San Francisco

SFIFF: Fierce perm

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SFIFF Robert Towne has accomplished something rare: in an industry that paradoxically singles out the director of a movie as if he or she were the sole creator of what is actually a collaborative effort, he has tasted fame, received recognition, and secured his place in the history of cinema for writing scripts.

Having started his career penning B-movies like Last Woman on Earth (1960) and The Tomb of Ligeia (1964), and working as a script doctor for impressive projects such as Bonnie and Clyde (1967), Drive, He Said (1971), and The Godfather (1972), Towne truly rose to stardom with Chinatown (1974). This dark, pessimistic tale about power struggles and government corruption in Los Angeles, which garnered Towne an Academy Award for Best Original Screenplay, not only stands up to such noir classics as The Maltese Falcon (1941) and The Big Sleep (1946), but also redefines the whole genre. In J.J. Gittes — as embodied by Jack Nicholson — Towne introduces his own version of a Phillip Marlowe character, tough but hopeless, into a world where crime is hard to detect and impossible to punish, even when committed in broad daylight.

Shampoo (1975) features a Towne screenplay that’s as complex and intriguing as the one he wrote for Chinatown. Yet it takes a secondary role on Towne’s résumé, despite the fact that it yielded an Academy Award nomination. Perhaps this is because Warren Beatty shares Shampoo‘s writing credit with Towne, whereas Chinatown was presented as solely Towne’s creation. (Of course, it’s an open secret today that Towne wrote a different, happy, ending for Chinatown, which director Roman Polanski replaced — fortunately — with a devastating one.) In any case, it’s a pleasant and unexpected surprise that the San Francisco Film Society has chosen to showcase Shampoo while presenting Towne with this year’s Kanbar Award for excellence in screenwriting.

As the critic and teacher Elaine Lennon points out in a 2005 piece for Senses of Cinema, the true complexity of Shampoo‘s script stems from the same element the film has been derided for — its superficially silly comic spirit. Lennon suggests that the many influences detectable in Shampoo include ancient Greek tragedy, the restoration comedies of 17th- and early 18th-century England, and the plays of Molière. All of the above construct poignant social critiques while providing comic relief.

Indeed, Shampoo uses the sexuality that permeates its turbulent and intricately woven Beverly Hills microcosm to farcically comment on the United States of the late 1960s. George (Beatty), the restless hairdresser with a soft spot for his customers, his girlfriend Jill (Goldie Hawn), his ex-girlfriend and lover Jackie (Julie Christie), his other lover Felicia (Lee Grant), and Felicia’s husband and Jackie’s sugar daddy Lester (Jack Warden) not only share the same lovers, they share the same anxiety — a feeling produced by an ever-changing, unstable society. To put it differently, their sexual misbehavior is a manifestation of the fluidity and uncertainty of their lives.

In comparing Shampoo to Chinatown, Pauline Kael perceptively wrote, "Towne’s heroes are like the heroes of hard-boiled fiction: they don’t ask much of life, but they are also romantic damn fools who just ask for what they can’t get." As Kael implies, George is the only character in the film who acts out of a desire for sheer pleasure and lives for the moment. All the others amorally float wherever the wind blows, compromising their true desires in a quest for the seemingly safe environment — the peaceful period of supposed law and order — that President Nixon has promised them.

Shampoo also presents some unconventional, multifaceted perspectives concerning gender issues. George is the poor innocent guy stunning rich women exploit for thrills and then promptly dump. Jill, Jackie, and Felicia are visibly weighing their options and waiting for the best offer, while Lester, although adulterous and money-grubbing, is somewhat sympathetic and humane.

Juxtaposed with the questionable career choices Towne has made over the last couple of decades, Shampoo shines like a bright gem. After 1996’s Mission: Impossible, and 2000’s Mission: Impossible II, one can’t help but wonder whether his rewrite of Alfred Hitchcock’s The 39 Steps (1935) — which he also will be directing — marks a return to more intimate projects such as 1973’s The Last Detail, or furthers his spiralling descent into Hollywood blockbuster hell.
AN AFTERNOON WITH ROBERT TOWNE (includes a screening of Shampoo), Sat/3, 4 p.m., Sundance Kabuki

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SFIFF: Apolitical animal

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SFIFF Do we have Francisco Vargas’s The Violin (2005) to blame for the omission of Lake Tahoe — the follow-up to Fernando Eimbcke and screenwriting partner Paula Markovitch’s imperfect and wonderful 2004 debut Duck Season — from this year’s selection of Mexican films at the San Francisco International Film Festival? Did the success of Vargas’s film, which won the New Directors Prize at last year’s fest, give the selection committee too much confidence in the rookies?

There are three Mexican films this year, all first features. Though one manages to be an infield home run, the overall representation of the country is underwhelming and, we hope, less than representative.

Let’s begin with Rodrigo Plá’s La Zona (2007), an alleged thriller that seeks to eviscerate Mexico’s cloistered middle class.

It does not. Nestled within the dirty vibrancy of Mexico City is "La Zona," a gated community of those same ornate houses with the Mediterranean-tile roofs that blight the American suburbs (I lived in one during high school). When a fallen billboard becomes a stairway over the wall, a violent scuffle with intruders puts the community’s zoning charter in peril. For the residents of the enclave, the possibility of losing their ability to live separately just won’t do. The movie’s message — that a tier of Mexican society is sacrificing its soul to divorce itself from its economically ravaged country — may as well have been plastered across that catalytic billboard.

La Zona is the type of idea Eimbcke and Markovitch might have considered and rejected in high school. The Nintendo light guns in Duck Season do a helluva better job evoking the spiritual violence that is so painfully literal in La Zona. It’s strange to me that Eimbcke and Markovitch haven’t made a bigger splash in the United States. Lord knows the majority of people inclined toward reading subtitles don’t like to work too hard, but the American influence on these filmmakers’ first film (it got a lot of Stranger Than Paradise comparisons) is apparent. It’s a wonder they aren’t already riding the same train, albeit in coach, as Alejandro González Iñárritu, Guillermo del Toro, and Alfonso Cuarón. They’re minimalists, but the likeable kind.

But enough pining. Back to the reality.

One wants to muster the energy to hope that Alex Rivera’s sci-fi antiglobalization flick Sleep Dealer, which wasn’t available for screening, takes La Zona‘s same drive to filter Mexican political concerns through pop conventions and produces something substantial. The centerpiece concept — site-specific American labor outsourced to Mexico with the help of drones — is certainly intriguing. But judging from the easy political humor of Rivera’s short films (the proxy farm worker idea was already played for laughs in his 1998 short Why Cybraceros?), we should brace for another dour lecture hastily fitted with genre tropes and called subversive.

But even if Sleep Dealer turns out to be a powerhouse, its NAFTA-Tron 3000 robots have to be awfully cool to contend with the quiet power of Israel Cárdenas and Laura Amelia Guzmán’s Cochochi. The film, about two preteen brothers from the Raramuri tribe in northwest Mexico, is slightly shy of the visual achievement of The Violin‘s textured grayscale, but it’s also more sincere and less showy in its social awareness. The two boys (real-life brothers Antonio Lerma Batista and Evaristo Lerma Batista), while delivering medicine to family in a neighboring village, promptly lose the horse they "borrowed" from their grandfather. Then they lose one another. Like a bifurcated Where Is the Friend’s Home? (1987), Cochochi is a pleasantly disorienting trek through unfamiliar territory, trailing overburdened children who register their mounting worries with the stony expressiveness kids are brilliant at.

It’s an unassuming naturalist document that, for all its hushed grace, crackles with anxiety and proudly maintains a layer of abrasiveness. In this respect, it reminds me of Mexican director Carlos Reygadas’ gorgeous nutso-realist films, minus the impish provocation. Like Reygadas, Cárdenas and Guzmán use local, untrained actors to languorously stilted effect. The filmmakers relied heavily on the brothers for the film’s story and dialogue, which is spoken in the Tarahumaran dialect of Raramuri.

Cochochi is no thriller and there aren’t any robots, but it is the rightful destination of your dollar. Besides, if the current Under the Same Moon is any indication of distribution trends, there’ll be plenty of opportunity for self-flagellation later.

COCHOCHI May 1, 6:30 p.m., Kabuki; May 4, 3:15 p.m., Kabuki; May 5, 6:30 p.m., PFA

SLEEP DEALER Mon/28, 9 p.m., PFA; May 4, 9:15 p.m., Kabuki; May 7, 6:15 p.m., Kabuki

LA ZONA May 3, 9:30 p.m., Clay; May 5, 2 p.m., Kabuki; May 7, 9:30 p.m., Kabuki


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SFIFF: Blood ties

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› cheryl@sfbg.com

You can keep those classy, highbrow Coppolas. I’ll play the low card with the Argentos any day. This year’s San Francisco International Film Festival is a feast for fans of the father-daughter team: Dario directs Asia in Mother of Tears, his long-awaited final entry in the cultishly beloved "Three Mothers" series, which includes 1977’s Suspiria and 1980’s Inferno. Asia also stars in Abel Ferrara’s Go Go Tales, as well as the fest’s opening-night film, Catherine Breillat’s The Last Mistress.

I first encountered the duo under the least relaxing of circumstances at the 2007 Toronto Film Festival. Press interviews for Mother of Tears were held in a hectically crowded hotel restaurant. Waiting for my turn, I watched as team Argento chowed down a quick lunch, chattering together in Italian about who knows what (witches, ancient artifacts, the weather?). I clutched my tape recorder, feeling possibly the same mixture of fear, awe, and excitement that filled Suspiria’s Suzy Bannion when she arrived at a certain cursed ballet school.

Fortunately, my chat with the pair was devoid of ceiling maggots, underwater zombies, or — as featured in Mother of Tears — demonic monkeys. Probably the most frequent question Dario Argento has had to answer is the most obvious: why did he decide to finish the trilogy now, nearly three decades post- Inferno? "We have a time for everything," he told me, because of course that’s exactly what I asked him first off. "You wait until the idea comes."

There’s no doubt Mother of Tears sprang from Argento’s brain; his signature occult themes, glorious violence, and attention to style (instead of, say, plot) are all accounted for. He cowrote the film’s script with a pair of Americans he met while working on Showtime’s Masters of Horror series, Jace Anderson and Adam Gierasch (Simona Simonetti and Mother of Tears editor Walter Fasano are also cocredited). The film, which opens theatrically in San Francisco in June, received mixed reviews on the festival circuit. Variety critic Dennis Harvey, who also writes for the Guardian, called it a "hectic pileup of supernatural nonsense." True enough, but I would argue that while Mother of Tears is flawed, it’s enjoyably flawed.

The story revolves around a museum worker named Sarah (Asia Argento) who must summon previously dormant spiritual powers (inherited from her late mother, played by Asia’s real-life mother and Dario’s former partner, Inferno star Daria Nicolodi) to defeat an evil witch’s plot to take over Rome and eventually the world. Eyes are gouged out. Cleavers make short work of necks. Underground pools of muck must be navigated. Udo Kier, playing an exorcist, very nearly reprises his Suspiria role as Exposition Guy. Characters, including witches, take the time to use public transportation. Silly? Yeah, a bit.

Waiting to make Mother of Tears enabled Argento to take advantage of CG, one of his favorite cinematic inventions. His 1996 film The Stendhal Syndrome (which also starred Asia) was reportedly the first Italian release that used CG. In Toronto, Argento told me the film has more than 180 visual effects — including a church on fire — which were created in conjunction with Lee Wilson, another Masters of Horror veteran.

