Volume 43 Number 02

Janitzi

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› paulr@sfbg.com

It’s hard to imagine a restaurant actually failing on Valencia Street, but from time to time one does notice a casualty. The west side of the block between 22nd and 23rd streets, in particular, has turned out to be something of a killing field lately. The long-running Saigon Saigon folded two years ago, leaving a memorial — I hope not permanent — of boarded-up windows. Next door is a sliver of a space, once home to the amazing Gravity Spot, that has had multiple occupants since the mid-1990s. At the moment it appears to be a nascent wraps shop.

Then there is the larger, and quite handsome, setting at 1152 Valencia. Around the turn of the millennium it opened as Watergate and featured a façade of tall casement windows and enough woodwork inside to do justice to a London gentlemen’s club. Later occupants included Watercress and Senses, each coming and going with a bit more alacrity than its predecessor, in the manner of some of the later Roman emperors.

Now we have Janitzi, which opened Labor Day weekend, serving "the cuisine of the Americas." The space remains as appealing (to me, at least) as ever, although the woodwork inside has given way to a paint job of vibrant lime green (along with ochre-colored floors that combine concrete and wood planks), while the unmissable facade, with its pilasters, has been painted sky blue with canary-yellow trim, just to make sure no one can possibly miss it.

Serving a pan-American cuisine is such a self-evidently good idea it’s a wonder we don’t have many such places — but at least we have this one. Janitzi’s direct culinary ancestor would probably be Yunza, which offered a similar menu along lower Fillmore but did not long survive an obscure and slightly seedy midblock setting. Janitzi has a large advantage here, despite the spotty history of the address.

And what is the nature of the menu? Janitzi’s Americas of "cuisine of the Americas" begins at the Rio Grande, apparently, and reaches south to Cape Horn. It includes favorites from Mexico (queso fundido), Peru (ceviche), Brazil (yucca fries), Venezuela (arepas), and Argentina (milanesa). And after being cooked up in the large exhibition kitchen at the rear of the dining room, it’s served in various portion sizes, at reasonable prices, on stylish modern tableware, spare white but with sexy undulations.

An unexpected theme of unification is french bread, the first rounds of which arrive at your table, accompanied by a marvelous salsa of avocado pureed with garlic, cilantro, and lime juice, soon after you’ve been seated. Another cycle turns up with the queso fundido ($9), which is less about queso than a heart-stopping wealth of Mexican-style chorizo. Usually you scoop queso fundido with tortilla chips or ladle it into warm tortillas; the bread rounds were adequate here, though not ideal.

Also in a Mexican vein were a pair of pasilla peppers ($9), charred, peeled, stuffed with shredded chicken and queso blanco, then bathed in a mild, creamy tomato sauce. The peppers had just enough bite to assert themselves through the sauce, and yet more bread rounds were on hand for mop-up duty.

A salad of shrimp and avocado ($14) left us underwhelmed, particularly considering the price. True, there were six or eight shrimp of decent size, peeled and tasty, and the avocado was artfully arranged in thin slices around the edge of the dish, like markers on a sundial. But most of the salad consisted of chopped romaine lettuce, which was about as interesting to look at as it was to eat, and that was not very, despite a heavy shower of toasted squash seeds added for texture and flavor and a potent-sounding vinaigrette of cilantro and jalapeño.

If the shrimp salad was overpriced, the rack of lamb ($20) made up for it. The ribs had been expertly frenched and arranged in the middle of the plate, like the frame of a wigwam. Elsewhere were pats of thyme butter and miniature logs of (mysteriously raw) baby carrot. Our only complaint was that the meat was slightly overcooked; there was just the faintest hint of pink inside. Juice flowed liberally, however, and the flavors were rich and full.

It was hard to tell if the Tarasco cakes ($12) — patties of seasoned, shredded beef leavened with oatmeal (or, the hamburger as experienced by the Tarasco Indians of Mexico’s central plateau) — were juicy or not. They didn’t need to be, since they were bathed in the same creamy tomato requesón sauce that coated the pasilla peppers. But even without that sauce, they would have been flavorful.

So-called protein dishes (the various meats, the seafood) include your choice of two sides, and these are among the most satisfying items on the menu. Corn, of course, which is native to the Yucatán peninsula, figures prominently in them. It doesn’t get much simpler than corn grilled on the cob, and if the corn is height-of-the-season white corn, it doesn’t need much tweaking beyond a hint of sweet butter.

Arepas, corn pancakes common in Venezuela and Colombia, were unadorned but creamy inside a nicely blistered crust. Yucca fries could have been crisper but still offered their distinctive sweet savoriness. Braised cabbage turned out to be a close relation of coleslaw, with shreds of red and green cabbage brightened with lime juice.

