International

The human right to water

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The human right to water

rebeccab@sfbg.com

At a recent San Francisco conference in a plush downtown hotel packed with big-business representatives, venture capitalists, and public relations practitioners, some insiders from high-profile multinational beverage corporations spoke about the moments they realized how crucial water is as a resource.

For Harry Ott, who formerly worked for the Coca-Cola Company, the epiphany struck in 1998 when he arrived at a Coke bottling plant in Darussalam, Tanzania for a routine inspection.

"When we walked into the plant … I noticed that there was no one there," Ott explained in a careful, Southern-accented voice. "And I said to the plant manager there, ‘Is it a holiday? Did I mess up in scheduling this?’ And he said, ‘No, we had a real severe outbreak of amoebic dysentery and all the employees have been affected by it.’ At that moment it really brought it home to me … every human should have access to clean water and sanitation to be able to maintain a healthy lifestyle."

But then Ott seemed to disavow this last statement, which implied support for what water rights activists have been pushing for: an inalienable right to clean drinking water, unmediated by corporations. As he told the crowd, "I don’t necessarily agree with the term ‘human right to water,’ because then the lawyers jump in here … and become rich off of this back-and-forth, knocking-heads process."

For corporations and advocacy groups alike, defining a human right to water is more than just a legal battle or academic exercise. As bottled-water companies weather mounting criticism for depleting aquifers to sustain profits and nongovernmental organizations point to the pitfalls of water privatization, control of the ultimate life-sustaining resource is becoming an increasingly important issue.

Widespread industrial contamination means less potable water to go around — particularly in developing countries, but in parts of California too — and intensifying drought due to climatic change means water scarcity is becoming a bigger problem. Water issues now represent a big financial risk for multinational companies and the top priority for communities that depend upon groundwater for their survival, so battle lines have been drawn for a struggle that is a matter of survival.

The second annual Corporate Water Footprinting conference, part of a corporate conference series called Action for Sustainable America, cost approximately $2,000 to attend. Unlike last year, when conference organizers denied press passes to both the Guardian and the San Francisco Chronicle, they opted to allow reporters in this time — perhaps as a show of goodwill after being publicly critiqued for a lack of transparency (see "Tap dreams," 12/10/08). The event was held at Le Meridien, a swank Financial District hotel, and was attended by businesspeople from a variety of high-profile companies.

Representatives from Coca-Cola, PepsiCo, and Nestle portrayed their respective corporations as model stewards of the environment, the opposite of the bad raps they’ve been branded with by social justice advocates, who complain that these corporate entities are responsible for exacerbating water shortages in drought-prone areas. Rather than profit-driven behemoths sapping communities of a critical resource, the spokespeople described their companies as environmentally-minded leaders acutely aware of the widespread lack of access to clean water and actively trying to hatch solutions to alleviate it.

Dan Bena, director of sustainability, health, safety and environment for PepsiCo International, kicked off with a presentation about how an estimated 1.5 billion impoverished people living in developing countries worldwide lack access to safe drinking water. Showing images of African children swimming naked in a river, he stressed the frequently repeated statistic that once every 15 seconds, another child in the developing world perishes from waterborne illness.

To hear Bena tell it, PepsiCo is emerging as a corporate trailblazer in protecting people from such a fate. In addition to its conservation efforts, it has donated to an organization that provides microloans to families for small-scale water infrastructure projects, he said. And at the urging of one of its shareholders, it recently agreed to sign a commitment supporting "the human right to water."

But when asked whether PepsiCo, the parent company of Aquafina, has a strategy for reducing the widespread use of bottled water — a flashpoint for environmentalists because it taxes aquifers, requires extensive shipping, and uses tons of plastic to produce — Bena didn’t have a straight answer. "We are evaluating it, but I can’t tell you," he said. "The critics are certainly very strong, but we think that people, by and large, want the convenience that bottled water provides."

In San Francisco, some of the beverage companies’ harshest critics organized a counter-conference to the 2008 Corporate Water Footprinting conference. This year, one of the counter-conference participants was seated on the same panel with Bena and the former Coca-Cola representative.

Mark Schlosberg, California director of Food & Water Watch, made it clear that he views the human right to water through a very different lens than the other panelists. "The ‘human right to water’ is not a concept for corporations to implement," Schlosberg said, relaying what was perhaps an unpopular message to a tough crowd. "Just as free speech is not a concept for corporations to implement. The human right to water is a concept which says that nobody should be denied access to clean water for basic human needs. It’s not a question of whether or not a corporation wants to adhere to that. It’s the responsibility of governments to create laws, and of corporations to follow laws. I don’t think that the basic human right to water … is alienable, just like certain constitutional rights are also inalienable and can’t be contracted away."

Speaking by phone several days later from New Delhi, India, Amit Srivastava, executive director of the India Resource Center, explained his perspective on the human right to water: "For us, the right to water means the community has control over its water resources. It is our fundamental human right to live free of pollution of water." As for PepsiCo’s efforts, "It sounds all good, but what is the reality on the ground?"

Srivastava, the driver behind the counter-conference to last year’s Corporate Water Footprinting Conference, spends half the year in India working in rural agrarian villages, where he says the impacts of Coca-Cola’s operations are hugely detrimental to people’s interests. PepsiCo has caused its share problems in India too, Srivastava said.

"Seventy percent of Indians make a living with agriculture," he explained. "They rely on groundwater — the same groundwater Coca-Cola uses to meet its production needs." Tens of thousands of farmers have been affected by a dearth of water in communities where Coca-Cola plants are sited, he says, and many have also been adversely affected by water contamination linked to the manufacturing facilities. As water becomes scarce, crops dry out and women must walk farther away to haul fresh water back home.

On Nov. 30, Srivastava said the India Resource Center helped bring 1,000 people out to a rally against Coca-Cola. "We’ve launched an international campaign to hold Coca-Cola accountable," he said, explaining that the goal is to "apply market pressure for the abuses they continue to commit in India."

Of particular concern is the village of Kala Dera, located in an area that was identified as a water-stressed region more than a decade ago, Srivastava said. Nonetheless, the construction of a new Coke bottling plant forged ahead there in 2000. A severe drought plagued the region this year, and Kala Dera experienced the sharpest drop in groundwater levels ever recorded, according to Srivastava. "When the rains didn’t come, the crops failed, and there was a sharp increase in the use of groundwater," he said. "For all its talk, Coca-Cola continued to mine for water, even as the community did not have ready access."

According to Denise Knight, a Coca-Cola Company representative who spoke at the Corporate Water Footprinting Conference, the multinational giant uses a total of 313 billion liters of water annually to produce 129 billion liters of soft drinks, juice, water, and other beverages.

Knight said Coca-Cola is committed to "replenish" the places it operates by returning the equivalent of the water it uses to communities and water bodies. Trumpeting a splashy green catchphrase, "Water Neutrality," Knight acknowledged that the term itself might be somewhat misleading because, "as our business grows, no matter how efficient we are, we’ll still use more water." This program essentially consists of making it a goal to live up to its self-guided wastewater treatment standards (wastewater is treated in 80 percent of its 1,000 facilities, Knight noted), stepping up conservation efforts and funding small-scale projects like rainwater harvesting.

Knight couched it in terms of fiduciary responsibility: in the past decade, Coca-Cola’s Securities and Exchange Commission filings have listed water shortages and poor water quality as financial risks to company profits. A third area of risk for the company is public perception, an uphill battle in India.

Srivastava summed up his opinion of Coca-Cola’s "Water Neutrality" pitch as "hogwash." In reality, the company is extracting clean, drinkable water from poor communities that need it, leaving behind processed wastewater that people can’t drink and calling it "neutral."
"It really is lies dreamed up by their PR department," he said. "They’re trying to suggest that Coca-Cola has no impact whatsoever on water resources. This is outrageous."
Srivastava said the conference is essentially a scam. "We see the Corporate Water Footprinting conference as nothing more than a greenwashing effort by companies that are the biggest abusers of water. We see it as just you guys in suits and ties. The communities that are suffering as a result, their voices are never there."

Cleaner air for Oakland — but no one wants to pay for it

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Cleaner air for Oakland — but no one wants to pay for it

news@sfbg.com

GREEN CITY On Jan. 1, the Port of Oakland and surrounding areas will get cleaner air — and as many as 1,000 truck drivers may lose their jobs.

That’s when the port’s Clean Truck Management Plan (CTMP) takes effect, setting strict requirements for trucks operating in the port. The new rules are an effort to address the public health crisis in communities near the port, where diesel exhaust fumes have been contributing to rampant asthma and increased cancer rates.

While no one questions the need for cleaner air, there’s still a raging battle over who should pay to overhaul old, dirty trucks — and how to make it possible for small independent truckers not to lose their livelihoods.

The new regulations, set by the California Air Resources Board (CARB), ban all trucks older than 1994 from entering the port. Trucks built between 1994 and 2003 are allowed if they’re retrofitted with a special filter, which by most estimates costs between $20,000 and $25,000.

Eventually CARB’s regulations will reduce diesel particulate matter emissions by 90 percent in areas most affected by the noxious pollution.

The problem — at least for some of the drivers — is that two-thirds of the trucks running cargo in and out of the Oakland port are run by independent owner-operators, who say they don’t make enough money on the cargo runs to pay for cleaner trucks or upgrades.

The Coalition for Clean and Safe Ports of Oakland (CCSP) is campaigning with Teamsters Union members and some truckers and Congress members to take the burden off independent owner-operators. But some say the industry model itself is the problem — that all the drivers should be employees of larger trucking firms that can pay for the latest equipment.

"The lack of resources among [independent owner-operators] and the inefficiencies in the current system strongly favor a more employee-oriented drayage sector," states an economic impact report on the issue commissioned by the port and prepared by Beacon Economics.

Currently the drivers wait, engines idling, an average of 3.6 hours at or in the terminal. That’s in part because they don’t get hourly pay — which gives the shippers and trucking contractors little incentive to hurry things.

As independent trucker Abdul Khan puts it: "Everybody certainly wants to have clean air. I might not be happy with this law, but I’m the one in this business being affected by this pollution." Still, with a 2003 engine in his truck, he expects to be out of a job come Jan. 1.

Khan has been a driver at the Port of Oakland for five years. He and his wife and child had to leave their home of 15 years to move in with his brother after fuel prices rose by 300 percent last year.

Khan has been without health insurance for his entire trucking career. The Beacon report states that "most [independent owner-operators] do not have health insurance from any source." Yet they are among those who suffer most from breathing the polluted air all day at work.

In some ways, the problem is the result of the 1990s-era deregulation of the trucking industry. In November, 24 members of California’s Congressional delegation, including East Bay Democratic Reps. Barbara Lee, Pete Stark, and George Miller, signed an open letter to the chairman of the House Transportation and Infrastructure committee encouraging members of the House to "consider making changes to [federal law] so that California ports can successfully implement and enforce needed truck management programs."

The Federal Aviation Administration Authorization Act was supposed to standardize the regulation of cargo carriers and encourage competition. But mistreatment of drivers and detrimental working conditions are, says CCSP director Doug Bloch, some of the consequences of deregulation, which essentially bars local or state governments from legisutf8g industry working conditions.

The Port of Oakland, the Environmental Protection Agency, and the Bay Area Air Quality Management District set up a grant fund to help drivers retrofit their equipment to meet the new standards, and some did. But others who sold their older trucks and bought upgradeable models lost out when the money ran dry.

Robert Bernardo, spokesperson for the port, told us the grants were unusual: "Typically, whenever a regulation comes into effect, by CARB or DMV, it’s incumbent upon business owners to purchase any upgrades," he explained.

That’s not a simple story, though, since the finances of port shipping are immensely complex. In theory, the bigger players in the industry — the large trucking companies and the corporations doing most of the shipping — have the access to capital for creating an ecologically-sound fleet and more power to negotiate shipping prices.

When items are shipped from overseas, shipping lines set the prices. Since the commerce is international, there’s no regulation of anything, including prices. The shipping lines set the prices for the trucking companies, which in turn tell the independent truckers what they’ll pay per load. The independently-contracted drivers have no leverage at all.

Matt Schrap, an intermodel transport expert at the California Truckers Association, notes that international shipping rates "are negotiated somewhere in Shanghai and set by steamship lines. Then you go into contract for two to three years at locked-in rate." Since the steamship lines aren’t subject to antitrust laws, he warns of their ability to collude in price-setting.

So the debate has become as much about labor issues as the environment. Some activists argue that the entire economic model of independent drivers contracting with trucking firms is unworkable, and would prefer to see all the drivers become employees. Not all drivers want that; some are happy with being independent. And the trucking contractors love the current system, since they pay no benefits.

Valerie Lapin, spokesperson for the Coalition of Clean and Safe Ports in Oakland, says that that port drivers are misclassified as independent. She explains that typically they can only work for one company, which tells them where and when to go. With the current classification, trucking companies "skirt all responsibility for paying taxes and benefits. Drivers have to pay for everything — trucks, fuel, maintenance, registration, and parking. And [the trucking companies] pay them really low wages."

The fate of the new regulations may depend on what happens to a legal battle at the Port of Los Angeles. L.A. has sought to mandate that trucking companies hire drivers as employees, and the port would allow only newer, cleaner trucks to enter.

But the American Trucking Association sued the port under FAAAA, saying the law bars the city from requiring employee-drivers. The courts put the program on hold until further hearings, scheduled for May 2010.

Paying with our Health, a 2006 report by the Pacific Institute assessing the practicality of "ditching dirty diesel" to improve health in the communities suffering from freight transport pollution, concluded that "the industry is quite capable of standing on its own and paying for cleaner technologies, instead of standing on the backs of California’s poor and minority communities."

It’s not clear what the truckers who own banned trucks will do come Jan. 1. Some say they will look for work elsewhere.

And there’s still the issue of whether the port will have enough clean trucks to haul all the cargo. Bernardo insists that won’t be a problem. Others, including Wayne Steinberg, terminal manager at Horizon Lines, an all-employee based trucking company with a fleet in full compliance, says the company is "extremely concerned about not having enough drivers Jan. 1."

Alerts

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Alerts

alerts@sfbg.com

WEDNESDAY, DEC. 16

SF Carbon Collaborative


Attend this panel discussion on justice, equity, and sufficiency in climate negotiations and the role these values play in national and local climate action. Speakers include Jonah Sachs, cofounder of Free Range Studios and Linda Maepa, from Electron Vault Now.

6 p.m., free

Crocker Galleria

Green Zebra storefront

50 Post, SF

www.carboncollaborative.org

THURSDAY, DEC. 17

City College meeting


Attend this monthly business meeting of City College of San Francisco’s Board of Trustees. A video of the meeting will also be telecast on EaTV Cable Channel 27 at 8:30 p.m. Dec. 23.

6 p.m., free

Auditorium

City College

33 Gough Campus, SF

www.ccsf.edu

Stop the violence


Take part in the International Day to End Violence Against Sex Workers by attending this memorial vigil ritual at Femina Potens Art Gallery, a space dedicated to LGBT visual arts exhibitions, media arts events, public arts projects, performances, and educational programs.

7 p.m., free

Femina Potens Art Gallery

2199 Market, SF

(415) 864-1558

Protest BART’s police chief


Protest at a forum being held by BART to hear the community’s thoughts and opinions on choosing a new BART police chief. Don’t let Chief Gary Gee walk away from his job with no accountability for the Jan. 1 murder of Oscar Grant by a BART police officer.

6 p.m., free

Joseph P. Bort MetroCenter Auditorium

101 Eighth St., Oakl.

www.indybay.org/oscargrant

Traditional Seeds


Join in the dialogue about the value of traditional crop varieties and ecological agriculture in an increasingly unstable world climate at this talk featuring Debal Deb, ecologist and founding director of the Center for Interdisciplinary Studies in West Bengal, India.

7p.m.; free, donations for Dr. Deb’s initiatives accepted

Ecology Center

2530 San Pablo, Berk.

(510) 548-4915

Wine for a cause


Attend this wine tasting event titled "Drink Good Wine, Do Good Works" featuring wines that support access to healthcare for California vineyard workers. Donate canned goods to SF Food Bank for $5 off admission.

6 p.m., $15

Jovino

2184 Union, SF

(650) 796-1607

FRIDAY, DEC. 18

Say no to war


Rally to demand that we bring our troops home now.

2 p.m., free

Acton and University, Berk.

(510) 841-4143

Women in Black vigil


Protest the ongoing occupation of Palestine and attacks on Gazans by attending this vigil for Tristan Anderson, who was critically injured by Israeli forces, and by contacting the Consul General David Akov at the Israeli Consulate to demand an end to the violence at concal.sec@sanfrancisco.mfa.gov.il.

Noon, free

Bancroft and Telegraph, Berk.

(510) 548-6310

SATURDAY, DEC. 19

Single-payer now


Attend this healthcare forum and holiday potluck featuring presentations by Assembly Member Tom Ammiano, principal author of SB 810 California Universal Healthcare Act, and Rep. Eric Massa (D-N.Y.), one of two cosponsors of HR 676 . Single-payer legislation has been passed twice by the California legislature but was vetoed by Gov. Schwarzenegger.

3 p.m., free

St. Mary’s Cathedral

1111 Gough, SF

(415) 695-7891

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; or e-mail alerts@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Fun and games, City Hall style

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Text, photos and video by Sarah Phelan

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City Hall looked cold and pretty Tuesday, what with the snow outside.

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And the wedding couples posing for photographers at the top of the stairs.
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Against the backdrop of a glittering Tree of Hope.
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But inside the meeting, things were getting hot and ugly… in that glitteringly controlled way typical of city politics.
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The highlight came Sup. Chris Daly produced a handmade bar graph in an effort to help folks better understand the economic backdrop against which the budget debate plays out.
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Promising to bring more charts to future meetings, Daly displayed a chart that showed how the San Francisco Police Department has enjoyed a significantly larger growth in General Fund support than any other department, including the Health Department. And you can watch some of that fun by clicking on the following video clip:

During Daly’s show and tell, Sup. Sean Elsbernd started mumbling about stunts, and according to the Chron, he subsequently challenged Daly to tackle pension costs, especially related to the Service Employees International Union, promising in return to tackle the police budget. Daly reportedly said he’d take a look at pension reform—so expect even more bar charts in the New Year.

Events Listings

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Events Listings

Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 9

Celebrating Greenaction Greenaction, Suite 712, 1095 Market, SF; (415) 248-5010. 5:30pm, donations appreciated. Celebrate 12 years of fighting for environmental justice with Greenaction at this party to honor community leaders and environmentally progressive San Francisco Supervisors.

THURSDAY 10

Glass of Water Modern Times Bookstore, 888 Valencia, SF; (415) 282-9246. 7pm, free. Hear Chicano poet, writer, and activist discuss his first novel, A Glass of Water.

Good Vibes Personal Shoppers Good Vibrations, 1620 Polk, SF; (415) 345-0400, and 603 Valencia, SF; (415) 522-5460. Thurs.-Sat. 6-9pm, free. Heat up the holidays and let the Good Vibrations on-hand experts help you pick out the perfect gift for everyone on your list, with complimentary wine and chocolates to get you in the mood.

Historic Libations California Historical Society Museum, 678 Mission, SF; (415) 357-1848. 6pm, $50. Try some historic cocktails, like the Boothby, Martinez, Gibson, or Pisco Sour, while learning about the history of mixed drinks and sampling hors d’oeurves. Guests receive a complimentary copy of Anchor Distilling Co. new edition of Cocktail Boothby’s American Bartender.

SF Wine Showcase Crushpad, 2573 3rd St., SF; www.sfwineassociation.com. 5:30pm, $25. Enjoy tastings from 20 boutique wineries that are part of the San Francisco Wine Association and find out what it means to be a high-end urban winery.

FRIDAY 11

Roots of Resistance Intertribal Friendship House, 523 International, Oak.; (510) 836-1955. 7pm, donations welcome. Attend this cultural holiday market and showcase of local artisans and enjoy art, performances, dance, drum, food, and solidarity.

SATURDAY 12

Bazaar Bizarre San Francisco County Fair Building, Golden Gate Park, SF; (415) 519-8527. Sat.-Sun. Noon-6pm, $2. Attend this indie craft show featuring artists and designers from across the country showcasing their DIY, hand-made goods. Half the proceeds from the door go to benefit San Francisco Arts Education programs.

Holiday Leather Brunch Edge Bar, 4149 18th St., SF; (415) 867-5004. 11am, $20. Enjoy bottomless mimosas, bloody marys, food, entertainment, and an auction at this 13th annual leather brunch to benefit the Positive Resource Center.

BAY AREA

Gay Elephants Humanist Hall, 390 27th St., Oak.; (510) 681- 9740. 6pm, $10. Check out this Ganesha Gala and learn to wear a Sari from a drag queen, take a Bollywood dance lesson, discuss ways to travel in India gayly, see Indian movies and more. Proceeds go to Jhilik, a school for tribal kids in India affiliated with Swanirvar.

Latkes and Beer Saul’s Restaurant and Deli, 1475 Shattuck, Berk.; (510) 848-DELI. Sat.-Sun. 11am, free. Take home latkes by the dozen or just nosh on some of these authentic potato pancakes while enjoying local microbrews.

Palestinian Crafts Sale St. John’s Church, 2727 College, Berk.; www.mecaforpeace.org. Noon, free. Help support the Middle East Children’s Alliance while enjoying Middle Eastern food and music and shopping for Palestinian embroidery, hand-blown glassware, ceramics, olive oil, textiles, and more.

Telegraph Holiday Fair Telegraph between Bancroft and Dwight, Berk; www.telegraphfair.com. Sat.- Sun. 11am-6pm, free. Join in the community cheer at this holiday street fair featuring fine art and gift items made by Northern California artists, music, and food vendors. Fair will continue Dec. 19-20, and Dec. 23-24.

SUNDAY 13

Perez Hilton Borders, 400 Post, SF; (415) 399-1633. 2pm, free. Get your brand new autographed copy of Perez Hilton’s new book Perez Hilton’s True Bloggywood Stories, which includes the best gossip of 2009, celebrity interviews, and "Perezzie" awards. Paparazzi encouraged.

Kimochi’s Silver Bells St. Mary’s Cathedral, 1111 Gough, SF; (415) 931-2294. 10am, free. Help support Kimochi’s programs and services for seniors at this unique, budget-friendly Asian and Pacific Island inspired arts and crafts fair featuring jewelry, stationary, ornaments, artwork, candles, and more.

MONDAY 14

Doctors Without Borders Century 9 San Francisco Centre, 5th floor, 845 Market, SF; (415) 538-8422. 8pm, $15. Get a first hand look at the field operations of Doctors Without Borders, a Nobel Peace Prize winning organization, in this documentary that follows frontline aid workers to the war-torn Congo and post-conflict Liberia. This one night only screening will be accompanied by a satellite broadcasted live panel discussion with workers and journalists, moderated by Elizabeth Vargas.

TUESDAY 15

Eating to Save the Earth San Francisco Public Library, 100 Larkin, SF; (415) 557-4400. 6pm, free. Join Linda Riebel, author of Eating to Save the Earth: Food Choices for a Healthy Planet¸ in a lively discussion on the ways omnivores, vegetarians, singles, and families can make environmentally responsible food choices.

Music listings

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Music listings

Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 9

ROCK/BLUES/HIP-HOP
Donnas, Lilofee Slim’s. 8:30pm, $17.
Bruce Hornsby, Bob Schneider Palace of Fine Arts, 3301 Lyon, SF; www.ticketmaster.com. 8pm, $52.50.
Kim Wilson Blues Revue Biscuits and Blues. 8 and 10pm, $25.
Real, Headslide, Socialized El Rio. 8pm, $5.
“Silicon Valley Rock! 2009” Great American Music Hall. 7:30pm, $25. With Open Source Band, Corinne Marcus and the Kindred Spirits, Whitehalls, Tell-Tale Heartbreakers, Farewell Typewriter, and Marrow.
Son Volt, Sara Cahoone Fillmore. 8pm, $25.
Rosie Thomas, Josh Ottum Independent. 8pm, $15.
Tristeza, Winfred E. Eye, Drew Andrews Bottom of the Hill. 9pm, $12.
“Umloud” DNA Lounge. 7pm, $10-120. Play Rock Band (or just watch) to raise money for Child’s Play Charity.
White Rabbits, Band of Skulls, Lovemakers, Downer Party, DJ Aaron Axelsen Bimbo’s 365 Club. 8pm, $15.
Wild Assumptions, Spot Hemlock Tavern. 9pm, $6.

JAZZ/NEW MUSIC
Average White Band Yoshi’s San Francisco. 8 and 10pm, $25.
“B3 Wednesdays” Coda. 9pm, $7. With Quantum Hum.
Cat’s Corner Savanna Jazz. 7pm, $5-10.
Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.
Marcus Shelby Jazz Jam Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
“Meridian Music: Composers in Performance” Meridian Gallery, 535 Powell, SF; www.meridiangallery.org. 7:30pm, $10. With Sarah Stiles.
Tin Cup Serenade Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7pm, free.

FOLK/WORLD/COUNTRY
Gaucho, Michael Abraham Jazz Session Amnesia. 8pm, free.
Lee Gregory Plough and Stars. 9pm.
Harper Simon, Chapin Sisters Café du Nord. 9:30pm, $15.
Sol Jibe, Afrofunk Experience Elbo Room. 9pm, $7.

DANCE CLUBS
Booty Call Q-Bar, 456 Castro; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.
Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.
Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.
Open Mic Night 330 Ritch. 9pm, $7.
Qoöl 111 Minna Gallery. 5-10pm, $5. Pan-techno lounge with DJs Spesh, Gil, Hyper D, and Jondi.
RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.
Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.
Synchronize Il Pirata, 2007 16th St.; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.
Tenebrae Knockout. 10:30pm, $5. Dark, minimal, and electronic with DJs Omar, Josh, and Justin.

THURSDAY 10

ROCK/BLUES/HIP-HOP
Espers, Colossal Yes Independent. 8pm, $15.
Trevor Garrod, Grand Hallway, Goh Nakamura Café du Nord. 9pm, $12.
*Grouch, Mistah F.A.B., Fashawn N’ Exile, One Block Radius, DJ Fresh Slim’s. 9pm, $18.
Hi-Nobles, Barbary Coasters, Mindless Things Annie’s Social Club. 8pm.
Moira Scar, Sweet Nothing, Schwule Stud, 399 Ninth St, SF; www.studsf.com. 9pm, $3.
One F Boom Boom Room. 9:30pm, $7.
*Slits, Go-Going-Gone Girls, Sassy!!! Bottom of the Hill. 9pm, $12.
Todd Snider, Barbary Ghosts Great American Music Hall. 8pm, $21.
“Stevie Ray Vaughn Tribute with Alan Iglesias” Biscuits and Blues. 8pm, $15.
Tainted Love Red Devil Lounge. 8pm, $15.
Troublemakers Union Velma’s, 2246 Jerrold, SF; (415) 824-7646. 7pm, $10.
Your Cannons, Foreign Cinema, Tomihira Hemlock Tavern. 9pm, $7.

JAZZ/NEW MUSIC
Michael Coleman Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 7:30pm, free.
Laurent Fourgo Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7:30pm, free.
Ahmad Jamal Yoshi’s San Francisco. 8 and 10pm, $22-26.
Mark Manning, Everything is Fine, Sad Bastard Book Club, Divisions, Upward Adobe Books, 3166 16th St, SF; (415) 864-3936. 7pm.
Marlina Teich Trio Brickhouse, 426 Brannan, SF; (415) 820-1595. 7-10pm, free.
“SF Jazz presents Hotplate” Amnesia. 9pm, $5. With Spaceheater playing Rahsaan Roland Kirk.
Stompy Jones Top of the Mark. 7:30pm, $10.
Todd Sickafoose’s Tiny Resistors, Erik Deutsch Hush Money Coda. 9pm, $7.

FOLK/WORLD/COUNTRY
Bebel Gilberto Bimbo’s 365 Club. 8pm, $25.
Morgan Manifacier Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
Sang Matiz, Dgiin El Rio. 9pm, $7.
Shannon Céilí Band Plough and Stars. 9pm.

DANCE CLUBS
Afrolicious Elbo Room. 9:30pm, $5-6. DJs Pleasuremaker, Señor Oz, J Elrod, and B Lee spin Afrobeat, Tropicália, electro, samba, and funk.
Bingotopia Knockout. 7:30-9:30pm, free. Play for drinks, dignity, and dorky prizes with Lady Stacy Pants.
CakeMIX SF Wish, 1539 Folsom, SF. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.
Caribbean Connection Little Baobab, 3388 19th St; 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.
Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.
From Rum to Whisky: A Murder City Devils Night Thee Parkside. 9pm, free. With speakers Ted Perves and Joseph Tanke, and DJ Johnny Landmine.
Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.
Gymnasium Matador, 10 6th St., SF; (415) 863-4629. 9pm, free. With DJ Violent Vickie and guests spinning electro, hip hop, and disco.
Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.
Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.
Kissing Booth Make Out Room. 9pm, free. DJs Jory, Commodore 69, and more spinning indie dance, disco, 80’s, and electro.
Koko Puffs Koko Cocktails, 1060 Geary; 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.
Mestiza Bollywood Café, 3376 19th St., SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.
Motion Sickness Vertigo, 1160 Polk; (415) 674-1278. 10pm, free. Genre-bending dance party
with DJs Sneaky P, Public Frenemy, and D_Ro Cyclist.
Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.
Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest.
Saddlecats Atlas Café. 8pm, free.
Solid Club Six. 9pm, $5. With resident DJ Daddy Rolo and rotating DJs Mpenzi, Shortkut, Polo Mo’qz and Fuze spinning roots, reggae, and dancehall.

FRIDAY 11

ROCK/BLUES/HIP-HOP
Big D and the Kids Table, Sonic Boom Six, Agent Deadlies Bottom of the Hill. 9pm, $12.
Bog Savages Costello’s Four Deuces, 2319 Taraval, SF; (415) 566-9122. 9:30pm, free.
Breathe Carolina, Cash Cash, Kill Paradise, Fight Fair Slim’s. 7:30pm, $15.
Bart Davenport, Danny James and Pear, Sean Smith and the Present Moment Knockout. 9pm, $7.
Druglords of the Avenues, Rockfight, Good Neighbor Policy Hemlock Tavern. 9:30pm, $7.
*Eyehategod, Stormcrow, Brainoil, Acephalix DNA Lounge. 8p, $20.
Fervor, Arcadio Make-Out Room. 7pm.
Flakes Annie’s Social Club. 6pm.
“Hut at the Hut IX: Journey Unauthorized” Independent. 9pm, $20. Benefit for the SF Food Bank and the DA Taylor Charitable Foundation.
Jascha v Jascha, Girls in Trouble Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
DJ Lebowitz Madrone Art Bar. 6-9pm, free.
Los Lobos Fillmore. 9pm, $42.50.
Mi Ami, Inca Ore, Jozef Van Wissem, DJ Tristes Tropiques Lab, 2948 16th St, SF; www.thelab.org. 8pm, $5.
Mission Players Pier 23. 10pm, $10.
Slowfinger, Badstrip Annie’s Social Club. 9pm, $5 (free before 10pm).

JAZZ/NEW MUSIC
Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.
Black Market Jazz Orchestra Top of the Mark. 9pm, $10.
Cannonball Reunion Coda. 10pm, $10.
“Dave Koz’s Smooth Jazz Christmas” Nob Hill Masonic Center, 1111 California, SF; 1-800-745-3000. 8pm, $39.50-99.
Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.
Ahmad Jamal Yoshi’s San Francisco. 8pm, $30.
Lucid Lovers Rex Hotel, 562 Sutter, SF; (415) 433-4434. 6-8pm.
Terry Disley Experience Shanghai 1930. 7:30pm, free.

FOLK/WORLD/COUNTRY
Seth Augustus Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Dave Hanley Band Plough and Stars. 9pm.
Ellis Dolores Park Café. 7:30pm, $10.
Lucas Revolution Amnesia. 8pm, free.
Queen Ifrica, Tony Rebel Rock-It Room. 9pm, $20.

DANCE CLUBS
Activate! Lookout, 3600 16th St; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.
Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.
Blow Up Rickshaw Stop. 10pm, $15. With DJs Jeffrey Paradise and Richie Panic spinning dance music.
Exhale, Fridays Project One Gallery, 251 Rhode Island; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.
Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.
Fo’ Sho! Fridays Madrone. 10pm, $5. DJs Kung Fu Chris, Makossa, and Quickie Mart spin rare grooves, soul, funk, and hip-hop classics.
Frenchie Presents Club Six. 9pm, $10. With DJs Equipto, Best1, Slowburn, Coudee, Musonics, and more spinning hip hop.
Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm. Gymnasium Stud. 10pm, $5. With DJs Violent Vickie and guests spinning electro, disco, rap, and 90s dance and featuring performers, gymnastics, jump rope, drink specials, and more.
I Can’t Feel My Face Amnesia. 10pm, $3. With DJs EUG and J Montag.
Fedde Le Grand Regency Ballroom. 9pm, $15.
Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.
Lovebuzz Annie’s Social Club. 9pm, $5. Rock, classic punk, and 90s with DJs Jawa and Melanie Nelson.
M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.
Miracle on 17th Street Thee Parkside. 9pm, $2. Bands, DJs Tina Boom Boom and Lydia, shopping, photos with Santa, and more.
Punk Rock and Shlock Karaoke Annie’s Social Club. 9pm-2am, $5. Eileen and Jody bring you songs from multiple genres to butcher: punk, new wave, alternative, classic rock, and more.
6 to 9 800 Larkin, 800 Larkin, SF; (415) 567-9326. 6pm, free. DJs David Justin and Dean Manning spinning downtempo, electro breaks, techno, and tech house. Free food by 800 Larkin.
Treat ‘Em Right Elbo Room. 10pm, $5. Hip-hop, Latin, reggae, and classics with DJs Vinnie Esparza, B-Cause, and Beto.

