Tech

Music listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 19

ROCK/BLUES/HIP-HOP

Crocodiles, Pens, Graffiti Island Rickshaw Stop. 8pm, $12.

Forget About Boston, Flamingo Gunfight, A Victory Nonetheless Elbo Room. 9pm, $5.

Freekbass Boom Boom Room. 9:45pm, $10.

Have Nots, Stigma 13, Flatout Annie’s Social Club. 8pm, $5.

Horror X, Boats!, Spurts, Pranks Thee Parkside. 8pm, $6.

Mother Mother, HIJK Café du Nord. 8:30pm, $10.

Partyline, Hawnay Troof, Shebeast, Schwule El Rio. 8pm, $8.

Prids, Swann Danger, Butterfly Bones Bottom of the Hill. 9pm, $8.

Freddy Roulette Biscuits and Blues. 8pm, $15.

Stone Foxes, Lonely H, Buxter Hoot’n Hemlock Tavern. 9pm, $7.

BAY AREA

Jackson Browne Paramount Theatre. 8pm, $39.50-59.50.

JAZZ/NEW MUSIC

"B3 Wednesdays feat. Patrick Greene Organ Combo" Coda. 9pm, $7.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Cat’s Corner Savanna Jazz. 7pm, $5-10.

"Marcus Shelby Jazz Jam" Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Jonathan Poretz Yoshi’s San Francisco. 8 and 10pm, $16.

Tin Cup Serenade Le Colonial, 20 Cosmo Place, SF; (415) 931-3600. 7pm, free.

FOLK/WORLD/COUNTRY

Gaucho, Michael Abraham Jazz Session Amnesia. 8pm, free.

Steve Taylor-Ramírez Plough and Stars. 9pm, free.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Fame Bar on Church. 9pm. With rotating DJs.

Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.

Qoöl 111 Minna Gallery. 5-10pm, $5. Pan-techno lounge with DJs Spesh, Gil, Hyper D, and Jondi.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Lonestar Sound, Young Fyah, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St.; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 20

ROCK/BLUES/HIP-HOP

Bare Wires, Fergus and Geronimo, Teenage Cool Kids, Vows Amnesia. 9pm, $7.

*Blowfly, Blag Dahlia Rock Legend, Mad Macka Thee Parkside. 9pm, $10.

Calmodee Coda. 9pm, $7.

Daughtry Fillmore. 8pm, $20.

Eyedea and Abilities, Kristoff Krane, Justus Bends Bottom of the Hill. 9pm, $10.

Bill Magee Biscuits and Blues. 8pm, $15.

Jason Movrich SNOB, 1327 Polk, SF; (415) 440-7662. 8pm, free.

San Kazakgascar, When Dinosaurs Ruled the Earth Hemlock Tavern. 9pm, $6.

Scranton, Luvhed, Ol’ Cheeky Bastards Grant and Green. 9pm, free.

Strip Mall Architecture, Love X Nowhere, Silian Rail Café du Nord. 9pm, $10.

Toy Soldiers, Battlehooch, Horde and the Harem, Buttercream Gang Slim’s. 8pm, $13.

BAY AREA

"Vans Warped Tour" Shoreline Amphitheater, One Amphitheater Pkwy, Mtn View; www.livenation.com. 11am, $26.75. With NOFX, 3oh!3, Less Than Jake, Underoath, Devil Wears Prada, Chiodos, Thrice, Silverstein, and (seriously) over 40 more.

JAZZ/NEW MUSIC

Al Coster Trio and Jam Savanna Jazz. 8pm, $5.

"Brass, Bows, and Beats: A Hip Hop Symphony by Adam Theis and the Jazz Mafia Symphony" Yoshi’s San Francisco. 8 and 10:30pm, $24.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 7:30pm, free.

Kelly Park Trio Shanghai 1930. 7pm, free.

Marlina Teich Trio Brickhouse, 426 Brannan, SF; (415) 820-1595. 7-10pm, free.

"New Frequencies @ YBCA: Musicians Respond to Wallworks" Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. 6pm, free with gallery admission ($5-7). With Jackeline Rago and Steve Hogan Duo/Kev Choice and Jennifer Johns Duo.

Jesse Scheinin Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Sony Holland Duo Café Divine, 1600 Stockton, SF; (415) 986-3414. 7pm, free.

Stompy Jones Top of the Mark. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Flamenco Thursday Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8pm, 9:30; $12. With Carola Zertuche and Company.

Four Inch Pony Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Hillstomp, Slowfinger, Brothers Comatose Annie’s Social Club. 8pm, $8.

Mission Three Amnesia. 7pm, free.

Jason Movrich Blarney Stone, 5625 Geary, SF; (415) 386-9914. 9pm, free.

Saddlecats Atlas Café. 8pm, free.

Tipsy House Plough and Stars. 9pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-6. DJs Pleasuremaker, Señor Oz, J Elrod, and B Lee spin Afrobeat, Tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St; 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.

Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.

Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.

Koko Puffs Koko Cocktails, 1060 Geary; 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St., SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Rock Candy Stud. 9pm-2am, $5. Luscious Lucy Lipps hosts this electro-punk-pop party with music by ReXick.

Ships in the Night Underground SF. 10pm, $5. Queer dance party with DJs Durt, Black, and Jean Jamz.

Toppa Top Thursdays Club Six. 9pm, $5. Jah Warrior, Jah Yzer, I-Vier, and Irie Dole spin the reggae jams for your maximum irie-ness.

FRIDAY 21

ROCK/BLUES/HIP-HOP

Attitude Adjustment, Beowulf, Deface, Killing California, Superbuick Thee Parkside. 9pm, $10.

Kasey Chambers and Shane Nicholson Independent. 9pm, $25.

Tracy Chapman Fillmore. 9pm, $50.

Christmas Island, Mantels, Jonesin’, Splinters Amnesia. 9pm, $8.

Cuban Nights Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8:30pm, $15. Latin dancing Buena Vista style with Fito Reinoso, and Eddy and Gabriel Navia.

Diego’s Umbrella Café du Nord. 9pm, $10.

Excuse the Blood, Hudson Criminal, Cycloptopus, No Need Retox Lounge. 8pm, $5.

*"House of Voodoo 10th Anniversary" Annie’s Social Club. 9pm, $5-7. With Awakening, Saints of Ruin, and DJs spinning goth and industrial.

New Up, Company Car, Run Run Run Bottom of the Hill. 9:30pm, $12.

EC Scott Biscuits and Blues. 8 and 10pm, $20.

Set Your Goals, Four Year Strong, Polar Bear Club, Fireworks Slim’s. 8pm, $15.

*Tussle, Grass Widow, Psychic Reality, Royalchord Hemlock Tavern. 9pm, $8.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Brian Belknap Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

"Brass, Bows, and Beats: A Hip Hop Symphony by Adam Theis and the Jazz Mafia Symphony" Yoshi’s San Francisco. 8 and 10:30pm, $26.

Duo Gadjo Shanghai 1930. 7:30pm, free.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; 771-6800. 8pm, free.

Jim Butler Quartet Savanna Jazz. 8pm, $5.

Natasha Miller Coda. 10pm, $10.

FOLK/WORLD/COUNTRY

Aphrodesia, Bayonics, DJ Jeremiah Great American Music Hall. 9pm, $16.

Bluegrass Bonanza Plough and Stars. 9pm.

Jessica Fichot Red Poppy Art House. 8:30pm, $10-12 suggested donation.

Devon McClive Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

"A Moment in Time" Regency Ballroom. 9pm, $30. With Beres Hammond with the Harmony House Singers and Musicans, and Culture.

Rob Reich and Craig Ventresco Amnesia. 7pm, free.

DANCE CLUBS

Activate! Lookout, 3600 16th St; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

Alcoholocaust Presents Riptide Tavern. 9pm, free. DJ What’s His Fuck spins old-school punk rock and other gems.

Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.

Deep Fried Butter, 354 11th St., SF; (415) 863-5964. DJs jaybee, David Justin, and Dean Manning spinning indie, dance rock, electronica, funk, hip hop, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Go Bang! Deco SF, 510 Larkin St; (415) 346-2025. 10pm, $5. Recreating the diversity and freedom of the 70’s/ 80’s disco nightlife with DJs Eddy Bauer, Flight, Nicky B., Sergio and more.

