Volume 42 [2007–08]

Nude Beaches 2008

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Editor’s Notes

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› tredmond@sfbg.com

Look, I get the gun thing. I started shooting a .22 rifle in third grade, and by the time I was 11 I had a gold National Rifle Association Sharpshooter medal on my wall. Even in my advanced, protogeriatric condition, I can still pop the logo on a Budweiser can at 50 feet; I did it two months ago, in upstate New York, with my nephew and namesake, who is a proud teenage redneck. Tim lives in a small town, wears camo, smokes the adults at paintball, and loves his firearms.

My brother, his dad, goes along with this reluctantly — in his household, there are very strict rules about gun use. The .22 and the .177 have trigger locks, and my brother keeps the only key in his pocket. The ammunition is locked up separately. And he has informed his son that anything you kill, you eat — which discourages any potshots at squirrels and birds. I can live with that.

I also have a friend in San Francisco who hunts, and I’m more than happy to go to his annual pig roast and consume the sweet, juicy, wonderful wild boar he pegged in Sonoma County.

So I get it. There are people who love target shooting, and since I was one of them many years ago, I understand. There are people who think it’s cool to go shoot a pig or a turkey or a duck and take it home for supper: since I think it’s one of the world’s great experiences to catch a bass or a trout and do the same thing, it’s hard to be critical.

But the United State Supreme Court decision last week wasn’t about my nephew’s .22 or my friend Rich’s hunting rifle. It was about whether cities can do anything remotely at all meaningful to keep 14-year-olds from shooting each other on the streets.

It’s about whether kids in Hunters Point and the Western Addition will live to graduate from high school. It’s about whether the desperate young people who are doing robberies in the Mission District and Bernal Heights will wind up shooting someone and spending the rest of their lives in prison over a bag of groceries and a hundred bucks. It’s about whether someone the age of my kindergarten daughter will take a bullet in the head one night and die from the crossfire while she’s asleep in bed.

Let’s face it: this is about handguns and assault rifles, about weapons that have very little use in hunting, that are rarely part of any sporting tradition, and that exist almost entirely for the purpose of killing other human beings.

The unnamed man who is suing — with the NRA’s money — to win the right to own a handgun in San Francisco public housing claims he needs a weapon to defend himself. I’ve been studying self-defense for 17 years now, and let me tell you a not-so-secret fact: guns are a terrible method of protection. If you own a gun in a city, the odds are far better that it will kill you or a loved one than that it will save your life. Guns don’t deter crime; they encourage crime.

And for my dear friends on the left who say that the Second Amendment protects us all from government repression, let me politely suggest that if the Marines invade San Francisco, the pistol in your attic won’t be much help.

City Attorney Dennis Herrera is fighting back on the NRA lawsuit, aggressively. He has to keep it up; this is madness.

Peskin for DCCC chair

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EDITORIAL The San Francisco Democratic County Central Committee was the sleeper election in June: The Mark Leno–Carole Migden–Joe Nation contest for state Senate got a lot of attention, and the Bayview–Hunters Point redevelopment project got a huge amount of money, but only a small percentage of the voters got to the bottom of the ticket and chose the 24 people who will set policy for the local Democratic Party for the next two years. But a progressive slate won a significant number of seats. Now the DCCC has become a heated political battleground, with two candidates vying to become party chair.

The incumbent, Scott Wiener, leans toward the more moderate wing of the party, although he’s taken progressive stands on some issues. The challenger, Sup. Aaron Peskin, has the strong backing of many progressives.

The race has gotten a bit nasty: Sup. Chris Daly, a Peskin supporter, has sent out e-mail threatening the political future of committee members who don’t vote the right way. Both sides are lobbying furiously, with Leno helping Wiener and progressive leaders pushing Peskin. Right now it’s too close to call the election, which takes place later this month.

We’re not happy with the level of animosity here. We recognize that this isn’t the presidency of the United States, and that, thanks to the influence of the reform slate, the DCCC chair is no longer as powerful a position as it was in the days when the late Phil Burton and former Mayor Willie Brown controlled the party with an iron hand. And with the committee this closely split, neither candidate will be able to run an effective party operation this fall without working with both sides. So this shouldn’t be a political bloodbath.

We also recognize that neither candidate is perfect. We’ve disagreed with Peskin on a number of key issues, including Home Depot, and frankly, it’s not ideal to have the president of the Board of Supervisors also running the local Democratic Party.

But like any political contest, this ought to be decided on the issues — and on the future of the San Francisco Democratic Party. And Peskin is the clear choice.

If the DCCC did nothing but raise money, register voters, and push Democratic candidates, this wouldn’t be such an important fight. Weiner has done a perfectly fine job of keeping the party well funded and, under his tenure, 15,000 new Democratic voters have joined the ranks. But the party also endorses candidates and takes stands on ballot measures, and in close races — as some of the key battles will be this fall — the party’s support (which includes party money) can be significant.

And while the chair has only one vote, and can’t decide endorsements unilaterally, the person who runs the local party has a fair amount of influence over how money will be spent and how DCCC slate cards are managed; if the job didn’t matter, these two people (and their powerful allies) wouldn’t be fighting over it.

Peskin is on the right side of all the key fall contests. He’s backing progressive candidates for supervisor in the swing districts (John Avalos in District 11, Eric Mar in District 1, and David Chiu in District 3). He supports the housing justice initiative, is the cosponsor of the public power charter amendment, and the sponsor of two progressive tax measures. Wiener supports Ahsha Safai, the candidate of downtown and Mayor Gavin Newsom, in District 11. He hasn’t taken a position on public power, and told us he has "significant concerns" about the cost of the affordable housing measure, although he supports both of Peskin’s revenue proposals.

Wiener has been a reasonable and fair person as chair. But the issues matter. And if the San Francisco party is going to become a center for progressive activism, if the DCCC is going to be willing to challenge the state and national party and its leaders when necessary, take in the mayor when he’s wrong, and push the party to the left, putting a more activist progressive in the top slot is crucial.

It’s still possible a third candidate could come along. But for now the choices are Peskin and Wiener, and we urge progressives on the panel to support Aaron Peskin.

PS: As Amanda Witherell reports on page 14, PG&E is madly, desperately fighting to keep public power off the November ballot and is using every misleading figure and dirty trick possible. So the DCCC chair has to be willing to stand up to PG&E without hesitation or doubt.

Bad grades

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› gwschulz@sfbg.com

A much-anticipated audit of City College of San Francisco’s spending of bond money finds that school officials promised voters more than they could possibly deliver and then didn’t allow proper oversight of hundreds of millions of dollars in public funds.

A minority faction on City College’s Board of Trustees has for years sought a performance audit of the school’s bond projects, which includes $441.3 million authorized by voters during elections in 2001 and 2005. The audit by Sacramento-based MGT of America was released June 4.

The faction, led in large part by longtime trustee Milton Marks, often publicly quarreled with former Chancellor Phil Day over the matter, arguing that Prop. 39, a state ballot measure that passed in 2000 and made it easier for school districts to get voter approval for bond financing, legally required full annual performance audits of its capital spending on new classrooms, laboratories, a gymnasium, and a performing arts center.

But school administrators denied they were necessary or claimed that the cursory, more limited financial audits done each year met the legal mandate. Pressure on Day’s administration finally became insurmountable last year as San Francisco’s District 12 state Assembly Member Fiona Ma began threatening to have the state conduct its own audit, offering deeper scrutiny and wider disclosure than City College officials were perhaps prepared to stomach.

"My overall feeling is that we appreciate their efforts, accept their findings, and will implement all of the recommendations," a conciliatory Vice Chancellor Peter Goldstein told the Guardian in response to the report.

While mostly mild in its language, the audit shows that the school may have violated state law by granting several small contracts to the same construction companies so City College could avoid the headache of competitive bidding.

The state’s Public Contract Code requires that projects costing more than $15,000 go to the lowest responsible bidder through a competitive process, a provision designed to save money for taxpayers. But between 2005 and 2006, the community college entered into seven separate no-bid contracts with one construction firm totaling $83,545 for work at its Cloud Hall facility on Ocean Avenue.

"It’s unfortunate that two of the project managers were not aware or did not appreciate the importance of that rule," Goldstein said. "They’ve been counseled and we don’t expect to have any more occurrences of that type."

The auditors found "similar multiple contracts" — totaling less than $100,000, Goldstein said — where the work should have been combined into one larger contract and approved by the school’s independently elected Board of Trustees.

The audit reserved special criticism for a bond oversight committee required by Prop. 39 to watchdog the school’s capital spending. The Guardian reported last year that such committees in other districts, for example, West Contra Costa County routinely received full performance audits and met more often than City College’s oversight committee (See "Who’s following the money?", 07/10/07).

But the group of citizens here, which includes San Francisco Treasurer José Cisneros and former San Francisco Chronicle publisher Steve Falk, who’s now head of the San Francisco Chamber of Commerce, has done far less than what the law asks it to do.

The report says that one oversight committee member, who goes unnamed, told the auditors that it wasn’t the committee’s responsibility to determine how City College actually spends the funds. The auditors also watched former Chancellor Day tell the committee at a January meeting that its reach was limited solely to ensuring that City College complied with certain provisions of the state’s Constitution.

That turned out to be totally untrue. "The intent of this law is to provide a broad oversight role for the committees, thereby encouraging cost-effective use of bond funds," the report states.

"Many of these things that are in the report are things that people on the board have been saying all along," Trustee Marks said. "We really shouldn’t have had to spend $250,000 for someone on the outside to tell us this."

The original estimate for all of City College’s ambitious bond projects amounted to about $539.7 million, and the school has offset many of those costs by securing tens of millions of dollars in matching funds from the state. But as of January, the total cost has ballooned to $968 million. Last year the Guardian reported that the school gutted several projects promised to voters by "reallocating" roughly $130 million from their budgets to save other projects suffering from skyrocketing cost overruns (See "The City College shell game," 07/03/07).

Trustee John Rizzo, who joined Marks in asking for an audit, said he wished the report had done more to explain why many of the projects were poorly planned, leading to millions of dollars in higher costs. He cited as examples the new Mission Campus and a health and wellness center for athletes.

