Local

Newsom goes ballistic at SEIU

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By Tim Redmond

The mayor is getting a wee bit sensitive about a flier from SEIU local 1021 that accuses him of breaking his word during contract talks. And he’s clearly getting more and more angry at the 1021 activists who are following him to fundraising events and making noise about his labor record. (The union plans to appear in Los Angeles Oct. 5 when Newsom holds a gala with Bill Clinton)

In fact, on Sept 28th, around 6:45 p.m., union member (and certified nurses assistant) Evalyn Morales approached the mayor at a Filipino Americans for Progress event and handed him a copy of the flier (PDF). It charges that the mayor had cut a deal with the union that he hasn’t kept:

“The deal was that city workers would make $38 million in concessions to help with the city’s half-billion budget deficit if the city would let the workers keep their jobs long enough (5 more months) for government, business and city workers to put a revenue measure on the Nov. 2009 ballot. …. Suddenly, the deal’s off … Newsom and his board allies prevented a revenue measure from reaching the ballot.”

And it notes that 600 union workers have received layoff notices — and virtually all of them are women of color.

(They’re also mostly lower-level jobs — the Management Employees Association hasn’t faced any real layoffs, and the mayor’s staffers — including five people in the press office — continue to be well compensated.)

Newsom, according to Morales, was furious to see the flier. And apparently he lost his shit. Here’s her account of the interaction, taken from a sworn statement she filed with the union:

“He said ‘this is a lie,’ referring to the flier. “I don’t want to do anything to deal with the union. I hate Robert [SEIU organizer Robert Haaland]. What you’re doing now is hurting me …. I hate Robert. I don’t want to do anything for the union.”

Harsh.

In fact, Local 1021 is planning to file a complaint with California’s Public Employee Relations Board citing the mayor’s statements as intimidation and harassment.

Now: I can’t speak to the legality of what the mayor did under labor law, but I can say that it fits in with something we’ve seen all too much over the years: Newsom loses his temper over little stuff. He can’t take a punch; the minute you go after him he gets all pissy and says stupid stuff (like “I hate Robert.” How statesmanlike and gubernatorial.)

Nathan Ballard, his press secretary, isn’t exactly conciliatory, either. Here’s what he sent me when I asked him about the incident:

The dining mash-up

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By Paula Connelly

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One Monday night a month from 5p.m.-10:30p.m., Tommy Halvorson (executive chef of the Phoenix Supper Club) and 111 Minna team up to offer enthusiastic adventure diners a mash-up cultural experience called EAT. The idea? Order from a menu consisting of small plates (all at $10 or under), then enjoy your food and drinks at cocktail tables while surrounded by art and listening to a DJ’s digestivo tunes.

As an art gallery and lounge in SoMa, 111 Minna is no stranger to the nightlife mashup that has been gaining popularity in San Francisco. These days, most SF museums even host weekly nightlife events that cater to the 21+ crowd by combining later hours, DJs, live music, lectures, and makeshift bars to help the culture go down all the more smoothly. Maybe it’s the bad economy that’s given us a hunger (and thirst) for an inexpensive, DIY cultural experience; it has certainly prompted us to host more dinner and cocktail parties at home. Or maybe it’s because the Internet’s social networking overload has rewired our brains so that we need real life aggregators too. (Stay tuned for Google Wave. ) Whatever the reason, when San Franciscans go out to see and be seen, we want a destination that appeals to our many facets, and we want to get the most bang for our buck .

Satisfying your sense of adventure, thrift, and quality all at once, Mission Street Food has been a pioneer in this category. MSF takes over a hole- in-the-wall restaurant in the Mission on Thursdays and Saturdays and has rotating local chefs design inexpensive, gourmet weekly menus to benefit charity. The brief cocktail menu even has an ode to the musical mash-up genre called the Grey Album, a 32-ounce mix of Old English and Boddington’s, whose name nods to Danger Mouse’s combination of the Beatles’ White album with Jay-Z’s Black album. Yum.

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NY Fashion Week: Meet the students

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Fashion writer Laura Palmer learns more about the Bay Area students who showed in New York. Read her account of the fashion show here.

The seven fashion design students who showed at Bryant Park this season seem to reflect the Bay Area’s diverse cultural quilt. Here we unfurl the designs of all seven students, shake out their insights and inspiration, and uncover the daily lives of our budding local designers.

Amanda Cleary

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A native Californian, Amanda Cleary’s designs were inspired by packages. No, no, not that kind of package. Actual boxes. Her vinyly angular shifts have multiple armholes, square shoulders, and a dimension that does, in fact, suggest duct tape and cardboard. Interesting, surely, but as far as form meets function is concerned, the designs would perhaps better suited to a Martian runway, so all four armholes could be filled. If any of the aesthetic from Elie Tahari’s line rubs off on Cleary (since she recently interned with Tahairi), Cleary’s next fashion week jaunt may be more cohesive.

When she’s not busy with bonding (one fabric to another, that is), Cleary is watching flicks at Grand Lake Theatre in Oakland.

Sawanya Jomthepmala

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The geometric, origami designs that Sawanya Jomthepmala created were inspired by the stained glass in Thai Buddhist temples and the boats fashioned out of banana leaves during the Krathong Festival. (The boats are floated out to sea to bring good fortunes to those that release them.)

Diva’s Celebrates 25 years of avant garde sexiness

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By D. Scot Miller

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(L to R) Jessica, Tracy, Carmen, and Diva’s owner Steve Berky.

Our amazingly prescient editor Marke B. wrote, “my continual intuition [is] that totally hot trans porn people are the apex of the now”, and his powers of observation are on point, as always, because totally hot trans porn people (THTPP) are indeed, THE hotness.

The phenomenal element of this is that it has taken so long for the mainstream to catch on. I’ve officially made it my mission to shed some light, and possibly, some clothes, on the true front lines of sex and gender. Onward, I say, onward!

Relegated to Maury Povich and Jerry Springer, I suspect that THTPP have been overlooked because, as Dan Savage has said, “this is a totally straight male pursuit,” and you know how straight males can get, especially when it comes to cock. You won’t find these guys — or their dollars — at the next drag show at your local cabaret. No, my friend, they hang out at Diva’s, famous for the best and most beautiful in the world of “Female Illusion.” And owner Steve Berky is their best friend.

Americans for Prosperity: another right wing attack dog

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Text by Sarah Phelan

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Groups like Americans for Prosperity want to revive Reagonomics. At the cost of your public health care option.

Just got an email from Americans For Prosperity, which bills itself as “being committed to educating citizens about economic policy and a return of the federal government to its Constitutional limits.” In other words, AFP is yet another right wing pit bull that favors the free-for-all market economic philosophy, which brought us Enron and the subprime mortgage fiasco, in which the rich get richer with minimum accountability and responsibility to the very tax payers that they allegedly champion. Sweet.

And this time, AFP is announcing a National Call Congress Day (Oct. 5), which they claim is necessary, “As Democratic Leaders Continue to Rush Radical Health Care Reform,” as well as rallying folks to the 2009 Defending the American Dream Summit in Arlington, Virginia (see banner above), replete with pix of Ronald Reagan. Lovely.

