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Sunrise

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le.chicken.farmer@gmail.com

CHEAP EATS I take back everything I said about Kaiser. Not because the receptionist at the Oakland lab asked if my semen sample was my husband’s, and not because not one sperm was seen in said sample (although both these little details did make me smile) … but because the day after my incendiary diatribe hit the streets, causing widespread rioting or at least a knowing chuckle on the 21 Hayes bus, I got a phone call from an endocrinologist in Martinez.

A Kaiser endocrinologist, mind you.

Who was not a buffoon, mind you.

Rather, he spent more than an hour on the phone with me, which is longer talk-time than I had with my previous endocrinologist in four years, total. Whereas my previous n-doc said, and I quote, "Hormone therapy is not rocket science" (which is true, I admit, but still a pretty dumb thing to say while you are getting someone’s hormones all screwed up).

The new guy, who had researched my entire Kaiser career before he called, got it all back together, my hormones, my head … He knew every single thing about my medical past. He asked me questions no one else had ever asked, about my work, my mom, my kids, my opinions. He even asked me what my questions were, and when I said what they were, he answered them intelligently, patiently, and in detail, in many cases contradicting what other doctors had told me. An hour plus … on the phone!

While I was at work!

I’d never had a medical experience like this, where somebody both seems to care and has the time to do a thorough job of it. After we talked I got a long e-mail from him, putting it all in writing.

While we were talking, he completely rewrote my hormone regimen, likely adding 13 1/2 years to my life (just a guess). He made sure the new, safer prescription would be ready at the pharmacy of my choice by the next day. (It was!) He figured out the probable cause of my eight-week headache, effectively ending it on the spot. And, as if all that weren’t enough, he went ahead and gave me a hysterectomy.

"Excuse me?" I said.

He said he was putting it in the computer that I’d had a hysterectomy — that way I’d stop getting bugged by computerized notices and nurses about my next Pap smear.

To perform such a delicate operation over the phone seemed above and beyond the call of medicine; it bordered on miraculous. Dazzled by my new favorite doctor’s medical prowess, I neglected to mention that I actually love it when nurses try to schedule me for a Pap smear, or ask about my period, or if I’m pregnant — stuff like that. But I’m glad I didn’t say anything, because in retrospect I would gladly trade those fleeting moments of real-girl-glory for the even gloriouser distinction of having had an over-the-phone hysterectomy.

Who wouldn’t want one of those? I mean, Pap smears and periods come and go, but a hysterectomy is forever, even if you have it in a doctor’s office or operating room.

But speaking of carne asada, there’s the Sunrise Restaurant on 24th Street between Shotwell and Folsom. Judging from its name, and the extensive Latino and Americano breakfast choices on the menu, it’s more of a morning place. I went there at sunset, and wished I’d had breakfast for dinner.

The carne asada plate ($9.95) comes with black beans, rice, and salsa. OK: the steak was tough, and there’s nothing you can do about that but shake your head, maybe make a mental note to get something else next time. But: the beans and the rice really really wanted flavor. They didn’t taste like much of anything.

There are things you can do about that, one of which is called salsa. But the little tiny tin of what-they-call-salsa was surprisingly shockingly inedibly yucky.

Meaning: there won’t be a next time. When even the salsa sucks, you are sitting in an irredeemable restaurant. Or, in other words, ugh.

If it wasn’t for good old table top Tapatío, I would have gone away entirely undernourished. As it was, I went away caloried, but not much else. No nice taste in my mouth. No plan of ever returning. No good stories to tell.

SUNRISE RESTAURANT

Mon., Wed.–Thu.: 7 a.m.–8 p.m.;

Fri.–Sun.: 7 a.m.–9 p.m.

3126 24th St., SF

(415) 206-1219

Beer and wine

MC,V

L.E. Leone’s new book is Big Bend (Sparkle Street Books).

Creamin’ for comics

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culture@sfbg.com

Erotic comics are a special breed of porn. Unlike prose, they can show as well as describe. Unlike photos, they’re narrative. Unlike film, they have a limitless special effects budget. Comics are capable of everything from gritty, realistic detail to "yowza!" flights of fancy — perfect for the demands of erotica.

And yet good erotic comics seem in short supply. Despite a venerable history that stretches from the Tijuana Bibles of the 1920s to the wild antics of the underground comix movement in the ’60s and ’70s, porn comics have languished of late. Alternative and independent comics have been trending more toward asexuality. And gay male erotic cartoonists are only now struggling out of the shadow of Tom of Finland, whose comics of square-jawed, fascist-reminiscent leathermen and bikers have dominated gay erotic art in the same way that Tolkien’s imagination bound and gagged fantasy writers for generations.

Once you start digging, however, it’s remarkable the gems you can find. The fact that comics are so marginalized creates a kind of purity to the art form. Cartoonists aren’t motivated by fame and fortune, but rather by their passion for their stories and their art. The same is doubly true for erotic cartoonists, whose work is often an evolution of the naughty pictures they drew compulsively while growing up.

Here are a few of the most unusual, hot, and fun recent erotic comics collections to get your juices flowing.

BEST EROTIC COMICS 2009

Greta Christina, Editor

(Last Gasp)

www.lastgasp.com

A man stimulates the orifice of a bound mermaid with a twig, an infertile professor convinces a student to impregnate his wife, a dominatrix hires a gay masseur to fuck her boyfriend, a sadistic dom pisses all over her girlfriend, King Kong and Godzilla have hot sex in the ruins of Tokyo.

Best Erotic Comics, an annual collection of the best and brightest of kinky comics, is yet another reason to be proud of our sexy Bay Area, published as it is by legendary, local institution Last Gasp. Editor Greta Christina has assembled an impressive collection of literary smut comics that run the full gamut of sexual interests, from octopus sex to airplane sex. It’s especially refreshing to see straight porn side by side with gay and lesbian imagery — it allows the reader to understand sexuality as a spectrum of possibilities, and to see how hot the fantasies of others can be.

PRIDE

Gengoroh Tagame

(G-Project, 2007)

www.tagame.org

Odd as it may seem, the best bear comics porn in the world is coming out of Japan, a country with a noticeable lack of big, hairy men. Clearly the exotic has its erotic charms. Unlike yaoi — the popular manga genre in which female cartoonists create stories of gay male romance and sex for an audience of girls and women — bara is gay manga created by actual gay male creators and usually does not feature the yaoi breed of androgynous boys with big eyes and floppy hairdos, but rather burly, hypermasculine men.

No one is better at portraying these than Gengoroh Tagame, arguably the world’s greatest, living erotic cartoonist. His universe is populated with the hottest muscle bears outside of the Lone Star’s patio during Folsom Street Fair weekend, and they have a tendency to be tied up, humiliated, and fucked senseless. Pride is a recent trilogy of books from the master, detailing the gradual transformation of a cocky, hirsute hunk into an obedient slave by a buff, bearded professor. The books are full of all sorts of S-M shenanigans, with our hero being put through the paces, from extreme bondage and piercings to fistings and scat play. Tagame has yet to be translated into English, but he’s such an accomplished cartoonist that his work can still be thoroughly enjoyed.

SMALL FAVORS

Colleen Coover

(Eros Comix, 2002)

www.eroscomix.com

While lesbian imagery exists in various straight publications, there is an unfortunate dearth of true lesbian erotic comics. Colleen Coover’s Small Favors is a notable exception. Coover is an excellent cartoonist and clearly has a great time illustrating her two heroines, Annie and Nibbil, having wild, fun, and juicy sex.

Annie is accused of masturbating too much by her own conscience and is assigned a finger-tall guardian to stop her from getting jiggy with it too often. Fortunately, this tiny watcher winds up being a nympho herself, and jumps Annie at her first opportunity, leading to comics’ best introduction line ever: "Ummm … Hi, Annie! My name’s Nibbil! Gosh, I hope you don’t mind me fucking myself on your nipple!"

WANKY COMICS

BiL Sherman

(Self-published)

www.wankycomics.com

Occasionally you’ll stumble across some underground, barely-distributed mini-comic, put together by the creator with a photocopier and a stapler, that will take your breath away. BiL Sherman’s Wanky Comics is bizarrely brilliant, completely original, and about as underground as you can get.

While the subject matter of the stories in WC ranges wildly from horny unicorns and space-age sex clones to an inexplicably naked superhero and his quest for love, Sherman has a distinctive style that unifies the series. He draws like a thirteen-year-old with OCD and a hard-on, filling his pages with burly, hairy men. Each chest hair is lovingly and obsessively drawn, and the faces are rugged and expressive.

Sherman is unafraid to get both funny and surreal, a refreshing trait in porn comics. The "Mike Thorn and the Nine Satanic Statements," episode, for example, is a blow-by-blow illustration of a scene on a porn set, while the text underneath the images is taken directly from Anton Levey’s Satanic Bible, creating a strangely disconnected, campy, yet beautiful juxtaposition.

BIRDLAND

Gilbert Hernandez

(Eros Comix, 1992)

www.eroscomix.com

Hernandez is one of the creators, along with brothers Jaime and Mario, of Love and Rockets, arguably the single greatest American comic book. Rarely does such a world-class, literary cartoonist turn his talents to porn. Luckily, however, the highly prolific Hernandez created Birdland, a voyeuristic foray into the lives of strippers, bodybuilders, and horny aliens — and one of the classics of erotic comics.

Birdland introduces characters such as Fritz, the large-breasted, brainy psychiatrist with a lisp and a passion for guns, which Hernandez later incorporated into L&R. But while L&R certainly never shies away from sexual material, Birdland is unabashedly erotica, with copious cum shots filling the pages.

Though Hernandez identifies as straight, Birdland is in many ways pansexual erotica, with every type of coupling depicted. The final scene, in which the characters have a giant orgy in a spaceship, is one of the most oddly liberating and transcendent sex sequences ever conceived. After reading it, anything seems possible.

————-

A GUIDE TO PORN CARTOONISTS AT THIS YEAR’S FOLSOM STREET FAIR

The Folsom Street Fair on Sun/27 is all about community, and one of the ways it demonstrates this is by donating a block of booth space to queer erotic artists, many cartoonists. This year’s little section of the Fair, at 11th Street and Folsom, is very exciting. Here’s some highlights.

Chuck Connor and Sean Platter: the duo’s Demonic Sex series pulls no punches with its depictions of satanic transformations and sexual hells. www.triplesixcomics.com

Dave Davenport and Justin Hall: An accomplished tattoo artist, Davenport uses his illustration chops to create horny werewolves, skate punk ghosts, and other wholesome characters in Hard To Swallow, co-created with Justin Hall (that’s me!). www.hardtoswallowcomics.com

Steve MacIsaac: As the co-creator (along with Dale Lazarov) of Sticky, MacIsaac offers sex-positive stories instead of the rape fantasies that often dominate gay porn. www.stevemacisaac.com

Bradley Rader: Harry and Dickless Tom is the story of two homophobic truckers who screw and then beat up fags. It turns surreal when one wakes up with a vagina. www.flamingartist.com

Sean Z: Sean’s Myth is a superb fantasy comic with complex plots, gorgeous color work, and big-dicked vampires. www.sean-z.com

See www.folsomstreetfair.org/art for more kinky artists.

The $2.8 billion rate hike

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news@sfbg.com

In the middle of what economists are calling the worst economic downturn since the Great Depression, when California unemployment rates have hit post-WWII records, commercial defaults are rising, and families and businesses are hurting, Pacific Gas and Electric Co. is asking for electricity rate hikes that would take at least $47 million out of the local community, a Guardian analysis shows. By some estimates, the impact could be has high as $787 million.

And the economy is already losing between $174 million and $483 million a year because the city hasn’t created a public power system. So the total impact on the San Francisco economy of paying PG&E’s high private rates could total $2.8 billion. That’s money that local residents can’t spend on good and services, local businesses can’t use to hire more workers and city government can’t collect taxes on.

The analysis is based on work done in 2002 by Irwin Kellner, chief economist for Marketwatch and a former economics professor at Hofstra University. Kellner analyzed the savings to the Long Island economy after that community replaced a private utility with a public power system (see "The $620 million shakedown, 9/4/2002).

It’s not a complicated set of calculations.

During the fiscal year ending in 2009, San Francisco residents and businesses paid $644 million on electricity, according to data from the city’s Controller’s Office. If PG&E’s proposed 6.5 percent average rate hike is approved for 2011 (with additional hikes of 1.4 percent and 1.1 percent the following two years) that number would ultimately rise to $704.5 million.

Over the next four years, as those rate hikes kick in, San Franciscans would be handing PG&E an extra $157 million. That’s $106 million businesses won’t have to pay employees or make capital improvements, and $51.3 million consumers won’t have to spend in local businesses.

"That’s $51 million less that would otherwise go into San Francisco neighborhood businesses," said Ted Egan, chief economist in the city’s Office of Economic Analysis. "Instead the $51 million goes to PG&E, and they won’t spend it all in San Francisco. Some will go to shareholders and outside the region, so the rate hike would end up having a larger impact than the initial $51 million."

That "larger impact" is called the multiplier effect: if you give one dollar to someone likely to spend it locally, he or she will buy shoes at a local shoe store, whose owner will use the dollar to buy groceries at the local grocery store, whose owner will pay the counter worker, who will spend the money on paint at the local hardware store — and by the time it’s circulated through the local economy, that dollar has created far more than a dollar’s worth of economic activity.

Economists argue on how to figure the exact impact of that dollar. Kellner has done studies of the economic impact of utility rates and estimates the multiplier — the economic impact of electricity rate hikes — to be five, expanding the $157.4 million to over $787 million.

Egan takes a more conservative view of the San Francisco economy and consumer spending. He estimates that the multiplier for utility rate hikes is closer to 0.3 — or slightly higher when commercial rates are factored in. According to his estimate the impact would be closer to $47,231,083.86.

The multiplier suggested by federal government economists during the stimulus bill discussion is 1.8, the number cautiously posited by Cynthia Kroll, senior regional economist for the Fisher Center for Real Estate and Urban Economics at UC Berkeley. Based on her calculations, PG&E would be yanking $283 million out of the local economy.

Either way, it’s a huge sum of money, particularly in a bad economy.

A PATTERN OF RATE HIKES


This latest rate hike, Mindy Spatt, communications director of the Utility Reform Network told us, is only part of a pattern of attempts by PG&E to raise rates. Every three years, utility companies present a general rate case to the California Public Utilities Commission. But Spatt said utilities can come to the PUC in between to ask for other rate hikes.

"They’re constantly coming back to the commission for this that and the other thing," she said. "[PG&E] came back after they got money for smart meters to get money for smarter meters.

"Overall, the pattern is that rates continue to go up," she continued. "The only other thing going up is executive compensation. We are still plagued with blackouts, we still get crappy service."

She’s right: data from other local utilities show that PG&E rates are anywhere from 20 percent to 40 percent higher than cities that have public power. PG&E would like its customers to believe that higher rates will improve service and reliability — but that’s not what’s happening.

"They don’t spend the money on giving us good service, instead [they focus] on convincing us they are giving us good service," Spatt said.

In its announcement of the proposed hike, PG&E claimed the rate hikes are to maintain infrastructure and reliability. A further $1.1 billion is also being asked for as part of a Cornerstone Improvement Project to increase reliability.

"Reliability" is an old battle horse trotted out every few years as the justification for rate hikes. PG&E is consistently less reliable than other local utilities and even less reliable than other large private utilities. So the company constantly asks for money to upgrade its system — except that reliability doesn’t seem to improve much, and it hasn’t improved much in the past decade, according to California Public Utilities Commission data.

"It’s interesting to compare their rates to municipal utilities and how much higher they are," Spatt said. "What do we get for the extra money we pay? Because by most measures they’re not doing a great job."

In fact, Guardian research shows that local municipal utilities have consistently better reliability records than PG&E (see "The blackout factor," 8/5/09).

PUBLIC POWER SAVINGS


The direct cost of PG&E’s high rates costs the local economy — and those losses are compounded by the money that could have been saved with public power.

A detailed Guardian analysis concluded last year that San Francisco would be able to cut electric rates by 15 percent if it ran its own utility (see "Cleaner and cheaper," 9/10/2008). That’s an entirely reasonable estimate, according to Jeff Shields, general manager of the South San Joaquin Irrigation District, which is fighting with PG&E to take over electricity distribution in its service area. He projects similar savings for his customers.

Shields thinks his system (and one in San Francisco) could cut rates even further. As nonprofit, he explained, SSJID can save money in multiple areas and pass those savings onto customers.

"We don’t pay taxes on earnings," he told us. "PG&E, as a shareholder company, can collect an 11.45 percent margin of profit. We don’t pay that. We don’t have the same overhead. We don’t have high-rises or corporate jets."

