SF

Merger on the march

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Originally published August 24, 2005

THE NATION’S TWO largest alternative newspaper publishers have been in intense negotiations over a merger that would create an 18-paper chain controlled to a significant extent by venture capitalists, new documents obtained by the Bay Guardian show.

The documents, which appear to be valid, include a May 27, 2005, draft of a merger agreement between Village Voice Media and New Times. They were provided by a source close to the VVM side of the negotiations.

The draft calls for the creation of a new company controlled by a nine-member board. Five of the members would come from Phoenix-based New Times and its primary venture-capital firm, the Boston-based Alta Communications.

New Times, which owns 11 newspapers including the SF Weekly, would have 62 percent of the equity in the new venture, and VVM, which owns the Village Voice and six other papers, would have 38 percent.

The documents mention a Nov. 30, 2005, date for closing the deal, but suggest that the date may have to be pushed back, in part because of federal regulatory issues.

Rumors of a possible VVM-New Times merger have been swirling for months (see “Chain Gang,” 5/25/05). Neither of the principals has denied the reports, although employees of some VVM papers have attempted to dismiss them.

But the new documents are the first concrete confirmation that talks are indeed going on, and that the two parties are close enough to agreement that they’ve circulated draft bylaws of a new limited liability corporation that would own all of the VVM and New Times papers.

As of late May there were clearly still some issues to be resolved: The documents include a memo from VVM CEO David Schneiderman complaining that New Times wants to “renegotiate the terms of our deal” and arguing that some New Times papers, including the SF Weekly and the East Bay Express, are losing a lot of money.

“In the 2004 Calendar year, SF Weekly, East Bay Express and the Cleveland Scene racked up losses of $4 million,” the memo states. SF Weekly, it says, “is locked in a brutal struggle in SF with no sign of success and the same is true in Cleveland.”

The memo concludes: “In short, they have some real losers and we don’t…. given these facts, I don’t believe a renegotiation is warranted.”

But overall, the shape of the deal appears to be fairly clear. A new Delaware-based LLC would be created, with a nine-member board. Mike Lacey and Jim Larkin, the executive editor and CEO of New Times, would each have a seat on the nine-member board, as would an Alta representative. Lacey, Larkin, and the Alta rep would then choose two more members – one of whom would be New Times chief financial officer Jed Brunst – giving New Times and its banker a 5-4 majority.

Schneiderman (who is slated, the documents show, to receive a $500,000 bonus for his work on the merger) would have a seat on the board, and the final three seats would go to Goldman, Sachs & Co., Trimaran Capital Partners, and Weiss Peck & Greer, all of whom are VVM investors.

So in the end, at least four of the board members – and possibly five – will be venture capitalists

The documents state that all but two of the board members (also called “managers”) can be removed from the board for “cause” – but “the Lacey Manager or the Larkin Manager may not be removed as Managers with or without Cause, it being understood that the sole basis on which either such Manager may be removed as a Manager shall be such Manager’s conviction of a felony.”

The documents suggest that the new company has been set up with the idea of an eventual sale: They state that, for the first three years, the company can only be sold with the consent of six of the nine board members. But over the next two years, five board members could approve a sale, and after five years, three directors could make that decision.

“In the event the Board of Managers approves a Sale of the Company … all Members shall be required and hereby agree to cooperate with and participate in such sale,” they state.

The documents also address the prospect that the SF Weekly, the East Bay Express, and the Cleveland Scene could be sold off or closed if they continue to hemorrhage cash. “[I]f at any time up to and including the Third Anniversary date, the cumulative losses for any of the [East Bay, Cleveland or San Francisco units] (brackets in original document) exceed the cumulative projected losses for such unit … the Company, with the consent of five managers, shall be permitted to dispose of such non-performing unit by merger, consolidation, sale of assets or otherwise,” they state.

The new company would be required to honor the union contracts at the Village Voice – the only paper in either chain that’s fully unionized (the L.A. Weekly has some union workers). But other employees may not fare so well. The new company “may, in its reasonable discretion, transition all employees … to new compensation, benefit plans, programs or arrangements.”

One source in New York said that “as I understand it, Larkin will be the CEO and Schneiderman will run the Internet operations. I believe the rest of the VVM corporate staff (essentially finance people) will be let go.”

A separate document, dated June 1, 2005, is titled “NT/VV Proposed Business Consolidation Agreement Issues List Reutf8g to NT Draft of Contribution and LLC Agreement.” It lists some concerns – apparently from VVM executives – about the deal.

It cites a “drop date of Nov. 30, 2005,” but notes that “[t]his is too short, obtaining HSR approval may take a long time.” That’s a reference to the Hart-Scott-Rodino Act, which requires federal approval of any merger that may have an impact on business competition.

That might not be routine: New Times and VVM have run afoul of federal antitrust laws in the past. The two chains were charged a year and a half ago with conspiring to end alt-weekly competition in Los Angeles and Cleveland (see “New Times Nailed,” 1/29/03). Under a consent decree, the companies are required for five years to give the Justice Department notice before pursuing any merger.

We’ve spoken to several sources close to the negotiations who say it’s likely that process is already under way. But the Justice Department has consistently maintained that any such notice would be confidential.

The two parties are also keeping a tight hold on the information. Staffers at VVM and New Times papers seem unaware of the details of the talks, and top management has refused to answer their questions about the situation. The agreement includes a clause stating, “No press releases or public disclosure, either written or oral, of the transactions contemplated by this agreement, shall be made by a party to the agreement without written consent of VV Media LLC and NT holdings.”

The merger would signal the biggest step so far in the consolidation of ownership in the alternative press. The merged company (which thus far is identified only by the dummy name “Newco”) would represent 14.2 percent of the membership of the Association of Alternative Newsweeklies and would give one chain operation control of some of the biggest media markets in the country, including New York, Los Angeles, Miami, Denver, Seattle, Phoenix, and Houston (see “SOS: No secret New Times-Village Voice Media deal, sfbg.com).

Schneiderman, Lacey, and Larkin all declined to return messages seeking comment.

The Bay Guardian is suing New Times, charging predatory pricing by the SF Weekly.

There’s a laptop in the orchestra!

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Everybody panic. Don’t worry, electronic-symphonica mastermind Mason Bates, who I rave about in this week’s issue, isn’t gonna freak peeps out. But seriously, do not miss the premier of his orchestral suite for full orchestra and laptop, The B-Sides, which he’ll be performing for three nights with the ever-game SF Symphony, Wed/20, Fri/22, Sat/23. After Friday night’s performance (free with ticket!) you’ll get ushered into a really cool secret space by Davies Symphony Hall for an afterparty, featuring Mason’s Mercury Soul project, which kicks ambient-like trip-hop ass and will feature himself behind the decks, as well as some live, avant-garde surprises (and hottie conductor Benjamin Shwartz, *swoon*). If you haven’t been to the symphony, or if you’re in the mood for something spectacular oracular, this is the time to go.

Here’s two views of Mason, aka DJ Masonic, at Carnegie Hall with the YouTube Symphony Orchestra in April, debuting the “Wharehouse Medicine” portion of The B-Sides.

The balcony view, complete with trippy visuals:

and here’s from right down in the fray (I’m dying to know what the tiny grand piano behind his is for! Hello, Carl Stalling?) Note the dramatic use of drum pad:

I would be totally, regrettably remiss if I didn’t also pump Bates’ co-performer on the program, the heartbreakingly talented and just all around fierce Yuja Wang, who’ll be performing Prokofiev’s Piano Concerto #2, which at around the seven-minute-mark will honestly start to kill you with beauty. Girl’s got skills.

Here’s her performing at Carnegie Hall. Um, hi hotness.

