Independent

Despite settlement, Wells Fargo still in housing activists’ crosshairs

Federal regulators cut a deal with 10 major banks to “speed up housing relief,” major news outlets reported earlier this week – but to exactly no one’s surprise, the amount promised to struggling homeowners is a pittance compared with the overwhelming losses sustained during the foreclosure crisis. National consumer advocates criticized the deal as a lost opportunity to demand some accountability from Wall Street. In San Francisco, neighborhood activists with Occupy Bernal dismissed the agreement as falling short and vowed to continue campaigning against Wells Fargo, a primary mortgage lender based in San Francisco and one of the 10 financial institutions to sign on. 

The bank settlement replaced a mandatory, independent foreclosure review process that financial institutions were required to take on following revelations of widespread abuses, like robo-signing. Created to benefit homeowners who faced foreclosure in the wake of these shady lending practices, the program was ultimately chalked up as a failure for being too slow, costly and ineffective. Not only did it reach just a tiny fraction of those eligible to file claims, said Bruce Mirken of the Greenlining Institute, but “as of the end of the year, nobody had actually gotten any money.”

Instead of continuing down that fraught path, big lenders such as Bank of America, Wells Fargo, JPMorgan Chase and others agreed to shell out $8.5 billion to settle the claims. Under a process that remains far from clear, payments are supposed to be distributed among 3.8 million struggling households nationwide – some of whom went through foreclosure in 2009 and 2010, and others currently in danger of losing their homes.

Local housing activists were cynical. “Wells Fargo and the other big banks have agreed to paying principal reductions and affordable permanent loan modifications about 20 times. They haven’t done it yet, and they’re not going to do it unless we make ’em,” said Buck Bagot, a neighborhood activist who has been organizing around foreclosure issues with Occupy Bernal. In San Francisco alone, more than 1,200 foreclosed properties turned up in a quick search on Trulia.com – many listed at prices exceeding $500,000.

The situation is far worse in the East Bay. From 2006 to 2011, one out of every 14 Oakland households faced foreclosure and had their property reverted back to the bank, according to data compiled by the Urban Strategies Council, an Oakland-based nonprofit working on anti-poverty issues. East Oakland was hit hardest, with data visualizations showing between 165 and 409 properties per census tract that had reverted back to lenders in 2008. (You can view detailed geographic foreclosure data compiled by the Council here.)

“The amount of wealth that has been sucked out of communities is astonishing,” said Mirken, of the Greenlining Institute, a Berkeley-based research advocacy organization focused on economic justice. “It’s not at all clear that the $8.5 billion is at all in relation to the trillions in wealth that was drained from communities in the foreclosure crisis.” In California there are currently 208,435 foreclosed homes up for sale, according to data recently accessed on housing tracking site RealtyTrac, with average price listings of around $273,000. The amount that stands to be gained by selling off bank-owned properties exceeds the total settlement payout by many orders of magnitude. 

Mirken said he was glad the banks are promising at least some form of relief to struggling homeowners, even if it’s small potatoes. “I’m not dismissing this as nothing,” he said. “But it feels like the response has never matched the scale of the problem.”

Meanwhile, some nationwide consumer advocates blasted the deal. “The capped pool of cash payments is wholly inadequate in light of the scale of the harm,” said Alys Cohen, staff attorney for the National Consumer Law Center. “If the reviews had been done right the first time, banks would have been on the hook to pay far more to homeowners, even though the planned scheme fell far short of full compensation.”

Occupy Bernal staged a protest at the Bayview branch of Wells Fargo several weeks ago in an effort to draw attention to abusive lending practices that disproportionately affected African American, Asian and Latino homeowners. Bagot told the Guardian there are more to come. As for the bank settlement deal, he scoffed: “These governmental chickens live in the chicken coop that’s run by the fox.”

Write it out

1

culture@sfbg.com

CAREERS AND ED If your New Year’s resolutions include finally finishing that post-apocalyptic S&M fantasy novel, or maybe just starting the memoir about your childhood as the illegitimate offspring of a ’70s soap opera star, you’re in the right place — and time. Here in the Bay Area, you can’t throw a copy of Robert McKee’s literary how-to “Story” without hitting a writing teacher — and January is when most writing classes ramp up. The trick is choosing the right one.

Best to begin with these 3 steps:

DECIDE EXACTLY WHAT KIND OF CLASS YOU WANT

Are you looking for a lot of lecture on writing craft, or would you rather spend more time workshopping your writing? Do you want to be assigned reading homework, or would you prefer writing exercises? All this information should be in the class description, and if it isn’t, email the teacher and ask. You’re allowed, you’re a grown-up now.

ASSESS YOUR MOTIVATION LEVEL

About mid-February it’ll be a cold, rainy night and that TiVoed episode of Downton Abbey and some takeout Indian food will seem more appealing than the experimental fiction course you signed up for. Decide now if you’re better committing to an afternoon class or a weekend workshop. Or if you should sign up with a friend so you’ll have somebody to shame you going.

VET THE INSTRUCTOR

Reading the teacher’s bio is as important as reading the course description. If you’re taking a class in novel-writing, you might want to know if your instructor has actually published (and not self-published) a novel — and if it was in the last couple of decades. This is useful information to have when you’re asking about real-world topics, such as getting an agent or dealing with publishers.

Of course, being published doesn’t necessarily make someone a good teacher. Writing is a profession that attracts people who like to lock themselves up in rooms with imaginary characters. Always check out the Yelp reviews for any place you’re thinking of taking a class. You’ll find plenty of individual teacher comments, pro and con.

*******

While there are other options, here is my personal list of the best places to take writing classes in the Bay Area:

THE WRITING SALON

Started in 1999 by a former newspaper editor, the Writing Salon (www.writingsalons.com)now has two locations, one in Potrero Hill and another in Berkeley. The Writing Salon offers intimate classes, four times a year in all genres (fiction, poetry, playwriting, even erotica) that are real crowd-pleasers. The Writing Salon won the SFBG Best of the Bay Readers’ Poll in Adult Education in 2011 and 2012.

THE SAN FRANCISCO WRITERS’ GROTTO

The Grotto began offering classes in 2008, and has seen their program grow to more than 15 classes per week. Begun in 1994 by Po Bronson, Ethan Canin, and Ethan Watters, the San Francisco Writers’ Grotto (www.sfgrotto.org) is a collective of working writers who share office space South of Market, where classes are held. Grotto classes are taught by Grotto members, as well as visiting colleagues, such as their agents, editors, and author friends. Grotto classes have perhaps the most stringent criteria for their teachers. No instructor can teach a Grotto class in a genre he or she is not published in. The Grotto has recently partnered with Litquake to sponsor the Bay Area’s first juried writers conference, Lit Camp, to be held this April.

BOOK PASSAGE

Easily the best independent bookstore in the country, Book Passage (www.bookpassage.com) in Corte Madera is also an excellent place to take a writing class. Often authors on their way through town on book tour will teach here. Book Passage is justifiably famous for its three big conferences — Children’s Writers and Illustrators, Mystery Writers, and Travel Writers and Photographers — which take place in the spring and summer. Elaine Petrocelli, the brains behind Book Passage, packs these conferences with agents and editors, and then sends them out to mingle with the students. More than one local writer has had his or her career made at a Book Passage conference.

GOING ALL IN — GRADUATE SCHOOL

If attending these writing classes has you thinking about taking your skill set to the next level, you don’t have to leave town. San Francisco State has one of the best, and for California residents, one of the least expensive Creative Writing graduate programs. It’s not easy to get into, but the upside is that once you’re in, reading your fellow students’ work is a pleasure. SF State (creativewriting.sfsu.edu) offers an MA and an MFA program, and you can go part time.

Another good, although pricier, choice is California College of the Arts, which offers a two-year MFA program at its SF campus (www.cca.edu/academics/graduate/writing).

Why the GOP gets away with obstructing Congress

91

There’s an interesting piece on Calitics talking about what California can teach the nation in terms of ending Republican obstructionism. Robert Cruickshank, as usual, is right on target — and he points to the real problem in Washington. Republicans in the House no longer worry about losing their seats to Democrats; the GOP has been so good about gerrymandering that only maybe 30 or 40 seats in the entire nation are still competitive. What these increasingly right-wing loonies worry about is a primary challenge from an even loonier, even right-wingier candidate — so they refuse to vote for any taxes and they’re willing to bring down the entire economy if that’s what it takes.

The problem is it’s not as easy to fix nationally as it was in California. We’re talking long-term efforts to change governors and state Legislatures so they can rewrite Congressional districts (or create California-style independent redistricting, which I initially opposed but hasn’t turned out so bad). The Constitution mandages redistricting every ten years, but I don’t think there’s any rule saying you can’t draw new districts more often, or that you can’t create a new way of drawing them and put that in place right away. But again, that’s not immediate.

Meanwhile, Obama’s going to have to force as much as he can through a reluctant Congress and do as much as he can with executive orders.

Golden doodles

4

cheryl@sfbg.com

Yeah, the presidential election happened months ago. But the most intense campaign season is just beginning, as multiple ceremonies ramp up to Hollywood’s ultimate night of self-congratulation (and occasionally questionable fashion): the Academy Awards. The nominations will be announced Jan. 10; the ceremony, hosted by first-timer Seth MacFarlane — of Family Guy and talking teddy bear fame — is Feb. 24. Predictions are based on Golden Globe nominations, Screen Actors Guild Award nominations, Independent Spirit Award nominations, random news and gossip reports, and my own loudmouthed opinion.

Best Actor This one’s already in the bag, or more accurately, tucked under the stovepipe hat: Daniel Day-Lewis is the closest thing 2013 has to a lock, for Lincoln. The only strike against the two-time winner is that his last trophy came pretty recently, for 2007’s There Will Be Blood. Though it’s unlikely any of the other nominees have a chance, best guesses for also-rans are Hugh Jackman for Les Misérables (he sings!); John Hawkes for The Sessions (he’s paralyzed!); and Denzel Washington for Flight (he drinks!) The fifth slot could go to Silver Linings Playbook‘s Bradley Cooper, The Master‘s Joaquin Phoenix (my pick), or dark horse Jack Black, for Bernie.

Best Actress Two women enter, one woman leaves … with a little gold man in tow. Best Actress looks to be a battle between Zero Dark Thirty‘s Jessica Chastain and Silver Linings Playbook‘s Jennifer Lawrence. Both have been nominated before, though Chastain might have an edge here: Zero is a serious action-drama that’s been hyped more than Playbook, and Chastain — last year’s “Where did she come from and why is she in every movie?” surprise — has settled down from overexposed newcomer to reliable talent. Lawrence, also the lead in the mega-popular Hunger Games series, is just 22 years old, and though her sophisticated work in Playbook belies her relative youth, she may be passed over with the understanding that she’ll soon be nominated again.

Other names that will likely appear on the ballot: Marion Cotillard, a past winner, for playing a woman who loses her legs in Rust and Bone; and Naomi Watts, a past nominee who should probably have gotten a statuette by now, for playing the matriarch of a tsunami-ravaged family in The Impossible. The last slot could go to Academy fave Helen Mirren (for the so-so Hitchcock); another past winner, Rachel Weisz, for her raw turn in The Deep Blue Sea; Emmanuelle Riva, winner of the San Francisco Film Critic Circle’s Best Actress award for her work as a dying woman in Amour; or grade-school discovery Quevenzhané Wallis, for her tough-sprite turn in Beasts of the Southern Wild.

Best Supporting Actor After I saw Argo, I was certain that Alan Arkin (who won in this category for 2006’s Little Miss Sunshine) would repeat. Then I saw Lincoln, and decided Tommy Lee Jones was the clear favorite. Then I saw Django Unchained, and Samuel L. Jackson, Leonardo DiCaprio, and Christoph Waltz lurched forth. I suspect all of Django‘s supporting cast won’t actually be nominated (my favorite of the trio: Jackson), and The Master’s Philip Seymour Hoffman and Silver Linings Playbook‘s Robert De Niro are likely contenders. Matthew McConaughey could also slither in, for the crowd-pleasing Magic Mike. But right now, I’m leaning toward the hilariously world-weary Jones for the win. “It opens!”