Public power agencies pay less to borrow money, are eligible for tax-exempt financing, typically have a higher credit rating and often keep a substantial cash reserve.

"[Selling electricity] will continue to produce substantial income," he said. "As a nonprofit, the only thing we can do with that income is continue to drop rates."

Other municipal utilities, like Silicon Valley Power in Santa Clara, have been able to keep rates low as PG&E has continued to raise rates. Larry Owens, customer services manager at SVP, said its residential rates are half of PG&E’s, and less for larger users.

The opportunity cost of not having municipal power — factoring in PG&E’s proposed rate hike and the assumption, based on Guardian and SSJID analyses, that rates would be lowered by at least 15 percent — is approximately $545 million over the next four years. Theoretically, that money could have resulted in a $980 million to $2.8 billion bump in the local economy.

This doesn’t include what some municipal utilities call "general fund transfers" or money that goes directly into a city’s piggy bank to be spent on libraries, schools, public health, and other services.

"Private sector utilities pay money to shareholders," said Joyce Kinnear, utility marketing services manager in Palo Alto. "We give these payments to the general fund to give services to local residents."

In Palo Alto’s case, this amounts to more than $9.25 million annually, or 9 percent of annual sales revenue, according Ipek Connolly, senior resource planner for the Palo Alto Utilities Department. Alameda Municipal Power’s Alan Hanger says AMP pays at least $4.2 million into city coffers. Silicon Valley Power, according to Owens, sends 5 percent of its revenue back to the city in the form of $12.92 million.

Shields, at SSJID, said the utility plans to give 4 percent of revenue to a public benefits program for "various social services, conservation, and energy efficiency programs." This, in addition to general fund transfers, constitutes a direct contribution to the community 50 percent larger than PG&E’s.

"Public power systems provide a direct benefit to their communities in the form of payments and contributions to state and local government," Nicholas Braden, director of communications at the American Public Power Association, told us. "The total value of the contributions made by the publicly-owned utilities often comes in many forms and is not always easily recognized. In addition to payments such as taxes, payments in lieu of taxes, and transfers to the general funds, many of the utilities make other contributions in the form of free or reduced cost services provided to states and cities."

San Francisco has a 7.5 percent utility user tax, but the tax is only levied on homes and businesses. In other words, PG&E takes hundreds of millions out of the local economy — and gives back nothing.

————-

HOW SF COULD LOSE $2.8 BILLION

Amount San Franciscans paid for electricity IN 2009: $644 million

Additional cost of PG&E rate hike (per year): $157 million

Multiplier (maximum estimate): $787 million

Reduction in costs under public power: $483 million

Multiplier: $2.1 billion

Total impact of high PG&E rates: $2.87 billion

SOURCE: Guardian research based on public records

————

RATE HIKES HIT THE POOR HARDEST

Pacific Gas and Electric Co. estimates that its current rate hike proposal will add between $2.23 and $16.76 per month to an average residential electricity bill. That may not seem huge — but it adds up.

"Each rate hike in and of itself isn’t that much money," acknowledges Mindy Spatt of the Utility Reform Network (TURN). "But overall, rates are very high."

And if you’re in one of the 24,000 San Francisco families that, according to U.S. census data, livie in poverty, even the smallest increase in utility bills can have serious ramifications.

"A few dollars here, and a few there can really affect low-income households," said Stephanie Chen, legal fellow at the Greenlining Institute, a public policy research and advocacy group. "It can mean the difference between ‘Do I pay the power bill, or do I buy groceries?’"

Utility bills are not a discretionary expense, and, as unemployment continues to rise and adjustable rate mortgages continue to adjust upward, more households are finding themselves squeezed on all sides. Depending on timing and cash flow, Chen said it would be easy to imagine a formerly stable household unable to pay the utility bill.

And if a household can’t pay the bill for two weeks, PG&E sends a notice of termination and shuts off power. According to Spatt, PG&E shuts off 15,000 households in its service area each month.

"Rate hikes are certainly not going to bring down that number," she said. "These are not people who can’t pay for a Mercedes and got it repossessed. They are people who are losing heat, electricity, the ability to cook."

To turn the power back on, PG&E requires a deposit of twice the average bill to reestablish credit. If a household can’t pay its regular bill, paying twice the amount is even harder.

Spatt says TURN is working to push the CPUC to do something about this and help consumers who are struggling. Chen says utility companies already know their customers are hurting during the recession.

"All the utilities are facing decaying infrastructure concerns and renewable energy goals," Chen said. "They are facing increased costs, which they pass on to ratepayers. We know rate increases are inevitable — but we want to make sure they are necessary and cost-effective."

Remaking Market Street

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steve@sfbg.com

GREEN CITY Market Street is a mess that doesn’t work well for any of its users. In famously fractious San Francisco, that’s something politicians and citizens of all political stripes can agree on — and it’s now something that a wide variety of city agencies and interest groups have finally started to work on improving, experiment by experiment.

Mayor Gavin Newsom’s Sept. 10 announcement of a series of pilot projects on Market Street — including a plan to divert many automobiles from Market Street that begins Sept. 29, followed by creation of more sidewalk seating areas and art projects in the coming months — drew from work started a year ago by his arch-rival, Sup. Chris Daly, who in turn was furthering plans for an eventually carfree Market Street initiated by former Mayor Willie Brown.

"I’m glad that it’s going to get done and we’re going to take cars off of Market Street," Daly told the Guardian after Newsom’s announcement. Newsom presented the changes in grander terms, saying in a prepared statement, "The new and improved Market Street will rival main streets around the world."

Among the streets Newsom cited as an example is Broadway in New York City, "for piloting ways to use streets as open space," according to the Mayor’s Office statement. But while many San Franciscans like Broadway’s new separated bike lanes and street-level open space, others covet Broadway’s flashy electronic signs and billboards, which this November’s Proposition D would bring to the mid-Market area.

"The next thing is going to happen whether Prop. D passes or not," said David Addington, the Warfield Theater owner who proposed the measure to allow more commercial signage on Market between Fifth and Seventh streets as a source of revenue to improve mid-Market. "This area could be fantastic."

Indeed, it appears that Market Street is bound for some big changes. And unlike efforts in the past, which involved long studies of ideas that were never implemented, there’s a sense of experimentation and immediacy that marks the latest push.

"I’m very excited about the Market Street changes and I think it’s good for San Francisco to be in a mode where we give ourselves permission to experiment with our streets," said Gabriel Metcalf, executive director of the San Francisco Planning and Urban Research Association, which is supporting Prop. D and Newsom’s Market plans.

"I really appreciative that the city is willing to start things in Market Street in trial phases so we can wade in," said Leah Shahum, executive director of the San Francisco Bicycle Coalition. "Reducing the number of cars on Market Street will definitely be a benefit for those walking and biking, as well as speeding up transit."

Plans call for signs encouraging eastbound motorists on Market to turn right at 10th Street before requiring them to do so at Eighth Street and again at Sixth Street.

The San Francisco Transportation Authority (governed by the Board of Supervisors), which prepared the study on diverting cars from Market Street, was also poised to approve (on Sept. 22, after Guardian press time) some complementary measures to "calm the safety zone" on Market Street.

That plan is to create better markings on the street to delineate the spaces used by motorists, pedestrians, and bicyclists, including colored pavement and moving back the points where cars stop at intersections to create safer access to transit stops.

Once the court injunction against bike projects is lifted — for which a hearing is set Nov. 2 — the plan would also create colored "bike boxes" at Market intersections and a buffer zone between the bike lanes and cars between Eighth Street and Van Ness. "It would be the city’s first separated bike lane, with very little work," Shahum said.

The Mayor’s Office says various city agencies will monitor and evaluate the Market Street pilot projects being implemented over the next year, with full implementation of a designed Market Street coming in 2013 after taking community input.

"We’re excited about it. There’s a long history of ideas about what to do about Market," said Judson True, spokesperson for the Municipal Transportation Agency, which is guiding the improvements. "This is the start of the next phase on Market Street."

Crunch time

0

sarah@sfbg.com

The proposal by city officials and Lennar Corp. to build more than 10,000 new housing units at Hunters Point Shipyard/Candlestick Point is entering a critical phase, particularly for Bayview-Hunters Point residents who want greater oversight and scrutiny of the project.

Candidates are lining up to replace termed-out District 10 Sup. Sophie Maxwell next year; the project’s draft environmental impact report will be released, considered for approval and potentially challenged; and Lennar officials will seek to get the final development agreement with the city signed before Mayor Gavin Newsom leaves office in 2011, or earlier.

The 770-acre redevelopment plan, which the Mayor’s Office is touting as a shining example of a public-private partnership, has come under repeated attack from community advocates after Lennar’s failures to monitor and control toxic asbestos dust at the shipyard. The crash of the housing market and plunge in the company’s stock price also triggered concerns about the project.

And in light of the U.S. Navy’s recent decision to dissolve the Hunters Point Shipyard Restoration Advisory Board (RAB), the community is concerned that decisions about radiologically-affected dumps and the shipyard’s early transfer from the Navy to the city could occur without important public oversight.

Another aspect of the project — a proposal to build condos on 42 acres of Candlestick Point State Recreation Area — was criticized by the Sierra Club, Arc Ecology, and Friends of Candlestick Park. Lennar argued it was necessary for the project to pencil out and this sale of state land was to be authorized by Senate Bill 792, sponsored by Sen. Mark Leno.

In August, Leno secured the neutrality of the environmental groups and the support of the California Assembly (but not Assembly Member Tom Ammiano, the lone dissenting vote) for an amended version of his bill, arguing that selling 23 acres for $50 million would spare the rest of Candlestick Point SRA from being closed by budget cuts. The legislation now awaits Gov. Arnold Schwarzenegger’s signature.

Now, with the project’s EIR due to be released Sept. 28, people have the chance to register concerns about plans for such a massive development project, which includes condos on the Bayview’s only major park and a controversial bridge over Yosemite Slough.

On Sept. 15, community members packed the Board of Supervisors’ meeting to demand an investigation into their concerns, which also include the apparent inability of Newsom’s African American Out Migration task force to issue its overdue final report about the ongoing exodus of the city’s black population, which this project could exacerbate.

Sup. John Avalos told us he is now gathering information on the issue and hopes to schedule Land Use Committee hearings on the shipyard cleanup and Lennar’s economic health. "The documentation gives real strength and power to the community’s contentions," Avalos said.

He also noted that Maxwell is scheduling a hearing into the dissolution of the RAB, while Sup. Ross Mirkarimi is resurrecting legislation that seeks to put the San Francisco Redevelopment Authority under the control of the Board of Supervisors.

Arc Ecology director Saul Bloom said his group will study the project’s EIR to see if it accurately assesses the effects of Lennar’s development.

"We are concerned about the impact of truck traffic, the bridge over Yosemite Slough, and whether the transportation plan is going to effectively put the Bayview between three freeways," Bloom said. "But we’re going to be even-handed. If the EIR does a good job, we plan to say so."

Jaron Browne of the Bayview advocacy group POWER (People Organized to Win Employment Rights) told the Guardian that her group wants the shipyard cleaned up and the community respected.

"This is not just a Bayview issue," Browne said. "The whole city will be affected by the decisions that take place in terms of the future of affordable housing and environmental protection."

Microfinance for radicals

0

news@sfbg.com

In 1969, 11 antiwar protesters loced up at the Santa Rita County Jail began questioning each other about the future of the movement. By the time they were released, they’d decided that the creative nonviolent projects that were emerging would all need funding — and the Agape Foundation was born.

Agape, which celebrates its 40th anniversary Sept. 24, is not the only progressive foundation in San Francisco, and not the only source of money for small progressive groups. But it is, in many ways, the boldest, the one most willing to take risks on organizations that are new, small, and doing things far out on the political edge.

Nina Dessart, Agape’s administrative director, says the group is "unusual for funding only social justice or change." And unlike other foundations that look for long track records, Agape funds startups. Indeed, an organization must be less than five years old to be eligible for Agape’s funding options.

"We love to be the first ones [to give aid to an emerging cause,]" Dessart said. "It is hard to get grants to organizations without track records."

Some big, nationally prominent organizations also have benefited from Agape’s money, including Amnesty International, the National Farm worker Ministry, and Bread and Roses.

Agape — the name comes from the Greek word for altruism — also prides itself on helping the likes of People’s Grocery in West Oakland, a small operation that promotes food and health awareness in an economically depressed community.

And long before microloans became popular, the folks at Agape realized that a little money could go a long way. For example, the National Farmworkers Ministry "used [a] 1959 Plymouth station wagon [purchased with Agape funds] continuously until its demise in the autumn," according to Agape records. The group used the station wagon to bring food and relief to families whose families members had been jailed for picketing, to carry protesters to picket lines from jail, and to map out the picket lines.

Agape funds have supplied portable toilets for antinuclear protests. The group has been funding gay military counseling since 1972. That same year, Agape underwrote a four-day "consciousness raising" conference for ex-prisoners and their families. In 1975, Agape paid for the construction of the Trident Monster — a submarine-like sculpture used to raise awareness of nuclear weapons.

In the 1970s and 1980s, Agape gave money and support to antinuclear organizations such as the Honeywell Project and the Abalone Alliance — a time when groups that were constantly engaged in civil disobedience and defying federal and state authorities would have had trouble getting tax-exempt status.

Indeed, tax-status assistance has been one of Agape’s most powerful tools — groups can use the foundation as a fiscal sponsor and not have to worry about wrangling with tax documents.

Women for Genuine Security, a Bay Area advocacy group, uses Agape to process contributions to "minimize administrative aspects of getting a tax-exempt status," coordinator Gwen Kirk told us.

Five years ago Agape broadened its focus from fundraising by starting an annual awards program to spotlight the people and groups that are creatively and actively working toward peace. Nicole Hsiang, an Agape board member, explains that around the initiation of the Iraq War, Agape started giving out peace awards "to the real heroes."

Last year the Agape Peace Prize went to Nancy Hernandez, youth program coordinator of H.O.M.E.Y. (Homies Organizing to Empower Mission Youth). Hernandez used the money from the prize to take rival Mission District gang members camping. These youth — and those helped by Youth Together and other organizations funded, aided, and spotlighted by Agape — are "the next 40," Hernandez says, the ones at the forefront of social change for the next 40 years in San Francisco.

Jacqueline Cabasso, this year’s recipient of the Enduring Visionary Prize, is executive director of Western States Legal Foundation, which helped form the nation’s largest antiwar coalition, US Abolition 2000 and the People’s Nonviolent Response Coalition after 9/11.

Eileen Hansen, acting director of Agape, puts it simply: "We fund new, struggling, barely formed groups that can hardly call themselves an organization — and nobody else will take a chance on them," she said. "When you look back at the social justice movement over the past 40 years and all the groups we’ve helped, you have to wonder where that movement would have been without Agape."

Agape’s awards ceremony and anniversary party is Sept. 24, 7 p.m. to 9 p.m. in the Green Room, San Francisco War Memorial, 401 Van Ness. $50 donation. www.agapepeaceprize.org.

Of human bondage

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culture@sfbg.com

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Swingin’ with a star: Madison Young, photographed by Pat Mazzera

San Francisco is America’s capital of kink. Consider Sunday’s Folsom Street Fair (www.folomstreetfair.org) as a flagship holiday and the Armory, occupied by Kink.com, as a kind of sexual City Hall, and there’s little dispute.

But it may seem peculiar for a city so committed to gender and sexual equality to be the patron city of BDSM: a complicated acronym that stands for bondage and discipline (BD), domination and submission (D/s), sadism and masochism (SM). In crude terms, BDSM relationships are marked by deliberate and sometimes extreme inequality, where a submissive party voluntarily forfeits partial or complete physical, psychological, and emotional control to a dominant one. Although "switching" does occur, D/s — the Dominant (capital D) and submissive power dichotomy — may seem to be everything our traditional concept of liberal empowerment and classical feminism rail against.

But while it might be difficult for some to grasp, BDSM — which includes a broad spectrum of sexual acts including (but not limited to) bondage, corporal punishment, electrostimulation, piercing, branding, suspension, golden showers, and asphyxiation, as well as general play relationships like age play, pet play, medical play, and cross-dressing — is controlled by a strict code of behavior referred to as "SSC," or "safe, sane, and consensual." San Francisco even has its own BDSM nonprofit, the Society of Janus, which was founded in 1974 to promote safe adult power exchange.

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Ropes aficionado Fivestar, photographed by Pat Mazzera

And unlike that other U.S. capital, Washington, D.C., where women are systemically outnumbered in the decision-making process, in San Francisco’s kinky community, strong and sexually empowered women are well represented — if not always well understood.

