Volume 43 [2008–09]

Pay to play?

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tredmond@sfbg.com

Fiona Ma, the California Assembly Member from the west side of San Francisco, has introduced a bill that would limit rent controls on trailer parks — something of a stretch for a district that has no mobile homes and for a politician who has never shown any past interest in the issue.

But several months before she introduced the bill, Ma received $6,200 in campaign contributions from one of the leading mobile home landlord groups.

Assembly Bill 481, introduced Feb. 24, would make it easier for the owners of mobile home parks to raise rents on units that are either sublet or not occupied year-round. It’s one of two major bills the park owners are pushing this year. The other, AB 761, by Assembly Member Charles Calderon (D-Montebello), would eliminate vacancy control in parks and allow rents to rise every time a space becomes empty.

Rent control in California mobile home parks is unusual. Trailer residents typically own their units but must pay rent to the park owner for the land beneath them. So mobile home owners — many of them seniors and low-income people — are actually tenants.

Under current law, local rent control ordinances apply to those trailer parks, keeping the cost of living there relatively low. However, the law allows park owners to raise the rent on trailers that function as vacation homes — that are not a principal residence for the owner and aren’t rented to somebody else.

Ma’s bill would make it easier to define a mobile home as a second residence and would eliminate the provision that protects sublets.

Advocates for mobile home residents have vowed to fight the bill. "In mobile home parks, the park owners have hugely disparate power over residents, most of whom are low income and over 60," David Grabill, an affordable housing advocate and attorney for the Coalition of Mobile Homeowners-California, told us. "Park owners also look for any hook or crook way to get a space out from under rent control or squeeze more rent out of the residents. Residents can’t move their homes, can’t afford to move themselves, and can’t afford lawyers to protect their rights.

"This bill would give park owners a whole new way to threaten and intimidate residents."

Ma insists that her only goal is to promote affordable housing. She told us that mobile homes in Malibu sell for millions of dollars, and that some are used entirely as second residences for wealthy people. "Rent control is supposed to be for low-income people," she said, arguing that if rich mobile homeowners lost their rent control protection, those units would be available for less wealthy people.

As for sublet homes, she said: "If the owners don’t need to live there, then they can afford to live somewhere else — and they don’t need rent control protection."

Ma at first said she took up the bill because she was on the Assembly Housing Committee and was looking for measures that would promote low-income housing. Calvin Welch, a San Francisco activist who has been working on affordable housing issues for decades, finds that a bit odd.

When Ma was a San Francisco supervisor, Welch told us, "she was missing in action on every significant affordable housing measure. Much of the time, she was on the other side."

When we pressed her, Ma acknowledged that the Western Manufactured Housing Committee, which represents park owners, spoke to her about the bill. The group’s Web site goes further, claiming that WMHC sponsored the Ma bill. And campaign finance records show that the WMHC political action committee gave Ma $4,200 on Oct. 27, 2008 and another $2,000 the next day.

Tim Sheahan, president of the Golden Gate Manufactured Home Owners League, which represents mobile home park tenants, told us Ma’s comments about million dollar homes are off the mark. "Sure, there are a few sensational anomalies. But that is no reflection on how most mobile homeowners live," he said.

And even if wealthier residents are forced to sell their homes, he noted, "the new residents will have to pay much higher rent. So there’s no way this adds to affordable housing."

Law vs. Justice

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steve@sfbg.com

City Attorney Dennis Herrera relishes his reputation as a crusading reformer. For several years, his official Web site prominently displayed the phrase "Activism defines SF City Attorney’s Office," linked to a laudatory 2004 Los Angeles Times article with that headline.

"Doing what we can do to ensure civil rights for everyone is not something we are going to back away from," was the quote from that piece Herrera chose to highlight on his homepage, referring to his work on marriage equality. The article also praises the City Attorney’s Office practice of proactively filing cases to protect public health and the environment and to expand consumer rights.

But more recently the City Attorney’s Office also has aggressively pushed cases that create troubling precedents for civil rights and prevent law enforcement officials from being held accountable for false arrests, abusive behavior, mistreatment of detainees, and even allegedly framing innocent people for murder.

Three particular cases, which have been the subject of past stories by the Guardian, reveal unacceptable official conduct — yet each was aggressively challenged using the virtually unlimited resources of the City Attorney’s Office. In fact, Herrera’s team pushed these cases to the point of potentially establishing troubling precedents that could apply throughout the country.

Attorney Peter Keane, who teaches ethics at Golden Gate University School of Law and used to evaluate police conduct cases as a member of the Police Commission, said city attorneys sometimes find themselves trapped between their dual obligations to promote the public good and vigorously defend their clients. "Therein lies the problem, and it’s a problem that can’t be easily reconciled," he told us.

"A lawyer’s obligation is to give total loyalty to a client within ethical limits," Keane said, noting his respect for Herrera. But in police misconduct cases, Keane said, "it is desirable public policy to have police engage in ethical conduct and not do anything to abuse citizens."

RODEL RODIS VS. SF


Attorney Rodel Rodis is a prominent Filipino activist, newspaper columnist, and until this year was a longtime elected member of the City College of San Francisco Board of Trustees. So it never made much sense that he would knowingly try to pass a counterfeit $100 bill at his neighborhood Walgreens in 2003 (see "Real money, false arrest," 7/9/08).

Nonetheless, the store clerk was unfamiliar with an older bill Rodis used to pay for a purchase and called police, who immediately placed Rodis in handcuffs. When police couldn’t conclusively determine whether the bill was real, they dragged Rodis out of the store, placed him in a patrol car out front, and took him in for questioning while they tested the bill.

There was no need to arrest him, as subsequent San Francisco Police Department orders clarified. They could simply have taken his name and the bill and allowed him to retrieve it later. After all, mere possession of a counterfeit bill doesn’t indicate criminal intent.

The police finally determined that the bill was real and released Rodis from his handcuffs and police custody. Rodis was outraged by his treatment, and sued. He insisted that the case was about the civil rights principle and not the money — indeed, he says he offered to settle with the city for a mere $15,000.

"I told my lawyer that I didn’t want a precedent that would hurt civil liberties," Rodis told the Guardian.

To his surprise, however, the City Attorney’s Office aggressively appealed rulings in Rodis’ favor all the way up to the U.S. Supreme Court, which found that the officers enjoyed immunity and ordered reconsideration by the Ninth Circuit Court of Appeals. Last month the Ninth Circuit ruled in the city’s favor, thus expanding protections for police officers.

Rodis can now name cases from around the country, all with egregious police misconduct, that cite his case as support. "Even with that kind of abuse, people can no longer sue because of my case," Rodis said.

Herrera disputes the precedent-setting nature of the case, saying the facts of each case are different. "We’re defending them in accordance with the state of the law as it stands today," Herrera said, arguing that officers in the Rodis case acted reasonably, even if they got it wrong. "We look at each case on its facts and its merits."

Herrera said he agrees with Keane that it’s often a difficult balancing act to promote policies that protect San Francisco citizens from abuse while defending city officials accused of that abuse. But ultimately, he said, "I have the ethical obligation to defend the interests of the City and County of San Francisco."

While it may be easy to criticize those who bring lawsuits seeking public funds, Rodis says it is these very cases that set the limits on police behavior and accountability. As he observed, "The difference between police in a democracy and a dictatorship is not the potential for abuse, but the liability for abuse."

MARY BULL VS. SF


In the run-up to the U.S. invasion of Iraq in 2003, there were months of antiwar protests resulting in thousands of arrests in San Francisco. Activist Mary Bull was arrested in November 2002. Bull said she was forcibly and illegally strip-searched and left naked in a cold cell for 14 hours.

San Francisco’s policy at the time — which called for strip-searching almost all inmates — was already a shaky legal ground. Years earlier Bull had won a sizable settlement against Sacramento County because she and other activists were strip-searched after being arrested for protesting a logging plan, a legal outcome that led most California counties to change their strip-search policies.

So Bull filed a lawsuit against San Francisco in 2003. The San Francisco Chronicle ran front page story in September 2003 highlighting Bull’s ordeal and another case of a woman arrested on minor charges being strip-searched, prompting all the major mayoral candidates at the time, including Gavin Newsom, to call for reform. Sheriff Michael Hennessey later modified jail policies on strip searches, conforming it to existing case law.

But the City Attorney’s Office has continued to fight Bull’s case, appealing two rulings in favor of Bull, pushing the case to the full Ninth Circuit Court of Appeals (from which a ruling is expected soon) and threatening to appeal an unfavorable ruling all the way to the U.S. Supreme Court.

"It’s pretty outrageous and humiliating to strip-search someone brought to jail on minor charges," Bull’s attorney Mark Merin told the Guardian. "If they win, they establish a bad precedent."

Herrera said the case is about inmate safety and that his office must follow case law and pursue reasonable settlements (neither side would say how much money Bull is seeking). "We do it well and we do it with a sense of justice at its core," Herrera said.

Yet Merin said the city’s actions fly in the face of established law: "In the Bull case, he’s trying to get 25 years of precedent reversed."

Merlin noted that "the problem is not with the city, it’s with the U.S. Supreme Court." In other words, by pushing cases to a right-leaning court, the city could be driving legal precedents that directly contradict its own stated policies.

"It would be nice if this city was in a different league, but they look at it like any defense firm: take it to the mat, yield no quarter" he added.

JOHN TENNISON VS. SF


For the Guardian, and for all the attorneys involved, this was a once-in-a-lifetime case. In 1990, Hunters Point residents John J. Tennison and Antoine Goff were convicted of the 1989 gang-related murder of Roderick Shannon and later given sentences of 25 years to life.

Jeff Adachi, Tennison’s attorney and now the city’s elected public defender, was shocked by a verdict that was based almost solely on the constantly mutating testimony of two young girls, ages 12 and 14, who were joyriding in a stolen car, so he continued to gather evidence.

Eventually Adachi discovered that police inspectors Earl Sanders and Napoleon Hendrix and prosecutor George Butterworth had withheld key exculpatory evidence in the case, including damaging polygraph tests on the key witnesses, other eyewitness testimony fingering a man named Lovinsky Ricard, and even a taped confession in which Ricard admitted to the murder.

After writer A.C. Thompson and the Guardian published a cover story on the case (see "The Hardest Time," 1/17/01), it was picked up pro bono by attorneys Ethan Balogh and Elliot Peters of the high-powered firm Keker & Van Nest LLP, who unearthed even more evidence that the men had been framed, including a sworn statement by one of the two key prosecution witnesses recanting her testimony and saying city officials had coached her to lie.

In 2003, federal Judge Claudia Wilken agreed to hear Tennison’s case and ruled that the prosecution team had illegally buried five different pieces of exculpatory evidence, any one of which "could have caused the result of Tennison’s new trial motion and of his trial to have been different."

She ordered Tennison immediately freed after 13 years in prison. The district attorney at the time, Terrence Hallinan, not only agreed and decided not to retry Tennison, he proactively sought the release of Goff, who was freed a few weeks later.