AFP, which also champions “exposing the ballooning costs of global warming hysteria,” boasts as its current Vice President Ed Frank, a former Bush staffer, who last year described the congressional showdown over off-shore drilling as “a political fight the free-market guys actually can win.”

Hmm. In other words, the folks opposing public health care option are the same folks who supported Palin’s “drill, baby drill” mantra last year? Nice. No wonder APF raked in over $ 5 million in 2007 alone.

Yeah, well it sounds like Oct 5 is a good day to call Congress, and demand a public health care option by telling your local representative the simple truth: including a public health care option is the morally right thing to do. Period.

Quintessence

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THEATER San Francisco’s Brava Theatre is mostly dark, except for the spotlights on stage. Under the white light, singer Nomy Lamm’s face peers out from under the beak of a vulture headpiece. She flaps her feathered wings and thrusts her hips, like she is working a hula hoop in slow motion.

"I remember the feel of your hands on my body," Lamm sings. "Makes me scream, ‘Am I broken?’"

It is three weeks before the premiere of this year’s Sins Invalid’s performance art show of the same name, and artistic director Patty Berne sits near the back of the theater. She watches Lamm’s rehearsal intently, and as the performance ends, her face splits into an approving smile. "Oh Nomy, I am so frickin’ excited," Berne exclaims. "That was so hot — you don’t even know!"

Currently in its fourth year, Sins Invalid is an annual performance project about sexuality and disability. The upcoming show, which runs for three nights at Brava, showcases 12 performances from local and international artists, including Oakland’s Seeley Quest and the U.K.’s Mat Fraser. The collection of theatrical, musical, spoken word, and multimedia performances includes passages that are confrontational and provocative and moments that are soft and sweet.

According to Berne, who is also the cofounder of Sins, the show’s dimensions reflect the diverse issues that people with disabilities face, living in societies where they are traditionally perceived as unsexy, or even sexless. "[People with disabilities] are thought of as asexual and [it’s assumed] that our lives are defined by our disabilities," she says. "Thinking that we are neutered is absurd. It’s like assuming parents stop having sex because they have a child."

According to the Sins Invalid mission statement, the performance project not only supports artists with disabilities, it also strives to centralize "artists of color and queer and gender-variant artists." The goal of the organization, explained cofounder Leroy Moore, has been to create a community of historically marginalized artists and to provide a mirror for those who are disabled, queer, or of color.

The tone of this year’s two-hour show is set with Lamm’s opening act, "a sexy monster rock opera" called The Reckoning. Dressed as a vulture, Lamm plays a dejected animal that struggles to know itself and its place in the universe. In the more intimate Bird Song, she is an abandoned baby bird that sings from a nest made of stuffed panty hose and prosthetic legs.

"[Bird Song] is about quiet power. It’s like, ‘I know what I have, and when you’re ready to see it, come say hi,’" said Lamm.

Other artists, among them Fraser and choreographer/dancer Antoine Hunter, use their bodies to create powerful performances. In the solo act No Retreat, No Surrender, Fraser taps into his martial arts training to simulate being physically beaten to a soundtrack of insults commonly hurled by ableists. In The Scene, theater marries film in a sexually explicit and tense performance about a man who visits a dominatrix and unexpectedly undergoes an inner transformation.

Moore, who plays the visitor in The Scene, explained that in addition to flipping the notion of who visits a dominatrix, the piece is about loving oneself. "In the beginning [of the scene, the man going to the domme] is not sure what to expect. At the end, he comes to love himself and know ‘I am beautiful.’"

Since the inaugural Sins Invalid showing at Brava in 2006, what once was a one-night annual event has blossomed into a three evenings of performance. According to Berne, previous shows have packed full houses. The public’s reaction to the project, many Sins artists say, has been a validating — if not overwhelming — experience.

For Sins performer Quest, who lives day-to-day as a "broke-ass artist schlep," receiving shout-outs from past audience members is one of the most rewarding parts of the experience. "All year ’round, people are like, ‘I saw you at the show, and I told about my friend about you guys!’ People are circuutf8g the news and it’s totally gratifying."

By helping to create new dialogue among the disabled and able-bodied communities, many of those involved with Sins feel like they are making history — and as Moore states, rewriting the books as well. "[Being involved in Sins] feels like I’m correcting history for people with disabilities," says the Berkeley activist. "History is not written from us — it’s always about others. Now we get to speak our own stories."

Houston-based Maria Palacios, a spoken word artist who has been with Sins for three years, feels that the project passes the torch of hope to the next generation of people with disabilities. "When I was growing up, I didn’t have a Barbie with a wheelchair," Palacios said. "But now kids will have us as heroes to look up to — they will have a history in place already."

SINS INVALID

Fri/2–Sat/3, 8 p.m.; Sun/4, 7 p.m.

Brava Theatre

2789 York, SF

(510) 689-7198

www.brownpapertickets.com, www.sinsinvalid.org

Lemmy caution

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arts@sfbg.com

MUSIC At an age when most rock ‘n’ roll veterans are content to retire from performing live or trade in their electric guitars for acoustics and change the way they approach their material, Lemmy Kilmister continues to tour the world, bringing his blistering blend of hard rock to fans. The 63-year old leader of Motorhead has been playing music for nearly five decades and shows no signs of slowing down anytime soon. He and the band have hit the road for another tour.

Getting his start in a series of local bands in his native England in the early 1960s, Kilmister eventually moved to London, served a stint as a roadie for Jimi Hendrix, and performed with Hawkwind before founding his own, now legendary band in 1975. Boasting the slogan "Everything Louder Than Everything Else," Motorhead has gained the reputation for being one of the most thunderous groups ever measured in concert.

"We never planned to be the loudest band in the world, we just liked playing that way — I wasn’t trying for any titles," Kilmister explains by phone after a recent sound check in Orlando, Fla.

Though Motorhead has always revolved around Kilmister, the current lineup has been together for some time now; guitarist Phil Campbell joined in 1984 and drummer Mikkey Dee came on board in 1992. But Matt Sorum — who has played with Guns N’ Roses, the Cult, and Velvet Revolver — is filling in on drums for the band’s current tour. Dee is on a hiatus while filming a reality TV show, the Swedish version of I’m A Celebrity, Get Me Out of Here.

"We saw Mikkey on it last night, he was riding a bike on a rope bridge 30 feet up. Unfortunately, they had a safety harness on him," Kilmister chuckles.

A documentary about the iconic frontman, simply titled Lemmy, is set for release later this year. It explores the history of a singer whose penchant for uncompromising rock ‘n’ roll and passions for drugs and women have become the stuff of legend. The film includes live performances, and interviews with various people who have played and worked with Kilmister, who is known for being affable and laid-back when offstage.

"They’ve got a lot of interviews with different people saying what a nice guy I was. It was very flattering. I had no idea I was held in such high esteem," Kilmister laughs.

