SF

SF seeks green power alternatives to PG&E

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By Steven T. Jones and Rebecca Bowe

With a unanimous vote by the Board of Supervisors today, San Francisco took a big step into the clean energy business, approving the issuance of a Request for Proposals for projects that will be part of the Clean Power SF program that will compete for customers with Pacific Gas & Electric Co.

The city’s version of the so-called Community Choice Aggregation program has involved “seven years of preparing San Francisco to get into the green energy business,” said Sup. Ross Mirkarimi, who has shepherded the program as chair of the Local Agency Formation Commission (LAFCo).

While PG&E has relentlessly attacked CCA efforts, both locally and through a statewide initiative campaign for would require a two-thirds popular vote for counties to create them, the 11-0 vote here seems to indicate Clean Power SF isn’t as controversial as PG&E would like people to believe.

“This step is a very important step and it’s been an eye-opening experience to serve on LAFCo,” Sup. Bevan Dufty, referring to opposition from PG&E and some of its business community allies and adding, “When the public understands the issues, they like competition and a more sustainable city.”

SF’s bike injunction becomes absurd

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By Steven T. Jones

The three-year-old injunction against any bicycle-related improvements in San Francisco has gotten downright surreal. There was a court hearing yesterday before Judge Peter Busch, at which city officials and bike advocates hoped the unusually broad injunction would finally be lifted.

Instead, the judge indicated he may wait until early next year for a full hearing on whether the San Francisco Bicycle Plan’s Environmental Impact Report – developed over the last two years at a cost of more than $1 million – fully complies with the California Environmental Quality Act (the city originally didn’t do a full-blown EIR on the bike plan, which was what led to the injunction).

The city will prepare a list of planned near-term improvements for the judge by this Friday, and both sides will be submitting briefs before another hearing on Nov. 12, addressing whether changes could be undone if the injunction is partially lifted now and the judge later rules the EIR is inadequate. Streetsblog SF has a good discussion of the issue, including input from Rob Anderson, who brought the lawsuit that led to the injunction.

But there’s an even more basic absurdity here. Installing bike racks or painting sharrows on the road doesn’t hurt anyone, and it promotes activity that is unquestionably good for the environment, which was the intention of CEQA. Meanwhile, the Legislature and governor have waived CEQA entirely for a massive proposed football stadium in Southern California (which may be used to lure away the 49ers).

So, San Francisco has now completed and certified an EIR, but we’re still not allowed to even put in a single bike rack. Yet a massive new stadium and billions of dollars worth of federal spending on local freeway expansions get approved with no consideration given to their environmental impacts. Does this strike anyone else as surreal?

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Paula, 18th Street and Mission

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Tell us about your look: “It’s a clash of two cultures: Spain and rock! I just got back from a trip to Spain.”

The cops are killing SF’s public parties

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Story and photos by Steven T. Jones

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Cops immediately shut down the street party outside the Ferry Building…

While there are some good things about the engaged style of new Police Chief George Gascon, it’s been a major disappointment to watch the SFPD take a zero tolerance approach to public partying in recent weeks, making San Francisco less hospitable to the fun, free, grassroots events that make this such a great city.

On Halloween night, the cops shut down the Take Back Halloween Flashdance party before organizer Amandeep Jawa even turned on his stereo (luckily, that resourceful crew stealthily relocated to Pier 7 and threw a great dance party that didn’t hurt or offend anyone).

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…so Deep secretly moved it to nearby Pier 7.

The next day, the Brass Tax Halloween Renegade dance party – the highlight of Halloween for many lovers of the beat — got shut down by the cops in each of three remote spots, for no good reason.

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The victimless criminals of Brass Tax covered a lot of ground yesterday.

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Vi, 19th Street and Valencia

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Tell us about your look: “This is casual Monday outfit.”

PG&E’s spooky stories headed to your mailbox

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By Rebecca Bowe and Rachel Sadon

At a Halloween-themed press conference on the steps of City Hall this afternoon, Supervisors Bevan Dufty and Ross Mirkarimi warned that PG&E plans to disseminate misleading information about the city’s Community Choice Aggregation (CCA) program.

The attack comes on the heels of the Board of Supervisor’s approval of a request for proposals for Clean Power SF, San Francisco’s own fledgling CCA, which seeks to provide competitively priced and significantly greener energy than PG&E. The CCA would challenge PG&E’s monopoly in the San Francisco Bay Area, and the utility is expected to fight it tooth and nail.

Sup. Dufty got a heads up from a PG&E employee this morning that mailers criticizing the program would be sent out tomorrow. Recalling last year’s multimillion dollar campaign against Prop H, an initiative for public power, Dufty emphasized that the city does not nearly have the funds to match a misinformation campaign.

Tom Ammiano denounced PG&E and their tactics as “avaricious, criminal, morally corrupt” and “a throwback to robber barons.”

Though the content of the mailers is unknown, it has already created a stir around City Hall and throughout the community that is advocating for community choice. At the press conference, which was scheduled with very little advance notice, Dufty and Mirkarimi were joined by Sup. David Campos, San Francisco Public Utilities Commission director Ed Harrington, state senator Mark Leno, and Sierra Club representatives Michael Borenstein and John Rizzo.

Mirkarimi, chair of the Local Agency Formation Commission (LAFCo), insisted that “San Francisco is steadfast in its commitment to Community Choice Aggregation,” and stressed that “PG&E continues to mock our commitment to green energy and will do everything in their power to circumvent the process.”

Dia de los Awesome

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By Molly Freedenberg

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Airbrush work by Jessica Atreides and Andrew Jones at last year’s Dia de las Muertos event at Five & Diamond. Photo courtesy of jonology.com.

With all the Halloween hullabaloo, it’s easy to get distracted from that other awesome holiday that comes this time of year: Day of the Dead. In fact, many revelers prefer the Mexican holiday, with its beautiful rituals and sincere honoring of the dead, to our bastardized American one, with its inebriated masses in slutty costumes. Lucky for all of us, we don’t have to choose just one or the other. So how should you celebrate on Monday, November 2?

The cornerstone of San Francisco’s Dia de los Muertos celebration is, of course, the procession in the Mission that concludes at the Festival of Altars. Meet at 24th and Bryan streets at 7pm for the lively parade, or at Garfield Park (26th and Harrison) at 8:30pm for the festival. (www.dayofthedeadsf.org)

But first, we’re going to stop by Dia de los Muertos with Five & Diamond, a reception celebrating the store’s second anniversary, featuring airbrush makeup by SOHA Collective and altars to beloved friends, and then join a procession to the larger parade on 24th Street. (5-7pm, free. 510 Valencia, SF. www.fiveanddiamond.com)

Can’t make it out on Monday night? Visit SOMArts later in the week for its 11th annual Day of the Dead Exhibition, featuring more than 50 artworks inspired by the Mexican tradition still on display through November 7. The gorgeous entries span cultures, mediums, and scale, filling the large front space with a maze of moving, reverent art. The gallery is open Tuesday-Friday, 2:00 – 7:00 pm, and Saturday, 12:00 – 5:00 pm.
(934 Brannan, SF. 415-863-1414, www.somarts.org)

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Allison, Washington Square Park

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Tell us about your look: “I got this in Denmark. My style philosophy is copy Europe.”

Not for beginners: Goodwill ‘As Is’ gets put on notice

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Text and photos by Caitlin Donohue

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Shop til you drop at your local prison… I mean- Goodwill!

“This is the best kept secret in San Francisco,” explains a gentleman who is shoving trash bags full of used clothes into his car. To his side, a bevy of homeless folk rummage through a newly dropped off pallet of purses, most of them spilling to the 11th St. sidewalk. They make it clear I am not to join them. Perhaps this place is a diamond in the rough, but there’s no way in hell I’m getting my Halloween costume here.

I’ll tell you what I don’t need; a hermetically sealed, corporately engineered, vastly overpriced sexy witch/hippie/dinosaur getup from Target. Not my bag. A good ‘stume is all about craft. I love the thrill of the hunt and on any day, for whatever reason, I love thrift stores.

But SF ain’t an easy town for used clothes- you find a lot of ‘vintage’ prices under the ‘thrift’ moniker. So I was all a-flutter to go to the Goodwill As Is store, located around the corner from their mega shop on South Van Ness. The As Is store is a “donation outlet,” a Goodwill warehouse supplying humanity’s offerings direct to you, without the unnecessary bother of employees “sorting,” “fixing,” or “cleaning” the items.

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Right this way for endless haggling and questionable business motivation!

Now, I am not what you’d call a “squeamish” person. I’ve trawled places where regular shoppers wear rubber gloves and unproven urban legends swirl about of dead cats found in the clothing trolleys. But this store struck me as something between the black market and a Greyhound bus station.

Sonic Reducer Overage: No Age, Soapbox, Emerald Triangle, Kawabata, and more

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By Kimberly Chun

Halloween and NYE — yes, it’s amateur hour once again for non-locals, gawkers, and ‘burb brats. Still, ya gotta fill the void — here are a few more ways that didn’t make print.



