Photography

Benefits: Sept. 22-Sept 28

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Ways to have fun while giving back this week


Friday, Sept. 24

Art for AIDS
Attend this charity art auction featuring paintings, sculpture, photography, and jewelry along with food and drink from Bay Area restaurants, caterers, wineries, and breweries. There will also be live music and an auction for travel and adventure prizes. Proceeds to benefit the UCSF AIDS Health Project.
5:30 p.m., $100
The Galleria
101 Henry Adams, SF
www.artforaids.org

Bollywood Disco Ball
If you need an excuse to wear a flashy disco outfit, head to this fundraiser featuring a night of Bollywood disco music video mash ups, live performances, live art, Indian food, and more. Proceeds to benefit Project Ahimsa, a global effort to empower youth through music that distributes music education grants in 14 countries, including programs in the Bay Area.
9 p.m., $125
111 Minna Gallery
111 Minna, SF
www.projectahimsa.org

Concert for Pakistan
Join classical music lovers and others interested in helping victims of this summer’s flood in Pakistan for a night of classical chamber music performed by the San Francisco Academy Orchestra, the Calvary Presbyterian Church chior, and other Bay Area musicans. All donations given during the concert will go to Presbyterian Disaster Assistance: Pakistan.
8 p.m., donations encouraged
Calvary Presbyterian Church
2515 Fillmore, SF
(415) 346-3832

Sunday, Sept. 26

Race for the Cure
The Susan G. Komen Race for the Cure® Series is one of the largest 5K run and fitness walk in the world, raising funds and awareness for the fight against breast cancer, celebrating breast cancer survivors, and honoring those who have lost their battle with the disease. Participate by running, walking, or just donating and help provide breast health research, diagnostics, screening, treatment, services and education for uninsured or underinsured women
9 a.m., $10+
Start and finish at Ferry Building
Embarcadero at Market, SF
www.komensf.org

Support the Red Vic
Join Surfpulse.com for a benefit for the Red Vic, a worker owned and operated movie house since 1980, featuring free food, surf films, DVDs for sale, and a $5 raffle for a Las Olas surfboard and other prizes. $1 from all Sierra Nevada beer sales and a portion of the bar and tips will all be donated to the Red Vic.
6 p.m., free
Joxer Daly’s Irish Pub
46 West Portal, SF
www.surfpulse.com

Quick Lit: Sept. 22-Sept. 28

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Literary readings, book tours, and talks this week

Jonathan Safran Foer, Mattilda Bernstein Sycamore, Radar Lab Showcase,  The Architecture of Timothy Pflueger
and more.

Wednesday, Sept. 22

Radar Lab Showcase
Featuring authors Ali Liebegott, Annie Sprinkle, Beth Stephens, Justin Chin, Kat Marie Yoas, Deez Nutsian, Rose Tully, Elyssa Joy Kilman, and Michelle Tea.
7 p.m., $10
The Luggage Store
1007 Market, SF
(415) 255-5971

Jonathan Safran Foer
Hear the author of Eating Animals, Extremely Lound and Incredibly Close, and Everything is Illuminated discuss vegetarianism, argue for humane agricultural methods, and examine the cultural meaning of food.
8 p.m., $20
Herbst Theater
401 Van Ness, SF
www.cityboxoffice.com

T.J. Stiles
The award-winning author of The First Tycoon: The Epic Life of Cornelius Vanderbilt will give a talk titled, “The Significance of One Life: The Individual’s Role in History, and Biography’s Place in the Digital Age,” where he will discuss the importance of the individual in the course of human events, how to reflect on life with the short attention span of the digital age, and other current challenges to writing biography.
6 p.m., $12
Mechanics’ Institute
57 Post, SF
(415) 393-0100

Thursday, Sept. 23

“The Architecture of Timothy Pflueger”
Theresa Poletti, author of Art Deco San Francisco,  will lead this lecture about Pflueger, who shaped the skyline of San Francisco with his mastery of the Art Deco style.
6 p.m., $12
Bayside Conference Room
Pier 1
Embarcadero, SF
www.sfheritage.org

City of Stairways
Attend this reading with the young authors of WritersCorps of their new book of poetry, photography, artwork, maps, and tips titled, City of Stairways: A Poet’s Field Guide to San Francisco.
7 p.m., $5-$10
Red Poppy Art House
2698 Folsom, SF
(415) 826-2402

 
Guillermo Del Toro
Del Toro returns with his second novel, The Strain, the second in The Strain series, about a vampiric infection spreading across America. Del Toro is best known for his films, including Cronos, Blade II, Hellboy I and II, and Pan’s Labyrinth among others.
7:30 p.m., $12
Kabuki Sundance Theater
1881 Post, SF
www.booksmith.com

Monday, Sept. 27

Michael Lewis
Hear this journalist and author of Money Ball and The Blind Side discuss his latest book, The Big Short, describing the build up of the housing credit bubble that led to the financial crisis of 2007-2008.
8 p.m., $20
Herbst Theater
401 Van Ness, SF
www.cityboxoffice.com

Tuesday, Sept. 28

The End of San Francisco
Get a special preview reading of writer and activist Mattilda Bernstein Sycamore’s memoir in progress about the past two decades she spent in San Francisco, full of the political, literary, and artistic. Refreshments and discussion to follow.
6:30 p.m., free
Modern Times Bookstore
888 Valencia, SF
www.mtbs.com

Nothing Left for the Dead
Local author M. Cazadores will read and discuss his first novel, a piece of non-existential literature that touches on themes of indentured servitude, technology, American corporate plutocracy, racims, sheep, sex, love, music, drugs, and time. Accompanying music will be provided by David and Joanna.
7 p.m., free
Vesuvio
255 Columbus, SF
(415) 362-3370

On the Cheap listings

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

WEDNESDAY 22

Big Book Sale Festival Pavilion, Fort Mason Center, Laguna at Beach, SF; (415) 626-7500. Wed.-Sat. 10am-8pm, Sun. 10am-4pm; free. Head out to the annual big book sale and browse through a half a million books, DVDs, CDs, books on tape, vinyl, and more, all for $5 or less. Proceeds to benefit the San Francisco Public Library and literacy programs.

Party with Carnivores Conservatory of Flowers, 100 John F. Kennedy Dr., SF; (415) 831-2090. 5:30pm, $5. Take a tropical vacation for a night at the Conservatory of Flowers special exhibition, "Chomp 2: Return of the Carnivorous Plants" featuring artists Sarah Filley and Yvette Molina, who are working on a project to float a giant terrarium on Lake Merritt. This event is 21 and over, cocktails will be available for purchase.

THURSDAY 23

City of Stairways Red Poppy Art House, 2698 Folsom, SF; (415) 826-2402. 7pm, $5-$10. Join the young authors of WritersCorps for a reading of this new travel guide and literary anthology, packed with poetry, photography, artwork, maps, and tips on seeing some of the most memorable sites and neighborhoods in San Francisco. Also featuring live music by Hopie Spitshard, Tbird, and the Invisible Cities.

"Copyright Criminals" Mighty, 119 Utah, SF; www.theslayersclub.com/cc. 8:30pm, $10. Attend this screening of Copyright Criminals, a film about the history of music sampling, followed by a panel discussion with hip hop historian Jeff Chang, entertainment lawyer Tony Berman, Tim Jones, and more. Featuring live performances by controversial music collage master Steinski and DJ Amp Live, live painting by Nick Fregosi, b-boy performances, and more.

Fancy French Cologne Casanova Lounge, 527 Valencia, SF; www.fancyfrenchcologne.com. 7pm, free. Attend the launch party for this new web boutique inspired by classic San Francisco style and curated by two local ladies to carry fashion-forward clothing, bag, and accessory labels and handmade items from independent designers. Featuring complimentary treats and music by DJ Eli Glad.

FRIDAY 24

Farm Film Night Hayes Valley Farm, 450 Laguna, SF; www.hayesvalleyfarm.com. 6pm; free, $5 suggested donation for honeybee outreach efforts and programming. See the newly released eco-documentary Vanishing of the Bees, co-directed by Maryam Henein and George Langworthy and presented in partnership with Holos Institute. Featuring live music by local duo The Secrets. The film will start at sundown.

Leather Art The Eagle Tavern, 398 12th St., SF; (415) 626-0880. 9pm, free. Celebrate leather week at this art show and auction of homoerotic leather and exotic art by celebrities, known, and unknown artists, curated by Leather Daddy IV Tom Rodgers. Proceeds to benefit Visual Aid, a support program for artists living with HIV/AIDS and other life-threatening illnesses.

24 Days kickoff Mint Plaza, Jesse at Mary, SF; www.centralmarketarts.org. Fri. Noon-7pm, Sat. and Sun. 1pm-5pm; free. Enjoy three days of music and performances at Mint Plaza to kickoff a three week visual art and performance schedule happening at various locations in the Central Market district. The kickoff to include a free concerts and performances throughout the weekend by twenty dance and performance companies, including Project Bandaloop, Labayen Dance, Virginia Iglesias, LEVY Dance, KUNST-STOFF Dance Company, and many more.

SATURDAY 25

Dragon Boat Festival Treasure Island, SF; www.sfdragonboat.com. Racing Sat.-Sun. 8am-5pm, Festival Sat.-Sun. 10am-5pm; free. Watch the 15th annual dragon boat races following the Chinese tradition, where each boat uses 20 paddlers, a drummer, and a steers person to compete to win. There will also be a festival featuring live dance and music performances, international food vendors, arts and crafts, and more.

Festa Coloniale Italiana San Francisco Athletic Club, 1630 Stockton, SF; (415) 781-0165. 11am-6pm, free. Celebrate San Francisco’s rich Italian and Italian-American heritage at this festa featuring live Italian music, a pizza toss demonstration, dancers, delicious food, drinks, and wares. Promenade through the temporary piazza in the main ballroom and you’re sure to sing "vita bella."

Green Presidio Enter at the 15th Ave. gate, 15th Ave. at Lake, SF; (415) 561-5418. 11am-4pm, free. Attend the grand opening of the Presidio’s new Public Health Service District, a re-imagining of landmark buildings and homes to create a welcoming park, new apartments, cultural and educational programs, and new trails. The opening to feature local food, art, live music, and sustainable vendors.

North Beach Art Walk Start at Live Worms Gallery, 1345 Grant, SF; www.northbeachartwalk.org. Sat.-Sun. 11am-5pm, free. Pick up a map at Live Worms Gallery while you check out the group show by all participating art walk artists and then visit various venues along Columbus, Grant, and other neighboring streets for poetry, music, and art.

Polk Street Blues Festival Polk from Pacific to Union, SF; 1-800-310-6563. Sat.-Sun. 10am-6pm, free. Attend this first annual blues festival featuring two days of live blues on two stages, vendor booths, arts and crafts, gourmet food, a family area, café seating, and more.

Tour de Fat Lindley Meadow, Golden Gate Park, SF; www.sfbike.org. 11am-5pm, free. The day begins with a Bike Parade through Golden Gate Park at 11am and continues with fire-jumping bicycle acts, cycling games, live music, New Belgium beer, bike maintenance, and, of course, free bike valet parking. All proceeds to benefit the San Francisco Bicycle Coalition and the Bay Area Ridge Trail Council.

SUNDAY 26

BAY AREA

Tropical Time Machine Forbidden Island Tiki Lounge, 1304 Lincoln, Alameda; (510) 749-0332. 2pm, free. Browse through vintage tiki, Hawaiiana, rockabilly, vinyl, collectibles along with original art, collectible mugs, vintage furniture, and more. DJ Tanoa will be spinning exotica and the Reefriders will be playing live surf music in the evening. Food will be available from the La Piñata Taco Truck and drink specials and surprises will be on hand all day.

Burners in flux

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steve@sfbg.com

Temples are the spiritual centers and gathering places for the communities that build them, standing as testaments to their faith. In traditional culture, they are lasting monuments. At Burning Man, these complex, beautiful structures are destroyed at the end of the festival.

Building something that takes months to plan, design, and construct but lasts only a week takes an unusual attitude and a faith — not in some unknowable deity, but in one another and the value of collective artistic collaboration. In many ways, the Temple of Flux, this year’s spiritual centerpiece on the playa, represents the essence of an event that is redefining the American counterculture.

Burning Man has been experiencing a renaissance in recent years as it moves from a wild bohemian celebration on the open frontier into a permanent counterculture with well-developed urban values, vast social networks, and regional manifestations around the world.

The Temple of Flux crew toiled for months in West Oakland’s huge, burner-run American Steel workspace, designing, cutting, painting, and assembling the parts and pieces of what would become five massive wooden structures. And for the last few weeks, they camped and worked in the desert to create what looks like a stunning series of peaks and canyons, dotted with caves and niches that tens of thousands of visitors will explore this week.

Even with volunteer labor, this 21,600 square foot project cost $180,000. And on Sunday, Sept. 5th, it will be completely destroyed by a carefully orchestrated fire. Yet its real value will linger on in the spirit, skills, and community that created it. And that’s true of many of the projects that comprise Black Rock City and this year’s particularly timely art theme: Metropolis: The Life of Cities.

The city that nearly 50,000 citizens build for Burning Man each year is one of world’s great urban centers while it stands, with mind-blowing art and world-class entertainment offered free to all in a stunning visual environment. The $210–$360 ticket that people buy to attend the event only entitles them to help build the city.

But it doesn’t last — the city is dismantled entirely, and some of the most impressive art is destroyed. Why do people devote months of their lives to build art that will be burned in a week?

An ambitious undertaking like the Temple of Flux required five carefully packed semi trucks to move and a mind-boggling logistical effort to construct in the hostile world of the Nevada desert. Making it happen was like a full-time unpaid job for four months for many of the more than 200 diverse volunteers.

I spent four months embedded with the crew and helped build the Temple, seeking to understand what drove the artists and builders. The question is pronounced, the answers varied, but it comes down to one of the defining characteristics of Burning Man: the process, the work, the experience, the challenge, and the ability to bond with and learn from others was far more important than the final product.

The three project principals and designers — Rebecca Anders, Jessica Hobbs, and PK Kimelman — have been lauded within the Burning Man community, but they say they are humbled by the efforts of the team that supported them and their vision.

“I was under the impression that I’d have to call in a lot of favors, but people have been coming out of the woodwork,” PK, a veteran of the Space Cowboys sound collective who is new to making large-scale art, told me in the desert. “It’s a very diverse group of people in their personalities and backgrounds, but it’s amazing how it’s become just one cohesive group without any factions.”

Indeed, a steady in-flow of volunteers showed up, ranging from experienced builders and grizzled Burning Man veterans to first-time burners (and a few who weren’t even attending the event) with no relevant skills but a desire to help in any way they can. Almost all said they were honored to simply be a part of the project and were willing to devote themselves to it.

“I’ve been amazed by people’s dedication and devotion. That doesn’t necessarily happen in the real world,” PK said.

This was a project that required an immense commitment, from raising the $120,000 needed to supplement a $60,000 art grant from Burning Man organizers to the thousands of person-hours required to build and burn it. And there were many unexpected obstacles to overcome along the way, such as when PayPal froze the group’s finances just as they were leaving for the playa.

 

BEFORE METROPOLIS

The only set pieces at Burning Man each year are the Man and the Temple, which get burned on successive nights as the week ends. Only the base of the Man changes each year, but the Temple gets designed from scratch. This is the first year the Temple isn’t a traditional building, but rather a throwback to precivilization.

The temple’s structure resembles five dunes, named for notable ridges, canyons, and land forms — Antelope, Bryce, Cayuga, Dumont, and El Dorado — the latter the biggest at more than 80 feet tall. Together they form sheltering canyons and create a contrast to the event’s Metropolis art theme and the tower that the Man stands on this year.

“Before we even discussed it together, we all gravitated toward the idea of natural formations, and the more we talked about it, the more it made sense. We wanted to relate Metropolis back to where we came from,” said Jessica Hobbs, who has done several large-scale artworks at Burning Man, last year creating Fishbug with fellow Temple artist Rebecca Anders.

Rebecca and Jess are veterans of the fire arts collective Flaming Lotus Girls (see “Angels of the Apocalypse,” 8/17/05), whose members are playing key roles with the Temple project as the group takes a year off. Rebecca has known PK since college and they’ve long talked about doing a big project together. The opportunity presented itself this year when Burning Man officials approached Jess and Rebecca about doing the Temple.

An architect by training, PK said the design and theme aren’t as incongruous as they might initially seem. “If the city was going to be architectural, then the Temple should stand in counterpoint to that and go back to where our collective enterprise began. Man originally sought shelter and dwelling in the land, in caves, and in canyons, and it was only after existing in the cradle of the earth, literally, that man then started making and building structures that became more and more elaborate … and we relate to it in very much the same way we once related to the peaks and canyons,” PK said.

Yet if the temple design seems to buck the Metropolis theme, the massive collaboration that created it epitomizes the urban ideal that Black Rock City is all about these days, as the chaotic frontier of old becomes a vibrant city with a distinctive DIY culture. The Temple of Flux drew together people of all skill sets from a wide variety of camps to design, build, fundraise, support, and create the nonprofit Flux Foundation to continue the collaboration into the future.

From the first meeting in mid-May, the project was broken down into teams devoted to design and structural engineering, fundraising, construction, a legal team (to create the nonprofit Flux Foundation, among other things), infrastructure and logistics, documentation, and the burn team, each headed by capable, experienced leaders (most of them women) with the authority to make myriad decisions big and small along the way.

“Big projects are really tough if I try to think about the whole thing all at once,” Jess told me June 6 during the regular Monday evening meeting and work session at American Steel.

Even at that early stage, before the design was done and all the wood had been ordered, there were already many moving parts to the project. A demonstration wall had been built to develop the look for the exterior cladding; a cutting station for creating the plywood strips for the cladding and a painting station for whitewashing them; 10 A-frames from Dumont — the smallest dune, the only one that would fit in the workspace — reached up about 20 feet and created a slow twist; scale models of the whole project were built and refined; and the whiteboard was filled with fundraiser dates and other project details.

Over the coming weeks, Dumont would be cladded with plywood strips and shapes, then torn apart and recladded, several times over, as part of the learning and training process. Caves and benches were added and refined. “This is the only one we can build in the shop, so this is our petri dish,” Rebecca said.

Johnny Poynton, a British carpenter and psychedelic therapist who didn’t really know anyone with the project but joined after his own request to Burning Man for “a ridiculous amount of money” for a lighthouse project was rejected, quickly became an integral member of the team, and perhaps its most colorful.

He had been going to Burning Man for 10 years with his son, Max, who is now 26. They each have been involved with a variety of camps, together and separately, something that has drawn them closer together. “It’s something we’ve bonded over, to say the least,” said Max, who worked hard on the Temple.

That kind of connecting through a shared purpose is important to Johnny, who quickly developed affectionate relationships with those on the project. He said it is the project, the shared vision, that unites people more than casual social connections. “For me, it’s not about how people are interconnected. It’s about what they want to do,” Johnny said.

Catie Magee, another former Flaming Lotus Girl, took on the role of project den mother, seeing to its myriad details while the principals initially focused on design and wrangling needed expertise and supplies. She was also dealing with Burning Man brass, who knew the project was underfunded but promised to make up for it with logistical support, free tickets, and as many early arrival passes as they needed to finish this labor-intensive project.

“From what we gather,” Catie said at the June 6 meeting of the passes needed to facilitate a large crew on the playa starting Aug. 13, “we get as many as we need.”

 

THE NATURE OF ART

The Flaming Lotus Girls, who work in steel and fire, have always focused on teaching and spreading the skills and knowledge to as many people as they could. But that was even easier to do with an accessible medium like wood, and all the more essential on a project of this scale. They needed as many people as possible to understand the design and do the work.

“A lot of us come from groups where we encourage empowerment and teaching,” Jess told the group during one meeting. “If the opportunity is there, please take it [and teach skills to someone who needs them].”

