Independent

Booker T. and Bettye LaVette

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PREVIEW In the 1960s Booker T. and the MG’s served as Stax/Volt’s house band, much like the Funk Brothers were for Motown. Playing alongside Otis Redding, Sam & Dave, and the Staple Singers, among others, they beat Love and also Sly and the Family Stone to the racially-integrated rock-band punch. It was 1962’s "Green Onions" on the Memphis-based soul label that put them on the map. The song’s recent omnipresence at sporting events has given it a bit of a "jock jam" tag, but it isn’t tarnished completely.

Today Booker T. Jones is letting his signature Hammond organ sound sing alongside "the Great Lady of Soul," Bettye LaVette. After hearing her humbling rendition of the Who’s "Love Reign O’er Me" at that group’s Kennedy Center Honors, I knew LaVette’s tag was legit. Even Barbra Streisand — in attendance that night — recognized it. She turned to Pete Townshend in disbelief, asking if he’d really written that song. LaVette gives the rock opera ballad a gut-wrenching, soulful treatment. She owns it.

For most of her career, the Detroit native has struggled, but she’s steadily built an audience, touring with late legends including James Brown and a young Mr. Pitiful along the way. LaVette’s had one-off singles released by Atlantic and Motown. It seems she is finally getting her due, having had the honor of dueting on a song at President Obama’s inauguration ceremony — even if it was with Jon Bon Jovi.

Now LaVette’s career has paralleled Booker T’s. Both are signed to Anti- Records. Booker’s new album for the label, Potato Hole, features Neil Young and includes a playful version of Outkast’s "Hey Ya," Expect covers aplenty — and some surprises, too — from this bill’s soulful one-two punch.

BOOKER T. AND BETTYE LAVETTE Fri/8, 8 p.m. Independent, 628 Divisadero, 415-771-1421. www.theindependentsf.com

Sita Sings the Blues

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REVIEW A few years ago, independent animator and comic strip artist Nina Paley left San Francisco for India, where her boyfriend had found employment. A while later, during a visit home, she received a surprise, brusque communication from the bf informing her she need not return — the relationship was over. Just what the bf ultimately got out of this episode is unknown. But Paley got posterity: her first feature film, inspired by both the breakup and the ancient Sanskrit epic the Ramayana, is artistic therapy that also happens to be just about the most delightful movie in eons, cartoon or otherwise. Utilizing very different animation techniques, she cuts between a blatantly autobiographical tale of romantic woe and the mythological travails of Sita, beloved of the noble Rama. He rescues her from an amorous, abducting rival, but his chivalry dies when false accusations about her "purity" threaten to tarnish his image. Then, as now, men are pigs. Sita wriggles through her fate like a Bollywood Betty Boop, frequently crooning vintage 78 tracks by Jazz Age blues chanteuse Annette Hanshaw, and the visual wit on display is akin to Max Fleischer’s antics plus intellectual gamesmanship, grotesque streaks, and eye-popping color. Paley breaks the fourth wall in umpteen ingenious ways. Sita Sings the Blues is so full of fun and invention you may start looking forward to seeing it again after it’s barely started.

SITA SINGS THE BLUES runs Fri/8–Tues/12 at the Red Vic. See Rep Clock.

Editor’s Notes

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Tredmond@sfbg.com

The first time the Guardian made an issue of the role small businesses play in the local economy, official San Francisco freaked out.

It was 1985, and only a handful of people were talking about sustainable local economies, about the connection between environmentalism and community-based economics, about how malls and chains stores were ruining America, and how spending money locally would create more jobs, with less waste of energy, than shopping at Wal-Mart or Home Depot.

The Guardian hired MIT economist David Birch to produce a study on job generation in San Francisco. His conclusion: small, locally-owned, independent businesses generated the vast majority of jobs in San Francisco. That directly contradicted the fundamental thesis driving city planning at the time; the planners and the mayor (Dianne Feinstein) argued that high-rise office development was the city’s prime source of new jobs.

The day the study came out, the city planning director (Dean Macris) called in his senior staff and directed them to work all weekend poring over our study and trying to figure out how to discredit it. Feinstein ignored us. The supervisors continued to allow high-rises to sprout, damaging small business and the local economy. The Chamber of Commerce was so disdainful of small business that a group of Fisherman’s Wharf merchants quit in disgust.

Today that battle is over. Done. The argument isn’t even an argument anymore. Everyone, from Mayor Gavin Newsom and the Chamber on down, agrees that locally-owned businesses are the lifeblood of the San Francisco economy. The mayor goes around urging people to "shop local."

But as we suggest in this special issue on San Francisco small business, the city itself isn’t doing such a great job at that. In fact, the public sector in general has been trained for so long to do business with the lowest bidder that the role a major institution like the city and county of San Francisco can play in boosting the local economy has gotten lost.

A 2007 study sponsored by the San Francisco Locally Owned Merchants Alliance shows that if local residents shifted just 10 percent of their purchases from big chains to local businesses, the city’s economy would pick up $200 million and 1,300 new jobs a year. Imagine if City Hall, BART, state agencies, the school district — every public sector agency in this city — did the same. *

Making sunshine work

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EDITORIAL The Sunshine Ordinance Task Force and the Ethics Commission are talking to each other, which is some small progress on one of the most annoying lingering issues in San Francisco. But the joint meeting last week, while positive in tone, didn’t solve the basic problem.

Under the city’s Sunshine Ordinance, the task force investigates complaints about city agencies improperly withholding records or meeting in secret. If the task force members find that there’s been a violation — and that the matter is serious enough to merit enforcement action against the city officials involved — the file is forwarded to Ethics, which can charge elected and appointed officials with misconduct.

But that never happens.

Fourteen times the task force has asked Ethics for action, and 14 times those cases have been dismissed — with little serious investigation. In fact, at the April 24 meeting, John St. Croix, the executive director of Ethics, admitted that his staff doesn’t always interview the complainants in these cases. Instead, Ethics asks the respondent for his or her side, and relies heavily on the advice of the city attorney.

That’s a problem in itself, because sometimes City Attorney Dennis Herrera will advise a department to keep something secret when the task force — which has its own lawyer, also from the City Attorney’s Office — disagrees. And in some cases it’s very clear that city officials have willfully ignored, defied, or sought to circumvent the open-government law.

Mayor Newsom, for example, refuses to release his full appointments calendar, which would show the public whom he’s meeting with — a key way for San Franciscans to understand who is influencing, and seeking to influence, city policy. The New York Times just published a detailed investigative report on Treasury Secretary Timothy Geithner’s ties to Wall Street financiers, basing the story in significant part on a review of Geithner’s appointment calendars. The New York City Federal Reserve Bank — a secretive institution if ever there was one — released the calendars of Geithner’s appointments when he was bank president. Newsom can certainly do the same, and the law requires him to. But he simply ignores that mandate.

The district attorney also has the authority to enforce the law, but has never filed a single sunshine violation case.

The San Francisco Sunshine Ordinance is supposed to be the best and most comprehensive law in the state ensuring public access to government activities. But it’s rendered almost meaningless when city officials can defy it, routinely, and suffer no consequences.

The current enforcement system is simply not working. The supervisors should hold hearings on this with the goal of placing a charter amendment on the ballot giving the task force the independent authority to order documents released and adopting a more effective way to sanction officials who disregard the law. The task force should also have the right to take cases directly to the Ethics commissioners and prosecute them in public before the full commission. It’s the biggest open government issue in the city right now. Which supe wants to take it on? *

Booker T. and Bettye LaVette punch up the soul

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By Andre Torrez

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In the 1960s Booker T. and the MG’s served as Stax/Volt’s house band, much like the Funk Brothers were for Motown. Playing alongside Otis Redding, Sam & Dave, and the Staple Singers, among others, they beat Love and also Sly and the Family Stone to the racially-integrated rock-band punch. It was 1962’s "Green Onions" on the Memphis-based soul label that put them on the map. The song’s recent omnipresence at sporting events has given it a bit of a "jock jam" tag, but it isn’t tarnished completely.