SATURDAY 12

ROCK/BLUES/HIP-HOP
Alexis Harte Band, Davis Jones, Rebecca Cross Hotel Utah. 9pm, $8.
Aquabats, Action Design, Monkey Slim’s. 9pm, $18.
Captured! By Robots, Grayceon, Dirty Power Bottom of the Hill. 10pm, $12.
Dolorata, Passengers, Two Against One El Rio. 9pm, $7.
Rick Estrin and the Night Cats Biscuits and Blues. 8 and 10pm, $20.
Evangelista, Thrones, Late Young Hemlock Tavern. 9:30pm, $12.
Full On Flyhead, Port Red Devil Lounge. 8pm, $10.
Garage a Trois, DJ Dan Prothero Independent. 9pm, $20.
Jank Amnesia. 7pm, free.
K-9, Distance from Shelter Thee Parkside. 3pm, free. SFFD and Bike Messenger toy drive.
Los Lobos Fillmore. 9pm, $42.50.
Microfiche, White Cloud, Middle D Lab, 2948 16th St, SF; www.thelab.org. 8pm, $5. Event also includes a Tetris tournament.
Edward Sharpe and the Magnetic Zeros, Fool’s Gold Great American Music Hall. 9pm, $16.
Struts, Impalers, Horror-X Annie’s Social Club. 9pm, $10.

JAZZ/NEW MUSIC
Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.
Terrence Brewer Coda. 10pm, $10.
Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.
Ahmad Jamal Yoshi’s San Francisco. 8 and 10pm, $30.
“Jazz Jam Session with Uptime Jazz Group” Mocha 101 Café, 1722 Taraval, SF; (415) 702-9869. 3:30-5:30pm, free.
Amanda King Zingari Ristorante, 501 Post, SF; (415) 885-8850. 8pm, free.
Lisa Mezzacappa and Nightshade, John Raskin-Phillip Greenlief Duo Meridian Gallery, 535 Powell, SF; www.meridiangallery.org. 8pm, $10.
Ricardo Scales Top of the Mark. 9pm, $15.

FOLK/WORLD/COUNTRY
Family Style Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Hard Living Band Plough and Stars. 9pm.
Li’ Ol’ Opry, Chuck and Jeanie, Misispi Mike Café International, 508 Haight, SF; (415) 665-9915. 7pm, free.
Joe Purdy, Meaghan Smith Swedish American Hall (upstairs from Café du Nord). 8pm, $15.
Sounds of Lyon Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.

DANCE CLUBS
Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.
Black XXXmas 550 Barneveld, 550 Barneveld, SF; (415) 550-6886. 10pm, $40. With DJs Abel, Luke Johnstone, and Jamie J Sanchez bringing all the naughty boys out.
Bootie DNA Lounge. 9pm, $6-12. Holiday mash-ups with Adrian and Mysterious D, Dada, and more.
Club 1994 111 Minna. 9pm, $10. With DJs Jeffrey Paradise and Richie Panic spinning strictly 90’s.
HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.
Moped Amnesia. 10pm, $6. Live electronica and DJs.
Reggae Gold SF Endup. 10pm, $5. With DJs Daddy Rolo, Polo Mo’Quuz, and more spinning reggae, dancehall, and remixes all night.
Same Sex Salsa and Swing Magnet, 4122 18th St., SF; (415) 305-8242. 7pm, free.
Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.
Tormenta Tropical Elbo Room. 10pm, $5-10. Electro cumbia with Uproot Andy, DJ Panik, Disco Shawn, and Oro.

SUNDAY 13

ROCK/BLUES/HIP-HOP
“Blue Bear School of Music Band Showcase” Café du Nord. 7:30pm, $12-20.
“Electronic Puppenhorten Godwaffle Noise Pancakes” Lab, 2948 16th St, SF; www.thelab.org. Noon, $5. With +DOG+, Nux Vomica, Anti Ear, Andrea Williams’ Anais Din, z_Bug, Jolt Thrower, Voracious Garbage Vixens, and Mephitic Ooze.
Faceless, Dying Fetus, Beneath the Massacre, Suffokate, Enfold Darkness DNA Lounge. 7:30pm, $18.
Magik Markers, Sic Alps, Wiggwaum Hemlock Tavern. 9pm, $7.
Mew Mezzanine. 8pm, $20.
Grace Potter and the Nocturnals, Howlin Rain Fillmore. 8pm, $21.
Timothy B. Schmit Great American Music Hall. 8pm, $20.
Static Thought, SpawnAtomic, Jibbers El Rio. 7pm, $5.

JAZZ/NEW MUSIC
Community Music Center Jazz Band Community Music Center, 544 Capp, SF; www.sfcmc.org. 4pm, free.
Ahmad Jamal Yoshi’s San Francisco. 2 and 7pm, $5-30.
Rob Modica and friends Simple Pleasures, 3434 Balboa, SF; (415) 387-4022. 3pm, free.
Kim Nalley, Tammy Hall, Michael Zisman Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

FOLK/WORLD/COUNTRY
Christmas is Best! Amnesia. 9pm, $7-10. With Uni and her Ukelele.
Marla Fibish and friends Plough and Stars. 9pm.
Merle Jagger Thee Parkside. 4pm, free.
Mucho Axé Coda. 8pm, $7.
Rob Reich Red Poppy Art House. 7pm, $10-20. An evening of music and film.
77 El Deora, Maurice Tani Bird and Beckett, 653 Chenery, SF; (415) 586-3733. 4:30pm; free, donations accepted.

DANCE CLUBS
DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.
Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Vinnie Esparza, and guest Lud Dub.
Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.
Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?
Jock! Lookout, 3600 16th; 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.
Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.
Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.
Religion Bar on Church. 3pm. With DJ Nikita.
Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

MONDAY 14

ROCK/BLUES/HIP-HOP
Tab Benoit Slim’s. 8pm, $20.
“Blue Bear School of Music Band Showcase” Café du Nord. 7:30pm, $12-20.
Lady Gaga, Kid Cudi, Semi Precious Weapons Bill Graham Civic Auditorium, 99 Grove, SF; www.ticketmaster.com. 7:30pm, $50.
Maria Muldaur Rrazz Room, Hotel Nikko, 222 Mason, SF; 1-866-468-3399. 8pm, $35.

JAZZ/NEW MUSIC
Hot Foot Swing Band Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
Lavay Smith Trio Enrico’s, 504 Broadway, SF; www.enricossf.com. 7pm, free.
Mark Levine and the Latin Tinge Yoshi’s San Francisco. 8pm, $14.

FOLK/WORLD/COUNTRY
Toshio Hirano Amnesia. 8:30pm, free.

DANCE CLUBS
Black Gold Koko Cocktails, 1060 Geary; 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!
Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.
Going Steady Dalva. 10pm, free. DJs Amy and Troy spinning 60’s girl groups, soul, garage, and more.
King of Beats Tunnel Top. 10pm. DJs J-Roca and Kool Karlo spinning reggae, electro, boogie, funk, 90’s hip hop, and more.
Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.
Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.
Network Mondays Azul Lounge, One Tillman Pl; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.
Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.

TUESDAY 15

ROCK/BLUES/HIP-HOP
Aces Biscuits and Blues. 8pm, $15.
“Blue Bear School of Music Band Showcase” Café du Nord. 7:30pm, $12-20.
Corner Laughers, Anton Barbeau, Allen Clapp Grant and Green. 8:30pm, free.
Davy Knowles and Back Door Slam, Ron Drabkin Independent. 8pm, $15.
Maria Muldaur Rrazz Room, Hotel Nikko, 222 Mason, SF; 1-866-468-3399. 8pm, $35.
Nessie and Her Beard, Awkward Janitor El Rio. 8pm, free.
Sore Thumbs, Get Dead, Super Ego Bottom of the Hill. 9pm, $8.
Tempo No Tempo, Grooms, Young Prisms Hemlock Tavern. 9pm, $7.
Zero 7, Phantogram Warfield. 8pm, $26.50-30.

FOLK/WORLD/COUNTRY
Cohen Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Mucho Axe, Fogo Na Roupa Elbo Room. 9pm, $7.
Slow Session Plough and Stars. 9pm. With Michael Duffy and friends.

JAZZ/NEW MUSIC
“Booglaloo Tuesday” Madrone Art Bar. 9:30pm, $3. With Oscar Myers.
Dave Parker Quintet Rasselas Jazz. 8pm.
Euliptian Quartet Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
Charlie Hunter Yoshi’s San Francisco. 8 and 10pm, $16-20.
Ricardo Scales Top of the Mark. 6:30pm, $5.

DANCE CLUBS
Alcoholocaust Presents Argus Lounge. 9pm, free. With DJs What’s His Fuck and Crystal Meth.
Drunken Monkey Annie’s Social Club. 9pm, free. Guest DJs and shot specials; also, check out Open Mic Comedy (6-9pm) and punk rock karaoke (9pm-2am) in the back room.
Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.
La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton.
Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.
Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.
Womanizer Bar on Church. 9pm. With DJ Nuxx.

Resnick and the Light Brown Apple Moth (LBAM)

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Text by Sarah Phelan

adultLBAMoth2.jpg

When I read Lance Williams’ article about a corporate farmer who used his political connections to try and influence the Delta water wars debate, the corporate farmer’s name sounded familiar. So, I checked– and sure enough, Stewart Resnick’s name popped up, only this time in an article that I wrote about the contentious, controversial and ongoing fight about how best to control the Light Brown Apple Moth--and whether the aerial spraying of urban areas with a moth pheromone was ever really necessary.

As the Guardian article about the LBAM debate noted, “Critics of the state’s pheromone spraying program observe that Suterra LLC, which manufactured the spray used over Santa Cruz and Monterey counties, refused to release the full ingredients until it was sued — and Gov. Arnold Schwarzenegger demanded immediate full disclosure.”

The article also observed that, “These same critics also note that Schwarzenegger, who continues to support CDFA’s LBAM-eradication program, received $144,600 in campaign contributions from Los Angeles–based Roll International owners Stewart and Lynda Resnick (my bold), who control Suterra, Fiji Water, Paramount Agribusiness, and the Franklin Mint.”

“Records show the Resnicks donate broadly, mostly to Democrats — including the gubernatorial campaigns of Steve Westly and Phil Angelides, and US Sens. Hillary Clinton, John Edwards, and Barack Obama — with a lesser-size donation to Republican presidential front-runner John McCain, proving they play both sides of the fence,” the Guardian’s article concludes.

And as William’s recent article notes, “Underpinning [the Resnicks’] fortune is agribusiness – 70,000 acres of pistachios and almonds, 48,000 acres of citrus and pomegranates – most of it in Kern County at the south end of the San Joaquin Valley, and all requiring irrigation to survive.”

In other words, the Resnicks’ agribusiness empire could be negatively impacted if other countries refused to import their produce, because of LBAM-related fears, even if those fears were unfounded.. Conversely, the Resnicks’ business interests stood to gain if the state mandated the widespread aerial spraying of a synthetic pheromone by a company (Suterra) that the Resnicks controlled.

I’m not saying that’s why the state ended up pushing its controversial aerial spraying plan, until public pressure stopped that plan in its tracks, but it sure is an interesting question

Project Censored 2010

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By Rebecca Bowe

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Tomorrow evening, Project Censored will celebrate its release of Censored 2010, a yearbook compilation of the Top 25 Censored Stories of 2008-2009, published through the nationally renowned program at Sonoma State University. The Guardian’s coverage of Project Censored’s Top 10 Stories can be found here.

The event, which will be held in Santa Rosa, will feature music, food and drink, Project Censored awards, and a list of leading progressive speakers including author Michael Parenti, Flashpoints Radio’s Dennis Bernstein, Miguel Molina, and Nora Barrows-Friedman, and Guardian publisher Bruce Brugmann.

Every year since 1976, Project Censored has spotlighted the 25 most significant news stories that were largely ignored or misrepresented by the mainstream press. Now the group is expanding its mission — to promote alternative news sources. But it continues to report the biggest national and international stories that the major media ignored.

The project staff begins by sifting through hundreds of stories nominated by individuals at Sonoma State, where the project is based, as well as 30 affiliated universities all over the country.

Articles are verified, fact-checked, and selected by a team of students, faculty, and evaluators from the wider community, then sent to a panel of national judges to be ranked. The end product is a book, co-edited this year by Phillips and associate director Mickey Huff, that summarizes the top stories, provides in-depth media analysis, and includes resources for readers who are hungry for more substantive reporting.

Admission for tomorrow’s event is $35 including food, one drink ticket and an autographed Censored 2010 yearbook; $20.00 general; and $10.00 for students and low-income individuals. Proceeds will benefit Project Censored. (Click here for details.)

Holiday blues

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Holiday blues

rebeccab@sfbg.com

Ethea Farahkhan lost her city job Nov. 29, when a round of city layoffs impacting front-line workers took effect.
Farahkhan, a woman of color who was an administrative assistant at San Francisco’s Department of Children, Youth and their Families, said she would have a job if it weren’t for Mayor Gavin Newsom’s decision not to spend money approved by the Board of Supervisors to save people from job losses during the holiday season.

The layoffs rippled through city government as DPH employees with seniority exercised “bumping rights” to replace employees like Farahkhan, who was hired three years ago.

“No one’s in a festive mood. We’re concentrating on making mortgages and buying food to put on our table,” Farahkhan told us when we caught up with her Thanksgiving eve. “I know San Francisco is not exempt from the economic crisis,” she added, “but I feel like our mayor is out of touch. He’s never been in this position.”

If DPH layoff had been covered by existing funds and incoming grant money, as directed by a veto-proof, 8-3 vote of the Board of Supervisors on Nov. 24, she said, “I would definitely have a job to go to.” Instead, Mayor Gavin Newsom announced after the board vote that he was refusing to spend the reallocated funding to halt the 478 DPH layoffs and reassignments.

Farahkhan’s union, Service Employees International Union (SEIU) Local 1021, spent months trying to save these jobs, finally winning over the final supervisor needed to overcome a veto, Sup. Sophie Maxwell, shortly before the vote. Then, for the second time in as many months, the head of the executive branch announced that he would simply ignore the legislative branch.

The impasse doesn’t bode well for a city that’s about to wrestle with a record midyear budget deficit again.
In October, Newsom declared that he would ignore the board’s passage of legislation — by the same 8-3 vote that could override a mayoral veto — to prevent deportation of undocumented youth in custody until they are convicted. It was the first of two actions that seemed to answer the question of whether the mayor is willing to work with the supervisors on the toughest problems facing the city.

That was the question raised last summer when the board discussed a budget analyst’s report that Newsom had either cut or refused to spend about $15.6 million of the $37.5 million that supervisors approved in budget add-backs for the 2008-09 fiscal year. With the mayor cutting 42 percent of program funding that the board fought to restore, trust was already eroding.

During budget deliberation, some progressive supervisors unsuccessfully tried to place hundreds of millions of dollars on reserve, which would give the board some leverage to force Newsom to honor his pledge to work with supervisors on midyear budget cuts, but the board ultimately decided not to do so.

The mayor’s latest rejection came after a long, embittered battle with the union. SEIU members resorted to drastic measures — staging protests in traffic intersections, distributing flyers outside Newsom’s PlumpJack restaurants, barging into his office unannounced singing civil-rights era ballads — to pressure the mayor. But neither those media stunts, nor compromise solutions developed by Sups. John Avalos, Bevan Dufty, and Board President David Chiu, could persuade Newsom to go along with revisiting the DPH cuts.

“Mayor Newsom cannot spend funds the city does not have,” Newsom’s press secretary, Joe Arellano, told the Guardian when asked for an explanation. “The board action didn’t provide any new money — it takes dollars already being used to pay other employees’ salaries.”

The money allocated by the board was already destined for salaries and benefits of other DPH employees, but Sups. Avalos, Chris Daly, and Ross Mirkarimi argued that new federal dollars en route to the city via state and federal channels would bring the department budget back into balance. An estimated $34 million in federal funding is expected to flow into city coffers for health services by mid-2010, but Arellano indicated that the mayor intends to use that money to help balance next year’s deficit.

As the city considers midyear slashes to cope with next year’s monstrous $522 million shortfall, the spirit of cooperation that Newsom publicly emphasized at the outset of last year’s budget cycle now seems dead. Chiu told the Guardian that the only way the board was able to achieve a palatable budget back in July was through controversial partnership with the Mayor’s Office. But when supervisors approached Newsom with alternative solutions for restoring the DPH layoffs, “the mayor was not interested in exploring these different options,” Chiu explained.

Now, Chiu said he’s worried by the implications of the mayor’s defiant approach to the board. “We have two branches of government — legislative and executive. Eleven of us are required to set laws for the city, and the mayor is supposed to carry it out. I hope and believe that the mayor would respect the roles of our respective branches,” Chiu said, carefully choosing his words when asked for his perspective on this trend. “I don’t know how we are going to get through next year if we can’t … not just agree to disagree, but figure out where we agree.”

Chiu’s persistent search for common ground stands in contrast to Daly’s more adversarial approach. In July, just before the board signed off on the 2009-10 budget, Daly floated a proposal to place $300 million on reserve — which would require additional board action to spend, thereby giving supervisors some leverage — but it failed to pass.

Daly also proposed a placing a charter amendment on the ballot that would have required the mayor to fund certain board-approved programs that supervisors deemed especially important. But that failed too when only Sups. Mirkarimi, David Campos and Eric Mar supported it. In a recent conversation with the Guardian, Daly indicated that this possibility could be revived. “It doesn’t matter how many supervisors it takes” to pass legislation, Daly said. “[The mayor] wants to govern unilaterally, and that’s not okay.”

As for the mayor’s latest announcement that he wouldn’t spend the money to restore DPH salaries, Daly said it’s not over yet. “There will be meetings. There will be discussions,” he said. “We’re going to move on this.”

At the same time, midyear cuts are speeding through the pipeline. By Dec. 4, city department heads will have to figure out how to slash their current budgets by 4 percent. By Feb. 20, Newsom is asking for plans to cut an additional 20 percent, plus an extra 10 percent in contingency funding in order to address next year’s gaping deficit.

Those “adjustments,” as they’re called in bureaucratic jargon, promise to be painful. As the next city budget squabble comes into focus on the horizon, the question of revenue measures is still out there and isn’t helped by the current acrimony at City Hall.

Progressive supervisors are also moving to tackle spending areas they deem wasteful, such as a surge in high-dollar management salaries or some of the mayor’s pet projects. Newsom is angling for opening the condo conversion floodgates by letting people buy their way out of the lottery system — a one-time moneymaker that progressives find repugnant because it depletes rental-housing stock.

As the city grows more financially anemic, accusations of mismanagement abound. After the board’s vote on DPH cuts, Newsom was quoted in the San Francisco Chronicle saying that progressive supervisors are in a “reality-free zone.”

But Farahkhan and other SEIU employees who are facing layoffs during the holidays believe Newsom is the one who is living on a different planet. “He’s at the top of the pay scale,” Farahkhan said, “and out of touch with everyday working people.”

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MUNI CUTS BACK SERVICE

Service reductions that will affect about half of all Muni routes start Dec. 5, the result of San Francisco Municipal Transportation Agency’s early summer deal to close a $129 million budget deficit for the current fiscal year. And that’s just the beginning of the bad news.
Less than halfway through this budget cycle, SFMTA is already looking at an additional $45 million deficit, partly because of the agency’s failure to follow through on plans to increase parking revenue, such as the stalled proposal to extend parking meter hours (see “We want free parking!” Oct. 28).
So additional layoffs and Muni service reductions or even another fare hike are possible, even though Muni fares have already doubled to $2 since Gavin Newsom became mayor. SFMTA officials say midyear budget reduction decisions will be made by the SFMTA Board of Directors over the next two months.
But for now, to find out how this week’s Muni service reductions will affect you, visit www.sfmta.com. (Steven T. Jones)

Our Weekly Picks

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Our Weekly Picks

WEDNESDAY 2

MUSIC
Baroness
Baroness became one of the most promising bands in heavy music with the release of 2007’s The Red Album (Relapse), generating high expectations for its new monochromatic opus, The Blue Album (Relapse), released this fall. Driven by the squalling vocals and versatile technique of guitarist John Baizley (who also has made a name for himself as a visual artist) the band has exceeded the high hopes of their fans with an offering that combines muscular riffing, allusive Southern flair, and affecting dynamics. Those gathered at Bottom of the Hill will rock out to standouts like “Ogeechee Hymnal” and “The Sweetest Curse.” (Ben Richardson)
With Earthless, Iron Age
9 p.m., $14
Bottom of the Hill
1233 17th, SF
(415) 626-4455
www.bottomofthehill.com

THURSDAY 3

EVENT
Handmade Ho-Down
Over 55 crafty bitches will participate in the Handmade Ho-Down, SoMa’s first craftstravaganza urban street fair. This means you will have 55 very good reasons to blow some cash. From pillows to wall prints, there will be something precious for everyone. Forget the stench of mothballs, this ain’t your grandmother’s fluorescent-lit craft show. And what’s a street fair in San Francisco without booze and music? There will be a full holiday bar along with a DJ so you can drink, dance, and shop to your heart’s content. Bring unused art supplies to benefit Drawbridge, a nonprofit art program for homeless and at-risk youth, and get there early for a free SWAG bag. (Lorian Long)
6 p.m., free
1015 Folsom
1015 Folsom, SF
www.handmadehodown.com

FILM
Black Christmas
Some call 1974’s Black Christmas the first-ever slasher film — it predates Halloween by four years, and its sorority-sister victims are picked off one by one as the movie progresses. (It also beat 1979’s When a Stranger Calls to the creepy prank-caller punch.) With an incredible cast (Olivia Hussey! Margot Kidder! John Saxon! Keir Dullea!) and atmospheric direction by the late, great Bob Clark (who also helmed that other holiday classic, 1983’s A Christmas Story), Black Christmas remains legitimately spooky, as well as one of the greatest holiday-horror flicks ever made. Traveling moviemeister Will the Thrill presents the film tonight with live music by Project Pimento; check the Thrillville Web site for deets on the Dec. 10 show in San Jose. (Cheryl Eddy)
8 p.m., $10
Four Star
2200 Clement, SF
(415) 666-3488
www.thrillville.net

FILM/MUSIC
Joshua Churchill and Paul Clipson
In conjunction with NOMA Gallery’s current “Until the Bright Logic is Won/Unwishpering as a Mirror is Believed” exhibit by artists Peggy Cyphers and Joshua Churchill, Churchill and Paul Clipson are presenting a this one-off sound and film performance. I’m imagining two hours filled with Brian Eno-y abstractions and spiritual glosses of nature’s lovely things. If that isn’t unclear enough, maybe the curious misspelling in the show’s title, lifted from Hart Crane’s poem “Legend,” might help. I’m referring to switcheroo of the h in “Unwishpering” (the original being “Unwhispering”). Assuming it was intentional, we now have a new word that undoes the whispering of a wish. Come witness this etymological birthing as Churchill and Clipson unwishper in your eyes and ears. (Spencer Young)
7-9 p.m., free
NOMA Gallery
80 Maiden Lane, 3rd floor, SF
(415) 391 0200
www.nomagallerysf.com

THEATER
Golden Girls: The Christmas Episodes
Dreading December’s inevitable mall trip? Consider Golden Girls’ Dorothy your inspiration: “You know Robbie wants a Batman hat. I went to six different stores, they were all sold out … Ugh, I cannot believe a person would push a perfect stranger out of the way, step on her hand, and give her an elbow to the forehead just for a Batman hat. But I did it anyway.” Ah Bea Arthur, what ever will we do without you? But although our favorite sassy grandmas may no longer be churning out the pithy one-liners they once were, their torch has happily been plucked and held aloft by San Francisco drag queens. The ladies will be performing two of the original series’ very special Christmas episodes line-for-line — rumor has it the fearsome foursome takes on a soup kitchen in one. Get some silver-haired sass for your holiday soul. (Caitlin Donohue)
7 and 9 p.m. (also Fri.-Sat., through Dec. 26), $20–$25
Mama Calizo’s Voice Factory
1519 Mission, SF
www.trannyshack.com
www.cookievision.com
www.ticketweb.com

FRIDAY 4
EVENT/VISUAL ART
The 13th Small Format Art Sale
My grandma did beautiful paintings of Texas hill country, but nowadays I’ve only got one ’cause the durn things are too large to qualify as carry-on luggage. Would that Grandma had lived in the age of the The Lab’s small-work-and-postcard art show. The space’s 13th annual celebration of all things tiny and beautiful is perfect for that nomadic creative type on your shopping list. And as a nomadic creative, I’m fully ready to celebrate some innovative, postal service-friendly designs, accumulated during an egalitarian open submissions call. If while there you are shoulder-tapped by a man or woman who wants to show you what’s in their pocket, be not alarmed. They’re a representative of the Museum of Pocket Art, a group that piggybacks larger gallery events to show wallet-sized works. Or they’re a total perv. Only one way to find out … (Caitlin Donohue)
6–-9 p.m. reception (continues through Sun/6), free
The Lab
2948 16th St., SF
(415) 864-8855
www.thelab.org
www.mopaonline.com

MUSIC
The Dead Hensons Finale Extravaganza
While cuddly Muppets and innovative creature designs are probably the first things that pop into most people’s minds when they hear the name Jim Henson, the late creative genius also incorporated wildly catchy music into his productions, using songs that still have the power to transport listeners back to their youth when hearing just a few bars of tunes such as “Pinball Number Count.” Capturing that unbridled sense of joy and innocence, The Dead Hensons perform selections from the early days of The Muppet Show and Sesame Street, and are known to cause spontaneous bouts of dancing and sing-alongs with their rockin’ interpretations. Tonight the eight-piece band will joined by several special guests, including members of Rogue Wave, No Doubt, and more. (Sean McCourt)
9:30 p.m., $12
Bottom of the Hill
1233 17th St., SF.
(415) 621-4455
www.bottomofthehill.com

EVENT/VISUAL ART
Lower Haight Art Walk
Whether you like it or not, the holidays are here. Avoid the bloated shopping malls and the schizophrenia of Union Square, and hit up the Lower Haight for its “Holiday Edition” Art Walk instead. The event takes place between the 400 and 700 blocks, and nearly 30 merchants will participate with live music, art shows, live painting, and waistband-threatening holiday munchies. There will be window and tree display contests, which means you might see Baby Jesus robotripping with a pacifier in his mouth, or Santa and Rudolph getting bestial under the mistletoe. This is the Lower Haight, after all, and one should expect something subversive and oddly charming from such a crazy yet cozy spot in the city. Fuck Macy’s and fuck carolers, the Xmas spirit thrives with the freaks and geeks of Haight Street. (Long)
7–10 p.m., free
Haight (between Pierce and Webster), SF
www.lowerhaight.org/events

SATURDAY 5

MUSIC
The Cranberries
Before emo came along and turned 13-year-olds into crybabies, there was the Cranberries. Dolores O’Riordan was the mouthpiece for many angst-ridden adolescent girls in the mid-1990s. Say what you will about the band, there’s no denying the sense of dreamy giddiness one feels whenever “Linger” or “Dreams” plays on the radio. Memories of flannel dresses, cassette tapes in your backpack, and the anticipation of another glorious episode of My So-Called Life can overwhelm you with sugary-sweet nostalgia. Following in the footsteps of such holy-shit! reunions like Pavement, Jesus Lizard, and Sunny Day Real Estate, the Cranberries — performing with the original lineup — could name their tour “Everyone Else Is Reuniting, So Why Can’t We?” It’s been seven years since the band last toured, so let’s hope “Zombie” still has sharp teeth. (Long)
8 p.m., $36
Regency Ballroom
1290 Sutter, SF
(415) 673-5716
www.theregencyballroom.com

EVENT/LIT/VISUAL ART
“Exercises in Seeing”
Wish you could give up the heavy-lidded responsibility of having eyeballs day in day out? Hate having to constantly gaze, blink, scan, squint, divert, and cry? And tired of going to art shows where all you do is look at things? Or maybe you just hate art altogether? Well, tonight’s your lucky night. You can wear two eye-patches if you want, because those pesky wet balls will be useless at this exhibit. For one night only, poet David Buuck will audibly walk you through artwork in the dark by 30 local and international artists — artwork even he hasn’t seen! All you have to do is listen or sleep or walk around and relive your first sexual experiences by “accidentally” groping people. (Young)
9 p.m.–6 a.m.
Queen’s Nails Projects
3191 Mission, SF
(415) 314-6785
www.queensnailsprojects.com

SUNDAY 6

FILM
Om Shanti Om
Om my gawd, y’all — Om Shanti Om is playing the Yerba Buena Center for the Arts! Set within the world of Bollywood, this 2007 monster hit from director-choreographer Farah Khan (she choreographed 2001’s Monsoon Wedding) works cameos galore into the tale of good-hearted, 1970s-era bit player Om (Shah Rukh Khan), who falls for movie star Shanti (Deepika Padukone), not realizing she’s already entangled with sinister producer Mukesh (Arjun Rampal). Stuff — betrayals, tragedy, reincarnation, revenge plots, haunting — happens, but you know you wanna see Om Shanti Om primarily for the glorious musical numbers, and for the mighty SRK, gloriously corny here (as always). (Eddy)
2 p.m., $6–$8
Yerba Buena Center for the Arts
701 Mission, SF
(415) 978-2787
www.ybca.org

MUSIC
Marduk
Formed in Sweden in 1990, legendary black metal group Marduk was designed, in the words of founding member Morgan Hakansson, to be “the most blasphemous metal act ever.” Although it draws from similar lyrical themes as other groups in its genre, such as the requisite references to Satanism and gore, Marduk adds several other diabolical layers, notably imagery and historical content from World War II. Marduk had to cancel its opening slot appearance for Mayhem earlier this year due to visa issues — this is the first chance in years for Bay Area metal fans to see one of the most brutal acts in our neck of the woods. (McCourt)
With Nachtmystium, Mantic Ritual, Black Anvil, Merrimack and DJ Rob Metal
8 p.m., $20
DNA Lounge
375 11th St., SF
(415) 626-1409
www.dnalounge.com

MONDAY 7
MUSIC
A Multimedia Event with Califone
The lonesome crowded West has an apt soundtrack in the music of Califone, whose very name evokes rustic Americana. Some groups never let a good song get in the way of atmosphere, while others are guilty of just the opposite. In contrast, Califone frequently manages to combine strong songcraft with an attention to scene-setting detail. And that it should — its new album All My Friends are Funeral Singers (Dead Oceans) shares the same title as the feature film directorial debut of the group’s Tim Rutili. In fact, tonight the band supplies a live score to Rutili’s movie, which stars Angela Bettis, the petite-but-tough-as-nails presence at the core of low-budget horrors such as May (2002) and Tobe Hopper’s not-bad 2003 remake of Toolbox Murders. A throwback to a time when actual actresses rather than Hollywood fembots had lead roles in U.S. movies, Bettis plays a fortune-teller who lives in an old house at the edge of the woods. Califone plays the music. (Johnny Ray Huston)
8 p.m., $16
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.gamh.com
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Out of reach

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Out of reach

news@sfbg.com

On a sunny afternoon in Civic Center Plaza, a remarkable bounty covered a buffet table: coconut quinoa, organic mushroom tabouli, homemade vegan desserts, and an assortment of other yummy treats. The food and event were meant to raise awareness about public school lunches, although it was hard to imagine these dishes, brought by well-heeled food advocates, sitting under the fluorescent lights of a San Francisco public school cafeteria.

The spread was for the Slow Food USA Labor Day “eat-in,” a public potluck meant to publicize the proposed reauthorization of the Child Nutrition Act, national legislation that regulates the food in public schools. The crowd was in a festive, light-hearted mood. There was a full program of speeches by sustainability experts and a plant-your-own-vegetable-seeds table set up in one corner of the plaza.

A bedraggled couple who appeared homeless made their way through the jovial crowd and started scooping up the food in a way that suggested it had been a long time since their last roasted local lamb shish kebob. Their presence shouldn’t have been a surprise; most events involving free trips down a food table are geared toward a different demographic in this park, which borders the Tenderloin.

In a flash, an event volunteer was on the case, nervous in an endearingly liberal manner. “Sir,” she began. “This food is for the Child Nutrition Act.” And then she paused, searching for what to say next. I imagined her thinking: “Sir, this food is to raise awareness about the availability of sustainable food to the lower classes, not to be eaten by them,” or, “Sir, this good, healthy, local food is not for you.”

But there was no good way to say what she meant to convey. She knew it, and delivered her final line hurriedly before walking away. “If you could just, well, just don’t take like 25 things, okay?” Indifferent to the volunteer’s unspoken reprimand, the couple continued to eat, ignoring the whispers and stares of the social crusaders around them, who all seemed to take issue with their participation in this carefully planned political action.

It was a telling scene from a movement that has yet to really confront its class issues. Though organic grocery stores and farmers markets have sprung up on San Francisco’s street corners, it remains to be seen whether our current mania for sustainable, local food will positively affect the lower classes, be they farm workers or poor families.

Even iconic food writer Michael Pollan acknowledges the challenge the sustainability movement faces in widening its relevance for the poor, citing the high cost of local and organic food as just one of the issues that Slow Foodies and their allies must tackle before they can count the “good food” movement a success.

LOCAL ORGANIC LABOR

For the average heirloom tomato eater, the words “organic farm” often conjure up an idyllic agrarian picture: happy communes of earnest farmers growing veggies straight from the goodness of their hearts. In reality, a lot of the people who plant, tend, and harvest produce are poorly paid Latino immigrants. And it might come as a surprise that those who work on small or organic farms often face the same exploitative working conditions as those in conventional agriculture.

To learn how organic farm workers should be treated, consider Swanton Berry Farm, whose fields stretch out along the coastal highway just north of Santa Cruz. Swanton was the first organic farm in California to sign a contract with the United Farm Workers, a move that highlights the owners’ conviction that farm workers be viewed as skilled professionals. Employees are offered ownership shares in the farm and are provided health insurance, retirement plans, comfortable housing, and unlimited time off to attend to pressing family matters.

