Music

Beeda Weeda to play tonight’s ‘Resolution’ benefit

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benefit show beeda.jpg

Benefit time – with hip-hop lyricists and a dab of R&B. This in:

“Musiq 4 Hunger and Element Lounge in association with Hard in the Paint Ent., ViXXeN EnT., and LK Management presents: “The Resolution 2009.”

“Performances by: Beeda Weeda, Don P., Diamond, Moss Da Boss, Bay Area Bad Girlz, Da Trendsettaz

“Featuring live music from Maya Kronberg (keys), Scott Thompson (bass), Chris Hansen (drums), Brandon McKee (sax), Bill Smolik (trumpet).

“Open mic sign-ups start at 9:30 p.m. Live band jam from 9:30-11 p.m. Special perfomances start at 11 p.m. ending at 12:45 a.m.

“DJ Smocha spinnin from 12:45 a.m.-2 a.m. with an open mic. $7 at the door or $5 with a canned food item. For more information please contact: Li-Mari, vixxenmusiq@gmail.com, (510) 672-8868.”

Get class-y

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› molly@sfbg.com

Want to take your career in a new direction? Increase the skills you already have? Use your unemployment check for something fun and educational? We’ve chosen just a handful of interesting classes to occupy your time and, perhaps, to serve as a more cost-effective (and beneficial) alternative to the massively expensive dinner-and-bar outing.

BHANGRA


This multilevel class teaches a modern version of the ancient harvest dance from the state of Punjab in northwestern India. Incorporating hip-hop, dancehall, and drum ‘n’ bass influences of modern DJs, this accessible dance form reflects the diversity of the Indian diaspora.

Mondays, 6:30–8 p.m. $12 drop-in.

Dance Mission Theater, 3316 24th St., SF. (415) 826-4441, www.dancemission.com

SWING GOTH


More "alt" than strictly "goth," the whole point of this class is to teach basic partner dancing moves to fun, unconventional music. Don’t expect to learn traditional swing, but do expect a rockin’ good time with a room full of people looking for the same. (And you’ll leave at least looking like you know how to swing.)

Tuesdays, 7–8 p.m. $5 drop-in.

Fat City, 314 11th St., SF. www.swinggoth.com

BEGINNER ROCK CLIMBING COURSE


You’ll learn everything you need to know to climb glaciers (or gym walls) in this in-depth, four-week introductory course, including belay and basic safety techniques, bouldering, climbing technology, and more. It’s not cheap, but the fee includes harness and shoe rentals for class nights, gym access for one month, and — should you decide to join the gym — a discount on membership.

Wednesdays, 7 p.m. $129 for four weeks.

Planet Granite, 924 Old Mason, SF. (415) 692-3434, www.planetgranite.com

FLASH FICTION


Explore this exciting, nuanced genre with instructor and published writer Josh Mohr. You’ll learn to use all the elements of narrative construction while creating powerful stories containing only a few hundred words. Mohr promises lots of freedom, experimentation, and play.

Jan. 24, 10 a.m.–4 p.m., $110

Writing Salon, 720 York, SF. (415) 609-2468, www.writingsalons.com

WTF NIGHT


Are you intimidated by the bicycle boys’ club? Want a supportive place to learn more about your ride? Bike Kitchen’s monthly clinic devoted to women, transfolks, genderqueers, and femmes is one of our favorite offerings from the all-volunteer collective. Also check out Basic Tune-up classes in February, and BK’s new locale in March!

Jan. 26, 6:30–9:30 p.m. Free.

Bike Kitchen, 1256 Mission, SF. www.bikekitchen.org

SIMPLE AND HEALTHY EVERYDAY COOKING


Spend an informative, enjoyable evening with Chef Joe Wittenbrook in his charming Duboce Triangle studio as you learn approachable menus that work well for those on a budget. Or, even better, schedule a private class for you and four friends.

Jan. 27 (and every Tuesday through April), 6–9 p.m. $95.

Chef Joe’s Culinary Salon, 16a/b Sanchez, SF. www.theculinarysalon.com

SCULPTURAL SQUARE BOOK


Elaine Chu shows students how to make an impressive hardcover, origami-style book with folded pages that can be filled with images and text. In class, you’ll paint your own covers using vibrantly colored inks, as well as learn to attach ribbon ties.

Jan. 27, 6:30-9:30 p.m. $55 plus $10 materials.

SF Center for the Book, 300 De Haro, SF. (415) 565-0545, www.sfcb.org

MONSTER BABY FLEECE HAT


Learn to work with stretch fabrics while making these painfully cute tops for tots, all while supporting the new effort by former Stitch Lounge favorites Kelly Williams and Hannah McDevitt. Great gifts for new moms and their winter spawn!

Jan. 31, noon–3 p.m. $62

Craft Haven Collective, 520 Hampshire, SF. crafthaven.org

HERBAL MEDICINE-MAKING FOR WINTER HEALTH


Create simple herbal remedies for the common winter bug while learning about basic actions of plants and how they work in combination. You’ll leave with a jar or each remedy, plus handouts and recipes.

Jan. 31, 10 a.m.–noon. $15.

Garden for the Environment, Seventh Ave. at Lawton, SF. (415) 731-5627, www.gardenfortheenvironment.org

BEGINNER SURFING I


You live in California! It’s time to learn how to surf! In Adventure Out’s two-day clinic, you’ll learn basic technique, safety and etiquette, ocean awareness, and balance. All gear included!

Feb. 7–8, 9 a.m.–noon, $170.

Linda Mar Beach, Pacifica. www.adventureout.com

FEARLESS FIRE EATING


Think there’s no way you could be a fire-eater? Think again. The art of putting (and putting out) fire in your mouth, running it along your skin, and executing other advanced tricks is easier than it seems. In this entry-level class, you’ll make two torches to take home and practice with. And don’t worry, you’ll learn fire safety before any flames touch your skin.

Feb. 28–Mar. 1, 3:30–5:30 p.m. $85.

The Crucible, 1260 Seventh St., Oakl. (510) 444-0919, www.thecrucible.org

GRANT WRITING FOR ARTISTS


There’s no better time for learning how to fund your art than now. Let Root Division’s executive director, Michelle Mansour, guide you through researching and applying for grant funding, including understanding lingo, addressing application criteria, preparing work samples, and editing.

March 16 & 30, 7–9 p.m. $30

Root Division, 3175 17th St., SF. www.rootdivision.org *

Mo Biggie

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› kimberly@sfbg.com

SONIC REDUCER Wait for it, wait for it: the moment when Jamal Woolard as Notorious B.I.G., a.k.a. Biggie Smalls, a.k.a. Big Poppa, utters, with admirable understatement, "Mo money, mo problems." The woman he married three days after he met her, vocalist Faith Evans (a sad-eyed Antonique Smith), is pregnant but estranged; his spunky protégé Lil’ Kim (Naturi Naughton) is hopping mad that her lover-protector-mentor has dropped her and is instead bossing her in the studio; his original baby mama is miffed that his daughter gets zero Big Poppa time, and his ex-BFF Tupac Shakur (Anthony Mackie) thinks Biggie is out to get him, and the East Coast vs. West Coast beef is now fully fired up. ‘Nuff said.

"Mo Money Mo Problems" is the obvious alternate title for Notorious, which has the ring of a men’s cologne by Sean "I Am King" Combs, aka Puff Daddy, aka P. Diddy, aka Diddy, the film’s executive producer. It’s certainly more glammy — and feeds into the mythmaking that Combs has been so adept at when it comes to his Bad Boy artists — than Unbelievable: The Life, Death, and Afterlife of the Notorious B.I.G. (Three Rivers, 2004), the title of the book by Cheo Hodari Coker that this biopic is based on.

The drive-by shooters who killed the legendary rapper, born Christopher Wallace, at the far-too-young age of 24, remain cloaked in mystery, despite the attention given the MC’s murder in Randall Sullivan’s 2002 book, LAbyrinth (Grove/Atlantic) and Nick Broomfield’s ’02 doc Biggie and Tupac, and his death is still embroiled in knotty intrigue, having triggered multiple wrongful-death claims against the Los Angeles Police Department. But of course, history is written by the winners — and those happen to be Combs and Notorious‘ producers, Biggie’s mother Voletta Wallace and Biggie managers Wayne Barrow and Mark Pitts — and in the end, they prefer to skip the speculation and allegations of conspiracy surrounding the rapper’s unsolved murder and focus on the love.

So much like recent musicmaker biopics à la 2007’s Control, which privileged the perspective of Joy Division frontperson Ian Curtis’ wife over his bandmates’, there’s an element of noticeably selective memory-picking to Notorious — even as it tries to play fair with those outside the equation, such as Shakur and Lil’ Kim. The latter has slammed the movie, according to MTV: she believes it hews to the version of history as written by Biggie’s mother and wife and portrays her inaccurately.

Still, director George Tillman Jr. (Men of Honor, Barbershop) seems to have thrived on the tension between a mother who adored Biggie but disapproved of his criminal activities, and label heads and managers aware that the dope-dealing, dues-paying gangsta grind girding Notorious B.I.G.’s lyrics must be shown to authenticate the first-person experiential honesty the rapper was known for. Thus we get a multidimensional Biggie — the big-kid vulnerability he showed to his moms and his "Faith-Faith," as well as the tough, rock-slinging-to-pregnant-crackheads, money-making front. Plenty of respect is also given to the MC’s art, which this rags-to-riches/gats-to-bitches tale (with much due given to a kind of golden-age of hip-hop label patronage in the form of Puffy [Derek Luke] and Biggie’s friendship) reverently visualizes on the street, in the basement, in the studio, and on the arena stage.

Putting his interest in street-level soul, characters less than well-represented in mainstream Hollywood, and his touch with rappers to work, Tillman subtly injects more cinematic interest into his already-dramatic material than it might have had on the page. Biggie’s childhood is washed with glowy, golden hues, while his time dealing on the street is leached of hues and clad in corroded grays, blacks, whites, and browns, until the MC battles another rapper on the sidewalk and color begins to enter the picture.

And unlike 2008’s Cadillac Records, which bought into the overt displays of bling that talent can bring, Tillman and company give adequate shrift to the musicmaking that built Biggie’s renown: the mic is shot as if it’s a grail, swathed in a silvery aura. The symbols of power — such as the Big Daddy Kane–like throne Biggie mounts — speak louder than his kicks, cribs, or cars. And the scenes in which Woolard actually raps — particularly in a basement scene after he emerges from prison and a bout of lyric writing and soul searching — are believable and compelling: flecks of his spit shimmer in the harsh light. Woolard, who grew up blocks from Biggie’s original hood and had a promising career until a shooting in front of NYC’s Hot 97, is the perfect choice to portray the man.

Notorious‘ melodramatic, overly amped conclusion may ring a bit artificial with its drawn-out return to the opening scenes: as "Hypnotize"’s "Rise" sample ripples through the dancers, Notorious B.I.G. says, in flashback, that he’s finally found peace, he’s become a man, and, well, he’s Ready to Die (Bad Boy, 1994), to crib the title of his classic debut. But I dare anyone to not get choked up by Notorious‘ coda, as Voletta Wallace, portrayed with grand-dame grit by Angela Bassett, looks out on the crowd surrounding her son’s NYC funeral procession, playing his music and flinging their arms, and realizes that, though she never quite trusted the easy money and fast friends surrounding her son, Biggie will always be remembered for his way with words.

