Style

Summer 2007 fairs and festivals guide

0

ONGOING

ArtSFest Various venues; www.artsfestsf.org. For its fourth year, ArtSFest presents a showcase of theater, dance, visual art, film, music, spoken word, and more. Through May 28.

Night Market Ferry Bldg Marketplace, along the Embarcadero at the foot of Market; 693-0996, www.ferrybuildingmarketplace.com. Thurs, 4-8pm, through Oct 26. Marketplace merchants and farmers offer their freshest artisan foods and produce at this weekly sunset event.

United States of Asian America Arts Festival Various venues; 864-4120, www.apiculturalcenter.org. Through June 30. This festival, presented by the Asian Pacific Islander Cultural Center, showcases Asian Pacific Islander dance, music, visual art, theater, and multidisciplinary performance ensembles at many San Francisco venues.

Yerba Buena Gardens Festival Yerba Buena Gardens, Third St at Mission; 543-1718, www.ybgf.org. Through Oct, free. Nearly 100 artistic and cultural events for all ages takes place at the gardens this summer including Moroccan percussionists, Hawaiian ukulele players, Yiddish klezmer violinists, Balinese dancers, Shakespearean actors, Cuban musicians, and Japanese shakuhachi players.

BAY AREA

Silicon Valley Open Studios www.svos.org. Sat-Sun, 11am-5pm, through May 20. Check out Silicon Valley artists’ works and the spaces they use to create them at this community art program.

MAY 8–20

The Hip-Hop Theater Festival: Bay Area 2007 Various venues; www.youthspeaks.org. Youth Speaks, La Peña Cultural Center, the Hip-Hop Theater Festival, and San Francisco International Arts Festival present this showcase of new theater works that feature break dancing, MCing, graffiti, spoken word, and DJ sampling.

MAY 10-20

Mission Creek Music and Arts Festival Various venues; www.mcmf.org. The Mission Creek Music and Arts Festival features the best and brightest independent musicians and artists, including music by Vincent Gallo, Acid Mothers Temple, Edith Frost, and Gary Higgins. Literary and film events are also planned.

MAY 12

KFOG KaBoom! Piers 30-32; 817-KFOG, www.kfog.com. 4-10pm, free. Kick off the summer with this popular event featuring music, a spectacular fireworks show, food and drinks, and activities for kids. Kenny Wayne Shepherd, Guster, and Ozomatli perform.

BAY AREA

Arlen Ness Motorcycles Anniversary Party Arlen Ness, 6050 Dublin, Dublin; (925) 479-6300, www.arlenness.com. 10am-4:30pm, free. Celebrate the company’s fourth year in Dublin and 37th year in business with a display of the largest selection of Ness, Victory, American Iron Horse, and Big Dog Motorcycles in California, a walk through the museum, and a live music from Journey tribute band Evolution.

Beltane Pagan Festival Civic Center Park, 2151 MLK Jr. Way, Berk; www.thepaganalliance.org.10am-5:30pm, free. This year’s festival focuses on children and young adults and features a procession, performances, vendors, storytelling, an authors’ circle, and information booths.

Peralta in Bloom Spring Festival Carter Middle School, 4521 Webster, Oakl; (510) 655-1502, www.peraltaschool.org. Due to a fire, Peralta’s spring festival will be held at a temporary home this year. Expect the same great live entertainment, carnival games, old-fashioned high-steppin’ cakewalk, free arts and crafts, and delicious barbecue as always.

MAY 13

Hood Games VI "Tender Love" Turk between Mason and Taylor; 11am-4pm. This celebration of youth culture features live skating and music, art, a fashion show, contests, and a raffle. Bonus: every mom who shows up for this Mother’s Day event gets a free skateboard.

BAY AREA

Russian-American Fair Terman Middle School, 655 Arastradero, Palo Alto; (650) 852-3509, paloaltojcc.org. 10am-5pm, $3-5. The Palo Alto Jewish Community Center puts on this huge, colorful cultural extravaganza featuring ethnic food, entertainment, crafts and gift items, art exhibits, carnival games, and vodka tasting.

MAY 16–27

San Francisco International Arts Festival Various venues; (415) 439-2456, www.sfiaf.org. The theme for this year’s multidisciplinary festival is the Truth in Knowing/Now, a Conversation across the African Diaspora.

MAY 17–20

Carmel Art Festival Devendorf Park, Carmel; (831) 642-2503, www.carmelartfestival.org. Call for times, free. Enjoy viewing works by more than 60 visual artists at this four-day festival. In addition to the Plein Air and Sculpture-in-the-Park events, the CAF is host to the Carmel Youth Art Show, Quick Draw, and Kids Art Day.

MAY 18–20

Festival of Greece 4700 Lincoln, Oakl; (510) 531-3400, www.oaklandgreekfestival.com. Fri-Sat, 10am-11pm; Sun, 11am-9pm, $6. Free on Fri 10-4 and Sun 6-9. Let’s hear an "opa!" for Greek music, dance, food, and a stunning view at the Greek Orthodox Cathedral of the Ascension’s three-day festival.

MAY 19

A La Carte and Art Castro St, Mountain View; (650) 964-3395, www.miramarevents.com. 10am-6pm, free. A moveable feast of people and colorful tents offering two days of attractions, music, art, a farmers’ market, and a special appearance by TV star Delta Burke.

Asian Heritage Street Celebration Howard between Fifth and Seventh streets; 321-5865, www.asianfairsf.com. 11am-6pm, free. More than 200 organizations participate in this festival, which features Asian cooking demonstrations, beer and sake, arts and crafts, a variety of food, and live entertainment.

Family Fun Festival and Silent Auction 165 Grattan; 759-2815. 11am-5pm, free. Enjoy this second annual family event in Cole Valley, featuring a kids’ carnival with prizes, street theater, live music, refreshments, and a silent auction.

Oyster and Beer Fest Great Meadows, Fort Mason, Laguna at Bay; www.oreillysoysterfestival.com. 12-7pm, $15-19 ($50 reserved seating). O’Reilly’s Productions presents the 8th annual festival celebrating oysters and beer, featuring cooking demos, competitions, and live performance from Flogging Molly, Shantytown, The Hooks, and more.

Saints Kiril and Metody Bulgarian Cultural Festival Croatian American Cultural Center, 60 Onondaga; (510) 649-0941, www.slavonicweb.org. 3pm-midnight, $15. Enjoy live music, dance, and traditional food and wine in celebration of Bulgarian culture. A concert features Nestinari, Zaedno, Brass Punks, and many more.

Taiwanese American Cultural Festival Union Square; (408) 268-5637, www.tafnc.org. 10am-7pm, free. Explore Taiwan by tasting delicious Taiwanese delicacies, viewing a puppet show and other performances, and browsing arts and crafts exhibits.

Uncorked! Public Wine Festival Ghirardelli Square, 900 N Point; 775-5500, www.ghirardellisq.com. 1-6pm, event free, wine tasting $40-100. This second annual wine festival features wine tasting, five-star chef demonstrations, wine seminars, and a chocolate and wine pairing event.

BAY AREA

Cupertino Special Festival in the Park Cupertino Civic Center, 10300 Torre, Cupertino; (408) 996-0850, www.osfamilies.org. 10am-6pm, free. The Organization of Special Needs Families hosts its third annual festival for people of all walks or wheels of life. Featuring live music, food and beer, bouncy houses, arts and crafts, and other activities.

Pixie Park Spring Fair Marin Art and Garden Center, Sir Francis Drake Blvd at Lagunitas, Ross; www.pixiepark.org. 9am-4pm, free. This fair for preschoolers and kindergarteners features bathtub races, pony rides, a petting zoo, a puppet show, and much more.

MAY 19-20

Bay Area Storytelling Festival Kennedy Grove Regional Recreation Area, San Pablo Dam Road near Castro Ranch, El Sobrante; (510) 644-2593, www.bayareastorytelling.org.

Sat, 9:30am-8pm; Sun, 9:30am-5:15pm, $8-65. Gather around and listen to stories told by storytellers from around the world at this outdoor festival. Sheila Kay Adams, Charlotte Blake Alston, Bill Harley and others are featured.

Castroville Artichoke Festival 10100 Merritt, Castroville; (831) 633-2465, www.artichoke-festival.org. Sat, 10am-6pm; Sun, 10am-5pm, $3-6. Have a heart — eat an artichoke. This festival cooks up the vegetable in every way imaginable and features tons of fun activities for kids, music, a parade, a farmers’ market, and much more.

Day of Decadence Women’s Expo Sedusa Studios, 1300 Dell, Campbell; (408) 826-9087, www.sedusastudios.com. 1-4pm, $5. Twenty-five women-owned businesses exhibit their products and pamper their customers at this decadent event. Includes free services, champagne, refreshments, and a chocolate fountain.

French Flea Market Chateau Sonoma, 153 West Napa, Sonoma; (707) 935-8553, www.chateausonoma.com. 10:30am-5:30pm, call for price. Attention, Francophiles: this flea market is for you! Shop for antiques, garden furniture, and accessories from French importers.

Himalayan Fair Live Oak Park, 1300 Shattuck, Berk; (510) 869-3995, www.himalayanfair.net. Sat, 10am-7pm; Sun, 10am-5:30pm, call for price. This benefit for humanitarian grassroots projects in the Himalayas features award-winning dancers and musicians representing Nepal, Tibet, Bhutan, India, Afghanistan, Pakistan and Mongolia. Check out the art and taste the delicious food.

Maker Faire San Mateo Fairgrounds, San Mateo; (415) 318-9067, www.makerfaire.com. Sat, 10am-6pm; Sun, 10am-5pm, $5-15. A two-day, family-friendly event established by the creators of Make and Create magazines that celebrates arts, crafts, engineering, science projects, and the do-it-yourself mindset.

Muscle Car, Hot Rods, and Art Fair Bollinger Canyon Rd and Camino Ramon, San Ramon; (925) 855-1950, www.hatsoffamerica.us. 10am-5pm, free. Hats Off America presents this family event featuring muscle cars, classics and hot rods, art exhibits, children’s activities, live entertainment, and beer and wine.

Passport to Sonoma Valley Various venues; (707) 935-0803, www.sonomavalleywine.com. 11am-4pm, $55 (weekend, $65). This first of its kind, valleywide event will provide visitors rare access to the many hidden gems of California’s oldest wine region. More than 40 Sonoma wineries are participating, and the cost includes unlimited tasting.

Sunset Celebration Weekend Sunset headquarters, 80 Willow Road, Menlo Park; 1-800-786-7375, www.sunset.com. 10am-5pm, $10-12, kids free. Sunset magazine presents a two-day outdoor festival featuring beer, wine, and food tasting; test-kitchen tours, celebrity chef demonstrations, live music, seminars, and more.

Spring Fling Open House Rosenblum Cellars, 2900 Main, Alameda; (510) 995-4100, www.rosenblumcellars.com. Noon-5pm, $30. Try new and current releases at Rosenblum’s Alameda winery while enjoying wine-friendly hors d’oeuvres and music from local musicians.

MAY 20

ING Bay to Breakers Begins at Howard and Spear, ends at the Great Highway along Ocean Beach, SF; www.baytobreakers.com. 8am, $33-40. See a gang of Elvis impersonators in running shorts and a gigantic balloon shaped like a tube of Crest floating above a crowd of scantily clad, and unclad, joggers at this annual race from the Embarcadero to the Pacific Ocean.

BAY AREA

Jazz on Fourth Street Festival Fourth St, between Hearst and Virginia, Berk; (510) 526-6294, www.4thstreetshop.com. 11am-5pm, free. Local merchants present this annual outdoor music festival featuring Marcus Shelby Quartet, Sugar Pie DeSanto, Wayne Wallace Latin Jazz Group, two Berkeley High combos, and the award-winning Berkeley High Jazz ensemble.

Niles Wildflower Art and Garden Show Niles Blvd at Main, Fremont; www.niles.org. 10am-3pm, event free, garden tour $12-15. Take a self-guided tour of beautiful home gardens and enjoy the creative works of local artists.

MAY 24–27

Sonoma Jazz Plus Festival Field of Dreams, 179 First St W, Sonoma; 1-866-527-8499, www.sonomajazz.org. $45-95. Thurs-Sat, 6:30 and 9pm; Sun, 8:30pm, $45-110. Head on up to California’s wine country for Memorial Day weekend and soak in the sounds of LeAnn Rimes, Tony Bennett, Smokey Robinson, and Harry Connick Jr.

MAY 25–28

Memorial Day Folk Music Camp Out Waterman Creek Camp, Santa Cruz County; (510) 523-6533. www.sffmc.org. $7/night. Preregistration required. Camp and sing along with the San Francisco Folk Music Club. Everybody’s goin’!

MAY 26

Soul Jazz Festival Crown Canyon Park, 8000 Crow Canyon, Castro Valley; www.souljazzfestival.com. 12-8pm, $45-49. A one-day music event celebrating the worlds of jazz, funk, and soul. This year pays tribute to Ella Fitzgerald and features Johnny Holiday, Ladybug Mecca of Digable Planets, and Ella Fitzgerald’s son, Ray Brown Jr.

MAY 26–27

Carnaval San Francisco Harrison between 16th and 24th streets; (415) 920-0122, www.carnavalsf.com. 10am-6pm, free. The vibrant Mission District plays host to the best of Latin and Caribbean cultures and traditions with an array of food, music, dance, and art. The theme for this year’s carnaval is Love Happens, and it features speed dating at the Love Nest, a performance by Los Lonely Boys, and a parade on Sunday.

North American Cycle Courier Championship Speakeasy Brewery, 1195 Evans; 748-2941. Sat, 9am-2pm; Sun, 10am-1pm, free. This weekend-long celebration of bike culture features a race on a closed course that tests all areas of bike messenger skill.

BAY AREA

Santa Cruz Blues Festival 100 Aptos Creek, Aptos; (831) 479-9814, www.santacruzbluesfestival.com. 10am-7pm, $20-100. Rhythm and blues buffs beware. This annual festival, in its 15th year, showcases some of the most renowned acts of new and vintage R&B, soul, and blues rock, including Los Lonely Boys, Etta James and the Roots Band, and Little Feat. International food booths, juice bars, and beer make this event add to the appeal.

MAY 26–28

The San Francisco Cup International Youth Soccer Tournament and Festival Golden Gate Park’s Polo Field, SF; (415) 337-6630, www.sfcup.com. 8:30am. This 20th annual premier event brings together 128 national and international teams of both genders for great soccer excitement.

MAY 26–JUNE 30

Bay Area Summer Poetry Marathon Lab, 2948 16th St, SF; (415) 864-8855, www.thelab.org. 7-10pm,. $3-15 sliding scale. Various Bay Area and national poets read their work at this event held throughout the summer.

MAY 27

Antique Street Faire Main St, Pleasanton; (760) 724-9400, www.pleasantondowntown.net. 8am-4pm, free. This semiannual event sponsored by the Pleasanton Downtown Association provides more than a mile of antiques and collectibles displayed by about 300 professional dealers.

Art in the Vineyard Wente Vineyards Estate Winery, 5565 Tesla, Livermore; (925) 456-2305, www.livermoreartassociation.com. 11am-5pm, admission free, wine tasting $15. Mark your calendars for the 35th anniversary of this popular event, featuring 40 talented multimedia artists in addition to music by Vested Interest.

Asian Pacific Heritage Festival Bay Area Discovery Museum, 557 McReynolds, Sausalito; (415) 339-3900, www.baykidsmuseum.org.10am-5pm, free. Experience taiko drumming, the Marin Chinese Cultural Association’s Lion Dance Team, and other Polynesian and Pacific Islander arts groups, as well as traditional Chinese, Vietnamese, and Filipino cuisine in honor of Asian Pacific Islander Month.

Caledonia Street Fair Caledonia St, Sausalito; (415) 289-4152, www.ci.sausalito.ca.us.10:30am-6pm, free. This fest boasts multicultural food, dance, music, and more than 120 arts and crafts vendors. Don’t miss out on the Taste of Sausalito luncheon and wine-tasting event featuring food and wine prepared by select Napa and Sonoma wineries and restaurants.

MAY 28

Stone Soul Picnic Cal State East Bay’s Pioneer Amphitheatre, 25800 Carlos Bee, Hayward; 1-800-225-2277, www.kblx.com. Doors at 10am, show at noon, $56-81.50 includes parking. KBLX Radio 102.9 FM presents its 10th annual R&B and soul music event, featuring performances by Isaac Hayes, the Whispers, the Dells, and Tower of Power.

MAY 29–30

BALLE Film Fest Wheeler Auditorium, UC Berkeley, Berk; (415) 255-1108, ext 112, livingeconomies.org. 6 and 8:30pm, $10 for screening, $15 for night. Business Alliance for Local Living Economies presents a two-night film festival reutf8g to BALLE principles, including Everything’s Cool, a film about global warming, and Manufactured Landscapes, a documentary about China’s industrial revolution.

MAY 31–JUNE 3

Contra Costa County Fair Contra Costa County Fairgrounds,10th and L streets, Antioch; (925) 757-4400, www.ccfair.org. Thurs-Fri, noon-11pm.; Sat-Sun, 11am-11pm, $4-7, parking $3. Now 70 years old, this county fair has a little of everything. Daily sea lion shows, a man dressed as a giant tree, and, of course, clown acts, are just some of the events presented to fairgoers this year.

JUNE 1–10

East Bay Open Studios Various venues; (510) 763-4361, www.proartsgallery.org. Open studios: June 2-3, 9-10, 11am-6pm; formal artists’ reception May 31, 6-10pm, free. For more than 25 years, the East Bay Open Studios have drawn more than 50,000 visitors to Pro Arts Gallery and various artist workspaces to support the work of local artists. The public can view exhibits, purchase artwork, attend workshops, and go on an art bus tour.

Healdsburg Jazz Festival Check Web site for ticket prices and venues in and around Healdsburg; (707) 433-4644, www.healdsburgjazzfestival.com. This ninth annual week-and-a-half-long jazz festival will feature a range of artists, from the George Cables Project and Roy Hargrove Quintet to the funky Louisiana-style Rebirth Brass Band and first-rate vocalist Rhiannon.

