Local

Hip babies: How can your kids be more socially responsible?

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By Juliette Tang

The concept of social responsibility didn’t really sink in for me until college. I confess that as a kid, I too preoccupied with collecting beanie babies from McDonald’s to realize the effects that factory-farmed meat has on our environment. I wanted that new Esprit sweatshirt, and I didn’t even know the meaning of sweatshop labor. Luckily for the future of our planet, social responsibility starts at a much younger age now. In San Francisco, organizations like 826 Valencia tutors local kids in writing, engaging them with one another as well as their community. These is all good and well, but I say, make your kids socially responsible while they’re even younger. Get them while they’re babies.

One way to make your baby more socially responsible (and have fun while you’re at it) is to buy locally-made children’s products. There are many local, organic, and ethical makers of baby clothes, toys, and care products, right at our doorstep. In fact, because toxic chemicals like lead and melamine keep finding their way into ” target=”_blank”>baby products before they are recalled, it makes sense to be extra safe.


Speesees makes some of the most precious baby clothes I have ever seen. This kimono cut baby romper is made with 100% organic, 24 rib cotton. Called Speesees as a play on “species,” their mission is “to be fun, fair, and organic in the products we make, the way we conduct business, and the baby steps we take towards creating a more sustainable future for the animal, plant + human speesees on our children’s planet”. Speesees products are all organic, using low-impact dyes, and are available at a variety of local stores, including one of our favorite eco-boutiques, Ladita.

Aspect gallery goes there Friday night

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By Juliette Tang

“All art is erotic,” Adolf Loos famously said in 1908. We say, ok maybe, but not all art is equally erotic. All you need to do in order to test that hypothesis is look at American Gothic by Grant Wood and compare it to anything Edouard-Henri Avril has ever done.


Photo by Craig Scoffone

Those who like your art on the more (i.e. blatantly) erotic side will be happy to know that, this Friday, March 15, at the Aspect Gallery (731 Polk Street), there will be a nude and erotic art show from 6:00-9:30PM. Enjoy food and refreshments (you can BYOB) while perusing a titillating selection of erotic paintings and photographs from 12 local San Francisco artists who are making the art scene sexier for us all.


Man on Bed, by Erika Meriaux.

The Aspect Gallery is injecting a much needed shot of Viagra into the San Francisco art scene.

The world stage

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a&eletters@sfbg.com

Recently I was lucky enough to land at an international theater festival in Wroclaw, Poland, jostling elbows with a transnational mix of theater folk on the occasion of the 13th annual European Theatre Prize, this year awarded to the great Polish director Krystian Lupa. It was an eye-opening glimpse at some awesome theatrical muscle rarely if ever seen in the Bay Area, or even the United States. Globally-renowned powerhouses like Italy’s Pippo Delbono and Belgium’s Guy Cassiers were there with some extraordinary work, not to mention that of Lupa, whose utterly brilliant and plotless eight-hour fantasia on Andy Warhol’s Factory, Factory 2, proved an absolute highlight of my theatergoing career thus far.

While dreaming of the day Factory 2 takes its local bow, I can only appreciate all the more what places like UC Berkeley’s Zellerbach Hall or San Francisco’s Yerba Buena Center for the Arts do in bringing us news of the theatrical world — or news of the world, theatrically. Another local presenter of exceptional international work has been the San Francisco International Arts Festival, whose sixth season begins this week. SFIAF and executive director Andrew Wood have increasingly made world theater a vital part of the fest’s eclectic performance mix. This year is no exception, with three must-sees in the lineup.

First, South Korea’s Cho-In Theatre makes its U.S. debut with The Angel and the Woodcutter, an original physical theater piece reutf8g the Korean folk tale in a wordless, poetical drama as uncompromising as it is unexpected. Then, Russia’s famed, immensely creative performance ensemble, the Akhe Group — proponents of what they call "Russian Engineering Theatre" and favorites at SFIAF in 2005, where they presented White Cabin — return with the U.S. premiere of Gobo.Digital Glossary, a wild and captivating conglomeration of video projections, animation, ambient music, lasers, clowning, and trompe l’oeil.

Also receiving its Bay Area premiere is Beyond the Mirror, an unprecedented collaboration between New York’s Bond Street Theatre and Afghanistan’s Exile Theatre. The description of this first American-Afghani theatrical outing might ring a bell: Mirror had been slated to open Brava’s theatrical season in fall 2008, when the U.S. government’s inexplicable delays in processing visas for the Afghan performers forced its last-minute cancellation. That disappointment will happily be rectified by SFIAF when Mirror opens at Cowell Theater. (A second San Francisco appearance follows as part of foolsFURY’s Fury Factory festival in June.)

The two companies began crafting the play after meeting by chance in 2002 among the refugee camps outside Peshawar in northern Pakistan, where the activist, physical-theater–based Bond Street went after 9/11 to develop links to the Afghan people and work with a German NGO building schools in the devastated country. Exile, meanwhile, had formed as a group of refugee playwrights, actors, and other performance professionals committed to keeping Afghan arts alive and reflecting the concerns of the Afghani population living as second-class citizens in Pakistan.

Never more timely, the play ranges over the last three decades of Afghanistan’s history, using an expressive mélange of theatrical forms and techniques — including oral history, mythology, live music, traditional dance, drama, acrobatics, puppetry, and film — to tell a story of war and hope at the cusp of yet another turbulent chapter in the country’s unfolding story. Notably, the eight-member half-American, half-Afghani cast includes Afghanistan’s most famous actress, Anisa Wahab, who grew up in happier times on camera as a child star and has continued to act despite its still dangerous implications for women.

Communicating partly with some mutual English, and largely in terms of both distinct and shared physical vocabularies, the artists developed what became Mirror in a nonlinear, highly abstract way, according to Bond Street artistic director Joanna Sherman, who codirected it with Exile’s Mahmoud Shah Salimi. That in no way diminishes its rootedness or poignancy.

"We went around the countryside and interviewed different people, and videotaped them as they would allow," Sherman explained by phone from New York. "Our challenge was to portray these terrible stories in a way that was not gruesome or impossible to watch. We used our physical techniques in a way that it would be watchable and compelling but not exactly ‘realistic.’"

Since Mirror‘s premiere at the second Kabul Theatre Festival in 2005, much has happened in the U.S. and Afghanistan, prompting a small but significant revision, a new final scene, according to Sherman. "We do leave on a thought of hope," she stressed. "But [we’re] doing some interviewing again and getting some additional video. We’ll see what happens."

SAN FRANCISCO INTERNATIONAL ARTS FESTIVAL

May 20-31, various venues

www.sfiaf.org

Aerosol melodies

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marke@sfbg.com

Ah, Le Poisson Rouge — how I yearn for you. The edgy New York City club and performance space has become a golden nexus for the current rich collision of the indie, electronic, and contemporary classical worlds. Zing go the avant-garde, filter-bent strings in the Bay often enough, of course, especially through the out-there provenance of sfSound (www.sfsound.org), the biannual Soundwave Series (www.projectsoundwave.com), and Berkeley’s Center for New Music and Audio Technologies (cnmat.berkeley.edu). But it took last August’s sold out Herbst Theater one-off by Wordless Music, the Poisson-based org that brings big indie names to the new music stage, to finally hold SF’s flannel-clad fixie pixie population enraptured by the freakier side of symphonica, with the white-noise-drenched West Coast premiere of “Popcorn Superhet Receiver” by Radiohead’s Jonny Greenwood and soul-loosening pieces by Bay boys Fred Frith (“Save As”) and Mason Bates (“Icarian Rhapsody”).

It’s been a massive year for 32-year-old Virginia native Bates, who told me over the phone that he moved from NYC to North Oakland four years ago because he “wanted a house and a short commute to a great city.” In March the Julliard grad debuted a six-movement work, Sirens, commissioned by local vocal greats Chanticleer, right after he wrapped up a three-season young-composer-in-residence program with the California Symphony. Perhaps his biggest break came last month, when the YouTube Symphony Orchestra, assembled via audition vids and led by San Francisco Symphony conductor Michael Tilson Thomas, made its debut at Carnegie Hall, playing a portion of Bates’ latest orchestral suite, The B-Sides. Like many other professional cynics, I had my nails sharpened and painted Jungle Red for this dreadful-seeming Internet marketing buzz-blast, but the inclusion of Bates’ forward-thinking work helped rescue the affair from maudlin crowd-pleasing.

