SF

FRIDAY

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Feb. 2

VISUAL ART

“Arts of Pacific Asia Show”

The “Arts of Pacific Asia Show” sells art and accessories from 85 of the top international galleries at a range of prices. Guests get the opportunity to touch the art and ask questions from experts in the field. The show’s featured exhibit, “Cambodian Ikat Revealed — an Exploration,” displays exclusive Cambodian ikat weavings, which are silk embroideries with narratives. (Elaine Santore)

Through Sun/4
11 a.m., $15
Festival Pavilion, Fort Mason Center
99 Marina, SF
(415) 441-3400
www.caskeylees.com

MUSIC/BENEFIT

Bobby Friction

If rubbing oppositional objects fosters friction, then sparks are sure to fly when famed UK DJ Bobby Friction hits the Bay Area with an eclectic set, mixing and scratching everything from electronica to bhangra, Desi beats to Bollywood, as part of the Project Ahimsa British Invasion tour. A foremost DJ in British Asian music, Friction rose from late ’90s club DJ to BBC Radio 1 broadcaster and successful album producer with the recent chart toppers Friction and Friction 2 (both on Sony India). All proceeds benefit Project Ahimsa. (Joshua Rotter)

9 p.m., $30 donation
111 Minna Gallery
111 Minna, SF
(415) 974-1719
www.111minnagallery.com

THURSDAY

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Feb. 1

VISUAL ART

“Is Heaven Any Sweeter”

Thanks to Paul Mullins’s skill with ink and acrylics, images of sad dogs become something more than kitsch, something akin to a free-floating vision from a dream. The SF artist digs into his Appalachian roots in the new show “Is Heaven Any Sweeter,” and the occasional canine is mixed in with his memories of mountain boys. (Johnny Ray Huston)

5:30–7:30 p.m. reception, free
Through March 17
Heather Marx Gallery
77 Geary, second floor, SF
(415) 627-9111
www.heathermarxgallery.com

COMEDY

Jesus Roast

Speaking of assassination, isn’t there a famous historical figure who’s already endured a very public humiliation once before? Is it possible that he’s come again — as he promised — in order to sit through an evening of jabs, jibes, and tribute courtesy of Comedy Noir? Well, Jesus H. Christ, if isn’t the son of God himself (a.k.a. Kurt Weitzmann) and a panel of equally prestigious roasters, including Satan (Nick Leonard), Mary Magdalene (Candy Churilla), Red Buttons (Howard Stone), and Muhammad (Will Franken). (Nicole Gluckstern)

8 p.m., $10
Comedy Station
244 Taylor, SF
howardstone.com/jesus.html

WEDNESDAY

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Jan. 31

MUSIC/BENEFIT

Save Darfur Tour

Songs have been influenced by it, MTV campaigned for it, and Angelina Jolie has done everything short of another adoption to publicize it. “Save Darfur” may have become a popular catchphrase, but very few actually understand the current conflict in this region of western Sudan, which has already taken 400,000 lives and displaced 2.5 million. The Save Darfur Tour hopes to not only spotlight this grave calamity through performances by underground hip-hop artists the Visionaries and members of the Arsonists but also demand action that is long overdue. (Joshua Rotter)

With Alexipharmic, Visionaries, Grayskul, Sleep, Freestyle, and Sweatshop Union
9 p.m., $10 donation
Elbo Room
647 Valencia, SF
(415) 552-7788
www.elbo.com

MUSIC

Paco de Lucía

Though guitarist Paco de Lucía is best known as a flamenco player, the 1980 live album Friday Night in San Francisco (Sony), the first of several collaborations with Al Di Meola and John McLaughlin, helped establish his reputation as a genre-bending virtuoso whose facility with modern jazz is equaled by his nuanced interpretations of the musical traditions of Moorish Spain. (Nathan Baker)

Also Thurs/1
8 p.m., $24–$48
Zellerbach Hall, UC Berkeley
Lower Sproul (near Bancroft and Telegraph), Berk.
(510) 642-9988
www.calperfs.berkeley.edu

Drama mama

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› a&eletters@sfbg.com

Relationships can suck sometimes. You know, the drama — the toxic chewing at the meat of a romance on the verge of imploding. Your nerves may feel destroyed after going a dozen rounds in an all-night bender over some questionable glance or wry crack, but love’s hang-ups do make for the best songs.

Take it from Des Ark’s Aimée Argote: she has no qualms about expressing herself and is no stranger to confronting her demons through song. A listen to the melancholic lyrics that escape from the Durham, N.C., native’s raspy voice on her band’s recent split EP with Ben Davis and the Jetts, Battle of the Beards (Lovitt), makes that much evident, in the lyrics of drug addiction, sexual freedom, and most prominently, unsparing heartache.

On the acoustic "The Subtleties of Chores and Unlocked Doors," Argote confesses distressingly, "We can get naked together, take dirty naps, whatever / But so long as we suffer apart from one another / You can hold my hand but you can never hold my heart." Throughout the recording the vocalist’s spirit sounds broken as she tells tales of tortured love, a theme that seems to haunt her but never really shatters her self-esteem.

During a recent phone interview, however, Argote’s cheery voice suggested anything but a bout with the blues. "Music is the way I process things that make me sad, and all of those feelings are so hard to articulate," she said. "I feel really inarticulate as a person in conversation form but much more articulate through music. I see it as an opportunity to explain the things that are making me insane, so they usually come out as bummers."

But not all of Argote’s songs sound as if she’s down on her luck. Though her new songs are hushed ballads augmented with acoustic guitar, piano, and symphonic textures courtesy of University of North Carolina orchestra members, Des Ark’s history stretches beyond that. The project began as a trio in 2001 but by the following year shrunk to a two-piece: Argote and drummer Tim Herzog. The pair’s music was a mix of angular riffs roaring from Marshall cabinets and hard-as-nails drum brio. Argote’s vocals ranged from primal wailing to throat-wrenching howling, and together the duo sound reminiscent of PJ Harvey fronting Unwound. Known for in-your-face live shows, Des Ark ditched the stage for floor performances to ensure an engaging experience for band and crowd.

"It’s weird when an audience feels connected to a band but you feel completely disconnected from the audience," Argote said. "I felt it was important to break down the performer and paying customer boundary because it really bothered me and makes music inaccessible."

