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Something for nothing

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You can’t get much cheaper than free. And at a time when many of us are counting every penny, the Bay Area is full of free stuff. Some of it’s right in front of your face, but most of it takes a little digging to find. This guide should send you in the right direction.

Oh, and by the way: some economists and political thinkers are suggesting that, as the over-financed, money-driven economy of the last century goes into, well, free-fall, the idea of giving things away could be the model for a more sustainable future.

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FREE FOOD

You can eat like a gourmet for the price of a drink

By Virginia Miller

Eating free doesn’t have to begin and end with soup kitchens. Here are some spots where, for the price of a drink — or sometimes for nothing — you can get good food, and sometimes excellent food, for everybody’s favorite magic number of zero.

ADESSO HAPPY HOUR

Adesso is much more than wine bar with an Italian-centric list of wines by the glass. The drinks are (relatively) inexpensive and creative concoctions. But the best part (besides a Foosball table) is food that comes out continuously from the kitchen during weekday happy hours. We’re not talking about your average free bar food here — this is stuff from the regular menu, like excellent house-made charcuterie, cheeses, hefty arancini (fried Italian rice balls), pates, sardine crostini, and all kinds of goodness. Happy hour, indeed.

Mon.–Fri., 5-7pm. 4395 Piedmont, Oakl. 510-601-0305

ALISHA’S HOME COOKIN’ FRIDAYS AT THE RIPTIDE

It’s happy hour and it’s Friday … what could be better? Especially at dive bar extraordinaire the Riptide, all the way out by the ocean in the Sunset District. From 4 p.m. to 7 p.m. (or until the food’s gone), Alisha cooks up down-home goodness that pairs well with the ‘Tide’s PBRs and fireplace (in case — shall we bet on it? — the fog rolls in after a sunny summer day). You get chili con carne, chicken pot pie, and something called "blushin’ bunnies."

4–7 p.m. 3639 Taraval, SF.415-681-8433. www.riptidesf.com

MAYA HAPPY HOUR WITH BOTANAS

The $5 drink specials all night on margaritas, mojitos, and sangria are already a good deal. Add in free all-you-can-eat Mexican snacks and it’s a party. Free stuff includes Mexican bites like guac, quesadillas, taquitos, jicama with ceviche, tamales, and black bean dip. Arriba!

Weekdays, 4–7pm www.mayasf.com

EL RIO’S MONTHLY PANCAKE SATURDAYS

El Rio is one generous bar — the place serves free pancakes from the griddle the third Saturday of the month. Further cool points won by calling it "Rock Softly and Carry a Big Spatula." Breakfast is kindly served at 1 p.m., so after you’ve rolled out of bed and wandered over, ease into wakefulness with soft rock and hot flapjacks. Wear the "funkiest kitchen couture" and you could win their Golden Apron honors. After a meal that costs nothing, it’s easy to feed the tradition with generous tips. There’s also free barbecue at Friday night happy hours until 9 p.m. and on Sunday afternoons during the summer.

3rd Saturdays, 1–3 p.m. 3158 Mission, 415-282-3325. www.elriosf.com

PALIO D’ASTI’S PIZZA

Any two drinks (of the alcoholic kind, $6–$9) and you’re given a generous-sized pizza for two (or one massive eater). Devour the sauceless pizza d’Asti (shaved asparagus, fontina val d’aosta, thyme), a classic Margherita, or a Siciliana (fabulous Berkshire pork fennel sausage, fire roasted peppers, and smoked mozzarella). It’s no trouble drinking cocktails when they’re as playful as rosemary "sweet tea" (bourbon, muddled rosemary, lemon, and a splash of Moscato d’Asti), or a rhubarb margarita with lime and a salt rim.

Mon-Fri, 4–7pm. 640 Sacramento, SF.415-395-9800. www.paliodasti.com

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FREE DRINKS

Sometimes, even the booze is on the house

By Amy Monroe

If you’re curious and thirsty on a Friday, head to Spuntino’s free wine tasting from 4 to 6 p.m. Let the friendly staff pour and explain a flight of wines organized around a different theme each week. Drink free and get educated — imagine that.

1957 Union, 931-0122, www.spuntinosf.com

Cash-strapped social butterflies need only round up a group of friends and bring them to Tropisueno any night of the week to earn free drinks, and lots of them. The host imbibes gratis all evening provided she brings five friends with her to the bar.

75 Yerba Buena Ln., 243-0299, www.tropisueno.com

If you happen to be walking by one of the city’s many Kimpton hotels between 5 and 6 p.m. on a weekday, you might want to wander in and mingle with the guests in the lobby. If you look the part (and nobody asks you to show your room key), you can partake in the hotel chain’s free wine hour. Bonus: many locations pour free Anchor, too.

Nine locations in San Francisco, www.kimptonhotels.com

Like beer, music, and crowds? Then head to tiny Laszlo on the first Friday of the month for GroundSound Happy Hour. Hosts Upper Playground and SonicLiving buy you beer — and good beer at that, Trumer Pils and Shiner Commemorator — from 6 to 7 p.m. while DJs spin for your listening pleasure.

2526 Mission, 401-0810, www.laszlobar.com

upperplayground.com/wordpress/?tag=groundsound-happy-hour

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JOHNNY FUNCHEAP’S FAVORITE WAYS TO ENJOY THE CITY, FREE

By Johnny Funcheap

When you’re broke in San Francisco, sometimes even "cheap" can seem like a four-letter word. So thank God for free. Here are a few ways you can still enjoy the fun of living in San Francisco without cracking open your wallet even once.

GET LECTURED ABOUT YOUR DRINKING

The Mission District bar Elixir hosts a free Thursday night "Cocktail Club" with tastings (whiskeys, vodkas, tequilas … even absinthe) and a guest expert to help guide you through the process of finding new ways to appreciate staying off the wagon. For beer and wine drinkers, most BevMo! locations in the Bay Area have regular free tasting parties with themes like summertime ales and Mexican beers.

Elixir, 3200 16th St. http://www.elixirsf.com

ART GALLERY RECEPTIONS AND WALKS

To help lure in and lubricate casual art fans into being art-buyers, most galleries have regular receptions with free-flowing wine and a tasty platter of things to nibble on while you research art you can’t yet afford. If one reception a night isn’t enough, try sauntering from gallery to gallery during one of several monthly art walks — the most reliable of which clusters around Union Square with regular collective receptions the first Thursday evening of each month.

www.firstthursdayart.com

VOLUNTEERING MADE EASY: ONE BRICK

Unemployed? Got time on your hands? Do something useful with it — and meet new friends in the process. One Brick is a local nonprofit that hosts upwards of 20 different flexible volunteering opportunities each week, ranging from working a short shift beautifying a local park to serving food to the homeless. It’s not just about doing good — One Brick aims to help you make new friends by organizing meet-ups after each event so volunteers can get to know one another in a relaxed setting over a meal or a drink.

www.onebrick.org

GET YOUR GEEK ON: STAR PARTIES

If you’ve ever looked up to the heavens and wondered what the hell was up there, the San Francisco Amateur Astronomers might be able to give you some answers. The group gives free lectures the third Wednesday of each month at the Randall Museum. When skies are clear, it hosts free monthly Star Parties at Point Lobos at Lands End with a lecture and a public telescope viewing.

RandallMuseum, 199 Museum Way; Point Lobos, El Camino Del Mar in Lands End;

www.sfaa-astronomy.org

AURAL PLEASURES: MARKET STREET MUSIC FESTIVAL

If the live music at the Stern Grove and Yerba Buena Gardens Festivals make you sad that most weekdays are quiet, the annual People in Plazas festival should help fill in any remaining gaps in your work-week concert schedule. This free July-to-October Market Street music festival puts on more than 145 free lunchtime concerts of all types in 16 different public plazas from the Embarcadero through the Castro.

www.peopleinplazas.org

FRIDAY NIGHT SKATE

Rather than plunking down a big portion of your salary (or unemployment check) on a gym membership (or signing up for a free introductory pass at a different gym each week: a.k.a. "gym slutting"), get sweaty by donning your blades or old-school roller skates and join the Midnight Rollers’ weekly Friday Night Skate. A large group of skaters embark from the Ferry Plaza on a 10-mile dance party/skate tour of the city, which includes plenty of stops for ice cream, Frisbee-throwing, and a chance for slowpokes to catch up.

www.cora.org/friday

TASTE-MAKING

Macy’s Union Square puts on free monthly cooking demonstrations in the Cellar, where top local chefs reveal their secrets for dishing up creative yet healthy meals. Not only do you get to learn skills like how to barbecue like a grill master, expertly pair chocolate and wine, or make a brunch worth waking up early for, you also get to sample the yummy delights the experts have cooked up. It’s like watching your favorite cooking show on the Food Network, but getting to magically reach inside the TV to grab a taste.

www1.macys.com

Johnny Funcheap runs FunCheapSF.com, a free San Francisco-based service that uncovers and shares a hand-picked recommendation list of upwards of 50 cheap, fun, unique Bay Area events each week.

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FIVE FREE THINGS TO DISCOVER IN SF

Urban adventures don’t have to cost money

By Broke-Ass Stuart

Although wasting a day in Dolores Park or purposefully misdirecting tourists might be great way to have some free fun, anything can get redundant after a while. That’s why I put together this list of amazing free things to discover in San Francisco. Whether you’ve been here your whole life or just landed today, you’re bound to find something entertaining on this list.

The Wave Organ at the end of the jetty extending past the Golden Gate Yacht club in the Marina. It’s not bellowing quite like it used to, but the Wave Organ is a perfect particle of San Francisco’s quirkiness. Built by the Exploratorium, the Wave Organ consists of 25 PVC pipes of various lengths jutting through concrete into the bay below. The sounds it makes depend on the height of the tide.

The Seward Street Slides at Seward and Douglass streets in the Castro District. Cardboard: free. Concrete slides: free. Getting bloody scrapes from combo of cardboard and concrete slides: priceless. The two concrete chutes are constructed so that when you get to the top and sit on a piece of cardboard, you slide down. Bring wax paper for even greater velocity.

The Xanadu Gallery at 140 Maiden Lane. If you’re excited about free stuff, chances are you can’t afford anything in this gallery. But looking around is free — and awesome! Designed by Frank Lloyd Wright at the same time that he was doodling the Guggenheim, Xanadu Gallery (built as the VC Morris Gift Shop), has a remarkably similar interior to its New York City cousin — seemingly devoid of right angles and full of curving ramps. I’d pay so much money to see Tony Hawk go to town in here.

The Tiled Steps and Grand View Park, 16th Avenue at Moraga. Bring your sweetie and climb the lovely 163 tiled steps. Stop at the top and breathe a bunch. Then climb the next set of stairs to the right, and the ones after that. Now you’re in Grand View Park. Breathe a bunch more while checking out the staggering view. Smooching at the top is optional (but excellent).

The Jejune Institute, 580 California, Suite 1607,. Imagine if Lost took place in San Francisco. But instead of wandering the jungle dodging weird smoke monsters and "the others," you could explore the city in ways you never imagined. The JeJune Institute is kinda like that, only better. I don’t want to ruin anything for you, so all I’m gonna say is go there with a couple free hours, a cell phone, and $1.10 (not technically free but seriously the best $1.10 you’ll ever spend). The Jejune Institute blew my mind so hard that the top of my skull still flaps in the wind.

If you like cheap stuff, check out BrokeAssStuart.com.

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FREE HAIRCUTS

Let the students practice on your head

By Mayka Mei

Has anyone ever said you have a great face for hair modeling? Volunteering as a hair model gives salon trainees a chance to fulfill all their requirements for becoming full-time stylists. True, salons have become more guarded about their freebies, sometimes nixing the programs altogether. But a few freebies are still out there.

A few caveats: you’ll need an open, available schedule. Some salons have casting calls or will screen you for certain characteristics online or over the phone. Decide if you want a cut or color, and exactly what type of styling you have in mind. With specific days devoted to specific lessons, they may not need another graduate specializing in bobs the week you need a cut. Here are two places that still cut hair, absolutely free.