Women in BDSM, unfair as it seems, often receive some of the harshest criticism from a varied opposition. D/s women frequently find their lifestyles attacked by religious groups, academics, psychologists, and sexual conservatives, as well as much of the midsection of the United States. Whether stigmatized as self-loathing antifeminists or insatiable man-eating jezebels — or dismissed as insane — much misinformation has been spread about women (gendered, self-identified) who operate within the community.

However, the strong, independent-minded D/s women of San Francisco will have the vanilla (their term for those who do not engage in BDSM activities) know that BDSM is not what you think. Indeed, BDSM: It’s Not What You Think! premiered last year at the Frameline Film Festival. Frameline, the longest-running film festival dedicated to LGBT programming, featured a cast of prominent figures in the San Francisco leather community, many of them women.

For the women of bondage in our city, many of whom maintain 24/7 D/s relationships, BDSM is considered a liberating force. The following profiles are shout-outs to just some of these women, each representing a different facet within the BDSM spectrum. Most have participated in the community for more than a decade — and all really, really love what they do.

In San Francisco, the old Rousseauian adage "Man is born free, but everywhere he is in chains," could easily be rephrased as: "Woman is born free, and everywhere she uses chains to get off".

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Madison Young, photographed by Pat Mazzera

MADISON YOUNG, THE INGÉNUE

Madison Young refers to herself as the "kinky girl next door." With blue eyes, strawberry blonde hair, and a translucent, Kidmanesque complexion, Young is one of the most recognizable performers in the adult entertainment industry, though perhaps more recognizable to those who enjoy inflicting pain on women tied with rope.

"I found a Kink.com posting on Craigslist," Young says. "I had been involved in kinky sex before then, and was really into things like fisting and golden showers and light bondage. But I had never really done flogging or anything around rope bondage. Peter [Ackworth] was the first person who ever tied me up, and I fell in love with it instantly." Since then, she’s become famous, adored by fans for her raw, honest performances and for her incredible toughness.

And Young is really, really tough. Run a simple Google Image search and you’ll find photos of her subjected to things that would make a Navy Seal weep — like being suspended from one elbow by a single rope strung from the ceiling, with her legs pulled apart as far as legs can go. Young is one of the few working models who can withstand what is known as a "category five suspension," bondage positions so grueling they can only be endured for mere seconds. "I have a really high pain tolerance," she says. On a scale of 1 to 10? "Out of the models that exist, I’m a 10."

A self-identified masochist, Young’s interest in bondage is uniquely centered around rope. "I’m not really into metal restraints, scarves, zip ties, or anything like that. It has to be rope."

Young is also among a small but growing number of women who are writing, directing, and producing porn, and runs her own production house called Madison Young Productions. She also finds time to run Femina Potens, a female-focused art gallery located in the Castro.

www.madisonbound.com; www.feminapotens.org

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Midori, photographed by Constance Smith

MIDORI, THE SENSEI

Midori, the artist formerly known as Fetish Diva Midori, is adamantly opposed to being portrayed exclusively within the confines of BDSM. "A lot of people, sure, see my bondage stuff. But that’s just one of many, many things that I do."

That may be so, but all the same, you can’t talk about San Francisco’s women of bondage without including a legend like Midori. While she might claim "I don’t distinguish S-M, because it’s just all sexuality," she is a huge personality, respected sex-educator, and popular author in the realm of BDSM. Her sought-after bondage workshops include weekend-long intensives on "rope bondage dojo," a type of bondage she developed and trademarked.

For Midori, growing up in Japan has had an enormous impact on her work, and her heritage manifests itself not only her rope bondage specialty in but also in her academic interests. She published a collection of S-M stories titled Master Han’s Daughter based in a Tokyo of the future and developed a course on contemporary sex culture in Japan. She also has written instructional books like The Seductive Art of Japanese Bondage and Wild Side: The Book of Kink and taught sex education courses all over the world.

Although stunning, this one-time fetish model and former professional dominatrix is wary of her status as a sex symbol. "If people appreciate my writing and enjoy my classes and get something out of it, and dig my work because of my art and my activism and stuff that I do, hey, that’s great. I think I’m, like, way past the age of being the pretty something, because after all I’m well in my 40s. There are certain people in my private life, well, I hope they think I’m sexy. But beyond that, I hope people appreciate my work because of its content."

www.planetmidori.com; www.ropedojo.com

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Simone Kross, photographed by Constance Smith

SIMONE KROSS, THE ROLLING STONE

The perceived life of a traveling dominatrix is alluring: exotic getaways, extravagant dinners, five-star hotels transformed into makeshift dungeons. But the reality is not easy.

Says Simone Kross, a traveling pro-domme: "The perception is maybe that I am wealthy and I have clients flying me around and it’s really exotic and glamorous. It’s really not. It’s hard work, and I pay my own way. The clients and sessions help me fund getting from one place to the next, but it’s not as glamorous as it may seem. At least not for me."

Kross has no illusions about her frequently grueling work. While working out of hotels, she runs her advertising on Eros Guide, a large online erotic service listing. "I can get busy to the point where I might not see the outside of a hotel room for three or four days. After I finish my sessions I can be pretty tired, order room service, and go to bed. I could be doing sessions from one in the afternoon until 10 at night."

An added stress is traveling with heavy gear. "The biggest problem is weight requirements, because you have to keep it under 50 pounds," she says. What could be so heavy? "You’d be surprised," she says. "Leather and metal, D-rings, rope, whips. I don’t even use half the gear I pack, but you never know what someone requires for a scene. The shoes also tend to weigh quite a bit."

Explaining a suitcase full of floggers, rope, gags, whips, and harnesses to airport security might seem awkward, but Simone says "they have checked my bags because they are a little heavier, but no one has given me any problems."

You can see Kross, a gorgeous brunette with cheekbones that appear perfectly convex from every angle, in action on Men in Pain, a chapter of Kink.com.

www.simonekross.com

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Natasha Strange, photographed by Constance Smith

NATASHA STRANGE, THE PRINCESSA

Now that the age of feudalism has passed, not many women can admit to having a coterie of ladies-in-waiting, so Natasha Strange’s "pink posse" — cross-dressing clients who have offered their services to her — is quite the blast from the past. And their title is not in name only: these ladies (or "sissy boys") actually do wait on Natasha.

For instance, Sissie Sandra’s responsibilities include walking Strange’s dog and running errands, duties that Sandra faithfully blogs about on a site called "Sandra in Waiting." Who knew moving someone’s car to avoid a street- cleaning ticket could be so erotic?

To her ladies-in-waiting, Strange is "the Princessa": a draconian ruler (they wouldn’t have it any other way) whose Marie Antoinette-esque whims become the word of law. With her wide blue eyes and long wavy hair, she resembles a cupcake Glinda the Good Witch, and it’s not hard to see why her pink-clad sissies have grown attached over the years.

Strange lives a charmed life. Her career began at Fantasy Makers, a fetish house in Oakland, when she was 25. Through her relationships with dedicated clients, her talents as a mistress, and sheer luck, she has fallen into a life many young dominatrices can only dream of.

She doesn’t take that luck for granted. "I have been really, really lucky to establish myself with a clientele that is really devoted to me," she says. "I don’t have to go out and hustle nearly as much as I did when I started out, even in this economy."

While she isn’t taking new clients, Strange hasn’t retired as a dominatrix just yet.

"I don’t think good dommes really retire. They sort of fade away. They take their favorite clients and they go. That’s probably what I’m starting to do. I haven’t advertised anywhere in two years. I’ve taken 90 percent of my website down. But I still have my tight-knit little group of subbies and sissies."

www.kittenwithawhip.com; sandrainwaiting.blogspot.com

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Val Langmuir, photographed by Constance Smith

VAL LANGMUIR, THE ACTIVIST

If you’re not living a BDSM lifestyle, it’s unlikely that you’ve heard of the Exiles and the sizable contribution they have made to the San Francisco BDSM scene.

This group, an educational organization (for women) that teaches safe BDSM (between women), had several lives before becoming the organization it is today. Says Val Langmuir, co-coordinator, "The Outcasts was the name of the former group. It originated in 1984 and ceased to exist in 1997. The Exiles was founded in 1997 by former Outcasts and immediately held its first program: Guns, Knives, and Choking, Oh My."

While it appears as if these women enjoy flirting with death, hardcore BDSM is the reason the Exiles exist in the first place: they want to make sure women know how to engage in it and survive. Their classes have included controversial topics like "Brutal Affection: Punching, Kicking, Slapping, and Sex," "The Art of Hazardous Age Play," and a program educating attendees on breath play, or what Langmuir describes as "how not to kill yourself when engaging in erotic asphyxiation." Langmuir moved to San Francisco 12 years ago from London, where she protested the horrifying Spanner Operation in 1990 that saw 16 Manchester gay men arrested and thrown in jail for participating in BDSM. Since then, Langmuir has been dedicated to advocating the right to participate in BDSM.

She has been involved with the Exiles since its inception. "We have meetings in the Women’s Building the third Friday of every month. Usually at each meeting, I’ll see at least one new face."

www.theexiles.org

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Selina Raven, photographed by Constance Smith

SELINA RAVEN, THE MRS. ROBINSON

A former Catholic schoolgirl who attributes her sadistic tendencies to "all of those Sunday mornings spent contemputf8g the bloody figure of Christ," Raven began her pro-domme career in a structured, hierarchical way: she apprenticed. "There aren’t a lot of other women who are practicing BDSM as professionals who went through the process of apprenticing themselves to an older mistress. There’s only one other woman in SF right now, Eve Minax, who has actually done things in a more traditional manner."

Now Raven is not only one of the most established mistresses in San Francisco (and a 2007 Guardian Best of the Bay winner), but something of a mentor to up-and-coming dommes. Perhaps it’s because Raven benefited personally from the tutelage of an older mistress, Sybil Holiday, that she "always resolved to be a friendly face in the community, in being that person who I wish was around when I was 18: a little wicked but armed with good information and good experiences. That’s why I see myself as Mrs. Robinson."

A popular guest lecturer at UC Berkeley and sex educator at the Academy of SM Arts, an organization based in Menlo Park with workshops around the Bay Area, Raven is a happily-settled Oaklander with a supportive leather family. "I have my slave, and I have my former apprentice. And her boy lives with us too. I do not lack for love and companionship, but it’s not in the traditional hetero-normative form."

www.selinaraven.com

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EVE MINAX, THE TRANSFERRED QUEEN

"I love diapering," says Eve Minax. "Age-play is a huge force in my life."

AB/DL, which stands for adult baby/diaper-lover, is a paraphilia most people tend to find either comical or disturbing. Minax disagrees. "Diapering in and of itself isn’t about age play as much as it is about getting somebody into a primal state — that baby state, that place before you’re actually living, thinking, feeling, in civilization."

In terms of maternal figures, Minax — who is six feet tall in heels, with short spikes of orangey-red hair and a fluty, theatrical voice — looks more Auntie Mame than Mommy Dearest. That is, if Auntie Mame looked like she could flog you into an intensive care unit. (In fact, the first time I met Minax in person, her right wrist was in a cast. She sprained it while flogging a client too enthusiastically.)

And speaking of intensive care, Minax is known as much for her medical play as she is for age play — in case you’re on the market for a rectal exam.

After eight years of working in San Francisco and living in Chicago, Minax finally made the decision to make SF her home base last year, much to her own delight. "I come from Chicago. I’ve lived in Paris. I’ve lived in Melbourne. But San Francisco is the mecca for alternative sexuality. All everyone ever talked about was San Francisco! It was almost like having a religious experience. I wanted to wait until I was about to retire, but then finally I was like: fuck it, I’ll just move here."

Minax’s current projects writing a cookbook of "food and BDSM pairings", such as "pork ribs with a side of rubber gimp".

www.mistressminax.com

Editor’s note: This list is by no means exhaustive. There are an impressive number of women making an impact on San Francisco’s BDSM scene. In particular, we’d also like to give a nod to Cleo Dubois, Sybil Holiday, Madame Butterfly, Luncida Archer, Mistress Morgana, Fivestar, Maitres Madeline, Janet Hardy, Hollie Stevens, and Princess Donna.

Too clever by half

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“>THEATER REVIEW With a notable streak of successful New York–bound liftoffs and landings — for everything from solo shows (Bridge & Tunnel) to unconventional musicals (Passing Strange) — it’s fair to call Berkeley Rep the regional NASA to Broadway’s firmament. It therefore seemed more savvy than surprising that the Rep took on staging Green Day’s humongous hit concept album, American Idiot, as a musical. Given the attention-grabbing concept-squared, the built-in youth market, the local angle, and the precedent (and writer-director Michael Mayer) borrowed from Spring Awakening — the faux-punk teen-angst Tony-winner of 2007 — American Idiot the musical must have been something of a no-brainer.

And sure enough, there are no brains in this show, just lots of songs and outfits and group dancing and mild thrashing and writhing around amid high-grade eye candy. It lasts 85 minutes, or an eternity, I’m not sure which came first. I wasn’t expecting much, having not cared for the hollow gestures in Spring Awakening, but I got even less. Shot out of the circus canon of commercial instinct, the stage version of Green Day’s album is as tarted up and vapid as they come. It will do the band and the Rep no harm, but anyone who actually takes their theater seriously or, yeah, even rebellion against a body-and-soul–smashing capitalist machine will be, uh, let’s say, disappointed. The gestures of rebellion here — thoroughly watered down and washed away by a flood of sentimentality, admittedly derived largely from the album itself — are worthy of any of the more slick corporate advertising campaigns. Meanwhile, a vague storyline of redemptive dissolution and lost love preens around a loser-hero and two distant and less central buddies, but it’s all faded imprints of a million things you’ve seen before.

AMERICAN IDIOT

Through Nov. 1

Check Web site for schedule, $16-$95

Roda Theatre, 2015 Addison, Berk

1-888-4-BRT-Tix, www.berkeleyrep.org

Jannah

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paulr@sfbg.com

DINE The brightness of Yahya Salih’s new restaurant, Jannah, belies — or redeems — what went before. Jannah’s immediate predecessor was a place called Gabin, a Korean-inflected karaoke bar that drew some spicy Yelp commentary. Before that, it was Café Daebul, also Korean-influenced, maybe a bit less commentable. Both places were, apparently, on the gloomy, claustrophobic side.

Jannah, by contrast, is all about openness. Huge plate-glass windows look onto the lively Fulton-at-Masonic street scene, while the interior consists of a vast, pillarless dining room embroidered by a bar set off by a half-wall. The main floor is an expanse of wood planks worthy of a basketball court, but the ceiling is a little low, so it would probably have to be Nerf basketball. And BYO hoops.

Salih’s other city endeavor, the four-year-old YaYa (on Van Ness at the western edge of Russian Hill), manages to combine Iraqi and Californian influences to impressive effect, and Jannah does much the same thing, at a lower price point, as befits its quasi-college-town location. (USF and its hordes of collegians on budgets is practically across the street.) All the main courses are $11, and, as if that weren’t enough, the list includes dishes and ingredients you don’t often see, including fesenjoon (the chicken dish associated both with Iraq and Iran) and a version of masgouf, the grilled-fish preparation that is one of the gastronomic signatures of Iraq.

Of course, the menu offers plenty of items that will seem familiar, including that trinity of tasty mushes from the Middle East, tabbouleh, hummus, and baba ghanoush — or, as it is spelled at Jannah, ghnooge. There’s even falafel, but it’s not like the falafel we generally see, chickpea fritters the size and shape of golf balls. Instead the batter is worked into a small disk ($5) and, like a pizza, topped with a tasty Mediterranean mélange of eggplant, roasted red-bell pepper, scallions, red onions, shiitake mushrooms, diced tomatoes, and feta and goat cheeses. The crust, in the best triangle-slice tradition, is sufficiently rigid even at the point to support the toppings without wilting or crumbling, and it’s tasty enough to stand on its own. In an odd way, the pie reminded me of the chickpea-flour tort known as a farinata in Liguria and a socca in the south of France.

Kelecha ($3) are ravioli-like dough pockets, stuffed here with dates, cardamom, and cinnamon and topped with yogurt that’s been coarsened with chopped walnuts and subtly eniched with Parmesan cheese. The menu lists this dish as a starter, with other salads and dips, but it’s also just sweet enough to qualify as a light dessert. The yogurt sauce, in particular, is reminiscent of the cream-cheese frosting often found on carrot cakes.

We did think the variety of pickles ($3) tended a little too much toward saltiness — especially the cauliflower florets. But the plate (which also included radish, cabbage, peppers, and olives) was a festival of slightly surreal colors worthy of the Enterprise cafeteria on the original Star Trek, with lime green, bubble-gum red, and electric yellow being well-represented.

The main courses include an array of phyllo-dough preparations that vaguely resemble pot pies: the principal ingredients are sealed in a pastry crust and baked. In the case of kubsee ($11), the pastry is formed into a squat cylinder, then filled with prawns, scallops, fava beans, chickpeas, and rice. The rather staggering roster of seasonings includes cardamom, cinnamon, cumin, almond, tomato paste, hot pepper, and sun-dried lime, and the whole thing is ringee by a smoky tomato-eggplant purée.

