Green

Period Piece: Laguna and McAllister Streets sense

Andrew Lam
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Guardian history writer Lucy Schiller is exploring the city street-by-street in the slow week inter-holiday weekends. Today, learn about the laundry pool of Laguna Street and the bravery of Matthew Hall McAllister. Click here for yesterday’s installment on Green and Gilbert Streets.

 

Laguna Street

Named for Washerwoman’s Lagoon

A little south of Fort Mason a big old body of water once lay where San Franciscans took their (likely filthy) laundry once and a while. Enterprising citizens soaked and scrubbed their long johns, underthings, and the like ’til they resembled clean clothing, then laid them out to dry. The whole thing sounds rather idyllic -– yet an 1879 Chronicle article refers to the place as “that horribly-smelling and disease-producing pool,” a description that likely had some basis in reality. Our modern day Laguna Street stems from the site of the old quagmire. 


McAllister Street

Named for Matthew Hall McAllister, lawyer, judge

Southern lawyer Matthew Hall McAllister (1800-1865) first began practicing law at the sprightly age of 20 and ended up tackling a fearsome foe: the Hounds, a militantly nativist band of civilians bent on wreaking havoc throughout San Francisco. The Hounds peaked in 1849, robbing, murdering, and terrorizing Hispanic citizens in broad daylight. McAllister prosecuted 19 Hounds successfully, though no official sentences seem to have been enforced (several Hounds were later hung by a mob of angry miners). Fittingly, McAllister Street helps border the Civic Center; it stretches from Arguello to Market Streets. 

 

Period Piece: Green and Gilbert Streets sense

Andrew Lam
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Guardian history writer Lucy Schiller is exploring the city street-by-street in the slow week inter-holiday weekends. Today, learn about a newspaper editor that died in a duel and a ghost from Philadelphia. Click here for yesterday’s installment on Brannan Street and Geary Boulevard.

Gilbert Street

Named for Edward Gilbert, newspaper editor, congressman

Like many a valiant man before him, Edward Gilbert died in a duel. The newspaperman exercised editorial control over The Alta California, which in 1848 was San Francisco’s only newspaper, and he made his positions on political matters clear as day. He served a single term in the U.S. Congress before returning to his post at the Alta and attacking General James Denver for mismanaging supplies meant for stranded, West-moving immigrants. Gilbert was 33 at the time of his death by Denver’s hand in a duel near Sacramento. His incongruously tiny street runs a block between Sixth and Seventh Streets in SoMa. 

 

Green Street

Named for Talbot Green, fraudulent businessman

Like any early pioneer to San Francisco, businessman Talbot Green left a lot behind back east. In his case, though, it was an entire identity along with a family and some pretty massive debt. No one in San Francisco knew of his checkered past and Green rose to prominence as a successful civic leader, which ultimately got him recognized by a ghost from his previous Pennsylvanian life. Green denied the serious charges – that he was operating under a fake name, that he had abandoned his family, that he embezzled large amounts of money. But he disappeared the day after accusations were made and his reputation never recovered, though he attempted to return to San Francisco years later. A major artery in North Beach, Green Street runs from the Presidio to the Embarcadero.

 

Our Weekly Picks: December 25-31

Andrew Lam
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WEDNESDAY 28

Doe Eye

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

With The Trims, Pounders, and Miles the DJ

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

Mara Hruby

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

With Chris Turner

8 p.m., $15

Yoshi’s Oakland

510 Embarcadero West, Oakl.

(510) 238-9200

www.yoshis.com


THURSDAY 29

The Umbrellas of Cherbourg and A Woman is a Woman

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

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

Castro Theatre

429 Market, SF

(415) 621-6120

www.castrotheatre.com

 

Pictureplane

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

With Popscene DJs

10 p.m., $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

Asher Roth

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

10 p.m., $25

330 Ritch, SF

(415) 542-9574

www.330ritch.com


FRIDAY 30

Wizard Of Oz

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

8 p.m., $5

Paramount Theatre

2025 Broadway, Oakl.

(510) 465-6400

www.paramounttheatre.com

 

X

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

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

8 p.m. Fri.; 9 p.m. Sat/31, $33–$50

Slim’s, 333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Agent Orange

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

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

8:30 p.m., $15

330 Ritch, SF

(925) 541-9574

www.330ritch.com

 

Gavin Russom

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

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

9:30 p.m., $10

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com


SATURDAY 31

Primus

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

9 p.m.; 8 p.m. Sun/1, $50–$65

Great American Music Hall

859 O’Farrell St., SF

(415) 885-0750

www.slimspresents.com


Thee Oh Sees

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

With The Fresh & Onlys and White Fence

9 p.m., $15–$20

Brick & Mortar Music Hall

1710 Mission, SF

(415) 371-1631

www.brickandmortarmusic.com

 

“Sea of Dreams NYE 2012”

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

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

8 p.m., $75–$145

SF Concourse Exhibition Center

635 8th St., SF

www.seaofdreamsnye.com


SUNDAY 1

Eliza Rickman

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

7 p.m., free

Amnesia

853 Valencia, SF

(415) 970-0012

www.amnesiathebar.com


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

Stage Listings

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

THEATER

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; (415) 992-8168, www.thealcovetheater.com. $32-50. Thurs/29, 8pm. Not Quite Opera Productions presents Anne Nygren Doherty’s musical about San Francisco, with five characters all portrayed by Mary Gibboney.

*On the Air Pier 29 on the Embarcadero (at Battery), SF; (415) 438-2668, love.zinzanni.org. $117 and up (includes dinner). Wed/28-Fri/30, 6:15pm (also Wed/28, 11:30am); Sat/31, 8:30pm. Teatro ZinZanni’s final production at its longtime nest on Pier 29 is a nostalgia-infused banquet of bits structured around an old-time radio variety show, featuring headliners Geoff Hoyle (Geezer) and blues singer Duffy Bishop. If you haven’t seen juggling on the radio, for instance, it’s pretty awesome, especially with a performer like Bernard Hazens, whose footing atop a precarious tower of tubes and cubes is already cringingly extraordinary. But all the performers are dependably first-rate, including Andrea Conway’s comic chandelier lunacy, aerialist and enchanting space alien Elena Gatilova’s gorgeous “circeaux” act, graceful hand-balancer Christopher Phi, class-act tapper Wayne Doba, and radio MC Mat Plendl’s raucously tweeny hula-hooping. Add some sultry blues numbers by raunchy belter Bishop, Hoyle’s masterful characterizations (including some wonderful shtick-within-a-shtick as one-liner maestro “Red Bottoms”), a few classic commercials, and a healthy dose of audience participation and you start to feel nicely satiated and ready for a good cigar. Smoothly helmed by ZinZanni creative director Norm Langill, On the Air signals off-the-air for the popular dinner circus — until it can secure a new patch of local real estate for its antique spiegeltent — so tune in while you may. (Avila)

*Period of Adjustment SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-50. Tues-Thurs, 7pm; Fri-Sat, 9pm (also Sat, 3pm). Through Jan 14. A nervous young man with an unaccountable tremor, George Haverstick (a compellingly manic Patrick Alparone) has waited until his honeymoon to finally call on his old Korean War buddy, Ralph (a stout but tender Johnny Moreno) — only to drop his new bride, Isabel (the terrifically quick and sympathetic MacKenzie Meehan), at the doorstep and hurry away. As it happens, Ralph’s wife of five years, Dorothea (an appealing Maggie Mason), has just quit him and taken their young son with her, turning the family Christmas tree and its uncollected gifts into a forlorn monument to a broken home — which, incidentally, has a tremor of its own, having been built atop a vast cavern. Tennessee Williams calls his 1960 play “a serious comedy,” which is about right, since although things end on a warm and cozy note, the painful crises of two couples and the lost natures of two veterans — buried alive in two suburbs each called “High Point” — are the stuff of real distress. SF Playhouse artistic director Bill English gets moving but clear-eyed, unsentimental performances from his strong cast — bolstered by Jean Forsman and Joe Madero as Dorothea’s parents—whose principals do measured justice to the complex sexual and psychological tensions woven throughout. If not one of Williams’s great plays, this is an engaging and surprisingly memorable one just the same, with the playwright’s distinctive blend of the metaphorical and concrete. As a rare snowfall blankets this Memphis Christmas Eve, 1958, something dark and brooding lingers in the storybook cheer. (Avila)

Xanadu New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm (no show Sun/1). Through Jan 15. New Conservatory Theatre Center performs the retro roller-skating musical.

