Fillmore Archives — Page 40 of 43 — San Francisco Bay Guardian Archive 1966

Pay, pal

June 19, 2007

› kimberly@sfbg.com

SONIC REDUCER "Fuck Lars Ulrich — he can play drums on my balls with his teeth!" Them’s fighting words from the beefy bruiser in a tinsel page-boy wig, perhaps provoked only by four wannabe skids’ burning need to cover Metallica’s "For Whom the Bell Tolls" at last week’s first but — fortunately for your inner and outer sketched-out Priest hooligan with a nonironic mullet, prematurely weather-beaten mien, and herbally truncated short-term memory — not last "Hesher" night at the Parkside, where it’s now semiofficially installed after starting its smokin’ life at Annie’s Social Club. Still headbang or nod out to "Sweet Child o’ Mine"? All is forgiven and even drunkenly applauded at "Hesher," a metal karaoke and air guitar contest. Yet as delightful as it is to rock out with your crock out to such unrepentant cock-rock versions of "Eye of the Tiger" and "Round and Round," I couldn’t help but think that all of us ruddy walleyes were just cruising upstream against a current zeitgeist hell-bent on nailing culpables caught with their greasy paws in the cookie jar. How else to explain the crowds crowing to punish Paris or throw the book at I. Lewis "Lemme Scoot" Libby? Why else were latently Catholic viewers so outraged that Tony Soprano didn’t go down in a hail of bullets rather than simply cutting to black? After years of the Bush and Cheney show, the hordes have become less hesher than harsher.

Maybe we’re waiting for justice, answers, something to believe in — and perhaps the once-wronged and now recognized and fully redeemed Spoon’s Britt Daniel is ready to give it to us, just as he and other indie savants like Feist turn in their subtlest, slowest-growing recordings to date. In fact, the opening track of Spoon’s Ga Ga Ga Ga Ga (Merge), "Don’t Make Me a Target," could serve as the theme song for a rockin’ version of Chicago starring the most hated Hilton in America: it soft-shoes the bristly snarl of "Waiting for the Kid to Come Out," off last year’s reissued Soft Effects EP. In spite or perhaps because of the troubles he saw when he was pushed off Elektra, griping loudly all the way, Daniel has always sounded like one of the angriest dogs on the lot, barely leashed to those leathery pop hooks.

With Ga Ga Ga Ga Ga, Daniel ventures into other textures and tempos, moduutf8g his bark and bite with plangent pings and drastic pressure drops, floating in an echoey "The Ghost of You Lingers" and snapping suavely to the hand-clapping "Don’t You Evah." Though the infectious brass, Daniel’s streetwise taunts, and the band’s pugilistic punch conjure up memories of a certain cheesy piano man, as Sasha Frere-Jones of the New Yorker has pointed out, aligning "The Underdog" with Billy Joel’s "Only the Good Die Young," I’d venture that Daniel is less conjuring stereotypically cornball urban bluster pop straight out of some tourist fantasy of a Little Italy than continuing the same cranky conversation that began back around the hard-assed, grunge-era Soft Effects, now aged artfully into a modern-day Bobby Darrin–y hep cat. Much like the album’s cover girl, sculptor Lee Bontecou, Daniel’s finding new mettle — and much softer metals — with which to channel his rage.

FOLKLORE LURE Court and Spark and Hiss Golden Messenger honcho and teacher MC Taylor is answering the siren call of higher education and leaving the Mission digs he shares with his wife, Abby, to move to Chapel Hill, NC. "We both wanted a change of scenery, wanted to live in the country and have a garden. I got accepted to the grad program in folklore at UNC, so everything worked out perfectly," he e-mailed on the eve of a moving sale that promised "the craziest set of Dungeons and Dragons role-playing game books that you’ve probably ever seen — seriously." Taylor will continue the more improvisational HGM in his sweet home North Carolina, though sadly C&S will probably call it a day — but not before a finale July 6 at Cafe du Nord.

MICKI ON THE MEND? Many know Stork Club owner Micki Chittock as the Oaktown stalwart who moved the Stork from its cubby near the Tribune tower to its current Telegraph Avenue clubhouse. But how many, booker Joel Harmon wonders, have come through for Chittock since her serious van accident in April? Suffering from a broken femur, pelvis, back, and ribs, Chittock has three weeks left in intensive care before she’s transferred to a recovery room, Harmon e-mailed me, after doctors gave the club owner a 50 percent chance of recovery. Harmon has put together two benefit shows to ease the medical expenses, and he’s working on more because, he writes, "I’m thinking that in order for the Stork to survive, Micki has to survive." *

HEAR, YOU GO

SEX VID AND FUNEROT

Maximum Rock ‘n’ Roll sweethearts sweat it out with kindred Northwestern miscreants. Wed/20, 9:30 p.m., $5. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923, www.hemlocktavern.com

SEAN HAYES

The SF singer-songwriter whoops it up in honor of Flowering Spade, which found him in a groove with Etienne de Rocher. Thurs/21, 9 p.m., $18. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.musichallsf.com

THE JOINT

Crown City Rocker Headnodic breaks out hip-hop, soul, and dancehall alongside Raashan Ahmad. Thursdays, 10 p.m., $5. Shattuck Down Low, 2284 Shattuck, Berk. (510) 548-1159, www.shattuckdownlow.com

WHITE MICE

Load Records rodents bite headliner Skinny Puppy’s butt; don’t be surprised if they also gnaw their way onto a bill at the Bakery in Oakland. Thurs/21, 9 p.m., $27.50. Fillmore, 1805 Geary, SF. (415) 346-6000, www.thefillmore.com

SEA WOLF

Turn-of-the-century wolf moniker and contemplative songcraft. Fri/22, 9 p.m., $10–$12. Cafe du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

DEAD SCIENCE AND IMPLIED VIOLENCE

A Wu-Tang dance party ensues after the twisted pop eccentrics couple with the experimental-theater ensemble fixated on dance, politics, and illness. Fri/22, 9 p.m., sliding scale. 21 Grand, 416 25th St., Oakl. (510) 444-7263, www.21grand.org

NOMO

Elliot Bergman’s free-funk, Afrobeat, and noise eight-piece fires up the mbira, gamelan, and glockenspiel. Tues/26, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

FEIST

The ex-Peaches sidekick issues a subdued, ambitious, and multitextured Reminder (Cherrytree/Interscope). June 26–27, 8 p.m., $25. Fillmore, 1805 Geary, SF. (415) 346-6000, www.thefillmore.com

Dining listings

June 5, 2007

Welcome to our dining listings, a detailed guide by neighborhood of some great places to grab a bite, hang out with friends, or impress the ones you love with thorough knowledge of this delectable city. Restaurants are reviewed by Paul Reidinger (PR) or staff. All area codes are 415, and all restaurants are wheelchair accessible, except where noted.

B Breakfast

BR Saturday and/or Sunday brunch

L Lunch

D Dinner

AE American Express

DC Diners Club

DISC Discover

MC MasterCard

V Visa

¢ less than $7 per entrée

$ $7–<\d>$12

$$ $13–<\d>$20

$$$ more than $20

DOWNTOWN/EMBARCADERO

Bocadillos serves bocadillos — little Spanish-<\d>style sandwiches on little round buns — but the menu ranges more widely, through a variety of Spanish and Basque delights. Decor is handsome, though a little too stark-<\d>modern to be quite cozy. (PR, 8/04) 710 Montgomery, SF. Spanish/<\d>Basque, L/D, $, MC/V.

Boulevard runs with ethereal smoothness — you are cosseted as if at a chic private party — but despite much fame the place retains its brasserie trappings and joyous energy. (Staff) 1 Mission, SF. 543-6084. American, L/D, $$$, AE/DC/DISC/MC/V.

Brindisi Cucina di Mare cooks seafood the south Italian way, and that means many, many ways, with many, many sorts of seafood. (PR, 4/04) 88 Belden Place, SF. 593-8000. Italian/<\d>seafood, L/D, $$, AE/MC/V.

Bushi-tei melds East and West, old and new, with sublime elegance. Chef Seiji Wakabayashi is fluent in many of the culinary dialects of East Asia as well as the lofty idiom of France, and the result is cooking that develops its own integrity. The setting — of glass, candles, and ancient lumber — shimmers with enchantment. (PR, 3/06) 1638 Post, SF. 440-4959. Fusion, D, $$$, AE/MC/V.

Café Claude is a hidden treasure of the city center. There is an excellent menu of traditional, discreetly citified French dishes, a youthful energy, and a romantic setting on a narrow, car-free lane reminiscent of the Marais. (PR, 10/06) 7 Claude Lane, SF. 392-3515. French, L/D, $$, AE/DC/DISC/MC/V.

Chaya Brasserie brings a taste of LA’s preen-and-be-seen culture to the waterfront. The Japanese-<\d>influenced food is mostly French, and very expensive. (Staff) 132 Embarcadero, SF. 777-8688. Fusion, D, $$$, AE/DC/MC/V.

Cortez has a Scandinavian Designs-<\d>on-<\d>acid look — lots of heavy, weird multicolored mobiles — but Pascal Rigo’s Mediterranean-<\d>influenced small plates will quickly make you forget you’re eating in a hotel. (Staff) 550 Geary (in the Hotel Adagio), SF. 292-6360. Mediterranean, B/D, $$, AE/DC/DISC/MC/V.

Cosmopolitan Cafe seems like a huge Pullman car. The New American menu emphasizes heartiness. (Staff) 121 Spear, SF. 543-4001. American, L/D, $$, AE/DC/MC/V.

NORTH BEACH/CHINATOWN

Da Flora advertises Venetian specialties, but notes from Central Europe (veal in paprika cream sauce) and points east (whiffs of nutmeg) creep into other fine dishes. (Staff) 701 Columbus, SF. 981-4664. Italian, D, $$, MC/V.

Dalla Torre is one of the most inaccessible restaurants in the city. The multi<\d>level dining room — a cross between an Italian country inn and a Frank Lloyd Wright house — offers memorable bay views, but the pricey food is erratic. (Staff) 1349 Montgomery, SF. 296-1111. Italian, D, $$$, AE/DC/DISC/MC/V.

Enrico’s Sidewalk Cafe remains a classic see-and-be-seen part of the North Beach scene. The full bar and extensive menu of tapas, pizzas, pastas, and grills make dropping in at any hour a real treat. (Staff) 504 Broadway, SF. 982-6223. Mediterranean, L/D, $$, AE/MC/V.

Gondola captures the varied flavors of Venice and the Veneto in charmingly low-key style. The main theme is the classic one of simplicity, while service strikes just the right balance between efficiency and warmth. (Staff) 15 Columbus, SF. 956-5528. Italian, L/D, $, MC/V.

House of Nanking never fails to garner raves from restaurant reviewers and Guardian readers alike. Chinatown ambience, great food, good prices. (Best Ofs, 1994) 919 Kearny, SF. 421-1429. Chinese, L/D, ¢.

SOMA

Le Charm might be in San Francisco, but it has a bistro authenticity even Parisians could love, from a wealth of golden wood trim to an enduring loyalty au prix fixe. The chicken liver salad is matchless, the succinct wine list distinctly Californian. Ponder it in the idyllic, trellised garden. (PR, 9/06) 315 Fifth St, SF. 546-6128. French, L/D, $$, AE/MC/V.

Chez Spencer brings Laurent Katgely’s precise French cooking into the rustic-<\d>industrial urban cathedral that once housed Citizen Cake. Get something from the wood-<\d>burning oven. (Staff) 82 14th St, SF. 864-2191. French, BR/L/D, $$, MC/V.

Fly Trap Restaurant captures a bit of that old-time San Francisco feel, from the intricate plaster ceiling to the straightforward menu: celery Victor, grilled salmon filet with beurre blanc. A good lunchtime spot. (Staff) 606 Folsom, SF. 243-0580. American, L/D, $$, AE/DC/MC/V.

*Fringale still satisfies the urge to eat in true French bistro style, with Basque flourishes. The paella roll is a small masterpiece of food narrative; the frites are superior. (PR, 7/04) 570 Fourth St, SF. 543-0573. French/Basque, L/D, $$, AE/MC/V.

India Garden indeed has a lovely garden and an excellent lunch buffet that does credit to South Asian standards. (Staff) 1261 Folsom, SF. 626-2798. Indian, L/D, $, AE/DC/DISC/MC/V.

NOB HILL/RUSSIAN HILL

Acquerello reminds us that the Italians, like the French, have a high cuisine — sophisticated and earthy and offered in a onetime chapel with exposed rafters and sumptuous fabrics on the banquettes. Service is as knowledgeable and civilized as at any restaurant in the city. (PR, 3/05) 1722 Sacramento, SF. 567-5432. Italian, $$$, D, AE/DISC/MC/V.

Ah Lin offers Mandarin-style Chinese cooking in an easy-to-take storefront setting on Cathedral Hill. The dishes are well behaved and tasty, with only an occasional flare-up of chile heat. The roast duck is one of the best deals in town. (PR, 10/06) 1634 Bush, SF. 922-5279. Chinese, L/D, $, AE/MC/V.

Alborz looks more like a hotel restaurant than a den of Persian cuisine, but there are flavors here — of barberry and dried lime, among others — you won’t easily find elsewhere. (Staff) 1245 Van Ness, SF. 440-4321. Persian, L/D, $, MC/V.

Bacio offers homey, traditional Italian dishes in a charmingly cozy rustic space. Service can be slow. (PR, 1/05) 835 Hyde, SF. 292-7999. Italian, L/D, $$, AE/MC/V.

Cordon Bleu has huge portions, tiny prices, and a hoppin’ location right next to the Lumiere Theatre. (Staff) 1574 California, SF. 673-5637. Vietnamese, L/D, ¢.

CIVIC CENTER/TENDERLOIN

Mangosteen radiates lime green good cheer from its corner perch in the Tenderloin. Inexpensive Vietnamese standards are rendered with thoughtful little touches and an emphasis on the freshest ingredients. (PR, 11/05) 601 Larkin, SF. 776-3999. Vietnamese, L/D, $, cash only.

Max’s Opera Cafe Huge food is the theme here, from softball-<\d>size matzo balls to towering desserts. Your basic Jewish deli. (Staff) 601 Van Ness, SF. 771-7300. American, L/D, $, AE/DC/DISC/MC/V.

Mekong Restaurant serves the foods of the Mekong River basin. There is a distinct Thai presence but also dishes with Laotian, Cambodian, Vietnamese, and even Chinese accents. (PR, 1/06) 791 O’Farrell, SF. 928-2772. Pan-<\d>Asian, L/D, $, MC/V.

Olive might look like a tapas bar, but what you want are the thin-crust pizzas, the simpler the toppings the better. The small plates offer eclectic pleasures, especially the Tuscan pâté and beef satay with peanut sauce. (Staff) 743 Larkin, SF. 776-9814. Pizza/<\d>eclectic, D, $, AE/DISC/MC/V.

HAYES VALLEY

Frjtz serves first-rate Belgian fries, beer, crepes, and sandwiches in an art-<\d>house atmosphere. If the noise overwhelms, take refuge in the lovely rear garden. (Staff) 579 Hayes, SF. 864-7654; also at Ghirardelli Square, SF. 928-3886. Belgian, B/L/D, $, AE/DC/DISC/MC/V.

Hayes Street Grill started more than a quarter century ago as an emulation of the city’s old seafood houses, and now it’s an institution itself. The original formula — immaculate seafood simply prepared, with choice of sauce and French fries — still beats vibrantly at the heart of the menu. Service is impeccable, the setting one of relaxed grace. (PR, 7/06) 816 Folsom, SF. 863-5545. Seafood, L/D, $$$, AE/DISC/MC/V.

Sauce enjoys the services of chef Ben Paula, whose uninhibited California cooking is as easy to like as a good pop song. (PR, 5/05) 131 Gough, SF. 252-1369. California, D, $$, AE/DISC/MC/V.

Suppenküche has a Busvan for Bargains, butcher-<\d>block look that gives context to its German cuisine. If you like schnitzel, brats, roasted potatoes, eggs, cheese, cucumber salad, cold cuts, and cold beer, you’ll love it here. (Staff) 601 Hayes, SF. 252-9289. German, BR/D, $, AE/MC/V.

*Zuni Cafe is one of the most celebrated — and durable — restaurants in town, perhaps because its kitchen has honored the rustic country cooking of France and Italy for the better part of two decades. (PR, 2/05) 1658 Market, SF. 552-2522. California, B/L/D, $$$, AE/MC/V.

CASTRO/NOE VALLEY/GLEN PARK

Firewood Cafe serves up delicious thin chewy-<\d>crusted pizzas, four kinds of tortellini, rotisserie-<\d>roasted chicken, and big bowls of salad. (Staff) 4248 18th St, SF. 252-0999. Italian, L/D, ¢, MC/V.

Los Flamingos mingles Cuban and Mexican specialties in a relaxed, leafy, walk-<\d>oriented neighborhood setting. Lots of pink on the walls; even more starch on the plates. (PR, 11/04) 151 Noe, SF. 252-7450. Cuban/<\d>Mexican, BR/D, $, AE/DC/DISC/MC/V.

Fresca raises the already high bar a little higher for Peruvian restaurants in town. Many of the dishes are complex assemblies of unusual and distinctive ingredients, but some of the best are among the simplest. The skylighted barrel-<\d>ceiling setting is quietly spectacular. (PR, 7/05) 3945 24th St, SF. 695-0549. Peruvian, L/D, $$, AE/DISC/MC/V.

Gialina offers fabulous thin-crust pizzas in the nouveau-quaint heart of Glen Park’s village center. Toppings reflect the companionable spirits of innovation and playfulness. For dessert: chocolate pizza, though beware the danger of starch overload. (PR, 3/07) 2842 Diamond, SF. 239-8500. Pizza/Italian, D, $, AE/DC/MC/V.

Hamano Sushi packs them in despite a slightly dowdy setting and food of variable appeal. The best stuff is as good as it gets, though, and prices aren’t bad. (Staff) 1332 Castro, SF. 826-0825. Japanese, L/D, $$, AE/MC/V.

HAIGHT/COLE VALLEY/WESTERN ADDITION

Alamo Square is an archetype for the "good little place around the corner." Five different kinds of fish are offered next to three cooking techniques and five sauces. (Staff) 803 Fillmore, SF. 440-2828. Seafood, D, $, MC/V.

Ali Baba’s Cave Veggie shish kebabs are grilled fresh to order; the hummus and baba ghanoush are subtly seasoned and delicious. (Staff) 531 Haight (at Fillmore), SF. 255-7820; 799 Valencia, SF. 863-3054. Middle Eastern, L/D, ¢, MC/V.

All You Knead emphasizes the wonderful world of yeast — sandwiches, pizzas, etc. — in a space reminiscent of beer halls near Big 10 campuses. (Staff) 1466 Haight, SF. 552-4550. American, B/L/D, ¢, MC/V.

Asqew Grill reinvents the world of fine fast food on a budget with skewers, served in under 10 minutes for under 10 bucks. (Staff) 1607 Haight, SF. 701-9301. California, L/D, ¢, MC/V.

Bia’s Restaurant and Wine Bar proves hippies know what’s what in matters of food and wine. An excellent menu of homey items with Middle Eastern and Persian accents; a tight, widely varied wine list. (PR, 11/04) 1640 Haight, SF. 861-8868. California/<\d>Middle Eastern, L/D, $, AE/DC/MC/V.

Blue Jay Cafe has the Mayberry, RFD, look and giant platters of Southernish food, including a good catfish po’boy and crispy fried chicken. Everything is under $10. (PR, 4/04) 919 Divisadero, SF. 447-6066. American/<\d>soul, BR/L/D, $, MC/V.

Brother-in-Laws Bar-B-Cue always wins the "Best Barbecue" prize in our annual Best of the Bay edition: the ribs, chickens, links, and brisket are smoky and succulent; the aroma sucks you in like a tractor beam. (Staff) 705 Divisadero, SF. 931-7427. Barbecue, L/D, $.

Burgermeister uses top-grade Niman Ranch beef for its burgers, but nonetheless they’re splendid, with soft buns and crisp, well-<\d>salted fries. Foofy California wrinkles are available if you want them, but why would you? (PR, 5/04) 86 Carl, SF. 566-1274. Burgers, L/D, $.

MISSION/BERNAL HEIGHTS/POTRERO HILL

Cafe Phoenix looks like a junior-<\d>high cafeteria, but the California-<\d>deli food is fresh, tasty, and honest, and the people making it are part of a program to help the emotionally troubled return to employability. (Staff) 1234 Indiana, SF. 282-9675, ext. 239. California, B/L, ¢, MC/V.

Caffe Cozzolino Get it to go: everything’s about two to four bucks more if you eat it there. (Staff) 300 Precita, SF. 285-6005. Italian, L/D, $, AE/MC/V.

Caffe d’Melanio is the place to go if you want your pound of coffee beans roasted while you enjoy an Argentine-<\d>Italian dinner of pasta, milanesa, and chimichurri sauce. During the day the café offers a more typically Cal-<\d>American menu of better-<\d>than-<\d>average quality. First-rate coffee beans. (PR, 10/04) 1314 Ocean, SF. 333-3665. Italian/<\d>Argentine, B/L/D, $, MC/V.

Il Cantuccio strikingly evokes that little trattoria you found near the Ponte Vecchio on your last trip to Florence. (Staff) 3228 16th St, SF. 861-3899. Italian, D, $, MC/V.

Chez Papa Bistrot sits like a beret atop Potrero Hill. The food is good, the staff’s French accents authentic, the crowd a lively cross section, but the place needs a few more scuffs and quirks before it can start feeling real. (Staff) 1401 18th St, SF. 824-8210. French, BR/L/D, $$, AE/MC/V.

Circolo Restaurant and Lounge brings Peruvian- and Asian-<\d>influenced cooking into a stylishly barnlike urban space where dot-<\d>commers gathered of old. Some of the dishes are overwrought, but the food is splendid on the whole. (PR, 6/04) 500 Florida, SF. 553-8560. Nuevo Latino/<\d>Asian, D, $$$, AE/DC/DISC/MC/V.

Couleur Café reminds us that French food need be neither fancy nor insular. The kitchen playfully deploys a world of influences — the duck-<\d>confit quesadilla is fabulous — and service is precise and attentive despite the modest setting at the foot of Potrero Hill. (PR, 2/06) 300 De Haro, SF. 255-1021. French, BR/L/D, $, AE/DC/MC/V.

*Delfina has grown from a neighborhood restaurant to an event, but an expanded dining room has brought the noise under control, and as always, the food — intense variations on a theme of Tuscany — could not be better. (PR, 2/04) 3621 18th St, SF. 552-4055. California, D, $$, MC/V.

Dosa serves dosas, the south Indian crepes, along with a wealth of other, and generally quite spicy, dishes from the south of the subcontinent. The cooking tends toward a natural meatlessness; the crowds are intense, like hordes of passengers inquiring about a delayed international flight. (PR, 1/06) 995 Valencia, SF. 642-3672. South Indian, BR/D, $, AE/MC/V.

