Oakland

Snap Sounds: BRWN BFLO

0

By Marke B.

brwnbflo0509a.jpg

BRWN BFLO

BRWN BFLO

(self-released)

“Fuck macarena, we sun dance on that ass.” Absolutely digging the breezy flow, witty U-turns, and stellar executive production by Big Dan on the Oakland rap quartet‘s new release (pronounced “brown buffalo” if you didn’t know). The Jay-Z-like undertow brings some lush instrumentation and vibrant, retro-feel samplescapes into the mix, but these Latin lowdowners aren’t afraid to screw around with some electro-wacky nintendo samples (“Big Sir”) and even some Swisher-tips to hyphy. Best of all, though they ride hard on Chicano culture props and a dash of welcome positivity and humor, the exhilaratingly versatile skills of Giant, Jacinto, Somos One, and Big Dan launch this one out of the identity-rap rut into the “that shit’s smokin'” stratosphere. The disc is plainly a labor of love; live they should be something else. The new album officially drops on 5/5 (Cinco de Mayo, natch) — details about this weekend’s big release party below.

BRWN BFLO, “The Reappearance” sampler

BRWN BFLO
Album release party
Sat/2, 9pm, $8/$13
The Uptown
1928 Telegraph Ave
www.uptownnightclub.com

View the previous Snap Sound here

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

0


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

By Kimberly Chun

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

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

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

The name game

0

johnny@sfbg.com

LABELS Look for the label: that shopper’s instruction has carried a wealth of meanings over the years in the music industry. Stax and Motown have soul. Jazz has Verve. Kudu has that bluesy voodoo. If you want a symbol of vindictive business dealings, look up Savoy. If you’re obsessed with the history of post-punk and indie rock, see Factory, Rough Trade, and Creation. Yet what does a label mean in 2009? Do labels still matter in an ever more ephemeral music industry? In fact, does matter itself matter anymore in a world where the C in CD might as well stand for coffin-bound? God save EMI?

I put the first question to a number of label owners and representatives recently, hoping their answers might provide an entry into a discussion of the role of labels and the potential of music today. Their answers did not disappoint. "Anyone saying [labels] are dead and gone is not factoring in the talented, but brainless, American Idol contestant," quipped Ken Shipley, founder of the vaunted reissue and archival label Numero Group. "They’re backed by liquor companies and weapons manufacturers, and as long as the Army needs music for commercials at movie theaters, they’ll be in business. The labels that are about to be useless are the large indies — crippled by an infrastructure and overhead built for the ’90s CD bonanza — and the micro-indies, [that are] doing what any band’s manager can already do."

Such a perspective suggests that reissue labels have the truest vital stake in the future of commercially produced music, and this passionate music lover has to admit that it sometimes feels this way: over the last few years, archival entities such as Numero Group, Omni Recording, Trunk, Light in the Attic, and the local Water label have played as major a role in my listening experience as any indie dedicated to new groups and artists.

Yet even as iTunes demands that everyone stand under its umbrella, the meaning and importance of a small label can persist in very simple and profound ways. "I pay attention to records coming out on good labels that I know I can trust," says Filippo Salvadori of Runt Distribution, the Oakland home to reissue labels including Water and 4 Men with Beards. "A record label is an important hub for art and idea exchanges between music lovers and musicians," Bettina Richards of Thrill Jockey likewise declares, her directness and use of the word record born of past and recent experience.

"I think labels are as important as ever," maintains Mike Schulman of the Bay Area indie pop shrine Slumberland, which is currently experiencing a new burst of recognition thanks to bands such as Crystal Stilts and the Pains of Being Pure at Heart. "With the increasing fragmentation and atomization of genres and scenes and markets, customers rely on labels as a curatorial enterprise, a shorthand signifier for what they’re into, and a useful tool to help sort through the mountain of new music."

The curatorial corollary, or an editorial variant, comes up more than once among small label owners. "In an sense, we serve as editors, but to do more than edit," says Andres Santo Domingo of Kemado Records. "We actively promote the artists on our roster and help make their life easier so they can dedicate themselves to being musicians [at a time when making] music is less financially viable than it was in the past."

Joakim Hoagland of the Norwegian label Smalltown Supersound has a more idealistic view of the label owner’s enterprise. "In my opinion, running a label is an artform," he writes, still passionate in the wake of a recent public debate with Peter Sunde of the Pirate Bay, a staunch opponent of music labels and other aspects of copyright culture. "I am in general a label fan and have read most books available on labels like Elektra, Impulse, Creation, Rough Trade, Factory, and so on. I love labels, and sometimes am more interested in a label than an artist."

While Hoagland makes a case for the label identity that is forged as a labor of love for new music, Shipley of Numero Group feels that reissue labels have a "brand identity" that most labels devoted to contemporary music currently lack. Indeed, this might be the case, thanks to the manner in which iTunes seems to have swallowed the experience of listening to recorded music. "Although millions of labels sell their music through iTunes, the only brand name that is really involved and talked about through the process is iTunes, which isn’t even a label," notes Jonny Trunk of the U.K. reissue treasure trove Trunk. "You cannot search on iTunes by label. Which is rubbish, really."

Matt Sullivan of the Seattle-based label Light in the Attic fuses Hoagland’s appreciation of past labels with Shipley’s and Trunk’s devotion to discovering old "lost" music. "There was something so beautiful about labels like Stax, early Sub Pop, Creation, or even Reprise/Elektra/Warner when Stan Cornyn was at the helm in that golden age of the late 1960s and early 1970s," he observes. "No one’s done it better since."

For Sullivan and Light in the Attic, a label functions as a way to right past industry wrongs, and find or create new audiences for abused and neglected artists. "Most managers, labels, publicists, booking agents, etc. are crooks and cheats, better suited for a position at Enron or Madoff Investment Securities," he notes. "After all, though, this is the entertainment business and it feeds on low-lifes." He contrasts this bleakly funny outlook with the dedication required in reissuing a choice recording from long ago: "Folks have no idea the amount of time that goes into a reissue. On the other hand, I have no idea the time that’s invested in making a tube of toothpaste." This dedication results in a recorded object with artwork in the case of Light in the Attic, or Trunk, whose namesake is an expert on music library treasures, and the author of a deluxe book of artwork (with a CD) related to the subject, The Music Library (Fuel Publishing).

As CDs pile up in landfills, vinyl is returning from the dead with ever-increasing commercial vitality, even if on a smaller scale. "From a personal level, I wish the CD would die," says Chris Manak, a.k.a. Peanut Butter Wolf of Stones Throw Records. "I don’t have an effective way of storing mine without losing them all the time. I wish everybody who liked music would buy a damn turntable or two, like me." Richards of Thrill Jockey sees growing vinyl activity, if not that level of popularity. "A great example of the trickle-up effect is the surge in LP sales," she says. "It is a great adventure to be a part of, and be on the hunt for new sounds without limitation to form."

But what does it all mean for the musician? "There may be some brave new world wherein the artists can do all the work themselves, but I think that notion, at least from the current perspective, is a pipe dream," says Joel Leoshke of Kranky, home of groups such as Deerhunter. "Can you name three artists that work without a label at the moment? I think not."

"Labels needs bands, not vice-versa," counters the acerbic Shipley. "The sooner every band in the world realizes that, the better off they’re going to be. Labels are for the lazy, the incompetent, and the cash-poor. Sadly, this represents 99 percent of all musicians. Good luck." Asked about the future role of labels within the industry, he makes a comparison. "The label’s role is a business version of child support: Wednesdays and every other weekend until your artists hit their teens and hate you."

Other label owners imagine even more dystopian scenarios. "As J.G. Ballard predicted, you will soon see musicians taking cruise ships and airliners hostage to hold private and compulsory listening parties," half-jokes David Thrussell of Omni Recording, which has uncovered vanguard audio explorers such as Bruce Haack. "Naturally, record labels will support artists to the maximum of their ability in these brave new marketing ventures." Slightly more seriously — only slightly — he lists his and Omni’s future goals as at attempt to "pry as many strange or under appreciated records out of musty vaults and attics as we can until the Earth explodes in a cloud of tepid dust (not that far off)."

Some label reps see labels taking on an even more encompassing role in relation to musicians. "I think some of the larger labels will be demanding much more from their artists — these 360-type deals where the labels want to own the artist, their recordings, their publishing, their gig rights, the merchandise, the outfits, all online activity, everything, everywhere," says Trunk. Hoagland of Smalltown Suerosund envisions a similar scenario in kinder, gentler, smaller terms. "My opinion is that labels should do more booking and publishing as well as releasing music. I think it is better for artists if you have one team or label work for you rather than three or four working against each other. I am not sure if 360-type deals work well with the majors, but the indie could make them into something cool."

"I know I’m a bit of a music geek about labels," admits Schulman, who once was more cynical about the industry machinations he’s moved through. "But I think that as the group of people who actually buy music continues to shrink down to a core of those who really care about it, they’ll continue to coalesce around the labels whose taste they trust."

The body count

0

› le_chicken_farmer@yahoo.com

I pushed a peanut shell through a hole in the tabletop. We were outside, upstairs, on a wraparound deck and the left side of me was getting burnt. The right side of him. Hot day …

There were boats. Water. There was a view of the Oakland skyline.

"I had my first lesbian lover," I said, to get his attention. I was tired of talking about snowboarding and soccer, sports, his and hers. I was ready for some he-said-she-said, the good stuff.

"Really?" he said, with the big smile with the perfect teeth.

Our beers were half-empty, the peanut basket half-full. I told my story, watching his face, pushing peanut shells through the many holes in the iron tabletop. I thought they were scattering on the floor below, on the deck, but in fact they were piling up on my skirt.

He dates a lesbian. His name is Ratatat and he has black hair and thick, black, old-fashionable glasses, an Asian Woody Allen or Elvis Costello, only a lot younger than both of them, put together.

He also dates me. Although … as our dates get funner, they get farther apart. And we talk more about who else we’re seeing … Which is fine. Really.

No. Really, I have a bad attitude about polyamorousness. Polyamorless, I call it. Luckily, my bad attitude is in this case trumped by a really very good attitude about the nature of reality. The nature of reality is that it is real. It’s what’s for dinner. No. It’s what we are left with after dinner, the bones, dirty dishes, and in some cases, indigestion.

I have started a kind of a museum of Things Guys Left At My Place Because They Leave In Such A Hurry. See? I’m a realist. In lieu of the return visit, let alone flowers, let alone love, I smoke the rest of their cigarettes and wear their big stinky shirts like a nightie in the morning, with my coffee. It’s a cool twist on cross-dressing, and I love it. I love the smell. I love the way guy-grade cotton feels against my bare skin. One man left a pair of sunglasses and I wore them and loved the way the world was.