Art Brut

Are the Anglo-Teutonic arty farties the next best thing to poppers like Fountains of Wayne? With Princeton Fri/30, 7:30 and 10:30 p.m., $16. Cafe du Nord, 2170 Market, SF. (415) 861-5016.



No Age

The LA twosome skipped the Grammys for the road (“Best Recording Package?”). With Residual Echoes and Magic Bullets. Fri/30, 9 p.m., $16. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750.

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Will, 22nd Street and Valencia

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Tell us about your look: “Sounds good!”

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Ulrika, 20th Street and Mission

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Tell us about your look: “These are boots from Thrift Town, which is where I’m headed right now. I made this bag from cloth that my friend brought back from Bali.”

Hot sex events this week: Oct 28 – Nov 3

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Compiled by Molly Freedenberg

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Michelle L’amour, Miss Exotic World 2005, performs at Lucha VaVOOM at the Fillmore on Friday.

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>> Sex & Memory: Writing from your own experience
Jen Cross teaches this course on documenting the amazing experiences you have in (and out of) bed, whether for your lover or a publisher. Then stay for the Erotic Reading Circle!

Wed/28, 5:30pm
$10-$30
Center for Sex and Culture
1519 Mission, SF
sexandculture.org

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>> Erotic Reading Circle
Carol Queen and Jen Cross host this monthly gathering in celebration of longtime writers, newly inspired daydreamers, and non-judgmental listeners of all orientation.

Wed/28, 7:30pm
$5+
Center for Sex and Culture
1519 Mission, SF
sexandculture.org

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>> See Me, Hear Me, Drink Me
This hetero-centric event gives men and women a chance to find out what the opposite sex thinks, make some new connections, and explore difficult topics, thanks to a 90-minute kick-off of free-flowing communication followed by a fun and playful cocktail party. The topic tonight? Slow sex and Intimacy, brought to you by OneTaste’s Robert Kandell.

Wed/28, 7:30pm
$5/women; $15/solo men; $10/men with female friend
Authentic SF
115 10th St, SF
www.authenticsf.com

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>> Rock Strip n’ Roll
Hubba Hubba Revue’s Kingfish hosts this scintillating night of rock and performance, featuring Live Evil, Electric Vagina, Gods of Rock, Honey Lawless, Hot Pink Feathers, and more.

Thurs/29, 9:30pm
$10
Rouge
1500 Broadway, SF
www.hubbahubbarevue.com

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>> Thrillville’s Halloween Gore ‘n’ Snorefest
Halloweenie-movie and burlesque freaks will love Thrillville’s event, featuring surf punk music by The Deadlies, tassel-twirling goodness from Lady Monster, and two super sleazy rock’n’schlock cult classic films: Chainsaw Hookers and Zontar: The Thing from Venus!.

Thurs/29, 7:30pm
$12
Balboa Theater
3630 Balboa, SF
www.thrillville.net

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Girls, girls, girls

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arts@sfbg.com
SONIC REDUCER Ladies first. As pop’s lads rotate in and out of the dawg house — and Lil Wayne pleads guilty to gun possession and Chris Brown decides to "Crawl" — the time has come for the XX-chromosome set to rise to the occasion: Girls, girls, no pushing, shoving, or elbows to the knockers. Just kick it on record, all ye femme talents, past, present, and future.

Tomorrow — and yesterday — is the way for the all-girl Brilliant Colors. Spend a little quiet time with the SF threesome’s bracing, brief, brand-spanking Introducing (Slumberland), and let the Ramones-y distortion rumble and tumble till you’re completely prepped for the sweet-tart twee revolution in full effect with labelmates like the Pains of Being Pure at Heart, the Mantles, and Summer Cats. Yes, Flying Nun’s twirling primitivism and an early punk naivete that tags both Half Japanese and Huggy Bear, as well as a purity of ultra-lo-fi sound and singularity of concept, will take BC far. It’s low key but brilliant in its own way: viva la Bay girl-band revolution.

"Aiiii!" That’s the sound of Madonna in the play zone, in full celebratory mode, on the now sorely dated-sounding "Ray of Light," smack in the center of the first disc of Celebration (Warner Bros.), the newly remastered greatest-hits comp cherry-picked by M’lady and her fans. Now that’s the cry of an icon. Project Runway‘s star-struck, untutored Christopher Straub was flying his freakily clueless flag when he recently raved of Christina Aguilera, "She’s an icon!" Despite "Beautiful," the petite ex-Mickey Mouser isn’t quite among the ranks of the veneration-worthy (especially after her Runway appearance in a cliché Halloween-ready putf8um wig).

Madonna, however, remains rich with symbolism, themes, and variations, worthy of dissection — she’s always striven for more than mere chart-topping ack-shun, and Celebration draws from a deep well of work, silly or no. You can trim a third of the tunes on the 36-track compilation, which sports a cover that brashly appropriates Andy Warhol’s Marilyn Monroe, and still have enough ear-teasers and ideas to qualify for canonization — even as a tiny-town chorus of itty-bitty backing robots bleat, "I heard it all before! I heard it all before! I heard it all before!" on "Sorry." Fifty-one years young — with arms that look alternately enviable, emancipated, and emaciated — Madonna is waving her label farewell with this nail in the coffers of the $408 million Sticky and Sweet Tour. Only two numbers, "4 Minutes" and "Miles Away," are culled from her most recent studio full-length, Hard Candy (Warner Bros., 2008). Tacked on are the new dancefloor-hailing "Celebration" and "Revolver," with Lil Wayne and its prescient references to the rapper’s gun charges and its vocal cribs from Rihanna.

How does Mad’s seemingly throwaway pop stand up so many years along? Why bother gathering these songs in one/two places for the third time? Celebration‘s first tracks — "Hung Up," "Music," and the surprisingly resilient "Vogue" — make a powerhouse aerobic class troika. "Like a Virgin" feels fun and faintly fresh, while "Into the Groove" suffers from oversaturation. "Like a Prayer" seems less subversive, sans video, and more overworked than one might recall, and "Ray of Light" rings especially awkward in its forced glee. Still, the synth-rocker "Burning Up" is delightfully cheesy-cool, and "Secret" and "Borderline" glow with unexpectedly solid pop craft — though, wait, did Madonna actually ask for "more tuna" — "mucho maguro" — on "Sorry"?

Speaking of Japanese morsels, pass the beat and throw in a slew of "Ai"’s, "Eya-eya"’s, and other assorted vocables while you’re at it, when it comes to OOIOO’s gloriously raucous ARMONICO HEWA (Thrill Jockey). The sixth album by the all-woman unit organized by the Boredoms’ Yoshimi is a dizzyingly deep swirl of tribal drumming and mechanistic guitar blurt ("Uda Hah"), awash with elastic synths ("Ulda") and leaping, lilting girlish vocals that point to the breath as the way of all things ("Konjo"). Here, OOIOO manage to be beautiful and wild at exactly the same time.

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FORMER GHOSTS


Xiu Xiu’s Jamie Stewart, This Song is a Mess But So Am I’s Freddy Ruppert and Zola Jesus’ Nika Roza join forces to make spectral synthpop. With White Hinterland and Common Eider King Eider. Wed/28, 9 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

BIG BUSINESS


Their business is ass-kicking, and business is … big. With Triclops! Mon/2, 10 p.m. $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Son of the source

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California my way: Pacifica in all her roaring glory; "Bluebird"; Gene Clark suffering for his art at the Troubadour; Arthur Lee perched atop Laurel Canyon as dark magus of the Sunset Strip; "Free Huey!"; George Hunter and the Charlatans giving birth to the ’60s in Frisco and Virginia City; redbones holding it down at Alcatraz; Barry White’s boudoir epics vs. War’s low rider country-funk; r.i.p. Nudie Cohn; surf-and-skate as spiritual practice and Third World coalition builder at street level; "We’ll Get By"; Mary Ellen Pleasants; Sly Stone’s pop hoodoo; "¡Viva Cesar Chavez!"; the Watts Towers as organic temple and pan-African signifier; Iron Eyes Cody; the impenetrable alien secrets of Joshua Tree; Citizen Kane; Country Joe McDonald in a helmet ripping "Section 43" at Monterey; Jack London’s and Charles Manson’s erudite racism; rebellions yielding the "black Woodstock," Wattstax; Skid Row tacos; alas, poor Ishi; is Mount Shasta really an Atlantean portal?; "Snakes on Everything"; RTX; a great big wave looming to wash away Neil Young and his spindly wood home from Topanga Canyon; Chet Helms, my hero; really tall red trees — and the glossy harmonies of the Mamas & the Papas, much beloved favorites of my mother before she left upon her starship. Their masterpiece "California Dreamin’" was on my mind as Indian summer gave way to autumn and the 40th anniversaries of polarized cosmic events such as the man on the moon, Woodstock, the Manson murders, the late Michael Jackson’s pop debut unfolded apace.

