Style

Iowa: a report from the grassroots

0

By Bruce B. Brugmann

As an Iowan, I am fascinated by all the reports by all the hotshot out of state reporters who paratroop into the state and start filing stories from Rock Rapids, Clear Lake, Storm Lake, and Cedar Rapids and little places all over the state.

Iowans like to see their candidates up close and there is a feeling back there that they may end up voting for the candidate they would most like to invite into their living room for a chat or meet down at the local cafe for breakfast.

Here’s a dispatch sent to me from the grassroots by Carolyn Schmidt, retired associate director of public relations at Coe College in Cedar Rapids. Carolyn is a political activist, Iowa style, calling Congress members, writing letters to the editor, emailing Congress and doing so, in the past two weeks, in the teeth of the onslaught of ice and snow.

Carolyn writes from Cedar Rapids,

“As the dems are so close. I’m betting on Obama, but Hillary and Edwards campaigns have been ringing our phone several times a week with “surveys” asking if it’s “concerning to us that Obama voted ‘present’ on a choice issue in Congress” or that he’s a community organizer while Edwards is a trial lawyer who went to bat for poor people. THEY must think Obama is going to win too. Hillary has been running some very appealing ads, with her mother and daughter in tow. She may surprise us. Edwards is on the preferred side of the domestic issues, particularly the bad deal existing for poor and low-income families, but his personality is too laid back.

“On the Republican side, I’d just say that Romney–who has spent a ton of money saturating the airwaves with ads since summer–is fading. People see him as artificial and opportunistic. Des Moines high school students on Friday characterized him as “completely fabricated.” I think they are right on! Huckabee took some hits this week for actions he’s taken as governor in Arkansas, but he still appeals to conservatives more than any other Republican, I think. McCain’s support is rising, however. Most Iowans aren’t fooled by Guiliani, but he IS charming.

“Many Iowans attend rallies for a number of candidates to see how the personalities compare. Obama comes across as fresh, articulate, straightforward, and impassioned. He’s been able to deflect criticisms, and he has a superb organization. His staff is training first-time caucus-goers on procedures and strategies. (The Democratic caucus procedures are more complicated than the Republicans who just conduct a straw poll, as you probably know.) Biden and Hillary and Richardson are impressive because of the accomplishments they can point to, saying these aren’t campaign promises, they are proof I can deliver.

“A lot can happen in the next three weeks, of course.”

I hope to get more reports from Carolyn and others. Stay tuned. B3

Year in Music: iFunk?

0

This year we were consumed by our obsession with the latest piece of technology and the immediate gratification that comes with it. My personal part in this collective cultural obsession hit me one day as I sat on the bus, my multitasking mind elsewhere, my phone in one hand receiving text messages, my MP3 player in the other on random shuffle, playing a song by Project Pat boasting about having "the number one ringtone." And on my lap sat not a laptop, but a relic from another time: a book, an ordinary page-bound, nonfiction book. But as I read, instead of flipping to get a referenced page, I found myself absent-mindedly, or rather, tech-mindedly, tapping my finger on the bold-faced word, unconsciously thinking that I was clicking on a computer screen — confirming my obsession with and dependence on digital technology.

Our obsession drives us to grab the fastest and the newest and consumes us with possessing the latest iProducts, the most recent Guitar Hero, the most up-to-date ringtones, and the hottest celebrity gossip, which we seemingly can never get enough of. Hence in 2007, YouTube videoblogger star Chris Crocker’s "Leave Britney alone" rant, which attracted more than five million hits, was essentially far more popular than its subject’s new album, Blackout (Jive).

But our obsessions aren’t necessarily a bad thing, since they are driven by passion as much as by anything else, and consequently we are experiencing a renaissance of enthusiastic people producing amazingly intricate and imaginative music, blogs, visual art, literature, photography, video — all made and distributed DIY-style. In fact, there is so much being created right now that we can’t even follow, let alone fathom, it all. After all, how can we when it’s possible to create hit blogs, video diaries, and hip-hoperas while multitasking on the bus?

TOP 10


1. The Bay Area’s noncommercial radio stations

2. DJ Yoda, The Amazing Adventures of DJ Yoda (Antidote)

3. Various artists, Soul Jazz Records Singles, 2006–2007 (Soul Jazz)

4. Emcee T’s Yay Area version of The Sopranos intro, on YouTube

5. Zeph and Azeem, Rise Up (OM)

6. Born in the Bronx: A Visual Record of the Early Days of Hip-Hop (Rizzoli), by Johan Kugelberg, Afrika Bambaataa, Buddy Esquire, Jeff Chang, and Joe Conzo

7. Copperpot, WYLA? (EV Productions)

8. Ultimate Force, I’m Not Playin’ (Traffic)

9. MF Grimm, The Hunt for the Gingerbread Man (Class A)

10. edIT, Certified Air Raid Material (Alpha Pup)

Year in Music: Move me

0

It was during my early teens that the obsession struck. I oversaw the building of a stage, booked a bunch of bad garage bands, and charged $10 for admission to boondocks Maryland’s first semiannual Punk Fest. During my high school years I snuck into the seediest venues that Baltimore and Washington DC had to offer — still the scariest I’ve seen to date. By my arrival in San Francisco, I was a full-fledged music scene devotee, immediately taking a job at the Great American Music Hall to pay the rent during college. My SoMa warehouse hosted concerts a few times a month — my bed was a futon unrolled over a segment of 58 Tehama’s stage. For years my drinks were comped, my seats were great, and I was always on the guest list.

It wasn’t until the final months of 2006 that I realized I’ve spent most of my postpubescent life inside concert venues. It was getting increasingly difficult to ignore my ringing ears, to justify the copious waves of shift-off cocktails, and to keep my love for music intact. Flag down any soundperson, bartender, or bouncer working anywhere in the city tonight, and they’ll tell you the music industry breeds bitterness.

How to live in San Francisco without working in the music business? At least my job kept me firmly in the so-called creative class — a label that made me feel much better about my financial situation. Moving to a less expensive city could mean a better standard of living and a way to cut the industry apron strings for good. My husband, having spent more than a decade working in music stores, was game. His only stipulation was that he would not, under any condition, be taking a record store job ever again.

We caught a train to Chicago, where my husband promptly took a job at a record store. I managed to stay away from music for a month, instead focusing my energies on writing food reviews for local publications. But by the time the festival season rolled around, the prospect of seeing Patti Smith perform against the impressive skyline of my new hometown ruined everything. The University of Chicago recently published a study comparing the music scenes of American’s top metropolises. Chicago kicked some serious ass. The study described Chi-town as "a music city in hiding."

I doubt I’ll ever shake music totally, but living in Chicago has taught me it doesn’t have to be a way of life anymore. When it comes to the scene these days, I’m nothing more than a music fan in hiding.

TOP 10


1. During my last night at the Great American Music Hall, I danced like crazy to the Preservation Hall Jazz Band.

2. Tyva Kyzy. Anyone who missed this all-female group of Tuvan throat singers is probably still kicking themselves.

3. Barbarasteele’s 7-inch release party at Cafe du Nord blew some minds. Rest in peace, Mike J.

4. Patti Smith performing at Lollapalooza in the pouring rain.

5. No, I wasn’t among the Milanese elite who got to see Ennio Morricone at La Scala opera house, but just knowing about this show makes me a better person.

6. Rediscovering Townes Van Zandt’s Live at the Old Quarter, Houston, Texas (Snapper UK).

7. The Scotland Yard Gospel Choir, The Scotland Yard Gospel Choir (Bloodshot).

8. Thanks, Sopranos, for making Journey relevant again.

9. Happy centennial to the glorious buildings that house the Great American Music Hall and the Cafe du Nord.

10. De la Soul closing out the Pitchfork Music Festival in style — with a little help from Prince Paul.

Year in Music: Grievous angel

0

› a&eletters@sfbg.com

An archival recording can assume many forms, contexts, meanings. This year saw the reissue of an album unappreciated in its time (Jim Ford’s The Sounds of Our Time [Bear Family]), the compilation of genre-bound obscurities (Numero Group’s Eccentric Soul series), the live performance (Gram Parsons Archive, Vol. 1 [Amoeba]), the stripped acoustic set (Neil Young’s Live at Massey Hall 1971 [Reprise]), the radio sessions (Judee Sill’s Live in London: The BBC Recordings 1972–1973 [Water]), the reconstructed unfinished work (John Phillips’s Jack of Diamonds [Varese Sarabande]), the singles collection (Vashti Bunyan’s Some Things Just Stick in Your Mind: Singles and Demos 1964–1967 [FatCat/Dicristina]), and, perhaps closest to the bone, the fabled home recording.

Of course, some vocalists bend these categories by the nature of their performance style. This is certainly the case with Cotton Eyed Joe (Delmore), a double CD documenting a lovely set by Karen Dalton at a Colorado coffeehouse in 1962. It might as well be a home recording for the intimacy of the performance space — owner Joe Loop explains in the liner notes that his club held only 50 — and the entrancing, private nature of Dalton’s folk arrangements. Such a record is notable for a performer as studio-phobic as Dalton: she only recorded two albums in her lifetime (1969’s It’s So Hard to Tell Who’s Going to Love You the Best [Koch] and 1971’s In My Own Time [Light in the Attic]), and rumor has it the takes for her debut were captured on the sly, when she didn’t know the tape was rolling.

All of this would be mere intrigue if it weren’t for the fact that Dalton was one of the major talents of the first folk revival, though mostly unappreciated in her own time. She died in 1993 after a bitter struggle with drugs and alcohol. Cotton Eyed Joe is educational in contextualizing this mystery voice in terms of the coffeehouse circuit, but any such historiography quickly fades when faced with her strange, time-stopping interpretations of traditionals and tunes by the likes of Ray Charles, Woody Guthrie, and Fred Neil. The voice shakes with unresolve, surrounding you and then disappearing before you can pin it down, buckling with some unknowable duress, slipping into untold dimensions.

It only takes a few bars of Dalton’s possession of Charles’s "It’s Alright" to cast the spell. Her minimal 12-string guitar work drags on the tune, her voice searching the depths of the verse for a smoldering, emotional core. Elsewhere Dalton runs through the songs she would record for her studio albums, and it’s bracing to think how long she lived with these ballads. Forty-five years later, we hear a unique act of disembodiment, a self-eulogizing worthy of critic Greil Marcus’s illustrious "Invisible Republic."

Each glimpse deepens the appeal of so many other performers from that era, and it’s tempting to see these collections as filling a specific niche in today’s music market: a hunger for mystery, substance, and story in the face of a downloader’s paradise. As more music is rendered instantly accessible, many of us wish to burrow further into the secret histories of rock, folk, and soul. We sift for treasure, perhaps wondering if the Internet isn’t inherently anathematic to the idea of discovering forgotten greatness. Such recoveries can and will proliferate online, but ground must first be broken elsewhere — in a magazine or a basement, among audio tapes or old notebooks. Performers and promoters are becoming increasingly canny in using the Web to deliver icons and bylines, but it takes a set like Cotton Eyed Joe to make the singer a saint. *

TOP 10


Panda Bear, Person Pitch (Paw Tracks), and Animal Collective at the Fillmore on Sept. 17

Jim Ford, The Sounds of Our Time (Bear Family)

Jana Hunter, There’s No Home (Gnomonsong)

Karen Dalton, Cotton Eyed Joe (Delmore), and Judee Sill, Live in London: The BBC Recordings 1972–1973 (Water)

Entrance at the Ben Lomand Indian Summer Music Festival on Sept. 1 and at the Cafe du Nord on Nov. 18

The Dirty Projectors, Rise Above (Dead Oceans)

Lightning Bolt at LoBot Gallery on April 9

Michael Hurley at the Cafe du Nord on April 18

Neil Young, Live at Massey Hall 1971 (Reprise)

Little Wings, Soft Pow’r (Rad)

Year in Music: Lady day and night

0

› kimberly@sfbg.com

Judging from the hoo-ha on the message boards and the late-blooming stories coursing through the mainstream media, this may have been the year the music industry business model truly broke. In a boldly utopian and rawly realistic mood, Radiohead took their music and declared they didn’t want play with major labels any more — let the PayPal bucks fall where they may into the passed digital hat; Kanye West and 50 Cent allowed a gamers’ pseudo–sales war to eclipse any artistic statements they might’ve been making; and Britney Spears’s family-court and fashion disasters climaxed in a widely televised moment of lambasted lacklusterness before she was left, well, alone. Music sales slumped further as live music sales stirred. No wonder Madonna signed with Live Nation — save that black concert T for the Karl Stockhausen memorial, RIP.

