SFBG Blogs

Arnold’s big hoax : Vote no on 1A-1F

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A legacy of debt: Gov. Schwarzenegger is trying to force the state into a fiscal straightjacket.

Props. 1A–1F would damage public services and lock the state into a fiscal straightjacket — forever. Vote no.

The choice facing California voters May 19 is, to put it mildly, unpleasant. The budget deal hammered out by the governor and legislative leaders — which these six ballot measures will confirm and implement — at least kept the state solvent and prevented a financial catastrophe. But the solution is just terrible, and will lock the state into a budgetary nightmare for years to come.

State Sen. Mark Leno, who supports the deal, makes no attempt to soft-peddle what went on here. It was, he told us, the result of "extortion." Because California has an arcane and counterproductive rule mandating that any state budget and any tax increases must be approved by two-thirds of both houses of the Legislature, and because Republicans control just enough votes to block any budget, and because those Republicans have all signed a written promise never to raise taxes under any circumstances, and because Gov. Arnold Schwarzenegger can’t get the GOP to go along with his compromises and is unwilling to accept Democratic proposals that might escape the onerous supermajority, budget stalemate in tough times is almost guaranteed. And in this case, because the state was running out of cash and hundreds of thousands of people were about to be put out of work as state-funded projects shut down, the Democrats were forced to accept a compromise none of them like.

How To Destroy Your Eardrums, Part 6

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By Nicole Gluckstern

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Throbbing Gristle blur the lines at the Regency Ballroom, 4/23. Photos by Morlock E.

It’s a veritable rogue’s gallery at the Regency Ballroom on April 23, every single statesperson of the Bay Area underground having emerged from their respective lairs for Throbbing Gristle, the first, the foremost industrial noise band come back to destroy the universe, one eardrum at a time. The last time I saw such a profusion of familiar faces was, well, last week at Leonard Cohen. And just like at Leonard Cohen, the faces around me bear expressions that are expectant, electric, slightly starstruck. Unlike Leonard Cohen though, the band launches first into a sweet little ditty penned in tribute to the Moors Murderers Myra Hindley and Ian Brady, “Very Friendly”.

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Genesis P-Orridge, hand out

“Could you imagine what might have happened if Myra Hindley and Ian Brady had met me and Cosey back than?” quips Genesis P-orridge, who wears the role of flamboyant frontperson like a comfortable pair of bright pink polka-dotted stockings. An array of “greatest hits” follows: “Persuasion”, “Something Came Over Me”, the infinitely creepy “Hamburger Lady”. The set may verge on this side of predictable, but honestly, these are the songs we all want to hear.

The venue lights stay on, loud; the sound system cranked, loud; Genesis P-orridge channeling Marianne Faithfull in a bright orange Stevie Nicks tunic, loud. More “disciplined” than dangerous, the evenly rhythmic computer-generated beats smack just as much of Coil as chaos unleashed. Still, at certain points in the evening, the relentless throb threatens to dislodge both my intestines and my equilibrium. “If I stand with my legs apart I get an erection,” I hear someone mutter. And ultimately, that’s the crux of this whole experience, this sonic onslaught. Industrial at its hard core is precisely the music of solitary erections, the music of intestinal distress, the music of bondage games, vertigo, and boots of shiny leather (just like Cosey’s). That said, all those iMacs onstage? Neither sexy nor disturbed. The blue-screened sea of iPhone photogs below me? Ditto. The price of progress, I suppose, disturbance demystified.

A weekend under the influence: SFIFF 52

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By Lynn Rapoport

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Mabel (Gena Rowlands, in an Oscar-winning Oscar-nominated performance) has a rare calm moment in A Woman Under the Influence.

The first weekend of the 52nd San Francisco International Film Festival produced a cheerful, if windblown, bottleneck along Post between Fillmore and Webster. The one outside the Castro on Sunday night had a slightly more shell-shocked emotional tenor. The crowd seemed in good enough spirits (though this reviewer admits to getting a bit misty-eyed) while giving Gena Rowlands a standing ovation when the 78-year-old actor came onstage before John Cassavetes’s A Woman under the Influence (1974). But the film’s two and a half hours of abrasive familial dysfunction and poorly attended-to mental illness are rough going, and no one could be blamed for wandering home in a torn-up, overwrought fugue. (Think happy thoughts: like the 2008 restoration of the film by the UCLA Film and Television Archive, underwritten by Gucci.)