JUNE 2

Berkeley Farmers Market’s Strawberry Family Fun Festival Civic Center Park, Center at MLK Jr, Berk; (510) 548-3333, www.ecologycenter.org. 10am-3pm, free. Living up to its name, this festival is a guaranteed good time for the whole family. Highlights include environmental information booths, hands-on activities, delectable strawberry shortcake, and live performances by Nigerian Brothers, EarthCapades Environmental Vaudeville, Big Tadoo Puppet Crew, and Young Fiddlers.

Heartland Festival Riverdance Farms, Livingston; (831) 763-2111, www.eco-farm.org. 10am-7pm, $10 advance, $12 at gate. Celebrate a summer weekend by picking berries, taking farm and garden workshops, buying fresh produce from a farmers’ market, and enjoying live music at this family event.

Sonoma Valley Vintage Race Car Festival Sonoma Plaza, Sonoma; (707) 996-1090, www.sonomavalleyvisitors.com. 5pm, free entrance. Wine and food $30 in advance, $35 at the door. A gigantic taste explosion filled with more than 30 vintage dragsters, gourmet food, and wine samples.

Springfest 2007 Osher Marin Jewish Community Center, 200 North San Pedro, San Rafael; (415) 499-8891, www.mdt.org. 1 and 5pm, $14-22. Marin Dance Theatre presents this spring program featuring various performances directed by Margaret Swarthout.

JUNE 2–3

Art Deco and Modernism Sale Concourse Exhibition Center, 635 Eighth St; (650) 599-DECO, www.artdecosale.com. Sat, 10am-6pm; Sun, 11am-5pm, $7-9. An extravagant art sale featuring pottery, books, art, vintage clothing, glass, furniture, and other accessories dating from 1900 to 1980.

Art in the Avenues Hall of Flowers, Golden Gate Park, Ninth Ave and Lincoln; www.sunsetartists.com. 10am-5pm. This annual exhibition and sale presented by the Sunset Artists Society brings together artists and art lovers from all over the Bay Area.

Great San Francisco Crystal Fair Fort Mason Center, Marina at Laguna; 383-7837, www.crystalfair.com. Sat, 10am-6pm; Sun, 10am-4pm, $5. This year’s fair is sure to please anyone interested in mystical and healing arts. Check out the more than 40 vendors catering to all of your crystal, mineral, bead, and jewelry needs.

Union Street Festival Union between Gough and Steiner; 1-800-310-6563, www.unionstreetfestival.com. 10am-6pm, free. This year marks the 31st anniversary of one of San Francisco’s largest free art festivals. In addition to more than 200 artists and 20 gourmet food booths, the event features activities that represent the history of the Union Street Festival, including a special photographic exhibit that shows Union Street as it was 100 years ago.

BAY AREA

Marin Home Show and Benefit Jazz Fest Marin Center Exhibit Hall and Fairgrounds, San Rafael; (415) 499-6900, www.marinhomeshow.com. Sat, 10am-7pm; Sun, 10am-6pm, $8 (Sat tix include free return on Sun). Not only will there be hundreds of experts in everything from renovation to landscaping on hand to answer all of your home and garden questions, but there will also be live jazz acts to entertain you throughout the weekend. Proceeds benefit Marin County public schools.

JUNE 3

Santa Cruz LGBT Pride March and Rally Starts at Pacific, ends at Lorenzo Park, Santa Cruz; (831) 427-4009, www.santacruzpride.org. 11am-5pm, free. Join the largest gathering of queers and allies in Santa Cruz County. Stage lineup includes Frootie Flavors, Nedra Johnson, Twilight Vixen Revue, Horizontes, and Assemblymember John Laird. Valet bike parking provided.

JUNE 6

Strollin’ on Main Street Party Main between St John and Old Bernal, Pleasanton; (925) 484-2199, ext 4, www.pleasantondowntown.net. 6-9pm, free. Stroll down Main Street and visit vendor booths, a beer and wine garden, and a stage where featured band Drive will play.

JUNE 6–AUG 29

Summer Sounds Oakland City Center, adjacent to 12th St/City Center BART Station, Oakl; www.oaklandcitycenter.com. Wed, noon-1pm, free. The Oakland City Center presents a weekly spotlight on an array of diverse musical artists.

JUNE 7–17

San Francisco Black Film Festival Various venues; (415) 771-9271, www.sfbff.org. The festival celebrates African American cinema and the African cultural diaspora by showcasing films by black filmmakers and emphasizing the power of film to foster cultural understanding and initiate progressive social change.

JUNE 8–10

Harmony Festival Sonoma County Fairgrounds,1350 Bennett Valley, Santa Rosa; www.harmonyfestival.com. Fri, 12pm-9pm; Sat, 10am-10pm; Sun, 10am-9pm, $20-149. This year’s theme is "promoting global cooling" boasts an ecovillage offering tips for living and consuming, a well-being pavilion featuring natural remedies, and a culinary showcase of dishes using natural ingredients. Festival-goers can camp onsite and musical highlights include Brian Wilson, Erykah Badu, the Roots, moe., and Rickie Lee Jones.

JUNE 9

Dia de Portugal Festival Kelley Park, San Jose; www.diadeportugal.com. 10am, free. The Portuguese Heritage Society of California presents this annual festival featuring a parade, live music, food and wine, a book and art sale, and more.

Temescal Street Fair Telegraph between 48th and 51st streets, Oakl; (510) 654-6346, ext 2, www.temescalmerchants.com. Noon-5pm, free. This fair will feature live music, crafts, martial arts demonstrations and food samplings from local restaurants, including an Italian beer and wine garden, a tribute to days when the district once flourished with beer gardens and canteens.

JUNE 9–10

Italian Street Painting Festival Fifth Ave at A St, San Rafael; (415) 457-4878, ext 15, www.youthinarts.org. 9am-7pm, free. Street painters paint beautiful and awe-inspiring chalk artwork on the streets of San Rafael.

Live Oak Park Fair Live Oak Park, 1301 Shattuck, Berk; (510) 898-3282, www.liveoakparkfair.com.10am-6pm, free. Is there a better way to revel in the summertime than to enjoy original arts and crafts, delicious fresh food, and live jazz by Berkeley’s Jazzschool all weekend long in beautiful Live Oak Park? Didn’t think so.

San Jose Gay Pride Festival Discovery Meadow, Guadalupe River Park, San Jose; (408) 278-5563, www.sjgaypride.org. Sat, 10am-6pm, free; Sun, 10:30am, $15. This year’s San Jose pride celebration is two days’ worth of events, speakers, and music, including performances by the Cheeseballs, Average Dyke Band, and Smash-Up Derby. After the parade on Sunday, cruise vendor booths peddling their LGBT-friendly goods and services.

JUNE 9–24

San Francisco Ethnic Dance Festival Palace of Fine Arts, 3301 Lyon, SF; (415) 392-4400, www.worldartswest.org. Sat, 2 and 8pm; Sun, 2pm, $22-36. Performers from around the world converge at the Palace of Fine Arts to bring San Francisco a diverse selection of the world’s most talented dancers, including North Indian Kathak, Cantonese style Chinese lion dance, flamenco, and Middle Eastern belly dance.

JUNE 14–16

Transgender and Queer Performance Festival ODC Theater, 3153 17th St, SF; (415) 863-9834, www.freshmeatproductions.org. Thurs-Fri, 8pm; Sat, 7 and 10pm, $15. Fresh Meat Productions celebrates its sixth annual festival. This year’s artists perform traditional forms and path-blazing ones: hula, taiko, traditional Colombian dance, aerial dance, spoken word, rock ‘n’ roll, theater, hip-hop, and modern dance.

JUNE 14–17

CBA 32nd Annual Father’s Day Bluegrass Festival Nevada County Fairgrounds, McCourtney, Grass Valley; www.cbaontheweb.org. Ticket prices vary. Rhonda Vincent and the Rage, Cherryholmes, the Del McCoury Band, Dan Paisley and the Southern Grass, Country Current, the US Navy Band, the Dale Ann Bradley Band, and John Reischman and the Jay Birds perform at this California Bluegrass Association bluegrass jamboree.

JUNE 14–24

Frameline31: San Francisco International LGBT Film Festival Various venues; (415) 703-8650. www.frameline.org. The 31st annual film festival by and about the LGBT community continues with a whole new program of innovative queer cinema.

JUNE 15–17

International Robogames Fort Mason Festival Pavilion, SF; www.RoboGames.net. Noon-10pm, $15-20. Engineers from around the world return for the fourth annual event listed in the Guinness Book of World Records as the world’s largest robot competition. Featuring 83 different competitions, including 18 just for walking humanoids.

JUNE 16–17

North Beach Festival Washington Square Park, 1200-1500 blocks of Grant and adjacent streets; 989-2220, www.sfnorthbeach.org. 10am-6pm, free. Touted as the country’s original outdoor arts and crafts festival, the North Beach Festival celebrates its 53rd anniversary with juried arts and crafts exhibitions and sales, a celebrity pizza toss, live entertainment stages, a cooking stage with celebrity chefs, Assisi animal blessings (Vallejo/Columbus), Arte di Gesso (Italian street chalk art competition, 1500 block Stockton), indoor classical concerts (4 pm, at National Shrine of St Francis), a poetry stage, and more.

San Francisco Free Folk Festival San Francisco City College, North Gym, 50 Phelan, SF; www.sffreefolkfest.org. Noon-10pm, free. Folkies unite for the 31st anniversary of this festival that features local and national artists, dances, open mics, family events, and workshops.

San Francisco Juneteenth Celebration Art of the Fillmore Jazz Presentation District, Fillmore from Geary Blvd to Fulton; 931-2729, www.sfjuneteenth.org. 10am-7pm, free. This Bay Area-wide celebration celebrates African American freedom while encouraging self-development and respect for all cultures. Promoted through a community festival that celebrates and shares African American history and culture through music, the performing arts, living history, and other cultural activities. Seven full blocks of food, arts and crafts, and community and corporate information booths. Three stages of entertainment, educational speakers, and health and job fairs. All neighborhoods welcomed.

BAY AREA

Marin Art Festival Lagoon Park, Marin Center, Ave of the Flags at Civic Center, San Rafael; (415) 388-0151, www.marinartfestival.com. 10am-6pm, $8. More than 250 fine artists join in at the Frank Lloyd Wright designed Marin Center. Look out for the stilt walkers!

Russian River Blues Festival Johnson’s Beach, Guerneville; (952) 866-9599, www.russianriverbluesfest.com. 10am-6pm, $45-180. Head on down to the river for this annual affair featuring Buddy Guy, Little Richard, Koko Taylor, Roy Rogers and the Delta Kings, Lowrider Band, Elvin Bishop, and many others. Festival organizers also invite attendees to indulge in wine tasting for a nominal fee.

JUNE 17

Native Contemporary Arts Festival Esplanade at Yerba Buena Gardens, Fourth St and Mission, SF; (415) 543-1718, www.ybgf.org. 12pm-3pm, free. This fest features amazing performances, plus kids can make their own dream catchers, baskets, and bracelets.

JUNE 17–AUG 19

Stern Grove Music Festival Stern Grove, 19th Ave and Sloat, SF; www.sterngrove.org. Sun 2pm, free. This beloved San Francisco festival celebrating community, nature, and the arts is in its 70th season.

JUNE 20–24

Sonoma-Marin Fair Petaluma Fairgrounds, Petaluma; www.sonoma-marinfair.org. $8-14. This fair promotes and showcases agriculture, while displaying the diverse talents, interests, and accomplishments of the citizens of California, especially the youth of Sonoma and Marin counties. Catch acts such as Cheap Trick, SHe DAISY, and Bowling for Soup on the main stage.

JUNE 22–24

Sierra Nevada World Music Festival Mendocino County Fairgrounds, 14480 Hwy 128, Boonville; www.snwmf.com. Three-day pass, $125; camping, $50-100. Camp for three days and listen to the international sounds of Bunny Wailer, Toots and the Maytals, Luciano, Ojos de Brujo, Les Nubian, Sierra Leone’s Refugee All-Stars, Junior Kelly, Sugar Minot, and many others.

JUNE 22–JULY 8

Alameda County Fair Alameda County Fairgrounds, 4501 Pleasanton, Pleasanton; (925) 426-7559, www.alamedacountyfair.com. $4-9. Enjoy opening night fireworks, carnival attractions, a wine competition, a karaoke contest, an interactive sports and fitness expo, concerts, and oh so much more.

JUNE 23

Dyke March Dolores Park between 18th and 20th streets, SF; (415) 241-8882, www.dykemarch.org. Rally at 3pm; march at 7pm, free. Head on out to march with the San Francisco chapter of this now internationally coordinated rally. A Dolores Park celebration and rally precedes the march.

JUNE 23–24

San Francisco Pride 2006 Civic Center, Larkin between Grove and McAllister; 864-FREE, www.sfpride.org. Celebration Sat-Sun, noon-6pm; parade Sun, 10:30am, free. A month of queer-empowering events culminates in this weekend celebration, a massive party with two days of music, food, dancing that continues to boost San Francisco’s rep as a gay mecca. Do not under any circumstances miss the parade!

BAY AREA

Danville Fine Arts Fair Hartz Ave, Danville; (831) 438-4751, www.danvillecachamber.com. 10am-6pm, free. The quintessential arts and crafts fair descends upon Danville each year, bringing with it fine food and drink, Italian-style street painting, and more.

JUNE 23–25

King of the Bay Third Ave, Foster City; www.kingofthebay.com. 1pm, free. See the world’s top kiteboarders and windsurfers compete at this event.

JUNE 23–30

Jazz Camp West 2006 (510) 287-8880, www.jazzcampwest.com. This eight-day jazz program for adults and older teens features more than 100 classes taught by more than 45 nationally and internationally known artists.

JUNE 23–AUG 4

Stanford Jazz Festival Various venues. (650) 736-0324, www.stanfordjazz.org. This acclaimed festival has been injecting Northern California with a healthy dose of both classic and modern jazz for more than three decades.

JUNE 23–SEPT 8

Concert in the Hills Series Cal State East Bay, Concord Campus, 4700 Ygnacio Valley Rd, Concord; (925) 602-8654, www.concord.csueastbay.edu/concertinthehills.htm. Free. This series celebrates its eighth season with performances by acts such as Dr. Loco and His Rockin’ Jalapeño Band, Aja Vu, Joni Morris, and Native Elements.

JUNE 29–JULY 1

Kate Wolf Memorial Music Festival Black Oak Ranch, Laytonville; (707) 829-7067, www.katewolf.com/festival. Fri, 1pm-midnight; Sat, 10am-11:30pm; Sun, 11am-10pm, $55-160. This annual tribute to Northern California singer-songwriter Kate Wolf, who is credited with repopularizing folk music in the 1970s, features performances by Utah Phillips, Joe Craven and Sam Bevan, the Bills, and many others. Don’t miss the "Hobo Jungle Campfire," a nightly campfire on the creek shore with story swappin’ and song jammin’ aplenty.

JUNE 30–JULY 1

23rd Annual Fillmore Jazz Festival Fillmore between Jackson and Eddy, 1-800-310-6563, www.sresproductions.com. 10am-6pm, free. Three stages of nonstop entertainment featuring top and emerging artists. Ten blocks of art booths and gourmet food.

JUNE 30–JULY 4

Marin County Fair Marin Center, Ave of the Flags at Civic Center, San Rafael; (415) 499-6400, www.marinfair.org. 11am-11pm, $11-13. This county fair stands above the rest with its promise of nightly fireworks, There will be many fun, new competitions to enter this year, including the Dancing Stars Competition, in which contestants may perform any style of dance — from tap to ballroom, salsa to boogie. Also not to be missed is the 18th annual "Creatures and Models" exhibit and the 37th annual "National Short Film and Video Festival," plus food and rides and other fun fair stuff.

JULY 1

Vans Warped Tour 2006 Shoreline Amphitheatre, 1 Amphitheatre Pkwy, Mountain View; (650) 967-3000. www.warpedtour.com. 11am, $29.99. As Cities Burn, Bad Religion, Boys Like Girls, Coheed and Cambria, Escape the Fate, Pennywise, the Used, Funeral for a Friend, Revolution Mother, the Matches, and others perform at this annual punk music and culture event.

JULY 3–4

WorldOne Festival Cerrito Vista Park, El Cerrito; www.worldoneradio.org. Mon 5pm, Tue 10:30am, free. Worldoneradio hosts a world music and culture stage in the park. The eighth annual event is produced as a public service and fundraiser for area nonprofits.

JULY 4

City of San Francisco Fourth of July Waterfront Celebration Pier 39, Embarcadero at Beach, SF; (415) 705-5500, www.pier39.com. 1-9:30pm, free. SF’s waterfront Independence Day celebration features live music, kids’ activities, and an exciting fireworks show.

JULY 5–8

International Working Class Film and Video Festival New College Roxie Media Center, 3117 16th St; www.laborfest.net. Held annually to commemorate the San Francisco general strike of 1934 brings together filmmakers and labor artists from around the United States and internationally.

BAY AREA

High Sierra Music Festival Plumas Fairgrounds, 204 Fairground Rd, Quincy; (510) 595-1115, www.highsierramusic.org. 11am-11pm, $35-156. Enjoy your favorite jam bands on five different stages and at five different late-night venues, a kid zone, arts and crafts, food and drinks, beer, yoga, dancing, camping, and more. The lineup features performances by Xavier Rudd, the Disco Biscuits, Yonder Mountain String Band, Martin Sexton, and Les Claypool.

JULY 6–SEPT 29

Marin Shakespeare Company Festival Forest Meadows Amphitheatre, Dominican University of California, Grand Ave, San Rafael; (415) 499-4488, www.marinshakespeare.org. Fri-Sun, varying times, $7-30. The Marin Shakespeare Company presents its outdoor festival featuring performances of The Complete Works of William Shakespeare (Abridged), Henry IV, Part 1, and Henry IV, Part 2.

JULY 10–21

Mendocino Music Festival Various venues; (707) 937-2044, www.mendocinomusic.com. $15-45. David Lindley, Mollie O’Brien, the Chris Cain Quartet, and others celebrate the 21st anniversary of this classical and contemporary music festival.

JULY 12–15

World California Fest Nevada County Fairgrounds, Grass Valley; (530) 891-4098. www.worldfest.net. $30-140. The 11th annual festival features eight stages and four days of music, with performances by everyone from Ani DiFranco to the Venezuelan Music Project. Camping is encouraged.