It’s tough to find obsession material amid the music business coverage: the sounds that set you dreaming, the blood pounding, the ankles caving, and the thrills coursing down the mosh pit–spindled spine. Speaking to Nick Cave came close to triggering dry heaves for yours truly, but his all-too-human, literate gentleman–degenerate charm simply lanced a boil of long-festering obsession rather than sent me off on reveries of rabid fandom. Better to wrap my flaming neuroses around the highly visible good girl–bad girl archetypes embedded in the Alicia (Keys) and Amy (Winehouse) Show. Here’s to AA — let’s have another guzzle of Wino’s "Rehab."

Keys and Winehouse plugged into some deep doo-doo down in my teenage doghouse: I was the good-girl grind who chomped Chopin piano études when I wasn’t biting AP credits. OK, I never wept openly when I got a B, nor did I turn down a Columbia acceptance letter like the Keys-ter, but I could relate to the snippet of Nocturne no. 20 in C-sharp Minor that opens this month’s guilty obsession, As I Am (J). All about uplift and upholstered with a-mite-too-pristine, carefully calibrated R&B pop, AIA slides seductively through the holiday hokum with its anthemic, Linda Perry–cowritten "Superwoman," the Prince-like "Like You’ll Never See Me Again," and the no-muss lustiness of "I Need You." AIA lacks overall heat and inspired originality; the fact that Keys locks in with that other do-right prodigy, John Mayer, speaks volumes. Rather than hook into her natural-woman, way earthy, baby-blues-mama fire live, the type that threatened to softly blast Beyoncé off the Oracle Arena stage three years ago, La Keys is much too good a girl, making all the right moves, to break with the machine. Tellingly, she’s framed by a music-box mechanism in the video for AIA‘s first single, "No One." Agonizingly, ecstatically curled to within an inch of Diana Ross’s Mahogany, Keys stares into the distance like an anesthetized, perfectly blank, pretty doll.

Likewise, I can completely identify with the bad-girl train wreck embodied by Winehouse, howling in a red bra on the street and perpetually hiking up her low-riding denim in concert. Who hasn’t dreamed of cutting class, reviving trash, and dropping the high-achiever act? It’s far more dramatic to star in your own disaster movie, all puffy and tatted with throwback cuties, teased like girlgrouped Ronnie Spector and girl gang–inspired Priscilla Presley by way of Tura Satana, while tacked out in yesterday’s greaser girl garb. Winehouse is the politically incorrect, highly visible dark side of the feminine pop principle; she’s both original and so very not — what with her borrowed looks, band, and sound. Embroiled in a destructo-dance with her Pete Doherty–ish bad-boy hubby, Blake Fielder-Civil, Winehouse has been imploding in the spotlight since the year began with a bang of hype for Back to Black (Island/Universal). Like Spears, she caters to our obsession with woman as time bomb — all foibles, frailties, and fuckery — and helpfully provides a textbook case in cultural appropriation and modern day blackface, from her style to her album title to her lyrics. What are the uses of visualizing and verbalizing postfeminist shame and self-hatred while looking back at pop history, à la Winehouse’s "You Know I’m No Good"? Are these ways to inject new danger — or backhanded authenticity — into the predictable girl group–girl singer machination? Just turn to this fall’s Aretha Franklin compilation, Rare and Unreleased Recordings from the Golden Reign of the Queen of Soul (Rhino/Atlantic), to find that bad can ring as contrived as good. True soul just sings for itself.

TOPS IN 2007


Rhythm method: Aesop Rock, None Shall Pass (Definitive Jux); Battles, Mirrored (Warp); OOIOO, Taiga (Thrill Jockey)

Soft shuffle: Bill Callahan, Woke on a Whaleheart (Drag City); Charlotte Gainsbourg, 5:55 (Vice), Mariee Sioux, live

Popping out: the Besnard Lakes, The Besnard Lakes Are the Dark Horse (Jagjaguwar); Lavender Diamond, Imagine Our Love (Matador); Of Montreal, Hissing Fauna, Are You the Destroyer? (Polyvinyl)

I hear rainbows: Black Moth Super Rainbow, Dandelion Gum (Graveface); Radiohead, In Rainbows (self-released); White Rainbow, Prism of Eternal Now (Kranky)

The Davis family reissue korner: Betty Davis, Betty Davis (Light in the Attic); Miles Davis, The Complete On the Corner Sessions (Sony Legacy)

Will trade thought for food

0

› a&eletters@sfbg.com

"If music be the food of love, let’s party" goes the catchphrase for TheatreWorks’ holiday production of William Shakespeare’s Twelfth Night, or What You Will. As this jiggering with Orsino’s famous opening line suggests, artistic director Robert Kelley takes the Bard’s invitation to do "what you will" as a license to rock, with a San Francisco Summer of Love theme meant to warm the cockles on a winter’s eve. It’s a theme the show’s producers run with at full tilt. But then, summers in this city can be pretty chilly too.

Things start boldly enough, at least visually. Scenic designer Andrea Bechert’s canny quoting of ’60s surrealism — namely, a studied blend of Yellow Submarine–like fantasia and Peter Max–style Haight-Ashbury poster art — ensures it’s an eminently psychedelic set of TV game show proportions that greets visitors to Palo Alto’s Lucie Stern Theatre. The costumes (lovingly created by Allison Connor) meanwhile reference equally emblematic threads. Hence, the luridly colorful, invariably bell-bottomed cast strike instantly recognizable rock star poses.

Predictable bursts of canned period rock come augmented with some winsome live music, courtesy of composer Paul Gordon (writer-composer of TheatreWorks’ recent world-premiere musical, Emma) and performed by a trio of actors. They are led by the tuneful and sharp (dramatically speaking) Patrick Alparone as Feste the clown, with Michael Ching and Clive Worsley playing backup on guitar, bass, and some of the fool’s lines while also handling the parts of the Captain and Antonio, respectively.

In place of an opening storm at sea, we get a smoking hippie van protruding from the wings. This period vehicle of choice substitutes for the shipwrecked vessel that casts asunder Shakespeare’s twins Viola (Carie Kawa) and Sebastian (Rafael Untalan), each to wander the isle of Illyria (read as the Upper Haight) thinking the other dead. Kawa’s chirpy Viola wastes little time mourning her bro, instead bounding into the cross-dressing role of Cesario (a move primed to cause much Shakespearean confusion and subversion) so she may serve local ruler Orsino (Michael Gene Sullivan), the lovesick duke she secretly loves. She becomes his proxy in wooing the unyielding Lady Olivia (a fiery, formidable Vilma Silva), in mourning for her own brother and father. Of course, Viola’s charms as Cesario turn the lady’s head, but in the wrong direction.

In keeping with a theme run amok, Sullivan’s Orsino is outfitted like Jimi Hendrix, and Viola-Cesario sports a Sgt. Pepper jacket. Some of these costumes work better than others. Sullivan’s decidedly cool but never frivolous Orsino manages to wear his outfit with a measure of conviction. Meanwhile, Olivia’s kinsman Sir Toby Belch (Warren David Keith), ridiculously done up in stringy long hair, a leather vest, and beads, is a slightly shaky Wavy Gravy. It’s a vague distraction from Sir Toby’s bluster and plotting with his inept pal Sir Andrew Aguecheek (an expertly cloddish Darren Bridgett) and Olivia’s lady-in-waiting, Maria (Shannon Warrick), to show up the household’s buzz kill, Malvolio (Ron Campbell).

Only this comical villain, appropriately enough, breaks the dominant color-and-inseam scheme with his subdued but fastidious attire (that is, before he’s snookered into prancing around before Olivia in yellow tights). And Campbell’s Malvolio is something of a standout in general, with his juicy personification of smug intolerance, foolish flirting, and outraged dignity. In fact, all Campbell has to do is roll his mouth around a vowel, cast a supercilious glance backward, or mumble an aptly gloomy Simon and Garfunkel lyric to have the audience guffawing.

But even with lots of willing talent among the cast, and even with Gordon’s catchy original musical settings, the spectacle is all surface. This is hardly a silent night, but the comedy on parade provokes less cheer than you might expect. At the same time, in all the dizzy ’60s shtick, the play’s undertones and poetry, while never entirely lost, can come across rather mutedly.

Of course, this is not really the 1960s anyway, but a mere facsimile of 1960s motifs. It remains a two-dimensional backdrop, devoid of strife, politics, idealism, suffering — anything that would smudge the pristine scenery or harsh your mellow this politically bleak holiday season.

TWELFTH NIGHT

Through Dec. 23

Tues.–Wed., 7:30 p.m.; Thurs.–Sat., 8 p.m. (also Sat, 2 p.m.); Sun, 2 and 7 p.m.; $20–$56

Lucie Stern Theatre

1305 Middlefield, Palo Alto

(650) 903-6000

www.theatreworks.org

Heaven knows

0

› johnny@sfbg.com

In the virtuoso first and last shots of Silent Light, director Carlos Reygadas has the audience seeing stars. At first it’s difficult to tell that you’re staring at the nighttime sky: those glimmering lights could be electric. But once the camera completes its initial 180-degree acrobat maneuver and begins to creep over a rural landscape, it’s apparent that Reygadas’s vision is stratospheric. A time-lapse tracking shot matched with a magnified, morphing soundtrack of insect and animal noises, this opening sequence (echoed at the end) eclipses the mechanical spectacle of Koyaanisquatsi-style ethnographic docs and the intimate splendor of nature films. Even if Reygadas is simply being a show-off, there’s something uncanny about his merging of the cinematic and the choreographic — the spectrum of light, darkness, and color inspires wonder.

When Reygadas breaks free from human subject matter, Silent Light takes on a mystical air. But those moments bookend a tale of adultery set amid a Mennonite community in Chihuahua, Mexico, and the people in that story move — not for the first time in a Reygadas film — like dolls at the mercy of a drowsy child-god. Try as he might, Reygadas can never quite tell a straight story when he fixes his gaze on human subjects. He leaves the corpulent realm of 2005’s Battle in Heaven for the blond hair, extreme tan lines, and reptilian beads of sweat of a farmer and his family. But he never mocks the beliefs of his human subjects, even if his latest film’s eternally smiling grandfather figure seems like a creature out of Beatrix Potter. Shades of blue and white, Ford T-shirts and 4×4 pickup trucks, a sweaty Jacques Brel glimpsed in pixel-pointillist close-up, the untamed aspects (and bizarre elderly features) of children, sun drops — refracted jewels from beams of solar light that hang like stained-glass mobiles amid the daytime landscape — and, when indoors, reflections in the golden pendulum of a tick-tocking clock: these ingredients are all as important as the narrative and its mystical outcome.

If he or she exists, God works in mysterious ways, allowing Silent Light to rediscover Denmark in rural Mexico and letting Reygadas try on the robes of Carl Theodor Dreyer — the film’s connections to Dreyer’s 1955 Ordet (also invoked reverently in João Pedro Rodrigues’s cockeyed, blasphemously faithful 2005 Odete, a.k.a. Two Drifters) are many and varied. Reygadas’s point of view ceaselessly circles the action, sometimes crawling toward (or past) dark thresholds. But only at the beginning and the end of Silent Light does his direction — with an emphasis on that word’s searching as much as literal cinematic terminology — reach a sublime realm. This isn’t a miracle — he’s already demonstrated a flair for elaborate beginnings and finales: his overrated 2002 debut Japón closed with a marathon tracking-shot trek over a train crash. Silent Light lacks the bracing pairings of the sacred and profane that characterize Battle in Heaven, but its starry-eyed beginning and end prove that that Reygadas’s scrutiny of the ineffable is far from complacent. If cinema is a corpse, his kiss just might bring it back to life.