Today Booker T. Jones is letting his signature Hammond organ sound sing alongside "the Great Lady of Soul," Bettye LaVette. After hearing her humbling rendition of the Who’s "Love Reign O’er Me" at that group’s Kennedy Center Honors, I knew LaVette’s tag was legit. Even Barbra Streisand — in attendance that night — recognized it. She turned to Pete Townshend in disbelief, asking if he’d really written that song.

Bettye Lavette, “Love Reign O’er”

LaVette gives the rock opera ballad a gut-wrenching, soulful treatment. She owns it.

For most of her career, the Detroit native has struggled, but she’s steadily built an audience, touring with late legends including James Brown and a young Mr. Pitiful along the way. LaVette’s had one-off singles released by Atlantic and Motown. It seems she is finally getting her due, having had the honor of dueting on a song at President Obama’s inauguration ceremony — even if it was with Jon Bon Jovi.

Now LaVette’s career has paralleled Booker T’s. Both are signed to Anti- Records. Booker’s new album for the label, Potato Hole, features Neil Young and includes a playful version of Outkast’s "Hey Ya," Expect covers aplenty — and some surprises, too — from this bill’s soulful one-two punch.

BOOKER T. AND BETTYE LAVETTE Fri/8, 8 p.m. Independent, 628 Divisadero, 415-771-1421. www.theindependentsf.com

Editorial: Making sunshine work in San Francisco

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Fourteen times the Sunshine Task Force has asked the Ethics Commission for action on sunshine violations.
And l4 times Ethics has dismissed thsoe cases with little investigation. The supervisors need to hold hearings with the goal of placing a charter amendment on the ballot to give the task force independent authority to order the release of documents and to sanction city officials who flout the law.

EDITORIAL The Sunshine Ordinance Task Force and the Ethics Commission are talking to each other, which is some small progress on one of the most annoying lingering issues in San Francisco. But the joint meeting last week, while positive in tone, didn’t solve the basic problem.

Under the city’s Sunshine Ordinance, the task force investigates complaints about city agencies improperly withholding records or meeting in secret. If the task force members find that there’s been a violation — and that the matter is serious enough to merit enforcement action against the city officials involved — the file is forwarded to Ethics, which can charge elected and appointed officials with misconduct.

But that never happens.

Sonic Reducer Overage: the Dead, Alela Diane, Myka 9, Destroyer, Ponytail, Brilliant Colors, and more

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By Kimberly Chun

Rain-day women, overcast men – it’s drizzling all over SF, but the music keeps coming. Here are more worthy shows than we could drip into print.

Brilliant Colors
The SF trio surfs the latest wave of girlish lo-fi pop with sweet, primal punchiness. With Abe Vigoda, High Castle, and No Babies. Wed/6. 8 p.m., $7. 21 Grand, 416 25th St., Oakl. www.21grand.org

Myka 9
Everyone seems to be borrowing from the rapid-fire Freestyle Fellowship fella, who has lent a hand to performers like Busdriver and Prefuse 73. Thurs/7, 9 p.m., $15. Independent, 628 Divisadero, S.F. (415) 771-1422.

Sonic Reducer Overage: Paris, Total Trash Weekend, Garrett Pierce, and more

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Babes in Ty land: Ty Segall messes with ya as part of Total Trash Weekend.

By Kimberly Chun

Bay rap vets and raucous rock sprats – it all goes splat this week. I’m guessing you’ll find plenty of trouble to get into – and musical artistry to appreciate – when you’re not busy downing scrump-dilly-icious (and cheap!) pastor tacos at the Gallo Giro taco truck at 23rd and Treat.

Goapele
Oakland’s own draws the curtain on new music: check her site for the spanking, sinuous “Milk + Honey.” With Cody Chestnutt. Fri/1, 9 p.m., $27. Independent, 628 Divisadero, SF. (415) 771-1422.

Zion-I
This is the weekend Bay hip-hop stages The TakeOver. The local twosome takes it to another level in honor of its new long-player. With Kev Choice Ensemble and Trackademicks and the Honor Roll. Fri/1, 9 p.m., $19-$23. Slim’s, 333 11th St., SF. (415) 522-0333.

Snap sounds: Rubies

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By Johnny Ray Huston

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RUBIES

Explode from Center

(Telle)

The Norway-to-our-Bay connection is strong in this group, which bridges Bergen and San Francisco. No cosmic disco, though: Simone Rubi plays chanteuse over pop arrangements. The result never reaches the Cardigans’ sublimity, but it matches the warmth of Lois and Marine Girls.

Rubies, “I Feel Electric”

Rubies play Sunday, June 14 at The Independent

Great expectations?

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Equality has been achieved: this recession is kicking everyone’s arse. But I couldn’t help but squirm at a few recent music-biz disjunctions. How does one reconcile the scene at a South by Southwest "Great Expectations" label panel last month, listening to Tony Kiewel describe 2008 as one of the Sub Pop’s best years, with the bad news from Touch and Go’s Chicago HQ a week later? After shuttering its distribution — which once supported imprints ranging from Drag City to Estrus — in February, the 25-year-plus label laid off its entire staff. Owner and ex-Necros bassist Corey Rusk was going to run the enterprise solo.

A second major blow, especially when one considers Touch and Go’s history releasing important discs by Big Black, Scratch Acid, Die Kreuzen, Slint, Jesus Lizard, and of course, the Butthole Surfers (though the label’s 1999 loss in a legal battle with that band likely hasn’t helped). "Touch and Go basically allowed Merge to exist as something other than a singles label," Mac McCaughan of Merge Records stated in February. "If a company that did everything the right way can’t survive in this environment, then who can?"

Are these simply the latest surges and sucks of free-market capitalism’s death throes and toilet-bowl flows? And what’s the state of independence for local labels eking it out in this still-roiling stew of sorry economic news?

"The black and white fact is that [Sub Pop] is not Touch and Go," opines Cory Brown, owner of Bay Area independent Absolutely Kosher and general manager of Misra Records. He notes that Sub Pop is partially owned by Warner Bros. and that Touch and Go had the tough luck of losing some of its biggest artists, including TV on the Radio, Blonde Redhead, and the Yeah Yeah Yeahs. Those departures "all went down not very well," says Brown, who believes Touch and Go’s contraction was "as much an emotional decision as a business one," considering the company had big releases by Pinback and Three Mile Pilot planned.

Rusk declined to comment, although one wonders what will become of his label’s newer bands, among them the Bay Area’s Mi Ami and Sholi. Still, should he strike up a new alliance, all systems could be go at Touch and Go once again. As Brown puts it, "Geoff Travis has closed Rough Trade multiple times now and come back with it."

What of the local label landscape? Lookout! and Jackpine Social Club have ceased new releases, whereas Tigerbeat6 and Anticon have left town. Slumberland is surfing a twee rock revival, and hip-hop’s SMC has taken on bigger fish like Killer Mike. As newbie Bright Antenna appears on the horizon, veterans such as Alternative Tentacles, Fat Wreck Chords, Runt/Water, Quannum Projects, Birdman, Daly City, Dirtybird, and Hook or Crook are staying alive. AT celebrates its 30th anniversary this year. "As music and media become increasingly accessible instantly from anywhere, the role of curator is more important than ever – if I can access 10 millions songs instantly from my phone, how do I choose?," Isaac Bess, director of business development at SF’s IODA (Independent Online Distribution Alliance) writes via e-mail.

Business is bright, thanks to smart planning, for SF distributor Revolver USA and Midheaven Mailorder, which supports labels such as Gnomonsong and DiCristina Stair Builders. "We’re doing well, and I think that has a lot to do with what our expectations are, and not looking for a big record to be carried by Walmart and Target," says general manager Mike Toppe, who thinks it’s more important to "keep connecting with people who are passionate about music."