NOTORIOUS opens Fri/16 in the Bay Area

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JUST PLAYING

BRIGHTBLACK MORNING LIGHT


It’s not a hologram: the roving musicmakers return to the region they once called home. Wed/14, 8 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

LOS YEUX NOIR


They’re dark-eyed and infatuated with gypsy, Yiddish, and Manouche jazz. Wed/14, 8 and 10 p.m., $20–<\d>$25. Yoshi’s SF, 1330 Fillmore, SF. sf.yoshis.com

LENKA


Cutie-pie pop oozes from the Aussie charmer who once studied acting with Cate Blanchett. Thurs/15, 8 p.m., $13–<\d>$15. Independent, 628 Divisadero, SF. www.theindependentsf.com

WILD WEEKEND


We’re lost in an all-girl punk rock wilderness. Sat/17, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

FOUNTAINS OF WAYNE


The popsters go acoustic with tunes from an album-in-progress. Sun/18–Mon/19, 8 p.m., $25. Café Du Nord, 2170 Market, SF. www.cafedunord.com.

BARRINGTON LEVY


The acclaimed live performer taps Obama samples for his new single, "No War." Tues/20, 9 p.m., $28. Independent, 628 Divisadero, SF. www.theindependentsf.com

Goin’ Coconut

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› johnny@sfbg.com

It was winter-coat weather the night Coconut played music at a release party for a book of Veronica De Jesus’ memorial drawings. After a slide show by De Jesus with a revelation about how the project was born from loss, Colter Jacobsen read a sharp first-person essay about her portraits, those lively renderings of dead poets, movie directors, baseball team owners, and Romanian table-tennis champs displayed on the windows of Dog-Eared Books. Then Tomo Yasuda joined Jacobsen to play some songs. One of them was a quasi-cover of Matthew Wilder’s "Break My Stride" that gave the 1983 white-lite reggae pop hit a heart transplant, allowing the song to briefly race forward before slowing to a near standstill.

Coconut has traveled from a quiet spot to meet you and your ears. The tracks on the duo’s triple CD-R collection, Rain/Cocoanut/Hello Fruity (Allone Co., 2007), form and fade in relation to energy and inspiration. The longest one, "Dubbud Song," might even be composed of the moments between the music: the strums, hums, and drones that briefly take shape and then fall away. There is no need for a vocal on Rain‘s "Blue Umbrella." The guitar sings. On holiday from other endeavors — Jacobsen is a visual artist; Yasuda records solo and plays in Tussle and Hey Willpower; both were part of an earlier group called Window Window and Lets, a side project of Deerhoof’s Satomi Matsuzaki — Coconut explores a world of echo at a relaxed pace. Jacobsen and Yasuda are on self-timer.

Now I’m onto another thought: Cocoanut, the silver entry in the duo’s blue-silver-yellow CD-R trilogy, is my current favorite. It might be the way "Tide Sun 7th Generation" layers lolling, rolling acoustic melodies while still leaving room for backward masking effects and other little embellishments. It might be the talky, off-kilter, get-your-goat riffs at the beginning of "Tree of No Tree," before a glowing harmonium harmony arrives to transform the composition into a tango for oddballs. It might be that "Vacation (I don’t want to go to work)" sounds like it was recorded on a warm day in a barn with a makeshift kitchen.

Or it could be the spindly pluck of Cocoanut‘s "Webs on a Grid" and "Evidence," songs that prove Jacobsen and Yasuda are on the sunny side of the ocean on a bicycle built for two. The 101 is a hard road to travel, but they’re ready for excursions into the unknown, so it isn’t completely unsettling when "Webs on a Grid"’s final minor-chord descent is coupled with what sounds like dying stars falling through space. That astral passage and the electronic personality of Yasuda’s too-little-known album For Many Birthdays (Daft Alliance, 2006) make the warp shift to sci-fi dub on Cocoanut‘s final track, "Should I?" — which pushes squares, without the macho math-nerd beat displays — more natural and less surprising.

Back on earth, Jacobsen is inclined to sing for a fine stretch of time every now and then. "Rainbow," a number on Rain, allows him to tease out the difference between a jeweler and a jail man. On Cocoanut‘s "Gannet Song," he blesses the listener with a prankish anecdote. The quiet rustle of his voice moves to the fore on Hello Fruity, where "Human Nature" ponders the meaning of second place in a two-person race, and "100 %" multitracks a godly-and-creamy choir of reassurance into something vaguely unsettling. There is a light sense of wordplay in these tunes that extends to the way other songs’ names ("Sarah Rain," "Rain in Sahara," "Hell O Hello") play off of the CD-R’s titles and each other.

It was T-shirt weather the night Coconut played music at a release party for Bill (Gallery 16 Editions, 45 pages, $25), a collaboration between Jacobsen and the poet-essayist Bill Berkson. Sunlight beamed through the open windows. After playing a set of songs from and beyond Rain/Cocoanut/Hello Fruity, the duo was joined by Berkson. He read a line from the book, and they punctuated it with a brief blast of rhythm or a touch of acoustics. When he reached the end of the poem, it wasn’t the end of the performance — Coconut’s music keeps dancing in and out of San Francisco, and its words and pictures.

COCONUT

With Aero-Mic’d and Elm

Thurs/15, 9 p.m., $6

Hemlock Tavern

1121 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Hang on, Ramsey

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Venerable jazz pianist Ramsey Lewis will be 74 in May, but you’d hardly know it from his packed tour schedule and mounting awards. The Chicago native and 2007 NEA Jazz Master honoree hosts a nationally syndicated radio show, has recorded nearly an album a year since 1956 plus tours with his trio, does regular duets with Dave Brubeck, and moonlights as a member of smooth jazz supergroup Urban Knights. But perhaps Lewis’ greatest accomplishment was bringing jazz and pop together in soulful harmony.

Sample libraries and hip-hop production would be diminished were it not for Lewis’ funky covers ("Dear Prudence," "Soul Man," "People Make the World Go Round," "Slipping into Darkness"). Likewise Lewis, whose been playing since age four, has a sense of history: he studied Bach, Beethoven, Hayden, Duke Ellington, and Art Tatum before forming the Cleffs with Eldee Young on bass and Redd Holt on drums, his first of many trio configurations.

As the Ramsey Lewis Trio he scored hits in the mid-1960s on Chess-Cadet label releases like "Wade in the Water," "The In Crowd," and Motown cover "Hang on Sloopy." Lewis did for the piano what Stevie Wonder did for the harmonica, made the instrument swing. He also managed to evolve with the times, switching to Fender electric piano and writing originals like "Uhuru" and "Bold and Black" on 1969’s Another Voyage (Cadet) produced by studio great Charles Stepney. Sun Goddess (Columbia, 1974), which showcases enduring Lewis collaborator Maurice White of Earth, Wind and Fire on drums and vocals, was rediscovered by DJs decades later and ushered in the early-’90s acid jazz movement.

His most recent recording, 2005’s With One Voice (Narada) includes gospel standard "Oh Happy Day," redone with a house groove, and soulful reggae number "Keep the Spirit." These days bassist Larry Gray and drummer Leon Joyce fill out the trio, and the group makes an extended stop at Yoshi’s SF, a great prelude to the Martin Luther King Jr. holiday and Barack Obama’s inauguration.

In 1967 Columbia Records president Clive J. Davis said: "In the next century or so, we may very well no longer draw distinctions between what is ‘jazz,’ what is ‘classical,’ what is ‘progressive,’ ‘rock,’ or ‘soul.’ It may all just be called music, and let it go at that. For it’s all here, in the music that Ramsey makes." Davis’ hope for an end to genre distinctions may not have come to pass yet, but he was right about Lewis, it is all in him.

RAMSEY LEWIS TRIO

Thurs/15–Fri/16, 8 p.m., Sat/17, 8 and 10 p.m., Sun/18, 7 p.m.; $65

Yoshi’s SF

1330 Fillmore, SF

(415) 655-5600

sf.yoshis.com

Wise blood

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› a&eletters@sfbg.com

The only real city within a 1,000-mile radius, Denver perches a full mile above sea level, a windswept plateau superficially blanketed by strip malls, widget manufacturers, and convention centers. Bereft of both cosmopolitan peerage and any truly cohesive sense of cultural identity, the loneliness of the native Denverite is pervasive, haunted, and misunderstood, but not wholly undersung. For within the discomfited bosom of the Centennial State, an entire subgenre of music has continued to flourish — attracting devotees from far beyond the state line.

At the forefront of the Denver sound, even before there was such a term, has been David Eugene Edwards. Formerly a member of the Denver Gentlemen — as was fellow standard-bearer, Slim Cessna — Edwards’ most well-known band, 16 Horsepower, had all the requisite qualities characteristic of the Denver sound: conviction, intensity, and an uncompromising spiritualism that manifested itself in fire-and-brimstone lyricism, American Gothic instrumentation, and the feverish denouncements of a traveling preacher man. It is difficult to speak of Edwards without the specter of 16 Horsepower looming large behind the context, but Edwards’ current band Wovenhand, an entity in progress since 2001, has finally broken away from the tyranny of the past to fully inhabit its own potential with a new album: Ten Stones (Sounds Familyre, 2008).

Ten Stones is as elemental an album as Edwards and present company have ever crafted. From the rock-solid, faith-shaken lament "Not One Stone" to the north wind-inhabited "Kicking Bird" to the curiously moving cover of Antonio Carlos Jobim’s "Corcovado (Quiet Nights of Quiet Stars)," which sounds as if it had been recorded underwater, almost every song on the album corresponds intriguingly with a companion force of nature. One of the album’s particular surprises, the druggy rocker "White Knuckle Grip," feels like the rising tension of clouds gathering before a particularly fierce Colorado thunderstorm — the kind that splits the sky in two and harks back to the great flood that drowned the world. The album showcases the metamorphosis of the band as a whole from solo side project into a tightly knit collaborative, drawing inspiration from the impassioned religious fervor for the supernatural that characterizes much of the Denver sound, and from a greater reverence for the immutable power of the strictly natural, and of the music that lies buried at the heart of both.

Peter van Laerhoven, Wovenhand’s lead guitarist since 2005, especially comes into his own on Ten Stones. Like a spirited horse finally allowed his head, he rises to the challenge — penning two of the disc’s songs, most notably the aforementioned "Kicking Bird" — and smoothly lending earthy heft to the otherworldly divergences of bandmate Edwards. Stripped of many of the alt-Americana bells and whistles of Edwards’ earlier music, this strong guitar base helps anchor the tunes in a thoroughly modern context, without diminishing the ageless quality of their emotional weight. And while a driven, revival-meeting furor was essential to the development of the original Denver sound, this willingness to encompass other forms of reverence has become its new watchword. Call it a tempering process, or simply call it maturation. The refined blade of Wovenhand may have been forged in the youthful fires of what was once 16 Horsepower, but with a steel all its own, it cuts straight to the bone.

WOVENHAND

Tues/20, 9 p.m., $12

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

Fair game

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› superego@sfbg.com

SUPER EGO Oodles of great blasts polished off 2008 — surely more heavenly reassurance that getting fucked up and fabulous is recession-proof, even if your outfit’s from Discount Fabrics and your liquor is too. But my favorite New Year’s Eve party wasn’t one that "everybody went to," or even one I went to all at once.

Hunky Beau and I had just scrammed from our midnight toasts at an as-yet-unnamed new bar on Market Street when the jagged chimes of an amped-up Guitar Hero rang out in the busy darkness. The Zep-like noodling tugged at our ears until we reached Church Street and joined two or three others gawking at the source, as fog-shrouded fireworks boomed in the distance. "This is what 2k9 nightlife is gonna be all about," I slurred in my own mind, because I was shit-faced. "Happy accidents." No strobe lights or Flash site, no four-color flyers or flown-in high-fivers, no electro-this and micro-that and all those totally denied friend requests. Just some cute dude in a light-gray hoodie who plugs his ax into the shut-down Safeway and makes a little dance floor in the parking lot.

It was a New Year’s miracle.