“Organic is a lot cleaner. Working with pesticides, you have to worry about wearing gloves and covering your skin. Here, you can pick that strawberry right off the plant and eat it,” Adelfo Antonio told the Guardian. He has worked these fields for 20 years, the last five as a supervisor. His high regard for his job and employers is apparent. As we talked, he kept at least one eye fixed on his coworkers, who stretched plastic sheets across the dirt of the field to protect their rows of seed from the coming autumn winds.

Antonio said he appreciates the culture of mutual respect on this farm. “People like how they are treated here. When conflicts come up, our management is open to working through them,” he said. A few minutes later, a break was called, illustrating his point. There had been some disruptive behavior in the company housing and a discussion ensued between the crew and one of the farm’s owners about house rules. The group formulated a plan to avoid trouble in the future.

But Swanton’s egalitarian fields are the exception among American organic farms. The average salary of the estimated 900,000 farm workers in California — the birthplace of the organic and farm labor movements in the U.S. — is around $8,500, more than $2,000 below the federal poverty line.

In 2006, the California Institute for Rural Studies put out a rare study of working conditions on the state’s 2,176 organic farms that suggested that in some respects, workers are better off on conventional farms. Although the average wage was higher on organic fields — $8.20 for entry-level work, compared with $7.91 on conventional farms — traditional agriculture outstripped organic on certain employee benefits. A mere 36 percent of organic businesses were found to provide health insurance to their employees, as opposed to 46 percent on conventional farms.

Unable to rely on chemicals for pest control, organic farms often face higher labor costs in the fields. “Wages and benefits should always be viewed in the wider context of sustainability, and that includes a farm’s ability to stay in business from one year to the next, i.e. its profitability,” said Jane Baker, a spokesperson for California Certified Organic Farmers, the state’s major organic certification agency.

The inequity faced by farm workers belies the fact that the organic movement began as an alternative to the industrialized food system. “Back then, we never would have imagined that you’d be buying an organic product that was built on the backs of workers. For us, social justice was every bit as important as the environmental part,” said Marty Mesh, an organic farmer since 1973 and executive director of Florida Certified Organic Growers & Consumers.

Mesh was involved in the debates over the U.S. Department of Agriculture’s first codification of the National Organic Program. He said that although many farmers advocated for regulations surrounding working conditions, the federal government found it hard to stomach labor stipulations. Many involved felt their inclusion would hurt the growth of the organic industry. So the social movement aspect of organic farming was left on the cutting room floor.

That has not been the case overseas. The International Federation of Organic Agriculture Movements, whose organic label is recognized worldwide, adopted explicit social justice language in its basic standards in 2003, stating in their “Principles of Organic Agriculture” document that “organic agriculture should provide everyone involved with a good quality of life and contribute to … reduction of poverty.”

CCOF now offers a dual track certification process wherein California farms can forgo specific IFOAM requirements. The lack of guidelines of worker treatment has led to some problems. “We’ve seen many of the same issues on organic farms that we do in conventional agriculture, on small and big farms alike,” Michael Marsh, directing attorney of California Rural Legal Assistance, told us. CRLA is an organization that regularly provides low cost legal assistance to agricultural workers, whom Marsh has seen bring charges against organic farmers for cases of sexual harassment, underpayment, and job safety concerns.

Sometimes the organic label is even used to justify vioutf8g workers rights. In 2003, the California Legislature considered a bill that would ban “stoop labor,” activities like hand-weeding which require working in bent positions that can cause musculoskeletal degeneration. Organic farmers’ associations lobbied against the bill, claiming that pesticide-free agriculture would suffer under such restrictions. Also, although chemical pest-killers are banned from organic farming, some popular natural pesticides like copper and sulfur have been known to cause irritation of the throat, eyes, and respiratory system.

“This is one of the hardest nuts to crack in the sustainable food world,” said Michael Dimock, executive director of Roots of Change, a San Francisco-based foundation that has developed campaign strategies for improving agricultural working conditions. Three years ago, Dimock left his post as chairman at Slow Food USA, at a time when farm labor conditions “were generally not at the top of the list. Slow Food as an organization is just beginning to figure out what it can do in a meaningful way on this issue.”

Roots of Change has found some success in identifying farm labor challenges and possible solutions through a series of worker-grower forums. It has pinpointed immigration reform as one key to progress. Anywhere from 50 to 90 percent of farm workers in California are undocumented, which puts even fair bosses at risk of being prosecuted for employing illegal immigrants.

Many farm owners turn to labor contractors — essentially agricultural temp agencies — to supply field hands. Use of these middle men largely shields the owner from legal responsibility for illegal hiring, but “the bad farm labor contractors cheat workers, take their pay, and risk their health and safety,” Dimock said.

Some Californian farm labor contractors have become notorious for their disregard of minimum wage and other labor standards, taking advantage of workers who are discouraged to seek help for fear of deportation. The role played by irresponsible contractors is one of many issues that can remain unseen by the buyers of food from farms that rely on the inadequate public information available on agricultural working conditions.

WHEN BUSINESS AND LABOR COLLABORATE

Food management company Bon Appetit in Palo Alto has built a good reputation as a sustainable company, buying its produce and other foodstuffs as locally and organically as possible. “I’ve learned a lot working here,” said Jon Hall, head chef of Bon Appetit’s University of San Francisco cafeteria. “In other kitchens, if you can get something for five cents a pound cheaper, that’s what you buy. If I did that here, people would notice. [My bosses at Bon Appetit] would say, ‘Why’d you buy that?’ ”

But when Bon Appetit executives decided to take on the issue of worker treatment on the farms that supplied their food, they found it difficult to find reliable information on the subject. “We always felt like there was something there that needed to be done and change that needed to take place,” said vice president Maisie Greenwalt. “But we didn’t know who to talk to.”

Her cue to act came from the Coalition of Immokalee Workers, a group from Immokalee County, Fla. The farm workers’ organization brought nationwide publicity to the slavery-like conditions in the area’s tomato fields. Greenwalt accompanied the group on an information-gathering trip to Immokalee and saw firsthand the places where recent immigrants were held to work against their will, living in squalor and being paid little as $20 a week.

Greenwalt saw the travesty as a wake-up call. Collaborating with the Immokalee activists, Bon Appetit developed a workers’ rights contract that all their tomato suppliers must now sign. “After Bon Appetit sent me the contract, I sort of at first didn’t see the point. But then I spoke with the [Coalition of Immokalee Workers] and it made sense. Worker abuse has been around for centuries,” said Tom Wilson of Alderman Farms, one of the company’s tomato growers.
Greenwalt says Bon Appetit cafeterias were prepared to eliminate tomatoes from their menus. “Every chef and manager I talked to said they would rather not serve tomatoes than serve the tomatoes that were coming from these conditions.” But every one of their suppliers signed, agreeing to conditions such as a mandatory worker-controlled safety committee and a “minimum fair wage.”

The success convinced Bon Appetit that this style of food buyer participation is crucial to making positive progress on farm worker treatment. The company is now conducting a nationwide survey of working conditions on organic farms. “Labor’s not a new issue,” said Carolina Fojo, one of the company’s researchers. “But for some reason, people are just now talking about it. We’ve found it can be a sensitive topic for a lot of farmers.”

Visually, Hall’s USF food court is similar to traditional college eateries. But plate-side, Bon Appetit’s commitment to sustainability is clear; specials vary seasonally and food is sourced locally whenever possible. The price for a semester’s meal plan is $3,810, more than twice that of San Francisco State University. Hall’s customers, college students who may eat three meals a day here, often approach him with questions about their food. Queries range from where to how the food was grown, but in no instances that Hall has been aware of, about the workers who grew it.

Labor issues are not the popular cause these days, at least in the sustainable food movement. Unlike the “eat local” and organic food movements, equitable treatment of farm workers has yet to spawn trendy slogans for tote bags or a book on the best-seller list.

One UC Santa Cruz study found that, when asked to rank their concern about food system related topics, Central Coast grocery shoppers assigned higher concern levels to animal treatment on farms than that of humans. But Hall is confident this will change as Bon Appetit and others continue to bring attention to the economically disadvantaged on the front lines of our local and organic food systems.

“This is the next frontier,” he said. “I can see it brewing.”

SERVING THE CHILDREN

In school cafeterias across the city, a different low-income group has its own challenges fitting into the sustainable food movement. San Francisco Unified School District manages one of the city’s most important food sources.

Every school day, Student Nutrition Services dishes out 31,000 cafeteria meals; of those, 84 percent go to students who qualify for free lunch or for the reduced price of $2 for elementary school students. It is not a stretch to say that for many of these kids, this is their one chance at healthy food for the day — certainly their only chance to learn about local and organic food. But the school district faces one of the major issues the sustainability movement has yet to resolve. Local and organic food costs a lot to produce, which makes it more expensive. If pricing was more socially equitable and accounted for living wages for farm workers, costs might rise even more. This is a problem. Federal funds supply about $2.49 for each free student lunch in San Francisco and less for the meals of students who do not qualify for reduced prices. After logistical costs like labor and transportation are accounted for, 90 cents per meal is left over for the food itself.

This is not enough to fund a menu like Hall’s. Given the numbers, it should come as no surprise that examining an average SFUSD school lunch — as San Francisco Chronicle food critic Michael Bauer did in his Oct. 29 “Between Meals” online column — turns up a lot of recently thawed, bland food matter. But this is not to say that cafeteria meals have not seen progress. Student Nutrition Services eliminated junk food in 2003, signaling a new attention to nutrition on a menu previously dominated by pizza and french fries.

Unlike working conditions for farm workers, school lunches have the benefit of visibility to middle class consumers and activists. Demonstrable efforts are being made to send some of that 90-cent budget toward local food. But with such a limited budget, institutions like SFUSD can only address a small slice of what is important about sustainable food. Yes, efforts are being put toward buying kids local, pesticide-free food that doesn’t further jeopardize their future by using excessive fossil fuel on transportation. But these limited efforts do nothing to affect the social aspect of sustainability — those who produce the food are again left invisible.

The school salad bar program, started in 2007, uses organic and local vegetables in its buffet line as much as possible. The majority of the bars are strategically located in schools where more than half the student body qualifies for free and reduced-price lunches, a response to a Community Healthy Kids survey that put the number of ninth-graders who had eaten a single vegetable in the last week at 29 percent. Student reaction to the bars has been encouraging. Many poor families credit them with increasing the amount of produce in their kids’ diets.

“This program is an anomaly,” said Paula Jones, director of San Francisco Food Systems. “Other schools around the country just don’t see things like this.”

But a generation’s worth of antitax sentiment has limited the variety of the salad bars and other attempts at getting fresh food onto kids’ lunch trays. Due to high labor costs, the school district buys pre-chopped vegetables, severely limiting sourcing options. In the meantime, another generation of low-income kids is growing up on processed, packaged foods. Jones said making sustainable food available to all children is an issue the community must help take on. “The bottom line is, it’s going to take a lot of people talking about this to realize this is not just the school district’s problem.”

Jones’ organization works on getting healthy food to the city’s underserved populations. Nutritionally, this is the salient mission of our age. Despite its current vogue, only 10 percent of Americans buy organic, and shoppers who consistently choose healthy foods usually find themselves spending 20 percent more. Several California studies have indicated that socioeconomically depressed neighborhoods have disturbingly high rates of food insecurity and obesity.

Despite the enormity of the challenge, Jones remains positive. “We lead in this issue. San Francisco is ready, and we have the will.” She counts among the city’s biggest successes in this area the fact that all farmers markets, typically more expensive than average supermarkets, now accept food stamps.

THE FRESHEST FOR THE POOREST

On a bright autumn Wednesday, market assistant manager John Fernandez stands outside his “office,” a white van with the Heart of the City logo. The Heart of the City Farmers Market takes place in a plaza just between City Hall and the Tenderloin twice a week, year-round. Fernandez said it has the highest food stamp sales — second only to that of the Hollywood market — in California and has played a role in allowing low income families and individuals in the area to fit local and organic food into their budget.

Fernandez has worked here for 13 years, and said that the use of food stamps has doubled since last summer. Most of his food stamp customers are families and individuals coming back week after week. They pass by the van to have Fernandez swipe their food stamp cards through a machine and hand them the yellow plastic coins used to buy everything from persimmons to what is far and away the market’s most popular item: the live chickens that squawk from cages at one end of the line of stalls.

Efreh Ghanen was one of the shoppers we talked to who felt that being able to use her food stamps at the farmers market had improved the health of her family. Ghanen, who shops with her mother and sister, likened Heart of the City to the Yemeni markets where they bought their food growing up. “The honey, fruit, and vegetables here are fresher,” she said. “They just taste better.”

“I definitely wouldn’t be able to shop here if it weren’t for the food stamp program,” echoed Shana Lancaster. She teaches at Paul Revere Elementary School in Bernal Heights, a position funded through AmeriCorps whose low pay automatically qualifies her for the food stamp program. She selects an armful of organic Gala apples while noting the value of shopping local for working people like herself. “I like supporting the farmers. Everyone here at the market has a story. These days, everyone is struggling.”

But both Lancaster and Ghanen tell us that when they can’t afford to shop at the farmers markets, they head straight for corporate retailers like Safeway and Walgreens, buying whatever they need to get by.

Programs like these are essential if the sustainability movement is to remain relevant and widen its reach. Just as the environment will degrade if industrial agriculture continues unabated, so too will local and organic food sources falter if the majority of our society cannot afford to buy their wares.

In the end, the obstacles are about class. Low-income groups, be they the people who grow the organic food or the schoolchildren who benefit from eating it, need to become more of a focus of the “good food” movement. What Slow Foodies and other activists must keep in mind is that over-accessorizing a cause (as with esoteric artisan products and exclusive dining experiences) makes it less a vehicle for change and more like reshuffling of the same old injustices. Social change, by definition, has to be for everyone. Because elitism tastes as bad as it always has.

For more information, check out “Fair Food: Field to Table,” a multimedia project recently released by the California Institute for Rural Studies. CIRS is one of the leading researchers of working standards on Californian farms and its data is found throughout this article. Watch the Fair Food documentary for free at www.fairfoodproject.org.

Music Listings

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Music Listings

Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 2

ROCK/BLUES/HIP-HOP

*Baroness, Earthless, Iron Age Bottom of the Hill. 9pm, $14.
Black Crowes, Truth and Salvage Company Fillmore. 8pm, $51.50.
Dashboard Confessional, New Found Glory Slim’s. 8:30pm, $28.
“Duane Allman Birthday Tribute” Boom Boom Room. 9:30pm, $10. With members of Poor Man’s Whiskey, New Monsoon, Tracorum, and more.
Hiwatters, Middle Class Murder, DariusTX Red Devil Lounge. 8pm, $5-15.
*King City, Mission Street Stranglers, Black Crown String Band Annie’s Social Club. 8pm, $6.
Mass Fiction, Actors, Farewell Typewriter Elbo Room. 9pm, $6.
Mt. St. Helens Vietnam Band, Growlers, My First Earthquake Rickshaw Stop. 8pm, $12.
Luke Rathbone Hotel Utah. 9pm, $12.
David Jacob Strain Biscuits and Blues. 8pm, $15.
“Ten Out of Tenn” Independent. 8pm, $15. With Trent Dabbs, Matthew Perryman Jones, Jeremy Lister, and more.

JAZZ/NEW MUSIC

“B3 Wednesdays” Coda. 9pm, $7. With David Mathews Trio featuring Barry Finnerty.
Cat’s Corner Savanna Jazz. 7pm, $5-10.
Alasdair Fraser and Natalie Haas Yoshi’s San Francisco. 8pm, $22.
Gil Cohen Jazz Duo Moussy’s, 1345 Bush, SF; (415) 441-1802. 6pm, free.
Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.
Marcus Shelby Jazz Jam Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Realistic Orchestra Yoshi’s San Francisco. 10:30pm, $14.
Tin Cup Serenade Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7pm, free.

FOLK/WORLD/COUNTRY

Gregory Alan Isakov, Patrick Park Café du Nord. 9:30pm, $12.
Bluegrass Country Jam Plough and Stars. 9pm. With Jeanie and Chuck.
“Long Night’s Moon presented by Singbird Festival” El Valenciano, 152 Valencia, SF; (415) 826-9561. 8:30pm, $7. Featuring Uni and Her Ukulele, Dina Maccabee Band, Whiskey and Women, and Paper Crocodiles.

DANCE CLUBS

Afreaka! Attic, 3336 24th St; souljazz45@gmail.com. 10pm, free. Psychedelic beats from Brazil, Turkey, India, Africa, and across the globe with MAKossa.
Booty Call Q-Bar, 456 Castro; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.
DJ Rebellious Jukebox Hemlock Tavern. 9pm, free.
Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.
Hump Night Elbo Room. 9pm, $5. The week’s half over – bump it out at Hump Night!
Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.
Qoöl 111 Minna Gallery. 5-10pm, $5. Pan-techno lounge with DJs Spesh, Gil, Hyper D, and Jondi.
RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.
Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.
Synchronize Il Pirata, 2007 16th St.; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 3

ROCK/BLUES/HIP-HOP

Agent Orange, Jokes for Feelings, Black Dream Thee Parkside. 9pm, $10.
Alma Desnuda, Highway Robbers, Grace Woods, Earl J. Rivard Great American Music Hall. 8pm, $13.
Soul Burners Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Cold Cave, Former Ghosts, Veil Veil Vanish Bottom of the Hill. 9pm, $10.
Grannies, Turbonegra, Inoculators, Tempramentals Annie’s Social Club. 8pm, $7.
Leigh Gregory and Memory’s Mystic Band, Martin Bisi, Dominique Leone Hemlock Tavern. 9pm, $7.
“A Holiday Benefit: Music for the Kids” Independent. 8pm, $20-35. With Greasetraps. Benefits buildOn.
Less Than Jake, Fishbone, Cage Regency Ballroom. 7pm, $22.
New Maps of the West, Honey, Lambs Bollyhood Café. 8pm, $5.
NOFX, Wax, Dead to Me, Nathan Maxwell and the Original Bunny Gang Slim’s. 8pm, $40.
Split Lip Rayfield, Kemo Sabe Rickshaw Stop. 8pm, $15.
Li’l Dave Thompson Biscuits and Blues. 8pm, $15.
bay area
Throwback Thurs 4 Last Day Saloon, 120 5th St., Santa Rosa; (707) 545-2343. 9pm, $12. Featuring Skee-lo, Rappin’ 4-Tay, and At All Costs.

JAZZ/NEW MUSIC

Terry Disley Washington Square Bar and Grill, 1707 Powell, SF; (415) 433-1188. 7pm, free.
Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 7:30pm, free.
Laurent Fourgo Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7:30pm, free.
Goapele Yoshi’s San Francisco. 8 and 10pm, $26.
Marlina Teich Trio Brickhouse, 426 Brannan, SF; (415) 820-1595. 7-10pm, free.
Stompy Jones Top of the Mark. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Al Marshal Quintet Coda. 9pm, $7.
49 Special Atlas Café. 8pm, free.
Valerie Orth Dolores Park Café. 8pm, $10 sliding scale.
Shannon Céilí Band Plough and Stars. 9pm.
“Songwriters in the Round” Hotel Utah. 8pm, $8. With Heather Combs, Damond Moodie, Jesse Brewster, and Rick Hardin.
“Tibet Day” Presentation Theater, University of San Francisco, 2350 Turk, SF; (415) 422-5093. Documentary viewing and concert.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-6. DJs Pleasuremaker, Señor Oz, J Elrod, B Lee, and guests Nappy G and Motion Potion spin Afrobeat, Tropicália, electro, samba, and funk.
Caribbean Connection Little Baobab, 3388 19th St; 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.
Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.
Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.
Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.
Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.
Holy Thursday Underground SF. 10pm, $5. Bay Area electronic hip hop producers showcase their cutting edge styles monthly.
Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.
Koko Puffs Koko Cocktails, 1060 Geary; 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.
Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro. Mestiza Bollywood Café, 3376 19th St., SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.
Popscene 330 Ritch. 10pm. With a live performance by stellastarr*.
Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest. Rock Candy Stud. 9pm-2am, $5. Luscious Lucy Lipps hosts this electro-punk-pop party with music by ReXick.
Solid Club Six. 9pm, $5. With resident DJ Daddy Rolo and rotating DJs Mpenzi, Shortkut, Polo Mo’qz and Fuze spinning roots, reggae, and dancehall.
Studio SF Triple Crown. 9pm, $5. Keeping the Disco vibe alive with authentic 70’s, 80’s, and current disco with DJs White Girl Lust, Ken Vulsion, and Sergio.

FRIDAY 4

ROCK/BLUES/HIP-HOP

“Battle of the Bands Finals” DNA Lounge. 5:30pm, $12. With Death Between Seasons, Draconian Winter, Gravy Trainwreck, and more.
Black Crowes, Truth and Salvage Company Fillmore. 9pm, $51.50.
Damage Inc, Paradise City, Aaron Pearson Red Devil Lounge. 8pm, $10.
Damn Near Dead Abbey Tavern, 4100 Geary, SF; (415) 221-7767. 9pm, free.
“Dead Hensons Finale Extravaganza” Bottom of the Hill. 9:30pm, $12. With Thunderbleed aka Blind Vengeance and DJ Adam Infantacide.
Dragon Smoke, Ronkat and Katdelic Independent. 9pm, $30.
Forever the Sickets Kids, Rocket Summer, Sing It Loud, My Favorite Highway, Artist vs. Poet Regency Ballroom. 6:30pm, $18.
DJ Lebowitz Madrone Art Bar. 6-9pm, free.
Legendary Stardust Cowboy, Two Tears, Touch-Me-Nots Hemlock Tavern. 9:30pm, $7.
Charlie Musselwhite Biscuits and Blues. 8 and 10pm, $35.
La Plebe, Nothington, Hooks, Frankenstein L.I.V.S. Annie’s Social Club. 8:30pm, $8.
Poi Dog Pondering, Geographer Slim’s. 9pm, $24.
Raw Deluxe Coda. 10pm, $10.
Robin Yukiko Band Brainwash, 1122 Folsom, SF; (415) 861-2663. 8pm, free.
Threes and Nines, Dialectic, Rockodile Hotel Utah. 9pm, $8.
J. Tillman, Pearly Gate Music Great American Music Hall. 9pm, $13.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.
Black Market Jazz Orchestra Top of the Mark. 9pm, $10.
Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.
“Jazzcracker and Other Delights: Tchaikovsky with a Jazz Twist!” Aidan’s Episcopal Church, 101 Gold Mine Dr, SF; 1-800-838-3006, www.performanceshowcase.com. 8pm, $20. With the Terry Disley Experience.
Lucid Lovers Rex Hotel, 562 Sutter, SF; (415) 433-4434. 6-8pm.
Kally Price Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

FOLK/WORLD/COUNTRY

Las Bomberas de la Bahia, Blanca Sandoval, LoCura Brava Theater, 2781 25th St.; (415) 648-1045. 8pm, $16.
Adrian Emberly Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
Encuentro del Canto Popular festival Accion Latina, 2958 24th St., SF; (415) 648-1046. Featuring LoCura, Rincon Pabon, De La Fe, and more.
Goapele Yoshi’s San Francisco. 8 and 10pm, $28.
Kounterfeit Change Rock-It Room. 9pm.
Pine Needles Plough and Stars. 9pm.
Rocky Dawuni and the Revelation Project, Pleasuremaker Band, DJs Jeremy Sole and
Señor Oz Elbo Room. 10pm, $12.

DANCE CLUBS

Activate! Lookout, 3600 16th St; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.
Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.
Deeper 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With DJs Jason Short, Moniker, and more spinning dubstep and techno.
Exhale, Fridays Project One Gallery, 251 Rhode Island; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.
Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.
Floor Score Siberia, 314 11th St., SF; (415) 552-2100. 10pm, $6. With DJs Robot Hustle and Stanley Frank spinning fluoro, disco, and homo all night.
Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.
Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.
M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.
Oldies Night Knockout. 9pm, $2-4. Doo-wop, one-hit wonders, and soul with DJs Primo, Daniel, and Lost Cat.
Polaris Mezzanine. 10pm, $20. A night of dubstep, glitch and bass heavy dance music featuring DJs Max Ulis, Ana Sia, Heyoka, Billy the Robot, and more.
Punk Rock and Shlock Karaoke Annie’s Social Club. 9pm-2am, $5. Eileen and Jody bring you songs from multiple genres to butcher: punk, new wave, alternative, classic rock, and more.

SATURDAY 5

ROCK/BLUES/HIP-HOP

“Bay Area Derby Girls: Cinco de Malo Prom 2009” Thee Parkside. 9pm, $15.
Black Crowes, Truth and Salvage Company Fillmore. 9pm, $51.50.
Black Hollies, Shys, Hot Lunch Bottom of the Hill. 10pm, $10.
Marcus Foster, Blue Roses Elbo Room. 6pm, $12.
*Husbands, Th’ Losin Streaks, Primitivas El Rio. 10pm, $8.
Midnight Strangers, Spyrals, Tasso Hemlock Tavern. 9:30pm, $6.
*Red Meat, Drunk Horse, East Bay Grease Annie’s Social Club. 9pm.
Sic Wolf, Maniac Martyrs, Lost Puppy Thee Parkside. 3pm, free. Benefit for the Lyon Martin Women’s Clinic.
Two Tears, Ebonics, Dirty Cupcakes Knockout. 5-9pm, $5.
“The Vandals Christmas Formal” Slim’s. 9pm, $16. Also with Voodoo Glow Skulls and Knock Out.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.
Aram Denesh and the Superhuman Crew Coda. 10pm, $10.
Emily Anne’s Delights Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.
Goapele Yoshi’s San Francisco. 8 and 10pm, $28.
“Jazz Jam Session with Uptime Jazz Group” Mocha 101 Café, 1722 Taraval, SF; (415) 702-9869. 3:30-5:30pm, free.
Ricardo Scales Top of the Mark. 9pm, $15.

FOLK/WORLD/COUNTRY

Adam Aijala, Larry Keel Hotel Utah. 7:30pm, $18.
Anna Ash and the Family Tree Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
Bluegrass Bonanza Plough and Stars. 9pm.
BRWN BFLO, Bang Data, Rico Pabón and De La Fé Brava Theater, 2781 25th St.; (415) 648-1045. 8pm, $16.
Cirkestra Accordion Apocalypse, 2626 Jennings, SF; (415) 596-5952. 9:30pm, $10.
Encuentro del Canto Popular festival Accion Latina, 2958 24th St., SF; (415) 648-1046. Featuring LoCura, Rincon Pabon, De La Fe, and more.
Go Van Gogh Café International, 508 Haight, SF; (415) 552-7390. 7:30pm, free.
Adrian Legg, Teja Gerken Noe Valley Ministry, 1021 Sanchez, SF; www.noevalleymusicseries.com. 8:15pm, $20.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.
Debaser Knocout. 10pm, $5. Arrive wearing a flannel before 11pm and get in free to this 90s dance party with DJ Jamie Jams and Emdee of Club Neon.
Everlasting Bass 330 Ritch. 10pm, $5-10. Bay Area Sistah Sound presents this party, with DJs Zita and Pam the Funkstress spinning hip-hop, soul, funk, reggae, dancehall, and club classics.
Fire Corner Koko Cocktails, 1060 Geary; 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.
Gemini Disco Underground SF. 10pm, $5. Disco with DJ Derrick Love and Nicky B. spinning deep disco.
HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.
Leisure Paradise Lounge. 10pm, $7. DJs Omar, Aaron, and Jet Set James spinning classic britpop, mod, 60s soul, and 90s indie.
New Wave City DNA Lounge. 9pm, $7-12. Eighties dance party with Skip and Shindog.
Rebel Girl Rickshaw Stop. 10pm, $5. “Electroindierockhiphop” and 80s dance party for dykes, bois, femmes, and queers with DJ China G and guests.
Saturday Night Soul Party Elbo Room. 10pm, $10. Sixties soul on 45s with DJs Lucky, Phengren Oswald, and Paul Paul.
So Special Club Six. 9pm, $5. DJ Dans One and guests spinning dancehall, reggae, classics, and remixes.
Soundscape Vortex Room, 1082 Howard, SF. With DJs C3PLOS, Brighton Russ, and Nick Waterhouse spinning Soul jazz, boogaloo, hammond grooves, and more.
Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 6

ROCK/BLUES/HIP-HOP

Black Crowes, Truth and Salvage Company Fillmore. 8pm, $51.50.
Dollyrots, Perfect Machines, Departed Bottom of the Hill. 8:30pm, $10.
Generalissimo, Police Teeth, Truxton Kimo’s. 9pm, $6.
Pat Johnson and the Creeps Knockout. 10pm, $6.
Kit Ruscoe Group, Hydrogen Babies, Nice, Man’s Red Fire, Electric Googie Dawgz Café du Nord. 8pm, $10.
*Marduk, Nachtmystium, Mantic Ritual, Black Anvil, Merrimack DNA Lounge. 8pm, $20.
Rademacher, Golden Ghost, Woolly Moon Hemlock Tavern. 9pm, $6.
Jonathan Richman, Tommy Larkins Great American Music Hall. 8pm, $15.
Johnny Vernazza Biscuits and Blues. 8pm, $15.

JAZZ/NEW MUSIC

Terry Disley Washington Square Bar and Grill, 1707 Powell, SF; (415) 433-1188. 7pm, free.
Noel Jewkes, Josh Workman, Chuck Metcalf Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.
Rob Modica and friends Simple Pleasures, 3434 Balboa, SF; (415) 387-4022. 3pm, free.

FOLK/WORLD/COUNTRY

“Acoustic Country Christmas” Slim’s. 7pm, $17. With Sara Evans, Darryl Worley, and Mallory Hope.
Jesse DeNatale, Allison Lovejoy Amnesia. 8pm, $7-10.
Goapele Yoshi’s San Francisco. 2 and 7pm, $5-26.
Quin and friends Plough and Stars. 9pm.
Sacred Profanities Thee Parkside. 4pm, free.

DANCE CLUBS

Afterglow Nickies, 466 Haight, SF; (415) 255-0300. An evening of mellow electronics with resident DJs Matt Wilder, Mike Perry, Greg Bird, and guests.
DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.
Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJ Sep, J Boogie, and guest Dub Gabriel.
Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.
Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?
Jock! Lookout, 3600 16th; 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.
Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.
Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.
Religion Bar on Church. 3pm. With DJ Nikita.
Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

MONDAY 7

ROCK/BLUES/HIP-HOP

Califone Great American Music Hall. 8pm, $16.
Grand Lake, Bad Assets, Pine Away Knockout. 10pm, $5.
“Not So Silent Night Competition” Bottom of the Hill. 8pm, $8. Bands TBA.

JAZZ/NEW MUSIC

Nick Culp Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
Lavay Smith Trio Enrico’s, 504 Broadway, SF; www.enricossf.com. 7pm, free.
Christopher O’Riley Yoshi’s San Francisco. 8pm, $30.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary; 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!
Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.
Going Steady Dalva. 10pm, free. DJs Amy and Troy spinning 60’s girl groups, soul, garage, and more.
King of Beats Tunnel Top. 10pm. DJs J-Roca and Kool Karlo spinning reggae, electro, boogie, funk, 90’s hip hop, and more.
Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.
Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.
Network Mondays Azul Lounge, One Tillman Pl; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.
Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.

TUESDAY 8

ROCK/BLUES/HIP-HOP

Average White Band Yoshi’s San Francisco. 8 and 10pm, $25.
California Honeydrops Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.
Robert Francis Café du Nord. 9:30pm, $10.
Long Thaw, Downfalls, Pegataur Bottom of the Hill. 9pm, $8.
Nervous Tics, Aversions, Complaints Knockout. 9:30pm, free.

FOLK/WORLD/COUNTRY

Devine’s Jug Band, The Gas Men, Sean Corkery Club Waziema, 543 Divisadero, SF; (415) 999-4061. 8pm, free.
Fiddle Jam Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.
Barry O’Connell, Vinnie Cronin and friends Plough and Stars. 9pm.

