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the san francisco bay guardian | sfbg.com september 28 - october 4, 2011 | Vol. 45, No. 52 | Free

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Ed Lee’s reelection will be one big scripted event, paid for with corporate money

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The worst-kept secrets Project Censored highlights the year’s most relevant ignored news 12

BlumGate Why two Bay Area newsrooms dismissed my story about conflicts of interest in UC investment deals 14

herbwise 18 FOOD + DRINK

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Channeling darkness “TV Noir” celebrates the tarnish on television’s golden years 28

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Time and space pilot Electro-composer Amon Tobin returns from the future with ISAM 30

Legends of the underground Gehenna’s Mike Apocalypse doesn’t care what you think 31

Musical alchemy Quantic mixes rhythm and travel on new best of record 32

hairy eyeball 33 Not new, but renewing Aurora Theatre offers a terrific revival of an Albee classic 34

Twang on Prepare to giggle (and gag) at Tucker and Dale vs. Evil 36

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The attack on public finance EDITORIAL The two most important political reforms in modern San Francisco history were the restoration of district elections and the creation of a public-finance system for mayoral and supervisorial elections. Both give candidates who lack big-business support a chance to win elective office. Both give independents a chance to compete against the downtown interests. Both have improved local government considerably in the past decade. And now public financing is directly under attack. The Board of Supervisors was slated to meet in closed session Sept. 27 to discuss amendments to the public disclosure law — allegedly, according to Supervisors Mark Farrell and Sean Elsbernd, to avoid legal liability. The U.S. Supreme Court struck down in July an Arizona law giving increased public money to candidates who were being badly outspent by well-financed opponents. One aspect of the city’s picks

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law, which allows extra public money for candidates once their opponents break the spending cap, might fall under the high court’s ruling. But the city’s right in the middle of a heated mayoral election, and all of the candidates entered knowing the current rules — and more important, nobody has come forward to sue, or even threaten to sue, over the city’s law. So there’s no urgent reason to rewrite the ordinance. The very fact that so many qualified candidates are in the race is an argument for public financing. Many of the current candidates would be unable to raise the vast sums required for a serious campaign without the help of public finance — and that opens up the field to more ideas, more debate, more policy discussions. It also gives the voters more of a choice — which, is, after all, what democracy is about. CONTINUES ON PAGE >>

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Standing up for Troy Davis By tiny

news@sfbg.com OPINION We were all standing there in different states of hegemony — some of us bought in to the lie of security and police, believing we had done wrong or fucked up, and some of us not. It was Wednesday, September 21, the day of the state-sponsored legal lynching of Troy Anthony Davis, and there were easily 210 of us standing in a line snaking out of the building. We were in the Cop Store the Police Bank, the building known simply as the Hall of (In) Justice, 850 Bryant. In the last six months since budget cuts have sliced deeper wounds in society’s collective flesh, yet more cops roam the streets issuing more tickets. The line for traffic tickets outside room 145 has begun to expand like a python ready to strike, like an unchecked levy after a storm. The CONTINUES ON PAGE >>

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Every mayoral candidate who wants the progressive vote showed up for the Guardian forum Sept. 21. Everyone except Mayor Ed Lee. Yeah, the mayor’s a busy guy. But state senators and city attorneys and public defenders and city assessors and supervisors are busy, too, and those people managed to get to the LGBT Center, where more than 100 people were packed into the fourth floor room. Jeff Adachi made a point of talking about “showing up” — and everyone knew exactly what he was saying. Where was Ed? Well, maybe the mayor isn’t interested in votes from the city’s left, but I kind of doubt he’s written off such a huge sector of the population. In fact, by that standard, he would have written off most of the neighborhoods, and most of the political clubs. Because the mayor isn’t showing up much at all. There have been more than 50 forums, debates and candidates nights over the course of the election season. Sure, some of them happened before Lee got in the race — but since the day he filed his papers, the other candidates have gone to between 12 and 15 events. Lee has made it to maybe two or three — and when he does show up, he often answers one question then leaves. I get the strategy: Lee is pretending to be above the political fray. He’s the incumbent in the Rose Garden, refusing to lower himself to the level of all that riffraff out there trying to communicate with the voters. He’s making sure nobody gets to ask him any embarrassing questions; that way he won’t make any mistakes. And his entire reelection will be one big scripted event, paid for with big corporate money and managed from behind the scenes by the same slick operators who brought you Gavin Newsom. Do we really want four more years of that? Tony Winnicker, who was Newsom’s press secretary, is now handing the media for Lee. He’s just as hostile and dismissive of legitimate journalistic inquiries as he ever was, just as full of spin and vinegar. He acts as if campaigning — you know, the stuff all the others are doing — is beneath the dignity of His Honor. Come on, Mr. Mayor. Come out and campaign like everyone else. We’re starting to wonder what you’re trying to hide. 2

september 28 - october 4, 2011 / SFBG.com

editorials public finance CONT>>

Besides, as activist Larry Bush pointed out to us, “you have two choices with money in elections — you can pay up from with public funding or you can pay afterward with sweetheart contracts. And we all know which one is cheaper.” Mayor Ed Lee, who has refused to take public money (because he doesn’t have to — he’s got plenty of rich and powerful backers) is attacking the campaign law, complaining in a TV ad that his opponents are “using taxpayer money” for “attack ads” — and that’s spurring discussion about whether there ought to be limits on how public money can be used. Any move in that direction would undermine the whole point of the law — if candidates can’t do negative ads (which, like it or not, are part of the modern campaign world) with public funds, they’ll raise outside money instead. There are plenty of ways to improve the city’s public finance law (increasing disclosure requirements for late money and expanding the restrictions on donation by city contractors would be a good start). But amending the law in the middle of a campaign when there are no existing legal threats is a bad idea, and the supervisors should scrap it. PS: If Lee wants to be mayor, he needs to start showing up -- at debates and forums. That’s part of the job. 2 troy davis CONT>>

people are piling up and the workers to help them diminishing. I was there standing in that line. I was rocking my handmade, life-size, “Yo Soy Troy Davis ... I am Troy Davis” shirt/body patch. It was 11:00 am and I was tweeting, calling, petition signing, and calling again. My heart had dropped to the bottom, heavy as a boulder crashing through the window of my soul. And then I remembered, I had a voice. Maybe that’s all I had, but I had a voice and I could speak up and then.... “Excuse me, can I get everyone’s attention.....” I had waited until the halls were clear of police and the only sound you heard was the silent tapping of fingernails on touch screens — and then I did SAN FRANCISCO BAY GUARDIAN

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it. I stepped outside of excepted norms of behavior, violated all those unseen, unsaid demands on speech, the rules on when it’s okay to speak up. “They are about to execute an innocent man in Georgia in less than five hours, and you all can do something about it, right now, from right here...” I went on to explain a little back ground about the case of brother Troy and fact that seven out of nine witnesses recanted their testimonies and how so many people, including several politricksters in power, have stood up to say this is wrong. “I have the number on my phone that you all can call. I have the link to the petition that you can sign. Please consider it. We aren’t doing anything else for at least the next hour, right?” And then it was over. I finished speaking and people looked away. They continued ticking on their meta-keyboards, and looking at their nails, and reading their papers, and looking at their feet. And it was if I have never said anything. Or was it? My brother in my POOR Magazine family of poverty scholars and reporters told me he did a similar thing on the evening of the S-Comm threat of deportation his family had just had to deal with in Oakland. “I looked around, it was a crowded BART train and no one was saying anything or doing anything. We were all just standing there. I knew no one else would say anything so I decided to speak up. I busted out with my poem about the criminalization of immigrants.” He said that when he was finished with the piece, no one said anything — but the air was heavy with his words. Some organizers and conscious folks talk about moving on — but at POOR Magazine, will not move on. We will continue to speak up in places we are not supposed to about things we are not supposed to mention, and we will make art and cultural work about things and people that never get art made about them and we will work daily to make sure that all silenced, removed, deported, lynched, incarcerated, criminalized, harassed and abused peoples are heard and loved and remembered — and we hope you all do the same. Even when its uncomfortable. 2 Tiny, aka Lisa Gray Garcia, is an editor at POOR magazine.

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CCDC wants to be totally transparent. We have nothing to hide.” — Rev. Norman Fong

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Fraud or ‘faked facts’? “The only thing I care about,” Sen. Leland Yee proclaimed at a press conference outside City Hall Sept. 26, “is the Central Subway.” The mayoral candidate called the press conference to announce that he wants the high-profile Chinatown transit project to move forward — yet he has concerns that it could be jeopardized by recent revelations of apparent waste, fraud, and abuse relating project contracts. Yee announced he’d submitted a public records request to Mayor Ed Lee’s office, asking the interim mayor and candidate to turn over “all correspondence between the Mayor’s Office or the City Administrator’s Office and CCDC or powerbroker Rose Pak.” The media event was prompted by reports in the San Francisco Chronicle revealing that the Chinatown Community Development Center (CCDC), an affordable housing nonprofit and Central Subway subcontractor closely aligned with Lee, had received about $750 per hour to attend project meetings, $578 per visitor for outreach, and $25,000 to host a single community meeting, figures he rattled off during the press conference. “Those are the kinds of abuses, those are the kinds of mismanagement that has been going on, and we really need to put a stop to that,” Yee said, adding, “We now have a chance of derailing the Central Subway. And I, for one, am going to do everything that I can to ensure that the Central Subway, in fact, is built. But we cannot do that when you have these kinds of golden chairs, these kinds of waste and abuse ... So what we are now asking is just simply the right of the public to know what’s been happening.” Reached by phone, Rev. Norman Fong, who will replace outgoing CCDC executive director Gordon Chin in October, said he was concerned that his nonprofit organization — which has a mission of building affordable housing SAN FRANCISCO BAY GUARDIAN

on the blogs politics BART officials want the ability to ban individuals from the public transit system SFBG Radio: Johnny Angel Wendall calls for a march on Wall Street As featured in the New York Times: the official SFBG Butt Guardian

Is the death chamber at San Quentin headed for extinction? Maybe. for low-income residents — had become a target for mayoral candidates looking to score political points. “I’m learning that politics is dirty,” he said. Asked about the exorbitant payments to CCDC highlighted in the Chronicle, Fong said, “they’re all lies.” He pointed to a response penned by CCDC attorney Gen Fujioka in the local political blog Beyond Chron, charging that the numbers were inaccurate or distorted and taking San Francisco’s paper of record to task for what he deemed “faked ‘facts.’ ” Yet it was tough to discern independently whether the math was fuzzy without the documents in hand. Recognizing this, Fong said his organization planned to address the issue publicly on Sept. 28 and make contract documents available on its website. “CCDC wants to be totally transparent,” he said. “We have nothing to hide.” Meanwhile, Yee and CCDC aren’t the only ones at odds when it comes to discussing the finer points of the Central Subway deal. On Sept. 19, retired Judge Quentin Kopp, a Central Subway opponent, mailed a letter to the Little Hoover Commission, an independent state oversight agency, urging it to conduct an audit of the use of state funds allocated to the Central Subway. Kopp cited an annual cost increase of $15.1 million (according to the Federal Transportation Administration) to San Francisco Municipal Transportation Agency (SFMTA) operations, increased travel times, and a dramatic decrease in projected ridership to back up his editorials

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argument that “the project makes no sense from either a transportation or financial standpoint; it will result in a continuing waste of funds and inappropriate expenditures.” Yet when the Guardian asked SFMTA chief Ed Reiskin in a recent interview to address these concerns, Reiskin responded as if this assessment was news to him. “I’m not sure what the discrepancies are that you’re talking about,” he said. “We have a lot more people who are going to be living along that corridor, and as you know with the Stockton bus we’re beyond capacity. So if it were going to cost $15 million more — which I don’t believe is correct — this is investment that we need to make.” (Rebecca Bowe)

Life after death The state of Georgia killed a man who is quite possibly innocent last week, pushing the debate over the death penalty back onto the front pages. Well, some front pages — the execution of Troy Davis made page one of the New York Times, but was buried inside the San Francisco Chronicle. Which is odd, because here in San Francisco, the death penalty is moderately big news: Nearly all of the candidates for district attorney are proclaiming how immoral, expensive, and ineffective it is. In fact, if the change in attitude among San Francisco prosecutors in any indication, public sentiment on ending the barbaric practice may be shifting in the right direction. Consider this: In 1999, three major candidates sought the office

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of D.A.: Former Supervisor (and defense lawyer) Terence Hallinan, veteran prosecutor Bill Fazio and Deputy Public Defender Matt Gonzalez. Hallinan was a death penalty foe, but was pretty quiet about it; he and Fazio wound up in a runoff, and Fazio asked Gonzalez to endorse him. Gonzalez told us he asked Fazio one question: Will you promise never to seek the death penalty? Fazio hemmed and hawed, but refused to make that promise. Hallinan won. Today, candidate David Onek has made opposition to executions a centerpiece of his campaign. Fazio is loudly proclaiming his opposition to the death penalty. So is incumbent and former Police Chief George Gascon, who told us that he will never file capital charges (not even in the case of the murder of a police officer) and wants the death penalty repealed. Maybe were getting somewhere. (Tim Redmond)

noise Emily Savage reviews the Twin ShadowsDiamond Rings show at the Great American Music Hall Heavy metal takes over Yerba Buena Center for the Arts – and we saw the whole thing go down Ladytron at the Regency Ballroom: “There was definitively some collective captivation.”

After the deal During the debate earlier this year over giving big tax breaks to Twitter and other companies that create jobs in the Mid-Market and Tenderloin neighborhoods — an initiative pushed primarily by Mayor Ed Lee, his Office of Economic and Workforce Development, and Sups. David Chiu and Jane Kim — critics called the deal a wasteful giveaway that mostly benefited commercial landlords and rich corporations. Not so, said advocates of the deal, touting the community benefits agreements (CBAs) that CONTINUES ON PAGE 10 >>

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pixel vision Shots from last weekend’s Moving Planet Day celebration-demonstration Jesse Hawthorne Ficks catches 30 films in six days at the Toronto International Film Festival A Helen Hill retrospective hits Artists’ Television Access

sex sf Brit band Monarchy gets fitted out in kink couture for Folsom Street Fair Our sex event column has the dates that’ll leave you panting

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Twitter and other companies would be forced to enter into. They said it was all about keeping Twitter in town and eliminating the vacant storefronts in the Mid-Market area. And when City Economist Ted Egan said creating a punitive fee on vacant commercial properties would be more effective at that goal than tax breaks, Kim announced her intent to carry that legislation. Later, Sup. David Campos â&#x20AC;&#x201D; who voted against the Twitter deal, along with Sups. John Avalos and Ross Mirkarimi â&#x20AC;&#x201D; also endorsed the idea and said he wanted to help Kim move it forward. There were meetings and reports on the legislation, including a 15-page analysis by the Budget and Legislative Analystâ&#x20AC;&#x2122;s Office in June that looked at how other cities have similar ordinances and how it would work here. It estimated that charging the owners of vacant commercial buildings (there are at least 77 in San Francisco, half of them owned by banks) could raise about $1.8 million per year (or as much as $17 million if we used Washington DCâ&#x20AC;&#x2122;s model of very steep fines), in addition to encouraging the owners to fill the buildings with tenants. But then, the idea was quietly abandoned for the year. â&#x20AC;&#x153;The Budget Analyst and City Attorney determined that this change would need to go to the voters. The Revenue Coalition and neighborhood stakeholders decided not to pursue this legislation for the November 2011 ballot,â&#x20AC;? Kim legislative aide April Veneracion wrote to the Guardian. She told us by phone that the decision was the consensus of a working group that included critics of the Twitter deal such as Coalition on Homelessness director Jennifer Friedenbach and SEIU Local 1021 Political Director Alysabeth Alexander. But Alexander says sheâ&#x20AC;&#x2122;s still very supportive of the idea, as well as a fee to cover city costs on foreclosed properties. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s still a high priority for our union,â&#x20AC;? Alexander told us, saying it was her understanding that Kimâ&#x20AC;&#x2122;s office didnâ&#x20AC;&#x2122;t get the required legal analysis back from the City Attorneyâ&#x20AC;&#x2122;s Office in time to qualify for the ballot. But a review of documents under the Sunshine Ordinance turned up drafts of that analysis from as early as May 16,

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well in advance of the deadline for getting on this yearâ&#x20AC;&#x2122;s ballot. Veneracion (speaking for Kim, who refuses to talk to the Guardian) said the ordinance might end up on next yearâ&#x20AC;&#x2122;s ballot: â&#x20AC;&#x153;We want to continue to pursue this.â&#x20AC;? And what about Twitterâ&#x20AC;&#x2122;s CBA? Well, after initially saying publicly that the CBA must be in place before the legislation was approved, Kim decided to move the legislation forward anyway, saying the CBA would be completed imminently. But that CBA still isnâ&#x20AC;&#x2122;t anyway close to completion, and it probably wonâ&#x20AC;&#x2122;t be inked until later next year. OEWD Director Jennifer Matz said the final legislation doesnâ&#x20AC;&#x2122;t require the CBA until companies apply for the tax exclusion, which in Twitterâ&#x20AC;&#x2122;s case will be around November 2012. â&#x20AC;&#x153;When they apply, that triggers the need for a community benefits agreement,â&#x20AC;? Matz told us. If only measures that benefited the city and its residents moved as rapidly through City Hall as those that benefit big corporations. (Steven T. Jones)

La Mision. Presente. It felt as if, in the words of one observer, the entire San Francisco left was on hand Sept. 25 for a memorial service for Eric Quezada, the Mission District organizer and community leader who died Aug. 24 after a long battle with cancer. He was 45. The speakers talked of his life as an activist, a hell-raiser, a champion soccer player, and a devoted father. But they also talked of the community he defended all these years â&#x20AC;&#x201D; about the part of the Mission that doesnâ&#x20AC;&#x2122;t eat fancy tapas and sip $12 martinis on Valencia Street, the folks who fought displacement during the dot-com boom and fight every day for affordable housing, immigrant rights, tenant protections, and limits on speculation and gentrification. That Mission was his lifeâ&#x20AC;&#x2122;s work. Long may it survive. The family needs help with medical expenses â&#x20AC;&#x201D; and also to help with the education of Ericâ&#x20AC;&#x2122;s daughter, Ixchel. Contributions can be made to the, (www.missionassetfund.org/ ixchel) or mailed to 470 Columbus Ave., Suite 211, San Francisco, 94133. Checks should be made payable to Eric Quezada Memorial Fund. A fundraiser is being held at Jane Morrisonâ&#x20AC;&#x2122;s home at 44 Woodland Ave. on Oct. 16 between 3-5 p.m. (tr) 2 music listings

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alerts By steven t. Jones steve@sfbg.com

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SEPTEMBER 28 - OCTOBER 4, 2011 / SFBG.com

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American soldiers are now more dangerous to themselves than the insurgents

#2 US military’s ‘friend’ fake-out

By Rebecca Bowe rebeccab@sfbg.com In an age of blogs, tweets, hacks, and piles of beans spilled by Wikileaks, the notion of media censorship may seem dated. But the rundown of stories Project Censored calls attention to this year serves as a reminder that mainstream media outlets favoring the superficial over the substantive don’t give us all the information we need. Since 1976, Project Censored has endeavored to spotlight important news articles that didn’t find their way into mainstream headlines. Originating with a classroom assignment in a communications course taught by Carl Jensen at Sonoma State University, the perennial project has evolved into a book, a radio show, and the Project Censored and Media Freedom International websites, which aggregate underreported independent news stories from around the globe. Students and professors engaged in unearthing oft-ignored stories, part of a nationwide network of affiliates working under the direction of history professor Mickey Huff, bringing a harsh critique to standard mainstream media fare. “Corporate media (singular) is the information control wing of the global power structure,” former Project Censored director Peter Phillips writes in the introduction to Censored 2012: Sourcebook for the Media Revolution. “The corporate media systematically censors the news stories that challenge the propaganda of empire.” In Huff’s words, “We try to highlight the things that are highly relevant, that seem to be conspicuously absent.” Huff says the selection process for the top censored stories begins with nominations of independent articles that readers feel warrant greater attention than they’ve received. From there, students comb through Lexis Nexis or other databases to see whether they’ve been adequately covered. If not, they factcheck the stories with professors or other experts in the field. Once they’ve been “validated” in this way, they’re posted to Project Censored’s sister site, Media Freedom International. The famed Top 25 Censored Stories list, which has long served as the tagline of the organization, is the result of a ranked-choice voting process in which judges and affiliates select from the entire pool of validated news articles posted from April to April. The end product — an annual book featuring a compilation of the censored stories as well as sociologi12 SAN FRANCISCO BAY GUARDIAN

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The worst-kept secrets

Project Censored highlights the year’s most relevant ignored news cal essays on media censorship and scathing critiques of “junk food news” churned out by the likes of Fox News — can be considered a kind of historical almanac, Huff says. “Journalism is the rough draft of history,” he notes, “and if you have these mainstream corporate news outlets getting so much of it wrong or missing it, how does that impact historical construction?” For the most part, Project Censored’s story list offers a sampling of smart, investigative journalism produced by the independent press. They include deep investigative pieces such as “Diet Hard With A Vengeance,” by David Moberg of In These Times, and a heart rending portrayal by Chris Hedges of a marine stationed in a mortuary unit in Iraq. Yet there are instances when Project Censored seems to wander too far afield. Their claims of “censorship” seem dubious at times, as with the charge that the mainstream media has ignored the real unemployment rate because it hasn’t turned an eye toward the analysis of economist John Williams, who maintains a website called Shadow Government Statistics. editorials

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Huff and Phillips regularly discuss questions surrounding the Sept. 11, 2001 attacks on the World Trade Center on their KPFA radio show, and their emphasis on this particular issue, along with a recent tendency to give weight to fringe theories concerning things like suspicious contrails issuing from airplanes, have caused allies of the organization to defect in the past. The organization’s definition of censorship has evolved, too, to the point where the authors cast it as a form of propaganda that is “intentional by nature ... In essence, this is a conspiracy.” Nevertheless, the Project Censored team delivers yet another rundown of surprising, alarming, and thought-provoking stories that are worth noting — more so, perhaps, because they received so little attention to begin with. Without further ado, here are the top 10.

#1 More soldier suicides than combat deaths Six more, to be exact. That’s the figure reported by Good Magazine and spotlighted by Project Censored in an article highlighting the fact that 462 American soldiers

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were killed in combat in 2010 while 468 soldiers, counting enlisted men and women as well as veterans, took their own lives. This was the second consecutive year that more soldiers died by their own hands than in combat; in 2009, the 381 suicides of activeduty soldiers recorded by the military also exceeded the number of deaths in battle. The Good report, which references Congressional Quarterly as a source, was published in January 2011, just weeks after military authorities announced that a psychological screening program seemed to be stemming the suicide rate among active-duty soldiers. “This new data, that American soldiers are now more dangerous to themselves than the insurgents, flies right in the face of any suggestion that things are ‘working,’ ” Good Senior Editor Cord Jefferson wrote. Project Censored also spotlighted Chris Hedges’ sobering portrayal of Jess Goodell, a marine who was stationed in the Mortuary Affairs unit in Iraq. Goodell published a memoir titled “Death and After in Iraq,” also the name of Hedges’ column. music listings

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Anyone suspicious of “sock puppets,” those online commenters pretending to be someone they’re not, would be unnerved by the US military’s “online persona management service,” a little-known program described in The Guardian UK, Raw Story, and Computerworld stories unearthed and highlighted by Project Censored. The U.S. Central Command (Centcom) secured a contract with a Los Angeles-based tech company to develop the program, which enables U.S. service workers to use fake online personas on social media sites to influence online chatter. Using up to 10 false identities, they can counter charged political dialogue with pro-military propaganda. “These ‘personas’ were to have detailed, fictionalized backgrounds, to make them believable to outside observers, and a sophisticated identity protection service was to back them up, preventing suspicious readers from uncovering the real person behind the account,” according to a Raw Story account. A Centcom spokesperson told The Guardian UK that the program would only intervene in online conversations in Arabic, Farsi, Urdu, or Pashto, and that it wouldn’t initially target Twitter or Facebook. However, critics likened this U.S. endeavor to manipulate social media to China’s attempts to control and restrict free speech on the Internet.

#3 Obama’s hit list The Central Intelligence Agency (CIA) and the U.S. military have the authority to kill U.S. citizens abroad, outside war zones, if strong evidence exists that they’re involved terrorist activity, the Washington Post reported in a front page story in January of 2010. Despite this prominent press treatment of targeted assassinations under the Obama administration, Project Censored deems this an underreported news story because “a moral, ethical, and legal analysis of the assassinations seems to be significantly lacking inside the corporate media.” The authors instead point us to coverage in Salon, the Inter Press Service, Common Dreams, and several other sources that sharply question the president’s authority to license extrajudicial executions of individuals. In December of 2010, Human Rights Watch asked for clarification of the legal rationale behind this practice after a judge dismissed a lawsuit challenging the notion. Columnist Glenn Greenwald blasts the practice in Salon: “Bush

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news merely imprisoned [Jose Padilla] for years without a trial. If thatâ&#x20AC;&#x2122;s a vicious, tyrannical assault on the Constitution â&#x20AC;&#x201D; and it was â&#x20AC;&#x201D; what should they be saying about the Nobel Peace Prize winnerâ&#x20AC;&#x2122;s assassination of American citizens without any due process?â&#x20AC;?

