San Francisco

Le Colonial

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DINE Could there be a more enchanted address for a restaurant in San Francisco than 20 Cosmo Place? No. “Cosmo” gives us an urban, even cosmopolitan, glamour, while “place” suggests, at least, a degree of refuge from the maelstrom of city traffic. Cosmo Place does not disappoint; it has something of the air of Shepherd Market, the warren of quaint lanes stashed well off the main thoroughfares in London’s posh Mayfair district, and also of the small plazas ringed with outdoor cafes you might find near the waterfront in Barcelona.

For more than 40 years, until the early 1990s, 20 Cosmo Place was the home of Trader Vic’s, which was probably the most famous restaurant in the city and one of the best-known in the country. Although there were — and remain — other Trader Vic’s restaurants around the country and the globe, none could match Cosmo Place for sheer atmospherics. But the founder and namesake, Vic Bergeron, had died in 1984, and with his passing came a reordering of the empire that included closing the Cosmo Place restaurant. Trader Vic’s reopened some years later in the city, in the old Stars location on Golden Gate Avenue, but that experiment was short-lived.

On Cosmo Place, meanwhile, a new presence arrived in 1998. This was Le Colonial, a high-end Vietnamese spot with (like Trader Vic’s) outposts in several other major U.S. cities, including New York, Los Angeles, and Chicago. There was, for me, a certain sorrow in the passing of Trader Vic’s, which was certainly a San Francisco institution of the first order. But the transition was smooth enough, the newcomer thrived, and now, more than a decade on, Le Colonial seems as permanent as Trader Vic’s once did. Yet one cannot forget the predecessor.

When I crossed the threshold at 20 Cosmo Place recently, it was for the first time in nearly 30 years. One evening early in that long-ago June, a group of us came to the city and to Trader Vic’s as graduating college seniors, got massively blitzed on tropical drinks that came in gigantic tureens, and left … well, I don’t remember leaving. I know only that I must have. Three decades on, the basic layout came as a delightful surprise to me despite (by all accounts) being pretty much the same as before.

The entryway is still a long breezeway set with tables, wicker chairs, and potted plants covered by a roof of ironwork and glass such as you might find in a belle époque rail station. It is reached from the street, or lane, by an impressive set of stairs. At the far end of the breezeway sits a set of heavy wood doors that open to the host’s podium. Beyond, and upstairs, lay three dining areas, one of which was, once upon a time, the coveted Captain’s Cabin.

The mood these days seems a little more relaxed, although the crowd is still stylish and the Captain’s Cabin still exists. The interior design speaks in tones of elegance and, oddly, heat: starched linen table cloths and ceiling fans, plush carpeting and wicker chairs even in the main dining room. These cues might lead you to imagine that you’re sweltering at the edge of a steamy jungle instead of wondering why you forgot to wear a scarf.

As the restaurant’s name reminds us, Vietnam was a French colony for about a century, and executive chef Joseph Villanueva’s fine menu captures glints of the resulting cross-cultural pollination. Among the most compelling examples of his ambidexterity are the pan-fried brussels sprouts ($10), or rau xao­ — all the dishes bear Vietnamese names — in which the halved sprouts are cooked with portobello mushrooms and plenty of ginger before being liberally slathered with sweet chili sauce. Using such intensely flavorful ingredients to subdue a notoriously uncooperative vegetable is the culinary equivalent of an enhanced interrogation technique, but when a confirmed brussels sprouts-hater takes a tentative taste or two (after much cajoling), then serves himself a big heap, we know all the bother was worth it.

Luckily, most of the menu doesn’t need this kind of strong-arming. Wok-tossed Blue Lake beans ($8) are wonderfully crisp-tender and simply dressed with a garlic-soy sauce. Niman Ranch pork ribs ($14) are rubbed with five-spice powder, given a honey-ginger glaze, and roasted to an aching tenderness. The same glaze ends up on fried quail ($14), which is only marginally less tender. Among the lemongrass-inflected dishes, it would be hard to beat chicken two ways ($25), roasted and sautéed, and served with a warm salad of shiitakes, baby spinach, and micro-cilantro.

There are disappointments. The fresh rolls wrapped in rice paper are a little tough and, tastewise, on the delicate side. On the indelicate side, we have black tiger prawns ($29) in a coconut curry broth that sounds promising but is made with powdered curry, rather than the Thai-style paste, with a certain metallic harshness as a consequence.

But knocking a few points off a dish here and there does nothing to diminish the overall experience in a place as atmospheric as Le Colonial. As with a view restaurant, the temptation must be strong to lean on the enchanted setting and its storied past while letting the food and service discreetly slip. It’s a credit to Le Colonial that if the restaurant served its menu in a setting a tenth as compelling, we would still judge it worthy.

LE COLONIAL

Dinner: Sun.–Wed., 5:30–10 p.m.;

Thurs.–Sat., 5:30–11 p.m.

20 Cosmo Place, SF

(415) 931-3600

www.lecolonialsf.com

Full bar

AE/DC/MC/V

Well-managed noise

Wheelchair accessible

PG&E attack mailer puts City Hall on defensive

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GREEN CITY On a Pacific Gas & Electric Co. conference call in late October, with top PG&E executives and analysts from Goldman Sachs, Deutsche Bank, and other prominent investment firms on the line, PG&E president Chris Johns explained how a company-sponsored ballot initiative could save millions of dollars for the utility.

“We have faced potential takeovers multiple times over the last several years and we have had to expend significant resources to oppose these efforts,” Johns explained, referring to attempts by public agencies to set up independent electricity programs that threaten to compete with PG&E. “The success of this initiative, if placed on the ballot, could significantly reduce the need for taxpayers and utilities to oppose these local government takeover attempts.”

His comments appeared in a transcript from an earnings call posted on a financial Web site called SeekingAlpha.com. When pressed by an analyst about how PG&E had come up with the idea, company CEO Peter Darbee chimed in. “What occurred to us was we were repeatedly faced with this, and we were spending significant amounts of money year after year,” Darbee said, according to the transcript. “So we asked ourselves: what would be something that could discourage this over the longer term?”

What surfaced was a proposal for a statewide ballot initiative that would amend the state constitution to require a two-thirds majority vote at the ballot before any local government could develop its own electricity program. With such a high hurdle in place, efforts to move forward with publicly-owned power programs would essentially come to a standstill. But with San Francisco’s own stab at it expected to get underway long before the proposed initiative is placed on the ballot, PG&E is back to its default tactic of pouring millions into an opposition campaign.

San Francisco’s community choice aggregation (CCA) initiative, called CleanPowerSF, took a leap forward last month when a request for proposals (RFPs) went out to potential electricity service providers. The program aims to provide 51 percent renewable electricity by 2017, a meaningful step toward reducing greenhouse gas emissions.

But on the heels of this milestone, a wave of mailers bearing PG&E’s name in fine print crashed into San Francisco homes and businesses, screaming “Business Beware” in 1.5-inch type and proclaiming CleanPowerSF to be a “costly energy scheme.” The mailer cites a city controller’s report projecting that customer bills could be 24 percent higher under CCA.

But the San Francisco Local Agency Formation Commission (LAFCo), which is working in partnership with the San Francisco Public Utilities Commission to craft the emerging power program, responded in a press statement that this claim is misleading, since a fee structure has not yet been nailed down. While the controller’s report also noted that it was too early to say just what the pricing structure would be, it’s been a primary goal of the city’s CCA all along to offer customer billing rates that meet or beat PG&E prices.

Meanwhile, the city appears ready to fight back — and questions have already been raised about whether it was legal to distribute the attack mailer. Sup. Ross Mirkarimi, who chairs LAFCo, announced at the Dec. 15 Board of Supervisors meeting that he was requesting that the city attorney examine whether PG&E had violated state law by distributing the mailer. According to the state law that laid the groundwork for CCAs to exist, investor-owned utilities are required to “cooperate fully” with the public power efforts of cities. “PG&E has blanketed this city … with mailers that distort and misrepresent what CCA is doing,” Mirkarimi said. “I believe this is a potential violation of California Public Utility Commission law.”

Several days before Mirkarimi’s announcement, the Guardian received confirmation from City Attorney Dennis Herrera that his office is looking into the matter.

The mailer included a link to the Web site CommonSenseSF.com, launched by an entity called the “Coalition for Reliable and Affordable Electricity.” A call to Townsend, Raimundo, Besler & Usher, a Sacramento public-relations firm that has worked with PG&E in the past, revealed that this coalition is one of the firm’s clients, and that the person handling that client is Bob Pence. The proponent listed on the statewide ballot initiative is Robert Lee Pence — evidently the same person. The Guardian left a message for Pence inquiring who, besides PG&E, the coalition members are (the mailer claims there are 50,000), but he did not return the call. Multiple calls to PG&E were not returned either.

Meanwhile, the Guardian has received a handful of anecdotal reports that when clipboard-wielding signature gatherers were out on the streets circulating a petition in support of the PG&E-backed ballot initiative, people were fed some fishy stories about what the proposed constitutional amendment would actually do.

