SF

Feast: 5 German delights

0

Contrary to popular belief, German cuisine is not an oxymoronic phrase. Though traditional food from the Fatherland does tend to be heavier on meat and carbs than the modern American diet, it — like Southern food, which has been getting more respect from foodies in recent years — is as capable of being nuanced, innovative, and highbrow as any of its more popular siblings (see: Spanish tapas, French everything.) For me, the secret to the perfect German restaurant is a place that balances tradition and modernity, in both cuisine and atmosphere. And then there’s the spaetzle, the paisley-shaped egg pasta that’s as ubiquitous a side dish in Germany as french fries are in America — and one that’s hard to get right. Like gnocchi or risotto, the dish requires a certain attention to achieve its true potential. If the place does spaetzle well, you can assume it probably gets most other things right too. Guten appetit!

SUPPENKUCHE


Best. Spaetzle. Ever. Yes, this place won the prize for all-around best German food in the Bay, with its traditional menu expertly executed in an understatedly chic setting: white walls, beer hall–style tables, and a ceiling hung artistically with dried plants. The centerpiece is the bar, setting a casual, festive tone with plenty of beer choices. Everything I tried here was amazing, including a venison dish with cherry sauce. Potato pancakes were strange — more like hashbrowns than potato patties — but delicious. And the meal started with brown bread and chive butter, both excellent.

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

WALZWERK


This small, intimate East German eatery has a fine dining feel and the cuisine to match — without giving up tradition. Roulade is made with high-quality meat and a pickle spear as its center. Red cabbage strikes the perfect balance between sweet and sour. And the sauerkraut I took home was so delicious — accented with caraway — that I finished it before it made it to the fridge. The only disappointment was its spaetzle, which was a bit overcooked. Wine and beer offerings are fantastic, and there are several decent veggie menu options. The best indicator of its worthiness? Both the servers and the people sitting behind me were actually from Germany.

381 S. Van Ness, SF. (415) 551-7181, www.walzwerk.com

SCHNITZELHAUS


If there’s an American stereotype of a German restaurant, this is it — except maybe smaller. The tiny, wood-panelled eatery has the feel of a mountain lodge and the hearty menu to match. Schnitzelhaus isn’t trying to jump on the modern cuisine train — they’re just doing German food with simple earnestness. This place gets extra points for its extensive menu of schnitzels (true to its name) — most places offer only two options, weiner (chicken or veal with lemon) or jaeger (pork with mushroom sauce) and its offerings of German wines. I was unimpressed with the spaetzle, which was thin, greasy, and not grilled enough. But the lentils are to die for.

294 Ninth St., SF. (415) 864-4038, www.schnitzel-haus.net

SCHROEDER’S CAFE


Left over from some kind of German American past (they’ve been around since 1893), Schroeder’s is like a German restaurant set up in an Elks lodge. It’s not trying to do the cutesy, kitschy thing: its decor is stark and no-frills. The food, too, is no nonsense — decent, but not entirely remarkable. The potato pancakes were too dense and greasy for my taste. The jagerschnitzel was overbreaded — though the mushroom sauce was delicious. The best thing about Schroeder’s, though, was the spaetzle, which was fluffy, doughy, and not too oily. Perhaps better for drinking than dining, you might want to check this place out on Fridays in October, when there’s live polka music.

240 Front, SF. (415) 421-4778, www.schroederssf.com

SPEISEKAMMER


This beautiful Alameda outpost is an ideal option for those in the East Bay. The space is large, light, and sophisticated, including a beer garden illuminated by white lights and candles. Ideal for large celebrations and romantic dinners, this place features lots of beers on tap, a phenomenal wine list (by the glass and bottle), and a full bar, including a menu with several German-style cocktails (think fig vodka). The spaetzle and sauerkraut were both too greasy and the bread basket was unimpressive, but the atmosphere was perfect.

2425 Lincoln, Alameda. (510) 522-1300, www.speisekammer.com

>>More Feast: The Guardian Guide to Bay Area Dining and Drinking

Feast: 5 fierce cooking classes

0

There’s something perfect about a cooking class for an adult — it’s a way to learn a new skill without making a huge commitment (Sure, I want to learn Italian — but who has time to spend a semester on it, only to know how to ask for directions?); it’s a way to get closer to existing friends or to meet new people (especially singles-themed events); and it has a practical application (One must eat. One mustn’t necessarily, say, do cross-stitch). So I’ve researched a selection of what the Bay Area has to offer, whether you’re looking to strengthen partnerships, find new ones, or just change your relationship with your kitchen (it is, apparently, more than a place to keep your beer). The most important thing I’ve learned is that many classes offer similar tips, skills, and seasonal menus. And all intend to demystify or intensify your relationship with food. So when choosing a class, consider what it is you really want to get from it. Do you want to know how to make a gourmet meal for a dinner party? Do you want to meet new people and have a good time? Do you want to put some food in your freezer? Or do you just want to figure out what your gas range-top is good for other than lighting cigarettes when your Bic’s out of fuel? Lucky for you, in a culinary-focused city like this one, there’s a class for all of you. Here are some of my favorites.

THE CULINARY SALON


The only thing more charming than Chef Joe Wittenbrook is his teaching space: a quaint street-level apartment with a picture window in Duboce Triangle. Wittenbrook’s focus is on the whole experience. This is not necessarily the class where you’ll perfect techniques, but you’ll learn more than you ever expected to — from the origin of the foods on your menu to special tips and tricks. His classes are small — a recent Saturday course had five students — and are therefore intimate and casual, made friendly and warm by Wittenbrook’s outgoing personality. Don’t forget the wine — you’re welcome to imbibe during class as well as the European family-style meal you’ll share together afterward. Or, get four or six friends together and you can have him to yourself.

16-B Sanchez, SF. (415) 626-4379, www.theculinarysalon.com

FIRST CLASS COOKING


The structure of these courses, hosted by Emily Dellas at her stunning SoMa loft, is similar to Wittenbrook’s: everyone gets a list of recipes, takes turns preparing dishes, and shares the resulting meal together. As a food-lover without much formal training, though, her approach is to pass on her love for cooking to those who might be intimidated by it, demystifying dishes like profiteroles (the pastry base of cream puffs and éclairs). She likes to create menus that people can not only prepare themselves, but can feel good about eating on a regular basis — light, healthy, and seasonal. Her courses have room for about 10 people apiece, which means less hands-on time for each person, but the potential for a more festive atmosphere. Bring a friend and a bottle of wine.

www.firstclasscooking.com

PARTIES THAT COOK


Though Parties That Cook does host public classes (in particular, one for singles at Sur La Table), its specialty is creating cooking-themed events for corporate team building or private gatherings. And the experience it provides is part class, part catered meal. PTC will come to your house or help you rent a space, bring ingredients and cooking utensils, organize staff to help with hands-on instruction, and, when the meal is done, serve you and your guests restaurant-style. As an ideal option when you want to create a special event according to your tastes, PTC can accommodate up to 600 people. PTC even offers a recipe deck, complete with illustrated instructions on 30 different small dishes, that you can purchase as party favors.

601 Minnesota, SF. (415) 441-3595, www.partiesthatcook.com

COOKS BOULEVARD


Though the independent kitchenware store hosts a variety of cooking classes, the cornerstone of its educational program is Essential Knife Skills, held monthly in the gorgeous, spacious teaching kitchen at the Katherine Michiels School. The concept of the course is to teach basic safety and techniques for wielding a cook’s most important weapon, with each of up to 10 people getting to practice at their own station (and getting one-on-one attention). A bit more formal than the private cooking classes, the course is divided in half by a lovely cheese-and-cracker break. Although it’s geared toward — and useful to — anyone, this seems like an ideal class for the intermediate cook who wants to develop the ability to cook more efficiently and beautifully. (Parents take note: the company Apron Strings [415-550-7976, www.apronstringssf.com] also hosts classes for kids at this lovely location.)

1335 Guerrero, SF. (415) 647-2665, www.cooksboulevard.com

FOOD WIZ


Like Dellas, chef Marcus Gordon wants to teach that cooking should be fun and "anybody can do it." The native New Yorker hosts small classes (limited to five people) in the remodeled kitchen of his Noe Valley home, offering hands-on experience, tips and tricks, a shared meal after the class (including a cocktail — but no drinking during class), and even food to take home. Most importantly, he wants his students to realize they can make better-than-restaurant cuisine at home and to enjoy his recipes of foods "that really jump around on your tongue."

29th St. (between Church and Dolores), SF. www.foodwizsf.com

>>More Feast: The Guardian Guide to Bay Area Dining and Drinking

Feast: 6 perfect cheese plates

0

There’s an old wives’ tale that eating cheese before bed will produce nightmares; but I’ve found that after nibbling a good Gruyère or a buttery Brie, my dreams are only about consuming more of that dairy delight. Whether you prefer yours drizzled with honey, spread on warm bread, or paired with a juicy red wine, the cheese plates at these six locations guarantee will feed your fromage fetish too.

GARY DANKO


The Danko experience can be intimidating. Before going, one has to be physically and mentally prepared (palate sharp, Food Lover’s Guide consulted at length), as well as financially stable (it’s a go-to spot for birthdays and anniversaries, usually ones ending in "5" and "0.") Those who prefer to get their feet wet first instead of cannonballing into the deep end might find the cheese plate a perfect starting point. It’s worth a trip to the upscale eatery for the cheese plate alone, because, as with everything else here, it’s both epic and elegant. There are 16 to 20 types of cheese to choose from, with seasonal variations but typically including picks from local farms in addition to harder-to-find selections. Options are wheeled around the restaurant on elegant silver carts, and the servers describe the flavor and origin of each one before cutting your cheese (yes, we did) while you watch.

800 North Point, SF. (415) 749-2060, www.garydanko.com

BAR BAMBINO


This cozy restaurant on 16th Street mostly carries Italian cheeses, augmented by a few artisanal American varieties. The chalkboard menu changes seasonally, with offerings you won’t find everywhere else. Not sure what you want? Sit at the bar or a small table and consult a cheese expert — soon adjectives will be flying like so many white handkerchiefs. When you get your order, the cheeses are arranged simply, accompanied with toasted brown bread, nuts, and fruit. Prices range from $12–$25 for three different sizes, making this place home to some of the more reasonably priced cheese plates we’ve found.

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

CAV


It is nigh impossible to ignore the cheese plates at wine bars, and Cav’s is probably the best of the bunch, thanks to its extensive selection. The current menu lists 20 cheeses, divided into cow, goat, sheep, and blue cheeses — most from Europe but some from small American artisans. The menu contains helpful tasting notes on the cheeses, and the staff are definitely cheese sophisticates, so ask them about their favorites. At $20–$85 per plate, this is one of the more spendy places, but it’s worthwhile for the substantial portions and the wonderful wine list.

1666 Market, SF. (415) 437-1770, cavwinebar.com

ABSINTHE


The cheese list at Absinthe may be concise — with about 10 European and three American varieties — but the plates stand out here because the cheeses are carefully chosen and thoughtfully paired. A French ash-rind goat’s milk cheese, for example, gets a garnish of glossy pickled cherries; marinated olives accompany a Spanish triple crème; and housemade candied kumquats balance a dry, tangy American blue. A single cheese with its pairing and toast points is $8, or you can make three selections for $22, or five for $38. You can also surrender to the decadence of your surroundings and try all, with accoutrements, for $99.