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

Loose Stud. 10pm-3am, $5. DJs Domino and Six spin electro and indie, with vintage porn visual projections to get you in the mood.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

Punk Rock and Shlock Karaoke Annie’s Social Club. 9pm-2am, $5. Eileen and Jody bring you songs from multiple genres to butcher: punk, new wave, alternative, classic rock, and more.

Voodoo Ballroom Annies Social Club. 9pm, $7. With live performances by Awakening and Saints of Ruin and DJs voodoo, Purgatory Mischief, and more spinning goth, deathrock, glam, and darkwave industrial.

SATURDAY 22

ROCK/BLUES/HIP-HOP

Tracy Chapman Fillmore. 9pm, $50.

Ex-Boyfriends, My First Earthquake, Vitamin Party Thee Parkside. 9pm, $7.

*Flipper, Triclops!, Turks, Alaric Annie’s Social Club. 9pm, $10.

*Forbidden, Kehoe Nation featuring Gene Hoglan, Death Pilot Slim’s. 9pm, $20.

Jedi Mind Tricks, MC Esoteric, Reef the Lost Cauze, Bound by Honor Independent. 9pm, $17.

Kev Choice Ensemble Elbo Room. 10pm.

Lady Bianca Biscuits and Blues. 8 and 10pm, $20.

Low Red Land, Appomattox Hemlock Tavern. 6pm, $5.

Matches Fillmore. 9pm, $20.

No Hope for the Dead, Overdrive AD, Hot Heresy Thee Parkside. 2pm, free.

La Plebe, Pop Bottle Bombers, Master Volume, DJ Alberto Bottom of the Hill. 10pm, $12.

TITS, Plastic Crimewave and the Wicked Wicked Ways Hemlock Tavern. 9:30pm, $7.

Valerie Orth Band, Rachel Efron Ensemble, Mia and Jonah Café du Nord. 9pm, $12.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Pascal Boker and Band Savanna Jazz. 8pm, $5.

"Brass, Bows, and Beats: A Hip Hop Symphony by Adam Theis and the Jazz Mafia Symphony" Yoshi’s San Francisco. 8 and 10:30pm, $26.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

"New Frequencies @ YBCA: Next Wave of Global Landscape" Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. 8pm, $25. With Juana Molina/Amy X. Neuburg and the Cello ChiXtet.

Proteges of Hyler Jones Shanghai 1930. 7:30pm, free.

Ricardo Scales Top of the Mark. 9pm, $10.

Lavay Smith and Her Red Hot Skillet Lickers Coda. 10pm, $12.

FOLK/WORLD/COUNTRY

Absynth Quintet Plough and Stars. 9pm.

Julio Bravo y Orquesta Salsabor Ramp Restaurant, 855 Terry Francois, SF; (415) 621-2378. 5pm, free.

Cabinet of Curiosities, Toby Dick, Hyperpotamus Amnesia. 8pm, $7. Fundraiser for SF Zine Fest.

Carnaval Del Sur Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 8pm, $12.

Ricardo Lemvo and Miakina Loca, DJ Emmanuel Nado Great American Music Hall. 9pm, $20.

JL Stiles Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Thick Soup Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

DANCE CLUBS

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.

Barracuda 111 Minna. 9pm, $5-10. Eclectic 80s music with Djs Damon, Phillie Ocean, and Mod Dave, plus free 80s hair and make-up by professional stylists.

DatA Mezzanine. 9pm, $10. With DJs Sleazemore, Sick Face, Alexander Frederick, and Eli Glad spinning futuro-disco and space electro.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Shine the Light Shine. 10pm, $10. With DJs Cheb I Sabbah, Mighty Dub Killaz, Janaka Selekta, and El Diablo spinning global electronic.

SUNDAY 23

ROCK/BLUES/HIP-HOP

Arnocorps, A Band of Orcs, Untapped Fury, Dagobah Thee Parkside. 8pm, $8.

Cult Warfield. 8pm, $38.50-100.

Ted Leo and the Pharmacists, Hank IV Bottom of the Hill. 9pm, $15.

Maggie Morris, Ghosties Hemlock Tavern. 9pm, $5.

Chuck Prophet and friends Knockout. 8pm, $10.

Six Organs of Admittance, Master Musicians of Bukkake Independent. 8pm, $12.

J Tillman, Moore Brothers, Pearly Gate Music Café du Nord. 8pm, $13.

JAZZ/NEW MUSIC

Lucid Lovers Harris’ Restaurant, 2100 Van Ness, SF; (415) 673-1888. 6:30pm.

Zachary Richard Yoshi’s San Francisco. 7 and 9pm, $20.

Stanley Coda. 9pm, $7.

FOLK/WORLD/COUNTRY

Fiesta Andina! Peña Pachamama, 1630 Powell, SF; (415) 646-0018. 7pm, $12. With Eddy Navia and Sukay.

Sacred Profanities Thee Parkside. 3pm, free.

Salsa Sundays El Rio. 4:15pm, $8. With Orquesta D’Soul.

John Sherry, Kyle Thayer and friends Plough and Stars. 9pm, free.

Tippy Canoe, Five Cent Coffee, Mikie Lee Prasad Amnesia. 9pm, $7-10.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Maneesh the Twister, and guests Roy Two Thousand and DJ Quest.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th; 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

BAY AREA

Culture Club Oasis, 135 12th, Oak; (510) 763-0404. 10pm, free. Funky, deep, soulful, tech, house music with DJs Kincaid, Nesto and more.

MONDAY 24

ROCK/BLUES/HIP-HOP

Ted Leo and the Pharmacists, Jeff the Brotherhood Bottom of the Hill. 9pm, $15.

Pins of Light, Libyans Hemlock Tavern. 7pm, $5.

Chelsea Wolfe, Helene Renaut, J. Irvin Dally Knockout. 9pm, $7.

Pete Yorn Fillmore. 9pm.

JAZZ/NEW MUSIC

Lavay Smith Trio Enrico’s, 504 Broadway, SF; www.enricossf.com. 7pm, free.

Mitch Marcus Quintet Yoshi’s San Francisco. 8 and 10pm, $10-12.

FOLK/WORLD/COUNTRY

Barefoot Nellies Amnesia. 8:30pm, free.

DANCE CLUBS

Black Gold Koko Cocktails, 1060 Geary; 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Going Steady Dalva. 10pm, free. DJs Amy and Troy spinning 60’s girl groups, soul, garage, and more.

King of Beats Tunnel Top. 10pm. DJs J-Roca and Kool Karlo spinning reggae, electro, boogie, funk, 90’s hip hop, and more.

Mainroom Mondays Annie’s Social Club. 9pm, free. Live the dream: karaoke on Annie’s stage and pretend you’re Jello Biafra.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

Network Mondays Azul Lounge, One Tillman Pl; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.

TUESDAY 25

ROCK/BLUES/HIP-HOP

Box Elders Hemlock Tavern. 6pm, $5.

Catholic Comb, Downer Party, Scott Allbright Bottom of the Hill. 9pm, $10.

Fruit Bats, Death Vessel Independent. 8pm, $14.

Pharmakon, R. Jencks, Orhima Hemlock Tavern. 9:30pm, $5.

Spoon + 10, Shark Speed El Rio. 8pm, free.

JAZZ/NEW MUSIC

Dave Parker Quintet Rasselas Jazz. 8pm.

Dogman Joe Yoshi’s San Francisco. 8pm, $12.

Euliptian Quartet Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

For Corners Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 8:30pm, free.

"Jazz Mafia Tuesdays" Coda. 9pm, $7. With Felonious.

RJ Ross Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Ricardo Scales Top of the Mark. 6:30pm, $5.

FOLK/WORLD/COUNTRY

Song Session Plough and Stars. 9pm, free.

DANCE CLUBS

Drunken Monkey Annie’s Social Club. 9pm, free. With DJ Voodoo.<\!s>*

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

*

The blackout factor

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news@sfbg.com

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This chart shows how customers of Pacific Gas and Electric Co. face far more power outages than customers of any of the public power agencies in the Bay Area

Noel Birbeck makes signs. In a low, nondescript building tucked into a south of Market side street, a printing machine spits out personal greetings and corporate messages in all colors, shapes, and sizes.

