SF

Zuppa

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› paulr@sfbg.com

As a charter member of the Globe fan club, I tend to be favorably disposed toward any of that restaurant’s descendants, cousins, siblings, or other relations. From the beginning, Globe has shared an ethos with Zuni and Chez Panisse, serving food that’s both sophisticated and hearty and can trace its origins to the peasant traditions of Italy and Mediterranean France.

Joseph Manzare, a pupil of Wolfgang Puck’s and an alumnus of both Spago and Postrio, opened Globe in 1996 and has marched onward since — if not quite at a pace of Puckish, imperial intensity, at a respectable clip nonetheless. His other major ventures in the city include Joey and Eddie’s, a seafood house that recently moved from Noe Valley to the old Moose’s space in North Beach, and Zuppa, which opened about three and a half years ago in dramatic SoMa location that had been home to Café Monk, a member of the Fourth-and-Brannan streets trifecta whose other principals were Fringale and CoCo500 (né Bizou).

Café Monk wasn’t a very good name for a restaurant. It made me think of monks, and who would want to eat at any place run by such abstemious, virtue-ridden persons? The space, moreover — a lofty cathedral of exposed brick and concrete, trimmed with stainless steel, wood, and spot lighting — resisted capture by the word "café." "Zuppa" is certainly an improvement, though far from perfect; the word means "soup" in Italian, and Italian soup means … minestrone. I like minestrone, but it’s humble and familiar in a way Zuppa is not.

Zuppa is, in fact, a rather marvelous Italian restaurant of the sort you’d think the city of St. Francis would be full of. It’s earthy and glossy, medieval and modern, intimate and buzzing, all at the same time. You never forget that you are inside an old, industrial building in a once-gritty part of town, but you are soothed by the votive candles flickering on each table — a kind of hushed chorus of light. There are many variations on these basic design elements around town, but Zuppa is among the most appealing; its physical reality is quietly assertive without crossing into stridency. You notice the look and appreciate it, then go back to your conversation.

The food, orchestrated by chef de cuisine Liam Bonner, makes for lively conversation. Zuppa’s kitchen, like the others in the Manzare consortium, tilts in favor of organic ingredients and humanely produced meats — both worthy goals, but we have heard plenty about the former and, possibly, not quite enough about the latter. Meat and poultry tend to dominate the main courses — a small reminder that Italians eat plenty of meat, particularly in the north. Even the front end of the menu is meaty, with a selection of cured flesh, including prosciutto, coppa, and soppressata ($8) — a kind of pepper salami in delicate slices, laid out like cards at a blackjack table — available as a light first course or nibble.

The heart of Italian culinary identity in this country nonetheless remains the battle-tested duo of pasta and pizza, and here (as elsewhere) Zuppa doesn’t disappoint. The pizzas begin with wonderful, thin, crunchy-chewy crusts and are laid out with high-quality toppings, among them a velvety housemade mozzarella, along with tomatoes and basil, on the margherita ($14), and caramelized onions, coppa, and slivers of green-bell pepper on the bianca ($15). I like the idea of pizza bianca — bianca means white, and that means no tomato sauce, which is daring — but without the temperate effect of oregano-inflected tomato sauce here (which softens and modulates the other flavors on the pie, as our fog does with heat), the sharp grassiness of the green peppers was a little too obvious for me.

Much as I love pasta in its illimitable variety, I don’t have it often in restaurants since I make it so often at home, for far less money. But I would speak up on behalf of Zuppa’s rigatoni ($17) al ragu di Campania: long tubes tossed with long-simmered minced pork, shreds of spigarello kale, and clumps of cacciocavallo cheese, a onetime Sicilian specialty now produced throughout the south of Italy. (Campania is the region around the southern city of Naples, including Mount Vesuvius.) The ensemble sauce is very hearty and warming on a cold winter’s night, and simmering a ragu is the sort of time-intensive operation a restaurant kitchen is going to be in a better position to undertake than most home cooks, even ambitious ones.

Just as tasty was a plate of linguini ($17) in a seafood marinara sauce. The seafood was supposed to be local squid, but we were told the kitchen was substituting rock shrimp instead. This struck me as a favorable switch, since shrimp of any kind are reliably sweet, whereas squid can bring an unwanted bitterness if not handled properly. Tomato and oregano with a counterpoint of briny sweetness is a potent melody.

The menu follows Italian practice in designating pasta dishes as primi and the heavier flesh courses as secondi. (You can also get contorni, or side dishes, such as verdure [$6], perhaps a medley of kale varieties braised with garlic and pancetta.) But if you make do with pasta as a main dish, you might find that you have room left for dessert, such as a block of chocolate-pumpkin brownie ($8), fabulously moist, piped with chocolate sauce and topped with a helmet — no, a globe! — of cinnamon gelato.

ZUPPA

Dinner: Mon.–Thurs., 5:30–10 p.m.; Fri.–Sat., 5:30–11 p.m.; Sun., 5–9 p.m.

Lunch: Mon.–Fri., 11:30 a.m.–2:30 p.m.

564 Fourth St., SF

(415) 777-5900

www.zuppa-sf.com

Full bar

AE/DISC/MC/V

Noisy

Wheelchair accessible

Lindstrom

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PREVIEW The epic dance track has had somewhat of a revival over the last few years, whether through the hipster strut of LCD Soundsystem’s "45:33" (DFA, 2007), or the obliquely historical morphing minimalism of Ricardo Villalobos’ "Fizheuer Zieheuer" (Playhouse, 2006). It isn’t all that surprising to find Hans-Peter Lindstrøm joining this mini-movement since he brings the same sort of transcendent musical facility to space jams of the non-Bugs Bunny kind that Villalobos brings to techno. In fact, it seems natural: prog-inflected electronic music is built upon monoliths such as Ash Ra Tempel’s epic "E2-E4." On Where You Go I Go Too (Smalltown Supersound, 2007) — his first proper solo full-length recording after a half decade of 12-inch singles, compilations, and collaborations — Lindstrøm presents a three-track, almost hour-long suite. The most audacious gesture is the 29-minute opening title track, which rides a midnight express on through the whirligig motif of Cerrone’s "Supernature" and the bicyclist-breaths of Kraftwerk’s "Tour de France" before reaching — and extending — a climax.