And, for dessert, a hint of the north: the vanilla dome ($6), vanilla ice cream encased in a shell of dark chocolate, with a heart of caramel. It’s like a big Dilly bar that slipped off its stick — the Dilly bar being, for some of us, one of childhood’s most memorable bits of (norte) Americana.

JANITZI

Daily, 10 a.m.–10 p.m.

1152 Valencia, SF

(415) 821-2310

Beer and wine pending

AE/DISC/MC/V

Moderately noisy

Wheelchair accessible

Hope blows

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› le_chicken_farmer@yahoo.com

CHEAP EATS Hope does not spring eternal. It springs for about three years and four months. Just kidding. It springs eternal. For me it does, but I kind of wish it didn’t. My friends who have given up seem happy, and I look at them, laughing the dark laugh and drinking heavily, and I think, I want that. Thus the fascination with self-destructive habits like, yes, drinking, but also self-pity, insomnia, and burning the roof of your mouth on hot pizza.

You probably noticed that Cheap Eats has become a kind of a blues tune, featuring repetition and heartache. I’d love to stay right there, believe me, and close my eyes and just ever-so-slightly sway, real sexy, like buildings, while the harmonica, "brings it home" and the ice in everyone’s glasses melts.

This sounds nice, doesn’t it? Trust me. It does.

However, and this is a terrible attitude, I know: I keep having hope. Which springs eternal, like cockroaches.

But I would like to learn hopelessness, and am thinking about getting a television. That’s Earl Butter’s advice. "Don’t do drugs," he said, over coffee, down at the coffee shop, ’cause I asked. "Do TV."

Yeah! Food Network, I thought. That’s something I’ve heard about. As usual, Earl Butter has his finger on the pulse of — well, on my pulse.

And let’s be clear: I say learn hopelessness instead of be hopeless not because I’m a new age hippie chick, but the opposite. A chicken farmer. As chicken farmers know (from shoveling shit, chopping off heads, and watching the hawks circle) we are all, ultimately, hopeless. It springs eternal too! But it gets overlooked, so you have to learn it.

This week’s dating disaster blues song is too sad and scary to sing, even for me. So let’s cut the one-four-five, shitcan the harmonica player, shoot the piano player, and, pending his mommy’s permission, effectively turn Cheap Eats over to an adorable three-year-old boy named Boink, who loves to cook and hates to eat. I’m seeing a kind of an alternative weekly cooking show, wherein Boink, with the help of his washed-up chicken-farming nanny, invents pesto soup and generally tries to poison his little sister, who eats anything and is just the cutest little sweetie-pie ever to hit the alternative weekly world since Matt Gonzalez circa 10 years ago.

Let’s call it … I know: Cheap Eats! The first episode begins right now, with Boink at the counter doing what he does best: raising dust. Dust is his word for clouds of flour he inspires by 1) sticking his hands in the mixing bowl, 2) bringing them to face level and clapping, and 3) repeating steps one and two. His whole face, eyebrows, hair, clothes … he is coated in "dust."

I am standing nearby, holding Boink’s cute little sister Popeye the Sailor Baby, who is spewing puke all over me. I’m soaked. If her brother and I were to hug right now we would make, between us, a most disgusting batter.

In fact, let’s make it: puke pancakes! I’m disgusted, not because of the state of my nannywear, but because the day before, I am remembering, standing there dripping sickness, Popeye and me shared fresh figs under their back yard fig tree, alternating bites, while Boink tortured the chickens. I give myself 24 hours before I’m puking all over my nanny.

This feels more like a medical certainty than a prediction, but 24 hours later I feel fine. I feel great. Home, and clean, and hopeful, I call my TV-watching friends the Mountains and invite myself over for dinner. They accept! I e-mail the TV-watching couple I wrote about last time, and invite myself over after dinner for late-night meaningless sex. They accept!

In my car I listen to the debate, and begin to feel it. By the time the ribs and chickens come off the grill, I am on the Mountains’ bathroom floor, missing dinner and cell-phoning my couple to cancel them, too. I was off by six hours, but not off. Puke springs eternal.

My new favorite restaurant is Patxi’s, the Chicago pizza place in Hayes Valley. There are a couple other sources for deep-dish pizza in town, but none come as close to the East Bay’s great Zachary’s as this. In fact, um, I think I might like Patxi’s better. Meat slice (and they do sell stuffed slices) had pepperoni, sausage, and jalapeños — genuinely hot ones. Great crust, soccer on TV … *

PATXI’S

Tues.–Sun., 11 a.m.–10 p.m.

511 Hayes, SF

(415) 558-9991

Beer & wine

AE/MC/V

No choke

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› andrea@altsexcolumn.com

Dear Andrea:

I just had a friendly breakup and we still see each other around. Sex with him was so great, I worry that I may never experience such great sex again. But I have a question about something.