Harvey Kubernik, a keenly clued-in and cosmically sensitive Pisces born in Hollywood, just dropped this season’s key entry chronicling that era and its ever-lingering aftereffects: the fine Laurel Canyon study Canyon of Dreams (Sterling, 384 pages, $29.95). Much of what made California north and south such a prime destination to escape the limits and cruel lacunae of Manifest Destiny in the 1960s went down in the postwar boomtowns of San Francisco and Los Angeles and their ex-urban satellites. Kubernik focuses on the tall tales of L.A . He reveals how the creativity, social experimentation, and mystery yearning of the denizens of canyons on L.A.’s west side changed America as it was teleported on the airwaves and on the backs of freaky-deak human hosts. The elite and cult acts that largely power Kubernik’s fables — Gene Clark; Arthurly; Gram Parsons; Lowell George; John and Michelle Phillips; the magicians of Crosby, Stills, Nash and Young — have left towering sonic, sartorial, and spiritual legacies. Yet Kubernik is not mired in the misty mountain-hopping of yesteryear — he’s keen enough to close Canyon of Dreams with a portrait of one of that halcyon era’s most important heirs: Jonathan Wilson.

Y’all can ken whether Wilson deserves to be the coda of Kubernik’s book when his Emerald Triangle Tour featuring Jonathan Rice, Farmer Dave Scher, and local light Andy Cabic rolls into town. Yet the evidence is there in his extant albums — 1998’s The Ballad of Hope Nicholls (by his former band, North Carolina’s Muscadine); 2007’s Frankie Ray, and 2008’s Gentle Spirit — and his myriad contributions to the projects of friends. I can hear, see, and most important, feel some measure of all that makes California utopian, the South home, and America an ideal worth fighting for, despite their respective horrors, in Wilson’s music.

New York, N.Y., with its epic filth, noise, and madding crowds, was not so kind to Wilson when he made the inevitable leap from North Cackalack. Still, he excavated a great artifact of the artist-as-young-man from the experience: Frankie Ray. With the move to California, that recording’s odes to heartbreak and alienation gave way to shimmering hymns to nature arrayed across no less than four unreleased song cycles and counting. Gentle Spirit simply displays Wilson as revelation, but it was his cover of an innocuous Madonna hit (first offered to Michael Jackson) from the mid-1980s that truly convinced me of his indelible gifts. He transfigures "La Isla Bonita" beyond recognition — it starts out as an Allman Brothers outtake and slowly, steadily evolves into a 3-D spaghetti western, then a metallic, mountain-ringing treatise of electric guitar evangelism. His forthcoming covers album, I’m Covered, OK?, should make plain the wonders of his rare gift for interpretation.

To quote the once-mighty Pointer Sisters as they backed Wilson’s fellow underrated North Carolina maverick Betty Davis: "Y’all got to believe, believe in sumthin’ … Why not believe in me?" This grandbaby of a Southern Baptist preacher from southwest Georgia would never steer your ears or asses wrong. I was once accused by a former editor of dancing around my keyboard as I wrote (and what’s wrong with that?). I don’t; I have "spells" like Harriet Tubman, like Joseph Smith in the upstate New York woods, or Edgar Cayce’s automatic writing — as with this piece. Yes, I want to convert you, get you onboard the underground smellroad to Glory. I follow the Spirit and my black ass — and the loose booty’s hollerin’: make pilgrimage with Jonathan Wilson and ‘nem up the coast if you’re magical and mystical friends of the road.

THE EMERALD TRIANGLE TOUR

Mon/2, 8 p.m. (doors at 7:30 p.m.), $15

The Independent

628 Divisadero, SF

www.independentsf.com

Serene velocity

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arts@sfbg.com

MUSIC Blues Control is an instrumental rock band, but don’t hold that against them. The extended compositions and caterwauling guitars and keyboards may suggest post-rock bloat, but unlike many of their voiceless brethren, the duo knows that freedom is found in limits. Their crafty deployment of prerecorded loops and particularized live effects has etched a signature sound that’s at once distinct and nostalgic. They’re one of those mood ring groups that summons a whole lineage of avant-garde rock without exactly adhering to any one dominant influence. Pretty good, considering it started as a lark: needing an alter ego to protect their collaboration as Watersports from overexposure, Russ Waterhouse and Lea Cho fabricated Blues Control. Both projects were born under the sign of kosmische, but the newer songs refocused the drone zone with coaguutf8g tape loops and surprisingly friendly melodies. Hype soon followed.

If the duo’s name comes off as an unfortunate nod to the many non-black blues units over the years (whether Breakers or Brothers, a Project or an Explosion), the smirk stops there. You can find any iteration of psych-rock in their origami structures, but Blues Control is always playing itself. When I talk with Waterhouse on the phone from Ithaca, N.Y., where he and Cho are on tour, he discusses his aversion to the hollow games of genre signification that were in vogue in the 1990s — a significant disclaimer, since their most recent release, Local Flavor (Siltbreeze), is their most ranging yet.

"The basic principles and methods of working have basically remained the same since the beginning," says Waterhouse, but Local Flavor benefits from new attention to texture and sequencing. The quartet of songs traverses carefully arranged prog-rock ("Good Morning"), Coltrane-colored mystical jazz ("Rest on Water"), a prismatic dance groove ("Tangier"), and a Bitches Brew-worthy cauldron of ethereal tones, dubby sidesteps and angry guitar ("On Through the Night").

These different encounters with psychedelia are nested within disarmingly crude nuclei of borrowed rhythms and spectral melodies. Throughout, the distinct processes of jamming and collage are placed in productive conversation. It’s drug music without the inflated ego, a structuralist take on the basic rock furniture. When the core heats up, as on "Tangiers," Blues Control is close to perfect. Beginning with a breathy Casio loop, everything about the eight-minute track is percussive. A mashed, pulmonary beat hugs the centrifugal melody, while guitar and keyboard flares illuminate the elastic membrane stretching the song’s surface. Halfway through, after several exuberant plateaus, the rhythm scatters into double and triple-timed graininess, and the Michael Rother-like vapor trails spiral into their own repeating figures. Moment-to-moment, the composition seems unchanging and mantra-like; skipping around reveals a remarkable, covert movement.

Not all of Local Flavor burns so bright. The horn-laden riffage concluding "Good Morning" is particularly Phishy, but it’s a small misstep next to the dreamy gorgeousness of a track like "Paul’s Winter Solstice," from last year’s Christmas single for Sub Pop. I’ll leave it to the historiographers to explain why so many of the most interesting interpretations of rock music have come from duos over the last decade, but Blues Control undoubtedly figures into the argument for a mobile, minimalist muse.

"With this tour, we’re trying to follow through on some opportunities," Waterhouse explains. "A lot of people have told us we should come out to California because we would do well out there." The duo recently relocated from Queens, N.Y., to Virginia, but the people who recommended California were right on: with a group so equitably split between blissed-out drones and garage tactility, how could San Francisco not swoon? *

BLUES CONTROL

With Hank IV and Celine Dion

Thurs/5, 9 p.m., $7

Hemlock Tavern

1131 Polk, SF.

www.hemlocktavern.com


With Sic Alps and Jaws

Fri/6, 9 p.m., $5–$10

Continental Club

1658 12th St., Oakl.

(510) 444-9000

Anti-doofus agenda

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arts@sfbg.com

LIT/MUSIC With influences ranging from the Cuban Revolution and Malcolm X to musical orishas such as Ornette Coleman, John Coltrane, Thelonius Monk, and Sun Ra, Amiri Baraka is renowned as the founder of the Black Arts Movement in Harlem in the 1960s that became, though short-lived, the virtual blueprint for a new American theater aesthetic. The movement and his published work — such as 1963’s signature study on African American music Blues People and the same year’s play Dutchman — practically seeded "the cultural corollary to black nationalism" of that revolutionary American milieu.

Baraka lives in Newark, N.J., with his wife and author Amina Baraka; they have five children and head the word-music ensemble Blue Ark: The Word Ship and co-direct Kimako’s Blues People, an art space housed in their theater basement for some 15 years. I spoke with him on the eve of an upcoming visit.

SFBG What brings you to the Bay Area this time around?

AMIRI BARAKA We’re doing two sets at Yoshi’s with Howard Wiley. Those are the kinds of musical things we have a nice time doing. I hope to bring the poetry and music to Oakland, San Francisco, and Los Angeles. And I’m giving a talk at the library.

SFBG What will you be discussing?

AB Obama and his first 10 months, based on an essay I wrote a few months ago called "We’re Already in the Future." I support Obama and I think that the people who supported him initially should keep supporting him because they are forgetting the huge difficulty he faces. This society, they don’t want any kind of change. They do not want him, first of all. Only 43 percent of the white people even voted for him, and a lot those people resent the fact that white America is now mulatto. That election proved that it’s not white America, it’s multinational America, so they’ve set up this roadblock to almost anything he does.

Anytime you can, you see how doofus Americans are, to oppose their own quality of life improvement, their own health care. They’d rather mope along with little health care or none simply because the corporations have convinced them it’s bad for them — it shows you that we have a real education gap in America. Not to mention the racism, which is behind a lot of it, big time.

The people who support Obama need to stand together to fight the right wing. It’s the right wing that is the enemy. Those huge corporations including those mouthpieces they have. The media is just absurd, with [Sean] Hannity, [Bill] O’Reilly, [Glenn] Beck, Rush Limbaugh. These guys are just too much. If they’re not racist, there is no such thing as racism.