Best Supporting Actress It’s going to be Sally Field, the nutty-yet-sympathetic Mary Todd in Lincoln, versus Anne Hathaway, the weepy, shorn Fantine in Les Misérables. I am not a Hathaway fan, but if the Academy — who are not immune to being emotionally manipulated by director Tom Hooper (2010’s Best Picture The King’s Speech) — wants to award someone from Les Mis, she’s more likely to squeak in than Jackman. Plus, she hosted the Oscars a few years ago. That’s got to count for something, right?

Other nominees: I’m hoping both Amy Adams (spooky in The Master) and Nicole Kidman (daffy in the Paperboy) get nods, but any slots left over will probably be filled by The Sessions’ Helen Hunt or Maggie “Dowager Countess 4-Lyfe” Smith, for The Best Exotic Marigold Hotel.

Best Screenplay (Original and Adapted) The Golden Globes, the Oscars’ boozier little bro, doesn’t differentiate between original or adapted, but its lumped-together nominees contain the likely winners in each category: Mark Boal for Zero Dark Thirty (original), and Tony Kushner for Lincoln (adapted). Other original nominees could include Django Unchained, The Master, Amour, and Looper; other adapted nominees will be sure-things Argo and Silver Linings Playbook, with The Sessions and Beasts of the Southern Wild possibly filling out the category.

Best Documentary The 15-film short list was released in early December, so there’s a bit of navigational help with this one. I have seen most (but not all) of the films on the list; with that disclaimer, my predictions for the final five are: The House I Live In, The Imposter, Searching for Sugar Man, This Is Not a Film, and the SFFCC’s top doc, locally-made hospital drama The Waiting Room. I’m still awaiting the chance to check out Mea Maxima Culpa: Silence in the House of God, a highly-praised look at clerical sex abuse from oft-nominated (and once-rewarded, for 2007’s Taxi to the Dark Side) director Alex Gibney.

Best Foreign Language Film Since only one film per country can be submitted, and The Intouchables snagged France’s spot, my favorite movie of the year (Holy Motors) isn’t even eligible. But that doesn’t matter, really — Intouchables will likely get a nod, but this race is for the critically-beloved Amour (from Austrian director Michael Haneke, whose The White Ribbon was nominated in 2010) to lose. Other short listers (there are a total of nine) include Canada’s War Witch, Chile’s No, Denmark’s A Royal Affair, Romania’s Beyond the Hills, and Switzerland’s Sister.

Best Director/Best Picture As Steven Spielberg surely recalls, just because you win Best Director (for 1998’s Saving Private Ryan) doesn’t mean Shakespeare in Love won’t swoop in and steal your Best Picture prize. Oscar can tap between five and ten nominees for Best Picture, so the categories won’t necessarily line up — but this year, they just might. Look for the top contenders to be Kathryn Bigelow-Zero Dark Thirty (see my review elsewhere in this issue; it’s also my pick to win), and Spielberg-Lincoln. Other likely nominees: Paul Thomas Anderson-The Master; Ben Affleck-Argo; Tom Hooper-Les Misérables; David O. Russell-Silver Linings Playbook; and Michael Haneke-Amour.

 

Music Listings

0

Music listings are compiled by Emily Savage. Since club life is unpredictable, it’s a good idea to call ahead or check the venue’s website to confirm bookings and hours. Prices are listed when provided to us. Visit www.sfbg.com/venue-guide for venue information. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 2

ROCK/BLUES/HIP-HOP

Keith Crossan Blues Showcase Biscuits and Blues. 8pm, $15.

Jason Marion vs JC Rockit Johnny Foley’s Dueling Pianos. 9pm, free.

Nathan and Rachel Johnny Foley’s. 9pm, free.

Lia Rose, Danny Paul Grody, Deep Ellum Brick and Mortar Music Hall. 8pm, $7-$10.

Royal Teeth, Gentlemen Hall, Mister Loveless Rickshaw Stop. 8pm, $10-$12.

Weather Side Whiskey Band, Creak, Jessi Philips Cafe Du Nord. 9:30pm, $8.

JAZZ/NEW MUSIC

Dink Dink Dink, Gaucho, Eric Garland’s Jazz Session Amnesia. 7pm, free.

Roy Hargrove residency Yoshi’s SF. 8pm, $26; 10pm, $16.

Ricardo Scales Top of the Mark, 999 California, SF; www.topofthemark.com. 6:30pm, $5.

FOLK/WORLD/COUNTRY

Cha-Ching Boom Boom Room. 8pm, $5. Salsa, cumbia, Cuban funk.

Timba Dance Party Bissap Baobab, 3372 19th St, SF; www.bissapbaobab.com. 10pm, $5. Timba and salsa cubana with DJ Walt Diggz.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita MORE! and Joshua J host this dance party.

Coo-Yah! Slate Bar, 2925 16th St, SF; www.slate-sf.com. 10pm, free. With Vinyl Ambassador, DJ Silverback, DJs Green B and Daneekah.

Martini Lounge John Colins, 138 Minna, SF; www.johncolins.com. 7pm.

THURSDAY 3

ROCK/BLUES/HIP-HOP.

Anthony B Independent. 9pm, $25.

Ron Hacker Biscuits and Blues. 8 and 10pm, $15.

John Lawton Trio Johnny Foley’s. 9pm, free.

Daniel Krass vs Rags Tuttle Johnny Foley’s Dueling Pianos. 9pm, free.

Pops, Beggars Who Give, Posole Brick and Mortar Music Hall. 9pm, $5-$8.

JAZZ/NEW MUSIC

Roy Hargrove residency Yoshi’s SF. 8pm, $26; 10pm, $16.

Stompy Jones Top of the Mark, 999 California, SF; www.topofthemark.com. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Country Casanovas Atlas Cafe, 3049 20 St, SF; www.atlascafe.net. 8-10pm.

Misisipi Mike and the Midnight Gamblers Amnesia. 7pm.

Twang! Honky Tonk Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm. Live country music.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-$7. With DJ-host Pleasuremaker.

All 80s Thursday Cat Club. 9pm, $6 (free before 9:30pm). The best of ’80s mainstream and underground.

Ritual Dubstep Temple. 10pm-3am, $5. Trap and bass.

Supersonic Lookout, 3600 16th St., SF; www.lookoutsf.com. 9pm. Global beats paired with food from around the world by Tasty. Resident DJs Jaybee, B-Haul, amd Diagnosis.

Tropicana Madrone Art Bar. 9pm, free. Salsa, cumbia, reggaeton, and more with DJs Don Bustamante, Apocolypto, Sr. Saen, Santero, and Mr. E.

FRIDAY 4

ROCK/BLUES/HIP-HOP

Back Pages Johnny Foley’s. 9pm, free.

Dandelion War, In Letter Form, Catharsis For Cathedral, Tracing Figures Cafe Du Nord. 8:30pm, $10-$12.

Easy Leaves, Tiny Television, Misisipi Mike Great American Music Hall. 9pm, $15.

Funkin’ Fridays with Swoop Unit Amnesia. 6pm.

Good Luck Thrift Store Outfit, Human Condition, Fox and Woman Independent. 9pm, $15.

Happy Body Slow Brain, Gavin Castleton, Case in Theory, Belmont Lights Bottom of the Hill. 9pm, $12.

Love Dimension, Free Moral Agents, Saything, Buzzmutt Brick and Mortar Music Hall. 9pm, $5-$8.

Steve Lucky and the Rhumba Buns Biscuits and Blues. 8 and 10pm, $20.

"Tip Your Hat to the Blues: West Coast Songwriter Session" Slim’s. 8pm, $15. With Ron Hacker, Steve Freund and Jan Fanucci, and more.

Violent Change, Swiftumz, Wet Spots Hemlock Tavern. 9:30pm, $7.

Greg Zema, Daniel Krass, Jason Marion Johnny Foley’s Dueling Pianos. 9pm, free.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Black Market Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.

Roy Hargrove residency Yoshi’s SF. 8pm, $28; 10pm, $22.

FOLK/WORLD/COUNTRY

Sarah Cabrel Bissap Baobab, 3372 19th St, SF; www.bissapbaobab.com. 7pm, free. Live Brazilian lounge music.

Eddy Nava and Pena Pachamama Band Pena Pachamama, 1630 Powell, SF; www.pachamamacenter.org. 8:30pm. $15-$19.

DANCE CLUBS

All Night Long with Peter Blick Public Works. 10pm, $5.

DJ Audio1 Cellar, 685 Sutter, SF; www.cellarsf.com. 10pm, $10.

Go Bang! Stud. 9pm, free before 10pm. With Michael Serafini, Tyrel Williams, Steve Fabus, Sergio Fedasz.

Joe Lookout, 3600 16th St.,SF; www.lookoutsf.com. 9pm. Eight rotating DJs, shirt-off drink specials.

Old School JAMZ El Rio. 9pm. Fruit Stand DJs spinning old school funk, hip-hop, and R&B.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Ron Reeser, Adam Cova Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

Twitch DNA Lounge. 10pm, $5-$8. With Red Red Red, Excuses, DJs Justin, Omar, and more. .

Zing DNA Lounge. 9pm, $10. With Tranz Am, Frank Nitty, Krishna, Taj, and more.

SATURDAY 5

ROCK/BLUES/HIP-HOP

"Bowie and Elvis Birthday Bash" Edinburgh Castle, 950 Geary, SF; www.castlenews.com. 9pm, $5.

Fever Charm, False Priest, Rin Tin Tiger, Everyone is Dirty Bottom of the Hill. 8:30pm, $10.

French Cassettes, Coast Jumper, A Yawn Worth Yelling, Mr. Kind Brick and Mortar Music Hall. 9pm, $5-$8.

Future Twin, Pamela, Deep Teens, Standard Poodle, Skunks, Dancer Thee Parkside. 9pm, $5.

Gypsy Moonlight Band Riptide Tavern. 9:30pm, free.

Hope Chest, Astral, Tomihira Rickshaw Stop. 8pm, $10.

Jesus and the Rabbis Boom Boom Room. 8pm, $12.

Daniel Krass, Greg Zema, Jason Marion Johnny Foley’s Dueling Pianos. 9pm, free.

Marissa Nadler Chapel, 777 Valencia, SF; www.thechapelsf.com. 9pm, $12-$15.

EC Scott Biscuits and Blues. 8 and 10pm, $20.

"SF Cares: Hurricane Sandy Benefit" Cafe Du Nord. 9pm, $8. With Elena Ovalle, Liz O Show, Katie Gribaldi, Gyasi Ross.

Skin Divers Johnny Foley’s. 9pm, free.

VKTMS, Meat Sluts, Scrapers Hemlock Tavern. 9:30pm, $7.

Zoo Station: Complete U2 Experience, Petty Theft Slim’s. 9pm, $15-$20.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Roy Hargrove residency Yoshi’s SF. 8pm, $28; 10pm, $22.

FOLK/WORLD/COUNTRY

Craig Ventresco and Meredith Axelrod Atlas Cafe, 3049 20 St, SF; www.atlascafe.net. 4-6pm.

DANCE CLUBS

Bootie SF DNA Lounge. 9pm, $10-$15. Mashups.

Cockfight Underground SF, 424 Haight, SF; (415) 864-7386. 9pm, $7. Rowdy dance night for gay boys .

Foundation Som., 2925 16th St, SF; (415) 558-8521. 10pm, $5-$10. DJs Shortkut, Apollo, Mr. E, Fran Boogie spin Hip-Hop, Dancehall, Funk, Salsa.

Haceteria Deco Lounge, 510 Larkin, SF; www.decosf.com. 9pm, free before 11pm, $3 after.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs.

Saturday Night Soul Party Elbo Room. 10pm, $5-$10. With DJs Lucky, Paul Paul, Phengren Oswald.

Tall Sasha, Jason Kwan, Ks Thant Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

SUNDAY 6

ROCK/BLUES/HIP-HOP

John Lawton Trio Johnny Foley’s. 9pm, free.

Jugtown Pirates, Dylan Chambers and the Midnight Transit, Highway Poets Brick and Mortar Music Hall. 8pm, $5-$8.

Kally Price Old Blues and Jazz Band Amnesia. 8pm, $5.