"The only case you can make is that this was an intentional suppression of evidence that led to the conviction of any innocent man," Adachi told the Guardian in 2003 (see "Innocent!" 9/3/03). In the article, Hallinan said "I don’t just believe this was an improper conviction; I believe Tennison is an innocent man."

But the pair has had a harder time winning compensation for their lost years. State judges denied their request, relying on the initial jury verdict, so they sued San Francisco in 2003, alleging that the prosecution team intentionally deprived them of their basic rights.

"What happened to these guys was a horrible miscarriage of justice," Balogh said.

The City Attorney’s Office has aggressively fought the case, arguing that the prosecution team enjoys blanket immunity. The courts haven’t agreed with that contention at any level, although the city spent the last two years taking it all the way to the Ninth Circuit, which largely exonerated Butterworth. The case is now set for a full trial in federal district court in September.

"They are unwilling to admit they made a mistake," Elliot said. "They are doing everything not to face up to their responsibility to these two guys."

The lawyers said both Herrera and District Attorney Kamala Harris had an obligation to look into what happened in these cases, to punish official wrongdoing, and to try to bring the actual murderer to justice. Instead the case is still open, and the man who confessed has never been seriously pursued.

Harris spokesperson Erica Derryck said the Ninth Circuit and an internal investigation cleared Butterworth "of any wrongdoing," although she didn’t address Guardian questions about what Harris has done to close the case or address its shortcomings.

In fact, the lawyers say they’re surprised that the city is so aggressively pushing a case that could ultimately go very badly for the city, particularly given the mounting lawyers’ fees.

"When we filed the case, we never thought we’d be here today," Balogh said. "They had a bad hand and instead of folding it and trying to pursue justice in this case, they doubled down."

Herrera doesn’t see it that way, instead making a lawyerly argument about what the prosecution team knew and when. "Our belief is there is no evidence that Sanders and Hendrix had information early on that they suppressed," Herrera said. "Based on the facts, I don’t think they, Hendrix and Sanders, violated the law. But that’s a totally different issue than whether they were innocent…. It’s not our role to retry the innocence or guilt of Tennison and Goff."

Herrera said he’s limited by the specific facts of this case and the relevant laws. "If the Board of Supervisors wants to do a grant of public funds [to Tennison and Goff], someone can legislate that. But that’s not my job," Herrera said.

As far as settling the case in the interests of justice or avoiding a precedent that protects police even when they frame someone for murder, he also said it isn’t that simple. Keane also agreed it wouldn’t be ethical to settle a case to avoid bad precedents.

"I’m always willing to talk settlement," Herrera said. "This is not an office that makes rash decisions about the cases it chooses to try or settle."

Deputy City Attorney Scott Wiener is the point person on most police misconduct cases, including the Rodis and Tennison cases, as well as another current case in which Officer Sean Frost hit a subdued suspect, Chen Ming, in the face with his baton, breaking his jaw and knocking out 10 teeth.

Wiener, who is running for the District 8 seat on the Board of Supervisors and is expected to get backing from the San Francisco Police Officers Association, recently told the Chronicle that Frost "did not do anything wrong." Contacted by the Guardian, Wiener stood by that statement and his record on police cases, but said, "I consider myself to be fair-minded." He also denied having a strong pro-police bias.

Yet those involved with these cases say they go far beyond the zeal of one deputy or the need to safeguard the public treasury. They say that a city like San Francisco needs to put its resources into the service of its values.

"It raises the broader question of what is the city attorney’s mandate? Is it fiscal limitation regardless of the truth?" Balogh said. "Dennis Herrera has had a very aggressive policy in defending police officers."

Herrera says he is proud of his record as the city attorney, and before that, as president of the Police Commission. "I believe in police accountability and have made that a big part of what I’ve done throughout my career."

Shielding Goni

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news@sfbg.com

Top Democratic Party pollster Stanley Greenberg rolled into San Francisco last month to promote his latest book, Dispatches from the War Room — In the trenches with five extraordinary leaders (2009, St. Martin’s Press). The slight, bespectacled man spoke at the Commonwealth Club, sharing what he hoped were "honest and frank" accounts of working with leaders such as Nelson Mandela and Bill Clinton.

While he happily pontificated on the lessons these experiences held for President Barack Obama, he was a bit more defensive on why he had proudly featured in the book Gonzalo "Goni" Sánchez de Lozada, former president of Bolivia who is currently wanted for his role in a massacre of 67 people in October 2003.

Greenberg was drafted in 2002 to help Goni, a wealthy University of Chicago-educated businessman, get elected president during a time of social upheaval created largely by U.S.-backed neoliberal economic policies. Branding Goni as the only man who could "resolve the crisis," Greenberg and other U.S. political consultants helped their client scrape an electoral victory with just 23 percent of the popular vote.

The deaths took place less than a year later when Goni announced deeply unpopular plans to privatize the country’s natural gas reserves and give foreign corporations more control over Bolivia’s resources. Road blockades erected by protesters in the poorest outlying neighborhoods of the high altitude city of La Paz effectively cut off supplies. Goni signed a decree that instructed the army to clear the roads and promised "indemnification for any damage to property and persons which might occur." That effective carte blanche resulted in the army shooting live ammunition indiscriminately at men, women, and children.

Military repression brought to a head one of the country’s bloodiest years, in which more than 150 people died in social protests. Rising popular anger led Goni to flee the country to exile in the United States. He has since lived comfortably in Chevy Chase, Md., protected by Republicans and Democrats alike.

Greenberg admits in the book that the violence caused him "to take stock," yet he ends up saying he is now "more certain of my course and his [Goni’s]." He concludes: "I am proud of what we did to help Goni become President." From the podium at the Commonwealth Club, he blamed the atrocities on the supposed "parallel violence" by the protestors.

It seems a surprising conclusion for a man who is supposedly in touch with the electorate. Goni is universally reviled in Bolivia as a corrupt and arrogant politician who devalued Bolivian lives. Even Goni’s Vice President Carlos Mesa denounced him and swore that he would never use violence to enforce policies. Two-thirds of Bolivia’s Congress — including many who had formed part of Goni’s coalition — approved a trial seeking responsibility for the massacres. Disgust at Goni’s "free market" (or neoliberal) economic and social policies, which increased poverty and inequality, was partly behind the landslide 2005 electoral victory of one of the leaders of the protest movements, Evo Morales.

Yet sadly, Greenberg’s positive spin of Goni seems to be a view that is widely shared with the Democratic Party. At a Washington launch event for Greenberg’s book, Speaker of the House Nancy Pelosi also appeared to hold Goni in high esteem, warmly welcoming him to the event and calling him a "very special man." Goni’s former defense lawyer, Gregory Craig, is now Obama’s White House counsel. The Democrats’ historic loyalty to one of their favored pro-American friends seems to outweigh their commitment to human rights and fair legal process.

Rogelio Mayta, the resolute lawyer representing the families whose loved ones were killed in October 2003, tries to give Pelosi the benefit of the doubt. "We want to believe in the good faith of … Pelosi and believe that these praises are due to misinformation rather than a concrete line of action and thinking by the U.S. government," he said.

Yet the anger of Eloy Rojas, who lost his eight-year-old daughter when troops entered his village and started shooting indiscriminately, is harder to hide. "Every effort that allies of Sánchez de Lozada make to present the ex-president as a victim and an honest man is for us an offense. It is an offense against the pain and suffering that his terrible actions had for our lives. His determination to defend his and other people’s economic interests meant that he stopped valuing peoples’ lives … That is why we continue to seek justice."

In March, Bolivian families who lost loved ones marked a significant milestone in their struggle to end the legacy of impunity for political elites like Goni. After five years of navigating political games and legal loopholes, a date was set for the trial of responsibility for Goni and seven of his ministers. Yet the main defendant, Goni, will be missing because the U.S. government has ignored requests for extradition for several years.

Many in the U.S. and worldwide continue to hope that Obama’s inauguration will mark a new chapter in relations worldwide, especially in Latin America, where there has been a new wave of resistance against U.S. attempts to impose its economic interests. Obama has made some important first steps in ordering closure of the Guantánamo Bay detention facility and reinvigorating the use of diplomacy in regions such as the Middle East. But if he really wants to start a new chapter of international relations rooted in human rights, he doesn’t need to travel abroad. He just needs to respond to Bolivia’s lawful request for extradition and send home the man who lives just seven miles from the White House. 2

Nick Buxton is a British journalist who was based in Bolivia for many years before moving to San Francisco last year. His blog, Open Veins, is at www.nickbuxton.info.

The budget mysteries

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sarah@sfbg.com

San Francisco’s top budget advisors are predicting that dollars from President Obama’s stimulus package will help reinvigorate the economy over the next three years. But they also warn that the recovery will be slow, and that deficits will be part of political life for some time to come.

The findings are contained in a three-year budget projection report jointly compiled by the Mayor’s Office, the Controller’s Office, and the Budget Analyst’s Office and released to the news media at a hastily announced March 31 roundtable.

During the roundtable, Mayor Gavin Newsom announced that the city faces a "staggering" $438 million budget shortfall in fiscal year 2009-10 — a deficit, financial experts warn, that could balloon to $750 million by fiscal year 2011-12 if cuts and wage concessions aren’t made and structural reform and revenue creating measures aren’t undertaken.

Those future numbers are scary — and a bit apocryphal. Nobody seriously thinks the city will simply ignore this year’s problems and put them off until next year, which means future deficits should be smaller.

But the decisions that will have to be made to keep the red ink under control have been the subject of intense speculation since December, when Newsom announced that the city was facing a deficit equal to cutting every other dollar in the city’s discretionary general fund.

REFORMS? WHAT REFORMS?


In January newly elected Board of Supervisors President David Chiu sought to address the anxiety crashing over the city’s business and labor leaders by inviting stakeholders, including Newsom, to budget meetings at City Hall. But Newsom only agreed to get involved once the youthful board president’s other bright idea — a special election that combined cuts, revenue generating measures, and structural reforms to save as many jobs, programs, and services — was off the table.

And with only two months to go until he submits his 2009-10 budget proposal, Newsom still has not clarified what budgetary reforms he will support this fall, even as the labor unions are being asked to give back $90 million in promised benefits, and the Board of Supervisors gets ready to prepare an annual appropriations ordinance by the end of July.

Newsom did announce last week that he will be is asking some, but not all, departments for 25 percent cuts in the coming fiscal year. Human Services Director Micki Callahan confirmed that 730 pink slips have been sent out since July 2008.

Yet the actual cuts remain a mystery. "I will not be accepting 25 percent cuts from some departments, but from others, I will," Newsom said. "I don’t believe in across-the-board cuts."

Asked which departments he would accept 25 percent cuts from, Newsom told reporters: "You’ll find out when you read my budget."

Within days of Newsom’s statement came news of a deal between the Mayor’s Office and Service Employees International Union Local 1021, the largest city-workers union.

"The goal of this tentative agreement is to protect vital services for San Franciscans, minimize layoffs to employees, preserve the integrity of the collective bargaining agreement, and assist the city with its economic recovery," read a joint public statement.