It was something all the leads encouraged throughout the project. “The design is about horizontal learning,” PK told group, referring to how the knowledge gets spread, with one person teaching another, who then teaches another.

The cladding on Dumont was placed and removed several times with different teams to hone the design and facilitate learning, waiting until late July to finally break it down and get its frames and cladding ready for transport to Burning Man. While the team used computer programs to design the structure and faces, the artistry came in modifying Dumont and letting it inform how the other dunes would look.

To represent the varied texture of hillsides, the plywood received a light latex whitewash, the wood grain showing through. Solid plywood sections would represent veins of solid rock, surrounded by the layers of sediment and dirt that would be created using strips of plywood randomly thatched together at varying angles.

“The metaphor we’re working for is the rock face with the various strata and how it changed over time,” Rebecca said.

“It’s important that it’s not an artist’s sketch,” PK said, but a work of art in progress. So as they learned from Dumont, studied photos of their dunes’ namesakes, and thought more about their art, the leads would draw new lines on the cardboard model they created, refining the design.

“I’m trying to use geological rules to do this. It’s all conceptual geology,” Jess said one Saturday in late June as she drew on the model with a pencil, shop glasses on her head, earplugs hanging about her neck, wearing a Power Tool Drag Races T-shirt.

In addition to doing freelance graphic design, she helps run All-Power Labs with her boyfriend, longtime Burning Man artist Jim Mason. “Work gets in the way,” said Jess, who was working on the temple project full-time. She supplemented her hands-on Burning Man art experience by studying at the San Francisco Art Institute, earning her MFA in 2005. So she brought an artistic eye to her innate social skills that made her an unflappable connecter of key people.

During a meeting at American Steel, PK said the architectural term for the way shapes are created that only fit together a few different ways is a “kit of parts,” adding, “It’s like building a puzzle without the box.”

Later, on the playa, he conveyed the concept to the group in a way that seemed downright zen. “The pieces will tell you the way more than the guidelines,” PK said of the cladding shapes and thatches. He said shapes have an inherent nature, something they want to be, and “they will show you the way if you let them.”

But the process was always more important than the product, something that was conveyed regularly through the project. At the July 12 meeting and work night, Jess, Rebecca, and Catie said the need for progress shouldn’t compromise the central mission of teaching and learning.

They told the temple crew that one woman working on the project complained that some of the more skilled men weren’t taking the time to teach her, and they said that was simply unacceptable. Rebecca even invoked the original Temple builder, artist David Best, who built all the Temples until 2005.

“David Best said, ‘Never take a tool out of a woman’s hand. It’s insulting and not OK.’ But I’d like to expand that and say never take a tool out of anyone’s hand,” Rebecca said. “Hopefully we can take on that sexism and some of the other isms in the world.”

 

TEMPLE OF FLUFF

Heavy equipment has become essential to creating the large-scale art that has been popping up in Black Rock City in recent years, so Burning Man has an Art Support Services crew to operate a fleet of cranes, construction booms, scissor lifts, and other equipment that big projects need.

For months, the Temple of Flux crew built sturdy frames that were carefully broken down for transportation on five tractor-trailers, along with hundreds of cladding thatches stacked on pallets, boxes of decorated niches, a tool room built in a shipping container, all the pieces and parts needed to create a smooth build on the playa.

“Then I get to pop in and help them make it art,” Davis, a.k.a. The Stinky Pirate, said as he prepared to take Lou Bukiet (a Flaming Lotus Girl in her early 20s) and a stack of thatches up in the boom lift on Aug. 23 to staple the cladding to the windward side of Cayuga, with Jess and her artistic eye spotting from the ground.

Davis has helped build Black Rock City every year since 1999 when he joined Burning Man’s Department of Public Works. In recent years, he has operated heavy equipment for a variety of notable artworks, such as Big Rig Jig and the Steampunk Treehouse. He said the groups do all the prep work and “I get to come in and be a star player.”

I began my work day on the playa ripping off cladding that had been placed on wrong the night before, an exercise that was a regular occurrence as the artists sought to perfect their work.

It was a little frustrating to undo people’s hard work, and Davis even told Jess before going up into the lift with Lou, “My goal is no more redoes, whatever time we have to take for a do.” Yet it was a minor quibble with a group he said was the best on the playa.

“This is a killer group. It’s probably the best crew I’ve gotten to work with,” Davis said, explaining that it was because of their attitude and organization. “Art is more than just building the art. It’s about community, and this group is really good at taking care of each other.”

Taking care of each other was a core value with this group. Not only did the Temple team have a full kitchen crew serving three hot, yummy meals a day and massage therapists to work out sore muscles, it also had a team of “fluffers” who brought the workers snacks, water, sunscreen, cold wet bandanas, sprays from scented water bottles, and other treats, sometimes topless or in sexy outfits, always with a smile and personal connection.

Margaret Monroe, one of the head fluffers, instructed her team to always introduce themselves to workers they don’t know and to touch them on the arms or back to make a physical connection and help them feel cared for and supported.

PK said he initially bristled at the high kitchen expense and other things that seemed extraneous to the cash-strapped project. “People are eating better here than they eat back at home,” he said. But he came to realize the importance of good meals and attentive fluffers: “If you keep people happy, then it’s fun. And if it’s fun, then it’s not like work.”

 

BUILT TO BURN

Don Cain is the head of the burn team, the group charged with setting the temple on fire. They worked out of his workspace and home in Emeryville, known as the Department of Spontaneous Combustion, which is like a burner clubhouse complete with bar, rigging, classic video games, old art projects, and the equipment to make new ones.

Don grew up in Georgia working in his dad’s machine shop and did stints as a police officer — where he cross-trained with the fire department and developed a bit of pyromania — and in the Army. After that, he lived in Humboldt and then came to the Bay Area to study art photography at San Francisco State University.

He attended his first Burning Man in 2000 “and my very first night there was epic.” So he immersed himself in the culture, making massive taiko drums for the burner musical ensemble The Mutaytor, creating liquid fuel fire cannons and building massive fire-spewing tricycles.

“I’ve been doing the fire stuff for a while and I have all my fingers and toes and I haven’t set anyone on fire yet,” Don told me in his shop.

So he was the natural choice to lead the team that will “choreograph the burn” of the Temple, as Don put it, an experienced group that loves geeking out on the best ways to burn things. “We have a collection of very experienced people in the fire stuff,” Don told me. “About 50 years of experience.”

The most basic goal was to create hundreds of “burn packs” made of paraffin, sawdust, burlap, and other flammable materials to “add a lot of calories in one spot, which is what we’re after,” he said. The burn packs, stacks of kindling, and tubes of copper and chlorine shavings to create a blue-green color were placed strategically throughout the Temple as soon as the framing was done.

The idea is to break down the structure before the cladding burns away so the A-frames aren’t standing up the air. “I would like to get the structure to collapse relatively quickly,” Don said. “Then we’ll have a pile of fuel that will burn for a while.”

They also created 13 “sawdust cannons” using the finest, cleanest sawdust from the cutting of wood at American Steel, one of many creative reuses of the project’s byproducts. Tubes of the sawdust, so fine they called it “wood flour,” were placed over buried air compressors that will be silently fired off during the burn to create flammable plumes. “I’ve taken the opportunity to turn this burn into more than just setting a structure on fire,” Don said.

The Temple is where burners memorialize those who have died, something that took on personal significance with the Department of Spontaneous Combustion crew when member Randall Issac died suddenly of cancer earlier this year.

So they created the largest cave in the Temple of Flux as a memorial to him, only to have Burning Man brass threaten to close it down because of concerns about the potential fire hazard. On Aug. 25, Burning Man fire safety director Dave X (who founded the Flaming Lotus Girls in 2000) led a delegation to inspect the Temple, which includes Bettie June from the Artery, lawyer Lightning Clearwater, Tomas McCabe from Black Rocks Arts Foundation, and fire marshal Joseph P.

“The thing we’re concerned about is closed spaces, ingress and egress,” said Dave X, who assembled all the relevant department heads to consider it together.

After touring the site with PK and Jess, the group eventually agreed that the risk was manageable if the Temple Guardians who will work shifts monitoring the project during the week watch out for certain things. “Their mantra needs to be no smoking, no fire,” Dave said. Joseph also said the caves needed to be named and a protocol developed for evacuation in case of accidental fire.

“The important thing is that whoever is calling in can use the terminology we use in our dispatch center,” Joseph said.

The fire arts were largely developed in the Bay Area by burners, who have developed an expertise and understanding that exceeds most civil authorities. And even though the Temple crew was like family to him, Dave X warned them, “You guys are in the yellow zone here where you’re taking precautions.”

 

KEEPING THE PACE

On the playa, a sense of camaraderie and common purpose propelled the Temple crew to make rapid progress on the project, working all day, every day, and most of every night. Given the uncertain weather on the playa, they still felt time pressure and the need to crack the whip on the crew periodically, particularly guarding against letting the great social vibe turn into a party that steals the focus from the work at hand.

“Let this temple be your highest priority,” Rebecca also said the night of Tuesday, Aug. 24, asking for a show of hands of when people were committing to work on the project: that night, the next morning, during the heat of the next day. “Look at each other and know that you’re making a commitment to yourselves and each other.”

That sort of hard sell, used several times during the week, hardly seemed necessary most of the time. People really were there to work long hours on the project and seemed to take great pride in it — even if many also took car trips during the hottest part of the day to the nearby reservoir and the on-playa hot springs Frog Pond and Trego. This was a treat for the crew, since they are all closed during Burning Man.

By Wednesday, Aug. 25, word arrived that windy, rainy weather was on the way that weekend, which got the group even more focused on finishing. “We need to ask everybody for a really big push,” Rebecca said.

“We are so close, so we need everyone to get out there and kick ass,” Jess said that evening. “We’re going to finish this tonight, and then we’re going to have fun for the rest of the time.”

And that’s what happened, with a huge crew working until the wee hours of the morning, leaving mostly fine-tuning to go as the winds began to pick up the next day, growing to zero-visibility dust storms by evening. But they finished with time to spare before the event began on Aug. 30, despite a nasty storm rolling in on the final weekend, complicating the breakdown of the camp and touched frayed nerves.

Seeing this massive project through was particularly poignant for PK, who suffered a seizure at Burning Man in 2001, leaving the playa with Rebecca and ending up getting a golf ball-sized brain tumor removed, the first of two craniotomies that left him partially paralyzed on his left side.

“I should have been dead by now if you look at the averages. I should have been dead a long time ago. So you learn to appreciate life in a slightly new way,” PK told me as the project was just getting underway. “The minute you give up the lust for life is the minute your life is over.

“Most importantly,” he continued, “you learn to appreciate the community, the people around you, and your support system.”

Catie, who has her master’s in public health and does evaluations and qualitative research, said the project was transformative for many of its participants. “It’s the capacity that has been built in people and the skills they’ve discovered,” Catie said of this project’s real value. “Even in West Oakland, people were having profound experiences. At the shop, I tell people it’s like being in love.”

And that love is likely to only grow as a spectacular fire consumes the Temple of Flux.

City Editor Steven T. Jones, who also goes by the playa name Scribe, is the author of the upcoming book The Tribes of Burning Man: How an Experimental City in the Desert Is Shaping the New American Counterculture, which draws from articles he has written for the Guardian on Flaming Lotus Girls, Burners Without Borders, Opulent Temple, Indie Circus, Borg2, and other Burning Man tribes.

 

Funny face, fecal face

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arts@sfbg.com

FALL ARTS/HAIRY EYEBALL “New Work: R. H. Quaytman” It’s appropriate that the paintings commissioned by SFMOMA for R.H. Quaytman’s first West Coast showing were conceived in response to the museum’s own photography holdings as well as the work of SF Renaissance poet Jack Spicer. I’m curious to see what sort of conversation Quaytman’s precise, labor-intensive, and site-specific silk-screens (in “seven interrelated sizes based on the golden ratio”) stage with Spicer’s salty and spicy verse. Oct. 22-Jan. 16, 2011; San Francisco Museum of Modern Art, www.sfmoma.org.

“Masami Teraoka: The Inversion of the Sacred” Masami Teraoka built his reputation in the 1980s and ’90s on his apocalyptic ukiyo-e-style paintings, which juxtaposed topical content (AIDS, the globalization of fast food) against their faithful reproduction of an older, “traditional” aesthetic. In recent years he’s turned to Renaissance altar painting as the medium of choice to express his disgust over a whole host of new evils. His latest gilded blasphemy — a triptych that reenvisions the Last Supper as a Papal stag party in hell — encompass the ever-mounting sex abuse scandals linked to the Catholic Church and the gulf oil spill. Oct. 2-Nov.13; Catharine Clark Gallery, cclarkgallery.com.

“Tammy Rae Carland: Funny Face, I Love You” For her second solo show at Silverman Gallery, Mr. Lady Records cofounder and visual artist Tammy Rae Carland presents a suite of new work inspired by female comedians. Carland’s photographs of empty stand-up stages give off a slightly forlorn vibe, to be sure, but her anywhere clubs are also sites of possibility to laugh off gender difference as well as to laugh at it. You’ll leave in stitches. Sept. 10-Oct. 23, 2010; Silverman Gallery, www.silverman-gallery.com.

“10 Years of Fecal Face, An Anniversary Show” A decade in Internet years is a long-ass time, so three cheers to founder John Trippe and his army of global correspondents for sticking to their guns these past 10 years and creating an invaluable resource and platform for Bay Area artists and visual art fans. Tripp has pulled together a who’s who of site and Fecal Face Dot Gallery alum — David Choe, Matt Furie, and Jeremy Fish, to name a few — for this epic retrospective. Support the scene that supports you. Sept. 10-Oct. 9, 2010; Luggage Store Gallery, www.luggagestoregallery.org.

“HARVEST: what have you gathered?” Just in time for the lead-up to Thanksgiving, the North of Market/Tenderloin Community Benefit District Gallery lays out quite a spread. “Harvest” asked a diverse group of TL-based artists, “What have you gathered?” Their responses should make for an interesting snapshot of the lives that comprise a neighborhood in flux. Sept. 1–Nov. 30; 134 A Golden Gate, www.nom-tlcbd.org.

“Reclaimed: Paintings From the Collection of Jacques Goudstikker” Fact: the Nazis did many shitty things, such as taking other people’s (wealthy Jews, in particular) cultural property as their own. Such was the fate of the collection of prominent Dutch art dealer Jacques Goudstikker, who had amassed a sizable number of Northern Renaissance rarities. After much effort conservators finally repieced together the collection in 2006, and now SF gets a peek at Goudstikker’s greatest hits. And what hits they are: for starters, Hendrick Avercamp’s Winter Landscape with Iceskaters (1608) could give Breughel’s peasantry a run for their money. Oct. 29-March 11, 2011; Contemporary Jewish Museum, www.thecjm.org.

“Chris Duncan: Eye Against I” Though it takes its title from a seminal album by Washington, D.C., hardcore-legends Bad Brains, “Eye Against I” can also refer to the mind/body split one undergoes when staring down one of Chris Duncan’s refracted whirlpools of color. Fry art by way of Saul Bass is one way to think about Duncan’s carefully hued spirals of isosceles triangles, but some of the guest artists scheduled for a series of accompanying live events might provide some other ways to re-see the work. Sept. 11- Oct. 16, 2010; Baer Ridgway Exhibitions, www.baerridgway.com.

“One Night Stand: A Mills MFA Group Show” Art doesn’t come much cheaper than this. The bright-eyed and bushy-tailed talents in the 2011 Mills MFA class are selling their work for under $50 a pop. Buy now or cry later after they’ve won a SECA award and made the cover of Juxtapoz. Oct. 8, 6-9 p.m.; Branch Gallery, www.branchgallery.com.

“Cliff Hengst and Wayne Smith: New Work” Both Hengst and Smith have been longtime fixtures on the SF art scene, but their work — different as it is in tone and medium — is always refreshing. Here’s hoping Hengst unveils work in line with the small gems in his last showing at 2nd Floor Projects: news photo-sourced images of demonstrations in which everything but the protestors’ signs have been blackened out. Sept. 10-Oct. 29; Gallery 16, www.gallery16.com.

“Suggestions of Life Being Lived” This exciting group show curated by Danny Orendorff and Adriane Skye Roberts promises to live up to the dare laid down by Bikini Kill many moons ago to be “worse than queer.” Bypassing the usual identity politics-centered narratives and concerns that have defined much LGBT art practice, “Suggestions” seeks out new territory for queerness, whether it be in Kirstyn Russell’s photos of gay bars past, Jeannie Simm’s intimate study of an Indonesian maid training agency, or Chris Vargas and Greg Youman’s humorous “real life” Web sitcom Falling in Love With Chris and Greg. Sept. 9-Oct. 23; SF Camerawork, www.sfcamerawork.org.


OUT OF TOWN

Not all fall hits are in the city. Borrow some wheels and head to points north and south to check out these promising shows:

“THE GOLDEN DECADE: PHOTOGRAPHY AT THE CALIFORNIA SCHOOL OF FINE ARTS, 1945-55”

Before SF Art Institute was SF Art Institute, it was known as the California School of Fine Arts and had one of the finest photography programs in post-World War II America. Set up by Ansel Adams, the program counted such celebrated photographers as Dorothea Lange, Homer Page, and Imogen Cunningham among its illustrious faculty. Smith Anderson North in San Anselmo collects an unprecedented showing of photographers who came out of the program at the height of its fame. Sept. 14-Oct. 15; Smith Anderson North, www.smithandersonnorth.com.

“2010 01SJ BIENNIAL”

You may know the way to San Jose, but San Jose knows the way to the future. The 01SJ Biennial has grown into one of the Bay Area’s premier art events, bringing together visual artists, architects, computer programmers, and a whole host of other creative doers and thinkers and unleashing their creations and collaborations across the city, this year, with the prompt to “Build Your Own World.” Sept. 16-19; www.01sj.org.

On the Cheap listings

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

THURSDAY 26

The Bearded Gentleman Books Inc., 2275 Market, SF; (415) 864-6777. 7:30pm, free. Men have been growing and styling their facial hair for centuries. Hear facial hair expert Nick Burns read from his authoritative, detailed guide, The Bearded Gentleman: The Style Guide to Shaving Face, on 50 specific facial hair styles and how to grow and maintain them.

“On Artists and Institutions” Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 6pm, free. Curators Stuart Horodner and Betti-Sue Hertz and artist Sergio de la Torre discuss the relationship between local artists and their city’s arts institutions, and the meaning of “local” in an increasingly globalized art world. RSVP required, email tlam@ybca.org.

“Seedy Side of SF” Bender’s Bar and Grill, 806 South Van Ness, SF; (415) 824-1800. 8pm, free. Check out six short silent films from Grumblefish Films that depict the darker sides of San Francisco, with slapstick humor revolving around heavy drug use, hard boozing, jerk landlords, and more from the underbelly we all know and love.

BAY AREA

007 Jack London Square, 2 Webster, Oakl.; www.jacklondonsquare.com. 7:30pm, free. Practice your double agent skills at this free showing of the newest James Bond movie, Quantum of Solace, coupled with some James Bond trivia and DVD prizes. Prepare for the night by getting a martini, shaken of course, beforehand at one of the many surrounding bars.

FRIDAY 27

BAY AREA

Eat Real Festival Jack London Square, 2 Webster, Oakl.; www.eatrealfest.com. Fri. 2pm-9pm, Sat. 10:30am-9pm, Sun. 10:30am-5pm; free. Celebrate tasty, fresh, handmade food, with a focus on food craft, street food, artisan beers, and local wines at this three day food and culture festival, where no food item will be priced over $5. There will also be DIY lifestyle demonstrations, tons of live music, films, a lit fest, a Porchlight Storytelling performance on Sunday, and more.