Reel Big Fish, Pilfers, Dan Potthast Regency Ballroom. 8pm, $22.

Sad Boys, Drapetomania, Neon Piss, Kommplex Knockout. 3:30-8pm, $5.

Some Ember, Excuses, Believe Hemlock Tavern. 6pm, $6.

JAZZ/NEW MUSIC

Charles Hamilton, Eric Hunt Bliss Bar, 4026 24th St, SF; www.blissbarsf.com. 4:30pm, $10.

Roy Hargrove residency Yoshi’s SF. 7 and 9pm, $22.

FOLK/WORLD/COUNTRY

Brazil and Beyond Bissap Baobab, 3372 19th St, SF; www.bissapbaobab.com. 6:30pm, free. Brazilian music with La Dee Da and Ro-Z.

DANCE CLUBS

Beats for Brunch Thee Parkside. 11am, free. With Chef Josie and DJ Motion Potion.

Dub Mission Elbo Room. 9pm, $6. With DJ Sep, Vinnie Esparza, and Mexican Dubwiser.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2.

MONDAY 7

ROCK/BLUES/HIP-HOP

Augustana, Lauren Shera Independent. 8pm, $15.

Damir Johnny Foley’s. 9pm, free.

Guntown, Dulldrums, Treemotel, Brasil Elbo Room. 9pm, $6.

FOLK/WORLD/COUNTRY

Belle Monroe and Her Brewglass Boys Amnesia. 9pm.

DANCE CLUBS

Crazy Mondays Beauty Bar, 2299 Mission, SF; www.thebeautybar.com. 10pm, free. Hip-hop and other stuff.

Death Guild DNA Lounge. 9:30pm, $5. Gothic, industrial, and synthpop with Decay, Joe Radio, Melting Girl, and more.

M.O.M. Madrone Art Bar. 6pm, free. DJs Timoteo Gigante, Gordo Cabeza, and Chris Phlek playing all Motown every Monday.

Soul Cafe John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. R&B, Hip-Hop, Neosoul, reggae, dancehall, and more with DJ Jerry Ross.

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop.

TUESDAY 8

ROCK/BLUES/HIP-HOP

Blank Tapes, Treemotel, Travis Marks Amnesia. 9pm.

Bombshell Betty and Her Burlesqueteers Elbo Room. 9pm, $10.

Daneil Castro Biscuits and Blues. 8 and 10pm, $15.

Coyote Trickster Boom Boom Room. 8pm, $5.

NslashA, Starskate, ilona Staller Bottom of the Hill. 9pm, $10.

Shape, Mountain Tamer, Midnight Snackers Hemlock Tavern. 8:30pm, $6.

Stan Erhart Band Johnny Foley’s. 9pm, free.

Tender Buttons, Bitter Fruit, No Bone Knockout. 9:30pm, $6.

JAZZ/NEW MUSIC

Elliott Yamin Yoshi’s SF. 8pm, $22.

More school security? Maybe not.

9

OPINION I pretty much live in schools. Almost every morning, I get my three-year-old ready for pre-school, my seven-year-old ready for first grade, and myself ready for high school, where I teach English. Almost everyday, I’m in at least three schools. But never before had I thought so thoroughly about school security until Monday, Dec. 17, when I drove my daughters, and then myself, to school for the first time after the shootings in Newtown.

My first stop is my daughter’s public elementary school in San Francisco. Because I often have an 8am class and am pressed for time, I almost never walk her into school. I pull up along a curb, where fifth graders clad in fluorescent vests open the back door of my car to escort my daughter out. From there, she walks alone into a side door and then out onto an outdoor basketball court, where the whole school gathers every morning. Her teacher then takes my daughter to her classroom, which is, incidentally, closest to the front door to the school, which is always open during the day. A potential shooter would have no problem entering, and with enough ammunition and a deadly enough gun, he could kill at will.

I asked for the first time that day: would it be better to close off the campus?

The next stop is my three-year-old daughter’s pre-school. There, I park my car, get her out, and walk to the front entrance, where an administrative assistant buzzes me in upon recognition. Because it’s busy in the mornings, I often hold the door for other parents trying to get in. Of course, it would be very easy for a killer to force his way in behind one of us, or he could simply shoot the glass if he was determined enough.

Again, the questions arise: should the director have a gun in her office? Should we put up metal doors? Should the school hire a security guard monitoring cameras before letting parents and children into the school?

Finally, I arrive at my high school, which is a rather affluent independent school. I park on the street and walk right in. Often the receptionist doesn’t even notice me. We have a completely open campus, with many doors into which someone could enter with no resistance whatsoever. We have security guards, but they are unarmed and more concerned with directing traffic around the school than with a potential intruder. All of our students have off-campus privileges. Should we keep students on campus? Should we bar all the doors? Place an armed security guard at every entry point into the school?

The answer I’ve come to is no.

The question of school security gets at the very nature of what schools are. Schools both are and are not of the world. On the one hand, schools are a place that prepares our youth for the world. They’re also a place where young people can learn to take risks, where they can make mistakes before they go out into the “real” world. On the other hand, however, schools reflect our neighborhoods, our counties, our cities, our states, our country, and our world.

If we bar our schools off from the outside world, the message that we’re sending to our children is that the world is a place to be feared, a place where calculus won’t do you any good — but where a gun will. To “secure” our schools is to admit our collective failure at making the outside world safe. It is to admit that one of the fundamental values of any society, and in particular our American society—trust—has been broken.

I would hope instead that we work now to change the world enough to communicate to our children that the world is, in fact, a place that is not just safe but that they are invited into, a place where they can thrive and find happiness rather than a place to fear and hide from. Our responsibility is not to gate schools off from the world but to take the need for gates down altogether.

Scott Laughlin teaches English at University High School.

This ain’t a wrap

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YEAR IN FILM Perhaps the backlash was inevitable. Any film that so flawlessly wows its initial audience in turn begins to receive a lot more scrutiny down the line, and there are definitely things about This Ain’t California to scrutinize. Billed as a documentary, yet centered around a character who may not actually exist, This Ain’t California details the unlikely rise of a rebellious East German skateboarding scene hidden from view behind the Iron Curtain.

An exuberant mischung of archival and new video footage, a brash and punkish soundtrack, animated sequences, and compelling, little-explored subject matter, the film made irreverence its watchword, from storyline to storyboard. And although the sheer scale of this irreverent approach, including the filmmakers’ unorthodox methods of framing their story, raised serious questions about This Ain’t California‘s self-definition as documentary, what was undeniable was the movie’s greatest success — its flawless capture of a zeitgeist, not just of a specific place and time, but of the irrepressible vitality of youth cultures everywhere.

>>Read more from our Year in Film 2012 issue here.

Screened first at the 2012 Berlinale in February (and in San Francisco at the Berlin and Beyond Film Festival in October), This Ain’t California won the coveted “Dialogue en Perspective” prize for young filmmakers, an award given with this statement that foreshadowed the controversy to come: “We’ve rarely been so splendidly manipulated.” While the jury in Berlin was referring to the dynamic editing job spearheaded by 23-year-old Maxine Gödecke, as the film won more awards around the festival circuit — including “Best Documentary” at the Cannes Independent Film Festival — details about its unconventional creation began to emerge in the press. That much of the so-called “archival” video footage was recreated by a slew of modern-day skaters disguised in touchingly hilarious GDR-era hairdos and aggressively mismatched stripes. That all of the footage of the central character Denis “Panik” Paraceck was actually that of Berlin-based skater-model, Kai Hillebrandt. That Denis Paraceck (who, according to the film, died in Afghanistan in 2011) might actually never have existed, let alone been the impetus behind the film’s modern-day reunion of the now-adult skaters (and at least a couple of hired actors, including David Nathan and Tina Bartel).

German news weekly Der Spiegel condemned it as a glorified advertisement for skate culture, bloggers such as Berlin-based Joseph Pearson of The Needle decried the dangerous folly of Germans rewriting their own history, and the filmmakers themselves have been cagey about admitting to the extent of their subterfuge.

“[It’s] so much more fun to keep that secret,” director Martin Persiel explains to me via email when asked to comment.

But lest the naysayers condemn the film as pure hoax, it should be noted that there most definitely was an underground skate scene in East Germany, in addition to other outlaw scenes, including break dancers, punk rockers, and heavy metal bands. Plenty of the film’s old-school skate rats are verifiable as such, and some of the most frankly unbelievable details of the film, such as a compatriot with a Finnish passport being tapped to smuggle boards in from the West, appear to be corroborated independently by academic Kai Reinhart, who has been researching sports history and GDR funsportart since 2005.

“As a filmmaker there is a huge responsibility to truthful depiction of your subject,” Persiel insists. “[And] as far as feedback from the skaters from the East goes, we did do justice to their story.”

On the controversy over allowing a partially fictitious film win awards in the documentary category (against presumably less colorful and more rigorously fact-based films), Persiel remains silent, though he does theorize that the definition of “documentary” is expanding and evolving all the time.

“I call This Ain’t California a ‘documentary tale’,” he explicates, adding his own micro-category. It’s an explanation that probably won’t placate his detractors, but whatever side of the definition of “documentary” the film winds up being relegated to, the definition of “best” will still apply. No matter what, it’s a movie well worth seeing, and controversies aside, a movie well worth having been made — for truly we have been splendidly manipulated. *

 

 

2012’S TOP SELF-CURATED DOUBLE FEATURES (A.K.A. TWO-DOLLAR WEDNESDAY AT LOST WEEKEND IS MY JAM)

 

More in common than you’d expect Delicatessen (Marc Caro and Jean-Pierre Jeunet, France, 1991) and Deliverance (John Boorman, US, 1972)

William H. Macy is underrated Edmond (Stuart Gordon, US, 2005) and The Cooler (Wayne Kramer, US, 2003)

All about men A Single Man (Tom Ford, US, 2009) and A Serious Man (Ethan Coen and Joel Coen, US/UK/France, 2009)

Post-Prometheus Ridley Scott-a-thon Blade Runner (Ridley Scott, US/Hong Kong/UK, 1982) and Alien (Ridley Scott, US/UK, 1979)

Noomi vs. Rooney The Girl with the Dragon Tattoo (David Fincher, US/Sweden/Norway, 2011) and The Girl with the

Dragon Tattoo (Niels Arden Oplev, Sweden/Denmark/Germany/Norway, 2009)

Please kill me Dancer in the Dark (Lars von Trier, various, 2000) and Black Swan (Darren Aronofsky, US, 2010)

Gay follies Paris is Burning (Jennie Livingston, US, 1990) and The Birdcage (Mike Nichols, US, 1996)

Dark days Capturing the Friedmans (Andrew Jarecki, US, 2003) and Deliver Us from Evil (Amy Berg, US, 2006)

The masochism tango The Piano Teacher (Michael Haneke, Austria/France/Germany, 2001) and Secretary (Steven Shainberg, US, 2002) Let’s get physical Boogie Nights (Paul Thomas Anderson, US, 1997) and Magic Mike (Steven Soderbergh, US, 2012)

Our Weekly Picks

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WEDNESDAY 26

San Francisco Kwanzaa Celebration

The celebration of Nguzo Saba (“The Seven Principles”) was created by Dr. Maulana Karenga in 1966 as a way for the African American community to reaffirm its values. Accordingly, concepts that we all should live by are the focus of each day’s worth of Kwanzaa events at City Hall this year. Today’s candle-lighting, feast, and live entertainment pay homage to unity — in the days following, self determination, collective responsibility, cooperative economics, purpose, creativity, and faith will be the program’s focus. (Caitlin Donohue)

Events through Jan. 1

Unity celebration: noon, free

City Hall

1 Dr. Carlton B. Goodlett Place, SF

www.kwanzaasanfrancisco.com

 

THURSDAY 27

Sepalcure

In 2011, producers Machinedrum (a.k.a. Travis Stewart) and Braille (a.k.a. Praveen Sharma) teamed up for the self-titled Sepalcure, a genre cross-stepping album that brought together past and present sounds of house, garage, and dubstep. Take standout track “Pencil Pimp,” where solemn keys progress with gospel moans that share space against hyped “heys” and light, energizing percussive beats. It’s an evocative emotional balance that puts them in league with contemporaries Tomas Barfod and Shlohmo — the latter providing support for this show, which will feature live visuals created by designer Sougwen Chung (a.k.a. Sharma’s girlfriend) for the 2011 MUTEK festival in Mexico City. (Ryan Prendiville)