Rizzo told us, "Just from what contractors say and what staff has been reporting, that still needs to be looked at."

Glamazonia in “Portal Potty”

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MUD money

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Originally published October 10, 2001 A San Francisco public power agency could buy out Pacific Gas and Electric Co., cut residential electricity rates by 20 percent, dramatically reduce the city’s reliance on fossil fuels – and still operate with a $18 million annual surplus, a Bay Guardian analysis shows. Our study’s figures directly contradict the argument that’s at the heart of PG&E’s campaign against public power: they show that a municipal electrical system can be bought and run at no cost to the taxpayers – with plenty of money left over. Our figures are all taken from public sources and are consistent with the financial reports of other major public power agencies in the state. In fact, if anything, our figures are conservative; the real benefits are almost certainly higher. The financial issues are essentially the same for a municipal utility district and for a city power agency, so our figures would apply to either the MUD, which would be created under Measure I, or the Water and Power Agency, which would be created under Proposition F. Calcuutf8g the financial feasibility of a municipal utility district or city power agency in detail is a complex process. Consultants typically charge upward of $1 million for detailed feasibility studies that use all sorts of models and assumptions to come up with the sorts of figures you can take to the bank (or to Wall Street to sell bonds). So our analysis isn’t anywhere near as detailed as what the MUD or the WPA will eventually have to produce. But we’ve covered all of the major revenues and costs; if we’re missing anything, it won’t radically change the bottom line. And it’s safe to say that we haven’t over<\h>estimated the financial viability of public power. The questions on the minds of most voters this fall are relatively simple: Can public power pay for itself? Will the MUD or the Water and Power Agency be a financial success? And our research shows that the answer is a resounding yes. We’ve run through two scenarios, a worst-case scenario and a best-case scenario. In each case, we’ve found, a San Francisco public power agency is more than financially viable. Our study is the rough equivalent of what a MUD’s or WPA’s annual energy report to the public would look like once the agency was up and running. In fact, we’ve pretty much followed the model of the Sacramento Municipal Utility District (SMUD) and the Los Angeles Department of Water and Power (LADWP), and we’ve relied on those two agencies’ figures to estimate some of what the city’s comparable costs would be. We’ve discussed our study with Ed Smeloff, the city’s top energy expert, and while he couldn’t verify our conclusions (since he hasn’t run the numbers himself), he said that there were no major costs that we had ignored. The results are summarized in the two accompanying charts. Where’s the money? Based on how other MUDs have been set up, the process in San Francisco would look something like this: The elected MUD (or WPA) directors would commission a detailed feasibility study outlining the financial future of the agency. Then they would begin negotiations with PG&E to buy the company’s local transmission and distribution system. If PG&E wouldn’t sell, the MUD or WPA would seize the system through the power of eminent domain. The agency would then issue revenue bonds to cover the cost of the acquisition and start-up, hire a staff, and go into the retail power business. Sales of electricity would bring in revenue that would cover operating costs and pay off the revenue bonds; any money left over at the end could be turned back to the city’s General Fund, used to reduce rates, or used for conservation and environmental projects. So the first step in analyzing the finances of a MUD is to figure out how much revenue would be available each year. That’s a relatively simple calculation. According to the California Energy Commission, PG&E currently sells about 5.4 billion kilowatt-<\h>hours of electricity to customers in San Francisco. (This figure doesn’t include energy used by the city government, since government agencies use power from the city’s Hetch Hetchy dam.) Residential, commercial, and industrial customers all pay different rates. If a MUD sold power at current PG&E rates (as provided to us by PG&E spokesperson Ron Low), it would bring in $562 million in revenue (enough to create a big annual surplus – roughly $36 million.) But a MUD or power agency almost certainly wouldn’t sell power at PG&E’s high rates – one major attraction of public power is that it offers cheaper electricity. So in both of our scenarios, we assumed that the rates would be at least 10 percent below PG&E’s rates. In fact, as our study shows, rates could drop as much as 20 percent without harming the MUD or WPA’s viability. What’s it cost? There are three basic categories of costs that the agency would have to cover. The first is payments on the bonds, the second is generating or buying power, and the third is basic operations and maintenance (paying the staff to keep the system up and running, to send out bills, to read meters, as well as operating the repair trucks, etc.). Electricity can’t just be delivered to the doorsteps of customers like canned ham in a UPS box. It has to be distributed through a network of transformers, substations, wires, and poles and measured with individual meters. And until the public power agency owns that distribution network, it can’t sell a single kilowatt. Unfortunately, the system that’s now in place in San Francisco is owned by PG&E – and almost everyone involved agrees that it would be cheaper, easier, and quicker for the city to take over that system than to build a new one from scratch. That’s what SMUD did and what most other public agencies that have gotten into the power business in the past half century have done. A MUD or a city power agency would have the right to seize PG&E’s property by eminent domain. But PG&E would be entitled under law to fair compensation for the taking of its property, and one of the most complex, bitter – and crucial – issues involved in establishing public power will be the price tag. “This is not an easy case at all,” Richard Epstein, a professor of law at the University of Chicago and a national expert on eminent domain, told us. “I can guarantee you that nobody, but nobody, has any idea right now what fair compensation would be.” The issue will almost certainly be settled in court. PG&E insists that its San Francisco property is worth a small fortune – as much as $1.4 billion. In a 1996 study the Economic and Technical Analysis Group suggested that the price could be anywhere from $315 million to $1.2 billion. The ETAG study, which was highly favorable to PG&E, suggested that the most likely figure was around $795 million. The reason those figures are so widely divergent is that there are numerous ways of evaluating what a utility’s property is worth. The simplest is to establish what PG&E originally paid for the property, then factor in depreciation. That’s how insurance companies decide what they have to pay you if your car is stolen. The process generally leads to a low figure favorable to the city. But courts have recently been somewhat more friendly to an analysis that recognizes that utility property is more valuable than, say, a private car, because the utility property produces income. One way to address that is by valuing the property at its replacement cost and factoring in the value of a “going concern” – which, of course, leads to a much higher price. Real market value But there’s another way to look at the issue, and that involves going to the state agency that appraises the actual market value of PG&E’s property for tax purposes: the Board of Equalization. Every year the board’s appraisers evaluate exactly what PG&E’s property is worth – and the agency’s record is pretty good. When California’s private utilities sold 22 power plants under deregulation, the board checked its appraisals against actual market prices, and while sale prices for some plants varied from estimates, the board was accurate to within 1 percent overall, chief appraiser Harold Hale told us. The Board of Equalization estimated that as of January 2001, all of PG&E’s property in San Francisco was worth $962,140,298. That includes property that isn’t at all relevant to running an electric utility. The value of the property actually used in the electricity business, the board says, is $753,978,471. But that figure includes PG&E’s huge 77 Beale St. headquarters office complex, which the city almost certainly wouldn’t want or need to buy in an eminent domain action. If you subtract 77 Beale St. (which one real estate expert we contacted said was worth about $225 million as of Jan. 1), then the value of the property the city might actually buy is about $528 million. It may be even less than that: the real estate market has fallen almost 15 percent since Jan. 1, according to our expert, a senior executive at one of the city’s biggest firms, who asked not to be identified by name. However, to be conservative, we’re sticking with the Jan. 1 figure. Epstein, who has worked as a consultant fighting municipalization efforts and thus isn’t inclined to be biased in favor of a public buyout, agreed that using the Board of Equalization figures is “certainly a good place to start.” There’s no guarantee that the courts will accept this approach (although, with PG&E in bankruptcy court right now, it’s also entirely possible, experts say, that PG&E might be forced to accept a much lower value for its property and sell it without a fight, in order to pay off some creditors with cash). So we also analyzed a worst-case scenario, essentially accepting the figures of ETAG’s much maligned report and assuming that, under a replacement cost-<\d>plus-<\d>”going concern” analysis, the city would have to spend $795 million to take over the system. (Even ETAG concluded that it’s unlikely the final price would be as high as PG&E’s estimate; nobody whose property is up for seizure starts off by quoting a realistic price.) No matter what the price, the bond sale will have to include some money for contingencies – the actual cost of the bond sale, start-up cash, etc. We’ve added $50 million for those costs. Paying the staff, buying power PG&E doesn’t publicly reveal its operating costs for San Francisco (or any other specific service area). And it’s difficult to use the company’s system-<\h>wide operating costs as a basis for estimating San Francisco costs, since the population of San Francisco is so much denser than in most of the company’s northern California territory. The denser the population, the cheaper it is to serve; the distance between customers is smaller, so you need less transmission line per customer. Reading meters is faster, since the employee doing that work doesn’t have to drive long distances between each house. Repairs and maintenance are cheaper for the same reason. And PG&E’s costs aren’t a fair comparison for a public power agency anyway: PG&E pays huge executive salaries (see “Public Power vs. PG&E,” page 24), which are included in the operations overhead. So we based our cost estimate on LADWP, which is about as close a comparison to San Francisco as we could find. Los Angeles is not quite as dense as San Francisco, so the L.A. figures are almost certainly higher than what San Francisco would pay, but they provide a reasonable, if conservative, estimate. LADWP’s cost per customer is $383; multiplied by the number of customers in San Francisco, that cost is $131 million a year. Then there’s the question of generating or buying the electricity. Here San Francisco has a huge advantage over other public power agencies: The city owns a large hydro<\h>electric dam that can generate enough to cover some of the local power needs – and it’s already paid for. Power from the Hetch Hetchy dam is cheap: the cost of operating the system is only about 2¢ a kilowatt-<\h>hour. Unfortunately, the city also has to pay PG&E to ship the power over its lines to the city borders, since the city has no complete transmission line to carry the power here; San Francisco pays PG&E $9.6 million a year in what’s known as “wheeling fees.” San Francisco currently sells most of the available Hetch Hetchy power to the Turlock and Modesto Irrigation Districts. Our analysis assumes that those contracts will be broken and that much of the power – 425 million kilowatt-<\h>hours’ worth – will be available to the MUD or WPA. The city also has a very expensive contract with Calpine to provide backup energy when water is low at the dam. The wheeling fees and Calpine deal boost the actual cost of Hetch Hetchy power to about 4¢ a kilowatt-hour. But the Calpine deal ends in five years, at which point Hetch Hetchy power will be far less expensive – and the MUD’s costs will go down. Green power Our