As of press time, SEIU’s 1021’s Robert Haaland told the Guardian that the two sides are still in negotiations, but confirmed that the union is discussing giving up about $40 million over 16 months, including furloughs and other benefits.

"At the end of the day, our members recognize that they need to share the pain," Haaland said. "The idea is to save jobs and programs."

These givebacks from SEIU are part of the $90 million in concessions the city hopes to get from unions, including those that represent police, firefighters and nurses.

THE PERILS OF TWO-YEAR BUDGETING


As it becomes clear that givebacks and cuts won’t be enough to solve the city’s fiscal crisis, there is talk that the mayor wants to switch to a two-year budget process. Critics say that could represent a massive transfer of power to the Mayor’s Office, unless the Board of Supervisors also gets the power to approve the mayor’s midyear cuts.

"As it is right now, we have power through the Board of Supervisors for one month of the year," said one community organizer, who asked to remain anonymous. "The rest of the time Newsom moves his own agenda through his midyear cuts."

A summary of a March 16 Controller’s Office "budget improvement project" recommends that "the board’s add-back process should require that program restorations and enhancements be reviewed and analyzed by department staff and the board’s budget analyst;" that the "mayor and board should outreach to the general public regarding budget priorities;" and that the "city should adopt a two year budget process consistent with the city’s financial plan."

Sup. Chris Daly said he thinks this year’s grim three-year budget projections make a strong argument against a two-year budget process. "Projections are never right," said Daly, who used to chair the powerful budget committee. "Two years ago we weren’t projecting how bad it was going to be. We can’t do budgets for years out past the current fiscal year. It just doesn’t work."

Sup. David Campos, who sits on the current budget committee, said he wants to see the increased Federal Medical Assistance Percentage (FMAP) funding being provided to the city’s public health and human services departments used to restore proposed cuts, jobs, and services.

Much of the federal money will be earmarked for non-General Fund infrastructre projects at the Municipal Transporation Agency, Housing Authority, airport, and San Francisco Public Utilities Commission.

"We’re saying that if FMAP is coming in so that revenue cuts are not made in the public health area, then why not use these monies to fill gaps, replace cuts, restore funds, preserve programs?" Campos asked.

Campos also wants the mayor and the board to sit down and talk about the November ballot. "I don’t think the budget hole is going to be closed on backs of labor alone," Campos told us. "We’re focused on cuts, elimination of programs, layoffs … But why aren’t we talking about what revenue measures we are putting on the November ballot?

Chiu said he thinks Newsom is committed to some form of tax-based revenue measure. "Just as we can’t solve our budget deficit by taxing our way out of it, so we can’t solve it by cutting our way out of it either," Chiu said. "None of our tax or revenue-generating options would come close to filling 25 percent of that gap."

Noting that business is "more open to taxes that share the burden of who pays," Chiu observed that "it’s important to balance the cuts so it’s not just social services and the health department taking the burden."

Appetite 0409

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Tropisueno

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paulr@sfbg.com

Tropisueño’s resonant name hints at dreams, but you won’t be doing any dreaming there. In the evenings the restaurant — it’s a kind of urban cantina — catches fire like a piece of newsprint and blazes up into a fabulous, if noisy, party. (For purposes of this piece, I assume the existence of a world in which there is still such a thing as newsprint.) If the need to lose consciousness somehow overtakes you, getting blitzed isn’t a problem, since, in line with the current trend, the bar is seemingly omnipresent, and the restaurant offers various deals on cocktails. But even if you end up having to pay for your food or libations or both, you won’t hear the sound of the bank breaking; Tropisueño stresses value and offers it, especially considering the posh location.

That location is on Yerba Buena Lane, a brief pedestrian promenade that runs between Market and Mission streets and grazes the new Jewish Museum, just north of Fourth Street. In the past few years, this area has become as chockablock with shoppers as Union Square. They dart from Nordstrom to Bloomingdale’s to Hickey Freeman to St. John, and while no one’s buying much of anything these days, darters and window-shoppers do work up appetites. Add the museum-goers and the Yerba Buena Center-goers, and you have quite a stew. Stir briefly and serve.

On the spectrum of urban cantina styles, Tropisueño falls somewhere in the neighborhood of Chevy’s and Tres Agaves. It isn’t as vast as the latter, but it does claim a regional Mexican identity (as a Jaliscan beachside seafood joint, hence the "tropi-"). It’s also replete with rustic wood finishings, including those wonderful chairs that are Mexico’s answer to the Mediterranean’s ubiquitous taverna chairs. When you are inside, a certain illusion of Mexicanness does pleasantly flicker, like a tabletop candle. But if you look outside, through plate-glass windows framed with brushed stainless steel, you are back in the cold, hard city. A similar jarringness haunts Roy’s, just a few blocks up Mission: If you hold your gaze inside, you sense a faintly but agreeably Hawaiian aura, but if you look out, you see Muni trolleys plowing through seas of windswept trash.

Tropisueño also borrows from the grander Maya by functioning as a kind of giant street cart during lunchtime. On the menu: tacos, burritos, et cetera. Of course, some of these foodstuffs are of enduring appeal and do carry over into the dinner hour, when the restaurant assumes its restauranty guise, but the offerings broaden considerably beyond what even the most ambitious street-cart cook might attempt.

First, though, you have to take care not to stuff yourself with the bottomless basket of fresh, warm tortilla chips that reach your table soon after you do. Whatever quibbles one might have about Chevy’s, there’s no denying the excellence of their chips, and Tropisueño’s are every bit as good. You can dunk them in either of two salsas, one of avocado and tomatillo, the other tomato-based with plenty of smoke and spice.

Given the wealth of fried corn meal in our basket, I was secretly dismayed by the pair of tortilla disks that accompanied the ceviche de pescado ($7). The intention, apparently, is that you will break off chunks of the disks and spoon the ceviche onto them — a kind of DIY Mexican crostini. But we ended up dispensing with the disks (which were less delicate than their chip cousins in the basket) and eating the ceviche with spoons. The ceviche itself was wonderful: tiny boulders of plump, white fish (I would have guessed cod, but it was tilapia), puckered by plenty of lime juice and intricately punctuated with cucumber and onion dice, minced cilantro, and dabs of avocado.

We could have performed the same sort of triage, or diage, on the empanadas ($8), a merry little band of pastry turnovers stuffed with mushrooms and cheese, but this would have involved actual deconstruction — a kind of meatless butchery — rather than simply a refusal to construct. Plus, the pastry was outstanding and addictive.

The main courses range widely, from a vegetarian pozole — the traditional hominy stew, not traditionally vegetarian — to albóndigas, a.k.a. meatballs. But the house favorites are all from the sea and include the spirited camarones tropisueños ($16), good-sized, chubby, wild-caught shrimp sautéed and sauced with a purée of chile de arbol (a fairly mild red variety), lime juice, cilantro, and a little Mexican crema for softening. Throw in a sizable berm of Spanish rice, a pot of black beans, and a little steamer of fresh flour tortillas and you’re looking at …. well, fullness.

People who love to gorge themselves on chips and salsa while retaining a sense that dinner itself remains to be eaten will be relieved to learn that the menu also offers "old-school" combo plates of trusty favorites, such as chicken tacos ($9.95 for two), stuffed with shredded green cabbage, queso blanco, and cubes of boneless grilled breast. The tacos are quite tasty, with or without an extra dollop of salsa smuggled in from the chips basket. They’re double-wrapped in corn tortillas, which are soft though not as soft as their flour cousins, and this doubling up makes them both starchier and more rubbery. The ideal tortilla is soft enough to form a pliant pouch around its contents. These are not that soft, so ten cuidado or you will be the author of a mess.


Tropisueño

Dinner: nightly, 5:30–10:30 p.m.

Lunch: daily, 11 a.m.–4 p.m.

75 Yerba Buena Lane, SF

(415) 243-0299

www.tropisueno.com

Full bar

AE/CB/DC/DS/MC/V

Noisy

Wheelchair accessible

The new razzle dazzle

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a&eletters@sfbg.com

More on SFBG:

>>Q&A with artist Nick Cave

>>A guide to artists with famous namesakes

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Where is the center of the Earth? According to artist Nick Cave, it lies somewhere between a night out at Taboo with Leigh Bowery and a Brazilian Carnaval parade. It can be found in Liberace’s glittering stage getups and Yoruba ceremonial hunting dress. Other possible coordinates include Yinka Shonibare’s Africanized rococo costumes, Cockney pearly suits, the hautest of haute couture, and the fun fur tribes of Black Rock City.

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Thankfully, for us, Cave’s crocheted, sequined, bedazzled, embroidered, dyed, and encrusted vision of the heart of the world can be found locally. Yerba Buena Center for the Arts’ "Meet Me At the Center of the Earth" presents the largest exhibit to date of the Chicago artist’s work, which straddles the realms of sculpture, high fashion, body art, and dance with a visual ferocity and level of workmanship that is alternately stunning and inspiring.

Cave’s art practically dares you to play chicken with your thesaurus. One would have to borrow a page (or several) from the descriptive reveries of Thomas de Quincey or Ronald Firbank to fully convey the cluster fuck of beading, psychedelic hair furs, plastic tchotchkes, yarn, tin toys, buttons, second hand sweaters, and enough sequins to cover a thousand ’80s cocktail dresses that he has quixotically and painstakingly pieced together.

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The centerpieces of "Meet Me at the Center of the Earth" are undoubtedly Cave’s Soundsuits — wearable sculptures that take their name from the sounds created by their movement. They fill YBCA’s largest gallery like some other-wordly pantheon of gods and monsters. Arranged in an X-shaped configuration with paths running down the center of each axis, the suits form a giant visual nod to the exhibit’s title. X, of course, marks the spot, and hanging above the room’s center is the Earth itself, swathed in several shades of inky sequins. On the adjacent walls hang two huge and possibly glitzier tondi — the Italian Renaissance term Cave uses for these round hangings — which serve as flattened counterparts to the globe.

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The display lets you explore the Soundsuits from every angle. Designed to cover the entire body, the suits hide any individual traces of the wearer by creating a second skin, and then some. The suits with towering, festooned cage structures — which bring to mind both Balinese funeral pyres and Simon Rodia’s Watts Towers — still have a vaguely human outline at their core, whereas the suits patterned in all sort of brilliantly colored fur-like human hair could very well be studies from an unrealized Jim Henson project. This lycanthropic aspect of the Soundsuits is explored most humorously in Cave’s more recent pieces, which take the reverse tactic of fashioning knitwear pelts for taxidermy models of bears and beavers.

While much of Cave’s work, to quote New York Times critic Roberta Smith, "fall[s] squarely under the heading of Must Be Seen to Be Believed," it also begs to be heard. It is unfortunate that YBCA wasn’t able to more fully integrate the sounds of the suits into their display. Although there is an adjacent gallery that shows several videos of the Soundsuits in action — including great footage of Cave and a posse of pom-pom covered lion dancer-clown hybrids inciting massive dance parties in public — the suits themselves stand silent. The audio/visual divide enforced by the two-gallery layout seems to point to the larger issue of static mannequins being the curatorial norm for costume and textile-related exhibits. I guess we’ll have to wait until May, when choreographer Ronald K. Brown stages his Soundsuit performances, to see Cave’s creations in action.