9pm, $25 Independent 628 Divisadero, SF (415) 771-1421 www.theindependentsf.com

 

FRIDAY 28

We are Legion: The Story of the Hacktivists

When Israel threatened to shut down all Internet communication into and out of Gaza, Anonymous responded by taking down Israeli sites and providing instructional “care packages” for the case of outages. When Westboro Baptist Church announced plans to protest Connecticut’s legalization of gay marriage at vigils for the Sandy Hook Elementary School victims, Anonymous responded by shutting down the church’s site, godhatesfags.com, and the releasing names and information of church leaders. The group is relatively new but has had a huge impact with over a hundred raids in the last few years. This is the Story of the Hacktivists. The film’s director, Brian Knappenberger, interviews members of the online community in order to spark conversations about tactics, motives, and whether these illegal activities are the work of vigilantes, power-trippers, or just what we needed. (Molly Champlin)

7pm, $10

Roxie

3117 16th St., SF

(415) 863-1087

www.roxie.com

 

Cherub

Do we need another electro-pop, falsetto-laden act to follow the likes of Passion Pit and MGMT? Listening to Cherub, the answer is a resounding, “absolutely.” For one thing, this band is a bit sexier than the others (aspiring towards that pan-sexual prowess of Prince.) The duo — made up of Jason Huber and Jordan Kelley — is from Nashville, Tenn., but a respect for mac’n’cheese as a vegetable is about as far as their Southern roots extend. There’s no twang found here. Huber and Kelley’s layered, upbeat guitar, vocals, and synth meld in an energetic show that will demand you dance. (Champlin)

With Battlehooch and Rappers

9:30pm, $12

Bottom of the Hill

1233 17th St., SF (415) 626-4455

www.bottomofthehill.com

 

 

X

Legendary Los Angeles punk act X has always distinguished itself from other bands of its time and genre, with 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. Currently celebrating its 35th anniversary — which is hard to believe, considering X’s material sounds as fresh as ever, and it sounds better than ever live — the iconic group is traveling up the West Coast on a mini “X-mas 2012” tour where fans are sure to hear all of their favorite tunes, as well as a couple of revved-up holiday favorites thrown in for good measure. (Sean McCourt)

Also Sat/29, 9pm, $32

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Wintersalt 2012

It took us a few head-scratching minutes to get the pun on sommersault (I think we get it?), but the two-night Wintersalt festival is sure to bring a little tumble of sunshine into our nightlives. Headliners include that tropical beat-appropriating genius, Diplo; our own atmospheric vinyl cut-up legend DJ Shadow, fresh from infamously getting booted off the decks at Miami douche palace the Mansion for being “too future”; a wee hip-hop rainbow of local adored MCs — Lyrics Born and Lateef, K.Flay, and Goldenchyld. Oh yes, there will also be EDM of the pop monster kind from Zedd and Dillon Francis — ensuring that at least the first night of this 18+ event will be flooded with fun-loving, neon-Raybanned, un-shirted younger brothers and sisters. Travis Barker and Mixmaster Mike will also be there, pumping the retro-’90s live drum-turntable alchemy they’re experts at. (Marke B.)

Also Sat/29

7pm-2am, $50-$160

Fort Mason Festival Pavillion

Marina Blvd, SF

www.wintersaltsf.com

 

SATURDAY 29

Lee Burridge

On “Lost in a Moment,” the 2012 track by Matthew Dekay and Lee Burridge, a snake-charming synth befitting of Vangelis winds around a hazy, beguiling vocalist who seems thoroughly entranced by the beat. The result is hypnotically effective and typical of Burridge, a much loved globe-trotting DJ who has created a dedicated following by transforming sets into moments to remember. Just Youtube his rapturous sunrise performances atop Robot Heart, or ask anyone who caught the last time he came through Public Works, and reportedly kept things going until 5am. (Prendiville)

With Rooz, Bo, Ben Seagren, Atish, and Brian Bejarano

9:30pm, $18–$25

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SUNDAY 30

PRIMUS

Got plans for New Year’s Eve? Want to go Sailing The Seas Of Cheese? Do you plan on serving up some Frizzle Fry? Imbibing some Pork Soda? 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 party with Les Claypool and company on Sunday night, or ring in the New Year with them on Monday, either way, you’re guaranteed quite a night as these special “Frankenstein’s Masquerade” shows are part of Primus’ new 3D Tour, complete with stereoscopic visuals and quad surround sound. (McCourt)

Also Mon/31, 9pm, $47.50–$75

Warfield

982 Market St., SF

www.thewarfieldtheater.com

 

MONDAY 31

Sea of Dreams NYE 2013: LunaSea

The biggest pain about NYE is coordinating all your friends, not to mention their inseparable dates. The annual SOD event is a big tent experience, with wide-ranging musical choices and live, body-warping spectacles to please just about everyone. (Okay, maybe not your roommate’s boyfriend — he should just stay home.) Best of all, it’s broken up into distinct areas to prevent the oppressing, cramped feel of a “massive.” Check out the headliners, with the added bonus of having both Opulent Temple and Dirtybird DJs under one roof. (Prendiville)

With Gogol Bordello, Shpongle’s Quixotic Masquerade, The Glitch Mob (DJ set), Trentemoller (DJ Set), Diego’s Umbrella, Pumpkin, Robert Delong, and more 8pm-4am, $79–$145 SF Concourse Exhibition Center 635 8th St., SF www.seaofdreamsnye.com

 

Remones

Dec. 31 generally cost a lot of money. It’s just this weird, ingrained fact of the day that with the slow, chilly shifting of years comes the jacking up of prices. Hey, here’s an additional $20–$40 tacked on for a glass of bubbly! Sure, some of those crazy pricey shows are probably worth it — the big-name bands, the packed lineups with sparklers, dancers, and holiday accoutrement. But if you’re just in it for the basic, primal fun of fun, here’s a show that’s totally free: the Remones, a Ramones cover band (duh) playing the Riptide. Because really, all you want to do on NYE is gather with friends in a warm, Bay Area environment, drink copious amounts of liquor, and watch live, sing-along punk songs. Hey ho, let’s go. (Emily Savage)

9:30pm, free

Riptide

3639 Taraval, SF (415) 681-8433

www.riptidesf.com

 

 

The New Parish: The People NYE Ball

The People Party was started in 2007 by a group of artists who thought that the East Bay was being overlooked by Bay Area taste-makers (wow, how time flies). Though Oakland has been saturated in attention in the last few years, the event still stands out in the area’s nightlife scene. The multidimensional dance party attracts a creative group of people. It’s a chance for local artists to show their work in a fun environment, and from samples of organic tea to dripping, bright acrylic paint, there is plenty to see. Headlining to celebrate the end of the year will be poet, DJ, and producer, Rich Medina, livening up the evening with his unique connections between spoken word, hip-hop, afrobeat, and jazz. (Champlin)

New Parish

9pm, $20

579 18th St., Oakl.

(510) 444-7474

www.thenewparish.com

 

TUESDAY 1

 

No Way Back New Years Day Disco

There’s a few places to head if you went all night long and want to keep going all day strong. But to start the year off with a certain fresh feeling (and avoid an entire crowd of socket-eyed, gurning zombies), head over to Monarch. With No Ways Back’s reputation of infallible parties and quality music — in this case including Brooklyn’s Justin Vandervolgen (responsible for a double set on Beats in Space earlier this year) and local disco veteran James Glass — there are likely to be a fair number of people skipping the night altogether, and setting their clocks and krups for this one. (Prendiville) With Justin Vandervolgen, Sunny Side Up, Solar, Conor, 40 Thieves, and James Glass 6am, $15–$20 Monarch 101 Sixth St., SF (415) 284-9774 www.monarchsf.com

 

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Honoring Edward Kennedy for defying and defeating political censorship in WWII

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The campaign to award a posthumous Pulitzer Prize to Edward Kennedy, the Associated Press reporter who defied political censorship to break the story of the German surrender on May 7, 1945, was given a historic boost at the 135th annual meeting of the California Press Association on Dec. 7, 2012 at the Marines Memorial Building in San Francisco.

See the video of the Cal Press panel on Kennedy after the jump.

Honoring Edward Kennedy from The Intermountain News on Vimeo.

Video Credit: Craig Harrington, publisher of the Intermountain News in Burney

The association unanimously approved the first ever resolution by a news organization in support of Kennedy and it hosted the first ever panel discussion on Kennedy. Cal Press, as it is affectionately known in the newspaper business, is the oldest press organization west of the Mississippi and one of the oldest in the country. It was founded in 1876 at the Palace Hotel in San Francisco.

The resolution noted what happened to Kennedy after he broke the 36-hour embargo on the story. “Whereas the story made page one in nearly every newspaper, it angered General Dwight Eisenhower, the supreme allied commander, and all the other newsmen Kennedy had scooped. The military lifted his war correspondent’s credential, he was threatened with court martial and was fired by the Associated Press.”

The resolution explained that “unbeknownst to the reporters at the time, that suppression was the result of an agreement between U.S. President Harry Truman and British Prime Minister Winston Churchill to allow Russian Premier Joseph Stalin to hold a second surrender ceremony in Berlin.”

Kennedy broke the embargo, Cal Press explained, after “he learned that news of the German surrender was being broadcast to Germany from a radio station in Flensburg, Germany. He contacted military censors and said that since the story was being reported in Germany, the security of Allied troops was no longer an issue and he intended to defy censorship and report the news, which he proceeded to do by using a military phone line thereby registering the biggest scoop of the entire war.”

The resolution noted that Kennedy’s story is now the subject of two major efforts to “rectify the journalistic injustice by awarding him a Pulitzer Prize posthumously.” The resolution was written by Jim Ewert, general counsel of the California Newspaper Publishers Association.

One effort is a campaign launched from Modoc County by Ray A. March, editor of the Modoc Independent News monthly newspaper, to win a posthumous Pulitzer Prize for Kennedy’s hard news international reporting. March worked for Kennedy as a reporter on the Monterey Peninsula Herald a half century ago. Kennedy was the editor and associate publisher of the Herald until his death at age 58 in November 1963 when he was struck by a car while a pedestrian in Monterey.

The Kennedy campaign, the resolution stated, “is supported by 54 noteworthy professional reporters, editors, and photographers, that include San Francisco Chronicle editor Ward Bushee, Pulitzer-prize winning photographers Kim Komenich and Sal Veder, San Francisco Chronicle Science editor David Perlman, former San Francisco Bay Guardian owner Bruce Brugmann, former AP legal reporter Bob Egelko and Frank McCulloch, former senior editor at the Los Angeles Times and the Sacramento Bee, and Eric Brazil,  a retired Examiner and Chronicle reporter, who co-chairs the effort with March.”

The panel gave life and substance to the resolution. Brugmann introduced Bushee as the moderator, who read the eloquent Pulitzer nominating letter from McCulloch. Bushee introduced March, and Perlman, 93, who was a reporter for the old New York Herald-Tribune shortly after World War II,  and Julia Kennedy Cochran, Kennedy’s daughter who discovered her father’s unpublished memoir among his belongings after his death. She got the manuscript published as a major book by Louisiana State University Press. It is titled “Ed Kennedy’s War: V-E Day, Censorship, and the Associated Press.”

The LSU Press and Tom Curley, former AP president and CEO, entered the book in the Pulitzer competition on the basis of its literary qualities. Curley had issued a formal apology in 2011, saying that AP’s repudiation of Kennedy “was a terrible day for the AP. It was handled in the worst possible way…Kennedy did everything right.” In a later interview, he elaborated, “Once the war is over, you can’t hold back information like that. The world needed to know.”

Sixty seven years after Kennedy defied and defeated political censorship, the Cal Press sent its resolution to the Pulitzer board as a formal part of the Kennedy nomination. It said that Cal Press “honors Edward Kennedy for his distinguished example of reporting on international affairs and his courage in the face of potential personal and professional hardship to share with the world one of the most important events of the 20th century.”