Elsewhere on Where You Go I Go Too, Lindstrøm flirts with gauche Euro trance sounds ("Grand Ideas") as much he does the seemingly chic-again disco touches (sublime closer "The Long Way Home") often associated with his recorded output. Redefining and fusing genres rather than obeying them, he’s a leader, not a follower, though this particular change in direction has been a divisive one. While the electronic music guru of one Bay Area music store listed Lindstrøm’s solo debut as his favorite recording of last year, another local shop trashed it. Rumor has it that Hans-Peter has been back in the studio with his sometime partner-in-crime, Prins Thomas. For now, he’s visiting the Paradise Lounge, which owes some of its current liveliness to the disco revival his music has helped spark in San Francisco.

LINDSTRØM With Beat Broker, Conor, and TK Disco, and visuals by AC. Sat/31, 9 p.m.–4 a.m., $15. Paradise Lounge, 1501 Folsom, SF. (415) 252-5017, www.paradisesf.com

Chris Hillman and Herb Pedersen and John McEuen

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PREVIEW Country-rock pioneer and original Byrds bassist Chris Hillman prepares to throw down some bluegrass with longtime friend, banjo player Herb Pedersen, at Yoshi’s SF this week.

As a founding member of the Byrds and later the Flying Burrito Brothers, Hillman was a staple of California’s fabled Laurel Canyon music scene during the late 1960s. Although the musician’s roots are steeped in bluegrass, it wasn’t until meeting his eventual Byrds bandmate Gram Parsons in 1968 that the group took on a significantly unique direction. The Byrds’ critically acclaimed Sweetheart of the Rodeo (Columbia, 1968) was a product of the outfit’s expansion into country even if it failed to chart. Hillman’s full-fledged emergence into the genre has inspired a spectrum of artists, including collaborators such as Emmylou Harris and fans like Beck. I don’t think the pedal steel sound heard on Beck’s "Rowboat" was even possible without the Burrito Brothers paving the way.

Throw into the mix multi-instrumentalist and Nitty Gritty Dirt Band veteran John McEuen, a.k.a. "America’s instrumental poet," and expect Pedersen, who played with Hillman in the Desert Rose Band and paid his dues picking five-string banjo with the likes of Jerry Garcia, to do just that: play some banjo. After all, this is bluegrass we’re talking about. Just remember, it’s all about the twang.

CHRIS HILLMAN AND HERB PEDERSEN AND JOHN MCEUEN Mon/2–Tues/3, 8 p.m., $30. Yoshi’s SF, 1330 Fillmore, SF. (415) 655-5600, www.yoshis.com

“Japan Dance Now”

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PREVIEW What does avant-garde Japanese dance look like? Butoh is 40 years old. Eiko and Koma have been working their version of slow dancing for three decades. What about dancers who have grown up in a high-tech, high-velocity, video-drenched urban environment? We at least get glimpses of the movies, comics, and pop music that are part of their lives. Once in a while, a company like the Condors will come through town on their way to somewhere else. But for the most part, our exposure to that type of edgy new dance — highly influenced by electronic media and sophisticated in its use of those elements — remains nil.

Now Yerba Buena Center for the Arts is making an attempt to open minds and ears to new moves from Japan. Next month they bring back Papa Taruhamara, and this weekend they present three companies in a performance titled "Japan Dance Now" on their first stop of a three-city tour of the states. Baby-Q, a multimedia company that includes a robotics specialist, is directed by choreographer Yoko Higashino. The group stages her solo E/G-Ego Geometria. Nibroll’s seven athlete-dancer-comedians are taking on the everyday in their excerpt of Coffee. Sennichimae Blue Sky Dance Club is an all-female ensemble with serious hair. The company describes The End of Water as an exploration of aspects of femininity from a pop butoh perspective.

JAPAN DANCE NOW Thurs/29–Sat/31, 8 p.m., $25–$30 (On Sat/31 audience members receive special entrance to the post-performance "Big Idea" party, 9 p.m.-midnight, in the Grand Lobby and Galleries). Novellus Theater, Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org

“Who Got the Chickens” and “Love Can Build a Bridge”

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REVIEW/PREVIEW Although No. 43 has finally flown the coop back to Crawford, Texas, our country would do well to remember Faulkner’s famous words from 1951’s Requiem for a Nun: "The past is never dead. It’s not even past." The psychic damage from the Bush years runs deep, and will no doubt keep resurfacing. Maybe it’s the Texan atmospherics — the soundtrack of chirping crickets, the smell of sawdust, the strange manqués and photos of tumbleweeds — or the loose "one that got away" narrative that whistles through Stephan Pascher’s installation "Who Got the Chickens" that made me think of Bush.

The exhibit’s true empty center, though, is Donald Judd. Judd’s ghost is most present in Pascher’s sculptural centerpiece — an empty chicken coop, a few feathers the only trace left of its former occupant, that faces two gray wooden boxes in a Y-formation. The boxes nod to the concrete sculptures that dot Judd’s sprawling Marfa, Texas art ranch like unearthed giant sarcophagi, but Pascher’s mixed media assemblage is not as concerned with purity of form as Judd, the anti-minimalist minimalist who once opined that, "Art is free, but it is not a free-for-all." Pascher’s show practically calls Judd out on his prissiness — an accompanying short story finds Judd (here named James Dean) throwing hissy fits about bird shit on his sculptures — but it leaves the titular semi-question open and sidesteps anything as concrete as recrimination.

Kevin Killian and Karla Milosevich are perhaps less gracious toward Judd in their 2002 Poets’ Theater play Love Can Build a Bridge, which coincidentally is being restaged this weekend as part of BAM’s "Bending the Word/Matrix 226" exhibit. In Love, Judd (played brilliantly by the inimitable George Kuchar) is a Lear-like patriarch whose video will has left his extended clan — including country singers Naomi and Wynona, B-lister Ashley, and "illegitimate son" Judd Nelson — in disarray. I asked Killian over the phone if his characterization of Judd had any specific inspiration, and he recalled visiting curator David Whitney, whose Big Sur house had lots of furniture made by Judd. Looking at one such chair, Whitney said: "I can’t even stand to look at it or sit in it because he was the most hateful man I’d ever known." It looks like Bush isn’t the only wellspring of psychic damage deep in the heart of Texas.