But how can I explain all this to Ratatat, who treats me truly like a friend? Who leaves nothing and does come back, who picked me a flower one time …

I can’t! So I gave him the fantasy, the body count, instead: one woman, one man, since last we met. And he gave me his. The ongoing lesbian. A cute girl upstairs. Somebody else …

Besides peanuts, which are on and all over the house, we split an appetizer with our beers: Quinn’s signature, a halved tomato dressed with pesto and piled with shrimp. Perfect for the hot day, a midafternoon snack, and the bayside setting. Place used to be an actual lighthouse! Now it’s a split level, split-themed restaurant, yacht club style downstairs, peanut-littered pub up.

And there really was a pirate sitting near the door when we left, after only one beer apiece. Anyway, he was a salty old-timer with a parrot on his shoulder.

After we walked past him I turned to Ratatat and said, "That guy works for me."

Because he did. I’m a fiction writer.

I gave Ratatat and his flat-tired bicycle a ride home and a hug, then went to be with the children. Then went to be with the chicken. Cakey, who I had successfully cured of broodiness by bringing her to the woods and basically traumatizing her. As I write this, she is kicking leaves and looking for bugs right next to me, a healthy, happy, and functional member of society.

Well, what’s good for the chicken …

I will get on an airplane, which is the scariest thought I can think of. My passport application is all filled out. I forget how long it takes but I got a packet of alphabet pasta in the mail yesterday. While I’m waiting I will nitpick these A’s, B’s and C’s into top-secret international love letters, then eat the evidence.

QUINN’S LIGHTHOUSE

Daily 11:30 a.m.-9 p.m.

1951 Embarcadero East, Oakl.

(510) 536-2050

Full bar

AE/D/MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

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

0

pals0409a.jpg

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

———-

NEW RESTAURANT and BAR OPENINGS

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

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

———-

EVENTS

Monday, April 27 – Meatpaper Mag’s Pig Party at Camino in Oakland

We haven’t tired of pig yet… I crave it most days. Meatpaper, food lover’s choice for all things meat, celebrates the launch of Issue Seven: the Pig Issue. Oakland’s Camino is the site of the party with their own Russell Moore, among other great pig chefs, like Ryan Farr and Taylor Boetticher, preparing fresh sausages, roast pork, pig tails, chicharrones, charcuterie, even gourmet corn dogs, plus vegetarian delights for the non-pig eater. Sponsors from Prather Ranch to Trumer Pils get in on the action. Sip cocktails, wine and beer while surveying whole-animal butchery demos from the experts. More details here: www.meatpaper.com/mailings/090413/index.html.
6-9pm, $35
Camino
3917 Grand Avenue, Oakland
NO tickets sold at the door so buy in advance:
http://pigparty.eventbrite.com

Sunday, May 3 – Pig-Out Party at Coffee Bar… with screening of Porky’s
Coffee Bar and Ryan Farr’s 4505 Meats host a Pig-Out party to rival all pig parties (have you had enough of the pig yet?) This is one is unique… Mr. Farr gives a butcher demo with salty snacks (including his ever-popular chicharones), while Speakeasy “Big Daddy IPA” and Balletto Winery Pinot flow. 6pm means it’s supper time with a buffet of meats (duh), charred carrots, potato and leek salad, greens and veggies, and the pièce de résistance: Red Waddle Heritage Pig Roasted on a grill and rotisserie. Dessert has to have pig in it, too: bacon, peanut butter chocolate brownies. Being at Coffee Bar means its fabulous coffee and espresso will flow with music from DJ Denizen until movie time. Yes, the whole shebang ends with a wall projection of none other than Porky’s. Need I say more?
3pm – butcher demo, beer, snacks; 6pm Dinner, $35
RSVP: pigoutcoffeebar@gmail.com
Coffee Bar, 1890 Bryant, SF.
www.coffeebar-usa.com

Through May 3 – Special Alaskan tasting menu at Pacific Catch
You don’t see Alaskan tasting menus too often. In fact, I’m hard pressed to remember ever seeing one. Which is why Pacific Catch’s menu this week intrigued. Exec Chef, Chandon Clenard, pays homage to North Pacific seafood in his series of tasting menus, available at the 9th and Irving and Marin (Corte Madera) locations. With “The Last Frontier” menu, there’s a choice of Alaskan King Crab soup or Alaskan halibut skewers to start. Main course is Hickory-smoked salmon with baby bok choy and black rice, and dessert is, what else? Baked Alaska with blackberry ice cream and spiked berries.
$26.95 for three courses
1200 9th Avenue
415-504-6905
www.pacificcatch.com

———-

DEALS

Whiskey Wednesdays at Fifth Floor
They had me at “whiskey”. Head to the classy, but-not-stuffy Fifth Floor Lounge, upstairs in the Hotel Palomar for Whiskey Wednesdays. The whiskey flights (purely for educational purposes, of course) change weekly with three whiskeys from around the world. Yes, this includes our country’s own beloved bourbons and ryes, along with the scotches, et. al. There’s even "flask service", so bring your flask to fill up. Cocktails for those who don’t want it straight will feature the base ingredient and go for $7. Might as well order Chef Laurent Manrique’s mother’s recipe of duck cassoulet ($12) to go with the brown stuff, which he serves special for Wednesdays.
5pm
12 4th Street
415-348-1555
www.fifthfloorrestaurant.com

ACME Chophouse Happy Hour
There’s lots of activity at AT&T Park lately since baseball season began and many surrounding restaurants and bars are offering special happy hours. ACME is about as convenient as it gets being downstairs from the ballpark, but they’re hoping to give you a reason to come out on non-game days, too. $3 draft beers, $4 wines by the glass or $10 for a half-bottle sounds good enough, but there’s also $5 apps from Iron Chef/James Beard award-winning chef, Traci Des Jardin, like smoky chicken wings, Dungeness fritters or baby-back ribs.
Tuesday-Friday on non-home game days, 4:30-6:30pm
24 Willie Mays Plaza
415-644-0240
www.acmechophouse.com

Tell BART what you think

2

By Tim Redmond

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

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

Appetite: Hot tamales, banana cookies, $1 martinis, and more

0

tbtb2008.jpg
Hot Tamales on Sun/26. See “Events” below

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

———-

NEW OPENINGS

Anthony’s Cookies satisfies your cookie craving all day long
On the same Mission block as Suriya Thai (R.I.P.), is a new cookie kitchen that can help assuage the loss of my favorite Thai. Anthony (who has spent over 10 years perfecting his craft) and his staff give a friendly welcome as they bake, for now offering a half dozen cookies for $5, or $9.25 a dozen, eventually selling them individually. On the blessedly smaller side, they’re warm and about as homemade tasting as they smell. There’s toffee chip, banana (like banana bread in cookie form), cinnamon sugar, whole-wheat oatmeal cranberry, gooey chocolate chip, and maybe my favorite? Cookies and cream. Tastes like home.
1417 Valencia, SF
415-655-9834

www.anthonyscookies.com

Moussy’s brings French cooking classes, movies and Petit Dejeuner to Nob Hill/Polk Gulch
Downstairs from Alliance Francaise, there’s a new stop pre or post AF’s French language classes and film screenings: Moussy’s, an intimate, candlelit cafe for a morning croissant and cappuccino, or lunch time respite, serving salads, baked brie, and pot pies. They’ll soon be offering French cooking classes and film nights, too, ensuring that foodies, expats, bohemian artists, poets and aspiring cooks have a true Parisian cafe hangout.
1345 Bush, SF.
415-441-1802
www.moussys.com

————

EVENTS

April 26 – Tamales (and margaritas) By the Bay at Fort Mason
Tamale lovers come out en masse to Fort Mason for Tamales By the Bay. Sample tamales and salsas from Nor Cal’s best in styles from Oaxacan, Yucatecan, Salvadoran to Chilean, and vendors like La Cocina and Rancho Gordo. Margarita Gladiators will be battling it out for best margarita, which you can, of course, also sample, while grooving to live music, demos and a raffle of prizes from JetBlue tix to a bottle of Partida Elegante Extra Añejo Tequila. Arriba!
12-4:30pm, $40
Fort Mason Center, Landmark Building A
Buchanan Street at Marina Boulevard
415-695-9296
www.tamalesbythebay.com

April 27 – Ministry of Rum Festival comes to Hangar One
Consider it a pre-Summer rum fest… Hangar One/St. George’s Distillery, home to beloved Hangar One vodkas and St. George’s incomparable spirits, is the hangar island site for all things rum at SF’s Ministry of Rum Fest. Vendors like Leblon, El Dorado, St. Bart’s and Ron Barcelo educate on their sugar cane spirits, while primo Bay Area mixologists like Martin Cate, founder of Forbidden Island Tiki Lounge, Erik Adkins from Heaven’s Dog, Thad Vogler of Bar Agricole, Brooke Arthur of Range, and Duggan McDonnell of Cantina, showcase rum-based cocktail creations. There’s cheese pairings and door prizes to boot. Though plenty of free parking can be had at the distillery, those on foot or drinking (wait, won’t that be everyone?), are given rides with Bonjour Transportation from Oakland’s 12th St. BART station to the distillery continuously from 6-9pm, $50
2601 Monarch Street, Alameda
www.ministryofrum.com/sf2009.php

———–

DEALS
Hookah Happy Hours at Sens
In Embarcadero Center 4, spacious Sens restaurant, with regal Bay Bridge and Ferry Building views, started a Hookah Happy Hour for a weekday smoke along with discounted cocktails, wine and beer. For $15, you’ll have your own hookah set up on the patio with choice of apple, strawberry or peach tobacco, so you can puff away the twilight hours.
Monday-Friday 3:30-7:30pm, $15 per person
4 Embarcadero Center
415-362-0645
www.sens-sf.com

$1 Martini Lunch at Palio D’Asti
Palio D’Asti makes it WAY too easy to forget economic (or other) troubles with $1 martinis during weekday lunch. They shake up a martini with your choice of Stoli Vodka or Hendrick’s Gin, so order a Pizza d’Asti (with shaved asparagus, fontina Val d’Aosta cheese and thyme) or Agnolotti di Carciofi (artichoke and mascarpone-filled ravioli with sage and sweet onion ragout) and drink up!
Monday-Friday Lunch
640 Sacramento St.
415-395-9800
www.paliodasti.com

Three course meal at Michael Mina for $55
Michael Mina is special occasion dining (for most of us, anyway) at well over $100 a person, but they’ve jumped into the "specials" pool with an EARLY pre-theatre dining menu available until 6pm, plus a new lounge menu available all night. The first is three courses for $55, offering Mina classics like Ahi Tuna Tartare and unparalleled Lobster Pot Pie (this Mina staple is decadently good), and only $20 extra for three wine pairings from their award-winning list. The lounge menu includes Mina’s playful Lobster Corn Dogs as well as the Lobster Pot Pie, and cocktails so good, they alone are worth a visit.
Tuesday-Saturday, before 6pm
335 Powell Street
415-397-9222
www.michaelmina.net

12 sweet spots

0

Spring and summer are sweet seasons. Rays of sunshine and blossoming flowers make for happy eyes and noses. Why not let your tongue join in too with a sugary treat? And these desserts are sweet deals too: all 12 of these delights cost less than $5.

