Volumes Archives — Page 297 of 431 — San Francisco Bay Guardian Archive 1966

SFIFF: Ashes to ashes

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April 23, 2008

› a&eletters@sfbg.com

SFIFF One of the greatest pleasures of the 50th SF International Film Festival was Forever, Heddy Honigmann’s 2006 study of the living among the dead at Paris’ Père-Lachese cemetery. Between footage of the sun-dappled necropolis in all its hushed, springtime glory, Honigmann (who received last year’s Persistence of Vision award) profiles several regular visitors, who in the course of discussing an attachment to a particular resident — whether that dweller be Frédéric Chopin or a deceased husband — reveal a great deal about how we commune with memory in our daily lives.

Echoes of Honigmann’s film can be heard on the breezes that float and whip through John Gianvito’s lean and hypnotic Profit motive and the whispering wind (Gianvito’s use of lowercase is intentional). In focusing on a very different kind of memorial landscape, Gianvito uses Howard Zinn’s oft-revised 1980 radical assessment of American history, A People’s History of the United States, as a roadmap. He’s constructed an hour-long pilgrimage to the graves, minor monuments, and commemorative plaques erected to honor America’s freethinkers and radicals.

Static shot after static shot shows names etched in stone, carved on wood, or stamped on metal: Red Jacket, Sacagawea, Thomas Paine, Mary Dyer, John Brown, Sojourner Truth, Daniel Shays, Frederick Douglass, Fannie Lou Hamer (whose eloquent protest, "I am sick and tired of being sick and tired," is now her epitaph), Malcolm X, Dorothy Day, and César Chávez, to name just a dozen. America is a nation of defectors, suffragettes, abolitionists, Wobblies, anarchists, union members, community organizers, and conscientious objectors. We see commemorations of the labor movement’s bloody struggles: the Bread and Roses Strike in Lawrence, Mass., the Homestead Strike near Pittsburgh, and the Ludlow Massacre in Colorado. Occasionally we see signs that others have visited these sites: small tokens of solidarity left on graves, graffiti, piled pebbles. But many of the markers exhibit the creep of age and neglect.

Eschewing narration or interviews, Profit motive is near-silent, save for the ambient sounds of each site: chirping birds, the lazy buzz of insects, the occasional whiz of traffic, and most prominent, the whistling wind — though a whisper is only one part of its range. As Honigmann does in Forever, Gianvito periodically turns his camera away from the ground to watch the dance of sighing boughs or rustling plains. These almost animistic sequences remind us that the landscape has borne witness to the people who shaped it long before our time, underscoring the transience of human life and, by extension, political struggle.

The film’s jarring final minutes, however, break its meditative silence in a move that aims to establish affinities between the left’s scattered history and current protest movements. Gianvito’s dedication to Zinn seems to get the better of him, and the closing montage of contemporary protests juxtaposed against McDonald’s and Wal-Mart signs comes off as crudely didactic. The answer — or, at the very least, some incendiary spark out of the past — it seems, was blowing in the wind after all.

If Gianvito’s film is part eulogy and part rallying cry for America’s radical left, then Hartmut Bitomsky’s more conventionally structured documentary Dust (Straub) is a vanitas for late capitalism. Just as Gianvito marshals a certain poetic charge from his footage of rustling branches and swaying grass, Bitomsky’s cold yet compelling study also mines the many-faceted existential resonance of the particulate terrain it surveys.

Bitomsky’s gravelly-voiced narrator is fond of repeating a Raymond Queneau quote: "Dust always leaves a trace, no matter what; then, a trace of the trace. There’s always a trace you’ll never get." Indeed, dust is as ubiquitous as it is unremarkable. It is both the byproduct of human industry and what accretes once our industriousness has stopped. It is a bugaboo for museum preservationists, vacuum cleaner engineers, and clean room custodians. It is the cosmic prima materia from which the universe was born and to which we will all return long after the worms have had their fill. And as we are reminded in the documentary’s opening frames, dust is the very substance of film itself. What we watch are the shadows of dust, shot through with light.

From an industrial paints manufacturer, to a frighteningly OCD housewife, to a sweetly loopy artist who creates sculptural dust taxonomies, to military scientists testing for radioactive fallout from ballistics currently being used in Iraq, Bitomksy lets his unnamed subjects speak with little interruption on their Sisyphean efforts to analyze, sift through, and eradicate dust. At times, the extended and often extremely technical explanations of particle acceleration and filtration assembly can be tryingly dry. But the straightforward and de-personalized presentation of information is fitting with the film’s po-faced tone.

Bitomsky’s deadpan facade is tied on extra-tight. But faint traces of a smirk can be made out whenever he pauses on a particularly cruel irony (for instance, when he quotes military philosopher Carl von Clausewitz over photos of American and Iraqi babies deformed by in utero exposure to depleted uranium dust) or takes note of a pathetic one (a hulking, former GDR housing block imploded to make way for a shopping mall). As entropic as it is constant, dust is indifferent to human life or regime change.

Gianvito’s film clearly seeks to offer a momentary defense against our country’s tendency toward historical amnesia, though it also suggests that history may be one more notch on finitude’s marble bedpost. For Bitomsky, on the other hand, history is a dustbin.

DUST May 3, 1 p.m., PFA; May 5, 6:15 p.m., Kabuki; May 7, 4:15 p.m., Kabuki

>SFBG goes to SFIFF 51: our deluxe guide

SFIFF: Blood ties

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April 23, 2008

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› cheryl@sfbg.com

You can keep those classy, highbrow Coppolas. I’ll play the low card with the Argentos any day. This year’s San Francisco International Film Festival is a feast for fans of the father-daughter team: Dario directs Asia in Mother of Tears, his long-awaited final entry in the cultishly beloved "Three Mothers" series, which includes 1977’s Suspiria and 1980’s Inferno. Asia also stars in Abel Ferrara’s Go Go Tales, as well as the fest’s opening-night film, Catherine Breillat’s The Last Mistress.

I first encountered the duo under the least relaxing of circumstances at the 2007 Toronto Film Festival. Press interviews for Mother of Tears were held in a hectically crowded hotel restaurant. Waiting for my turn, I watched as team Argento chowed down a quick lunch, chattering together in Italian about who knows what (witches, ancient artifacts, the weather?). I clutched my tape recorder, feeling possibly the same mixture of fear, awe, and excitement that filled Suspiria’s Suzy Bannion when she arrived at a certain cursed ballet school.

Fortunately, my chat with the pair was devoid of ceiling maggots, underwater zombies, or — as featured in Mother of Tears — demonic monkeys. Probably the most frequent question Dario Argento has had to answer is the most obvious: why did he decide to finish the trilogy now, nearly three decades post- Inferno? "We have a time for everything," he told me, because of course that’s exactly what I asked him first off. "You wait until the idea comes."

There’s no doubt Mother of Tears sprang from Argento’s brain; his signature occult themes, glorious violence, and attention to style (instead of, say, plot) are all accounted for. He cowrote the film’s script with a pair of Americans he met while working on Showtime’s Masters of Horror series, Jace Anderson and Adam Gierasch (Simona Simonetti and Mother of Tears editor Walter Fasano are also cocredited). The film, which opens theatrically in San Francisco in June, received mixed reviews on the festival circuit. Variety critic Dennis Harvey, who also writes for the Guardian, called it a "hectic pileup of supernatural nonsense." True enough, but I would argue that while Mother of Tears is flawed, it’s enjoyably flawed.

The story revolves around a museum worker named Sarah (Asia Argento) who must summon previously dormant spiritual powers (inherited from her late mother, played by Asia’s real-life mother and Dario’s former partner, Inferno star Daria Nicolodi) to defeat an evil witch’s plot to take over Rome and eventually the world. Eyes are gouged out. Cleavers make short work of necks. Underground pools of muck must be navigated. Udo Kier, playing an exorcist, very nearly reprises his Suspiria role as Exposition Guy. Characters, including witches, take the time to use public transportation. Silly? Yeah, a bit.

Waiting to make Mother of Tears enabled Argento to take advantage of CG, one of his favorite cinematic inventions. His 1996 film The Stendhal Syndrome (which also starred Asia) was reportedly the first Italian release that used CG. In Toronto, Argento told me the film has more than 180 visual effects — including a church on fire — which were created in conjunction with Lee Wilson, another Masters of Horror veteran.

The freedom Argento has enjoyed with CG (now, he says, "it’s possible to fly high!") is matched by another door that has opened since the releases of Suspiria and Inferno: the censorship that plagued his early career is less of an issue in these accustomed-to-gore times.

"I hate censors," Argento assured me in our second interview, conducted over the phone in late March. "For Mother of Tears, I talked to the producer, the distributor, the financier [and told them], ‘I want to be free. I want to show my natural reality after so many years.’ And I did that."

In Rome prepping for his next film, simply titled Giallo (sorry, fellow horror nerds, I couldn’t get him to spill any dirty details), Argento reflected on working with his daughter. Stateside, Asia Argento is known chiefly as an actor (she tangled with Vin Diesel in 2002’s XXX and pissed off corpses in 2005’s Land of the Dead). But she’s also directed a handful of films, including 2000’s Scarlet Diva (which Dario co-produced) and the 2004 J.T. LeRoy adaptation, The Heart Is Deceitful above All Things.

"She understands what it means to be in the project — not just thinking about her character, but the other parts of the film," Argento said. "Since she was a child, she’d follow me on the shooting of many of my films. She grew up on the sets of my films. She’s very comfortable in this world, this show business."

In Toronto, Asia Argento stepped in as translator for both my questions and her father’s answers. She said that when she heard about the Mother of Tears script, she asked to be a part of the film. As in previous Argento-Argento collaborations like The Stendhal Syndrome, the part called for some grueling physical scenes. Still, the pair seem to have an easy rapport, laughing over the aforementioned underground pool of muck ("That was really gross to do," Asia remembered. "He prepared that for three days, this horrible soup. I would watch him prepare that soup, but I wouldn’t say anything!") Later, over the phone, Dario described he and his daughter as "big friends."

Onscreen, Asia Argento has a certain magnetism that few other performers can claim. In Go Go Tales, she appears in only a few scenes, playing a surly dancer who drags her giant Rottweiler with her everywhere, including into her stripper dance routine. Abel Ferrara, who also directed her in 1998’s New Rose Hotel (she directed him in the 1998 short doc Abel/Asia), calls her a "very, very special actress."

"She’s courageous, she gets out there, and she’s not afraid to take chances with the character or with herself," he said, calling from New York, where he’s working on a documentary about the Chelsea Hotel. "When you write a script like [Go Go Tales] obviously you’re looking for the women to bring it to life. We knew we needed people who could really bring something to the table. She’s got that something — it’s indescribable."

Mother of Tears offers Argento a juicier part as a woman who may or may not be totally crazy. But it’s her role as the titular character in The Last Mistress that ranks among her best work to date. It’s a dramatic, passionate period film about an upper-class man’s insurmountable attraction to his moody, impulsive woman on the side (guess who?). Her character pinballs from ecstatic howls to anguished wails, glamorous salon-lolling to beachside pipe-smoking, and dinner table stare-downs to horseback smackdowns. Indeed, it’s a bit over the top, but she pulls it off. As a pair of striking careers can attest, it’s an ability that’s surely imprinted on the Argento genes.

GO GO TALES Sat/26, 11:45 p.m., Kabuki; Mon/28, 9:30 p.m., Kabuki; April 30, 3:15 p.m., Kabuki

THE LAST MISTRESS Thurs/24, 7 p.m., Castro

MOTHER OF TEARS Fri/25, 10:30 p.m., Kabuki

>SFBG goes to SFIFF 51: our deluxe guide

SFIFF: Explosive stuff!

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April 23, 2008

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› a&eletters@sfbg.com

SFIFF The pop detritus of today is the archaeological evidence of tomorrow, to be pieced together by future generations — should there be any — who will no doubt want to know what the hell we were thinking. Their conclusions may be bizarre. But will their conjecture be any stranger than our present-tense realities?