SFBG I know that you spent some time in SF. What are your impressions of our city?

AB I was a visiting professor at San Francisco State for about three or four months, that was the extent of my residency. I like San Francisco. I’m drawn to the vibe there. The last time I was in San Francisco, I was reading at Ferlinghetti’s bookstore [City Lights]. Most of my stuff is in Oakland, but whenever I’m in Oakland, I stop by San Francisco.

Seems to me that San Francisco is very expensive, like New York. I live in Newark, N.J., which is 12 miles outside of New York City — it’s got that Oakland-San Francisco relationship. When you’re dealing with New York, you have that high-rent district all the way around. San Francisco is a beautiful city, but going there and being there are two different things.

SFBG Happy birthday. I know you just turned 75. Any wisdom to impart from three-quarters of a century?

AB I’ve been 75 for about five days. I can say that you really need to take care of yourself. That’s the cliché: "If I knew I was going be this old, I would have taken better care of myself," but it’s some better wisdom than what you hear generally.

SFBG You coined the term "Afrosurreal Expressionism." Can you share your definition?

AB If you know the African tales or even African writers and African cultures, then you know they understand the concept of having relationships reversed, which exposes new concepts and dimensions. They understood the power of the conscious and unconscious mind to change the dimensions of the world. The various forces of nature that people developed, that people saw as gods, these elemental forces: the wind, the water, the sun, the moon. They understood how human beings interrelate to those forces. Henry Dumas’ work dealt with these changing dimensions, and people who do strange things in realistic situations. It was Surrealism that changed the relationship to things. Dumas influenced Toni Morrison, who was his editor at Random House. He was a strong writer and he went out of here in a tragic way, being murdered by the police. His stories and poems are Afrosurreal, with African psychology imposing these dimensions on reality.

SFBG What is the role of the artist in the current climate, and what are the tools we can use to bring about social change?

AB The way things work: cause and effect, action and reaction. The ’60s and the ’70s were a period of intense struggle. The Black Arts Movement and the antiimperialist movement laid the foundation to get Obama elected. But then you get a reaction, and it has been quite evident. Imperialist commerce has taken over the arts. Once we were struggling to get black movies made — now we see what kinds of movies are being made by black people, and they are very backward. Act, react. We have to struggle anew to do something about these backwards elements.

Black people have 27 cities: we need 27 theaters, 27 galleries, 27 periodicals. We need to have poets, rappers, painters, actors struggling to raise the consciousness of the people. That is the role of the artist. Black people still live in these ghettos and these ‘hoods. There may be more of a black middle-class, but they often are the ones helping to keep us duped and bamboozled. This is a struggle that has to be. This is reality — like they say, "Keep it real." This is a struggle that has to be.

AMIRI BARAKA WITH THE HOWARD WILEY TRIO

Nov. 9, 8 p.m., $16–$20

Yoshi’s San Francisco

1330 Fillmore, SF

www.yoshis.com

Global informing

0

arts@sfbg.com

DANCE For too many years ethnic dance, traditional dance, folk dance, culturally-specific dance — whatever label you stick on it — has been a stepchild on American stages. Considered of little interest to observers beyond the cultural groups in which its practitioners were based, general audiences admired its colorfulness and derided its lack of innovation. Yet with increased exposure, traditional dance forms have become more respected and have done their part to make the world more of a global village.

With the art form less under siege, stirrings have been coming from within the genre by dancers pushing at the traditions’ parameters. It’s a worldwide phenomenon. In the mid-1990s flamenco dancer Joaquín Cortés bared his chest and started performing to pop and jazz. Purists shuddered when Kathak dancer Akram Khan started to integrate modern dance practices into his performances. At the SF Ethnic Dance Festival this year, winds of change can also be felt at the venerable Ethnic Dance Festival. This year Los Lupeños de San José, one of the Bay Area’s oldest Mexican companies, performed a hot mambo with the women in anything but long flouncy skirts, and Indonesian dancer Sri Susilowati’s mourning dance was full of contemporary accents.

Traditional dancers who want to rethink conventions often feel homeless because they don’t fit into any established performance categories. That’s where Performing Diaspora steps in. CounterPULSE’s two-year initiative culminates in three weeks of performances starting November 5.

Debbie Smith, cultural program coordinator at the Arab Cultural and Community Center, is one of the three curators who chose 13 artists from the more than 60 who applied from throughout California. As "a little white girl from Texas" (as she calls herself) who speaks Arabic and is trained in Egyptian folk dance, she has learned to live with the sensitivities that surround fears about dilution of content and about perceptions of being less than respectful to well-defined art forms.

Since Performing Diaspora is the first festival of its kind, the curators had to feel their way into this new arena. It was a delicate process because "the need for support in dance is so great," Smith explains. "We did not know what we would get, though we were looking for artists who served traditions without wanting to be confined by them."

What the Festival got were artists like Charlotte Moraga, the primary dancer of the Chitresh Das Dance Company. Twenty years ago at San Francisco State University, the jazz dancer from Florida stumbled into her first Kathak class when the jazz class she wanted was full. The festival also got Devendra Sharma from Fresno, who learned Nautanki, a traditional folk music theater style from northern India, from his father.

At a recent work-in-progress showing, Moraga’s A Conference in Nine, based on a Sufi poem, A Conference of Birds, was performed with jazz, North Indian, and South Indian musicians. It looked as traditional and contemporary as you would want. The same was true for Sharma’s Mission Suhani, a reinterpretation of one spunky woman’s refusal to be cheated out of her dowry.

Almost half Performing Diaspora’s lineup hails from beyond the Bay Area, with artists who have made rethinking traditions a core element of their work, and those who only recently entered this wobbly territory. But the most unexpected participant in Performance Diaspora is a local: Kunst-Stoff’s Yannis Adoniou, best known for his ballet-based postmodernism. He will present Rembetiko, a work-in-progress based on the underground culture of Greeks who returned from abroad at the turn of the 20th century. "My uncle was a rembetiko musician", Adoniou says. "I used to dance to his music when I was five."

Performing Diaspora

Nov 5-22 (Thurs-Sat, 8 p.m.), $15–$25

CounterPULSE, 1310 Mission, SF

(415) 626-2060, www.counterpulse.org

Poor turnout

0

news@sfbg.com

The Guinness World Record for the largest mobilization of human beings was recently broken when 173 million people demanded that their governments eradicate extreme poverty around the world. But U.S. media barely noted the call and San Francisco’s event had low attendance, suggesting an uphill struggle for the cause in the world’s richest nation.

Millions gathered at more than 3,000 Stand Up, Take Action events in 120 countries Oct. 16-18 in an attempt to put pressure on governments to achieve the United Nations Millennium Development Goals, but less than 30 people gathered on the steps of San Francisco City Hall to support the movement.

Sup. John Avalos was one of the speakers at the event, organized by a coalition of local activist groups and student volunteers. Admitting that he was "expecting it to be a little bigger," Avalos said the event was just the start of what needed to be a much larger movement by the American people.

"There is a strange phenomenon occurring at the moment. It’s as if people are a little bit asleep about the need to be active," Avalos told the Guardian. "Because we have an administration they view as being more supportive of human rights and economic and social justice, people are being lulled into thinking things will just get better."

Standing just a short walk away from the birth place of the United Nations, Avalos bought attention in his speech to the rich history San Francisco has in mobilizing social change. "We do the best to live up to it, but we have a long way to go. Around the world this is the time to uproot poverty — we try to provide a safety net, but it could be stronger."

The Stand Up, Take Action, End Poverty Now! campaign is in its fourth year and is organized by the UN Millennium Campaign in an attempt to raise awareness of the Millennium Development Goals (MDGs), a series of benchmarks designed to eradicate global poverty.

At the United Nations Millennium Development Summit in 2000, 189 world leaders promised to "end poverty by 2015." The eight goals include eliminating extreme poverty and hunger, achieving universal primary education, and combating HIV/AIDS, malaria, and other diseases.

Rep. Barbara Lee (D-Oakland) has authored or coauthored every major piece of legislation dealing with global HIV/AIDS issues since she was elected to Congress. She told the Guardian that MDGs must be placed in context with poverty in America. "Sometimes people argue that we must look after our own first, but my position is that if you look at the eight Millennium goals, they all apply to our own country too," Lee said. "Look at the plight of people who are disproportionately affected by HIV/AIDS in our country — especially in African American and Latino communities.

"With the economic downturn, poverty rates in America are soaring, putting more people into circumstances the MDGs focus on outside of America," she continued. "I think it really is important to make those connections."

Lee compared the foreclosure crisis and lack of regulation in the financial markets over the last eight to 10 years to the "wild West" and calls America’s 47 million uninsured a "moral disgrace."

"It is about priorities and political will, and this will be determined by the voices of people saying it must be done," she said. "People have to push for these changes and remember that it didn’t just stop with the election. We have to raise awareness while at the same time working on changing policy. Otherwise we can get stuck debating issues and not doing the work that has to be done to change these very deplorable conditions."

Sup. David Campos was the only other supervisor to speak at the Civic Center event. He said he is committed to the fight against global poverty and wants to see the government represent the values San Francisco was founded on.