SILENT LIGHT

Thurs/13 (with Carlos Reygadas in person) and Sun/16, 7:30 p.m., $6–$8

Yerba Buena Center for the Arts

701 Mission, screening room, SF

(415) 978-2787

www.ybca.org

Oh yeah, the Yeah Yeah Yeahs

0

yeahyeahisis.jpg

By Mike McGuirk

Yeah Yeah Yeahs may be critical faves, and they may have pretty much all the cool kids at their shows, and they may have created an unassailably cool image to boot, but their latest EP, Is Is (Fontana/Interscope), makes it very difficult for those diametrically opposed to such across-the-board-acceptance to write the band off as more empty product.

The first song, “Rockers to Swallow,” shows what would have happened if Royal Trux got huge, with Karen O perfectly channeling Jennifer Herrema’s rock chick stance without losing two-thirds of the audience in the process (which is why Trux never made it). From there, each of the five songs is stamped with Yeah Yeah Yeahs’ now personal and highly identifiable style: midtempo sex music with rad guitar riffs. Sure, these guys came out of the new wave of post-punk NYC dickhead bands emerging during the early 2000s, but, well, even I like these songs – and I hate all new music, mostly.

The tunes were written and recorded during the band’s Fever to Tell tour and reportedly amid some serious personal upheaval for all involved. That means maybe their next offering will be lame, or there will never be one. I don’t think the former is possible because despite all the hype and exuberant critical acceptance, the Yeah Yeah Yeahs have yet to trip over themselves or even make a misstep, whether it be stylistic or sonic. Cool band.

Fashion forward

0

Simon Doonan, creative director for Barneys New York, defines San Francisco style this way: “People here are into design,” he said, while in town in September for the grand opening of Barneys’ Bay Area flagship store. “It’s about the craft of fashion, not the hype of fashion.” In L.A., he pointed out as an example, style is all about exhibitionism, about what other people think of what you’re wearing. “Here, it’s what you think of what you’re wearing.”

ohmygodshoozJPG.jpg
Oh my God, shooz! Simon Doonan shows off the SF flagship store’s bright, airy floor full of women’s footwear.

Now, before I go on, I realize you could argue that San Francisco has a scene with a uniform as much as anyplace else, even if here it’s fedoras and Fluevogs instead of short shorts and Uggs. But what really makes the difference – at least, to me – is how much fashion culture here appreciates creativity, independent designers, and funky combinations of styles, trends, and shit we just made up. Fashionistas in this city create a style that is uniquely ours, more emulated by the outside fashion world than affected by it.

I was thinking about this on Saturday night, while attending the official grand opening party for Pandora’s Trunk, a retail space and artists’ coop that provides places for indie designers to both work and sell their wares (reconstructed dresses and jackets made from scraps of fleece, lace-trimmed arm warmers and twisty scarves – all gorgeous and unusual). And true to the co-op’s mission, the opening not only supported artists involved with the store, but other independent creators like Jesse Wilson, one-half of the newly named Flamenco Feathers musical group, and Sterling, an up-and-coming chef who made guests a mean spanikopita (among other delectables). It was fun and festive, and both homegrown and professional.

Turn up the volume

0

› kimberly@sfbg.com

SONIC REDUCER I read the news the other day, oh boy, and the dimming days of early winter appear to have gotten darker: the Xmas lights have begun to twinkle down my street, above the Red Poppy House, but they can’t draw attention away from the little shrine of bedraggled plastic balloons and dampened candles around the corner dedicated to 21-year-old Erick Balderas, who was shot to death at Treat Avenue and 23rd Street on Nov. 18. I hobbled home from No Country for Old Men and a lychee-infused cocktail just a few hours before he was slain only a block away, but I failed to hear the gunshots. Thinking about his death and that of 18-year-old Michael Price Jr., shot near the Metreon box office by, allegedly, another teenager, one wonders why nightlife has grown so deadly for the kids who can really use some fun.

Reading is a safe substitute. When going out seems to be getting more hazardous, who can blame a culture vulture for wanting to stay in and nest with a good book and a CD, preferably the two combined in one? Those in the market for juicy boomer-rock dirt will likely dig this year’s Clapton: The Autobiography (Broadway), ex Pattie Boyd’s Wonderful Tonight: George Harrison, Eric Clapton, and Me (Harmony), and Ron Wood’s Ronnie: The Autobiography (St. Martin’s) — survivor’s tales all. But perhaps this is also the moment to revisit a musician who perished as violently and mysteriously as autumn’s lost boys: Elliott Smith. Photographer Autumn de Wilde manages to skate between the coffee table and the fanzine rack with a handsome tome of photos, many snapped around the time of Smith’s Figure 8 (DreamWorks, 2000).

Figure 8 was a divisive recording, alienating early lo-fi lovers and seemingly reaching out to the "Miss Misery" masses, and Smith looked self-consciously awkward slouching in front of the music store swirl that turned into a shrine after his death. Talking to friends, exes, family, managers, and producers who haven’t gone on the record since Smith’s death, de Wilde gathers snatches of intriguing info — for instance, it was engineer ex-girlfriend Joanna Bolme who gave Smith the sorry bowl haircut that de Wilde documents — and thoughts on the art of capturing spirits like Smith on the fly. Centering Elliott Smith (Chronicle) on images from her "Son of Sam" video, a poignant reworking of The Red Balloon, she finds the innocence that made Smith’s songs — and their anger over quashed hope — possible amid the listener cynicism and the songwriter’s lyrical bitterness. The kicker: an accompanying five-song CD of live acoustic solo Smith tracks, culled from 1997 appearances at Los Angeles’ Largo, including a sweetly screwed-up rendition of Hank Williams’s "All My Rowdy Friends Have Settled Down."

Another volume to really turn down the covers with is Wax Poetics Anthology, Volume 1 (Wax Poetics/Puma), a mixologist’s spin cycle of stories from the great mag. Editor Andre Torres taps interviews with golden era hip-hop knob twirlers Prince Paul, the RZA, and Da Beatminerz, as well as pieces on James Brown’s drummer Clyde Stubblefield, reggae producers King Tubby and Clive Chin, salsa giant Fania Records, Henry Chalfant of Style Wars, and much more than you can down in one chill evening. Extensive discographies aside, the only thing that’s lacking here is a soundtrack.

Not so with the much slimmer but no less passionate new issue of Ptolemaic Terrascope zine, once financed by the Bevis Frond. Mushroom drummer and Runt–Water Records consultant Pat Thomas has assumed the editorship. Apparently after 15 years and 35 issues, previous head Phil McMullen was "burned out, for lack of a better word," Thomas told me from his Oakland home, where he was happy to get away from a take-home exam on menstrual cycles. The new editor is even on the cover, looking appropriately put-upon; it’s the Alyssa Anderson photo shot in the Haight that was adapted for Devendra Banhart’s Cripple Crow (XL). Banhart is so ubiquitous these days that some Guardian staffers are tempted to start a swear jar to gather quarters every time his name is invoked. But he’s a natural cover star, also doing a jukebox jury piece with Thomas and Vetiver’s Andy Cabic within Terrascope.

United Kingdom folk luminaries like Shirley Collins and Davey Graham crop up in interviews and on the zine’s CD, which teems with wonderful unreleased tracks by the Velvet Underground’s Doug Yule, Willow Willow, Six Organs of Admittance, Ruthann Friedman, and Kendra Smith, among others, all playing off the issue’s Anglo-folk orientation, though pieces on Elaine Brown and the Black Panther Party parallel Thomas’s ongoing work assembling a box set for Water on the Panthers’ music and spoken word. The editor already has interviews with Wizz Jones and Ian Matthews ready for the next issue, but he’s tempted to put the zine on hold while he assembles a guidebook to black power music, foreshadowing new turns in Terrascope. "The magazine was always, for lack of a better word, very white," Thomas quips. "I want to blacken it up a little bit." 2

For more picks, see Sonic Reducer Overage at www.sfbg.com/blogs/music.

THE RUBINOOS BASSIST AL CHAN’S TOP MUSIC BOOKS

<\!s>The Kinks: All Day and All of the Night: Day by Day Concerts, Recordings, and Broadcasts, 1964–1997, by Doug Hinman and the Kinks (Backbeat, 2004)

<\!s>The Psychotronic Encyclopedia of Film, by Michael Weldon (Ballantine, 1983)

<\!s>Anyway, Anyhow, Anywhere: The Complete Chronicle of the Who, by Andy Neill (Virgin, 2005)

<\!s>Hollywood Rock, by Marshall Crenshaw (HarperCollins, 1994)

<\!s>The Billboard Book of Top 40 Hits, eighth edition, by Joel Whitburn (Billboard, 2004). "I can just sit down with that on an eight-hour flight and look at charts. I’m a total music geek!"

The Rubinoos open for Jonathan Richman, Thurs/6, 8 p.m., $15. Great American Music Hall, 859 O’Farrell, SF. www.musichallsf.com.

Law professor to be Supes counsel against Jew

0

Yesterday, the Board faced a choice: hire legal firm Garcia Calderon Ruiz, which specializes in government law,
or run with academic lawyer Prof. Robert Weisberg, as outside counsel for official misconduct proceedings against Sup. Ed Jew.

Jewsmall.jpg
Beleagured Sup. Ed Jew in happier times outside his flower shop on Waverly Place.
Photo by Charles Russo

Three attorneys with GCR, Mary Hernandez, George Yin and Nicolas Vaca, gave a relatively slick presentation compared to the Dumbledore-style ramblings of Prof. Weisberg.

“We have dealt with removal issues before,” said Hernandez.
“We are used to working in gray areas,” said Yin.
“A reasonable estimate,” said Vaca,of the firm’s $24,800 bid to get the project started.

But that bid appeared to be $24,800 too much, compared to Weisberg’s offer to work pro-bono, even if he teaches criminal law and doesn’t have experience in government agency law.

“This is not really a criminal matter,” said Weisberg. “The Board is a legislative body, and so it would be unconstitutional for it to convict someone of a crime.”

Maybe the Board enjoyed Weisberg’s easy-to-grasp explanations,which included making an analogy between Jew’s case and congressional impeachments proceedings: just as Congress indicts and the Senate then votes to remove from office, the Ethics Commission would do the “impeaching” and the Board of Supervisors would then vote whether to remove Jew from office.

Alles klar, Herr Professor.

Because in the end Sup. Geraldo Sandoval, seconded by Sup. Tom Ammiano, directed the Clerk of the Board to enter into an agreement with the professor, which does include the possibility of the $15-an-hour labor of his student research assistants at Stanford University.
.

Shopping for slackers

0

When it comes to holiday shopping, some people are planners. These are the types who keep an eye out for potential gifts all year long, who spend long, leisurely hours trekking through shopping districts and browsing through stores for that perfect gift — in June. But most of us are the other type of shopper: the oh-my-god-it’s-almost-Christmas, I-only-have-two-days-to-get-everything, it’s-too-late-to-order-online kind. For these people (you know, the rest of us), we’ve compiled this neighborhood-by-neighborhood guide to holiday shopping. Because as much as we’d all love to spend an entire week seeing what every little nook and cranny in the city has to offer, most of us need to get our gifts sometime before, oh, Easter.

Inner Richmond

Running the gamut from the cheap to the extravagant, Clement Street is an ideal place to do a bit of digging at stores whose owners sell what they like. On a gray afternoon stroll, you’re certain to come across at least a couple of rare finds, the sort that will meet the high-design expectations of both the classy and the kitsch-cool San Franciscan on your list.

PERIOD GEORGE


Donald Gibson buys a lot of his antique dining ware from Eastern Europe or "wherever the dollar is strongest," he says. The store runs on the model of highly organized chaos — expect to find collectible plastic napkin rings from the 1930s, mod place mats, and postcontemporary cutlery all hiding between colorful displays of centuries-old china. Check out the walls too.