analysis is based on the assumption that San Francisco will move as rapidly as possible to reduce its reliance on fossil fuels (see “Green City,” 9/26/01). Not all of the alternative-<\h>energy sources that should ultimately be part of the city’s mix are likely to be online when the MUD starts operating, so we’ve again been conservative, assuming in our worst-case scenario only a modest amount of solar power to supplement Hetch Hetchy power. In our best-case scenario we assume that the city will be able to develop 200 megawatts of solar and wind power – five times as much as projected in the solar bond measure, Proposition B, and enough to power 200,000 homes. The cost of solar and wind is easy to determine: it’s the cost of the interest on the bonds needed to buy and install the windmills and panels. Once they’re up and running, they cost very little to operate – and the fuel, of course, is free. Based on the San Francisco Public Utilities Commission staff’s analysis of Prop. B), 40 megawatts of solar, wind, and efficiency programs – the equivalent of 98 million annual kilowatt-<\h>hours – will cost about $7.5 million a year. Our ambitious plan – for five times that much solar and wind power- would cost $38 million a year. (Again, the actual costs will probably be lower; once a big agency orders a large amount of solar- or wind-<\h>generating facilities, the price goes down substantially.) The rest of the power the city needs will have to be bought on the open market. Because the market is so volatile, it’s hard to say exactly what that cost would be. But futures contracts for power are listed on the New York Mercantile Exchange Web site, and they’re currently running at less than 4¢ a kilowatt-hour. That price is expected to decline in the future. Again, we’ve stuck to conservative numbers, assuming the MUD or WPA would have to pay 6.9¢ a kilowatt-<\h>hour for power generated locally, by Mirant Corp.’s Potrero Hill power plant (one energy expert told us that Mirant is unlikely to accept less than the 6.9¢ the state is now paying for power), and 5.5¢ a kilowatt-<\h>hour for power bought from out-of-town sources. We assumed that the Potrero plant would operate at its capacity. The power the city would import can’t exceed the amount that can be carried along the one transmission line leading into San Francisco, and our projection meets that criterion. PG&E pays a substantial amount of taxes to the city, and almost all of the San Francisco-<\d>Brisbane MUD Board candidates have pledged to make sure that, at the very least, the city’s General Fund doesn’t lose any money if the private utility is replaced with a public agency. So part of the MUD’s expense would be the payment of a fee to replace what PG&E paid in taxes. The utility pays three major taxes: property taxes, a franchise fee, and business taxes. Based on the Board of Equalization’s assessed value for PG&E ($962 million) and the city’s property tax rate, PG&E’s property taxes are about $1 million. The franchise fee – 1.5 percent of sales – adds another $8.4 million. It’s impossible to say how much PG&E pays San Francisco in business taxes, since that figure is not public, but even at several million dollars a year, it wouldn’t significantly change our bottom line. Unanswered questions There are plenty of questions our analysis doesn’t – and can’t – answer, factors that are impossible at this point to predict with any accuracy. PG&E customers, for example, have to pay a substantial surcharge on their electric bills for what’s known as the CTC, or competitive transition charge. In essence, that’s the money ratepayers have been forced to cough up to cover the cost of PG&E’s bad investments in nuclear power. It’s possible that a San Francisco power agency would have to include some of those charges in its bills – but according to Mindy Spatt, media director at TURN, it’s unlikely. The CTC is expected to end next year and probably wouldn’t be a factor by the time the MUD or WPA was up and running. It’s also unclear whether the MUD or WPA would have to pay a share of the costs of the expensive long-term power contracts that the state Department of Water Resources has signed to buy power for the bankrupt PG&E. There would almost certainly be some substantial legal fees, possibly in the millions of dollars, that would reduce the surplus during the first few years (but not once the eminent domain issues were settled). Most of the MUD candidates have voted to shut down PG&E’s Hunters Point plant, and it’s unclear how much it will cost to decommission that facility. The MUD or WPA could also buy the Potrero plant (it recently sold for $330 million) and pay less for the power generated there. And, of course, it’s uncertain how much electricity will cost on the open market in the next few years. That’s why the MUD or WPA would probably want to move aggressively to increase its own generating capacity. But if power prices go up, one thing is clear: PG&E’s prices will go up higher, and faster, than the prices of a public power agency. Voters won’t have to take our word alone on the subject. The public will have more information on San Francisco’s energy plans in the coming weeks. The county’s Local Agency Formation Commission is planning to bring in experts on public power and energy for hearings, and Smeloff is hiring Amory Lovins’s Rocky Mountain Institute to assess the city’s energy alternatives. Both reports are expected before the Nov. 6 election. Our analysis isn’t that radical or unusual; it just confirms the experience of every other major public power agency in the state. We’ve found what just about everyone who’s gotten out from under the private utilities already knows: public power is cheaper. It’s that simple. Public power in San Francisco: Best-case scenario (Low rates, extensive renewable energy) Revenue1 Residential sales 1.481 billion kwh @ 11.5¢ per kwh $170 million Commercial/industrial sales 3.942 billion kwh @ 9.5¢ per kwh $374 million TOTAL $544 million Expenses Payment on revenue bonds $578.9 million @ 8 percent2 $50.9 million Cost of power * <\i>Hetch Hetchy 425 million kwh @ 4¢ per kwh3 $17 million * <\i>Solar, wind, efficiencies 500 million kwh4 $38 million * <\i>Potrero Hill plant 1.6 billion kwh @ 6.9¢ per kwh $110 million * <\i>Contract purchases 2.90 billion kwh @ 5.5¢ per kwh5 $160 million Operations and maintenance6 $131 million Replace PG&E’s city taxes7 $9.4 million Public benefits8 $10 million TOTAL $526 million Surplus $18 million This chart shows how a San Francisco public power agency could take over Pacific Gas and Electric Co., reduce the city’s reliance on fossil fuels, provide all of the electricity the city needs, and still have money left over. The analysis would apply to either a municipal utility district or a city water and power agency. Proposals for both are on the November ballot. (The MUD proposal would include both San Francisco and Brisbane, but since Brisbane is a very small area – only about 4,000 residents – and since it’s difficult to get accurate data on Brisbane’s current usage, our numbers include only San Francisco. The cost of providing service to Brisbane and the revenue from that jurisdiction would not significantly change the analysis.) The scenario presented here is an optimistic one – although, based on our research, the figures are quite realistic. All of the figures we’ve used are conservative – if anything, our analysis underestimates the financial viability of the MUD or a city WPA. The bottom line: Even with residential rates 20 percent below what PG&E currently charges, and with a huge investment in solar and wind power (five times the size of what the city is currently planning), the MUD or WPA would run a large surplus. This study reflects what a MUD or WPA would be facing several years into its existence. In the first few years, the agency would probably have to buy more power on the open market and would generate less from solar and wind (which take time to set up). But on balance that probably lowers the cost of power (solar is comparatively expensive). There are certain to be factors that we missed – although our cost and revenue projections are very similar to what we found in the annual reports of other large public power agencies such as the Sacramento Municipal Utility District (SMUD) and the Los Angeles Department of Water and Power (LADWP). But we’ve accounted for every foreseeable big-ticket item, and the projected surplus is large enough to cover unexpected costs. 1Revenue is based on sales of 5.4 billion kilowatt-hours: the amount PG&E currently sells in San Francisco, according to the state Energy Commission. A MUD or WPA could set rates at any level it wanted; for this analysis, we set residential rates at 20 percent below PG&E’s current rate of 14¢ a kilowatt-hour rate (which is projected to rise sharply). We assumed that commercial and industrial rates would be at the low end of PG&E’s scale. 2This assumes the MUD or WPA can buy PG&E’s assets at current market value, as assessed by the state Board of Equalization as of Jan. 1, 2001 (see story for details). Ken Bruce of the Board of Supervisors’ Budget Analysts Office told the Bay Guardian that 8 percent would be a reasonable projection for the interest on revenue bonds. 3Hetch Hetchy currently generates about 1.7 billion kilowatt-hours a year, and half of that goes for city government needs – Muni, the lights at City Hall, etc. We assumed that the city would pay the MUD what it pays now – the actual cost of generating the power – so the power sold to the city would be a financial wash. Thus it’s not in our analysis as either a cost or a revenue item. The cost we project for Hetch Hetchy power is high – it includes unfavorable contracts that will expire in five years (see story). The actual future cost would be closer to 2¢ a kilowatt-hour. 4The cost of solar and wind is based on financial estimates for Prop. B. 5It’s impossible to determine exactly what it would cost the MUD or WPA to purchase power in the future, but future contracts currently listed on the New York Mercantile Exchange are going for less than 4¢ a kilowatt-hour, and that price is expected to drop. Again, we took a conservative estimate; actual costs might be lower. 6Based on the cost per customer of operations and maintenance at LADWP (see story). 7The MUD would have no obligation to pay city taxes, but almost all of the candidates for MUD director have pledged to make sure the city doesn’t lose money – in other words, the MUD would almost certainly pay fees equivalent to what PG&E was paying in taxes (see story). 8The state mandates that power companies or agencies spend 2 percent of revenues on “public benefits” – conservation, environmental programs, and the like. Public power in San Francisco: Worst-case scenario (Moderate rates, less renewable energy) Revenue Residential sales 1.481 billion kwh @ 12.6¢ per kwh1 $186 million Commercial/industrial sales 3.942 billion kwh @ 9.5¢ per kwh2 $374 million TOTAL $560 million Expenses Payment on revenue bonds $850 million @ 8 percent3 $74.4 million Cost of power * <\i>Hetch Hetchy 425 million kwh @ 4¢ per kwh $17 million (includes wheeling and backup)4 * <\i>Solar, wind, efficiencies 98 million kwh5 $7.5 million Purchased power6 * <\i>Potrero Hill plant 1.752 billion kwh @ 6.9¢ per kwh $120 million * <\i>Contract purchases 3.098 billion kwh @ 5.5¢ $170 million Operations and maintenance7 $131 million Replace PG&E’s city taxes8 $9.4 million Public benefits9 $10 million TOTAL $539 million Surplus $21 million This chart shows how a public power system in San Francisco would operate if some of the worst-case assumptions are true: if, for example, the municipal utility district or power agency had to spend $800 million to buy out PG&E’s system (the highest likely figure, even according to pro-PG&E studies) and if the MUD was unable to fund and site affordable renewable-energy systems and was thus forced to rely on buying a large amount of its power from the Potrero Hill plant (owned by Mirant Corporation) and from other generators through long-term contracts. Even under those circumstances, the chart shows, the MUD could cut residential rates by 10 percent, keep commercial and industrial rates at the low end of PG&E’s rates, and still end the year with a surplus. As in all of our calculations, the numbers are very conservative; expenses would probably be considerably lower. 1The MUD could set rates at any level it wanted; for this scenario, we’ve set residential rates at 10 percent below PG&E’s current rates. 2The commercial/industrial rate is at the low end of PG&E’s equivalent rate. 3See story for details on the $850 million figure. The bond rate of 8 percent is based on an estimate from Ken Bruce of the Board of Supervisors’ Budget Analyst’s Office. 4See story and “Public Power in San Francisco: Best-Case Scenario” for details. 5This is the amount of solar and wind power projected in the city’s report on the solar bond measure, Proposition B. 6See story and “Best-Case Scenario” for details. 7Based on comparable costs per customer at LADWP. 8See story. 9See story.