Also featured: the majestically haunting, almost-4AD-foretelling Fourth Symphony by Sibelius, who’s all the rage among young turk composers these days.

Mason Bates, Yuja Wang, and the SF Symphony
Wed/20, Fri/22, Sat/23
8 p.m., $35–$130
Davies Symphony Hall
201 Van Ness
(415) 552-8000
www.sfsymphony.org

Solar project approved despite doubts

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By Steven T. Jones
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SF’s Sunset Reservoir will soon be covered in solar panels

A last ditch effort by progressive supervisors to reconsider an expensive solar power project fell one vote short yesterday when progressive Sup. Eric Mar maintained his unqualified support for the deal and refused to send it back to committee for more research and discussion.

At issue is a five-megawatt solar array atop Sunset Reservoir, which the San Francisco Public Utilities Commission recommended awarding to Recurrent Energy, despite the fact that the 25-year deal obligates the city to pay $235 per megawatt-hour throughout the life of the project (even though prices are expected to drop as new technologies come online) and setting the city’s buyout price at $33 million or more.

Appetite: Brazilian piranha ribs, Korean tacos, schnitzel sandwiches, fancy ‘tinis, and more

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

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‘Tini time at SF Cocktail Week

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EVENTS

May 11-18: SF Cocktail Week
SF Cocktail Week is here… In honor of SF’s truly vibrant cocktail culture and supporting the fab Museum of the American Cocktail in New Orleans (if you’re there, go!), the mission is "to preserve the Cultural Heritage of saloons and their cocktails in San Francisco, while also celebrating California’s Culinary Philosophy and Tradition". Sounds like a great mission to me. The third year in, this just keeps getting bigger. It’s no Tales of the Cocktail but it’s certainly a stellar line-up of parties, classes, competitions and events, taught and presented by a long list of the many of SF’s bartending greats.

A few highlights include opening (at Le Colonial) and closing (at Jardinere) parties, the US Bartenders’ Guild National Competition (all day Tuesday: 11am for SF competitors; 5pm for national finalists), CUESA’s Cane Spirits & Farmer’s Market Cocktails event is Wednesday night (their Winter Cocktails event was a blast – excellent cocktails at every turn!), there’s a historical cocktail and bar crawl with Tablehopper herself on Saturday, a Saturday class with artisanal cocktail genius,Scott Beattie, and monthly Savoy night at the one-and-only Alembic on Sunday. Thursday is Bar School, a day of classes around town, ranging from $25-45, the line-up includes Distillation 101 from Hangar One’s Lance Winters, Erik Atkins’ walk through the Gentleman’s Companion, Jeff Hollinger (Absinthe) and Neyah White (NOPA) teach you how to make your own cocktail ingredients from syrups to bitters, plus more worthy classes for the budding mixologist to take it to the next level.
All around SF; events free to $45
http://sfcocktailweek.com

May 12-16: The Big 4’s Wild Game Week returns
The Big 4 Restaurant (PSF) in Nob Hill’s Huntington Hotel has been around for decades and is just the kind of atmosphere I want when craving old world elegance and cocktails by the fireplace. On the food tip, its bi-annual Wild Game Week offers a menu so unique, it’s one of the only times you’ll see dishes like Himalayan yak or Rocky Mountain wapiti (elk chop, to you). This year a first is added: Brazilian piranha “ribs” with a creamy mustard dressing ($18). That’s right, piranha. Come hungry as the deer and the antelope certainly will play.
Appetizers: $16-19
Entrees: $38-46
1075 California Street
415-771-1140
www.big4restaurant.com

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Schmidt’s: Ready and German

NEW RESTAURANT and BAR OPENINGS
German haufbrau-reminscent Schmidt’s Deli opens in the Mission
Walzwerk’s Christiane Schmidt and David Pierce opened Schmidt’s last Wednesday, and I was warmly welcomed by the sweet staff that day. (I’m ready to go back!) The space is roomy, sparse with neatly ordered shelves stocking grocery items (and beer steins) from Germany — think herring, gooseberries, curry ketchup, rosti-in-a-box. They’ll be easing into hours, open from 11am-3pm on weekdays only for now. The plan is soon to be open all day from 11am-11pm, meaning it’ll be the go-to spot for veal schnitzel sandwiches, house-made sausages, spaetzle, kohlrabi (German turnip) and rutabaga gratin, sauerkraut, and German baked goods from Esther’s Bakery in Mountain View. And all under $11! Once the imported beers begin to flow (soon), I imagine the space cacophonous with happy locals at communal tables, clinking glasses over sausages.
2400 Folsom Street
415-410-0202

Korean tacos and burritos at John’s Snack & Deli
With the Korean taco craze in Los Angeles reaching a fever pitch (can anyone say Kogi?), John’s Deli owner (John himself) throws his hat in the Korean taco ring at his tiny deli offering Korean specials. Pairing kimchi with burritos and tacos includes meats (bulgogi beefbq chicken, pork, tofu) cooked Korean-style (with his Mom’s secret sauce) and toppings on the Mexican side (cilantro, onions, cheese). I dig the combo of sweet/savory meat mixed with spicy, pickled kimchi. Occasionally, come mid-afternoon, they sell out of certain meats (beef, last time I was there), but if you aren’t picky, they’re all good.
40 Batter Street
415-434-4634
www.snackanddeli.com

Workday gourmet lunches at Carte 415
Is there no end to food cart mania? It appears not. Downtown workers have gourmet-casual sandwiches and salads at The Sentinel, which set the standard. In cart form, there’s Carte 415 inside the Atrium at Second and Mission. Joshua Skenes, formerly Exec Chef of Chez TJ and Michael Mina’s Stonehill Tavern, launches out into gourmet food cart territory with, you guessed it: a changing, market-fresh lunch menu. A Bacon-jam BLT with burrata and heirloom tomato sounds particularly good to me, but there’s meat and veggie salads, sandwiches and snacks, like their granola or bbq vegetable chips. Call first as they’re not open yet but should be any day now. With plans for more carts around the city in the future, there will be no shortage of gourmet-on-the-go options.
101 Second Street
415-567-0415
www.carte415.com

Live Shots: Yoshida Brothers strum up Yoshi’s

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Text and photos by Ariel Soto

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Walking confidently on stage and decked out in tradition Japanese garb, the Yoshida Brothers took over the stage at Yoshi’s SF in the Fillmore — they’ll be performing there until May 16th. The Yoshida brothers play the shamisen, a square shaped guitar like instrument with only three stings that twangs and resonates long after the stings have been plucked.

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Artist David Wilson’s “Open Endless” swims with vintage tactics

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By Johnny Ray Huston

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Not every art show allows you a chance to swim in the Pacific Ocean on a Sunday afternoon and experience the bracing cold of the water and the pull of the tide. But David Wilson’s "Open Endless" isn’t your average show, even if it is characteristic of Wilson’s community explorations of art and landscape under the Ribbons Publications rubric. Last year, he instigated a sleep-over happening at Angel Island that included live music. This month, as an extension of a show of drawings, he organized a casually beautiful mapped day and night of art in the Headlands.

No two people had the same experience. Besides a dip in the Pacific, mine included a trek up the paved trails of the North Cliff to a white diamond hung on the cliff’s face by Battery Townsley, where the duo Pale Horse sang songs in a tunnel, and then a walk back down to the beach where the duo known as Coconut played music in a little cove as two, three, four, five, six surfers took on the waves during sunset. I don’t have much to say about that latter experience beyond that it was the kind of moment that makes me completely glad to be alive. I left sated and went home and slept and dreamt deeply. Those who stayed ambled on through Rodeo Canyon to another Battery, where Canyon Cinema shared some cave cinema.