BAY AREA

*God’s Plot Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $18-27. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Jan 15. Playwright-director Mark Jackson excavates a bit of deep history for Occupy USA, an episode in the annals of colonial American theater and jurisprudence that played, and plays, like a rehearsal for a revolution — this time with music. Capping Shotgun Players’ 20th anniversary season of new work, God’s Plot comically animates and literally underscores (through song, and irresistible banjo and bass accompaniment courtesy of Josh Pollock and Travis Kindred) the story surrounding “Ye Bare and Ye Cubb,” a play performed in 1665 Virginia but now lost. The legal battle that engulfed this satire of the English crown and its economic and political domination of the colonies was an early instance of the close but little acknowledged relationship between art and politics in proto-American society, with much too of religious conflict in the mix (personified here by a powerfully smoldering John Mercer as closet-Quaker Edward Martin). The playwright, a brash self-inventor named William Darby (a sure, charismatic Carl Holvick-Thomas), colludes with a disgruntled merchant (Anthony Nemirovsky) and a former indentured servant climbing the social ladder as a new tenant hand (Will Hand). Darby, meanwhile, is secretly wooing — and even more, being wooed by — Tryal Pore (an ebullient, magnetic Juliana Lustenader), a young woman even braver and more outspoken than he. As an expression of her novel and unbridled spirit, Tryal alone breaks into song to express her feelings or observations. Her temperament is meanwhile a source of worry to her father (a comically deft Kevin Clarke) and mother (Fontana Butterfield), but also attracts an unwitting suitor (a compellingly serious Joe Salazar). The play’s overarching narrative of nationalist ferment, which reaches an overtly stirring pitch, thus comes mirrored by the tension in two dramatic triangles whose common point is the precocious, golden-throated Tryal Pore. More of the private drama might have served the overall balance of the play, but a good part of the achievement of director Jackson and his generally muscular cast is making a complex play of enduring ideas and conflicts look so effortless and fun. (Avila)

The Secret Garden TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-72. Wed/28, 7:30pm; Thurs/29-Fri/30, 8pm (also Fri/30, 2pm); Sat/31, 2pm. TheatreWorks performs the Tony Award-winning musical adaptation of Frances Hodgson Burnett’s novel.

*The Wild Bride Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Tues, Thurs-Sat, 8pm (also Thurs/29 and Sat, 2pm); Wed and Sun, 7pm (also Jan 8 and 15, 2pm; Jan 22, show at 2pm only). Extended through Jan 22. In the first act of Kneehigh Theatre’s The Wild Bride, the destinies of an innocent girl (Audrey Brisson), her moonshine-making father (Stuart Goodwin), and a predatory devil in a cheap suit (Stuart McLoughlin) become inextricably entwined by an ill-fated bargain. Steeped in European fairytale logic and American folk and blues music, Bride is inventively staged at the base of a giant tree, combining mime, puppetry, dance, live music, Cirque du Soleil-style vocals, acrobatics, and taut verse into a swooping, expressionistic fable. Accidentally promised to the devil by her doting but drink-dulled dad, “The Girl” suffers first the creepy indignity of being perved on by her preternatural suitor, and secondly the horror of having her hands chopped off by her own father, actions which drive her to flee into the woods, morphing into a character known only as “The Wild” (played by Patrycja Kujawska). After a stint as an unlikely, Edward Scissorhands-esque queen, The Wild too is driven from comfort and morphs a second time into a third character “The Woman” (Éva Magyar), an experience-toughened mother bear who kicks the devil’s ass (literally), and triumphs over adversity, without even uttering a single word. At turns dark, dexterous, fanciful, and fatal, Bride rises above the usual holiday fare with a timeless enchantment. (Gluckstern)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Wed/28-Sat/31, 11am. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“BATS Improv New Year’s Eve Special Performance” Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; (415) 474-6776, www.improv.org. Sat, 8pm. $30-40. The landmark improv company performs to ring in the new year, with a dance party to follow.

“Club Chuckles” Hemlock Tavern, 1131 Polk, SF; (415) 923-0925. Thurs, 7:30 and 9:30pm. $15. Comedy with Tig Notaro, Sean Keane, and Groomed for Success.

“Cut the Crap! With Semi-Motivational Guru, Clam Lynch” Dark Room, 2263 Mission, SF; www.darkroomsf.com. Jan 6 and Jan 13, 8pm. $15. Get motivated with self-help-guru-satirizing comedian Clam Lynch.

“Dream Queens Revue: It’s Almost New Year’s Show” Aunt Charlie’s Lounge, 133 Turk, SF; www.auntcharlieslounge.com. Wed, 9:30pm. Free. Drag with Colette Ashton, Ruby Slippers, Sophilya Leggz, and more.

“Forking II: A Merry FORKING Christmas” StageWerx, 446 Valencia, SF; www.pianofight.com.Wed/28-Fri/30, 8pm. $25-35. Well holy forking shit, it’s been three years already since Daniel Heath’s A Merry Forking Christmas debuted at PianoFight’s old Off-Market Theater digs, and in that time a few new faces have been added to the cast, and a few loose ends tied up in a bow, rendering the overall package a ho-ho-holiday treat worth indulging in. Hate the holidays? Not nearly as much as Goth girl morgue assistant Charlotte (Leah Shesky); her buddy Monique (Emma Shelton), a frustrated culinary genius selling pot cookies to stressed-out shoppers; Adam (Jed Goldstein), a disaffected Jew hired on as a Mall Santa from a temp agency; or Charles (Alex Boyd), an effete metrosexual dangerously enervated by his fiancée’s perfectionist vigor (Nicole Hammersla). Hilariously guided by Ray Hobbs and Gabrielle Patacsil, who play a variety of bit roles (Headbanger vs. Bible Banger, embattled parents fighting over the last coveted “Meat Panda,” feral children), the audience periodically gets to vote over the next permutation of plot, the “forks” alluded to in the title. According to artistic director Rob Ready (also featured in the cast as “Old Ben”), there are 362,880 possible combinations, and yes, the actors have memorized them all. Question is, will you? (Gluckstern)

“The Last Butch Standing” Victoria Theatre, 2961 16th St, SF; www.therhino.org. Sat, 7 and 9pm. $30-35. Singer and comedian Lea DeLaria performs her solo satire.

“Laughter Against the Machine: Guerrilla Stand-Up Comedy Fourth Annual New Year’s Eve” Phoenix Theatre, 414 Mason, Sixth Flr, SF; www.brownpapertickets.com. Thurs-Sat, 7pm (also Fri/30, 9:30pm; Sat/31, 10pm). $20-25. W. Kamau Bell, Nato Green, and Janine Brito perform their trademark brand of socially-conscious comedy.

“Magic and More New Year’s Eve with Frisco Fred” Actors Theatre of San Francisco, 855 Bush, SF; www.actorstheatresf.org. Sat, 7:30pm. $40. Family-friendly variety show starring comedian and circus performer Frisco Fred.

“Not Your Normal New Year’s Eve” Herbst Theatre, 401 Van Ness, SF; www.nynnye.com. Sat, 8pm. $25-59. Cutting-edge comedy with Brent Weinbach, Jill Bourque, Kevin Camia, and more, plus live music and a balloon drop.

“Picklewater Clown Cabaret presents a Prescott Circus Fundraiser” StageWerx, 446 Valencia, SF; www.brownpapertickets.com. Mon, 7 and 9pm. $15. Clowns helping clowns!

“Qcomedy Showcase” Martuni’s, 4 Valencia, SF; www.qcomedy.com. Mon, 8pm. $5-15. With comedians Justin Lucas, Simone Campbell, Jennifer Dronsky, and guest host Pippi Lovestocking.

“A San Francisco New Year’s Comedy Show” Actors Theatre of San Francisco, 855 Bush, SF; www.actorstheatresf.org. Sat, 10pm, $40. With headliner Will Franken.

“Santaland Diaries” Eureka Theatre, 215 Jackson, SF; www.combinedartform.com. Wed/28-Fri/30, 8pm. $20-50. Combined Artform presents David Sedaris’ holiday comedy.

“Yes Sweet Can” Dance Mission Theater, 3316 24th St, SF; (415) 225-7281, www.sweetcanproductions.com. Wed/28-Thurs/29, 2:30 and 4:30pm; Fri/30, 4 and 8pm; Sat/31-Sun/1, 2pm. $15-60. Sweet Can Productions presents an hourlong extravaganza of circus arts for the holidays.

On nostalgia

Andrew Lam
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On nostalgia

arts@sfbg.com

YEAR IN FILM I haven’t laughed so hard or so deeply in a movie theater as I did watching The Muppets after a languorous Thanksgiving dinner. Perhaps it was as much due to the tryptophan, sugar, and booze coursing through my system as to the welcomely familiar zaniness transpiring onscreen, but more and more my chuckling was subtended by the throaty chokes that presage a good, deep cry. And when I caught the pointedly placed photo of Jim Henson in the background of an interior shot, it finally hit me: that warm lump in my chest was nostalgia.