The new privacy

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› annalee@techsploitation.com

TECHSPLOITATION It’s shocking how quickly we’ve all gotten used to the idea that the government can and will listen in on everything we say on our telephones, as well as everything we do on the Internet. Case in point: the FISA Amendments Act passed in the House last week, and is predicted to pass the Senate this week. This is a bill that grants telecoms retroactive immunity for illegally giving the National Security Agency access to the phone calls and Internet activities of millions of US citizens. What this bill ultimately does, aside from not holding companies accountable to the Constitution, is open the door for future mass infractions.

We’re looking down a fiber-optic cable that leads to a future where US spies can snarf up everybody’s data without warrants, combing through it for potential suspects in an ongoing digital witch hunt for terrorists or other "bad guys." I’m not saying anything new here. This is just a quick recap of every progressive futurist’s nightmare: it’s an Orwellian world where nothing you do goes unseen.

My hope is that this absurd bill won’t pass the Senate. But if it does, at least we can hope it will be somehow held in check by other laws to come, and by constitutional challenges. But I still think it’s time that we kiss our old-fashioned notions of privacy goodbye.

And not because we will all reveal our secrets and therefore be equally naked, as "transparent society" shill David Brin has argued. We never will be equally naked. There will always be governments and wealthy entities that have the means to cover their tracks and hide their transgressions. I think we must shed the idea that somehow we can protect the rights of ordinary people by protecting what we in the United States once called privacy.

The notion that we should each be granted a special sphere where everything we do goes unseen, unremarked, and unrecorded is a relatively new notion in itself, something that could hardly have existed in a small-town society where everybody knew everybody else’s business. And it still hardly exists in many high-density countries like Japan and China, where privacy is not as prized as other rights are.

What we ask for when we ask for privacy in the United States is a simply a space (physical or digital) to do legal things without fear of reprisals. Even when we had a more tightly-wrapped notion of privacy, say, 50 years ago, it was hardly perfect. Secrets leaked; spies spied. But there were no 24-hour videocam logs and detailed records of your every correspondence available and searchable online. You could write love letters to your secret admirer, ask her to burn them, and be sure nobody would ever know about your forbidden love.

If those letters were intercepted in a small community, your infamy would live forever. Not so in the digital age, when there’s so much readily available infamy that nobody could be bothered to remember your indiscretions for more than a few seconds. What I’m trying to say is that we will never have the old privacy of the burned letter again.

Instead we will have the new privacy, where what we do can be seen by anyone, but will mostly be hidden by crowds. The problem is that we still lose the old privacy forever. My secret transgressions may be drowned out by multitudes, but anyone who is determined to spy on my most private life will probably be able to do so — without a warrant.

So what do we do? Develop new standards of propriety, becoming as formal and controlled behind closed doors as we are in public? I think that will have happen in some cases. And in most cases, people will rely on crowds to hide them, hoping they never fall under sustained scrutiny. The more noise all of us make, the more we can help to hide the innocent. There will be a kind of privacy in the crowd.

But there will also be a private class of people who never have to rely on crowds. To return to my earlier point, I don’t buy for a minute the idea that at some point everyone — including the rich and politically connected — will be subjected to the same scrutiny as those people whose phone records were illegally handed over the to NSA by AT&T. The powerful will continue to have old-fashioned privacy, while the rest of us must get used to living without it.

Annalee Newitz (annalee@techsploitation.com) is a surly media nerd who tried to hide behind a crowd once but they dispersed.

Beyond belief

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› a&eletters@sfbg.com

THE QUEER ISSUE Aurora Theater takes on — reportedly — its first gay-themed work with a West Coast premiere of Keith Bunin’s almost-too-smart The Busy World Is Hushed, a play that ultimately has as much to do with questions of Christian faith and the mixed blessing/burden of family as with sexual orientation. The play, which debuted off-Broadway in 2006 amid a fracas in the Episcopalian Church over the issue of homosexuality, concerns a middle-aged Episcopalian minister, scholar, and single mother named Hannah (Anne Darragh) who hires a young writer, Brandt (Chad Deverman), to ghostwrite her book on a newly discovered gospel that may represent more faithfully (ahem) the "authentic" Jesus.

Both characters have personal reasons for being interested in this project. Hannah was widowed when her husband walked into the sea in a possible suicide, leaving her pregnant and alone. Her sharp intellect leaves plenty of scope for criticism of the institutional and historical construction of God and the bigotry of the Church, but her faith — which she grounds in her own suffering and isolation as a way of giving them meaning and purpose — is only refined in the process. Meanwhile, Brandt, a lapsed Episcopalian, long ago moved away from a church that invalidated his identity as a gay man. But with his father dying in the hospital and unable to concentrate on his own writing, he’s eager to lose himself in Hannah’s work — at least partly because of the bitter questions his father’s cruel demise stirs up about the nature of God and religion.

Bursting into this scene comes Hannah’s wayward 26-year-old son, Thomas (an especially engaging James Wagner), just back from another of his ecstatic "get lost" adventures, a patch of porcupine quills jutting from one ankle. Soon Brandt, clearly smitten, is kneeling before Thomas plucking out one quill after another with a mischievous glee that covers for the eroticism in this little St. Sebastian moment (a tableau that morphs into another about as preposterous when, in their next meeting, Thomas dons a big leather toolbelt to put up a couple of shelves). Hannah’s delving into Christian history and exegesis mirrors her equally solitary if gregarious and promiscuous son’s own restless quest to understand his real-world father — which holds out for him a similar promise of existential meaning, moral guidance, and a quieting of the soul.

But their quests, while similar, are also in conflict. A battle is being drawn between mother and son — in some sense over, and in the name of, the father(s) — so that when Hannah practically begs the hapless Brandt to act on his feelings for her son, it’s with something less than unalloyed Christian spirit. Director Robin Stanton’s actors deliver their lines with conviction, but the dialogue gets both too pat and too constructed, at times almost Socratic, so that soon belief is a dwindling resource all around.

THE BUSY WORLD IS HUSHED

Through July 20

Wed–Sat, 8 p.m.; Sun, 2 and 7 p.m.; $40–$42

Aurora Theatre

2081 Addison, Berk.

(510) 843-4822, www.auroratheatre.org

Rare, medium, and well-done

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When Sean Dorsey started the Fresh Meat Festival in 2001, transgendered artists were sequestered inside the alternative club scene. With this new event, Dorsey threw the doors wide open. While transgender and queer performances still have a special attraction for their constituencies, the festival’s need to move to Theater Artaud, its largest venue yet, proves its broader appeal.

This year’s presentations ranged far and wide, and so did the quality. That’s one of the perils of this type of focused programming: the desire to be supportive and inclusive can mean presenting artists who may not be experienced or even talented enough. The San Francisco Ethnic Dance Festival went through similar growing pains. But Fresh Meat — which is fun, balanced, and thoughtful — is on the right track.

Five groups received commissions. The Barbary Coast Cloggers and Na Lei Hulu I Ka Wekiu presented excellent premieres; the first joyously clickety-clacking, the other lyrically flowing through new interpretations of passed-down dancing. In trying to show the breadth of its repertoire, however, Colombian Soul attempted too much. The troupe presented undeveloped, under-rehearsed fragments, including a religious procession and a same-sex partnered "maypole" dance. Musicians Nejla Baguio and Prado Gomez’s artistic partnership looked young. The tentative Who’s Your Daddy?, musings on being a parent, had a few sparks but ultimately fizzled. Also respectfully but unenthusiastically received was the transgendered Transcendence Gospel Choir and its invitation for a community sing-along.

Two artists I would like to see more of were the outstanding countertenor Jose Luis Muñoz, who sang a powerful aria from Juana (an opera-in-progress by Carla Lucero), and Scott Turner Schofield, a FTM word artist. In an excerpt from Becoming a Man in 127 EASY Steps, he performed a smart, witty audition for Hamlet. It was also a pleasure to see the nonchalant Shawna Virago, who performed two supersmart, edgy new songs.

Still, the evening belonged to Dorsey, and not just because he founded the festival. Lost/Found, a duet he performed with Brian Fisher, showed again how nuanced a thinker, writer, dancer, and choreographer he is. I can’t think of anybody, no matter their identity, who creates works about growing up as theatrically cogent and as tremulously alive.

Where there’s Will …

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› kimberly@sfbg.com

SONIC REDUCER The cormorants know, the red-winged blackbirds have heard, and the quail would wail: the Marin Headlands and surrounding environs are imbued with more than a little magic. You don’t need to spend much time there to know this, rolling through pebbly Rodeo Beach or tromping down Tennessee Valley Road, soaking up the sagey scents and painting the digits dark red with crushed blackberries, as little girls wander by talking on seagull-feather faux cellies.