Inventing tomorrow’s conspiracy theories today is Mock Up on Mu, the latest pseudodocumentary, sci-fi historical dig, Situationist prank, and thinly veiled fight-the-power rant by San Francisco’s collage king, Craig Baldwin. In the mode of his prior cult faves Tribulation 99 (1992), O No Coronado! (1992) and Spectres of the Spectrum (1999) — albeit with a higher percentage of new staged sequences mixed into the ingeniously assembled archival errata — it again grinds fact and fiction into a tasty genre-defying pulp. For many, Mu‘s world premiere is the most eagerly awaited event in the 51st San Francisco International Film Festival’s goody-laden schedule.

It’s 2019 AD on the Empire of Mu — the Moon — where L. Ron Hubbard (Damon Packard) is building theme parks, selling crater-naming rights, and beaming corporate logos back to "that prison planet called Earth." Having been banished from our planet, he must dispatch "Agent C," a.k.a. Marjorie Cameron (Michelle Silva), back to the blue ball to engage in some espionage involving the seductions of both Ra-worshiping rocket scientist Jack Parsons (Kal Spelletich) and sleazy defense contractor Lockheed Martin (Stoney Burke). Realizing "Commodore" Hubbard’s purposes may be more nefarious than professed, she finds the truth is out there … way out there. It’s naked and shameless, in fact. Those hippies were right: free love will save us all.

As ever, there is a certain investigative method behind the Oakland-born Baldwin’s jigsaw madness. The real Parsons was the founder of the pre-NASA Jet Propulsion Laboratory and an avid occultist. He started a private boat dealership with none other than Hubbard, before Hubbard absconded with some money and Parsons’ girlfriend (whom he married). Soon thereafter, Hubbard wrote the original Dianetics: The Modern Science of Mental Health in 1950, which in turn led to that gift to mankind we call Scientology. As for Parsons, he went on to marry painter, author, and psychic Cameron, who, like him (as well as Hubbard) was an early American devotee of Aleister Crowley and a participant in sex magick rituals.

Thus you don’t need six degrees, let alone Kevin Bacon, to connect Wernher von Braun, Kenneth Anger, and Tom Cruise. History is fun! As is Mu, with its antic use of everything from old propagandistic footage to clips spanning eras of cinematic sci-fi: Georges Melies’ 1902 Trip to the Moon, the original Flash Gordon serial and 1936’s H.G. Wells–based Things to Come, drive-in trash (it’s always cheering to see 1962’s The Brain That Wouldn’t Die), and Star Trek. The resulting fair-use frolic nonetheless reveals a serious side or three while exploring the dense and slightly demented history of military and aerospace business in sunny California.

Baldwin recently took a break from his numerous other roles — programmer at Other Cinema; teacher at SF Art Institute, California College of the Arts, and Artists Television Access — to sound off on Mu.

SFBG I hate to ask such a blunt question, but what is this movie about?

CRAIG BALDWIN My "Mu-vie" is about how utopian visions of technology and space exploration became compromised by the military in the late 20th century. And [about] how the lives of [technological and space travel] pioneers afford a rich trace of California regional history after World War II: the complex crossing of alternative tech research, personal belief systems, lifestyles, artistic practices, newly organized and newly imported religions, and spiritual institutions. Plus that era brought an explosion of the formerly marginalized sci-fi genre, of which Mu is of course the very latest iteration!

Mu is also about the cult of film, especially experimental film. I’m trying to work though a new model of historiography or storytelling that I am calling collage-narrative. It’s a humble stab at opening up a new space in film practice that is not only of interest to historians but also to aesthetes. And, my dear, I don’t have to tell you that these groups are certainly not mutually exclusive!

SFBG Your father worked for a rocket manufacturer. Has that made you more interested in Cold War and military-industrial complex themes?

CB Yes, my dad worked for Aerojet. He was born the same year as Parsons! And I was born the year Parsons died. I am his reincarnation. But the point is something like 30 percent of Californians were involved in the aerospace biz at its height.

SFBG How much real Scientology material is in Mu?

CB [The film] remains at the level of Swiftian allegory or satire, spinning off of their Genesis story and [acting as] a meta-gloss on Hubbard’s own autobiography.

SFBG I wish Unarius had become the growth religious cult of our time. They’ve certainly made better movies. But regarding yours, the real life connections between Parsons, Hubbard, Crowley, "Mother of the New Age movement" Cameron, occultism, and scientific and military work are stranger than fiction.

CB Everyone has been very influenced by the New Age, uh, belief systems. But more than anything, I identify with postwar bohemians, beats, and hippies. Those days when rocket scientists and sci-fi pulpmeisters and occult conjurers and proto-Wicca ritual carnal orgiastic pagans intermingled may be long gone — though Kenneth Anger is still around.

SFBG Mu uses a lot of excerpts from mainstream and low budget entertainment. But where does the less familiar material — educational, promotional, and so forth — come from? You must spend infinite hours looking for the perfect clip.

CB It comes from my usual source: My basement archive of 2,500 industrial films. I do spend time in there, but could hardly claim to find the perfect clip. Au contraire. I call it "availabilism" — making what I do have work for me, through editing and audio techniques, overwriting it all into an associational stew hopefully akin to the half-memory, half-fantasy, sublinguistic colloid of thought itself.

SFBG What reaction does your work get from students? They presumably grok the pop culture stuff, but do they get the political undercurrents?

CB People can be responsive to the pop-cult clips, or the regional history, or the antiwar sentiments. But methinks [Mock Up on Mu] will be a touchstone for legions of occult or subcult partisans ravenous for these almost mythic tales of the roots of alternative religions.

SFBG Sir, your Thetan level must be off the charts.

MOCK UP ON MU Mon/28, 9:15 p.m., Sundance Kabuki; April 30, 8:55 p.m., Pacific Film Archive

>SFBG goes to SFIFF 51: our deluxe guide

L’Ardoise

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April 23, 2008

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› paulr@sfbg.com

The French love their chalk, and no wonder. Chalk makes possible some of France’s most prized wines, from the sparkling cuvées of Champagne to the wonderful, minerally whites of the Loire Valley. It’s also useful for writing on chalkboards, which tend to be ubiquitous in French restaurants and on sidewalk sandwich boards outside of same. One of the great pleasures of Paris is scanning these boards while strolling the city, pondering the plats du jour and formules as mealtime approaches.

The French word for "chalkboard" — actually, "the chalkboard" — is l’ardoise, and, in a slight slap of irony, there is no sandwich-style chalkboard on the sidewalk in front of L’Ardoise, which opened late in the winter in the old Los Flamingos space in Duboce Triangle. There are no sandwiches on the menu either, for that matter, which isn’t surprising since the restaurant only serves dinner. There is, however, a sizable chalkboard inside, hanging on a wall not quite opposite the bar. The board lists the day’s specials, and if it’s too awkward to crane your neck so you can read it, you can count on your server to report its offerings with efficiency.

The cheerful starkness of Los Flamingos has given way to the look of a fin de siècle literary salon. The floors are covered in claret-and-gold floral carpeting; the walls are a throbbing red, and the furnishings emphasize dark wood. It would not be difficult to imagine Proust in the next room, scribbling away. Of course, there is no next room. There’s just the kitchen, presided over by Thierry Clement, whose pedigree includes a recent stint at the enduringly fine Fringale. If his first menus at L’Ardoise are more neighborhoody than Fringale’s — which is, after all, a city-center restaurant with a broad and venerable reputation — they do as ably answer the urge to eat.

L’Ardoise, then, is the comfy local bistro this arboreal part of town has been waiting for. Its obvious near relations are Le Zinc (in Noe Valley), Le P’tit Laurent (in Glen Park), and Zazie (in Cole Valley), and it certainly matches up well against any of them. It helps that bistro cooking is a well-established culinary genre, and Clement knows the drill. But I did wonder why there was no pot of Dijon mustard to accompany the otherwise appealing, if mainstream, charcuterie plate ($9): an array of two squares of pâté (one made with liver), a shower of oily, garlicky saucisson coins, and a jumble of green and black olives, cornichons, and caperberries. The lack of mustard wasn’t fatal, but it was noticeable.

Better was a shallow bowl of tiger-prawn ravioli ($10) in an herbed cream sauce. Cream can be a silent killer, like being smothered by soft white pillows, but here the prawns were big, sweet, and juicy enough to assert themselves through both the butterfat and the free-form drapings of pasta.

Seafood gratin ($19) was very much like a seafood stew or even a bouillabaise, only less moist. The oblong serving crock swelled with sea scallops, prawns, halibut cubes, and diced potatoes, all of them toe-deep in a broth of white wine and herbs enlivened by a broad anise hint of Pernod (or some other kind of pastis). A sprinkling of bread crumbs had been baked on top for the gratin effect. What gave pause wasn’t the dryness but the undersalting; Chief Many Phones had to apply several jolts from the table shaker to revive the patient.

Steak frites is a bistro standard, but Clement’s kitchen isn’t above having some fun with it. The steak here turned out to be a chunk of seared Black Angus filet mignon ($27), plated with a heap of confit potatoes (basically homemade chips), a woodpile of steamed green beans (too broad to be proper haricots verts, so Blue Lake, perhaps), and some nicely dressed mésclun. Despite the reassuring nomenclature, I had doubts about the beef before it arrived; "filet mignon" is a grand name but often dry and tasteless in fact. Not this time.

Our side order of sautéed spinach ($5) reached the table in a miniature Le Creuset crock, red enamel on cast iron, complete with top: a nifty flourish in the manner of Fleur de Lys, and the spinach was well-seasoned, although whenever you’re eating low-fat spinach you can’t help but think wistfully about the times you’ve eaten creamed spinach.

Pears: as much as I like them fresh (at least if they’re crisp), I am left disappointed by most pear desserts. Pears poached in red wine? Pass. I would rather have a glass of Poire William (the pear eau de vie), or, better, armagnac. But L’Ardoise’s kitchen has come up with a splendid use for the pear: It’s the star of a tarte tatin ($7), a disk about the size one of those single-serve cheesecakes, with the pear slices caramelized to a voluptuous amber. They’re neatly arranged atop (or, originally, underneath, since tartes tatins are baked pastry side up, then inverted for serving) a layer of pastry we found to be undistinguished even beyond its thinness. Pastry should be flaky, not tough. But at least there wasn’t much of it, and the pears were absolutely winning.

L’Ardoise doesn’t seem to have suffered from the lack of sidewalk sandwich boards. The place is already jammed in the evenings, with well-dressed groups of thirty- and fortysomethings waiting just inside the door for tables. The door has an annoying way of flopping open, so if you’re averse to drafts, ask for a table well inside. It’s nice and toasty under the chalkboard.

L’ARDOISE

Dinner: Tues.–Sun., 5:30–10 p.m.

151 Noe, SF

(415) 437-2600

www.lardoisesf.com

Beer and wine

AE/DISC/MC/V

Muffled loudness

Wheelchair accessible

Yet

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April 23, 2008

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› le_chicken_farmer@yahoo.com

CHEAP EATS "Well, sweetie, what did you expect?" my mother said after I came home crying from the beating I took for peeing on my kindergarten teacher’s melted dog. "You can’t piddle a puddle of poodle without getting paddled!"

… crickets …

Oh, Christ. You’re not buying it, are you?

I know because ever since my punch line and I were so heartwarmingly reunited, I’ve been telling that joke — the joke I wrote — to everyone I know, and a lot of people I don’t. The idea: to grind it like so much Cheetos dust into the very fabric of American consciousness, in case I forget again.

The problem: it ain’t funny.

Nobody’s buying it, and the blank stares and exaggerated death bed groans are starting to hurt. Real bad. I literally have gone door-to-door, trying to sell this joke like vacuum cleaners or life insurance, and I have taken a figurative beating. You can’t peddle a puddle of piddled poodle without being paddled, either.

But I mentioned spaghetti-cue. This was a couple weeks ago, and not that anyone’s necessarily wondering, but … it didn’t work. Nothing does the first time you try it. I just don’t want to rule out the possibility that someone, somewhere has better culinary instincts than I do. Far-fetched as that might seem.