SATURDAY 28

Climate Change, Adaptation, and the Gowen Cypress Meet in the Presidio at the parking area at the intersection of Pacific and Walnut, SF; www.wildequity.org. 10am, free. Join Brent Plater of the Wild Equity Institute and Dr. Daniel Gluesenkamp of the Bay Area Early Detection Network for a guided tour of the Presidio’s misplaced Gowen Cypress, an endangered species that is not native to the area.

Cow Palace Farmer’s Market Cow Palace, Lower Parking Lot, 2600 Geneva, SF; 9am-1pm, free. Get some fresh and affordable produce, baked and specialty goods, live music, and more at this community farmers market, happening every Saturday through October 16.

“Regeneration Art Walk” Meet at Intersection for the Arts, 446 Valencia, SF; (415) 626-2787. Noon, free. Attend this guided art walk on Valencia street of artwork curated and created by current and previous participants in Intersection’s Leadership Training Program, exploring regeneration as an integral aspect of growth in our personal lives and communities. Meet the artists and hear about their creative process and response to the theme of regeneration.

“Wondrous Strange” SFMOMA Artists Gallery, Fort Mason Building A, Fort Mason, Marina at Buchanan, SF; (415) 441-4777. 2pm, free. Attend the closing event for the exhibit, “Wondrous Strange: A Twenty-first Century Cabinet of Curiosities,” featuring works by more than a dozen Bay Area artists and including photography, sculpture, and painting, the exhibition explores themes such as evolutionary biology and history, progress and decadence, and the carnal and the intellectual.

SUNDAY 29

“Paint Out” Presidio Officer’s Club, 50 Moraga, SF; (415) 561-5500. 11am-5pm; free, $15 to enter. All artists working in any medium are invited to participate in this California Watercolor Association outdoor painting competition, where each artist has four hours to Select a subject and paint any scene visible from the grounds of the Presidio. Each artist can exhibit one completed work to be voted on for a chance to win cash prizes.

MONDAY 30

“Pint Sized Plays” Café Royale, 800 Post, (415) 441-4099. 8pm, free. Grab a beer and enjoy a series of original short plays by local writers presented in a range of tones and styles that involve people drinking beer and end once the beer is gone. Cheers!

“Up All Night” Hemlock Tavern, 1131 Polk, SF; (415) 923-0923. 7pm, free. Join in this Porchlight Storytelling Series Open Door event, where attendees are invited to tell their own five minute story about whatever it is that they were doing all night when they should have been in bed. Sign up sheet for participants will be available shortly before 7pm.

Lights out!

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NOIR (AND NOT) FILM SERIES Like many of its hardboiled antiheros, film noir is a career criminal on the lam. Constantly eluding the clutches of the historically particular and categorically retentive, it’s especially skilled at flying under the radar only to stealthily reappear years down the line. Just look at the number of times it has been sighted (as well as cited) since its initial appearance in postwar France, when critics first identified something particulier about the 1930s and ’40s American films that filled Parisian cinemas.

Noir’s notorious elasticity is on full display in “Not Necessarily Noir,” an extraordinary police lineup of double bills organized by the Roxie’s resident noir programmer Elliot Lavine. Following on the heels of Lavine’s May series “I Still Wake Up Dreaming,” which celebrated the down and dirty world of B pictures, the two-week long “Not Necessarily Noir,” as its title indicates, includes films that scan as noir more in terms of their sensibility than which video store shelf they’d sit on. From Cold War sci-fi (the original 1956 Invasion of the Body Snatchers kicks off the series) to more contemporary dramas such as Abel Ferrara’s Bad Lieutenant (1992) — and let’s not forget the 1983 WTF remake of Breathless starring Richard Gere — “Noir” plays fast and loose with genre and decade but ensures that at the core of each of its titles gleams a heart of darkness.

I’m hoping that the recent return of Mad Men will boost interest in the early 1960s rarities Lavine has programmed, all of which make the bad behavior and private tribulations of the Sterling Cooper Draper Pryce suits look like kid stuff. Let’s start with The Sadist (1961), James Landis’ lean and nasty B&W attempt to jump on Psycho‘s bandwagon. The picture’s reputation as an honorary precursor to 1974’s The Texas Chainsaw Massacre is much deserved thanks to Arch Hall Jr.’s gonzo performance as the titular thrill-killer.

With his incessant giggle, bleached pompadour, 10-yard stare, and an overhanging brow worthy of Ansel Adams, Hall Jr. is hillbilly nut-job personified, and it’s a pleasure to which him terrorize a trio of uptight schoolteachers stranded at a remote gas station. Credit is also due to the striking compositions of cinematographer Vilmos Zsigmond, who would in later decades become the Oscar-winning go-to man for Hollywood blockbusters such as The Deer Hunter (1978) and Close Encounters of the Third Kind (1977).

The psychological thriller Mirage (1965) is another title that tips its hat to Hitchcock (as does Brian De Palma’s 1976 Vertigo redo Obsession, which screens in the series’ second week). Gregory Peck stars as a bewildered accountant whose world starts to fall apart when he realizes that his daily routine has actually been a byproduct of long-term amnesia. As he attempts to recover his life pre-memory loss, first with the aid of a hired detective (Walter Matthau in a great supporting bit) and then with an old flame (Diane Baker), he discovers that someone is invested in keeping him in the dark — for good.

The real gem, though, is Jack Garfein’s criminally unavailable Something Wild (1961), which plays with his only other feature, the homoerotic military school drama The Strange One (1957). You know the gloves are off when within its first five minutes the ravishing Carroll Baker, the film’s star and director’s then-wife, is graphically raped. After running away to Manhattan, Baker’s traumatized victim is rescued from a suicide attempt by Mike (Ralph Meeker, star of 1955’s Kiss Me Deadly), a drunken mechanic who locks her in his rundown flat. Though, at times, Meeker and Baker lay on the Method acting pretty thick, Aaron Copland’s dissonant original score and cinematographer Eugen Schüfftan’s remarkable black and white photography of New York’s slums and skyscrapers push Something Wild into wonderfully strange, surreal places.

Week two, which focuses more on recent incarnations of noir, might rankle purists, but offers plenty of bullets, bloodlust, and good men turned bad. Quentin Tarantino favorite Rolling Thunder (1978) offers much gruesome fun as its claw-wielding, Vietnam vet protagonist hunts down his family’s murderers. Also worthy of rediscovery are Ivan Passer’s harrowing Cutter’s Way (1981), which also centers around a group of dissolute ‘Nam vets, and neo-noir proponent Paul Schrader’s Blue Collar (1988), a similarly working-man-minded drama about the fallout of a union office heist bungled by a group of broke Detroit auto workers.

NOT NECESSARILY NOIR

Aug. 20–Sept. 2, $5–$ 9.75

Roxie Theater

3117 16th St., SF

(415) 863-1087

www.roxie.com

Our Weekly Picks: August 18-24, 2010

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WEDNESDAY 18

THEATER

Macbeth

Cal Shakes follows its recent production of MacHomer with the original Macbeth — and proof that pop culture is but a palimpsest. This company always manages to inject new life into any well-known or overdone Shakespeare play and here, the troupe remains loyal to the dark side of everyone’s favorite regicidal maniac. The website boasts that this version doesn’t “shy away from the brutal, violent nature of the work,” so it would be imprudent of you to bring your children. Macbeth, with all its insoluble blood stains, C-sections, and beheadings will remind you of how fucked up the theater really could be back in the 1600s. (Ryan Lattanzio)

Through Sept. 12

Tues-Sun, performance times vary, $20–$65

California Shakespeare Theater

100 California Shakespeare Theater Way, Orinda

(510) 548-9666

www.calshakes.org

 

EVENT

“Tick-Tock: Linear and Visceral Expressions of Time”

In conjunction with its Now and When exhibition (on view through Sept. 4), the San Francisco Arts Commission is hosting a discussion on time between Jeannene Przyblysk, executive director of the San Francisco Bureau of Urban Secrets, and Alexander Rose, executive director of the Long Now Foundation. Time, they will argue, doesn’t just operate on a linear schedule: the past and future can be bent, juxtaposed, and collaged into other events and moments that allow the malleability of memory and untethering of tomorrow. The effects of this loosening carry a visceral register. Baby, this is moving too fast, can we slow it down a bit to figure things out? (Spencer Young)

6:30-8 p.m., free (reservations required)

SFAC Main Gallery

401 Van Ness, SF

(415) 554-6080

www.sfartscommission.org

 

MUSIC

WAVVES

Twentysomething Nathan Williams has had a pretty unbelievable couple of years, teeter-tottering between indie blog success and proud poster child for a recent glut of lazy-sounding DIY bands. Williams does little to sway critics from seeing him only as the latter — most of his lyrics glorify either weed or “being bored” — but there has always been a charming immediacy to his lackadaisical approach. Having stumbled on a winning blueprint like that, it comes as a surprise to listen to Williams’ latest album, King of the Beach, and find that the musician appears to have grown weary of making that same record over and over again. In dropping a lot of the scuzz and picking up the late Jay Reatard’s solid backing band, Beach primes Williams as the poster child for something completely different: the party record of the summer. (Peter Galvin)

With Young Prisms

7:30 p.m., $14

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

THURSDAY 19

THEATER

“Solo Performance Workshop Festival”

From under the radar comes this showcase of new and recently acclaimed solo performance, as the Solo Performance Workshop celebrates five years developing original work in StageWerx’s sub–Sutter Street lair. The venue may be underground, but shows spawned under direction of founders Bruce Pachtman (Don’t Make Me Look Too Psychotic) and performer-director W. Kamau Bell (The W. Kamau Bell Curve) have gone on to far-flung success. Some of these — including Jennifer Jajeh’s I Heart Hamas and Enzo Lombard’s Love, Humiliation, and Karaoke — return for the two-week fest, which also launches Bell’s latest venture: AAAAAAAAAARGH!: A Solo Comedy About How Frustrating Frustration Can Be. All of which stands to be pretty satisfying, actually. (Robert Avila)

Through Aug. 29

Thurs.–Sat., 8 p.m.; Sun., 7 p.m., $20–$30

StageWerx Theatre

533 Sutter, SF

www.stagewerx.org

 

VISUAL ART

“Photographer: unknown

Photography has served a casual or practical purpose in countless lives ever since cameras were widely available to the public. Still, most amateur photographers in years past probably never expected their work to be up on a gallery wall. Taking the opposite approach, Robert Tat Gallery seeks out vernacular photographs (photos not intended as art) worthy of appreciation in a new context. Their “accidental art” photos are “generally acquired at flea markets, antique stores, estate sales, or literally just ‘found.'” The gallery’s press release traces the appreciation of such found photos back to the Dada movement. But since we still haven’t fully realized the wealth of art around us, it’s exciting to see a gallery celebrating the supposedly mundane. (Sam Stander)

Through Nov. 27

Tues.–Sat., 11 a.m.–5:30 p.m. and by appointment, free

Robert Tat Gallery

49 Geary, Suite 211, SF

(415) 781-1122

www.roberttat.com

 

FRIDAY 20

DANCE

Stepology’s 2010 Bay Area Rhythm Exchange

It’s time to tap into the spirit of Gregory Hines and Fred Astaire. Stepology (the nonprofit tap organization founded by renowned tap dancer John Kloss) makes it easy to channel the tap masters with the annual Bay Area Tap Festival. Inspiring dancers and nondancers alike, Stepology’s week-long tap extravaganza brings some of the nation’s most talented tappers together to lead classes, workshops, and demonstrations. The festival culminates with the Bay Area Rhythm Exchange, an annual concert performance. Acclaimed musicians and tap artists Channing Cook Holmes, John Kloss, Mark Mendonca, Jason Rogers, Dormeshia Sumbry-Edwards, Sam Weber, and Lukas Weiss (to name a few) grace the stage at this year’s Rhythm Exchange. (Katie Gaydos)

Through Aug. 21

8 p.m., $25

Herbst Theatre

401 Van Ness, SF

(415) 392-4400

www.stepology.com

 

SATURDAY 21

FILM

Bassem Yousri

Catch two experimental documentaries by Bassem Yousri, a recipient of a 2009-10 Kala Fellowship, as part of the ongoing series “Residency Projects,” featuring works by all the fellowship artists. Yousri’s films, Keep Recording (2009) and Still Recording, are set in Cairo and Philadelphia, respectively. His premise is the same for each: use a low-budget video camera and record footage of the city and its people. In Godfrey Reggio fashion, Yousri navigates unfamiliar urban contexts, and the films’ meanings arise through this kind of episodic assembling where artist is at the mercy of environment. (Lattanzio)

2 p.m., free

Kala Gallery

2990 San Pablo, Berk

(510) 841-7000

www.kala.org

 

MUSIC

“Joe Strummer Tribute”

A tribute show can be a dicey prospect, especially if the artist being honored isn’t alive to comment. Sometimes it’s better to leave a dead legend’s legacy well enough alone instead of trying to embroider it posthumously. Still, when it comes to someone like Joe Strummer, different rules apply. Annual tributes to the punk pioneer have been held in SF for the past seven years, and something tells me that their focus on local bands would have gibed well with Strummer’s music-to-the-people ethos. This year’s show features the Armagideons, the Hooks, Monkey, Sistas in the Pit, Stigma 13, and Interecords, and its proceeds benefit Strummerville, a charity that provides funds and support to struggling musical talents the world over. (Zach Ritter)

9 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

DANCE

“House Special 2010”

ODC Theater’s “House Special” gives selected choreographers two weeks to create new dance works before premiering them in the intimate ODC Dance Commons. Now the two weeks are up and the show is ready. Although vastly different in terms of choreographic styles and interests, the three artists in residence all share a common passion for social activism. Brazilian native Tania Santiago and her dance company Aguas Da Bahia explore the deep roots of Afro-Brazilian traditions; Jesselito Bie’s Steamroller Dance Company’s newest work Big Homo Love Explosion explores sexuality, gender, and race; while Pearl Ubungen’s SF Bardo Project investigates the cultural landscape of the city while contemplating death and dying from a Tibetan Buddhist perspective. (Gaydos)

8 p.m., $15

ODC Dance Commons

351 Shotwell, SF

(415) 863-9834

www.odctheater.org

 

EVENT

Art and Soul Festival

No “adjectives on the typewriter” can quite sum up why Cake was a perfect soundtrack for the 1990s, and an even better one for the shift into the aughts and beyond. This year, for the 10th anniversary of Oakland’s Art and Soul Festival, John McCrea and his fellow fellas bring rockable irony to the Main Stage. Don’t remember “Shadow Stabbing” or “Never There”? Fear not. Cake hasn’t released a studio album since 2004, so this show will definitely jog your memory with the hits — and very few of the songs in their canon aren’t hits. Hailing from Sacramento, this band seems to understand West Coast sensibilities of spliffs, catchy riffs, and kicking it with friends to some music under a Saturday sunset. (Lattanzio)

Sat/21, 12:30 p.m. (Cake plays at 4:30 p.m.);

Sun/22, 12:45 p.m., $8–$15

12th and Broadway, Oakl

www.artandsouloakland.com

 

SUNDAY 22

FILM

Endless Love

Critically mauled at the time, this 1981 adaptation of Scott Spencer’s acclaimed novel is being offered up for “rediscovery and reevaluation” by the ever-idiosyncratic local Film on Film Foundation. Martin Hewitt plays David, a high school senior who finds the warm family vibe he lacks at home at the Butterfields, where 15-year-old daughter Jade (Brooke Shields, still wet from 1980’s The Blue Lagoon) is his girlfriend. But his passion for her runs a little too hot, even for this very free-thinking clan, and when he’s banned from future contact, he concocts a scheme to restore his status that turns disastrous. An amour fou melodrama further inflamed by director Franco Zeffirelli’s customary gauzy romanticism — and providing him with opportunity for more exposed boy butt than 1968’s Romeo and JulietEndless Love likewise swoons over roiling teenage libidos with a near-gaga intensity. There is a certain amount of adult actor hysteria and overripe sweetness, as well as only semi-convincing eroticism. But Shields is perfectly adequate in her last adolescent part, and Hewitt, whose career didn’t last, is excellent as the obsessed BF whose love is maybe a little too endless. Other attractions include a very young James Spader as Jade’s snarky older brother and Tom Cruise (his first role) as one of their friends. Yes, the book was better (if also a little overripe). But belying its camp reputation, this movie is actually pretty good. (Dennis Harvey)

4 p.m., $8

Pacific Film Archive

2757 Bancroft, Berk.

www.filmonfilm.org

 

TUESDAY 24

MUSIC

Bad Brains

Ever since their seminal 7-inch debut, 1980’s Pay to Cum, the Bad Brains have hewed a truly bizarre path through the musical landscape, perfecting punk rock and reggae on the strength of jazz fusion-honed technical ability and a commitment to speed. Their career (and that of unpredictable singer H.R.) has been peripatetic for many years now, but despite the profusion of Jah-loving jam-outs at recent shows, there’s only one Bad Brains, and they’re not getting any younger. Go to see — without hyperbole — one of the most unique bands to ever play rock ‘n’ roll. (Ben Richardson)

With Broun Fellinis

9 p.m., $26

Slim’s

333 11th St, SF

(415) 255-0333

www.slims-sf.com 

 

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On the Cheap Listings

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

WEDNESDAY 18

“El Grito de la Mission” Southern Exposure, 3030 20th St., SF; (415) 863-2141. 6pm, free. Join Southern Exposures and the youth, artists, and community partners who participated in the Mission Voices Summer program for a final exhibition featuring new work, installations, interactive performance, food, and refreshments.

Hear It Local 111 Minna Gallery, 111 Minna, SF; (415) 974-1719. 6:30pm, free. Celebrate the San Francisco launch of www.hearitlocal.com, which provides a community-building platform for the local, independent music scene. Featuring performances by the Nice Guy Trio, Quinn Deveaux, and Kelly MacFarling, a music photography exhibit by Niall David and Audra Marie Dewitt, and more.

NASA Space Telescope Randall Museum, 199 Museum Way, SF; (415) 554-9600. 7:30pm, free. Astrophysicist Bryan Mendez will tell all there is to know about NASA’s new Wide-field Infrared Survey Explorer (WISE) telescope, launched unmanned in 2009 to search for asteroids, stars, the origins of stellar and planetary systems, and anything else the galaxies could reveal.

THURSDAY 19

Chrome Chrome Retail, 580 4th St., SF; (415) 820-5070. Noon, free. All Chrome products will be 30% off all day while all proceeds from the Noon-3 BBQ and the 4pm-8pm dollar beer happy hour will benefit the San Francisco Bike Kitchen.

Drunken Dish Asian Art Museum, 200 Larkin, SF; (415) 581-3500. 5pm, $10. Head to this month’s installment of Matcha, the Asian Art Museum’s monthly late night discounted party, for a talk and demonstration on Shanghai cuisine, specifically, how to make drunken chicken. Also featuring special gallery tours, cocktails, DJ music, and more.

Jaws Hyde Street Pier, 2905 Hyde, SF; (415) 561-6662. 7:30pm, $5 suggested donation. If you thought Jaws was frightening to watch on land, see if you can survive watching it on the Eureka, “the longest floating wooden ship on Earth.” Part of the San Francisco Maritime Nat’l Park Association’s film series to raise money to benefit their education and preservation programs.

“Persistent Voices” Magnet, 4122 18th St., SF; (415) 581-1600. 8pm, free. Inspired by the anthology, Persistent Voices: Poetry by Writers Lost to AIDS, poets will read and perform works from the anthology in addition to some new pieces inspired by the book. Featured readers include Judy Grahn, Kevin Killian on Steve Abbott, Jaime Cortez, Thandiwe Thomas, and more.

SF Jazz Summerfest Union Square, Geary at Powell, SF; www.sfjazz.org. 6pm, free. Heat up your foggy summer blues with a free jazz concert in the park with Lavay Smith and Her Red Hot Skillet Lickers, known for performing classic jazz and blues mixed with big band, salsa grooves.