After that peak, I surfed a bipolar adrenaline rush and spent the whole night discoing out of control. At least I could still spend something, right? The After School Special point here is that nightlife is exactly what you make it. Never say a party was boring because that means you were at it. Don’t buy into trends: people who buy too much into trends are like walking planned obsolescences, dissolving in the storm of next new things. And if no one else is dancing, fuck ’em. Do the mashed potato, and get skronked. Everything is on the table.

PARTY MONSTERS So what the hell did happen in Clubland last year? A heckuva lot, Brownie, but damn if I can remember it all. Here are a few things that stood out.

Losses: the great Steve Lady passed away, an incredibly sad asterisk at the end of the Trannyshack, which shut its bloodied wings as hostess Heklina crawled forth to discover herself. Beloved anarcho-hipster hangout the Transfer got gutted so that the kind of OK gay Bar on Castro could move in — opening date: Jan. 20 — and become the, er, Bar on Church. And Pink, one of the few clubs left in the city devoted to house music — remember that? — closed Jan. 4. I disagreed with some of the fancy-schmancier aspects of Pink’s approach, but I still loved it in occasional doses. And I’m hearing rumors about the Stud, right when it’s riding a Milk-mention wave of fame, so please go there and buy cocktails.

Wins: New regular rip-roarers that freaked me included the cumbia-rific Tormenta Tropical, outrageously draggy Tiara Sensation, free-for-alls Honey Sundays (gayish, discoish), and Infatuation (straightish, electroish), roving furry dress-up party Beast, the Hole-y ’90s-worshipping Debaser, slinky Gemini Disco, crazy Look Out Weekend, and the hyperenergetic Work. Gone but not forgotten: Trans Am, Fag Fridays, Tits, Sucker Punch, Stiletto, Monster Show, Drift, and, finally, Finally. Another win: with the opening of Chaps II and the relocation of Hole in the Wall, there’s now a big gay leather SoMa "Miracle Mile" bar crawl again! Overall it was an awesome year, one in which a new generation rushed the club doors, so a big bold heart-heart to all the level-headed bar staff who scraped us off the sidewalk and helped find our flippin’ iPhones. Rawk.

Best: You really need to take the N-Judah night owl bus at 2:30 a.m. Way too cute …

The Hard Times Handbook

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We all have high hopes for the new administration. We’d all like to believe that the recession will end soon, that jobs will be plentiful, health care available to all, and affordable housing built in abundance.

But the grim reality is that hard times are probably around for a while longer, and it may get worse before it gets better.

Don’t despair: the city is full of fun things to do on the cheap. There are ways to save money and enjoy life at the same time. If you’re in trouble — out of work, out of food, facing eviction — there are resources around to help you. What follows is a collection of tips, techniques, and ideas for surviving the ongoing depression that’s the last bitter legacy of George W. Bush.

BELOW YOU’LL FIND OUR TIPS ON SCORING FREE, CHEAP, AND LOW-COST WONDERS. (Click here for the full page version with jumps, if you can’t see it.)

MUSIC AND MOVIES

CLOTHING

FOOD

CONCERTS

WHEELS

HEALTH CARE

SHELTER

MEALS

COCKTAILS

DATE NIGHTS

YOGA

PLUS:

HOW TO KEEP YOUR APARTMENT

HOW TO GET UNEMPLOYMENT

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FREE MUSIC AND MOVIES

For a little extra routine effort, I’ve managed to make San Francisco’s library system my Netflix/GreenCine, rotating CD turntable, and bookstore, all rolled into one. And it’s all free.

If you’re a books-music-film whore like me, you find your home maxed out with piles of the stuff … and not enough extra cash to feed your habits. So I’ve decided to only buy my favorites and to borrow the rest. We San Franciscans have quite a library system at our fingertips. You just have to learn how to use it.

Almost everyone thinks of a library as a place for books. And that’s not wrong: you can read the latest fiction and nonfiction bestsellers, and I’ve checked out a slew of great mixology/cocktail recipe books when I want to try new drinks at home. I’ve hit up bios on my favorite musicians, or brought home stacks of travel books before a trip (they usually have the current year’s edition of at least one travel series for a given place, whether it be Fodor’s, Lonely Planet, or Frommer’s).

But there’s much more. For DVDs, I regularly check Rotten Tomatoes’ New Releases page (www.rottentomatoes.com/dvd/new_releases.php) for new DVD releases. Anything I want to see, I keep on a list and search www.sfpl.org for those titles every week. About 90 percent of my list eventually comes to the library, and most within a few weeks of the release date.

And such a range! I recently checked out the Oscar-nominated animated foreign film, Persepolis, the entire first season of Mad Men, tons of documentaries, classics (like a Cyd Charisse musical or Katherine Hepburn and Spencer Tracy’s catalog), even Baby Mama (sure, it sucked, but I can’t resist Tina Fey).

A music fanatic can find virtually every style, and even dig into the history of a genre. I’ve found CDs of jazz and blues greats, including Jelly Roll Morton, John Lee Hooker, Bessie Smith, Muddy Waters, kitschy lounge like Martin Denny and singer Julie London, and have satiated rap cravings with the latest Talib Kwali, Lyrics Born, Missy Elliott, T.I. or Kanye (I won’t tell if you won’t).

Warning: there can be a long "holds" list for popular new releases (e.g., Iron Man just came out and has about 175). When this happens, Just get in the queue — you can request as many as 15 items simultaneously online (you do have a library card, right?) You’ll get an e-mail when your item comes in and you can check the status of your list any time you log in. Keep DVDs a full seven days (three weeks for books and CDs) and return ’em to any branch you like.

I’ve deepened my music knowledge, read a broader range of books, and canceled GreenCine. Instead, I enjoy a steady flow of free shit coming my way each week. And if I get bored or the novelty of Baby Mama wears off, I return it and free up space in my mind (and on my shelf) for more. (Virginia Miller)

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STYLE FOR A SONG

Shhh. The first rule about thrifting, to paraphrase mobsters and hardcore thrift-store shoppers, is don’t talk about thrifting — and that means the sites of your finest thrift scores. Diehard thrifters guard their favorite shops with jealous zeal: they know exactly what it’s like to wade through scores of stained T-shirts, dress-for-success suits, and plastic purses and come up with zilcherooni. They also know what it’s like to ascend to thrifter nirvana, an increasingly rarified plane where vintage Chanel party shoes and cool dead-stock Western wear are sold for a song.

Friendships have been trashed and shopping carts upended in the revelation of these much-cherished thrift stores, where the quest for that ’50s lamb’s fur jacket or ’80s acid-washed zipper jeans — whatever floats your low-budg boat — has come to a rapturous conclusion. It’s a war zone, shopping on the cheap, out there — and though word has it that the thrifting is excellent in Vallejo and Fresno, our battle begins at home. When the sample sales, designer runoff outlets, resale dives, and consignment boutiques dry up, here’s where you’ll find just what you weren’t looking for — but love, love, love all the same.

Community Thrift, 623 Valencia, SF. (415) 861-4910, www.communitythrift.bravehost.com. Come for the writer’s own giveaways (you can bequeath the funds raised to any number of local nonprofits), and leave with the rattan couches, deco bureaus, records, books and magazines, and an eccentric assortment of clothing and housewares. I’m still amazed at the array of intriguing junk that zips through this spot, but act fast or you’ll miss snagging that Victorian armoire.

Goodwill As-Is Store, 86 11th St., SF. (415) 575-2197, www.sfgoodwill.org. This is the archetype and endgamer of grab-and-tumble thrifting. We’re talking bins, people — bins of dirt cheap and often downright dirty garb that the massive Goodwill around the corner has designated unsuitable, for whatever reason. Dive into said bins, rolled out by your, ahem, gracious Goodwill hosts throughout the day, along with your competition: professional pickers for vintage shops, grabby vintage people, and ironclad bargain hunters. They may not sell items by the pound anymore — now its $2.25 for a piece of adult clothing, 50 cents to $1 for babies’ and children’s garb, $4 for leather jackets, etc. — but the sense of triumph you’ll feel when you discover a tattered 1930s Atonement-style poison-ivy green gown, or a Dr. Pimp-enstein rabbit-fur patchwork coat, or cheery 1950s tablecloths with negligible stainage, is indescribable.

Goodwill Industries, 3801 Third St., SF. (415) 641-4470, www.sfgoodwill.org Alas, not all Goodwills are created equal: some eke out nothing but stale mom jeans and stretched-out polo shirts. But others, like this Hunter’s Point Goodwill, abound with on-trend goodies. At least until all of you thrift-hungry hordes grab my junk first. Tucked into the corner of a little strip mall, this Goodwill has all those extremely fashionable hipster goods that have been leached from more populated thrift pastures or plucked by your favorite street-savvy designer to "repurpose" as their latest collection: buffalo check shirts, wolf-embellished T-shirts, Gunne Sax fairy-princess gowns, basketball jerseys, and ’80s-era, multicolored zany-print tops that Paper Rad would give their beards for.

Salvation Army, 1500 Valencia, SF. (415) 643-8040, www.salvationarmyusa.org. The OG of Mission District thrifting, this Salv has been the site of many an awesome discovery. Find out when the Army puts out the new goods. The Salvation soldiers may have cordoned off the "vintage" — read: higher priced — items in the store within the store, but there are still plenty of old books, men’s clothing, and at times hep housewares and Formica kitchen tables to be had: I adore the rainbow Mork and Mindy parka vest I scored in the boys’ department, as well as my mid-century-mod mustard-colored rocker.

Savers, 875 Main, Redwood City. (650) 364-5545, www.savers.com When the ladies of Hillsborough, Burlingame, and the surrounding ‘burbs shed their oldest, most elegant offerings, the pickings can’t be beat at this Savers. You’ll find everything from I. Magnin cashmere toppers, vintage Gucci tweed, and high-camp ’80s feather-and-leather sweaters to collectible dishware, antique ribbons, and kitsch-cute Holly Hobbie plaques. Strangest, oddly covetable missed-score: a psychiatrist’s couch.

Thrift Town, 2101 Mission, SF. (415) 861-1132, www.thrifttown.com. When all else fails, fall back on this department store-sized megalith. Back in the day, thrift-oldsters tell me, they’d dig out collectible paintings and ’50s-era bikes. Now you’ll have to grind deeply to land those finds, though they’re here: cute, mismatched, mid-century chairs; the occasional designer handbag; and ’60s knit suits. Hint: venture into less picked-over departments like bedding. (Kimberly Chun)

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FREE FOOD

San Francisco will not let you starve. Even if you’re completely out of money, there are plenty of places and ways to fill your belly. Many soup kitchens operate out of churches and community centers, and lists can be downloaded and printed from freeprintshop.org and sfhomeless.net (which is also a great clearinghouse of information on social services in San Francisco.)Here’s a list of some of our favorites.

Free hot meals

Curry without Worry Healthy, soul pleasing Nepalese food to hungry people in San Francisco. Every Tues. 5:45–7 p.m. on the square at Hyde and Market streets.

Glide, 330 Ellis. Breakfast 8-9 a.m., lunch noon-1:30 p.m. everyday. Dinner 4-5:30 p.m., M-F.

St. Anthony Dining Room, 45 Jones, Lunch everyday 11:30 a.m.–1:30 p.m.

St Martin de Porres Hospitality House, 225 Potrero Ave. Best bowl of oatmeal in the city. Tues.-Sat. breakfast from 6:30-7:30 a.m., lunch from noon-2 pm.. Sun. brunch 9-10:30 a.m. Often vegetarian options.

Vegetarian

Food not Bombs Vegetarian soup and bread, but bring your own bowl. At the UN Plaza, Mon., 6 p.m.; Wed., 5:30 p.m. Also at 16th and Mission streets. Thurs. at 7:30 p.m.