I’m not being sarcastic. I’m being immodest. Barbecued pasta is the best idea ever. It just doesn’t work. Key word (only I didn’t say it yet): yet.

And I might yet be the best comedienne ever, even though my first-ever joke kinda shat the bed.

Take the small bright dots that sunlight leaves on a countertop, slanting through the kitchen window, then through a cheese grater, still somewhat carroty from last night’s salad. You see? Those dots, those slanty, imperfect rows and columns. Why do people still sometimes believe in things?

That’s a stupid question. Let me rephrase it: why would anyone wash their dishes at night when they could leave them ’til morning? When the circus of sunlight filtering through a carrot-crusted cheese grater might change the color of your day …

Or turn you into a poet. (Yet.)

Well, for starters, since answering my own rhetorical questions seems to be one of my specialties, maybe your kitchen window faces west. Or north. Life is hard. I could be terrified right now. Instead, I am casually digesting my lunch, which is pretty easy work considering I spilled all but about two spoonfuls of it all over my shirt, lap, and bare feet. Green salsa, homemade chicken soup … I give new meaning to the phrase, "Dinner’s on me!"

Grandma Leone baked the meat for her meat sauce in the oven. I’m not a cook (yet), but I guess that’s how you do it. Key word: you. You bake the pork bones, the oxtails, the ribs, whatever, transfer it grease and all to a sauce pan, garlic, tomatoes, and leave ‘er be.

That’s what you do. I do the same thing, only I cook the meat in a wood stove with smoldering applewood. And that’s how to make spaghetti-cue. Which doesn’t work.

But don’t forget that barbecued eggs didn’t work either until the fourth or fifth try, and now they are generally considered (by four or five people) to be the best thing since cinnamon-swirl raisin bread.

I’m not being immodest. I’m just spinning you in circles. After we pick up speed, I’m going to let go and you’ll be on your own, sailing over tent tops and parked cars, every bit as dizzy as me.

———————————————————————————-

My new favorite restaurant is La Piñata. There are six of them around the Bay Area, but the one I’ve been to is in Alameda. Sockywonk’s been talking this place up for a long time. Chicken soup, she says. Guacamole. We got both those things. And carnitas, beans, rice, tortillas, and of course plenty of fresh, warm tortilla chips and salsa. All good. But the soup … the broth really was something special. I might have dreamed it, but I think there was a tall frosty glass of fresh-squeezed limeade somewhere in the picture, too.

LA PIÑATA

1440 Park, Alameda

(510) 769-9110

Daily, 7 a.m.–3 a.m.

Full bar

MC/V/AE/DISC

Let it go

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April 23, 2008

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› andrea@altsexcolumn.com

Dear Andrea:

I broke up with my boyfriend when he moved to another city after a short but intense relationship. Since then, we’ve visited each other regularly and continued having a sexual relationship. I’ve been fancying/dating/shagging other people for basically the whole time. But now he’s started expressing interest in another girl and I’m jealous, though I’m trying not to let him know.

I don’t want to get back together. Apart from the long-distance factor, every time I see him I’m reminded of all the ways in which we are incompatible. The sex is good, but not the best ever. Still, I spend a lot of time missing him, thinking about him, and feeling resentful of this new woman! Why can’t I let go of this?

Love,

Pouting

Dear Pout:

Oh, who knows. I think we’re just mammals and once we’ve marked something or someone with our (insert yucky metaphor here), that something must forever remain at least partly ours. Yesterday my daughter claimed an empty kefir bottle and carried it around with her for hours, reclaiming it this morning the minute she saw it in the recycling. OK, she’s a toddler, but I don’t know how much we ever mature past the "Mine! You can’t have it!" stage.

It’s hard to let go, even when what you’re hanging on to is entirely unsuitable. You don’t really want that empty yogurt jug; you just don’t want anyone else to claim it. But someone will, and you’ll be fine. In other words, it’s not that you can’t let go, it’s just that you haven’t yet.

It should be obvious that the best way to get you past this in a hurry is to stop seeing the guy. You don’t really want to be this dude’s booty call, do you? And he doesn’t seem like such a great pick to be your booty call, since he’s only pretty good at the only thing you’re likely to be doing together. It would be different if you were, say, an aspiring singer and he were the only accompanist who understands … oh, never mind. This story is going nowhere, just like what’s left of your relationship with Visit Guy. You miss him because you see him. And you resent the new girl because she’s taking some of what you’ve got left. Give her the whole thing. You don’t need it.

Love,

Andrea

Dear Andrea:

I am confused by my thoughts. I fantasize constantly about my wife having sex with other men. She’s refused, so I quit asking her about it. But now I can’t sleep. I am 36 with three children, and am having three or four wet dreams a week about my wife having sex with other men. Most of the time the men don’t even have faces — it’s just me watching my wife have sex. I love my wife very much and wonder why I have this fantasy.

Love,

Sleepless

Dear Sleepy:
Nobody knows why, so don’t look at me. I mean it — nobody knows why anybody fantasizes about or fixates on anything. It’s not just that nobody knows why you, the guy who wrote Andrea a letter, fixates on seeing his wife have sex with another guy. It may help to know that you have a great deal of company; indeed, accessing a little porn on the theme may help take some pressure off. Your search terms are probably "cuckold" (now that‘s a word with some years under its belt) and "hot wife" (although there’s also "troilism" and "candaulism" if you want to get technical). If you do not want to see or read some porn, I suggest you never, under any circumstances, Google any of those terms. Even "wife" alone will get you some things you’d probably never want to tell your spouse that you’ve seen — especially since you’ve asked her, been turned down, and she’d probably prefer not to have that particular discussion again.

While I was waiting for the coffee to kick in this morning and trying to force my brain to cough up the term "troilism" for you, I did a little search myself and found this quite nice article on Nerve that goes into great detail about the culture that has grown up around cuckolding-the-fetish — which is not the sort of thing that could have flourished in the pre-Internet age but has certainly come into its own. And aren’t we proud?

Actually, I have no problem with it, provided it isn’t one of those situations where the man (usually) begs and whines and cajoles and bothers the woman (usually) past the point where it makes sense to do so. Either she won’t change her mind or she’ll agree to it, meet someone else, and leave the first guy. Either way is OK with me. But neither of these things applies in your case. You’re OK. If you can’t sleep, try exercise, melatonin, or masturbation.
Love,
Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Online writing is real

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April 23, 2008

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› annalee@techsploitation.com

TECHSPLOITATION It’s been years since I’ve taught a writing class, and during those years writing has changed completely. Back in the 1990s, I taught writing at UC Berkeley using books and movies. My students would read the books to get a sense of how writing worked, and watch the movies to have something to write about. They got what you might call multimedia input (books, movies) but there was only one possible kind of output: linear narratives written on sheets of paper.

When I taught writing for the past couple of weeks at the Kearny Street Project’s Intergenerational Writers Lab, I couldn’t imagine teaching writing using books and linear narratives. I taught writing by showing my students how different software applications could help them structure their writing.

Together they built a wiki, a type of Web site that many people can edit at the same time. Wikis, it turns out, are ideal for exquisite corpses, tales begun by one person and finished by several others. One writer stops, and next one jumps right onto the Web page and continues the story.

Then I made them all join Twitter, a social network I’ve written about before that lets you to post messages to your friends only if they are 140 characters long or less. You have to communicate succinctly, but engagingly enough to keep people reading. After the whole class had been twittering to one another for a week, we read a chunk of our twitter stream out loud. It sounded like a strange but compelling play, with each of us voicing our own (short) thoughts, sometimes chatting back and forth to each other, and developing odd, poignant themes as time went on.

My students didn’t think it was odd to be writing with Web tools. What was unusual to them, I think, was that I referred to the kind of writing that they do all the time as "publishing."

"Writing online isn’t publishing; it’s posting," one said. Other students said you couldn’t really publish fiction online because everyone would assume it was real. At the same time, they felt like nothing online was "real." It wasn’t solid, like a book with your name on the spine. I know what they mean. Although most of my publishing is done online, I still write for print publications. But I do so because I see no distinction between online and print: I like publications that exist in both forms; therefore I write for both.

To me, there is one great distinction between print and Internet publishing, and that is storage. Where should I publish if I want people to be able to read what I’ve said after I die? Books are excellent because they have an interface that holds up easily over time: you open the book and read it. You don’t need a particular software program or operating system to make the file open.

But books can be burned. All copies of a book can be wiped out by one crappy political regime bent on censorship. Online it’s much more difficult to burn a book. Just try deleting a book or movie or sound file you want suppressed. Ten copies pop up elsewhere. Then 10,000 copies. And they’re stored on servers all over the world, in countries where your shock troops can’t reach, in high school kids’ closets where even their parents can’t reach.

Sure the oil reserves will run dry, or an electromagnetic pulse could wipe all of Google’s server farms clean. Then you’d want those books as backups. But I don’t think electricity itself is something we’ll ever lose as a civilization. There are just too many ways to make it: water, air, sun, the motion of your legs as you ride a bicycle — all can be converted into enough energy to boot up a laptop and read what’s been written there.

I guess what I’m saying is that whether you choose print or digital,
odds are pretty much even on whether your words will survive over time. But in the present day? If you want to be sure your words won’t be suppressed by some local oppressive regime — like your nation, your family, or your employer? In that case, the Internet is the best way to publish.

Annalee Newitz (annalee@techsploitation.com) is a surly media nerd who thinks the .txt format might be almost as portable as the paper book format.

Peaker plan afloat

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April 23, 2008

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› amanda@sfbg.com

A proposal to build two natural gas–fired power plants is still floating through the city’s planning process, set for approval by the Board of Supervisors as soon as May, but no one seems truly comfortable with the deal.

"It’s not my first choice or my second choice, but it’s the choice I have," Board president Aaron Peskin told the Guardian. The choice seems to be either the city builds newer, potentially cleaner power plants — known as "peakers" because they would be used mainly during times of peak energy demand — or does nothing to shut down the super-polluting Mirant Potrero power plant.

The combination gas- and diesel-burning power plant spews a cocktail of toxins from its stack every year and draws 226 million gallons of water a day from the bay to cool its generators yet it’s mandated by the state to keep operating. The discharge flows back into the bay significantly altered, with microorganisms and fish larvae replaced by mercury, dioxins, and PCBs.

The California Independent System Operator (CAL-ISO), the state agency that oversees electricity reliability, said it would break the Mirant contract if the peakers came online. The city-owned plants would use recycled water and more up-to-date air quality controls, making for cleaner facilities at the two proposed sites — the airport and the intersection of 25th and Maryland in the Bayview.

They also would be city-operated, giving a little more leg to the local public power movement. But they still burn fossil fuel, and at a time when the climate is in crisis and natural gas prices are only rising, many say this isn’t the direction a trend-setting city like San Francisco should be heading.

"This isn’t the progressive way to go," said Sup. Chris Daly. "We need to be more forcefully installing renewables that are municipally owned."

Daly, along with supervisors Ross Mirkarimi and Michela Alioto-Pier and the city’s current power provider Pacific Gas and Electric Co., have lined up against building the peakers in what Mirkarimi calls an "unholy alliance."

PG&E, lobbying under the guise of the "Close It! Coalition," states that the peakers "further San Francisco’s reliance on fossil fuels and add to global warming." The $12 billion utility company currently gets 40 percent of its power the same way and is in the process of constructing several similar plants throughout the state. Nevertheless, the company has submitted detailed proposals to the city and state outlining demand response measures and transmission upgrades that would mitigate the need for more energy.

Mayor Gavin Newsom and City Attorney Dennis Herrera support building the peakers in order to close the Mirant plant, and Sups. Sophie Maxwell, Bevan Dufty, and Jake McGoldrick are carrying the legislation that would seal the contract with Cleveland, Ohio-based Industrial Construction Company to start the $252 million project.