Until the power goes out.

"We print things that are up to 50 feet long," said Birbeck, the business manager of Budget Signs. "If the power goes out at foot 35, we have to start the printing process all over and throw out all that time and money that went into the initial printing."

And that, unfortunately, has been happening far too often. In fact, a Guardian review of available data shows that customers of Pacific Gas and Electric Co. lose power much more frequently than customers of municipally-owned and operated utilities.

That costs money and harms the local business climate.

"[Any disruption] is a huge deal," Birbeck said. "If we’re in the middle of a deadline and a customer expects something at a certain time, that can cost Budget Signs a huge amount of money. No one is going to pay you for something that is only kinda done."

The last major outage cost Budget Signs more than $300 in employee and company time as Birbeck and her workers waited for the power to return. It’s a manageable amount, but she insists she can’t put a price on the inconvenience, the uncertainty, and the potential loss of business.

Reliable power is a basic requirement of most businesses. Restaurants and markets need refrigeration, factories need to power production lines, office buildings run large computing systems, retailers need to run cash registers, lights, and credit card machines. An unexpected power outage can cost San Francisco businesses thousands of dollars.

A 2001 study by the Electric Power Research Institute estimates the cost of power disruptions to California businesses is between $11.5 million and $17.8 million annually.

No utility can guarantee year-round power without disruptions, surges, brownouts, or severe weather-related outages. But reliability varies widely among California utilities.

PG&E breaks its service area into districts, and, according to reports it submits annually to the California Public Utilities Commission, San Francisco customers experienced an average of two hours of non-weather-related outages per year over the last six years. (Weather-related incidents are not reported at the district level.)

That’s better than the three-hour average across PG&E’s entire California service area. Still, PG&E customers in San Francisco lose power, on average, 2.5 times as often as customers of other Bay Area utilities.

The Palo Alto Utilities Department, Silicon Valley Power in Santa Clara, Alameda Municipal Power, and the Sacramento Municipal Utility District have dramatically better records, ranging from 82 minutes a year of outage time in Sacramento to only 16 minutes in Santa Clara — and these numbers include all weather-related events.

In other words, the municipal utilities deliver power more consistently and at considerably lower rates — even before factoring in PG&E’s impending rate hike of 3.3 percent to 5.4 percent.

"We consider any widespread blackout a major event," said Larry Owens, division manager at Silicon Valley Power. "Systems can be managed to minimize storm related events — we do [that]."

MONEY FOR MAINTENANCE


There are a number of reasons why these public power sources are more reliable than PG&E: size of the service area, age of the infrastructure, administration of the organization.

"The general concept is that the more complex the topography is and the older the urban areas are … the more unreliable the system is going to be," said Mark Loy, a ratepayer advocate at the CPUC.

"For PG&E there are negative powers of scale," he continued. "They are so large and spread out that being bigger actually makes things more difficult for them to fix. In San Francisco, the circuitry PG&E uses hasn’t even been mapped out in some places, so it is all haphazard and harder to keep on top of."

Public power agencies also have more incentive to invest in maintaining their infrastructure.

Patrick Valath, manager of electric engineering at the Palo Alto Utilities Department, attributes his city’s annual average of only 65 minutes of power disruption to an "aggressive and sustained infrastructure replacement program that is spread over many years."

Alameda Municipal Power’s Alan Hangar said the annual average of only 25 minutes of outage in that city is due to years of building stability and redundancy into the system.

Santa Clara is by far the most reliable utility company in the area, Owens said, and is often ranked second in the nation. "Our current operating philosophy is to load the system with only half of what it is capable of carrying," he said. "That allows us to switch a customer to another circuit quickly, so we restore their power and make repairs on our time, not their time."

He also noted that the vast majority of Santa Clara’s power lines are underground, making them far less susceptible to damage from storms, accidents, and other interference.

Municipal utilities have more freedom than investor-owned companies like PG&E to shift the focus away from profits, revenue, and shareholder returns toward quality and customer satisfaction.

"We are customer-driven," Owens said. "They repeatedly tell us that reliability is the No. 1 priority. The cost of power is second. We have some customers who say they lose $1 million a minute in an outage, and that by far trumps the cost they pay for energy."

THE RIPPLE EFFECT


Business owners don’t need studies to tell them they are losing money because of PG&E.

Arienne Landry, owner of Just for You Café in San Francisco’s Dogpatch neighborhood, faced a blackout during lunch service at her café several months ago.

"The power was out for four or five hours," she said. "During that time I’m paying people to work, but I can’t serve customers without power. I probably lost a couple of grand in sales. It’s not a severe loss, but it takes a little while to catch up."

Birbeck of Budget Signs remembers a power disruption that occurred when she was in the middle of two large printing jobs. She and an employee returned to the shop at 10:30 p.m. after a neighbor alerted her that the power had returned. She said they worked through the night to complete the jobs on deadline.

"They were our two largest jobs for our two largest companies at the time," she said. "Both jobs were over $10,000. Potential loss of either or both of these companies would have been disastrous to a small company. I really couldn’t even put a price on it."

And the cost of an outage doesn’t stop at that initial business. If the power goes out at Birbeck’s sign shop and a sign doesn’t get finished and a deadline isn’t met, Birbeck might lose money or even a client. But that client might have needed that sign for a business event, and that business event may have needed that client … and the losses can go on and on.

Those ripples are larger and go farther in many high tech industries. Larry Owens of Silicon Valley Power said that consistent, reliable power is especially important for the high tech firms located in Santa Clara, including Applied Technologies, Inc., McAfee, Inc., and Intel Corp.

"There are some processes that require a 21-day burn in," he said. "If there is a power outage, they have to start all over again. An outage can cause a company to lose market share or dominance or preferred vendor status. It ripples out a long way."

Some companies have such sensitive systems that a drop in voltage for a mere fraction of a second can shut them down and require rebooting.

"Our customers have become power-quality sensitive," Larry Owens said. "It doesn’t take an outage to harm a business. A fault on a transmission line causes the whole system to dip, a voltage dip. If you have a heavy load, it knocks the voltage down for milliseconds. If it drops enough, companies’ systems drop out."

State Sen. Mark Leno is intimately familiar with the problem — he owns Budget Signs. And he has called on the California Public Utilities Commission to investigate the problem.

"As a San Francisco small business owner, I am personally aware of the lost business I experience as a result of PG&E’s performance failures," Leno said in a press release. A June 18 letter Leno sent to the CPUC noted: "As the commission considers PG&E’s request to upgrade its grid, I would ask you to include both an investigation of these problems and PG&E’s proposed solutions to them."

Almost a month later Michael R. Peevey, president of the CPUC, responded, arguing that PG&E’s reliability rate in 2008 was better in the previous few years. He also pointed out that the utility has a formal process for filing claims and that the commission has no authority over system reliability.

That, Leno said, is unacceptable. "From reading that letter, one would never know that the mission of the California PUC is to be the protector of the ratepayer," he told us. "The ratepayers are being badly served by PG&E and the CPUC."

FILING A CLAIM


In theory, state law requires PG&E to reimburse businesses for losses caused by blackouts. A business owner or manager can find the claim form on PG&E’s Web site or can call the claims office. Each case is assigned to one of the 21 claims investigators who cover the utility’s service area. With the help of supporting documents, investigators look into the occurrence, determine PG&E’s liability and the degree of monetary loss, and compensate the business accordingly. All, according the Web site, within an average of 30 days.

Emily Mitra, owner of Dosa, which operates Indian restaurants in the Mission District and the Fillmore District followed this process — and it wasn’t that simple.

On Dec. 18, 2008, a PG&E transformer blew and both locations of Dosa lost power. Mitra had to contend with food spoilage, staff costs, down equipment, lost business, all of which added up to about $12,000.

"We filed claims, but it was a long process," she said. "A check came for the Valencia Street location immediately but for the Fillmore location, PG&E didn’t even have record of an outage."