A voter who lives in Bakersfield contacted the Guardian to say she’d signed the petition because she was told that the ballot initiative would limit PG&E expansion — but she later did some research and found that PG&E was the primary force behind it, so she called the Registrar of Voters to have her name struck from the list.

Mark Toney of the Utility Reform Network told the Guardian that he’d also been misinformed. But as someone familiar with the issue, he knew better. “I ran across signature gatherers in Emeryville. They told me that if I signed the petition, I’d be supporting a two-thirds majority vote to raise PG&E rates,” Toney said. “I said, ‘Well that’s interesting. The language here doesn’t say PG&E at all.

John Srebalus of Pasadena wrote in an e-mail that he was also misled by a signature gatherer. After he signed a petition to legalize marijuana, he said the woman with the clipboard flipped a few pages and asked him to sign again, as if in duplicate. But there was a rubber band securing the top half of this second page, hiding the text. When he peeled it back, he found that it was actually PG&E’s ballot initiative, which he had already refused to sign once before.

According to a source familiar with the campaign who asked not to be named, the petition was a particularly hard sell for signature gatherers, many of whom stake their entire livelihoods on earning less than $2 per signature. According to this individual, the erratic sales pitches caught on like wildfire because without a compelling hook, it was nearly impossible to convince random passersby to support something that came off as convoluted and wonky. This person said PG&E became alarmed when it caught wind of all the distorted representations and tried to put a stop to them.

Campaign spokesperson Greg Larsen told the Guardian he hadn’t heard anything about that, but he did emphasize the importance of the signed document, as opposed to the signature gatherers’ pitch. “The hope is that you read what you’re signing,” he said. “That’s really what the issue is — it’s what’s on this piece of paper.” Larsen added that the campaign had submitted 1.1 million signatures, “far in excess of the number of required certified signatures” to have the initiative placed on the ballot.

The Candlestick farce

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No one was really surprised when commissioners for the Redevelopment Agency and Planning Department voted last week to only give the public a Scrooge-like 15 days to review a six-volume, 4,400-page draft environmental impact report for Lennar Corp.’s massive 700-acre Candlestick Point redevelopment project.

Everybody knew that Michael Cohen, Mayor Gavin Newsom’s top economic advisor, wanted to jam this proposal through the certification process by early June in a last-ditch effort to win back the 49ers, even though the team has said it wants to go to Oakland if the City of Santa Clara doesn’t vote to build a new stadium.

The decision gives the public until Jan. 12th to submit written comments on the DEIR. A broad coalition of community and environmental justice groups asked for a 45-day extension.

And the entire process — including condescending remarks by commissioners, a fight, the forcible removal of several members of the audience, and statements from developer allies that were, at best, highly misleading — can only be described as a farce.

The rush to approve the document is entirely political. Santa Clara voters go to the ballot June 8 to decide if they want to build the 49ers a fancy facility near Great America. But June 8 is the same day, according to a spreadsheet maintained by city Shipyard/Candlestick planners, that the San Francisco Board of Supervisors is scheduled to approve the EIR for Lennar’s proposal.

The city’s DEIR envisions building a new 49ers stadium on the shipyard — a position that would allow thousands of luxury condos to be built on the site where the team currently plays, including a significant slice of Candlestick Point State Recreation Area.

To meet the increasingly artificial-looking June 8 EIR deadline, Cohen signaled he’d only be able to squeeze out 15 extra days for draft EIR review.

LENNAR’S PAID SUPPORTERS

With Cohen nowhere in sight at the DEIR hearings last week, his deputy, Tiffany Bohee, was left to kick off Redevelopment’s Dec. 15 and Planning’s Dec. 17 DEIR hearings.

“Time does matter for this project,” Bohee told commissioners, claiming that the project has been vetted exhaustively, including at least 177 public meetings — when the truth was that the public had never had an opportunity to review the complete draft EIR, a binding legal document, before its recent release.

“The consequence of delays is that it precludes the city’s ability to get ahead of the Santa Clara election in June,” Bohee said.

Bohee’s introduction was followed by a string of “no delay” and other off-point comments from representatives of the San Francisco Labor Council, the San Francisco Organizing Project, SF ACORN, and other groups that signed a community benefits agreement with Lennar in May 2008 that promised them millions of dollars in work and housing benefits — provided they show up at public meetings and support the development.

SF Labor Council vice president Connie Ford told commissioners that her organization “looks forward to the day when much-needed resources and support comes our way.”

A dozen residents of the Alice Griffith public housing project talked about their deplorable living conditions.

Asked by Redevelopment commissioner London Breed what the impact of a DEIR review extension would have on the planned rebuild of the Alice Griffith project, Bohee said, “It will jeopardize our ability to get any city decision on the project by June. As a result, delays to Alice Griffith could be indefinite.”

But that’s a stretch — at best. According to Lennar and the city’s own schedule, new Alice Griffith replacement units won’t be available before 2015 at the earliest. An additional 30 days of environmental review at this point will make no difference.

THE BOZO COMMISSIONERS

Compounding the city’s half-truths was the patronizing attitude of those commissioners who thought that their opinion of the DEIR should satisfy members of the public who hadn’t had enough time to review it.

“I think it’s an extremely well done document,” Planning commissioner Michael Antonini told a crowd that had sat through five hours of testimony and been warned by Planning Commission chair Ron Miguel that they’d been thrown out if they spoke during others’ testimony.

Bizarrely, planning commissioner Bill Lee tried to use the fact that the public wasn’t making many substantive comments on the DEIR as an argument against giving anyone more time to read it. Commissioner Gwyneth Borden made the equally odd argument that since people are almost certain to sue the city over the DEIR, there’s no reason to give an extension now.

And Miguel asked the public to put their faith in some vague meeting in the future rather than agreeing to what were asking for at the meeting. “I do believe that when all the comments are considered and answered and the final EIR comes before us and the Redevelopment Agency, that everything will come together,” Miguel said.

By that time, Arc Ecology’s director Saul Bloom, Jaron Browne of People Organized to Win Employment Rights, and POWER’s attorney Sue Hestor told the commissioners that they believe the project’s impacts on transportation, state park habitat, and the foraging requirements of the peregrine falcon had not been adequately analyzed. Eric Brooks of the Green Party expressed concern that sea level rise will be more pronounced than the DEIR projections.

Bloom also explained that a lack of adequate review time hindered his staff’s ability to prepare comments in time for a hearing that came only a month after the DEIR’s release.

Planning Commission vice president Christina Olague and commissioners Kathrin Moore and Hisashi Sugaya tried to extend the review period to February. As Olague pointed out, the commission recently granted a public DEIR review extension to a 15,959-square-foot parcel in Russian Hill, which is tiny compared to Lennar’s 708-acre proposal in the Bayview, where residents have the city’s lowest educational levels

But the Planning Commission’s 4-3 vote against a February extension revealed how mayoral appointees ignore common sense once they have their political marching orders.

COHEN’S FANTASY

“This appears to be all about Cohen’s fantasy of out-maneuvering Santa Clara to get the 49ers to move into a new Hunters Point stadium,” Hestor told the Guardian.

Hestor also pointed to a Dec. 18 San Francisco Business Times guest editorial titled “Business Leaders Can Save the Niners” that Planning Commissioner Michael Antonini had clearly written before Planning’s marathon Dec. 17 hearing.

“The editorial illuminates why, at the Planning Commission on Dec. 17, Antonini argued against any extension for public comment on the DEIR beyond Dec. 28,” Hestor said, noting that Dec. 28 was the absolute minimum DEIR review period required under the California Environmental Quality Act — a review period that straddled Thanksgiving, Hanukkah, Kwanza and Christmas (see Holiday Snowjob, 12/09/09).

Earlier this month, a coalition of environmental and community development groups, including Arc Ecology, the Sierra Club, the Potrero Hill Democratic Club, San Francisco Tomorrow, Literacy for Environmental Justice, Young Community Developers, the Neighborhood Parks Council, the South East Jobs Coalition, Walden House, Urban Strategies Council, India Basin Neighborhood Association, California Native Plants Society, Golden Gate Audubon Society, and the Bayview Resource Center, wrote to Mayor Gavin Newsom, requesting a 45-day DEIR review extension.

The request seemed further vindicated when it became apparent that most of the people who showed up at the DEIR hearings, including those opposed to extending the review period, admitted that they had not actually read the documents in question. And the commissioners’ failure to honor the extension request represents a new low in a process that threatens to become a classic lesson in the dangers of public-private partnerships.

Opponents of giving the public a decent chance to read the DEIR argue that there have already been hundreds of meetings on the proposed project. But as Bloom pointed out, the character and focus of EIR is different from any other document that has been produced for discussion. “If an issue is not raised during the EIR process, it cannot be raised subsequently,” Bloom said. “Releasing an EIR during the holiday season and providing the minimum amount of time allowable under the law for public review undermines the public’s ability to evaluate an EIR and disenfranchises people at one of the most critical points of the project approval process.”

Bloom also noted that a standard strategy for drastically limiting public input while appearing to be transparent is to spend time evaluating nonbinding documents while providing the minimum time required to evaluate the legally binding stuff.