That legislation points out that Mirant’s water permit is set to expire Dec. 31, and the Regional Water Quality Board has indicated it has no plans to renew it unless Mirant upgrades to best practices. This has been suggested as an alternative way to close the plant. When asked whether Cal-ISO’s reliability demands trump the Water Board’s requirements, Cal-ISO’s Gregg Fishman wrote in an e-mail, "What happens if the Potrero unit’s water permits expire? Simply put — we’re not sure."

Beyond that, a number of questions remain: Should the requirement for a full feasibility study for city contracts more than $25 million really have been waived for this project? Is it fair to put the new power plant in the neighborhood that has always endured the lion’s share of the city’s pollution? What if they were on movable barges instead? And has the city been forceful enough with CAL-ISO when it comes to planning the city’s energy future?

Alioto-Pier has introduced two resolutions addressing a couple of these issues. One calls for a straight-up feasibility study — which supporters of the peakers have waived. "The city has a policy of conducting a full fiscal analysis of capital projects over $25 million," Alioto-Pier said in a press release. "This should be no exception." Her other resolution asks for an independent analysis of the whole thing and a revised 2008 Energy Action Plan for the city.

For several years, Cal-ISO has said Mirant could stop operating if San Francisco can provide an alternate "firm" power source in its Energy Action Plan. In 2004, San Francisco’s Public Utilities Commission proffered the peakers, and that became the city’s power plan before adopting the CCA (community choice aggregation) plan for the city to develop an energy portfolio of at least 51 percent renewables.

Though the SFPUC has continuously asked Cal-ISO if the 2004 Action Plan is still the way to go now that the Trans Bay Cable and other line improvements have come into play, Josh Arce, a lawyer for Brightline Defense, which sued to stop the peaker plan, says they’ve been framing the question all wrong: "The PUC has essentially been saying, ‘Does the Action Plan include all four combustion turbines?’ And Cal-ISO has said, ‘Yes, it includes all four.’ Instead, the PUC needs to come up with a new Action Plan and give it to Cal-ISO and say we’re doing this instead."

Alioto-Pier’s resolution, if passed, could prompt a fresh response from Cal-ISO about what the city really needs — one, two, or three peakers, or maybe none at all. Maxwell’s resolution includes a caveat that the city must determine if needs could be met by building smaller plants with fewer than the four turbines currently proposed.

Peskin, who chairs the city’s Government Audit and Oversight Committee and will hear both Alioto-Pier resolutions on May 5, as well as the Maxwell plan to move to build the peakers, told us, "This is one of the toughest decisions that’s been before me in the eight years that I’ve been on the Board of Supervisors."

No one, it seems, really wants to build two fossil fuel–burning power plants on San Francisco soil. But what if they weren’t on our soil? What if they were floating on barges?

Another resolution pending in the Land Use Committee, brought by Mirkarimi, proposes putting the two power plants on barges, which could be moored alongside the city when needed and dispatched elsewhere when they’re not. What if, a few years from now, citizens are able to cut down their power needs, CCA brings more renewables online, and the city finds it no longer needs the 200 megawatts generated by natural gas power plants?

Proponents say it’s an option worth considering if the city really intends to eventually close the plants. Dismantling a facility if the city decides to sell leaches away 20 to 30 percent of its overall cost. But if it’s on a barge, the natural gas, electricity, and mooring lines are simply cast off. A barge would be steadier in an earthquake and continue to float if the sea level rises — a climate change scenario that could swamp both current bayside power plant sites. Barges also can be dispatched to emergencies, leased down the river to other cities in the Bay Area, or sold for a profit. They’ve been in use around the world since the 1940s and have been called a more regional approach to energy planning.

"It’s 145 MW of portable energy," said Rick Galbreath, Mirkarimi’s aide. "You can pull it up, plug it in, and you’re on the grid. It’s really a dynamic solution."

Paul Fenn, the brain behind the city’s CCA plan, points out that if CAL-ISO still insists the peakers are needed now but not in the future, a power barge is the kind of flexible solution that could pay off in the long run. "It’s making a temporary measure for an urgent situation," he said, adding that such a temporary solution should reflect the city’s long-term goals. "If the city is planning to replace them with renewables, it’s important to get the city to make that commitment. This is one of those strategic decisions that’s going to impact the future."

The San Francisco Bay Conservation and Development Commission generally opposes building anything in the bay if it can be built on land first. "The proponents would have to do an analysis and convince our commission that this is really a good idea for the region," said Will Travis, a BCDC spokesperson.

But Dave Nickerson, owner of Houston-based Power Barge Corporation, said he’s looked at the city’s peaker plans and thinks it would cost about $100 million to build a three-CT barge. "We would probably build the plant here and ship it up," he said, pointing out that the city’s turbines are already in storage down in Texas and it’s cheaper to build it in a shipyard. To claims of environmental degradation, he says, "It would have the environmental footprint of a state of the art land-based plant."

He also pointed out that there’s a scarcity of these particular turbines now, which are worth about $1 million more every year. This year it’s around $16.5 million apiece, with $18 million as the projected 2008 price.

Emma Lierley contributed to this story.

Newsom’s missing trees

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April 23, 2008

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OPINION During his 2003 mayoral campaign, Gavin Newsom circulated a beautifully presented eight-page "policy brief" for "A Green and Clean San Francisco." The first four pages were devoted to a pledge to "grow our urban canopy" — a subject near and dear to my heart.

Newsom announced: "As mayor of San Francisco, I will lead the city government and community organizations to make San Francisco a city we can take pride in — a city with green [emphasis mine], clean, and livable neighborhoods." As his first action, he said, "I will grow our urban canopy by placing a priority on tree planting and care."

For good measure, he tantalized us with some goodies: "Visualize 19th Avenue as a welcoming beautiful gateway to the city, lined with trees and planters." He promised to improve the lack of coordination among city agencies and departments involved in street tree planting, care, and planning by using new technologies such as CitiStat. And, most important, he committed himself to addressing the massive underfunding of the expansion and maintenance of the urban canopy.

These promises were made in the context of the long-standing critical state of the city’s urban forest. The candidate put it this way: San Francisco lags behind other communities in providing a vital, vibrant, and ecologically sustainable urban canopy, as well as open space, in the city. San Francisco has an estimated 90,000 street trees. By comparison, San Jose boasts 231,000 street trees. Our urban canopy is full of holes: Friends of the Urban Forest estimates we have only 75 street trees per mile, compared to the national average of 120 trees per mile. That means San Francisco has a little more than half the street trees of similarly sized cities.

Today, after more four years in office, the mayor’s promises are still just that. Nothing close to what he committed to do has been accomplished or implemented. Instead the mayor has relied on press releases, disinformation, and a newly staffed position with a yet-to-be-defined role to publicize his claimed achievements.

As I speak, the mayor has seven full–time press officers polishing his image, which, coincidentally, is the same number — seven — of filled managerial/administrative positions in the Department of Public Works Bureau of Urban Forestry, the division responsible for managing all the street trees in the city. The Department of the Environment has only two-thirds of one position (out of some 65 full-time positions) devoted to urban trees.

The Office of Greening, established in 2005, has had three directors, with no announced action from the latest one since she took over in February. The Greening Vision Council, chaired by the greening director, has been dormant for more than two years. The April 2006 Urban Forest Plan died in the Planning Department. And no one in the Controller’s Office has any direct knowledge of that new technology, CitiStat.

The mayor’s spinning was at its most inventive when he used creative accounting to claim on Arbor Day last year that more than 15,000 trees were added to the city in the years 2004 to 2006, when actual total was closer to 4,800 trees.

So much for "green and clean."

Allen Grossman

Allen Grossman is executive director of the SF Urban Forest Coalition.

Promises and reality

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April 23, 2008

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› sarah@sfbg.com

The Lennar-financed "Yes on G" fliers jammed into mailboxes all across San Francisco this month depict a dark-skinned family strolling along a shoreline trail against a backdrop of blue sky, grassy parkland, a smattering of low-rise buildings, and the vague hint of a nearly transparent high-rise condo tower in the corner.

"After 34 years of neglect, it’s time to clean up the Shipyard for tomorrow," states one flier, which promises to create up to 10,000 new homes, "with as many as 25 percent being entry-level affordable units"; 300 acres of new parks; and 8,000 permanent jobs in the city’s sun-soaked southeast sector.

Add to that the green tech research park, a new 49ers stadium, a permanent home for shipyard artists, and a total rebuild of the dilapidated Alice Griffith public housing project, and the whole project looks and sounds simply idyllic. But as with many big-money political campaigns, the reality is quite different from the sales pitch.

What Proposition G’s glossy fliers don’t tell you is that this initiative would make it possible for a controversial Florida-based megadeveloper to build luxury condos on a California state park, take over federal responsibility for the cleanup of toxic sites, construct a bridge over a slough restoration project, and build a new road so Candlestick Point residents won’t have to venture into the Bayview District.

Nor do these shiny images reveal that Prop. G is actually vaguely-worded, open-ended legislation whose final terms won’t be driven by the jobs, housing, or open-space needs of the low-income and predominantly African American Bayview-Hunters Point community, but by the bottom line of the financially troubled Lennar.

And nowhere does it mention that Lennar already broke trust with the BVHP, failing to control asbestos at its Parcel A shipyard development and reneging on promises to build needed rental units at its Parcel A 1,500-unit condo complex (see "Question of intent," 11/28/07).

The campaign is supported by Mayor Gavin Newsom, Sen. Dianne Feinstein, and District 10 Sup. Sophie Maxwell, as well as the Republican and the Democratic parties of San Francisco. But it is funded almost exclusively by Lennar Homes, a statewide independent expenditure committee that typically pours cash into conservative causes like fighting tax hikes and environmental regulations.

In the past six months, Lennar Homes has thrown down more than $1 million to hire Newsom’s chief political strategist, Eric Jaye, and a full spectrum of top lawyers and consultants, from generally progressive campaign manager Jim Stearns to high-powered spinmeister Sam Singer, who recently ran the smear campaign blaming the victims of a fatal Christmas Day tiger attack at the San Francisco Zoo.

Together, this political dream team cooked up what it hopes will be an unstoppable campaign full of catchy slogans and irresistible images, distributed by a deep-pocketed corporation that stands to make many millions of dollars off the deal.

But the question for voters is whether this project is good for San Francisco — particularly for residents of the southeast who have been subjected to generations worth of broken promises — or whether it amounts to a risky giveaway of the city’s final frontier for new development.

Standing in front of the Lennar bandwagon is a coalition of community, environmental, and housing activists who this spring launched a last minute, volunteer-based signature-gathering drive that successfully became Proposition F. It would require that 50 percent of the housing built in the BVHP/Candlestick Point project be affordable to those making less than the area median income of $68,000 for a family of four.

Critics such as Lennar executive Kofi Bonner and Michael Cohen of the mayor’s Office of Economic and Workforce Development have called Prop. F a "poison pill" that would doom the Lennar project. But its supporters say the massive scope and vague wording of Prop. G would have exacerbated the city’s affordable housing shortfalls.

Prop. F is endorsed by the Sierra Club, People Organized to Win Employment Rights, the League of Conservation Voters, the Chinese Progressive Association, St. Peter’s Housing Committee, the Harvey Milk LGBT Democratic Club, Coleman Advocates for Children and Youth, the Grace Tabernacle Community Church, Green Action, Nation of Islam Bay Area, the African Orthodox Church, Jim Queen, and Supervisor Chris Daly.

Cohen criticized the coalition for failing to study whether the 50 percent affordability threshold is feasible. But the fact is that neither measure has been exposed to the same rigors that a measure going through the normal city approval process would undergo. Nonetheless, the Guardian unearthed an evaluation on the impact of Prop. F that Lennar consultant CB Richard Ellis prepared for the mayor’s office.

The document, which contains data not included in the Prop. G ballot initiative, helps illuminate the financial assumptions that underpin the public-private partnership the city is contemputf8g with Lennar, ostensibly in an effort to win community benefits for the BVHP.

