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Under the umbrella

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Understanding music through the kaleidoscopic lens of jazz is daunting. But it’s a challenge made for virtuoso drummer, multiinstrumentalist, rapper, and arranger Karriem Riggins.

Riggins allows jazz’s free-flowing aesthetic to guide his quest to study genres, explore amorphous coagulations of sound, and synthesize diverse sonic influences and life experiences. His muse opens an expansive universe of musical possibilities. "I feel like I’m one with music," he says, during a recent phone interview. "But I want to reach the point where it’s so effortless to do anything I want to do. Any genre — I want to do everything." Whether playing drums for powerhouses like Ray Brown and Herbie Hancock or producing and rhyming with Madlib, Riggins shows a rare adeptness at either transcending or crossing skillfully between musical traditions.

As a youngster in Detroit, 17-year-old Riggins got his big break when singer Betty Carter invited him to perform with her band as part of the esteemed Jazz Ahead program in New York. He found himself awestruck by the city’s explosive music talent. "I stayed there, I didn’t want to go home," he says. "There were more people my age playing incredible [music]." After a two-week stint grooving with Carter, Riggins found work playing drums for pianist Steven Scott and jumped on opportunities to hold down percussion for Roy Hargrove and Benny Green, steadily absorbing their mastery through musical osmosis.

But Riggins also aspired to refine his other passion, hip-hop. After returning to Detroit, he honed production and lyricist techniques with Common and No I.D. while they were producing One Day It’ll All Make Sense (Relativity, 1997), even flipping a track of his own for the record. Since then, Riggins has laced textured beats for the Roots as well as soul conjurer Erykah Badu and finished the production on J Dilla’s brilliant posthumous project The Shining (Bbe, 2006). Riggins’ raw formula balances live instrumentation and samples, keeping the creative process free while allowing the final vision to cohere within a holistic jazz sensibility. "I feel like hip-hop and a lot of other genres are under the umbrella of jazz," he insists. "Jazz is really the core of the music." He nonetheless notes at least one fundamental distinction between jazz and hip-hop. While hip-hop’s flavor requires simplicity, jazz demands colorful and rhythmic experimentation, a complexity that would detract from hip-hop’s minimal solidity. The singular manner in which Riggins’ negotiates this tension is what makes his multifaceted sound so damn compelling.

In the upcoming Virtuoso Experience Tour, where Riggins plans to introduce his new quintet with pianist Mulgrew Miller, either Pete Rock or DJ Dummy will collaborate on the turntables. "There are very few musicians who are revolutionary musicians, who take the music into their own world and develop something really innovative," Riggins says, noting luminaries like Miles Davis and Gary Bartz. "That’s the type of artist that I want to be."

KARRIEM RIGGINS VIRTUOUSO EXPERIENCE TOUR

With Mulgrew Miller, Pete Rock (Wed/24) and DJ Dummy (Thurs/25)

Wed/24–Thurs/25, 8 and 10 p.m., $20

Yoshi’s

510 Embarcadero West, Oakl.

(510) 238-9200

Detroit rock city

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Last year, Motor City troubadour Rodriguez’s 1970 recording Cold Fact (Light in the Attic) rightfully topped many critics’ lists as the best reissue of 2008. This year, another Detroit act, Death, is experiencing a similarly vital revival, through its jaw-dropping proto-punk onslaught For the World to See (Drag City). As Rodriguez hits SF in conjunction with the reissue of 1971’s Coming From Reality, I caught up with him by phone as he visited the office of his new label. I corresponded with Death’s Bobby Hackney by e-mail, with some help from Drag City’s Nicole Yalaz. (Johnny Ray Huston)


SFBG What were some of your favorite haunts and places in Detroit?

BOBBY HACKNEY (OF DEATH) Of course the Grand Ballroom, and later on, the Michigan Palace. Most of the shows we would see would be either at the Cobo Arena or Olympic Stadium.

SFBG Rodriguez, have you spent time with John Sinclair?

RODRIGUEZ Only as of late. We did a show together that involved music and poetry on a [street] corner. He’s quite a hero. We burned one.

SFBG Rodriguez, how important was Detroit and your experience of it to the lyrics on Cold Fact and Coming From Reality?

R I consider myself urban as opposed to rural or suburban. Any city has its heart, and my background is in the social realism of the urban setting.

SFBG Bobby, will the reformed version of Death be touring soon?

BH What a timely question. We have just finished a four-month process of production and rehearsals and this past Friday announced our first show at the Majestic Theatre in Detroit on Sept. 25.

RODRIGUEZ

With Fool’s Gold, Sam Flax and Higher Color

Fri/26, 9 p.m., $17–$19

Slim’s

333 11th St, SF

(415) 255-0333

www.slims-sf.com

Average Jane

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andrea@altsexcolumn.com

Dear Readers:

I’ve known people who have sex for money, have sex as a hobby, write about (or perform about or do art about or teach about) sex as an avocation, and still have enough interest and energy left over to have the occasional bit of relaxing off-line sex at home with a partner when nobody’s watching or reading along. But I am not one of them. I get bored. There was a play about vibrators here recently and everyone asked me if I was going, but I said, "Eh, I’d rather see Up." I like to cook and read and watch shows about things that have as little to do with (my) real life as possible — high fashion, for instance, the nuttier the better. I like it when the models wear their dresses upside-down and have monkey-fur eyebrows and a teapot on their head. You don’t?

So … I’m a huge fan of Project Runway and a lesser one of its lesser successor, The Fashion Show. Every season, though, there’s some kind of challenge involving "real women" and, while it’s fun to see the contestants, used to dressing compliant stick insects, wrestle with a mouthy client who dares to voice her own, often scandalously après garde opinions (she often just wants to look nice, of all things), it’s appalling to hear what the designers have to say about the non-model bodies. Faced with the task of dressing a modeling agency admin instead of the expected model, one of the Fashion Show wannabes pouted, "She’s very normal. I don’t do normal."

Well too bad for you, darling! Let us return the favor!

So imagine my glee upon discovering a recent study which found that regular men (as opposed to fashion designers of any gender or sexual preference) not only DO do average women, they vastly prefer us. I knew it! All these years of assuring women that jutting hipbones and sunken chests are not only not required to attract guys, they aren’t even preferred, and now I have at least this one study to back me up.

This isn’t about the "something to hang onto" hypothesis, although I do think that men in general do prefer some padding on those they plan to bump up against, and not only to avoid all the bruising. Men who are attracted to women tend to be attracted to women, and women have boobs and butts and that cunning part in between, where it gets smaller.

You’ve probably heard about the alleged universally preferred waist-hip ratio: it’ s 0.7. This shows up constantly in popular-sciencey psych articles about men’s hard-wired preference for female bodies that signal youth, good health, and fertility (they also like symmetry, even skin tone, and teeth) and depresses female readers who wonder if they measure up. Some researchers in Australia decided to take a closer look, and recruited a bunch of guys to rate line drawings of female torsos for attractiveness. (I may have read too much hard-boiled crime fiction to hear about female "torsos" without mentally adding the word "dismembered," but let’s hope the test subjects had not.) From the NewScientist article:

The work, by Rob Brooks at the University of New South Wales in Sydney, Australia, and colleagues, suggests that the popular notion that a waist-hip ratio of 0.7 is the most attractive only holds if the rest of the body is average (Behavioral Ecology, DOI: 10.1093/beheco/arp051 ).

"The orthodoxy says that you will be attractive with a certain waist-hip ratio no matter how the rest of your body varies. Our study shows this is not the case," says [researcher] Brooks…. The men showed a preference for women with a waist-hip ratio of 0.7 — but only if they had an average-sized waist, hips, and shoulders.

When compared with groups of real women, including Playboy centerfolds, Australian escorts advertising on the Internet and average Australian women between the ages of 25 and 44, the latter group most closely matched the preferred body shape.


Strike one for the average Sheila. Isn’t this heartening? Of course women who are substantially smaller or larger than average can still find plenty of ammunition here with which to wound themselves (the men liked average women, after all), and we don’t know for a fact that it applies to non-Aussie men. Even so, it’s something to remember when the heart sinks and the self-loathing rises upon looking in the mirror and failing, once again, to see Kate Moss pouting back at us. Suck it, Kate! Go eat some crisps.

In other heartening news, the editor of British Vogue put fashion designers on notice that she would no longer publish photos of ultra-emaciated models, so they’d better start sending larger clothes. Apparently the samples have been arriving at the magazines in ever-tinier sizes, until even the models we’re used to seeing, who are about 5’10 and 100 to 125 pounds, can’t fit into them. Not that the average size 14 Australian torso is going to be able to squeeze into those Valentinos, but at least it’s a start.

Love,

Andrea

Dirty dancing

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kimberly@sfbg.com

SONIC REDUCER "I guess it’s different things at different times. I guess different songs are in different modes." David Longstreth of Dirty Projectors is trying — but not very hard — to discuss his songwriting process by phone from Richmond, Va. From the sound of it, the Projectors are trudging along sluggishly today, so as one of those writers with a word or two to spare, I thought I’d help the tongue-tied onetime Yalie out.

"So do you write songs by jamming together as a band or do you compose all the parts yourself?" I wonder innocently.

"It’s hard to write music by jamming," sighs Longstreth, 27, "though not for someone like Phish. Or the Grateful Dead. Or the String Cheese Incident. Hey," he decides to turn the tables on his tiresome interrogator, "what kind of music do you listen to?"

Somehow I think I just got stuck in the String Cheese camp for throwing out the dreaded J word, although Longstreth gets gabby at the mention of his friends and fellow Brooklyner soft-liners Grizzly Bear and happily talks about the leaked "crappy burns" of that band’s latest disc, Veckatimest (Warp).

"We all like to hang out and listen to jams and stuff," he offers tentatively, as if trying out a new language, one perhaps invented by candle-selling hippies and moe.-moony preppies.

Oh, never mind — trust the art, not the artist, as my mother, a shiftless artist, once said. And Dirty Projectors’ art is excellent this time around: the Longstreth-led group’s seventh long-player, Bitte Orca (Domino), is a cunning, insinuatingly likeable collection of characteristically complex, left-field songs that seem to shoot from the hip for that ineffable quality that some fine Top 10 hip-hop appears to aim for — polyrhythmic pop that sound as easy and natural as a school-yard chant — while preserving Longstreth’s glimmering, almost-Afropop-like guitar playing, random (string cheese) incidents of harp, and unexpected time signatures that bring to mind, yep, the jams of Yes and their proggy ilk.