They will testify, as will Will Oldham — a.k.a. Bonnie "Prince" Billy, a.k.a. ace Palace Brother, singer-songwriter, and star of Old Joy (2006) and Matewan (1987) — to the area’s healing properties and the way its fresh breezes, rippled clouds, and hills in every hue of green ignite the imagination. After all, until recently Oldham was squirreled away at the Headlands Center for the Arts as an artist in residence. In one of the few interviews he’s consented to lately, Oldham told me he ended up doing much songwriting, including a commissioned piece with his Superwolf partner Matt Sweeney intended for a new Wim Wenders film.

"I felt super-fortunate," said the jovial, easygoing Oldham from Louisville, Ky., where he’d driven to from the Bay Area only three days previous. No matter that tornado warnings were all over the local media as he cast his mind back. "It was kind of a dream situation, because out there in the Headlands, there’s no cell phone reception. And once you cross through that tunnel, you’re in something you can imagine as wilderness and by the sea, and there’s a fair amount of wildlife — snakes and skunks and turkeys and deer and coyotes and bobcats and seals, which, if you choose to, you can see more of than you see any human being on any given day."

He’ll be back in the Bay after touring Europe and playing a handful of US dates, ending in San Francisco. The occasion is Lie Down in the Light (Drag City), Oldham’s worthy, rootsier follow-up to the transcendent The Letting Go (Drag City, 2006). If the latter is colored by the otherworldly ambience of its Icelandic origins, then the new album is touched by the tender humidity of its Tennessee recording site, encompassing, according to Oldham, "a couple songs that sort of address — using terms of love, devotion, and even lust — songs themselves."

"I think," he offered, "at the end of the day, sometimes it can be the truest form of comfort, especially if you’re a singer. You can find in music just about any ideal emotional landscape you crave, whether it’s angst or rebellion or celebration or union or dissolution. It’s all there, and none of it’s going to call you back or text you at four o’clock in the morning or blame you for anything you did or didn’t do or slap you with a paternity suit."

Not that Oldham can speak on paternity suits. "My lawyer says I can’t answer questions like that," he demurred mirthfully. Meanwhile there’s some heavy weather to consider. "I do have a cellar," he said, not worried at all. "But I’m not the hiding kind. I want to see it if it comes. I think I can run faster than a tornado." *

KICKING, LICKING, GOOD

LOWER CLASS REVOLT


Kicking it blue-collar style, the comp celebration includes Rademacher, Tigers Can Bite You, and Light FM. Wed/25, 10 p.m., $4. Knockout, 3223 Mission, SF. www.theknockoutsf.com

JONAS REINHART


Kicking it Krautrock, the Citay collaborator’s Kranky release promises near-exotica grooves. Wed/25, 9:30 p.m., $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

DILATED PEOPLES


Kicking it old-school, the Los Angeles underground hip-hoppers unleash The Release Party DVD in July. Thurs/26, 9 p.m. doors, $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

GRAND ARCHIVES


Kicking it Vivaldi styley, if the composer wore Converse. The ethereal Sub Pop indie-rockers get with their folk label mate Sera Cahoone. Sat/28, 9 p.m., $13. Slim’s, 333 11th., SF. www.slims-sf.com

MUTE SOCIALITE


Kicking it free-noise mode — with such Oakland exploratory musical surgeons as Moe! Staiano, Ava Mendoza, and Liz Allbee. Sun/29, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

ALL THAT GLITTERS: LADY GAGA

It takes a lot of g-g-guts to name your act after the Queen tune "Radio Gaga," ‘fess up to the fact that you attended Catholic school alongside Nicky Hilton, and make it your personal mission to make pop cool once more. Lady Gaga, 22, has the moxie to undertake all of the above, having gone from setting hairspray afire on fringy NYC stages and attending Tisch School of the Arts at NYU to hammering out songs for Britney Spears, and making her own brazen dance-pop à la "Beautiful Dirty Rich." Why did she name her debut, The Fame (Streamline/Interscope)? "The concept is that it doesn’t matter who you are or where you come from or what you have, as long as you can embody a sense of inner fame and value of your own ideas, you can really be whoever you want," Lady Gaga opined huskily on her way to a Raging Waters gig in San Dimas. "I was nobody, and I’ve been jerking people for years into thinking I’m somebody I’m not. I used to get into clubs like when I was 16. I’d usually just walk right in because of the way I carried myself, the way I dressed, the way I spoke to people."

Sat/28, 8 p.m., $45. Temple, 540 Howard, SF; www.templesf.com. Sun/29, 6:10 p.m., Pride Festival, Civic Center, SF; www.sfpride.org

“The Monkey and the Devil”

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PREVIEW Sometimes history has a peculiar way of bringing us full circle. Charles Trapolin’s family owned slaves on their plantation in South Carolina. Joanna Haigood’s family were slaves in the vicinity. The commonality and difference between those two families led to The Monkey and the Devil, a collaboration between Trapolin, the former ODC dancer turned visual artist, and dancer/choreographer Haigood. Taking its title from racial slurs, the world premiere examines a festering wound in the social fabric that has not healed nearly as well as many of us would like to pretend. Haigood started the piece long before Barack Obama’s candidacy but, she points out, it certainly has acquired an unexpected urgency. "Racism," she says, "hurts everybody. It’s a social ill that we need to address and realize that it is connected to economy and class." Formally, the piece is an installation, continuing Haigood’s long-time interest in working with picture frames. It’s a visual motif that works well with Trapolin’s idea to create a house split in two. On the set, two couples — one white, one black — take turns assuming roles. Audiences are invited to stay as long as they like during this four-hour performance. Though she’ll have a collection box, the show is free because Haigood really wants all of us to come see it.

THE MONKEY AND THE DEVIL Fri/28 and Sat/29, 1–5 p.m. Free. Zaccho Dance Studio, 777 Yosemite, studio 330, SF. (415) 822-7644, www.zaccho.org

Asunder

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PREVIEW Listening to Asunder is freaking me out. It’s the middle of the night, the moon is full, and I was barely paying attention to the plodding funereal doom. That is, until I glimpsed a foreign movement from the corner of my eye and, sensing a phantasmic force, my heart plummeted into my guts. If John Gossard’s eerie chants, likely effective at summoning Lucifer from the bowels of a very cold hell, didn’t raise ghosts previously unheard from in my creaky Victorian, what did?

It’s no secret if you’re even passingly attuned to local music happenings — or ever pick up this paper — that the doom-death community on both sides of the Bay is close-knit and as prolific as a war graveyard at the height of collateral damage. But Asunder just might be the darkest, dreariest, and most melodically melancholy of them all. But it’s too simple to relegate their metal dirges to the staid realm of the glacial and miserable; Asunder begs the question, "Can doom be dynamic?" and answers in the affirmative. Patience and subtlety, reverence and yes, the spiritual, are conjured in equal parts by down-tuned strings and minor keys. When their sophomore release, 2006’s Works Will Come Undone (Profound Lore Records) — produced by the East Bay’s esteemed Billy Anderson (High on Fire, Saros) — filled 72 minutes and 45 seconds with two epic tracks, it was risky but the foursome added enough slow complexity to make it work. Let their chilling arrangements and a newly upgraded sound system tempt your ghosts at the Oakland Metro Opera’s grand reopening.

ASUNDER With Trees, Necrite, Skin Horse, and DJ Bad Jew. Fri/27, 8 p.m., $8. Oakland Metro Opera House, 630 Third St., Oakl. (510) 763-1146, www.oaklandmetro.org


Asunder with Trouble and Mammatus. Wed/9, 8pm, $16-$18, Slim’s, www.slims-sf.com

Rock Candy

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REVIEW May 15 was one of those few cheery days in San Francisco when a sunny morning transitioned into a "warm wind blowing, stars are out" night. Oh yeah, and that whole State Supreme Court lifting the ban on gay marriage thing probably raised overall spirits a bit. But no, that wasn’t the reason the evening mood was so upbeat. In fact, the joyous news that day was that a straight couple, refusing to be disenfranchised any longer, announced their engagement at the Stud’s mixed, bimonthly, electro-punk-pop night Rock Candy. I know, it’s all so unclear, but it wouldn’t be the city by the Bay if the fog didn’t continuously roll in, right? And as I rolled into the club, ready to rock, I too refused to be left out in the cold any longer and searched the venue for my next ex.

Sure, I came up in the age of rock star divorces like those of Tommy Lee and Heather Locklear or Locklear again and Richie Sambora. So I vow that if I were a rock, I’d be jade — because I no longer have faith in the so-called sacrament of marriage. Still, I say if straight people want to live in acrimony, they should be able to. But ear candy beat eye candy for the night-creatures in attendance amid the polyamorous union of DJed new rave, goth, indie, and Brit-pop, and club hosts Marc Blinder and Virginia Suicide’s rousing gay marriage-themed sing-along, which culminated with the inspiring "We Are the Champions." Truth be told, I think it’s great that the happy couple delayed their announcement until everyone achieved the freedom to marry. Nonetheless, my more disillusioned half wondered what all the commitment-phobic gay partners, who previously shooed off marriage with "Darling, I’d marry you if I could," will do now.

ROCK CANDY First and Third Thursdays, 9 p.m.–2 a.m., $5. Stud, 399 Ninth St., SF. www.elasticfuture.com

“Chop Shop”

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REVIEW Ramin Bahrani’s first feature, Man Push Cart (2005) — about a struggling Pakistani service worker selling coffee and bagels from a midtown Manhattan pushcart — signaled the arrival of a genuine talent for atmospheric and absorbing realist drama, and an unpreachy champion of America’s disregarded immigrant working-class. Like a New York City Ken Loach with the anxious psychic interiors of a Cassavetes, Bahrani’s portraits (using nonprofessional actors and an ambient soundtrack) prove so highly attuned to character and evocative of place that you might overlook what a good storyteller he is. Chop Shop, his second feature (cowritten with Bahareh Azimi), delves further into the social terrain limned by the first, while relocating to New York’s urban periphery — the industrial sprawl of Willets Point in outer Queens, a teeming maze of auto shops and chain-linked yards ringed by turnpikes, erector-set bridges, and Shea Stadium. Here 12-year-old Alejandro (Alejandro Polanco), alone in the world but for his sister (Isamar Gonzales), works jobs in and around the auto body shops to save money for a dilapidated food van he hopes will be the economic foothold that will keep them together. Admittedly lacking some of the sureness of Bahrani’s debut, Chop Shop‘s nevertheless compelling exploration of everyday drama on the harried, often undocumented margins of immigrant life has never felt more timely or deserving of attention.