Festoon Salon

Haircuts Mondays at 9 a.m., 1 p.m. and 3 p.m.

Coloring second and fifth Mondays at 11 a.m., 1 p.m., and 3 p.m.

1401 Martin Luther King Jr. Way, Berk.

(888) 35-SALON or (510) 528-5855, www.festoonsalon.com

Visual Image

Hair modeling vacancies available one or two times a month, or once a quarter

5200 Mowry, Suite C, Fremont

(510) 792-5922, www.visualimagesalon.com

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FREE PHONES, MOVIES, AND WI-FI

Why are you still paying for Internet access?

By Annalee Newitz

Information may want to be free, but Internet service providers want to charge you too see it. That doesn’t have to crimp your style; there’s plenty of free Wi-Fi — and ways to get free movies and phone service.

Let’s start with a little disclaimer: When you’re talking about getting things like free Wi-Fi, or free phone service, even "free" comes with a price. You’re going to have to invest in some equipment to get free stuff later. You might also need some training — but that’s available free.

For free classes where you can learn more about how to build some of the technologies I’ll be talking about below, check out the Noisebridge hacker space near 16th and Mission streets (www.noisebridge.net/wiki/Noisebridge).

Now, here’s the dirt on how you can stop paying for phone service, cable, Internet, and online media.

FREE INTERNET SERVICE

Novice level: If you have a laptop with a Wi-Fi card, you should never have to pay for an Internet connection while you live in the San Francisco Bay Area. There are countless cafes that provide free Wi-Fi to their customers. Yelp offers a good, up-to-date list of free Wi-Fi cafes in San Francisco at www.yelp.com/list/free-wireless-cafes-in-sf-san-francisco.

In San Francisco, check for free Wi-Fi provided by commercial vendor Meraki using this map: sf.meraki.com/map. Every branch library in San Francisco, Berkeley, and Oakland offers free Wi-Fi.

Techie level: If you’d like to get free Internet service at home and not have to visit your local cafe all the time, you can build a cheap antenna so that you can see countless networks all around your house. Find out how to build such an antenna using this free online guide at www.en.wikibooks.org/wiki/Wifi/Building_an_antenna.

If you are going to be borrowing your neighbors’ Wi-Fi service, please observe this cardinal rule: You are a guest, so use their service sparingly. Checking e-mail is fine, surfing the Web is fine, but downloading giant movie files is extremely uncool.

FREE MOBILE PHONE SERVICE

Novice level: Make all of your phone calls over the Internet using an IP phone. You can either invest in an IP phone and make phone calls using free Wi-Fi cafes and free city networks, or you can get the headset and microphone to plug into your laptop so that you can use Skype or another free Internet voice service.

Techie level: Turn your home phone into an IP phone.

Here are other ideas that some people have tried (and we, of course, don’t recommend that anyone does anything against the law). One of the open secrets about cordless phones is that it is extremely easy to steal phone service using them. Many cordless phones use the DECT chipset, and special laptop cards are available that that allow the users to trick cordless phones system into thinking that the laptop user is one of the cordless phones associated with it. www.dedected.org/trac

FREE CABLE

Novice level: Miro is an online service that allows you to turn your computer into a Tivo-like device that will download the shows you want to watch as soon as they are available via file-sharing programs. Find out more here: www.getmiro.com

Techie level: Turn your computer into a television tuner using Myth TV. www.mythtv.org

FREE MEDIA

Novice level: There are plenty of services online that offer free media, from Hulu.com, which offers a lot of free television and movies, to Archive.org, which has a vast collection of public domain films. Neither Hulu nor Archive.org requires you to download any special software. Or if you’d like something classier, you can download free, public domain classical music at MusOpen! www.musopen.com

Techie level: Use a BitTorrent client to download public domain music and movies that you can save on your computer. CreativeCommons.org lists many artists who offer their music for free. Public Domain Movies offers torrents of movies available to you for free. www.publicdomaintorrents.com

Other options people have tried: Some use a BitTorrent client to download any movie, television, music, software, or books that they like, using a popular Torrent search engine like Isohunt. There are a lot of what you might call grey area legal media at the Pirate Bay. That oufit is located in Sweden, a country that recenty elected representatives of the Pirate Party to serve in the European Parliament.

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FREE POT

You may be broke, but you can still smoke

By Rachel Buhner

It’s not well advertised, but if you’re short on money and need your organic herbal medicine, many of the city’s pot clubs will give it to you, free. Some places ask for proof of income or require membership while some are more loose about it. You won’t get big bags, either — typically the freebie is a gram. But while the American Medical Association and the insurance companies argue in Washington, D.C., about how to keep their fingers on the cash, local medical marijuana dispensaries are actually trying to serve needy patients.

The Green Door offers free marijuana every Thursday from 12 noon to 2 p.m. for those who can’t afford it. No proof is required.

843 Howard Street. (415) 541-9590. www.greendoorsf.com

The Market Street Cooperative offers free marijuana every Sunday for those who can’t afford it. No proof is required.

1884 Market. (415) 864-6686 www.marketstreetcooperative.com

The Hemp Center offers compassionate donations to all members when available; no proof of income is required. There’s also free Internet access, free bottled water, and free rolling papers.

4811 Geary (415) 386-4367www.thehempcenter.com

Sanctuary offers free medical marijuana, but there’s currently a waiting list and priority if given to terminally ill patients. Proof of income required; open to San Francisco residents only.

669 O’Farrell (415) 885-4420

Harborside Health Centers offers a care package program to low-income patients. Paperwork showing a fixed low income is required; patients can receive a free gram and a half each week. Additionally, members from any income bracket can volunteer at the center performing general activist work (calling local representatives, writing letters, etc.). After one hour of work, patients receive a free gram.

And there’s more: every Sunday from 2 p.m. to 6 p.m., the center offers members free how-to-grow classes taught by David Gold, author of The Complete Cannabis. Members also get a free lending library for cannabis-related materials as well as free holistic health services such as hypnotherapy, chiropractic, naturopathy, yoga, reiki, traditional Chinese medicine, Western herbalist consultations, and Alexander Technique classes.

1840 Embarcadero, Oakl. (510) 533-0146, www.harborsidehealthcenter.com

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FREE PAINT

Not many colors, but the price is right

Every wonder what happens to all that old paint that good, responsible San Franciscans drop off at the city dump? It gets recycled, in the best possible way. The dump workers sort it by color, pour it into big buckets, and give it away.

You don’t get a wide color selection (off-white is the big choice) but the price is right and it keeps the stuff out of the landfill. Schools and community groups get priority, but San Francisco residents can stop by and pick some up whenever there’s extra.

501 Tunnel Avenue. 330-1400. www.sfrecycling.com/sfdump

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FREE SEX

Clubs, classes, and clinics dedicated to low-cost lovin’

By Molly Freedenberg

As anyone with a broken bed frame or a broken heart knows, even sex you don’t exchange money for is rarely free. But we’ve compiled a list of sex-related events, resources, health centers, and club nights that are easier on the pocketbook than most.

GOOD VIBRATIONS

Good Vibrations is always hosting free events, classes, and book signings at its Bay Area stores. This month, check out Paul Krassner reading from his book In Praise of Indecency on July 15 and Kevin Simmonds presenting his new project "Feti(sh)ame," based on interviews with gay men about sexual fetishes, on July 16, both at the Polk Street location, and a reading/signing of Hos, Hookers, Call Girls, and Rent Boys: Prostitues Writing on Life, Love, Work, Sex, and Money (featuring stories by Annie Sprinkle and Tracy Quan, among others) July 30 in Berkeley. www.goodvibes.com

CHAPS

With no cover and nightly drink specials, this SoMa gay bar is the place to ogle hot men on a budget. Ongoing events include Shirts Off Mondays, Trumer Tuesdays (featuring $2 Trumer drafts and specials on Jäger and fernet); the sports-gear and jock-strap-themed Locker Room Wednesdays (with specials on Speakeasy ales, Wild Turkey, and shooters with names like Cock Sucker and Golden Showers); Thursday’s Busted (with whiskey specials and indie, electro, and ’80s remixes); Men in Gear on Saturdays, Cheap Ass Happy Hour every Monday through Saturday from 6 to 9 p.m.; and Rubber (hosted by the Rubbermen of SF Bay) every second Friday.

1225 Folsom, SF. (415) 255-2427, www.chapsbarsanfrancisco.com

CENTER FOR SEX AND CULTURE

This nonprofit organization provides education and resources across the gender spectrum. Though there’s a fee to attend many of the events hosted here, visiting the extensive library/media archive is free. So is checking out "Erotic Embrace of the Corset," an exhibit featuring 50 years of photography of bodies tied up tight, on display through Sept. 10. Call before you visit (the center is run by volunteers and has irregular hours), or try stop by between 1 and 5 p.m. weekdays.

1519 Mission, SF. (415) 255-1155, www.sexandculture.org

FIRST FRIDAY FOLLIES

Burlesque, by its very nature, is meant to be accessible to the masses — which means it should be not only lowbrow, but low cost. This monthly burlesque, music, and comedy revue takes "low" even lower by cutting out the cover charge entirely.

9:30pm. Stork Club, 2330 Telegraph, Oakl. www.myspace.com/firstfridayfollies

FEMINA POTENS

Part art gallery, part performance space, part community center, this nonprofit dedicated to greater visibility for women and transgendered artists has become a favorite of luminaries like Annie Sprinkle, Michelle Tea, and Carol Queen. Many events are low or no cost, and it’s always free to check out the art, including this month’s "Show Me Your Fantasy," featuring Malia Schlaefer’s photographs addressing contemporary female sexuality.

Thurs–Sun, 12–6pm. 2199 Market, SF. (415) 864-1558, www.feminapotens.org

SF JACKS

When you’re poor and bored, nothing perks you up quite like a good session of self-love. But if you’re tired of the solo mission, join other like-minded men for group "therapy" every second and fourth Monday. Though a $7 donation is suggested (insert "donation" pun here), no one will be turned away for lack of funds. Just remember the rules: mandatory nudity, jack-off play only.

7:30–8:30pm. Center for Sex and Culture, 1519 Mission, SF. (415) 267-6999, www.sfjacks.com

ST. JAMES INFIRMARY

Run by and for sex workers, this 10-year-old nonprofit provides free STI counseling and testing, rapid HIV testing, transgender healthcare and hormone therapy, self-defense classes, legal advice, and much MUCH more to sex workers and their families.

1372 Mission, SF. (415) 554-8494, stjamesinfirmary.org

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FREE TIPS GRAB BAG

More free stuff we love

You can watch Giants games free through the outfield fence; three-inning limit when there’s a crowd … Thrift stores all say "no dumping," but people leave stuff out in front late at night anyway … Ask someone leaving Muni for their transfer (and always take a transfer, even if you don’t need it, to share) … There’s almost always great free music at street fairs …. You can actually ski free at a lot of resorts if you do the old-fashioned thing and hike up the slopes instead of buying a lift ticket; on busy days nobody notices (obviously, this works best for short-run beginner hills) … There’s some great stuff at freecyle.org, but it’s a Yahoo newsgroup and floods your inbox so you have to keep up with it … The free stuff listings on Craigslist are also good … Casual carpools are a great way to get a free ride across the Bay … The Lyrics Born, Toto La Momposina, Kailash Kher’s Kailasa and the San Francisco Ballet all perform free this summer at Stern Grove, Sundays at 2 p.m., see www.sterngrove.org/2009season … Catch Wicked, Beach Blanket Babylon, Killing My Lobster, and more at the SF Theater Festival free shows; see www.sftheaterfestival.com and Yerba Buena Gardens Festival (till Oct. www.ybgf.org) … You can get free movie passes many weeks from the Guardian … Buy a Muni pass before the end of the month, and you can share your old one; it’s good for three days of free rides at the beginning of the month … Almost every used bookstore has a free box; mostly crap, but sometimes some gems …. The Cal Sailing Club in Berkeley offers free introductory sailing sessions on summer Sundays; for the schedule and details check out www.cal-sailing.org. San Francisco Brew Craft offers free beer-brewing classes every Monday night at 6 p.m. 1555 Clement, 751-9338 … You can catch free outdoor movies at Jack London Square in Oakland every other Thurs. night through August (www.jacklondonsquare.com/newscenter/upcomingevents) … Free Shakespeare in the Park performs The Comedy of Errors Sat. and Sun. afternoons in August and September at the Presidio Parade Grounds (schedule at www.sfshakes.org/park/index)

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FREE TRADE

Go ahead, give it away — that’s the way the next economy may work

By Cecile Lepage

The 2003 documentary film The Corporation established that corporations were psychopathic entities, prone to irresponsibility, manipulation, and remorselessness. Now writer Douglas Rushkoff contends that we — the human beings — have started to act like corporations. His new thought-provoking book — Life Inc.: How the World Became a Corporation and How to Take it Back (Random House) — retraces how society has internalized the corporate values that disconnect us from one another. The current economic meltdown, he argues, is our chance to overthrow this dysfunctional model. We talked to him about a very different economy — one based on things that are free.