The freedom Argento has enjoyed with CG (now, he says, "it’s possible to fly high!") is matched by another door that has opened since the releases of Suspiria and Inferno: the censorship that plagued his early career is less of an issue in these accustomed-to-gore times.

"I hate censors," Argento assured me in our second interview, conducted over the phone in late March. "For Mother of Tears, I talked to the producer, the distributor, the financier [and told them], ‘I want to be free. I want to show my natural reality after so many years.’ And I did that."

In Rome prepping for his next film, simply titled Giallo (sorry, fellow horror nerds, I couldn’t get him to spill any dirty details), Argento reflected on working with his daughter. Stateside, Asia Argento is known chiefly as an actor (she tangled with Vin Diesel in 2002’s XXX and pissed off corpses in 2005’s Land of the Dead). But she’s also directed a handful of films, including 2000’s Scarlet Diva (which Dario co-produced) and the 2004 J.T. LeRoy adaptation, The Heart Is Deceitful above All Things.

"She understands what it means to be in the project — not just thinking about her character, but the other parts of the film," Argento said. "Since she was a child, she’d follow me on the shooting of many of my films. She grew up on the sets of my films. She’s very comfortable in this world, this show business."

In Toronto, Asia Argento stepped in as translator for both my questions and her father’s answers. She said that when she heard about the Mother of Tears script, she asked to be a part of the film. As in previous Argento-Argento collaborations like The Stendhal Syndrome, the part called for some grueling physical scenes. Still, the pair seem to have an easy rapport, laughing over the aforementioned underground pool of muck ("That was really gross to do," Asia remembered. "He prepared that for three days, this horrible soup. I would watch him prepare that soup, but I wouldn’t say anything!") Later, over the phone, Dario described he and his daughter as "big friends."

Onscreen, Asia Argento has a certain magnetism that few other performers can claim. In Go Go Tales, she appears in only a few scenes, playing a surly dancer who drags her giant Rottweiler with her everywhere, including into her stripper dance routine. Abel Ferrara, who also directed her in 1998’s New Rose Hotel (she directed him in the 1998 short doc Abel/Asia), calls her a "very, very special actress."

"She’s courageous, she gets out there, and she’s not afraid to take chances with the character or with herself," he said, calling from New York, where he’s working on a documentary about the Chelsea Hotel. "When you write a script like [Go Go Tales] obviously you’re looking for the women to bring it to life. We knew we needed people who could really bring something to the table. She’s got that something — it’s indescribable."

Mother of Tears offers Argento a juicier part as a woman who may or may not be totally crazy. But it’s her role as the titular character in The Last Mistress that ranks among her best work to date. It’s a dramatic, passionate period film about an upper-class man’s insurmountable attraction to his moody, impulsive woman on the side (guess who?). Her character pinballs from ecstatic howls to anguished wails, glamorous salon-lolling to beachside pipe-smoking, and dinner table stare-downs to horseback smackdowns. Indeed, it’s a bit over the top, but she pulls it off. As a pair of striking careers can attest, it’s an ability that’s surely imprinted on the Argento genes.

GO GO TALES Sat/26, 11:45 p.m., Kabuki; Mon/28, 9:30 p.m., Kabuki; April 30, 3:15 p.m., Kabuki

THE LAST MISTRESS Thurs/24, 7 p.m., Castro

MOTHER OF TEARS Fri/25, 10:30 p.m., Kabuki


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SFIFF: Explosive stuff!

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SFIFF The pop detritus of today is the archaeological evidence of tomorrow, to be pieced together by future generations — should there be any — who will no doubt want to know what the hell we were thinking. Their conclusions may be bizarre. But will their conjecture be any stranger than our present-tense realities?

Inventing tomorrow’s conspiracy theories today is Mock Up on Mu, the latest pseudodocumentary, sci-fi historical dig, Situationist prank, and thinly veiled fight-the-power rant by San Francisco’s collage king, Craig Baldwin. In the mode of his prior cult faves Tribulation 99 (1992), O No Coronado! (1992) and Spectres of the Spectrum (1999) — albeit with a higher percentage of new staged sequences mixed into the ingeniously assembled archival errata — it again grinds fact and fiction into a tasty genre-defying pulp. For many, Mu‘s world premiere is the most eagerly awaited event in the 51st San Francisco International Film Festival’s goody-laden schedule.

It’s 2019 AD on the Empire of Mu — the Moon — where L. Ron Hubbard (Damon Packard) is building theme parks, selling crater-naming rights, and beaming corporate logos back to "that prison planet called Earth." Having been banished from our planet, he must dispatch "Agent C," a.k.a. Marjorie Cameron (Michelle Silva), back to the blue ball to engage in some espionage involving the seductions of both Ra-worshiping rocket scientist Jack Parsons (Kal Spelletich) and sleazy defense contractor Lockheed Martin (Stoney Burke). Realizing "Commodore" Hubbard’s purposes may be more nefarious than professed, she finds the truth is out there … way out there. It’s naked and shameless, in fact. Those hippies were right: free love will save us all.

As ever, there is a certain investigative method behind the Oakland-born Baldwin’s jigsaw madness. The real Parsons was the founder of the pre-NASA Jet Propulsion Laboratory and an avid occultist. He started a private boat dealership with none other than Hubbard, before Hubbard absconded with some money and Parsons’ girlfriend (whom he married). Soon thereafter, Hubbard wrote the original Dianetics: The Modern Science of Mental Health in 1950, which in turn led to that gift to mankind we call Scientology. As for Parsons, he went on to marry painter, author, and psychic Cameron, who, like him (as well as Hubbard) was an early American devotee of Aleister Crowley and a participant in sex magick rituals.

Thus you don’t need six degrees, let alone Kevin Bacon, to connect Wernher von Braun, Kenneth Anger, and Tom Cruise. History is fun! As is Mu, with its antic use of everything from old propagandistic footage to clips spanning eras of cinematic sci-fi: Georges Melies’ 1902 Trip to the Moon, the original Flash Gordon serial and 1936’s H.G. Wells–based Things to Come, drive-in trash (it’s always cheering to see 1962’s The Brain That Wouldn’t Die), and Star Trek. The resulting fair-use frolic nonetheless reveals a serious side or three while exploring the dense and slightly demented history of military and aerospace business in sunny California.

Baldwin recently took a break from his numerous other roles — programmer at Other Cinema; teacher at SF Art Institute, California College of the Arts, and Artists Television Access — to sound off on Mu.

SFBG I hate to ask such a blunt question, but what is this movie about?

CRAIG BALDWIN My "Mu-vie" is about how utopian visions of technology and space exploration became compromised by the military in the late 20th century. And [about] how the lives of [technological and space travel] pioneers afford a rich trace of California regional history after World War II: the complex crossing of alternative tech research, personal belief systems, lifestyles, artistic practices, newly organized and newly imported religions, and spiritual institutions. Plus that era brought an explosion of the formerly marginalized sci-fi genre, of which Mu is of course the very latest iteration!

Mu is also about the cult of film, especially experimental film. I’m trying to work though a new model of historiography or storytelling that I am calling collage-narrative. It’s a humble stab at opening up a new space in film practice that is not only of interest to historians but also to aesthetes. And, my dear, I don’t have to tell you that these groups are certainly not mutually exclusive!

SFBG Your father worked for a rocket manufacturer. Has that made you more interested in Cold War and military-industrial complex themes?

CB Yes, my dad worked for Aerojet. He was born the same year as Parsons! And I was born the year Parsons died. I am his reincarnation. But the point is something like 30 percent of Californians were involved in the aerospace biz at its height.

SFBG How much real Scientology material is in Mu?

CB [The film] remains at the level of Swiftian allegory or satire, spinning off of their Genesis story and [acting as] a meta-gloss on Hubbard’s own autobiography.

SFBG I wish Unarius had become the growth religious cult of our time. They’ve certainly made better movies. But regarding yours, the real life connections between Parsons, Hubbard, Crowley, "Mother of the New Age movement" Cameron, occultism, and scientific and military work are stranger than fiction.

CB Everyone has been very influenced by the New Age, uh, belief systems. But more than anything, I identify with postwar bohemians, beats, and hippies. Those days when rocket scientists and sci-fi pulpmeisters and occult conjurers and proto-Wicca ritual carnal orgiastic pagans intermingled may be long gone — though Kenneth Anger is still around.

SFBG Mu uses a lot of excerpts from mainstream and low budget entertainment. But where does the less familiar material — educational, promotional, and so forth — come from? You must spend infinite hours looking for the perfect clip.

CB It comes from my usual source: My basement archive of 2,500 industrial films. I do spend time in there, but could hardly claim to find the perfect clip. Au contraire. I call it "availabilism" — making what I do have work for me, through editing and audio techniques, overwriting it all into an associational stew hopefully akin to the half-memory, half-fantasy, sublinguistic colloid of thought itself.

SFBG What reaction does your work get from students? They presumably grok the pop culture stuff, but do they get the political undercurrents?

CB People can be responsive to the pop-cult clips, or the regional history, or the antiwar sentiments. But methinks [Mock Up on Mu] will be a touchstone for legions of occult or subcult partisans ravenous for these almost mythic tales of the roots of alternative religions.

SFBG Sir, your Thetan level must be off the charts.

MOCK UP ON MU Mon/28, 9:15 p.m., Sundance Kabuki; April 30, 8:55 p.m., Pacific Film Archive


>SFBG goes to SFIFF 51: our deluxe guide

Peaker plan afloat

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› amanda@sfbg.com

A proposal to build two natural gas–fired power plants is still floating through the city’s planning process, set for approval by the Board of Supervisors as soon as May, but no one seems truly comfortable with the deal.

"It’s not my first choice or my second choice, but it’s the choice I have," Board president Aaron Peskin told the Guardian. The choice seems to be either the city builds newer, potentially cleaner power plants — known as "peakers" because they would be used mainly during times of peak energy demand — or does nothing to shut down the super-polluting Mirant Potrero power plant.

The combination gas- and diesel-burning power plant spews a cocktail of toxins from its stack every year and draws 226 million gallons of water a day from the bay to cool its generators yet it’s mandated by the state to keep operating. The discharge flows back into the bay significantly altered, with microorganisms and fish larvae replaced by mercury, dioxins, and PCBs.

The California Independent System Operator (CAL-ISO), the state agency that oversees electricity reliability, said it would break the Mirant contract if the peakers came online. The city-owned plants would use recycled water and more up-to-date air quality controls, making for cleaner facilities at the two proposed sites — the airport and the intersection of 25th and Maryland in the Bayview.

They also would be city-operated, giving a little more leg to the local public power movement. But they still burn fossil fuel, and at a time when the climate is in crisis and natural gas prices are only rising, many say this isn’t the direction a trend-setting city like San Francisco should be heading.

"This isn’t the progressive way to go," said Sup. Chris Daly. "We need to be more forcefully installing renewables that are municipally owned."

Daly, along with supervisors Ross Mirkarimi and Michela Alioto-Pier and the city’s current power provider Pacific Gas and Electric Co., have lined up against building the peakers in what Mirkarimi calls an "unholy alliance."