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

UVA ENOTECA


The formaggi at Uva Enoteca is formidable and comprises about a third of the nightly offerings. All the cheeses at Uva are Italian, and though the menu skips descriptions, well-informed servers are adept at describing the differences between a sheep’s milk cheese from Tuscany and a cow’s milk from Venice. The cheeses are served on a long wooden block, with various accompaniments ladled tableside, including a pear, apple, and black pepper compote, white truffle-scented honey, and sour cherry preserves. While elegant, Uva is decidedly unpretentious and surprisingly affordable: $10 gets you generous portions of three cheeses, $16 gets you five, and for $22 you can taste seven, which is almost half the menu.

568 Haight, SF. (415) 829-2024, uvaenoteca.com

COWGIRL CREAMERY


What’s better than hitting the farmer’s market, grabbing some cheese, fruit, and a baguette, and doing a cheese plate yourself? Nothing, we say. Nothing’s better. The Cowgirl Creamery cheese shop at the Ferry Building is well known for its dizzying selection of cheeses from around the world, as well as for its own locally made, highly addictive varieties like Mt. Tam (a glorious, creamy cow’s milk) and St. Pat (a sharp, delicious goat’s milk with an herbed rind.) The cheesemongers at Cowgirl are unstumpable, and will let you try samples to your heart’s content.

1 Ferry Building #17, SF. (415) 362-9354, cowgirlcreamery.com

>>More Feast: The Guardian Guide to Bay Area Dining and Drinking

Feast: 9 breakfasts to go

0

Going without breakfast can turn your brain into a fritzing light bulb that repeatedly buzzes: "Eat something … zzz … Eat something." But who wants to take the time for a real meal when you can press snooze another 10 times? Which is why, when in a rush, many of us settle for microwavable crap made from pasteurized American cheese and unpronounceable chemical substrates, or maybe a pastry and giant cup of coffee that steadily converts the cerebral cortex into a vapid hummingbird.

But it doesn’t have to be like that.

For a hearty, quality alternative route to keeping your blood sugar up, try these handy local breakfast spots. They prepare eggs and bacon for a couple bucks and a few minutes of your time. All these brekkies travel well in a messenger bag without leaking, and they are available all day. (Take note, fast-food restaurants. As it turns out, breakfast time comes between waking and going to work — not just before 11 a.m.).

METRO CREPES


The fastest of the bunch is Metro Crepes in the Financial District. Inside the picturesque atrium of the Citigroup building, its little walk-up windows serve stuffed mini-pancakes in about the same time it takes to put cream and sugar in a cup of coffee. The Oakland Crepe, packed with egg, bacon, and cheese, is filling, yet light enough to avoid that big-breakfast food coma. And at $2.95 it won’t cramp your finances, either.

1 Sansome, SF. (415) 217-7060, www.metrocrepes.com

BLUE DANUBE COFFEE HOUSE


The crispiest bacon in town might be on the open-faced breakfast bagel at the Blue Danube in the Richmond District. Crunchy slices sit on top of tomato, egg, and cheddar that’s melted to perfection. The eggs are steamed, which keeps them from being too greasy and means that even when wrapped in a bulky box, the sandwich isn’t too sloppy to throw in a bag.

306 Clement, SF. (415) 221-9041

HOUSE OF COFFEE


Although known for its many varieties of excellent java, the folks here should be famous for the delicious Irish breakfast roll — a fluffy sandwich roll accented with Irish sausage, bacon, cheese, and your choice of HP Sauce (a popular English and Irish condiment that tastes like bland A-1, and whose initials stand for "House of Parliament") or ketchup. The $5 sandwich doesn’t come with egg, but it can be added for 75 cents — and the sucker’s served all day.

1618 Noriega, SF. (415) 681-9363 www.coffeesf.com

COPPER KETTLE


You can also try a version of House of Coffee’s specialty, minus cheese, at this comfy eatery. These rolls don’t come with HP sauce either, but if you’re feeling worldly, you can add it yourself — there’s a bottle on each table of the homey restaurant.

2240 Taraval, SF. (415) 731-8818

POSH BAGEL


This Sunset District outpost of the chain store may be the second-fastest breakfast game in town. Yes, eggs are microwaved and bacon’s precooked, but the resulting sandwiches are quick and tasty, if a tad oily.

742 Irving, SF. (415) 566-2761

KATZ BAGELS


At Katz’s Lower Haight location, the egg-mit-bagel thing has been worked out to a science. Order tags with all the possible fixings wait for the hungry crowd, and cooks pump breakfast out like a well-greased pan. Their bagels are fluffy, chewy, fresh, and quick — plus, omelets are served in a matter of minutes. Try the wheat bagel, with its faint hint of cinnamon. I like these dedicated desayuno demigods who serve breakfast all day — but don’t forget Katz ends its day at 2 p.m.

663 Haight, SF. (415) 863-1382

BOULANGE DE COLE


No matter where you live or work in the city, the Boulangeries are there for you. Born of a perfectionism that only the French can muster, this mini-chain is especially good for its delicious quiches. The chorizo quiche at Boulange De Cole wins the Goldilocks award for being not-too-spicy and not-too-bland, with sausage that’s not-too-oily, making it one clean, neat, tasty little egg pie.

1000 Cole, SF. (415) 242-2442, www.baybread.com

EL NORTEÑO TACO TRUCK


It’s a safe bet that half the police, thieves, judges, and trial lawyers in this city already know about the taco truck across from the San Francisco courthouse. Try the hefty breakfast burrito with a choice of chorizo, bacon, ham, or potatoes any time of day: cashiers don’t bat an eye when one’s ordered at 2 p.m. They just start frying them eggs ‘n’ bakey and get it out in about six minutes. And hey, if you’ve got to go up the river — don’t do it on an empty stomach.

Harriet and Bryant streets, SF

LULU PETITE


For those morning ferry commuters, stop by this little shop in the Ferry Building. Featuring some of the recipes from Lulu, its big sister on Folsom, the menu includes two fancy-pants baked egg sandwiches with fontina cheese and heirloom tomatoes. One comes with roasted peppers and scallions, the other with sausage. Since both are served on levain bread, you’re sure to remember the complex flavor of this sandwich no matter how quickly you eat it.

Ferry Building, SF.

>>More Feast: The Guardian Guide to Bay Area Dining and Drinking

Endorsements 2008: San Francisco measures

0

SAN FRANCISCO MEASURES

Proposition A

San Francisco General Hospital bonds

YES, YES, YES


This critically needed $887 million bond would be used to rebuild the San Francisco General Hospital and Trauma Center, which is currently not up to seismic safety codes. If the hospital isn’t brought into seismic compliance by 2013, the state has threatened to shut it down.

Proposition A has the support of just about everyone in town: Sen. Dianne Feinstein, Rep. Nancy Pelosi, all four state legislators from San Francisco, Mayor Gavin Newsom, former mayors Willie Brown and Frank Jordan, all 11 supervisors, the San Francisco Chamber of Commerce, Service Employees International Union, Local 1021 … the list goes on and on.

And for good reason: SF General is not only the hospital of last resort for many San Franciscans and the linchpin of the entire Healthy San Francisco system. It’s also the only trauma center in the area. Without SF General, trauma patients would have to travel to Palo Alto for the nearest available facility.

Just about the only opposition is coming from the Coalition for Better Housing. This deep-pocketed landlord group is threatening to sink the hospital bond unless it gets concessions on Sup. Michela Alioto-Pier’s legislation that would allow landlords to pass the costs of the $4 billion rebuild of the city’s Hetch Hetchy water, sewage, and power system through to their tenants.

These deplorable tactics should make voters, most of whom are tenants, even more determined to see Prop. A pass. Vote yes.

Proposition B

Affordable housing fund

YES, YES, YES


Housing isn’t just the most contentious issue in San Francisco; it’s the defining issue, the one that will determine whether the city of tomorrow bears any resemblance to the city of today.

San Francisco is on the brink of becoming a city of the rich and only the rich, a bedroom community for Silicon Valley and an urban nest for wealthy retirees. Some 90 percent of current city residents can’t afford the cost of a median-priced house, and working-class people are getting displaced by the day. Tenants are thrown out when their rent-controlled apartments are converted to condos. Young families find they can’t rent or buy a place with enough room for kids and are forced to move to the far suburbs. Seniors and people on fixed incomes find there are virtually no housing choices for them in the market, and many wind up on the streets. Small businesses suffer because their employees can’t afford to live here; the environment suffers because so many San Francisco workers must commute long distances to find affordable housing.

And meanwhile, the city continues to allow developers to build million-dollar condos for the rich.

Proposition B alone won’t solve the problem, but it would be a major first step. The measure would set aside a small percentage of the city’s property-tax revenue — enough to generate about $33 million a year — for affordable housing. It would set a baseline appropriation to defend the money the city currently spends on housing. It would expire in 15 years.

Given the state of the city’s housing crisis, $33 million is a fairly modest sum — but with a guaranteed funding stream, the city can seek matching federal and state funds and leverage that over 15 years into billions of dollars to build housing for everyone from very low-income people to middle-class families.

Prop. B doesn’t raise taxes, and if the two revenue measures on the ballot, Propositions N and Q, pass, there will be more than enough money to fund it without any impact on city services.

The mayor and some other conservative critics say that set-asides such as this one cripple the ability of elected officials to make tough budget choices. But money for affordable housing isn’t a choice anymore in San Francisco; it’s a necessity. If the city can’t take dramatic steps to retain its lower-income and working-class residents, the city as we know it will cease to exist. A city of the rich is not only an appalling concept; it’s simply unsustainable.

The private market alone can’t solve San Francisco’s housing crisis. Vote yes on B.

Proposition C

Ban city employees from commissions

NO


Proposition C would prohibit city employees from serving on boards and commissions. Sponsored by Sup. Jake McGoldrick, it seems to make logical sense — why should a city department head, for example, sit on a policy panel that oversees city departments?

But the flaw in Prop. C is that it excludes all city employees, not just senior managers. We see no reason why, for example, a frontline city gardener or nurse should be barred from ever serving on a board or commission. We’re opposing this now, but we urge the supervisors to come back with a new version that applies only to employees who are exempt from civil service — that is, managers and political appointees.

Proposition D

Financing Pier 70 waterfront district

YES


Pier 70 was once the launching pad for America’s imperial ambitions in the Pacific, but it’s sadly fallen into disrepair, like most Port of San Francisco property. The site’s historic significance and potential for economic development (think Monterey’s Cannery Row) have led port officials and all 11 members of the Board of Supervisors to put forward this proposal to prime the pump with a public infrastructure investment that would be paid back with interest.

The measure would authorize the Board of Supervisors to enter into long-term leases consistent with the forthcoming land use and fiscal plans for the site, and to front the money for development of roads and waterfront parks, refurbishing Union Iron Works, and other infrastructure work, all of which would be paid back through tax revenue generated by development of the dormant site. It’s a good deal. Vote yes.

Proposition E

Recall reform

YES


The recall is an important tool that dates back to the state’s progressive era, but San Francisco’s low signature threshold for removing an officeholder makes it subject to abuse. That’s why the Guardian called for this reform ("Reform the Recall," 6/13/07) last year when downtown interests were funding simultaneous recall efforts (promoted by single-issue interest groups) against three progressive supervisors: Jake McGoldrick, Aaron Peskin, and Chris Daly. The efforts weren’t successful, but they diverted time and energy away from the important work of running the city.