WHO GOT THE CHICKENS Through Feb. 7. Tues.–Sat., 11:30 a.m.–5:30 p.m. Steven Wolf Fine Arts, 49 Geary, suite 411, SF. (415) 263-3677. www.stevenwolffinearts.com

LOVE CAN BUILD A BRIDGE Sat/31, 7 p.m., free. Pacific Film Archive Theater, 2575 Bancroft Way, Berk. (510) 642-1124. www.bampfa.berkeley.edu

SF Ballet goes, er, gay

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By Marke B.

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Throw them poak chops, girl!

Yes, I am a fan of the dance. I’m even a fan of the 75-year-old SF Ballet when I can afford to go — and this Friday, January 30, may be the time to hit the Coinstar and buckle up my toe shoes, because it’s the ballet’s special “Nite Out!” program for the LGBTs. Those twirlers are “a ballet company as diverse as our community” according to the promo flyer (which also explains what “LGBT” means in tiny print at the bottom, heh) — and they’re not only gonna put on a kicky show at 8pm. There’ll also be “Meet the Artist” interviews with some of the company at 7pm and, from 10:30-midnight, there will be an “exclusive cocktail reception” with free wine, vodka cocktails, and snacks.

Blog Love: Peeping locals between the covers

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By Juliette Tang

Have you ever wondered what your fellow San Franciscans are reading? One might find such information by asking random strangers on the streets of SF about their reading habits — but that may make everyon involved a little uncomfortable. A better method is to let People Reading do it for you. Blogger Sonya Worthy has been chronicling San Franciscan readers for the past two and a half years, and thus far, she has photographed over 1,200 readers. (And they said blogs would kill print! – Ed.)

Says Sonya, “The beauty and rarity of a given book being read at a given time, instead of, say, packed away in a box somewhere is what initiated the blog. But, throughout the past two and a half years, I’ve discovered that I’ve not only been chronicling the popularity of books, but also the diversity of individuals.” San Francisco is, indeed, a diverse city of readers. Look at the assorted variety of books on the blog. From the William Faulker: Novels 1930-1935 to Running the World: The Inside Story of the National Security Council and the Architects of American Power to The Complete Idiot’s Guide to Playing the Harmonica, our fellow citizens show an interesting and assorted variety of tastes when it comes to their tomes.

New from Jawbreaker’s Blake – Thorns of Life

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Signs: Thorns of Life in Brooklyn.

Whither Jawbreaker? Well, vocalist Blake Schwarzenbach is back, alongside Aaron Cometbus (Cometbus zine, Pinhead Gunpowder) and Daniela Sea (The L Word), with a new band, Thorns of Life. The punk combo performs at a special early show tonight, Jan. 26, with Pins of Light and Songs for Mom. As Hemlock Tavern booker Anthony Bedard says, “a not-to-be-missed chance to see them in something smaller than a sports arena!”

THORNS OF LIFE
With Pins of Light and Songs for Mom
Mon/26, 7 p.m., $6
Hemlock Tavern
1131 Polk, SF
(415) 923-0923

Obama lifts abortion gag rule before SF clash

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By Steven T. Jones

Just in time for tomorrow’s dueling San Francisco abortion demonstrations, President Barack Obama today signed an executive order lifting the ban on U.S. funding going to family planning groups that perform abortions or provide counseling on the procedure, once again lifting the country out of the Christian fundamentalist dark ages.

The ban was first imposed by President Ronald Reagan in 1984, then rescinded by President Bill Clinton, then reinstated by President George W. Bush. Although not unexpected, the timing of Obama’s action is sure to buoy the spirits of demonstrators with the Bay Area Coalition for Our Reproductive Rights, which for the last five years has countered the massive Walk for Life, in which anti-abortion organizers bus in thousands of conservative church-goers (and their disgusting pictures of mangled fetuses) from throughout the Western U.S.

Sonic Reducer Overage II: Edwardian Ball, Unagi, Dragging an Ox Through Water, and more

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Motor-vated: Kinetic Steamworks at Coachella 2007.

Because once is never enough. More ear-teasers to tantalize…

Edwardian Ball
Break out the corsets and strap yourself in, girls. The ninth annual event – now three days strong – bids you to party like it’s 1899, follow the green fairy, and partake in music, art, burlesque, circus acts, and all things Edwardian and Edward Gorey-esque. (OK, Gorey was born a bit too late, but you get the general drift of the proceedings.) With Rasputina, Abney Park, Kinetic Steamworks, Rosin Coven, Vau de Vire Society, Jill Tracy, Cirque Berzerk, Agent Ribbons, and more. Fri/23-Sun/25, call for times, $25-$35. Regency Center, 1290 Sutter, SF. (415) 435-7527.

Thunderheist
The Toronto electro-funk party-starters gave a lil’ impromptu show in London in December (above). Tonight they do it the legal way, courtesy of Blasthaus. Next up: a new album on Big Dada, coming March 31. Fri/23, 9 p.m., $10. 103 Harriet, SF.

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Unagi
The slippery DJ brings the knowledge – “real hip-hop on real records all night long” – to his regular event, 442 Fridays, with DJ Animal. Fri/23, 9 p.m.-2 a.m., $5 after 10 p.m. Madrone Lounge, 500 Divisadero, SF. (415) 241-0202.

Super Ego: Alien techno chickens go bang, with hacksaws

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By Marke B.

It’s time for you weekend nightlife forecast, but first this update from that horribly “hip” new Domino’s BBQ chicken pizza campaign:

Viral! Compare that, of course, with SF’s very own dirty techno birdie, Claude VonStroke — and is anyone else 100 blog centuries old like me, and remembers that whole Burger King “subservient chicken” viral campaign where you could tell the guy in the chicken suit what to do? From like 2k3? OH MY GOD IT’S STILL HAPPENING!!!