CBRE’s analysis states that Lennar’s Prop. G calls for "slightly over 9,500 units," with nearly 2,400 affordable units (12 percent at 80 percent of area median income and 8 percent at 50 percent AMI), and with the San Francisco Redevelopment Agency "utilizing additional funding to drive these affordability levels even lower."

Noting that Prop. G. yields a "minimally acceptable return" of 17 to 18 percent in profit, CBRE estimates that Prop. F would means "a loss of $500 million in land sales revenue" thanks to the loss of 2,400 market-rate units from the equation. With subsidies of $125,000 allegedly needed to complete each affordable unit, CBRE predicts there would be a further cost of "$300 million to $400 million" to develop the 2,400 additional units of affordable housing prescribed under Prop. F.

Factoring in an additional $500 million loss in tax increments and Mello-Roos bond financing money, CBRE concludes, "the overall impact from [the Prop. F initiative] is a $1.1 to $1.2 billion loss of project revenues … the very same revenues necessary to fund infrastructure and community improvements."

Yet critics of the Lennar project say that just because it pencils out for the developer doesn’t mean it’s good for the community, which would be fundamentally and permanently changed by a project of this magnitude. Coleman’s Advocates’ organizing director Tom Jackson told us his group decided to oppose Prop. G "because we looked at who is living in Bayview-Hunters Point and their income levels.

"Our primary concern isn’t Lennar’s bottom line," Jackson continued. "Could Prop. F cut into Lennar’s profit margin? Yes, absolutely. But our primary concern is the people who already live in the Bayview."

Data from the 2000 US census shows that BVHP has the highest percentage of African Americans compared to the rest of the city — and that African Americans are three times more likely to leave San Francisco than other ethnic groups, a displacement that critics of the Lennar project say it would exacerbate.

The Bayview also has the third-highest population of children, at a time when San Francisco has the lowest percentage of children of any major US city and is struggling to both maintain enrollment and keep its schools open. Add to that the emergence of Latino and Chinese immigrant populations in the Bayview, and Jackson says its clear that it’s the city’s last affordable frontier for low-income folks.

The problem gets even more pronounced when one delves into the definition of the word "affordable" and applies it to the socioeconomic status of southeast San Francisco.

In white households, the annual median income was $65,000 in 2000, compared to $29,000 in black households — with black per capita income at $15,000 and with 14 percent of BVHP residents earning even less than $15,000.

The average two-bedroom apartment rents in San Francisco for $1,821, meaning households need an annual AMI of $74,000 to stay in the game. The average condo sells for $700,000, which means that households need $143,000 per year to even enter the market.

In other words, there’s a strong case for building higher percentages of affordable housing in BVHP (where 94 percent of residents are minorities and 21 percent experience significant poverty) than in most other parts of San Francisco. Yet the needs of southeastern residents appear to be clashing with the area’s potential to become the city’s epicenter for new construction.

San Francisco Republican Party chair Howard Epstein told the Guardian that his group opposed Prop. F, believing it will kill all BVHP redevelopment, and supported Prop. G, believing that it has been in the making for a decade and to have been "vetted up and down."

While a BVHP redevelopment plan has been in the works for a decade, the vaguely defined conceptual framework that helped give birth to Prop. G this year was first discussed in public only last year. In reality, it was hastily cobbled together in the wake of the 49ers surprise November 2006 news that it was rejecting Lennar’s plan to build a new stadium at Monster Park and considering moving to Santa Clara.

As the door slammed shut on one opportunity, Lennar tried to swing open another. As an embarrassed Newsom joined forces with Feinstein to find a last-ditch solution to keep the 49ers in town, Lennar suggested a new stadium on the Hunters Point Shipyard, surrounded by a dual use parking lot perfect for tailgating and lots of new housing on Candlestick Point to pay for it all.

There was just one problem: part of the land around the stadium at Candlestick is a state park. Hence the need for Prop. G, which seeks to authorize this land swap along with a repeal of bonds authorized in 1997 for a stadium rebuild. As Cohen told the Guardian, "The only legal reason we are going to the voters is Monster Park."

As it happens, voters still won’t know whether the 49ers are staying or leaving when they vote on Props. F and G this June, since the team is waiting until November to find out if Santa Clara County voters will support the financing of a new 49er stadium near Great America.

Either way, Patrick Rump of Literacy for Environmental Justice has serious environmental concerns about Prop. G’s proposed land swap.

"Lennar’s schematic, which builds a bridge over the Yosemite Slough, would destroy a major restoration effort we’re in the process of embarking on with the state Parks [and Recreation Department]," Rump said. "The integrity of the state park would easily be compromised, because of extra people and roads. And a lot of the proposed replacement parks, the pocket parks … don’t provide adequate habitat."

Rump also expressed doubts about the wisdom of trading parcels of state park for land on the shipyard, especially Parcel E-2, which contains the landfill. Overall, Rump said, "We think Lennar and the city need to go back to the drawing board and come up with something more environmentally sound."

John Rizzo of the Sierra Club believes Prop. G does nothing to clean up the shipyard — which city officials are seeking to take over before the federal government finishes its cleanup work — and notes that the initiative is full of vague and noncommittal words like "encourages" that make it unclear what benefits city residents will actually receive.

"Prop. G’s supporters are pushing the misleading notion that if we don’t give away all this land — including a state park — to Lennar, then we won’t get any money for the cleanup," Rizzo said. "But you don’t build first and then get federal dollars for clean up! That’s a really backwards statement."

The "Yes on G" campaign claims its initiative will create "thousands of construction jobs," "offer a new economic engine for the Bayview," and "provide new momentum to win additional federal help to clean up the toxins on the shipyard."

Michael Theriault, head of the San Francisco Building and Construction Trades, said his union endorsed the measure and has an agreement with Lennar to have "hire goals," with priority given to union contracts in three local zip codes: 94107, 94124, and 94134.

"There will be a great many construction jobs," Theriault said, though he was less sure about Prop. G’s promise of "8,000 permanent jobs following the completion of the project."

"We endorsed primarily from the jobs aspect," Theriault said. The question of whether the project helps the cleanup effort or turns it into a rush job is also an open question. Even the San Francisco Chronicle, in a January editorial, criticized Newsom, Feinstein, and Pelosi for neglecting the cleanup until "when it seemed likely that the city was about to lose the 49ers."

All three denounced the Chronicle‘s claims, but the truth is that the lion’s share of the $82 million federal allocation would be dedicated to cleaning the 27-acre footprint proposed for the stadium. Meanwhile, the US Navy says it needs at least $500 million to clean the entire shipyard.

Sup. Ross Mirkarimi said the city should wait for a full cleanup and criticized the Prop. G plan to simply cap contaminated areas on the shipyard, rather than excavate and remove the toxins from the site.

"That’s like putting a sarcophagus over a toxic wasteland," Mirkarimi told us. "It would be San Francisco’s version of a concrete bunker around Chernobyl."

Cohen of the Mayor’s Office downplays the contamination at the site, telling us that on a scale of one to 10 among the nation’s contaminated Superfund sites, the shipyard "is a three." He said, "the city would assume responsibility for completing the remaining environmental remediation, which would be financed through the Navy."

But those who have watched the city and Lennar bungle development of the asbestos-laden Parcel A (see The corporation that ate San Francisco, 3/14/07) don’t have much confidence in their ability to safely manage a much larger project.

"Who is going to take the liability for any shoddy work and negligence once the project is completed?" Mirkarimi asked.

Lennar has yet to settle with the Bay Area Air Quality Management District over asbestos dust violations at Parcel A, which could add up to $28 million in fines, and investors have been asking questions about the corporation’s mortgage lending operations as the company’s stock value and bond rating have plummeted.

To secure its numerous San Francisco investments, including projects at Hunters and Candlestick points and Treasure Island, Lennar recently got letters of intent from Scala Real Estate Partners, an Irvine-based investment and development group.

Founded by former executives of the Perot Group’s real estate division, Scala plans to invest up to $200 million — and have equal ownership interests — in the projects, which could total at least 17,000 housing units, 700,000 square feet of retail and entertainment, 350 acres of open space, and a new football stadium if the 49ers decide to stay.

Bonner said that, if completed, the agreement satisfies a city requirement that Lennar secure a partner with the financial wherewithal to ensure the estimated $1.4 billion Candlestick Point project moves forward even if the company’s current problems worsen.

Meanwhile, Cohen has cast the vagaries of Prop. G as a positive, referring to its spreadsheet as "a living document, a moving target." Cohen pointed out that if Lennar had to buy the BVHP land, they’d get it with only a 15 percent affordable housing requirement.

"Our objective is to drive the land value to zero by imposing upon the developer as great a burden as possible," Cohen said. "This developer had to invest $500 million of cash, plus financing, and is required to pay for affordable housing, parks, jobs, etc. — the core benefits — without any risk to the city."

But Cohen said the Prop. F alternative means "nothing will be built — until F is repealed." He also refutes claims that without the 49ers stadium, 50 percent affordability is doable.

"Prop G makes it easier to make public funds available by repealing the Prop D bond measure," Cohen explained. "But Prop. G also provides that there will be no general fund financial backing for the stadium, and that the tax increments generated by the development will be used for affordable housing, jobs, and parks."

But for Lennar critics like the Rev. Christopher Mohammad, who has battled the company since the Islamic school he runs was subjected to toxic dust, even the most ambitious promises won’t overcome his distrust for the entity at the center of Prop. G: Lennar.

In a fiery recent sermon at the Grace Tabernacle Community Church, Mohammad recalled the political will that enabled the building of BART in the 1970s. "But when it comes to poor people, you can’t build 50 percent affordable. That will kill the deal," Mohammad observed.

"Lennar is getting 700 prime waterfront acres for free, and then there’ll be tax increment dollars they’ll tap into for the rebuild," he continued. "But you mean you can’t take some of those millions, after all the damages you’ve done? It would be a way to correct the wrong."

PETA vs. Gore

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April 23, 2008

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› news@sfbg.com

GREEN CITY Al Gore’s 2006 Oscar-winning documentary An Inconvenient Truth invigorated the global warming debate, and the environmental movement owes him a great deal of appreciation. After all, they don’t just give away the Nobel Peace Prize like samples of teriyaki chicken at Costco.

Yet some activists point to a gaping hole in Gore’s strategy to prevent climate change through lifestyle change: where’s the meat? For more than a year, People for the Ethical Treatment of Animals has hassled Gore to set an example by not eating animal flesh, and more important, to use his group, the Alliance for Climate Protection, to explain that vegetarianism is an important tactic in the fight against global warming.

PETA has the facts to back up its case. In 2006, the United Nations released a 400-page report concluding that global greenhouse gas emissions — which include carbon dioxide, methane, and nitrogen dioxide, among others — from livestock production surpass emissions from all cars and trucks combined. That same year, the University of Chicago released a study saying that converting to an entirely plant-based diet lessens one’s own ecological footprint about 40 percent more than switching from an average American car to a Toyota Prius.

Of course, changing to a hybrid doesn’t prevent anyone from getting to where they want to go — which, for most people, includes the butcher shop.

Last March, PETA began its campaign with a polite invitation asking Gore to try meatless fried chicken. When it received no response, the campaign turned to tougher tactics. The animal advocacy group created a billboard depicting a chubby caricature of Gore munching on a drumstick, alongside the words "Too chicken to go vegetarian? Meat is the No. 1 cause of global warming." PETA has been buying space for the ad near the sites of Gore’s speaking engagements, and periodically sends letters asking him to address the issue.

Perhaps the issue strikes too close to home. Gore spent much of his childhood on his father’s cattle ranch in Carthage, Tenn. At his father’s memorial service in 1998, Gore remembered the ranch as a positive influence as a young boy. He explained how he learned to "clear three acres of heavily wooded forest with a double-bladed axe" and "deliver a newborn calf when its mother was having trouble."

Yet PETA notes that the clearing of forests has left 30 percent of the earth’s dry surface dedicated to livestock production, and that cattle farts and manure alone are responsible for more greenhouse emissions than cars.