There were two instances right before we broke up when we were making love and he put his hand around my neck, in a choking way, and applied pressure. We had been together for more than a year and I didn’t feel threatened, so I just pulled his hands off. I always meant to ask him about this, but then we broke up. Now, though, I’m analyzing everything. I never felt scared, but I wondered why suddenly, out of the blue, he’d start pulling this move. I’d read your column and remembered something about choking fetishes, so I got online — sure enough, I discovered it’s called breath-play. Now I’m pissed because he was trying to introduce something into our sex life (normally a great idea) that could be dangerous — and honestly, I think he should have asked me first.

Should I confront him even though we broke up? Am I making this a bigger deal than it is? Now I feel my temper rising, thinking how dare he introduce a dangerous (albeit titilutf8g for some) sexual practice without asking me first. Maybe it’s good we broke up, since who needs a guy who can’t talk about things he wants to do in bed?

Love,

Choked Up

Dear Up:

Casually introduced, non-negotiated breath-play, huh? That would be one of the few practices still capable of rousing me from my so-many-years-out-here-in-the-trenches-near-somnolent state of "whatever, dude." Of course it’s not OK not to ask! Breath-play can kill you. Well, to be fair, lots of things can kill you, but breath-play has a better chance than most.

I don’t know precisely how many deaths are caused annually by erotic asphyxiation. First aid and S-M safety instructor Jay Wiseman, this subject’s generally acknowledged go-to guy, says in his much-posted article on Breath-Play (read it at collarncuffs.com/breath%20play): "The American Psychiatric Association estimates a death rate of one person per year per million of population — thus about 250 deaths last year in the United States. Law enforcement estimates go as much as four times higher."

So it’s small, tiny really, by population — and that tiny number also includes all the cases of autoerotic asphyxiation, the only sex act that regularly puts its practitioners in the running for a well-deserved Darwin Award. Even AAE fans usually get out alive, of course, it’s just that "usually survivable" is not a great ad slogan. So why does anybody buy? Do they have a death wish, or what? There are some who do, but I don’t think that’s the big draw. Some folks are turned on by the idea of flirting with death, or of being out on the edgy edge where only the edgy people go. Others, probably most, just like the sensation, which can (reportedly! I am a big fraidy-cat myself) be intensely … intense. Boyfriend, in all likelihood, had never given the danger a thought; he was just trying to give you (and by association, himself) a big old rush.

Oh, right, but back to the part where you could die. Just to clear this up: autoerotic asphyxiation is much more dangerous than doing it with a friend, but the scarifying part about the deaths during partnered play is that they don’t seem to be either predictable or preventable — it’s not as simple as, say, noticing that your partner has passed out and taking your hands off. The primary danger is not that the person will black out from simple lack of oxygen, but that the lack of oxygen will set up a chain reaction (complicated, and well-described in Wiseman’s article) resulting very rapidly and completely unpredictably in cardiac arrest.

So. This is not the sort of thing you just spring on someone all willy-nilly and hope they like it. Doing so is unchivalrous, at best. I have a shocking suggestion though, which we may never be able to prove true or false now, but it’s worth making anyway. What are the chances that all this talk of breath-play and death-play is beside the point because he didn’t choke you out and didn’t mean to: he merely meant to do what he did — put his hands on your throat to give you both a little "what if I actually kept squeezing, not that I would" thrill? A feint, as it were?

Still a bad game, but not necessarily anything so serious that we have to go dragging Jay Wiseman and the American Psychiatric Association into this.

I can imagine why it would be bothering you, but I wouldn’t put a huge amount of energy into it. If you’re already in touch with him, I could see how a quick, light-handed, "Oh and by the way, what the fuck …?" could be just the thing, though. *

Love,
Andrea

Got a salacious subject you want Andrea to discuss? Ask her a question!

Editor’s Notes

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› tredmond@sfbg.com

Way back in the 1980s, when Willie Brown was the untouchable speaker of the State Assembly and by all accounts the second most powerful politician in California, he came to an event at the San Francisco Press Club and gave a few dozen reporters a lesson in how to defeat a ballot measure. I’ll never forget it.

A group of reformers — some Republicans, many unhappy with Brown’s leadership — placed a measure before the voters that would have taken the power of drawing legislative districts away from the State Legislature and given it to a panel of retired judges. The Democratic leadership, which had used its redistricting power with shameless brilliance to create safe seats for Democrats, wanted to kill the proposition, but polls showed it passing by a good margin.

