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The stage floods red, and the guitars churn. This rock is southern grit — a real heartland affair. Onstage, a man with straggly black hair steadies his guitar and returns to the microphone stand: “They’ve never known want, they’ll never know need/ Their shit don’t stink, and their kids won’t bleed/ Their kids won’t bleed in their damn little war/ And we can’t make it here anymore.” The crowd goes off, the band keeps up, and then James McMurtry puts down his guitar.
This is pretty much what preaching to the converted looks like. I should know — I’m up here every night, and I see it all the time. By day I’m a writer, but nights still find me on my balcony perch behind the lighting board at the Great American Music Hall. My voyeur point offers nightly opportunities to study the mechanics of crowds. From here, I’ve learned that hippies twirl, hipsters stand with arms folded, punk rockers still mosh — well, they try — and any alt-country audience worth its salt drains all the Maker’s Mark early in the night.
Still, there are two things that happen during every show. The first, somewhat annoying thing is that at some point someone in the band will say something like “Hey, this place used to be a brothel, you know.” This false statement is typically followed by a joke, statement, or inflammatory song about the Bush administration. The San Francisco crowd — regardless of what kind of night it is — will always go crazy.
McMurtry is at that point in the evening — only he’s played here enough times to forgo the cathouse comment, and he skips right to the hard stuff. “We Can’t Make It Here Anymore” is nothing short of an anthem, a wartime confession that things these days are pretty fucked up. This marks the third time I’ve witnessed a crowd encountering this song. From above, I can see the now-familiar shudders — I see the guitar chords grabbing at the guts, the lyrics pulling at the guilt, and the eyes glazing over with the most dutifully civic of queries: how the hell did we get to this point?
Music has long been a vehicle for dissent. In fact, the protest genre’s history is so strong that some of its most revolutionary battle cries (“The times they are a-changin’,” “God save the queen,” and “Fuck the police”) have become pop culture clichés. Sticks and stones and all of that, but it turns out the right words can pack one hell of a punch.
A few months ago during the Hardly Strictly Bluegrass festival in Golden Gate Park, a known dissenter rewrote an old song, Leadbelly’s “Bourgeois Blues,” in front of more than 50,000 listeners. It was Fleet Week in the city, and fighter jets roared overhead as Billy Bragg led his crowd through the chorus of “Bush War Blues,” a sea of middle fingers fiercely stabbing at the air.
It seems that we are all tangled up in the newest wave of protest music — and it’s quite a stretch from the “Kumbaya,” peacenik days of yore. Today’s troubadours are mobile. Bragg, McMurtry, and countless other hard-touring artists are playing festivals, midlevel clubs, and bars from coast to coast — resulting in a revolution being waged on stages throughout the land, a series of battles fought one song at a time.
I can’t help but think, as I watch the crowd down below, that at this very moment somewhere in this country, a 13-year-old kid is being shoved into a dark and sweaty all-ages venue. The band onstage is yelling about blood and oil, telling him he’s going to die for his government. The vocalist gives a “fuck you” to our commander-in-chief before launching into another indecipherable, out-of-tune 45-second song. The room goes wild. And the kid, for perhaps the first time, realizes that there is a movement afoot. SFBG
K. TIGHE’S WORKING-STIFF TOP 10
(1) Steve Earle and Billy Bragg on the same stage Oct. 7 at the Hardly Strictly Bluegrass Festival, flipping off passing aircraft alongside their enormous crowds.
(2) Radio Birdman at the Great American Music Hall on Aug. 31. One of the greatest — and certainly most unexpected — shows of the year.
(3) Black Heart Procession with Calexico at the Fillmore on June 16.
(4) Leaving the Lucero and William Elliot Whitmore show at Slim’s on Oct. 12 with a broken heart, a gut full of whiskey, and a rekindled love for all things banjo.
(5) Seeing so many talented local bands do well this year was definitely a highlight. The barbarasteele and Black Fiction show at Cafe du Nord on Feb. 12 was proof positive that we are sitting on a gold mine.
(6) Nurse with Wound at the Great American, June 16–<\d>17, making naked ladies swim around the stage.
(7) Syd Barrett and Arthur Lee — you bastards. Rest in peace.
(8) Sleater-Kinney’s final SF shows at the Great American on May 2–<\d>3 reminded me why I loved them in the first place — just in time for them to break up, goddamn it.
(9) Dinosaur Jr. and the irreparable hearing damage they caused at the Great American on April 19–<\d>20 made me understand that always wearing earplugs, hiding in doorways, and not standing in front of three Marshall stacks might be good for my overall health.
(10) Someone having the good sense to pull the plug on Lauryn Hill, Great American on July 29.
SF
A sound proposition
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There are huge, expensive, city-sponsored monuments to the arts lined up on Van Ness Avenue, opposite City Hall, and I’ve seen some of the best music in the world performed there.
The formidable San Francisco Symphony took a run at Igor Stravinsky’s Rite of Spring at Davies Symphony Hall years back — a feat not dissimilar to juggling chainsaws while riding a unicycle along a plank over a pit of alligators — and pulled it off with both precision and gusto. And more recently, the San Francisco Opera made me, a lifelong doubter of wobbly-voiced wailing, an instant convert. The occasion was a spectacular staging of Billy Budd, Herman Melville’s great tragedy of miscarried justice as hauntingly rendered by Benjamin Britten.
The opera and the symphony — though deriving much of their revenue from foundations, corporate sponsorships, and ticket sales — also enjoy considerable subsidization from government. According to the SF Symphony’s IRS Form 990, it received almost $800,000 in government grants in 2005 alone.
These subsidies are good, but there needs to be a lot more of them — and they need to serve all citizens of San Francisco much more effectively. It could not be said, for example, that a typical Friday night at the SF Opera is either affordable or appealing to a significant portion of the city’s residents.
And it’s certainly not true that there isn’t enough music and art in San Francisco for all its citizens. This place is bursting at the seams with creativity. You could put on a live performance by a local band or DJ crew in Justin Herman Plaza each week for a solid year and not run out of talent.
In fact, that’s not a bad idea! Why not, as a matter of city policy, support the staging of one free, live, outdoor musical performance per week year-round? We can keep it cheap. Once you bring things inside, it gets a bit expensive, stops being DIY, and starts meaning forms, insurance, and union-scale wages — all substantial barriers to entry for your local experimental jazz combo. The space would, in fact, have to be donated — not impossible, but not always likely.
So outdoors it is. Rain or shine. Bring your own PA. Do your own flyering. According to Sandy Lee of the Parks and Recreation Department, the nonprofit rate for using any outdoor musical facility is $500 for as many as 1,000 people. If you want to do one show weekly for a year, that’s $26,000 total. I’ll wager that San Francisco’s major arts funders could easily cover that annual fee through a matching grant program paid directly to Rec and Parks.
That’s a bump on a log in the world of arts funding, and such an arrangement isn’t unprecedented. San Francisco’s Hotel Tax Fund picks up the user fee for the Golden Gate Park Band, which has a regular Sunday gig April through October in the unremodeled band shell in the newly remodeled Music Concourse.
So we’re certain just about everyone will agree that more free live music outdoors would also be pretty much awesome. Now we get to program 52 weeks of free live music in San Francisco. Booking, or perhaps curating is a better term, would be done democratically, ethically, and, of course, pro bono by volunteers called up from the performance and presentation community. Local venue and club bookers, noncommercial and — ulp! — pirate radio DJs, festival programmers, musicologists, and the like. Remember, we have 52 weeks to fill, so there’s room for everyone.
At this point it’s clear that there would be hang-ups to unhang. There would be the danger of favoritism and payola in the booking — underpaid musicians and bookers are often hungry and desperate. There would definitely be aesthetic disagreements. Where, for example, will the punk and metal bands play? The thumping DJ crews? Lee noted that the department is “very sensitive” to NIMBYs opposed to amplified music.
Nevertheless, she said, the city is full of outdoor venues for amplified music, all available for the $500 nonprofit use fee. These include McLaren Park, the Civic Center, Mission Dolores Park, Union Square, Justin Herman Plaza, the Marina Green, and Washington Square. In Golden Gate Park the Hardly Strictly Bluegrass Festival has sprawled magnificently across the Speedway, Marx, and Lindley meadows; both Reggae and Opera in the Park regularly occupy Sharon Meadow; and the band shell, a.k.a. Spreckel’s Temple of Music, is also back in action after being closed for three years during the de Young reconstruction.
“The band shell is open to any group that wants to perform there,” Lee said, and that’s a great place to start.
Get city backing for a pilot program and set up a spring-to-fall season similar to that of the Golden Gate Park Band, whose musicians are volunteers. Shoot for radical diversity in the booking to get a true cross section of the city’s ethnic, cultural, contemporary, and historic musical palette. Schedule performances opportunistically: during lunch hours downtown, at 2 p.m. on a sunny Saturday in the park. Stage local music showcases on weekends or holidays for full afternoons of free music. Pick the lively bands for fog season so folks have a reason to jump around. Switch venues each week to keep the NIMBYs off balance. And remember that commercial radio stations would have to pay the commercial user fee of $5,000 if they want to get in on the game. This will keep things focused on the grassroots.
We must create an expectation for this kind of low-cost local arts subsidy. It’s true that music and culture thrive like weeds in the cracked cement of oppression. But keep in mind that $26,000 for a year of venue-user fees for local music is 3.25 percent of the symphony’s government subsidy. The city can take an unprecedented step in support of genuinely accessible, relevant arts programming. At a time of gutted arts funding around California and the nation, San Francisco could set an example for pragmatic, affordable, nonelitist, human-scale public arts for the entire community.