"We need to shed light and bring attention to one of the largest issues facing the world today — severe poverty," Campos said. "I really believe that as a city, as a state, and as a country, we not only need to make sure we push the U.S. to follow the lead of other countries, but actually become a leader in making these Millennium goals a reality."

After the event, Campos told the Guardian: "It doesn’t surprise me that more people didn’t show up to the event. But part of the task is to spread the word. San Francisco has been a leader in a number of these issues in the past, and I think we should play a key role in this one."

Campos said that one solution might be to put forward a resolution before the Board of Supervisors to support MDGs and have the city take a formal position on it.

"It is definitely something we are talking about to demonstrate San Francisco’s commitment to the issue," he said. "A lot of people don’t know about the goals, or the fact that the U.S. hasn’t really made them a priority. We need to spread the word and let people know this kind of a movement is only going to be a success if people take it upon themselves to play a leadership role."

Brian Webster, a volunteer who organized the SF event, drew attention to the large number of supporters for the MDGs in California. More than 250,000 people have signed up for the One Campaign, a global NGO that partnered with the U.N. Millennium Campaign in the events.

"For campaigners, it is now a matter of trying to join together and identify vast strategies to communicate what needs to be done," Webster said. "We will continue to educate communities, politicians, and civic leaders in what can be done this month, in the next six months, and ultimately, in the next six years."

While the Bush administration rarely mentioned MDGs while in office, many activists believe President Barack Obama’s public recognition of the goals at a recent U.N. summit demonstrates a change in American policy.

"In other countries, there has been more education and awareness about the goals. But here in America, it is almost like we are starting eight years late," said Anita Sharma, the North American director for the U.N. Millennium Campaign. "President Obama has said that the MDGs are American goals and has even talked about his plans for achieving them."

Also, despite the low numbers at the San Francisco event, Sharma says more than 190,000 people from North America participated in last weekend’s campaign, an increase of more than 70,000 from last year’s attempt.

"It’s not like Americans don’t care about global poverty — in fact we give more in charitable contributions than any other country in the world," she said. "It just takes quite a lot to get Americans into the streets and mobilized. There needs to be more education out there, that’s all."

Ananya Roy, a UC Berkeley professor of city and regional planning and education director of the Blum Center for Developing Economies, says she doesn’t think MDGs can be achieved worldwide by 2015. Even so, she stressed the important role they played in the framework of development.

Speaking at UC Berkeley’s Stand Up and Take Action Event, she said: "The goals are important because they are seen as a new global social contract that makes issues of poverty and inequality quite urgent. They also come with measurements and targets, which is meant to create accountability."

Roy placed particular emphasis on the eighth goal: building a global partnership for development. She noted that that increased awareness can change the ways the U.S. and European governments operate in terms of aid and trade.

"This multilateral contract requires more than simply the action and leadership of the U.S. and Western Europe," she said. "We need to think about poverty and inequality that is immediately around us, understand how we are involved in the production of depravity, and then we must act in solidarity.

"We need to be thinking about poverty as it exits here in the U.S. and not just as an abstract problem that belongs to someplace else," she added. "It is also our problem."

According to a 2009 U.N. report, progress toward achieving the MDGs has been slow in some cases and certain achievements have been reversed by the economic downturn. The report estimates that there will be 55 million to 90 million more people living in extreme poverty than anticipated before the crisis.

For Chandler Smith, media coordinator for the One Campaign — which campaigns for better development policies and more effective aid and trade reform — the Guinness certification marks progress toward achieving the MDGs. "That this year is breaking another world record speaks to the power of people to organize around the world, shows that we are a global community, and that there is a sustainability in the movement," he said.

"As for the North American aspect, we are always trying to educate people more about these issues. Our results show that a lot of our work has been done — but that we also have more work to do."

Chop from the top

0

rebeccab@sfbg.com

At the Oct. 23 groundbreaking ceremony for the rebuild of San Francisco General Hospital, Mayor Gavin Newsom sang the praises of the public hospital’s staff.

"To all the men and women who work in this remarkable place that changes people’s lives each and every day … every time I come here, I realize you’re not just saving patients, you’re taking care of families," the mayor said. "It’s so difficult to see someone in pain. But to see the smile and the pride their loved ones have because of the job you guys have done is something magical."

Yet some health care workers, marked by their signature purple and yellow T-shirts, clearly weren’t feeling the magic. As Newsom waxed poetic onstage, they stood clustered in the audience displaying a banner proclaiming, "Keep Public Health Healthy." It was meant as a reminder that SEIU Local 1021, the union that represents certified nursing assistants (CNAs) and clerical workers facing significant slashes in pay in the wake of a city budget cuts, is still pushing to have their salaries restored.

On Sept. 15, 500 CNAs and clerical workers received notice that they would be laid off, although some would be reclassified at lower-paying positions, effective Nov. 15. For the CNAs being demoted, the reductions amount to an average of $15,000 annual reduction in pay. For the clerical workers facing downgrades, the cuts reflect an average loss of $5,000.

It wasn’t the first time SEIU workers turned out at one of Newsom’s public appearances. Beginning in August, union members began vocally characterizing the layoffs and demotions as a civil ights issue because they disproportionately affect women and people of color. According to a Department of Public Health assessment, 96 percent of the affected employees are people of color and 79 percent are women.

Mayoral Chief of Staff Steve Kawa insisted this wasn’t an attack on the city’s comparable-worth policy, which guarantees equal pay for work done primarily by women. "We would not do anything against comparable worth, " Kawa told the Guardian. "Even with the change in status in the wage, these workers will be making 18 percent above market."

But Sup. John Avalos framed it differently. "These people are some of the lowest paid frontline workers in the city," he pointed out a recent Board of Supervisors meeting. "I have spoken to many of them in my district. They’re often single women who are raising children, who don’t know how they’re going to survive."

After angry SEIU members made a series of boisterous appearances at Newsom’s gubernatorial campaign events, the mayor finally agreed to meet with them in talks that were mediated by San Francisco Labor Council head Tim Paulson.

"[Newsom] complained at some length during the first meeting about us attacking him," noted SEIU member Ed Kinchley. "We responded that we’re really not attacking him. What we were criticizing was a policy that goes after classifications filled predominantly by women and people of color."

The ongoing flap took a new twist at the Oct. 22 Board of Supervisors meeting, when Sups. Avalos and Chris Daly each announced plans to find funding to restore the public health workers’ salaries. Avalos proposed skimming some excess from management positions, which have swelled in recent years.

"Before cutting vital city services … we should first look to those who have the most, not to those who have the least," Avalos noted. He said he plans to ask the city controller to draft an annual salary ordinance that would reclassify top management positions in order to free enough funding to stop the demotions and wage reductions for the CNAs and clerical workers.

According to a report issued by the city controller, citywide management positions have grown from 739 in budget year 1998-99 to 1,075 in 2008-09, a 68 percent increase. Some individuals were promoted with salary increases ranging from $20,000 to $40,000 annually.

"I don’t know how one does that," Kawa said when asked about Avalos’ proposal. "It doesn’t make any sense to me."

Daly, meanwhile, noted that Department of Public Health Chief Financial Officer Gregg Sass had highlighted a preliminary projection for an $8 million DPH budget surplus in a Sept. 15 memo. Daly announced that he plans to request the money be flagged to go back into the department to stave off deskilling of frontline workers.

When asked if this money was available to fund the CNAs and clerical workers, Sass responded, "I don’t think it is." Emphasizing that it’s a preliminary figure, he added that "any additional funding, should it exist, is a component of the city’s overall ability to stay on budget this year and offset any shortfalls in city revenue … and address the large projected deficit for next year. I don’t see how it could be seen as ‘available’ until the city has better projections of [other tax revenue]."

The union had planned for a lengthy session with mayoral staff to continue negotiations on the same day of the supervisors’ meeting. But when Kawa learned about Avalos’ proposed legislation, he got angry and walked out, according to one SEIU member.

Asked if proposed legislation detracted from the negotiations, Kawa told us that "it made the last one difficult because it was somewhat of a surprise. And usually when you’re in good-faith negotiations, you share with the other folks the activities you’re up to so that you know that they’re actually there to negotiate in good faith."

Back at SF General after the groundbreaking ceremony, Newsom posed for photos with top public health officials, scooping shovels full of loose dirt with golden spades. The giddy atmosphere dissipated when the mayor turned around to find himself ringed by a group of reporters vying for a chance to pepper him with questions. He responded to most of their queries in typical loquacious fashion. But when the Guardian asked him to comment on Avalos’ proposed legislation, his face darkened slightly. "I don’t have any comment," he responded gruffly. Then he was whisked away for more photographs.

Unholy sheet

0

superego@sfbg.com

OK, it’s official — there’s way too much boo this Halloween. Scariest of all, I’m just going to shut up for once and let the parties do the talking. Gasp!