I’ll never understand why we always make cute what we want to eat. Except puppies. Even kitties are cheezburger on the Internetz.

But let’s put away childish things, shall we, and dig into some of this weekend’s better affairs:

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TONITE! THU/22

THE NOISE

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New local promotion juggernaut Hacksaw Entertainment launches with a grab-yr-cha-chas blast at 103 Harriet — featuring, of course, my laptop life-love Lazer Sword bringing the future bass soundz, plus the very talented Ana Sia who’ll bring some of her techno-burner pedigree to the tables, and SF mashup psyphy duo Hookerz and Blow, who blow the hooker-roof off live …. High-tail it to the H&B MySpace page and check out “Blow the Whistler” and it’s Too $hort meets Claude VonStroke (again with him!) for some pure traffic jam genius.

The Noise
Thu/22, 10pm, $7
103 Harriet, SF
www.hacksawent.com

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FRI/23

ALPHABEATS

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Beloved DJ Andrew Phelan and the rest of the chunky beats Prismatic crew — the promos behind the hyperinventive Tonal color-coordinated loft parties — bring in the big names for their AlphaBeats party, subtitled A is for Alien (I eagerly await B is for BetaMax). I would scoff a little at the umpteenth appearance of 90s god Doc Martin, but his set at LoveFest this summer was out of hand with its perfect blend of old school house numbers and new school choons. Doc’s never really been known for his subtlety on the tables (it’s all about bangin’ hard into the cosmos), but he’s definitely evolved stylistically as a major dance artist. BONUS: Sunshine Jones, of fave raves Dubtribe Sound System, will be on hand to spread it. DOUBLE BONUS: dress as an alien and get a free mix …. do it now!

AlphaBeats
Fri/23, 10pm-4am, $15-$25 (presale info here)
DNA Lounge
375 11th St., SF.
www.dnalounge.com

The truth about Community Choice Aggregation

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By Amanda Witherell and Tim Redmond

It would be easy to just ignore last week’s SF Weekly story on
San Francisco’s energy policy.

The piece was exactly what we’ve come to expect from the Weekly – a direct attack on progressive San Francisco. It used all the buzzwords – “risky,” “radical,” “scheme.” It selectively chose facts and presented them without context.

But stuff like this sticks around, and people read it, so somebody has to set the record straight.

The running theme of the piece, by Peter Jamison, is that Community Choice Aggregation, an energy plan that would allow the city to be the wholesale buyer and provider of power to residents, comes with a high risk. In an effort to get greener power, the article charges, the city may wind up raising electric rates – “which could have a crippling impact on the city’s poorest residents.”

Of course, PG&E is going to raise electricity rates every year for the foreseeable future, and high PG&E rates are already having a crippling impact on poor people, small businesses and the local economy. But that’s not addressed in the story.

The truth is, CCA is only “risky” if you (a) assume that PG&E, which has been in and out of bankruptcy and continues to seek rate hikes, will somehow be a risk-free source of energy in the future and (b) assume that there’s no risk whatsoever to continuing to rely almost entirely on nuclear power and fossil fuels for our energy needs.

SF Weekly’s sleazy new deal

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By Tim Redmond

Village Voice Media, the owner of SF Weekly, has entered into a business deal with LikeMe.com, a weak competitor to Yelp. But already, the arrangement has generated controversy: The Seattle Altweekly The Stranger reports that many of the comments on this new site — comments promoted on the front page of the SF Weekly’s web site — are in fact promos for SF Weekly advertisers, written by SF Weekly ad staff. The Stranger notes:

The majority of Likeme’s reviews—which appear on 12 VVM websites, next to editorial content about the businesses—are written by ad representatives for VVM. The reviews, which are exclusively positive, focus on businesses that advertise in VVM papers.

For example, if you search for a review of Nick’s Crispy Tacos on the San Francisco Weekly’s site, a review from Likeme user LaraW is prominently displayed on the San Francisco Weekly’s page for the restaurant under the heading “The Inside Word on Nick’s Crispy Tacos.”

“If you’re looking for a great midweek activity that doesn’t cost a fortune, this is a great place to go,” LaraW gushes. “The crowd is always fun and the food is awesome.”

“Lara W” is actually Lara Weiss, the advertising coordinator for the San Francisco Weekly, where Nick’s Crispy Tacos advertises.

That’s pretty darn sleazy. Again, from the Stranger:

VVM isn’t the first company to engage in this practice, referred to by industry watchdogs as “astroturfing.” Companies such as Sony, Microsoft, and Philip Morris have all built fake grassroots campaigns to promote their own products or slam competitors.

“I think [VVM’s] first obligation is to be honest and transparent,” says Kelly McBride, ethics leader at the Poynter Institute for Media Studies. “You lose your marketability when you allow people with an agenda to post. And clearly the ad reps have an agenda: They want to make their clients happy.”

McBride adds, “When you create the false impression yourself… that’s really, really bad. It’s inherently dishonest, and I’d think it undermines your credibility.”

So what’s up here? Well, I emailed everyone I could think of at the Weekly and VVM, starting with the top editorial guy, executive editor Mike Lacey, who never returns my calls or emails anyway, but what the hell. I also emailed Executive Vice President Scott Spear, Executive Associate Editor Andy Van De Voorde, Weekly publisher Josh Fromson and Weekly editor Tom Walsh. Only my old pal Andy got back to me; he sent along this link. The argument:

As with any new web product you create or partner with, you give it to your friends and family to test drive

Still seems awfully misleading, especially for a media company that loves to criticize everyone else’s ethics.

Sonic Reducer Overage: Metronomy, Bored Stiff, Extra Action, and so much more

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Color blogged: Metronomy’s “Radio Ladio.”

Hey, get out! Here are a few more shows that make it worth missing – or recording – the new episodes of Lost and Battlestar Galactica.

Tippy Canoe
Let the uke revolution carry on – thanks to strummer stunners Tippy Canoe of Oakland and Anna Ash of Ann Arbor, Mich. With Antonetteg. Wed/21, 9 p.m., $6. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.