This measure would bring the City Charter into conformity with state law, raising the signature threshold from 10 percent of registered voters to 20 percent in most supervisorial districts, and leaving it at 10 percent for citywide office. The sliding-scale state standard is what most California counties use, offering citizens a way to remove unaccountable representatives without letting a fringe-group recall be used as an extortive threat against elected officials who make difficult decisions that don’t please everyone.

Proposition F

Mayoral election in even-numbered years

YES


This one’s a close call, and there are good arguments on both sides. Sponsored by Sup. Jake McGoldrick, Proposition F would move mayoral elections to the same year as presidential elections. The pros: Increased turnout, which tends to favor progressive candidates, and some savings to the city from the elimination of an off-year election. The cons: The mayor’s race might be eclipsed by the presidential campaigns. In a city where the major daily paper and TV stations have a hard time covering local elections in the best of times, the public could miss out on any real scrutiny of mayoral candidates.

Here’s what convinced us: San Francisco hasn’t elected a true progressive mayor in decades. The system we have isn’t working; it’s worth trying something else.

Proposition G

Retirement system credit for unpaid parental leave

YES


Proposition G brings equity to city employees who started families before July 1, 2003. Currently this group is unable to benefit from a 2002 charter amendment that provides city employees with paid parental leave. Prop. G gives these parents the opportunity to buy back unpaid parental leave and earn retirement credits for that period.

Critics charge that Prop. G changes the underlying premise of the city’s retirement plan and that this attempt to cure a perceived disparity creates a precedent whereby voters could be asked to remedy disparities anytime benefit changes are made. They claim that there are no guarantees Prop. G won’t end up costing the taxpayers money.

But Prop. G, which is supported by the San Francisco Democratic and Republican Parties, the Chamber of Commerce, SEIU Local 1021, the Police Officers Association, and San Francisco Firefighters 798, simply allows city workers to buy back at their own expense some of their missed retirement benefits, thereby creating a fiscally responsible solution to an oversight in the 2003 charter amendment.

Proposition H

Clean Energy Act

YES, YES, YES


Proposition H is long, long overdue. This charter amendment would require the city to study how to efficiently and affordably achieve 51 percent renewable energy by 2017, scaled up to 100 percent by 2040. Should the study find that a publicly owned utility infrastructure would be most effective, it would allow the San Francisco Public Utilities Commission (SFPUC) to issue revenue bonds, with approval from the Board of Supervisors, to purchase the necessary lines, poles, and power-generation facilities. The measure includes a green jobs initiative and safeguards benefits and retirement packages for employees who leave Pacific Gas and Electric Co. to work for the SFPUC.

PG&E hates this because it could put the giant private company out of business in San Francisco, and the company has already spent millions of dollars spreading false information about the measure. PG&E says the proposal would cost $4 billion and raise electric bills by $400 a year for residents, but there’s no verifiable proof that these figures are accurate. An analysis done by the Guardian (see "Cleaner and Cheaper," 9/10/08) shows that rates could actually be reduced and the city would still generate excess revenue.

PG&E has also spun issuing revenue bonds without a vote of the people as a bad thing — it’s not. Other city departments already issue revenue bonds without a vote. The solvency of revenue bonds is based on a guaranteed revenue stream — that is, the city would pay back the bonds with the money it makes selling electricity. There’s no cost and no risk to the taxpayers. In fact, unless the city can prove that enough money would be generated to cover the cost of the bond plus interest, the bond won’t fly with investors.

At a time when utility companies are clinging to old technologies or hoping for pie-in-the-sky solutions like "clean coal," this measure is desperately needed and would set a precedent for the country. Environmental leaders like Bill McKibben and Van Jones, who both endorsed the bill, are watching San Francisco closely on this. Prop. H has been endorsed by 8 of the 11 supervisors, Assemblymembers Mark Leno and Fiona Ma, state senator Carole Migden, the Democratic Party, the Green Party, SEIU Local 1021, the Sierra Club, Senior Action Network, the Harvey Milk LGBT Democratic Club, the Alice B. Toklas LGBT Democratic Club, and the San Francisco Tenants Union, among many others.

The bulk of the opposition comes from PG&E, which is entirely funding the No on H campaign and paid for 22 of 30 ballot arguments against it. The company also has given money, in one way or another, to all the public officials who oppose this measure, including Mayor Gavin Newsom, Sen. Dianne Feinstein, and Sups. Michela Alioto-Pier, Carmen Chu, and Sean Elsbernd.

Prop. H pits a utility that can’t meet the state’s modest renewable-energy goals and runs a nuclear power plant against every environmental group and leader in town. Vote yes.

Proposition I

Independent ratepayer advocate

NO


At face value, this measure isn’t bad, but it’s superfluous. It’s a charter amendment that would establish an independent ratepayer advocate, appointed by the city administrator and tasked with advising the SFPUC on all things related to utility rates and revenue. Passing Prop. H would do that too.

Proposition I was put on the ballot by Sup. Michela Alioto-Pier as a way to save face after her ardent opposition to the city’s plan to build two peaker power plants, in which she made impassioned pleas for more renewable energy and more energy oversight. (She opposes Prop. H, which would create both.) During the debate over the peaker power plants, Alioto-Pier introduced a variety of bills, including this one. There isn’t any visible campaign or opposition to it, but there’s no need for it. Vote yes on H, and no on I.

Proposition J

Historic preservation commission

YES


There’s something in this measure for everyone to like, both the developers who seek to alter historic buildings and the preservationists who often oppose them. It adopts the best practices of other major US cities and updates 40-year-old rules that govern the Landmark Preservation Advisory Board.

Proposition J, sponsored by Sup. Aaron Peskin, would replace that nine-member board with a seven-member commission that would have a bit more authority and whose members would be preservation experts appointed by the mayor, approved by the board, and serving fixed terms to avoid political pressures. It would set review standards that vary by project type, allowing streamlined staff-level approval for small projects and direct appeals to the Board of Supervisors for big, controversial proposals.

This was a collaborative proposal with buy-in from all stakeholders, and it’s formally opposed only by the Small Property Owners of San Francisco, an extremist property rights group. Vote yes.

Proposition K

Decriminalizing sex work

YES


We’re not big fans of vice laws; generally speaking, we’ve always believed that drugs, gambling, and prostitution ought to be legalized, tightly regulated, and heavily taxed. Proposition K doesn’t go that far — all it does is make enforcement of the prostitution laws a low priority for the San Francisco Police Department. It would effectively cut off funding for prostitution busts — but would require the cops to pursue cases involving violent crime against sex workers.

The opponents of this measure talk about women who are coerced into sex work, particularly immigrants who are smuggled into the country and forced into the trade. That’s a serious problem in San Francisco. But the sex workers who put this measure on the ballot argue that taking the profession out of the shadows would actually help the police crack down on sex trafficking.

In fact, a significant part of the crime problem created by sex work involves crimes against the workers — violent and abusive pimps, atrocious working conditions, thefts and beatings by johns who face no consequences because the sex workers face arrest if they go to the police.

The current system clearly isn’t working. Vote yes on K.

Proposition L

Funding the Community Justice Center

NO


This measure is an unnecessary and wasteful political gimmick by Mayor Newsom and his downtown allies. Newsom has long pushed the Community Justice Center (CJC) as a panacea for quality-of-life crimes in the Tenderloin and surrounding areas, where the new court would ostensibly offer defendants immediate access to social service programs in lieu of incarceration. Some members of the Board of Supervisors resisted the idea, noting that it singles out poor people and that the services it purports to offer have been decimated by budget shortfalls. Nonetheless, after restoring deep cuts in services proposed by the mayor, the board decided to go ahead and fund the CJC.

But the mayor needed an issue to grandstand on this election, so he placed this measure on the ballot. All Proposition L would do is fund the center at $2.75 million for its first year of operations, rather than the approved $2.62 million. We’d prefer to see all that money go to social services rather than an unnecessary new courtroom, but it doesn’t — the court is already funded. In the meantime, Prop. L would lock in CJC program details and prevent problems from being fixed by administrators or supervisors once the program is up and running. Even if you like the CJC, there’s no reason to make it inflexible simply so Newsom can keep ownership of it. Vote no.

Proposition M

Tenants’ rights

YES


Proposition M would amend the city’s rent-control law to prohibit landlords from harassing tenants. It would allow tenants to seek rent reductions if they’re being harassed.

Proponents — including the SF Tenants Union, the Housing Rights Committee, St. Peter’s Housing Committee, the Community Tenants Association, the Affordable Housing Alliance, the Eviction Defense Collaborative, and the Tenderloin Housing Clinic — argue that affordable, rent-controlled housing is being lost because landlords are allowed to drive long-term tenants from their rent-controlled homes. Citing the antics of one of San Francisco’s biggest landlords, CitiApartments, the tenant activists complain about repeated invasions of privacy, constant buyout offers, and baseless bogus eviction notices.

Because no language currently exists in the rent ordinance to define and protect tenants from harassment, landlords with well-documented histories of abuse have been able to act with impunity. Vote Yes on M.

Proposition N

Real property transfer tax

YES, YES, YES


Prop. N is one of a pair of measures designed to close loopholes in the city tax code and bring some badly needed new revenue into San Francisco’s coffers. The proposal, by Sup. Aaron Peskin, would increase to 1.5 percent the transfer tax on the sale of property worth more than $5 million. It would generate about $30 million a year.

Prop. N would mostly affect large commercial property sales; although San Francisco housing is expensive, very few homes sell for $5 million (and the people buying and selling the handful of ultra-luxury residences can well afford the extra tax). It’s a progressive tax — the impact will fall overwhelmingly on very wealthy people and big business — and this change is long overdue. Vote yes.

Proposition O

Emergency response fee

YES, YES, YES


With dozens of state and local measures on the ballot this year, Proposition O is not getting much notice — but it’s a big deal. If it doesn’t pass, the city could lose more than $80 million a year. With the economy tanking and the city already running structural deficits and cutting essential services, that kind of hit to the budget would be catastrophic. That’s why the mayor, all 11 supervisors, and both the Republican and Democratic Parties support Prop. O.

The text of the measure is confusing and difficult to penetrate because it deals mainly with legal semantics. It’s on the ballot because of arcane legal issues that might make it hard for the city to enforce an existing fee in the future.

But here’s the bottom line: Prop. O would not raise taxes or increase the fees most people already pay. It would simply replace what was a modest "fee" of a couple of bucks a month to fund 911 services with an identical "tax" for the same amount, while also updating the technical definition of what constitutes a phone line from a now defunct 1970s-era statute. The only people who might wind up paying any new costs are commercial users of voice-over-internet services.

It’s very simple. If Prop. O passes, the vast majority of us won’t pay anything extra and the city won’t have to make $80 to $85 million more in cuts to things like health care, crime prevention, and street maintenance. That sounds like a pretty good deal to us. Vote yes.

Proposition P

Transportation Authority changes

NO, NO, NO


Mayor Gavin Newsom is hoping voters will be fooled by his argument that Proposition P, which would change the size and composition of the San Francisco County Transportation Authority, would lead to more efficiency and accountability.

But as Prop. P’s opponents — including all 11 supervisors, the San Francisco Planning and Urban Research Association, and the Sierra Club — point out, the measure would put billions of taxpayer dollars in the hands of political appointees, thus removing independent oversight of local transportation projects.