STAY GOLD

The original, frighteningly fantastic queer dance party kicks off the costumed train wreck that will be Halloween ’09. You bet there’s be rainbow unicorns. Wed/28, 10:30 p.m., $3. MakeOut Room, 3225 22nd St., SF. www.makeoutroom.com

DANGER

French rockers enliven the terrifyingly popular 18+ indie club mainstay Popscene, with Veil Veil Varnish opening up, DJ Omar, and other treats. Thu/29, 9 p.m., $5. 330 Ritch, SF. www.popscene-sf.com

ALL HALLOW’S EVE

Perfectly goth and industrial powerhouse parties Meat and Death Guild team up with burlesque killers Hubba Hubba Revue for some spectacular murder on the dance floor. Fri/30, 9 p.m.–late, $13. DNA Lounge, 375 11th St., SF. www.dnalounge.com

BUZZIN’ FLY

Whoa, the seminal deep house club and label headed by Everything But the Girl’s Ben Watt is touching down for a costumed Devil’s Night of smooth beats mayhem. Fri/30, 10 p.m., $20. 103 Harriet, SF. www.1015.com

COCKBLOCK MASQUEERADE

The horribly homolicious — hot young dyke alert! — monthly promises "feathers, face paint, papier-mâché masks, glitter, gold, and glam." With DJs Nuxx and Zax. Fri/30, 10 p.m., $10. Supperclub, 657 Harrison, SF. www.cockblocksf.com

MISS HONEY BOO

Vogue! Drop! Scare! DJs Chelsea Starr, Errol, Nikki B, and more present a runway of death for all you underworld, drag-bedazzled queens. Fri/30, 10 p.m., $5. Triple Crown, 1760 Market, SF. www.triplecrownsf.com

TEMPLE RISING — HALLOW’S EVE

Rising up from the late ’90s rave scene, decks fave Ben Tom relights 1000 Glo-sticks with new track "It’s a Party." The nutso Goldsweats kids hold down the basement. Fri/30, 10 p.m.-4 a.m., $20. temple, 540 Howard, SF. www.templesf.com

ALBINO!

The raucous Berkeley band ‘vades the Independent cosmic tunes at a Star Wars-themed get-down, with the Afrolicious brothers thrusting funky warm-up tunes. Sat/31, 8:30 p.m., $18. Independent, 628 Divisadero, SF. www.independentsf.com

BIBI MASQUERADE

What’s better than a gyrating gaggle of queer Arabian and Middle-Eastern lovelies (and friends)? A drag-studded masquerade party for them, with DJs Cheon, Emancipacion, and Masood. Sat/31, 9 p.m.– 3 a.m., Six, 60 Sixth St., www.myspace.com/bibisf

BIG TOP HOMOWEEN

It’s a spooky disco circus installment of this monthly gay glitterati fiesta from Joshua J and Juanita More, with creepy drag clowns, skeletal go-go boys, and DJs Kevin Graves and Marcus Boogie. Sat/31, 9 p.m.-3 a.m., $10. Club Eight, 1151 Folsom, SF. www.eightsf.com

BOOOTIE

Everyone’s a sawed-off wiener when monster mashup club Bootie unleashes its annual big-H hoedown, with Smashup Derby live, Princess Kennedy, and some smashing Seattle players in the Frankenboot room upstairs. Sat/31, 9 p.m.-late, $15. DNA Lounge, 375 11th St., www.bootiesf.com

CLUB 1994: HALLOWEEN SPECIAL

What did they wear for Halloween before the Internet? Find out at this trés fashionable way-back machine, with DJs Jeffrey Paradise and Richie Panic and the Tenderlions live. Sat/31, 9 p.m., $10–$15. Paradise Lounge, 1501 Folsom, SF. www.club1994.com

COCKFRIGHT

Fear no anal embrace! Fantastic, supergay monthly ironic jock appreciation night Cockfight becomes a haunted locker room with DJ Earworm. Sat/31, 9 p.m., $5 with costume. UndergroundSF, 424 Haight, SF. www.cockfightsf.com

DRESS TO KILL

Bloodcurdlingly cute monthly indie rock dance club Fringe explodes with a screaming array of visual effects and tunes by DJ Blondie K and suboctave. Sat/31, 9 p.m., $5. Madrone, 500 Divisadero, SF. www.fringesf.com

GREEN GORILLA 13

Celebrating a devilishly lucky 13 years, the legendary San Francisco techno collective rages out with Abe Dusque, M3, Sharon Buck, and more. Sat/31, 8 p.m.-4 a.m., $10–<\d>$20. Triple Crown, 1760 Market, SF. www.triplecrownsf.com

HALLOWEEN: A PARTY

Horror queens Heklina and Peaches Christ team up for a wicked drag spectacular featuring the sequin-shredding antics of Jackie Beat, Putanesca, Holy McGrail, Cookie Dough, and so many more. Sat/31, 9 p.m.–3 a.m., $15 with costume, Cat Club, 1190 Folsom, SF. www.trannyshack.com

HOLLA-WEEN

AC/DC tribute band BC/DC salutes you, local electro-poppers Wallpaper sparks it up, and DJ Shane King tickles your bass bone. Holla. Sat/31, 8 p.m.-3a.m., $25. mezzanine, 444 Jessie, SF. www.mezzaninesf.com

MIXHELL

An onslaught of face-melting live hardcore electro from the former drummer of Sepultura(!) and his wife, plus Nisus, Apache Cleo, and DJ Bling Crosby. Sat/31, 10 p.m., $12 advance. Poleng, 1751 Fulton, SF. www.hacksawent.com

NIGHT OF THE LIVING BASS

Low-end burner heroes Opel present a three-arena rumble to rip out your brain, with Syd Gris, Unerzone, and Germany’s Wolfgang Gartner. Sat/31, 9 p.m.-5 a.m., $15 advance. Mighty, 119 Utah, SF. www.mighty119.com

NIGHTMARE ON SIXTH STREET

Show off your all-hallowed hilarity to some mind-blowing hip-hop and turntablist beats, as De La Soul’s Maseo joins Shortkut, DJ Nyce, and Jah Yzer on the operating tables. Sat/31, 10 p.m.–3 a.m., $12 advance. Club Six, 60 Sixth St., www.clubsix1.com

TEENAGE DANCE CRAZE HALLOWEEN

One of my favorite clubs, digging up those old-time, pre-’70s 45s from the vinyl graveyard. Do the Monster mash! Sat/31, 9:30 p.m., $10. The Knockout, 3223 Mission, SF. www.myspace.com/teenagedancecraze

Beer here!

0

molly@sfbg.com

It all started with Stella.

I’d made my weekly (OK, sometimes twice or thrice-weekly) stop at Amnesia and ordered a pint of the Belgian lager not-so-affectionately known among beer snobs as "British Budweiser." Why Stella? It’s light, easy to drink a lot of, and feels classier than PBR. So when I’m not on a $2-a-beer budget, Stella Artois is often what I order.

This time, however, the mustachioed bartender Matthew Harman didn’t simply poor me a glass. It was earlier than usual. He had some time. And he knew me well enough to guess I might be open to the speech he was about to give.

"Do you really want a Stella?" he asked. "Because there are better beers that aren’t shipped halfway across the world and owned by InBev." I consented to let him give me tastes of alternatives and eventually settled on a slightly more hoppy but equally drinkable lager from Sudwerk brewery in Davis.

I enjoyed the beer. But better yet, I enjoyed the wake-up call. Though I’ve become accustomed to buying groceries, clothing, gifts, coffee, and even liquor from local, independent manufacturers and retailers, when it comes to beer, I’ve been lazy. I don’t think before I drink.

What’s worse? I live in the land of craft brews. Though there are now 1,500 craft breweries nationwide, the movement started in Northern California, Oregon, and Washington — with flagship brands like Anchor, Pyramid, and Anderson Valley within driving distance (or, in the case of Anchor, a stone’s throw) from my office. And as the industry has grown and changed, there are ever more options for a range of palates — and purses. In short: there’s little excuse for thoughtless imbibing.

So why drink local? First, there’s the environmental reason: it requires a lot of energy to ship all those heavy bottles and kegs full of liquid across the country and around the world. Then there’s wanting to support the local economy: money spent on Bay Area businesses stays in the Bay Area. There’s the more intangible concept of local pride. "We support our lousy local sports teams," says Lars Larson, master brewer at Berkeley’s Trumer Brauerei. "Why not support our local brewing excellence?" And perhaps most important is taste: beer, like produce and dairy products, is best when fresh.

But the world of beer-making is complex. When it comes to assessing a brewery’s greenness, for example, the question often becomes: how green? If you grow your own hops but send them to Wisconsin for brewing, is that still environmentally sound? Or if a brewery is based in Seattle but makes beer in Berkeley, does it still support the local economy? The answers vary and can be subjective. But the good news is that whatever the reason for wanting to choose brews more thoughtfully, there’s a nearby option — or 12 — to satisfy it.

If you still just love the taste of Stella, or want an import that has no local substitute (like Guinness), or appreciate that the Budweiser you’re sipping was probably made in a brewery 60 miles away, well, more power to you. Even Harman won’t argue (though he’ll happily give tastings of alternatives to anyone who stops by the Valencia Street bar Sundays at 6 p.m.). The real point is to use the same criteria for choosing beer — values, politics, and palate — you do for food and wine. Here’s hoping our guide to some of the Bay Area’s famed and favorite breweries will help you make that decision.