 Cal Press concluded that it “applauds and endorses the efforts of Ray A. March, Eric Brazil, and the 54 noteworthy journalists and calls upon the Pulitzer Prize Board and Columbia University to recognize Edward Kennedy for journalistic excellence and posthumously award him with a Pulitzer prize for his groundbreaking coverage of the end of WWII in Europe.”

The 135th meeting of the California Press Association was an historic occasion with an historic pronouncement to right an historic wrong in American history. We’ll keep you posted.  B3

 

Music Listings

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Since club life is unpredictable, it’s a good idea to call ahead or check the venue’s website to confirm bookings and hours. Prices are listed when provided to us. Visit www.sfbg.com/venue-guide for venue information. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 19

ROCK/BLUES/HIP-HOP

Greg Adams East Bay Soul: Sweet Soul Christmas Yoshi’s SF. 8pm, $25.

Another Funky Reggae Party Milk Bar. 9pm, $5. With Creation, Ceasar Myles, Dreaded Truth.

Black Rebel Motorcycle Club Slim’s. 7pm, $31.

Burnt Ones, Violent Change, Cumstain, Cheap Bliss Brick and Mortar Music Hall. 9pm, $7.

Chronic Town Make-Out Room. 7:30pm, $5.

Fuzz (with Ty Segall) Hemlock Tavern. 8:30pm, $7.

Gunshy Johnny Foley’s. 9pm, free.

Charlie Hunter and Scott Amendola Duo Independent. 8pm, $20.

Keith Crossan Blues Showcase with Mark Karan Biscuits and Blues. 8pm, $15.

Psychic Ills, Wymond Miles, 3 Leafs Bottom of the Hill. 9pm, $12.

Jill Tracey DNA Lounge. 9pm, $10.

Rags Tuttle vs Papi Johnny Foley’s Dueling Pianos. 9pm, free.

JAZZ/NEW MUSIC

Cat’s Corner with Nathan Dias Savanna Jazz. 9pm, $10.

Dink Dink Dink, Gaucho, Eric Garland’s Jazz Session Amnesia. 7pm, free.

Gennaro’s Wax Trio 144 King Art Cafe, SF; www.144kingcafe.com. 6-9pm, $10.

Ricardo Scales Top of the Mark, 999 California, SF; www.topofthemark.com. 6:30pm, $5.

FOLK/WORLD/COUNTRY

Justin Ancheta Pena Pachamama, 1630 Powell, SF; www.pachammacenter.org. 8pm.

"Timba Dance Party" Bissap Baobab, 3372 19th, SF; www.bissapbaobab.com. 10pm, $5. With DJ Walt Diggz.

DANCE CLUBS

Aisle 45 Elbo Room. 9pm, $5. With DJs Sureshot, Romanowski, Mauby, DJ Mauricio Aviles.

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita MORE! and Joshua J host this dance party.

Coo-Yah! Slate Bar, 2925 16th St, SF; www.slate-sf.com. 10pm, free. With Vinyl Ambassador, DJ Silverback, DJs Green B and Daneekah.

Hardcore Humpday Happy Hour RKRL, 52 Sixth St, SF; (415) 658-5506. 6pm, $3.

Martini Lounge John Colins, 138 Minna, SF; www.johncolins.com. 7pm. With DJ Mark Divita.

THURSDAY 20

ROCK/BLUES/HIP-HOP.

"A Very Castle Face Christmas: Benefit for the Coalition on Homelessness" Chapel, 777 Valencia, SF; www.thechapelsf.com. 8:30pm, $15. With Thee Oh Sees, Mallard, Blasted Canyons, Warm Soda.

Blank Tapes, Electric Shepherd, Black Oscillators, Down Dirty Shake, DJ Neil Martinson Brick and Mortar Music Hall. 9pm, $7-$10.

Capital Cities, Jerffrey Jerusalem, popscene DJs Rickshaw Stop. 9:30pm, $15-$17.

Chrystian Rawk, Rin Tin Tiger Amnesia. 9pm.

Dredg, Judgement Day, Strange Vine Great American Music Hall. 8pm, $20.

Girls in Suede, Of Shape and Sound, Coast Humper, Wes Leslie Leafs Bottom of the Hill. 8:30pm, $10.

John Lawton Trio Johnny Foley’s. 9pm, free.

King City, Aloha Screwdriver, Business End Thee Parkside. 9pm, $5.

Lenny Lashley’s Gang of One, Tater Famine Knockout. 10pm, $8.

Laurie Morvan Band Biscuits and Blues. 8 and 10pm, $15.

"Nat Keefe Concert Carnival" Independent. 8pm, $20-$35. With Allie Krall, Reed Mathis, Sharon Gilchrist, and more.

Papi vs Nathan Temby Johnny Foley’s Dueling Pianos. 9pm, free.

Powder, Rain Parade, Bang Cafe Du Nord. 8pm, $7.

Space Waves, Venus Beltran, In Letter Form Hemlock Tavern. 8:30pm, $6.

This Can’t End Well, Victoria and the Vaudevillians, Vagabondage DNA Lounge. 9pm, $8.

JAZZ/NEW MUSIC

David Lanz: Solo Holiday Show Yoshi’s SF. 8pm, $25.

Stompy Jones Top of the Mark, 999 California, SF; www.topofthemark.com. 7:30pm, $10.

Eddy Ramirez Savanna Jazz. 7:30pm, $5.

SF Jazz Hotplate Series Amnesia. 9pm.

FOLK/WORLD/COUNTRY

Twang! Honky Tonk Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm. Live country music.

Tipsy House Plough and Stars. 9pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-$7. With DJ-host Pleasuremaker.

All 80s Thursday Cat Club. 9pm, $6 (free before 9:30pm). The best of ’80s mainstream and underground.

Base: Holiday Special Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $10.

Ital, Loric, Hawa Public Works Loft. 10pm, $12. Presented by Future|Perfect.

Ritual Dubstep Temple. 10pm-3am, $5. Trap and bass.

Tropicana Madrone Art Bar. 9pm, free. Salsa, cumbia, reggaeton, and more with DJs Don Bustamante, Apocolypto, Sr. Saen, Santero, and Mr. E.

FRIDAY 21

ROCK/BLUES/HIP-HOP

"A Very Bowie Glampocalypse" Cafe Du Nord. 9:30pm, $12-$15. With First Church of the Sacred Silversexual, Straight-Ups, Coo Coo Birds, and more.

"Beatrock Music Anniversary" Brick and Mortar Music Hall. 9pm, $9-$12. With Bambu, Prometheus Brown, Rocky Rivera, Otayo Dubb, Power Struggle, Bwan, DJ Roza, DJ Tanner.

Fishbone Inner Mission SF, 2050 Bryant, SF; www.fishbone.net. 8pm, $20-$25.

Karen Lovely Biscuits and Blues. 8pm, $20.

Maysa Yoshi’s SF. 8pm, $35; 10pm, $27.

Mother Hips, Jackpot Great American Music Hall. 9pm, $23.

Murder City Devils, Mallard Slim’s. 9pm, $22.

Music Box: Tribute to Genesis Regency Ballroom. 9pm, $45-$55.

Sambada Independent. 9pm, $15.

Scissors For Lefty, Solwave, Trims, DJ Taylor Fife Bottom of the Hill. 9:30pm, $10.

Sole Johnny Foley’s. 9pm, free.

Nathan Temby, Papi, Jason Marion Johnny Foley’s Dueling Pianos. 9pm, free.

"The End" DNA Lounge. 10pm, $25. With Zion I, Mochipet, Stephan Jacobs, CandyLand, Robotic Pirate Monkey, Sound Remedy, and more.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Benn Bacot Savanna Jazz. 7:30pm, $8.

Black Market Jazz Orchestra Top of the Mark, 999 California, SF; www.topofthemark.com. 9pm, $10.


FOLK/WORLD/COUNTRY

Queer Cumbia Bissap Baobab, 3372 19th, SF; www.bissapbaobab.com. 8pm, $3-$7.

DANCE CLUBS

DJ What’s His Fuck Riptide Tavern. 9pm, free.

Hella Tight Amnesia. 10pm, $5.

Joe Lookout, 3600 16th St,SF; www.lookoutsf.com. 9pm. Eight rotating DJs.

Ken Loi, Elephant Guns Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

Old School JAMZ El Rio. 9pm. Fruit Stand DJs spinning old school funk, hip-hop, and R&B.

120 Minutes: End of the World Party Elbo Room. 10pm, $8. With NGUZUNGUZU, oOoOO, Boychild, resident DJs S4NtA MU3rTE, Chauncey CC.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs.

SATURDAY 22

ROCK/BLUES/HIP-HOP

Bayonics Brick and Mortar Music Hall. 9pm, $7-$10.

Cafe R&B Biscuits and Blues. 8 and 10pm, $20.

"California Holiday Show" Elbo Room. 9pm, $10. With Z-Man, Eddie K, Grand Invincible, Oh Blimey, Marshall Payne, Deuce Eclipes and Caipo of Bang Data, and more.

Churches, Tijuana Panthers, Toshio Hirano Bottom of the Hill. 9pm, $12.

Cut Loose Band Johnny Foley’s. 9pm, free.

Bootsy Collins and the Funky Unity Band, Motion Potion Independent. 9pm, $49.50.

Dark Hollow Riptide Tavern. 9:30pm, free.

High on Fire, Goatwhore, Lo-Pan Slim’s. 9pm, $21.

Lost Dog Found Inner Mission, 2050 Bryant, SF; www.lostdogfound.com. 9pm, $15.

Maysa Yoshi’s SF. 8pm and 10pm, $35.

Mother Hips Great American Music Hall. 9pm, $23.

Music Box: Tribute to Genesis Regency Ballroom. 9pm, $45-$55.

Papi, Jason Marion, Nathan Temby Johnny Foley’s Dueling Pianos. 9pm, free.

Rule in Exile, James Conner Thee Parkside. 3pm, free.

Vagabond Lover’s Club with Slim Jenkins, 29th Street Swingtet Cafe, burlesque with Szandora LaVey, Roxy Reve, Bunny Pistol Cafe Du Nord. 9pm, $12-$15.

Yassou Benedict Hemlock Tavern. 9:30pm, $6.

JAZZ/NEW MUSIC

Audium 1616 Bush, SF; www.audium.org. 8:30pm, $20. Theater of sound-sculptured space.

Savanna Jazz Group Savanna Jazz. 7:30pm, $8.

FOLK/WORLD/COUNTRY

Savanna Blue, Get Off My Lawn Plough and Stars. 9pm.

"Noel Soley" Bissap Baobab, 3372 19th, SF; www.bissapbaobab.com. 7-9pm, free. Afoutayi Dance Music and Company, live Haitian drum and dance performances.

Craig Ventresco and Meredith Axelrod Atlas Cafe, 3049 20 St, SF; www.atlascafe.net. 4-6pm.

DANCE CLUBS

Bootie SF: Post-Apocalypse Party DNA Lounge. 9pm, $10-$15. With A Plus D, midnight mashup show, Keith Kraft, and more.

Paris to Dakar Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs.

Public Works Holiday Bash Public Works. 9pm, $12. With Juan Maclean (DJ set), No Regular Play, and more.

Scooter and Lavelle, Chris Clouse Vessel, 85 Campton Place, SF; www.vesselsf.com. 10pm, $20-$30.

Temptation vs Fringe Cat Club. 9:30pm, $5-$8. Video dance party, bad sweater edition.

SUNDAY 23

ROCK/BLUES/HIP-HOP

"Battle of the Bands" DNA Lounge. 5:30pm, $12. With Miles of Machines, Refuge, Oceans and Odysseys, and more.

Tia Carroll Biscuits and Blues. 7 and 9pm, $15.

John Lawton Trio Johnny Foley’s. 9pm, free.

Dave Koz and Friends, David Benoit, Sheila E., Javier Colon, Margo Rey Warfield. 8pm, $39.50-$125.50.

Mermen Christmas Show Slim’s. 8pm, $15.

Moonfox, Prize, Mammoth Life, Liz O Show, DK Christian Joun Brick and Mortar Music Hall. 8pm, $5-$8.