CHOP SHOP opens Fri/27 at the Roxie Film Center. See Rep Clock.

“Matt Gil: Reel to Real”

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REVIEW Remember those jazzy Raymond Scott tunes that accompanied many Depression–era Bugs Bunny cartoons? The rhythmic tinkling of the xylophone, the metronome and piano one-two-ing, while the trumpets and clarinets wah-wahed to our wise-ass rabbit scrambling to free himself from the inner workings of a factory. Those images merged Technicolor fantasy and swinging wackiness to the dumb, impersonal nature of mass production, a cartoonish combo that comes to mind when entering Matt Gil’s exhibition at the Marx and Zavattero Gallery. Residing over the majority of the space is Gil’s kinetic work Conveyor with 24 Sculptures (2007-08), a nonstop catwalk of coffee-tabletop-size ceramic forms parading in a loop for the viewer. The slip-cast, candy-colored glazed shapes are straight out of the space-age Googie design era: it’s the kind of curvy, biomorphic, and geometrically surreal commercial art our parents and grandparents bought at department stores. Gil’s mechanism rotates smoothly, though the forms occasionally wobble. Nothing like wobbling ceramics to make one nervous in a gallery. This carousel, however, leads one to imagine that — like Schroeder’s closet full of Beethoven busts — there might be a replacement or two in the artist’s studio. What transforms Gil’s piece further is that it’s underlit by floodlights, generating Dr. Seuss–like shadows on the walls that grow larger, then smaller. There are other large-scale sculptures — including the blue standing noodle Puzzle Piece and the almost 11-foot-tall black tiki comb Muckracker 1.0. Nevertheless, Conveyor‘s humor and nod to Walter Benjamin’s 1936 essay The Work of Art in the Age of Mechanical Reproduction makes it deservedly the most attention-worthy thing in the room. Along the walls are Gil’s ink and watercolor sketches of would-be monumental forms. These too radiate a giddy simplicity, inviting viewers to appreciate form and space for precisely what they are.

MATT GIL: REEL TO REAL Through July 2. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Marx and Zavattero Gallery, 77 Geary, second floor, SF. (415) 627-9111, www.marxzav.com

A drone supreme

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Talking to Barn Owl is something of an evangelical experience. Longhaired duo Evan Caminiti and Jon Porras confess they’re often mistaken for brothers, but their kinship actually began when they met at San Francisco State University, where they both played in metal bands.

"I guess it was through folk music and roots music and Indian classical and some other things that we started to see the validity of the drone — what it was besides this new experimental genre or whatever," Porras recollects. The three of us are hunched over tea and coffee outside a sleepy Outer Richmond café, and I keep thinking about how it’s been a long time since I’ve talked to rockers so plainly obsessed with refining the kind of music they play. "I’ve definitely reached a point where I’m not interested in music that doesn’t take risks of some sort," Caminiti says. "Having this new freedom is almost like an addiction."

Drone music is as old as Tuvan throat singing, though many of the modern Western incarnations refer to the vibrationally attuned literature and compositions of mid-20th-century minimalist composer La Monte Young, who Barn Owl has studied up on. Unlike Brian Eno’s electronics-based tone poems, Barn Owl’s West Coast drone is distinctly earthy. It’s Metal Machine Music from the organic aisle, with smoky landscapes of guitar and vocals hovering in heated sustain. Though layered effects overlap, the overall sound still bears the imprint of guitar strings, in keeping with predecessors like Charlambides, as well as heavier hitters like Om.

"Just having that hand directly on what’s making the vibrations really appeals to me," Caminiti explains. "There’s something about starting with that organic element, and then adding effects upon that to do something else, rather than having it completely computerized."

The duo is obviously interested in space, but they also have a natural sense of drama, something left over, perhaps, from their metal days. When a loose drum beat emerges after three hazy tracks of their handsomely designed LP, From Our Mouths a Perpetual Light (vinyl on Not Not Fun; CD forthcoming from Digitalis), there’s a sudden focusing effect; when a gigantic guitar chord thunders from out of nowhere a few seconds later, it’s seismic. A clear-eyed frieze of acoustic guitar takes on extra potency within the duo’s minimalist architecture.

Barn Owl’s current tactic of frequent releases on a few sympathetic microlabels suits their constant recording habit, though their growing reputation means Aquarius Records can’t keep these limited editions in stock for long. "The home aesthetic is what the majority of our work has been based off of, and I’d say we definitely prefer that," Caminiti says. "Especially with free music, it goes along with having the freedom to explore."

Of course, this freedom is on prime display in concert, in which the duo pushes dialogued concepts into chancy, sculptural terrain, forging a physical relationship with the audience in the process. "That’s our ultimate goal," Porras opines, "a room full of people just being consumed by this wall of energy." And inspiration is everywhere, or so it seems from a story Porras relays about being awakened by a terrifying sound a few weeks earlier: "In the middle of the night, the water heater just started making this insane noise…. It was definitely a drone," he says, laughing. "When the terror dwindled, we just started listening to it, and it sounded so cool."

BARN OWL

Tues/1, 9:30 p.m., $6

Hemlock Tavern

1131 Polk, SF

www.hemlocktavern.com

Back to the land

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› a&eletters@sfbg.com

I hold no truck with keeping too firmly tethered to the here and now. A little let-go does the soul a world of good, and nothing beats floating off on a cloud of question marks as time and place melt from view. I already have the perfect soundtrack for the occasion: Fleet Foxes (Sub Pop), the debut by the Seattle band of the same name, could very well offer the deepest decade-leaps and blurriest geographic-muddles you’re likely to encounter this year.

In their quest to fuse pre-rock ‘n’ roll sounds with indie-rock sensibilities, Fleet Foxes don’t simply settle for 20th-century American Music 101. Rather, their time-travel extends all the way back to the Black Plague. Along with offering fresh takes on the smooth sounds of ’70s SoCal pop; the baroque folk whimsies of Crosby, Stills, and Nash; and the hillbilly twang of your great-great-grandpappy’s barn dances, the quintet is also more than willing to get medieval on your unsuspecting ears. Listen closely, and the odd madrigal flutters forth now and again. Little wonder, then, that the Pieter Bruegel painting on the album cover hardly feels like an anachronism. Instead, it arrives thoughtfully recontextualized, much like the pan-decade musical explorations the group pulls off so effortlessly.

Mountains, rivers, birds, and forests — these are the main signifiers of Fleet Foxes’ pastoral, pre–Industrial Age mood-making, along with plenty of references to family and death. On paper, most of their lyrics could pass for traditional folk songs. Translated to plastic, however, the words take on a different character. Wafting and drifting in goose bump–raising harmonies and vocal rounds cloaked in hilltop echo, they at times evoke an agrarian Beach Boys or a less lustful My Morning Jacket. Vocalist Robin Pecknold is endowed with an equally hall-filling tenor as that of MMJ’s Jim James, and fluent in a full range of ghostly falsettos, tear-jerking howls, and sweet rally cries — each has been steeped in delicious reverb by producer Phil Ek (Built to Spill). Combined with the remaining members’ soaring vocal arrangements and deft instrumentation, Fleet Foxes manages to somehow feel comfortingly familiar yet bracingly fresh and new.

From its wordless sighs-from-country-heaven introduction to the heartbreaking Ronettes melodrama of its chorus, "He Doesn’t Know Why" might be the band’s most immediately persuasive pairing of otherwise perfect strangers, musically speaking. It’s also the recording’s most full-blown rock moment, along with "Ragged Wood," a transcendent country-rock shuffle powered by Pecknold’s exhilarating mountain cries of "You should come back home, back on your own now."

Lest they leave us too anchored to the modern age, Fleet Foxes peel back the centuries without a hitch on the spectral lilt of "Tiger Mountain Peasant Song," a spooky madrigal in which Pecknold ponders, "Dear shadow alive and well, how can the body die?" in harrowing echoes while a single acoustic guitar mournfully picks away in agreement. Elsewhere, in their boldest brain-rattle of century-confusion, Fleet Foxes weld ancient Andean flute melodies to furious Led Zeppelin folk-stomp on "Your Protector," a heavier-than-heavy meditation on death hoisted aloft by wide-eyed shouts of "You run with the devil!" Fierce words, but I’ll lose myself in Fleet Foxes’ fractured tableaus any ole time, thanks.

FLEET FOXES

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

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

Queercore, many mornings after

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THE QUEER ISSUE Call it a harmonic convergence of two queer legends of indie rock and queercore. Victor Krummenacher of Camper Van Beethoven and Jon Ginoli of Pansy Division got together recently to talk about the way it was, coming out in the repressed 1980s and coming into their own experientially, politically, and musically in 1990s San Francisco — each, as Krummenacher puts it, a "gay guy suddenly in Candyland." Life is still sweet — and hella active — for these old friends: Krummenacher celebrates Camper’s 25th anniversary with a June 28 show at the Fillmore, and Ginoli is unleashing Pansy Division’s new documentary, Pansy Division: Life in a Gay Rock Band, at Frameline June 26, complete with an afterparty performance at the Eagle. And naturally, this won’t be the last you’ll hear from these prolific players: Pansy Division is working on a new album and Ginoli has a memoir coming next year on SF’s Cleis Press, while Krummenacher is recording as McCabe and Mrs. Miller with the Sippy Cups’ Alison Faith Levy and recently completed a fifth solo full-length. (Kimberly Chun)

JON GINOLI Before I started Pansy Division, I’d been actively trying to find other gay musicians’ records. I’d listen to records, listen for hints, and it just seemed like I was always getting disappointed in that there were musicians I heard about who were supposed to be gay that would flat-out deny it in interviews. I thought, OK, if all these people who I think are lying are not going to come out, or really aren’t … that’s when it finally dawned on me that I should do this band. At the same time I had that idea, so did Tribe 8. It was Tribe 8 and us and Glen Meadmore in Los Angeles. When we started that’s what was going on in queer rock. The only other thing I knew about — and I didn’t know about this till I started playing — was Fifth Column in Toronto.

