves). The agonizing close-up in which he shears his beard in front of both a mirror and Ray’s camera is both visceral and symbolically telling, the beating heart of the film.

Though deeply marked by shame and pain, We Can’t Go Home Again also has a comic streak. The counterculture dream is pictured as eating raw cauliflower without any pants on. As he prepares to act out his suicide Ray mutters to himself, “I made ten goddamned westerns, and I can’t even tie a noose.” Of course this kind of flaunted martyrdom requires its own vanity, which might lead one to wonder about the lasting impact of Ray’s teaching — that is, whether his ferocious movie might have superseded the students’ learning.

His colleague Ken Jacobs certainly thought so: “I had the dumb idea that he would balance the little department, teaching from his narrative/Hollywood experience but he was self-aggrandizing BS throughout, with tantalizing glimpses of a former self.” Don’t Expect Too Much justifiably avoids department politics to focus on the film itself, but knowing this acrimonious background colors Ray’s former students’ awed remembrances of the Great Artist. There’s a lot of talk about the director working by instinct, exactly the kind of mystification Jacobs targets when he draws a distinction between “living through the cinema” and “using film to enrich your engagement with life and the real world”: “One is an experience that dominates while the other condemns you to be free.” The irony is that it’s hard to imagine a public university giving either man so much freedom today — if they even hired them at all.

Pop your cork

Andrew Lam
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0
Pop your cork

Below are our picks to ring in the new. Events are listed alphabetically. Parties end at 2 a..m. except where noted. For more New Year’s parties, see This Week’s Picks. For New Year’s Day parties, click here. Lampshade hats not included.

 

1984

Light on the Orwellian totalitarianism and heavy on ceaselessly pumping ’80s music, longtime favorite retro night 1984 takes you back to the future once again. And it is free!

9 p.m.-2 a.m., free. Mighty, 119 Utah, SF. www.mighty119.com

 

ALL DAY PUNK ROCK NEW YEAR’S

Considering we’re about to embark upon another year full of economic gloom and doom, the band names from Eli’s lineup — World of Shit, Short Changed, Society Dog — aren’t too uplifting. But at least they’ll help you rage through.

2 p.m.–12:30 a.m., $10. Eli’s Mile High Club, 3629 Martin Luther King Jr. Blvd., Oakl. www.elismilehigh.com

 

BEARRACUDA

What could possibly say New Year more than a hunky mass of sweaty, hairy gay bears getting down until the wee hours? You in the middle! DJs Craig Gaibler and Brian Maier keep it steamy.

8 p.m.-3a.m., $25. Club 8, 1151 Folsom, SF. www.bearracuda.com

 

BOBB SAGGETH

Elbo Room’s NYE spectacular includes the West Coast’s greatest Black Sabbath cover band* Bobb Saggeth, featuring members of Saviours, Citay, 3 Leafs, Sean Smith. Plus, it’s dark metal lords Black Cobra’s homecoming show. *Note: the “greatest Black Sabbath cover band” descriptor is self-inflicted though accurate. With Black Cobra.

9 p.m., $20. Elbo Room, 647 Valencia, SF. www.elbo.com

 

BOOTIE

Mashup mayhem galore at the original bastard pop party, whose special NYE installment includes mashup band Smash-Up Derby performing live and DJs Adrian and Mysterious D., Mykill, and Dada. Plus: ballon drop!

9 p.m.-3 a.m., $25–$50. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

CALIFORNIA HONEYDROPS

With raucous group efforts towards blues, gospel, New Orleans jazz, and R&B, California Honeydrops tend bring the sonic party wherever they play — why should NYE be any different? Admission price gets you live Americana music and a drink of your choosing.

11 p.m., $40. Pizzaiolo, 5008 Telegraph, Oakl. (510) 652-4888, www.pizzaiolooakland.com

 

ECLECTIC FEVER

A glowing, global party to dive into, with the effervescent Zap Mama, plus Sila, Non Stop Bhangra, Sambaxe Dance, and DJs J-Boogie, Jimmy Love, DJ Jeremiah, and Matt Haze. A real ear-opener for 2012.