Mother’s Kitchen, 7 Octavia, Fri., 2:30-3:30. Vegan options.

Iglesia Latina Americana de Las Adventistas Seventh Dia, 3024 24th St. Breakfast 9:30-11 a.m., third Sun. of the month.

Grab and go sandwiches

Glide, bag meals to go after breakfast ends at 9 a.m.

St. Peter and Paul Catholic Church, 666 Filbert. 4-5 p.m. every day.

Seniors

Curry Senior Center, 333 Turk. For the 60+ set. Breakfast 8-9 a.m., lunch 11:30 to noon every day.

Kimochi, 1840 Sutter St. Japanese-style hot lunch served 11:45 am (M-F). $1.50 donation per meal is requested. 60+ only with no one to assist with meals. Home deliveries available. 415-931-2287

St. Anthony Dining Room, 10:30-11:30 a.m., 59+, families, and people who can’t carry a tray.

Free groceries

San Francisco Food Bank A wealth of resources, from pantries with emergency food boxes to supplemental food programs. 415-282-1900. sffoodbank.org/programs

211 Dial this magic number and United Way will connect you with free food resources in your neighborhood — 24/7.

Low-cost groceries

Maybe you don’t qualify for food assistance programs or you just want to be a little thriftier — in which case the old adage that the early bird gets the metaphorical worm is apropos. When it comes to good food deals, timing can be everything. Here are a couple of handy tips for those of us who like to eat local, organic, and cheap. Go to Rainbow Grocery early and hit the farmers markets late. Rainbow has cheap and half-price bins in the bread and produce sections — but you wouldn’t know it if you’re a late-riser. Get there shortly after doors open at 9 a.m. for the best deals.

By the end of the day, many vendors at farmers markets are looking to unload produce rather than pack it up, so it’s possible to score great deals if you’re wandering around during the last half hour of the market. CAFF has a comprehensive list of Bay Area markets that you can download: guide.buylocalca.org/localguides.

Then there’s the Grocery Outlet (2001 Fourth St., Berkeley and 2900 Broadway, Oakland, www.groceryoutlets.com), which puts Wal-Mart to shame. This is truly the home of low-cost living. Grocery Outlet began in 1946 in San Francisco when Jim Read purchased surplus government goods and started selling them. Now Grocery Outlets are the West Coast’s version of those dented-can stores that sell discounted food that wasn’t ready for prime-time, or perhaps spent a little too long in the limelight.

Be prepared to eat what you find — options range from name brands with trashed labels to foodstuffs you’ve never seen before — but there are often good deals on local breads and cheeses, and their wine section will deeply expand you Two-Buck Chuck cellar. Don’t be afraid of an occasional corked bottle that you can turn into salad dressing, and be sure to check the dates on anything perishable. The Grocery Outlet Web site (which has the pimpest intro music ever) lists locations and ways to sign up for coupons and download a brochure on how to feed your family for $3 a day. (Amanda Witherell)

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LIVE MUSIC FOR NOTHING — AND KICKS FOR FREE

Music should be free. Everyone who has downloaded music they haven’t been given or paid for obviously believes this, though we haven’t quite made it to that ideal world where all professional musicians are subsidized — and given health care — by the government or other entities. But live, Clive? Where do can you catch fresh, live sounds during a hard-hitting, heavy-hanging economic downturn? Intrepid, impecunious sonic seekers know that with a sharp eye and zero dough, great sounds can be found in the oddest crannies of the city. You just need to know where to look, then lend an ear. Here are a few reliables — occasional BART station busks and impromptu Ocean Beach shows aside.

Some of the best deals — read: free — on world-class performers happen seasonally: in addition to freebie fests like Hardly Strictly Bluegrass every October and the street fairs that accompanying in fair weather, there’s each summer’s Stern Grove Festival. Beat back the Sunset fog with a picnic of bread, cheese, and cheap vino, though you gotta move fast to claim primo viewing turf to eyeball acts like Bettye Lavette, Seun Kuti and Egypt 80, and Allen Toussaint. Look for the 2009 schedule to be posted at www.sterngrove.org May 1.

Another great spot to catch particularly local luminaries is the Yerba Buena Gardens Festival, which runs from May to October. Rupa and the April Fishes, Brass Menazeri, Marcus Shelby Trio, Bayonics, and Omar Sosa’s Afreecanos Quintet all took their turn in the sun during the Thursday lunchtime concerts. Find out who’s slated for ’09 in early spring at www.ybgf.org.

All year around, shopkeeps support sounds further off the beaten path — music fans already know about the free, albeit usually shorter, shows, DJ sets, and acoustic performances at aural emporiums like Amoeba Music (www.amoeba.com) and Aquarius Records (www.aquariusrecords.org). Many a mind has been blown by a free blast of new sonics from MIA or Boris amid the stacks at Amoeba, the big daddy in this field, while Aquarius in-stores define coziness: witness last year’s intimate acoustic hootenanny by Deerhoof’s Satomi and Tenniscoats’ Saya as Oneone. Less regular but still an excellent time if you happen upon one: Adobe Books Backroom Gallery art openings (adobebooksbackroomgallery.blogspot.com), where you can get a nice, low-key dose of the Mission District’s art and music scenes converging. Recent exhibition unveilings have been topped off by performances by the Oh Sees, Boner Ha-chachacha, and the Quails.

Still further afield, check into the free-for-all, quality curatorial efforts at the Rite Spot (www.ritespotcafe.net), where most shows at this dimly lit, atmospheric slice of old-school cabaret bohemia are as free as the breeze and as fun as the collection of napkin art in back: Axton Kincaid, Brandy Shearer, Kitten on the Keys, Toshio Hirano, and Yard Sale have popped up in the past. Also worth a looky-loo are Thee Parkside‘s (www.theeparkside.com) free Twang Sunday and Happy Hour Shows: a rad time to check out bands you’ve never heard of but nonetheless pique your curiosity: Hukaholix, hell’s yeah! And don’t forget: every cover effort sounds better with a pint — all the better to check into the cover bands at Johnny Foley’s (www.johnnyfoleys.com), groove artists at Beckett’s Irish Pub in Berkeley (www.beckettsirishpub.com), and piano man Rod Dibble and his rousing sing-alongs at the Alley in Oakland (510-444-8505). All free of charge. Charge! (Kimberly Chun}

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THE CHEAPEST WAY TO GET AROUND TOWN

Our complex world often defies simple solutions. But there is one easy way to save money, get healthy, become more self-sufficient, free up public resources, and reduce your contribution to air pollution and global warming: get around town on a bicycle.

It’s no coincidence that the number of cyclists on San Francisco streets has increased dramatically over the last few years, a period of volatile gasoline prices, heightened awareness of climate change, poor Muni performance, and economic stagnation.

On Bike to Work Day last year, traffic counts during the morning commute tallied more bicycles than cars on Market Street for the first time. Surveys commissioned by the San Francisco Bicycle Coalition show that the number of regular bike commuters has more than doubled in recent years. And that increase came even as a court injunction barred new bike projects in the city (see "Stationary biking," 5/16/07), a ban that likely will be lifted later this year, triggering key improvements in the city’s bicycle network that will greatly improve safety.

Still not convinced? Then do the math.

Drive a car and you’ll probably spend a few hundred dollars every month on insurance, gas, tolls, parking, and fines, and that’s even if you already own your car outright. If you ride the bus, you’ll pay $45 per month for a Fast Pass while government will pay millions more to subsidize the difference. Riding a bike is basically free.

Free? Surely there are costs associated with bicycling, right? Yeah, sure, occasionally. But in a bike-friendly city like San Francisco, there are all kinds of opportunities to keep those costs very low, certainly lower than any other transportation alternative except walking (which is also a fine option for short trips).

There are lots of inexpensive used bicycles out there. I bought three of my four bicycles at the Bike Hut at Pier 40 (www.thebikehut.com) for an average of $100 each and they’ve worked great for several years (my fourth bike, a suspension mountain bike, I also bought used for a few hundred bucks).

Local shops that sell used bikes include Fresh Air Bicycles, (1943 Divisidero, www.fabsf.com) Refried Cycles (3804 17th St., www.refriedcycles,com/bicycles.htm), Karim Cycle (2800 Telegraph., Berkeley, www.teamkarim.com/bikes/used/) and Re-Cycles Bicycles (3120 Sacramento, Berkeley, www.recyclesbicycles.com). Blazing Saddles (1095 Columbus, www.blazingsaddles.com) sells used rental bikes for reasonable prices. Craigslist always has listings for dozens of used bikes of all styles and prices. And these days, you can even buy a new bike for a few hundred bucks. Sure, they’re often made in China with cheap parts, but they’ll work just fine.

Bikes are simple yet effective machines with a limited number of moving parts, so it’s easy to learn to fix them yourself and cut out even the minimal maintenance costs associated with cycling. I spent $100 for two four-hour classes at Freewheel Bike Shop (1920 Hayes and 914 Valencia, www.thefreewheel.com) that taught me everything I need to know about bike maintenance and includes a six-month membership that lets me use its facilities, tools, and the expertise of its mechanics. My bikes are all running smoother than ever on new ball bearings that cost me two bucks per wheel, but they were plenty functional even before.

There are also ways to get bike skills for free. Sports Basement (www.sportsbasement.com) offers free bicycle maintenance classes at both its San Francisco locations the first Tuesday of every month from 6:30-7:30 p.m. Or you can turn to the Internet, where YouTube has a variety of bike repair videos and Web sites such as www.howtofixbikes.com can lead you through repairs.

The nonprofit The Bike Kitchen (1256 Mission, www.thebikekitchen.org) on Mission Street offers great deals to people who spend $40 per year for a membership. Volunteer your time through the Earn-a-Bike program and they’ll give you the frame, parts, and skills to build your own bike for free.

But even in these hard economic times, there is one purchase I wouldn’t skimp on: spend the $30 — $45 for a good U-lock, preferably with a cable for securing the wheels. Then you’re all set, ready to sell your car, ditch the bus, and learn how easy, cheap, fast, efficient, and fun it is to bicycle in this 49-square-mile city. (Steven T. Jones)

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LOW-COST HEALTH CARE

When money’s tight, healthcare tends to be one of the first costs we cut. But that can be a bad idea, because skimping on preventive care and treatment for minor issues can lead to much more expensive and serious (and painful) health issues later. Here is our guide to Bay Area institutions, programs, and clinics that serve the under- and uninsured.

One of our favorite places is the Women’s Community Clinic (2166 Hayes, 415-379-7800, www.womenscommunityclinic.org), a women-operated provider open to anyone female, female-identified, or female-bodied transgender. This awesome 10-year-old clinic offers sexual and reproductive health services — from Pap smears and PMS treatment to menopause and infertility support — to any SF, San Mateo, Alameda, or Marin County resident, and all on a generous sliding scale based on income and insurance (or lack thereof). Call for an appointment, or drop in on Friday mornings (but show up at 9:30 a.m. because spots fill up fast).

A broader option (in terms of both gender and service) is Mission Neighborhood Center (main clinic at 240 Shotwell. 415-552-3870, www.mnhc.org, see Web site for specialty clinics). This one-stop health shop provides primary, HIV/AIDS, preventive, podiatry, women’s, children’s, and homeless care to all, though its primary focus is on the Latino/Hispanic Spanish-speaking community. Insurance and patient payment is accepted, including a sliding scale for the uninsured (no one is denied based on inability to pay). This clinic is also a designated Medical Home (or primary care facility) for those involved in the Healthy San Francisco program.