ANCHOR BREWING COMPANY


This landmark brewery has existed in one form or another since 1896, making it the granddaddy of Bay Area brewing. Its current identity comes to us with thanks to Fritz Maytag, who bought 51 percent of the operation in 1965 and is still the driving force behind the company best known for its unique Anchor Steam beer. We love Anchor’s handcrafted brews, commitment to the community, and willingness to experiment with new ideas, including distilling gin and whiskey.

1705 Mariposa, SF. (415) 863-8350, www.anchorbrewing.com

ANDERSON VALLEY BREWING COMPANY


This pillar of the Bay Area craft brew scene has been building its reputation on balanced, drinkable options like Boont Amber since 1987. Other favorites include the nearly hopless Summer Solstice, the oh-so-hoppy Hop Ottin’ IPA, and the Brother David line of abbey-style ales (named for Toronado owner David Keene). But we’re particularly excited about the 2009 Estate Fresh Hop beer, produced with hops grown on brewery grounds (where, by the way, all water is taken from wells on the property and all beer is made in a facility that’s 40 percent solar-powered).

17700 Hwy 253, Boonville. (707) 895-2337, www.avbc.com

MOONLIGHT BREWING


Beer drinkers looking for a truly local, truly independent brewery need look no further than this Sonoma County one-man operation. Well-respected brewer Brian Hunt established the tiny business in 1992 and still delivers his keg-only offerings like Death and Taxes black beer, Reality Czeck pils, and Homegrown Fresh Hop Ale himself. Hunt also has been growing a share of his hops onsite since 2003.

Santa Rosa. (707) 528-2537, www.moonlightbrewing.com

PYRAMID BREWING COMPANY


One of the first craft breweries to appear on the public’s radar, this Seattle-based company also has been operating out of its Berkeley brewery and alehouse since 1997. Until recently, Pyramid operated as a publicly-owned company; now it is part of the Independent Brewers Union. Under this arrangement, the brewery is owned by East Coast brewers Mad Hat but conducts its business as an autonomous unit. The company also has revamped its image, renaming classics like Pyramid Hefeweizen (now Haywire Hefeweizen) and Pyramid Apricot Ale (now Audacious Apricot Ale) and introducing a host of new offerings — some only available at Pyramid brewpubs. But with locations in Sacramento, Walnut Creek, and Berkeley, that means plenty of access to exclusives like the nitrogenated Draught Pale Ale or the session beer Crystal Wheat Ale.

901 Gilman, Berk. (510) 527-9090, www.pyramidbrew.com

RUSSIAN RIVER


Now based in Santa Rosa, the brewery most famous for its Pliny the Elder Double IPA used to be owned by Korbel Champagne Cellars. Vinnie Cilurzo and his partner bought the business in 2003, but have continued to combine aspects of both industries, including a line of beers that are aged in used wine barrels from local wineries. Look for tasting nights of this special line, nicknamed the "’Tion" beers, at pubs like Toronado.

725 Fourth St., Santa Rosa; (707) 545-BEER, www.russianriverbrewing.com

SIERRA NEVADA


The big news surrounding the Chico-based brewery that introduced much of America to Pale Ale is its upcoming Estate Harvest Ale, inspired by the winemaking of its Napa and Sonoma neighbors and made with hops and barley grown onsite. Also exciting? Two collaborations with Maryland-based brewery Dogfish Head — Limb and Life, released on draft this month, and Life and Limb, due out in 24-oz bottles and limited draft in November.

1075 E. 20th St., Chico. (530) 893-3520, www.sierranevada.com

SPEAKEASY ALES & LAGERS


Many beer drinkers gravitate to Speakeasy because of the distinctive, noir-feeling of its packaging and stay for the big, satisfying taste of classics like Big Daddy I.P.A. and Prohibition Ale. Though the Bayview-based brewery’s offerings are available on tap and in the bottle all over the Bay Area, we suggest visiting a Firkin’ Friday happy hour open house at the brewery from 4 to 9 p.m. every week.

1195 Evans Ave, SF. (415) 64-BEER-1, www.goodbeer.com

TRUMER BRAUEREI


This Berkeley brewery encompasses what’s advantageous about imported and local beers. The only non-Austrian outlet for this 400-year-old recipe gets many of its ingredients from its sister company in Salzburg. But bottles, packaging, and, of course, the beer, all are made in the East Bay. What makes Trumer special is a process called "endosperm mashing," which means brewers separate the barley husks from the starchy endosperm during milling, then reintroduce them at the end of the process to highlight the warm, toasty flavor of the malt. Trumer also uses a process called krausening, a slow, secondary fermentation that helps build natural carbonation. (One reason for its signature glassware is to show off the tiny Champagne-like bubbles.)

1404 Fourth St., Berk. (510) 526-1160

21ST AMENDMENT


This Prohibition-themed South Park brewery has been getting lots of attention lately for its canned craft beers — Hell or High Watermelon Wheat Beer and Brew Free! Or Die IPA — and for good reason. Though cans are the best way to keep beer fresh (since sunlight can’t penetrate metal), convenient for carrying, allowed at locales where glass isn’t, and (let’s face it) good for shotgunning, the delivery method has long been associated with cheap, watery beer. But this stigma seems to be slowly eroding, thanks in no small part to forward-thinking breweries like 21st Amendment.

563 Second St., SF. (415) 369-0900, www.21st-amendment.com

We realize that this list is only a tiny glimpse at the myriad breweries, alehouses, brewpubs, and better beer bars in and around the Bay Area. Indeed, Northwest Brewing News lists more than 100 such places between Bakersfield and Blue Lake — and we’re willing to bet there are many more. Check our Web site for information and extended interviews about breweries like Bear Republic, Shmaltz, Thirsty Bear, Triple Rock, and Magnolia, plus recommendations from beer experts at Toronado, City Beer, and Healthy Spirits.

Still think we’re missing someone? Let us know.

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Light beer’s plight

I like to drink beers. Plural. I’m the guy the ad men were thinking of in that classic jingle, the one that goes "Shaefer is the one beer to have when you’re having more than one." One summer a few years back, my friends and I polished off 1,000 cans of beer over a four-day weekend on Lake Shasta; there were only about 10 of us drinking. Do the math on that one, and you get a sense of my taste for the blessed amber fluid.

But that was then, and this is now. And today I have two kids who wake up at 6 a.m. and keep me on the go day and night; I’m not as young as I used to be; and I can’t handle the intoxication the way I once did.

But I still drink beers, plural, every day, and I’m not about to give it up. What I’ve done is switched to light beer. Correction: "Light" is a bad word. Among serious drinkers, it’s called "session beer."

It’s a choice more and more people are making in this country — beer with lower alcohol content is one of the fastest growing parts of the industry. But it presents a problem: how do you drink local (and high quality beer) when most of the craft breweries and brewpubs focus almost entirely on the heavy and the strong?

Quick definition here: light beer is generally promoted and advertised as having fewer calories than regular brew. But I could care less about beer making me fat (I can always give up food). What I’m talking about is what’s known in the business as ABV; that’s alcohol by volume. Typical American beer — say, Budweiser — runs about 5 percent. Typical craft brew — say, Anchor Liberty Ale — is about 6 percent. The more serious stuff is even stronger — Lagunitas Maximum India Pale Ale, for example, clocks in at 7 percent.

Typical light beer — say, Bud Light, at 4.2 percent ABV — has almost 20 percent less alcohol than Bud, 30 percent less than Liberty Ale, and only about half as much as some of the more extreme brews.

And for those of us who would rather have four light beers than two Imperial Red Ales (and really — in America, is that even a choice?), the craft brew pickings are fairly slim. Especially in Northern California.

"You are living in the land of the IPA," Bill Manley, communications coordinator for Sierra Nevada brewery, which makes no lighter beers, told me.

It’s not as if we’re without choices. Anchor makes a Small Beer (with the leftovers from it’s brutally strong Barleywine Ale) that comes in at about 3.5 percent ABV, but you almost never see it in stores. The 21st Amendment brewpub makes an excellent Great American Bitter that meets the session-beer standard of less than 4.5 percent. Magnolia makes an English Mild, and there’s Stone Levitation Ale (4.4 percent). But again: check out most liquor stores and none of those are on the shelf.

Across the country, that’s starting to change. Lew Bryson, a beer writer and blogger in Pennsylvania, has started the Session Beer Project (sessionbeerproject.blogspot.com) to share information about full-flavored, high-quality brews that don’t knock you silly after a bottle or two. "There are more people like us than most craft brewers would credit," Bryson told me.

The term "session beer" comes from England. By some accounts, it dates back to World War II when pubs were only open for short "sessions" so the workers could get back to the munitions plants in a relatively functional state. By Bryson’s definition, a session beer has an ABV below 4.5 percent and doesn’t overwhelm the party.

There are distinct advantages to lower-alcohol beers. "I was at a session brew festival two years ago and went through six pints in about two hours," he said. "I keep a Breathalyzer in my car, and when it was time to go home, I blew .02" — well within the legal limit in every state in America.

A brewpub near Bryson’s house on the outskirts of Philly sells a Belgian ale called Mirage with an ABV of just 2.9 percent. "I can have a couple of pints with lunch and it doesn’t blow my entire afternoon," he said.