DYNAMO DOUGHNUTS


Start the morning off sugar-rich right with a ring of wonder from Dynamo Doughnuts. Every light, airy doughnut at the streetside outpost is delicious, from the simple vanilla bean to the complex seasonal flavor combinations like huckleberry with Meyer lemon frosting. But the gooey caramel that tops the caramel del sol is to die for.

2760 24th St., SF. (415) 920-1978; www.dynamosf.com

BITTERSWEET


Mochas at Bittersweet are great. This is a fact. But here’s a secret: they also make their own marshmallows, which are incredible when eaten alone. This confectionary delight will send a dusting of powdered sugar all over you as the air-light marshmallow melts in your mouth. Never again will Jet-Puff suffice.

2123 Fillmore, SF. (415) 346-8715; 5427 College, Oakland, (510) 654-7159; www.bittersweetcafe.com

MITCHELL’S


Never mind the cones and cups, at famous ice creamery Mitchell’s, the sandwiches will give double the sweet delight. After sampling a few flavors — like toasted almond Mexican chocolate, and green tea — pick a favorite and have it shmooshed it between two Otis Spunkmeyer chocolate chip cookies.

688 San Jose, SF. (415) 648-2300; www.mitchellsicecream.com

TCHO


For a truly life changing experience, get a shot of the drinking chocolate at the Tcho pier outpost. If you don’t have a keen eye, the little retail space, adjacent to the factory where the delicate fair-traded chocolate is made, is easy to miss. But the powerful, decadent drinking chocolate is so buoyant with flavor — notes of citrus and nut — that it’s impossible to forget. In fact, I almost couldn’t stand to swallow it. I wanted that silky chocolate in my mouth forever.

Pier 17, SF. (415) 981-0189, www.tcho.com

MARA’S


If I had an Italian grandmother, I imagine that her kitchen would be something like Mara’s, where the windows overflow with cookies and croissants and fading posters of the motherland covered the walls. Her cannoli would be the perfect mix of decadent, but not overly sweet, ricotta filling with the occasional chocolate chip and crisp sand-colored crust. Good thing I can slide up to North Beach to enjoy Mara’s cannoli as a grandma substitute.

503 Columbus, SF. (415) 397-9435

JUST FOR YOU CAFE


When I need a sweet finger-lickin, stomach-filling something, I settle down on a stool at Southern food joint Just for You Cafe and order a plate of beignets. Not quite as satisfying as the puffs at New Orleans’ Café du Nord, but still deep-fried powdered sugar drowned squares of down-home goodness.

732 22nd St., SF. (415) 647-3033, www.justforyoucafe.com

KARA’S CUPCAKES


While we’re all a little bored of the Carrie Bradshaw cupcakers, sometimes a little cake with frosting is simply necessary. Pretty pink Marina cupcake boutique Kara’s Cupcakes has a delicious selection. The rich espresso-buttercream-frosted java cupcake is delightful.

3249 Scott, SF. (415) 536-2253, www.karascucpakes.com

THE CANDY STORE


A big smile (and maybe a wink) will get you a sample from one of the glass jars filled with goodies that line the walls of the Candy Store in Russian Hill. Bubble-gum balls, gummy bears, licorice, malted milk balls, snowcaps, whatever your candy craving may be, the Candy Store has. Just be careful — this is a child’s dream world and snatching a cantaloupe-sized rainbow lollipop out of the hands of a wide-eyed tyke won’t go over so well with the shop girl.

1507 Vallejo, SF. (415) 921-8000, www.thecandystoresf.com

1507 VALLEJO, SF. (415) 921-8000, WWW.THECANDYSTORESF.COM

SCHUBERT’S BAKERY


The long glass case that runs the length of Schubert’s Bakery in the Richmond District displays the most delectable selection of cakes I’ve ever seen. The bakery has been a city institution for almost a century, and I have no doubt it’s because life is incomplete without their currant mousse and classic cheesecake.

521 Clement, SF. (415) 752-1580, www.schuberts-bakery.com

MIETTE


For French treats in an English garden-inspired atmosphere, the madeleines at Miette can’t be beat. The tiny fluffy, moist, shell-shaped cakes are delightful when paired with cappuccinos or tea, and may induce a Proustian awakening after a long, tiring day.

2109 Chestnut, SF. (415) 359-0628, www.miette.com

COCOLUXE


Truffles are a standard luxury, one not often married to sleek and slightly cheeky design. Haight Street chocolate shop CocoLuxe dusts the top of each of their ganache truffles with a little picture that tells the flavor — from teapots and angels to gingerbread men and oranges. Best enjoyed while kicking back in one of the white retro chairs in the mod space.

1673 Haight, SF. (415) 367-4012, www.coco-luxe.com

EGGETTES


When willing to go further afield — both in culinary palate and location — the cream-filled, egg-shaped waffles at Eggettes are worth the adventure. Hong Kongers eat eggettes, a popular street food served in paper bags punched with holes, for breakfast. I can’t handle the pastel-drowned Easter-egg interior of the Sunset District shop before 10 a.m., but certainly enjoy the warm puffs as an afternoon snack.

3136 Noriega, SF. (415) 681-8818, www.sfeggettes.com

Big Easy in the Bay

0

culture@sfbg.com

New Orleans is one of those near-mythical cities: aching, beautiful, unique, rich with history. And New Orleans folk love their drink. They should. They’ve contributed much to the history of the cocktail, with some of the best drinks in existence — like the Sazerac, official cocktail of NoLA — created and served there.

Lucky for us, San Francisco is one of the world’s best cocktail cities, in creativity and craft, with artisan cocktail bars continuing to crop up everywhere, just as they did in our wild, Barbary Coast past. And with a little searching, you can find a number of places to get an authentic New Orleans’ concoction. Here’s a journey through Big Easy cocktails that actually keep up with versions I’ve imbibed in New Orleans. Now if I could just find a Bourbon Milk Punch…

SAZERAC

ABSINTHE


Created by Antoine Peychaud in 1830’s New Orleans, the mighty Sazerac is a drink to be reckoned with. Many versions have evolved, usually some combination of Rye whiskey or bourbon, sometimes cognac, Peychaud’s bitters, sugar, and a rinse of absinthe. Bracing with a touch of sweet, it’s a robust, beautiful drink. Absinthe has been doing cocktails right since well before the ‘cocktail renaissance’. Their Sazerac is no exception.

398 Hayes, SF. (415) 551-1590, www.absinthe.com

BROKEN RECORD


More in line with NoLa’s Tujague’s experience, Excelsior’s king of dive bars stirs intense, balanced sazeracs for an unheard-of $5. Best of all? They don’t skimp on ingredients, using quality rye and St. George Absinthe. Paired with house BBQ, Crawfish Etouffee, or an Oyster Po’ Boy, you’ll be ready to form a second line brass band.

1166 Geneva, SF. (415) 963-1713

JARDINIERE


Pull up to the gorgeous, 1930s supper club bar and have Brian MacGregor mix you a perfect sazerac, made with their own barrel of Sazerac brand rye and brilliant Vieux Pontarlier Absinthe. You’ll want to take to the floor like Fred and Ginger…

300 Grove, SF. (415) 861-5555, www.jardiniere.com

MINT JULEP

ALEMBIC


There’s a lot of debate about the origins of the great Mint Julep… a sure way to rile a Southerner up is to raise the question. Though likely not created in New Orleans, the traditional beverage of the Kentucky Derby is made in top form there, particularly by the amazing Chris McMillian at the Renaissance Pere Marquette Hotel. A shock of strong bourbon, lightly sweetened, with refreshing mint on a snow cone of ice, a Julep isn’t right unless served in a proper julep cup. Possibly my favorite of all cocktails, I’m proud to say we have a 100 percent authentic version at our own Alembic.

1725 Haight, SF. (415) 666-0822, www.alembicbar.com

PIM’S CUP

15 ROMOLO


Though Pimm’s was created in 1840s England, a revitalizing, long Pimm’s Cup (Pimm’s, ginger ale or club soda, cucumber, sometimes mint, lemon) was popularized in the US at New Orleans’ Napoleon House, where I’ve savored it mid-afternoon in their unparallelled 1700s courtyard. In SF’s newly-redone 15 Romolo, taste goes even further. Besides meticulously prepared cocktails from a top-notch bartender line-up, plus creative bar food like their addictive Jambalini, I was thrilled to find the Pimm’s Cup served in Romolo’s dim wood bar the best I’ve ever tasted. Made with Rye, it’s genius.
15 Romolo, SF. (415) 398-1359

RAMOS GIN FIZZ

PRESIDIO SOCIAL CLUB


A blissful daytime drink, the Ramos Gin Fizz is one of New Orleans’ greats, invented by Henry C. Ramos in 1888. Dry gin, lemon and lime juice, sugar, cream, nuanced orange flower water and club soda, made frothy by egg white, it’s light and luscious. It’s an ideal morning imbibement that goes down all too easy. Presidio Social Club offers a soothing brunch in a clubhouse setting with 1940s vibe, lots of sunlight, and a classy bar staff who know their cocktails… including the Gin Fizz.
563 Ruger, SF. (415) 885-1888, www.presidiosocialclub.com

HURRICANE

FORBIDDEN ISLAND


The Hurricane isn’t my preferred NoLa drink, but is one of its most popular, served by the tons at, and credited to, Pat O’Brien’s, where, in the ’40s, he’d pour the mix into hurricane-lamp-shaped glasses for NoLa sailors. Usually too sweet for me, it’s a daiquiri-style, rum-based drink of passion fruit and lemon (or sometimes lime). But if there’s one place that does it right, it’s Forbidden Island Tiki Lounge, with balanced, not-too-sweet, tropical drinks.