Videographer Charles Cardello — who released Des Ark’s sole full-length, Loose Lips Sink Ships (2005) on his label, Bifocal Media — sees the connection. "There are not too many performers out there who can simultaneously scare the shit out of you, turn you on, induce fits of hysterics, confuse your musical sensibilities, and rock you to your foundation," he wrote in an e-mail. Argote "could probably just stand there without a guitar and wail for a few minutes, and you’d get the aforementioned effect."

Unfortunately, Herzog’s time in Des Ark was short-lived, and the band’s dynamic soon changed. In September 2005 the duo played their last show together, right before Herzog departed for Washington, DC, to become a bike messenger. Argote disclosed that though the split was amicable, she was really sad when he left.

"When Tim moved away, it was like ‘Well, there goes the one drummer I wanted to play with,’ " she explained. "There’s a lot of phenomenal drummers, but in terms of the type of music I wanted to play, I thought we made a good pair."

After considering a move to DC herself, Argote decided to remain in Durham because "it’s homegrown and not affected by the labels and popularity contests." She also contemplated whether Des Ark’s erstwhile aggressive sound was compensating for qualities lacking in the music. "I think becoming a quiet musician changed the way I perceived space," the vocalist said. "In our culture that’s a way people tend to become oppressed, and I struggle with it a lot. When you walk into a club with a six-foot-something guy and you’re in a loud band, it’s a lot different than walking into a club when you’re a five-foot girl with a banjo."

Argote views Des Ark’s current sound as a natural progression — the EP’s music possesses a certain repose, but the energy remains. Nonetheless, she said that — although she has a small collection of quiet songs she wants to record for her next album — she’d like to throw a rocker or two in.

"It’s not like I sit at home and write rockers, ’cause I also like writing quiet ones as well," she said. "When I’m at home and all I have is my piece-of-shit, busted-up, acoustic thing, I pretty much write busted, piece-of-shit acoustic songs as opposed to loud ones." *

DES ARK

With the New Trust and Polar Bears

Fri/2, 10 p.m., $10

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

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Of Montreal exposed

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By Michael Harkin


› a&eletters@sfbg.com

As all English majors know, beginning a sentence with a prepositional phrase can be problematic. Of Montreal — the Athens, Ga., band headed by songwriter Kevin Barnes — proves an exception to this rule, and if it’s a beginning you need, look to Barnes, because it’s starting to look like his finesse in penning clever pop records is boundless. With the new Of Montreal full-length, Hissing Fauna, Are You the Destroyer? (Polyvinyl), Barnes takes nary a stray step on the path to pop bliss, assembling a coherent, front-to-back compelling listen the likes of which someone like Robert Pollard rarely realizes these days.

In a recent e-mail interview, Barnes spelled out the difficult circumstances surrounding its recording: the result is a few shades darker than the ecstatic, candy-colored dance pop on Of Montreal’s last two albums, Satanic Panic in the Attic and The Sunlandic Twins (both Polyvinyl, 2004 and 2005). The emotional depth and refined craft at work render Hissing the group’s most rewarding effort yet.

The disc’s tone isn’t foreign territory for Of Montreal. Barnes points out that "I’ve made records like Hissing before," and anybody would want to dance to the greater part of it, but sitting down to listen illuminates something obvious: the dude who wrote this was unquestionably down. The recording was born of a tumultuous year for Barnes. "I was going through this heavy chemical depression, and I was desperately trying to keep my sanity," he writes. No kidding — one new track, "The Past Is a Grotesque Animal," a 12-minute swirl of anxious uncertainty, sets some serious melancholy right at the CD’s center. Elsewhere, as on the first single, "Heimdalsgate Like a Promethean Curse," cheery arrangements get paired with lyrics of the desperate sort: "Chemicals don’t flatten my mind / Chemicals don’t mess me up this time / Know you bait me way more than you should / And it’s just like you to hurt me when I’m feeling good." According to Barnes, writing this record allowed him "a way of constructively facing" his problems. It’s a good time for him to be on the upswing: riding the popularity of its last two albums, his band is the most successful it’s been since its start in 1997.

As a group once associated with the fabled Elephant 6 collective, Of Montreal dwelled for some time in a sugary subcategory of the American underground: Beach Boys– and Kinks-influenced pop that Barnes speculates may have been "a bit too anachronistic" for most attuned to indie rock. It was 2004’s Satanic Panic that changed things. As to why he thinks this happened, Barnes gives some pretty precise speculation: "I was slowly getting into more dancey and electronic stuff, like Manitoba, Four Tet, RJD2, and Prefuse 73, and I wanted to create something that combined my ’60s and ’70s influences with a slightly more progressive and modern feel." More modern indeed: songs such as "So Begins Our Alabee" and "Disconnect the Dots" have graced many a college student’s stereo. "Labyrinthian Pomp" on Hissing reveals the depth of the stylistic change — the track is informed by the Jamaican dub and ’70s soul Barnes found himself listening to while writing and recording. It seems apt that Barnes, as he mentions in a piece he wrote for Pitchfork, has been listening to departed disco progenitor Arthur Russell. In a sense, the two have similar strengths: like the late Russell, Barnes is capable of producing infectious dance-floor fillers and has shown himself brilliant at pinning down difficult, crippling emotions in a sweet, meticulously arranged pop context.

San Francisco plays host to Of Montreal for three nights this tour because, Barnes writes, when the band plays the city, it "really feels like it’s a communal experience and that we’re not just animals at the zoo." Animals they ain’t. An Of Montreal show is no joke. It’s a giddily passionate spectacle of the sort one rarely encounters — as if the book-reading, scarf-wearing kids suddenly turned into flamboyant musicians throwing a light switch–flickering disco party for the neighborhood, and it’s suddenly everyone’s birthday! Glitter, feather boas, and synchronized bustings of moves abound, and as the costumes change onstage, the band somehow continues to play. Its live brilliance will surely hit new highs this time, aided by the royalty check from last year’s Outback Steakhouse commercial that had an adaptation of the ensemble’s "Wraith Pinned to the Mist (and Other Games)."

What’s in store, exactly? "I don’t want to give anything away," Barnes writes, "but I will say it is going to be an event." If Of Montreal’s past appearances and the new, neighborhood theater–esque video for "Heimdalsgate" are any indication, it’s gonna be a goddamn show, man. *

OF MONTREAL

Thurs/1, 9:30 p.m., sold out

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

Also Fri/2–Sat/3, 9 p.m., $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

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Abandoned planet

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› cheryl@sfbg.com

Read Kimberly Chun’s interview with Werner Herzog here.