Yet the reluctance remains. "A lot of brewers, they hear low-alcohol and they think light beer — and that’s the enemy," Bryson said.

Mike Riley, marketing director at Anderson Valley Brewing that makes no beer with less than 5 percent ABV, added: "It’s one of those stigmas that’s gone on for a long time."

In fact, I could only find one craft brewer in the country that actually makes a "light" beer: Minhas Brewery in Monroe, Wis., which makes Huber Light and Minhas Light. "People were asking for it," Gary Olsen, the brewery manager told me. "Our first reaction was, why make something that doesn’t taste like anything? But we found out you can make a very good lighter beer."

Yes, indeed. And when Anchor starts making (and marketing) Liberty Ale Light, I promise — I’ll give up Bud Light forever. (Tim Redmond)

4 fine wine bars

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It’s time to quit your drinking habit. No, not that one. The one where you sidle up to your usual bar and say, "I’ll have a glass of cabernet (or chardonnay or merlot)" with nary a glance at the wine list. I know, I know. You’re tired. You had a long day. But there’s a big world of wine out there, and lucky for you, we live in a city with lots of delightful options by the glass, from Down Under stickies to the reds of the Med. Here are four places that specialize in remarkable vinos, so it’s easy to trade in that mediocre merlot for a truly vinaceous adventure.

LA GITANE


If you think sherry is only for the likes of Niles and Frasier Crane, La Gitane will change your mind in three sips. Order the tasting of three 1.5-ounce pours ($14) — a light, briny Fino; a tangy, citrus-y Amontillado; and a rich and smoky Oloroso — wines that are stunningly dry but richly flavored (and, at 19 percent to 20 percent alcohol, not at all demure). If you sit at the bar, chances are a charming barman (they all seem to be men here) will pour you a little education along with your wine — in the form of a brief but enthusiastic tutorial of grape varieties and the Solera system (the special process of aging and blending sherry). Find yourself wanting more? You’re in luck: La Gitane offers 20 different sherries by the glass ($6–$18), including a couple of sweet styles and a half-dozen or so sherry-based cocktails ($7–$11).

6 Claude Lane, SF. (415) 788-6686, www.gitanerestaurant.com

SOUTH FOOD AND WINE BAR


Quick, name an Australian wine. If you said "Yellow Tail," you’re not alone. Due to the ubiquity of that single brand, it’s easy to believe that everything that comes out of the country-that-is-a-continent is a $5 shiraz. Not so. The proof is in the glass at South, where the focus is on the food and wine of Australia and New Zealand. Sure, you can order shiraz, but there are far more interesting things to be sipped here. A glass of Peter Lehmann Semillon ($7) might sound intimidating, given that it’s a grape you’ve probably never heard of, but its crisp grapefruit and lemon zest flavors make it a lovely aperitif. More of a red drinker? New Zealand produces pinot noirs that blow most of their California counterparts out of the water. Try St. Clair Vicar’s Choice ($10) from Marlborough; a bold, spicy petit verdot from Victoria ($8); or an iced Riesling from Tasmania ($13) that’s a dead ringer for a honey-dipped apricot. South makes it easy to try them all at its happy hour, weekdays from 3:30 to 6:30 p.m., when all wines are $6.

330 Townsend, SF. (415) 974-5599, www.southfwb.com

YIELD WINE BAR


It’s easy to make yourself at home at this Dogpatch wine bar, either on one of the leather couches arranged around low butcher block tables or at one of the half-dozen barstools lined along the simple wooden bar. Indeed, stepping through the door at Yield feels a bit like entering a friend’s loft: cozy, relaxed, and well-designed. But beyond atmosphere, what really makes this wine bar special is its menu. Every wine is organic, biodynamic, or sustainably farmed, and every dish on the concise list of small plates is vegetarian. The wine menu changes frequently and includes familiar varieties ( sauvignon blanc, syrah, cabernet) as well as more esoteric offerings like the Domaine de Reuilly Rosé of Pinot Gris ($11) — a pale pink, crisp wine with delicate flavors of strawberry and orange zest — or the Tenuta Pederzana Lambrusco ($11) — a fun, sparkling red from Emilia Romana, Italy. Really want to roll the dice? Opt for the never-know-what-you’re-going-to-get carafe special ($10), offered weekdays from 5:00 to 8:00 p.m.

2490 Third St., SF. (415) 401-8984, www.yieldsf.com

ZARÉ AT FLYTRAP


The bar at Zaré at Flytrap is impressive for three reasons: its warm and talented bar staff; its well-edited, Mediterranean-influenced wine list; and its truly affordable happy hour. You won’t find an over-the-top cabernet or run-of-the-mill merlot here. Instead the wine menu invites you to delve into the beguiling wines of Spain, Portugal, the south of France — even Lebanon. That’s right, Lebanese wine. Which you should try. Why? Because Chateau Musar’s "Hochar" ($12) is a smoky, earthy, elegant blend of cabernet, carignan, and cinsault that could easily be mistaken for a fine Bordeaux. Plus, if you come around during a weekday happy hour (4:00 to 6:00 p.m.), all wines by the glass are $5, making it that much easier to take a chance.

606 Folsom, SF. (415) 243-0580, www.zareflytrap.com

6 supper-worthy soups

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Take almost any kid to the grocery store and their favorite place is likely the candy aisle. Me? I salivated in front of the soups. All those colorful cans promising savory combinations of belly-warming meat and veggies caught my childhood fancy, no matter the season in my temperate hometown of San Diego. Back then, the decision always was between hearty beef barley, comforting chicken noodle, and more-fun-than-tasty alphabet soup. Now my palate has matured — but my taste for a brothy meal in a bowl has not. I still consider the greatest dining find to be a liquid lunch with ingredients so fresh and seasonings so rich that ordering a "proper" entrée is superfluous.

LA TAQUERIA MENUDO


If you’re looking for a traditional Mexican stew (or just a fantastic hangover cure) in a hipster-free environment, head out of the sunny, skinny-jeaned Mission District and into the fog of the Excelsior. There, at La Taqueria Menudo, you can find a steaming bowl of perfectly spicy pozole. (Similar to menudo, minus the creepy surprises of tripe — or Ricky Martin). This under-appreciated neighborhood joint serves the classic dish with plump hominy and pork so tender it comes apart when you stab it with your spoon. The dish is traditionally served with cabbage and radishes, but La Taqueria serves it with limes, cilantro, onions, and chile de arbol. No matter. The spicy depth of the soup’s flavor unravels in so many layers, and the accompanying tortillas are always so warm and soft, that those deviations get lost in the mist.

4591 Mission, SF. (415) 333-8604

SOUP FREAKS


Overall reviews of this mini-chain are mixed, but we love this company’s dedication to organic ingredients and free-range, hormone-free meat. And say what you will about any of the other soups, the chili here is transcendent. Made with four different types of beans, fresh tomatoes, and bell peppers with a bit of crunch, this cold-weather classic is satisfying year-round.

90 New Montgomery, SF. (415) 369-9602; 1900 Powell, Emeryville. (610) 601-7687; soupfreaks.com

LA MEDITERRANEE


It may be rare to get San Francisco days so sweltering you need chilled soup to counter them. But La Mediterranee’s cold cucumber soup is worth ordering whatever the weather. The cool blend of fresh fruit (cucumber is one, you know) and warm garlic melds perfectly with the creamy yogurt base, proving bright enough for an Indian summer lunch and dense enough for a nippy autumn supper.

2210 Fillmore, SF. (415) 921-2956; 288 Noe, SF. (415) 431-7210; 2936 College, Berkeley. (510) 540-7773, www.cafelamed.com

SUPPENKÜCHE


It’s easy to assume that all German cuisine is bland and heavy, particularly dishes like potato soup. But the kartoffelsuppe at Hayes Valley’s Suppenküche proves that central European food can be hearty without inducing a heart attack — or a born-of-boredom nap. The thick, savory, beef-based stew may warm your belly, but the balance of spice and starch is delicate enough to delight the palate of diners who’ve never set foot in Münich or Milwaukee.

525 Laguna, SF. (415) 252-9289, www.suppenkuche.com

BURMA SUPERSTAR


Made from a mix of samusas, falafel, cabbage, and fried potatoes, the samusa soup at this Richmond District eatery might sound like the last stop for wayward leftovers, but this thick, salted delight is the reason many diners make the trek to Clement Street in the first place. Indeed, this stewed version of the popular eatery’s varied specialties is so good you might be inspired to skip the next course altogether.

309 Clement, SF. (415) 387-2147, www.burmasuperstar.com

SAN FRANCISCO SOUP COMPANY


SF Soup Company may seem to be everywhere, but it’s an entirely local enterprise. Even better, it has found a way to take tomato soup — the dreaded accompaniment to the ubiquitous grilled cheese sandwich of childhood — far beyond its boring, watery reputation. The secret? Combining the sweet acidity of the native South American plant with savory basil in an organic, creamy base. Add in the choice of wheat or french bread and you’ve got a delicious, healthy meal option wherever you are in the city.

Various SF and Bay Area locations, www.sfsoupco.com