Speaking of gimmicks, here’s what many perceive as Bates’: he plays a laptop onstage with the orchestra. Good heavens! Mere gimmickry’s a sad assumption — sure enough, his YouTube gig has reignited that tired technology vs. “true” classical debate that has periodically raged ever since the theremin took the Paris Opera stage in 1927. But Bates, who has toured clubs in his DJ Masonic guise for years, rises above all that with a deep knowledge of dance music history, which itself claims a long and fruitful entanglement with contemporary classical, and a mission of sonic integration.

“The laptop is a piece of the enterprise, a means of augmenting the texture of an orchestral arrangement and adding a richness that evokes new sonic landscapes,” says Bates, who considers his keyboard a “specialized extension of the percussion family.” As for snap judgments about technology, “it actually goes both ways,” he says. “Of course, some traditional symphony-goers can’t really go there. But it’s important for people from the club world to know that I’m not just orchestrating techno” — like the Balanescu Quartet’s version of Kraftwerk or the Williams Fairey Brass Band’s take on acid house. “I’m not Richie Hawtin for woodwinds and booming tubas. I’m coming from a more ambient, electronica place — I’m always aware that I’m playing off something while delving into unique textures and expanded sonari.”

The B-Sides, which will have its full debut for three nights with the San Francisco Symphony at Davies Symphony Hall, consists of five movements inspired by archetypal ambient moods — from the buzzing insects and tropical evocations of “Aerosol Melody Hanalei” to astronautical voice transmissions and blankets of static in “Gemini and the Solar Winds.” “Wharehouse Medicine,” which the YouTube Symphony debuted, is like a nifty bit of Leonard Bernstein pumped up with chattering clicks and back-ear bass that energetically summons up the chillout rooms of yore. If it seems odd that Bates references vinyl in his title, while combining laptop rumination and live orchestration, don’t sweat it. “I was thinking back to the experimental freedom that B-sides once afforded to groups like Pink Floyd — surgical strikes into trippy terrain.”

Bates will also be bringing his outstanding Mercury Soul project (www.mercurysoul.org), conceived with conductor Benjamin Shwartz and visual artist Anne Patterson, to Davies after the May 22 symphony performance and to Mezzanine (www.mezzaninesf.com) on May 28. Mercury Soul “is almost a negative image of what I do with an orchestra,” Bates says, “where I DJ and we create a club atmosphere interspersed with live performances of contemporary works by the likes of Steve Reich and John Luther Adams.”

“Look, I know a laptop is never going to be as expressive as a fiddle,” Bates says, a twang of his Virginian upbringing coming through. “And a CD installation pack may never rival the power of a written score. But if I can expand and screw around with orchestral space that way, then it definitely meets my intent.”

THE B-SIDES

With the San Francisco Symphony

Wed/20, Fri/22, and Sat/23

8 p.m., $35–$130

Davies Symphony Hall

201 Van Ness

(415) 552-8000

www.sfsymphony.org

How to fix public transit

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OPINION As San Franciscans deal with the shock of ever-worsening budget cuts, it’s time we look to fundamental structural changes in the way government does business. That’s a scary thought because, as Naomi Klein warns, free market ideologues use shocks to accomplish a very damaging type of structural change that cuts public service, increases privatization, and strengthens class division. Those of us who support collective responsibility and a strong public sector had better work together to propose our own structural change.

In transportation, to reduce driving — which accounts for 47 percent of greenhouse gas emissions in this city — we must increase public transit ridership dramatically. Yet the San Francisco Municipal Transportation Agency is cutting its budget by 16 percent. The solution is simple, but not easy: car transportation will have to cost more, in terms of money and time. Transit, walking, and bicycling will have to be easier, faster, and safer. We can use the funds from increases in driving costs to fund improvements to other forms of transportation.

The alternative is an abandonment of the great equalizer that is public transit — and a kind of privatization that provides the automobile as an option for the middle class but at the cost of miserable transportation for the 30 percent of San Francisco households who don’t have cars.

For this to work, public transit must be not just a little bit better, it must be a great deal better. It must remain affordable for families and serve the whole city efficiently, at all hours of the day. Residents should need cars so rarely that transit costs, plus occasional car-sharing and car rentals, are cheaper alternatives than car ownership.

With a higher gas tax and tolls on freeways (measures a recent San Francisco Planning and Urban Research analysis shows to be among the most cost-effective policies to reduce greenhouse gas emissions), we can make public transit work better. SFMTA should implement its proposed rapid network on the routes that carry 80 percent of Muni’s passengers, speeding up the vehicles by at least 20 percent. That will cost car drivers some time: mixed traffic lanes will have to be converted to bus lanes. Turns will have to be restricted and parking will have to be removed.

The city also must make bicycling safe and easy. Our bikeways need to be safe for 8-year olds, who need systems that forgive mistakes and allow for slow and easy riding, and seniors, who are not physically able to ride fast and cannot afford to make emergency stops that may cause a fall. That means we need effective 18 mph traffic-calmed zones and a system of car-free bike paths, including one down Market Street.

Transportation is a regional issue that San Francisco cannot solve on its own. We must do a better job of matching our regional development patterns to our needs to promote walking, bicycling, and transit.

To make all this work, we must stop sprawl immediately and concentrate growth in cities and existing suburbs. More density in cities means more people to support transit (through fares and a higher tax base) and more people to support local shops so that walking to your grocery store is an option for more people.

Dave Snyder is transportation policy director at SPUR.

News flash: Power Exchange is a SEX CLUB

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By Marke B

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Sorry, you’ll have to go back to church for that … for now

I hate to rise to the usual nauseating bait of Chronicle writer C.W. Nevius almost as much as I’d have hated to wade into the sheer time-waste of that whole Miss California gay marriage debacle-thingy, but a hilarious oopsie in his latest half-hearted diatribe — celebrating how something called the Brady Street Neighborhood Coalition “has stopped the Power Exchange, a sex club, from opening on Gough Street” — popped me a ironic one comparable to those Carrie Prejean pink-panty shots. To whit:

The neighborhood group isn’t just a bunch of prudes. The Power Exchange had been located nearby, after all, and no one had a problem with what was going on inside. It was the unruly behavior outside that was troubling.

And yet, a couple paragraphs later:

When the landlord brought a client to another property, he was picketed with one sign announcing that he “rents to a SEX CLUB.”

Wait — I thought they didn’t have a problem with that? Or was this just one rotten prune among the supposed non-prudes? It’s so hard to tell when sex is involved — which I guess could have been a slogan for the PE all along.

Power Exchange owner Mike Powers has vowed to continue his relocation efforts elsewhere — “I can’t let [the city] win now. I have to reopen … because now it’s become a battle where they’re saying Power Exchange isn’t acceptable,” Powers said to the oddly toned Mission Local blog (I wouldn’t exactly trust that bracketed insertion — the city itself had no beef with the joint.) Let’s hope his SEX CLUB can find a place in the city where people have SEX and know that part of living here means CLUBS. Let’s hope it’s soon — I’ll meet you there with some celebratory non-alcoholic bubbly and tales of my favorite adventures in the old medical room.

PS My absolute favorite part of this whole dust-up is that the main complaint of the Brady Coalition folks about the PE’s threat to the community is that people were dropping condoms out of their car windows. I’m totally anti-litter, but this calls up in my mind the wonderfully surrealistic vision of a rainbow of rubbers being flung out of Honda Civics up and down the street. Plus, I guess it’s a relief from normals going postal about “spreading disease,” at least. Safe sex = the new AIDS!

How the JROTC vote could come down

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By Tim Redmond

Like so much in San Francisco politics, the vote tonight on restoring JROTC isn’t as simple as it might seem.

The resolution by Jill Wynns and Rachel Norton simply directs the superintendent to preserve JROTC at the seven high schools where the program currently exists. It doesn’t say a word about Physical Education credit.

That’s a central issue, because just about everyone agrees that if students don’t get PE credit for JROTC, so few will sign up that the program will die anyway. State law seems to say that anyone teaching PE classes has to have a teaching credential, and the JROTC instructors don’t qualify. The Chron reports that

Last week, the California Board of Education clarified the issue, saying local education officials have the authority to offer PE credits for JROTC. The state Department of Education reiterated that position in a letter to district and county education officials Monday.

JROTC instructors, who have a state and federal credential to teach the military course, would not need a PE credential, said Phil Lafontaine, the department’s director of professional development and curriculum support.

“They’re appropriately credentialed,” he said, even if students are earning PE credit.

But Gentle Blythe, the SFUSD spokesperson, told me that the district “has not seen that letter, so we haven’t been able to analyze it.”