So Brown went to the notorious Los Angeles political consulting firm of Berman and D’Agostino (a.k.a. BAD Campaigns). "And they told me," Brown announced to the audience, "that any piece of legislation has something in it that can be used to upset and confuse the voters. You just have to find the fatal flaw."

So the BAD boys decided to run against the judges. Brown turned on a TV his aides had set up and showed the reporters a series of TV ads. None mentioned redistricting. They didn’t mention the legislature. They didn’t give you any idea what the ballot measure was about. Instead they featured a bunch of shadowy figures in black robes, raising their right hands and swearing to uphold party loyalty. "Judges belong in the courtroom, not the back room," an ominous-sounding voice-over said.

Thanks to the grossly misleading ads — and Brown’s ability to raise millions to blanket the airwaves with them — the redistricting plan was defeated. Brown was positively gleeful about it.

I keep thinking about that when I watch the cable-TV ads against Proposition H. The ads feature a series of people — Hunter Stern, who works for PG&E’s house union; John Hanley of the SF Firefighters Union; and Sup. Carmen Chu, who has become a wholly owned subsidiary of PG&E — talking about losing the right to vote on revenue bonds.

Nobody ever votes on revenue bonds. In California, we vote on general obligation bonds, which are backed by taxpayers. Revenue bonds are backed by a defined revenue stream; airports, ports, and other agencies issue them all the time.

And none of this has much to do with the substance of Prop. H, the Clean Energy Act, which sets renewable energy goals and calls for a study of the city’s energy options. Yes, Prop. H would allow the city to sell revenue bonds for new energy facilities — but the city issues revenue bonds (without a vote of the people) for all sorts of enterprise projects.

So what happened here is that Eric Jaye, PG&E’s political consultant, realized that the Clean Energy Act was polling well and looked for something he could use as a fatal flaw. Like the judge in the back room. He settled on the revenue bonds, manufactured a right that doesn’t exist, and pretended that Prop. H would take it away.

I’m sure Willie Brown — who collected $200,000 in legal fees from PG&E last year — is proud. *

Dirty deeds

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SIN-EMA Though he’s lived in Denmark since 1993, time and distance have only drawn author-archivist Jack Stevenson closer to his erstwhile home’s filmic arcana. Proof arrives via "The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema." This Yerba Buena Center for the Arts–commissioned series flashes back to SF’s smutty ’60s, when the sexual revolution dragged "adults only" movies semi-overground. Its variably silly, serious, silicone-y, and psychedelic excavations prelude hardcore porn as legal reality, let alone professionalized industry. Back then, investment and commercial stakes alike were so low, anybody could make a "dirty picture" — and many pseudonymous anybodies did.

Indeed, even some titles are only guessed-at on Stevenson’s initial "Home Movies" bill, a quartet of 1968 16mm films whose performers and crew remain known perhaps nowhere beyond a few wild grammas ‘n’ grampas’ memories. In one, an Avon lady drugs a housewife for lesbi-manhandlin’. In another, Mommy does more than kiss Santa Claus.

Roving beyond SF, the "Flaming Striptease" program embraces celebrity ecdysiasts (Bettie Page, Jayne Mansfield), but also includes vintage faves (Batgirl!) from still-shakin’ Big Al’s in North Beach. But the destination baloney filling this greasy curatorial sandwich is The Meatrack, a first-last feature by "Richard Stockton" — a.k.a. future Market Street grindhouse-to-rep-house entrepreneur and Strand Releasing co-founder Mike Thomas. Made in 1968, it was blown up to 35mm and re-released to some 1970 success as "the poor man’s Midnight Cowboy."

Meaningfully monikered, abdominally defined protagonist J.C. (David Calder, briefly flashing the XXL package onscreen admirers pay for) is a young drifter who splits when anyone gets too close. That mistrust is rooted in flashbacks to a shrewish mother ("All men are alike!") and delinquent dad ("You’ll be boozin’ too after they’ve given you the purple shaft right up the old kazoo!")

Too damaged to separate being viewed as "a piece of meat" from offers (male and female) of real love, J.C. is a withdrawn bisexual hunk of some complexity. The film’s avant-garde editing, stereotyped yet sympathetic psychology, Warhol-esque drag improv, and vivid SF street-life glimpses turn Meatrack‘s "perversion" bouquet nostalgically fragrant.

THE SUPERSTARS NEXT DOOR: A CELEBRATION OF SAN FRANCISCO AMATEUR SEX CINEMA FROM THE #60S: See Rep Clock for schedule. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org

Hawaii calls

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PREVIEW Patrick Makuakane is big. But the tall, muscular choreographer’s physical size is nothing compared to the largeness of his laughter, personality, and, above all, his love for and knowledge of hula. In addition to a very large school, Makuakane runs the Bay Area’s most successful Hawaiian company, Na Lei Hulu I Ka Wekiu. He has coached, choreographed, directed, and MC’d the halau’s productions since 1985, and while about half of the dancers are Hawaiian, the rest are there for the love of the art. None are paid, but, Makuakane says, "We take good care of them." Learning about Hawaii, its history, and its arts and crafts — in addition to being fed well — is just one of the benefits.