Double Play sits across the street from what once was Seals Stadium, but while the field and team are gone, the restaurant persists as an authentic sports bar with a solidly masculine aura — mitts on the walls, lots of dark wood, et cetera. The all-<\d>American food (soups, sandwiches, pastas, meat dishes, lots of fries) is outstanding. (Staff) 2401 16th St, SF. 621-9859. American, L/D, $, AE/MC/V.

Emmy’s Spaghetti Shack offers a tasty, inexpensive, late-night alternative to Pasta Pomodoro. The touch of human hands is everywhere evident. (Staff) 18 Virginia, SF. 206-2086. Italian, D, $, cash only.

Esperpento is as authentic a Spanish-style tapas restaurant as you’ll find in San Francisco, but even better — the paella is good! (PR, 4/07) 3295 22nd St, SF. 282-8867. Spanish/tapas, L/D, $, AE/DISC/MC/V.

Foreign Cinema serves some fine New American food in a spare setting of concrete and glass that warms up romantically once the sun goes down. (Staff) 2534 Mission, SF. 648-7600. California, D, $$, AE/MC/V.

Front Porch mixes a cheerfully homey setting (with a front porch of sorts), a hipster crowd, and a Caribbean-inflected comfort menu into a distinctive urban cocktail. The best dishes, such as a white polenta porridge with crab, are Range-worthy, and nothing on the menu is much more than $10. (PR, 10/06) 65A 29th St, SF. 695-7800. American/Caribbean, BR/D, $, MC/V.

MARINA/PACIFIC HEIGHTS/LAUREL HEIGHTS

Greens All the elements that made it famous are still intact: pristine produce, an emphasis on luxury rather than health, that gorgeous view. (Staff) Fort Mason Center, Bldg A, Marina at Laguna, SF. 771-6222. Vegetarian, L/D, $$, DISC/MC/V.

*Harris’ Restaurant is a timeless temple to beef, which appears most memorably as slices of rib roast, but in other ways too. Uncheap. (PR, 5/04) 2100 Van Ness, SF. 673-1888. Steakhouse/<\d>American, D, $$$, AE/DC/DISC/MC/V.

Kiss is tiny, industrial, not particularly Anglophonic — and serves some of the best sushi in the city. Warning: the very best stuff (from the specials menu) can be very pricey. (Staff) 1700 Laguna, SF. 474-2866. Japanese, D, $$$, MC/V.

Letitia’s has claimed the old Alta Plaza space and dispensed with the huge cruise mirror. The Mexican standards are pretty good and still pricey, though they don’t seem quite as dear in Pacific Heights as they did in the Castro. (PR, 6/04) 2301 Fillmore, SF. 922-1722. Mexican, L/D, $$, AE/MC/V.

Mezes glows with sunny Greek hospitality, and the plates coming off the grill are terrific, though not huge. Bulk up with a fine Greek salad. (Staff) 2373 Chestnut, SF. 409-7111. Greek, D, $, MC/V.

Out the Door is the takeout-friendly child of the Slanted Door, and the food reflects the same emphasis on first-quality ingredients. You can eat in if you want or shop for hard-to-find Asian groceries at reasonable prices. (PR, 1/07) Westfield Center, 845 Market, SF. 541-9913; One Ferry Bldg, SF. 861-8032. Vietnamese, L/D, $, AE/MC/V.

Plump Jack Café If you had to take your parents to dinner in the Marina, this would be the place. A small but authentic jewel. (Staff) 3127 Fillmore, SF. 563-4755. California, L/D, $$, AE/MC/V.

SUNSET

Marnee Thai A friendly, low-key neighborhood restaurant — now in two neighborhoods — that just happens to serve some of the best Thai food in town. (PR, 1/04) 2225 Irving, SF. 665-9500; 1243 Ninth Ave (at Lincoln), SF. 731-9999. Thai, L/D, $, AE/MC/V.

Masala means "spice mixture," and spices aplenty you will find in the South Asian menu. Be sure to order plenty of naan to sop up the sauce with. (Staff) 1220 Ninth Ave, SF. 566-6976. Indian/<\d>Pakistani, L/D, $, AE/DC/DISC/MC/V.

Nan King Road Bistro laces its mostly Chinese menu with little touches from around Asia (sake sauces, Korean noodles), and the result is a spectacular saucefest. Spare, cool environment. (Staff) 1360 Ninth Ave, SF. 753-2900. Pan-<\d>Asian, L/D, $, AE/MC/V.

Park Chow could probably thrive on its basic dishes, such as the burger royale with cheese ($6.95), but if you’re willing to spend an extra five bucks or so, the kitchen can really flash you some thigh. (Staff) 1240 Ninth Ave, SF. 665-9912. California, BR/L/D, $, MC/V.

Pisces California Cuisine brings a touch of SoMa sophistication to an Outer Sunset neighborhood in need of paint. (You can’t miss the restaurant’s black facade.) The kitchen turns out a variety of seafood preparations — the clam chowder is terrific — and offers an appealing prix fixe option at both lunch and dinner. (PR, 8/06) 3414-3416 Judah, SF. 564-2233. Seafood, L/D, $$, AE/DISC/MC/V.

P.J.’s Oyster Bed Of all the US regional cultures, southern Louisiana’s may be the most beloved, and at P.J.’s you can taste why. (Staff) 737 Irving, SF. 566-7775. Seafood, L/D, $$, AE/MC/V.

Pomelo Big portions of Asian- and Italian-<\d>inspired noodle dishes. If you need something quick, cheap, and fresh, pop in here. (Staff) 92 Judah, SF. 731-6175. Noodles, L/D, $, cash only.

Sabella’s carries a famous seafood name into the heart of West Portal. Good nonseafood stuff too. (Staff) 53 West Portal, SF. 753-3130. Italian/<\d>seafood, $, L/D, MC/V.

Sea Breeze Cafe looks like a dive, but the California cooking is elevated, literally and figuratively. Lots of witty salads, a rum-rich crème brûlée. (Staff) 3940 Judah, SF. 242-6022. California, BR/L/D, $$, MC/V.

So Restaurant brings the heat, in the form of huge soup and noodle — and soupy noodle — dishes, many of them liberally laced with hot peppers and chiles. The pot stickers are homemade and exceptional, the crowd young and noisy. Cheap. (PR, 10/06) 2240 Irving, SF. 731-3143. Chinese/noodles, L/D, ¢, MC/V.

Tasty Curry still shows traces of an earlier life as a Korean hibachi restaurant (i.e., venting hoods above most of the tables), but the South Asian food is cheap, fresh, and packs a strong kick. (PR, 1/04) 1375 Ninth Ave, SF. 753-5122. Indian/<\d>Pakistani, L/D, ¢, MC/V.

Tennessee Grill could as easily be called the Topeka Grill, since its atmosphere is redolent of Middle America. Belly up to the salad bar for huge helpings of the basics to accompany your meat loaf or calf’s liver. (Staff) 1128 Taraval, SF. 664-7834. American, B/L/D, $, MC/V.

Thai Cottage isn’t really a cottage, but it is small in the homey way, and its Thai menu is sharp and vivid in the home-<\d>cooking way. Cheap, and the N train stops practically at the front door. (PR, 8/04) 4041 Judah, SF. 566-5311. Thai, L/D, $, MC/V.

*Xiao Loong elevates the neighborhood Chinese restaurant experience to one of fine dining, with immaculate ingredients and skillful preparation in a calm architectural setting. (PR, 8/05) 250 West Portal, SF. 753-5678. Chinese, L/D, $, AE/MC/V.

Yum Yum Fish is basically a fish store: three or four little tables with fish-print tablecloths under glass, fish-chart art along the wall, and fish-price signs all over the place. (Staff) 2181 Irving, SF. 566-6433. Sushi, L/D, ¢.

RICHMOND

Eva’s Hawaiian Café re-creates the Hawaiian lunch-plate experience in a Clement Street storefront done up in primary colors worthy of a 1970s-era middle school. The food is excellent and inexpensive, the service skilled and cheerful, the setting immaculate. What’s not to like? (PR, 3/07) 731 Clement, SF. 221-2087. Hawaiian, L/C, ¢, MC/V.

Katia’s, a Russian Tea Room evokes the bourgeois romance of old Russia, and the classic Slavic food is carefully prepared and presented. Silken Crimean port is served in a tiny glass shaped like a Cossack boot. (PR, 12/04) 600 Fifth Ave, SF. 668-9292. Russian, L/D, $$, AE/DC/DISC/MC/V.

Kitaro This Japanese restaurant, unlike many others, has a lot of options for vegetarians. (Staff) 5850 Geary, SF. 386-2777. Japanese, L/D, ¢, MC/V.

Lucky Fortune serves up a wide variety of Chinese-<\d>style seafood in a cheerfully blah setting. Prices are astoundingly low, portions large. (Staff) 5715 Geary, SF. 751-2888. Chinese, L/D, ¢, MC/V.

Mai’s Restaurant On the basis of the hot-and-sour shrimp soup with pineapple alone, Mai’s deserves a line out the door. (Staff) 316 Clement, SF. 221-3046. Vietnamese, L/D, ¢, AE/DC/MC/V.

BAYVIEW/HUNTERS POINT/SOUTH

Bella Vista Continental Restaurant commands a gorgeous view of the Peninsula and South Bay from its sylvan perch on Skyline Boulevard, and the continental food, though a little stately, is quite good. The look is rustic-stylish (exposed wood beams, servers in dinner jackets), and the tone one of informal horse-country wealth. (PR, 3/07) 13451 Skyline Blvd., Woodside. (650) 851-1229. Continental, D, $$$, AE/DC/DISC/MC/V.

Cable Car Coffee Shop Atmospherically speaking, you’re looking at your basic downtown South San Francisco old-style joint, one that serves a great Pacific Scramble for $4.95 and the most perfectest hash browns to be tasted. (Staff) 423 Grand, South SF. (650) 952-9533. American, B/BR/L, ¢.

Cliff’s Bar-B-Q and Seafood Some things Cliff’s got going for him: excellent mustard greens, just drenched in flavorfulness, and barbecued you name it. Brisket. Rib tips. Hot links. Pork ribs. Beef ribs. Baby backs. And then there are fried chickens and, by way of health food, fried fishes. (Staff) 2177 Bayshore, SF. 330-0736. Barbecue, L/D, ¢, AE/DC/MC/V.

BERKELEY/EMERYVILLE/NORTH

Ajanta offers a variety of deftly seasoned regional dishes from the Asian subcontinent. (Staff) 1888 Solano, Berk. (510) 526-4373. Indian, L/D, $, AE/DC/DISC/MC/V.

La Bayou serves up an astounding array of authentic New Orleans staples, including jambalaya, (greaseless!) fried catfish, and homemade pralines. (Staff) 3278 Adeline, Berk. (510) 594-9302. Cajun/<\d>Creole, L/D, ¢-$, MC/V.

Breads of India and Gourmet Curries The menu changes every day, so nothing is refrigerated overnight, and the curries benefit from obvious loving care. (Staff) 2448 Sacramento, Berk. (510) 848-7684. Indian, L/D, ¢, MC/V.

OAKLAND/ALAMEDA

Connie’s Cantina fashions unique variations on standard Mexican fare — enchiladas, tamales, fajitas, rellenos. (Staff) 3340 Grand, Oakl. (510) 839-4986. Mexican, L/D, ¢, MC/V.

Garibaldi’s on College focuses on Mediterranean-<\d>style seafood. (Staff) 5356 College, Oakl. (510) 595-4000. Mediterranean, L/D, $$, AE/MC/V.

Gerardo’s Mexican Restaurant offers all the expected taquería fare. But a main reason to visit is to pick up a dozen of Maria’s wonderfully down-home chicken or pork tamales. (Staff) 3811 MacArthur, Oakl. (510) 531-5255. Mexican, B/L/D, ¢-$. *

Summer 2007 fairs and festivals guide

May 8, 2007

ONGOING

ArtSFest Various venues; www.artsfestsf.org. For its fourth year, ArtSFest presents a showcase of theater, dance, visual art, film, music, spoken word, and more. Through May 28.

Night Market Ferry Bldg Marketplace, along the Embarcadero at the foot of Market; 693-0996, www.ferrybuildingmarketplace.com. Thurs, 4-8pm, through Oct 26. Marketplace merchants and farmers offer their freshest artisan foods and produce at this weekly sunset event.

United States of Asian America Arts Festival Various venues; 864-4120, www.apiculturalcenter.org. Through June 30. This festival, presented by the Asian Pacific Islander Cultural Center, showcases Asian Pacific Islander dance, music, visual art, theater, and multidisciplinary performance ensembles at many San Francisco venues.

Yerba Buena Gardens Festival Yerba Buena Gardens, Third St at Mission; 543-1718, www.ybgf.org. Through Oct, free. Nearly 100 artistic and cultural events for all ages takes place at the gardens this summer including Moroccan percussionists, Hawaiian ukulele players, Yiddish klezmer violinists, Balinese dancers, Shakespearean actors, Cuban musicians, and Japanese shakuhachi players.

BAY AREA

Silicon Valley Open Studios www.svos.org. Sat-Sun, 11am-5pm, through May 20. Check out Silicon Valley artists’ works and the spaces they use to create them at this community art program.

MAY 8–20

The Hip-Hop Theater Festival: Bay Area 2007 Various venues; www.youthspeaks.org. Youth Speaks, La Peña Cultural Center, the Hip-Hop Theater Festival, and San Francisco International Arts Festival present this showcase of new theater works that feature break dancing, MCing, graffiti, spoken word, and DJ sampling.

MAY 10-20

Mission Creek Music and Arts Festival Various venues; www.mcmf.org. The Mission Creek Music and Arts Festival features the best and brightest independent musicians and artists, including music by Vincent Gallo, Acid Mothers Temple, Edith Frost, and Gary Higgins. Literary and film events are also planned.

MAY 12

KFOG KaBoom! Piers 30-32; 817-KFOG, www.kfog.com. 4-10pm, free. Kick off the summer with this popular event featuring music, a spectacular fireworks show, food and drinks, and activities for kids. Kenny Wayne Shepherd, Guster, and Ozomatli perform.

BAY AREA

Arlen Ness Motorcycles Anniversary Party Arlen Ness, 6050 Dublin, Dublin; (925) 479-6300, www.arlenness.com. 10am-4:30pm, free. Celebrate the company’s fourth year in Dublin and 37th year in business with a display of the largest selection of Ness, Victory, American Iron Horse, and Big Dog Motorcycles in California, a walk through the museum, and a live music from Journey tribute band Evolution.

Beltane Pagan Festival Civic Center Park, 2151 MLK Jr. Way, Berk; www.thepaganalliance.org.10am-5:30pm, free. This year’s festival focuses on children and young adults and features a procession, performances, vendors, storytelling, an authors’ circle, and information booths.

Peralta in Bloom Spring Festival Carter Middle School, 4521 Webster, Oakl; (510) 655-1502, www.peraltaschool.org. Due to a fire, Peralta’s spring festival will be held at a temporary home this year. Expect the same great live entertainment, carnival games, old-fashioned high-steppin’ cakewalk, free arts and crafts, and delicious barbecue as always.

MAY 13

Hood Games VI "Tender Love" Turk between Mason and Taylor; 11am-4pm. This celebration of youth culture features live skating and music, art, a fashion show, contests, and a raffle. Bonus: every mom who shows up for this Mother’s Day event gets a free skateboard.

BAY AREA

Russian-American Fair Terman Middle School, 655 Arastradero, Palo Alto; (650) 852-3509, paloaltojcc.org. 10am-5pm, $3-5. The Palo Alto Jewish Community Center puts on this huge, colorful cultural extravaganza featuring ethnic food, entertainment, crafts and gift items, art exhibits, carnival games, and vodka tasting.

MAY 16–27

San Francisco International Arts Festival Various venues; (415) 439-2456, www.sfiaf.org. The theme for this year’s multidisciplinary festival is the Truth in Knowing/Now, a Conversation across the African Diaspora.

MAY 17–20

Carmel Art Festival Devendorf Park, Carmel; (831) 642-2503, www.carmelartfestival.org. Call for times, free. Enjoy viewing works by more than 60 visual artists at this four-day festival. In addition to the Plein Air and Sculpture-in-the-Park events, the CAF is host to the Carmel Youth Art Show, Quick Draw, and Kids Art Day.

MAY 18–20

Festival of Greece 4700 Lincoln, Oakl; (510) 531-3400, www.oaklandgreekfestival.com. Fri-Sat, 10am-11pm; Sun, 11am-9pm, $6. Free on Fri 10-4 and Sun 6-9. Let’s hear an "opa!" for Greek music, dance, food, and a stunning view at the Greek Orthodox Cathedral of the Ascension’s three-day festival.

MAY 19

A La Carte and Art Castro St, Mountain View; (650) 964-3395, www.miramarevents.com. 10am-6pm, free. A moveable feast of people and colorful tents offering two days of attractions, music, art, a farmers’ market, and a special appearance by TV star Delta Burke.

Asian Heritage Street Celebration Howard between Fifth and Seventh streets; 321-5865, www.asianfairsf.com. 11am-6pm, free. More than 200 organizations participate in this festival, which features Asian cooking demonstrations, beer and sake, arts and crafts, a variety of food, and live entertainment.

Family Fun Festival and Silent Auction 165 Grattan; 759-2815. 11am-5pm, free. Enjoy this second annual family event in Cole Valley, featuring a kids’ carnival with prizes, street theater, live music, refreshments, and a silent auction.

Oyster and Beer Fest Great Meadows, Fort Mason, Laguna at Bay; www.oreillysoysterfestival.com. 12-7pm, $15-19 ($50 reserved seating). O’Reilly’s Productions presents the 8th annual festival celebrating oysters and beer, featuring cooking demos, competitions, and live performance from Flogging Molly, Shantytown, The Hooks, and more.

Saints Kiril and Metody Bulgarian Cultural Festival Croatian American Cultural Center, 60 Onondaga; (510) 649-0941, www.slavonicweb.org. 3pm-midnight, $15. Enjoy live music, dance, and traditional food and wine in celebration of Bulgarian culture. A concert features Nestinari, Zaedno, Brass Punks, and many more.

Taiwanese American Cultural Festival Union Square; (408) 268-5637, www.tafnc.org. 10am-7pm, free. Explore Taiwan by tasting delicious Taiwanese delicacies, viewing a puppet show and other performances, and browsing arts and crafts exhibits.

Uncorked! Public Wine Festival Ghirardelli Square, 900 N Point; 775-5500, www.ghirardellisq.com. 1-6pm, event free, wine tasting $40-100. This second annual wine festival features wine tasting, five-star chef demonstrations, wine seminars, and a chocolate and wine pairing event.

BAY AREA

Cupertino Special Festival in the Park Cupertino Civic Center, 10300 Torre, Cupertino; (408) 996-0850, www.osfamilies.org. 10am-6pm, free. The Organization of Special Needs Families hosts its third annual festival for people of all walks or wheels of life. Featuring live music, food and beer, bouncy houses, arts and crafts, and other activities.

Pixie Park Spring Fair Marin Art and Garden Center, Sir Francis Drake Blvd at Lagunitas, Ross; www.pixiepark.org. 9am-4pm, free. This fair for preschoolers and kindergarteners features bathtub races, pony rides, a petting zoo, a puppet show, and much more.

MAY 19-20

Bay Area Storytelling Festival Kennedy Grove Regional Recreation Area, San Pablo Dam Road near Castro Ranch, El Sobrante; (510) 644-2593, www.bayareastorytelling.org.

Sat, 9:30am-8pm; Sun, 9:30am-5:15pm, $8-65. Gather around and listen to stories told by storytellers from around the world at this outdoor festival. Sheila Kay Adams, Charlotte Blake Alston, Bill Harley and others are featured.

Castroville Artichoke Festival 10100 Merritt, Castroville; (831) 633-2465, www.artichoke-festival.org. Sat, 10am-6pm; Sun, 10am-5pm, $3-6. Have a heart — eat an artichoke. This festival cooks up the vegetable in every way imaginable and features tons of fun activities for kids, music, a parade, a farmers’ market, and much more.

Day of Decadence Women’s Expo Sedusa Studios, 1300 Dell, Campbell; (408) 826-9087, www.sedusastudios.com. 1-4pm, $5. Twenty-five women-owned businesses exhibit their products and pamper their customers at this decadent event. Includes free services, champagne, refreshments, and a chocolate fountain.

French Flea Market Chateau Sonoma, 153 West Napa, Sonoma; (707) 935-8553, www.chateausonoma.com. 10:30am-5:30pm, call for price. Attention, Francophiles: this flea market is for you! Shop for antiques, garden furniture, and accessories from French importers.

Himalayan Fair Live Oak Park, 1300 Shattuck, Berk; (510) 869-3995, www.himalayanfair.net. Sat, 10am-7pm; Sun, 10am-5:30pm, call for price. This benefit for humanitarian grassroots projects in the Himalayas features award-winning dancers and musicians representing Nepal, Tibet, Bhutan, India, Afghanistan, Pakistan and Mongolia. Check out the art and taste the delicious food.

Maker Faire San Mateo Fairgrounds, San Mateo; (415) 318-9067, www.makerfaire.com. Sat, 10am-6pm; Sun, 10am-5pm, $5-15. A two-day, family-friendly event established by the creators of Make and Create magazines that celebrates arts, crafts, engineering, science projects, and the do-it-yourself mindset.

Muscle Car, Hot Rods, and Art Fair Bollinger Canyon Rd and Camino Ramon, San Ramon; (925) 855-1950, www.hatsoffamerica.us. 10am-5pm, free. Hats Off America presents this family event featuring muscle cars, classics and hot rods, art exhibits, children’s activities, live entertainment, and beer and wine.

Passport to Sonoma Valley Various venues; (707) 935-0803, www.sonomavalleywine.com. 11am-4pm, $55 (weekend, $65). This first of its kind, valleywide event will provide visitors rare access to the many hidden gems of California’s oldest wine region. More than 40 Sonoma wineries are participating, and the cost includes unlimited tasting.

Sunset Celebration Weekend Sunset headquarters, 80 Willow Road, Menlo Park; 1-800-786-7375, www.sunset.com. 10am-5pm, $10-12, kids free. Sunset magazine presents a two-day outdoor festival featuring beer, wine, and food tasting; test-kitchen tours, celebrity chef demonstrations, live music, seminars, and more.

Spring Fling Open House Rosenblum Cellars, 2900 Main, Alameda; (510) 995-4100, www.rosenblumcellars.com. Noon-5pm, $30. Try new and current releases at Rosenblum’s Alameda winery while enjoying wine-friendly hors d’oeuvres and music from local musicians.

MAY 20

ING Bay to Breakers Begins at Howard and Spear, ends at the Great Highway along Ocean Beach, SF; www.baytobreakers.com. 8am, $33-40. See a gang of Elvis impersonators in running shorts and a gigantic balloon shaped like a tube of Crest floating above a crowd of scantily clad, and unclad, joggers at this annual race from the Embarcadero to the Pacific Ocean.