Less emotionally brutalizing was Friday evening’s screening of Art & Copy (screening again Tues/28, 4 p.m., Sundance Kabuki), where doc maker Doug Pray (Hype!, Scratch, Surfwise) expressed satisfaction at finally getting a film into SFIFF and noted that this one was centered on “the idea that if you hate advertising, make better advertising.”

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Radio, radio: a scene from Art & Copy.

DVRs, defaced billboards, and legislation to calm the traffic of branding on virtually every visible surface of public space also spring to mind. However, these and other options are left unexplored in favor of a brief history of the revolution that occurred in advertising midcentury; commentary by some of the rebel forces and their descendants, including locals Jeff Goodby and Rich Silverstein (Goodby, Silverstein, and Partners); entertaining behind-the-scenes tales of famous ad campaigns (Got Milk?, I Want My MTV); and stats sprinkled throughout on advertising’s cultural presence, nationally and globally.

Self-comparisons to cave painters and a sequence near the close that feels like an advertisement for advertising (emotionally evocative images of children’s faces upturned in wonder to the sky: check) are somewhat uncomfortable to witness. But Pray has gathered together some of the industry’s brighter, more engaging lights, and his subjects discuss their vocation intelligently, thoughtfully, wittily, and often thoroughly earnestly. It would have been interesting to hear, amid the earnestness, and the exalted talk of advertising that rises to the level of art, some philosophizing on where all this branding and selling gets us, in an age when it’s hard to deny that breakneck consumption is having a somewhat deleterious effect on the planet. Or to learn from these creatives whether there were any ad campaigns they wouldn’t touch, such as one centered on nuclear energy, or the reelection of George W. Bush. After all, many of the interviewees come across as shaggy ex-hippies and liberals. (Last fall, trade paper the Denver Egotist referred to “the entire creative world uniting against John McCain in support of Barack Obama” in a piece on Goodby, Silverstein-made anti-McCain spots that the agency cofounders reportedly underwrote personally.) Still, the film is successful in humanizing and developing a richer picture of a vilified profession. And what it reveals about the visions of its subjects (one compares a good brand to someone you’d like to have over for dinner; another asserts that “great advertising makes food taste better”; another that “you can manufacture any feeling that you want to manufacture”) makes it worth watching, even if you make a habit of fast-forwarding past the ads.

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s look: Yvonne, Market and Sansome

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Tell us about your look: “I got it at Ross!”

Send the solar project back to committee

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By Tim Redmond

We’re all in favor of buidling a solar-energy generating station on the Sunset reservoir. But the plan that’s coming before the Board of Supervisors today is deeply flawed. At best, it ought to be amended to ensure that the city winds up with the power plant after seven years at an affordable rate; at worst, it ought to be scrapped and the city should start over again, with the idea that this is and ought to be a public-power project, built and run by the city.

“I don’t understand how we can keep talking about public power while we give these resources over to private businesses,” Sup. David Campos told me. He’s right.

He and Sup. Ross Mirkarimi are trying to slow this thing down. Sup. John Avalos voted for it in the Budget Committee, but told me he’d consider sending it back for more discussion. I hope he does that; this thing isn’t ready for approval at this point, and the progressives on the board ought to stick together and make sure it’s a better contract.

Otherwise we’ll wind up with a private company controlling local energy resources, and Gavin Newsom trumpeting it as his latest environmental triumph.

Newsom’s kitchen

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By Tim Redmond

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Okay, I know this is totally unfair, since the real-estate agents typically do a staging setup for these photos, but if this is really Gavin Newsom’s kitchen, I have to ask: Does he ever eat there? Nothing in the scene suggests that anything is ever cooked here. No knives, no pans, no cutting boards … on the other hand, that there is one hell of a well-stocked liquor cabinet — and since the mayor doesn’t drink, he must be quite the host. (One advantage of brown — it doesn’t show the spills.)