In the meantime, the school board voted last June to end PE credit for this past year, which was supposed to be the final year of JROTC. According to Norton, that resolution doen’t apply going forward — so she’s convinced that if her resolution passes tonight, the PE issue will be moot. “The board policy enacted last year only end PE credit for the 2008-2009 year,” she told me.

Now it gets interesting. The intent of the board last year was almost certainly to end PE credit forever, since JROTC was supposed to be phased out after this year (why deny PE credit in 2009-2010 for a program that wasn’t supposed to exist?) But if the technical interpretation Norton is offering holds up, the board may face another vote –to withold PE credit for next year and into the future.

And since the swing vote on JROTC, Norman Yee, has made it clear ijn the past that he doesn’t support PE credit, he could wind up voting yes tonight to save the program — then no on a future resolution killing PE credit (which would effectively kill JROTC anyway).

“That’s possible,” Norton said. “But I don’t think it’s going to happen.”

It might, though — I don’t see JROTC foes letting this go.

UPDATE: I just spoke with Norman Yee. He says he plans to support the Wynns-Norton resolution “with amendments” — including the right for some high schools to opt out. He says his previous refusal to support PE credit was based on the state’s position that only credentialed teachers could teach PE — but if the state is wiling to accept the SF program, so is he.

Ick, that means this comes down to the district’s legal interpretation of a letter from the state Board of Education. Stay tuned.

Local businesses underrepresented in city contract awards

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By Rebecca Bowe

At Monday’s Land Use and Economic Development Committee hearing, Human Rights Commission Executive Director Chris Iglesias reported on how many locally owned San Francisco businesses benefit from city-issued contracts. The Guardian spotlighted this issue recently.

Across the board, the data showed, most city contracts are awarded to outside firms. (One speaker referred to them as “the Halliburtons of the world.”) The number of prime contracts and subcontracts awarded to non-local businesses was disproportionately higher than those awarded to local businesses, minority-owned businesses, or women-owned businesses, the data showed. Between September of 2006 and December of 2008, Iglesias noted, 35 percent of all city contracts went to certified local business enterprises.

In terms of city departments, Public Works led the way by awarding some 48 percent of its contracts to local firms. The airport issued just 10 percent of its contracts to local businesses, the port contributed 22 percent, and the Public Utilities Commission awarded 34 percent. Citywide, just 9 percent of term-contract awards and 7 percent of blanket-purchase orders were made through local firms.

Board of Supervisors President David Chiu, who formerly served on the city’s Small Business Commission, was less than thrilled by the findings.

Marin paper chokes on Mirkarimi appointment

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By Tim Redmond

The Marin Independent Journal is going nuts about the fact that San Francisco Sup. Ross Mirkarimi got a slot on the state Coastal Commission. The IJ wanted a Marinite, Sup. Steve Kinsey, and is blasting Sen. Mark Leno for recommending Mirkarimi (which for all practical purposes guaranteed that the San Francisco environmental leader would get the post).

According to the IJ:

Leno said it was a difficult choice and that he respects Kinsey’s experience. He said Mirkarimi offers strong environmental credentials and stressed that a San Franciscan has not held the North Coast seat for 32 years. He pointed to Mirkarimi’s leadership in winning passage of San Francisco’s ban on plastic bags. Leno said he also heard from some environmentalists who asked him not to pick Kinsey. Apparently Kinsey works harder than they would like to balance historic private property rights and local agriculture with protection of California’s coast.

You get the point — Kinsey thinks that the Coastal Commission should “balance” property rights and coastal protection. Actually, that’s not the panel’s job. The commission was set up to prevent development along the coast; it’s supposed to be really, really hard to get a permit to do anything that would limit public access or damange a pristine coastal area.

A former Sierra Club president makes the point nicely here.

But wait — the IJ isn’t done. In an oped column May 5th, Brad Breithaupt insists that Leno was snubbing the northern part of his district:

For the first time in 30 years, a Marin resident isn’t serving on the commission, even as an alternate.

Guess what? It’s been more than 30 years since San Francisco had a seat on the commission.

But that’s not the issue. The issue is that coastal protection is more important than whether someone lives in San Francisco or Marin — and on an increasingly conservative and pro-development commission, the representative from the SF/Marin/Sonoma area needs to be a hard-core enviro, someone who isn’t looking to compromise with property owners or developers.

“And I think Ross Mirkarimi has already proven he’s doing an excellent job,” Leno said. So lighten up, Marin.

Shades of time: Q&A with Matt Keegan

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Barack Obama boarding an Air Force One plane for the first time. Gay calendars from the 1960s. A New York Times article on the death of a major urban newspaper. Sundays at the Alemany Flea Market. These are some of the temporal markers at play in Matt Keegan‘s exhibition “Postcards & Calendars.” The show (reviewed in the current Guardian) could be Keegan’s postcard to New York about time spent in San Francisco. It’s also an exploration of the ways in which calendars and other time keepers can be used subversively to convey forms of experience or forge communities. Keegan is no stranger to the such endeavors: his 2008 book AMERICAMERICA (Printed Matter, 140 pages, $35) gathers interviews, old People magazines, memorabilia connected to the “Hands Across America” project, artifacts from his small-scale update of that endeavor, and unorthodox archival material into a journal that doubles as a portrait of the Reagan era. The artist and I recently sat at a petite lemon yellow table with pretty lemon yellow flowers in Altman Siegel Gallery to discuss his current exhibition.

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View of Matt Keegan’s “Postcards & Calendars.” All images from “Postcards & Calendars” courtesy of Altman Siegel Gallery

SFBG Many shows repeat the same execution of a single theme, over and over. In contrast, “Postcards & Calendars” has many forms and facets.
Matt Keegan The thematic of this show is definitely influenced by my time in in San Francisco, but not relegated to being here. Lots of things at play are continuations of my preexisting engagement with photography.
In terms of local influences, the calendars from the GLBT Historical Society had a tremendous impact on this show. Before I met with Rebekah Kim, the Historical Society’s archivist, I was trying to figure out how to map the ways time is not only recorded but visually structured — to think about such rudimentary things as a planner, or a calendar, or a newspaper, in terms of how days and months can be iterated.
When I saw their collection of calendars, part of the power of those objects comes from the way they integrate a social history into an innocuous form. Also, some of the calendars that have a clear porn element, also have a social element. For example, Fizeek from the mid-‘60s — the back of that calendar has notations about who shot which photo and where the photographers are based, which provides it with this added level of social exchange.

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Matt Keegan

SFBG In the past year I’ve amassed a stack of the 1970s SF gay magazine Vector, so it was serendipity to come across a calendar from Vector on the wall in your show. More than with microfiche of local newspapers, I get a sense of what was going on in San Francisco at the time from a publication such as that magazine, simply through the addresses in advertisements.
MK Material that might be considered insubstantial or peripheral in terms of formal archiving and recording has a historical implication. Close to the time when I met with Rebekah, I met with Gerard Koskovich, one of the founding members of the GLBT Historical Society. He told this amazing anecdote about Bois Burke placing an ad in The Hobby Directory that is significant in helping to understand a 1940s and ’50s queer history of correspondence. Within this guide, people would reach out about hobbies such as nude sunbathing and physique photography. I am very interested in the various ways that such print-based and distributed publications were activated to serve unintended purposes. And, I love the way that the calendars, specifically, embed such a social history so that it becomes part of daily and monthly activities.

Barack Obama, 31 shades of white, newspapers as endangered species, the archivist’s life, the art of interviewing, and more, after the jump

Super Ego: Mophono, wet jocks, tiny spoons, lazers

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By Marke B.

Some smooth and mellow Mophono pho’ ya

Oh, the transient grunts and groans of the dance floor: Just got word yesterday that the eagerly awaited appearance of disco progenitor Nicky Siano at Paradise Lounge has been cancelled — my deep throat tells me there were sound and venue concerns (although I love the ‘Dise!). In any case, there’s plenty of other things to hold your ear-nterest and get you bangin’ this weekend. Besides my rundown in this week’s Super Ego column, below are some more earth shakers and affairs.

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He loves me, he loves me not

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Wanna spoon?