Wilson’s drawings, on display at Tartine, are a shifting sequence of meditations on the landscape and coastlines of the Headlands. His deployment of color and line is understated. The brashest aspect of the show is its use of material: the largest piece, a 22-foot watercolor of the ocean and shore, uses the blank-but-aged paper of record sleeves and the cardboard insides of albums covers as a backdrop. It’s a great tactic. Earlier this year at the de Young Museum, Ajit Chauhan performed a different but similarly large-scale trick with album covers, painting over their exteriors so that only eyes peeked from the original artwork. Wilson’s use of vintage music matter hints at the merging of art and that which is codified "nature" at the core of his events. I’m already looking forward to his next one.

OPEN ENDLESS Through May 28. Mon., 8 a.m.–7 p.m. Tues.–Wed., 7:30 a.m.–7 p.m.; Thurs.–Fri., 7:30 a.m.–8 p.m.; Sat., 8 a.m.–8 p.m.; Sun., 9 a.m.-–8 p.m. (415) 487-2600. Tartine, 600 Guerrero, SF. www.ribbonspublications.blogpost.com

Shannon is worthy, plus Clams

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By Andre Torrez

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Photo by Francis Chung

Enough about Thee Oh Sees already. Let’s talk about Shannon and the Clams. John Dwyer’s new outfit is great and all, but Shannon is bodacious. She’s a peroxide-haired, punk-rock pin-up who gets real mean on her Danelectro bass.

I caught the classic beauty out and about last week with an unmasked Nobunny. They were catching a glimpse of those pretty Black Lips performing at the Great American Music Hall. A few months earlier, I saw Shannon and her Clams doin’ their thing for the hometown crowd at Oakland’s Stork Club. For sure, the highlight of the night was their rendition of Del Shannon’s "Runaway." I can’t get enough of that song. Anytime I hear it, it’s embedded in my brain for days. I enjoyed the guitarist’s mimicry of whatever high-pitched instrument is used in the bridge of the original recording. Surf rock interpretation at its finest.

Shannon and the Clams, “Blood”

Shannon’s gnarly, gruff-sounding wail conveys the angst of an exhausted teenage wreck (see "Cry Aye Aye"). She’s somewhere between a woman possessed by Little Richard and the vocal huskiness of the Gossip’s Beth Ditto. Another standout track, "Blast Me To Bermuda," is pure teen-punk energy, with a slicing riff that propels the Clams’ late-1950s, early-’60s style into a more contemporary garage rock sound.

Shannon is worthy in my book. Good ol’ rock ‘n’ roll!

SHANNON AND THE CLAMS With Thee Oh Sees, Sonny and Sunsets, and the Mystery Lights. Fri/15, 9 p.m., $8. Amnesia, 853 Valencia, SF. (415) 970-0012. www.amnesiathebar.com

Street Threads: Look(s) 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: George and Willy, Sixth Street and Market

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Tell us about your looks:

George: “This is Urban and American Apparel.”

Willy: “I’m wearing Dior jeans and a vintage tee”

Shooting past “sharrows”

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San Francisco’s bicycle advocates have been focused on winning approval for 56 near-term projects outlined in the city’s bike plan, which would increase the number of miles of bike lanes from 45 to 79, and quadruple the number of city streets bearing "sharrow" markings (see "Street fight," 2/4/09).

But bike-related projects farther out on the horizon could significantly raise the bar for a bikeable San Francisco. Here are a six long-range concepts that could make cycling in the city more safe, enjoyable, and accessible to people who might otherwise be driving solo.

BRIDGING THE GAP


Cyclists who commute between San Francisco and the East Bay have asked an obvious question for years: why must I spend money on BART fares or bridge tolls to get across the bay when I know I’m capable of biking there? When construction of the new east span of the Bay Bridge is finished, cyclists will finally get a bike path — but it will only get them from Oakland to Yerba Buena Island. Luckily, the idea of installing a complementary bike path along the west span to San Francisco is being entertained. It’s expensive (estimates place the cost at $200 million) and complicated (a 2001 feasibility study found there would need to be tracks on both sides of the bridge for balance). But in early April, the Bay Area Toll Authority agreed to spend $1.3 million on an 18-month study so the project could be shovel-ready when funding becomes available.

CAR-FREE MARKET STREET


Market Street is a popular thoroughfare for bicyclists even though much of its design creates tight-squeezes and conflicts with automobiles. For years there’s been talk of making it car-free, an idea once advocated by former Mayor Willie Brown. It was studied in 1997, but never received enough support to move forward, in part because area merchants worry their business would be hurt by restricting motorists. But the latest attempt to quell Market Street traffic may get more traction. Sup. Chris Daly, who also sits on the Metropolitan Transportation Commission, requested a comprehensive study on restricting Market Street traffic and a draft report is expected by early summer. Andy Thornley, program director at the San Francisco Bicycle Coalition, notes that the overarching idea is not to make Market Street exclusive to bikes and pedestrians, but to improve it as a whole. "A car-free Market Street may be the route," Thorney says, "but it’s not the reason."

COLOR ME BIKEABLE


Ask Dave Snyder, transportation policy director at the San Francisco Planning and Urban Research Association (SPUR), what constitutes an ideal bike lane, and he’ll say it has to be safe enough for parents to feel comfortable allowing their eight-year-old to ride a bike there. "That’s a very high standard," he says. "But it’s a correct standard." One approach for safeguarding bike lanes, adopted in New York City and elsewhere, is to color them in. Bike activists have been pushing the idea here, but the monkey wrench in the works is a sort of national bible of traffic symbols that lacks a standard for colored bike lanes. If the city rolls with a concept that’s outside the rulebook, the thinking goes, it could be a liability. But bike advocates hope to incorporate colored bike lines into the standard via a pilot program. In coming months, be on the lookout for more colorful city streets.

THINK INSIDE THE BOX


A bike box is a colored bike zone just before an intersection designed to let cyclists get out in front of traffic at a red light so they can be more visible. SF has two low-profile bike boxes, Thornley notes, but plans are on the horizon to install more. When the city of Portland, Ore. installed them, it produced a video called "On the Move with Mr. Smooth" to promote the concept. Hosted by a greasy character in a neon green shirt, the video makes a big deal about how motorists get a great view when they stop behind the bike-box line. "The bike box," Portland’s slogan proclaims. "Get behind it."

A BLUE-GREEN WORLD


Blue for the water, green for the parks and open space, the Blue Greenway is envisioned as a 13-mile corridor along the southeastern waterfront that would connect a string of existing parks from the Giants’ stadium to Candlestick Point State Recreation Area. "We want to connect not only parks along the Blue Greenway, but connect people to the waterfront," explains Corrine Woods, who is working on the project through the Neighborhood Parks Council. The corridor will serve as the city’s southeastern portion of the San Francisco Bay Trail, a massive interconnected trail network planned by the Association of Bay Area Governments that is envisioned as a 400-mile recreational "ring around the Bay."

BACK ON TRACK


For now cyclists aren’t allowed to bring their bikes — not even the folding kind — on Muni trains or buses (although some buses have bike racks outside). But it’s something the Municipal Transportation Agency has on its radar as a possible policy change, according to spokesperson Judson True. "As we move forward and people become more aware of the benefits of public transit, our vehicles become more and more crowded," True notes. This may be a good problem to have, but it means the agency must work out a strategy to accommodate wheelchair-bound passengers, strollers, walkers, bikes, and other essentials that passengers bring on board. Once the bike-plan injunction is lifted, True says, he expects MTA to approve a pilot program for bikes on Muni. In order to discourage more people from driving, he says, "linking sustainable modes of transportation like biking and transit is key."