JULY 13–15

San Francisco Silent Film Festival Castro Theatre, 429 Castro, SF; (415) 777-4908, www.silentfilm.org. Call for times and prices. The Golden Age of the silver screen comes to life, complete with a swelling Wurlitzer.

JULY 14-15

San Francisco International Chocolate Salon Fort Mason Conference Center; www.SFChocolateSalon.com. Sat, 11am-6pm; Sun, 10am-4pm, $20. The first major chocolate show on the West Coast in two decades takes place this summer with the theme Chocolat, in honor of Bastille Day. Experience the finest in artisan, gourmet, and premium chocolate with tastings, demonstrations, chef and author talks, and wine pairings.

BAY AREA

Los Altos Arts and Wine Festival Main and State, Los Altos; (650) 917-9799. www.losaltos-downtown.org. Sat, 10am-6pm; Sun, 10am-6pm, free. Enjoy original art and free entertainment while indulging in gourmet food and fine wine.

San Anselmo Art and Design Festival San Anselmo between Tamalpais and Bolinas, San Anselmo; 1-800-310-6563, www.artanddesignfestival.com. 10am-6pm, free. The San Anselmo Chamber of Commerce brings this buffet of cooking, home, and landscape design to the masses.

JULY 19–29

Midsummer Mozart Festival Various venues; (415) 627-9141, www.midsummermozart.org. $30-60. The Mozart-only music concert series features pianist Janina Fialkowska, the Haffner Serenades, and the Coronation Mass.

JULY 19–AUG 6

San Francisco Jewish Film Festival Various venues; (415) 621-0556, www.sfjff.org. The world’s first and largest Jewish film festival has toured the Bay Area for 27 years.

JULY 21–22

Connoisseur’s Marketplace Santa Cruz Ave, Menlo Park; (650) 325-2818, www.miramarevents.com. 10am-6pm, free. This annual midsummer festival hosts live jazz, R&B, and rock ‘n’ roll as well as arts and crafts, chef demonstrations, international cuisine, and lots of fun for the kids.

JULY 27–29

Gilroy Garlic Festival Christmas Hill Park, Hwy 101, Gilroy; (408) 842-1625, www.gilroygarlicfestival.com. 10am-7pm, $6-12. If 17,000 pounds of garlic bread isn’t enough of a reason to go, then all the other manifestations of this flavorful food are. Gourmet food and cook-offs, as well as free music and children’s activities, entertain you as you munch.

JULY 29

San Francisco Marathon Begins and ends at the Ferry Bldg, Embarcadero, SF; www.runsfm.com. $110 to compete. Tighten your laces for 26.2 miles around the Bay. The less enthusiastic can run a half marathon, 5K, or "progressive marathon," instead.

Up Your Alley Dore Alley between Folsom and Howard, Folsom between Ninth and 10th streets, SF; www.folsomstreetfair.com. 11am-6pm. Hundreds of naughty and nice leather lovers sport their stuff in SoMa at this precursor to the Folsom Street Fair.

AUG 3–5

Reggae on the River Dimmick Ranch, French’s Camp, Hwy 101, Piercy, Humboldt County; (707) 923-4583, www.reggaeontheriver.com. $165-225. Further details pending. This year’s riverside roots and reggae fest features the Roots, Shaggy, Angelique Kidjo, Lee "Scratch" Perry, Mad Professor, the Itals, Eek-A-Mouse, Sierre Leone’s Refugee Allstars, and many others.

Reggae Rising Dimmick Ranch, French’s Camp, Hwy 101, Piercy, Humboldt County; www.reggaerising.com. $175 for a 3 day pass. Further details pending. This new summer festival will benefit various nonprofit groups in this southern Humboldt community and features Damian Marley, Sly and Robbie, Tanya Stephens, Fantan Mojah, and more.

AUG 4–5

Aloha Festival San Francisco Presidio Parade Grounds, near Lincoln at Graham, SF; www.pica-org.org/AlohaFest/index.html. 10am-5pm, free. The Pacific Islanders’ Cultural Association presents its annual Polynesian cultural festival featuring music, dance, arts, crafts, island cuisine, exhibits, and more.

AUG 9–12

Redwood Empire Fair Redwood Empire Fairgrounds, 1055 N State, Ukiah; (707) 462-3884, www.redwoodempirefair.com. Noon-11pm, $3-6. Bring the family to this old-timey fair, complete with rides, food, and fun.

AUG 10–12

Comcast San Jose Jazz Festival Various venues; (408) 288-7557, www.sanjosejazz.org. $5. This three-day music festival hosts dozens of acclaimed musicians playing all flavors of jazz.

AUG 11

SEEN Festival 2006 People’s Park, Telegraph and Dwight, Berk; (510) 938-2463, www.maxpages.com/seen2000. 11:30am-5pm, $5 suggested donation. This year marks the 12th anniversary of this world music, reggae, and soul festival.

AUG 11–12

Nihonmachi Street Fair Japantown Center, Post and Webster, SF; (415) 771-9861, www.nihonmachistreetfair.org. 11am-6pm, free. Japantown’s 34th annual celebration of the Bay Area’s Asian and Pacific Islander communities continues this year with educational booths and programs, local musicians and entertainers, exhibits, and artisans.

Pistahan Yerba Buena Gardens, 700 Howard, SF; www.ybgf.org. 11am-5pm, free. The Bay Area Filipino festival of culture and cuisine features arts and crafts, live entertainment, food, and more.

Vintage Paper Fair Hall of Flowers, Golden Gate Park, Ninth Ave at Lincoln, SF; (323) 883-1702, www.vintagepaperfair.com. Sat, 10am-6pm; Sun, 10am-4pm, free. Craft lovers will enjoy this fair, which presents works made from all kinds of paper — from photographs, postcards, and memorabilia to brochures and trade cards.

AUG 18–19

Solfest Solar Living Institute,13771 S Hwy 101, Hopland; (707)744-2017, www.solfest.org. "The greenest show on earth" is back for another year featuring exhibits about renewable energy, green building, ecodesign tools, organic agriculture, and much more.

SEPT 1–2

Millbrae Art and Wine Festival Broadway between Victoria and Meadow Glen, Millbrae; (650) 697-7324, www.miramarevents.com. 10am-5pm, free. More than 100,000 visitors will gather for this festive Mardi Gras-style celebration featuring R&B, rock ‘n’ roll, jazz, and soul music, as well as arts and crafts, food and beverages, live performance, and activities for kids.


SEPT 8–9

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn Ave, Mountain View; (650) 968-8378, www.miramarevents.com. 10am-6pm, free. Known as one of America’s finest art festivals, this vibrant celebration featuring art, music, and a kids’ park draws more than 200,000 arts lovers to Silicon Valley’s epicenter.

SEPT 9

Solano Stroll Solano Ave, Berk and Albany; (510) 527-5358, www.SolanoStroll.org. 10am-6pm, free. The vibes are always mellow and the air filled with rhythm at the Solano Ave Stroll. In its 33rd year, the milelong block party will feature a pancake breakfast, booths, entertainers, a parade, and more, this year with the Going Green — It’s Easy! theme.

SEPT 15

Expo for the Artist and Musician SomArts, 934 Brannan, SF; (415) 861-5302; artsandmedia.net. 11am-6pm. This eighth annual event, sponsored by Independent Arts and Media, is the Bay Area’s only grassroots connection fair for independent arts, music, and culture, featuring workshops, performances, and networking.

SEPT 22

California Poets Festival History Park San Jose, 1650 Center, San Jose; californiapoetsfestival.org. 10am-4:30pm, free. Celebrate California’s distinctive heritage of poets, poetry, and presses at this all-day outdoor festival. *

Compiled by Nathan Baker, Angela Bass, Sam Devine, Molly Freedenberg, and Chris Jasmin

The waiting wife

0

While Chief Warrant Officer 2 Shurd Rice pilots a helicopter over bloodbaths in Iraq, his wife, Jane, peers at crustaceans through a microscope in a Tiburon laboratory 7,500 miles away and tries not to think about what’s happening to her husband.

"I worry more about Shurd’s sanity than his safety," said Rice, a research technician, who recently learned her husband won’t be home from Iraq until Halloween, thanks to a three-month extension of his tour of duty that he found out about on CNN.

"Just like that, they pull the finishing line away," Rice told the Guardian. "It’s soul destroying. I can’t watch the news anymore, waiting for a withdrawal time line that just turns into dust."

Rice, who was born in Zimbabwe and raised in South Africa, says she’s "used to crazy leaders…. So Bush made an error, but to do it over and over again? And his refusal to discuss getting out of Iraq leaves me speechless."

Losing herself in the world of science doesn’t protect Rice from learning about day-to-day horrors in Iraq, since the details spill into her husband’s frequent calls and e-mails.

In a recent e-mail, he wrote about atrocities that happened in an Iraqi village after an improvised explosive device blew up one of the commanders in the Iraqi Army.

"Somehow [the Iraqi Army] knew [whoever detonated the IED] was from a nearby Iraqi village," Shurd wrote, "so they rolled in there to ‘interrogate’ the village and find the trigger man." The interrogation consisted of "beating the women and children of the village, until they finally gave up the fella," he wrote. "But the original call for medivac came in for the trigger man himself, and the injuries were as follows: multiple gun shot wounds to the feet and hands, and rectal bleeding. That’s business Iraqi style."

For Rice, living in the Bay Area, where Shurd grew up and used to be a musician, means she faces painful judgments of her husband’s decision to enlist.

"This attitude that because you signed up, you must deserve it, you have it coming — that’s hard to field, but people like Shurd are the only ones standing between the self-righteous people and the draft," she says. "And Shurd turns all judgments on their heads. He’s the most nonjudgmental person I know. He’s always giving me a hard time for judging, so when people say, ‘Where’s your husband?’ and I say, ‘Iraq,’ and I see that look in their eyes, I think, oh my god! They’re judging him."

Rice met Shurd in South Africa when she was 18 and two weeks out of high school.

"I was working at a restaurant where I had to wear a big old 16th-century dress, and Shurd was painting a mural on the wall. He was so impressive, this world-traveling artist guy."

As a South African, Rice said, she didn’t have any preconceived notions about the military when Shurd joined the US Army two years after they met.

"It sounds naive now, but at the time it seemed like an adventure," says Rice, who, along with her husband, never imagined that Sept. 11, 2001, was lurking around the corner.

As Shurd wrote in a recent e-mail, "Guess I wasn’t paying attention enough to politics to see that coming. But I knew a vehicle for blind patriotism when I saw it and was sure someone was gonna pay, and a lot of people were gonna get paid because of it, and not only was I gonna be along for the ride, like it or not, I was sure to have a front row to see us do something foolish."

Week Two: San Francisco International Film Festival

0

WEDNESDAY, MAY 2

The Last Days of Yasser Arafat (Sherine Salama, Australia/Palestine, 2006)
When Australian filmmaker Salama finally does get to sit down with Yasser Arafat, she remarks that it’s the second-generation Palestinians who come back to their ancestral homeland. Salama, in any event, can’t seem to stay away; Last Days chronicles her two months-long attempts at interviewing Arafat in his Ramallah compound. The filmmaker has a weakness for stating the obvious and her visual style is nil, though her plight does open up a starkly comic portrait of Palestinian bureaucracy. Last Days is most compelling in its final minutes, when, without the voice-over, Salama documents Arafat’s coffin touching down in Ramallah, the helicopter swarmed by a startling crowd of thousands. 1:15 p.m., Kabuki; Sun/6, 6:15 p.m., Kabuki. (Max Goldberg)

yasser.jpg
The Last Days of Yasser Arafat

MCMAF: Collective hip noises

0

> a&eletters@sfbg.com

Should you take this life seriously enough to listen to it, I would suggest you head to local electro-organic thinkers I Am Spoonbender’s Web site right now, before you read this story, and download the trailer for their latest self-released album, Buy Hidden Persuaders (IAS, 2006), another three-sided disc (their gorgeous Teletwin 12-inch had concurrent grooves on one side, allowing for a randomly asserted listening experience) from the wizards of esoteric musical realism. Sure, the aesthetically thorough trailer’s bricolage of images and texts deals with everything from hypnosis to Illuminati-style dollar-bill machinations and just happens to act as a manifesto, art show, music preview, and persuasive cinematic display all at once.

But don’t fret. Dutifully check the "I Agree" button when the site lets you know that "IASBHP [I Am Spoonbender’s Buy Hidden Persuaders] is a subliminal advertisement for itself … produced by control, and is an album of ‘engineered outcomes.’ " Grin and download, watch and get ready to strangely rock, because you will surely make use of the free album download in WAV format and proceed to share these pulsing soundscapes with everyone you encounter, whether you intend to or not. William S. Burroughs’s notion that language is a virus was tied to his ideas about time as a sort of viral petri dish, and that makes sense here, in reverse. Persuaders is a soundtrack to its own propagation.

"I firmly believe that after spending three and a half years working on this album, there’s no way to hear it all in less than that time," Dustin Donaldson said recently on the phone from his San Francisco home. The mastermind behind IAS’s infectious, rhythmic stylings knows sound inside and out. "It’s designed to be encountered repeatedly and to reveal itself over time," he continued. "The longer you listen to it, the more you’re going to hear recurring musical themes, say, in different registers on different sounds, lyrical themes reflecting on themselves."

The entire Persuaders project – which includes the album, their first performance in three years, the succulent Web site, the Shown Actual Size EP (Gold Standard Laboratories), the book that will soon accompany the new album, and even the band’s dreams as they go to bed at dawn in San Francisco after nights of channeling and creating – is aimed at balancing out and exposing as a fraud the harm done by advertising and the like to our very beings. If we envision corruption and mind control as diseases, then Persuaders is an equally potent and uniquely celebratory vaccine – a careful dosage bordering the illuminating and the lethal. It’s celebratory because it co-opts subliminal and similar techniques in order to start a conversation, rather than to sell or speak about any one thing in particular. It’s potent because it refuses to double back on itself without adding more meaning. The three sides, or collages – "You Have Been Suggested," "Penetrate to Deeper Levels," and "Slowly Replaced in Mirrors" – seldom ring the same bells twice. And yes, there are hidden messages: don’t be afraid to slow things down, speed them up, listen from afar …

The thing is, you’ve already heard Persuaders, sizzling through your mind just before or after media stimulation. When Cup, the other core half of IAS, sings, "We all need mirrors to know / Who we are now," over surprisingly guttural organ sounds, her expressive vocals and multi-instrumental prowess, here as throughout, lend a sense of flight to Donaldson’s Middle Earthy rhythms and organic mechanics. Imagine Laurie Anderson playing tag with Robert Ashley.

The material for Persuaders came from everywhere and nowhere. After years watching "thousands of films" but no television, Donaldson was shocked when a friend moved in and they got cable. "I just was absolutely unprepared for … the aggression in marketing tactics," he said. "Drug company television ads became a big source of, well, I guess it’s inspiration in some sense, something to create a mirror-state protest record around. We attempt, through this record, to send the same amount of energy back toward these sources. For every action there’s a reaction, and at some level there’s a neutralization, hopefully – in audio terms, phase cancellation.

"For me, specifically, there was about a year of experiments in sensory deprivation," Donaldson continued. "Sleep deprivation … also, going into the studio often late at night and turning off all the lights and turning on huge, 750-watt strobes … setting them at different tempos and playing drums to that and just getting out – open to receive." There was even a resulting side project, yet to be released, where nothing could be recorded until the entire group had been up for 30 hours. Of course, the results were carefully edited for clarity.

Excited, you should now flock to the Mezzanine prepared to buy whatever IAS chooses to sell. If you print your own money, make sure the paper sparkles, and don’t forget to record the sounds the bills make when they leap, calmly, into flames. *

I AM SPOONBENDER

With Steven Stapleton, Ariel Pink, and Phase Chancellor

May 11, 9 p.m., $15 advance

Mezzanine

444 Jessie, SF

(415) 625-8880

MCMAF: Ich bin Kevin Blechdom

0

It’s customary to crave road travel when your summer bummer declines into a case of cubicle claustrophobia at the ol’ air-conditioned nightmare. Some of us just need to go on hiatus for a while. But take it from electronic-experimental musician Kevin Blechdom: her 2002 move from San Francisco to Berlin has been a fruitful experience.

"For the last four years, I was able to support myself through playing music," she writes via e-mail. "That’s nearly impossible to do in America with the style of music I’m making, but totally possible in Europe. I remember someone asking me what I did for a living, and I shyly said that I was a musician. They consider it a ‘real’ career, and I remember being surprised by that. In America you say, ‘I’m a musician,’ and then the other person asks, ‘But what’s your real job?’ "

Born Kristin Erickson, the 28-year-old artist was first drawn to music as a child growing up in Stuart, Fla. Initially trained as a classical pianist, Blechdom was also influenced by musical theater and pop music, and she started writing songs with her brother during high school. She went on to study piano at Florida State University but became disenchanted with its "conservative and eventually depressing" program and transferred in 1997 to Mills College in Oakland to study electronic music composition.

"I spent a lot of hours in the music library listening to avant-garde electronic music from the ’60s and ’70s, and I kept seeing ‘recorded at Mills College’ on the back of my favorite recordings," she writes. "When I got to Mills, it was the perfect environment for a young musician wanting to find her own way to compose and listen and think about music."

While at Mills, Blechdom struck up a friendship with Bevin Kelley, a.k.a. Blevin Blectum. The pair soon started performing as an electronic duo and releasing albums under the moniker Blectum from Blechdom. But after an intense four-year partnership, the twosome’s relations soured, and Blechdom shortly afterward fled to Berlin.

"I think a lot of the trouble was dealing with a public growth spurt and having to grow up a bit," she notes of her spilt with Blectum. "We have an amazing collaborative intuition that I treasure. In the last year we have started to work together again, and it’s gratifying to start where we left off."

As a solo artist, Blechdom has gravitated toward musical theater and performance art, while retaining Blectum from Blechdom’s noise ethic. Her Chicks on Speed-released full-lengths – Bitches Without Britches (2003) and Eat My Heart Out (2005) – channel artists such as Kate Bush and Magnetic Fields with dizzying synth pop allure and barnyard banjos. Upon the latter album’s release, Blechdom began performing topless and draping herself in dripping, raw meat during her live sets.