#4 human-caused food crisis David Moberg offers an in-depth breakdown of the global food crisis for In These Times in an article highlighted by Project Censored, touching on the environmental context of worsening droughts and flooding, as well as the economic ramifications of a system in which free-market speculators stand to profit from volatile food prices. Beyond crop reductions resulting from irregular weather patterns, Moberg places the blame for rising food prices and increasing malnutrition on flawed economic policies. â&#x20AC;&#x153;Hunger is currently a result of poverty and inequality, not lack of food,â&#x20AC;? he concludes. The food price index rose to its highest level since 1990 in February 2011, according to a report by the Food and Agriculture Organization of the United Nations. â&#x20AC;&#x153;Since 2010 began, roughly another 44 million people have quietly crossed the threshold into malnutrition, joining 925 million already suffering from lack of food,â&#x20AC;? Moberg writes. â&#x20AC;&#x153;If prices continue to rise, this food crisis will push the ranks of the hungry toward a billion people.â&#x20AC;?

#5 Prison comPanies fund anti-immigrant legislation When Arizona Gov. Jan Brewer ran for reelection in 2010, her greatest out-of-state campaign contributions came from high-ranking executives of Corrections Corporation of America (CCA), one of the nationâ&#x20AC;&#x2122;s largest prison companies. Brewer gained notoriety among immigrant rights advocates after championing SB 1070, strict anti-illegal immigration legislation that drew criticism for legitimizing racial profiling. SB 1070 established new crimes and corresponding prison sentences relating to illegal immigration; CCA profits directly from building and operating prisons and detention centers. Bringing it closer to home, CCA previously employed two of Brewerâ&#x20AC;&#x2122;s legislative aides as lobbyists. In a Counterpunch article entitled â&#x20AC;&#x153;Wall Street and the Criminalization of Immigrantsâ&#x20AC;? that is spotlighted by Project Censored, Peter Cervantes-Gautschi spotlights Brewerâ&#x20AC;&#x2122;s links to CCA and goes deeper still, offering an historic account of how investors in CCA and prison giant Geo Group editorials

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have for years actively pushed for legislation that would result in the widespread incarceration of undocumented immigrants.

#6 google sPies? A flurry of stories aired in the spring of 2010 when it became apparent that Google Street View vehicles, in the process of collecting data for its mapping service, also picked up consumer â&#x20AC;&#x153;payloadâ&#x20AC;? data on Wi-Fi networks, including e-mail messages, website data, user names, and passwords. The tech giant publicly apologized for what it characterized as a mistake, saying it had â&#x20AC;&#x153;failed badly.â&#x20AC;? The Federal Trade Commission (FTC) admonished Google in a letter, but declined to pursue it further. From there, Project Censored authors make the leap that the FTC abandoned its inquiry because a week earlier, Obama attended a Democratic Party fundraiser at the Palo Alto home of Google executive Marissa Mayer, citing a San Francisco Chronicle article about the $30,000-per person affair. Project Censored authors also point to an article by Eric Sommer titled â&#x20AC;&#x153;Googleâ&#x20AC;&#x2122;s Deep CIA Connections,â&#x20AC;? appearing on Pravda. ru (a website whose most most-read article was â&#x20AC;&#x153;Bermuda Triangle: New Anomalous Phenomenon Discoveredâ&#x20AC;?). Sommer claims that â&#x20AC;&#x153;Google is, in fact, a key participant in U.S. military and CIA intelligence operations,â&#x20AC;? basing his argument on a perplexing set of links between investors in Google and CIA technologies.

#7 stay Positive â&#x20AC;&#x201D; at all costs A military training program that Project Censored has deemed â&#x20AC;&#x153;U.S. Army and psychologyâ&#x20AC;&#x2122;s largest experiment â&#x20AC;&#x201D; everâ&#x20AC;? was profiled in a detailed American Psychologist series in early 2011. Comprehensive Solider Fitness (CSF) is described as a â&#x20AC;&#x153;holistic approach to warrior training,â&#x20AC;? emphasizing positive psychology as a means to counter mental health problems arising from horrific combat situations. While the American Psychologist series reads like a puff piece finessed by the professionals who developed CSF, Project Censored spotlighted articles in Truthout and The Psychology of Well-being that raised questions about the wisdom of launching a required, untested psychology program for more than 1 million soldiers, one that encourages soldiers to think positive even in the face of traumatizing events.

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In September 2010, the journalism website Spot.us published my investigative series, â&#x20AC;&#x153;The Investors Club: How University of California Regents Spin Public Money into Private Profit.â&#x20AC;? It detailed how members of the UC Board of Regentâ&#x20AC;&#x2122;s investment committee oversaw the investment of nearly $1.5 billion of UCâ&#x20AC;&#x2122;s money into business deals in which they themselves held significant stakes. One of the conflicted regents was Richard Blum, the financier husband of U.S. Sen., Dianne Feinstein (D-CA); another was Paul Wachter, a business partner of thenGov. Arnold Schwarzenegger (who is also a regent). The story caused a stir, particularly at a time when student groups were protesting draconian cuts and tuition hikes. Several newsweeklies published the series. The Los Angeles Times ran a story about my findings. And the investigation was honored with journalism awards by several local, state, and national organizations. So I was not surprised when Nanette Asimov, the higher education beat reporter for the San Francisco Chronicle, called me last October. â&#x20AC;&#x153;I know itâ&#x20AC;&#x2122;s a Herculean task, but is it possible to charbroil your opus down to 800 words?â&#x20AC;? she asked. The paper offered to pay me $350 for the story. Intrigued, I squeezed the investigation that Spot.us had paid $7,000 to produce into a few paragraphs. Little did I know that Asimov and I would be expanding and cutting food + Drink

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and tweaking this story for the next eight months, as publication was delayed again and again by footdragging editors. But I was patient. Even after Metro Editor Audrey Cooper told me that Blum had â&#x20AC;&#x153;threatenedâ&#x20AC;? Chronicle editors if they ran the tale, I waited several more months before going public. It is my belief that journalists must as accountable for what we do not print as for what we do print. When Elizabeth Lesly Stevens, a staff writer at the Bay Citizen, inquired about the delay in publishing the story, I told her what I knew and gave her dozens of emails between myself and Chronicle staff. Ironically, the Bay Citizen never ran the story about the story.

Back and forth It quickly became obvious that the complex financial story would not easily squeeze into a few paragraphs. But since the Hearst Corporation had cut the Chronicleâ&#x20AC;&#x2122;s reportorial throat several years ago by laying off its investigative enterprise staff, there appeared to be no one left capable of editing it. Asimov had to constantly badger editors to work on the story. By early January 2011, Asimov and I had worked up a coherent version, focusing on Blum and Wachterâ&#x20AC;&#x2122;s conflicts of interest. On January 31, Assistant City Editor Terry Robertson emailed, â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m aiming to get it in the paper by the end of the week.â&#x20AC;? A few days later, he backtracked, â&#x20AC;&#x153;Well, I just found out that the story needs to be lawyered. That throws a bit of a wrench into the works. Sorry.â&#x20AC;? music listings

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By mid-February, Robertson had evidently lost interest. Determined to see it in print, Asimov recruited a veteran Chronicle reporter, John Wildermuth, to edit it. He whipped it into shape at 1,600 words. Now it was time for Asimov to call Blum for comment, since he refuses to talk to me. According to Asimov, Blum was â&#x20AC;&#x153;spitting nails.â&#x20AC;? He called the allegations of conflicts of interest made by an array of ethics experts â&#x20AC;&#x153;obscene.â&#x20AC;? And I was told he threatened the Chronicle with legal action if the story was published. In late March, the copy was again sent to Cooper. On April 11, she decided it needed yet more attention from the lawyers. On April 14, the Daily Nexus, which is the student newspaper at UC Santa Barbara, reported on a group of students who had gathered hundreds of signatures on a petition to the state Attorney General asking for an investigation based upon the conflicts of interest identified in the Spot.us investigation. In the article, UC scholar Gray Brechin opined that the Chronicle was failing to print my story due â&#x20AC;&#x153;to the political influence of Blum and Feinstein.â&#x20AC;? Shortly after the story was posted online, Cooper called Daily Nexus Editor Elliot Rosenfeld. She complained that Brechinâ&#x20AC;&#x2122;s comment about the Chronicle was â&#x20AC;&#x153;libelous.â&#x20AC;? The student editor removed the quote from the newspaperâ&#x20AC;&#x2122;s website. When I asked Cooper about this, she emailed, â&#x20AC;&#x153;I have never been intimidated into publishing anythingâ&#x20AC;&#x201D;nor to refrain from publishing an article. And it wonâ&#x20AC;&#x2122;t happen in the future, regardless of whether the pressure comes from a scientist, another journalist, or a senator.â&#x20AC;? Then Cooper stopped responding to my emails.

the Plot thickens On May 6, I received an email from the Bay Citizenâ&#x20AC;&#x2122;s Stevens. She had CONTINUES ON PAGE 16 >>

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editors note: this is the final version of the story that was supposed to run in the Chron: By Peter Byrne news@sfbg.com 5IF 6OJWFSTJUZ PG $BMJGPSOJB IBT JOWFTUFE IVOESFET PG NJMMJPOT PG EPMMBST JO CVTJOFTT EFBMT JO XIJDI UXP SFHFOUT XIP IBWF IFMQFE PWFSTFF 6$ÂµT JOWFTUNFOU QPSUGPMJP BMTP IBE GJOBODJBM JOUFSFTUT SFDPSET TIPX 4JODF 6$ IBT JOWFTUFE JO GJWF QSJWBUF FRVJUZ EFBMT JO XIJDI 3FHFOU 3JDIBSE #MVN BMTP IBE JOWFTUNFOU JOUFSFTUT BDDPSEJOH UP GFEFSBM TUBUF BOE VOJWFSTJUZ EPDVNFOUT 3FHFOU 1BVM 8BDIUFS IBE B TVCTUBOUJBM GJOBODJBM JOUFSFTU JO POF PG UIPTF EFBMT *O TVDI DBTFT #MVN BOE 8BDIUFS XFSF JO B QPTJUJPO UP CFOFGJU Â± PS MPTF Â± GSPN VOJWFSTJUZ JOWFTUNFOUT UIFZ PWFSTBX #MVN TFSWFE PO UIF JOWFTUNFOU DPNNJUUFF GSPN UP 'FCSVBSZ 8BDIUFS KPJOFE JO BOE JT JUT DVSSFOU DIBJSNBO #PUI SFHFOUT EFOZ BOZ XSPOHEPJOH 5IF VOJWFSTJUZÂµT DIJFG BUUPSOFZ IBT FYBNJOFE UIF JOWFTUNFOU PWFSMBQ BOE DPODMVEFE UIFZ XFSF MJLFMZ DPJODJEFOUBM :FU TPNF FUIJDT FYQFSUT TBZ UIF PWFSMBQQJOH JOWFTUNFOUT DSFBUF BO BQQFBSBODF PG DPOGMJDUFE JOUFSFTUT $SJUJDT TBZ UIF EFBMT NBZ WJPMBUF TUBUF BOE 6$ FUIJDT HVJEFMJOFT #MVN BO JOWFTUNFOU CBOLFS BOE GJOBODJFS XIP XBT BQQPJOUFE UP UIF SFHFOUT JO CZ UIFO (PW (SBZ %BWJT JT UIF IVTCBOE PG 4FO %JBOOF 'FJOTUFJO 8BDIUFS JT $&0 PG .BJO 4USFFU "EWJTPST B GJOBODJBM NBOBHFNFOU DPNQBOZ )F XBT OBNFE UP UIF CPBSE CZ (PW "SOPME 4DIXBS[FOFHHFS JO 5IF SFHFOUTÂµ NFNCFS JOWFTUNFOU DPN NJUUFF TFUT QPMJDZ GPS BOE PWFSTFFT UIF NBOBHF NFOU PG 6$ÂµT CJMMJPO BT PG .BSDI QPSUGPMJP PG JOWFTUNFOUT XIJDI JODMVEFT UIF SFUJSF NFOU FOEPXNFOU BOE DBNQVT GPVOEBUJPO GVOET 6$ÂµT DIJFG JOWFTUNFOU PGGJDFS .BSJF #FSHHSFO SFHVMBSMZ SFQPSUT UP UIF DPNNJUUFF FYQMBJOJOH XIFSF UIF NPOFZ JT CFJOH JOWFTUFE BOE IPX XFMM UIF JOWFTUNFOUT BSF EPJOH 5IF JOWFTUNFOU DPNNJUUFFÂµT DPOGMJDU PG JOUFS FTU QPMJDZ QSPIJCJUT DPNNJUUFF NFNCFST GSPN UFMMJOH UIF JOWFTUNFOU PGGJDFS XIBU TQFDJGJD GVOET UP JOWFTU JO #VU UIFZ DBO BOE EP EJSFDU IFS UP JOWFTU HSFBUFS PS MFTTFS BNPVOUT JO DFSUBJO DBUFHPSJFT PG GVOET $PNNJUUFF NFNCFST NVTU BMTP BEIFSF UP DPOGMJDU PG JOUFSFTU HVJEFMJOFT FTUBCMJTIFE CZ UIF TUBUF BOE 6$ CPUI PG XIJDI QSPIJCJU PGGJDJBMT GSPN JOGMVFODJOH PS WPUJOH PO NBUUFST JO XIJDI UIFSF JT FWFO BO BQQFBSBODF PG B QFSTPOBM DPOGMJDU PG JOUFS FTU *O QBSUJDVMBS 6$ÂµT QPMJDZ TBZT B DPOGMJDU FYJTUT Â²JG JU JT SFBTPOBCMZ GPSFTFFBCMF UIBU UIF EFDJTJPO XJMM IBWF B NBUFSJBM GJOBODJBM FGGFDU PO POF PS NPSF PG ZPVS FDPOPNJD JOUFSFTUT Â³ " NBUFSJBM JOUFSFTU JT EFGJOFE BT CFJOH XPSUI NPSF UIBO Deals examineD #MVN IBE JOWFTUNFOUT PG NPSF UIBO NJMMJPO JO B OVNCFS PG UIF CVTJOFTT QBSUOFSTIJQT UIBU 6$ QVU NPOFZ JOUP XIJMF 8BDIUFS IBE VQ UP NJMMJPO JOWFTUFE JO POF PG UIF EFBMT 6$ÂµT HFOFSBM DPVOTFM $IBSMFT 3PCJOTPO FYBNJOFE UIFTF JOWFTUNFOUT JO 3PCJOTPO DPODMVEFE UIBU UIF JOWFTUNFOU PWFSMBQ XBT QSPCBCMZ DPJODJEFOUBM BOE UIBU OFJUIFS #MVN OPS 8BDIUFS JNQSPQFSMZ TUFFSFE QVCMJD GVOET Â²"OZ PWFSMBQ JT TVCTUBOUJBMMZ NPSF MJLFMZ UP CF UIF SFTVMU PG JOEFQFOEFOU EFDJTJPOT CZ MJLF NJOEFE JOWFTUPST UIBO UIF SFTVMU PG DPPSEJOBUJPO Â³ 3PCJOTPO SFQPSUFE #MVN DBMMFE UIF JEFB UIBU IF XPVME DPPSEJOBUF JOWFTUNFOUT BOE QSPGJU GSPN 6$ÂµT GJOBODJBM EFBM JOHT Â²SJEJDVMPVTÂ³ BOE FWFO Â²PCTDFOF Â³ Â²/PCPEZ IBT FWFS UPME NF UIBU XF IBE UP BTL UIF 6$ GPS BO 0, CFGPSF XF JOWFTUFE JO TPNFUIJOH Â³ #MVN UPME 5IF $ISPOJDMF Â²* XPVMEOÂµU CF PO UIF #PBSE PG 3FHFOUT JG * IBWF UP BTL GPS QFSNJTTJPO UP HP UP UIF CBUISPPN Â³ 8BDIUFS BMTP EJTNJTTFE UIF JEFB UIBU UIF PWFSMBQQJOH JOWFTUNFOUT SFQSFTFOU B DPOGMJDU Â²*U KVTU EPFTOÂµU NBLF TFOTF BU BMM Â³ 8BDIUFS TBJE BEEJOH UIBU IFÂµT TVSQSJTFE UIBU IF BOE #MVN IBE TP GFX PWFSMBQQJOH JOWFTUNFOUT PWFS UIF ZFBST HJWFO UIF FYUFOU PG UIFJS IPMEJOHT Â²5IF LFZ UIJOH JT UIBU ZPVÂµSF OPU UFMMJOH FBDI PUIFS XIBU UP EP Â³

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For over 40 years, Womenâ&#x20AC;&#x2122;s Recovery Association has helped women reclaim their lives with treatment options tailored to their needs and circumstances.

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been at a dinner party with Brechin. She asked me why the Chronicle story was languishing. She said the Bay Citizen might publish it. I told her I was not ready to go public. On May 18, I emailed Asimov about the status of the story. She said the lawyer had it. I called Cooper. She told me, â&#x20AC;&#x153;I would like to get [the story] in for Memorial Day because we need the copy. ... I am not going to be bullied into not printing it by Dick Blum and Iâ&#x20AC;&#x2122;m not going to be bullied into printing it. ... The fact that heâ&#x20AC;&#x2122;s called the editor and has an attorney in waiting makes us want to do it more. ... I absolutely want to run it. I would like to run it next weekend.â&#x20AC;? I asked if Blum was threatening the newspaper. Cooper replied, â&#x20AC;&#x153;Yeah. The only people who know that are me and the executive editor and the managing editor. I donâ&#x20AC;&#x2122;t think Nanette knows that. So you are now like the fourth person that knows that besides Dick Blum. ... People threaten to sue us all the time. But if we are going to mess with, you know, a billionaire, we are going to be a little cautious.â&#x20AC;? A few weeks later, on June 2, I asked Asimov if she knew about Blumâ&#x20AC;&#x2122;s threat. She replied, â&#x20AC;&#x153;Of course, I knew. Heck, Blum told me as well. The presence of Blumâ&#x20AC;&#x2122;s lawyers wonâ&#x20AC;&#x2122;t influence whether we run the piece, however. But this is getting increasingly ridiculous, and Iâ&#x20AC;&#x2122;ve asked someone to find out the status for us.â&#x20AC;? On June 27, Asimov told me that the â&#x20AC;&#x153;final versionâ&#x20AC;? of the story would â&#x20AC;&#x153;run over the weekendâ&#x20AC;? and that it had been cut to 1,200 words. It did not run. On July 6, I asked Asimov what was going on. She replied, â&#x20AC;&#x153;What happened is that the lawyer looked at it, and made some tweaks. Most were minor, but a small number of them struck me as simply wrongâ&#x20AC;&#x201D; like he didnâ&#x20AC;&#x2122;t understand the point. So I told Audrey, and its been the big chill ever since. So I donâ&#x20AC;&#x2122;t currently know whatâ&#x20AC;&#x2122;s happening.â&#x20AC;? That same day, July 6, the Chronicle ran a profile of Feinstein praising her as â&#x20AC;&#x153;the most effective politician in California.â&#x20AC;? Her welldocumented conflicts of interest with her husbandâ&#x20AC;&#x2122;s various businesses were not mentioned. A week later, July 12, the Chronicle printed an op-ed by Blum in which he said online education is the future. He did not mention that Blum Capital has a multi-billion-

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dollar stake in two of the nationâ&#x20AC;&#x2122;s largest for-profit education corporations, each with a growing online component. Nor did the oped note that UC had invested $53 million in these companies after Blum joined the investment committee in 2004. On July 19, Asimov told me, â&#x20AC;&#x153;The story was re-sent to the attorneys last night with the latest edits.â&#x20AC;? She said that nothing was likely to happened for at least two weeks since people were going on vacation. She said she would â&#x20AC;&#x153;leave [Cooper] a note saying that if the lawyer approves it, you must approve the final version.â&#x20AC;? And that was the last time I heard from anyone at the Hearst Corporation. A few days later, Stevens contacted me again. She wanted to write about my story in The New York Times. So, I gave Stevens the email trail. I warned her that she might run into a similar problem at the Bay Citizen, which was

The presence of Blumâ&#x20AC;&#x2122;s lawyers wonâ&#x20AC;&#x2122;T influence wheTher we run The piece. - naneTTe asimov

founded by Wall Street financier Warren Hellman, who sits on the Board of Directors of the Berkeley Endowment Management Company, which controls half a billion dollars in UC Berkeley Foundation investments. Public records show that Hellmanâ&#x20AC;&#x2122;s investment bank is partnered with the same two private equity funds that count both UC and Blum Capital as limited partners. And one of the Founding Patrons of Bay Citizen is the Blum Family Foundation. And one of the board members of the nonprofit Bay Citizen is Jeffery Ubben, a former managing partner of Blum Capital. But I digress. [Editorâ&#x20AC;&#x2122;s Note: The Bay Citizenâ&#x20AC;&#x2122;s newsroom is run independently of its board members, and journalists there say none of the funders have influenced the selection or editing of news stories.] A week later, Stevens informed me that the story was being pushed to the following week. And then she went on a month-long vacation and the story died. Go figure. But Stevens did alert the music listings

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Chronicle staff to my complaints, and the fact that I had provided her with emails and documentation to back up my claim that the Chronicle had bowed to Blumâ&#x20AC;&#x2122;s threat. On August 8, Asimov emailed a UC instructor, Kathryn Klar, who had inquired about the status of my story. Asimov recounted, â&#x20AC;&#x153;I worked for nearly a year to get Peter Byrneâ&#x20AC;&#x2122;sâ&#x20AC;&#x201D;frankly awfulâ&#x20AC;&#x201D;story in good enough shape to run in the Chronicle. It was poorly written and confusing. He will tell you how hard I worked to get that thing ready for publication. ... By the end of July, the story was in great shape and the lawyers were taking a final look. â&#x20AC;&#x153;And then Peter did the unthinkable. He forwarded a yearâ&#x20AC;&#x2122;s worth of my private correspondence to another journalistic organizationâ&#x20AC;&#x201D;not a newspaperâ&#x20AC;&#x201D;who then contacted me and others at the paper threatening to write a story about how the Chronicle had suppressed Peterâ&#x20AC;&#x2122;s story. ... Peterâ&#x20AC;&#x2122;s story will not run in the Chronicle now. But it was his actions, not ours, that led to its death. We, my editors included, liked the story and were pleased that it was finally in great shape. Even the lawyers agreed. â&#x20AC;&#x153;Its such a shame.â&#x20AC;? 2 Editors note: We asked the Chronicle for a response, and Managing Editor Steve Proctor told us: â&#x20AC;&#x153;The decision not to publish the story was made by the paperâ&#x20AC;&#x2122;s two top editors, me and Ward Bushee. After reviewing Mr. Byrneâ&#x20AC;&#x2122;s previously published articles and his interactions with the Chronicle, we decided that we were not comfortable publishing his work. â&#x20AC;&#x153;The story was brought to the Chronicle after having been previously published on a journalism web site. The editors here who worked with Mr. Byrne decided that his reporting would need to be double-checked if the piece were to appear in some form in the Chronicle. This was done intermittently, over a period of time, as there was no urgency to publish given that a version of the story had already appeared. â&#x20AC;&#x153;We want to be clear on one point. The Chronicle is never intimidated by threats made prior to the publication of a newspaper story â&#x20AC;&#x201D; and they are hardly infrequent. We make all of our decisions about publishing stories based on the high standards for journalism that we seek to uphold in the newspaper every day.â&#x20AC;? Bay Citizen reporter Elizabeth Lesly Stevens told us: â&#x20AC;&#x153;After much reporting we ultimately decided that Peterâ&#x20AC;&#x2122;s story was a lot less interesting than he thought it was, and wouldnâ&#x20AC;&#x2122;t make for a very worthwhile column in the NY Times.â&#x20AC;?