After three months of badgering PG&E to no avail, Mitra said she contacted Sup. Ross Mirkarimi’s office and the Small Business Commission.

"I was ready to sue them," she said. "I had dozens of witnesses, but that didn’t seem to faze them. It could have been a coincidence that they found the data right after we talked to the Small Business Commission. But it was a pretty quick turnaround after that."

A check arrived for the full amount of the claim. But Mitra couldn’t claim compensation for the time, energy, and frustration the claims process cost her over its three-month duration.

Birbeck told us PG&E never informed her that there was a formal claims process. "No one ever mentioned a claim to me — that has never been offered at all," she said. That’s a common complaint — although the forms are on PG&E’s Web site, the utility doesn’t widely promote or advertise that fact.

PG&E also asks business owners to provide a slew of paperwork ranging from tax records and bank statements to payroll records, revenue and expense statements, and sales receipts.

"We had to give them a lot of data," Mitra said. Because Dosa’s records are mostly digital and automated, supplying them to PG&E was the least of her problems. But, she conceded, "if you don’t run your business in a way that keeps all that data, it would be a pain in the ass."

Of course, the claims process does nothing to address issues of reliability. Neither does it guarantee that Mitra’s refrigerators won’t fail without notice, leaving her without food to serve.

It is, however, another reminder that San Francisco is not being well-served by its private utility monopoly.

The Newsom campaign’s in trouble

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By Tim Redmond

Lots of interesting opinions about what the loss of Eric Jaye means to the Newsom campaign. Paul Hogarth at Beyond Chron Thinks that Garry South, who is now in charge, could lead to Newsom’s downfall. Brian Leubitz at Calitics thinks that

Eric Jaye was an enormous asset to Newsom’s campaign. It is hard to see how a departure of somebody with that kind of relationship and with that kind of intricate knowledge of the candidate is good for the campaign.

And Jerry Roberts, who has been covering politics in this state even longer than I have, thinks this is exactly what the Newsom campaign needs:

The last political consultant to elect a Democrat governor of the state, the Duke of Darkness is a bare-knuckles, in-your-face, shoe-leather, hand-to-hand combat veteran who has two main tasks: 1) Get his candidate to raise a ship load of money and 2) Needle, badger and tweak primary rival Jerry Brown at every turn.

A few thoughts:

1. Everyone agrees that South is, in political terms, an asshole, someone who loves negative campaigning and sees the key to victory as raising tons of money and trashing your opponent. He has had both success (Gary Davis, at first) and failure (Gray Davis, later; Joe Lieberman, Steve Westly) with that approach.

But the thing to keep in mind is that, whatever you think of Newsom’s politics, this isn’t his style. Newsom’s not a brawler; he wouldn’t even show up at supervisors meetings to argue with Chris Daly. He’s much more of a stand-in-the-well-scripted-public-meeting-with-a-cordless-mike kinda guy. In fact, if this becomes a bloodbath, Newsom loses; he can’t take a punch. Real conflict makes his nervous. And I don’t think Jerry Brown will come out of the gate with a negative campaign, but if Newsom starts it, Brown will respond.

2. Newsom ought to be the clear front-runner in this race. It’s almost a textbook campaign — the new, fresh face, the young, tech-savvy charmer with the grand ideas against the been-there-done-that crabby old pol who has changed his political stripes so many times it’s hard to know what he actually believes in any more. That’s what Eric Jaye was trying to do. Sure, the fundraising was slow, and Jaye mistakenly thought that Newsom could pull an Obama (I’ve seen Barack Obama, and Mr. Mayor, you’re no Barack Obama). But if they could raise enough to be competitive, they had the right strategy.

3. It’s hard to win a Democratic primary without the progressives in California. And South has done everything possible in his career to anger and alienate progressives.

4. Eric Jaye is no fool — he had hitched his own star to Newsom long ago, was looking not just at Sacramento but beyond — and if he thought South’s approach was the correct one, that it would lead to victory, he wouldn’t have been so quick to bail.

I dunno — Jerry Brown ought to be terribly vulnerable at this point, but I think Newsom’s campaign is in trouble.

Best of the Bay 2009: Sports and Outdoors

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Editors Picks: Outdoors and Sports

BEST "HOLY SH*T!"

Although it has only been a mere season and a half since Barry Bonds went loudly into a toxic sunset, the San Francisco Giants have already refocused with a formidable team of unlikely upstarts that boasts one of the best records in the National League. Built around a colorful but humble lineup of players with nicknames like the Freak, Big Unit, and Kung Fu Panda, the current Giants roster is everything that Bonds was not — egoless, team-oriented, and free of baggage. And just as the Tim Lincecum-<\d>led pitching staff was shaping up as the team’s best asset for a successful playoff bid, along comes 26-year-old left-hander Jonathan Sanchez, from a demotion in the bullpen, to throw a masterpiece of a pitching performance. The Sanchez no-hitter against the Padres on July 10 was the team’s first since 1976. It provided an up-from-the-ashes victory that invoked tremendous optimism for the future, to the point where you can already hear it, clear with conviction and confidence: "Beat L.A.! Beat L.A.!"

BEST KID-FRIENDLY SUICIDE RUN

Never underestimate the urge — especially in somber, grizzle-haired grown-ups and perfectly sensible adults — to jam shiny, decal-stickered helmets on one’s head before shrieking downhill in plastic toy vehicles, playfully jockeying with others all the way to the bottom. Having just completed its triumphant ninth annual run this past Easter, the annual Bring Your Own Big Wheel race is spastic, daredevil fun. Any form of transport is legal, as long as it’s human-powered and about a third your size. Past races have seen some imaginative entries: office chairs figured in one racer’s wobbly run, while others constructed iffy rides from wood planks, masking tape, and a few ingeniously placed nails. Outlandish costumes never hurt, either: Big Bird, bunnies, and aliens run rampant. Once held on Lombard Street, the event now careens down Potrero Hill’s twistier Vermont Street. The only thing you can’t bring is alcohol. Shucks.

www.jonbrumit.com/byobw

BEST WORKOUT WITH A TWIST

Is it wrong to be kind of turned on by the Victorian-bondage-looking machines at San Francisco Gyrotonic? Even the word "Gyrotonic" makes us gyrate suggestively in our minds. (Pervs!) Intimately connected to the dance community, the Gyrotonic exercise program is an intriguing new approach to working out. The Gyrotonic Expansion System was invented in the 1950s by ballet dancer Juliu Horvath after an Achilles injury left him unable to dance. The workout uses a contraption with raised pulleys, similar to a Pilates machine, but moves your joints in a circular rather than linear motion, training the body to be more flexible. Classes are taught by former ballerinas who’ve danced in companies such as the San Francisco Ballet, New York’s School of American Ballet, the Metropolitan Opera’s American Ballet Theatre, and San Francisco’s Alonzo King’s LINES. In terms of dance workouts, nothing could be further from Billy Blanks’ Tae Bo. The studio attracts a fleet of nimble, limber dance-types, but beginners should not be intimidated, nor overexcited.

26 Seventh St. # 4, SF. (415) 863-3719, www.sfgyrotonic.com

BEST YO-YO WHAT’S UP

If we’ve learned anything from the most recent technological revolution, it’s that nerds are way cooler than we thought they were. "I’m a music nerd," people will proudly say, or "I’m an art nerd." Identifying as a nerd grants substantial cultural capital — and not just in a lame hipster sense, like when people wear glasses without lenses or pretend to appreciate B-movies. Skateboarders, cyclists, and gamers are good examples of this phenomenon, but none of these subcultures has a more nonconformist, fuck-you attitude than that of the gonzo yo-yo enthusiast. It’s true that yo-yo champion David Capurro and the other members of his local club, the Spin Doctors, probably spend their weekends practicing barrel rolls and smashers instead of drinking, dancing, and posing. But, well, come on, that shit’s for nerds. Cool people have better things to do … like winning tournaments, inventing new tricks, and traveling the world to battle other crews.

www.spindox.org

BEST WAY TO GET BLOWN AWAY

Perhaps you’ve seen kiteboarders skimming across the water like wakeboarders and flittering aloft, gliding like skydivers. If you’ve yearned to partake in the strange but intriguing sport of kiteboarding, but didn’t know where to start, look no further than Boardsports School and Shop. With three locations and plenty of certified instructors, it’s the most facilitative wind and board shop on the bay. Whether it’s kitesurfing, windsurfing, kiteboarding on land, or even stand-up paddle boarding, the staff can help you find what you’re after (don’t be put off by the dude-bro locutions) and teach you how to catch some major air safely. Boardsports has exclusive teaching rights in two of the bay’s best beginner spots, Alameda’s Crown Beach and Coyote Point in San Mateo, and offers lessons for first-time kite flyers or can arrange pro instruction for experienced boarders looking to push their skills to the next level. Boardsports also offers tidy deals on kite packages and equipment to help you lift off without lifting your wallet.