"It was a very basic symbolism mixed with a salute to female performance art. The symbolism was about turning inside out or trying to find those ‘inside’ feelings to express," she writes, adding that it was fun until she got nauseated and had to stop.

Blechdom is in the process of relocating to the Bay Area so she can attend school this fall. In addition to her solo work and Blectum from Blechdom, she’s also collaborating with Evans Hankey in the Reality Club and with Christopher Fleeger in an Evanescence and Rammstein cover band called Barn Wave. Her third solo album – a collection of "acoustic theater songs" – is in the can, but she has yet to find a label to release it.

"I think," she ventures, "this might be the first record I’ve made that my grandparents will be able to appreciate." (Chris Sabbath)

BLECTUM FROM BLECHDOM

With Kevin Blechdom, Christopher Fleeger and Charles Engstrom, Ching Chong Song, Kevanescence, and Reality Club

May 15, 8 p.m., $7-$15, sliding scale

With Blevin Blectum, Hans Grusel’s Krankenkabinet, and James Goode

May 16, 8 p.m., $7-$15, sliding scale

Lab

2948 16th St., SF

(415) 864-8855

www.thelab.org

MCMAF: Lost and Gowns

0

> kimberly@sfbg.com

You can’t put your arms around a memory, as one hopeless rock ‘n’ roll soul once sang, but you can ponder a memory’s origins, observe its manifestations, and perhaps even embrace its spectral aftereffects. So it goes with Gowns’ Ezra Buchla, who currently lives with bandmate Erika Anderson in the North Berkeley "towering, crumbling Grey Gardens-style Victorian manse" where he was born. "I’ve lived in this house my whole life," he says quietly. I’ve interrupted his late afternoon soldering on a modular synthesizer – another day’s work with his father, synthesizer inventor Don Buchla. "I’ve had a lot of strange experiences, real or imaginary."

He says he’s had dreams about a woman who was buried next to his house, beckoning him over to her final resting place or hanging off the roof by her fingertips in front of a window. Another time he discovered himself in the grip of a hallucination about an agoraphobic woman who locked herself in the attic till she starved to death. He then heard laughing echoing from that floor. Footsteps have also been heard on the floor above. And one night as a child, he woke up and saw that the trapdoor to the attic, above his bed, had disappeared. "My dad ignores it, but it’s hard to," Buchla says. "For example, when the trapdoor disappeared, he said it was moved by rats, which seems impossible to me. It’s too big and too firmly attached to the ceiling."

The stories sound like the stuff of Realtors’ nightmares. Yet not surprisingly, Buchla doesn’t mind the mysterious appearances – and disappearances – at all. "I like it here. It’s pretty special."

Gowns’ music, likewise, dares to venture into alien haunts, the eerie intersections between past and present, the strange spaces where AOR rock meets the avant-garde, places where the trio, which includes percussionist Corey Fogel, finds quiet beauty and moments of bristling cacophony. That much is evident on Red State (Cardboard), on which former Amps for Christ guitarist and oscillator manipulator Anderson and ex-Mae Shi vocalist Buchla, who studied composition at Oberlin College and the California Institute of the Arts, speak in spooked whispers over fragile bits of noise and through folk-song filters.

When the pair started the band, Anderson says, "we didn’t really have grand ideas. We were just kind of hanging out a lot, and we thought, let’s record really simple things in our bedrooms. But we did want to use technology to play with sound forms and make things textural and use digital editing as a composition tool."

"The funny thing is that our knowledge base for music is almost completely opposite," Anderson says, going on to describe their recent 15-minute live "noise valentine" version of Bruce Springsteen’s "I’m on Fire" with Carla Bozulich. "I can sing almost any song on classic rock or AOR stations. I have all that oldies history or dumb classic rock history. Whereas Ezra’s got a knowledge of all the new music composers and history. When we met, there was barely anything that was similar. Now they overlap more and more." May those meetings be happier – and as dramatic – as that visitor dangling from the roof. *

GOWNS

With Bran … Pos, Kristin Miltner and Cliff Caruthers, Anti-Ear, and Core Ogg the Cool Man and Paul Baker

May 19, call for time and price

Lab

2948 16th St., SF

(415) 864-8855

www.thelab.org

Cinema brut

0

> a&eletters@sfbg.com

Early on in A Parting Shot, Isild Le Besco’s character curls up at a bar, crowded by two leering men ordering her the hard liquor with which she courts abnegation. A couple cuts later, she’s teasing one of her throwaway lovers for asking her to be tender, warning the next in line that she’s "pas douce," or "not soft." Pas Douce is the original title of Jeanne Waltz’s finely calibrated debut, though it could pass for several French offerings with similarly bruising and bruised heroines at this year’s San Francisco International Film Festival.

French art cinema has been rife with sex of the pas douce sort for years now: a diverse group of filmmakers (Gaspar Noe, Catherine Breillat, Francois Ozon, and more recently, Jean-Claude Brisseau, of Exterminating Angels infamy) has coalesced, marked by the provocative blend of hyperrealism and hardcore. The French have never shied away from showing a little skin – it would be silly to think the original new wave didn’t owe some of its cachet to it – but these latter-day sexual misadventures represent something pointedly unpleasant in form and content. Critic James Quandt dubbed it new French extremism, though cinema brut works just as well.

In SFIFF films such as On Fire, 7 Years, and Flanders, this tendency is toned down but still embedded in narrative and character. Being French, all three feature some manner of love triangle: in Claire Simon’s On Fire, teenage Livia (Camille Varenne) plays like Lolita, teasing a boy her age while imagining herself the object of a swarthy fireman’s desire (hello metaphor!); in 7 Years, Jean (Valerie Donzelli) has sex with her prisoner husband’s warden on tape, nominally for hubby’s benefit; and in Flanders, sad-eyed Barbe (Adelaide Leroux) opens her legs to two neighbors going off to fight an unnamed war in the Middle East.

They are all Mouchette’s daughters, these women. Mouchette, the title character of Robert Bresson’s stark 1967 film, is perhaps French cinema’s gold standard of female suffering (with all due respect to Maria Falconetti in Carl Theodor Dreyer’s 1928 The Passion of Joan of Arc). She’s there in the shots of Barbe on her back, staring skyward in full surrender to a man’s grunting weight; in the way Livia sighs while putting a cup of coffee on for her father; and certainly when Le Besco’s Frederique rides her bike into a lake in a fit of ecstatic despair (Mouchette ends her own life rolling into a bog).

Bresson’s content was indivisible from his unadorned film style, and here too these new directors toe the line, shooting in long takes, often on location, with a handheld camera and a resourceful approach to sound. As far as formulas go, this one’s a pretty safe bet in film festival circles (see: the Dardenne brothers and Abbas Kiarostami). Flanders director Bruno Dumont (The Life of Jesus, Humanite) is already well established in this regard, and while On Fire, 7 Years, and A Parting Shot all have their good points, his latest film is the clear standout among the SFIFF’s cinema brut. It strikes me as Dumont’s version of (and perhaps, improvement on) Michael Cimino’s 1978 The Deer Hunter in the way it mediates battleground and home front as two complementary parts of one continuous, damaged landscape. The Flanders segments work better than the ones in the desert, both for Leroux’s unnerving performance and for Dumont’s painterly compositions (the director grew up in this part of northern France). Flanders occasionally breaks down in its long silences, but it’s a beautifully wrought film, full of carefully plotted mirroring and harrowing disruptions. It’s also unremittingly physical – the sound design of boots squashing and sucking the Flanders mud is all the exposition we could ever need.

Flanders possesses a formidable style indeed, but the closing lines of Quandt’s essay still demand satisfaction: "The authentic, liberating outrage – political, social, sexual – that fueled such apocalyptic visions as Salo and Weekend now seems impossible, replaced by aggressiveness that is really a grandiose form of passivity." Or maybe there are simply too many of these films and scenes piling up, diluting the resonance of any one effort. An uncomfortable question: how would we respond to Mouchette if it were released in this deluge?

It’s impossible to say, but I have little doubt that burnout had something to do with the pleasure I took in Christophe Honore’s new wave-meets-J.D. Salinger yarn, Dans Paris. Honore’s film is steeped in Jean-Luc Godard, Francois Truffaut, and Eric Rohmer, and while individual bits feel too cutesy (e.g., Louis Garrel skipping down a Paris street in fast-motion), most of this nervy technique has retained its bite, thanks to the staid but lurid minimalism of new French extremism. Honore’s characterizations are tenderly muted rather than brutishly absent; he’s more concerned, in proper new wave fashion, with the talk before and after sex than the act itself. Rather than aiming for extremism (and let it be said that 2001’s Amelie represents, in its own way, as extreme a vision as that year’s Fat Girl), Honore charges Dans Paris with eclecticism: of tone and thought and most likely meaning too. *

DANS PARIS (Christophe Honore, France, 2006). May 4, 9:15 p.m., Kabuki. Also May 7, 9:30 p.m., Kabuki

FLANDERS (Bruno Dumont, France, 2006). May 6, 5:15 p.m., PFA. Also May 8, 9 p.m., Kabuki; May 9, 9:30 p.m., Kabuki

ON FIRE (Claire Simon, France/Switzerland, 2006). May 5, 1:45 p.m., Clay. Also May 7, 7 p.m., PFA

A PARTING SHOT (Jeanne Waltz, France, 2006). May 5, 7 p.m., Clay. Also May 7, 1:30 p.m., Kabuki; May 8, 6:30 p.m., Kabuki; May 10, 4:30 p.m., Kabuki

7 YEARS (Jean-Pascal Hattu, France, 2006). May 5, 9:30 p.m., Clay. Also May 7, 7 p.m., Kabuki; May 9, 1 p.m., Kabuki

Magic stoned

0

> kimberly@sfbg.com

Dream catchers and rainbows. Stately dragons that soar the starry skies as majestically as a space station and more Marshall stacks than you can shake a pewter warlock wand at. Lone wolves and lynx meeting under snowy boughs in untamed, magical communion. Daggers with serpentine handles morphing gently into stalactites and snowflakes. Wizards solemnly lifting crystal balls aloft in triumph, taking a Festival Viking cruise past jagged pink quartz reefs. Look out for a metal band with feathered hair and quasi-KISS face paint rising over the mountain of gold coins.

No, it’s not an old Heart music video but the cheese-coated language of so-called crystal power – and the kitsch iconography that video artist Kelly Sears works with in her 2004 animated short, Crucial Crystal, one of three she will show as part of "Notes to a Toon Underground." Xiu Xiu, Grandaddy’s Jason Lytle, William Winant, Tommy Guerrero, Marc Capelle, and Guardian contributor Devin Hoff are among those providing the live musical accompaniment and original scores to 15 animated works by Sears, Jim Trainor, Wladyslaw Starewicz, David Russo, and Emily and Georgia Hubley.

The pieces originate from anywhere between 1912 and 2005, though some such as Crucial Crystal mine a high-low quarry that’s both timeless (power chords are forever) and already dated in rapid-cycling retro-hipster circles (truck stop lone-wolf imagery naturally begat those interminable wolf band names). It’s done to comic effect, propping up and sending up its subject simultaneously. "When you take a sampling of crystals, black metal, Marshall stacks in the snow, dream catchers, and New Age and nu metal imagery like that and collect them into one big fantasyscape in some impossible universe, it reads as superdated," Sears says over the phone from Pitzer College in Claremont, where she works as the director of production in intercollegiate media studies. "If it was made now, it would have a whole new crop of contemporary pop images that would go in it: a lot of ’70s recycled stuff and a lot of hair."

Hard-rocked and rainbow-hued, Crucial Crystal broke off from a band project, Sexy MIDI, that found Sears making videos to accompany her orchestra pit-style re-creations of MIDI covers gathered online. She culled her crystal fantasia from similar free-source locales: "It was about getting really democratic, finding those images," the 29-year-old animator says, laughing brightly. "The philosophy was, if Google image search doesn’t have it, I don’t want it!"

That hunting-gathering impulse also informs the other Sears works in "Notes": Devil’s Canyon (2005), a wryly surreal and unexpectedly poetic ode to America’s cowboy romance with expansionism and industry, which Sears describes as a "completely fantastical, dystopic manifest-destiny story of the West," and The Joy of Sex (2003), a hilariously solemn animation of the sex manual’s 1991 update.

She found the tossed tome while she was working on her MFA at UC San Diego and liked the idea of animating the book’s images of a conservatively coiffed post-Reagan-era couple in the throes of damped-down passion, using restrained, minute motions accompanied by a flattened MIDI cover of "I Want to Know What Love Is" (it will be given a new score at "Notes"). "I’m really about saving things that got thrown away," she says. "That’s why I look for imagery in thrift stores and garage sales. I really like the idea that the story told by this imagery isn’t functioning anymore and has been cast aside. It’s ready to be picked up and transformed into some sort of new story that could possibly be more relevant now."

Sears’s aesthetic may radically shape-shift from video to video, but her skill at juggling pop wit with postmodern smarts remains the same. "Kelly comes out of nowhere, but you are reminded of a specific ‘somewhere’ because her signifiers seem universal: appropriated pop and illustrations, a cult following-in-the-making," e-mails Darin Klein, who recently curated a show at the Hammer Museum in Los Angeles that included a collaboration between Sears and choreographer Ryan Heffington. "Her sincerity, her technicality, and the thoroughness of her execution hint at a woman who tunes in and never turns off or drops out."

Sears’s fascination with found images emerged from her distaste for the look of digital video and her sensory appreciation of the texture and beauty of old books, National Geographics, and encyclopedias from the ’60s and ’70s. Currently, working on narratives about orgone boxes and men who modify their bodies into machines, she describes her process as "completely time-consuming": it involves scanning hundreds of images, digitally cutting each out, breaking each still into planes that will eventually move, and then working on the images in After Effects and Final Cut. Still, the time and toil appear to be worth it. "It just seems like a really great way to open up some form of culture or history that’s been produced," she says, "and get your two cents in by rearranging the signifiers in a different way." *

NOTES TO A TOON UNDERGROUND May 5, 8:30 p.m., Castro

Bubblegum bandits

0

> cheryl@sfbg.com

I’m only a little bit ashamed to admit that I loved Making the Band. No, not the acceptably addictive, Diddy-produced Danity Kane version. I’m talking about the one that birthed O-Town, baby – the quintet of preppy dudes united by boy-band Svengali Lou Pearlmen for three seasons of semi-emotive crooning, thrusting choreography, manufactured drama, and all the *NSYNC coattail riding instant fame could buy. But in the long run, O-Town wasn’t meant to be – how can anyone walk away from a song called "Liquid Dreams" with dignity intact?

The boy-band phenomenon of the early millennium has thankfully faded, but there’s still parody meat enough for Hong Kong heartthrob (and San Francisco native) Daniel Wu, who makes his writing and directing debut with Heavenly Kings. A mock doc that takes itself a bit more seriously than Christopher Guest’s oeuvre (which is to say, there are fewer laughs), Heavenly Kings follows Wu and fellow HK actors Conroy Chan Chi-Chung, Andrew Lin, and Terence Yin as they spontaneously form Alive, a Backstreet Boys-ish singing group. There’s plenty of comedy in the film’s first half, including encounters with a knob-twiddling studio whiz charged with correcting off-key vocals ("I realized they were fucking shit," he says) and Alive’s sneaky strategy of putting their first (and apparently only) single online – then drumming up media attention by pretending to be mystified and outraged by the leak.

How much of Heavenly Kings is real, and how much is fake? Like the 2004 doc Czech Dream, which followed a pair of prankster filmmakers who launched a huge ad campaign for the opening of a supermarket that didn’t actually exist, the members of Alive are pulling the wool over certain eyes (the actors’ fans who attend Alive concerts) but not others (there’s a scene with a tacky, maybe-too-fey clothing designer that’s clearly a scripted affair). Reality is further blurred by interviews with real HK recording stars, who voice concerns about their industry’s lack of integrity. There is, they explain, a discouraging emphasis on superficiality over legitimate art and talent. (Sounds just like America’s idols, don’t it?)

So while there’s a dose of O-Town-style schadenfreude at work in Heavenly Kings – especially when the friendships between the guys break down amid power struggles, malaise, and boozing – the film is also trying to make a salient point about the music biz. Whether or not there’s room for serious commentary in a film top-loaded with goofy montages, animated sequences, and the band’s oft-repeated frothy ditty ("Adam’s Choice" – coming to a karaoke bar near you!) is never really resolved. But Wu and his cohorts get props for sending up their dreamy images in a film that’ll prove most entertaining to folks who’re in on the joke.

THE HEAVENLY KINGS (Daniel Wu, Hong Kong, 2006). Fri/27, 9:45 p.m., Castro. Also Sun/29, 6 p.m., Kabuki; May 4, 5 p.m., Kabuki

Scott Howard

0

> paulr@sfbg.com

As an aficionado of the men’s-club look, I was swept into Scott Howard as if into some beautiful dream. Beyond the set of fluttering drapes that shield the host’s station from errant breezes blowing near the front door lies a world of coffee- and tea-colored wood (floor, table and chairs, wall trim), gently dim lighting, a slightly sunken floor like that of some kind of arena, and a brilliantly backlit bar standing against one wall like a sentinel.

But … we weren’t really under any delusion of having stepped into White’s or the Athenaeum in London; although Scott Howard’s interior design relies heavily on traditional materials, it gives them a spare, modern look. Lines are clean and frivolities few, and you feel that the restaurant is meant to appeal to tasteful people who know how to make much of time. There is no wasted motion or idle effect. The Cypress Club (which long occupied the space) is indeed gone for good.

The masculine cast of things isn’t surprising, if only because the restaurant’s chef-owner and eponym bear a name of double-barreled maleness. Yet Scott Howard (the restaurant, and maybe the man too) is all about elegance, not ESPN, and elegance here is understood as flowing from understatement. In this sense the place makes an interesting contrast to nearby Bix (just around the corner, on brick-lined, lanelike Gold Street), whose aura, while also male, has a distinctly more fanciful, Great Gatsby retro element. You could easily stand at Bix’s bar and indulge a brief fantasy of waiting for Nick Carraway; Scott Howard, by contrast, is very much of the here and now, spotlighted by halogen sconce lamps in the ceiling.