The only thing stopping us is cultural elitism, NIMBYs, and acres of bureaucracy. Piece o’ cake! SFBG
JOSH WILSON’S TOP 10
•Project Soundwave’s experimental, participatory music showcase
•Godwaffle Noise Pancakes at ArtSF and beyond
•Resipiscent Records release party, Hotel Utah, Oct. 20
•Sumatran Folk Cinema and Ghosts of Isan, presented by Sublime Frequencies at Artists’ Television Access, July 14
•William Parker Quartet, Yoshi’s, May 24. Jazz wants to be free!
•Experimental music showcases staged weekly at 21Grand
•Deerhoof! Castro Theatre, April 27
•Gong Family Unconvention, the Melkweg, Amsterdam, Nov. 3–<\d>5, featuring Steve Hillage playing his first rock guitar solo since 1979, Acid Mothers Temple with the Ruins guesting on drum ’n’ bass, and local guitar superstar Josh Pollock invoking the spirit of Sonny Sharrock with Daevid Allen’s University of Errors (a truly explosive combo including ex-local DJ Michael Clare)
•Hawkwind, the same weekend as the Gong Uncon, in nearby Haarlem, full on with alien dancers, lasers in the stage fog, and Dave Brock announcing the encore: “If fuckin’ Lemmy kin play ‘Silver Machine,’ we kin fuckin’ play ‘Motörhead’!”
•Noncorporate radio in San Francisco: KUSF, KPOO, Western Addition Radio, Pirate Cat
Bears in jell-o! Female bears!
OK OK I know we’re giving the bears a lot of play lately in the clubs section, but the whole bear nightlife thing is truly a phenomenon. There’s all these bear clubs now! Too bad the music lames, in my book — all kinda hi-nrg circuity, but I guess that’s kind of run-off from the whole “we’re fat but macho!” thing. (Fact: bears are big girls. That’s what I love about them. They’re so cute! I’ve slept with ever so many… )
So yes, the big (hahahaha) bear club is Bearracuda and now the extra-machowannabes of the universe — and wonderful, at that. these are hot athletes— SF FOG RUGBY is hosting this weekend. BUT THAT’S NOT ALL!
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The Fog invades Bearracuda on Saturday, December 16th @ The Deco Lounge, 510 Larkin at Turk. DJs Underdog and Polar Bear will be spinning tunes. $6 gets you in, with part of the proceeds from the door going to the SF Fog. $2.75 drafts, free massages, rugby players and bears! Festivities run from 10pm to 3am.
Tuesday
Dec. 12
Film/DVD
Vice Guide to Travel
For 10 years now, Vice, the bible of subversive popular culture, has been instructing willing hipsters to live dangerously — Vice-style. The publication might finally incite the kids to take the plunge with the release and screening of the new DVD Vice Guide to Travel, which follows cofounder Shane Smith and others visiting unlikely travel destinations such as the Chernobyl Nuclear Power Plant, refugee camps in Beirut, and Bulgaria (to purchase dirt bombs). (Hayley Elisabeth Kaufman)
9 p.m.
12 Galaxies
2565 Mission, SF
Free
(415) 970-9777
www.12galaxies.com
www.viceland.com/guidetotravel
Music
Soul Afrique
In the mood for sweet soul music — from the motherland of civilization? Shake it with DJ Rascue, rotating residents Madison, Wizzkey, Marcella, and special guests as they spin R&B, soul, reggae, Latin, and soulful house. (Kimberly Chun)
9 p.m.-2 a.m.
John Colins
90 Natoma
Free
543-BARR
www.johncolins.com
Monday
Music
Spank Rock
Spank Rock’s Yo Yo Yo Yo Yo (Big Dada) is a hot rock because of xxxchange’s deep minimalist production. I’ll also give a little love to the Urkel-like Spank and his pubescent nerd’s pussy fixation, even if I dream of the day when xxxchange’s Yo Yo beats are wed to Roxanne Shante. Some self-employed prosecutors claim Spank Rock exploit Baltimore club music, while an entirely different group claim they’re misogynist. But if you like beats that ricochet into the future, you’d better start practicing your air cock thrust and get your ass down to Mighty. (Johnny Ray Huston)
10 p.m.
Mighty
119 Utah, SF
$15
(415) 762-0151
www.mighty119.com
www.spankrock.net
www.aircockthrust.com
Film
The Architect
Each streamlined scene has been carefully laid out to maximize character and plot development, seemingly creating the beginnings of a rich, thoughtful film. The strong cast — led by Anthony LaPaglia and Isabella Rossellini — provides ample reason to remain hopeful. But as the plot progresses, these characters seem increasingly stereotypical and each facet feels calculated. Writer-director Matt Tauber has the makings of a talented designer, but The Architect needs a less hollow structure. (Jonathan L. Knapp)
Lumiere Theatre, 1572 California, SF
www.landmarktheatres.com
www.magpictures.com
Sunday
Dec. 10
Music
Akron/Family
The members of Brooklyn’s free-form folk mavericks Akron/Family are all credited in their liner notes as players of bric-a-brac; given the intriguing intrusions of odd whistles, creaks, and moans that slide into their mantras and meditations, the claim makes sense. These weird beards breathe new life into old forms. (Todd Lavoie)
With Black Fiction and Dodo Bird
9 p.m.
12 Galaxies
2565 Mission, SF
$10
(415) 970-9777
www.12galaxies.com
www.akronfamily.com
Music
Jay Bennett
Jay Bennett has that type of gravelly, whiskey-worn voice that many strive for and few succeed at. The multi-instrumentalist, producer, and sought-after studio musician best known for his stint with Yankee Hotel Foxtrot–era Wilco brings a rebellious energy to the typically sleepy alt-country genre with elements of power pop à la Big Star and a melodic Beach Boys innovativeness. (Hayley Elisabeth Kaufman)
With Death Ships and Weed Patch
8 p.m.
Rickshaw Stop
155 Fell, SF
$8
(415) 861-2011
www.rickshawstop.com
www.jay-bennett.com
Saturday
DEC. 9
Music
La Plebe
Melding brass with brash, the Tijuana-toned ska-core sound I danced to in Chiapas is alive and skanking in San Francisco, thanks to bilingual native sons La Plebe. It’s not just their music that’s reminiscent of San Cristóbal de las Casas: La Plebe’s working-class sympathies keep them performing and touring almost constantly, and their latest CD — Entre Cerveza, Ritmo, y Emoción (Between beer, rhythm, and emotion) — is available on their Web site for free. (Nicole Gluckstern)
With Compton SF and Lewee and the Regals
10 p.m.
Bottom of the Hill
1233 17th St., SF
$8
(415) 621-4455
www.bottomofthehill.com
www.laplebe.com
Performance
Wong Flew over the Cuckoo’s Nest
Activist and performance artist Kristina Wong examines the alarmingly high rate of mental illness among Asian American women and asks whether US culture has a direct role in producing such damning statistics. Based in part on her own experiences, Wong’s one-person show injects her trademark irreverent humor into a work of unblinking social commentary. (Todd Lavoie)
8 p.m.
La Peña Cultural Center
3105 Shattuck, Berk.
$12
(510) 849-2568
www.lapena.org
www.kristinawong.com
Friday
DEC. 8
Dance
Paco Gomes and Dancers: Many Little Pieces
Paco Gomes grew up in Bahia, where he studied and then taught folkloric and religious dance; more recently, he’s led Afro-Brazilian and Afro-Peruvian dance classes in the Bay Area. Since 2004 he’s overseen Paco Gomes and Dancers, putting on performances rooted in parable and myth that depict warrior queens while also choreographing autobiographical work. His company begins a home season at Dance Mission with Many Little Pieces. (Johnny Ray Huston)
Also Sat/9
8 p.m.
Dance Mission Theater
3316 24th St., SF
$18
(415) 273-4633
www.dancemission.com
www.pacogomesdance.com
Music
Menomena
Portland experimentalists Menomena traffic in the same kind of expressive pop alchemy as do David Longstreth’s the Dirty Projectors but lean the boat even further toward suggestions of prog rock. The band’s debut, I Am the Fun Blame Monster! (Film Guerrero, 2004), used a nifty software innovation that fluidly cuts together song fragments. After spending 2005 working up the score for an experimental dance performance, the band is now on the verge of its proper follow-up, Friend or Foe. (Max Goldberg)
With 31 Knots and the Bad Hand
9:30 p.m.
Hemlock Tavern
1131 Polk, SF
$10
(415) 923-0923
www.hemlocktavern.com
www.menomena.com
Thursday
dec. 7
Visual art
“111@111”
Bay Area, yow — that’s one logical response to “111@111,” a many-fanged and many-fangled art attack that promises to cram 111 Minna Gallery’s space full of works by 11-times-10-plus-one painters, animators, sculptors, and photographers. Bilbo Baggins may have left the shire at the age of eleventy-one, but I doubt he ever came across a building that housed art by Lee Harvey Roswell and Sam Flores and some Hamburger Eyes guys. (Johnny Ray Huston)
Reception 5 p.m.–2 a.m.; show continues through Jan. 28
111 Minna Gallery
111 Minna, SF
Free
(415) 462-0505
www.111minnagallery.com
Event
Spring Josh Wolf
Call for the release of blogging journalist Josh Wolf, who is still in the slammer for refusing to turn over his footage of a violent anarchist protest at 24th Street and Mission last year to a federal grand jury. Supporters of Wolf and champions of shield laws protecting reporters, including state assemblymember Mark Leno and Guardian publisher and blogger Bruce Brugmann, will attend. Money raised goes to pay the legal fees for the 2006 Society of Professional Journalism Journalist of the Year recipient. (Deborah Giattina)
7:30 p.m.