Contrary to popular belief, Healthy San Francisco (www.healthysanfrancisco.org) is not insurance. Rather, it’s a network of hospitals and clinics that provide free or nearly free healthcare to uninsured SF residents who earn at or below 300 percent of the federal poverty level (which, at about $2,600 per month, includes many of us). Participants choose a Medical Home, which serves as a first point-of-contact. The good news? HSF is blind to immigration status, employment status, and preexisting medical conditions. The catch? The program’s so new and there are so many eligible residents that the application process is backlogged — you may have a long wait before you reap the rewards. Plus, HSF only applies within San Francisco.

Some might consider mental health less important than that of the corporeal body, but anyone who’s suffered from depression, addiction, or PTSD knows otherwise. Problem is, psychotherapy tends to be expensive — and therefore considered superfluous. Not so at Golden Gate Integral Counseling Center (507 Polk. 415-561-0230, www.goldengatecounseling.org), where individuals, couples, families, and groups can get long- and short-term counseling for issues from stress and relationships to gender identity, all billed on a sliding scale.

Other good options

American College of Traditional Chinese Medicine (450 Connecticut, 415-282-9603, actcm.edu). This well-regarded school provides a range of treatments, including acupuncture, cupping, tui ma/shiatsu massage, and herbal therapy, at its on-site clinics — all priced according to a sliding scale and with discounts for students and seniors. The college also sends interns to specialty clinics around the Bay, including the Women’s Community Clinic, Haight Ashbury Free Medical Clinic, and St. James Infirmary.

St. James Infirmary (1372 Mission. 415-554-8494, www.stjamesinfirmary.org). Created for sex-workers and their partners, this Mission District clinic offers a range of services from primary care to massage and self-defense classes, for free. Bad ass.

Free Print Shop (www.freeprintshop.org): This fantabulous Webs site has charts showing access to free healthcare across the city, as well as free food, shelter, and help with neighborhood problems. If we haven’t listed ’em, Free Print Shop has. Tell a friend.

Native American Health Center (160 Capp, 415-621-8051, www.nativehealth.org). Though geared towards Native Americans, this multifaceted clinic (dental! an Oakland locale, and an Alameda satellite!) turns no one away. Services are offered to the under-insured on a sliding scale as well as to those with insurance.

SF Free Clinic (4900 California, 415-750-9894, www.sffc.org). Those without any health insurance can get vaccinations, diabetes care, family planning assistance, STD diagnosis and treatment, well child care, and monitoring of acute and chronic medical problems.

Haight Ashbury Free Clinics (558 Clayton. 415-746-1950, www.hafci.org): Though available to all, these clinics are geared towards the uninsured, underinsured "working poor," the homeless, youth, and those with substance abuse and/or mental health issues. We love this organization not only for its day-to-day service, but for its low-income residential substance abuse recovery programs and its creation of RockMed, which provides free medical care at concerts and events. (Molly Freedenberg)

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THE BEST HOMELESS SHELTERS

There’s no reason to be ashamed to stay in the city’s homeless shelters — but proceed with awareness. Although most shelters take safety precautions and men and women sleep in separate areas, they’re high-traffic places that house a true cross-section of the city’s population.

The city shelters won’t take you if you just show up — you have to make a reservation. In any case, a reservation center should be your first stop anyway because they’ll likely have other services available for you. If you’re a first-timer, they’ll want to enter you into the system and take your photograph. (You can turn down the photo-op.) Reservations can be made for up to seven days, after which you’ll need to connect with a case manager to reserve a more permanent 30- or 60-day bed.

The best time to show up is first thing in the morning when beds are opening up, or late at night when beds have opened up because of no-show reservations. First thing in the morning means break of dawn — people often start lining up between 4 a.m. and 6 a.m. for the few open beds. Many people are turned away throughout the day, although your chances are better if you’re a woman.

You can reserve a bed at one of several reservation stations: 150 Otis, Mission Neighborhood Resource Center (165 Capp St.), Tenderloin Resource Center (187 Golden Gate), Glide (330 Ellis), United Council (2111 Jennings), and the shelters at MSC South (525 Fifth St.) and Hospitality House (146 Leavenworth). If it’s late at night, they may have a van available to give you a ride to the shelter. Otherwise, bus tokens are sometimes available if you ask for one — especially if you’re staying at Providence shelter in the Bayview-Hunters Point District.

They’ll ask if you have a shelter preference — they’re all a little different and come with good and bad recommendations depending on whom you talk to. By all accounts, Hospitality House is one of the best — it’s small, clean, and well run. But it’s for men only, as are the Dolores Street Community Services shelters (1050 S. Van Ness and 1200 Florida), which primarily cater to Spanish-speaking clients.

Women can try Oshun (211 13th St.) and A Woman’s Place (1049 Howard) if they want a men-free space. If kids are in tow, Compass Family Services will set you up with shelter and put you on a waiting list for housing. (A recent crush of families means a waiting list for shelters also exists.) People between 18 and 24 can go to Lark Inn (869 Ellis). The Asian Woman’s Shelter specializes in services for Asian-speaking women and domestic violence victims (call the crisis line 877-751-0880). (Amanda Witherell)

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MEALS FOR $5: TOP FIVE CHEAP EATS

Nothing fancy about these places — but the food is good, and the price is right, and they’re perfect for depression dining.

Betty’s Cafeteria Probably the easiest place in town to eat for under five bucks, breakfast or lunch, American or Chinese. 167 11th St., SF. (415) 431-2525

Susie’s Café You can get four pancakes or a bacon burger for under $5 at this truly grungy and divine dive, right next to Ed’s Auto — and you get the sense the grease intermingles. , 603 Seventh St., SF (415) 431-2177

Lawrence Bakery Café Burger and fries, $3.75, and a slice of pie for a buck. 2290 Mission., SF. (415) 864-3119

Wo’s Restaurant Plenty of under-$5 Cantonese and Vietnamese dishes, and, though the place itself is cold and unatmospheric, the food is actually great. 4005 Judah, SF. (415) 681-2433

Glenn’s Hot Dogs A cozy, friendly, cheap, delicious hole-in-the-wall and probably my favorite counter to sit at in the whole Bay Area. 3506 MacArthur Blvd., Oakl. (510) 530-5175 (L.E. Leone)

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CHEAP DRINKS

When it comes to free drinks I’m a liar, a whore, and a cheat, duh.

I’m a liar because of course I find your designer replica stink-cloud irresistible and your popped collar oh so intriguing — and no, you sexy lug, I’ve never tried one of those delicious-looking orange-juice-and-vodka concoctions you’re holding. Perhaps you could order me one so I could try it out while we spend some time?

I’m a whore because I’ll still do you anyway — after the fifth round, natch. That’s why they call me the liquor quicker picker-upper.

And I’m a cheat because here I am supposed to give you the scoop on where to score some highball on the lowdown, when in fact there’s a couple of awesome Web sites just aching to help you slurp down the freebies. Research gives me wrinkles, darling. So before I get into some of my fave inexpensive inebriation stations, take a designated-driver test drive of www.funcheapsf.com and www.sf.myopenbar.com.

FuncheapSF’s run by the loquacious Johnny Funcheap, and has the dirty deets on a fab array of free and cheap city events — with gallery openings, wine and spirits tastings, and excellent shindigs for the nightlife-inclined included. MyOpenBar.com is a national operation that’s geared toward the hard stuff, and its local branch offers way too much clarity about happy hours, concerts, drink specials, and service nights. Both have led me into inglorious perdition, with dignity, when my chips were down.

Beyond all that, and if you have a couple bucks in your shucks, here’s a few get-happies of note:

Godzuki Sushi Happy Hour at the Knockout. Super-yummy affordable fish rolls and $2 Kirin on tap in a rockin’ atmosphere. Wednesdays, 6–9:30 p.m. 3223 Mission, SF. (415) 550-6994, www.knockoutsf.com

All-Night Happy Hour at The Attic. Drown your recession tears — and the start of your work week — in $3 cosmos and martinis at this hipster hideaway. Sundays and Mondays, 5 p.m.–2 a.m. 3336 24th St., (415) 722-7986

The Stork Club. Enough live punk to bleed your earworm out and $2 Pabsts every night to boot? Fly me there toute suite. 2330 Telegraph, Oakl. (510) 444-6174, www.storkcluboakland.com

House of Shields. Dive into $2 PBR on tap and great music every night except Sundays at the beautiful winner of our 2008 Best of the Bay "Best Monumental Urinal" award. (We meant in the men’s room, not the place as a whole!) 39 New Montgomery, SF. (415) 975-8651, www.houseofshields.com

The Bitter End. $3 drafts Monday through Friday are just the beginning at this Richmond pub: the Thursday night Jager shot plus Pabst for five bucks (plus an ’80s dance party) is worth a look-see. 441 Clement, SF. (415) 221-9538

Thee Parkside Fast becoming the edge-seekers bar of choice, this Potrero Hill joint has some awesome live nights with cheap brews going for it, but the those in the know misplace their Saturday afternoons with $3 well drinks from 3 to 8 p.m.1600 17th St., SF. (415) 252-1330, www.theeparkside.com

Infatuation. One of the best free club nights in the city brings in stellar electro-oriented talent and also offers two-for-one well drinks, so what the hey. Wednesdays, 9 p.m.–2 a.m. Vessel, 85 Campton Place, SF. (415) 433-8585, www.vesselsf.com

Honey Sundays. Another free club night, this one on the gay tip, that offers more great local and international DJ names and some truly fetching specials at Paradise Lounge’s swank upstairs bar. Sundays, 8 p.m.–2 a.m. Paradise Lounge, 1501 Folsom, SF. (415) 252-5018, www.paradisesf.com (Marke B.)

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IMPRESS A DATE WITH DINNER UNDER $50

You’ve got a date this weekend, which you’re feeling pretty good about, but only $50 to spend, which feels … not so good. Where should you go?

You’ll appear in-the-know at the underrated Sheba Piano Lounge (1419 Fillmore, www.shebalounge.com) on lower Fillmore Street, right in the middle of the burgeoning jazz revival district. Sheba was around long before Yoshi’s, offering live jazz (usually piano, sometimes a vocalist) and some of the best Ethiopian food in the city in a refined, relaxed lounge setting. Sure, they’ve got Americanized dishes, but skip those for the traditional Ethiopian menu. Sample multiple items by ordering the vegetarian platter ($13) or ask for a mixed meat platter, which is not on the menu ($16 last time I ordered it). One platter is more than enough for two, and you can still afford a couple of cocktails, glasses of wine or beer, or even some Ethiopian honey wine (all well under $10). Like any authentic Ethiopian place I’ve eaten in, the staff operates on Africa time, so be prepared to linger and relax.

It’s a little hipster-ish with slick light fixtures, a narrow dining room/bar, and the increasingly common "communal table" up front, but the Mission District’s Bar Bambino (2931 16th St., www.barbambino.com) offers an Italian enoteca experience that says "I’ve got some sophistication, but I like to keep it casual." Reserve ahead for tables because there aren’t many, or come early and sit at the bar or in the enclosed back patio and enjoy an impressive selection of Italian wines by the glass ($8–$12.50). For added savings with a touch of glam, don’t forget their free sparkling water on tap. It’s another small plates/antipasti-style menu, so share a pasta ($10.50–$15.50), panini ($11.50–$12.50), and some of their great house-cured salumi or artisan cheese. Bar Bambino was just named one of the best wine bars in the country by Bon Apetit, but don’t let that deter you from one of the city’s real gems.