JAZZ/NEW MUSIC

“Booglaloo Tuesday” Madrone Art Bar. 9:30pm, $3. With Oscar Myers.
Dave Parker Quintet Rasselas Jazz. 8pm.
“Jazz Mafia Tuesdays” Coda. 9pm, $7. With Spaceheater’s Blast Furnace.
Ricardo Scales Top of the Mark. 6:30pm, $5.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. With DJs What’s His Fuck, Kate Waste, and Trashed Tracy.
Drunken Monkey Annie’s Social Club. 9pm, free. Weekly guest DJs and shot specials.
Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.
La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton.
Mixology Aunt Charlie’s Lounge, 133 Turk, (415) 441-2922. 10pm, $2. DJ Frantik mixes with the science and art of music all night.
Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.
Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.
Shout at the Devil Red Devil Lounge. 8pm, free. Karaoke with a smoke machine and cheap drinks.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

Things We Like

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Yoshi’s Fillmore

The Fillmore district was an epicenter of the golden age of West Coast jazz, and this huge, luxurious, recent addition to the area is reviving the spirit of that bygone era for thousands of delighted musicophiles and newbies. Dine on delicious sushi, grab a couple of cool cocktails, and sink into the tuneful, improvisatory vibes with live shows nightly. Don’t be surprised if you find yourself taking in performances by (or sitting next to) some of the Bay’s jazz greats. 1330 Fillmore. (415) 655-5600, www.yoshis.com
Neighborhood: Fillmore. Muni: 22 Fillmore, 38 Geary

Glen Canyon Park

A stunning shot of Northern California nature lies smack-dab in the middle of the city. This huge preserve in the Glen Park neighborhood offers outdoor activities, unusual wildlife, sports utilities, and the opportunity to get away from it all without the car-rental fees. Pack a couple of buttery chocolate croissants from nearby Destination Baking Company in the Glen Park Village shopping area and commune with nature (and gooey pastry) for an afternoon.
Bosworth and Elk
Neighborhood: Glen Park. Muni: 44 O’Shaughnessy. BART: Glen Park

Ton Kiang

Chinatown gets all the press when it comes to Chinese cuisine in this town — deservedly so — but locals also flock to this Outer Richmond neighborhood fave from 10:30 a.m. to 9 p.m. daily to dive into some of the city’s best dim sum. That means the large two-story dining room gets a little packed and noisy, but who cares when you’re gorging on delectable hai kim (shrimp-stuffed crab claws) and siu lung bao (Shanghai meat dumplings)?
5821 Geary. (415) 752-4440, www.tonkiang.net
Neighborhood: Outer Richmond. Muni: 38 Geary

Temple

If you’re into giant, after-hours nightlife experiences with a spiritual edge, this recently opened megaclub will grab you body and soul (without completely draining your wallet). Techno, tribal, electronica, hip-hop – even guided meditation and peace conferences – all find a home in the bangin’ multiple rooms of this green-certified palace. Check the basement “catacombs” for the latest sounds, grab a bite at attached Thai restaurant Prana, and don’t forget your latest dancing shoes.
540 Howard. www.templesf.com www.templesf.com
Neighborhood: SoMa. Muni: 27 Bryant

Zante Pizza and Indian Cuisine

It’s one thing to claim to invent a curious dish like “Indian pizza” – but quite another to have it turn out quite so amazingly. Zante in the Outer Mission has been serving this unique, crispy-crusted delicacy for years; it’s a San Francisco classic. Choose your toppings from an expansive, unusual list that includes spinach, tandoori chicken, cauliflower, eggplant, and more. The restaurant also features savory traditional Indian foods (the veggie samosas will knock your socks off). If you can’t make it in, Zante delivers to most of the city seven days a week.
3489 Mission. (415) 821-3949, www.zantespizza.com
Neighborhood: Outer Mission. Muni: 14 Mission

Fiona’s Sweet Shoppe

Ah yes, the famous Union Square, where the tumult of international commercialism, in the form of a gazillion department stores and tourist traps, can certainly overwhelm. When you’ve had enough browsing, or just need a sweet refresher, head a few blocks northeast to this incredibly cute, tiny candy store on Sutter Street. Scrumptious old school confections like English toffee and Dutch licorice abound, each piece individually wrapped and displayed in adorable jars.
214 Sutter. (415) 399-9992, www.fionassweetshoppe.com
Neighborhood: Downtown. Muni: 30 Stockton, 45 Union

Harry Denton’s Starlight Room

An oldie but still very-goodie. This dazzling bar and nightclub on the 21st floor of the Sir Francis Drake Hotel has an atmosphere that occasionally rises into glitzy high camp, but with 360-degree views of the glimmering city at night through floor-to-ceiling plate glass windows – well, all aboard the disco-go-round! Among all the polished Art Nouveau decor, the 1930s-style ladies room is a definite must-see. Sundays play host to the raucous “Sunday’s a Drag” brunch and gender-illusionist showcase – a stunning buffet if ever there was one.
450 Powell. (415) 395-8595, www.harrydenton.com
Neighborhood: Downtown. Muni: 38 Geary, 30 Stockton

Upper Playground

An art gallery, a fashion label, a men’s and women’s boutique – Upper Playground, whose various outlets take up approximately an entire block of Fillmore Street in Lower Haight, is the streetwise hipster’s one-stop dream. Local graffiti artists line up to design for Upper Playground’s numerous lines of T-shirts, hats, jackets, and accessories (including cheeky dildos and shot glasses), or to display their latest graphic works. When you’re done fingering monogrammed fleece in downtown’s tourist traps, this is the place to collect real SF souvenirs.
220 Fillmore. (415) 861-1960, www.upperplayground.com
Neighborhood: Lower Haight. Muni: 30

The Buena Vista

Whether or not the talented gents of the Buena Vista bar and cafe brought the everdreamy Irish coffee to America (as has been claimed), this well-appointed bar is well worth visiting for its cozy, old-timey atmosphere in the heart of North Beach – and for that lovely, steaming concoction of Irish whisky and specially prepared cream. Fog? What fog? You’ll slice right through it with a couple of warm ones in your belly.
2765 Hyde. (415) 474-5044. www.thebuenavista.com
Neighborhood: North Beach. Cable Car: Powell and Hyde

Ritual Coffee Roasters

With its anti-establishment logo, interesting art, tattooed baristas devoted to coffee culture, and scenester customers devoted to their laptops, Ritual embodies several generations of quintessential San Franciscan culture – from the summer of love to the dot com boom (2.0) – with a decidedly funky Mission District flair. This is where to plug in, foam up, and get connected, whether you’re new in town or ready to launch that quirky startup.
1026 Valencia, SF. (415) 641-1024, www.ritualroasters.com
Neighborhood: Mission. Muni: 14 Mission, 26 Valencia. BART: 24th Street

Zeitgeist

Rain or shine, this world-famous dive always seems packed with hipsters, hippies, bikers, anarchists, burners, European exchange students, and anyone else willing to brave notoriously surly service from punk-rock bartenders. The payoff? A chance to sip stellar Bloody Marys or draught imports on a beer garden-style bench in the expansive backyard. Sunday afternoons are especially raucous, and feature a shamelessly carnivorous barbeque.
199 Valencia, SF. (415) 255-7505, myspace.com/zeitgeistsf
Neighborhood: SoMa. Muni: 22 Fillmore, 26 Valencia

AsiaSF

Sleek, upscale, stylish – and fabulously gender-bending. Chichi drinks and high-end food are part of the deal, but AsiaSF’s real draw is its spectacular, theatrical, during-dinner shows featuring gorgeous, jaw-dropping gender illusionists – high-kicking, hair-flipping, and lip-synching with flair atop the long, thin bar. A restaurant and club perfect for celebrations, special occasions, and other-side-of-the-mirror titillation.
201 Ninth St., SF. (415) 255-2742, www.asiasf.com
Neighborhood: SoMa. Muni: F Line, 14 Mission, 19 Polk. BART: Civic Center Station

Bottom of the Hill

Situated deep in the deceptively charming industrial district of Potrero Hill, this live music venue, bar, and restaurant is known to music fans worldwide as one of the best places in San Francisco to see live bands. With a roster of performers that reads like Pitchfork’s Who’s Who of Indie Rock (and local acts soon to be included), an intimate stage, cheap cover, and a comfortable smoking patio, it’s a good bet seven days a week.
1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com
Neighborhood: Potrero Hill. Muni: 19 Polk, 22 Fillmore

TransportedSF

San Francisco’s take on the tour bus, this biodiesel-fueled, decked-out VW is one part party, one part educational tool (by day, as Das Frachtgut), and all parts experience. Hop aboard for a movie-, DJ-, or dinner-themed trip with other strangers in the know, or rent it out for your own private fete. Either way, you’ll see several San Francisco landmarks, from peeks at Ocean Beach to a great view of your purple-haired fellow rider.
Pick up at Shine (call for schedule), 1337 Mission, SF. (415) 424-1058, www.transportedsf.com
Neighborhood: SoMa and all over. Muni: F Line, 14 Mission, 26 Valencia

Japantown

Japanese immigrants flocked to the area in Western Addition between Van Ness Avenue and Fillmore 100 years ago, and Japanophiles have been following their lead ever since. You can’t miss Japan Center, a three-block mall featuring shops that sell rare Japanese products, a multiplex theater, and a memorial designed by a world-renowned architect. Highlights include noodles at Suzu Ya, the baths and spa at Kabuki Springs, and oodles of anime figurines and samurai swords.
Between Geary, Polk, Laguna, and Fillmore, SF. www.sfjapantown.org
Neighborhood: Fillmore. Muni: 38 Geary

Beat Museum

If there’s one thing North Beach is known for more than its Italian roots, it’s for being the adopted home of the Beat Generation. This shop and museum is dedicated to all things Kerouac-and-friends, from documentaries upstairs to Beat bobbleheads (downstairs). An interesting education for curious on-the-roaders and a treasure trove for serious, finger-snapping fanatics looking to get groovy.
540 Broadway, SF. (800) 537-6822, www.thebeatmuseum.org
Neighborhood: North Beach. Muni: 20 Columbus, 41 Union, 45 Union/Stockton

Casanova Lounge

Hip, crowded, and unapologetically ironic (read: velvet nudes on the walls), Casanova, a full-service dive bar, is a Mission flagship. Crimson lighting and comfortable couches give it a slight boudoir/opium den feel, while lots of standing room and loud DJ music keep a casual vibe. And yes, it’s a meat market, but also a great place to meet well-versed, impeccably accessorized locals.
527 Valencia, SF. (415) 863-9328, www.casanovasf.com
Neighborhood: Mission. Muni: 22 Fillmore, 26 Valencia, BART: 16th Street

Gone, here

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Gone, here

arts@sfbg.com

MUSIC No one has ever heard the real Sa-Ra, declares Shafiq Husayn during an evening phone interview. And I believe him.

Formed in 2001 between L.A. musicians Om’mas Keith, Taz Arnold, and Husayn (a former rapper/producer in Ice-T’s Rhyme Syndicate crew), Sa-Ra Creative Partners is more powerful as a myth than an actual group. It emerged in 2004 as part of Kanye West’s ill-fated G.O.O.D. Music venture with Columbia, fomenting buzz for its never-released debut, Black Fuzz. After the group left the label, many fans falsely speculated that Sa-Ra had broken up, dissipating like a midnight dream.

Since then, Sa-Ra Creative Partners has issued two collections of songs, 2007’s The Hollywood Recordings (Babygrande) and this year’s Nuclear Evolution: The Age of Love (Ubiquity) The latter, a magnificent and powerful foray into drug and sex addiction, redemptive spirituality and love as a circadian rhythm, incorporates dozens of musicians both famous (Erykah Badu) and memorably eccentric (Rozzi Daime). Nuclear Evolution, patched together from songs recorded over the past several years, triumphs in spite of its sporadic assembly.

But Husayn, who sometimes refers to himself and Sa-Ra as third-person entities, says he doesn’t consider Nuclear Evolution a cohesive body of work. "Sa-Ra as a group has not released a debut album yet," he explains, perhaps perpetuating that myth himself. After all, wouldn’t a "Sa-Ra" album be the same as "Sa-Ra Creative Partners"? "We’re waiting for the right [distribution] situation to put it out. People are still sluggish, and not understanding." He adds, "What else do we have to do to show people that Sa-Ra is for real?"

So consider Husayn’s recent Shafiq ‘En A-Free-Kah a statement from a man in exile. He’s grateful to work with Plug Research, an L.A. indie best known for developing new artists. He’s also realistic about the small label’s ability to promote his music. "A lot of fans don’t even know that we have albums out," he rues.

Unlike the Sa-Ra Creative Partners collections, Husayn considers his solo debut a full-fledged philosophical treatise.

"’Kah’ in the ancient Kemetic language means spirit. So to be in the spirit of the Most High is infinite, it can’t be circumscribed by anything dealing with time and space. Thoughts originate in the spirit realm. They don’t originate on Earth," he explains. "So ‘en a-free-kah’ is a demonstration of using your higher self as a natural law. Or, as it is on Earth, shall it be in heaven, or as above shall be law, the unification of soul and mind, body and soul, all becoming one in a format of music. This is an album for the free nationals, meaning all in the international community who are not slaves, and when I say slaves, I mean not slaves in the mind, the ones that are open for a difference, for change. It is dedicated to the spirit of freedom."

It’s to Husayn’s credit that Shafiq ‘En A-Free-Kah sounds more fun than a history lesson. It sparkles with allusions to Loft-era disco and French coos ("Le’Star") and bass-bottom blues modernized with clipped electronic edits ("Lil’ Girl"). Protests against nuclear war ("Major Heavy") and fearless activism ("Rebel Soldier") play out against a fusillade of deep soul homage.

Sa-Ra may be the soul equivalent of DFA. While the home of LCD Soundsystem and Hercules and Love Affair rips off old Bohannon disco and Inner City techno tracks, Sa-Ra shamelessly references Sly & the Family Stone’s There’s a Riot Going On (1971, Epic). These reinventions soar through canny production tricks and fidelity toward the original’s bright futurism, editing out any postmodern commentary. Husayn’s "Changes," for example, revisits the same synthesized optimism elements as Stevie Wonder’s Talking Book (1972, Tamla/Motown).

But while DFA rules the indie-dance world through a distribution deal with international entertainment conglomerate EMI, Sa-Ra languishes, forced to license projects with modest albeit sympathetic companies. Husayn explains that his group is waiting to partner with a powerful company (ostensibly a major label) before it presents the full Sa-Ra experience.

"Any time Sa-Ra puts some music out, it should be a big deal," he says. "But you can’t know if it’s a big deal if you don’t even know it’s available." Well, now you know.

Should taxpayers subsidize desalination?

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Should taxpayers subsidize desalination?

rebeccab@sfbg.com

GREEN CITY Should the state of California hand over a multimillion dollar tax break to a company that is poised to build the largest desalination facility on the continent, just north of San Diego? That question will be decided early next year when Poseidon Resources, a water-infrastructure developer, formally submits its request for more than $500 million in tax-exempt bonds to the California Debt Limit Allocation Committee (CDLAC).

The decision will demonstrate whether California is willing to roll out the red carpet for desalination, an energy-intensive technology that has many questioning whether it’s a wise path to take. Proposals for desalination projects are cropping up across the state, including one for a smaller facility in Marin County, and water bonds recently approved by the Legislature as part of the state’s historic water package include $1 billion earmarked for water recycling and desalination.

With the state well into a three-year drought that has left some agricultural operations high and dry, calls for new reliable water sources such as desalination plants are only growing louder. But critics worry that the private operations will suck in tax dollars the way their intake pipes suck in saltwater, and they’re urging decision-makers to focus on more cost-effective strategies like low-flow showerheads, waterless urinals, drought-proof landscaping, or other comparatively thrifty ways to address water shortages. Poseidon’s Carlsbad desalination plant is projected to be the largest project of its kind in California, but it’s also just the beginning of an emerging trend.

A coalition of organizations, including the Sierra Club, Service Employees International Union, and Food & Water Watch, has been sounding the alarm that San Diego’s Carlsbad Desalination Project is a bad deal that shouldn’t be encouraged with public subsidies in the form of tax-exempt bonds. "Our group, along with most of our partners and allies, are not anti-desalination," says Renee Maas, who works for Food & Water Watch in Los Angeles. "But we think it should be a last resort," after opportunities for conservation have been exhausted.

"Aside from doing nothing about conservation and continuing to require huge amounts of energy for transmission, these plants also have no real community benefit, minimal job creation, and, most importantly, a questionable success and effectiveness," members of Service Employees International Union Local 721 wrote in a letter to the Metropolitan Water District, Southern California’s water wholesaler. "We believe we can conserve more water by installing waterless urinals across L.A. County than we would obtain from the proposed desalination plant."

Yet the facility boasts a long list of powerful endorsements, including that of Gov. Arnold Schwarzenegger, a member of CDLAC. The governor was listed as a supporter on a preliminary application submitted to the three-member committee. The two other committee members are State Treasurer Bill Lockyer and State Controller John Chiang.

The facility already has its ducks in a row, with permits approved and a contract with MWD to provide as much as 10 percent of San Diego’s water supply (MWD also agreed to $350 million in subsidies for the plant over 25 years). Poseidon expects the plant to be up and running by 2012. According to company spokesperson Scott Maloni, the project will proceed even if the state rejects its request for tax-exemption.

The plant will use ocean water as a raw ingredient to produce fresh drinking water by pushing the saltwater through reverse-osmosis membranes. With a capacity for producing an estimated 50 million gallons of drinking water a day, the hulking facility will share a site with a 52-year-old beachfront power plant equipped with an antiquated system that draws in ocean water to cool its machinery. Heated seawater issuing out the tail end of the power plant will be pumped into the desalination system and converted to tap water.

Although the plant will provide a localized freshwater source in a dry region without impacting ecologically sensitive rivers or wetlands, it comes with a steep price tag and requires a tremendous amount of electricity. Proponents estimate that the energy consumption in a single day would be the equivalent to the energy used by 16,790 homes. But Maas says even this estimate is low, because if the power plant’s water-cooling system is phased out by 2017, as state law mandates, then the desalination facility would have to start with cold water instead, requiring a substantial power boost. Poseidon spokesperson Scott Malone disputed this claim, telling the Guardian, "The plant will require 28-30 MW to operate during warm water or cold water operations."

Cost and energy consumption aren’t the only concerns advocacy groups have raised. Mark Schlosberg, a program director at Food & Water Watch in San Francisco, considers Poseidon’s last foray into desalination, in Tampa Bay, Fla., to be a cautionary tale. According to an article in the St. Petersburg Times, the plant opened five years late, cost $40 million more than expected, and hasn’t ever hit its target of supplying an average of 25 million gallons a day as originally promised. After Poseidon’s business partner for that affair went bankrupt, a public utility had to take control of the facility.

"They have a bad track record on desalination," Schlosberg said. "It never performed close to its advertised capacity."

Asked about the challenges in Tampa Bay, Maloni said, "Before Poseidon was bought out, the project was 30 percent constructed, on time and on budget. After Tampa Bay Water took over, the plant wasn’t constructed as designed and later failed to pass performance testing."

Critics have also decried the high cost projections for water. San Diego County now uses water imported from northern territories via the State Water Project, at a cost of around $750 per acre-foot (an acre-foot is 325,851 gallons), according to San Diego County Water Authority figures. Poseidon estimates that the water from its plant will cost about $1,300 per acre-foot, but has promised not to charge customers more than the price of imported water. Two years ago, Poseidon told the California Coastal Commission that it intends to absorb its losses "for an unknown number of years" until the price of imported water rises enough to equal the cost of desalinated water.

"Poseidon has entered into 30-year contracts with nine different San Diego County public water agencies that guarantee the cost of the desalinated water will never cost more than the agencies would otherwise pay for imported water," Maloni told the Guardian. "This pricing structure is possible because imported water rates are projected to increase significantly in the years to come, while the cost of desalinating water will stay relatively flat."

Shlosberg’s organization requested public records from the Tampa Bay facility so they could calculate a price estimate that they say is more realistic. Food & Water Watch hired James Fryer, an environmental scientist, to crunch the numbers. Fryer concluded that if the Carlsbad project experienced the same pitfalls as Tampa Bay, the water would cost $3,507 per acre-foot — a sky-high projection. If it ran without those bugs, it would still cost $2,175 per acre-foot, he determined.

The overarching question, in Maas’ view, is whether the state is willing to take conservation seriously enough to put water-saving measures into practice before subsidizing costly, energy-guzzling technology. "By sitting a desalination plant, it really distracts people from solutions that are more environmentally sustainable," she said. "The average water use per person per day is 200 gallons, and 60 percent of it goes to landscaping. With this desalination plant, people think, ‘we don’t have to change our habits.’"

Film listings

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Film listings

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, Matt Sussman, and Laura Swanbeck. The film intern is Fernando F. Croce. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

OPENING

Christmas with Walt Disney Specially made for the Presidio’s recently opened Walt Disney Family Museum, this nearly hour-long compilation of vintage Yuletide-themed moments from throughout the studio’s history (up to Walt’s 1966 death) is more interesting than you might expect. The engine is eldest daughter Diane Disney Miller’s narrating reminiscences, often accompanied by excerpts from an apparently voluminous library of high-quality home movies. Otherwise, the clips are drawn from a mix of short and full-length animations, live-action features (like 1960’s Swiss Family Robinson), TV shows Wonderful World of Disney and Mickey Mouse Club, plus public events like Disneyland’s annual Christmas Parade and Disney’s orchestration of the 1960 Winter Olympics’ pageantry. If anything, this documentary is a little too rushed –- it certainly could have idled a little longer with some of the less familiar cartoon material. But especially for those who who grew up with Disney product only in its post-founder era, it will be striking to realize what a large figure Walt himself once cut in American culture, not just as a brand but as an on-screen personality. The film screens Nov 27-Jan 2; for additional information, visit http://disney.go.com/disneyatoz/familymuseum/index.html. (:59) Walt Disney Family Museum. (Harvey)

*Fantastic Mr. Fox "See 21st Century Fox." (1:27) Four Star, Marina.

Ninja Assassin Let’s face it: it’d be nigh impossible to live up to a title as awesome as Ninja Assassin –- and this second flick from V for Vendetta (2005) director James McTeigue doesn’t quite do it. Anyone who’s seen a martial arts movie will find the tale of hero Raizo overly familiar: a student (played by the single-named Rain) breaks violently with his teacher; revenge on both sides ensues. That the art form in question is contemporary ninja-ing adds a certain amount of interest, though after a killer ninja vs. yakuza opening scene (by far the film’s best), and a flashback or two of ninja vs. political targets, the rest of the flick is concerned mostly with either ninja vs. ninja or ninja vs. military guys. (As ninjas come "from the shadows," most of these battles are presented in action-masking darkness.) There’s also an American forensic researcher (Noemie Harris) who starts poking around the ninja underground, a subplot that further saps the fun out of a movie that already takes itself way too seriously. (1:33) (Eddy)

Oh My God? See "Pray Tell." (1:38) Lumiere.

Old Dogs John Travolta and Robin Williams play lifelong friends, business partners, and happily child-free bachelors whose lives change when the latter is forced to care for the 7-year-old twins (Conner Rayburn, Ella Bleu Travolta) he didn’t know he’d sired. You know what this will be like going in, and that’s what you get: a predictable mix of the broadly comedic and maudlin, with a screenplay that feels half-baked by committee, and direction (by Walt Becker, who’s also responsible for 2007’s Wild Hogs) that tries to compensate via frantic over-editing of setpieces that end before they’ve gotten started. The coasting stars seem to be enjoying themselves, but the momentary cheering effect made by each subsidiary familiar face –- including Seth Green, Bernie Mac, Matt Dillon, Ann-Margret, Amy Sedaris, Dax Shepard, Justin Long, and Luis Guzman, some in unbilled cameos –- sours as you realize almost none of them will get anything worthwhile to do. (1:28) Oaks. (Harvey)

Red Cliff All Chinese directors must try their hands at a historical epic of the swords and (arrow) shafts variety, and who can blame them: the spectacle, the combat, the sheer scale of carnage. With Red Cliff, John Woo appears to top the more operatic Chen Kaige and a more camp Zhang Yimou in the especially latter department. The body count in this lavishly CGI-appointed (by the Bay Area’s Orphanage), good-looking war film is on the high end of the Commando/Rambo scale. The endless, intricately choreographed battle scenes are the primary allure of this slash-’em-up, whittled-down version of the Chinese blockbuster, which was released in Asia as a four-hour two-parter. Yet despite some notably handsome cinematography that rivals that of the Lord of the Rings trilogy in its painterliness, seething performances by players like Tony Leung and Fengyi Zhang, and recognizable Woo leitmotifs (a male bonding-attraction that’s particularly pronounced during Leung and Takeshi Kaneshiro’s zither shred-fests, fluttering doves, a climactic Mexican standoff, the added jeopardy of a baby amid the battle), the labyrinthian complexity of the story and its multitude of characters threaten to lose the Western viewer –- or anyone less than familiar with Chinese history –- before strenuous pleasures of Woo’s action machine kick in. The completely OTT finale will either have you rolling your eyes its absurdity or laughing aloud at its contrived showmanship. Despite Woo’s lip service to the virtues of peace and harmony, is there really any other way, apart from the warrior’s, in his world? (2:28) Embarcadero, Smith Rafael. (Chun)

The Road After an apocalypse of unspecified origin, the U.S. –- and presumably the world –- is depleted of wildlife and agriculture. Social structures have collapsed. All that’s left is a grim survivalism in which father (Viggo Mortensen) and son (whimpery Kodi Smit-McPhee) try to find food sources and avoid fellow humans, since most of the latter are now cannibals. Flashbacks reveal their past with the wife and mother (Charlize Theron) who couldn’t bear soldiering on in this ruined future. Scenarist Joe Penhall (a playwright) and director John Hillcoat (2005’s The Proposition) have adapted Cormac McCarthy’s novel with painstaking fidelity. Their Road is slow, bleak, grungy and occasionally brutal. All qualities in synch with the source material –- but something is lacking. One can appreciate Hillcoat and company’s efforts without feeling the deep empathy, let alone terror, that should charge this story of extreme faith and sacrifice. The film just sits there –- chastening yet flat, impact unamplified by familiar faces (Robert Duvall, Guy Pearce, Molly Parker) road-grimed past recognition. (1:53) Embarcadero, California, Piedmont. (Harvey)

Sophie’s Revenge Zhang Ziyi stars as the titular woman who seeks you-know-what after her boyfriend dumps her. (1:47) Four Star.

ONGOING

Art and Copy Doc maker Doug Pray (1996’s Hype!, 2001’s Scratch, 2007’s Surfwise) uses the mid-twentieth century’s revolution in advertising to background an absorbing portrait of the industry’s leading edge, with historical commentary, philosophical observations, and pop-psych self-scrutiny by some of the rebel forces and their descendants (including locals Jeff Goodby and Rich Silverstein). We see the ads that made a permanent dent in our consciousness over the past five decades. We hear conference-room tales of famous campaigns, like "Got Milk?" and "I Want My MTV." And during quieter interludes, stats on advertising’s global cultural presence drift on-screen to astonish and unnerve. Lofty self-comparisons to cave painters and midwives may raise eyebrows, but Pray has gathered some of the industry’s brighter, more engaging lights, and his subjects discuss their métier thoughtfully, wittily, and quite earnestly. There are elisions in the moral line some of them draw in the process, and it would have been interesting to hear, amid the exalted talk of advertising that rises to the level of art, some philosophizing on where all this packaging and selling gets us, in a branding-congested age when it’s hard to deny that breakneck consumption is having a deleterious effect on the planet. Instead the film occasionally veers in the direction of becoming an advertisement for advertising. Still, Art and Copy complicates our impressions of a vilified profession, and what it reveals about these creatives’ perceptions of their vocation (one asserts that "you can manufacture any feeling that you want to manufacture") makes it worth watching, even if you usually fast-forward through the ads. (1:30) Roxie. (Rapoport)

*Bad Lieutenant: Port of Call New Orleans Consider that ridiculous title. Though its poster and imdb entry eliminate the initial article, it appears onscreen as The Bad Lieutenant: Port of Call New Orleans. That’s the bad lieutenant, not to be confused with Abel Ferrara’s 1992 Bad Lieutenant. The bad lieutenant has a name: Terence McDonagh, and he’s a police officer of similarly wobbly moral fiber. McDonagh’s tale — inspired by Ferrara and scripted by William Finkelstein, but perhaps more important, filmed by Werner Herzog and interpreted by Nicolas Cage — opens with a snake slithering through a post-Hurricane Katrina flood. A prisoner has been forgotten in a basement jail. McDonagh and fellow cop Stevie Pruit (Val Kilmer) taunt the man, taking bets on how long it’ll take him to drown in the rising waters. An act of cruelty seems all but certain until McDonagh, who’s quickly been established as a righteous asshole, suddenly dives in for the rescue. Unpredictability, and quite a bit of instability, reigns thereafter. Every scene holds the possibility of careening to heights both campy and terrifying, and Cage proves an inspired casting choice. At this point in his career, he has nothing to lose, and his take on Lt. McDonagh is as haywire as it gets. McDonagh snorts coke before reporting to a crime scene; he threatens the elderly; he hauls his star teenage witness along when he confronts a john who’s mistreated his prostitute girlfriend (Eva Mendes); he cackles like a maniac; he lurches around like a hunchback on crack. Not knowing what McDonagh will do next is as entertaining as knowing it’ll likely be completely insane. (2:01) Embarcadero, Shattuck, Smith Rafael, Sundance Kabuki. (Eddy)

The Blind Side When the New York Times Magazine published Michael Lewis’ article "The Ballad of Big Mike" — which he expanded into the 2006 book The Blind Side: Evolution of a Game —nobody could have predicated the cultural windfall it would spawn. Lewis told the incredible story of Michael Oher — a 6’4, 350-pound 16-year-old, who grew up functionally parentless, splitting time between friends’ couches and the streets of one of Memphis’ poorest neighborhoods. As a Sophomore with a 0.4 GPA, Oher serendipitously hitched a ride with a friend’s father to a ritzy private school across town and embarked on an unbelievable journey that led him into a upper-class, white family; the Dean’s List at Ole Miss; and, finally, the NFL. The film itself effectively focuses on Oher’s indomitable spirit and big heart, and the fearless devotion of Leigh Anne Tuohy, the matriarch of the family who adopted him (masterfully played by Sandra Bullock). While the movie will delight and touch moviegoers, its greatest success is that it will likely spur its viewers on to read Lewis’ brilliant book. (2:06) Cerrito, 1000 Van Ness, Presidio, Sundance Kabuki. (Daniel Alvarez)

*Capitalism: A Love Story Gun control. The Bush administration. Healthcare. Over the past decade, Michael Moore has tackled some of the most contentious issues with his trademark blend of humor and liberal rage. In Capitalism: A Love Story, he sets his sights on an even grander subject. Where to begin when you’re talking about an economic system that has defined this nation? Predictably, Moore’s focus is on all those times capitalism has failed. By this point, his tactics are familiar, but he still has a few tricks up his sleeve. As with Sicko (2007), Moore proves he can restrain himself — he gets plenty of screen time, but he spends more time than ever behind the camera. This isn’t about Moore; it’s about the United States. When he steps out of the limelight, he’s ultimately more effective, crafting a film that’s bipartisan in nature, not just in name. No, he’s not likely to please all, but for every Glenn Beck, there’s a sane moderate wondering where all the money has gone. (2:07) Red Vic, Roxie. (Peitzman)

Coco Before Chanel Like her designs, Gabrielle "Coco" Chanel was elegant, très chic, and utterly original. Director Anne Fontaine’s French biopic traces Coco (Audrey Tautou) from her childhood as a struggling orphan to one of the most influential designers of the 20th century. You’ll be disappointed if you expect a fashionista’s up close and personal look at the House of Chanel, as Fontaine keeps her story firmly rooted in Coco’s past, including her destructive relationship with French playboy Etienne Balsar (Benoît Poelvoorde) and her ill-fated love affair with dashing Englishman Arthur "Boy" Capel (Alessandro Nivola). The film functions best in scenes that display Coco’s imagination and aesthetic magnetism, like when she dances with Capel in her now famous "little black dress" amidst a sea of stiff, white meringues. Tautou imparts a quiet courage and quick wit as the trailblazing designer, and Nivola is unmistakably charming and compassionate as Boy. Nevertheless, Fontaine rushes the ending and never truly seizes the opportunity to explore how Coco’s personal life seeped into her timeless designs that were, in the end, an extension of herself. (1:50) Opera Plaza, Shattuck. (Swanbeck)

Defamation When you begin to perceive all criticism as persecutorial, you might forget it’s possible to be wrong. That’s the worry driving Yoav Shamir’s Defamation, opening theatrically following a stormy reception at July’s San Francisco Jewish Film Festival. The documentarian (2003’s Checkpoint) says that as an Israeli Jew he’s never actually experienced anti-Semitism. So he sets out to explore that prejudice’s status quo — or so he claims, somewhat disingenuously. Because Defamation‘s real agenda is positing anti-Semitism as a distorted, exploited, propagandic bludgeon used to taint any critique of Israeli government policies or the foreign lobbies supporting them. This is a theory bound to inflame angry emotions, not least the "self-hating Jew" accusation. It must be said that Shamir lays himself at risk — à la Michael Moore — of selectively gathering only evidence that supports his agenda. Anti-Semitism certainly does exist today, in many different forms, around the world. And if Defamation‘s deliberate omissions and occasional snarky tone hamper its case, Shamir nonetheless makes legitimately troubling points. His most controversial interviewee is Norman Finklestein, whose book The Holocaust Industry got him pilloried as a Holocaust denier (untrue) and quite likely cost him his teaching position. The son of Shoah survivors, he thinks "the Nazi Holocaust is now the main ideological weapon for launching wars of aggression" and that "pathological narcissism" desensitizes many American Jews to other people’s sufferings. The author can be persuasively reasonable. To Defamation‘s credit, however, it doesn’t yell "Cut!" when Finklestein whips himself into a crank-case frenzy that masochistically self-destructs his credibility. Absolute righteousness ain’t pretty, anywhere on the political spectrum. (1:33) Roxie. (Harvey)

Disney’s A Christmas Carol (1:36) 1000 Van Ness.