Saving the southeast

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sarah@sfbg.com

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This map of all foreclosures in San Francisco shows a heavy concentration in the southern part of the city, home to many low-income communities of color.

When Mayor Gavin Newsom and Sup. Sophie Maxwell convened a task force in July 2007 to figure out why African Americans are leaving San Francisco and how to reverse this trend, the subprime loan market crisis was about to send a shock wave of home foreclosures sweeping through southeast San Francisco.

Hope SF, the promised rebuild of the city’s public housing projects, is underway at a cost of $95 million. The city’s certificates of preference program, giving housing priority to black residents displaced by redevelopment, has been expanded and extended. But little has been done to address the immediate problem.

Instead political leaders have focused on a plan to subsidize Lennar Corp.’s construction of thousands of new condos in the southeast section of the city — the heart of the San Francisco’s remaining African American community — and have done nothing to promote a plan that could convert hundreds of foreclosed homes into affordable for-sale or rental units there, right here, right now.

African American Out Migration Task Force (AAOMTF) members recall warning that the crisis would likely hit San Francisco’s already dwindling black population extra hard. And Sup. John Avalos, who was running for election in District 11, remembers seeing impacts in the Excelsior District as early as 2007.

"I was telling people in early 2007 that this was a problem in District 11, and even real estate people didn’t believe me," recalled Avalos, who is exploring legislation to hold banks accountable and spoke at an ACORN protest in support of Excelsior homeowner Genaro Paed, a Filipino native who just staved off eviction orders pending the outcome of his lawsuit against Washington Mutual concerning what Paed describes as "a predatory loan" secured in 2006.

Avalos also planned to introduce legislation on May 12 that would expand protection of renters, including those in foreclosed homes who are now being evicted by banks.

This isn’t the first time city leaders have studied the African American exodus or ways to prevent low-income and minority households from being preyed upon or displaced. Indeed, this task force’s initial findings, (released last summer after Lennar spent millions to persuade voters to support building 10,000 condos in the city’s southeast) suggests San Francisco’s entire black community is at risk unless proactive and immediate steps are taken.

According to U.S. Census data, the city’s African American population shrank to 6.6 percent of the city’s total population by 2005 (a 40 percent decline since 1990) and will likely slip to 4.6 percent by 2050, according to the California Department of Finance. And these findings were made before the foreclosure crisis heated up.

In 2008 Maxwell and other elected officials convened a Fair Lending Working Group (FLWG) to figure out how to respond to the wave of foreclosures. By year’s end, there were 667 home foreclosures in San Francisco, almost all in the city’s southeast sector.

These numbers sound small compared to Contra Costa County or Oakland, where thousands of foreclosures occurred. And they aren’t big enough to qualify for the first round of President Barack Obama’s National Stabilization Program grants, which were released earlier this year. Based on a census-driven formula, the grants sent $8 million to Oakland and no money to San Francisco.

But with half the city’s foreclosures in the Bayview, home to most of the city’s remaining African Americans, the fact that little has been done to save these homes — or to follow early recommendations to do so — is a gentrification crisis in the making.

Ed Donaldson, housing counseling director at the San Francisco Housing Development Corporation in the Bayview District, served on the FLWG and remembers suggesting a two-tier track. First, take steps to protect renters in places that have been foreclosed and second, buy as many foreclosed properties as possible with the aim of reselling or leasing them as affordable units. While the FLWG liked the renter protection angle, it did not support the foreclosure acquisition program.

"The idea fell on deaf ears," recalls Donaldson, who was disappointed his foreclosure purchase plan didn’t make it onto FLWG’s recent recommendation list. FLWG members include financial institutions such as Wells Fargo, Washington Mutual, and Patelco Credit Union; community-based organizations such as Housing and Economic Rights Advocates, SFHDC, Mission Economic Development Agency; and city agencies. The agency also has received staff support from Assessor-Recorder Phil Ting, the Mayor’s Office of Housing, Treasurer Jose Cisneros and the Office of the Legislative Analyst.

"We’d already seen the spike in foreclosure numbers, so how did these recommendations get pushed out? We need something with teeth," Donaldson said.

SFHDC executive director Regina Davis says she suggested a foreclosure purchase and resale plan as an AAOMTF member and was concerned when she noticed that her recommendation was not included on the list discussed at the April 23 meeting. Billed as a closing-out session, that meeting took place at the San Francisco Redevelopment Agency and was attended by Davis, chair Aileen Hernandez, Redevelopment director Fred Blackwell, the Rev. Amos Brown, Barbara Cohen of the African American Action Network, Tinisch Hollins of the Mayor’s Office of Criminal Justice, and former supervisor and assessor Doris Ward, among others. The AAOMTF is finishing up its work this week.

"I got involved because I believed that in exchange for participation, we would see things done and/or funded. Part of what we want to see are real action items that keep African Americans in San Francisco or bring them back. So we really want this issue to move forward with substance," Davis told the Guardian.

Recognizing that San Francisco is facing massive budget constraints, SFHDC is proposing to borrow $1.5 million from Clearinghouse CDFI, a Los Angeles community development financial agency, to acquire and rehabilitate these foreclosed properties.

Davis’ group would then turn it around and offer residents several options: buy (if the prospective buyer qualifies for the city’s $150,000 downpayment assistance and a $50,000 loan from the California Housing Financing Agency); lease (in which SFHDC sells the home to the buyer but leases the land, making the price affordable), lease-to-own. Or, Davis adds, people could rent the units at affordable rates.

But to make the plan work, SFHDC need the banks to sell the properties AT below market rates. Noting that foreclosed properties are still selling in the Bayview for $400,000, Davis says her nonprofit intends to purchase 100 to 200 homes during a 24-month period at less than $200,000 mark.

Yet Davis remains optimistic about the plan’s chances as SFHDC negotiates with major banks for a 50 percent discount, noting that there is a monthly average of 50 foreclosures in the Bayview-Hunter’s Point, and SFHDC has access to 100 qualified buyers.

Blackwell said the Redevelopment Agency hasn’t developed an initiative or a funding pool to respond to the foreclosures in the city’s southeast sector. But, he said, the agency is looking at ways to apply for National Stabilization Program funds even though "federal guidelines mostly don’t apply well in expensive markets like San Francisco.

"We are engaged in advocacy so San Francisco can take advantage of any federal stabilization funds, but we don’t have an agency-specific proposal," he continued.

"Frankly, I think community-based organizations are the best to do programs like that, especially since there is so much anxiety about the Redevelopment Agency and property acquisition in the southeast," Blackwell added.

He believes that given the city’s current budgetary constraints, the AAOMTF "will likely look for leadership from the Mayor and the Board of Supervisors in cases where members have made recommendations and there is an opportunity to bring in public money."

Blackwell feels the city is still getting its mind around its foreclosure problem. "We’ve been spared the wholesale neighborhood-by-neighborhood devastation that places like Antioch faced," Blackwell said. "So, there wasn’t the same sense of urgency. And there’s a need to look more closely at the data. A lot of the information is based on anecdotes."

Yet the feds seem willing to help if city officials take the initiative. Larry Bush, spokesperson for the U.S. Department of Housing and Urban Development’s regional office, says San Francisco and Oakland could file a joint foreclosure plan application.

"If they can identify 100 homes, they’d be eligible for $5 million," Bush said, noting one snag that could unravel the plan locally. "Foreclosed properties must be vacant for at least six months. And as you know, in San Francisco, foreclosed homes still sell."

Maxwell says the city could do more to confront predatory lenders and enforce tenant rights, as well as developing a plan to buy foreclosed properties. "But in San Francisco it’s an issue because of relatively high prices," she told us.