The Board of Supervisors, which currently serves as the governing body of the small but powerful, voter-created Transportation Authority, has done a good job of acting as a watchdog for local sales-tax revenues earmarked for transportation projects and administering state and federal transportation funding for new projects. The way things stand, the mayor effectively controls Muni, and the board effectively controls the Transportation Authority, providing a tried and tested system of checks and balances that gives all 11 districts equal representation. There is no good reason to upset this apple cart. Vote No on P.

Proposition Q

Modifying the payroll tax

YES, YES, YES


Proposition Q would close a major loophole that allows big law firms, architecture firms, medical partnerships, and other lucrative outfits to avoid paying the city’s main business tax. San Francisco collects money from businesses largely through a 1.5 percent tax on payroll. It’s not a perfect system, and we’d like to see a more progressive tax (why should big and small companies pay the same percentage tax?). But even the current system has a giant problem that costs the city millions of dollars a year.

The law applies to the money companies pay their employees. But in a fair number of professional operations, the highest-paid people are considered "partners" and their income is considered profit-sharing, not pay. So the city’s biggest law firms, where partners take home hundreds of thousands of dollars a year in compensation, pay no city tax on that money.

Prop. Q would close that loophole and treat partnership income as taxable payroll. It would also exempt small businesses (with payrolls of less than $250,000 a year) from any tax at all.

The proposal would bring at least $10 million a year into the city and stop certain types of businesses from ducking their share of the tax burden. Vote yes.

Proposition R

Naming sewage plant after Bush

NO


This one has tremendous emotional and humor appeal. It would officially rename the Oceanside Water Pollution Control Plant the George W. Bush Sewage Plant. That would put San Francisco in the position of creating the first official memorial to the worst president of our time — and his name would be on a sewage plant.

The problem — not to be killjoys — is that sewage treatment is actually a pretty important environmental concern, and the Oceanside plant is a pretty good sewage treatment plant. It’s insulting to the plant, and the people who work there, to put the name of an environmental villain on the door.

Let’s name something awful after Bush. Vote no on Prop. R.

Proposition S

Budget set-aside policy

NO


This measure is yet another meaningless gimmick that has more to do with Mayor Newsom’s political ambitions than good governance.

For the record, we generally don’t like budget set-aside measures, which can unnecessarily encumber financial planning and restrict elected officials from setting budget priorities. But in this no-new-taxes political era, set-asides are sometimes the only way to guarantee that important priorities get funding from the static revenue pool. Newsom agrees — and has supported set-asides for schools, libraries, and other popular priorities.

Now he claims to want to rein that in, although all this measure would do is state whether a proposal identifies a funding source or violates a couple of other unenforceable standards. Vote no.

Proposition T

Free and low-cost substance abuse treatment

YES


Proposition T would require the Department of Public Health (DPH) to make medical and residential substance abuse treatment available for low-income and homeless people who request it. DPH already offers treatment and does it well, but there’s a wait list 500 people long — and when addicts finally admit they need help and show up for treatment, the last thing the city should do is send them away and make them wait.

Prop. T would expand the program to fill that unmet need. The controller estimates an annual cost to the General Fund of $7 million to $13 million, but proponents say the upfront cost would lead to significant savings later. For every dollar spent on treatment, the city saves as much as $13 because clinical treatment for addictive disorders is cheaper than visits to the emergency room, where many low-income and homeless people end up when their untreated problems reach critical levels.

This ordinance was put on the ballot by Sups. Daly, McGoldrick, Mirkarimi, and Peskin, and has no visible opposition, although some proponents frame it as a way to achieve what the Community Justice Center only promises. Vote yes.

Proposition U

Defunding the Iraq War

YES


Proposition U is a declaration of policy designed to send a message to the city’s congressional representatives that San Francisco disproves of any further funding of the war in Iraq, excepting whatever money is required to bring the troops home safely.

The progressive block of supervisors put this on the ballot, and according to their proponent argument in the Voter Information Pamphlet, the Iraq War has cost California $68 billion and San Francisco $1.8 billion. The Republican Party is the lone voice against this measure. Vote yes.

Proposition V

Bringing back JROTC

NO, NO, NO


The San Francisco school board last year voted to end its Junior Reserve Officers’ Training Corps program, which was the right move. A military-recruitment program — and make no mistake, that’s exactly what JROTC is — has no place in the San Francisco public schools. The board could have done a better job finding a replacement program, but there are plenty of options out there.

In the meantime, a group of JROTC backers placed Proposition V on the ballot.

The measure would have no legal authority; it would just be a statement of policy. Supporters say they hope it will pressure the school board to restore the program. In reality, this is a downtown- and Republican-led effort to hurt progressive candidates in swing districts where JROTC might be popular. Vote no.

>>More Endorsements 2008

Songs in silver

0

› a&eletters@sfbg.com

Meara O’Reilly has brought a book to our meeting at a café near her Mission District apartment. The author is Mary Hallock-Greenewalt, a visionary musician-inventor who worked toward synthesizing light and sound in the 1920s. It’s a special kind of musician who feels compelled to devise her own instrument, and O’Reilly takes obvious pleasure in having discovered a predecessor.

Her own tonal invention, which provides the cornerstone for her music as Avocet, is an elegant metal hanger on which a half-dozen silver forks dangle in front of contact microphones, suspended by threads of horsehair. "Michael Hurley calls it the belladonna," she notes with a laugh. O’Reilly’s instrument still doesn’t have a fixed name, although there is something of an origin story: "I had these amazing pieces of silver my godmother had given me. I would drop them, and they would ring out for 10 seconds or so. It was so beautiful."

The Sebastopol native devised her resonating instrument while living on a dairy farm in Vermont. "I played a show with it when it was really in prototype form, and I was actually using my own hair," she recounts. "My hair wasn’t thick enough, so it kept breaking. It actually sounds really good, though, better than the horse hair." Avocet’s hear-a-pin-drop live sets make for a bracing contrast with O’Reilly’s previous gig with Feathers, a New England psych-folk collective that released a single album before parting company. The instrument-swapping group afforded her the social comfort of a band, but it was only one part of a private musical development encompassing everything from noise rock to gamelan.

O’Reilly periodically switches to guitar in her sets, though her unconventional fascination with sound still shines through on the more familiar instrument. She sings songs from Greece and Mongolia and professes a deep interest in the distinct tonal possibilities of different tongues. The drifting sustain of her performances is generally blue, with notes and melodies in free-flight, perilously close to oblivion. In spite of the obvious volume differential, Avocet might fairly be compared with any number of sculptural drone bands. She is, after all, a student of metal. "I’ve been trying to learn about different eras of silver because there are different putf8gs and compositions of the metal," O’Reilly says. "So other than just looking at the shape and figuring out the physics of what note [a fork] would be, there’s also the composition of it." Then she finishes the thought, "I’d like to know more." 2

AVOCET

With Brightblack Morning Light and Iasos

Tues/14 and Oct. 15, 9:30 p.m., $15

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

Also with Brightblack Morning Light

Oct. 16, 9:30 p.m., $10

Starry Plough

3101 Shattuck, Berk.

(510) 841-2082

www.starryploughpub.com

New lost blues

0

› a&eletters@sfbg.com

I began noticing the signs soon after moving to the Bay Area: Arthur Magazine, revivals of Alejandro Jodorowsky’s movies, and print dresses and feathers all pointed to a vogue for the psychedelic aesthetic extending beyond the tie-dyed Haight. Psychedelic rock is the 800-pound gorilla of San Francisco music, though subsequent punk scenes clustering around Mabuhay Gardens and 924 Gilman defined themselves in direct opposition to its flower-power. I was surprised, even a little put off, by what seemed like a fundamentally conservative revival.

That was before I saw Comets on Fire. The group reclaimed the mad, exploratory spirit of ’60s psychedelia precisely by not being overly dogmatic in their interpretation of the original sound. Just as vintage outfits like Quicksilver Messenger Service and Blue Cheer — to name two local bands often championed by the current crop — deconstructed bluegrass and R&B, so too do the artists following in Comets on Fire’s wake reconstitute old school psychedelia into freshly disorienting supernovas. In the case of Comets, the game-changer lay with showing how you could collapse the distance between the Grateful Dead and the Stooges. The set I saw at the Hemlock Tavern was as much a piece of music criticism as it was an explosive performance. They made psych-rock seem a realm of possibility instead of the tattered rump of a dancing bear.

Five of 10 ensembles playing the first Frisco Freakout are based in the Bay Area, with all but Mythical Beast hailing from within the Golden State’s borders. Each band dials in subtly different equations of texture and influences, though Sleepy Sun’s MySpace message probably speaks for all involved parties: "Let’s get weird." Inspired by the legendary bills at the Fillmore and Matrix in the ’60s, Relix contributing editor Richard Simon and Wooden Shjips shredder Ripley Johnson collaborated on organizing the all-day showcase.

Music journalists use the word psychedelic to describe everything from Beach House’s gauzy organ trip to My Bloody Valentine’s overripe swan-dives — not to mention the adjacent freak-folk scene — so it’s probably worth specifying that most of the Frisco Freakout groups are close to the original psych-rock article, as defined by the hard, face-melting electricity of the early Dead and their cohorts. Whether listening to the endless spirals of Earthless, the prog-laced kick of Crystal Antlers, or the smooth drip of Sleepy Sun, one is repeatedly tempted to describe the sounds in terms of metallurgy.

"These bands are going to play hard and fuck with your head," Simon bluntly jokes by phone in SF. "I’ve been interested in trying to shunt some of these bands into Relix, to reconnect branches in this family tree that originates here."

Correctives to the jam-band theory of psychedelic rock are always welcome, though one perhaps worries about flying the freak flag too high. "You’re reluctant to identify a scene because once something is a scene it gets co-opted and commercialized," Simon confesses, but I’m in full agreement that it’s better to take a proactive, artists-first approach rather than waiting to be uncomfortably grouped as Pitchfork’s flavor-of-the-week.

Given the friendly demeanor of the event — it’s being billed as a "psychedelic dance party" and, more important, it benefits visual art nonprofit Creativity Explored — the Frisco Freakout goes a long way toward clearing up the discomfiting idea that a lot of neo-psychedelia is strictly for collectors. This isn’t to question the passion of any of the musicians involved, but simply to wonder aloud when the willfully obscurant approach to band names and releases translates to outright fetishism. In a year in which a black man is running for president, a limited-edition, colored vinyl doesn’t pass as a freakout.

Then again, these performers are compelling because of their attention to aesthetic detail and creative sense of rock historiography. It’s unavoidable that musicians weaned on punk would approach psych-rock differently from those only a decade or two on the Dead’s coattails, but one is struck again and again by their experimental impulse. Certain key reference points are a given: besides the aforementioned ’60s groups, there are usually traces of Neil Young, Spaceman 3, and the Velvet Underground. But so too do most of the groups venture further afield to add dabs of Terry Riley, Can, Morton Feldman, or Skip Spence to their spectroscopic sounds. Assemble Head in Sunburst Sound’s improbable mix of raga, Canned Heat, sci-fi sounds, and Black Flag is batty enough to warrant a Greil Marcus study.