Products: Giving G Twist a go

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By Molly Freedenberg

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The G Twist in unintimidating Target/K-Mart blue…

I am a lazy masturbator. I blame it on the fact that I started so young (and so long before I connected masturbation to sexuality) that I’ve gotten too attached to, and too good at, my dependable 25-year-old method (indirect clitoral stimulation with my hand, on my stomach, legs crossed). If I can bring myself to four or five orgasms in less than 10 minutes this way, why bother with toys, lingerie, and setting the mood — in short, why make it more work?

The answer is, of course, that there is more to sex — both alone and with a partner (or several) — than simple orgasm. And there’s more than one kind of orgasm. As soon as I became sexually active with other people, I seemed to understand this intuitively. (It helped that many of my high school-era partners didn’t, and though I wasn’t quite sure what was missing, I knew it was a lot). But when I’m feeling solo and sexy, I tend towards efficient familiarity.

Which is why it took me nearly two weeks to test out my new G Twist from Good Vibrations, the highly regarded silicon vibrator with a ridged shaft, curved head, and base made to stimulate the clitoris. Or it could’ve been that the giant, matte black model with the realistic-looking head and spiraling shaft (sort of like a severed alien dick) was a bit intimidating, especially compared to its slim, pink, shiny plastic predecessor.

Pics: Karamo Susso hypnotizes Red Poppy Art House

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Photos and text by Ariel Soto

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The Red Poppy Art House, an artist community and intimate performance center in the heart of the Mission, welcomed Karamo Susso, a world famous kora player from West Africa, who performed this Saturday, April 25th. Susso, who was raised in Mali, is a master of the kora, a 21-stringed instrument originally from Gambia, that is played solely with the thumbs and index fingers, creating tones that sound somewhat like a harp, a guitar and maybe just a bit of toy piano.

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Appetite: Swine fever, Alaskan obsession, Whiskey Wednesdays, Dungeness fritters, and more

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By Virginia Miller

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

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NEW RESTAURANT and BAR OPENINGS

RN74 rolls in on French wheels
Start making reservations now for Michael Mina’s latest — and most affordable? — SF restaurant at the base of the Millennium Tower. RN74is named after Route National 74, which passes through Burgundy, with the focus on, you guessed it: Burgundian pleasures in wine and food. Wine director, Raj Parr, oversees the 80-page, 3000 bottles, 50 by-the-glass wine list (so you know there’ll be many a fine choice), and Chef Jason Berthold, of none other than the French Laundry, prepares an exquisite, reasonably priced ($9-17!) menu with the likes of Smoked Sturgeon Rillettes, Crispy Duck Wings, Pea Tendril Veloute, Chilled Salad of Japanese Big Fin Squid, and Herb-Roasted Lamb Loin. Just opened on Friday for lunch and dinner, it’s the new, downtown impress a date or colleague dining destination.
301 Mission Street (in the Millennium Tower)
415-543-7474
www.michaelmina.net/rn74

Gourmet sandwiches from random sources continues with Pal’s Take Away
Pal’s is located inside a dodgy corner market, Tony’s, at 24th and Hampshire, with sweet, friendly Jeff and David behind the counter making some kick-ass sandwiches and salads, diving into the ever-growing crowd of gourmet food coming from carts, out of garages (Kitchenette) and whatnot. Just opened last Tuesday, Pal’s changing menu includes a banh mi that’s becoming a runaway hit in the first week already: tender, pink/brown beef accented with jalapeno, carrot, onion on a crunchy ACME roll. Vegetarians aren’t left out with options like Full Belly asparagus tossed w/ Meyer lemon and Reggianno, topped with a Riverdog soft-cooked ranch egg on Acme whole wheat bread. Bet you never got that from a corner liquor/grocery store before.
2751 24th Street
ww.palstakeaway.com

Dick Meister: The Big Strike

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Harry Bridges said of The Big Strike, “We showed the world that united working people could stand against guns and tear gas, against the press and the courts, against whatever they threw at us”

By Dick Meister

(Dick Meister, formerly labor editor for the Chronicle and labor reporter for KQED’s “Newsroom,” has covered labor issues for half a century.)