Yet the city’s high prices are the very problem pushing out low-income residents. African American home ownership actually increased after 1990, even as out-migration among black renters increased. But now, if the foreclosures stand, that exodus will likely accelerate.

Asked if she supports SFHDC’s current foreclosure plan, Maxwell said, "It makes sense to me. If that could be done, it would be optimal."

Myrna Melgar of the Mayor’s Office of Housing says she’s not sure that a foreclosure resale plan would work in San Francisco for folks who bought a couple of years ago, when house prices hit $700,000, only to see house prices fall to around $400,000.

"San Francisco is a very different universe from Detroit," Melgar said. "Properties don’t sit around empty and vacant. They are bought by speculators who are betting that in two or three years, their values will go up. So if we had money to buy these properties, which we don’t, we’d be in competition with the speculators, who have lots of money with no strings attached, and who drive the prices up."

Another difference, Melgar said, is that San Francisco banks are holding onto 50 percent of their foreclosed properties, whereas Antioch banks are only holding onto 22 percent. "We’d like to keep folks in the homes," Melgar said. "But it’s a policy issue related to the reality that we have such limited funds."

Sour grapes

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le.chicken.farmer@gmail.com

CHEAP EATS Wish I could take the two parties I went to on Saturday and superimpose them onto each other, so that the Rockridge moms and dads could mix with the young trans men, drag kings, and queer burlesque performers.

When I mentioned this seemingly surreal idea to Alice Shaw after our soccer game Sunday, she said, simply, "Do it. You can!" And she teaches photography, so I decided to believe her.

Not only that, but since my own training is technically as a fiction writer, I think I’ll bring my buddy Earl Butter with me to both parties, even though in real life I only ate lunch with him and then dropped him off at his house.

Earl Butter deserves a bigger piece of pie. Don’t you think?

"My whole life has been a series of disappointments," Earl Butter really did say, at lunch. "One after the other after the other, and eventually you reach the point where one more thing … well, it might just be the one that breaks you."

We were both looking at his piece of pie, and it was, in fact, astonishingly small. Small enough to put inside a teacup. Small enough to break anyone’s spirit.

I gave him half my piece. To be honest, I didn’t miss it. If I go back to Mission Pie, it will be for a cup of coffee.

Now, to show you what a great friend and altruistic farmer I really really am, after lunch I took Earl Butter with me to this Kentucky Derby party in Oakland. Of course you heard that a 50:1 long-shot won, by a mile, and that gives me more hope than Susan Boyle gave everyone else.

But I already had more hope than is good for me, anyway.

Anyway, so I met this big fat queer stripper chick stage-named Kentucky Fried Woman at a burlesque show. "I’ve heard all about you," I said, because I had. I’d heard that she has a Derby party every year and makes buttloads of the Best Fried Chicken Ever.

Praise the Lard … it’s true!

And there were biscuits, and corn bread, and mac ‘n’ cheese, and every possible shade of white and yellow things to eat, but I have a confession to make: I went to two shows in one week and didn’t get the burlesque thing. I mean, song and dance and comedy I understand, but the part that ends in swirling pasties? … Nothing. I’m sorry.

This probably seems like sour grapes coming from an uncurvaceous woman with sour grape-sized tits, so it probably is sour grapes. And/or to me, life itself is almost unbearably sexy as it is, with it’s fried chicken and red umbrellas, its beautiful people, licking their lips.

A friend had to explain it to me. But I still didn’t get it. Maybe the striptease, like fried chicken itself, is simply not for everyone. That was how I decided to leave it.

Then I went to this party. Then, later that night, I went to this other party. I was on the dance floor talking to my two new favorite people: the woman whose children I watch, and the mom next door, our hostess, who was wearing a wig, false eyelashes, it being her birthday.

Perhaps giddy at having found sitters, one or two other people were wearing wigs. That was it. Oh, and one guy was wearing a cowboy hat. I was wearing what I always wear: a skirt, a shirt, and a little mascara.

"I’ve been watching you," Cowboy Hat blurted, as soon as we’d been introduced. He seemed unable to contain himself. "And I have to say," he spilled, "that you have really impressed me with your outfit!" I think he was a doctor. He had to notice the life leaving me as he went on and on, congratuutf8g me on my get-up, my costume, how well I’d done!

Worst of all, he meant all this as a kindness, so vodka and tonic in his face was not an option.

The only way to shut him up, which didn’t hit me soon enough, sadly, was to unbutton my shirt, swing it over my head, and let it fly. I undid my bra, my skirt, the music erasing the rest as I danced down to my exact body, the song, finally getting it. *

MISSION PIE

Mon.-Thu., 7 a.m.-9 p.m.;

Fri., 7 a.m.-10 p.m.;

Sat., 8 a.m.-10 p.m.; Sun., 9 a.m.-9 p.m.

2901 Mission, SF

(415) 282-1500

No alcohol

Cash only

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

Nopalito

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paulr@sfbg.com

Nopalito might or might not offer "far and away the best Mexican food in the Bay Area," as a hyperbolic toot harvested locally and posted on the restaurant’s Web site contends — I say not — but the food is very good. The menu card, moreover, gives a brisk tutorial in the persistence of Indian language and culture in Mexico and is worth scanning just as an intellectual artifact. In a world of burritos and quesadillas, often made with flour tortillas, it is revelatory to read about such possibilities as caldo tlalpeño (the traditional chicken soup), pollo al pibil (as part of a panucho), and huitlacoche (in a mushroom quesadilla). The Maya and Mexica who lived a half-millennia ago might well find aspects of these dishes, or at least their names, familiar.

Or would, if they could get in. Nopalito, although fairly sizable, doesn’t take reservations, but it does allow you to phone yourself onto a waiting list and be phoned back when your table is imminently available. You will likely be given an estimate on the wait when you join the list, but this information is not of high reliability, and, like flying stand-by, you should be prepared to move fast to claim your place. The advantage to the restaurant, meanwhile, is clear: tables are not held, but filled immediately.

As the punny name suggests, Nopalito is an offshoot of nearby Nopa. "Nopalitos" are also shreds of prickly-pear cactus that often end up in morning eggs. Since Nopalito doesn’t serve breakfast, this potentially signature ingredient is honored by being largely if not entirely invisible. But because "nopalito" is a diminutive form of "nopal" — the westernized spelling of the Nahuatl word for the parent plant — we can extract a useful clue, which is that words ending in a vowel and "l," such as "pibil" and "tamal," are often Nahuatl in origin and suggest that the food so described is more Indian than European.

Mexico is sufficiently huge and various to make generalization a perilous undertaking, but one way to think of Mexican cooking is as a modest overlay of European influence — much of it involving pork — on a broad and deep base of Indian ingredients and techniques. "Pibil," for instance, refers to a Maya method of wrapping marinated meat in banana peels and stewing it underground with hot stones. I didn’t see the Nopaliteños tending any barbecue pits, but chicken cooked in some pibil fashion did find its way onto the panucho ($4), a crisped corn tortilla also topped with black beans, pickled onions, and a feisty salsa of habañero chilis.

Corn tortillas are subtle but pervasive, a reminder that corn — "tamal" is the Nahuatl word — was, along with beans and squash, a principal pillar of the Mesoamerican diet. We found a quesadilla made with a blue-corn tortilla ($8) and filled with mushrooms, cheese, epazote, salsa molcajete, and huitlacoche (the fungus that grows on corn and is sometimes compared with truffles) to be quietly effective. A bit more loudly effective was a tamal enchilado ($4), a tube of masa, like very thick polenta, imbued with ancho chili and cooked with stewed pork, queso fresco, and crema (the Mexican answer to crème fraîche).