*An Education The pursuit of knowledge — both carnal and cultural — are at the tender core of this end-of-innocence valentine by Danish filmmaker Lone Scherfig (who first made her well-tempered voice heard with her 2000 Dogme entry, Italian for Beginners), based on journalist Lynn Barber’s memoir. Screenwriter Nick Hornby breaks further with his Peter Pan protagonists with this adaptation: no man-boy mopers or misfits here. Rather, 16-year-old schoolgirl Jenny (Carey Mulligan) is a good girl and ace student. It’s 1961, and England is only starting to stir from its somber, all-too-sober post-war slumber. The carefully cloistered Jenny is on track for Oxford, though swinging London and its high-style freedoms beckon just around the corner. Ushering in those freedoms — a new, more class-free world disorder — is the charming David (Peter Sarsgaard), stopping to give Jenny and her cello a ride in the rain and soon proffering concerts and late-night suppers in the city. He’s a sweet-faced, feline outsider: cultured, Jewish, and given to playing fast and loose in the margins of society. David can see Jenny for the gem she is and appreciate her innocence with the knowing pleasure of a decadent playing all the angles. The stakes are believably high, thanks to An Education‘s careful attention to time and place and its gently glamored performances. Scherfig revels in the smart, easy-on-eye curb appeal of David and his friends while giving a nod to the college-educated empowerment Jenny risks by skipping class to jet to Paris. And Mulligan lends it all credence by letting all those seduced, abandoned, conflicted, rebellious feelings flicker unbridled across her face. (1:35) Albany, Embarcadero, Piedmont. (Chun)

*Good Hair Spurred by his little daughter’s plaintive query ("Daddy, how come I don’t have good hair?"), Chris Rock gets his Michael Moore freak on and sets out to uncover the racial and cultural implications of African-American hairstyling. Visiting beauty salons, talking to specialists, and interviewing celebrities ranging from Maya Angelou to Ice-T, the comic wisecracks his way into some pretty trenchant insights about how black women’s coiffures can often reflect Caucasian-set definitions of beauty. (Leave it to Rev. Al Sharpton to voice it ingeniously: "You comb your oppression every morning!") Rock makes an affable guide in Jeff Stilson’s breezy documentary, which posits the hair industry as a global affair where relaxers work as "nap-antidotes" and locks sacrificially shorn in India end up as pricey weaves in Beverly Hills. Maybe startled by his more disquieting discoveries, Rock shifts the focus to flamboyant, crowd-pleasing shenanigans at the Bronner Bros. International Hair Show. Despite such softball detours, it’s a genial and revealing tour. (1:35) Opera Plaza. (Croce)

*The House of the Devil Ti West’s The House of the Devil is a retro thrillfest quite happy to sacrifice the babysitter to the Dark Lord. "Based on true unexplained events" (uh-huh), the buzzed-about indie horror has fanboy casting both old school (Dee Wallace, Mary Woronov, Tom Noonan — all performing seriously rather than campily) and new (AJ Bowen of 2007’s The Signal and mumblecore regular Greta Gerwig). Its heroine (Jocelin Donahue), a 1980 East Coast collegiate sophomore desperate for rent cash so she can escape her dorm roomie’s loud nightly promiscuity, signs on for a baby- (actually, grandma-) sitting gig advertised on telephone poles. For tonight. During a lunar eclipse. Bad move. Devil takes its time, springing nothing lethal until nearly halfway through. Its period setting allows for ultratight jeans, feathered hair, rotary dialing, a synth-New Wavey score, and other potentially campy elements the film manages to render respectfully appreciative rather than silly. Ultimately, it isn’t significantly better than various fine indie horrors of recent vintage and various nationality that went direct to DVD. (Quality, let alone originality, aren’t necessarily a commercial pluses in this genre.) But it is dang good, and that cuts it above most current theatrical horror releases. (1:33) Lumiere. (Harvey)

The Maid In an upper-middle class subdivision of Santiago, 40-year-old maid Raquel (Catalina Saavedra), perpetually stony and indignant, operates a rigorous dawn-to-dusk routine for the Valdez family. Although Raquel rarely behaves as an intimate of her longtime hosts, she remains convinced that love, not labor, bonds them. (Whether the family shares Raquel’s feelings of devotion is highly dubious.) When a rotating cast of interlopers is hired to assist her, she stoops to machinations most vile to scare them away — until the arrival of Lucy (Mariana Loyola), whose unpredictable influence over Raquel sets the narrative of The Maid on a very different psychological trajectory, from moody chamber piece to eccentric slice-of-life. If writer-director Sebastián Silva’s film taunts the viewer with the possibility of a horrific climax, either as a result of its titular counterpart — Jean Genet’s 1946 stage drama The Maids, about two servants’ homicidal revenge — or from the unnerving "mugshot" of Saavedra on the movie poster, it is neither self-destructive nor Grand Guignol. Rather, it it is much more prosaic in execution. Sergio Armstrong’s fidgety hand-held camera captures Raquel’s claustrophobic routine as it accentuates her Sisyphean conundrum: although she completely rules the inner workings of the house, she remains forever a guest. But her character’s motivations often evoke as much confusion as wonder. In the absence of some much needed exposition, The Maid’s heavy-handed silences, plaintive gazes, and inexplicable eruptions of laughter feel oddly sterile, and a contrived preciousness begins to creep over the film like an effluvial whitewash. Its abundance makes you aware there is a shabbiness hiding beneath the dramatic facade — the various stains and holes of an unrealized third act. (1:35) Clay, Shattuck. (Erik Morse)

The Men Who Stare at Goats No! The Men Who Stare at Goats was such an awesome book (by British journalist Jon Ronson) and the movie boasts such a terrific cast (George Clooney, Kevin Spacey, Jeff Bridges, Ewan McGregor). How in the hell did it turn out to be such a lame, unfunny movie? Clooney gives it his all as Lyn Cassady, a retired "supersolider" who peers through his third eye and realizes the naïve reporter (McGregor) he meets in Kuwait is destined to accompany him on a cross-Iraq journey of self-discovery; said journey is filled with flashbacks to the reporter’s failed marriage (irrelevant) and Cassady’s training with a hippie military leader (Bridges) hellbent on integrating New Age thinking into combat situations. Had I the psychic powers of a supersoldier, I’d use some kind of mind-control technique to convince everyone within my brain-wave radius to skip this movie at all costs. Since I’m merely human, I’ll just say this: seriously, read the book instead. (1:28) 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Eddy)

*The Messenger Ben Foster cut his teeth playing unhinged villains in Alpha Dog (2006) and 3:10 to Yuma (2007), but he cements his reputation as a promising young actor with a moving, sympathetic performance in director Oren Moverman’s The Messenger. Moverman (who also co-authored the script) is a four-year veteran of the Israeli army, and he draws on his military experience to create an intermittently harrowing portrayal of two soldiers assigned to the U.S. Army’s Casualty Notification Service. Will Montgomery (Foster) is still recovering from the physical and psychological trauma of combat when he is paired with Tony Stone (Woody Harrelson), a by-the-book Captain whose gruff demeanor and good-old-boy gallows humor belie the complicated soul inside. Gut-wrenching encounters with the families of dead soldiers combine with stark, honest scenes that capture two men trying to come to grips with the mundane horrors of their world, and Samantha Morton completes a trio of fine acting turns as a serene Army widow. (1:45) Albany, Smith Rafael. (Richardson)

*Michael Jackson’s This Is It Time –- and a tragic early death –- has a way of coloring perception, so little surprise that these thought pops into one’s head throughout This Is It: when did Michael Jackson transform himself into such an elegant, haute-pop sylph? Such a pixie-nosed, lacy-haired petit four of music-making delicacy? And where can I get his to-die-for, pointy-shouldered, rhinestone-lapeled Alexander McQueen-ish jacket? Something a bit bewitching this way comes as Michael Jackson –- now that he’s gone, seemingly less freakish than an outright phenomenon –- gracefully flits across the screen in this final (really?) document of his last hurrah, the rehearsals for his sold-out shows at O2 Arena in London. This Is It is far from perfect: this grainy video scratchpad of a film obviously wasn’t designed by the perfectionist MJ to be his final testament to pop. Director Kenny Ortega does his best to cobble together what looks like several rehearsal performances with teary testimonials from dancers (instilled with the intriguing idea that they are extensions of the surgery-friendly Jackson’s body onstage), interviews with musicians, minimal archival footage, and glimpses of Jacko protesting about being encouraged to "sing through" certain songs when he’s trying to preserve his voice, urging the band to play it "like the record," and still moving, dancing, and gesticuutf8g with such grace that you’re left with more than a tinge of regret that "This Is It," the tour, never came to pass. It’s a pure, albeit adulterated, pleasure to watch the man do the do, even with the gaps in the flow, even with the footage filtered by a family intent on propping up the franchise. Amid the artistry and kitsch, critics, pop academics, and superfans will find plenty to chew over –- from Jackson’s curiously timed physical complaints as the Jackson 5 segment kicks in, to the surreally CGI-ed, golden-age-of-Hollywood mash-up sequence. (1:52) 1000 Van Ness, Presidio, SF Center, Shattuck. (Chun)

New York, I Love You A dreamy mash note to the city that never sleeps, New York, I Love You is the latest installment in a series of omnibus odes to world metropolises and the denizens that live and love within the city limits. Less successful than the Paris, je t’aime (2006) anthology — which roped in such disparate international directors as Gus Van Sant and Wes Craven, Alfonso Cuaron and Olivier Assayas — New York welcomes a more minor-key host of directors to the project with enjoyable if light-weight results. Surely any bite of the Big Apple would be considerably sexier. Bradley Cooper and Drea de Matteo tease out a one-night stand with legs, and Ethan Hawke and Maggie Q generate a wee bit of verbal fire over street-side cigs, yet there’s surprisingly little heat in this take on a few of the 8 million stories in the archetypal naked city. Most memorable are the strangest couplings, such as that of Natalie Portman, a Hasidic bride who flirtatiously haggles with Irrfan Khan, a Jain diamond merchant, in a tale directed by Mira Nair. Despite the pleasure of witnessing Julie Christie, Eli Wallach, and Cloris Leachman in action, many of these pieces — written by the late Anthony Minghella, Israel Horovitz, and Portman, among others — feel a mite too slight to nail down the attention of all but the most desperate romantics. (1:43) Lumiere, Shattuck. (Chun)

*Paranormal Activity In this ostensible found-footage exercise, Katie (Katie Featherson) and Micah (Micah Sloat) are a young San Diego couple whose first home together has a problem: someone, or something, is making things go bump in the night. In fact, Katie has sporadically suffered these disturbances since childhood, when an amorphous, not-at-reassuring entity would appear at the foot of her bed. Skeptical technophile Micah’s solution is to record everything on his primo new video camera, including a setup to shoot their bedroom while they sleep — surveillance footage sequences that grow steadily more terrifying as incidents grow more and more invasive. Like 1999’s The Blair Witch Project, Oren Peli’s no-budget first feature may underwhelm mainstream genre fans who only like their horror slick and slasher-gory. But everybody else should appreciate how convincingly the film’s very ordinary, at times annoying protagonists (you’ll eventually want to throttle Micah, whose efforts are clearly making things worse) fall prey to a hostile presence that manifests itself in increments no less alarming for being (at first) very small. When this hits DVD, you’ll get to see the original, more low-key ending (the film has also been tightened up since its festival debut two years ago). But don’t wait — Paranormal‘s subtler effects will be lost on the small screen. Not to mention that it’s a great collective screaming-audience experience. (1:39) Metreon, 1000 Van Ness. (Harvey)

*Paris Cédric Klapisch’s latest offers a series of interconnected stories with Paris as the backdrop, designed — if you’ll pardon the cliché — as a love letter to the city. On the surface, the plot of Paris sounds an awful lot like Paris, je t’aime (2006). But while the latter was composed entirely of vignettes, Paris has an actual, overarching plot. Perhaps that’s why it’s so much more effective. Juliette Binoche stars as Élise, whose brother Pierre (Romain Duris) is in dire need of a heart transplant. A dancer by trade, Pierre is also a world-class people watcher, and it’s his fascination with those around him that serves as Paris‘ wraparound device. He sees snippets of these people’s lives, but we get the full picture — or at least, something close to it. The strength of Paris is in the depth of its characters: every one we meet is more complex than you’d guess at first glance. The more they play off one another, the more we understand. Of course, the siblings remain at the film’s heart: sympathetic but not pitiable, moving but not maudlin. Both Binoche and Duris turn in strong performances, aided by a supporting cast of French actors who impress in even the smallest of roles. (2:04) Opera Plaza. (Peitzman)

Pirate Radio I wanted to like Pirate Radio, a.k.a., The Boat That Rocked –- really, I did. The raging, stormy sounds of the British Invasion –- sex, drugs, rock ‘n’ roll, and all that rot. Pirate radio outlaw sexiness, writ large, influential, and mind-blowingly popular. This shaggy-dog of a comedy about the boat-bound, rollicking Radio Rock is based loosely on the history of Radio Caroline, which blasted transgressive rock ‘n’ roll (back when it was still subversive) and got around stuffy BBC dominance by broadcasting from a ship off British waters. Alas, despite the music and the attempts by filmmaker Richard Curtis to inject life, laughs, and girls into the mix (by way of increasingly absurd scenes of imagined listeners creaming themselves over Radio Rock’s programming), Pirate Radio will be a major disappointment for smart music fans in search of period accuracy (are we in the mid- or late ’60s or early or mid-’70s –- tough to tell judging from the time-traveling getups on the DJs, played by Philip Seymour Hoffman and Rhys Darby, among others?) and lame writing that fails to rise above the paint-by-the-numbers narrative buttressing, irksome literalness (yes, a betrayal by a lass named Marianne is followed by "So Long, Marianne"), and easy sexist jabs at all those slutty birds. Still, there’s a reason why so many artists –- from Leonard Cohen to the Stones –- have lent their songs to this shaky project, and though it never quite gets its sea legs, Pirate Radio has its heart in the right place –- it just lost its brains somewhere along the way down to its crotch. (2:00) 1000 Van Ness, Piedmont, Sundance Kabuki. (Chun)

Planet 51 (1:31) Oaks, 1000 Van Ness.

*Precious: Based on the Novel Push By Sapphire This gut-wrenching, little-engine-that-could of a film shows the struggles of Precious, an overweight, illiterate 16-year-old girl from Harlem. Newcomer Gabourey Sidibe is so believably vigilant (she was only 15 at the time of filming) that her performance alone could bring together the art-house viewers as well as take the Oscars by storm. But people need to actually go and experience this film. While Precious did win Sundance’s Grand Jury and Audience Award awards this year, there is a sad possibility that filmgoers will follow the current trend of "discussing" films that they’ve actually never seen. The daring casting choices of comedian Mo’Nique (as Precious’ all-too-realistically abusive mother) and Mariah Carey (brilliantly understated as an undaunted and dedicated social counselor) are attempts to attract a wider audience, but cynics can hurdle just about anything these days. What’s most significant about this Dancer in the Dark-esque chronicle is how Damien Paul’s screenplay and director Lee Daniels have taken their time to confront the most difficult moments in Precious’ story –- and if that sounds heavy-handed, so be it. Stop blahging for a moment and let this movie move you. (1:49) SF Center, Shattuck, Sundance Kabuki. (Jesse Hawthorne Ficks)

*The September Issue The Lioness D’Wintour, the Devil Who Wears Prada, or the High Priestess of Condé Nasty — it doesn’t matter what you choose to call Vogue editor-in-chief Anna Wintour. If you’re in the fashion industry, you will call her — or at least be amused by the power she wields as the overseer of style’s luxury bible, then 700-plus pages strong for its legendary September fall fashion issue back in the heady days of ’07, pre-Great Recession. But you don’t have to be a publishing insider to be fascinated by director R.J. Cutler’s frisky, sharp-eyed look at the making of fashion’s fave editorial doorstop. Wintour’s laser-gazed facade is humanized, as Cutler opens with footage of a sparkling-eyed editor breaking down fashion’s fluffy reputation. He then follows her as she assumes the warrior pose in, say, the studio of Yves St. Laurent, where she has designer Stefano Pilati fluttering over his morose color choices, and in the offices of the magazine, where she slices, dices, and kills photo shoots like a sartorial samurai. Many of the other characters at Vogue (like OTT columnist André Leon Talley) are given mere cameos, but Wintour finds a worthy adversary-compatriot in creative director Grace Coddington, another Englishwoman and ex-model — the red-tressed, pale-as-a-wraith Pre-Raphaelite dreamer to Wintour’s well-armored knight. The two keep each other honest and craftily ingenious, and both the magazine and this doc benefit. (1:28) Presidio. (Chun)

*A Serious Man You don’t have to be Jewish to like A Serious Man — or to identify with beleaguered physics professor Larry Gopnik (the grandly aggrieved Michael Stuhlbarg), the well-meaning nebbishly center unable to hold onto a world quickly falling apart and looking for spiritual answers. It’s a coming of age for father and son, spurred by the small loss of a radio and a 20-dollar bill. Larry’s about-to-be-bar-mitzvahed son is listening to Jefferson Airplane instead of his Hebrew school teachers and beginning to chafe against authority. His daughter has commandeered the family bathroom for epic hair-washing sessions. His wife is leaving him for a silkily presumptuous family friend and has exiled Larry to the Jolly Roger Motel. His failure-to-launch brother is a closeted mathematical genius and has set up housekeeping on his couch. Larry’s chances of tenure could be spoiled by either an anonymous poison-pen writer or a disgruntled student intent on bribing him into a passing grade. One gun-toting neighbor vaguely menaces the borders of his property; the other sultry nude sunbather tempts with "new freedoms" and high times. What’s a mild-mannered prof to do, except envy Schrodinger’s Cat and approach three rungs of rabbis in his quest for answers to life’s most befuddling proofs? Reaching for a heightened, touched-by-advertising style that recalls Mad Men in look and Barton Fink (1991) in narrative — and stooping for the subtle jokes as well as the ones branded "wide load" — the Coen Brothers seem to be turning over, examining, and flirting with personally meaningful, serious narrative, though their Looney Tunes sense of humor can’t help but throw a surrealistic wrench into the works. (1:45) California, Embarcadero, Empire, Piedmont. (Chun)

2012 I don’t need to give you reasons to see this movie. You don’t care about the clumsy, hastily dished-out pseudo scientific hoo-ha that explains this whole mess. You don’t care about John Cusack or Woody Harrelson or whoever else signed on for this embarrassing notch in their IMDB entry. You don’t care about Mayan mysteries, how hard it is for single dads, and that Danny Glover and Chiwetel Ejiofor jointly stand in for Obama (always so on the zeitgeist, that Roland Emmerich). You already know what you’re in store for: the most jaw-dropping depictions of humankind’s near-complete destruction that director Emmerich –- who has a flair for such things –- has ever come up with. All the time, creative energy, and money James Cameron has spent perfecting the CGI pores of his characters in Avatar is so much hokum compared to what Emmerich and his Spartan army of computer animators dish out: the U.S.S. John F. Kennedy emerging through a cloud of toxic dust like some Mary Celeste of the military-industrial complex, born aloft on a massive tidal wave that pulverizes the White House; the dome of St. Paul’s flattening the opium-doped masses like a steamroller; Hawaii returned to its original volcanic state; and oodles more scenes in which we are allowed to register terror, but not horror, at the gorgeous destruction that is unfurled before us as the world ends (again) but no one really dies. Get this man a bigger budget. (2:40) California, Empire, Marina, 1000 Van Ness. (Sussman)

The Twilight Saga: New Moon Oh my God, you guys, it’s that time of the year: another Twilight chapter hits theaters. New Moon reunites useless cipher Bella (Kristen Steward) and Edward (Robert Pattinson), everyone’s favorite sparkly creature of darkness. Because this is a teen wangstfest, the course of true love is kind of bumpy. This time around, there’s a heavy Romeo and Juliet subplot and some interference from perpetually shirtless werewolf Jacob (Taylor Lautner). Chances are you know this already, as you’ve either devoured Stephenie Meyer’s book series or you were one of the record-breaking numbers in attendance for the film’s opening weekend. And for those non-Twilight fanatics — is there any reason to see New Moon? Yes and no. Like the 2008’s Twilight, New Moon is reasonably entertaining, with plenty of underage sexual tension, supernatural slugfests, and laughable line readings. But there’s something off this time around: New Moon is fun but flat. For diehard fans, it’s another excuse to shriek at the screen. For anyone else, it’s a soulless diversion. (2:10) Cerrito, Empire, 1000 Van Ness, Presidio, SF Center. (Peitzman)

(Untitled) The sometimes absurd pretensions of the modern art world have –- for many decades –- been so easily, condescendingly ridiculed that its intelligently knowing satire is hard to come by. (How much harder still would it be for a fictive film to convey the genius of, say Anselm Kiefer? Even Ed Harris’ 2000 Pollock less vividly captured the art or its creation –- better done by Francis Ford Coppola and Nick Nolte in their 1989 New York Stories segment –- than the usual tortured-artist histrionics.) Bay Arean Jonathan Parker attempts to correct that with this perhaps overly low-key witticism. Erstwhile Hebrew Hammer Adam Goldberg plays a composer of painfully retro, plink-plunk 1950s avant-gardism. (His favorite instrument is the tin bucket.) His lack of success is inevitable yet chafes nonetheless, because he’s a) humorlessly self-important, and b) sibling to a painter (Eion Bailey) whose pleasant, unchallenging abstracts are hot properties amongst corporate-art buyers. But not hot enough for his gorgeous agent (Marley Shelton), who puts off showing him at her Chelsea gallery in favor of cartoonishly "edgy" artists –- like soccer hooligan Vinnie Jones as a proponent of lurid taxidermy sculpture –- and takes a contrary (if unlikely) fancy to Goldberg. (How could her educated like not know his music is even less cutting-edge than the brother’s canvases?) (Untitled) holds interest, but it’s at once too glib and modest –- exaggerative sans panache. This is equivalently if differently problematic from Parker’s 2005 Henry James-goes-Marin County The Californians. It can’t compare to his 2001 feature debut, the excellent Crispin Glover-starring translation of Melville’s Bartleby to Rhinoceros-like modern office culture. (1:30) Bridge, Shattuck. (Harvey)

Where the Wild Things Are From the richly delineated illustrations and sparse text of Maurice Sendak’s 1963 children’s book, director Spike Jonze and cowriter (with Jones) Dave Eggers have constructed a full-length film about the passions, travails, and interior/exterior wanderings of Sendak’s energetic young antihero, Max. Equally prone to feats of world-building and fits of overpowering, destructive rage, Max (Max Records) stampedes off into the night during one of the latter and journeys to the island where the Wild Things (voiced by James Gandolfini, Catherine O’Hara, Forest Whitaker, Chris Cooper, Lauren Ambrose, Paul Dano, and Michael Berry Jr.) live — and bicker and tantrum and give in to existential despair and no longer all sleep together in a big pile. The place has possibilities, though, and Max, once crowned king, tries his best to realize them. What its inhabitants need, however, is not so much a visionary king as a good family therapist — these are some gripey, defensive, passive-aggressive Wild Things, and Max, aged somewhere around 10, can’t fix their interpersonal problems. Jonze and Eggers do well at depicting Max’s temporary kingdom, its forests and deserts, its creatures and their half-finished creations from a past golden era, as well as subtly reminding us now and again that all of this — the island, the arguments, the sadness — is streaming from the mind of a fierce, wildly imaginative young child with familial troubles of his own, equally beyond his power to resolve. They’ve also invested the film with a slow, grim depressive mood that can make for unsettling viewing, particularly when pondering the Maxes in the audience, digesting an oft-disheartening tale about family conflict and relationship repair. (1:48) 1000 Van Ness, Sundance Kabuki. (Rapoport)

*William Kunstler: Disturbing the Universe A middle-class suburban lawyer radicalized by the Civil Rights era, Kunstler became a hero of the left for his fiery defenses of the draft-card-burning Catonsville Nine, the Black Panthers, the Chicago Twelve, and the Attica prisoners rioting for improved conditions, and Native American protestors at Wounded Knee in 1973. But after these "glory days," Kunstler’s judgment seemed to cloud while his thirst for "judicial theatre" and the media spotlight. Later clients included terrorists, organized-crime figures, a cop-killing drug dealer, and a suspect in the notorious Central Park "wilding" gang rape of a female jogger –- unpopular causes, to say the least. "Dad’s clients gave us nightmares. He told us that everyone deserves a lawyer, but sometimes we didn’t understand why that lawyer had to be our father" says Emily Kunstler, who along with sister Sarah directed this engrossing documentary about their late father. Growing up under the shadow of this larger-than-life "self-hating Jew" and "hypocrite" –- as he was called by those frequently picketing their house –- wasn’t easy. Confronting this sometimes bewildering behemoth in the family, Disturbing the Universe considers his legacy to be a brave crusader’s one overall –- even if the superhero in question occasionally made all Gotham City and beyond cringe at his latest antics. (1:30) Opera Plaza, Shattuck. (Harvey)

Events listings

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Events listings

Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

FRIDAY 27

Accessories in Action 111 Minna, 111 Minna, SF; (415) 974-1719. Noon; $8, $5 with donation of shoes. Enjoy this fashion fundraiser and holiday shopping event that supports local designers while donating to a good cause. Proceeds from the door to benefit Soles4Souls, a charity that provides people in need with shoes.

Holiday Tree Lighting Union Square, Powell at Geary, SF; (415) 393-3459. 6pm, free. If you find yourself downtown on Black Friday stop the annual Macy’s Tree Lighting Ceremony. Festivities preceding the tree lighting begin at Noon in Union Square.

SATURDAY 28

Celebration of Craftswomen Herbst Pavilion, Fort Mason Center, SF; (650) 615-6838. 10am-5pm, $8.50. Join the Women’s Building in celebrating their 31st Anniversary at this holiday crafts fair featuring functional and decorative pieces of handcrafted items and fine art for both the home and body. All items are made by female artists and are environmentally conscious and economically sustainable alternatives to mainstream consumption.

Crystal Fair Fort Mason Conference Center, Fort Mason, SF; (415) 383-7837. Get an aura reading, a massage, an amethyst geode, or look around for the most gift worthy crystals, beads, jewelry and more to ward off the ghosts of holidays past.

Everything Must Go! Climate Theater, 285 9th St., SF; (415) 704-3260. 8pm, $5-500 sliding scale. Be wowed as a diverse group of Bay Area artists respond to the web of consumerism in the world around us with multi media commentary including performance, intallation, video, photography, and more.

BAY AREA

Berkeley Artisans Open Studios Various locations in Berkeley; (510) 845-2612, www.berkeleyartisans.com. Sat.-Sun. 11am-6pm, continuing every weekend through 12/20. Buy original creative gifts while supporting local artisans this holiday season. Featuring blown glass, decorative ceramics, ornaments, Menorahs, lamps, original prints, and more.

SUNDAY 29

Classic Black San Francisco Library, 100 Larkin, SF; (415) 557-4400. 3pm, free. Hear former San Francisco Poet Laureate Devorah Major perform spoken word poetry accompanied by Bay Area jazz musicians Richard Howell, on saxophone, and Mark Izu, on bass at this reading titled, Classic Black: African-American Voices from 19th Century San Francisco.

TUESDAY 1

AIDS Around the World Commonwealth Club, 2nd floor, 595 Market, SF; (415) 597-6700. Hear Jose M. Zuniga, President and CEO of the International Association of Physicians in AIDS Care (IAPAC), discuss the work of IAPAC In Africa, South America, North America, and Europe. December 1st is World AIDS day.

The Assassination of Fred Hampton City Lights Bookstore, 261 Columbus, SF; (415) 362-8193. 7pm, free. Hear autor Jeffrey Haas discuss his new book that gives a personal account of how he and People’s Law Office partner Flint Taylor pursued Black Panther member Fred Hampton’s assassins.

Get Through the Holidays SF LGBT Community Center, 1800 Market, SF; www.ourfamily.org. 6pm, free. Attend this workshop for gay couples distressed over holiday issues with in-laws and parenting. The workshop will offer discussion, strategies, and tips for navigating the holidays as a couple.

Sex, Love, and Attachment Bayfront Theater, Fort Mason, SF; 1-800-994-0041. 7pm, $20. Join anthropologist Helen Fisher as she shares her insights from years of research with tens of thousands of individuals on the biological drive that pulls us towards sex, love, and attachment.

Hot sex events this week: Nov 18-24

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Compiled by Molly Freedenberg

sexeventssirloin_111809.jpg
Sir Loin Strip and Amelia Mae Paradise plan to take over Monday Night’s Hubba Hubba Revue in Oakland with surprises, quirks, vaguery, folly, and fancy. Photo by Molly DeCoudreaux.

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>> Flogassage
Serena Aderlini-D’Onofrio hosts this workshop on the bioenergetics of multiple loves, a hands-on course combining small group massage and mild flogging to convey the experience of polyamory.

Wed/18, 7pm
$5-$35
Center for Sex and Culture
1519 Mission, SF
www.sexandculture.org

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>> Sex Workers’ Writing Workshop
Gina de Vries hosts this workshop for current and former sex workers who want to share their writing and get honest, non-judgmental feedback.

Wed/18, 6-8pm
$10-$20
Center for Sex and Culture
1519 Mission, SF
www.sexandculture.org

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>> ArtUndressed SF
Fashion shows, body painting, and live entertainment at this huge, three-day celebration and exhibit of erotic art, sculpture, and photography — featuring local winners of Erotic Signature’s 2009 International Erotic Art Competition, including Nancy Peach, Damon Banner, Marc Taro Holmes, Retrotie, and 120 more!
Nov 19-21, Thursday and Friday 6pm to midnight and Saturday 3pm-9pm, $20
California Modern Art Gallery
1035 Market, SF
www.artundressed.net

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>> Mission Control Fundraiser: Carnival Midway Sextravaganza!
Kinky Salon a sexy, scintillating evening featuring stripper clowns, carnival games, a bake sale and auction, fortune tellers, and XXX backroom action, plus appearances by Boenobo, DJ Nezzy Idy, Sister Kate, and more.
sex
Fri/20, 8pm
$20 (includes 10 free tokens to play)
Mission Control
2519 Mission, SF
ymlp.com/zlzJwg

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>> Hubba Hubba Revue: The Miss Hubba Hubba Pageant!
It’ll be a sensational, galmour-packed, talent-rich night when burlesque performers compete for the title of Miss Hubba Hubba. Also featuring Fromagique and Bombshell Betty’s Burlesqueteers.

Fri/20, 9pm
$5-$12
DNA Lounge
375 11th St, SF
www.dnalounge.com

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Our Weekly Picks

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Our Weekly Picks

WEDNESDAY 18

THEATER

The Walworth Farce


Ever since his 1996 teen psychopath romance, Disco Pigs, Edna Walsh has been delivering unnerving plays of unusual verve, full of whimsy and deep dysfunction, crazy Gaelic cadences, the wit and high lyricism of the low of brow. We don’t see enough of it over here, which is all the more reason to catch Druid Ireland theater company’s production of Walsh’s The Walworth Farce, courtesy of Cal Performances. Not since Joe Orton have the traditional outlines of this classic comedic form been so over-amped and even over the line, downright weird and sort of dangerous. You are correct: this is in-your-farce theater. (Robert Avila)

8 p.m. (continues through Sun/22), $72

Zellerbach Hall

Bancroft at Telegraph, UC Berkeley campus, Berk.

(510) 642-9988

www.calperfs.berkeley.edu

THURSDAY 19

EVENT

Second Annual Erotic Art Exhibition Tour


Featuring 120 international artists, body painting, live music, and a fashion show with more nip than slip, the Erotic Art Exhibition Tour promises to be much sexier than shopping for tofurkey and stuffing that doesn’t taste like puke. This year’s ARTundressed theme is "Illumination," and it presents the winning artists from the Erotic Showcase 2009 competition. Indulge your voyeuristic tendencies and benefit the American Foundation for AIDS Research by attending Saturday night’s Silent Art Auction. Then grab something white, red, or leathery, and head to the thematic "The Good, the Bad, and the Kinky" after party. (Lorian Long)

6 p.m. (through Sat/21), $45

California Modern Art Gallery

1035 Market, SF

(415) 716-8661

www.calmodern.com

VISUAL ART

Justin Quinn: "Keep Out This Frost"


In an obsessive, Oulipian gesture, artist Justin Quinn constrains himself to the oft-used and abused letter E in his second solo show at Cain Schulte Gallery. Rather than playing off the letter’s relation to the party drug, top of the optometrist’s eye chart, or various corporate logos, Quinn delegates his E‘s to transutf8g the chapters of Melville’s Moby Dick. In substituting the particular for the ubiquitous, Quinn makes up for lost meaning through charged typographical flair that takes on a narrative all its own. If this isn’t enough Moby Dick for you, you can also check out a group show of visual responses to the classic at the CCA Wattis Institute for Contemporary Arts. (Spencer Young)

Continuous through Dec. 23

6 p.m., artist talk at 7 p.m.

Cain Schulte Gallery

714 Guerrero, SF

(415) 543 1550

www.cainschulte.com

MUSIC

Ensiferum

The Finns are curators of the strange, adapting the metal conventions of their Scandinavian neighbors and adding a good deal of idiosyncrasy. Helsinki’s Ensiferum embodies this trend, churning out martial, aggressive death metal augmented by keyboard flourishes, Ennio Morricone worship, harmonized vocals, and an army of folky, epic melodies. Their new album From Afar (Spinefarm) features the band at its grandiose best, and the war-kilted warriors prove themselves equally adept at atmospheric arrangement and straightforward, razor-wire riffing. Billed as the "Tour From Afar," this is their first headlining run stateside — prepare for battle. (Ben Richardson)

With Hypocrisy, Blackguard, Lazarus A.D.