I had absolutely no idea that those little plastics coffee spoons from McDonald’s were banned because of illicit uses (or perceived one, anyway.) You’d think after all this time, plastic + noses = OK. But no. In any case, snort in luxurious style with the unveiling of a perfect publicity stunt: renowned hip mens’ clothiers and artists Ju$t Another Rich Kid, Nice Collective, Terence Koh, and more have designed cute, exclusive, and most likely expensive little Bolivian helpers (watch that terrorism funding!). They’ll be giving the dish at Harput’s from 6pm-9pm tonight (expect beautiful people), and then there’ll be a kiki afterparty at Triple Crown. Don’t try to force your way into the stalls. It’s all called “He loves me, he loves me not” which brings to mind a kinky game somehow.

Thu/7, 6-9pm, free. Harput’s Market, 1527 Fillmore, SF. www.harputsmarket.com
Afterparty, 10pm-midnight, free. Triple Crown, 1760 Market, SF. www.triplecrownsf.com

———–

Lazer Sword + Mophono live

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Lazer Sword, can you blap me for loving you?

Local future blap fave raves Lazer Sword are back from their whirlwind Euro tour with an uptempo live set to get you moving, supported by Bay man of intrinsic deep dance knowledge, Mophono at, yes, the Paradise. Put ’em up and get down, child — and let’s see if those speakers still work.

Lazer Sword at 111 Minna San Francisco 1/15/09

Fri/8, 10pm, $10. Paradise Lounge, 1501 Folsom, SF. www.hacksawent.com

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The Rod

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Post-Cinco uprising

Why, yes, I DO host a wet jock strap contest. Come down to Bus Station John’s retro bathhouse disco monthly, The Rod, at Deco this Friday around midnight and see me and Hunky Beau scare up a willing and wet bevy of gorgeous, unclad alternaqueer boys — and see who’ll win $100. (No muscle queens need apply, thanks.) Then stay and dance until 3am to the best disco you’ve only ever heard sampled in other songs before. It’s fun and a little scary: frisson alert!

Fri/8, 10pm-3am, $7. Deco, 510 Larkin, SF. www.decosf.com

Loitering outside clubs banned

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Text by Sarah Phelan

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Asking for change outside local nightclubs could end up costing you $100 or a stint in the county jail, thanks to a newly enacted loitering ban that’s aimed at making clubbing safer but threatens First Amendment rights.

Google the phrase “we met outside the club” and you’ll get all sorts of interesting hits, mostly involving luscious bands, lascivious strippers and a crazy story titled “Getting laid Brazilian style.”

But meeting band members, picking up strippers and getting laid San Francisco style by people you met outside clubs here just got potentially harder, thanks to loitering legislation that the Board of Supervisors passed yesterday, in an effort to make clubbing safer. And then there are the usual questions about how this legislation impinges on people’s First Amendment rights and how it will most likely end up netting a bunch of homeless folks rather than hardened criminals.

“The areas outside nightclubs have become the site of robberies, assaults, stabbings and shootings” states the loitering ban that the Board passed in a 9-2 vote, with Sups. Chris Daly and John Avalos dissenting.

Oops: DirtyBird Pajama Jam this Friday

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By Marke B.

What can I say? I’m cute and often clueless — and as attested below I’m perpetually on Spring Break. In the print edition of my Super Ego column in this week’s Guardian I mistakenly put the DirtyBird Pajama Jam down for Saturday, when in fact it’s Friday at Mezzanine. Full and correct preview below. Somebody spank me!

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Wig out to J. Phlip on Friday night, download her 2008 !@#$%^& mix (which I’m still wrapping my head around) here.

DIRTYBIRD PAJAMA JAM

Ha ha ha, I feel so spring break. Famed local techno label Dirty Bird matches its goofy sensibility with a no-slumber party, bunny slippers and all. DJs Claude VonStroke, Worthy, Justin and Christian Martin, and up-and-comer J. Phlip bring the post-minimal hijinks, you bring the stripy drawers and stuffed E.T. dolls.

Fri/8, 10 p.m., $15, Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

Claude VonStroke at 2007 DirtyBird Picnic in Golden Gate Park

New art and style on Geary

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With a calm demeanor and a pulled-together, no-nonsense appearance, Claudia Altman-Siegel isn’t an obvious suspect when it comes to identifying the driving force behind a conceptual art show that draws well-heeled European tourists and people clad in Converse shoes and skinny jeans. Both types, and more, are drawn to Matt Keegan’s "Postcards & Calendars," where they’re confronted by an eight-foot list of days of the week and a larger-than-life photograph of a New York Times reader hidden behind dismal headlines.

The four month-old Altman Siegel Gallery is set apart from neighboring galleries by its inclusion of a window, a trait that trades art hermeticism for the possibility of sunshine. Street noise is present but not disruptive — a reminder that another world exists beyond the space’s light cocoon of images and ideas. It has a distinctively different aura from the other galleries in the 49 Geary St. building, something Altman-Siegel says she is "sort of blind to."

After 10 years of work in New York City, Altman-Siegel slipped over to San Francisco to fill a gap in the West Coast gallery scene, bringing emerging local and internationally established artists who are still early on the trajectory to significance in the art canon.

Local art or specificity is prominent in Altman-Siegel’s curatorial work to date. The current show, though by a New York artist, includes sketches of familiar San Francisco street corners. Bay Area artist Trevor Paglen’s surreal cosmic photographs were the focus of the gallery’s first solo show.

Across the street, mannequins wearing teal trousers topped by black, multipocketed jackets and craftily reconstructed vintage dresses stand defiantly among an installation of birch tree branches and rusted machinery. A former STA travel office has been transformed into Shotwell, a cutting-edge update of a funky Aunt Edna boutique.

Newlyweds Michael and Holly Weaver needed somewhere to hawk their extensive collection of vintage clothes. When they landed a lease at 36 Geary St., the shop expanded to fuse groundbreaking European fashion and clothes by Bay Area designers. Denim from local menswear line B.Son is paired with chic shirts by Parisian collective Surface2Air. Shape-shifting square dresses from the San Francisco duo Please Dress Up! hang alongside bold separates by British label Scout. On the other side of Silverman Gallery’s recent move to Sutter Street, the openings of Shotwell and Altman-Siegel suggest that something new and bold is creeping up on Union Square.

Mirant’s last gasp?

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rebeccab@sfbg.com

GREEN CITY A new multipronged effort to shut down San Francisco’s Mirant Potrero Power Plant is raising hopes that the end could be in sight for the controversial fossil-fuel-fired facility.

An ordinance proposed by Sup. Sophie Maxwell suggests that the entire facility — including the primary unit 3 and the smaller, diesel-fired units 4, 5, and 6 — could be shut off without having to create any new fossil fuel generation within city limits. The legislation would direct the San Francisco Public Utilities Commission to figure out how to bridge the in-city electric generation gap using energy efficiency, renewable power, and other alternatives.

Meanwhile, a lawsuit filed against Mirant by City Attorney Dennis Herrera targets Mirant’s failure to perform seismic upgrades. The effort wouldn’t close the plant directly, but could make it more burdensome for Mirant to do business here. Mirant did not return calls for comment.

"Mirant has been given a free pass for a while, and the city doesn’t want to give it to them any more," Deputy City Attorney Theresa Mueller told the Guardian. "Part of the reason they’ve gotten away with not doing it is because it was expected to close."

City efforts to replace the Mirant plant’s power with combustion turbines that San Francisco already owns were derailed last year after Mayor Gavin Newsom withdrew his support for the plan, instead backing an alternative pushed by Pacific Gas & Electric Co. that would have retrofitted the Mirant plant, a proposal that consultants said didn’t pencil out and that failed to win Board of Supervisors’ approval (see "Power possibilities," 11/5/08).

Despite various city efforts to shutter the plant going back nearly a decade, Mirant Potrero still runs an average of 20 hours per day, according to figures released by the California Independent System Operator (Cal-ISO). In 2007, the plant released 235 tons of harmful pollutants into the air, and 336,300 tons of carbon dioxide.

For now, Cal-ISO requires Mirant to continue running to guarantee that the lights would stay on in the city even if major transmission lines fail. But with the installation of the Trans Bay Cable — a high-voltage power cord that will send 400 MW of electricity under the bay from Pittsburgh in 2010 — Mirant’s largest unit will be unnecessary.

"We assume that the Trans Bay Cable will be in service sometime in mid 2010. We can then drop Potrero [unit 3]" from the reliability contract, says Cal-ISO spokesman Gregg Fishman. The dirtier, diesel-powered units 4, 5, and 6 would still be required, he says.

Not everyone accepts this as the final word on the matter. Maxwell’s legislation calls for the SFPUC "to take all feasible steps to close the entire Potrero power plant as soon as possible." That ordinance, expected to go before the Land Use Committee on May 11, would direct the SFPUC to update a plan for the city’s energy mix, called the Electricity Resource Plan, to reflect a goal of zero reliance on in-city fossil-fuel generation.