1304 Lincoln, Alameda. (510) 749-0332, www.forbiddenislandalameda.com

CAFÉ BRULOT

PICAN


I did a little jump for joy at the Southern menu and drinks at downtown Oakland’s brand new, Southern-chic, Pican. Even crazier was seeing Cafe Brulot on the menu, a spiked coffee drink prepared and flambéed tableside at historic, New Orleans’ jazz brunch spots like Arnaud’s. This is the first I’ve seen it at all in the Bay Area, so kudos, Pican. It works as dessert, with coffee, brandy, Benedictine, candied brown sugar, homemade whipped cream, and aromatic orange zest.

2295 Broadway, Oakl. (510) 834-1000, www.picanrestaurant.com

Tending the brood

0

› le_chicken_farmer@yahoo.com

CHEAP EATS The young couple next door to me in Rockridge is building a chicken coop, and I love them for this. They aren’t married and don’t have kids, which makes me just want to squeeze them and look at them, and invite them over for every single thing I eat, even oatmeal.

But that would be creepy, so instead I offer to bring them some straw. Do they need a feeder? A waterer? I still have my place in the woods. I have rat traps, chicken wire, and rusting 55-gallon drums that would look real nice against the falling-down barnlike outbuilding on the edge of their lot.

Together, I think, we can shake up this neighborhood. In just a couple months here I have made more friends (or at any rate met more people I want to be friends with) than I did in five years living in Occidental. In five years in Occidental, I made four friends. Two couples. One I actually met in San Francisco, and the other through a mutual friend in Oakland.

Don’t get me wrong, I love the woods, or I wouldn’t still keep my shack, which I go to when I can for writing and/or romance, and sort of sublet to my artsy bohemian city peeps for same.

The family I work for in East Oakland, Boink’s family, they have a chicken. Used to have three, but two died, and the one that’s left has gone bad. Her name is Cakey. She’s brooding, which means she’s set her mind, and ass, on hatching eggs that no amount of setting will ever induce to hatch. Save maybe a visit from Gabriel.

This is actually a dangerous condition for a roosterless hen to be in, because she might get over it, and she might not. I have girlfriends like this.

It falls on me, while Boink’s family is away in Florida for the week, to traumatize their chicken. I’m surprised Boink hasn’t already achieved this, by accident, but the best way to get a broody hen to snap out of it is to harass the hell out of her.

So I’m going to East Oakland in a moment, I’m stuffing Cakey into a cardboard box with holes poked into it, for air, and I’m driving her out to the country. To the woods. To my shack. Where I can annoy her for three days with sticks, Pere Ubu records, and buckets of cold water — and no one will hear all the squawking. I tried this once with one of my girlfriends and got arrested.

I love Pere Ubu, by the way. But chickens … and perhaps all poultry, for all I know — their capacity to withstand ’70s-era punk rock starts and ends with the Ramones. So you know.

But speaking of traumatized girlfriends, my friend Alice Shaw, after whom I named my great car, Alice Shaw, was mugged at gunpoint in the Mission District. As if I weren’t already mad enough at muggers for stabbing a friend of a friend in Seattle!

And do you know what Alice Shaw said to us, over deep-fried hamburgers after a soccer game? She said, Well, in a way it was nice to be noticed, for a change. I’m paraphrasing.

It is comments like this that make me love human beings even more than chickens. I mean, to be fair, we have no exact translation for the could-be clucks-of-wisdom that chickens call to each other from the jaws of foxes, but it’s a safe bet they are not so laced with humor and sadness as, for example, Alice Shaw’s odd comment.

I wanted to squeeze her and feed her oatmeal, but we were already eating fried hamburgers. Outside, and over rice, with fried eggs on top, and smothered in gravy. What could be better, after a soccer game? It’s a Hawaiian thing, called loco moco, and in fact it was invented 60 years ago, according to the menu, in honor of a barefoot Hawaiian football team called the Wreckers.

Whose players apparently liked to eat, because I, at my hungriest, couldn’t clean half my plate, or even imagine ever being hungry again, so I brought the rest to Earl Butter. We all agreed: Really really dong-dong-dicky-do great, in a school lunchy kind of way.

You want to know where, don’t you?

HUKILAU

Mon., Wed.–Thu., 11 a.m.–2 p.m. and 5–10 p.m.

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

5 Masonic, SF

(415) 921-6242

Full bar

MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

SFIFF: Oaktown fugue

0

The stillness inhabiting Bay Area director Frazer Bradshaw’s Everything Strange and New is broken periodically by the sounds of familial battle and the bemused, unemotive back-and-forth of a trio of men perplexed by the circumstances they have drifted into. The most dramatic intrusion, though, is instrumental, an occasional frenzied jigging of horns and strings that seems to signal the internal noise experienced by one of these uneasy men, a carpenter and family man named Wayne (Jerry McDaniel), who is trudging through his middle years in a state of unhappy wonder.

Shot in Oakland, the film uses a series of portrait-like scenes of house exteriors to convey the static emptiness in Wayne’s life, which he describes in voiceover monologues, his voice rising and falling just outside the boundaries of monotone. The contrast between these still lifes and the recurring shock of the soundtrack is almost painfully discordant, though the landscape intruded on is far from idyllic. When the camera moves inside one of the houses, the one where Wayne coexists with his wife, Renée (Beth Lisick), and their two sons, it’s filled with signs of residence but seems as empty and still and dead as the outside world, as if the family has just retreated from some personal apocalypse. Later the camera trails through a gutted Victorian as Wayne and Renée are heard quarreling, then processing as modeled by some couples’ counselor in their past — more emptiness and a sense of unending minor tragedy. Wayne presents a marriage sapped by financial exigencies such as the now-familiar house worth less than their debt.

These signs of trouble are plain enough, but emotionally expressive. Occasionally Bradshaw leans a little heavily on the symbolic, as when we see Wayne as he envisions himself, in the getup of a clown, and when the film runs backward through a trafficked street scene. More problematic, though, is the awkward shift in direction and shape that occurs when the resident stillness is interrupted by something more sharply horrific than the characters’ day-to-day suffering.

EVERYTHING STRANGE AND NEW

Sun/26, 8:45 p.m.; Tues/28, 4:15 p.m.; May 2, 6:30 p.m., Sundance Kabuki

Throbbing Gristle vs. Machine Sex

0

P>Though San Francisco might be eternally hampered by the stereotyped perception of a hippie wonderland replete with flowery hair, free love, and fluffy puppies, in reality, SF has long been as much a haven for radical dystopians as it is for their wistfully upbeat foils. From robot circuses to urban exploration to electric sheep, San Franciscans have a demonstrated predilection for the bionic, the blighted, and the bizarre. Add in a penchant for situational absurdism and a fervent appreciation for electronic music predating the Summer of Love, and it becomes clear why San Francisco was ground zero for the first wave of North American industrial noise music, and the city with the strongest connection to its European progenitors — Throbbing Gristle.

Throbbing Gristle is, in every sense of the word, the seminal industrial band, whose confrontational performance tactics, nihilistic lyrics, and audio sampling techniques foreshadowed acts as divergent as Skinny Puppy, Negativland, and 2 Live Crew, despite their repeated assertions that they were not really meant to be a band at all. "Assuming that we had no basic interest in making records, no basic interest in music per se, it’s pretty weird to think we’ve released something like ten albums … that have had an effect on the popular music scene forever." So declared Throbbing Gristle’s Genesis P-Orridge in the Industrial Culture Handbook, first published in 1983. Beginning their Bay Area association in 1976 through correspondence with Oakland-based shock artist Monte Cazazza — who traveled to England to assist with their nascent Industrial Records project and coined their company slogan: "industrial music for industrial people" — Throbbing Gristle’s aural extremism was also painstakingly documented by local champion of the underground V. Vale, first through fifth issue of the publication of RE/Search, and then through Industrial Culture Handbook.

It wasn’t just the Dada-esque, cut-up compositions of Throbbing Gristle and Bay Area-based industrial noise peers like Boyd Rice and Z’ev that gained an early foothold in the collective consciousness of the SF underground. Survival Research Laboratories, founded in 1978 by Mark Pauline, gave mecha-fetishism a physical expression — with installations of and performances by a bevy of robotic entities, often decorated with animal carcasses for ultimate shock value. SRL’s first public event, Machine Sex, featuring dead pigeons on a conveyor belt trundling toward a rotating blade, debuted on St. Patrick’s Day 30years ago. Not long after, Vale introduced Pauline to Monte Cazazza, who became one of SRL’s early collaborators — and the bridge between the musical and mechanical arms of industrial culture.

Industrial music, permanently positioned outside the mainstream by design, has long struggled for recognition in the U.S. But early industrial’s lasting influence on the Bay Area arts is readily apparent in the confrontational panhandling robots of the Omnicircus, the large-scale mechanical sculptures of the Flaming Lotus Girls, the electro-noise/"weirdcore" performances of the Katabatik Collective, the flesh-eating fantasia of industrial music club MEAT, and even in the Mad Max-ian flamethrowing antics and electronica oases found at Burning Man and live looping sensations such as Kid Beyond and Loop!Station. Considered in that vein, you could say a little bit of Throbbing Gristle resides in us all. Chew on it.

A THROBBING GRISTLE AFTERPARTY

With DJs D-SYN, pink noise, R.M.S.

Thurs/23–Sun/26, 11 p.m.-2 a.m., free

Space Gallery

1141 Polk, SF

www.mobilization.com

BART (finally) opens a meeting

3

By Tim Redmond

In the wake of a storm of criticism, here and elsewhere, the BART Board’s police oversight committee has finally started holding open, publicly noticed meetings.

At the first meeting, this morning in Oakland, “they tried to take credit for the public notice, but I reminded them that the only reason they issued a notice is that we’d already emailed it out,” Quintin Mecke, communications director for Assemblyman Tom Ammiano, told me.

So now it’s on the record: Every monday morning, 10 a.m., at BART’s headquarters at 300 Lakeside, Oakland. Feel free to show up and ask why it’s taken 17 years for the board to even begin talking about police oversight.

Bailey murder linked to Bey IV

1

The Chauncey Bailey project and the Chronicle have major breaking news on the Chauncey Bailey front. Here’s the Project’s story from this morning:

By Thomas Peele, Bob Butler and Mary Fricker, The Chauncey Bailey Project

OAKLAND — Murder charges are imminent against former Your Black Muslim Bakery leader Yusuf Bey IV and another man in the August 2007 killing of journalist Chauncey Bailey under a plea deal reached with the only person arrested in the case, law enforcement and other sources said Wednesday night.