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Cave writes in an artist’s statement for the show that he hopes "we will dream together" One would have to have a heart of stone not to take up the challenge and the invitation delivered by Cave’s art — and implicit in the exhibit’s title — to create another scene, to go beyond what’s familiar, and to transform oneself. I left YBCA dreaming of raiding craft stores, thrift shops, and fabric outlets. I dreamed of painting the town red, cerulean, silver, magenta, and neon green with sequins and glitter. I dreamed of dancing. I’ll see you at the center of the Earth. I’m halfway there.

NICK CAVE: MEET ME AT THE CENTER OF THE EARTH

Through July 5, $3–$6 (free first Tues.)

Tues.–Wed., Fri.–Sun., noon–5 p.m.; Thurs., noon–8 p.m.

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org


All photos by Jim Prinz

Cohen koan

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a&eletters@sfbg.com

SONIC REDUCER What becomes a pop legend? Mink, knighthood, screaming nubiles, Rock ‘n’ Roll Hall of Fame induction, or the Companionship of the Order of Canada? Nay, Lancelot Bass, to a biz looking for its next buck, it’s chart success at the beyond-ripe age of 74.

The curious case of Leonard Cohen: more than 40 years after his classic-crammed debut, Songs of Leonard Cohen (Columbia, 1967), this songwriting genius saw the rocket-boost of mainstream pop acceptance last year, as Jeff Buckley’s version of Cohen’s "Hallelujah" shot to the top of the iTunes charts after Jason Castro interpreted it on American Idol. One Tree Hill starlet Kate Voegele took another stab at the tune — already a TV and film staple covered by everyone from John Cale and Rufus Wainwright to Sheryl Crow and Willie Nelson. The final shoe dropped last December, when a rendition by Alexandra Burke, winner of UK TV’s X Factor, occupied the top of the UK singles charts, with Buckley’s take at #2, and Cohen’s original at #36. Cohen’s current North American tour — his first in 15 years — seems like a natural next step, especially since even the supremely gifted need to eat. (His ex-manager Kelley Lynch misappropriated millions while he was secluded as a Zen Buddhist monk in the late 1990s.)

While it’s no surprise that a relatively recent Cohen creation such as 1984’s "Hallelujah" should become a contemporary standard, working its way into Shrek (2001) and the ambivalent superhero sex scene in Watchmen, the song is still an unlikely commercial success, given its spiritual yearning and hard-boiled smarts. As Bryan Appleyard wrote in the U.K.’s Sunday Times in 2005, "it sounds like a pop song, but it isn’t …. It is a tuneful but ironic mask worn to conceal bitter atonal failure." Cohen’s "Hallelujah" is a gently meta-maniacal song rumination on songwriting and faith, clad in biblical allusions, that finds hope in submission to an uncaring muse.

However hard to picture, there are through lines between Cohen’s original, synth-driven "Hallelujah" and what some call his worst LP, Death of a Ladies’ Man (Columbia, 1977), an overwhelmingly orchestrated collaboration with Phil Spector that imploded as the producer barred Cohen from the final mix, allegedly threatening him with a crossbow.

"I’ve put my trust/And all my faith to see … /Her naked body! Oooh-oooh, oh my baby, can you see her naked body?"

Cohen never sounds as unbridled as he does on Death‘s "Memories," as youthful trysts take the fall with this mocking jack-off, the album’s centerpiece. I like to imagine his vocals were loosey-goosey placeholders. Anyone with a well-blackened punk sense of humor can appreciate the larky, screw-you ethos of this overwrought artifact, decorated with an image of the songwriter flanked by his morose then-wife Suzanne Elrod. Was this Cohen’s jokey fare-thee-well to horndog profligacy?

A cranky attack on youth and "Sound of Young America" pop, "Memories" is also the sound of Spector doffing his aviator shades and jabbing at his own mirrored eyeball and "Be My Baby" legacy. This Sha Nyah Nyah take on the same intermingling of faith and sexuality that underlies "Hallelujah" is constructed as a wall of soup, ready to splash down on Cohen’s fragile voice, sometimes subsumed by an ever-present anima: his female backup vocalists, a beloved counterpart to Spector’s highly controlled girl groups.

But "Memories" should perhaps remain in the past. For a strong hit of current Cohen go to the new Live in London DVD, which is infinitely preferable to 2005’s name-checking doc Leonard Cohen: I’m Your Man. Released along with a CD set, this straightforward, two-hour-plus document of a June 2008 arena show in London beats all that grainy Glastonbury footage on YouTube with its graceful shots of Cohen lost in the center of "Everybody Knows," eyes squeezed closed and mic cord clenched in a fist.

The greatest pleasures come from hearing later Cohen recordings reworked by a full band and witnessing the warmth and graciousness of a songwriter humbled by his audience. "It’s wonderful to be gathered here on just the other side of intimacy," he says wryly at one point, soon segueing seamlessly into the chorus of "Anthem": "Ring the bells that still can ring /Forget your perfect offering /There is a crack in everything /That’s how the light gets in." And perhaps that’s how — and why — Cohen has gone from haunting the rooms of heartsick "Memories" to becoming the go-to guy for a shot of lyrical intelligence: he recognizes our battered souls and sings those elegant, oft-unspoken truths still lingering in the sad café of the pop unconscious.

LEONARD COHEN

Mon/13-April 15, 8 p.m., $69.50–$251

Paramount Theatre

2025 Broadway, Oakl.

www.goldenvoice.com

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DANCE ME TO THE END OF THE WEEK:

RICHARD SWIFT

Shades of Harry Nilsson: the tunesmith makes artful inroads with his soulful new The Atlantic Ocean (Secretly Canadian). With Vetiver and Adam Stephens. Wed/8, 9 p.m., $16. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

CHANGO SPASIUK

Astor Piazzolla is grinning somewhere when this Argentinean accordion master blends the blues, fado, and chamame. Thurs/9, 8 p.m., $18. Yoshi’s, 1330 Fillmore, SF. www.yoshis.com

BEAUSOLEIL

Cajun music would be swallowed up by the swamp if not for the sprightly efforts of Michael Doucet and crew. With David Lindley. Fri/10, 8 p.m., $25. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

FRIENDLY FIRES, WHITE LIES, AND SOFT PACK

The moody, broody U.K. dance-pop rockers match beats alongside the spunky post-punk San Diegans. Sat/11, 9 p.m., $15. Slim’s, 333 11th St., SF. www.slims-sf.com

Bounce to this

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superego@sfbg.com

SUPER EGO Hold my hair, Bethany — things are gonna get wicked. The Bay’s set to undergo a massive new-bass invasion on Saturday, April 11, and I’m kind of freaking out about it, kind of having outfit trauma, and kind of fiending for a diet coconut juice. Is that postcolonialist?

Perhaps more pressingly: are the low-frequency freakinetics of abstract dubstep, turbo crunk, and future bass vanishing into the headphone red zones of download fanboys and nightlife intellectuals? I mean, has anyone figured out how to dance to any of this mind-blowing shit yet?

That will be one of the looming, booming nightlife questions as critical darlings Flying Lotus, Kode9, and the Bug rumble through Mighty with a gig tagged "The Future," and Ghislain "King of Bounce" Poirier storms the monthly Tormenta Tropical party at Elbo Room. No question, though: both events will melt your face, so pack yourself an extra and hop between them.

When it comes to dance floor poetics, Montreal-based producer, DJ, and mentor Poirier is the shrewdest of the bunch. The Ninja Tune artist has played it both ways from the beginning, tickling cerebellums with growling reveries and laser-chopped academic beats on some tracks, while on others pumping sharp dancehall grinds and grimy ragga as his guest vocalists strike demanding political poses. It’s this second, much more party-friendly "world riddim idiom" Poirier who’ll pop up at Tormenta Tropical, touring for his new Soca Sound System EP, a pulse-pounding glance toward the Trinidadian genre that includes the infectious "Wha-La-La-Leng" with MC Face-T.

And yet, despite Poirier’s intensely straightforward dance-driven live shows and steady stream of lean-and-mean mixtapes, like last year’s excellent Bring the Fire, he’s still mostly known in the States for his forays into glitch-and-sizzle future bass territory. That may be due to his pioneering work in tearing off the 4/4 beats straightjacket and commandeering homemade, bleeding bass lines to glue his ravenously global-eared sets together. Or it may be because people still have trouble seeing the Great White North as the glorious multicultural clusterfuck it is — they’d just rather slap an abstract label on it. Whatever. "Ideas are the best plug-ins," Poirier told Cyclic Defrost magazine last year — but he knows a free mind should be followed by a bumping ass.

In terms of real abstractitude, though, Flying Lotus, the Bug, and Kode 9 swim in the deepest of waters — and each traffics in his own delightful mental aquarium. L.A.’s FlyLo may still be drowning in positive press ink from his incredible 2008 release Los Angeles (Warp) but he hasn’t sacrificed any of his experimental chutzpah, chopping up hip-hop strains into turbulent, prismatic soundscapes. He’s also the smilingest DJ I’ve ever seen. London’s the Bug brings a throbbing, postapocalyptic edge to his dub creations, and his jazz background adds an ethereal sheen to his production style. Hyperdub Records owner Kode9, from Glasgow, is the most mischievous of the trio. His output aspires to a warped dubstep atmosphere that he likens to "drinking acid rain," but he also brings some much-needed humor to the mix — and reassuring connections to dance music’s past. The B-side of his new "Black Sun" single, "2 Far Gone," is a total rewiring of Adonis’ 1986 house classic "No Way Back" that dissolves me into a nostalgic grin.

When these three bass-purveyors passed through San Francisco last year — Lotus and Kode as part of the Brainfeeder Festival at 103 Harriet St., and the Bug at dread bass throwdown Surya Dub — they put in exquisitely thoughtful and uplifting sessions. Alas, they were mostly greeted with appreciative, hella-stoned nodding from the crowd. Only a few hardcore freaks had the gumption to truly take the floor. This time, I say make like the freaks and lose yourself to the beat in your head. The bass is only the basis. It’s up to us to fill in the bounce.

TORMENTA TROPICAL WITH GHISLAIN POIRIER

Sat/11, 10pm, $10. Elbo Room, 647 Valencia, SF. www.elbo,com

THE FUTURE WITH FLYING LOTUS, KODE9 AND THE BUG

Sat/11, 9pm-afterhours, $20. Mighty, 119 Utah, SF. www.mighty119.com

Oprah begs for mercy

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andrea@altsexcolumn.com

Dear Readers:

"Oprah begs for mercy" sounds so much like the title of one of the S/M fantasy stories you can read online that I just couldn’t resist it, but honestly, read this:

Dr. Berman: … and this is a little holster that the guy can wear so this goes around his penis.

Oprah: Oh, please.

Dr. Berman: Yeah. Around his penis for hands-free clitoral stimulation during intercourse.

Oprah: OK. You have just crossed the line with me.

Dr. Berman: OK. Are you ready?