Still, those name-drops don’t quite encompass Longstreth’s romantic falsetto feints on "The Bride," the cock-eyed and sinuous Bjork-meets-Beyonce dance-pop of "Stillness Is the Move," or the fetching, erratic chamber folk of "Two Doves" — and do little to capture how luminously lovely the album is, for all its hard corners and uncompromising eccentricity, and how good his current band — which includes vocalist-guitarist Amber Coffman, vocalist-keyboardist-guitarist-bassist Angel Deradoorian, drummer Brian Mcomber — sounds live.

Little wonder that Longstreth has little patience for fool questions — words do little to sum up the gentle bite of Bitte Orca. "A song is like a living thing," he explains, not sure he’ll be understood. "And recording is a document of the song at a particular moment in time. But I think if you’re playing well, there’s an element of growth that’s happening as you’re playing. I wouldn’t describe it as improvisation — but flux."

DIRTY PROJECTORS

July 7, 8 p.m., $15

Independent

628 Divisadero, SF

www.theindependentsf.com

————

KID CUDI

Though the tune first emerged last year, the infectious Day ‘n’ Nite has been going damn near every day and night since Kanye got behind the Cleveland, Ohio, native. With Sean Paul, Ice Cube, and others. Fri/26, 6 p.m., $25.50–$95.50. Shoreline Amphitheatre, One Amphitheatre Pkwy., Mountain View. www.livenation.com

PHOENIX AND MAJOR LAZER

French rock’s photogenic mythical critters attempt to rise above the tabloid fodder — vocalist Thomas Mars is Sofia Coppola’s baby daddy — and hold the line the against futuristic Jamaican toaster with Guns Don’t Kill People … Lazers Do (Downtown) in hand. Fri/26, 9 p.m., $27.50–$70. Regency Ballroom, 1300 Van Ness, SF. www.goldenvoice.com

RODRIGUEZ AND FOOL’S GOLD

The cold fact is that the resurrected folk-rock legend conquered the crowd at his last SF show. This time the Afropop-adoring LA combo promises to shines, too. Fri/26, 9 p.m., $17–$19. Slim’s, 333 11th St., SF. www.slims-sf.com

SKYGREEN LEOPARDS

The SF band embraces a gentle, sunny, new clarity on its upcoming Gorgeous Johnny (Jagjaguwar), with Papercuts’ Jason Quever now in their midst. Sat/27, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

TOM BROSSEAU

Playing with Ethan Rose, Brosseau plies dusky, literary-minded originals on his handsome new Posthumous Success (FatCat). Sun/28, 8 p.m., $10. Café du Nord, 2170 Market, SF. www.cafedunord.com

Grade A

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a&eletters@sfbg.com

It was a gathering of tribes with more tattoos and partially shaved heads per square foot than anywhere else in San Francisco. The sartorial imagination at times rivaled the one on stage. In other words, it was the eighth Fresh Meat Festival, celebrating transgender and queer performance, and Project Artaud Theater packed them in.

Announced as the largest festival of its kind in the country, Fresh Meat is the brain- (and heart-) child of Sean Dorsey. A smart organizer and good artist, he programmed a lineup that showcased not only gender but ethnic diversity: a Latino singer, an African American rapper, and a Sri Lankan theater artist, among others. Differences extended to quality; not all the performers were equal in either craft or talent. But this was a theatrically pungent evening whose concurrent themes couldn’t be missed. Joyful affirmation of self and the pain of not fitting in went hand in hand.

The evening opened on a note of female assertiveness. Taiko Ren’s exuberant women embraced those huge drums — for centuries restricted to the male of the species — as their birthright. Planting their hips and focusing their energy into the hard-hitting batons, they set the air humming with overlapping and shimmering resonances. Hip-hop closed the two-and-a-half-hour show. Allan Frias’ high-camp and razor-sharp Mind over Matter Dance Company’s Bring it to Runway exploded the fashion world’s dehumanized body as a clothes-hanger. Seen as manipulated mannequins, the dancers revolted into a brigade of hard-hitting, furiously stepping males and females whose individuality was as strong as their sense of common purpose.

Coming fresh from the Ethnic Dance Festival, the Barbary Coast Cloggers’ footwork and the body slaps in Hambone didn’t sound as finely synchronized as they have in the past. However, the marvelous Wind It Up, to Gwen Stefani’s yodel-infected song, highlighted the sly note of urbanity that’s always present in these dancers’ take on rural traditions. Another reminder that common dance traditions often exclude non-heterosexuals came from North American same-sex ballroom champions Zoe Balfour and Citabria Phillips. Their spacious Ballroom Blitz, a suave and light-as-air foxtrot, went by too fast. I would love to see what else they do.

Most of the solo performers came from Los Angeles. Ryka Aoki de la Cruz’ Alternator Domme was a little heavy-handed in its use of metaphor, but she is witty writer and quick-change artist who times her material — paying for car repairs with a gig in a dungeon — well. In the hilarious excerpt from Ramble-Ations: A One D’Lo Show, D’Lo transitions from a traditional Sri Lankan mother into an Angelino "tomboy". The work dove deeply into the poignancy of not wanting to be put into a gender — or any other kind of — box. Rapper Deadlee’s in-your-face "We Serve it Up Nasty" — with audience participation — was a rebellious rant against homophobia in hip-hop. Yet I wondered whether its transgressive tone didn’t strike a note of simple-mindedness with this audience. StormMiguel Florez has a beautifully flexible voice, yet his family-inspired songs sounded bland. SF’s own Shawna Virago — edgy, elegant, elegiac — premiered a lovely new work dedicated to Sean Dorsey.

Dorsey’s substantial Lou is his finest work yet, and the festival’s highlight. The excerpt (performed beautifully by Dorsey, Juan de la Rosa, Brian Fisher, and Nol Simonse) stood well on its own. Some of the verbal links between memory and history probably could be tightened, but the simple yet eloquent choreography opens up Dorsey’s language and Lou’s life remains simultaneously tender and powerful. As for the next Fresh Meat Festival: less between-the-acts talk and tighter tech, please.

Velvet goldmine

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They came from outer space (via Haight Street) sometime in 1969, and first to prominence as the palpably 3-D entr’acte between late-night underground and vintage movie reels at the old Palace Theater in North Beach. There they mounted a sort of acid-fueled, glitter-bearded, hippie drag-queen free-for-all, causing immediate convivial mayhem among the rowdy stoners there assembled. This was only the beginning. The Cockettes were a streak of homegrown countercultural iridescence registering profound if indeterminate influence on the lives of us all — even if you’ve never heard of such musical revues as Tinsel Tarts in a Hot Coma.

Midnight movie sequel of sequels: after 40 years they’re back, as Thrillpeddlers presents a devilishly sharp and inspired revival of the Cockettes’ Pearls Over Shanghai. Perhaps their most polished gem — indeed, their first scripted production, penned by Cockette Link Martin — Pearls is a rousing mock-operetta of strikingly elaborate low-budget design (notoriously padded in its original incarnation with the contents of a costume trunk pinched from the visiting Peking Opera), catchy music, and highly questionable taste, loosely based on an unabashedly Orientalist 1926 Broadway play, The Shanghai Gesture. Wonderfully arch and exquisitely fashioned, this pungent bit of business is a triumph for director Russell Blackwood (who broods and bellows and taps beautifully in the role of Mother Fu) as well as his winning cast and crew — which in addition to special guests like Connie Champagne, includes original Cockettes Scrumbly Koldewyn (composer, musical director and accompanist), Rumi Missabu (unforgettably reprising his role as the evil Madame Gin Sling), and Tahara and Bill Bowers (collaborating with Kara Emry on the eye-popping costumes and makeup).

Pearls hasn’t just aged well — it may be even more offensive than when it premiered. But somewhere too, amid all the jade and jaded ladies, is a whiff of the innocence and insouciance, glamour and naughtiness of those earlier years. Not to mention the "complete sexual anarchy," which, as John Waters counsels sagely in The Cockettes, Bill Weber and David Weissman’s excellent 2002 documentary, "is always a wonderful thing."

PEARLS OVER SHANGHAI

Through Aug. 16

Fri–Sat, 8 p.m.; Sun, 7 p.m. (starting July 26), $30-$69

Hypnodrome, 575 10th St., SF

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

Shake, shimmy, subvert

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molly@sfbg.com

The tradition of burlesque has always been about subverting the norm and challenging the privileged class. So it should be no surprise that queer performers make up a significant percentage of the new burlesque movement. Or, as Amelia Mae Paradise, cofounder of the queer femme burlesque troupe Diamond Daggers, puts it: "The burlesque world has always had room for freaks and queers and fat ladies."

A quick look at the current Bay Area burlesque scene confirms Paradise’s theory. The cabaret outfit Hubba Hubba Revue regularly features queer and straight performers. Though burlesque dancer Dottie Lux identifies as queer, both her Red Hots Burlesque showcase (www.myspace.com/redhotsburlesque) and the classes she teaches are geared for mixed audiences. And queer performers — from soloists like Kentucky Fried Woman and Alotta Boutte to groups like Twilight Vixens and sfBoylesque — find themselves performing for straight audiences nearly as often as queer ones. In the burlesque world, queer and straight performers bump up against each other so often (pun intended), it might seem arbitrary to distinguish them at all.

But most queer performers agree that there is a difference — however subtle. Queer performers tend to mix their burlesque with spoken word, lip syncing, or drag, and also tend to be more subversive and political than their straight counterparts. Some attribute this to the fact that many queer performers are already schooled in other kinds of politically-based performance art.

"There’s a strong component of the queer performance community who are extremely politically conscious and recognize the power they have when they’re on stage," said Kentucky Fried Woman, a.k.a. KFW (www.myspace.com/kentuckyfriedwoman), who founded the Queen Bees in Seattle before becoming a major force in the SF burlesque community. "You have this whole room of people looking at you, so you can make them focus on any issue you want."

Queer burlesque performers also seem more comfortable with comedy, farce, and a diversity of body types, ages, and races on stage. "I think queers are better at burlesque than non-queers," said Maximus Barnaby, founder of sfBoylesque (www.sfboylesque.com). "They’re not afraid to be outsiders."