Following the San Francisco show, Motorhead will be on tour until around Christmas. The group heads back into the studio to record its next album — the follow up to last year’s ferocious Motorizer (Steamhammer/CPV) — in February. That release undoubtedly will be followed by yet another whirlwind trek across the globe to play in front of faithful fans. The elder statesman of hard rock takes on a serious tone when asked if he ever tires of the relentless rock ‘n’ roll lifestyle.

"This is where I belong, I’m supposed to do this," Kilmister says emphatically. "I’m lucky I’ve found my place — a lot of people don’t ever find theirs. This is mine."

MOTORHEAD

With Reveren Horton Heat, Nashville Pussy

Mon/5, 8 p.m., $36–$38

Warfield

982 Market, SF

(415) 775-7722

www.thewarfieldtheatre.com

No resolve

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arts@sfbg.com

FILM It was the last Bush administration’s master PR stroke to render terrorism completely abstract while appearing to frame it in layman’s terms. There’s no real choosing sides when the choices are "evil" and "freedom" — who’s going to say slow down there, pardner, when the cause is painted as humanity against the inhuman? That equation bought carte blanche approval for a lot of dumb subsequent moves, with the world arguably no safer as a consequence.

Most Americans have an absolute faith that we’re the good guys. But most bad guys were good guys once — it’s a process, not a natal condition. It’s unpleasant but valuable work to imagine exactly how fanaticism can create a sense of righteousness in violence, as opposed to the zero brain power required to think an entire country or religion might wake up one day and say "Let’s be evildoers!"

We’d like to think our principles would withstand hunger, torture, propaganda, Rolfing, whatever. But who really knows what we’re be capable of after a few weeks, months, years of deprivation or indoctrination? It took Patty Hearst just 71 days to become machine-gun-wielding Tania. Who can blame her if she chose a life of John Waters cameos and never discussed the matter afterward? The woman who robbed a Hibernia Bank must seem like a stranger — the kind who nonetheless can shame you by association, like an embarrassing relative or something said while very drunk. Her personality was bent against her will. Luckily, it sprang back.

The character played by Liam Neeson in Five Minutes of Heaven deals with his terroristic youth in precisely the opposite fashion — it’s become both penitentiary cause and ruination of his life. Neeson is an actor who carries his looks and towering stature like a burden — few stars are so at home communicating guilt, masochism, and rueful sacrifice. His Alistair is an esteemed present-day lecturer, activist, and conflict-resolution mediator of violent group behavior.

His qualifying original sin: in 1974, at age 17, he assassinated a young Catholic local to prove mettle within a midsize Irish city’s pro-England, Protestant guerrilla sect. He served 12 years for that crime. But Neeson’s face knows Alistair’s punishment is neverending. In mind’s eye he keeps seeing his young self (Mark Davison) committing murder — as witnessed by the victim’s little brother, Joe (Kevin O’Neill).

Directed by Oliver Hirschbiegel, German director of 2004’s Downfall, Five Minutes of Heaven — the ecstatic timespan James Nesbitt’s flop-sweating adult Joe figures he’d experience upon killing Alistair — is divided into three acts. The first is a vivid, gritty flashback. The second finds our anxious protagonists preparing for a "reconciliation" TV show taping that doesn’t go as planned. Finally the two men face each other in an off-camera meeting that vents Joe’s pent-up lifetime of rage.

Heaven has been labeled too theatrical, with its emphasis on two actors and a great deal of dialogue. But the actors are fantastic, the dialogue searing. There’s nothing stagy in the skillful way both rivet attention. This very good movie asks a very human question: how do you live with yourself after experiencing the harm fanaticism can wreak, as perp or surviving victim? Surely we’re better off for understanding what shapes terrorism. The alternative is psychological non-insight as blunt as the concept "evildoer."

FIVE MINUTES OF HEAVEN opens Fri/2 in Bay Area theaters.

Funny face

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superego@sfbg.com

SUPER EGO How could anyone say no to Joan Rivers? The turbulent past, the red-carpet gushes, the petrified visage? Sure, we could blame her for Kathy Griffin and the rise of celebrity culture, but she also created the one true tagline of our time in a Geico commercial that defined a generation: “I can’t feel my face!” Recently roasted, the hysterically hysterical comedian is gracing us with her presence in early October, and the only time she could talk to me was smack dab in the middle of Folsom Street Fair. So I unhooked myself and ducked in to a Porta-Potty to call her in New York.

SFBG Hi Joan, please forgive any background noise. I’m calling you from a Porta-Potty at our giant leather fetish festival, the Folsom Street Fair.

Joan Rivers Fantastic! I’m there with you in my heart.

SFBG I remember you were here in San Francisco this time last year. The gay press published the screaming headline, “Leather Fair a huge success!” with a big picture of your face underneath it.

JR I really couldn’t ask for much more.

SFBG This year’s fair falls on Yom Kippur, so you get the beatings and the atonement all in one. Do you observe Yom Kippur?

JR I do observe it. I’m the matron of my family, so I have a huge dinner to prepare!

SFBG I’ll keep it short and sweet, then. I adore your signature line of jewelry that you sell on QVC. Lately, I’ve seen many up-and-coming drag queens wearing your items.

JR It’s such an absolutely gorgeous collection, and I’m not just saying that because it’s mine. It’s truly exquisite, and I’m sure it looks lovely on the girls.

SFBG It really does. And congratulations on your hard-fought win on this year’s Celebrity Apprentice. You went tooth and nail!

JR The best part was donating my winnings to [meal-delivery service to AIDS patients] God’s Love We Deliver, a charity I’ve been supporting for years. Let me tell you, Marke, it was such a thrilling experience. Would I do it all again? No.

SFBG At 76, you’re still doing standup. You’re doing four shows in two nights at Cobb’s. Good lord! What are the crowds like here?

JR I love San Francisco. I once lived there for a month when I was in residence at the Magic Theater and it was a beautiful time. San Francisco is smart and it’s gay. What more do you need as a performer?

JOAN RIVERS Fri/2 and Sat/3, 7:30 p.m. and 9:30 p.m., $53.50–$55. Cobb’s Comedy Club, 915 Columbus, SF. www.cobbscomedy.com ———-

FEEL THE LOVE

“Our club is for young people,” the promoter of a popular electro club responded cooly when I asked if her tribe would have a presence at LovEvolution, formerly Lovefest, formerly Love Parade, on Saturday, Oct. 3. It’s true that the programming of the massive outdoor raveathon can seem a bit, er, mature. But the all-ages party is bursting with eager youth, with a youthful outlook to match, even as it seems more and more panicky about reeling in out-of-town Big Names. The true local and new will be found on the smaller parade floats, with California Dubstep Republic, Homochic, and the “Janky Barge” looking especially twisty. And this time around, at the satellite parties, the kids are in for one holy cow of a house education. DJ Frankie Knuckles will show them why he’s the godfather of house at Temple (www.templesf.com) and the awesomely gifted and underage Martinez Brothers will represent the next soulful wave at Mighty (www.mighty119.com), both on Fri/2. Also at Mighty, on Sunday, Oct.4, is an event that everyone in Clubland is wetting their drawers for. One of the best parties I’ve ever been to (and spent a ton of frequent flyer miles on), New York City’s Body and Soul, is popping up for one night here in San Francisco, reuniting founding DJs Francois K., Danny Krivit, and Joe Clausell. It’s all too much, and that’s quite a bit of the point.