Oprah: No, you have crossed the line with me. I don’t know what the hell you’re talking about.

Dr. Berman: All right, look. Here is the penis. (Makes shadow-puppet gesture.)

Oprah: I swear. I’m not ready for it. I’m not ready. I’m not ready for it. No. I am not ready for it. Let’s move on.

The doctor is Laura Berman of the Berman Institute in Los Angeles, where, between Laura’s therapy and her urologist sister Jennifer’s research, anyone female with enough money and not enough orgasms can get her bits seen to. They do excellent work. I’d be tempted to go myself out of curiosity if I lived more southerly and had more money and less doctor-phobia. Doesn’t Laura, usually so nice, seem to be getting something of a kick out of playing "torture the media mogul" there, though?

Funny, actually, since these appearances on The Oprah Winfrey Show have sold gazillions of her vibrators and carried Berman’s name, credentials, and well-tended features with them into bed with viewers nationwide and further.

These are mostly not the penis-mounted marital aides the doctor is describing above, but the Berman Center brand’s workhorse, the Aphrodite. It’s a Magic Wand-type rechargeable nicknamed "the sure thing." How sure a thing is it, and is there anything about it that should automatically win the trust of an audience presumably tuning in more for makeovers, lifestyle tips, and celebrity gossip than for "Look, Oprah, here’s the penis … ?"

I’ve been getting floods of press releases for new toys meant for a mass audience of sex-toy newbies (it’s almost always the Aphrodite — good press that Goddess gets) and I politely reply that I’d be happy to examine one but they’ll have to send me something, and I finally found satisfaction. The Earth did not move, but MyPleasure.com, the rather sober-sided, therapy-oriented sex toy store that acts as Berman’s sales outlet, sent me a selection of hot new gear, including the Aphrodite.

I have to admit that my initial reaction to the Goddess of Desire’s pleasure wand was not "Oh, oh, oh!" but simply, "Oh." It is a dull opaque purple and quite large — a lot of purple — and not much to look at. (Check out the industrial design at Jimmy Jane or Lelo for contrast, or wait till they show up in MOMA’s permanent design collection.) I set it to charge and went away and forgot about it till deadline, at which point I discovered that the vaunted infrared feature does not work on the "high" setting, which seems like kind of a cheat. Does the vibrator itself (a large round head on an articulated neck with three interchangeable silicone sleeves) work? Yes. Yes, it does.

I am not at all convinced that it’s enough better than anything else to cure an Oprah viewers’ anorgasmia all on its own merits. Rather, I bet it’s the Aphrodite’s innate vibey goodness combined with Dr. Berman’s cred and that of the kind of sexy-sounding Dr. Sandor Gardoz, MyPleasure’s resident sexologist, plus Oprah herself, combined with the awareness that thousands of other relatable married-with-children afternoon TV watchers are using it too, that’s causing (or allowing) all the orgasms. It’s an excellent beginner’s vibrator, but I seriously do believe that a lot of those women are finally getting off with this one because so many other women are. If you think about it, this is sort of revolutionary in a way that the feminist-ish sex toy industry has been claiming but not quite earning for quite some time.

I also received an unpleasantly mauve (I sense a theme here) and flowery but otherwise nice-looking insertable thing called, redundantly, Blissful Pleasures, which is very pleased with itself for having five settings — but several of these are literally snore-y, taking long, slow breaths before revving up again, which … yawn.

And there was a "Liv" from Lelo, the gorgeousness people. It is indeed gorgeous, slim and curvy in princess pink with chrome and iPod white accents. It also has a click wheel like an iPod, though, and a learning curve as well as a G-spot one, and I am not entirely sure that it likes me. I think it would make a great gift for a geeky femme with a lot of time on her hands, but it seems a bit high-maintenance — and also, it turned itself off. This is a sex toy’s equivalent of getting up to take a phone call, and it will not be forgiven lightly.

The homely therapeutic model would never do you like that.

Love,

Andrea

Don’t forget to read Andrea at Carnal Nation.com.

What’s Newsom got to offer?

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EDITORIAL The front-line city employees have stepped up to the plate. Members of Service Employees International Union Local 1021, the largest of the city-worker unions, are discussing concessions worth close to $40 million, the equivalent of the raises they were set to get in next year’s budget. Other unions will likely follow suit, meaning that as much as 20 percent of the city’s budget deficit could come directly out of the pockets of city workers.

That was probably inevitable, and Local 1021 members were willing to give up pay increases to avoid further layoffs. Nevertheless, it makes the point very clear: Labor was willing to come to the table and offer to do its share. Now Newsom needs to do the same thing.

In a press briefing March 31, the mayor gave only the tiniest hints of his budget plans. He said he’s calling for 12.5 percent cuts in all departments, plus another 12.5 percent in contingency cuts. He told reporters that not all departments will face 25 percent cuts, although some probably will. Which programs are getting the deepest cuts? Newsom won’t say. "You’ll find out when you read my budget," which won’t be released for another six weeks, he told the press.

So the city’s facing a deficit for fiscal 2009-10 of a staggering $438 million — and the mayor wants to keep his plans secret. That’s not just ridiculous and counterproductive, it’s bad faith. The budget’s going to be awful, and the only way to keep it from becoming a bloody train wreck is to start discussing all the options now, with all the stakeholders, in public.

The problem of course, is that closing a budget deficit requires two steps that Newsom is loathe to take. First he has to set priorities — to acknowledge that some programs are more important than others, and tell us where he draws those lines. Then he has to look for ways to raise new revenue, and that means hiking taxes — which won’t help his campaign for governor.

By the time Newsom releases his budget, the supervisors and the activists will have only a month or so to hold hearings, examine the fine print, discuss priorities, and make changes. It’s a notoriously inefficient way to run the city, and it leaves far too much of the budget power in the hands of the chief executive. The supervisors and the people whose lives will be affected by budget cuts need to be in the loop right now.

And Newsom needs to tell us what he’s willing to accept as part of a budget deal, and what he’s willing to give up. His office is full of highly paid staffers working on projects designed to help his political ambitions. Is that more important than public health and after-school recreation programs? What significant tax hikes will the mayor promise to support on the November ballot? Will big businesses, developers, and Pacific Gas and Electric Co. be asked to take on some financial pain the way city workers have? Will Newsom raise money and shift some of his formidable campaign apparatus into saving San Francisco’s public services this fall? Will he present a budget that assumes not just cuts but, say, $250 million in permanent revenue hikes?

Everyone in San Francisco is going to find something to hate about next year’s budget. Every resident will have to pay more, whether in taxes or Muni fares or use fees, and get less. Most people can live with that — if the costs and cuts are fair, the pain is properly shared, and there’s plenty of time to discuss it openly.

Time’s running out here. Where’s Newsom? *

Reject the Fisher Museum

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OPINION The Presidio Trust Board and the National Park Service in December rejected Gap Inc. founder Don Fisher’s proposed art museum in the Presidio. They complete their review of his second offer next month. They should reject the second offer as well, and the game will be over.

Fisher and his family should stop trying to convince the Park Service to bend its rules. They should set aside their pride and their own preferences in deference to those of the Park Service and the city of San Francisco. They should announce their decision to move forward with the city to find a location in the city proper.

Most of us in the Presidio’s neighborhood communities do not agree with the seven trust board members that developing a cultural theme park in the Presidio is a good idea. It was introduced by the board only in response to the unsolicited proposal by the Fishers in April 2007. These board members, Fisher’s former colleagues — who are mostly real estate developers — were appointed by former President Bush. President Obama will have his own appointees on the board by June, in time to make the final decision on the Fisher museum.

We don’t want an extravagant $50 million new gathering place in front of the Fisher museum — something the Fishers have offered to help pay for in exchange for permission to build where they want.

We cannot bear the thought of the series of traffic signals inside the park, near the Spanish El Presidio and the 160-year-old U.S. Army Post. The trust says those traffic signals, along with garages in the Presidio, would be needed to manage the daily visitors added by the Fishers’ museum. No national park in America has traffic signals.

Nor do we want the lineup of traffic and signal lights required outside the park, at entrances and on nearby residential streets, that the trust says would be required. The city would, I expect, refuse the federal trust’s request to change city traffic controls to support a museum — one that city officials want to see downtown.

The public will pay another million to respond to the Fishers continued effort. It will end in defeat, if the federal government follows its own review processes — or in a glaring corruption of those processes if it succeeds.

I urge the individual appointed members of the Federal Presidio Trust Corporation and National Park Service officials to reject the Fisher offer next month. Two years and $2 million is enough of our treasure to spend in responding to the unsolicited proposal.

I urge the public to attend the trust hearing April 16, 6:30 p.m. at the Presidio Golden Gate Club. Support the Fisher museum outside the park, and oppose it in the park. *
Donald S. Green is former executive director of the Yosemite Restoration Trust and vice chair of the Presidio Neighborhood Work Group of the SF Board of Supervisors.

“Missed Connection: Souvenirs Of Brief Encounters”

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PREVIEW If you, too, are an avid Craigslist missed connections reader, you already know about the creepy posts: "Morning gym workout — m4w — 36: Great to see you back in the gym this morning. I was beginning to think you started working out at a different time or different place." There are the hilarious posts: "Fremont Hooters Bartender — m4w — 26: What happened to that call? Did I get played?" And then, occasionally, there are the posts you think might be addressed to you: "Kinko’s Thursday at Noon — m4w — 27: To the 20-something brunette with her friend, I think she called you Michelle. I was a bit busy copying, but even with my back to you I could feel you move around the room. Any chance you read missed connections?"

I suppose that last post could also fall into the "creepy" category. But it also might warrant a response such as, "Well, I do read missed connections. But since my back was turned to you, I’m not quite sure what you look like or who you are. Were you the one printing on the neon pink paper? Tell me more."

And so it went. After a few back-and-forths, the 20-something brunette and the 27-year-old male decided to meet up. He is a robust young lad, and now we are happily planning our honeymoon.

Actually, we’re not, because the voyeur in me would never dare to respond.

Not so Climate Theatre resident artist Claudia Tennyson. Intrigued by the potential and the poetry of Craigslist missed connections posts, she’s been contacting and interviewing people who placed compelling inquiries. For all of us who are addicted to the forum but too timid to post or reply, Tennyson has translated the initial ads and her resulting interviews into a performance that includes a series of artworks that seek to embody each encounter. For fearless types, Tennyson is presenting the event as an opportunity to hook up.