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The terrifying meltdowns of Japanâ&#x20AC;&#x2122;s Fukushima nuclear reactors reignited a worldwide debate about the wisdom of relying on nuclear energy as an electricity source. While Germany opted to phase out its nuclear facilities by 2022 in the wake of the tragedy, the U.S. Nuclear Regulatory Commission (NRC) came under scrutiny after a Union of Concerned Scientists report analyzed 14 â&#x20AC;&#x153;near missesâ&#x20AC;? at nuclear power plants in 2010, revealing the shortcomings in NRC inspections. Project Censoredâ&#x20AC;&#x2122;s critique of mainstream mediaâ&#x20AC;&#x2122;s treatment of nuclear power is that itâ&#x20AC;&#x2122;s too willing to endorse the idea that nuclear power is safe so long as proper safety measures are in place, and that major news publications readily go along with the nuclear industryâ&#x20AC;&#x2122;s branding of the power source as â&#x20AC;&#x153;cleanâ&#x20AC;? and â&#x20AC;&#x153;carbon freeâ&#x20AC;? when itâ&#x20AC;&#x2122;s really not. Claiming that â&#x20AC;&#x153;the refrain of the corporate mediaâ&#x20AC;? is that nuclear power is â&#x20AC;&#x153;perfectly harmless,â&#x20AC;? the authors spotlight a number of articles and literature from anti-nuclear nonprofit organizations explaining the health hazards of radiation, plus Jeff Goodellâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Americaâ&#x20AC;&#x2122;s Nuclear Nightmare,â&#x20AC;? an in-depth Rolling Stone article investigating ties between the NRC and the nuclear industry.

#9 The governmenT is manipulaTing The weaTher This one stretches credulity, and itâ&#x20AC;&#x2122;s probably the best example of why Project Censored has gained detractors even on the left in recent years. The authors point us to a Centre for Research on Globalization article entitled, â&#x20AC;&#x153;Atmospheric Geoengineering: Weather Manipulation, Contrails and Chemtrails,â&#x20AC;? by Rady Ananda, who begins by informing readers, â&#x20AC;&#x153;The military-industrial complex stands poised to capitalize on controlling the worldâ&#x20AC;&#x2122;s weather.â&#x20AC;? It describes an â&#x20AC;&#x153;international editorials

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#10 The â&#x20AC;&#x153;realâ&#x20AC;? unemploymenT raTe The U.S. Bureau of Labor Statistics (BLS) calculates the â&#x20AC;&#x153;official unemployment rateâ&#x20AC;? by counting everyone who had no job, was available for work, and had actively sought work in the last four weeks, according to the BLS website. But alternative BLS statistics incorporate socalled â&#x20AC;&#x153;discouraged workers,â&#x20AC;? unemployed individuals whoâ&#x20AC;&#x2122;ve given up on the job hunt. In the first four months of 2011, the national unemployment rate officially stood at around 9 percent, while a BLS statistic incorporating discouraged workers and the marginally employed bumped that figure up to 15.9 percent. However, Project Censored highlights an article by Greg Hunter published on Information Clearinghouse, claiming that the â&#x20AC;&#x153;realâ&#x20AC;? unemployment rate is actually 22.1 percent, or one out of five US residents. Hunterâ&#x20AC;&#x2122;s claim is based on his interview with San Franciscobased economist John Williams, who maintains a website called Shadow Government Statistics. By ignoring the claims of this economist, Project Censored argues, the mainstream media is engaging in censorship. As with several claims in this yearâ&#x20AC;&#x2122;s list, that may be stretching things a bit. 2

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In an article appearing on OpEdNews.com, authors Roy Eidelson, Marc Pilisuk, and Stephen Soldz write that the CSF â&#x20AC;&#x153;trainingâ&#x20AC;? program would better be described as a research project. They point out that a hypothesis of the programâ&#x20AC;&#x2122;s success lies at the very core of CSF, â&#x20AC;&#x153;yet it is merely a hypothesis â&#x20AC;&#x201D; a tentative explanation or prediction that can only be confirmed through further research.â&#x20AC;?

symposiumâ&#x20AC;? held in Belgium in May of 2010 during which â&#x20AC;&#x153;scientists asserted that manipulation of climate through modification of Cirrus clouds is neither a hoax nor a conspiracy theory,â&#x20AC;? and is â&#x20AC;&#x153;fully operational.â&#x20AC;? That sounds rather serious, but a web video of that symposium easily located online offers a closer look. One speaker begins by showing slides of old paintings to demonstrate â&#x20AC;&#x153;what the sky is supposed to look like,â&#x20AC;? then offers evidence of a chemtrail cover-up by quoting an unnamed pilot who tells someone in an online comment that he could reveal the truth about chemtrails, but is bound by contract to shoot anyone he tells. Scientific American and other publications have reported that geoengineering â&#x20AC;&#x201D; spreading tiny atmospheric particles to reflect sunlight as a method to counter climate change â&#x20AC;&#x201D; has actually come under serious consideration in recent years. Yet Project Censored seems to conflate this with a fringe obsession with supposedly suspicious airplane contrails.

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heRBWiSe The old Sunshine Biscuits factory sits in the outskirts of Oakland. Hydrox sandwich cookies and Cheez-Its aren’t made here anymore, but the smell of baking still permeates the factory air. And weed. It smells like weed too. Bhang Chocolate churns out medicinal marijuana sweets here, bars that are smartly packaged in Bhang’s sleek black, orange, and green boxes that are a far cry from the plain wax envelopes and saran wrap that most marijuana edibles used to be sold in. The company is part of the current expansion in edible products — these days, patients can buy medicated cheesecakes, and even savory trail mix. Adjacent to Bhang’s factory floor, about ten marijuana edibles producers are listening to a man talk about quality control for weed food. Robert Martin, Ph.D., worked for years in corporate food product development and quality assurance. He tells the class his specialty was frozen foods. Martin is the co-founder of C.W. Analytical, a business that consults marijuana producers and has cannabis testing facilities. A patient himself, he says that marijuana-medicated foods are technically subject to all the same guidelines for commercially-produced non-pot products, although actual enforcement is sparse. C.W. offers these classes for free to interested entrepreneurs. They teach professional skills and serve as an introduction to the forsale services the business provides. The students are being treated to quality assurance fail stories from Martin’s career in the corporate world. A sherbet producer he once knew bought a wildly expensive machine to make fudge bars, but when he failed to make the proper music listings

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tests on his treats, they caused a nasty spate of diarrhea in consumers and he ended up losing his shirt. “That’s the kind of crap that can happen to you guys,” cautions Martin, and starts reading from a tongue-in-cheek guide to how you can tell food has gone bad. “Flour is spoiled when it wiggles,” he reads. This is quality assurance humor. “I love this stuff!” One of the day’s students Lacey (not her real name) says she learned a lot from the class that she’ll be able to implement in her own business, Laced Cakes Bakery. She’s been making prettily iced cannabis cookies and brownies since 2007 and has seen the industry requirements shift dramatically. “Years ago, you could just bring down a tray [to a dispensary] and drop it off,” she says. Nowadays, to sell in San Francisco she has to package the sweets in opaque material and make sure that the design can’t be interpreted as too appealing to kids. “The laws keep changing.” She had heard about C.W. Analytical at some of the cannabis expos she’s been a vendor at — the firm will have a booth at next weekend’s West Coast Cannabis Expo as well — and was happy that the class was offered for free. She hadn’t finalized her opinion, however, on Martin’s suggestion that producers get their foods analyzed by the company so that they can put nutrition labels on their packaging. “It seems like they might just be trying to make money off of us,” she mused. 2 West Coast Cannabis expo

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aPPeTiTe For those who have been following my Guardian Appetite column online, you know Iâ&#x20AC;&#x2122;ve been there since the beginning of 2009, reviewing food and drink, cocktails and wine, restaurants and holein-the-walls, both in the Bay Area and on my travels. I am delighted to share a myriad discoveries with you each week here, from my daily meals, tastings and adventures, ranging from whisk(e)y releases to standout dishes at new restaurants. Here are four intriguing tastes this week:

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One of my favorite openings in recent weeks, and my top wings spot in San Francisco, is Hot Sauce and Panko (1545 Clement St., (415) 3871908, hotsauceandpanko.wordpress. com). Not only is the hot sauce collection â&#x20AC;&#x201D; reaching from the deep South to Japan â&#x20AC;&#x201D; about the best around, but its blog reveals the ownerâ&#x20AC;&#x2122;s quirky hilarity. As a chicken wing take-out shop selling a wide range of hot sauces, a good 20-plus are available to sample at any given time, so prepare for some serious heat (and note that they sometimes sell out of wings early in the day). I walk away with a tub of cooked-to-order wings for $19.99, or plenty for two at $14.99. What makes me giddy is they let me choose as many of their appealing preparations as I want in one order. Thereâ&#x20AC;&#x2122;s a regular menu offering classic buffalo, honey mustard, or kuzu salt and pepper wings. Wings and waffles come together as a combo ($5.99) or just add a waffle onto your order for $1.99. The specials menu gets crazy with tequilachipotle-raspberry jam wings or one-week-aged cognac-habanerolime-bitters wings(!) These arenâ&#x20AC;&#x2122;t typical menu offerings. Favorites are

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creamy Thai peanut sauce wings, KFC (Korean fried chicken wings), and a â&#x20AC;&#x153;Pucker Your Mouthâ&#x20AC;? special of wings in lime, fish sauce, garlic, blue agave, and red pepper flakes. A side of spicy slaw ($1.99) further pushes your heat tolerance.

ST. geOrgeâ&#x20AC;&#x2122;S TerrOir gin St. George Spirits (also Hangar One) consistently wears the crown for renegade inventiveness. Master distiller Lance Winters and distillers Dave Smith and Chris Jordan lead the way in out-of-the-box creativity. Never have I seen the like of their test tube apothecary of experimentation where theyâ&#x20AC;&#x2122;ll try anything, from foie gras and beef jerky, to carrots and Dungeness crab, to see what works as a spirit. I love all three of their brand new gins, including Botanivore to Dry Rye Gin. If I had to choose a favorite, however, itâ&#x20AC;&#x2122;s the Terroir. A true Golden State tribute, this gin reflects the glories of Northern California, with hand-harvested juniper berries, Douglas fir (from Mt. Tam), coastal sage, fennel, California bay laurel, cinnamon, cardamom, lemon â&#x20AC;&#x201D; to name but a few of the ingredients. Plus, a portion of sales go to support California wilderness, preserving our mighty stateâ&#x20AC;&#x2122;s nature as the gin reflects its diversity. To me, this is the most striking of the three, with a fresh, pine-y essence... a unique expression, unlike any other spirit out there. You can purchase online at www.stgeorgespirits. com. By the way, Bar Agricole (www. baragricole.com) is making beautiful cocktails with St. George Gins, including a Dry Rye Old Fashioned and Botanivore with Riesling and stonefruit bitters.

DrinK OF THe WeeK: POTrerO PinOT aT MiCHael Mina It was a privilege recently to have lunch with Franco Luxardo, a music listings

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sixth-generation member of the Luxardo family of the famed liqueur company. In Northern Italy, Luxardo facilities are surrounded by 20,000 cherry trees from which the company makes its legendary Original Maraschino Liqueur. What particularly stood out over lunch was sweet-yet-dry Cherry Liqueur Sangue Morlacco, made from their Marasca cherries. Full and round, it expresses sour cherry tart while remaining smooth. Michael Minaâ&#x20AC;&#x2122;s lead bartender Carlo Splendorini crafted exquisite drinks for each of our courses, utilizing Sangue Morlacco. He serves it in a wine glass with VSOP cognac, Old Potrero Rye and his own pinot noir gum syrup, flaming off the alcohol for a whisper of Islay Scotch peat. With the look of deep red wine, it is tart, smoky, lush. Splendorini just added this cocktail to the menu and I helped him name it. Ask for the Potero Pinot. You wonâ&#x20AC;&#x2122;t be sorry.

Canâ&#x20AC;&#x2122;T MiSS eVenT: SUnDay SUPPer On Sunday, October 2 at 6 p.m., CUESAâ&#x20AC;&#x2122;s Sunday Supper Fundraiser (proceeds go to CUESAâ&#x20AC;&#x2122;s Ferry Plaza Farmers Market) starts with a pre-Supper reception and guests as noteworthy as Michael Pollan, Alice Waters, and Cowgirl Creameryâ&#x20AC;&#x2122;s Peggy Smith and Sue Conley. Following is a four-course dinner at communal tables upstairs in the Ferry Building under white lights. The chef line-up is stellar, including Michael Tusk of Quince and Cotogna. Chefs like Francesâ&#x20AC;&#x2122; Melissa Perello and 4505 Meatsâ&#x20AC;&#x2122; Ryan Farr carve sustainably raised whole beasts (beef, boar, lamb, etc.) tableside. $200, tickets and full chef lineup: www.cuesa.org/events/2011/ sunday-supper 2 Subscribe to Virginaâ&#x20AC;&#x2122;s twice monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

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CHEAP EATS Tell you what Iâ&#x20AC;&#x2122;m not eating this week: Iâ&#x20AC;&#x2122;m not eating funnel cake, Amish whoopie pies, fried pickles, or fried macaroni and cheese. Iâ&#x20AC;&#x2122;m not eating Running Deer potato pancakes, Grottoâ&#x20AC;&#x2122;s pizza, Mayâ&#x20AC;&#x2122;s barbecue, Mootzâ&#x20AC;&#x2122;s fudge, Hewlettâ&#x20AC;&#x2122;s hot sausages, Bowmanâ&#x20AC;&#x2122;s French fries, Cainâ&#x20AC;&#x2122;s chicken and waffles, Top-of-theBeefâ&#x20AC;&#x2122;s pit-roasted sandwich, or fireroasted sweet corn. Iâ&#x20AC;&#x2122;m not washing all these things down with three different colors of birch beer. The river crested at 32.75 feet and the Bloomsburg Fair was cancelled. First time ever, 156 years. We cooked for two days until we had filled Hedgehogâ&#x20AC;&#x2122;s momâ&#x20AC;&#x2122;s freezer with frozen lasagne and wedding soup, and then we got the hell out of Dodge while the gettinâ&#x20AC;&#x2122; was half decent. There was a couple-hour window of opportunity between the interstate being reopened and all the surface streets being closed on account of barns and tool sheds floating down them. We splashed right through that window to Ohio, to my nephewâ&#x20AC;&#x2122;s wedding and to C. Staples, the laststanding of Youngstownâ&#x20AC;&#x2122;s locally famous fried barbecued chicken joints. Where, craving smoke, I got ribs on the side; but the ribs werenâ&#x20AC;&#x2122;t true barbecue either. They were just ribs. And barbecue sauce. Hedgehog failed to see the humor in this. â&#x20AC;&#x153;You have to grow up with it, I guess,â&#x20AC;? I said, glorying in my saucesoaked white bread. Itâ&#x20AC;&#x2122;s a good sauce, sweet and strangely gritty, but Hedgehog couldnâ&#x20AC;&#x2122;t keep her head in the game. She kept going on line and looking at pictures of her hometownâ&#x20AC;&#x2122;s washed-away bridges and half-underwater homes. The whole time we were in Ohio sheâ&#x20AC;&#x2122;d be eating chickens with one hand and Twittering and Facing Book with the other. I said, â&#x20AC;&#x153;Okay. Maybe we should go back, see if thereâ&#x20AC;&#x2122;s anything we can do to help ...â&#x20AC;? Of course, at that time they hadnâ&#x20AC;&#x2122;t officially cancelled the fair yet, so we were planning to go back anyway, eventually, the last week of the month. Thatâ&#x20AC;&#x2122;s this week! And the only reason I even know what Iâ&#x20AC;&#x2122;m missing in Central Pennsylvania, friedwise and otherwise, is because all year this year, probably since before music listings

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I met Hedgehog, sheâ&#x20AC;&#x2122;s been telling me about the fair the fair the fair. Even her friends in New Orleans, New Jersey and New York were talking about it. The fair! They were going. They had been. They all had favorite stands and strategies: what to eat first. What to save room for ... Argh, talk about wait till next year! Anyway, it took us a few days back in the state-of-emergencied disaster area to find anyone to help. First we joined a mud-out crew and went around with shiny donated shovels and brand new five-gallon buckets looking for work, but the only useful thing I did that day was help carry a soggy box spring to the curb. See, the thing about God- and neighbor-fearing people, it turns out, is that no matter how sunk they are, they would rather help than be helped. Everyone wants to volunteer â&#x20AC;&#x201D; and no one needs anything. Their whole first floor and basement are in pieces on the curb, yet they feel pretty lucky, somehow, and at any rate donâ&#x20AC;&#x2122;t need sandwiches. We soon realized the only way to be truly useful to these strong, good people was to accept their help. And then was the chicken farmer in national disaster area heaven, going from church to church to fire department trying to look pathetic and eating their bean soup, corn chowder, and chopped ham sandwiches before they went to waste. On the third day we had the advantage of actually being muddy and exhausted for one of these meals, on account of our friend Sueâ&#x20AC;&#x2122;s brother had gotten soggy up to his kitchen cabinets â&#x20AC;&#x201D; the uphigh ones. When we left there, the curbside pile of drywall, soggy insulation, cracked linoleum, etc., was almost as high as the roof. Next morning, to fuel us up for the long drive back to California, friend Sue drove us to D.W. Mossâ&#x20AC;&#x2122;s farmhouse, which is your typical off-the-grid middle-of-nowhere suspender-grandpaâ&#x20AC;&#x2122;d dirt-road nomenu pay-what-you-want weekend breakfast joint, with sausage and bacon that taste like they just went out back and scraped it off the pig. Itâ&#x20AC;&#x2122;s not a restaurant. Itâ&#x20AC;&#x2122;s my new favorite restaurant. Seriously, if you ever accidentally find yourself out Benton way, Pennsylvania, of a weekend morning, go find Mossâ&#x20AC;&#x2122;s farm. Itâ&#x20AC;&#x2122;s on Moss road. Look for cars and kittens. 2

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SEPTEMBER 28 - OCTOBER 4, 2011 / SFBG.com

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Satanic Panic was a ripe plot device THURSDAY 9/29

we don’t belong here see thurs/29

Weedeater Weedeater is technically a power trio, but when the band performs, all eyes are on “Dixie” Dave Collins, its inimitable bassist-singer. With his instrument slung so low it threatens tangle between his legs, the manic North Carolingian stands cross-eyed at the mic, screaming so vehemently that it often looks like he’s about to swallow it whole. Though guitarist Dave “Shep” Shepard and drummer Keith “Keiko” Kirkum form a potent partnership, it’s Collins’ pungent bass tone that drives the music. Waves of downtuned punishment and caterwauling fuzz seem to pour forth unabated from his amps, made musical only through Dixie’s nimble-fingered intercession. Channeled into riff after thundering riff, the onslaught is impossible to ignore. (Ben Richardson) With Fight Amp, Bison, Saviours 8 p.m., $18 The Independent 628 Divisadero, SF (415) 771-1421 www.theindependentsf.com

THURSDAY 9/29 We Don’t Belong Here Do we belong in our bodies, our skin, our families, this public space, this architectural space, this city space, the Milky Way, the planet, our species, the universe? Inquiring minds want to know. In We Don’t Belong Here, collaborators Katie Faulkner, choreographer and artistic director of little seismic dance company, and multimedia artist Michael Trigilio, along with a robust cast of 20 dancers, premiere a dance and media response to these questions as an impromptu renegade, do-it-yourself sideshow. The free performances, commissioned by Dancers’ Group as part of their Onsite series, take place at San Francisco’s Union Square and Yerba Buena Lane. Be sure to wear your San Francisco layers. (Julie Potter) Through Fri/29, also Sun/2, 8 p.m., free Union Square Powell and Geary, SF (415) 920-9181 www.dancersgroup.org

Thursday 9/29 Quick Billy Bruce Baillie’s high masterpiece moves from wounded channeling of The Tibetan Book of the Dead to metaphysical Western in the span of four reels. Baillie had thoroughly mastered his sentient film language of dissolves and superimpositions by the time 24 SAN FRANCISCO BAY GUARDIAN

for more visit sfbg.com

Thursday 9/29 Faustin Linyekula/ Studios Kabako

of this 1970 effort. As Baillie noted then, “All of the film was recorded next to the Pacific Ocean in Fort Bragg, California, from dreams and daily life there; all of it given its own good time to evolve and become clear to me.” It still has that mysterious air of something slowly clarifying itself. Baillie, who founded Canyon Cinema fifty years ago, will be in attendance with a newly restored print of the film. (Max Goldberg)

“I am an African dancer. I tell exotic stories. Which one would you like today?” Congolese choreographer Faustin Linyekula does have stories to tell. Yet they have little to do with prettified harvest dances and initiation rituals. His tales are gritty, urban, and razor sharp. As a performer Linyekula is mesmerizing, a tornado of rage and vulnerability. For “more, more, more..future”, in addition to his fabulous male dancers, Linyekula is bringing a Congolese band with an indigenous pop style, ndombolo that mashes Western and African influences. Also integral to this local premiere are poems by political prisoner Antoine Vumilia Muhindo, Lineykula’s childhood friend. (Rita Felciano)

7 p.m., $7-10

Through Sat/1, 8 p.m., $20–$25

San Francisco Museum of Modern Art

Novellus Theater, Yerba Buena Center for the Arts

151 Third St., SF

701 Mission, SF

415-337-4000

(415) 978-2787

www.sfmoma.org

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Rosanna Scimeca); installation art pieces by Michael Christian, Charlie Gadeken, and some Flaming Lotus Girls; live performances by Spacecraft and the Art of Bleeding; art cars and Doggie Diner heads; readings by special guests; and all manner of strange countercultural and cacophonic creations, all spilling out of the gallery into a closed-down Minna Street. This one is not to be missed. (Steven T. Jones) 7 p.m.-2 am, free 111 Minna, SF (415) 974-1719 bookoftheis.com

FRIDAY 9/30 Saxon Though they have since been overshadowed by Iron Maiden and Judas Priest, there was a time when Saxon rode on the foamflecked crest of the New Wave of British Heavy Metal. Members have come and gone throughout the years, but a hard-rocking core formed by singer Peter “Biff” Byford and guitarist Paul Quinn dates back to the band’s beginnings in Yorkshire, in 1976. Eschewing the operatic excesses of its better-known competitors, the band has penned a vast repertoire of hard-charging, blue collar anthems. When Saxon takes the stage in Santa Clara, the fans will be wearing “Denim and Leather,” and they will expect some “Heavy Metal Thunder.” (Richardson) With Haunted by Heroes, Hatchet, Borealis 8:30 p.m., $20 The Avalon 777 Lawrence Expressway, Santa Clara (408) 241-0777 www.avalonsantaclara.com

Saturday 10/1 Alternative Press Expo

Friday 9/30 Chicken John’s Book Release and Street Party Chicken John Rinadi — a legendary local showman, provocateur, and one-time mayoral candidate — has written a book: The Book of the IS: Fail...To WIN! Essays in engineered disperfection. And in true Chicken fashion, he’s throwing an over-the-top book launch party featuring a stellar lineup of artists (56 of whom are designing custom book covers, including Swoon, Brian Goggin, and music listings

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Although the ranks of off-thebeaten-cape comic artists swell each year at the mega-convention that is Wonder Con, the indie comic crown in San Francisco is reserved for Wonder’s younger sister, the Alternative Press Expo. At APE, special guests include not Stan Lee and Ryan Reynolds, but instead Daniel Clowes, creator of edgily neurotic texts like Wilson; Kate Beaton and her feminist retakes of the days of the American revolution and Nancy Drew book covers; Adrian Tomime, who masterminds the Optic Nerve series. The convention also places an

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picks emphasis on pairing illustrators and writers, a useful tool for those that wish to traverse the underground tunnel to indie fame. (Caitlin Donohue) Also Sun/2, 11 a.m.-7 p.m., $10 one day/$15 weekend pass Concourse Exhibition Center 635 Eighth St., SF www.comic-con.org/ape

Saturday 10/1 World Vegetarian Day Are you tentatively eying the nutritional yeast bins and blocks of jalapeño smoked tofu in the grocery store, unsure if you’re ready to take the leap beyond an animal product-dependent lifestyle? What you need is a heaping serving of vegetarian community. Enter the SF Vegetarian Society’s World Vegetarian Day expo, a meat-free miracle for those with a craving for more information on the veggie life. Two days of environmental, nutritional, and anti-paleo diet speakers have been scheduled, and those looking for a more experiential weekend can nosh on Saturday’s raw and vegan dinners — or even check out that day’s rounds of vegan speed dating. (Donohue) Also Sun/2 10 a.m.-6 p.m., $8 suggested donation County Fair Building Ninth Ave. and Lincoln, SF (415) 273-5481 www.sfvs.org/wvd

SATURDAY 10/1 The Beat Is the Law: Fanfare for the Common People It’s a musical fairytale story so good it could be a bad Mark Wahlberg movie: a lesser known band (Pulp) gets tapped to replace a headlining act (The Stone Roses) at a music festival (Glastonbury) and ends up blowing the non-existent roof off the place. Okay, so maybe editorials

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it’s not a Wyld Stallyns level achievement, but it was supposed to be a helluva show and breakthrough in 1990s Britpop. Beyond myth-making in just the one moment, Eve Wood’s documentary, The Beat Is the Law, focuses on the decade building up to Glastonbury, in which Pulp seemed to be the little band that couldn’t. (Ryan Prendiville)

dum dum girls see tues/4

7:30 and 9:30 p.m., $10 Roxie Theater 3117 16th St., SF (415) 863-1087 www.roxie.com