BAY AREA

Jazz on Fourth Street Festival Fourth St, between Hearst and Virginia, Berk; (510) 526-6294, www.4thstreetshop.com. 11am-5pm, free. Local merchants present this annual outdoor music festival featuring Marcus Shelby Quartet, Sugar Pie DeSanto, Wayne Wallace Latin Jazz Group, two Berkeley High combos, and the award-winning Berkeley High Jazz ensemble.

Niles Wildflower Art and Garden Show Niles Blvd at Main, Fremont; www.niles.org. 10am-3pm, event free, garden tour $12-15. Take a self-guided tour of beautiful home gardens and enjoy the creative works of local artists.

MAY 24–27

Sonoma Jazz Plus Festival Field of Dreams, 179 First St W, Sonoma; 1-866-527-8499, www.sonomajazz.org. $45-95. Thurs-Sat, 6:30 and 9pm; Sun, 8:30pm, $45-110. Head on up to California’s wine country for Memorial Day weekend and soak in the sounds of LeAnn Rimes, Tony Bennett, Smokey Robinson, and Harry Connick Jr.

MAY 25–28

Memorial Day Folk Music Camp Out Waterman Creek Camp, Santa Cruz County; (510) 523-6533. www.sffmc.org. $7/night. Preregistration required. Camp and sing along with the San Francisco Folk Music Club. Everybody’s goin’!

MAY 26

Soul Jazz Festival Crown Canyon Park, 8000 Crow Canyon, Castro Valley; www.souljazzfestival.com. 12-8pm, $45-49. A one-day music event celebrating the worlds of jazz, funk, and soul. This year pays tribute to Ella Fitzgerald and features Johnny Holiday, Ladybug Mecca of Digable Planets, and Ella Fitzgerald’s son, Ray Brown Jr.

MAY 26–27

Carnaval San Francisco Harrison between 16th and 24th streets; (415) 920-0122, www.carnavalsf.com. 10am-6pm, free. The vibrant Mission District plays host to the best of Latin and Caribbean cultures and traditions with an array of food, music, dance, and art. The theme for this year’s carnaval is Love Happens, and it features speed dating at the Love Nest, a performance by Los Lonely Boys, and a parade on Sunday.

North American Cycle Courier Championship Speakeasy Brewery, 1195 Evans; 748-2941. Sat, 9am-2pm; Sun, 10am-1pm, free. This weekend-long celebration of bike culture features a race on a closed course that tests all areas of bike messenger skill.

BAY AREA

Santa Cruz Blues Festival 100 Aptos Creek, Aptos; (831) 479-9814, www.santacruzbluesfestival.com. 10am-7pm, $20-100. Rhythm and blues buffs beware. This annual festival, in its 15th year, showcases some of the most renowned acts of new and vintage R&B, soul, and blues rock, including Los Lonely Boys, Etta James and the Roots Band, and Little Feat. International food booths, juice bars, and beer make this event add to the appeal.

MAY 26–28

The San Francisco Cup International Youth Soccer Tournament and Festival Golden Gate Park’s Polo Field, SF; (415) 337-6630, www.sfcup.com. 8:30am. This 20th annual premier event brings together 128 national and international teams of both genders for great soccer excitement.

MAY 26–JUNE 30

Bay Area Summer Poetry Marathon Lab, 2948 16th St, SF; (415) 864-8855, www.thelab.org. 7-10pm,. $3-15 sliding scale. Various Bay Area and national poets read their work at this event held throughout the summer.

MAY 27

Antique Street Faire Main St, Pleasanton; (760) 724-9400, www.pleasantondowntown.net. 8am-4pm, free. This semiannual event sponsored by the Pleasanton Downtown Association provides more than a mile of antiques and collectibles displayed by about 300 professional dealers.

Art in the Vineyard Wente Vineyards Estate Winery, 5565 Tesla, Livermore; (925) 456-2305, www.livermoreartassociation.com. 11am-5pm, admission free, wine tasting $15. Mark your calendars for the 35th anniversary of this popular event, featuring 40 talented multimedia artists in addition to music by Vested Interest.

Asian Pacific Heritage Festival Bay Area Discovery Museum, 557 McReynolds, Sausalito; (415) 339-3900, www.baykidsmuseum.org.10am-5pm, free. Experience taiko drumming, the Marin Chinese Cultural Association’s Lion Dance Team, and other Polynesian and Pacific Islander arts groups, as well as traditional Chinese, Vietnamese, and Filipino cuisine in honor of Asian Pacific Islander Month.

Caledonia Street Fair Caledonia St, Sausalito; (415) 289-4152, www.ci.sausalito.ca.us.10:30am-6pm, free. This fest boasts multicultural food, dance, music, and more than 120 arts and crafts vendors. Don’t miss out on the Taste of Sausalito luncheon and wine-tasting event featuring food and wine prepared by select Napa and Sonoma wineries and restaurants.

MAY 28

Stone Soul Picnic Cal State East Bay’s Pioneer Amphitheatre, 25800 Carlos Bee, Hayward; 1-800-225-2277, www.kblx.com. Doors at 10am, show at noon, $56-81.50 includes parking. KBLX Radio 102.9 FM presents its 10th annual R&B and soul music event, featuring performances by Isaac Hayes, the Whispers, the Dells, and Tower of Power.

MAY 29–30

BALLE Film Fest Wheeler Auditorium, UC Berkeley, Berk; (415) 255-1108, ext 112, livingeconomies.org. 6 and 8:30pm, $10 for screening, $15 for night. Business Alliance for Local Living Economies presents a two-night film festival reutf8g to BALLE principles, including Everything’s Cool, a film about global warming, and Manufactured Landscapes, a documentary about China’s industrial revolution.

MAY 31–JUNE 3

Contra Costa County Fair Contra Costa County Fairgrounds,10th and L streets, Antioch; (925) 757-4400, www.ccfair.org. Thurs-Fri, noon-11pm.; Sat-Sun, 11am-11pm, $4-7, parking $3. Now 70 years old, this county fair has a little of everything. Daily sea lion shows, a man dressed as a giant tree, and, of course, clown acts, are just some of the events presented to fairgoers this year.

JUNE 1–10

East Bay Open Studios Various venues; (510) 763-4361, www.proartsgallery.org. Open studios: June 2-3, 9-10, 11am-6pm; formal artists’ reception May 31, 6-10pm, free. For more than 25 years, the East Bay Open Studios have drawn more than 50,000 visitors to Pro Arts Gallery and various artist workspaces to support the work of local artists. The public can view exhibits, purchase artwork, attend workshops, and go on an art bus tour.

Healdsburg Jazz Festival Check Web site for ticket prices and venues in and around Healdsburg; (707) 433-4644, www.healdsburgjazzfestival.com. This ninth annual week-and-a-half-long jazz festival will feature a range of artists, from the George Cables Project and Roy Hargrove Quintet to the funky Louisiana-style Rebirth Brass Band and first-rate vocalist Rhiannon.

JUNE 2

Berkeley Farmers Market’s Strawberry Family Fun Festival Civic Center Park, Center at MLK Jr, Berk; (510) 548-3333, www.ecologycenter.org. 10am-3pm, free. Living up to its name, this festival is a guaranteed good time for the whole family. Highlights include environmental information booths, hands-on activities, delectable strawberry shortcake, and live performances by Nigerian Brothers, EarthCapades Environmental Vaudeville, Big Tadoo Puppet Crew, and Young Fiddlers.

Heartland Festival Riverdance Farms, Livingston; (831) 763-2111, www.eco-farm.org. 10am-7pm, $10 advance, $12 at gate. Celebrate a summer weekend by picking berries, taking farm and garden workshops, buying fresh produce from a farmers’ market, and enjoying live music at this family event.

Sonoma Valley Vintage Race Car Festival Sonoma Plaza, Sonoma; (707) 996-1090, www.sonomavalleyvisitors.com. 5pm, free entrance. Wine and food $30 in advance, $35 at the door. A gigantic taste explosion filled with more than 30 vintage dragsters, gourmet food, and wine samples.

Springfest 2007 Osher Marin Jewish Community Center, 200 North San Pedro, San Rafael; (415) 499-8891, www.mdt.org. 1 and 5pm, $14-22. Marin Dance Theatre presents this spring program featuring various performances directed by Margaret Swarthout.

JUNE 2–3

Art Deco and Modernism Sale Concourse Exhibition Center, 635 Eighth St; (650) 599-DECO, www.artdecosale.com. Sat, 10am-6pm; Sun, 11am-5pm, $7-9. An extravagant art sale featuring pottery, books, art, vintage clothing, glass, furniture, and other accessories dating from 1900 to 1980.

Art in the Avenues Hall of Flowers, Golden Gate Park, Ninth Ave and Lincoln; www.sunsetartists.com. 10am-5pm. This annual exhibition and sale presented by the Sunset Artists Society brings together artists and art lovers from all over the Bay Area.

Great San Francisco Crystal Fair Fort Mason Center, Marina at Laguna; 383-7837, www.crystalfair.com. Sat, 10am-6pm; Sun, 10am-4pm, $5. This year’s fair is sure to please anyone interested in mystical and healing arts. Check out the more than 40 vendors catering to all of your crystal, mineral, bead, and jewelry needs.

Union Street Festival Union between Gough and Steiner; 1-800-310-6563, www.unionstreetfestival.com. 10am-6pm, free. This year marks the 31st anniversary of one of San Francisco’s largest free art festivals. In addition to more than 200 artists and 20 gourmet food booths, the event features activities that represent the history of the Union Street Festival, including a special photographic exhibit that shows Union Street as it was 100 years ago.

BAY AREA

Marin Home Show and Benefit Jazz Fest Marin Center Exhibit Hall and Fairgrounds, San Rafael; (415) 499-6900, www.marinhomeshow.com. Sat, 10am-7pm; Sun, 10am-6pm, $8 (Sat tix include free return on Sun). Not only will there be hundreds of experts in everything from renovation to landscaping on hand to answer all of your home and garden questions, but there will also be live jazz acts to entertain you throughout the weekend. Proceeds benefit Marin County public schools.

JUNE 3

Santa Cruz LGBT Pride March and Rally Starts at Pacific, ends at Lorenzo Park, Santa Cruz; (831) 427-4009, www.santacruzpride.org. 11am-5pm, free. Join the largest gathering of queers and allies in Santa Cruz County. Stage lineup includes Frootie Flavors, Nedra Johnson, Twilight Vixen Revue, Horizontes, and Assemblymember John Laird. Valet bike parking provided.

JUNE 6

Strollin’ on Main Street Party Main between St John and Old Bernal, Pleasanton; (925) 484-2199, ext 4, www.pleasantondowntown.net. 6-9pm, free. Stroll down Main Street and visit vendor booths, a beer and wine garden, and a stage where featured band Drive will play.

JUNE 6–AUG 29

Summer Sounds Oakland City Center, adjacent to 12th St/City Center BART Station, Oakl; www.oaklandcitycenter.com. Wed, noon-1pm, free. The Oakland City Center presents a weekly spotlight on an array of diverse musical artists.

JUNE 7–17

San Francisco Black Film Festival Various venues; (415) 771-9271, www.sfbff.org. The festival celebrates African American cinema and the African cultural diaspora by showcasing films by black filmmakers and emphasizing the power of film to foster cultural understanding and initiate progressive social change.

JUNE 8–10

Harmony Festival Sonoma County Fairgrounds,1350 Bennett Valley, Santa Rosa; www.harmonyfestival.com. Fri, 12pm-9pm; Sat, 10am-10pm; Sun, 10am-9pm, $20-149. This year’s theme is "promoting global cooling" boasts an ecovillage offering tips for living and consuming, a well-being pavilion featuring natural remedies, and a culinary showcase of dishes using natural ingredients. Festival-goers can camp onsite and musical highlights include Brian Wilson, Erykah Badu, the Roots, moe., and Rickie Lee Jones.

JUNE 9

Dia de Portugal Festival Kelley Park, San Jose; www.diadeportugal.com. 10am, free. The Portuguese Heritage Society of California presents this annual festival featuring a parade, live music, food and wine, a book and art sale, and more.

Temescal Street Fair Telegraph between 48th and 51st streets, Oakl; (510) 654-6346, ext 2, www.temescalmerchants.com. Noon-5pm, free. This fair will feature live music, crafts, martial arts demonstrations and food samplings from local restaurants, including an Italian beer and wine garden, a tribute to days when the district once flourished with beer gardens and canteens.

JUNE 9–10

Italian Street Painting Festival Fifth Ave at A St, San Rafael; (415) 457-4878, ext 15, www.youthinarts.org. 9am-7pm, free. Street painters paint beautiful and awe-inspiring chalk artwork on the streets of San Rafael.

Live Oak Park Fair Live Oak Park, 1301 Shattuck, Berk; (510) 898-3282, www.liveoakparkfair.com.10am-6pm, free. Is there a better way to revel in the summertime than to enjoy original arts and crafts, delicious fresh food, and live jazz by Berkeley’s Jazzschool all weekend long in beautiful Live Oak Park? Didn’t think so.

San Jose Gay Pride Festival Discovery Meadow, Guadalupe River Park, San Jose; (408) 278-5563, www.sjgaypride.org. Sat, 10am-6pm, free; Sun, 10:30am, $15. This year’s San Jose pride celebration is two days’ worth of events, speakers, and music, including performances by the Cheeseballs, Average Dyke Band, and Smash-Up Derby. After the parade on Sunday, cruise vendor booths peddling their LGBT-friendly goods and services.

JUNE 9–24

San Francisco Ethnic Dance Festival Palace of Fine Arts, 3301 Lyon, SF; (415) 392-4400, www.worldartswest.org. Sat, 2 and 8pm; Sun, 2pm, $22-36. Performers from around the world converge at the Palace of Fine Arts to bring San Francisco a diverse selection of the world’s most talented dancers, including North Indian Kathak, Cantonese style Chinese lion dance, flamenco, and Middle Eastern belly dance.

JUNE 14–16

Transgender and Queer Performance Festival ODC Theater, 3153 17th St, SF; (415) 863-9834, www.freshmeatproductions.org. Thurs-Fri, 8pm; Sat, 7 and 10pm, $15. Fresh Meat Productions celebrates its sixth annual festival. This year’s artists perform traditional forms and path-blazing ones: hula, taiko, traditional Colombian dance, aerial dance, spoken word, rock ‘n’ roll, theater, hip-hop, and modern dance.

JUNE 14–17

CBA 32nd Annual Father’s Day Bluegrass Festival Nevada County Fairgrounds, McCourtney, Grass Valley; www.cbaontheweb.org. Ticket prices vary. Rhonda Vincent and the Rage, Cherryholmes, the Del McCoury Band, Dan Paisley and the Southern Grass, Country Current, the US Navy Band, the Dale Ann Bradley Band, and John Reischman and the Jay Birds perform at this California Bluegrass Association bluegrass jamboree.

JUNE 14–24

Frameline31: San Francisco International LGBT Film Festival Various venues; (415) 703-8650. www.frameline.org. The 31st annual film festival by and about the LGBT community continues with a whole new program of innovative queer cinema.

JUNE 15–17

International Robogames Fort Mason Festival Pavilion, SF; www.RoboGames.net. Noon-10pm, $15-20. Engineers from around the world return for the fourth annual event listed in the Guinness Book of World Records as the world’s largest robot competition. Featuring 83 different competitions, including 18 just for walking humanoids.

JUNE 16–17

North Beach Festival Washington Square Park, 1200-1500 blocks of Grant and adjacent streets; 989-2220, www.sfnorthbeach.org. 10am-6pm, free. Touted as the country’s original outdoor arts and crafts festival, the North Beach Festival celebrates its 53rd anniversary with juried arts and crafts exhibitions and sales, a celebrity pizza toss, live entertainment stages, a cooking stage with celebrity chefs, Assisi animal blessings (Vallejo/Columbus), Arte di Gesso (Italian street chalk art competition, 1500 block Stockton), indoor classical concerts (4 pm, at National Shrine of St Francis), a poetry stage, and more.

San Francisco Free Folk Festival San Francisco City College, North Gym, 50 Phelan, SF; www.sffreefolkfest.org. Noon-10pm, free. Folkies unite for the 31st anniversary of this festival that features local and national artists, dances, open mics, family events, and workshops.

San Francisco Juneteenth Celebration Art of the Fillmore Jazz Presentation District, Fillmore from Geary Blvd to Fulton; 931-2729, www.sfjuneteenth.org. 10am-7pm, free. This Bay Area-wide celebration celebrates African American freedom while encouraging self-development and respect for all cultures. Promoted through a community festival that celebrates and shares African American history and culture through music, the performing arts, living history, and other cultural activities. Seven full blocks of food, arts and crafts, and community and corporate information booths. Three stages of entertainment, educational speakers, and health and job fairs. All neighborhoods welcomed.

BAY AREA

Marin Art Festival Lagoon Park, Marin Center, Ave of the Flags at Civic Center, San Rafael; (415) 388-0151, www.marinartfestival.com. 10am-6pm, $8. More than 250 fine artists join in at the Frank Lloyd Wright designed Marin Center. Look out for the stilt walkers!

Russian River Blues Festival Johnson’s Beach, Guerneville; (952) 866-9599, www.russianriverbluesfest.com. 10am-6pm, $45-180. Head on down to the river for this annual affair featuring Buddy Guy, Little Richard, Koko Taylor, Roy Rogers and the Delta Kings, Lowrider Band, Elvin Bishop, and many others. Festival organizers also invite attendees to indulge in wine tasting for a nominal fee.

JUNE 17

Native Contemporary Arts Festival Esplanade at Yerba Buena Gardens, Fourth St and Mission, SF; (415) 543-1718, www.ybgf.org. 12pm-3pm, free. This fest features amazing performances, plus kids can make their own dream catchers, baskets, and bracelets.

JUNE 17–AUG 19

Stern Grove Music Festival Stern Grove, 19th Ave and Sloat, SF; www.sterngrove.org. Sun 2pm, free. This beloved San Francisco festival celebrating community, nature, and the arts is in its 70th season.

JUNE 20–24

Sonoma-Marin Fair Petaluma Fairgrounds, Petaluma; www.sonoma-marinfair.org. $8-14. This fair promotes and showcases agriculture, while displaying the diverse talents, interests, and accomplishments of the citizens of California, especially the youth of Sonoma and Marin counties. Catch acts such as Cheap Trick, SHe DAISY, and Bowling for Soup on the main stage.

JUNE 22–24

Sierra Nevada World Music Festival Mendocino County Fairgrounds, 14480 Hwy 128, Boonville; www.snwmf.com. Three-day pass, $125; camping, $50-100. Camp for three days and listen to the international sounds of Bunny Wailer, Toots and the Maytals, Luciano, Ojos de Brujo, Les Nubian, Sierra Leone’s Refugee All-Stars, Junior Kelly, Sugar Minot, and many others.

JUNE 22–JULY 8

Alameda County Fair Alameda County Fairgrounds, 4501 Pleasanton, Pleasanton; (925) 426-7559, www.alamedacountyfair.com. $4-9. Enjoy opening night fireworks, carnival attractions, a wine competition, a karaoke contest, an interactive sports and fitness expo, concerts, and oh so much more.

JUNE 23

Dyke March Dolores Park between 18th and 20th streets, SF; (415) 241-8882, www.dykemarch.org. Rally at 3pm; march at 7pm, free. Head on out to march with the San Francisco chapter of this now internationally coordinated rally. A Dolores Park celebration and rally precedes the march.

JUNE 23–24

San Francisco Pride 2006 Civic Center, Larkin between Grove and McAllister; 864-FREE, www.sfpride.org. Celebration Sat-Sun, noon-6pm; parade Sun, 10:30am, free. A month of queer-empowering events culminates in this weekend celebration, a massive party with two days of music, food, dancing that continues to boost San Francisco’s rep as a gay mecca. Do not under any circumstances miss the parade!

BAY AREA

Danville Fine Arts Fair Hartz Ave, Danville; (831) 438-4751, www.danvillecachamber.com. 10am-6pm, free. The quintessential arts and crafts fair descends upon Danville each year, bringing with it fine food and drink, Italian-style street painting, and more.

JUNE 23–25

King of the Bay Third Ave, Foster City; www.kingofthebay.com. 1pm, free. See the world’s top kiteboarders and windsurfers compete at this event.

JUNE 23–30

Jazz Camp West 2006 (510) 287-8880, www.jazzcampwest.com. This eight-day jazz program for adults and older teens features more than 100 classes taught by more than 45 nationally and internationally known artists.

JUNE 23–AUG 4

Stanford Jazz Festival Various venues. (650) 736-0324, www.stanfordjazz.org. This acclaimed festival has been injecting Northern California with a healthy dose of both classic and modern jazz for more than three decades.

JUNE 23–SEPT 8

Concert in the Hills Series Cal State East Bay, Concord Campus, 4700 Ygnacio Valley Rd, Concord; (925) 602-8654, www.concord.csueastbay.edu/concertinthehills.htm. Free. This series celebrates its eighth season with performances by acts such as Dr. Loco and His Rockin’ Jalapeño Band, Aja Vu, Joni Morris, and Native Elements.

JUNE 29–JULY 1

Kate Wolf Memorial Music Festival Black Oak Ranch, Laytonville; (707) 829-7067, www.katewolf.com/festival. Fri, 1pm-midnight; Sat, 10am-11:30pm; Sun, 11am-10pm, $55-160. This annual tribute to Northern California singer-songwriter Kate Wolf, who is credited with repopularizing folk music in the 1970s, features performances by Utah Phillips, Joe Craven and Sam Bevan, the Bills, and many others. Don’t miss the "Hobo Jungle Campfire," a nightly campfire on the creek shore with story swappin’ and song jammin’ aplenty.

JUNE 30–JULY 1

23rd Annual Fillmore Jazz Festival Fillmore between Jackson and Eddy, 1-800-310-6563, www.sresproductions.com. 10am-6pm, free. Three stages of nonstop entertainment featuring top and emerging artists. Ten blocks of art booths and gourmet food.

JUNE 30–JULY 4

Marin County Fair Marin Center, Ave of the Flags at Civic Center, San Rafael; (415) 499-6400, www.marinfair.org. 11am-11pm, $11-13. This county fair stands above the rest with its promise of nightly fireworks, There will be many fun, new competitions to enter this year, including the Dancing Stars Competition, in which contestants may perform any style of dance — from tap to ballroom, salsa to boogie. Also not to be missed is the 18th annual "Creatures and Models" exhibit and the 37th annual "National Short Film and Video Festival," plus food and rides and other fun fair stuff.

JULY 1

Vans Warped Tour 2006 Shoreline Amphitheatre, 1 Amphitheatre Pkwy, Mountain View; (650) 967-3000. www.warpedtour.com. 11am, $29.99. As Cities Burn, Bad Religion, Boys Like Girls, Coheed and Cambria, Escape the Fate, Pennywise, the Used, Funeral for a Friend, Revolution Mother, the Matches, and others perform at this annual punk music and culture event.