Balazo Gallery
2183 Mission, SF
$10 suggested donation
(415) 255-7227, www.joshwolf.net
Wednesday
Dec. 6
Music
Lost Weekend
Considering the recently rekindled interest in pre–rock ’n’ roll sounds, isn’t it about time for a Western swing revival as well? Bay Area barn burners Lost Weekend carry on the tradition of Bob Wills and Spade Cooley with limb-loosening odes to wide-open skies and small-town girls with sparkles in their eyes. Early arrivals will be treated to a dance lesson. (Todd Lavoie)
7:30 p.m. dance lesson; 8:30 p.m. concert
Ashkenaz
1317 San Pablo, Berk.
$9
(510) 525-5054
www.ashkenaz.com
www.lostweekend.ws
Lecture
Paul Chan
Paul Chan’s take on politics and art might offend SF activists who still recycle 20th-century protest codes. But isn’t it past time to move beyond the recent mania for what he calls war porn and antiwar porn? Anyone capable of citing Hélène Cixous and Richard von Krafft-Ebing in a manner that’s practical and fresh is capable of giving a rare lecture: the kind worth hearing. (Johnny Ray Huston)
7:30 p.m.
San Francisco Art Institute
800 Chestnut, SF
Free
(415) 771-7020
www.sfai.edu
Give, give, give
It’s happened again. December has rolled around, and last year’s promise not to buy gifts for anyone has melted into a familiar panic. “Just a few people,” I thought — and those few quickly snowballed into a dozen, that dozen into many, that many into, well, the onset of a big ol’ holiday freak-out. What the hell to buy for everyone? The thought of going to a mall gives me the all-overs. Too many people, too many shiny displays. Too many “it” items this year — though I must admit, this season is mild compared to past years of Tickle-Me-Elmos and Furbies. Furbies really freaked me out, man. At least there aren’t any Furbies this year.
It’s not that I’m a Scrooge. In fact, on a holiday scale from “Ho, ho, ho!” to “Bah humbug!” my seasonal sentiments rate a solid “Fa la la la la.” I’m just oozing with holiday cheer — what I’m lacking is the cash to spread that cheer around.
Another major deterrent to the mother of all shopping seasons: people scare the hell out of me. Last year I almost lost an eyeball attempting to navigate around the umbrellaed masses of Union Square. There was barely a light drizzle, but the umbrellas were up, the people combative, and once I reached the safety of the Disney Store, there was another enemy force: children. Screaming, snot-nosed children. Sleep-deprived mothers trailing behind, trying to wrangle the ankle biters to the next shopping destination.
Is it worth all the stress? Not in my estimation. That’s where good planning comes in. I have three rules. One: make every gift thoughtful, personal, and original. Two: stay the hell away from shopping centers, big-box stores, and those umbrella-wielding maniacs of Union Square. Three: spend as few of my hard-earned dollars as possible. I’m no expert on shopping, but I’ve made enough mistakes to know I’ll need one hell of a strategy to pull off the perfect shopping caper. The plan? Divide and conquer. Get ’er done. Make it up.
DIVIDE AND CONQUER
Consider who the most important people on your list are. The people you love the most are always the most difficult to shop for. Get the important stuff out of the way early to minimize stress. Special people call for special circumstances — that’s why shopping at smaller, local businesses is best. Your big brother might love that copy of Bob Dylan’s Chronicles, but you can bet your ass he saw it on the Border’s clearance shelf for $6.98.
THE HEAD HONCHO
Chances are most bosses have received more bad gifts from their underlings than they can fill their oversized offices with. Steer clear of tchotchkes and give the gift of booze. A good bottle of wine goes a long way. Try K and L Wine Merchants (638 Fourth St., SF; 415-437-7421, www.klwines.com) for a huge selection and a staff so helpful they could explain the nuances of a petite sirah to a donkey. Or try Coit Liquor (585 Columbus, SF; 415-986-4036, www.coitliquor.com). This San Francisco landmark looks like your basic bodega, but the corner haven offers one of the best selections of fine wines in the city.
YOUR COWORKERS
If you have to buy for half the office, at least take comfort that these are the only people on your list who truly understand your financial woes. Think stocking-stuffer small. Think clever. Think original. Think Wishbone (601 Irving, SF; 415-242-5540, www.wishbonesf.com) for all the odds and ends of your shopping this season. Everyone loves adorable useless bullshit.
YOUR (FEMALE-GENDERED) SWEETIE
Known affectionately among locals as “Oh — that store with all the skulls?” Martin’s Emporium (3248 16th St., SF; 415-552-4631, www.martinsemporium.com) also happens to have an obscenely large collection of antique jewelry. So if your honey has an itch for F. Scott Fitzgerald, get her all Gatsbyed up with some jazz age earrings, brooches, and pendants. Or pull a Clinton: find a signed or first edition of your lady’s favorite book among the antique items at Thomas A. Goldwasser (486 Geary, SF; 415-292-4698, www.goldwasserbooks.com) or the pulp paperbacks of Kayo Books (814 Post, SF; 415-749-0554, www.kayobooks.com).
YOUR (MALE-GENDERED) SWEETIE
I blame Sears. Men are hard to shop for, yeah, but it seems like department stores have all but given up. Steer clear of the mall stores with the prepackaged wallet–<\d>watch–<\d>grooming kit gift sets. Stay away from the cologne-aftershave-and-soap-on-a-rope gift set he’ll never use, and think outside the little boxes. If you can’t spring for the PlayStation 3 that he really wants, you can agree to let him loose for an afternoon in Isotope Comics (326 Fell, SF; 415-621-6543, www.isotopecomics.com). Or if you refuse to feed his geeky side, go for his cuddly one. The San Francisco Society for the Prevention of Cruelty to Animals (2500 16th St., SF; 415-554-3000, www.sfspca.org) always has little friends who need loving homes. What’s better than a faceful of puppy kisses for the holidays?
MOM
It’s hard to skimp on Mom’s gift. Something heartfelt, personal, and dirt cheap — is that so much to ask? Lucky for us, moms these days are hardly the June Cleaver types. Give her something original, social, and rewarding. She’ll thank you for foregoing another year of bath salts. Classes make great gifts, and she’ll never expect it. It’s never too late to learn a new language: The Alliance Français (www.afsf.com) has beginner courses starting at $365. The Goethe-Institut (www.goethe.de/sanfrancisco) will teach Mom German starting at $230. For every other language in the world, starting at $175, try the ABC Language School (www.abclang.com). For even cheaper options, hit up Craigslist for a private tutor (most start at around $20 an hour) or send her packing to City College.
If you don’t think Mommy Dearest is into spending her days conjugating verbs, she might give yoga a try. At Mission Yoga (2390 Mission, SF; 415-401-9642, www.missionyoga.com), the Bikram program rules. The huge studios are open every day of the year, and they even offer Spanish language classes! Yoga Tree (www.yogatreesf.com) has locations all over town and offers tons of different styles. Perfect if Mom still thinks “asana” is a swear word.
DAD
Ah — my Republican Dad. We both love Johnny Cash and mob movies — that’s pretty much where the similarities end. Instead of delving into the dangerous world of politically themed gifts (boy, was that year fun), hiding behind an ugly tie, or grabbing yet another ratchet set, shoot for the common ground. Records are great because they are traditional, and Daddy can get all nostalgic about how much better Gordon Lightfoot sounds on vinyl. Check out Grooves Inspiralled Vinyl (1797 Market, SF; 415-436-9933) for a huge country section.
YOUR BFF
Time to play Let’s Make a Deal. No gifts until January. My closest friends and I are all always broke, so we have a tradition of buying each other dinner for birthdays, holidays, and special occasions. More often than not, by the time our schedules align we all owe each other at least one meal. This means we can justify an outlandishly expensive restaurant, split the bill evenly, and settle all debts. If this won’t swing in your inner circle, go for something experiential. Close friends are close for a reason — usually a common interest. Bond over art? Buy each other yearly memberships to the SF Museum of Modern Art (www.sfmoma.org) or Yerba Buena Center for the Arts (www.yerbabuenaarts.org). Love music? Concert tickets at Slim’s (333 11th St., SF; 415-255-0333, www.slims-sf.com) and the Independent (628 Divisadero, SF; 415-771-1421, www.theindependentsf.com) are as cheap as CDs and, as something you can do together, much more personal.
LITTLE BRO OR SIS
It’s every older sibling’s privilege — nay, responsibility — to introduce the younger family members to the more subversive side of life. If the kids happen to be teenagers, now is the time to pump them full of all the J.D. Salinger and Jack Kerouac you can get your hands on. Go to the source of the rebellion and buy from City Lights (261 Columbus, SF; 415-362-8193, www.citylights.com). If you really want to start a fire, hit up anarchist ground zero Bound Together Books (1369 Haight, SF; 415-431-8355). You are also well-placed to mold their fallible little minds into appreciating good music. Find all the songs that riled you up in your adolescence at Streetlight Records (3979 24th St., SF; 415-282-3550, www.streetlightrecords.com). Even if they hate your picks, you’ll have taught them a valuable lesson about snubbing all that fancy marketing and finding their own taste. You’re such a good role model.