MISSED CONNECTION: SOUVENIRS OF BRIEF ENCOUNTERS Sun/12, 6 p.m., free. Climate Theater, 285 Ninth St (at Folsom), SF. (415) 704-3260. www.climatetheater.com

Move(men)t: A Men’s Dance Festival

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PREVIEW In the history of dance, the male of the species occupies a curious position. In some cultures only men were allowed to dance in public. In Western aristocratic education, dancing was a requirement for a future courtier. But until fairly recently, ballet choreographers consistently undervalued male dancers, and it was women who pioneered modern dance. In the 1930s, however, Ted Shawn’s all-male ensemble did much to break down the prejudice against men in dance. In the Bay Area, every decade or so brings about a refocusing on masculine performances. There is an energy — both virile and tender — to these presentations that, in the past at least, made them very special experiences for men and women alike. Some of that, unquestionably, had to do with the testosterone that just bounced off the walls. Even so, to see so many guys cooperating with each other is still not something we are accustomed to seeing on stage. The latest incarnation of all-male dancing, "Move(men)t: A Men’s Dance Festival," now in its second year, includes Mark Foehringer, who has long choreographed for men; Folawole Oyinlola, of Nigerian descent, who excels in improvisation; Kegan Marling, perhaps best known in his partnership with Jane Schnorrenberg; and Joe Landini’s new San Francisco Moving Men. Ten choreographers in all will show their chops in the tiny but hopping Garage performance space.

MOVE(MEN)T: A MEN’S DANCE FESTIVAL Fri/10–Sat/11, 8 p.m., $10-$20. The Garage, 975 Howard, SF. (415) 885-4006. www.brownpapertickets.com

Mos Def

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PREVIEW Anyone who heard "Big Brother Beat" on De La Soul’s 1996 album Stakes Is High (Tommy Boy) was soon saying, "Who’s this kid Mos Def?" Still, it’s hard to believe that, 13 years later, the radiant voice on that track would become the ubiquitous scion of that good old Native Tongue can-do.

Mos Def can turn up simultaneously in a movie (his next project is a film version of Iceberg Slim’s Mama Black Widow) and on a television show (you catch him on House last a few weeks ago?), yet still find time to cameo on other people’s albums, win an Obie for his performance in a play (Suzan Lori Parks’ Fuckin’ A), and come out with a book (Black 2.0, due this summer). It’s like, wait a minute, there’s got to be more than one Mos Def.

His four albums explore his tortured id and black people’s rightful place as the inventors of rock ‘n’ roll and just about all forms of popular music — all that, and they still maintain the dedication to socially conscious protest we’ve come to expect from our once and future truth-tellers. His fifth, The Ecstatic, is due later this year. He’s coming to Yoshi’s in Oakland for a few sets with Robert Glasper on piano, Mark Kelly on bass, Chris "Daddy" Dave on drums, Casey Benjamin on sax, and Keyon Harrold on trumpet. Be a part of history in the making. It’s not like you have a choice. His name is Most Definite, not Think So.

MOS DEF Tues/14–April 16, 8 and 10 p.m., $55. Yoshi’s Oakland, 510 Embarcadero West, Oakl. (510) 238-9200. www.yoshis.com

Marissa Nadler

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PREVIEW Who is the shy girl casting her eyes downward on the cover of Little Hells (Kemado)? Here in Hell, Marissa Nadler could be a damsel who has tumbled from a frayed tapestry in search of her unicorn, a crystal doll who has escaped from her vitrine, or a tubercular maid who has slipped out of her Victorian deathbed photograph to traipse this earthly plane. She’s the dark, downbeat cousin of the enormous-eyed cameo cutie gracing The Saga of Mayflower May (Eclipse, 2005), the sunlit warbler singing in the lawn at the first Arthur Fest, and the whimsical Rhode Island School of Design-educated artist I spoke to around the time of Songs III: Bird on the Water (Kemado, 2007).

With her fourth full-length, Nadler enters a new, more synthetic, and increasingly richer musical realm than that on her previous recordings — one outfitted with its own exquisite troubles and terrors. The almost imperceptibly swooping faux strings that strafe "Heart Paper Lover" sound like tiny planes dive-bombing a cruel sweetheart. The goth muses slumbering within Nadler’s out-folk also come to light, blinking: one imagines Mary Shelley waking to find herself in Frankenstein’s grave-dirt-encrusted shoes on the harpsichord-strewn, almost Sisters of Mercy-like "Mary Comes Alive." Still, Nadler’s voice has never sounded so fine — catching itself on miniscule beads of longing on "Rosary" and fading, delicately detuned, like a dying darling on "Ghosts and Lovers."

MARISSA NADLER With Eric Shea. Wed/8, 9:30 p.m., $10–$12. Cafe du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

Appetite: Czech in FiDi, Easter meals, Bushi-Tei bistro, Front Porch bones, and more

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Cityhouse0309a.jpg
The new cityhouse: apres-shopping bacon-wrapped swordfish

As long-time San Francisco resident and writer, I’m passionate about this city and obsessed with exploring its best food-and-drink spots, deals, events and news, in every neighborhood and cuisine type. I have my own personalized itinerary service and monthly food/drink/travel newsletter, The Perfect Spot, and am thrilled to share up-to-the minute news with you from the endless goings-on in our fair city each week on SFBG. View the last Appetite installment here.

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NEW RESTAURANT and BAR OPENINGS
A double-dose of Bushi-Tei in Japantown with a new bistro
I love you, Bushi-Tei. Though a Michelin-star winner with rave reviews, I often wonder why few seem to have been to this upscale Asian restaurant with a French cuisine ethos? Chef Wakabayashi is a genius, as far as I’m concerned, and the experience, from wine list to savory dishes to desserts, have always been a creative-fresh thrill for me over the years. I dig the dark woods of the modern dining room, the seamless service, and most of all, the glorious food. So I’m delighted to see the unveiling of Bushi-Tei Bistro this week, with a $6-15 price range and dishes like housemade udon, Japanese curry and sushi. Conveniently close to key Japantown/Lower Fillmore landmarks, I’d guess this could be the new gourmet-but-affordable-Asian-eats stop before or after a movie at Sundance Kabuki, a visit to the Kabuki Spring spa or a concert at the Fillmore.
1581 Webster Street
415-409-4959
www.bushi-tei.com

Cityhouse debuts in the Parc 55 Hotel
It appears to be another Union Square hotel restaurant (i.e. expensive), but Parc 55 Hotel‘s $30 million makeover (scheduled to be done in June) includes this steakhouse restaurant, cityhouse, helmed by Chef Brian Healy of the former Terrace at the Ritz-Carlton San Francisco. Open for breakfast, lunch and dinner with an all-day bar oferring swank cocktails and bar bites, it’s a downtown shopping respite or meet-up spot with visiting friends craving steak, bacon-wrapped swordfish, oysters and strawberry rhubarb crisp.
55 Cyril Magnin Street
415-392-8000
http://dev.tigglobal.com/RenaissanceParc55/restaurants/cityhouse.cfm

Cafe Prague is bringin’ Czech back to FiDi… and soon, the Mission
It’s nice to have a little Czech back in town, though I’ll miss the old Cafe Prague space (which closed last Fall), tucked away on Pacific Ave. Hopefully the boho-Euro atmos transfers to their newly-opened Financial District locale. I see the menu consists mainly of salads and sandwiches for the FiDi lunch set, but thankfully a couple Eastern European specialties remain (which I appreciate given that there’s not much of it around), like Hungarian goulash and sauerbraten with dumplings. A second site is soon to open on Mission Street between 17th and 18th, so there’ll be more Prague lovin’ to go around.
424 Merchant Street
415-627-7464

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APRIL 12th EASTER MEALS
1300 on Fillmore’s Gospel Brunch for Easter

Since 1300 on Fillmore opened, it’s been my preferred stop for upscale Southern Soul food with a twist, and it’s jazzy, cool lounge giving tribute to the Fillmore District’s jazz glory days. Though I’ve eagerly been wanting to check out their Gospel Brunch the first Sunday of every month (which has been so popular, they plan on adding a second Sunday), I suspect Easter might be the time to catch the Spirit over cornbread and shrimp ‘n creamy grits. The three-course brunch is $39, including all food, coffee and tea, special drink of choice (mimosa, bellini, juices), and, naturally, some rousing, live gospel music. Hallelujah! P.S. Don’t forget their Fried Chicken Mondays (5:30-11pm) where $28 gets you soup or salad, Black Skillet Fried Chicken and dessert.
$39
1300 Fillmore Street
415-771-7100
www.1300fillmore.com

Indian-style Easter at Dosa on Fillmore
Doing Easter out of the norm means Dosa on Fillmore’s Indian Easter brunch might be your speed, especially when the menu includes a Strawberry-Banana Uttapam (large, pancake-style version of a dosa for $12) or an Egg Poriyal Dosa, filled with a South Indian scramble of organic eggs, chilies, tomatoes and onions ($10). Wash it down with a Bloody Mary Curry ($8.50) or Elderflower Mimosa ($9) and you’ve got yourself a brunch.
11:30am-3:30pm
1700 Fillmore Street
415-441-3672
www.dosasf.com

The antithesis to "Easter brunch" lunch at Bloodhound bar
It’s Bunny BBQ at Bloodhound all Easter afternoon with a glut of meats from Taylor’s smoked ham to rabbit (in sausage form or grilled), plus a slew of down-home sides like chicharrones, beans, and yes, bacon peanut butter brownies. It’s all you can eat and drink of seasonal beer (draft and bottle), with Bloodhound’s excellent classic cocktails still available at regular price. Fatted Calf and 4505 Meats host the event but space is limited to so make sure you RSVP if you want to eat the bunny rather than admire its cuteness.
$30
2pm–7pm
RSVP: info@bloodhoundsf.com
1145 Folsom Street
www.bloodhoundsf.com

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DEALS
Bones and Blues every Tuesday at The Front Porch
The Outer Mission’s Front Porch is one of those places (with rocking chairs on the little front patio) that’s invitingly warm as soon as you walk in. The red booths, pressed-tin ceiling and dim lighting create an overall glow. As of last week, Fats Domino Tuesdays is the night to linger over, yep… dominoes. A game of dominoes with discounted drinks and appetizers and blues music to set the mood. You can bring a partner or there’s sure to be others to play a friendly game with if you come alone. With new chef, Michael Law, aboard, it’s an ideal time to re-visit the heartwarming Southern/New Orleans menu.
Tuesdays 5-7pm
65-A 29th Street
415-282-9043
www.thefrontporchsf.com

Live blues Gumbo Jam at Miss Pearl’s Jam House every second Friday
Miss Pearl’s Jam House is one of those idyllic waterside settings that feels like a party just being there. I find the food and drinks can be hit or miss, but I still love the setting in the continually reviving Jack London Square. What better way to hit Miss Pearl’s than for a second Friday Gumbo Jam (or live music nights all month long, like "Dancin’ Island Sounds")? Chef Joey Altman (of TV and cookbook fame) actually rocks out with blues band, The Back Burners, while serving up a huge pot of gumbo. Way to start your weekend, Nawlins’-style.
2nd Fridays 8pm-12am
One Broadway, Oakland
510-444-7171
www.misspearlsjamhouse.com

Onward and upward

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With a statewide unemployment rate of 10.5 percent and industries crumbling, it almost seems absurd to think about making upward career moves. But an awful economy doesn’t need to equal personal unhappiness in your work life. Dena Sneider, a career counselor of 15 years and cofounder of the Bay Area Career Center (www.bayareacareercenter.com), gave us some advice on what to do to for your career in the current economic climate.