8pm, $22

DNA Lounge

375 11th St., SF

415-626-1409

www.dnalounge.com

EVENT

Adam Savage: "My Dodo — History and Personal Reflections"
Magical werewolves, flightless fairies, and the raphus cucullatus (dodo bird)? Once thought to be a farcical myth, the extinct dodo is now fondly recalled — not just by Lewis Carroll fanatics, but by Mythbusters maven Adam Savage, an official model-maker of dodo bird skeletons. At this lecture by Savage, audience members are free to filch tidbits of information about this once illustrious and very real avian phenom. (Jana Hsu)

7–9 p.m., free

The Bone Room

1573 Solano, Berk.

(510) 526-5252

www.boneroompresents.com

FRIDAY 20

DANCE

Down and Dirty Dance Series


The name of Dance Mission Theater’s latest dance series is somewhat hyperbolic, because the 11 scheduled companies aren’t known for being particularly subversive. But the series itself is more than welcome. A showcase primarily for local artists that doesn’t force them to go through an onerous vetting process is a fabulous idea. Dance Mission’s request was as simple as can be: explain in 500 words or less why you should be in the series. Three companies fill the first of five weekends. Christy Funsch is a tough thinker and independent dancer whose White Girls for Black Power is draws from Malcolm X and grrrl rock. The French-born, New York City resident and butoh artist Vangeline also brings feminist principles to her visually seductive dances. Dance Elixir will show rep and new work, informed by choreographer Leyya Tawil’s recent sojourn in the Middle East. (Rita Felciano)

8 p.m. (Funsch and Vangeline); Sat/21, 8 p.m. (Funsch and Vangeline); Sun, 6 p.m. (Vangeline and Elixer); $15–$18

Dance Mission Theater

3316 24th St., SF

(415) 273-4633

www.dancemission.com

LIT/EVENT

Naked Lunch 50th Anniversary Weekend


Sadly, my only Naked Lunch experience thus far has been an encounter with David Cronenberg’s 1991 film adaptation, at age 13. Sadder still, I only saw the scrambled version, because Showtime didn’t come with basic cable. I did, however, watch it in its distorted, striated entirety because — beyond its suggestive, sexy title — it offered to threaten my worldview. And threaten it did: bugs and vacuum cleaners and typewriters have never quite looked the same. The 20 participants, including DJ Spooky and Stephen Elliott, within this commemorative weekend of critical analysis and readings likely have more sophisticated accounts of William S. Burroughs and his seminal work. Still, I anticipate loads of raunchy debauchery. (Young)

7 p.m. (continues Sat/21–Sun/22 at other venues), free

San Francisco Art Institute Lecture Hall

800 Chestnut, SF

(415) 362-8193

www.citylights.com

www.sfai.edu

www.amnesiathebar.com

DANCE

San Francisco Hip-Hop DanceFest


You’d think that after a decade, the San Francisco Hip-Hop DanceFest would have settled into a comfortable, complacent groove. Not so — this amazing event stretches ever wider to pull in new companies, adding personal and national perspectives. For the first time, a mixed-ability company, Ill-Abilities, is representing. New acts are traveling from South Korea, Ireland, the United Kingdom, and Norway. The crews’ names include Last For One, Deep Down Dopeizm, Plague, Bad Taste Cru, Smash Bro’z Hip Hop, and B-Boy Spaghetti. Nothing wrong with their verbal imagination, now let’s see how it translates to kinetic energy. More than welcome back, of course, are "old timers" Mop Top, DS Players, Soul Force Dance Company, and Funkanometry. (Rita Felciano)

8 p.m.; also Sat/21, 8 p.m.;

Sun/22., 2 and 7 p.m.; $35

Palace of Fine Arts

3301 Lyon, SF

415.392.4400

www.sfhiphopdancefest.com

EVENT

San Francisco Bicycle Ballet


What exactly is a bicycle ballet? Find out tonight by witnessing the San Francisco Bicycle Ballet, a team of synchronized bike riders best viewed from above. Founded in 1996, SFBB has kept its pedals to the metal, or at least some forms of rock music, thanks to its own band, the Spoke Tones. Tonight’s performance also includes the bands Molten Grog, Charbo, and Chump. (Hsu)

8 p.m., $8 (free vegan spread)

Dogpatch Saloon

2496 3rd Street, SF

www.sanfranciscobicycleballet.org

PERFORMANCE

Tim Miller: Lay of the Land


You wouldn’t call it straight talk exactly, but queer performance artist Tim Miller has a talent and penchant for speaking his mind. Internationally known for his vigorously, hilariously, even enchantingly outspoken solo performance pieces, his concerns remain socially activist and largely American (he’s even one of the "NEA Four," artists targeted for funding assassination by D.C. wing nuts, surely worth a patriot merit badge if not a rent check). His latest, Lay of the Land, is a "state of the queer union," a clarion call to arms and legs and other appendages, and — presently on tour across said land — it touches down at Yerba Buena Center for the Arts this weekend. (Avila)

8 p.m. (also Sat/21, 8 p.m.), $25

Yerba Buena Center for the Arts Forum

701 Mission, SF

(415) 978-2787

www.ybca.org

SATURDAY 21

MUSIC/VISUAL ART

Episco Disco: Bronze and Kamau Amu Patton


Apparently Bronze isn’t being ironic by labeling itself "religious" on its MySpace page. Bands usually sidestep genre affiliation on MySpace by claiming no style or, through the safe security of self-effacement, a ragtag of disparate and insincere stripes like "melodramatic/tropical/metal." But given that this show is at a cathedral — a legitimate designator of religion — I’m guessing Bronze’s devotion is for real. Sure, it could all be part of its shtick, or a joke gone too far, but anyone who’s seen them play knows they command reverence. With slippery psychedelic grooves that faithfully and graciously point to Silver Apples and visuals by Goldie winner Kamau Amu Patton, there’s potential here for raised arms and hallelujahs, granted those pews get filled. (Young)

7–10 p.m., free

Grace Cathedral

1100 California, SF

(415) 749 6300

www.gracecathedral.org

www.episcodisco.com

MUSIC

Thao with The Get Down Stay Down


On the title track of Know Better Learn Faster (Kill Rock Stars), Thao Nguyen lustfully (and more than a little desperately) sings, "I need you to be /better than me /you need me to do /better than you." Nguyen’s romantic tendencies involve a kind of self-loathing that only she can make precious with lyrics like daggers thrown at a shiny backdrop of plucky guitars, blaring horns, and achy vocals. "What am I /just a body in your bed?" she asks with a punk’s sneer on "Body," before admitting "Won’t you reach for the body in your bed?" This is music to listen to when you’re sleeping with someone you shouldn’t be sleeping with. But disastrous love tastes a lot sweeter when you have a soundtrack like Thao with the Get Down Stay Down to listen to as you drive over train tracks in the middle of the night, telling yourself you’re not going back, and then turning around at the next stoplight. (Long)

With the Portland Cello Project, David Schultz

9 p.m., $17

The Independent

628 Divisadero, SF

415-771-1421

www.independentsf.com

SUNDAY 22

Alestorm


Pirates are honorary heathens, and none are more worthy of honor than Scottish pirate-metal sensations Alestorm. The pick of the Heathenfest litter, the Perth-based band has terrorized landlubbers the world over with their freebooting chops and foc’sle-ready melodies, the latter courtesy of singer/keyboardist Christopher Bowes, who wields a mighty keytar to get the peg-legs tapping. 2009’s Black Sails at Midnight (Napalm) made good on the promise shown by debut offering Captain Morgan’s Revenge (Napalm), and there is surely more plunder in store for the quartet as they ply the high seas and highways of the land. (Richardson)

With Eluveitie, Belphegor, Vreid, Kivimetsan Druidi

$22, 7:30

DNA Lounge

375 11th, SF

415-626-1409

www.dnalounge.com

TUESDAY 24

EVENT

Bo Dixon in the Flesh


Hair has gotten a bad rap during certain eras of gay porn, but it’s been back with a vengeance in recent years, as baby-oil-slick twinks began sharing shelf and site spaces with men with an "edge." While Bo Dixon was a skinny toothsome kid at his college graduation, more recently he’s proven that hairiness is sexy. This former COLT Studio model is a serious bodybuilder, and he’ll be showing off his bronzed, fleshy, hairy strength at a calendar-signing for the brand-new Bo Dixon: Reinvented calendar. (Hsu)

7:30 p.m., free

A Different Light

489 Castro, SF

(415) 431-0891

www.adlbooks.com

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Film listings

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Film listings

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, Matt Sussman, and Laura Swanbeck. The film intern is Fernando F. Croce. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

OPENING

*Bad Lieutenant: Port of Call New Orleans See "Call of the Weird." (2:01) Embarcadero, Shattuck, Smith Rafael.

*Black Dynamite A lot of movies have spoofed in passing the cliches and excesses of 70s blaxploitation movies. But this collaboration between director Scott Sanders and coscenarist-star Michael Jai White makes you realize they only scratched the surface. It takes real love to meticulously reproduce not just the obvious retro pimp-wear, but every cheesy 70s graphic, wah-wah soundtrack riff, arbitrary plot development, and horrendous interior decoration tip the genre once offered up with a straight face. The brawny White plays our titular hero, a one-man ghetto militia out to avenge the inevitable death of the inevitable kid brother, in the process naturally exposing The Man’s latest heinous plot to keep the Black Man down. Between dealings with the CIA, the mob, pushers, narcs, and righteous soul sisters, B.D. of course finds plenty of time to satisfy a rainbow coalition of topless foxes. (There are also sidekicks like Arsenio Hall as Tasty Freeze and comedian Tommy Davison as Cream Corn.) Every ludicrous yet deadpan detail here is perfect, such that you could take any few seconds here and pass them off as snipped from a real grindhouse relic circa 1975. It’s in the bigger picture that Black Dynamite eventually flags a bit — when the movie ought to be getting its second wind, instead it begins to run out of steam, with a White House finale that’s just too silly. Nonetheless, this is easily one of the year’s best comedies. After inexplicably bombing in limited theatrical release elsewhere last month, it’s finally reaching the Bay Area in midnight-only showings, and is not to be missed. (1:28) Castro, Grand Lake. (Harvey)

The Blind Side When the New York Times Magazine published Michael Lewis’ article "The Ballad of Big Mike" — which he expanded into the 2006 book The Blind Side: Evolution of a Game —nobody could have predicated the cultural windfall it would spawn. Lewis told the incredible story of Michael Oher — a 6’4, 350-pound 16-year-old, who grew up functionally parentless, splitting time between friends’ couches and the streets of one of Memphis’ poorest neighborhoods. As a Sophomore with a 0.4 GPA, Oher serendipitously hitched a ride with a friend’s father to a ritzy private school across town and embarked on an unbelievable journey that led him into a upper-class, white family; the Dean’s List at Ole Miss; and, finally, the NFL. The film itself effectively focuses on Oher’s indomitable spirit and big heart, and the fearless devotion of Leigh Anne Tuohy, the matriarch of the family who adopted him (masterfully played by Sandra Bullock). While the movie will delight and touch moviegoers, its greatest success is that it will likely spur its viewers on to read Lewis’ brilliant book. (2:06) Cerrito, Grand Lake, Presidio. (Daniel Alvarez)

Defamation See "What’s Hate Got to Do With It?" (1:33) Roxie.

*The House of the Devil Ti West’s The House of the Devil is a retro thrillfest quite happy to sacrifice the babysitter to the Dark Lord. "Based on true unexplained events" (uh-huh), the buzzed-about indie horror has fanboy casting both old school (Dee Wallace, Mary Woronov, Tom Noonan — all performing seriously rather than campily) and new (AJ Bowen of 2007’s The Signal and mumblecore regular Greta Gerwig). Its heroine (Jocelin Donahue), a 1980 East Coast collegiate sophomore desperate for rent cash so she can escape her dorm roomie’s loud nightly promiscuity, signs on for a baby- (actually, grandma-) sitting gig advertised on telephone poles. For tonight. During a lunar eclipse. Bad move. Devil takes its time, springing nothing lethal until nearly halfway through. Its period setting allows for ultratight jeans, feathered hair, rotary dialing, a synth-New Wavey score, and other potentially campy elements the film manages to render respectfully appreciative rather than silly. Ultimately, it isn’t significantly better than various fine indie horrors of recent vintage and various nationality that went direct to DVD. (Quality, let alone originality, aren’t necessarily a commercial pluses in this genre.) But it is dang good, and that cuts it above most current theatrical horror releases. (1:33) Lumiere. (Harvey)

*The Messenger Ben Foster cut his teeth playing unhinged villains in Alpha Dog (2006) and 3:10 to Yuma (2007), but he cements his reputation as a promising young actor with a moving, sympathetic performance in director Oren Moverman’s The Messenger. Moverman (who also co-authored the script) is a four-year veteran of the Israeli army, and he draws on his military experience to create an intermittently harrowing portrayal of two soldiers assigned to the U.S. Army’s Casualty Notification Service. Will Montgomery (Foster) is still recovering from the physical and psychological trauma of combat when he is paired with Tony Stone (Woody Harrelson), a by-the-book Captain whose gruff demeanor and good-old-boy gallows humor belie the complicated soul inside. Gut-wrenching encounters with the families of dead soldiers combine with stark, honest scenes that capture two men trying to come to grips with the mundane horrors of their world, and Samantha Morton completes a trio of fine acting turns as a serene Army widow. (1:45) Albany, Smith Rafael. (Richardson)

Planet 51 In this animated adventure, Earth astronauts realize they’re the aliens when they visit a populated planet elsewhere in the galaxy. (1:31) Oaks.

The Twilight Saga: New Moon The one with the werewolf. (2:10) Cerrito, Grand Lake, Presidio.

*William Kunstler: Disturbing the Universe A middle-class suburban lawyer radicalized by the Civil Rights era, Kunstler became a hero of the left for his fiery defenses of the draft-card-burning Catonsville Nine, the Black Panthers, the Chicago Twelve, and the Attica prisoners rioting for improved conditions, and Native American protestors at Wounded Knee in 1973. But after these "glory days," Kunstler’s judgment seemed to cloud while his thirst for "judicial theatre" and the media spotlight. Later clients included terrorists, organized-crime figures, a cop-killing drug dealer, and a suspect in the notorious Central Park "wilding" gang rape of a female jogger –- unpopular causes, to say the least. "Dad’s clients gave us nightmares. He told us that everyone deserves a lawyer, but sometimes we didn’t understand why that lawyer had to be our father" says Emily Kunstler, who along with sister Sarah directed this engrossing documentary about their late father. Growing up under the shadow of this larger-than-life "self-hating Jew" and "hypocrite" –- as he was called by those frequently picketing their house –- wasn’t easy. Confronting this sometimes bewildering behemoth in the family, Disturbing the Universe considers his legacy to be a brave crusader’s one overall –- even if the superhero in question occasionally made all Gotham City and beyond cringe at his latest antics. (1:30) Opera Plaza, Shattuck. (Harvey)

ONGOING

Amelia Unending speculation surrounds the fate of aviator Amelia Earhart, who, with navigator Fred Noonan, disappeared in 1937 over the Pacific while attempting to circumnavigate the globe. However, Mira Nair’s biopic Amelia clarifies at least one fact: that Earhart (played by Hilary Swank) was a free-spirited freedom-loving lover of being free. We learn this through passages of her writing intoned in voice-over; during scenes with publisher and eventual husband George Putnam (Richard Gere); and via wildlife observations as she flies her Lockheed Electra over some 22,000 miles of the world. Not much could diminish the glory of Earhart’s achievements in aviation, particularly in helping open the field to other female pilots. And Swank creates the impression of a charming, intelligent, self-possessed woman who manages to sidestep many of fame’s pitfalls while remaining resolute in her lofty aims. She’s also slightly unknowable in her cheery, near-seamless virtue, and the film’s adoring depiction, with its broad, heavy strokes, at times inspires a different sort of restlessness than the kind that compels Earhart to take flight. Amelia is structured as a series of flashbacks in which the aviator, while circling the earth, retraces her life –- or rather, the highlights of her career in flying, her marriage to Putnam, and her affair with Gene Vidal (Ewan McGregor), another champion of aviation (and the father of author Gore). And this, too, begins to feel lazily repetitive, as we return and return again to that cockpit to stare at a doomed woman as she stares emotively into the wild blue yonder. (1:51) Elmwood. (Rapoport)

Art and Copy Doc maker Doug Pray (1996’s Hype!, 2001’s Scratch, 2007’s Surfwise) uses the mid-twentieth century’s revolution in advertising to background an absorbing portrait of the industry’s leading edge, with historical commentary, philosophical observations, and pop-psych self-scrutiny by some of the rebel forces and their descendants (including locals Jeff Goodby and Rich Silverstein). We see the ads that made a permanent dent in our consciousness over the past five decades. We hear conference-room tales of famous campaigns, like "Got Milk?" and "I Want My MTV." And during quieter interludes, stats on advertising’s global cultural presence drift on-screen to astonish and unnerve. Lofty self-comparisons to cave painters and midwives may raise eyebrows, but Pray has gathered some of the industry’s brighter, more engaging lights, and his subjects discuss their métier thoughtfully, wittily, and quite earnestly. There are elisions in the moral line some of them draw in the process, and it would have been interesting to hear, amid the exalted talk of advertising that rises to the level of art, some philosophizing on where all this packaging and selling gets us, in a branding-congested age when it’s hard to deny that breakneck consumption is having a deleterious effect on the planet. Instead the film occasionally veers in the direction of becoming an advertisement for advertising. Still, Art and Copy complicates our impressions of a vilified profession, and what it reveals about these creatives’ perceptions of their vocation (one asserts that "you can manufacture any feeling that you want to manufacture") makes it worth watching, even if you usually fast-forward through the ads. (1:30) Roxie. (Rapoport)

*The Box In recent interviews, Donnie Darko (2001) director Richard Kelly has sounded like he’s outright begging to go Hollywood with The Box. But try as he might (and the horribly cheesy trailer does try to puff up this dread-imbued, downbeat thriller into the stuff of big-box blockbuster numbers), Kelly can’t stop himself from making a movie that rises above its intentions — and its trashy entertainment value. Norma (Cameron Diaz) and Arthur (James Marsden) seem like a perfect, beautiful couple, until the cracks begin to quickly appear in their sporty, well-groomed facade: the victim of a girlhood accident, Norma has a startling masochistic streak, while NASA engineer and would-be astronaut Arthur is eager to channel his interest in exploring outer space toward mysteries closer to home: a box that suddenly appears, courtesy of the maimed, besuited Arlington Stewart (Frank Langella). Press the button and someone will die — but the couple will receive one million dollars. Pointing to the existential parable of No Exit like a pretentious, AP-course-loaded high-schooler, The Box also touches on such memorable genre-busters as Kiss Me Deadly (1955) with its Pandora’s box conceit, but more obviously it’s boxed in and stuck in the ’70s, fascinated by the fear, loathing, and paranoia generated by conspiracy-obsessed flicks like The Parallax View (1974) and Three Days of the Condor (1975). Those films reveled in a romantic fatalism and radiating all-encompassing negativity that had its roots in the conformity-fearing Invasion of the Body Snatchers (1956) and found its amplified, arguable apotheosis in the body horror of David Cronenberg. The analog synth score by Arcade Fire’s Win Butler and Regine Chassagne and Final Fantasy’s Owen Pallett also cues memories of Cronenberg, while the soft-focus shots of Cameron Diaz with Charlie’s Angels hair and well-chosen songs like "Bell Bottom Blues" conjure a mood that overcomes narrative potholes as big as the Scanners-like gap in Arlington Stewart’s face. (1:56) 1000 Van Ness, SF Center. (Chun)

*Capitalism: A Love Story Gun control. The Bush administration. Healthcare. Over the past decade, Michael Moore has tackled some of the most contentious issues with his trademark blend of humor and liberal rage. In Capitalism: A Love Story, he sets his sights on an even grander subject. Where to begin when you’re talking about an economic system that has defined this nation? Predictably, Moore’s focus is on all those times capitalism has failed. By this point, his tactics are familiar, but he still has a few tricks up his sleeve. As with Sicko (2007), Moore proves he can restrain himself — he gets plenty of screen time, but he spends more time than ever behind the camera. This isn’t about Moore; it’s about the United States. When he steps out of the limelight, he’s ultimately more effective, crafting a film that’s bipartisan in nature, not just in name. No, he’s not likely to please all, but for every Glenn Beck, there’s a sane moderate wondering where all the money has gone. (2:07) California. (Peitzman)

Coco Before Chanel Like her designs, Gabrielle "Coco" Chanel was elegant, très chic, and utterly original. Director Anne Fontaine’s French biopic traces Coco (Audrey Tautou) from her childhood as a struggling orphan to one of the most influential designers of the 20th century. You’ll be disappointed if you expect a fashionista’s up close and personal look at the House of Chanel, as Fontaine keeps her story firmly rooted in Coco’s past, including her destructive relationship with French playboy Etienne Balsar (Benoît Poelvoorde) and her ill-fated love affair with dashing Englishman Arthur "Boy" Capel (Alessandro Nivola). The film functions best in scenes that display Coco’s imagination and aesthetic magnetism, like when she dances with Capel in her now famous "little black dress" amidst a sea of stiff, white meringues. Tautou imparts a quiet courage and quick wit as the trailblazing designer, and Nivola is unmistakably charming and compassionate as Boy. Nevertheless, Fontaine rushes the ending and never truly seizes the opportunity to explore how Coco’s personal life seeped into her timeless designs that were, in the end, an extension of herself. (1:50) Lumiere, Shattuck, Sundance Kabuki. (Swanbeck)

*The Damned United Like last year’s Frost/Nixon, The Damned United features a lush 70’s backdrop, a screenplay by Peter Morgan, and a commanding performance by Michael Sheen as an ambitious egotist. A promising young actor, Sheen puts on the sharp tongue and charismatic monomania of real-life British soccer coach Brian Clough like a familiar garment, blustering his way through a fictionalized account of Clough’s unsuccessful 44-day stint as manager of Leeds United. Though the details of high-stakes professional "football" will likely be lost on American viewers, the tale of a talented, flawed sports hero spiraling deeper into obsession needs no trans-Atlantic translation, and the film is an engrossing portrait of a captivating, quotable character. (1:38) Opera Plaza. (Richardson)

Disney’s A Christmas Carol (1:36) 1000 Van Ness, Sundance Kabuki.

*An Education The pursuit of knowledge — both carnal and cultural — are at the tender core of this end-of-innocence valentine by Danish filmmaker Lone Scherfig (who first made her well-tempered voice heard with her 2000 Dogme entry, Italian for Beginners), based on journalist Lynn Barber’s memoir. Screenwriter Nick Hornby breaks further with his Peter Pan protagonists with this adaptation: no man-boy mopers or misfits here. Rather, 16-year-old schoolgirl Jenny (Carey Mulligan) is a good girl and ace student. It’s 1961, and England is only starting to stir from its somber, all-too-sober post-war slumber. The carefully cloistered Jenny is on track for Oxford, though swinging London and its high-style freedoms beckon just around the corner. Ushering in those freedoms — a new, more class-free world disorder — is the charming David (Peter Sarsgaard), stopping to give Jenny and her cello a ride in the rain and soon proffering concerts and late-night suppers in the city. He’s a sweet-faced, feline outsider: cultured, Jewish, and given to playing fast and loose in the margins of society. David can see Jenny for the gem she is and appreciate her innocence with the knowing pleasure of a decadent playing all the angles. The stakes are believably high, thanks to An Education‘s careful attention to time and place and its gently glamored performances. Scherfig revels in the smart, easy-on-eye curb appeal of David and his friends while giving a nod to the college-educated empowerment Jenny risks by skipping class to jet to Paris. And Mulligan lends it all credence by letting all those seduced, abandoned, conflicted, rebellious feelings flicker unbridled across her face. (1:35) Albany, Embarcadero, Piedmont. (Chun)

For the Love of Movies: The Story of American Film Criticism Informative, nostalgic, and incredibly depressing, Gerald Peary’s For the Love of Movies traces film criticism from ye olden days (Vachel Lindsay’s appreciation of Mary Pickford) to today (Harry Knowles drooling over Michael Bay). Peary, himself a film critic, captures big-name writers working (or recently out-of-work) today, with Roger Ebert, A.O. Scott, J. Hoberman, Jonathan Rosenbaum, and multiple others explaining why they chose to make a career out of their love for movies, and how the gig has changed over the years. Peary clearly believes the heyday of film criticism is over, having hit peak in the 60s and 70s, when new releases by filmmakers like Scorsese and Altman were argued-about in print and on talk shows by longtime rivals Andrew Sarris (who weighs in here) and the late Pauline Kael. Of course, these days, anyone with a blog can call him or herself a film critic, and while For the Love of Movies acknowledges the importance of the internet, it also points out that when "everyone’s a critic," quality control suffers. Welcome to the future. (1:21) Roxie. (Eddy)

The Fourth Kind (1:38) 1000 Van Ness.

*Good Hair Spurred by his little daughter’s plaintive query ("Daddy, how come I don’t have good hair?"), Chris Rock gets his Michael Moore freak on and sets out to uncover the racial and cultural implications of African-American hairstyling. Visiting beauty salons, talking to specialists, and interviewing celebrities ranging from Maya Angelou to Ice-T, the comic wisecracks his way into some pretty trenchant insights about how black women’s coiffures can often reflect Caucasian-set definitions of beauty. (Leave it to Rev. Al Sharpton to voice it ingeniously: "You comb your oppression every morning!") Rock makes an affable guide in Jeff Stilson’s breezy documentary, which posits the hair industry as a global affair where relaxers work as "nap-antidotes" and locks sacrificially shorn in India end up as pricey weaves in Beverly Hills. Maybe startled by his more disquieting discoveries, Rock shifts the focus to flamboyant, crowd-pleasing shenanigans at the Bronner Bros. International Hair Show. Despite such softball detours, it’s a genial and revealing tour. (1:35) Opera Plaza. (Croce)

Law Abiding Citizen "Spike Lee’s Inside Man (2006) as re-imagined by the Saw franchise folks" apparently sounded like a sweet pitch to someone, because here we are, stuck with Jamie Foxx and Gerard Butler playing bloody and increasingly ludicrous cat-and-mouse games. Foxx stars as a slick Philadelphia prosecutor whose deal-cutting careerist ways go easy on the scummy criminals responsible for murdering the wife and daughter of a local inventor (Butler). Cut to a decade later, and the doleful widower has become a vengeful mastermind with a yen for Hannibal Lecter-like skills, gruesome contraptions, and lines like "Lessons not learned in blood are soon forgotten." Butler metes out punishment to his family’s killers as well as to the bureocratic minions who let them off the hook. But the talk of moral consequences is less a critique of a faulty judicial system than mere white noise, vainly used by director F. Gary Gray and writer Kurt Wimmer in hopes of classing up a grinding exploitation drama. (1:48) 1000 Van Ness. (Croce)

The Maid In an upper-middle class subdivision of Santiago, 40-year-old maid Raquel (Catalina Saavedra), perpetually stony and indignant, operates a rigorous dawn-to-dusk routine for the Valdez family. Although Raquel rarely behaves as an intimate of her longtime hosts, she remains convinced that love, not labor, bonds them. (Whether the family shares Raquel’s feelings of devotion is highly dubious.) When a rotating cast of interlopers is hired to assist her, she stoops to machinations most vile to scare them away — until the arrival of Lucy (Mariana Loyola), whose unpredictable influence over Raquel sets the narrative of The Maid on a very different psychological trajectory, from moody chamber piece to eccentric slice-of-life. If writer-director Sebastián Silva’s film taunts the viewer with the possibility of a horrific climax, either as a result of its titular counterpart — Jean Genet’s 1946 stage drama The Maids, about two servants’ homicidal revenge — or from the unnerving "mugshot" of Saavedra on the movie poster, it is neither self-destructive nor Grand Guignol. Rather, it it is much more prosaic in execution. Sergio Armstrong’s fidgety hand-held camera captures Raquel’s claustrophobic routine as it accentuates her Sisyphean conundrum: although she completely rules the inner workings of the house, she remains forever a guest. But her character’s motivations often evoke as much confusion as wonder. In the absence of some much needed exposition, The Maid’s heavy-handed silences, plaintive gazes, and inexplicable eruptions of laughter feel oddly sterile, and a contrived preciousness begins to creep over the film like an effluvial whitewash. Its abundance makes you aware there is a shabbiness hiding beneath the dramatic facade — the various stains and holes of an unrealized third act. (1:35) Clay, Shattuck, Smith Rafael. (Erik Morse)

The Men Who Stare at Goats No! The Men Who Stare at Goats was such an awesome book (by British journalist Jon Ronson) and the movie boasts such a terrific cast (George Clooney, Kevin Spacey, Jeff Bridges, Ewan McGregor). How in the hell did it turn out to be such a lame, unfunny movie? Clooney gives it his all as Lyn Cassady, a retired "supersolider" who peers through his third eye and realizes the naïve reporter (McGregor) he meets in Kuwait is destined to accompany him on a cross-Iraq journey of self-discovery; said journey is filled with flashbacks to the reporter’s failed marriage (irrelevant) and Cassady’s training with a hippie military leader (Bridges) hellbent on integrating New Age thinking into combat situations. Had I the psychic powers of a supersoldier, I’d use some kind of mind-control technique to convince everyone within my brain-wave radius to skip this movie at all costs. Since I’m merely human, I’ll just say this: seriously, read the book instead. (1:28) Empire, Grand Lake, 1000 Van Ness, Presidio, Shattuck, Sundance Kabuki. (Eddy)

*Michael Jackson’s This Is It Time –- and a tragic early death –- has a way of coloring perception, so little surprise that these thought pops into one’s head throughout This Is It: when did Michael Jackson transform himself into such an elegant, haute-pop sylph? Such a pixie-nosed, lacy-haired petit four of music-making delicacy? And where can I get his to-die-for, pointy-shouldered, rhinestone-lapeled Alexander McQueen-ish jacket? Something a bit bewitching this way comes as Michael Jackson –- now that he’s gone, seemingly less freakish than an outright phenomenon –- gracefully flits across the screen in this final (really?) document of his last hurrah, the rehearsals for his sold-out shows at O2 Arena in London. This Is It is far from perfect: this grainy video scratchpad of a film obviously wasn’t designed by the perfectionist MJ to be his final testament to pop. Director Kenny Ortega does his best to cobble together what looks like several rehearsal performances with teary testimonials from dancers (instilled with the intriguing idea that they are extensions of the surgery-friendly Jackson’s body onstage), interviews with musicians, minimal archival footage, and glimpses of Jacko protesting about being encouraged to "sing through" certain songs when he’s trying to preserve his voice, urging the band to play it "like the record," and still moving, dancing, and gesticuutf8g with such grace that you’re left with more than a tinge of regret that "This Is It," the tour, never came to pass. It’s a pure, albeit adulterated, pleasure to watch the man do the do, even with the gaps in the flow, even with the footage filtered by a family intent on propping up the franchise. Amid the artistry and kitsch, critics, pop academics, and superfans will find plenty to chew over –- from Jackson’s curiously timed physical complaints as the Jackson 5 segment kicks in, to the surreally CGI-ed, golden-age-of-Hollywood mash-up sequence. (1:52) Marina, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Chun)

New York, I Love You A dreamy mash note to the city that never sleeps, New York, I Love You is the latest installment in a series of omnibus odes to world metropolises and the denizens that live and love within the city limits. Less successful than the Paris, je t’aime (2006) anthology — which roped in such disparate international directors as Gus Van Sant and Wes Craven, Alfonso Cuaron and Olivier Assayas — New York welcomes a more minor-key host of directors to the project with enjoyable if light-weight results. Surely any bite of the Big Apple would be considerably sexier. Bradley Cooper and Drea de Matteo tease out a one-night stand with legs, and Ethan Hawke and Maggie Q generate a wee bit of verbal fire over street-side cigs, yet there’s surprisingly little heat in this take on a few of the 8 million stories in the archetypal naked city. Most memorable are the strangest couplings, such as that of Natalie Portman, a Hasidic bride who flirtatiously haggles with Irrfan Khan, a Jain diamond merchant, in a tale directed by Mira Nair. Despite the pleasure of witnessing Julie Christie, Eli Wallach, and Cloris Leachman in action, many of these pieces — written by the late Anthony Minghella, Israel Horovitz, and Portman, among others — feel a mite too slight to nail down the attention of all but the most desperate romantics. (1:43) Bridge, Shattuck. (Chun)

*Paranormal Activity In this ostensible found-footage exercise, Katie (Katie Featherson) and Micah (Micah Sloat) are a young San Diego couple whose first home together has a problem: someone, or something, is making things go bump in the night. In fact, Katie has sporadically suffered these disturbances since childhood, when an amorphous, not-at-reassuring entity would appear at the foot of her bed. Skeptical technophile Micah’s solution is to record everything on his primo new video camera, including a setup to shoot their bedroom while they sleep — surveillance footage sequences that grow steadily more terrifying as incidents grow more and more invasive. Like 1999’s The Blair Witch Project, Oren Peli’s no-budget first feature may underwhelm mainstream genre fans who only like their horror slick and slasher-gory. But everybody else should appreciate how convincingly the film’s very ordinary, at times annoying protagonists (you’ll eventually want to throttle Micah, whose efforts are clearly making things worse) fall prey to a hostile presence that manifests itself in increments no less alarming for being (at first) very small. When this hits DVD, you’ll get to see the original, more low-key ending (the film has also been tightened up since its festival debut two years ago). But don’t wait — Paranormal‘s subtler effects will be lost on the small screen. Not to mention that it’s a great collective screaming-audience experience. (1:39) Metreon, 1000 Van Ness. (Harvey)

*Paris Cédric Klapisch’s latest offers a series of interconnected stories with Paris as the backdrop, designed — if you’ll pardon the cliché — as a love letter to the city. On the surface, the plot of Paris sounds an awful lot like Paris, je t’aime (2006). But while the latter was composed entirely of vignettes, Paris has an actual, overarching plot. Perhaps that’s why it’s so much more effective. Juliette Binoche stars as Élise, whose brother Pierre (Romain Duris) is in dire need of a heart transplant. A dancer by trade, Pierre is also a world-class people watcher, and it’s his fascination with those around him that serves as Paris‘ wraparound device. He sees snippets of these people’s lives, but we get the full picture — or at least, something close to it. The strength of Paris is in the depth of its characters: every one we meet is more complex than you’d guess at first glance. The more they play off one another, the more we understand. Of course, the siblings remain at the film’s heart: sympathetic but not pitiable, moving but not maudlin. Both Binoche and Duris turn in strong performances, aided by a supporting cast of French actors who impress in even the smallest of roles. (2:04) Opera Plaza. (Peitzman)

Pirate Radio I wanted to like Pirate Radio, a.k.a., The Boat That Rocked –- really, I did. The raging, stormy sounds of the British Invasion –- sex, drugs, rock ‘n’ roll, and all that rot. Pirate radio outlaw sexiness, writ large, influential, and mind-blowingly popular. This shaggy-dog of a comedy about the boat-bound, rollicking Radio Rock is based loosely on the history of Radio Caroline, which blasted transgressive rock ‘n’ roll (back when it was still subversive) and got around stuffy BBC dominance by broadcasting from a ship off British waters. Alas, despite the music and the attempts by filmmaker Richard Curtis to inject life, laughs, and girls into the mix (by way of increasingly absurd scenes of imagined listeners creaming themselves over Radio Rock’s programming), Pirate Radio will be a major disappointment for smart music fans in search of period accuracy (are we in the mid- or late ’60s or early or mid-’70s –- tough to tell judging from the time-traveling getups on the DJs, played by Philip Seymour Hoffman and Rhys Darby, among others?) and lame writing that fails to rise above the paint-by-the-numbers narrative buttressing, irksome literalness (yes, a betrayal by a lass named Marianne is followed by "So Long, Marianne"), and easy sexist jabs at all those slutty birds. Still, there’s a reason why so many artists –- from Leonard Cohen to the Stones –- have lent their songs to this shaky project, and though it never quite gets its sea legs, Pirate Radio has its heart in the right place –- it just lost its brains somewhere along the way down to its crotch. (2:00) Elmwood, Oaks, 1000 Van Ness, Piedmont, Sundance Kabuki. (Chun)