7 Clement, SF. (415) 752-1900

FLEURT


Fleurt occupies an impressive, breathable space. Its focus is on interior decor and unexpected gifts, most of them from Europe. But don’t overlook the tres chic flower selection. Fleurt also provides on-site installations, so stop in and ask about custom wreaths and table arrangements.

15 Clement, SF. (415) 751-2747, www.fleurtstyle.com

PARK LIFE


At Derek Song and Jamie Alexander’s art and design shop, you’re welcome to pick over bunches of slick T-shirts, hoodies, underread zines, and original artwork, most of it created by the owners and their friends.

220 Clement, SF. (415) 386-7275, www.parklifestore.com

6TH AVENUE AQUARIUM


Good, clean fun. The 6th Avenue Aquarium presents a dizzying array of fish and flowers, and everything inside is bathed in superpop blue. It’s worth a stop just for the hyperstimulation — your kid will love you for it.

425 Clement, SF. (415) 668-7190, www.6thaveaquarium.net

GET THEE TO THE NUNNERY


A dress-casual boutique for the discerning madam, the Nunnery will help you find a smart, lively ensemble for your mom that promises not to outlive its wearability after New Year’s Eve. Owners Gerry and Billy Sher keep things interesting with an eclectic, mix-and-match approach to filling the racks.

905 Clement, SF. (415) 752-8889

CHEAPER THAN CHEAPER


The hilarious sign says, "Smile, your saving a lot of money." And dismal grammar aside, this place lives up to its awesome billing. You wouldn’t know it on first glance, but this shop stocks big, cheap, decent rugs in the back, next to the aging paper goods and the empty boxes of Manischewitz.

626 Clement, SF. (415) 386-1896

Mission and Haight

Everyone knows about Therapy and 826 Valencia in the Mission, and about Shoe Biz and Fluvog in the Haight. But for more unusual gifts from the usual shopping spots, try one of these new, off-the-beaten-path, or simply off-the-radar spots.

MIRANDA CAROLIGNE


This boutique’s owner wrote the book on San Francisco–style indie design — literally. The local couturier was chosen as the author of Reconstructing Clothes for Dummies (Wiley Publishing), and for good reason: her well-made, imaginative creations have helped define recycled fashion.

485 14th St., SF. (415) 355-1900, www.mirandacaroligne.com

PANDORA’S TRUNK


No underachiever, Caroligne also has her hands (and designs) in this collaborative art and retail space in the Lower Haight. The brand-new co-op (its grand opening was, ironically and intentionally, on Buy Nothing Day) features gorgeous, one-of-a-kind items by local designers, who can be seen at work in their on-site studios.

544 Haight, SF. pandorastrunk.com

FIVE AND DIAMOND


Holsters for your rock ‘n’ roll sis. Leather computer bags for your fashion-forward beau. Tribal earrings for your burner BFF. This circus–Wild West–postapocalyptic–global wonderland (or weirderland?) in the Mission has something for everyone — all designed by Phoebe Minona Durland and Leighton Kelly, the dynamic duo who’ve helped make the Yard Dogs Road Show and Black and Blue Burlesque some of the city’s favorite exports.

510 Valencia, SF. (415) 255-9747, fiveanddiamond.com

THE CURIOSITY SHOPPE


You know that creative uncle or artsy aunt who always gets you the coolest, most interesting gifts anyone in your family has ever seen? The ones you love but your grandparents don’t quite understand? This is the place to find something for them. In fact, the wooden mustache masks or stackable ceramics are exactly what you would’ve known would make the perfect gift — if you’d known before you visited the shop that they even existed.

855 Valencia, SF. (415) 839-6404, www.curiosityshoppeonline.com

LITTLE OTSU


This charming Mission boutique is cute-little-paper-items heaven: it has creative address books, miniature note cards, adorably funky journals, and much, much more. You’ll also find one-of-a-kind wallets, sweet magnets, and McSweeney’s T-shirts. In short? Stocking stuffers galore.

849 Valencia, SF. (415) 255-7900, www.littleotsu.com

CEIBA RECORDS


You can cruise the Haight for yet another hippie tapestry or stick of Nag Champa, or you can find something truly original for the alt-culture lover in your life. Ceiba stocks a dizzying array of inspired, fanciful clothing and accessories for men and women. Yes, some of the prices can be steep (though well worth it), but the smaller, cheaper items are just as gorgeous — and just as unusual.

1364 Haight, SF. (415) 437-9598, www.ceibarec.com

Chinatown

This neighborhood isn’t just for tourists and locals pretending to be tourists. It can be perfect for gift shopping — if you know where to look.

CHINA STATION


This is the place for cool mah-jongg and chess sets, opium pipes, and pretty little jewelry boxes. It even has clean, cute imitation designer bags — good to know if your giftees swing that way.

456 Grant, SF. (415) 397-4848

ASIAN IMAGE


This place is just fun to walk into. Plus, if you’re in the market for brocade photo albums or scrapbooks, interesting wall scrolls, or unusual night-lights, a stop here is all you’ll need.

800 Grant, SF. (415) 398-2602

CHINATOWN KITE SHOP


There’s a reason this store is a legend: it has every kind of kite you can possibly imagine. Keep in mind that kites are not only a good gift idea for outdoor fun but also perfect for decorating a big room.

717 Grant, SF. (415) 989-5182, www.chinatownkite.com

GINN WALL CO.


Not just one of the few places in town where you can still buy a cast-iron pan, Ginn is also a source of adorable garnish cutters, charming cake molds, and delightful cookware.

1016 Grant, SF. (415) 982-6307

West Portal

Everyone’s favorite hidden gem (well, it was until journos like us started writing about it), West Portal feels like a small town with the benefits of a big city. Sure, the shopping selection is limited. But it offers a lot of bang for the buck — in products as well as personality.

PLAIN JANE’S


This is one of those old-fashioned small gift stores that have a little bit of everything — and all of it carefully chosen by someone (or someones) with great taste. The items in the baby section and the Christmas ornaments are particularly good, but you just might find something for everyone on your WTF-do-i-get-them? list.

44 West Portal, SF. (415) 759-7487, www.plainjanesgifts.com

WEST PORTAL ANTIQUES


This antique collective is a treasure trove of vintage goodness — and has offerings in every price bracket.

199 West Portal, SF. (415) 242-9470, www.westportalantiques.com

LITTLE FISH BOUTIQUE


The only thing you’ll love more than this shop’s unique clothing and accessories for him, her, and baby is the phenomenal customer service.

320 West Portal, SF. (415) 681-7242, www.littlefishboutique.com

AMBASSADOR TOYS


You can’t talk about shopping in West Portal without mentioning this brilliantly unconventional toy store (which also has a location in the Financial District — but why brave the traffic?). Nearly everything here is educational or alternative in some way — finding a Barbie or a toy weapon will be harder than finding a wooden train set.

186 West Portal, SF. (415) 759-8697, www.ambassadortoys.com

East Bay

If panicked, harried customers noisily rushing to buy holiday gifts aren’t your thing, escape the city for the quieter, quainter quarters of the East Bay. Better parking and pedestrian-friendly districts mean you can enjoy the trappings of charming boutiques without the tourist hordes — or the headaches.

CE SOIR FINE LINGERIE


This cozy space in Berkeley’s Elmwood District offers bedroom playwear in a decidedly un–Frederick’s of Hollywood environment. The dim lighting and rich interior say "sexy" (not "sleazy"), as do carefully chosen boudoir goods by Cosabella, Hanky Panky, Princesse tam.tam, Betsey Johnson, and Roberto Cavalli. Add the complimentary fittings from Ce Soir’s sweetly attentive owner, and you’ve got the East Bay’s best-kept secret since, well, Victoria’s.

2980 College, Berk. (510) 883-1082, www.cesoirfinelingerie.com

AUGUST


Well-selected clothes vie for attention with wall-hung art at boutique-cum-gallery August, located in North Oakland’s Rockridge District. Both men and women will enjoy the laid-back staff, premium denim selection, luxe cashmere sweaters, and hard to find avant-garde labels — not to mention the sustainable housewares and nature photography.

5410 College, Oakl. (510) 652-2711

BODY TIME


Who doesn’t dig candles and lotions, preferably many and in a variety of different scents and permutations? (C’mon, men, don’t pretend you don’t. Isn’t that what the metrosexual revolution was about?) Body Time, with multiple locations in the Bay Area, provides not only the option to add custom scents to lotions and perfume bases but also nubby wooden massage tools and everything else to make it your body’s time, all the time. Check out the one en route to dinner in charming North Berkeley.

1942 Shattuck, Berk. (510) 841-5818, www.bodytime.com

ANTIQUE CENTRE


If you don’t mind riffling through the pack rat–style holdings of Oakland’s charmingly disheveled Antique Centre, head over with a car — a large one. Vintage furniture and home furnishings clutter the house, and you’ll often see full, undamaged wooden dressers or bookshelves for less than $10 (and sometimes free) on the front lawn. It’s a calamity of objects on the cheap and dirty.

6519 Telegraph, Oakl. (510) 654-3717

Marina

OK. So shopping in the Marina can be expensive and you may have to dodge assaults by sales associates desperate for a commission. But when you’re looking for that high-end dog collar or superstylie serving platter, there’s really nowhere better to look.

CATNIP AND BONES


This cute little pet shop features just the right mix of well-made necessities and ridiculously high-end luxury items for your giftee’s pets. Try the basic cat toys for the down-to-earth pet lover in your life or buy the angora sweater for the friend who carries her puppy in her purse.

2220 Chestnut, SF. (415) 359-9100

BOOKS, INC.


This store, one of several owned by a small local chain, is famous for its knowledgeable staff. Not sure what to get your grandparents or your best friend? Find out what they read last, and let Books, Inc.’s staff help you decide.

2251 Chestnut, SF. (415) 931-3633, www.booksinc.net

MODICA HOME


There’s always that time in the gift-giving season when you need to buy housewares — usually because they’re a safe bet. Why not try Modica, an eclectic shop full of cute items that look vaguely European, including a selection of gifts made by the owner’s sister?

2274 Union, SF. (415) 440-4389

INTIMA GIRL


This lingerie shop–boudoir simply rocks, thanks to helpful staff and a small but quality assortment of sexy items. How about getting your lover candles that, when burned, melt into massage oil? Or, for the girlie girl (or boy) who still blushes at the mention of sex, try a condom compact, complete with a mirror and a secret compartment for you know what.

3047 Fillmore, SF. (415) 563-1202, www.intima-online.com

WILDLIFE WORKS


This is the kind of place where you can feel good about spending too much money on clothes. The fashionable, comfortable clothes here are all ecofriendly, and a portion of the profits goes toward running wildlife conservatories in Africa. Plus, it has a killer 60 percent off section.

1849 Union, SF. (415) 738-8544, www.wildlifeworks.com *

‘Tis the season for getting even

0

› culture@sfbg.com

Spending time with your family over the holidays can be difficult. Are you a vegetarian atheist with carnivorous, God-fearin’ folks? Are your grandparents racist? Then you know what I mean. But these special occasions don’t have to suck. Step one? Stop playing on their turf. Why spend one more holiday giving them the home-team advantage, biting your tongue to make them feel more comfortable? Instead, tell your relatives to get their asses up to San Francisco for a good old heathen’s ball. It may sound counterintuitive, but think about it for a minute: you’ll be in charge. It’s the perfect time to have the holiday you’ve always wished you’d had … or to just get even with your folks for all of those miserable dinners you’ve gritted your teeth through all of these years. The businesses listed below have everything you’ll need to either gently ruffle some feathers or send your folks screaming back to their safety nooks. How far you choose to take things is up to you — and your childhood trauma.