I thought for sure the next Werner Herzog movie I’d be writing about would be Rescue Dawn, a harrowing POW drama (and a remake of his 1997 documentary, Little Dieter Needs to Fly) due out in late March. But here’s a nugget of très Herzogian weirdness to tide you over: The Wild Blue Yonder, which first screened locally in conjunction with the director’s 2006 San Francisco International Film Festival appearance. Is there any other filmmaker so prolific and creatively diverse working today? Find me one, and I’ll tie on a bandana, retreat to the woods, and name foxes after myself. "Everything that has to do with movies, I love," Herzog imparted on that fateful day at the Castro Theatre amid a discussion that also included a reference to WrestleMania (which he brought up multiple times).

That tacky influence isn’t evident in Yonder, dubbed "a science fiction fantasy" onscreen. The pseudodoc plays like 2001: A Space Odyssey crossed with What the Bleep Do We Know? (not to imply that it sucks as emphatically as the latter, but there are certain similarities). Unlike many experimental works, it has a narrative throughline, with Brad Dourif as an agitated refugee from another galaxy. Seems the "alien founding fathers" traveled to Earth when their home planet — a watery wonderworld with communicative wildlife — started dying. As it turns out, attempts to colonize Earth were less than successful. "We aliens all suck," Dourif’s unnamed pioneer laments, pacing in front of what was to be the alien version of Washington, DC (really some abandoned buildings huddled in a forgotten rural wasteland). "We’re failures!" Meanwhile, human astronauts strike out on their own exploratory mission, ironically earmarking Dourif’s homeland as a possible annex for our civilization.

The notions of a ruined planet and a population desperate to survive play both ways, of course — no matter who the native or the alien is. Herzog’s theme of environmental preservation is further underlined by the remarkable footage he uses to illustrate the abandoned planet, taken beneath ice caps in the Antarctic Ocean. This strange environment could be outer space, and indeed it offers a dreamier take on interstellar travel than the actual NASA footage Herzog uses, of shuttle astronauts in polo shirts and tube socks going about their zero-gravity business.

As Dourif’s voice-over grows more mournful and confrontational, a handful of real-life mathematicians step in for talking-head duty, explaining, among other things, the positive aspects of chaos, the concept of interplanetary superhighways, and theories about colonizing space. One PhD imagines the best way to help humans acclimate to outer limits would be to build a giant shopping mall in space — effectively obliterating anything resembling a fresh start for a population that has nearly ruined itself through overconsumption. Thing is, he’s probably right.

At the SFIFF, Herzog explained that he’s "too Bavarian" to make the Robert Johnson doc that’s been on his mind. But he’s not one to shy away from daring music choices; The Wild Blue Yonder‘s eerie, otherworldly mise-en-scène is heightened tenfold by Ernst Reijsiger’s haunting avant-garde score. If aliens ever do make it to Earth — if they’re not already here, that is — and they’re in the market for a documentarian, they need only see Yonder to know Herzog has the necessary cosmonautical chops. *

THE WILD BLUE YONDER

Sun/4–Tues/6, $5–$8.50

See Rep Clock for showtimes

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

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Les goofballs

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› superego@sfbg.com

SUPER EGO How many calories in a Quaalude? Who’s the secretary of the interior? The sexy nurse’s tits pop out of her too-snug latex uniform, a lewd sneer twisting her face, and my mind begins to wander gloriously — up past the ass-licking performance artiste, his cheesy beret slipping sideways as he rapidly splashes acrylic down a huge vertical canvas; over the heads of the middle-aged guys dressed as pirates, ecstatically frugging to a bebop reverb saxophone solo; quick left at the grope-a-clown booth; and through the ceiling of DNA Lounge, into a nighttime of odd ruminations. This is probably dangerous. As leapfrogging fire twirlers quickly suck the oxygen from the club, I realize that I’d simply die if my last, strangulated thought was: wow, the more we upload exotic animals onto digital film, the more they seem to disappear from the earth.

Ladies and gentleman, a bohemian rhapsody.

Appropriate, since me and Hunky Beau are at Bohemian Carnival, the breathtaking, burner-inflected monthly hosted by Boenobo the Klown, ringmaster of local audio headtrippers Gooferman, and Mike Gaines, director of the erotically acrobatic Vau de Vire Society. You want trapezes? They’ll give you trapezes.

Through a series of regular off-the-wall club nights, DNA Lounge has transformed itself into a weekend costume party — goth kids in Doom-era gamer kilts one night, mashup sluts in Santa suits another — and Bohemian Carnival hews to that theme: it looks like Costumes on Haight exploded in here. I’ve never been a fan of store-bought transgression — I’m allergic to polymer pink bobs and rainbow boas, or rainboas. Still, hey, it’s probably really hard for straight people to get freaky and still look cool, so go for it! At least it’s not a bunch of prissy gays in $400 jeans or North Beach guys in swirly shirts with moulding mud-stained collars. Thank goddess for cheap dyna.

The whole vaudeville-circus club thing — a stunning contortionist here, a bearded lady go-go dancer there, bared cleavage everywhere — has blown up big-time. One might even posit that its moment has passed as an underground trend (the $15 cover charge at DNA could be evidence of this if the night weren’t such an expensive-looking spectacle), but since it all sprang from two of our native mainstays, Burning Man and burlesque, it’s not tanking any time soon in San Francisco — and I’m glad for that, ’cause it’s kind of freakin’ fascinating.

Sure, as the carefully staged bacchanal spins before me and the day-job techies get wild, there are the usual thoughts to fixate on: How Burning Man drops the spirituality and focuses on the crudely sexual when translated into a night club. How stereotypes of gender and race — if not necessarily class — collapse and re-form in a swirl of burlesquing desire. How people with amazing muscular tricks can finally find an appreciative audience. How flammable my dress was…. But there are some surprises here too. Imagine my shocked tingle when, on entering, I was greeted by an extended slam-poetic freestyle from MC Jamie De Wolf, hooted on from the sidelines by a crew of suburban-looking gangsters. Has hip-hop — albeit white hip-hop (an upcoming Bohemian Carnival features heartthrob beat-boxer Kid Beyond) — finally entered the Burning Man vocabulary? And a bubbly house set by DJ Smoove brought quite a bit more soul to the dance floor than I ever thought possible at such events. Nice.