Metronomy
Creepy, conceptual electronic pop, anyone? The UK combo brings out the breakbot – just for fun – in honor of Popscene. With the Mae Shi. Thurs/22, 10 p.m., $12. Popscene, 330 Ritch, SF. (415) 902-3125.

10 years of yummy walrus — at 50% off

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By Juliette Tang

Just in time for these hard times

Happy 10-Year Anniversary to Upper Playground! Of all the stores with cute little walrus mascots in the Lower Haight that sell printed t-shirts, Upper Playground is my favorite. They’ve been dressing San Franciscans in urban streetwear for a decade, and to thank us for our support, they’ve taken 50% off everything they have in stock until January 25 (except the gallery art, unfortunately). The sale is only available on the online store, but it’s definitely worth the shipping and handling. Items we’ve got our eye on include the I heart SF t-shirt and David Cho hairdo pillows. But get your shop on before January 25, because this is recession friendly for only 4 more days.

Locations:
220 Fillmore Street, SF, CA 94117
2509 Telegraph Avenue, Berkeley, CA 94704

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The best dressed girl in SF?

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By Juliette Tang

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Who’s the best dressed girl in San Francisco? My vote goes to Rumi Neely, a San Francisco fashion blogger whose eye for style has landed her onto to the pages of Teen Vogue and French Vogue, plus an upcoming modeling campaign for RVCA. Rumi chronicles her day-to-day outfits on her personal site, Fashion Toast, and her casual California chic, quirky mix of high and low fashion, and insane collection of Chloe ankle boots has propelled her from San Francisco blogger to international fashion doyenne. The cutest thing about Rumi, besides her fabulous taste in footwear? Her favorite hangout in San Francisco is the Kinokuniya bookstore in Japantown.

The Guardian Inauguration Issue

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Shift happens — now it’s up to us to keep it going … Our Inauguration Issue celebrates and looks ahead

Photos from DC by Paula Connelly and Becca Frank

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>>Live from DC
Blogging the inauguration
By Paula Connelly and Becca Frank

>>Editor’s Notes
On every level we all have to get more engaged, more involved in the community
By Tim Redmond

>>Profiles of Change
President Obama’s call for citizen action is already resonating
By Amanda Witherell

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>>Ending War
Will Obama be able to achieve peace?
By Sarah Phelan

>>Ask not what SF can do for you …
How progressives can participate in changing the city and world
By Molly Freedenberg

Fill her up

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› a&eletters@sfbg.com

REVIEW In the late 1990s, Mary Alice Fry, artistic director of the now defunct Venue 9, found a hole. She has been filling them ever since.

The January performance calendars at her theater and many other local small venues, she noticed, were empty. At the same time her curatorial experience had shown that women artists still had a harder time getting noticed than their male counterparts. "So many of them," Fry said, "struggle with multiple responsibilities of mortgages, children, two or three jobs, keeping relationships going." So she started the Women on the Way Festival, now in its ninth year, to create "a stepping stone" for local women performers.

After Fry lost her lease on Venue 9, she moved the Festival to the Shotwell Studios and to Joe Landini’s Garage. For reasons of practicality and availability, WOW’s lineup changes every night. The performers seem to enjoy what, to an outsider, looks like a complicated format. "They like sharing the stage and seeing each other’s work," Fry explained. "For them it’s about standards and not competition. These women are pumped up and work and scramble and always want to do more."

While this year’s 17 performers working in theater, the circus, comedy, and dance are mostly up-and-coming, WOW also invited at least two highly experienced artists. Molissa Fenley and Nina Wise have each been working for more than three decades apiece. Each will present a world premiere.

On opening night, Jan. 15, the Garage hosted two soloists and a quartet. While none of the three pieces broke revolutionary ground, each had that spark of effervescence that makes one want to see where these artists are going. They deserve a bigger audience than they got.

Ara Glenn-Johanson’s based her earthstepper on a 10th-century English poem, "The Wanderer." As a choreographer for herself, she proved to be rather heavy-handed as soon as she moved beyond a rather basic gestural vocabulary. But she is a strong, expressive vocalist — both live and in duets with herself on tape — and her solo became an intermittently moving meditation on loneliness and perseverance.

Gretchen Garnett’s Edited for Time needs more editing for time, but impressed the audience with the ambition, if not quite the realization, of a rigorously conceived study in formal structure. With an extended duet for Garnett and the beautifully expressive Leah Samson, the piece started with simple swaying motions and quickly evolved into patterns of elastic tension that would snap, only to be picked up again. Edited looked full of contradictions, pre-ordained accidents, and surprising repetitions. The other committed dancers were Becca Rufer and Chad Dawson.

Despite having what must be one of dance’s more convoluted titles, Pfannenstiel Incision Marks the Spot, Lenora Lee’s solo was a stark, tightly choreographed portrait of one woman’s fear and anguish about her own body — Pfannenstiel was the surgeon who invented the so-called bikini cut. With her feet planted as if nailed to the ground and her hands veering between tendrils and claws, Lee pulled, yanked, spread, and hung her guts inside out. Performed in silence, Pfannenstiel was small in scale, but it resonated in a big way.

WOMEN ON THE WAY FESTIVAL

Through Feb. 1

Thurs-Sun., 8 p.m., at the Garage, 975 Howard, and Shotwell Studios, 3252-A 19th St., SF

$15-$25

(415) 289-2000, 1-800-838-3006

www.ftloose.org

Night at the museum

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REVIEW American Conservatory Theater leads off its new season with a revival of John Guare’s rollickingly self-referential 1974 comedy, a madcap musical so quirky and of the moment in conception and mood that it comes shrouded in a sometimes dazzling, more often distancing veil of nostalgia.