“The Phase 2 Urban Design Plan released in October 2008 was in public discussion until it was approved in February 2009 — five months,” Bloom observed, noting that nothing in that document was legally binding. Neither was Lennar required to disclose negative effects of its plan. But an EIR is a legally binding document. “It’s a fiction that a 45-day DEIR public review extension would have cause a domino effect of indefinitely delaying the approval of the project,” Bloom added.

Editor’s Notes

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A year ago, we were dancing in the streets celebrating Barack Obama’s election. Now we’re marching in the streets protesting his escalation of the war in Afghanistan — and a lot of us are calling for the defeat of his signature legislation. That’s a failure that goes well beyond a couple of bad policy decisions, and it threatens more than just the next few years of Obama’s presidency.

The late philosopher Herbert Marcuse used to say that the worst disaster of the Vietnam War was the division it created between the baby boomers and their parents, the generational distrust that would last well beyond the final artillery fire. And I fear that the worst legacy of Afghanistan and the mess that is health care reform will be another deep blow to whatever fragile faith remains among young Americans that a well-meaning president and his party can make a difference, the faith that government can accomplish something worthwhile — and that the public sector is worth the fight it takes to save it from a well-organized and lavishly funded effort to continue the privatization of the United States.

The fight over the public option in the health care bill wasn’t just about containing costs, or preventing tax hikes, or mandating fair competition. The insurance industry knew that from the start.

One of the reasons the radical right has always hated Social Security is that it’s a government program that helps people, one that tens of millions of citizens rely on and support. When the government sends you a check every month, you tend to think of the folks in Washington as something other than crooks, liars, and villains.

And if the government offered health insurance that cost less than the private companies, covered more, and was less of a hassle to use, then millions more American voters would begin to realize that the public sector can do some things very well — much better than private industry. And that would be a social transformation on the scale of the New Deal.

So that’s why the insurers and their toadies wouldn’t allow it to happen — and why, in the wake of the Afghanistan fiasco, Obama’s failure to force the issue is such a momentous disappointment.

Just look around the streets of San Francisco at any antiwar demonstration and you see the problem. We’re mad at the president, not at the insurance industry. Nobody’s marching in front of the headquarters of the handful of big companies that have — as a matter of course and intentional policy — destroyed the health care system in America. We figure: hey, they’re just big businesses, doing what they do.

So instead, we’re going to be pissed off for a long time at the man who — maybe for just a moment, one bright shining moment — had the ability to turn around about 50 years of cynicism and distrust that has poisoned American politics. And we should be pissed, because he let us down. He promised us hope. Now he’s giving up, without even putting up much of a fight.

The next budget battle

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EDITORIAL There is some good news — in a manner of speaking — about Mayor Gavin Newsom’s proposed midyear budget cuts: they don’t just affect Muni, recreation and parks, human services, and public health. The departments that have been hammered hardest in the past year still face spending reductions — but so do police and fire. The $6 million in Police Department cuts and $1.7 million in Fire Department cuts actually exceed the $7.4 million that the Department of Public Health will have to absorb.

That, of course, requires some context — over the past few budget cycles, DPH has lost far more money than public safety. And the Fire Department has far more fat than its modest cut reflects. And the Human Services Agency is still taking a $3.3 million hit. And the mayor is still keeping five press secretaries. And it’s not at all clear how much of the cuts will involve paring the bloated management ranks, and how much will be the further elimination of front-line services.

And this is just the start — the budget deficit for next year is more than $400 million, and the blood on the floor by the time that’s resolved will make this round look easy.

But the very fact that some of the sacred cows of San Francisco are facing their own financial pain sends an important message: this budget crisis won’t be solved just by screwing the poor — and the unions representing the cops and firefighters are going to have to step up and work with the rest of organized labor to push for some new revenue. And they’ll need to put up some money and reach out to the more conservative voters to promote the tax increases San Francisco desperately needs.

Now it’s up to the supervisors to put in motion the process to take substantial changes in the way the city is funded out of the discussion stage and into the policy arena.

When Newsom was running for governor, it was almost impossible to get him to talk seriously about raising revenue; he clearly wanted to be the candidate who could talk about balancing a city’s budget without raising taxes. Now that he’s not looking for votes in the Central Valley, he’s been a little more open to the idea that a cuts-only budget won’t work the next time around.

Unfortunately, the two main ways he wants to raise money are both terrible ideas. Newsom is talking about gutting the condominium conversion limits and allowing anyone who pays a fee to get a permit to turn an apartment into a condo. That would have a devastating impact on the city’s rental housing stock. He also wants to sell off taxicab permits — a plan that would undermine the city’s longstanding policy of allowing working cab drivers to use the permits at a modest fee and create a structure where the right to drive a cab would be determined at auction and given to the highest bidder.

The condo conversion plan is unlikely to get six votes, and the progressive supervisors should make it clear that a taxi privatization proposal isn’t the best way to solve the budget crisis, either. Then the mayor and the board can start working on a progressive tax plan to put before the voters next year.

The Budget Committee will be ground zero for the debate. Sup. John Avalos chaired that committee through last year’s harrowing budget battles, but in the past the job has rotated. If Board President David Chiu intends to appoint a new chair for next year, he should name one of the two qualified progressives with background on the committee. Either Sup. Ross Mirkarimi or Sup. David Campos would be an excellent choice.

Digging

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SUPER EGO This time of year, everyone’s showering their Top 10 lists down upon an eager, listless world. I’ll get to mine just as soon as I finish this bottomless pomosa, but I want to give a special shoutout to a couple recent local releases I’ve been digging that may have slipped past your Beatport. (Remember to always use a water-based lubricant with digital. Safety first!)

The first is the absolutely lovely Brick by Brick (Nightlight) by Alland Byallo which sounds excellent either on the dance floor or on a rainy Monday, chilling as you attempt to pour some bottomless pomosa into a giant thermos in your backpack without the waitress seeing, like I am now. As the title suggests, this is a minimal-techish release, building up numbers with a very limited set of elements. Those elements are impeccably produced snatches of sound that propel each track forward with an unfussy chug and even a few flashes of wry humor. Standout tracks like “Bebring” and “Casual Sax” break the minimal mold by giving us some good ol’ funk.

Also yummy: the recently released An-ten-nae Presents Acid Crunk Vol 2 (Muti) acts as a superb compendium of the still intriguing if increasingly in-jokey glitch hop sound. The mysterious An-ten-nae splits his time between L.A. and the Bay, spinning and promoting up a storm, and here he’s gathered a whirl of big names like Marty Party and ill.gates to follow up his first EP. Many seem on their best behavior, but tracks like Akira Kiteshi’s “Ulysses” and Robot Koch’s “Hard to Find” are more than just wobbly punchlines.

OK, my bottomless stocking’s full — let’s go find a party.

CHRISTMAS DAY COSTUME CALAMITY

At first I was going to write “Just try saying ‘Christmas Day Costume Calamity’ real fast three times,” but then I tried it and I could! Yay! The medication still works. A whole bunch of party kids staying in town for the holiday — Richie Panic, Kirin Rider, Willie Maze, Similak Chyld, more — are taking that whole Nightmare Before Christmas mashup seriously and throwing another Halloween for Noel. (Noelloween?) You don’t have to dress as Santa, just dress as something and rock out.

Dec 25, 10 p.m.–4 a.m., free. Som, 2925 16th St., SF. www.som-bar.com

STEVE FABUS

Direct from the past but wholly of the knees-deep-in-disco-revival present — and looking amazing, might I add — Steve Fabus, one of the city’s most admired DJs from some of San Francisco’s most storied clubs (including the Trocadero Transfer) joins the younger generation of groove-heads at the very fun Go Bang!

Sat/26, 9 p.m.late, $5. Deco Lounge, 510 Larkin, SF. www.decosf.com

FLOW THE FUNK

Vinyl. It is back. And not just in that fetishy backlash way where some people just hate everything new so they pretend nothing after 1995 happened. Avant-techno musicians like the Durian Brothers are wringing crazy textures from “prepared” turntables, much like composer John Cage did from prepared pianos in the 1940s. Underground dance music artists have released a flood of colored-vinyl rarities to increase their PR potential. And, on the more fun side of things, all-vinyl nights have taken off at such DJ-nurturing places as Triple Crown. Appropriate, then, that DJ M3, Triple Crown’s commander-in-chief, would be pulling out an all-vinyl marathon session from his bag of tricks at the new flapper-styley Eve. Five hours, no digital, all free.

Sat/26, 9 p.m., free. Eve, 575 Howard, SF. www.eveloungesf.com

FLOOR SCORE

Next week I’ll be laying down some New Year’s Eve party picks — and probably laying down a little myself in preparation. Bring Momma a little cocktail and a big Australian before her nap, sweetie. But not the toothy, manscaped kind. What? Impossible? Sheesh, just make him Italian, then. Somebody please take the clippers away from Down Under. Anyway, everyone knows that it’s actually the ability to party all the way through New Year’s Day that separates the hot wings from the boneless. Dragging yourself across the finish line (resolutions!) won’t be too hard this year, with promoter Ryan Robles’ Floor Score waiting at the front end of 2k10. Although queer-oriented, this party has enough going for all persuasions, including DJ Pee Play from Honey Soundsystem and Gemini Disco’s Nicky B. ringing in the future.