The tables are set comfortably far apart – a subtle touch that helps the restaurant breathe more easily and allows the restaurant’s patrons to converse in ordinary tones. And what would they be conversing about? Why, the prix fixe, of course, an innovation Howard returned to the one-and-a-half-year-old restaurant a few months ago. The deal is $32 for a three-course dinner – starter, main dish, and dessert, with a couple of choices available in each category – or $47 for the same dinner with wine pairings. (No choices as to the wines, and none needed, so far as I was concerned. The pairings were superior.)

A la carte devotees and other iconoclasts need not fret, for an entire side of the menu card is given over to the regular menu, whose entries, from a pork chop to Maine lobster to hamachi, reveal Howard’s distinctive blending of European, Asian, and all-American cooking. His style is a bit like Bradley Ogden’s, but with a less overt Middle Western bent.

It is sometimes said by cognoscenti that when visiting London and Paris, you should always go to London first so as not to be disappointed. If you start in Paris, you might find London, for all its splendors, a little tatty. A similar advisory ought to apply to Scott Howard’s tuna tartare ($12), a disk of chopped fish atop a bed of cubed avocado, with a well-modulated chorus of piperade and crisped chorizo bits on the side and, throughout, a subtle perfume of vanilla oil. This dish is so sublime that you will struggle not to order a second one (we struggled unsuccessfully), and if you start with it, you might find that it casts a shadow over everything that follows. One solution would be to have it for dessert, but this would seem odd, despite the vanilla; another would be not to have it at all, but this would be a heavy loss.

Only marginally less rapturous but considerably earthier is the orzo "mac and cheese" with tomato jam ($7 for a sizable crock), which could pass as an especially creamy risotto. ("That stuff is evil!" our server said to us with barely restrained glee. He meant "evil," of course, in the best possible, the Dame Edna, sense.) If Howard’s sensibility glides gracefully between the earthy and the sublime, then the prix fixe cooking finds a balance somewhere near the middle, in happy-medium country. The cooking here is sophisticated rather than dazzling – the kind of food your table considers for a moment in quiet admiration but does not hesitate to eat, while talking about other matters.

A tomato soup, for instance, was rich and thick, with a few flicks of fennel pollen (which looked like black pepper) cast over the molten surface and a faint hint of smokiness that suggested roasting. A plate of smoked salmon draped over a potato pancake – really more of a fritter – and garnished with a dollop of sour cream was a classic presentation, the kind of thing you might be served at your club, if you belonged to one. (Wine pairing for both: a crispy-rich albarino.)

The recurrence of salmon – Scottish, as a main course, with hedgehog mushrooms and coins of fingerling potatoes in a tarragon broth – didn’t quite make it up the mountain for me. The poached fish was fishy, the broth watery. Much better was roasted lamb loin, ruby rose in the middle, laid in two pieces atop a bed of braised spinach and scallions and finished with dribbles of truffled jus. Your club would definitely serve this with pride. (Wine pairing for both: an intense but controlled California primitivo.)

Prix fixe desserts seldom set the world on fire, and Scott Howard’s are no exception, though the sparkling moscato sounded a festive holiday note. Warm chocolate cake with blackberry coulis and whipped cream? Nice, but a rerun deep in syndication. There was nothing showy about butterscotch pudding either, except that it was dense and good, sweet but not too. Can a dessert be manly? *

SCOTT HOWARD

Dinner: Tue.-Sat., 5:30-10 p.m.

500 Jackson, SF

(415) 956-7040

www.scotthowardsf.com

Full bar

AE/DC/MC/V

Well-managed noise

Wheelchair accessible

Meeting acute

0

› a&eletters@sfbg.com

REVIEW In the aftermath of the Oklahoma City bombing, one of the only voices raised on behalf of understanding Timothy McVeigh — that is, as someone slightly more complicated than a Hollywood-style incarnation of pure evil — was that of Gore Vidal. Vidal insisted on pointing to the obvious: the bombing of offices that included the local headquarters of the FBI and the ATF — although utterly cruel and misguided in leading to 168 deaths — was not arbitrary wickedness but a carefully considered act of revenge. As Vidal put it in his article on McVeigh for Vanity Fair, the bombing of the federal building in Oklahoma City "was the greatest massacre of Americans by an American since two years earlier, when the federal government decided to take out the compound of a Seventh-Day Adventist cult near Waco, Texas."

McVeigh — a decorated military hero of the Gulf War, as it turned out — had counterattacked a government he claimed was waging war against the American people. In this opinion, McVeigh, who insisted he had no accomplices, was not alone. He represented a growing libertarian movement afoot in the American heartland. Moreover, as Vidal, a critic from the left of federal tyranny, pointed out in a 1998 piece for Vanity Fair, "Shredding the Bill of Rights," the government had violated Posse Comitatus in laying its siege of the Branch Davidians.

For Vidal’s attention to the matter, McVeigh began a correspondence with him, even inviting the writer to attend his execution — an invitation Vidal declined. This immediately sounds like a fascinating, even dramatic dialogue. But stageworthy? Edmund White’s two-hander, Terre Haute, shrewdly ups the ante a bit, imagining an actual date between Vidal and McVeigh — respectively cast as the lightly fictionalized writer James Brevoord (a fine John Hutchinson) and the transparently McVeigh-like terrorist Harrison (a fiercely magnetic Elias Escobedo, who even bears a strong physical resemblance to the original). They encounter each other in the flesh in a series of brief meetings across a plastic security screen in the maximum-security prison in Terre Haute, Ind., during the days preceding Harrison’s execution.

On death row Harrison has had time to think over his actions. Neighbor Ted Kaczynski, we learn, has suggested he would have done better to blow the building up at night, when it was empty of innocents. But Harrison remains unrepentant, even if we see the burden of responsibility close over him when the lives of innocent "collaterals," particularly the children at the day care center, get mentioned. Brevoord — who is there to write on the meaning of Harrison’s act and to boldly ask the whys so studiously erased in the media — sympathizes with Harrison’s anti-imperialism while provoking the younger man with mounting scorn for his embrace of feeble right-wing conspiracy theories.

Besides a political tête-à-tête, the meeting is the occasion for a clash of personalities, temperaments, and backgrounds, all of which White brings out starkly in the dialogue: Brevoord, for instance, is the kind of man who has no trouble using kerfuffle in an idle sentence, although an indeed is more than enough to throw Harrison for a loop. The tension here is often lightly comical, but the point about education, intellect, and political opposition (and the art of the interviewer) is well made. And if the script feels overly expositional at times, the actors offer strong and credible performances throughout.

The New Conservatory Theatre Center’s US premiere is a sharp and intimate production, staged by director Christopher Jenkins with intelligent assurance, including a concentration on character that garners moments of alternately subtle and electric intensity between two men negotiating an extraordinary situation. Yet the director can’t resist kitschy flourishes, introducing the McVeigh character, for instance, with a short piercing scream of sound and a light that illuminates Harrison standing like Hannibal Lecter behind the see-through wall of the visiting cell. Scenic designer Bruce Walters’s visiting room, meanwhile, is a simple but convincingly dire arrangement of wire-woven Plexiglas walls, yellow-taped borders, and blinking security cameras.

White draws the facts of the case, as well as the style and argument from Vidal’s relevant essays, into well-crafted if sometimes information-laden dialogue. It can be too clashing and unnecessarily confrontational, but it is generally graceful and filled with absorbing ideas, especially in the monologues given to the Vidal character. Unfortunately, the play gets distracted from the meat of its story. That tale not only sports an intriguing tension between two very different sorts of rebels but is politically urgent and deep, ranging from the correct response to a truly totalitarian encroachment on fundamental liberties to the dissolving relation between cause and effect in a culture dominated by mind-numbingly interchangeable images of good and evil.

Instead, the play ends up veering off into carnal considerations of repressed desires, a layer to the characters’ relationship that was probably best left hinted at. The best you might say about it is that it further humanizes a figure too quickly passed off as a cartoon rather than a riddle that needs solving. But in practice it tends to trivialize what’s gone before, inevitably mixing an unhelpful pinch of Freud into the media-repressed why of a terrible public act. *

TERRE HAUTE

Through May 6

Wed.–Sat., 8 p.m.; Sun., 2 p.m.; $22–$40

New Conservatory Theatre Center

25 Van Ness, SF

(415) 861-8972

www.nctcsf.org

>

El pollo greco

0

Herbs tell stories, and the association of certain herbs with certain experiences can be specific and powerful. Basil, for instance, is summer and tomatoes, while sage is Thanksgiving and bread stuffing. Oregano? Its strong perfume is the smell of pizza — but it’s also Greek. It is, in particular, the herb that gives Athenian or Greek chicken its bewitching character.

For years I tried without much success to create at home a plausible version of the Athenian chicken that we found so irresistible in Greek restaurants. The restaurant chickens often seemed to have been roasted on rotisseries, and while I couldn’t match that, I did have my trusty vertical roasters, which produced (with day-before rubbing of kosher salt and Herbes de Provence) wonderful Zuni-style roast chickens. My basic theory was to substitute oregano for the Herbes; this worked, but the results were underwhelming, certainly no match for their Zuniesque brethren. Smashed garlic and lemon slices under the skin? These helped a little, but the birds still seemed to lack the sought-after verve.

Of course, there is more than one way to roast a chicken. Roasting says oven the way oregano says pizza, but it need not be so. Let us not forget pan roasting, a near relation to braising, in which the item in question is cooked on the stove top in a small amount of fat or other liquid. I had a time-tested recipe for pan-roasted lemon-rosemary chicken; what if I dropped the rosemary in favor of (dried) oregano? I did: eureka!

Start with an oregano-and-salt-rubbed chicken, cut into pieces. Put the pieces in a large nonstick skillet over lively heat for a minute or two, turning occasionally until they’re lightly seared. Add a couple of tablespoons each of sweet butter and olive oil to the pan, along with a good pinch of salt, a heaping tablespoon of dried oregano, and three cloves of smashed, peeled garlic. Cook for a few minutes more, shaking the pan and turning the pieces. Add a cup of dry white wine, and bring to a boil; reduce the heat and simmer, partly covered, for 30 to 40 minutes, turning the pieces now and then. When the chicken is golden brown, remove from the pan and deglaze with the juice of one lemon. I use a gravy separator for the pan juices, but you don’t have to. Serve the jus on the side and say oompah!

Paul Reidinger

› paulr@sfbg.com

Esperpento

0

› paulr@sfbg.com

Spanish food may have struggled for recognition in this country and will almost certainly never be as well loved as its near relation, Italian cooking, but in the last decade or so the Iberian peninsula has given us at least one big present: the tapa. Tapas, the little plates that could, are so big now that they’re often not even remotely Spanish: we find Cuban and nuevo Latino and even American versions, while small plates from other cultures end up being called "tapas" for convenience’s sake. People might not know about, and might be chary of ordering, a meze platter, but if you call it Turkish or Greek tapas, they’re in.

At Esperpento, which turns 15 this year (the name means "absurdity"), the tapas are still tapas, still Spanish — the kinds of things you’d have with a beer or a glass of verdujo or rioja in the middle evening at some restaurant near the Plaza Mayor in Madrid. The venue itself, with its forest of support columns and cheerful, well-scuffed yellowness, looks like such a place and offers us a reminder that restaurant interiors evolve or accrete meaning through use and are not necessarily complete when created, no matter how elaborately and expensively they are designed. But what most amazes about Esperpento is the paella, which is actually better than good — quite near excellent, in fact. While I cling to my view that the best paella is likely to be made by a home cook, I can no longer say that restaurants can’t pull it off. Esperpento can and does, though, as with soufflés, you are given notice that there will be a 30-minute wait.

If you have to wait a spell for your main dish, what better way to pass the time than by noshing on tapas in a house of tapas? Esperpento’s selection is huge, turn-around time is short, and a surprising number of the small plates are vegetarian friendly. You could easily order up a meatless feast here without disappointing meat eaters in the slightest. Especially fabulous are the alcachofas a la plancha ($5.50), disks of thinly sliced artichokes grilled with a simple combination of garlic and parsley. And not far behind are the patatas ali-oli ($4.50), crispy-tender new-potato quarters generously spattered with garlic mayonnaise. If you like your potatoes a little less free-form, you might prefer the tortilla de patata ($6), which the menu describes as an "omelet" of potatoes and onion but is really more like a cross between a quiche and a tart and is far tastier (and substantial: the pie yields six decent-size slices) than its modest list of ingredients might imply.

As in Italian cooking, simple preparations yield potent results. Mushrooms sautéed with garlic ($5.25) were as meaty and fragrant as chunks of kebab. A salad of roasted julienne red pepper ($5.50) dressed with a house vinaigrette was gorgeous, even though the peppers were just the ordinary kind rather than the fancier (and slightly hotter) sort from Navarre. Boquerones ($5), Spain’s famous white anchovies, were dipped in batter and flash-fried, so they resembled french fries, while calamares a la plancha ($6.50) took a turn on the grill quick enough to keep them tender. One plancha-style dish did disappoint: clams ($6.25), which were not bad, just pallid despite garlic, parsley, and olive oil. And a salad of white beans ($4.75) could have used a boost of something.

A common booster in Spanish cooking is pimentón ahumado, or smoked paprika. This is the spice that gives Spanish chorizo its distinctive flavor, and it turned up big in the sauce of the rabbit stew ($6.75), a quasi-signature dish. The meat itself, still on the bone, was fine if not remarkable, but we carefully sopped up all of the sauce with rounds of white bread from the continually replenished basket.

The paella — de carnes y mariscos ($26 for two, but plenty for four if sufficiently preceded by tapas) — arrived in due course and was inspected. We noted the traditional two-handled pan, the wealth of meat, mussels, prawns, and green peas, and the bright yellowness of the rice — an indication that there has been no stinting on the saffron. The grains of rice were plump and glistening, a sign that they had just been cooked straight through rather than parboiled, left to wait, then finished in haste.

Best of all was the caramelized crust that had developed at the bottom of the rice layer. One of the big differences between risotto and paella is that the former is stirred more or less constantly, with a creamy result, while the latter is stirred hardly at all. The result of this stasis is the crust, which is something of a delicacy, though scraping it off and folding it into the rest of the dish can be an indelicate operation.

Paella is one of life’s more festive dishes, and Esperpento, despite its advanced age, has to be one of the more festive restaurants in the not-exactly-somnolent Mission: large parties wait at the door, tables are pushed together, cheerful voices are raised, plates laden with tapas fly from the kitchen (to return a few minutes later, stripped clean), service staff move nimbly among the tables like performers in some high-wire circus act. It is chaos, yes, but functional chaos, absurd as that might sound. *

ESPERPENTO

Lunch: Mon.–Fri., 11 a.m.–3 p.m. Dinner: Mon.–Fri., 5–10 p.m. Continuous service: Sat.–Sun., noon–10 p.m.

3295 22nd St., SF

(415) 282-8867

Beer and wine

AE/DISC/MC/V

Noisy

Wheelchair accessible

>

I Love Dick. You Should Too.

0

richardcheese.jpg
The first time I heard Richard Cheese and Lounge Against the Machine, I imagined a huge 30s style musical with hundreds of dancing girls surrounding one man – Dick Cheese himself – who would be standing in a tux at a glistening grand piano. Professional lighting, gorgeous sequined costumes, a dramatic set. And the Nine Inch Nails lyrics “I want to fuck you like an animal” drifting from an old-fashioned microphone towards the audience over the staccato beats of tap shoes.

Still evolving

0

The human race either sinks or swims. That’s evolution as Charles Darwin first saw it. But flippers and a seal pelt, that’s pure Kurt Vonnegut. The novelist plays God like no other, wresting the species from its self-destruction, then sending it on its wobbly way with a childlike capacity for invention and a wry if discontented grasp of human folly. That’s Galápagos, anyway, his 1985 best-seller in which evolution saves humankind from its big and mischievous brains by sending it back to the sea. And although the transition from page to stage is probably as slippery as that first fin step on dry land, Vonnegut fans (a species unto themselves) will no doubt flock to see the book’s adaptation in the world premiere of Galáp, by San Francisco’s Boxcar Theatre.

In a year that found the young company variously pitched in the sand at Baker Beach and careening onboard the Mexican Bus’s rolling party platform, it hardly surprises one to see the itinerant Boxcar pulling into the Cadillac Building at 1000 Van Ness to occupy the vacated offices of an online shoe company as it brings its inaugural season (aptly titled "Journeys") to a close. And indeed, a better-sounding setting for a play inspired by a Vonnegut story is hard to imagine.

Artistic director Nick A. Olivero wants to make the most of it too. His imaginative, kinetic staging contains continual surprises, aided by the aquatic and exotic atmosphere summoned through Lisa Lutkenhouse’s resourceful costumes, Norm Munoz’s puppets, and David Sophia Siegel’s jaunty original score. The room itself is divided into several stages, more or less enveloping the audience in the play’s fractured story line, which looks back one million years through the eyes of a ghost (Josh Truett) at the troubled but pivotal year of 1986 as several hapless tourists aboard "the nature cruise of the century" to Ecuador’s Galápagos Islands become the progenitors of the next wave in human evolution.

The six-member cast cycles through a number of characters, sometimes sharing duties in a single role. If the hardworking cast begins to win us over, it also never masters the rigors of the material or Vonnegut’s satirical style. Poor sight lines, moreover, make some scenes impossible to view from certain seats. Boxcar’s ambitious closer is a mixed bag, in other words, but like Vonnegut’s relentless survivors, the company shows it can adapt. (Robert Avila)

GALÁP

Through April 27

Thurs.–Sat., 8 p.m., $12–$28

AMC Cadillac Bldg.

1000 Van Ness, SF

(415) 776-1747

www.boxcartheatre.org

>

The big town

0

From the air, Chicago in late winter looks like a giant crepe sprinkled with crushed peppercorns and minced scallions: a brown flatness textured with bits of black and white and wan hints of green. It’s a cold crepe, of course; you land and you can see your breath, though within a day or so the temperature will have risen into the malarial mid-70s, and the sky will be filled with purplish green, swelling clouds right out of The Wizard of Oz. Summerish heat in March suggests (apart from global warming) the imminence of tornadoes, to be followed by a blizzard, though not mosquitoes.