Devaughndre Broussard, who confessed to killing Bailey and later recanted, has signed an agreement to testify that Bey IV ordered the hit to silence the journalist and that Antoine Mackey, another of Bey IV followers, helped carry it out. Bey IV and Mackey would face murder charges if indicted by a grand jury.

Charges in two other killings in July 2007 that police long have suspected bakery members committed also

are likely. Broussard will admit to killing Odell Roberson and testify that Mackey shot and killed another man, Michael Wills. Both Roberson and Wills were slain in July of 2007 near San Pablo Avenue in North Oakland.

Grand jury testimony is scheduled for next week, followed by indictments of Bey and Mackey.

In exchange for testimony, Broussard would plead guilty to two counts of voluntary manslaughter and receive a set sentence of between 20 and 30 years, officials said.

Broussard would also admit to killing Roberson at Bey IV’s order. Roberson was the uncle of Alonza Phillips, who was convicted of killing Bey IV’s older brother, Antar Bey, in 2005.

Bey IV is jailed without bail on a host of unrelated charges, including kidnapping and torture. Mackey, who San Francisco police suspect was involved in multiple unsolved gang killings, is serving an unrelated burglary charge in state prison and could be released within a year.

Deputy District Attorney Christopher Lamiero said he could not confirm any details Wednesday night.

“We are very close to a point where we are going to be able to hold accountable all of those responsible for Bailey’s murder,” he said. He declined to say anything further.

Shades of green

0

sarah@sfbg.com

When President Barack Obama signed the American Reinvestment and Recovery Act in mid-February, folks across the country were hopeful that the $787 billion stimulus package would help preserve and create decent jobs in their communities.

And in mid-March, when the Obama administration announced that Bay Area social justice activist Van Jones was joining the White House Council on Environmental Quality, advocates for green jobs took it as a sign that Obama shares Jones’ belief that we can fix our nation’s two biggest problems — excessive greenhouse gas production and not enough good jobs for the working class — by creating a green-collar economy.

Jones cofounded Oakland’s Ella Baker Center for Human Rights, which opposes police abuse and promotes alternatives to incarceration, and founded Oakland’s Green for All, which aims to create green-collar jobs in low-income communities. He defines a green-collar job as "a family-supporting, career-track job that directly contributes to preserving or enhancing environmental quality."

"Think of them as the 2.0 version of old-fashioned blue-collar jobs, upgraded to respect the Earth and meet the environmental challenges of today," Jones wrote in his New York Times bestseller The Green Collar Economy: How One Solution Can Fix Our Two Biggest Problems (HarperOne, 2008).

But is Jones’ definition codified into Obama’s Recovery Act? And in San Francisco, where Mayor Gavin Newsom speaks incessantly about green jobs and regularly praises Jones, will the jobs we create be for the people who need them most? And how will that play out in a city where blacks, Latinos and Asians experience higher unemployment, poverty, and incarceration rates than whites, and building construction has stalled, pitting skilled union workers against training program graduates?

Last month, an alliance of community and worker organizations from San Francisco’s working class neighborhoods sent a letter to Newsom outlining concerns about the Recovery Act’s equity, job quality, and transparency requirements.

Antonio Diaz of PODER (People Organizing to Demand Environmental and Economic Rights), Alex Tom of the Chinese Progressive Association, Steve Williams of POWER (People Organized to Win Employment Rights), and Terry Valen of the Filipino Community Center asked Newsom to ensure that ARRA funds would be used to create "green jobs and opportunities primarily for low-income people and people of color" and "high quality jobs with family-supporting wages and benefits, safe and healthy working conditions, and career ladders."

"We ask for your commitment to greater transparency and community input in shaping and monitoring the infusion of ARRA funds for San Francisco’s developing green collar economy," they wrote.

Two weeks later Newsom announced the launching of www.recoverysf.org, a Web site that seeks to track stimpack funds coming to San Francisco. Although the Web site shows that $150 million of the first quarter-billion of formula funding is headed toward infrastructure projects, it does not include estimates of the numbers of green jobs created.

Wade Crowfoot of the Mayor’s Office told the Guardian that the city is focused on ensuring that green jobs are created with these funds and that the City Attorney’s Office is figuring out what is "allowable" under Recovery Act’s guidelines.

On April 3, the U.S. Office of Management and Budget issued a 172-page memo outlining the Recovery Act’s policy goals. The goals included ensuring compliance with equal opportunity laws and principles, promoting local hiring, providing maximum practicable opportunities for small business and equal opportunities for disadvantaged business, encouraging sound labor practices, and engaging with community-based organizations.

"But will all cities include achievable, measurable requirements?" Crowfoot said. "I don’t think so, without federal guidelines."

This lack of specifics, Crowfoot says, has the City Attorney figuring out if San Francisco can include "first source" hiring requirements, in which hiring halls agree to interview graduates from local training programs first. If so, Crowfoot says, the city will seek to leverage existing funding for energy efficiency programs and conduct hire-locally campaigns in low-income communities.

But as Crowfoot notes, although we know that $1.5 million in ARRA funding is coming to San Francisco for weatherizing homes — helping to decrease the energy costs of low-income residents, reduce the city’s energy demands, and increase the number of people hired from the local community to do energy audits and retrofits — we still don’t know how many jobs will be created per project, which is the basic goal of economic stimulation.

"If we spend the dollars, say, on boiler replacement, that’s more equipment and less labor," Crowfoot said. "But the more you hire locally, the more those folks get experience, the more they’ll be well positioned to get jobs in the non-subsidized sector once the stimulus funds are gone."

Acknowledging the tension between laid-off union workers and graduates of apprentice training programs, Crowfoot said, "We are trying to figure out a balance, whereby the community is not shut out, but the unions’ needs are addressed. We want to be careful about how many jobs we say are going to be created. We don’t want to build hope in populations who already have a lot of mistrust in the government."

Michael Theriault, secretary and treasurer of the San Francisco Building and Construction Trades Council, told us that 25 percent of the region’s 16,000 building trades workers are out of work, compared to nearly full employment last year.

In the past, the Northern California Carpenters Regional Council provided CityBuild with instructors and took the lion’s share of the program graduates, Theriault explains. But under present conditions, the Council isn’t keen on another CityBuild cycle.

"I think they should work to sponsor another cycle, but the ball is also in the city’s court," Theriault said, noting that the ARRA-funded weatherization program could soon be offering prevailing union wages ($20 an hour for roofers, $40 to $50 for plumbers and electricians) that could help ease the tension. And then there’s the inconvenient truth that some union members view non-unionized solar panel installers as "scabs," creating another barrier to using green jobs to lift the underemployed.

Mayor Newsom has until June to secure and implement stimpack funding as part of upcoming local budget proposals, a timetable that has Green for All issuing a call for action to ensure that Recovery Act implementation creates green-collar jobs, ensures transparency and accountability, and supports pathways out of poverty.

"This may be the most important opportunity you’ll ever have to bring green-collar jobs to your community," Green For All wrote in a public statement. "But the planning process will be over in the blink of an eye, and your community could miss out. That’s why we’re calling on you to take action now."

Green for All field organizer Julian Mocine-McQueen is scheduled to sit down with Crowfoot this week in an effort to get Newsom to sign his group’s pledge. He said there’s been an expansion of the city’s lighting and refrigeration cooling retrofitting program, starting with small business owners who speak English as a second language. "It’s good," McQueen said. "But it’s not enough."

He believes green job success will depend, in part, on including hiring parameters. "A job in the city’s southeast sector may not pay $70,000 a year, but it would be a huge step toward creating a family-sustaining job," McQueen said, noting that the Obama administration has "to a certain extent" adopted Jones’ definition of green-collar jobs. "I’m not sure that they have codified it," McQueen said. "They have recommendations."

Asked to define green jobs during a recent media roundtable on projected budget deficits, Newsom talked about weatherization and sustainability and plans to expand the city’s training academies before handing the floor to the Office of Economic and Workforce Development’s Kyri McClellan, whom he described as his "green czarina."

McClellan, who describes herself as "the lead cat-herder" of Recovery Act funds, told reporters that San Francisco is expected to receive a quarter of a billion dollars in formula funds in the coming fiscal year, 95 percent of which have been allocated to "shovel-ready" projects that were already queued up under the city’s 10-year capital plan.

During a subsequent board committee hearing, McClellan shared job estimates — 30 jobs from the $11 million Department of Public Works street paving allocation and 250 jobs from the $18 million Housing Authority retrofitting allocation — that raised eyebrows.

McClellan said that OEWD is "moving as quickly as possible to take the dollars we’ve been allocated, get approval from the Board of Supervisors, and get programs up and running."

Observing that the city also has parallel funding for training programs such as CityBuild and a Green Academy, McClellan added that "no one is working harder than Rhonda Simmons." Reached by phone, OEWD’s Simmons said she has been working with San Francisco State University professor Raquel Pinderhughes to identify five job sectors that have "the capacity to grow the greatest number of green jobs."

These include solar installation, energy efficiency, landscaping/public greening, recycling, and green building. "In an economy like this, you have to be competitive," Simmons said. "And almost all the programs that come out of my shop are geared toward low-income to moderate-income folks."

Observing that OEWD is using a $238,000 federal earmark to seed a Green Academy and that will expand the GoSolarSF workforce incentive, compete for a $500,000 EPA brownfield cleanup training grant, and coordinate with the San Francisco Public Utilities Commission to develop "workforce incentive language" for biodiesel reuse program and energy efficiency projects, Simmons notes that it was the unions that helped create CityBuild in the first place, and the city is working to ease current concerns.

"It is our intent as OEWD designs the academy that any training programs must demonstrate that they train individuals for occupations with opportunity for upward mobility," Simmons said, after emerging from a meeting cochaired by Crowfoot and Pinderhughes to help community-based organizations understand green jobs and figure out how to link with the Green Jobs Corps that Pinderhughes set up in Oakland.

Eric Smith runs the Bayview-based Green Depot, a nonprofit that promotes biodiesel use in neighborhoods facing environmental justice issues and ran a $9,000-per intern pilot program with Global Exchange. He worries that administrative costs will chew up much of the stimulus money, citing SFPUC figures that the cost ratio for trainers to interns is about 3:1.

"There is a lot of concern in the Bayview that the money will end up going to consultants and administrators when we have people who are hungry and desperate to work," Smith said.