Saturday 10/1 Dark Passage Celebrating the 10th anniversary of their “Film In The Fog” series, The San Francisco Film Society is presenting Dark Passage, the classic 1947 film noir thriller starring Humphrey Bogart and Lauren Bacall that was both set and filmed in San Francisco. Follow the exploits of Bogey as the wrongfully-convicted man on the run through the city at this special free outdoor screening, where audience members can set up blankets and lawn chairs and get cozy under the stars — or the city’s signature layers of fog. The movie will be preceded by a performance by local rockers Grass Widow, along with screenings of a ‘50s era newsreel and a cartoon. (Sean McCourt) 5:30 p.m., Free. Outside of Presidio Main Post Theater 99 Moraga, SF

Vortex Room 1082 Howard, SF Facebook: The Vortex Room

John Lithgow

Sunday 10/2 The Hades Channel Sure, Gwyneth Paltrow just won an Emmy for guest-starring on arts + culture

6:66 p.m.-1:45 a.m., $6.66

Tuesday 10/4

www.sffs.org

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Glee. Though she’s objectively the personification of modern evil, sinister stunt casting is actually nothing new. The Devil himself has graced the idiot box multiple times, and I’m not just talking South Park. The Vortex Room collects some of his best work (and some of the best work themed around his ominous deeds) for “The Hades Channel,” a marathon screening of episodes of classic shows like Lost in Space, Night Gallery, and Starsky and Hutch — seems Satanic Panic was a ripe plot device back in the day. Can’t get enough Beelzebub? Following “The Hades Channel,” the Vortex unleashes six weeks of hellzapoppin’ double features (sourced from the trashiest depths of the 1960s-80s), “The Vortex Incarnate,” starting October 666. Er, sixth. (Cheryl Eddy)

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Dum Dum Girls

actor, author ,and much more. His film credits such as The World According To Garp (1982) and Harry and The Hendersons (1987), television roles on shows like 3rd Rock From The Sun, and his series of stage performances and children’s books have entertained and enlightened for nearly four decades. Catch Lithgow tonight in an intimate talk about his new book, Drama (HarperCollins), focusing on his life lessons and his craft. (McCourt) 7:30 p.m., $12–$44

With a career that includes a wide spectrum of artistic output, John Lithgow has proven himself to be a versatile and talented

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Tuesday 10/4

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Sundance Kabuki Theater 1881 Post, SF (800) 838-3006 www.booksmith.com

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Only In Dreams, the sophomore album from leatherette rockers Dum Dum Girls is a flavor at first consistent with the bubble gum pop of last year’s I Will Be. Half the album mechanically swings between the theme of romantic obsession, from the person you can’t bear to be without (“Bedroom Eyes”) to the one who needs to go away (“Just A Creep”). But the saccharine sweetness fades in the second half (and real substance) of the album, as singer-songwriter Dee Dee turns somber, reflecting on a loss that’s not just the sort of seasonal regularity she’s used to, but something more permanent. (Prendiville) With Crocodiles and Colleen Green 9 p.m., $17-19 Great American Music Hall 859 O’Farrell, SF (415) 885-0750 www.gamh.com 2 The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e‑mail (paste press release into e‑mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

september 28 - october 4, 2011 / SFBG.com 25

October 1 & 2, 11am-6pm

132b Shani Krevsky, 16 Hill St., Valencia/Guerrero, Printmaking 133 Luis MonteAlegre, 3315 21st St., Valencia/ Guerrero, Painting 134 Enfants pour Enfants, 3778 20th St., Dolores/ Guerrero, Painting 135 Jacob Fisher, 3924 19th St., Sanchez/Noe, Mixed Media 136a Tito Vandermeyden, 4069 19th St., Castro/ Harfort, Photography 136b Allan Wray, 4069 19th St., Castro/Hartford, Mixed Media

Weekend 1 of 5

/%- 23$).1 02 /!- 1 +!0'%12 /0.'0!, -.5 )- )21 2( 7%!0 )-4)2%1 .4%0 4)1)2.01 )-2. !02)121 123$).1 #)27 5)$% $30)-' 2(% %-2)0% ,.-2( .& #2."%0 1% 2()1 ,!/ 2. /+!- 7.30 1%+& '3)$%$ 2.30 .& 123$).1 )- 2(% )11).-

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Rubyâ&#x20AC;&#x2122;s Clay Studio 552-A Noe St., 18th St./19th St.

)1)2 2(% /%- 23$).1 6()")2). %!230)-' 2(% 5.0* .& .4%0 /%- 23$).1 !02)121 %/2%,"%0 2. #2."%0 021 3+230!+ %-2%0 0!--!- 20%%2

137a 137b 137c 137d 137e

!++%07 .301 3%1$!7 0)$!7 /, !230$!7 !, /, !-$ 3-$!7 !, /,

26 SAN FRANCISCO BAY GUARDIAN

Paul Montwillo, 458 Castro St., #1, 17th St./18th St., Sculpture 138a Joseph Wrye, 20 Ford St., Sanchez/Noe, Painting 139 Monique Passicot, 16 Temple St., 17th St./ Saturn, Painting 139a Jeri Wyrick, 123 Corwin St., Apt. A @ Douglass, Painting 140 Paul Jermann, 3808 16th St. @ Flint, Mixed Media 141 Morris L. Taylor, 74 Pond St., 16th St./17th St., Painting 141a Christo Braun, 3757 17th St., Sanchez/Church, Painting 142 andrew knipe, 236 1/2 Noe St., Beaver/15th St., Sculpture 143 Michael Lownie, 660 Waller St., Scott/Pierce, Mixed Media 144 Doyle G. Johnson, 88 Walter St., 14th St./ Duboce, Mixed Media 145 Jeanne Hauser, 2191 Market St., 15th St./ Sanchez, Photography 146 Ari Salomon, 16 Abbey St., 16th St./17th St., Photography 147 Takashi Ishii, 31 Landers St., #2, 14th St./15th St., Painting 148 Javier Perez, 67 Landers St., 14th St./15th St., Sculpture 149 Giorgio Landa, 240-B Clinton Park, Guerrero/ Dolores, Painting 150 Paul Madonna, 290 Guerrero St. @ 15th St., Drawing 151 Dana Zed, 455-A Valencia St., 15th St./16th St., Glass 152 Alexander von Wolff, 32 Shotwell St., 14th St./15th St., Photography

The Blue Studio 2111 Mission St., 17th St./18th St. 154a 154b 154c 154d 154e 154f 154g 154h

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Sidnea Dâ&#x20AC;&#x2122;Amico, #405, Painting Robert Donald, 4th Fl., #402, Painting Matthew Frederick, #405, Painting John Hundt, 4th Fl., #18, Painting Michael McConnell, #405, Painting Brian McDonald, 4th Fl., #12, Mixed Media Rice and Beans, Mixed Media Ellen Rosenthal, 4th Fl., #14, Photography

SFAQ arts + culture

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Shana Astrachan, Wearable Art / Jewelry Raissa Bump, Wearable Art / Jewelry Jeff Burwell, Sculpture Rebecca Deans, Wearable Art / Jewelry Derek Duncan, Wearable Art / Jewelry Masami Kelly, Wearable Art / Jewelry Kelly Nedderman, Wearable Art / Jewelry Jenny Reeves, Wearable Art / Jewelry Emiko-o Reware, Wearable Art / Jewelry Jenny Windler, Wearable Art / Jewelry

Ako Jacintho, 772 South Van Ness Ave., #2, 18th St./19th St., Painting 157a Mik Kitagawa, 442 Shotwell St., 18th St./19th St., Sculpture 157b Silvia Poloto, 442 Shotwell St., 18th St./19th St., Mixed Media

Michael Broeker, Ceramics Jane Grimm, Ceramics Ned Smith, Ceramics Kent Tool, Ceramics Emil Yanos, Ceramics

MEDIA SPONSORS

114 Kit Cameron, 419 28th St., Noe/Castro, Painting 114a David Barnett, 1370 Noe St., #3, Cesar Chavez/27th St., Painting 115 Virginia Barrett, 615 San Jose Ave., #2, Valencia/28th St., Mixed Media 116 Beryl Landau, 3290 Harrison St., Norwich/Pecita, Painting 117 Kimberly Sikora, Goforaloop Gallery, 1458 San Bruno Ave. @ 25th St., Photography 118 Scott Idleman, 1206 Treat Ave., 25th St./26th St., Painting 119 Sue Laurita, 1050 Florida St., 22nd St./23rd St., Painting 120 Thomas Ferraiuolo, 3161-B 23rd St., Shotwell/South Van Ness, Mixed Media 121 Brett Houser, 939 Capp St., 24th St./25h St., Painting 122 Anna Fizyta, 3358 24th St., Bartlett/Valencia, Photography 123a Laura Blacona, 23 Clipper St., Dolores/Church, Painting 123b Alberto Toscano, 23 Clipper St., Dolores/Church, Mixed Media Secession Art & Design 125 Gail Siegel, 1275 Noe St., Clipper/26th St., Wearable 3361 Mission St. @ Virginia Art / Jewelry 110a Jeff Klarin of Bughouse, Mixed Media 126 Lita Blanc, 4089 25th St., Noe/Sanchez, Printmaking 110b Colleen Mauer, Wearable Art / Jewelry 127 Suzanne Katanic, 79 Homestead St., 24th St./25th 110c Heather N. Robinson, Mixed Media St., Painting 110d Hilary Williams, Printmaking 127a Carol Koffel: New Lief Design Center, 788 Elizabeth 110e Rachel Anne Znerold, Painting St., Douglass/Diamond, Ceramics 111 Terence K. Stephens, 40 Day St., Dolores/San Jose, 128 Katie Gilmartin, 4037 24th St., Noe/Castro, Printmaking Painting 129 Jen Bloomer, 1135 Church St., #2, 23rd St./24th St., 111a Kelli Robinson, 46 Day St., Dolores/Guerrero, Mixed Media Painting 112a Jenny Badger Sultan, 1696 Sanchez St., 30th St./ 130 Michael Markowitz, 3747 23rd St., Dolores/Church, Drawing Day, Painting 131 Betsy Barron, 1169 Valencia St., 22nd St./23rd St., 112b Henry D. Sultan, 1696 Sanchez St., 30th St./Day, Wearable Art / Jewelry Painting 132a Takashi Fukuda, 16 Hill St., Valencia/Guerrero, 113 Jane R. Willson, 355 29th St., Church/Sanchez, Photography Painting

SPONSORS

101a Katherine Hisako Kodama, Francisco Studios, 2377 San Jose Ave., Niagara/Geneva, Painting 101b David L. Hughes, Francisco Studios, 2377 San Jose Ave., Niagara/Geneva, Painting 102 Stevan Shapona, 831 Avalon Ave. @ Moscow, Painting 102a Michael McCauslin, 566 Lisbon St., France/Russia, Drawing 103 Chaen Chan, 1472 Alemany Blvd., Theresa/Cotter, Printmaking 105 Aaron Vonk, 224 Richland Ave., Leese/Murray, Painting 106 Michael Scagliotti, 673 Moultrie St., Ogden/ Tompkins, Book Arts 107a Susan Black, 401 Prentiss St. @ Jarboe, Painting 107b Pauline Crowther Scott, 401 Prentiss St., Jarboe/ Tomkins, Painting 108 Erin K. Malone, 220 Bonview St., Cortland/ Eugenia, Photography 109 Mark Monsarrat, 170 Bocana St., Eugenia/ Powhattan, Painting

155a 155b 155c 155d 155e 155f 155g 155h 155i 155j 156

138

)#* 3/ 7.30 #./7 .& 2(% /%- 23$).1 3)$% ,!'!8)-% !2 2(% 6()")2).- .0 !2 +)#* 02 !2%0)!+1 !0*%2 20%%2 )1)2 02 /!- .0' 2. /%031% (3-$0%$1 .& !02)121 )- 2(% .-+)-% 02)12 )0%#2.07

Metal Arts Guild 724 Valencia St., 18th St./19th St.

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ActivSpace 3150 18th St., Treat/Folsom 158a 158b 158c 158d 158e 158f 158g 158h 158i 158j

Laura Buss, #214, Painting Angela Cross, #105, Painting Peter Howells, #532, Mixed Media Prudy Kohler, #326, Mixed Media Hava Liberman, #260, Painting Kevin P. Mosley, Mixed Media Richardo Norte, #230, Glass Jeff Oakes, #252, Wearable Art / Jewelry Gina Teichert, #552 & 554, Painting James Wargelin, #519, Painting

159

Lawrence LaBianca, 2169 Folsom St., A-101, Allied Box Factory, 17th St./18th St., Sculpture

Workspace Ltd. 2150 Folsom St., 17th St./18th St. 160a 160b 160c 160d 160e 160f 160g 160h 160i 160j 160k 160l 160m 160n 160o 160p 160q 160r 160s 160t 160u 160v 160w 161

Leslie Andelin, #13-C, Painting Jennifer Berkowitz, #7-A, Painting Michele De Sha, #10-A, Painting Daniel A. Diaz-Tai, #8, Painting Natasha Dikareva, #12, Sculpture Miles Epstein, #2-A, Mixed Media Delaram Farzaneh, #7-A, Painting Paul Glenn, #8, Painting Carole Jeung, #7-A, Painting Lisa Knoop, #9, Painting Carrie Leeb, #13-B, Painting Eve-Lynne Miyasaki, #7-A, Wearable Art/ Jewelry Hadley Northrop, #7-B, Painting Charli Ornett, Painting Tana Powell, #13-A, Painting Ali Saif, #3, Painting Stephanie Schreiner, #7-B, Painting Kathryn Shantz, #6-B, Painting Kate Simmons, #14-A, Painting Ann Simms, #11, Painting Maxine Solomon, #14-B1, Painting Sharon Steuer, #14-A, Painting Tilroe Stevenson, #6-A, Mixed Media Mylene Bernard, 375 Alabama St., #495, 17th St., Wearable Art / Jewelry

Generous thanks to: Eventbrite, Fleishhacker Foundation, Grants for Arts/Hotel Tax Fund, SOMArts, Thomas John Events, Zellerbach Family Foundation on the cheap

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162m Lucky Rapp, #149, Mixed Media 162n Sebastian Roldan, #166, Mixed Media 162o Heike Seefeldt, #174, Painting 162p Tim Svenonius, Drawing 162q Lani Tanaka, #179, Painting 162r William Ulrich, #22, Painting

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Mission, Noe Valley, Bernal Heights, Castro, Excelsior 1890 Bryant St. Studios 1890 Bryant St., Mariposa/16th St. 163a Cassia Appel, #302, Wearable Art / Jewelry 163b Annie Arrasmith, #202, Mixed Media 163c Heather Capen, #203, Painting 163d Lee Cline, #316, Painting 163e Sevilla Granger, #310, Painting 163f Peggy Gyulai, #307, Painting 163g dk haas, #311, Mixed Media 163h Liz Hickok, #211, Photography 163i Michelle Inouchi, #210, Painting 163j Michelle Jader, #203, Painting 163k Michael Kerbow, #303, Painting 163l Kristin Kyono, #203, Mixed Media 163m May Luk, Ceramics 163n Catherine Mackey, #315, Painting 163o Kathleen Maley, #316, Wearable Art / Jewelry 163p Marcia Middleton, Painting 163q Wendy L. Miller, #304, Painting 163r Beth Mullins, #210, Mixed Media 163s Diane Olivier, #210, Drawing 163t Laura Parker, #206, Installation 163u Sonya Philip, #211, Fiber 163v Robert Reed, #210, Painting 163w Alice Roche, #314, Wearable Art/ Jewelry 163x Martha Rodriguez, #318, Painting 163y Jon Rogers, #310, Painting 163z Mel Solomon, #310, Photography 163aa Tim Stevenson: Mad Potter Studio, #201, Ceramics 163ab Charles H. Stinson, #300, Sculpture 163ac Jeremy Sutton, #306, Mixed Media 163ad Randy Titchenal, #304, Painting 163ae Cynthia Tom, #302, Painting 163af Trish Tunney, #311, Photography 163ag K.B. Young, #203, Painting

Project Artaud 499 Alabama St. @ Mariposa 164a Laurie Anderson, #314, Mixed Media 164b Keith Bjorkman, #129, Printmaking 164c Victor Cartagena, #101, Mixed Media 164d Anna Dal Pino, #120, Painting 164e Phil Deal, #113, Painting 164f Mary Button Durell, #214, Sculpture 164g E. Dale Erickson, #309, Painting 164h Wendy Gilmore, #205, Wearable Art / Jewelry 164i Saiman Li, #218, Photography 164j Javier Manrique, #216, Printmaking 164k Jane Carroll McElhiney, #321, Photography 164l William McElhiney, #321, Painting 164m Mystical Reality, #124, Mixed Media 164n Jonah Roll, #221, Painting

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164o Pico Sanchez (1947-2010), #121, Painting 164p Nartan Sipma, #129, Painting

Developing Environments 540 Alabama St., Mariposa/18th St. 165a Don Blasingame, #312, Photography 165b Miranda Burns, #210, Wearable Art / Jewelry 165c John Chiara, #320, Photography 165d Jennifer Ewing, #307, Mixed Media 165e Cathy Feiss, #312, Ceramics 165f Matt Frederick, #203, Painting 165g Leo Germano, #307, Photography 165h Kristine Mays, Sculpture 165i Gabrielle Thormann, #222, Painting 165j Debra Walker, #216, Painting 166a Carlo Abruzzese, A.Muse Gallery, 614 Alabama St., 18th St., Painting 166b Sandra Kelch, A.Muse Gallery, 614 Alabama St., 18th St., Printmaking

CELLspace 2050 Bryant St., 18th St./19th St. 167a Zue Acker, Painting 167b Tracy Fetter, Painting 167c Jon Fischer, Studio B, Printmaking 167d Uma Rani Iyli, Installation 167e Mercedes Segesvary, Drawing

Art Explosion - Alabama St. Studios 744 Alabama St., 19th St./20th St. 168a Beka Brayer, #349 & 350 Mixed Media 168b MacKenzie Davis, #312, Painting 168c Michele de la Menardiere, #203, Painting 168d Kayla Garelick, #379, Photography 168e Felicia Hoshino, #219, Mixed Media 168f Christie LaRussell, #202, Painting 168g Alice Kay Lee, #141, Painting 168h Adrienne Leifer, #314-D, Glass 168i Roger Lingren, #133, Painting 168j Summer Makovkin, #207, Drawing 168k Steven Maynard, #208, Mixed Media 168l Lauren Mendez, #354, Painting 168m Nining Muir, #351 & 353, Painting 168n Timothy Stroth, #380, Painting 168o Tuan Tran, #131, Mixed Media 168p Victoria Veedell, #305, Painting 168q Traci Zaretzka, #136, Painting 169a Rodney Ewing, 720 York St., #107, 19th St./20th St., Drawing 169b Christine Remy, 720 York St., Pacific Felt Lofts, 19th St./20th St., Mixed Media

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FILM One of the longest and most unsung stretches of film noir’s half life as an enduring aesthetic sensibility has played out on television. From such former Nick at Night staples as Dragnet and Alfred Hitchcock Presents, to The Twilight Zone, to the neo-noir of Twin Peaks, and more recently, AMC’s drama The Killing, TV has long been home to those lawbreakers, revenge-seekers, and poor souls tormented by unexplained phenomena and sinister plots who once populated the black and white cinematic pulp of the 1940s. In fact, Hollywood’s fingerprints are all over “TV Noir,” a highly detailed survey of the various types of malfeasance and mystery one could find on television sets during the medium’s golden age. The series’ seven nights of double bills, which kick off at the Roxie Fri/30, are packed with small screen rarities that frequently feature big Hollywood names (or soon-to-be big names) behind or in front of the camera for episodes of now forgotten shows with catchy titles such as Suspense, Danger, Checkmate, and Tales of Tomorrow. Series curator and Roxie resident noir expert Elliot Lavine has editorials

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dug deep, unearthing such treasures as Blake Edwards’ unsold 1954 pilot for Mike Hammer, a series that was to be based on Mickey Spillane’s famous hardboiled detective, which screens opening night. Things get more highbrow with Saturday night’s showcase of “Great Directors.” The aforementioned Hitch is present, directing and producing the tense Cornell Woolrich-inspired “Four O’Clock” from his program Suspicion, which stars E.G. Marshall as a clockmaker who becomes the unwilling victim of his plot to blow up the wife he thinks is cheating on him. I doubt you will squirm through a tenser five minutes than during the episode’s penultimate scene, which showcases Hitchcock’s uncanny ability to manipulate the viewer’s emotions through editing. Also of note is 1951 Danger episode “The System,” an early scorcher by a pre-Hollywood Sidney Lumet, who directs a terrific Eli Wallach. Of course, a survey of the darker side of the small screen would be incomplete without Rod Serling. Serling, who had catapulted his TV career with Kraft Television Theater’s live 1955 live broadcast of his screenplay Patterns, was in high demand and turning out top quality work preTwilight Zone, as evinced by the

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John Frankenheimer-directed 1958 episode of Playhouse 90, “A Town Has Turned to Dust,” which confronts racial prejudice in a poor, drought-ridden town in a way that Mad Men really has yet to do. Like “A Town,” the other two Serling-scripted episodes in “TV Noir,” “Nightmare at Ground Zero” (a live drama from 1953) and “The Arena” (1956, from Studio One), hold up a cracked mirror to their times, reflecting growing anxieties over nuclear annihilation and the gradual erosion of the established political order. These themes are given a less refined treatment in some of Lavine’s campier sci-fi selections showcased on Tuesday and Wednesday nights, in which extraterrestrial is more often than not an anagram for communist. Although, the 1958 pilot for Now is Tomorrow offers a more psychologically taut portrayal of the men entrusted to push “the button,” which is paired with the odd Edward R. Murrow-hosted docu-drama “The Night America Trembled” (1957, from Studio One) — a recreation of the night of Orson Welles’ infamous radio broadcast of War of the Worlds with a cameo by Welles himself. Five years later America would face down the threat of annihilation via broadcast during the music listings

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Cuban Missile Crisis. “TV Noir” also packs in a few outliers that aren’t to be missed. In the 1954 episode “Bond of Hate,” from British series The Vise, a bitter married couple realize their only recourse is to kill each other. Pamela Abbott’s performance as the harpy-like wife stands next to the late Ann Savage’s turn as the powder keg hitcher in Detour (1945) as an example of how to completely own nearly every second of screen time. Another must-see is the bizarre quiz show, The Plot Thickens (1963); it features an older, but still randy Groucho Marx as part of an “expert” panel that attempts to solve a short whodunit penned by Robert Bloch of Psycho fame. It even had its own mascot: a black cat named Lucifer, which guests were instructed to pass around for good luck. Also of note: television’s early years were also the golden age of sponsorship, and many of episodes in “TV Noir” include each show’s original commercials — including a very young Mike Wallace shilling for Revlon lipstick. 2 “TV Noir” Sept. 30-Oct. 6 Roxie Theater 3117 16th St., SF (415) 863-1087 www.roxie.com

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HoRdE of PlEnty for players who don’t already GAMER It’s safe to say Gears of War understand why muscle-ripped has become a gaming phenomegladiators (including a couple non. Cosplay, midnight launches, new female soldiers) must take tattoos, branded merchandise, chainsaw rifles to squishy aliens. and T-shirts — the game is pullSecond only to Call of Duty, ing double-duty as a marketing the fervent multiplayer of Gears machine. And while the years has long dominated Xbox Live. have been less than kind to its Gears 2 set records for simultaneultra-macho themes of war and ous online players when it was fraternity, we shouldn’t forget released, but it lost some subscribhow influential the Gears series ers to glaring bugs and balanchas been. One of Microsoft’s flaging issues. Learning from past ship franchises, the first Gears game single-handedly popularized the cover-based third-person shooter genre, while the second title laid the groundwork for the multiplayer “Horde Mode” that has since been appropriated by blockbusters like Halo and Call of Duty. The final chapter in the trilogy, Gears 3 is a muchrefined experience compared to its predecessors — and easily the strongest narrative work in the series, but it carGears of War 3 ries few surprises. Epic Games/Microsoft Studios (Xbox 360) Eighteen months have passed mistakes, Gears 3 ran a successful since our heroes weakened the beta which left its online modes alien Locust armies by floodrunning hassle-free. In addiing the human city of Jacinto, tion to competitive multiplayer, and Marcus Fenix and the rest the co-operative Horde Mode of Delta Squad are shocked to returns with a currency system learn that Marcus’ thought-dead that allows you to purchase and father is alive and in need of upgrade weapons and fortificarescue. Cue the handwringing: tions to help tackle wave after “Daaaaaaaad!” wave of enemies. On a technical level, the Following two entries that game plays like butter. Three ostensibly changed the industry, years of burnish and there’s what is strange to see is a Gears nary a hiccup across the lengthy game that’s content with being 10- to 15-hour campaign. a greatest hits package. It’s bigAccording to Epic Games’ outger, it’s slicker, and it’s exactly spoken design director Cliff what you’d expect. Which is fine. Bleszinski, Gears 3 was designed At this point the franchise is in to appeal to fans and newcomers that upper tier of games that will alike and the difficulty has been sell well to consumers who don’t scaled back radically; Hardcore even identify as gamers. Once difficulty is roughly equivalent you’ve hit that benchmark, your to Normal difficulty of previgame is pretty much critic-proof. ous games. However, even with (Peter Galvin) 2 thought paid to newcomers, Gears 3 isn’t the best entry point editorials