SATURDAY 21

Dahlias Hall of Flowers, 9th Ave. at Lincoln, SF; (415) 994-2448. Sat. 10am-5pm, Sun. 10am-4pm; free. Did you know that the Dahlia is San Francisco’s official flower? The Dahlia Society of California, responsible for the planting and upkeep of Golden Gate Park’s Dahlia Dell, is holding it’s annual show and exhibition of these fantastic flowers.

Hello Kitty Must Die San Francisco Public Library, Chinatown branch, 1135 Powell, SF; (415) 355-2888. 2:30pm, free. Hear author Angela S. Choi read from and discuss her new book, that rips into stereotypes about the well-groomed, well-behaved Asian wife with a tale about a serial killer happy to teach others how to get rid of unwanted fiancés and bosses.

Hot Glass Cold Beer Public Glass, 1750 Armstrong, SF; (415) 671-4916. 6pm; $25 donation, includes glass and beer. Take in an evening of glassblowing demonstrations by artists Paul DeSomma, Marsha Blaker, and Jeff Rogers while listening to live music and enjoying cold beer in your new one-of-a-kind, hand blown drinking glass.

SF Street Food Fest Folsom between 25th and 26th St., SF; (415) 824-2729 ext. 303. 11am-7pm, free. Enjoy some casual, affordable, delicious food made by San Francisco food entrepreneurs. Hosted by La Cocina, this Street Food Festival aims to further advocate for the creation of policies that support the formalization of mobile food vending to connect communities to a food from all classes and cultures.

BAY AREA

Art and Soul Frank H. Ogawa Plaza, City Center, 14th St. and Broadway, Oakl.; (510) 444-CITY. Sat.-Sun. noon-6pm, $10. Celebrate the past, present and future music of Oakland at this two-day concert and marketplace featuring music performances by Cake, En Vogue, Tony! Toni! Toné!, MC Hammer, Pete Escovedo, The Bittersweets, Lenny Williams, and more. Also featuring an Artisan Marketplace, with crafts and art for purchase, food vendors offering multicultural menus, dance performances, and activities.

SUNDAY 22

Sunday Streets John F. Kennedy Drive and MLK Drive, Golden Gate Park, SF; Great Highway from Lincoln to SF Zoo, SF; www. sundaystreetssf.com. 10am-3pm, free. Take to the streets for a day of healthy, family-friendly activities. This month’s street closure is “Penguins to penguins,” or Golden Gate Park to the SF Zoo.

TUESDAY 24

“Microscopic Giant” Space Gallery, 1141 Polk, SF; www.bucktoothmechanics.blogspot.com. 8pm, free. A night of local creativity with spoken word performances, storytelling, and poetry by Tracy Jones, April Wolfe, Steven Gray, Charlie Getter, and the host of NPR’s Snap Judgment Glynn Washington, open mic, live painting by artists Aaron Lawrence, Nolan Yelonek, and Noa- , and live music by DigDug.

The Photo Issue: Parker Tilghman

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SFBG Your website is more cunningly organized than a lot of photographer’s or artist’s sites. How does it relate to your photography?
Parker Tilghman I feel like my site isn’t fully representative of what I’m doing now. I’m in this weird exploration phase. I’m enjoying the medium as much as possible while I have access to tools at CCA. My website began as a creative outlet and a place to show my photography. It started with nightlife photography, but I got over it quickly. Once school started I didn’t have time to go out and I stopped working in that way to focus on my studies.

SFBG One of my favorite photos from the “night.” series on your site is of Fauxnique.
PT That was from [her show] Faux Real. It was such a cool number. I took that the last or second to last night [of the run]. I just happened to be in the front of the stage, and I was really excited when I got it. I showed it to Marc [Kate], her husband, and he was all about it. She’s so talented and I’m really thrilled about the success she has been achieving. 

SFBG “night.” also includes a photo of Veronica Klaus.
PT Veronica is probably one of my favorite women in SF. She’s amazing – so sweet and full of life and energy. One photo of her is from a big gay wedding that I shot shortly after Prop 8 passed. The other is of her and Joey Arias. Joey and Veronica were co-hosting Tingel Tangel that month. We did it really quick and dirty in the downstairs basement of The Great American Music Hall. The people behind the event wanted it to be done that night and I said if I was going to do it I wanted to take the time to do it right. I chose a spot and I set up all of my lights, but didn’t realize I was in front of the bathroom – someone took a major shit and it smelled really bad. Joey had to go on in about 15 minutes. I shot a few rolls and prayed for the best. It was classic.

SFBG Some of the bedroom and intimate interior shots from “lover no longer.” remind me a bit of the Boston School – Mark Morrisroe, David Armstrong, Nan Goldin – but they are mixed with outdoor scenes. Can you tell me a bit about that series and its subject?
PT He was this boy I was absolutely in love with. One of the first I felt I was actually in love with. He was living in NY and in graduate school at Columbia getting his MFA. Our time together was intense and very in the moment. He was here this time last year visiting me for a few weeks. The interior shots were taken in my apartment with a Polaroid Spectra. I would shoot without the flash in order to get these blurry, creepy images. I realized after we broke up that I never had a full head-on shot of him. It made sense because he was so far away both literally and emotionally. I was totally heartbroken but I  didn’t want to be a bitchy queen about it. I wanted to honor him in some way.
There are a lot of nude portraits of boys I don’t have on my site because everyone does that now. I have a beautiful collection of images of boys that I’ve encountered throughout my life. The images are a reminder of those relationships, sexual and otherwise.

SFBG You’ve made triptychs, and also series’ of related but varying images. What attracts you to that approach?
PT I’m obsessed with repetition – and how it can express obsession. People are drawn to form connections when they are confronted with multiple images in the same work. I’m interested in forming a communication between the images, whether they have something visually in common or not. In life I tend do the same stupid things over and over again. The repetition is an aesthetic choice, but it also forms a rhythm I become comfortable with and great things happen in that cycle.

SFBG What was it like to photograph Daniel Nicoletta?
PT I love Danny. He is such an idol to me and when I met him I was starstruck in a way. I think about it now and it seems silly because he is such a sweet man. I grew up queer in a small town in South Carolina. He was one of the first gay photographers I learned about through reading about Harvey Milk. He doesn’t have the recognition as a photographer that he deserves outside of SF. I feel that he has that potential now and I am very excited for him.
We spent a wonderful day together at Danny’s house when I photographed him. Danny was a bit of a bossy bottom — he tried to tell me what to do, but soon realized what he was doing and said, “I’m sorry, I’ll stop.” That image was the one moment where he let his guard down. He was fantastic and I still remain in close contact with him.
Recently, I’ve been spending some time with Arthur Tress. I photographed him last week. These photographers are coming into my life and I feel I can learn so much from them. They were there through the AIDS crisis and the Stonewall riots. They paved the way for me to make the work I am doing now.

SFBG “RGB” might be the most striking series on your site, both because of the colors and the sudden bursts of motion.
PT The original installation is on three separate televisions screens turned on their sides.  It’s fully dimensional and takes on aspects of 2-D, 3-D, and 4-D based mediums. They’re animated GIFS. I took the photographs with a stereoscopic lens and compiled the images in Photoshop to make them 3-D.
Stereoscopic imagery has been around since photography’s inception and you can still get these cheap stereoscopic lenses from Japan for about $100. At the time that I was heavily immersed in color theory- and constantly thinking about red, green, and blue. I wanted to play with those ideas on top of underlying notion of digital identity.

SFBG “marshall’s beach.” is different from some of the other series’ on your site in that it isn’t populated. Instead, you photograph detritus. It made me think of a time when I was on a beach with friends in Bolinas, and everyone was shell collecting, and I was most attracted to this bright yellow plastic bottle of Joy dishwashing liquid.
PT That series is more or less a placeholder for my site, although I do find the images to be beautiful. I was out at the beach on my birthday. The best thing I found in the sand that day was a deflated Mylar “Happy Birthday” balloon. I came back three days later and it was still there, so I kept it.
I saw this shirt on the pathway down to the water and thought, “Oh, someone’s cruising.” I walked through the bushes, but they were gone. All that was left were their condoms and lube on the ground. I began noticing that all the trash was in pairs around the area. I don’t think I’m the kind of photographer who just goes out and shoots rolls of film in hopes of finding something. That’s a boring task to me, but I like the idea of queer documentation in whatever form that takes.

SFBG That story makes me think about the waterfront and different photographers who’ve used it either to create gay photography, or documented gay life in that kind of zone. Alvin Baltrop did so in the Piers in New York, and his photos are also now a record of a Manhattan that doesn’t exist anymore. The other night I met an artist, Doug Ischar, who has a book of mid-1980s photos [Marginal Waters] of a sunbathing and cruising space in Chicago that also is no longer around. SF Camerawork had a show devoted to Alan B.Stone, who took pre-Stonewall photos of the Montreal coastline. And here in SF Denny Denfield was doing 3-D physique photography on the beaches.
PT Have you see Arthur Tress’s images from the New York piers in the ’70s? They’re fucking stunning – beautiful and violently sexual. He wouldn’t have sex with his subjects. The way he got off was by photographing these beautiful men in sexy, compromising spaces.
I like work like that because, while I’m a pervy gay boy at heart, I don’t want sex to be the overwhelming projection. I love Mapplethorpe, but more for the technical perfection and beautiful tones achieved in his prints than the blatantly sexual subject matter. I don’t want overwhelming sexuality to be present in my work because some people can’t get past it and it hinders further exploration.
For me, it’s more about having subtle undertones that are a little uncomfortable. You can feel its presence, but aren’t quite sure what is off. I think the magenta in the “Untitled.” color series is a good example of that. It has this underlying tone of strange eroticism that isn’t immediately recognizable.

SFBG There’s a specific alphabet on your main page, and around half of the letters aren’t attached to images yet. What’s to come?
PT I’m going to fill them up eventually. Knowing me, in a year’s time the entire site will be completely different. I like the format – if you get it, you get it. I live in the Tenderloin and within two days I got called a faggot twice walking down the street. I’ve been called a faggot my whole life, but I was in my own fucking neighborhood and I was just wearing boots and flannel! I didn’t even look that gay. I wanted to do something with the word ‘faggot’ and liked the idea of removing it from the alphabet completely. I like making people confused.

SFBG The image in the Guardian’s Photo Issue comes from “untitled (transparencies).” Can you tell me a bit about that series?
PT For this project I spent hours in the darkroom and sometimes forgot to eat or sleep. For me, it always starts as an aesthetic choice. I know a lot of people don’t like that idea, but I need something beautiful to work from as a point of departure. I wanted to play with pure color and investigate it was much as could within the photographic medium. I knew I wanted deep, rich color. I tried a bunch of crazy experiments with my film like pushing and pulling 5 or 6 stops at a time. I began using positive transparency film and printing it on normal color paper in order to produce a negative image. They’re double-exposed and manipulated in-camera. I can’t give away all my secrets.  There were tons of problem solving moments where I thought I would have a nervous breakdown, but it was fun to run with and work through.
The images themselves are horrific if you really look at them. I was reading a lot of Julia Kristeva, especially her writings about abjection and the duality of horror. She really defined what I was doing. I think in terms of queer art and culture she has so much to say, without even realizing it. There are so many connecting channels, even though her writing can be excruciatingly painful to read.
I was excited about making something beautiful and ugly at the same time by mutilating the figures. It’s something I’m proud enough to show, which is a big thing for me.

SFBG Your portraits of women have a mix of directness and depth.
PT Nude female portraiture is something straight male photographers do all the time. Being a gay male, the sexual tension was completely removed, which makes the gaze and the pose of the women very different.
A portrait shoot with me is like a two hour-long conversation. People ask about my camera because it’s big and imposing and it freaks them out sometimes.
I was interested in showcasing these queer women and normalizing them in a way. One person told me it’s like Cathy Opie without everything that makes them who they are. She’s concerned with all the surroundings that make them queer, while I’m interested in them when they are most vulnerable.

SFBG You’ve combined photography with different forms, from installation to bookmaking. What do you like about changing formats?
PT This is going to sound arrogant, but I don’t want to be just a photographer. I’m excited by having the opportunity to change and explore other mediums to achieve what I want. I don’t even really foresee that stopping in the near future. At the same time I’m interested in refining and focusing on what I’m trying to say and getting past making things just because they’re pretty.

SFBG What’s next?
PT I’m still playing with processes and have recently begun shooting directly onto color paper with an 8×10 camera to make paper negatives. I’m creating large wall installations of several small images. The color and detail I have been achieving is simply out of this world.

The Photo Issue: Dean Dempsey

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SFBG What’s it’s like stepping in front of your camera?
Dean Dempsey I don’t have any strong feelings about it, perhaps because I know there is so much post-production involved. I certainly behave as though I am being watched, or surveyed. A bit like what John Berger said, “Women watch themselves being looked at,” and although I’m not a biological woman that rings true for me, and perhaps for many artists who turn the camera onto themselves.There is a spectacle element involved.

SFBG How about the process of being a different person or character or being? What does it feel like — is it experimental, psychological, revelatory, any or all of the above?
DD Sometimes I surprise myself in how unexperimental it feels. I’ve never really been a fan of experiment, perhaps because I feel that it suggests a sort of aimlessness. I do, however, feel it is playful, and there certainly is a revelatory aspect to it. Psychologically, I’m constantly having to imagine the presence of characters that aren’t in fact there — especially for the multiple self-composites. I have to imagine eye-contact, gestures, and conversation. In the process, it doesn’t make any sense. I just look a bit nutty as I pose in various positions to invent relationships with characters who are not immediately present. In this respect, there again is the resurfacing of “phantom.”

SFBG Has it taken you in directions or resulted in visions you didn’t anticipate? I ask this because your series’ seem to inform each other, and in a manner that doesn’t seem predictable, even if the realized images are obviously very carefully composed.

DD The playful,psychological or phantom? Or all three?

SFBG All three. Let’s be expansive, for now.
DD The series “You, Me and the Other” has really informed the bulk of these new series’, “Fragmentations” and “Artifice.” At first I was interested in a more literal interpretation of otherness and spectacle. I wanted, and continue to want, to explore notions of belonging while questioning the ways in which ideas of normality are constructed.
But as I continued with those images, which were about the multiple and theatrical side of my work, I began to explore a little deeper why I was doing them — why I was so invested in the gaze. I’m not at all interested in making “identity art,” but I can’t deny the pivotal ways childhood has informed my practice. So from having a whole lot of myself within a single frame, there has been a complete implosion in “Fragmentations.” That erasure takes place not just to anatomically dismember my characters, but to emphasise what is left over. There is a sort of implosion in “Artifice” as well, as the characters embody something more subhuman and alienated, making it more difficult to encapsulate into specific meanings, in a way.

SFBG What kinds of reactions have you encountered to “Artifice,” and in turn to “Fragmentations”? To me, these series’ manage to be interrelated, though in a surface sense “Artifice” is quite brash and overtly performative and imaginative, while ‘Fragmentations’ is more elliptical.
DD They are very much interrelated. I’ve been working on both series’ at the same time for quite some time now. There are images in each body of work that I haven’t shown anybody because there are other images that have to come first. But yes, on the surface, there is a difference. Conceptually, they are both informed by personal biographical history and each series investigates methods of spectacle and exclusion. Although with a difference in general aesthetic, each series is about the pieces that complete us; the pieces of our body, our process, our gender – pieces of social fabric.

SFBG Biographical history is present in your work in a variety of forms or absences. How has your family responded to your photography, and in what ways might you feel a familial influence in making an image or a series?
DD It’s funny, because the only familial influence with my work is more through a variety of absences — the absence of a father, the absence of a visible Mexican identity, the absence of siblings, and so on. I met my father in 2005, just a few months before I was about to move to San Francisco to attend college. And just two years after that he was hit by a Union Pacific train, losing two limbs. So again, there is a return of absence (this time anatomical) that emerges in my photoworks. He’s been very cooperative in letting me take portraits of him, even at the site of the accident. I even showed him my reenactments of him and he asked, “I don’t remember you taking those of me, when was that?” A lifetime of transiency and drug use hasn’t made him the sharpest of knives, but it certainly has made him an interesting subject.
It was only yesterday I told my mother about it. It took over 3 years for me to process and even begin to find the language to articulate how I felt. It wasn’t so much a secret, I just didn’t know how to say it. The details of his accident continue to reveal themselves in my work, even if they are depersonalized, so I knew it was something I couldn’t avoid much longer. She hasn’t seen him in 20 years. I recorded the conversation, maybe I’ll use it for This American Life. It really is a good story.

SFBG In a different sense, just as there is absence “present” in your photography, there’s also a multiplicity of self. Does that come naturally in relation to your personality? I don’t mean this in an MPD sense, but rather do you feel a creative urge to perform and discover things through performance?
DD It must come naturally because that is in some ways a more difficult part of my process to locate. I have an idea and I know what I need, or don’t need, to materialize it. But as my various bodies of work develop and expand, I’ve become more aware of their shared concept as well as what sets them apart. It is a constant discovery. Performance is fundamental in my work, whether in the act or in the idea behind the image. My content addresses performance in relationship to the constructs of gender and race, and notions of (dis)belonging. Everybody is always performing, even when there isn’t an audience to see it. So in this way, the performer becomes its spectator. By digitally inserting myself multiple times, or even by dismembering the figures I emobody, I’m envisioning a completed project. I’m thinking of how I will see myself, or the people I perform. Not to reference Berger again, but I’m watching myself being looked at.

SFBG What drew you to photography, and what photographic works have had the strongest impact on you in life?
DD I think I was, at first, most allured by the deceptive nature of photography. The medium is often falsely attributed as being very honest and undiscerning, yet a photo (and the photographer) always omits something from the frame. They deem what is worthy enough to be documented, and they choose what is seen. And I won’t begin to mention how Photoshop and image editing software furthers this point.
A good image, or least one I personally find most engaging, is one that suggests a larger narrative but refuses to explain itself. I call them little “cinematic babies,” because these sorts of pictures act as a still, forcing us to image what is happening before and after that with which we can see. What good is a piece of art, or anything, without the implication of its audience? Without outside interest it folds. But these are all my personal opinions, I could care less about constituting what is universally “good,” I’ll leave that to the bigger-headed.
Regarding influences, it’s always a tough question for me. I tend to jump around a lot, but I’ve always enjoyed folks like Carrie Mae Weems, Andreas Gursky, and even sculptural and installation artists like Santiago Serra and Sarah Lucas.

SFBG Ah, and now we segue to the inevitable question — do you have any interest in making films?
DD Yes! It’s funny because I feel sometime these photoworks began as studies for films. Beyond the technical aspect of putting a film or video together, there is still a conceptual formula of sorts that is in the works. But working more with the moving image is definitely in my horizon, I’d say before the end of this year.

A rainbow plays tug of war: East Oakland photo contest winners

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East Oakland: beautiful, isn’t it? Deep in the Flickrs of its residents, the truth is out. Streets plagued by media images of gang violence and poverty are fodder for shots of kid’s games and preternatural beauty — and artists out there that care enough to capture it. Rene Yung, an artist who is heading the Our Oakland project, took issue with the way the community was being portrayed on TV: all the stories she saw were either crime or “rise above” tales of success. “I think so much of people’s everyday lives deserve to be celebrated.” The website she created for Our Oakland, meant to be a pride pump for this much maligned area of the Bay, sponsored a photography contest to find the photos they knew were out there. They received 22 entries, but this has gotta be due to the vagaries of Internet awareness and less a reflection of the material they sought, cuz they came up with some real pretty pictures. Care for an intro to the civic aesthetes who took the prizes? Wish granted. Check out this week’s SFBG for more stellar shots by Bay shutterbugs.