Sun-dried lime, incidentally, is one of those ingredients that’s almost unknown in the occidental kitchen and helps give this kind of cooking a lot of its distinctive aura. To get a better idea of its flavor, you can have it as a lightly sweetened drink, a kind of Middle Eastern limeade whose sunset color won’t give you any sort of clue as to what it’s made of.

The masgouf ($11) features a subtly seasoned, butterflied trout — a freshwater fish (often sustainably farmed now) whose pinkish flesh is reminiscent of salmon. The freshwater angle is appropriate here, since Iraqis tend to grill fish taken from the Tigris and Euphrates rivers, and it also lends the final result a certain similarity to gravlax. The rest of the plate consists of a heap of rice, another of tomato-eggplant compote, and a colorful honor guard of cauliflower and broccoli florets and carrot and yellow summer squash coins, all steamed and arranged around the periphery.

For dessert (assuming you don’t want the kelecha or had them earlier on), how about kahi ($5), a pair of fried pastry triangles, like a child’s set of military hats from the 18th century, bronzed for posterity? They are stuffed with cardamon whipped cream (which has a cheesy-thick texture, neither pleasant nor unpleasant) and are set afloat on a small red sea of raspberry purée, which is nearly an event in itself. Bright, too.

JANNAH

Dinner: Mon.–Thurs., 5–9 p.m.; Fri.–Sun., 5–10 p.m.

Lunch: daily, 11 a.m.–2 p.m.

1775 Fulton, SF

(415) 567-4400

Beer and wine

AE/DC/DS/MC/V

Echoey noisy

Wheelchair accessible

Events listings

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Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 23

Barback Olympics Ruby Skye, 420 Mason, SF; (415) 693-0777. 8:30pm, free with RSVP at going.com. Twenty San Francisco bars send their best barback gladiators to compete for prizes in a bottle relay, beer restocking race, keg changing competition and many more rigorous activities. Also featuring DJs, performances, and libations.

Queer Mommy/Boy Femina Potens, 2911 Market, SF; (415) 385-5814. 8pm, $8-12 sliding scale. Join in on a community discussion on the often invisible, misunderstood dynamic of Mommy/Boy in the leather, kink, LGBT, and BDSM communities.

BAY AREA

LGBTTIQ in the U.S. Free Speech Movement Café, Moffitt Library, UC Berkeley, 2200 University, Berk; (510) 642-3773. 6pm, free. Hear panelists, who are contributing writers from the recently published book Smash the Church, Smash the State: The Early Years of Gay Liberation , discuss the history of this movement while linking it to current social and legal battles for equality.

THURSDAY 24

Big Book Sale Festival Pavilion, Fort Mason, SF; (415) 626-7500. Thursday – Saturday 10am-8pm, Sunday 10am-6pm; free. Hundreds of thousands of books, DVDs, CDs, and other forms of media are being sold for $5 or less to benefit the San Francisco Public Library.

Women’s Building Celebration Women’s Building, 3543 18th St., SF; (415) 431-1180. 4pm, free. Celebrate the 30th anniversary of the Women’s Building at the open house featuring tours of the historic building, food, entertainment, and storytelling.

BAY AREA

Life of Ramparts Magazine First Congregational Church of Berkeley, 2345 Channing, Berk.; (510) 848-3696. 7:30pm, free. Hear Robert Scheer and Peter Richardson discuss the short and remarkable life of Ramparts magazine (1962-1975), one of the most influential leftist publications of its era.

FRIDAY 25

Ghetto to Gaza POOR Magazine, 2nd floor, Redstone Building, 2940 16th St., SF; (415) 671-0789. 7pm, free. Hear Mutulu Olugbala, also known as M1 from the rap group Dead Prez, share his recent experiences in Gaza, Cairo, and Europe and compare them with ghetto life in Black communities in the U.S.

Ride Too! CELLspace, 2050 Bryant, SF; (415) 648-7562. 8pm, $10-20 sliding scale. Enjoy bikes, beer, and bands at this benefit for CELLspace and the Florida St. Mural Project and neighbor welcome back party for the Bike Kitchen.

Taste of Greece Annunciation Cathedral, 245 Valencia, SF; (415) 864-8000. Fri.-Sat. 11am-10pm, Sun. Noon-9pm; $10, print out a free ticket at www.annunciation.org. Enjoy some authentic fresh Greek food at San Francisco’s only Greek food festival.

SATURDAY 26

Asian American Women Artists SOMArts Cultural Center, Bay Gallery, 934 Brannan, SF; (415) 722-4296. 6:30pm, $15-50 sliding scale. Celebrate the 20th anniversary of the Asian American Women Artists Association at this event featuring three exhibitions with art from Bay Area women, live music, activities, and more.

iB Crafty Workspace Limited, 2150 Folsom, SF; www.market-sf.com. Noon, free. Shop local at this handmade craftmasters and artists showcase. Featuring fashion, jewelry, paintings, cards, housewares, and more.

Tour de Fat Speedway Meadows, Golden Gate Park, SF; www.sfbike.org. 11am-5pm, free. Don’t miss this years bicycle festival featuring a bicycle parade, live music, food, bicycle performances, and more. Proceeds to benefit the San Francisco Bicycle Coalition and the Bay Area Ridge Trails Council.

Trannyshack Boat Cruise Pier 41, Fisherman’s Wharf, SF; visit www.trannyshack.com for info and tickets. 9pm; $45, tickets not available at the dock. Get on board the S.S. Trannyshack 2009 as it sails around the San Francisco Bay with cruise director Heklina presenting a show featuring Dirty Sanchez and the gorgeous ladies of Trannyshack.

BAY AREA

Watershed Environmental Poetry Fest Civic Center Park, downtown Berkeley; (510) 526-9105. Noon, free. Join poets Robert Haas, David Mas Masumoto, Arthur Sze, Carol Moldaw, and many more at this day of poetry, music, and activism.

SUNDAY 27

Folsom Street Fair Folsom between 7th and 12th St., SF; www.folsomstreetfair.org. 11am-6pm, donations appreciated. The 26th Folsom Street Fair offers over 250 exciting, sexy exhibitors and vendors, food, drinks, and artistic and cultural entertainment.

BAY AREA

Last Sundays Fest Telegraph between Dwight and Bancroft, Berk.; www.lastsundaysfest.com. 11am-7pm, free. Take in the culture of the East Bay at the last Last Sundays Fest of the year. Featuring entertainment, culture, recreation, shopping, and dining.

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Music listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com.

WEDNESDAY 23

ROCK/BLUES/HIP-HOP

"Blue Bear School of Music Band Showcase" Café du Nord. 7:30pm, $12-20.

Dance Gavin Dance, Emarosa, Of Mice and Men, Tides of Man Slim’s. 9pm, $14.

Dillinger Four, Riverboat Gamblers, Arrivals, Young Offenders Bottom of the Hill. 7pm, $12.

Do, Hollywood Mon Amour Great American Music Hall. 9pm, $10.

David Dondero, Christopher Lockett, Shaun Paul Gordon Hemlock Tavern. 9pm, $10.

Pete McGill and His Cottonfield Blues Band Rasselas Jazz. 8pm, free.

Goh Nakamura, Doug Paisley, Lesser Lights Rickshaw Stop. 8pm, $10.

Pet Shop Boys Warfield. 9pm, $55-89.50.

Pitbull, David Rush Regency Ballroom. 8pm, $32.50.

Portugal. The Man, Drug Rug, Robert Francis Independent. 9pm, $15.

Shari Puorto and Alastair Greene Biscuits and Blues. 8pm, $15.

Revolting Cocks, Jim Rose Circus Fillmore. 8pm, $25.

Sinner, Sinners, Unko Atama, Horror X Annie’s Social Club. 8pm, $7.

BAY AREA

Rodrigo y Gabriela Fox Theater. 8pm, $35.50.

JAZZ/NEW MUSIC

Anthony Brown’s Asian American Orchestra Yoshi’s San Francisco. 8pm, $20.

"B3 Wednesdays" Coda. 9pm, $7. With Adam Shulman.

Cat’s Corner Savanna Jazz. 7pm, $5-10.

Michael Chase Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 8:30pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Tin Cup Serenade Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7pm, free.

FOLK/WORLD/COUNTRY

49 Special Climate Theater, 285 9th St., SF; (415) 704-3260. 8pm.

Freddy Clarke and Wobbly World Peña Pachamama, 1630 Powell, SF; (415) 751-6090. 8:30pm, $10.

Liz Rogers Plough and Stars. 8pm, free.

Tippy Canoe SoCha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Club Shutter Elbo Room. 10pm, $5. Goth with DJs Nako, Omar, and Justin.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Indulgence Wednesdays Harry Denton’s Starlight Room, top floor, Sir Francis Drake Hotel, 450 Powell, SF; (415) 395-8595. 9pm, $15. With DJs Sam Isaac, Bruce, Live Models, and more helping you to relax, dance and indulge in good food and good company.

Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.

Qoöl 111 Minna Gallery. 5-10pm, $5. Pan-techno lounge with DJs Spesh, Gil, Hyper D, and Jondi.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Lonestar Sound, Young Fyah, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St.; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 24

ROCK/BLUES/HIP-HOP

B-52s, Venus Infers Regency Ballroom. 8pm, $55.50-67.50.

Back40 Simple Pleasures, 3434 Balboa, SF; (415) 387-4022. 8pm, free.

"Blue Bear School of Music Band Showcase" Café du Nord. 7:30pm, $12-20.

Cormorant, Velinas, Fell Voices, Elm, Servile Sect, DJ Rob Metal Thee Parkside. 9pm, $8.

Cotton Jones, Frontier Ruckus, Garrett Pierce Bottom of the Hill. 9pm, $10.

Shane Dwight Biscuits and Blues. 8pm, $15.

Mark Eitzel, Victor Krummenacher Red Devil Lounge. 8pm, $15.

Hundred Days, Mata Leon, Black Mercies Knockout. 9:30pm, $5.

John Brown’s Body, Black Seeds Rickshaw Stop. 8:30pm, $17.

Manic Street Preachers Fillmore. 8pm, $22.50.

*Om, Lichens Independent. 9pm, $15.

On the Spot Trio, Audible Mainframe Boom Boom Room. 9:30pm, $7.

La Plebe, King City, Jesse Morris and the Man Cougars Eagle Tavern. 9:30pm, $7.

Jerry Jeff Walker, Django Walker Great American Music Hall. 8pm, $35.

"World Record Appreciation Society" Hemlock Tavern. 9pm, $8.

BAY AREA

Bon Iver, Megafaun Fox Theater. 8pm, $22.50.

JAZZ/NEW MUSIC

Al Coster Trio and jam Savanna Jazz. 8pm, $5.

Andrew Elmer Shanghai 1930. 7pm, free.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 7:30pm, free.

Kitten on the Keys Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Marlina Teich Trio Brickhouse, 426 Brannan, SF; (415) 820-1595. 7-10pm, free.

"Music for People and Thingamajigs Festival" Meridian Gallery, 535 Powell, SF; (510) 418-3447. 8pm, $10-15. Experimental music incorporating found and made instruments and alternate tuning systems.

Soulive Yoshi’s San Francisco. 8 and 10pm, $22-26.

Stompy Jones Top of the Mark. 7:30pm, $10.

Walter Earl Group Coda. 9pm, $7.

FOLK/WORLD/COUNTRY

Bluegrass and Old Time Jam Atlas Café. 8pm, free.

Flamenco Thursday Peña Pachamama, 1630 Powell, SF; (415) 751-6090. 8:15pm, $10-12. With Carola Zertuche.

Denise Funari, Misisipi Mike Wolf, Gayle Lynn, Maurice Tani Café Royal, 800 Post, SF; (415) 441-4409. 8pm, free.

Phil Johnson Castagnola’s, 286 Jefferson, SF; (415) 776-5015. 8pm, $10.

Old Blind Dogs Plough and Stars. 8pm, free.

Sarah Stiles, Rachel Wood-Rome Luggage Store Gallery, 1007 Market, SF; (415) 255-5971. 8pm, $6-10.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-6. DJs Pleasuremaker, Señor Oz, J Elrod, and B Lee spin Afrobeat, Tropicália, electro, samba, and funk.

Bingotopia Knockout. 7:30-9:30pm, free. Play from drinks, dignity, and dorky prizes with Lady Stacy Pants.

Caribbean Connection Little Baobab, 3388 19th St; 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

DJ Jah Yzer Icon Lounge. 10pm, $5. Hosted by ArtNowSF.

DJ JayCeeOh Ambassador Lounge, 673 Geary, SF; (415) 563-8192. 10pm. RSVP to guestlist@justoneent.com with subject "jco".

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.

Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.

Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.

Koko Puffs Koko Cocktails, 1060 Geary; 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St., SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Mirza Party and Soul Movers Infusion Lounge. 9pm, free. Featuring Designer DJs.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest.

Toppa Top Thursdays Club Six. 9pm, $5. Jah Warrior, Jah Yzer, I-Vier, and Irie Dole spin the reggae jams for your maximum irie-ness.

FRIDAY 25

ROCK/BLUES/HIP-HOP

Addison, Started-Its, Semiconductors Hotel Utah. 9pm, $8.

Dave and Confused, Funky Beulah, Spacelord, Ghosts on the Radio Rock-It Room. 9pm, $5.

Dead to Me, Nothington, Re-Volts, Semi Evolved Simians Thee Parkside. 9pm, $10.

Felonious Coda. 10pm, $10.

Foolproof, Cuban Cigar Crisis, Dum Sprio Spero House of Shields. 9pm, $5.

Galactic Fillmore. 9pm, $29.50.

Gov’t Mule, Carney Warfield. 8pm, $37.

"Kid Koala presents the Slew: Live" Independent. 9pm, $17. Adira Amram opens.

Living Colour, Fishbone Regency Ballroom. 9pm, $27.

One in the Chamber, Sabertooth Zombie, Hell Hath No Fury, Waylin Jenocide Annie’s Social Club. 9:30pm, $7.

Proclaimers, Pants Pants Pants Bottom of the Hill. 9:30pm, $15.

Radiators Great American Music Hall. 9pm, $25.

Slavic Soul Party, Brass Menazeri Elbo Room. 8:30 and 11:30pm, $15 (two-show pass, $25).

Tainted Love, Mustache Harbor Bimbo’s 365 Club. 9pm, $23.

Billy Talent, Poison the Well, AM Taxi Slim’s. 8:30pm, $15.

This Charming Band, Erasure-Esque, Love Vigilantes Café du Nord. 9:30pm, $12.

3 Leafs, Carletta Sue Kay, Si Claro Hemlock Tavern. 9:30pm, $6.

Whip Boom Boom Room. 1am, $20.

Wonder Bread 5 Red Devil Lounge. 8pm, $10.

BAY AREA

Chickenfoot, Queensryche, Davy Knowles and Back Door Slam Greek Theater, UC Berkeley, Berk; www.ticketmaster.com. 7pm, $39.50-65.

Hammer, Whodini Fox Theater. 8pm, $45.75-65.75.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

"Cultural Encounters: Friday Nights at the deYoung presents Jazz at Intersection" Wilsey Court, de Young Museum, 50 Hagiwara Tea Garden Dr, SF; www.deyoungmuseum.org. 6:30pm, free. With Sarah Wilson’s Trapeze Project.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; 771-6800. 8pm, free.

Jim Butler Quartet Savanna Jazz. 8pm, $5.

Kitten on the Keys Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Lucid Lovers Rex Hotel, 562 Sutter, SF; (415) 433-4434. 6-8pm.

Soulive Yoshi’s San Francisco. 8 and 10pm, $22-26.

Terry Disley Experience Shanghai 1930. 7:30pm, free.

FOLK/WORLD/COUNTRY

Cuban Nights Peña Pachamama, 1630 Powell, SF; (415) 751-6090. 8:30pm, $19.95. With singer Fito Reinoso.

Makana Biscuits and Blues. 8pm, $20.

Quijerema, Rafael Manriquez Red Poppy Art House. 8pm, $12-15. Developing the Chilean new song movement.

Social Sunday, Goodbye Gadget Dolores Park Café. 7:30pm, free.

Brandon Stanley Plough and Stars. 8pm, $6.

BAY AREA

Brad Paisley, Dierks Bentley, Jimmy Wayne Shoreline Amphitheater, One Amphitheater Pkwy, Mtn View; www.livenation.com. 7:30pm, $29.25-58.75.

DANCE CLUBS

Activate! Lookout, 3600 16th St; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.

Blow Up Rickshaw Stop. 10pm, $10-15. DJ Jefrodisiac and Ava Berlin present this electro-disco-noir nightclub.