For a movie as universally praised as The Muppets has been (and let it be said, its 97 percent approval rating on Rotten Tomatoes is totally deserved), most of the nitpicking I’ve noticed has centered around whether the film pours on the sentiment too thickly, spoiling the fun with too much maudlin self-awareness about the Muppets’ past. “Nostalgia and reverence are anti-Muppet,” wrote one reviewer. But I don’t know if Jason Segal — who, aside from co-writing and starring in the film, was also the project’s greatest proselytizer — could have made The Muppets any other way.

For starters, the Muppets, for all their “let’s put on a show” tenacity and plain old absurdity, are like many professional entertainers, a vulnerable bunch. Think of Gonzo or Fozzie’s frequent moments of self-doubt, or Kermit’s periodic disillusionment with his role as ringmaster. The crestfallen wistfulness he displays at the start of The Muppets isn’t too far removed from the mid-career crisis he underwent in The Muppets Take Manhattan (1984). After all, it’s not easy being green.

The Muppets is also startlingly self-reflexive about the disjuncture between the Muppets’ status as Disney-owned intellectual property (acquired from Henson’s family in 2004) and their legacy as beloved cultural icons. The movie’s climax dramatizes this situation, effectively condensing the entire operation of emotional rescue that the film is premised on: having failed to raise enough money through their spirited telethon to buy back the rights to their name, Kermit and company nevertheless exit the old Muppet theater to an adoring public who, like much of the audience watching the film, never forgot them in the first place.

The drama at heart of the Muppets, what gives their wacky antics such emotional heft, and what necessarily makes The Muppets a reconnaissance mission and not just another franchise reboot, is this: becoming aware of one’s vulnerability is a huge and unavoidable part of growing up. Life can’t always be fun or fair. Eventually, we put away our stuffed animals and frayed blankets and take bigger risks, only to return to those objects as adults when we want to retreat from putting ourselves on the line again and again. But we can’t go back; not really. We can only move forward. The show must go on.

Dishes for a winter’s night

Andrew Lam
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Dishes for a winter’s night

APPETITE As we arrive at the end of 2011, here are a few dishes of soothing comfort for a winter’s night from four under-the-radar places.

EGG NOODLES IN A JAPANTOWN CULINARY RESPITE

Bushi-Tei (1638 Post, SF. 415-440-4959, www.bushi-tei.com) has long been one of my underrated restaurant picks. There’s much to love in the two-tiered space lined in rugged Japanese woods, with 18-foot communal table, and ever-sure conversation starter: Japanese toilets in the bathrooms (air dryers and seat warmers!)

When I heard new chef Michael Hung Jardiniere and pastry chef Yuko Fujii of Fifth Floor were coming aboard, I hoped the refined French Japanese cuisine would remain intact. I was delighted after a couple visits to see Hung has married comfort and intricacy, inventiveness and tradition. Tasting menus are $55, or $8-18 starters, $17-27 main courses.

Tak and Keiko Matsuba thankfully still run the restaurant: they’re among the most adorable husband-wife teams I’ve met. They bring a gentle passion to each aspect of the place, including Tak’s thoughtful wine pairings, like an Alsace Riesling with fish or sake with noodles.

There’s a Sunday brunch offering elegant bowls of egg noodles in Sonoma duck ragout or Haiga rice porridge laced with salt-roasted albacore tuna and a poached farm egg. A small serving of grilled Monterey calamari ($8) in a ginger bourride (a stew made with egg yolk and garlic) impresses with nuanced sauce and juicy squid.

Memorable dinner dishes include tataki of Hawaiian albacore ($12), a delicate, sashimi-style starter over black sesame aioli. Handmade egg noodles ($17) steal the show from worthy entrees like roasted Kurobuta pork Nabemono (Japanese stew). Hung makes his egg noodles with egg and soda, and at a recent dinner tossed them in brown butter cauliflower and hatcho miso, a miso from South Central Japan.

Fujii shows her skills in a unique dessert of Kabocha squash and matcha mochi dotting a coconut tapioca broth. Dense and warm, it is thankfully unsweet and richly satisfying, its three lush bean pastes — red bean, green tea, squash — the shining finish.

Post-dinner, Tak offers a pour of Denshin “Yuki” Junmai Ginjo sake brewed by Ippongi Kubohonten Co. He spoke of its cowboy boot, kimono-wearing sake maker whose area of Japan, Fukui, was hit hard by the recent earthquake. Matsuba loves to support such producers, welcoming them when they are in the States. We’re lucky to have this haven of pristine East-West cuisine in our city.

EGG YOLK AND RICOTTA RAVIOLI AT A COZY NOB HILL SPOT

Seven Hills (1550 Hyde, SF. 415-775-1550, www.sevenhillssf.com) is one of those neighborhood favorites many outside the ‘hood aren’t aware of. An Italian spot run by French natives(?), it’s a mellow respite for conversation with caring service. I enjoy the pasta most, especially in the form of a signature ravioli uovo ($9.50) filled with ricotta, spinach, and oozing Full Belly Farm egg yolk. In a light pool of brown butter and white truffle oil, it flirts with decadence. Spaghetti ($9.50/$19) is a heartwarming bowl (conveniently in two sizes) dotted with French Grandpa George’s recipe of plump fennel sausage, caramelized onions, and bell peppers in tomato sauce.

CHESTNUT SOUP IN A TINY FRENCH BISTRO

Bouche (603 Bush, SF. 415-956-0396 www.bouchesf.com) has only been open a couple weeks and thus is too new to comment in-depth upon. On a recent visit, I suffered tiny pangs of nostalgia, wishing Bar Crudo, since moved to the Panhandle, was still in this tiny, charming space. But the one dish out of a number of Bouche’s small plates ($6-18) that began to assuage those pangs was a creamy chestnut soup ($6). Its aroma evokes a winter panorama, the soup dotted with sage leaves fried in butter (which I could smell downstairs before the dish arrived to my table upstairs), with a side of crispy root vegetable chips to place on top.

HEALTHY “UNFRIED” CHICKEN IN PALO ALTO

Call it healthy “fast food” for the Peninsula set: LYFE Kitchen (167 Hamilton Ave., Palo Alto. 650-325-5933, www.lyfekitchen.com) is a bustling, new eatery in downtown Palo Alto. Draft beers, wines, smoothies, and juices flow, while vegan, vegetarian, and organic foods encourage guilt-free eating. This sort of place would take off in downtown SF: its healthful approach doesn’t leave taste behind, while its connection to celebrity chef Art Smith is a point of interest for foodies.

Alhough not everything worked (I’m afraid fries are ultimately better — and less soggy — when actually fried), two stand-outs are Art’s unfried chicken ($11.99) and a roasted beets and farro salad ($7.79). Chicken is a dish I often brush past for more enticing options, but this tender, “unfried” chicken is pounded flat, textural with breaded crust, on a heartwarming bed of roasted squash, brussels sprouts, dried cranberries, tied together by a drizzle of cashew cream and Dijon vinaigrette. The salad is loaded with roasted red beets over whole-grain farro and field greens, with a melange of fennel, walnuts, dried cranberries, oranges, red onion, and basil in maple-sherry vinaigrette. Every bite packs a flavor punch. Here one can fill up with a clear conscience. *

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

 

Doom lens

Andrew Lam
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Doom lens

cheryl@sfbg.com

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

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

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

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

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

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

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

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

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

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

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

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

 

All backed up

Andrew Lam
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All backed up

news@sfbg.com

In February 2004, San Francisco saw an usually strong winter storm. More than an inch and a half of rain fell within 30 minutes, too much to handle for the wastewater system, which in parts of the city is more than 100 years old. In the Mission and Bayview, some homes were flooded with rainwater and raw sewage.

Before adjourning for the year, the Board of Supervisors on Dec. 13 approved payments settling a lawsuit filed in January 2005 by some of the residents affected by the storm. The main plaintiffs in the case were Jane Martin and David Baker, whose home in the Mission district were flooded.

More than 40 individuals and businesses joined the lawsuit as plaintiffs, with San Francisco and its San Francisco Public Utilities Commission (PUC) as the sole defendant in the case. The plaintiffs sued for dangerous conditions of public property, failure to maintain public property, negligence, nuisance, and the trespass of water and sewage onto the plaintiff’s properties.

The settlement totaled $624,930 in compensation for property damage, including $50,000 for Martin and Baker, and many of the other plaintiffs getting around $25,000 each.

“Simply put, the city wasn’t doing proactive maintenance,” Baker told us.

Representatives of the SFPUC are trying to change that. There are currently several projects in the works to address issues with the city’s sewers, including flooding. These include Model Block improvement programs, such as green streetscaping meant to soak up rainfall, and a Sewer System Improvement Program that is in its early stages.

According to SFPUC spokesperson Jean Walsh, the SSIP is meant to tackle a number of issues with the sewer system, including flooding. She listed “seismic reliability issues” and a projected increase in major storms due to climate change as pressing reasons for the plan.