Oacia Williams has lived in East Oakland off and on since 2002. But she hasn’t seen too many rainbows there — at least skyward. The diversity on her street is part of the reason why she loves where she lives. “All the different colors and nationalities, everyone coming together. It is gorgeous,” Williams told us during the round of phone interviews we conducted with the Our Oakland winners. She took People’s Choice photo “See!! There is a Pot of Gold” (the same shot we picked out as an early favorite in the contest — see, who says community media isn’t influential?) on a day at home playing with her and her boyfriend’s kids. “The kids were tripping off the rainbow – first it was one rainbow and then the double. We were able to see it real well, which I was surprised because it was so dark out,” Williams remembered. Out came her Samsung. “Im always snapping it because you never know what you can do with it or who needs it.” She found out that Our Oakland needed it. Done and done.

“Tug of War” by Pauline Russell-Silva

“It’s just an authentic picture – I didn’t plan it. It’s from the perspective I have as an elementary school teacher, and of the kids in the area where I work,” says Pauline Russell-Silva of her first place shot. Russell Silva, a K-5 teacher at Encompass Elementary, Russell-Silva works with children on their English language development and reading skills. Her dynamic shot was taken on field day at Encompass. “We believe in educating the whole child, developing healthy body, mind and spirit,” she says. The days outside always end in a tug of war match, and the teacher’s Nikon D40 captured the shifting demographics in the East Oakland community. Russell-Silva finds it an apt photo of her neighborhood. “Sometimes there’s conflict and strife, sometimes there’s people working together.” She heard of the contest through the public library adjoining her school.

“Fanea” by Fanea Easterling

“We were so pleased by range of ages of winners in the contest,” Yung says. Taking the organization’s second place prize (and a Ipod shuffle in the bargain) was young person Fanae Clark, a student at the East Oakland Boxing Association who snapped her winning photo when Our Oakland hosted a photography workshop at the athletic center where she spars. In her artist’s statement, she said of her shot. “I also think this image shows hard work, which can get you where you want to be in life.” Yung found her shot appealing for the distinct perspective it offers. “As a young person she was being thoughtful relating to her life.”

The yellow wallpaper

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arts@sfbg.com

HAIRY EYEBALL New York City construction workers at the World Trade Center site recently unearthed an 18th-century ship hull. More interesting is that scientists believe that the structure was part of the massive landfill that extended lower Manhattan further into the Hudson River. You don’t have to read too deep to hit on the symbolism of this story, even if the occurrence at its center isn’t so uncommon in a city as densely developed and old as New York (see the 1991 discovery of a 200-year old African burial ground, also in lower Manhattan). Beneath the site where the Twin Towers fell lies further wreckage, older ruins. Nothing is ever truly gone. What lies buried will eventually surface. The present is always haunted by the past.

The same could be said of the art world, which has recently been holding some flashy curatorial séances of its own. Two exhibits don’t necessarily make a trend, but the Berkeley Art Museum’s current “Hauntology,” recently reviewed in this paper, and the Solomon R. Guggenheim Musuem’s ongoing exhibit “Haunted: Contemporary: Photography/Video/Performance,” both summon the specters of late-1980s academic theory (Derrida in name and word, in the case of BAM’s show) in their selection of works that address the unseen yet felt presences — aesthetic, historical, political — floating amid the present.

You can also add “Now, It’s About What You Can’t See” to the list, although this group show at Triple Base Gallery of paintings, drawings, and installations is not as enthralled by its organizing principle — what is absent may not be forgotten — as the previously mentioned exhibits are to critical theory and now-old debates around appropriation in photography. As Triple Base’s statement declares, though the artists vary by age and medium, their works, “provide faint shadowy traces of moments to imagine what once existed and hint at an ever-evolving history.”

The faintest traces belong to Rachel E. Foster’s wall installation, which is practically invisible from certain angles. Only by moving back and forth in front of the surface does the repeatedly painted word “ghost” emerge from the seemingly contiguous white field of the gallery’s wall. As in her older works involving text, here, Foster cleverly collapses medium and message, using a representational strategy to bring a word’s meaning to life. In this case, the word “ghost” becomes just that.

Unfortunately, it’s hard not to read Foster’s installation as a commentary on the small group of Eleanor Kent’s early oil paintings, which are hung on the same wall. Inspired by her life in Noe Valley in the 1960s when she was still associated with the Bay Area Figurative movement, Kent’s small-scale domestic scenes — her son playing, a couple talking over dinner — aren’t by themselves elegiac. But Foster’s apparitional wallpaper imbues Kent’s facelessness figures and rough outlines with an air of loss that might not be present otherwise.

Wallpaper is put to different use in Mara Baldwin’s How to remember where you put something, the sharpest and most moving articulation of the show’s preoccupation with absence and memory. Baldwin, it appears, has removed and rehung a large section of old wallpaper. The yellowish pattern of red and yellow flowers has faded with age, as revealed by two brighter rectangles near the section’s center that suggest the spaces where perhaps art or photos had once been hung (curiously, no nail holes are visible). But looking closer, you realize that the paper in the less-faded sections is not the same paper at all, but a continuation of the wallpaper’s design in watercolor.

The piece’s two painted sections aren’t simply indexes for what’s gone missing (which may not have even existed in the first place). Executed by Baldwin’s steady, patient hand, the painted sections also draw attention to what they are intended to replicate: the banal, mass-produced wallpaper that surrounds them. By flattening background and subject, Baldwin makes painting the aid to memory of the piece’s title, while also suggesting that “putting on a new coat of paint” always involves some form of erasure. Chechu Alava’s soft-focus portrait of a sylph-like young woman in a slip is more conventionally ghostly, but not nearly as haunting as Foster’s hidden graffiti or Baldwin’s yellow wallpaper.

 

MORE TOPOGRAPHICS

As I wrote two columns ago in my review of the multi-gallery show “They Knew What They Wanted,” the George Eastman House’s 1975 exhibit “New Topographics” — currently hanging in a reassembled version at SFMOMA — continues to cast its shadow over contemporary art and curatorial practice, particularly where landscape is concerned.

“Land Use,” at Oakland’s Swarm Gallery, could easily be a satellite to both exhibits. Bill Mattick’s color photographs documenting the ecological cost of urban and industrial development in Southern California are the closest relatives to the grim indictments of such “New Topographic” participants as Joe Deal, Robert Adams, and Lewis Baltz. Chris Sicat’s pieces of reclaimed wood “colored in” with soft graphite pencils are less successful as sculptures than as documents of the artist’s attempts to work within natural form of his materials. Sculptor Reenie Charrière takes a similar tack with manmade waste, aggregating the plastic bits that don’t make it to the recycling center into playful, biologic forms.

NOW, IT’S ABOUT WHAT YOU CAN’T SEE

Through Aug. 29

Triple Base

3041 24th St., SF

(415) 643-3943

www.basebasebase.com

LAND USE

Through Sept. 12

Swarm Gallery

560 Second St, Oakl.

(510) 839-2787

www.swarmgallery.com

Eye fidelity

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This year, the Guardian’s photo issue brings you something new, takes you out for a wild night on the town, and gets sexy in bed — not necessarily in that order.

The six photographers showcased in our annual collection of Bay Area visions include a trio of young artists with new visions of portraiture. Cover artist Dean Dempsey mixes realism and artifice to reimagine a personal history involving lost limbs. The photos of Amanda Lopez and Parker Tilghman are supercharged by a love of California and of queer life, respectively. The issue’s other three artists — Seza Bali, Sean Desmond, and Katherine Westerhout — reveal otherwise unseen (and in at least one case, tricky) beauty within the local landscape.

 


Seza Bali


Highway 1 Overlook (from “New Landscapes”), 2010, archival pigment print, 16″ x 54″

ABOUT THE PHOTO With this body of work, I combine traditional photography and digital technology to create images that speak of fabrication, illusion, and truth in photography. Questioning photography’s nature of representation, the images explore the ideas of real versus imaginary, scenic beauty, and the sublime. Oceans get stretched; land masses change orientation, disturbing the landscape’s passive quality. By expanding and collapsing space and changing the perception of the real, I create a new experience of a place. I am interested in this construction of impossible lands to speak of fantasy and to challenge the viewer’s beliefs about the existence of these places. By creating these idyllic and unconventional scenes, I search for the true meaning of landscape: a place mysterious and unknown to me.

CURRENT/UPCOMING SHOWS “Counterpoint 2010: Approximating Truth,” through Aug. 21. Togonon Gallery, 77 Geary, second floor, SF. Reception: Thurs/5, 5–7 p.m. (415) 398-5572, www.togonongallery.com. “Root Division’s Ninth Annual Art Auction,” Oct. 21. Root Division, 3175 17th St, SF. (415) 863-7668, www.rootdivision.org.

www.sezabali.com

 


Dean Dempsey


The Director (“Artifice” series)

Hand/gun (“Fragmentations” series), both 2010, transparency in light box, 36″ x 24″

ABOUT THE PHOTOS I’m showing from two bodies of work that share parallels in biographical history to examine personhood, normality, and social agency. In “Artifice,” I create an alienated, othered person as a way of discussing hybridity and gender in the context of the viewer’s gaze, exposing paraphernalia of process and production while simultaneously staging unreal and slightly grotesque figures. In “Fragmentations,” I anatomically deconstruct the body as discourse of origin and paternalism to retrace sights of trauma. Both series are ongoing, and I’m expanding on them in unison to construct a wider and interrelated narrative.

CURRENT SHOW “Counterpoint 2010: Approximating Truth,” through Aug. 21. Togonon Gallery, 77 Geary, 2nd floor, SF. Reception: Thurs/5, 5–7 p.m. Artists’ talk: Sat/7, 4 p.m. (415) 398-5572, www.togonongallery.com.

www.deandempsey.com

 


Parker Tilghman


Untitled (Red), 2009, c-print on glossy paper, 16″ x 20″

ART AND LIFE I believe in Gilbert and George. They refuse to distance their art from their daily lives and insist that everything they do is art. While I don’t quite take it to such an extravagant level, I do think it’s important to incorporate my work into everything I do. Otherwise, all is for naught. I utilize traditional, analog processes the wrong way to produce unexpected results. I am rather interested in exploiting and manipulating the dying aspects of the photographic medium in order to achieve surreal and dreamlike images. I spend hours in the darkroom experimenting with and fine-tuning processes that I stumble upon in my explorations. I often take inspiration from those around me. We are so fortunate in San Francisco to be surrounded by beautiful, creative people with a lot of energy to give. With their help, I want to build a new queer history.

SHOW “Spectrum Art Auction for Access Institute,” Oct. 17. Mezzanine, 444 Jessie, SF. (415) 861-5449, www.accessinst.org.

www.icaughtaglimpse.com

 


Amanda Lopez


Chandra, 2009, c-print on Fuji Crystal Archive, 20″ x 30″

ABOUT THE PHOTO This photo is part of a series I’m working on called “Cali LOVE.” The series is inspired by Dia de los Muertos, and is a collaborative project with makeup artist Jenni Tay and hairstylist Justina Downs. Chandra is a friend and agreed to let me take her picture as part of the project. Thus far, I have photographed 18 people. All of my subjects are friends or family members.  

UPCOMING SHOWS “El Tecolote: Imagining the Mission — Pasado, Present, Futuro,” Sat/7 through Aug. 29. Mission Cultural Center, 2868 Mission, SF. (415) 643-5001, www.missionculturalcenter.org.

www.amandalopezphoto.com, www.amandalopezphoto.blogspot.com

 


Katherine Westerhout


Wards VII, 2001-07, pigment on rag paper, 20.5″ x 25.5″ and 30″ x 40″

ART AND LIFE Closely related to the language of dreams, photography reveals reflections that inform my life. Within abandoned buildings, an echo punctuates human absence; carried on the light is a harbinger … These buildings are full of mystery and promise, and the longer one lingers the more embraced one feels by a presence, beyond the prosaic, in a sweeping realm, conjoined and familiar. I want others to feel a part of these places, to feel connected to the light within. True to the initial exposure, the photograph speaks directly. This photo is of Montgomery Ward’s former Western Distribution Center in East Oakland. It was taken during the site’s demolition in 2001.

CURRENT SHOWS “Wondrous Strange: A Cabinet of Twenty-first Century Curiosities,” through August 28th. San Francisco Museum of Modern Art Artists’ Gallery, Fort Mason Center, Bldg A, SF. (415) 441-4777, www.smoma.org; “Degrees of Separation: Contemporary Photography from the Permanent Collection,” through March 14, 2011. San Jose Museum of Art, 110 South Market, San Jose. (408) 271-6840, www.sjmusart.org.

www.katwest.com

 


Sean Desmond


Untitled (from “The Tenderloin Project”), 2009, 35mm Giclée print, 40″ x 60″

ABOUT THE PHOTO This image is from an ongoing artistic endeavor I’ve been working on in the Tenderloin since November 2008. Through photography, I’ve had the chance to interact with the community and its residents, seeking to capture a compelling and honest portrait focused on the art of living. A common thread I’ve heard from people living on the street is that, hardships aside, they enjoy the freedom that the streets afford them. Like birds, they have no roof or limiting boundaries. For me, the photo evokes this freedom and also the capabilities that we as humans all possess. The pigeons, like the human subject in the frame, are ascending and going forth. They embark into an unknown future, where perhaps optimism will conquer adversity. It’s all in tune with my project’s aim, displaying a sense of benevolence and hope through art in one of San Francisco’s most marginalized communities.

UPCOMING SHOW “The Tenderloin Project,” Aug. 14–Sept. 7. Butter Gallery, 2303 NW Second Ave., Miami. www.buttergallery.com, www.thetenderloinproject.com

The curve of the lens

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arts@sfbg.com

PHOTO ISSUE It wasn’t until Julian ArtPorn (www.ArtPorn.com) was taping the back hem of my red and white polka dot dress up over the seat of my Nishiki road bike that I realized the Coppertone dog-girl duo of yore is, in fact, one of our most visible illustrative renditions of boudoir photography. Then, my derriere suitably exposed to his basement studio — the most revealing shot of our session — and he had arranged my hips just so, and coached me on the appropriate pin up “surprised” face, ArtPorn resumed with the flash bulbs.

“So cute!” he giggled sweetly. I vamped to his praise. A girl could get used to this.

And it would appear that many have. Boudoir photography, that classic art form old as photography itself, is a growing market, burgeoning alongside its onstage cousin, burlesque. Many wedding shutterbugs are now including a clothing-off (or clothing artfully draped over favorably lighted curves) session with the bride to value-add to their package promotions. It’s a version of risqué that newbie subjects can control completely: a good way to be bad, a cute way to be sexy?

Photo by Julian ArtPorn

But for the photographers I spoke with for this article, boudoir photography was more than a means to a paycheck. ArtPorn, who in his bohemian upbringing was “hitch-hiking alone and smoking pot at the age of five,” finds the preservation of his subjects’ sexuality a precious task. He shoots almost exclusively on a bright white background, gleeful captures of countless freaky people he’s photographed both on the Burning Man playa and his basement studio in Excelsior.

Julian’s into people’s natural sexiness — whether it takes the form of one of my “cute” booty-baring bike photos, or something rather kinkier. He’s shot ecosexual porn stars, randy leather couples, women hanging by ropes from the ceiling. Whatever gets you hot, dig? Sexuality is “one of the most magical things about anybody,” he tells me after our shoot. “It’s an amazing, powerful, and wonderful thing. The media doesn’t do a great job of representing that.”

Michelle Athanasiades, whom I meet sipping white wine in a Moroccan lounge next to Dollhouse Bettie, her Haight Street lingerie shop (www.dollhousebettie.com), would concur. “The standards that are set for beauty — they seem so unattainable in so many ways that the idea of giving yourself the freedom to express your own sexuality and beauty is a gift.” Athanasiades got into the boudoir photog game by necessity, shooting models in her retro silk and satin whispers back when her undie trade was conducted solely on the Internet.

Photo by Michelle Athanasiades

New to photography, she’s never shot outside her third floor Edwardian flat, decorated only with her romantic aesthetic and the “best diffuser ever,” San Francisco fog outside the windows. Customers began to come to her to look like her catalog of Mae Wests and Bettie Pages. “People are captivated by the elegance and sexuality of the pre-women’s liberation era,” Athanasiades tells me between sips. “There were women back then who embodied that pioneering spirit and also that sexuality.” Still a side gig to Dollhouse Bettie, her clients want photos for wedding/engagement presents, a fun thing to do with their girlfriends, or just to have ravishing, seductive photos of themselves.

As for the bike shoot — well sure, it was for the article, of course! But now that the vital background research is accessibly located in my computer hard drive, I click open the photos when I want a reminder of beauty. It was massively fun to pick out which frilly panties I wanted to sport, to bring my beloved bike along for the ride when he suggested I come up with a fun prop (even if it lacked the star quality, perhaps, of his other subjects’ interlocking nipple rings and patent leather corsets). And if I look particularly fetching, comfortable, happy in my skin — well gosh, you’re too kind! — we must consider it a reflection of the photographers themselves.

Coilhouse rules

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Founded by three brilliant renaissance women with roots in L.A. and the Bay, the alt-everything institution known as Coilhouse exists both as a fantastic groupblog and a quasi-quarterly magazine. According to the mission statement on their website, “Coilhouse is a love letter to alternative culture, written in an era when alternative culture no longer exists.” They cover everything from fashion to visual art to film to comics, with a wealth of youtube clips and beautiful images in all their posts. These ladies — Zoetica Ebb, Meredith Yayanos, and Nadya Lev — and their various collaborators are down with Klaus Nomi and at home with esoteric Russian literature, and more than happy to share with you what made them weird.

The print incarnation of Coilhouse is on its fifth issue, released just under a month ago and already sold out online, but still available at a variety of real-world retailers. Each incarnation of the magazine has brought new experiments in design, ranging from the subtle and inspired (eerie silver foil accents on the cover of Issue 4) to the endearingly goofy (candy-colored section frontispieces in the latest issue). This issue incorporates bonus items — a pull-out poster of Chet Zar art and two trading cards featuring images from the magazine’s Dorian Gray photoshoot. The pages of the issue itself are frantically crowded with original art, photography, and outrageous pull-quotes, but in a way that ultimately suggests raw, genuine enthusiasm.

The content of the magazine is divided between interviews, photo spreads, and primer-style features. Oh, and paper dolls. The new issue features interviews with geek luminaries like horror writer Clive Barker and power-couple Neil Gaiman and Amanda Palmer. Former- Star-Trek -teen-turned-celebrity-blogger Wil Wheaton contributes a non-fiction piece excerpted from his recent book The Happiest Days of Our Lives, and Jess Nevins chronicles the history and highlights of Chinese pulp fiction as a formidable counterpart to the western version. Zoetica Ebb compiles attitudes on “shoe lust,” and Angeliska Polacheck provides a photo-heavy history of the dance part Gadjo Disko

Photography in the issue includes a tribute to the late fashion designer Tiffa Novoa as well as the aforementioned Dorian Gray concept series of photos. The images range from glamorous to grotesque, with an attractive post-goth pall over the whole affair.

Special-interest magazines have taken a huge hit in the past several years, as the Internet has expanded to cater to any and every niche curiosity, so one of the few ways to grab a wide community of readers (for a blog as well as a magazine) is to express a weird, specific aesthetic that crosses subcultural lines. The fact that Coilhouse is essentially a blog that congeals into a magazine a handful of times each year makes it squarely a product of Internet culture. Perhaps that accounts for why it’s so mad and overwhelming, but it also accounts for why it feels so fresh and energetic, and so engaged in the benefits of the magazine as a form of communication distinct from blogging.