According to the Alliance for Climate Protection, it’s not Gore’s responsibility to address the issue: "There are a lot of top 10 lists about personal behavior, about people monitoring their own involvement," said group spokesperson Brian Hardwick. "We recognize that there are many causes to climate change and causes of global warming. But we don’t think it’s our job to hone in on every detail."

Meat appears to be a glaring omission on the group’s Web site, which includes lengthy lists of ways people can help prevent global warming, including everything from keeping car tires full to changing incandescent light bulbs to energy-saving compact fluorescents. But the group doesn’t suggest anything drastic. They don’t ask people to stop driving; rather, they ask people to drive less by carpooling or walking. Neither do they ask people to stop using central heating at home; instead they ask people to remember to not run the heating when they’re gone.

Hardwick says this moderate approach is about building a movement, and indeed, they now claim 1.1 million supporters. "Our movement is designed to be inviting to people of all walks of life," he said. "Our emphasis in our campaign is that we want people to join together and demand solutions from our leaders."

PETA, which typically takes a vegan-or-nothing approach, has recognized the Alliance for Climate Protection’s strategy and isn’t asking the group to adopt an anti-meat stance. According to spokesperson Nicole Matthews, PETA would be content with a recommendation to eat less meat.

"If people reduce or eliminate their meat consumption, of course it would help reduce that household’s emissions — and certainly [help] the aggregate change as well," Hardwick admits. But, he was quick to add, "Eating less meat is good; changing laws is better."

PG&E’s attack on CCA

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April 23, 2008

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EDITORIAL It’s a bit odd (if not terribly surprising) that the San Francisco Chronicle ran a front-page story April 16 on public power and alternatives to Pacific Gas and Electric Co. — and almost entirely ignored what’s going on in the paper’s hometown. And it’s striking (if, again, not surprising) that the story, by Kelly Zito, allowed a dubious expert from the University of California at Berkeley, who never supported public power and generally supports private sector and deregulation efforts to undermine, without rebuttal, the community-based anti-PG&E efforts.

But in the midst of this journalistic train wreck was the nut of a fascinating story: PG&E is on the ropes as communities try to find more renewable energy supplies — and is fighting back in ways that are demonstrably illegal.

There’s a message here for San Francisco, where plans for community choice aggregation are moving along slowly but steadily. The giant private utility will be trying to sabotage the efforts here, and City Attorney Dennis Herrera needs to be moving — now — to make sure there’s no illegal interference.

The focus of Zito’s story was Marin County, where there’s an active and aggressive move to create a CCA (community choice aggregation) system that would replace PG&E as an energy supplier in 11 cities. The program would function as a buyers’ co-op, purchasing electricity in bulk for all of the businesses and residents in those communities, then using PG&E’s lines to transmit the power to customers. Marin is pushing the environmental angle: PG&E uses at most 12 percent renewable power, and Marin Clean Energy can offer consumers 100 percent green power. While that option might cost a bit more (an additional $5 per month for the average customer) Marin’s CCA also says it can offer a 50 percent renewable option that meets or beats PG&E’s rates.

The Chronicle‘s expert, UC Berkeley professor Severin Borenstein, is quoted as saying that it’s risky for cities to get into the electricity business. But that’s just horse pucky: cities have been in the power business for as long as there’s been electric power. In the Bay Area, Alameda, Palo Alto, and Santa Clara all have established successful public power agencies — and all have cheaper rates than PG&E.

The state law authorizing CCA programs bars PG&E, a regulated utility, from lobbying against their implementation. In fact, in hearings before the state Pubic Utilities Commission, the company promised it would be neutral toward CCAs and wouldn’t try to discourage its customers from joining the public programs.

But in the Central Valley, where a group called the San Joaquin Valley Power Authority has been trying to create a broad-based CCA, PG&E has admitted it illegally tried to scotch the deal. Lawyers for the SJVPA filed a complaint with the CPUC, and on April 10, PG&E settled in a way that clearly admitted guilt. The company agreed to cease its illegal lobbying and pay the SVJPA $450,000 in legal fees.

It was a significant victory for public power — and San Francisco needs to make it clear right now that it will fight just as vigorously to stop PG&E interference in its own CCA efforts. The CPUC is accepting comments on the settlement, and Herrera should file a statement supporting SVJPA, in effect putting PG&E on notice that it will face immediate, furious legal action if it dares try to undermine a San Francisco CCA. Herrera also needs to put a legal team together to prepare to fight PG&E as the city’s own plan moves forward.

It’s embarrassing that San Francisco — the only city in the United States with a congressional mandate to run a public power system — is behind Marin County and the Central Valley in getting its own CCA up and running. But the process is moving forward€. And the city needs to be starting its own marketing campaign to inform the public that cheaper, greener power is on the way.

Marin has been sending out fliers showing how effectively the CCA can replace fossil-fuel and nuclear generation with greener energy options. The county has clear information about lower prices and consistent efforts to fight global warming. San Francisco is lagging here — and it’s time to get on the stick.

The floating peakers

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April 23, 2008

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EDITORIAL The political fight over siting four city-owned power plants is heating up, and creating strange alliances. The San Francisco Public Utilities Commission wants to put three of the plants — which are small natural-gas-fired turbines — in the southeast part of the city, adjacent to the pollution-belching Mirant power plant at the foot of Potrero Hill. The commission argues that the city-owned plants would run only at peak hours (thus the term "peaker plants") and would generate lower carbon emissions and noxious fumes than Mirant does. Supporters of the plants argue that the state’s Independent System Operator (Cal-ISO), which controls the electricity grid, won’t allow Mirant to shut down unless the peakers are in place.

Sup. Aaron Peskin says the peakers will not only reduce emissions, but will give public power a kickstart. But Sup. Michela Alioto-Pier, who normally supports Mayor Gavin Newsom’s plans, opposes the plants on environmental grounds, and Sups. Ross Mirkarimi and Chris Daly, who say the southeast has been a toxic dumping ground for years, appear to be siding with her. Add to this the cost of building a structure to house the turbines, which has varied from as high as $500 million to as low as about $250 million, and you have a confusing mess.

But as Amanda Witherell reports in this issue, there’s another solution, one Mirkarimi floated several months ago: why not put the peakers on barges and site them offshore?

It’s a fascinating idea. Floating power plants are common all over the world; Manhattan alone has more than 30. Putting the plants on a barge would, by some estimates, cost half as much as building a home for them on land — and they could be moved around so no one neighborhood has to suffer all the impacts. (The plants, for example, could spend some time in the Marina, maybe upwind of Mayor Newsom’s house, so the southeast doesn’t have to take all the emissions.) If the city follows its own plans and builds enough renewable energy to obviate the peakers in a few years, they could easily be shipped off and sold elsewhere. Or the city could lease them to other communities (bringing in some nice cash) when they aren’t needed here. And floating plants won’t face the serious seismic issues that plants on the unstable southern San Francisco shoreline do.

There are, of course, other issues with this, including the obvious problem of putting barges in the bay, which the Bay Conservation and Development Commission would probably object to. And where, exactly, would they go? This might not be the best idea in the end.

But given the lack of good options here, this is at least worth a second look. Mirkarimi needs to push his resolution calling on the city to review that option. It’s well worth a full study. In fact, the board ought to put all final consideration of the combustion turbines on hold until the SFPUC looks at the barge proposal.

Editor’s Notes

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April 23, 2008

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› tredmond@sfbg.com

I like Muni. I always have. I know that makes me strange and sick, but I’ve always enjoyed riding the buses and trains, and my kids love riding the buses and trains, and in the end, despite all the problems, it’s one of the great things about San Francisco.

Then there are days like April 20.

It wasn’t an unusual Sunday; sunny, a bit chilly. There was, of course, the grand stoner holiday, and people were flocking toward a 4:20 convergence in Golden Gate Park, but one would think the folks at Muni would realize such a cosmic event was in the offing and plan for it.

One would be wrong.

We joined a small group waiting for a westbound bus at Haight and Divisadero. The sign told us the next bus was coming in five minutes; Michael and Vivian sat on the horribly uncomfortable seats designed to keep homeless people from sleeping on them, and in about 10 minutes along came a 6 Parnassus. It slowed down enough for us to see that it was standing room only (but nowhere near as bad as the 14 Mission is every day), then pulled away without taking on passengers.

Okay: bus too crowded. Driver decides no more passengers can fit safely aboard. It’s called "passing up" a stop, and it happens. Typically there’s another, emptier bus just behind. And sure enough, the sign said a 71 Haight/Noriega would be along in three minutes.

Well, seven minutes, actually — and then the same thing happened again: full bus, no stop. At this point there were maybe 30 people at the bus stop, and some had been waiting quite a while and were getting pissed. After a while, along came another 71 … and passed us up. The corner was getting crowded; people were yelling at the bus, chasing it, running into the street, and trying to climb in the back door when it stopped in traffic. Not exactly safety first.

Eventually we walked, which was fine, except that Vivian, who at six is already a slave to fashion, was wearing shoes that looked lovely but weren’t exactly designed for a hike so she wound up with blisters, and I had to stop and get her some Band-Aids and beg for new socks at a shoe store. Such is life in the big city; I can’t really complain that much.

But there’s an issue here that intrigues me: What is Muni supposed to do in this situation? It doesn’t seem as if this should be an impossible management problem. A Muni controller could, for example, radio the next five buses on the Haight Street line and tell them each to pass up alternate intersections so everyone gets a chance to ride eventually.

I called Judson True, a nice guy who has the unfortunate job of handling press calls for Muni this week, and he told me Muni does the best it can at line management — that in theory, someone watching the Haight Street line should have radioed in the problem (I think the drivers ought to do that too) and a controller should have been able to shift more buses to that line. I suspect this may have been a screw-up. But one thing that happens when you keep cutting the Muni budget is that the ranks of controllers and line managers — those middle-management "bureaucrats" Matier and Ross and the like always whine about — start to thin out. And this shit happens.

You wonder: how often do these people who complain about government spending actually ride the bus?

Bay Area National Dance Week

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April 22, 2008

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PREVIEW Can dance save the world? Those of us who are hooked on it like to think so. At the very least, it makes you feel more alive as a human being. But in the cultural pecking order, dance often gets the short stick: you can’t buy or own it, hang it on a wall, or sell thousands of DVDs of it. You pretty much have to depend on bootlegs or YouTube to get your fix. Maybe that’s why such fervor surrounds Bay Area National Dance Week and its 10 days of dance madness. This year, BANDW celebrates its 10th year with a throw-open-the-doors event designed to give all comers a chance to see or try all manner of free moves: hula hooping, belly dancing, salsa, body orchestration, Scottish country dance, Sufi dancing, Greek dancing, swing, fire twirling, and more. Some 300 participants are on board, the majority from dance companies and studios. For us working stiffs, weekday classes take place mostly in the evening, but ODC Dance Commons will offer Dance Week–related classes throughout the day. For those who prefer watching, there will be many free performances as well, ranging from San Jose’s sjDANCEco, to Mill Valley’s RoCo Dance with Oakland’s Axis Dance Company, to San Francisco’s Mark Foehringer Dance Project. Get the details of what the good people at BANDW have in store for us from their 24-page brochure, available at select cafés, libraries, and most dance studios. The kickoff conga line event starts Friday at 11:30 a.m. in Union Square.

BAY AREA NATIONAL DANCE WEEK April 25–May 4, free. www.bacndw.org

Calvin Harris

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April 22, 2008

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PREVIEW With youthful bravado and a cocksure attitude, it might be easy to dismiss the one-man electro entity and MySpace phenom Calvin Harris as an overconfident knob-twisting kiddo. Judging from the playfully self-aggrandizing title of his debut, I Created Disco (2007), or his slinky banger "Girls," which is about the wide assortment of females on his jock — a fictional harem that rivals the likes of R&B lothario R. Kelly’s — Harris might be accumuutf8g as many enemies as he is groupies.