There really wasn’t much you could point to, and that’s partly why I wanted to be as out and blunt as I could. Because it seemed like if you were gay and you liked rock ‘n’ roll, it was something you had to hide and it was something that there was some shame attached to.

VICTOR KRUMMENACHER It was an interesting time. From my perspective, we had the [Michael] Stipe rumors and we had the Hüsker Dü rumors. But it was kind of, like, don’t ask, don’t tell. Kid Congo was always out. He was always what he was, which I admired a lot.

JG I remember meeting him in New York, in ’94, ’95, and by that time, I knew he was gay. But I’d been a fan of all bands he’d been in — the Gun Club, the Cramps, and the Bad Seeds — and I didn’t know he was gay until 10 years after I’d started buying his records.

VK A lot of the reason I was attracted to punk rock was because I knew queer people in it. My friends were gay, and I was coming out, and it was just really easy to deal with because they liked the same music, and it was fun. But it was a hard time, and the ’80s sucked. I’m 43 now, and I deal with people in their 20s who have no clue how much it sucked.

JG Only the highlights have filtered down to them.

VK There was Phranc, and there was some chatter about Morrissey.

JG It’s interesting — I was thinking, OK, it’s like a ladder. You’re taking a step at a time to reach a certain place, and I was thinking about the women’s music scene, the lesbian music scene, from the late ’70s. The folk scene.

VK Which seemed a little bit more coherent.

JG But it also seemed more insular, especially when I talk to people from that period. It was about being separate, and the thing about me wanting to do Pansy Division was that I wanted to engage by using rock music. It was kind of like taking the music that’s popular but doing something that people would consider subversive with it.

People were dying, and that’s why — even though I was horny and wanted to sing these pro-gay songs — we sang about condoms a lot. We had some songs that were cautionary tales. But for somebody who was born in 1987, there’s no way that they could have much of a clue about what we’re talking about, because they just didn’t see the people dying. I moved here in ’89 from Champaign, Illinois, and one of the first things I did was join ACT UP.

VK My experiences with ACT UP and Queer Nation meetings were rowdy good times — it was go out and be visible and be noisy — and then it got very bureaucratic, which I think was a natural progression.

JG ACT UP ran its course, which was right around the time I had the idea to do Pansy Division. I’m a political person, but I don’t like too much music that’s really didactic and up front about its politics. I didn’t want to make music that people would agree with but wouldn’t really enjoy. I thought this is my way to do cultural activism.

What I wanted to mention was I had a band [the Outnumbered] before Pansy Division that had three albums. They were indie in the ’80s, and at the time, I was out to my band members, I was out to people in Champaign, but I didn’t feel like I could write about being gay in my music because I was trying to represent the band and they were all hetero.

So did you have any bands before Camper?

VK Camper was my first band, when I was 18. It was funny — I came out, and my band broke up [in 1990]. It might have had something to do with why I wanted to leave the band at the time, but it had nothing to do with the band breaking up. Basically when I came out, they were like, "And … ?" I don’t think it was any great surprise.

But the interesting thing was as soon as I came out, it was immediate acceptance. Seldom did I run into any problem, which made me wonder, why the hell didn’t I do it sooner, and why the hell didn’t more people do it?

JG It seems to me both Michael Stipe and Bob Mould have made statements about how they didn’t want to come out because they didn’t want to be seen as role models. The problem was to me, well, you’re already role models to people and some of them are gay and some of them are straight.

My own thought about it was, well, if no one is going to come out and be out in music playing the style I like, then I’ll do it. I mean, I had nothing to lose, and I do respect that other people have a lot of pressures, record companies.

VK The truth of the matter is, you guys did a lot of legwork that did ripple up.

JG So now you’re doing Camper, and you’re out, and you’re in a long-term relationship. Were you been able to meet guys at shows, even if you wanted to back then, and now that you’re out, do you have a gay contingent at Camper shows?

VK I wind up with gay contingents usually in the strangest, most unexpected ways. It’s been more than once that I’ve gone home with a guy, and he figures out, "You look familiar." Anonymity can be something you can thrive on. Or I guess, bluntly, it’s nice to fuck around and have people not know who you are — because I’ve frequently been hit on because of who I am.

What I’m interested in is, where do you see younger people going?

JG We came along pre-MySpace, pre-Internet, really. It’s so different now. It used to be a guessing game where you’d trade rumors with other gay people about people you heard that were gay. Now Pansy Division has a MySpace page, and I’m getting messages and friend requests from other queer bands all the time and a lot of straight bands, too, that like our music. So I think it’s not that big of a deal anymore unless you’re trying to make it in the mainstream. Then there’s still a wall where you can’t make it unless you’re already successful to some point, or you set out to be. Look at Rufus Wainwright. He’s on a major label, but it was obvious from the outset that he was going to be a cult figure.

VK Especially if he’s going to be doing the Judy Garland things. Not to dig too hard, but I did actually see it the other night [on PBS], and it was, like, "Why did you do that?" In a certain way, ironically, it’s great progress — "Oh, yeah, a gay guy doing all of Judy at Carnegie Hall at Carnegie Hall." My mom used to play Judy at Carnegie Hall, and I’ve always loved Judy Garland, but then I was just going, "That’s not Judy Garland. That’s just Rufus Wainwright." I feel like he’s better in his own context.

JG Given that I’ve always chafed against the gay identity that posits show tunes as part of the essential experience, I made myself sit down with the Rufus Does Judy at Carnegie Hall double CD, and, you know, his between-song patter was campy but he didn’t camp those songs up anymore than they already were. But I don’t want to hear anybody singing "The Trolley Song." I really don’t.

PANSY DIVISION: LIFE IN A GAY ROCK BAND

Screening Thurs/26, 7 p.m., $9–<\d>$10

Victoria Theatre

2961 16th St., SF

Show begins 10 p.m., $7

Eagle

398 12th St., SF

www.frameline.org

CAMPER VAN BEETHOVEN

Sat/28, 9 p.m., $25

Fillmore

1805 Geary, SF

www.ticketmaster.com

Speed Reading

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MY MISERABLE, LONELY, LESBIAN PREGNANCY

By Andrea Askowitz

Cleis Press

241 pages

$14.95

My Miserable, Lonely, Lesbian Pregnancy is a bracingly frank and exhaustively detailed tour of lesbian single-motherhood, written as a more or less straightforward journal of the weeks leading up to conception and birth. It’s funny and addictive — author Andrea Askowitz spares few of the details one might hunger for, from her selection of a donor to her doctor’s-office conception to her quest to get laid in the third trimester. Alongside the pregnancy, she chronicles a messy, lingering breakup with her lover Kate, her nonprofit’s struggle to stay afloat, and haunting memories of her best friend Robin, whose fatal cancer was discovered after a pregnancy.

Sharp-tongued Askowitz maintains her wicked sense of humor throughout, feeding the reader deliciously bitchy one-liners as she navigates pregnant Los Angeles, with its doulas, prenatal acupuncturists, and support groups ("I walk out terrified I’m just like these women. Please, no. They seem so happy."). She observes her own neuroses and midnight freak-outs just as lucidly, and we’re grateful for the recognition that it’s not just her no-show friends making her miserable and lonely.

By the end, however, Askowitz’ relentless self-involvement, the source of much of the book’s humor, begins to wear thin. What’s missing is a connection to something larger that transcends the sometimes funny but often repetitive whining. While it could serve as a warm, honest resource on the little-explored subjects of sperm donation and home birth, My Miserable, Lonely, Lesbian Pregnancy ends up reading a little like a long and tiresome sick note.

Magazinester

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Oooh! Lookee up here, on the dirty gay porn rag shelf. Past the Out, featuring a very strange half-naked photospread "dedicated to the memory of Georgia O’Keefe" — think nipply model and cow skulls — and The Advocate, giving you full-on yawnsville with ho-hum marriage and "reality gays" stories. Past Genre‘s insectoid white boy snaked in the Stars-and-Stripes cover and Instinct‘s insightful "Exposed! Mario Lopez Rocks Your Bod!" tell-all.

Up here in the anal bleachers, Inches parts hunky Russki Nickolay Petrov’s iron curtains, and shoves anti-model Herman’s head in our gaping eyeballs. Black Inches leads with "Holla! 8 Black Brothas Boned Up!" and showcases Quentin ("9 inches — Cum Taste the Flava!"), while Latin Inches outsizes ’em with Carlos ("13 x 6 — Extra Thick ‘n’ Juicy!"). Alas, a quick scan reveals no Asian Inches or Eskimo Inches or even Arab Inches, although they’re all the rage. (Inch’allah!) With Playguy you also get a bonus Inches from 1996, so it reeks of meth and dial-up modems.

We’re a soft target for hairy Honcho cover hunk Alex Corsi’s "heat-seeking missile," although the "Bobbin’ for boners" and "Bareback rimming" how-tos seem like mere excuses for pretty pictures. Celebratory 100th issue Unzipped model Antonio Braggi’s tagline says everyone wants him for his "11 x 6," but we’re pierced by his steely gaze and perfect facial hair formation. Another can’t-miss in this issue: "Weapons of Ass Destruction! The Battle of the Celebrity Replicocks!" We’re dismayed by the dearth of bear-porn magazines this month, and that Mandate‘s "9 Hot Hunks Butt Naked!" is full of too-familiar faces. But we’re perfectly pleased by Advocate Men‘s dreamy "stallion in a suit" — and a hair suit at that — Matthew Cameron. Grrrl.