Onstage Makuakane’s gifts as a showman at times overshadow his remarkable ability as a vocalist and a percussionist. Watch him hunched over a drum and giving life to lyrics few of us understand, and you get a glimpse of an immensely serious artist at work. In India he would be called a guru; in Africa, a griot. Makuakane’s greatest gift is in embracing a generous perspective on hula: he calls it "Hula Mula" — respecting the old, putting it into contemporary expression. That’s why he can create a hula to "I Left My Heart in San Francisco" — far removed from the ancient chants and drums — and it explains the origins of one early piece unearthed for this year’s extravaganza, Krishna Hula. He remembers its genesis in Golden Gate Park. "We were doing our own thing and this band of chanting Hare Krishnas showed up," he recalls. "It was wild."

THE HULA SHOW 2008 Thurs/11, Oct. 17 and 18, 8 p.m.; Fri/12, 4 p.m.; Oct. 19, noon and 3 p.m.; $10–$40. Palace of Fine Arts, 3301 Lyon, SF. 1-800-407-1400, www.cityboxoffice.com

Let them eat rock

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› a&eletters@sfbg.com

REVIEW The prologue and opening salvo in playwright-director Steve Morgan Haskell’s spirited, fitfully inspired rock parable All You Can Eat — an offbeat, down-tempo call to arms — has a French accent, wielded by a woman named Camille de Tocqueville (a coolly assured Michelle Haner). A writer on a Jean Baudrillard–like quest for the quintessence of America — America the dream, the disease, the drug, the doom — Camille needed, she tells us, to get herself an American rock star, the cowboy icon of this decadent age of imperial decline. And she found one in Alexander Vanderbilt (a languidly potent Brian Livingston), an evocatively named, Jim Morrison–esque lead vocalist of the long-defunct band All You Can Eat, whose four members are about to reunite for a comeback tour after seven years apart. The math eventually becomes significant, too, since 2008 minus seven leaves us hovering around the smoldering fall of ’01.

Now, the idea of being criticized by a French person is supposed to be inherently provocative to great swaths of freedom-fry–loving Americans — if maybe not so many Bay Area denizens. But having the great-great-great-grandniece of Alexis de Tocqueville firing both barrels at us — a live babe clutched, with European nonchalance, to her breast — sets up a particularly intriguing series of associations that go well beyond mere cheek or caricature. The group’s name, after all, employs durable pop irony to flag a consumerist ethos that, in this context, functions as a latter-day democratic equivalent of Marie Antoinette’s dictum by inadvertently helping to kick off an apocalypse with the Dubya-like injunction to shop and devour your way to freedom and security. Revolution, it seems, is English for la plus ça change.

Collaborating productively with the sharp physical theater style of San Francisco’s foolsFURY, Haskell unfurls the combo’s story obliquely, in some shimmering dialogue and a music- and movement-fueled patchwork of disjointed, time-tripping scenes, prodded and punctuated by guitarist Tracy Walsh, stage left. The paint-dribbled set proffers three large semi-abstract canvases by artist Matt Sesow — crazed portraiture for an age inclined less to the revolutionary romanticism of a Delacroix than the bastard offspring of Francis Bacon and Ralph Steadman.

In their personal foibles, triumphs, and entanglements; their outsize ambitions; their seemingly omnipotent but ultimately caged energies; Vanderbilt and colleagues Gregory Ford (Ryan O’Donnell) and Banafrit Nut (Nora El Samahy), together with their manager (Deborah Eliezer) and one fiery and ominous groupie (Csilla Horvath), become the prism for a larger social crisis. Although the play’s expression may lack the dramatic girth Haskell sets out for, its dimensions are often smartly suggested. Moreover, All You Can Eat‘s significance won’t be lost on anyone in this crystalline moment of truth between Wall Street, Washington, DC, and the abused inheritors of democracy in America. *

ALL YOU CAN EAT

Through Sat/11

Thurs.–Sat., 8 p.m.; Sun., 7 p.m.; $15–$30

Traveling Jewish Theatre

470 Florida, SF

www.foolsfury.org

Mashed up

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› Kimberly@sfbg.com

SONIC REDUCER Remember the bad ole days when giving a damn about food was uncool? When it was all about toughing out the gurgles in the gut — or snatching sheer, pleasure-free sustenance by grabbing a cheapie, microwaveable green burrito from 7-Eleven and shoveling it down the gullet before racing to the hardcore show at the Vet’s Hall.