And all agreed that it’s different performing for a queer audience than a straight one — even if it only comes down to how many people get your jokes. "Queer audiences already arrive loose and ready to have a good time," says KFW, a phenomenon she hasn’t always witnessed with straight audiences.

KFW also pointed out that there are places where the distinction between queer and straight audiences is even more pronounced — and where having queer-friendly events like Debauchery (www.myspace.com/debaucherydivine), a strip club night for queers of all genders, is even more important.

While some performers might be considered queer exclusively because of their sexual preferences, others — like Twilight Vixens (www.twilightvixen.com) and Diamond Daggers (www.diamonddaggers.com) — employ the title as a part of their subversion of the norm.

Indeed, when Paradise cofounded the Daggers with Cherry Lix (who later went on to found Twilight Vixens) and Fannie Fuller in 2003, the idea was to create empowering, queer performance as femme dykes. "We’re so invisible so much of the time, people assume that we’re straight," Paradise said.

Melding elements of musical theater, Hollywood glamour, and showgirl choreography, the Daggers created a campy cabaret troupe whose purpose was femme visibility.

In 2005, the Daggers birthed the Twilight Vixens. While the Daggers headed toward comedy, gender-pushing, and narrative performances — featuring the bearded Paradise and her six-foot-tall bearded butch wife Sir Loin Strip — Cherry Lix took the Vixens even further towards vintage Vegas showgirl glam. "In San Francisco, you have a lot of men imitating women being showgirls," said Lix. "This was: let’s be women being women who like women being showgirls."

Interestingly, Paradise says the lesbian audience hasn’t always been the easiest for femme troupes like the Daggers and Vixens. "It’s confusing," she said. "They ask, ‘Is it feminist? Not feminist? It’s hot, titilutf8g, and I’m not sure how I feel about that.’"

On the other hand, gay men have always loved them, especially in the beginning, because those groups and gay men tend to speak the same language of camp.

Gay men are also the primary audience for sfBoylesque, the all-male dance revue founded nearly three years ago. But they weren’t an automatically easy audience either. "People have different expectations of men in burlesque," said Barnaby. "The point of reference is Chippendale’s … this perfect, chiseled body. We are absolutely not Chippendale’s."

Whereas burlesque has traditionally been a place that empowers women of all body types, Barnaby said his troupe has had to create an audience to expect and accept the same from men. As for the troupe identifying as queer? Barnaby says that’s mostly because he likes the inclusiveness of the term.

When it really comes down to it, though, performers like Simone de la Getto, cofounder of all-black burlesque review Harlem Shake and the queer event Cabaret de Nude, thinks the titles are stupid — but necessary. "I guess I’m a queer black burlesque performer who’s a single mom," she said. "Once we get past all the labels, life will be easier."

Plus, the lines between queer and straight burlesque are becoming ever more blurred, as Getto — who joined the burlesque scene as a straight woman and then came out — should know.

"People like to see people taking their clothes off. It doesn’t matter who you’re sleeping with," she said. "That pretty much seals the deal for everyone."

Fierce! Forbes!

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TV EYED Did I ever tell you you’re my hero, Michelle Forbes? Like, you’re the wind beneath my wings, standing out from the sidelines of TV series like Lost, Prison Break, and 24, pulling off the most ingenious little saves by just popping up, feline eyes a-glow, in the strangest, smallest cameo. Her latest appearance: Maryann — the power-hungry priestess/consort/groupie of Dionysus in True Blood, which just started its second shadowy season.

Sure, the pulpy, soapy, Southern goth series overflows — like so much hallucinatory V (a.k.a., the better-than-ecstasy vampire blood) — with acting talent. Start with Anna Paquin as nubile hot-pants psychic Sookie Stackhouse, and Ryan Kwanten as her perpetually puzzled-looking bad-boy bro, Jason, and continue to Stephen Moyer as Sookie’s increasingly cadaverous-looking vampire beau, Bill, and Rutina Wesley as the hardcore baby beeyatch with a heart of gold, Tara, and end with the stellar Nelsan Ellis as the trash-talkin’ queer V dealer, Lafayette. This season has almost everyone in good-times Bon Temps brooding in their whiskey glasses — prisoners in the literal or metaphorical darkness — and pondering who might have ripped the heart of the town’s voodoo exorcist.

But while the other True Blood-ies break down and climb in their bottles in confusion, Forbes shivers me timbers with her vibratory vixenish certainty. She’s the natural center of the storm that’s brewing in Bon Temps — convincing because the actress specializes in scarily strong women, bordering on the carnivorous and castrating. I was never a huge fan of Star Trek: The Next Generation, so I never fell for her Ensign Ro Laren. But we’ve all noticed that even the briefest appearance by the actress gives the most implausible plot turn a heft and force only the formidable Forbes can deliver. So why hasn’t the lady made the break to the big screen? She made a memorable mark on Brad Pitt’s serial killer in Kalifornia (1993). Maybe it’s because she gets so much work on TV as a kind of Lucy Lawless, sans the throaty Down Under accent. My fave Forbes moments so far:

MARYANN IN TRUE BLOOD


When will her maenad begin to tear apart the Bon Temps citizenry out of sheer bacchanalian exuberance? Her Pan groupie, with mysterious designs on Tara and doggy shape shifter Sam, threatens to steal the sinister thunder from the vampire population.

KATE IN IN TREATMENT


As the straying ex-spouse of Gabriel Bryne’s psychotherapist Paul, Forbes applied naturalistic shading and warmth to her character. She understandably got her rage on as Paul swooned for his patient Laura, but you can also understand why the beleaguered shrink later yearned for his ex to take him back.

ADMIRAL HELENA CAIN IN BATTLESTAR GALACTICA


She was the hawk to the more dove-ish Admiral Adama. Too bad the humans didn’t have to deal with her ferocious warlady from the planet Sappho beyond season two.

www.hbo.com/trueblood/season2

No surrender, no retreat

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rebeccab@sfbg.com

The dueling budget rallies that preceded the June 16 Board of Supervisors hearing on the city’s spending priorities officially ended the conciliatory approach offered by Mayor Gavin Newsom — a rhetorical political gambit that the Mayor’s Office never really put into practice.

The emotionally charged police and fire workers’ rally — where Police Officers Association President Gary Delagnes riled up the crowd by ridiculing supervisors as "idiots" and "carpetbaggers" — featured Newsom as the guest of honor at an event overseen by Eric Jaye, the political consultant running both the firefighters’ union budget offensive and Newsom’s gubernatorial campaign.

On a stage lined with American flags and burly public safety workers, Newsom condemned the progressive supervisor’s proposal to amend his budget over a blaring sound system. "They’re asking us to retreat," Newsom said, in full battle cry mode, "and we’re not going to do that."

Across the street, city employees from the Department of Public Health held a competing rally, flying a banner that read "No Cuts to Vital Services!" It was painfully obvious that in a squabble between city employees, the mayor was positioning himself on the side of well-paid, powerful union members who got raises instead of layoffs, rather than the public health workers and advocates for the poor whom Newsom’s budget cut the deepest.

But before progressive supervisors challenged Newsom’s proposed budget — which ignored the supervisors’ stated priorities, despite Newsom’s December pledge to work closely with the board on it — the rhetoric was quite different. "We work through our differences and ultimately try to look at the budget as apolitically as possible," Newsom said during a June 1 event unveiling his budget. "It’ll only happen by working together."

Six months earlier, when the mayor made a rare appearance at a Board of Supervisors meeting to announce the unprecedented budget shortfall of more than $500 million, he adopted a similar tone. "We have the capacity, the ingenuity and the spirit to solve this," Newsom told the board in December. "It’s going to take all of us working together. It’s in that spirit that I am here."

The mayor’s proposed budget has spurred outrage from poor people and progressive supervisors, who charge that his decision to cut critical services while simultaneously bolstering funding to the police and fire departments is morally repugnant.

Sups. John Avalos, David Campos, and David Chiu responded by passing an amendment in committee to slash $82 million from the public-safety budget in order to restore some of the cuts to public health and social services. After that move, the spirit of "working together" quickly eroded, and seemed to be replaced by the bare knuckles politics of fear and division.

After the rallies, which even spilled indoors and devolved into shouting matches between the two camps, supervisors finally got to work on the budget. And they didn’t ask Newsom to retreat, they just asked him to listen and work with them.

The $82 million dent in the public-safety budget was described as a symbolic gesture to get the mayor to take progressive concerns seriously. "For many of us, it was the only way we felt we could have a seat at the table — a seat that was real, where the discussion was going to be meaningful," Campos said.

"I do not think that this budget is bilateral. It is a unilateral budget," Chiu noted at a Budget and Finance Committee meeting.

This year’s budget battle is especially intense because of the unprecedented size of the deficit, as well as the dire economic conditions facing many San Franciscans. California’s unemployment rate climbed to 11.5 percent in May, and stood at an only slightly less miserable 9.1 percent in San Francisco, according to the state’s Employment Development Department.

Meanwhile, anecdotal evidence suggests that the number of San Franciscans in need of emergency food assistance, homeless services, and help with other basic necessities has spiked. Everyone seems to be feeling the pinch, but for the least fortunate, falling on hard times can mean relying on city-funded services for survival.

Against this dismal backdrop, big questions are emerging about the role of government. "The city’s budget," City Attorney Dennis Herrera noted at a recent hearing, "is correctly called the city’s most meaningful policy document. More than any other piece of legislation, it sets out the priorities that tangibly express the values of the City and County of San Francisco."

Sup. Ross Mirkarimi took this idea even farther at the budget hearing. "Aside from the politicking and any of the hyperbole, we [have to] do the best we possibly can for all the people of San Francisco," he said. "But in particular, the vulnerable classes, because what is also at stake is … the key question: Who’s this city for? And who gets to live here over the next 10 to 20 years, considering how cost-prohibitive it is to be in San Francisco?"

The budget battle is shaping up around some fundamental questions: is this budget going to protect the politically powerful while ignoring the thousands who are in danger of slipping through the cracks? Or will everyone be asked to make sacrifices to preserve the city’s safety net? And as these difficult decisions are hashed out, is the mayor going to sit down with the board to seek common ground?

A board hearing on the cuts to health services — which state law requires cities to hold when those cuts are deep — illustrated the divide with hours of testimony from the city’s most disadvantaged residents: those with mental health problems, seniors, SRO tenants, AIDS patients, and others.