DECK THE HALLS WITH PAGAN ALTARS


If your parents’ wholesome holiday decorations are inherently offensive (even the average gender-"appropriate" angel ornament can seem oppressive to a student of gender-continuum philosophy), you can beat them at their own game by picking up a few things at Under One Roof (549 Castro, SF; 415-503-2300, www.underoneroof.org) in the Castro. Most of the holiday knickknacks you’ll find there, like rainbow-cloaked Santa Claus decorations and muscle-man bottle openers, will do little more than raise a conservative’s eyebrow. But they’ll provide valuable ammunition when the conversation turns political: just watch how Dad reacts when you counter his homophobia by pointing out that the cocoa mug he’s using comes from a boy-town volunteer organization that donates all of its proceeds to HIV-AIDS research.

If that doesn’t work, try riling your folks by jabbing at their spirituality with holiday decorations. They force you to stare down Christianity at every turn? Then shove your lack of belief down their throats this year by shopping in the Mission, where a cluster of small boutiques carries everything you’ll need for an offbeat — or damn near demonic — holiday party.

Start your spree at Paxton Gate (824 Valencia, SF; 415-824-1872, www.paxtongate.com), where you’ll find an assortment of unconventional home decor options, including carnivorous plants and a large collection of vaguely satanic household accessories. Although you might score some unwanted points with your hunting-aficionado brother with a few of taxidermist Jeanie M’s dangling mice angels, you’ll certainly lose plenty from your born-again aunt, whose collection of gruesome Jesus-dying-on-the-cross sculptures offend you as much as your ornaments will her.

After grabbing some choice roadkill art, you’ll want to head to Yoruba Botanica (998 Valencia, SF; 415-826-4967) for some Santeria-style pagan altars, spell candles, and heretical oils and scents, then to Casa Bonampak (3331 24th St., SF; 415-642-4079, www.casabonampak.com) for some Latin flair. A wreath made of chile peppers, some Virgin of Guadalupe party streamers, and a few discounted Día de los Muertos items will add a little subversive color to your thoroughly confusing collection of holiday decorations.

GIVE US THIS DAY OUR DAILY TOFU


If you’ve lived in the city for more than two years, you’ve probably adopted a cruelty-free diet and grown weary of your family’s annual flesh-eating parties. You know those relatives who always "forget" you don’t eat meat? Now you can ostracize them by serving an alternative smorgasbord from SF’s premier food co-op, Rainbow Grocery (1745 Folsom, SF; 415-863-0620, www.rainbowgrocery.org). There’s plenty to choose from here, including a full line of Tofurky products, organic cranberry sauce, and Tofutti brand frozen treats for dessert.

Even if your relatives don’t mind taking a short break from their irresponsible eating habits, you can still piss them off by directly attacking their morals with an obscene cake from the Cake Gallery (290 Ninth St., SF; 415-861-2253, www.thecakegallerysf.com), a hole-in-the-wall bakery that boasts the ability and desire to make "anything your demented mind can think up." Can the artists at the Cake Gallery make a dessert with a leather-clad transsexual peeing on the baby Jesus? You bet your family’s asses they can.

HERE COMES TRANNY CLAUS


With dinner out of the way, it’s time to expose your family to a bit of real SF culture with some quality time for them and your friends. You’ll want to invite an array of typical weirdos to rival your family’s usual assortment of nerdy cousins, creepy aunts and uncles, and stoic grandparents; we suggest at least one hippie, a lesbian couple, a club kid, and a few snobby hipsters with neck tattoos.

If none of your friends are willing to flaunt their earlobe plugs or perform a contact improv dance number, you might want to put some effort into background noise. Downloading a raunchy playlist will work in a pinch, but if you really want to shock your guests, how about visiting Amoeba Music (1855 Haight, SF; 415-831-1200, www.amoeba.com), which carries almost every holiday album ever made? Start with Run DMC’s single "Christmas in Hollis" (Fedor Sigel, 1987), then move on to something more unsettling, like the heavy metal compilation A Brutal Christmas: The Season in Chaos (SoTD Records, 2003). Amoeba also carries chapters 1 to 22 of R. Kelly’s Trapped in the Closet (Jive; 2005, 2007) and other parent-unfriendly classics like Wondershowzen (MTV2; 2005–06) — you know, the music your friends will love as much as your folks will hate it.

HARK! THE HOMO ANGELS SING!


Is everyone appropriately uncomfortable? Good. Now it’s time for the postdinner activity. Rather than listen to Grandpa’s drunken ramblings or watch Mom resentfully do all of the dishes herself, goddamnit, why not take the fam on a nice little trip through Yuletide SF?

If your folks seem to be planning a mutiny, you might want to appease them (i.e., ease them into submission) by booking a tour with Cable Car Charters (Pier 31, Embarcadero, SF; 415-922-2425, www.cablecarcharters.com), which offers a holiday lights package, complete with blankets and a man dressed like Santa Claus. But if you’re really out for blood, consider heading directly to the Castro Theatre (429 Castro, SF; 415-621-6120, www.thecastrotheatre.com), whose December calendar boasts an appearance by Crispin Glover, a disco-themed Christmas party hosted by an ex–Village Person, and six performances by the SF Gay Men’s Chorus (415-865-3650, www.sfgmc.org), who’ll be paying tribute to Christmas, Hanukkah, Kwanzaa, solstice, and Ramadan, all at the same time.

SILENT NIGHT


Congratulations, you made it!

You can still torture your folks with shots of Fernet back at your apartment as punishment for all of the fattening eggnog nightcaps you’ve endured over the years, but if you ever want to see them again, you might just lead them to their half-deflated air mattresses and bid them good night. After eight full hours of tossing and turning on your floor, maybe they’ll be inspired to tone it down next time you come to visit — or at least remember to add a plate of steamed vegetables to the slaughtered-animal spread. And if they’re not, you can always bring a penis cake home with you next year. *

I’m dreaming of a green Christmas

0

› culture@sfbg.com
In the words of Rev. Billy, mock evangelist and star of the newly released documentary What Would Jesus Buy?, the dreaded “shopocalypse” is upon us. If he and his Choir of Stop Shopping had their way, we would all be blissfully exchanging simple gestures of peace and love for the holidays rather than heaps of overly packaged plastic stuff.
But if you already know deep in your gut that peace and love just aren’t going to cut it for your demanding sweetheart, whining child, or needy pet, procuring green gifts from local Bay Area shops is the next best thing. Consult this well-edited list to help you navigate the buying frenzy, thrill your giftees, and sidestep some of the residual guilt. For extra points, pass on the parking pandemonium and try riding your bike or taking public transit to your shopping destinations.
ADULTS

  • Treat your pals or paramour to a rejuvenating treatment at Evo Spa (216 Strawberry Village, Mill Valley; 415-383-3223, www.evo-spa.com), a green, holistic beauty and wellness haven in Mill Valley. Evo also carries paraben-free and organic skin care products.
  • Keep everyone on your list well hydrated with SIGG nontoxic, ecofriendly water bottles (Lombardi Sports, 1600 Jackson, SF; 415-771-0600, www.lombardisports.com). They’re crack-resistant, reusable, and recyclable, and their lining is 100 percent leach free, ensuring all your giftee will taste is their favorite libation.
  • Help those busy parents in your life clean up their act with a visit from Greenway Maid (415-674-3266, www.greewaymaid.com), a local, worker-owned green cleaning service that uses only ecofriendly cleaning products.
  • Get your honeybunch a Gremlin clutch (Eco Citizen, 1488 Vallejo, SF; 415-614-0100, www.ecocitizenonline.com) to help her tackle those San Francisco hills in style. Made from recycled car upholstery fabric from 1975 AMC Gremlins, this hot-rod handbag will sizzle on your lady’s arm.
  • Invite your family and friends to hop on the localvore bandwagon with a subscription to Farm Fresh to You (1-800-796-6009, www.farmfreshtoyou.com). Each box contains seasonal organic produce — grown at small, local, sustainable farms and delivered right to your door.
  • Wrap your darling in a Flow Scarf (Branch Home, 245 S. Van Ness, SF; 415-341-1824, www.branchhome.com) by Hiroko Kurihara, handcrafted in the East Bay from European Union–ecologically certified virgin wool. For each scarf sold, one is donated to help those who are homeless or in transition.

KIDS

  • The Recycled Plastic Radio Flyer Earth Wagon (Green Home, 850 24th Ave., SF; 877-282-6400, www.greenhome.com) is the ultimate gift for that budding environmentalist in your life. The body of the wagon is made from 100 percent recycled postconsumer high-density polyethylene. More than 230 plastic milk jugs were diverted from landfills to make each Earth Wagon.
  • Bundle your baby in Kate Quinn 100 percent certified organic cotton clothing or entertain your favorite tots with Plan Toys (Lavish, 540 Hayes, SF; 415-565-0540, www.shoplavish.com), made from preservative-free rubber woods and decorated with nontoxic paints.
  • Warm the tootsies of your loved ones with Eco-terric 100 percent organic felt wool slippers from Kyrgyzstan (Green Home Center, 1812 Polk, SF; 415-567-3700, www.thegreenhomecenter.net).

PETS

  • Reduce, reuse, and rewoof with Planet Dog’s RecyleBone and RecycleBall (Bow Wow Meow, 2150 Polk, SF; 415-440-2845, www.bowwowmeow.net) chew toys, made from 100 percent recycled materials.
  • Thrill your kitty with a cat tree by Everyday Studio (Branch Home, 245 S. Van Ness, SF; 415-341-1824, www.branchhome.com). Made right here in San Francisco, these modern scratching posts offer good-looking design and a nontoxic paint finish.
  • Help a friend take care of their dog’s dirty business with Business Bags by Spike (Osso & Co., 501 Broderick, SF; 415-447-8543, www.eurocanine.com). These biodegradable poo bags are fully compostable and biodegrade.

STOCKING STUFFERS

  • Reduce your friends’ junk mail by up to 90 percent and have 10 trees planted on their behalf! Sign them up at Green Dimes (www.greendimes.com).
  • Wow them with one-of-a-kind wood rings by Natalie Trujillo (Paxton Gate, 824 Valencia, SF; 415-824-1872, www.paxtongate.com), handcrafted from found wood pieces and garden clippings.
  • Give the gift that keeps giving. Jimi Wallets (Branch Home, 245 S. Van Ness, SF; 415-341-1824, www.branchhome.com) are made from 100 percent recycled plastic, come in a variety of colors, and are priced so you won’t burn a hole in yours.
  • Send ecofriendly Night Owl Paper Goods holiday cards (Lavish, 540 Hayes, SF; 415-565-0540, www.shoplavish.com), made from sustainably harvested wood.
  • Surprise someone special with a super Kobo soy candle (Spring, 2162 Polk, SF; 415-673-2065, www.astorecalledspring.com). Each has a burn time of 70 hours and is healthier for indoor air quality than petroleum-based candles.
  • For the person who has everything, there’s Plant-Me Pets (Branch Home, 245 S. Van Ness, SF; 415-341-1824, www.branchhome.com). These squeaky toys have seeds for eyes and are made from compostable natural latex rubber. Should they ever outstay their welcome in the home, their owners can simply plant them in soil and watch ’em sprout.

Buy local

0

› lit@sfbg.com

WISH LIST There are two kinds of gift books: the coffee-table book and the bathroom book. One has the cool cover and arty pics for people to gasp over at parties. The other has teeny bits of content that you zip through while transacting your effluvia. Of course, rents in San Francisco being what they are, for many the toilet now doubles as the coffee table. We don’t judge. In any case, here are five new books from Bay Area authors and publishers that will make your friends feel sophisticated and brilliant.

Thea Hillman’s supercharged For Lack of a Better Word (Suspect Thoughts Press, 192 pages, $16.95 paper) is definitely more bathroom (or purse) than coffee-table reading, with lots of short, provocative essays. But it’s also a book your friends would be proud to have on display. Partly a memoir of Hillman’s child- and adulthood with a hormonal imbalance and the painful process of coming to identify as intersex, For Lack is also about Hillman’s evolving relationships: with the queer community, her lovers, and her mom. In Hillman’s world, the surer you become about who you are, the more vulnerable you get.