Well, M.F.K. Fisher be praised and pass the white truffle oil and broccolini. Times have changed, and the signs of the shift in this chow-fixated city of biodynamo-organo-locavores have even seeped into its musical crannies, from shakuhachi player Philip Gelb’s organic, vegan cooking class-feast-performances and curator Brianna Toth’s dinner shows in her Mission District kitchen to Hawnay Troof/Vice Cooler’s mini-vegan cook-zine and Godwaffle Noise Pancakes brunches that gird gingerbread griddle cakes with quality noise. We won’t even mention all the musicians who also cook or wait for a living. Jesus Christ in a chicken basket, even big pop shots like Alex Kapranos have license to poop out tomes like Sound Bites: Eating on Tour with Franz Ferdinand (Penguin, 2006).

So when I smelt Lost in the Supermarket: An Indie Rock Cookbook comin’, I had to try some recipes and find out how this collection of treats from this oddball yet provocative assortment of music-makers came about. Authors Kay Bozich Owens and Lynn Owens were clearly indie fans of the most eclectic variety. Belle and Sebastian’s and Fugazi’s chosen eats are paired with Japanther’s and USAISAMONSTER’s. Some recipes tickle the taste buds like Icelandic experimentalist Mugison’s — say wha? — Plokkfishkur, a.k.a., fish stew. Others resonate like a zen koan (see Xiu Xiu’s take on tofu — "3. Eat it with a fork. 4. Stare out the window"); test one’s, erm, taste like 16 Bitch Pile Up’s "Birthday Cundt Cake," an anatomically correct, iced red-cake interpretation of a dismembered torso; or tease the imagination as with Carla Bozulich’s "Recipe for a Melodramatic End."

Lynn Owens attributes the hearty response that he and wife Kay received to the pervasiveness and renewed cool of foodie culture, the mindfulness with which people are paying attention to food and its origins, and the low-cost and creative side of cooking-it-yourself. "The kitchen is a place for creativity," says Owens, who teaches sociology, concentrating on radical politics and social protest, at Middlebury College in Vermont.

"And it is cool again: dinner party culture is big now." Additionally, he says, many musicians saw it as yet another outlet: "To an extent, cultural producers are branching out — now you don’t just do one thing anymore."

The project kicked off when the couple moved to Connecticut a few years ago: Lynn — who once made pizzas in SF alongside his friend, Deerhoof founder and 7 Year Rabbit Cycle leader Rob Fisk — was teaching at Wesleyan, and the bored and unemployed Kay began e-mailing bands about their favorite recipes, not expecting anyone to write back. But they did — with at times startling passion. "The Country Teasers, who actually have a reputation of having music that’s super-misanthropic, were super-duper helpful," Lynn marvels. "Almost everyone in the band sent recipes, and they introduced us to other bands who wanted to participate, and then when they played in Providence, R.I., they invited us to come to the show." Lynn went so far as to pull rank as a Wesleyan instructor in order to get alumni Amanda Palmer of the Dresden Dolls to cough up a chocolate zucchini cake recipe. Students were enlisted as test kitchen guinea pigs.

Piqued by Lost‘s inclusion of multiple chili and mashed potato recipes, I decided to try my hand with the taters, a band favorite, natch, because they’re "filling and relatively cheap," as Lynn puts it. Black Dice’s Eric Copeland, another active contributor with multiple recipes and advice, forked up a relatively simple mashed potato recipe made of potatoes, sour cream, and "spices," which meant seasoned salt, pepper, and other mystery add-ins. Decent, but not as imaginative as I’d like from a Black Dicer.

The real revelations were Gris Gris member Oscar’s "Jalapeño Mashed Potatoes" and Solex’s "Amsterdam Mashed Potatoes with Sauerkraut." The former’s combo of almost-carmelized, hot-sweet jalapeños and onions combined with mash and chunks of queso fresco was an outright oral fiesta. The latter Dutch doozy was comfort food Eurostar deluxe, juxtaposing bland creaminess with sour ‘n’ savory sauerkraut, onion, and buttah. You won’t find Alice Waters or Thomas Keller level cooking in Lost, but fans of, say, starving college student cookbooks or quirky compendiums of Spam or ramen recipes will find plenty of tasty notions here — as delectable as all the aforementioned potato heads’ music. As the Rae-monster might roar, "Yummo." *

REFRESH, RENEW, REUNITE

AWESOME COLOR AND KAYO DOT

The Michigan acid-rockers and the Brooklyn avant explorers kick out the jams. Wed/8, 9 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

CAKE

Oakland vocalist John McCrea and company put the rock into their politics — and raise money for Proposition H. Fri/10, 9 p.m., $49.50–$99.50. Independent, 628 Divisadero, SF. www.theindependentsf.com