After two green jobs hearings, Sup. Eric Mar says that he and Sups. Sophie Maxwell and David Chiu have concluded "that unless the board takes action and gives clear guidelines and expectations, green collar job creation will be miniscule."
Noting that Oakland’s Green Job Corps and Richmond’s solar program seem years ahead of San Francisco’s efforts, Mar said his next step will be to talk with labor, environmental groups, businesses, and nonprofits to get a sense of an appropriate structure to prioritize the low-income communities as the main beneficiaries of green-collar job creation. "It’s pretty clear that the [Newsom] administration’s commitment to the numbers of jobs created is pretty small," Mar said. "The community is going to have to push for more."

Astral peaks

0

a&eletters@sfbg.com

If not for High on Fire, Mastodon might never have existed. The flame-bonging Oakland trio swung through Atlanta in 1999, playing what was presumably an eardrum-destroying gig in the basement of local musician Brent Hinds. At the show, Hinds and his friend, bassist Troy Sanders, met drummer Brann Dailor and guitarist Bill Kelliher, who had both recently arrived from Rochester, N.Y. The four were knit together by a love of the Melvins and Bay Area metal experimentalists Neurosis, and a decade later, they are a metal band of towering stature.

Mastodon’s Crack the Skye (Warner Bros./Reprise, 2009) is an appropriately mammoth undertaking, the final chapter in a four-album arc that ties each disc to an Aristotelian element. With fire (Remission, Relapse, 2002), water (Leviathan, Relapse, 2004), and earth (Blood Mountain, Warner Bros./Reprise, 2006) accounted for, Crack the Skye centers around ether, which (in the band’s typical fashion) serves as a jumping-off point for the story of a quadriplegic astral traveler who zooms through space and time only to arrive in tsarist Russia in time to warn Rasputin of his impending assassination.

Spanning only seven tracks but clocking in at roughly 50 minutes, the album is Mastodon’s most cohesive to date, its songs flowing into each other like the movements of a heavily distorted prog-rock symphony. With this in mind, the band will play the album in its entirety during its April 19 date at the Great American Music Hall, augmenting the performance with visual spectacle courtesy of an LED screen and Neurosis member Josh Graham.

Mastodon, “Iron Tusk”

Crack the Skye‘s title has a deeper meaning for drummer Dailor, whose contributions to the record are a tribute to his sister, Skye, who committed suicide at age 14. This multivalent phrase is an illuminating example of the band’s densely layered art, which combines the diverse songwriting of its members with a wealth of thematic and musical allusion.

It was Dailor who showed up in London after an exhausting plane trip clutching a copy of Moby Dick. Though the group had toyed with high- and pop-cultural references in the past, the drummer’s suggestion that their next album be centered around Herman Melville’s 1851 classic took a while to sink in. When I interviewed Kelliher recently by phone, he explained how it caught on: "We kind of saw ourselves in the same boat, literally, leaving our families and friends behind and jumping into this quest … going out in the world trying to make it, searching for our own white whale."

The album that resulted, Leviathan, was Mastodon’s defining work, mixing easy-to-grasp themes of harpooning and high-seas adventure with oceans of metaphorical extrapolation. The band has mined other allusive veins, modeling riffs from Blood Mountain’s "Crystal Skull" off tribal drum patterns in Peter Jackson’s 2005 take on King Kong and shooting a video for the Crack the Skye single "Divinations" that’s an uproarious tribute to John Carpenter’s 1982 version of The Thing.

Between the nods to other works, the narrative lyrical themes, and the complex, progressive songwriting, Mastodon’s music can be overwhelming. Kelliher cops to some early writing conflicts with guitarist Hinds that involved a refrain of "No, man, it doesn’t go like that, it goes like this" in response to his opposite number’s deconstructive playing style. Soon, though, they learned to fuse their disparate riffs.

After four albums, it is possible to point to this relentlessly inclusive artistic tendency as the key to the band’s success. Mastodon has a rare kind of talent that suggests a pseudo-aphorism: more is more. Saddling their listeners with the full weight of their wide-ranging inspiration, the band’s albums are cohesive against the odds, rewarding careful, long-form listening sessions and a lot of revisiting. Beneath each layer of discovery lies another, and this feeling of excitement and expectation is crucial to the enjoyment of their music. Who knows what abstruse surprises they will conjure up in the future? We can only wait and hear. *

MASTODON

April 19

With Kylesa, Intronaut

7:30pm, $25 (sold out)

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

Leonard Cohen skips, sings, outlasts his audience at the Paramount

0

Leonard C-2-4c-MJK sml.jpg
02, you too: A still from Live in London.

By Kimberly Chun

O to be as spry and energetic at 74: Leonard Cohen launched his three-performance stand at the Paramount Theatre in Oakland last night, April 13, with an approximately three-hour concert that had the audience chuckling with amazement when the singer-songwriter came back for a fourth encore. “I tried to leave you,” he moaned.

Cohen had the crowd in his clenched fist throughout multiple standing ovations and a set that fundamentally mirrored that of his recent Live in London DVD and CD. And he put up a good fight, alternating between standing with his knees slightly bent, hands grasping mic and chord, in a boxer’s posture, and kneeling as if a humble mendicant – the latter his favorite way to open an emotionally intense song.

The songwriter received bursts of appreciative applause for lines like, “You told me again you preferred handsome men / but for me you would make an exception,” and, “You fixed yourself, you said, “Well never mind, / we are ugly but we have the music,” from “Chelsea Hotel No. 2,” a song about written about his affair with Janis Joplin. So long ago, yet still so vivid. This beautiful loser has morphed into a wiry, elegant slip of a man, skipping gracefully off the stage after each encore then back. From afar, Cohen resembles less William Burroughs, a Blues Brother, or a Bogart-esque “Tough Jew” like Bugsy Siegel than a smiling Stuart Little-like gent, revealing a snowy white pate beneath the fedora and a fiercely ingenuous grin. There’s a hard-won innocence to the performer, though he was less chatty and more focused than on the recent Live in London. Likewise backup vocalists the Webb sisters chose to chartwheel rather than do-si-do to that key reworked phrase, “All the lousy little poets / coming round / tryin’ to sound like Charlie Manson / and the white girls dancin'” in the charred apocalyptic ode “The Future.”

LC-Band4-4c-MJK sml.jpg
“Hey, That’s No Way to Say Goodbye”: A still from Live in London.

Most Definite, not Think So

1

By D. Scot Miller

289-music2.jpg

Anyone who heard "Big Brother Beat" on De La Soul’s 1996 album Stakes Is High (Tommy Boy) was soon saying, "Who’s this kid Mos Def?" Still, it’s hard to believe that, 13 years later, the radiant voice on that track would become the ubiquitous scion of that good old Native Tongue can-do.

Mos Def can turn up simultaneously in a movie (his next project is a film version of Iceberg Slim’s Mama Black Widow) and on a television show (you catch him on House last a few weeks ago?), yet still find time to cameo on other people’s albums, win an Obie for his performance in a play (Suzan Lori Parks’ Fuckin’ A), and come out with a book (Black 2.0, due this summer). It’s like, wait a minute, there’s got to be more than one Mos Def.

His four albums explore his tortured id and black people’s rightful place as the inventors of rock ‘n’ roll and just about all forms of popular music — all that, and they still maintain the dedication to socially conscious protest we’ve come to expect from our once and future truth-tellers. His fifth, The Ecstatic, is due later this year. He’s coming to Yoshi’s in Oakland for a few sets with Robert Glasper on piano, Mark Kelly on bass, Chris "Daddy" Dave on drums, Casey Benjamin on sax, and Keyon Harrold on trumpet. Be a part of history in the making. It’s not like you have a choice. His name is Most Definite, not Think So.

MOS DEF Tues/14–April 16, 8 and 10 p.m., $55. Yoshi’s Oakland, 510 Embarcadero West, Oakl. (510) 238-9200. www.yoshis.com

Cruising Craigslist: Muses, models, and art sluts

0

Each week, Justin Juul combs the SF Craigslist Personals and Missed Connections for true gems that prove there’s enough love for everyone. View his last installment here

cruising_cl-artguy2a.jpg
“Fancy a threesome?”

It’s weird when you have one of those crazy jobs that lets you work from your laptop because, after a while, you really do begin to lose touch with whatever lies beyond the cafes, bars, and dining patios in your comfy little art hood. And I’m not talking about that weird alien feeling you get when you go back to Iowa or Michigan for the holidays. No. All it really takes to get a sense for how uh, queer, you’ve become is to take a little trip to Union Square. I mean, the ads for soda pop and fast food are enough to make you puke right off the bat. But dude, what’s up with the luxury industry? Fancy-pants Romanian guys with five-o-clock shadows hawking Rolexes, scrawny chicks with waxy skin pumping hair-care products and denim, David Beckham, Jessica Simpson?! Are these people really supposed to represent the pinnacle of beauty and success? Are they supposed embody what we want to fuck and/or be? Seriously…can you imagine how bad it would suck to hang out with one of these idiots or –even worse– one of their painfully normal admirers?

Obviously, you can. That’s why you holed up in the Mission (or the Lower Haight, or Oakland, or wherever) and that’s why you never go downtown until you have to get your MacBook serviced or buy some crack. It’s also why The Bay Area stands out –parts of it at least—as a hothouse for new beauty ideals. There’s the whips-n-chains bondage set in SoMa, the hula-hooping fire-eaters in The Haight, the buff dudes with Canadian tuxedos in The Castro, and of course, the coveted “super sexy artist type” you find in galleries, museums, and dive bars throughout the city. We all want one of those, right? The problem is that there simply aren’t enough of them to go around. And then of course there’s the flipside: artsy types actually have a hard time finding love themselves because everyone’s too intimidated to ask for a date. No worries. That’s what Craigslist is for.

Bhutan Exhibit – Asian Art Museum (from Tuesday) – w4m (downtown / civic / van ness)
Reply to: [Redacted]
Date: 2009-04-01, 8:41PM PDT
Hello. This is a total shot in the dark, but it’s worth a try. We were both looking through the Bhutan exhibit by ourselves, but we kept crossing paths. I said something when we were looking at the Phurbas like “these are really amazing!” We kept looking at each other but didn’t talk besides that. You have long, dark beautiful hair, and quiet, soft brown eyes. I had my hair pulled back and was wearing a brown top and jeans. I didn’t see you again after I sat down for a few. I’m curious about you.

Hot girl with long brown hair and a great ass – m4w – 23 (New Montgomery)
Reply to: [Redacted]
Date: 2009-04-07, 1:16AM PDT
You came out of Academy of Art and used someone’s lighter and walked off. I had the pleasure of walking behind you for the rest of the block. Then I turned. [I just want you to know] this handsome black guy thinks you’re hot!

You were wearing a blue top and blue jeans. I think you might’ve had sunglasses too.