Besides the ancient pipes, the city’s network of storage transport boxes is routinely overloaded. These boxes are underground containers that catch water and hold it until it can be processed through the system and through to water treatment plants. Walsh says that they “surround the city like a moat… When those boxes fill up and all our capacity is full, the system overflows.”

This can cause flooding, especially in low-lying areas of the city and natural creek beds. Precita Creek, which once flowed freely along what is now Cesar Chavez Street, has been a site of overflows and flooding since it was first incorporated into the city’s sewer system in 1878. Nearby Islais Creek has also been diverted into sewers in the flooding-prone area.

The SSIP will have a particular focus on green technology. “One way that we’re going to address the flooding issue is by using low-impact design,” Walsh said. “We’re looking at permeable paving, bio-retention swales, and rainwater harvesting as ways to reuse the rainwater.”

Walsh says that the Model Block program has been a pilot for the SSIP. In May, the city and the Environmental Protective Agency unveiled a new green “streetscape,” part of the Model Block program, on the 1700 block of Newcomb Avenue. Areas of the sidewalk were replaced with permeable pavement, trees and gardens, meant to improve beauty and calm traffic as well as soak up rainwater so that it does not flow directly into the sewer system. In 2010, a similar project was completed on Leland Avenue between Bayshore Boulevard and Cora Street.

Neighborhoods in San Francisco’s southeast, particularly the Mission and Bayview, have been disproportionately affected by problems with the sewer system. Olin Webb, a lifelong Bayview resident and member of the group Bayview Hunters Point Community Advocates, says that sewer improvements are long overdue.

“Whenever it storms, there’s an overflow here,” Webb said. “Every time it rains, you can smell the raw sewage.”

Bayview community organizations have been campaigning for improvement to the sewer system for decades. Webb said some progress has been made in the past few years, including the installation of a pathway at Yosemite Slough Park, part of an effort to restore the wetlands in the area and turn it into a pleasant community space.

Webb was ambivalent about recent improvements. Bayview Hunters Point, like most of San Francisco, has lost much of its African American population during a recent surge in out-migration. According to a 2010 census, San Francisco’s black population has declined by 22.6 percent in the last decade.

“This took too long,” Webb said of the sewer improvement. “I’ve been here 60-something years, my mother worked on this before me. It’s like a joke to me that now everything’s getting fixed up and most of the people can’t enjoy it.”

Residents may still have a to wait for SSIP projects to begin construction. The program will likely span 15-20 years, and is currently in its early stages. “The project is still in design and planning stages,” Walsh said. “It needs to be validated and budgeted. We know it’s going to cost multiple billions of dollars”

Yet Walsh is optimistic that the project will make real change in a sewer system that’s been inadequate for decades. “It’s going to be an impactful project,” she said. “People are going to notice it happening.”

Live Shots: Main Attrakionz and G-Side at Independent

Tony Robles
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Despite all the local and national attention Oakland’s “Best Duo Ever” Main Attrakionz has been receiving lately, the Independent was less populated than I expected last Tuesday night. It was an appreciative bunch, however, with a handful of bloggers and collaborators joining fans to show the act love.

There’s something strange and wonderful happening in independent hip-hop these days – rappers, producers, managers, and friends from an array of backgrounds and styles have formed a diverse and tight-knit circle via the Internet, and a family vibe was apparent at Tuesday’s show.

Cloud rappers Main Attrakionz came out the gate with crazy energy. MondreMAN wore a flannel (with tag on), Super Mario t-shirt, and fuzzy white beanie. Squadda B was in head-to-toe sweats. Oddly enough, Main Attrakionz’ manager Walkmaster Flex took on the role of hype-man for the evening.

I exchanged knowing glances and smiles with James Laurence of Friendzone during the dreamy, sedated, Friendzone-produced “Chuch.” Even without the verse from Detroit, Mich.’s Danny Brown, “Cloud Skatin’” from Blackberry Ku$h was a personal highlight. The set also featured a cameo from one of my favorite up-and-comers and Green Ova family member, Shady Blaze, who showed up to throw down on “Hood Nigga.” Though the turnout was lacking, those in attendance looked thoroughly impressed (and pretty high).

I’d been listening to some of headliner G-Side’s melodic hip-hop in the weeks prior to the show, but I consider Tuesday’s set my first proper introduction to the Huntsville, Ala., duo. ST 2 Lettaz and Yung Clova have been rapping together for over a decade, and this pair has amazing chemistry and is flat-out great at rapping. The crowd filled out and got moving for G-Side’s highly animated set, which featured vocalist Joi Tiffany, lots of weed, and an encore. By the end of the night, I was a full-fledged fan of the sweat-drenched Southern duo.

All photos by Diego Gamez.

10 places to eat and drink on Christmas Day

Andrew Lam
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10 places to eat and drink on Christmas Day

Because you and yours might be itching for something other than ham, sweet potatoes, and intense family time, we here present a list of restaurants that will be open Christmas Day providing non-holiday-oriented dinners and desserts. Relish in the savory bite-sized flavors of dim sum, or skip the solid food entirely and head to a downtown lounge for a cocktail with friends or solo.

 

Chouchou

Now this French restaurant is just plain cute. Perfect for dinner, or if you just want to grab a glass of wine and a chocolate pear tart while everyone else is doing the presents thing. Start off with an organic salad of mixed greens, red chard, tomatoes, goat cheese, apples, and pistachios. Then, enjoy the spot’s infamous homemade French onion soup. Still hungry? Request the Camembert apple tart, caramelized with honey.

Open Sun/25 5:30 p.m.-9:30 p.m.

400 Dewey, SF

(415) 242-0960

www.chouchoubistro.com


Mangia Tutti Ristorante

For over a decade Mangia Tutti Ristorante has been a local favorite offering a comfortable, casual atmosphere for inexpensive homestyle Italian food. Located in the Financial District, Mangia Tutti Ristorante serves garlic pastas with Italian sausage and prawns, homemade ravioli, and spaghetti. Even the bread is too good for words. And of course there are a wide variety of red wines to choose from — how else are you suppose to enjoy Italian food?

Open Sun/25 5:00-9:30 p.m.

635 Clay, SF

(415) 788-2088

www.mangiatuttisf.com


PPQ Dungeness Island

Although its often very busy for dinner, the cuisine here is worth the wait. Garlic noodles, peppercorn crab, and crab-fried rice are just a few of this Vietnamese restaurant’s mouth-watering selections. Its prices are very reasonable, and after all that holiday shopping you did it will be nice to eat on a budget.

Open Sun/25 1:00 a.m.-10:00 p.m.

2332 Clement, SF

(415) 386-8266


Top of the Mark

Feeling fancy? Feeling romantic? Take your love to Top of the Mark for that breathtaking view and fawning service. Top of the Mark has been a San Francisco landmark since the late 1930s, when the 19th floor penthouse apartment of the Mark Hopkins Hotel was converted into a cocktail lounge. With over 100 cocktails to choose from you can get a little holiday buzz and wonder at the gorgeous views of downtown San Francisco.

Open Sun/25 10:00 a.m.-1:00 p.m.

Mark Hopkins San Francisco

1 Nob Hill, SF

(415) 616-6916

www.topofthemark.com


Boboquivari’s

Yes, there is a restaurant in the city where there is free valet service. After handing over your keys you can bite into a savory steak and a twice-baked baked potato. Boboquivari’s has been mentioned in over a dozen “top restaurants in San Francisco” lists, so you should definitely treat yourself to a wonderful Christmas Day dinner. Wash down your filet mignon with its Basil Hayden’s bourbon martini, the “bohattan,” because an unconventional Christmas meal calls for a cocktail. 

Open Sun/25 5:00 p.m.-10:00 p.m.

1450 Lombard, SF.

(415) 441-8880

www.boboquivaris.com


M’s Café

It’s Christmas Day and you’re in a pickle. You shouldn’t have taken those last shots of tequila the night before at the Christmas Eve party and now you’re in desperate need of a cure-my-hangover-quick breakfast before heading to Mom and Dad’s house. When it comes to breakfast and brunch, M’s Café has got you covered. Try its corned beef hash (to die for!), its French toast (amazing!), and its black and white pudding (yum!). Mom will never know of the debauchery that took place the night before.

Open Sun/25 7:00 a.m.-4:00 p.m.

1376 Ninth Ave., SF

(415) 665-1821


Chabaa Thai Cuisine

Celebrate Christmas Day with the rich flavors of the Far East. Its colorful curries and Thai spices make its feasts succulent and tender. You have the option of spicy or veggie dishes, red, yellow, and green curry, and of course panaeng. This Outer Sunset restaurant will even deliver to your home, so if you really can’t step away from that basketball or football game before halftime, no worries, just order online.

Open Sun/25 11:00 a.m.-1:00 a.m.