Jan. 1, 10 p.m.–4 a.m., $6. Siberia, 314 11th St., SF.

STOMPY + SUNSET

Another New Year’s Day secret, only for the sexy (and possibly addicted) people — this 12-hour rager from classic SF techno-house crews Stompy and Sunset. The frankly amazing Stanley Frank of Chilidog kicks things off with some sublime rare-cuts wackiness. Charles Webster from the U.K. headlines. Galen, Solar, Taj, and tons more join in. You make sure to carry some concealer in your purse.

Jan. 1, 2 p.m.–2 a.m., $10/$20. Cafe Cocomo, 650 Indiana, SF. www.pacificsound.net

8, 9 … 2010

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1. SF garage rock goes pop This year saw Bay Area garage rock go pop in style and impact without losing its soul. I’m thinking of the Fresh and Onlys, and of Ty Segall’s second solo effort Lemons (Goner), a lovely one. I’m thinking of Girls’ Album (True Panther/Matador), which threw down the crossover-move gauntlet with no shame in its game: Christopher Owens’ interviews were as entertaining as his music and brasher — his real talk about sex and drugs made good headline fodder for the excitable British press, but contained the kind of truth that honors life over rules or boring definitions. The secret keeper, though, was the Mantles’ self-titled debut on Siltbreeze. Drew Cramer’s lead guitar and Michael Oliveras’ vocals were even better live, the mark of a band in bloom.

2. The AfroSurreal In May, D. Scot Miller helped put together a special AfroSurreal issue of the Guardian, a collection of words and visions journeying beyond the potential of Barack Obama’s presidency. The Kehinde Wiley piece on the cover wasn’t the only AfroSurreal image on this paper’s front pages — just last week, Conrad Ruiz’s Godzilla-size Yes We Can stomped around the city. Musically, AfroSurrealism manifested in the mind- and mirror-bending quality Dam-Funk’s Toeachizown (Stones Throw) and the rehab hallucinations and Dante-like funeral marches of Chelonis R. Jones’s Chatterton (Systematic). It floated in through cracks in the time warp as well: the ghetto opera of 24 Carat Black’s Gone: The Promises of Yesterday (Numero Group); the proto-punk of Death’s For the World to See (Drag City), especially “Politicians in My Eyes”; and weirdest of all, the gothic funk and skronk of Wicked Witch’s Chaos: 1978-1986 (E.M.).

3. 21st century goth From blackness to deathly whiteface — something gothic this way came in 2009, thanks to Cold Cave’s Cremations (Hospital Productions) and Love Comes Close (Matador). Both staked a claim that the genre is as applicable as death metal to a post-Bush presidency globe. But while those albums notched acclaim and attention, the similar yet more audacious Cure and Cabaret Volatire moves of Jones’ months-earlier Chatterton went ignored and unappreciated. Evidence of racism, proof that German techno only gets appreciated years after the fact, or both?

4. Hauntological mutations In 2009’s sonic mansion, ghosts haunted the hallways leading to and from the gothic banquet hall, and hauntology — a Derrida term applied to music by the critic Simon Reynolds — continued to morph, just as any self-respecting specter should, well beyond dubstep. The maze-like passages of Rooj’s The Transactional Dharma of Rooj (Ghost Box) and Broadcast and the Focus Group’s Broadcast and the Focus Group Investigate Witch Cults of the Radio Age (Warp) both suggested that spirits have short attention spans, while Demdike Stare’s Symbiosis (Modern Love) traded seances on wet afternoons for retro-futurist meetings with medieval wicked witches.

5. Library music For evidence that the past resides in and fuels the present, go to the library. Specifically, to the abundant compilations and Web sites dedicated to library music — the scores of incidental music produced and recorded for soundtrack use on film, television, and radio. In the wake of his gorgeous book The Music Library (Fuel Publishing), Jonny Trunk released more albums devoted to library labels. The Parisian DJs Alexis Le-Tan and Jess put out a pair of Space Oddities library collections — one electronic, one psychedelic — on Permanent Vacation. Wax Poetics published a lengthy piece to the subject. In an interview, Trunk noted that his Scrapbook (Trunk) shares the same fast-change aesthetics of Broadcast and the Focus Group’s hauntological recordings, just one example of how library music of the past forms the music of now.

6. The new ambient The new ambient is not afraid of extreme melancholy, or long compositions — no longer only Kompact, it can be epic. One of the form’s peak representatives is San Francisco’s Brock Van Wey, whose White Clouds Drift On and On (Echospace) bravely strived for, and sometimes reached, sublime solitude. Another was Klimek, whose Movies is Magic (Anticipate), on which a track such as “pathetic and dangerous” lives up to its death-knell title. The last was Leyland Kirby. His three-CD contribution sums up the current moment in both its title and the name of its label: Sadly, the Future is No Longer What it Was (History Always Favours the Winners).

7. 2009=1989, synthpop and shoegaze I explored this theme in last week’s Decade in Music issue. See: Atlas Siund (in particular “Shelia,”), Crocodiles, Fuck Buttons, Loop, Night Control, Pains of Being Pure at Heart, Washed Out (responsible for two of this year’s most gorgeous tracks, “Belong” and “Hold Out”), Wavves, and the xx.

8. How old is now? As the music industry continues to fracture, reissues or uncovered old sounds were as vital and revelatory as new releases. In San Francisco, this meant new rereleases by San Francisco Express, the Units, and most excitingly, Honey Soundsystem’s work on behalf of Patrick Cowley and Jorge Socarras’ Catholic project. Beyond SF, it meant a one-of-a-kind treasure like Connie Converse’s How Sad, How Lovely (Lau derette): one woman, one guitar, one tape recorder, and perhaps the best music of this sad, lovely year.

Bridges abides

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FILM “Oh, I love Jeff Bridges!” is the usual response when his name comes up every few years for Best Actor consideration, usually via some underdog movie no one saw, and the realization occurs that he’s never won an Oscar. (Unlike, say, Roberto Benigni.) It is often said with a guilty-sigh undertone otherwise reserved for neglected relatives or loyal but inconvenient friends — people you know you shouldn’t keep forgetting about.

The oversight is painful because it could be argued that no leading American actor has been more versatile, consistently good, and true to that elusive concept “artistic integrity” than Bridges over the last 40 years. When you think about more conspicuous “great” screen actors of his generation — DeNiro, Nicholson, Pacino, Hoffman — it’s hard to deny that they’ve long since fallen into shtick, caricature, and somnambulism in mostly unworthy vehicles, occasionally showing a flash of prime alertness.

Whereas Bridges never rested on his laurels, or lack thereof. Of course he had a great ’70s — who didn’t? — in movies widely acclaimed (1972’s Fat City, 1971’s The Last Picture Show), fascinatingly quirky (1976’s Stay Hungry, 1975’s Rancho Deluxe and Hearts of the West, 1974’s Thunderbolt and Lightfoot, 1979’s Winter Kills), or just lucky to have him (the ’76 King Kong, 1978 Farrah Fawcett vehicle Somebody Killed Her Husband).

But while other stars caved to the more formulaic commerciality of the 1980s and onward, Jeff Bridges managed his career as before, mixing rare commercial hits (1985’s Jagged Edge, 1991’s The Fisher King, and 1984’s Starman — in which he’s an alien sweeter and surely sexier than E.T.) with mainstream bunts (1996’s The Mirror Has Two Faces, 1996’s White Squall, 1982’s beloved TRON). Not to mention the many, variably unpopular, cult-accruing smaller films he’s spectacular in: Cutter’s Way (1981), American Heart (1992), Fearless (1993), The Big Lebowski (1998), Simpatico (1999), and The Door in the Floor (2004). All Oscar-worthy performances, but Oscar seldom embraces flops, sleepers, and critics’ case-pleadings — the latest of which would be Crazy Heart.

It’s rumored this movie was slotted for cable or DVD premiere, then thrust into late-year theater release in hopes of attracting Best Actor momentum within a crowded field. (It’s a much more paltry year for actresses, as usual). Lucky for us, this performance shouldn’t be overlooked. Bridges plays “Bad” Blake, a veteran country star reduced to playing bars with local pickup bands. His slide from grace hasn’t been helped by lingering tastes for smoke and drink, let alone five defunct marriages.

In Houston he meets Jean (Maggie Gyllenhaal), freelance journalist, fan, and single mother. They spark; though burnt by prior relationships, she’s reluctant to take seriously a famous drunk twice her age — even if he charms both mom and four-year-old tyke (the improbably named Jack Nation). Can Bad handle even this much responsibility?

Meanwhile, he gets his “comeback” break in the semi-humiliating form of opening for Tommy Sweet (Colin Farrell) — a ponytailed, stadium-playing contemporary country superstar who was once Bad’s backup boy. Tommy offers a belated shot at commercial redemption; Jean offers redemption of the strictly personal kind.