(415) 385-1224, www.boardsportsschool.com

BEST WET PUCKS

The Brits have started some internationally contagious sports, like football (soccer) and cricket. Now underwater hockey, which English divers created in the 1950s, is grabbing Americans’ attention. Locals are quickly jumping into the game with the San Francisco Underwater Hockey club. If you like swimming, dip your toes in new water and give it a shot. Sean Avent of the San Francisco Sea Lions club team explains its appeal: "Holding your breath, wearing a Speedo, and swimming after a lead puck on the bottom of a swimming pool is no more obtuse than trying to pummel a guy who is carrying a pigskin ball and armored in high-tech plastic. People, in general, are just more familiar with the latter of the two obtuse sports. And the first is just way more fun." Pay $4 at the door of one of the games to try it out, or join the club and play in the Presidio or Bayview pools at a low cost.

www.underwater-society.org/uwhockey/sanfran

BEST YOGA WITH THE FISHES

Million Fishes Gallery, one of our favorite artist collectives in San Francisco, isn’t just an awesome place to see great exhibits by a revolving door of local artists and to catch raging late-night shows featuring bands like Jonas Reinhardt, Erase Errata, Tussle, and Lemonade. It also provides an effective and inexpensive way to get your rejuvenating twice-weekly yoga fix. Instructor Beth Hurley teaches a 90-minute vinyasa yoga class from 6:30 to 8 p.m. on Tuesdays and Thursdays at the gallery’s yoga studio (yeah, this artist space comes with its own yoga studio) that draws a nice mix of artists, Mission locals, yoga enthusiasts, and those who see the benefit in working out before hitting up El Metate next door. Hurley’s sessions are $7 to $11, which firmly places them among the least expensive yoga classes in San Francisco, and safeguards you from having to deal with yuppie yogis in head-to-toe Lululemon.

2829 23rd St., SF. www.millionfishes.com

BEST EYE-WATERING MEMORABILIA

Mission restaurateur Scott Youkilis has turned out quality American fare at Maverick for a few years now, while his brother Kevin continues to play at an MVP pace for the Boston Red Sox. Scott bottles a great homemade hot sauce; Kevin hits two-out home runs in the bottom of the ninth against the New York Yankees. Could there possibly be a way to merge these exceptional fraternal talents? Voilà: Youk’s Hot Sauce, a condiment that attempts to bottle the potency of Kevin’s hitting abilities with the flavor of Scott’s Southern-tinged cuisine. Available at Maverick or online, bottles go for $10 each, or $25 with Kevin’s autograph, and portions of all proceeds go to Kevin’s charity, Youk’s Hits for Kids. It’s a hot souvenir from a future Hall of Famer for the legions of Red Sox fans that make the Bay Area their home away from Fenway.

3316 17th St., SF. (415) 863-3061, www.sfmaverick.com, www.youkshotsauce.com

BEST NATIVE WORKOUT

When it comes to getting in shape, it’s almost a crime to have a gym membership in San Francisco. We live in the almost perpetually golden state of California, not Wisconsin in the third week of January. So get the hell outside and tackle some hills or run along the beaches. Better yet, do both with the Baker Beach Sand Ladder. Long known to local triathletes as an endurance-crushing beast, the sand ladder is 400 sheer steps of pulse-pounding "I think I’m gonna die" workout, set against the spectacular backdrop of the Pacfic Ocean flowing into the Golden Gate. Minus the cardiac arrest, it sure beats the fluorescent lighting, smelly funk, and steroidal carnival music of your local gym. The simple fact of the matter is that when you can run nonstop to the top of the sand ladder you’re officially in good shape. And best of all, it’s free.

25th Ave. and El Camino del Mar, SF. www.nps.gov

BEST BITCH-SLAP FOR THE ENVIRONMENT

Chevron has always been one of the Bay Area’s more vile corporations, whether it’s lobbying aggressively against global warming legislation or polluting communities from Richmond to Ecuador, all the while greenwashing its image with warm and fuzzy (and highly deceptive) advertising campaigns. That’s why we love to see groups such as the rainforest-protecting Amazon Watch and its anti-Chevron allies giving a little something back. Before this year’s Chevron shareholders meeting in San Francisco, activists plastered fake Chevron ads ("I will not complain about my asthma" and "I will give my baby contaminated water") all over the city and staged creative protests outside the event. Ditto when Chevron CEO David O’Reilly spoke at the Commonwealth Club in May, sending Chevron goons into a paranoid frenzy. Amazon Watch and other groups are winning some key battles — voters recently approved steep tax increases on Chevron’s Richmond refinery, and a judge rejected plans to expand the facility. To which we can only say, "Hit ’em again!"

www.amazonwatch.org

BEST PUBLIC ACOUSTIC COCOON

Ear-piercing squeals, gut-rumbling skronks, the occasional wet fart sound — these are the unfortunate hallmarks of beginning brass instrumentalists. Those living in a city as dense and sensitive as our own have it rough when they want to work out their kinks: neighbors who sleep during the day or get up early yell at them, passersby take none too kindly to the squawking on busy sidewalks, and soundproofed studio space is economically out of reach. For all who need a place to practice, there’s the blessing of the Conservatory Drive tunnel, which passes under John F. Kennedy Drive in Golden Gate Park. An array of practicing jazz combos and amateur tooters take up residence at the tunnel’s entrance during the day, providing entertainment to nearby Conservatory of Flowers visitors. The tunnel actually seems to crave music pouring into and echoing through its abyss — it forms a protective acoustic cocoon around performers that amplifies mellifluous passages and somehow blurs out less felicitous ones. Spontaneous jam sessions are common, so don’t sit on the grass — pick up your brass.

Conservatory Dr. and John F. Kennedy Dr., Golden Gate Park, SF

BEST MOUSETRAP FOR MINOTAURS

Little-known and charmingly miniscule, the Eagle Point Labyrinth is a jumble of twisty turns perched on the lip of a cliff near an offshoot of Lands End Trail. To reach it, you must set out with a compass in hand, hope in your heart, and fingers crossed. The labyrinth, one of three outdoor mazes known to exist in San Francisco, is a mysterious wonder that has so far avoided being marked on any map (although it can be glimpsed via a Google satellite image for those too faint to blindly wander in search of it). The superlative views it affords of the Golden Gate certainly justify hiking, sometimes panicked, through yards of unpruned foliage. The stone-heaped maze is handmade, and while we speculate about its mysterious origins — a mousetrap for Minotaurs, perhaps? — we can’t help but appreciate the karmic offerings of those who have reached the center before us, leaving a small pile of baubles. Mythic etiquette mandates you scoop up one of these and leave something of your own behind.

Lands End, Sutro Heights Park, SF.

BEST COMMUNITY STRETCH

Yearning to try yoga but needing to stretch your dollar? Every Monday through Thursday from 7:45 p.m. to 9:15 p.m., YogaKula packs its San Francisco location with eager newcomers for its affordable community class, available on a sliding scale ($8 to $16). Especially lively are the Monday and Wednesday classes with quirky and entertaining instructor Skeeter Barker, who offers genuine, palatable optimism and inspiration along with some much-needed recentering. Barker is an inspirational teacher who, as her Web profile says, "welcomes you to your mat, however you find yourself there." Along with the community classes, YogaKula offers Anusara, a therapeutic style of yoga, in addition to a variety of other wellness practices. Its two locations — one at 16th Street and Mission, and one in North Berkeley — offer courses in yoga training, yoga philosophy, specialized workshops, Pilates, massage, and one-on-one yoga instruction.