Psychedelic rock exists, like almost any music genre in the Internet age, beyond regional boundaries, but it still makes a special fit with California’s earth-tugging landscape. At the same time that the Western mythos of the frontier crumbled in Vietnam’s shadow, the original Frisco freakouts pushed past the real wilderness for a psychic one. These newer bands thrust us even more precipitously into this "lost" mental space, seeking to refurnish psych-rock with its dangerous luster. 2

FRISCO FREAKOUT

Sat/11, 2 p.m., $15

Parkside

1600 17th St., SF

www.friscofreakout.com

New new wave

0

› a&eletters@sfbg.com

Everything changes, civilizations collapse, end times approach and recede, but there are always good movies from France. How can this be so? Every film culture has its periods of pervasive suckingness. France perhaps had one: the 1950s, when the stagnation of vapid costume epics and such made bores of icons like Jean Gabin, provoking the nouvelle vague as creative protest. But even then you could find some gems every year, by the not-shabby likes of Ophüls or Tati.

Thus the addition of yet another annual film festival to the Bay Area’s crammed calendar seems not only right, but bizarrely overdue. Surely there was some local equivalent to "French Cinema Now" before San Francisco Film Society hatched it? Non? Quelle horreur.

The spotlight this inaugural year is on attending writer-director Arnaud Desplechin (2004’s Kings and Queen). His latest, A Christmas Tale, which opens the event, encapsulates certain familiar Gallic cinema values: it’s an all-star dysfunctional-relationship blowout in which gaping verbal wounds are inflicted in a tone of light badinage, often amid lengthy meals enjoyed no matter how high the crises pile.

Catherine Deneuve is a matriarch whose health emergency necessitates the entire, drama-packed yet insouciant clan gather for Xmas — including Desplechin’s muse Mathieu Amalric (2007’s The Diving Bell and the Butterfly) as Henri, the son who’s such an obnoxious screwup he’s been "banished" from such gatherings for five years. The inevitability with which Henri will make everyone want to smack him is just the funniest of the myriad storm fronts brewing. You can get another big dose of Amalric as cause for multiple characters’ complaints in the director’s 1996 My Sex Life … or How I Got Into an Argument. There will also be a rare screening of his 1991 debut feature Life of the Dead.

That classically French template of character, ensemble, and dialogue-based seriocomedy — not to mention Amalric as a tantrum-prone theater director — is also on display in writer-director-star Valeria Bruni Tedeschi’s amusing carnival of neuroses, Actresses (2007). Straddling fiction and nonfiction terrain is the closing night film by Laurent Cantet (2001’s Time Out), The Class. It’s a vérité-style urban schoolroom drama that arrives in SF preceded by sky-high praise and a Cannes Palme d’Or. Benjamin Marquet’s documentary, Lads and Jockeys, observes kids in a different educational setting: high-pressure training for a career in horse racing.

As in so many countries — though France’s industry holds its own pretty well — there are debates about whether Hollywood’s influence is snuffing out native culture or, conversely, whether homegrown product is too boring, arty, and lacking in explosions. Actually, that latter complaint grows less credible amid an emerging generation of interesting genre talents, even if many — like Alexandre Aja (2003’s Haute Tension) or Christophe Gans (2001’s Brotherhood of the Wolf) — all too quickly bolt for you-know-where. Franck Vestiel joins their ranks with Eden Log (2007), a dystopian fantasy boasting lots of dank atmosphere, almost no dialogue, and a serpentine plot that starts like 1997’s Cube and ends up more like The Matrix (1999).

Less edgy but likewise certainly not catering to art-house snobs is Pascal Bonitzer’s Alibi, a starry whodunit so old-school it’s actually got an Agatha Christie pedigree; while Dany Boon’s Welcome to the Sticks is a fish-out-of-water comedy that’s become the biggest hit in French cinematic history.

Last but not least, a screening of 1965’s seldom-revived Six in Paris flashes back to New Wave’s heyday and that once-ubiquitous art house animal, the omnibus film. Its half-dozen miniatures (by Rohmer, Godard, and lesser luminaries) set in different City of Light districts range from the playful to the shocking, ending with a 10-minute distillation of all things Claude Chabrol: gruesome death arrives as a sardonically just punishment for the irksome hypocrises of the petite bourgeoisie. *

FRENCH CINEMA NOW

Wed/8–Sun/12, see Rep Clock for schedule

$10–$15

Clay, 2261 Fillmore, SF

(925) 866-9559, www.sffs.org

Janitzi

0

› paulr@sfbg.com

It’s hard to imagine a restaurant actually failing on Valencia Street, but from time to time one does notice a casualty. The west side of the block between 22nd and 23rd streets, in particular, has turned out to be something of a killing field lately. The long-running Saigon Saigon folded two years ago, leaving a memorial — I hope not permanent — of boarded-up windows. Next door is a sliver of a space, once home to the amazing Gravity Spot, that has had multiple occupants since the mid-1990s. At the moment it appears to be a nascent wraps shop.

Then there is the larger, and quite handsome, setting at 1152 Valencia. Around the turn of the millennium it opened as Watergate and featured a façade of tall casement windows and enough woodwork inside to do justice to a London gentlemen’s club. Later occupants included Watercress and Senses, each coming and going with a bit more alacrity than its predecessor, in the manner of some of the later Roman emperors.

Now we have Janitzi, which opened Labor Day weekend, serving "the cuisine of the Americas." The space remains as appealing (to me, at least) as ever, although the woodwork inside has given way to a paint job of vibrant lime green (along with ochre-colored floors that combine concrete and wood planks), while the unmissable facade, with its pilasters, has been painted sky blue with canary-yellow trim, just to make sure no one can possibly miss it.

Serving a pan-American cuisine is such a self-evidently good idea it’s a wonder we don’t have many such places — but at least we have this one. Janitzi’s direct culinary ancestor would probably be Yunza, which offered a similar menu along lower Fillmore but did not long survive an obscure and slightly seedy midblock setting. Janitzi has a large advantage here, despite the spotty history of the address.

And what is the nature of the menu? Janitzi’s Americas of "cuisine of the Americas" begins at the Rio Grande, apparently, and reaches south to Cape Horn. It includes favorites from Mexico (queso fundido), Peru (ceviche), Brazil (yucca fries), Venezuela (arepas), and Argentina (milanesa). And after being cooked up in the large exhibition kitchen at the rear of the dining room, it’s served in various portion sizes, at reasonable prices, on stylish modern tableware, spare white but with sexy undulations.

An unexpected theme of unification is french bread, the first rounds of which arrive at your table, accompanied by a marvelous salsa of avocado pureed with garlic, cilantro, and lime juice, soon after you’ve been seated. Another cycle turns up with the queso fundido ($9), which is less about queso than a heart-stopping wealth of Mexican-style chorizo. Usually you scoop queso fundido with tortilla chips or ladle it into warm tortillas; the bread rounds were adequate here, though not ideal.

Also in a Mexican vein were a pair of pasilla peppers ($9), charred, peeled, stuffed with shredded chicken and queso blanco, then bathed in a mild, creamy tomato sauce. The peppers had just enough bite to assert themselves through the sauce, and yet more bread rounds were on hand for mop-up duty.

A salad of shrimp and avocado ($14) left us underwhelmed, particularly considering the price. True, there were six or eight shrimp of decent size, peeled and tasty, and the avocado was artfully arranged in thin slices around the edge of the dish, like markers on a sundial. But most of the salad consisted of chopped romaine lettuce, which was about as interesting to look at as it was to eat, and that was not very, despite a heavy shower of toasted squash seeds added for texture and flavor and a potent-sounding vinaigrette of cilantro and jalapeño.

If the shrimp salad was overpriced, the rack of lamb ($20) made up for it. The ribs had been expertly frenched and arranged in the middle of the plate, like the frame of a wigwam. Elsewhere were pats of thyme butter and miniature logs of (mysteriously raw) baby carrot. Our only complaint was that the meat was slightly overcooked; there was just the faintest hint of pink inside. Juice flowed liberally, however, and the flavors were rich and full.

It was hard to tell if the Tarasco cakes ($12) — patties of seasoned, shredded beef leavened with oatmeal (or, the hamburger as experienced by the Tarasco Indians of Mexico’s central plateau) — were juicy or not. They didn’t need to be, since they were bathed in the same creamy tomato requesón sauce that coated the pasilla peppers. But even without that sauce, they would have been flavorful.

So-called protein dishes (the various meats, the seafood) include your choice of two sides, and these are among the most satisfying items on the menu. Corn, of course, which is native to the Yucatán peninsula, figures prominently in them. It doesn’t get much simpler than corn grilled on the cob, and if the corn is height-of-the-season white corn, it doesn’t need much tweaking beyond a hint of sweet butter.

Arepas, corn pancakes common in Venezuela and Colombia, were unadorned but creamy inside a nicely blistered crust. Yucca fries could have been crisper but still offered their distinctive sweet savoriness. Braised cabbage turned out to be a close relation of coleslaw, with shreds of red and green cabbage brightened with lime juice.

And, for dessert, a hint of the north: the vanilla dome ($6), vanilla ice cream encased in a shell of dark chocolate, with a heart of caramel. It’s like a big Dilly bar that slipped off its stick — the Dilly bar being, for some of us, one of childhood’s most memorable bits of (norte) Americana.

JANITZI

Daily, 10 a.m.–10 p.m.

1152 Valencia, SF

(415) 821-2310

Beer and wine pending

AE/DISC/MC/V

Moderately noisy

Wheelchair accessible

Hope blows

0

› le_chicken_farmer@yahoo.com

CHEAP EATS Hope does not spring eternal. It springs for about three years and four months. Just kidding. It springs eternal. For me it does, but I kind of wish it didn’t. My friends who have given up seem happy, and I look at them, laughing the dark laugh and drinking heavily, and I think, I want that. Thus the fascination with self-destructive habits like, yes, drinking, but also self-pity, insomnia, and burning the roof of your mouth on hot pizza.

You probably noticed that Cheap Eats has become a kind of a blues tune, featuring repetition and heartache. I’d love to stay right there, believe me, and close my eyes and just ever-so-slightly sway, real sexy, like buildings, while the harmonica, "brings it home" and the ice in everyone’s glasses melts.

This sounds nice, doesn’t it? Trust me. It does.

However, and this is a terrible attitude, I know: I keep having hope. Which springs eternal, like cockroaches.

But I would like to learn hopelessness, and am thinking about getting a television. That’s Earl Butter’s advice. "Don’t do drugs," he said, over coffee, down at the coffee shop, ’cause I asked. "Do TV."

Yeah! Food Network, I thought. That’s something I’ve heard about. As usual, Earl Butter has his finger on the pulse of — well, on my pulse.

And let’s be clear: I say learn hopelessness instead of be hopeless not because I’m a new age hippie chick, but the opposite. A chicken farmer. As chicken farmers know (from shoveling shit, chopping off heads, and watching the hawks circle) we are all, ultimately, hopeless. It springs eternal too! But it gets overlooked, so you have to learn it.

This week’s dating disaster blues song is too sad and scary to sing, even for me. So let’s cut the one-four-five, shitcan the harmonica player, shoot the piano player, and, pending his mommy’s permission, effectively turn Cheap Eats over to an adorable three-year-old boy named Boink, who loves to cook and hates to eat. I’m seeing a kind of an alternative weekly cooking show, wherein Boink, with the help of his washed-up chicken-farming nanny, invents pesto soup and generally tries to poison his little sister, who eats anything and is just the cutest little sweetie-pie ever to hit the alternative weekly world since Matt Gonzalez circa 10 years ago.