Another surprise: more Las Vegas connections on the 11th Street corridor. While uppity clubs like Loft 11 unabashedly pimp Vegas show–style rock nights, Bohemian Carnival’s concept sprang from the legendary 2005 Vegoose Festival, where Boenobo and Gaines hosted VdV’s Twisted Cabaret for 80,000 people. Vegas, hip-hop, house — I guess I should have known. Burning Man’s prime notion is to filter the far-flung fabulosities of pop culture through X-ray goofy glasses; clubs like Bohemian Carnival reduce them to a steamy spot of light. Well, goof on, say I. *

BOHEMIAN CARNIVAL

Third Sat., 9 p.m.–4 a.m., $15

DNA Lounge

375 11th St., SF

www.bohemiancarnival.net

www.dnalounge.com

www.gooferman.com

www.vaudeviresociety.com

www.djsmoove.net

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En plein air

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› paulr@sfbg.com

If every neighborhood needs a neighborhood bistro, then every neighborhood bistro needs a neighborhood. And is there a neighborhood in the city more charmingly neighborhoody than Cole Valley, the little hamlet tucked in a cleft of the hills near UCSF and fitted out with every romantic accoutrement, from a railway station (Muni’s N-Judah line stops at Cole and Carl after emerging from a mysterious tunnel) to a sunlit boulangerie with well-worn floorboards? The neighborhood’s village center is, like that of neighboring Noe Valley, replete with amenities, including a hardware store and a plethora of interesting restaurants (from a hamburger stand to a sushi bar), but a certain serenity has survived; there are fewer baby strollers and fewer speeding SUVs careering around corners with frenzied drivers shrieking into cell phones than over the hill. While 24th Street, over the last decade, has acquired a Marina patina, or mania, Cole Valley remains one of the most Parisian of the city’s enclaves, a village and city at once.

And it has one of the most Parisian of the city’s many neighborhood French bistros: Zazie, which opened in 1992 and changed hands two years ago, with no apparent drop in atmospherics or quality of food. My overwhelming impression of the restaurant a decade ago was one of narrowness, as if I might stretch out my arms and touch the walls on either side ("the restaurant equivalent of a galley kitchen" was my long-ago phrase). Of course it isn’t really that narrow; snug is more like it, but then, the tendency of memory is to exaggerate. The dining room, with its pair of window alcoves, accommodates about 20 tables of varying sizes, while in the back, past the bar, is a door that opens onto a secret garden, raised and enclosed. The enclosure is softened by bougainvillea and hundreds of little white lights, like stars, while a forest of gas heaters keeps the winter chill at bay even in the evening. If there is one respect in which it’s clearly better to be a French bistro here than in Paris, it has to do with the feasibility of dining under the heavens in January.

Our winters might be milder than those of northern France, but even mild winter weather has its chilly edge, and if you’re eating outdoors, you’re going to want some reinforcement beyond what the heaters can provide. As luck would have it, Zazie’s menu is full of discreetly muscular treats, including a first-rate French onion soup ($6), made with a deeply tasty beef stock sweetened by the slow cooking of the onions and capped by a pad of melted Gruyère cheese, and a chicken liver pâté spread on toasted levain and notable for its whipped-butter consistency.

The pâté appeared, for us, as the first act of a three-course, $19.50 prix fixe. You have your choice from among several — though not all — of the menu’s starters, main courses, and desserts; the permissible terrain is marked off with little asterisks. In a bow to the small-plate-tapas-sharing vogue, the restaurant also offers a $16 starter-sampler platter whose constituents you choose from an approved group. Since I was in the company of a beet lover, we went for the full-scale salade betterave ($8), a gorgeous still-life bundling of red and gold beet coins, avocado wedges, fennel shavings, and mixed greens, the whole thing lightly showered with a vinaigrette of white balsamic and flecks of gorgonzola. Although beets are beautiful to look at, like glistening jewels, I will never love their slightly geutf8ous texture, and the grace of this salad was the presence of everything besides the beets themselves.

Not all the food is French, though most of it is, and the non-Gallic stuff can show a French touch. There is a Zazie burger, as well as a not-tiny crock of macaroni and cheese ($4, and a deal) in which the presence of béchamel (un-American, in a good way) was revealed by a whiff of nutmeg. As for the Provençal fish soup (a prix fixe player), it could easily have been called a stew by virtue of its potato-thickened, slightly spicy red-pepper broth and would have sufficed as a light main course even without the chunks of snapper filet and handful of mussels. Additional spiciness appeared in the form of a trio of toasts smeared with rouille. We were warned against eating the toasts straight out — "Too spicy!" said the comely server — so I was naturally obliged to eat one straight out. I found some heat, nothing unmanageable. The other two toasts were dropped off at the pool as per instructions.

The joy of the prix fixe does ebb down the home stretch. For dessert we were asked to choose between some kind of fruit crumble and a chocolat pot de crème, and since we are confessed chocoholics, this was no choice at all, though we did manage to agonize about it for a few minutes. The pot de crème turned out to be fine in an unremarkable way: a rich, smooth chocolate pudding topped by a generous dollop of whipped cream and served in a handsome crock of white porcelain. As someone who has reached that point in life where the ideal dessert is a taste or two (often of someone else’s), not a massive portion to be consumed solo, I can’t say I was disappointed.

Zazie’s many other graces include knowledgeable, friendly, well-timed table service that seamlessly extends to the garden — always a serious test — and a brisk but sophisticated wine list that features some by-the-glass possibilities you seldom see, including a Quincy and a white Graves, the Bordeaux blend of sauvignon and semillon. The prices for these wines are more than reasonable, as are the restaurant’s prices generally — a welcome bit of proof that superior food and service at a fair price is not yet a paradox, at least not in some neighborhoods.

ZAZIE

Mon.–Thurs., 8 a.m.–9:30 p.m.; Fri., 8 a.m.–10 p.m.; Sat., 9 a.m.–10 p.m.; Sun., 9 a.m.–9:30 p.m.

941 Cole, SF

(415) 564-5332

www.zaziesf.com

Beer and wine

MC/V

Noisy

Wheelchair accessible

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Editor’s Notes

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› tredmond@sfbg.com

I complain a lot too. I understand: The buses don’t run on time. Everything costs too much, particularly a place to live, if you can even find one. Traffic is terrible, and there’s no place to park. Developers keep destroying good stuff and putting up ugly stuff.