8:30-4 a.m., $65. 1290 Fillmore, SF. zapmama.eventbrite.com

 

EL SUPERRITMO!

We have a soft spot for this weekly throwdown of tuneful styles from Latin America — cumbia, baile funk, reggaeton, and more. This promises be a wild installment with residents El Kool Kyle and DJ Roger Más joined by Ricky Garay, aka Señor Mucho Musica.

9 p.m., $20. Makeout Room, 3225 22nd St., SF. www.makeoutroom.com

 

FOREVERLAND

The show stars 14-piece Michael Jackson tribute band Foreverland, but there also will be the frisky Kitty Kitty Bang Bang Burlesque, an appearance by “the girl in the fishbowl” (a vintage Bimbo’s tradition), complimentary bubbly, party favors, and a traditional balloon drop at countdown. With Slim Jenkins, the Cottontails.

8 p.m., $65. Bimbo’s, 1025 Columbus, SF. www.bimbos365club.com

 

GO BANG!

This awesome, mixed-crowd monthly disco party has zero attitude but all the glamour. It’s like a Studio 54 you can actually get into. Atlanta’s DJ Osmose will bring his scratching turntable technique to bear on some rare disco tracks this NYE, along with Doc Sleep, Eddie House, and hosts Sergio and Steve Fabus. Good times!

9 p.m.-late, $10. Deco Lounge, 510 Larkin, SF. wwwdecosf.com

 

KINK

The colorful boys behind two of the Bay’s most vital party machines — Honey Soundsystem and Pacific Sound (Sunset) — join forces to bring in hot and heavy Bulgarian techno hero KiNK. He’ll be playing live, with a few melted minds sure to follow. Eight other DJs on two floors will help it all out.

9 p.m.-5 a.m., $15-$30. Public Works, 161 Erie, SF. www.publicsf.com

 

KREAYSHAWN

Yep. The controversial, anti-Gucci mini-rapper in thick black frames is back, playing her biggest SF venue to date. The show is all ages and the event is titled “Never Coming Down.” With Wallpaper, Roach Gigz, Starting Six, DJ Amen.

9pm, $38. , Regency Ballroom, 1300 Van Ness, SF. www.theregencyballroom.com

 

LEA DELARIA

The much-lauded Broadway star, swingin’ jazz musician, and fabulously blue comedian is back in the town to ring in the new year with peals of laughter. Latest show “Last Butch Standing” promises to be a full-on entertaining eve, topped with some outrageous New Year’s surprises, of course.

7 p.m. and 9 p.m., $30–$35, Victoria Theatre, 2961 16th St., SF. www.therhino.org

 

LEXINGTON NYE BLACKOUT

If you can’t remember who you kissed at midnight, does it really count? Find out at SF’s favorite lesbian bar, when rockin’ DJs Andre and Jenna Riot and host Sara Goodman turn out your lights — and turn on the craziness. Oblivion awaits!

9 p.m., free. Lexington Club, 3464 19th St., SF. www.lexingtonclub.com

 

MAGIC LEAVES

Presented by Seaweed Sway, Loving Cup Presents, and Song Bird, the show boasts a glut of crunchy local freak-folk and a singular midnight champagne toast. Should be a delightfully analog evening. With Little Wings, Range of Light Wilderness, Au Dunes.

9 p.m., $15–$20. Amnesia, 853 Valencia, SF. www.amnesiathebar.com

 

MIDNIGHT NYE 2012

Get ready for a blast of warm tropicalia and clouds of fun, as Club Six rocks steady to reggae, dancehall, and global bass sounds, courtesy of the Daddy Rolo, Spicey, Dee Cee Shakedown crews. With DJs Shawn Reynaldo, Jah Warrior Shelter Hi-Fi, Pam the Funkstress, and many more on two floors.

8 p.m.-4 a.m., $20–$30. Club Six, 66 Sixth St., SF. www.clubsix1.com

 

“NEW YEAR’S EVE SHAKE”

This party is all about the shimmy-n-shake, soul, surf, and all other 1960s rock’n’roll sounds. There’ll be live music courtesy of the Barbary Coasters, the Ogres, and the TomorrowMen, along with go-go dancing by the Mini Skirt Mob (which features members of the Devile-Ettes. And of course, the requisite champagne and balloons.