Let’s call it … I know: Cheap Eats! The first episode begins right now, with Boink at the counter doing what he does best: raising dust. Dust is his word for clouds of flour he inspires by 1) sticking his hands in the mixing bowl, 2) bringing them to face level and clapping, and 3) repeating steps one and two. His whole face, eyebrows, hair, clothes … he is coated in "dust."

I am standing nearby, holding Boink’s cute little sister Popeye the Sailor Baby, who is spewing puke all over me. I’m soaked. If her brother and I were to hug right now we would make, between us, a most disgusting batter.

In fact, let’s make it: puke pancakes! I’m disgusted, not because of the state of my nannywear, but because the day before, I am remembering, standing there dripping sickness, Popeye and me shared fresh figs under their back yard fig tree, alternating bites, while Boink tortured the chickens. I give myself 24 hours before I’m puking all over my nanny.

This feels more like a medical certainty than a prediction, but 24 hours later I feel fine. I feel great. Home, and clean, and hopeful, I call my TV-watching friends the Mountains and invite myself over for dinner. They accept! I e-mail the TV-watching couple I wrote about last time, and invite myself over after dinner for late-night meaningless sex. They accept!

In my car I listen to the debate, and begin to feel it. By the time the ribs and chickens come off the grill, I am on the Mountains’ bathroom floor, missing dinner and cell-phoning my couple to cancel them, too. I was off by six hours, but not off. Puke springs eternal.

My new favorite restaurant is Patxi’s, the Chicago pizza place in Hayes Valley. There are a couple other sources for deep-dish pizza in town, but none come as close to the East Bay’s great Zachary’s as this. In fact, um, I think I might like Patxi’s better. Meat slice (and they do sell stuffed slices) had pepperoni, sausage, and jalapeños — genuinely hot ones. Great crust, soccer on TV … *

PATXI’S

Tues.–Sun., 11 a.m.–10 p.m.

511 Hayes, SF

(415) 558-9991

Beer & wine

AE/MC/V

Editor’s Notes

0

› tredmond@sfbg.com

Way back in the 1980s, when Willie Brown was the untouchable speaker of the State Assembly and by all accounts the second most powerful politician in California, he came to an event at the San Francisco Press Club and gave a few dozen reporters a lesson in how to defeat a ballot measure. I’ll never forget it.

A group of reformers — some Republicans, many unhappy with Brown’s leadership — placed a measure before the voters that would have taken the power of drawing legislative districts away from the State Legislature and given it to a panel of retired judges. The Democratic leadership, which had used its redistricting power with shameless brilliance to create safe seats for Democrats, wanted to kill the proposition, but polls showed it passing by a good margin.

So Brown went to the notorious Los Angeles political consulting firm of Berman and D’Agostino (a.k.a. BAD Campaigns). "And they told me," Brown announced to the audience, "that any piece of legislation has something in it that can be used to upset and confuse the voters. You just have to find the fatal flaw."

So the BAD boys decided to run against the judges. Brown turned on a TV his aides had set up and showed the reporters a series of TV ads. None mentioned redistricting. They didn’t mention the legislature. They didn’t give you any idea what the ballot measure was about. Instead they featured a bunch of shadowy figures in black robes, raising their right hands and swearing to uphold party loyalty. "Judges belong in the courtroom, not the back room," an ominous-sounding voice-over said.

Thanks to the grossly misleading ads — and Brown’s ability to raise millions to blanket the airwaves with them — the redistricting plan was defeated. Brown was positively gleeful about it.

I keep thinking about that when I watch the cable-TV ads against Proposition H. The ads feature a series of people — Hunter Stern, who works for PG&E’s house union; John Hanley of the SF Firefighters Union; and Sup. Carmen Chu, who has become a wholly owned subsidiary of PG&E — talking about losing the right to vote on revenue bonds.

Nobody ever votes on revenue bonds. In California, we vote on general obligation bonds, which are backed by taxpayers. Revenue bonds are backed by a defined revenue stream; airports, ports, and other agencies issue them all the time.

And none of this has much to do with the substance of Prop. H, the Clean Energy Act, which sets renewable energy goals and calls for a study of the city’s energy options. Yes, Prop. H would allow the city to sell revenue bonds for new energy facilities — but the city issues revenue bonds (without a vote of the people) for all sorts of enterprise projects.

So what happened here is that Eric Jaye, PG&E’s political consultant, realized that the Clean Energy Act was polling well and looked for something he could use as a fatal flaw. Like the judge in the back room. He settled on the revenue bonds, manufactured a right that doesn’t exist, and pretended that Prop. H would take it away.

I’m sure Willie Brown — who collected $200,000 in legal fees from PG&E last year — is proud. *

Dirty deeds

0

SIN-EMA Though he’s lived in Denmark since 1993, time and distance have only drawn author-archivist Jack Stevenson closer to his erstwhile home’s filmic arcana. Proof arrives via "The Superstars Next Door: A Celebration of San Francisco Amateur Sex Cinema." This Yerba Buena Center for the Arts–commissioned series flashes back to SF’s smutty ’60s, when the sexual revolution dragged "adults only" movies semi-overground. Its variably silly, serious, silicone-y, and psychedelic excavations prelude hardcore porn as legal reality, let alone professionalized industry. Back then, investment and commercial stakes alike were so low, anybody could make a "dirty picture" — and many pseudonymous anybodies did.

Indeed, even some titles are only guessed-at on Stevenson’s initial "Home Movies" bill, a quartet of 1968 16mm films whose performers and crew remain known perhaps nowhere beyond a few wild grammas ‘n’ grampas’ memories. In one, an Avon lady drugs a housewife for lesbi-manhandlin’. In another, Mommy does more than kiss Santa Claus.

Roving beyond SF, the "Flaming Striptease" program embraces celebrity ecdysiasts (Bettie Page, Jayne Mansfield), but also includes vintage faves (Batgirl!) from still-shakin’ Big Al’s in North Beach. But the destination baloney filling this greasy curatorial sandwich is The Meatrack, a first-last feature by "Richard Stockton" — a.k.a. future Market Street grindhouse-to-rep-house entrepreneur and Strand Releasing co-founder Mike Thomas. Made in 1968, it was blown up to 35mm and re-released to some 1970 success as "the poor man’s Midnight Cowboy."

Meaningfully monikered, abdominally defined protagonist J.C. (David Calder, briefly flashing the XXL package onscreen admirers pay for) is a young drifter who splits when anyone gets too close. That mistrust is rooted in flashbacks to a shrewish mother ("All men are alike!") and delinquent dad ("You’ll be boozin’ too after they’ve given you the purple shaft right up the old kazoo!")

Too damaged to separate being viewed as "a piece of meat" from offers (male and female) of real love, J.C. is a withdrawn bisexual hunk of some complexity. The film’s avant-garde editing, stereotyped yet sympathetic psychology, Warhol-esque drag improv, and vivid SF street-life glimpses turn Meatrack‘s "perversion" bouquet nostalgically fragrant.

THE SUPERSTARS NEXT DOOR: A CELEBRATION OF SAN FRANCISCO AMATEUR SEX CINEMA FROM THE #60S: See Rep Clock for schedule. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org

Hawaii calls

0

PREVIEW Patrick Makuakane is big. But the tall, muscular choreographer’s physical size is nothing compared to the largeness of his laughter, personality, and, above all, his love for and knowledge of hula. In addition to a very large school, Makuakane runs the Bay Area’s most successful Hawaiian company, Na Lei Hulu I Ka Wekiu. He has coached, choreographed, directed, and MC’d the halau’s productions since 1985, and while about half of the dancers are Hawaiian, the rest are there for the love of the art. None are paid, but, Makuakane says, "We take good care of them." Learning about Hawaii, its history, and its arts and crafts — in addition to being fed well — is just one of the benefits.

Onstage Makuakane’s gifts as a showman at times overshadow his remarkable ability as a vocalist and a percussionist. Watch him hunched over a drum and giving life to lyrics few of us understand, and you get a glimpse of an immensely serious artist at work. In India he would be called a guru; in Africa, a griot. Makuakane’s greatest gift is in embracing a generous perspective on hula: he calls it "Hula Mula" — respecting the old, putting it into contemporary expression. That’s why he can create a hula to "I Left My Heart in San Francisco" — far removed from the ancient chants and drums — and it explains the origins of one early piece unearthed for this year’s extravaganza, Krishna Hula. He remembers its genesis in Golden Gate Park. "We were doing our own thing and this band of chanting Hare Krishnas showed up," he recalls. "It was wild."

THE HULA SHOW 2008 Thurs/11, Oct. 17 and 18, 8 p.m.; Fri/12, 4 p.m.; Oct. 19, noon and 3 p.m.; $10–$40. Palace of Fine Arts, 3301 Lyon, SF. 1-800-407-1400, www.cityboxoffice.com

Let them eat rock

0

› a&eletters@sfbg.com

REVIEW The prologue and opening salvo in playwright-director Steve Morgan Haskell’s spirited, fitfully inspired rock parable All You Can Eat — an offbeat, down-tempo call to arms — has a French accent, wielded by a woman named Camille de Tocqueville (a coolly assured Michelle Haner). A writer on a Jean Baudrillard–like quest for the quintessence of America — America the dream, the disease, the drug, the doom — Camille needed, she tells us, to get herself an American rock star, the cowboy icon of this decadent age of imperial decline. And she found one in Alexander Vanderbilt (a languidly potent Brian Livingston), an evocatively named, Jim Morrison–esque lead vocalist of the long-defunct band All You Can Eat, whose four members are about to reunite for a comeback tour after seven years apart. The math eventually becomes significant, too, since 2008 minus seven leaves us hovering around the smoldering fall of ’01.

Now, the idea of being criticized by a French person is supposed to be inherently provocative to great swaths of freedom-fry–loving Americans — if maybe not so many Bay Area denizens. But having the great-great-great-grandniece of Alexis de Tocqueville firing both barrels at us — a live babe clutched, with European nonchalance, to her breast — sets up a particularly intriguing series of associations that go well beyond mere cheek or caricature. The group’s name, after all, employs durable pop irony to flag a consumerist ethos that, in this context, functions as a latter-day democratic equivalent of Marie Antoinette’s dictum by inadvertently helping to kick off an apocalypse with the Dubya-like injunction to shop and devour your way to freedom and security. Revolution, it seems, is English for la plus ça change.

Collaborating productively with the sharp physical theater style of San Francisco’s foolsFURY, Haskell unfurls the combo’s story obliquely, in some shimmering dialogue and a music- and movement-fueled patchwork of disjointed, time-tripping scenes, prodded and punctuated by guitarist Tracy Walsh, stage left. The paint-dribbled set proffers three large semi-abstract canvases by artist Matt Sesow — crazed portraiture for an age inclined less to the revolutionary romanticism of a Delacroix than the bastard offspring of Francis Bacon and Ralph Steadman.