JULY 3–4

WorldOne Festival Cerrito Vista Park, El Cerrito; www.worldoneradio.org. Mon 5pm, Tue 10:30am, free. Worldoneradio hosts a world music and culture stage in the park. The eighth annual event is produced as a public service and fundraiser for area nonprofits.

JULY 4

City of San Francisco Fourth of July Waterfront Celebration Pier 39, Embarcadero at Beach, SF; (415) 705-5500, www.pier39.com. 1-9:30pm, free. SF’s waterfront Independence Day celebration features live music, kids’ activities, and an exciting fireworks show.

JULY 5–8

International Working Class Film and Video Festival New College Roxie Media Center, 3117 16th St; www.laborfest.net. Held annually to commemorate the San Francisco general strike of 1934 brings together filmmakers and labor artists from around the United States and internationally.

BAY AREA

High Sierra Music Festival Plumas Fairgrounds, 204 Fairground Rd, Quincy; (510) 595-1115, www.highsierramusic.org. 11am-11pm, $35-156. Enjoy your favorite jam bands on five different stages and at five different late-night venues, a kid zone, arts and crafts, food and drinks, beer, yoga, dancing, camping, and more. The lineup features performances by Xavier Rudd, the Disco Biscuits, Yonder Mountain String Band, Martin Sexton, and Les Claypool.

JULY 6–SEPT 29

Marin Shakespeare Company Festival Forest Meadows Amphitheatre, Dominican University of California, Grand Ave, San Rafael; (415) 499-4488, www.marinshakespeare.org. Fri-Sun, varying times, $7-30. The Marin Shakespeare Company presents its outdoor festival featuring performances of The Complete Works of William Shakespeare (Abridged), Henry IV, Part 1, and Henry IV, Part 2.

JULY 10–21

Mendocino Music Festival Various venues; (707) 937-2044, www.mendocinomusic.com. $15-45. David Lindley, Mollie O’Brien, the Chris Cain Quartet, and others celebrate the 21st anniversary of this classical and contemporary music festival.

JULY 12–15

World California Fest Nevada County Fairgrounds, Grass Valley; (530) 891-4098. www.worldfest.net. $30-140. The 11th annual festival features eight stages and four days of music, with performances by everyone from Ani DiFranco to the Venezuelan Music Project. Camping is encouraged.

JULY 13–15

San Francisco Silent Film Festival Castro Theatre, 429 Castro, SF; (415) 777-4908, www.silentfilm.org. Call for times and prices. The Golden Age of the silver screen comes to life, complete with a swelling Wurlitzer.

JULY 14-15

San Francisco International Chocolate Salon Fort Mason Conference Center; www.SFChocolateSalon.com. Sat, 11am-6pm; Sun, 10am-4pm, $20. The first major chocolate show on the West Coast in two decades takes place this summer with the theme Chocolat, in honor of Bastille Day. Experience the finest in artisan, gourmet, and premium chocolate with tastings, demonstrations, chef and author talks, and wine pairings.

BAY AREA

Los Altos Arts and Wine Festival Main and State, Los Altos; (650) 917-9799. www.losaltos-downtown.org. Sat, 10am-6pm; Sun, 10am-6pm, free. Enjoy original art and free entertainment while indulging in gourmet food and fine wine.

San Anselmo Art and Design Festival San Anselmo between Tamalpais and Bolinas, San Anselmo; 1-800-310-6563, www.artanddesignfestival.com. 10am-6pm, free. The San Anselmo Chamber of Commerce brings this buffet of cooking, home, and landscape design to the masses.

JULY 19–29

Midsummer Mozart Festival Various venues; (415) 627-9141, www.midsummermozart.org. $30-60. The Mozart-only music concert series features pianist Janina Fialkowska, the Haffner Serenades, and the Coronation Mass.

JULY 19–AUG 6

San Francisco Jewish Film Festival Various venues; (415) 621-0556, www.sfjff.org. The world’s first and largest Jewish film festival has toured the Bay Area for 27 years.

JULY 21–22

Connoisseur’s Marketplace Santa Cruz Ave, Menlo Park; (650) 325-2818, www.miramarevents.com. 10am-6pm, free. This annual midsummer festival hosts live jazz, R&B, and rock ‘n’ roll as well as arts and crafts, chef demonstrations, international cuisine, and lots of fun for the kids.

JULY 27–29

Gilroy Garlic Festival Christmas Hill Park, Hwy 101, Gilroy; (408) 842-1625, www.gilroygarlicfestival.com. 10am-7pm, $6-12. If 17,000 pounds of garlic bread isn’t enough of a reason to go, then all the other manifestations of this flavorful food are. Gourmet food and cook-offs, as well as free music and children’s activities, entertain you as you munch.

JULY 29

San Francisco Marathon Begins and ends at the Ferry Bldg, Embarcadero, SF; www.runsfm.com. $110 to compete. Tighten your laces for 26.2 miles around the Bay. The less enthusiastic can run a half marathon, 5K, or "progressive marathon," instead.

Up Your Alley Dore Alley between Folsom and Howard, Folsom between Ninth and 10th streets, SF; www.folsomstreetfair.com. 11am-6pm. Hundreds of naughty and nice leather lovers sport their stuff in SoMa at this precursor to the Folsom Street Fair.

AUG 3–5

Reggae on the River Dimmick Ranch, French’s Camp, Hwy 101, Piercy, Humboldt County; (707) 923-4583, www.reggaeontheriver.com. $165-225. Further details pending. This year’s riverside roots and reggae fest features the Roots, Shaggy, Angelique Kidjo, Lee "Scratch" Perry, Mad Professor, the Itals, Eek-A-Mouse, Sierre Leone’s Refugee Allstars, and many others.

Reggae Rising Dimmick Ranch, French’s Camp, Hwy 101, Piercy, Humboldt County; www.reggaerising.com. $175 for a 3 day pass. Further details pending. This new summer festival will benefit various nonprofit groups in this southern Humboldt community and features Damian Marley, Sly and Robbie, Tanya Stephens, Fantan Mojah, and more.

AUG 4–5

Aloha Festival San Francisco Presidio Parade Grounds, near Lincoln at Graham, SF; www.pica-org.org/AlohaFest/index.html. 10am-5pm, free. The Pacific Islanders’ Cultural Association presents its annual Polynesian cultural festival featuring music, dance, arts, crafts, island cuisine, exhibits, and more.

AUG 9–12

Redwood Empire Fair Redwood Empire Fairgrounds, 1055 N State, Ukiah; (707) 462-3884, www.redwoodempirefair.com. Noon-11pm, $3-6. Bring the family to this old-timey fair, complete with rides, food, and fun.

AUG 10–12

Comcast San Jose Jazz Festival Various venues; (408) 288-7557, www.sanjosejazz.org. $5. This three-day music festival hosts dozens of acclaimed musicians playing all flavors of jazz.

AUG 11

SEEN Festival 2006 People’s Park, Telegraph and Dwight, Berk; (510) 938-2463, www.maxpages.com/seen2000. 11:30am-5pm, $5 suggested donation. This year marks the 12th anniversary of this world music, reggae, and soul festival.

AUG 11–12

Nihonmachi Street Fair Japantown Center, Post and Webster, SF; (415) 771-9861, www.nihonmachistreetfair.org. 11am-6pm, free. Japantown’s 34th annual celebration of the Bay Area’s Asian and Pacific Islander communities continues this year with educational booths and programs, local musicians and entertainers, exhibits, and artisans.

Pistahan Yerba Buena Gardens, 700 Howard, SF; www.ybgf.org. 11am-5pm, free. The Bay Area Filipino festival of culture and cuisine features arts and crafts, live entertainment, food, and more.

Vintage Paper Fair Hall of Flowers, Golden Gate Park, Ninth Ave at Lincoln, SF; (323) 883-1702, www.vintagepaperfair.com. Sat, 10am-6pm; Sun, 10am-4pm, free. Craft lovers will enjoy this fair, which presents works made from all kinds of paper — from photographs, postcards, and memorabilia to brochures and trade cards.

AUG 18–19

Solfest Solar Living Institute,13771 S Hwy 101, Hopland; (707)744-2017, www.solfest.org. "The greenest show on earth" is back for another year featuring exhibits about renewable energy, green building, ecodesign tools, organic agriculture, and much more.

SEPT 1–2

Millbrae Art and Wine Festival Broadway between Victoria and Meadow Glen, Millbrae; (650) 697-7324, www.miramarevents.com. 10am-5pm, free. More than 100,000 visitors will gather for this festive Mardi Gras-style celebration featuring R&B, rock ‘n’ roll, jazz, and soul music, as well as arts and crafts, food and beverages, live performance, and activities for kids.

SEPT 8–9

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn Ave, Mountain View; (650) 968-8378, www.miramarevents.com. 10am-6pm, free. Known as one of America’s finest art festivals, this vibrant celebration featuring art, music, and a kids’ park draws more than 200,000 arts lovers to Silicon Valley’s epicenter.

SEPT 9

Solano Stroll Solano Ave, Berk and Albany; (510) 527-5358, www.SolanoStroll.org. 10am-6pm, free. The vibes are always mellow and the air filled with rhythm at the Solano Ave Stroll. In its 33rd year, the milelong block party will feature a pancake breakfast, booths, entertainers, a parade, and more, this year with the Going Green — It’s Easy! theme.

SEPT 15

Expo for the Artist and Musician SomArts, 934 Brannan, SF; (415) 861-5302; artsandmedia.net. 11am-6pm. This eighth annual event, sponsored by Independent Arts and Media, is the Bay Area’s only grassroots connection fair for independent arts, music, and culture, featuring workshops, performances, and networking.

SEPT 22

California Poets Festival History Park San Jose, 1650 Center, San Jose; californiapoetsfestival.org. 10am-4:30pm, free. Celebrate California’s distinctive heritage of poets, poetry, and presses at this all-day outdoor festival. *

Compiled by Nathan Baker, Angela Bass, Sam Devine, Molly Freedenberg, and Chris Jasmin

Shows!

April 26, 2007

Holy F**k at The Independent the next two nights, 27th & 28th, previewing material off of their sophomore full-length, due in September. As well, thanks for the !!! preview. Should you care to attend their performance at the Fillmore Monday night. Love to have you out.

In addition, sent you a copy of Land of Talk’s debut ep, Applause Cheer Boo Hiss, prior to its March 19th release here in the U.S. Already critically acclaimed in their home nation of Canada, the Montreal trio have been building momentum here in the U.S. since early last year, performing regularly in New York, before hitting SXSW and taking to the road with Menomena and Field Music. Paste Magazine was quick on the ball, already calling Applause, “The most perfect debut of 2006”, before running a feature in their current issue, and KEXP’s John Richards, put it quite simply, “Holy crap, this is great!”. Land of Talk will take to the road with The Rosebuds in June, making their San Francisco debut, June 12th at the Great American.

Pull it out of your stacks and give a listen.

Thanks,

Brendan

Tag Team Media – 45 Main St. – Ste. 604 – Brooklyn, NY 11201
ph. 718-797-4211 fx. 718-797-4524 e: brendan@tagteammedia.com
www.tagteammedia.com

 
Hit me up about:
!!! * Amandine * Apostle of Hustle * Born Ruffians * Clinic * Dappled Cities * Division Day * Earlimart * Feist * Gonzales * Holy F–K *

Tonight! THE BLOOD BROTHERS  Celebration, Triumph of Lethargy Skinned Alive To Death  Wednesday, April 25  $14 – Doors 7, Show 8
The Blood Brothers combine experimental, punk, hardcore, and post-hardcore, among many other styles… In small circle discussions, the band related that they have influences from the No Wave punk scene of the 1980’s. The band has cited Botch, Drive Like Jehu, Gang of Four, Angel Hair, Highway 61, True North, and Bootsy Collins as influences.  More Info & Tickets

THE AVETT BROTHERS  Kemo Sabe  Thursday, April 26  $15 – Doors 8, Show 9
The Avett’s brand new album to be released May 15 entitled “Emotionalism”. The album, like The Avett Brothers, is a mixture of old-time country, bluegrass, pop melodies, folk, rock n’ roll, honky-tonk and ragtime. The songs are honest: just chords with real voices singing real melodies. But, the heart and the energy with which they are sung, is really why people are talking, and why so many sing along.  More Info & Tickets

KFJC Presents MONO World’s End Girlfriend, The Drift  Friday, April 27 $13 adv/$15 door – Doors 8, Show 9
Despite their albums’ masterful subtleties and majestic walls of noise, the consensus has remained that their transcendent live show is simply incomparable. Tix moving fast, get them now!

On tone’s tail

April 25, 2007

> a&eletters@sfbg.com

With that inimitable San Franciscan condescension toward anything too popular, various eyes rolled skyward when the SF Film Society announced the tributees at the 50th SF International Film Festival would include the two most famous Hollywood-type people who live hereabouts, George Lucas and Robin Williams. Like a canyon-echoed foghorn, bass exhalations of "borrrrrr-ing" filled select pockets of local airspace. But really, wouldn’t those same naysayers be wondering aloud whether the fest lacked sufficient clout if it hadn’t pulled such big guns for its 50th anniversary?

Intellectual purists might think fondly of the SFIFF’s 1987 tribute to Hungarian Gyorgy Szomjas or of 2004’s ahead-of-the-cusp Malaysian cinema showcase, but the festival has always courted and attracted celebrities. If inventors could perfect a time machine, there’d be a huge queue to revisit some of its earliest stellar events.

World cinema giants passed through the SFIFF’s gates from its beginning in 1957, when it was local theater owner Bud Levin’s all-volunteer baby and veteran Hollywood star Franchot Tone played the role of MC. But the press was naturally always more intrigued by visiting stars, nubile starlets, and what designer couture socialites wore to gala events. Indeed, as the ’60s evolved, fashion and the bountiful femininity it decreasingly cloaked often overshadowed public discussion of Luis Bunuel, Jean-Luc Godard, and John Cassavetes. A near-topless North Beach dancer known as Exotica riveted attention in 1964, the same year several Playmates of the Month attended. Actress Carroll Baker’s see-through ensemble did the trick in 1966, while the suicidally plunging neckline of uninvited guest Jayne Mansfield meant she was asked to leave. The same year, festival chairperson Shirley Temple Black quit to protest the inclusion of the Swedish feature Night Games, which she considered pornographic.

In 1965 the late SFIFF program director Albert Johnson commenced an extraordinary series of epic afternoon tributes to Hollywood legends. No one else was doing such events, so he got the cream of the back-harvested crop: Gene Kelly, Lillian Gish, Howard Hawks, Henry Fonda, Rita Hayworth, Fred Astaire, Bette Davis, John Huston, Frank Capra, and more. Soon everyone began imitating Johnson’s clips-and-chat template.

But the SFIFF was hardly done with lassoing big names both nostalgic and current. The 1975 festival featured the strange-bedfellow roll call of Shelley Winters, Dyan Cannon, Natalie Wood, Jack Nicholson, Robert Evans, Burt Lancaster, Roger Vadim, Gale Sondergaard, and Merv Griffin. In 1979, Sir Alec Guinness, still basking in Lucas-bestowed glory, was honored in the festival’s first (and last, to date) opening-night tribute. Among the glittering attendees were O.J. Simpson and then-girlfriend Nicole Brown. How sweet.

Due in part to an increasingly cutthroat festival landscape, in recent years the SFIFF has tilted toward sober rather than silly celebrity visitors. Tabloid types now need it even less than it needs them. Still, there have been felicitous highlights among latter-day tributes: Fillmore resident Winona Ryder’s refreshing public dis of one local print gossip hound as "a parasite"; Clint Eastwood’s lovely penchant for crediting collaborators whenever he was faced with a direct compliment; Annette Bening shouting anecdote prompts to onstage spouse Warren Beatty; Geena Davis admitting that unlike most self-conscious actors, she loves to watch herself onscreen.

Less ingratiating moments are often memorable for what they reveal about a beloved (or not) figure. Dustin Hoffman’s bizarre ramblings in 2003 reminded me of the tribute to a ditzy Elizabeth Taylor that I’d witnessed at a festival in Taos, NM, a couple years earlier. I’ve never felt such pained sympathy for an interviewer as during Harvey Keitel’s curt cutoff of every respectful Q&A path during a 1996 event. Then there was the time Sean Penn’s ever-so-rebellious cussin’ before a full house at the Kabuki Cinema sent Robin Wright storming out with kids in tow just minutes into his 1999 tribute.

The SFIFF is never going to be the kind of festival Paris Hilton feels she need attend. But even the talented are capable of charmingly awkward – and just awkward – moments. The SFIFF’s awards often cast unexpected light on professionals we’d hitherto identified by their roles; this can make for lurid fun. Still, I prefer it when talents I admire keep their personality flaws off my windshield. Once those bugs get embedded, it’s hard to enjoy a clear view again. *

FILM SOCIETY AWARDS NIGHT May 3, 7:30 p.m., $500-$25,000. Westin St. Francis Hotel. 335 Powell, SF. (415) 551-5190

FILM SOCIETY DIRECTING AWARD: AN EVENING WITH SPIKE LEE May 2, 7:30 p.m., $20-$25. Castro

FIVE-O: STORIES AND IMAGES FROM 50 YEARS OF THE SF INTERNATIONAL May 8, 6:30 p.m., $9-$12. Kabuki

FOG CITY MAVERICKS With George Lucas and others. Sun/29, 7:30 p.m., $20-$25. Castro

PETER J. OWENS AWARD: AN EVENING WITH ROBIN WILLIAMS May 4, 7:30 p.m., $20-$25. Castro

The silver screen turns gold

April 25, 2007

The oldest film festival in the United States and Canada, the San Francisco International Film Festival reaches its golden anniversary this year. Click below for our picks and previews.

Choice words about image culture as the SF International Film Festival hits 50

Take 50: Our picks for the fest

A brief history of star wars and star awards at the SFIFF

This year’s debut fiction features

Better than sex, worse than violence: new French extremism

Pedro Costa’s Colossal Youth digs up life amid the ruins

HK hottie Daniel Wu spoofs boy bands (and himself) in The Heavenly Kings

Kelly Sears’s animated shorts crystallize pop-cult preoccupations

The four men in The Iron Mask

Otar, Otar, how does your Garden grow?

50 great movies that have yet to hit the Bay

The 50th annual San Francisco International Film Festival runs April 26-May 10 at Sundance Cinemas Kabuki, 1881 Post, SF; Castro Theatre, 429 Castro, SF; Pacific Film Archive, 2575 Bancroft, SF; Landmark’s Aquarius Theatre, 430 Emerson, Palo Alto; Landmark’s Clay Theatre, 2261 Fillmore, SF; SFMOMA, 151 Third St., SF; McBean Theater, Exploratorium, 3601 Lyon, SF; and El Rio, 3158 Mission, SF. For tickets (most regular programs $8-$12) and additional information, go to www.sffs.org.

Bury the Geary

April 24, 2007

OPINION Geary Boulevard transit riders deserve a real solution to the problems plaguing the busiest travel corridor west of the Mississippi River – not a short-term fix, such as bus rapid transit (BRT), that will waste millions of dollars of taxpayer money and create even more problems and congestion for the troubled street.

Transit experts have hailed BRT as cutting-edge technology and a cheaper alternative to light-rail and subways. They point to successes in countries such as Japan, France, and Brazil – and even some US cities such as Los Angeles and Las Vegas. Successful they may be.

But the streets these BRT programs operate on look nothing like Geary Boulevard.

More often than not, these streets have no parking – and eliminating parking is something we can’t do to the residents and merchants along the corridor.

These model corridors are extremely wide and remain so throughout the course of the BRT route. On Geary we face much more challenging lane widths throughout the Richmond and east of Van Ness Avenue, not to mention the daunting challenges of how to handle the Masonic and Fillmore interchanges.

The current study of BRT on Geary is in its final stages. After three years the transit authority staff has offered the Geary Citizens Advisory Committee "choices" to recommend to the full board.

These choices include different arrays of BRT and one non-BRT option that encompasses much cheaper repairs such as proof-of-payment boarding through all doors, transit signal priority, and other improvements.

None of these choices, however, contemplates the issues Geary and O’Farrell Street face east of Van Ness, and they all assume police and traffic control will step up their enforcement of the diamond lane.

But there’s one solution we have not considered. Yes, it is the most ambitious and the most expensive, but it also could be the most transformative and could spur more people to leave their cars behind and embrace public transit: bury the Geary and create a subway.

We owe Geary corridor residents and riders this solution. Why can someone in Berkeley or Hayward get to downtown San Francisco faster than some of our residents?

Big problems require big thinking, big solutions, and, most important, leadership. So far we’ve had none of that on Geary. It’s time for our city leaders to champion a solution that can grow along with the city and help solve the congestion issues that will only continue to get worse.

San Francisco holds itself out as one of the world’s finest cities. If that’s the case, we all should remember the world’s great cities move people underground – not in buses. *

David Schaefer

David Schaefer is vice chair of the Geary Citizens Advisory Committee.

We shall over come ourselves

April 10, 2007

› a&eletters@sfbg.com

Nearly all the imagery we’re fed when it comes to understanding or imagining issues reutf8g to race in the United States comes from the civil rights era. No doubt that was a critical moment in American history, but it should go without saying that the road home can’t be found on an outdated map. The idea that "we shall overcome" is nice, but in reality different times have created different conceptions of who "we" are, what we’re overcoming, and how we will accomplish it.

It stands to reason that the problem tends to follow our playwrights onstage. The challenges and potential payoffs found in Tanya Barfield’s Blue Door (at the Berkeley Repertory Theatre, directed by actor Delroy Lindo) and the American Conservatory Theater production of Philip Kan Gotanda’s After the War (see "Home Run: After the War Lucidly Strikes Home," 4/4/07) are different, as if the writers had looked at the bag of tricks they’d been handed and consciously decided to make their own tools. Daily life — onstage and off — has been littered with lazy and self-serving, formulaic attempts to explore nearly every question reutf8g to race. What is most satisfying about Blue Door and After the War is that each asks fresh questions that are difficult and important.

Barfield’s multicharacter, two-actor play focuses on a troubled African American math professor struggling to deny the single fact that most shapes his interactions with the world — he’s hit bottom so hard that his white wife is pushing him to participate in the Million Man March as a way to get in touch with himself. As a result, his career is on the rocks, as are his marriage and his relationship with his family. His daily life gives way to a surreal sleepless night during which he’s visited by relatives, including some who were slaves, an experience that forces him to admit that his present and future have been shaped by the past.

Gotanda has created an ad hoc family of post–World War II refugees who share space in a boardinghouse in what was — before the war — San Francisco’s Japanese neighborhood. Six years later things are considerably different; the war’s over, and African Americans have moved into the Fillmore District housing vacated by interned Japanese Americans. As the original residents struggle to find and rebuild their community, politicians and developers have plans that don’t include black and Japanese American — or any marginalized — San Franciscans.

Gotanda’s multiracial, multinational menagerie lives under the roof of a young jazz musician named Chester Monkawa. Monkawa is a long way from today’s stereotypical hypersuccessful model minority. But although Gotanda’s created his share of outcasts and rebels over the years, what’s different about After the War is the difficulty the assembled characters have in dealing with each other. They’re a happy family when things are going well, but when the pendulum swings the other way, they go with what’s familiar — seeing race as life’s fundamental building block.