3030A 16th St., SF. (415) 934-0000; 1700 Shattuck, Berk. (510) 486-0264, www.yogakula.com

BEST PLACE TO HIDE A JET

To be precise, the best place to hide a jet is behind Door 14 on the Alameda Naval Air Station. While many of the buildings on the former military base have been converted to civilian uses, such as sports clubs and distilleries, some continue to serve military functions, like storing the jet that used to be on display at the base’s portside entrance (until high winds blew it off its pedestal two winters ago). The naval station is also the perfect place to hide domesticated bunnies. A herd of them live in and around a tumbledown shed opposite the Port of Oakland. Then there are the jackrabbits, which flash across the base’s open spaces at night, hind legs glinting in the moonlight. It’s easy to miss the flock of black-crowned night herons, which pose one-legged every winter on the lawns of "The Great Whites"-<\d>houses where the naval officers once lived. But who could forget the hawk that roosts atop the Hangar One distillery and periodically swoops to grab a tasty, unsuspecting victim off the otherwise empty runways where The Matrix Reloaded was shot?

1190 W. Tower, Alameda

BEST PUTT-PUTT ON THE ‘CIDE

Since 1998, Cyclecide has been enchanting — and sometimes scaring — audiences with its punk rock-<\d>inspired, pedal-powered mayhem. But after 11 years of taking its bicycle-themed carnival rides, rodeo games, and live band to places like Coachella, Tour de Fat, and Multnomah County Bike Fair, the bicycle club is putting down roots, or rather, fake grass. This year the crew famous for tall bikes, bicycle jousting, and denim jackets with a cackling clown on the back is building Funland, an 18-hole mini golf course in the Bayview. Though sure to be fun for the whole family, rest assured that Funland will retain all of Cyclecide’s boundary-pushing humor and lo-fi sensibility. Yes, there will be a replica of the Golden Gate Bridge built by master welder Jay Broemmel, but you can also putt through Closeupofmyass, a landscape of rubber tubes springing from brown Astroturf. What else would you expect from a crew whose interests are "bikes, beer, and building stuff"?

www.cyclecide.com

BEST NO FRILLS FIRST AID

It’s nice for big companies to notice that women buy things other than cleaning supplies and facial cream. But do they have to make everything targeted toward the female demographic so freakin’ floral and pink and cloyingly girlie? Adventure Medical Kits — the Oakland-based company famous in sports circles for outfitting everyone from backcountry skiers to weekend car-campers with durable, complete first-aid packages — says a resounding no. Its women’s edition outdoor medical kit comes jam-packed with all the fixings adventurous boys get — wound care materials, mini tweezers, insect-bite salve, a variety of medications, and a first-aid booklet — plus a couple things only ladies need, like tampons, leak-safe tampon bags, menstrual relief meds, and compact expands-in-water disposable towels. And it’s all packaged in a sporty blue nylon bag that weighs less than a pound. No lipstick? No diet pills? No frilly, lacy case made to look like a purse or a bra or a tiny dog? We’re buying it.

www.adventuremedicalkits.com

BEST PLACE TO GET ROLLIN’

When one thinks of skate shops these days, one’s thoughts travel naturally to wicked Bloodwizard decks, Heartless Creeper wheels, and Venture trucks — everything you’d need to trick out your board before you cruise to Potrero de Sol. All those goodies are available at Cruz Skate Shop, as well as Lowcard tees, recycled skateboard earrings, Protec helmets, and much more. But boarding is boring. You’ve done it since you were 13. Isn’t it time to ditch that deck and take up a real sport like, say, roller skating? Hell, yes. And Cruz has everything you need to get started down that sparkly, disco-bumpy Yellow Brick Road to eight-wheelin’ Oz. From the fiercest derby-ready model to mudflap girl bootie shorts, this store will kit you up in the best way for your Sunday afternoon Golden Gate Park debut. We’re partial to the Sure-Grip Rock Flame set of wheels with, you guessed it, pink flames streaming up the toes. But an enticing array of more professional-looking speed skates is available, as is a knowledgeable staff to get you rollin’.

3165 Mission, SF. (415) 285-8833, www.cruzskateshop.com

BEST OF THE BAY ON THE BAY

If you’re looking to get on the water without getting wet, Ruby Sailing is an affordable option for you and your friends to get a taste of adventure. The Ruby sailboat has been taking guests around the bay for 25 years. For just $40 per person, owner and operator Captain Josh Pryor will lead you on a two and a half hour tour of the bay, passing Alcatraz and looping around Sausalito. Snacks are provided, and the skipper sells wine and beer by the glass for cheap. The Ruby is also available for fishing expeditions, including poles, bait, and tackle; for private parties up to 30 guests; for weddings; and even for funerals at sea. And since the boat boards at the Ramp restaurant on the Dogpatch waterfront, you’re covered for pre- and post-splash food and drink, if you have the stomach. No prior sailing experience is required, but, in the words of the skipper, "no two trips are the same," so be ready to hang on.

855 Terry Francois, SF. (415) 272-0631, www.rubysailing.com

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BEST OF THE BAY 2009:
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>>READERS POLL WINNERS
>>EDITORS PICKS: CLASSICS
>>EDITORS PICKS: CITY LIVING
>>EDITORS PICKS: FOOD AND DRINK
>>EDITORS PICKS: ARTS AND NIGHTLIFE
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>>EDITORS PICKS: SEX AND ROMANCE
>>EDITORS PICKS: OUTDOORS AND SPORTS
>>LOCAL HEROES

Summer Slaughter Tour

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PREVIEW Summer metal tours, notably Ozzfest, operate like feudal hierarchies. As night descends and the stages get bigger, lesser known vassals doing fealty in the parking lot give way to the landed headbanger aristocracy, who in turn cede the stage to some anointed monarch of metal.

In recent years, package deals like Summer Slaughter have taken a more republican approach, recruiting bands of middling stature to represent a vast array of black-hoodied constituents. Though the ticket buyer is not snared by the ermine-furred eminence of a Maiden or a Priest, a large number of quality upstarts can cast a wide net. Throw in three or four majority whips with reliable fanbases and good reputations, and you’ve got yourself a Congress of carnage.

Suffocation is the biggest name on the bill, and the veteran New York City death metal band will cater to the "never-too-brutal" crowd with its bludgeoning low-end assaults, including cuts off a new full-length, Blood Oath (Nuclear Blast). Death-heads will also be there for cult German tech outfit Necrophagist, whose impossible chops and mind-bending arrangements justifies its headlining spot.

D.C. thrashers Darkest Hour is embarking on its first U.S. run without departed lead guitarist Kris Norris, and will be eager to show its many detractors the fighting fitness of a new lineup and a new, Norris-less album, The Eternal Return (Victory Records). Folk-inflected Finnish battlers Ensiferum round out the tour’s Big Four, promising the best in war-kilts and anthemic, epic barrages. Whatever your particular poison, slaughter is imminent.

SUMMER SLAUGHTER TOUR With Winds of Plague, Dying Fetus, Born of Osiris, Origin, Beneath the Massacre, After the Burial, Decrepit Birth, Blackguard. Wed/1, 2:30 p.m. $30. Regency Grand Ballroom, 1290 Sutter, SF. (415) 673-5716. www.regencycentersf.com/grand

Grade A

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a&eletters@sfbg.com

It was a gathering of tribes with more tattoos and partially shaved heads per square foot than anywhere else in San Francisco. The sartorial imagination at times rivaled the one on stage. In other words, it was the eighth Fresh Meat Festival, celebrating transgender and queer performance, and Project Artaud Theater packed them in.

Announced as the largest festival of its kind in the country, Fresh Meat is the brain- (and heart-) child of Sean Dorsey. A smart organizer and good artist, he programmed a lineup that showcased not only gender but ethnic diversity: a Latino singer, an African American rapper, and a Sri Lankan theater artist, among others. Differences extended to quality; not all the performers were equal in either craft or talent. But this was a theatrically pungent evening whose concurrent themes couldn’t be missed. Joyful affirmation of self and the pain of not fitting in went hand in hand.