NEW KIDS ON THE BLOCK

Whoa, these guys look like the alternate cast of Entourage. Fri/10, 8 p.m., $37.50–$77.50. HP Pavilion, 525 W. Santa Clara, San Jose. www.livenation.com

QUINTRON AND MISS PUSSYCAT

Quintron makes an appearance in Lost in the Supermarket with a lemon meringue pie recipe. Sat/11, 9 p.m., $15, Independent, 628 Divisadero, SF. www.theindependentsf.com

NOW AND ZEN FEST

UK soul diva Duffy teams with ex-Eureka-ite Sara Bareilles. Sun/12, noon–5 p.m., $25. Sharon Meadow, Golden Gate Park, SF. www.radioalice.com

Inbal Pinto Dance Company

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PREVIEW Two years ago the Inbal Pinto Dance Company made its San Francisco debut with Oyster. On first glance it looked like a freak show, one of those traveling circuses that paraded so-called human deformities to titillate audiences. I mean, what are you going to do with a two-headed, four-armed MC and a crone who controls live puppets? The entire piece looked like a mix of Fellini, without his loving acceptance, and early Günther Grass, without his sardonic humor — plus a solid dose of that French invention, "new circus." Watching the performers move and dance in that no man’s land between fantasy and reality, you couldn’t quite let yourself relax to enjoy Oyster‘s sheer theatrical punch, because underneath all the merriment hid a ghost in the basement.

For their return visit, this Israeli group, appropriately co-managed by a choreographer and a theater director, is presenting its latest work, Shakers, which has nothing to do with condiments or 19th-century New England religion. Its inspiration comes via one of the most common kitsch objects you can buy in tourist locations ranging from Oslo and Moscow — where they make sense — to Cairo and Bombay — where they don’t. Remember snowglobes, those little glass-domed, hermetically-sealed trinkets you shake and snow keeps falling, falling, falling? Shakers.

INBAL PINTO DANCE COMPANY Sat/11, 8 p.m., and Sun/12, 2 p.m., $39–$27; family matinee, Sat/11, 2 p.m., $12–$25. Novellus Theater, Yerba Buena Center for the Arts, 701 Mission, SF. (415) 392-2545, www.performances.org

Hawnay Troof

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PREVIEW When I think of Hawnay Troof after listening to approximately one-half of his first full-length, Islands of Ayle (Southern/Retard Disco), the cover of the Geto Boys’ We Can’t Be Stopped (Rap-A-Lot, 1991) comes to mind. I might have found out about the image — Bushwick Bill just forced his girlfriend to shoot him, and he’s in a gurney that the other dudes in the group are pushing down a hospital corridor — from Vice magazine. Does that mean it’s not a legit memory? I struggle with this sometimes, but listening to Islands of Ayle renders it moot. It’s bursting with a sort of straight-ahead energy that only has room for the present moment.

The man behind Hawnay Troof is Oaklander Vice Cooler. He was in this band called XBXRX, which was notorious for a lot of reasons, including originally being from Mobile, Ala., and being initially mostly high-school age. If you’ve followed the group’s career, you’re probably not surprised that Hawnay Troof makes the kind of confessional, but not self-pitying, music he does. The backdrop to Cooler’s stream-of-feeling flows is a suitably hyperactive strain of Casio-crunk, punctuated with brief, looping interludes that sound something like Nurse with Wound producing for Peaches.

The positivity that makes me happy when I hear Hawnay Troof seems to acknowledge shitty stuff — maybe not shot-in-the-eye bad, but pretty demolishing personally — yet manifests an even stronger will to improve, a reaching out. This seems to proceed directly from Cooler’s experiences: on the southwest leg of his current tour, for example, Cooler and his roadie were pulled over in their Enterprise rental car by Arizona police en route to a show. The vehicle was searched without a warrant, and when the cop discovered the roadie’s license was suspended, he impounded the car, leaving Cooler to finish his dates by U-Haul. Apparently there’s no stopping the performer, though as one of the harder-working men in show business, I’m sure Cooler would appreciate a few more open ears at this show, his last stateside before he heads to the United Kingdom.

HAWNAY TROOF With High Places and Ponytail. Wed/8, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

Nachtmystium

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PREVIEW Nachtmystium, Chicago’s premier experimental black metallers, are on their fourth album with Assassins: Black Meddle, Part 1 (Century Media). Beyond the surface punning and musical nods to Pink Floyd — "One of These Nights" is the black mirror reflection of "One of These Days" from Meddle (Capitol, 1971) — the Chicago foursome seem to be out to offend the sensibilities of black metal traditionalists with spacious production, electronic scribbles, bluesy solos, and a deeply epic scope. It might be an attempt to escape the pall that their indirect association with NSBM — that’s "national Socialist black metal" or "Nazi metal" to you — temporarily cast on their rising cachet with hipsters (Black Meddle got a Best New Music nod from Pitchfork at the time of its release).