It’s refreshing to see After the War and Blue Door raise questions without ready-made answers, but that fact speaks to the problems their playwrights face. If such issues were easily dealt with onstage, we’d be doing a better job with them offstage as well. In fact, it takes a lot of money and an almost pathological reservoir of self-delusion for anyone to deny that America is a long way from addressing its ills. Nevertheless, it’s encouraging to see what Barfield and Gotanda — one young and black, the other a veteran Japanese American playwright — are doing. *

AFTER THE WAR

Through April 22

See stage listings for info

BLUE DOOR

Through May 20

See stage listings for showtimes, $33–$61

Berkeley Repertory Theatre

2025 Addison, Berk.

(510) 647-2949

www.berkeleyrep.org

For an interview with Delroy Lindo, go to Pixel Vision at www.sfbg.com/blogs/pixel_vision.

Sincerely again

April 4, 2007

Seven minutes into the Frames’ latest album, The Cost (Anti-), during a song titled "Falling Slowly," the Dublin, Ireland, veterans capture everything off-putting about their music in two stanzas splayed over a glassy-eyed piano: "Take this sinking boat / And point it home / We’ve still got time // Raise your hopeful voice / You have a choice / You’ve made it now."

If vocalist Glen Hansard’s tired poesy weren’t winceworthy enough, the fact that he’s pulled it out on wistful anthem number two of 10 would seem to cast The Cost as the kind of repetitive, inspiro-pop rubbish that should’ve gone out with the last couple Coldplay records.

But that’s exactly wrong. The Cost is a repetitive, inspiro–pop rock document too rich to write off, due largely to the lads’ penchant for grand arrangements and medium tempos. Recorded virtually all live in a studio over 10 days, the Frames’ seventh studio full-length embodies a thrilling live dynamic that has kept a devoted fan base snatching up tickets and T-shirts into the band’s second decade. So don’t get hung up on the excess of well-meaning sincerity. After so many years of playing together, they know their way around a plaintive power ballad.

"When we play live, we go from barely being able to hear us to melting your face off kind of thing," longtime bassist Joe Doyle explains from his Dublin home in a charming lilt. "It’s always been something people have said to us as well: ‘Yeah, I’ve listened to your records, but it just doesn’t do the same thing as you do live.’ And we’re kind of going ‘Shit, we don’t know how to do that.’ "

This time, Doyle says, the Frames figured it out. They rented a studio in France, hired a few extra musicians, worked out more of their songs in advance, and started playing in the same room again. "Everything on almost all the songs is live, including the vocals on some of the songs, and then we just added little bits over the top," Doyle says. "We’ve just come to the conclusion that when you record a song live and you just do everything in one take … there’s something in that that’s lost when you start editing a song and chopping it up and putting things in time."

It could be the magic in the cage-to-cathedral-sounding production. Or in the violin lightning of Colm Mac Con Iomaire. But something transforms the group’s balding rock structures into vast, bewildering voyages of disappointment and reassurance. Drunk on ribbons of reverby guitar, Hansard frees his words from contextual cliché, allowing them to settle comfortably inside the towering arrangements and become, well, meaningful. "Too many sad words make a sad, sad song," he realizes before a driving lap steel solo at The Cost‘s only country-tinged — and finest — moment. It’s a struggle the Frames evoke often: a vague but constant yearning and the price one pays for it.

After so many years, perhaps the Frames have yearned enough. But Doyle looks at the group’s anthemic tendencies the opposite way: they got ’em this far. "I guess the fact that we’ve never strived to be hip or fashionable probably means … probably means we never will be," he says, chuckling. "But maybe we won’t ever go out of fashion." (Ian S. Port)

FRAMES

Sat/7, 9 p.m., $20

Fillmore

1805 Geary, SF

(415) 346-6000

Home run

-

April 3, 2007
0

HOME RUN: AFTER THE WAR LUCIDLY STRIKES HOME

Philip Kan Gotanda’s After the War, enjoying an exceptional world premiere at the American Conservatory Theater, is set during 1948 in a Fillmore boardinghouse run by a laid-back jazz musician and second-generation Japanese American named Chester "Chet" Monkawa (Vancouver’s Hiro Kanagawa in an impressive US debut). The bustling Fillmore District of ’48 was a highly diverse neighborhood that in particular mixed an African American business-owning and working class (whose members had recently arrived in the Bay Area from points south to fill jobs in the burgeoning defense industry) with "Japanese Town" residents returned from the horror and shame of forced evacuation and mass incarceration by the US government during the war.

Chet’s laissez-faire boardinghouse (and Donald Eastman’s brilliant two-story revolving set) puts a cross section of the neighborhood under one roof. This tangle of lives grows affectingly more snarled as the story unfolds. The fragility of the characters’ bonds, fraught with divisions between and within various communities, is soon apparent. At the center is Chet, whose background as a no-no boy (one of the interned men who refused to sign a pledge to the US government or volunteer to fight for it) puts him at odds with the tightly coiled local moneylender, Mr. Goto (longtime Gotanda associate Sab Shimono, in a deft performance of supple humor and menace). The latter’s disapproval reflects the bitter divisions among Japanese Americans struggling to regain dignity and a social foothold in the aftermath of traumatic isolation and victimization by their own, racially combustible country.

Given Gotanda’s recent and successful foray into more experimental work with Campo Santo and Intersection for the Arts, After the War marks a return of sorts to the finely crafted realistic dramas — centered on Asian American scenes, yet of delicate existential and social import — that have made him an internationally celebrated playwright. This beautifully conceived and executed period piece, commissioned by the ACT and helmed by artistic director Carey Perloff, places that work on an unprecedented scale. It reminds one that few American playwrights are as capable as Gotanda of carrying on the kind of dialogue on race, identity, and history that the late August Wilson turned into a broad theatrical canvas embracing the evolving American experience. (Robert Avila)

AFTER THE WAR

Through April 22

See stage listings for showtimes

American Conservatory Theater

415 Geary, SF

(415) 749-2228

www.act-sf.org
>

FEAST: 6 delicious desserts

-

April 3, 2007
0

Adult life can be overwhelming: taxes, traffic, parking tickets, deadlines … and city living can be particularly frenetic. You know by now that when it comes to navigating your increasingly complicated life, there is no high road, fast track, or slow lane, and that it really is the road less traveled that brings the greatest pleasure — or, more important, the sugary, chocolaty, gooey goodness you consume on your journey. What better way to escape the rat race than to indulge in the culinary ecstasy of a luscious dessert? Read on to discover where to get some delectable desserts that will transport you back to the sweet, gentle, and unhurried time of your fast-disappearing youth. And the good news is, now that you’re all grown up, you’re welcome to have your pudding first, whether or not you’ve eaten your meat. (Cara Cutter)

BI-RITE CREAMERY AND BAKESHOP

Admit it. It’s not just the kiddies who find ice cream irresistible. Yes, the mere mention of the food to a minor can ease pain, stop tears, and miraculously get the house picked up in short order. But cold, creamy goodness can also melt the iciest of adult hearts. So indulge in one of your childhood favorites — vanilla? chocolate? mint chip? — at this Mission creamery. Or, if you want a real treat, try the butter pecan — it probably wasn’t your top pick as a tot, but after one taste of Bi-Rite’s, you’ll be hard-pressed to remember the others. The coconut macaroons also offer a taste of nostalgia too good to miss.

3692 18th St., SF. (415) 626-5600, www.biritecreamery.com

HOME

This dual-locale eatery is named for its down-home cooking style, of which the black-and-white molten chocolate cake with homemade cookies ‘n’ cream ice cream is exemplary. The flavors are simple and rich, just like those of Dad’s ice cream sundaes. The cake is fresh and warm, and its bittersweet flavor is perfectly balanced by the vanilla bean ice cream drizzled down its sides. This is family-style yumminess at its pinnacle, and it doesn’t stop at cake. You can also give Grandma’s recipes a run for their money with peach shortcake, banana bread pudding, sorbet with shortbread cookies, or Dutch apple pie. For those big kids who simply can’t choose from such a tempting array, there’s a dessert trio option for $18.

2100 Market, SF. (415) 503-0333; 2032 Union, SF. (415) 931-5006. www.home-sf.com

COSMOPOLITAN

If you don’t seem to be scoring with the chic SoMa sweeties at the bar, you’re still bound to hit a home run with the sweets, as this Rincon Center restaurant offers a surprising and playful dessert menu. Childhood favorites such as cinnamon churros and snickerdoodle cookies come complete with adult garnishes. But the best (and most popular) bit of nostalgia is the warm-baked Scharffen Berger chocolate-chunk cookie with a Tahitian-vanilla malted milkshake. That’s right: a genuine malted milkshake. In fact, this contemporary twist on an old classic might be just the thing you needed; try ordering two straws and inviting one of those trendsetters to the drive-in. How could anyone resist?

121 Spear, SF. (415) 543-4001, www.thecosmopolitancafe.com

BITTERSWEET CHOCOLATE CAFE

Curl up in this Fillmore Street café and drink in the flavors of the best hot chocolate you’re ever likely to have. Imagine a liquid brownie, and you’re getting close. These drinks are so rich and thick you’ll be forgiven for using a spoon. For adventurous chocoholics, there’s the Bittersweet, a nondairy "drink" that should come with the warning "may induce comalike pleasure period followed by dizzying sugar high. Do not attempt to drive or operate heavy machinery for at least 30 minutes following consumption." Or, if you’re more of a milk-chocolate lover, try the Classic. And of course, there’s chocolate milk for kids of all ages (including the one living inside your psyche).

2123 Fillmore, SF. (415) 346-8715; 5427 College, Oakl. (510) 654-7159. www.bittersweetcafe.com

TARTINE BAKERY

Unless you grew up in Paris, this bakery-café might not evoke your typical Norman Rockwell nostalgia. It is highly likely, however, that after a quick glimpse of the whipped, frosted, and glazed goodies behind the glass, you’ll feel like the proverbial kid in a candy store. Due to the extreme popularity of these pastries, expect a long line on weekend mornings. However, once you’re sinking your teeth into a lightly sugared cinnamon and orange morning bun, time will seem meaningless — and it won’t just be your inner child doing somersaults of pleasure.

600 Guerrero, SF. (415) 487-2600, www.tartinebakery.com

LUNA PARK

This Mission restaurant and bar has an incredible list of postprandial delights. For the 35-year-old kid in your party, there’s a "make your own s’mores" option. For the weight watcher, there’s an apple-huckleberry crisp. But the culinary pleasure that’s earned Luna Park a spot on our list is its deadly coconut cream pie — a confection so unexpectedly delicious you won’t dare to share, no matter what you learned in kindergarten.

694 Valencia, SF. (415) 553-8584, www.lunaparksf.com *

Digging the roots

-

March 28, 2007
0

› kimberly@sfbg.com

SONIC REDUCER Whinny, moan, or emote weakly, if you will, at the prospect of so many bland acoustic guitars — singer-songwriters have it rough, warbling softly alone on a big stage, so often the first to get slapped with the "you suck" stick. The worst scenario is too easy to picture: cliché love ballads about the lady or lad up front with the wine spritzer, uncompelling bellyaching about dead pets, lame chord progressions, an unexamined affection for James Taylor and Simon and Garfunkel. You’ve got a friend — who wears khakis. So consider it a good fight when singer-songwriters and those who love them wanna bust the stereotypically sensitive mold à la Jay Farrar, Britt Govea, and Marc Snegg. The last started Nevada City’s Grass Roots Records and is sincerely trying to shine a light on songsmiths succored by the rocky, roaring shores of the sweet South Yuba River with, this week, a traveling songwriters revue including Mariee Sioux, Lee Bob Watson, Alela Diane, and Casual Fog.

Can one expect thin song stylings from clotted brains? "That’s not what’s going to be going on at our show!" Snegg protests on the horn from up north. "Each of these songwriters has strong songs, though I guess singer-songwriters sort of get a bad rap.

"The original thing came up because I’m looking around and seeing what’s happening here, what people are doing anyways. I’m trying to congeal and coalesce it into a thing that’s a tour or a record, something that’s a lasting picture of a moment."

You can’t blame the dude, with all the talent pouring out around his hometown, from Joanna Newsom and Noah Georgeson to Hella and the Advantage, many of whom are not only solo artists but bandleaders as well, as Snegg puts it. The ex–UC Berkeley art major heads his own Sneggband, has already had Watson and Hella vocalist Aaron Ross into Dana Gumbiner’s Brighton Sound studio for new albums, and plans to pull in Sioux by April. His latest project: partnering with Nevada City promoters to bring touring and Bay Area bands to the town.

FOLK YOU Snegg isn’t the only wild-eyed seer bringing together two different NorCal scenes with, in his words, "musical momentum" and a few acoustic guitars. Folk Yeah Presents’ Govea has been putting on quiet and increasingly louder shows at Big Sur’s leafy Fernwood Resort and the woody Henry Miller Library for the past two years. The Crime in Choir performance on March 24 laid the heavy down at the first show of the ’07 season, continuing the move toward the harder psych-rock that closed the series last year. "I didn’t want to barge into Big Sur making a big ruckus, but as it turns out, the locals really like to head-bang," the Monterey promoter says as he hurtles down the coast, promising a pair of Chris Robinson shows and a big outdoors bash with as yet unnamed German electronic artists. He’s also folked up about a Mt. Tam performance around the time of Monterey Pop’s 40th anniversary, a very rad, free Earth Day concert at the Henry Miller Library on April 22, and more shows in "exotic" locales closer to San Francisco, including his first in the city with Howlin Rain and a Mission Creek Music Festival night that should have Red Hash heads humming.

"What keeps it unique is the marriage of LA and San Francisco that comes — an interesting mix. The metaphysical fight goes back to Laurel Canyon and Haight Ashbury, but once everyone gets to Big Sur, it’s nothing but hugs. And other things," Govea adds merrily before breaking up amid the pine needles.

FARRAR OUT Also unfurling a louder, prouder sound is Farrar, who’s been working the other side of the folk acoustic spectrum and mining a kind of Midwestern country-soul for years, in Uncle Tupelo and solo and now once again with Son Volt. The band he cultivated while former UT cosongwriter Jeff Tweedy nurtured his Wilco has birthed an admirably multitextured new CD, The Search (Sony/BMG), full of songs seeking insight amid post-9/11 wartime ("The Picture"), soullessness ("Automatic Society"), drugs ("Methamphetamine"), and other trad forms of escape ("Highways and Cigarettes").

"I probably read too much current events in the paper," Farrar, 40, says from St. Louis. "And some of those topical issues do find a way into the writing. ‘The Picture’ is a song like that. There’s a line — ‘War is profit / Profit is war,’ and that’s kind of being borne out by companies like Haliburton moving to the Middle East where the money is being made."

The title song seemed to best tie together his thoughts about this moment. "I mean, I didn’t want to call it Methamphetamine!" he says, gracefully allowing that, yup, Uncle Tupelo once lived together, subsisting on ramen, and contrary to rumor, their house did not have dirt floors.

Farrar isn’t working "Handy Man" territory yet, but it’s safe to say his partying days are behind him. He’s currently reading S.T.P.: A Journey Through America with the Rolling Stones, about the band’s somewhat infamous 1972 tour, though not for inspiration for his own travels. "Heh-heh, it can definitely be used as a reference point. I think most people who have done as much touring as I have tend to get that out of the way the first couple years. Eventually, you find rhythm that works."

What’s working for him now is playing with a band, a new lineup that includes keyboardist Derry deBorja, who can replicate everything from a banjo to a flute. "I guess having a band," Farrar says with no little irony, "is the one true way to make sure that no one mistakes you for someone that came from American Idol." *

GRASS ROOTS RECORD CO. SONGWRITERS REVUE

Fri/30, 7 p.m., $5 suggested donation

Mama Buzz

2318 Telegraph, Oakl.

(510) 465-4073

DEAD MEADOW

With Spindrift and Assemble Head in Sunburst Sound

Sat/31, 9 p.m., $12 advance

Fernwood Resort

Hwy. 1, Big Sur

www.fernwoodbigsur.com

SON VOLT

Fri/30, 9 p.m., $25

Fillmore

1805 Geary, SF

www.ticketmaster.com
>

Superlist No. 825: Restaurants with DJs

-

March 27, 2007
0

› superlists@sfbg.com

It’s a fact: lousy music can spoil a dining experience. We’ve all been to the too-loud restaurant where talking over the cheap sound system quickly becomes a losing battle. And nobody goes back to the place that put the Lionel Ritchie Millennium Collection on loop, or the hole-in-the-wall with the wonderfully authentic foreign food and the borderline torturous background music. Avoid aural indigestion by trying one of the many restaurants that have gone to great lengths to ensure the ambiance is as pleasing to your ears as the food is to your taste buds. The best time to hear dinner’s new soundtrack is typically during the weekend; however, a few eateries serve DJs with midweek meals.

Big-name residents such as Tom Thump lay down the tracks at Frisson (244 Jackson, SF. 415-956-3004, www.frissonsf.com), the quintessential meals and wheels of steel restaurant. With the main dining room’s circular layout and warm colors, the new American cuisine’s premium quality, and the neosoul, jazz-infused electronic audio, Frisson has the right chemistry.

Many DJs spin into the wee hours of the morning, but Levende Lounge (1710 Mission, SF. 415-864-5585, www.levendesf.com) DJs don’t hit the decks until breakfast. Live electronic music, a self-service Bloody Mary bar, and a build-your-own Benedict menu option reinvent Sunday brunch. Levende strives to bring up-and-coming local talent as well as internationally recognized names to the table.

Residents Sabrina and Benji set the mood for the stunning, floor-to-ceiling bay view and noteworthy fusion of California and pan-Asian cuisine at Butterfly (Pier 33, Embarcadero, SF. 415-864-8999, www.butterflysf.com).

Eastside West (3154 Fillmore, SF. 415-885-4000, www.eastsidewest.com) creates a live music feel by putting resident DJ Morgan on a small stage. Its American regional menu features home-style favorites such as macaroni and cheese and buttermilk fried chicken. The mix usually includes Top 40 hits, so you may find yourself humming along between bites.

Head to North Beach’s Impala (501 Broadway, SF. 415-982-5299, www.impalasf.com), where you’ll instantly be transported south of the border. Here the tequila goes down as smooth as the tunes, which residents D-Tek and Zhaldee often infuse with a Latin flair.

If it weren’t for the flatware and delicious rolls in front of you, you’d swear Mas Sake (2030 Lombard, SF. 415-440-1505, www.massake.com) were a nightclub. Resident DJs Kimani, Solarz, Booker, and Chris Fox keep the mashups pumping all dinner long.

Lose yourself in the hypnotizing tunes, jungle decor, and flavorful Thai food at Lingba Lounge (1469 18th St., SF. 415-647-6469, www.lingba.com).

Hit up Poleng Lounge (1751 Fulton, SF. 415-441-1710, www.polenglounge.com) on a Friday or Saturday night if a little hip-hop, a dash of soul, and some Asian fusion cuisine sounds like a recipe for a good time.

DJ Adrian keeps things mellow at Mecca (2029 Market, SF. 415-621-7000, www.sfmecca.com) on Thursdays and Fridays with old-school electronica from the ’70s and ’80s.

As you might expect, Emmy’s Spaghetti Shack (18 Virginia, SF. 415-206-2086) serves pasta dishes galore, but there’s a little something extra on the menu on Fridays and Saturdays: rotating DJs who spin everything from oldies to new wave and punk — but never house music.

At Nihon (1779 Folsom, SF. 415-552-4400, www.nighonsf.com), DJ Gray spins house and lounge while diners enjoy sushi and other Japanese fare.

Sushi Groove South (1516 Folsom, SF. 415-503-1950) is another chic sushi spot where resident DJs spin nightly.

DJs Michael Anthony, B-Smiley, Didge Kelli, and Drunken Monkey make the dinner-in-bed experience at Supperclub (657 Harrison, SF. 415-348-0900, www.supperclub.com) all the more cozy by channeling chill ambient and other funky forms of electronica through the sound system.

DJs only spin in the lounge at Sutra Restaurant and Lounge (100 Brannan, SF. 415-593-5900, www.sutrasf.com), where Asian fusion and downtempo are on the platters. *

Pleased to meat you

-

March 21, 2007
0

FILM I was a vegetarian for 18 years — more than half my life. But after quite a bit of soul-searching (and one incredibly triumphant taste of bacon), I recently realized that 18 years was plenty long enough. The honest truth is that meat is delicious, and I enjoy the hell out of eating it.

Coincidentally (or not), the Donner Party included several Eddys. I have no proof that I’m related to the ill-fated pioneers, but I feel a certain kinship nonetheless. They were the ultimate carnivores, after all. I’m not alone in my fascination with cannibalism — why else would there be five Hannibal Lecter movies? Soylent Green is made of people; the living dead will eat your brains at any time of dawn, day, or night; and the biggest blockbuster of 2006, Pirates of the Caribbean: Dead Man’s Chest, featured droves of flesh-hungry islanders. For every highbrow take on cannibalism (Tennessee Williams’s Suddenly Last Summer; song-of-myself doc Keep the River on Your Right; Japanese war drama Fires on the Plain; art house fave Eating Raoul; plane-crash saga Alive), there are dozens more glorifying the ultimate taboo with sleazy glee. Put on your eatin’ dress and consider these tasty standouts.

(1) The Texas Chainsaw Massacre 2 (Tobe Hooper, 1986). The first Chainsaw is a hands-down horror classic. The sequel, which stars Dennis Hopper and is far more of a comedy, includes a subplot about a chili cook-off: "No secret, it’s the meat. Don’t skimp on the meat."

(2) The Hills Have Eyes (Wes Craven, 1977). When Wes Craven met Eddie Murphy when they made Vampire in Brooklyn, the first thing Murphy did was quote The Hills Have Eyes: "Baby’s fat. You fat … fat and juicy."

(3–4) Ravenous (Antonia Bird, 1999). The American frontier circa 1847 provides the backdrop for this tale; well worth it just for the cast of twitchy character actors such as Robert Carlyle, Jeremy Davies, and David Arquette. A good double feature with Cannibal! The Musical (Trey Parker, 1996).

(4) Blood Diner (Jackie Kong, 1987). Guess what’s on the menu.

(5) Frightmare (Pete Walker, 1974). And you thought your family had issues.

(6) Dahmer (David Jacobson, 2002). One of the finer entries in the booming serial-killer biopic genre.

(8–10) The Cannibal gang: Cannibal Holocaust (Ruggero Deodato, 1980), Cannibal Ferox (Umberto Lenzi, 1981), and Cannibal Apocalypse (Antonio Margheriti, 1980). Nobody does human cruelty and bad-taste brutality like the Italians. (Cheryl Eddy)

CANNIBAL HOLOCAUST

Fri/23–Sat/14, midnight, $9.75

Clay, 2261 Fillmore, SF

www.landmarkafterdark.com

Legendary! Photos of Leola King’s Blue Mirror

-

March 21, 2007
0

Below are additional photos from the paper version of our story on 84-year-old Leola King who owned a string of popular businesses in the Fillmore District before they each succumbed to a nationwide urban redevelopment push that began in the 1940s. These images document King’s Blue Mirror club, which she opened in 1953 at 935 Fillmore St.