One evening we wandered west through River North to Scoozi, the Rich Melman–Lettuce Entertain You Enterprises restaurant that turned 20 last year. The place was something of a pioneer when it opened; the neighborhood was still slightly sketchy, and the setting — a remade temple of heavy industry, with an enormous barrel ceiling supported by wooden cantilevers so as to leave the dining room clear of pillars — gave some sense of what imagination could do with grand old spaces that hadn’t been built with food and restaurants in mind. I thought Scoozi was spectacular when I first visited it, soon after it opened, and it seems to me none the worse for more than two decades of wear; in San Francisco, only LuLu begins to compare in the category of warm spaciousness. Even Scoozi’s big, red, and curiously flattened tomato still hovers, cigar volante–style, above the front door.

The metro-rustic food too was — or is — as good as I remembered it. We particularly liked the grilled artichoke hearts, which seemed not merely to have been marinated in lemon juice and garlic but to have been braised or parboiled in that combination before hitting the barbie. Clue: the potent pair was present throughout the vegetables, making the flesh tender, moist, and fragrant, rather than being just a surface phenomenon. And I am not particularly an apostle of artichokes.

Chicago is underrated as a food city, as in so many other ways. Its reputation is one of rust, Al Capone, Vienna beef sausages, and the clattering El — but that is the old city. The new one is, like our own, a forest of cranes and high-rise apartment buildings whose residents want something interesting for dinner. Excuse me, did someone say crepe?

Paul Reidinger

› paulr@sfbg.com

Brothers in arms

0

› cheryl@sfbg.com

In a vulnerable country occupied by a foreign power, civilian frustration leads to anger, which soon explodes into a violent, uncontainable insurgent movement. It could be ripped from today’s headlines — but The Wind That Shakes the Barley is set in 1920s Ireland, where the oppressors are the British and the rebels are members of the nascent Irish Republican Army.

Directed by Ken Loach (Bread and Roses) in his trademark naturalistic style (few close-ups, overlapping dialogue) and with immaculate attention to period detail, Wind makes the guerrillas sympathetic — to a point. But it’s also a film that avoids drawing strict boundaries; it exactly captures the uncertainty that arises when conflict and emotion become hopelessly tangled. At the beginning, brothers Teddy (Pádraic Delaney) and Damien (Cillian Murphy, the only cast member with a Hollywood hand stamp) know precisely where they stand. Tensions between British soldiers and Irish villagers are already sky-high when the young men are accosted by the Black and Tans for daring to hold a forbidden public meeting (really a harmless sporting match). Amid the shouting and gun pointing, an Irish teen refuses to speak his name in English, with fatal consequences.

With that first act of brutality, Wind ‘s tone is set. It’s war, and a dirty one at that. Damien abandons his med-school plans to join the fiery Teddy in his quest to drive out the Brits. As hostility escalates — humiliation, torture, and cold-blooded execution are the daily norm — Damien becomes more warrior than intellectual, a changeover that crystallizes once he’s asked to perform a terrible deed in the name of the cause. "I hope this Ireland we’re fighting for is worth it," he mutters.

But is it, at least for Damien? The affairs of state play out as you’d expect; for our benefit, events are explained via a newsreel the townsfolk watch in the local movie theater. The headline "Peace Treaty Signed by British and Irish Leaders!" is greeted first with cheers, then chagrin when it’s revealed the country will still be a dominion of the British empire and Northern Ireland will still be part of the United Kingdom. Clearly, there’s no way the bloody mess in the countryside will be tidily ended by a piece of paper signed by far-off dignitaries.

For Teddy and Damien, the ruling forces an impenetrable wedge between them. Teddy accepts the compromise, figuring he’ll work within the system to change it — for him, "this Ireland" is worth it. Damien’s actions during the war have pushed him to the point of no return; he has no choice but to keep fighting. When the brothers have their climactic clash, even their deep love for each other can’t overcome their political beliefs.

Wind was the Palme d’Or winner at the 2006 Cannes Film Festival, a surprise victory for a movie that seems, at least on paper, to be about a pretty specific moment in Irish history. The tale of two brothers is admittedly an obvious storytelling device — check your Civil War cinema for other me-versus-him tales, or foreign epics such as the 2004 Korean drama Taegukgi: The Brotherhood of War. Wind ‘s leg up is its echoing of current events; you can’t help but watch the film through the framing of the nightly news. It could be in rural Ireland, it could be in rural Iraq, but fighting for freedom can take many forms, with all involved believing victory for their side will produce the only acceptable result. But what happens when the clear-cut realms of a battlefield mutate into the murky waters of courts, laws, and governments? To paraphrase Damien, it’s easy to know what you’re against — but another thing entirely to figure out what you’re for. *

THE WIND THAT SHAKES THE BARLEY

Opens Fri/6 in Bay Area theaters

See Movie Clock at www.sfbg.com

>

Oh dad, poor dad

0

› andrea@altsexcolumn.com

Dear Andrea:

I have a bit of a problem. It’s not a huge one, but I’d like to get past it. A long time ago (maybe 15 years ago or more), I had a dream that my dad was molesting me. Now, I love my dad, and I have nothing but respect for him. I know he would never do anything like that to me. But right after the dream I started to feel uncomfortable around him. If I sat next to him on the couch, I’d sit at the other end and keep a pillow between us. If he went to hug me, I’d want to pull away. I would especially hate it when he’d kiss my cheek. On my wedding day (I’m divorced now — that’s another story), he kissed me on my mouth so as not to mess my makeup, he said. I pulled away and tried to make the kiss land on my cheek. I know he didn’t mean anything by it, but it bothered me. The situation has gotten a little better over the years, but I’m still bothered if he sits too close to me or tries to hug me.

It’s a problem because my dad is a very affectionate person by nature. All my life I’ve always been a daddy’s girl (my mom died when I was young). Now that I’m an adult, he and I are like good friends. I want it to stay that way, but I need to get over this dislike of being touched. What can I do?

Love,

In Dreams

Dear Dreams:

Wow. I don’t get to say this often, but I don’t believe I’ve heard this one before. There’s a similar phenomenon — the friend or coworker sex dream, usually starring someone completely inappropriate or out-of-the-question — that does come up pretty often. Unlike your supercreepy version, of course, the coworker sex dream is at least kind of funny, although it can have oddly lingering effects: you find yourself glancing speculatively at the dream object, against all common sense, or blushing furiously when said coworker brushes your shoulder in the corridor on the way to the break room.

Yours, though, is more like a dream I had when I was five or so, in which my grandmother (in real life, batty and irritating but harmless) was trying to poison me. I gave her a wide berth for weeks, and I distinctly remember refusing food she offered (not a bad idea in general, come to think of it, with that particular grandma). But lady, 15 years of feeling weird about your poor old dad? That’s plenty, already. Good god, let it go.

I know, I know, you want to. If giving yourself a stern talking-to before a visit with dad — reminding yourself that nothing bad ever happened between you and therefore nothing bad will happen if you let him hug you — doesn’t work and neither does deep breathing or stiff drinking, it’s time to call in the pros. I’m pretty sure a short course of cognitive-behavioral therapy would be of use to you. CBT (this abbreviation always startles me, since I doubt very much you’d be interested in cock and ball torture) is based on the belief that the way we think determines the way we feel: change the thoughts and you change the feelings. You seem like a good candidate, given that what’s going on with you is 100 percent internal and that nothing your father has done or could do could affect things in the slightest. You really do need to change the way you think, don’t you think?

If CBT sounds too, I dunno, therapy-y to you, you might consider hypnotherapy, guided relaxation-meditation, or even EMDR, which I spent half a column making fun of just a few weeks back (3/7/07). It doesn’t matter, really. They all work OK. Just do something. This is a really stupid way to be broken, so get it fixed.

There is one word of caution I don’t feel like including here but suppose I must: be very sure of whom you’re talking to before you tell a therapist that you feel creeped out at the slightest physical contact with your father. Recovered memory may no longer be the "it" diagnosis (serious memory research having put the kibosh on that hogwash), but a therapist would not have to be an ’80s-style witch-hunting hysteric to wonder if there might be anything going on here besides a 15-year-old dream with no more basis in reality than the one I had about my grammy in the basement with a sandwich. I believe you that nothing bad happened, but when you add in the early widowerhood and all, you’ve got to admit that there are people who would hear this story and look at you funny. Just don’t be shocked if they do.

Love,

Andrea

Andrea Nemerson has spent the last 14 years as a sex educator and an instructor of sex educators. In her previous life she was a prop designer. And she just gave birth to twins, so she’s one bad mother of a sex adviser. Visit www.altsexcolumn.com to view her previous columns.

From Iraq and back

0

› amanda@sfbg.com

Omar Fekeiki sits alertly at a café table on the terrace of International House, his dorm at UC Berkeley. His straight posture belies his relative ease. It’s the only sign that he may not be entirely at home.

Like any other 28-year-old graduate student, he’s wearing jeans — not the pressed slacks necessary for a meeting with Iraqi officials. His hands are resting on his knees, rather than poised with a pen and a reporter’s notepad, scribbling Arabic words from an informed source. His smooth, tan face, with just a hint of unshorn shadow, is turned up toward a mild afternoon sun, not away from the heat of a Baghdad noon. The dark stubble on his head is no longer covered by a helmet. His slim chest is free to breathe without the pressure of a flak jacket. His heart may or may not be racing, but it’s definitely beating.

It’s difficult to believe that the quiet cell phone on the table in front of him once rang regularly with field reports of car bombings, kidnappings, and execution-style shootings. It’s unsettling to think it could ring now, that something irrevocable could be happening at home, 7,500 miles away, as he sits in this idle sunshine.

What does Fekeiki find unbelievable? That he’s in the United States, that he’s finally on his way toward a real life, studying journalism at one of the best universities in the world.

"It was not even a dream," he told the Guardian with the careful pronunciation that can sound like a proclamation often heard in the voices of nonnative English speakers. "It’s something beyond a dream. It was such an impossible thing to do. Now I flash back memories of when I spent hours on the phone with my best friend. We would say, ‘Could you imagine if we could go to the States and find work and live there?’ I always think about this and say, ‘Wow, I’m lucky.’ "

According to the Office of the United Nations High Commissioner for Refugees, at least 3.9 million Iraqis have fled their homes since the US invasion. Half are displaced within their country, and the other two million have crossed borders, with 700,000 in nearby Jordan, 100,000 in Egypt, and 60,000 finding a sort of solace in Sweden.

By contrast, in four years only 692 Iraqis have been resettled in the United States. Despite the danger at home and a flood of applications, the State Department routinely denies Iraqi visa applications, apparently believing Iraqis need to stay home to rebuild their tattered country. Of the record 591,000 student visas given last year, only 112 went to Iraqis, an increase from 46 in 2005.

"I waited months," said Fekeiki, who thinks his affiliation as a special correspondent with the Washington Post is what got him the necessary piece of paper in the nick of time.

But his status here is temporary, and even though a civil war rages in the streets of his hometown and no US, UN, or Iraqi politician has yet to forcefully present a viable solution to the quagmire, he has no plans to apply for citizenship.

"Every Iraqi I know in the States now doesn’t want to go back. I don’t blame them," he said. But staying here is not for him. And that’s the other unbelievable thing about Fekeiki: he can’t wait to return to Baghdad.

"I belong in Iraq."

FINDING HIS POST


Fekeiki says he’s always been lucky, and April 2003 was no exception. The day after the fall of Saddam Hussein’s government, Fekeiki was hoping to track down a BBC reporter at the Palestine Hotel who might lend him a phone to make a "we’re alive" call to his uncle in London. He noticed a Washington Post reporter struggling to interview a civilian and stopped to lend a hand. The reporter was impressed with Fekeiki’s translation and suggested he go to the paper’s offices and see about a job.

He did and was temporarily hired by bureau chief Rajiv Chandrasekaran, but after a week he was let go. The Post had enough translators. "He was pretty young, just out of school," Chandrasekaran told the Guardian. The Post did, however, make a point of noting the directions to the young man’s house in case it ever needed him. In a matter of days the paper was knocking on his door.

Initially, Fekeiki continued working as a translator but quickly graduated to fixer, a sort of guide to the Post journalists — scouting out stories, digging up contacts, arranging transportation and interviews. Within weeks he was the bureau’s office manager, overseeing a busy newsroom of 42 American and Iraqi journalists who were all older than him and vastly more experienced.

Chandrasekaran says one thing he always told his Post colleagues was to listen to the Iraqi staff. "They have a better sense of when something is going bad. I empowered people like Omar to put their foot down, to say no."

That empowerment, coupled with the important tasks of monitoring news wires and Iraqi and American television stations, dispatching staff to daily disasters, and maintaining order in the office, suited Fekeiki. He rose to the challenge and fell in love with his job. Pretty soon he was contributing to stories, then writing his own and, to his surprise, really enjoying the work.

Raised by a family of journalists and writers, Fekeiki never thought he’d be one. His father, a former politician and vocal critic of Hussein, had lived the nomadic life of an exile as a punishment for his writing. Fekeiki grew up with wiretapped phones, regular house searches, and a father with his neck in a threatened noose. He was taught that if you wrote what the government approved, you’d be wasting your time. If you didn’t, you’d be killed.

The motives have changed, but the risk remains. Life was always dicey. Fekeiki was raised with the fear that he would "disappear" if he weren’t carrying the proper card identifying him as a student, not a soldier. Censorship was part of life.

"If you repeat what we say in this house, you will get killed," he was told by his parents. "Imagine saying that to a five-year-old?" he asks. "I had to live with fear all the time."

He could never slip — it would put his family in grave risk. But now, taking up the family tradition and being a journalist in his native country is almost like asking to die.

DEADLY PROFESSION


Targeted violence toward news gatherers is on the rise everywhere, and 2006 was the deadliest year for journalists since 1994, mostly because of Iraq. Though statistics vary depending on the definition of journalist, Reporters Without Borders says 155 journalists and media staff have been killed during the four years of Iraq War coverage. The Committee to Protect Journalists, which investigates every claim and only counts confirmed deaths of credentialed reporters, puts the figure at 97. Both counts already lap the Vietnam War’s 20-year tally of 66, and both organizations say the fallen are overwhelmingly Iraqi.

"I’m hard-pressed to think of a more dangerous profession in the world today than being an Iraqi journalist in Iraq," said Chandrasekaran, who was bureau chief there for 18 months and has covered past conflicts in Afghanistan, Indonesia, and the Philippines. "By spring of 2004 it was too dangerous for Western reporters out in the street."

So journalists came to depend even more on the Iraqis, who were about the only ones able to do on-the-ground reporting after anti-American sentiments and violence took hold.

"You cannot stand in a Baghdad street and do a piece for camera," Robert Mahoney, deputy director of the Committee to Protect Journalists, told us. "An Iraqi journalist can blend in with the local population. They’re the only ones that can literally move around…. I think the only good news is we’re getting any news at all."

Iraqis are the only bridge for any respectable news organization attempting to gain access to what’s going on, but alliances with Americans paint clear targets on their backs. "One of the things that distinguishes this war from others is that most journalists are not being caught in cross fire. They are being murdered," Mahoney said. Murders account for about two-thirds of the Iraqi journalist deaths, and without those reporters, he said, the American public "doesn’t have all the information it should have at their fingertips to make informed decisions."

One wonders if the military and the administration do either. Camille Evans, an Army intelligence sergeant, said during a March 20, 2007, panel of Iraq war veterans at the Commonwealth Club, "For most of our intelligence, we did use CNN."

Though affiliations with Americans put all Iraqi journalists in peril, other risks lie along the sectarian divides. If they work for an independent Iraqi newspaper attempting unbiased journalism, they’re just as bad as Americans. If they spin for one side, they’re targeted by the other. In short, the only agreement between Sunni insurgents and Shiite militias could be their shared attitude toward journalists: work for us or you’re dead.

There were many times Fekeiki believed he would die — when he was covering the November 2004 assault in Fallujah as mortars hummed over his tent, or when he was kidnapped by Mahdi Army fighters who told him, "You will disappear behind the sun," before he managed to escape into a passing ambulance. And then there were the straight-up death threats.

"I was threatened three times," he told us. "The first time, my bureau chief was Karl Vick, and he said, ‘We’ll fly you out to any place you want. We’ll take care of you,’ and I said no. He said, ‘We have to do something. We can’t risk your life.’ I said, ‘OK, I’ll go embed with the Marines in Fallujah, to cover the assault.’ "

Fekeiki saw this as a way to disappear from his neighborhood for a little while but still be involved at the Post and give the paper something he thought it needed — an Iraqi to cover the Iraqi side of the story. "They didn’t have one. The Iraqis in our office didn’t want to do it."

Fekeiki didn’t tell a soul about the second death threat, a letter on his doorstep. "I didn’t want them to fly me out of Iraq. I wanted to stay. I knew that if I told the Post, they would ask me to leave, give me another job somewhere else. I didn’t want that."

He had dreams of using this opportunity at the Post to eventually start a newspaper in Iraq and, if that went well, perhaps a career in politics. First he would need the hard currency of an American education. Reluctant to leave his family, Fekeiki bargained with himself and decided he would only apply to UC Berkeley, where some of his Post friends had attended journalism school. If he didn’t get in, he would stay in Iraq.

The final death threat came June 15, 2006. "A car chased me from the office to my house," he recalls. Flooring the gas pedal of his Opal, he managed to get away.

By then he’d received his acceptance letter to Berkeley and had a scholarship fund started by Post owner Don Graham and continued by his colleagues at the paper. All he needed was a student visa, but the risks were mounting. "I was supposed to leave early August. I thought, why would I risk two months? Let’s just leave now," he said. He hid in the Post office for four days until he could catch a flight to Amman, Jordan, where he waited two more weeks for his ticket to the States.

LOOKING BACK


Just three months after he left Iraq for Berkeley, he received a phone call from his aunt, telling him that a recent raid of an insurgent house had turned up a "to kill" list for assassins. Fekeiki’s name was near the top.

It’s incomprehensible to many that he’d want to be back in Baghdad, but to a seasoned war correspondent, it’s not entirely unbelievable. Chris Hedges spent 15 years as a foreign bureau chief for the New York Times covering conflicts around the world and is the author of the 2002 book War Is a Force That Gives Us Meaning. He describes the typical war reporter as an "adrenaline junkie," hooked on a certain kind of bravado. "They’re people who don’t have a good capacity to remember their own fear," he told the Guardian.

"The enduring attraction of war is this: Even with its destruction and carnage it can give us what we long for in life. It can give us purpose, meaning, a reason for living," Hedges wrote in the introduction to his book.