Fat Mike, who started Fat Wreck Chords to put out music by his bands NOFX and Me First and the Gimme Gimmes, has a more hardcore perspective. "In the ’90s, every fucking band we signed sold a shitload of records and got popular all over the world. It was ridiculous," he e-mails from NOFX’s current European tour. "Now only the really good bands can sell a decent amount. That’s okay, though. This industry collapse is mostly killing mediocre bands." As for the decline in CD and recorded music sales, the SF road warrior believes that’s not going to stop: "The record industry party is over, but great live bands will always do okay."

But what about the groups that can’t pick up blogosphere buzz? Both Jacobs and Brown acknowledge the difficulty in developing emerging or even mid-level bands via traditional avenues. Add in the complicating factor of so-called 360 deals, in which a label takes a percentage of all artist revenue in exchange for promotion, and you have what Brown calls a "destructive" outlook. "The bottom line is musicians should get paid," he said. "Forget about how labels are doing — how are musicians doing in this climate?

"I think new ideas really have to come into play, and those have to be based on the quality of life for the musician, not the company that comes up with an application," he continued, touching on the lack of public funds for musicians and lack of official recourse for bands if, for instance, they don’t get paid by a club. "It’s basic stuff, but it’s harder to look past those things. It has to go back to the content provider."

Men and their Moogs: Junior Boys vs. Sebastien Tellier

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By Andre Torrez

I went to Bimbo’s to see Junior Boys on a whim. I knew someone who had an extra spot on the list. I didn’t know what I was getting into, and was just happy to hang with my friend. Parking was a bitch, but we settled on a lot and made our way into the swank club. North Beach was definitely in the house.

Looking around, I couldn’t help but notice that this wasn’t exactly my scene. I felt like I was in an episode from The O.C. where the kids somehow get to hang in the bar and watch the latest “cool indie band” circa-2004. Waiting in anticipation of a band you don’t know usually proves to be anti-climactic, but there was something about the performance itself that was amiss. It didn’t take long for me to put my finger on it: I was annoyed at the lack of camaraderie between the band members, especially the core songwriting duo: the front man and the mysteriously silent man on the Moog synthesizer directly to his left. The drummer was in the background as expected, albeit all Genesis-looking because of the cool lighting, but the lead singer and this Moog man were placed prominently next to one another even though Moog man never spoke a word. I guess he had a cool haircut and all, but if you’ve got nothing to say and little to do, why take the spotlight? He might as well have been a prop. It was almost as if a wall was dividing front man and Moog man — they had little to no interaction with one another on stage. Not even a glance.

juniorboys.jpg
Moog man and frontman.

The two main men of Junior Boys would be better off pursuing separate musical paths, instead of catering to trends by fusing the electronic with the organic. With his scruffy look, the lead singer-guitarist came across as more of a traditional songwriter. He focused on lyrics and on connections with the audience. He was adept at banter and seemed to thrive off the audience’s energy. The man at the Moog admittedly held down the electronic portion of the show, but he was utterly detached. Given the opportunity to let loose, I’m sure he’d come alive — if he just wasn’t stifled by that other guy with the words and guitar. Both parties would flourish creatively if they just ditched the commercial combination sound. But who am I to judge? It’s probably payin’ the bills.

One night later at the Independent, Sebastien Tellier had the Moog-and-guitar combo down to a science. His sound was a perfect balance of heavy, deep, and dark elements. He had a lot more fun mixing synthesizers and rock star posturing, with a guitar representing a full-on phallus.

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: Liz, 18th Street and Noe

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Tell us about your look: “My style is independent. There are certain colors and shapes I really like, so then I use them and dress accordingly.”

Live shots: Devendra Banhart at the Independent

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Text and photos by Ariel Soto. Devendra Banhart performs again Thu/16 at Yoshi’s SF

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“You’re a sexy beast!” someone shouted from the crowd, as Devendra Banhart made his way onto the stage of the Independent to a sold out show, Tuesday, April 14th. After the openers, The Healing Curse, left the stage, Devendra started with an acoustic set and then later was joined by his band, serenading his fans with songs of about sweet little birds, wild wolves, and Latin love.

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Locals only

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a&eletters@sfbg.com

SONIC REDUCER April showers, worried world powers, CD towers — it’s tough to keep the kite-high ebullience, party vibes, and gotta-jet wings in flight during tough times. Bands come and go, move to Brooklyn (otherwise known as Break-Up-Land), and wither away in day jobs. So dole out a few propers to locals who brave the unofficial buy-nothing year of 2009 with new shiny plastic discs as they bid to become, erm, the next "secret show"-happy Green Day, revving up for Berkeley Rep, or Guitar Hero-hooked Metallica, currently gathering massive TV exposure via that goofy prime-time commercial.

Even the least likely to hunker down and deliver — namely the hard-smokin’ party hearties of Still Flyin’ — are casting aside the bakin’ dog lethargy and finally issuing a first album, Never Gonna Touch the Ground (Ernest Jenning). Love ’em or hate ’em, the brazenly silly 15-plus supergroup has finally found its footing amid the current wave of indie rock fun-seekers, a phenom (the Polyphonic Spree, Of Montreal, Tilly and the Wall, Broken Social Scene) characterized by collective-minded sprawl, theatricality, audience-friendliness, and dance jams (Still Flyin’ likes to call theirs HAMMJAMMS, but never mind that). Is "happy gang-bang Muzak" too raw a phrase to lay on it?

Headed by Athens, Ga., refugee Sean Rawls and boasting such members as ex-Aisler Set-ees Yoshi Nakamoto and Alicia Vanden Heuvel and former Architecture in Helsinki-ite Isobel Knowles, Still Flyin’ flies in the face of perceived indie elitism with a sound that fuses group-vocal pale-faced two-tone and lilting, ’80s-era Haircut 100 and Tom Tom Club lite tropi-pop. It’s present on the band’s title theme, on the anthemic ska workout "Forever Dudes," and on the bubbly vaca-rock of "Following the Itinerary." Yes, Still Flyin’ has an antidote to the economic woes that ail ya — the oughta-be-a-pop-hit "Good Thing It’s a Ghost Town Around Here" embraces the darkness that the Specials once dreaded. Ignore throwaways like the self-mocking "Act of Jamming," and you start to believe that the infectious Never Gonna just might achieve liftoff, especially if the group continues to get live crowds onto its party bus.

Never Gonna was partly recorded on weekends by Jason Quever at his Excelsior District home studio, Pan American, and it shows: the disc sounds just as toasty warm as the new You Can Have What You Want (Gnomonsong) by Quever’s Papercuts. Thanks to its Clientele-like mid-’60s folk pop, 2007’s Can’t Go Back promised to be Quever’s breakout recording, landing on Devendra Banhart and Andy Cabic’s Gnomonsong imprint with a hushed splash. You Can Have is a new mode of dreaming — one prone to bouts of levitation. Helped by Beach House’s Alex Scally, Lazarus’ Trevor Montgomery, Skygreen Leopards’ Glenn Donaldson, artist-filmmaker David Enos, and Helene Renaut, Quever conjures haunted carousels and the drift of spooked spaceships on tracks like "Once We Walked in the Sunlight," "A Peculiar Hallelujah," and "Jet Plane." Obsessively analog-centric and bewitched by dream pop, yé-yé, Floyd, and an earthbound breed of Krautrock, he makes it impossible to resist the surprisingly light-hearted charms of "A Dictator’s Lament" and You Can Have‘s overall stately high. Papercuts, we are floating in space …

The rock ‘n’ roll rave-ups and in-the-red rawness of the Sir Lord Raven’s new Please Throw Me Back in the Ocean (Happy Parts) tap into a whole ‘nother brand: screw-it-all naughty snotty. "Maybe I’ll jump in the river /Maybe I’ll cut out my liver … I’m tryin’ /I keep on tryin’," sneers frontman Eric Von Ravenson, once of the Time Flys, on — yeah, you got it — "I Keep on Tryin’." Recorded by indispensable organ and guitar pinch-hitter Greg Ashley, with producer Jay Bronzini on drums, Please Throw Me slices the cheesiness thickly, with a sense of cut-and-run fun. It’s throwback — hence a cover version of Fats Domino’s "I’m Ready" — but not necessarily throwaway. I like a band unafraid to pay tribute to its true, unlovely loves, but I prefer originals like "Take It or Leave It," "Spit on Your Grave," and "PC Action," the latter two of which intentionally subvert the garage rock, allowing glitter to seep in. How many times can these zombie riffs rouse themselves and return to life? A little spit, piss, and vinegar should do ya.