The ultimate in stewed pork has to be the carnitas ($14), which are excellent by any standard. The cubes of meat were marinated in beer, orange, cinnamon, and bay leaf, sealed in a pouch of parchment paper, then slow-cooked to exquisite tenderness and flavorfulness. The accompaniments were appropriately simple: a salad of shredded cabbage, a few halves of pickled jalapeño pepper, and a small tub of tomatillo salsa.

On the other hand, there was carne asada a la plancha ($15): grass-fed skirt steak in a nocturnal, slightly smoky pasilla salsa. The salsa was wonderful, but the meat was quite tough, almost unchewable, especially in comparison to the carnitas. Of course grass-fed beef isn’t as tender as corn-fed, but a few, or few more, whacks with a tenderizing mallet might have helped here. Somewhere in between lay a half chicken in mole poblano ($13), the meat nicely moist and pliant and the mole sauce (of chocolate, chiles, cinnamon, nuts, and toasted sesame seeds) richly fruity without a hint of bitterness.

Despite an improbable location adjoining the new Falletti Foods in what is basically a small mall, Nopalito has a Missiony glow, from the mod shades of green throughout the interior to the youthful staff. There is also a communal table — not quite a private table, but a shared table is better than no table, as the prickly pears among us know.

NOPALITO

Daily, 11 a.m.–10 p.m.

306 Broderick, SF

(415) 437-0303

www.nopalitosf.com

Beer and wine

MC/V

Noisy

Wheelchair accessible

From the shadows

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a&eletters@sfbg.com

The cheapest special effect in the world is having one actor fire a cap gun as another cries, "Ow, ya got me!" Ergo crime did pay, in spades, for Hollywood’s "Poverty Row" studios in the disillusioned years between World War II and Eisenhower-era prosperity. Subsequently dubbed "film noir," this period’s myriad violent melodramas were cranked out fast, exhibited briefly, then forgotten.

Yet recent years have left very few stones unturned in the quest for buried gems. Back when he was programming at the Roxie Theater, Elliot Lavine did much to foster their cult with retrospectives showcasing both the genre’s acknowledged classics and dustiest obscurities. When he left in 2003, noir fans wore mourning black — though were consoled by the start of SF’s annual Noir City festival that same year.

Still, watching lurid old B-flicks at the funky Roxie had an extra frisson lacking amid the Castro Theater’s grandiose respectability. Very good news, then, that Lavine is bringing bad guys (and duplicitous dames) back to Valencia Street with "I Wake Up Dreaming: The Haunted World of the B Film Noir." Its two weeks emphasize noir’s lesser-sung efforts from the cinematic sweatshops of Monogram, PRC, Eagle Lion, and other economy-class companies where production values were low and the hard-boiled sleaze factor was often cranked high to compensate. Many of the 29 features haven’t been seen theatrically for decades, and few are available on DVD.

On Poverty Row, young talent proved itself; mainstream luminaries landed there once their box-office clout had expired. Thus velvet-voiced 1930s glamazon Kay Francis briefly descended to Monogram after Warner Bros. dumped her. In Allotment Wives (1946) she’s a socialite coolly fronting a polygamy racket targeting returned GI’s, while enduring Mildred Pierce-like torments from an ingrate daughter whose every action screams "Mother, slap sense into me." (Oh yes she will.)

Another WB castoff, ingénue Joan Leslie, starred in that year’s unique Repeat Performance. She’s an actress-turned-murderess who gets her wish to live the last fateful year over again — only to watch as the same deadly events unfold, only worse. Having outgrown a famous-juvenile heyday, Bonita Granville was ready to play twins — one good, one a "cheap little chiseler" — embroiled in a murder mystery in The Guilty (1947). (And to think just months earlier she’d been crushing on Andy Hardy at MGM.)

These programmer factories promoted personalities who only rated bit parts at the majors. Where else could sneering, square-faced Lawrence Tierney’s bullying malevolence float entire movies like The Devil Thumbs a Ride (1947) and The Hoodlum (1951)? Some noirs risked having no familiar faces at all. The docudrama-style Canon City (1948) uses real locations and (some) real inmates to recreate a Colorado prison break — one thwarted, in part, by a gutsy, home-invaded gramma-with-hammer.

While most titles here are known only to the most fanatical buffs, two come with minor cult status already attached. The craziest among fabled screenwriter Ben Hecht’s odd few directorial efforts, Specter of the Rose (1946) is an amour very-fou tale set in the ballet world, its prima ballerina imperiled by a dancing partner-spouse who experiences homicidal ideations when not husking heavy mush stuff: "Hug me with your eyes." "I am." "Harder!"

Likewise linguistically challenged in the best possible way is 1955’s Shack Out on 101, in which a young Lee Marvin unforgettably limns "Slob," bus boy extraordinaire forever pawing unaroused waitress Terry Moore. Meanwhile, lurking Commies plot to overthrow the American Way of Life, off-ramp greasy spoons included. With its hilariously pissed-off dialogue no obstacle to red-blooded patriotic display, Shack is a Cold War trash classic so plutonium-hot it smokes.

I WAKE UP DREAMING: THE HAUNTED WORLD OF THE B FILM NOIR

May 14–28, $10

Roxie Theater, 3117 16th St., SF

(415)-863-1087, www.roxie.com

Reels and (two) wheels

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What’s a "bike movie?" If you immediately thought of Breaking Away (1979), two upcoming events suggest that your definition is li’l old-fashioned. First up: the Disposable Film Festival is hosting a "Bike-In" outdoor screening. Pedal over and enjoy a selection of films (with an emphasis on bike themes) culled from DFFs past; an after-party celebrates the release of the Guardian‘s Bike to Work issue.

San Franciscans Eric Slatkin and Carlton Evans founded the fest in 2007 to highlight so-called disposable films — "any film made on these alternative devices we’ve seen cropping up in the past few years: cell phones, web cams, point-and-shoot cameras, one-time use video cameras, pocket cams," Slatkin said. "They really democratize the idea of not just filmmaking, but of a filmmaker."

The spirit of the festival lends itself to a bike-in screening. "The core of the DFF is a real DIY aesthetic," Evans said. "I think there’s a similar kind of aesthetic in the biking community in San Francisco. I bike all over the city, and I’m always navigating the city in a way where I’m having to overcome obstacles. You just sort of take on these challenges and come up with your own solutions."

Brendt Barbur, director of the New York City-based Bicycle Film Festival (now in its ninth year, it travels to San Francisco this summer), would likely agree with this comparison. The BFF showcases experimental films, music videos, documentaries, and more, with tie-in art exhibits and live music shows, but it’s powered by the creative energy of everyday cyclists.

"Technology has given the bike movement a tool to express themselves," he said from BFF headquarters in NYC. "That DIY spirit runs through the festival. A lot of people — maybe they’re graphic designers or bike messengers — have something to say, and cameras are now accessible to a lot of folks. Those little gems they produce are, a lot of times, the most popular movies at the festival."

DISPOSABLE FILM FESTIVAL: BIKE-IN

Wed/13, 8 p.m., free

Outside the Good Hotel, 112 Seventh St., SF

www.disposablefilmfest.com

BICYCLE FILM FESTIVAL

July 14-19

www.bicyclefilmfestival.com

House of Horrors

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› kimberly@sfbg.com

SONIC REDUCER Thrills and chills and disco ball spills — that’s what the Horrors are made of? After Shih Tzu-banged frontman Faris Badwan brattily ripped the mirror ball off the ceiling of 330 Ritch a scant two years ago, who knew the U.K. band would show its true, formative, and fundamentally curious colors? The hues and cries streaming off the Horrors’ second album, Primary Colours (XL) read as a limpid, moonlit pop-sonnet to true-school proto-goth-rockers and morbidly fixated post-punk upsetters like Siouxsie and the Banshees and Killing Joke.