The original plan, issued in 2002, was also designed to eliminate the Potrero plant. This time around, key assumptions have changed. Last year, as Newsom and some members of the Board of Supervisors battled over the Mirant-related projects, PG&E sponsored a study indicating that the city might not need new local power generation.

Maxwell’s new proposal, citing information from the PG&E assessment, now suggests that after the installation of the Trans Bay Cable and other transmission upgrades, the electricity gap for in-city generation will be much smaller than previously assumed. This gap, which Joshua Arce from the Brightline Defense Project likes to refer to as the "magic number," has apparently shrunk to 33 MW in 2012, as opposed to 150 MW. But Arce said, "We want the magic number to be zero."

Barbara Hale, assistant manager for power at the SFPUC, confirmed that the city agency was preparing to update the plan and noted that it would likely contract with a Colorado-based firm, Rocky Mountain Institute, to do it. "We are hoping we can meet San Francisco’s electricity needs in a way that does not involve fossil fuel generation in San Francisco," Hale told the Guardian.

Encouraged by the recent activity, environmental justice groups are organizing for what they hope will be the last push to shut down the Potrero plant. Tony Kelly, president of the Potrero Boosters and an activist on power plant issues, is optimistic. "There really is an end in sight to that power plant," he says.

Some eyebrows have been raised over the implications of the Trans Bay Cable, which by most accounts will be plugged into a fossil fuel-powered facility in Pittsburgh. "We really are going to be highlighting that San Francisco needs to take responsibility … so that we don’t have clean air on the backs of poor people and people of color in the East Bay," says Bradley Angel, executive director of Greenaction for Health and Environmental Justice.

Nor is everyone feeling optimistic that the closure of the plant is near. Joe Boss, a member of the city’s Power Plant Task Force for about nine years, says he still doesn’t expect Cal-ISO to budge, and believes the city will have to live with the Potrero plant for years to come.

Fishman, from Cal-ISO, said that as things stand, units 4,5, and 6 will "almost certainly" still be required. Almost. "Between now and when the Trans Bay Cable is in service, we can conduct … studies on transmission projects that are officially presented to us," he added. "Based on the hard data that comes from those studies, we may reevaluate the need for local generation."

Shop local, City Hall!

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news@sfbg.com

On Dec. 3, 2008, just before noon, Mayor Gavin Newsom arrived at a press conference in Noe Valley to remind city residents why it’s important to shop locally. The mayor climbed out of his shiny new hybrid SUV, walked into the Ark Toy Company, showed charts and graphs, and talked about how money spent in town helps the local economy. Joined by Steve Falk, president of the San Francisco Chamber of Commerce, Newsom urged holiday shoppers to look first in San Francisco before buying something on the Internet or in some suburban mall.

The mayor’s shop-local press conference was a clear sign that the debate over the role of small business in the San Francisco economy is over. Everyone from the mayor’s business advisors to the Chamber of Commerce to small business advocates and progressive economists now agrees that small local businesses provide the vast majority of the jobs, keep their money in town, and generate more tax dollars, more wealth, and more prosperity for this city than the big out-of-town chains.

It was a picture-perfect scene, until KPIX-TV reporter Hank Plante asked the mayor an embarrassing question: Why, he wanted to know, did the Mayor’s Office buy Newsom’s new car in Colma?

Newsom said he didn’t have a clue.

Actually, the reason was pretty simple: the dealership in Colma submitted the lowest bid. But San Francisco lost out on the sales tax, a local Chevy dealer that was going out of business lost a local sale, San Francisco workers lost a commission — and in the end, the city almost certainly lost more on the deal than it saved with the Colma discount.

That’s the untold story behind the mayor’s promotion. San Francisco, as a buyer of goods and services worth hundreds of millions of dollars a year, does a terrible job at shopping local. Indeed, for years small business advocates have been trying to get city officials to make it easier for local merchants to get city contracts — and they’ve made very little progress.

"I’ve worked so hard on this, year after year, and nothing ever happens," Scott Hauge, a small business activist and organizer, told us. "After a while, I just threw in the towel."

Hauge is devoting his energy these days to statewide issues. But on the local level, there’s a growing sense that the city needs to do more to help small local businesses get their share of the massive public spending pie.

"The Small Business Commission has made it clear that this will be a priority over the next year," Regina Dick-Endrizzi, the commission’s acting director, told us.

Nobody knows exactly what percentage of city contracts for goods and services go to local businesses. Hauge said the Mayor’s Office did a limited survey about a year ago, but the data wasn’t very good. And while Newsom signed an executive order in 2005 directing departments to look for ways to patronize local businesses, there’s not much to show for it.

"I think probably less than 10 percent [of city spending] goes to local businesses," Hauge said.

Board of Supervisors President David Chiu, a former small business commissioner, agrees. "I think it’s accurate to say that at least 70 to 90 percent of all city contracts go to out-of-town businesses," he told us.

As Dick-Endrizzi pointed out, city purchasing has strict rules — and for good reason. "In most cases, you have to put out a request for proposals and take the lowest bid," she said. "If you didn’t have that, you’d have a big problem with favoritism."

But when the lowest bid is the only criterion, San Francisco businesses are at a distinct disadvantage.

"Say a city agency wants to buy five hammers," said Steven Cornell, owner of Brownie’s Hardware. "I have the hammers for $6, but somebody in Nowhere, Miss., can sell them for $5.99.

"Well, the shop in Mississippi doesn’t have to pay San Francisco’s minimum wage, doesn’t have to pay for sick days, doesn’t have to pay for health care … We’ve asked businesses to contribute to all these good social policies, then those businesses get penalized because someone else can sell something cheaper."

Cornell — who says he agrees that local businesses should pay well and give their workers benefits — is frustrated that when it comes to purchasing, the city doesn’t give anything back. "We lost S&C Ford, we lost Ellis Brooks Chevrolet," he said. "Those were all union jobs, with good benefits. And how many cars did the city buy from them?"

When Cornell was on the Small Business Commission, he remembered some small locally owned cabinet-making shops came to complain about a $4 million city contract for woodwork. "They told us that they lost the contract to a Canadian firm," he said. "The costs of operating in San Francisco were higher than in Canada, so they couldn’t compete."

"We do not as a city reflect the fact that we ask employers to do good things for their workers," Chiu added. "When we spend perhaps $1 billion a year in city contracts, those employers don’t have a level playing field."

Sure, on the surface and in the short term, the city gets a better deal when it awards contracts based entirely on price. But San Francisco has, as a matter of public policy, already decided there are good reasons to give minority-owned contractors some advantage in bidding, and that public contractors should pay prevailing union wages and offer benefits to domestic partners. Local enterprises get a modest advantage in some bids, but nowhere near enough to make up for the cost difference of operating in San Francisco.

And as Newsom himself has made clear, spending money locally has a long-term economic benefit that almost certainly outweighs the price differential in most bids. "When Newsom bought his car in Colma, the city lost the sales taxes, and lost the multiplier effect of the money being spent in town," Cornell noted.

In fact, a 2007 study by Civic Economics, sponsored by the San Francisco Locally Owned Merchants Alliance, showed that if city residents shifted just 10 percent of their purchasing from national chains to locally-owned businesses, the city would gain 1,300 new jobs and $200 million in economic activity every year.

Imagine the activity — the positive benefits to the local economy — that would come with the city shifting, say, 25 percent of its spending to local businesses.

Obviously the city can’t buy everything in town. "Nobody in San Francisco makes Muni trains," Cornell noted. But a lot of what city departments buy, from hammers and paper to cars and trucks, is available from local suppliers — or could be. "If the city made it known it was looking to buy something locally, some entrepreneur would come along and figure out a way to supply it," Cornell said.

So how could this work on a policy level? It’s not that complicated. The city controller, or the Human Rights Commission, which oversees contracting policy, could devise a formula showing how much the cost of complying with city laws like the minimum wage, health care, and sick days (laws that most of us, and many small businesses, fully support) drives up the cost of doing business in San Francisco. Then give local merchants an equivalent advantage in the bidding process.

In other words, if the hammers at Brownie’s Hardware cost 25 cents more than the hammers in Nowhere, Miss., because Cornell pays for his workers’ health insurance, he should only have to come within 25 cents of the cut-rate suppliers’ price to get the city’s business. And if the taxpayers have to fork over a few cents more to buy local hammers, the money will come back, and more, from the demonstrated benefits of shopping locally.