SFBG Your outlook is bleak, but you are still optimistic enough to see a way out. What’s your plan?

Douglas Rushkoff This crisis is an opportunity to start doing things for each other. First we have to be daring enough to enter gift economies, where we exchange favors freely and openly without even keeping track, just assuming that it’s all going to work out. So if someone needs tutoring or help mowing his lawn, you should do it. Eventually we’ll realize how much less money we need to earn to get what we need.

SFBG You acknowledge that accepting favors in exchange for other ones feels messy and confusing to us. Why is that?

DR We’re afraid of being indebted to somebody else. In order to accept something from another person, you also accept your indebtedness and acknowledge your gratitude. Money feels cleaner to us. People prefer hiring a person to babysit for their child rather than accepting a favor from the old lady down the street — because if you accept, what social obligation have you incurred? What if she wants to join you at your next barbecue? What if she now wants to be your friend? So now we all have to work more to get money to buy things that we used to just exchange freely with each other.

SFBG You blame the corporations for convincing us that we are self-interested beings. How did they achieve that?

DR They thought that the mathematician John Nash’s bad game theory applied to real life. A number of experiments tried to show that human beings made decisions like poker players for personal short-term gain and assuming the worst about other people. None of the experiments actually worked: the secretaries they did the experiment on behaved collaboratively and compassionately.

The better scientists, like Dr. Glynn Isaac, an Africanist from Harvard, demonstrated beyond the shadow of a doubt that food-sharing and collaboration are what allowed homo sapiens to survive. Nevertheless, we intentionally built an economy and a scarcity-based currency to promote the self-interest.

People look at the economy we’re living in as a fact of nature. They don’t see it as a set of rules that was put in place by a particular people at a particular time. They look at money the way a doctor looks at the bloodstream. They don’t understand that it’s a social construction and that we can rewrite it.

Flour + Water

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paulr@sfbg.com

In an era when the naming of restaurants resembles the naming of Japanese cars — the ideal being a single, elegant, mysterious word like "Incanto" or "Lexus" — it seems rather daring to give a new place such a defiantly plain, yet weirdly complex, name as Flour + Water. One suspects that the idea is to suggest simplicity and forthrightness, but a certain austerity is also implied — not to mention the ubiquitous ness of flour in this country. We eat way too much flour, too much of it white and refined. It silts up our insides. I do like the "+" for its distinctiveness.

As it happens, pizza crust consists largely of flour and water, and one of the bigger deals at Flour + Water (which opened by a pair of Davids, White and Steele, late in the spring on the ground floor of a big Victorian building in the innermost heart of the Mission District) is pizza. The pies are made in the Neapolitan style, which means a thin crust and a very hot oven. This style of pizza has become very, very popular in San Francisco in the past few years — a winsome development for those of us who suffered through a long Dark Age of foam-rubber crusts. Are Flour + Water’s crusts up to the high standard set by Pizzeria Delfina, Gialina, Pizzetta 211, and Piccino? That, Horatio, is the question.

The duet of flour and water also figures in pasta, but the routine here can be more complex, since if you replace the water with egg, you end up with noodles. Flour + Water’s — excellent — pastas are hand-rolled, just from semolina flour (the slightly yellowish stuff produced from durum wheat) and water, I would guess. The name we give to this combination, macaroni, faintly suggests that it came from a box on a supermarket shelf, but in fact Flour + Water’s pastas are not only brilliantly sauced but produced in unusual shapes with evocative names — "maltagliati," for instance, or "rags," a type of pasta made from leftover scraps. One evening I saw a plate of this arriving at the festive table next to ours, and it did look like a tiny pile of old clothes waiting to be stuffed into a Goodwill bag.

My own plate of pasta, already dispatched, had consisted of agnolotti ($16), a swarm of little ravioli-like pockets filled with seasoned minced pork and bathed in a sauce of butter, Parmesan cheese, and parsley. (Our well-schooled server said that the name meant "clouds," but I might have misunderstood her; "agnolotti" is also said to refer to the shape of priests’ hats.) The pasta itself had the slight, not-unpleasant toughness I associate with fresh macaroni; fresh noodle pasta is a bit more pliant and luxurious. It’s like the difference between wool and cashmere.

Given the apparent pedigree of the pizza operation (chef Thomas McNaughton’s kitchen has its own pizzaiolo, Jon Darsky), I was struck by the condition of the crust under a margherita pie ($12 for a decent-sized one). I am all for blistering, and the restaurant’s Web site boasts of an ultra-hot oven, but there is a difference between blistering and charring. Blistering good, charring bad. Charring makes an un-pretty spectacle and leaves an off taste — we are talking about burnt flour, after all — while research suggests that it’s bad for you. By the time we were done with the pie, the serving tray was littered with twisted little lumps of charcoal, like burned-out tanks on a miniature battlefield. The toppings were fine and included fior di latte (a mozzarella cheese made from cow’s rather than water-buffalo milk). The half-wilted basil leaves clearly had spent some time in the oven.

In a small irony, some of the restaurant’s best dishes have nothing to do with pizza, pasta, or flour. A trio of plump marinated sardines ($9) wore bikinis of roasted-pepper slivers — they looked like a chorus line in some musical about a beach — while a simple side dish of chickpeas ($5) turned out to feature fresh chickpeas. These have a wonderful spring-green color and a bit more juiciness than the reconstituted, beige kind. F+W’s lot was also enlivened by a fine dice of pancetta, carrot, and onion (a meaty twist on mirepoix) and broth, which we daintily sipped after the chickpeas were gone.

Best of all, Flour + Water’s brief dessert list includes an authentic star: a block of olive-oil-scented cornmeal cake ($8) topped with a globe of olive-oil ice cream — a dense, smooth reminder that olives are fruit — and flanked by split strawberries tossed with shreds of candied fennel. Fennel is a root, not a fruit, and candied or not, its looks are unprepossessing (like a frosted-glass lightbulb that’s shattered), but its licorice flavor takes well to sweetening and to a union with sweet-tart, ripe strawberries. Enchanting!

FLOUR + WATER

Dinner: 5:30 p.m.–midnight

2401 Harrison, SF

(415) 826-7000

www.flourandwater.com

Beer and wine

Pleasant noise

AE/MC/V

Wheelchair accessible

The Bush era

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a&eletters@sfbg.com

SAT IN YOUR LAP: THE LATEST DAUGHTERS OF KATE BUSH FLESH OUT THIS WOMAN’S WORK

By Marke B.

Kate Bush was gifted with a fierce female originality at a time when the rock world was starved of it: her golden run of eccentric achievement in the late 1970s and early 1980s placed her next to Joni Mitchell in terms of adventurous — if not always intellectual — influence in the minds of aspiring young women singer-songwriters. (And there’s some extremely perverse pleasure to be taken in the little factoid that her stunning 1985 EMI comeback album Hounds of Love snatched the top U.K. album slot from Madonna’s Like A Virgin.)

But that gift was also a curse: Bush was so original in so many ways that it’s easy to forget the myriad musical pathways she forged. This “artist in a female body” — as she famously protested when her panicked record company started pimping her rack on sleeves to shift units — has mostly been boiled down to spiritual oracle, swooping-voiced Sybil, and, ever since concept albums by women were banished to exile in Guyville, keeper of the idiosyncratic prog-rock flame. In other words, Stevie Nicks with a Fairlight synthesizer and a degree in Celtic mythology. Or else just plain weird.

Fortunately, musical weirdness is so much with us today that other Bush qualities are starting to be glimpsed through the babushka, including her production abilities, precocity, sincerity, humor, and unabashed gender-fucking. For the past three decades, it’s never been rare for artists to be compared to Bush — mostly for childlike vocalizations or way with a silver space suit and Circe metaphor. But in our post-neo-neo-soul moment (sorry Wino), a new crop of female British singers has arisen that takes its cues, mostly acknowledged, from Bush’s kaleidoscopic talent.

FLORENCE AND THE MACHINE

Without Kate Bush, flouncy freak-folker Florence Welch and her ever-changing backup band could be heard as a product of the unholy union of Devendra Banhart and Tori Amos — except those two probably wouldn’t exist without Bush either. Florence grounds her lyrics in the sexually frantic Bush. “I must be the lion-hearted girl,” she sings in the vid for “Rabbit Heart (Raise It Up)” just before her wedding banquet table folds up into her coffin.

www.myspace.com/florenceandthemachinemusic

MARINA AND THE DIAMONDS

Marina and the Diamonds, a.k.a. the singular singer Marina Diamandis has been gaining huge traction with her excellent “I Am Not A Robot” track, calling up the more vulnerably affirmative, “Don’t Give Up” Bush. But it’s her screwy, cuckooing “Mowgli’s Road” that effectively conjures up woozy Kate at a post-rave bonfire.

www.myspace.com/marinaandthediamonds

BAT FOR LASHES

Half-Pakistani lovely Natasha Khan works the gleaming edge of Bush’s dark underworld glamour, and grounds her post-goth balladry and soft electro sparks in the sensual world. Her single “Daniel” de-Eltons the title character and places him among Bush’s slightly menacing, jig-footed cosmic effigies.

www.myspace.com/batforlashes

MICACHU AND THE SHAPES

Mika Levi calls herself Micachu and spits out shiv-sharp blasts of dissonant micro-punk — seemingly the opposite of Bush’s epic dramas. But Levi echoes Bush both in the sheer Englishness of her lyrics, the knockout oddity of her instrumentation and starry-eyed gender-bending. Micachu’s rambunctious, exhilarating new album Jewelry (Rough Trade) could easily have been shaken out of Bush’s backing track outtake archives.

www.myspace.com/micayomusic

MICACHU AND THE SHAPES

With tune-yards, Tempo No Tempo

July 22, 8 pm., $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com ————

MOTHER STANDS FOR COMFORT: KATE BUSH IN THE SOUNDS OF NOW

By Irwin Swirnoff

It’s always exciting when you sense universal consciousness in motion. Like so many around me lately, I can’t stop listening to Kate Bush. I play Hounds Of Love (EMI, 1985) from start to finish again and again, allowing a different song from the album to become my theme or guiding light for weeks at a time. I play The Dreaming (EMI, 1982) and let it spin in and out of my head. These songs are as dramatic as they are sincere. They conjure magic while maintaining an emotional core. Bush’s undeniable integrity travels through her songs like a force of nature, from soft-lit soap opera to primal realms.

Many great records by other artists in the last few years have been stamped with undeniable Kate Bush moments. A new generation of musicians is learning that avant and pop sensibilities can coexist in exciting ways and that it is possible to blend the organic and the mechanical to create songs that soar with a mission. Here are some of today’s cloudbusters.

GANG GANG DANCE

“House Jams” (from Saint Dymphna)

(from Saint Dymphna, Social Registry, 2008)

On its latest album, Gang Gang Dance not only embraces its love of the dance floor — it invites the spirit of Kate Bush to a psychedelic midnight rave.