Just don’t flash that dance-floor orb in front of Badwan again. "Mmm, Faris never really liked mirror balls," mumbles guitarist Joshua Third, né Hayward. It’s frozen in Boston, where the group is performing that night, and the chill that drops momentarily over the conversation is brief yet bracing. "Luckily we haven’t played anywhere with a mirror ball for ages."

Despite the menace — or maybe because of it — the goth-punk movement has always seemed fundamentally conservative. But the Horrors don’t peddle the shockabilly moves so common among goth-identified SoCalis. In contrast to the easy-sleazy comic-book corn of today’s prominent goth-punk purveyors — pass the Horrorpops and just keep walking — the group now draws from exploratory originators Joy Division and ornery rabble-rousers the Birthday Party. Primary Colours boasts driving tunes carved from silvery synth textures ("Three Decades") and Jesus and Mary Chain-like buzz-saw pop that thumps with creative negativity ("Who Can Say").

The group capers on the same frosty darkling plain as Interpol, judging from tunes like the Velvet-y, string-strewn "I Only Think of You," which may turn off those with a low tolerance for pop pomposity. Still, the opening track, "Mirror’s Image," sets the tone for pleasing surprise with its initial lush, plangent soundscape — more akin to Lindstrøm than Sisters of Mercy — before gently plunging into spiraling reverb, effects-gristled guitar, and a nodding keyboard fragment that will have some recalling Echo and the Bunnymen and others Kraftwerk.

Third says Primary Colours was "the first chance we had as a band to shut ourselves away and work on the record on our own. We’d retreat into a rehearsal space and get completely lost in it. Yeah, I think that really comes through."

The Horrors titled the first song they ever wrote "Sheena is a Parasite," so yes, this is throwback rock, It gazes directly into the eyes of the more serious Anglo art-rock makers of the ’80s with self-conscious affection, especially on haunted, haunting songs such as "Do You Remember." And what’s wrong with that?

"We actually made a record that’s a complete trip, from start to finish — it takes you through different moods," Third explains. "Also, you can listen to it on repeat, because the last track plays into the first track. I’ve always been quite into the idea because I like to sit down and listen to things over and over again." It’s a quality he misses in many new albums. "Yeah, partly the Internet’s to blame. Partly labels are to blame. Partly bands are to blame — because they don’t seem to care anymore," he says, capping the remark with a small grim chuckle.

In the Horrors’ hands — the ensemble coproduced along with longtime collaborator Craig Silvey, Portishead’s Geoff Barrow, and video artist Chris Cunningham — Primary Colours sounds astonishingly unmusty, stirring with tangible signs of life. The group has managed to find a pulse — while maturing into, yikes, artists. "We were all 19 when we wrote the first record — now we’re in our early twenties!" Third exclaims. "I think it’s the typical growing-up … malarkey." *

THE HORRORS

With the Kills

Tues/19, 8 p.m., $22.50

Fillmore

1805 Geary, SF

www.livenation.com

————

MORE LIVE:

COMEDIANS OF ROCK II

Musical funny folk Tara Jepsen of Lesbians, Chris Portfolio of Hank IV, and Matt Hartman of Sic Alps pit wits and carve out snarfs at this comedy two-fer. Wed/13, 9 p.m., free. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

BLACK JOE LEWIS AND THE HONEYBEARS

And what a long, sweet name it is: the Austin, Texas, soul-stirrers cook up hot ones from Tell ‘Em What Your Name Is! (Lost Highway). Sat/16, 9 p.m. $17. Slim’s, 333 11th St., SF. www.slims-sf.com

JOHN VANDERSLICE

The Tiny Telephone operator’s new Romanian Names (Dead Oceans) rolls out Moog moods and Byzantine yarns. Mon/18, 6 p.m., free. Amoeba Music, 1855 Haight, SF. www.amoeba.com. Tues/19, 7:30 p.m., $16. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

Pagan fest

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Pre-Christian religion is all the rage in metal these days, and the second of two high-profile "Pagan" tours is rolling into town, along with Thor, Hecate, and various henges, stony or otherwise. Pagan Fest 2009 is headlined by the Finnish folk-metal outfit Korpiklaani, a group that puts the polka back into heavy music’s thrashing "polka beats," levying a relentless kick-snare attack with traditional Finnish melodies. Unlike many of their folk-metal brethren, the band was folk first and metal second, making the transition from obscure bar band to globe-trotting headbanger coalition by adding distorted guitars to its ancient hoedowns.

Irish black metal outfit Primordial is in direct support, mixing orthodox razor-wire riffing with jaunty, Emerald-isle rhythms and an epic feel. Finns Moonsorrow hew similar sounds, coupling frostbitten guitars to the thematic roots in Finnish folklore that give them their pagan bona fides.

Pirates are apparently honorary pagans these days: Alestorm played the Pagan Knights tour back in March, and New Jersey buccaneer-thrashers Swashbuckle round out the Fest bill with some plundering aplomb. Versed in all the freebooting lingo and boasting a number of mizzenmast-ready guitar licks, the trio is readying a new album that is sure to go triple-putf8um on the Spanish Main.

Montreal’s Blackguard is the odd band out — its tinkling keyboards occasionally flirt with folky scales, but they’ve also got a decidedly post-pagan symphonic thing going on. Thankfully, they like drinking stuff out of old-timey mugs, so they’ll fit right in with everyone else. So will anyone who likes rock-worship, of either kind. Praise Odin!

PAGAN FEST 2009

With Korpiklaani, Primordial, Moonsorrow, Swashbuckle and Blackguard

Sat/16, 6 p.m., $30

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

Aerosol melodies

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marke@sfbg.com

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

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

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

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

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

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

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

THE B-SIDES

With the San Francisco Symphony

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

8 p.m., $35–$130

Davies Symphony Hall

201 Van Ness

(415) 552-8000

www.sfsymphony.org

Lizz Roman and Dancers

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PREVIEW The last time we saw Lizz Roman, her dancers were parading on Project Artaud Theater’s catwalk, climbing its scaffolding, and dangling from its imposing industrial crane (relics from the time the place buzzed as a canning factory). Now, three years later, she has taken over another popular performance venue, Dance Mission Theater. This time she doesn’t restrict herself to the interior; At Play starts outside at the corner of Mission and 24th streets, then moves upstairs into the various areas that most of us consider to be adjuncts to the main theater. It’s one of the peculiarities of Bay Area dance that so many choreographers are drawn to creating site-specific installations. Some work with an existing space, others add their own touches. Roman belongs to the former. I can’t help but think that — DMT’s architectural properties aside — Roman was attracted by its spirit as a home to so many artists and dance students. Roman is not the first to use DMT; Keith Hennessy has orated from its fire escape, and Jo Kreiter has dangled from its parapet. Joining longtime Roman dancers Sonya Smith and James Soria are Tara Fagan, Brian Fisher, and Kelly Kemp. Most encouragingly, Roman is again working with cellist Alex Kelly and DJ-percussionist Clyde Sheets. They worked magic at Artaud, and I’ll bet that they’ll do it again in the heart of the Mission.

LIZZ ROMAN AND DANCERS Through May 24. Fri-Sun, 8 and 9:30 p.m., $20. Dance Mission Theater, 3316 24th St, SF. (415) 273-4633. www.brownpapertickets.com

Shannon and the Clams

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PREVIEW Enough about Thee Oh Sees already. Let’s talk about Shannon and the Clams. John Dwyer’s new outfit is great and all, but Shannon is bodacious. She’s a peroxide-haired, punk-rock pin-up who gets real mean on her Danelectro bass.