PG&E, lobbying under the guise of the "Close It! Coalition," states that the peakers "further San Francisco’s reliance on fossil fuels and add to global warming." The $12 billion utility company currently gets 40 percent of its power the same way and is in the process of constructing several similar plants throughout the state. Nevertheless, the company has submitted detailed proposals to the city and state outlining demand response measures and transmission upgrades that would mitigate the need for more energy.

Mayor Gavin Newsom and City Attorney Dennis Herrera support building the peakers in order to close the Mirant plant, and Sups. Sophie Maxwell, Bevan Dufty, and Jake McGoldrick are carrying the legislation that would seal the contract with Cleveland, Ohio-based Industrial Construction Company to start the $252 million project.

That legislation points out that Mirant’s water permit is set to expire Dec. 31, and the Regional Water Quality Board has indicated it has no plans to renew it unless Mirant upgrades to best practices. This has been suggested as an alternative way to close the plant. When asked whether Cal-ISO’s reliability demands trump the Water Board’s requirements, Cal-ISO’s Gregg Fishman wrote in an e-mail, "What happens if the Potrero unit’s water permits expire? Simply put — we’re not sure."

Beyond that, a number of questions remain: Should the requirement for a full feasibility study for city contracts more than $25 million really have been waived for this project? Is it fair to put the new power plant in the neighborhood that has always endured the lion’s share of the city’s pollution? What if they were on movable barges instead? And has the city been forceful enough with CAL-ISO when it comes to planning the city’s energy future?

Alioto-Pier has introduced two resolutions addressing a couple of these issues. One calls for a straight-up feasibility study — which supporters of the peakers have waived. "The city has a policy of conducting a full fiscal analysis of capital projects over $25 million," Alioto-Pier said in a press release. "This should be no exception." Her other resolution asks for an independent analysis of the whole thing and a revised 2008 Energy Action Plan for the city.

For several years, Cal-ISO has said Mirant could stop operating if San Francisco can provide an alternate "firm" power source in its Energy Action Plan. In 2004, San Francisco’s Public Utilities Commission proffered the peakers, and that became the city’s power plan before adopting the CCA (community choice aggregation) plan for the city to develop an energy portfolio of at least 51 percent renewables.

Though the SFPUC has continuously asked Cal-ISO if the 2004 Action Plan is still the way to go now that the Trans Bay Cable and other line improvements have come into play, Josh Arce, a lawyer for Brightline Defense, which sued to stop the peaker plan, says they’ve been framing the question all wrong: "The PUC has essentially been saying, ‘Does the Action Plan include all four combustion turbines?’ And Cal-ISO has said, ‘Yes, it includes all four.’ Instead, the PUC needs to come up with a new Action Plan and give it to Cal-ISO and say we’re doing this instead."

Alioto-Pier’s resolution, if passed, could prompt a fresh response from Cal-ISO about what the city really needs — one, two, or three peakers, or maybe none at all. Maxwell’s resolution includes a caveat that the city must determine if needs could be met by building smaller plants with fewer than the four turbines currently proposed.

Peskin, who chairs the city’s Government Audit and Oversight Committee and will hear both Alioto-Pier resolutions on May 5, as well as the Maxwell plan to move to build the peakers, told us, "This is one of the toughest decisions that’s been before me in the eight years that I’ve been on the Board of Supervisors."

No one, it seems, really wants to build two fossil fuel–burning power plants on San Francisco soil. But what if they weren’t on our soil? What if they were floating on barges?

Another resolution pending in the Land Use Committee, brought by Mirkarimi, proposes putting the two power plants on barges, which could be moored alongside the city when needed and dispatched elsewhere when they’re not. What if, a few years from now, citizens are able to cut down their power needs, CCA brings more renewables online, and the city finds it no longer needs the 200 megawatts generated by natural gas power plants?

Proponents say it’s an option worth considering if the city really intends to eventually close the plants. Dismantling a facility if the city decides to sell leaches away 20 to 30 percent of its overall cost. But if it’s on a barge, the natural gas, electricity, and mooring lines are simply cast off. A barge would be steadier in an earthquake and continue to float if the sea level rises — a climate change scenario that could swamp both current bayside power plant sites. Barges also can be dispatched to emergencies, leased down the river to other cities in the Bay Area, or sold for a profit. They’ve been in use around the world since the 1940s and have been called a more regional approach to energy planning.

"It’s 145 MW of portable energy," said Rick Galbreath, Mirkarimi’s aide. "You can pull it up, plug it in, and you’re on the grid. It’s really a dynamic solution."

Paul Fenn, the brain behind the city’s CCA plan, points out that if CAL-ISO still insists the peakers are needed now but not in the future, a power barge is the kind of flexible solution that could pay off in the long run. "It’s making a temporary measure for an urgent situation," he said, adding that such a temporary solution should reflect the city’s long-term goals. "If the city is planning to replace them with renewables, it’s important to get the city to make that commitment. This is one of those strategic decisions that’s going to impact the future."

The San Francisco Bay Conservation and Development Commission generally opposes building anything in the bay if it can be built on land first. "The proponents would have to do an analysis and convince our commission that this is really a good idea for the region," said Will Travis, a BCDC spokesperson.

But Dave Nickerson, owner of Houston-based Power Barge Corporation, said he’s looked at the city’s peaker plans and thinks it would cost about $100 million to build a three-CT barge. "We would probably build the plant here and ship it up," he said, pointing out that the city’s turbines are already in storage down in Texas and it’s cheaper to build it in a shipyard. To claims of environmental degradation, he says, "It would have the environmental footprint of a state of the art land-based plant."

He also pointed out that there’s a scarcity of these particular turbines now, which are worth about $1 million more every year. This year it’s around $16.5 million apiece, with $18 million as the projected 2008 price.

Emma Lierley contributed to this story.

Newsom’s missing trees

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OPINION During his 2003 mayoral campaign, Gavin Newsom circulated a beautifully presented eight-page "policy brief" for "A Green and Clean San Francisco." The first four pages were devoted to a pledge to "grow our urban canopy" — a subject near and dear to my heart.

Newsom announced: "As mayor of San Francisco, I will lead the city government and community organizations to make San Francisco a city we can take pride in — a city with green [emphasis mine], clean, and livable neighborhoods." As his first action, he said, "I will grow our urban canopy by placing a priority on tree planting and care."

For good measure, he tantalized us with some goodies: "Visualize 19th Avenue as a welcoming beautiful gateway to the city, lined with trees and planters." He promised to improve the lack of coordination among city agencies and departments involved in street tree planting, care, and planning by using new technologies such as CitiStat. And, most important, he committed himself to addressing the massive underfunding of the expansion and maintenance of the urban canopy.

These promises were made in the context of the long-standing critical state of the city’s urban forest. The candidate put it this way: San Francisco lags behind other communities in providing a vital, vibrant, and ecologically sustainable urban canopy, as well as open space, in the city. San Francisco has an estimated 90,000 street trees. By comparison, San Jose boasts 231,000 street trees. Our urban canopy is full of holes: Friends of the Urban Forest estimates we have only 75 street trees per mile, compared to the national average of 120 trees per mile. That means San Francisco has a little more than half the street trees of similarly sized cities.

Today, after more four years in office, the mayor’s promises are still just that. Nothing close to what he committed to do has been accomplished or implemented. Instead the mayor has relied on press releases, disinformation, and a newly staffed position with a yet-to-be-defined role to publicize his claimed achievements.

As I speak, the mayor has seven full–time press officers polishing his image, which, coincidentally, is the same number — seven — of filled managerial/administrative positions in the Department of Public Works Bureau of Urban Forestry, the division responsible for managing all the street trees in the city. The Department of the Environment has only two-thirds of one position (out of some 65 full-time positions) devoted to urban trees.

The Office of Greening, established in 2005, has had three directors, with no announced action from the latest one since she took over in February. The Greening Vision Council, chaired by the greening director, has been dormant for more than two years. The April 2006 Urban Forest Plan died in the Planning Department. And no one in the Controller’s Office has any direct knowledge of that new technology, CitiStat.

The mayor’s spinning was at its most inventive when he used creative accounting to claim on Arbor Day last year that more than 15,000 trees were added to the city in the years 2004 to 2006, when actual total was closer to 4,800 trees.

So much for "green and clean."

Allen Grossman

Allen Grossman is executive director of the SF Urban Forest Coalition.

Promises and reality

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› sarah@sfbg.com

The Lennar-financed "Yes on G" fliers jammed into mailboxes all across San Francisco this month depict a dark-skinned family strolling along a shoreline trail against a backdrop of blue sky, grassy parkland, a smattering of low-rise buildings, and the vague hint of a nearly transparent high-rise condo tower in the corner.

"After 34 years of neglect, it’s time to clean up the Shipyard for tomorrow," states one flier, which promises to create up to 10,000 new homes, "with as many as 25 percent being entry-level affordable units"; 300 acres of new parks; and 8,000 permanent jobs in the city’s sun-soaked southeast sector.

Add to that the green tech research park, a new 49ers stadium, a permanent home for shipyard artists, and a total rebuild of the dilapidated Alice Griffith public housing project, and the whole project looks and sounds simply idyllic. But as with many big-money political campaigns, the reality is quite different from the sales pitch.

What Proposition G’s glossy fliers don’t tell you is that this initiative would make it possible for a controversial Florida-based megadeveloper to build luxury condos on a California state park, take over federal responsibility for the cleanup of toxic sites, construct a bridge over a slough restoration project, and build a new road so Candlestick Point residents won’t have to venture into the Bayview District.

Nor do these shiny images reveal that Prop. G is actually vaguely-worded, open-ended legislation whose final terms won’t be driven by the jobs, housing, or open-space needs of the low-income and predominantly African American Bayview-Hunters Point community, but by the bottom line of the financially troubled Lennar.

And nowhere does it mention that Lennar already broke trust with the BVHP, failing to control asbestos at its Parcel A shipyard development and reneging on promises to build needed rental units at its Parcel A 1,500-unit condo complex (see "Question of intent," 11/28/07).

The campaign is supported by Mayor Gavin Newsom, Sen. Dianne Feinstein, and District 10 Sup. Sophie Maxwell, as well as the Republican and the Democratic parties of San Francisco. But it is funded almost exclusively by Lennar Homes, a statewide independent expenditure committee that typically pours cash into conservative causes like fighting tax hikes and environmental regulations.

In the past six months, Lennar Homes has thrown down more than $1 million to hire Newsom’s chief political strategist, Eric Jaye, and a full spectrum of top lawyers and consultants, from generally progressive campaign manager Jim Stearns to high-powered spinmeister Sam Singer, who recently ran the smear campaign blaming the victims of a fatal Christmas Day tiger attack at the San Francisco Zoo.

Together, this political dream team cooked up what it hopes will be an unstoppable campaign full of catchy slogans and irresistible images, distributed by a deep-pocketed corporation that stands to make many millions of dollars off the deal.

But the question for voters is whether this project is good for San Francisco — particularly for residents of the southeast who have been subjected to generations worth of broken promises — or whether it amounts to a risky giveaway of the city’s final frontier for new development.

Standing in front of the Lennar bandwagon is a coalition of community, environmental, and housing activists who this spring launched a last minute, volunteer-based signature-gathering drive that successfully became Proposition F. It would require that 50 percent of the housing built in the BVHP/Candlestick Point project be affordable to those making less than the area median income of $68,000 for a family of four.