2123 Irving, SF

(415) 753-3347

420 Geary, SF

(415) 346-3121

www.chabaathaicuisine.com 


Great Eastern Restaurant

What’s better than dim sum on a Sunday? Dim sum on Christmas Day. Located in the heart of Chinatown, this Chinese restaurant’s food will make you want to return every Christmas just for their Peking spareribs, clams with black bean sauce, and variety of dumplings. Invite the gang to a filling and tasty meal (for cheap).

Open Sun/25 9:00 a.m.-nidnight

649 Jackson, SF

(415) 986-2500


Waterfront Restaurant

Pier 7 houses an elegant seafood restaurant perfect for groups on this holiday. With dishes like crab mashed potatoes and lobster risotto, everyone’s tastebuds will be pleased. If you have relatives visiting from out-of-town they will love the beautiful view of the Bay Bridge through the restaurant windows. For dessert, order the sticky pudding with caramel ice cream that has a perfect cake-to-ice cream ratio.

Open Sun/25 11:30 a.m.-10: 00 p.m.

Pier 7, SF

(415) 391-2696

www.waterfrontsf.com


Aslam’s Rasoi

Probably one of the best Pakistani and Indian restaurants in the city, Aslam’s is open every day, every holiday. This Mission spot has a staff that is friendly and engaging, so don’t be afraid to ask questions or for recommendations. Its most popular dishes are the goat cheese naan, lamb korma, and chicken tikka masala. With a broad palette of Pakistani flavors, the chef and owner — Aslam himself — blends cuisines for a healthy dining meal.

Open Sun/25 5-11 p.m.

1037 Valencia, SF

(415) 695-0599

www.aslamsrasoi.com

Occupying the future

Jesse Hawthorne Ficks
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Occupying the future

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It was a funny feeling, seeing so many faces from Occupy San Francisco and Occupy Oakland in the bright, clean “Gold Room” of San Francisco’s Commonwealth Club, particularly after spending so many nights camping with them and covering the movement.

But they were there on Dec. 15, just up Market Street from their old campsites, along with a couple hundred supporters and interested community members, attending a forum on “Occupy: What now? What’s next?” Facilitator Caroline Moriarty Sacks announced that she “expected a civic conversation.” What she got was a very Occupy answer to the question of the evening which, in typical style, redefined the very concept of “civic” conversation.

The forum involved voices from many different parts of the left. Jean Quan, the Oakland mayor with a progressive activist past. George Lakoff, an outspoken liberal professor of linguistics at UC Berkeley. In the audience, dozens of people who support or are interested in Occupy, the mostly leftist San Francisco political milieu. And, of course, representing most of the panel and a good chunk of the audience were the active occupiers: anarchists, peace activists, labor organizers, and everything in between.

During the panels, their perspectives clashed. Yet Occupy strives to be a coalition of everyone, and all of these voices will be important as it progresses. Sacks had planned a 90-minute forum, featuring a panel to answer both moderator and audience questions, a break-out session, and summary reports back.

In their quest to practice participatory democracy, Occupy protesters have become used to long meetings that strive for non-hierarchical structure and a platform to hear the voice of anyone who would like to speak. If there’s one thing they can all agree upon, it’s that they’re a little tired of waiting patiently for their voices to be heard.

During the panel discussion, a few Occupiers started a Peoples Mic, interrupting Mayor Quan. They were escorted out. This fazed no one, and by the time she left the panel, chants demanding her recall rang in the hall. At each disruption, some Occupy-involved folks would object, “Listen to her! I want to hear all viewpoints!”

The tone was rowdy, but not aggressive. Minutes after disrupting the forum, protesters were back on schedule, sitting in small groups engaged in dialogue with other audience members. Even Quan was fine with it; she told the Oakland Tribune, “It was a chance to talk and have dialogue…We fostered a debate.”

This event was a microcosm of the thorny but crucial way that Occupy is uniting the left. The people in the room had something in common: belief in the visions and goals of Occupy. They just disagreed on how to get there.

Discussing, debating, and creatively bridging these differences has been one of the movement’s greatest struggles. But the more Occupy succeeds on the thorny path to unity, the more its strength builds.

Misrepresenting anarchism

Civil disobedience, peace, non-violence—all of these are critical concepts for the Occupy movement, and wrestling with them frankly has been part of the long road towards unification.

This has been done through the application of what’s originally an anarchist concept: embracing a diversity of tactics.

This is what the Occupy protesters did at the Commonwealth Club Forum. Some disapproved of disruptions, others thought them necessary. Individuals acted as they felt was right.

The Occupy supporters who turned their backs on Quan and interrupted her didn’t do it because they are inexplicably rude. They gave their reasons, including still being hurt and angry after Quan unleashed police using tear gas, rubber bullets, and aggression to break up their encampment on Oct. 25.

Quan also was displeased about that night’s events, saying that “No one is happy about what happened around the tear gas and mutual aid.”

The second reason for the reactions was what an Occupy Oakland protester who mic-checked Quan called her “misrepresentation of anarchism.” This has been dismissed and mocked by many press outlets, as if to say: What’s the point of bothering to understand anarchism?

Many people who identify with anarchist principles and tactics are involved with Occupy groups. This has contributed to the growth and development of autonomous communities at camps, as many anarchists have extensive knowledge and practice in building alternative communities based on horizontalism and collective management of resources. Occupy’s anarchist roots go deep.

This has also created controversy when tactics like property destruction and the black bloc, both associated with anarchism, become a part of Occupy. One example was the bank windows smashed and vacant building occupied during Occupy Oakland’s General Strike on Nov. 2, and riot police again responded with tear gas that night. The next day, 700 attended a General Assembly meeting to focus on discussing violence, its nature, and the ethics surrounding it.

Many have been quick to characterize this ongoing debate as a division in the movement. But if unity is to be achieved, these tough conversations are necessary.

Bringing it home

Occupy has been criticized for its lack of leaders, but that has left it open to exciting possibilities. To start a new Occupy project, you just have to convince some people to help you out—you must gain approval from no one. Some have described the organization as a “do-ocracy.” Don’t ask for permission, they say, just do it.

As such, the ideas for moving forward span from handfuls of people on street corners to millions converging on Washington.

Lakoff presented one of these concepts to the group at the Commonwealth Club, what he called “Occupy Elections.” Lakoff said, “Join Democratic clubs, and insist on supporting those people with your general moral principles. If you join Democratic clubs soon, you decide who gets to run. This is how the Tea Party took over.”

Like most ideas floating around in Occupy, there’s already something similar underway. Berkeley resident Joshua Green started the Occupy the Congress initiative, which hopes to organize and fund efforts for candidates “who support the declaration of the occupation of Wall Street.” Congressional candidates such as Elizabeth Warren in Massachusetts and Norman Solomon here in California have expressed support for and goals similar to the Occupy movement.

Occupy Washington DC has taken the message to Congress in other ways. In an open forum with supporters and renowned economists, they developed their Budget Proposal for the 99 Percent and are coordinating with Occupy groups throughout the country to call for a National Occupation of Washington DC starting March 30.

A call to action like that has a chance of being huge. With the West Coast Port Shutdown on Dec. 12, Occupy has demonstrated an ability to coordinate nationally. Those actions also showed Occupy’s growing unity with labor groups, as ILWU members worked closely with Occupy to plan those actions.

On Dec. 6, Occupy demonstrated its dedication to yet another new frontier—occupying foreclosed homes. That was a national day of action called by Occupy Our Homes and Occupy groups in over two dozen cities participated, defending homeowners threatened with eviction and moving the homeless into empty properties.

Hibernation

By the time moderator Melissa Griffin asked her final question to the panel, it was clear that the “civic conversation” had not gone as planned. Two Occupy protesters had been escorted out for interrupting Jean Quan. A handful of others had stood and turned their backs when she spoke. The crowd was restless for their own chance to grill the panelists, and there were only a few minutes left. With a faint look of dismay and hopelessness, Griffin asked the question that had no chance of being quickly answered: What’s next for occupy?

She quoted Kalle Lasn, co-founder of Adbusters, the “culture-jamming” organization credited with prompting Occupy Wall Street. In a recent interview with NPR, Lasn said: “I think that we should hibernate for the winter. We should brainstorm with each other. We should network with each other and then come out swinging next spring.” Griffin asked the panelists if they agreed with that statement.

Of course, some did and some didn’t. In fact, some form of “hibernation” is what many plan to do. In San Francisco, Occupy reading groups, workshops, and educational circles are on the rise. Small actions happen almost daily, ranging from workshops to meetings to marches to pop-up occupations.

Occupiers who were kicked out of camps are sleeping in networks of squats, safe-houses, and what one long-time camper described as “little homeless encampments around the city. We don’t put up an Occupy banner, and police don’t arrest us.”