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aMon Tobinâ&#x20AC;&#x2122;S TRiPPy laiR: ThiS SeT holdS SeCReTS. Photo by Caroline hayeur

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TiMe and SPaCe PiloT &MFDUSP DPNQPTFS "NPO 5PCJO SFUVSOT GSPN UIF GVUVSF XJUI ISAM Ryan PRendiville arts@sfbg.com

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MUSiC Pioneering electronic composer Pierre Schaeffer used a specific word to describe his work, which took â&#x20AC;&#x2DC;commonâ&#x20AC;&#x2122; noises and manipulated them into music â&#x20AC;&#x201D; acousmatic: â&#x20AC;&#x153;referring to sounds that one hears without seeing the causes behind it.â&#x20AC;? Every sound on genre-defying musician Amon Tobinâ&#x20AC;&#x2122;s latest album is a mystery. The 2007 album Foley Room utilized cinematic studio techniques, reaching back to the roots of electronic music. Now Tobin has shot that line of inquiry into the other direction, seemingly returning from the future with ISAM, an album as alien as it is familiar. â&#x20AC;&#x153;As technology develops, you can go one of two ways,â&#x20AC;? Tobin says in a phone interview. â&#x20AC;&#x153;You can do the same things that people did ten years ago just with less stress involved, or you can take that tech and try to get more out of what it was designed to do â&#x20AC;&#x201D; things other people havenâ&#x20AC;&#x2122;t figured out yet.â&#x20AC;? Tobin occasionally lets people peak behind the curtain. A video earlier in the year showed his hands at work, recording light bulbs (they make sounds, if you know how to play them), plugging them into a high-end, triple axis, pressure sensitive MIDI controller. This last instrument, a Haken Continuum, EDITORIALS

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comes with enough of a learning curve to exclude most people from duplicating what Tobin does with it: morph conventional sounds into conceptual instruments that only exist in the artistâ&#x20AC;&#x2122;s mind. When it came time to post ISAM online, Tobin annotated the album, revealing sonic origins. The enchanting female vocals that appear on tracks like â&#x20AC;&#x153;Wooden Toy,â&#x20AC;? for instance, are his own, gender modified. There was also a warning: â&#x20AC;&#x153;anyone looking for jazzy brks should look elsewhere at this point or earlier :). itâ&#x20AC;&#x2122;s 2011 folks, welcome to the future.â&#x20AC;? A clear statement, breaking away from the sample heavy style that Tobin was once known for, material tailored for DJ sets, in a club. With ISAM, thatâ&#x20AC;&#x2122;s not the whole story. â&#x20AC;&#x153;Electronic music isnâ&#x20AC;&#x2122;t always dance music, in fact dance music is just a section of electronic music,â&#x20AC;? Tobin says. â&#x20AC;&#x153;This record isnâ&#x20AC;&#x2122;t dance music, its not about raving or any of that stuff.â&#x20AC;? Itâ&#x20AC;&#x2122;s the kind of album that might make you want to put on headphones and let the mind run wild. For all its meditative qualities, though, itâ&#x20AC;&#x2122;s hard on the bass and expressive, with a range that begs to be heard in a louder arena. Thinking of a tour, Tobin â&#x20AC;&#x153;had the problem that all electronic musicians have, which is how the fuck do you present electronic music, which is so not to do with

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performance, as a live thing thatâ&#x20AC;&#x2122;s engaging?â&#x20AC;? The solution, a nextlevel stage set created by L.A.â&#x20AC;&#x2122;s V Squared Labs, Chicagoâ&#x20AC;&#x2122;s Leviathan, and S.F.â&#x20AC;&#x2122;s Blasthaus, has Tobin cast as the pilot of a space-going vessel in a narrative that the artist admits is â&#x20AC;&#x153;not War and Peace, not a brilliant epic thing, but itâ&#x20AC;&#x2122;s enough to give meaning and direction to the visual content.â&#x20AC;? A 25-foot-long, multi-dimensional structure of giant pixel cubes resembling a game of Tetris going very badly, the ISAM installation comes to life via a system that allows multiple projectors to transform every surface into a screen. Itâ&#x20AC;&#x2122;s effectively 3D without the need for dorky glasses and eye strain. (A promo video released on YouTube surely sold more tickets than a hundred articles like this.) Tobinâ&#x20AC;&#x2122;s place on stage is within the piece, positioned like a magician or contortionist: inside a box. Which, perhaps, is just where heâ&#x20AC;&#x2122;d like to be. â&#x20AC;&#x153;I always kind of put myself in the corner of a stage if I can,â&#x20AC;? Tobin says, â&#x20AC;&#x153;because thereâ&#x20AC;&#x2122;s nothing worse than standing in front of a thousand people who are all staring at my every minute movement and feeling like maybe I should just turn the lights off, because thereâ&#x20AC;&#x2122;s nothing to see here.â&#x20AC;? The unconventional choice of positioning the artist more like ghost in the shell than man on a MUSIC LISTINGS

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pedestal has its limit. Alex Lazarus, the creative director on the project says in conceptualizing the performance Tobin â&#x20AC;&#x153;wanted people to focus more on the actual music and visual representation as opposed to focusing on him.â&#x20AC;? But Lazarus says â&#x20AC;&#x153;he canâ&#x20AC;&#x2122;t just not be seen, so I had to open my big mouth and tell him that we could use this smart glass in his cube, which can be turned on and off to see inside. Itâ&#x20AC;&#x2122;s cool and all, but itâ&#x20AC;&#x2122;s extremely expensive and every single time we have to touch it Iâ&#x20AC;&#x2122;m petrified that weâ&#x20AC;&#x2122;re gonna break it.â&#x20AC;? Seeing the wizard at work alleviates the creeping possibility of a Milli Vanilli situation, but still, like Brad Pitt in Se7en, I want to know whatâ&#x20AC;&#x2122;s in the box. (What can I say? Iâ&#x20AC;&#x2122;m no fun â&#x20AC;&#x201D; I also want to know how magicians do their tricks and how Pepperidge Farms draws the little faces on Goldfish crackers.) Is Tobin manning extra controls to sync the visuals? Is it all automated? Specific details, however, are generally off limits, as both Lazarus and Tobin invoke â&#x20AC;&#x153;proprietary technology.â&#x20AC;? Which is fair. Considering how many people worked on innovating the project, a trade secret is valuable. (Years after debuting, the similarly impressive LED tech behind Daft Punkâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;pyramidâ&#x20AC;&#x2122; paid off again when its designers essentially reshaped it into deadmau5â&#x20AC;&#x2122;s â&#x20AC;&#x2DC;cube.â&#x20AC;&#x2122;) Tobin says thereâ&#x20AC;&#x2122;s absolutely no compromise musically. Even when he does a more traditional DJ set, he has it all worked out ahead of time. â&#x20AC;&#x153;When I go and see a show I donâ&#x20AC;&#x2122;t want to see people wanking off on their equipment,â&#x20AC;? Tobin says. â&#x20AC;&#x153;I love to watch things that have been really well thought out and practiced.â&#x20AC;? Whatever heâ&#x20AC;&#x2122;s doing in that box, heâ&#x20AC;&#x2122;s enjoying it. â&#x20AC;&#x153;I feel like Iâ&#x20AC;&#x2122;m in an Apollo 13 capsule. The whole thing is based on the idea of it being a spaceship and the funny thing is I come into the cube and it literally looks like a cockpit from the inside.â&#x20AC;? I ask him if this means he doesnâ&#x20AC;&#x2122;t have to pretend for the part. â&#x20AC;&#x153;Well,â&#x20AC;? Tobin says, â&#x20AC;&#x153;if I was pretending Iâ&#x20AC;&#x2122;d probably have a band up there trying to play the record. Kind of a waste of every oneâ&#x20AC;&#x2122;s time.â&#x20AC;? His voice is deadpan, but sounds like heâ&#x20AC;&#x2122;s grinning, just a bit. 2 Amon Tobin Sun/2, 8 p.m., $29.50â&#x20AC;&#x201C;$39.50 The Warfield 982 Market, SF (415) 345-0900 www.thewarfieldtheater.com

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thE infamoUS gEhEnna’S mikE apoCalypSE a.k.a mikE ChEESE | Photo by Chris stevens

lEgEndS of thE UndErgroUnd (FIFOOBµT .JLF "QPDBMZQTF EPFTOµU DBSF XIBU ZPV UIJOL by Emily SavagE emilysavage@sfbg.com mUSiC “There are people like us who decide we no longer want to deal with what is fed to us through commercial forces,” says infamous hardcore singer Mike Apocalypse, “We strive to create new things — if I couldn’t create new music, I would fall apart in a month’s time.” It’s wretchedly hot on a Sunday afternoon at Mission bar Laszlo when Apocalypse, 37, makes the above statement while ordering a shot and a Red Stripe. Over the course of two-and-a-half hours, he orders many more shots and beers, and excitedly bumps into a cadre of fellow music-maker friends. With a broad grin, his seagreen eyes widen as he recalls the early 90s origins of Gehenna, his longstanding hardcore-black metal band. He folds his tattooed fingers (one reads “83%” in ode to Gehenna’s first song) over a beer with a mention of the upcoming chopped and screwed Gehenna mixtape. In addition to his role as Gehenna’s singer, Apocalypse is also a respected local DJ. He beams while giving me the rundown on his daily routine: recording music at home in the Excelsior District every morning, DJing at Laszlo, Showdown, or Argus Lounge every late night; recently spinning disparate tracks by the likes of Infest, Stone Roses, and Nipsey Hussle. This, his openness and agreeable demeanor, are in direct contrast with his fabled persona. Mind you, he’s only a legend in editorials

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the underground, in small pockets of cities like San Diego, Orange, Calif., and Reno, but within certain crowds, the rumors are alive. If you’ve heard of him — and chances are, you haven’t — than you’ve heard the drama. The rumor mill: Apocalypse stabbed a guy at a punk show. He punched someone in the face at a record store. He contributed to another musician losing his mind. And so becomes a legend. There have been outsized rumors and halftruths, tattooed cupped hands whispering circles around Apocalypse, also known as Mike Cheese or DJ Apocalypse, for decades. “You know more of the rumors than I do, and you know more of the falsehoods than I do,” he says. Without addressing any specific incidents he lays it out: “The rumors also come from people who have attacked me physically and they thought they could fuck me up. Fact is, I don’t bullshit. If you think you’re going to fuck me up, unfortunately, I’m pretty good at handling my hands, I’ve got some good fist game because I grew up in Detroit.” That last part is unquestionably true, he lived in Detroit until age 14, when he moved to San Diego alone. By age 17, he was straight-edge and on a cheeseburger diet (hence the name “Cheese”). He met fellow musicians through the hardcore scene and formed Gehenna. With its pummeling drum beats, black metal riffs, droning breakdowns, and Apocalypse’s tortured, growling vocals, it brought something new to the 1993 hardcore table. picks

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“I brought in some of the more metal elements, Mickey [Rhodes Featherstone] brought in 70s proto-punk and DC [Grave] brought in the really fucking heavy stuff and the straight thrash — we were able to incorporate all the things we liked into one sound.” Through 17 years, the band has self-released seven-inches, splits, and a few full length LPs — most recently, 2011’s re-issue of Land Of Sodom II/Upon The Gravehill — and moved from San Diego to Phoenix to Orange to Reno. Apocalypse, far from straight edge, settled into San Francisco in 2008, but since the other members are spread elsewhere, Gehenna only plays SF once a year. “San Francisco, is one of the greatest cities in the United States. This is the most openminded city I’ve ever been in.” He seems pleased with his current lot in life; it might be the alcohol or recreational drugs talking, but he’s truly inspirational in his takes on art, music, life. Truth to those whispered rumors or not, legend or not, Apocalypse is a man of convictions. “[Gehenna] is not making money, we’re not going to ever sign with a major label, we’re never going to do anything that’s outside of our realm of control. It’s always been about control.” 2 Gehenna With Hoax, Neo Cons, and Neighborhood Brats Wed/28, 8 p.m., $8 Sub-Mission 2183 Mission, SF www.sfsubmission.com

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arts + culture: music

Quantic, in his adopted home of cali, colombia. Photo by b+

musical alchemy 2VBOUJD NJYFT SIZUIN BOE USBWFM PO OFX CFTU PG SFDPSE by michael Krimper

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arts@sfbg.com music I’ve never defended the idea of a “best of” record. Some anonymous curator is typically given the task of sifting out a musician’s hits from the misses, of establishing an artist’s definitive compilation once and for all. A fairly daunting project for judging something as fickle and varied as musical taste. So I have to admit I was skeptical when I picked up The Best of Quantic album put out by the British imprint Tru Thoughts earlier this month. Best of? Quantic, a.k.a. William Holland, is only 31-years-old. And the talented producer, arranger, and multi-instrumentalist is hardly through with making music. Quantic has completed eleven records on Tru Thoughts in the span of a decade, ever since the label flipped his demo into The 5th Exotic, a fluid recording of instrumental grooves crafted from the percussive roots of hip-hop and the beat experiments of Brighton’s downtempo electronic scene. A track culled from that record, “Time is the Enemy,” launches the new retrospective into a geography of sound that Quantic has persistently navigated in unexpected ways — between the contemplative and the effusion of the dance floor. Few musicians are as prodigious as Quantic, as methodical, as ready to throw away conventional formulas and risk leaping into the wandering spirit of rhythm. A couple years after his solid debut, Quantic abandoned strict sampling techniques in favor of forming a break driven funk group: the Quantic Soul Orchestra. Powerhouse songs like “Pushin’ On” and “Don’t Joke with a Hungry Man,” respectively

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featuring vocalists Alice Russell and Spanky Wilson, stamp The Best Of with the frenetic pulse of deep-in-the-pocket soul. With a crate digger’s fervor, Quantic traveled to Ethiopia and throughout the Caribbean, absorbing and researching and translating the diaspora of the polyrhthm. Four years ago, he relocated to Santiago de Cali, Colombia — a city built from second wave 1950s Art Deco and the more typical mass concrete structures of the ‘60s — where the radio still broad-

casts Richie Ray and Bobby Cruz, and the boogaloo of 1968 saturates the air. “I see Cali as a crossroads, almost like a test tube, or a gateway from the Pacific Coast [of Colombia] to Bogota,” Quantic tells me from his home, trucks rumbling in the background. “It’s a very creative place, although fairly unbeknown to the outside world.” Once settled in Cali, Quantic reforged his orchestra into his Combo Bárbaro. In 2009, Quantic and his group released perhaps his most exhilarating album yet, Tradition in Transition, a testament to the vitality of percussive heritage on the fringes and yet in the subterranean core of the Americas. “I wanted to really explore the side of music from Barranquilla and Panama City where you have bands playing soul, funk, salsa, cumbia, boogaloo ... not necesmusic listings

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sarily one genre,” Quantic says. “What I appreciate in this music is that there’s tremendous diversity — culturally, ethnically, racially — and so many different rhythm experimentations.” For his Combo Bárbaro, Quantic tried to synthesize precisely this kind of musical alchemy. He paired British drummer Malcolm Catto with frenetic Colombian percussionist Freddie Colorado; Peruvian pianist Alfredo Linares weaved the melodies, and folklore singer, Nidia Góngora, from the Afro-Colombian region of the Pacific Coast, wrote and delivered the lyrics. What comes out of these creative tensions is a brilliant and resonating song like “The Dreaming Mind,” which also features lush string arrangements from the often overlooked Brazilian composer Arthur Verocai. After a few rotations, the best of record won me over. It’s more of a stitched together mapping of Quantic’s rhythmic wanderings — musically and physically — than a set of highlights towards a destination. “The traveling of my own life as a musician is intertwined with the music I make,” he says. “It’s like looking at the rings on the tree; there’s a pattern to it, but it just develops naturally without so much of a plan.” Quantic hopes to redraw a bit of that map during his performance this Friday at SOM. Without his bárbaros on tour, he’ll spin some 45s to chart out influences, and then bring the studio on stage, mixing recorded sessions live while adding dubbing and keys. 2 Quantic With Guillermo and Wonway Fri. 9/30, 10 p.m., $10–$15 SOM 2925 16th, SF www.som-bar.com

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ARTS + CuLTuRE: vISuAL ART

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audIBLy puntInG oBSoLEScEncE: fRan HERndon’S 1962 “KInG footBaLL” and cHRIStIan MaRcLay’S 2008 caSSEttE-BaSEd cyanotypE “aLLovER (GLoRIa EStEfan, QuEEn, and otHERS).” | Herndon image courtesy of altman siegel gallery; marclay image courtesy of fraenkel gallery

tHE SIGHt of Sound By Matt SuSSMan arts@sfbg.com HaIRy EyEBaLL “Home taping is killing music”, declared the 1980s anti-copyright infringement campaign waged by British music industry trade group, the British Phonographic Industry. History has proven BPI’s concerns to have been mis-targeted, with cassettes becoming an increasingly irrelevant medium in the ensuing decades, even as the music industry still struggles to respond to ever-mercurial forms of bootlegging and pirating. The cassette tape, however, has—perhaps unsurprisingly— re-emerged in recent years as both an object of nostalgia and a more exclusive format for more out-there musicians to release their small, home-made batches of black metal, experimental electronica, or noise out into the world for listeners for whom Tumblr is not enough. Composer and musician Christian Marclay’s visual art often engages with our complicated relationship to outmoded technologies of audio-visual reproduction, particularly vinyl records. The photograms in his current show at Fraenkel Gallery continues this line of inquiry, playfully condensing the cassette tape’s arc from boon to perceived threat to obsolescence to fetish object. For the gorgeous 2009 photogram “Allover (Dixie Chicks, Nat King Cole and Others),” Marclay exposed photo-sensitized paper to light after he had strewn over it the magnetic innards of cassette tapes and fragments of the broken plastic shells that once contained them that had been coated in a photosensitive solution. The resulting sprawl editorials

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of tangled white lines on blue brings to mind the splatter canvases of Jackson Pollock or the chalk squiggles of Cy Twombly (associations Marclay’s titular “allover” winks at). In other photograms, such as “Large Cassette Grid No. 9,” also from 2009, Marclay has arranged plastic cassette cases in block-like patterns that cover the entire paper, with each cases’ accumulated wear and tear providing subtle variations. That cyan-like blue color is what gives Marclay’s chosen process, the cyanotype, its name. Discovered by English scientist Sir John Herschel in 1842, the cyanotype process was historically used to make blueprints. I’d like to imagine that this irony isn’t lost on Marclay. By using an outmoded photographic technology to make visual art out of an outmoded audio technology, Marclay underscores the eventual obsolescence of all reproductive technologies. His cyanotypes aren’t blueprints so much as headstone rubbings. In “Looking for Love” (2008), a single channel video shown in the gallery’s backroom, Marclay’s stationary camera stays zoomed-in on a well-worn phonographic stylus, as his giant hands roughly skip the needle around record after record searching for any utterance of the word “love.” The film’s exaggerated scale combined with Marclay’s increasingly impatient and roughshod sample hunting can be read as a parody of the audiophile as techno-purist. But the film also speaks to our enduring investment in music—be it the Dixie Chicks, Nat King Cole, or any of the other inaudible “others” that went into the making of Marclay’s cyanotypes—even as our experience of listening to it becomes more and more immaterial. picks

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Fran Herndon was not a name I was familiar with, so I’m glad to now be acquainted with this largely unsung player in San Francisco’s artistic firmament of the 1950s and 1960s (and all around bad-ass) thanks to the eye-opening selection of early oil paintings and mixed-media collages organized by Kevin Killian and Lee Plested currently on view at Altman Siegel. An Oklahoma native, Herndon moved to San Francisco in 1957 with her husband, the California teacher and writer Jim Herndon, who she met while traveling in France. She quickly fell in with the likes of the Robin Blaser, Jess and his partner Robert Duncan, and Jack Spicer, with whom she formed an intense intellectual and aesthetic bond. Together, they founded the mimeographed poetry and art magazine J, and Herndon created lithographs for poet Spicer’s 1960 master-work The Heads of the Town Up to the Aether. All the while, Herndon continued to produce her own varied body of work that was as much a response to her newfound creative circle of friends and collaborators as it was to the times in which they were making art. The series of sports themed collages she made in 1962 are especially representative of Herndon’s gift for exploding the hidden currents of emotion contained in her source material—in this case, images clipped from popular magazines such as Sports Illustrated and Life are transformed into near-mythological tableaux of victory and defeat in which race and the volatile racial climate of Civil Rights era-America are front and center (Herndon, who is of Native American heritage, has said “[America] is no place for a brown face”). In “Collage for Willie Mays” the

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baseball legend is depicted hitting a homer out of a Grecian colonnade whereas in the decidedly darker and Romare Bearden-esque “King Football” an actual mask has fallen away from the titular ruler, revealing a skull-like visage wrapped in a cloak of newspaper clippings about the 49er’s then-scandalous decision to trade quarterback Y.A. Tittle for Lou Cordilione. The headlines about devastation and death speak to other off-field losses, though. Other pieces resonate on a more emotional level. The gauchesmudged greyhounds in “Catch Me If You Can” bound past their bucolic counterparts like horses in a Chinese brush painting—all speed and wind—and are as much signs-of-the-times as the more politically overt anti-draft and anti-war collages Herndon made later in the decade. Certainly, there was no time to wait. So much of Herndon’s art seems to come from an urge to document her “now” with whatever tools she had on hand, a present being lived and produced in the company of so many extraordinary others, from Spicer to Mays. Even her paintings seem to have been worked on only to the point at which their subjects just emerge distinct from their swirled backgrounds of color. Nearly fifty years later, Herndon’s urgency is still palpable. 2 CHRISTIAN MARCLAY: CYANOTYPES Through Oct. 29 Fraenkel Gallery 49 Geary, 4th Floor (415) 981-2661 www.fraenkelgallery.com FRAN HERNDON Through Oct. 29 Altman Siegel Gallery 49 Geary, fourth Floor (415) 576-9300

WED Sep 28 MOUNTAINS (THRILL JOCKEY) 9pm, $8 Date Palms Higuma THU Sep 29 Club Chuckles presents:

2 shows: 7:30pm,10pm $12 adv./$15 door

TIG NOTARO

Sean Keane Adv. tix on sale Groomed for Success

FRI Sep 30 THE GEMS 9:30pm, $6 Terry Malts Tambo Rays SAT Oct 1 WRONG WORDS 9:30pm, $7 THE Royal Headache (AUS) Paper Bags SUN Oct 2 REDBUSH EARLY The Nerv 4pm, $6 Culo a Boca LATER JACUZZI BOYS (MIAMI) 9pm, $10 Apache Midnite Snaxxx MON Oct 3 RIVER WHYLESS EARLY Brother Pacific 6pm, $6 Beatbeat Whisper LATER 10pm, FREE PUNK ROCK SIDESHOW TUE Oct 4 HOAX 9pm, $6 Ecoli Yadokai WED Oct 5 HOLGER (BRAZIL) 9pm, $7 New Spell Red Weather Upcoming: Hurry Up Shotgun, Generalissimo, Dan Sartain, Two Tears, Des Roar, Electra (Israel), Arms and Legs, Deaf Wish (AUS), The Djin Aquarian/Plastic Crimewave Band, Japanther, The Renderers

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HARRy (CHARles DeAN, fRoNt RigHt) CAuses CompliCAtioNs foR His olD fRieND toBiAs (KeN gRANtHAm, iN RoBe) iN A DelicAte BAlAnce. | Photo by david allen

Not New, But ReNewiNg "VSPSB 5IFBUSF PGGFST B UFSSJGJD SFWJWBM PG BO "MCFF DMBTTJD By RoBeRt AvilA arts@sfbg.com

tHeAteR New plays are usually big selling points for theaters, and they have a certain pizzazz for audiences too, but their power to renew interest in theater is a different matter. The best play seen on a local stage so far this season is not a new play, as it happens, but an old one, with a big name attached and a Pulitzer in tow. But Edward Albeeâ&#x20AC;&#x2122;s A Delicate Balance (1966) reminds you why people go to the theater in the first place. Berkeleyâ&#x20AC;&#x2122;s Aurora Theatre opens its 20th anniversary season with a terrific revival of this invigorating play, set amid the deceptive comfort of an upper-class drawing room (realized in unfussy but suitably expansive detail by scenic designer Richard Olmsted) and never far from its well-appointed and wellloved liquor cabinet. Here, aging richies Agnes (a serenely superior Kimberly King) and Tobias (a gently affable, subtly perplexed Ken Grantham) have settled into a tentative bargain called marriage, the chop on the otherwise placid surface coming only from Agnesâ&#x20AC;&#x2122;s tippling live-in sister, Claire (a strong, almost swaggeringly tough Jamie Jones), and the coupleâ&#x20AC;&#x2122;s spoiled serial divorcĂŠe of a daughter, Julia (a vital, nicely wound-up Carrie Paff). Into their collective, quotidian sniping and maneuvering comes, unexpectedly, a touch of