Critics such as Lennar executive Kofi Bonner and Michael Cohen of the mayor’s Office of Economic and Workforce Development have called Prop. F a "poison pill" that would doom the Lennar project. But its supporters say the massive scope and vague wording of Prop. G would have exacerbated the city’s affordable housing shortfalls.

Prop. F is endorsed by the Sierra Club, People Organized to Win Employment Rights, the League of Conservation Voters, the Chinese Progressive Association, St. Peter’s Housing Committee, the Harvey Milk LGBT Democratic Club, Coleman Advocates for Children and Youth, the Grace Tabernacle Community Church, Green Action, Nation of Islam Bay Area, the African Orthodox Church, Jim Queen, and Supervisor Chris Daly.

Cohen criticized the coalition for failing to study whether the 50 percent affordability threshold is feasible. But the fact is that neither measure has been exposed to the same rigors that a measure going through the normal city approval process would undergo. Nonetheless, the Guardian unearthed an evaluation on the impact of Prop. F that Lennar consultant CB Richard Ellis prepared for the mayor’s office.

The document, which contains data not included in the Prop. G ballot initiative, helps illuminate the financial assumptions that underpin the public-private partnership the city is contemputf8g with Lennar, ostensibly in an effort to win community benefits for the BVHP.

CBRE’s analysis states that Lennar’s Prop. G calls for "slightly over 9,500 units," with nearly 2,400 affordable units (12 percent at 80 percent of area median income and 8 percent at 50 percent AMI), and with the San Francisco Redevelopment Agency "utilizing additional funding to drive these affordability levels even lower."

Noting that Prop. G. yields a "minimally acceptable return" of 17 to 18 percent in profit, CBRE estimates that Prop. F would means "a loss of $500 million in land sales revenue" thanks to the loss of 2,400 market-rate units from the equation. With subsidies of $125,000 allegedly needed to complete each affordable unit, CBRE predicts there would be a further cost of "$300 million to $400 million" to develop the 2,400 additional units of affordable housing prescribed under Prop. F.

Factoring in an additional $500 million loss in tax increments and Mello-Roos bond financing money, CBRE concludes, "the overall impact from [the Prop. F initiative] is a $1.1 to $1.2 billion loss of project revenues … the very same revenues necessary to fund infrastructure and community improvements."

Yet critics of the Lennar project say that just because it pencils out for the developer doesn’t mean it’s good for the community, which would be fundamentally and permanently changed by a project of this magnitude. Coleman’s Advocates’ organizing director Tom Jackson told us his group decided to oppose Prop. G "because we looked at who is living in Bayview-Hunters Point and their income levels.

"Our primary concern isn’t Lennar’s bottom line," Jackson continued. "Could Prop. F cut into Lennar’s profit margin? Yes, absolutely. But our primary concern is the people who already live in the Bayview."

Data from the 2000 US census shows that BVHP has the highest percentage of African Americans compared to the rest of the city — and that African Americans are three times more likely to leave San Francisco than other ethnic groups, a displacement that critics of the Lennar project say it would exacerbate.

The Bayview also has the third-highest population of children, at a time when San Francisco has the lowest percentage of children of any major US city and is struggling to both maintain enrollment and keep its schools open. Add to that the emergence of Latino and Chinese immigrant populations in the Bayview, and Jackson says its clear that it’s the city’s last affordable frontier for low-income folks.

The problem gets even more pronounced when one delves into the definition of the word "affordable" and applies it to the socioeconomic status of southeast San Francisco.

In white households, the annual median income was $65,000 in 2000, compared to $29,000 in black households — with black per capita income at $15,000 and with 14 percent of BVHP residents earning even less than $15,000.

The average two-bedroom apartment rents in San Francisco for $1,821, meaning households need an annual AMI of $74,000 to stay in the game. The average condo sells for $700,000, which means that households need $143,000 per year to even enter the market.

In other words, there’s a strong case for building higher percentages of affordable housing in BVHP (where 94 percent of residents are minorities and 21 percent experience significant poverty) than in most other parts of San Francisco. Yet the needs of southeastern residents appear to be clashing with the area’s potential to become the city’s epicenter for new construction.

San Francisco Republican Party chair Howard Epstein told the Guardian that his group opposed Prop. F, believing it will kill all BVHP redevelopment, and supported Prop. G, believing that it has been in the making for a decade and to have been "vetted up and down."

While a BVHP redevelopment plan has been in the works for a decade, the vaguely defined conceptual framework that helped give birth to Prop. G this year was first discussed in public only last year. In reality, it was hastily cobbled together in the wake of the 49ers surprise November 2006 news that it was rejecting Lennar’s plan to build a new stadium at Monster Park and considering moving to Santa Clara.

As the door slammed shut on one opportunity, Lennar tried to swing open another. As an embarrassed Newsom joined forces with Feinstein to find a last-ditch solution to keep the 49ers in town, Lennar suggested a new stadium on the Hunters Point Shipyard, surrounded by a dual use parking lot perfect for tailgating and lots of new housing on Candlestick Point to pay for it all.

There was just one problem: part of the land around the stadium at Candlestick is a state park. Hence the need for Prop. G, which seeks to authorize this land swap along with a repeal of bonds authorized in 1997 for a stadium rebuild. As Cohen told the Guardian, "The only legal reason we are going to the voters is Monster Park."

As it happens, voters still won’t know whether the 49ers are staying or leaving when they vote on Props. F and G this June, since the team is waiting until November to find out if Santa Clara County voters will support the financing of a new 49er stadium near Great America.

Either way, Patrick Rump of Literacy for Environmental Justice has serious environmental concerns about Prop. G’s proposed land swap.

"Lennar’s schematic, which builds a bridge over the Yosemite Slough, would destroy a major restoration effort we’re in the process of embarking on with the state Parks [and Recreation Department]," Rump said. "The integrity of the state park would easily be compromised, because of extra people and roads. And a lot of the proposed replacement parks, the pocket parks … don’t provide adequate habitat."

Rump also expressed doubts about the wisdom of trading parcels of state park for land on the shipyard, especially Parcel E-2, which contains the landfill. Overall, Rump said, "We think Lennar and the city need to go back to the drawing board and come up with something more environmentally sound."

John Rizzo of the Sierra Club believes Prop. G does nothing to clean up the shipyard — which city officials are seeking to take over before the federal government finishes its cleanup work — and notes that the initiative is full of vague and noncommittal words like "encourages" that make it unclear what benefits city residents will actually receive.

"Prop. G’s supporters are pushing the misleading notion that if we don’t give away all this landincluding a state park — to Lennar, then we won’t get any money for the cleanup," Rizzo said. "But you don’t build first and then get federal dollars for clean up! That’s a really backwards statement."

The "Yes on G" campaign claims its initiative will create "thousands of construction jobs," "offer a new economic engine for the Bayview," and "provide new momentum to win additional federal help to clean up the toxins on the shipyard."

Michael Theriault, head of the San Francisco Building and Construction Trades, said his union endorsed the measure and has an agreement with Lennar to have "hire goals," with priority given to union contracts in three local zip codes: 94107, 94124, and 94134.

"There will be a great many construction jobs," Theriault said, though he was less sure about Prop. G’s promise of "8,000 permanent jobs following the completion of the project."

"We endorsed primarily from the jobs aspect," Theriault said. The question of whether the project helps the cleanup effort or turns it into a rush job is also an open question. Even the San Francisco Chronicle, in a January editorial, criticized Newsom, Feinstein, and Pelosi for neglecting the cleanup until "when it seemed likely that the city was about to lose the 49ers."

All three denounced the Chronicle‘s claims, but the truth is that the lion’s share of the $82 million federal allocation would be dedicated to cleaning the 27-acre footprint proposed for the stadium. Meanwhile, the US Navy says it needs at least $500 million to clean the entire shipyard.

Sup. Ross Mirkarimi said the city should wait for a full cleanup and criticized the Prop. G plan to simply cap contaminated areas on the shipyard, rather than excavate and remove the toxins from the site.

"That’s like putting a sarcophagus over a toxic wasteland," Mirkarimi told us. "It would be San Francisco’s version of a concrete bunker around Chernobyl."

Cohen of the Mayor’s Office downplays the contamination at the site, telling us that on a scale of one to 10 among the nation’s contaminated Superfund sites, the shipyard "is a three." He said, "the city would assume responsibility for completing the remaining environmental remediation, which would be financed through the Navy."

But those who have watched the city and Lennar bungle development of the asbestos-laden Parcel A (see The corporation that ate San Francisco, 3/14/07) don’t have much confidence in their ability to safely manage a much larger project.

"Who is going to take the liability for any shoddy work and negligence once the project is completed?" Mirkarimi asked.

Lennar has yet to settle with the Bay Area Air Quality Management District over asbestos dust violations at Parcel A, which could add up to $28 million in fines, and investors have been asking questions about the corporation’s mortgage lending operations as the company’s stock value and bond rating have plummeted.

To secure its numerous San Francisco investments, including projects at Hunters and Candlestick points and Treasure Island, Lennar recently got letters of intent from Scala Real Estate Partners, an Irvine-based investment and development group.

Founded by former executives of the Perot Group’s real estate division, Scala plans to invest up to $200 million — and have equal ownership interests — in the projects, which could total at least 17,000 housing units, 700,000 square feet of retail and entertainment, 350 acres of open space, and a new football stadium if the 49ers decide to stay.

Bonner said that, if completed, the agreement satisfies a city requirement that Lennar secure a partner with the financial wherewithal to ensure the estimated $1.4 billion Candlestick Point project moves forward even if the company’s current problems worsen.

Meanwhile, Cohen has cast the vagaries of Prop. G as a positive, referring to its spreadsheet as "a living document, a moving target." Cohen pointed out that if Lennar had to buy the BVHP land, they’d get it with only a 15 percent affordable housing requirement.

"Our objective is to drive the land value to zero by imposing upon the developer as great a burden as possible," Cohen said. "This developer had to invest $500 million of cash, plus financing, and is required to pay for affordable housing, parks, jobs, etc. — the core benefits — without any risk to the city."

But Cohen said the Prop. F alternative means "nothing will be built — until F is repealed." He also refutes claims that without the 49ers stadium, 50 percent affordability is doable.

"Prop G makes it easier to make public funds available by repealing the Prop D bond measure," Cohen explained. "But Prop. G also provides that there will be no general fund financial backing for the stadium, and that the tax increments generated by the development will be used for affordable housing, jobs, and parks."

But for Lennar critics like the Rev. Christopher Mohammad, who has battled the company since the Islamic school he runs was subjected to toxic dust, even the most ambitious promises won’t overcome his distrust for the entity at the center of Prop. G: Lennar.

In a fiery recent sermon at the Grace Tabernacle Community Church, Mohammad recalled the political will that enabled the building of BART in the 1970s. "But when it comes to poor people, you can’t build 50 percent affordable. That will kill the deal," Mohammad observed.

"Lennar is getting 700 prime waterfront acres for free, and then there’ll be tax increment dollars they’ll tap into for the rebuild," he continued. "But you mean you can’t take some of those millions, after all the damages you’ve done? It would be a way to correct the wrong."

PG&E’s attack on CCA

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EDITORIAL It’s a bit odd (if not terribly surprising) that the San Francisco Chronicle ran a front-page story April 16 on public power and alternatives to Pacific Gas and Electric Co. — and almost entirely ignored what’s going on in the paper’s hometown. And it’s striking (if, again, not surprising) that the story, by Kelly Zito, allowed a dubious expert from the University of California at Berkeley, who never supported public power and generally supports private sector and deregulation efforts to undermine, without rebuttal, the community-based anti-PG&E efforts.