M83

“Skin Of The Night”

(from Saturdays =Youth, Mute, 2008)

No strangers to teenage mellow drama and melodrama, M83 makes music with a cinematic quality, much in the same way that Kate Bush’s records sound like movies unto themselves.

PAAVOHARJU

“Kevatrumpu”

(from Laulu Laakson Kukista, Fonal, 2008)

This Finnish group roams through a landscape that varies from dusty fairytale to psychedelic future. This track is by far the most dancepop — and Bush-like — moment on a record that also channels Kurt Weill, Edith Piaf, and Robert Wyatt.

JOANNA NEWSOM

Ys

(Drag City, 2006)

Many eccentric female artists are compared to either Kate Bush or Björk by lazy critics, but few actually reach that kind of ecstatic individuality. Joanna Newsom is one. Her complete belief in her vision is apparent in these commanding, flawlessly executed songs.

TELEPATHE

“Drugged”

(from Dance Mother, IAMSOUND)

Much like their New York City neighbors Gang Gang Dance, Telepathe calls Bush to mind when it branches out from its experimental roots into a slow burning state that’s ready for the dancefloor.

CHROMATICS

“Running Up That Hill”

(from Night Drive, Italians Do it Better, 2007))

It takes major guts to cover this Bush composition, a contender for one of the most poignant songs of the last quarter century. The air of magic and mystery here is very Kate.

FEVER RAY

Fever Ray

(Mute)

The debut solo record from Karin Dreijer Andersson of the Knife is more internal and intense than the dance floor stylings of her well-known group. Andersson plays with different voices and personas while creating sounds that are creepy and comforting. The result feels like a perfect contemporary response to Bush’s explorations of 20 years ago.

They will not be silent

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a&eletters@sfbg.com

July 4 is Mime Troupe day in San Francisco, by tradition. Dolores Park, the place. There the venerable San Francisco company launches its annual free summer show — this year, the excellently timed and executed Too Big to Fail — surrounded by a varied throng of activists fanning out with ironing boards and literature among an audience of many hundreds basking in July rays, subversive laughter, and their own cheerful numbers.

Call it a day of independence from the usual bullshit, the jingo-jingle of national unity played for the masses from on high. This year Mime Troupe day got a city government imprimatur (making it actually "Mime Troupe Day" on official parchment somewhere) in a nod to the rabble-rousing satirical political theater troupe’s 50th year raising hell and inciting revolution. Generally speaking, when the government pats you on the back for that kind of thing, you want to check it didn’t leave behind a sticky with a bull’s eye. But the gesture seemed genuine enough. After all, the San Francisco Mime Troupe has in no small way contributed to the cultural clout the city enjoys as one-time font of the now revered (or at least hotly marketable) ’60s counterculture.

Founded in 1959 by RG Davis as a definitely not silent but highly physical instrument of radical aesthetic and political convictions, the Mime Troupe didn’t just mirror the counterculture; it was a driving force for it. And the free plays in the park — which began in 1962 and took the form of irreverent, politically charged reworkings of 16th-century commedia dell’arte scenarios and characters — were central to its aggressively popular, anti-bourgeois orientation.

From those early, gleefully spectacular free speech fights in Golden Gate Park — days when it was actually pitted in "obscenity" battles against the city government, in the form of the Parks Commission and the police — to clashes with cops and courts in Colorado and Canada over its still-provocative takes on American racism and civil rights in the guise of an old-fashioned minstrel show; to its midwifery of radical activist theaters like Teatro Campesino or anarchist rebels like the Diggers and their everything-free movement, it’s fair to say the Mime Troupe was more than a twinkling reflection of the zeitgeist.

Through the following four decades, the Mime Troupe, which became a collective in 1970, evolved and notably diversified with the times and their audiences, riding the vicissitudes of avid but also chaotic years, much of them spent touring extensively. Over what you might call three general and overlapping waves of collective leadership, it has endured. But has its mission?

"Absolutely," affirms Ed Holmes, a couple of days before the July 4 premiere. With the currently 10-member collective since 1986, Holmes is one of four members who came on in the mid- to late 1980s, and a powerful comedic performer revered for, among much else, his exquisite imitation of Dick Cheney. He fires off a definition: "To take a political analysis — radical, progressive, leftist, political analysis — make it entertaining, and take it out to the people in the parks, and give it away for free."

"The story’s the message," adds Pat Moran, a member since 2005 and the principal composer-lyricist of the Troupe since longtime member Bruce Barthol retired a few years ago. "But also the message is the going and setting up the show. The people working together, the people doing it, the fact that it’s produced every year on a slim budget with little time. That commitment is just as much a part of the show as the written piece."

Michael Gene Sullivan adds: "The audience should always leave any play, not just a Mime Troupe show, different people than they were when they entered. If they leave the same and are just entertained, the show is an abysmal failure." And how should they leave a Mime Troupe show exactly? "I want them to rush right out and overthrow capitalism," says Sullivan, the collective’s head writer since 2000, when he took the baton from longtime head writer Joan Holden. "That would be a good day."

At the same time, the challenges facing the company in 2009 are very real, most of them economic. Sullivan, with other members, points to the recent drastic yet financially necessary scaling-back of tours as a serious frustration. Bay Area living costs have also impinged on the day-to-day business of the organization, according to Ellen Callas. "People have had to take more and more outside work to fill in the gaps. It’s harder and harder to have a critical mass, even at meetings where important decisions are made," explains Callas, a member of the collective since 1986, "[But] none of us are willing to give up the dream of the Mime Troupe."

With their own building in the Mission District (purchased in the 1970s), unusual dedication, and commitments that include a teaching program for at-risk teens and workshop internships, the Mime Troupe does seem happily determined to press forward. Arthur Holden, veteran Trouper from the early 1960s until the 1990s, suggests it’s the collective structure of the Troupe itself that is key to its longevity — and no doubt part of its larger appeal too. "It’s what distinguishes the Mime Troupe from most other theaters: a sense of the collective members that they are really controlling their existence. That’s very important and it isn’t too easily found, in the theater or generally in the world."
TOO BIG TO FAIL

Various Bay Area venues through Sept. 24

(415) 285-1717, www.sfmt.org

Flyaway Productions

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PREVIEW Imagine what it would be like to be working on the new span of the Bay Bridge — perilously dangling in the wind, high above freezing waters, would be just another day on the job. Inspired by the female ironworkers, laborers, crane operators, and other brave souls who’ve helped create and tend to local bridges since the 1970s, Jo Kreiter’s Flyaway Productions presents The Ballad of Polly Ann (named for the badass wife name-checked in "The Legend of John Henry’s Hammer"). Like all of Kreiter’s creations, Polly Ann is an "apparatus-based" performance; appropriately, the dancers will move about a bridge replica inspired by the suspension system used for the Alfred Zampa Memorial Bridge, which spans the Carquinez Strait. The Flyaway crew is used to being graceful in unlikely places (fire escapes, rooftops) and have no fear of heights (past pieces have hoisted dancers up to 100 feet over audiences) — so they’re the ideal company to mount this unique tribute. Polly Ann was created with help from labor historian Harvey Schwartz and musician Pamela Z, who weaves real-life bridgeworker tales into her accompanying soundscape.

Flyaway Productions Through July 25 Tues–Sat, 8 p.m., $25. Somarts Cultural Center, 934 Brannan, SF.

1-800-838-3006, www.flyawayproductions.com

Vieux Farka Toure

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PREVIEW A torrent of questions arose amid the global mourning over Michael Jackson’s sudden passing. Was he addicted to prescription pain meds? How much was he actually worth? Did his father’s abuse scar the star beyond repair? Speaking of paternal influence, will 12-year-old Prince Michael Jackson follow his famous father’s musical calling? If he displays even an ounce of MJ’s talent, the pressure will be enormous.

A similar scenario played out in the African music world following the 2006 passing of Malian blues guitarist Ali Farka Touré from bone cancer. Farka Touré’s son Vieux expressed an early interest in music, but his father objected, hoping to shelter him from a professional musician’s grueling tour circuit. It didn’t work. Vieux picked up the guitar, releasing a self-titled debut on Modiba/World Village in late 2006, followed by the creative, youth-embracing Remixed: UFOs Over Bamako (Modiba) in 2007. With guidance from legendary Malian kora player Toumani Diabat, the younger Touré’s first two releases express a reverence for his father’s emotive, blues-soaked guitar style while exploring rock and electronic music interests.

These traditional and modern threads entwine so thoroughly that they fuse on the new Fondo (Six Degrees). Vieux gives voice to swirling Saharan dust storms on the energetic "Sarama," explores Mali’s quiet spirituality on "Paradise" (featuring Diabate’s kora solos) and ponders West African struggles in the 21st century on the reggae-tinged "Diaraby Magni." Like his father, Vieux’s music has taken him from Bamako, Mali to Bonnaroo, the massive Tennessee music festival where his American summer tour begins. As U.S. indie bands like Vampire Weekend and Fools Gold incorporate African rhythms into their repertoires, it’s worth hearing a talented African guitar hero whose taste for rock isn’t just skin deep, it’s in his DNA.

VIEUX FARKA TOURÉ With Luke Top, DJ Jeremiah. Sat/18, 8 p.m., $20. The Independent, 628 Divisadero, SF. (415) 771-1420. www.theindependentsf.com

Collision Fest, Convergence Fest, and “Faux Real”

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PREVIEW Children, go where I send you. Seek out the wild women of the Mission Creek Music Festival Collision Fest.

Sure there are some sweet boys — any pleasure-seeker with eyes and ears should enjoy Mike Mantle of the Mantles (headlining July 22 at Hotel Utah), or Myles Cooper’s solo journey outside the Passionistas (opening a June 24 El Rio bill). But this year’s MCMF says here’s to the ladies who launch — the women who make new musical rules in order to break them.

Ryder Cooley reps recent Bay Area ingenuity on Thursday at the LAB. But the double bill bonanza crazier than any acid trip involving Tony Danza goes down same place, same time the next night, when Dynasty Handbag and Ann Magnuson take the stage. Dynasty girl Jibz Cameron is a treasure as classy as your mom’s favorite perfume — not even Lypsinka sinks her teeth into the art of lipsyncing with such ferocity. Try not pee yourself as she puts the p in performance and prepares you for the musical dramatics of Ms. Magnuson. What can be said about the queen of Bongwater, besides that on the cover of Power Of Pussy (Shimmy Disc, 1990), she was both outdoing and lampooning Burning Man before it even became a phenomenon?

Since Magnuson rubbed extremely pointy shoulders with Klaus Nomi back at the Mudd Club, it’s safe to assume she would be intrigued by the Nomi-esque stage theatrics of Fauxnique, a.k.a. Monique Jenkinson, who is bringing her recent show Faux Real back for a weekend stint outside of the Mission Creek rubric. Word has it that the show is brilliant — for real.

While Magnuson and Dynasty Handbag exemplify the Collision Fest’s cross-disciplinary antics, the Convergence Fest is a trip into filmdom. And in the case of Ira Cohen’s 1968 cinematic mirror-warp The Invasion of Thunderbolt Pagoda (Sun/19 at Artists’ Television Access), I do mean trip. Along with a documentary about Krautrock godheads Faust (Sat/18 at ATA), Cohen’s movie is one of MCMF’s screen gems.

FAUX REAL Thurs/16–Sat/18, 8 p.m. $20. Climate Theater, 285 Ninth St., SF.(415)704-3260, www.climatetheater.com

COLLISION FEST AND CONVERGENCE FEST www.mcmf.org

Graphic Sexual Horror

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REVIEW The prurient pleasure piece Graphic Sexual Horror cannot be accused of failing to live up to its title. In fact, it’s safe to say that discussion or protestations (and anyone who’s not catatonic is bound to have something to say) that follow this solid porn-ocumentary will be related to the rather contentious content. This fair-minded glimpse into the pain-glorious performances and behind-the-scenes procedures of the now defunct hardest of the hardcore bondage Web sites is simultaneously titilutf8g and reflective, admiring and critical.