It’s the 75th anniversary of what’s known in labor lore as “The Big Strike” — the remarkable event that brought open warfare to San Francisco’s waterfront, led to one of the very few general strikes in U.S. history and played a key role in spreading unionization nationwide.

It began in May of the dark Depression year of 1934 when longshoremen finally rebelled against their wretched working conditions in San Francisco, then one of the world’s busiest ports, and in the West Coast’s other port cities.

Longshoremen were not even guaranteed jobs, no matter how skilled or experienced they might be. They had to report to the docks every morning and hope a hiring boss would pick them from among the thousands of desperate job-seekers who jammed the waterfront for the daily “shapeup.” Hiring bosses rarely chose those who raised serious complaints about pay and working conditions or otherwise challenged them, but were quite partial to those who slipped them bribes or bought them drinks at nearby bars.

Blocking California’s sunshine: Proposed legislation would limit access to public information

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By Rebecca Bowe

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The California Public Records Act guarantees the right to be able to request government documents that are part of the public record. But proposed legislation heard today by the Assembly Judiciary Committee would restrict access in certain cases. The bill, titled AB 520 and introduced by Assemblywoman Wilmer Amina Carter (D-Rialto), would authorize a superior court to limit the scope of requests a member of the public can make if the court determines that the requestor is seeking information for an “improper purpose.” The text of the bill leaves the definition of “improper” open-ended, specifying only that it is “including, but not limited to, the harassment of a public agency or its employees.”

The bill is still in the early stages, but sunshine advocates are watching closely and weighing in. Californians Aware (CalAware), the California Newspaper Publishers Association (CNPA), and the Freedom of Information Committee of the Society of Professional Journalists Northern California Chapter have all come out against it. Letters of opposition pointed out that even without this new restriction in place, government agencies are often slow to release public records. “Every audit performed by Californians Aware, the California First Amendment Coalition, or CNPA member newspapers such as the Contra Costa Times or Stockton Record, has shown abysmal compliance with the law,” CNPA noted in a letter to Assemblywoman Carter.

Others characterized the proposed rule as an erosion of the principles of open government that are embodied in the state constitution. “The ultimate principle arguing against AB 520 is that like the right of speech itself … the right to obtain information found in public records is so fundamental to informed democracy that certain expressions of that right, while they may be deplored as an excess of license, must be tolerated as a cost of liberty,” CalAware’s opposition letter reads.

In the context of a new presidential administration that has professed a commitment to government transparency, and even delivered on it, AB 520 looks like a giant step backward.

Prison report: Rehabilitation is a joke

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By Just A Guy

Editors note: This is the second blog post by Just A Guy, our correspondent in the California prison system. His letters from the inside will appear on Mondays and Thursdays, and he welcomes your comments and questions. It’s a little tricky communicating with inmates, since they don’t have acces computers for email, so be patient if it takes us a while to get his responses posted.

Let’s talk about rehabilitation this week.

There is a great misconception that prisoners spend a large part of our time in rehabilitative programs, and that the California Department of Corrections and Rehabilitation is putting a massive effort into the rehabilitative process. But the effort isn’t plainly evident to me.

To my knowledge, the only program for drug addicts and alcoholics is called SAP (substance abuse program), but this program is compulsory for those that fit the criteria. The problem with this is that the criteria seem to be a criteria of convenience in order to receive the per inmate funding granted by AB 900.

Some institutions have NA and AA meetings, but the availability of these meetings is dependent on the availability of staff to supervise the the meetings. I find it ironic that you have to sign up for a meeting that is supposed to be anonymous. The truth is that there is very little help offered to those that really want it — and it is forced upon those that don’t want it.

Newsom video, corrected

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By Tim Redmond

Gavin Newsom went to Sacramento this weekend to once again take credit for what others (particularly Assemblymember Tom Ammiano) have done.

But at least there’s a video now that corrects the record. Check it out.

Street Threads: Cutest Look of the Day ever

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Lulu, Jersey and Vicksburg

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Lulu’s grandmother says: “She likes to wear a lot of pink!”