www.sflovevolution.com

Appetite: Pheasant eggs, shrimp and grits, Soul Food benefit, and more

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

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10/11 Soul Food Farm Fundraiser from Il Cane Rosso & Coi
Our Nor Cal food and farm community was saddened to hear about 30 burned acres and 1000 baby chicks lost in a recent devastating fire at Soul Food Farm in Vacaville. Daniel Patterson and his dynamic duo of restaurants, Il Cane Rosso and Coi, sponsor a fundraising dinner next week where all proceeds go to Soul Food Farm and you’re treated to a three course, family-style meal at Il Cane Rosso. Two seatings (between 5:30-6 pm, or 7:30-8 pm), offer a communal, heartwarming meal prepared with generously donated ingredients from Prather Ranch, Mariquita Farm and Full Belly. It feels good to help… and eat well at the same time.
$50 (including wine, not including tax & gratuity)
10/11, Sunday, 5:30-6pm or 7:30-8pm seatings
Il Cane Rosso, Ferry Building
415-391-7599
www.canerossosf.com
http://soulfoodfarm.com/blog/2009/09/cane-russo

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Magnolia’s new Southern-inspired brunch
Magnolia Gastropub is one of our best local breweries and a darn good restaurant to boot. With my great love for New Orleans comes excitement at Chef Ronnie New’s Southern-inspired brunch menu (he is from New Orleans, after all). Saturdays and Sundays there’s dishes Shrimp & Grits (made from the best, naturally: Anson Mills Grits), Crab Cake Benedict, even Pheasant Eggs & Toast. Magnolia’s best is still on offer, including their house-made sausages), excellent Chicken & Waffles, French Toast, and so on. So whether you prefer your brunch with Blue Bottle Coffee or Magnolia’s renowned suds (the sampler lets you try six), you know the morning after can be nearly as fun as the night before.
Saturdays and Sunday, 10am-2:30pm
1398 Haight Street
415-864-7468
www.magnoliapub.com

How an online newspaper can succeed

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EDITORIAL Dave Iverson, host of KQED’s Friday Forum show, introduced the Sept. 25 program with a pretty obvious comment: "Conversations about the future of journalism, and newspapers in particular, are rarely optimistic affairs." He went on to describe the new effort by Warren Hellman, KQED, and the UC Berkeley journalism school to create a new media outlet in San Francisco (a story that broke first in the Guardian‘s politics blog).

The guests, including Neil Henry, dean of the j-school; Carl Hall, the former San Francisco Chronicle reporter; and Jeff Clarke, president of KQED; talked in vague platitudes about the big new plans — and then spent much of the time defending and lauding the Chronicle, which one guest called "a great paper."

But that’s not how the callers saw it — and not how much of the Bay Area perceives San Francisco’s major daily newspaper. And therein is a critical lesson for the new journalistic effort.

For the record: we would hate to see the San Francisco Chronicle fail. A daily newspaper plays a crucial role in urban life, politics, and society. No number of part-time bloggers and citizen journalists will ever be able to perform the watchdog role of a fully-staffed newspaper.

And we welcome the new effort by Hellman and his crew. With the dramatic decline in the Chron‘s fortunes, there’s less and less coverage of crucial news in the city, and an aggressive new outlet could be very good news for San Francisco.

But the people who manage the new venture need to understand that the problems the Chronicle faces are not entirely due to the economy and changes in the newspaper business. Frankly, the Chron has consistently spurned, ignored, trivialized, and sought to discredit the entire progressive movement and a wide range of progressive issues. It’s been a conservative newspaper in one of the nation’s most liberal cities. It’s been a cautious publication, wary of serious challenges to the city’s power structure. There’s not a single liberal or progressive columnist at the paper. Opinion writers like C.W. Nevius seem to disdain everything about San Francisco and urban life in general. The political coverage tends to treat the left as something to be mocked. There’s no real labor reporting any more, no aggressive consumer reporting, little pursuit of big structural corruption issues.

It’s little wonder then that a significant percentage of San Franciscans (in particular, younger people) see no reason whatsoever to pick up the San Francisco Chronicle. And KQED (which gets big donations from some of the city’s biggest corporations and the social and political elite) is hardly the voice of young, progressive San Francisco. (Pacific Gas and Electric Co., for example, is one of the greatest corporate criminals in San Francisco history — and also a major KQED donor.)

As one local media observer told us, this new Web-based publication "can’t just be about getting the old band back together for another tour."

If a new online city newspaper is going to succeed, it’s going to have to take San Francisco — with all its diverse communities — seriously. It’s going to have to be willing to offend the big-business power structure. It’s going to need a strong, independent, editorial voice that includes, rather than marginalizes, the progressive point of view. And it’s going to have to attract writers who are interested in communicating to a generation that has abandoned the Chron.

That means Hellman and the gang have to hire a respected editor — and vow not to interfere if the stories and editorials don’t support the agendas of the members of the nonprofit board.

The nonprofit model is tricky for newspapers: foundations and big donors have their own interests, and they often want the organizations they bestow their largesse upon to behave in ways that are antithetical to good journalism. If this new group can make it work (and produce a locally- operated product — unlike the Chron, which is owned by Hearst Corporation in New York) we’re all for it. But a new model of journalism in San Francisco will require more than a new publishing technology. That’s going to be the hardest part.

Events listings

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Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 30

Where the Wild Things Are Metreon Theater, 101 4th St., SF; www.826valencia.org. 7pm, $75. Enjoy a special screening of Where the Wild Things Are followed by a Q and A discussion with director Spike Jonze and screenwriter Dave Eggers. All proceeds to benefit 826 Valencia.

THURSDAY 01

BAY AREA

Night Bazaar Jack London Square, Broadway at Embarcadero, Oak; oaklandunwrapped.org. 5:30pm, free. Enjoy this nighttime market organized in the festive tradition of Italian village fairs, German holiday markets, and Moroccan bazaars. Featuring local artisans, merchants, music, ice skating, and more.

FRIDAY 02

Clash of the Heroes Bayfront Theater, Building B, Fort Mason Center, SF; (415) 474-6776. Fri.-Sat. 8pm, Sun. 7pm; $20. Join BATS Improv troupe for a competition between improve teams performing scenes, games, and musical numbers which will be scored by judges.

Gandhi Birthday Poetry Reading Gandhi Statue, San Francisco Ferry Building, foot of Mission and Market Streets, SF; (510) 845-5481. 4:30pm, free. Attend a poetry reading on the bay to celebrate the 140th anniversary of Gandhi’s birth followed by a walk to the Martin Luther King, Jr. memorial in Yerba Buena Gardens.