A half-century of lies

-

March 20, 2007
0

View pictures of Leola King’s legendary Blue Mirror club here.

Leola King has lived your life, the lives of three friends and then some.

She’s traveled to Africa with the legendary entertainer, Josephine Baker. She’s featured jazz great Louis Armstrong at a popular Fillmore nightclub she helmed in the 1950s called the Blue Mirror, where she also once convinced a roomful of patrons to drink sweet champagne from the heel of her shoe.

She’s played host to the crusading television journalist Edward R. Murrow.

She’s even had a fling with championship boxer Joe Louis. From the ring at Madison Square Garden, he glanced toward her front-row seat, which she’d secured by chance during her first trip to New York, and had his lackeys retrieve her for a date afterward. Their rendezvous appeared as a gossip item in an Ohio paper and remains in its archives today.

Most of all, Leola King has come as close as anyone possibly can to experiencing bureaucratic hell on earth. For half a century, she’s been fighting with the San Francisco Redevelopment Agency, which has taken four pieces of her property, wiped out a restaurant and two nightclubs she owned, and left her with a string of broken promises.

Her story is evidence that the ugly local chapter of Western Addition redevelopment history still isn’t over – and it’s a demonstration of why so many African Americans in this town will never trust the Redevelopment Agency.

————————-

Beginning in the 1940s, King successfully operated a series of restaurants and nightclubs in the city, remarkable enough in an era that imposed a double-paned glass ceiling on black, female entrepreneurs.

“Back when I first moved onto Fillmore, it was very popular,” King told the Guardian. “Market Street didn’t have shit. They didn’t have traffic. They didn’t have nothing on Market Street.”

During the height of King’s accomplishments, the Redevelopment Agency infamously launched an ambitious project to clear out “blight” in the neighborhood. It was part of a nationwide urban-renewal trend, and while the project here still won’t be finished until 2009, it’s widely regarded as one of America’s worst urban-planning disasters.

In theory, Western Addition residents who were forced to give up their homes or businesses were given a “certificate of preference,” a promise that when the sometimes decaying buildings were turned to kindling and new ones built, the former occupants could return.

In practice, it didn’t work out that way. An estimated 5,500 certificates were issued to families and business owners shortly before the second phase of Western Addition redevelopment began in 1964. Some 5,000 families were dislodged and many of them fled to other sectors of the city (including Bayview-Hunter’s Point, which is today slated for its own redevelopment), or outside of the Bay Area completely.

Only a fraction of the certificates have benefited anyone. The agency has lost contact information for more than half of the holders, and redevelopment commissioners now openly admit the program is a joke.

“If we’re going to boast about being this diverse community in San Francisco, and we’re going to allow our African American population to become extinct, then how can we show our faces in government if we’re not really doing anything about it?” asked London Breed, a redevelopment commissioner appointed by Gavin Newsom in 2005. “And not just putting black people in low-income housing. There [are] a lot of middle-class African Americans all across America, specifically in the East Bay and in other places. Why do they choose to live in the East Bay over San Francisco?”

A renewed interest in the certificates by City Hall led to hearings this month, and District 5 Sup. Ross Mirkarimi has planned another for April.

King obtained two certificates, and attempts to later redeem them both devolved into costly legal wrangling with the agency that lasted more than two decades. She has never regained what she lost.

Leola King’s story is about more than certificates of preference. It’s a story about the troubling legacy of urban renewal.

King welcomes guests into her home on Eddy Street near Fillmore with ease. The living room in what is little more than a two-bedroom converted garage apartment swells unimaginably with antiques – three stuffed chairs with vinyl slips, crystal chandeliers, an ornate dining-room table, lamps, a fur throw.

She insists that she’s just 39 years old, but public records put her closer to 84.

When the Guardian first visited with her in person, she was dressed in black cotton leisure attire. Two chestnut braids cascaded from a gray Kangol-style cap, which she smoothed with her hands as they hugged a pair of light-skinned cherub cheeks.

King made her way west after spending her earliest years behind the barbed wire of a Cherokee reservation in Haskell, Ok. Her mother died when King was young, and her restless father had meandered off to Los Angeles. Her grandparents oversaw her adolescence before she trailed after her father to California, where he was establishing a chain of barbecue restaurants. She married a man at just 14, and a year later, she was a mother. Tony Tyler, her son, is a San Francisco tour guide today and remains a close confidant and business partner.

It was 1946 when she first landed in San Francisco and eventually started her own barbecue pit at 1601 Geary St., near Buchanan, historic building inspection records show. She called it Oklahoma King’s, and hungry San Franciscans were lured to the smell of exotic buffalo, deer and quail meats.

“That end of Fillmore was very popular all the way down until you got almost to Pacific [Avenue],” she said. “Heavily populated. There was at one time in that area of Fillmore over 100 bars alone. Lots of hamburger places. That’s where I had the barbecue pit.”

By 1949, however, Congress had made urban renewal federal law with the goal of leveling slums and deleting general “blight,” still the most popular and awkwardly defined threshold for determining where the government can clear homes and businesses using eminent domain.

The first redevelopment zone in the Western Addition, known as A-1, included Oklahoma King’s. She was paid approximately $25,000 for the property, but offered no relocation assistance or other compensation for the revenue she lost as a result of ceasing her day-to-day business.

Forging ahead, she opened in 1953 what became a hub of jazz and blues entertainment in the Fillmore, the Blue Mirror, at 935 Fillmore Street. The place was decorated with brass Greek figurines on the walls, a circular bar and velvet festoons. King spent a year hopping onto buses full of tourists and begging the driver to drop them by her nightclub for a drink. Before long, her brassy personality had attracted world-class performers, each of them adding electricity to the club’s reputation.

“She was the type of woman who knew how to handle people,” a Blue Mirror regular later said in the 2006 collection of Fillmore jazz-era photography, Harlem of the West. “She could talk to the pimps and hustlers. She didn’t play around, and they knew how to conduct themselves in her club.”

A musician who formerly worked there told the Guardian the Blue Mirror was one of the few places on Fillmore that actually provided live entertainment at that time. Bobbie Webb backed up B.B. King, Little Willie John, T-Bone Walker and others as a young saxophonist at the Blue Mirror with his band the Rhythm Rockers. He said the other establishments nearby on Fillmore were mostly bars except for headlining auditoriums where mainstream acts like James Brown and the Temptations performed. Smaller venues abounded up the street on Divisadero, he said, save mostly for King’s Blue Mirror and the Booker T. Washington Hotel.

“[King] didn’t only have a personality” said Webb, who now airs a show Tuesdays on 89.5 KPOO, “she was a beautiful lady. Personality just spoke for itself. All she had to do was stand there.”

But like virtually everyone in the neighborhood at that time, King rented the place where the Blue Mirror operated. Redevelopment again reached her business in the early 1960s. State booze enforcers, she says, claimed to have witnessed a bartender serving alcohol to a minor and her liquor license was taken away. When the Redevelopment Agency showed up shortly thereafter to sweep the block away, she was ejected without compensation because she wasn’t at that time technically in business.

Two more commercial and residential properties she owned on Post and Webster streets respectively were also eventually taken under redevelopment.

She pressed on, encouraged by Jewish business owners in the area she’d befriended, including liquor wholesaler Max Sobel and Fairmont Hotel operator Benjamin Swig.

“Whenever I’d lose something, they’d say, ‘Keep on moving. Don’t stop, because you’ll lose your customers. When you open back up, they won’t know who you are.’ They’re the ones who told me, ‘Go get another spot.'”

—————————-

By the time King began work on her third business in the Fillmore, urban renewal projects had wreaked havoc on minority communities across the nation, including neighborhoods in west-side Boston, downtown Atlanta, the celebrated 18th & Vine District of Kansas City and elsewhere.

King opened the Bird Cage Tavern at 1505 Fillmore St. in 1964 near O’Farrell complete with a jukebox, 30-foot mahogany bar, a piano and a gilded birdcage. Then-police chief Thomas J. Cahill tried to block her liquor-license renewal by complaining to the state about “winos” and “prostitutes” in the neighborhood, records show, but regulators dismissed the claims.

“We had viable businesses all around us,” King said. “I had one fellow I worked with a lot named Willie Jones. He was a blues singer. The interesting thing was, I had music in the daytime at the Bird Cage. I specialized in afternoon jazz.”

Despite a triumphant resettlement, nonetheless, the redevelopment agency arrived yet again and bought her building during the expansion of it’s A-2 redevelopment phase and served as landlord for the Bird Cage, a barber shop and a liquor store as it waited for another two years deciding what to do with the building.

On the agency’s watch, a fire broke out next door to the Bird Cage that led to water damage in her space. Federal Housing and Urban Development records show that no insurance claim was ever filed by the Redevelopment Agency. King says the agency removed some of the bar’s contents, mostly kitchen supplies, and made only stopgap repairs to the building anticipating that she would later be ousted anyway. The items they took, she says, were never returned.

The agency then evicted all of the building’s tenants in 1974. This time, King stood fast and had to be forced out by the sheriff. The agency promised relocation assistance, but those empty assurances became her biggest headache yet. In fact, she would spend the next 25 years quarreling with the agency over relocation terms.

King and the agency searched fruitlessly until 1977 for a suitable replacement building before King purchased her own out of desperation at 1081 Post St. She was then forced to begin another endurance test of working to actually extract money from the agency owed to her for properly outfitting the new building.

Meanwhile, the Bird Cage’s leftover furnishings – from oil paintings, rugs and curtains to an ice maker, wood shelving and an antique porcelain lamp – were destroyed when the agency amazingly chose to store them on an outdoor lot off Third Street during her move, a fact later confirmed by an agency employee in an affidavit.

“They moved it all out,” King said, “all these antiques and stuff, into this field where the weather ate it up.”

The agency’s initial response was to determine how it could best avoid legal liability. Redevelopment officials finally offered her about $100,000, which she needed desperately to keep things moving with the Bird Cage’s new location, but King insists today the materials were worth closer to $1 million.

As she was fighting to reopen her bar business, she attempted to redeem an earlier certificate of preference given to her when she’d lost a residential property on Webster Street to redevelopment. In 1983, she bought a condemned, 12-unit apartment building on Eddy Street hoping to rehabilitate it using a federally backed loan.

The deal only led to more trouble. The agency paid for its own roving security to patrol Western Addition properties it had purchased, and before 1431 Eddy St. was ever officially conveyed to King (as well as two other neighboring developers), thieves gutted the building of windows, doors, plumbing, light fixtures and other hardware. (Two buildings belonging to neighboring developers were also hit, and the agency addressed their losses the same way.)

Almost immediately, the agency told her she’d purchased the building “as is” and that they weren’t responsible for the break-in. But according to an internal 1983 memo marked “confidential,” later unearthed when friends of King submitted a records request to the agency, staffers clearly were concerned about the legal implications of offering one building for sale “as is” and actually providing another one on the date of delivery that had been thoroughly burglarized.

The memo shows that the possibility of a lawsuit was of greater concern to the agency than any obligation to compensate King for the lost hardware, regardless of whether proper security was the agency’s responsibility. Records show they did discuss a settlement of little more than $2,000, but King considered the stolen goods to be worth thousands of dollars more.

She managed to eventually finish the rehabilitation of her Eddy Street property after several years of work, and while she lives there today, time and angst took their toll. Each step of the transition to what she hoped would someday become her new bar, Goldie’s on Post Street, involved a seemingly endless round of yet more negotiations, letters, legal threats and bureaucratic backbiting before the agency would lift a finger and allocate money for contractors, necessary seismic upgrades, architects and equipment.

In 1997, then-Rep. Ron Dellums (now Oakland mayor) wrote a letter to top local HUD official Art Agnos (later a San Francisco mayor) on King’s behalf.

“On August 26, Ms. King met with a member of my staff and detailed issues surrounding a 25-year dispute she has attempted to resolve with HUD and the San Francisco Redevelopment Agency,” Dellums wrote. “Your expeditious attention to this matter is [a] request, as Ms. King is elderly and experiencing health problems. The resolution to this issue would allow her to live the remainder of her life with some piece of mind.”

It was too late. The federally backed loans she’d received from HUD to rehab her Eddy Street property, from which the Redevelopment Agency strictly enforced repayment, fell into default. Loans leveraged against her other remaining properties began to slip, too, all while she fought with the forces of redevelopment to recreate what she had once proudly possessed.

King’s story may seem like an unfathomable streak of bad luck, but there’s a paper trail for all of it. And her battle, laid out in hundreds of pages of documents saved by King over several decades and reviewed by the Guardian, was ultimately unsuccessful..

By 1997, King was submerged in bankruptcy proceedings and would lose pretty much everything that she owned, including an Edwardian landmark home on Scott Street near Alamo Square where she’d lived for years (partially burned in a 1986 fire, believe it or not) and a residential building on Sutter Street.

Goldie’s was to be her final resting place, a roost from which she hoped to feature cabaret dancing, fresh crab at happy hour, a refined art deco aesthetic and live music performances. She lost that, too. Today, it’s Diva’s just off Polk Street.

Urban renewal won.

———————-

Hopeful press accounts lately foretell a jazz revival in the Fillmore District fueled by enterprising developers deft at financing lucrative redevelopment projects through tax incentives and low-interest loans half a century after the promise of “renewal,” now described euphemistically as “historic preservation.”

But with such a sordid history behind them, it’s no wonder residents of Bayview-Hunter’s Point, many of whom escaped Western Addition “renewal” in the first place, are leery of a pending years-long plan to redevelop nearly 1,500 acres in the southeast neighborhoods.

Bayview newspaper publisher Willie Ratcliff led a petition drive last year in an effort to put the plan before voters. Over 20,000 petition signatures were certified by elections officials, but City Attorney Dennis Herrera ruled the petitions were technically invalid because circulators hadn’t presented the full text of the redevelopment plan to signers. Redevelopment foes have since sued to have Herrera’s decision tossed.

“The misuse by these people is just unbelievable,” King said. “They were fighting me every inch.”

Thanks to Susan Bryan for joining the Guardian in reviewing hundreds of pages of public and personal records preserved in Leola King’s estate. Bryan is currently working with Monkey Paw Productions on a documentary about King’s life

Attack of the killer Ts

-

March 19, 2007
0

› kimberly@sfbg.com

"Ironic T-shirts — where the lameness of my T-shirt is in inverse proportion to my hipness!" comedian Patton Oswalt shouted at a recent sold-out Noise Pop show, pointing out in particular one special Salinas lass in a skull-and-hearts T. "I’m so cool I can defeat my own T-shirt!"

You know T-shirts have arrived — and by now may even be taking the last BART train to Fremont — when they’ve crept into the routines of comics desperate to warm up a 6 p.m. crowd. Is there anything more appropriate for every occasion, barring the most obscenely uptight cotillion? Be it basic formal and fiendish black, all-purpose "what are you rebelling against?" white, or any hue in the spectrum between. Be it worn on the chest, sleeve, or belly. Be it decorated with words and pictures so promo, pomo, and porno, with bands and teams, mugs and slugs of the sheer truth, alliances and affiliations, affirmations or fighting words — there’s no place like the homely T-shirt. Provided you have the right cut, cult, or message, you can throw it on and rock that bod with just jeans and trendoid footwear — consider yourself done.

Ts are our wearable tabula rasa, once underwear suitable only for soldier boys circa World War II, later campus and business iron-on throwaways in the ’50s, and even later rock band promos ready to be gracefully defaced with pins and zippers during the punk years (and now we’re back to white Ts for gangstas dodging crippling colors). Remember when the only T-shirt sizes available were L and XL? Remember when the sole women’s Ts around were toddler ready, fit for showing off every chub roll acquired from here to the nearest bakery? Whether you break them down between screen prints and iron-ons or between skate-beach-BMX, rock–metal–punk–pop–hip-hop, and TV-film-cartoon-advertising specimens, as Lisa Kidner and Sam Knee do in their 2006 book, Vintage T-Shirts (Collins Design, $19.95) — there’s an unsnooty, democratic beauty to a T.

Long after those faux–feed store and John Deere–logoed T-shirts have evaporated and aeons after the not-so-ironically offensive faux-Asian biz T-shirts have been yanked from Abercrombie and Fitch, we can still fall for a few artfully decorated scraps of tissue-thin jersey — and not just those by newbie local hotshot T designers such as Turk+Taylor (www.turkandtaylor.com) or My Trick Pony (www.mytrickpony.com). Only a few months ago I was bewitched into purchasing a $9 Flying V–bedecked shirt with a factory-frayed neck and sleeves at Le Target, of all places — the ideal block-rockin’ New Year’s Eve outfit with a black chiffon tiered skirt and boots. Why did I fall? It never fails to get compliments and fits like a teenage dream, and I can always make room for another music T in my collection, which encompasses an ’80s Sex Pistols reproduction purchased from the back pages of Creem, a boxy Poison pachyderm rewarded after a gig loading out for the hair metal combo, and a Scottish-slurred "Where am I and what the fuck’s going on?" Arab Strap T.

Lucky us, living at ground zero of the rock-T explosion: in 1968, the late Bill Graham began printing shirts regularly for the first time, an effort that distinguished him from fan club and individual band merchandising designs, according to Erica Easley, who cowrote Rock Tease: The Golden Years of Rock T-Shirts (Abrams Image, $19.95). Bill Graham Presents still sells vintage articles and reproductions on its Wolfgang’s Vault site (www.wolfgangsvault.com), though if you want the real thing, you might have to settle for the Doobie Brothers and Exodus rather than the Stones and Hendrix.

A buyer for one of the largest buy-sell-trade clothing stores on the West Coast, Red Light Clothing Exchange in Portland, Ore., Easley can pinpoint the beginning of the recent rock-T trend to the late ’90s when designers began buying vintage shirts and modifying them with grommets, trim, and patchwork. "They were able to do that because they were so cheap," she explains, citing Lara Flynn Boyle as one of the first celebs to sport a T (Bob Seger) on the red carpet, and attributes the longevity and cultural relevance of the rock-T trend to the resurgence of new bands such as the White Stripes.

American Apparel’s sexy softcore ads and no-logo trendy styling haven’t hurt either, while street artists have taken to embellishing Ts as they might a skateboard, and fashionistas continue to layer short-sleeve with long-sleeve Ts in what Easley calls the "Spicoli surfer look." To her eye, the urban art trend "raises all sorts of sociological questions. It’s from the street and supposedly authentic and tends to be pricey — it’s not what a street rat can really afford. There’s the price of a shirt and who’s wearing it and who’s supposed to be wearing it — you’re buying into a lifestyle." Personally, she’d "love to see a resurgence of do-it-yourself T-shirts, writing on T-shirts making personal statements."

Easley confesses the overall rock-T trend is waning. "It was such a fashion fad and so oversaturated. The sense of exclusivity that made it really hard at any other part of this decade to find T-shirts is gone," says the writer, who got into collecting by way of a Mötley Crüe obsession. "But I think long term it has been great for rock T-shirts and put them into the collectible realm."

Steven Scott, the manager of Aardvark’s Odd Ark (1501 Haight, SF; 415-621-3141), agrees that the trend for music Ts seems to be ebbing, while morphing from a ’70s to an ’80s focus. The store’s personal best: a Michael Jackson "Thriller" T, which sold for $125. "You can’t get that for it now," Scott says. "But [the appeal] is like San Francisco rents — they never go down, and landlords keep hoping people will come back."

T-SHIRTS, WEAR EVER

When shopping for a vintage T — or really any T — Rock Tease coauthor Erica Easley says, "It’s all about the image. I don’t care about the band, even though I’m always excited about a good Alice Cooper T. It’s all about a strong image, colors, and, personally, a shirt where I don’t have a sense of computer-generated graphics."

When looking for oldies, do, however, beware of fakes. "The colors won’t be correct, the green is too bright, or the cut wasn’t being produced at that point," Easley warns.

AARDVARK’S ODD ARK

Ringers, jerseys, worn-soft garb adorned with Firesign radios and corny sayings: Aardvark’s re-creates the thrifter’s thrill of discovery with a jam-packed rack of oldies.

1501 Haight, SF. (415) 621-3141

AMERICAN APPAREL

The most fashion-conscious print-free Ts around, regardless of how you feel about the jailbaity marketing campaigns. Gotta love me some blouson and dress-length styles.

2174 Union, SF. (415) 440-3220; 1615 Haight, SF. (415) 431-4028; 2301 Telegraph, Berk. (510) 981-1641. www.americanapparel.net

BANG-ON

Customize your own cool: this international chain provides the iron-ons, puffy wood-panel lettering, and brightly fierce ’80s accessories. Where else can you get spanking new-old "Cheer up, emo kid," Mr. Snuffleupagus, Roxy Music, and Johnny Wadd Ts in one fell, freshly ironed swoop?

1603 Haight, SF. (415) 255-8446, www.bang-on.ca

FTC URBAN LIFESTYLE STORE

Get your Ipath Bigfoot and Western Edition Mingus shirts right here, along with oodles of other contenders.

1632 Haight, SF. (415) 626-0663, www.ftcskate.com

GIANT ROBOT

The large-livin’ API groundbreakers still peddle locals Barry McGee and Mark Gonzales as well as Daniel Johnston shirts and the ever-popular Geoff McFetridge 2K "I’m Rocking on Your Dime" T.

618 Shrader, SF. (415) 876-4773. www.gr-sf.com

HELD OVER

A rail of vintage Ts beckons, from a ’70s-era "Natural Gas" number to a Morrissey You Are the Quarry lovely.

1542 Haight, SF. (415) 864-0818

PARK LIFE

Marcel Dzama’s frail ye olde comic critters, Ferris Plock’s sketchy characters, Neckface’s doom metal demons, and Clare Rojas’s folkloric scenes populate Park Life.

220 Clement, SF. (415) 386-7275, www.parklifestore.com

STATIC

Joining the Gucci knockoffs, denim, and ’70s leather are soft-as-my-55-year-old-uncle’s-midriff surfer shirts.

1764 Haight, SF. (415) 422-0046

SUPER7 STORE

Poppy yet pretty in-house screens by, for instance, store co-owner Dora Drimalas coexist with Bawana Spoons, Spicy Brown, Hedorah, and Gama-Go Ts.

1628 Post, SF. (415) 409-4700, super7store.com

TRUE

Urban outfits cry "Brother, please" for a Zoo York T sporting a Ruthless Records’ NWA single, Parish’s pop art Popsicles, Akomplice abstractions, or Free Gold Watches’ splashy ’80s evocations. Ladies, check Ts by Tens, Palis, Heavy Rotation, and Blood Is the New Black, as well as Mama T’s pseudo-airbrushed ghetto sweetness.