Our Weekly Picks: July 28-August 3, 2010

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WEDNESDAY 28

VISUAL ART

“(Por)trait Revealed: A Juried Exhibition of Portrait Photography”

The latest RayKo offering runs the gamut of portraiture in American photography: Elvis impersonators, Arbus-esque twins (potentially Kubrick-esque too), among others. Combining You Are What You Eat by Mark Menjivar and Fritz Liedtke’s Skeleton in the Closet, this exhibit looks up and down the non-proverbial food chain and an obsession with keeping up appearances: the ectomorphic, the body-dysmorphic, and finally, the contents of the American fridge. This raw size-up of eating disorders and trends might leave you hungry, so I found several nearby restaurants (Supperclub, La Briciola, Chaat Café) with decent reviews on Yelp to make you feel better –– or possibly worse –– about yourself. (Ryan Lattanzio)

Through Sept. 10

Reception 6 p.m., free

RayKo Photo Center

428 Third St., SF

(415) 495-3773

www.raykophoto.com

 

THURSDAY 29

COMEDY

Tracy Morgan

Getting his first major mainstream exposure on the TV show Martin in the mid-1990s, Tracy Morgan quickly went on to join the cast of Saturday Night Live based on the strengths of his hilarious comedic talents. On SNL he created classic characters such as the moonshine-swilling “Uncle Jemima” and performed a host of side-splitting celebrity impersonations. Now turning the tables, in a manner of speaking, he pokes fun at his own celebrity on the hit NBC show 30 Rock in the guise of “Tracy Jordan” — Morgan has proven on the air that anything is possible, so expect nothing less when he hits the stage in front of a live audience. (Sean McCourt)

Thurs/29–Sat/31, 8 p.m. (also Fri/30–Sat/31, 10:15 p.m.);

Sun/1, 7:30 p.m., $40.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.livenation.com

 

DANCE

Napoles Ballet Theater

Napoles Ballet Theater might be considered a newbie in terms of other dance companies in the Bay Area, but this ballet-based modern dance company has a Cuban flair that says: NBT is here to stay. Under the artistic direction of Cuban choreographer Luis Napoles, NBT’s “First Home Season” features six different ballets by Napoles and includes the world premiere of his newest work, Lecuona. Reinventing classical ballet with elements of Afro-Cuban dance, contemporary movement, theater, and jazz, it wouldn’t be surprising if NBT’s first full-length performance in SF marks the first of many seasons to come. (Katie Gaydos)

Thurs/29-Sat/31, 8 p.m.; Sun/1, 4 p.m., $20

Dance Mission Theater

3316 24th St., SF

(415) 273-4633

www.napolesballet.org

 

FRIDAY 30

DANCE

“ODC’s Summer Sampler”

If you’re in the mood for modern dance but not sure if you can commit to sitting through a full-length performance, contemporary dance company ODC has what you want. With wine sampling, hors d’oeuvres, and a one-hour showing of some of ODC’s best works, its fourth annual “Summer Sampler” will satisfy your appetite without overloading your senses. The dance portion of the evening includes choreography by ODC artistic directors Brenda Way and KT Nelson, with audience favorites such as Nelson’s Stomp a Waltz (2006), Way’s John Somebody (1993), and ODC’s most recent premiere: Way’s sassy satire on feminine manners, Waving Not Drowning (A Guide to Elegance). (Gaydos)

Through Sat/31

6:30 p.m. (also Sat/31, 4:30 p.m.), $20

ODC Dance Commons

351 Shotwell, SF

www.odcdance.org

 

MUSIC

Zola Jesus

Opera is hardly the musical language of the young, but 21-year-old Nika Roza Danilova is as suited to the form as any goth kid from Madison, Wis/, can be. Danilova’s opera is no Carmen after all; she uses the techniques but favors atmospheric noise and murky echo, letting those sounds take the foreground over her powerful voice. As a sometime member of the band Former Ghosts and one-half of the synth-pop duo Nika + Rory (where she makes a significant case for the benefits of Auto-Tune), Danilova seems primed to find herself the catalyst for a new generation of opera singers — and fans. (Peter Galvin)

With Wolf Parade and Moools

8 p.m., $27.50

Fox Theatre

1807 Telegraph, Oakl.

1-800-745-3000

www.thefoxoakland.com

 

DANCE

Man Dance

His experiences running Central Dancer Theater in Nebraska had taught Man Dance Company founder Bryon Heinrich that audiences like theme-based programs. So for the company’s (sold-out) opening season last year, he let himself be inspired by ballet. This time he looked to romance in ballroom dancing. Joining his own company of seven men — women appear as guest artists — are ballroom professionals Roby Tristan, Chelsea Wielstein, and Eric Koptke. The first half of the evening offers mixed choreography, including young Alec Guthrie’s award-winning trio which he will perform in pointe shoes. The second half, “It Takes Two to Tango,” is a love story for ballroom and ballet dancers. (Rita Felciano)

Through Sat/31

8 p.m., $25–$45

San Francisco Conservatory of Music

50 Oak, SF

1-800-838-3000

www.mandance.org

 

VISUAL ART

“Between Currencies”

Texas-raised artist Erik Parra’s collage works prominently feature photographic images with an abiding retro aesthetic (probably because they appear to be actual old photographs), dappled with blobs or confetti-like clouds of color. The appealing result is vibrant and surprising, humorous but also a bit eerie, as colors creep into a black-and-white plane like so many stills from a forgotten, more austere version of Pleasantville (1998). Though perhaps it’s irrelevant to the ideas behind Parra’s art, this critically skewed lens on images of the not-so-distant past seems curiously complementary to the recent premier of Mad Men‘s fourth season. The gallery show opens today, but the official reception happens a week later. (Sam Stander)

Through Sept. 11

Reception Aug. 6, 5–8 p.m., free

Johansson Projects

2300 Telegraph, Oakl.

(510) 444-9140

www.johanssonprojects.com

 

SATURDAY 31

EVENT

Mama Calizo’s Voice Factory wake for 1519 Mission

Mama Calizo’s Voice Factory, having a few years ago taken over the space formerly occupied by the Jon Sims Center for the Arts, has carried forward nearly three decades of work by queer artists at 1519 Mission St. MCVF (and its new but unaffiliated off-shoot, THEOFFCENTER) promises to continue the mission of incubating queer performance, but the traditional Mission Street incubator must close its doors at the end of the month. A search for a new permanent home is underway, but in the meantime, MCVF will hold a “final performance and wake” on Saturday night to mourn, remember, and celebrate. (Robert Avila)

8 p.m., free

Mama Calizo’s Voice Factory

1519 Mission, SF

www.mcvf.org

www.theoffcenter.org

 

MUSIC

Swingin’ Utters

San Francisco’s street-punk stalwarts the Swingin’ Utters have steadily built a loyal following since they formed back in the late ’80s in Santa Cruz, and the band is back in action with a new seven-inch titled “Brand New Lungs.” Teeming with all the working-class attitude and piss and vinegar that fueled their early releases, the three-track single features Johnny Bonnel’s wonderfully ragged vocals once again mixing with Darius Koski’s searing guitars and the jackhammer rhythms of the rest of the group. A new full-length album, Here, Under Protest, is due in October, so catch them now before they hit the road for extended U.S. and European tours. (McCourt)

With Cute Lepers and Stagger and Fall

9 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slimstickets.com

 

EVENT

25th Annual Berkeley Kite Festival

Only in Berkeley do the world’s largest octopi fly through the sky in a giant octopile. No, the East Bay is not home to a freak show aquarium (as far as I know) — but it does host the annual Berkeley Kite Festival. So bust out your most impressive kites — bigger is not always better (especially when you’re trying to avoid kite-on-kite collisions) — and head over to Berkeley Marina. This might be your only chance to watch 30,000 square feet of creature kites take flight, eat corn on the cob at the kite ballet, and cheer on the Berkeley Kite Wranglers in the West Coast Kite Championships. (Gaydos)

Through Sun/1

10 a.m.–5 p.m., free

(free shuttle service to and from North Berkeley BART, 11 a.m.–5:30 p.m.)

Berkeley Marina, Cesar Chavez State Park

www.highlinekits.com

 

FILM

“Midnites for Maniacs: Macho Man-iacs Quadruple Feature”

In typical Castro Theatre tradition, Midnites For Maniacs unites Bay Area movie geeks with esoteric tastes and a palate for the weird and cult-y. Saturday is “Macho Man-iacs,” the quinto-mother of all manly movies with Stallone-starring Nighthawks (1981), Jean Claude Van Damme’s breakout film Bloodsport (1986), and two gems from the mine of John Carpenter B-movie bliss: They Live (1988) and Big Trouble in Little China (1986). Finally, this testosterone-charged program, with no X chromosomes in sight, concludes with a “Secrete Midnite Film.” All we know is it’s from 1989, not on DVD, and as the website insists, “You won’t believe there’s a 35mm print of this!” I’d bet money it’s a low-budget action flick starring a retrosexual with bad hair. (Lattanzio)

Films start at 2 p.m., $10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

MONDAY 2

MUSIC

Bomb the Music Industry!

If punk rock’s traditional values are DIY and egalitarianism, then Jeff Rosenstock of Bomb the Music Industry! is a stone cold reactionary. He’s known for blurring the line between fans and bandmates until it’s more or less invisible — bring a guitar or horn to a BTMI show, and there’s a good chance you’ll be invited onstage. Unswerving as the band’s commitment to aesthetic integrity might be, however, nobody could ever accuse BTMI of taking itself too seriously. Like their labelmates Andrew Jackson Jihad, Rosenstock and company leaven their scathing social commentary with lighthearted wit and eminently pogo-worthy arrangements. (Zach Ritter)

With Shinobu and Dan Potthast

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

TUESDAY 3

THEATER

MacHomer: The Simpsons Do Macbeth

Two of the most influential cultural icons ever, Shakespeare and The Simpsons, and two of art’s saddest sacks, Homer and Macbeth, finally arrive together on one stage, and in the form of one actor, in MacHomer: The Simpsons Do Macbeth. This solo show puts the Bard in Bart as Canadian import Rick Miller performs a daunting feat of incantation –– aside from that bewitching incantation “Double, double, toil and trouble” –– with voice impressions of more than 50 characters from the animated series. Miller is damn’d spot on, in both his display of an uncanny vocal talent and a commitment to making Shakespeare more accessible for younger audiences. (Lattanzio)

Through Aug.. 7

8 p.m. (also Aug. 6–7, 10:30 p.m.), $30–$40

Bruns Amphitheater

100 California Shakespeare Way, Orinda

(510) 548-9666

www.calshakes.org 

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

BEST OF THE BAY 2010

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Welcome to the San Francisco Bay Guardian’s Best of the Bay 2010! This is our 36th annual celebration of the people, places, and things that make living here such a ridiculous joy — from Best Burrito and Best Amateur Sports Team to Best Strip Club and beyond.

Thousands of our readers voted in our 2010 Best of the Bay Readers Poll for their favorites in more than 200 categories. You’ll find the results inside — as well as 150 Editors Picks that highlight some Guardian favorites, old and new, that we think deserve special recognition for lighting up our lives this year.

This year our theme is “A Celebration of Local Heroes.” We’ve chosen eight individuals who we feel embody the current spirit of the Bay Area and its unique values. We hope you’ll be as inspired by their stories as we are. But really, our readers and everyone who contributes to making the Bay Area a better place to live are our local heroes. So throw on that magic cape, hop on your pedal-powered Batmobile, and let’s do it!

In 1974, Esquire magazine asked us for ideas for its Best of the USA issue, which led to us publish the original Best of the Bay. Made by the people of the Bay Area for the people of the Bay Area, it’s our annual opportunity to celebrate the people and places that make this city great. We were the first weekly paper to publish a regular “best of” issue. Thirty-six years on — and 44 years after we opened our doors — we’re still going strong.

Editing this year’s installment was a hoot. I shower grateful smooches on all my collaborators, especially my right-hand amiga Caitlin Donohue, creative wiz Mirissa Neff, amazing Local Heroes photographers Keeney + Law, the totally rad Blue Sky Studios, photographer Ben Hopfer, and the ever-supportive Hunky Beau, my own personal Best of the Bay. But most of all I thank you, dear reader, for your generous participation, for making the Bay Area such an astounding place to live, and for turning us on to some great new things this year.

Marke B.

marke@sfbg.com

 


CELEBRATE WITH US!

The Guardian’s free annual Best of the Bay party is legendary — and you won’t want to miss this one. Schmooze with all the winners at Mezzanine! Rock out with Chuck Prophet, Stephanie Finch and the Company Men, and The Bitter Honeys. Thrill to the hip-hop improv of The Freeze! DJ Ome, Polite in Public photobooth, Burgermeister truck, and more!

Thursday, Aug. 5, 9 p.m., free

Mezzanine, 444 Jessie, SF.

www.sfbg.com/bestofthebay2010

 


BEST OF THE BAY STAFF

BEST OF THE BAY EDITOR

Marke B.

CREATIVE DIRECTOR

Mirissa Neff

EDITORIAL ASSISTANCE

Caitlin Donohue

ASSISTANT ART DIRECTOR

Ben Hopfer

LOCAL HEROES PHOTOGRAPHY

Keeney + Law

PHOTOGRAPHY LOCATION

Blue Sky Studios

CONTRIBUTING WRITERS

Rebecca Bowe, Bruce B. Brugmann, Kimberly Chun, Paula Connelly, Caitlin Donohue, Cheryl Eddy, Nicole Gluckstern, Johnny Ray Huston, Steven T. Jones, Virginia Miller, Tim Redmond, Paul Reidinger, Charles Russo, Amber Schadewald, David Schnur, Diane Sussman, Stephen Torres

BEST OF THE BAY PHOTOGRAPHY

Ben Hopfer, Mirissa Neff

COPY EDITORS

Caitlin Donohue, Diane Sussman

SPECIAL ASSISTANCE

Liz Brusca, Michelle Neville

ABOUT THE PHOTOGRAPHY

KEENEY + LAW

Michael Keeney and Jasmine Law met at the Brooks Institute of Photography. It didn’t take long for them to realize that their approaches complemented one another. Together they are Keeney + Law, a team that successfully balances being both professional and life partners. In photography, their shared vision is based around the idea of a vignette, where every photo is a short story with an emphasis on good light. Always striving to connect with their subjects, Keeney + Law’s collaborative process was a perfect fit for this year’s Local Heroes portrait project.

www.keeneyandlaw.com

BLUE SKY STUDIOS

The Guardian’s Local Heroes portraits were shot at Blue Sky Studios in San Francisco (with the exception of Vernon Davis, who was shot on location by Peter Bohler). We used Blue Sky’s state-of-the-art Light Grid, which is the first fully robotic lighting mechanism of its kind.

www.blueskysf.com

BEST OF THE BAY 2010

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Welcome to the San Francisco Bay Guardian’s Best of the Bay 2010! This is our 36th annual celebration of the people, places, and things that make living here such a ridiculous joy — from Best Burrito and Best Amateur Sports Team to Best Strip Club and beyond.

Thousands of our readers voted in our 2010 Best of the Bay Readers Poll for their favorites in more than 200 categories. You’ll find the results inside — as well as 150 Editors Picks that highlight some Guardian favorites, old and new, that we think deserve special recognition for lighting up our lives this year.

This year our theme is “A Celebration of Local Heroes.” We’ve chosen eight individuals who we feel embody the current spirit of the Bay Area and its unique values. We hope you’ll be as inspired by their stories as we are. But really, our readers and everyone who contributes to making the Bay Area a better place to live are our local heroes. So throw on that magic cape, hop on your pedal-powered Batmobile, and let’s do it!

In 1974, Esquire magazine asked us for ideas for its Best of the USA issue, which led to us publish the original Best of the Bay. Made by the people of the Bay Area for the people of the Bay Area, it’s our annual opportunity to celebrate the people and places that make this city great. We were the first weekly paper to publish a regular “best of” issue. Thirty-six years on — and 44 years after we opened our doors — we’re still going strong.

Editing this year’s installment was a hoot. I shower grateful smooches on all my collaborators, especially my right-hand amiga Caitlin Donohue, creative wiz Mirissa Neff, amazing Local Heroes photographers Keeney + Law, the totally rad Blue Sky Studios, photographer Ben Hopfer, and the ever-supportive Hunky Beau, my own personal Best of the Bay. But most of all I thank you, dear reader, for your generous participation, for making the Bay Area such an astounding place to live, and for turning us on to some great new things this year.

CELEBRATE WITH US

The Guardian’s free annual Best of the Bay party is legendary — and you won’t want to miss this one. Schmooze with all the winners at Mezzanine! Rock out with Chuck Prophet, Stephanie Finch and the Company Men, and The Bitter Honeys. Thrill to the hip-hop improv of The Freeze! DJ Ome, Polite in Public photobooth, Burgermeister truck, and more!

Thursday, Aug. 5, 9 p.m., free

Mezzanine, 444 Jessie, SF.

www.sfbg.com/bestofthebay2010

 


BEST OF THE BAY STAFF

BEST OF THE BAY EDITOR

Marke B.

CREATIVE DIRECTOR

Mirissa Neff

EDITORIAL ASSISTANCE

Caitlin Donohue

ASSISTANT ART DIRECTOR

Ben Hopfer

LOCAL HEROES PHOTOGRAPHY

Keeney + Law

PHOTOGRAPHY LOCATION

Blue Sky Studios

CONTRIBUTING WRITERS

Rebecca Bowe, Bruce B. Brugmann, Kimberly Chun, Paula Connelly, Caitlin Donohue, Cheryl Eddy, Nicole Gluckstern, Johnny Ray Huston, Steven T. Jones, Virginia Miller, Tim Redmond, Paul Reidinger, Charles Russo, Amber Schadewald, David Schnur, Diane Sussman, Stephen Torres

BEST OF THE BAY PHOTOGRAPHY

Ben Hopfer, Mirissa Neff

COPY EDITORS

Caitlin Donohue, Diane Sussman

SPECIAL ASSISTANCE

Liz Brusca, Michelle Neville

ABOUT THE PHOTOGRAPHY

KEENEY + LAW

Michael Keeney and Jasmine Law met at the Brooks Institute of Photography. It didn’t take long for them to realize that their approaches complemented one another. Together they are Keeney + Law, a team that successfully balances being both professional and life partners. In photography, their shared vision is based around the idea of a vignette, where every photo is a short story with an emphasis on good light. Always striving to connect with their subjects, Keeney + Law’s collaborative process was a perfect fit for this year’s Local Heroes portrait project.

www.keeneyandlaw.com

BLUE SKY STUDIOS

The Guardian’s Local Heroes portraits were shot at Blue Sky Studios in San Francisco (with the exception of Vernon Davis, who was shot on location by Peter Bohler). We used Blue Sky’s state-of-the-art Light Grid, which is the first fully robotic lighting mechanism of its kind.

www.blueskysf.com

Best of the Bay 2010 Editors Picks: Food and Drink

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Best of the Bay 2010 Editors Picks: Food and Drink


BEST PERKS FOR PROUD PERVERTS

A Web search for every cafe, a cafe for every Web search? All well and good, but what if your search is for the best goldarn double-sided dildo there is — and you’re sick of that uptight suit over there eyeing your Googles? Proudly pervy surf-and-sippers, you officially have a kick-it spot. Kink café and boutique Wicked Grounds not only brews steamy cups of Ritual coffee, but hosts regular meet-and-munches where you can warm up to your next dom, sub, or whatever you’re into these days. The welcoming staff can be easily convinced to serve coffee from a dog bowl for the right slave. (Caution: contents may be hot!) They might also be able to help out with that just-right vibe hunt: shelves by the front counter stock all the finest gear in Super Sexy Toyland.