Don’t stay stuck. If you’re not content with your current job, start the process of figuring out what type of work is best for you. Can’t get yourself out of bed on a Monday morning? No excitement, energy, or engagement in your work? Sounds like it’s time to start searching for a position that will use your skills and make you happier. The economy is in turmoil, which can mean that opportunities are opening up for those keeping an eye out.

Keep perspective. If you’ve recently been laid off and need to find a job just to pay the bills, keep in mind that it’s only temporary. "Take jobs knowing exactly why you are there," says Sneider. "Be prepared for your move back into your career when the time comes."

Explore other options. "The best time to figure out what you want to do is when you are employed — you can network, take classes, or volunteer," says Sneider. Start planning for a career change several months or a few years from now. If you’re unemployed, take advantage of any opportunities you can to gain experience. Sneider often meets people who know what they don’t want, but not what they do want, and they spend time sorting through hundreds of ideas.

Think outside the box. "People who were passionate about what they did are losing careers right now and not knowing what they’ll do," says Sneider. "What people did to make a living may not be possible now, but they can find something close." Think about how your talents can be used in a different industry. Perhaps your passions can be channeled though a new outlet. Or you may find that you can revitalize rusty skills or lean new ones.

Be optimistic. "Just because finding the right job is harder now, does not mean it is not possible," Sneider reminds us. "Be optimistic — once you figure out what you want, go forward!"

Working the curves

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› culture@sfbg.com

Pole dancing classes have become increasingly popular in recent years, and strippers aren’t the ones getting schooled. Lawyers, doctors, social workers, stay-at-home moms, even postmenopausal women with gray hair are turning to a turn around the pole to learn more about their bodies and their sexuality. From group classes at gyms to private lessons in home studios, pole dancing can be now learned at any comfort level.

Once a week, eight to 10 women gather in the small, dimly lit, mirrorless classrooms at San Francisco’s S-Factor (2159 Filbert, SF. 415-440-6420, www.sfactor.com/SF) to learn pole tricks, stripping techniques, and lap dances. "We like to say that you’re teaching your body a new language," says Deb Arana, an instructor at S-Factor. "You need to slow down, think into your curves, play in your girly skin." The classes start with warm-ups based on core strengthening, and moves incorporate yoga, ballet and Pilates.

Each class builds on the one before, and by week three women get to wear their six-inch stripper heels. "Some women are confident enough that they will just carry their heels while walking down the sidewalk or riding the bus, while others tuck them away in their bags," says Arana. "Its amazing to see the changes in the women by the end of the class. I’d say 99 percent are not dancers, but they can flow and move in such a graceful way because the routines are so intuitive."

But perhaps the more significant learning experience comes from the personal and spiritual growth that occurs in the sessions. The small S-Factor classes, which usually have less than a dozen students each, become tight-knit communities. Positive reinforcement from classmates helps women to try new moves, and they encourage one another to take their dancing to a higher level.

Women take the lessons in order to identify with their sexuality as much as they do to get physical exercise. "I thought that the main complaint I would hear would be about being overweight," Arana reveals, "But it’s actually women coming in saying ‘I don’t feel sexy, I’ve never felt sexy.’<0x2009>"

That attitude changes over the course of the class. "Women become conscious of their feminine and sexual selves," says Arana. "It’s not just because we’re giving them new moves, but because they’re comfortable in their own skins."

"Pole dancing becomes an addiction and a way of life," she explains, a surprising note of conviction entering her soothing, honey-tinted voice. "It’s such a journey of self discovery."

S-Factor, whose classes are offered nationwide and bills itself as "the original striptease and pole-dancing-inspired workout," was started by actress Sheila Kelley, who found an intense sense of empowerment in the dancers she watched while researching a role in the movie Dancing at the Blue Iguana (2000). She claims to have started the S-Factor workout to share her newfound physical and emotional state with other women.

Carrying six-inch heels on the bus and learning how to wrap your legs around a pole properly in front of several people is not for all potential pole dancers, though. One-on-one lessons in personal studios can be arranged in San Francisco as well. A former exotic dancer who calls herself Cheri (and who now maintains a career as an economist) runs private lessons out of a classy, modern studio in a quiet residential neighborhood. There is no indication that pole dancing takes place in the unassuming light blue building. Two poles that look like structural supports stand in the center of the second-floor room, and when the lesson starts, Cheri draws the shades, blocking her view of the Bay Bridge to turn her attention to demonstrating pole tricks.

"The important part of pole dancing is making it look good; the workout is secondary," says Cheri. "It’s sort of a hidden workout. I don’t realize it until I wake up sore the next day and wonder what I did to myself. Then I say, ‘Oh, yeah, I was dancing yesterday.’<0x2009>" Light lifting and yoga are helpful supplemental activities to pole dancing, since strength is needed to support your body weight on the pole, and flexibility and mindfulness are essential to proper moves and flow.

Hard-pressed for cash during college, Cheri responded to an ad in the school’s paper for exotic dancers at a local club. "At that time, there was no such thing as pole dancing classes, or any sort of instruction," says Cheri. "You just had to watch yourself in the mirror, and watch other dancers and just sort of learn as you go." She used dancing to support travels through Australia and Europe, but dropped it once she settled down in San Francisco and started her career.

One day, Cheri mentioned to her boyfriend that she would dance for him if he bought her a pole. One was obtained quite quickly, of course. The pole began to be used at parties and Cheri’s friends stared asking her to teach them moves. She realized she had caught on to something, so she started her own studio, called Heels on the Ceiling (www.heelsontheceiling.com). Once she found another pole, a few floor mats, and stilettos in every size for her students, Cheri was in business.

Bachelorette groups flocked to her studio for Cheri’s energetic instruction on floor moves and simple spins. And private students, including mother-daughter pairs, started signing up as well. "I’m a much better educator than a dancer, I think," confesses Cheri. "But at the same time it’s harder to dance in front of women than in front of men. Men are simple creatures with simple minds, but women are constantly judging you and sizing you up."

Although she worries about being judged herself, helping women shift their mindsets about their bodies and sexual selves is the primary reason she continues her lessons. "Pole dancing is teaching women how to harness their sexuality through certain tricks and moves," says Cheri. "It helps women shed their sexual and image insecurities."

Advanced dancing seems like quite the workout: Cheri can suspend herself upside-down on the pole, balancing at a graceful diagonal, like a spoon resting inside of a bowl. Then, before you can blink, she’ll turn around the pole faster than a record spins, and climb to the top with agility of a cat on a fence.

The physical fitness aspect has made lessons at Heels on the Ceiling more legitimate for women. "Pole-dancing has become less politically incorrect recently, because of the workout angle," says Cheri. "I’m glad that society has finally accepted and embraced it."

Deathly youth

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johnny@sfbg.com

A slow descent into a blasted-out void as intimate as it is alienated, the introductory track of the Antlers’ self-released Hospice drops the listener into a sonic space somewhere near This Mortal Coil’s 1984 It’ll End in Tears (4AD). The reference point is a rich one. Jeff Buckley was given to covering It’ll End in Tears‘ opening track, the Alex Chilton composition "Kangaroo," and when Antlers’ singer-songwriter Peter Silberman’s voice enters the scene on Hospice‘s next song, "Kettering," his fallen choir-boy high tenor is a polite echo of the drowned romantic Buckley, whose equally fatalistic father Tim wrote another one of It’ll End in Tears‘ signature tracks. More blatantly, Hospice is an album all about this mortal coil, a recording that — as the title makes clear — lives near or within a threshold into death, alternately charting out or clawing at broken bonds.

Not exactly a light listening experience, whicb might be why Hospice is being greeted as everything from a work of genius (an NPR critic not only deemed it the best album so far this year, but better than anything from 2008) to an overrated angst fest (in the ever-reactive blogosphere, crankier reviewers have envisioned it as backdrop music for Scrubs and deemed it the musical form of Cymbalta). Another aspect of Hospice that triggers strong reactions is its back story, a tale of the now 23-year-old Silberman’s extended creative isolation that’s an urban version of the rural tortured artistry yarn attached to Bon Iver’s acclaimed For Emma, Forever Ago (Jagjauwar, 2008).

To escape the growing chatter, it helps to engage directly with the music, itself far from devoid of cultural signposts. In crafting a 10-song cycle about life and love and death, Silberman draws heavily from the real-life stories and legends of Sylvia Plath and Ted Hughes; one gets the impression that he uses them as a loose-fitting cover for the skeletal remains of his own recent brush with mortality. At this point, Plath is a clichéd symbol of suicidal poeticism and youthful valorizing of depression. (I have memories of a fellow Guardian editor singing "You don’t not do, you do not do" from "Lady Lazarus" in a mockery of her proper bell-like intonation during our Detroit days of being young.)

While Silberman’s invocation of Plath’s inconsolable rage and death-drive lacks humor, it isn’t stiff or overly worshipful. He makes her spirit breathe only to quarrel with it. On the anti-lullaby "Bear," animal imagery gets a bleakly comic twist missing from the heavy-handed Hughes’ favored bestial themes. The bottom line is that Silberman is a talented young singer-songwriter. Hospice is not only prodigious in its ambition, it is well-executed. The title of "Thirteen" reinvokes Chilton while the music’s glacial-yet-golden shimmer could be a missing early Slowdive track or an outtake from Gregg Araki’s 2004 film adaptation of Mysterious Skin. Like another "newgazer," Deerhunter’s Bradford Cox, Silberman places the widescreen blurring soundscapes of late-1980s shoegaze bands in the service of American Gothic narrative impulses. In a perverse way, his odes to fatal anorexics and séances for long-dead writers offer the promise of great things to come.

PLAYLIST

Afrobutt, Wonderbutt (Electric Minds) Humor is at play in these neo-disco tracks and their titles, which include "Urgent Workout Required," "Torro de Butt," "Morning Bump," "Cracks All Gone," and "Wunderbutt."

Johan Agebjörn featuring Lisa Barra, Mossebo (Lotuspike) Paging Vangelis: the songwriter and studio whiz behind Sally Shapiro goes new age.

Blackbelt Andersen, Blackbelt Andersen (Full Pupp) Prins Thomas preps us for his vanilla-sented Lindstrøm reunion with this one-man act from his fledgling label.

Lô Borges, Lô Borges and Nuvem Cigana (EMI Brasil) It took me too long to realize all my favorite tracks on 1972’s classic Clube de Esquina are written by Lô. The cover of Lô’s debut album is perfection, and I am completely in love with Nuvem Cigana’s "A força do vento," "Uma canção," "Viver viver," and O vento não me levou."

Serge Gainsbourg, histoire de melody nelson (Light in the Attic) An appreciation of the recent reissue rainfall of Gainsbourg soundtracks and concept song cyles is overdue. For now, this is one of the best.

The New Dawn, There’s a New Dawn (Jackpot) Jackpot indeed — a lost ultra-collectible classic of ’60s Northwest garage rock is revived, much like Jesus.

Ofege, Try and Love (Academy) "It’s Not Easy" is kid soul at its finest, thanks especially to the singing of bandleader Melvin "Noks" Ukachi.