Bridges and Farrell can both really sing. (The former has long been a singer-songwriter-guitarist, though a pretty dull one.) Robert Duvall can’t, but then as producer and excellent support player (Bad’s old barkeep friend), he’s allowed some self-indulgence.

There’s nothing too surprising about the ways in which Crazy Heart both follows and finesses formula. You’ve seen this preordained road from wreckage to redemption before. But actor turned first-time director Scott Cooper’s screenplay honors the flies in the windshield inherited from Thomas Cobb’s novel.

As does Bridges, needless to say. Here he’s fleshy, hairy, wheezy — well-intentioned, but charming and untrustworthy at once. He rules an otherwise ordinary film like Mickey Rourke did 2008’s The Wrestler. But here’s guessing the relative lack of flamboyance (or salvation from the skids) won’t do Jeff Bridges similar favors. Again.

CRAZY HEART opens Fri/25 in San Francisco.

Swans, symmetry, and sensations

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DANCE Looking back over a year’s dance performances feels like reading a horoscope backward. Were there surprises, disappointments, new loves, emerging trends, familiar encounters, and reasons for hope and despair? Of course. Perhaps the best part of this yearly exercise is that it allows works to bubble up that for one reason or another — quality, daring, perspective, innovation — stuck in the mind. You want to see them again. Some, you actually will. As for the not-that-again, forget-it, or please-don’t pieces, they already have sunk into the grand pool of oblivion. The following is a baker’s dozen of top picks, chosen roughly in the order in which they were seen.

Sean Dorsey’s dance-theater piece Lou, based on the writings of transgender pioneer Lou Sullivan and danced by Dorsey, Brian Fisher, Juan de la Rosa, and Nol Simonse, was a penetrating portrait of one man’s courage and lust for life. It also highlighted Dorsey’s increasingly fluid skill in fusing language and dance.

San Francisco Ballet’s most recent Swan Lake (to be reprised in January 2010) is an odd mix of traditional (the choreography) and edgy (the production). By using the bold design of a ballet neophyte, Broadway-credited Jonathan Fensom, Helgi Tomasson took a huge risk in offending traditionalists who like their swans pure. Danced fabulously well, this is a Swan Lake for our own time.

Pichet Klunchun and Myself was just a one-night stand, but what a night it was. To watch French super-theorist Jérôme Bel and classical Thai dancer Klunchun play their intellectual ping pong game about life, dance, culture, and everything in between was to watch two master performers at work.

The big deal about Jess Curtis/Gravity’s brainy and sensuous The Symmetry Project was not that Curtis and Maria Francesca Scaroni performed nude, but that they embodied the idea of relationships — physical, intellectual, emotional, erotic — as being constantly in play.

Presented by the San Francisco Museum of Modern Art in conjunction with their exhibit on William Kentridge, The Return of Ulysses was Kentridge’s translation of Monteverdi’s jewel into puppet theater. The multiple perspectives on time and place and the exquisite cooperation between puppets and singers were awe-inspiring.

ODC/Dance — just because of who they are. Sometimes we tend to take established hometown companies for granted. Yet these dancers have never looked better. Additionally, both Brenda Way’s In the Memory of the Forest and KT Nelson’s Grassland overflowed with commanding and beautifully shaped ideas.

We know Heidi Schweiker best as an interpreter of other people’s choreography. That’s why it was so gratifying to see her first full evening of work. Dreams of Speaking showed a choreographer of intelligence, imagination, and a fine sense of craft.

Ramón Ramos Alayo’s fifth annual Cuba Caribe Festival packed them in. It’s SoMa’s own ethnic dance festival sporting a highly partisan and knowledgeable audience and performers who compete — in a friendly way. High points were the sassy female Las Que Son Son and Alayo dancing up a storm with Silfredo La O Vigo.

Seen in a drizzly rain on a preview performance, Spirit of Place (to be reprised this spring), Anna Halprin’s tribute to husband Lawrence Halprin’s reimagined Stern Grove Theater, was a gorgeous response to a space where nature and art collaborate. The dancers looked like spirits emanating from this magisterial grass and granite environment.

Togetherness suits artistic and life partners Janice Garrett and Charles Moulton. For their second collaboration, The Illustrated Book of Invisible Stories (which returns in January 2010), they worked with two groups of completely different dancers. The result was mysterious, mesmerizing, and surprisingly fresh.

The big surprise at the San Francisco International Arts Festival was the extraordinarily skilled and theatrically vibrant The Angel and the Woodcutter, South Korea’s Cho-In Theatre’s eloquent retelling in movement of a popular Korean fairy tale. It deserved a larger audience.

Suzanne Farrell Ballet’s lecture-demonstration, The Balanchine Couple, served as a vivid reminder that Balanchine never ran out of ideas for pas de deux. The nine on this program could not have been more different — all of them first-rate. The program also brought home the painful truth that such finely detailed and musically phrased Balanchine interpretations are a rarity.

Sometimes it helps to look beyond the hook. The big deal about South African dancer Gregory Maqoma’s Beautiful Me was that he used material from three other (cooperating) artists for his own choreography. Fair enough, but what left this audience member speechless was the grace, virility, and technical and emotional virtuosity with which Maqoma realized this portrayal of self.

Finally, the Performing Diaspora Festival was an ambitious project “featuring traditional forms as a basis for experimentation and innovation.” It boasted an elaborate support structure of studio time, blogs, workshops, and symposia. In the two programs I saw, the work ranged from first rate to mediocre. Fortunately, this is a two-year project — so let’s toast to 2010.

Curtain calls

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THEATER Up to around 8:30 p.m. on Dec. 12, Thrillpeddlers were having a very good year. One of 2009’s Goldie recipients, the city’s connoisseurs of Grand Guignol–style fresh flesh were riding a remarkable wave of success with their inspired revival of Pearls over Shanghai, by San Francisco’s storied Cockettes, when an altogether different current overtook them.

No doubt the vicious cold snap of those days had something to do with it, but sources report that a 100-year-old water main located just outside the front door of the Hypnodrome — Thrillpeddlers’ rumored-to-be-haunted haunt at 10th and Division streets — let loose some 2 million gallons of water, the bulk of which burst into the packed theater in a two-foot high crest that inundated the stage smack in the middle of actor and artistic director Russell Blackwood’s exquisite tap number, “Cruising.” Cast and audience members alike scurried through one of those evacuations they’re always vaguely referring to by law just prior to curtain or takeoff. In this case, escape was made through the back dressing room, where SF firemen heroically carried audience members and heavily tarted-up actors to safety as the power was cut, owing to the very real danger of electric shock. I’m happy to report that the piano was saved, thanks to quick coordination of hands from both sides of the footlights, but clearly there’s a very soggy theater to deal with, so more than ever your prayers, and much better yet your patronage, should be directed toward the intrepid Thrillpeddlers. (Shows resume Jan. 1.)

Now this just goes to show that, one, I’m never there on the best night. And, two, the year ain’t over until it’s over. So let’s say this year-end wrap up, while it tries to take in all sides, is necessarily partial and provisional.

On the bright side:

Skylight at Ashby Stage. David Hare’s play dexterously puts the nuts and bolts of modern politics into modern romance like no other, but it came to life in director Patrick Dooley’s production for Shotgun Players better than I could have hoped were I coughing up three figures for a Broadway ticket. Leads Emily Jordan and John Mercer were startlingly good.

Killing My Lobster’s Pure Shock Value at the Exit. Odds were against them in producing their second full-length play, if only because the first, Peter Sinn Nachtrieb’s Hunter Gatherers, was so strong. But KML pulled it off.

Jericho Road Improvement Association at Phoenix Theatre. Hella Fresh Theater’s strong debut was a solid production of writer-director John Rosenberg’s West Oakland tale, a neighborhood story that navigated the complexities of history, race, and social roles with intelligence and real dramatic force. Sadly for us, Hella Fresh has freshly relocated east to Philly, but they contributed to a memorable year.

On the dark side:

Thom Pain (based on nothing) at Exit on Taylor. Cutting Ball’s strong local premiere of Will Eno’s broodingly sardonic off-Broadway hit featured an exceptionally fearless and intimidating solo turn by actor Jonathan Bock.

The Lieutenant of Inishmore at Berkeley Rep. Maybe this belongs on the light side. It depends how you take to a stage strewn with sawed off limbs and cat brains, all awash in veritable barrels of blood. I found it amusing.

The Creature at Thick House. Trevor Allen’s appealingly shrewd adaptation of Mary Shelley’s Frankenstein began as a podcast but, under director Rob Melrose and a great design team, blossomed into a supple, protean piece of live theater. The three-person cast was very strong, but James Carpenter’s beautifully wrought performance in the title role managed to surprise even those who know he’s one of the top actors on Bay Area stages.

The Walworth Farce at UC Berkeley’s Zellerbach. Leading Irish playwright Enda Walsh’s darkly hilarious, structurally ingenious, and all-around exhilarating play was more like farcical tragedy, or tragical farcity, which is to say something very fresh and gripping. Druid Ireland matched it perfectly in their incredibly deft and intelligent production.