9:30 p.m., $10–$15. Starry Plough, 3101 Shattuck, Berk. www.starryploughpub.com.

 

NEW YEAR’S FIREWORKS SHOW

The damp, strength-sapping chill of midnight on the Embarcadero is still worth the 15 minutes of promised pyrotechnic glory. Thousands of San Franciscans huddled together under the sky = magic.

12 a.m., free. Pier 14, Embarcadero, SF.

 

NYE CONFIDENCE STARTER 2012

A nice little bash on the edge of the Tenderloin with some quality local peeps. DJ Ed Dee Pee will play “down tempo, New neo-soultronica imports, and broken beat-ish styles.”

9 p.m.-3 a.m., $10. Siete Potencias Africanas Gallery, 777 O’Farrell, SF.

 

OLDIES NIGHT’S NASTY ASS LATE NEW YEAR’S EVE PARTY

The title is a mouthful, but it should be a good one. There’ll be a live performance by the Cuts along with Oldies Night regulars DJ Primo and Daniel spinning that twist-worthy doo-wop, one hit wonders, soul, and scratchy seven-inch rock ‘n roll.

9 p.m.-4 a.m., $10. Knockout, 3223 Mission, SF. www.theknockoutsf.com

 

OPEL NYE

The spiritually minded, breaks-oriented underground collective rises to the 2012 occasion with and a mad, possibly fire-twirling free-for-all with the UK’s Lee Coombs, plus members of the Strategik and Ambient Mafia crews.

9 p.m.-4 a.m., $25–$40. Mission Rock, 817 Terry Francois, SF. opelnye.eventbrite.com

 

SWEATERFUNK

Fuzzy local weekly party Sweaterfunk has kept the lights on for soulful boogie — and its more contemporary twists and turns — in this city for a wonderful while. For NYE, special Swedish future-funker guests Opolopo and Amalia should really turn you inside out.

9 p.m.-3 a.m., $20–$30. SOM, 2925 16th St., SF. www.som-bar.com

 

THE ITALIAN JOB

Get a little swanky at North Beach’s lovely Monroe club, with some pumpin’ house from Italy’s Rufus plus a “family” of DJs, including Stef “The Baron,” Francesco Signorile, and Carol.

10 p.m., $20–$25. Monroe, 473 Broadway, SF. www.monroesf.com

 

THIS MUST BE THE PLACE

This festive affair gives you a number of reasons to welcome 2012 into Oakland, among them a bang-up lineup of techno and house DJs from the Space Cowboys crew and an awesome onslaught of funk and hip-hop from the likes of Sake One, Platurn, and Joe Quixx. What up, East Bay!

9 p.m., $25–$85. Oakland Metro, 630 Third St., SF. stayeastbay.eventbrite.com

 

TRANNYSHACK NYE

Queens, queens, and more queens — they’ll be gushing out like a waterfall at this annual drag hoo-haw, with performances by Heklina, Suppositori Spelling, Holy McGrail, Honey Mahogany, Matthew Martin and a million more.

9:30 p.m.-3 a.m., $25–$39. DNA Lounge, 375 11th St., SF. www.trannyshack.com

 

VELVET TEEN

This is your twee, feel-good option, the soaring-sweet vocals and sharp riffs of perennial Bay Area indie rock favorites Velvet Teen will assure a night of arms slung around waists and peachy full body sways. With Happy Body Slow Brain, Fake Your Own Death.

10 p.m., $17. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

 

WAX IDOLS AND TERRY MALTS

And then there are the new local favorites, Wax Idols and Terry Malts — both bands are part of an exciting, classic garage punk rock surge in the Bay Area music scene. And if punks indeed have no future, celebrate the end of times at the Hemlock. The show also includes champagne toast at midnight.