The forum was a microcosm of the debates and plans brewing within Occupy, and it ended like most Occupy events. New connections had been made. Most people trickled out while several Occupy campers stayed to help stack chairs and clean up from the event. They all eventually exited the warm building, with its empty lobby that could have slept at least 50 people. OccupySF and Oakland activists chatted and advised each other on where to go.

Occupy is a resurgence in the spirit and power of protest and peoples movements, a recognition that the personal is political, that individuals losing their jobs and their homes can have more power in numbers. Organizing and protest has become a lifestyle.

As the Occupiers left the Commonwealth Club building, the future seemed thrilling, although many still needed a place to sleep for the night while those possibilities continue to percolate.

High whore holy day: A San Francisco tradition turns nine

Andrew Lam
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It was Saturday, December 17. A jazz funeral was being held for victims of violence against sex workers at the Center for Sex and Culture. Post-event, its message was still resonating in its attendees. “The holiday was beautiful,” sex activist and post-porn star Annie Sprinkle told the Guardian about the ninth year of the International Day to End Violence Against Sex Workers that she helped to found. 

The tradition goes back to 2003, when hundreds of sex workers and their allies came together on the steps of San Francisco’s City Hall. Gary Ridgeway, Seattle’s “Green River Killer,” had just been convicted, having confessed to murdering 90 women over 20 years before he was caught. Prostitutes, he said, “were easy to pick up without being noticed…I thought I could kill as many of them as I wanted without getting caught.”

Bay Area performance artist and long-time sex worker Sprinkle was incensed. She teamed up with Robyn Few of the Sex Workers Outreach Project (SWOP) to create an event that would raise awareness about the abuse experienced by workers in the sex industry. 

The event has now spread to the far corners of the earth. Last Saturday, vigils, marches, and educational events to commemorate the day took place from Chicago to Cape Town. 

Kitty Stryker, a local sex worker and performer who worked as stage manager for San Francisco’s event, said that the mood in 2011 was more celebratory this year. There were spoken word, humor and musical performances that “were celebratory and fierce and fighting back, and performances that were more introspective and hurt, understanding that these things come in balance,” she said.

“It wasn’t all angry activism or all sad crying,” continued Stryker. “We wanted the event to be a celebration of people who are still here with us, and support so we can continue to do this work.”

Sex workers rights groups decry coerced or forced prostitution, insisiting that many prostitutes have chosen their profession and deserve the same rights as other workers. This message conflicts with that of many anti-sex trafficking groups, who often conflate prostitution and sex trafficking, and depict all prostitutes as victims.

Sprinkle told the Guardian that the day is especially important because it is planned by and for sex workers and their allies. “It’s become a high holy day of whores. The one day that we all remember the real victims, not these made up situations. A lot of them are not victims, but people like to think we are.”

Sprinkle remembered the story of a friend who was raped and robbed while working as an escort in New York City. The friend reported the crime to the police, and the culprit was apprehended — along with the victim, who was arrested for being a prostitute. Many sex workers rights activists campaign for the decriminalization of sex work, arguing that if sex workers could report crimes against them to the police, it could help curb high rates of rape, robbery, assault and murder of sex workers. 

Sprinkle pointed out that sex work is not the only risky business out there. “Working in a convenience store or as a taxi driver is also very dangerous. Your risk being killed working at a 7/11.” 

The modern sex workers’ rights movement demanded the decrimalization of sex work, working to end the stigma against sex workers in the 1970s. San Francisco was the movement’s teeming center. Prostitutes marched on City Hall singing, “Everybody Needs a Hooker Once in Awhile.” Even Willie Brown attended the fabulous annual Hookers’ Ball.

And this year’s news stories provided a poignant reminder of the day’s importance. During last summer a serial killer targeting prostitutes in Long Island murdered eight women. He was the third Long Island-based serial killer in twenty years to target sex workers.

Sex workers may still be considered criminals. But if the now-decades-old sex workers rights movement has anything to say about it, that view will evolve in years to come. Hopefully someday we will all be able to walk the streets a little more safely.

10 places to eat and drink on Christmas Day

Andrew Lam
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10 places to eat and drink on Christmas Day

Because you and yours might be itching for something other than ham, sweet potatoes, and intense family time, we here present a list of restaurants that will be open Christmas Day providing non-holiday-oriented dinners and desserts. Relish in the savory bite-sized flavors of dim sum, or skip the solid food entirely and head to a downtown lounge for a cocktail with friends or solo.

 

Chouchou

Now this French restaurant is just plain cute. Perfect for dinner, or if you just want to grab a glass of wine and a chocolate pear tart while everyone else is doing the presents thing. Start off with an organic salad of mixed greens, red chard, tomatoes, goat cheese, apples, and pistachios. Then, enjoy the spot’s infamous homemade French onion soup. Still hungry? Request the Camembert apple tart, caramelized with honey.

Open Sun/25 5:30 p.m.-9:30 p.m.

400 Dewey, SF

(415) 242-0960

www.chouchoubistro.com


Mangia Tutti Ristorante

For over a decade Mangia Tutti Ristorante has been a local favorite offering a comfortable, casual atmosphere for inexpensive homestyle Italian food. Located in the Financial District, Mangia Tutti Ristorante serves garlic pastas with Italian sausage and prawns, homemade ravioli, and spaghetti. Even the bread is too good for words. And of course there are a wide variety of red wines to choose from — how else are you suppose to enjoy Italian food?

Open Sun/25 5:00-9:30 p.m.

635 Clay, SF

(415) 788-2088

www.mangiatuttisf.com


PPQ Dungeness Island

Although its often very busy for dinner, the cuisine here is worth the wait. Garlic noodles, peppercorn crab, and crab-fried rice are just a few of this Vietnamese restaurant’s mouth-watering selections. Its prices are very reasonable, and after all that holiday shopping you did it will be nice to eat on a budget.

Open Sun/25 1:00 a.m.-10:00 p.m.

2332 Clement, SF

(415) 386-8266


Top of the Mark

Feeling fancy? Feeling romantic? Take your love to Top of the Mark for that breathtaking view and fawning service. Top of the Mark has been a San Francisco landmark since the late 1930s, when the 19th floor penthouse apartment of the Mark Hopkins Hotel was converted into a cocktail lounge. With over 100 cocktails to choose from you can get a little holiday buzz and wonder at the gorgeous views of downtown San Francisco.

Open Sun/25 10:00 a.m.-1:00 p.m.

Mark Hopkins San Francisco

1 Nob Hill, SF

(415) 616-6916

www.topofthemark.com


Boboquivari’s

Yes, there is a restaurant in the city where there is free valet service. After handing over your keys you can bite into a savory steak and a twice-baked baked potato. Boboquivari’s has been mentioned in over a dozen “top restaurants in San Francisco” lists, so you should definitely treat yourself to a wonderful Christmas Day dinner. Wash down your filet mignon with its Basil Hayden’s bourbon martini, the “bohattan,” because an unconventional Christmas meal calls for a cocktail. 

Open Sun/25 5:00 p.m.-10:00 p.m.

1450 Lombard, SF.

(415) 441-8880

www.boboquivaris.com


M’s Café

It’s Christmas Day and you’re in a pickle. You shouldn’t have taken those last shots of tequila the night before at the Christmas Eve party and now you’re in desperate need of a cure-my-hangover-quick breakfast before heading to Mom and Dad’s house. When it comes to breakfast and brunch, M’s Café has got you covered. Try its corned beef hash (to die for!), its French toast (amazing!), and its black and white pudding (yum!). Mom will never know of the debauchery that took place the night before.

Open Sun/25 7:00 a.m.-4:00 p.m.

1376 Ninth Ave., SF

(415) 665-1821


Chabaa Thai Cuisine

Celebrate Christmas Day with the rich flavors of the Far East. Its colorful curries and Thai spices make its feasts succulent and tender. You have the option of spicy or veggie dishes, red, yellow, and green curry, and of course panaeng. This Outer Sunset restaurant will even deliver to your home, so if you really can’t step away from that basketball or football game before halftime, no worries, just order online.

Open Sun/25 11:00 a.m.-1:00 a.m.

2123 Irving, SF

(415) 753-3347

420 Geary, SF

(415) 346-3121

www.chabaathaicuisine.com 


Great Eastern Restaurant

What’s better than dim sum on a Sunday? Dim sum on Christmas Day. Located in the heart of Chinatown, this Chinese restaurant’s food will make you want to return every Christmas just for their Peking spareribs, clams with black bean sauce, and variety of dumplings. Invite the gang to a filling and tasty meal (for cheap).

Open Sun/25 9:00 a.m.-nidnight

649 Jackson, SF

(415) 986-2500


Waterfront Restaurant

Pier 7 houses an elegant seafood restaurant perfect for groups on this holiday. With dishes like crab mashed potatoes and lobster risotto, everyone’s tastebuds will be pleased. If you have relatives visiting from out-of-town they will love the beautiful view of the Bay Bridge through the restaurant windows. For dessert, order the sticky pudding with caramel ice cream that has a perfect cake-to-ice cream ratio.