In their personal foibles, triumphs, and entanglements; their outsize ambitions; their seemingly omnipotent but ultimately caged energies; Vanderbilt and colleagues Gregory Ford (Ryan O’Donnell) and Banafrit Nut (Nora El Samahy), together with their manager (Deborah Eliezer) and one fiery and ominous groupie (Csilla Horvath), become the prism for a larger social crisis. Although the play’s expression may lack the dramatic girth Haskell sets out for, its dimensions are often smartly suggested. Moreover, All You Can Eat‘s significance won’t be lost on anyone in this crystalline moment of truth between Wall Street, Washington, DC, and the abused inheritors of democracy in America. *

ALL YOU CAN EAT

Through Sat/11

Thurs.–Sat., 8 p.m.; Sun., 7 p.m.; $15–$30

Traveling Jewish Theatre

470 Florida, SF

www.foolsfury.org

Mashed up

0

› Kimberly@sfbg.com

SONIC REDUCER Remember the bad ole days when giving a damn about food was uncool? When it was all about toughing out the gurgles in the gut — or snatching sheer, pleasure-free sustenance by grabbing a cheapie, microwaveable green burrito from 7-Eleven and shoveling it down the gullet before racing to the hardcore show at the Vet’s Hall.

Well, M.F.K. Fisher be praised and pass the white truffle oil and broccolini. Times have changed, and the signs of the shift in this chow-fixated city of biodynamo-organo-locavores have even seeped into its musical crannies, from shakuhachi player Philip Gelb’s organic, vegan cooking class-feast-performances and curator Brianna Toth’s dinner shows in her Mission District kitchen to Hawnay Troof/Vice Cooler’s mini-vegan cook-zine and Godwaffle Noise Pancakes brunches that gird gingerbread griddle cakes with quality noise. We won’t even mention all the musicians who also cook or wait for a living. Jesus Christ in a chicken basket, even big pop shots like Alex Kapranos have license to poop out tomes like Sound Bites: Eating on Tour with Franz Ferdinand (Penguin, 2006).

So when I smelt Lost in the Supermarket: An Indie Rock Cookbook comin’, I had to try some recipes and find out how this collection of treats from this oddball yet provocative assortment of music-makers came about. Authors Kay Bozich Owens and Lynn Owens were clearly indie fans of the most eclectic variety. Belle and Sebastian’s and Fugazi’s chosen eats are paired with Japanther’s and USAISAMONSTER’s. Some recipes tickle the taste buds like Icelandic experimentalist Mugison’s — say wha? — Plokkfishkur, a.k.a., fish stew. Others resonate like a zen koan (see Xiu Xiu’s take on tofu — "3. Eat it with a fork. 4. Stare out the window"); test one’s, erm, taste like 16 Bitch Pile Up’s "Birthday Cundt Cake," an anatomically correct, iced red-cake interpretation of a dismembered torso; or tease the imagination as with Carla Bozulich’s "Recipe for a Melodramatic End."

Lynn Owens attributes the hearty response that he and wife Kay received to the pervasiveness and renewed cool of foodie culture, the mindfulness with which people are paying attention to food and its origins, and the low-cost and creative side of cooking-it-yourself. "The kitchen is a place for creativity," says Owens, who teaches sociology, concentrating on radical politics and social protest, at Middlebury College in Vermont.

"And it is cool again: dinner party culture is big now." Additionally, he says, many musicians saw it as yet another outlet: "To an extent, cultural producers are branching out — now you don’t just do one thing anymore."

The project kicked off when the couple moved to Connecticut a few years ago: Lynn — who once made pizzas in SF alongside his friend, Deerhoof founder and 7 Year Rabbit Cycle leader Rob Fisk — was teaching at Wesleyan, and the bored and unemployed Kay began e-mailing bands about their favorite recipes, not expecting anyone to write back. But they did — with at times startling passion. "The Country Teasers, who actually have a reputation of having music that’s super-misanthropic, were super-duper helpful," Lynn marvels. "Almost everyone in the band sent recipes, and they introduced us to other bands who wanted to participate, and then when they played in Providence, R.I., they invited us to come to the show." Lynn went so far as to pull rank as a Wesleyan instructor in order to get alumni Amanda Palmer of the Dresden Dolls to cough up a chocolate zucchini cake recipe. Students were enlisted as test kitchen guinea pigs.

Piqued by Lost‘s inclusion of multiple chili and mashed potato recipes, I decided to try my hand with the taters, a band favorite, natch, because they’re "filling and relatively cheap," as Lynn puts it. Black Dice’s Eric Copeland, another active contributor with multiple recipes and advice, forked up a relatively simple mashed potato recipe made of potatoes, sour cream, and "spices," which meant seasoned salt, pepper, and other mystery add-ins. Decent, but not as imaginative as I’d like from a Black Dicer.

The real revelations were Gris Gris member Oscar’s "Jalapeño Mashed Potatoes" and Solex’s "Amsterdam Mashed Potatoes with Sauerkraut." The former’s combo of almost-carmelized, hot-sweet jalapeños and onions combined with mash and chunks of queso fresco was an outright oral fiesta. The latter Dutch doozy was comfort food Eurostar deluxe, juxtaposing bland creaminess with sour ‘n’ savory sauerkraut, onion, and buttah. You won’t find Alice Waters or Thomas Keller level cooking in Lost, but fans of, say, starving college student cookbooks or quirky compendiums of Spam or ramen recipes will find plenty of tasty notions here — as delectable as all the aforementioned potato heads’ music. As the Rae-monster might roar, "Yummo." *

REFRESH, RENEW, REUNITE

AWESOME COLOR AND KAYO DOT

The Michigan acid-rockers and the Brooklyn avant explorers kick out the jams. Wed/8, 9 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

CAKE

Oakland vocalist John McCrea and company put the rock into their politics — and raise money for Proposition H. Fri/10, 9 p.m., $49.50–$99.50. Independent, 628 Divisadero, SF. www.theindependentsf.com

NEW KIDS ON THE BLOCK

Whoa, these guys look like the alternate cast of Entourage. Fri/10, 8 p.m., $37.50–$77.50. HP Pavilion, 525 W. Santa Clara, San Jose. www.livenation.com

QUINTRON AND MISS PUSSYCAT

Quintron makes an appearance in Lost in the Supermarket with a lemon meringue pie recipe. Sat/11, 9 p.m., $15, Independent, 628 Divisadero, SF. www.theindependentsf.com

NOW AND ZEN FEST

UK soul diva Duffy teams with ex-Eureka-ite Sara Bareilles. Sun/12, noon–5 p.m., $25. Sharon Meadow, Golden Gate Park, SF. www.radioalice.com

Inbal Pinto Dance Company

0

PREVIEW Two years ago the Inbal Pinto Dance Company made its San Francisco debut with Oyster. On first glance it looked like a freak show, one of those traveling circuses that paraded so-called human deformities to titillate audiences. I mean, what are you going to do with a two-headed, four-armed MC and a crone who controls live puppets? The entire piece looked like a mix of Fellini, without his loving acceptance, and early Günther Grass, without his sardonic humor — plus a solid dose of that French invention, "new circus." Watching the performers move and dance in that no man’s land between fantasy and reality, you couldn’t quite let yourself relax to enjoy Oyster‘s sheer theatrical punch, because underneath all the merriment hid a ghost in the basement.

For their return visit, this Israeli group, appropriately co-managed by a choreographer and a theater director, is presenting its latest work, Shakers, which has nothing to do with condiments or 19th-century New England religion. Its inspiration comes via one of the most common kitsch objects you can buy in tourist locations ranging from Oslo and Moscow — where they make sense — to Cairo and Bombay — where they don’t. Remember snowglobes, those little glass-domed, hermetically-sealed trinkets you shake and snow keeps falling, falling, falling? Shakers.

INBAL PINTO DANCE COMPANY Sat/11, 8 p.m., and Sun/12, 2 p.m., $39–$27; family matinee, Sat/11, 2 p.m., $12–$25. Novellus Theater, Yerba Buena Center for the Arts, 701 Mission, SF. (415) 392-2545, www.performances.org

Hawnay Troof

0

PREVIEW When I think of Hawnay Troof after listening to approximately one-half of his first full-length, Islands of Ayle (Southern/Retard Disco), the cover of the Geto Boys’ We Can’t Be Stopped (Rap-A-Lot, 1991) comes to mind. I might have found out about the image — Bushwick Bill just forced his girlfriend to shoot him, and he’s in a gurney that the other dudes in the group are pushing down a hospital corridor — from Vice magazine. Does that mean it’s not a legit memory? I struggle with this sometimes, but listening to Islands of Ayle renders it moot. It’s bursting with a sort of straight-ahead energy that only has room for the present moment.

The man behind Hawnay Troof is Oaklander Vice Cooler. He was in this band called XBXRX, which was notorious for a lot of reasons, including originally being from Mobile, Ala., and being initially mostly high-school age. If you’ve followed the group’s career, you’re probably not surprised that Hawnay Troof makes the kind of confessional, but not self-pitying, music he does. The backdrop to Cooler’s stream-of-feeling flows is a suitably hyperactive strain of Casio-crunk, punctuated with brief, looping interludes that sound something like Nurse with Wound producing for Peaches.

The positivity that makes me happy when I hear Hawnay Troof seems to acknowledge shitty stuff — maybe not shot-in-the-eye bad, but pretty demolishing personally — yet manifests an even stronger will to improve, a reaching out. This seems to proceed directly from Cooler’s experiences: on the southwest leg of his current tour, for example, Cooler and his roadie were pulled over in their Enterprise rental car by Arizona police en route to a show. The vehicle was searched without a warrant, and when the cop discovered the roadie’s license was suspended, he impounded the car, leaving Cooler to finish his dates by U-Haul. Apparently there’s no stopping the performer, though as one of the harder-working men in show business, I’m sure Cooler would appreciate a few more open ears at this show, his last stateside before he heads to the United Kingdom.

HAWNAY TROOF With High Places and Ponytail. Wed/8, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

Obliterating the dollar

0

REVIEW Andrew Schoultz is prescient. A week or two before Wall Street and Washington were forced to admit they’d obliterated the US economy, he unveiled new work that literally slices and blows up the dollar bill. In his A Litany of Defense and a Liturgy of Power (Come) from the Palm of His Hand, shards of the pyramid, all-seeing eye, and other mint-y green fixtures slice through the air alongside similar fragments of currency from other countries. These literal markers of economic chaos add yet more kinetic distress signals to the meta-intersections of iconic bird flocks, medieval warhorses, and whirlpools in Schoultz’s already claustrophobic vision. A hand-rendered George Washington stares blankly from the center of one relatively quiet piece, unaware that his image needs to be multiplied 700 billion times to begin to balance a different George’s checkbook.

"In Gods We Trust" finds Schoultz adding flagrant emphasis to his political content — most of his titles are declarative mouthfuls. Conversely, he veers away from wall murals into mixed-media pieces that only might be more market friendly. He braids collage elements into drawings and paintings. He’s also constructed a centerpiece installation that presents scales of justice set catastrophically awry. Subtlety isn’t on the agenda, and maybe it shouldn’t be. After all, Schoultz’s timing couldn’t be more right.

The visual impact of the work in Schoultz’s first major SF solo show in four years is best experienced one piece at a time, and at close range. Obsessive-compulsive repetition is a chief facet of some of the best San Francisco paintings and drawings of the past decade, and Schoultz, who has lived here around that long, is a standout representative of the practice. But unlike OCD peers’ veerings toward op art or pointillist tactics, his graffiti or mural aesthetic doesn’t always fit into a frame — it can seem murky from afar. This isn’t a matter of scale — in fact, my favorite pieces in "In God We Trust" are small ones — as much as perspective. I like Schoultz’s art most when I’m close enough to stare into the eye of the storm, or, in Sinking Slaveship, the blue (as opposed to black) hole.