Ammiano roasts the Democrats

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Today’s Ammianoliner:

The state Democratic convention: The dysfunctional meets the disenfranchised.

(Assemblyman Tom Ammiano, operating from his Sacramento perch, putting forth his Ammianoliner on his home answering machine in San Francisco on Sunday, April 26, 2009).

Ballad of Marianne Dissard

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By Kimberly Chun

Champs Elysees cool cuddles up with dustbowl derring-do: it’s an unlikely union but it works beautifully on Marianne Dissard‘s self-released 2008 debut, L’entredeux. The filmmaker behind the Giant Sand documentary, Drunken Bees, Dissard played the silky seductress to Joey Burns’ easy dupe in Calexico’s cowboy noir “Ballad of Cable Hogue.” L’entredeux sees her donning assorted new chapeaux with help from co-writer and producer Burns. Count on the chanteuse to smoke up the room with her fivepiece when she stops at the Hemlock Tavern on April 29.

Beautiful losers and dour dreamers who can’t make that date will likely dig the 12-track L’entredeux. Calexico’s John Convertino pitches in on drums, along with Willie Nelson contributor Mickey Raphael on harmonica and Tin Hat Trio player Rob Burger on piano, accordion, orchestron, cimbalom, and organ. Now planted in Tucson dust, the French native apparently found plenty of common ground with Burns in the making of this music: the music of Nick Drake, Serge Gainsbourg, and Django Reinhardt as well as the films of Sam Peckinpah. They save the violence for the future recordings – this is music for hot, hazy, lazy days.

‘The Soloist’ director Joe Wright makes beautiful music with Downey, Foxx

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By Kimberly Chun

Encore! Much respect to filmmaker Joe Wright (Atonement, Pride and Prejudice) for The Soloist, a passionate take on homelessness, journalism, and a Los Angeles on the skids and still in love with art. The movie is based on Los Angeles Times columnist Steve Lopez’s book on his friendship with schizophrenic musician Nathaniel Ayers. I spoke with the energetic, well-crumpled English director recently when he came through San Francisco on a press tour.

SFBG: The Soloist marks a big change from Pride and Prejudice and Atonement – it’s not a period film?

Joe Wright: No, but it is – it’s 2005. It’s a specific time. And actually it was quite difficult to try and capture the specifics of that period.

SFBG: What attracted you to project?

JW: I’ve always been fascinated by mental illness and extreme perspectives on reality. I was 20 or 21 when a friend of mine had a psychotic breakdown, and we spent 10 days together walking around the streets of London while he had delusions and paranoias. It scared the living shit out of me, really. And I think I partly make films as a way of confronting my fears, really.

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Right on: Joe Wright.

Randi Rhodes is coming back!

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By Bruce B. Brugmann

Well, I was driving along on my way home from work and, poof, all of a sudden Randi Rhodes was gone from her slot on Green 960 radio.

Yesterday, I was driving home on my way from work and, poof, the announcer said Randi Rhodes was coming back. Go the Green 960 website.

So I did and was delighted to find the mystery deepening. “Happy Friday,” the website said. “Yesterday was combination of netroots activism, modern media, and a big slice of luck.”

Well, what happened to Randi and why and how is she coming back? Here’s the official explanation below from the Green 960 website. Let me add that I enjoy Randi greatly, I missed her, and I made a few attempts to find out what happened to her, but no luck. I like her laugh, I like her point of view, I like the way she pounces on issues with facts and passion, and I like the fact that she is a stand-up comedienne who happens to do a damn good job on talk radio. And I like the fact that she would not be chosen to do what Rachel Maddow and Ed Schulz were tapped to do: national television shows. There is no one else quite like her on radio or television.

But will she really be back on the air on May ll, airing weekdays from 3 to 6 p.m.?