9 p.m., $10. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

Doom lens

Andrew Lam
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0
Doom lens

cheryl@sfbg.com

YEAR IN FILM As everyone and John Cusack knows, 2012 is it. And not in a “billboard-buying Alameda radio preacher Harold Camping’s bungled Rapture predictions” kind of way. This is an all-in situation. The Mesoamerican Long Count calendar, a complicated and ancient system most enthusiastically explained by conspiracy theorists, winds up its 13th 144,000 day cycle on December 21, 2012. TL; DR: we’re toast.

Though pesky, facts-knowing Latin American archaeology scholars have suggested that this doesn’t actually mean the end of the world is nigh, good luck dissuading zillions of bloggers, survivalists, religious fanatics, super-volcano watchers, and people who lie awake at night, biting their fingernails over the Large Hadron Collider. Imminent catastrophe awaits! Are you ready?

Enter Hollywood, which in its 100-plus year history has never had any qualms about exploiting society’s extant feelings of fear and dread. In 2009, 2012 prophesized global destruction (“Mankind’s earliest civilization warned us this day would come!”) as only a film with a lavish special effects budget could. Yet it offered last-act hope, a preferred tactic of master of disaster Roland Emmerich — who, having ice-aged, Godzilla’d, and alien-invaded the planet in a succession of go-boom films over the past 15 years, switched gears in 2011 with Shakespeare mystery Anonymous. (Last-ditch artistic atonement, perhaps?)

The apocalyptic films of 2011 took a different approach, opting to emphasize existential terror instead of fireballs, with no happy endings in sight. Lars von Trier’s Melancholia inspects the one percent by peering into the lives of two privileged sisters: depressed Justine (Kirsten Dunst) and anxious Claire (Charlotte Gainsbourg). The film’s first half unfolds at Justine’s lavish wedding reception — held at Claire’s horsy estate — which devolves into a mini-disaster movie of its own. The stretch limo carrying the newlyweds is too bulky to navigate the property’s narrow, curving driveway, until the bride slides behind the wheel and gets the tires pointed in the right direction. It’s Justine’s last moment of glee, as her marriage-jinxing erratic behavior soon gives way to crippling malaise.

As it turns out, a newly-discovered planet, conveniently named Melancholia, is heading toward earth. A collision course is not guaranteed, but it’s pretty obvious where things are heading, and this is not the kind of movie that sends Bruce Willis into space with drilling equipment to save the day. As Claire whips herself into a panic, clicking through fear mongering websites (Melancholia‘s only evidence of a world beyond the mansion’s well-manicured grounds), Justine accepts the impending apocalypse with cool detachment. “The earth is evil,” she tells her sister. “We don’t need to grieve for it.”

Though there’s no looming threat from outer space, the sky looks plenty ominous to Curtis (Michael Shannon), troubled protagonist of Jeff Nichols’ Take Shelter. Nightmares of the I-wake-up-screaming variety have become a regular thing, and though Curtis desperately needs the health insurance provided by his construction job — his daughter (Tova Stewart) is about to get an operation to restore her hearing — he’s become obsessed with upgrading the storm shelter in his backyard. Friends and neighbors, initially supportive, become angry and confused. A public meltdown is inevitable: “There is a STORM coming like nothing you have ever seen, and not A ONE OF YOU is prepared for it!” he bellows at a community dinner, spewing fire like a small-town Cassandra.

There’s more: Curtis’ mother is schizophrenic. Is history repeating, or are his visions actually prophetic? Is Nichols hinting at Biblical themes, or is he making a statement about mental illness, or the destruction of the American dream? The film’s provocative finale could be interpreted a variety of ways; though there’s no Melancholia-style conclusion, Take Shelter‘s message remains memorably unsettling.

But even if the world doesn’t actually take a buy-out in 2012, it’ll get there someday — as Terrence Malick’s dreamy Tree of Life, which is more or less the story of everything that has ever and will ever happen, points out. For film fans, the signs of a dying planet are all too clear. Just take a look at the top-grossing movies of 2011: all of them are either sequels or part of a series. Transformers: Dark of the Moon relieved ticket buyers of over $352 million, even though previous installment Transformers: Revenge of the Fallen (2009) was scientifically proven to have sucked the soul out of anyone who watched it. (True story.)