*Precious: Based on the Novel Push By Sapphire This gut-wrenching, little-engine-that-could of a film shows the struggles of Precious, an overweight, illiterate 16-year-old girl from Harlem. Newcomer Gabourey Sidibe is so believably vigilant (she was only 15 at the time of filming) that her performance alone could bring together the art-house viewers as well as take the Oscars by storm. But people need to actually go and experience this film. While Precious did win Sundance’s Grand Jury and Audience Award awards this year, there is a sad possibility that filmgoers will follow the current trend of "discussing" films that they’ve actually never seen. The daring casting choices of comedian Mo’Nique (as Precious’ all-too-realistically abusive mother) and Mariah Carey (brilliantly understated as an undaunted and dedicated social counselor) are attempts to attract a wider audience, but cynics can hurdle just about anything these days. What’s most significant about this Dancer in the Dark-esque chronicle is how Damien Paul’s screenplay and director Lee Daniels have taken their time to confront the most difficult moments in Precious’ story –- and if that sounds heavy-handed, so be it. Stop blahging for a moment and let this movie move you. (1:49) SF Center, Shattuck, Sundance Kabuki. (Jesse Hawthorne Ficks)

*The September Issue The Lioness D’Wintour, the Devil Who Wears Prada, or the High Priestess of Condé Nasty — it doesn’t matter what you choose to call Vogue editor-in-chief Anna Wintour. If you’re in the fashion industry, you will call her — or at least be amused by the power she wields as the overseer of style’s luxury bible, then 700-plus pages strong for its legendary September fall fashion issue back in the heady days of ’07, pre-Great Recession. But you don’t have to be a publishing insider to be fascinated by director R.J. Cutler’s frisky, sharp-eyed look at the making of fashion’s fave editorial doorstop. Wintour’s laser-gazed facade is humanized, as Cutler opens with footage of a sparkling-eyed editor breaking down fashion’s fluffy reputation. He then follows her as she assumes the warrior pose in, say, the studio of Yves St. Laurent, where she has designer Stefano Pilati fluttering over his morose color choices, and in the offices of the magazine, where she slices, dices, and kills photo shoots like a sartorial samurai. Many of the other characters at Vogue (like OTT columnist André Leon Talley) are given mere cameos, but Wintour finds a worthy adversary-compatriot in creative director Grace Coddington, another Englishwoman and ex-model — the red-tressed, pale-as-a-wraith Pre-Raphaelite dreamer to Wintour’s well-armored knight. The two keep each other honest and craftily ingenious, and both the magazine and this doc benefit. (1:28) Presidio. (Chun)

*A Serious Man You don’t have to be Jewish to like A Serious Man — or to identify with beleaguered physics professor Larry Gopnik (the grandly aggrieved Michael Stuhlbarg), the well-meaning nebbishly center unable to hold onto a world quickly falling apart and looking for spiritual answers. It’s a coming of age for father and son, spurred by the small loss of a radio and a 20-dollar bill. Larry’s about-to-be-bar-mitzvahed son is listening to Jefferson Airplane instead of his Hebrew school teachers and beginning to chafe against authority. His daughter has commandeered the family bathroom for epic hair-washing sessions. His wife is leaving him for a silkily presumptuous family friend and has exiled Larry to the Jolly Roger Motel. His failure-to-launch brother is a closeted mathematical genius and has set up housekeeping on his couch. Larry’s chances of tenure could be spoiled by either an anonymous poison-pen writer or a disgruntled student intent on bribing him into a passing grade. One gun-toting neighbor vaguely menaces the borders of his property; the other sultry nude sunbather tempts with "new freedoms" and high times. What’s a mild-mannered prof to do, except envy Schrodinger’s Cat and approach three rungs of rabbis in his quest for answers to life’s most befuddling proofs? Reaching for a heightened, touched-by-advertising style that recalls Mad Men in look and Barton Fink (1991) in narrative — and stooping for the subtle jokes as well as the ones branded "wide load" — the Coen Brothers seem to be turning over, examining, and flirting with personally meaningful, serious narrative, though their Looney Tunes sense of humor can’t help but throw a surrealistic wrench into the works. (1:45) California, Embarcadero, Empire, Piedmont, Sundance Kabuki. (Chun)

*Skin This is one of those movies that works in large part because you know it’s a true story –- its truth is almost too strange to be credible as fiction. In 1955 the Laings, a white Afrikaner couple (played by the blond and blue-eyed likes of Sam Neill and Alice Krige) gave birth to a second child quite unlike their first, or themselves. Indeed, Sandra (Ella Ramangwane) was, by all appearances, black. Mrs. Laing insisted she hadn’t been unfaithful –- further, the couple were firm believers in the apartheid system –- and it was eventually determined Sandra’s looks were the result of a rare but not-unheard-of flashback to some "colored" genes no doubt well-buried far in their colonialist ancestry. Living in rural isolation, the well-intentioned Laings were able to keep Sandra oblivious to her being at all "different." But when time came to send her off to boarding school, she got a rude awakening in matters of race and class, resulting in court battles and myriad humiliations. Sophie Okonedo (2004’s Hotel Rwanda) plays the rebellious adult Sandra, who must reject her upbringing to find an identity she can live with –- as opposed to the wishful-thinking one her parents insist upon. Based on the real protagonist’s memoir, Anthony Fabian’s first feature observes the institutional cruelty and eventual fall of apartheid from the uniquely vivid perspective of someone yanked from privilege to prejudice. It’s a sprawling, involving story that affords excellent opportunities for its very good lead actors (also including Tony Kgoroge as Sandra’s abusive eventual husband). (1:47) Opera Plaza, Smith Rafael. (Harvey)

2012 I don’t need to give you reasons to see this movie. You don’t care about the clumsy, hastily dished-out pseudo scientific hoo-ha that explains this whole mess. You don’t care about John Cusack or Woody Harrelson or whoever else signed on for this embarrassing notch in their IMDB entry. You don’t care about Mayan mysteries, how hard it is for single dads, and that Danny Glover and Chiwetel Ejiofor jointly stand in for Obama (always so on the zeitgeist, that Roland Emmerich). You already know what you’re in store for: the most jaw-dropping depictions of humankind’s near-complete destruction that director Emmerich –- who has a flair for such things –- has ever come up with. All the time, creative energy, and money James Cameron has spent perfecting the CGI pores of his characters in Avatar is so much hokum compared to what Emmerich and his Spartan army of computer animators dish out: the U.S.S. John F. Kennedy emerging through a cloud of toxic dust like some Mary Celeste of the military-industrial complex, born aloft on a massive tidal wave that pulverizes the White House; the dome of St. Paul’s flattening the opium-doped masses like a steamroller; Hawaii returned to its original volcanic state; and oodles more scenes in which we are allowed to register terror, but not horror, at the gorgeous destruction that is unfurled before us as the world ends (again) but no one really dies. Get this man a bigger budget. (2:40) California, Empire, Grand Lake, Marina, 1000 Van Ness. (Sussman)

(Untitled) The sometimes absurd pretensions of the modern art world have –- for many decades –- been so easily, condescendingly ridiculed that its intelligently knowing satire is hard to come by. (How much harder still would it be for a fictive film to convey the genius of, say Anselm Kiefer? Even Ed Harris’ 2000 Pollock less vividly captured the art or its creation –- better done by Francis Ford Coppola and Nick Nolte in their 1989 New York Stories segment –- than the usual tortured-artist histrionics.) Bay Arean Jonathan Parker attempts to correct that with this perhaps overly low-key witticism. Erstwhile Hebrew Hammer Adam Goldberg plays a composer of painfully retro, plink-plunk 1950s avant-gardism. (His favorite instrument is the tin bucket.) His lack of success is inevitable yet chafes nonetheless, because he’s a) humorlessly self-important, and b) sibling to a painter (Eion Bailey) whose pleasant, unchallenging abstracts are hot properties amongst corporate-art buyers. But not hot enough for his gorgeous agent (Marley Shelton), who puts off showing him at her Chelsea gallery in favor of cartoonishly "edgy" artists –- like soccer hooligan Vinnie Jones as a proponent of lurid taxidermy sculpture –- and takes a contrary (if unlikely) fancy to Goldberg. (How could her educated like not know his music is even less cutting-edge than the brother’s canvases?) (Untitled) holds interest, but it’s at once too glib and modest –- exaggerative sans panache. This is equivalently if differently problematic from Parker’s 2005 Henry James-goes-Marin County The Californians. It can’t compare to his 2001 feature debut, the excellent Crispin Glover-starring translation of Melville’s Bartleby to Rhinoceros-like modern office culture. (1:30) Embarcadero, Shattuck. (Harvey)

Where the Wild Things Are From the richly delineated illustrations and sparse text of Maurice Sendak’s 1963 children’s book, director Spike Jonze and cowriter (with Jones) Dave Eggers have constructed a full-length film about the passions, travails, and interior/exterior wanderings of Sendak’s energetic young antihero, Max. Equally prone to feats of world-building and fits of overpowering, destructive rage, Max (Max Records) stampedes off into the night during one of the latter and journeys to the island where the Wild Things (voiced by James Gandolfini, Catherine O’Hara, Forest Whitaker, Chris Cooper, Lauren Ambrose, Paul Dano, and Michael Berry Jr.) live — and bicker and tantrum and give in to existential despair and no longer all sleep together in a big pile. The place has possibilities, though, and Max, once crowned king, tries his best to realize them. What its inhabitants need, however, is not so much a visionary king as a good family therapist — these are some gripey, defensive, passive-aggressive Wild Things, and Max, aged somewhere around 10, can’t fix their interpersonal problems. Jonze and Eggers do well at depicting Max’s temporary kingdom, its forests and deserts, its creatures and their half-finished creations from a past golden era, as well as subtly reminding us now and again that all of this — the island, the arguments, the sadness — is streaming from the mind of a fierce, wildly imaginative young child with familial troubles of his own, equally beyond his power to resolve. They’ve also invested the film with a slow, grim depressive mood that can make for unsettling viewing, particularly when pondering the Maxes in the audience, digesting an oft-disheartening tale about family conflict and relationship repair. (1:48) 1000 Van Ness, Sundance Kabuki. (Rapoport)

*The Yes Men Fix the World Can you prank shame, if not sense, into the Powers That Be? Andy Bichlbaum and Mike Bonnano, the jesters-activists who punked right-wing big-business in the documentary The Yes Men (2003), continue to play Groucho Marx to capitalism’s mortified Margaret Dumont in this gleeful sequel. Decked in sharp suits and packing fake websites and catchphrases, the duo bluffs its way into conferences and proceeds to give corporate giants the Borat treatment. The stunts are often inspired and, in their visions of fantasy justice, poignant: Bichlbaum and Bonnano pose as Dow envoys and announce the company’s plans to send billions to treat victims of the 1984 Bhopal chemical disaster, and later appear as HUD representatives offering a corrective to the shameful neglect of New Orleans in the wake of Hurricane Katrina. The Yes Men may not fix the world, but their ruses once more prove the awareness-raising potential of comedy. (1:30) Smith Rafael. (Croce)

Music Listings

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Music Listings

Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 18

ROCK/BLUES/HIP-HOP

Actionslacks, Love is Chemicals, Ex-Boyfriends Bottom of the Hill. 9pm, $8.

Cheetahs on the Moon, Bodice Rippers, Sugarbutt Tiger Annie’s Social Club. 9pm, $6.

Collisionville, Control-R, Pomegranate El Rio. 8pm, $5.

Comeback Kid, Gravemaker, Mother of Mercy, Dead Swan Thee Parkside. 8pm, $12.

Confunkshun Rrazz Room, Hotel Nikko, 222 Mason, SF; 1-888-468-3399. 8pm, $30-35.

Elm, Midday Veil, Sequin Trails Hemlock. 9pm, $6.

Frail, Lleggs Harlot, 46 Minna, SF; (415) 777-1077. 9pm, $5.

Joe Krown Trio Biscuits and Blues. 8pm, $18.

*Judgement Day, La Fin du Monde, Grayceon Annie’s Social Club. 8:30pm, $7.

*King Khan and BBQ Show, Those Darlins Independent. 8pm, $15.

Nitzer Ebb, King Loses Crown Slim’s. 8pm, $25.

Chris Pierce, Amber Rubarth, Corb Lund Hotel Utah. 8:30pm, $10.

Julian Plenti, I’m in You Great American Music Hall. 8pm, $16.

Saints of Ruin Red Devil Lounge. 8pm, $8-10.

Society of Rockets, Conspiracy of Beards, Lotus Feet Elbo Room. 9pm, $7.

BAY AREA

Raphael Saadiq, Anjulie, Melanie Fiona Fox Theater. 7:30pm, $39.50.

JAZZ/NEW MUSIC

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Marcus Shelby Jazz Jam Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Michael Browne Trio Rite Spot, 2099 Folsom, SF; (415) 552-6066. 9pm, free.

Cat’s Corner Savanna Jazz. 7pm, $5-10.

Shana Morrison Yoshi’s San Francisco. 8pm, $14.

Tamika Nicole Yoshi’s San Francisco. 10:30pm, $14.

Tin Cup Serenade Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7pm, free.

FOLK/WORLD/COUNTRY

Freddy Clarke, Wobbly World Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8:30, $10.

Gaucho, Michael Abraham Jazz Session Amnesia. 8pm, free.

Leigh Gregory Plough and Stars. 9pm.

Erin McKeown, Sonya Kitchell Café du Nord. 8:30pm, $15.

Amber Rubarth Hotel Utah. 8pm, $10-12.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.

Qoöl 111 Minna Gallery. 5-10pm, $5. Pan-techno lounge with DJs Spesh, Gil, Hyper D, and Jondi.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St.; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 19

ROCK/BLUES/HIP-HOP

Chris Brown Fillmore. 7pm, $38.50.

Confunkshun Rrazz Room, Hotel Nikko, 222 Mason, SF; 1-888-468-3399. 8pm, $30-35.

*Ensiferum, Hypocrisy, Blackguard DNA Lounge. 8pm, $22.

Hidden Cameras, Gentleman Reg, Winter’s Fall Bottom of the Hill. 9pm, $14.

Kevin Russell Trio Biscuits and Blues. 8pm, $15.

Meta, Ana Lucia, Burnt Thumbs El Rio. 9pm, $6.

Microfiche, Elle Nino, Camp Out, Hey Young Believer Hotel Utah. 9pm, $6.

Neon Indian, Love X Nowhere Rickshaw Stop. 8pm, $10-12.

Peter Bjorn and John, El Perro Del Mer Great American Music Hall. 9pm, $23.

Railcars, Samuelroy, Pregnant, Felt Drawings Thee Parkside. 9pm, $6.

Röyksopp, Jon Hopkins Regency Ballroom. 8pm, $32.

Silian Rail, Grand Lake, Ash Reiter Hemlock Tavern. 9pm, $7.

Tainted Love Red Devil Lounge. 8pm, $15.

0th, Kurione, Paper Legs, William Winat, Weasle Walter, and John Gruntfest Trio Amnesia. 9pm, $6.

BAY AREA

Them Crooked Vultures, Mini Mansions Fox Theater. 8pm, $49.50.

JAZZ/NEW MUSIC

Joe Bagale, Crystal Monee Hall Yoshi’s San Francisco. 10:30pm, $10.

Margie Baker Shanghai 1930. 7pm, free.

Al Coster Trio and jam session Savanna Jazz. 8pm, $5.

Terry Disley Washington Square Bar and Grill, 1707 Powell, SF; (415) 433-1188. 7pm, free.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 7:30pm, free.

Laurent Fourgo Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7:30pm, free.

Marlina Teich Trio Brickhouse, 426 Brannan, SF; (415) 820-1595. 7-10pm, free.

Stephen Merriman Simple Pleasures, 3434 Balboa, SF; (415) 387-4022. 8pm, free.

Stompy Jones Top of the Mark. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Battlin’ Blue Birds Dolores Park Café. 7:30pm, free.

Bluegrass Old Time Jam Atlas Café. 8pm, free.

Classical Revolution Amnesia. 6pm, free.

Frisky Frolics Rite Spot, 2099 Folsom, SF; (415) 552-6066. 9pm, free.

Jim Lauderdale Noe Valley Ministry, 1021 Sanchez, SF; (415) 454-5238. 8:15pm, $22.

Jueves Flamencos Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8:15pm, $10; 9:30pm, $12.

Mission 3 Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Tipsy House Plough and Stars. 9pm.

Worried Minds Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-6. DJs Pleasuremaker, Señor Oz, J Elrod, B Lee, and special guest Beto spin Afrobeat, Tropicália, electro, samba, and funk featuring an album listening party for Tito Rodriguez.

Bingotopia Knockout. 7:30-9:30pm, free. Play for drinks, dignity, and dorky prizes with Lady Stacy Pants.

Caribbean Connection Little Baobab, 3388 19th St; 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Echo-A-Gogo Knockout. 10pm, free. Vintage dub reggae with DJ Lucky and friends.

Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.

Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.

Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.

Koko Puffs Koko Cocktails, 1060 Geary; 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St., SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest. Rock Candy Stud. 9pm-2am, $5. Luscious Lucy Lipps hosts this electro-punk-pop party with music by ReXick.

Solid Club Six. 9pm, $5. With resident DJ Daddy Rolo and rotating DJs Mpenzi, Shortkut, Polo Mo’qz and Fuze spinning roots, reggae, and dancehall.

FRIDAY 20

ROCK/BLUES/HIP-HOP

Billy and Dolly with Tell-Tale Hearts, Michael Zapruder, Paul Bertolino Hotel Utah. 9pm, $10.

Confunkshun Rrazz Room, Hotel Nikko, 222 Mason, SF; 1-888-468-3399. 7 and 9:30pm, $30-35.

Disco Biscuits Fillmore. 9pm, $25.

Dolorata, Audrey Howard and the Misters, View from Space Bottom of the Hill. 10pm, $10.

*El Dopa, Cretaceous Annie’s Social Club. 9:30pm, $8.

Eternal Tapestry, Barn Owl, Moon Duo, Real Estate Hemlock Tavern. 9pm, $8.

Fiery Furnaces, Cryptacize, Dent May Slim’s. 9pm, $16.

Girls Swedish American Hall (upstairs from Café du Nord). 8pm, $15.

Houston Jones Noe Valley Ministry, 1021 Sanchez, SF; (415) 454-5238. 8:15pm, $19.

DJ Lebowitz Madrone Art Bar. 6-9pm, free.

*McCabe and Mrs. Miller, Paul and John Make-Out Room. 7pm, $7.

New Thrill Parade, Tape Deck Mountain, Red Pony Clock, Monnone Alone, Borneo Amnesia. 9pm, $8.

Peter Bjorn and John, El Perro Del Mer Great American Music Hall. 9pm, $23.

Sleepytime Gorilla Museum, Faun Fables Independent. 9pm, $18.

Earl Thomas and the Blues Ambassadors Biscuits and Blues. 8 and 10pm, $22.

Zoo Station Red Devil Lounge. 8pm, $10.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Patti Austin Yoshi’s San Francisco. 8 and 10pm, $30-38.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Bryan Girard Quartet Cliff House Restaurant, 1090 Point Lobos, SF; (415) 386-3330. 7pm, free.

Stephanie Crawford Savanna Jazz. 8pm, $8.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Lucid Lovers Rex Hotel, 562 Sutter, SF; (415) 433-4434. 6-8pm.

T.D. Skatchit and Company Community Music Center, 544 Capp, SF; (415) 647-6015. 8pm, $10.

Terry Disley Experience Shanghai 1930. 7:30pm, free.

FOLK/WORLD/COUNTRY

Seth Augustus Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Andrew Skewes Cox Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.

Toshio Hirano Mercury Café, 201 Octavia, SF; (415) 252-7855. 7:30pm, free.

Forro in the Dark, Nneka, DJ Felina Café du Nord. 9:30pm, $12-15.

49 Special Plough and Stars. 9pm, $6-10 sliding scale.

International Studies Academy (ISA) Concert Dolores Park Café. 7:30pm, free.

Rob Reich and Craig Ventresco Amnesia. 7pm, free.

Rolando Morales and group Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8pm, 10pm.

Samba Da Elbo Room. 10pm, $15.

Lee Vilenski Rite Spot, 2099 Folsom, SF; (415) 552-6066. 9pm, free.

DANCE CLUBS

Activate! Lookout, 3600 16th St; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.

Blow Up Rickshaw Stop. 10pm, $15. With DJs Jeffrey Paradise and Richie Panic spinning dance music.

Conspirator 103 Harriet, 103 Harriet, SF; (415) 431-3609. 10pm, $20. Disco Biscuits after party.

Deep Fried Butter, 354 11th St., SF; (415) 863-5964. DJs jaybee, David Justin, and Dean Manning spinning indie, dance rock, electronica, funk, hip hop, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

510’s Finest Presents: King Thee Parkside. 10pm, $4.

Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

House of Voodoo Medici Lounge, 299 9th St., SF; (415) 501-9162. 9pm, $5. With DJs Voodoo, Purgatory, and more spinning goth, industrial, deathrock, and glam.

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

Loose Stud. 10pm-3am, $5. DJs Domino and Six spin electro and indie, with vintage porn visual projections to get you in the mood.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

Juan Maclean DJ Set (Tribute to Gerhardt Fuchs), Parallels, DJs Eug and J. Montag Mezzanine. 9pm, $13.

Oldies Night Knockout. 9pm, $2-4. Doo-wop, one-hit wonders, and soul with DJs Primo, Daniel, and Lost Cat.

Pirate Cat Radio Benefit Triple Crown. 8pm, $10. Proceeds to help pay recent fines imposed by the FCC.

Punk Rock and Shlock Karaoke Annie’s Social Club. 9pm-2am, $5. Eileen and Jody bring you songs from multiple genres to butcher: punk, new wave, alternative, classic rock, and more.

The Present Club Six. 9pm, $15. Featuring performances by Luckyiam PSC, The Bayliens, Wordplay, and more with DJs Franky Fresh, Beast, and more spinning hip hop.

SATURDAY 21

ROCK/BLUES/HIP-HOP

"A&R Live: Major Label Showcase" Thee Parkside. 9pm, $15.

Confunkshun Rrazz Room, Hotel Nikko, 222 Mason, SF; 1-888-468-3399. 7 and 9:30pm, $30-35.

Disco Biscuits Fillmore. 9pm, $25.

*Municipal Waste, Off with Their Heads, Phobia, Cauldron Slim’s. 8pm, $15.

Okay-Hole with Sixteens, Sleeping Desires, Soft Shoes and the Socks Amnesia. 9pm, $7.

Old Canes, Top Critters, Mylo Jenkins House of Shields. 9pm, $5.

Perfect Machines, Sassy!!!, Lady Sinatra, Live Evil, Rockfight Hotel Utah. 9pm, $8.

Rod Piazza and the Mighty Flyers Biscuits and Blues. 8 and 10pm, $22.

Pie Rats, Yes Gos, Light Machine Thee Parkside. 3pm, free.

"SFxSD" El Rio. 3pm-2am, $5-7. With Lucky Jesus, Long Live Logos, Butterfly Bones, DJ Calisto John, Lilofee, Transfer, and Music for Animals.

Shuteye Unison, New Trust, Grandchildren Hemlock Tavern. 9:30pm, $7.

Slick 46, Harrington Saints, Memphis Murder Men Annie’s Social Club. 9pm, $8.

Snoop Dogg, DJ Quik, Nipsey Hussle, Hustle Boys Warfield. 8pm, $53-63.

Thao with the Get Down Stay Down, Portland Cello Project, David Schultz Independent. 9pm, $17.

Keller Williams Great American Music Hall. 9pm, $25.

BAY AREA

Keb’Mo’, Solomon Burke Paramount Theatre. 8pm, $20-65.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Patti Austin Yoshi’s San Francisco. 8 and 10pm, $38.

Graham Connah Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

George Cole’s Band Red Poppy Art House. 8pm, $15-20.

"Jazz Jam Session with Uptime Jazz Group" Mocha 101 Café, 1722 Taraval, SF; (415) 702-9869. 3:30-5:30pm, free.

Octomutt, Lily Taylor Rite Spot, 2099 Folsom, SF; (415) 552-6066. 9pm, free.

Sandra Aran Group Shanghai 1930. 7:30pm, free.

Ricardo Scales Top of the Mark. 9pm, $15.

Suzanna Smith and band Savanna Jazz. 8pm, $8.

FOLK/WORLD/COUNTRY

Bossa 5-0 Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.

Culann’s Hounds Plough and Stars. 9pm.

Forro in the Dark, Boca Do Rio, DJ Felina Café du Nord. 9:30pm, $12-15.

George Cole Quintet Red Poppy Art House. 8pm, $15-20. Gypsy swing and American songbook.

Jaguares, Los Cenzontles Regency Ballroom. 9pm, $55.

Outside In Festival Bollyhood Café, 3372 19th St., SF; (415) 643-3558. 7pm, $5. Featuring food, dance arts, and music with a live performance from Mucho Axé and DJs Fausto and EKG.

Peruvian Night Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 7:30pm, 11:45pm. With Lalo Isquierdo, Luis Valverde, Miguel Sisniegas, and Luis Ramos.

BAY AREA

Café Tacuba Fox Theater. 8pm, $35.50-39.50.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.

Booty Bassment Knockout. 10pm-2am, $5. Hip-hop with DJs Ryan Poulsen and Dimitri Dickenson.

Cock Fight Underground SF. 9pm, $6. Locker room antics galore with electro-spinning DJ Earworm and hostess Felicia Fellatio.

Dead After Dark Knockout. 6-9pm, free. With DJ Touchy Feely.

DJ Nu-Mark Mighty. 9pm, $5 before 11pm with canned good. With DJs Haylow, Platurn, and Ant 1.

Black and White Affair Butterfly Lounge, Pier 33, 1400 Embarcadero, SF; www.partywithpure.com. 10pm, $20. DJs spinning mainstream hip hop and top 40s.

Fire Corner Koko Cocktails, 1060 Geary; 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

M80 Mission Rock Café, 817 Terry Francois, SF; (415) 626-5355. 10pm, $15. Disco Biscuits after party. Shuttle service available from the Fillmore.

P vs M Madrone Art Bar. 7pm, $5. DJs Dave Paul and Jeff Harris spinning a Prince vs. Michael marathon.

Saturday Night Live Fat City, 314 11th St; selfmade2c@yahoo.com. 10:30pm.

Saturday Night Soul Party 10pm, $10. With DJs Lucky, Phengren Oswald, and Paul Paul spinning 60s soul.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Villainy DNA Lounge. 9pm, $8-10. Electro, indie, new wave, gothic, and industrial with Tomas Diablo, Party Ben, and Starr.

SUNDAY 22

ROCK/BLUES/HIP-HOP

"Concerts First Next Big Thing" Slim’s. 11am, $15.

Confunkshun Rrazz Room, Hotel Nikko, 222 Mason, SF; 1-888-468-3399. 7pm, $30-35.

Fanfarlo, Freelance Whales, Mumlers Rickshaw Stop. 8pm, $13.

*"Heathenfest" DNA Lounge. 7:30pm, $22. With Eluveitie, Belphegor, Alestorm, Vreid, and Kivimetsan Druidi.

Il Gato, Radio Fantastique, Gerardo Balistreiri Amnesia. 9pm, $7-10.

Lake, Karl Blau, Half-Handed Cloud Hemlock Tavern. 9pm, $8.

Slick 46, Memphis Murder Men, Shootin’ Lucy, Shelby Cobra Thee Parkside. 8pm, $7.

Thrice, Dear Hunter, Polar Bear Club Regency Ballroom. 7:30pm, $24.

BAY AREA

KISS, Buckcherry Oracle Arena, 7000 Coliseum Wy, Oakl; www.ticketmaster.com. 7:30pm, $17.50-125.

JAZZ/NEW MUSIC

Patti Austin Yoshi’s San Francisco. 2 and 7pm, $5-38.

Terry Disley Washington Square Bar and Grill, 1707 Powell, SF; (415) 433-1188. 7pm, free.

Lua Hadar with Jason Martineau Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

Rob Modica and friends Simple Pleasures, 3434 Balboa, SF; (415) 387-4022. 3pm, free.

Savanna Jazz Trio and jam Savanna Jazz. 9:30pm, $5.

FOLK/WORLD/COUNTRY

b Foundation Great American Music Hall. 8pm, $10.

Bone Cootes, Old Hangtown Rite Spot, 2099 Folsom, SF; (415) 552-6066. 6pm, free.

Jack Gilder, Kevin Bemhagen, Richard Mandel, and friends Plough and Stars. 9pm.

Il Gato, El Radio Fantastique, Gerardo Balestrieri Amnesia. 9pm, $7-10.

Halau O Keikiali’I Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 7:30pm, $10.

International Youth Music Initiative Jewish Community Center of San Francisco, 3200 California, SF; (415) 292-1233. 7pm, $15.

Iration, Tomorrow’s Bad Seeds, B Foundation Great American Music Hall. 8pm, $15.

Josh Klipp, Joe Stevens El Rio. 3-6pm, $5-10.

Jay Lingo and the Kick Balers Thee Parkside. 4pm, free.

Lior Tsarfaty and friends Red Poppy Art House. 7pm, $10-15.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with Nickodemus Meets Spy from Cairo, Freyja, Calamity Sam, and DJ Sep.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th; 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

MONDAY 23

ROCK/BLUES/HIP-HOP

Dir En Gray Fillmore. 8pm, $23.

Holy Shit, Sleeptalks, Quite Polite Knockout. 9pm, $7.

Mr. Gnome, Songs for Snakes, Disastroid Elbo Room. 9pm, $6.

BAY AREA

Wolfmother, Heartless Bastards, Thenewno2 Fox Theater. 7:30pm, $29.50.

JAZZ/NEW MUSIC

Colour Yoshi’s San Francisco. 8pm, $8-12.

Lavay Smith Trio Enrico’s, 504 Broadway, SF; www.enricossf.com. 7pm, free.

Andrew Oliver Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.

Richard Rite Spot, 2099 Folsom, SF; (415) 552-6066. 8pm, free.

FOLK/WORLD/COUNTRY

Barefoot Nellies Amnesia. 8:30pm, free.

Lavay Smith and Her Red Hot Jug Band, Divine’s Jug Band Café du Nord. 8pm, $10.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary; 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Going Steady Dalva. 10pm, free. DJs Amy and Troy spinning 60’s girl groups, soul, garage, and more.

King of Beats Tunnel Top. 10pm. DJs J-Roca and Kool Karlo spinning reggae, electro, boogie, funk, 90’s hip hop, and more.

Krazy for Karaoke Happy Hour Knockout. 5-9pm, free. With host Deadbeat.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

Network Mondays Azul Lounge, One Tillman Pl; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.

TUESDAY 24

ROCK/BLUES/HIP-HOP

Dirty Penny, Death Valley High, Three Weeks Clean Elbo Room. 9pm, $7.

Glassines, Friendly Skies El Rio. 8pm, free.

Gwar, Job for a Cowboy, Red Chord Regency Ballroom. 8pm, $25.

Lahar Boom Boom Room. 9:30pm, free.

Lilys, Astral, LSD and the Search for Gold Bottom of the Hill. 9pm, $12.

Pale Hoarse, Kathryn Anne Davis, Sweet Chariot, DJ Donnelle Knockout. 9pm, $5.

Them Hills, Neal Morgan Hemlock Tavern. 9pm, $6.

Warren G, Dam-Funk, U-N-I Independent. 9pm, $25.

JAZZ/NEW MUSIC

"Booglaloo Tuesday" Madrone Art Bar. 9:30pm, $3. With Oscar Myers.

Dave Parker Quintet Rasselas Jazz. 8pm.

Euliptian Quartet Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm.

Larry Vuckovich New Blue Balkan Ensemble Yoshi’s San Francsisco. 8pm, $14.

Ricardo Scales Top of the Mark. 6:30pm, $5.

Soraya Trio Rite Spot, 2099 Folsom, SF; (415) 552-6066. 8pm, free.

FOLK/WORLD/COUNTRY

Honeycomb Climate Theater, 285 9th St., SF; (415) 704-3260. 8pm, $7-15 sliding scale.

Song Session Plough and Stars. 9pm. With Vince Keehan and friends.

DANCE CLUBS

Death Guild DNA Lounge. 9:30pm, $3-5. Goth, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.

Drunken Monkey Lounge Annie’s Social Club. 9pm, free. Guest DJs and shot specials.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton.

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Stump the Wizard Argus Lounge. 9pm, free. Interactive DJ games with What’s His Fuck and Craigums.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

Seizing space

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Seizing space

steve@sfbg.com; molly@sfbg.com

San Francisco’s streets and public spaces are undergoing a drastic transformation — and it’s happening subtly, often below the radar of traditional planning processes. Much of it was triggered by the renegade actions of a few outlaw urbanists, designers, and artists.

But increasingly, their tactics and spirit are being adopted inside City Hall, and the result is starting to look like a real urban design revolution — one that harks back to a movement that was interrupted back in the 1970s.

One of the earliest signs of the new approach emerged in 2005 on the first Park(ing) Day, the brainchild of the hip, young founders of the urban design group Rebar. The idea was simple: turn selected street parking spots around San Francisco into little one-day parks. Just plug some coins in the meter to rent the space, then set up chairs or lay down some sod, and kick it.