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the paranormal in the form of old friends Harry (a quietly overwhelmed Charles Dean) and Edna (Anne Darragh, projecting an eerie combination of panic and power), who arrive on their doorstep as supplicants fleeing an unknown terror. Suddenly, hard on the heels of peacemaker Tobiasâ&#x20AC;&#x2122; anecdote about a cat he once had put down after it stopped liking him, the patriarch confronts a supreme moral challenge: what to do with Harry and Edna? What to do, for that matter, with the whole family? Enduringly interesting and moving, A Delicate Balance (and its dream cast of veteran actors shrewdly helmed by artistic director Tom Ross) revels in the niceties and byways of language even as it limns the ineffable breach between individual and other, madness and sanity, unforgiving fact and accommodating memory â&#x20AC;&#x201D; the whole teetering â&#x20AC;&#x153;balancing actâ&#x20AC;? that plays out across a pair of long evenings into a flat, hazy dawn. Albeeâ&#x20AC;&#x2122;s mode here is a sort of torn naturalism: a naturalism into which something incomprehensible intrudes, making the artificiality of received reality suddenly, disturbingly apparent. For the terror that descends on scared, and vaguely scary, Harry and Edna â&#x20AC;&#x201D; driving them and their â&#x20AC;&#x153;plagueâ&#x20AC;? into the midst of Tobias and Agnesâ&#x20AC;&#x2122; home â&#x20AC;&#x201D; that terror emerges from the same waters Tobias and Agnes inhabit. It swarms the land and then, just as music listings

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unexpectedly, it recedes, like a tsunami that leaves things more or less as before, at least on the surface. You could call this word-drunk, witty, and boldly imaginative drama an endlessly engaging exploration of the phrase â&#x20AC;&#x153;domestic harmonyâ&#x20AC;? â&#x20AC;&#x201D; in all its fear-bound resignation, calculation, and codependency. You could also call it a philosophical musing on the problem of community and the obligations we social animals owe one another. But definitions are almost beside the point with a great play because itâ&#x20AC;&#x2122;s too alive for any label, always sliding out from under it. What is certain is that a play like this leaves you awake and wandering around the world you share with it. It also, less happily, makes a regular theatergoer realize how these days many new plays (those being produced locally, that is) have been forgettably thin, however clever or amusing. Even Aurora, which does an admirable job with the Albee play, last season premiered one called Collapse full of the typical vices: a play whose bid for social relevance, lacking any significant insight or imagination, remains only superficially meaningful. Comfortable platitudes and conventional tricks substitute too often for intellectual and aesthetic daring. Who could say that about A Delicate Balance? 2 A DelicAte BAlAnce Through Oct. 16 Tues. and Sun., 7 p.m. (also Sun., 2 p.m.); Wed.-Sat., 8 p.m., $10-48 Aurora Theatre 2081 Addison, Berk. (510) 843-4822 www.auroratheatre.org

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SEPTEMBER 28 - OCTOBER 4, 2011 / SFBG.com

arts + culture: film 1408 WEBSTER ST. IN OAKLAND 510.251.0769 OPEN WED THRU SAT 12NOON TO 9 PM (OPEN TILL 4AM ON FRI AND SAT)

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“I hIred TheSe Two gUyS ThINKINg They’d Be BrIllIANT TogeTher,” Tucker and dale vs. evil dIreCTor elI CrAIg SAyS oF The CoMedIC CheMISTry BeTweeN Co-STArS Tyler lABINe ANd AlAN TUdyK. | Photo courtesy of Magnet releasing

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1SFQBSF UP HJHHMF BOE HBH BU Tucker and Dale vs. Evil By Cheryl eddy cheryl@sfbg.com FIlM Hillbilly horror is nothing new. Some might mark its heyday as the 1970s, a decade containing Deliverance (1972), The Texas Chain Saw Massacre (1974), The Hills Have Eyes (1977), and I Spit On Your Grave (1978). Others might point to Herschell Gordon Lewis’ immortal Two Thousand Maniacs! (1964), probably cinema’s most persuasive example of why Yankees road-tripping below the Mason-Dixon Line should never, for any reason, detour off the main highway. Twenty-first century hillbillies are still scary, at least on the big screen; this is one stereotype that’ll never die. Any number of recent horror films — most of them remakes of the films noted above (or directed by Rob Zombie) — have drawn their clichéd plots from a checklist that always includes city slickers, cars that break down, cell phones that don’t work, and inbred locals. The lesson remains the same: stay the hell out of the backwoods, yuppie! But what if, asks Eli Craig’s Tucker and Dale vs. Evil, you were totally misjudging those sinisterseeming whiskey-tango yokels? What if, despite being a little unwashed and fond of sharp

36 SAN FRANCISCO BAY GUARDIAN

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objects and power tools, they happened to be really nice guys? The film — about a couple of bluecollar dudes (Tyler Labine and Alan Tudyk) hanging out at their mountain cabin who unwittingly terrify a group of vacationing college kids — finds a sense of humor in the tired genre. The result is blood-spattered comedy gold. “The initial premise was: what if Leatherface from Texas Chainsaw Massacre was really just a good guy with an unwieldy chainsaw? It’s the good-looking college kids that have been terrorizing him!” explains first-time feature director Craig (he also cowrote the script). “In order to pull this off, there has to be a series of misunderstandings. My writing partner, Morgan Jurgenson, and I made a rule that Tucker and Dale would never hurt the college kids. They just kept on accidentally killing themselves and leaving their mangled corpses in Tucker and Dale’s yard to deal with.” The accidental suicides (most memorably, via wood chipper) are gruesome enough to please genre fans — but are also pretty goofy. The label “splat-stick” has rarely been so aptly applied. “The film satirizes and often pays homage to the clichés of the slasher-horror genre. So it has the look and feel of a horror film, but music listings

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I think of it as a comedy,” Craig explains. “I always erred on the side of big laughs, and for the stuff that was meant to be more horrific, I tried to push it into a realm where it was so big that it wasn’t quite believable, and hence allowed people to still laugh.” Horror comedies may not traditionally rake it in at the box office, but they often become cult sensations — see: 1985’s Re-Animator and 2004’s Shaun of the Dead. For Craig, whose film is firmly in the midnight-movie tradition, the lasting appeal of the genre (which goes back even farther than hillbilly horror — see: Abbott and Costello) is obvious. “To me [horror comedies are] a subcategory of black comedy which basically deals with the farce that is human existence,” he says. “We are all stuck within these hopeless limitations — we can only see life through one pair of eyes, and we will all face our own demise. But to laugh at it all, to see that the world is both cruel and hilarious, to find joy in the hopeless, that allows us to transcend our problems. Good horror-comedy is about laughter amid despair, [which] really is the best option we have sometimes.” 2 TUCKer ANd dAle VS. eVIl opens Fri/30 in Bay Area theaters.

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arts + culture: nightlife

left to right, crosstown rebels’ Deniz Kurtel, porn starrapper chris porter, anD star eyes of trouble anD bass

fr ee

Friday sept 30 @ BaM/pFa

MATRIX LIve *

DooRs 5 PM FILMs AnD Q&A 5:30 PM 7:30 DAnce PeRFoRMAnces

hOw She DOeS it By Marke B.

marke@sfbg.com SUPer eGO Three of my favorite dance tracks this year were made by women: “What They Say” by Maya Jane Coles, “Yours” by Steffi, and “The L Word” by Deniz Kurtel. “Wow,” you say. “Three whole women. That’s practically a quorum!” I know, I know, but these were big underground hits as well — and it’s aces that tracks by females are getting more large-scale traction. A female DJ is rara avis enough in the techno man’s world (I think of Cassy’s recent appearance at the oft-testosteronal monthly Kontrol party — you’d think a gorgeous alien from Jupiter had landed to school the boys in radical minimal sickness.) And I’m not gonna even try to count famous female dubstep or electro producers of the moment because I need those two fingers to delicately wipe away my tears of sadness thinking about it. Kurtel, of Turkish descent, comes from Crosstown Rebels label and was introduced by the Wolf + Lamb crew. Her super-sexy, atmospherically funky creations are smart in an understated way, roping R&B vibes and post-minimal effects into sometimes haunting, always groovy memory loops. She’ll be here to DJ as part of the huge “Get Down and Get With It” party at Public Works. Last time she came through here she was excellent: go check her out if you can. Get DOwn anD Get with it with DOP, Deniz kUrtel, PillOw talk, thUGfUcker, chateaU fliGht Fri/30, 10 p.m.-5 a.m., $20–$25. Public Works, 161 Erie, SF. www.publicsf.com

trOUBle anD BaSS And lo, the storied New York City Trouble and Bass crew finally crashed down upon our fair shore in one glorious bassbin explosion of editorials

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boom, melding cutting edge future bass sounds with electro energy, breakbeat respect, and punk rock attitude. Former Guardian nightlife columnist Star Eyes, a.k.a. Vivian Host, shreds it with Deathface, Samo Soundboy, the Captain, and more. Thu/28, 9 p.m., $15–$20. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

chriS POrter Gay porn stars making music — don’t gag yet, there is actually a long and illustrious(?) history here, from Jeff Stryker’s jaw-dropping 1986 “Bigger Than Life” (followed up finally in 2003 by, er, “Pop You in the Pooper”) to Zeb Atlas’s titillatingly awkward “Love Hangover” from earlier this year. But none of them have rapped! (That I know of.) Welcome, then, the young Chris Porter — a.k.a. Double Dose — as he debuts onstage in clothes at Rebel, slinging some verses to surely a partially bewildered, wholly stimulated crowd. I’m dying. Sister Roma, Kalisto, Mahlae Balenciaga, and DJ Errol Valentino help set if off. Thurs/29, 10 p.m. (show at 11 p.m.), $5. Rebel, 1760 Market, SF. Facebook: Chris Porter Live

kevin yOSt A surprising number of the DJ sets I still listen to from that jazzy-deeplounge house period of the late very late 1990s are from Pennsylvanian Yost — most of that Internet Bubble-era sounds a bit tasteless now, but Yost managed to balance complex musicality with dancefloor accessibility that appealed to both VIP vultures and those who valued sweat over status. His “One Starry Night” album might be the only introduction you need to the best sounds of those times; this party should be a good ol’ get-down. Fri/30, 9:30 p.m.-3 a.m., $10–$20. Supperclub, 657 Harrison, SF. www. supperclub.com

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It’s gonna be cold bonkers, y’all. Rave-reflecting undead wobble king Zomby’s “Where were U in 92?” album from 2008 pushed dubstep’s narrow niches into a territory best described as rainbow dread, warped air horns and all. With backup from Machinedrum, Nastynasty, and Distal, please don’t say we all weren’t warned. Fri/30, 10 p.m.-4 a.m., $20. 1015 Folsom, SF. www.1015.com

BOOtie OktOBerfeSt BUrleSqUe The mashup maestros of quintessential weekly SF party Bootie are at it again, mixing Bavaria with burlesque for Oktoberfest. Flirtatious dancers Mica La Creme, Twinkletoes McGee, Sparkly Devil, Lady Satan, Gorillahosen, and many more will be doffing their dirndls as DJs Faroff, Mad Murdoch, and John!John! provide the sultry-wacky sounds. Plus: Oktoberfest brew specials. There’s a beer and strippers joke in here somewhere, but we’re too elevated to make it. Sat/1, 9 p.m.-3 a.m., $8–$15. DNA Lounge, 375 11th St., SF. www.bootiesf. com

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hOMO hOMecOMinG I love it when our queer club queens get political. Neon wigs, bloody noses, broken heels, progressive causes: they’re so wellrounded! Adorable drag spectacle Lil Miss Hot Mess throws a damn good party, and this homecoming-themed fundraiser for mayoral candidate John Avalos looks a right hoot. With DJs Bus Station John and Pink Lightning and oodles of pep rally performers, including Glamamore, Fauxnique, Ambrosia Salad, Rotissary Ethnicity Jackson-Houston Ross, and Anita Whiteman. Sat/1, 9 p.m., $10. Verdi Club, 2424 Mariposa, SF. www.avalosformayor.com/ homohomecoming 2

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weDnesDay 28

rock /blues/hip-hop

Active Child, Chad Valley, Silver Swans #PUUPN PG UIF )JMM QN Adios Amigo, Nikki Lang 3JDLTIBX 4UPQ QN Cabin Project )PUFM 6UBI QN Gehenna, Hoax, Neo Cons 4VC .JTTJPO .JTTJPO 4' XXX TG TVCNJTTJPO DPN QN Lance Canales and the Flood #JTDVJUT BOE #MVFT BOE QN Lemon Party, Art School Kids, Plastic Villians ,OPDLPVU QN Jonathan Mann, Glowing Stars, Sparky Grinstead and the Mighty Backorder 3FE %FWJM -PVOHF QN Mountains, Date Palms, Higuma )FNMPDL 5BWFSO QN Matt Ryd, Xoe Wise $PGGFF "EWFOUVSFT $BGF $PMVNCVT 4' XXX NZTQBDF DPN DPGGFF BEWFOUVSFT BN GSFF Vows/Paranoids, Siddhartha, Black Hole Oscillators $BGF %V /PSE QN

jazz/new music

Dink Dink Dink, Gaucho with Tamar Korn, Michael Abraham "NOFTJB QN GSFF Greg Gotelli Quartet .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Jazz organ party with Grahmm Connah 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Ricardo Scales 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Mitch Winehouse :PTIJÂľT QN

folk / worlD/country Dan Mangan )PUFM 6UBI QN

Dance clubs

Booty Call 2 #BS $BTUSP 4' XXX CPPUZDBM MXFEOFTEBZT DPN QN +VBOJUB .PPSF IPTUT UIJT EBODF QBSUZ GFBUVSJOH %+ 3PCPU )VTUMF Club Shutter &MCP 3PPN QN (PUI %+T /BLP 0NBS BOE +VTUJO Full-Step! 5VOOFM 5PQ QN GSFF )JQ IPQ

38 SAN FRANCISCO BAY GUARDIAN

editorials

news

food + Drink

picks

arts + culture

SFHHBF TPVM BOE GVOL XJUI %+T ,VOH 'V $ISJT BOE #J[[J 8POEB Mary Go Round -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN %SBH XJUI 4VQQPTJUPSJ 4QFMMJOH .FSDFEF[ .VOSP BOE (JOHFS 4OBQ Megatallica 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX NFHBUBMMJDB DPN QN GSFF )FBWZ NFUBM IBOHPVU No Room For Squares 4PN UI 4U 4' QN GSFF %+ "GSPEJUF 4IBLF TQJOT KB[[ GPS IBQQZ IPVS

thursDay 29 rock /blues/hip-hop

All Shall Perish, Fallujah %/" QN GSFF Alvon #JTDVJUT BOE #MVFT BOE QN Arrica Rose )PUFM 6UBI QN Dreamdate, Party Owl, Baby Talk, Big Drag 5IFF 1BSLTJEF QN Dreams, Tartufi, Debbie Neigher #FBUCPY UI 4U 4' XXX CFBUCPYTG DPN QN Alex Metric, DJs Aaron and Omar 3JDLTIBX 4UPQ QN Revolver, Chateau Marmont, Mist and Mast #PUUPN PG UIF )JMM QN Sugar Candy Mountain, Ramon and Jessica, Lone Valkyrie "NOFTJB QN Uzi Rash, Alexis Blair Penney, Hether Fortune ,OPDLPVU QN Weedeater, Saviours, Bison, Fight Amp *OEFQFOEFOU QN Young Dubliners :PTIJÂľT QN

jazz/new music

Blues Organ Party with Chris Siebert 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Stompy Jones 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Kai Eckhardt Group 4BWBOOB +B[[ .*TTJPO 4' XXX TBWBOOBKB[[ DPN QN Tom Lander and Friends .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN GSFF Robert Glasper Trio :FSCB #VFOB $FOUFS GPS UIF "SUT .JTTJPO 4' XXX ZCDB PSH QN

folk / worlD/country

Bluegrass and old-time jam "UMBT $BGF UI 4U 4' XXX BUMBTDBGF OFU QN Twang! Honky Tonk 'JEEMFSÂľT (SFFO $PMVNCVT 4' XXX UXBOHIPOLZUPOL DPN QN -JWF DPVOUSZ NVTJD EBODJOH BOE HJWFBXBZT

music listings

stage listings

Black Carl "NOFTJB QN Gems, Terry Malts, Tambo Rays )FNMPDL 5BWFSO QN Hanni El Khatib, Nick Waterhouse, Dirty Ghosts #PUUPN PG UIF )JMM QN â&#x20AC;&#x153;Hardly Strictly Bluegrassâ&#x20AC;? 4QFFEXBZ .FBEPX (PMEFO (BUF 1BSL 4' XXX TUSJDUMZCMVFHSBTT DPN BN QN 8JUI $ISJT *TBBL 3PCFSU 1MBOU BOE UIF #BOE PG +PZ #SJHIU &ZFT 'FMJDF #SPUIFST #JMM ,JSDIFO ,VSU 7JMF BOE NPSF High Like Five, Sweet Revenge, Cassandra Farrar )PUFM 6UBI QN John Lee Hooker Jr. #JTDVJUT BOE #MVFT BOE QN Jayhawks 4MJNÂľT QN Kindest Lines, Ssleeping Desiress, C.L.A.W.S 3JDLTIBX 4UPQ QN Mekons 4XFEJTI "NFSJDBO .VTJD )BMM QN Nouvelle Vague 3FHFODZ #BMMSPPN QN Odd Future 8BSGJFME QN Chuck Prophet .BLF 0VU 3PPN QN Quantic 4PN UI 4U 4' XXX TPN CBS DPN QN Ralph Carneyâ&#x20AC;&#x2122;s Serious Jass Project #FBUCPY UI 4U 4' XXX CFBUCPYTG DPN 1N Struts, Rumble Strippers, Jesse Morris 5IFF 1BSLTJEF QN Tea Leaf Green, Big Light *OEFQFOEFOU QN Victimâ&#x20AC;&#x2122;s Family, Two Headed Spy, Cold Steel Renegade, Street Eaters $BGF %V /PSE QN

jazz/new music

Black Cat Orchestra 5PQ PG UIF .BSL $BMJGPSOJB 4' XXX UPQPGUIFNBSL DPN QN Jazz Organ Party with Grahmm Connah 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Earl Klugh :PTIJÂľT BOE QN Petunia and the Vipers, B-Stars, West Coast Ramblers 7FSEJ $MVC .BSJQPTB 4' XXX WFSEJDMVC DPN QN Suzanna Smith 4BWBOOB +B[[ .*TTJPO 4' XXX TBWBOOBKB[[ DPN QN

Dance clubs

Afro Bao -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF Afromassive &MCP 3PPN QN 8JUI 'PH %VC Blow Up: Designer Drugs %/" QN 8JUI %+ +FGGSFZ 1BSBEJTF %FTJHOFS %SVHT /:$ dOP, Deniz Kurtel, Cheatau Flight, Thugfucker 1VCMJD 8PSLT &SJF 4' XXX QVCMJDTG DPN QN DJ Premier vs. Pete Rock: The Battle .JHIUZ QN DJ Willys Nice .FEKPPM .JTTJPO 4' XXX NFEKPPMTG DPN QN Pledge: Fraternal -PPLPVU QN #FOFGJUJOH -(#5 BOE OPOQSPGJU PSHBOJ[BUJPOT #PUUPNMFTT LFHHFS DVQT BOE QBEEMJOH CPPUI XJUI %+ $ISJTUPQIFS # BOE %+ (SJOE Teenage Dance Craze ,OPDLPVU QN 4VSG HBSBHF BOE TPVM XJUI %+T 3VTTFMM 2VBO E9 UIF

on the cheap

film listings

classifieds

music listings 'VOLZ (SBOQBX BOE 0LJFSPBO 4DPUU Terminator and Reality Check: T-20 $BU $MVC QN UI BOOJWFSTBSZ QBSUZ Vintage 0STPO 'PVSUI 4U 4' QN GSFF %+ 5PQI0OF BOE HVFTU TQJO KB[[Z CFBUT GPS DPDLUBMJBOT Zomby, Machine Drum, Nastynasty )BSSJFU 4' XXX DPN QN

saturday 1 rock /Blues/hip-hop

Basia #JNCPÂľT QN Dark Star Orchestra 3FHFODZ #BMMSPPN QN Foolâ&#x20AC;&#x2122;s Gold #SJDL BOE .PSUBS QN Meat Sluts, Bloody Hells, Yes Gos #FOEFSÂľT 4 7BO /FTT 4' XXX CFOEFSTCBS DPN QN Eggplant Casino .BTPO 4PDJBM )PVTF XXX NBTPOTPDJBMIPVTF DPN QN GSFF â&#x20AC;&#x153;Hardly Strictly Bluegrassâ&#x20AC;? 4QFFEXBZ .FBEPX

editorials

news

food + Drink

(PMEFO (BUF 1BSL 4' XXX TUSJDUMZCMVFHSBTT DPN BN QN 8JUI 4UFWF &BSMF BOE UIF %VLFT "MMJTPO .PPSFS ,SJT ,SJTUPGGFSTPO BOE .FSMF )BHHBSE #SPLFO 4PDJBM 4DFOF BOE NPSF Hindi Zahra, Karina Denike, Valerie Orth #PUUPN PG UIF )JMM QN Laurie Morvan Band #JTDVJUT BOE #MVFT BOE QN Thee Merry Widows, Undertaker and his Pals, Dirty Hands Family Band 5IFF 1BSLTJEF QN MK4, Mengz 5IFF 1BSLTJEF QN GSFF Chuck Prophet .BLF 0VU 3PPN QN Tea Leaf Green, Big Light *OEFQFOEFOU QN Nathan Temby +PIOOZ 'PMFZÂľT 0Âľ'BSSFMM 4' XXX EVFMJOHQJBOPT DPN QN Neon Indian, Com Truise, Purity Ring 3JDLTIBX 4UPQ QN Toro Y Moi , Unknown Mortal Orchestra (SFBU "NFSJDBO .VTJD )BMM QN Wrong Words, Royal Headache, Paper Bags )FNMPDL 5BWFSO QN Alvin Youngblood Hart #JTDVJUT BOE #MVFT QN

picks

arts + culture

jazz/new music

Jazz Organ Party with Jules Broussard and Chris Siebert 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Earl Klugh :PTIJÂľT BOE QN Fernando Otero 'MPSFODF (PVME 5IFBUSF -FHJPO PG )POPS 4' XXX MFHJPOPGIPOPS GBNTG PSH QN Jerome Sabbagh, Gary Wang, Tim Bulkley #MJTT #BS 4' XXX CMJTTCBSTG DPN QN

folk / world/country

Blind Willies 3FE 1PQQZ "SU )PVTF QN GSFF Saturday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN

dance cluBs

Afro Bao -JUUMF #BPCBC UI 4U 4' QN "GSP BOE XPSME NVTJD XJUI SPUBUJOH %+T JODMVEJOH 4UFQXJTF 4UFWF $MBVEF 4BOUFSP BOE &MFNCF

music listings

stage listings

on the cheap

Debaser ,OPDLPVU QN "MUFSOBUJWF T EBODF QBSUZ XJUI %+ +BNJF +BNT BOE &NEFF PG $MVC /FPO Drift, SF )BSMPU .JOOB 4' XXX GBDFCPPL DPN ESJGUTG QN %BODF QBSUZ GPS RVFFS XPNFO XJUI %+ %3$ BOE %+ .JDIFMMF 4BO[ Icee Hot 1VCMJD 8PSLT &SJF 4' XXX QVCMJDTG DPN N 8JUI .BSUZO MJWF #PL #PL (JSM 6OJU 4BOUJBHP 4BMB[BS New Wave City .JHIUZ QN Prince and MJ .BESPOF QN Sanafrica #PMMZIPPE $BGn QN 8FTU "GSJDBO BOE -BUJO GVTJPO QBSUZ XJUI +PTF -VJT %+ /BEP BOE %+ .JHOBOF Saturday Night Soul Party &MCP 3PPN QN %+T -VDLZ 1BVM 1BVM BOE 1IFOHSFO 0TXBME TQJOOJOH Â´ T TPVM T

sunday 2 rock /Blues/hip-hop

â&#x20AC;&#x153;Benefit for the San Francisco Food Bank.â&#x20AC;?