With the crap economy making even gigant-o-stars nostalgic for their $20 million paydays, the Hollywood-industrial complex concentrated on proven moneymakers, with a few notable exceptions (bless you, Bridesmaids). In 2011, all bets were off. No cult property was too sacred to remake, no “reboot” deemed unnecessary, no superhero with the word “green” in his name unworthy of an entire feature film, no use of 3D too gratuitous. Original ideas were placed on the endangered species list, unless you counted the very small handful of smarter films that somehow managed to break through (look hard; most of them came out in December). Though there’s always a chance that entertainment aimed at the masses will have a brain (2012’s The Dark Knight Rises looks promising), that’s all there is. A chance.

Worse yet: recent news that major film studios plan to stop releasing 35mm prints from their archives. Rep houses will be forced to show films either digitally or not at all. It’s a cost-cutting measure that will deny future generations the irreplaceable delight of watching a movie projected from film, as was intended by the artist who made it. (Somewhere, Stanley Kubrick is seething.) Why bother going to see an old movie at all, if you’re just gonna be watching the equivalent of blown-up DVD? Might as well stay home and watch the Kardashians shop for shoes that cost more than your rent.

Man, maybe I am ready for 2012 after all. At least there’s an alternative end-times scenario to look forward to: the adaptation of Max Brooks’ excellent novel World War Z, about a world rebuilding itself after a zombie holocaust. Its not-so-coincidental release date? December 21, 2012. You’ve been warned. 

www.thepetitionsite.com/1/fight-for-35mm/

 

Editor’s notes

Andrew Lam
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4

Tredmond@sfbg.com

I’m not good at holidays. When your world is made of deadlines, the holidays are just one more — gotta get the kids presents, gotta get the tree, gotta make plans, gotta do dinner … one more set of hassles. Bah humbug.

And I’ve never been a big fan of New Year’s Eve. Too many people acting like they’ve never been drunk before and will never be drunk again, and everything costs too much. I drink every day; I can miss New Year’s Eve. Party pooper.

So I don’t do my own new year’s resolutions; I do them for other people. This is what I would like everyone else to do in 2012:

I would like the Occupy organizers to put together a massive day of teach-ins and a march on Washington in the spring, to keep the movement alive and bring in a lot more people.

I would like my fellow dog owners to pick up the shit off the sidewalks.

I would like the Department of Parking and Traffic to put up No Left Turn signs on 16th Street at Potrero and Bryant.

I would like Visconti to lower the price on that really cool lava fountain pen.

I would like the transportation whizzes at City Hall to figure out how to put bike lanes on Oak Street so I can ride back from Golden Gate Park as safely as I can ride to the park.

I would like the supervisors to change the rules for Question Time so the mayor doesn’t get all the questions in advance and there’s a chance for real discussion that isn’t stupid and boring.

I would like middle school English teachers in San Francisco to explain to their students that homeless people are not “hobos.”

I would like the Obama Administration to quit hassling pot dispensaries.

I would like the airlines to start serving cocktails before takeoff.

I would like the thriller writers of America to learn how to write decent sex scenes.

I would like Jerry Brown to endorse the initiative to outlaw the death penalty.

I would like everyone in politics to stop saying the words “together” and “shared” since we aren’t together and I don’t want to share with the rich.

Anything else? Happy New Year.

Nite Trax: Folsom date moved, KiNK-y Bulgarian techno, pop ‘n lock Santa

Jesse Hawthorne Ficks
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0
Nite Trax: Folsom date moved, KiNK-y Bulgarian techno, pop ‘n lock Santa

Local and glocal nightlife notes, reviews, tunes, and more

>>First off, the I Love Cochina Tonga’s party at the LookOut last night was wonderfully fun. Ambrosia Salad delighted with her explosive Barbra Streisand-Miami Sound Machine medley, replete with broken glass and sleigh bells. And there were some serious salsa moves happening up in there later, especially with the dancing banana named Mike. It was, yes, peanut butter jelly time.

>>Second off, my intense footwear nightmare has finally become reality! The first one to wear these in the clubs wins forever.