Chiu thinks that’s a good idea, and he’s already taken the first steps to forcing the city to shop local. Chiu introduced legislation in April requiring the city to set aside a portion of all contracts for locally-wned businesses and to increase the financial advantage local firms get in bidding.

And at Chiu’s request, the HRC will appear before the supervisors Land Use Committee May 11 to present the latest data on how much city spending goes to local businesses. "I’ve been asking for this for two years," Chiu said.

"It is unwise for our city not to take $1 of public money and give it to a local business that will pass that dollar onto its local employee, who will then spend it at another local business," he added. "The multiplier effect of this is that money spent locally is better for the economy, and for the taxpayers."

Our 2009 Small Business Awards

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Why can’t City Hall shop local?

EMPLOYEE-OWNED BUSINESS AWARD

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Photo by Pat Mazzera

CHURCH STREET FLOWERS

"It was really all about trust," says Stephanie Foster of Church Street Flowers, when asked about the benefits and perils of transferring ownership of the delightful bouquet boutique — and perennial Guardian Best of the Bay winner — near the Castro to the employees. Foster, along with Rachel Shinfeld and Brianna Foehr, took over in December 2008 from previous owners Michael Ritz and Thomas Teel, who’d run the shop for a decade. "The three of us had worked here for a while and we knew our stuff, so Michael and Tom knew they could rely on us to preserve the legacy. And the outpouring of support from our neighbors and regular customers has been overwhelming."

The ownership change of the cozy shop, bursting with vibrant blooms and friendly energy, went off without a hitch. "We were part of the lucky few who received a small business loan before the economic collapse," Shinfeld says. "But our business plan was smart, and the bank saw that we knew what we were doing." And, even in the current climate, business is thriving. "Our arrangements aren’t your standard cookie-cutter stuff," Foster says. "People nowadays want personalized, reasonably priced, green-minded, and locally sourced. We fit into all that — most of our flowers are from the downtown flower market and we keep an eye out for organic. Plus we strive to create a real connection with our customers, so we can give them exactly what they want."

"Sure, there have been some adjustments," Shinfeld adds. "There’s a lot of paperwork — and the first thing we needed to tackle was a Web site redesign. But our experience working here helped us through, and I think we’re just beginning to blossom in our new roles." (Marke B.)

CHURCH STREET FLOWERS

212 Church, SF

(415) 553-7762

www.churchstreetflowers.com

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GOLDEN SURVIVOR AWARD

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Photo by Charles Russo

GREEN APPLE BOOKS

What is the special ingredient that transforms a business from just another store into a place that makes people feel inspired and connected? After 42 years as a San Francisco independent bookseller, Green Apple Books and Music seems to have found it. Located on Clement Street in a building that predates the 1906 quake, it’s a "big, sprawling, dusty and funky new and used bookstore," as co-owner Pete Mulvihill describes it, creating an atmosphere for interactions that might seem impossible in a big-box store. Several weeks ago, for instance, a customer approached the store clerks, presented a CD, and requested that they play it. He also asked them to clear out the philosophy room. "I want it to myself for just a minute," he explained. The staff complied, the music started, and the man whisked his girlfriend into the philosophy room and proposed to her.

"To me, that’s an honor that somebody loves the place so much that they would propose to their girlfriend here," says Mulvihill, one of three owners and an employee for more than 15 years. A founding member of the San Francisco Locally Owned Merchants Alliance, he has been at the forefront of a push to identify and promote the city’s small, independent businesses. "Locally-owned businesses recirculate more money in the local economy than national chains," the SFLOMA Web site points out.

"Frankly, we’re invested in the community," Mulvihill explains. "[We] love San Francisco, and we don’t want to go anywhere." (Rebecca Bowe)

GREEN APPLE BOOKS

506 Clement, SF

(415) 387-2272

www.greenapplebooks.com

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CHAIN ALTERNATIVE AWARD

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Photo by Charles Russo

HUT LANDON

Hut Landon is responsible the past few years for helping direct millions of dollars into small business in San Francisco and beyond, and millions more into the local economy.

He does it through his energetic and creative leadership of two key organizations that promote the interests of locally-owned small business. Landon has been the executive director of the Northern California Independent Booksellers Association (NCIBA), which promotes the interests of 200 independent bookstores in the region. He is also executive director of the San Francisco Locally Owned Merchants Alliance (SFLOMA).

Under Landon’s stewardship, the two groups commissioned a pioneering 2007 study that quantified the value of locally-owned businesses in the city. Their stunning finding: if consumers redirected l0 percent of their retail purchases from chains to locally-owned merchants, the result would generate about $200 million for the economy, l,295 jobs, and $72 million new income for workers.

Landon’s timing could not have been better. As the economy tanked, local merchants and neighborhood business organizations used the l0 percent consumer shift as a mantra. The study also pointed out that the local economy could get another big boost if the city would shop locally with the tens of millions it now spends outside the city for goods and services.

Landon likes to use the example of two brothers who live together. One works on Potrero Hill and eats lunch at one of the many locally-owned restaurants. The other works at Stonestown shopping center and eats at a chain restaurant because that’s all there is out there. The Potrero Hill money, he points out, stays in the community. The chain store money is sent back to headquarters. (Bruce Brugmann)

HUT LANDON

Northern California Independent Booksellers Association

1007 General Kennedy, SF

(415) 561-7686

www.nciba.com

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SMALL BUSINESS ADVOCATE

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Photo by Abi Kelly

REGINA DICK-ENDRIZZI

Small business owners often feel as if they don’t have many advocates at City Hall. But they do have Regina Dick-Endrizzi.

Dick-Endrizzi, acting director of the Small Business Commission, has been moving rapidly on ways to help small businesses feel more comfortable dealing with the city — and to help them thrive in a tough economic environment. She helped establish the Small Business Assistance Center, which guides local merchants and prospective entrepreneurs through the thicket of city regulations. "It’s a tremendous asset," she told us. "When people walk through the door, we can take the time to help them develop a roadmap to doing business here." And she’s a driving force behind the Shop Local campaign, which will launch this month with bus shelter and bus-side ads designed to encourage San Franciscans to keep their money in town (co-sponsored by the Guardian).

Known in political circles as a former aide to Sup. Ross Mirkarimi, Dick-Endrizzi has a solid background in business. She moved to San Francisco in 1986 to open the Haight Street Buffalo Exchange store, and worked with that company for 13 years. "We bought our inventory from local people, and I had to have a close relationship with local small businesses," she said. "I have an intimate understanding of what it takes to run a business."

After several years in Mirkarimi’s office, she learned of the opening at the Small Business Commission, and plans to stay there for a while. "I truly believe in what this department offers to small business," she said. "There’s such a tremendous need." (Tim Redmond)

REGINA DICK-ENDRIZZI OFFICE OF SMALL BUSINESS

1 Dr. Carlton B. Goodlett, SF

(415) 554-6134

www.sfgov.org

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GOOD NEIGHBOR AWARD

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URBAN SOLUTIONS

Urban Solutions has its roots in the South of Market Foundation, an economic development corporation formed in 1992 in response to what SoMa merchants, residents, and community-based organizations felt was a lack of accountability in their neighborhood’s development.

A decade later, the organization changed its name and Urban Solutions was born. Two years after that, the burgeoning nonprofit opened a second office, this time in the Western Addition, becoming an important source of service in both neighborhoods.

Urban Solution’s executive director Jenny McNulty says she is currently excited about her organization’s Green Business initiative, which helps educate small business on how to conserve resources and reduce their carbon footprints — and save money in the process.

McNulty is also amped about Urban Solution’s effort — undertaken with the San Francisco Redevelopment Agency — to revitalize Sixth Street’s commercial corridor.

"We’re expanding our Green Business Initiative program, which offers free consulting to help small businesses go green by implementing cost-saving practices to increase the sustainability of their business operations," McNulty said.

Urban Solutions’ Sixth Street revitalization effort includes beautifying the area and helping businesses, in conjunction with Redevelopment Agency grants, by improving their facades, installing new awnings, repainting buildings, and replacing windows, storefronts, and entrance ways.