On the right side:

SF Mime Troupe’s Too Big to Fail. “Right” isn’t the best adjective to stick in front of the Mime Troupe, but as free-theater-in-the-park hell-raisers for 50 years and counting you know whose side they’re on. Anniversary events continue through the New Year (sfmt.org).

On the tight side:

Fat Pig at Aurora Theatre. Aurora’s production of Neil LaBute’s play had a very strong ensemble going for it. There were others too this year, some of the most memorable including casts of Jack Goes Boating (also at Aurora), In the Next Room, or the vibrator play (Berkeley Rep), The Model Apartment (Traveling Jewish Theater), This World in a Woman’s Hands (Shotgun Players); Old Times (TheatreFIRST), and two exceptional ensembles courtesy of Off-Broadway West in The Homecoming and A View from the Bridge, respectively.

On the hype side:

American Idiot at Berkeley Rep. Actual satisfaction with Michael Mayer (Spring Awakening) and Green Day’s Broadway-bound behemoth proved inversely proportional to the hype. (Among new musicals about American 20-somethings, the real McCoy was up the hill at UC Berkeley in the premiere of Joe Goode’s Dead Boys.)

Also, Spamalot. Rhymed with everything but laughed-a-lot.

On the south side:

Ghosts of the River at Brava. The second collaboration between playwright Octavio Solis and director Larry Reed’s Shadowlight Productions, a set of immigrant ghost tales set along the Rio Grande, was as aesthetically unique and engaging as it was humane and thought provoking.

Also from the Mission District: Theatre Rhinoceros vacated its space on 16th Street after god knows how long to wander itinerant for a while. They are still very much around and active, though (therhino.org).

And from Intersection for the Arts came word of the tragic loss of a large and unique talent: actor and Campo Santo cofounder Luis Saguar, gone at 52. Saguar was an integral and always fascinating part of some exceptional theater history, and you never saw another actor quite like him. To help the family he leaves behind, donations are being accepted through Intersection for the Arts (www.theintersection.org/luis/).

Eleventh-hour shopping

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Some years, you’ve got it all together. You finished your holiday shopping by Thanksgiving, decorated your tree before most people got around to buying one, and finished the prep for your Christmas Eve dinner a full 12 hours before you needed to start cooking. But this is not that year. Whatever the reason — extra-long hours at work (or perhaps extra-tall glasses of nog) — the holidays seem to have crept up on you this season. Now you’re only days away from the big gift-exchange bonanza and you have yet to acquire anything to give. Don’t fret! You don’t have to show up empty-handed or, worse, with a haphazard assortment of “gifts” pulled from the aisles of the 24-hour grocery store on the way to your mom’s house. We’ve compiled a list of shopping destinations that are open Christmas Eve (and, in rare cases, on Christmas Day) with offerings that don’t scream “last resort.” As for not getting so drunk at dinner that you tell your brother what you really think of his wife? For that, you’re on your own.

BEAT MUSEUM

Nothing says “San Francisco” like a classic beat-era beret, Charles Bukowski poster, or limited-edition Grateful Dead autograph. Get ’em all at this North Beach locale.

540 Broadway, SF. Christmas Eve, 10 am.–7 p.m.; (415) 399-9626, www.kerouac.com

CLIFF’S VARIETY

At this Castro District hardware store, you’ll find everything from nuts and bolts to napkin rings and boas.

479 Castro, SF. Christmas Eve, 8:30 a.m.–6:30 p.m.; (415) 431-5365; www.cliffsvariety.com

COLLAGE GALLERY

Delisa Sage is owner and curator of this charming Potrero Hill shop, which features a mix of vintage and locally-made items with a focus on female designers and handmade objects.

1345 18th St., SF. Christmas Eve, 11 a.m.–5 p.m. (415) 282-4401, www.collage-gallery.com

COMMUNITY THRIFT

Known for reasonable prices, good organization, and a diverse selection of used and vintage items, this Mission District second-hand store also is beloved for donating proceeds to a roster of more than 200 local nonprofits. Also? The $1 rack. ‘Nuff said. (Rather than regifting, why not donate your castoffs here?)

623 Valencia, SF. Christmas Eve, 10 a.m.–3 p.m.; (415) 861-4910, www.communitythriftsf.org

CURRENTS

The perfect spot for soaps, aromatherapy products, and adorable bath-time accessories for adults (novelty hot water bottles shaped like fish!) and kids (terry-cloth slippers shaped like little pigs!), this Valencia boutique also stocks a variety of packaged options for fast, easy selection.

911 Valencia, SF. Christmas Eve, 10 a.m.–6 p.m.; (415) 648-2015, www.currentssf.com

EMBARCADERO CENTER

Though we usually try to stay away from anything resembling a mall this time of year, we can’t help but want to support the local businesses that have outposts at Embarcadero Center, especially Ambassador Toys, the SF institution famous for its creative and well-made toys, and On the Fly, where you can spoil the man in your life with T-shirts, shaving sets, and cufflinks.

FABRIC8

Possibly the coolest shop in the Mission District, Fabric8 specializes in unusual gifts made and designed by local artists.

3318 22nd St., SF. Christmas Eve, 11 a.m.–5 p.m.; (415) 647-5888, www.fabric8.com

HEARTFELT

You’ll find just about anything under the exposed beams of this Bernal Heights store: picture frames, stationery, organic cotton baby jumpers, candles, and much more.

436 Cortland, SF. Christmas Eve, call for hours; (415) 648-1380, www.heartfeltsf.com

KID ROBOT

Delight collectors big and small with limited-edition toys from this hipster enclave in the Haight.

1512 Haight, SF. Christmas Eve, 11 a.m.–5:30 p.m.; (415) 487-9000, www.kidrobot.com

PEKING BAZAAR

You can’t beat the hours at this emporium of gifts in Chinatown. Many of the store’s bagatelles come in beautiful silks: totes and wallets, lanterns and pillows, kimonos for him and her. It also specializes in iron tea sets and houses a large jewelry section.

826-832 Grant, SF. Christmas Eve and Christmas Day, 10 a.m.–10 p.m.; (415) 982-9847, www.pekingbazaar.com

THERAPY

The Mission District retailer has cozy sweaters, handsome leather-band watches, and purses in a variety of shapes, sizes, and prices. And though it’s closed Christmas Eve, the shop will be wide open Christmas Day — and hosting a sale with everything starting at 20 percent off.

541 Valencia, SF. Christmas Day, 11 a.m.–8 p.m. (415) 265-9758

Do public health cuts make sense?

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By Melanie Ruiz

The Examiner’s front-page headline decries cuts to the San Francisco Police Department (it’s going to be harder to patrol North Beach with all that overtime reduced). But there’s been a lot less press attention to the midyear cuts to public health.

DPH proposed $7.4 million in cutbacks, with some of the biggest losses to be suffered by HIV prevention programs. The mayor, however, rejected these program cuts, instead using HIV/AIDS reserve money to the programs going.

So the cuts will come elsewhere — and may leave the city in worse shape over time.

Gregg Sass, chief financial officer of the public health department, presented the news to the Health Commission Dec. 15th, arguing that the proposed plan operated in large part by increasing program efficiencies and reducing or eliminating San Francisco’s support for programs cut in the state budget bloodbath. Sass said “there are a few, isolated instances of some very targeted program reductions.”

Those targeted programs reductions include two substance abuse residential treatment programs, yet to be named, which will be closed. The plan also cuts the backfill funds for state proposition 36 services, which are “provided to individuals charged with non-violent drug violations who choose drug treatment and counseling in lieu of incarceration,” according to the health department’s program change request.

The people who run these programs that will be cut testified for more than an hour, making the case that the cuts are financially foolish — because prevention is cheaper than treatment.

Representatives from the Homeless Youth Alliance (HYA), a harm reduction coalition for homeless youth in the Haight-Ashbury, were out in full force. “Twice a year our budget is up for cuts, and twice a year we have to stand up here and beg you to keep allowing us to save lives,” said Lani Riccobuono. Supporter after supporter came up, cheered on by an entire back section of the room, to testify to the vital role the HYA plays in the future of at-risk individuals. It’s a thriving, supportive community of people who explained that they have only found help and hope after walking through the drop-in center’s doors.

And the infuriating level of the cuts was on display, too — It costs only $58,729 to keep HYA’s doors open – less than the cost of just one of Newsom’s five press spokespeople.

To be fair, the mayor’s office is taking cuts, too — a total of $201,520. Those reductions will come through attrition, unfilled vacancies and salary reductions for top earners.

Supervisor Chris Daly has been drawing attention to the different growth rates of the police and health departments’ budgets. According to Daly, the health department received $410 million in General Fund money last year, which fell to $343 million this year. The police department received $332 million, which rose to $345 million. In other words, public health received 16 percent less – and the police received four percent more.

Newsom’s proposed cuts include $6 million in reductions for the police department — which is hardly enough to balance out past years of health cuts.

At the onset, Commission President James Illig noted that this was only a small step: “We want to hear how we’re going to face the future, because more cuts are going to have to be made.” Next year the health department faces $101 million in cuts.

The main idea offered by speakers for the next round of cuts was simple – look elsewhere.

As Riccobuono sees it, the current strategy “is not only bad public health, it is balancing the budget on the backs of the most vulnerable population in San Francisco.”