Instant City 5 (102 pages, $8 paper) straddles the privy–coffee table divide pretty handily, thanks to its gorgeous cover and interior art and some razor-sharp short fiction and essays. The literary journal’s focus is San Francisco, and the latest installment takes crime as its theme. So Stephen Elliott muses (in a fetish club) on the burglars he knew as a kid, and Sona Avakian explores how a husband’s illicit cigarette can turn into an affair with a snake woman. Morbid Curiosity czar Loren Rhoads leads readers on a tour of San Francisco crime scenes, and Richard J. Martin teaches the Fisherman’s Wharf hustle.

Another brilliant hybrid is Taking Things Seriously: 75 Objects with Unexpected Significance (Princeton Architectural Press, 176 pages, $17.50 paper). Edited by Joshua Glenn and Carol Hayes and featuring several Bay Area contributors, Things is chock-full of gorgeous color illustrations, but the text is equally illuminating. Each miniessay details the writer’s love affair (often tortured) with a particular object, and the fact that it’s frequently a piece of mass-produced crap doesn’t lessen the revelatory power of this compulsive read.

Edited by Michelle Tea, the anthology It’s So You: 35 Women Write about Personal Expression Through Fashion and Style (Seal Press, 300 pages, $15.95 paper) is in a similar vein, its contributors sharing anxieties about having the "right" clothes, being taken seriously, sending "a message." The collection would be worth picking up just for the brilliant neuroses of Beth Lisick and Jennifer Blowdryer. But you also get Samara Halperin’s tragically failed attempt to fit in by wearing an Izod shirt and Ali Liebegott’s doomed romance with a pair of slippers. Plus, there are comics and cutout dolls. And wherever your giftee puts this book, people will linger over it, laughing as they identify with the sartorial traumas detailed.

Finally, your friends will probably want to put local science fiction hero Rudy Rucker’s Postsingular (Tor Books, 320 pages, $25.95) on public display — it’ll make them look smart — but they’ll end up reading it while curled into a little ball on the bathroom floor at 3 a.m. anyway. It’s fast-paced and subversive: nanomachines dismantle all life on Earth and send everyone to a virtual world, and you’re still only on page 20. Postsingular turns the singularity, the mythical moment when we all transcend our humanity and become cyberer, into something much weirder and more ambivalent. Just as other cyberfiction is becoming more cautious in its predictions, Rucker takes wilder and wilder leaps into outer possibility.

Talk talk

0

› a&eletters@sfbg.com

"I don’t like things that are about what they are."

The title character of Hannah Takes the Stairs says this to a coworker. The quip, though, constitutes something of a wink from the film’s director, Joe Swanberg, a leading light of a group of loose-knit DIY filmmakers regrettably known by the mumblecore moniker. That label is regrettable because it’s the kind of arch categorization that begets overbroad criticisms, chief among them the charge of navel-gazing, though in this film’s case the protagonist beats the critics to the punch.

Such flashes of self-awareness are essential for Hannah Takes the Stairs, a film that, it must be said, spends an awful lot of time attending characters who don’t have much to say. Chicago’s Swanberg is one of the most productive (with three features to his credit at age 26) and formally restless of the mumblecore set, and while Hannah isn’t quite so wracking as his other movies (LOL, Kissing on the Mouth), it seems more encompassing than its ilk. Fellow mumblecore directors Andrew Bujalski (Funny Ha-Ha, Mutual Appreciation) and Mark Duplass (The Puffy Chair) costar, and the screenplay is credited to all of the involved parties, with improvisation and riffing being de rigueur for Swanberg’s sticky dialogue.

The participants confirm what is abundantly obvious from the substance of the film. Hannah incorporates all of the trademarks of this pseudomovement, including characterization (diffident postcollegiate bumblers), theme (shrugging through love and work), style (what critic J. Hoberman aptly — if harshly — described as the intersection of The Real World, Seinfeld, and The Blair Witch Project), pacing (constant streams of smoke-screen talk), and tone (not funny ha-ha). And yet the film reminds me in some ways of those Woody Allen made in the late ’70s (Manhattan especially), the ones that walk and talk like the New York nebbish comedies you expect but that in later viewings are heavier and more downbeat than you remember.

So perhaps when Hannah refers to her "chronic dissatisfaction," she betrays something about the roiling sensibilities at work here. The character, played by the sharp-eyed Greta Gerwig, moves through three hopelessly underrealized relationships during the course of the film: the first with Mike (Duplass), an unemployed scruffster, the next with Paul (Bujalski), an unnerving coworker, and the last with Matt (Kent Osborne), her other coworker. She floats through these relationships errantly, unreliable in love and crumpled without it. The narrative’s tumble makes the breakups indistinguishable from the romances — surely part of the point of Swanberg’s compressed (85 minutes) triptych.

The film does not offer a detailed interior portrait of its heroine, but it draws a clear enough map of her face and her fate to make for some well-pitched situational comedy. The humor is in the ingenious physical framings of the various love triangles (Jules and Jim is a frequent reference point for these films), the way characters interact with certain basic props for counterpoint (Hannah crunches on ice cubes through the first breakup), and the steady stitch of repeated scenes, deployed to underscore something like exhaustion.

The episodic narration will rankle some, as will certain schoolboy poses. Swanberg has already received flak for certain smug touches in Hannah, such as a childlike papier-mâché credits sequence. I’m as allergic to indie earnestness as the next, but I think Swanberg, while of that school, is too critical to give it a free pass. During their courtship, Hannah and Paul have a heartfelt conversation through a Slinky: typical cutesiness, except that in context it signals the characters’ real inability to communicate.

And then there are the bodies. It’s hard to accuse Swanberg of sentimentality when he casts his actors’ forms in such harsh light. Coming of age is more often conveyed with exuberance than pale flesh, yet in this the director is resolute (and the nudity is refreshingly egalitarian). I was taken with Bujalski’s soulful rendering of threadbare living quarters in Mutual Appreciation, but Swanberg’s unsparing lens cuts closer to the bone.

Needless to say, then, that Hannah Takes the Stairs isn’t eager to indulge its characters, and it certainly doesn’t present them with convenient outs. Swanberg’s warts-and-all approach may not be for everyone, but it’s an important redress of Knocked Up‘s mismatched fantasy. These kids are all right, even when they’re not. *

HANNAH TAKES THE STAIRS

Thurs/29–Mon/3

See Rep Clock for showtimes

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

Feed our students well

0

› news@sfbg.com

GREEN CITY Not long ago a green vegetable was a rare and startling sight on a lunch tray at a San Francisco school. Carnival-style food was the standard, with corn dogs as a regular entrée, packaged apple turnovers as the "fruit" course, and fried potatoes as the staple vegetable.

School lunches have come a long way since 2003, when San Francisco Unified School District parent volunteers, staff, students, public health professionals, and other community supporters joined together to begin creating the school district’s Wellness Policy. Lunches are fresher, tastier, healthier, and leaner, and the SFUSD’s "no empty calories" policy has been a role model in the nationwide effort to improve school food.

But even after all of those changes, a high school group recently surveyed more than 2,000 of their peers and learned that students still complain that school food doesn’t taste fresh and costs too much, and some question how nutritious it is.

So a growing movement argues it’s time to take the next step: the greening of school meals. Surely a food-savvy, health-conscious, environmentally aware city like San Francisco, which is located in one of the world’s most fertile agricultural regions, should be feeding its kids fresh, local organic produce at every meal.

But there’s an obstacle, and it’s green too. Government reimbursement for a free school lunch is just $2.71, nearly half of which goes to pay for labor. Other fixed overhead eats up another large chunk, leaving just about $1 to pay for the meal itself, including 34¢ for the required milk.

No wonder it’s hard to respond to requests for fresher, healthier food and more of it. New salad bars placed in three schools as part of a pilot program address these concerns, offering students mixed greens and raw vegetables, several kinds of fresh fruit, and whole grain breads and muffins, in addition to the hot entrée. When the first salad bar was created last year at Balboa High School, the average number of students eating its cafeteria lunch every day increased 26 percent, with virtually all of the new diners low-income students.

But that $1 per meal won’t cover a salad bar at every school, which is the SFUSD’s goal. The cost of just the equipment for a salad bar — the bar itself, added refrigeration and sinks, a couple more tables — can run more than $10,000 per school, depending on how much work needs to be done to reconfigure the lunch line. Organic produce drives the meal cost higher too.

Unfortunately, the SFUSD doesn’t have that money. Because it’s currently left to the school district to provide meals, the SFUSD must require that the Student Nutrition Department budget break even or else cut into classroom funds to cover the deficit.

The good news is that thanks to grants from the Department of Children, Youth and Their Families and Mayor Gavin Newsom, salad bars are being started in 25 SFUSD schools this year, stocked with seasonal, local produce. Still, despite this additional funding, only about 25 percent of district students will have access to the salad bars. Social justice demands that every student have equal access to a healthier school meal.

Most city officials and the greater community probably aren’t even aware of the situation. It’s time to put the need to feed our children adequately on the radar of the whole community and ask officials to step in with funding to ensure that our children can eat well without sacrificing classroom resources to cover the cost of their food. The Public Education Enrichment Fund, better known as Proposition H, provides a growing pot of city money aimed at improving the schools, and part of it could be used to fund the opening of more salad bars, so more school kids can enjoy the benefits of fresh produce and whole grains.

Providing the money to put salad bars in every school would pay off in healthier kids and related positive effects. Better nutrition is linked with higher academic achievement, improved behavior, and other benefits.

Let’s become a city that commits to teaching our children well, feeding them well, and promoting a greener food system. *

Paula Jones and Caroline Grannan are members of the SFUSD Student Nutrition and Physical Activity Committee.

Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.

Sonic Reducer Overage: yuletide sensory overload starts now…

0

cafesml.bmp
A cuppa Cafe Tacuba.

It’s the most insane time of the year – but why not stop and, er, smell the big sweaty rock bands coming through town. I kid because I love the way the next week looks: so busy and full of intriguing sounds.

CAFE TACUBA
Whoa, if there was a more shockingly inventive, stylistically agile, and altogether impressive LP this year, I can’t think of it. Sino (Universal) may translate as “But Instead,” but there was no stopping the range of pop styles coursing through this musically multilingual recording en esponol as the Mexican rock vets decided to start dreaming in epic U2-y radio rock textures, Beach Boys-style Cali-choir harmonies, and grand Nascimento-esque overtures.
With Bengala. Wed/28, 8 p.m., $36.50-$49.50. Warfield, 982 Market, SF. (415) 775-7722.

FAUN FABLES
The SF medieval proggists join Gong/Soft Machine vet Daevid Allen for a certain unquantifiable magik.
With Daevid Allen and Wymond and his Spirit Children. Wed/28, 9 p.m., $10. Café du Nord, 2170 Market, SF. (415) 861-5016.

youssou.jpg

YOUSSOU N’DOUR
The Senegalese master surges beyond the traditional music of his homeland with his hybrid, Rokku Mi Rokka (Nonesuch).
Fri/30, 8 p.m., $25-$75. Masonic Center, 1111 California, SF. (866) 920-JAZZ.

Fall for the Soulsavers

0

By Todd Lavoie

It’s Not How Far You Fall, It’s the Way You Land
– a dead-on appropriate proclamation, indeed, for Britain’s pre-eminent emissaries of unsettled downtempo electro-soul and whiskey-and-gin street corner spirituality, Soulsavers, whose breakthrough Red Ink/Columbia release glows like divine inspiration wafting out of the darkest gutter. Consider the title a riff on the whole “it’s not the journey, it’s the destination” mantra – only in this case, the daily affirmation comes from a rough-and-ragged 12-step program that says failure is inevitable but redemption is possible. Redemption with style – ah, even better.