"If we make the wrong decisions, it will mean that our homeless folks will be in ever-increasing numbers on the street. It means that folks with HIV will not receive the care they need. It will mean that kids will not have the after-school programs they need during their critical years. It will mean that our tenants will continue to live in substandard housing," Chiu summarized the testimony.

Avalos, the Budget Committee chair who has led the fight to alter Newsom’s budget priorities, has said repeatedly that cutting critical services does not work in San Francisco. And even as he proposed the amendment, he expressed a desire to reach a solution that everyone, not just progressives, would find palatable.

"We want to talk directly to the mayor, to have him meet us half-way, about how we can share the pain in this budget to ensure that we have a balance in equity on how we run the city government," Avalos noted as his committee began its detailed, tedious work on the budget. "We can do that across the hall here at City Hall, and we can do it across every district in San Francisco."

The Board approved the interim budget that more evenly shared the budget pain on a 7-3 vote, with Sups. Bevan Dufty, Carmen Chu, and Michela Alioto-Pier dissenting (Sup. Sean Elsbernd was absent because his wife was giving birth to their first child, but was also likely to dissent).

If Newsom chooses to veto the interim budget or the permanent one next month — which the board would need eight votes to override — San Francisco could be in for a protracted budget standoff, the least "apolitical" of all options. But for now, the political theater is yielding to the detailed, difficult work of the Budget and Finance Committee.

Progressive members of the committee have already signaled their intention to scrutinize city jobs with salaries of $100,000 or positions in each department that deal with public relations.

Among those highlighted in a budget analysts’ report is Newsom’s public relations team, a fleet of five helmed by a Director of Communications Nate Ballard, who pulls down $141,700 a year. Yet when the Guardian and others seek information from the office — for this story and many others — we are often stonewalled, ignored, or insulted.

During the budget hearings, the disproportionately high number of positions with six-figure salaries in the city’s police and fire departments also came under scrutiny. "What has worked in a lot of other agencies is you have employees who care deeply enough about the City and County of San Francisco that they are willing to give back in terms of salaries," Campos commented to Fire Chief Joanne Hayes-White during a budget hearing, referring to firefighters’ refusal to forgo raises.

Another looming question is whether new revenue measures will be included as part of the solution. While progressive supervisors continue to call for tax measures as a way to stave off the worst cuts to critical services, Newsom proudly proclaimed his budget’s lack of new taxes.

A press release posted on Newsom’s gubernatorial campaign Web site suggests that since raising revenues doesn’t fit with his bid for governor, it’s not likely to be entertained as a possibility. "Mayor Newsom crafted a balanced budget on time," a press release notes, "without any new general tax increases, without reducing public safety services."

It’s a stand that’s certain to yield more political clashes down the line.

"I don’t see how we can get out of this budget without bringing additional revenue into the system," Campos noted at the committee hearing. "Once people learn about the situation we are facing, they will understand the need for the city and county as a whole to contribute."

The price of normal

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news@sfbg.com

With a 2010 state proposition on gay marriage in the works and a national gay rally on the Washington Mall being planned for October 10-11 of that year, it’s obvious that more and more of the LGBT community’s resources are being funneled into the battle for marriage equality, while other causes go begging.

Already gay marriage has become a black hole that is sucking untold amounts of money, time, and energy out of our community. In the 2008 election alone, gay marriage supporters raised $43.3 million to defeat Proposition 8, the anti-gay marriage initiative that California voters passed by 52 percent. It may be the biggest chunk of change the community has ever spent for a single fight.

A QUESTION OF PRIORITIES


I’m not against gay marriage. If queer couples want to be as miserable as straight ones, that’s their choice. Marriage is a failed institution. With a 54.8 percent divorce rate nationally and a 60 percent rate here in California, there’s no doubt in my mind that heterosexual "wedded bliss" is more of an oxymoron than a reality.

What’s troubling to me as a queer activist of almost 40 years (much of that time spent on economic justice work) is that, with the tremendous amount of homelessness, poverty, and unemployment in our community, we are spending so much dough on the fight to give a minority of folks — those who opt for tying the knot — rights and privileges that straight married folks have.

Sure, it’s unfair that married straights get tax breaks, not to mention the status of next-of-kin for hospital visits and medical decisions when one partner is ill, and queers don’t. Altogether, married couples have 1,400 benefits, both state and federal, that domestic partners and single people don’t enjoy. It’s a matter of simple justice that the playing field be leveled. Only a right-wing idiot could disagree with that. Now, if only we could fight to give everyone (including singles) those 1,400 benefits.

For me it’s a question of priorities. We are living in scary times. Unemployment is sky-high; millions are without healthcare, including children; foreclosures are robbing homeowners and tenants alike of their housing; and business collapses are leaving a lot of people out in the cold and unable to pay the rent or the mortgage.

DINKS NO MORE


The queer community is no better off.

It’s a popular misconception that queers have a lot of disposable income. The "double income, no kids" (DINK) myth was promoted in the 1980s by gay publishers who wanted to expand their advertising base and their profits. These days, to read many gay publications, you’d think that all queers are going on fabulous vacations and buying expensive clothes, jewelry, and electronic gizmos.

That myth was easily dispelled by a recent study, "Poverty in the Lesbian, Gay and Bisexual Community," published this March by the Williams Institute at UCLA. Like "Income Inflation: the myth of affluence among gay, lesbian, and bisexual Americans," the groundbreaking 1998 study by M.V. Lee Badgett of the Department of Economics at the University of Massachusetts at Amherst, the Williams report found that many members of our community aren’t shopping ’til they drop. They can barely afford to put food on the table.

Nationally, 24 percent of lesbians and bisexual women are poor compared to 19 percent of heterosexual women; 15 percent of gay and bisexual men are poor compared to 13 percent of heterosexual men.

Queers aren’t just low on cash — we’re homeless, too. A 2006 report, "Lesbian, Gay, Bisexual and Transgender Youth: An Epidemic of Homelessness" from the National Lesbian and Gay Task Force and the National Coalition on Homelessness, showed that 20 percent to 40 percent of the 1.6 million homeless youth in America identify as LGBT. In San Francisco, the number of queers in the homeless youth population (estimated at 4,000 by the Mayor’s Office) is "roughly 44 percent," according to Dr. Mike Toohey of the Homeless Youth Alliance in the Haight.

Brian Basinger of the AIDS Housing Alliance says that 40 percent of people with HIV/AIDS, in the city once acclaimed for its care of those with the disease, are either "unstably housed or are homeless." In the Castro, Basinger said, there are only "12 dedicated HOPWA beds" for people with the disease. HOPWA (Housing Opportunities for People with AIDS) is a federal voucher program for low-income people with AIDS that is similar to federal housing assistance program Section 8.

Certain members of our community don’t fare much better in the area of employment. A 2006 survey by the Guardian and the Transgender Law Center reported that 75 percent of transgender people are not employed full-time, and 59 percent make less than $15,299 a year. A mere 4 percent of respondents earned more than $61,200, the then-median income average for San Francisco.

Fifty-seven percent of trangendered people said they suffered employment discrimination, demonstrating the need for the inclusion of "gender identity" in the federal Employment Non-discrimination Act. Human Rights Campaign, a national gay organization, and out Congress member Barney Frank (D-Mass.) cut transgenders out of that legislation the last time it was up before Congress.

It could all get a whole lot worse.

AXING THE FUTURE


Gov. Arnold Schwarzenegger wants to lop at least $81 million from California’s AIDS budget, including money for AIDS drugs, leaving low-income people stranded without their medication. Senior services are also on his cutting block, including $230.8 million from in-home services and $117 million from adult health-care programs. (As we go to press, the state Legislature is working to restore the AIDS money to the budget.)

Mayor Gavin Newsom, in his proposed city budget cuts, is axing $128.4 million from public health and $15.9 million from human services. There’s no doubt these cuts in health and human services will severely affect people with AIDS, seniors, youth, the homeless, and others in our community who can least afford to pay for the city’s budget shortfall.

The millions spent on gay marriage in the past few years could have gone a long way in these lean times. It could have helped make the proposed queer senior housing project, Open House, a reality. With 88 units in the works at 55 Laguna St., the site of the old UC extension, it will be the only such housing for LGBT seniors in San Francisco.

The money also could have funded housing in the Castro for homeless queer youth or people with AIDS. It could have been used as seed money for a much-needed war against poverty in the LGBT community.

A DIFFERENT KIND OF LIBERATION


The queer movement hasn’t always been this obsessed about getting hitched. Forty years ago this week, drag queens and others fought back against the cops who were raiding a gay bar called the Stonewall Inn in New York City’s West Village. Three days of protests led to the creation of the Gay Liberation Front (GLF), a revolutionary group dedicated to the sexual liberation of all people. GLFers weren’t looking to walk down the aisle or form binary couples. In a desire to "abolish existing social institutions," as the NYC branch of GLF said in its statement of purpose, some GLFers explored polyamory (more than one relationship at a time).

That’s why I edited Smash the Church, Smash the State! The Early Years of Gay Liberation, just published by City Lights Books, a collection of writings by former GLF members and other gay liberationists. I wanted to commemorate the 40th anniversary of Stonewall and the birth of GLF with a reminder of who we were and what we did. After all these years, I still don’t want to head to the chapel to get married.

When it really comes down to it, gay marriage is a conservative issue. It’s about wanting to fit in, to be like everyone else. Beyond the important issues of tax breaks and next-of-kin status — and the fact that if any institution exists, it shouldn’t discriminate against queers — marriage is ultimately a means of normalizing binary queer relationships, especially for gay men who have always enjoyed the freedom to be promiscuous. It’s a way to try and rein in our libidos, though the prevalence of extramarital sex among straight couples — 50 percent for women, 60 percent for men, according to a recent issue of Journal of Couple and Relationship Therapy — shows that marriage doesn’t come with a chastity belt.

It also doesn’t come with any guarantees, as researchers discovered in Sweden, where queers were able to contract for same-sex partnerships from 1995 until recently, when full same-sex marriage was instituted. According to a study by the Institute for Marriage and Public Policy, Swedish queers have been divorcing in high numbers, like their straight counterparts, who have a divorce rate that’s just a little higher than the United States.

For queers in Sweden, that’s the price of being normal.