>>No outdoor oral for Oracle, alas. For the first time in two decades, the official date of the gargantuan, scandalous Folsom Street Fair has changed, moved up to September 23 from its traditional spot at the end of the month. The reason? Oracle World has sold out all the hotel rooms that weekend (bummer for those programmers looking for a two-fer). Here’s the official statement:

Conflict with Oracle Open World Forces Date Change

Normally, the Folsom Street Fair is held on the last weekend in September. However, in 2012, that weekend is the same as Oracle Open World. We have received word from our partners in the hotel industry that many of the city’s hotels are already completely sold out for that weekend.

We have now confirmed that in 2012 the Folsom Street Fair will take place on 9/23/12, so mark you calendars!

We apologize in advance for any inconvenience that this change may cause.

Folsom should never be about apologies! Unless that’s your thing, of course. And I found this weird thing while searching for “Oracle fetish”

(BTW: The guy on the right in the picture above, Johnathan, will be dancing tonight, Fri/23, at big gay wet-towel party Steam at the Powerhouse — featuring actually great music by one of my fave up-and-coming techno DJs, Doc Sleep. She’ll also be headlining next week’s Go Bang! NYE Party at Deco Lounge — catch her.)

>>Yesterday I posted a solstice mix by Honey Soundsystem’s Jason Kendig. Guess it’s time for more Honey love: here’s a mind-tickling deep and moody techno mix by the headliner of the collective’s upcoming huge NYE bash at Public Works, KiNK. The Bulgarian DJ and producer lets us know what sounds are going down in his Eastern neck of the dark woods. (Listen to the below on a really loud system, preferably.) This mix certainly makes me long for something kinkier than egg nog ….

KiNK’s Heavy Weekend [Sunset Honey NYE 2012 Promo Mix] by HONEY SOUNDSYSTEM

>>Finally, I leave you with this slightly disturbing, all the way funky video of Santa throwing down downtown. To all a good night:

Are we green yet?

Jesse Hawthorne Ficks
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2
Are we green yet?

rebeccab@sfbg.com

A contract agreement for San Francisco’s innovative clean energy program, CleanPowerSF, could be approved by the San Francisco Board of Supervisors as soon as January, representing a major milestone for efforts to put the city in the retail electricity business.

CleanPowerSF, which stands out as one of California’s most ambitious community choice aggregation (CCA) municipal energy programs, would offer San Francisco customers the option of powering their homes with 100 percent renewable energy instead of the standard mix of predominantly gas and nuclear-generated power supplied by PG&E.

According to a draft contract introduced at the board, energy would be purchased on the open market by Shell Energy North America and delivered to residential customers, who would pay a modest premium for the service. The first phase would target a narrow customer base, with plans for expansion.

In the long run, the San Francisco Public Utilities Commission (SFPUC) has committed to constructing city-owned wind farms, solar arrays, and combined-heat-and-power systems to generate green power locally, which would ultimately lock in lower electricity rates — but this remains in an early assessment phase. Energy consultant Paul Fenn of Local Power Inc. is conducting the study.

 

HURRY UP AND WAIT?

The fact that a draft contract agreement is under consideration signifies a breakthrough for a program that for years crept along at a snail’s pace, as tension simmered between SFPUC officials and members of the Local Agency Formation Commission (LAFCo), the body overseeing CleanPowerSF implementation.

“We have been waiting for this for so many years,” remarked Sup. David Campos, who chairs LAFCo. “We pushed the [SFPUC] really hard.”

Yet longtime advocates of San Francisco’s CCA, like Eric Brooks and other environmentalists affiliated with the Local Clean Energy Alliance, worry that CleanPowerSF will never hit its stride because it won’t be accessible to customers who want to go green but can’t afford the higher price tag. In an ironic twist, he and others who previously excoriated the SFPUC for its sluggish progress are now urging the lead agency to pause instead of steamrolling ahead.

“We did not want things to go the way they did,” Brooks said. “We’re saying, you should not finalize the contract with Shell until we have the build-out information. It enables us to get better rates,” he added. With detailed, shovel-ready plans in place, Brooks said, arrangements with Shell could hinge on plans for city-owned generation.