And what style it is. Producers-electronic wizards-consummate tastemakers Rich Machin and Ian Glover cook up languid rhythms, rawboned organ arrangements, and ominous string samples – along with bringing in some evocative lap-steel guitar and weepy six-string twang from session musicians – to create brooding, occasionally post-apocalyptic soundscapes that could speak plenty of lurid truths all by themselves, as evidenced on their mostly instrumental debut, 2003’s Tough Guys Don’t Dance (San Quentin). The recipe’s been improved on their latest, thanks to the lead-vocal contributions of Will Oldham, Jimi Goodwin (Doves), and – the greatest coup of all – the gravel-wrapped-in-velvet baritone Mark Lanegan, whose eight contributions inform the album’s duality of forbidding menace and soothing sanctity.

Even better, they’ve upped the ante with the addition of gospel heroics from backing vocalists Wendy Rose and Lena Palmer – perhaps best known for setting fires behind Nick Cave and The Bad Seeds on their last album and tour. The result is a potent futuristic-gospel – witness opener “Revival,” a thundering transmission from the River of Jordan, Lanegan leading Rose and Palmer in a tearful baptism while the flames rise around them. Cover-lovers, begin your rejoicing: Lanegan’s and Oldham’s duet on Neil Young’s “Through My Sails” is pure lip-biting heartbreak. Soulsavers, you’ve made a believer out of me.

Soulsavers, with Mark Lanegan, appear Saturday, Dec. 1, 9 p.m., at the Independent, 628 Divisadero, SF. Great Northern opens. $18. (415) 771-1422.

Slow down the Laguna project

0

EDITORIAL The 440-unit housing development slated for the Laguna Street site of the old UC Berkeley Extension campus is suddenly on the fast track. The Planning Department has calendared a vote on the project for Dec. 20 in what appears to be a desperate effort to get it approved before the end of the year. That may be in the interests of developer A.F. Evans, but it’s not in the interests of San Francisco, and the commissioners should be in no rush to go along.

This isn’t a typical commercial project: the land has been in the public sector for a century and has always been used for public projects. Until the 1950s it was home to San Francisco State University, and it became a UC campus in 1958. Turning public land over for private use should raise alarms anywhere, and in the middle of a dense city, where public land is scarce and affordable housing desperately needed, those alarms ought to be ringing loud and long.

In this case Evans has done a brilliant bit of political maneuvering: the market-rate housing project is paired with an 80-unit development that will be designed as retirement housing for queer seniors. That’s clearly something the city needs, and that aspect of the plan has won widespread support — and helped divert or eliminate opposition to the overall project.

But there are real issues here. For one thing, Evans plans to tear down two historic buildings (while saving three others). That was a compromise the Board of Supervisors accepted in August, but we still find it dubious. We also find dubious the notion that the developer will create public space by reopening a section of Waller Street — a public thoroughfare — that was part of the old campus.

The biggest problem, however, is the lack of affordable housing. Evans is planning to make 20 percent of the units available below market rate — but that’s a fairly small number considering that this is public land. Remember: at that ratio only 16 of the queer retirement apartments will be available to anyone who isn’t wealthy. While we agree that queer seniors of all income levels need this style of housing, which will feature community amenities and on-site services for the aging, 16 lower-cost units hardly seems like enough of a benefit to justify shifting 5.4 acres of public property into a private project. "How can the queer community settle for this, in San Francisco of all places?" queer housing activist Tommi Avicolli Mecca asks. "I think that we can do much better."

Evans is in a rush — and thus the Mayor’s Office and the City Planning Department are in a rush — because the developer’s contract with the university expires if the project isn’t approved by Jan. 1, 2008. Almost everyone involved agrees that the UC and Evans can easily reach terms on an extension, so there’s no real threat here. But it doesn’t matter — that’s not the city’s problem. San Francisco has a responsibility to ensure that big new projects serve the public interest; the developer’s deadline doesn’t trump that.

Sup. Ross Mirkarimi is asking that the affordable-housing component be increased to around 40 percent. That may take a little work: the UC, which wants to make as much money as possible off this, is charging Evans a stiff fee for the land. But with the proper pressure, including pressure on the UC from Assemblymember Mark Leno and state senator Carole Migden, a much higher ratio of low-cost housing ought to be possible.

It’s too early to approve what’s still a bad deal. The planning commissioners should turn it down, and if they don’t, the supervisors should demand more from Evans before allowing the property to go from public to private use. *

Fetus frenzy

0

› culture@sfbg.com

If you live in San Francisco and are in possession of a conventional vagina, you are most likely pregnant. And if you’re not pregnant, you’re either anxious to become so or have just pinched out a baby and are looking toward closing the deal on numbers two and three before you hit 40. If none of the above applies, I, a new mother myself, give you permission to ignore that self-righteous pregnant bitch eyeing your Muni seat and openly admit the following: SF was edgier when it was just a bunch of wayward freaks in crotchless ass pants.

Now, thanks to a surge in results-oriented fucking among the white, heterosexual ruling class, this city has become overrun with decaf-latte-sipping, thousand-dollar-stroller-pushing, CFO–Noe Valley–ish, overly together supermoms who will tear you multiple assholes if you even think about stepping near their two-legged petri dish specimens. One might be tempted to label this phenomenon a baby boom. That assumption, however, is incorrect. What we are witnessing in San Francisco — and everywhere else inhabited by Gen Xers with money — is a parent boom.

In the past, parents were simply identified as people who raised children. That era, which lasted roughly 200,000 years, has ended. Parents now practice the rarified art of parenting. Parents who parent must adopt a specific parenting style — one that’s far more complex than a hairstyle and infinitely more expensive. Parenting requires ongoing investment in sleep and breast-feeding consultants, childproofing contractors, European-designed gear, six-week courses, endless manuals and magazines, and, depending on one’s sacred style, couture bedding and nursery decor that can run well over five grand. This is quite a change of direction for Generation X, to which I belong, whose members were blacking out in Cow Hollow bars and smoking out of two-foot Mission District bongs throughout the ’90s. But my generation’s escapist persona — equal parts political indifference, obsessive consumerism, hedonistic self-absorption, and Diff’rent Strokes references — did not abate or even truly evolve when we threw the birth control in the trash. It only found new life, literally.

We, the latchkey slackers who postponed being parents until our ovaries wept, are acutely aware that whatever decisions we make regarding our children are direct reflections of ourselves. It is therefore imperative to properly accessorize one’s child; only by doing so can one ensure the child is a better accessory. The right stroller, carrier, preschool waiting list, parenting philosophy, and even diaper — all denote much more than any sensible person would care to know.

THE BABY GAP


Oh, wait. I forgot to mention the babies: it appears there are many of them. Commercial sidewalks in Noe Valley, Cole Valley, Hayes Valley, and beyond buzz with kitten-eyed freshies sucking the rubberized life out of pacifiers, frazzled mommies in yoga pants and camel toes pushing behemoth, double-wide prams, nannies chatting on cell phones while small barbarians stick organic Cheerios up their noses. Top preschools are waitlisted for several years. Babysitters are harder to find than a pimple on a newborn’s butt. Is it good for San Francisco’s soul that kiddie boutiques outnumber bondage shops and Polk Street glory holes? It’s an epidemic, cry my nonparent friends, some of whom have been accosted by pompous moms and dads for accidentally bumping into strollers or smoking on the street. Ever think of denying an All-Important Holy Mother with Child your seat on the 1 California? Want to be knifed by a stay-at-home mom from precious Laurel Heights?

Funny thing is, the evidence of a baby boom is largely anecdotal. Statistics paint a very different picture. A disturbing March 2006 report by Coleman Advocates for Children and Youth, "Families Struggle to Stay: Why Families Are Leaving San Francisco and What Can Be Done," reveals that we have the lowest child population of any American city. And of San Francisco’s 100,000 children, most reside in the city’s poorest districts — including traditionally working-class neighborhoods that are becoming increasingly chic. Coleman Advocates also estimates that 39,000 families with children are in need of affordable housing.

"The issue is not if there is a baby boom trend in San Francisco," Coleman Advocates’ Ingrid Gonzales e-mailed me. "The real issue is whether these [lower-income] families stay or are eventually pushed out of San Francisco because of a lack of affordable family housing or access to a quality public school education. Stats show that families leave when their children reach kindergarten age. Coleman Advocates and our families say that this is not OK — families should have a right to stay in the city they call home."

Somehow I doubt the parents buying the $1,890 Cabine infant dresser at Giggle on Chestnut Street are too worried about making rent. In fact, a May article in the New York Times reports that San Francisco is second only to Manhattan in toddlers born to wealthy white families, defined as those that pull in an average of $150,763 per year. And consider this Coleman Advocates finding: there was a 45 percent drop in the number of black families with children in San Francisco from 1990 to 2000, while around the same time 90 percent of the people moving into the city did not have children and — surprise, surprise — were mostly rich and white. This development pretty much paralleled the period of the dot-com boom. At the risk of making light of an alarming situation, is it safe to posit that the dot-com bust inspired semiemployed white professionals to buy a lot of lube?

CLASH OF THE CODDLERS


So what creates this illusion of a baby boom? Probably an uptick in showy, hyperactive parenting. Weekends at Children’s Playground in Golden Gate Park provide insight into the phenomenon. There parents can be found earnestly — one might even say aggressively — parenting. They really put their all into it ("it" being what our parents haphazardly did with us) as they push their bewildered offspring in swings, making sure to "Wheee!" with more enthusiasm than a redneck at a NASCAR rally — an apt metaphor, because this brand of parenting is a competitive sport. "How old is she? Is she standing on her own? Can she walk yet? Does she speak French, and can she crap in the can?" someone always wants to know, hungrily eyeing your baby as if she were a delicious wild Alaskan king salmon fillet.

But blessed be, developmental superiority is not the only way to make other parents feel like shit. Fleets of luxury Dutch strollers are parked around the playground’s grassy knolls, each exceeding my share of rent by $300. I’ve seen nannies pull toys from Coach and Louis Vuitton diaper bags, kids scale the jungle gym dressed in Little Marc coats, white babies in $40 organic cotton T-shirts emblazoned with a grossly ironic image of a black woman’s face.

This excess of money breeds paranoia. Even on the warmest days, Caitlin-Courtney-Penelope-Emily-Aurelia-Shiloh-Mackenzie can be observed crawling in the playground’s cool sand, fully dressed in the very best of Zutano’s and Petit Bateau’s wide-brim hats, thick socks and booties, long-sleeve shirts, and pants in order to prevent the wretched elements, formerly known as blue sky and sunshine, from attacking the child’s not-so-invisible bubble. And rest assured, many of the playground’s nannies — almost entirely middle-aged mothers and grandmothers of color — have been fingerprinted and subjected to invasive criminal background checks. Long gone are the days when parents hired any ol’ teenage stoner to watch their kids.

LAVISH AND LACK


I feel embarrassed to be here, I often think. Because I know I’m part of the problem. I didn’t come to San Francisco for the money — I was born here and spent most of my childhood in that new epicenter of ultraparenting, Noe Valley — and I don’t have a nursery, a full-size kitchen, or even a hallway in my shared one-bedroom Sunset apartment. (This is not a "poor me" moment; my lifestyle is a choice.) But I did spend $300 on a labor and newborn preparation course, during which I suffered video after video of goopy babies cannonballing forth from untamed bush. I paid a woman $200 to teach me how to breast-feed and another $50 to join a local e-mail list through which upper-crust women seek help in finding dinner party entertainment for hire and live-in au pairs. I can cite Halle Berry’s prenatal test results but no statistics from the war in Iraq. I have secretly chuckled at ugly babies. I have wanted to know if your baby can stand alone yet and why she’s so much smaller than mine. I’ve purchased nearly 20 books on pregnancy, breast-feeding, natural birth, cosleeping, infant health, starting solids, potty training, how to stay hot, and how to fix my gut.

Pediatric records indicate I was not reared by wild dogs, yet I can’t figure out how to assume the most primal of all roles — motherhood — without hitting the ATM.

In her 2007 manifesto against the $20 billion baby-to-toddler industry and the disastrous effects it has on our children, Buy, Buy Baby (Houghton Mifflin) author Susan Gregory Thomas credits Gen X’s overspending and unhealthy micromanaging to the way in which we, the products of broken homes and TVs as babysitters, were raised: "The commercialization and neglect of young people results not only in fears of abandonment and bank-breaking shopping habits in adulthood to fill the void but also in a deep, neurotic sense of attachment to, and protection of, one’s own children and home."