Open Sun/25 11:30 a.m.-10: 00 p.m.

Pier 7, SF

(415) 391-2696

www.waterfrontsf.com


Aslam’s Rasoi

Probably one of the best Pakistani and Indian restaurants in the city, Aslam’s is open every day, every holiday. This Mission spot has a staff that is friendly and engaging, so don’t be afraid to ask questions or for recommendations. Its most popular dishes are the goat cheese naan, lamb korma, and chicken tikka masala. With a broad palette of Pakistani flavors, the chef and owner — Aslam himself — blends cuisines for a healthy dining meal.

Open Sun/25 5-11 p.m.

1037 Valencia, SF

(415) 695-0599

www.aslamsrasoi.com

Are we green yet?

Jesse Hawthorne Ficks
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Are we green yet?

rebeccab@sfbg.com

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

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

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

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

 

HURRY UP AND WAIT?

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

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

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

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

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

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

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

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

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

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

 

ULTRA GREEN, FOR A FEE

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

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

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

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

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

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

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

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

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

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

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

The bottom of the top

Jesse Hawthorne Ficks
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0
The bottom of the top

YEAR IN GAMER One of the most exciting release windows in recent memory, this year’s fall gaming onslaught is officially behind us. And while most gamers are quick to rank the marquee experiences — battling dragons (The Elder Scrolls V: Skyrim), thwarting diabolical clowns (Batman: Arkham City), and riding giant birds in a green tunic (The Legend of Zelda: The Skyward Sword), it’s only when you approach the bottom half of a critic’s top 10 that the real debate begins.

So let’s skip ahead, past Uncharted 3 and Portal 2, which round out the established top five games of the year, and delve into the bottom half of the top 10. Any one of the following games might have taken home top honors in years past. As it stands, you may have overlooked one or two. And that’s what Christmas is for.

6. Rayman Origins

2D platforming in 2011 takes place in one of two venues: the games marketplace, like PSN or XBLA, or on your phone. Rayman Origins‘ greatest disadvantage is that it looks like something you can get on your phone for a buck but it costs full price. Don’t be fooled, a dollar will never get you as much content as you’ll find in Rayman, with its more than 60 levels of hand-drawn animation, four-player co-op, and star limbless thingamajig. Rayman isn’t just a re-skinned Mario; it’s a brighter, sillier and more rhythm-based experience than the Italian plumber, with a similar level of polish.

7. Dark Souls

It feels strange to be recommending a game that I’m often too afraid to play. Dark Souls is a brutal action RPG wherein you play a sort of zombie that most enemies can kill with a single hit. Save points are sparse and taking a break respawns any enemies that you might have killed already. (If you’re an old-school gamer, you’re screaming “all games used to be like this!”) Dark Souls employs an amazing level design that intricately connects its diverse dungeons and features a unique multiplayer system that allows other players to either leave tips for you or invade your game and make life even harder. You know that snotty friend who says today’s games are too easy or too much like movies? Get him this game.

8. L.A. Noire

Dismissed by some as a hackneyed attempt to marry Rockstar Games’ Grand Theft Auto with a point and click adventure, L.A. Noire may not be the perfect joining of genres we all hoped it would be, but it’s a wonderful homage for aficionados of 1940s crime movies. A sordid tale of an ex-Marine turned policeman rising through the ranks of the LAPD, L.A. Noire is well paced and acted, with a fully fleshed-out story — which can be hard to find in video games. Though it ultimately made more headlines for the developers’ harsh working environment, L.A. Noire remains a unique and expansive take on an under-represented genre.

9. Driver San Francisco Do you like driving fast cars but find yourself overwhelmed with the intricacies of real-life simulations? More racing games are contextualizing their in-game courses with a bit of drama and back story, and Driver San Francisco takes the cake when it comes to unique storytelling. You play an SF cop in a coma who can enter the bodies of other drivers on the road and drive like a maniac without consequence. He uses this amazing power to help teenagers win street races, freak out driver’s ed instructors and save the city from a terrorist attack that may or may not exist at all. Driver SF is less than polished, and local residents will notice some discrepancies in the city’s geography, but for pure entertainment few games take risks like these.

10. Super Mario 3D Land

After a bit of an embarrassing year for Nintendo, and the 3DS in particular, Super Mario 3D Land marks the first game to make the troubled console truly worth owning. A jump-in-and-play good time, Mario 3D highlights both the 2D platforming of New Super Mario Bros. and the fluid 3D exploration of Mario Galaxy, creating something that’s more than a throwback, it’s a refinement of everything that makes the 25-year franchise so popular. It’s not innovative enough to be worth buying a 3DS for, but early adopters finally have a game to call their own.

The new (open) world order

Jesse Hawthorne Ficks
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The new (open) world order

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

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

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

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

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

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

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

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

Making CleanPowerSF work

Andrew Lam
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EDITORIAL The way the San Francisco Chronicle describes it, the city’s new green power program “won’t come cheap.” That’s a line that Pacific Gas and Electric Co. will use over and over again in the next few months as the city finally prepares to get into the retail electricity business, 98 years after Congress mandated public power for San Francisco. Clean Power SF will offer 100 percent clean energy — and yes, right now, this spring, it will cost a little bit more than buying nuclear and coal power from PG&E.

But that price differential will change dramatically in the next few years — if the city goes forward not just with buying and aggregating power from the commercial market but developing renewable energy on its own.

That’s the key to the future of CleanPowerSF — and as a proposed contract to get the system up and running comes to the Board of Supervisors, the need for a city build-out of at least 210 megawatts of energy generation capacity is, and must be, an essential part of the plan.

The fact that the city, at long last, is moving toward implementing this program is a testament to the work of Sup. Ross Mirkarimi, who pushed it for years, and Sup. David Campos, who more recently took over the lead role. Both deserve immense credit for their work.

As Rebecca Bowe reports in this week’s issue, there’s some disagreement about the contract proposed by the San Francisco Public Utilities Commission. The deal with Shell Energy North America would have the energy giant buy green power wherever it can, deliver it to San Francisco customers along PG&E’s lines — and charge enough to pay for the power and overhead expenses. That, initial reports say, could raise the bill of an average customer somewhere between $7 and $50 a month, depending on use. For most residential customers, the increase is going to be on the low end.

The problem is that the PUC estimates from the start that two-thirds of the potential customers will drop out of the program and stick with PG&E. That’s an abysmal projection, reflecting in part the PUC’s long reluctance to take the program seriously, in part a failure to plan an aggressive marketing campaign — and in part the lack of a long-term vision for the program.

The bottom line is simple: As long as the city is buying energy from somebody else, there are going to be problems. Right now, renewable energy demand exceeds supply, so prices are high. That’s going to fluctuate over the next decade.

But it’s entirely possible for the city to build its own renewable infrastructure and generate power that will beat PG&E’s prices in the short-term future — and will be far, far less expensive a decade down the road. Clean Power SF will never work to its full potential unless the city owns a significant part of the generation system. (Ultimately, the city will never see the full economic benefits of public power until it buys out PG&E or builds its own delivery system.)

The PUC included — at the demand of public-power advocates — a clause in the contract stating that a city build-out was part of the plan. The proposal before the board only includes the contract with Shell — but the final deal should include specific plans for how much local power will be generated, how it will be funded — and how it will ultimately replace the power Shell is providing. The city should start right now looking for sites (there’s lots of surplus city land) and seeking bids for construction, and if the PUC can’t come up with enough revenue-bonding money, the board should put a comprehensive clean energy bond on the November ballot.

The Local Clean Energy Alliance estimates that building 210 megawatts of clean power in San Francisco would generate nearly 1,000 direct jobs and as many as 4,300 indirect jobs. That sort of program would be a boost to the economy and guarantee the city stable energy sources for the future. And it would allow the PUC to market Clean Power SF not as a plan that will cost consumers more today — but as a plan that the city can all-but guarantee will save you money, substantial amounts of money, over the next 10 years.

Style Paige: Shot in shearling

Andrew Lam
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Style Paige: Shot in shearling

Question: can you wear too much shearling? Those that are non-plussed over the material might say yes after seeing this man I snapped a photo of on 16th and Mission Streets who was dressed in a leather coat lined with shearling, topped off with a green hat. But on that chilly day, I was struck by the outfit — it was exuding warm and fashionable.

Talk of shearling has been churning the blogosphere for weeks. Louis Vuitton’s monogram handbag with shearling trim has been responsible for much of it, as have polls on the materials aesthetic merits. Just yesterday, photos of Nicki Minaj were posted on the Web in which she wore wore Fendi shearling cuffed booties.

It’s a vintage-inspired style that both men and women can replicate from celebrities and runway looks. Check out 3.1 Phillip Lim or Calvin Klein then head to a Bay Area thrift store and find your own one-of-a-kind coats and hats. I see nothing wrong with a shearling overload because you can never have too much of a good thing. Well maybe some things, but definitely not shearling.