BIG BRO OR SIS
It’s always hard to shop for the person who made your young life a living hell. To help you turn the page on that awkward history of rivalry, sign your tormentor up for the gift that keeps on giving. Magazine subscriptions are always a great idea for the holidays — but really, who wants to funnel their money into publishing houses all the way out in New York? We have tons of extraordinary publications based right here in the Bay Area! You can’t go wrong with Planet (www.planet-mag.com) for culture vultures, SOMA (www.somamagazine.com) for artsy types, Mother Jones (www.motherjones.com) for the world conscious, or Wired (www.wired.com) for the tech savvy.
THE YOUNG ’UNS
The only reason I tolerate the holiday shopping madness is that it offers a valid excuse for grown people like myself to play with toys. Now that there are some nephews in the picture, I don’t feel so creepy fondling everything on display at the Discovery Channel Store (865 Market, SF; 415-357-9754, shopping.discovery.com) in the Westfield Center. I know, you have to brave the big, scary new mall, but the payoff is strong. From crime scene kits to talking globes, this store will make you feel like a kid again. Everything is educational, but the children will never know. Ambassador Toys (186 West Portal, SF; 415-759-8697, www.ambassadortoys.com) has all the lovely LeapFrog (a local company!) baby things and tons of interesting multicultural stuff too.
GRANDPARENTS
Mom-mom and Pop-pop are so easy. If you remember to call, they’re thrilled. Getting them a gift? Oh, you’re such a honey pie! Head to Paxton’s Gate (824 Valencia, SF; 415-824-1872) and pick up some orchids or carnivorous plants for her to fawn over. Grandpa will probably be happy if you just show him how to use the digital camera you got him last year, but go the extra mile and start an aquarium for him. This way you’ll know exactly what to get him every year: more fish! The folks over at Ocean Aquarium (120 Cedar, SF; 415-771-3206) will get you started right.
PETS
Don’t forget about your little critters this season. San Franciscans like to give their pets the run of the house — in my case, the tortoise Bukowski has the painfully slow and woozy stagger of the place, but you get the idea. Bukowski will be getting a tasty bouquet of dandelion greens from Golden Produce (172 Church, SF; 415-431-1536) in his stocking this year. Fido probably won’t enjoy chewing the weeds, so try Babies (235 Gough, SF; 415-701-7387, www.babiessf.com). This store is pretty much the holy grail for spoiled little dogs.
DREADED EX
Admit it, you have an inkling that your ex is probably stalking you on MySpace. Why not call the sneak out with some kitschy spy wear from the International Spy Shop (555 Beech, SF; 415-775-47794, www.internetspyshop.com)? Nothing says “I can still see right through you” like some X-ray glasses. The Fisherman’s Wharf shop is also ground zero for all things private dick.
THE IN-LAWS
Just put your name on the damn card. Fin.
GET ’ER DONE
So you waited until the last minute — you haven’t bought a single gift. People have started dropping hints about the great things they’ve found for you (some of these people weren’t even on your list — the jerks). What the hell do you do now? Don’t panic. Get to the Castro. Stat.
Cliff’s Variety (479 Castro, SF; 415-431-5365, www.cliffsvariety.com) is the best store in San Francisco. OK, I’ve shown my hand. The toy section is top-notch. It’s got games, gizmos, and playthings galore. Great for the kids, even better for your coworkers and casual friends. The windup animals, novelty tokens, and traditional knickknacks will have them waxing nostalgic for days. The kitchenware section has the best in sleek, smaller appliances (FYI: giving a French press or percolator to everyone on your list who still subsides on drip coffee will make you a hero for years to come) and unnecessary (but totally useful) gadgetry. Check out the annex for swanky furniture, household items, baby clothes, and all things craft. Oh, and shopping at Cliff’s is dirt cheap.
MAKE IT UP
Do yourself a favor and don’t put all your holiday stock in a DIY project you’ve never tried. Even if you have every intention of knitting scarves for the 35 people on your list, even if you bought every spool of fancy yarn in the city, even if you took three weeks off from work to do the project — if you still don’t know how to handle the needles, you may as well shoot yourself in the foot. Your peeps will get squat, and all you’ll have is a three-by-five-inch scrap of knotty wool. There are safer ways to craft. Here are some:
Use those concert tees. Music is a huge part of my life — likely one of the reasons I’m always broke and most certainly the reason I have an enormous collection of swag I never wear. This year that T-shirt collection overflowing the closet is going to shrink. The quick how-to: Pick out the ones with obscure bands, ridiculous logos, or just great colors and restructure them into cost-free, made-with-love gifts. Cut a big square out of the center of both sides of the shirt (this should include whatever graphic is involved). Put the insides on the outside. Stitch around all four sides, leaving a three-inch gap in the center of one side. Turn right-side out and stuff (use cotton, newspaper, more old shirts — whatever isn’t perishable). You just made a pillow! Simple quilts and tote bags are also pretty easy to swing with limited knowledge of sewing. If all you learned in junior high home ec has escaped, run over to the Stitch Lounge (182 Gough, SF; 415-431-3739, www.stitchlounge.com) in Hayes Valley. The rockin’ ladies there will show you the ropes for a nominal fee. Bonus: they offer gift certificates, so you can give the gift of craftiness even if you gave up on threading the needle.
Feeling guilty for paring down your list? Making personal holiday cards for everyone you snubbed will cure your ills. This project will only take an afternoon (or an evening with friends and lots of liquor), and you already have the supplies! Look at all the paper crap you’ve collected around the house. Those calendars you got at a discount last January have some high-quality photos. Magazines stacked everywhere, coffee table books on their last legs, and all that cheesy holiday junk mail. Got scissors? Glue? You know what to do. Try Paper Source (www.paper-source.com) if your home stock won’t cut it.
Since you’ve already made such a mess, here’s another project for you. Well, let’s not get ahead of ourselves. First, sit back and let me tell you a thing or two about gift baskets. They suck. They are predictable, boring, and awkward as hell to carry on Muni. The day of basket-wrapped gifts is over. Instead, take all that stuff you’re cutting up and do some decoupage. My favorite gift vessels are mason jars and shoe boxes — both are simple, portable, and look great once you start decorating them. Stick to themes and you’ll be golden. Example: decoupage a box with images from Italy and fill it with gourmet noodles, a decent wine, and that killer sauce recipe you have. Add a cheap vintage apron from Held Over (1543 Haight, SF; 415-864-0818), and voilà — you have a gift!
Use your skills. Computer savvy? Check your list for any artist, comedian, musician, or writer who could benefit from your illustrious Web site–<\d>designing skills.
Take great photos? This is San Francisco — chances are several people on your shopping list are in struggling bands. Bands need press kits. Press kits need photos. Photos are expensive. You take great photos. Are you there yet?
Do you give Rachael Ray a run for her perky money? Baking for people is still way festive — just steer clear of fruitcakes, and your gift will be well received. Or cheat like hell — that’s why they put cookie dough in those convenient little tubes.
If you totally suck at the DIY thing, you aren’t alone. Lucky for you there are some people in the city who are very, very good at making things. Needles and Pens (3253 16th St., SF; 415-255-1534, www.needles-pens.com) showcases a variety of paper goods and clothing made by local craftsters. My favorite is the 2007 Slingshot Organizer, but be sure to check out the other DIY goodies at this little shop that loves you back.
Deep water, hard rock
In a house overlooking the San Francisco Bay, a young painter named Amy (Dena Martinez) hosts a seeming vagabond, Palo (Johnny Moreno), through one long grief-filled night. She’s in numb, guilt-stricken mourning for her husband, a purportedly shallow man who, out of his emotional depth, stepped off his sailboat, into the ocean. Palo, for his part, is convinced he knows Amy as Lila, the woman he once loved, abused, and has been searching for up the long coast from Mexico. So their meeting at the Marina Safeway, where Palo finds Amy stalled in the detergent aisle staring helplessly at the Tide, comes fraught with significance for both while reflecting the humor, irony, and metaphorical richness at work throughout Gibraltar’s brilliantly layered poetry.
The latest work by internationally acclaimed Bay Area playwright Octavio Solís, the San Francisco–<\d>centered drama was commissioned by and premiered at the Oregon Shakespeare Festival in 2005. Its impressive Bay Area debut comes somewhat revised, in an intelligent, well-crafted coproduction by Thick Description with the San Jose Stage Company (which will host it in the South Bay in early 2007). Solís’s relationship with Thick Description goes back a long way — to the playwright’s first major theatrical success, 1993’s Santos and Santos — and despite some unevenness in the generally strong cast, artistic director Tony Kelly’s discerning staging surely reflects, in part, the fruit of this long association.
Scenic designer Melpomene Katakalos renders Amy’s environment, a plank-board living room whose sole furnishing is a futon, with a serene, dreamlike simplicity, as if that futon were a life raft adrift in an endless night. One assumes Amy has taken the handsome but intensely volatile Palo home to her flat as an instinctual reflex betraying her acute loneliness and sexual tension.
Their violent courtship, which takes the form of competing stories, is as much a struggle as a dance, a wrestling with deep feelings and needs worthy of the term Solís uses throughout — duende — the ultimately untranslatable Andalusian term for a kind of soul or spirit, what Federico García Lorca spoke of as coming to life “in the nethermost recesses of the blood.” Visually, it is evoked here in the blackness at the edge of the stage (and also, later, in a poignant unveiling of a canvas entirely painted over in black).