Oktoberfest By the Bay Pier 48, San Francisco Waterfront, across from AT&T park, SF; 1-888-746-7522. Fri. 3pm-Midnight, Sat. 11am-5pm, Sat. 6pm-Midnight, Sun. 11am-6pm; $30-35. Bring the spirit of Germany to the Bay Area at this festival featuring great beer, German food, and authentic German music. Tickets cover admission and entertainment only.

Redefining the Universe Herbst Theater, 401 Van Ness, SF; (415) 392-4400. Fri. 8pm, Sat. 10am, Sat. 1:30pm; $20-100. In honor of the 400th anniversary of Galileo’s first use of the telescope, Humanities West is presenting a two-day program of lectures, discussions, music, and dance presentations titled, Copernicus, Galileo, and Kepler: Redefining our Place in the Universe.

SATURDAY 03

Fall Garden Festival Strybing Arboretum, San Francisco Botanical Garden, 9th Ave. at Lincoln, Golden Gate Park, SF; (415) 661-1316. 10am, free. Garden lovers and gardeners can enjoy a full day of activities and demonstrations about plants and gardening from local horticultural and conservation organizations.

Heroes of the Environment Green Arcade, 1680 Market, SF; (415) 431-6800. 5pm, free. Hear author Harriet Rohmer discuss her new book Heroes of the Environment: True Stories of People Who Are Helping to Protect Our Planet with special guest Erica Fernandez, the 14 year old who helped stop an offshore mining operation.

Hispanic Heritage Day Mission Branch Library, 300 Bartlett, SF; (415) 355-2800. Noon, free. Celebrate Hispanic Heritage Month at the Mission Branch library with dance and music from Mexico, a presentation about the history of Argentinean tango, bilingual poetry, and more.

LovEvolution Parade starts at Market and 2nd St. and ends at Civic Center Plaza for a dance music festival, SF; www.sflovevolution.org. Parade starts at noon, free; festival from noon-8pm, $10. If you like to dance, people watch, and dress colorfully, check out this celebration of music and love featuring a diverse line up of dance music DJs.

Open Studios Preview SOMArts Main Gallery, 934 Brannan, SF; (415) 861-9838. 7:30pm, $60. Get your Open Studios engine revving by being the first to view the SF Open Studios Exhibition, featuring work from over 400 SF Open Studios artists. Admission includes open bar and creative cuisine.

Original Plumbing Seventh Heart, 1593 Market, SF; www.originalplumbing.com. 3pm, free. Attend the release party for the first issue or Original Plumbing magazine titled The Bedroom Issue. The magazine seeks to document the diversity within the female-to-male transgender community with photos, essays, personal narratives, and more.

Sandcastle Contest Ocean Beach, near Cliff House, SF; (415) 512-1899. 10am, free. This year’s theme, Stories in the Sand: Classic Children’s Books, promises to unearth giant monsters and characters. Participate in the community sandcastle building area for a $5-10 suggested donation and help raise money for the arts in Bay Area schools.

SUNDAY 04

Castro Street Faire Castro at Market, SF; (415) 841-1824. 11am, $5 suggested donation. "Come Get Hitched" at this years Castro Street Fair and enjoy a wedding party, music and dance performances, art, a dating game, and more. Proceeds from admission and vendors go toward charitable causes important to the Castro Community.

TUESDAY 06

Margaret Atwood Herbst Theater, 401 Van Ness, SF; (415) 392-4400. 8pm, $20. Poet, novelist, and social historian Margaret Atwood is hosting an evening of music, performance, and readings from and inspired by her new novel The Year of the Flood.

Noam Chomsky Commonwealth Club, 2nd floor, 595 Market, SF; (415) 597-6700. 6pm, $18. Hear world-renowned intellectual Noam Chomsky discuss how the masses are kept in line and how to remain a freethinking, active citizen.


Mayor Gavin Newsom directs wind power energy to the Guardian!

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By Rebecca Bowe

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Photo courtesy Luke Thomas, Fog City Journal

Here’s the scoop: The San Francisco Bay Guardian will get 50 megawatts of wind power, courtesy of San Francisco Mayor Gavin Newsom.

Don’t get excited — the mayor was only kidding. Newsom’s witty remark came in response to a question by local journalist and blogger Luke Thomas, when he asked the mayor who would own the energy being generated by the municipal wind turbines that are envisioned throughout the city in a report unveiled today.

Newsom’s response: “I hope it’s the Bay Guardian.”

SFBG publisher Bruce B. Brugmann was delighted by the news, and immediately emailed a San Francisco Chronicle City Hall reporter to say he was available for comment on how he plans to use the power.

The press conference was held to announce the recommendations of San Francisco’s Urban Wind Power Task Force, a group convened to study possibilities for small urban wind projects in the city. The vision involves siting turbines at famous city landmarks, mapping micro-climates to figure out how best to harness wind energy potential, and making it easier for small urban wind projects to be permitted.

“Wind needs to be part of the urban mix,” Newsom said. “There are still a lot of questions, but nonetheless there’s a lot of enthusiasm.” Wind-power demonstration sites could include the Civic Center Plaza, The W Hotel, a new San Francisco Public Utilities Commission headquarters on Golden Gate Ave., and Treasure Island, Newsom said.

My question for Newsom was whether the city’s Community Choice Aggregation effort, which has a stated goal of supplying publicly owned power generated by 51 percent renewable energy by 2017, would be integrated into the bold new wind-development plans. The overarching vision of the Wind Power Task Force report is to develop 50 megawatts of wind power over the next few decades, a much longer time line than the initial 2017 target established by CCA. Newsom replied, “It certainly could be. I haven’t gotten that far along.”

To which we’d like to respond: Did you have a nice time on that PG&E-funded trip to Mexico?

Appetite: Pheasant eggs, shrimp and grits, Soul Food benefit, and more

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

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10/11 Soul Food Farm Fundraiser from Il Cane Rosso & Coi
Our Nor Cal food and farm community was saddened to hear about 30 burned acres and 1000 baby chicks lost in a recent devastating fire at Soul Food Farm in Vacaville. Daniel Patterson and his dynamic duo of restaurants, Il Cane Rosso and Coi, sponsor a fundraising dinner next week where all proceeds go to Soul Food Farm and you’re treated to a three course, family-style meal at Il Cane Rosso. Two seatings (between 5:30-6 pm, or 7:30-8 pm), offer a communal, heartwarming meal prepared with generously donated ingredients from Prather Ranch, Mariquita Farm and Full Belly. It feels good to help… and eat well at the same time.
$50 (including wine, not including tax & gratuity)
10/11, Sunday, 5:30-6pm or 7:30-8pm seatings
Il Cane Rosso, Ferry Building
415-391-7599
www.canerossosf.com
http://soulfoodfarm.com/blog/2009/09/cane-russo

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Magnolia’s new Southern-inspired brunch
Magnolia Gastropub is one of our best local breweries and a darn good restaurant to boot. With my great love for New Orleans comes excitement at Chef Ronnie New’s Southern-inspired brunch menu (he is from New Orleans, after all). Saturdays and Sundays there’s dishes Shrimp & Grits (made from the best, naturally: Anson Mills Grits), Crab Cake Benedict, even Pheasant Eggs & Toast. Magnolia’s best is still on offer, including their house-made sausages), excellent Chicken & Waffles, French Toast, and so on. So whether you prefer your brunch with Blue Bottle Coffee or Magnolia’s renowned suds (the sampler lets you try six), you know the morning after can be nearly as fun as the night before.
Saturdays and Sunday, 10am-2:30pm
1398 Haight Street
415-864-7468
www.magnoliapub.com

Mainstream journalists defensive about start-up

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By Steven T. Jones

Reactions by many mainstream media journalists to the formation of the Bay Area News Project – a nonprofit news operation supported by KQED, the UC Berkeley School of Journalism, California Newspaper Guild, financier Warren Hellman, and possibly The New York Times – have been hostile, petty, dismissive, self-serving, and misleading.