Far “Encounters”

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Last seen playing a priest in Harmony Korine’s Mister Lonely (2007), Werner Herzog is back behind the camera with Encounters at the End of the World. Guided by Herzog’s trademark droll narration, Encounters journeys to Antarctica, starting at the McMurdo Station research facility, where the director talks with people who’ve chosen to make a living in the world’s most isolated community. Though grubby McMurdo is hardly picturesque, the surrounding land — where Herzog visits divers who daringly study sea life below the ice, volcano researchers, and penguin and seal experts — is as breathtaking as it is stark.

Filming in Antarctica, Herzog made what he called "a couple of good decisions." One was to hand over his camera for the underwater sequences, leaving the diving to experts. The other was more elemental. "Normally I am a man of celluloid, but filming on celluloid when it’s very cold becomes a clumsy affair," he explained during a recent phone interview. "You have to keep your raw stock warm enough because film doesn’t bend when it’s extremely cold. It’s like uncooked spaghetti that you bend, and then it breaks. So I decided against my normal procedures to film with digital cameras. And therefore there was not much of a challenge — Antarctica is easy. It’s not like the times of [Robert Falcon] Scott."

If you think that title only refers to geography, think again. "[Global warming is] not the predominant subject of discourse in Antarctica. What is all-pervading is that many of the scientists are — rightfully in my opinion — convinced that the human presence on this planet is quite limited and not sustainable," Herzog said. "But it doesn’t make me nervous. Martin Luther said something very beautiful when he was asked once, ‘What would you do if tomorrow the world would disappear?’ He said, ‘I would plant an apple tree.’ And I find this a very good attitude. I don’t plant apple trees, but I make films."

ENCOUNTERS AT THE END OF THE WORLD

Opens Fri/27 at Bay Area theaters

www.encountersfilm.com

Welcome to the jungle

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› a&eletters@sfbg.com

THE QUEER ISSUE Mark Twain’s observation (cribbed from poet Thomas Campbell) that "distance lends enchantment to the view" could serve as a guiding axiom for the languorous, enchanting films of Apichatpong Weerasethakul. Apichatpong shows more than he tells, and his camera often obscures rather than explicates the minute, alchemical operations taking place before it.

Somnambulant features such as the day-tripping Blissfully Yours (2002), the shape-shifting gay fable Tropical Malady (2004), and the double-exposed parental portrait Syndromes and a Century (2006) have left many critics bewildered but entranced. Others just seem confused by the elliptical, dream-like logic of the films, in which local lore and landscape shape the narrative as much as characters’ peripherally observed actions. Viewers hoping for glints of elucidation in Apichatpong’s juvenilia and nonfeature projects will probably be disappointed by "Mysterious Objects," the Yerba Buena Center for the Arts’ latest program honoring the director, for as its title indicates, his short films may be his most enigmatic.

All of Apichatpong’s signature traits — a fascination with the local and mundane, an unabashed love of syrupy pop songs, and a flair for throwing curve balls — are present in this grab bag of films made between 1994 and 2007. In the gleeful Anthem (2006) three elderly women listen to a supposedly blessed techno-lite number. Inexplicably, they are dropped, table and all, into a busy gym (and into the dead center of a badminton match), around which the camera makes multiple 360-degree circuits. Other such narrative jumps merely frustrate. Malee and the Boy (1999) begins with the scrolling text of a transcribed comic book, then switches to footage of hospital visitors. Whereas Anthem suggests a leap of faith, Malee just feels indecisive.

The program’s heart is Worldly Desires (2005), a half-hour trek across the same superstition-laden terrain of Tropical Malady. Dedicated to his "memories of the jungle," Worldly Desires is Apichatpong’s most meta film yet: a music video, a romantic drama, and a composite document crafted from "behind the scenes" footage.

In the opening sequence, a forest’s nighttime choir of insects is interrupted by a bossa nova groove. Suddenly a spotlight washes out the middle ground, illuminating the camera and lighting rigs trained on a singer and her background dancers as she lip-synchs a love song with familial undercurrents. The next few shots follow a man and woman as they hurry through the brush. It takes a few seconds before one can disambiguate the crosshairs in the center of the frame from the dense foliage.

Apichatpong keeps us at the periphery. Each re-shoot of the video is from the same, distanced vantage point. The couple’s arduous journey to find an enchanted tree unfolds through playback monitors, the director’s instructions, and the grumblings and random musings of an exhausted crew. We’re never told if the lovers cross paths with the pop star, or whether what we’re watching is the staging of something staged or a video diary.

Though Tropical Malady‘s first half focuses on a gay love story, it feels somewhat disingenuous to pin a queer sensibility on Apichatpong, even if he is gay. However, with its humorous foregrounding of the labor-intensive means by which the pop culture industry packages "normal" heterosexual love, Worldly Desires certainly invites queer labeling — if not at least queer readings such as this critic’s.

MYSTERIOUS OBJECTS

Thurs, July 3, 7:30 p.m. (program 1) and Sun, July 6, 2 p.m. (program 2), $8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Heart shaped box

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"Let’s pretend we own the world today," Kathleen Hanna sings midway through the uncharacteristic Bikini Kill ballad "For Tammy Rae." In her new solo show "An Archive of Feelings," the woman Hanna was singing for, Tammy Rae Carland, breaks down and reframes some of what she owns from a queer, feminist perspective that upsets emotional and financial conceits. Carland can wittily point out the beauty of mold and frame it in gold, but her show’s largest C-prints are perhaps the most powerful. My Inheritance presents 21 objects that belonged to her late mother. The widely varying forms of worth that might be ascribed to bingo memorabilia and domestic objects take on a tough, acidic irony here — through the piece’s title, and through a presentation that resembles and critiques the kind of white-page auction presentation found in Sotheby’s catalogs. One Love Leads to Another similarly presents the tape culture (via cassettes such as Let’s Rock from the 1980s that kick-started K Records in Carland’s onetime home of Olympia, Wash. Like Carland’s mother’s keepsakes, these punk feminist objects have a colorful Yard Birds’ aesthetic specific to Washington state, but their countless communal and creative connections showcase the power of sisterhood beyond bloodline.

AN ARCHIVE OF FEELINGS

Through July 27

Tues.–Sat., 11 a.m.–6 p.m., free.

Silverman Gallery

804 Sutter, SF

Cans and can’ts

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› le_chicken_farmer@yahoo.com

CHEAP EATS There’s a reason you don’t see electric can openers anymore. They’re completely idiotic. But maybe you have arthritis, or a wrist-related disability. With you (and lots and lots of money) in mind, some cat in Hong Kong invented the One-Touch can opener, which runs on batteries. I came across one in an able-bodied young friend’s kitchen drawer. To her credit, the battery was dead, or MIA. Ergo, I couldn’t figure out how to work it.

Which wasn’t, by the way (and speaking of idiocy), for lack of effort on my part. In fact, we got into a bit of a brawl, me and this nifty, innovative, as-seen-on-TV assemblage of plastic and metal parts. It won. After about an hour and a half — bloodied, bruised, and fuming — I swallowed my pride, along with four teeth, and asked my friend in different words how the goddamn fucking piece of shit bastard worked.

She was in the other room, nursing the baby. "Oh, that?" Someone had given it to her as a present, she said, as embarrassed as I was (to her credit). It needed a battery. There should be a "real" can opener somewhere in the same drawer, she said.

Oh.

I limped back to the kitchen, found the familiar, trusty, stalwart hand-crank Swing-A-Way, and the feel of it in my hands was like mother’s milk to the tongue. I was so soothed and content I fell asleep. On my feet. At the counter. On the clock. So to speak. Next to the refrigerator.

Through no fault of my own, dinner was late. Modern technology was to blame. Anyone who can’t see that is even dumber than me. Some things can’t be improved upon, and the classic model rotary can opener is one of them. Anyone who tries … I hate them.

I love cooking in other people’s kitchens, but I’m going to have to start traveling with my own can opener — ideally, for effect, in a holster. Just one week after being humiliated by a device designed for senior citizens, I was in another friend’s kitchen, helping out eatswise before a party, and I had another run-in with yet another kind of can opener that wasn’t your standard Swing-A-Way rotary opener, and therefore didn’t work.

Technically it wasn’t my run-in so much as my friend Kizzer’s. At least initially. We were working side-by-side, me chopping up stuff for the coleslaw, and she opening cans for the bean salad. Trying to open cans, I should say. But this particular new, improved, innovative state-of-the-art can opener had different ideas, which included Kizzer almost having to go to the emergency room and me pretty much smelling and feeling like bean juice for the rest of the day.

Ironically, the idea behind this alleged improvement on perfection is to cut the lid down below, on the can side of the seam, rather than the top, so that you don’t end up with that ragged and dangerous lid to dispose of. You end up with a ragged and dangerous can.

Not to mention it took three people with graduate degrees, a couple of knives (without), and about 15 minutes to finish the job that my old $2 opener would have finished in less than 10 seconds (I checked). And the mangled can, afterward, looked very much like a weapon.

So I verbally abused our lovely and gracious hostess for keeping such a thing in a house with small children, and she said it was the only kind they had at Rainbow Grocery.

Ah. Leave it to my favorite kind of people, vegetarian hippies, to turn can opening into a bloody, beany battlefield, and in the interest of what? Safety? Ergonomics? The environment?

Look, if they don’t have a $2 can opener down at your local thrift store, you can order one brand new online for $6. I’m sure of it. I really did check: eight wrist-twists and five seconds opens a standard-size can. And if that sounds too exhausting, too time-consuming, or somehow dangerous to you, get the hell out of the kitchen please. I’ll cook. *

My new favorite restaurant is Puerto Alegre. I was eating something brunchy there with Earl Butter, my brother, and my nephew when it occurred to me that I’ve been eating here pretty consistently for longer than I’ve been pretty consistently eating anywhere else around here. So it must be good. It’s not the best Mexican food in the Mission District, but I love the atmosphere. And if you show up right at 11 a.m., even on weekends, you can sit right down.

PUERTO ALEGRE

546 Valencia, SF

(415) 255-8201

Mon., 11 a.m.–10 p.m.; Tues.–Sun., 11 a.m.–11 p.m.

Full bar

MC/V