Early plans for city-generated power call for enough projects and retrofits to account for 360 megawatts of efficient and renewable energy capacity, including 31 MW of solar panels and 150 MW from a wind farm, plus a combination of weatherization and other efficiency measures. The Local Clean Energy Alliance estimates that more than 1,000 jobs associated with these projects could be created within the first three years.

SFPUC officials and Campos remain unconvinced that it’s a good idea to hold off on finalizing the Shell contract.

“We’re all kind of moving toward the same goal,” SFPUC spokesperson Charles Sheehan said. “If we wait a year or two years, you don’t know what’s going to happen in the future. We have to seize the moment.”

Campos and Sheehan both said advocates’ concerns would be addressed by a contract provision allowing the city to swap green power purchased by Shell with green power produced locally, once the electricity becomes available. The SFPUC also agreed to a provision committing to the build-out program, on a separate track from the Shell contract.

“We’re not going to be able to [start building] unless we have the customer base to begin with,” Campos pointed out. “I have a different perspective in terms of why it’s important to move forward,” he acknowledged, but said he was looking forward to a “healthy debate” at the board.

For all its complications, CleanPowerSF is a quintessential example of that progressive adage “think globally, act locally.” In early November, the International Energy Agency issued a warning calling for dramatic changes in power generation. With so many coal-fired power plants under construction worldwide, the agency noted, the opportunity to avert the worst impacts of global climate change will have passed completely by 2017.

 

ULTRA GREEN, FOR A FEE

San Franciscans will be able to reduce personal energy usage and perhaps shed some consumer guilt by participating in the CCA program. Under the plan, Shell will purchase electricity from carbon-free sources and sell it to the SFPUC for distribution to CleanPowerSF customers. The shift will green the power mix on the grid while sending market signals that the demand for renewable power is on the rise.

At the start of the program, which the SFPUC pegs as July or August of 2012, up to 270,000 residential customers will be automatically enrolled. Targeted customers will also receive notices asking them to choose whether to stay with the program, or opt out and continue receiving power from PG&E.

Exact rates won’t be hammered down until February or March of 2012, but preliminary estimates suggest most customers will pay roughly $7 a month more for the green power, though a few (those who use a lot of electricity) could wind up paying as much as $50 more.

The price tag could prove to be a tough sell, even in affluent San Francisco. “We’ve done extensive market research,” explained Sheehan. “And we have taken into account PG&E’s opposition campaign,” an all-but-guaranteed response to the program which the utility giant unleashed in full force when neighboring Marin County undertook its own CCA.

Based on the research, “We are forecasting a two-thirds opt-out rate,” Sheehan explained. Initially, this means only around 10 percent of San Francisco residents — a population likely limited to those in higher income brackets — are expected to enroll. From there, new rounds of enrollment and opt-out noticing would follow.

The draft contract includes a $19.5 million appropriation, which includes operating reserves plus a $15 million escrow account. That’s the maximum payout Shell could receive if the city terminated the contract before the agreed-upon date and left the company stuck with unused power.

“It’s one way of showing we have some skin in the game,” Sheehan explained. Shell would only be eligible for $15 million at the start of the 4.5 year contract, he added, and even then it would only take effect if Shell was forced to sell the excess power at a lower price than it paid.

The Shell contract cannot go into effect until several steps have been accomplished. First, the board must give its stamp of approval for the contract and the $19.5 million appropriation. The SFPUC must then finalize program rates.

The SFPUC is also awaiting a ruling from the California Public Utilities Commission (CPUC) determining a bond amount required for all CCA programs. The bond is “kind of a mechanism to make PG&E whole, if in the very unlikely circumstance, this program would cease,” and PG&E had to absorb all CCA customers immediately, Sheehan explained. He said a ruling is expected in February.

The plan to offer ultra green power at a higher price is a departure from the original program goals, which were to offer greener-than-average power at or below PG&E electricity rates. That concept was jettisoned after SFPUC staff determined the objective wouldn’t pencil out in the short term.

Whether or not the supervisors will sign off on the contract as it stands remains to be seen, though Sheehan was optimistic. Campos said it would be important to educate members of the board of supervisors and the public about the program. “It’s going to be investment that’s going to pay for itself,” he said, “many years down the road.”