But there’s more to the sassy 23-year-old Dumfries, Scotland, musician-producer than feigned egoism. On Disco, Harris presents a modernized and exuberant take on electro, giving the once-clichéd genre a laddish makeover full of cheeky hyperbole and a "taking the piss" mentality — a key element missing in so much electronic music nowadays. With a heavy arsenal of crunchy beats, soulful-yet-robotic synths that sound like they’ve been appropriated from an ’80s Nintendo game, and a L’Trimm-esque booming bass line, Harris proves he’s got the chops to make the dance floor erupt. Flitting between an expressive faux-Cockney drawl and an un-ironic white boy falsetto, Harris has a knack for making pill-popping in Vegas, smoking neon-hued rocks, and an irrational love for the ’80s sound downright discolicious.

Most recently the young Mr. Harris lent his sonic aesthetic to the pint-sized pop vixen Kylie Minogue. The disco sprites hooked up after an Aussie producer discovered Harris’ MySpace page, and the rest was pop perfection history. Animated by a club-ready cacophony of handclaps, saucy softcore voice-overs, and trilling keys, the Harris penned-and-produced Minogue number "In My Arms" is the highlight of her recent X (EMI). A string of top 10 singles in the United Kingdom, production credits for pop princesses Sophie Ellis-Bextor and Róisín Murphy, and a sophomore album slated for late 2008 — is there anything this kid can’t do?

CALVIN HARRIS Thurs/24, 8 p.m., $12–$13. Popscene, 330 Ritch, SF. www.popscene-sf.com

M.A.N.D.Y.

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April 22, 2008

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PREVIEW Patrick Bodmer and Philipp Jung have known each other for 22 years. But according to Jung, the two DJs behind Berlin minimal house outfit M.A.N.D.Y. "sometimes lose each other" amid their various musical commitments. The most recent solution to this problem was pretty chilling: an extended stint in Iceland, where they spent three weeks recording in the wintry cold of February. Staying an hour outside of Reykjavík, they sketched out songs with help from Lopazz, a signee to their Get Physical label whose vintage equipment and field recordings of Mongolian sheep came in handy for M.A.N.D.Y.

"You don’t have the time to sit down and write songs in Berlin," Jung said over the phone from Berlin. "It was good to be isolated, but we weren’t sure if we could survive out there." Survive they did, but don’t be fooled by their frigid choice of studio. It’s the glowing warmth of their remixes and skillful manipulation of the clean 4/4 beat at house music’s foundation that has reaped them so much admiration as producers at home and abroad. Their original productions — which include the bassy synth sparkle of 2004 hit "Body Language," a co-production with Booka Shade — and their remixes for such artists as Röyksopp and the Knife bring into spare focus each track’s pliable, underlying blip-pulse, carefully giving the melody the space to kick one’s space-disco synapses into joyous movement.

They primarily have been engaged in remixes during the past couple of years, most recently releasing a mix disc for the Fabric imprint in January. Their present tour, which showcases the Get Physical roster, pushes forth into a year that will see the release of a new 12-inch and a return to the 10- to 12-hour nights they customarily spin in Europe. "We like playing really long sets," Jung explained excitedly. Clearly there’s little sleep to be had in M.A.N.D.Y.-land.

GET PHYSICAL NORTH AMERICAN TOUR with M.A.N.D.Y., Booka Shade, and Heidi. Fri/25, 10 p.m. doors, $22 advance. Mezzanine, 444 Jessie, SF. (415) 625-8880, www.mezzaninesf.com

Sibling rivalry

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April 22, 2008

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REVIEW This week most San Francisco cineastes will be focused on the International Film Festival — but please don’t let this Italian import, one of the best in years, leave town before you catch it. Cowritten (with director Daniele Luchetti) by Sandro Petraglia and Stefano Rulli of the fantastic Best of Youth (2003), the film shares that four-hour epic’s ability to pare decades of roiling postwar Italian political history into an absorbing personal drama. Accio (Elio Germano) is the youngest child, perpetually at odds with everyone in his poor family. He is a natural contrarian and zealot — first as a divinity student too self-righteously pious even for the priests to bear, then as an avid member of the Fascist Party. (His hometown is the small central Italian city Latina, a one-time party stronghold founded during the Mussolini era that previously had been an undrained swamp.) Those proclivities, not exactly fashionable in the story’s 1960s and ’70s setting, particularly exasperate Accio’s brother Manrico (Riccardo Scamarcio, one of those Italian men who are so good-looking they almost constitute a traffic hazard), a charismatic born leader who becomes increasingly involved in the Communist Party and underground radical actions. Still, blood is thicker than water — and by the end we realize this famiglia‘s constant yelling and slapping are as much forms of affection as anything else. And the siblings do have something else in common, namely a jones for Manrico’s upper-class girlfriend Francesca (Diane Fleri). My Brother has been compared to Italian leftist classics like Marco Bellochio’s Fist in His Pocket (1965) and Bernardo Bertolucci’s Before the Revolution (1964), no doubt largely because its manically malcontent protagonist — an indelible performance by Germano — and almost too-hyperactive imagery echo their restless intellectual agitprop. Fortunately, this is too warmly human a drama to share those films’ Godardian paternity.

MY BROTHER IS AN ONLY CHILD opens Fri/25 in Bay Area theaters.

A tisket, a tasket

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April 22, 2008

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It’s Spring Break! No, not for students. They had theirs last month. This one’s for all of us: that blissful time between winter’s chill and early summer’s gloom when the sun shines its light (and sometimes even warmth) on our fair city. Which means bike rides without GoreTex, dresses without tights, torsos without shirts, and, best of all, picnics in the park.

In honor of this glorious season of backyard barbecues and patio parties, we’ve dedicated this FEAST to all kinds of sunny delights. We’ve got places to take a May Day date, bars where you can sip a tequila sunset while actually watching one, and a guide to the perfect places for carry-along cuisines.

But don’t forget we’re still the city of near-perpetual autumn. So we’ve added a couple places where you can turn up the culinary heat on those chilly nights when the fog’s rolling in — not to mention quite a few places to wet your whistle in the style of that bastion of cold weather cuisine: Manhattan.

Time to get yourself some new shades, pull your sandals out of storage, and get your ass outside, before academic calendars and weather patterns have us all going "back to school" shopping and supping.

Bon appetit, and don’t forget the sunscreen,

Molly Freedenberg

Feast Spring 2008 editor

› molly@sfbg.com

7 spring flings

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April 22, 2008

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San Francisco is such a gosh darn charming place, it often seems as if there are more romantic dining options than available dates. To which we say: Never! Spring has sprung and frisky hormones are back in motion after cozy hibernation. Grab the nearest eligible and hit up the following delightfully intimate (and reasonably priced) eateries, if only to test-drive the menu.

BAR BAMBINO

Mouth-watering charcuterie for your cutie, an extensive wine list to revel in, and an atmosphere that, while occasionally heavy on the decibel level, will douse any diminished conversation expectations in attractive lighting — so at least the potential partner across the table will look irresistible. Factor in a nifty little patio in back and an olive oil tasting menu to lubricate the cooing (plus a plethora of lip-smacking Italian dishes) and the mood is set for, if not love, then perhaps a memorable evening in the Mission.

2931 16th St., SF. (415) 701-8466, www.barbambino.com

CAFÉ ANDRÉE

You, of course, have absolutely no problem "closing the deal" — but it’s always good to have a secret weapon on hand, just in case. Café Andrée is mine. Every time I usher a hottie into Andrée’s intimate, well-appointed librarylike setting in the Rex Hotel downtown (bookshelves line the walls and there are globes galore), I know the rest of the evening will be silky smooth. Executive chef Evan Crandall creates incredible pan-global dishes that never fail to tickle. And his new spring menu is on fire. The best part: if your date bores you to tears, you don’t have to bring a book. Café Andrée does it all!

562 Sutter, SF. (415) 217-4001, www.jdvhotels.com/dining/sanfrancisco_cafeandree

COULEUR CAFÉ

Perfect for a leisurely luncheon prelude to any early-evening nuzzling, this Portrero Hill café’s generous outdoor patio and savory dishes may be responsible for more than a few calls into work begging for the afternoon off. The theme is laidback French with some Mediterranean kick, which is actually the description of many a dream date as well. A come-hither combo that always works for me: assiette de merguez with harissa for starters, followed up by the mussels mariniere and pommes frites. Enjoy.

300 De Haro, SF. (415) 255-1021, www.couleurcafesf.com

1550 HYDE CAFÉ AND WINE BAR

Nob Hill: the dating double-entendres are endless. So is the romance, especially if you duck into the intensely cozy 1550 Hyde for an adventurous wine flight and delectable cheese plate or main dish. (If 1550 is featuring its wondrous Provençal fish stew while you’re there, try it and thank me later). The emphasis here is on locally produced goods — the better to draw you closer — and the restaurant discourages cell phones, so your tête-à-tête is guaranteed to be restricted to sweet nothings.

1550 Hyde, SF. (415) 775-1550, www.1550hyde.com

L’ARDOISE

I can’t lie to you. I’m eating a can of Campbell’s tomato soup while I write this, but I’m dreaming of the escargots in garlic parsley sauce and almond-crusted barramundi at this brand-spanking new French delight near Duboce Park. Needless to say, I’ve already spent many a cherished hour there with my lover-of-the-moment. The space is warm and inviting, and the friendliness of the service puts any haughty stereotypes of the French to rest. "L’Ardoise" means chalkboard, so be sure to check the specials, which usually include a number of creamy cheeses as well as unique entrées that’ll have you’re your date shouting "oui, monsieur."

151 Noe, SF. (415) 437-2600, www.lardoisesf.com

TANGERINE

"Tangerine — she is all they claim / With her eyes of night and lips as bright as flame." So begins the famous jazz song, "Tangerine" — and the Castro restaurant of the same name seduces with an equal amount of yummy crepuscular abandon. Asian influences dot chef Sean Pattansuvoranun’s menu — and a recent pairing of the lemongrass lamb lollipops appetizer with a drunken duck entrée had me begging for Pattansuvoranun’s home phone number. But he knows better. Tangerine’s decor is crisp-yet-amiable, and the service is fluid, allowing you enough privacy to lick each other’s plates.

3499 16th St., SF. (415) 626-1700, www.tangerinesf.com

BITTERSWEET CHOCOLATE CAFÉ

If "bittersweet" describes the tenor of your evening together so far, tune up the ol’ heartstrings with a chocolate-flavored valentine at this cute café, with locations in Upper Fillmore and Oakland. A cocoa cornucopia of tastings, pastries, and specialty drinks — hello, hot steaming cup of chocolate chai — Bittersweet stays open pretty late, and will end any evening on a sumptuous note (even if your sheets remain uncrumpled).

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

7 spicy suppers

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April 22, 2008

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It’s true. Sometimes I can’t help but crave the unforgettable feeling of burning my lips and tongue with my food. Some people call it masochism, but I can’t help it. Eating real spice that makes my glands swell is heavenly — it’s all I could ask for in a meal. Need a better reason? There’s a saying that eating spicy food gives you a fiery personality. Follow that logic and fiery people make for spicy relationships. And what do you suppose comes from spicy relationships? I’ll let you decide. Mmm, tasty. So what are you waiting for? Amp up your life and get your fire on at one of these gems.

SPICES II

Fire fiends all over the Bay Area will tell you that one of the spiciest cuisines is Sichuanese, which is what Spices II in the Richmond District specializes in. They’ll have your sweat glands working on overload with their mapo tofu, cumin lamb, and spicy Chinese bacon. Beware, though. Sichuanese dishes are made with a special tongue-numbing peppercorn. Don’t be surprised if you leave a bit teary.

291 Sixth Ave., SF. (415) 752-8885

MY TOFU HOUSE

If you’re more in the mood for something hearty to fill you up, then move on from the flames of southern China and to My Tofu House’s Korean delights, like its whip-ass kimchi, soondubu, or an order of kalbi. While it can be tough to get a table during peak hours, waiting guarantees a great meal that warms you from the inside out. The stewlike soft tofu soup is especially adept at combating those foggy, wet city nights.