PAPERCUTS

April 24, 9:30 p.m., $10

Cafe du Nord

2170 Market, SF

www.cafedunord.com

STILL FLYIN’

May 9, 10 p.m., $10

Cafe du Nord

DAY ‘N’ NIGHT

TIPPY CANOE


Iron oar: check the rosy-cheeked, country-cabaret charm on Tippy Canoe and the Paddlemen’s Parasols and Pekingese (self-released, 2008). With Blue Rabbit and Chelsea Wolfe. Wed/15, 9 p.m., $6. Hemlock Tavern,1131 Polk, SF. www.hemlocktavern.com

CROOKERS


Italians do it better — meaning, play their way to Coachella. With Bloody Beetroots and Congorock. Wed/15, 9 p.m., $18 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

ZODIAC DEATH VALLEY


The vitality of the SF psych-rockers’ "cactus flower romanticism" (as Todd Lavoie once put it) is evident on their self-released, self-titled EP. With Golden Animals and Broads. Thurs/16, 9 p.m., $6. Thee Parkside, 1600 17th St., SF. www.theeparkside.com

CHAIRLIFT


Indie slow jams that include a dose of Morodor-esque synth seduction, anyone? With Sebastien Tellier. Fri/17, 9 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

JAMIE STEWART


Expect mega intensity when the Xiu Xiu mastermind ventures out for his first solo tour in five years, drawing from 80-plus tunes including rarely-heard older numbers and new songs from 2010’s Dear God, I Hate Myself. And get ready to pose for Stewart and artist David Horvitz as they photograph every person at every show for their blog-book project. With Dark Holler and Lady Genius. Fri/17, 9:30 p.m., $12. Cafe du Nord.

Energy deficiency

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More in this issue:

>>Fed money for green jobs?

>>Green living resource guide

rebeccab@sfbg.com

As the window of opportunity for averting the worst-case global warming scenarios narrows, wise use of energy seems increasingly urgent. So millions of dollars in state and federal funding and significant contributions from utility customers are devoted each year to improving energy efficiency in California.

It’s a crucial program designed to reduce consumption and planet-damaging emissions and eliminate the need for new fossil-fuel burning power plants. Yet the state’s energy-efficiency programs are often run by investor-owned utility companies, such as Pacific Gas & Electric, that have been missing efficiency targets yet demanding ever more public money anyway.

Critics say the programs would yield more energy savings on the dollar if local governments or nonprofits were in charge. The utilities have not only fought to maintain control of these programs, they’re now seeking even more taxpayer money by trying to claim federal economic stimulus funds.

Meanwhile, the San Francisco Public Utilities Commission is engaged in a long, slow process of rolling out an ambitious community choice aggregation (CCA) program, Clean Power SF, which would utilize 50 percent renewable energy and promote green technologies in the city.

While state law guarantees that energy-efficiency funding generated by San Franciscans could be funneled into Clean Power SF, it isn’t likely to happen without a fight from the state’s most powerful utility.

AN ‘A’ FOR EFFORT


Although PG&E and other utilities are entrusted with millions in ratepayers’ money to promote energy efficiency, independent analysis demonstrates that they’ve had limited success. But last December, they garnered rich rewards anyway, at ratepayers’ expense.

In 2007, the California Public Utilities Commission adopted a system to encourage utilities to strive for high energy efficiency standards. Utilities could receive hearty payouts for achieving a certain threshold of energy savings, the commission decided. Conversely, if the companies failed miserably, they’d be slapped with penalty fees. Rather than take the utilities’ word for it, the CPUC directed its Energy Division to inspect the companies’ energy efficiency program performance and report on it each year.

About a third of the funding for these programs is amassed with a mandatory fee on every ratepayer’s monthly energy bill, called the Public Goods Charge. This is combined with a second pot of ratepayer money and collected by utilities to fund initiatives such as rebates, light-bulb discounts, energy retrofits, and consumer-education drives. The program budget for all the utilities from 2006 through 2008 was around $2 billion. For the 2009 to 2011 program, the utilities are collectively seeking closer to $4 billion.

Last December, based on the utilities’ own claims that they’d hit the targets for the 2006 — 2007 program, the CPUC handed over nearly $82 million in incentive payments — with some $41 million going to PG&E. The commission accepted the utilities’ claims because the Energy Division’s verification report was behind schedule, and the utilities argued that this delay would postpone their payments and thus undermine the whole incentive.

At the same time, the commission noted, "We have profound concerns that accepting the [utilities’] proposal … would subject ratepayers to significant risk of overpayment." In an attempt to strike a balance, the CPUC voted to award $82 million rather than the $152.7 million that the utilities claimed they were owed.

But the independent report, which was finally released two months later, concluded that PG&E and two other utilities shouldn’t have been entitled to any incentive payments at all. Based on this analysis, they’d missed the targets.

The move drew criticism from groups like The Utilities Reform Network (TURN), Women’s Energy Matters, and the California Public Utilities Commission’s Division of Ratepayer Advocates, which charged that investor-owned utilities are more concerned about the payouts they receive for running these programs than maximizing energy savings.

"They didn’t seem troubled by the fact that they hadn’t met the goals. They were only troubled by the fact that they weren’t going to get the financial reward," said Mindy Spatt, communications director for the Utility Reform Network (TURN). "I suppose there’s a message in there about just how seriously they take energy efficiency."

Loretta Lynch, a former CPUC commissioner, told the Guardian that she’d been watching the proceedings closely. "They had already promised Wall Street they were going to get this money, and so they had to meet Wall Street’s expectations regardless of whether or not they met the technical requirements of the program," Lynch said.

The CPUC’s Division of Ratepayer Advocates opposed the decision to award the incentive money. "[The utilities] are being rewarded for something they say they’ve done, but that independent analysis shows they just didn’t do," DRA Regulatory Analyst Thomas Roberts told the Guardian. "It’s like rewarding a student for getting a D."

Part of the problem is that PG&E’s program relied heavily on giving away compact-fluorescent light bulbs, and then the utility inflated estimates for how much energy savings they would provide and how long they would last. In other words, CFLs are a good first step to energy conservation, but not enough to make the greatest strides in reducing demand.

Roberts also said PG&E often delivered the bulbs to what he called "free riders," or people who would’ve made the switch on their own. TURN once discovered a box of light bulbs posted on eBay by some crafty entrepreneurs who had purchased them at a discount, courtesy of PG&E. At that point, the bulbs could have wound up anywhere in the country, Spatt points out, instead of reducing electricity demand in California.

"There is no clear connection that we are not building new power plants due to energy efficiency programs," said Cheryl Cox, senior policy analyst and project manager for energy efficiency at the CPUC’s Division of Ratepayer Advocates. "And we do not appear to be on track to achieve long-term, persistent energy savings. Given the dependence of energy efficiency portfolios on short-term savings like lighting, it appears that the utilities would have to spend additional dollars to play catch-up — yet they persist on proposing the same old, non-progressive, CFL programs."

WHO’S IN CHARGE OF YOUR SURCHARGE?


For some, the incentive payouts provided new fuel for a longstanding argument that utilities shouldn’t be in charge of administering state-mandated energy efficiency programs in the first place. Barbara George, executive director of Women’s Energy Matters, points out that states with financially disinterested third parties managing energy efficiency measures tend to be more careful with the money they’re granted, resulting in more energy savings per dollar.

She points to a report completed by analyst Richard Estevez, which ranked 37 statewide energy efficiency programs by cost-effectiveness. "Non-utility implemented programs make up 18 out of the top 20 rankings; utility-implemented programs make up 15 out of the 17 poorest rankings," that report concludes.