New York playwright Bing Ringling (Brooks Ashmanskas) has received his first commercial production — after only several hundred attempts — in a dreary downtown theater haunted by an insane producer (Mary Birdsong) with a failure wish and a strong resemblance to a tottering Kate Hepburn. Shadowed by the billboard superstardom of movie actor and old neighborhood pal Tybalt Dunleavy (Stephen Derosa), Bing recoils from the scathing reviews of Etruscan Conundrum, leading to a desperate search for meaning that winds through his past, his parents’ couch, the home of his maniacal death-devouring composer (played to the hilt by an irrepressible Derosa), and finally to the dizzy heights of celebrity, from which old pal Tybalt (Derosa again) is preparing to sail down in one big swan dive. The point is not that dreams do come true, you see, but that they exist at all — and get in the way of real life.

Although Guare reworked the material for ACT’s revival, adding even more autobiographical touches as well as some bright if unexceptional new songs, Rich and Famous remains a hit-and-miss affair, with some flat notes and fewer high ones shaking up its middle register. The often overly broad humor has dated — though it can still work well, as in the scene with Bing’s obsessive, half-senile parents, played by Derosa and Birdsong. Moreover, the main character, while sympathetic, never becomes more than mildly interesting, which contributes to the sense of the intermissionless performance dragging on. Overall, the feeling is not unlike walking around inside a museum piece — which is just what happens in one vignette. But the play’s whimsy is so rooted in a specific moment, despite a stab at more timeless themes, that maybe that’s inevitable.

Rich and Famous is, however, expertly performed by a versatile four-person cast — including ACT’s priceless Gregory Wallace in a couple of scene-stealing flights — and directed with appropriately zany energy by John Rando. It’s also lovingly gussied up by scenic designer Scott Bradley in jazzy, period-evoking slashes of color, including set pieces drenched in the garishly comic shades of nightmares. All of which ensures Guare and Ringling’s one-ring circus is nothing if not a frenetically romantic spree. (Robert Avila)

RICH AND FAMOUS Through Feb. 8. Tues.–Sat., 8 p.m.; Sat.–Sun., Jan. 21, and Feb. 4, 2 p.m. American Conservatory Theater, 415 Geary, SF. $17–$82. (415) 749-2228, www.act-sf.org

Fresh jam

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› kimberly@sfbg.com

SONIC REDUCER The perfectly passive postmodern approach to pop nostalgia? Allow the milky waves of 1970s, ’80s, and ’90s retro navel-gazer rehash to simply wash over you — like so many warm, narcotic jets of synthetic baby formula. The opposite tact is the one that San Francisco trio Mi Ami takes: reject the rockist, retread trappings of the old and stale and make new and likely original sounds from a place of authenticity and openness. Breathe. Good. An excellent example might be Mi Ami’s recent spasm of songwriting after the completion of their debut, Watersports, out Feb. 17 on Quarterstick: the jams weren’t quite "up to snuff," as vocalist-guitarist Daniel Martin-McCormick puts it. But the essential flow was restored after drummer Damon Palermo spoke up in favor of letting the songs flow and allowing the changes to happen naturally rather than getting clogged with details.

"We started opening the songs up and started letting the changes happen naturally," explains the clear-eyed Martin-McCormick on this clear-skied, brilliant, balmy winter day in the Mission District. "I feel like when it works, it’s really great because it doesn’t seem like something locked in by something like repetitions of four. But at the same time, when it doesn’t work it can be kind of frustrating because it’s just like trying to have a conversation when you’re just not feeling it. It has to be like a lived experience. You can’t fake it."

You might not know it from glancing at the tall, lanky, check-shirted bandmates stalking down Alabama Street in search of coffee and nutrients at Atlas Cafe, but Martin-McCormick — a former member of Dischord punk outfit Black Eyes along with Mi Ami bassist Jacob Long — and the soft-spoken Palermo are pop philosophers of sorts: amiable, laid-back, yet ready to hold forth politely and passionately on their favorite disco singles and free jazz LPs, the multiple meanings one might glean from the title Watersports, or the role African funk guitar might play in, say, pulsing workouts like "The Man in Your House."

It’s easy to get lost in Martin-McCormick’s high-pitched, keening vocals, equal parts no wave nervousness and androgynous nerve; his bursts of scratched-out guitar skronk; Palermo’s primal-power beats; and Long’s reassuringly melodic bass lines. But Mi Ami never over-thinks its lengthy forays into that anxious and pleasure-strewn interzone between improv and noise, space-is-the-place dub and neverending party jams. Like groups such as !!! and the Rapture and locals à la Tussle and Jonas Reinhardt, which Palermo also drums for, Mi Ami sounds as if it was bred on hardcore’s aggression and reborn on a seething dance floor.

Martin-McCormick and Palermo met two years ago, after relocating from the East Coast and Vancouver respectively, while performing at an Adobe Book Shop art opening. The one thing they were sure of: they didn’t want to be a rock band. "Boring!" blurts Martin-McCormick.

"We are a rock band," says Palermo mildly in Atlas’ noisy back patio. "But you know what we’re talking about. There’s a lot of cool bands that are rock bands but a lot of it is a default setup, the structure of the songs and instrumentation."

"I think we came to be a guitar, bass, and drums trio very much on our terms," Martin-McCormick offers. "I didn’t want to play guitar when I started, but I realized that was what I’m best at and began to find ways to play it that suited what I was looking for." Their resistance to rock habit was helped by the fact that Palermo didn’t own a drum set: at first the duo had only two drums between them. They acquired bits as they progressed, while relying on a janky drum machine prone to crapping out at crucial moments — like their September 2007 opening date for No Age at Bottom of the Hill.

The turning point arrived when the twosome ditched the drum machine and put out a Craigslist ad for a bass player in ’07. "We got a few responses," says Martin-McCormick. "One was super confrontational. I wrote that we’re into disco, gamelan, and no wave — and no old people. We wanted someone who was kind of our age-ish. I just didn’t want an 48-year-old dude who was like, ‘I just need to jam!’ This guy wrote back and said, ‘How do you think gamelan musicians learn? They respect their elders, blah-blah-blah. You should go fuck off and die!’ Whoa!"

The second response: a hip-hop producer working with an "awful singer-songwriter." The third: Long, who happened to be roaming Craigslist during his day job.