 

The lights are on in Santa Clara

Zelda Bronstein
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The lights are on in Santa Clara

It’s ironic that PG&E is trying to blame the (brief) power outages at Candlestick — seen live, nationwide, on what was otherwise a great Monday Night Football game — on San Francisco. Even by the utility’s biased admission (and let’s remember — these are the same folks who tried to duck blame for the San Bruno blast that killed eight people), the whole problem started when a line owned and operated by the private utility lost power.

But here’s the best part: One of the main reasons that Santa Clara has been able to finance a brand new stadium for the team, which will soon abandon poor, beat-up old Candlestick, is that the Peninsula city has its own public-power agency.

I’m not for using public money to build sports stadiums. The people who own NFL teams (with the exception of the Green Bay Packers) are not only part of the 1 percent; they’re part of the top one-tenth of the one percent. They’re very, very rich folks, who can pay for their own damn stadiums.

And I don’t think San Francisco will suffer greatly when the Niners move south — we never got much of an economic benefit from football games here, anyway.

But I’ll always remember the story Sheriff Mike Hennessey told me a few years back, when he was attending one of Mayor Gavin Newsom’s department-head meetings, and the mayor started complaining about Santa Clara’s efforts to woo the Niners, and how money from that city’s power agency was making it hard for S.F. to compete.

“Are you saying,” Hennessey asked the mayor, “that if San Francisco had public power, we might be able to keep the 49ers?”

Newsom didn’t respond.

Guardian editorial: Making Clean Power SF work

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EDITORIAL The way the San Francisco Chronicle describes it, the city’s new green power program “won’t come cheap.” That’s a line that Pacific Gas and Electric Co. will use over and over again in the next few months as the city finally prepares to get into the retail electricity business, 98 years after Congress mandated public power for San Francisco. Clean Power SF will offer 100 percent clean energy — and yes, right now, this spring, it will cost a little bit more than buying nuclear and coal power from PG&E.

But that price differential will change dramatically in the next few years — if the city goes forward not just with buying and aggregating power from the commercial market but developing renewable energy on its own.

That’s the key to the future of Clean Power SF — and as a proposed contract to get the system up and running comes to the Board of Supervisors, the need for a city build-out of at least 210 megawatts of energy generation capacity is, and must be, an essential part of the plan.

As Rebecca Bowe reports in the Guardian, there’s some disagreement about the contract proposed by the San Francisco Public Utilities Commission. The deal with Shell Energy North America would have the energy giant buy green power wherever it can, deliver it to San Francisco customers along PG&E’s lines — and charge enough to pay for the power and overhead expenses. That, initial reports say, could raise the bill of an average customer somewhere between $7 and $50 a month, depending on use. For most residential customers, the increase is going to be on the low end.

The problem is that the PUC estimates from the start that two-thirds of the potential customers will drop out of the program and stick with PG&E. That’s an abysmal projection, reflecting in part the PUC’s long reluctance to take the program seriously, in part a failure to plan an aggressive marketing campaign — and in part the lack of a long-term vision for the program.

The bottom line is simple: As long as the city is buying energy from somebody else, there are going to be problems. Right now, renewable energy demand exceeds supply, so prices are high. That’s going to fluctuate over the next decade.

But it’s entirely possible for the city to build its own renewable infrastructure and generate power that will beat PG&E’s prices in the short-term future — and will be far, far less expensive a decade down the road. Clean Power SF will never work to its full potential unless the city owns a significant part of the generation system. (Ultimately, the city will never see the full economic benefits of public power until it buys out PG&E or builds its own delivery system.)

The PUC included — at the demand of public-power advocates — a clause in the contract stating that a city build-out was part of the plan. The proposal before the board only includes the contract with Shell — but the final deal should include specific plans for how much local power will be generated, how it will be funded — and how it will ultimately replace the power Shell is providing. The city should start right now looking for sites (there’s lots of surplus city land) and seeking bids for construction, and if the PUC can’t come up with enough revenue-bonding money, the board should put a comprehensive clean energy bond on the November ballot.

The Local Clean Energy Alliance estimates that building 210 megawatts of clean power in San Francisco would generate nearly 1,000 direct jobs and as many as 4,300 indirect jobs. That sort of program would be a boost to the economy and guarantee the city stable energy sources for the future. And it would allow the PUC to market Clean Power SF not as a plan that will cost consumers more today — but as a plan that the city can all-but guarantee will save you money, substantial amounts of money, over the next ten years.

 

Last-minute gifts: Terrarium, $10

Charles Russo
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Last-minute gifts: Terrarium, $10

Got loved ones in need of more green? Here’s a last-minute gift idea that’s sure to provide them with a respite from the concrete jungle…

MISSION STATEMENT: One of the three owners of this well-turned-out Mission boutique crafts these “air plants” in bulbous aquarium bowls. Rocks, sand, moss, and greenery coexist peacefully within the bowels of the terrariums – the perfect window sill companion for your buddy who longs for more nature in their life.

3458 18th St., SF (415) 244-7457, www.missionstatementsf.com

For more last-minute gift ideas check out the Guardian’s Holiday Guide.

 

Clouded: Oakland’s Main Attrakionz rise up from the fog

Tony Robles
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Clouded: Oakland’s Main Attrakionz rise up from the fog

Maybe it’s the dreamy, celestial quality of their ethereal beats, or the cloud of weed smoke that seems to float from the speakers whenever Squadda B or MondreMAN spit one of their sky-high verses. While the origin of the term “cloud rap” may be up for debate, it’s undeniable that Main Attrakionz is carving out its own place in hip-hop by pioneering a new sub-genre.

Squadda and Mondre diligently recorded track after cloudy track in a foam-padded bedroom closet in North Oakland before entering a professional studio to lay down their most recent mixtape 808’s & Dark Grapes II. Thanks to its more polished production — and an ever-growing spotlight on the emerging DIY rap movement — 808’s & Dark Grapes II catapulted Main Attrakionz to the spotlight.

The pair is back at the home studio where it all began when I call them one winter afternoon. Mondre and Squadda, both barely 20 years old, are in high spirits, laughing and joking while we chat. The self-proclaimed “best duo ever” has been rapping together since age 12; they met in a seventh grade math class, and they’ve been inseparable ever since. “We would write and perform at talent shows,” says Mondre.

“Old school Cash Money, back in the ‘90s, those were the first CDs I ever bought,” he says of his formative influences. “No Limit, DJ Quik, Snoop Dogg, Too $hort. East Coast, West Coast, the South, all of it.”

Back in their talent show days, Mondre and Squadda were members of a four-piece called 4Figgas. The summer after they met, they recorded their first track – rapping over the Neptunes-produced beat for the Clipse’s “Grindin’.”

Beats for other early Main Attrakionz releases were often supplied by Shady Blaze, an Oakland rapper, producer, and prominent member of Main Attrakionz’s hip-hop collective Green Ova Undergrounds. More recent work has featured ambient, new-agey beats by up-and-coming artists like East Bay duo Friendzone, whose praise for Main Attrakionz’s off-the-cuff writing process sparked my interest.

“They make a brand new beat, we gotta write brand new shit to go along with it,” explains Squadda. He describes his studio mentality as “blank minded.” The pair listens to a track, rolls a few blunts, and cultivates breezy, zoned-out rhymes on the spot. “Wherever the beat takes it, that’s where we take it,” he says.

A refreshing realness runs throughout Main Attrakionz’s lyrics. The hardships of coming up in Oakland are neither downplayed nor glorified. Smoking weed is a continuous motif, as are the young rappers’ lofty ambitions and dreams. When there are mentions of money, it’s usually in the context of having enough to get by.

Main Attrakionz’s mixtapes have featured a slew of guest appearances from rising stars like ASAP Rocky and Danny Brown. When I ask Squadda whom he’d recruit if he could collaborate with anyone, alive or dead, he responds with youthful cockiness. “It’s gotta be a producer first off, cause I gotta have somebody that can bring something to the table,” he says. “It’s gotta be [UGK’s] Pimp C. Hands down, case closed.”

“It’s crazy that it came at this time, cause now we don’t even care about all that,” Squadda remarks on his recent critical acclaim. “[I’m just] glad to put music out that people can hear from anywhere.” Upcoming projects for Main Attrakionz include solo efforts from Mondre and Squadda, a Green Ova Undergrounds compilation, and a debut full-length.

Since it accompanies every mention of the duo, I can’t resist asking for a definition of cloud rap. “Hold on,” says Mondre. There’s a lot of commotion as he hands the phone to Squadda, and all I can make out is, “We’re higher than everybody else.”

Main Attrakionz
With G-Side and DaVinci
Tues/20, 9 p.m., $15
Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

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