The evening opened on a note of female assertiveness. Taiko Ren’s exuberant women embraced those huge drums — for centuries restricted to the male of the species — as their birthright. Planting their hips and focusing their energy into the hard-hitting batons, they set the air humming with overlapping and shimmering resonances. Hip-hop closed the two-and-a-half-hour show. Allan Frias’ high-camp and razor-sharp Mind over Matter Dance Company’s Bring it to Runway exploded the fashion world’s dehumanized body as a clothes-hanger. Seen as manipulated mannequins, the dancers revolted into a brigade of hard-hitting, furiously stepping males and females whose individuality was as strong as their sense of common purpose.

Coming fresh from the Ethnic Dance Festival, the Barbary Coast Cloggers’ footwork and the body slaps in Hambone didn’t sound as finely synchronized as they have in the past. However, the marvelous Wind It Up, to Gwen Stefani’s yodel-infected song, highlighted the sly note of urbanity that’s always present in these dancers’ take on rural traditions. Another reminder that common dance traditions often exclude non-heterosexuals came from North American same-sex ballroom champions Zoe Balfour and Citabria Phillips. Their spacious Ballroom Blitz, a suave and light-as-air foxtrot, went by too fast. I would love to see what else they do.

Most of the solo performers came from Los Angeles. Ryka Aoki de la Cruz’ Alternator Domme was a little heavy-handed in its use of metaphor, but she is witty writer and quick-change artist who times her material — paying for car repairs with a gig in a dungeon — well. In the hilarious excerpt from Ramble-Ations: A One D’Lo Show, D’Lo transitions from a traditional Sri Lankan mother into an Angelino "tomboy". The work dove deeply into the poignancy of not wanting to be put into a gender — or any other kind of — box. Rapper Deadlee’s in-your-face "We Serve it Up Nasty" — with audience participation — was a rebellious rant against homophobia in hip-hop. Yet I wondered whether its transgressive tone didn’t strike a note of simple-mindedness with this audience. StormMiguel Florez has a beautifully flexible voice, yet his family-inspired songs sounded bland. SF’s own Shawna Virago — edgy, elegant, elegiac — premiered a lovely new work dedicated to Sean Dorsey.

Dorsey’s substantial Lou is his finest work yet, and the festival’s highlight. The excerpt (performed beautifully by Dorsey, Juan de la Rosa, Brian Fisher, and Nol Simonse) stood well on its own. Some of the verbal links between memory and history probably could be tightened, but the simple yet eloquent choreography opens up Dorsey’s language and Lou’s life remains simultaneously tender and powerful. As for the next Fresh Meat Festival: less between-the-acts talk and tighter tech, please.

To Serge, with love

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"Some people have their hang-ups about making music on a computer," opines tech house DJ and producer Serge Garcia, a.k.a. Greco Guggenheit. "Then again, some cinematographers during the silent era believed that the introduction of sound to films was fraudulent."

A relatively fresh face in the Bay Area, the 24-year-old Los Angeles native Garcia has more than a few bass monsters he’s itching to unleash. Wielding the Detroit techno scene and its forefathers as his beacon, he compounds elements from minimal house and peak-time techno into one banging track after another.

Garcia spent part of his youth in Mexico City, then Barcelona, where he played a lot of soccer (his "first love," he confesses). His introduction to electronic music began thanks to what he describes as "random CDs with the label ‘Techno/House Music’" that his older sister would mail to him. "Juan Atkins, Kevin Saunderson, Kerri Chandler, Derrick May," he incants, when asked about some of the DJs and producers who appeared on these CDs. "Basically, dance music that came out of Detroit and its surrounding areas in the 1980s and early ’90s."

In the last year, Garcia has split his time between San Francisco, Stockholm, and Berlin. He plans to make Berlin his home base later this summer, citing record label interest in and around Germany and an aversion to SF’s 2 a.m. curtain calls as motives for his move. "After visiting Berlin and experiencing places like Panorama Bar, Cookies Club, and Watergate, I remember coming home and feeling very alive and creative," he explains. "Here in the states, electronic music isn’t part of mainstream culture [the way] it is in many parts of Europe."

GRECO GUGGENHEIT

With Buttercream Gang, Magnanimous

Wed/10, 9 p.m., $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Bull feathers

0

superego@sfbg.com

SUPEREGO I recently found myself in Navajo Nation, munching on frybread at Kate’s diner in Tuba City with Hunky Beau after rocking out to, I shit you not, tech-navajo on the local FM station in the rental. I looked fantastic. We’d just witnessed a fierce two-spirit working the sandwich counter at the Bashas’ supermarket down the street. She/he looked fantastic. Back here in the city, on the nightlife scene, things weren’t so fantastic — another big underground party got busted, Pink Saturday ran into permit snafus, and neighborhood complaints mooted even more regular shindigs. And has anyone else noticed the skyrocketing price of a drink in this town? I’m not saying you need a buzz to bust out (alcohol sales are banned on the rez, so I’m grateful for the option), but dropping a Hamilton for a weak well screwdriver certainly has me rethinking my hollow leg. Still, as immortal shamans ABBA sang, "I can fly like an eagle, I can learn to spread my wings". Spread ’em, children, toss your hair, and let’s keep flying high.

ROLLER DISCO!

The only party in the city where I’m never alone falling on my luscious ass returns — skate rental provided, balance and expertise optional. I can’t lie, I have a total blast at this gig, even if the tunes are fun-yet-familiar and there’s always that one amazingly cute girl whose backspins and pirouettes make me bite my knuckles and wish I were a lot gayer. Like, Brian Boitano gayer.

Thu/4, 9 p.m., $5. Mighty, 119 Utah, SF. www.mighty119.com

"25 YEARS OF HOUSE MUSIC"

Dates and times, dates and times — why quibble? Most approaches to the evolution of house are more organic than any "x" on a calendar. But if a quarter-century celebration, complete with art exhibition, of the underground global movement that foretold the Internet’s interconnectivity is a big enough excuse to get Chicago genius Jesse Saunders behind the decks at Club Six, I’m way down.

Fri/5, 9 p.m.–3 a.m., $15. Club Six, 60 Sixth St., SF. www.clubsix1.com

ZOMBIE BEACH PARTY

"Guaranteed to put the laughter in slaughter" is a tagline that’ll get me every time. And so will any appearance by the Living Dead Girlz, those jaw-dropping undead dancer with a taste for semi-clothed flesh. They’ll be waving, not drowning, from the stage at this tongueless-in-cheek beach blanket bingo bacchanal, along with Sparkly Devil, Honey Lawless, and a mass grave of others. Plus: an undead beachwear costume contest. Paging Annette Funicello …

Fri/5, 9 p.m.– late, $10 street clothes/$7 surfer zombies. DNA Lounge, 375 11th St., SF. www.dnalounge.com

BIG IDEA: RITUAL AND REDEMPTION

Oh, crap. Is it really Pride month again? Time to haul that sequined rainbow thong from out the mothballs and try to get married or whatever. Yerba Buena Center for the Arts is going homo-humongous for its latest, starlet-studded Big Idea party — rounding up the city’s fiercest alternaqueers with its golden lasso, including fab drag disasters Anna Conda and Monistat, DJ Dirty Knees, Pansy Division, Honey Soundsystem, Ex-Boyfriends, and the ever-present, never-sleeping Sisters of Perpetual Indulgence. The Fellini-inspired spectacle also promises free tattoos, after-hours dancing, a taco truck, and "Project Nunway," heh. Best of all, the whole shebang is free — and not sponsored by Miller Lite, Altoids, 2Xist, Olivia Cruises, or Tylenol PM.

Sat/6, 9 p.m.–3 a.m., free. YBCA, 701 Mission, SF. www.ybca.org

WIGHNOMY BROTHERS

Monthly throwdown Kontrol at EndUp breeds absolutely bonkers dancefloor results that are far less fussy than its minimal techno focus, meticulous taste in talent, and somewhat daunting prevalence of miniscule eyewear would suggest. For the party’s fourth anniversary, it’s bringing in Germany’s superstar Wighnomy Brothers, two proudly unkempt vodka-swillers whose Seth Rogen-like public image belies a sizzling bromance with the more lovable, devil-may-care side of dance. The tipsy pair of teddy bears with a penchant for unpronounceable titles (recent release: Metawuffmischfelge) refused to visit the U.S. during that whole Bush thing. Laudable, but we could have used their balls-to-the-wall wig-outs to help us through such foulest ick. Good thing we’ve still got problems!