Under the current system, "PG&E makes a profit on every dollar," says Lynch. "In addition, all of PG&E’s costs are covered. Then, of course, all the subcontractors’ costs are covered too, so it gets down to only 50 or 60 cents of every dollar that is actually going into programs. The rest of the money is going into PG&E’s profit, PG&E’s overhead, and the subcontractors’ overhead. Not surprisingly, if you’re a nonprofit or a government, you’re doing that service directly at no profit and lower administrative costs."

Paul Fenn, a consultant to Clean Power SF, sounds a similar note. In his view, PG&E "doesn’t want to reduce energy consumption. Why? Because every year, they go to their shareholders and they predict next year’s load growth. That’s their business. They burn gas, and they sell power. They’re a gas and electric company. The idea that a gas and electric company could be adequately incented to reduce their sales is naïve."

Fenn is the founder of Local Power, Inc. and the author of Assembly Bill 117 — a state bill passed in 2002 under the sponsorship of then-Assembly Member Carole Migden that allows municipalities to set up community choice aggregation programs. Local Power has been a key player in San Francisco’s own embryonic CCA.

AB 117 also gave cities the option to gain control of Public Goods Charge funds generated by their own ratepayers. In SF, that would mean funneling roughly $18 million annually into Clean Power SF’s energy efficiency budget.

Sup. Ross Mirkarimi, who chairs a committee overseeing the CCA implementation, told the Guardian he supports the idea. But he warned that the city probably wouldn’t be able to wrest the funding away from PG&E without a fight. "It’s completely appropriate for city government to be in charge of those funds," he says. "PG&E shouldn’t be in the driver’s seat with all that money anyway."

San Francisco is already hailed as a green city, but Clean Power SF, which has renewable energy as its centerpiece, would set a new standard for what cities can do to address climate change. The plan calls for 50 percent renewable energy, compared with PG&E’s energy mix of 11 to 12 percent renewable power. The SFPUC is slated to present CCA program plans to the state next year.

SFPUC’s Michael Campbell, the CCA program director, rejects the idea of going after Public Goods Charge funds just yet. "It’s premature to do that now," Campbell says. "About one-third of the energy efficiency dollars that PG&E collects … come from Public Goods Charge, and the other two-thirds are charges associated with procurement portions of customers’ bills. If a CCA were formed … to have an equal amount of dollars, we would need to have additional charges to CCA customers that would be associated with the energy portion of their bill."

Yet Fenn said applying to administer those funds is long overdue. Not knowing whether that $18 million is in place every year could derail the CCA bidding process, Fenn argues, since it would be difficult for prospective power suppliers to draft a plan if they lack clarity on the program budget.

The other problem, Fenn said, is that without the energy-efficiency funds, it would be harder for the city’s CCA to get its rates down low enough to compete with PG&E. Given the CCA is required to beat PG&E rates, it could make or break the success of the project.

"Energy efficiency is the cheapest resource," Fenn said. "It helps the economic feasibility of the portfolio by creating surplus revenue. If you’re just doing green supply, and not green load reduction, it’s going to be really hard not to pay more than PG&E."

BROUGHT TO YOU BY PG&E


While Clean Power SF lags, energy efficiency programs are percoutf8g throughout the city — usually touted by Mayor Gavin Newsom and funded through public-private partnerships with PG&E.

In a recent post on TriplePundit.com, Newsom announced the creation of an Existing Buildings Efficiency Task Force — composed of landlords, developers, PG&E, and other downtown interests — tasked with greening buildings and creating green jobs.

"The Task Force builds upon a great deal of work we’re doing already — taking full advantage of the $7 [million] to $11 million provided in energy efficiency block grants by the federal stimulus, leveraging our ongoing … partnership with PG&E, and working with private partners to create a San Francisco Clean Energy Fund," Newsom wrote.

A recent initiative to install energy efficient streetlights in the Tenderloin is the result of another PG&E partnership. While there’s no doubt that these programs will have positive results, they also serve to further entrench PG&E into citywide green initiatives, which render it more difficult for Clean Power SF to gain footing further down the road.

With federal stimulus money flowing into state coffers, the utilities are back at the table, recommending to the CPUC that some of the federal funding go into their existing energy-efficiency programs. "We believe that the Recovery Act or ARRA funds should work in conjunction with [investor-owned utility] programs to minimize potential customer confusion and leverage the success we have had with the programs," Marc Gaines, a representative for the state’s four investor-owned utilities, said during a recent All-Party CPUC meeting to discuss the stimulus funds. "Rather than competing with the programs, we would like to use ARRA funding to supplement existing energy efficiency [and other] programs."

Not so fast, countered George, who stood up to speak during the meeting. "We have to worry about if these funds are commingled with current programs, are the utilities going to rake off profits?" she wondered. "These funds need to be used for authorized purposes, and not for fraud, waste, error, and abuse. The energy efficiency programs have been used to fight public power and community choice efforts. The competition is brutal when it comes to the utilities."

Editor’s Notes

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Tredmond@sfbg.com

In 1984, journalists Milton Moskowitz and Robert Levering published a landmark book called The 100 Best Places to Work for in America. I didn’t want to work for any of them. The list is updated every year through the San Francisco-based Great Places to Work Institute, and it runs in Fortune.

The institute looks at things like pay, benefits, and perks, as well as at trust and culture: Does management accept input freely? Are workers in involved in key decisions? Do people feel part of a team? All of these are important factors in a workplace.

But the selection process doesn’t look at what the company actually does.

For example, Texas Instruments is on the list. It’s also a defense contractor that makes precision-guided weapons systems. You know, bombs. Starbucks — the voracious chain that drives out small local coffee shops — is on the list. So is Whole Foods and Microsoft and Goldman Sachs.

I’m not saying that Levering, who runs the institute, isn’t doing good work. But when you talk about great places to work these days, I think you also should be talking about places that have a positive impact on the environment.

The world is facing two cataclysmic crises these days. The planet is melting down. So is the economy. The only way we’re going to fix both is to look at economic development that is also environmental development. And a lot of it is going to happen in cities.

Real sustainable development includes green jobs (Bay Area activist Van Jones is bringing that agenda to the White House) — and a commitment to preserving locally-owned, independent businesses and a diverse community.

Those aren’t conflicting goals, they’re complimentary. But looking only at one piece of the puzzle — how many jobs we create, or how nice they are — isn’t going to get us where we need to go. *

“Blossom”: fashion, beats, and eats

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By Molly Freedenberg

tamoblanket_0309.jpg
Too classy for BRC? Blanket by Tamo Design.

Faux fur’s not just for Burning Man anymore. Not when it’s in the capable hands of Tamo, who not only uses her extremities to helm her namesake clothing company but also to DJ with the Angels of Bass. The blonde beauty’s hoodies, jackets, and blankets are soft, beautiful, well-constructed, and as appropriate for dinner in Potrero as they are for dancing on the playa (if not more so). Plus, her line of baby items is so damn adorable, it almost makes me want to have a little tike just to outfit him in fuzzy, eco-friendly goodness. (I said almost.) But perhaps what’s best about Tamo is her constant drive to support the independent fashion community through collaborative events like this weekend’s “Bloom” at The Triple Crown. Along with S&G Clothing, Tamo will host a full afternoon of beats, eats, and kickass clothes from 15 designers, including Silver Lucy Design, Steam Trunk, Lemon Twist, and Miss Velvet Cream.

Blossom: Come out and Bloom
April 11, 2-8pm
free, all ages
The Triple Crown
1760 Market, SF
Click here for event link

A little luck, a little pluck

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By Andrea Nemerson. View more alt.sex columns here.