Tommi Avicolli Mecca, who has been a queer activist since he was involved with the Gay Liberation Front at Temple University in Philadelphia in the early 1970s, is editor of Smash the Church, Smash the State! The Early Years of Gay Liberation (City Lights Books).

Busting bars

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news@sfbg.com

San Francisco’s legendary nightlife venues are being threatened by a state agency that over the last two years has adopted a more aggressive policy of enforcing its arcane rules, in the process jeopardizing both needed tax revenue and a vibrant, tolerant culture that these bureaucrats don’t seem to understand.

At issue is an arbitrary policy of the California Department of Alcohol Beverage Control. For the past two years, ABC has been on a campaign against a growing list of well-established clubs, bars, and entertainment venues in the city, an effort driven by vague rules and stretched authority. The community has rallied behind the bars and local politicians have spoken against ABC’s crusade, but the agency isn’t showing any signs of stopping.

Most recently, Revolution Café in the Mission District had to stop selling beer and wine for 20 days after ABC cited them for patrons drinking on the sidewalk adjacent to its front patio. Inner Richmond’s Buckshot’s liquor license was pulled because of technical violations of alcohol and food regulations, forcing owners to close their doors for a few weeks. Both bars stand to lose a substantial portion of their profits before returning to normal business operation.

DNA Lounge’s license is currently being held over its head because ABC saw operators as "running a disorderly house injurious to the public welfare and morals" after sending undercover agents in during queer events. State Sen. Mark Leno responded by telling the Guardian, "The ABC should enforce the law, not make statements relative to morals."

Café du Nord, Slim’s, Swedish Music Hall, Great American Music Hall, Rickshaw Stop, Bottom of the Hill, and a list of more than 10 others are also fighting long, expensive battles to stay open — but not because of underage drinking or drinking-related violence. In fact, most of these venues never had a run-in with ABC until two years ago. These bars’ livelihoods are being threatened because of an arbitrary technicality on their alcohol and food license.

ABC was established in 1957 with the mission to be "responsible for the licensing and regulation of the manufacture, sale, purchase, possession, and transportation of alcoholic beverages." ABC is funded through alcohol license fees, and has been run by governor-appointed director Steve Hardy since 2007, about the same time the crackdown started.

According to ABC spokesperson John Carr, the problem is that these clubs are deviating from their original business plans. The venues are "operating more like clubs, with only incidental food service." ABC didn’t notice any changes in these businesses until two years ago. In some cases, it took ABC 20 years to notice a change.

For example, when Café du Nord owners filled out the forms to get their business license, they were asked to predict the percentage of alcohol sales to food sales. Predictions didn’t pan out exactly, and ABC started an audit two years ago. The only recourse to an audit is to adhere to a random rule that requires these all-ages venues to serve 50 percent food and 50 percent alcohol. This rule is not a law, and ABC isn’t required to enforce it.

Slim’s has been cited on the same food/alcohol grounds. Its sister club, the Great American Music Hall, as well as Bottom of the Hill and most recently Buckshot all have similar 50/50 stories. All are fighting financially drowning battles with ABC. At some point in the court process, these bars must appear in ABC courts with judges hired by Steve Hardy.

Carr claims that only one venue, which he declined to identify, is being cited with the arbitrary 50/50 rule. All the other venues must adhere to their own specific ratio of food to alcohol, written in their original business plans. Regardless of the specific numbers, all are being threatened on the grounds that "they altered the character of their businesses […] which is different from the business plan they submitted to ABC when they were originally pursuing their ABC license."

Many of the bars in question have been around and thriving for decades with the same focus on business, music, and culture. Slim’s, for example, has been in San Francisco for 22 years, going the first 20 without a citation. But in the past two years, it has had four citations between it and the Great American Music Hall.

There is much speculation from all sides of this war about its causes, but no one seems to know why ABC, seemingly out of nowhere, started its crusade against music venues and clubs in San Francisco. Even the ABC is vague and unresponsive about this, broadly claiming it is acting on complaints and just doing its job.

Since the inception of the crackdown is a mystery, it seems fitting to focus on finding a resolution. The last thing anyone in this city wants is to see the clubs and venues shut down, something club operators say hurts the city’s culture. "Kids growing up with live music can only be good," said Dawn Holiday of Slim’s.

Beyond the culture and rich nightlife in question, bars and clubs bring in a significant amount of money to the state. Some of the bars alone can bring the state more than $5,000 each month in sales tax. In the current economic crunch, shutting down reliable sources of revenue doesn’t seem wise.

After two years of battles, ABC has taken some of the bigger hearings off the calendar in an attempt to come to a peaceful resolution. After talks with Hardy, Leno is hopeful for a positive end to the battles. Leno does not want to see any business closed and believes the best way to ensure a thriving nightlife is to establish a special license for the venues. If the only problem with our beloved venues is technicalities with the license, let’s change the license, not the venues.

In the meantime, the community is rallying around the bars and entertainment venues, showing its support. DNA Lounge started asking for donations for its legal proceedings. Visit its Web site for the full story and ways to contribute. When Buckshot reopens July 4, show up and support them. Maybe the best way to fight back is to go out and have a drink, listen to music, dance with queers, and over-indulge in unadulterated San Francisco culture.

Bar Bambino

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paulr@sfbg.com

Heresy is the true spice of life, and it was with this thought in mind that I sat one evening in Bar Bambino, a two-year-old wine bar in a most unlikely location — a heretical location? — and had a beer. The beer was a Moretti but also dark, a La Rossa. I’d never before seen Italian dark beer, either here or in Italy, and, truth be told, I didn’t know the Italians even brewed dark beer. The party of the second part, a beer skeptic, reached across the table to take a sip from the large, shapely goblet.

"Mmmm! That’s good!" was the verdict. "Chocolately."

The verdict, really, was unanimous and extended to Bar Bambino in its entirety. The restaurant sits on one of the bleaker stretches of 16th Street as it passes through the Mission District, and its narrow poker face is easy to miss. Once inside, though, you will feel as if you’ve stepped into an enchanted cave that includes a communal table (in the front window), a bar, a second communal table deeper in that can also be set aside for large parties, and, in the rear, a heated garden for a semi-al fresco experience.

Years ago, in the mid-1990s, we spent the better part of a Florentine afternoon lounging in a place called Cibrèo. Princess Di was said to be a habituée, and we could see why. Like Bar Bambino, it was off the beaten track and discreetly handsome, a place to sit and have a glass or two of wine and order a succession of plates of various sizes. It was my first in-country experience of polpette, the wonderful baby Italian meatballs that are typically served in a spicy tomato sauce.

Although Bar Bambino doesn’t look anything like Cibrèo (which sprawled like somebody drunk on a sofa), it does have a similar aura of relaxed but sustained festivity. It also has baby meatballs ($15); they come in a nice stack, with a potent tomato sauce and some shreds of chard, and they are very satisfying. Among other things, the polpette tell us that the kitchen takes its Italian cooking very seriously; the food is a lot like Delfina’s in this respect, though perhaps a bit more playful. You can get Italian-style "tater tots" ($5), nicely crisp on the outside and creamy on the inside, just like the ones you used to eat on a stick at the state fair.

The white-bean-and-tuna salad is an Italian classic. Here ($9.50) it’s made with slow-cooked spagna beans, which looked a lot like cannellini to me and tasted as if they’d been simmered in broth. The only other players were chunks of tuna, slivers of red onion, and a healthy splash of extra-virgin olive oil (EVOO, to the acronym-involved). The dish was very tasty but drab-looking at best, like uncooked brains. In Bar Bambino’s defense, I will say that I’ve had similarly dreary-looking versions in Italy — which is odd, since Italian culture manages to bring small flourishes of visual style to practically everything.

A plate of bruschetta ($11.50) topped Sicilian-style with stewed lamb leg, crumbled egg, parsley, and poor-man’s cheese, gets my vote as best bruschetta in the world. I’ve never had bad bruschetta, and I’ve had plenty of good ones, but this one, with its shards of profoundly tender meat, was unforgettable.

Among the pastas, the trofie ($13.50), sauced with cream and crumblings of mild sausage, attracted our attention. The pasta itself turned out to resemble hand-rolled cigarettes, vaguely tubular and tapered at the ends. It’s a Ligurian pasta and is notable for consisting only of flour and water — no egg. Its little rills and ridges caught the sauce nicely. This is the kind of simple Italian dish that leaves you wondering, How do they manage to do so much with so little? A dash of this, a touch of that, and a miracle.

Italian culinary miracle-working does not always extend to the dessert cart, but at Bar Bambino the charm lasts all the way to the end of the menu card (although there is no dessert cart). On the traditional side, we have the old Sicilian favorite, cannoli ($7), a trio of delicate pistachio pastry flutes filled with goat-milk cheese, ricotta, honey — the pistachio flavor dominates — and on the more playful end we find zepote di banana ($8), beignet-like banana fritters topped with melted Nutella sauce, which you pour out yourself from a little pitcher.

Will those around you be watching to see if you spill? Possibly. Bar Bambino’s snugness invites a certain degree of social espionage. On the other hand, the sophisticated look, including a long wall consisting of narrow wood planks and the wonderful chandelier made of wine bottles hanging over the front communal table, might help insulate you from over-overt scrutiny, which can help you enjoy your heresy, whatever it might be. *


BAR BAMBINO

Tues.–Thurs., 11 a.m.–11 p.m.;

Fri.–Sat., 11 a.m.–midnight; Sun., 5–10 p.m.

2931 16th St., SF

(415) 701-8466

www.barbambino.com

Wine and beer

AE/DS/MC/V

Noisy

Wheelchair accessible

Appetite: Vanilla ice cream, beer-braised short ribs, Mexican portholes, and more

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Every week, Virginia Miller of personalized itinerary service and monthly food, drink, and travel newsletter, www.theperfectspotsf.com, shares foodie news, events, and deals. View the last installment here.

xanath0609.jpg
Lick it up at Xanath. Photos by Virginia Miller.