It’s no wonder the public has turned away from big newspapers and is clamoring for media reform. Rather than focusing on the public benefits of more journalism, mainstream media journalists seem to have adopted the media consolidation mindset of their corporate masters.

A central theme of the criticism has been wariness of competition. The SF Appeal today reports on a memo to San Francisco Chronicle staff written by Metro Editor Audrey Cooper in which she vows “to smash whomever is naive enough to poke their noses in our market.”

Friday’s Chronicle story on the news, which was buried back in the business section and written by James Temple, frets, “some believe it could also threaten the remaining local news industry.” That trope was also sounded in an East Bay Express blog post by Robert Gammon (formerly of the Oakland Tribune, which is part of the anti-competitive MediaNews empire) entitled “UC Berkeley Threatens Bay Area Journalism.”

Yet there’s a rather obvious central flaw to their arguments: the nonprofit project won’t be competing for advertising revenue, so it won’t force “Bay Area news organizations to make further cuts to stay competitive,” as Gammon claims. Journalists competing to do better and better work is the kind of healthy competition that benefits everyone and shouldn’t cost anyone their jobs.

LAFCo and SFPUC joint meeting: The clock is ticking

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By Rebecca Bowe

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In the next few years, San Francisco residents will have the opportunity to switch to electricity that is publicly owned, more environmentally friendly, and either the same price or cheaper than power supplied by Pacific Gas & Electric Co. — if all goes according to plan.

That’s turning into a big “if.”

At a joint meeting held between the Local Agency Formation Commission (LAFCo) and San Francisco Public Utilities Commission (SFPUC) last Friday, LAFCo chair Sup. Ross Mirkarimi tried his best to start a fire under everyone’s rear. Clean Power SF, a public power program that will supplant PG&E in the city, had better get into gear without any foot-dragging or hesitation, Mirkarimi warned.

What’s the hurry? A proposed, PG&E-backed statewide ballot measure has cast a pall over Clean Power SF and other municipalities’ efforts at crafting public power alternatives, or Community Choice Aggregation (CCA) programs.

The PG&E-backed ballot measure would require 66 percent of voter approval before any local government could spend so much as a dime establishing a CCA, effectively creating an insurmountable hurdle. If successful, the ballot measure would snuff out any PG&E competition before it even caught on. The utility is poised to spend millions collecting signatures and pushing it through, and it has until Dec. 21 to gather the 694,354 signatures needed to place it on the ballot next year.

Energy efficiency gets a boost, but foxes still guard the hen house

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By Rebecca Bowe

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The California Public Utilities Commission (CPUC) approved a $3.1 billion budget yesterday for statewide energy efficiency programs that will be in place until 2012. California’s powerful investor-owned utilities — Pacific Gas & Electric Company, Southern California Edison, San Diego Gas and Electric Company, and Southern California Gas Company — are in charge of implementing the programs, while the funding is derived from ratepayers.

While the decision marks the creation of the largest energy-efficiency program in the country, some question the wisdom of the colossal investment, because it relies on utility companies to implement dramatic reductions in energy use.

It’s the greatest financial contribution the state utility commission has ever pledged toward energy efficiency. According to the CPUC, the potential energy savings will negate the need for three new 500-megawatt power plants, and avoid 3 million tons of greenhouse gas emissions. The funding from this decision could create between 15,000 and 18,000 green jobs, the CPUC estimates.

The decision will provide $260 million for local efforts such as municipal building retrofits. It also requires utilities to track progress toward goals and strategies established in a long-term statewide plan for reducing energy use. Included in the effort is an ambitious home-retrofit program, which sets a goal of 20 percent energy savings for up to 130,000 homes.

“This investment in California’s clean energy economy is just what we need to create new jobs for our communities and fight global warming pollution,” said Lara Ettenson, director of California Energy Efficiency Policy at the Natural Resources Defense Council (NRDC), a prominent environmental organization.

Not everyone shares NRDC’s optimism, however.

The Division of Ratepayer Advocates (DRA), an independent consumer advocacy division of the CPUC, warned that the powerful utility companies should be closely monitored to see how they make use of such a tremendous sum.

In a statement released this morning, the DRA highlighted “a continuing need for stronger mechanisms to ensure transparency and accountability in the utilities’ use of the billions of dollars of ratepayer money.” Utility giant PG&E has been criticized in the past for misuse of energy-efficiency funds.

Media reformers welcome new SF voice

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By Steven T. Jones

The Bay Area News Project – a new media collaboration that will be formally announced tomorrow, but which we wrote about earlier today – is already generating excitement from San Franciscans who have long been concerned about the journalism industry’s decline.

“I very much like the idea of another locally owned and edited news voice in San Francisco. The Guardian and I wish them well,” Bay Guardian Editor and Publisher Bruce B. Brugmann said.

While principal investor Warren Hellman discussed the project with the Guardian, none of the other local partners – KQED, UC Berkeley Graduate School of Journalism, the Media Workers Guild, and the consulting firm McKinsey & Company, which is handling the managing editor hiring process – returned our calls or were willing to discuss the project before its formal announcement in the morning.

Yet the long-rumored news was greeted warmly by local media innovators, including some who have been closely watching the scene and waiting to see what Hellman and company would do. “I’m absolutely thrilled that significant resources are being put into an alternative business model for the local media because it’s sorely needed,” said Michael Stoll, project director for The Public Press, a noncommercial news outlet that launched earlier this year after years in development. “It represents the first hopeful sign in a long time that watchdog journalism is on the rebound.”

Snap Sounds: Blues Control

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By Johnny Ray Huston

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BLUES CONTROL

Local Flavor

(Siltbreeze)

A hot dog made Patty Duke lose control, but on this album Blues Control makes me lose control. Local Flavor is kinda like a short version of Daydream Nation minus the annoying vocals. “Tangier” is the track that hypnotizes me with an effectiveness akin to that of Jacques Bergerac in 1960’s The Hypnotic Eye. Cameo by Kurt Vile on one track.

Blues Control, “Rest On Water”

Hellman and partners to launch Bay Area newsroom

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By Steven T. Jones
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Warren Hellman was featured in the Guardian two years ago.