"I never felt safe, but I always felt productive," Fekeiki said. "If I wanted productive or safe, I chose productive. I never thought about being safe or not. That’s why I was the only Iraqi in the Washington Post to embed with the military and Marines, because the others feared for their lives. I did fear for my life. I just didn’t let it stop me. If I fear for my life, I shouldn’t be a journalist in Iraq."

In one sense the war was a blessing for Fekeiki. Before the war began in 2003, he says, "I didn’t have a future."

Although he had a college degree in English language and literature from Al-Turath University College, he was denied admission to grad school at Baghdad University. "He doesn’t meet the security requirements," Fekeiki quotes wryly from the code language of the blacklist, for his family doesn’t play nice with Hussein’s.

Fekeiki supported the American invasion, and once the war began he had no intention of leaving. After Hussein’s regime was eradicated, he knew that smart young people with local knowledge and solid English skills would be in high demand from American businesses, reconstruction contractors, and government workers.

"My last thought was to leave Iraq after the invasion, because here’s a country that needs to be rebuilt. We’ll have all the foreign companies working in Iraq. I’ll use the language I studied for four years, English, and I’ll have the best job in Iraq," he recalled.

And eventually, he did. Offers came in from the New York Times for double his Post salary and from Fox News for triple, but he admired the ethics of the Post, which made a point of encouraging its Iraqi writers and crediting their work, so he stuck with that paper.

Fekeiki found more than money and a ticket out of the crippled country. He found his calling. His enthusiasm for his job at the Post sounds like that of a classic American workaholic.

"I miss my office," he said, remembering his desk at the center of the newsroom. "I called it the throne. I spent at least 14 hours a day there, for two years, nonstop. Not one single day off. After two years, in theory, I had a chance to take a day off every week. I spent it in the office, not working but in the office with people."

"My only motivation now is that desk," he says. He hopes to return to it after school. "I’m going to help journalists in Iraq and the future of Iraq."

Without this thought, he says, "I don’t think I’d be able to endure what I’m going through now. It’s just dull. The boredom is hard. In Baghdad I had fun not knowing what was going to happen every day. Here, I wake up, go to school, reply to e-mails on my blog, go to dinner, go to sleep. That’s not a life. That’s retirement."

He feels guilty that his life is now so easy when his family and friends are still threatened back home.

"Being safe terrifies me. I can’t get used to it."

WAR JUNKIE


For Fekeiki, staying abreast of the violence is like keeping in touch with reality, though here in the States he has to turn to fiction to find his fix.

The Situation, a film about an American journalist covering the war in Iraq, recently screened at the Lumiere Theatre in San Francisco. One of the first dramas about the war, it opens with a scene of two young Iraqis being thrown off a bridge in Samarra by US troops. One of them drowns, causing a stir in the province.

"That actually happened," Fekeiki says. Throughout the film, his eyes rarely left the screen, except for fleeting moments to scribble a few notes on a pad and near the end to wipe away a couple tears. Though the characters are fictional, the plot is very real, centering on misguided US intelligence, the schism between Iraqis and Americans, and the overall futility of war.

"Wow," he said, getting up from his seat as the last credit rolled and the screen went completely black. "I could identify with every aspect of that movie."

The violence doesn’t bother him as much as it reminds him of where he’s come from, where his family is, and what his friends are doing. "I want to still feel connected," he says.

In Berkeley he doesn’t. The first semester of basic reporting, de rigueur for all journalism students, was difficult for Fekeiki. He found the Bay Area beat more terrifying than Baghdad. "Some people think reporting in a war zone is difficult, but I did it, and I know how to do it," he says.

"In Iraq everything you think about is a story. Here you have to squeeze your mind to find a story that interests the readers. That’s really challenging. I don’t know the place. It’s not my culture. I don’t know the background. I need a fixer," he says, laughing.

He was as lost working on a story about Merrill Lynch as an American reporter might have been covering the Al-Askari Mosque in Samarra. "At 7 a.m. I get an assignment to go write about Merrill Lynch in San Francisco. What’s Merrill Lynch?"

Lydia Chavez, Fekeiki’s professor for basic reporting, said she usually pushes her students to cover stories they wouldn’t normally choose. But she told us, "Someone like Omar, I was trying to find something that would be comfortable because everything is so foreign."

His turning point came when he covered a psychic fair in Berkeley. "He came back with something I never would have expected," she said.

"They didn’t want me to write anything," Fekeiki said of the psychics he encountered at the fair. "They wouldn’t let me interview the people there who came to heal their aura. So I was, like, ‘OK, can I heal my aura and take notes?’ They said, ‘Yes, why not?’ So I did it, and it turned into a personal piece."

The amazing part of the story is what the healer saw about him even though he hadn’t told her his name, let alone that he was from Baghdad. "The woman just shocked me with her information about me. She started to talk about how my family is in danger and how I am terrified about being in a place I don’t think I belong to and have to compete with other people. It was amazing," he says, still somewhat aghast.

"She couldn’t heal my aura, though. She said I have conflicting thoughts: ‘You’re very protective of your thoughts, and you’re confused, and it’s messed up.’ Which is true."

IRAQ’S FUTURE


Fekeiki has the cockiness of youth and the undaunted faith of a survivor but also a certain attitude toward life he doesn’t always see in his fellow Iraqis. "I tell people I will live to be 94. And I will," he says, believing that all it takes to succeed is to say that you will.

He states his ambitions solidly: to be the charming dictator of his own newspaper, to rise through the ranks of parliamentary politics, to one day rule the country as a prime minister. To stay in this country, to be "nothing" in Berkeley, is just not satisfying enough.

"I’m Iraqi," he says. "I just want to feel that I’m spending my time doing something to benefit my country. If everyone leaves Iraq, we’ll not have an Iraq on the map in the future. I don’t want that to happen."

The newspaper he hopes to own and manage will be fiercely independent and printed daily in Arabic, Kurdish, and English. It will be called Al Arrasid (The Observer), after the publication his family used to run, which folded in 1991 for lack of subscribers. Beyond bringing the truth to the people of Baghdad and penning editorials from his secular point of view, he’s looking forward to being in power once again.

"I can’t wait to have my own newspaper," he said. "I can’t wait to sit behind my desk and tell people what to do."

Yet he has a strong sense of morality. Fekeiki said his personal mantra is a proverb his father often told him: "Harami latseer min el sultan latkhaf…. Don’t be a thief. You will fear no judge."

He says these words have always made his life easy and kept his choices simple. Chavez says she saw the same spirit in him when he passed the bulk of the credit to his cowriter, David Gelles, for a story about jihad videos on YouTube that they contributed to the front page of the New York Times, a near-impossible feat for a first-year journalism student.

"It’s so rare to see someone that generous, that honest," said Chavez, who actively worries about him returning to Iraq.

Berkeley’s curriculum demands a summer internship in the field, and Fekeiki pressed the Post to put him back at the Baghdad bureau this June. He planned to report without telling his family he’d returned to the country, so they would be safe. However, the hands of American bureaucracy are holding him here. His one-entry visa status means if he leaves the United States, he can’t come back without restarting the application process. On top of that, the United States is only accepting the newest Iraqi passports, the G series. They’re so new that most Iraqi embassies aren’t even making them, and Fekeiki doesn’t have one.

"It’s frustrating," he says. Besides being unable to report from home this summer, if something were to happen to his family, he wouldn’t be able to respond beyond a phone call or an e-mail. "My father is 77 years old. I don’t know when he’s going to farewell us. And if it happens, I can’t go and be with my family. It’s not fair," he says. Instead, he’ll be spending the summer break in Washington, DC, reporting for the Post‘s metro desk.

"I’m very glad for the visa problems," Chavez said. "It really scares me. I couldn’t convince him to stay at all."

What would keep him in the States? "If going back to Iraq is not going to help me get my newspaper started, I’m not going to do it," he says. What might not make his paper succeed? "People wouldn’t buy it. They just bomb the place where it’s published. The government turns against me." He knows he could speak his mind outside Iraq, but the whole point is to do it in Iraq, and he feels very strongly that solutions will only come from within, that his country needs people like him.

"The toughest moments I have to deal with," he says, pausing, "are when I think maybe I’m not going back." *

FEAST: The art of the splurge

0

Splurging — not to be confused with surging — is one of those activities whose scale and pleasures tend to vary according to where the fluttering bill comes to rest. Who, in other words, is paying? Because San Francisco is to tourism something like what Rome is to Catholicism, with all roads leading here, we the citizenry of this city are certain to find wanderers from afar turning up on the doorstep sooner or later. They are glad to see you and perhaps accept your hospitality, and in return they offer to take you and yours out to dinner at the best restaurant in town.

It helps if these willing souls are rich, or parents, or both. (European friends aren’t bad either, since they probably wield the mighty euro, and America for euro wielders is one huge fire sale.) They will be grateful for your expertise in choosing the restaurant, and you will need take no notice of the bill, when at last it arrives, nor of its proportions, which, if there is significant wine involved, could vaguely resemble a month’s rent. Glance at the harmless-looking little chit if you must or if you are curious; otherwise, pay a visit to the restroom while the putf8um AmEx card does its work.

These kinds of blowouts are fun, like showing up empty-handed at somebody’s party and gorging on the food and drink everybody else brought, but the more meaningful splurges are those we pay for ourselves. Yes, there can be a certain pang when ordering, since we know the damage is coming right out of our pocket; there can be an even greater pang when the server presents what the French discreetly call l’addition. But there is also a sense of having earned the moment and its satisfactions and of having spent money not on a yacht or a marbled bathroom with gold-leaf fixtures worthy of Nero but on an experience that will last a few hours at most and will be just a memory even before we get into bed for the night. That is priceless. (For everything else, there’s MasterCard.)

What follows is a brief survey of places I consider splurgeworthy (not to be confused with spongeworthy). The first group consists of restaurants most suitable for the spending of other people’s money — i.e., they are expensive, quite a few of them hideously so. The second group is the spots that you should treat yourself to even if you can’t arrange for somebody else to pick up the tab. You live here, and experiencing these restaurants is part of your education: you are obliged. The last set is the best bang-for-the-buck ones; you’ll pay, but not quite so woundingly, and you’ll come away feeling that the money was well spent. (Paul Reidinger)

Somebody else pays

GARY DANKO


The experience of gastronomic luxury is nowhere more holistic than here. Everything is just right and in balance; the restaurant is handsome but not showy, lively but not overwhelming. Members of the service staff seem genuinely pleased to see you, and the food is sublime. I did notice on my last visit that the tables seemed closer together than a few years ago — the more the merrier, apparently, especially in the accounting department. Noise levels have risen a bit, and the staff seems slightly more in a hurry. Nonetheless, a visit is certain to be ethereal and unforgettable, and you will be lauded for your acumen and good taste if you agree to be taken here. NB: the food is quite rich, so adjust your cholesterol meds accordingly if applicable.

800 N. Point, SF. (415) 749-2060, www.garydanko.com

AQUA


Even people who are wary of seafood will find much to like at Aqua, which really can’t be improved on. The look has softened and warmed subtly over the years, while the food is as good as it’s ever been, maybe better. Chef Laurent Manrique (who follows in the illustrious footsteps of George Morrone and Michael Mina) brings a muscular elegance to his maritime-leaning menu, and there is even foie gras, if you are so inclined. The wine list is huge and interesting, the ceilings high (noise vanishes up there like unwanted smoke or heat), the bread warm and fresh, the staff well schooled. There is a certain formality of tone that might have to do with the restaurant’s Financial District location; at weekday lunches, hordes of money changers descend. Evening’s the time, then.

252 California, SF. (415) 956-5662, www.aqua-sf.com

FLEUR DE LYS


Being inside Hubert Keller’s restaurant is like being inside A Thousand and One Nights; the walls ripple with loose, tentlike fabric. And you can’t possibly miss the huge pot of flowers that dominates the middle of the main dining room. The cooking combines elements of nouvelle with a certain whimsy. The prix fixe menus offer lots of wiggle room, bigger and smaller portions as you choose and so forth. There is also a vegetarian menu. The cuisine is among the most visually interesting in the city; individual courses tend to be highly architectural and to arrive in, or be sauced from, a wealth of dollhouse-size pots, pans, and pitchers. For those who like to play with their food before eating it, this adds to the fun.

777 Sutter, SF. (415) 673-7779, www.fleurdelyssf.com

CAMPTON PLACE


Parents are a special case, and Campton Place is the special spot to bring them. Although the dining room is quite small, the tables are decently far apart, and a civilized hush obtains. The kitchen has launched its share of stars over the years; the alumni association includes Jan Birnbaum, Bradley Ogden, Laurent Manrique, and Daniel Humm. No matter who’s cooking, the food is superior — there is none better. What is most distinctive about Campton Place is its layered European feel; there is a sense of tradition and grandeur that does not call attention to itself because it doesn’t need to. It’s a given. Of all the city’s top-tier restaurants, Campton Place is perhaps the one that’s been most resolute in the face of fads and trends; it’s not stuffy, but it isn’t afraid of being what it is either.

340 Stockton, SF. (415) 781-5555, www.camptonplace.com/dining

You grit your teeth and pay

CHEZ PANISSE


If there’s one restaurant all Bay Area folk should have their passport stamped at (I am speaking metaphorically, of course), it’s Chez Panisse. All the mother-ship clichés are true; many if not most of our best restaurants and chefs can trace their lineage here, and they must be proud to do so. The restaurant’s understanding of California cooking remains distinctive in its unclutteredness; the big wood-fired hearth in the open kitchen means many dishes are grilled, and for rustic elegance, the kiss of wood smoke is unsurpassed. The wider experience is modulated with similar grace. Chez Panisse isn’t quite casual, but it isn’t overformal either. It’s in harmony with its arts and crafts setting, as are most of its patrons.

1517 Shattuck, Berk. (510) 548-5525, www.chezpanisse.com

BOULEVARD


Notwithstanding a bit of the Parisian brasserie look, including a fair amount of dark wood and brass, chef-owner Nancy Oakes’s longtime jewel on the Embarcadero is really quite all-American in its own high-stepping way. The restaurant is a microcosm of the city, a place of power lunches and multigenerational family get-togethers. The food is as stylish as it gets, but if you want some glorious version of meat and potatoes, you will likely find it here — and if you want a main course that knows it’s a main course and not just a puffed-up small plate, you’ll find that too. Of all the city’s top-tier restaurants, Boulevard might be the least terrifying to heartland sensibilities.

1 Mission (in the Audiffred Bldg.), SF. (415) 543-6084, www.boulevardrestaurant.com

RIP: HAWTHORNE LANE


And a quick digression to remember Hawthorne Lane, which closed at the end of the year (and an 11-year run) to be reborn a few weeks later as Two. I haven’t been to the new place, but I know that even if I like it, I will never stop missing the dearly departed. Hawthorne Lane was as comfortably gracious a restaurant as could be found in San Francisco: plush but not stuffy, vibrant but not loud, with a menu rich in style and short on intimidation. It was the sort of place 25-year-olds and their parents would be equally impressed by, and that’s saying something.

Two, 22 Hawthorne, SF. (415) 777-9779, www.two-sf.com

Good value

DELFINA


Chef-owner Craig Stoll’s Mission venue tilts toward youth — famous rock stars are said to like it, and the crowd (not to mention the service staff) has more than its share of tattoos and piercings — but beneath the hipster glamour is one of the best restaurants in the city. The kitchen turns out Tuscan-inflected dishes that reflect Stoll’s sojourn in that overfamous Italian region; Tuscan might be a cliché now, but it isn’t at Delfina. Noise has long been an issue, and while a large expansion a few years back (along with plenty of quilted sound-baffling material posted discreetly around the dining room) has helped dilute the clamor, Delfina is packed so reliably that it can never truly be calm. Older people can find it overwhelming. But … a glass of wine will help soothe any ruffled feathers.

3621 18th St., SF. (415) 552-4055, www.delfinasf.com

FEAST: 9 hidden gems

0

What the heck is a hidden gem, anyway? The phrase rises from the mist of culinary cliché, a cheery, primordial beast eager to swallow any eye-opening San Francisco dining experience that wanders unchained out of our delicious quotidian. So precious! So unexpected! It’s hard to lift a fork around here without poking it into something tasty and unique, be it handmade sushi in a Tenderloin liquor store or home-style Polish in West Portal. So why draw a line? This is a city of hidden gems by design — opening a Sizzler in SF limits would be front-page food news — and even those establishments that receive the most press would be labeled "kooky food" by puzzled Midwesterners. Good for them. Below is a handful of my personal hidden gems, called that for whatever reason — and to be a foodie show-off. (Marke B.)

CAFE ANDREE


A superb and tiny (26 seats only) gourmet nook in Nob Hill’s Hotel Rex. It’s a literal nook: the location is a former bookstore, and shelves still line the walls, making for clever service stations. Executive chef Evan Crandall’s menu is heady and romantic — maple grilled pork chops, lobster mashed potatoes, and a fantastic beet Napoleon that’ll have you swooning to the root.

Hotel Rex, 562 Sutter, SF. (415) 217-4001

EIJI


No Name Sushi down the block may trump this little Japanese joint near the Castro for scruffy hipster appeal (although reservations here are getting harder to come by), but Eiji holds all the cards when it comes to the house specialty: oboro, or handmade tofu, dutifully stirred to order and served at the table like a steaming custard. It’s sweet and creamy, a cloud in a tureen. Specials such as whelk with uni powder and crunchy dried abalone also abound for the adventurous.

317 Sanchez, SF. (415) 558-8149

IL BORGO


Hidden in plain sight, Il Borgo is a kitschy-looking Italian place at the corner of Fell and Laguna that most people speed past on their way to the more boutique tastes of Hayes Valley. Ah, what they’re missing: Northern Italian home-style cooking, heavy on the white beans; mind-blowing pastas (I still dream about the lobster ravioli); and extremely motherly service. Nothing here will be on your diet, but you can wiggle your hips to the awesome Italian pop music on the stereo and burn off a carb or two.

500 Fell, SF. (415) 255-9108

KATHMANDU CAFE


A Himalayan hot spot in the Western Addition — just the kind of multiculti mix that makes SF dining great. There’s no yak, alas, but the butter chicken and dal ko jhol (lentil soup) will have you searching Orbitz for a night flight to Nepal. Also especially good: the momos (steamed Nepalese dumplings) and machha, a curry with fish cubes that melt in your mouth.