Arthur Russell, …The Sleeping Bag Sessions (Sleeping Bag/Traffic) Koala power! Russell used the narcoleptic furry clasper as the logo for his dance music label. This comp presents some rare treats. His collaborations with Nicky Siano as Felix are two of the best.

Stereo, Somewhere in the Night (Minimal Wave) This 1980s duo’s criss-cross sunglasses put Kanye’s venetian shades to shame. Minimal Wave delivers once again. (Huston)

Appetite: She-Crab Soup, hot Pican, a Dogpatch Kitchenette, Cosmpolitan special, and more

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The Cosmopolitan on Spear Street. See “Deals” below.

As long-time San Francisco resident and writer, I’m passionate about this city and obsessed with exploring its best food-and-drink spots, deals, events and news, in every neighborhood and cuisine type. I have my own personalized itinerary service and monthly food/drink/travel newsletter, The Perfect Spot, and am thrilled to share up-to-the minute news with you from the endless goings-on in our fair city each week on SFBG. View the last Appetite installment here.

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NEW RESTAURANT and BAR OPENINGS

Awesome sandwiches out of a Dogpatch garage at Kitchenette
Debuting less than two weeks ago out of warehouse in Dogpatch is Kitchenette, a project from chefs who’ve worked at places of such high caliber as Incanto, Chez Panisse and Foreign Cinema, creating daily offerings that are, you guessed it: fresh and seasonal. Check the website for the changing menu which usually consists of a meat and vegetarian sandwiches (occasionally pizza), a salad, fresh juice and cookie. Last week I was converted by the fabulous Bahn Mi-like sandwich of beer & tangerine roasted Berkshire pork ($8) with cilantro, jalapeno, cabbage plus a side of macaroni salad. Washed down with a tart Meyer lemon, tangerine, blood orange juice ($2), I was already planning my next visit. Bring your cash (no other option) and come early because once their daily creations of lunchtime goodness are gone, well… they’re gone.
Monday-Friday, 11:30am-1:30pm or until food runs out
958 Illinois Street (in the American Industrial Center)
www.kitchenettesf.com

Fine dining made more affordable at La Folie’s Lounge
San Fran’s 21-year old French fine dining mecca, La Folie, may not be cheap even in lounge form, but if I don’t have to pay $70 to $105 for the only option of tasting menus in the dining room, I can still make a night of it ordering a la carte in the next door lounge, opening March 31 during their 21st birthday party. You can now eat as little or as much as you wish of the Michelin-starred food given a lounge-twist (think Lobster Croque Monsieurs), cocktail in hand (note: the bar is helmed by Casper Rice of Michael Mina and Rubicon).
2316 Polk Street
415-776-5577
www.lafolie.com

Cafe Altano, a casual, new restaurant in Hayes Valley
Hayes (Valley, that is) is home to a regular foodie row with primo sushi, German food, coffee and chocolate within a couple blocks. Cafe Altano is a humble entry into to the ‘hood, a corner Med-Italian eatery taking over the Modern Tea space (R.I.P.) With pizzas, pastas, mussels, paninis and beers, it sounds like a relaxing late afternoon spot to chill, sitting at the copper bar, communal or sidewalk tables.
602 Hayes Street
415-252-1200

EAST BAY OPENING

The Old South modernized with upscale Southern food and Bourbon Room at Pican
Nothing makes me want to book a reservation more than the words “bourbon” and “Southern food” together. In a chic, Rhett Butler gentleman’s space with burlap-draped chandeliers, crushed shell & limestone bar and a private Bourbon Room, is Oakland’s Pican, conveniently near the Paramount Theatre. New Orleans’ native, Michael LeBlanc (co-founder of Brothers Brewing Co) debuted Pican, his first restaurant, last week for dinner (5-10pm nightly; Friday and Saturday till 11pm), with lunch (and sidewalk seating) forthcoming, on the ground floor of the new Broadway Grand building.

They had me at “She-Crab Soup”, one of my favorite lush delicacies when traveling in Charleston (creamy crab soup with crab roe for deeper texture and flavor), “Southern foie gras” (pan-fried chicken livers with Benton’s incomparable bacon in a sweet onion-Marsala gravy – um… yeah!), Low Country shrimp and grits, Bourbon and molasses-lacquered duck, and peanut jalapeno coleslaw. Small plates run $6-16, entrees $17-29, so it’s a date night or friends night on the town, especially when you can sip from a 96-deep bourbon list (definitely a number of rarities on board), beers, wines or cocktails. They’re going for the goal of biggest Bay Area Bourbon selection with a calendar of events including Bourbon tastings, Cigar dinners, live music, art showings and Winemaker dinners. It it’s all as fabulous as it sounds, I’m prepared to make good use of FasTrak across the bridge.
2295 Broadway, Oakland
510-834-1000
www.picanrestaurant.com

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EVENTS

April 20 – One-night-only dinner prepared by Eric Ripert at Aqua
The name Eric Ripert means something to you if a) you’ve seen Top Chef, where he’s often guested, b) you’ve eaten at Manhattan’s Haute French temple, Le Bernardin, or c) you love and follow great chefs nationwide. Well, Eric is here and cooking for you in a rare one night appearance at our own Aqua, so reserve now, while there’s still time.
$130 not including wine pairings
252 California Street
415-956-9662
www.aqua-sf.com

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DEALS

The Cosmopolitan brings back the Martini Lunch
SoMa’s classic long-timer, The Cosmopolitan, has an old school, New York vibe for power lunches and cocktails post-work (the 4-8pm Wednesday and Friday Happy Hour is now $4 for everything from Belgian beers to sliders, mini-sandwiches and champagne). They prove they mean business with a new Two Martini Lunch deal: yep, two Russian standard vodka martinis for $5. Your boss never has to know.
Wednesday-Friday, 11:30am-3pm
121 Spear Street, Suite B8
415-543-4001
www.cosmopolitansf.com

Morty’s Deli for a fab Reuben and a PBR for $7
I get a touch of my East Coast NJ/NY roots when I eat a fabulous Reuben sandwich at the Tenderloin’s funky fresh deli with NY attitude, Morty’s. On Tuesdays you can now buy a Reuben and PBR for $7. The deals continue with Fish Fry Fridays, Spaghetti and Meatballs Thursdays, and wine specials to pair with.
Deli open Mon-Thu 8am-8pm; Fri 8am-6pm
280 Golden Gate Avenue
415-567-3354
www.mortysdeli.com

Hayes Valley’s Samovar Tea Lounge $10 weekday Tea Lunch
Samovar in Hayes Valley (on their Web site, they’re calling it Zen Valley?) recently started a daily lunch special: soup, salad, 1/2 sandwich (either tofu or turkey) and tea (green, black or herbal) for a mere $10 – including tax!
Monday-Fridays, 10am-1pm
297 Page Street
415-861-0303
www.samovarlife.com

Stormy weather

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› johnny@sfbg.com

It’s a pleasure to see Sean McFarland receive the Baum Award for Emerging American Photographers. Last August, McFarland was one of the eight artists or groups showcased in the Bay Guardian‘s second annual photo issue. The Baum Award is a national honor designated for photographers at a pivotal point in their development, and in McFarland’s case, that development is the opposite of predictable. While many photographers work toward "dazzle ’em" displays of technical virtuosity, McFarland has moved away from earlier saturated digital color images toward simple Polaroid photos that possess ominous allure.

Did I say simple? McFarland’s dreamlike images of weather and landscapes are only simple in appearance — they require subtle combinations of photography and the increasingly popular practice of found-image collage. In terms of subject matter, they personalize and miniaturize the vast and unsettling images of the semi-settled West present in the camera art of Michael Light, David Maisel, and Trevor Paglen. The title of Lindsay White’s current show at Ping Pong Gallery, "A Field Guide to the Atmosphere," might just as well apply to McFarland’s work. The atmosphere is stormy, and as troubling as it is beguiling.

SFBG In the last year or two, your work has shifted away from urban views to elemental images: sky, sea, vast land. What has set you off in that direction?

Sean McFarland I’ve been thinking a lot about the ways in which the earth changes. In an urban environment, we build buildings, roads, and parks, changing the landscape. These are immediate and obvious alterations of our environment. Our actions also change the landscape as we alter the climate — more frequent and powerful storms, rising seas. By focusing on making images of the natural world, of the landscape, I’m interested in making pictures of us. How we change the earth and how the earth effects us.

SFBG Your work from the earlier 2005 era reminds me a bit of a short film, site specific_Las Vegas 05, by an artist named Olivo Barbieri. It has amazing colorful aerial views of Las Vegas in which the city really looks like it is comprised of toy buildings and cars. Were you looking for that kind of "making strange" effect when presenting views some might take for granted?

SM The work I was making from 1999 until around 2002 tried to take things that were fake and make them look real. When I first started re-photographing the collages I was making (in 2003), the miniaturization effect was an unexpected but welcome result. I was working in the other direction, making the real look fake. The collages are made by hand, so the edges are rough and messy. The selective blurring of images was there at first to hide where the images were put together, but it was that transformative quality of the focus that made the process intriguing to me. With the collaged images, I was taking pictures from all over, real images of real things, and by bringing those disparate elements together, the pictures raise questions about what was actually in the photograph.

The image of the park (in the Guardian‘s August 2008 Photo Issue), for example, has the playground from Dolores Park, but with the downtown skyline and bridge removed and replaced with a sky from another city. It may be the absence of the urban center normally in the background that makes the picture seem odd, or it could be that the light from the sky is not the same reflecting off the foreground. The relationship between fact and fiction is one of the strongest reasons I work with photography as opposed to other visual art forms.

SFBG You mention collage as a part of your process. That might not be so apparent to someone who casually glances at your photography. Can you tell me a bit about your approach to collage, and also if there are any collage artists whom you especially like?

SM Lately I’ve been working to make the collage process less apparent. In the past, the images took the final form of a C-Print, made in a darkroom. Now I’m using Polaroid film. Polaroids are mementos and souvenirs of moments, places, and things that actually happened; they imply that whatever is in the picture was witnessed, was real. Since I can’t really take the images I’m making, I’m using collage to do so. A good example is my image of the airplane flying over the black ocean and white land. The picture of the plane is taken from a satellite image of Earth, the land is a photograph I made in the Exploratorium (it’s a picture of an exhibit that shows how land is changed by wind currents).

SFBG Books are a big visual inspiration to me, so I liked seeing you cite the Field Guide to North American Weather and Gerhard Richter’s Atlas as two recent sources of fascination and perhaps material. What drew you to those books and what do you like about them?

SM I enjoy those books because they are both wonderful collections. I work from an archive of several thousand images. This is probably why Atlas is so fascinating to me. It’s the source material (mostly photographs) that Richter uses in his work and it made me even more interested in his work. I like the Field Guide because all the pictures in it are of weather-based natural phenomena. Some of the photographs in it are pretty hard to believe, but actually happened.

SEAN MCFARLAND: THE 2009 BAUM AWARD FOR EMERGING AMERICAN PHOTOGRAPHERS

Thurs/2 through May 23 ( reception Thurs/2, 5–8 p.m.), free or donation

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org