AltSex_Icon.jpg

› andrea@altsexcolumn.com

Dear Andrea:

I’m not 40, like the author of the "40 and Frustrated" letter, but I’m afflicted with another "less than desirable" characteristic: color. Oh, and a bit of meat on my bones, although that’s never been much of a problem. I’m a black woman and I date(d) all sorts of men. Online has never been the right place for me to meet men because, in a field of redheads and green eyes, men pass right by my photo. I got absolutely no interest except from men I am not interested in. And if I happened to get an interested male inquiry, I too found that the communication petered out quickly.

Several years back, I moved to the city on my own. Finally — no roommates, no significant other, just me. My friends were in relationships or newly married and I had to find activities that allowed me to have fun and meet single men. When I went out with friends, I was always just another girl in the crowd.

I got the best results when I began going out by myself, walking into an establishment where I knew no one, ordering a drink, sitting at the bar, and looking desirable and approachable with a book or a snack. A month ago, I even had a CL Missed Connections ad placed for me by a nice Irish man after visiting a local pub and having a burger and beer. It is a 99.9 percent given that if you are female and alone, a male will walk up to you and begin a conversation. Despite your age, your looks, your size, your ethnicity, if a man sees you alone, without a crew of other females to choose from, he will feel compelled to find out your story and see if he has a shot with you.

Two years ago, out by myself, I met a man I had eyed a few times over the years. We chatted. We joked. We got to know each other. Two-and-a-half years later, we’re still together.

We both have an independent nature, which still leads me to frequent places on my own. Each and every time, I am approached. I’m attractive, but I’m not all that, so this is something any woman can do. I feel that we, as women, need to step it up a notch and realize that we need to depend mostly on ourselves and not our friends or the Internet to hook us up or place us in situations where we’ll meet people.

Cat’s cradle

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› a&eletters@sfbg.com

Independent, slyly defiant, and given to zigzags, the cat is the spirit animal for a certain breed of cinematic gleaners. The films of Warren Sonbert and Chris Marker are packed with the feline kind. A kitty or two shows through the lucid abstractions of Nathaniel Dorsky’s recent work, and Agnès Varda’s La Pointe-Courte (1954) uses the animal as a structural device. Accordingly, Ben Rivers’ This is My Land (2006) opens with a lithe creature snapping its head to face the camera. There are several other such mysterious cameos across the 14-minute film, one of several bricolage studies Rivers has composed of off-the-grid settlers who are themselves catlike in both appearance (the whiskers and quick smile) and manner (gentle wildness).

Rivers must appreciate the cat’s association with the gothic, given his propensity to label his shorts as either horrors or portraits. The London-based filmmaker and programmer comes to town this week for two rare programs split along these lines, though it isn’t as stark a divide as it might first sound. The films are all exquisite documents of overgrown spaces, the kind in which the past is made palimpsest, audible in the creak of floorboards and everywhere apparent in the makeshift and ajar.

There are traces of Murnau, Dreyer, and Herzog in Rivers’ work; the films are welcome demonstrations that Expressionism is nothing so much as a feeling for how the physical world relates to the spiritual one, though musical references are equally revealing. The beards, spirits, and foliage evoke the deep English folk of the Incredible String Band and Roy Harper. In addition, the field recording quilt-work done by Lucky Dragons and the Books provides a useful analogue to Rivers non-sync style. Shot with a wind-up Bolex, Rivers processes the film stock himself, leaving grain and light flecks unpolished, with sound and image each representing an autonomous, well-portioned montage. The films open the same rich interstices of avant-garde, documentary, and ethnography as Apichatpong Weerasethakul’s work, but with an intense intimacy that makes them seem like home movies of the highest order.

The old dark house imagery of Rivers’ gothic curios strike a particularly English chord, but the back-to-the-land portraiture has a special resonance in California. We too know these beards, this tumble of wilderness, this particular migration. If these figures seem to age differently, it’s because their living choices represent a decisive approach to both space and time, something Rivers represents with great cinematic adroitness. The specter of global warming and natural disaster thickens these reclusive reliefs. Rivers has admitted his fondness for ’70s postapocalypse moves, a ripe genre rearticulated in the lunar landscapes and scrapyard play of Ah, Liberty! (2008). Horror, in this context, is a kind of awe. It is inseparable from nature — it is, in fact, nature reclaiming civilization.

"[There are] all kind of wild animals [here], and it’s only because I let it get wild. And that’s my point, but nobody will get it," the central figure of Astrika (2006) explains. Rivers, of course, does get it. The homesteaders’ scattered debris suggests Rivers’ own secondhand materials, improvised objects like a birdfeeder made from a milk container reflect his films construction, and the ethos of self-sufficiency is admired and enacted. The human warmth of his filmmaking emanates from these affinities, which go beyond sympathy to touch the elusive nerve of experience. Rivers’ wind-up camera means that no single shot can exceed 30 seconds. But when the pitter-patter of his images settles on something strange and moving, like a distant view of a horse rolling in the snow, it reminds us that beauty is often a humbling drama of the glimpse.

"THE POETIC HORROR OF BEN RIVERS"

Sat/28, 8:30 p.m., $6

Other Cinema at Artists’ Television Access

992 Valencia, SF

(415) 824-3890, www.atasite.org

"THIS IS MY LAND: BEN RIVERS’ PORTRAITS AND LANDSCAPES"

Sun/29, 7:30 p.m., $10

San Francisco Cinematheque at Yerba Buena Center for the Arts

701 Mission, SF

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

The polluting Port

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› news@sfbg.com

GREEN CITY Manuel Rivas is an independent truck driver working at and living near the Port of Oakland, where diesel exhaust from old idling vehicles has created a serious public health threat.

Officials have long talked about addressing the problem (see "ImPorting injustice," 7/17/07). In the meantime, however, Rivas and his twin boys — whom he has cared for alone since his wife died in a car accident 12 years ago — struggle with respiratory problems on low wages and with no health insurance.

"I’ve spent 21 years working as a truck driver. This is where I’ve spent most of my life, and I don’t have anything from it. You can see for yourself," Rivas tells the Guardian in Spanish, gesturing to his small, rundown house and showing us his empty refrigerator. "We are people, not slaves. We fuel the economy not just here in Oakland, but throughout the country."

Rivas works eight to 10 hours per day and says he takes home about $5.55 per hour after the expenses for his truck. Deregulation of the trucking industry has left drivers, many of them immigrants, as independent contractors with low wages and few benefits.

"We don’t get any vacation time," he said. "We don’t get health insurance. If we get sick, then we have to pay out of our own pockets."

And they do get sick. Diesel exhaust is a toxic air pollutant. The Coalition for Clean and Safe Ports organized an asthma screening in West Oakland last month to address problems around the Port. "Small particulates get breathed into the lower reaches of the lungs and cause irritation and inflammation, an increase in respiratory problems like asthma, chronic obstructive pulmonary disease, and a long term risk of lung cancer," said Dr. Robert Harrison, a UCSF professor who participated in the screenings.

Sandra Witt of the Alameda County Health Department said West Oakland residents are exposed to three times more diesel particulate matter than the rest of the Bay Area, thanks to the Port and nearby freeways.

"We’re driving all day, every day, and at this moment my throat is very dry and it hurts, so I take cough drops," Rivas said. He is concerned that one of his sons recently came down with bronchitis and was unable to play soccer.

Harrison says that children and the elderly are most susceptible to toxic air. "Bronchitis is one of the symptoms of respiratory problems from diesel pollution," Harrison said. One in five children in Oakland has asthma, the highest rate in California.

But treating a large population for respiratory problems is difficult. "There really isn’t any way to treat the community unless you reduce air pollution," Harrison said. "I found that the independent status of truck drivers keeps them vulnerable to health problems."

Port Commissioner Margaret Gordon, a longtime community activist before joining that body in 2007 (see "Port tack," 10/10/07), has pushed the Port to take responsibility for its contribution to the problem. "Diesel is bad in any way it comes. In trucks, trains, ships, cargo, or cabin equipment, it’s bad. But the closest thing to the people of West Oakland are the emissions from the trucks," Gordon said.

Swati Prakash of the Coalition for Clean and Safe Ports hopes that new legislation will alleviate some problems from diesel pollution. "For the first time you have state regulations coming down the pipe," Prakash told us. "The California Air Resources Board has recognized how deadly diesel pollution is."