San Francisco financier Warren Hellman – in partnership with KQED, the UC Berkeley School of Journalism, and perhaps even the New York Times – is about to launch a nonprofit, locally focused, online news organization with a medium-sized newsroom of full-time journalists, Hellman has confirmed to the Guardian.

Hellman says he will provide $5 million in seed money for the Bay Area News Project, which is about half the annual budget for a projected staff of about two-dozen journalists, and he expects to get foundation funding and perhaps even government grants for the rest. They are currently interviewing for a managing editor, which they hope to hire in the next month or so, and expect to go live sometime next year.

“We’re forming a new media news center. Basically, it will be a not-for-profit 501c3 that will be source of Bay Area news,” Hellman said. “It will focus on local news events, including politics and the arts, the kind of thing that is just dying at the Chronicle.”

Kinky talk: Midori on how to eat a peach, more

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Interview by Juliette Tang

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Midori, photographed by Constance Smith. See more hot local women of BDSM in our “Submission Possible!” cover story this week.

Sex educator, artist, writer, and diva, Midori, is currently showing her latest installation, Plastics, at Femina Potens (2199 Market St). I stopped by Femina Potens to chat with Midori as she was setting up and was faced with a turbulent sea of blow-up dolls, plastic breasts, knives, razor blades, and syringes. We quickly relocated to the more conventional setting of a cafe down the street, where we had a nice chat about avocados and what it means to be kinky, over coffee cake and Earl Gray.

SFBG: So, what kind of classes do you teach?
Midori: With 60 to 70 different topics, I have a wide range to go from general sexuality to the sexual subcultures of Japan to kinkier topics.

SFBG: What are you working on right now?
M: I have a couple of books I’m way behind on that I need to get done. One’s about how to eat a peach, and it’s really funny and a lot of fun.

SFBG: How to eat a peach? Can you elaborate?
M: So we have this idea that if you can tie a cherry stem into a knot, that means you’re good at oral sex. Tying the cherry is not that practical when it comes to our clits. You’re not going to take the clit and tie it into a knot. But if a tongue can do a nice, deep thrust and a curl-in, and do that for like, 5 sets of 10: that’s practical. You know, I’ve got a shortish, average tongue. It’s not necessarily the equivalent of size. It’s how you move it.

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From “Silken Sleeves,” a short film by Maria Beatty featuring Midori

SFBG: There’s a lot of food imagery in that description.
M: One’s attitude to sex and life is like one’s attitude to food. Food is something you need. However, you can overindulge. You can have a very strange relationship with it. You can have an abusive relationship with it. You can have a market manipulated, media manipulated relationship with food. You can cook it and consume it carelessly, or you can consume it mindfully. You can end up sharing food with a stranger or with someone you absolutely love head-over-heels. Food and sex… the attitude is very similar.

SFBG: Can you give us a food recipe you find particularly sexy?
M: So imagine you’ve been out all day, on your feet. It’s hot and all that, and you come home and your sweetie has one of those beautiful shallow Chinese goldfish ceramics, with pebbles in it. So, hot day you’re tired, your feet are swollen. And you have cool water, pebbles, mint leaves, and citrus slices, and your sweetie takes brown sugar and scrubs your feet.

Northen high (and low) lights

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>>Check out Jesse Hawthorne Ficks’ TIFF takes here.

FILM FESTIVAL REPORT There weren’t exactly tumbleweeds rolling through Park City, but this January’s Sundance Film Festival did have a becalmed feeling reflecting the economic panic — money, corporate sponsors, and industry personnel weren’t falling from the sky quite so thickly as usual, which naturally made the experience that much more pleasant for those simply there to see movies. There was no such diminished frenzy apparent at the 2009 Toronto International Film Festival (Sept. 10-19), even if one of the local papers lamented "parties are smaller and over early." (Cue the Bee Gees’ "Tragedy.")

There’d been more serious lamentation in recent years that TIFF has gone too Hollywood, too average-viewer-unfriendly, its programming now driven by (rather than simply attracting) celebrity and media attention. That’s clearly not true of the program’s bulk. Still, you’ve got to wonder just how the "art" of cinema is being celebrated when one big-noise 2009 premiere was no less (what could be less?) than Jennifer’s Body, which put Diablo Cody’s Oscar in perspective.

Not much more defensible were a slew of hollow costume flicks, from opening night’s kinda-’bout-Darwin Creation to the closing Young Victoria, with Oliver Parker’s latest Wildean crapfest Dorian Gray, Carlos Saura’s frivolous I, Don Giovanni, and Stephen Poliakoff’s silly Glorious 39 among the plush time-killers unveiled like papier-mâché statuary between.

Those are movies likely to underwhelm soon at a theatre near you — though not so soon as the enthusiastically received latest efforts by the Coen brothers, Terry Gilliam, Michael Haneke, Jason Reitman, Michael Moore, Steven Soderbergh, Jane Campion, Pedro Almodóvar, Todd Solondz, and others no doubt already ramping up their Oscar campaigns. Those were easy to put off. But there was a great deal I was very sorry to miss, like Cornieliu Porumboiu’s Romanian Police, Adjective, Raoul Peck’s Haitian Moloch Tropical, and Shirin Neshat’s Tehran period piece Women Without Men, films whose chances of U.S. distribution are variably remote.

Among titles caught, low expectations were more often met with high rewards than vice versa. Das Boot (1981) in a tank, Venice Film Festival Golden Lion winner Lebanon proved an effective but unremarkable war-is-hell statement. There was controversy over Tel Aviv’s spotlight in the inaugural "City to City" sidebar. But if government propagandist efforts secured that slot as charged, other Israeli features here, like Danny Lerner’s lurid Kirot, were hardly goodwill ambassadors.

On the other hand, Lars von Trier’s Cannes scandal Antichrist turned out neither brilliantly here nor appallingly there — though one viewer did upchuck at a press screening, and a publicist called mine the first neutral reaction she’d heard of.

Elsewhere, the flowers of evil bloomed in myriad hothouse forms, some rather wilted on arrival. Perhaps most intriguing was a portrait of a movie that will never fully exist: L’Enfer de Henri-Georges Clouzot reconstructs footage from an aborted early ’60s thriller by the French genre master. Experimenting with psychedelic imagery to evoke pathological jealousy, he abandoned ship midway, but the remains still fascinate. Another mental health vacation, Werner Herzog’s improbable Bad Lieutenant: Port of Call New Orleans, won numerous fans. Yet it’s much less fraught with danger than Abel Ferrera’s 1992 original, and for all its gratuitous goofing too often looks/sounds like direct-to-cable product.

Plumbing sillier darknesses were the lamentable latests by George Romero (Survival of the Dead) and Joe Dante (The Hole), not to mention yet more not-different-enough vampire stuff (Suck, Daybreakers), a middling Manson recap (Leslie, My Name is Evil), and one dullish Robert E. Howard adventure (Solomon Kane). Midnight Madness’ one shining light was a nasty little Australian number, The Loved Ones, after which you will never hear Kasey Chambers’ "Not Pretty Enough" without cringing. I mean, even more than previously.