And then there are moments like last Sunday afternoon, when my kids and I spent a couple hours communing with the pair of great horned owls that decided to take up residence in a tree on Bernal Hill.

The owls showed up a couple weeks ago. They sleep during the day, on branches maybe 25 feet off the ground, opening their yellow eyes every once in a while to cast a nonchalant glance at the humans and their dogs gawking up from below. They don’t seem to mind the fact that they’re constantly the center of attention, that it sometimes feels like a zoo exhibit up on the hill — except these aren’t captive creatures. They actually live here.

Great horned owls don’t tend to hang out in urban areas; I’ve never seen one before in San Francisco. But our new neighbors seem well at home on the hill, where there are plenty of mice, rats, and other small mammals to hunt. They’ve become quite the attraction; even Vivian, who isn’t exactly a nature girl, was excited to walk up and see them.

Michael, of course, was way into owls long before these guys showed up. He knew that they eat their prey whole but can’t digest fur, feathers, bones, teeth, or claws, and that once a day they burp that stuff up in a tight wad called a pellet. Naturally, we had to go looking.

So we climbed around the base of the tree for about half an hour, searching for owl pellets. They don’t look a whole lot different from dog turds, which are also common to this particular habitat, but I’d brought a couple sharp wooden barbecue spears to poke around with. After a few unpleasant errors, I snagged one; we took it home, picked it apart with tweezers, and managed to extract what appeared to be almost an entire mouse skeleton, which is now in a carefully labeled specimen jar on a shelf in the kids’ room.

After a quarter of a century in San Francisco, the city continues to amaze me.

I mention this in part because I happened to be looking for something else on the SF Weekly Web site the other day and came upon a peculiar and typically nasty piece columnist Matt Smith had written in the guise of advice to out-of-town reporters descending on the city to find out about the place whence comes House Speaker Nancy Pelosi.

I’m sure he was trying to be funny, but in the end all I got was bile and vitriol. One typical comment:

"People move here, meet a group of fighting-mad friends, then join one of the city’s myriad wars: dog-owners vs. parents, renters vs. owners, bus-riders vs. drivers, bohemians vs. geeks, everybody against newcomers.

"A few years ago, I denounced the city as a petty battle zone."

That’s one way to look at it. Me, I love the fact that people in the city care enough to fight for its future.

Not to go after our corporate-chain rivals (who? me?), but I have to wonder sometimes: do the folks at the SF Weekly even like San Francisco? *

NOISE: My how Time Flys…

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Is raucous, reeling rock with a sense of punk history your poison? Cradle your Nuggets comps close to your cold, cold heart? High on those bad boys in the Cuts? Then the Time Flys‘s latest, Rebels of Babylon (Birdman), is for you, you, you. The Oakland combo’s second album is a quantum leap into a gritty, grimy future of hand-claps, cocky vocalizing, and filthy-sounding guitar riffs.

timeflys.jpg

This is where late ’70s NYC punk meets early ’70s Detroit rock, drawing blood in some extremely unsterile back alley and vowing to be friends forever more. Yeah, you can toss around references to DMZ, Lyres, Real Kids, the Voidoids, the Dead Boys, and all those other pluralized pussies — if you wanna annoy me! Better, you can practically taste the snot pouring off these archetypal rock ‘n’ rollers. Nice.

The Time Flys – spelling be damned! – toast their new record with a party, natch. Apache and the Pets open on Friday, Feb. 2, 10 p.m., at the Knockout, 3223 Mission, SF. They’re going down on history, as they’d put it, so get in on some of this action.

NOISE: Wilding with Wild Life

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The latest hard-psych tie-dye advocates have gotta be Wild Life. The SF band managed an impressive amount of hair-tossing and head-banging at a recent Hemlock Tavern show, playing betwixt Mammatus and New Thrill Parade.

wildlife1.jpg
Dig that dragon headdress in the background. All photos by Snap! Chun

Drone, psych, and facial hair combined with the convulsive skronk of Jesus Lizard and other Midwestern troublemakers. The loud combo’s next show is at Edinburgh Castle on Feb. 24.

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Who’s your sugar daddy?

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Guardian A&E intern Elaine Santore discovered MillionaireMarch.com, and nothing has quite been the same since; here’s her take on the online dating site:

Not long ago, a good friend alerted me that we were behind on our MRS degrees. In a panic, I grabbed my BlackBerry and clicked on the “Tasks” icon. Sure enough: below reminders to “Wash my face” and “Do NOT text/IM/call/MySpace that guy” was “Get MRS degree.”

At 24, I feared I’d missed the trophy wife boat forever. Thankfully, the good folks at Jane magazine spotlight online dating in its Feb. issue, and mentioned MillionaireMatch.com. Millionaire Match’s homepage poses the all-important questions:

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“Does your economic success make it difficult for you to meet that special someone?” Um, duh. Non-intern men in SF are very intimidated by my success. So much so that I had to move back into my parents’ house just to feel at their level.

“Why try other dating websites that can only claim to get results, when you can meet tens of thousands of successful and quality singles and friends right here!” Awesome! I need friends.

Millionaire Match defines a millionaire as anybody who makes over $150,000 a year. Non-millionaires and celebrities (no income bracket provided) are also invited. The site allows you to create a free profile, but offers a gold membership for $19.95 a month. (That’s half the membership fee for Parisexposed.com. Hot.)

After a couple hours of perusing the site, I found that some members appeared to be actual millionaires. A fair share of men my age, however, looked like they were in search of a sugar mama. No shame in the game, boys. Holla for the dollar!

Matt Smith hates San Francisco

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By Tim Redmond

That’s the only conclusion I could reach after reading this piece of garbage that was until recently sitting high on the front page of the SF Weekly website.

It’s fine for journalists to be cynical. It’s fine to challenge the conventional wisdom. But all I got from this piece — and frankly, all I get a lot of the time from Matt Smith — is how much San Francisco sucks, how lame all of us who love this city are, how stupid local politics is, and how nobody who is a part of the fabric of this town is anything but a witless moron who can’t possibly live up to Mr. Smith’s standards.

Matt: Why do you live here?