NEW OPENINGS
New openings continue, economy be hanged. Here’s a few quick takes on some from the past week:

Oralia’s Cafe
From the owners of Mexican, Salvadorean Dogpatch eatery, The New Spot (dig their tasty pupusas and fresh juices) debuts a humble cafe in the same ‘hood which serves a mean pastrami sandwich ($7.49), along with other classic deli and salad lunches to go.
2347 3rd St., SF
415-621-2346

Marino
In the former, tiny Frjtz in Hayes Valley space, Marino moves in a Mexican sit-down restaurant with nautical theme. Anchors and portholes line the walls and besides basic Mexican standards like enchiladas or meat-rice-beans platters, there’s Mexican-style seafood chowder (like a cioppino, loaded with mussels, prawns, etc…)
579 Hayes, SF
415-626-1162

Xanath
Another new ice cream shop in the Mission, this one located on prime Valencia Street with a vanilla focus (as the name would suggest), from signature vanilla bean to Madagascar, Tahitian and other variations, straightforward fruit flavors, plus Strauss Family Creamery ice creams.
951 Valencia, SF
415-648-8996

Horatius
Potrero Hill workers have a new day time bistro/cafe (dinner will soon follow) with a range of soups, salads, sandwiches and a ’round the world revolving menu of bites and snacks, starting with Portugal.
350 Kansas, SF
415-252-3500

www.horatius.com

Penelope
Oakland’s artisanal cocktail bars and gastropub spots continue to proliferate, with this new downtown Oakland stop for lunch (coming soon) and drinks. Pair beer-braised short ribs with tequila-focused specialty cocktails, beers from Linden Street Brewery, and Cali wines.
555 12th St., Oakl
510-529-5393

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amarosa0609.jpg

EVENTS
Castello di Amorosa Horse-drawn Vineyard Tour and Tasting… and their 6/27 Midsummer festival with wine and jousting!
Castello di Amorosa rises out of Napa soil, an enchanting castle with turrets and dungeons, surrounded by vineyards and rolling hillsides, a snapshot straight out of Italy. Every Saturday, you have the option to book a Clydesdale horse-drawn carriage ride through winding trails and vines, learning about trellises and harvesting. At the end of this romantic ramble, reserve wines and chocolate pairings await. This Saturday comes its annual Midsummer Festival (6:30pm; a pricey $175 per person) – a unique evening which seems ideally suited to the backdrop: jousting, swordsmanship, 13th century fashion, archery, falconry, banquets, and yes, barrel tastings. You certainly don’t see the likes of this every day.
Carriage ride and tasting: $68
Saturdays by appointment only
4045 North Saint Helena Highway, Calistoga

707-967-6272
www.castellodiamorosa.com

“Intricacies of Phantom Content” and Trickle-down: Yours for the Mining

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REVIEW Diamonds are certainly Hilary Pecis’ and Elyse Mallouk’s best friends. But even though the sparklers in their complimentary exhibits at Triple Base Gallery let off a familiar, enticing shine, do they reveal new facets?

Like antlers, rainbows, and feathers, gemstones and crystal-inspired geometric forms have bobbed to the surface as a motif of the zeitgeist, as seen both on gallery walls and the loud prints and new rave colors that adorn the merchandise at Urban Outfitters (not to mention Lady Gaga’s day-to-day wardrobe). I don’t fault Pecis’ art for its timing. Her untitled ink, collage, and acrylic laden panels, which intertwine black and white geometric patterns, gems galore, and cutout twists of metal and hair into eye-shredding nebulas, are indeed beautifully executed and easy to get lost in. But I wonder if their very au courant palette doesn’t time-stamp them to their disadvantage. Her acrylic paintings — all kaleidoscopic close-ups of Krypton-like surfaces, mostly in shades of gray — make a stronger case with their restraint. The continued influence of the original class Mission Schoolers (Alicia McCarthy, please raise your hand) have on younger local artists is striking.

One has to descend into the bowels of the Earth, as it were, to see Mallouk’s punnily-titled video installation Trickle-down: Yours for the Mining. A bare bulb scarcely illuminates a stack of diamond drawings (which viewers are invited to take). With the flick of a switch, the drawings come to life as the blackened space suddenly, literally, drips in a video projection of sparkling animated stones. Like the rhinestone cascade in the opening credit sequence of Douglas Sirk’s Imitation of Life — itself already redone by filmmaker Matt Wolf in the sweet short Imitation of Imitation — Mallouk’s diamante mirrorball cannily reflects the emotional and material investments we make in artifice; art itself notwithstanding. Space may be the place upstairs, but I’m gonna side with Etta James on this one: in the basement, that’s where it’s at.

INTRICACIES OF PHANTOM CONTENT AND TRICKLE-DOWN: YOURS FOR THE MINING Through July 26. Triple Base, 3041 24th St., SF. (415) 643-3943. www.basebasebase.com

Bill Callahan

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PREVIEW If Bill Callahan is a shepherd of the lo-fi reformation, his musical evolution suggests a shell-like spiral. His initial releases in the late-1980s to early-1990s were ramshackle home recordings, mostly instrumental. In the realm of the professionally recorded, his mid- to late-1990s creations utilized more instrumentation and experimented with lyrics, while allowing him to hone his vocal style; his post-2000 releases mildly reduce the instrumentation while maintaining the consistent, almost affect-less, baritone singing Callahan developed under the Smog moniker.

After Dongs of Sevotion (Darg City, 2000), Callahan changed his alias to direct attention toward the music itself, rather than the idea of "Smog." After 20 years, the dissipation of Callahan’s Smog marks another transformation. Disposing of the nom de plume, he’s become more direct, plain, and open. The woeful and despair inherent to Smog has lifted — the sky seems visible once again, albeit occasionally cloudy.

Bill Callahan as Bill Callahan has already revealed a mini-spiral, like a mirror reflection of the larger spiral of Smog: his initial releases in 2007 reveled in a rhythm-driven aesthetic that abandoned most of his lo-fi leanings. But this year’s Sometimes I Wish I Were An Eagle (Drag City) returns to the intimate, acoustic-based Smog sound. "Jim Cain," the opener on Eagle, starts like a Callahan thesis. Using poetic enjambment for effect, he declares, "I started out in search of /ordinary things … I started telling the story /without knowing the end /I used to be darker, then I got lighter, then I got dark again." Brian Beattie’s subtle string arrangements compliment the sentiment in Callahan’s slight reversal from the lightness of Woke on a Whaleheart (Drag City, 2007). But the sun peeps out when "Rococo Zephyr" finds Callahan momentarily "jaunty as a bee."

On Eagle, Callahan radically confesses an inherent inability to know everything. Not knowing the end of the story allows for ideas to evolve, and each Callahan album captures his sentiment at that moment. But a shepherd never strays too far from his flock, and even as Callahan’s overall travels take the form of a spiral, he returns to similar themes and sounds. "Well maybe this was all /Was all that meant to be /Maybe this is all /Is all that meant to be," he sings at one point on "Rococo Zephyr." Sounds like an epiphany, even if it takes him a few tries to get it out.

BILL CALLAHAN With Bachelorette. Tues/30, 8 p.m., $16. Bimbo’s 365 Club, 1025 Columbus, SF. (415) 474-0365, www.bimbos365club.com

Black Skies

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PREVIEW I grew up in Chapel Hill, N.C., and I have to tell you, there’s not much allowance for rebellious rage on its well-manicured, dogwood-lined, basketball-crazed streets. James Taylor, not a noted sonic ruffler of feathers, also grew up there. That’s not to say the whole town is powered by sweet (baby James) tea — other acts that have emerged from Chapel Hill’s collegial womb and into the national spotlight include piano rockers Ben Folds Five; much-celebrated indie stars like Superchunk and Archers of Loaf; and throwback novelty acts like Southern Culture on the Skids and Squirrel Nut Zippers. Statewide, Cackalacky boasts of birthing some darker, heavier sounds, along the lines of Raleigh’s Corrosion of Conformity and Cape Fear’s Sourvein. New to my ears, and hopefully hinting at a burgeoning metal movement lurking beneath Chapel Hill’s tidy McMansion scene, is Black Skies, a trio who took their name from the South’s capacity for awesome, jaw-rattling weather (and indeed, the kickoff track from their self-released 2008 EP, Hexagon, is "The Quiet Before the Storm.") Like many bands, they cite Sabbath, Melvins, and High on Fire as influences; on recordings, guitarist-singer Kevin Clark at times sounds like he’s singing from the bottom of an angry, murky well. When he claws his way out, and hits the stage at Annie’s with bassist Michelle Temple and drummer Cameron Weeks, I suspect there’ll be eardrum punishment for all in attendance. Yes, yes, y’all!

WITH TOTIMOSHI, DUSTED ANGEL, AND HASHISHIANS

Sat/27, 9 p.m., $8

Annie’s Social Club

917 Folsom, SF

(415) 974-1585, www.anniessocialclub.com

“SCUBA Two”

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PREVIEW If you are a fan of the unknown, follow SCUBA, the six-year-old brainchild of small-budget presenters in Seattle, Minneapolis, San Francisco, and (since 2005) Philadelphia. This consortium of astute dance observers became acutely aware of the difficulties that not-yet-established artists face when trying to show their work beyond their immediate home base. So they made a deal: each could suggest local works they respect, and in turn program from the pool what they thought would be of interest to their audiences. This is how Shinichi-Iova Koga went to Philadelphia and San Francisco and saw Seattle’s wacky Salt Sea Horse company. The big unknown for the last of this year’s SCUBA programs is Minneapolis’ Chris Schlichting. When in 2008 he premiered the five-person love things, even longtime Minneapolis observers were surprised, having known Schlichting primarily as a performer. The work has been praised as a "gender-messing choreographic fantasy built and deconstructed from 1970s Americana." Schlichting will be paired with not-well-enough known San Francisco choreographer, Katie Faulkner. Also a gifted filmmaker, Faulkner draws on intense observations of the everyday and then spins them into tightly woven structures in which people, sometimes suffocatingly so, seem glued to each other. For this show she’ll restage The Road Ahead, which looks at a dying man’s relationship to his daughters. Also on the program will be Smoke and Orbit, a duet with frequent Faulkner collaborator Private Freeman.

SCUBA TWO Sat/27, 8 p.m.; Sun/28, 7 p.m., $15–$18. ODC Dance Commons, 351 Shotwell, SF. (415) 863-9834. www.odcdance.org

The Stoning of Soraya M.