film listings

classifieds

#PUUPN PG UIF )JMM QN 8PSLJOH GSPN )PNF %FC 5IPSQF %+T -FJTVSF "EEJDUT Otis Clay, Chick Rodgers "NPFCB QN GSFF Lisa Hannigan, John Smith 4MJNÂľT QN â&#x20AC;&#x153;Hardly Strictly Bluegrassâ&#x20AC;? 4QFFEXBZ .FBEPX (PMEFO (BUF 1BSL 4' XXX TUSJDUMZCMVFHSBTT DPN BN QN 8JUI #FMB 'MFDL %FWJM .BLFT 5ISFF #PC .PVME +BZIBXLT &NNZMPV )BSSJT BOE NPSF Jacuzzi Boys, Apache, Midnite Snaxxx )FNMPDL 5BWFSO QN Janeen Leah #SBJOXBTI 'PMTPN 4' XXX CSBJOXBTI DPN QN Redbush, Nerv, Culo a Boca )FNMPDL 5BWFSO QN Caitlin Rose, Emily Greene $BGF %V /PSE QN Toro Y Moi , Unknown Mortal Orchestra (SFBU "NFSJDBO .VTJD )BMM QN Gillian Welch 'JMMNPSF QN Queensryche 3FHFODZ #BMMSPPN QN CONTINUES ON PAGE 40 >>

SEPTEMBER 28 - OCTOBER 4, 2011 / SFBG.com

music listings SuN/2 CONT>>

jazz/new music

Blues Organ Party with Lavay Smith and Chris Siebert 3PZBM $VDLPP .JTTJPO 4' XXX SPZBMDVDLPP DPN QN GSFF Daria, David Bell, Alex Baum #MJTT #BS 4' XXX CMJTTCBSTG DPN QN Eldar Djangirov 'MPSFODF (PVME 5IFBUSF -FHJPO PG )POPS 4' XXX MFHJPOPGIPOPS GBNTG PSH 1N Rana Farhan :PTIJÂľT QN Four Strange Rivers Percussion Quartet .VTJDJBOÂľT 6OJPO )BMM /JOUI 4' XXX OPFSU LFS DPN. QN French and Kirby 4IFSNBO $MBZ .JTTJPO 4' XXX TIFSNBODMBZ DPN. QN Will and Anthony Nunziata 3SB[[ 3PPN

.BTPO 4' XXX SSB[[SPPN DPN QN Kally Price Old Blues and Jazz Band, Emporer Nortonâ&#x20AC;&#x2122;s Jazz Band "NOFTJB QN Wayne Shorter Quartet )FSCTU 5IFBUFS 7BO /FTT 4' XXX TGXNQBD PSH. QN

folk / world/country

Mana Maddy :PTIJÂľT -PVOHF QN Sunday Night Salsa 3BNQ 'SBODPJT 4' XXX GBDFCPPL DPN UIFSBNQTG QN â&#x20AC;&#x153;Twang Sundayâ&#x20AC;? 5IFF 1BSLTJEF QN GSFF 8JUI 4IPSU 'VTF .FBUTMBC 'FSBM %FQSBWJUZ

dance clubs

Batcave $BU $MVC QN %FBUI SPDL HPUI BOE QPTU QVOL XJUI 4UFFQMFSPU /FDSPNPT BOE D@EFBUI DJ Moxy .BTPO 4PDJBM )PVTF XXX NBTPOTPDJBMIPVTF DPN QN GSFF Dub Mission &MCP 3PPN QN %VC SPPUT BOE DMBTTJD EBODFIBMM XJUI %+ 4FQ 7JOOJF &TQBS[B BOE %+ * 7JFS

Jock -PPLPVU UI 4U 4' XXX MPPLPVUTG DPN QN 3BJTF NPOFZ GPS -(#5 TQPSUT UFBNT XIJMF FOKPZJOH %+T BOE ESJOL TQFDJBMT La Pachanga #MVF .BDBX .JTTJPO 4' XXX UIFCMVFNBDBXTG DPN QN 4BMTB EBODF QBSUZ XJUI MJWF "GSP $VCBO TBMTB CBOET

monday 3 rock /blues/hip-hop

Built by Stereo, Simon and the Fire Breathers, Meat Market, Younger Lovers #PUUPN PG UIF )JMM QN River Whyless, Brother Pacific, Beatbeat Whisper )FNMPDL 5BWFSO QN OMD 8BSGJFME QN Bob Schneider, Piers Faccini *OEFQFOEFOU QN Stringer Belle, Tori Roze and the Hot Mess, Mermaid Bones &MCP 3PPN QN

World/Inferno Friendship Society 3JDLTIBX 4UPQ QN

tuesday 4

jazz/new music

rock /blues/hip-hop

Al Son del Tunduki, Quijerema :PTIJÂľT QN Will and Anthony Nunziata 3SB[[ 3PPN .BTPO 4' XXX SSB[[SPPN DPN QN

dance clubs

Death Guild %/" -PVOHF QN (PUIJD JOEVTUSJBM BOE TZOUIQPQ XJUI +PF 3BEJP %FDBZ BOE .FMUJOH (JSM M.O.M. .BESPOF "SU #BS QN GSFF %+T 5JNPUFP (JHBOUF (PSEP $BCF[B BOE $ISJT 1IMFL QMBZJOH BMM .PUPXO FWFSZ .POEBZ Sausage Party 3PTBNVOEF 4BVTBHF (SJMM .JTTJPO 4' QN GSFF %+ %BOEZ %JYPO TQJOT WJOUBHF SPDL 3 # HMPCBM CFBUT GVOL BOE EJTDP BU UIJT IBQQZ IPVS TBVTBHF TIBDL HJH

Big D and the Kids Table, Have Nots, Invalids #PUUPN PG UIF )JMM QN Big Hurt, Days of High Adventure, Over the Falls &MCP 3PPN QN Dum Dum Girls, Crocodiles, Colleen Green (SFBU "NFSJDBO .VTJD )BMM QN Kate Fiano, Paula Boyd Sutor &M 3JP GSPOU SPPN QN GSFF Liam Finn, Marques Toliver *OEFQFOEFOU QN Hoax, Neo Cons, Yadokai )FNMPDL 5BWFSO QN Weapons of the Future, Atomic Mama, Penthouse &M 3JP CBDL SPPN QN

jazz/new music

Clairdee 3SB[[ 3PPN .BTPO 4' XXX SSB[[ SPPN DPN QN Kevin Mahogany :PTIJÂľT QN 2

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40 SAN FRANCISCO BAY GUARDIAN

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food + Drink

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9/28

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editorials

KITCHEN OPEN MON-SAT 8)*4,&: 8&%/&4%": 8*5) 5)&

Only individuals with legally recognized medical cannabis recommendations and/or identification cards may obtain marijuana from a medical dispensary.

picks

arts + culture

music listings

stage listings

5&26*-" 5&$"5& 0/-: 4$3&&/*/( "-- :063 '"7 )03303 '*-.4

BENDERS BAR & GRILL 806 S. VAN NESS @ 19TH 415.824.1800 MON-THU 4PM-2AM FRI-SUN 2PM-2AM WWW.BENDERSBAR.COM

on the cheap

film listings

classifieds

club list AMNESIA 853 Valencia (415) 970-0012 ARGUS LOUNGE 3187 Mission (415) 824-1447 ASIASF 201 Ninth St (415) 255-2742 ATLAS CAFE 3049 20th St (415) 648-1047 ATMOSPHERE 3 447 Broadway (415) 788-4623 BAMBUDDHA LOUNGE 601 Eddy (415) 885-5088 BAOBAB 3388 19th St (415) 643-3558 BEAUTY BAR 2299 Mission (415) 285-0323 BIMBO’S 365 CLUB 1025 Columbus (415) 474-0365 BISCUITS AND BLUES 401 Mason (415) 292-2583 BOLLYHOOD CAFé 3372 19th St (415) 970-0362 BOOM BOOM ROOM 1601 Fillmore (415) 673-8000 BOTTOM OF THE HILL 1233 17th St (415) 621-4455 BRICK AND MORTAR MUSIC HALL 1710 Mission www.brickandmortarmusic.com BROADWAY STUDIOS 435 Broadway (415) 291-0333 BRUNO’S 2389 Mission (415) 643-5200 CAFE COCOMO 650 Indiana (415) 824-6910 CAFé DU NORD 2170 Market (415) 861-5016 CASANOVA LOUNGE 527 Valencia (415) 863-9328 CAT CLUB 1190 Folsom (415) 431-3332 CLUB DELUXE 1509 Haight (415) 552-6949 CLUB 525 525 Howard (415) 339-8686 CLUB SIX 60 Sixth St (415) 863-1221 DALVA 3121 16th St (415) 252-7740 DELIRIUM 3139 16th St (415) 552-5525 DNA LOUNGE 375 11th St (415) 626-1409 DOLORES PARK CAFE 501 Dolores (414) 621-2936 DOUBLE DUTCH 3192 16th St (415) 503-1670

editorials

news

EDINBURGH CASTLE PUB 950 Geary (415) 885-4074 ELBO ROOM 647 Valencia (415) 552-7788. ELEMENT LOUNGE 1028 Geary (415) 571-1362 ENDUP 401 Sixth St (415) 357-0827 FILLMORE 1805 Geary (415) 346-6000 540 CLUB 540 Clement (415) 752-7276 FLUID ULTRA LOUNGE 662 Mission (415) 615-6888 GLAS KAT 520 Fourth St (415) 495-6626 GRANT AND GREEN 1371 Grant (415) 693-9565 GREAT AMERICAN MUSIC HALL 859 O’Farrell (415) 885-0750 HEMLOCK TAVERN 1131 Polk (415) 923-0923 HIFI 2125 Lombard (415) 345-TONE HOTEL UTAH SALOON 500 Fourth St (415) 546-6300 ICON ULTRA LOUNGE 1192 Folsom (415) 626-4800 INDEPENDENT 628 Divisadero (415) 771-1421 INFUSION LOUNGE 124 Ellis (415) 421-8700 IRELAND’S 32 3920 Geary (415) 386-6173 JOHNNY FOLEY’S 243 O’Farrell (415) 954-0777 KIMO’S 1351 Polk (415) 885-4535 KNOCKOUT 3223 Mission (415) 550-6994 LASZLO 2526 Mission (415) 401-0810 LEXINGTON CLUB 3464 19th St (415) 863-2052 MADRONE ART BAR 500 Divisadero (415) 241-0202 MAKE-OUT ROOM 3225 22nd St (415) 647-2888 MEZZANINE 444 Jessie (415) 625-8880 MIGHTY 119 Utah (415) 626-7001 MILK 1840 Haight (415) 387-6455 MISSION ROCK CAFé 817 Terry Francois (415) 626-5355 MOJITO 1337 Grant (415) 398-1120

food + Drink

NICKIE’S 466 Haight (415) 255-0300 111 MINNA GALLERY 111 Minna (415) 974-1719 PARADISE LOUNGE 1501 Folsom (415) 252-5018 PARKSIDE 1600 17th St (415) 252-1330 PIER 23 Pier 23 (415) 362-5125 PLOUGH AND STARS 116 Clement (415) 751-1122 POLENG LOUNGE 1751 Fulton (415) 441-1710 PUBLIC WORKS 161 Erie www.publicsf.com PURPLE ONION 140 Columbus (415) 217-8400 RASSELAS JAZZ 1534 Fillmore (415) 346-8696 RED DEVIL LOUNGE 1695 Polk (415) 921-1695 RED POPPY ART HOUSE 2698 Folsom (415) 826-2402 REGENCY BALLROOM 1300 Van Ness (415) 673-5716 RETOX LOUNGE 628 20th St (415) 626-7386 RICKSHAW STOP 155 Fell (415) 861-2011 EL RINCON 2700 16th St (415) 437-9240 EL RIO 3158 Mission (415) 282-3325 RIPTIDE BAR 3639 Taraval (415) 240-8360 ROCKIT ROOM 406 Clement (415) 387-6343 RRAZZ ROOM 222 Mason (415) 394-1189 RUBY SKYE 420 Mason (415) 693-0777 SAVANNA JAZZ 2937 Mission (415) 285-3369 SHANGHAI 1930 133 Steuart (415) 896-5600 SHINE DANCE LOUNGE 1337 Mission (415) 255-1337 SKYLARK 3089 16th St (415) 621-9294 SLIDE 430 Mason (415) 421-1916 SLIM’S 333 11th St (415) 255-0333 SOM. 2925 16th St (415) 558-8521 SPACE 550 550 Barneveld (415) 550-8286 STUD 399 Ninth St (415) 252-7883

picks

SUPPERCLUB 657 Harrison (415) 348-0900 TEMPLE 540 Howard (415) 978-9942 1015 FOLSOM 1015 Folsom (415) 431-1200 330 RITCH 330 Ritch (415) 541-9574 TOP OF THE MARK Mark Hopkins Intercontinental Hotel 1 Nob Hill (415) 616-6916 TUNNEL TOP 601 Bush (415) 986-8900 UNDERGROUND SF 424 Haight (415) 864-7386 VESSEL 85 Campton (415) 433-8585 WARFIELD 982 Market (415) 345-0900 YOSHI’S SAN FRANCISCO 1330 Fillmore (415) 655-5600

get tickets at yoshis.com

san francisco 1 3 3 0 f i l l m o r e s t. 4 1 5 - 6 5 5 - 5 6 0 0

YOSHI’S LOCAL TALENT SERIES

BAY AREA ANNA’S JAZZ ISLAND 2120 Allston Way, Berk (510) 841-JAZZ ASHKENAZ 1317 San Pablo, Berk (510) 525-5054 BECKETT’S 2271 Shattuck, Berk (510) 647-1790 FOX THEATER 1807 Telegraph, Oakl 1-800-745-3000 FREIGHT AND SALVAGE COFFEE HOUSE 1111 Addison, Berk (510) 548-1761 JUPITER 2181 Shattuck, Berk (510) THE-ROCK 924 GILMAN STREET PROJECT 924 Gilman, Berk (510) 525-9926 LA PEñA CULTURAL CENTER 3104 Shattuck, Berk (510) 849-2568 SHATTUCK DOWN LOW 2284 Shattuck, Berk (510) 548-1159 STARRY PLOUGH 3101 Shattuck, Berk (510) 841-2082 STORK CLUB 2330 Telegraph, Oakl (510) 444-6174 21 GRAND 416 25th St, Oakl (510) 444-7263 UPTOWN 1928 Telegraph, Oakl (510) 451-8100 YOSHI’S 510 Embarcadero West Jack London Square, Oakl (510) 2389200 2

arts + culture

Free Music in the Lounge! Thu-Sat 6-9pm

.....................................................

music listings

Thurs, Sept 29

YOUNg DUBLiNeRs Fri-Sat, Sept 30-Oct 1 An Evening with

earl KlUGH

Sun, Oct 2 An Evening with Persian Vocalist

RaNa FaRHaN

..............................................

Mon, Oct 3

QUiJeReMÁ with

cLassicaL ReVOLUtiON: al son del tunduki

WED

Tues, Oct 4

9/28

..............................................

keViN MaHOgaNY & His tRiO plus MOLLY JOHNsON

10pm $5

6:30-9pm EArLy Show

..............................................

Wed, Oct 5

MiNgUs aMUNgUs Thurs-Sat, Oct 6-8

FOURPLaY

Sun, Oct 9

4th aNNUaL FiLiPiNO-aMeRicaN JaZZ FestiVaL

oakland 510 embarcadero west, 510-238-9200

Wed, Sept 28 Scottish folk

OLD BLiND DOgs

..............................................

Thurs, Sept 29 Blues guitarist

tOMMY castRO

Fri-Sun, Sept 30-Oct 2

JaMes caRteR ORgaN tRiO Mon, Oct 3 Brazilian jazz chanteuse

thu 9/29

Wed 9/28 7:30pm $10

Kevin munRoe • TRevoR hill • ChRiS ThAyeR • mileS K • Ben KolinA 10pm no CoveR!

The WiTChing houR

BaaBa MaaL Fri-Sun, Oct 7-9

tHe New gaRY BURtON QUaRtet feat. Julian Lage, scott colley & antonio sanchez

Mon, Oct 10 The Duke of Bachata

JOaN sORiaNO

..............................................

punK, poST punK, neW WAve, Cold WAve, dARK WAve Thu 9/29 6pm no CoveR!

The houSe oF WindSoR

pSyChedeliC, KRAuT-RoCK, poST-punK An ShoegAze vinyl hoSTed By The duKe! 9pm FRee! ClASSiC diSCo, FunK, & Soul! FRi 9/30 7:30pm $10

ChuCK pRopheT And The miSSion expReSS pluS SpeCiAl gueSTS!

RARe gRoove/FunK/Soul/hip-hop & moRe SAT 10/1 7:30pm $10

ChuCK pRopheT And The miSSion expReSS pluS SpeCiAl gueSTS! eveRy SATuRdAy nighT! 10pm $5

el SupeRRiTmo!

CumBiA, dAnCehAll, SAlSA, hip-hop Sun 10/2

TBd

SpINNINg ‘60S SoUL 45’S

$10

(mEmbErS of ALbINo! AND AphroDESIA)

SATUrDAy NIghT SoUL pArTy wITh DJS

LUCKy, pAUL pAUL, phENgrEN oSwALD ($5 DISCoUNT IN SEmI-formAL ATTIrE)

10/2 9pm $6

DUb mISSIoN prESENTS

ThE bEST IN DUb, DUbSTEp, rooTS & DANCEhALL wITh

DJ SEp, VINNIE ESpArZA, DJ I-VIEr (JAh wArrIor ShELTEr h-fI)

MON 10/3 9pm $6

mAKe ouT FiRST mondAyS live JAzz!

Tue 10/4 6pm FRee!

poWeRpeARlS W/ dJ nASTy nATe 9:30pm no CoveR!

deep & SWeeT 60S Soul 45S

dJS luCKy & pRimo & FRiendS

$2 DrINK SpECIALS

STrINgEr bELLE,

TorI roZE & ThE hoT mESS (SANDIEgo),

mErmAID boNES tuE 9pm $6

WED

mon 10/3 8pm FRee!

10/5 9pm

ChAD STAb prESENTS

bIg hUrT,

DAyS of hIgh ADVENTUrE, oVEr ThE fALLS ELbo room prESENTS

bAr fIghT

(Ex-mEmbErS of ExTrEmE ELVIS & hAroLD rAy! LIVE IN CoNCErT)

ALohA SCrEwDrIVEr UpComINg:

ThU 10/6 AfroLICIoUS frI 10/7 120 mINUTES: SLEEpoVEr SAT 10/8 TormENTA TropICAL SUN 10/9 DUb mISSIoN: mUNgo’S hI fI & Soom T (U.K.) ADVANCE TICKETS

3225 22nd ST. @ miSSion SF CA 94110 415-647-2888 • www.makeoutroom.com classifieds

AfromASSIVE

sat

10/1

10pm

10/4

RogeR mAS y el Kool Kyle

film listings

ELbo room prESENTS

AND gUEST

looSe JoinTS!

loST & Found

on the cheap

AfroLICIoUS

fog DUb

suN

& tHe BaY aRea aLL staRs

stage listings

Afro-TropI-ELECTrIC-SAmbA-fUNK

$10

dJ melT W/u & dJ pSyChiC dAve

noRTheRn moveRS, SWeeT Soul melodieS

All shows are all ages. Dinner Reservations Recommended.

fri

FRiSCo diSCo!

Tues, Oct 11

JaZ sawYeR

rEUNIoN AND opEN mIC!

DJ moTIoN poTIoN (SUNSET) 10pm

dJ evey-e & dJ miSS pop!

W/ dJS Tom Thump, dAmon Bell & CenTipede

Wed-Thur, Oct 5-6

mUNI DIArIES

SpECIAL gUEST

9/30

Tues, Oct 4

saMDHi

wITh DJS

NAKo, omAr, JUSTIN

pLEASUrEmAKEr & SENor oZ

pACo RomAne’S hilARiouS Comedy ShoW!

PattY ascHeR

RUDResH MaHaNtHaPPa:

CLUb ShUTTEr

9:30pm wITh DJS/hoSTS: $5

The RomAne evenT

eveRy FRidAy 10pm $5

..............................................

ELbo room prESENTS

www.browNpApErTICKETS.Com ELbo room IS LoCATED AT 647 VALENCIA NEAr 17Th

SEPTEMBER 28 - OCTOBER 4, 2011 / SFBG.com

sTAGE lIsTINGs

for more visit sfbg.com

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THEATER oPENING

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oNGoING

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42 SAN FRANCISCO BAY GUARDIAN

editorials

news

food + Drink

picks

arts + culture

BT XFMM BT IFS MPWJOH NPUIFS IFS CPVOEJOH BOE CJH IFBSUFE GBUIFS XJUI IJT QSJDFMFTT 1FSTJBO BDDFOU BOE IFS HPPE OBUVSFE CVU SFDBMDJUSBOU CPZGSJFOE /PPSCBLITI DFMFCSBUFT UIF JNNJHSBOU FYQFSJFODF XIJMF CFBUJOH CBDL UIF BHFµT QFSOJ DJPVT BQQFBM UP TUFSFPUZQF BOE YFOPQIPCJB XJUI UIF GBS NPSF SFBMJTUJD NFUBQIPS PG B OJDF DSB[Z GBNJMZ EJOOFS "WJMB

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music listings

stage listings

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monday 3 First Monday Movies: High Sierra &YDFMTJPS #SBODI -JCSBSZ .JTTJPO 4' XXX TGQM PSH Q N GSFF 4FUUMF JOUP UIF

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for more visit sfbG.cOm/pixel_visiOn MBNFOUT PQFSB BOE NPSF "DUPS UVSOFE EJSFD UPS 5VSUVSSP ± UIF #SPPLMZO CPSO TPO PG *UBMJBO JNNJHSBOU QBSFOUT ± EPFTOµU SFBMMZ QSPWJEF B TUSVDUVSF TP NVDI BT TJNQMZ MFU UIF QFSGPSNBOD FT NPTU PG XIJDI BSF TUBHFE JO PSHBOJD TFUUJOHT GMPX 'BOT PG *UBMJBO QPQVMBS NVTJD NJHIU SFDPH OJ[F TPNF PG UIF TJOHFST CVU NPTU XJMM CF VOGB NJMJBS UP TUBUFTJEF WJFXFST 5IF NBKPSJUZ PG UIF TPOHT PGGFS TVCUJUMFT CVU FWFO UIF POFT UIBU EPOµU BSF TP PWFS UIF UPQ UIBU UIFJS NFBOJOHT VTVBMMZ IBWJOH UP EP XJUI BOHVJTI MPWF PS UIF BOHVJTI PG MPWF BSF FBTZ UP EFDJQIFS 5VSUVSSP JT TDIFEVMFE UP BQQFBS JO QFSTPO BU UIF GJMNµT .PO FWFOJOH TDSFFOJOHT DIFDL XXX TGGT PSH GPS VQEBUFT SFFS New People Cinema. &EEZ

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Abduction 1000 Van Ness. The Black Power Mixtape 1967-1975 $JOFNBUJD DSBUF EJHHFST IBWF QMFOUZ UP DFM FCSBUF DIFDLJOH UIF SFTVMUT PG The Black Power Mixtape 1967-1975 4XFEJTI EPDVNFOUBSJBO (zSBO )VHP 0MTTPO IBE IFBSE XIJTQFST GPS ZFBST UIBU 4XFEJTI UFMFWJTJPO BSDIJWFT QPTTFTTFE NPSF BSDIJWBM GPPUBHF PG UIF #MBDL 1BOUIFST UIBO BOZPOF JO UIF TUBUFT ± XIJMF QPSJOH UISPVHI GJMN GPS B EPD PO 1IJMMZ TPVM IF EJTDPWFSFE UIF SVNPST XFSF EFBE PO 8JUI UIJT MZSJDBM GJMN DPQSPEVDFE CZ UIF #BZ "SFBµT %BOOZ (MPWFS 0MTTPO IBT BTTFNCMFE BO FMFHBOU TOBQTIPU PG CMBDL BDUJWJTUT BOE VSCBO MJGF JO "NFSJDB SFMZJOH PO UIF WJWJE TUBSUMJOHMZ DSJTQ JNBHFT PG GJHVSFT TVDI BT 4UPLFMZ $BSNJDIBFM BOE )VFZ 1 /FXUPO BU UIFJS QFBL XIJMF TUBZJOH USVF UP UIF XJEF PQFO SFGSFTIJOHMZ OPOKVEHNFOUBM MFOT PG UIF 4XFEJTI DBNFSB DSFXT 2VFTUMPWF PG UIF 3PPUT BOE 0Nµ.BT ,FJUI QSPWJEF UIF IBVOUJOH TDPSF GPS UIF GJMN CFBVUJGVM MZ IJTUPSJDJ[FE XJUI TIPUT PG 0BLMBOE JO UIF T BOE )BSMFN JO UIF ´ T *UµT NBEF JOEFMJCMF UIBOLT UP GPPUBHF PG QSPUP 1BOUIFS TDIPPM LJET TJOHJOH TPOHT BCPVU HSBCCJOH UIFJS HVOT BOE BO VOGPSHFUUBCMF JOUFSWJFX XJUI B GJFSZ "OHFMB %BWJT UBMLJOH BCPVU UIF VTFT PG WJPMFODF GSPN CFIJOE CBST BOE GSPN UIF QMBDF PG QFSTPOBMMZ LOPXJOH UIF HJSMT XIP EJFE JO UIF JOGBNPVT #JSNJOHIBN "MB DIVSDI CPNCJOH PG Embarcadero, Piedmont, Shattuck. $IVO