Burning Man vs. Straw Man

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By Steven T. Jones
I was glad to see both the Chronicle and SF Weekly this week give some ink to the story I wrote last week on the lawsuits among the three founders of Burning Man. Or at least I would be happy if the Weekly’s Matt Smith was such a sneering, bitter, deceptive tool. I’ve never understood the disdain Smith has for San Francisco or why he’d want to live somewhere he so abhors. And I’ve never been terribly impressed with his skills or integrity as a journalist. But it was still surprising to see him reduce Burning Man to a cult worshipping Larry Harvey (half the people who go have never heard of Harvey, and most of the other half still goes in spite of him rather than out of some vague sense of reverence), although it was certainly convenient to the ridiculously illogical straw man argument that he makes (although I’m still baffled with his conclusion of trying to equate Cachophony Society culture jamming with opening the Burning Man name and icons up to corporate exploitation). And just to destroy any last shred of credibility and respectability that Smith might have retained, he had to equate Black Rock City with Nazi Germany, lying about the event’s supposed columned boulevards to make this ludicrous point. Puh-leeze.

TUESDAY

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Feb. 6

MUSIC

Foghorn Stringband

Playing straight-up bluegrass without concern for modernism or experimentation, these five front-porch hotshots set Appalachian panoramas ablaze with their fiercely traditional take on mountain music. Foghorn Stringband’s last album, 2005’s Weiser Sunrise (Nettwerk), was even recorded live, without edits or overdubs, using a single microphone placed between them as they sat in a circle! (Todd Lavoie)

With Huckleberry Flint and Squirrelly Stringband
9 p.m., $10
12 Galaxies
2565 Mission, SF
(415) 970-9777
www.12galaxies.com

LECTURE

Food fighters

Join the Center for Urban Education and Sustainable Agriculture at a talk on the 2007 Farm Bill with Daniel Imhoff, author of the forthcoming Food Fight: The Citizen’s Guide to Food and Farm Bill, and find out how it handles conservation, nutrition, and energy policy, at an event cosponsored by the Ecology Center and Marin Farmers Market. (Deborah Giattina)

6:30–8:30 p.m., free
Ferry Bldg.
Port Commission Hearing Room, second floor
Market and Embarcadero, SF
(415) 291-3276, ext. 106

SUNDAY

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jan. 28

EVENT

Neil Pollack

Best known for his hilarious takeoffs on pop culture and the music scene in books such as Never Mind the Pollacks, author Neal Pollack is back with a new tome, on a subject that readers of his previous works might not have expected from him: parenthood. In Alternadad, Pollack muses on becoming a father and points out how his generation is redefining the cultural notion of what it means to be a parent. (Sean McCourt)

With MC Beth Lisick, Pip Squeak-A-Go-Go, and the Time Outs
3 p.m., $5-$8
12 Galaxies
2565 Mission, SF
(415) 970-9777
www.12galaxies.com

EVENT

“Sunday Gorey Sunday”

Is your tea cozy haunted, your sofa curious, your aspic blue? Grab your beastly baby, hop on your epileptic bicycle, and hie thee to “Sunday Gorey Sunday,” the hastily added second night of the Edwardian Ball – San Francisco’s annual tribute to the macabre master of laconic weirdness, Edward Gorey, RIP. Join pagan lounge ensemble Rosin Coven; creep-show chanteuse Jill Tracy; our favorite “flamin’ hot circus freaks,” Vau de Vire Society; and others for the Edwardian Variety and Sideshow Night. (Nicole Gluckstern)

With Vima Burlesque and Loop!Station
7:30 p.m., $15
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.gamh.com

SATURDAY

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jan. 27

VISUAL ART

Michael Light: “Near Planet”

Michael Light might be capable of making you see the moon (and nuclear suns) anew. When he turns his vision to the landscapes of the American West, as he does in his newest collection of photos, the results can be amazing and more than a little unsettling. Light’s “Near Planet” is centered around a handful of large handmade artist’s books consisting of aerial photographs. The world’s largest human-made hole and Compton are just two areas overseen, with each of Light’s books devoted to one particular region and a single flight. (Johnny Ray Huston)

3-5 p.m. reception
Through March 10
Tues.-Sat., 11 a.m.-5:30 p.m., free
430 Clementina, SF
(415) 495-5454
www.hosfeltgallery.com

EVENT

War protest

Rally locally while a projected hundreds of thousands of people march on the federal capital to protest troop escalation and push for the end to the Iraq War. (Deborah Giattina)

Noon
Market and Powell, SF
(510) 484-5242
www.myspace.com/januarytwentyseventh

FRIDAY

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jan. 26

Theater

The Birthday Party

Five years before Who’s Afraid of Virginia Woolf’s George and Martha deluded themselves into a drunken frenzy and then stupor, the characters of Harold Pinter’s The Birthday Party revealed that humankind’s potential for self-deception is just about endless. The award-laden Aurora Theatre has a strong and long relationship with Pinter – while The Birthday Party is his first play, it’s far from the company’s first Pinter production. (Johnny Ray Huston)

8 p.m., $28-$38
Through March 4
2081 Addison, Berk.
(510) 843-4822
www.auroratheatre.org

Music/event

Activating the Medium Festival

At the 10th annual Activating the Medium Festival, enthusiasts of aural pleasure will have the opportunity to ponder the musical value of a wide range of sounds. Focusing on the ambiguous periphery between the natural and the mechanical world – using field recordings from sources as diverse as a Vietnamese rain shower and an Australian industrial site – several world-class sound artists present their unique sonic perspectives at the Exploratorium and Recombinant Media Labs. Among the featured performers are B.J. Nilsen (a.k.a. Hazard) from Sweden and the Bay Area’s Keith Evans, who premieres his multimedia evocation of Mt. Tamalpais. (Nicole Gluckstern)

Fri/26-Sat/27, 7 p.m., free with museum admission
Exploratorium, Palace of Fine Arts
3301 Lyon, SF
(415) 561-0308

Also Sun/28, 8 p.m., $15
Recombinant Media Labs
763 Brannan, SF
www.23five.org

THURSDAY

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Thursday

jan. 25

comedy

Mike Epps

It’s six days after last Friday, so what’s going on with Mike Epps? Those 21st-century cesspools known as message boards have been roiling and boiling with claims that he’s called out Dave Chappelle. Entertainment news outlets have brought soaplike installments of the turmoil-laden preproduction of a Richard Pryor biopic starring Epps. Epps might or might not have something to say about these things, but whatever he says will probably be funny. (Johnny Ray Huston)

8 p.m, $35-$40
Also Fri/26 and Sun/28, 8 and 10:15 p.m.; Sat/27, 7, 9 and 11 p.m.
Cobb’s Comedy Club
915 Columbus, SF
(415) 928-4320
www.cobbscomedy.com

music

Mezzanine Owls

Approaching the big-screen sound from an Anglophile perspective, this four-piece builds luxuriant canopies of shimmering guitars and propulsive rhythms reminiscent of British heart racers Doves and Elbow but bearing the intriguing twist of wounded vocals landing somewhere between Dean Wareham and Mercury Rev. Anthemic rock with dignity. (Todd Lavoie)

With Robbers on High Street
9 p.m., $8
Cafe du Nord
2170 Market, SF
(415) 861-5016
www.cafedunord.com

More carnage at SF Weekly’s sister papers

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By Tim Redmond

Damn, I’d sworn off going after New Times/Village Voice Media, the parent company of SF Weekly, for at least a few days, but shit keeps happening.