"There was no going back after that," says Martin-McCormick. Listening to the forward-facing future-rock of Watersports, I’d say there’s little fear of that scenario. *

MI AMI

Fri/23, 10 p.m., $10

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

ROCK FOR LOVERS

THE ETTES


The primal beat band got theirs — where’s yours? Thurs/22, 8 p.m., $10. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

E-ZEE TIGER


One-man massive energy generator Anthony Petrovic rouses himself from dormancy. With Wooden Shjips and Hank IV. Thurs/22, 9 p.m., $7. Eagle Tavern, 398 12th St., SF. www.sfeagle.com

WAVVES


Going big with bristly, lo-fi garage rock. Fri/23, 9 p.m., $16–$18. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

AZTECA


The sprawling fusion combo including Pete Escovedo and Sheila E. rocks for autism awareness. With War, El Chicano, and Los Cenzontles. Sat/24, 7:20 p.m., $45–$75. Warfield, 982 Market, SF. www.goldenvoice.com

THE PHENOMENAUTS


The selfless Oakland space-rockers dish out For All Mankind (Springman). Sat/24, 9 p.m., $13. Slim’s, 33 11th St., SF. www.slims-sf.com

JAY REATARD


He’s watching you watching him. With Nobunny and Bare Wires. Sun/25, 9 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

It’s a hit

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› a&eletters@sfbg.com

I’m glad I finally got my mitts on the self-issued CD-R from San Francisco titans High Castle: I feel like I’m back in ear-bleeding country with the trio’s Unwound-ishly, damaged style of noisy rock, nursing an insatiable appetite for more tinfoil-scorched guitar scuzz, blown-out low end, and full-tilt drum thwackage. As each song unloads, three howling voices punctuate the maelstrom. Try if you can to pass on this seven-song album after just one spin. If the punked-out oomph of "Soloman" and "No Mind" don’t bite you hard in the ass, then the annihiutf8g whomp of "Small Town Gay Bar" will certainly dish out the finishing touches.

As surprising as it may sound, this shower of pandemonium comes from three individuals who had their hearts set on becoming a pop group when they first convened in the summer of 2007. I yapped it up with the threesome over bowls of fideo and garlicky steak fries in drummer-vocalist Shaggy Denton’s SoMa apartment, while bassist-vocalist Wilson Drozdowski explained that High Castle aimed at becoming an actual band within the trio’s large circle of noise-making friends.

"We were like, ‘let’s start a rock band,’ because I felt I hadn’t seen a drum-bass-guitar band with songs in a long time," he disclosed. "It seemed like it was either improv or noise, so we wanted to do the opposite of that to see what would happen."

"We actually wanted it to be a pop band," said guitarist-vocalist Erin Allen with a laugh.

"None of us knew how to write pop music, so what ended up coming out was the closest we could get to doing that," Drozdowski continued. "Even when we try to write something that we think is poppy, it’s not poppy in the traditional sense. We always try and make the vocals very apparent by singing together."

"I guess that’s the one pop element that surfaces," Allen added. "But it’s not like the Mamas and the Papas."

Before HC, all three resided in Southern California, meeting through tours in bands such as Duchesses, Saviors, and Child Pornography. As Drozdowski, Denton, and Allen became jaded with the SoCal lifestyle, each separately trekked up to the Bay Area because, according to Denton, "the option was LA or here — and it was not going to be LA."

Reuniting in San Francisco with each member’s respective group in limbo, the three formed HC, but not before putting the collaboration on hold because of an unfortunate encounter between Allen and a car.

"We had to take a break because this one got hit by a car," Denton joked, pointing to Allen. "He was supposed to come over to my house and have some fideo and play PlayStation. I was worried because I kept getting the answering machine, and then somebody from General Hospital calls me and is like, ‘Um, do you know an Erin Allen? He told me to give you a message: he got hit by a car.’"

Aside from Allen’s slight dinger, the combo has been very active during the past year and a half, playing in just about every performance space dotting the Bay Area underground music scene with the likes of K.I.T., Stripmall Seizures, and Death Sentence: Panda! HC is currently in the mixing stages of its 12-inch debut for the Zum imprint, and after embarking on its first national tour last summer, the group hopes to hit the road once again this year. Whatever avenue this threesome decides to explore in the future — be it noisesome or poppy — I know I’ll be all ears.

HIGH CASTLE

With Stress Ape, Didimao, and the Dawns

Fri/23, 9 p.m., call for price

Kimo’s

1351 Polk, SF

(415) 885-4535

www.kimosbarsf.com

Wale watch

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› a&eletters@sfbg.com

If you went to the 2008 Rock the Bells festival at Shoreline Amphitheatre in Mountain View, then you probably missed Wale Folarin. Barely an hour into the 12-hour-plus event, he was on the main stage, rocking back and forth in a half-crouch, spitting rhymes from his viral hit "W.A.L.E.D.A.N.C.E." to an arena that was one-quarter full.

Wale may be a padwan among hip-hop’s big dogs, but many of the genre’s tastemakers and fans call him a rising star. Though he has yet to release an official album, Wale has already graced the covers of several magazines. His most recent mixtape, The Mixtape About Nothing, landed on major 2008 year-end lists, including Pitchfork’s. Earlier in the year, the Roots, who have a history of recruiting hot prospects, gave him a guest spot on Rising Down (Def Jam, 2008).

Before dropping out to pursue a musical career in 2004, the DMV (District of Columbia, Maryland, and Virginia) native bounced through three colleges on football scholarships. He has subsequently attacked the rap game like an offensive coordinator, eschewing offers from majors like Epic to sign a production contract with Mark Ronson’s Allido Records. In turn, Ronson negotiated a joint deal with Interscope to distribute Wale’s debut, tentatively scheduled for this year.

Everyone loves raw, unformed talent, and hip-hop fans are no exception. They love MCs who can freestyle for days, never mind that their stanzas flow with rhyme but with neither reason nor hooks. They venerate rappers who compile mixtapes chock full of half-ideas. Great American Songbook traditions like harmonic structure and verse-chorus forms are nonexistent or merely subtext to the rapper’s unyielding voice.