But in the midst of this journalistic train wreck was the nut of a fascinating story: PG&E is on the ropes as communities try to find more renewable energy supplies — and is fighting back in ways that are demonstrably illegal.

There’s a message here for San Francisco, where plans for community choice aggregation are moving along slowly but steadily. The giant private utility will be trying to sabotage the efforts here, and City Attorney Dennis Herrera needs to be moving — now — to make sure there’s no illegal interference.

The focus of Zito’s story was Marin County, where there’s an active and aggressive move to create a CCA (community choice aggregation) system that would replace PG&E as an energy supplier in 11 cities. The program would function as a buyers’ co-op, purchasing electricity in bulk for all of the businesses and residents in those communities, then using PG&E’s lines to transmit the power to customers. Marin is pushing the environmental angle: PG&E uses at most 12 percent renewable power, and Marin Clean Energy can offer consumers 100 percent green power. While that option might cost a bit more (an additional $5 per month for the average customer) Marin’s CCA also says it can offer a 50 percent renewable option that meets or beats PG&E’s rates.

The Chronicle‘s expert, UC Berkeley professor Severin Borenstein, is quoted as saying that it’s risky for cities to get into the electricity business. But that’s just horse pucky: cities have been in the power business for as long as there’s been electric power. In the Bay Area, Alameda, Palo Alto, and Santa Clara all have established successful public power agencies — and all have cheaper rates than PG&E.

The state law authorizing CCA programs bars PG&E, a regulated utility, from lobbying against their implementation. In fact, in hearings before the state Pubic Utilities Commission, the company promised it would be neutral toward CCAs and wouldn’t try to discourage its customers from joining the public programs.

But in the Central Valley, where a group called the San Joaquin Valley Power Authority has been trying to create a broad-based CCA, PG&E has admitted it illegally tried to scotch the deal. Lawyers for the SJVPA filed a complaint with the CPUC, and on April 10, PG&E settled in a way that clearly admitted guilt. The company agreed to cease its illegal lobbying and pay the SVJPA $450,000 in legal fees.

It was a significant victory for public power — and San Francisco needs to make it clear right now that it will fight just as vigorously to stop PG&E interference in its own CCA efforts. The CPUC is accepting comments on the settlement, and Herrera should file a statement supporting SVJPA, in effect putting PG&E on notice that it will face immediate, furious legal action if it dares try to undermine a San Francisco CCA. Herrera also needs to put a legal team together to prepare to fight PG&E as the city’s own plan moves forward.

It’s embarrassing that San Francisco — the only city in the United States with a congressional mandate to run a public power system — is behind Marin County and the Central Valley in getting its own CCA up and running. But the process is moving forward€. And the city needs to be starting its own marketing campaign to inform the public that cheaper, greener power is on the way.

Marin has been sending out fliers showing how effectively the CCA can replace fossil-fuel and nuclear generation with greener energy options. The county has clear information about lower prices and consistent efforts to fight global warming. San Francisco is lagging here — and it’s time to get on the stick.

The floating peakers

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EDITORIAL The political fight over siting four city-owned power plants is heating up, and creating strange alliances. The San Francisco Public Utilities Commission wants to put three of the plants — which are small natural-gas-fired turbines — in the southeast part of the city, adjacent to the pollution-belching Mirant power plant at the foot of Potrero Hill. The commission argues that the city-owned plants would run only at peak hours (thus the term "peaker plants") and would generate lower carbon emissions and noxious fumes than Mirant does. Supporters of the plants argue that the state’s Independent System Operator (Cal-ISO), which controls the electricity grid, won’t allow Mirant to shut down unless the peakers are in place.

Sup. Aaron Peskin says the peakers will not only reduce emissions, but will give public power a kickstart. But Sup. Michela Alioto-Pier, who normally supports Mayor Gavin Newsom’s plans, opposes the plants on environmental grounds, and Sups. Ross Mirkarimi and Chris Daly, who say the southeast has been a toxic dumping ground for years, appear to be siding with her. Add to this the cost of building a structure to house the turbines, which has varied from as high as $500 million to as low as about $250 million, and you have a confusing mess.

But as Amanda Witherell reports in this issue, there’s another solution, one Mirkarimi floated several months ago: why not put the peakers on barges and site them offshore?

It’s a fascinating idea. Floating power plants are common all over the world; Manhattan alone has more than 30. Putting the plants on a barge would, by some estimates, cost half as much as building a home for them on land — and they could be moved around so no one neighborhood has to suffer all the impacts. (The plants, for example, could spend some time in the Marina, maybe upwind of Mayor Newsom’s house, so the southeast doesn’t have to take all the emissions.) If the city follows its own plans and builds enough renewable energy to obviate the peakers in a few years, they could easily be shipped off and sold elsewhere. Or the city could lease them to other communities (bringing in some nice cash) when they aren’t needed here. And floating plants won’t face the serious seismic issues that plants on the unstable southern San Francisco shoreline do.

There are, of course, other issues with this, including the obvious problem of putting barges in the bay, which the Bay Conservation and Development Commission would probably object to. And where, exactly, would they go? This might not be the best idea in the end.

But given the lack of good options here, this is at least worth a second look. Mirkarimi needs to push his resolution calling on the city to review that option. It’s well worth a full study. In fact, the board ought to put all final consideration of the combustion turbines on hold until the SFPUC looks at the barge proposal.

Editor’s Notes

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› tredmond@sfbg.com

I like Muni. I always have. I know that makes me strange and sick, but I’ve always enjoyed riding the buses and trains, and my kids love riding the buses and trains, and in the end, despite all the problems, it’s one of the great things about San Francisco.

Then there are days like April 20.

It wasn’t an unusual Sunday; sunny, a bit chilly. There was, of course, the grand stoner holiday, and people were flocking toward a 4:20 convergence in Golden Gate Park, but one would think the folks at Muni would realize such a cosmic event was in the offing and plan for it.

One would be wrong.

We joined a small group waiting for a westbound bus at Haight and Divisadero. The sign told us the next bus was coming in five minutes; Michael and Vivian sat on the horribly uncomfortable seats designed to keep homeless people from sleeping on them, and in about 10 minutes along came a 6 Parnassus. It slowed down enough for us to see that it was standing room only (but nowhere near as bad as the 14 Mission is every day), then pulled away without taking on passengers.

Okay: bus too crowded. Driver decides no more passengers can fit safely aboard. It’s called "passing up" a stop, and it happens. Typically there’s another, emptier bus just behind. And sure enough, the sign said a 71 Haight/Noriega would be along in three minutes.

Well, seven minutes, actually — and then the same thing happened again: full bus, no stop. At this point there were maybe 30 people at the bus stop, and some had been waiting quite a while and were getting pissed. After a while, along came another 71 … and passed us up. The corner was getting crowded; people were yelling at the bus, chasing it, running into the street, and trying to climb in the back door when it stopped in traffic. Not exactly safety first.

Eventually we walked, which was fine, except that Vivian, who at six is already a slave to fashion, was wearing shoes that looked lovely but weren’t exactly designed for a hike so she wound up with blisters, and I had to stop and get her some Band-Aids and beg for new socks at a shoe store. Such is life in the big city; I can’t really complain that much.

But there’s an issue here that intrigues me: What is Muni supposed to do in this situation? It doesn’t seem as if this should be an impossible management problem. A Muni controller could, for example, radio the next five buses on the Haight Street line and tell them each to pass up alternate intersections so everyone gets a chance to ride eventually.

I called Judson True, a nice guy who has the unfortunate job of handling press calls for Muni this week, and he told me Muni does the best it can at line management — that in theory, someone watching the Haight Street line should have radioed in the problem (I think the drivers ought to do that too) and a controller should have been able to shift more buses to that line. I suspect this may have been a screw-up. But one thing that happens when you keep cutting the Muni budget is that the ranks of controllers and line managers — those middle-management "bureaucrats" Matier and Ross and the like always whine about — start to thin out. And this shit happens.

You wonder: how often do these people who complain about government spending actually ride the bus?

Bay Area National Dance Week

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PREVIEW Can dance save the world? Those of us who are hooked on it like to think so. At the very least, it makes you feel more alive as a human being. But in the cultural pecking order, dance often gets the short stick: you can’t buy or own it, hang it on a wall, or sell thousands of DVDs of it. You pretty much have to depend on bootlegs or YouTube to get your fix. Maybe that’s why such fervor surrounds Bay Area National Dance Week and its 10 days of dance madness. This year, BANDW celebrates its 10th year with a throw-open-the-doors event designed to give all comers a chance to see or try all manner of free moves: hula hooping, belly dancing, salsa, body orchestration, Scottish country dance, Sufi dancing, Greek dancing, swing, fire twirling, and more. Some 300 participants are on board, the majority from dance companies and studios. For us working stiffs, weekday classes take place mostly in the evening, but ODC Dance Commons will offer Dance Week–related classes throughout the day. For those who prefer watching, there will be many free performances as well, ranging from San Jose’s sjDANCEco, to Mill Valley’s RoCo Dance with Oakland’s Axis Dance Company, to San Francisco’s Mark Foehringer Dance Project. Get the details of what the good people at BANDW have in store for us from their 24-page brochure, available at select cafés, libraries, and most dance studios. The kickoff conga line event starts Friday at 11:30 a.m. in Union Square.

BAY AREA NATIONAL DANCE WEEK April 25–May 4, free. www.bacndw.org

Sibling rivalry

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REVIEW This week most San Francisco cineastes will be focused on the International Film Festival — but please don’t let this Italian import, one of the best in years, leave town before you catch it. Cowritten (with director Daniele Luchetti) by Sandro Petraglia and Stefano Rulli of the fantastic Best of Youth (2003), the film shares that four-hour epic’s ability to pare decades of roiling postwar Italian political history into an absorbing personal drama. Accio (Elio Germano) is the youngest child, perpetually at odds with everyone in his poor family. He is a natural contrarian and zealot — first as a divinity student too self-righteously pious even for the priests to bear, then as an avid member of the Fascist Party. (His hometown is the small central Italian city Latina, a one-time party stronghold founded during the Mussolini era that previously had been an undrained swamp.) Those proclivities, not exactly fashionable in the story’s 1960s and ’70s setting, particularly exasperate Accio’s brother Manrico (Riccardo Scamarcio, one of those Italian men who are so good-looking they almost constitute a traffic hazard), a charismatic born leader who becomes increasingly involved in the Communist Party and underground radical actions. Still, blood is thicker than water — and by the end we realize this famiglia‘s constant yelling and slapping are as much forms of affection as anything else. And the siblings do have something else in common, namely a jones for Manrico’s upper-class girlfriend Francesca (Diane Fleri). My Brother has been compared to Italian leftist classics like Marco Bellochio’s Fist in His Pocket (1965) and Bernardo Bertolucci’s Before the Revolution (1964), no doubt largely because its manically malcontent protagonist — an indelible performance by Germano — and almost too-hyperactive imagery echo their restless intellectual agitprop. Fortunately, this is too warmly human a drama to share those films’ Godardian paternity.

MY BROTHER IS AN ONLY CHILD opens Fri/25 in Bay Area theaters.