True Men, 1415 Haight, SF. (415) 626-2882; True Women, 1427 Haight, SF. (415) 626-2331; True, 1335 S. Main, Walnut Creek. (925) 280-6747. www.trueclothing.net

UPPER PLAYGROUND

The hella loyal cult that follows this pioneer of urban styles can stock up on all the Muni and Miles UP and Fifty24SF Ts it can stand now that the shop has split in two for men and women — with fresh Jeremy Fish, Sam Flores, and Estevan Oriol for all.

220 Fillmore, SF. (415) 252-0144, www.upperplayground.com
>

Building the bomb

-

March 19, 2007
0

It seems to be a matter of when, not if, another terrorist bomb will go off in the United States. One day we’ll come across the headline and let out an anguished "Oh, fuck" — a little later we’ll watch a stately funeral in St. Matthew’s Cathedral in Washington, DC. After such tragedy, will I ever be able to walk into a bar and order a nifty Irish Car Bomb again? What’s the buffer zone of alcoholic irony? With limited time before the next blast, I’d like to devote some space to bomb cocktails — in which a shot of something is dropped into a glass of something else — before it’s too late. Something about the plop of the shot and the glup of the drink always leaves a grin. And since I go drinking to get giddy, I’m all for drinks that make me giddy by their mere inception.

Because bombs fall below the purview of many published cocktail guides, there’s actually some debate about what to call them. Johnny Raglin, the bar manager at swanky Absinthe, insists they’re called boilermakers. But that seems to be too general a term: most mixologists say a boilermaker refers only to a shot with a beer. Many bombs don’t involve beer. Gary Regan, author of The Joy of Mixology, told me that he thought "depth charge" sounded good. But ordering a depth charge makes me feel like I’m at a WWII-era flea market. Mark Petrus of the Haight’s Gold Cane Cocktail Lounge may agree; he said he’d probably just call them bombs as well. Below are some of my local favorites — raise a glass and set it off.

BROSEPH

(Mandarin vodka in Sparks)

The arrival of Red Bull led to a proliferation of bombs in America. It was long accepted that the receiving ingredient (what’s in the glass) ought to be carbonated. So before there was Red Bull, beer, champagne, soda, and sparkling water were the only available mediums, and the latter three were rarely used. When Red Bull blew up, it became the bomb tinkerer’s experimental plaything. The Tic-Tac (mandarin vodka dropped in Red Bull) is one of the better leftovers from this heyday of discovery. But now its 2007, and Sparks energy drink has proven its mettle by tasting better. Commendations, then, to the Knockout for upgrading the Tic-Tac to this new formula.

Knockout, 3223 Mission, SF. (415) 550-6994, www.theknockoutsf.com

ORANGE-CICLE

(Baileys and mandarin vodka in Red Bull)

Like the Broseph, the Orange-cicle is just one permutation away from the Tic-Tac. Yet the two couldn’t taste further apart. When tossed back with the proper intensity, the Orange-cicle is creamy and full-bodied and definitely deserving of its name. Aub Zam Zam is also one of those perfect bars for enjoying bombs. With simple decor and a convex bar taking up much of the front room, the cocktail lounge makes it easy to remain focused on drinking.

Persian Aub Zam Zam, 1633 Haight, SF. (415) 861-2545

LA CUCARACHA

(Amaretto and Kahlua, with a flaming floater of 151 rum dropped in cerveza)

The Flaming Dr. Pepper (amaretto and rum dropped in beer and set on fire) is one of the oldest bombs outside a shot of whiskey dropped into some cheap beer. It is also the most notorious: numerous novice drinkers (most of them rowdy teens) have found themselves in the emergency room with second-degree burns after gulping down too many rounds of FDPs. It seems best to avoid the drink, out of fear not for one’s delicate lips but for one’s reputation — who wants to look like an amateur? Fortunately, La Cucaracha at Bahia, which just adds a little Kahlua to the mix, is even better than the original. First of all, it disposes of the pretension that the drink tastes like Dr. Pepper. More important, though, the Kahlua gives it added bite — round after round, this bomb never fizzles out.

Bahia Restaurant, 3239 22nd St., SF. (415) 642-7224, www.forored.com/bahiarestaurant

WISCONSIN LUNCHBOX

(Amaretto dropped into Pabst with a splash of orange juice)

I slowed down halfway through gulping back the Wisconsin Lunchbox at Mauna Loa Club because it tasted so good. The nutty tones of amaretto mix great with the citrus kick of the OJ, but the tastes blend even better with the sweet starchiness of Pabst. Two sips later, though, and I knew my lax pacing was a mistake. When the cocktail’s drunk slowly, all the flavors that once sailed off hand in hand became boorish. It tasted like a way-too-fruity beer. Throw this one down quickly.

Mauna Loa Club, 3009 Fillmore, SF. (415) 563-5137

ABC

(Soju in champagne)

In Korea business deals are consummated over a drink called Poktanju ("alcohol bomb," or "bomb shot"), which is whiskey or the less expensive Soju dropped into beer. Seeing as we don’t have the same thirst for beer as Koreans, I wouldn’t feel comfortable completely copying them. It’s better we go our own way with this sprightly and slightly tangy bomb. Hitherto, I’ve only been able to chug champagne in those moments when I recognize how boring my friends are and start daring myself to see how many gulps of bubbly I can take in a row. On this occasion, at Bar 821, after the clank of the shot glass and the fizz of the drink, I just got caught up in the bliss of it.

Bar 821, 821 Divisadero, SF. www.bar821.com

SUICIDE BOMB

(Red Bull in Jägermeister)

What tonnage! The Suicide Bomb will definitely lead you into some mischief. Pops Bar doesn’t regularly serve this cocktail — I found it while screwing around on Wikipedia, and Pops was willing to serve it to me at a reasonable price. You could probably ask for a shot of Red Bull to drop into a half glass of Jäger almost anywhere. Just as a grain of vermouth does wonders to bury the edges of gin in a martini, the Red Bull brings precisely enough luster to this drink. That’s not to say it tastes good. But with a little Red Bull, you at least have something else to focus on while you pour flat, heavy, extremely alcoholic goop down the hatch.

Pops Bar, 2800 24th St., SF. (415) 401-7677
>

The corporation that ate San Francisco

-

March 13, 2007
0

› sarah@sfbg.com

For the past decade, Florida-based megadeveloper Lennar Corp. has been snatching up the rights to the Bay Area’s former naval bases, those vast stretches of land that once housed the Pacific Fleet but are now home to rats, weeds, and in some places, low-income renters.

When the Navy pulled out of Hunters Point Shipyard in 1974, it left behind a landscape pitted with abandoned barracks, cracked runways, spooky radiation laboratories, antique cranes, rusting docks, and countless toxic spills.

A quarter century later, Lennar came knocking at the shipyard’s door — and those of other military bases abandoned in the waning days of the cold war — recognizing these toxic wastelands as the last frontier of underdeveloped land in urban American and an unparalleled opportunity to make big money.

Lennar had already won its first battle in 1997, seizing control of the Bay Area’s former military pearl in Vallejo when it was named master developer for the old Mare Island Naval Shipyard. Two years later it almost lost its bid for Hunters Point Shipyard when a consultant for the San Francisco Redevelopment Agency recommended giving the development rights to the Ohio-based Forest City.

Lennar fought back, calling on politically connected friends and citing its deep pockets and its track record at Mare Island.

A parade of Lennar supporters, many of them friends of then-mayor Willie Brown and Rep. Nancy Pelosi, told the Redevelopment Agency commissioners that Lennar was the only developer that had bothered to reach out to the Bayview–Hunters Point community. In the end, the commissioners — all of them mayoral appointees — ignored their consultant’s advice and voted for Lennar.

Nobody knows if Forest City would have done a better job. A developer is, after all, a developer. But Lennar’s victory at the shipyard helped it win the rights, four years later, to redevelop Treasure Island — long before it had even broken ground at Hunters Point. And a couple years ago, it parlayed those footholds into an exclusive development agreement for Candlestick Point.

Now the Fortune 500 company, which had revenues of $16.3 billion in 2006, does have a track record at the shipyard. And that performance is raising doubts about whether San Francisco should have entrusted almost its entire undeveloped coastline to a profit-driven corporation that is proving difficult to regulate or hold accountable for its actions.

Sure, Lennar has provided job training for southeast San Francisco residents, set up small-business assistance and community builder programs, and invested $75 million in the first phase of development. That’s the good news.

But on Lennar’s watch, a subcontractor failed to monitor and control dangerous asbestos dust next to a school at the Hunters Point Shipyard, potentially exposing students to a deadly toxin — despite promising to carefully monitor the air and control the construction dust.

And when the homebuilding industry took a nosedive last year, Lennar reneged on its promise to provide needed rental housing on Hunters Point — saying that its profit margins were no longer good enough to make rentals worthwhile. All of which raises questions about whether this company, which is working with Mayor Gavin Newsom to build a stadium at the shipyard to keep the 49ers in town, really has San Francisco’s interests in mind.

Bayview–Hunters Point native Dr. Ahimsa Porter Sumchai, a physician and a Sierra Club member, called the Lennar deal the "dirty transfer of the shipyard." She told us, "There is no reason why I’d trust Lennar more than I would the Navy and the federal regulators who have stringently worked on the cleanup of Hunters Point Shipyard, and yet it still remains toxic."

"This is just a play to get the shipyard," said Porter Sumchai, whose father was a longshore worker at the shipyard and died from asbestosis.

Part of the problem is systemic: the Redevelopment Agency hands over these giant projects to master, for-profit developers — who can then change the plans based on financial considerations, not community needs. And while Lennar likes to tell decision makers of its massive size and resources, the actual work at these bases has been delegated to limited-liability subsidiaries with far fewer available assets.

In this case, Lennar experienced a 3 percent drop in sales last year, a 29 percent increase in cancellation rates on homes, and a 15 percent dip in its fourth quarter profits. The downturn prompted Lennar’s president and CEO, Stuart Miller, to identify ways to improve what he described in the annual report as the company’s "margin of improvement" in 2007. These included "reducing construction costs by negotiating lower prices, redesigning products to meet today’s market demand and building on land at current market prices."

A Lennar spokesperson, Sam Singer, issued a statement to us saying that "Lennar BVHP is committed to operating responsibly, continually incorporating best community and environmental practices into our everyday business decisions."

But for a look at how Lennar’s model clashes with community interests, you need go no further than the edge of the site where Lennar has been digging up asbestos-laden rock.

DUST IN THE WIND

The Muhammed University of Islam is a small private school that occupies a modest flat-roofed hilltop building on Kiska Road with a bird’s-eye view of the abandoned Hunters Point Shipyard. This year-round K–12 school is affiliated with the Nation of Islam and attracts mostly African American students but also brings in Latino, Asian, and Pacific Islander children, many of whom have had problems in the public school system and whose parents can’t cover the cost of a private school.

"We find a way," the school’s mustachioed and nattily dressed minister, Christopher Muhammed, recently told the Redevelopment Agency in a veiled allusion to the financial nexus between the MUI and the Nation of Islam’s mosque and bakery on Third Street. "Many students aren’t members of our tradition but live across the street, down the street, or come from Oakland and Vallejo."

The minister is asking the Redevelopment Agency, the agency that selected Lennar and oversees the project, to permanently relocate the school. The school’s classrooms and basketball courts sit on the other side of a chain-link fence from Parcel A, which is the first and only plot of land that the Navy has certified at the shipyard as clean and ready for development.

Standing on these courts, the children have been able to watch heavy machinery digging up and moving huge amounts of earth in preparation for the 1,600 condos and town houses that Lennar wants to build on this sunny hillside, which has views of the bay and the rest of the shipyard.

The shipyard’s other five parcels are still part of a federal Superfund site, despite having undergone years of decontamination. Black tarps cover piles of soil that have been tagged as contaminated, and recently, radiological deposits were found in the sewers and soil. The Navy is still cleaning up a long list of nasty toxins, including PCBs and solvents, on Parcels B through F, the land Newsom now wants the city to take over so that it can hastily build a stadium for the 49ers.

But the minister’s request to relocate the MUI isn’t inspired by fear of Navy-related contamination or the impact of a stadium on the neighborhood but rather by the reality that asbestos is naturally present in this hillside and Lennar’s excavation work on the other side of the school’s chain-link fence has been kicking up dust for almost a year.

It’s not that Lennar and the city didn’t know about the asbestos. In April 2000 the environmental impact report for the shipyard reuse noted, "Because asbestos-containing serpentinite rock occurs at Hunters Point Shipyard, construction-related excavation activities could cause chrysotile asbestos associated with serpentinite to become airborne, creating a potentially significant impact to public health and safety."

So when Lennar proposed demolishing abandoned housing and roads and grading and transferring massive amounts of earth on Parcel A, the Bay Area Air Quality Management District demanded an asbestos dust mitigation plan that included sweeping and watering the construction sites and making sure that vehicle tires are washed before drivers exit.

The state Asbestos Air Control Toxic Measure also stipulates that if a school lies within a quarter mile of a construction site, local air districts can require developers to install asbestos dust monitors and shut down their sites whenever asbestos registers 16,000 fibers per cubic meter. The state requires these extra steps because children have higher metabolisms, growing lungs, and longer life expectancy. Plus, they’re lower to the ground and are likely to run, skip, hop, and play ball games that kick up dust.

Although Lennar agreed to abide by the air district’s requirements, the developer failed to properly implement this plan for more than a year.

The air district’s records show that Lennar’s environmental consultant, CH2M Hill, failed to include any air monitoring in its original plan for Parcel A, which is odd because the school is obvious to anyone who visits the site. It was only when the air district pointed out the existence of the Hunters Point Boys and Girls Club, the Milton Meyer Recreation Center, and the MUI, all within the quarter-mile limit, that Lennar agreed, at least on paper, to what the air district describes as "one of the most stringent asbestos dust mitigation plans in the state."

The plan combines the air district’s asbestos requirements with the city’s demands that Lennar limit "ordinary dust" that can cause respiratory irritation and aggravate existing respiratory conditions, such as asthma and bronchitis. Lennar agreed to implement the plan in the summer of 2005 and determine background levels of dust and toxins at the site before work began in the spring of 2006.

But that didn’t happen. For 13 months there is no data to show how much asbestos the MUI students were exposed to, neither for the 10 months before construction started on the cleared site nor for the first three hot and dusty months when Lennar’s subcontractors began massive earth-moving operations next to the school.

You’d think that after these failures became public knowledge, a devastated Lennar would have gotten a black eye and perhaps fired the subcontractors involved. Failing to protect children in a community that’s been the repeat victim of environmental injustice is a public relations nightmare, particularly in a part of town where distrust of redevelopment runs deep, thanks to the travesties in the Fillmore in the 1960s, followed by the city’s recent rejection of a referendum to put the Bayview–Hunters Point Redevelopment Plan to a public vote.

But while Lennar’s executives finally did the right thing last August by alerting the air district and replacing CH2M Hill, they didn’t release their two other subcontractors, Gordon Ball and Luster, nor did they sufficiently rein them in when violations continued, critics have testified at agency meetings.

And instead of apologizing to the air district and the city’s Department of Public Health for making them look like impotent fools, Lennar executives pushed back, contending that asbestos monitoring wasn’t necessary until May 2006 and that they didn’t need to water the tires of private vehicles.

They even listed economic rationalizations for the screwups that did happen. According to a memo marked "confidential" that the Guardian unearthed in the air district’s files, written by the air district’s inspector, Wayne Lee, Lennar stated, "It costs approximately $40,000 a day to stop grading and construction activity" and "Gordon Ball would have to idle about 26 employees on site, and employees tend to look for other work when the work is not consistent."

Meanwhile, the Department of Public Health was left reeling. Environmental health director Dr. Rajiv Bhatia told us, "It was very disappointing. We worked very hard. We wanted this system to be health protective. Whenever things don’t work, it takes time to get back to levels of trust. This hurts trust and credibility."

In September 2006 the air district issued Lennar a notice of violation for the period of July 14, 2005, through Aug. 3, 2006. Lee wrote that vegetation removal on the site "disturbed the soil and in some cases, likely resulted in dust." He also made it clear that "any track onto common roads could be tracked out to public thoroughfares and create asbestos dust plumes."

Lennar’s fines have yet to be determined, but they could reach into millions of dollars. State fines for emitting air contaminants range from $1,000 a day, if the violation wasn’t the result of intentional or negligent conduct, to $75,000 a day, if the conduct was deemed willful and intentional.

But as the air district weighs the evidence, one thing’s for sure: this wasn’t an isolated case of one set of monitors failing or one subcontractor screwing up. This case involves numerous violations and three subcontractors, two of which — Gordon Ball and Luster — are still working next to the MUI (neither company returned our calls).

Records show that once Lennar fired its environmental compliance subcontractor, CH2M Hill, properly installed monitors immediately detected asbestos dust, triggering 15 health-protective shutdowns during the course of the next six months. From these results, is it reasonable to conclude that had Lennar got its monitoring right from the beginning, further shutdowns would have cost Lennar’s construction subcontractors even more truckloads of money, as would have adequate watering of the site, which they didn’t get right for months?

So far, the only explanation for the watering deficiencies has come from Kofi Bonner, president of Lennar Urban for Northern California, who told the Redevelopment Agency, "Given the hilly terrain, it can only be watered enough so as not to create difficult conditions for the workers going up and down the site."

Lennar didn’t finally start to really control its subcontractors until January, when Lennar ordered Gordon Ball and Luster to "replace two site superintendents with new personnel who must demonstrate environmental sensitivity in conducting their work," according to public records.

MIAMI VICE

Headquartered in Miami Beach, Fla., Lennar began in 1954 as a small home builder, but by 1969 it was developing, owning, and managing commercial and residential real estate. Three years later it became a publicly traded company and has been profitable ever since, spinning off new entities.

Lennar Urban is one such venture. Established in 2003 to focus on military-base reuse, Lennar Urban recently produced a glossy brochure in which it proclaimed, "Military base reuse is our business — this is what we do."

Military-base development may be good business — but it isn’t always such a good deal for cities, particularly when communities don’t end up receiving what was promised on the front end.

In November 2006, Lennar announced it wouldn’t build any rental homes in its 1,600-unit development at the Hunters Point Shipyard. The Redevelopment Agency had originally approved a plan for 700 rental units on the 500-acre site, but Lennar said rising construction costs make rentals a losing investment.

Also in November, Arc Ecology economist Eve Bach warned the Board of Supervisors that Lennar’s public-benefits package for Treasure Island could be seriously compromised.

The package includes 1,800 below-market affordable housing units, 300 acres of parks, open space and recreational amenities, thousands of permanent and construction jobs, green building standards, and innovative transportation.

Bach summed up these proposals as "good concepts, uncertain delivery" and noted the discrepancy between Lennar’s stated desire for a 25 percent return and Budget Analyst Harvey Rose’s conservative prediction of an 18.6 percent return.

"Particularly at risk of shortfalls are transit service levels, very-low-income housing, and open-space maintenance," Bach warned.

With community benefits up in the air, high profits expected, and Lennar’s ability to regulate developers uncertain, many community activists question just what San Francisco is getting from the company.

"I can’t say that Lennar is trustworthy, not when they come up with a community benefits package that has no benefit for the community," activist Marie Harrison said. "I’d like to be able to say that the bulk of our community are going to be homeowners, but I resent that Lennar is spoon-feeding that idea to folks in public housing who want a roof over their heads and don’t want to live with mold and mildew but don’t have jobs or good credit or a down payment. I’ve heard seniors say, ‘I can’t even afford to die.’ Lennar is not being realistic, and that hurts my feelings and breaks my heart."

SHOE-IN

The story of Lennar and Muhammed University of Islam underscores the problems with a system that essentially relies on developers to regulate themselves. Bay Area Air Quality Management District records show officials didn’t know monitoring equipment at the site wasn’t working until August 2006, when Lennar discovered and reported the problem.

Lee reported after an Aug. 31, 2006, meeting with CH2M Hill staff, "They were not confident that the air sampling equipment was sampling correctly, due to faulty records and suspect batteries. CH2M Hill staff discovered depleted batteries and could not determine when they drained."

The air district’s air quality program manager, Janet Glasgow, told the Guardian, "The district had never been in this situation before, in which a developer, Lennar, came in and self-reported that they discovered a problem with their monitoring — something the district would never have been able to determine."

Worrisome as Glasgow’s statement is, there’s also the possibility that CH2M Hill’s failures might never have come to light had it not been for the city’s decision to demand another layer of dust controls. As Department of Public Health engineer Amy Brownell said, her inspectors were witnessing trails of dust firsthand, yet CH2M Hill’s monitors kept registering "non-detect" around asbestos.

"Which was suspicious," Brownell told us, "since they were doing massive earthwork."

Saul Bloom, who is executive director for Arc Ecology, a local nonprofit that helps communities plan for base closures and cleanups, told us he recalls "waiting for the first shoe to drop, wondering how there could be no work stoppages when Lennar was digging up a hillside of serpentinite."

The other shoe did drop shortly after the August 2006 meeting. It was black and well polished and attached to the foot of Muhammed, who began questioning whether the dust wasn’t harming his students.

But Muhammed found his questions weren’t easy to answer, given that Lennar had failed to monitor itself and therefore lacked the data that could have proved no harm was done, a scary situation since health problems from asbestos exposure don’t generally manifest themselves until many years later.

Those questions raised others about Lennar and whether it should be trusted to self-regulate.

D&EACUTE;J&AGRAVE; VU

In December 2006, Redevelopment Agency Commissioner Francee Covington asked Lennar’s environmental manager, Sheila Roebuck, if the company had any asbestos issues at other projects in the nation. Roebuck replied no, not to her knowledge.

But the Guardian has learned that Lennar already had problems with naturally occurring asbestos in El Dorado. The problems concerned dynamiting in hills that were full of naturally occurring asbestos and resulted in a $350,000 settlement in November 2006. The case involved two El Dorado Hills developers, Angelo K. Tsakopoulos and Larry Gualco, and their earthmoving subcontractor, DeSilva Gates Construction of Dublin.

As part of the terms of the settlement, the county agreed, at the behest of the developers, to make their earthmoving contractor, DeSilva Gates, who provided the dynamite, solely responsible for the settlement. Accused of, but not formally charged with, 47 violations of air- and water-pollution laws is West Valley, a limited liability company composed of Lennar Communities of Roseville, Gualco, and Tsakopoulos’s AKT Investments of Sacramento, with Lennar managing the LLC and AKT acting as the investor.

But as the Sacramento Bee‘s Chris Bowman reported, El Dorado Air Quality Management District head Marcella McTaggart expressed her displeasure directly to Lennar Communities, writing, "We are very disappointed to note that the agreed-upon measures to minimize … dust were completely disregarded by your company."

McTaggart’s words bear an eerie resemblance to Bhatia’s comments about how Lennar’s failure to protect the public heath "hurts trust and credibility."

"Ultimately, I’m very interested in being able to talk to the families and children who believe they have been harmed," Bhatia told us. "I want to help with people’s uncertainties and fears."

LEGAL PROBLEMS

Uncertainty and fear were on display at the Redevelopment Agency’s December 2006 meeting when Muhammed claimed that serpentinite, arsenic, and antimony had been found on his students and staff through "resonance testing."