Blake Judd, Jeff Wilson, John Necromancer, and Zack Simmons have gone out of their way to dissociate themselves with politically motivated music, but it’s still tricky territory. In the search for more extreme, more dubiously authentic sounds, where can one find the line in the sand? It’s like seeing a Burzum patch on the Gossip guitarist’s hoodie: that’s not simple irony, accepting something to express a deeper rejection, right? In the case of a band like Nachtmystium, there’s the question of whether its aesthetic is inherently bound up with black metal’s anti-Semitic history, or whether the path it’s pursuing — cutting across classic rock and even classical tropes — messes with the smooth functioning of this equivalence mechanism.

Nachtmystium shares a bill with Wolves in the Throne Room — a band of cooperative-farm-dwelling radical ecologists whose relationship to black metal’s aesthetic/political orientations is more obviously strained, but is equally provocative. Don’t worry — there’s still time to bury your going-out clothes in the earth and arrive at the show smelling like decay.

NACHTMYSTIUM With Wolves in the Throne Room, Saros, and Embers. Sun/12, 8 p.m., $12. Oakland Metro Operahouse, 630 Third St., Oakl. www.oaklandmetro.org

Married in Massachusetts

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REVIEW Mike Roth and John Henning’s engrossing documentary chronicles the public firestorm that ensued after the Massachusetts Supreme Court ruled in favor of same-sex wedlock in 2003. A state constitutional amendment (loudly supported by Gov. Mitt Romney) was promptly drafted to ban it. When election time rolled around the next fall — after several months of marriage ceremonies — candidates’ stance on the issue was make-or-break for many citizens. (Beliefs are held so strongly that when one conservative family ultimately doesn’t see things going as they hoped, they plan to move out of the state.) The directors mix fly-on-the-wall reportage with vividly etched portraits of individuals, from senators to poignantly hopeful gay couples and activists on both sides of the fence. While things do inevitably get nasty, it’s to the filmmakers’ credit that at least some of the "one man, one woman" types met here come off as earnestly misguided rather than flat-out bigoted and vindictive. Though the film’s events may seem like pretty old news now, it excitingly captures the high emotions around a battle that continues to be fought, as an interviewee says, "one state at a time."

SAVING MARRIAGE opens Fri/10 in Bay Area theaters.

Obliterating the dollar

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REVIEW Andrew Schoultz is prescient. A week or two before Wall Street and Washington were forced to admit they’d obliterated the US economy, he unveiled new work that literally slices and blows up the dollar bill. In his A Litany of Defense and a Liturgy of Power (Come) from the Palm of His Hand, shards of the pyramid, all-seeing eye, and other mint-y green fixtures slice through the air alongside similar fragments of currency from other countries. These literal markers of economic chaos add yet more kinetic distress signals to the meta-intersections of iconic bird flocks, medieval warhorses, and whirlpools in Schoultz’s already claustrophobic vision. A hand-rendered George Washington stares blankly from the center of one relatively quiet piece, unaware that his image needs to be multiplied 700 billion times to begin to balance a different George’s checkbook.

"In Gods We Trust" finds Schoultz adding flagrant emphasis to his political content — most of his titles are declarative mouthfuls. Conversely, he veers away from wall murals into mixed-media pieces that only might be more market friendly. He braids collage elements into drawings and paintings. He’s also constructed a centerpiece installation that presents scales of justice set catastrophically awry. Subtlety isn’t on the agenda, and maybe it shouldn’t be. After all, Schoultz’s timing couldn’t be more right.

The visual impact of the work in Schoultz’s first major SF solo show in four years is best experienced one piece at a time, and at close range. Obsessive-compulsive repetition is a chief facet of some of the best San Francisco paintings and drawings of the past decade, and Schoultz, who has lived here around that long, is a standout representative of the practice. But unlike OCD peers’ veerings toward op art or pointillist tactics, his graffiti or mural aesthetic doesn’t always fit into a frame — it can seem murky from afar. This isn’t a matter of scale — in fact, my favorite pieces in "In God We Trust" are small ones — as much as perspective. I like Schoultz’s art most when I’m close enough to stare into the eye of the storm, or, in Sinking Slaveship, the blue (as opposed to black) hole.

ANDREW SCHOULTZ: IN GODS WE TRUST Through Oct. 25. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Marx and Zavaterro, 77 Geary, second floor, SF. (415) 627-9111, www.marxzav.com