On Jan. 1, 2010, pre-1994 trucks will not be allowed on Port land and 1994-2003 trucks must be retrofitted to reduce diesel particulate matter by 85 percent. But Rivas can’t afford a new truck, so he and other drivers are hoping to become employees of trucking companies.

The Port’s Comprehensive Truck Management Plan (CTMP), which will address diesel pollution and related issues, is now being drafted and is set to go before the commission for approval in June. Richard Sinkoff, the Port’s director of environmental programs and planning, said staff is working at an accelerated schedule because of the urgency of the issue.

"I think the board really understands that public health is a concern for all of us," Sinkoff said. "Time is always of the essence when dealing with a recognized public health issue."

Editor’s Notes

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› Tredmond@sfbg.com

I spent the weekend with my head under the kitchen sink, experiencing that loop of doom that makes old San Francisco houses so charming. The drain was stopped up, so I figured I’d pull the trap and clean it out, but the pipe broke in half the minute I tried to unscrew it. When I bought a new one, the pipe it attached to started to crumble, and when I replaced that one, the seals on the next pipe were shot, and after the third trip to Cole Hardware, I realized that I was going to have to pull out all of the kitchen plumbing and replace everything.

So I was lying there on my back, with dirty water and little pieces of whatever foul gunk had adhered to the insides of the old pipes dripping into my eyes, and all of the Sunday ads and advertorial sections of the Chronicle next to me to sop up the mess, and I started thinking about why I subscribe to The New York Times.

We’ve considered cutting it off — it costs a lot of money, and we’re trying not to spend a lot of money these days. Also, if I want to, I can find all the entire paper on the Web anyway. I don’t even get most of my world news from the Times; I read the British papers, the Guardian and The Independent.

But every morning while I’m sitting at the counter eating my breakfast, I turn to the Times op-ed page and get some of the most intelligent, interesting insight and commentary you’re going to find on a single sheet of paper anywhere in the world. And I thought: If the Times was in such dire financial straights that it had to fire half its staff, and Bob Herbert was one of the unfortunate souls chosen for a pink slip, I’d be joining the national uproar. There would be petitions, and editors’ inboxes would be jammed with e-mail, and marchers would mass in Times Square.

Ditto Paul Krugman, who is one of the few prominent economists in America who isn’t full of shit. And Thomas Freidman, who is sometimes full of shit but thinks so clearly and makes such cogent arguments that it’s a pleasure to get mad at him. And Nicholas Kristof, who routinely travels to some of the nastiest places on the planet to bring back the stories of how American policy affects human beings who otherwise would have remained in the shadows for life. That page alone is worth $1 a day; in fact, it’s one of the greatest bargains on Earth.

I don’t know whom the Chronicle is going to fire March 31 when the cutbacks are supposed to happen. I have kinda, sorta friends there, and there are some good, honest reporters, and I hope they all survive. But is there any political opinion columnist whose pending demise would get me out of my chair to a rally? Uh, no.

I love Jon Carroll, but he writes a lot about cats and mondegreens and there’s a good reason he isn’t on the op-ed page. Debra Saunders? Sorry, she’s an idiot. (And not just because I disagree with her — William Safire is one of my favorite writers ever. Saunders? Idiot.) C.W. Nevius? Belongs in the suburbs. John Diaz? Eh. Whatever.

I still pay for the Chron, but I’m not surprised that hardly anyone else I know does.

Madam Speaker, I Object!

2

(Scroll down for Reilly’s column)

Clint Reilly’s column ought to be the institutional line in every independent daily paper in the Bay Area and beyond.
However, since there are no independent dailies left and all the Bay Area and most of California dailies are owned by out-of-state newspaper chains, this is not to be. But at least his column appears in the MediaNews/Singleton papers in the Bay Area, thanks to the settlement of his last federal lawsuit challenging Hearst/Singleton collaboration.

Reilly opposes Rep. Nancy Pelosi’s move to gut the antitrust laws to accommodate more Hearst/Singleton collaboration. The Guardian goes a step further and recommends that Pelosi and U.S./ California/San Francisco politicians promote legislation and resolutions at federal, state, and local levels that would bar a daily newspaper in a one-paper town from closing down unless and until the owners offer it for sale at a fair price and give someone else a chance to run it.

And we recommend that, since any Hearst/Singleton collaboration would have national implications, this should happen only in a fishbowl in the glare of the mid-day sun. More: our federal, state, and local politicians should
pull out the stops: subpoena Hearst documents, hold public hearings in Washington and San Francisco, and promote any and all alternatives to another daily paper assassination. Save the Chronicle! B3

Madam Speaker, I Object!

By Clint Reilly

Sanctioning a Bay Area newspaper monopoly in order to rescue the San Francisco Chronicle from bankruptcy is a horrible idea.

Does anyone know what I’m talking about?

Last week, House Speaker Nancy Pelosi sent a letter to Attorney General Eric Holder urging him not to enforce antitrust laws, which would pave the way for the Chronicle and MediaNews – the owner of every other paid-subscription daily newspaper in the Bay Area – to merge operations and have a monopoly over news and opinion in the Bay Area.

Swedish fetish

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Americans have always been lured by the siren call of those blindingly blonde babes and bewitching blue-eyed boys, but what exactly is "it" about Sweden that keeps us wanting more? The country is known for being progressive, well educated, sexually liberal, and neutral in wartime. A Swede even holds the Guinness World Record for spinning the most yo-yos simultaneously (nine).

Sweden has infiltrated American style; I don’t know anyone who doesn’t own at least one thing from Ikea, H&M, or Cheap Monday. These companies convey a sleek, stackable, skinny image. This impression is debunked slightly by the current Yerba Buena Center for the Arts exhibition "Irreverent: Contemporary Nordic Craft Art," a showcase for clothes you can’t wear and furniture you can’t use, such as Frida Fjellman’s chandeliers populated by glass owls and frosted squirrels.

There are also the images Bergmania has left us: stunning and haunting images of long coastlines, 18 hours of daylight in June, and splendid mountain ranges shrouded in December darkness. The snow-white vampires of Tomas Alfredson’s Let the Right One In (2008) proliferate our nightmares. The comic glum chums of Roy Andersson’s You the Living (2007) will soon come calling.

For a country with a landscape that’s roughly equivalent to California and a population of about 9 million, Sweden is an impressive exporter of music — the third largest in the world, bested only by the U.S. and U.K. The boom began in the 1970s with those pop perfectionists, ABBA, who crossed the Atlantic to bliss us out with the melancholy euphoria of 1976’s "Dancing Queen" (their sole U.S. chart-topper, although they were the most commercially successful band of the decade).

Following ABBA’s footsteps and to some degree formula, lesser and at times laughable groups emerged from Sweden in the 1980s to reinforce the bright blonde stereotype. Europe advised us to "Open Your Heart" and Roxette counseled to "Listen to Your Heart." Although these acts managed to break into the mainstream, none attained the same timeless staying power of Agnetha, Benny, Björn, and Anna-Frid, with their teen anthems about sneaking out under mama’s nose and "having the time of your life," and their darker, more adult post-Arrival (Polar, 1976) material.

The 1990s only solidified Sweden’s reputation as a pop paradise. It brought some ludicrous acts, such as Rednex with 1994’s "Cotton Eye Joe." But Ace of Base gave us "The Sign" in 1993, and the Cardigans crafted powerful, lasting songs and even albums. Perhaps most notably, Max Martin made Britney Spears famous by writing and producing her 1998 debut single "… Baby One More Time" and creating many more hits for her and the Backstreet Boys. He also collaborated with Robyn, who has achieved cult and critical success at home and more recently in the U.S. with her own songs.