Insex.com founder Brent Scott, in explaining the academic ostracism at Carnegie Mellon that led to his new career as a high priest of porn, says this: "If they don’t let me teach their kids, I’ll corrupt them," which seems an apt encapsulation of his renegade artistic arrogance. This account is assuredly enriched by his candidness and self-criticism. He praises, sometimes adores, his female models and expresses sincere regret when his neglect leads to a malfunctioning water tank that could have inflicted injury. At the same time, however, he is chauvinistically demanding and insensitive to his model’s vulnerabilities. Essentially, he represents the ambivalence of extreme bondage — the murky convergence of liberated consensual sex and exploitation.

Clips of artistically presented live feed performances featuring such intrigues as blue-purple strangulated breasts and hot pepper being applied to genitalia, are intercut with interviews to give a sense of the models’ experiences. For bondage enthusiasts and the morbidly curious, there are visuals to gawk or gasp at throughout, but the tone becomes more conflicted as the film addresses the dilemmas of Insex models, as illustrated by the young woman who whimpers incredulously as her face is slapped. Face-slapping was her one hard limit (defined as activity forbidden by a model), but she struggles to play along because of the shame and lost fortunes a refusal begets.

GRAPHIC SEXUAL HORROR Thurs/16–Fri/17, Yerba Buena Center for the Arts

Partial Suspension for Complete Sadists and the Marquis Fetish Ball

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PREVIEW As we working stiffs watch more and more of our peers enjoying their government-funded, sun-filled funemployment, it’s hard not to feel tied down by the weight of the work week. But remember: not all bondage is bad. Case in point: Mike West’s Partial Suspension for Complete Sadists and the Marquis Fetish Ball, both happening this week to remind us that being told what to do can be a treat. On Thursday, the Japanese rope bondage expert will host a course featuring theories on challenging ties, installation of overhead points at home or on the go, testing a suspension ring, and the advantages of partial suspension. (Couples and singles welcome, but all must participate.) Two days later, sex educator, author, and bondage model Midori will make an appearance at MarquisAmerica.com’s celebration of all things leather, latex, and laced-up. Still not convinced the leash that chains you to your job is sexy? Consider a career change and enter Marquis’ live model casting.

PARTIAL SUSPENSION FOR COMPLETE SADISTS Thurs/16, 7:30pm. $25–$30. Stormy Leather, 1158 Howard, SF. (415) 626-1672, www.stormyleather.com

MARQUIS FETISH BALL Sat/18, 9pm. $35–$65. Supperclub, 657 Harrison, SF. www.marquisamerica.com

Editor’s Notes

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tredmond@sfbg.com

An angry reader called me years ago to complain about one of my columns, and before she hung up she informed me that "all you radical hippies want is free drugs, free love, and free lunch."

I couldn’t possibly have put it better. Especially the free lunch.

But it’s funny: As a society, Americans these days are almost afraid of things that are free. If it doesn’t cost money, it must be a scam. Or crappy. Or illegal. Nobody just gives anything away any more.

In fact, Douglas Rushkoff has written an entire book about the problem, called Life Inc.: How the World Became a Corporation and How We Can Take it Back (2009, Random House). In an interview with Cecile Lepage in this special issue (which provides dozens of great tips on things you can do and get for free), Rushkoff describes the problem:

"People prefer hiring a person to babysit for their child rather than accepting a favor from the old lady down the street — because if you accept, what social obligation have you incurred? What if she wants to join you at your next barbecue? What if she now wants to be your friend? So now we all have to work more to get money to buy things that we used to just exchange freely with each other."

Of course, if we all gave more away free, we wouldn’t need anywhere near as much money, which would change the whole way our consumer-driven society functions. People could work less and have more free time (say, to volunteer, or help babysit the neighbor’s kid). The financial institutions that so dominate our society (and that so seriously fucked up the world economy) would have less of a role in how people live their lives.

I know, I know: Ain’t no free lunch. Not in America, not in 2009. But it’s a thought.

So everyone in town was talking last week about the City College indictments. As one local wag put it to me, only partly in jest: "These folks must be guilty as sin if Kamala Harris actually indicted them." We don’t know much about their guilt or innocence before trial, but we do know that (a) our district attorney is mighty careful about filing charges in political corruption cases, so this isn’t just a set of allegations that will quickly disappear, and (b) there has been an awful lot of corruption in the local community college for a long time, and this is probably just the tip of the iceberg.

I wouldn’t be surprised, when all is said and done, if the reign of former chancellor Phil Day starts to look like that of former school superintendent Bill Rojas — a cesspool of sleaze that could take years to clean up.

And yet, college trustee Lawrence Wong was quoted in the Chronicle praising Day and calling him "probably the best chancellor we’ve had." Amazing, but not surprising. In fact, Wong and two of his colleagues — Trustee Natalie Berg and former trustee Rodel Rodis — backed up Day over and over again when he played funny with money, pissed off community groups, and acted disdainful of any criticism.

Rodis lost his re-election bid last fall, although Berg somehow survived. Wong is up in 2010. The reformers are slowly gaining control of the board, and the indictments show just how badly that was needed. *

The Ethics Commission fiasco

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EDITORIAL The San Francisco Ethics Commission is a serious mess, and if Director John St. Croix can’t turn things around — quickly — he needs to resign and make room for someone who can.

Ethics has badly damaged its reputation in recent years by hounding small-time violators from grassroots campaigns and ignoring the major players who cheat and game the system as a matter of practice. A couple of festering examples:

In 2004, then-Ethics Director Ginny Vida and Deputy Director Mabel Ng ordered the staff to destroy public records that pointed to malfeasance on the part of the Newsom for Mayor campaign. The records — which the Newsom campaign sent to the commission by mistake — suggested that the newly-elected mayor was illegally diverting money from his inaugural committee to pay off his campaign debt.

St. Croix admits that the agency knew back in 2005 that public money was being laundered and improperly used in a City College bond campaign — but did absolutely nothing. Now, four years later, District Attorney Kamala Harris has indicted three college officials in that case.

In fact, Oliver Luby, an investigator with Ethics, says he brought the problem to St. Croix’s attention back when that bond campaign was still underway — and was told, in essence, to shut up. "He instructed me not to speak of my report," Luby wrote in a Nov. 4, 2008 San Francisco Chronicle opinion piece.

But the well-paid operatives working for City College and Newsom never felt the sting of an Ethics investigation. Instead, the commission spent thousands of dollars hounding Carolyn Knee, the treasurer of a public-power campaign, threatening the volunteer who lives on a modest fixed income with more that $20,000 in fines. (The case wound up being resolved with a fine of $267.)

And now Luby — who was honored for his courage as a whistleblower by the Society of Professional Journalists — has been demoted, received a formal reprimand from Ng (for doing something other staffers have done routinely) and is under investigation on the basis of an anonymous complaint.

Luby’s technical violation: writing a letter from his Ethics e-mail account during work hours commenting on new regulations proposed by the state’s Fair Political Practices Commission. Ng, writing as Luby’s supervisor, claims in a reprimand letter that no employee has the right to speak for the agency, and that someone in Sacramento might have misjudged his personal comments as official Ethics Commission policy. (Nobody has suggested that his comments were anything but useful or that anything he said would damage the city’s reputation. And others in the agency comment on this sort of thing all the time, with no punitive repercussions.)

Now there’s an anonymous complaint against him raising the same issue, suggesting that he was using city resources for his own personal political causes. (Never mind that his job is working on the exact same issues as the FPPC rules cover and that he has absolutely no political or personal stake in the outcome.)

This city desperately needs aggressive enforcement of the political reform laws — and people like Oliver Luby ought to be getting praise and support from management and ought to be put in charge of ferreting out corruption. Instead, St. Croix and Ng are trying to hound him from his job.

The commission members need to tell St. Croix and Eng to drop the complaints against Luby, change the agency’s priorities and start going after the real scofflaws. The Board of Supervisors also needs to convene hearings on the problems at Ethics, something that Sups. David Campos and John Avalos have indicated a willingness to do.

P.S. : Since Ethics has refused to follow-up on the City College mess, the D.A.’s Office needs to pursue the case as broadly as possible, looking not just at the chancellor and his two aides but at anyone else who might have knowledge of the alleged criminal activity. And the Community College Board needs to move immediately to launch a fully public internal investigation and start complying with the city’s Sunshine Ordinance. *

Art Listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For more art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through Sun/19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10 ($27.50 for "Tutankhamun"), $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "Art and Power in the Central African Savannah." Survey show. Through Oct 11, 2009. "Towards Abstraction: Photographs and Photograms." Survey show. Through Nov 15. "Tutankhamun and the Golden Age of the Pharoahs." The return of the boy king. Through March 28, 2010. "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Survey show. Through Sept 6. "John Baldessari: A Print Retrospective from the Collections of Jordan D. Schnitzer and His Family Foundation." Retrospective exhibition. Through Nov 8.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Matisse and Beyond: The Painting and Sculpture Collection." Museum survey. Through Nov 8. "Paul Klee: Social Creatures." Early line drawings by the artist. Through Nov 8. "Richard Avedon: Photographs 1946-2004." Show dedicated to the iconic photographer. Through Nov 29. "Between Art and Life: The Contemporary Painting and Sculpure Collection." Museum survey. Through Jan 3, 2010. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Wallworks." Exhibition of local, regional, and international artists, curated by Betti-Sue Hertz. Sat/18 through Oct. 25.


BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27. *

Art Listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For more art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.


BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27.

Dead ends

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Clean Hands Go Foul (Hydra Head/Dymare), the posthumous release from doom metal supergroup Khanate, has been sitting with me for a while. But its potency only increases over time. With each successive listen, I feel increasingly like one of H.P. Lovecraft’s doomed protagonists — characters who unwittingly gamble away their sanity as they attempt to piece together the horrifying totality of a universe controlled by beings not of their time or space. I’m not sure what I am losing when I listen to Khanate, but I feel lost nonetheless.

There are few moorings on Khanate’s slate sea of negativity — none of metal’s usual signifiers, no lyrical invitations to trample on sacred institutions, no head-banging riffs. The four tracks on Clean Hands are emotional dead ends where vocalist Alan Dubin’s howled protests of rage, disgust, and futility are left to fester in the gutters built by guitarist Steven O’Malley, bassist James Plotkin, and drummer Tim Wyskida.

Composed of material improvised during the recording sessions of 2005’s Capture & Release (with Plotkin editing in Dubin’s vocals later on), Clean Hands plays more like a belated précis for the group’s deconstructed yet unrelentingly crushing interpretation of metal than a coherent album. Like Keiji Haino’s renowned power trio Fushitsusha, Khanate understood that metal’s heaviness could be chopped and screwed into different shapes without diminishing its brutality.

Some of Clean Hands‘ tracks are more successful at conveying the band’s protean dynamic than others. "In That Corner" — a staggering, Haino-worthy dirge — starts out at full blast before quieting down into a series of mournful echoes of itself. But it is album closer "Every God Damn Thing" that best displays the group’s propensity for grueling duration. Taking up close to half the album’s running time, it pairs 30 plodding minutes of input jack/cord buzz, bass rumbles, scraped guitar strings, the occasional feedback howl, and random bits of percussion with Dubin’s long-form, bile-filled disquisition on the title phrase. (Some sample lyrics: "Everything poison. Even flowers disgust"; "Out there, someone is dying. Hopefully, it should be all of them.")

Dubin is Khanate’s secret weapon. Other than Die Kreuzen’s Dan Kubinski or Swans-era Michael Gira, I cannot think of a vocalist whose rasp is severe enough to make you feel skinned alive and whose lyrics convey the vicissitudes of antisocial sentiment with such uncomfortable immediacy and — at times — surprising poetic force.

"It’s all bad, again!" Dubin screams at the close of "Every God Damn Thing." Such a statement of futility is fitting for a track that seethes in anticipation of a climax yet falls short of delivering the goods in its final paroxysms. An uneven postmortem, Clean Hands proves Khanate was never interested in giving listeners the satisfaction of a climax. The forces that compelled it toward such uncompromising, bleak musical extremes were also, unsurprisingly, what led to its breakup. Hell is indeed other people — including your bandmates. "Man’s greatness resides in knowing himself to be wretched," Pascal once said. With this final nail in the coffin, Khanate has proven itself to be so great.