I caught the classic beauty out and about last week with an unmasked Nobunny. They were catching a glimpse of those pretty Black Lips performing at the Great American Music Hall. A few months earlier, I saw Shannon and her Clams doin’ their thing for the hometown crowd at Oakland’s Stork Club. For sure, the highlight of the night was their rendition of Del Shannon’s "Runaway." I can’t get enough of that song. Anytime I hear it, it’s embedded in my brain for days. I enjoyed the guitarist’s mimicry of whatever high-pitched instrument is used in the bridge of the original recording. Surf rock interpretation at its finest.

Shannon’s gnarly, gruff-sounding wail conveys the angst of an exhausted teenage wreck (see "Cry Aye Aye"). She’s somewhere between a woman possessed by Little Richard and the vocal huskiness of the Gossip’s Beth Ditto. Another standout track, "Blast Me To Bermuda," is pure teen-punk energy, with a slicing riff that propels the Clams’ late-1950s, early-’60s style into a more contemporary garage rock sound.

Shannon is worthy in my book. Good ol’ rock ‘n’ roll!

SHANNON AND THE CLAMS With Thee Oh Sees, Sonny and Sunsets, and the Mystery Lights. Fri/15, 9 p.m., $8. Amnesia, 853 Valencia, SF. (415) 970-0012. www.amnesiathebar.com

Doves

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PREVIEW After generously treating its fans to an agonizing four-year wait,

Manchester-based trio Doves decided it was time. They recorded the 11 tracks that make up their fourth LP in a converted barn in the sprawling Cheshire countryside, a part of England that — like the group itself — is roughly as fashionable as a rhinestone-bedazzled fanny pack.

The result of this labor is Kingdom of Rust (Heavenly/Astralwerks), a collection that combines unabashed, fist-pumping spirit with the murky melancholy that defines Doves’ at times brilliant 10-plus-year career. While the trio has always been adept at heartbreaking dirges (see: "The Sulphur Man"; "The Cedar Room"), the emotional landscape of its new release includes hope as well as despair. For every haunting ballad ("Birds Flew Backwards"; "Lifelines"), there are a pair of powerful anthems — albeit ones with touches of melancholy — that are driven by pounding drums, vocalist/bassist Jimi Goodwin’s soulful warble, and expansive arrangements.

Built around a swirling riff by guitarist Jez Williams, "Winter Hill" uncoils into the group’s catchiest number to date. Rollicking tracks like "Spellbound" and "The Outsiders" beg to be played live. Thanks to YouTube, it’s already clear they are even better in concert.

Bands are usually applauded for finding a winning formula and sticking to it (read: musical stagnation) or experimenting for the sake of it (read: resorting to desperate measures after running out of melodic ideas). Rarely are they praised for naturally progressing and maturing. But Doves have shown time and again that they don’t need the awards and the plaudits. They’ll happily keep making great records and filling theaters. All we have to do is listen.

DOVES With Wild Light. Mon/18, 8 p.m., $27.50. The Fillmore, 1805 Geary, SF. (415) 346-6000, www.thefillmore.com>.

“Open Endless”

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REVIEW Not every art show allows you a chance to swim in the Pacific Ocean on a Sunday afternoon and experience the bracing cold of the water and the pull of the tide. But David Wilson’s "Open Endless" isn’t your average show, even if it is characteristic of Wilson’s community explorations of art and landscape under the Ribbons Publications rubric. Last year, he instigated a sleep-over happening at Angel Island that included live music. This month, as an extension of a show of drawings, he organized a casually beautiful mapped day and night of art in the Headlands.

No two people had the same experience. Besides a dip in the Pacific, mine included a trek up the paved trails of the North Cliff to a white diamond hung on the cliff’s face by Battery Townsley, where the duo Pale Horse sang songs in a tunnel, and then a walk back down to the beach where the duo known as Coconut played music in a little cove as two, three, four, five, six surfers took on the waves during sunset. I don’t have much to say about that latter experience beyond that it was the kind of moment that makes me completely glad to be alive. I left sated and went home and slept and dreamt deeply. Those who stayed ambled on through Rodeo Canyon to another Battery, where Canyon Cinema shared some cave cinema.

Wilson’s drawings, on display at Tartine, are a shifting sequence of meditations on the landscape and coastlines of the Headlands. His deployment of color and line is understated. The brashest aspect of the show is its use of material: the largest piece, a 22-foot watercolor of the ocean and shore, uses the blank-but-aged paper of record sleeves and the cardboard insides of albums covers as a backdrop. It’s a great tactic. Earlier this year at the de Young Museum, Ajit Chauhan performed a different but similarly large-scale trick with album covers, painting over their exteriors so that only eyes peeked from the original artwork. Wilson’s use of vintage music matter hints at the merging of art and that which is codified "nature" at the core of his events. I’m already looking forward to his next one.

OPEN ENDLESS Through May 28. Mon., 8 a.m.–7 p.m. Tues.–Wed., 7:30 a.m.–7 p.m.; Thurs.–Fri., 7:30 a.m.–8 p.m.; Sat., 8 a.m.–8 p.m.; Sun., 9 a.m.-–8 p.m. (415) 487-2600. Tartine, 600 Guerrero, SF. www.ribbonspublications.blogpost.com

Hot sex events this week: May 13-19

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Compiled by Molly Freedenberg

PortmanCloser22_0509.jpg
Learn to lap dance like Natalie Portman in Closer (without the lying, cheating, and heartbreak, of course) at Wednesday’s class with Catherine Rose.

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>> Sizzling Couples Lapdance Class
Catherine Rose of Slinky Productions presents a rare opportunity to learn the art of sensual teasing and erotic fun with a partner or friend of any sex. In just over two hours, you’ll learn about setting the right dynamic, giving a cleavage show, classic cuddle massage gyration, and more. Chocolate and bubbly will be served.

Wed/13, 7:30-9:45pm. $99/couple (10 percent off if it’s your first class).
Center for Sex and Culture
1519 Mission, SF
www.slinkyproductions.com

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>> Art House Screening
Walk the red carpet at this Warhol-themed premiere party for Femina Potens curator and suspension goddess Madison Young’s newest film release, a work of queer porn inspired by The Factory.

Thurs/14, 7pm. $10-15.
Femina Potens
2199 Market, SF
(415) 864-1558
www.feminapotens.org

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>> Quodoushka Preview
Enjoy a fun, educational, inspirational introduction to this shamanic approach to spiritual sexuality, with Mukee Okan.

Thurs/14, 7:30-10pm. Free.
Call (510) 482-4239 for info and location.

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>> Monogamy? Non Monogamy? What’s For You?
UCSF’s AIDS Health Project presents this workshop for gay and bisexual men regardless of HIV status, during which you’ll explore the joys and challenges of both types of relationships.

Fri/15, 6-9:30pm. Free. Pre-registration required.
AHP Services Center
1930 Market, SF
(415) 476-6448
www.ucsf-ahp.org

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>> Electrify and Deepen Your Sexual Connection for Couples
Ignite the fire of passion, deepen your intimacy, and experience the heights of desire that a deep sexual connection can bring during this seminar with Danielle Harel and Celeste Hirschman.

Tue/19, 8-10pm. $45/pair if pre-registered.
Good Vibrations
1620 Polk, SF
(415) 345-0400
www.goodvibes.com

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How the JROTC vote could come down

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By Tim Redmond

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

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

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

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

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

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

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

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

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

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

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

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

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

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