Naive Melodies Boom Boom Room. 8pm, $5.

Papi vs Greg Zema Johnny Foley’s Dueling Pianos. 9pm, free.

JAZZ/NEW MUSIC

Campilongo Quartet Yoshi’s SF. 7pm, $20.

Jazz Jam with Savanna Jazz Band Savanna Jazz. 7pm, $5.

Sophisticated Ladies, Bluebelles Red Poppy Art House. 7pm, $5.

FOLK/WORLD/COUNTRY

Heel Draggers Amnesia. 8pm, $5-$10.

Twang Sunday Thee Parkside. 4pm, free. With Hoboagogo.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. With DJs Sep, Maneesh the Twister, guest DJ Deevice.

Jock Lookout, 3600 16th St, SF; www.lookoutsf.com. 3pm, $2.

MONDAY 24

ROCK/BLUES/HIP-HOP

Clairdee’s Christmas: Soulful Sounds of the SeasonYoshi’s SF. 8pm, $20.

Damir Johnny Foley’s. 9pm, free.

FOLK/WORLD/COUNTRY

Oakland Interfaith Gospel Ensemble Slim’s. 7 and 9:30pm, $15.

DANCE CLUBS

Crazy Mondays Beauty Bar, 2299 Mission, SF; www.thebeautybar.com. 10pm, free. Hip-hop and other stuff.

Death Guild DNA Lounge. 9:30pm, $5. Goth/industrial with Decay, Melting Room, Daniel Skellington, Sage, and Lexor.

M.O.M. Madrone Art Bar. 6pm, free. DJs Timoteo Gigante, Gordo Cabeza, and Chris Phlek playing all Motown every Monday.

Soul Cafe John Colins Lounge, 138 Minna, SF; www.johncolins.com. 9pm. R&B, Hip-Hop, Neosoul, reggae, dancehall, and more with DJ Jerry Ross.

Vibes’N’Stuff El Amigo Bar, 3355 Mission, SF; (415) 852-0092. 10pm, free. Conscious jazz and hip-hop with DJs Luce Lucy, Vinnie Esparza, and more.

TUESDAY 25

ROCK/BLUES/HIP-HOP

Craig Horton Band Biscuits and Blues. 7 and 9pm, $15.

"Black X-Mass" Elbo Room. 9:30pm, $10. With Metro Mictlan, Death Medicine Band, Skozey Fetisch, Amphibious Gestures, Theremin Wizard Barney.

Major Power and the Lo-Fi Symphony Amnesia. 9pm.

DANCE CLUBS

Death Guild X-Mess Night DNA Lounge. 9pm, $5.

Tycho’s Top Bay Area and Bay Area-Affiliated Acts

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For our annual Year in Music issue, I asked local musicians, rappers, producers, and music writers to sound off on the year’s best songs, album releases, shows – pretty much anything they wanted, music-wise. For the next few days, I’ll be posting them up individually on the Noise blog. You can also check the full list here.

Tycho deals in vivid imagery. From blustery waves and bleached sands below orange sunsets to retro film cells, the graphic designer-producer blends sight and sound in mesmerizing live shows – two of which he’ll perform next month at the Independent (Jan. 18 and 19). This year, he gained fans touring the world thanks to shows built on 2011’s Dive (Ghostly International). This winter, he began work on a followup record.

I picked him as a one of 12 Bay Area acts On the Rise in a special issue at the start of 2012, so I asked him back as the year came to a close:

Tycho, aka Scott Hansen
Favorite Bay Area and Bay Area-Affiliated Music Acts

1. Toro Y Moi
http://www.youtube.com/watch?v=O0_ardwzTrA
2. Christopher Willits
3. Blackbird Blackbird
http://www.youtube.com/watch?v=EyHG_CPOqnw
4. Jessica Pratt
5. Sam Flax
https://www.youtube.com/watch?v=q7NhHbREvoI
6. Ty Segall
7. Yalls
https://www.youtube.com/watch?v=VOpnOgaomOk
8. Doombird
9. Little Foxes
10. Dusty Brown

And here’s a video from Tycho’s Dive:
http://www.youtube.com/watch?v=m94Dhu8gUDw

Heads Up: 7 must-see concerts this week

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Call it the influence of witch house on the folk scene, or don’t –  those involved would probably hate that. But it does feel like there have been more and more “darkly spiritual acoustic-folk” acts of late, in the vein of Chelsea Wolfe and Father John Misty (albeit, on opposite ends of the spectrum), and in particular, King Dude, who returns to the Bay for a set of Oakland shows this weekend. There’ll also be live sets this week by Lavender Diamond, less moody but certainly as spiritual and folk-infused, and the legendary, if snappier Mountain Goats.

Unrelated, but also performing in the Bay these next few days: Roy Loney and the Phantom Movers, Overwhelming Colorfast, and the Chuckleberries; Dee Dee from the Dum Dum Girls with her boo, Brandon from the Crocodiles; Wooden Shjips, Liturgy, and Barn Owl, at the same show. Plus, it’s Chanukah, and the Subterranean Arthouse is celebrating with Yiddish bands and live klezmer. I hope for your sake you get some latkes this holiday season, my first batch was oily, crispy, and vegan – perfect.

Here are your must-see Bay Area concerts this week/end:

Lavender Diamond
You know Lavender Diamond, right? The whimsical LA-based electro-folk band fronted by crystal-clear vocalist/tree fairy Becky Stark? The group plays SF’s newest venue, the Chapel, this week. And as I hinted and posted about last week, Lavender Diamond will be joined on stage by actor-musician-superhuman John C. Reilly.
With Jessica Pratt
Tue/11, 9pm, $10-$12
Chapel
777 Valencia, SF
www.thechapelsf.com
https://www.youtube.com/watch?v=SPHZY8IOgIc

Thrill Jockey 20th Anniversary
It’s finally here, the showcase I was blathering on about in the Tofu and Whiskey music column last week. Here are the specifics: awesomely independent Chicago label Thrill Jockey is celebrating 20 years of existence with showcases in towns they love, including ours. This was includes performances by Wooden Shjips, Liturgy, Barn Owl, Trans Am, Man Forever, and Eternal Tapestry. Thrilling.
Thu/13, 8pm, $18
Independent
628 Divisadero, SF
www.theindependentsf.com
https://www.youtube.com/watch?v=D2iwAAaEZvE

Subterranean Arthouse’s Chanukah Party
The Subterranean Arthouse’s Chanukah Party is part of Heather Klein‘s “Hungry for Yiddish: A Mitzvah Project” concert series, which donates proceeds from events to the Berkeley Food Pantry and similar organizations; and the event is co-presented by KlezCalifornia and the Jewish Music Festival. Acts include Klein’s Inextinguishable Trio, Anthony Mordechai-Tzvi Russell, noted Yiddish dance instructor Bruce Bierman, and Saul Goodman’s Klezmer Band. With instructions from Bierman, the lovely Yiddish songs of both Klein and Russell, and Goodman’s brassy klezmer, this should make for a fun, frenzied mid-point party during the festival of lights — and yes, they’ll light the menorah.
Thu/13, 9pm, $10-$20 donation
Subterranean Arthouse
2169 Bancroft, Berk.
Klezmer.brownpapertickets.com

The Mountain Goats
“The Mountain Goat’s dynamic leader, John Darnielle, has been writing songs about addiction, infidelity, and more sensitive subjects for the last 20 years. The group’s new album, Transcendental Youth, has been an excuse for Darnielle to branch out, inviting avant-symphonic rocker, Matthew E. White, to write horns for the album and working with Owen Pallett to arrange the songs for a collaboration with the a cappella quartet, Anonymous 4.” — Molly Champlin
With Matthew E. White
Fri/14, 9pm, $28
Fillmore
1805 Geary, SF
(415) 346-6000
www.thefillmore.com
http://www.youtube.com/watch?v=q6RQwx3r1BU

King Dude
If you missed King Dude – the “darkly spiritual acoustic-folk” side project of gravelly TJ Cowgill of Teen Cthulu and Book of Black Earth – at Elbo Room last month, chin up. Dude/Cowgil is playing two shows at the Uptown this weekend, opening for Psychic TV. So no more tears, except possibly for those drawn from King Dude’s bleak, dance-with-the-devil, Johnny Cash straining to meet Tom Waits ballads.
With Lumerians, Youth Code
Fri/14-Sat/15, 9pm, $23
Uptown
1928 Telegraph, Oakl.
www.uptownnightclub.com
https://www.youtube.com/watch?v=bP-MBHdka90

Roy Loney and the Phantom Movers, Overwhelming Colorfast, the Chuckleberries

This is an early show, and it’s a benefit to help rebuild wild rock purveyor Norton Records (its warehouse was demolished in Hurricane Sandy) so it’s already a win-win situation: donate to a worthy cause, catch every band, and still have time for an early dinner. But the lineup is even better; it’s packed with classic Bay Area musicians: roots rock’n’rollers Roy Loney and the Phantom Movers – featuring hiccuping, rockabilly star Loney, of Flamin’ Groovies fame – along with ’90s pop-punk band Overwhelming Colorfast, the Chuckleberries featuring Russell Quan of the Mummies and Phantom Surfers, and more.
With the Tomorrowmen, Dirty Robbers, Rue 66, the Devil-Ettes, DJs Ruby White and Sid Presley
Sun/16, 2-7pm, $7-$10
Elbo Room
647 Valencia, SF
www.elbo.com
http://www.brownpapertickets.com/event/301250
https://www.youtube.com/watch?v=BRD2IADQsrs
https://www.youtube.com/watch?v=DH276SrfG-M

Dee Dee and Brandon
OK, technically this is next week, but it’s a Monday so I’m letting it slide: Dee Dee from the Dum Dum Girls and Brandon from the Crocodiles are in love — married, in fact, and make a rather swoon-worthy couple. Listen to Dee Dee’s crooning on “Bedroom Eyes” off 2011’s Only In Dreams, in which she repeats “fear I’ll never sleep again” and you start to get a sense of their connection, and the pain they feel apart on separate tours. To view said connection live, in all its gushy splendor, be the voyeur at their joint Rickshaw Stop show tonight; a very special showcase, indeed, where both will perform songs from their respective catalogs and — as I can only imagine — harmonize like old lovers do.
With Gio and Stef (Young Prisms)
Mon/17, 8pm, $15
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com
https://www.youtube.com/watch?v=ysk55bI5E0U

Next level: this weekend’s SF Youth Arts Summit takes SOMArts

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San Francisco’s next great designer, sculptor, or filmmaker could possibly be in attendance this Sat/8 at the second annual San Francisco Youth Arts Summit taking place at SOMArts Cultural Center.

Maybe the next big things will be Maeve Fitzhoward and Brandy Ruedas, two youth artists who we met who will be showcasing – and selling, hey – their printmaking projects from Out of Site youth arts center, which will help host Saturday’s science-fair-meets-arts-gala. Fitzhoward and Ruedas also dish out advice to other artists through their positions on the Out of Site youth advisory board.

The Guardian also spoke with another Out of Site participant Mari Galicer, who’s been taking the digital media class this past semester. Galicer has learned how to create and manipulate film using programs like FinalCut Pro and Photoshop. Right now she’s working on a film with a group of peers about the city’s 11th district. If you stop by to see her, smile pretty – she’s putting together footage of this weeks’ Art Summit for an upcoming promotional video for Out of Site.

The summit will feature a total of 200 teenage artists from over 20 youth arts organizations. Attendees will also get to check out autuers from YBCA’s Young Artists at Work program, the Children’s Creativity Museum, and BAYCAT‘s base of budding Bayview media types.

While you’re perusing the various works of art you may want to indulge in some printmaking at the Out of Site bartering bank and ATM (Art That Matters) machine, or unleash your inner filmmaker by creating a stop-motion video at the mobile animation studio. If you’re a wordsmith, show off your literary skills at a poetry workshop with members of the WritersCorps, SF Mime Troupe, and TILT, the independent film center for young people.