Poetry in (stop-) motion

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a&eletters@sfbg.com

The bizarre news that the Academy Awards, which previously gave us such Best Picture nominees as Hello, Dolly! (1969) and The Towering Inferno (1974), will be boosting that category’s nominations back to a pre-1944 quota of 10 has induced much skepticism. For starters, Transformers: Revenge of the Fallen is now an actual contender. Boosters claim this will make room for more indies, foreign titles, and documentaries, usually slighted because they don’t have major studios’ voting blocs and campaign funds behind them. In the case of animation, however, it’s more that older voters still don’t view the medium as suitably "serious." No matter that Pixar routinely turns out all-ages entertainments more rewarding than 97 percent of Hollywood’s live action features, or that animators mostly outside the U.S. have been creating more and more "cartoons" that are very grown-up serious indeed.

Nina Paley’s Sita Sings the Blues, grown-up if seldom serious, is already a personal ’09 Best Picture pick, though that’s likely to remain a lunatic-minority opinion. Recent films such as Waltz with Bashir (2008) and Persepolis (2007) were certainly as artistically accomplished and weighty as anything that attracted Oscar’s climactic consideration in their respective years.

Further proof that animation can hit any dramatic or thematic note is provided by director Tatia Rosenthal’s third collaboration (following two shorts) with author Etgar Keret. Both are Israeli, though due to the mysteries of financing or whatever, $9.99 is an Australian coproduction voice-cast in Ozzie English with familiar local actors that include Geoffrey Rush, Ben Mendelsohn, and Anthony LaPaglia. Yet even if the feature looks and sounds more Adelaide than Tel Aviv, its particular world-weary gallows humor reveals that as mere shellac.

$9.99 is a stop-motion version of something that’s become ubiquitous in serious-minded movies: the ensemble piece in which numerous depressed urbanites’ fates crisscross during a short run of mostly bad luck that nonetheless ends on a vague yes-we-can-all-get-along chord of lyrical transcendence. Mercifully, however, it’s no Crash (2004). Keret’s characters dwell in the same apartment building, all lonely yet hapless at interacting with one another. Seeking the meaning of life, one figure buys a book called The Meaning of Life. Guess what: it really does live up to its title. But everyone around him is so accustomed to their unhappiness they won’t even let him share that over-the-counter wisdom. Workaday miserabilism meets magic realism to piquant effect here, Rosenthal’s Nick Park-like animation as affably unpretentious as Keret’s gestures toward profundity are half-apologetically abashed.

$9.99 opens Fri/10 in Bay Area theaters.

The deep end

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Lucrecia Martel’s three mischievous films scramble normal narrative hierarchies, privileging sensation to exposition, desire to explanation, and intuition to realism. Thunder-clapped fairy tales of unknowing, they have an adolescent’s sensitivity to the strangeness of the adult world. Outside of Tsai Ming-liang, it’s difficult to think of another working director with such a productive obsession with water. Martel is attracted to locations where her characters can sink, like pools and beds, and she arranges her multiplanar compositions so that these figures appear as floating heads and torsos.

The apprehensive tilt of Martel’s stories is left undefined, just on the cusp of horror, but the director’s formal coordination of sound and image is anything but imprecise. Her humid aesthetic popped out fully formed in the opening minutes of 2001’s La Ciénaga ("The Swamp"), in which the sloshing reds of blood and wine, a padded sound design, and viscous handheld camera movements conduct an atrophying bourgeois scene with the heavy-lidded amplitude of a Caravaggio. The Holy Girl (2004) further demonstrated Martel’s skill at playing for senses other than reason. Her new work, The Headless Woman, is her most expressly psychological yet, and thus entails a newly concentrated application of her unusual narration style — a kind of intimate, hooded third person in which neurosis and desire register as phenomenology.

The woman of the title (which doesn’t translate literally) is another of Martel’s dislodged bourgeoisie women. Driving home from a gabby gathering, she runs over something while absentmindedly reaching for her cell phone; after this, her mind absents her. Perhaps amnesiac, but at the least traumatized, Veronica (Maria Onetto) reenters her everyday life in a fog. Her weak smiles and mute replies will irritate some viewers, especially those who reflexively despise the withholding ambiguity of Antonioni films like 1964’s Red Desert (Martel’s characters, like Antonioni’s, often put on sunglasses at odd moments, as if to shield their wanting souls). What’s remarkable about The Headless Woman in comparison to so many art house pretenders, however, is that Martel is able to maintain this high level of uncertainty without letting the story go slack. As much as Veronica seems to drift, the film’s carefully calibrated ruptures make it so she cannot keep the world at bay.

HOLY GIRLS AND HEADLESS WOMEN: THE FILMS OF LUCRECIA MARTEL

July 14–15 and 23, 7:30 p.m. (Martel in person July 14–15), $8

Yerba Buena Center for the Arts, 701 Mission, SF

(415) 978-2787, www.ybca.org

Cold, cold hearts

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cheryl@sfbg.com

Metalheads: before you gang up on Until the Light Takes Us — a new documentary by Aaron Aites and Audrey Ewell, who dare to admit they weren’t really into metal before starting their film — consider the sinister fact that there’s now an imdb entry for the 2010 release of Lords of Chaos. This narrative take on Michael Moynihan and Didrik Sonderlind’s 1998 book (subtitled The Bloody Rise of the Satanic Metal Underground) casts Twilight vamp Jackson Rathbone as scene boogeyman Varg Vikernes.

Remember, also, the cursory attention afforded Scandinavian black metal in the sprawling doc Metal: A Headbanger’s Journey (2005). You may not recall that same year’s Metal Storm: The Scandinavian Black Metal Wars — an interesting if technically rough look at the subject — because it screened locally just once, as part of a Yerba Buena Center for the Arts series on heavy metal cinema. Metal Storm featured interviews with a young (circa 2000) Vikernes. The erstwhile Count Grishnackh, late of Burzum, returns in Until the Light Takes Us, which hits YBCA for a three-night stand.

Locked up in 1993 for murdering Mayhem’s Øystein "Euronymous" Aarseth, Vikernes was very recently paroled. But he was still incarcerated in Until the Light Takes Us, and he doesn’t seem terribly put out, likening his time behind bars to "a stay in a monastery." He’s articulate, intelligent, and unrepentant, reflecting on his various deeds. He claims he provided the shotgun ammo used by another Mayhem member, Per Yngve Ohlin (a.k.a. "Dead"), to committ suicide. (Of course, after Euronymous discovered Dead’s body, he took a photo that was later used as Mayhem cover art. Seriously, these were spooky dudes.)

Vikernes may be a fascinating fellow — a worst-case scenario for anyone eager to believe that heavy metal is a recruitment tool for Satan worshippers — but Until the Light Takes Us isn’t centered on him. This is not a true-crime tale (though it does offer some striking footage of Norwegian churches set ablaze during black metal’s criminal zenith). Nor is it trying to teach Metal 101 (though it does touch on black metal’s eerie, atmospheric sound, pagan themes, and deliberately lo-fi production). Instead, Until the Light Takes Us attempts to show what happens when a very specific, proudly isolationist art movement becomes commercialized — to the chagrin of founding members like Gylve "Fenriz" Nagell, memorable for his demon-like appearance in full corpsepaint on the cover of his band Darkthrone’s 1994 release, Transilvanian Hunger (Peaceville Records).

"I don’t want to be blamed for black metal becoming a trend," Fenriz says, some 16 years after an article in the U.K. magazine Kerrang! introduced black metal to the mainstream. Though the film interviews other players like Mayhem drummer Jan Axel "Hellhammer" Blomberg and former Emperor drummer Bård "Faust" Eithun (himself a convicted murderer who appears as a voice-altered silhouette), Fenriz is Aites and Ewell’s focus, drifting around icy Oslo, working on current music projects, and ruefully reminiscing about the movement he helped create: "I guess the sale of black lipstick went through the roof."

Rather than focusing on copycat bands, Until the Light Takes Us explores black metal’s influence on artists like Bjarne Melgaard, whose "Sons of Odin" installation earns smirks from Fenriz, and Harmony Korine, who earns smirks from the filmmakers. Not mentioned in the film: the Vice-produced 2007 internet videos series and Peter Beste’s subsequent book of photographs, True Norwegian Black Metal. Of course, Until the Light Takes Us — full of artful shots of Norway’s stark, gorgeous countryside and cityscapes, which go a long way toward illustrating what inspired the black metal guys in the first place — is also opening up the scene for curious outsiders.

"It’s out of our hands now," Fenriz shrugs. He’s bitter, but he’s got a point. Murders and mayhem and Mayhem aside, once pop culture snatches up your subculture — see: Guitar Hero‘s black-metal character, Lars Ümlaüt, or the aforementioned Lords of Chaos flick — there’s no stealing it back.

UNTIL THE LIGHT TAKES US

Thurs–Sat, 7:30 p.m.

(also Fri–Sat, 9:30 p.m.), $8

Yerba Buena Center for the Arts, 701 Mission, SF

(415) 978-2787, www.ybca.org

Bare life

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a&eletters@sfbg.com

In one of the many oblique exchanges between potential suicide Nancy Stockwell (Maria Bello) and her killer-cum-suitor Louis Farley (Jason Patric), the sadist asks his victim how she imagines death. Staring at a nearby aquarium teeming with wandering fish, Stockwell gleefully responds that death is a release — like one of them, you can breathe underwater. Swedish music video director Johan Renck’s first feature, Downloading Nancy is largely a meditation on such metaphysical atmospheres — the suffocating air of tract homes, the cold showers of sexual dysfunction, the liquid plasma of the sickly blue computer screen — and one woman’s compulsion for escape.

After a childhood of cruel sexual abuse and 15 years of pitiless marriage to game developer Albert (Rufus Sewell), Nancy retreats from her life of desperation and sets upon a pernicious odyssey. Determined to slough off her physical body and all of its mundane accoutrements, she enlists Internet pal Louis, an S&M fetishist and videographer, to pleasure and then kill her in a cyber-sacrifice. As the unnerving danse macabre gets underway, Nancy and Louis tease death with self-mutilation and torture, using razor blades, mousetraps, and lit cigarettes to chilling, depraved effect. Nancy’s bare arms and legs contain an archive of scars and burn marks, as do other hidden cavities she will puncture before reaching orgasm. Louis, stoic and increasingly conflicted about their atrocious pact, often trades away the pleasure of his own sexual fantasy in order to question Nancy’s real motivations or persuade her back toward life. Trading roles of executioner and executed, these lost souls teeter on a threshold where the sovereignty of sacrifice fades imperceptibly into the debasement of living death. Does Nancy’s ultimatum to her new beau constitute the ultimate instance of a woman’s seduction — or the complete penetration of the digital world into a simulacrum of unsacrificable flesh?

Equally as unnerving are the scenes of Nancy’s former life with Albert, a vampirous clone of the business world. When Nancy vanishes — her depraved goal unbeknownst to Albert — he wanders through the sickly mauve interior of the house, putter in hand, desperately trying to understand where their life went astray, all the while sneaking glances at the computer that had consumed Nancy’s life.

Despite some scenes of lugubrious pretension (particularly the "therapy" sessions between Bello and Amy Brenneman as her savior-psychologist), Downloading Nancy achieves a dubious distinction: it presents a model of posthuman mortality that oscillates between the bare life of the mutilated body and the de-corporeal skin of the digital screen. Renck employed cinematographer extraordinaire Christopher Doyle to enhance the feeling of mise en abyme by coloring everything in etiolated blues and grays. The result is a dystopic recreation of the present (here there are obvious comparisons to Cronenberg’s 1996 Crash) where boredom has supplanted the titillation of apocalypse. When Louis finally agrees to participate in the penultimate encounter, what ensues is a numbing anticlimax beyond (or beneath) the meaningfulness of sacrifice.

DOWNLOADING NANCY opens July 10 in Bay Area theaters.

Miss u?