289 Eighth St., SF. (415) 503-0405, www.wickedgrounds.com

 

BEST EFA DOSE ON TOAST

When it comes to sardines, you have to think outside the earthquake shelter. On the flavor-ometer, the tinned food of last resort (served on tarps in the shelter with Saltines and stale water) bears no resemblance to its freshly grilled or roasted self. Not only are the little silver herrings tasty, they pack a megadose of essential fatty acids, the stuff nutritionists keep nagging us to eat more of. But no one needs to tell this to the Italian-inspired chefs who created the sardine sandwich at Barbacco Eno Trattoria, the more casual relation of Perbacco in the Financial District. Unlike restaurants that play it safe with sardines by smothering them in mayonnaise and lemon juice, Barbacco tops its sardines with seared calamari. Not most people’s first choice, perhaps, but the two get along swimmingly, especially when served on an Acme torpedo roll and slathered with arugula and “roasted tomatoe condimento.”

220 California, SF. (415) 955-1919, www.barbaccosf.com

 

BEST HOLE IN ONE

When people start trash-talking donuts, it’s hard not to imagine a life in which the person was weaned on Hostess or Entenmann’s and maybe stepped up to Dunkin’ or Krispy Kreme on special occasions. In other words, we’re talking a lifetime of mass production, where the only donuts these people have encountered spent their nasty, brutish, and short lives being callously blended in giant vats and stuffed into huge ovens, untouched — nay, unkneaded! — by human hands. Not so at Dynamo Donuts & Coffee, the small, open-air stand in the Mission that is diligently working to give donuts a good name. Each day the artisanal bakery makes seven to 10 types of donuts, all by hand. Standouts include the maple-glazed bacon apple, spiced chocolate, and lemon Sichuan filled with lemon curd and Dynamo’s incomparable “dredge.”

2670 24th St., SF. (415) 920-1978, www.dynamodonut.com

 

BEST FOWL TO TABLE

Which came first: the chickens or the eggs? At Stable Cafe, what probably came first was a commitment to fresh, local, sustainable food, which led to its farm in Santa Rosa, which led to its chickens, which led to its eggs, which led to its egg and cheese breakfast sandwich, which is a savory, molten marvel of scrambled egg and cheddar on thick, toasted Acme bread. But this light, airy Mission District cafe, beautifully renovated by architect Malcolm Davis in one of SF’s original carriage houses, brings that kind of integrity to everything it does. Its credo seems to be, do a small number of things well (know thy chickens; bake thy own muffins) — and adhere it does. And if you want to pay homage to the laying lovelies who created your eggs, Stable has their photos on the wall.

2128 Folsom, SF. (415) 552-1199, www.stablecafe.com

 

BEST CZECHVARS WITH A TWIST OF BOHEMIA

For a city with such a strong bohemian reputation, San Francisco has surprisingly few spaces that capture some of the flavor of the actual place. Yes, Virginia, there really is a Bohemia — and its capital is Prague. (One prefers the emphatic German spelling: PRAG. No lazy French vowels trailing behind, doing nothing!) And, speaking of nothing, nothing says Prague quite like a mug of the beer known to the Czechs as Budvar but to us, we of the North American market — perhaps because of a potential conflict with Budweiser — as Czechvar. A splendid place to enjoy said beer, whatever its name, is at the aptly named Café Prague. The feel inside is wonderfully Mitteleuropean, while the calorie-rich food emphasizes such basics as starch, meat, and fat. You probably won’t leave hungry, or sober.

2140 Mission, SF. (415) 986-0269

 

BEST CULINARY MULTIPLE PERSONALITY

Photo by Ben Hopfer

Don’t be deceived; Red Crawfish isn’t some kind of Red Lobster knockoff. The name is (we guess) a sly joke, and the restaurant does offer crawfish. But neither the jokey name nor the serving of crawfish is what makes the restaurant special. No, the reason you’ll remember Red Crawfish is because of its split personality. And although in human beings, split personalities are generally problem personalities, it’s different — and better — with restaurants (in this case, all Jeckyll and no Hyde). By day, Red Crawfish is an ordinary-looking Tenderloin restaurant that lays out an agreeable east Asian menu. But when the sun goes down, the place morphs smoothly into a Cajun spot whose gumbo is superb. Good gumbo doesn’t exactly grow on trees in these parts, so for this dish alone, let us all give thanks to Red Crawfish, whichever one it may be.

611 Larkin, SF. (415) 771-1388

 

BEST MEXICAN LESSON

If Mexican cooking is underrated in this country, part of the reason must be that we’ve been exposed to fast-food chain tacos and, even in our very own Mission District, overexposed to the burrito — which isn’t even authentically Mexican. God save the burrito anyway; it gives a lot of bang for the buck, and that’s important in these shriveled times for starving students and plenty of others. But there’s a real education to be had as well in the foods of Mexico, and a good place to audit the class is Nopalito, an offshoot of the highly regarded Nopa. The care taken about ingredients matches that of the nearby mothership, and the menu ranges nimbly across regional specialties, many of which are unfamiliar. The carnitas are recognizable, but they are also spectacular. It will be as if you’ve never had them before.

306 Broderick, SF. (415) 437-0303, www.nopalitosf.com

 

BEST PUPUSAS AND GOOOAAAALLL!!!S

Football and food take on more global connotations at Balompié, and that’s just bueno. The restaurant is well-hung with huge flat-screen televisions showing soccer matches from around the world, and the food is splendidly Salvadorian at a modest cost. This means lots of pupusas and pasteles, along with exotica like pacaya (pickled date palm blossoms), and — to rinse down all this bounty — the Salvadorian beer Regia, which comes in bottles that resemble howitzer munitions. But the best thing about Balompié is that at its heart it’s a sports bar. Men like to watch sports on big TVs while drinking beer, and it doesn’t matter whether they’re speaking Spanish, drinking Regia, or pulling for Costa Rica, pupusas in hand.

3349 18th St. (also at 525 Seventh St. and 3801 Mission), SF. (415) 648-9199 (558-9668, 647-4000)

 

BEST CREPE ME UP BEFORE YOU GO-GO

What do we miss most about Paris in the spring? The hip-hop boys with their gold chains and exposed biceps, the gamine girls in strappy heels, the constant elusive threat of rain, the crowds at Paris-Plages, laden with beer bottles, acoustic guitars, and joie de vivre. But above all, we can’t help reminiscing about those street crepes, fresh off the griddle, just the ticket for staving off those inopportune late-night hunger pangs, and great for soaking up any excess vin ordinaire in the bargain. Hooray! The 11th Street corridor’s Crepes A Go Go serves up the best street crepes this far side of the Maginot line. Starting at just $2.50, each crepe is made to order, and filled to oozing point with a decidedly Californian array of savory or sweet options. Open until 4 a.m. on weekends, with complimentary French hip-hop and comfy street-side sofa seating in the bargain. Take that, bacon-wrapped hotdog cart.

350 11th St. and other locations, SF. (415) 503-1294

 

BEST SCONES WITH A SIDE OF ASIMOV

Do you remember when the venerable coffee shop was a place people gathered to hang out instead of network? Where gamers would shuffle their Magic decks, writers would swap paragraphs, readers would sit quietly for hours with a good book and a pot of tea, and caffeine-fueled college kids would cram like the dickens? Welcome to Borderlands Café, the newest darling of the Valencia Street corridor. An offshoot of the classic Borderlands Books sci-fi bookstore, it’s already attracted quite a cross-section of trend-spotting caffiends and café nostalgists who just want to converse without being shushed by perfectly-coiffed app-oholics. And with a huge selection of magazines, comfy chairs, and scrumptious cheddar cheese and onion scones, Borderlands has a lot to offer even the solo café dweller. Except for Wi-Fi, which is actually our favorite perk of the place.

Borderlands Café, 870 Valencia, SF. (415) 970-6998, www.borderlands-cafe.com

 

BEST MOUTHWATERING MAYAN

It’s not situated in a chic location, unless you’re looking for snazzy new rims or a car wash. But Poc Chuc is well worth a trip down a less-bustling stretch of 16th Street for its unique Spanish-Mayan fusion cuisine. Open for lunch and dinner five days a week, the small, unadorned restaurant offers an array of dishes that inject an ancient, mouthwatering twist into standard Latin American fare. (Think plenty of smoked turkey, grilled tomatoes, pickled onions, and, of course, maize in several iterations.) A platillo Maya appetizer platter combines some of its tastiest, bite-sized creations, with plenty to share among a group — but no fighting over the pork empanadas or turkey salbutes! Main dishes include the signature Poc Chuc — grilled citrus-marinated pork topped with grilled tomatoes — and a reliable daily specials menu. Go for the mole!

2886 16th St, SF. (415) 558-1853, www.pocchuc.com

 

BEST GOOEY MAGIC (NO ELVES REQUIRED)

If you don’t like cookies, feel free to skip ahead. But if you were born with taste buds and an appreciation for delicious gooeyness, you’d do well to hit up Anthony’s Cookies. There is indeed an Anthony — likely you’ll see the man himself when you stumble into his Valencia Street shop, lured by the prospect of fresh, hot, calories-be-damned treats. And if Anthony looks like the happiest guy on planet Earth, he probably is — he bakes cookies for a living, after all — using only natural ingredients. Who’s magical now, Keebler Elves? Flavors include the usual suspects, plus variations on chocolate chip (semisweet, with walnut, using white chocolate … ) done to soft-meets-crisp perfection, plus inspired creations like cookies and cream and whole wheat oatmeal.

1417 Valencia, SF. (415) 655-9834, www.anthonyscookies.com

 

BEST XXX

Sink happily into the dark brown booths at Baker and Banker for a memorable Cal cuisine dinner — sweet corn bisque with a plump lobster hush puppy, maybe, or sausage-stuffed quail in a coffee-molasses glaze. Husband and wife chef duo Jeff Banker and Lori Baker get it right with each dish. But you could visit for dessert alone with Lori’s ever-changing wonderland of a dessert menu. In fall, dessert might be pumpkin cobbler, steaming hot with a crunchy top and cooled with candied pumpkin seed ice cream. In summer, a cherry tarte tatin accented by salted caramel and amaretti rules. Awesomely, the Baker and Banker’s XXX triple-dark chocolate layer cake is a constant. This orgiastic slice stands tall with a bottom layer of dark, dense flourless chocolate. Not to be outdone, the middle is a tangy chocolate cheesecake, while the top finally gives you a density break with traditional chocolate cake. One of the more satisfying threesomes in town.

1701 Octavia, SF. (415) 351-2500, www.bakerandbanker.com

 

BEST FRESH KASHI PAN

Sandbox Bakery is a pocket-sized cafe in Bernal Heights serving Ritual Roasters and De La Paz coffee with classic pastries like Valhrona chocolate croissants or orange currant scones. But it doesn’t end there. Owner and pastry chef Mutsumi Takehara’s background ranges from Slanted Door to La Farine, and her creations span a world of taste. Sandbox’s Japanese sweet bread, or kashi pan, is a lightly sweet brioche filled with the likes of melon or yuzu marmalade with sage. Or, in its savory form, it comes challah-like with negi-miso, curry or red bean paste filling. Daily special sandwiches often express a fusion of cuisines: Thai chicken croque-monsieur; an apple, smoked gouda, and rosemary spread over fresh baguette, or a teriyaki chicken rice burger with sticky rice as bun. A Zen-like experience with Parisian spirit.

833 Cortland, SF. (415) 642-8580 , www.sandboxbakerysf.com

 

BEST HOT HAKKA

Not familiar with Hakka cuisine, the regional cooking style of Southeast China that’s got food bloggers in a hot lather? It’s time you became acquainted. Head to the Outer Richmond and get schooled at Hakka Restaurant. Hakka looks like any other nearby Chinese joint, but there’s a legitimate pride in the service and an uncommon freshness to the food. Dishes include salt-baked chicken, fried strips of pumpkin coated in salted egg, crisp Chinese broccoli sautéed in rice wine, and ngiong tew foo, or stuffed tofu cubes. Kiu nyuk, a beloved Hakka dish, has two known versions, the more common served here: fatty pork belly layered over preserved mustard greens and mushrooms in a dark and complexly herbal sugar-soy sauce. Slice through layers of skin and fat to the tender anise-scented meat and you’ll be hooked on Hakka.

4401-A Cabrillo, SF. (415) 876-6898 BEST FRIENDLY YEMENI

This spring, on the western edge of the Tenderloin, a humble little restaurant opened quietly: Yemeni’s. Owner Ali Abu Baker and his staff convey a warmth almost equal to that of the piping Yemeni bread coming from the oven (useful for sopping up hummus with strip steak). Shawerma, baba ganoush, tabbouleh, and other Middle Eastern favorites are available. But the real draws are traditional Yemeni dishes like salteh, the country’s national dish: a meat stew topped with hilbeh — a tomato-based, chutney-like dip spiced with fenugreek, garlic, and cardamom — and zhug/sahaweq, a hot pepper sauce. Sip Yemeni coffee accented with a spice mix called hawayij. Baker shares his passion for his native country’s food at prices that encourage feasting for mere dollars. Stop into neighboring Queen of Sheba market for Middle Eastern groceries to complete your culinary journey.

1098 Sutter, SF. (415) 441-8832, www.yemenirestaurant.com

 

BEST SLAMMIN’ KOREAN STEAK SANDWICH

Rhea’s Deli is an unassuming, even demure, counter hidden inside a Mission District convenience store. But then the bad-ass $8 Korean steak sandwiches come out and the gloves come off. You’ll be fighting for — or at least gladly waiting up to 30 minutes in line for — a chance to sink your teeth into one of these babies. (Smart steakers call ahead and preorder). Once you’ve scored, it’s tempting to wolf down this mountain of tender, spicy Korean beef, shredded cabbage, red onions, and cheddar cheese on a crunchy baguette. Avoid this animal urge and take it slow, allowing the pleasure to last. Rhea’s offers an array of other savory lunchables as well, from a katsu sandwich with pork loin fried in Japanese breadcrumbs to a 19 Street sandwich with roast beef, Vermont cheddar, pepper jack, avocado, and pickled jalapenos. But, you know, steak.

800 Valencia, SF. (415) 282-5255

 

BEST BEELZEBUB BREW

The appropriately named Coffee Bar offers a double whammy of appeal: it occupies an impeccably cool industrial-looking space for laptop workaholics and serves some truly eye-opening coffee. Mr. Espresso coffee beans provide the kick in bracing espressos and cappuccinos; an ultra-expensive, ultra-shiny Clover machine dispenses perfect single cups. Unlike chain-like offerings of watered-down, cloyingly sweet mochas and “specialty” coffees, the additional drink menu items here are crafted with punch. Vietnamese or Havana coffees (conveniently hot or iced for those variable summer days) are sure things. But our taste buds go up in flames for Coffee Bar’s El Diablo. A devilishly smooth mix of espresso, chipotle-infused milk, and Guittard chocolate, the robust brew marries a hint of cocoa sweetness to subtle heat. Yes, we’re probably going to hell for worshipping El Diablo. But at least we’ll be awake for it.

1890 Bryant, SF. (415) 551-8100, www.coffeebar-usa.com

 

BEST OCCASIONAL KANGABURGER

Trek to a mellow stretch of Clement Street and enter the “five-star dive” environs of Tee Off Bar & Grill. You might assume it’s all right for a beer and little else — but you’d be wrong. The place is comfortably worn, sure. But regulars and staff soon feel like old friends, often sharing one of their spare Bronx Bombers (fiery BBQ chicken wings) or beer-battered mushrooms. The next surprise comes when you exit the dim interior to a sunny back patio with picnic tables and random paraphernalia from popular pirate parties (ask your bartender). A chalkboard reveals weekend specials. Wait! Is that a $20 kangaroo burger? After you’ve balked at the price, you can’t pass up this adventurous challenge, especially when the burger is plumped up with fried onions and kiwi relish. Make sure you call ahead, since Tee Off only serves it on occasional weekends and until supplies run out. If the roo’s already hopped, other worthy eats like ostrich burgers or Paul’s Crafty mac ‘n’ cheese, a four-cheese blend with pancetta blessed by Guy Fieri himself, will satisfy.

3129 Clement, SF. (415) 752-5439, www.teeoffbarandgrill.com

 

BEST DEVILED DELIGHT

When the rustic-chic Marlowe first opened, it offered a seemingly straightforward menu of bistro staples like steak frites and cheesy cauliflower gratin that seemed anticlimactic. But chef Jennifer Puccio’s faith in the classics and elegant marshaling of simple ingredients soon paid off: raves began to roll in — especially for the jaw-widening burger loaded with caramelized onions, horseradish aioli, and bacon. But the burger isn’t the only star on the lunch menu. Diving into Marlowe’s deviled egg sandwich is not settling for second best. Simple in presentation, it’s one of the finest egg sandwiches out there, an open-faced beauty with a layer of crisp, meaty bacon, aged provolone, pickled chilis, and horseradish aioli on the side (perfect for accompanying fries). Order addictive brussels sprout chips and let the office know you won’t be back for a while. The only proper way to wrap up such a heartwarming lunch is to take a nap.

330 Townsend, SF. (415) 974-5599, www.marlowesf.com

 

BEST SOUS-VIDE SOUS-BUDGET

One expects to shell out a pretty penny to partake of gourmet cooking techniques like sous-vide, or vacuum-packed slow cooking. But Berkeley’s eVe defies such expectations with a palate-tickling, surprisingly filling two-course prix fixe menu for $25 that includes several sous-vide items. The set menu offerings change often (additional items are steadfastly priced at $11 each), but husband-and-wife chef team Christopher and Veronica Laramie always keep it lively, highlighting the tastes of Veronica’s native Peru. Grilled squid ink risotto gets a tart kick from candied kumquats and yuzu. Diver scallops are brightened by lime leaf, edamame, mint, and delicate salmon roe. A sizable piece of fatty-licious pork belly pairs with a warm watermelon radish, chive flower, and a paper-thin slice of candied Buddha’s hand. Dessert might be goat brie sweetened with apricot, red wine, and a welcome contrast of shallots and flax seeds. In other words, world-class gastronomie d’avant-garde priced to appeal to ramen-weary students.

1960 University, Berk. (510) 868-0735, www.eve-berkeley.com

 

BEST BAR BRUNCH WITH BUNNY CHAO

It is with humor and reverence that one dines at Three Papayas, a pop-up Sunday brunch from 12 p.m.-4 p.m. at Doc’s Clock bar. Mismatched Michael Jackson placemats abound, and Bibles and porn-laced comic books act as menu-holders. Creative chef Ta-Wei Lin emphasizes fresh and funky Vietnamese and Thai flavors. His menu of four or five changing items per week (everything is $8) might include pan-fried rabbit, Filipino sisig, chicken or vegan Vietnamese crepes, or viet banh canh with clams and coconut sauce. If it’s available, hop on the unusual Bunny Chao, a hollowed-out loaf of bread — filling piled neatly on the side — overflowing with green lentils, veggies, and cardamom pods. Chef Lin garnishes with seasonal fruits like figs, passion fruit, and, of course, papayas, making his plates fun to behold, but even better to eat. In the lovably grungy Doc’s setting, pair your food with a peppery bloody mary, and join your fellow dive-tastic brunchers in a round of hallelujahs.

2575 Mission, SF. (415) 824-3627, www.docsclock.com

 

BEST BIG EASY OVER EASY

Morning at Brenda’s French Soul Food: where to start? Grillades and grits or crawfish beignets? Fried shrimp po’boy or sloppy Josephine? Eggs and andouille? Oui, Oui! This wee spot on Polk Street — open for breakfast, brunch, and lunch — is a showcase of the strikingly huge flavors of New Orleans-style French and Creole cuisines. The portions are big, the atmosphere strikes a note between quaint and cosmopolitan, and wonderfully named Filipino-Creole chef (and New Orleans native) Brenda Buenviaje keeps the flavor flowing. The only drawback, besides having to brave the tiny curbside riots to get in, is having to choose among the many dreamy menu items on offer. Make sure, however, to wash down Brenda’s must-try gumbo with a glass of sweet watermelon iced tea before proceeding to the next steaming dish.