Mall-free Santa hang time: A miracle on 21st st.

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By Caitlin Donohue

Noe Valley is a lot of things to a lot of people- a good place to stash children, very hilly, ridiculously wealthy- but did you know it’s also the best place to catch the Big Red Guy kicking up his shiny black boots in San Francisco?

Tom Taylor and Jerome Goldstein bought their Norfolk Island pine back in 1973, at which point it could fit inside their house neatly. Now 55 feet tall, the yuletide behemoth has become the focal point of the most gosh darn spectacular home holiday display you’re ever going to see in this city, funded entirely out of the couples’ pocket. Their multi story house is buried under tiers of stuffed animals and bright, shiny Christmas. Massive ornaments, lights and bows, stuffed animals and extravagant K’nex machinery click away from all vantages. It’s nuts. It’s wonderful. We happened upon the site randomly last night and there was quite a crowd amassed of neighborhood families and random passers- by.

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Tom and Jerry’s Christmas tree warms hearts, non commercially. Photo by Erik Anderson

SCENE: N.I.C.E. Collective designs a community

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The N.I.C.E. boys. All photos by Spencer Hansen

Designers Joe Haller and Ian Hannula of burgeoning San Francisco fashion brand N.I.C.E. Collective (www.nicecollective.com) met in a club more than a decade ago and started collaborating on projects — the first one was repurposing an electric blanket into a jumper — complete with tag and plug. Their big idea was to fuel fashion with a musical and nightlife sensibility, enabling the duo to build a community of artists. N.I.C.E. (an acronym for “navigate, inform, create, explore”) rocked New York Fashion Week last spring with a show that felt more art installation/dance party than runway presentation, and whose backdrop included a 19th century carriage and much charred wood. The impeccably edgy Time Machine line they introduced there took off and now holds its own on the floors of retail boutiques next to editorial darlings Rag & Bone and more established brands like Comme des Garcons.

But what next? Between constant trips back and forth from New York to the site of their “live fashion installment” in Bolinas, we managed to snag Joe and Ian for a moment to ask them about the concept for their latest, “communal” clothing line.

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SFBG When did you start cultivating the concept for a communal line launch?
N.I.C.E. We came across this stretch of land in Bolinas, and we looked over it and thought, “with the economy tanking, why don’t we just set up a little commune together?” This thought became the jump-off point for our design inspiration for spring 2010. We decided to name it the Gathering.

Then when we didn’t find what we were looking for to show the clothes in New York during Fashion Week this fall, we thought back to Bolinas and decided to go ahead and actually set up a temporary community there. Instead of art directing an outdoor photo-shoot, we would live it and take pictures of our line that way.

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SFBG How did it go? Were any of the models eaten by bears?

N.I.C.E. It was absolutely fantastic. We underestimated how difficult it would be. We could only drive so far, and had to carry everything to the site for a quarter mile. We didn’t finish unloading until 3 a.m. We were up there for four-and-a-half days, with perfect weather, building domes and tents and art installations.

The models were great: they were pitching tents and carrying sound equipment. Even models are creative: they were building visual platforms that had a good flow. We ended up chasing light a lot of the time to capture what was going on, and the images were not as haphazard as we had envisioned. But in the end, it was really a magical experience.

The biggest thing for us is to be able to share our thought process. The design is so close to our hearts, but I think oftentimes it’s missed by the customer. We want to give people a path to see it.

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SFBG Do tell a bit about the clothes, then.
N.I.C.E. The idea we’re focusing on is pioneering, which highlights utilitarian use. But we try to make the utilitarian component hidden, and clothes that fit and work no matter what environment you’re in. Nothing is too precious: everything is beautiful but still sturdy. Each garment has a little way of achieving a secondary use; technology is layered in to communicate that a little more. We have a fabric that has stainless steel woven into it, so it holds where you form it, creates a great wrinkle. And garments reconstructed from military tents that can be worn as either a parka or a skirt.

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SFBG Brilliant. So seems like you’ve entirely eschewed New York.
N.I.C.E. In New York, there is this typical fashion noise where everyone is kind of vibrating at the same pace. San Francisco lets us be apart from that and do our own thing. It is a challenge working here. The fashion industry is not here, but it’s such a great, inspiring city to work in that the benefits are worth it. When we came back from Fashion Week, we needed a month to recover. But since we’ve been back from the Gathering, we’ve still got an inspirational glow.

50% sale today at Goodwill: This is not a drill

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Text and photos by Caitlin Donohue

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Well knock me over with a feather…

Although my disdain for (and fear of) some San Francisco thrift stores has been duly noted, I have to admit that sometimes they make me feel all warm inside. Case in point, today- every Goodwill in the city will be selling all their clothing and shoes for… holy moley, half price!(!!)

Now, granted this is no “all clothing and shoes for $2” sale (lemme tell you, November was a good month for me), but 50% is nothing to shake a stick at. I’ve taken the liberty of assembling a few gems you could pick up today- if you get off your ass right now and start throwing ‘bows people! I’m serious, store opens at 9 a.m.- you don’t want to be the last one rifling through the holiday sweater pile. The choice items shown below are from the Fillmore and Sutter store, easily the best outlet in the city. I have two theories about this: (a) its where the ladies who lunch from Pac Heights drop their impulse shopping designer threads and (b) there is a donation center attached to the store and all the intrepid employees (they are lovely here) squirrel away the best items for the benefit of their committed customers. I go in once a week, so I count as one of these.

But that’s neither here nor there. Without further ado (besides the jump), inspiration to hit the 50% sale! Sales tax free as always! Let’s see that hustle, people!

SCENE: N.I.C.E. Collective designs a community

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Interview by Laura Palmer. From SCENE: The Guardian Guide to Nightlife and Glamour on stands in the Guardian now

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The N.I.C.E. boys. All photos by Spencer Hansen

Designers Joe Haller and Ian Hannula of burgeoning San Francisco fashion brand N.I.C.E. Collective (www.nicecollective.com) met in a club more than a decade ago and started collaborating on projects — the first one was repurposing an electric blanket into a jumper — complete with tag and plug. Their big idea was to fuel fashion with a musical and nightlife sensibility, enabling the duo to build a community of artists. N.I.C.E. (an acronym for “navigate, inform, create, explore”) rocked New York Fashion Week last spring with a show that felt more art installation/dance party than runway presentation, and whose backdrop included a 19th century carriage and much charred wood. The impeccably edgy Time Machine line they introduced there took off and now holds its own on the floors of retail boutiques next to editorial darlings Rag & Bone and more established brands like Comme des Garcons.

But what next? Between constant trips back and forth from New York to the site of their “live fashion installment” in Bolinas, we managed to snag Joe and Ian for a moment to ask them about the concept for their latest, “communal” clothing line.

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SFBG When did you start cultivating the concept for a communal line launch?
N.I.C.E. We came across this stretch of land in Bolinas, and we looked over it and thought, “with the economy tanking, why don’t we just set up a little commune together?” This thought became the jump-off point for our design inspiration for spring 2010. We decided to name it the Gathering.

Then when we didn’t find what we were looking for to show the clothes in New York during Fashion Week this fall, we thought back to Bolinas and decided to go ahead and actually set up a temporary community there. Instead of art directing an outdoor photo-shoot, we would live it and take pictures of our line that way.

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SFBG How did it go? Were any of the models eaten by bears?

SCENE: Lazer Sword zaps the boom-blap

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By Michael Krimper. From SC ENE: The Guardian Guide to Nightlife and Glamour, on stands in the Guardian now!

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Lazer Sword photo by Beryl Fine

San Francisco-bred electronic duo, Lazer Sword, has a secret weapon. Bryant Rutledge (a.k.a. Low Limit) and Antaeus Roy (a.k.a. Lando Kal) have developed a musically enhanced dehydration gun that zaps the sweat out of dance crowds like a soul-sonic Super Soaker. There’s no escaping it. Inside investigators report that this weapon emerged mysteriously from a Mission District apartment building in 2006, conceived from a reactive mixture of 1980s sci-fi psychedelia and a futuristic bass-rattling force unanticipated by even the most forward-thinking predictions of the oncoming 2010s. It’s manufactured out of grime-ridden computer technology and 8-bit video game parts, designed with the stuttering ferocity of electro-house synthetics and drum machines, and blessed by the hustlers and gangstas of swagger rap. Welcome to Lazer Sword’s boom blap.

And just like one of those vintage sci-fi films, Rutledge and Roy seem to be on their way to world domination. The duo just returned from their second European tour, slaying dance floors from London, England, to Bialystok, Poland. “Crowds overseas are pretty open to electronic music in general,” says Rutledge, “but I get the feeling that two guys jamming on their midi controllers making weird rap beats mixed with dolphin noises and Hanna Barbera samples is a little different and new for them.” Unabashed, Lazer Sword welcomes the challenge of converting unknowing club fiends, wallflowers, and beat heads alike to their leftfield, electro hip-hop bounce. “There’s always an awesome feeling when the crowd doesn’t know what to expect at first,” Roy weighs in, “then over time, cats are dripping in sweat and falling over themselves.”