Amy’s and Palo’s dueling stories, or cuentos, form a strong narrative current, pulling other stories, equally suggestive of duende, into the fray: a young man (David Wesley Skillman) whose boyhood grief over his father’s suicide resurfaces in the affair he has with the woman (Vivis) who drove the older man to despair; a police officer (Danny Wolohan) driven to desperation and self-doubt when his wife (Danielle Thys) leaves him for another woman; and finally, the story of Amy’s own involvement with a middle-aged man (Michael Bellino) and his Alzheimer’s-stricken wife (Joan Mankin), which begins to unravel the secret of her own despair. As she replays these scenes, interacting with them in a spot where time and space dissolve, Amy finds herself compelled to rewrite them. “This is not how the cuento ends,” Palo complains. “You’ve changed it. You’ve changed everything.”
Gibraltar’s mediation on love — its ruthless, destructive ferocity and its redemptive promise — shrewdly mimics the forces at work on its eponym, washing over its audience with the turbulent yet creative force of the surf as it constantly reshapes the shore.
GOMEZ FOR THE HOLIDAYS
Alone and horny on Christmas. Not even Mrs. Claus deserves that. But when Cochina (a nickname meaning “pig” bestowed on the title character as a free-spirited child by her deeply repressed and highly authoritarian maiden auntie) responds to this crisis with a militant government-funded abstinence program, she’s asking for some karmic retribution. Thus Marga Gomez’s solo show The 12 Days of Cochina — a revised and politically up-to-date version of her popular 2001 play, sharply staged by Theater Rhinoceros artistic director John Fisher — follows a jilted, sex-starved lesbian through a not exactly Dickensian but still Ebenezer Scrooge–<\d>like reawakening. Fans of the charismatic playwright-performer don’t need telling, but Gomez’s work is consistently funny and smart, and her high-energy performance is as deft as they come.
GIBRALTAR
Through Dec. 17
Thurs.–<\d>Sun., 8 p.m.
Thick House
1695 18th St., SF
$15–<\d>$25
(415) 401-8081
www.thickhouse.org
THE 12 DAYS OF COCHINA
Through Dec. 17
Wed.–<\d>Sat., 8 p.m.; Sun., 3 p.m. and 7 p.m.
Theatre Rhinoceros, Studio Theater
2926 16th St., SF
$15
(415) 861-5079
www.therhino.org
Junk bonds
Sweet — doesn’t the sight of Gwen Stefani shaking her logo in your face on that singing-nun mess of a video for “Wind It Up” — off her new album, The Sweet Escape (Interscope) — make you want to look for the exits? Booze, barbiturates, love, angels — all the traditional escape hatches look good, because as much as I sneakingly enjoyed the creative mosh-slop of Stefani’s ur-kitsch solo debut, her new one looks and sounds like a Scandi-stinker so far. Maybe Sound of Music lederhosen camp just can’t hold a candle to organic movements like African American step culture. Maybe the reality of childbirth spoiled the wish-fulfillment magik of her Love. Angel. Music. Baby. equation. In any case, all the gloss (we do like our pop princesses — B, G, and Fff-urgh-ie — predictably blond and brassy in ’06 ) makes you want to repair to the proudly ramshackle, raw-cuz sonic junkyard that Tom Waits built, especially when you listen to his recent Orphans: Brawlers, Bawlers, and Bastards (Anti-). The arrival of this three-disc set of never-released oldies, comp odds, loose ends, and unifying newbies might even spark a few murky thoughts on Waits and a few of his musical offspring: Sparklehorse’s Mark Linkous, who put out his first album in more than five years this fall, Dreamt for Lightyears in the Belly of a Mountain (Astralwerks), and Calexico, who truck through town this week. “Alternative” and “experimental” seem like weak adjectival gruel for their obsessively archival, at times combustible aural tinderboxes. Is it fair to call them the pop foundlings of found sound? Or better, the deadbeat dads of pomo rock’s darkling plain?
These junk-shop mixologists have a few things in common: critical descriptors like “dusty,” “distressed,” maybe even “stone-washed.” The music often emanates from a solitary, male figure (one exception: Calexico’s Sanford and Son bedrock duo of Joey Burns and John Convertino) surrounded by a shifting gang of ace musicians. Horns, the Delta blues, evocative music from travels abroad, and samples from around the street corner follow the contours of what might loosely, goosily be called rock. Accordions hound their sound like junkyard dogs. Hissy, dirt-caked, lo-fi production values hit the spot. And they’re not above reaching for an erhu.
Next to Stefani’s frantic semiotic scramble of crucifixes, Singer sewing machines, and yodels, these savage songsmith salvagers seem positively, perhaps geriatrically, old-school. Flaws glare like the humanism shining through a handmade rug. Their music’s creaky mechanism — even when driven by a beatboxed gasp, as on Waits’s “Lucinda” — is more deeply nostalgic, in love with a tattered industrial, rather than information, age, less preservation-minded than resigned to soldiering forth in a jalopy burdened by the ever-weighted cargo of music history — the male counterparts of Mother Courage in the recent crack Berkeley Rep production of that Bertolt Brecht bleakathon.
It’s a nonformulaic formula of sorts that Waits seems to have dreamed up with Swordfishtrombone (Island), way back in ’83 — and it’s been refined to the degree that even the castoffs of the cantankerous, bluesy Brawlers, the sweeter, soporific Bawlers, and the story-laden, weirded-out Bastards are all of one compulsively listenable piece. Covering Leadbelly and the Ramones twice, utilizing the simpatico musicianship of locals such as Ralph Carney, Carla Kihlstedt, Gino Robair, and the late Matthew Sperry along with tens of others, Waits shows that even his off-the-cuff leavings — à la his reading of Charles Bukowski’s “Nirvana” and the sorrowful instrumental fugue “Redrum” — are better than most belabored new studio releases. Hell, does it make a difference that these 54 songs have been culled from far-flung corners in film, theater, and tribute comps, what with the mishmash of producers on most mainstream pop albums? It all glitters, magpie.
So what about Waits’s other spawn? Linkous shows up on Orphans (“Dog Door”) just as Waits materializes on Linkous’s album (“Morning Hollow”), while Sparklehorse takes the noise down a notch and foregrounds melancholy melodies with production help from Danger Mouse. Calexico also got hit with the pop stick — witness this year’s Garden Ruin (Quarterstick). Borders — between north and south, white and brown, ranchero and rock — are still a major leitmotif for the band, Calexico cofounder and guitarist Joey Burns told me, citing Cormac McCarthy’s Border Trilogy and the 1993 documentary Latcho Drom, which makes graceful connections between gypsy musicians across centuries and countries. Yet the streamlined Garden Ruin seems to represent a race from the wrecking yard of music’s past, the inevitable legacy of collaborating with artists ranging from Neko Case and Los Super Seven to Gotan Project and Goldfrapp.
“What stands out the most for most people is there are no instrumentals, so that kind of soundtrack quality is not there, and the focus is on songs,” the talkative Burns told me from Tucson. “But within songs there are a lot of orchestrated passages, and there’s just as much variety there as there’s always been.”
The collaborations — and soundtracks — continue. After our talk, Burns was heading out to listen to Calexico’s mixes of Bob Dylan songs for Todd Haynes’s forthcoming filmic reverie on the singer-songwriter, I’m Not There. Iron and Wine and Roger McGuinn were among the group’s musical partners, with Willie Nelson clocking in as the most memorable. Tracking “Señora” at the red-headed stranger’s golf course–<\d>cum–<\d>studio, Burns said Nelson “barely knew he was supposed to record. Heard about it during a poker game in Dallas, and he stumbled in with friends. It was phenomenal watching his process.”
Perhaps the ragtag process of Waits, Linkous, and Calexico is even getting dusted off, cleaned up, and given a new spin by another generation. One can’t help but hear a little of their aural roamings in the shambling brass-band collectivism of A Hawk and a Hacksaw and Beirut. And apparently, I’m not the only one discerning an umbilical chord: those combos recently toured Europe with Calexico, Burns said. “We all bonded beautifully.”
CALEXICO
With Los Lobos
Fri/8–<\d>Sat/9, 9 p.m.
Fillmore
1805 Geary, SF
$36.50
www.livenation.com
All that heaven and earth allow
(To read Marke B.’s take on Anselm Kiefer, “Crash and Burn,” click here.)
REVIEW Recently, in an Amish schoolhouse shooting, five girls were killed and five wounded by a man who was “angry with God” and haunted by thoughts of molestation.
One girl escaped. In the earliest versions of the story, nine-year-old Emma Fisher simply snuck out. It was later said that she misunderstood the shooter’s instructions in English and thought she was supposed to leave. A more recent variation has Emma hearing one of the schoolteachers’ helpers say to her, “Now would be a good time to run,” as the shooter messed with the window blinds. But the helper says she didn’t speak, and some Amish are suggesting the voice was an angel’s.
If that angel’s voice — poised at the edge of bloodshed, salvation narratives, and sociopathic dreams — had instead taken its ephemeral sound waves and rolled them around in clay, lead, ash, burned wood, India ink, and stars, the result would look much like the show “Anselm Kiefer: Heaven and Earth” now at the San Francisco Museum of Modern Art. Kiefer is not interested in salvation, he says, but he wants you to see angels: angels with their wings weighed down with lead, angels in the form of flaming books, angels spiraling up and down between the heavens and earth. Kiefer isn’t angry with God — he wants to identify with a god whose creations and destructions dwarf mere human emotions. His massive works and their equally massive subject matter reveal Kiefer as a size queen in active defiance of the art world’s ongoing love affair with the bonbon. Nobody’s precious obsessions or daily life is represented here, unless it is the daily life of an all-encompassing godhead in the midst of cyclical death and rebirth. Is that interesting? It is gorgeous. Kiefer passes the acid test. His love of texture and pattern creates enough Rorschach blots of darkness and light to keep even the most ADD of us visually interested — never mind the titles, with their names of gods, stars, and emotional states. Osiris and Isis (1985–<\d>87), for example, contains porcelain shards enmeshed in its vast canvas, referencing a myth of fragmentation and a jokey half-assed attempt to cobble together the various parts of the sundered deity with circuitry and wires. Kiefer’s vocabulary is that of alchemy, hermeticism, and gnosticism, with a particular emphasis on the Jewish mysticism of kabbalah. Although kabbalah has been inseparable from western esotericism for centuries, Kiefer’s investigation takes on an added resonance. A German artist born in 1945, he has throughout his career addressed the wounds left by the 20th century’s most famous sociopaths. With gestures as slight as the introduction of a propeller onto a vast canvas in a work titled The Hierarchy of Angels (1985–<\d>87), Kiefer acknowledges and comments on his nation’s monstrous history. In work addressing the Jewish poet Paul Célan, he acknowledges the degree to which the Nazi dream of molesting the globe efficiently removed not only the mysteries and symbols of a people once integral to German cultural life but the people themselves.