The new (open) world order

Jesse Hawthorne Ficks
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The new (open) world order

YEAR IN GAMER In 2010, year-end awards were dominated by one game: Red Dead Redemption. Published by Rockstar Games, the title was a sweeping, epic Western in the best American tradition. Using a proprietary game engine, Rockstar stitched together a giant swath of imaginary frontier, a teeming open world that seems to leap straight from the imagination of John Ford or Sergio Leone.

Now that 2011 is nearly done, it’s clear that Red Dead Redemption‘s success was merely a sign of things to come. Rival publishers must have watched contentedly as the game’s accolades stacked up. They were about to make 2011 the year of the open world game, ushering in a glut of go-where-you-want, do-what-you-want, slay-who-you-want titles that would dominate both discourse and sales.

Rockstar themselves were the first to get in on the action, taking a second bite at the apple in May with L.A. Noire. Developed by now-shuttered Australian studio Team Bondi, the game takes place in a meticulously recreated version of late-40s Los Angeles. Like Red Dead Redemption, Team Bondi’s title is an engrossing pastiche of classic cinema, drawing on the tropes, mopes, and molls of vintage noir. While critics rightly complained that the game’s open world offered little except the opportunity to drive around and sightsee, the simulated city’s presence added atmosphere and heft to an already immersive game.

Explore L.A. Noire‘s carefully art-directed metropolis, and the most dangerous thing you’re likely to encounter is fast-talking dame with nothing to lose. Not so in Dark Souls, an October release by iconoclastic Japanese studio From Software. From’s open world is a foreboding, twisted take on fantasy gothic, full of decaying grandeur, uncanny creatures, and fetid environs. Players must creep forward against their better judgment, dreading whatever horror lurks around the next corner. Though the game’s uncompromising difficulty acts as a deterrent, Dark Souls‘ labyrinthine, deadly world and endless creativity are well worth the frustration.

In Batman: Arkham City, British developers Rocksteady Games put Batman in his place: perched on the roof of some crumbling Gotham pile. The game’s titular open world is a vast outdoor prison, an entire urban zip code done up in hyperbolic neon-noir, then filled with psychopaths and super-villains. While he’s not using Rocksteady’s impressive, flowing combat system to put the hurt on Gotham’s criminal underclass, Batman can deploy gadgets like the Batclaw to swoop around. Though Arkham City mostly serves as a backdrop for a fairly linear narrative, but there are also dozens of collectible, lime-green “Riddler Trophies” scattered around, giving gamers an incentive to explore every inch of the game’s open world.

For sheer size and scope, you can’t top The Elder Scrolls V: Skyrim, released in November by Maryland-based Bethesda Game Studios. Bethesda have made open worlds something of a specialty in recent years, and Skyrim is the company’s most ambitious effort to date. Set in a frigid, arctic landscape, the game showcases natural beauty on a grand scale, rendering icy peaks, swampy tundras, and furtive wildlife darting among snow-dappled pines. Players will spend hours completing hundreds of quests, scaling the world’s highest heights and descending into the bowels of its darkest dungeons. Though the game makes it easy to follow a floating arrow directly to you current goal, Skyrim’s best moments are often the product of getting hopelessly lost.

When it comes to the sheer joy of exploring an open world, Minecraft reigns supreme. Created on a lark by Swedish programmer Markus Persson, the game randomly generates a gargantuan new environment every time you tell it to. Comprised entirely of chunky, Lego-like blocks, the world can be altered at will — dedicated players have spent hours moving blocks one-by-one to create replicas of things like the USS Enterprise. Minecraft is an impressive indie success story — first released in its alpha version in 2009, the game now boasts nearly 242 million logins per month.

What lessons will open world games learn from the class of 2011? Will 2012’s vast gaming environments be welcoming or forbidding? Will players be given long lists of collectibles to hunt, or simply asked to explore for its own sake? Dec. 20, thousands of people logged into Star Wars: The Old Republic for the first time, a big-budget MMORPG from local publishers LucasArts and Electronic Arts. Not content with the vast worlds already available to them, these intrepid gamers opted for an entire galaxy — a galaxy far, far away.

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