7 spring flings

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San Francisco is such a gosh darn charming place, it often seems as if there are more romantic dining options than available dates. To which we say: Never! Spring has sprung and frisky hormones are back in motion after cozy hibernation. Grab the nearest eligible and hit up the following delightfully intimate (and reasonably priced) eateries, if only to test-drive the menu.

BAR BAMBINO


Mouth-watering charcuterie for your cutie, an extensive wine list to revel in, and an atmosphere that, while occasionally heavy on the decibel level, will douse any diminished conversation expectations in attractive lighting — so at least the potential partner across the table will look irresistible. Factor in a nifty little patio in back and an olive oil tasting menu to lubricate the cooing (plus a plethora of lip-smacking Italian dishes) and the mood is set for, if not love, then perhaps a memorable evening in the Mission.

2931 16th St., SF. (415) 701-8466, www.barbambino.com

CAFÉ ANDRÉE


You, of course, have absolutely no problem "closing the deal" — but it’s always good to have a secret weapon on hand, just in case. Café Andrée is mine. Every time I usher a hottie into Andrée’s intimate, well-appointed librarylike setting in the Rex Hotel downtown (bookshelves line the walls and there are globes galore), I know the rest of the evening will be silky smooth. Executive chef Evan Crandall creates incredible pan-global dishes that never fail to tickle. And his new spring menu is on fire. The best part: if your date bores you to tears, you don’t have to bring a book. Café Andrée does it all!

562 Sutter, SF. (415) 217-4001, www.jdvhotels.com/dining/sanfrancisco_cafeandree

COULEUR CAFÉ


Perfect for a leisurely luncheon prelude to any early-evening nuzzling, this Portrero Hill café’s generous outdoor patio and savory dishes may be responsible for more than a few calls into work begging for the afternoon off. The theme is laidback French with some Mediterranean kick, which is actually the description of many a dream date as well. A come-hither combo that always works for me: assiette de merguez with harissa for starters, followed up by the mussels mariniere and pommes frites. Enjoy.

300 De Haro, SF. (415) 255-1021, www.couleurcafesf.com

1550 HYDE CAFÉ AND WINE BAR


Nob Hill: the dating double-entendres are endless. So is the romance, especially if you duck into the intensely cozy 1550 Hyde for an adventurous wine flight and delectable cheese plate or main dish. (If 1550 is featuring its wondrous Provençal fish stew while you’re there, try it and thank me later). The emphasis here is on locally produced goods — the better to draw you closer — and the restaurant discourages cell phones, so your tête-à-tête is guaranteed to be restricted to sweet nothings.

1550 Hyde, SF. (415) 775-1550, www.1550hyde.com

L’ARDOISE


I can’t lie to you. I’m eating a can of Campbell’s tomato soup while I write this, but I’m dreaming of the escargots in garlic parsley sauce and almond-crusted barramundi at this brand-spanking new French delight near Duboce Park. Needless to say, I’ve already spent many a cherished hour there with my lover-of-the-moment. The space is warm and inviting, and the friendliness of the service puts any haughty stereotypes of the French to rest. "L’Ardoise" means chalkboard, so be sure to check the specials, which usually include a number of creamy cheeses as well as unique entrées that’ll have you’re your date shouting "oui, monsieur."

151 Noe, SF. (415) 437-2600, www.lardoisesf.com

TANGERINE


"Tangerine — she is all they claim / With her eyes of night and lips as bright as flame." So begins the famous jazz song, "Tangerine" — and the Castro restaurant of the same name seduces with an equal amount of yummy crepuscular abandon. Asian influences dot chef Sean Pattansuvoranun’s menu — and a recent pairing of the lemongrass lamb lollipops appetizer with a drunken duck entrée had me begging for Pattansuvoranun’s home phone number. But he knows better. Tangerine’s decor is crisp-yet-amiable, and the service is fluid, allowing you enough privacy to lick each other’s plates.

3499 16th St., SF. (415) 626-1700, www.tangerinesf.com

BITTERSWEET CHOCOLATE CAFÉ


If "bittersweet" describes the tenor of your evening together so far, tune up the ol’ heartstrings with a chocolate-flavored valentine at this cute café, with locations in Upper Fillmore and Oakland. A cocoa cornucopia of tastings, pastries, and specialty drinks — hello, hot steaming cup of chocolate chai — Bittersweet stays open pretty late, and will end any evening on a sumptuous note (even if your sheets remain uncrumpled).

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

8 spots for outdoor dining

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San Francisco and dining al fresco aren’t necessarily allies. But they’re not exactly enemies. We do have those gorgeous sunny spring days and plenty of places to enjoy them while we drink and dine. If you’ve been heartbroken over the closed kitchen at Zeitgeist, or if the rooftop deck at Medjool feels more like a frat party gone wrong than an afternoon social gathering, you can rest assured there are even places outside of the Mission that serve food and cocktails outside. So hop on your Yamaha, Bianchi, or Muni and check out some of these fabulous places to catch some sun with your buzz. Keep in mind these spots are best for brunch and lunch. And bring a hoodie in case the sun subsides — San Francisco fog is about as forgiving as a hangover.

PIER 23 CAFE


Check out views of the Bay Bridge and Coit Tower from this waterfront café with surfboard decor. Rain or shine, this dive gets packed with beer guzzlers and sunbathers. Enjoy buckets of Pacificos and top-shelf margaritas alongside pub grub like burgers, nachos, and the best fish tacos in town, until your vision’s blurred and skin is blistered. Then enjoy the live music on warmer nights and heat lamps on cooler ones.

The Embarcadero, SF. (415) 362-5125, www.pier23cafe.com

CAFÉ FLORE


The faint of heart need not attempt Café Flore — sharking a table here takes more nerve than buying booze underage. But there’s a reason to steel one’s resolve: this Castro hotspot, voted Best Café in our 2004 Readers’ Poll, is ideal for any occasion, be it brunch, coffee, or an afternoon brew. With breakfast served daily until 3 p.m. and a full bar, there’s no better spot for sun-drenched boozing and cruising.

2298 Market, SF. (415) 621-8579, www.caféflore.com

LA NOTE


The garden patio at La Note is worth the wait — and wait you will, because they don’t take reservations for weekend brunch. Grab a java beforehand to stave off caffeine withdrawal as you watch other patrons enjoy their succulent crème fraîche pancakes. And don’t worry, you’ll get your turn. Complete with blue-and-white checkered tablecloths, this is the perfect spot for brunch bliss or an afternoon assiette de charcuterie.

2377 Shattuck, Berk. (510) 843-1535, www.lanoterestaurant.com

PARK CHALET


If bike rides through Golden Gate Park leave you craving a wet one to quench your thirst, this spot — located behind the oceanfront Beach Chalet and just steps from Queen Wilhelmina’s Windmill — offers the perfect spot to rest on your laurels and soak up some sun. Choose from an extensive list of beers from the onsite brewery, and when the fog rolls in, head inside to cozy up to the stone fireplace in the glass-ceilinged dining room. On weekends you can nurse a hangover and get a head start on your day’s drinking with crab benedict and a Bloody Mary.

1000 Great Highway, SF. (415) 386-8439, www.beachchalet.com

CAFÉ CLAUDE


Located in a secluded alley between Union Square and the Financial District, Café Claude is a scrumptious substitute to the crowded Belden Lane. This quaint sidewalk café is reminiscent of Parisian bistros, and is therefore the perfect spot to nosh on a Niçoise salad and sip Sancerre. Plus there’s jazz on weekends.

7 Claude, SF. (415) 392-3505, www.cafeclaude.com

EL RIO


For those days in deep summer when everywhere but the Mission District is covered in heavy fog, there’s no reason to look farther than El Rio for a bit of sunny respite. Its multilevel back deck, barbeques, margaritas, and live salsa bands draw a mostly gay male crowd on Sundays, but you can get down with the ladies every fourth Saturday of the month, when the line to get in snakes down the block.

3158 Mission, SF. (415) 282-3325, www.elriosf.com

SAM’S ANCHOR CAFE


If the summer fog has taken even the Mission captive, escape to Sam’s via the Tiburon ferry. From here, you can sip margaritas on the waterfront deck while viewing the cloud-engulfed city. Snack on fried calamari or head inside post-sunset for fine dining and seafood.

27 Main, Tiburon. (415) 435-4527, www.samscafe.com

PILSNER INN


The Pilsner doesn’t serve food, but its state-of-the-art cooling system, which keeps draft beers chilled to 31 degrees, makes this Park Chow neighbor a Castro gem for gay and straight clientele. Expect to throw back a few on the garden patio with cleated patrons just back from the fields, because Pilsner Inn supports a handful of sports teams, including softball, soccer, bowling, and pool.

225 Church, SF. (415) 621-7058, www.pilsnerinn.com *

7 places to BYOB

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Remember that old college chant, "Beer before liquor, never been sicker. Liquor before beer; you’re in the clear"? I propose we change that to: "Markups on liquor, never been sicker. Bring your own beer; you’re in the clear."

Seriously, San Francisco is a city that likes its liquor with a side of food, and no one knows that more than restaurant owners — from the outright avaricious to those just trying to stay above their astronomical overhead in this real estate-deprived city. Haven’t you been to a dinner where the bar tab doubles that of the food? And did you know that a martini usually costs the restaurant a tenth of what it charges you?

We’ve rarely been a city to sit by and tolerate injustice. But in this case, there’s no need to go on a hunger strike about it: in fact, quite the opposite. Join the BYOB movement with a sit-in demonstration at any of these restaurants. (Interestingly, many are in the Tenderloin, which makes sense considering that the entire TL is pretty much a BYOB zone.) Refuse to pay ridiculous drink prices and sip the sweet nectar of freedom from bar tabs. It tastes kind of like Charles Shaw.

And remember: bring cash along with your booze. These places don’t have liquor licenses — or credit card machines. But you can swing most of these places at around $10 per person, so I trust you’ll work it out.

SHALIMAR


Shalimar is the Starbucks of the city’s BYOB Indian places, boasting two locations within eight blocks of each other. I prefer the one on Jones Street. The ambiance is group-therapy-room-at-a-public-clinic: wood laminate tables, green and white linoleum checked floor, institutional yellowed-cream walls. The service is fast, though never brusque. The food? Transcendent. The chicken tikka masala consists of plump balls of good-quality white meat chicken swimming in a delightful pool of clarified butter and masala. The garlic naan is heaven — doughy, buttery, and flavorful. Also delectable is the palak paneer — spinach and cheese sweetly spiced with cinnamon, cumin, cloves, and bay leaf. After dinner, cross the street to speakeasy-themed Bourbon and Branch for the ultimate lowbrow/highbrow evening.

Pairing: Try a sparkling wine — like Italian Prosecco or Spanish cava — with the dense multilayered spice of Shalimar’s cuisine. Or bring along any of these Indian beers: Flying Horse Royal Lager Beer, Kingfisher, Himalayan Blue Lager, or Maharaja Lager.