1279 Fulton, SF. (415) 567-5100

BASQUE CULTURAL CENTER


Northern California has a huge Basque population, which relocated here for the shepherding opportunities, and Basque cuisine — if you can get past all the x‘s, z‘s, and k‘s on the menu — is as hearty and satisfying as befits an ancient mountain people. The cultural center serves delicious rabbit stew and beef tongue, but it’s the delectable traditional soups that really scale the heights.

599 Railroad, South SF. (415) 583-8091

BAMBOO VILLAGE


Quality Indonesian food is getting easier to come by — Borobudur in the Tenderloin is an excellent example — but Bamboo Village has the best, and the shaggy, cozy ambience of this sort-of Inner Richmond spot perfectly balances its menu’s exoticism. A selection of dog-eared Indonesian fashion magazines makes perfect reading while you dive into the ikan balado (deep-fried Pompano fish), Kangkung water spinach hot pot, and earthy oxtail stew.

3015 Geary, SF. (415) 751-8006

CHEZ MAMAN


This teensy bistro is pretty well known, I admit, but it often gets overshadowed by Chez Papa, its expansive (and more expensive) husband. That’s almost sexist! Brie-smothered hamburgers and some spiffy seafood dishes come with a side of French satisfaction — and the house-made panini sandwiches and warm goat cheese salad, plus a glass of wine or three, make it perfect for lunch. If you can squeeze in, that is.

1453 18th St., SF. (415) 824-7166; 2223 Union, SF. (415) 771-7771. www.chezmamansf.com</B>

EGGETTES


Who doesn’t hanker for a Taiwanese snack after hiking the scenic wonder of Glen Park Canyon? Intriguingly known as a Hong Kong waffle, an eggette is an addictive cross between a sugar cone and a cheap truffle, with rich fillings in a variety of flavors ironed into oval pockets between two crispy layers. Eggettes the place also has an astounding menu of tapioca bubble drinks and the best selection of plastic-toy vending machines this side of Taipei.

2810 Diamond, SF. (415) 839-5282, www.eggettes.com

SECRET GARDEN TEA HOUSE


This place really freaked me out when I first saw it — it’s like Little Lord Fauntleroy exploded all over Marie Antoinette. You want frills? It’s got ’em. But sleek modern teahouses are all the rage these days, and this fairy-princess wonderland is a delightful antidote. The tea service is exquisite (with Devonshire cream, even!), and the zesty preserves and doll-size sandwiches blow a bracing British breeze up my pinafore.

721 Lincoln Way, SF. (415) 566-8834, www.secretgardenteahouse.net *

FEAST: 9 reasons to eat your way through the East Bay

0

The East Bay’s feisty radicals, Neurosis fans, hyphy heads, agro hippies, torrid potters, gimlet-eyed gardeners, 924 Gilman suburbo gutter punks, Oakland First–ers, Black Panther vets, passionate nesters, and working-class heroes understand: there’s plenty there to lure SF-oodies over the bridge — construction shutdowns and late-night lane narrowing be damned. Many culinary establishments fall in line with the gospel according to Alice Waters, but still others, such as those overseen by burgeoning eatery empire–builders Haig and Cindy Krikorian (owners of Sea Salt, Lalime’s, Fonda, and T-Rex), are charting new paths in regional cooking and making good food that comforts one’s soul and boosts one’s morale, using sustainable ingredients. But food is so much more than sustenance — why stop there? Farther off the path of nutritional wisdom are other, less-posh grub spots that are no less beloved, for the homier glories of butterfat and chicken gizzards — they make the journey east that much more mouthwatering. (Kimberly Chun)

ART’S CRAB SHAK


Don’t be deterred by the deliberate misspelling and the forbiddingly windowless ’50s- and ’60s-era exterior: Art knows his crab, man. On Sunday afternoons Baptists in all their bright-hued finery pile into this classic, cork-walled and Naugahyde booth–lined joint to don plastic bibs and chaw massive buckets of Dungeness crab swimming in butter and button mushrooms, along with platters of fried okra, hush puppies, and garlic noodles. Through the garlicky butter haze, you can make out one of several strategically positioned TVs across the room, blaring the Raiders game as grizzled regulars down Johnny Walker Reds. Hot buttered soul ‘n’ seafood Americano, as only Oaktown can do it.

4031 Broadway, Oakl. (510) 654-2864

CESAR


Serving up a selection of cured meats, cheeses, cut pâtés, and fine spirits such as a delightful artisanal pear cider by Eric Bordelet, César displays a refreshingly light-handed touch with its tapas, including a petite potted salt cod and potato cazuela, and artichoke hearts and shrimp dotted with caviar.

1515 Shattuck, Berk. (510) 883-0222; 4039 Piedmont, Oakl. (510) 985-1200. www.barcesar.com

DONA TOMAS


Tangy, succulent threads of slow-roasted carnitas to die for meet their match in the sweetest li’l sangria cocktail to waltz through the Prado with a song in its heart and sex on its hips. Chefs Thomas Schnetz and Dona Savitsky, authors of the popular Doña Tomás: Discovering Authentic Mexican Cooking (Ten Speed, $29.95), know good food, made with locally grown organic produce and sustainably raised meat.

5004 Telegraph, Oakl. (510) 450-0522, www.donatomas.com

FENTONS CREAMERY AND RESTAURANT


Even a 2001 fire couldn’t keep this resurrected 112-year-old East Bay institution down — thanks to eye-popping, hefty ice cream sundaes built on innovative flavors such as pomegranate and what tastes like the most fantastically fatty cookies and cream around.

4226 Piedmont, Oakl. (510) 658-8500, www.fentonscreamery.com

HOME OF CHICKEN AND WAFFLES


This former Roscoe’s franchise continues to fly the flag in the most unlikely of locales (the ground floor of a Jack London Square motor inn) for the archetypal salty ‘n’ sticky-sweet soul food combo. Belly up to smothered chicken, greens, black-eyed peas, and mac ‘n’ cheese with a waffle chaser beneath a cheery folk-art mural depicting the owner’s family and the menu’s infinite variations. And riddle me this, Roscoe: where else can you field a side of giblets, sock-it-to-me cake, grits, and candied yams?

444 Embarcadero West, Oakl. (510) 836-4446, www.hcwchickenandwaffles.com

MAMA’S ROYAL CAFE


Mama said knock you out with an awesome breakfast in the epicenter of artsy Oakland. You’ll want to brave the morning mob at Mama’s Royal Cafe for its Niman Ranch corned brisket, hashed into submission with potatoes, onions, bell peppers, and carrots, or its chorizo, green onion, and egg scramble. There’s even more to digest on the walls: submissions to the café’s annual napkin art contest.

4012 Broadway, Oakl. (510) 547-7600, www.mamasroyalcafeoakland.com

SEA SALT


Fresh sustainable seafood — as raw or as cooked as you like it. Some swear by the BLT with trout, the Kumamotos, and the littleneck clams. I prefer to scarf the crusty, hearty barbecue eel bahn mi with a side of house-made potato chips; the steamed Prince Edward Island mussels smothered in lemongrass, garlic, and cilantro; and the grilled squid perched atop Italian butter beans and lapped with almond basil pesto.

2512 San Pablo, Berk. (510) 883-1720, www.seasaltrestaurant.com

VIKS CHAAT CORNER


Remember to look up once in a while and wipe the ghee off your chin at this highly addictive, barnlike bastion of dirt-cheap, utterly delish Indian street food, snacks, and sweets. Succumb to the sizable crusty samosa cholle (studded with peas and draped with garbanzo chutney), the bhatura cholle (a gargantuan puffed puri accompanied by curry, onions, and mango pickle), the pav bhaji (Bombay-style spiced vegetables), and the piping hot salty fried fish kebabs (burn your greedy digits dipping them in onions and mint tamarind chutney). The pink, white, and yellow sweets — watch out for cream-filled pink chandrakala and sugar-steeped baby donuts — will finish you off.

724 Allston, Berk. (510) 644-4412, www.vikdistributors.com

ZACHARY’S CHICAGO PIZZA


Little Star, Pauline’s, and Delfina are all aces, if you like that kind of fine Cali dining, but for true deep-dish that rivals the Windy City’s, Zachary’s is the only way to go. Quichelike texture, density, and heft aside — it’s the rich, toothsome, and tomato-intense sauce that’s so boss.

5801 College, Oakl. (510) 655-6385; 1853 Solano, Berk. (510) 525-5950; 3110 Crow Canyon, San Ramon. (925) 244-1222. www.zacharys.com *

FEAST: 6 delicious desserts

0

Adult life can be overwhelming: taxes, traffic, parking tickets, deadlines … and city living can be particularly frenetic. You know by now that when it comes to navigating your increasingly complicated life, there is no high road, fast track, or slow lane, and that it really is the road less traveled that brings the greatest pleasure — or, more important, the sugary, chocolaty, gooey goodness you consume on your journey. What better way to escape the rat race than to indulge in the culinary ecstasy of a luscious dessert? Read on to discover where to get some delectable desserts that will transport you back to the sweet, gentle, and unhurried time of your fast-disappearing youth. And the good news is, now that you’re all grown up, you’re welcome to have your pudding first, whether or not you’ve eaten your meat. (Cara Cutter)

BI-RITE CREAMERY AND BAKESHOP


Admit it. It’s not just the kiddies who find ice cream irresistible. Yes, the mere mention of the food to a minor can ease pain, stop tears, and miraculously get the house picked up in short order. But cold, creamy goodness can also melt the iciest of adult hearts. So indulge in one of your childhood favorites — vanilla? chocolate? mint chip? — at this Mission creamery. Or, if you want a real treat, try the butter pecan — it probably wasn’t your top pick as a tot, but after one taste of Bi-Rite’s, you’ll be hard-pressed to remember the others. The coconut macaroons also offer a taste of nostalgia too good to miss.

3692 18th St., SF. (415) 626-5600, www.biritecreamery.com

HOME


This dual-locale eatery is named for its down-home cooking style, of which the black-and-white molten chocolate cake with homemade cookies ‘n’ cream ice cream is exemplary. The flavors are simple and rich, just like those of Dad’s ice cream sundaes. The cake is fresh and warm, and its bittersweet flavor is perfectly balanced by the vanilla bean ice cream drizzled down its sides. This is family-style yumminess at its pinnacle, and it doesn’t stop at cake. You can also give Grandma’s recipes a run for their money with peach shortcake, banana bread pudding, sorbet with shortbread cookies, or Dutch apple pie. For those big kids who simply can’t choose from such a tempting array, there’s a dessert trio option for $18.

2100 Market, SF. (415) 503-0333; 2032 Union, SF. (415) 931-5006. www.home-sf.com

COSMOPOLITAN


If you don’t seem to be scoring with the chic SoMa sweeties at the bar, you’re still bound to hit a home run with the sweets, as this Rincon Center restaurant offers a surprising and playful dessert menu. Childhood favorites such as cinnamon churros and snickerdoodle cookies come complete with adult garnishes. But the best (and most popular) bit of nostalgia is the warm-baked Scharffen Berger chocolate-chunk cookie with a Tahitian-vanilla malted milkshake. That’s right: a genuine malted milkshake. In fact, this contemporary twist on an old classic might be just the thing you needed; try ordering two straws and inviting one of those trendsetters to the drive-in. How could anyone resist?

121 Spear, SF. (415) 543-4001, www.thecosmopolitancafe.com

BITTERSWEET CHOCOLATE CAFE


Curl up in this Fillmore Street café and drink in the flavors of the best hot chocolate you’re ever likely to have. Imagine a liquid brownie, and you’re getting close. These drinks are so rich and thick you’ll be forgiven for using a spoon. For adventurous chocoholics, there’s the Bittersweet, a nondairy "drink" that should come with the warning "may induce comalike pleasure period followed by dizzying sugar high. Do not attempt to drive or operate heavy machinery for at least 30 minutes following consumption." Or, if you’re more of a milk-chocolate lover, try the Classic. And of course, there’s chocolate milk for kids of all ages (including the one living inside your psyche).

2123 Fillmore, SF. (415) 346-8715; 5427 College, Oakl. (510) 654-7159. www.bittersweetcafe.com

TARTINE BAKERY


Unless you grew up in Paris, this bakery-café might not evoke your typical Norman Rockwell nostalgia. It is highly likely, however, that after a quick glimpse of the whipped, frosted, and glazed goodies behind the glass, you’ll feel like the proverbial kid in a candy store. Due to the extreme popularity of these pastries, expect a long line on weekend mornings. However, once you’re sinking your teeth into a lightly sugared cinnamon and orange morning bun, time will seem meaningless — and it won’t just be your inner child doing somersaults of pleasure.

600 Guerrero, SF. (415) 487-2600, www.tartinebakery.com

LUNA PARK


This Mission restaurant and bar has an incredible list of postprandial delights. For the 35-year-old kid in your party, there’s a "make your own s’mores" option. For the weight watcher, there’s an apple-huckleberry crisp. But the culinary pleasure that’s earned Luna Park a spot on our list is its deadly coconut cream pie — a confection so unexpectedly delicious you won’t dare to share, no matter what you learned in kindergarten.

694 Valencia, SF. (415) 553-8584, www.lunaparksf.com *

FEAST: 8 great places for cocktails

0

Like you need an excuse to get a drink. Hefeweizen in the sun, Irish coffee in the cold, some Beefeater on a bad day or champagne on a good one. In this city we know how to get our drink on, for better or for worse (and sometimes both), which means no shortage of quirky, quaint, and quality places to imbibe. Here’s a list of some of our favorite watering holes and (fire) waters. (Molly Freedenberg)

CONNECTICUT YANKEE


This homey, ski lodge–style restaurant-bar has a big-city selection of beers and spirits, including the favorite elixir of Guardian editor and publisher Bruce B. Brugmann — the Potrero Hill Martini. Made with Junipero Gin (distilled just up the street from our offices, at the Anchor Steam Brewery) and no vermouth, this clean, smooth cocktail is quintessentially San Francisco.

100 Connecticut, SF. (415) 552-4440, www.theyankee.com

ZEITGEIST


The Connecticut Yankee’s martini may be the exemplar of SF cocktails, but Zeitgeist is the city’s banner bar. Of course, we’re not here to talk patios and pitchers. This time it’s all about the Bloody Mary, made with fresh horseradish, pickled bean juice, and a "spider" garnish by people who know what a hangover feels like. Ti Couz may have the prettiest Bloody Mary in town (in a pilsner glass garnished with a fresh prawn), but Zeitgeist’s is the tastiest — and most effective.

199 Valencia, SF. (415) 255-7505, www.myspace.com/zeitgeistsf

ALEMBIC


There’s something sophisticated, unpretentious, and a bit masculine about whiskey — and this Haight Ashbury establishment is the perfect place in which to honor it. The classy but understated decor complements a dizzying array of bourbons, Scotches, and ryes (among other liquor and beer options, but why would you bother?), including a list of cocktails that would make any good ol’ boy — or girl — proud. A special treat is the Bourbon Old-Fashioned: spicy high-end whiskey served on the rocks with a hint of sugar and a twist of lemon peel. Plus, if you’re drinking alone, the paragraph-long loving description of each cocktail should keep you occupied through your first tipple.

1725 Haight, SF. (415) 666-0822, www.alembicbar.com

ABSINTHE BRASSERIE AND BAR


Too pretentious (and expensive) to be casual but not quite striking enough to be a special-occasion eatery, this Hayes Valley restaurant and bar isn’t quite right for dinner. But it’s perfect for a high heels–and–makeup cocktail hour (due in part to a stellar cocktail selection and a pared-down bar menu). Try the Ginger Rogers — a classic concoction of gin, mint, lemon, and ginger ale — accompanied by another classic: a cone of French fries.

398 Hayes, SF. (415) 551-5127, www.absinthe.com

AMBASSADOR


Carpet, black leather booths, sparkling chandeliers, and a swanky mezzanine … walking into this Nob Hill lounge is like sauntering into an old movie, in which you are the elegant, aloof star. Celebrate this feeling with Between the Sheets, a spicy and sweet (but not cloying) concoction of cinnamon-infused brandy, orange liqueur, Sailor Jerry spiced rum, and fresh lemon, served in the ubiquitous martini glass (you win some, you lose some) with a sugar-and-cinnamon rim.

673 Geary, SF. (415) 563-8192, www.ambassador415.com

PLAYA AZUL


You’re not here for the cafeteria atmosphere. You’re here for the ridiculously fresh (if a bit overpriced) seafood and the 188 kinds of tequila. Try one in a margarita — tart and salty and strong as you like ’em. Or sip one on its own. Just don’t ask for a liquor menu. This ain’t no froufrou nuevo tequila bar, it’s an authentic Mexican restaurant — and if they don’t want to have one, they don’t have to.

3318 Mission, SF. (415) 282-4554

AZIZA


You’d be hard-pressed to find an item on this restaurant’s seasonal cocktail menu that isn’t fantastic on every level: creative, delicious, interesting, well presented. That’s because this Richmond hideaway gives as much attention to its tipples as it does to its exotic Moroccan fare — if not more. Take the rum-based Tarragon, for example. Whole cardamom pods give it a bit of peppery spice, lime cubes add tang and a bit of color, and fresh tarragon leaves provide the surprising, savory (and namesake) finish. The only problem is ending up with salad in your teeth — but a glass of pomegranate champagne should wash it down just fine.

5800 Geary, SF. (415) 752-2222, www.aziza-sf.com

TONGA ROOM AND HURRICANE BAR


Sometimes you want a drink that screams 007. Other times you want one that says Hawaii 5-0. Guess which one this Pirates of the Caribbean–style (the ride, not the movie) hotel bar is? Tonga’s the place to get a piña colada served in a real pineapple and the sound served up by a live band — playing on a boat that floats in an interior pool. Bonus points for the rain shower every 30 minutes, the pirate-ship decor, and the fantastic opportunity for watching visiting conventioneers on bad behavior. Demerits for a service charge at waterside tables and the fact that during a recent visit the band didn’t play a single song from South Pacific (though the Asian diva does a mean Christina Aguilera).

Fairmont Hotel, 950 Mason, SF. (415) 772-5278, www.fairmont.com *