Trafficking in the cosmic raises questions of whether it is necessarily apolitical, ahistorical, or irony free. It isn’t. Novelist Jean Rhys wrote that before she could even read she imagined that God was a book: “Sometimes it was a large book standing upright and half open, and I could see the print inside but it made no sense to me.” Kiefer seems to have shared that fantasy and reproduced it as multiple books: huge circular standing books full of star maps; crumpled, distorted books like crippled angels; charred and flaming books. All are filled with indecipherable but oddly familiar writing of lead, dried plants, clay, or copper wire. Vaporous patterns emerge, like imprints left by the dead, even in the utter blackness of seven burlap books whose hieroglyphics consist of oil, charcoal, and glue in Cauterization of the Rural District of Buchen (1975).
The schoolhouse Fisher escaped from was torn down; there is no hopeless memorial there now, just an empty field. Kiefer’s hellish earth is burned, scarred, frozen, scorched — just like ours. Maybe not so much like ours, his blackened ground is fertile and regenerating and has reached the nigredo stage in an alchemical process leading toward something fabulous. Imagining that the destruction of the planet has led or will lead to a kind of regeneration is a kind of mental escape from the sociopaths currently molesting the globe and maybe even a necessary one. On the other hand, maybe now would be a good time to run. Despite his preoccupation with stars, Kiefer isn’t ready to pack up the spaceship yet. Giving the title Faith, Hope, Love (1976) to a dense, dark, entangled work composed of ash, seeds, and ink may not be laugh-out-loud funny, but Kiefer’s humor is rarely human scale. “Wherever you go, there you are” is the angelic message of his Milky Ways and charred landscapes, which are always also internal states.<\!s>
ANSELM KIEFER: HEAVEN AND EARTH
Through Jan. 21, 2007
Fri.–<\d>Tues., 11 a.m.–<\d>5:45 p.m.; Thurs., 11 a.m.–<\d>8:45 p.m.
San Francisco Museum of Modern Art
151 Third St., SF
$7–<\d>$12.50 (free first Tues.; half price Thurs., 6–<\d>8:45 p.m.)
(415) 357-4000
www.sfmoma.org
The Architect
REVIEW Writer-director Matt Tauber has clearly taken his debut movie’s title to heart. Each streamlined scene has been carefully laid out to maximize character and plot development, seemingly creating the beginnings of a rich, thoughtful film. The strong cast — led by Anthony LaPaglia, Isabella Rossellini, and Viola Davis — provides ample reason to remain hopeful. Tauber, with playwright and coscreenwriter David Greig, gives us a movie full of multifaceted characters, but as the plot progresses, these characters seem increasingly stereotypical and each facet feels calculated. LaPaglia plays Leo, a successful architect unaware of the world crumbling around him: his wife (Rossellini) is bored and depressed; his son (Sebastian Stan) questions his cozy, straitlaced upbringing; and his blossoming teenage daughter (Hayden Panettiere) sure wants some male attention. Elsewhere, a low-income housing complex of Leo’s design deteriorates, and a resident (Davis) works to tear it down. Tauber has the makings of a talented designer, but The Architect needs a less hollow structure.
THE ARCHITECT Opens Fri/8. Lumiere Theatre, 1572 California, SF. See movie clock at www.sfbg.com. www.landmarktheatres.com, www.magpictures.com
Unmoored
CHEAP EATS I should say a few words about Weird Fish. Not that I didn’t thoroughly exhaust the topic in last week’s restaurant review, but because it’s just so fun to say the name of the place. Weird Fish.
Weird Fish is a new nice little Mission-y restaurant at Mission and 18th Street. On the basis of its great name alone, it’s my new favorite restaurant. The food was good too, but if I tell you how small the plates were, my faithful fans will all write to me and say, like they did when I wrote about Café Gratitude, “Come on! Be true to your roots, man.”
I think roots are great, for trees and, you know, Christians and such. But what can I say? In addition to not having a spiritual bone in my body or bark or branches, I don’t eat like I used to. I just don’t. I don’t anything like I used to.
Now, I know not everyone reads these things as meticulously as I right them (yes, that’s a joke), but I would think by now it would be clear that I’ve come entirely unhinged. I don’t have no roots, man. I live and lie down entirely on top of my planet. And I just love Weird Fish. To eat at and to say.
I met a guy at a party who had just eaten dinner at Weird Fish, and our mutual friend, who was introducing us, said, “Dani just wrote a review of Weird Fish.”
And I said, being a brilliant conversationalist, “Mm-hmm, yes, that’s right, I did.” Or something to that effect. Then I suavely spilled a small sip of wine down my chest and asked, to secure the continuation of our acquaintance, “Wha’d-ya-get?”
“Fish and chips.”
I nodded thoughtfully, as if to say, “Ah, fish and chips,” but for some reason I didn’t say anything. I was trying to remember what I’d had at Weird Fish. Blackened trout? Mango salsa?
Oh, it was yummy, whatever it was, but a lot of good that did me now.
After an awkward silence, my new friend handed me a napkin and while I dabbed at my chest, he became involved in a passionate discussion with our introducer about teaching and I think maybe pedagogy (depending what that word means).
I turned to the woman on the other side of me and engaged her on the topic of poop.
Yes, the dates are rolling in! I have to have a calendar now to keep it all straight — which days I’m doing what with whom and eating where with what. Soon I might have to get a watch or a cell phone. Anything is possible, life remains interesting, love flows. And while you’re shuddering at the thought, let me remind you that I use the word date loosely and love even looselier and that in any case my new pattern is to fall for wonderful, fascinating folks who are ultimately unavailable to me, at least in any kind of horizontal fashion. Luckily, I love to kiss people standing up, preferable with my back pressed against a wall.
So, OK, so: what does this tell me about me, my initial relationship to my overwhelmed, unavailable mom, who passed me off to an aunt and uncle while she cranked out her fifth, sixth, seventh kids? Being now a self-aware, psychologically-minded, in-therapy type of person, I have to think about these things. But because I am also still very much a fool, I get to “persist in my folly” — hooray! — and continue to chase after rainbows and windmills in the meantime. I have permission. From Blake and Cervantes!
I’m not giving up just yet on the queer wimmins, cause I just love the bejesus out of them, whether they want to ever git me nekkid or not. My luck, on that front, may well change. To ensure it doesn’t, I think I’ll switch my focus back to straight men. Speaking of windmills. Yes, question?
Yes. Thank you. So why, when presented with the opportunity the other night to put your weird fishy body into a hot tub with a sweet straight stoned dude who people said was flirting with you … why did you wash dishes instead and then drive the dark, winding drive home? Hmm?
That’s a very good question, and in fact, I’m still bashing my head into the wall over it. If a fool persists in her folly, as the saying says, she shall become wise. Like all good philosophies, this raises more questions than it answers. Mainly: when?<\!s>
WEIRD FISH
Sun.–<\d>Thurs., 9 a.m.–<\d>10 p.m.; Fri.–<\d>Sat., 9 a.m.–<\d>midnight
2193 Mission, SF
(415) 863-4744
Takeout available
No alcohol
D/MC/V
Quiet
Wheelchair accessible
The salt point
As a partisan of salt, I could hardly help but love a restaurant called Salt House, and I did — and do — but … how funny that there apparently are no saltshakers at the bar. I was casting about for one, wanting to salt something up a little while waiting for someone to arrive, but I had to settle instead for pouring myself more water from the glass jugs the staff set out for your very own. Water is nice, of course, but sometimes only salt will do.
Salt House is the latest project from the brothers Rosenthal, Mitchell and Steven, who for the last decade or so have run the kitchen show (and I mean this quite literally) at Wolfgang Puck’s Postrio, where the exhibition kitchen is of the capital-E sort. The first stage of the Rosenthals’ exit strategy involved opening their own restaurant, Town Hall, in an old SoMa building a few years ago. Salt House is their Chapter Two and coincides, more or less, with the end of their reign at Postrio.
Like Town Hall (which is just around the corner), Salt House has been installed on the ground floor of a venerable structure, a century-old building that used to be a printing plant. The restaurant’s street-front space is boxy, fairly narrow, and deep — like a garage bay for an 18-wheeler, if there are such bays. In keeping with SoMa’s postindustrial fashionability, there are exposed wood beams (including a kind of indoor arbor, sans greenery, near the host’s station) and exposed brick, along with a line of light fixtures that look like barrels beginning to explode above the dining room and neoquaint incandescent bulbs dangling over the zinc bar.