Bombastik 103 Harriet, 103 Harriet, SF; (415) 431-7444. 10pm, $15. With DJs Benga, PantyRaid, Martyn, and more.

Boom Boom Room 9pm, $10. With Pleasuremaker, DJ Señor Oz, and Afrolicious.

Drop the Lime Mighty. 10pm, $12. With DJs Tim Exile, Warp and Sleazemore.

End of Summer Party Jelly’s, 295 Terry Francois, SF; (510) 692-7069. 10pm, $15. With DJs Rick Lee, Kel’s, Gator Boots, and more. September babies free until Midnight.

Exhale, Fridays Project One Gallery, 251 Rhode Island; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm. Gymnasium Stud. 10pm, $5. With DJs Violent Vickie and guests spinning electro, disco, rap, and 90s dance and featuring performers, gymnastics, jump rope, drink specials, and more.

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

Miles Medina, Slick D Infusion Lounge. 9pm, $20.

Punk Rock and Shlock Karaoke Annie’s Social Club. 9pm-2am, $5. Eileen and Jody bring you songs from multiple genres to butcher: punk, new wave, alternative, classic rock, and more.

Stupid Fresh Club Six. 9pm, free. With DJs Delivery, Bling Crosby, Frank Footer, and more spinning hip hop, reggae, and club hits.

Suite Jesus 111 Minna. 9pm, $20. Beats, dancehall, reggae and local art.

Teenage Dance Craze Party Knockout. 10pm, $3. Teen beat and twisters with DJs Sergio Igledias, Russell Quann, and dX the Funky Gran Paw.

SATURDAY 26

ROCK/BLUES/HIP-HOP

!!!, Indian Jewelry Independent. 9pm, $20.

Birdmonster, A B and the Sea Bottom of the Hill. 2:15pm, $5-20. Benefit for the Potrero Hill Public Library.

Bridge to Hope Great Meadow, Fort Mason, SF; 1-800-595-4849. 11am, $38-78. A benefit for the Lazarex Cancer Foundation featuring Brian McKnight, Gerald Albright, Kirk Whalum, Zakiya Hooker, and more.

Epiphanette, Great Girls Blouse, Polyphonic Monk Brainwash Café, 1122 Folsom, SF; (415) 861-3663. 8pm, free.

Eric McFadden Trio Boom Boom Room. 9:30pm, $12.

Five Fingers of Death, Holy Remodel, Kumbulus Thee Parkside. 3pm, free.

Grannies, Meat Sluts, Maklak, Psychology of Genocide Annie’s Social Club. 9pm, $7.

Notorious, Glorified HJ Red Devil Lounge. 8pm, $10.

Ovipositor, Generalissimo, Cartographer Hemlock Tavern. 9:30pm, $6.

Hope Sandoval and the Warm Inventions Fillmore. 9pm, $26.50.

Tainted Love, Barely Manilow Bimbo’s 365 Club. 9pm, $23.

Telefon Tel Aviv, Race, Cloud Archive Bottom of the Hill. 10pm, $10.

Earl Thomas Biscuits and Blues. 8 and 10pm, $22.

Wallpaper Rickshaw Stop. 9pm, $10-15.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

"Jazz Mafia Presents: Remix Live" Coda. 10pm, $10.

Proteges of Hyler Jones Shanghai 1930. 7:30pm, free.

Roberta Gambarini Quartet Yoshi’s San Francisco. 8 and 10pm, $18-22.

Ricardo Scales Top of the Mark. 9pm, $10.

Susannah Smith and band Savanna Jazz. 8pm, $5. With jazz harpist Motoshi Kosako.

FOLK/WORLD/COUNTRY

Hank Cramer San Francisco Maritime National Historic Park, west end of Fisherman’s Wharf, SF; (415) 561-6662, ext. 33. 8pm, $14. Part of the Sea Music Concert Series.

Toshio Hirano Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Paddy Keenan Plough and Stars. 8pm, $6.

Peruvian Night Peña Pachamama, 1630 Powell, SF; (415) 751-6090. 7:30pm, $19.95. With Luis Valverde and Jose Monteverde.

Sila, DJ Santero, DJ Jeremiah and the Afrobeat Nation Café du Nord. 9:30pm, $15.

BAY AREA

Paulina Rubio Fox Theater. 8pm, $39.50-69.50.

DANCE CLUBS

Baby Loves Disco Ruby Skye. 2pm, $18. A child proof disco party for toddlers, preschoolers, and parents looking for a break from the routine playground circuit.

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.

Barracuda 111 Minna. 9pm, $5-10. Eclectic 80s music with Djs Damon, Phillie Ocean, and Mod Dave, plus free 80s hair and make-up by professional stylists.

Blowoff Slim’s. 10pm, $15. Hosted and DJ’d by Bob Mould and Rich Morel.

DJ Solarz Infusion Lounge. 9pm, $20.

4OneFunktion Elbo Room. 10pm, $5. Hip-hop with Computer Jay, F.A.M.E., and DJs A-Ron, B. Cause, and Mista B.

Funkentanzen Paradise Lounge. 10pm, $15. Featuring Poker Flat and DJs Burnski, Adnan Sharif, Limaçon and Zenith.

Go Bang! Deco SF, 510 Larkin St; (415) 346-2025. 9pm, $5. Experience the Atomic Dancefloor Disco Action with DJs Eddy Bauer, Flight, Nicky B., Sergio and more.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Summer Saturdays Bar On Church. 9pm, free. With DJ Mark Andrus spinning top 40, mashups, hip hop, and electro.

SUNDAY 27

ROCK/BLUES/HIP-HOP

Blitzen Trapper Independent. 8pm, $16.

Bonfire Madigan, Kelli Rudick, Odessa Chen Café du Nord. 8pm, $12.

Brothers Goldman Boom Boom Room. 9:30pm, free.

Didimao, Swahili Hemlock Tavern. 9pm, $5.

Edguy, Epicurean, Luna Mortis, Epidemia Slim’s. 8pm, $22.

Honor Society Fillmore. 8pm, $7.11.

*"Leonard Cohen Tribute" Make-Out Room. 8pm, $7. Musicians Jeffrey Luck Lucas and Justin Frahm celebrate their birthdays with a Cohen tribute, featuring performances of Cohen songs by Kelley Stoltz, Sean Smith, Nathan Wanta, Kira Lynn Cain, and more.

Sondre Lerche, JBM Gret American Music Hall. 8pm, $21.

JAZZ/NEW MUSIC

Don Alberts and Michael Jones Savanna Jazz. 7:30pm, $5.

Cecilio and Kapono Yoshi’s San Francisco. 8pm, $40.

Terry Disley Washington Square Bar and Grill, 1707 Powell, SF; (415) 433-1188. 7pm, free.

Grupo Falso Baiano with Eva Scow Coda. 8pm, $7.

Rob Modica and friends Simple Pleasures, 3434 Balboa, SF; (415) 387-4022. 3pm, free.

Roberta Gambarini Quartet Yoshi’s San Francisco. 2pm, $5-22.

FOLK/WORLD/COUNTRY

Jack Gilder, Kevin Bemhagen, Richard Mandel and friends Plough and Stars. 8pm, free.

Grupo Falso Baiano Coda. 8pm, $7.

Kami Nixon and the Skiddy Knickers Thee Parkside. 4pm, free.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJ Sep and guests International Observer and Jacob Cino aka DJ Chinbambino.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th; 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Last Sunday Bollyhood Café. 9:30pm, $2. With DJs Noble and Duroja spinning dance hall, soul, and R&B.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

5 O’Clock Jive Inside Live Art Gallery, 151 Potrero, SF; (415) 305-8242. 5pm, $5. A weekly swing dance party.

MONDAY 28

ROCK/BLUES/HIP-HOP

Alabama Mike and Third Degree Rasselas Jazz. 9pm, free.

Alice in Chains Fillmore. 8pm, $25.

Dead Meadow, Spindrift, Howlin Rain, Kymberli’s Music Box DJs Great American Music Hall. 8pm, $15.

Jeffertitti’s Nile, B and Not B, Boyfriend Search, Love Dimension Knockout. 9pm, $7.

MV and EE, Expo ’70, Bronze, Inner Beauty, DJ Andy Cabie Café du Nord. 9:30pm, $12.

Metalkpretty Elbo Room. 9pm, $5.

Rain Machine Independent. 8pm, $15.

JAZZ/NEW MUSIC

Cecilio and Kapono Yoshi’s San Francisco. 8pm, $40.

Lavay Smith Trio Enrico’s, 504 Broadway, SF; www.enricossf.com. 7pm, free.

Richard Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 8pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary; 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Going Steady Dalva. 10pm, free. DJs Amy and Troy spinning 60’s girl groups, soul, garage, and more.

King of Beats Tunnel Top. 10pm. DJs J-Roca and Kool Karlo spinning reggae, electro, boogie, funk, 90’s hip hop, and more.

Krazy for Karaoke Happy Hour Knockout. 5pm, free. Belt it out with host Deadbeat.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

Network Mondays Azul Lounge, One Tillman Pl; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.

TUESDAY 29

ROCK/BLUES/HIP-HOP

Crown City Rockers hosted by Lyrics Born, Spaceheater’s Blast Furnace, DJ D-Sharp,

Mason Jennings, Crash Kings Great American Music Hall. 8pm, $20.

Smokin’ Joe Kubek and Bnois King Biscuits and Blues. 8 and 11:30pm, $15.

Lahar Boom Boom Room. 9:30pm, $5.

Samvega, Shimmies, Maere Bottom of the Hill. 9pm, $8.

Sian Alice Group, Leopold and His Fiction, Enablers Hemlock Tavern. 9pm, $10.

Destani Wolf Independent. 8pm, $10.99.

JAZZ/NEW MUSIC

Dave Parker Quintet Rasselas Jazz. 8pm.

David Binney Band Yoshi’s San Francisco. 8 and 10pm, $12-16.

"Jazz Mafia Tuesdays" Coda. 9pm, $7. With Shayna Steele and Jazz Mafia.

Michael Browne Trio Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 8pm, free.

Ricardo Scales Top of the Mark. 6:30pm, $5.

FOLK/WORLD/COUNTRY

Kailash Kher, Cheb I Sabbah Fillmore. 8pm, $25.

Gino Napoli Simple Pleasures, 3434 Balboa, SF; (415) 387-4022. 8pm, free.

Song Session Plough and Stars. 8pm, free. With Vince Keehan and friends.

DANCE CLUBS

Bitches Get Stitches 222 Hyde, 222 Hyde, SF; (415) 812-6143. 8pm, $15. With DJ Holger Zilske.

Drunken Monkey Annie’s Social Club. 9pm-2am, free. Rock ‘n’ roll for inebriated primates like you.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Stump the Wizard Argus Lounge. 9pm, free. Music and interactive DJ games with DJs What’s His Fuck and the Wizard.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

Stopping PG&E’s fraudulent initiative

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EDITORIAL A ballot measure that could spell the end of public power in California is headed for either the spring or fall 2010 ballot — and so far, the opposition is missing in action. This is a profoundly important issue, and every elected official, city council, board of supervisors, and utility agency in the Bay Area needs to immediately come out in opposition and start organizing to defeat it.

The source of the proposition, of course, is Pacific Gas and Electric Co. PG&E is facing political wildfires all over the state as communities rebel against bad service and high rates. In Marin County, a community choice aggregation (CCA) plan is moving along, full speed. In San Francisco, CCA is a little slower, but still on track. These efforts could turn two of PG&E’s most profitable territories into public power beachheads. Meanwhile, in San Joaquin County, a public power movement is trying to take over part of PG&E’s service area, and PG&E just spent millions of dollars fighting a similar effort in Davis.

So the utility has decided to fight back — not just in the local communities where activists can beat PG&E back, or in the state Legislature, where the giant company has fewer and fewer friends, but with a ballot initiative that has a misleading name, a misleading political message — and tens of millions of dollars to back it up.

Signature-gatherers are out in force already, collecting names for a measure called "New two-thirds requirement for local public electricity providers." The paid petition crews are describing it as a "right to vote" measure, giving the public a chance to weigh in on government action.

What the measure would really do is require a two-thirds affirmative vote before any public power agency could add new customers, or any local agency could get into the power business. It would force the existing CCA movements to get two-thirds of the local voters to approve their efforts.

That’s an almost impossible standard — particularly when PG&E spends millions to block public power efforts everywhere they appear.

The two-thirds voting requirement is increasingly being assailed as undemocratic. The state Legislature has been paralyzed by its own two-thirds requirement for passing a budget, and there are multiple moves to reduce that threshold. The two-thirds mandate for passing local taxes has been widely blamed for driving cities and counties to the brink of fiscal ruin.

And yet PG&E is trying to add a new, crushing mandate — aimed entirely at snuffing out public power advances. The impact on the state will be enormous. As Megan Rawlins reports on page 8, high PG&E rates and the lack of public power cost the San Francisco economy alone as much as $2.8 billion a year. Multiply that by a factor of 10 or 20, and you see what a devastating financial blow this PG&E move would be to California’s crumbling economy.

So where, exactly, is the opposition?

Sup. Ross Mirkarimi called a meeting last week at the offices of the Utility Reform Network (TURN) to try to get other public power communities involved in a statewide campaign. But it’s been slow going.

That’s not going to work. Every elected agency in the Bay Area needs to get this on the agenda — now. Every city official (starting with Mayor Gavin Newsom, who wants to be governor) and every state official (starting with Attorney General Jerry Brown, who also wants to be governor) needs to loudly and publicly denounce this move, help establish a high-level coalition to beat it back, and start raising money for the campaign.

There may be a legal strategy, too. The law that authorized cities and counties to set up CCAs bars PG&E and other private utilities from interfering with local CCA efforts — and it’s pretty clear that this initiative is designed to do exactly that. City Attorney Dennis Herrera needs to immediately investigate the possibility of suing to get this disastrous initiative off the ballot. *

A new California tax revolt

0

OPINION Don’t miss the struggle underway over the future of the University of California.

Some see it as just another chapter in the unfolding story of the state’s economic decline. That’s partly true. But what’s really interesting is what it could become.

If it’s played right, the showdown over university fees and salaries could inspire a revival of sorts of the California tax revolt. Except this time, the rebels wouldn’t be tax-haters, like we saw in 1978 with Prop. 13. This time, the protests would be coming from parents and future parents of UC kids, and future employers of UC graduates. They’d be protesting, alongside UC students and employees, the ever-steeper fee hikes — essentially an education tax — that threaten to make our public universities cost as much as any private school.

This pro-tax movement would force a rewrite of state law, arguing that higher education is a public good so important that property-owners and corporations are morally and economically obliged to chip in.

You already know the back story. The state and global financial crises have pushed the UC system into intense contraction, compounding years of rising student costs. Top UC administrators receive bonuses while issuing pay cuts, layoffs, mandatory furloughs, and sharply increasing student fees (undergraduate costs are rising by $2,500, to more than $10,000 next year, with more hikes likely soon).

Many people believe the fee hikes are inevitable. Is it true? Or have we been merely well-trained by the Thatcherian promise that there’s no alternative to a shrinking public sphere? In fact, the administration’s budget claims are impossible to verify because much of the university budget is, literally, a state secret.

What’s clear is that the UC system is less and less accessible to everyday Californians, who are already languishing in a flailing public school system. Meanwhile, the state’s economy depends heavily on UC graduates, who are both innovators and laborers in every economic sphere.

We know how we got here. Prop. 13’s budget-starving effects have intersected effectively with the prevailing inclination to privatize just about everything. The global financial crisis — and California’s particularly harsh variation of it — created the opening for long-imagined cuts across the board.

But the latest budget moves have jolted faculty and students awake. Bit by bit undergraduates, who are typically fairly mono-focused on their grades and individual futures, are paying attention. Graduate students from departments as diverse as English and chemistry are convincing colleagues to drop their dissertations (momentarily) to organize demonstrations.

If you know anything about academic life these days, in an age of constant budget cuts, economic restructuring, and individualistic competition, then you know how unusual this is. Widespread political mobilization on campus is rare. But on Thursday, Sept. 24, faculty are staging a systemwide walkout from classes. That same day, rallies, marches, direct action, and union pickets are planned in what could be the beginning of a season of protest on all ten campuses.

Let’s be real. In isolation these protests will simply be a marker on the steep downhill slide of our educational system.

But with broad and consistent community support, the campus insurrection could merge with tax-reform efforts already underway to form a California pro-tax revolt, a movement for property tax and budget reform to reverse Prop. 13’s ill effects. Pro-taxers could harness campus activism, arguing — perhaps even for the sake of the economy — to save public education in California. *

Rachel Brahinsky is a PhD candidate in the geography department at UC Berkeley. For more information, visit www.gradstudentstoppage.com/news-and-events.