532 Jones, SF. (415) 928-0333;

1409 Polk, SF. (415) 776-4642, www.shalimarsf.com

TAJINE


The orange walls of Tajine denote a more cheerful atmosphere than Shalimar, but this Nob Hill gem is tiny … er, cozy. I meant to say cozy. If you do BYOB here, make sure you keep it mellow — no flailing, weaving, or expansive hand gestures in this tight space. As for dinner, start with the chicken bastilla to share — phyllo dough stuffed with chicken and almonds and topped with cinnamon and powdered sugar. For less than $10, the lamb or kufta kebab dinners come with zalook (eggplant, tomatoes, garlic, and parsley sautéed in olive oil), shalada (tomatoes, green onions, and parsley dressed in olive oil and lemon juice), and Moroccan bread. Or try the eponymous tajines — the name for both a Moroccan clay slow cooker and the stews made inside it — which have the same melt-in-your-mouth meat- and vegetable-infused flavor as your standard Crock-Pot dish. The chicken is cooked with lemon and olive; the lamb stewed with prunes and almonds. Tajine warns that if you BYOB, you must also buy a beverage from them.

Pairing: Morocco’s native beer, Casablanca, is hard to find in the States, so opt for a full-bodied, fruity New World pinot noir instead.

1338 Polk, SF. (415) 440-1718, www.tajinerestaurant.com

PAKWAN


I’ll give Pakwan, the ridiculously inexpensive Indian and Pakistani favorite in the Mission, this over Shalimar: it has seating right outside. Which, on a sunny Mission day with a six-pack of beer from the liquor store across the street, has a certain allure. And … sigh … I must give Pakwan its due for having tandoori fish on the menu. (But Shalimar has brains! Brains masala!) Pakwan also does justice to Indian standards like saab gosht (lamb curry), bhengan bartha (eggplant), and aloo palak (spinach and potatoes). And its garlic naan gives Shalimar’s a run for its money. But, I keep reminding myself, it’s not a competition if both are supporting the common cause — cheap food and cheaper liquor.

Pairing: The recommendations for Shalimar will work here, but if you’re going with the tandoori fish, try the citrusy notes of a muscadet.

3180 16th St., SF. (415)215-2440, www.pakwanrestaurant.com

TAWAN’S THAI


Two reasons to take the bus to this Inner Richmond favorite: parking is notoriously sparse and, two bottles of wine in, you probably shouldn’t be driving anyway. Tawan’s Thai is named after the owners’ son, whose childhood drawings decorate its walls. On the front of the menu, Tawan (meaning little sun) warns that his mom’s food is "the best, just be sure not to order it too hot unless you can handle it" — and he’s right. Consider yourself warned. Start with the thung thong appetizer — chicken, potatoes, and spices fried in rice paper. Then share the tom yung gung soup, a spicy, sour chicken soup flavored with lemongrass and lime. The gaeng khiaw-warn — chicken, beef, or pork simmered in green curry and coconut milk with bamboo shoots, bell pepper, and basil — also is divine. And for you insane people who don’t like spicy food, you can never go wrong with pad thai.

Pairing: An Alsatian wine, like a Gewürztraminer or Riesling, goes nicely with Thai food. A reliable alternative is a Thai beer like Singha, Phuket Lager, or Chang Lager.

4403 Geary, SF. (415)751-5175

CORDON BLEU VIETNAMESE RESTAURANT


Don’t come to Cordon Bleu expecting its namesake cuisine. Don’t come expecting French food at all. Instead, expect to gorge on this Vietnamese BBQ joint’s highly touted five-spice chicken. Seven bucks will get you half a chicken (not half a breast or leg, half a bird) rubbed with spice and grilled until its blackened, spicy, crisp skin seals in the juicy, tender meat. That comes with "salad," a deep-fried imperial roll, and another delicious enigma — a meat sauce (ingredients unknown, but who cares when it’s this freaking good?) poured over rice. Suggestions: ask for extra meat sauce and lock your valuables in your trunk.

Pairing: Cordon Bleu’s meat-centric delectability needs beer; wine is just not going to cut through the greasy vittles. Try a regional beer such as Singha, Red Horse Dark or San Miguel Dark from the Philippines, or Singapore’s Tiger Gold Medal Lager.

1574 California, SF. (415)673-5167. Not wheelchair accessible.

DE AFGHANAN KEBAB HOUSE


The number one reason I could never be a vegetarian: kebabs, those seasoned, juicy, sizzling, glistening, dripping, perfect little skewered morsels of meat rotating hypnotically in restaurant windows, expelling wafts of their spicy, meaty aroma. (Try to wax that poetic about soysages.) If you too hold the kebab in high esteem, count on De Afghanan Kebab House to do it justice. There also are veggie options, like the borani badenjan (eggplant sautéed with tomato, garlic, peppers, and topped with yogurt) — or the borani kadoo (pumpkin sautéed with garlic, peppers, and also topped with yogurt). And De Afghanan Kebab has mantu, those steamed dumplings stuffed with beef and onions topped with (you guessed it) yogurt and a spicy tomato sauce. Yum.

Pairing: The Middle Eastern flavor of De Afghanan Kebab House would do well with the crisp fruitiness of a Sauvignon Blanc or the spiciness of a Zinfandel. An offbeat, oft-ignored, and underrated choice might also be a rosé; its brightness pairs well with yogurt-heavy items and grilled meats.

1303 Polk, SF. (415) 345-9947;

1160 University, Berk. (510) 549-3781;

37405 Fremont, Fremont. (510) 745-9599, www.deafghanan.net

HAN IL KWAN


All I’ve heard about Korean food in the Richmond is, "You have to go to Brothers!" Well, here’s why Outer Richmond’s Han Il Kwan might make you want to break free of the siblings’ sovereignty: food so authentic that San Francisco’s Korean Tour Buses make a daily stop here; better ventilation, so you don’t need a dry cleaner to get the funk of smoke and bulgogi out of your jacket; much easier parking than in the Inner Richmond; no wait for a table; and, for the win, you can bring your beverage of choice. It’ll be hard to choose between the wonderful kalbi — marinated short ribs cooked at the table and served with rice, tofu soup, and banchan — and the equally killer bulgogi — tender BBQ beef cooked like the kalbi.

Pairing: Korean food and wine just don’t mix. Maybe it’s the acidity of the kimchi competing with the acidity of the wine; maybe it’s just that the cold bite of a beer is the only thing that’ll make your mouth stop burning. Either way, try the Korean beer, OB Lager, or another East Asian brew — like China’s Tsingtao, Harbin Lager, or Macau Beer.

1802 Balboa, SF. (415) 752-4447 *

6 African feasts

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If there’s one thing I learned while traveling in Africa, it’s that you can never predict the sublime. With little to guide you except your nose and your gut, eating "out" usually means perching on the side of the road in front of an unprepossessing stall and entrusting your appetite’s fate to the dish of the day. Luckily it seems there’s no end to the possibilities created from a handful of humble ingredients — tomatoes, onions, legumes, and yams — and the deft talents of a multitude of unsung culinary geniuses. Even luckier, in San Francisco, traveling gastronomically around an entire continent is as easy as hopping the bus to the next neighborhood, proving that even local travel can broaden one’s horizons — not to mention waistline.

TAJINE


Ever the sentimentalist, I have been known to wax nostalgic about Tajine’s former gritty Jones Street location, which was so tiny it only had two or three tables and a bustling to-go trade among the city’s taxi drivers. But because I consciously strive to embrace change (no, really!), I am able to appreciate their newer, bigger, and admittedly more expensive Polk Gulch location. Though its menu includes kebab plates, flaky bastilles (savory phyllo dough pastries), and an array of salads, it’s the hearty, meaty, one-pot stews (tajines) that really get my tastebuds tingling.

1338 Polk, SF, (415) 440-1718, www.tajinerestaurant.com

BISSAP BAOBAB/LITTLE BAOBAB


From the national dish of Senegal (thiebou djen, a tilapia-based stew, served with red rice) to the regional specialties of yapou khar (a melt-in-your-mouth lamb dish from the city of Thiès) and yassa chicken from Casamance, Bissap Baobab dishes up pan-Senegalese cuisine with friendly flair. The not-to-be missed drinks, mixed with bissap (hibiscus), ginger, and tamarind juices inspire smooth (and otherwise) moves on the dance floor of Little Baobab once the tables have been pushed away and the rotating lineup of DJs comes out to play at 10 p.m.

2323 Mission, SF. (415) 826-9287

3388 19th St., SF. (415) 643-3558

www.bissapbaobab.com

AXUM CAFÉ


The axis of the San Francisco Ethiopian restaurant "scene" for many years, Axum Café serves a fine, spicy kifto (Ethiopia’s version of steak tartare), tender lamb tibsie, and an array of vegetarian options that would make even a diehard carnivore’s mouth water. Tucked behind an unpretentious facade on Haight Street, what Axum might lack in slickster glamour it more than makes up for with its solid menu and neighborhood-friendly prices. Plus, you can mistake their injera for a tablecloth — it’s that big (though much tastier).

698 Haight, SF. (415) 252-7912, www.axumcafe.com

A TASTE OF AFRICA


If you’ve come down, as I’ve been known to, with a persistent craving for fufu and egusi soup, you’ll be relieved to know that your hankering can be satisfied at A Taste of Africa without having to jump on the next plane to West Africa. This cheerful Cameroonian establishment also serves steamed corn koki (call ahead for availability) and a variety of savory vegetable dishes and meat stews. For an even more accurate taste of Africa, their food truck at the Ashby BART flea market definitely reminds me of the open air food stalls where I sampled so many of these dishes the first time around.

3015 Shattuck and Ashby BART station, Berk. (510) 981-1939

NEW ERITREA RESTAURANT


Though the cuisines are virtually identical, you don’t want to confuse Eritrea for Ethiopia in polite company. Still, for those who love their Ethiopian restaurant experiences, the drill at New Eritrea Restaurant will be familiar. Receive platters of flavorful food, plunge in sans silverware, and chase with copious amounts of Harar beer or steamed milk with honey. For the frugal and adventurous alike, they offer the familiar vegetarian sampler platter and a less usual meat one, plus three varieties of sambusas (stuffed East African fritters).

907 Irving, SF. (415) 691-1288

TROPICAL PARADISE


I love eating out in Berkeley period. You never have to stand in hipster hell waiting for admittance to food heaven, even on weekends. And for my money, as far as heavenly goes, you can’t beat the Ghanaian grub at Tropical Paradise. Try the tastiest fried plantains in the Bay, served piping hot alongside delicately seasoned black-eyed peas — a deceptively simple dish known as Red Red. The ubiquitous fermented corn dumplings (kenkey), hearty waachi, and a blood-warming "light" soup with fufu and generous portions of goat, chicken, or salmon bring Ghana to life in your mouth — especially when pleasantly washed down with a spicy sweet blend of fruit and ginger.

2021 University Avenue, Berkeley, (510) 665-4380 *

More green reasons, post-Earth Day

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Michael Kang of the String Cheese Incident is in at the Digital Be-In.

The sun may have set on Earth Day, but that doesn’t mean the musically oriented eco-celebrations can’t continue. Here are a few more events:

DIGITAL BE-IN 16: ECOCITY

An Ecocity theme and speakers, exhbiits, installations, an eco-fashion show – and live music by Michael Kang (String Cheese Incident), Waterjuice (Vaporvent), Lumin with Irina Mikhailova, Yossi Fine (Ex-centric Sound System), Diana Rosa, and MC Yogi, and DJs Rhythmystic (Rhythm Society), Alex Theory (Mystic Vibration), Irina Mikhailova (Cyberset), Neptune (Beat Church), Dov (Cyberset, Muti Music), Goz (Cyberset), Omer (Harbin), Timonkey (Muti Music), and David Shamanik (Rhythm Society). Fri/25, 7 p.m.- 4 a.m., $20-$25. Temple, 540 Howard, SF. (415) 750-0971.