Mostly, though, I noticed the windows, huge multiglazed modern marvels that admit oceans of light while giving the entire redo a distinctly sleek, Mies van der Rohe cast. If you want to know if an old building has been rehabbed, look at the windows; if you see a certain waviness, like heat rising from pavement on a hot day, you are probably looking at original window glass and an unrehabbed building. If you see gleaming perfection, a sheen like the undisturbed surface of a pond, you are looking at renovation money, and perhaps at Salt House.
The food might be called California pub food, but it is pub food of a high order. As at Postrio, the Rosenthals have orchestrated a brass band of big flavors. Even the little bar snacks are vivid: the house-made “pot o’ pickles” ($5) — an array of vegetables including cauliflower, baby carrots, pearl onions, and wax beans — jumps with a vinegar charge in its fist-sized crock; and the mixed nuts ($5) — almonds, pistachios, a cast of thousands — are roasted with one of life’s great improbables, truffle honey, along with sea salt. (This was the dish I was trying to salt up at the bar, incidentally. The sea salt had settled at the bottom of the crock, a fact we discovered only when the crock was nearly empty.)
Nearly every dish has some flavor kazoo. In the poutine ($7 at dinner, $10 at lunch), basically a plate of potato chips dribbled with short-rib gravy, it’s the layer of gorgonzola, which not only gives a textural effect like that of nachos but adds a tremendous charge of pungency up the nose. In the shellfish stew ($19), mainly mussels and shrimp, it’s a broth infused with saffron aioli. In the pizzalike preserved tomato tart ($11), it’s the intensity of the preserved tomatoes — along with the squares of luxuriously buttery pastry crust they sit on. In the chili-roasted oysters ($13), it’s the fiery chili sauce, which, it must be said, makes the dish a little top-heavy.
The watchword for fish is crispy. This cannot be a bad thing. A mackerel filet ($9) wears a waistcoat of golden panko (Japanese-style bread crumbs), while pan-roasted skate wing ($24) gets a nice searing on both sides before being plated with roasted, quartered brussels sprouts, chunks of salsify, and dabs of a tarragon salsa. Skate wing, with its corrugated texture, is one of the most interesting fish to eat — getting the last of the flesh away from the bone is like cleaning stray hairs from a comb — and yet we should not be eating it. Too late I learned from Seafood Watch that skate are seriously endangered and should be avoided. Like sharks, they reproduce slowly, and they are taken through the highly destructive method of trawling. (Mackerel are in the “best” category, but that was just a lucky stab for us.)
I would be glad to learn that skate had been replaced on the menu by petrale sole or some other type of local, floundery fish that might not be as fascinatingly ribbed but isn’t teetering on the brink, either. The Rosenthals are eminences here; if they set a good and conspicuous example, others will follow. It would be a great help to ordinary diners if restaurants simply refused to buy and serve any seafood whose populations aren’t in sustainable shape (per Seafood Watch or some similar authority) and indicated as much on their menus — maybe with a smiling or dancing fish icon?
Sundries: desserts ($7) are mostly in the American grain, including a lewdly moist warm chocolate Bundt cake and some nostalgia-laced butter pecan ice cream, presented in two scoops. The house-blend wines, including a fruity-floral white, are available on tap (from steel barrels) and are presented in several sizes of nifty apothecary bottles, near relations of the water jugs and perhaps of the saltshakers, if they ever come to pass.<\!s>
SALT HOUSE
Mon.–<\d>Fri., 11:30–<\d>1 a.m.; Sat., 5 p.m.–<\d>1:30 a.m.; Sun., 5 p.m.–<\d>midnight
545 Mission, SF
(415) 543-8900
Full bar
AE/MC/V
Noisy
Wheelchair accessible
Songs of devotion
Accessible to anyone who might be interested in a deeper understanding of his or her own senses, Nathaniel Dorsky’s book, Devotional Cinema (Tuumba Press), explores the physical properties we share with the film medium. Within the book, Dorsky draws upon films by Roberto Rossellini, Carl Theodor Dreyer, Yasujuro Ozu, and others to illustrate his insights on filmic language. But if another person were capable of writing Devotional Cinema, he or she could just as effectively draw upon Dorsky’s films, which connect intrinsic facets of cinema to intrinsic truths about human experience.
Capable of discovering at least half a dozen fields of vision (or planes of existence, or worlds) within a single shot, Dorsky’s films can fundamentally alter — and heighten — one’s own perception, and his editing skill, tapped by many local directors, is as fundamental to his work as his image making. Sam Mendes took American Beauty’s floating bag sequence from Dorsky’s Variations, which he read about during filming. (Dorsky has noted that the image isn’t a new one — and it isn’t necessarily the richest among his luminous, phantasmagoric visions.)
In conversation with filmmaker Michelle Silva of Canyon Cinema, Dorsky paraphrases the observation of his friend, anarchist writer Peter Lamborn Wilson (a.k.a. Hakim Bey), that we’re trapped in a “light age” of meaningless information. “In the dark ages, there were little areas of light, where there might be alchemical investigations,” Dorsky says. “Now we have to find little areas of darkness.” This week brings an opportunity to explore those little areas, at a San Francisco Cinematheque program that will present Dorsky’s three most recent films, Song and Solitude, Threnody, and The Visitation, in alphabetical and reverse chronological order. (Intro by Johnny Ray Huston)
SFBG I remember running into you last year when you might have been shooting Threnody. You were in Chinatown perched right over a parking meter, and you had your camera hidden underneath you. You were so still I almost didn’t notice you — you were blending in with the background. I started thinking about the rules of quantum physics and that it’s impossible to not affect the object that you’re observing. Yet you seem to manage to do just that in your films — you don’t disturb the environment.
NATHANIEL DORSKY If you’ve ever gone into the woods and sat very still for half an hour, all the animals will come back and gather around you. You have to be part of the inanimate world, so the animate world can feel relaxed and come around. Also, you can find these little psychic backwaters on the street — there are places where the energy doesn’t quite flow, and you can kind of tuck yourself [within those places]. It has to do with the angle of the light and so forth.
SFBG My interpretation of your film Song and Solitude is that it is like a silent odyssey through shadow words and the introverted psyche. There are several masks and layers of reality that you’ve collapsed into one. There’s a depth of field in many shots, and the different layers aren’t aware of themselves, while you’re aware of all of them. Could you talk about your visual language in the new film and your state of mind while making it?
ND There are a number of things involved. One is that I’d made a film right before [Song and Solitude], called Threnody, which was an offering to Stan Brakhage after his death. In that film I was trying to shoot images while I had a sense of Stan looking over his shoulder one last time while leaving the world, having one last glance at the fleeting phenomena of life.
Song and Solitude I made along with a friend, Susan Vigil, who was in the last year of her life with ovarian cancer. [She’s] a person who was extremely important to the San Francisco avant-garde film community and helped support the San Francisco Cinematheque throughout the ’70s and ’80s. She was a wonderful, wonderful friend. She came and looked at camera rolls every Friday when I’d get them back from the camera store. There was that atmosphere going on of being with someone so close who was also involved in a terminal illness. But also you might say that with Threnody the camera was placed somewhere back around the ears looking out of your head. In Song and Solitude I actually placed the camera in a sense behind my own head — for a feeling like looking through your own head out [at the world].
Most of my films are more about seeing or about using seeing as a way to express being. [Song and Solitude] is more about being, where seeing is an aspect of the being. The world is seen through the whole fabric of your own psyche as a foreground. Through that foreground exists the visual world, almost as a background.
I also wanted to see if I could photograph things which you’d traditionally call nature and things you’d call human nature with the same primordial sense, to see the slight rub of what human nature is and what nature is, where they are similar and where they feel different. How is muscular movement different from wind? I wanted the film to rest in a very primordial place in its visual essence.
SFBG One time I was questioning you about why we torment ourselves making films, and you said, “It’s to attract a mate.” Could you elaborate on that?
ND I myself met my friend Jerome, who I still live with, on the night that I premiered my first film, when I was 20. So in a way it happened right away for me. But I’ve worked for many people in the film industry as an editor, especially in the area of documentary, and at least three or four times I’ve worked for someone who was looking for a mate.
Once, a friend, Richard Lerner, was producing and directing a film on Jack Kerouac called What Happened to Kerouac?, which I edited. It came time to write out an enormous check to make a 35mm print from the video material. He was really hesitant, and he was single at the time. I said, “Don’t worry. There is no way you won’t get a permanent relationship from this film.” He got irritated, because it was something like the third time I’d said that to him. But a woman approached him after the film premiered at the San Francisco International Film Festival, and they’ve been married ever since.
That has happened with at least four other filmmakers. I worked with Kelly Duane, who made a wonderful film [Monumental] about David Brower, the guy who radicalized the Sierra Club. She was single. She met someone when she showed the film in LA at an environmental film festival, and now she’s married and has a child.
SFBG Is that why you’ve earned the reputation of being the editing doctor of San Francisco?
ND Yes. I work for a lot of single women.
But to answer your question in a more simple way: birds sing, and every February or March a mockingbird always appears in my backyard and sings all night. If it’s a bad singer, there can be trouble. One bird three years ago was not a good singer. It sang from February until the first week of July before another bird sang along with it — then it disappeared. But sometimes they sing for four nights, and it’s over. They’ve gotten someone, because they’re really good singers.
SFBG I’d never thought of filmmaking as a mating call, but you’re right.
ND Many people don’t understand that, and they try to win their mate by making horrible and aggressive conceptually based films. No one is drawn to them, and then they get even more conceptual and aggressive. It can be a downward spiral.