Psychic Dream Astrology

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Mercury will stop its retrograde nonsense on the 29th.

ARIES

March 21-April 19

Athletes will tell you that they never feel better than when they’re sweaty and short of breath. The reason for this is that the more seriously you engage your body, the easier it is to get a handle on yourself. Gather your energy and get grounded so that you can make smart choices. Strive towards sure footedness.

TAURUS

April 20-May 20

Sadly, not everything that you want is good for you, Taurus. Desire is just as often motivated by self-sabotaging impulses as by actual wanting. Make sure you are not engaged in bad self-fulfilling prophesies. Be willing to look underneath why you feel like you’ve gotta have those shoes, that hottie, or those wheels. Motive is everything this week.

GEMINI

May 21-June 21

Being capable of great things is awesome, and you are more than capable — you are downright brimming with potential. The problem is, you’re having a rough time figuring out how to put all your sparkle to good use. Cultivate perspective and a good sense of timing.

CANCER

June 22-July 22

You can’t blame folks for not meeting your needs if you were never direct about them in the first place. If you do, you’re not likely to get very far. Don’t externalize the anger you feel towards your self at the people closest to you. Adopt a sense of humor about your situation instead.

LEO

July 23-Aug. 22

Your anxious head is like a runaway car on a hill of black ice. It’s bad news, out of control, and not going in a good direction. Slow your thinking and figure out what you feel instead. Forget about the how/who/whys of it all, and just get in touch with your emotions. That way you can figure out what you’re really scared of.

VIRGO

Aug. 23-Sept. 22

It’s time to lay down some serious roots. You are ready to settle into things right now, and all you need is a plan. Get out a pen and pad (if you’re old school) and write a list of all the small parts that need to happen. Then you can partake in the cherished Virgonian pastime of executing your goals with precision.

LIBRA

Sept. 23-Oct. 22

Sometimes we’re not supposed to know the answers, and that lack of assurance can be a breeding ground for anxiety. This week, you may gain intimate knowledge about the concepts of chaos and upheaval. Allow things to pass that are no longer serving you and let the future present itself when it’s good and ready.

SCORPIO

Oct. 23-Nov. 21

Don’t throw in the towel or break things. There are plenty of frustrations plaguing you, and you’ll only make things worse if you’re reactive. Things are changing, and the only control you have is over your own damn self. Act with compassion, insight, and patience this week.

SAGITTARIUS

Nov. 22-Dec. 21

There is too much going on for you to both process emotionally and keep up your hectic lifestyle. The candle you’re burning at both ends is bound to singe your fingers if you don’t slow down and figure out some sort of strategy. More work and less play may make you a dull boy, but at least it won’t give you a meltdown.

CAPRICORN

Dec. 22-Jan. 19

If anyone likes a challenge, its you, Cappy mon Capitan. The stars suggest a duel between your heart of hearts and your large-and-in-charge mind. In one corner, we have your struggle to be happy and enjoy your life, and in the other, we have the demanding voice of reason and everything that’s likely to go wrong. Who’s your money on?

AQUARIUS

Jan. 20-Feb. 18

If you insist on running yourself ragged, no one can stop you. It’s a free(ish) country. But, seriously, what’s your rush? You need some down time before you make a mess. This week, you will save time if you do it once and do it right.

PISCES

Feb. 19-March 20

Loss is such a pain in the butt because there are so many stages to grieving. Even if you are mourning the loss of a shitty apartment or an old and hated job, being without something or someone that you once identified with is emotionally consuming work. Find a creative outlet to redirect your energies into helping your changes along. *

Jessica Lanyadoo has been a psychic dreamer for 15 years. Check out her Website at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com.

Invasion of the bedbugs

2

news@sfbg.com

Editor’s Note: The writer has penned this story under a pseudonym because of concerns about social stigma and backlash from his landlord, as he discusses below.

More than three weeks had passed since our hike through Yosemite, so my girlfriend and I were starting to worry that the festering egg-shaped welts appearing daily on her arms, legs, and stomach weren’t just a late reaction to mountain mosquitoes. We’d rationalized the problem away until now, but when a bump appeared on her face, we decided to get professional help.

"It doesn’t make sense," my girlfriend told her dermatologist. "It can’t be spiders or fleas because I sleep with my boyfriend and he’s not getting bit. Maybe I’m allergic to my new detergent?"

"Nope," the doctor said. "You’ve got bedbugs."

Then he took some pictures of her wounds "to document the epidemic," wrote out a prescription for an anti-itch medicine, and sent her home to deal with the diagnosis, adding that she shouldn’t freak out because bedbugs don’t transmit diseases. They just make your life miserable, causing rashes, sleeplessness, paranoia, and embarrassment — which is why they’re considered a health risk on par with roaches, scabies, and lice.

But how exactly were we supposed to deal with this? Neither of us had ever even seen a bedbug, and we’d never heard of anyone getting bit. We really didn’t even believe in them. I mean, we’d both heard the old "good night, sleep tight, don’t let the bedbugs bite" rhyme, but we thought it was about ticks or maybe some fantastical little boogiemen, not actual bugs that live in or near your bed. That’s because, like most San Franciscans the age of 70, my girlfriend and I had grown up in a mostly bedbug-free world. But that’s over now.

Bedbugs are back and they’re eating San Francisco alive, sticking their blood-hungry proboscises in transient gutter punks, international travelers, homeless people, doctors, lawyers, and yes … maybe even you. They’re crawling around in our walls as we speak, scuttling from basket to basket in Laundromats, and camping out on buses and trains, waiting for new victims.

But where did they come from? And why are they here now, creeping out residents of civilized American cities that include Cincinnati, New York, and, most recently, San Francisco, where the Department of Public Health has received 307 complaints this year alone — a figure that’s soon to surpass last year’s total count of 327, according to DPH special operations manager Dr. Johnson Ojo.

Well, there are plenty of theories, but the truth is that nobody knows for sure. What we do know is that bedbugs are here and they are hungry. And, by the look of things, they’re not going anywhere soon. As travelers, tenants, homeowners, and landlords, our first mode of action against the epidemic is to learn how to deal. We’ve got to know how to prevent infestations, understand our rights when they occur, and finally come to grips with what it means to live in an infested city.

Of course, to do all of this, it helps to know a thing or two about the nasty fuckers.

WHAT ARE BEDBUGS?


Bedbugs are parasitic insects that feed on the blood of sleeping humans. One of the reasons you’re probably not familiar with them, the reason you might think they’re a myth or some dead epidemic from the Dark Ages when nobody washed, is that bedbugs were virtually annihilated from the western world by about 1960.

"Exterminators back then were quite fond of an insecticide called DDT," explained Luis Agurto Jr., president of a local integrated pest management company called Pestec. The chemical was great because it killed every bug in sight. Unfortunately, the virulent toxin wreaked havoc on the environment, killing most bald eagles and a wide variety of plant and animal life, as well as causing cancer and birth defects in humans. Rachel Carson’s landmark book exposing DDT, Silent Spring (Houghton Mifflin, 1962), helped launch the modern environmental movement. Most uses of the chemical were later banned in the U.S. and other countries, even though it meant finding new ways to keep our bugs under control.

Less toxic sprays were developed after DDT was banned in the U.S. in 1972. They worked on roaches and other pests, but what exterminators didn’t know at that time was that the new chemicals weren’t doing much to the bedbug diaspora that was still thriving in remote parts of America and the world. And these little bastards were nothing to mess with.

"These critters had been hammered so hard that, by the 1980s, they were growing impervious to any insecticide on the market," said Michael Potter, an entomology professor at The University of Kentucky and former national technical director for Orkin. "But nobody really noticed because most of these bugs were far away."

In addition to rural parts of the United States, bedbugs could still be found in Eastern Europe, Southeast Asia, and Africa. But Potter rejects the theory that increased travel and immigration are entirely to blame for the global resurgence, as some scientists speculate. "It’s not like we just started flying 10 years ago," he said.

Potter concedes that population movement has a lot to do with the issue, but said that blaming travelers and immigrants ignores certain facts and doesn’t quite explain why bedbugs are coming back in such large numbers. The truth is that bedbugs never really went away. Pockets of extremely resistant survivor cells simply laid low until their offspring could flourish once again. It didn’t take long for that to happen.

"The thing about chemicals is that they only work for a given amount of time," Agurto said. "Everything develops a tolerance after a while." No matter. The commercial use of carbamates and other organophosphates, the classes of insecticides that replaced DDT, were soon restricted in the U.S. after they, too, exhibited nasty environmental side-effects.

After that, pest control managers were forced to switch to pyrethroid-based insecticides — which a bedbug could go swimming in, Potter said — and preventive measures like steam-cleaning, vacuuming, and bait. These methods targeted cockroaches and other pests, but they essentially allowed bedbugs to thrive in a chemical-free paradise. This was in the early 1990s and, according to Potter and Agurto, it’s probably no coincidence that the first major infestations in American cities came to light soon after. By the end of the century, a few years after DDT was restricted to malaria zones worldwide, bedbugs were becoming a problem in the eastern United States. By 2001, they had become a hot news topic in cities in America and around the world.

The bedbug resurgence in New York City has been covered extensively by The New York Times, starting in 2001 with an article about hotels and hostels titled "Bedbugs; Sleeping with the Enemy." Subsequent reports tracked the spread of infestations through homeless shelters, SROs, and eventually into condos, apartments, and houses. But the tiny vampires aren’t stopping there.

Bedbugs, once thought of as a byproduct of poverty, are moving up in the world. "We’re seeing them now in upscale condos and private residencies in the best neighborhoods in town," Agurto said. "Places where people never imagined they’d have to deal with this kind of thing." But that’s not where the infestations stop either, not in New York and probably not here.

They’ve even infiltrated the headquarters of large corporations. One of the latest infestations of this sort, at the Penguin Group in Manhattan, made headlines recently when employees of the publishing company were sent home while the building underwent treatment. The same thing happened at Fox News’ Manhattan office in March of last year, and again this month at Bill Clinton’s offices in Harlem.

Spokespersons for these three entities claim to have things under control. But the question is, does treating the building really solve anything? What about the employees? And, in the case of Penguin, what about all those books? Aren’t they infected too? It would certainly seem so. But perhaps you’re also wondering why, if the epidemic is getting so out of hand, you still haven’t encountered a problem. Well, the truth is, the bedbugs might be closer to you than you think.

INVISIBLE INVADERS


There are dozens of reasons why you might not have noticed the resurgence, but probably the biggest is that it’s embarrassing: people don’t want to discuss the issue because it’s gross. But this line of thinking works against us, and if we ever want to learn how to handle the situation, we’ve got to come to terms with the fact that bedbugs have nothing to do with social class or cleanliness.

That’s something my girlfriend hasn’t quite been able to come to grips with, which is why I’m writing under a pseudonym. She hasn’t told anyone but her mother and she can’t stand the idea of bosses, friends, and potential employers Googling her name or mine and somehow finding this story. Yet I’ve come to realize, while researching this issue, that there’s really no reason to be ashamed.

"This is really the first time in human history where people — all people — aren’t constantly on the lookout for bedbugs," Potter said. "And our first course of action is to get reacquainted." That’s not as easy as it sounds. But here are some tips.

First, you should get rid of the idea that bedbugs are microscopic. They’re not. When bedbugs are born, they look like milky-white flax seeds, but after the first feeding they grow to the size of chili flakes and develop a similar hue. Full-grown bedbugs are about the length of a Tic-Tac. They’re brown and flat and they have six legs — something like a two-dimensional, oval-shaped tick with stripes.

Second, don’t underestimate the cunning nature of bloodsucking insects. Bedbugs may not be able to communicate with one another or build intricate nests, but evolution has blessed the species with one sinister adaptive trait: near-invisibility. Bedbugs are masters of disguise. They live in tiny crevices in hard-to-find places — box springs, mattresses, baseboards, etc. — and usually only come out when people are sleeping. But nocturnal dining habits and the ability to hide aren’t the only tools in a bedbug’s arsenal.

The real reason we can sleep soundly while hordes of insects wriggle through our undergarments and suck our blood is that these particular insects are equipped with anesthetic. Simply put, bedbug bites do not hurt. What’s even worse is that, unless you happen to be allergic to the numbing agent found in bedbug saliva, there’s not going to be any evidence in the morning either.

That’s why I thought my girlfriend was either completely insane or perhaps the victim of some unknown skin disorder, even after she got back from the doctor. I just couldn’t understand how a colony of insects could repeatedly bite one person and not even touch the other as he slept inches away. My girlfriend still had her doubts as well, but for lack of any other plausible answer, we decided to look deeper into the issue. This is when things got nasty and when I learned that many people (about half the population, according to various sources) do not react to bedbug bites at all.

After reading everything we could about bedbugs, watching horrendous videos of elderly people swatting insects off their bodies, and perusing vomit-inducing pictures of telltale bedbug signs — smeared blood, fecal stains, and carcass buildups — we did a thorough search of our bedroom and found a cluster between the carpet and the baseboard behind our bed. Now the question was: what to do next? It’s what everyone asks when they encounter an infestation. And sometimes, it’s hard to answer.

DEALING WITH THEM


"Many of the people who come into our office with bedbug issues are afraid of retaliation," said Ted Gullicksen, head of the San Francisco Tenants Union. "They don’t want to tell their landlords because they don’t want to lose their apartments or get fined."

But in most cases, they’re wrong. City health codes specify that rental properties be free of "any public nuisance," a category that includes bedbugs. Because my girlfriend and I didn’t know that at the time, we worried that we’d somehow be blamed for the infestation.

When we found our nest, we did what most tenants fearing eviction and/or more bills would do. We tried to handle the problem on our own, turning to family and the Internet for advice. Folk remedies soon poured in and we tried them all. We threw out excess clothing, sprayed our bedroom with cedar oil, steam-cleaned our carpet, and then sprinkled diatomaceous earth, an organic powder that kills insects, into every nook and cranny we could find. Then we started sleeping on the couch to wait for the bugs in our bedroom to die. But after four days, the unthinkable happened: more bites.

Potter said it’s a common problem because bedbugs respond to store-bought pesticides by scattering into walls, often showing up a few days later in other rooms or units. "What’s worse," Potter added, "is that there’s nothing saying they can’t be reintroduced even after you’ve invested in professional treatment. And, depending on the size of the problem, that can cost more than $10,000." Indeed, the only method of eradication that most pest control companies, including Pestec, guarantee these days is heat treatment, which necessitates the use of expensive technology and requires multiple follow-ups to ensure success. Plus, it’s not cheap.

When my girlfriend and I realized that our problem wasn’t going to magically disappear, we looked into the cost of treatment and freaked out. We were prepared to pay a couple hundred bucks, but the quotes we got were crazy — thousands of dollars for two rooms. We’re not broke, but forking out that kind of money would hobble us. And besides, by then we were getting scared. What if our landlord found out we’d had bugs for weeks? Could our decision to go it alone be used against us? Could it be grounds for eviction?

We didn’t want to find out and, at that point, we didn’t understand how difficult bedbug eradication could be. So we decided to repeat home treatment and simply hoped for the best. The result? It seems to have worked. My girlfriend has been bite-free for over a month and we haven’t seen a bedbug since July.

But now I’m wondering if we just dug ourselves a deeper hole. I mean, up until about two weeks ago when I started doing heavy research for this article, we thought we were in the clear. That’s why we never reported the problem (which is another reason I decided to write this under a pseudonym). But now that I’m painfully aware of how resilient these fuckers are, I’m wondering if we made the right choice. Still, the thought of coming out with this now fills me with dread. Despite what the Tenant’s Union says, I just can’t imagine getting out of this without some sort of fine. And even if money isn’t an issue, I don’t want to get on my landlord’s bad side. But what now? Should we just move? And what about the tenants who follow us?

It’s probably not the most responsible choice, but this line of thinking is common among first time bedbug sufferers — something my girlfriend and I learned on Yelp.com’s local message boards. Despite all the coverage the bedbug resurgence has gotten in recent years, people on Yelp (a.k.a. everybody you know) seem to be in the dark when it comes to tenants’ rights and responsibilities, with many posters opting for temporary solutions to avoid the possibility of financial penalties.

The most revealing post to date comes from a Yelper named JU who got bedbugs in early August and decided to handle matters on his own. "I know I’m moving out in four months … I’m just trying to make it more livable until then," he wrote. Which raises the question: what about landlords? If a tenant neglects to blow the whistle on a blossoming infestation, can the property manager or building owner charge that tenant for treatment? Can JU be held responsible if his bugs move into neighboring units? Were my girlfriend and I right to think we might get evicted or fined for negligence? Maybe.