SF Youth Arts Summit

Sat/8, 2-5pm, free

SOMArts Cultural Center

934 Brannan, SF

www.somarts.org

Thrill ride

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emilysavage@sfbg.com

Tofu and Whiskey Arbiter of good taste, Thrill Jockey Records is officially 20 years old. In another era, in another business, this would merely be a back-slapping milestone. In the present stuck-barreling-downwards roller coaster of the music industry, it’s an anniversary worthy of widespread jubilation.

“It’s a mind-boggling number of years,” label founder Bettina Richards says during a phone call from the main office in Chicago, where the label’s been based since 1995.

And how else would a record label celebrates its birthday than with a series of familial concerts? There have been shows booked in key Thrill Jockey cities such as New York (where it began in ’92), London, San Francisco, LA, Chicago. Those shows (some of which have already gone down) boast lineups packed with label notables Tortoise, the Sea and Cake, Trans Am, Liturgy, Future Islands, and Matmos.

The San Francisco version of the traveling Thrill Jockey rodeo will be headlined by the label’s Bay Area acts: psych-rockers Wooden Shjips and drone duo Barn Owl, along with Liturgy, Trans Am, Man Forever, and Eternal Tapestry (Dec. 13, 8pm, $18. Independent, 628 Divisadero, SF; www.theindependentsf.com).

SF is considered a key Thrill Jockey city for a handful of reasons; there’s the aforementioned connection with Wooden Shjips and Barn Owl, plus, one of the label’s earliest releases was a band from here called A Minor Forest. And there’s another super-secret new signing set for 2013 (sorry, you won’t learn more than that here). “We’ve had a long, fond affection for the way San Franciscans can create super individual sounds,” Richards says.

Though they create different styles of music, Wooden Shjips and Barn Owl had some similarities that stood out to Richards when she was in the process of signing each. “They both share this transportive quality…taking you to an entirely different realm. With the Wooden Shjips, it’s an active feeling of motion, and with Barn Owl, it’s really an escape. It’s hard to put into words, but they both do something compelling to me.”

It’s that compulsion that’s lead Richards to many of her choices for the roster. She tells this story about one one the label’s most beloved acts: “Trans Am, way back in 1993, were the B-side of a seven-inch that John McEntire from Tortoise had recorded, and he gave me the seven-inch. It just happened that a week later they were playing. I saw them and was like, ‘oh my god, I love them.'”

While most of the acts have been found through musician friends and pals of the label, there’s the occasional random encounter, like Sidi Toure, the gifted Malian singer-songwriter. His CD arrived via snail-mail to the Chicago office right before Christmas last year. “We don’t usually get packages from Mali. I was on a drive to go see my folks, popped it in, and I just couldn’t believe it.” I tell Richards I had the same initial reaction to Toure’s mesmerizing compositions. “And the weirder thing,” she adds, “was that he sent it because he’s a really big Radian fan, which is a band from Austria with like, atonal drums. You just wouldn’t have guessed that, right?”

Austrian prog band HP Zinker was the first band she ever signed — at the time (’92), she was living New York City and was still bartending and working at a record shop. In fact, she did that for the first eight years of the label. The band lived in a decaying squat where White Zombie used to reside, and they all ended up moving in to Richards’ studio apartment. Richards lets out a raucous laugh recalling those early days.

From signing HP Zinker, to the label’s 330th release planned for next year, Thrill Jockey has maintained a comparatively sparkling reputation as a label that treats its artists well.

I asked Wooden Shjips drummer Omar Ahsanuddin why the label is so beloved and he replied: “Because they know their shit, are music fans, and mostly because [Richards] is a straight-shooter. As Phil Manley once told me: if you like getting paid on time, you’ll like Thrill Jockey.”

Barn Owl’s Jon Porras said, “It’s great to work with a label that trusts an artistic vision…Thrill Jockey upholds a level of professionalism and is open to unconventional ideas.”

“I think one of the main things, at least to me, is that these bands would be doing what they’re doing whether anybody is paying attention or not,” says Richards. “This is something they’re compelled to do. And in the same sense, we’re compelled to put it out, whether it makes sense or not.”

And that’s important in this current musical climate, a time when the mainstream labels are floundering, record sales have plummeted, and free music is a click away. “Trying to combat it would be like trying to swim against the tide. You’d exhaust yourself and get nowhere. Instead, we just try to adapt,” Richards says. “We’re small, so we’re flexible and can adapt quickly. The people that work here are super music geeks, that keeps them really involved.”

One shift has been the number of releases it puts out. It jumped a few years back from 10 releases a year, to three or four a month, including small print, specific collector releases, which appeal to the super music geek market.

In a nostalgic mood, given the anniversary shows, I ask Richards to look back and pick out what she’d want her legacy to be, after this thrill ride is over: “I hope people are as attached to some of the bands and the records that I am. I hope to, as an octogenarian, sit in my house and blast a Barn Owl record and really feel the same feeling I felt the first time I heard it. And I hope it’s as treasured to them as it is to us.”

Warm, fuzzy feelings abound.

 

REED FLUTE THERAPY

In these stressful last days of the year, we likely all need a modicum of relaxation, just a taste. Local reed flute master Eliyahu Sills, best known as part of the the Qadim Ensemble, has just released an acoustic solo tribute to the sacred music of Sufism; a haunting record meant to assist in meditation, yoga, and just some overall relaxation techniques. Song of the Reeds is 10 songs of original improvisations, created on a flute made from a reed; can’t get more organic than that. www.qadimmusic.com.

 

THE BABIES

That Vivian Girls-Woods collaboration just keeps getting cuter. It’s fascinating how it really feels split between the two out-fronts: Cassie Ramone and Kevin Morby, one part jingly lo-fi girl-group, one part folky, acoustic forest-dweller. With all the fuzz and tender melodies on half of the songs, it gets inevitable comparisons to Best Coast, but that’s only a shade of its output. Check the new karaoke-filled, warped VHS-style video for “Baby,” off Our House on the Hill, released this month on Woodsist, then go back and try alternating tracks such as “On My Time” or “Get Lost.” It makes for an engrossing, push me/pull you dynamic that will translate nicely to the stage. Plus, the Brooklyn band plays with our own headlining post-punk heroes, Grass Widow.

Thu/6, 9pm, $12

Bottom of the Hill, 1233 17 St., SF. www.bottomofthehill.com

 

ANTIBALAS

Another Brooklyn export: infectious 11-piece Afrobeat band Antibalas is coming our way, with its first full-length album in five years — a self-titled LP released in August on Daptone Records — horns blazing. The long-running act has been making a big, boisterous noise since the late ’90s, and closely followed in Fela Kuti’s steps, yet has suffered in relative obscurity until recently. Earlier this year, the New York Times asserted its belief that a post-Fela! world (i.e. the rise of crossover acts like Vampire Weekend, and the wildly popular run of Fela! on Broadway), might finally “catch up” and catch on to the skill of Antibalas. With Afrolicious DJs Pleasuremaker and Senor Oz.

Mon/10, 8pm, $23

Great American Music Hall, 859 O’Farrell, SF. www.slimspresents.com

 

Psychic Dream Astrology: December 5-11

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ARIES

March 21-April 19

You don’t need to know what to do, Aries, so stop worrying so much. Your life is unfolding before you and the test at hand is how can you participate without being controlling? Instead of making decisions and forging ahead, try enjoying the moment fro whatever it brings. Life is not a race.

TAURUS

April 20-May 20

True leadership is not something wielded from on high, but what a person does from within community. Don’t separate yourself from others and then try to control them or your shared situation. Collaborate so that you can know what will work for all. Only then can you successfully direct this week.

GEMINI

May 21-June 21

Don’t try to keep the peace if it’s time for war. Your relationships need some serious tending-to this week. You are meant to confront your fears, your needs and the compulsions that have been driving you. Don’t try to control things; just be honest with yourself and share your truth with others.

CANCER

June 22-July 22

Your life is pointed in the right direction, but what you’re going through may feel like hard stuff you’ve been through before and shouldn’t have to again. You are growing into yourself, Moonchild, and you may just have to feel the ways that you are small in your progress towards growing bigger.

LEO

July 23-Aug. 22

Your ambiguities are your greatest teachers this week. It is the very stuff that you don’t know that is trying to clarify your path, Leo. Step willingly into the feelings of unrest that are plaguing you and tolerate their crappy vibes; this is what is necessary if you are going to see what lies beyond them.

VIRGO

Aug. 23-Sept. 22

The best way to execute the much-needed changes in your life is by taking it slow, Virgo. You are building an empire in this life, and if it’s not one that you love then what’s the point of it all? Make sure your life is going in the right direction by keeping your heart open and your wits about you at every turn this week.

LIBRA

Sept. 23-Oct. 22

Consider the needs of your heart before you over commit yourself this week. You’ve taken on too much and there’s no good in it, Libra. Instead of tying to do it all at once and as quickly as possible, try doing only what you can emotionally handle so you can get it right on the first try.

SCORPIO

Oct. 23-Nov. 21

Don’t try to fix things, Scorpio. Stop trying to understand what to do next or how to undo your past. How did the first person discovered that animal dung worked great as fertilizer? The kind of alchemical set of mistakes that led to that insight is what you should be gunning for; turn your crap to compost this week.

SAGITTARIUS

Nov. 22-Dec. 21

Collect data, dear Sagittarius. It’s a good time to get a sense of what your friends and family think about you and your current situation. You need to trust in your gut and be an independent agent this week, but coming to the answers that you need by way of research will help you to make the best choices.

CAPRICORN

Dec. 22-Jan. 19

You can get what you want by maintaining a delicate balance between going with the flow and having a multi-staged plan that you are working on executing. Strive to be receptive this week so that you can pick up on the nuances of what’s happening, and let them influence your well-laid plans.

AQUARIUS

Jan. 20-Feb. 18

Turn your attention to what is working in your life, even if your troubles surround you this week. There’s possibility inherent in all of your troubles, it just takes special effort to find it. By being emotionally present and honest you’ll be able to keep it together even when it feels like things are falling apart.

PISCES

Feb. 19-March 20

To secure your world and make it a place you want to be this week you’ve gotta be yourself, Pisces. Its way too easy to play the role you believe is expected of you, or to water down your awesomeness in a misguided attempt to be supportive to others. Be real and let the goodness flow from there.

Jessica Lanyadoo has been a Psychic Dreamer for 18 years. Check out her website at www.lovelanyadoo.com to contact her for an astrology or intuitive reading.

HoleHead, Brad Pitt, and more: new films!

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This week: Brad Pitt earns forgiveness for that cringe-inducing Chanel commercial with Andrew Dominik’s gangster thriller Killing Them Softly, plus uncomfortable-yet-poignant drama Starlet, which just picked up the Film Independent Spirit Awards’ Robert Altman Award. Both films are reviewed below the jump.

Also! Check out my rundown on the Another Hole in the Head film festival, an annual event stuffed with catnip candy for fans of horror, sci-fi, and cinema du sick ‘n’ wrong. (If you love Franco Nero, John Saxon, Henry Silva, and guys with 1970s mustaches fighting in junkyards like I do, don’t miss my top pick: Eurocrime!)