652 Polk, SF. (415) 345-8100, www.frenchsoulfood.com

 

BEST SLICE OF SPICE

From slammin’ New Mexican resto Green Chile Kitchen comes Chile Pies, a low-key dessert café offering a spicy paradise of crave-inducing organic sweets. Seriously, if you thought Southwestern desserts were frozen in a sticky Bimbo-landia of saturated fats, this joint will blow your buds. Blue corn waffle cones, Straus Family soft-serve, Café Gratitude raw vegan ice cream, and fantastic floats (ginger ale with cardamom ice cream, anyone?) are just a few of the tasty treats at the Panhandle hot spot. The main draw is the rotating cast of daily pie specials, from the simple, like banana cream, to the sophisticated, like a tangy green chile apple with walnuts and red chile honey drizzle. Can’t decide between a scoop of Three Twins Ice Cream or a slice of chocolate peanut butter pie? No problem, have both in the form of a frosty pie shake. And then there’s Chile’s piece de resistance: a classic Frito Pie, with organic Niman Ranch beef and Mexican red chile. You can have pie for dinner and dessert.

601 Baker, SF. (415) 614-9411, www.greenchilekitchen.com/chilepies

 

BEST GIANT FEAST FOR GIANTS FANS

Do thoughts of those wallet-demolishing $9 beers at AT&T Park leave you with a sinking feeling in your stomach? There’s no need to get shut out of lunch or dinner plans around game time — hightail it to nearby Hard Knox Café for a true meal steal. Heaping soul food plates of smothered pork chops, Cajun meatloaf, barbecued spare ribs, and chicken and waffles, available at super-affordable prices, will last you all 54 outs and then some. Hard Knox’s no-nonsense shrimp po’boys and hot link sandwiches to go will keep you doing the wave through extra innings at a fraction of ballpark prices. Better yet, order a perfectly battered pile of fried chicken, settle into one of the comfy booths, and watch the entire game on the flat screen. You can order round after round from Hard Knox’s stellar selection of microbrews without missing a minute of the action.

2526 Third St., SF. (415) 648-3770, www.hardknoxcafe.com

 

BEST VIRGIN KICK

Don’t know about you, but we periodically have these Jack Nicholson Five Easy Pieces chicken salad sandwich moments at oyster bars, where we want to say, “We’ll have an order of oysters with lemon, cocktail sauce, and horseradish. Now hold the oysters — and bring me the lemon, cocktail sauce, and horseradish.” That’s why whenever we order a virgin Mary at Rose Pistola in North Beach, we get the spooky feeling that the bartenders have read our mind. The secret of their piquant housemade mix is, according to several staff members, secret (although one staffer did divulge that the bartenders add horseradish to the traditional tomato juice-Tabasco-Worcestershire combo). On top of this, Rose Pistola adds a green olive, pickled onion, and slice of lemon. You won’t even miss the vodka — or the oysters.

532 Columbus, SF. (415) 399-0499, www.rosepistolasf.com

 

BEST MIX MASTER, WITH MARMALADE

Photo by Ben Hopfer

A tucked away, speakeasy-like space on the second floor of the Crescent Hotel, minus the masses and snobbery: that’s where you’ll find the Burritt Room and its founder, master mixologist Kevin Diedrich. In the brick-walled space accented with sparkly chandeliers, black and red couches, and white piano, Diedrich shakes and stirs from a reasonably-sized menu of 18 rotating cocktails. He doesn’t just craft the classics, though there are plenty of those. Diedrich also creates inventive new drinks — often featuring marmalade — like the sparkling Hitachino Sour with bourbon, orange marmalade, lemon, sugar, and orange bitters, topped with Hitachino White beer. His experience lies in some of the country’s greatest bars from East to West. Diedrich sets a welcoming, unpretentious tone, has assembled a tight team of bartenders, and will take you on tasteful journeys nostalgic and new.

417 Stockton, SF. (415) 400-0500, www.crescentsf.com

 

BEST VEGAN CHARCUTERIE

Oh, if all our utopias were this dreamily delish. Ideally situated on green perch of reclaimed woodland on the edge of the UC Berkeley campus, halcyon eatery Gather offers seasonally minded, meticulously sourced food (complete with a sizable, possibly TMI volume, available to diners, detailing all providers and particulars). Vegetarians and vegans will be pleased to know that former Millennium sous chef Sean Baker has given much thought to its selections: the menu is 50 percent vegetarian, the star of which is undoubtedly the artisanal vegan “charcuterie” platter, which might include the most delicate tofu-skin tower or an Tuscan Rose eggplant with cashew “ricotta” and fennel-top pesto. Expect biodynamic and organic California wines, as well as piquant cocktails like the Secret Breakfast, composed of smoked peach scotch, bacon cello, spicy honey, and egg whites.

2200 Oxford, Berk. (510) 809-0400, www.gatherrestaurant.com

 

BEST BOW TO THE ANCIENT BACON GODS OF CATALUNYA

With or without you, we’re set to indulge our love of refined yet pleasure-minded Catalan cooking — and the pitch-perfect Contigo, which translates as “with you,” has us murmuring “Bon profit!” like a native of the land of Gaudi and Dali. The crowds have made this industrial-moderne Noe Valley restaurant the most popular spot in the hood for its wonderfully authentic Catalan tapas, artisanal Spanish and stateside hams, and fresh Catalan flatbreads — studded with wild nettles and porcinis (add a farm egg, anchovies, or Fatted Calf bacon). Aficionados of whole-critter eating won’t shy away from the tripe and chorizo and chickpeas or the oxtail-stuffed piquillo peppers, all sourced from local organic providers. And everyone, including the finicky ankle-biters, will want the albondigas, or pork and ham meatballs. For here the pig reigns supreme, even on the cookie plate, which includes a piglet-shaped peanut butter and bacon number.

1320 Castro, SF. (415) 285-0250, www.contigosf.com

 

BEST ITTY BITTY TREATS FOR TWI-HARDS

Moist and addictive, this blood-red baby is so tiny it’s totally OK to sink your fangs into a foursome and not break the Eternal Oath of Your Diet. Sure, his type wasn’t born yesterday, but damn, the way he stares at you, his skinny jeans, that whipped topping that glistens in the sun … the Rich Red Velvet cupcake at Cups and Cakes Bakery, named for its deep, vampire-luring color and smooth, timeless flavor is enough to blow our Team Edward minds. (Jacobites can tear into other flavors on offer, like Pretty Pretty Princess and Rainbow Bright. Just sayin’.) Did we mention the rich swirl of cream cheese and the crimson sprinkles? Que bella! Step into Jennifer Emerson’s beckoning SoMa bakery and drool over the perfectly constructed cuppies therein. And don’t worry, these beauties won’t make you wait three sequels for your first bite.

451 Ninth St., SF. (415) 437-2877, www.cupsandcakesbakery.com

 

BEST AL FRESCO FEEL-GOOD

Nestled amid boxy-lofty tech startups and the frenetic energy of AT&T Park lies the small green courtyard wonderland of Crossroads Cafe. The sprightly enterprise is a component of the Delancey Street Foundation, one of the country’s most innovative self-help organizations for the homeless, which has filled up this quiet little SoMa block with 370,000 square feet of housing, vocational schools, and the well-regarded Delancey Street Restaurant. But at Crossroads, all that is readily apparent of this commendable social enterprise is the distinct impression that the staff — composed mostly of Delancey residents learning workforce skills — wants to create the best darn cafe ever. Proceeds from the large menu go toward resident education and support. Pass through the small bookstore and grab Michael Chabon’s new bestseller, order a housemade waffle or scoop of coconut ice cream, and settle into a seat on the garden patio for a little soul sunshine.

699 Delancey, SF. (415) 512-5111, www.delanceystreetfoundation.org

 

BEST MICROBREW MUTINEERS

You’re always down for a 40 on the corner, a Bud on the stoop, or a PBR from your purse on Corona Heights. But sometimes you want an actual beer. You know, the kind that doesn’t taste like you wrung out a hipster’s legwarmers in your mouth. You’ve considered venturing into the labyrinth of microbrews, but microbrew culture turns you off — kind of snobby, kind of midlife-crisis-y, definitely confusing. Relax and revolt: Beer Revolution, downtown Oakland’s new grade-A beer store, will guide you into superlative suds with deep knowledge and just the right amount of edge. Staff connoisseurs offer tastes of recommended nectars, and a generous deck studded with picnic tables encourages kicking up your Doc Martens and glugging with abandon. Besides bottled bounty, there’s a spirited band of ever-rotating, ever-satisfying selections on tap, like Meantime Scotch Ale, Caracole Nostradamus, and Alagash Black. Slip on a balaclava and pop a few caps at bland brewskis.

464 3rd St., Oakl. (510) 452-2337, www.beer-revolution.com

 

BEST SWEET BEWILDERMENT

You know those foodies (maybe you’re one) — so up on the blogs and culinary porn rags they think they’ve tasted everything under the sun. Well, unless these epicurean explorers have logged some serious hours at 100% Sweet Dessert Café in the Outer Richmond, they’ve surely left some sugary stones unturned. You simply will not find a menu that covers more enticing and bewildering acreage — at least 10 massive pages illustrated with a complex grid system that showcases a dazzling plethora of Asian desserts. Two you might want to sample: crystal rolls (clear rice paper sachets of sweet sugary goo and fresh mangos and strawberries) or a selection from the extensive jelly drink section of the menu. Sure, the many of the sample photos look like fairy tale versions of your saltwater aquarium’s decorative fauna, but your fish seem to lead delicious lives, right?

2512 Clement, SF. (415) 221-1628

 

BEST TOTALLY WORTH-IT TOOTHACHE

Photo by Ben Hopfer

When Jamie Kasselman hands you a box on your birthday, you better be stoked. Presentation is key. Before opening her candy store in the Marina, she was famous for her impeccable flair for arranging sweets on designer dishes — a clear inspiration for the achingly sweet décor at Sweetdish. Kasselman has it well stocked with classic candies, designer chocolates hailing from mouth-wateringly diverse locales ranging from Colombia to Ghana, and even some treats made closer to home. (Kasselman makes her own line of fantastic homemade flavored marshmallows. Want-want-want!) It can be difficult to decide between all the fanciful bulk candy options — we’re naturally drawn to all the strawberry and lemon goodies — but the pretty salesgirls will feed you samples of from bags of irregulars behind the counter if you ask … sweetly.

2144 Chestnut, SF. (415) 563-2144, www.thesweetdish.com

 

BEST VIRTUAL VEGGIE GURU

Vegetarian goddess Heidi Swanson started her essential 101 Cookbooks blog way back in the ancient year of 2003. It was a way to start putting her massive cookbook collection to use, combining her love of cooking with her interest in photography. The result is a comprehensive vegetarian go-to guide for making simple, delicious recipes infused with her own San Francisco flair. Swanson focuses on natural, whole foods and ingredients, frequenting SF’s many farmers markets and organic foods stores. Then she tells readers how to whip up gems like chile blackberry syrup, Tuscan ribollita, and Rajasthani buttermilk curry. Each post walks you through her experiences with colorful photos and descriptions, substitution suggestions, and cooking tips. She’s since published two meat-free meatspace cookbooks of her own — mere amuses bouches to her blog, which contains reams of virtual veggie lore. If you ever wondered what the name of that funny squash is or what to do with halloumi cheese, give her a click.

www.101cookbooks.com

 

BEST PICKLED PLEASURE REVIVAL

Oh, pickled egg! Like your glass-jarred, vinegar-soaked, bar-top cousins the pig’s foot and the giant gherkin, you have for years endured the tipsy sneers and simulated gagging of drinkers who never gave you a chance. Once the prince of any bar worth its salt, an easy snack for barflies and hofbrauistas alike, you slipped into ovoid obscurity. Now one bar has resurrected your sweet purple form by giving it a gourmet spin. Who’d pass up a go at pickled quail eggs at the Alembic in this age of adventurous eating? It just goes to show that if you repackage something, provide the proper ambience, and price something at $2, you can get someone to eat just about anything. Perfect with Alembic’s saucy cocktails, you’re a hit with highbrow tipplers. Now please put in a good word for your forgotten cousins.

1725 Haight, SF. (415) 666-0822, www.alembicbar.com

 

BEST CUTE CUBANO

Any eatery can slap some pulled pork and pickles on a panini and call it a Cuban sandwich. But true Cuban food connoisseurs venture to Market Street’s upper climes to dig in at the tiny Chan Chan Café Cubano, a cute café by day that at night becomes a paradise of traditional dishes prepared with a gourmet touch. Entrees like ropa vieja and pollo en hoya are spectacular, but you may just pack them up to go after feasting your way through the well-priced tapas menu, which includes scrumptious croquetas, hongos, and camarones criollos. Plus, hello, a couple pitchers of sangria. With true Cuban flair — when the electricity goes out, as it sometimes does, a rewarding fever of culinary improvisation descends — and a laidback, handsome staff (yes, you may have to wait a bit for your order to come out of the one-stove kitchen, but you’ll have plenty to look at), Chan Chan is indeed one of those “hidden gems.”

4690 18th St., SF. (415) 864-4199

 

BEST DAMN CIOPPINO

Photo by Ben Hopfer

Best cioppino? Them’s fightin’ words in San Francisco, where the thick, rich seafood stew originated. But we’re serious. As certified fish freaks always eager for a fix of this blues-obliviating local delicacy, we’ve tried our fair share. And we can safely say that the home-style cioppino at Sotto Mare is the best. The key — besides the incredible tang of the smoky tomato broth and flawlessly fresh crab and fish chunks, scallops, mussels, and shrimp loaded within — is the atmosphere. Run by beloved, no-nonsense North Beach legend Gigi Fiorucci (don’t squeeze that lemon wedge over your superbly grilled sand dabs or he’ll reprimand you), Sotto Mare has a true family feel, a bustling business of diverse diners, and a haphazard décor that recalls San Francisco’s ramshackle maritime past. When that steaming cioppino tureen, more than enough for two, is placed on the table by the gregarious waitstaff, you feel a delicious connection to SF history.

552 Green, SF. (415) 398-3181, www.sottomaresf.com

 

BEST WIENERAMA

Never mind the ubiquitous fancy food carts or “third wave” coffee shops springing up in back alley garages — wieners were everywhere this past year. The explosion of gourmet and not-so-gourmet hot dog stands, joints, and full-on restaurants worked to balance all the epicurean exotica with some down-home comfort for those who were raised in a broke-down Chevy on televised baseball and McDonald’s apple pies. All were worthy, but one in particular consistently heated our buns: Showdogs. This “emporium of sausages” keeps it classy with a spotless, tin-tiled interior and organic ingredients like wild boar and merguez, while still appealing to the everyday eater with a sporty sense of humor — we’re suckers for the 49er, an all-beef Schwartz dog with housemade mustard, arugula, and, gasp, real sauerkraut. Add some barbecue fries and a Trumer Pils, and this hearty barker wins best in show.

1020 Market, SF. (415) 558-9560, www.showdogssf.com

 

BEST PLACE TO HORK DOWN HALF A BIRD

“I just ate half a chicken.” That declaration is written on a Post-it stuck to a cubicle at the Guardian offices. The sticky piece of pastel paper has since been signed by other people besides the original chicken lover. What can you say? Unless you’re the staunchest vegetarian, sometimes you just get the urge to eat half a chicken. Thai BarBQ in Potrero Hill was ideal for such moments, but it’s flown the coop. Luckily, Baby Blues BBQ is here to satisfy those extra-intense and voracious aviary cravings. The restaurant’s Marion County slow-smoked yard bird is served with a tangy barbeque sauce, but be sure to ask for the special Sassy Molassy molasses sauce. Add in corn bread and a choice of two fixins (sautéed okra, mac ‘n’ cheese and corn on the cob are some of the best options) and at a grand total of $15, you’ve got a deal only a fool would cluck-cluck at.

3149 Mission, SF. (415) 896-4250, www.babybluessf.com

 

BEST RAMEN PHENOMENON

We all know about chicken soup for the soul, how about delicious soup for the skin? Because its pork bone broth contains collagen and calcium, tonkotsu ramen has a rep as the genuinely edible version of a spa facial. There are some delicious tonkotsu ramens in Vancouver and San Francisco, but they’re all matched and even superceded by the subtle one at Asuka Ramen, which manages to be rich and light within a single spoon-size sip. Ramen establishments have popped up all over the city in the last year or two, but Asuka steers clear of trendy trappings and delivers the low-priced goods. Tantanmen is Asuka’s go-to dish, but if you don’t confuse greasy strong flavor with deliciousness, its pork-and-egg laden tonkotsu is the type for you.

883 Bush, SF. (415) 567-3153

 

BEST BEEF LULU

If life was little more than vodka and pastries (with no hangovers), we’d be in heaven, and the best place to shop would be Royal Market & Bakery. Even here on this mortal playground, Royal Market and Bakery is in the running for greatest shop. Why? Tasty marinated quail, excellent caviar, homemade hummus, fresh fruit, savory eggplant rolls with cheese, dark Russian chocolates, Turkish coffee, a tremendous selection of chilled vodkas and other liquor, an overflowing nook of flaky pastries, and last but not least, Beef Lulu. A special seasoned dish of ground meat, Beef Lulu is as enjoyable as its name is funny. At a time when the city is being overrun by generic chain supermarkets, Royal makes the case for individuality devoted to regional cuisine. And the prices are better, too.

5335 Geary, SF. (415) 221-5550

 

BEST BASKET OF UBE

On a busy street south of San Francisco lies a little land of leavened love where all your Filipino baked goods needs are met with a sweet smile and an even sweeter pandecoco. We won’t require 20 questions to tell you where: the place is Bread Basket, a starkly outfitted bakery famed for its thrillas from Manila. The neighborhood favorite is BB’s pandesal, swiped fresh out of the ovens while the packs of the bun-like lovelies are still aromatically steamy. Need to bring home a little something for dessert? The joint has cornered the market on delights made from the meat of the ube, or purple yam, which Bread Basket magically transforms into the bun fillings and feathery, marzipan-like candies that sit alongside its more familiar cookies and breads.

7099 Mission, Daly City. (650) 994-7741, www.breadbasketca.com

 

BEST QUE SYRAH, HURRAH

Tucked in a sliver of a space in the West Portal commercial strip is the tantalizing Que Syrah wine bar, founded and presided over with skill and affection by the team of Stephanie and Keith McCardell. Que Syrah is the perfect place to savor a glass of wine in a friendly neighborhood setting: quiet, unpretentious, and specializing in unusual wines from small production wineries from all over the world. Stephanie and Keith serve by the glass or in intriguing flights and provide expert notes about the wine, the winemakers, and the regions involved. Every Thursday night, an array of delectable tapas enliven the tastings — chef Val Desuyo takes inspiration from his regular trips to the restaurants of Barcelona. Plus: quarterly paella parties! Seafood paella and a glass from Penedès? Sì, sì!

230 West Portal Ave., SF. (415) 731-7000, www.quesyrahsf.com

 

BEST LOBSTER ROLLIN’

Whatever queasy misgivings you may harbor about the phrase “mobile seafood shack” will instantly be dispelled once you’ve palmed (or tried to palm) a hefty Maine lobster roll from Sam’s Chowdermobile. We were turned on to this tender, brimming-over prize when one of our East Coast-native amigos texted “lobster roll = real deal” from Golden Gate Park, where you can find the edible aquarium on wheels most weekends. So we tried one for ourselves, and yep. Great lobster rolls at a reasonable price are surprisingly hard to come by ’round these Left Coast parts — we’re crabby that way. Luckily Sam’s, the mobile unit of Half Moon Bay resto Sam’s Chowder House delivers the goods. (The roll proper is enough to feed two — order a single-serving “shortie” if you want one all to yourself.) Prep yourself for crustacean heaven with a bowl of Sam’s New England chowder and a side of Old Bay fries for a true Eastern experience.

www.samschowdermobile.com