Help a bored artist – m4w – 24 (anywhere)
Reply to: [Redacted]
Date: 2009-03-25, 10:34PM PDT
I am a design student that loves to draw. I’m looking to draw something a little more interesting than landscapes, buildings, or the occasional live model we get in studio that is never that pleasing to the eye. So here’s what I’m asking. I’m looking for some lovely ladies to send me some more, lets say, erotic pictures I could sketch from; nude, partial nude, costume, whatever, make it interesting. I’d be happy to send you my drawings when I’m done. Help a bored artist.

Victory lap

0

a&eletters@sfbg.com

When Special One of the Conscious Daughters raps, "And I know all my folks been patient for this shit" on the Oakland female duo’s new track "A Moment In Rhyme," she ain’t kidding. It’s been 13 long years since she and partner-in-rhyme CMG released their last album, 1996’s Gamers (Priority). So long gone were the previously high profile pair that in 2007 Nas invited the Daughters, along with other forgotten Left Coast vets such as Kam, King Tee, and Threat, to appear on his homage track "Where Are They Now (West Coast Remix)."

The Nutcracker Suite, released in February on longtime associate Paris’ Guerrilla Funk label, is Conscious Daughters’ third album in 16 years. It’s a refreshing return to form for the female duo, who burst onto the national rap scene with 1993’s Ear To The Street (Priority), led by the Paris-produced, funk-fueled riding anthem "Somethin’ to Ride To (Fonky Expedition)." Striking a perfect balance between political hip-hop and street mobbin’ music, Special One and CMG have always won over discriminating rap fans.

"You can call it what you want — we just back," laughs an unfazed Special One, when asked if the new album and upcoming performances should be called a comeback. "It’s a comeback to everybody else, but we never went anywhere," adds CMG. "We been recording and making music the whole time."

The Conscious Daughters pick up right where they left off with The Nutcracker Suite, which includes production by Paris, Rick Ross, One Drop Scott, Fred White, and newcomer Steven King. The album opens with the head-nodding hard funk of "Not Bad But Good," an updated riding track about "the Town" (Oakland). But a few tracks later it veers into thought-provoking territory, with songs that tackle topics head-on from a female perspective. Domestic abuse and California’s spiraling incarceration rates are on the lyrical agenda. "And Arnold keeps building these correctional facilities for youth, women, and crooks and thieves with disabilities," Special One raps in the song "Issues."

Having spent a short stint behind bars herself ("for pot") Special One speaks from first-hand experience. "There’s women, their grandmothers, their aunties, mothers, nieces, and sisters in the penitentiary, just like there are men in the male penitentiary," she says.

One of the new album’s more poignant songs is "Dirty Little Secret," in which the duo urge domestic violence victims to "Get the hell up out that situation before you get killed."

"We have friends who have gone through this for many years, best friends who won’t even tell you [about their abuse]," CMG says when discussing the emotionally-charged song, told in the first-person voice of an angry victim who fights back. "Even though our song is pretty deep about getting this guy back, we are saying what a lot of women want to actually do, and helping them get their frustrations out by listening to our song."

In practice, as well as in their lyrics, Conscious Daughters demonstrate solidarity for their sisters: Nutcracker Suite features cameos from several Bay Area female hip-hop talents, including Mystic, Marvaless, and Goldee the Murderist, whose death last summer from a blood disease was sudden and tragic. Special One says that it’s important for females in hip-hop to look out for one another, since they already have the chips stacked against them. "It’s always harder for women," she notes, "Most female rappers have to balance a career and their family."

Another longtime fellow East Bay female hip-hop talent, DJ Pam the Funkstress of the Coup, is joining Conscious Daughters when they embark on a national tour later this year. (Official details — likely involving Paris, Talib Kweli, Pete Rock, and others — will be announced at guerrillafunk.com).

After so many years away, CMG and Special One heartily embrace the work ahead. "We love challenges, and we’re going to have to get out there and do everything all over again now," says CMG.

"It’s a blessing, and we’re confident in our talents," adds Special One.

www.myspace.com/consciousdaughters

www.guerrillafunk.com

Mos Def

0

PREVIEW Anyone who heard "Big Brother Beat" on De La Soul’s 1996 album Stakes Is High (Tommy Boy) was soon saying, "Who’s this kid Mos Def?" Still, it’s hard to believe that, 13 years later, the radiant voice on that track would become the ubiquitous scion of that good old Native Tongue can-do.

Mos Def can turn up simultaneously in a movie (his next project is a film version of Iceberg Slim’s Mama Black Widow) and on a television show (you catch him on House last a few weeks ago?), yet still find time to cameo on other people’s albums, win an Obie for his performance in a play (Suzan Lori Parks’ Fuckin’ A), and come out with a book (Black 2.0, due this summer). It’s like, wait a minute, there’s got to be more than one Mos Def.

His four albums explore his tortured id and black people’s rightful place as the inventors of rock ‘n’ roll and just about all forms of popular music — all that, and they still maintain the dedication to socially conscious protest we’ve come to expect from our once and future truth-tellers. His fifth, The Ecstatic, is due later this year. He’s coming to Yoshi’s in Oakland for a few sets with Robert Glasper on piano, Mark Kelly on bass, Chris "Daddy" Dave on drums, Casey Benjamin on sax, and Keyon Harrold on trumpet. Be a part of history in the making. It’s not like you have a choice. His name is Most Definite, not Think So.

MOS DEF Tues/14–April 16, 8 and 10 p.m., $55. Yoshi’s Oakland, 510 Embarcadero West, Oakl. (510) 238-9200. www.yoshis.com

Appetite: Czech in FiDi, Easter meals, Bushi-Tei bistro, Front Porch bones, and more

0

Cityhouse0309a.jpg
The new cityhouse: apres-shopping bacon-wrapped swordfish

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

———-

NEW RESTAURANT and BAR OPENINGS
A double-dose of Bushi-Tei in Japantown with a new bistro
I love you, Bushi-Tei. Though a Michelin-star winner with rave reviews, I often wonder why few seem to have been to this upscale Asian restaurant with a French cuisine ethos? Chef Wakabayashi is a genius, as far as I’m concerned, and the experience, from wine list to savory dishes to desserts, have always been a creative-fresh thrill for me over the years. I dig the dark woods of the modern dining room, the seamless service, and most of all, the glorious food. So I’m delighted to see the unveiling of Bushi-Tei Bistro this week, with a $6-15 price range and dishes like housemade udon, Japanese curry and sushi. Conveniently close to key Japantown/Lower Fillmore landmarks, I’d guess this could be the new gourmet-but-affordable-Asian-eats stop before or after a movie at Sundance Kabuki, a visit to the Kabuki Spring spa or a concert at the Fillmore.
1581 Webster Street
415-409-4959
www.bushi-tei.com

Cityhouse debuts in the Parc 55 Hotel
It appears to be another Union Square hotel restaurant (i.e. expensive), but Parc 55 Hotel‘s $30 million makeover (scheduled to be done in June) includes this steakhouse restaurant, cityhouse, helmed by Chef Brian Healy of the former Terrace at the Ritz-Carlton San Francisco. Open for breakfast, lunch and dinner with an all-day bar oferring swank cocktails and bar bites, it’s a downtown shopping respite or meet-up spot with visiting friends craving steak, bacon-wrapped swordfish, oysters and strawberry rhubarb crisp.
55 Cyril Magnin Street
415-392-8000
http://dev.tigglobal.com/RenaissanceParc55/restaurants/cityhouse.cfm

Cafe Prague is bringin’ Czech back to FiDi… and soon, the Mission
It’s nice to have a little Czech back in town, though I’ll miss the old Cafe Prague space (which closed last Fall), tucked away on Pacific Ave. Hopefully the boho-Euro atmos transfers to their newly-opened Financial District locale. I see the menu consists mainly of salads and sandwiches for the FiDi lunch set, but thankfully a couple Eastern European specialties remain (which I appreciate given that there’s not much of it around), like Hungarian goulash and sauerbraten with dumplings. A second site is soon to open on Mission Street between 17th and 18th, so there’ll be more Prague lovin’ to go around.
424 Merchant Street
415-627-7464

———-

APRIL 12th EASTER MEALS
1300 on Fillmore’s Gospel Brunch for Easter

Since 1300 on Fillmore opened, it’s been my preferred stop for upscale Southern Soul food with a twist, and it’s jazzy, cool lounge giving tribute to the Fillmore District’s jazz glory days. Though I’ve eagerly been wanting to check out their Gospel Brunch the first Sunday of every month (which has been so popular, they plan on adding a second Sunday), I suspect Easter might be the time to catch the Spirit over cornbread and shrimp ‘n creamy grits. The three-course brunch is $39, including all food, coffee and tea, special drink of choice (mimosa, bellini, juices), and, naturally, some rousing, live gospel music. Hallelujah! P.S. Don’t forget their Fried Chicken Mondays (5:30-11pm) where $28 gets you soup or salad, Black Skillet Fried Chicken and dessert.
$39
1300 Fillmore Street
415-771-7100
www.1300fillmore.com

Indian-style Easter at Dosa on Fillmore
Doing Easter out of the norm means Dosa on Fillmore’s Indian Easter brunch might be your speed, especially when the menu includes a Strawberry-Banana Uttapam (large, pancake-style version of a dosa for $12) or an Egg Poriyal Dosa, filled with a South Indian scramble of organic eggs, chilies, tomatoes and onions ($10). Wash it down with a Bloody Mary Curry ($8.50) or Elderflower Mimosa ($9) and you’ve got yourself a brunch.
11:30am-3:30pm
1700 Fillmore Street
415-441-3672
www.dosasf.com

The antithesis to "Easter brunch" lunch at Bloodhound bar
It’s Bunny BBQ at Bloodhound all Easter afternoon with a glut of meats from Taylor’s smoked ham to rabbit (in sausage form or grilled), plus a slew of down-home sides like chicharrones, beans, and yes, bacon peanut butter brownies. It’s all you can eat and drink of seasonal beer (draft and bottle), with Bloodhound’s excellent classic cocktails still available at regular price. Fatted Calf and 4505 Meats host the event but space is limited to so make sure you RSVP if you want to eat the bunny rather than admire its cuteness.
$30
2pm–7pm
RSVP: info@bloodhoundsf.com
1145 Folsom Street
www.bloodhoundsf.com

———–

Front0409a.jpg

DEALS
Bones and Blues every Tuesday at The Front Porch
The Outer Mission’s Front Porch is one of those places (with rocking chairs on the little front patio) that’s invitingly warm as soon as you walk in. The red booths, pressed-tin ceiling and dim lighting create an overall glow. As of last week, Fats Domino Tuesdays is the night to linger over, yep… dominoes. A game of dominoes with discounted drinks and appetizers and blues music to set the mood. You can bring a partner or there’s sure to be others to play a friendly game with if you come alone. With new chef, Michael Law, aboard, it’s an ideal time to re-visit the heartwarming Southern/New Orleans menu.
Tuesdays 5-7pm
65-A 29th Street
415-282-9043
www.thefrontporchsf.com

Live blues Gumbo Jam at Miss Pearl’s Jam House every second Friday
Miss Pearl’s Jam House is one of those idyllic waterside settings that feels like a party just being there. I find the food and drinks can be hit or miss, but I still love the setting in the continually reviving Jack London Square. What better way to hit Miss Pearl’s than for a second Friday Gumbo Jam (or live music nights all month long, like "Dancin’ Island Sounds")? Chef Joey Altman (of TV and cookbook fame) actually rocks out with blues band, The Back Burners, while serving up a huge pot of gumbo. Way to start your weekend, Nawlins’-style.
2nd Fridays 8pm-12am
One Broadway, Oakland
510-444-7171
www.misspearlsjamhouse.com

Appetite: She-Crab Soup, hot Pican, a Dogpatch Kitchenette, Cosmpolitan special, and more

0

cosmopolitansf0309.jpg
The Cosmopolitan on Spear Street. See “Deals” below.