Elsewhere, pleasures were scattered and unpredictable, with some uneven films elevated by performances — Woody Harrelson’s delusional superhero in Defendor, Edward Norton as twins in Leaves of Grass, and just about everybody in Rebecca Miller’s The Private Lives of Pippa Lee. Major attention went to Drew Barrymore’s directorial bow Whip It, but Samantha Morton’s own, comparatively overlooked debut The Unloved ranks almost up there with the medium’s greatest horrible-childhood portraits. For originality, nothing quite trumped Corey Adams and Alex Craig’s surreal skateboarder fantasia Machotaildrop, even if its charms eventually wore a bit thin. Which was not an issue for French stop-motion animation A Town Called Panic, 75 minutes of perfect silliness that provided a Gallic heaven to complement Clouzot’s hell.

Mark of quality

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a&eletters@sfbg.com

DANCE REVIEW The Mark Morris Dance Group’s regular visits to the Bay Area have assured it a faithful and knowledgeable audience. Yet rarely has it received the kind of enthusiastic applause that greeted its West Coast premieres of Visitation and Empire Garden, and the magisterial V (2001), at Cal Performances. Morris is that rarest of contemporary artists — a great entertainer and a great humanist.

In the history of Western art, the Visitation refers to paintings that depict the pregnant virgin meeting her cousin, Elizabeth, who is pregnant with John the Baptist. They illustrate a tender relationship between two mothers-to-be. It’s doubtful Morris had this kind of religious iconography in mind when he set his lovely Visitation to Beethoven’s Cello Sonata No. 4 in C, although the work did suggest the intimacy of old friends. The outstretched hand became the central gesture for convivial meetings and partings that were as public and private as the ongoing "conversation" between the piano and the cello. You found yourself looking in on an elegant salon that — after all, this is Mark Morris — was also a playground of rabbits hopping and toy soldiers stomping. Maile Okamura was the butterfly looking for a place to light.

The other new work, Empire Garden, supposedly took its name from a Chinese restaurant; it’s a much darker affair. I can’t pretend to have penetrated Charles Ives’ gnarly Trio for Violin, Cello and Piano, best known for threading Americana music into its central scherzo section. Morris responded by densely layering kaleidoscopically-changing images that tumbled on top of each other. He packed a pulsating stage space with prayer meetings, hunting scenes, ballroom couples in rigor mortis, robotic escorts, human pyramids, and pontificating leaders. But he also gave his dancers tiny wistful gestures for the hands or a foot. The whole Brueghelian canvas had a slightly deranged energy from which emerged a rather foreboding dance of death finale. Julie Worden, magnificent in the grandeur with which she enlivened her singular role, stood out from an ensemble that has never looked better.

V, to Schumann’s Quintet for Piano and Strings, resonated with particular poignancy at its local premier in October 2001, three weeks after 9/11. That reference — which Morris always resisted — has faded. What remains is a dance that is powered by the rigors of formal design. The dancers were divided into two groups of seven, dressed in either off-white pants or blue skirts (by Martin Pakledinaz). The choreography stuck closely to the music — sometimes almost mockingly so — and much of it had a swingy pliancy to it. Large arm gestures also suggested a ceremonial quality. Somewhat mysteriously, a duet called up an unsustained echo from the wings.

But V‘s most remarkable section starts in the central Largo, for which Morris uses the simplest of human movements. One group walks, the other crawls, out of the wings. The drama happens when the vertical and horizontal lines intersect — basic geometry. The piece has two endings: an orgy of embracing, and a V-shaped military phalanx moving downstage. Take your pick.

Flesh tones

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markeb@sfbg.com

Like a cold, wet pinky, porn has truly inserted itself into every facet of our lives — even our nightlife. Gay porn, especially, is big business in the Bay, and besides the endless stream of between-flicks go-go boys this provides many mainstream gay clubs and a host of porn-themed parties, most featuring DJ Pornstar, it also draws a lot of international hopefuls to our fair shores, maintaining some diversity on the homoclub scene. You wouldn’t believe the amount of Swiss buttboys I’ve met at the disco, child.

But what about the music of gay porn? Has it moved beyond the stereotypical boom-chaka-wahow-wahow to reflect our hip-hop-infused, electronic reality? I recently talked via hot pink iPhone with The minor9 (www.theminor9.com), a young production duo who’ve been working with Raging Stallion for the past few months, helping to infuse that megastudio’s soundtracks with a little contemporary flavor, from the neo-tango trappings of the forthcoming Hombre to the trip-hop trimmings of shoe-and-weed fetish flick High Tops, which features a sampled recipe for marmalade(!).

Minor9 members Marcus and Chris stepped into the giant shoes of legend JD Slater, a cofounder of Raging Stallion whose soundtrack work helped bring rock, ambient, and industrial sounds into the porn mainstream, and who recently retired to concentrate on his own music. "It’s amazing the amount of opportunity composing for porn provides," says Marcus. "Obviously we’re not out to make a big artistic statement — the director tells us his vision and we do our best to match it in the background. So no grand chord changes or cymbal crescendos at the climax. But in terms of creative outlets, you couldn’t ask for more."

"My greatest triumph was slipping some bassoon into a scene," adds Chris. The local duo share a past as independent musicians and combine live instrumentation with software hijinks to set the right backseat blow-job mood. Chris and Marcus asked me not to use their last names to avoid future employment kafuffles. So, is there still a porn stigma?

"Porn’s such a fact of life now, and my mom said, ‘That’s great!" when I told her about my new job," says Marcus. "But you never know." Chris chimes in, "Let’s put it this way. I used to be a graduate student in math. Talk about stopping a conversation dead. Now I tell people what I do and suddenly I’m the life of the party."

—————

BEARRACUDA MAGNUM

Sweaty gay leather bears packed in hairy shoulder-to-shoulder, grunting to live sets by dark duo Ejector and drag tragedy Christeene, plus electro-pop DJ Francisco Guerra. Fri/25, $10. DNA Lounge, 375 11th St., SF. www.bearracuda.com

BLOWOFF

Another hairy bear woof attack, this time on the rock remix tip, with indie hero DJs Bob Mould and Rich Morel at the first anniversary of this too-popular party. Sat/26, 10 p.m., $15. Slim’s, 333 11th St., SF. www.slims-sf.com

SISSY FIT

"Rock ‘n roll, cheap bear, and sloppy dick" brought to us by the queer punk Trans Am boys. DJs Dirty Knees and Pickle Surprise help usher in the mosh madness. Sat/26, 10 p.m., $6. Sub Mission, 2183 Mission, SF. www.myspace.com/transamtheclub

SS TRANNYSHACK

What’s better than nutso drag? Nutso drag on a boat. Try to stay seaworthy at this swingin’ who’s-who with Heklina, Dirty Sanchez, DJ Juanita More! and more. Sat/29, 8:30 p.m., $45 advance. Pier 41, SF. www.trannyshack.com

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