Nothing says romance (of the first date kind) like a classic French bistro, especially one with a charming (heated) back patio. Bistro Aix (3340 Steiner, www.bistroaix.com) is one of those rare places in the Marina District where you can skip the pretension and go for old school French comfort food (think duck confit, top sirloin steak and frites, and a goat cheese salad — although the menu does stray a little outside the French zone with some pasta and "cracker crust pizza." Bistro Aix has been around for years, offering one of the cheapest (and latest — most end by 6 or 7 p.m.) French prix fixe menus in town (Sunday through Thursday, 6–8 p.m.) at $18 for two courses. This pushes it to $40 for two, but still makes it possible to add a glass of wine, which is reasonably priced on the lower end of their Euro-focused wine list ($6.25–$15 a glass).

Who knew seduction could be so surprisingly affordable? (Virginia Miller)

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FREE YOGA

You may be broke, but you can still stay limber. San Francisco is home to scores of studios and karmically-blessed souls looking to do a good turn by making yoga affordable for everyone.

One of the more prolific teachers and donation-based yoga enthusiasts is Tony Eason, who trained in the Iyengar tradition. His classes, as well as links to other donation-based teachers, can be found at ynottony.com. Another great teacher in the Anusara tradition is Skeeter Barker, who teaches classes for all levels Mondays and Wednesdays from 7:45 to 9:15 p.m. at Yoga Kula, 3030a 16th St. (recommended $8–$10 donation).

Sports Basement also hosts free classes every Sunday at three stores: Bryant Street from 1 to 2 p.m., the Presidio from 11a.m. to noon, and Walnut Creek 11 a.m. to noon. Bring your own mat.

But remember: even yoga teachers need to make a living — so be fair and give what you can. (Amanda Witherell)

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HOW TO KEEP YOUR APARTMENT

So the building you live in was foreclosed. Or you missed a few rent payments. Suddenly there’s a three-day eviction notice in your mailbox. What now?

Don’t panic. That’s the advice from Ted Gullicksen, executive director of the San Francisco Tenants Union. Tenants have rights, and evictions can take a long time. And while you may have to deal with some complications and legal issues, you don’t need to pack your bags yet.

Instead, pick up the phone and call the Tenants Union (282-6622, www.sftu.org) or get some professional advice from a lawyer.

The three-day notice doesn’t mean you have to be out in three days. "But it does mean you will have to respond to and communicate with the landlord/lady within that time," Gullicksen told us.

It’s also important to keep paying your rent, Gullicksen warned, unless you can’t pay the full amount and have little hope of doing so any time soon.

"Nonpayment of rent is the easiest way for a landlord to evict a tenant," Gullicksen explained. "Don’t make life easier for the landlady who was perhaps trying to use the fact that your relatives have been staying with you for a month as grounds to evict you so she can convert your apartment into a pricey condominium."

There are, however, caveats to Gullicksen’s "always pay the rent" rule: if you don’t have the money or you don’t have all the money.

"Say you owe $1,000 but only have $750 when you get the eviction notice," Gullicksen explained. "In that case, you may want to not pay your landlord $750, in case he sits on it but still continues on with the eviction. Instead, you might want to put the money to finding another place or hiring an attorney."

A good lawyer can often delay an eviction — even if it’s over nonpayment or rent — and give you time to work out a deal. Many landlords, when faced with the prospect of a long legal fight, will come to the table. Gullicksen noted that the vast majority of eviction cases end in a settlement. "We encourage all tenants to fight evictions," he said. The Tenants Union can refer you to qualified tenant lawyers.

These days some tenants who live in buildings that have been foreclosed on are getting eviction notices. But in San Francisco, city officials are quick to point out, foreclosure is not a legal ground for eviction.

Another useful tip: if your landlord is cutting back on the services you get — whether it’s a loss of laundry facilities, parking, or storage space, or the owner has failed to do repairs or is preventing you from preventing you from "the quiet enjoyment of your apartment" — you may be able to get a rent reduction. With the passage of Proposition M in November 2008 tenants who have been subjected to harassment by their landlords are also eligible for rent reductions. That involves a petition to the San Francisco Rent Stabilization and Arbitration Board (www.sfgov.org/site/rentboard_index.asp).

Gullicksen also recommends that people who have lost their jobs check out the Eviction Defense Collaborative (www.evictiondefense.org).

"They are mostly limited to helping people who have temporary shortfalls," Gullicksen cautioned. But if you’ve lost your job and are about to start a new one and are a month short, they can help. (Sarah Phelan)

———–

OUT OF WORK? HERE’S STEP ONE

How do you get your unemployment check?

"Just apply for it."

That’s the advice of California’s Employment Development Department spokesperson Patrick Joyce.

You may think you aren’t eligible because you may have been fired or were only working part-time, but it’s still worth a try. "Sometimes people are ineligible, but sometimes they’re not," Joyce said, explaining that a lot of factors come into play, including your work history and how much you were making during the year before you became unemployed.

"So, simply apply for it — if you don’t qualify we’ll tell you," he said. "And if you think you are eligible and we don’t, you can appeal to the Unemployment Insurance Appeals Board."

Don’t wait, either. "No one gets unemployment benefits insurance payments for the first week they are unemployed," Joyce explained, referring to the one-week waiting period the EDD imposes before qualified applicants can start collecting. "So you should apply immediately."

Folks can apply by filling out the unemployment insurance benefits form online or over the phone. But the phone number is frequently busy, so online is the best bet.

Even if you apply by phone, visit www.edd.ca.gov/unemployment beforehand to view the EDD’s extensive unemployment insurance instructions and explanations. To file an online claim, visit eapply4ui.edd.ca.gov. For a phone number for your local office, visit www.edd.ca.gov/unemployment/telephone_numbers.

(Sarah Phelan)

We’ll be doing regular updates and running tips for hard times in future issues. Send your ideas to tips@sfbg.com.

Inauguration parties!

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TUESDAY, JAN. 20

The inauguration of Barack Obama as the 44th president of the United States is a historic event, with the rise of the first African American president coinciding with the end of perhaps the worst presidency in US history. So it’s time to celebrate, and here’s where you can do so on Jan. 20.

Sock it to me


NextArts has reserved the space outside City Hall for a simulcast of the inaugural proceedings and what it’s calling a Sock It To Me Concert. In the spirit of grassroots, progressive change, the price of admission is new socks and underwear with tags still attached for donation to the homeless.

7 a.m.–noon, free with donation

Civic Center Plaza

1 Dr. Carlton B. Goodlett Plaza, SF

www.nextarts.org

The dream lives


The College of Alameda will broadcast Obama’s 9 a.m. swearing-in and offer open mike commentary during commercial breaks. The event also features several speakers on the civil rights movement and what Obama’s presidency means for Martin Luther King Jr.’s legacy.

8 a.m. –1:30 p.m., free

F Building student lounge, College of Alameda

555 Ralph Appezzato Memorial Parkway, Alameda

(510) 748-2213

Quiet time is over


The African American Interest Committee is sponsoring a public viewing of the inauguration ceremony at the San Francisco Public Library. Seating is on a first-come, first-served basis and refreshments will be available in the Latino/Hispanic Community Meeting Room.

9 a.m.–noon, free

Koret Auditorium, SF Public Library

100 Larkin, SF

mjeffers@sfpl.org

Party for grid alternatives


Come try the signature Obama cocktail at the Swedish American Music Hall’s inauguration event. Watch a 9 p.m. rebroadcast of the inauguration on the big screen and dance and enjoy catering by Radio Africa and Kitchen. Proceeds benefit Grid Alternatives, an Oakland-based organization promoting renewable energy.

7 p.m., $22 advance, $25 at the door

2170 Market, SF

www.cafedunord.com

Obama mambo


Boogie down to support Amnesty International during its fundraising event, "Dance for Change." Music from hip-hop to house to rock will be spinning all night long, so prepare to shake it for Barack to the wee hours.

9:00 p.m.–2:00 a.m., $10

Le Colonial
20 Cosmo Place, SF

www.amnestyusa.org

Pray for change


After a week of shared prayer in mosques, temples, churches, and synagogues, the inauguration celebration will be the final stop for "Unity for the Sake of Change," a prayer event open to all religions.

7 a.m., $5

Oracle Arena

7000 Coliseum Way, Oakl.

(510) 272-6695

obamacelebration.org

Inaugural Ball


Electric Works gallery is hosting an Inaugural Ball featuring a rebroadcast of the inauguration followed by dancing. Formal dress is suggested but not required (changing rooms and borrowed finery will be available for those coming directly from work). Drinks and light hors d’oeuvres will be provided and proceeds benefit the San Francisco Food Bank.

6–10 p.m., $10 donation requested

130 Eighth St., SF

www.sfelectricworks.com

Women, Democrats, and democratic women


The San Francisco Democratic Party and local women’s political groups — including Emerge California, Good Ol’ Girls, and the San Francisco Women’s Political Caucus — are throwing an Inauguration Night party in the swanky Green Room of the War Memorial Opera House, featuring hors d’oeuvres, drinks, and entertainment.

5:30–8:30 p.m., $25

301 Van Ness, SF

www.actblue.com/page/inaugurationsf

(415) 626-1161

info@sfdemocrats.org

Inauguration Skaters’ Ball


The California Outdoor Rollersports Association hosts a political roller disco featuring Sarah Palins and Barack Obamas on wheels. There’s even a chance that a live feed from the party will be broadcast at the Presidential Gala in Washington. Dress up as your favorite politician and resist the urge to knock out your rivals.

7–11 p.m., $10 adults, kids free. $5 for skates

Funkytown SF

1720 19th St., SF

www.cora.org/ObamaParty.htm 2

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Inca Ore

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PREVIEW In the liner notes to his Automatic Writing (Lovely Music, 1996), Robert Ashley talks about how he tried to source text for his 1967 opera That Morning Thing by soliciting recordings from his friends narrating, without psychological or moral interpretation, scenes from their life that they’d chosen to keep secret. Describing the results of his survey as "very bad," Ashley decided to synthesize his own text, the result being the viscerally creepy "Purposeful Lady Slow Afternoon."

The mercurial earth-mother drones of Inca Ore — the solo moniker of Oakland’s Eva Saelens — have, in their blown-out glory, a circuitous sonic relationship with the whining Moog ambience of Ashley’s strangest music, and the raw psychic effects of last year’s Birthday of Bless You (No Fun) are comparable to the composer’s work. Leaping from the absolutely banal to the densely metaphysical, Bless You‘s world is psychology- and morality-free, and when words replace bodiless moans, the effect is evocative, occult, and informed by a slight but potent sense of self-parody. As she declaims through a delay pedal at the conclusion to scrape-scape "Infant Ra": "to all jewels buried in the grass, awake, discovery, in oyster shells!" It’s not a hard world to get sucked into.

INCA ORE With Mangled Bohemians, and the Why Because. Wed/14, 9 p.m., $6.

Hemlock Tavern, 1131 Polk, SF. (415) 923-0923, www.hemlocktavern.com

July Skies evokes lazy days, ‘fractured memories of the 1970s’

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july skies weather sml.jpg

JULY SKIES
The Weather Clock
(Make Mine Music)

By Todd Lavoie

Oh, 2008 – you’ve been too kind! Well, musically speaking, anyhow – the year left a bit to be desired in some other regards, I suppose, but it certainly did its best to compensate by unleashing a wild torrent of CD releases ready to scratch away at all of our musical itches.

Now that we’re pinning up the new calendar and reflecting on the past year, I thought this might be the perfect moment to throw some superlatives behind one 2008 release in particular, which, sadly, remained largely off the collective radar of the American listening public: July Skies’ sumptuously iridescent ambient-pop stunner The Weather Clock.

Released this past summer in Britain, the disc never received a thorough distribution stateside. It might require a little work to track this one down, but such efforts will be greatly rewarded. Wistfully melancholic and dreamy, it’s tailor-made for a cup of tea, a ruminating mood, and your best pair of headphones.