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REVIEW Given the recent events in Iran, the timing of The Stoning of Soraya M.‘s release seems, well, perfect. The film may be set in 1986, but the message of resistance to political oppression couldn’t be more relevant. This is a story about the importance of refusing to comply with unjust edicts, of the power one woman can have to make her voice heard. Sound familiar? But the movie is more than just its message: The Stoning of Soraya M. is effective because it’s a well-made film. Director Cyrus Nowrasteh takes his source material (the book, itself based on a true story) and infuses it with a staggering cinematic reality. The audience feels dangerously close to the on-screen action, struggling to help, or at least look away, as the plot careens toward its inevitable conclusion. Credit is also due to the two women whose performances transform the film from sad to tragic. Mozhan Marnò is the titular Soraya, capturing the innocence and resilience of a woman doomed by circumstance. And veteran Iranian actor Shohreh Aghdashloo plays her aunt: stubborn, independent, and altogether human. The story — even the title alone — speaks for itself. But with these leads it becomes a powerful call to arms, leaving the kind of lasting impression few other movies can hope for.

THE STONING OF SORAYA M. opens Fri/26 in San Francisco.

Lennar’s shipyard: more toxic than you think

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news@sfbg.com

OPINION "So, what do you want us to do?"

That was the question from a staff member at the Bay Area Air Quality Management District (BAAQMD) after he passed along reports of Lennar Corp.’s latest repeated releases of toxic dust containing asbestos, arsenic, lead, and other metals into the air in Bayview-Hunters Point, one of the last remaining African American communities left in San Francisco.

After grudgingly levying more than $500,000 in fines against Lennar in 2008 for earlier brazen violations (after fierce community pressure), why is BAAQMD’s enforcement of clean-air standards against a notorious corporation on a dangerously toxic site still a negotiation?

After years of broken promises and half-hearted mitigation, the toxic partnership between the city and Lennar to develop the shipyard continues to threaten public resources and poison our communities in more ways than one.

In the last few months, with the help of the Mayor’s Office, Lennar is backing away from the promises it made in Proposition G. Instead of making 32 percent of its housing at the shipyard "affordable" to city residents (never mind that this definition of "affordable" is still well out of the reach of the great majority of Bayview residents), Lennar is now placing responsibility back on the city to build the affordable housing. As the Mayor’s Office prepares to use public money to subsidize Lennar’s broken promises, this revised arrangement blows a huge hole in the budget of the Mayor’s Office of Housing and threatens to destroy 30 years of efforts to create and preserve affordable housing elsewhere in the city.

As reported by Sarah Phelan last week ("Eliminating dissent," 6/17/09), state Sen. Mark Leno has legislation that seeks to trade 25 percent of Candlestick Point State Recreation Area for small strips on the shipyard so Lennar can build condos on the parkland (see "Selling the park" in this issue).

With the consent of City Hall, the Navy and Lennar continue to make deals in a backroom, with no public participation. The plan for development of the shipyard is getting even more toxic than you think, and its dangers threaten everyone in San Francisco.

That’s why a large coalition of grassroots organizations is joining forces for a community protest at the front gate of the Hunters Point Shipyard at 1 p.m. Tuesday, June 30. If the government won’t protect our communities from contamination and corporate greed, then we will do it ourselves.

For details, call Greenaction at (415) 248-5010 x107. *

Kelly is president of the Potrero Boosters Neighborhood Association. Schwartz is co-director of People Organized to Win Employment Rights (POWER). Harrison is a community organizer at Greenaction for Health and Environmental Justice. Brooks is the campaign coordinator for Our City.

Editor’s Notes

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marke@sfbg.com

So, OK, I just got engaged. Gay engaged. Engayged.

So weird.

First, this may be the worst time ever to plan on jumping the lavender chuppah knot or whatever. As far as legality goes, California’s up in the air until maybe the November 2010 elections and perhaps for a long time after that. Then there’s the whole federal kerfuffle to go through. And Iowa might be tempting right now — but gurl, I don’t have enough something blues for three ceremonies. Iowa, then Cali, and then federal — sheesh! Two is enough! At least when we were illegal, we only had to plan for one polka band. Miss you, "commitment ceremony."

Then there are the political equivocations. Plus or minus a few episodes of America’s Next Top Model, I’ve considered myself near the front lines of radical queer resistance ever since my friends started dying of AIDS when I was 17. I’m all for ethical non-monogamy, get queasy at the thought of official state-sanctioned relationships, and definitely believe that marriage, with all its financial benefits, discriminates against people who haven’t fallen in love. Or turns them into liars for money. Or makes them scream a lot during Sex and the City reruns.

Hunky Beau and I aren’t really after the cash and perks, anyway. Hospital visitation rights and insurance discounts would be cool (and are available locally already), and who knows if we’ll have kids who’ll require federal protection. But I’m pretty sure we’ll never need the legal right to “enlarge accommodation estimates for foreign dignitary missions” only available to married couples now. And as far as political statements go, there are a lot more things in my personal life that I’d like to see being used to help change the world for the better. Housing homeless queer kids and seniors and restoring the recent awful AIDS services cuts seems much more necessary right now as well. But this is the fight our community’s in — and whether it’s because I was raised that way by two incredibly supportive parents, or because I get a real rash when my government says I can’t do something other people can, or because within every loud-mouthed queen lives a hopelessly traditional romantic, I’ve got a dog in it. Not a chihuahua, mind you. More like golden retriever. Totally butch.

As some of our writers eloquently point out in this issue, same-sex marriage may be a boondoggle, sapping our community’s strength to confront real issues of poverty and inequality. It’s certainly not for everyone. But in a truly dark time in my life, when I thought the whole world was falling apart, I suddenly fell in deeply in love with someone almost annoyingly perfect for me in every way. To my continued astonishment, he seems to feel that way about me as well. We’ve been together a long time now and marriage seems, to us, the logical next step for whatever reason. It just feels right. Love is a crazy, crazy thing, full of diversity, surprise, and wonder. Isn’t that what Pride’s all about?

Tear up the budget

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EDITORIAL Here are a few of the new taxes in Mayor Newsom’s no-new-taxes budget.

The cost of sending your kid to a city day camp will jump 35 percent. The cost of after-school latchkey programs will go up 112 percent. It will cost a dollar more to swim in a public pool. Annual swim passes for seniors and people with economic needs will rise by $25. And that’s on top of the Muni fare hike. Fines, fees and licenses will go up a staggering 41 percent.

In other words, poor people who use city services will see their taxes — that is, the cost of using city services — go up significantly. But rich people, big business, Pacific Gas and Electric Co., property owners — they won’t pay anything more at all. (Of course, if you own a small tatoo parlor, your city fees will go up 1,200 percent.)

This is one of the essential lies of the Newsom budget. It’s not revenue-neutral at all; it just raises taxes on the poor.

It’s also not a budget that shares the economic pain fairly.

The Firefighters union is screaming that the supervisors might want to cut a little bit from that bloated agency, but their protests defy reality. In fact, the budget analyst has identified more than $6 million in relatively painless cuts to the Fire Department — and if the supervisors went along with those recommendations, the department would still be getting more than $1 million in increased funding. It’s hard to argue for cutting firefighting in a city built of wood that’s had a bad history with fires. But the reality is that San Francisco’s fire-suppression system was designed long before the days of fire codes, smoke detectors, and sprinklers, and there just aren’t as many fires these days. The budget analyst suggests — as the controller did in 2004 — that the city could temporarily close a few fire stations without any appreciable reduction in public safety.

Firefighters in San Francisco get pay and benefit parity with the cops — and the cops have gotten nice raises recently, in part because it’s been hard to recruit people to work for the San Francisco Police Department. On the other hand, there are 5,000 people on the waiting list to apply for a job as a San Francisco firefighter.

The Police Department’s due for a budget increase, too — of more than $15 million. The budget analyst suggests that $4 million of that could be cut without damaging law enforcement.

Then there’s the Mayor’s Office, where a staff of five people handle public relations for Newsom, at a cost to the public of $653,571. When Art Agnos was mayor in the late 1980s, he managed to get by with just one press secretary. The population of the city hasn’t changed; the number of reporters at City Hall has decreased. Why does Newsom need five times as many people in his communications office? And how much of that public money is actually being used to promote the mayor’s campaign for governor?

Those are just some of the revelations from the reports of the budget analyst and the hearings so far. And they add up to a budget situation that’s very different from anything the city has seen in years.

The Board of Supervisors typically tinkers with the mayor’s budget, changing a million here and a million there. This time the mayor has in effect declared war on the supervisors, appearing with the firefighters at rallies and denouncing board members (at one point Newsom told reporters, "Thank god we have a mayor.") The outcome of the current budget hearings will be a test for the progressive majority on the board, and particularly for president David Chiu. The board members have to be willing to essentially tear up the mayor’s budget, restructure the priorities, replace the fee increases with fair new taxes (even if it means including in the budget projections for tax measures to go on the November ballot), and eliminate the embarrassing waste. *

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 complete 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. "The Art of Stan Sakai: Celebrating 25 Years of Usagi Yojimbo." Through July 5. "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). "Signs: Wordplay in Photography." Thematic survey. Through Sun/14. "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." Retrospective of the German Symbolist artist. Through July 4.

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). "Austere: Selections From the SFMOMA Collection." Photography and architecture and design. Through July 7. "Otl Aicher: Munchen 1972." Graphic design. Through July 7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through July 7. "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.

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). "Under a Full Moon: 30 Years of Perpetual Indulgence." Show devoted to the Sisters of Perpetual Indulgence. Through June 28. "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through July 5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through July 5.

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. *

Appetite: Wicked Emeralds, snail sliders, pindi chole, pickled Fresno chiles, and more

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Every week, Virginia Miller of personalized itinerary service and monthly food, drink, and travel newsletter, www.theperfectspotsf.com, shares foodie news, events, and deals. View the last installment here.