"Our focus is low-income businesses," McNulty said. (Sarah Phelan)

URBAN SOLUTIONS

1083 Mission, SF

(415) 553-4433

www.urbansolutionssf.org

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GOOD NEIGHBOR AWARD

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Photo by Abi Kelly

JENS-PETER JUNGCLAUSSEN

Jens-Peter Jungclaussen had a dream: Buy a gutted, camouflage-painted school bus on eBay, convert it to biodiesel, and put it to use as a mobile classroom by day and a party on wheels by night, a rollicking omnibus of education, culture, and sustainability. With a few flicks of his wrist, Jungclaussen, a former German windsurfing pro and biology and PE teacher, transforms the bus to suit the need at hand — pulling down a movie screen from the roof; unpacking a buffet table, wet bar, or set of turntables from beneath the seats; or simply switching on the "party lights." Dubbed das Frachtgut ("the good freight"), the bus has hosted dinner parties on Twin Peaks, ecology classes in Muir Woods, sunrise raves on undisclosed beaches, and screenings of The Big Lebowski (complete with bowling and White Russians). It also serves as a mobile billboard for its various local, eco-friendly sponsors and can be rented for field trips and corporate events.

The ever-enthusiastic and tireless Jungclaussen recently turned his attentions to youth education, this year offering for the first time a "mobile summer camp." Teaming up with fellow teachers Michael Murnane, Gretchen Nelson, Justin Ancheta, and Leah Greenberg, he’ll present three, 11-day sessions on wheels that will introduce young people to a variety of Bay Area natural, artistic, and historical treasures. But don’t worry, the parties will still keep rolling. As Jungclaussen promises of the bus, "What you want it to be, it will become." (Marke B.)

JENS-PETER JUNGCLAUSSEN

(415) 424-1058

www.teacherbus.com

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ARTHUR JACKSON DIVERSITY IN SMALL BUSINESS AWARD

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IRENE HERNANDEZ-FEIKS

It’s easy to assume that the purpose of Chillin’, the brainchild of Mexico City native Irene Hernandez-Feiks, is simply to have a good time. But the multimedia parties Hernandez-Feiks has been throwing for 11 years are much more than entertainment. Their actual purpose is to stimulate the economy and support one of the most difficult small businesses to sustain: the business of art.

A former designer herself, Hernandez-Feiks started out organizing weekly happy hours at 111 Minna where she would feature up to five independent Bay Area designers. Her philosophy? Charge the designers nothing for the opportunity and take no commission. The formula worked so well that Chillin’ eventually grew from weeknight happy hours to Saturday night events, complete with DJs. Now Chillin’ is a full-fledged happening — indeed, the June 13 anniversary show at Mezzanine features 180 photographers and artists, 40 filmmakers, 80 fashion designers, and 12 DJs.

But watching Chillin’ grow — and seeing participating artists transform themselves from local to international names — isn’t enough for Hernandez-Feiks. She also devotes much of her time to charity work, including involvement with Gen Art, the Mexican Consulate Cultural Affairs division, the United Nations and Natural World Museum, and the Art Seed Apprenticeship Program benefiting Bayview- Hunters Point youth.

"Because of Chillin’, I have relationships with so many artists," she says. "I want to use those connections to help everybody out." (Molly Freedenberg)

IRENE HERNANDEZ-FEIKS

Chillin Productions

(415) 285-1998

www.chillinproductions.com

Waterbar

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paul@sfbg.com

Waterbar is, obviously, a seafood house, but it doesn’t shout this fact in your face. The building is handsome in a generic way, and the interior décor is notable mostly for its artful blend of bustle and hush. There is water to be seen — the bay, to be precise, viewable through gigantic plate-glass windows, although your eye is likely to be drawn upward to the Bay Bridge, which looks particularly massive when observed from almost directly below and does set the mind to hoping that all these seismic retrofits will do the trick.

Inside, there’s more water, held in two tall glass columns that are, in effect, aquariums. A curious effect of these watery columns is that they, like the bridge, carry one’s glance upward, to colorful fish swimming near the ceiling. The fish are glancing right back; are they marveling at their on-high view or wondering when their luck will run out?

Waterbar, which opened early in 2008, is the fraternal twin of next-door Epic Roasthouse, and it’s the kinder, gentler sibling. The tone of the place is a little less assertive, prices are more modest, and the maritime menu probably raises fewer ethical and environmental hackles than Epic’s meat-driven one — although not no hackles, since the tale of the world’s collapsed and collapsing fisheries now includes a chapter about our very own king salmon. I was surprised to find skatewing ($30) offered, since skate is a flat-out "avoid," according to the Monterey Bay Aquarium’s Seafood Watch service. Since it’s typically brought in from the East Coast, it also casts a larger-than-ideal carbon shadow. On the other hand, it is fabulous: a fan of ribbed white flesh, pan-seared to a crisp gold, splashed with a (too-salty) morel consommé, and plated with gnocchi, morels, English peas, and a pair of braised scallions.

Chef Parker Ulrich is a protégé of Farallon’s Mark Franz, and the pedigree shows. Seafood cookery benefits inordinately from a bit of flair, and Ulrich brings that flair. Exhibit A: the skatewing, which, after hesitating, I asked for and enjoyed. Another major example would be the grilled local sardines ($13), a set of plump, whole fish, nicely charred and plated with a celestial bread-crumb salad, golden and crunchy yet fragrant with mint.

Whole fish, including petrale sole, actually make up an entire subset of the menu. But petrale, a local favorite, might also recur as filets at the heart of a three-course prix fixe ($40), preceded by a sprightly green salad with pickled onions and crumblings of goat cheese and followed by a slice of lemon pound cake (slightly dry, intensely lemony), garnished with a strawberry dice and a puff of whipped cream. The fish itself was expertly cooked had been minimally fiddled with, although I was disappointed to notice that the accompanying ensemble (peas, gnocchi, braised scallions) was virtually identical to the skatewing’s.

Soups can be both fancy and less so. In the former category: a sumptuous lobster bisque ($9), poured tableside from a porcelain chalice over a lump of lemon chantilly cream and a clutch of tarragon leaves, which drift in the resulting thick sea like a school of exclamation marks searching for their dots. (The pouring, incidentally, is done by a member of a service team that practically swarms at key moments. When you first sit down, there is only one server, smiling and asking about drinks, but when the food starts to emerge from the kitchen, it’s brought and presented by a cast of … well, several, if not thousands.)

On the plainer side we find a clam chowder ($9), made with topneck clams, ample chunks of bacon and potato, and plenty of cream. There’s nothing subtle about this dish; it’s like running your pile-driver of a fullback straight up the middle on third and two and picking up eight yards. It’s good, in the full, unvarnished sense of that word.

I sound a gentle cautionary note as to items (other than alcoholic drinks) that are served at room temperature or lower. Coins of braised octopus ($16) — not quite room temperature, not quite chilled — were a little rubbery, although tasty. And the bread in the tirelessly replenished basket was both tough and under flavored; perhaps that was why the accompaniments included not only butter but a small dish of sea salt.

Still, Waterbar is lovely and worthy, a place that, despite its deluxe location and big ownership names (Pat Kuleto, Jan Birnbaum), offers something like value. Not many view restaurants can make that claim.

WATERBAR

Dinner: 5:30-10 p.m.

Lunch: Mon.-Fri., 11:30 a.m-2 p.m.

Brunch: Sat.-Sun., 11:30 a.m.-3 p.m.

399 The Embarcadero, SF

(415) 284-9922

www.waterbarsf.com

Full bar

AE/CB/DC/DS/MC/V

Well-managed noise

Wheelchair accessible

Hoof it

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superego@sfbg.com

SUPER EGO Hey, Shakes, have you puffy-penned and bedazzled your hamdemic flu mask yet? Mine’s totally going for that retro postapocalyptic electro look (so future yesterday!) and says "oink pAArty." I made it by running a pair of florescent New Balances and last-season Bottega Veneta remnants through my vintage Ronco Dial-O-Matic. Then I simply collaged. When the World Health Organization says "panic," I think "personalized nightlife accessory opportunity." Are they still serving bourbon bacontinis at Pop’s Bar on 24th Street? Flask us a threesome of those, text my porky ass from the Powerhouse trough, and let’s greet humanity’s swine song on the dance floor, chop chop.

TOPPA TOP


All praise to invaluable hometown hosts Jah Warrior Shelter HiFi Sound System for this weekly dancehall and reggae refresher at Club Six. None fear dread the mad decent cover, smoked-out vibe, and sticky-fresh deep-needling by the likes of Jah Yzer, Irie Dole, and Ivier at SF’s only "reggae happy hour". Wait, isn’t every reggae hour supposed to be happy hour?