Wale’s Mixtape About Nothing is nominally built around samples from Seinfeld, punctuated by Jerry Seinfeld’s standup bits and Jason Alexander’s antics. But Wale, with his twangy Southeast accent, takes center stage. He mostly wanders around, offering flickers of insight amid heaps of undistinguishable lines. Then he "goes in," to use a hip-hop phrase that describes a moment of clarity.

On "The Kramer," he opens with a snippet from Michael Richards’ infamous 2006 standup routine at the Laugh Factory, when Richards’ shouted to a heckler in the audience, "He’s a nigger!" Wale uses it to launch a sprawling discourse on race. He begins by confessing, "And P said that I should stop saying nigga / But what’s the difference / I’d still be a nigga." But at the end, he declares, "Make sure everything you say / Can’t be held against you in any kind of way / And any connotation is viewed many ways / ‘Cause under ev’ry nigga there’s a little bit of Kramer / Self-hatred / I hate you / And myself."

Two years ago, Lil Wayne rocketed to superstardom on the basis of these kinds of rambling tone poems. Hundreds of his tracks fueled a cottage industry of Weezy mixtapes. As a result, everyone is flooding the Internet with rangy bedroom studio cuts, proclaiming their status as "the truth" to anyone who’ll listen. In 2008, Brooklyn MC Sha Stimuli issued 12 mixtapes in 12 months, basing one around the 2007 Jennifer Aniston comedy The Break Up. Charles Hamilton dropped eight mixtapes in two months. In most cases, all this sound and fury signifies nothing; worse, it makes it difficult for a talented artist such as Wale to stand out.

"Everybody’s doing blogs. Everybody’s doing freestyles. Everybody’s doing, like, way too much stuff on the Internet," Wale complains by phone. "It’s like, c’mon, we get it. It’s way overdone now." It’s the most provocative statement the 24-year-old makes during a brief interview. Otherwise, Wale keeps his answers amiable but bland. When I ask him about the dreaded "hipster rapper" tag, he claims not to know what I’m talking about. Even when I point out that XXL magazine asked him the same question for a cover story, he responds: "I’m not familiar with that term. Nobody’s said that about me."

Yet Wale is keenly aware of his atypical tastes. "I think it goes over a lot of people’s heads," he says. "By no means am I comparing myself with Leonardo da Vinci or nothing, but by no means do I understand the significance of the Mona Lisa. But there are millions of people who do, and appreciate that piece of work. So eventually you have to do stuff for the people who appreciate what you do." For the moment, his esoteric creative decisions seem to work, including his widely mimicked freestyles over rock hits like Lily Allen’s "Smile." As he says on his 100 Miles and Running mixtape, "Y’all believe me when I do it. Don’t sass me for doing it."

WALE

Jan. 31, 9 p.m., $15

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

Bringin’ on the heartache

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Twenty-year-old North London–born heartbreak crooner Adele Laurie Blue Adkins, or simply Adele to her fans, has had some big breaks amid her romantic woes. She appeared in 2007 on the BBC alongside Paul McCartney and Björk, and performed this past October on a Saturday Night Live episode that not only included Sarah Palin, Mark Wahlberg, Oliver Stone, and Tina Fey, but was seen by 17 million viewers.

Since then, her Burt Bacharach–styled symphonic pop hit "Chasing Pavements" has been ubiquitous, receiving constant airplay on local stations like Alice 97.3 FM. Her debut, 19 (XL/Columbia), is nominated for four Grammys, but Adele has had a tough time shaking comparisons to other British female neo-Motown vocalists such as Amy Winehouse, Duffy, and Lily Allen. "We’re a gender, not a genre," she quipped recently to London Guardian reporter Hannah Pool, revealing the same strong, honest qualities heard in her music. Adele’s songs revel in love’s bittersweet see-saw emotions ("Crazy for You," "Melt My Heart to Stone") while her equally elastic voice recalls Dusty Springfield and Jill Scott.

No telling if her luck will hold up, but with a new album for 2009, her formidable voice, and self-assured performances, Adele’s likely to outlast the trends.

ADELE

With James Morrison

Jan. 29, 8 p.m., $24

Warfield

982 Market, SF

www.goldenvoice.com

The stink of ink

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Film noir doesn’t fuck around. It gives you tough-taking characters, gunshots, stiff drinks, and outrage, all within 90 minutes (frequently less). The seventh Noir City, programmed by Anita Monga and Eddie Muller, is stacked with double-features focused on "Newspaper Noir," the inkiest of subgenres. The fest kicks off with Humphrey Bogart in Deadline USA (1952), a crackling newsroom thriller from Richard Brooks (1955’s The Blackboard Jungle, 1967’s In Cold Blood). Rapid-fire pacing is the only way this film crams in so much exciting stuff: a storied newspaper, The Day, that’s on the verge of being sold; a mysterious blonde, found dead and wearing only a fur coat; a gangster-about-town who’s got his fingerprints on City Hall; a courtroom battle; and a murder that literally stops the presses. Bogart ("Newspaperman is the best profession in the world!") is aces as a soon-to-be-unemployed editor who makes a last stand by exposing the gangster’s crimes on his front page. He also has a nice subplot trying to woo back his ex-wife (future Planet of the Apes-er Kim Hunter) and barks plenty of wisdom about the state of the news biz, some of it oddly prophetic: "It’s not enough anymore to give ’em just news — they want comics, contests, puzzles …" Ethel Barrymore adds Old Hollywood class as the widow of Bogie’s boss, while Gilligan’s Island‘s Jim Backus pops up as a Day reporter.

But not all newspapermen are as heroic as Deadline USA‘s scum-busting bunch; opening night concludes with 1952’s Scandal Sheet, based on a Sam Fuller novel. The film’s New York Express lives for a lurid mix of "thrills, escape, and news," with a special talent for manufacturing the latter. But editor Mark Chapman (Broderick Crawford) is as sleazy as his paper. When a secret from his past threatens his position, he commits a murder that becomes the obsession of the Express‘s top reporter (John Derek) — and the end result is dramatic irony at its juiciest.

NOIR CITY

Jan. 23-Feb. 1, double features $10

Castro Theatre, 429 Castro, SF

www.noircity.com