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superego@sfbg.com

SUPER EGO Killer apps available soon for your iClub phone, besides the one where you can fake-snort Adderall, that epilepsy-inducing portable strobe, the virtual cigarette, and — Goddess help us all — the Paul Van Dyk BPM counter and 3-D glow stick:

Breath Blocker.

Douche Douche.

Cops Are Here (for bathroom line clearance).

Midi Jammer (to fuck with laptop DJs).

Instant Breakfast. Better Breakdown. Red Bull Unburp. Take Back What You Told Her. What’s Your Name Again? Third Ear Corrector (for trainwreck mixes). Stiletto GPS (to avoid injury). Bachelorette Banishment. Collar De-Pop. Hands In The Air (for lazies). Center Of Gravity (for twirlers). Personal Space. Interested Face. Sleep It Off. Leave The House. Get Me Home. Cocktail Scan. Dealer Dialer. Bag Locator. Eyes Uncrosser. Name-On-List. Instant Blackout. Armpit Undo. Wardrobe Wand. Singalong Stop. Conversation Erase. Invisible Walk of Shame.

Embedding Disabled By Request.

No More ’80s? Electro Silence? Trance-A-Way? Techno Buffer? Affliction Tee Annihilate? Child, you could make a million. Call me when your cell’s a mirror, and I can look myself up in it.

CLUB 1992

It was the best of times, it was the blurst of times — I think. I was too busy raving with Big Bird. In 1992, "Baby Got Back," "I’m Too Sexy," and "Jump Around" fought it out on hypothetical dance floors somewhere in Mainstreamland, probably, but the most important thing you need to know about that annus horribilis (Queen Elizabeth II’s phrase, not mine) was that something called Super Typhoon Gay threatened Guam. I do the research so you don’t have to. In any case, if irony’s taught us anything, it’s that taste is now a featherless bird that will peck out your brain. And — welcome friends! Awesome hair! — for the hot new gen flooding the clubs at the moment, these songs were its older sister’s jams. I can’t say mine were any more artistically momentous, because a) I’m basically a cultural relativist and b) she blinded me with science. In an undoubtedly canny move, the kids from electro-styley bonanzas Blow-Up and L.O.W. SF are getting all JTT on the TRL, coloring 111 Minna badd with a mess of DJs. Along with the neon pop dollops, "’90s hip-hop" is promised — which I’m guessing means more "getting jiggy" than experimental Quannum mechanics. Question: when will someone do an 1892 party? Now that would be epic.

Sat/11, 10 p.m., $10. 111 Minna, SF. www.club1992.com

PRINCE VS. MICHAEL JACKSON

Alas, I think we have a winner already for the 62nd installment of this seven-year-old monthly party at Madrone. But, despite it’s unabashed gimmickry and slightly worn template — and the fact that you’ve been dancing to MJ everywhere — this DJ battle pitting Purplesaurus Rex against Sparkle Fingers is a poppy blast, if now overshadowed by tragedy. In terms of dance music influence, Prince currently holds the ruling orb (just ask precocious ’80s pinchers La Roux). Michael hasn’t really been in the game since Frankie Knuckles’ masterpiece remix of the R. Kelly-penned "You Are Not Alone" in 1995, despite Rihanna and Justin’s bland efforts and Ne-Yo’s excellent ones. But all that has now been reset, with postmortem reevaluation and exposure forced on us. This party, with its hits, rarities, and remixes, is a good start for hearing things afresh.

Sat/18, 8 p.m., $5. Madrone Art Bar, 500 Divisadero, SF. www.madronelounge.com

Leftovers

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le.chicken.farmer@gmail.com

CHEAP EATS To a lover, love is bigger than anything, including reality, including practicality, reason, distance, sense, and in many cases, cornbread. So when a lover speaks to a lover of "the reality of," you know, "the situation" … you might understand or even agree, but afterward you will need to put a sweater on.

Reality checks, like hip checks, send you. What can you do but regain your skates and glide along?

What I meant to say about Brick Pig’s barbecue is: yum. Well, like a lotta barbecue, it’s inconsistent. Both times the brisket was great. But the pork ribs wavered from bone to bone. One would be tough and dry, another just fine, and anothernother fantastic.

Same with the beans: first time, great. Second time overly mustarded and therefore not so great.

What was consistent was the sauce. Get hot, you’ll be fine, and it’s excellent. And the brisket. And the place, which is small and perfectly atmospheric, with faux brick wallpaper and a couple of small tables for eater-inners.

How I found it was, well, I already knew about it for a while, because I would always see it after I’d just stopped at Flint’s for barbecue on my way to band practice. And I would always make a mental note, driving by, to check out Brick Pig next time. But I’m not known for my mentality, where barbecue is concerned. It’s more like an animal thing, so, so long as Flint’s entered my field of vision first …

Well, I don’t live in the North Bay anymore. I live in Oakland, meaning I have to drive up Shattuck to get to Flint’s, meaning I now see Brick Pig first. Still, when my new neighbor Lennie asked me where to get barbecue, I said, out of habit, "Flint’s." And then I went to work, which in this case was cooking dinner for the kids downstairs.

Lennie peaked her head in a little later and said, "We’re going to Brick Pig’s. Want us to bring you anything?"

I wasn’t hurt they weren’t taking my advice. I was hurt because I was on duty and would not be able to join them. "No thanks," I said, stirring whatever was cooking. "But if you have any leftovers … "

You don’t have to know me long to know me. She finished my thought, or rather, perfected it. "We’ll save you some," she said.

And she called while the kids were in the bathtub. They’d saved me some. I would only have to run across the street and back, but if anybody drowned or anything on my watch, I knew I would never be able to enjoy barbecue ever again. I decided to play it safe. I said I’d come by once the kids were sleeping.

So story time was hard. I kept losing the thread, and mixing metaphors. My point-of-view character accidentally died, very near the beginning, and then, because I’d stopped talking, perplexed, the kids took over. Once they start telling the stories, forget it. You may as well put on a pot of coffee and light them each a cigarette. They’re that talented.

Meaning my first taste of Brick Pig barbecue was cold and crusty by the time I got to it, but still: I licked the plastic clean. For my second taste, I took the childerns with me, and Lennie took hers, and that equals four childerns. Ma and Pa Brick House were happy to see everyone, at first, and broke out games and puzzles for the little ‘uns while they put our to-go order together.

Kids aren’t known for tranquility. They’re cute, as a rule, but peace is not their strong suit.

By the time we left, of course, Ma Brick House was singing a different tune. The lyrics were, "You know, you can call your order in, next time."

That was the time of the over-mustarded beans and pork-related inconsistency problems. As testament to the resilience and/or forgetfulness of adults, the next time I went, which was just a couple weeks later, first stop back from Berlin, Ma House remembered me and asked where my kids were. She said I shoulda brought them in with me.

I said, "I don’t have kids."

BRICK PIG’S HOUSE

Tue.–Sat.: noon–8 p.m.

5973 Shattuck, Oakl.

(510) 923-1789

No alcohol

MC,V,D,AE

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

Paving the way for privatization

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news@sfbg.com

City officials are considering shutting down the municipal asphalt plant — the source of material for repaving roads and fixing potholes — in order to facilitate construction of a private plant on the waterfront that the city would agree to help finance and support over the long term.

While the privatization plan is being billed by project proponents as a way to save money during tough financial times, it raises questions about whether relying on the private sector for this essential material could hurt the city’s ability to make emergency repairs and ultimately end up costing taxpayers even more.

For the cash-strapped Port of San Francisco, which will make millions of dollars leasing land for the new facility, this is unquestionably a good deal. But for the rest of the city, which is losing a potentially valuable public resource it has operated since 1909 when the first municipal plant opened, the answer is a bit less clear.

Douglas Legg, manager of finance and budget at the Department of Public Works (DPW), argues that the municipal plant is not cost-effective and that the city would pay less if it contracts with an outside vendor. In a 2006 study, Legg found that the city’s cost to produce a ton of asphalt was $75 while private plants offered it for $67.

"It’s true that E.B.I. Aggregates and Graniterock are a little cheaper because they have a market advantage: they own their own gravel quarries," admits Ben Santana, who has managed the municipal plant in the Bayview for the last 21 years. But he still thinks his facility plays an important role. "Otherwise they would have gotten rid of us long ago. We can mobilize in a few hours and city trucks don’t have to wait in line with other clients."

In the aftermath of the 1989 Loma Prieta earthquake, the municipal plant proved to be a valuable asset. "The plant wasn’t damaged. We sent our crews to take care of cracks and voids that had suddenly opened up," Santana recalls. "So the city didn’t have to go south to get material, or pay to get the private plants to open."

Indeed, in 2006, DPW held off the proposed shutdown in order to maintain its access to asphalt in emergencies. Officials worried about being dependant on plants outside city limits, especially since E.B.I. in Brisbane was slated to cease operations in the upcoming years, which would have left Graniterock potentially enjoying a monopoly that could result in price increases.

Although the agency recognizes that it has to have an asphalt plant inside city limits to function well, it is losing the political will to maintain its own. So when port officials approached DPW with their plan to attract a private asphalt operator, the threat to close down the municipal plant resurfaced.

The port has issued a request for proposal (RFP) for an asphalt-batching plant to be built on Pier 94. The selected bidder would be bound to negotiate a long-term contract with the city guaranteeing it would supply asphalt at a price tied to the Northern California asphalt price index.

The port and DPW assume the potential market for asphalt in the city will be large enough to draw private operators. But that belief seems to contradict the rationale behind the decision to close the municipal plant in the first place, which was that it couldn’t produce volumes large enough to bring the price per ton down.

"The demand from the street resurfacing program was nowhere near as high as we thought it would be," Legg says. In 2004, DPW installed two silos on the site to store hot asphalt and increase production. DPW was hoping to generate additional revenue for the department by selling asphalt to private contractors and other agencies. But two years later, Legg concluded in his report that the plant not only failed to turn a profit, it was facing a $100,000 shortfall to repay its investment.

Demand might be picking up, though: city officials expressed their intention to make up for years of neglect in the upkeep of San Francisco streets by introducing a $368 million safe street and road repair bond measure for the November ballot. The plan would boost the number of blocks to be resurfaced from 100 to 400 for the next 10 years, something that might make the city-owned plant more cost-effective. But Legg skeptically points out that the plant still requires replacement of some key components.

"Last year we had a $60 million capital budget for all capital improvement needs in the city from the general fund sources. This year, we’ve got $22 million," Legg says. "They’re scarce dollars. I can’t speak for what the Board [of Supervisors] will chose to do, but it’s challenging to get capital money."

Legg also noted the city plant’s "frequent breakdowns" and limited capacity to store raw materials, criticism countered by Santana. "The plant was modernized in 1993. Sure, some equipment does date to 1953, and I’ve been pushing to replace them for years. But it’s nothing the city can’t afford. Yes, it does sometimes go down. That’s part of operating a plant. But we’ve never run out of material because I always make sure to have some on ground or en route."

Brad Benson, project manager at the Port of San Francisco, discounts the recent limited asphalt consumption in the city, noting major development proposals in the city’s future. "Think about shipyard development, Treasure Island development, Caltrain, parking lots," Benson says. "If there’s not the demand, there won’t be bids. No one is going to invest $3 [million] to $10 million, whatever it costs to build an asphalt plant, if they don’t perceive a market."

But what might also hook prospective bidders is the provision, stated in the RFP, that the "risk capital to construct the facility (may be offset by city financing)." Benson explains that "this concept was introduced here in the midst of the financial crisis when people were having trouble finding sources of capital. The city may have access to some lower cost sources of debt."

Benson said he doesn’t know if city financing would be needed. "Obviously, the port prefers bidders that come in with their own sources of financing. That has been the model to build the neighboring concrete plants. The only reason to consider it is if the city combines lower-cost financing and could get lower cost asphalt in return. Then it might be worth doing."

It’s an interesting paradox: the city wouldn’t have funds to upgrade its plant, but would be ready to chip in to outsource?