Lung cancer experts doubt that methodology, telling us the only way to detect serpentinite in bodies is by doing an autopsy.

Following the minister’s claims, a rattled Bonner told the Redevelopment Agency, "Lennar cannot continue to be accused of covering something up or willfully poisoning the community because of profits. Lennar is a national public company, and the accusations and allegations are very serious."

Unfortunately for Lennar and the city, the company’s failures to monitor and control dust have left both entities exposed, since they formed a limited liability company without extensive resources, Lennar BVHP, to conduct the shipyard cleanup.

This exposure became even more evident when Muhammed returned to the Redevelopment Agency Commission in January with 15 MUI students in tow to ask for a temporary shutdown of Lennar’s site until a permanent relocation of the school had been worked out.

"It doesn’t seem proper to have peace discussions while the other side is still shooting," Muhammed said.

His relocation request got Bayview–Hunters Point community activist Espanola Jackson raising more questions: "OK, but where are the other residents going? How can you displace them? Have the residents on Kiska Road been notified? Or on Palou? Nope. You give people dollars to do outreach, but they don’t come to my door. Someone is being paid to not give the truth."

Scott Madison, a member of the Hunters Point Shipyard Citizens Advisory Committee, who’d observed large excavation machines breaking rock but not using water or any other dust controls, said, "I don’t understand how Lennar, who I believe has a sincere interest in doing right, can continue to have a contractor who is out of control."

Bonner explained that Lennar sent notices of default to its subcontractors and hired people from the community to be monitors, plus installed a secondary level of consultants to monitor contractors. But when Redevelopment Agency commissioner London Breed expressed interest in releasing the old contractor and hiring a new one, the agency’s executive director, Marcia Rosen, chimed in.

"Our agreement," Rosen said, "is not with the subcontractor. Our agreement is with Lennar." Her words illustrated the agency’s impotency or unwillingness to crack the whip over Lennar and its subcontractors. But when Lennar Urban vice president Paul Menaker began to explain that its contractors have a 10-day cure period, it was too much for Commissioner Covington.

"We’re way past that," Covington exploded. "We’re not hams!"

EXPLODING HAMS

Perhaps they’re not hams, but the commissioners’ apparent inability to pull the plug on Lennar or its subcontractors leaves observers wondering how best to characterize the relationship between the agency, the city, the community, and Lennar.

Redevelopment Agency commissioners have been appointed either by Mayor Gavin Newsom or his predecessor, the consummate dealmaker Willie Brown. But the incestuous web of political connections goes even further.

Newsom is Speaker of the House Nancy Pelosi’s nephew by marriage. Newsom’s campaign treasurer is another Pelosi nephew, Laurence Pelosi, who used to be vice president of acquisitions for Lennar and now works for Morgan Stanley Real Estate, which holds Lennar stock.

Both Newsom and Laurence Pelosi are connected to lobbyist Darius Anderson, who hosted a fundraiser to pay off Newsom’s campaign debts. Anderson counts Lennar as his client for Treasure Island, Mare Island, the Hunters Point Shipyard, and Candlestick Point, another vast swath of land that Lennar controls.

Brown’s ties to the agency and Lennar run equally deep, thanks in part to Lennar’s Bonner, who was Brown’s former head of economic development and before that worked for the Redevelopment Agency, where he recommended hiring KPMG Peat Marwick to choose between Catellus, Lennar, and Forest City for the Hunters Point project.

KPMG acknowledged all three were capable master developers, but the commission decided to go with the most deep-pocketed entity.

Clearly, Lennar plays both sides of the political fence, a reality that suggests it would be wiser for cities to give elected officials such as the Board of Supervisors, not mayoral appointees, the job of controlling developers.

DAMAGE CONTROL

Under the current system, in which Lennar seems accountable to no one except an apparently toothless Redevelopment Agency, you can’t trust Lennar to answer tough questions once it’s already won your military base.

Asked about asbestos at the Hunters Point Shipyard, Bonner directed the Guardian‘s questions to veteran flack Sam Singer, who also handles PR for Ruby Rippey-Tourk. Singer tried to dodge the issue by cherry-picking quotes, beginning with a Dec. 1, 2006, letter that the city’s health director, Dr. Mitch Katz, sent to Redevelopment’s Rosen.

Katz wrote, "I believe that regulatory mechanisms currently in place for Shipyard Redevelopment are appropriate and adequate to protect the public from potential environmental hazards."

The assessment would seem to be at odds with that of Katz’s environmental health director Bhatia, who has been on the frontline of the asbestos fallout and wrote in a Jan. 25 letter, "The failure to secure timely compliance with the regulations by the developer and the repeated violations has also challenged our credibility as a public health agency able and committed to securing the regulatory compliance necessary to protect public health."

Singer also quoted from a Feb. 20 Arc Ecology report on asbestos and dust control for Parcel A, which stated, "Lennar’s responses have been consistently cooperative." But he failed to include Arc’s criticisms of Lennar, namely that its "subcontractors have consistently undermined its compliance requirements," that it has "not exercised sufficient contractual control over its subcontractors so as to ensure compliance," and that it was "overly slow" in implementing an enhanced community air-monitoring system.

Singer focused instead on Arc’s observation that "there is currently no evidence that asbestos from the grading operation on Parcel A poses an endangerment to human health and the environment."

Lack of evidence is not the same as proof, and while Arc’s Saul Bloom doesn’t believe that "asbestos dust is the issue," he does believe that not moving the school, at least temporarily, leaves Lennar and the city liable.

"They formed a partnership, protective measures didn’t happen, the subcontractors continue to be unreliable, and dust in general continues to be a problem," Bloom told us.

Bloom also recommends the Redevelopment Agency have an independent consultant on-site each day and bar contractors who screw up. "Without these teeth, the Redevelopment Agency’s claims that they have enforcement capabilities are like arguments for the existence of God."

Raymond Tompkins, an associate researcher in the Chemistry Department at San Francisco State University and a member of the Remediation Advisory Board to the Navy who has family in Bayview–Hunters Point, says what’s missing from the city’s relationship with Lennar is accountability, independence, and citizen oversight.

"If you can’t put water on dirt so dust doesn’t come up, you can’t deal with the processes at the rest of the shipyard, which are far more complicated," says Tompkins, who doesn’t want the Navy to walk away and believes an industrial hygienist is needed.

"The cavalier attitude around asbestos dust and Lennar at the shipyard fosters the concerns of the African American community that gentrification is taking place — and that, next stop, they are going to be sacrificed for a stadium." *

Noisepop cracks up: trading jibes with Patton Oswalt

-

February 28, 2007
0

Our little bundle of noise is almost all grown up. Damning the brooding tradition of adolescence, Noise Pop has learned to laugh at itself — and anything that involves swigging beer and heckling Patton Oswalt without a two-drink minimum sounds like pure fucking genius to me. I recently spoke to Oswalt on the phone from Burbank. After soaking in enough indie to keep you cloaked in scene points until next year, you may want to check out his act alongside fellow comedians Brian Posehn and Marian Bamford. (K. Tighe)

SFBG You’ve been gigging at indie rock venues for a while — and now you are getting booked at festivals such as Noise Pop and Coachella. A lot of bands must be pissed off at you.

PATTON OSWALT Getting invited to these things is really flattering, but my rider’s still simple. As long as there is old scotch, I’m fine.

SFBG Have you ever been to the Noise Pop festival?

PO No, but I’m really excited. I’ve only ever listened to Genesis, so I’m hoping to discover new stuff.

SFBG You used to live in San Francisco. Are there any old haunts you still frequent when you play here?

PO I have about 10 old haunts. They are all Starbucks now.

SFBG El Farolito or Cancun?

PO La Cumbre all the way. They are mighty, mighty, mighty, and they’ve never fallen.

SFBG Your San Francisco act is always incredibly liberal — how much do you need to alter your political material from city to city?

PO I don’t have a tailored act. I trust the audiences to rise to the occasion. There are more and more pockets of resistance everywhere. Besides, the things I say aren’t all that outrageous compared to what is actually going on.

SFBG Any early thoughts on the 2008 presidential race?

PO I’m saying it now: the Democratic ticket will be Mickey Rourke and the original lineup of Journey.

COMEDIANS OF COMEDY

Sun/4, 5:30 and 8:30 p.m., $24

Independent

628 Divisadero, SF

(415) 771-1421

MORE NOISE POP PICKS

FEB. 28

DAMIEN JURADO

At a recent gig in Seattle, Damien Jurado recounted an interview with a French journalist who had asked him if folk music was the new grunge. The singer-songwriter dismissed the question, but it was clear he was as comfortable cracking wise as he is creating the bleak portraits and doleful characters that inhabit his songs. Jurado’s latest release is not new but a reissue of Gathered in Song (Made in Mexico), which was originally put to tape in 1999 by friend and fellow plaintive songwriter David Bazan. Three months older though still freshly minted is And Now That I’m in Your Shadow (Secretly Canadian), a milestone recording with Jurado’s first permanent band, including cellist Jenna Conrad and percussionist-guitarist Eric Fisher. Here the trio essays the same lyrical and windswept landscapes that dominate Jurado’s discography, though gone are the upbeat pop numbers that have peppered past albums. The result is at once tender and forlorn. John Vanderslice headlines; the Submarines and Black Fiction also perform. (Nathan Baker)

8 p.m. Independent, 628 Divisadero, SF. $14. (415) 771-1421

MARCH 1

TRAINWRECK RIDERS

Despite critical acclaim for their latest album, Lonely Road Revival (Alive), Trainwreck Riders remain as down-home as their sound. Proof the San Francisco boys haven’t gone Hollywood yet: vocalist Andrew Kerwin still works at Amoeba in the city, and the band recently got arrested and Tasered by Houston police at a show with former labelmates Two Gallants. Songs such as "In and Out of Love" combine roots rock, punk, and country that sound familiar, retro, and refreshing all at once. The harmonica in "Christmas Time Blues" makes me want to flee to my favorite dive bar to sulk, even on a good day. (Elaine Santore)

9 p.m. Rickshaw Stop, 155 Fell, SF. $12. (415) 861-2011

MARCH 2

DAVID DONDERO

If ever there were a diamond in the indie rock rough, it is David Dondero. National Public Radio named him one of the 10 best living songwriters, but he still tours in his truck and has probably served you pints at Casanova. Nick Drake may have lamented that "fame is but a fruit tree," but he checked out long before his notoriety took root and grew. Dondero, on the other hand, has worked for years in relative obscurity. His latest effort, South of the South (Team Love), was bankrolled by Conor Oberst, an overdue invitation to the feast from a man who freely admits to copping Dondero’s style. Jolie Holland headlines; St. Vincent opens. (Baker)

9 p.m. Fillmore, 1805 Geary, SF. $20. (415) 346-6000

TED LEO AND THE PHARMACISTS

Naming your band is one of the early hurdles for any would-be rock star. Ted Leo and his mates had a stroke of genius the day they alighted on the Pharmacists, arguably trumping even the Beatles for best tongue-in-cheek rock ‘n’ roll pun. Not that ingenuity is lacking in this outfit, which packs as much fevered punk energy into a four-minute tune as a mitochondrion does into a cell. For those who slept through freshman biology, that’s the part of a cell that, among other things, processes adrenaline. And anyone who has ever attended a Leo show is all too familiar with this chemical. (Baker)

8 p.m. Great American Music Hall, 859 O’Farrell, SF. $18. (415) 885-0750

MARCH 4

CAKE

The genre-bending Sacramento band known for funky arrangements, monotone vocals, droll lyrics, and a whole set of cabaret, country, and soul cover songs (including Gloria Gaynor’s "I Will Survive" and Black Sabbath’s "War Pigs") finishes Noise Pop with characteristic verve and vibraslap. This indie-turned-mainstream-turned-indie quartet has gotten increasingly political in recent years — check out the band’s Web site (www.cakemusic.com) if you want to see what I mean — so expect some social commentary with your catchy ditties. It’s also worth showing up for the textured pop sound and cheeky lyrics of opening band the Boticcellis; Money Mark and Scrabbel also perform. (Molly Freedenberg)

7:30 p.m. Bimbo’s 365 Club, 1025 Columbus, SF. $25. (415) 474-0365
>

Bong hits the mainstream

-

February 27, 2007
0

› johnny@sfbg.com

When I first saw Bong [Joon-ho]’s new film, The Host … I recovered a long-dissolving hope for the future of movies…. I had heard about this Korean monster flick … but nothing had prepared me for the carnivalesque, politically acidic megaspectacle that unspooled, seducing me and the rest of the audience into a state of childlike rapture.

"Gogol in Seoul," by Gary Indiana, Artforum

To inspire "childlike rapture" in Gary Indiana, a wizened contender for the most truthfully caustic novelist and political commentator of our time, one must possess amazing powers as a filmmaker. Amazing powers — of imagination, societal observation, and colorful vérité-based pop symbolism — are exactly what Bong Joon-ho has, in measures that have grown in size and scope with each of his three features to date. Indiana’s recent cover essay on Bong marks the first time in years (if not ever) that a commercial film has taken over the cover of Artforum — just one sign of its subject’s imminent pop art impact. But while Indiana’s excellent piece draws upon Nikolay Gogol, Antonio Gramsci, post-Confucian history, and enthusiasm for the rich pleasures of contemporary South Korean film, it ignores one major stylistic source of The Host‘s ability to induce kidlike joy. With his latest film, Bong announces himself as the heir apparent to Steven Spielberg — an heir who replaces Spielberg’s reactionary tendencies with an acutely observant antiestablishment viewpoint.

It’s easy to see why Indiana would steer clear of citing the man who birthed E.T. He might consider Spielberg the epitome of the "Hollywood tripe" that had just about permanently driven him from movie theaters. If so, he has my sympathy. Within the strange world of film criticism, few phenomena have been more vexing than the penchant of elite East Coast and Hollywood-hooked critics to overlook Spielberg’s cornball antics and project all manner of philosophical profundity onto his flair for spectacle. Is it not fair to assert that, aside from passages of 2001’s A.I. and 2002’s Minority Report, Spielberg has failed to deliver on the promise of his ’70s and early-’80s megamarketable hits?

Filmmakers from outside the United States have a different appreciation of the Spielberg effect — that moment when the adult complexities of movies from the early ’70s gave way to blockbusters. A director such as Japan’s Kiyoshi Kurosawa would pinpoint that change as the moment in 1975 when Jaws generated lines all the way around now-extinct movie palaces. Clearly, from that film through the 1982 summer that brought E.T. and Poltergeist, Spielberg demonstrated a facility for pop imagery that was as potent as Andy Warhol’s, perhaps more resonant, and definitely more lucrative. Lost in his pop dynamism’s wake, however, were infinite degrees of human experience. A case could be made that Spielberg’s brand of humanism is in fact inhumane and in perfect lockstep with a society in which democracy is defined as capitalism.

An isolated viewing of Bong’s first film, the 2000 satire Barking Dogs Never Bite, wouldn’t suggest a predecessor to the young Spielberg. Only Bong’s gift for physical comedy and his eye for everyday pop iconography (such as photocopied missing dog posters) distinguish his debut from likable recent South Korean movies such as Take Care of My Cat, A Good Lawyer’s Wife, and Rules of Dating. Like those movies, Barking Dogs is more naturally multifaceted than Sundance indie drivel. The story line gives a wannabe professor a lesson in class struggle: rather than Marxist platitudes, Yoon-ju (Lee Sung-jae) learns from the street, or more accurately, the subterranean realm Bong often explores. Instead of The Host‘s marauding many-ton guppy, the movie’s beasts are canine and domestic. But there are clear hints of what’s to come in Bong’s career. The director’s eye for bright yellow symbolism and affinity for characters who work in cramped Kwik-E-Marts and offices are already apparent. A shot of a row of cement walls within the basement of the movie’s apartment building will be echoed in The Host by an eerie, signature glimpse of the creature distending its lassolike tail under a bridge to go for another murderous dip.

"Nobody in this country follows rules since the liberation," one character proclaims in Barking Dogs Never Bite, but Bong’s 2003 fact-based follow-up, Memories of Murder, shows that the era of Chun Doo-wan’s dictatorship was certainly no better — equipped with siren calls and an endless variety of misused police force, it’s the perfect oppressive backdrop for South Korea’s first serial killer. Memories seems to obey every basic conceit of serial killer suspense films while enriching and subverting the genre. (The smartest character is a briefly glimpsed female detective whose insight is ignored by the warring male leads.) When Memories had its first SF engagement in 2004, I praised Bong’s ability to fashion a thriller into a societal and political indictment, even likening it to M. At the time I wondered if such praise was too lavish, but now I only regret not noting the influence of the aforementioned Kurosawa, whom Bong has cited as one contemporary. Kurosawa’s peak efforts, 1997’s Cure and the 2001 Japanese version of Pulse, don’t strive for or possess the pop appeal of Bong’s work, but Bong has learned plenty from their maker’s keen critical knowledge of film history — and contemporary madness. Memories is also the first time he proves commercial strictures can be trampoline flexible in terms of revealing individual and group character.

The Host is the Spielberg movie that Spielberg never made, the one where E.T. and the shark from Jaws are fused together into a rampaging tragicomic beast that doubles as an entire country and even a globe overrun by the toxins of US military paranoia. (It’s also a perfect antidote to War of the Worlds‘ abundant US-centric phoniness.) Each member of the film’s core ragtag family, including Bong regulars such as the always endearing Bae Du-na (from Barking Dogs) and the less famous, underrated Park Hae-il (hauntingly fierce in Memories and better in Park Chan-ok’s Jealousy Is My Middle Name), is as nuanced as Homer Simpson–esque protagonist Park Gang-du (Song Kang-ho), who undergoes wild tortures because he refuses to stop telling the truth. The anarchic hilarity and horror of the creature’s first rampage in The Host are more than matched by Park’s family, whose grieving turns slapstick in an uproarious follow-up scene. One suspects Bong has as many tales as The Host‘s creature has tails. This convert can’t wait to see more of them. *

AN EVENING WITH BONG JOON-HO

Mon/5, 6:30 p.m. Memories of Murder; 9:45 p.m. Barking Dogs Never Bite; $9–$11

Clay Theatre

2261 Fillmore, SF

(415) 267-4893

www.sffs.org
>

Noise Pop: Basking in their luster

-

February 21, 2007
0

Oh me, oh my, love that country pie, and oh me, oh my, the influence of Devendra Banhart and Will Oldham is now as long and thick as their beards. Actually, Brightblack Morning Light’s Nathan Shineywater and Rachael Hughes were opening for Oldham when Banhart was making the leap from homemade cassette to Young God. But in the autumn of 2006, around when they landed a primo spot opening for Os Mutantes at the Fillmore and then walked onto the cover of Arthur like it was a throne lying in wait for them, the applause for and catcalls about their group really began to fly back and forth. Spiritualized acolytes old enough to have gone high-igh-igh with Spacemen 3 the first time around praised Brightblack’s "heroin-gospel" sound, while other older folks who’d seen one too many white people claim an American Indian great-grandmother cried foul. Younger fans espoused nature love as their more cynical peers held their noses — that is, with whichever hand wasn’t masturbating an iPod with carpal tunnel–ridden thumbs. At the end of last year, as rock critics assembled top 10 lists, there were many rivers to cross — some leading to the Walkmen’s cover of Harry Nilsson’s Pussycats — and yet just about all roads led to the Rhodes-dominated sound of Brightblack Morning Light (Matador). This show should offer some hints about the follow-up. (Johnny Ray Huston)

BRIGHTBLACK MORNING LIGHT

With Women and Children, Mariee Sioux, and Karl Blau

March 3, 8 p.m., $14

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750
>

Noise Pop: Miss him?

-

February 21, 2007
0

› a&eletters@sfbg.com

The first time Roky Erickson performed in San Francisco was in the summer of 1966, fronting his Austin, Texas, band the 13th Floor Elevators, whose garage rock classic "You’re Gonna Miss Me" was rising up the national charts. Sharing the bill at the Fillmore with Grace Slick’s first band, the Great Society, Erickson sang of psychedelic reverberations and reincarnations in both sagely reassuring croons and blood-curdling yelps. The Elevators’ name shows up on Fillmore-Avalon posters so often that even today they’re still thought of as an honorary San Francisco psychedelic band of sorts.

The last time Roky performed in the city was in the early 1980s, and he was singing of two-headed dogs and aliens from the most tawdry of B-grade horror films. Times had changed, yes, but Erickson had changed more, irreversibly fried by a three-year stint in a maximum-security Texas state hospital after he was declared insane in 1969. The one thing undeniably the same was that one-of-a-kind voice, crushing Little Richard, James Brown, and Buddy Holly through the blender of a particularly Texan brand of acid-baked dementia.

Performers from GWAR to Marilyn Manson have made a lucrative career by fashioning an act from gothic horror. Erickson, to all appearances, has actually lived it, and if his record sales have been tiny in comparison to those of others, the fervor of his cult following is second to few. "Roky’s aesthetic rings true with younger music-media fans," says Billy Angel, who played autoharp as part of Erickson’s backup band the Aliens when Erickson reemerged in the late 1970s. "He brought to vision many years ago the now-contemporary experience of rock music coming through the sound system while film noir beams from the video screen."

Erickson’s first San Francisco appearance in about 25 years — as part of Noise Pop on March 1 — comes at a time when most fans had given up hope of seeing him onstage. Withdrawing from music entirely for about a decade, he began performing again in late 2005 after a bitter fight for his custody between his mother and his brother Sumner — the latter also a renowned musician but quite a different one: a tuba player for the Pittsburgh Symphony Orchestra. You couldn’t make it up, but we know it’s true because the whole battle was caught on film, in the mesmerizing and disturbing documentary You’re Gonna Miss Me (screening at the Roxie Film Center on Feb. 28).

As his family feuds over what’s best for its prodigal son and praise pours in from such interviewees as Patti Smith, Erickson wanders through the film like a ghostly observer. Apparently neither gratified nor agitated by the attention of either fanatical fans or would-be caretakers, he’s more interested in adjusting his army of televisions and stereos to just the right impossibly painful, cacophonous loudness. As much as most everyone on camera gushes over his genius and tragedy, what Erickson thinks about his cult and incapacitation remains a mystery.

There’s just one scene in the 90-minute film in which he seems at ease and makes one suspect his upcoming show might not be the psychodrama we fear. A therapist asks him to play a song; Erickson starts to strum an acoustic guitar and sing with folky, gentle tenderness, his vocal chops fully intact. Suddenly, he doesn’t seem like a nearly inert burnout fawned and fought over like a familial football. Music courses through his system — his thoughts and voice are clear and calm. It might be the only psychic skin he has left, but he wears it well. *

YOU’RE GONNA MISS ME

Feb. 28, 9:15 p.m., $10

Roxie Film Center

3117 and 3125 16th St., SF

(415) 863-1087

ROKY ERICKSON AND THE EXPLOSIVES

With Oranger, Howlin Rain, and Wooden Shjips

March 1, 8 p.m., $25

Great American Music Hall

850 O’Farrell, SF

(415) 885-0750
>

1...394041...43 Page 40 of 43