4627 Geary, SF. (415) 750-1818

INDIAN OVEN

Every fire-lover knows that a staple mascot for spiciness is curry, and there’s no better place to find it than at Indian Oven in Hayes Valley. Tikka masalas of all kinds will bowl you over with their exquisite balances of tongue-searing and flavorful. Also be sure to sample its tandoori and samosas. You can even bring friends with mild palates here; just make sure you specify the level of heat when you order.

237 Fillmore, SF. (415) 626-1628

CHABAA THAI

Thai cuisine makes a strong showing in the ring of fire with Chabaa Thai in the Sunset District. Taking no prisoners, Chabaa’s tom yum soup, pad see yu, or any of its curries leave lasting impressions. I admit this is one cuisine I was cowed by after asking for "as spicy as possible," and was soon brought close to tears as I feebly attempted to lift the chili oil–covered chopsticks to my lips. You win, Chabaa. You win.

2123 Irving, SF. (415) 753-3347

EL CASTILLITO

Not in the mood for Eastern-influenced fare? Mosey over to El Castillito in the Castro, which boasts some murderously hot avocado salsa. Add its gigantic super burritos and mouth-wateringly good quesadillas to the other noteworthy tongue sensations of its many meat selections — the carne asada is a winner — and you’ll be begging for more, even with a food-baby ready to be birthed as you walk out the door.

136 Church, SF. (415) 621-3428

CAFÉ COLUCCI

If you’re looking for a more hands-on approach to your spice adventures, Café Colucci offers a kick in the pants with its spicy green lentil soup; the chicken, shrimp, and lamb tibs; and injera for some doughy goodness to balance out the flames. Ethiopian cuisine also gives you a chance to really dig in, using your manos to scoop up the goodies. Vegetarians will find plenty to satisfy their cravings and given such huge portions, consider bringing friends.

6427 Telegraph, Oakl. (510) 601-7999

CHINA VILLAGE

East Bay residents rally around this fabulous addition to the Bay Area spice race. An ideal location for large dining parties, China Village excels at all the typical provincial goodies that make hotheads ecstatic. Their water-boiled beef, appetizer beef tripe and flank (featuring the tongue-numbing peppercorns), and the West-style fish soup with "1,000" chilies will have you crossing the bridge again and again.

1335 Solano, Albany. (510) 525-2285 *

Sunshine on my shoulder

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April 22, 2008

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Products featured: 2006 Solorosa Napa Valley Wine, Church Street Groceteria; Anchor Steam Beer, Anchor Brewing Company; filone di grano duro baguette, Metropolis Baking Company; salami, potato salad, and Greek olive mix, Lucca Delicatessen; brie cheese, Marin French Cheese Co.; crackers and organic strawberries, Rainbow Grocery; bamboo plates and silverware, Cole Hardware; FIFTY24SF Morning Breath pillow, UP Accessories wood tote bag, and custom quilt, Upper Playground

Models (left to right): Lawrence Cuevas, Camille Schindler, Marivel Mendoza, Bethany Wells, and Blaine Merker.

Guardian photo by Pat Mazzera

8 spots for outdoor dining

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April 22, 2008

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San Francisco and dining al fresco aren’t necessarily allies. But they’re not exactly enemies. We do have those gorgeous sunny spring days and plenty of places to enjoy them while we drink and dine. If you’ve been heartbroken over the closed kitchen at Zeitgeist, or if the rooftop deck at Medjool feels more like a frat party gone wrong than an afternoon social gathering, you can rest assured there are even places outside of the Mission that serve food and cocktails outside. So hop on your Yamaha, Bianchi, or Muni and check out some of these fabulous places to catch some sun with your buzz. Keep in mind these spots are best for brunch and lunch. And bring a hoodie in case the sun subsides — San Francisco fog is about as forgiving as a hangover.

PIER 23 CAFE

Check out views of the Bay Bridge and Coit Tower from this waterfront café with surfboard decor. Rain or shine, this dive gets packed with beer guzzlers and sunbathers. Enjoy buckets of Pacificos and top-shelf margaritas alongside pub grub like burgers, nachos, and the best fish tacos in town, until your vision’s blurred and skin is blistered. Then enjoy the live music on warmer nights and heat lamps on cooler ones.

The Embarcadero, SF. (415) 362-5125, www.pier23cafe.com

CAFÉ FLORE

The faint of heart need not attempt Café Flore — sharking a table here takes more nerve than buying booze underage. But there’s a reason to steel one’s resolve: this Castro hotspot, voted Best Café in our 2004 Readers’ Poll, is ideal for any occasion, be it brunch, coffee, or an afternoon brew. With breakfast served daily until 3 p.m. and a full bar, there’s no better spot for sun-drenched boozing and cruising.

2298 Market, SF. (415) 621-8579, www.caféflore.com

LA NOTE

The garden patio at La Note is worth the wait — and wait you will, because they don’t take reservations for weekend brunch. Grab a java beforehand to stave off caffeine withdrawal as you watch other patrons enjoy their succulent crème fraîche pancakes. And don’t worry, you’ll get your turn. Complete with blue-and-white checkered tablecloths, this is the perfect spot for brunch bliss or an afternoon assiette de charcuterie.

2377 Shattuck, Berk. (510) 843-1535, www.lanoterestaurant.com

PARK CHALET

If bike rides through Golden Gate Park leave you craving a wet one to quench your thirst, this spot — located behind the oceanfront Beach Chalet and just steps from Queen Wilhelmina’s Windmill — offers the perfect spot to rest on your laurels and soak up some sun. Choose from an extensive list of beers from the onsite brewery, and when the fog rolls in, head inside to cozy up to the stone fireplace in the glass-ceilinged dining room. On weekends you can nurse a hangover and get a head start on your day’s drinking with crab benedict and a Bloody Mary.

1000 Great Highway, SF. (415) 386-8439, www.beachchalet.com

CAFÉ CLAUDE

Located in a secluded alley between Union Square and the Financial District, Café Claude is a scrumptious substitute to the crowded Belden Lane. This quaint sidewalk café is reminiscent of Parisian bistros, and is therefore the perfect spot to nosh on a Niçoise salad and sip Sancerre. Plus there’s jazz on weekends.

7 Claude, SF. (415) 392-3505, www.cafeclaude.com

EL RIO

For those days in deep summer when everywhere but the Mission District is covered in heavy fog, there’s no reason to look farther than El Rio for a bit of sunny respite. Its multilevel back deck, barbeques, margaritas, and live salsa bands draw a mostly gay male crowd on Sundays, but you can get down with the ladies every fourth Saturday of the month, when the line to get in snakes down the block.

3158 Mission, SF. (415) 282-3325, www.elriosf.com

SAM’S ANCHOR CAFE

If the summer fog has taken even the Mission captive, escape to Sam’s via the Tiburon ferry. From here, you can sip margaritas on the waterfront deck while viewing the cloud-engulfed city. Snack on fried calamari or head inside post-sunset for fine dining and seafood.

27 Main, Tiburon. (415) 435-4527, www.samscafe.com

PILSNER INN

The Pilsner doesn’t serve food, but its state-of-the-art cooling system, which keeps draft beers chilled to 31 degrees, makes this Park Chow neighbor a Castro gem for gay and straight clientele. Expect to throw back a few on the garden patio with cleated patrons just back from the fields, because Pilsner Inn supports a handful of sports teams, including softball, soccer, bowling, and pool.

225 Church, SF. (415) 621-7058, www.pilsnerinn.com *

9 Manhattans in the Mission

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April 22, 2008

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I’d burned out on vodka sodas. Straight tequila was making me nuts. And I couldn’t seem to find a decent margarita. I needed to find a drink with a punch, but one that didn’t lead to the dark under-eye circles the next morning. I didn’t think I’d love a cocktail again. That is, not until my friend handed me my first Manhattan.

Oh, the Manhattan. So simple and bold, with its combination of whiskey, vermouth, bitters, and a cherry. And so very American, with its East Coast name and Southern origins (the first versions in the 1870s were made with Kentucky bourbon, and most still are). I now have a patriotic devotion to this concoction, as well as an impressive ability to balance a martini glass in a crowded bar.

THE LIBERTIES

This Irish pub’s version of the Manhattan is strong and pure, tasting almost like straight Maker’s Mark. The only reason I knew there was vermouth included is because I caught a flash of green glass as the bartender mixed it. It was even served, unapologetically, without the drink’s trademark cherry (which, honestly, is fine by me). I guessed this particular formula was cultural — the Irish don’t monkey with their whiskey — but I was proved wrong when we tested our anthropological theory at the Phoenix, whose version is cloyingly sweet. If you really like your whiskey, stick with Liberties.

998 Guerrero, SF. (415) 282-6789, www.theliberties.com

LASZLO

When you can’t get a sunny day seat at Revolution Cafe (hey, they only serve beer and wine anyway), head to Laszlo around the corner. Not only does it always have outdoor tables available, but it served one of the best cocktails on my tour: a smooth Maker’s Manhattan. It was stirred, not shaken — which the bartender said keeps the drink from getting watered down — and came with a brandied cherry. An extra bonus for daytime visits? You get to skip the North of Market nighttime crowd.

2526 Mission, SF. (415) 401-0810, www.laszlobar.com

BLOWFISH SUSHI

Need to show your out-of-town friends the Mission? Get them the neighborhood’s namesake drink at Blowfish, made with Ka No Ko Japanese whiskey. Served with a brandied cherry to balance the cocktail’s smoky taste, this Manhattan is certainly a crowd pleaser. Once you’ve liquored up your visitors in style, then you can take them to your favorite Mission Street dive.

2170 Bryant, SF. (415) 285-3848, www.blowfishsushi.com

CONDUIT

The new swankfest on Valencia and 14th streets might break your bank and leave you hungry after dinner, but it’s a great place to treat yourself to sexy cocktails without fear of running into any of your financially-challenged friends. Conduit’s souped-up Manhattan, called the Heart of Islay, is made with Black Bottle 10-year-old Scotch, vermouth, Cointreau, and a splash of blood orange juice. The sweet ingredients help the cocktail go down smooth without overpowering the smoked wooden barrel flavor of the Scotch. Conduit’s classic Manhattan is great too, as it’s made with Old Overholt rye. Have one of each and you might even get the guts to taste the lamb tongue or pay a visit to the coed translucent glass restroom.

280 Valencia, SF. (415) 552-5200

RANGE

The Third Rail is Range’s hybrid version of the classic pre-1940s Manhattan, made with Bulleit bourbon, Lillet Blanc (sweet wine), orange bitters, and lemon. This fusion blend is perfect for beginners, but it ain’t no classic. But a version made with Woodford Reserve, sweet vermouth, Angostura bitters, and a brandied cherry is as good as it gets. If you can find a seat at the bar, order two — but stop there. A wise friend once said, "Manhattans are like breasts: two are perfect, but three are too many — and just plain weird."

842 Valencia, SF. www.rangesf.com

NIHON WHISKY LOUNGE

On the list of Nihon’s special happy hour cocktail, salad, and appetizer menu, where everything’s half price, is the Devil’s Manhattan. This cocktail is made with 100-proof Rittenhouse Kentucky Rye, SoCo, sweet vermouth, and bitters — and for a mere six bucks, is definitely worth it. Sure, Nihon’s out of the way, but you probably need something from Rainbow anyway.

1779 Folsom, SF. (415) 552-4400, www.nihon-sf.com

LATIN AMERICAN CLUB

If you want to test your Jedi glass-balancing skills, order a Manhattan here on a weekend. The Manhattan here was by far the best dive bar version I tried — made with Jim Beam, sweet vermouth, bitters, and a maraschino cherry, it was neither too sweet nor too strong.

3286 22nd St., SF. (415) 647-2732

CASANOVA LOUNGE and ELBO ROOM

These staple Mission bars serve reasonably priced, decent Maker’s Manhattans. You might not even notice how sweet they are by your second one.

Casanova Lounge, 527 Valencia, SF. (415) 863-9328, www.casanovasf.com

Elbo Room, 647 Valencia, SF. (415) 552-7788, www.elbo.com. Not wheelchair accessible. 2