Will Swaim, the editor of the OC Weekly, which was one of the papers absorbed when New Times took over the Village Voice, has resigned, citing “philosophical differences” with management. That was inevitable, but it sucks: Swaim is a good guy, a good editor and ran a good paper.

And the editor at the Minneapolis City Paper (ditto, formerly a Village Voice paper) resigned under pressure and was quickly replaced. Why? Here’s what the Star-Tribune says:

“I’m not sure anyone was surprised that it happened, only that it took so long,” said David Brauer, a media analyst for Minnesota Public Radio who once wrote for City Pages. “Village Voice/New Times is known for being aggressively apolitical or libertarian. Steve, although he had a pox on both Democrats and Republicans, was mostly a lefty radical guy.”

So the dismantling of the progressive papers that used to be part of the Village Voice franchise continues.

WOW now

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› a&eletters@sfbg.com

Every January the Women on the Way Festival throws a spotlight on the performing arts as practiced by the female of the species. Not that producer Mary Alice Fry has to dig very deep in the field of dance, which is still heavily dominated by women. (For the moment we have to leave the reasons to sociologists — or perhaps psychiatrists.)

If this year’s second of three programs is any indication, the festival’s move from a tiny space on Ninth Street to Dance Mission Theater a couple years ago has blunted its funky edge. Understandably, some of the informal give-and-take that comes when artists perform practically on top of their audiences cannot be reproduced in a larger venue. But more seriously missing were a sense of discovery, the daring of something new in the making, and the need to put big ideas into a tiny space. Given more time and a larger space, artists will fill both — and not always with the best results. Maybe that’s why so much of this WOW program, which was built around dance-music collaborations, felt so drawn out, despite the enthusiasm and real competence of its dancers.

Standing high above the fray were Molissa Fenley’s two solos: Dreaming Awake, set to Philip Glass; and Four Lines, to Jon Gibson. A veteran of more than 20 years of solo dancing — though a serious injury and recent residencies at Mills College have prompted more ensemble work — Fenley is a master at saying much with little. Unadorned, almost emaciatedly spare, her movements spun long phrases that trailed and curled but were never anything but crystal clear in their trajectories. Every stretched leg and turned arm transformed space into something thinner and more transparent yet completely owned.

Fenley’s ability to make us hear the music remains a wonder. She inhabited it completely; her choreography, though meticulously crafted, seemed to flow spontaneously out of the music. Glass is not always an easy composer to listen to, but Fenley makes him so with Dreaming Awake, set to his eponymous piano piece. She roamed inside this score as if it were a home, picking up a rhythmic pattern here and anticipating a phrase there. The conversation between dance and music never stopped, and it was fascinating throughout.

Four Lines, set to Gibson’s soprano saxophone, was just as rigorously playful. Each of the four sections seemed to ride a different type of breath; in one of them Fenley found herself close to the ground. By the end of the piece, one had the sense that Gibson (performing on tape) was actually responding to the dancer — no mean trick for a choreographer to accomplish.

The rest of the WOW program also offered work that stood out, although for different reasons. Take Goat Hall Productions’ Cats, Dogs, and Divas, with libretto and direction by Harriet March Page, music by Mark Alburger, and movement direction by Fry: for some inexplicable reason this mono-opera was performed by six aspiring sopranos, most of them singing more or less on the same pitch. They were quite a sight to behold and to listen to. The subject matter of this very long, very bedraggled affair was the suggestion of father-daughter incest, apparently originally inspired by the Teutonic gods’ rather complicated family relationships. It’s good for the artists to try a humorous approach to a taboo, but this piece needs lots of therapy. Still, cheers to Fry for taking a chance on it.

The festival also offered an always-welcome opportunity to see Printz Dance Project. The company has performed full-evening concerts of Stacey Printz’s choreography for several years. Skirting the edge of jazz, hip-hop, and show dancing and driven by a strong beat, Printz has developed her own following. A beautiful performer, with one of the most eloquent backs around, she can be at once lyrical and aggressive. What Printz lacks at this point is the ability to choreograph organically so that connections grow beyond one section simply following another. Finding the Morning, inspired by a personal injury, was the strongest piece, with a solo Printz searching for a place for herself. Carlos Aguirre’s live beatboxing immensely enlivened Beat Sequitur, performed by Printz’s beautifully trained, energetic ensemble of six.

Raisa Punkki’s red Xing, set to a score by Albert Mathias, remained incomprehensible. Inspired by an E.E. Cummings poem, it rambled endlessly; Punkki and dancer Kakuti Davis Lin traded off solos that were punctuated periodically with duets in which they exchanged mysterious smiles. The poem, however, was lovely. *

WOMEN ON THE WAY PROGRAM 3

Thurs/25–Sun/28, 8 p.m., $15–$20

Dance Mission Theater

3316 24th St., SF

(415) 289-2000

www.ftloose.org

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Wednesday

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jan. 24

event

Robert Stone

Thanks to Robert Stone’s newest book, Prime Green: Remembering the 1960s, readers can get a clear glimpse of the era of race riots, war protests, and hallucinogens. Stone’s memoir chronicles time spent in the navy, cross-country road trips, memorable friendships with Lenny Bruce and One Flew over the Cuckoo’s Nest author Ken Kesey, and a stint in Vietnam as a reporter. (Hayley Kaufman)

7 p.m., free
Booksmith
1644 Haight, SF
(415) 863-8688
www.booksmith.com

visual art

“Free Chocolate”

For her first solo show, “Free Chocolate,” Bay Area artist April Banks traveled to the Ivory Coast, a prime site of cocoa harvesting, and found young teenagers working for pennies with machetes and pesticides to keep up with foreign demand for the precious beans on which Americans spend upward of $13 billion annually. That’s a lot of Hershey’s bars, and Banks makes clear in her multimedia installation – a smart mix of photographs, image-and-text collages, sculpture, and video projections – that the human price is much higher. (Steven Jenkins)

Through Feb. 17
Tues., by appointment; Wed.-Sat., noon-5 p.m.
Intersection for the Arts
446 Valencia, SF
Free
(415) 626-2787
www.theintersection.org

The JonBenet Ramsey

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REVIEW So magical it is to be a six-year-old beauty pageant starlet! Whether it’s vomiting backstage at Raven concerts, shooting free speed while having your nipples taped up, or getting "auditioned" on the hood of Tommy’s PowerWheel, the list of privileged moments seems to never end. The idolatrous adoration of your out-prettied first-grade class should be enough to coast on — but it never is.