But there are other issues driving the proposal. Karen Pierce, a Bayview- Hunters Point community activist who sits on the port’s Southern Waterfront Advisory Committee, told us she would "like to see the municipal plant move away from where people live. There needs to be a buffer area. A newer plant on port property would be further away, and we would have the opportunity to make sure it uses technologies that reduce the amount of pollution."

The municipal asphalt plant, which has never received complaints for pollution, currently incorporates 15 percent of recycled asphalt in its production. The RFP requests its potential tenant raise this amount up to 45 percent.

The proposed lot is also three times bigger than the existing one on Jerrold Avenue and has the advantage of being located near a maritime terminal where sand and gravel, the aggregates mixed with tar to produce asphalt, are imported. Also, there are two concrete batching plants and a construction material recycling center in the vicinity.

"Co-locating businesses that share each other’s products and reducing long-haul truck trips are the kernels of a broader idea for an ecoindustrial park that the port is developing in this area of the waterfront," Benson says.

If the asphalt plant project falls through, the port does have a backup plan: it is considering leasing the site to yet another concrete plant. Bids on both proposals are due in September, after which the Board of Supervisors will consider whether to close the city’s plant.

Nip it in the bud

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rebeccab@sfbg.com

GREEN CITY Imagine if San Franciscans had the choice of sending the check for their monthly electricity fees to one of two places. Option A is a massive private utility company, serving up fossil fuel-fired and nuclear-powered energy, presided over by a CEO who got paid nearly $9 million last year. Option B is a publicly-owned program run by local government that offers a substantial percentage of green electricity from sources such as wind, solar, and tidal power. In San Francisco, which one would people be more likely to pick?

The intent behind community choice aggregation (CCA) programs, which in San Francisco is known as Clean Power SF, is to make Option B a reality. If successful, the program would signify not just a major advance on the green front, but a dent in Pacific Gas & Electric Co.’s longstanding monopoly in the Bay Area.

The program development is inching along under the direction of the San Francisco Public Utilities Commission and the Local Agency Formation Commission (LAFCo). Sup. Ross Mirkarimi, who chairs LAFCo, has poured a tremendous amount of time and energy into the city’s fledgling CCA program.

So when a proposed state ballot initiative surfaced that threatens to thwart statewide CCA programs before they launch, Mirkarimi came out swinging hard.

Titled the "Taxpayers Right to Vote Act," the proposed initiative would require that any effort to create or fund a CCA program be ratified by two-thirds of the voters. The measure would erect an almost impossibly high barrier to CCA development around the state, effectively snuffing out PG&E’s would-be competition and sullying local governments’ plans to embrace publicly-owned, cleaner energy alternatives.

Mirkarimi wasted no time in drafting a resolution against the measure and submitting it to the Board of Supervisors, telling his colleagues that the utility’s proposal undermines years of effort "to allow municipalities to go ahead and chart their own energy destiny so they don’t have to be on the syringe of fossil fuel-driven corporations like PG&E."

He also took issue with the name of the proposal, calling it deceptive and misleading. "The point is that we should not be manipulated by measures such as this, where voters would be required to have a two-thirds vote on something the state Legislature has already allowed us to pursue," Mirkarimi said. "It’s our own right, and corporate special interests shouldn’t dictate otherwise." The state law that grants local governments the right to pursue community choice aggregation, which was sponsored by then-Sen. Carole Migden, specifically prohibits actions that impede the progress of a CCA.

PG&E’s name does not appear anywhere on the ballot-initiative proposal, but a spokesperson for the initiative confirmed that the utility had paid the submission fee. The law firm listed as a contact for the proposal, meanwhile, has been enlisted by PG&E before. And Robert Lee Pence, who is named as the proponent of the initiative, has teamed up with PG&E ally Townsend, Raimundo, Besler and Usher on campaign measures in the past. That Sacramento-based political consulting firm describes its strategic consulting services online with this brazen slogan: "Moving opinions is what we do best."

PG&E did not return calls for comment.

At the June 30 Board of Supervisors meeting, supervisors approved Mirkarimi’s resolution on a 10 to 1 vote, with Sup. Michela Alioto-Pier voting no. And while a resolution does little more than create a formal record of the board’s position on a matter, Mirkarimi seemed to suggest that it was only the start of a battle mounting against this proposal. "Don’t be surprised [if] a number of municipalities align themselves in potential litigation against this," he said.

Sup. David Campos, an attorney who also sits on LAFCo, hinted that the city could enter into litigation on the issue. "I hope the city is carefully looking at legal issues that might be raised by the actions of PG&E," he noted at the June 30 Board meeting. "I think that there are legal protections we need to avail ourselves of, and I hope the City Attorney’s Office, working with the Board of Supervisors, can make sure that the city takes all steps that it needs to take to protect its legal rights."

Campos later told the Guardian that he had not yet spoken with the City Attorney’s Office about it.

When asked about pursuing legal action, the City Attorney’s Office would only say that "we’re aware of it, and we’re evaluating what we will be doing," according to spokesperson Jack Song.

Barbara Hale, general manager for power at the San Francisco Public Utilities Commission, told the Guardian, "We have certainly been talking with other cities about the initiative." But Hale added that the agency hadn’t taken a formal position yet because it is so early in the process. "It hasn’t actually been placed on any ballots yet."

Since the initiative was submitted, public power activists across the state have taken notice. Jeff Shields, general manager of the South San Joaquin Irrigation District, has gone toe-to-toe with PG&E on public power issues before. One of the most memorable battles occurred when a political consulting firm hired by PG&E hacked into SSJID’s computers in the midst of a tug-of-war over control of the area’s electricity infrastructure — only to get caught by the FBI and publicly denounced by PG&E. "Obfuscation is PG&E’s middle name," Shields says. "I know there are lots of people looking at this initiative, but I don’t know that there’s a specific organizational effort against it at this time."

Jerry Jordan, executive director of the Sacramento-based California Municipal Utilities Association — a statewide organization representing 70 public utilities — told the Guardian that CMUA would oppose the initiative. However, "we may wait until it qualifies," Jordan said. The initiative is still in its earliest stages, and the attorney general has yet to certify it as legal to the secretary of state.

Meanwhile, efforts to move forward with the CCA model in other regions are floundering in these tough fiscal times. The San Joaquin Valley Power Authority voted June 25 to temporarily suspend its CCA, an effort in the works for years that had a goal of offering electricity to customers at lower and more stable rates.

Spokeswoman Cristel Tufenkjian said the greatest obstacle was a contract with CitiGroup’s energy branch that was marred by tight credit markets. "When things started to go south with the markets, CitiGroup said it could not execute that contract," Tufenkjian explained. She also added, "We are opposed to the initiative."

The SJVPA bid to create a CCA was also hindered by opposition from PG&E. "For the last few years, PG&E has continually placed roadblocks in front of our program in an attempt to stop us from implementing community choice and ultimately not providing residents and businesses the opportunity to have a choice about who will provide them electrical energy," said Ron Manfredi, city manager of Kerman and chair of the San Joaquin Valley Power Authority.

The Board of Supervisors’ resolution against the ballot initiative condemns such roadblocks and vows to push through this one. "PG&E has a history of acting to maintain its monopoly in its service region, including opposing public power initiatives at the ballot and lobbying officials of California cities [and] counties against community choice aggregation in apparent violation of the provisions [of state law]," the text of the resolution reads.

As this ballot initiative moves through the approval process, it’s clear that a battle is going to heat up very quickly. "I think we have to fight this as hard as we can," Campos told us. "PG&E has been unsuccessful in killing [CCA] here in San Francisco, but they have certainly delayed it. Now they’re trying to make sure it doesn’t happen anywhere else."

Beyonce bounce

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a&eletters@sfbg.com

SONIC REDUCER Fierce. Bad. Doth Beyonce Knowles and Michael Jackson protest too much? More than two decades separated them, along with crucial biographical details, gender, and a kind of comfort in one’s skin. Yet both drink deeply from the same well of R&B pop perfection, after emerging, solo, from the safety and suffocation of the family-like combo. Both faintly evoke Jackson’s go-to mom for Prince, Paris, and Prince II (a.k.a. Blanket), Diana Ross. Both walk that tightrope of personal vulnerability and arena-friendly theater, the real and the fantastic, artful display and emotional artifice. Both have been philanthropists, ready with a vision to heal the world, and armed with a staunch commitment to spectacle and an iron will (to entertain) encased in a sparkly or titanium robot glove.

But entertain a morbid thought: if Knowles were to crash and burn her Thierry Mugler motorcycle breastplate during her current "I Am … Tour" — said to out-razzle-dazzle all predecessors with its aerial flips and 70-some costumes — would she be revered like Jackson? She’s made her share of great, timely, and timeless singles: "Crazy in Love," "Baby Boy," "Irreplaceable." And you can easily hear Mikey within the tender whisper-to-a-scream "If I Were a Boy." But Knowles’ bifurcated self unsettles on I Am … Sasha Fierce (Sony/Music World, 2008), an album tidily separating in two, its ballads and bangers distributed between two discs, as if simuutf8g vinyl.

Sasha Fierce is a clear bid for album-like complexity, depth, and, gak, maturity. It leads with the earmarked-as-important slow dances and power ballads and disrupts the single-centered paradigm, making us wait for the champagne-bubbly, bustling "Single Ladies (Put a Ring on It)." Surprisingly old-school in its marriage-minded sentiments for a woman who makes a point of touring with an all-female band, the track hints at the cognitive dissonance that makes Michael Jackson studies so rich. Given time, Jackson might even have wanted to tweak his beauty to mimic Knowles’ healthy naturalism, rivaled only by Rihanna’s as current pop’s beauty standard.

Sasha Fierce succeeds as a long listen, settling in likeably and ingratiatingly despite irritants like "Ave Maria" and "Video Phone," which recall the ways in which B’Day (Columbia/Music World, 2006) blustered and annoyed. Its crafty, minimalist sections hint at moments spent listening to electro remixes and MIA. As with MJ, it’s tough to separate the dancer from the dance: I can’t help but hear Beyonce singing to Jay-Z in her protests against being treated as less than one of the boys. Now declaring the "Death of Auto-Tune," he’s the talented shadow hanging over the production, another male counterpart to her executive producer and father, Matthew Knowles. Is it audacious to imagine her breaking from those intimate ties and finding her own Quincy Jones? To wonder if hipsters will be dancing to B’s songs — with nostalgia or irony or blissfully encumbered by neither — two decades from now as they do to Michael? I’m looking forward to the moment when Beyonce resolves her two B sides and merges the woman in the mirror with the woman making the music.

BEYONCE

Fri/10, 7:30 p.m., $19.75–$129.25

Oracle Arena

7000 Coliseum, Oakl.

www.livenation.com

———–

DEATH CAB FOR CUTIE DUSTS OFF ITS EXTRAS

I suspected Death Cab for Cutie had finally arrived while browsing the juniors’ department of Macy’s and being stopped in my tracks by the video playing on the TV monitors: it was "I Will Possess Your Heart," off Narrow Stairs (Barsuk/Atlantic, 2008), the combo’s first No. 1 album on the Billboard 200. Judging from the attention the music was getting from random tourists and untethered men, the group had found listeners beyond the indie rock mob. Now new — and old — fans can get another dose of the Narrow Stairs sessions with the release of The Open Door EP (Barsuk/Atlantic). The disc’s five songs "were kind of poking out, in a way, so we just cut them from the album," bassist Nick Harmer says by phone. "But it was part of the experience of where we’re at as a band. So we were always hoping we’d find a cool home for them." Death Cab expects to start working on its next full-length later this year — all a far cry from the moment Harmer, Ben Gibbard, Chris Walla, and the now-gone Nathan Good first practiced together. "You just know when that spark happens," Harmer recalls. "I remember we had a big debate about making a CD — it was a big deal for us to make 1,000 copies: ‘We’ll be sitting on these things for years….’"

DEATH CAB FOR CUTIE

With Andrew Bird, Ra Ra Riot

Sat/July 11, 6:30 p.m., $42.50

Greek Theatre

UC Berkeley campus, Berk

www.apeconcerts.com

Nude Beach Guide 2009

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