"The bedbug issue is complicated and it really boils down to cooperation," said Janna New, director of San Francisco Apartment Association. "If the problem is eradicated and then reoccurs due to a tenant’s negligence or refusal to abandon risky behavior, then the cost of remediation could be negotiable. And evictions could occur."

New says she hasn’t heard of anyone getting evicted for harboring bedbugs, but adds that it’s important for tenants to report infestations immediately because if they ignore the problem, their entire building could quickly become infested. "It’s like the flu," she said. "If you get sick, you talk to your doctor. You should do the same thing with your landlord. Teamwork is the only way to get rid of bedbugs."

That’s something I wish I knew a couple months ago and something Tiffinnie McEntire, a 43 year-old acupuncturist, intuited when she noticed bugs in her Cathedral Hill apartment in 2006. Rather than waste time with store-bought insecticides, she immediately called her landlord, who responded by sending an exterminator. When that didn’t work, he sent anotherm and another, until McEntire and the rest of his tenants felt safe. "It was a pain in the butt," McEntire said. "But in the end, we were all happy."

That’s how an infestation should be solved, and that’s probably how it’ll go down if you report one as soon as you notice it. Both the Tenant’s Union and the Apartment Association agree that the burden of eradication usually falls on the landlords. So if you find bugs, your best mode of action is to report the problem as soon as possible. And if you happen to be an apartment or hotel owner, you should do frequent checks and respond to reports immediately. It might cost thousands of dollars, but it could save you from a lawsuit or prolonged infestation.

THE FINAL STAGE: ACCEPTANCE


So what does it mean to live in an infested city, in an infested nation and world? Well, for one, it means that we all have some lifestyle changes to make. For Njon Weinroth, an out-of-work software salesman whose 14th floor condo has been infested for six months, that has meant staying away from friends and developing an amicable relationship with the little monsters. People without bedbugs can obviously skip this step, but Weinroth can’t afford professional treatment at the moment and feels like he has no other choice.

"I do what I can to control them, but I still kill at least two a night," he said. "When I squish ’em, my blood comes out. It’s gross and that’s really been the hardest part — overcoming the stigma." And that’s something everyone — my girlfriend and I included — need to do if we ever hope to get this problem under control. We have to accept that the only thing bedbugs care about is blood and that they will suck it from a bum as quickly as a movie star (just ask actress Mary Louise Parker from "Weeds," who recently had a bedbug scare in her home). Other than that, specialists recommend being wary of buying used clothing and furniture and avoiding clutter.

With that out of the way, we need to start talking about the problem so that first time bedbug sufferers like my girlfriend and I won’t feel so helpless and ashamed when their bodies and beds become infested and, more important, so they will report bedbug activity before it gets out of hand.

Last, we have to come to grips with how rampant this epidemic is. "I don’t want to be the one tooting the horn saying it’s doomsday and that bed bugs are falling from the sky," Agurto said. "But I can’t think of a person alive who doesn’t know someone — or at least know of someone — who has had a problem." But don’t take it from him alone. If you really want nightmares, take a look the Bedbug Registry (www.bedbugregistry.com).

Started in 2006 by a computer programmer living in San Francisco, the Bedbug Registry is an anonymous record of bedbug activity across North America. It has maps tracking the spread of infestations and a search engine that allows you to see how close the creatures are crawling toward your house, hotel, or workplace (36 reports within two miles of Guardian headquarters — yikes!).

Maciej Ceglowski got the idea for the service when he found bumps on his body and dying bugs in the coffeepot at a San Francisco motel. "I reported the problem and got a resigned shrug from the front desk," Ceglowski said. Then he researched the issue and realized that because it’s so hard to get rid of bedbugs, it would not be in a hotel owner or landlord’s interest to publicize an infestation. "I started the site because I thought it would be a good way to fight back against bedbugs."

But is that even possible? With bedbug activity steadily rising in all corners of the world, a simple solution seems doubtful. Which raises another question: how soon before we all have bedbugs?

"Well, that’s hard to answer," Potter said. "But there’s absolutely no reason to think that our problem is going to get better or go away. We’re in for a real struggle with this critter."
Great. What the hell am I supposed to do now? Under normal circumstances, I would have stopped worrying about these bloodsuckers after a week of not seeing them in my apartment. But now that I’ve done all this research, my girlfriend and I are faced with another tough decision: do we tell our landlord or do we just hope our last home treatment actually worked?
We’re still thinking about it.

Running with the night

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FILM NOIR FEST The Columbia trademark: a literal goddess swathed in virginal white robes, she serenely holds aloft a torch à la the Statue of Liberty. What say we gussy her up in black satin and replace that blazing torch with a hot little .45? It seems apropos, considering the Roxie Theater is hosting a "Best of Columbia Noir" retrospective. But does the program manage to eclipse all that angelic light? Yes and no. While there is plenty of nefarious activity on display, a weirdly frequent moralizing often fails to capture the noir spirit.

Take Knock on Any Door (1949). A social justice–courtroom drama steeped in moral outrage, it has the gall to cast Humphrey Bogart not as rogue private dick but as upstanding defense attorney. As directed by Nicholas Ray, Door is a prestige picture flirting with humanity’s underbelly, eventually offering a mea culpa to wash itself clean.

Even "B" movie bona fides like The Whistler (1944) can’t help suffer a little moral affront. Its titular character operates in Rod Serling mode: part superego, part harbinger of doom. Robert Rossen’s Johnny O’Clock (1947) offers all the traditional noir elements, but dang if its criminal antihero (Dick Powell) doesn’t get redeemed by true love. When the SF-set The Lineup (1958) focuses on a pair of drug henchmen, it’s a fascinating character study; when it follows forthright SFPD detectives, it’s Dragnet.

Speaking of lineups, there’s a curious dearth of femmes fatales in this one. Even Sam Fuller, the king of exploitation with a social conscience, fails to deliver one in his otherwise crackerjack Crimson Kimono (1959), a gritty exploration of race relations in midcentury Los Angeles. Anita Ekberg camps it up in the uproarious, Freudian cheesecake-fest Screaming Mimi (1958), but her femme fatale status is seriously undermined by a lack of personal responsibility — she’s like a buxom Barbara Stanwyck with a frontal lobotomy.

Thank the dark lord for the grotesquely atmospheric and oddball Soul of a Monster (1944). It won’t be giving much away to reveal that the movie takes the femme fatale concept to its logical end. Never mind the film’s coda about faith and redemption, the sight of the devil marching resolutely through dark streets, downing power lines in her wake, obliterates all that corn. We can finally chalk one up for the bad girls.

THE BEST OF COLUMBIA NOIR

Sept. 17–30, $5–$9.75

Roxie Theater, 3117 16th St., SF

(415) 863-1087, www.roxie.com

Fringe follies

0

a&eletters@sfbg.com

The San Francisco Fringe Festival is, like, 18 or something this year. That used to mean you were middle-aged in, like, the Middle Ages. But this is 2000-and-something. The multi-venue Exit Theatre–centered Fringe, lottery-based democratic mayhem at its most unsound and intriguing, appears as youthful as ever. Witness the healthy emphasis on clowns, derelicts, and deviants, the longstanding stalwarts of its revolving stage.

One of the kickoff shows Wednesday eve was LandEscape, Rowena Richie’s decidedly quirky but adept, factually hefty, and not unamusing theater-dance piece based on the work of real-food advocate Michael Pollan. It’s about the disastrous perversity of industrial farming and the hope in old-fashioned alternatives. But top of the 2009 crop (or at least what was glimpsed from among roughly 40 scheduled shows in the two days before print deadline) is The Godling, which marks the creepy-sexy and dependably weird return of New York’s Endtimes Productions, purveyors of last year’s homerun, Knuckleball. This time it’s a whole new cast and crew, with writing credit for this nicely rendered — and that’s a nice word for it — dark carnival descent going to Mark Borkowski, with a firm hand on the helm from artistic director Russell Dobular.

A sideshow sandwich-board advert for "The Godling" and small, scattered piles of clutter litter the stage at the outset of this horror-charmer, where soon a memorable set of disreputables take shape in the dim light. At the demented head of things is a randy carny showman and seething psychopath (a volcanic Leal Vona) sporting an altered hockey mask and straight razor. Nearby stands, sometimes on hands, his shapely assistant (Leah Dashe). On a chain is their little incubator: a thin naked waif (Candace Janee) hunched over and cupping her protruding stomach, her mess of long hair obscuring angelic features. The couple discusses the keeping of time, nervously, while taking time to mock their prize — the girl with the growing freak in her belly — and awaiting the arrival of a certain "him" who, when he does appear, turns out to be a dapper, gentlemanly torturer.

As Fringe shows go this is a veritable bear on a trike. Nicely acted too. But there’s a line running from The Godling to the other playlets I happened to catch immediately prior, including Cockroach and Hell, the Musical. SF’s Dark Porch Theatre offers a little fevered dream of its own, centered on the eternal return of one wandering brutalized madman-cum–shopping cart (played to a kind of operatic perfection by the ever able Nathan Tucker). Tucker, eyes wild and as prominent as two eight-balls, stirs the stage like a demon chef, as his tormentor (Alison Sacha Ross) rasps accusations and slights his way, all pointing back to a psychosexually fraught night 10 years earlier and its lingering scars mental and otherwise. Director Margery Fairchild also choreographs a trio of Cockroach dancers, three men in beige unitards moving frenetically and continually reconfiguring like blobs of mercury in solution. The nature of the incident is weird enough, and Tucker’s a treat, though not always served by playwright Martin Schwartz’ elevated language and furtive storyline, and a dramatic arc that doesn’t quite come off despite some strong moments amid the faltering momentum.

Darkness descends again in a philosophical and even more comical key with 2006 Best of Fringe winner K.S. Haddock’s Hell, the Musical, which astutely realizes that while Jean Paul Sartre cooked up the perfect image of hell in other people, he completely left out the power chords. The charismatic cast of this revamped No Exit can sing and act, and the live musical accompaniment by the Crooked Family provides the Pat Benatar-esque punch you’d expect to be leveled by and against the damned.

SAN FRANCISCO FRINGE FESTIVAL

Through Sept. 20, $10 or less
Various venues, SF
(415) 673-3847, www.sffringe.org

Rock me, Amadeus

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kimberly@sfbg.com

SONIC REDUCER How do you fluff up sagging ole demon rock in the 21st century? Break it down to just one dude with a laptop and free-floating mix of hip-hop and hesher, ho’-pulling and hoary? Take it up a couple jillion notches and set it free of verse, chorus, and bridge to nowhere, heading into noise’s bristling, gristly outerzone? Or just turn it around and send it through the filter of another country, another tongue, another cult-cha — and back. The latter is the case for French combo Phoenix and Israeli outfit Monotonix (see sidebar), two travelers in the rutted, wrecked roads of rock — both playing this week in this bobo bastion by the Bay.

"When we were young," says Phoenix guitarist Laurent "Branco" Brancowitz, 35, "we tried to sound like the Velvet Underground and tried to erase the Frenchness." He chuckles under his breath. He’s on the phone from Versailles, where Phoenix first rose up from old Europe’s antiquities. "But now that we’ve grown up, we don’t try to hide our accent. We love the fact that we had to admit we come from a different country than most rock musicians. We can’t talk about Cadillacs, but we talk about our own things: we talk about the Eiffel Tower, Versailles, the things that are our Mississippi and cotton fields."

Tough to reenvision the Eiffel as a small-town Midwestern water tower — but Phoenix manages its own reinvention on the Parisian landmark on "1901," off Wolfgang Amadeus Phoenix (Loyaute/Glassnote) — as well as, Brancowitz explains, "all these things that were so modern at the time, that are now so obvious and cliché. There was a moment when [the Eiffel was] scary, offering a new vision for the future. It was an idea we were fascinated by, the idea of modernity in the past and how you relate to that."

Phoenix has flown far since the days when it served as early Air’s live band and had a sleeper hit of sorts with "Too Young" via the Lost in Translation soundtrack. Vocalist Thomas Mars might have graduated to the gossip columns as director Sofia Coppola’s baby daddy, but Wolfgang can stand proudly on its own (with help from producer Philippe Zdar of Cassius), straddling the kingdom of Killers-ish dancefloor-friendly rock-pop with ethereal numbers like "Fences" and the more austere, ambitious ambient outskirts, as embodied by the lovely "Love Like a Sunset Part I."

Thanks to its old Versailles nest, the outfit is accustomed to both staring inward at the past and out. There, says Brancowitz, "the buildings were perfectly symmetrical. There’s the boredom — that’s important. We had all these dreams of escaping. The combination of boredom and beauty shaped us." The band members hid out in their basements listening to the Velvets and the Beatles and retreating to another kind of inspiring yet imposing past, while Mozart, Liszt, and the like blared in the background. As kids, Brancowitz recalls, "We had a lot of soccer matches with a soundtrack of classical music — very loud classical music."

That breed of bonding has led to the fact, as the guitarist puts it, "for some very strange reason, all the good French artists are friends." Brancowitz himself started out in a band called Darlin’ with Daft Punk’s Guy Manuel de Homem-Christo and Thomas Bangalter, the pair who changed the world’s perception of French pop. The punk Beach Boys-inspired band crumbled when the other two "decided to go to a lot of rave parties, and I didn’t because I didn’t like the nightclub life. I’m a bit of a snob about it — I find it very vulgar." He laughs. "But we are friends. No issues." *

PHOENIX

Thurs/17, 8 p.m., $30–$32

Warfield

982 Market, SF

www.goldenboice.com


MONOTONIX IN STEREO

"Sit the fuck down! Sit the fuck down!" yelled Monotonix vocalist Levi "Ha Haziz" Elvis, né Ami Shalev, at this year’s Mess with Texas getdown during South by Southwest. An impressive display of crowd control, honed by somewhat unexpected circumstances. "I was trained in the Israeli Army," says Shalev. "They want you to be able to control people — just kidding!" But seriously, kids: "I must say every time the crowd does whatever I tell them to do, it’s kind of surprising." He’s on the phone in Jaffa, outside Tel Aviv, where the rock-out rage machine known as Monotonix is still based, despite the city’s (and country’s) small rock scene: "The only way for us to get bigger, develop, was to go outside Israel," he says. "There are a lot of good things in Israel, but not in rock music. Rock music is not in our culture." Nevertheless Monotonix’s first full-length, Where Were You When It Happened (Drag City), which the group recorded with Tim Green in SF, sounds like it’s running spectacularly well on the filthy fumes of stateside guitar-army conscripts like MC5. And word keeps spreading about Monotonix’s fiery shows. "I don’t want to sound arrogant," says Shalev, "but it keeps snowballing."

Thurs/17, 9 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

Playlist

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CROCODILES

Summer of Hate

(Fat Possum)

If it’s 1988 all over again, Crocodiles are our Spacemen 3, ready to deliver the perfect prescription: drum machines. vintage organs, drugs = god lyrics. They’ve got the best Jesus and Mary Chain death anthems too, and the occasional burst of energy, trading ‘ludes for upper-spiked punk on "Soft Skull (In My Room)." The poise and epic production here are surprising for a debut.

GRASS WIDOW

Grass Widow EP

(Make a Mess)

Bullseye. Times four.

BARBARA LYNN

Here is Barbara Lynn

(Water)

A lost gem of Atlantic, saved by the boys of Water in Oakland. The clarity and purity of Lynn’s voice are rare — and don’t let those adjectives fool you into thinking she’s a frail flower. Here, the left-handed guitarist makes wise ballads she wrote as a teen burn as strong and steady as anything by Irma Thomas. It’s all in the voice.

EMITT RHODES

The Emitt Rhodes Recordings [1969-1973]

(Hip-O-Select)

Oh, Emitt. At your peak you were picture-perfect: thick brown hair parted down the middle, angelic face with a doll’s complexion. The music business’ merry-go-round was cruel to you, but what glorious pop songs you’ve given us: "Live Till You Die" has been holding me together the last week or two, and it’s just one of many beauties from your self-titled 1970 LP.

SALLY SHAPIRO

My Guilty Pleasure

(Paper Bag)

The mystery girl who goes by the name of Sally and her partner in song Johan Agebjörn trade the melancholic depths of their first synth pop collection for lighter, sunnier fare. But the Expose-like "Save Your Love" has its charms, as does the song that pits love versus people dying in Africa.

SORCERER

Neon Leon

(Tirk)

On his second album, SF’s Daniel Judd veers away from the Hawaiian and beach themes and takes inspiration from novelist Elmore Leonard while adding some funk touches. But the tracks here still bloom and glisten like a tropical flower seen through time-lapse photography. "Dayglow" is gorgeous and many-faceted. "Raydio (Play It)" is the loveliest tribute to Ray Parker Jr. in the history of recorded sound.