Gregory Thomas’s assessment strikes me as painfully true and spurs the question: what kind of people will our babies become? Will they, as older children and adults, invariably expect and demand the best, no matter the appropriateness of the circumstance? Will they be terrified of public schools and public transportation and — worse — people with a different color skin? How will they ever travel abroad, and will they condescend to people who have less? Surely the parents who buy their baby the $1,700 Moderne crib intend only to give their child the finest they can offer. Every child is worthy of that grand intention. Yet, as my friend and mother-mentor Billee Sharp pointed out, the more extravagant the gifts, the harder the parents must work to provide them, resulting in less time spent with their kids. Lavishness, in this sense, becomes empty compensation for a shortage of available love.

IT TAKES AN INTERNET?


Being a new parent is much harder than it seems. If we’re overcompensating, it’s largely because we don’t know what else to do. If it takes a village to raise a child, what happens when all you have is DSL? During my pregnancy and the first three months of my daughter’s life, my husband and I lived in relative isolation in Brooklyn, away from family and a network of close friends that could offer knowledge and day-to-day help. The books, the classes, and the breast-feeding consultant filled the gaps that real support would have provided. (I certainly had two boobs but no idea where to put them: In the baby’s mouth? Are you serious?) In the absence of genuine community, we follow the only guidelines available to us and do the best we can manage. While nothing is less appealing to me than having to be someone’s friend simply because we both piss our pants when we sneeze, artificially constructed social networks like mommy groups, daddy groups, play groups, and Yahoo e-mail groups fulfill a real need for disconnected urbanites whose families typically reside thousands of miles away.

Learning to be a parent without geographic and strong emotional links to our families, then, becomes a complicated process of untangling the skein of too much information. From the moment a woman discovers she is pregnant, she and her partner are encouraged to believe they are totally, utterly retarded when it comes to being parents. The reality-TV experts, the how-to books, the product-driven Web sites and magazines cater to a deep, unrelenting distrust of ourselves, and they have the tragic effect of obliterating whatever parenting intuition and knowledge that we, as living creatures, already have in our DNA.

My path to reclaiming motherhood began with an injured wrist. Everything I had read warned that I would roll over my child and kill her if we slept together in one bed. To prevent this tragedy, my husband and I bought a sleigh bed attachment for our bed that kept me at least a foot away from my child. Each night that I listened to her breathe without being able hold her brought an agony so intense that I became profoundly depressed. I was desperate to pull her close to my body, like every mammal mother does, like our ancestors did long before they stopped growing pubic hair on their backs. In my longing to be nearer to my child, I contorted my left wrist under my head as I slept, perhaps to stop my murderous hands from accidentally touching the person I love most. With my wrist in a splint and steroid shots in my hand, I sobbed to my mother over the phone, "I can sleep with my cats, but why not with my own child?"

The night I brought my daughter into bed marked the beginning of my departure from the fear-and-product-based mommy mainstream. Within weeks a friend turned me on to the instinctive-parenting ideas put forth in Jean Liedloff’s The Continuum Concept (Addison Wesley, 1986), a fascinating book that details the author’s travels to Venezuela, where she studied the parenting methods of the indigenous Yequana Indians, who, remarkably, have never considered shopping for child-rearing clues on Babycenter.com. Admittedly, my and my husband’s current touchy-feely, indigenous-inspired style is a little fringe lunatic, and, as Gregory Thomas might suggest, it’s probably no coincidence that we both come from broken homes. But life-changing insights that require no investment in stylish baby gear are available to us. We only have to be willing to look.

BEYOND THE BUBBLE


One of the most affecting messages I have received about the depth of real parental love came to me in the form of a damp newspaper abandoned on the subway in New York City. Elizabeth Fitzsimons’s essay "My First Lesson in Motherhood," published in the New York Times Modern Love section this Mother’s Day, chronicles the journalist’s trip to China, where she and her husband picked up their adopted infant daughter, who, it turned out, had debilitating health defects. Fitzsimons was warned that her daughter might have Down’s syndrome, might never walk, and will likely be tethered to a colostomy bag for the rest of her life. "I knew this was my test," Fitzsimons writes, "my life’s worth distilled into a moment. I was shaking my head ‘No’ before [the doctors] finished explaining. We didn’t want another baby, I told them. We wanted our baby, the one sleeping right over there. ‘She’s our daughter,’ I said. ‘We love her.’ "

Fitzsimons’s fierce, truly unconditional love for a child she did not create becomes even more striking when contextualized in these fertility and pregnancy-obsessed times. We all want our children to be healthy, to outlive us, to be content, and to exist in a safe, peaceful world. These desires are pretty basic. Clearly, though, there’s a worrisome glitch in the parent boom trend: it has nothing to do with the well-being of children who are biologically not ours. This newfound love for babies is entirely insular, concerned only with one’s genetic family, one’s own perfect, beautiful, well-fed, well-dressed child. Look inside a pregnancy or parenting magazine and you will find that most lack any semblance of social perspective as they offer tired takes on recycled, useless information: "How to lose the baby weight in three days!" "Ten tips for getting back the magic in the bed!"

But the truth is that while middle-class women squabble about whether to breast-feed or bottle-feed, 39,000 families with children in this city are in dire need of affordable homes. For every day we bicker over stay-at-home moms versus mothers who work full-time, four children in this country will die from abuse or neglect, and eight more will be killed at the hand of someone operating a gun, according to Children’s Defense Fund statistics.

The self-centeredness of Gen X parents manifests as blindness to these sad realities, and here I indict myself again. Why do I only act on behalf of my child when I have the means to do something that could help other, less fortunate children? Maybe the answer is too painful to consider. Maybe I’d rather shop for a new sling instead. *

All about Bob

0

› cheryl@sfbg.com

It’s not that I’m anti–Bob Dylan. I’ve just never been a fan in particular. I’m too young or too fond of metal or too shallow or some combination of the three. But I found I’m Not There — Todd Haynes’s sorta biopic of the icon — entirely fascinating. By now you’ve heard the pitch: six actors (Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger, and Ben Whishaw) play facets of Dylan without actually playing Dylan, though Bale and Blanchett come dangerously close. The movie begins with the death of this nebulous character, identifiable only by his distinctive mop of dark curls, and a somber narrator informing us, "Even the ghost was more than one person." And I’m Not There is nearly more than one movie, with different film stocks, casts, tones, and styles deftly stitched together by Dylan’s music (performed, appropriately enough, by an array of artists).

Perhaps you didn’t realize that one of Dylan’s personae is an African American boy (Franklin) obsessed with boxcars, guitars, and Woody Guthrie. Strangers are drawn to this nostalgic little soul, including a kindly woman who feeds him before sternly advising him to "live your own time." This sweet tale, filmed in warm hues with touches of magical realism, is a more abstract reading of Dylan — unlike the story of Jack Rollins (Bale), which is told documentary-style and features Julianne Moore as a Joan Baez clone reminiscing about Jack’s impact on the 1960s Greenwich Village folk scene. He was a visionary, using traditional folk stylings to comment on contemporary concerns. His life becomes intertwined with the showbiz fate of Robbie Clark (Ledger), a James Dean–ish young actor whose starring role in a Jack Rollins biopic catapults him to stardom.

After a freewheeling courtship — with montage-spun happiness undermined by televisions constantly broadcasting the Vietnam War — Robbie marries Claire (Charlotte Gainsbourg), who later leaves him when fame and ego turn him into something of an asshole. But aside from big-head syndrome, Robbie’s worst offense is saying that women can’t be poets. The sins of Jude (Cate Blanchett) are far dirtier, and it’s no coincidence that Jude’s saga — a black-and-white British tour from hell, with snooty reporters and drug-enhanced moments of surreality — is I’m Not There‘s most magnetic segment.

Sexy androgyne Blanchett’s probably got her next Supporting Actress win sewn up with this one, or she should. Her performance is the heart of the movie — snarling, weary, uncanny, and able to make David Cross’s hairy cameo as Allen Ginsberg seem totally logical. Don’t Look Back would be the most obvious frame of reference here, but Haynes is less interested in Dylan’s performances or fans than his inner conflicts. It’s hard to sing about the oppressed when you are rich, famous, and beloved. It’s hard to keep your head on your shoulders when everyone views you as the voice of a generation. It’s hard to be patient when the Man (Bruce Greenwood — OK, his character has a name, but he’s the Man nonetheless) digs into your past, unable to beat you in a war of words but smugly proud of finding dirt that cracks your cooler-than-thou armor. Whoa, you mean his name isn’t really Bob Dylan?

Less compelling are a pair of shorter segments — Whishaw as Arthur (as in Rimbaud), who pops up occasionally to drop science via actual Dylan quotes, and Gere as Billy the Kid, a retired outlaw in hiding whose Halloween-obsessed hometown appears art-directed by Tim Burton. As in other chapters, there are surely nuances that sailed past me but that Dylan obsessives will seize on. Thankfully not represented are Dylan’s less-interesting years — the Victoria’s Secret pitchman era, for example.

As a rock doc–slash–biopic, I’m Not There is proof that the best rendering of a legend isn’t necessarily done with straight, tidy lines. I may not have been a huge Dylan fan before I’m Not There, but I was a Haynes fan. With this, his most ambitious work to date, the director’s affection for re-creating the past finds its match in his innovative dissection of a complex artist’s soul. *

I’M NOT THERE

Opens Wed/21 in Bay Area theaters

See Movie Clock at www.sfbg.com

www.imnotthere-movie.com“>www.imnotthere-movie.com”>www.sfbg.com

www.imnotthere-movie.com

Rip, role-play, and burn

0

Jeanne D’Arc

(Sony, PSP)

GAMER I had the fortune of winning a PSP in a contest a few weeks ago, and in my hunt for an inaugural game for the system, I spotted Jeanne D’Arc on a shelf in a local toy store. Because the cover sports an awesome girl with a sword and because no one does medieval European history like the Japanese, I picked it up.

Jeanne D’Arc is historical fantasy with a plot that seems a little too familiar. The Level-5-developed title has a lot of the elements of your average Japanese role-playing game: a heroine whose home is put to the torch by agents of a diabolical figure (in this case Henry VI of England) under the influence of a demon summoned by the real villain, who is a sorcerer. Jeanne and her childhood friends set off to fight back, spurred by Jeanne’s discovery of a magical, demon-vanquishing armlet. They are accompanied by a cute animal companion, required in all Japanese RPGs: a giant purple toad. The rough placement of the story within the framework of a well-known legend is what rescues the plot from being completely pedestrian.

The game, a tactical strategy RPG in the style of Final Fantasy Tactics with few deviations from the formula, has a map of locations through which the player travels. Most of them have battles, though some also have shops and plot-revealing cut scenes. On entering a battle, the player chooses various characters with different abilities and arranges them on a large grid. The player and the computer take turns moving all of their characters and making them attack or use an item in their inventory. Think of a chess game in which all of the pieces have big swords and bigger hair. Jeanne D’Arc adds a few little power-ups — such as squares where your attacks have a greater impact — but these don’t affect game play much.

One thing I really liked about the game is that each character has a backstory. You aren’t controlling a bunch of nameless soldiers. Your characters are also fairly customizable. Usually each character in an RPG is locked into a career path for the benefit of the story, and usually the healer is a demure woman. This irks me. Jeanne D’Arc let me create a butch male healer who swoops to the rescue whenever one of my little chess pieces is hurting.

Jeanne D’Arc is nothing new, but it’s fun, and the development of the minor characters involves the player in a way that’s refreshing for a tactical RPG. The quality of the graphics and sound are exceptional for a handheld game; I found myself humming the fight tune in the shower, so I guess the music’s more memorable than most. That said, if the narrative keeps following history, it’s going to be a bummer to see a character I’ve developed for 40 hours get burned at the stake at the end. Oh well.