PREMIERE RADIO NETWORKS SYNDICATES THE RANDI RHODES SHOW

Premiere Radio Networks is proud to announce that beginning May 11, The Randi Rhodes Show will join its lineup of nationally syndicated radio programs. Airing weekdays from 3 – 6 p.m. ET, Rhodes will enlighten and entertain listeners with her trademark candid, incisive opinions, as well as her biting sense of humor, as she discusses everything from news and current events, to politics and hot topics. The Randi Rhodes Show will broadcast live from Washington, D.C., and will be heard on affiliates across the nation, including KTLK-AM/Los Angeles, KKGN-AM/San Francisco and KPOJ-AM/Portland.

“Right now, America needs a voice that reflects its hopes and concerns. It will be my privilege and pleasure to provide vital information to the public about everything that is possible in the 21st century, and also have a few laughs along the way,” commented Rhodes. “Premiere is an incredible family of radio pros, and is truly the most talented and experienced radio syndicator in the nation. I’m exited about this decision and Premiere’s enthusiasm for this partnership. It’s truly a dream come true.”

Premiere Radio EVP of Affiliate Marketing Julie Talbott stated, “Randi has carved a niche in Talk radio with her straight-forward approach, intelligence, wit and fact-driven content – qualities that attract audiences. We can’t wait to deliver The Randi Rhodes Show to stations nationwide.”

Click here to read Green 960’s blog explaining the comeback of the Randi Rhodes Show.

The Balky Mule rides to brilliance on rickety romance

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By Todd Lavoie

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THE BALKY MULE

The Length Of The Rail

(Fat Cat)

Stubborn? Who’s stubborn? Don’t be thrown by the Balky Mule name — Sam Jones might have selected his pseudonym in honor of an unyielding beast of burden, but his newest release is quite an amiable fellow, actually. The formerly Bristol, England-based musician (known for his stints in Flying Saucer Attack, The Third Eye Foundation, Movietone, and Crescent) relocated to Melbourne, Australia and focused on crafting wobbly-footed D.I.Y. pop and alluring folk/electronica collisions. In spite of a resume flush with hazy spin-drifts of guitar feedback and creeping atmosphere, Jones’ Balky Mule project is a considerably more playful affair; The Length Of The Rail is a bubbling, bleeping romp of toy-shop psychedelia and likable shy-boy vocals. On this sophomore release — though best of luck to you in finding its predecessor, as it appears to have been a limited-run and self-issued — the English ex-pat clearly seems to be having a grand ol’ time, picking up every instrument in sight and banging upon every available surface in pursuit of finding the right combination of curious ping-pings and plunkety-plunks.

Still, the disc is very much a bedroom creation, and one can almost imagine Jones skipping and grinning from behind the safety of his teetering piles of instruments; behind that wall is a bashful, boyish warble, pitched somewhere between Robert Wyatt and a more lucid version of Syd Barrett. It’s a thin, sweet, incredibly vulnerable tenor — perhaps not always perfectly-pitched, but channeled wisely for tremendous emotional impact. Set against sputtering electronics and delicate guitar textures, Jones’ innocent rambles trigger both the sad sighs of nostalgia and the cheerier heart-flutters of childhood memories.

SFIFF 52: Opening night

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The scene: the Castro Theatre. The event: opening night of the 52nd annual San Francisco International Film Festival. The crowd: mob-sized.

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Benjamin Bratt prefers it slow and low.

Before I say anything else, I know what you’re really wondering: what was in the gift bag? Besides Pop Chips — which seem to be engineering some kind of snack food takeover via film festivals (see also: the Noise Pop Film Festival) — there was a battery-operated sticky-note dispenser, a DVD of Vanaja (when I used to co-host the San Francisco Film Society-affiliated SF 360 Movie Scene on Comcast’s local channel — we got canned in August — that title was the top giggle-attack-getter on the set. You try saying “Vanaja” five times fast), a yo-yo, and a piece of biscotti. I devored the edibles, pocketed the yo-yo, and settled in for La Mission, a locally-made drama from writer-director Peter Bratt; his brother, Benjamin (a Law and Order vet whose career admirably survived 2004’s Catwoman), stars.

Ask a Porn Star: Wendy Williams on straight lust and sex objects

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In which super sexy porn people answer questions — each week — from Bay Area locals. View the last installment here
By Justin Juul

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Fielding your questions this month is AVN’s current “Transsexual Performer of The Year,” Wendy Williams. Check out some of her stuff and then send some questions here.