Sonic Reducer Overage: Magic Bullets, LoCura, White Cloud, Chuchito Valdes, and more

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Mind that One Track Mind: Egyptian Lover’s “Freak-A-Holic.”

San Francisco stirs itself, shakes its shaggy head, and leaves home. Here are a few more reasons.

Leopold and His Fiction
The many moods of the SF indie-folk-rock combo turn toward…celebration with the unveiling of their new full-length Ain’t No Surprise. Electric! With the Healing Curse and Candy Apple. Fri/9, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.

LoCura
Living la vida LoCura? That means an eye-opening blend of flamenco, rumba, reggae, and hip-hop complete with bellydane and plenty of Animas. Fri/9, 9 p.m., $15. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750.

Photo Essay: 11th Annual Hip Hop DanceFest

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Photos and text by Ariel Soto

hiphopfest1_1109.jpg

For the 11th annual Hip Hop DanceFest on November 22, eleven dance troupes graced the stage at the Palace of Fine Arts. The dance companies hailed from California, South Korea, Norway, Canada, London, and New York, showcasing a diverse definition of what hip hop dance means today. There was some tap dancing, classical music, and Michael Jackson tributes. The ages of the dancers ranged from kids to adults, but their skill and proficiency was perfectly cohesive and steeped full of energy. There was also a spectacular trio, the ILL-Abilities Crew, made up of three dancers with various disabilities who danced with such passion and talent that it brought the whole crowd to a standing ovation. It was obvious after seeing these dance companies perform that hip hop is a dance of all nations, where everyone speaks the universal language for getting your groove thang on.

hiphopfest2_1109.jpg

Adventures! Bodily injury! No sleep! Hawnay Troof/Vice Cooler’s 10 patience-testers of ’08

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Under pressure: Vice Cooler in repose. Photo by Manjari Doxey.

We saved the worst for last. Another in a series of year-end picks from Bay Area musicians, writers, scene-makers, and music lovers. Here’s the rest of Hawnay Troof/Vice Cooler’s best (or worst) of 2008; for more, go here.

HAWNAY TROOF/VICE COOLER’S TOP 10 SHITTIEST TOUR HAPPENINGS IN 2008

1. The police stole my rental car.

On the third to last day of my first US leg we were cruising through eastern Arizona when a policeman pulled us over. He thought we had drugs and illegally searched the car. After not finding anything he was bummed. My friend Rory Rabut was driving, and when the officer looked up his license he found out that Rabut had a small parking ticket that hadn’t been paid yet. He used this as a basis for seizing our vehicle.

Theremin cat, faux GN’R, guit-playing Lil Wayne: Vice Cooler’s 10 things of ’08

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Take me down to the paradise kitty: gotta love that theremin cat.

Another in a series of year-end picks from Bay Area musicians, writers, scene-makers, and music lovers. Here’s more of Hawnay Troof/Vice Cooler’s best of 2008; for the first part of his best-of list, go here.


HAWNAY TROOF/VICE COOLER’S TOP 10 THINGS

1. A goat saying, “Mom.”

Return to deform

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PREVIEW One of the most exciting and unusual theatrical events of 2008 came from a small San Francisco–spawned, now Brooklyn-based company: the curiously named Banana Bag and Bodice. It almost sounds unexpected, but in fact BBB, which retains close ties to the Bay Area, has been doing shrewd, highly imaginative, often startlingly designed songplays — their preferred term — with practically no budget for about a decade. Habitués of the San Francisco Fringe Festival, most of the company’s work has appeared there in one form or another — almost invariably garnering Best of Fringe honors — beginning with 1999’s debut outing, The Bastard Chronicles, and running through such memorable encounters as the dadaist delight and vegetarian horror show, Sandwich (2004), or the haunted viscera and satirical apocaly-poesis of The Sewers (2007).

Nonetheless, last spring’s world premiere of Beowulf: A Thousand Years of Baggage — a slick, rousing performance-arty rock operetta-cum-English-lit-seminar that ran at the Ashby Stage in Berkeley — raised things to a new level for the company, especially in terms of production values. And thanks to the support of commissioning company Shotgun Players, BBB’s well-honed minimalist aesthetic, sardonic humor, enveloping musical designs, and performance rigor all proved more than capable of expanding to fill the bigger space and budget. It’s otherwise impossible — and still somewhat awesome — to imagine a BBB performance being mounted at a top-of-the-line venue like the Berkeley Rep. But that’s just where Beowulf will be reprised Jan. 8, expanding to fill the Rep’s cavernous Roda stage, in a single benefit performance ahead of the show’s New York City premiere in April at the Henry Street Settlement’s Abrons Arts Center. A sign of things to come.

Since co-founding Banana Bag and Bodice in 1999, writer-actor Jason Craig and actor Jessica Jelliffe have led the extremely resourceful, highly collaborative ensemble — which includes stalwarts composer-actor Dave Malloy and actor-director Rod Hipskind — in far-flung productions that regularly straddle NYC, SF, and Craig’s hometown of Dublin, Ireland. While dazzling audiences with works as conceptually unconventional as they are hilariously clever, behind the scenes they take a tough-minded and committed approach that serves them well in the lean and unforgiving environment of NYC’s alternative theater scene, and the group’s recent productions there have gained enthusiastic audiences and reviews as well as plenty of street cred with their peers.

Meanwhile, nurturing longstanding ties to the Bay Area has helped ensure a consistent output as well as momentum. When Shotgun’s artistic director Patrick Dooley held out the offer of a commission for an opera, Craig says they took the plunge without hesitation, telling him they’d like to do something with Beowulf. The idea apparently came more or less out of a hat. "I didn’t read it until Shotgun agreed to do it," he confesses alongside Jeliffe and Malloy at Craig and Jeliffe’s comfortable roost in a warehouse in Brooklyn’s Bushwick neighborhood. "It’s just really not my cup of tea. Honor and machismo." But Dooley immediately agreed, providing BBB with what was, for them, unprecedented support.

Malloy — as composer, musical director, and actor in the role of King Hrothgar — reveled in the creative possibilities: "To be able to have an eight-piece orchestra — I’ve never been able to have that before, and it’s so rich and rewarding." For the NYC production he’s even adding two more musicians. "I’ve been rewriting all the music, making it thicker and denser," he says. "It’s just a real treat, because I’m so used to doing black box theater where it’s like, ‘oh, this actor plays violin — great.’<0x2009>"

Craig’s script, meanwhile, ended up brilliantly channeling his reluctance and skepticism toward the epic poem itself, turning his own discovery and questioning of the text into a set of theatrical subjects and productive dichotomies: a panel of seemingly empty academic experts — two of whom, including Jelliffe, double as Beowulf’s monster adversaries — and the titular hero, played by Craig, as an unlikely he-man gone slightly to seed, in addition to a showdown with monsters who are also a mother and son, and the sly morphing of Beowulf’s medieval warrior mythos with its 21st-century rock-god counterpart. The latter concept was already honed in BBB’s 2007 show, The Fall and Rise of the Rising Fallen, which birthed a mock-legendary band with a life beyond the play. The results have shown BBB playing at the top of their game.

"It’s working with Shotgun that’s ramped up everything," confirms Jelliffe. "Not that we have to match that every time, but it has upped the ante, definitely. Usually we make whatever we can with whatever we can. With The Sewers, we made this incredible $20,000 set with no money because of the resources we are able to draw from in New York.

"We still do that, and will continue to do that," she continues. "But with Shotgun, I mean, having a budget?" It’s a modest one to be sure, but for now, without a doubt, as Craig says, "It’s cool."

BEOWULF: A THOUSAND YEARS OF BAGGAGE

Thurs/8, 8 p.m., $30

Roda Theatre

2025 Addison, Berk.

www.shotgunplayers.org

Beautiful voices

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In the 2005 Martin Scorsese documentary No Direction Home, Bob Dylan noted an era when people desired "beautiful voices over very melodic songs." He referred to the early 1960s and pop balladeers such as Doris Day and Johnny Mathis. But the description fits the current soul scene, too, and its celebration of black — and, increasingly, white — artists with wondrously perfect voices and virtuous, albeit sexually complicated lives. A friend of mine used to call it "church."

If the soul scene resembles a megachurch, then John "Legend" Stephens is its deacon. His rise in the music industry — from backup vocalist on Jay-Z’s "Encore" to flagship artist on Kanye West’s G.O.O.D. Music imprint — was balanced with a years-long stint as music director at Philadelphia’s Bethel A.M.E. Church. In photos accompanying his 2004 debut Get Lifted (G.O.O.D. Music/Columbia), Legend stood in the aisle of a nondescript church, bathed in sunlight, his hands resting on two adjacent pews. Thematically the album followed Legend’s transformation from hip-hop kid with a roving eye ("She Don’t Have to Know," "Used to Love U," which pays homage to Common’s "I Used to Love H.E.R.") to chastened man trying to save his relationship ("I Can Change," "Ordinary People") and, finally, spiritually and physically devoted lover ("Stay With You," "So High"). He performed these songs with a studious air. His voice alternately massaged and swayed, like an altar boy brushing the dirt off his shoes as he enters.

Legend has moved on to other themes of love and devotion, but the Christian aspects of his music remain. The "church" probably wouldn’t have it any other way. The modern R&B industry resembles the old-school pop industry — before it lapsed into the Madonna/whore syndrome personified by Britney Spears and Miley Cyrus — in its celebration of carefully manicured personalities with stylish (but not too avant-garde) fashion sensibilities and gossipy (but not too slutty) love lives. Of course, there’s nothing wrong with going to church. Still, whether used as a metaphor or visited as a place of worship, a church and its congregation idealize the world around it.

As a result, most soul vocalists sing about love and sex, reducing the vagaries of life to intimate relationships. A few, particularly the great Anthony Hamilton and Raheem DeVaughn, address the black community, the effects of violent crime and rampant poverty, and the idea of working hard for a paycheck and dreaming of better days. But that’s not really Legend’s thing. He imagines as a songwriter and composer in the vein of Quincy Jones and Billy Joel. He cuts a dashing figure on the cover of his 2004 album Once Again (G.O.O.D. Music/Columbia), tinkling a grand piano in the middle of busy New York City streets and spinning light, romantic numbers such as "P.D.A. (We Just Don’t Care)." "Let’s go to the park, I wanna kiss you underneath the stars," he sings in a breezily sultry voice. "Let’s make love."

Much like Burt Bacharach, the old-school mandarin of fluffy Brill Building pop, Legend is an ace craftsman of modern standards. His best songs mix concise and thoughtful lyrics with subtle melodies, expert musicianship, and standout choruses. For his new full-length, Evolver (G.O.O.D. Music/Columbia), he adds "Green Light," a seductive come on buffeted by drum and keyboard programming. "Give me the green light, give me just one night," croons Legend as stray synth melodies pop and sparkle around him. Andre 3000 from OutKast shows up after the second hook, promising to have "you giggling like a piglet / Oh, that’s the ticket / I hope you’re more Anita Baker than Robin Givens."

The cover of Evolver, where Legend poses mysteriously in a Members Only jacket, plays on "Green Light"’s promise that the traditionalist is playing a new game. But, of course, it’s the same tricks. Get Lifted successfully mixed A-list rappers with familiar neo-soul grooves: baby-making music with a contemporary edge. Despite the subtle nods to ’80s babies nostalgia, Legend doesn’t wander too far from that winning formula. Instead, he offers creamy ballads such as "Cross the Line," where he admits, "I don’t want to risk losing everything."

For all the loveliness of Legend’s voice, it would be nice to hear him write more challenging material. Get Lifted drew unpredictable, exciting tension from his classical tendencies and hip-hop’s swagger, but with Evolver he veers dangerously close to blandness. Of course, his "church" probably wouldn’t want it any other way.