Circumstance Opera Plaza, Shattuck. City of Life and Death Four Star. Contagion California, 1000 Van Ness, Sundance Kabuki. Crazy, stupid, Love SF Center, Shattuck. The Debt Four Star, 1000 Van Ness, Presidio, Sundance Kabuki. Detective Dee and the Mystery of the Phantom Flame Embarcadero, Four Star, Shattuck, Sundance Kabuki. Dolphin Tale 1000 Van Ness, Presidio, SF Center. Drive 4VDI B MPWFMZ XBZ UP Drive ESVOL PO UIF TFOTVBM EFQUIT PG B MVTI TBUVSBUFE KFXFM UPOF QBMFUUF BOE B ESFBNMJLF BMNPTU MVYVSJPVT QBDJOH UIBU HJWFT PGG UIF TUFBNZ IPUIPVTF QPQ SPNBOUJDJTN PG ´ T FSB .JDIBFM .BOO BOE %BWJE -ZODI ± XJUI UIF CSBDJOH JNQBDUGVM GMFDLT PG UISFBU BOE VMUSBWJPMFODF UIBU NJHIU BDDPNQBOZ B DBS DIBTF B NPPEZ OPJS PS CPUI BT GJMUFSFE UISPVHI B GJSTU XBWF NVTJD WJEFP Drive DPNFT ESFTTFE JO UIF LMBTTJD LPNGPSUT ± GSPN UIF 4UFWF .D2VFFO FTRVF TUBODFT BOE QFS GFDUMZ DVU KBDLFUT PG 3ZBO (PTMJOH BT UIF %SJWFS 8IP 4IBMM 3FNBJO /BNFMFTT UP UIF GPSFCPEJOH MJOHFSJOH JO UIF TIBEPXT BOE UIF XJUUJMZ TUBUJD TUBUVFTRVF TUSJQQFST UIBU EFDPSBUF UIF CBDL HSPVOE (PTMJOHµT %SJWFS JT JO MJOF XJUI .BOOµT PUIFS VQTUBOEJOH XPSLJOH NFO XIP IFX UP BO PME TDIPPM NPSBM DPEF BOE BSF FYDFMMFOU BU XIBU UIFZ EP SFHBSEMFTT PG XIBU TJEF PG UIF MBX UIFZµSF XPSLJOH IF MJLFT UP LFFQ JU DMFBS BOE TJNQMF ± IJT TFSWJDFT BT B XIFFMNBO CPJM EPXO UP GJWF NJOVUFT JO BOE PVU ± CVU NBUUFST HFU NFTTZ XIFO IF GBMMT GPS TXFFU GBDFE OFJHICPS *SFOF $BSFZ .VMMJHBO XIP MJWFT EPXO UIF IBMM XJUI IFS TNBMM TPO BOE IFS FY DPO IVTCBOE 0TDBS *TBBD JT ESBHHFE CBDL JOUP UIF HBNF 1PQVMBUFE CZ QVOHFOU TJEF QMBZFST MJLF "MCFSU #SPPLT #SZBO $SBOTUPO 3PO 1FSMNBO BOE $ISJTUJOB )FOESJDLT BOE TDBUUFSFE XJUI SFBEJMZ FNCFE EBCMF NPNFOUT MJLF B MJGF DIBOHJOH FMFWBUPS LJTT UIBU HPFT CMPPEJMZ XSPOH SJHIU Drive UVSOT JOUP B SFBM DPNJOH PVU BGGBJS GPS CPUI %BOJTI EJSFDUPS /JDPMBT 8JOEJOH 3FGO µT Bronson XIP SJTFT BCPWF BOZ DSJTJT PG JOGMVFODF PS DPOGMVFODF PG HFOSF UP QJDL VQ UIF QP NP CBUPO UIBU -ZODI MFGU CFIJOE BOE µT .71 3ZBO (PTMJOH XIP

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QBJOUFS 1FUFS #SVFHFMµT TQSBXMJOH DBOWBT The Procession to Calvary UP MJGF BUUFNQUT UP EP KVTU UIBU .BKFTXLJ CPUI SF TUBHFT #SVFHFMµT QBJOUJOH XIJDI ESBXT QBSBMMFMT CFUXFFO JUT EFQJDUJPO PG $ISJTU FO SPVUF UP IJT DSVDJGJYJPO BOE UIF QFSTFDVUJPO PG 'MFNJTI DJUJ[FOT CZ UIF 4QBOJTI JORVJTJUJPOµT NJMJUJB JO TUVOOJOH tableaux vivant UIBU DPNCJOF CMVFTDSFFO UFDIOPM PHZ BOE TUBHF CBDLESPQT BOE HJWFT CBDL TUPSJFT UP B EP[FO PS TP PG JUT GJHVSFT 1FSJPEJDBMMZ #SVFHFM IJNTFMG 3VUHFS )BVFS BEESFTTFT UIF DBNFSB NJE TLFUDI UP EPMFGVMMZ FYQMBJO UIF BMMFHPSJDBM OBUVSF PG IJT XPSL CVU UIFTF QFEBOUJD BTJEFT TQFBL MFTT GPSDFGVMMZ UIBO .BKFTXLJµT CFBVUJGVMMZ MJU WJHOFUUFT PG UIF TNBMM KPZT BOE NBOZ IBSETIJQT UIBU DPNQSJTFE FWFSZEBZ MJGF JO UIF UI DFOUVSZ #FHVJMJOH ZFU XIPMMZ BCTPSCJOH Embarcadero, Shattuck. 4VTTNBO

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HFUT UP GMFY IJT MFBEJOH NBO NVTDMFT JO B USVMZ DJOFNBUJD SPMF BO BOUJ IFSP BOE VOEFS UIF IPPE QTZDIPQBUI MPPLJOH GPS UIF SFBM IFSP XJUIJO Marina, 1000 Van Ness, SF Center, Sundance Kabuki. $IVO

Farmageddon 'JSTU UJNF EJSFDUPS ,SJTUJO $BOUZ FNCBSLFE PO UIJT EPDVNFOUBSZ BGUFS EJTDPWFS JOH UIF IFBMJOH QPXFS PG SBX NJML JO IFMQJOH IFS DIJMEÂľT BMMFSHJFT "OE JU TIPXT Farmaggedon SFBMMZ TIPVME IBWF CFFO UJUMFE A Raw Deal for Raw Milk DPOTJEFSJOH JUT QSJNBSZ GPDVT PO TFWFSBM TNBMM GBNJMZ PQFSBUFE EBJSJFT BOE UIF TPVSJOH USFBUNFOU UIFZ IBWF SFDFJWFE GSPN HPWFSONFOU CVSFBVDSBUT TQVSSJOH $BOUZÂľT BDUJW JTU BDU PG NBLJOH UIJT NPWJF -BSSZ BOE -JOEB 'BJMBDF PG 5ISFF 4IFQIBSEÂľT $IFFTF JO 7FSNPOU UIF MBUUFS XSPUF IFS PXO CPPL ÂľT Mad Sheep: The True Story Behind the USDAâ&#x20AC;&#x2122;s War on a Family Farm TFFN UP IBWF TVGGFSFE UIF NPTU ESJWFO PVU PG CVTJOFTT XIFO UIF TIFFQ UIFZ CSPVHIU PWFS MFHBMMZ XJUI BMM UIF SFRVJSFE RVBSBOUJOFT XFSF TFJ[FE BOE EFTUSPZFE CZ UIF HPWFSONFOU BHFOUT PO UIF QSFUFYU UIBU UIF BOJNBMT NJHIU TQSFBE Â˛NBE DPXÂł EJTFBTF 5IF TJHIU PG -JOEB 'BJMBDF CSFBLJOH JOUP UFBST SFBEJOH IFS EBVHIUFSÂľT XPSET BCPVU IPX UIF TIFFQ XFSF MJLF IFS CSPUIFST BOE TJTUFST JT IFBSU CSFBLJOH 6OEFSNJOJOH TVDI QPXFSGVM PVUSBHFPVT NBUF SJBM BSF $BOUZÂľT UFYUCPPL NJTTUFQT UIF EJSFDUPS IBT NBKPS QSPCMFNT PSHBOJ[JOH IFS TFFNJOHMZ TDBUUFSTIPU MPQTJEFE NBUFSJBM JOUP B DPIFSFOU BOE FS PSHBOJD XIPMF BOE MFUT IFS NBOZ TPVSDFT ESPOF PO XJUIPVU B TUSPOH OBSSBUJWF UISPVHI MJOF "MM PG UIJT NBLFT Farmaggedon B CJU PG B TUSVHHMF UP XBUDI BMUIPVHI UIF EJSU $BOUZ EJHT VQ JT MJLFMZ UP KVTUJGJBCMZ SBJTF UIF IBDLMFT PG QSPHSFTTJWF GPPEJFT Roxie, Smith Rafael. $IVO

The Future Roxie. The Guard Lumiere, Shattuck, Sundance Kabuki. The Hedgehog Smith Rafael. The Help California, 1000 Van Ness, SF Center, Sundance Kabuki. I Donâ&#x20AC;&#x2122;t Know How She Does It 1000 Van Ness. Killer Elite 1000 Van Ness, Presidio. The Lion King 3D SF Center, Shattuck, Sundance Kabuki. Love Crime Albany, Clay, Smith Rafael. Mary Lou Castro. Midnight in Paris Albany, Embarcadero, Four Star, Piedmont. Moneyball "T GVO BT JU JT UP XBUDI #SBE 1JUU MJT UFO UP UIF SBEJP XPSL PVU IBOH PVU XJUI IJT DVUF LJE BOE ESJWF EPXO * PWFS BOE PWFS BHBJO JU EPFTOÂľU RVJUF USBOTMBUF JOUP DPNQFMMJOH DJOFNB GPS UIF DBTVBM CBTFCBMM GBO " XIPMFTBMF CVZ JO UP UIF DVMU PG QFSTPOBMJUZ Âą CF JU "ÂľT NBOBHFS #JMMZ #FBOF PS UIF BDUPS XIP QMBZT IJN Âą JT BU UIF DFO UFS PG MoneyballÂľT JTTVFT #FBOF 1JUU JT GBDJOH UIF TBE JOFWJUBCMF GBUF PG IBWJOH UP SFQMBDF IJT TUBS QMBZFST +BTPO (JBNCJ BOE +PIOOZ %BNPO PODF UIFZ DPNNBOE UIF DBTI GSPN UIF NPSF NPOFZFE UFBNT )FÂľT HPUUB UIJOL PVUTJEF PG UIF DPSQPSBUF CPY BOE IF GJOET B GFX LFZ BOTXFST JO 1FUFS #SBOE B L B 1BVM %F1PEFTUB QMBZFE CZ +POBI )JMM XIPÂľT XPSLJOH XJUI UIF TBCFSNFUSJD JEFBT PG #JMM +BNFT TDPVU UIF VOEFSWBMVFE QMBZFST UIBU HFU PO CBTF UP XPSL BHBJOTU CFUUFS GVOEFE CJH IJUUFST 4JNJMBSMZ BHBJOTU QPQVMBS UIPVHIU Moneyball XPSLT CFTU XIFO EJSFDUPS #FOOFUU .JMMFS ÂľT Capote TUSBZT GSPN UIF TMJHIUMZ GMBUUFOJOH TVOOJOFTT PG JUT MFBE BDUPS BOE QMVOHFT JOUP UIF OVNCFS DSVODIJOH Âą BUUFNQU JOH UP WJTVBMJ[F UIF BCTUSBDU BOE UBQQJOH JOUP UIF %BWJE 'JODIFS OFUXPSL BT JU XFSF JO B SFMBUFE OPUF "BSPO 4PSLJO DP XSPUF MoneyballÂľT TDSFFOQMBZ Âą UIPVHI UIF GVOOZ BOUJ DIFNJTUSZ CFUXFFO 1JUU BOE )JMM JT BU UJNFT DBQBCMF PG QVMM JOH Moneyball PVU PG JUT TMVNQ Marina, 1000 Van Ness. $IVO

Mozartâ&#x20AC;&#x2122;s Sister Bridge, Shattuck, Smith Rafael. My Afternoons with Margueritte Embarcadero, Shattuck. Point Blank Opera Plaza. Rise of the Planet of the Apes 1000 Van Ness, SF Center. Sarahâ&#x20AC;&#x2122;s Key Opera Plaza. Senna Opera Plaza, Smith Rafael. Shaolin SFFS New People Cinema. Straw Dogs 1000 Van Ness, SF Center.

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SEPTEMBER 28 - OCTOBER 4, 2011 / SFBG.com

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3 1 Sundance Kabuki. The Tree of Life Lumiere. 1Warrior SF Center. We Were Here 3FBHBO JTOÂµU NFOUJPOFE 1 JO %BWJE 8FJTTNBOÂµT JNQPSUBOU BOE NPW JOH OFX EPDVNFOUBSZ BCPVU 4BO 'SBODJTDPÂµT

FBSMZ SFTQPOTF UP UIF "*%4 FQJEFNJD We Were Here â&#x20AC;&#x201D; BMUIPVHI IJT DPNNVOJDBUJPOT EJSFDUPS 1BU #VDIBOBO BOE .PSBM .BKPSJUZ MFBEFS +FSSZ 'BMXFMM HFU TQMJU TFDPOE SFGFSFODFT We Were Here JTOÂµU B QPMJUJDBM QPMFNJD BCPVU UIF MBDL PG HPWFSONFOUBM TVQQPSU UIBU HSFFUFE UIF POTFU PG UIF EJTFBTF /PS JT JU B LJOE PG DJOFNBUJD And the Band Played On UIBU FYIBVTUJWFMZ MBZT PVU BMM UIF IJTUPSJDBM BOE NFEJDBM NJOVUJBF PG )*7ÂµT EBXO 4FF 1#4 'SPOUMJOFÂµT FOHSPTTJOH

The Age of AIDS GPS UIBU "OE ZPVÂµMM GJOE WJSUV BMMZ OPUIJOH BCPVU UIF JOGFDUFE XPSME PVUTJEF UIF 6OJUFE 4UBUFT " TBUJTGZJOH NJOVUF EPDV NFOUBSZ DPVMEOÂµU QPTTJCMZ DPWFS BMM UIF BTQFDUT PG "*%4 PG DPVSTF FWFO UIF MPDBM POFT *OTUFBE 8FJTTNBOÂµT GJMN DPEJSFDUFE XJUI #JMM 8FCFS DPODFOUSBUFT NPTUMZ PO "*%4 JO UIF T BOE UFMMT B NPSF QFSTPOBM BOE JO JUT XBZ NPSF DPO USPWFSTJBM TUPSZ 8IBU IBQQFOFE JO 4BO 'SBODJTDP XIFO HBZ QFPQMF TUBSUFE NZTUFSJPVTMZ XBTUJOH BXBZ "OE IPX EJE UIF FQJEFNJD DIBOHF UIF QFP QMF XIP MJWFE UISPVHI JU 5IF UBMFT BSF XFMM UPME BOE FYQFSUMZ XPWFO UPHFUIFS BT JO 8FJTTNBOÂµT FBSMJFS EPD The Cockettes #VU XIFSF We Were Here SFBMMZ IJUT IPNF JT JO JUT GPSFHSPVOEJOH PG NBOZ VOTQPLFO PS CVSJFE USVUIT BCPVU "*%4 5IF GJMN XJMM BGGFDU WJFXFST PO B EFFQ MFWFM QFSIBQT BMMPXJOH NBOZ UP XFFQ PQFOMZ BCPVU XIBU IBQ QFOFE GPS UIF GJSTU UJNF #VU JUÂµT B UFTUJNPOZ BT XFMM UP UIF BCTPMVUF DSB[JOFTT PG MJGF BOE UIF TUSBOHF QMBDFT JU DBO UBLF ZPV Â± JG ZPV TVSWJWF JU Castro. .BSLF # 2

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Passione, JoHn TURTURRoâ&#x20AC;&#x2122;S MUSiCAL TRiBUTE To nAPLES, iTALY, oPEnS FRi/30 AT THE SAn FRAnCiSCo FiLM SoCiETY | nEW PEoPLE CinEMA. COurTesy Of saN fraNCisCO film sOCieTy

5IF GPMMPXJOH JT DPOUBDU JOGPSNBUJPO GPS #BZ "SFB GJSTU SVO UIFBUFST Balboa UI "WF #BMCPB XXX CBMCPBNPWJFT DPN Bridge (FBSZ #MBLF Century Plaza /PPS PGG &M $BNJOP 4PVUI 4' Century 20 +VOJQFSP 4FSSB +PIO %BMZ %BMZ $JUZ Clay 'JMMNPSF $MBZ Embarcadero Center Cinema &NCBSDBEFSP $FOUFS QSPNFOBEF MFWFM Empire 8FTU 1PSUBM 7JDFOUF Four Star $MFNFOU SE "WF Kabuki Cinema 1PTU 'JMMNPSF Lumiere $BMJGPSOJB 1PML Marina Theatre $IFTUOVU XXX MOUTG DPN NBSJOB@UIFBUSF Metreon 'PVSUI 4U .JTTJPO '"/%"/(0 Metro 6OJPO 8FCTUFS 1000 Van ness 7BO /FTT opera Plaza 7BO /FTT (PMEFO (BUF Presidio $IFTUOVU San Francisco Film Society ] new People Cinema 1PTU XXX TGGT PSH SF Centre .JTTJPO CFUXFFO 'PVSUI BOE 'JGUI TUT Stonestown UI "WF 8JOTUPO Vogue 4BDSBNFOUP 1SFTJEJP

oAKLAnD grand Lake (SBOE 0BLM Jack London Stadium 8BTIJOHUPO +BDL -POEPO 4RVBSF 0BLM Piedmont 1JFENPOU TU 4U 0BLM

BERKELEY AREA Albany 4PMBOP "MCBOZ AMC Bay Street 16 4IFMMNPVOE &NFSZWJMMF California ,JUUSFEHF 4IBUUVDL #FSL Cerrito 4BO 1BCMP &M $FSSJUP Emery Bay $ISJTUJF &NFSZWJMMF Rialto Cinemas Elmwood $PMMFHF "WF BU "TICZ #FSL Shattuck Cinemas 4IBUUVDL #FSL UA Berkeley 4IBUUVDL #FSL 2

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DAVID WEISSMAN AND BILL WEBERâ&#x20AC;&#x2122;S We Were Here, ABOUT THE IMPACT OF THE AIDS EPIDEMIC ON SAN FRANCISCO, RETURNS TO THE CASTRO THEATRE FRI/30. | photo by crawford barton

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FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0337958-00 The following person is doing business as Artists Moving ,1383 Minna Street, San Francisco, CA 94107. This business is conducted by an Individual. Registrant commenced business under the abovelisted fictitious business name on the date 9/1/2011. Signed by Thomas Flanagan. This statement was filed by Susanna Chin on September 1, 2011. L#113447., September 7, 14, 21 and 28th 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338045-00 The following person is doing business as Plume & Ledger, 625 8th Ave., San Francisco, CA 94118. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date September 7, 2011. Signed by Patricia Le. This statement was filed by Magdalena Zevallos on September 7, 2011. L#113449., September 14, 21, 28 and October 5th 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338127-00 The following person is doing business as Universal Dreamcatcher, 50 Argonaut Ave, San Francisco, CA 94134. This business is conducted by an individaul. Registrant commenced business under the above-listed fictitious business name on the date September 8, 2011. Signed by Artem Moshke. This statement was filed by Maribel Jaldon on September 8, 2011. L#113451., September 14, 21, 28 and October 5th 2011

FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0337401-00 The following person is doing business as Fernandez Landscaping ,310 Hamilton St #1, San Francisco, CA 94134. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date August 4, 2011. Signed by Jesus Fernandez Prerez. This statement was filed by Mariedyne L. Argente on August 4, 2011. L#113448., September 14, 21, 28 and October 5th 2011

FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0338177-00 The following person is doing business as Properties Unlimited, 846 Kansas Street, San Francisco, CA 94107. This business is conducted by an individaul. Registrant commenced business under the above-listed fictitious business name on the date April 21, 2003. Signed by Alyce Cardinale. This statement was filed by Jennifer Wong on September 12, 2011. L#113452., September 14, 21, 28 and October 5th 2011

FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0337520-00 The following person is doing business as Pets Be Friends, 995 Stenier St., San Francisco, CA 94117. This business is conducted by an Individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed by Shane Robert Griffith This statement was filed by Jennifer Wong on August 11, 2011. L#113444., September 7, 14, 21 and 28th 2011

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news

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NOTICE OF APPLICATION TO SELL ALCOHOLIC BEVERAGES Date of Filing Application: September 16, 2011. To Whom It May Concern: The name of the applicant is: Bay Breakers LLC . The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: 1795 Geary Blvd., San Francisco CA 941153714. Type of License Applied for: 41 - ON-SALE BEER AND WINE - EATING PLACE . Publication dates: September 28, 2011 L#113457 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11547977. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Anna Sophia Castillo for change of name. TO ALL INTERESTED PERSONS: Petitioner Anna Sophia Castillo filed a petition with this court for a decree changing names as follows: Present Name: Anna Sophia Castillo. Proposed Name: Ana Sofia Castillo . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: October 20, 2011. Time: 9:00 AM room - 514. Signed by Ellen Chaitin, Presiding Judge on August 9, 2011. Endorsed Filed San Francisco County Superior Court on August 9, 2011 by Param Natt, Deputy Clerk. Publication dates: September 21, 28, October 5, 12 2011. L#113429

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ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11548039. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Marthese Irene Espinoza for change of name. TO ALL INTERESTED PERSONS: Petitioner Marthese Irene Espinoza filed a petition with this court for a decree changing names as follows: Present Name Marthese Irene Espinoza. Proposed Name: Marthese Irene Marina-Espinoza . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: November 3, 2011. Time: 9:00 AM room - 514. Signed by Ellen Chaitin, Presiding Judge on August 29, 2011. Endorsed Filed San Francisco County Superior Court on August 29, 2011 by Dennis Toyama, Deputy Clerk. Publication dates: September 7, 14, 21 and 28th, 2011. L#113441 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11548049. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Joshua James Smith for change of name. TO ALL INTERESTED PERSONS: Petitioner Joshua James Smith filed a petition with this court for a decree changing names as follows: Present Name Joshua James Smith. Proposed Name: Joshua James Hepburn. THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: November 10, 2011. Time: 9:00 AM room - 514. Signed by Ellen Chaitin, Presiding Judge on September 1, 2011. Endorsed Filed San Francisco County Superior Court on September 1, 2011 by Deputy Clerk. Publication dates: September 7, 14, 21 and 28th, 2011. L#113442 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11548084. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Charles Laurence Ward for change of name. TO ALL INTERESTED PERSONS: Petitioner Charles Laurence Ward filed a petition with this court for a decree changing names as follows: Present Name Charles Laurence Ward. Proposed Name: Charles Laurence Ward - Harshaw Jr.. THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: November 29, 2011. Time: 9:00 AM room - 514. Signed by Ellen Chaitin, Presiding Judge on September 14, 2011. Endorsed Filed San Francisco County Superior Court on September 14, 2011 by Deputy Clerk. Publication dates: September 28, October 5, 12 and19th, 2011. L#113454 ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11548113. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Charles Laurence Ward for change of name. TO ALL INTERESTED PERSONS: Petitioner Randolph Dean Dinwiddie filed a petition with this court for a decree changing names as follows: Present Name Randolph Dean Dinwiddie. Proposed Name: Remington Dean . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: December 6, 2011. Time: 9:00 AM room - 514. Signed by Ellen Chaitin, Presiding Judge on September 22, 2011. Endorsed Filed San Francisco County Superior Court on September 22, 2011 by Param Natt Deputy Clerk. Publication dates: September 28, October 5, 12 and19th, 2011. L#113455

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ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11548114. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Charles Laurence Ward for change of name. TO ALL INTERESTED PERSONS: Petitioner San Shwe Kine Dinwiddie filed a petition with this court for a decree changing names as follows: Present Name San Shwe Khine Dinwiddie. Proposed Name: Clover Temple - Dean . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: December 6, 2011. Time: 9:00 AM room - 514. Signed by Ellen Chaitin, Presiding Judge on September 22, 2011. Endorsed Filed San Francisco County Superior Court on September 22, 2011 by Param Natt Deputy Clerk. Publication dates: September 28, October 5, 12 and19th, 2011. L#113456

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