Thursdays, 9 p.m., $5. Club Six, 66 Sixth St., SF. www.clubsix1.com

FREQO DE MAYO


Right after you sleep off your crudo de Cinco, step to this annual wigout’s mixed piñata of up-to-the-nanosecond styles. Vibesquad, a.k.a. Denver crunkadelic producer and DJ Aaron Holstein, brings the dirty future bass. Scuba, my current sonic crush, kills with dubstep depth that suddenly rounds up into sweet release, and New York City’s DJ Sabo is the coolest baile breaks kid on the globaltronic block. Headliner Kid Kenobi is less intriguing — a slick Aussie techno-popper with a B-boy lite patina. But at that point, you may just want to drop a lime and cut loose in your funny hat.

Fri/8, 10 p.m., $15. 103 Harriet, SF. www.1015.com

DIRTYBIRD PAJAMA JAM


Ha ha ha, I feel so spring break. Famed local techno label Dirty Bird matches its goofy sensibility with a no-slumber party, bunny slippers and all. DJs Claude VonStroke, Worthy, Justin and Christian Martin, and up-and-comer J. Phlip bring the post-minimal hijinks, you bring the stripy drawers and stuffed E.T. dolls.

Fri/8, 10 p.m., $15, Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

MALUCA AND ISA GT


Ladies, it’s your turn. I’m fainting for bad-girl MC Maluca’s raw and minimal electro-mambo heartstopper "El Tigeraso" single — her Dominican-via-Brooklyn roots tangle in all the right places. Colombian turntable whiz Isa GT sets her filters on stun and techs up the new-cumbia phenom with some major bounce and rave-y buildups. She’s got big names like Crookers in her corner, remixing her blog hit "Pela’O," but she’ll carve out killer stratospherics of her own in her SF debut.

Sat/9, 10 p.m., $10. Elbo Room, 647 Valencia, SF. www.elbo.com

NICKY SIANO **CANCELED! D’OH!


There is no house, there is no techno — there’s only a vast rainbow continuum of disco. So goes the current theoretical trope of dance music criticism (which unfortunately negates years of pre-mirrorball funk and kraut innovation). Still, if disco is Genesis, then DJ Nicky Siano of legendary ’70s Big Apple club the Gallery, which inspired Paradise Garage and Studio 54, is Adam — and this four-hour farewell set on the eve of his retirement should be a revelation.

Sat/9, 9:30 p.m., $15. Paradise Lounge, 1501 Folsom, SF. www.paradisesf.com

BIONIC


The 11-year-old Sunday chunky house and techno weekly has settled in nicely to its new digs at Triple Crown, just in time for some excellent weekend recovery comfort and joy. Sure, we all miss the great Top in Lower Haight, but the Crown’s primo sound system suits DJs Nikola Baytala, Solar, and surprise special guests quite rightly. Freak factoid: the night started out as "Bionic Peanut Butter" after the classic Gwen Guthrie throwdown. Yummers.

Sundays, 10 pm, $5, Triple Crown, 1760 Market, SF. www.triplecrownsf.com

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. *

Highbrow smut: local literary porno for book lovers

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By Juliette Tang

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Why Kindle when you can burn?

Sometimes, it really is sexier to close your legs and open a book. Especially in the case of good erotic fiction. While porn gives you a balls-in-the-face visual overload, the pleasures of erotica are subtler, more cerebral. A book of erotica is something you can take with you into the bathtub with a glass of wine, candles lit, and jazz on the radio. Or, put the dust jacket of Ulysses on your copy of Hot-N-Naughty: Extreme Erotica and you’re totally safe to read while MUNI-ing to work in the morning.

Always known as a bookish city, San Francisco does not disappoint bibliophiles whose tastes lean toward the more sensational. Who knew there were so many different words for “penis”? Like “bald-headed butler”? This Friday (May 8, 6:30PM) at the Good Vibrations on Polk (1620 Polk Street), treat yourself to a free session of “Erotica and Wine” with a special reading by writer John Thursday. More of an “erotic philosopher,” Thursday has introduced some truly necessary terms to our sexual lexicon, like zen penis, dong perch, and shirt cocking.

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Not an example of “shirt cocking”

If you’ve got the urge for some sizzling stories but can’t make it out to Good Vibes on Friday, check out some of these progressive San Francisco bookstores for some literary hardcore!

Film review: ‘American Violet’

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By Natalie Gregory

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Lawyer movies can be really entertaining. Tim Disney’s American Violet certainly is. I was sucked in from minute one. Based on true events, it’s the story of Dee Roberts (an awesome performance by Nicole Beharie), a single mother with four little girls living in the projects of a small Texas town. In these particular projects, there are frequent drug raids. The law states that a single informant’s testimony justifies an indictment — and Dee is wrongfully accused. ACLU lawyer David Cohen (a brilliant Tim Blake Nelson), believes Dee’s community is being harassed because residents are black, although the theory is very difficult to prove. The district attorney Calvin Beckett (a sadistic Michael O’Keefe) is tough, and he likes plea bargains. David, Dee, and do-the-right-thing local lawyer Sam Conroy (the great Will Patton) challenge Beckett. American Violet is not only an interesting story, it’s based on a true one. You can’t help rooting for Dee and hoping that justice will prevail.

American Violet Trailer

AMERICAN VIOLET opens Fri/1 in Bay Area theaters.

The trial of the San Francisco 8

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By Ben Terrall

On Monday, June 8, the seven former Black Panthers known as the San Francisco 8 will face a preliminary hearing in Superior Court. The defendants are charged in the 1971 death of a local police officer; the charges were initially brought back in 1975, and dismissed when a judge ruled that the central evidence in the case was obtained through torture.

In fact, the FBI COINTELPRO-era case has a chilling resemblance to stories of torture at Guantanamo Bay: the statements were obtained after several of the suspects were subject to sleep deprivation, wet blankets used for asphyxiation, and beatings.

Now, although the San Francisco district attorney refused to file charges, Attorney General Jerry Brown has brought the case back. In 2007, he charged eight men – all of them now in their 60s, 70s and 80s – with murder. One defendant has been dropped from the case.

The remaining defendants are Herman Bell, Ray Boudreaux, Richard Brown, Henry (Hank)Jones, Jalil Muntaqim (Anthony Bottom), Harold Taylor and Francisco Torres.

The case has attracted international attention, and Nobel Prize winners including Desmond Tutu have called on Brown to drop the charges.

Locally, it’s led to a fascinating battle within the San Francisco Labor Council.

Public access TV faces the axe

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By TIm Redmond

San Francisco stands to lose the vast majority of its public-access cable programming June 30th unless Sup. Ross Mirkarimi is able to convince his colleagues to try to force Comcast, the local cable operator, to keep paying the tab.

Comcast for years has paid enough money through its francise agreement with the city to fund the San Francisco Community Television Corporation, a nonprofit, at a level of roughly $700,000 a year. That pays for the studios on Market Street and a staff to manage 134 local programs that show on channels 29 and 76. It’s a wonderful mix of stuff, put together for what amounts to a bargain price in decidedly low-overhead studios, and demonstrates exactly what the notion of public-access TV is all about.

But in 2006, the state Legislature took the authority to regulate cable franchises away from cities — and that left San Francisco unable to continue demanding the payment for public access. Mirkarimi has figured out a way around it, and he has the support of state Sen. Mark Leno, who argues that the state legislation never intended to prevent cities from mandating public-access fees.

The technical glitch is language that seems to imply that the city can force Comcast to pay for facilities, but not for operating costs. Since the city’s pretty broke right now, it’s going to be hard to get $700,000 in General Fund money to pay the CTC staff. In fact, CTC applied to renew its contract, but the city said it was only going to be able to pay some $100,000 a year going forward.

But frankly, without a staff to operate the access channels, the whole enterprise will die.

Mirkarimi’s bill would hit Comcast with a new fee — and based on a letter he’s received from Leno, he thinks it will fly legally. But the cable company says it will simply pass that on to customers (who frankly don’t have a lot of choice in the market). The Chronicle’s Marisa Lagos put it this way:

A city report estimates that consumers, who currently shell out $6.24 per year, could end up paying 352 percent more, or $28.20 per year

That sounds like a whopping fee hike — 352 percent more! — but in reality, we’re talking about all of $21.96 a YEAR, or $1.83 a month. Which is pretty minimal.

At the Budget Committee, Mirkarimi and Sup. John Avalos voted to send the bill to the full board, which takes it up tomorrow, May 5th. Saving public access TV isn’t as important as saving public health, but it’s a part of San Francisco, and it’s a way for diverse and creative voices to get on the air — and it would cost the taxpayers nothing and cable subscribers pennies. This one needs community support.

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