Back in 2006, I saw Los Angeles singer-songwriter Esthero open for Legend. Walking on stage barefoot and in loose-fitting clothes, Esthero’s funk jams and earthy Bjork-like trip-pop drew snickers from the audience. She was almost booed off the stage. It took Legend to pacify the old ladies and married couples.

"Hey, do you remember this one?" he teased them, playing a few notes from Jay-Z’s "Encore" and Slum Village’s "Selfish." He sang in fine form that night, and the church was pleased.

JOHN LEGEND

With Estelle

Mon/12, 8 p.m., $50.50–$76.50

Paramount Theatre

2025 Broadway, Oakland

www.apeconcerts.com

So Fox-y

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SONIC REDUCER Wow, 80 years old and such a beauty: I took a peek at Oakland’s Fox Theatre — yes, a distant relation to San Francisco’s late, lamented Fox — before the holiday break and, whoa, wolf whistles. The friendly rival to the Paramount around the corner is definitely beginning to feel like her glam self once more, decked out in a fabulist fantasia of Indian-Moorish finery, and in December, positively glowing beneath the hands of the workers intent on restoring her to her rightful splendor — and upgrading her in key spots with new bathrooms, dressing rooms, balcony seats, and a new Meyer sound system.

The now-2,800-capacity live-music venue operated as a movie house from 1928 until it closed in 1965. Placed on the National Register of Historic Places in 1979, the Fox was purchased by the city of Oakland in 1996 — after undergoing the threat of being turned into a parking lot and the indignity of arson, water damage, and neglect — and is now under the aegis of developer Phil Tagami and Another Planet Entertainment, readying to reopen Feb. 5. Its first show is on Feb. 6 with Social Distortion.

According to Another Planet VP Allen Scott, "We have been working on this project for close to four years and there has been a lot of blood, sweat … and now cheers." The Fox will be APE’s flagship venue — showcasing everything from rock to soul to Latin.

Great expectations, yet from the mere look of it, the Fox’s prospects are as marvelous as its beauteous shell. It’s safe for me to say — after walking by the magnificently lit-up neon marquee, tiled towers, and faux-sikhara for years and wondering what was inside — the Fox will not disappoint anyone who wants an eyeful of glorious, orientalist movie-palace exotica. Two Hindu gods look down on shining new floors from the sides of the gold-hued stage, styled to resemble the temples of Palitana, below a highly ornate star-splashed ceiling. The mezzanine: a magic-carpet ride of tiled niches and stenciling patterned after Persian carpets. The venue itself will be topped by Oakland School of the Arts and be flanked by a restaurant and bar that will keep the corner lively when shows aren’t scheduled.

It’s a miraculous save — long coming — for Fox followers like Patricia Dedekian, founding board member of Friends of the Oakland Fox. "Every time I go in there now I start crying because it’s so exciting and emotional," Dedekian said. She hopes to raise money for an endowment for the Fox’s continued preservation and upkeep.

"I used to describe the Fox Oakland as the black hole that sits in center of Uptown," she continued. "It was clear this was a big project waiting to happen. Now I can believe it when I see it."

ZAP! After a horrible fall on Landers Street during a drunken stumble home on the rainy eve of Nov. 1, San Francisco underground artist S. Clay Wilson, 67, is drawing again, reports his partner Lorraine Chamberlain.

Chamberlain is still trying to track down the Good Samaritan — or guardian checkered demon — who found Wilson with a fracture and gash in his head lying between two parked cars, made the 911 call, and waited with the artist till the ambulance arrived — an act that saved the cartoonist from perishing from hypothermia. "He was like a block of ice," Chamberlain told me. "If he had been there a couple more hours they would never have been able to stabilize him." But right now she’s glad that after spending his first two weeks in a semi-coma with a bout of pneumonia, Wilson is attacking his colored pencils and vellum with gusto, making drawings that don’t quite resemble the super-maximalist, sensory-overload, iconoclastic pieces of Zap Comix, though Chamberlain added, "they’re quite good."

Word has it the cartoonist is cracking wise in his room at Davies Medical Center, though he still suffers from aphasia and impaired short-term memory. "He called me in the morning and said he was doing a drawing of hobbling zombies — he said it three times. He meant, rotting zombies," explained Chamberlain, an ex of Frank Zappa’s who coined his nickname, Lumpy Gravy. "He talks on and on about things that aren’t based in reality, and I realized he was doing a verbal drawing, just talking a drawing rather than doing it."

The Christmas artwork he gave her was "pretty hideous. A couple of ugly guys, one guy in a gray suit and a little guy standing there with a muffin tin of steaming piles of shit, and a big ugly guy with a shovel with holes in it and it says, ‘Merry Ex Mass.’"

Wilson is on Medicare, Chamberlain said, but needs continuing care. Thus checks are being sent to S. Clay Wilson, POB 14854, San Francisco, CA 94114, from all over the country — the Jan. 11 fundraiser comes courtesy of his friends in Brutal Sound Effects (a blues benefit happens Jan. 24 at Mojo Lounge, Fremont). Meanwhile Chamberlain can’t wait for Wilson to come home. "I miss him," she said. "He’s a pain in the ass, he’s hard to live with, but I got used to it!"


www.thefoxoakland.com


S. CLAY WILSON BENEFIT, with Anvil Encephalopathy, Liz Allbee/Agnes Szelag, Skullcaster, Loachfillet, Heartworm, Heule/Dryer, and others. Sun/11, 6 p.m., $7–$20 sliding scale. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

———–

BLOODIED, BUT UNBOWED

FREE BLOOD


Ex-!!! vocalist John Pugh pushes it further with Madeline Davy in their DFA project. With Landshark. Fri/9, 9:30 p.m., $10–$20. DNA Lounge, 375 11th St., SF. www.dnalounge.com

DIRTYBIRD FOUR-YEAR


Claude VonStroke, Justin Martin, Christian Martin, and Worthy get filthy at their first quarterly at the venue. Fri/9, 10 p.m., $10–$15. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

Local Artist of the Week

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LOCAL ARTIST Wayne Smith

TITLE Untitled (after GW) #1

BIO Wayne Smith is a visual and sound artist who lives and works in San Francisco. He received a BA in painting and MA in sculpture from San Jose State University. His work in a variety of media, including drawing, installation, and video, has been shown locally and nationally. In 2007, he collaborated with Berlin-based artist D-L Alvarez on a sound and video installation loosely based on Joan Didion’s The White Album, at New York’s Derek Eller Gallery. As Aero-Mic’d, he records music in SoundEdit 16, a now-defunct sound software, joined by an alternating group of musicians that has included Cliff Hengst, Scott Hewicker, William Fowler Collins, Cory Vilema, and Anne McGuire.

SHOW "Zen With a Lisp: David Enos, Frank Haines, Wayne Smith." Through Sun/11. Sun., noon–5 p.m. [2nd floor projects], call for address. (415) 824-2644

WEB www.projects2ndfloor.blogspot.com

The Mix: What we’ve been up to

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The Guardian staff got frisky — and predictably hungover last week:

(1) Breakfast of Champions on New Year’s Day

(2) The Music Library, Jonny Trunk (Fuel Publishing)

(3) Scoping hot bears at the Lone Star Saloon

(4) Y: The Last Man (DC/Vertigo) comics binge

(5) Snorbot

Amp Fiddler lays down the ‘inspiration’ with Sly and Robbie

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AMP FIDDLER WITH SLY & ROBBIE
Inspiration Information
(Strut)

By Todd Lavoie

It’s a meet-up that, admittedly, came as a bit of a surprise, but ultimately makes a world of sense: Detroit retro-futurist funkmeister Joseph “Amp” Fiddler has joined forces with collaboration-loving riddim-machine Sly Dunbar and Robbie Shakespeare (better known as Sly and Robbie) for an album’s worth of smooth, spaced-out soul and gravy-thick reggae rhythms.

Bestowed with the quite-appropriate moniker Inspiration Information – the title surely a nod to the great fellow traveler of righteous grooves, Shuggie Otis, whose 1974 album of the same name has seen its influence extended further with every passing year – the disc is the first in what is slated to be a series of releases from the consummate tastemakers at Strut Records built around an intriguing concept.

The idea? Take a few musicians who have never worked together before, stick them in the studio on a tight schedule, and see what happens – it’s a strategy that yielded fascinating results for the Dutch label Konkurrent, whose “In The Fishtank” series drummed up tasty pairings from Tortoise/the Ex and Low/Dirty Three, for example. I’m dead curious to hear what Strut comes up with next – how about a Tussle/ESG tête-à-tête, folks? – but for now, I’m more than content to float and bob along with the rumbling, churning head-music of this first installment.

Zomes, Liquid Liquid, Silver Apples: Mi Ami picks the rest of the best of 2008

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Another in a series of year-end picks from Bay Area musicians, writers, scene-makers, and music lovers. Here’s the rest of Mi Ami‘s best of 2008; for more of their selections, go here.

MORE 2008 PICKS FROM MI AMI’S DANIEL MARTIN-MCCORMICK AND DAMON PALERMO

– Omar-S, “Psychotic Photosynthesis” (both the original and beatless versions) (FXHE)
– Rhythm Based Lovers, “Boogie Vision”/”Snow Drift” 7-inch (Future Times)
– Group Inerane, Guitars from Agadez (Sublime Frequencies)
– Zomes, Zomes (Holy Mountain)
– Kyle Hall, Worx of Art EP 1 (Wild Oats)
– Liquid Liquid, Liquid Liquid (Grand Royal)
– Theo Parrish, Sound Sculptures Volume 1 (Sound Signature)
– Silver Apples, Selections from the Early Sessions (ChickenCoop Recordings)
– Droids, Star Peace (Barclay)
– La Düsseldorf, Viva (Water)
– Methusalem, Journey into the Unknown (Ariola)

Why?, Deerhunter, Chief Briggum land Sholi’s top slots of 2008

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Life force: Dead Science.

Another in a series of year-end picks from Bay Area musicians, writers, scene-makers, and music lovers.

MORE PICKS FROM SHOLI‘S PAYAM BAVAFA AND ERIC RUUD

– Dead Science, Villianaire (Constellation)
– Deerhoof, Offend Maggie (Kill Rock Stars)
– Bon Iver, For Emma, Forever Ago (Jagjaguwar)
– Chief Briggum, Ambiguous Garment (self-released)
– Buildings Breeding, LP2 (self-released)
– Deerhunter, Microcastle (Kranky)
– Why?, Alopecia (Anticon)
– Beach House, Devotion (Carpark)
– Fennesz, Black Sea (Touch)
– Matmos, Supreme Balloon (Matador)
– Dodos, Visitor (French Kiss)
– What’s Up, Content Imagination (Obey Your Brain)
– Vampire Weekend, Vampire Weekend (XL)
– Love Is Chemicals, Song of the Summer Youth Brigade (Near Earth Objects)

Stoltz, Citadelle, Agent Ribbons make Neil Martinson smile: more picks from ‘2008

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The up side: Agent Ribbons.

Another in a series of year-end picks from Bay Area musicians, writers, scene-makers, and music lovers.

SMILE’S NEIL MARTINSON’S TOP 10

– Citadelle at the Knockout, Aug. 4
– Robert Forster at Great American Music Hall, Sept. 10
– Peter Hammill at Great American Music Hall, Sept. 30
– Kelley Stoltz, Circular Sounds (Sub Pop)
– The Moon Upstairs, Guarding the Golden Apple (Gifted Children)
– Various artists, Daisies soundtrack (Finders Keepers)
– Bart Davenport, Palaces (Antenna Farm)
– Lavender Diamond, www.myspace.com/lavenderdiamond
– Agent Ribbons, www.myspace.com/agentribbons
– Willow Willow, www.myspace.com/willowwillow