The revolution will not be regionalized

0

a&eletters@sfbg.com

It’s safe to say that Achim Bergmann of Trikont, Germany’s oldest independent record label, has an affinity for the underdog. From his favorite soccer team (Munich’s best-loved losers, the 1860 Löwen) to his favorite musicians, it is outsiders who attract Bergmann’s attentions, personal and professional, rather than the heroes of the mainstream. Of course, outsider music comes in many variations, and somehow Trikont manages to embrace them all. From Finnish Tango to American yodeling, German-language reggae to Turkish techno, British punk to Black Panther soul, the label’s eclectic catalog has been transcending language boundaries and international borders long before "world music" became a Billboard buzzword.

First founded in 1967 as a radical publishing arm of the SDS, Trikont started publishing books of political and philosophical ideology collected mainly from the so-called "third world" (Trikont, short for trikontinentale, is a colloquial expression for same), including the Bolivian diaries of Che Guevera, the incendiary Revolution in the Revolution by Régis Debray, and the ubiquitous Little Red Book or Quotations from Chairman Mao. In 1971, Trikont released its first record album — a compilation of neoprimitive folk and radical "self-made music" titled Wir Befreien Uns Selbst or We Free Ourselves, a phrase that could stand as the label’s unofficial motto even today.

"It was very simple, very rough, not polished at all," Bergmann tells me as we sit at a wobbly kitchen table in Trikont’s Munich-Obergiesing headquarters. His youthful exuberance belies his bushy, white Ernest Hemingway beard. When Wir Befreien Uns Selbst sold 20,000 copies, for Bergmann it sparked the realization that "music was the non-dogmatic part of left-radicalism, a way to connect with the working class." It also provided the radicals with music — beyond the endlessly circuutf8g MC5 and Rolling Stones albums — they could call their own. Trikont’s official motto, "our own voice," reflects this ideal to this day.

And what a range of voices call the label home. After splitting from the book publishing side of the business in 1980, Trikont’s focus shifted from being a mouthpiece for the radical German left to being a conduit for what Bergmann terms "popular music" from all over the world. Not popular in the MTV hit-parade sense, but popular as in sphere-of-influence: from the emblematic zydeco of the Louisiana Bayou to the dramatic excesses of Mexican bolero, the label excels at tapping into that particular cultural zeitgeist expressible only through music. It does so through exactingly executed compilations curated by DJs, music journalists, and fellow aficionados of the slightly askew. Their ranks include a veritable who’s who of luminaries from the European music scene — John Peel, Jon Savage, Jonathan Fischer, Thomas Meineke, Bernadette La Hengst — while from our side of the pond, Greil Marcus provided the liner notes for Christoph Wagner’s harrowing 2002 compilation Prayers from Hell: White Gospel and Sinner’s Blues

Like the best mixed tapes, Trikont’s compilations are elegantly cohesive while still retaining the essential element of surprise. My first Trikont album, 1997’s Dead and Gone #2: Songs of Death — which I scored from a department store bargain bin while living in Munich — is an unlikely amalgamation of Serbian requiems, chilling soul tracks, avant-garde moaning provided by Lydia Lunch, Lou Reed, Nico, and Diamanda Galás, a suicidal lament by Bushwick Bill and the Geto Boyz, and an astonishingly moving funeral hymn from South Africa. Not exactly the stock-in-trade set list of goth clubs and vampire movies, yet as suitable a soundtrack for reflection on mortality as any Rosetta Stone album could aspire to be.

A current favorite, last year’s Roll Your Moneymaker: Early Black Rock ‘n’ Roll 1948-1958, plumbs the earliest incarnations of rock music. It includes the first recording of the Preston Foster song "Got My Mojo Working" (sung by the enigmatic Ann Cole), two classic Ike Turner tracks, the powerhouse Etta James anthem "W-O-M-A-N," and the hilariously snarky "Pneumonia" by Joe Tex. Trikont’s acclaimed swamp music series — nine albums’ worth of forgotten zydeco and Cajun gems — evolved from a crash course in music appreciation. Bergmann reminisces: "We came to Floyd Soileau of Flat Town Music … and told him to go to the cellar where the music that he couldn’t sell anymore was stored … [afterward] we were sitting here for weeks, reading things, listening to big boxes of it without any knowledge [of the genre] and ended up with the first three compilations, which were an incredible success."

One of the most outré of Trikont’s compilations is also perhaps one of its most universal: the "La Paloma" series — an audacious collection of 141 versions of one song. Originally penned around 1863 by a Basque national called Sebastian Iraider, the stately habanera spread from continent to continent, insinuating itself into the collective musical consciousness. In Mexico, it’s a call to arms (or to amor). In Romania, it’s a funeral march. In Tanzania, it’s chanted at weddings. In Germany, it’s a seafarer’s anthem. In Hawaii, it’s plucked out on the slack key guitar first introduced to the island by Spanish-speaking vaqueros. In fact, series curator Kalle Laar estimates that "La Paloma" has been recorded well over 2,000 times, in every possible language and style.

Even though his label is open to experimentation and quirk, Bergmann admits that when the "La Paloma" project was first pitched by Laar — a prominent sound artist and "a collector of very strange music" — Trikont’s first reaction was unequivocal: "We said, hey, Kalle Laar, we are crazy, but not that crazy." But Laar persisted, bringing mixed tapes of the song, presenting the history of the tune, and expounding on its worldwide popularity. "It was very interesting to hear," Bergmann recalls. "It was the same song each time, but it wasn’t. You could listen to all these versions at one time and it wasn’t boring or repetitive."

In 1995, the first volume of La Paloma: One Song for All Worlds was released. With versions recorded by Amon Duul II, Hans Albers, Carla Bley, Jelly Roll Morton, and Szedo Miklos, it documents a full 100 years’ worth of "La Palomania," and has since led to the eventual release of five more volumes. In turn Laar’s project inspired Sigrid Faltin’s 2008 documentary La Paloma. Sehnsucht. Weltwide (a.k.a. La Paloma. Longing, Worldwide) which screened at San Francisco’s Berlin and Beyond festival last January.

In addition to genre-crossing compilations, Trikont’s lineup of German-language folk, jazz, and avant-garde pop musicians keeps the label connected to its original mission. Collectively, the label’s single-artist albums are as varied as its compilations: they include recordings by Bayrische Rastafarian Hans Söllner, Berlin-based jazzman Coco Schumann, and Bavaria’s contribution to the anarchist brass band genre, La Brass Banda.

Though Trikont’s desire to free music from the narrow confines of regionalism applies to its German-language artists, the label is best recognized for its compilations of obscure Americana. American music, Bergmann points out, has long been the preferred music of German youth in regions occupied by the U.S. Armed Forces. Alien yet electrifying, the music broadcast on the AFN (Armed Forces Network) during the occupation and through the 1960s inspired a whole generation of young Germans searching for individuality and self-determination. It did so with more success than German volksmusik. "In Germany, we had never really had a revolution, so we didn’t have the music for it," Bergmann muses. "It’s hard for an old leftist like me to say it, but it was the American soldiers who brought freedom. But in the cultural sense, it was true."

On its unexamined surface, Munich seems like an unlikely place for a revolutionary underground music scene. Unlike its edgier northern counterparts, the city has enviably low unemployment and a relatively stable middle-class. It manages — somewhat tenuously — to strike a balance between being the capital of traditionally conservative Bavaria and the southernmost stronghold of the left-leaning Social Democrats. But scrape beneath and you’ll find that the same stubborn spirit that compels Bavaria to retain its status as a "Freistaat" within the German Bundesrepublik, and which has also fueled a streak of hard-left radicalism since the 1960s. Observe Trikont: with limited resources and anticapital ideologies considered counterintuitive by the so-called big players in a slumping music industry, the label nonetheless has created a stable home and well-deserved audience for the previously unheard music from every continent and classification.

What, then, is the key to Trikont’s longevity? "We never really had an agenda," Bergmann reflects. "We just wanted to say, ‘We will tell you a story in music, so you can see how good and how strong music can be.’ People have got an innate sense for it. If they listen to good music, they want good music." No matter what your definition of good music is, chances are, Trikont has it.

www.trikont.com

What they do matters

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johnny@sfbg.com

Something is happening. San Francisco and the greater Bay Area is, even more than usual, home to some bands that hardwire the heart: Grass Widow, Nodzzz, Rank/Xerox, Mayyors, Ty Segall. But more than that, the place we call home is a nexus for a bunch of great new rock albums — ones that just might be classics. Girls’ Album (True Panther/Matador) is the popular one with the media blitz behind it, but the Mantles’ debut is the come-from-behind outsider, the secret star, the crushworthy keeper. You’ll know it when you hear it, from the one-two-three punch of the first trio of tracks: the Byrds-y jangle of "Disappearing Act"; the churning propulsive energy of "What We Do Matters"; and maybe most of all, the brooding balladry of "Look Away," a now-I-see-you-now-I-don’t relationship ode which possesses a kind of offhand melodic and vocal strength that sounds easy to achieve, but obviously isn’t, because so few ever manage to do it.

Those are some of the things that go into The Mantles (Siltbreeze), along with guitar blazes (the climactic "Thin Reminder") and the overall feel of a band as a thriving living thing. What went on outside the album is an entirely different story. The group recorded with Greg Ashley in Oakland, where the adventures often began before they entered the studio. "One day this cracked-out lady walked up and punched this other lady in the face right in front of our car," says drummer Virginia Weatherby. "There’s a giant pile of trash right in front of his [Ashley’s] door," chimes in bassist Matt Roberts. "This one afternoon I showed up and there was a guy by it wearing no shirt and a Yoda mask — it was totally absurd."

Fueled by friendship and romance, the Mantles are relaxed enough to enjoy absurdity, whether it arrives in the form of a shirtless dude in a Yoda mask or entails playing the role of "psychedelic band" and "mid-tempo downer" at a sweltering garage rock party where people are doing cannonballs into a pool. If anything, the group was too relaxed for Ashley’s spontaneous and live-sounding recording process, an achievement of sorts. "You think you have the situation figured out on the third day of recording," says vocalist-guitarist Mike Oliveras, as the group discusses the different facets of Ashley’s home studio and warehouse setup, where graffiti and ciggies floating in glasses of beer are one norm. "Then he [Ashley] comes down with a bounty of nice-looking tomatoes and says, Do you guys want any tomatoes? These are from my garden on the roof."

The Mantles is being released by Siltbreeze, a pairing that should yield interesting results. The pop immediacy of the group’s songs might make them seem a good fit for Berkeley’s Slumberland, even if they tend to rock a bit more vigorously and wildly than many groups on Mike Shulman’s rightfully vaunted label. A standout track like the easygoing, assured "Don’t Lie" — understated yet almost anthemic at the close — is more melodic than most music released by Siltbreeze owner Tom Lax, whose enthusiasm came from hearing the first of the group’s two 7-inch singles to date. "There’s a certain amount of people who will buy it [the album] because it’s on Siltbreeze," Roberts says. "And there’s a certain amount of people who will specifically not buy it because it’s on Siltbreeze."

Fortunately, The Mantles is the kind of album that defies expectations. Its shades of New Zealand-ry (an organ sound and laconic vocal delivery not far from Flying Nun groups such as the Chills and the Verlaines), its Paisley Underground touches (some reviewers have mentioned Steve Wynn and Dream Syndicate), and its better-than-NME‘s-C86-cassette pop appeal seem very au courant, but come across as natural as breathing. Oliveras’ vocal presence is both a weapon and a major reason for this — he’s got more confidence and presence than your average rocker, yet he never falls into cringeworthy or over-the-top rock star gestures. There’s no T.T.H. (tries-too-hard) to his or the band’s approach. This forthright pleasure and assurance might have grown from the group’s recording experiences to date, which range from the experimentation and live takes of Ashley to the precision and attention to detail of Papercuts’ Jason Quever, who produced one of their singles.

Along with friendship and romance, family plays a role in the Mantles’ music — not corny Christian family values, but a bond with family members that’s taken a variety of funny forms during the group’s existence. "At [a show at] Café Du Nord, my mom said she wanted a drink, and when I told her to go to the bar, she said, It’s not my milieu," says Roberts to much laughter. He lists his favorite show to date as one the group did for Oliveras’ family: "There was an audience of six people on patio chairs sitting 20 yards away from us," he says.

"The Mantles: Being Earnest," Oliveras jokes.

The Mantles has the arresting look required of a vinyl-only release, thanks to a stark and handsome design by local musician Nathan Berlinguette, art by Colter Jacobsen, and another family touch: the photo on the album’s cover. As evocative in a nostalgic way as the cover of Night Control’s Death Control (Kill Shaman) is in a 2009 manner, it’s a picture of a man holding a picture — a photo of Jimi Hendrix. The man, standing in front of a gorgeous mountain-lined horizon, is Weatherby’s father. "My dad is beside himself," she says with a smile. "He went to one of our shows recently and was walking around saying, Album Cover Guy’s here. Want to meet the album cover?"

THE MANTLES

Album release party

Oct. 1

Eagle Tavern

398 12th St, SF

(415) 626-0880

www.myspace.com/mantles

Pho la love

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le.chicken.farmer@gmail.com

CHEAP EATS Don’t worry, I sat down at the conference table in my office in Oakland with Earl Butter, a big bottle of gin, a small bottle of grapefruit soda, a bowl of ice, and two small glasses, and we talked until almost midnight. It’s taken care of. We’re all going to be okay. Even you.

He’d brought a couple bones over from Looney’s Barbecue, around the corner, but I’d already bloated myself on takeout pho from Kang Nam, around the other corner. While we were talking, a mosquito came in through one of the many open windows in my hot hot upstairs apartment, and established itself in the bedroom. Weirdo the Cat blinked.

Earl Butter is a peach. Technically, this isn’t true, but in some respects it’s the perfect way to describe him. He’s soft and furry and sweet, and there’s a little stem sticking out of the top of his head.

He grows on trees, for another example.

One of my favorite things about pho (pronounced pha) is that it’s pronounced pha (but spelled pho). Those crazy Vietnameses! The good thing about getting pho to go (pronounced pha to ga) is that — if all goes well — you will find they have packaged the "rare beef" separately. So it’s raw beef, sliced really very thin, and it cooks in the broth when you put the two together. That’s the idea. But you can always let the broth sit in your bowl, and go to the bathroom, and make a couple phone calls, and check your e-mail, and lecture your cat, and clear off your desk, maybe put a load of laundry in, and then add the beef to the broth. That way it won’t cook so much as warm up a little, and that’s how I like it. Jalapeños, bean sprouts, fresh basil and cilantro …

We go back a long way, me and all those things, but especially Earl Butter. It’s one of those friendships that, in spite of everything — remote control ownership disputes, abandonment issues, actual abandonment, bad advice given (and taken), pork-related deception, petty jealousy, petty thievery of hats, grand theft of an automobile, grand jealousy, strange smells in the bathroom, botched interventions, band blowups, automotive breakdowns, nervous ones, and, you know, everything, tube socks … you get the sense that nothing can stop you, no one can beat you. You go back a long way and you’re going to go forward an even longer way.

Being which as it may, the fucker brings me two cold bones, one spoon’s worth of black-eyed peas, onion rings (and I don’t like onion rings), and a half of a crab-cake with mayonnaise in it. True, I had already eaten, but did he know this?

No. He did not. Wait, maybe he did. I’m trying to remember our phone conversation while I was waiting for my broth to cool off.

Anyway, this isn’t about Earl Butter, or me, or barbecue, or pho, or even my love, Romeo (pronounced Romea), who will be here in five, four, three days. Watch out, everybody. You are about to be absolutely grossed out. If scenes of romantical bliss make you barf, close your eyes, OK? I’ll tell you when to open them.

Really the person I really meant for this one to be about was the mosquito. But you know what? I’m in love, and feeling intoxicated and insane. I’ll let you imagine the cartoonish battle of wits that went down in the bedroom. All. Night. That. Night. And the bloody mess I left on the bathroom door the next morning, when, Popeye-armed and pissed off, I finally found him, or her.

Call me crazy, but I’m going to leave you with a few words about Kang Nam: it’s a both is and isn’t kind of place. Nice track lighting and big, ugly overhead fluorescents. Nice art on the wall and taped-on paper flyers for specials. Of the two waitresspersonpeople I encountered, one was calm, the other running around like a waitressperson with her head still on.

I didn’t see what the hurry was.

I did like my soup. A lot.

KANG NAM PHO HOUSE

Daily: 10 a.m.-10 p.m.

4419 Telegraph, Oakl

(510) 984-0900

Beer & wine

MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

The Mix

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(1) For Alexis (2009), Apichatpong Weerasethakul

(2) Dancin’ at Lil’ Baobab

(3) Aiyana Udesen’s art in "Future Colors of America" at Giant Robot

(4) Steamy disco rarities and hot queers, Le Perle degli Squalor

(5) Dexter season two