It’s difficult, because you’d think anyone who’d want to make a so-called handmade film would do so to have complete control of the situation. It’s also a chance to make a film that isn’t based on socialized needs. When you make your own individual film, it’s generally an opportunity to be completely who you are and share the intimacy with someone else. In my experience, the more purely individual a film is, the more universal it is. The less successful attempts at filmmaking occur when people are trying to make something which functions within the context of current belief systems. It’s like trying to get a good grade in society, even if it’s alternative society, rather than actually taking the risk of letting the audience feel your heart and your clarity and [to] touch them with that.
SFBG We might be in a dark age in architecture, design, fashion, and everything that involves representing ourselves visually. Aesthetics are ignored, intellect isn’t challenged, nor is spirituality. In contrast, all of those things are at the foundation of your work. Does it bother you that the audience is small?
ND I’m not sure. I’m 63 now, and in the last few years while showing my films in Europe and Canada and the US, I’ve noticed that people in their 20s are really loving them. There’s some kind of interesting face-off between my own generation and people who are in their 20s now.
Within the avant-garde there’s the virgin syndrome, which is that every showcase will only show a film that’s never been screened before. Everyone wants a virgin for their temple. A good avant-garde film is made to be seen 10, 15, 20 times. But because of the virgin syndrome, because they only sacrifice virgins at the temple altar at this point, audiences rarely get to experience a film a number of times.
SFBG Lastly, I want to ask about the roles of silence and sound in your films. Do you prefer silent films?
ND The first time I saw a silent Brakhage film, it seemed quite odd. If you’re used to having sugar with your coffee and someone gives you coffee without sugar, you might find it strange. But you can also get used to it, so that when someone puts sugar in your coffee it seems sort of obnoxious.
It’s an acquired taste, silence, definitely an acquired taste. But once acquired, it has many deep rewards. For one thing, a sound film is more like sharing a socialized event, where to me a silent film is more like sharing the purity of your aloneness with the purity of someone else’s aloneness. The audience has to work a little harder, of course, to participate — everything isn’t just spoon-fed to them. But if they do work a little bit harder, they’re more than rewarded for that effort.<\!s>
SILENT SONGS: THREE FILMS BY NATHANIEL DORSKY
Sun/10, 7:30 p.m. (sold out) and 9:30 p.m.
Yerba Buena Center for the Arts
701 Mission, SF
$6–<\d>$10
(415) 978-2787
www.sfcinematheque.org
For a longer version of this interview, go to www.sfbg.com/blogs/pixel_vision.
Editor’s Notes
The death of David Ayoob didn’t get a lot of headlines. He wasn’t famous in that way; he never ran for office or made speeches. But everyone on Cortland Avenue knew him, and when he died suddenly of a heart attack at 53, Bernal Heights — and the city — lost a great citizen.
Ayoob ran 4-Star Video, and he was the essence of a good small businessperson. He was active in the community and friendly to everyone and treated his employees well. (When he opened a second shop on Potrero Hill, he made two former employees partners in the business and let them run the new outlet.) His shop felt like the neighborhood — full of a diverse collection of people, with plenty of kids and dogs running around. Everyone was welcome.
As one post on a Bernal listserv put it, “With David it was never just about running a business. Bernal was his family. He was a larger-than-life character. The fabric of the neighborhood is weaker, a bit less comforting, and a lot less colorful without him.” Sup. Tom Ammiano added, “He had such a wonderful heart, so generous.” We’ll all miss him.
The memorial for Ayoob is Dec. 9, 2 p.m., at St. Kevin’s Catholic Church, 704 Cortland, SF.
I’m liking Frank Rich’s most recent analysis in the New York Times, which has President George W. Bush in effect talking to the walls, like Richard Nixon in the final days, and utterly losing touch with reality. It’s not clear that he even remembers why we got into this war in the first place: if he wanted control of Iraqi oil, he’s pretty clearly bungled any hope of that, and nothing in the current course is going to make the situation any better. If it was all about his ego, then that’s a lost cause.
My only problem with the Rich line (other than the fact that you can’t get it on the Times Web site without registering and subscribing, which is pretty damn stupid for the nation’s paper of record) is that it assumes Bush actually had a grip on reality in the first place.
I remember way back in the early days of the presidency of Ronald Reagan reading a piece by Carl Bernstein in the Washington Monthly that said something considered heresy in the nation’s capital: Reagan, he wrote, really wasn’t terribly intelligent and didn’t know what was going on half the time. Agree with his policies or disagree, it was a bit alarming to have someone in the White House who was really a pretty dim bulb (and thus was easily manipulated by the people around him — even before the Alzheimer’s hit).
Even today there’s this sense of respect and decorum in Washington that prevents people from just coming out and saying it: the president really doesn’t know what he’s doing.
Consider the other fascinating Bush item from the past week, his interaction with senator-elect Jim Webb, whose son is a Marine in Iraq. Bush (like an idiot) asked Webb, an outspoken war critic, “How’s your boy?” Webb responded appropriately: “I’d like to get them out of Iraq.” Bush’s lashback: “That’s not what I asked.”
Well, yes, it was what he asked. And the father of a kid who is risking his life for Bush’s insanity answered the same way a lot of fathers would: honestly. Somehow, in Washington, this is a big deal.
Hey: 2,900 US soldiers are dead. Time to get over the protocol.
Wholly noise
Trying to fathom the arcane and somewhat frustrating demeanor that shrouds a Bay Area noisenik is like cross-examining Walt Disney on LSD. I’ve been at the mercy of Rubber O Cement’s Bonnie Banks for the past week, meticulously querying the mumbo jumbo he (or she, as Banks likes to be referred to) sends in response to interview questions while nagging him for answers to my more dogged inquiries. One e-mail reply might yield a pensive thought, only to be followed by a farrago of chaotic imagery — swarms of schizo babble about vocal chord mulch, mosquito broccoli, and rabid zombie snowmen. When asked what people can expect from the impending Brutal Sound Effects Festival, Banks answers that performers “will present the sound of a stuffed horse and cat calliope skidded via hydroplane base into a volcano of semi-liquid thorium pellets.” In another e-mail he writes that he hopes people will come to the event “adorning their larger-than-life scramble nightmare Bosch slip-and-slide mask.”
Though put off at first by Banks’s excursive, seemingly psychotomimetic rants, I soon realize this is his world. What I mistook as some puerile screwball who’s simply fucking with me — I’m still convinced he’s doing that to a degree — is actually the eccentric, visionary heart of the Bay Area noise scene.
Since the early 1980s, Banks has exhaustively chiseled San Francisco into the West Coast hub for underground noise by playing in prominent acts such as Caroliner, bringing up young bands (his musical influence has extended from Wolf Eyes to Deerhoof), and encouraging others to engage in the scene. In 1995 he established the Brutal Sound Effects Festival — a musical community of misfits who, according to Hans Grusel of Hans Grusel’s Krankenkabinet, “didn’t fit in anywhere else.” Shortly afterward, Banks founded an online BSFX message board where people could discuss noise acts, events, and other bizarre topics.
Now in its 40th incarnation — Banks is said to organize four to five events a year — the forthcoming BSFX Festival includes some of the Bay Area’s renowned noise addicts: Xome provides power noise onslaughts, and Nautical Almanac’s James “Twig” Harper indulges in electronic cannibalism. Other notable acts include Anti Ear and Bran (…) pos of Beandip Troubadours, Skozey Fetisch, and Joseph Hammer of the Los Angeles Free Music Society in Psicologicos Trama, offering “a fun way to sample experimental sound,” says Joel Shepard, film curator at Yerba Buena Center for the Arts, which is hosting the event for the first time. Each act will integrate improvised film and video clips into a short performance, creating what Shepard describes as “a real multimedia sensory overload event.” If something seems boring, he adds, there will be another performance in minutes.
“I’ve been really impressed with what he’s been doing,” Shepard says, referring to the industrious Banks. “I find what he’s doing to be a very important part of the art and cultural scene in San Francisco, and I want to show my support.”
The freaks and geeks of BSFX push performance art to its limits, playing under unpronounceable aliases and often incorporating elaborate costumes and scenery unlike anything you see at conventional concerts. Musicians execute a medley of odd sounds using home-wired equipment and analog gadgets at warehouses like the Clit Stop and Pubis Noir. Blistering resonance is one element at these shows. Relying heavily on feedback and distortion, artists such as Xome, Randy Yau, and Tralphaz create a getting-sucked-through-a-vacuum effect by hooking up 20 guitar pedals and feeding them into each other. But don’t be fooled — not all noise acts use volume as an instrument. The Spider Compass Good Crime Band, a duo that will play the upcoming BSFX show, is described by its members as “giant vultures who play instrumental music based around a keyboard.” Their YouTube video is just as outlandish: two costumed performers (one dressed as a giraffelike character, the other as a flamingo) dance and fiddle with samplers; the chamber-driven organs and rubber-sounding belches resemble industrial surf pop.
It’s easy to get sucked into the abstract, visual noise. Costumes range from the cuckoo-clock masks of Hans Grusel to the moss-covered floor crouching of Ecomorti. “Some performers will move an entire set of scenery into a show, which takes two to three hours to set up, and then play a 15-minute set,” Grusel says over the phone. “That shows the dedication people have to this sort of thing.”<\!s>
BRUTAL SOUND EFFECTS FESTIVAL
Fri/8, 7:30 p.m.
Yerba Buena Center for the Arts
701 Mission, SF
$6–<\d>$8
(415) 978-2787
www.ybca.org
The smell is over
By Tim Redmond
Well, SF Gate reports tonight that the cookie ads on bus shelters have been scrapped. Amazing it even got this far.