It was a simple yet powerful statement about how San Franciscans choose to use public space — and the folks at Rebar expected to get in trouble.

“When we did the first Park(ing) Day in 2005, JB [a.k.a. John Bela] and I were just prepared to be arrested and hauled into court,” Rebar’s Matthew Passmore told us at a recent interview in the group’s new Mission District warehouse space. “But nothing like that happened.”

Instead, City Hall called. 079_realcover.jpg Rebar’s Blaine Merker, Teresa Aguilera, Matthew Passmore, and John Bela at their carfreee space at Showplace Triangle

“We got a call from the director of city greening, who said this is great, I want to meet with you guys and talk about how the city can support this kind of activity,” Passmore said. “Much to our surprise, the city was totally responsive as opposed to shutting us down and imprisoning us.”

Bela said the group discovered that Mayor Gavin Newsom’s administration was looking for just the sort of innovative, cool, environmental ideas that were Rebar’s focus. And that connection merged with other people’s efforts — like sidewalk-to-garden conversions being pioneered by Jane Martin, the urban gardening and bicycling movements, and the unique public art that was making its way back from Burning Man. That created a catalyst for a wide array of city initiatives, from the Sunday Streets road closures to temporary art installations that began popping up around the city to the Pavement to Parks program that creates short-term parks in underutilized roadways.

“It was a single interaction five years ago, and now we have things like Sunday Streets,” Bela told us on Sept. 18’s Park(ing) Day, in which various individuals and groups took over more than 50 parking spots around town. “It’s about reclaiming the streets for people.”

Park(ing) Day itself blew up, becoming a worldwide phenomenon that is now in 151 cities on six continents, and one that the Mayor’s Office is planning to turn into a more permanent plan, with the regular conversion of some parking spots on commercial corridors into outdoor seating areas.

“You had a few guys and a girl who had an idea and now it’s an international event,” Mike Farrah, a longtime Newsom lieutenant who now heads the Office of Neighborhood Services and has been the main contact in City Hall for Rebar and similar groups, told the Guardian.

Locally, the success of events like Park(ing) Day have changed San Francisco’s approach to urban spaces, particularly on land left dormant by the economic downturn. Rebar, the permaculture collective Upcycle, and former MyFarm manager Chris Burley plan to turn the old Hayes Valley freeway property near Octavia, between Oak and Fell streets, into a massive community garden and gathering space. Plans are being hatched for temporary uses on Rincon Hill properties approved for residential towers. “Green pod” seating areas are sprouting along Market Street and there are plans to extend the Sunday Streets road closures next year. And, perhaps most amazingly, most projects are being accomplished with very little funding.

How has San Francisco suddenly shifted into high gear when it comes to creating innovative new public spaces? The key is their common denominator: they’re all temporary. As such, they don’t require detailed studies, cumbersome approval processes, or the extensive outreach and input that can dampen the creative spark.

But San Francisco is starting to prove that dozens of short-term fixes can add up to a true transformation of the urban environment and the citizenry’s sense of possibility.

 

EVOLUTION OF THE PRANK

Rebar began as a group of friends and artists who came together to enter a design contest in 2004. Passmore was a practicing lawyer and Bela was a landscape architecture student at UC Berkeley. They chose the name Rebar for future collaborations, the first of which was Park(ing) Day.

Passmore, who had a background in conceptual art before going to law school, discovered a legal loophole that might allow for anything from a burlesque performance to a temporary swimming pool to be installed in metered parking spaces. Bela recruited Blaine Merker, a fellow landscape architecture student with whom he’d won a design competition, to join the effort.

Park(ing) Day was a hit, getting great press and igniting people’s imaginations. “We realized after we did it, like, oh, people are really getting this,” Merker said. And Rebar was off. In the following years they added a fourth principal, graphic designer Teresa Aguilera, and took on a number of acclaimed projects: planting the Victory Garden in Civic Center Plaza, building the Panhandle Bandshell from old car hoods and other recycled parts, creating COMMONspace events (from “Counterveillance” to the “Nappening”) in privately-owned public spaces, and designing the Bushwaffle (commissioned for the Experimenta-Design biennale in Amsterdam) to help soften paved urban spaces and create a sense of play.

Through it all, the group maintained its prankster spirit. When they were invited to present the Bandshell project at the prestigious Venice Biennale festival, Rebar members showed up costumed as Italian table-tennis players (a joke that mostly baffled other attendees, they said).

They told us every project needed to have a “quotient of ridiculum.” Or as Bela put it, “That’s how we know project has evolved to the right point — when we’re on the floor laughing.”

As Rebar found success, it was still mostly a side project for members who had other full-time jobs. “We were all playing hooky all the time,” said Merker, who, like Bela, joined a landscape architecture firm after he finished school. “It just got worse and worse.”

So now, they’re trying to turn their passion into a profession, recently moving into a cool warehouse office and workspace in the Mission. “We’re shifting our practice a little to have the same sort of spirit but trying to figure out how we can make that an occupation,” Merker said.

It’s also about moving from those short-lived installations to something a little more lasting, even while working within the realm of temporary projects. As Aguilera said, “A lot of the projects we started with were creating moments to maybe think about. But we’re shifting into more permanent ways to interact with the city.”

They may not be sure where they’re headed as an organization, but they have a clear conception of their canvas, as well as the traditions they draw from (including movements like the Situationists and artists such as Gordon Matta-Clark, who worked in urban niche spaces) and the fact that they are part of an emerging international movement to reclaim and redesign urban spaces.

“We’re not the originators of any of this stuff,” Bela said. “It’s like emerging phenomena happening in cities all over the world. We just happened to have plugged into it early on and we continue to push it.”

 

EXPANDING THE POSSIBLE

Rebar is strongly pushing a reclamation of spaces that have been rather thoughtlessly ceded to the automobile over the last few decades. “Street right-of-way is 25 percent of the city’s land area. A quarter of the city is streets,” Bela said. “And those streets were designed at the time when we wanted to privilege the automobile.

“So basically, there’s all this underutilized roadway,” he continued. “It’s asphalt and it’s pavement, and the city wants to reclaim some of those spaces for people. That’s a thread we’ve been exploring in our work for a long time, and now it’s elevated up to a citywide planning objective.”

The short-term nature of the projects comes in part from political necessity: temporary projects are usually exempt from costly, time-consuming environmental impact reports. Demonstration projects also don’t need the extensive public input that permanent changes do in San Francisco. But there’s more to the philosophy.

“It stands on this proposition that temporary or interim use does actually improve the character of the city,” Passmore said. “People used to think that if something is temporary or ephemeral, what good is it? It’s just here today, gone tomorrow. But I think now people are realizing that the city can be improved like this.”

And it goes even deeper than that. When people see parking spaces turned into parks, vacant lots blossoming with art and conversation nooks, or old freeway ramps turned into community gardens, their sense of what’s possible in San Francisco expands.

“What we’re remodeling is people’s mental hardware. It’s like stretching. You have to bend something a little more than it wants to go, and the next time you do that, it’s that much easier,” Merker said.

“There’s also a psychological aspect to that. When people see a crack in the Matrix open up, if you will, it can open up a whole lot more than just that one moment,” he said.

For those who have been working on urbanism issues in San Francisco for a long time, like Livable City director Tom Radulovich, this new energy and the tactic of conditioning people with temporary projects is a welcome development. “There is a huge resistance to change in San Francisco, no matter what the change is, and a lot of that stems from fear,” Radulovich said. But with temporary projects, he said, “you can establish what success looks like from the outset.”

 

BUILDING ALLIANCES

The Rebar folks have been fairly savvy in their approach, making key friends inside City Hall, people who have helped them bridge the gap between their idealism and what’s possible in San Francisco.

“We are a process-driven city, and temporary allows you to create change without fear,” Farrah told us. He said the partnership between the Mayor’s Office and community groups that want to do cool, temporary public art really began in the summer of 2005 with the Temple at Hayes Green by longtime Burning Man temple builder, David Best.

Farrah had connections to the Burning Man community, so he facilitated the placement of the temple along Octavia Boulevard, then one of the city’s newest and least developed public spaces. Next came the placement of another Burning Man sculpture, Flock by Michael Christian, in Civic Center Plaza that fall. Both projects got funding and support from the Black Rock Arts Foundation, a public art outgrowth of Burning Man.

“I saw, after some of the temporary art and special events, how it’s changed people’s ideas about what’s possible,” Farrah said. “There has been a change in the way people view the streets.”

That got Farrah thinking about what else could be done, so he approached BRAF’s then-director Leslie Pritchett and Rebar’s Bela, telling them, “I need you to look at San Francisco like a canvas. Tell me the things you want to do, and I’ll tell you if it’s possible or not. And that’s led to a lot of cool stuff.”

Livable city advocates like Radulovich — progressives who are generally not allied with Newsom and who have battled with him on issues from limiting parking to the Healthy Saturdays effort to create more carfree space in Golden Gate Park — give the Mayor’s Office credit for its greening initiatives.

He credits Greening Director Astrid Haryati and DPW chief Ed Reiskin with facilitating this return to urbanism. “He’s really responsive and he gets it,” Radulovich said of Reiskin. “This is really where a lot of energy is going in the mayor’s office. It seems to have captured their imaginations.”

Another catalyst was last year’s visit by New York City transportation commissioner and public space visionary Janette Sadik-Khan, who met with Reiskin and Newsom on a trip sponsored by Livable City and the San Francisco Bicycle Coalition. Radulovich said her message, which SF has embraced, is that, “There are low-cost, reversible ways you can reclaim urban space in the near term.”

The Mayor’s Office, SFBC, and Livable City partnered last year to create Sunday Streets, which involved closing streets to cars for part of the day. The events have proven hugely successful after overcoming initial opposition from merchants who now embrace it.

Then there’s the Pavement to Parks program — which involves converting streets into temporary parks for weeks or months at a time — that grew directly from the Sadik-Khan visit. Andres Power, who directs the program for the Planning Department, told us the visit was a catalyst for Pavement to Parks: “She came to the city a year ago and inspired my director, Ed Reiskin.”

“We’re rethinking what the streets are and what they can be,” Power said. “It’s rewarding to see this stuff happen and to be at the forefront of a national effort to imagine what our streets could be.”

 

DE-PAVE THE CONCRETE

Pavement to Parks launched last year, a multiagency effort with virtually no budget, but the mandate to use existing materials the city has on hand to turn underutilized streets into active parks. “It looks at areas where we can reclaim space that’s been given over to cars over the decades,” Power told the Guardian.

At the first site, where 17th Street meets Market and Castro, the city and volunteer groups used planters and chairs to convert a one-block stretch of street that was little-used by cars because of the Muni line at the site.

“We bent over backward to make the space look temporary,” Power said, noting the concern over community backlash that never really materialized, leading to two time extensions for the project. “But we’re now ready to revamp that whole space.”

Another Pavement to Parks site at Guerrero and San Jose streets was created by Jane Martin, whom Newsom appointed to the city’s Commission on the Environment in part because of the innovative work she has done in creating and facilitating sidewalk gardens since 2003.

As a professional architect, Martin was used to dealing with city permits. But her experience in obtaining a “minor sidewalk encroachment permit” to convert part of the wide sidewalk near a building she owned on Shotwell Street into a garden convinced her there was room for improvement.

“At that point, I was really jazzed with the result and response [to her garden] and I wanted to make it so we could see more of it,” she said. So she started a nonprofit group called PlantSF, which stands for Permeable Lands As Neighborhood Treasure. Martin worked with city agencies to create a simpler and cheaper process for citizens to obtain permits and help ripping up sidewalks and planting gardens.

“We want to de-pave as much excess concrete as possible and do it to maximize the capture of rainwater,” she said.

Martin said the models she’s creating allow people to do the projects themselves or in small groups, encouraging the city’s DIY tradition and empowering people to make their neighborhoods more livable. More than 500 people have responded, creating gardens on former sidewalks around the city.

“We’ll get farther faster with that model,” she said. “It’s really about engaging people in their neighborhoods and helping them personalize public spaces.”

San Francisco has always been a process-driven city. “We in San Francisco tend to plan and design things to death, so as a result, everything takes a very long time,” Power said.

But with temporary projects under Pavement to Parks, the city can finally be more nimble and flexible. Three projects have been completed so far, and the goal is to have up to a dozen done by summer.

“We’re working feverishly to get the rest of the projects going,” Power said.

One of those projects involves an impending announcement of what Power called “flexible use of the parking lane” in commercial corridors like Columbus Avenue in North Beach. “We’re taking Park(ing) Day to the next level.”

The idea is to place platforms over one or two parking spots for restaurants to use as curbside seating, miniparks, or bicycle parking. “The Mayor’s Office will be announcing in the next few weeks a list of locations,” Power said. “There have been locations that have come to us asking for this.”

“The idea is to do a few of these as a pilot to determine what works and what doesn’t. The goal is to use their trial implementation to develop a permanent process,” Power said. “We want to think of our street space as more than a place for cars to drive through or park.”

Rebar was responsible for the last of the completed Pavement to Parks projects. Known as Showplace Triangle, it’s located at the corner of 16th and Eighth streets in the Showplace Square neighborhood near Potrero Hill. For Rebar, it was like coming full circle.

“We started doing this stuff about five years ago, finding these niches and loopholes and exploring interim use as a strategy for activating urban space,” Bela said. “And to our surprise, what we perceived as a tactical action is now being embodied by strategic players like the Planning Department.”

 

REUSE, RECYCLE, REINVENT

The Rebar crew was like kids in a candy store picking through the DPW yard.

“These projects are all built with material the city owns already, so we had the opportunity to go down to the DPW yard and inventory all of these materials they had, and figure out ways to configure them to make a successful street plaza,” Bela said.

So they turned old ceramic sewer pipes into tall street barriers topped by planter boxes, and built lower gardens bordered by old granite curbs.

“We are trying to be as creative as possible with the use of materials the city already has on hand,” Power said. In addition to the DPW yard that Rebar tapped for Showplace Triangle, Power said the Public Utilities Commission, Port of SF, and the Recreation and Parks Department all have yards around the city that are filled with materials.

“They each have stockpiles of unused stuff that has accumulated over the years,” he said.

For her Pavement to Parks project on Guerrero, Martin used fallen trees that originally had been planted in Golden Gate Park — pines, cypress, eucalyptus — but were headed for the mulcher. Not only were they great for creating a sense of place, they offered a nod to the city’s natural history.

But perhaps the coolest material that had been sitting around for decades was the massive black granite blocks that Rebar incorporated into Showplace Triangle. “One of the most interesting materials that we used in Showplace Triangle was the big granite blocks from Market Street that were taken off because merchants didn’t like people encamping there. They were too successful as spaces, so they got torn out,” Merker said.

Bela said they couldn’t believe their eyes: “We saw these stacks of five-by-five by one-foot deep black granite. Just extraordinary. If we were to do a public project today, we could never afford that stuff. There’s no way. But the taxpayers bought that stuff back in the ’70s and now it’s just sitting there in the DPW yard. It’s a crime that it’s not being used, so it was great to get it back out on the street.”

Radulovich said the return of the black granite boxes to the streets represents the city coming full circle. He remembers talking to DPW manager Mohammad Nuru as he was removing the last of them from Market Street in the 1970s, citing concerns about people loitering on them.

“To see them put up again in JB’s project was symbolic of where the city went and where it’s coming back from,” Radulovich said. “It’s almost like the livability revolution got interrupted and we lost two decades and now it’s picking up again.”

Back in the 1970s, Radulovich said the city was actively creating new public spaces such as Duboce Triangle. It was also creating seating along Market Street and generally valuing the creation of gathering places. But in the antitax era that followed, public sector maintenance of the spaces lagged and they were discovered by the ever-growing ranks of the homeless that were turned loose from institutions.

“The fear factor took over,” Radulovich said. “We did a lot to destroy public spaces in the ’80s and ’90s.”

But by creating temporary public spaces, people are starting to realize what’s been lost and to value it again. “These baby steps are helping us relearn what makes a good public space,” Radulovich said.

For much of the younger generation, building public squares is a new thing. As Aguilera noted, “We don’t have a lot of public plazas anymore or places for people to gather. When Obama was elected, where did everyone go in the city? Into the streets. So we’re trying to give that back to the city.”

 

CARS TO GARDENS

Perhaps the most high-profile laboratory for these ideas is the Hayes Valley Farm, a temporary project planned for the 2.5 acres of freeway left behind after the Loma Prieta earthquake. The publicly-owned land between Oak and Fell streets is slated for housing projects that have been stalled by the slow economy.

“The site’s been vacant for 10 years. They came up with a beautiful master plan. And the moment they’re ready to move on the master plan, there’s an economic collapse, so nothing is happening,” Bela said.

In the meantime, the Mayor’s Office and Hayes Valley Neighborhood Association pushed for temporary use of the neglected site. They approached the urban farming collectives MyFarm and Upcycle. Later, Rebar was brought in to design and coordinate the project.

Now the group known as the Hayes Valley Farm Team has an ambitious plan for the area: part urban garden, part social gathering spot, and part educational space. There will be an orchard of fruit trees, a portable greenhouse, demonstrations on urban farming, and a regular farmers market.

“The different topography of ramps allows for different growing conditions. These ramps are prime exposure to the south,” Merker said. “They create these areas that can produce some really great growing conditions, so it’s kind of funny that this freeway is responsible for that. The ramps actually create different microclimates.”

Most remarkably, the whole project is temporary, designed to be moved in three years. “We’re interested in developing infrastructure and tools and machinery and implements that are sort of coded for the scale of the city: a lot of pedal-powered things, a lot of mobile infrastructure, and smaller things that are designed to be useful in a plot that is only 2.5 acres,” Bela said. “Then when we need to move on, we’ll be able to do that. It’s about being strategic with some of the investments so we can take some of the tools we develop here and move it to the next vacant lot down the street.”

The project has lofty goals, ranging from creating a social plaza in Hayes Valley to educating the public about productive landscaping. “We’re getting away from ideas of turning parks into food production — it can be both,” said David Cody of Upcycle. “We want to just crack the awareness that cities can be multi-use and agriculture doesn’t mean farm.”

This is perhaps the most ambitious temporary project the Mayor’s Office has taken on. “Rebar pushed the envelope on what is possible. I told them it would be a tough one,” Farrah said of the project. But he loves the concept: “You can argue that putting gardens in temporary spaces changes attitudes.”

Symbolically, this land seems the perfect place for such an experiment. “This really is a special spot. If you look at a map of the city, Hayes Valley is in the very center, and this is right in the heart of Hayes Valley,” Aguilera said. “And right now, in the heart of a neighborhood in the heart of the city, there’s this vacant, fallow reminder of what used to be there. We’re looking to turn it into a new beating heart that brings together lots of different parts of the community.”

 

ACTIVATING DORMANT SPACES

Activating dormant spaces in the city isn’t easy, particularly for properties with pending projects. In Hayes Valley, for example, the Rebar crew was required to develop a detailed takedown plan.

“A lot of development is hesitant to get involved with these interim uses because at the end, they’re worried that it’s going to be framed as the evil, money-hungry developer coming in to kick out artists or farmers,” Passmore said. “But the reality is, they are very generously opening up their space is the first place.”

With last year’s crash of the rental estate and credit markets, development in San Francisco stalled, leaving potentially productive land all over the city. “As the city has gone through an economic downturn, like now, the city has a lot of vacant lots with developer entitlements on them, but nothing is being built right now. Those are spaces the public has an interest in,” Merker said, citing Rincon Hill as a key example.

Michael Yarne, who facilitates development projects for the Mayor’s Office of Economic Development, has been working on how developers might be encouraged to adopt temporary uses of their vacant lots.

“How can we credit them to do a greening project on a vacant lot?” Yarne asks, a problem that is exacerbated by the complication that neither the developers nor local government have money to fund the interim improvements.

He looked at the possibility of using developer impact fees on short-term projects, but there are legal problems with that approach. The courts have placed strict limits on how impact fees are charged and used, requiring detailed studies proving that the fees offset a project’s real cost and damage.

“But there is other value we can give as a city without spending a dollar — and that is certainty,” said Yarne, a former developer. He said developers value certainty more than anything else.

Right now, developers have to return to the Planning Commission every year or so to renew project entitlements, something that costs time and money and potentially places the project at risk. But he said the city might be able to enter into developer agreements with a project proponent, waiving the renewal requirement for a certain number of years in exchange for facilitating short-term projects.

“Everyone wins. We get a short-term use, and the developer gets certainty that they won’t lose their rights,” Yarne said, noting that he’s now developing a pilot project on Rincon Hill. “If that works, that could be a template we could use over and over.”

Radulovich is happy to see the new energy Rebar and other groups are infusing into a quest to remake city streets and lots, and with the use of temporary projects to expand the realm of the possible in people’s minds: “Let’s get people reimagining what the streets could be.”

www.rebargroup.org

Venue Guide

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AMNESIA


853 Valencia

(415) 970-0012

ASIASF


201 Ninth St

(415) 255-2742

ATLAS CAFE


3049 20th St

(415) 648-1047

BAOBAB


3388 19th St

(415) 643-3558

BAZAAR CAFÉ


5927 California

(415) 831-5620

BEAUTY BAR


2299 Mission

(415) 285-0323

BIMBO’S
365 CLUB


1025 Columbus

(415) 474-0365

BISCUITS
AND BLUES


401 Mason

(415) 292-2583

BOHEMIA LOUNGE


1624 California

(415) 474-6968

BOOM BOOM ROOM


1601 Fillmore

(415) 673-8000

BOTTOM
OF THE HILL


1233 17th St

(415) 621-4455

BROADWAY
STUDIOS


435 Broadway

(415) 291-0333

BRUNO’S


2389 Mission

(415) 643-5200

BUBBLE LOUNGE


714 Montgomery

(415) 434-4204

BUTTER


354 11th St

(415) 863-5964

CAFÉ CLAUDE


7 Claude

(415) 392-3515

CAFE COCOMO


650 Indiana

(415) 824-6910

CAFE DU NORD


2170 Market

(415) 861-5016

CAFE INTERNATIONAL


508 Haight

(415) 665-9915

CASANOVA LOUNGE


527 Valencia

(415) 863-9328

CAT CLUB


1190 Folsom

(415) 431-3332

CITY NIGHTS


715 Harrison

(415) 546-7938

CLUB CALIENTE


298 11th St

(415) 255-2232

CLUB DELUXE


1509 Haight

(415) 552-6949

CLUB NV


525 Howard

(415) 339-8686

CLUB SIX


60 Sixth St

(415) 863-1221

CONNECTICUT
YANKEE


100 Connecticut

(415) 552-4440

CRASH


34 Mason

1-877-342-7274

DALVA


3121 16th St

(415) 252-7740

DANNY COYLE’S


668 Haight

(415) 431-4724

DELIRIUM


3139 16th St

(415) 552-5525

DNA LOUNGE


375 11th St

(415) 626-1409

DOLCE


440 Broadway

(415) 989-3434

DOLORES PARK CAFE


501 Dolores

(414) 621-2936

DOUBLE DUTCH


3192 16th St

(415) 503-1670

DUPLEX


1525 Mission

(415) 355-1525

EDINBURGH CASTLE PUB


950 Geary

(415) 885-4074

EIGHT


1151 Folsom

(415) 431-1151

ELBO ROOM


647 Valencia

(415) 552-7788.

ELEMENT LOUNGE


1028 Geary

(415) 571-1362

ELIXIR


3200 16th St

(415) 552-1633

ENDUP


401 Sixth St

(415) 357-0827

FILLMORE


1805 Geary

(415) 346-6000

540 CLUB


540 Clement

(415) 752-7276

FLUID ULTRA LOUNGE


662 Mission

(415) 615-6888

FUSE


493 Broadway

(415) 788-2706

GLAS KAT


520 Fourth St

(415) 495-6626

GRAND


1300 Van Ness

(415) 673-5716

GRANT AND GREEN


1371 Grant

(415) 693-9565

GREAT AMERICAN MUSIC HALL


859 O’Farrell

(415) 885-0750

HARRY DENTON’S STARLIGHT ROOM


Sir Francis Drake Hotel

450 Powell

(415) 395-8595

HEMLOCK TAVERN


1131 Polk

(415) 923-0923

HIFI


2125 Lombard

(415) 345-TONE

HOMESTEAD


2301 Folsom

(415) 282-4663

HOTEL UTAH SALOON


500 Fourth St

(415) 546-6300

HOUSE OF SHIELDS


39 New Montgomery

(415) 495-5436

ICON ULTRA LOUNGE


1192 Folsom

(415) 626-4800

INDEPENDENT


628 Divisadero

(415) 771-1421

IRELAND’S 32


3920 Geary

(415) 386-6173

JACK’S CLUB


2545 24th St

(415) 641-5371

JAZZ AT PEARL’S


256 Columbus

(415) 291-8255

JELLY’S


295 Terry Francois

(415) 495-3099

JOHNNY FOLEY’S


243 O’Farrell

(415) 954-0777

KATE O’BRIENS


579 Howard

(415) 882-7240

KELLY’S MISSION ROCK


817 Terry Francois

(415) 626-5355

KNOCKOUT


3223 Mission

(415) 550-6994

LASZLO


2534 Mission

(415) 401-0810

LEVENDE LOUNGE


1710 Mission

(415) 864-5585

LEXINGTON CLUB


3464 19th St

(415) 863-2052

LI PO LOUNGE


916 Grant

(415) 982-0072

LOFT 11


316 11th St

(415) 701-8111

LOU’S PIER 47


300 Jefferson

(415) 771-5687

LUCID BAR


580 Sutter

(415) 398-0195

MAD DOG IN THE FOG


530 Haight

(415) 626-7279

MADRONE LOUNGE


500 Divisadero

(415) 241-0202

MAKE-OUT ROOM


3225 22nd St

(415) 647-2888

METRONOME DANCE CENTER


1830 17th St

(415) 252-9000

MEZZANINE


444 Jessie

(415) 625-8880

MIGHTY


119 Utah

(415) 626-7001

MILK


1840 Haight

(415) 387-6455

MOJITO


1337 Grant

(415) 398-1120

MOOSE’S


1652 Stockton

(415) 989-7800

NICKIE’S


466 Haight

(415) 255-0300

OLD FIRST CHURCH


1751 Sacramento

(415) 474-1608

111 MINNA GALLERY


111 Minna

(415) 974-1719

PARK


747 Third St

(415) 974-1925

PARKSIDE


1600 17th St

(415) 252-1330

PIER 23


Pier 23

(415) 362-5125

PINK


2925 16th St

(415) 431-8889

PLOUGH AND STARS


116 Clement

(415) 751-1122

PLUSH ROOM


York Hotel

940 Sutter

(415) 885-2800

PUBLIC


1489 Folsom

(415) 552-3065


RAMP


855 China Basin

(415) 621-2378

RASSELAS JAZZ


1534 Fillmore

(415) 346-8696

RED DEVIL LOUNGE


1695 Polk

(415) 921-1695

RED POPPY ART HOUSE


2698 Folsom

(415) 826-2402

REDWOOD ROOM


Clift Hotel

495 Geary

(415) 775-4700

RETOX LOUNGE


628 20th St

(415) 626-7386

RICKSHAW STOP


155 Fell

(415) 861-2011

EL RIO


3158 Mission

(415) 282-3325

RIPTIDE BAR


3639 Taraval

(415) 240-8360

RITE SPOT


2099 Folsom

(415) 552-6066

ROCCAPULCO
SUPPER CLUB


3140 Mission

(415) 648-6611

NECK OF THE WOODS


406 Clement

(415) 387-6343

ROYALE


1326 Grant

(415) 433-4247

RUBY SKYE


420 Mason

(415) 693-0777

SAVANNA JAZZ


2937 Mission

(415) 285-3369

SHINE DANCE LOUNGE


1337 Mission

(415) 421-1916

SKYLARK


3089 16th St

(415) 621-9294

SLIDE


430 Mason

(415) 421-1916

SLIM’S


333 11th St

(415) 255-0333

SOLUNA CAFE AND LOUNGE


272 McAllister

(415) 621-2200

SPACE 550


550 Barneveld

(415) 550-8286

STUD


399 Ninth St

(415) 252-7883

SUEDE


383 Bay

(415) 399-9555

SUGAR LOUNGE


377 Hayes

(415) 255-7144

SUITE ONE8ONE


181 Eddy

(415) 345-9900

SUPPERCLUB


657 Harrison

(415) 348-0900

1015 FOLSOM


1015 Folsom

(415) 431-1200

330 RITCH


330 Ritch

(415) 541-9574

TOP OF THE MARK


Mark Hopkins Intercontinental Hotel

1 Nob Hill

(415) 616-6916

TRANSFER


198 Church

(415) 861-7499

TUNNEL TOP


601 Bush

(415) 986-8900

26 MIX


3024 Mission

(415) 826-7378

222 CLUB


222 Hyde

(415) 864-2288

UNDERGROUND SF


424 Haight

(415) 864-7386

VELVET LOUNGE


443 Broadway

(415) 788-0228

VODA


56 Belden

(415) 677-9242

WARFIELD


982 Market

(415) 775-7722

WISH


1539 Folsom

(415) 431-1661

BAY AREA

ALBATROSS PUB


1822 San Pablo, Berk

(510) 843-2473

ANNA’S JAZZ ISLAND


2120 Allston Way, Berk

(510) 841-JAZZ

ASHKENAZ


1317 San Pablo, Berk

(510) 525-5054

BECKETT’S


2271 Shattuck, Berk

(510) 647-1790

BLAKES


2367 Telegraph, Berk

(510) 848-0886

CAFE VAN KLEEF


1621 Telegraph, Oakl

(510) 763-7711

DOWNTOWN


2102 Shattuck, Berk

(510) 649-3810

FOURTH STREET TAVERN


711 Fourth St, San Rafael

(415) 454-4044

FREIGHT AND SALVAGE COFFEE HOUSE


1111 Addison, Berk

(510) 548-1761

JAZZSCHOOL


2087 Addison, Berk

(510) 845-5373

JUPITER


2181 Shattuck, Berk

(510) THE-ROCK

KINGMAN’S LUCKY LOUNGE


3332 Grand, Oakl

(510) 465-KING

MAMA BUZZ CAFE


2318 Telegraph, Oakl

(510) 465-4073

19 BROADWAY


19 Broadway, Fairfax

(415) 459-1091

924 GILMAN STREET PROJECT


924 Gilman, Berk

(510) 525-9926

NOMAD CAFÉ


6500 Shattuck, Oakl

(510) 595-5344.

PARAMOUNT THEATRE


2025 Broadway, Oakl

(510) 465-6400

RUBY ROOM


132 14th St, Oakl

(510) 444-7224

SHATTUCK DOWN LOW


2284 Shattuck, Berk

(510) 548-1159

STARRY PLOUGH


3101 Shattuck, Berk

(510) 841-2082

STORK CLUB


2330 Telegraph, Oakl

(510) 444-6174

SWEETWATER


153 Throckmorton, Mill Valley

(415) 388-2820

TIME OUT BAR AND PATIO


1822 Grant, Concord

(925) 798-1811

21 GRAND


416 25th St, Oakl

(510) 444-7263

UPTOWN


1928 Telegraph, Oakl

(510) 451-8100

WHITE HORSE


6551 Telegraph, Oakl

(510) 652-3820

YOSHI’S


510 Embarcadero West

Jack London Square, Oakl

(510) 238-9200

Appetite: Food for Thought helps Mission grads, Frescobaldi gets Luce

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Appetite: Food for Thought helps Mission grads, Frescobaldi gets Luce

Every week, Virginia Miller of personalized itinerary service and monthly food, drink, and travel newsletter, www.theperfectspotsf.com, shares foodie news, events, and deals. View the last installment here.

foodforthought1109.jpg
Digging into some Food for Thought

11/11-11/23 of the Mission’s best restaurants participate in "Food for Thought" to help Mission grads get to college
Do nothing but eat out at one of your favorite Mission restaurants this Wednesday night and you’ll be helping some of the neediest Mission high school grads get to college. With 23 of the ‘hood’s best restaurants participating, a portion of all dinner sales (restaurants have committed anywhere from 25-100% of that night’s sales) go to Food for Thought. In it for the long haul, Food for Thought offers, among other things, tutoring centers for elementary school kids, academic support groups in junior high, and college prep programs for high school students, working with them through each phase of schooling. There’s even raffle prizes at each restaurant, like a trip for two to Mexico. You don’t have to be told twice to eat out at Range, Mission Beach Cafe, Little Star Pizza, or Bar Bambino, do you?
11/11 regular hours at 23 Mission restaurants
List of participating restaurants: www.missiongraduates.org/foodforthought

————-

rest1109.jpg
A Luce interior

11/11 – Luce celebrates its Michelin Star with the Frescobaldi family
It’s an honor for a chef to receive a Michelin star, especially a French chef like our own Dominique Crenn at Luce in the Intercontinental Hotel (she’s also on this season of The Next Iron Chef). Luce celebrates in a big way by cooking a 6-course Tuscan feast, Inspirations of Tuscany, with Marchesi de’ Frescobaldi’s wine estates’ executive chef, Donatella Zampoli. Frescobaldi, the legendary Italian family who even traded their wines with Michelangelo back in the day, will, naturally, be pairing their wines with dinner. Not only is this a rare, special night, but $10 of every 6-course dinner benefits CUESA, so the focus remains local as it is international. Courses include Thomas Family Farms potato gnocchi with bone marrow and lobster paired with a glass of 2006 Attems Cicinis, or sweetbread and beef tongue with potato espuma (foam to you), slow cooked egg and pancetta jus partnered with a 2005 Nipozzano Riserva Chianti Classico. Can’t make it out Wednesday? The party rolls on all month until November 21, with a 4-course Michelin Star prix-fixe menu available any night for $60 per person.
$75; $30 for wine pairings
11/11 – make a reservation during regular hours, 5-11pm
888 Howard Street
415-616-6566
www.lucewinerestaurant.com

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