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

———————

NEW RESTAURANT and BAR OPENINGS

Awesome sandwiches out of a Dogpatch garage at Kitchenette
Debuting less than two weeks ago out of warehouse in Dogpatch is Kitchenette, a project from chefs who’ve worked at places of such high caliber as Incanto, Chez Panisse and Foreign Cinema, creating daily offerings that are, you guessed it: fresh and seasonal. Check the website for the changing menu which usually consists of a meat and vegetarian sandwiches (occasionally pizza), a salad, fresh juice and cookie. Last week I was converted by the fabulous Bahn Mi-like sandwich of beer & tangerine roasted Berkshire pork ($8) with cilantro, jalapeno, cabbage plus a side of macaroni salad. Washed down with a tart Meyer lemon, tangerine, blood orange juice ($2), I was already planning my next visit. Bring your cash (no other option) and come early because once their daily creations of lunchtime goodness are gone, well… they’re gone.
Monday-Friday, 11:30am-1:30pm or until food runs out
958 Illinois Street (in the American Industrial Center)
www.kitchenettesf.com

Fine dining made more affordable at La Folie’s Lounge
San Fran’s 21-year old French fine dining mecca, La Folie, may not be cheap even in lounge form, but if I don’t have to pay $70 to $105 for the only option of tasting menus in the dining room, I can still make a night of it ordering a la carte in the next door lounge, opening March 31 during their 21st birthday party. You can now eat as little or as much as you wish of the Michelin-starred food given a lounge-twist (think Lobster Croque Monsieurs), cocktail in hand (note: the bar is helmed by Casper Rice of Michael Mina and Rubicon).
2316 Polk Street
415-776-5577
www.lafolie.com

Cafe Altano, a casual, new restaurant in Hayes Valley
Hayes (Valley, that is) is home to a regular foodie row with primo sushi, German food, coffee and chocolate within a couple blocks. Cafe Altano is a humble entry into to the ‘hood, a corner Med-Italian eatery taking over the Modern Tea space (R.I.P.) With pizzas, pastas, mussels, paninis and beers, it sounds like a relaxing late afternoon spot to chill, sitting at the copper bar, communal or sidewalk tables.
602 Hayes Street
415-252-1200

EAST BAY OPENING

The Old South modernized with upscale Southern food and Bourbon Room at Pican
Nothing makes me want to book a reservation more than the words “bourbon” and “Southern food” together. In a chic, Rhett Butler gentleman’s space with burlap-draped chandeliers, crushed shell & limestone bar and a private Bourbon Room, is Oakland’s Pican, conveniently near the Paramount Theatre. New Orleans’ native, Michael LeBlanc (co-founder of Brothers Brewing Co) debuted Pican, his first restaurant, last week for dinner (5-10pm nightly; Friday and Saturday till 11pm), with lunch (and sidewalk seating) forthcoming, on the ground floor of the new Broadway Grand building.

They had me at “She-Crab Soup”, one of my favorite lush delicacies when traveling in Charleston (creamy crab soup with crab roe for deeper texture and flavor), “Southern foie gras” (pan-fried chicken livers with Benton’s incomparable bacon in a sweet onion-Marsala gravy – um… yeah!), Low Country shrimp and grits, Bourbon and molasses-lacquered duck, and peanut jalapeno coleslaw. Small plates run $6-16, entrees $17-29, so it’s a date night or friends night on the town, especially when you can sip from a 96-deep bourbon list (definitely a number of rarities on board), beers, wines or cocktails. They’re going for the goal of biggest Bay Area Bourbon selection with a calendar of events including Bourbon tastings, Cigar dinners, live music, art showings and Winemaker dinners. It it’s all as fabulous as it sounds, I’m prepared to make good use of FasTrak across the bridge.
2295 Broadway, Oakland
510-834-1000
www.picanrestaurant.com

———

EVENTS

April 20 – One-night-only dinner prepared by Eric Ripert at Aqua
The name Eric Ripert means something to you if a) you’ve seen Top Chef, where he’s often guested, b) you’ve eaten at Manhattan’s Haute French temple, Le Bernardin, or c) you love and follow great chefs nationwide. Well, Eric is here and cooking for you in a rare one night appearance at our own Aqua, so reserve now, while there’s still time.
$130 not including wine pairings
252 California Street
415-956-9662
www.aqua-sf.com

———

DEALS

The Cosmopolitan brings back the Martini Lunch
SoMa’s classic long-timer, The Cosmopolitan, has an old school, New York vibe for power lunches and cocktails post-work (the 4-8pm Wednesday and Friday Happy Hour is now $4 for everything from Belgian beers to sliders, mini-sandwiches and champagne). They prove they mean business with a new Two Martini Lunch deal: yep, two Russian standard vodka martinis for $5. Your boss never has to know.
Wednesday-Friday, 11:30am-3pm
121 Spear Street, Suite B8
415-543-4001
www.cosmopolitansf.com

Morty’s Deli for a fab Reuben and a PBR for $7
I get a touch of my East Coast NJ/NY roots when I eat a fabulous Reuben sandwich at the Tenderloin’s funky fresh deli with NY attitude, Morty’s. On Tuesdays you can now buy a Reuben and PBR for $7. The deals continue with Fish Fry Fridays, Spaghetti and Meatballs Thursdays, and wine specials to pair with.
Deli open Mon-Thu 8am-8pm; Fri 8am-6pm
280 Golden Gate Avenue
415-567-3354
www.mortysdeli.com

Hayes Valley’s Samovar Tea Lounge $10 weekday Tea Lunch
Samovar in Hayes Valley (on their Web site, they’re calling it Zen Valley?) recently started a daily lunch special: soup, salad, 1/2 sandwich (either tofu or turkey) and tea (green, black or herbal) for a mere $10 – including tax!
Monday-Fridays, 10am-1pm
297 Page Street
415-861-0303
www.samovarlife.com

Green-collar heat

0

› sarah@sfbg.com

GREEN CITY Local residents, workers, and businesses are anxious to learn who and what will be stimulated by the billions of dollars that President Barack Obama authorized for release when he signed the American Recovery and Reinvestment Act.

Since January 2008, unemployment in the Bay Area has risen from 4.9 percent to 8.4 percent, according to the U.S. Department of Labor Statistics, and house prices and consumer spending are down.

Despite all the anxiety, representatives from local low-income community groups hope to turn Obama’s stimulus package into an opportunity to make local government accountable for creating decent green-collar jobs. And Sups. Eric Mar, John Avalos, Sophie Maxwell, and Board President David Chiu seem happy to help further the community in this environmentally friendly cause.

Mar scheduled a March 23 hearing of the board’s Land Use and Economic Development Committee "to obtain community input on the creation of jobs, particularly green-collar jobs, in San Francisco as the city positions itself for federal investment dollars."

"The hearing was the first step toward building a grassroots coalition to hold government accountable," continued Mar, who worries that the Mayor’s Office is not sharing enough information related to the stimulus package. "Labor and community groups, not just department heads and City Hall, should be at the table."

At the hearing, representatives from the city’s Office of Economic and Workforce Development said that a substantial part of the first wave of stimulus package dollars has already been allocated, mostly to shovel-ready projects such as the Doyle Drive rebuild and massive development projects at Treasure Island and the Hunter’s Point Shipyard.

OEWD representatives also indicated that more waves of formula funding are expected, for which San Francisco must compete with other cities, and that the city’s Department of Technology is constructing a Web site to track all local money from Obama’s $787 billion package.

OEWD deputy director Jennifer Entine Matz says community-based organizations, unions, and community colleges need to work together to ensure that people are successfully brought through any work program. "In many cases, green collar jobs are existing jobs," Matz said. "If we are successful in training people with green power technology, they will be more marketable here and beyond. We can also train and modify people in existing programs."

But representatives from the Chinese Progressive Association, PODER (People Organizing to Demand Environmental and Economic Rights), and POWER (People Organizing to Win Employment Rights) expressed their belief that stimulus package funds should go to help low-income communities, not rich corporations.

"Let’s make sure we stimulate quality to make sure we stimulate the economy," said PODER’s Oscar Grande, who warned against using the funds on low-paid jobs with few advancement opportunities. He and others suggested tracking what communities receive funding. "We want to go past the green hype, the green-washing, and the green lifestyle marketing," Grande said.

Raquel Pinderhughes, an urban studies professor at San Francisco State University who helped Berkeley’s Green Business Council and Oakland’s Green Jobs Corp program, defined green-collar jobs as "blue collar jobs in green businesses.

"Green collar jobs can function to get more people out of poverty," Pinderhughes said. "They can provide living wages. They have low barriers to entry. They provide an opportunity for occupational mobility. They are inherently dignified, and they have a shortage of entry-level workers, so there is room for people."

But Pinderhughes warned that cities must link improving environmental quality to social justice to avoid creating temporary jobs and preserve industrially zoned lands for green-collar jobs. She also said that cities must fund case management services "so folks don’t quickly drop out."

The Land Use Committee has scheduled an April 6 continuation to address a plethora of outstanding issues like how much money is going to specific corporations and departments, the division of funds between public transportation and freeway projects, and how much Lennar Corp. is getting for its Hunters Point Shipyard/Candlestick Point redevelopment project.