50% sale today at Goodwill: This is not a drill

0

Text and photos by Caitlin Donohue

goodwill 1209.JPG
Well knock me over with a feather…

Although my disdain for (and fear of) some San Francisco thrift stores has been duly noted, I have to admit that sometimes they make me feel all warm inside. Case in point, today- every Goodwill in the city will be selling all their clothing and shoes for… holy moley, half price!(!!)

Now, granted this is no “all clothing and shoes for $2” sale (lemme tell you, November was a good month for me), but 50% is nothing to shake a stick at. I’ve taken the liberty of assembling a few gems you could pick up today- if you get off your ass right now and start throwing ‘bows people! I’m serious, store opens at 9 a.m.- you don’t want to be the last one rifling through the holiday sweater pile. The choice items shown below are from the Fillmore and Sutter store, easily the best outlet in the city. I have two theories about this: (a) its where the ladies who lunch from Pac Heights drop their impulse shopping designer threads and (b) there is a donation center attached to the store and all the intrepid employees (they are lovely here) squirrel away the best items for the benefit of their committed customers. I go in once a week, so I count as one of these.

But that’s neither here nor there. Without further ado (besides the jump), inspiration to hit the 50% sale! Sales tax free as always! Let’s see that hustle, people!

SCENE: Sirron Norris bears all

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Interview by Caitlin Donohue. From SCENE: The Guardian Guide to Nightlife and Glamour — on stands in the Guardian now!

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“When you walk into a room in San Francisco, half the people in there are going to know who I am — or at least the bear,” says “cartoon literalism” artist (and palindrome) Sirron Norris. Norris may be right about his citywide ubiquity. The friendly blue bears and pink rabbits that frolic through his Technicolor streetscapes are probably brightening up a wall near you, from Balmy Alley to the neighborhood cheesesteak restaurant. But the lightheartedness of Norris’ popular work belies an artist with an intense drive to be commercially viable in the increasingly barebones world of art. Upcoming projects include Bob’s Burgers, an animated series on Fox, and a studio at 1406 Valencia where he’ll hawk his own work and teach cartooning classes — even a proposed reality show. Ever opinionated, Norris pulls no punches when it comes to taggers, the Mission anti-gentrification movement, and the value of commercialism.

SFBG How did you get started in the SF art scene?
SIRRON NORRIS I fell into fine art. I’d never planned on it at all. I was making video games at a software development company in San Rafael and painting on the side out of frustration. I was doing these canvases on my own and [one day] I took them down to Luggage Space, which was the hot gallery at the time. A few months later, I had a show.

SFBG I think, given the aesthetic of your work, a lot of people would be surprised to find out that you don’t come from a graffiti background.
SN I have a huge disdain for graffiti. My murals have been ripped apart by it. I exercise a lot and the main reason I started is honestly because I wanted to stay up super-late at night and run around with a baseball bat and find [taggers]. People don’t understand when they ruin my murals how hurtful that is. You are stealing that artist’s life away from them. And for what — you want people to notice you? I just think that it’s sad and self-indulgent. I’m an artist too, but when [someone tags a wall] it’s gonna be their name, or an elaborate form of their name, or their crew. It’s not like the murals, where we’re trying to tell some rich indigenous history or something about apartheid.

Muni and the shuttle buses

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By Tim Redmond

As far as I can tell, those shuttle buses run by UCSF don’t have the legal right to use Muni bus stops to load and unload passengers. So how come I see them day after day, sliding into the stop at 16th and Mission — sometimes right ahead of a Muni bus, which then has to wait behind the shuttle van, backing up traffic for everyone?

I asked Judson True, Muni’s spokesperson, about this, and he referred me to a study MTA did on the role of shuttle buses in San Francisco.

It doesn’t get into my particular gripe in great detail, but does say this:

Conflicts with Muni vehicles when loading or idling: MTA staff report this has been a general problem at several locations, a concern also echoed by both MTA field supervision staff and in resident outreach surveys. MTA field staff also cited stress reported by Muni drivers if passengers were compelled to try and board outside of the Muni zone. Muni drivers are instructed not to pick up passengers outside the bus zone for safety reasons, yet passengers often insist on boarding. Authority staff witnessed only a few instances of shuttles blocking Muni vehicles in Muni zones, though one recent instance at Glen Park was troublesome. A shuttle in the process of boarding passengers on Bosworth Street in a Muni zone blocked an incoming Muni bus, thus causing a conflict and even secondary queueing along Diamond Street where another Muni bus waited for both vehicles to move forward before proceeding onto Bosworth Street.

I think this is a bigger problem than the report suggests — and UCSF isn’t the only outfit running these things. The Academy of Art University, Google and all sorts of other private operators are doing it. Which is fine, if they want to offer students and employees and alternative to driving.

But if they use Muni stops, they ought to be paying the city a license fee for the right to do it.

Police chief: SFPD dignitary security costs were a mystery even to him

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By Rebecca Bowe

San Francisco Police Chief George Gascon offered an explanation yesterday for why it took so long for the San Francisco Police Department to provide any figures whatsoever on how much it spends on security detail for elected officials: Apparently, no one really had any idea what the costs actually were.

“Quite frankly, when I first came here I asked multiple times, how much are we spending in dignitary protection? And I could not get the answer within my department,” Gascon told the Board of Supervisors yesterday.

Sup. Ross Mirkarimi first began asking for this information back in July. “When we got the first cut of information approximately two weeks ago, I looked at it and I said, this information does not seem right,” Gascon recounted. “Go back and work on this.”

When his staff finally produced a figure of around $2 million for all dignitary security costs for the budget year ending in June 2009, Gascon says he immediately shared that figure with the media and members of the Board. This past weekend, the San Francisco Chronicle ran a front-page story about the cost, which includes protection for the mayor, politicians visiting from outside San Francisco, and others.

“I don’t believe it is copasetic to allow a black ops budget to exist” within the SFPD, Sup. Ross Mirkarimi said at yesterday’s Board meeting, during a discussion about legislation he introduced to require elected officials to reimburse the city for the cost of bodyguards on the SFPD payroll when they’re out on the campaign trail.

SF to pay $100 million for disappearing island

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By Steven T. Jones
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Artists rendering for the Treasure Island development.

Mayor Gavin Newsom just announced an agreement in which San Francisco will pay the U.S. Navy more than $100 million for Treasure Island – property that we were originally supposed to get for free to offset the economic impacts of military base closures and which could be underwater by the end of the century.

In the press release, Navy Secretary Ray Mabus called the agreement “good for the American tax payer” and Newsom expressed optimism that “having the terms of this conceptual agreement with the Navy in place will allow us to finalize our development plans and generate badly needed jobs in this difficult economic climate.”

But this project is still years away from breaking ground. And despite what the release called a project “widely heralded as one of the most environmentally sustainable development plans in US history,” an April report from the San Francisco Bay Conservation and Development Commission indicates that a 55-inch sea level rise from global warming – which models show we could experience within 90 years — would inundate most of the island.

Yet project developers, including Lennar Corp. and the politically connected Darius Anderson, will be long gone when Treasure Island sets a new standard for underwater sustainability.

Appetite: A drink-lover’s holiday

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By Virginia Miller of www.theperfectspotsf.com. View her last installment here.

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HOLIDAY PUNCH RECIPES
One of the best ways to supply fine drink to a party or gathering is with a classic punch bowl: make it in large batches for stress-less imbibing. We look to our local bartender greats for some unusual recipes using Brazilian cachaca or classic genever gin.

Honey Spiced Punch 
Erick Castro, Rickhouse, San Francisco

1 Cup Leblon Cachaca 
1/2 Cup Appleton V/X 
1/2 Cup Velvet Falernum 
1 Cup Lemon 
1/4 Cup Honey Syrup 
1/4 Cup Simple Syrup 
8 Dashes Angostura 
10 oz. Sparkling Water
Garnish with cinnamon, orange wheels and a sprig of mint.

Climate Change protests

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Text by Sarah Phelan

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“Human chain” protestors protect grassroots groups from all over the world from hundreds of riot police who turned out to keep climate justice activists from entering the Bella Center where the 15th Conference of Parties was being held.

Alicia Garza, co-executive director of the San Francisco-based People Organized to Win Employment Rights (POWER) sent these photos from protests in Copenhagen. Media outlets are reporting that Danish police arrested about 250 protesters and used pepper spray and dogs to contain crowds in Copenhagen today, as a demonstration against the U.N. climate talks converged on the Bella Center ahead of crucial negotiations at the COP15 summit.

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As thousands of activists held a People’s Assembly outside the Bella Center where indigenous activists and G77 representatives walked out of climate talks, activists hung a banner from the trees which said COP15: Business as U$ual. Many activists said that the wealthier nations, such as the EU, France and the United States were prioritizing business interests over the fate of millions of people around the world who are severely impacted by current and impending climate crises.
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Via campesina at COP 15” is an international grassroots organization of farmers and workers from around the world who led activists and civil society who were locked out of the COP. COP officials limited the amount of participation from civil society to 1000 people today, and intend to further limit participation to 90 people tomorrow.
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