SFBG: You’re known for using blogs and video diaries to develop and maintain a really intimate relationship with your fans. Can you tell us a little about them? Are they mostly straight men?

Williams: Yeah, they are. You gotta understand that my fans are attracted to the feminine qualities they see in me and that many of them just consider the dick to be a fetish. Transsexual porn has a very divided fan base, actually. For example, there are people who want to see the transsexual as a bottom only. For them, the fact that she has a dick is just kind of a best-of-both-worlds thing. They would never do it in real life, but they like to see it. I don’t know what that means as far as sexual orientation goes, but I do know that most of my fans identify as straight men. They’re never gonna go to a gay bar and try to pick up guys because they’re not attracted to masculine qualities. They like long hair, breasts, and asses. Obviously, since I have a cock, there’s some question about their actual straightness, but that really doesn’t matter. I’m sure I have bi-sexual fans and I’m sure there are people out there who just want to fuck anything with legs. Whatever. I don’t believe in rigid labels.

SFBG: Yeah, the lines always get blurry when you really start to look at this stuff. I think smart people view sexuality as a continuum that shifts around throughout life. The labels don’t really fit anyone perfectly.
Williams: Yeah, it’s hard not to use the labels sometimes though. I mean, it’s pretty obvious that transsexual porn is marketed to and made for a straight male audience. Ask any gay guy if he’s attracted to transsexuals and you’ll get the same sort of answer: “God, no! I don’t want titties on my back. That’s disgusting!” Transsexuals and drag queens have a place in the gay community, but we’re not sex objects. We are a form of entertainment.

Tell BART what you think

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By Tim Redmond

BART’s holding a public meeting (!) to hear concerns about civilian oversight of the BART police. The place ought to be packed — and the message I would send is that BART can’t be trusted to do its own civilian oversight and ought to support the state legislation by Assemblymember Tom Ammiano.

Show up Saturday, May 2 at 1 pm, John P. Bort Metro Center auditorium, 101 8th Street, Oakland.

Slow down, show love for Jimmy Sweetwater

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By Ari Messer

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In the era of Slow Food in the City of Fog, I wonder why more people don’t slow down for a second and get out to taste some local music. Think about the last time you were willing to fork over more than a fiver for some local talent. Seriously. San Franciscans sometimes seem fonder and more aware of what the Bay Area attracts than of what it produces. Jimmy Sweetwater is out to change that. Sweetwater is the rare breed of promoter who is also a musician — he plays a mean harmonica and a dirty washboard. He has been giving his all to keep his series of local music going in a town drawn to touring bands. Sweetwater, a historian of Mission District music from the past 20 years, has put on five shows at the Great American Music Hall, four at Slim’s, and one at Cafe du Nord. According to Sweetwater, club staff has largely been supportive, but it’s a struggle to fill venues in these times of financial woe. "There’s a ton of local talent that never gets to play the big clubs," he says, noting that he tries "to combine different kinds of music in one night." All-local nights and combinations of different genres — these aren’t traditional strategies, but the Bay Area is the perfect place to unleash them.

This weekend sees a diverse Jimmy Sweetwater Presents lineup at the Red Devil Lounge, including the high-speed-Calexico-like Diego’s Umbrella, honkeytonkers 77 El Deora, the East Bay’s Ben Benkert, and the Mission Three, a group including Sweetwater that will play a number of tunes by the Band, even one of my favorite (and rarer) Band joints, "Acadian Driftwood." Sweetwater always seems to be doing a thousand things at once. It’s all for the love of song in this songlike town.

JIMMY SWEETWATER PRESENTS: DIEGO’S UMBRELLA, BEN BENKERT, 77 EL DEORA, AND THE MISSION THREE Sat/25, 9 p.m., $10. Red Devil Lounge, 1695 Polk, SF. (415) 921-1695. www.myspace.com/jimmysweetwater

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Melissa of Darling Design, 16th Street and Sanchez

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Tell us about your look: “I’m really into soft clothes right now.”