Other movies opening this week include period detective flick Dragon (it stars Donnie Yen, so you know what that means: sweet fight scenes); and Henry Jaglom’s latest, family drama Just 45 Minutes to Broadway (at the Roxie).
http://www.youtube.com/watch?v=8P0PPqUewr8

Back to 1942 Multiple storylines wend through Feng Xiaogang’s historical epic about a devastating drought that brought famine to China’s Henan province. Abandoned by their government, millions of refugees would eventually die in a situation compounded by corrupt officials, the Chinese army’s demands on the region’s nonexistent grain stores, and looming Japanese troops. The scenes from the road are grim, on both small (a desperate family tries to trade their child for grain) and larger (Japanese bombing raids, cannibalism) scales — though there are moments of hope, as when rival families put aside their differences to help a pregnant daughter. (Hope doesn’t last, though: when the baby is born, the half-dead mother mutters, “Kill it.”) Meanwhile, an American journalist (Adrien Brody) chases the story with the help of a priest (Tim Robbins, working a distracting accent); after witnessing horrors in Henan, his reporting helps nudge the government into action, however slightly. It would take an exceptionally even hand to prevent this heavily tragic material from sliding face first into melodrama, something Back to 1942 doesn’t even attempt to do. Whether you feel moved or manipulated is up to you. (2:26) (Cheryl Eddy)

http://www.youtube.com/watch?v=msSH5v6tK9k

The Collection As soon as you behold the neon sign “Hotel Argento” shining over the grim warehouse-cum-evil dead trap, you know exactly what you’re in for — a wink, and even a little bit of a horror superfan’s giggle. In other words, to tweak that killer Roach Motel tagline: kids check in, but they don’t check out. No need to see 2009’s The Collector — the previous movie by director-cowriter Marcus Dunstan and writer Patrick Melton (winners of the third season of Project Greenlight, now with the screenplays for multiple Saw films beneath their collective belt) — the giallo fanboy and gorehound hallmarks are there for all to enjoy: tarantulas (straight from 1981’s The Beyond), a factory kitted out as an elaborate murder machine, and end credits that capture characters’ last moments. Plus, there’s plenty of fast-paced shocks and seemingly endless splatter, with a heavy sprinkle of wince-inducing compound fractures. The Collection ups the first film’s ante, as gamine Elena (Emma Fitzpatrick) is lured to go dancing with her pals. Their underground party turns out to be way beyond the fringe, as the killer mows down the dance floor, literally, and gives the phrase “teen crush” a bloody new spin. Stumbling on The Collector’s antihero thief Arkin (Josh Stewart) locked in a box, Elena releases him but can’t prevent her own capture, so killer-bodyguard Lucello (Oz’s Lee Tergesen) snatches Arkin from the hospital and forces him to lead his team of toughs through a not-so-funhouse teeming with booby traps as well as victims-turned-insidious-weapons. All of which almost convinces you of nutty-nutball genius of the masked, dilated-pupiled Collector (here stuntman Randall Archer), who takes trendy taxidermy to icky extremes — even when his mechanism is threatened by a way smart last girl and a lock picker who’s adept at cracking building codes. Despite Dunstan’s obvious devotion to horror-movie landmarks, The Collection doesn’t turn out to be particularly original: rather, it attempts to stand on the shoulders — and arms and dismembered body parts — of others, in hopes of finding its place on a nonexistent drive-in bill. (1:23) (Kimberly Chun)

Killing Them Softly Lowest-level criminal fuckwits Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are hired to rob a mob gambling den, a task which miraculously they fail to blow. Nevertheless, the repercussions are swift and harsh, as a middleman suit (Richard Jenkins) to the unseen bosses brings in one hitman (Brad Pitt), who brings in another (James Gandolfini) to figure out who the thieves are and administer extreme justice. Based on a 1970s novel by George V. Higgins, this latest collaboration by Pitt and director-scenarist Andrew Dominik would appear superficially to be a surer commercial bet after the box-office failure of their last, 2007’s The Assassination of Jesse James By the Coward Robert Ford — one of the great films of the last decade. But if you’re looking for action thrills or even Guy Ritchie-style swaggering mantalk (though there is some of that), you’ll be disappointed to find Killing more in the abstracted crime drama arena of Drive (2011) or The American (2010), landing somewhere between the riveting former and the arid latter. This meticulously crafted tale is never less than compelling in imaginative direction and expert performance, but it still carries a certain unshakable air of so-what. Some may be turned off by just how vividly unpleasant Mendelsohn’s junkie and Gandolfini’s alchie are. Others will shrug at the wisdom of re-setting this story in the fall of 2008, with financial-infrastructure collapse and the hollow promise of President-elect Obama’s “Change” providing ironical background noise. It’s all a little too little, too soon. (1:37) (Dennis Harvey)

http://www.youtube.com/watch?v=MUSNZGYIfD4

Starlet Fresh off the bus from Florida, Jane (Dree Hemingway, daughter of the perennially undervalued Mariel) is living an indolent existence in the San Fernando Valley — it takes a while for us to realize she even has a job, albeit a pretty irregular and undemanding one. (Hint: What movie industry is largely based in the Valley? Second hint: It’s not the non-porn one.) Most of the time she just hangs about with her equally immature, similarly employed housemates, tanning and playing with her little dog. When a chance find at a yard sale yields a stash of hidden cash, Jane goes on a brief spending spree, then guiltily tries to return the remaining cash to Sadie (Besedka Johnson). The latter is an extra-cranky elderly woman who has no idea she’s missing any money and slams the door in Jane’s face before she can explain. Undaunted, perhaps needing some semblance of family in her vapid new life, Jane basically forces her friendship on the old lady, with eventual success albeit a few speed bumps. Sean Baker’s film is often an uncomfortable watch, because the dynamic between lead characters is so frequently awkward and discordant. (And also because the other major figures, Jane’s housemates played by Stella Maeve and James Ransome, are so completely obnoxious.) But its resistance to easy odd-couple sentimentality ultimately works to Starlet’s favor, making the low key (like everything else here) close unexpectedly poignant. Real-life adult entertainment stars Manuel Ferrara and Asa Akira appear as themselves. (1:59)  (Dennis Harvey)

Chopping spree

2

cheryl@sfbg.com

FILM Unlike the San Francisco Independent Film Festival’s flagship event and its popular DocFest, which more or less put roots down at the Roxie, genre fest Another Hole in the Head spreads its horror, sci-fi, and just plain weird wealth around to various venues. Yeah, the Roxie’s still on its list, but HoleHead also hosts events down 16th Street at the Victoria Theater, and at SOMA’s Terra Gallery and the Vortex Room — the latter an inspired addition, given the Vortex’s reputation as a haven for mondo cinema.

This year, HoleHead opens with a screening of Richard Elfman’s 1982 cult musical Forbidden Zone, presented in — holy Tyrrell! — remastered and colorized form. Elfman will be on hand to answer all your Sixth Dimensional questions, and a party (complete with Oingo Boingo cover band) follows.

Closing night looks to be a decidedly less festive affair, with Austrian director Michal Kosakowski’s unsettling Zero Killed — a feature film spun from his video installation and short film project, Fortynine. From 1996 to 2006, Kosakowski interviewed people about their murder fantasies, then used the tales (suicide bombings, school shootings, dog attacks, dinner-party poisonings, stabbings, shoving people into traffic or letting them slip off cliffs, etc.) as short-film inspiration, starring the storyteller as either perpetrator or victim.

A haunting musical score ups the creep factor, as Kosakowski tracks down each participant (many, but not all, are actors by trade) to interview them about their specific fantasies and other troubling topics, like revenge, torture, and “What is evil?” Zero Killed is a uniquely disturbing mix of fiction and documentary, cutting between horrific, blood-soaked vignettes and clinical talking-head interviews — often featuring the same subject.

There’s plenty of blood gushing forth in slick British standout Axed (listed as “Fangoria presents Axed” on the HoleHead schedule, so that right there should assure you of its splatter cred). When a businessman is, uh, axed from the corporate gig that turned him into an uptight prick long ago, he goes all Jack Torrance on his wife and teenage kids. As you might guess, the titular implement figures prominently in his plans, and Ryan Lee Driscoll’s film spirals from satirical to sadistic as each new body drops.

Changing gears, from in-your-face to perhaps too subtle: posting recently to his Observations on Film Art blog, scholar David Bordwell scrutinized what he called “discovered footage” horror films, with a focus on the Paranormal Activity series. Bordwell took particularly interest in the “rewards and risks” of the genre’s “narrow set of stylistic choices.” In these films, the camera itself occupies a heightened presence within the story. By now, everyone knows the psychological effect that’s supposed to have: if we’re aware of the camera, and it seems like an actual person is filming what we see, the images appear more real — and hopefully, “the reward” translates to genuine shrieks in the dark.

But for every Paranormal Activity sequel that’s seen by millions and rakes in hundreds of millions, there are dozens of copycats. And why not? Found-footage horror is non-traditional filmmaking at its most democratic. It can be made on the cheap, and wobbly production values are de rigueur. Unfortunately, it’s a lot easier to get ahold of a camera than to come up with an original idea, much less one that yields actual moments of fright.

With that said, The Garlock Incident does make an effort to tread new, albeit Blair Witch-y, ground. The set-up is that a group of Los Angeles actors — appealing 20-somethings all — are en route to Vegas for a movie shoot. Also in the van is ambitious director Lily (Ana Lily Amirpour), who obsessively films everything. After taking a spontaneous detour to visit a ghost town with a sinister back story, they discover a couple of maybe-abandoned shacks — and soon realize that getting off the main road was a bad idea. Oh, kids. It’s always a bad idea, especially for city slickers who can’t function without cell service.

Garlock‘s frustrating ending, which I wouldn’t dare spoil even if I fully understood it (even after watching it several times), is a letdown. Until its last act, though, Garlock is actually a pretty interesting look at how quickly relationships can break down when circumstances slide from uncertain to dire. But once you start puzzling over the ending, other doubts surface — like, by what logic would the actors’ audition footage be neatly edited into this roughly-shot, “found” chronicle of wilderness terror?

Speaking of wilderness terror and, alas, unsatisfying finales, retro-styled sci-fi adventure The 25th Reich screeches to a halt with a “to be continued” cliffhanger, just when shit is starting to get mind-blowingly insane. Argh! Fortunately, for the most part, the film — about a group of World War II soldiers who time-travel back and forth, squabbling among themselves as they pursue UFOs and Nazis — works just fine as a stand-alone, though its gleeful reliance on stereotypes (the Jew, the Italian, the Southern redneck, etc.) feels less like a nod to classic war films than a way to avoid actual character development.

The best gimmick centers on Captain O’ Brien, an erstwhile matinee idol not above reciting cornball lines from his own films at crucial moments. That he’s played by Jim Knobeloch — who also appeared in 2012’s other Nazi sci-fi flick, Iron Sky — is a perfect bit of obscure-genre synergy.

It wouldn’t be HoleHead without zombies. Comic The Living Corpse gets the (re-)animated treatment in The Amazing Adventures of the Living Corpse, which follows the titular beastie’s existential crisis after he — oops! — rips apart almost his entire family. Spared is a young son who is sent to a creepy boarding school for orphans, though he’s soon plucked from its halls to apprentice under a mad scientist. Meanwhile, the guilt-ridden corpse — real name: John Romero; memo to creative types: naming anyone “Romero” in your zombie-related whatnot is no longer a novel idea — roams the underworld and the land of the living, meting out occasional supernatural ass-kickings but mostly searching for his long-lost offspring.

The haunted-school scenes (complete with a kids vs. demons showdown) are clever, and the catchy soundtrack has punky flair, but the sheer number of plot threads nearly overwhelms the 82-minute film — maybe cool for fans of the comic, but viewers new to the material might wonder why, say, the “Spectral Protection Society” is elaborately introduced and then discarded. The overall effect is not nearly as fun (or “amazing”) as it should be.

Amazing, however, is one of many gushing adjectives I might use to describe my top pick of the festival: Mike Malloy’s Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s — a jazzy, lovingly-compiled homage to some of the trashiest, most mean-spirited films ever made. Everyone’s heard of Spaghetti Westerns, but poliziotteschi movies have yet to make a true cult breakthrough (or be remade by Quentin Tarantino, but I’m sure he’ll get there eventually). A groovy-sleazy score and endless clips, posters, and still shots set the tone for Eurocrime!, which gathers some of the genre’s biggest stars (laid-back John Saxon; gracious Franco Nero; bratty Antonio Sabàto) to look back at their years chasing each other across rooftops, brawling in junkyards, and working with directors like Umberto Lenzi (“the screaming-est director I ever met in my life,” according to actor Henry Silva).

The doc, a tad long at 137 minutes, also explores why the films became so popular, despite the fact that their scripts were often ripped wholesale from American “angry cop” films (and, later, from each other) — and why that popularity didn’t last (possible culprits: laughable dubbing, distracting mustaches, brutal violence against women). Newcomers won’t believe that such a world of insane film exists, longtime aficionados will dig the nostalgia, and both camps will enjoy Eurocrime!‘s high-energy appreciation of a genre long overdue for this kind of treatment. 

ANOTHER HOLE IN THE HEAD

Nov. 28-Dec.9, $10-$12

Various venues, SF

www.sfindie.com