CARNAVAL SAN FRANCISCO’S ECO-GREEN FESTIVAL

Zona Verde is the theme of this green fete – which organizers are claiming as the largest outdoor green event in the city. Tribal DJs will be force along with sacred healing ceremonies, art installations, and natural home and alternative energy vendors. May 24-25. time to be announced. Harrison and Treat at 17th St., SF.

HARMONY FESTIVAL

Alongside eco-awareness booths and holistic health product peddlers are performances by Angelique Kidjo, Paula Cole, Mickey Hart Band with Steve Kimock and George Porter, George Clinton and Parliament-Funkadelic, Arrested Development, Jackie Greene, Charlie Musselwhite, Mike Stern Band with Victor Wooten and Friends, the Devil Makes Three, and the Amazing Techno-Tribal Community Dance. June 6, 2-10 p.m.; June 7, 10 a.m.-10 p.m.; June 8, 10 a.m.-9 p.m. with after-hours shows from 10 p.m.-2 a.m.; $25-$139. Sonoma County Fairgrounds, 1350 Bennett Valley Road, Santa Rosa.

Hearst blacks out the PG&E scandal. Again!

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By Bruce B. Brugmann

Often, on Wednesday, the San Francisco Chronicle will run a nice color PG&E ad on the lower right hand corner of its front page.

On Wednesday, April 16, the Chronicle did not run a PG&E ad on the front page, but it did run a major story on the front page above the fold that did a major favor for PG&E.

The story by Kelly Zito focused on public power and alternatives to PG&E, largely in Marin County where there’s an active and aggressive move to create a CCA (community choice aggregation) system that would replace PG&E
as an energy supplier in ll cities.

The story once again largely ignored San Francisco and its CCA movement headed by Sup. Ross Mirkarimi. It didn’t quote Mirkarimi nor any public power or CCA leaders, but instead used a dubious expert from the University of California at Berkeley, who never supported public power and generally supports PG&E private power and deregulation efforts to undermine without rebuttal the community- based anti-PG&E efforts.
And it once again followed the longtime Hearst policy of blacking out the key element of any serious public power story: the PG&E/Raker Act scandal and the fact that San Francisco is the only city in the U.S. that is mandated by federal law to have a public power system. (See Guardian stories and editorials back to 1969.)

I don’t blame Zito the reporter. She is only the latest in a long line of Hearst reporters who ends up executing Hearst policy of coddling PG&E and blacking out the Raker Act scandal. And, after years of questioning Chronicle reporters and editors and trying to get to the bottom of Hearst’s incessant censorship of and capitulation to PG&E, I really don’t know who to blame. But let me ask the questions again: who censors Hearst stories on PG&E as a matter of Hearst policy. The reporter? The city editor? The top editor? The publisher? Hearst corporate? Anybody over there?

In any event, I would much rather have a straightforward PG&E ad on the Chronicle front page, properly labeled PG&E, than stories that omit the Raker Act scandal and slant the stories for PG&E and against public power. B3

Click here for this week’s editorial, PG&E’s attack on CCA.

Click here for this week’s editorial, The floating peakers: An energy solution on the Bay?

Click here for The shame of Hearst

Green dreams

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As we celebrate Earth Day in this era of all things green, it’s worth contemplating whether our enviro-guilt has gotten the better of our skepticism and critical thinking. Is “Green=Good” our sole metric these days, making us susceptible to self-serving spin from our politicians and corporations? After all, our Governator seems to have gone from bad to good simply by donning verdant armor and signing a landmark global warming measure that he long fought and watered down.
Closer to home, PG&E’s has been trying to greenwash away our knowledge of their penchant for polluting technologies and political corruption, a quest that our lazy but ambitious and ever image conscious Mayor Gavin Newsom has sporadically tried to piggyback on (ie tidal power, sponsored conferences, and solar everything). When Newsom tried to beef up the city solar commitment by robbing a seismic upgrade fund for renters and then the city’s own bank for building municipal solar panels, it was understandable that the Board of Supervisors balked.
But in today’s Chron, SPUR policy wonk Egon Terplan and righteous activist Van Jones whack the move and decry city plans for more fossil fuel generation. It’s not a bad point, although it is an oversimplistic one, like too many of our either-or green political debates these days. Indeed, we seem to lose the ability to see shades of gray when we talk green, and we too often forget that money is the other form of green in the equation.
As we’ve reported, San Francisco’s solar problems are complicated, just like our power generation problems (see our story in tomorrow’s paper for a more nuanced look at the peaker plant issue). To solve the problems, we need honest leaders speaking candidly to us and each other, rather than all the spin, self-interest, and political gamesmanship that has sullied San Francisco’s political dialogue in recent years.
Green can be good, or it can be the equivalent of snake oil or the IPO for a overhyped tech company that will never make any money. As an excellent recent cover story in Harper’s Magazine noted, the green economy could be the next great bubble after the housing and dot-com crashes, something that desperate capitalists and their political partners are eagerly trying to make so.
Maybe that will be a good thing, but let’s learn our lessons from the last couple bubbles and don’t simply assume that the green label is some kind of stamp of public interest approval.

Pics: Family Immigrant Day 2008

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By Ariel Soto

On April 16, members of the thirteen immigrant community organizations that make up the San Francisco Immigrant Legal and Education Network (SFILEN) met at City Hall today in an effort to advocate for more community resources for immigrants. Immigrants represent 40 percent of San Francisco’s population and the event was an opportunity for members of SFILEN to call attention to the need for more legal and educational programs, and to speak with City Supervisors as a continuation of making San Francisco a true sanctuary for all immigrants.

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Members of the Arab Resource and Organizing Center (AROC) on the steps of City Hall, supporting San Francisco’s Immigrant Family Day.

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Supporters gathered at City Hall for Immigrant Family Day, asking City leaders to continue supporting immigrant programs for their communities.

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Members of the community came out to hold signs and show their support to keep San Francisco true sanctuary for immigrant communities.

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Members of Mujeres Unidas at San Francisco’s Immigrant Family Day.

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Ben Younes Ouanane (left), an immigrant from Morocco, spoke about the help he has received from the African Immigrant and Refugee Resource Center (AIRRC), one of the cities many immigrant rights organizations involved in the Immigrant Family Day. Joe Sciarrillo, a paralegal at AIRRC, translated from French to English for Mr. Ouanane.

Mercury Interactive CFO indicted

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In January of 2007, we brought you the story of a Silicone Valley company called Mercury Interactive, which was trying to bar media access to a detailed civil court complaint filed by shareholders against the company.

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Mercury Interactive for months has been waste deep in the stock options backdating scandal, defined in the simplest terms possible as a version of card counting in which corporate executives can maximize their personal compensation by finding a date on the calender at which their stock was valued the lowest. That way, they can both buy the stock from the company at a fire sale price and then sell it when the company’s performing well, which results in a huge windfall profit. Another comparison might be knowing winning lottery numbers in advance.

Details of the scheme allegedly perpetrated by Mercury Interactive execs appeared in the civil complaint and it named names, so defense attorneys tried to keep them sealed off from the press. But local and national news outlets — including the Chronicle, a San Francisco legal newspaper and other business news services — sued to open them up. The Wall Street Journal ended up getting a hold of the documents before the drama could really play out in court.

A year-and-a-half later, Mercury Interactive CFO Sharlene Abrams has been indicted by federal prosecutors for tax evasion and aiding in the preparation of false tax returns. She’s looking at 11 years in prison and $750,000 in fines if proved guilty. It’s the first case in Northern California where someone’s been charged with criminal tax violations from the backdating scandal. Hewlett-Packard bought Mercury in July 2006. More details after the jump.

Gray Area Gallery 2.0

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By Vanessa Carr

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Aaron Koblin’s Ten Thousand Cents

It’s hard to believe that San Francisco, the very birthplace of Web 2.0, has lacked a gallery space dedicated to new interactive media arts – until now.

Tomorrow, Gray Area Gallery, whose space closed last year, celebrates the launch of what is, in effect, its 2.0 rebirth – Gray Area Beacon (GAB) – which claims to be the first San Francisco gallery space to focus exclusively on the intersection of art and technology.

“This is the moment in time for the Bay Area to celebrate and appreciate technology-based art,” said GAB co-founder Josette Melchor. “[GAB] is trying to provide a home for exhibits, ideas, and interaction.”

GAB’s launch party on Tuesday, 4/22, coincides with the first day of the Web 2.0 Expo and features four pieces by local artist Aaron Koblin in his first ever San Francisco show.

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Aaron Kiblin’s New York Talk Exchange

Recently featured in Wired Magazine and the New York MoMA, Koblin’s work creates visualizations of large datasets and human systems that explore some very Web 2.0 themes:digital labor marketplaces, online collaborations, and global communications.

“I thought [Koblin] was perfect because of [his] Sheep Market and Ten Thousand Cents pieces,” Melchor told the Guardian. “He’s used online means to get people to collaborate to create a large scale installation.”

Koblin’s Sheep Market features 10,000 sheep drawn by online “workers” from around world, each of whom were paid two cents to draw “a sheep facing left” using the Amazon Mechanical Turk marketplace.

Similarly, Ten Thousand Cents, Koblin’s collaboration with artist Takashi Kawashima, is a digital representation of a one-hundred dollar bill made up of one thousand tiny squares reproduced by anonymous online laborers who worked without knowledge of the overall picture. Each worker was paid one penny for his or her work, which amounted to $100 in total.

Sports: Tim Lincecum, super freak

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By A.J. Hayes

With his shaggy blue-black hair, boyish good looks and slight frame, the Giants pitcher Tim Lincecum looks as if he stepped out of an audition for American Idol. He could also pass as a record store clerk, a college student or a wine steward.

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The point is, Lincecum (he’s listed at 5-foot-11, 170 pounds, but appears to be smaller) looks as if he could do anything for a living except play major league baseball.

But not only does the Bellevue, Washington native draw a nice check every two weeks from the Giants, the 23-year-old has quickly become the ace of San Francisco’s staff and arguably most exciting hurler to matriculate through the orange & black’s farm system since John “The Count” Monetfusco back in 1975.

Some in the media have nicknamed Lincecum, “The Franchise.” We prefer (with apologies to Rick James) “Super Freak.”

How else would you describe an average-sized dude expelling hardballs as if there’s a howitzer attached to his right side? Whether it’s from the torque generated from his “windmill” delivery or just unexplainable natural ability, Lincecum (lin-suh-COME) brings his pitches with markedly abnormal velocity.

That power pitching led to 150 strikeouts in 2007 over just 90 innings – tops among all rookies. Two seasons after he was selected as the 10th overall selection in the 2006 amateur draft, Lincecum has already lapped every player selected ahead of him, including No. 1 pick Luke Hochevar of Kansas City, who was bombed last weekend in Oakland, a day after Lincecum tossed seven shutout frames in a 3-0 Giants win at St. Louis.

With the victory, Lincecum solidified his position as the Giants “stopper,” i.e. the pitcher you turn when you absolutely need a win or to halt a losing streak.

Lincecum has become even more of a complete pitcher this season. In 2007, the righty authored a 7-5 record and 4.00 ERA with basically a dazzling fastball and an overhand curve. This season he’s introduced a darting slider and criminal change-up to his repertoire.

All that makes the recent news that the Giants brain-trust is seriously contemplating a move to an unheard of six-man starting rotation all that more disheartening.