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Happy hour at Grand Cafe — delight on a stick. Photo by Virginia Miller

DEALS

Grand Cafe Happy Hour
Grand Cafe is one of those long time SF classics it’s easy for locals to forget is here, inside Hotel Monaco. Ideally located in the "theater district" for a little tete-a-tete or pre/post A.C.T. performance, Grand Cafe recently reopened with a new happy hour that lasts four hours each weekday with a cocktail list 23-deep, playfully employing current nearby theater plays (like one of three drinks as an ode to "Wicked": Elephaba’s Wicked Emerald-tini, a refreshing mix of Hendrick’s Gin, Ciroc Vodka with a sweet touch from St. Germain Elderflower and herbal notes of basil, cucumber and lemongrass syrup). During happy hour, drinks and appetizers, like gougere d’escargot (delicious escargot sliders!), salt cod beignets, salmon or duck rillette, are a mere $3-7, plus there’s $1 oysters and a 400-plus wine list. PS: the bar menu online notes the "secret" employee discount they give off bar food (50%!) on Monday nights if you mention the password, "Moulin Rouge". A truly happy "happy hour".
3pm – 7pm, Monday-Friday
501 Geary, SF
415-292-0101

www.GrandCafe-SF.com
———–

NEW OPENINGS

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Wexler’s opened Friday with gourmet ‘Que and Southern flavors in a former firehouse
The former Les Amis has been dramatically redone into Wexler’s, a space that reminds me of hip European bistros: lots of white, wood, clean line minimalism, warmed by 15 draught beers (of the Allegash and Ommegang kind) and generous wine list. This is "new American BBQ" from chef Charlie Kleinman, of Fish & Farm and Fifth Floor. I went for lunch (priced at $7-12) opening day and enjoyed fresh Monterey Bay Squid Salad with fried green tomato chunks, frisee, pickled Fresno chilies. A 4505 Meats Mission Dog is topped with bacon (there’s the Mission part), chilies and caramelized onions. A straightforward "Sloppy Joe" on an Acme roll was probably my initial favorite, the tender Texas-style burnt ends packing rich flavor. They were out of both desserts I wanted on opening day (the one I tried didn’t excite), but they’re certainly working out the usual opening kinks and I can’t wait to come back and try Sour Cream Japanese Pear Pie and Inside-Out Root Beer Float (house-made vanilla soda with Humphry Slocumbe root beer ice cream – yes!) Dinner ($9-23) equally intrigues with Smoked Maine Lobster, BBQ Scotch Eggs, Wexler’s Plate of Pork, and Hush Puppies. A balanced selection of fine bourbons, brandies, and other spirits make ideal pairings with smoky eats. Even cooler than the rib-like ceiling and red chandeliers is the (virtually) guilt-free combo of BBQ that’s local, sustainable and made with care.
568 Sacramento, SF
415-983-0102

www.wexlerssf.com

Sakoon debuts upscale Indian restaurant in Mountain View this week
It’s a drive down from the city to be sure, but with few upscale Indian dining options in SF, it’s nice to know brand new Sakoon (meaning peace), is not too far away. In a large, 6000-square foot former bank, there’s a mezzanine, fiber-optic chandeliers, Buddha in hand-carved wooden panels, and, yes, a waterfall rushing into pool dotted with lotus petals. Exec Chef, Sachin Chopra, formerly of Palo Alto’s Mantra, put together a menu of Indian food with contemporary touches well beyond the defined Northern or Southern Indian cuisine categories, with most entrees priced under $20, like Malabari Seabass, pan-seared with aloo tikki, pindi chole, and tamarind essence. The flavors of Kashmir show up in Gushtaba, lamb koftas in roasted onion and yogurt sauce. A five-course Farmer’s Market Tasting Menu (vegetarian: $35; non: $40) provides further taste opportunities, lunch buffets are offered daily, and a Sunday through Thursday happy hour (5-7pm) means $5 cocktails and cheap bar bites. General manager and sommelier, Nirupama Srivastava, lovingly features predominantly women wine-makers on her wine list, and cocktails ($8-10) like the Monsoon Wedding (Bacardi coconut rum, Hypnotiq liqueur, pineapple juice, lime). When you want Indian beyond your favorite Tenderloin curry house…
Mon-Fri 11:30am-2:30pm
Sat-Sun 12-3pm
Sun-Thu 5-10pm
Fri-Sat 5-10:30pm
357 Castro Street, Mountain View

www.sakooncuisine.com

Hello sailor

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By Matt Sussman


a&eletters@sfbg.com

Revolution seems to be on the minds and in the hearts of many in LGBT folk these days. The desire for change is palpable at the marriage equality marches that have now become regular occurrences, even if one isn’t marching under the banner of marriage equality. Indeed, the large and sustained outpouring of grassroots activism that has sprung up since Proposition 8 "passed" last November has been hailed, however ill-fitting the comparison, as "Stonewall 2.0."

Stonewall is undoubtedly a milestone — and its resonance with our current historical moment is underscored by the fact that Frameline 33’s closing night happens to fall on the 40th anniversary of the New York City riots. But Stonewall is not our only example of queers taking power into their own hands (San Francisco’s own Compton Cafeteria Riots of 1966, in which transgender people fought for their right to occupy public space, immediately comes to mind.) Nor are the social justice movements and underground film culture of the Stonewall era — both subjects touched on in a swathe of ’60s and ’70s-related films at this year’s festival — our only historical models for envisioning and enacting change. There are other histories, other battles, and other scenes to explore.

Local filmmaker Cary Cronenwett’s Maggots and Men — a stunning black and white historical fantasia on the possibilities, pleasures, and perils of revolution — proposes such another scene. Set in a mythologized postrevolutionary Russia but based on actual historical events, Maggots marshals early Soviet cinema, the gutter erotics of Jean Genet, and what at times seems like a transgender cast of thousands to build its case for the necessity of queer utopias. "I made a school boy movie, Phineas Slipped [under the name Kerioakie, in Frameline 26], so the next logical step was to make a sailor movie," says Cronenwett, explaining the germ for his film over the phone. "I wanted to make a film that created another world."

Maggots dramatizes the events of 1921, when the sailors of the seaport town of Kronstadt (whose failed 1905 revolution would be immortalized by Sergei Eisenstein in 1925’s Battleship Potemkin) drafted a resolution that supported the factory workers on strike in St. Petersburg. Deeming the sailors’ declaration of solidarity and demands for food and greater autonomy as "counter-revolutionary," the Bolshevik government launched a propaganda campaign against them, eventually sending the Red Army to take their island stronghold by force. The Bolsheviks eventually won the two-week long battle, in which both sides suffered heavy losses, killing or exiling the remaining sailors.

Told through the fictionalized letters of sailor Stepan Petrichenko (played by dreamboat Stormy Henry Knight, aptly described by Cronenwett as "the transgender Matt Dillon") to his sister and the performances of agitprop theater group Blue Blouse, Maggots repurposes the aesthetics of socialist realism to both pay tribute to the Kronstadt sailors’ quashed communal experiment and to use that same history as a means to engage with contemporary transgender lives and radical politics. "I’m wrapping together my different fantasies," explains Cronenwett. "There’s the sexual, kinda homoerotic utopia and then there’s this sort of communal utopia, where you have a society based on mutual respect."

If Maggots were a poem, it would undoubtedly take the form of an idyll. The sailors engage in a bucolic routine of communal farming and exercise, angelically sleeping in hammocks, carousing with the local ladies, and occasionally engaging in some alcohol-fueled sex with their fellow mates. Flo McGarrell’s gorgeous production design and composer Jascha Ephraim’s accordion-rich original score certainly contribute to the film’s reverie-like passages, but much of what is beautiful about the film is due in no small part to the handsome chiaroscuro visages of the film’s primarily trans-masculine actors. Cronenwett is as quick to cite Genet’s Un Chant d’Amour (1950) and James Bidgood’s Pink Narcissus (1968) as he is Eisenstein, as influences — and it shows.

But Cronenwett has other things, aside from "dirty sailor beefcake," on the brain. As he points out in a follow-up e-mail to our conversation, the trans actors in Maggots don’t just rewire the long history of the sailor as subject of homoerotic image-making in terms of gender, but also reframe the homosocial world of Krondstadt in terms of anarchist politics. "It’s not just cute butts that turn me on — it’s also ideas, and people’s politics. Not politics, like chatting about Obama or whatever, but people that are into creative ways of living and aren’t into non-consensual domination."

These politics were put into practice, as much by necessity as design, over the course of the four years it took to make the film. Shooting sporadically in rural Vermont (a frozen Lake Champlain uncannily summons the wintertime Baltic captured in photos of the Red Army’s 1921 advance); San Francisco backyards and gallery spaces; and Battery Boutelle in the Presidio and Battery Mendell in Marin, Cronenwett describes making Maggots as a "highly collaborative" process that involved the talents of friends, DIY artists, political organizers, nonprofessional actors, and anyone else who could be tapped via word-of-mouth (the film also received financial support from the Frameline Film and Video Completion Fund). At times, the filming even started to take on the communal can-do atmosphere of Kronstadt itself. "People slept on the floor and took cooking shifts, and helped make costumes," remembers Cronenwett of the Vermont shoot.

As much as Maggots is a homoerotic pastoral, the film doesn’t shy away from exploring the difficult, sometimes painful, realities attendant to any act of self-determination. As its very title — itself a reference to the rotting meat that sparks the sailors’ mutiny in the first act of Potemkim — suggests, the consequences of our actions can fester within us. "The sailors are still lugging around the violence from the revolution with them," writes Cronenewett. "Even in the salad days the violence is there just under the surface."

This violence takes on a different cast in the context of transitioning genders, something which the actors’ own mixed gender expressions continually underscore. "Transitioning is, hopefully, a liberating, positive experience. But it can also have some elements of violence associated with it. That can be a literal kind of violence — like chopping off body parts — or can be something more ethereal, like squashing aspects of ourselves to fit into either gender category."

The film is careful, though, not to hold up the sailors’ bloody defeat as a cautionary example of revolutionary hubris, just as it stylistically evokes Russian cinema of the ’20s and ’30s while avoiding that period’s penchant for egregious hero worship (flirting with martyrdom can be a slippery slope when engaging with the Soviet realism). In a sense, Maggots‘ restaging of history captures the full allegorical meaning of "utopia" — a social ideal that doesn’t exist and yet, nonetheless, remains an ideal. But, as Maggots also proves, film gives us the means to envision such ideals. At a time when our "revolutionary" moment seems blinded by tunnel vision — and has largely become defined by terms we never dictated — Maggots‘ kino eye reminds us that our past and our present are full of radical possibilities. *

MAGGOTS AND MEN

Sun/21, 1:30 p.m., Castro


The 33rd San Francisco International LGBT Film Festival runs June 18–28 at the Castro, 429 Castro, SF; Roxie, 3117 16th St., SF; Victoria, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. Tickets (most shows $8–$10) are available at www.frameline.org.