In the 21st century, Sweden’s international music presence has grown more multifaceted. The Hives brought rock to the American charts in 2000 with "Hate To Say I Told You So," and American indie kids and Kanye West went bananas in 2006 for the whistling jam "Young Folks" by Peter, Björn, and John, whose fifth and newest album Living Thing is set for release this month. The female vocalist on "Young Folks," ex-Concretes member Victoria Bergsman, is now focusing on a solo project, Taken By Trees. Psych-folk-jazz rockers Dungen put out their fourth proper album, helpfully titled 4, last fall. The group’s U.S. label is Kemado, while its sound is increasingly Komeda — as in Roman Polanski’s early film composer Krzysztof Komeda.

The Swedish acts, if not hits, keep coming: last month brought femme foursome Sahara Hotnights’ album of cover versions Sparks (Universal); January delivered delicate folkster Loney Dear’s Dear John (Polyvinyl); and charming, Björk-influenced Maia Hirasawa puts out her second album next week. The beautiful Lykke Li recently played the Fillmore, where her opening act, the Västra Götalands Iän duo Wildbirds and Peacedrums, was to die for. Indie-pop trio the Bell recently played the Independent, and the Dylan-inspired Tallest Man On Earth (a.k.a. Kristian Matsson) breaks free from touring with Bon Iver to headline shows in support of the acclaimed Shallow Grave (Gravitation).

Sweden’s second largest city, Gothenberg, plays host to lovelorn troubador Jens Lekman, Madchester-influenced boy duo the Tough Alliance, and doo-wop dolly El Perro del Mar. Another Gothenberg resident, acoustic singer/songwriter José González, gained popularity in 2003 when his cover of Swedish electro duo the Knife’s "Heartbeats" was set to a Sony commercial in which 250,000 colored balls bounced down the steepest streets of San Francisco.

González’s version of "Heartbeat" resparked interest in the Knife’s original, and brother and sister duo Olaf Dreijer and Karin Dreijer Andersson built on that audience with 2006’s critical fave Silent Shout (Mute). This week, sister Karin introduces her solo recording project, Fever Ray. Like her work with the Knife, the 10 songs on Fever Ray (Mute) couple icy electronic atmospheres with quite literal lyrics — one song even refers to dishwasher tablets.

Whatever the "it" is that has captured the hearts of so many Americans and sent all these acts across the ocean to us, it continues to grow and assume new forms. If you ever make the trek to pop paradise, remember: they refer to Swedish Fish as "winegum candy" in Sweden. It’s kinda like how the French don’t use the term "french fries."

THE TALLEST MAN ON EARTH

with Herman Dune

March 25, 7:30 p.m., $12–$14

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

Say you, say me

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› superego@sfbg.com

SUPER EGO Adult contemporary is alive and well and thriving in Southeast Asia. I just touched down from a refreshing jaunt to that worldly hot spot: Cambodia a capitalist riot of beauty and pollution, untamed Laos a communist stoner’s wet dream. Everyone Hunky Beau and I met was gorgeous, despite the odd backpacker overload, which occasioned a few frightful spottings of crocadreadles — northern Europeans sporting poorly waxed dreadlocks, jingle pants, and stomach-churning Crocs.

Memo to the Danes: please stop.

Still, even that led to some perfect Putamayo moments, as when a lovely Jewish-Korean singer at Dead Fish Tower guesthouse in Siem Reap launched into her acoustic version of Daft Punk’s "One More Time." Many of the citizens themselves, however, seemed happily obsessed with Lionel Richie, Westlife, Yanni (it lives!), and Thailand’s answer to Nickelback, Big Ass. The gay clubs were pumping the usual homo-panglobal Kylie Minoguerrhea, sigh, yet the drag was way brill. But alternative DJ and dance music culture — and even the hip-hop aspirations my Amerocentric, quasi-Orientalist mind expected to sense in the region’s rapidly developing economic climate — seemed banished to the land of wind and ghosts.

I’d say I felt a little sorry for the baby-boom youth there, but who am I to make value judgments? Value judgments give me acne, Jessica Simpson — and a few weeks probably aren’t enough time to properly shake out an underground. Besides, here on the other side of the rim our dance charts are clogged with Lady GaGa blah-blah-blah, zombie Prodigy retreads, and something called "Total Dance 2009." Goddess help us all. If ever there was a moment to hit the reboot on Western mainstream dance music — hell, even drag to trash and go running with the night — this may be it.

THE ID LIST

MIKE SLOTT AND KOTCHY


"If you’re tired of all the retro shit, holla," woozes New York City’s Kotchy on one of his typical genre-fuck tracks, blending ambient squelches with trippy bloops from inner space. "Our culture must be in a coma, and I’m not a doctor." Glasgow-based future bass collective LuckyMe brings twilit melodies, brogue-inflected park bench rhymes, and wry Scots humor to the burgeoning genre. Both Kotchy and LuckyMe’s Mike Slott will bruise the speakers with live performances, while graffiti artists sear your sinuses, at this month’s installment of Bass Camp.

Thu/19, 9 p.m., $10–$15. 111 Minna, SF. www.111minnagallery.com, www.myspace.com/basscampsf

DAVIES AFTER HOURS


Do the words "electric strings" excite you as much as they do me? Yeah, that’s right, I’m a geek. The San Francisco Symphony, following in the frisky footsteps of other wildly successful nightlife-aware arts institutions, is launching a monthly post-performance shindig composed of cutting-edge styles. Cellist Alex Kelly’s avant-jazz combo kicks off this month, with electric strings and rock from NTL in April and the massive DJ Masonic with Mercury Lounge in May.

Fri/20, April 24, and May 22, after 8 p.m. concert, free with purchase of symphony performance ticket. Davies Symphony Hall, 201 Van Ness, SF. www.sfsymphony.org

WORLD OF DRUM ‘N BASS


The name may sound like a trade show — and I’m here to tell you that drum ‘n bass fans make pretty great trade — but this huge affair brings serious low-end to Temple’s multiple floors, and a boffo chance to reconnect with, and lose your droopy drawers to, the fractured sound of yore. Chase and Status, Radioactive, 2 Cents, A.I., Havoc, and more break it up. Let’s get ready to rumble.

Fri/20, 10 p.m., $20. Temple, 540 Howard, www.templesf.com

DJ SNEAK


Ah, Sneak, how you play with our heart-shaped equalizers. One minute you’re banging chunky techno tunes, the next you’re upping the bongos for some well-earned soul release — and then you drop some serious freaking Chicago house gangster shit on us and we can’t stop screaming. Through it all you keep a shroom-happy smile on our faces and work the soles off our Keds. Here’s to another 15 years of squeaking the woodwork, and your choo-choo new contribution to the Back in the Box series. With Hector Moralez and Oscar Mirada.

Fri/20, 9 p.m., $10–$20. Six, 66 Sixth St., SF. www.clubsix1.com

CLIVE HENRY


Anyone who caught house legend Francois K.’s head-scratching but still rewarding set at Vessel on March 12 may have taken away the same thought I did — the sparkling Balearic revival of the past few years has now congealed into a full-on non-ironic Ibiza attack. That’s kind of scary, but maybe the crappy-champagne-and-carnival-siren sound is an interesting comment on now. Prolific DJ and producer Clive Henry, of the glittery Circo Loco party based at Ibiza’s humongous DC10, may be the best person to help you rethink the microgenre at EndUp. Whether or not he’ll be sponsored by Got 2 B Magnetik hair gel with pheromones, like most Ibiza denizens, remains to be seen.

Sat/21, 10 p.m., $10–$20. EndUp, 401 Sixth St., SF. www.theendup.com, www.sensesf.com

BOOKA SHADE


The moody duo is still touring — and bridging the gap between thoughtful Berlin minimal and the more laconic side of electro. Yet why would Walter Merziger and Arno Kammermeier ever stop accumuutf8g bonus miles as one of the most acclaimed live acts in dance music, especially with their Get Physical label still scoring kudos and their hoards of ready and willing fans? You may have seen it all before, but that doesn’t mean it’s not the tits.

Sun/22, 8:30 p.m., $22 advance. Independent, 628 Divisadero, SF. www.theindependentsf.com