For those of us who were never darling enough, the Argus Lounge presents a Wednesday night drink special, the JonBenet Ramsey, that reduces the pounding vigor of such a world into one neat drink. The cocktail’s base is Stoli Vanilla, which recalls the fussy sweetness of the pageant circuit. Ginger ale dilutes the vodka with a crispness that grabs at the throat.

But it’s the drink’s crushed cherry garnish that brings home the quiet heights of such an existence: Christmas days spent lounging in the cellar with friends for hours without being bothered by your family. It all comes together like a well-laid plan. (Jonathan Beckhardt)

ARGUS LOUNGE 187 Mission, SF. Mon.–Sat., 4 p.m.–2 a.m.; Sun., 5 p.m.–2 a.m. (415) 824-1447, www.arguslounge.com

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Stand in the place where you live

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› duncan@sfbg.com

I guess I’m a snob. It’s not easy to admit, since I like to fancy myself a salt of the earth type, but there it is. I’d just assumed that after making two albums for Fat Possum, 2005’s Stairs and Elevators and last year’s amazing All This Time; opening shows for the Drive-By Truckers and Lucinda Williams; and touring clubs relentlessly in the headlining spot, the next logical step for Cincinnati’s Heartless Bastards would be a change of geography.

I’ve never been to Cincinnati. My only experience with Ohio — besides the Neil Young song — was driving through the opposite end of the state on the I-80. What’s "hi" in the middle and round on both ends? Not Ohio — seemed to me it was flat all the way across. And humid. But what do I know? The only time I stopped was to gas up and indulge in an ill-advised all-you-can-eat steak (i.e., sinew and cartilage) special at a Truckstops of America. What I am familiar with is the great rock ‘n’ roll migration tale, featuring groups such as the Dead Boys moving from Cleveland to New York, which probably had more to do with the ready availability of smack than it did with making it. The West Coast version plays itself out as a southerly flight to the home of clapped-out hair bands and cheap tacos: Los Angeles. Even our beloved Melvins, who wended their way down from Aberdeen, Wash., and lodged in San Francisco for a magic period, ended up there, chasing the dragon of rock success.

So it’s ironic that after years of thinking it was lame when bands left the Bay for a chance at the big time I’d ask Erika Wennerstrom — the vocalist, guitarist, and principle songwriter for the Heartless Bastards — if the trio were thinking of moving away from their place in the heartland. I’ve bought into the stereotype that the edges are where it happens and that the center — with the exception of Chi-town — is a cultural vacuum.

"No, not really," Wennerstrom says over the phone. "I like Ohio." If I didn’t know where she was from — Dayton, originally — I’d be baffled by her accent. There’s a lilt, a slight twang, and a flatness to it, all at once — high in the middle and round on both ends, a hominess that’s entirely absent in her soulful, from-the-gut singing voice. Isn’t it just like a snobby SF bastard to find it quaint?

"I just think if we tour enough," she continues, "we’re eventually going through enough cities anyway. Plus, sometimes you end up being part of the whole rat race. I hate to use that word," she adds hastily. "There’s lots of big cities I enjoy, but I don’t know if it’s worth having to juggle three jobs."

They may not be juggling, but the HB’s are no strangers to work: drummer Kevin Vaughn works at an incense factory in nearby Oxford, while bassist Mike Lamping works for his family business, Superior Janitor Supply, which receives a shout-out in the "Very Special Thanks" section of the new album. After the last trip around the country in a van, Wennerstrom finally felt that she’d made enough to cut back on bartending and focus on songwriting.

And maybe that’s where my whole "why don’t you move" thing comes from. Listen to Wennerstrom’s dreamy ooh-wooh-hoos over the violin and viola on "I Swallowed a Dragonfly" — "in hopes that it would help me fly" — and you’ll hear a magic that transcends punching clocks and pulling beers. All This Time is so good, it gives me this "go tell it on the mountain" feeling, which, in turn, leads to a mild bitterness: Why aren’t the Heartless Bastards famous yet? Why are they opening for Lucinda Williams, great as she is, at the Fillmore and not headlining the Fillmore? How can they win Best Rock Group and Best Album of the Year two years in a row at the Cincinnati Entertainment Awards and still be featured in Tom Moon’s "The ‘Overlooked 11’ of 2006" on NPR? Moon has the right idea, and I know I put them on my top 10 list, so who dropped the fucking ball here? And so, somewhat subliminally, my mind starts thinking that maybe it’s Ohio that’s holding them back.

But would they be as good, would the songs sound as sweetly powerful, if there was nothing quotidian to transcend? If they were ensconced in a Hollywood bubble of yes-men attesting to the brilliance of every note? I mean, Jesus, someone in Los Angeles convinced A Simple Plan that they don’t suck. Band members could get lazy if they didn’t have to make an honest living, though I’d have to add that’s what’s so damned appealing about the Heartless Bastards: there’s something honest and unassuming, something unpremeditated about their songs. Despite their name, their music clearly comes from the heart. More precisely, it comes from the hearts of working-class Ohio musicians who haven’t been feted by the same painfully out-of-touch A&R assholes who learned nothing from Nirvana’s momentary pimp-slap of the artistically bankrupt LA record industry: you can’t fabricate honesty.

"I really don’t need a lot," Wennerstrom sings on "Blue Day." "Just trying to hold on to what I got." *

HEARTLESS BASTARDS

With Beaten Awake and Ride the Blinds

Fri/26, 9 p.m., $10

12 Galaxies

2565 Mission, SF

(415) 970-9777

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