ANDREW SCHOULTZ: IN GODS WE TRUST Through Oct. 25. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Marx and Zavaterro, 77 Geary, second floor, SF. (415) 627-9111, www.marxzav.com

Follow the JROTC Money

11

You might think that the main money behind the campaign to keep JROTC in the San Francisco United School District is flowing directly from the military.

You’d be wrong.

Think Gap, PG& E and the San Francisco Association of Realtors, instead.

They are among the top contributors to a political committee that is supporting Proposition V, which is the measure on the November election that seeks to keep JROTC in the SFUSD beyond June 2009.

Here are the top five contributors to Choice for Students, the pro Prop. V committee in the November election cycle:

1.SF Chamber of Commerce 21st Century Committee: $20,500.
2. Donald Fisher, Gap, Chairman Emeritus: $20,000.
3. Plan C, San Francisco PAC: $10,000.
4. PG&E Corporation: $7,500.
5. SF Association of Realtors: $7,499.

To put those figures in a deeper political and financia; context, check out the next top six largest contributors:

6. SF Police Officers Association: $5,000
7. Keith Phillips, Founder, Project Homecoming: $500
8. Gerald Paratore, Teacher, SF United School District: $300.
9. SF Chapter, Military Officers Association of America: $250.
10. Gwen Chan, Retired: $200.
11.. Elko Council Navy League: $113.

Choice for Students committee treasurer Quincy Yu gave her explanation of why these organizations are backing Prop. V.
“This is not about the military,” Yu said. “It’s about the 1,600 students who used to be served by the JROTC program, 90 percent of whom are minority students. It’s about preserving programs that work for our kids. If our school systems are not robust, they don’t attract middle class, who are then not going to stay in the City.”

With a son attending a SFUSD high school, Yu makes an articulate spokesperson for the Prop. V campaign, even if her own son decided not to enroll in JROTC, choosing football, instead.

Yu points to what she calls the hypocrisy of SFUSD buying food from the Department of Defense, while trying to drum JROTC out of town.

Which brings us back to questions of who really pays for JROTC to be in our schools. As it happens, the US Department of Defense pays 50 percent of the JROTC’s teachers’ salaries and 100 percent of JROTC’s supplies. So, even if it’s not making campaign contributions, the military does majorly underwrite the SFUSD’s JROTC program, all year round.

Nevius: check your facts

1

by Amanda Witherell

Last week SF Chronicle columnist C.W. Nevius waded back into one of his pet issues, homelessness, in a piece on the SF Streets and Neighborhoods workgroup. Convened by Mayor Gavin Newsom, the group is tasked with coming up with a few ideas to improve the street safety for a couple pilot projects centered around downtown. The group is stacked with local law enforcement officials, Newsom staffers, reps from the Chamber of Commerce and tourist groups, and a couple token homeless rights advocates, and the subtext of their mission seems to be implementing new quality of life laws, like a sit-lie ordinance, and double-strength enforcement zones that will further criminalize the already unfortunate condition of being homeless.

I reported on their last meeting here, a markedly different assessment than what Nevius penned.

Oh, where to start? How about the obvious: Nevius reported the wrong date of the next meeting. It’s actually going to be tomorrow, October 7 – though you wouldn’t necessarily know that since the group hasn’t posted its agenda. (Sunshine violation, anyone?) Anyway, Dariush Kayhan, the mayor’s homeless policy director, confirmed to me that the meeting is on Oct. 7, at 11 a.m., at St. Anthony Foundation’s offices at 150 Golden Gate.

Moving on: Nevius spins the group to make it sound like their work will be the first sip of a panacea long overdue – cooperation.

Noah and the Whale’s twee cinematic charm, in SF for the first time

0

By Chloe Schildhause

The charmingly romantic, springy UK folk band Noah and the Whale have just begun their US tour, and their San Francisco debut will happen at Amoeba Music and Popscene today, Oct. 2.

Their first album, Peaceful, the World Lays Me Down (Mercury), was just released in August, but the band has already been a big part of the summer UK festival circuit with gigs at V Festival, Summer Sundae and Glastonbury. Over the phone from the road, frontperson Charlie Fink told me: “Festivals have been cool. I sometimes find it intimidating – the big crowd and stuff. But it’s been fun.”

Fink writes Noah and the Whale’s lyrics. His personal favorite is the title track, he explained. “It says the most of what I’m trying to say on that album.” But what that is exactly is a mystery. “People are trying to get me to assess the lyrics,” said Fink. “But I find it quite difficult because what you say in a song is what you can’t express any other way.”

GGRA members accused of hypocrisy

0

News that GGRA has decided to file an en banc appeal of the Ninth Circuit’s ruling upholding the City’s Healthcare Security Ordinance got supporters of the City’s ordinance expressing dismay and puzzlement.

They also declared themselves troubled by what they call the apparent hypocrisy of GGRA members who express their support for the ordinance in surcharge notices.

Tim Paulson, San Francisco Labor Council executive director, believes that the City’s healthcare ordinance creates a level playing field for employers.

“It gives credit to employers who already offer healthcare to their employees and also allows other employers to comply without disrupting ERISA plans,” Paulson said. “The Healthcare Ordinance is sound business policy as well as a win for San Franciscans.”

Calling the Ninth Circuit’s September 30 decision to uphold the City’s ordinance, “a huge win for hard-working men and women in San Francisco who are currently without access to healthcare,” Paulson said, “We need more healthcare in San Francisco, not less.”

Paulsen said he was “particularly troubled by the apparent hypocrisy of GGRA member restaurants for expressing public support and admiration for a program that provides health and well-being to thousands of restaurant workers, while their GGRA membership dues pay the legal fees to dismantle it.”

Paulson was referring to the fact that some GGRA member restaurants have issued surcharge notices that contain comments that appear to be supportive of SF’s healthcare program, while GGRA seeks to overturn the ordinance.

IGGRA members Catch, Pomodoro, AsiaSF, Bar Bambino and Luna Park have issued notices in which they express support for the ordinance and explain that they are adding a surcharge to each check to cover these new healthcare related costs. The notices do not mention GGRA’s lawsuit.

High Places

0

New York — you never cease to surprise me. For all these years, I’ve been completely convinced that Brooklyn was a continuous swath of pavement, brownstones, and ironic T-shirts. Apparently there’s an altogether different, little-known ecosystem hiding in Hipster’s Paradise. Tucked in the darkest pocket of the borough sits a teeming rainforest, a sea of green in which rainbow-bedazzled birds shake their hot pink plumage while chattering monkeys swing through the lush canopy.

Or so Brooklyn electro-primitives High Places would have us believe. The duo — vocalist/multi-instrumentalist Mary Pearson and percussionist Rob Barber — embrace the notion of geography as a driving force in music, but it’s not their New York surroundings that inspire. Rather, they get their spark from environments far removed from the urban landscape — namely, jungles, of both the terrestrial and the mental variety. As the name would suggest, the pair concern themselves with elevated states — not only do they wish to take us climbing to the top of the tallest trees, but the journey also involves clearing one’s head with a luxuriant tangle of interwoven rhythms.

Vocals are drenched in reverb, guitars buzz as reconfigured insectoid samples, and keyboard melodies whir in unexpected patterns — yet it all feels wondrously organic. High Places have their antecedents — look to Brian Eno’s ambient "fourth world" explorations and the rainforest-dub of The Slits’ Return of the Giant Slits (CBS/Sony International, 1981) for touchstones — but ultimately, they arrive sounding like emissaries from a world yet to be surveyed.

High Places’ just-released self-titled Thrill Jockey debut — not counting the label’s summer-issued singles compilation 03/07–09/07feels tailor-made for swooping among the tippy-tops of the Amazon jungle, having meshed Pearson’s carefree, birdlike melodies with curious rhythmic tics, tribal polyrhythms, and the cicada-buzz of treated electronics. Many of the disc’s primeval shuffles, bumps, and thumps come from a full shelf of wood blocks, mixing bowls, and rattles. "The Tree with the Lights in It," for example, fashions an alluring rhythmic undercurrent from what sounds like sandpaper scratches and water sloshing in a bowl.

Elsewhere, the ricocheting electro pings and the clip-clop twitch of "A Field Guide" offers a sun-soaked tropical counterpart to Burial’s haunted dubstep, while "The Storm" tosses disembodied banjo into a slithery gamelan groove punctuated by echo-steeped synth chirps. Far away from her Brooklyn home, Pearson’s winsome flutter beckons from the tallest trees, where she makes the sweetest of observations: "Now my clothes are stained with pitch … it was worth it." Who could say no to such great heights?

HIGH PLACES

Oct. 8, 9 p.m.

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

The Most Censored Story in SF History

0

The Most Censored Story in SF History

How the PG&E/ Raker Act scandal has kept cheap clean Hetch Hetchy Public Power out of San Francisco for decades and cost the rate payers billions of dollars.

It’s PG&E that has the blank check. Scroll down for a chronology of the PG&E/Raker Act scandal from 1848-1988, with an added update through 2001.

By Bruce B. Brugmann

Ah, yes, you say, as attentive readers of the Guardian since 1969 and the almost famous Bruce blog know, the most censored story in San Francisco history has to be the PG&E/ Raker Act scandal.

It is the biggest ongoing urban scandal in U.S. History. It has cost the city tens of billions of dollars over the decades. It has cost business and residential rate payers hundreds of millions of dollars in extortionate high rates, lousy service, vicious collection practices, and unreliable power. It has corrupted City Hall and local politics for decades and continues to do so to this very day as PG&E presses its multi-million dollar blitz against the Clean Energy act on the November ballot.

And the local media, led by the Hearst – owned San Francisco Chronicle, has censored and marginalized the scandal in every way possible every since the shameful Hearst deal with a PG&E – controlled bank in the late 1920’s.

Hearst was once a major supporter of public Hetch Hetchy power and the federal Raker Act that allowed San Francisco to dam a beautiful valley (Hetch Hetchy in beautiful Yosemite National Park) for the city’s public water and power supply.

Hearst even placed a copy of his pro-Raker Act editorial on the desk of every Congressperson on the day of the critical 1913 vote on the Raker Act. Hearst won the vote, the dam was built, and Hearst continued his strong support of the Hetch Hetchy project up until the late 1920’s PG&E bank deal with it’s historic sell out condition.

The deal was that PG&E gave Hearst much needed capital in return for a multi-billion dollar capitulation: Hearst would reverse his historic pro-public power position to support PG&E’s private power monopoly in San Francisco.

To it’s everlasting shame, Hearst corporate has marched in lock steps everlatter with PG&E and against the city and county of San Francisco and its residents and businesses. It has kept San Francisco in violation of the Raker Act and it’s public power mandates and has thus jeopardized the entire Hetch Hetchy system to the Tear-the-dam-movement.

And Hearst kept the story out of the news in San Francisco until Professor Joe Neilands of UC Berkeley revived the scandal in his famous 1969 story in the Guardian.

Here are a few of the stories that demonstrate that the PG&E/Raker Act Scandal is indeed the most censored story in San Francisco history:

*Chronology of Raker Act Scandal

*The 1969 Neilands story

*The Hearst/PG&E deal

*Project Censored 2008