Sat/6, 10 p.m.–6 a.m., $20. EndUp, 401 Sixth St., SF. www.kontrolsf.com

Ain’t I a werewolf?

0

AFRO-SURREAL Stylistic rigor and as full an embrace of progressive technologies as budgets allow have made Underworld Trilogy (Sony Pictures DVD, $93.95) a pleasurable extension of epics from fang-face past. Yet perhaps the most significant aspect of Len Wiseman’s cycle about immortals warring for supremacy is an updated recognition of the post-1960s liberation strides of blacks and women in our society. It is reflected in the power and intellect of the first film’s heroine Selene (Kate Beckinsale) and her fellow vampiric rebels (like Robbie Gee’s tech-wizard Kahn) and lycan foes ("Razahir/Raze," played by Underworld concept engineer Kevin Grievoux). The last and best installment, Underworld: Rise of the Lycans, is a virtual remix of my generation’s seminal televisual event, Roots. If that ain’t Afro-Surreal, then what is?

It was 30 years ago — not long after the historic airing of the adaptation of Alex Haley’s Roots fundamentally changed public perceptions of America’s "peculiar institution" — that I moved to the Sahel and immediately became obsessed with Dogon lore about the Sirius star system and a family of deities including the trickster Pale Fox. Blood debates about antiquity and provenance continue to rage between disdainful classicists, denizens of the moribund field of Egyptology, and independent scholars of varying stripes devoted to Martin Bernal’s Black Athena (1987). My view supports linkages between the overlapping subcultures of the Dogon, Amazigh, "Egyptians," Zulu, and others, resulting in a kozmic fusion wherein the primordial werewolf (some would prefer jackal or werehyena) is a key deity from the dawn of civilization in the Motherland.

Underworld: Rise of the Lycans finds the great Irish actor Michael Sheen’s "lycan" leader character Lucian subbing for Kunta Kinte. In the stark, nightmarish Eastern European fiefdom of vampire lord Viktor (Bill Nighy), the decadent, pale vampires are pampered aristocrats guarded and served by their dark, subhuman lycan slaves (hybrids of humans and wolves). Lucian changes from pet house nigger fettered by shackles of the flesh and mind — condescendingly deemed "a credit to his race" by Viktor — into an enlightened, empowered rebel leader who brings deliverance to lycan-kind by forging an alliance with despised animal spawn of William Corvinus in the wooded wilds.

Yet all is not Molotovs and roses — there are sadistic spectacles of whipping at the hands of cruel overseer Kosta, Nubian ally Razahir is forced to submit to lycanthropy, and Lucian suffers the ultimate price for miscegenation with Viktor’s daughter Sonja (the underrated Rhona Mitra). Rise of the Lycans may not be Blacula, but it is often a winking mash-up of Roots and the even more hardcore, honest Mandingo (1975). In a time when America has just elected its first (official) black president but open dialogues on slavery — and reparations for same — remain muted at best, it’s heartening to witness product straight out of Hollyweird somehow serving as an optic Trojan horse for the oft-forgotten and misrepresented radicalism of antebellum culture heroes like Nat Turner, Cinque, and the O.G. Black Moses herself, Harriet Tubman.

Rise of the Lycans has been roundly panned by fanboys and critics alike, which is hardly shocking considering America’s unwillingness to face the major episodes of its bloody past — the enslavement of Africans via the Triangular Trade, and the genocide of the First Nations. Yet to these eyes and ears, the film’s a first sign in the Age of Obama that a willingness to finally address the West’s hateful legacies can emanate from "low" culture, despite the will to bliss out in the opiated mass of post-racial utopia.

Nite Trax: Jamie Jones

0

By Marke B., who thinks very highly of his ears, if not his latest dance moves. But he’ll keep trying. View the previous Nite Trax here.

There are currently three Jamie Joneses in the music world. Two of them are kind of cute — but I’d never ever listen to them again. As fate would usually have it, the REALLY cute one is the one who’s turning me out lately, and has just produced what may well be the summer 09 jam, if I was lame enough to predict such things. Ladies and gentlemen and ladies, the only Jamie Jones that counts:

jamie0509.jpg
But I’m really only interested in his music.

The song is “You!” — an eight-plus minute slice of loveliness, what I would perhaps call subtle tech-soul, that blends a couple grin-worthy retro effects with some serious mixing-board control (loving the dribble-dabs of tinkling percussion). Everything falls into the right place and climbs above genre-tiredness into a burnished place all its own.

SF Weekly’s anti-porn prude

22

By Tim Redmond

422kink.jpg

The New York Post — whoops, it was actually the SF Weekly — was shocked and horrified by the concept that a state-funded training program might help video tech folks who work at kink.com. Here’s the lead:

California taxpayers have paid $46,791 so that employees of the San Francisco pornographer Kink.com might produce more perfect web-based depictions of motorized dildo impalements …

I don’t need to go on.

The thing here is, so what? Kink.com is a legitimate, legal San Francisco business that employs 100 people, treats them and pays them well, has transformed a wasteland of an empty building into a going concern … and I think it’s great that the people who work there (who also happen to be part of the film and media industry in San Francisco) got to use a state job-training program.

This is good for the local economy. “We are training San Francisco’s workforce for the film and televison industry,” said Kink’s Ilana Rothman. “People who have worked for us are winning awards at film festivals.”

The story is remarkable in its prudishness, and it takes the insulting tack of implying that the models who work at Kink are somehow forced into their jobs. “We couldn’t be more explicit about how safe and consensual our work is,” Rothman told me. And every indication I’ve gotten from every Guardian staffer who’s visited Kink and talked to the workers agrees.

The real scandal here is that Matt Smith personally busted Kink and cost a good employer its training money.

Daly and the Democrats

11

42009daly.jpg 420longo.jpg

Daly, Longo

By Tim Redmond

The race between Chris Daly and August Longo for regional director of the California Democratic Party has gotten a blog lot of blog press — far more attention than this low-lvel internal party stuff garners. Frankly, most people have no idea what a regional director does, or why it ought to matter to them.

But there’s a lot more going on here than what the cynics see as Daly looking for a new job when he’s termed out of office. (By the way, this isn’t exactly a job — the regional directors aren’t paid. It’s a volunteer position. And other than the chance to move up in state party leadership, it’s not a job that carries a lot of power or influence. Honestly — how many of you even knew that Longo was the ten-year incumbent?)

At the last state convention, there were signs everywhere that the Howard Dean wing of the party, the young, tech-savvy activists who were coalescing around Barack Obama, was getting restive. You saw it at the Resolutions Committee, where a handful of party-reform measures popped up, and were nadily shot down by state party Chair Art Torres. You saw it when Hillary Clinton was booed over Iraq. The Old Guard kept control, but you got a sense that the energy was all on the other side.

And now that Obama’s in the White House, that reformer energy will be even more visible in Sacramento this weekend. The Daly-Longo race won’t by itself change the party, but it will be a signal about its future direction.

Shokushu Goukan!

0

› andrea@altsexcolumn.com

Dear Readers:

It’s a dull, drippy week in California and when the weather gets like this a writer’s fancy turns to tentacles.

Manifestly untrue, I know, but mine did. Recently while researching something else (the famous Sybian ride-on sex toy, the one whose dealer claims it will "cause a female to literally explode on it" — I hate it when that happens!) I came upon a repository of tentacle porn, and boy did that take me back. Once upon a time I had somehow managed never to hear of tentacle porn until one night when I was hanging out with my friend Annalee Newitz, the high tech high-weirdness expert and she was all, "Oh, blah blah blah this weird thing and that weird thing and tentacles" and I was all, "Wait, what was that last thing again?"

It’s tentacle porn. It’s Japanese. Extremely Japanese. Innocent schoolgirl types, drawn anime/hentai fashion with giant eyes and giant boobs and teensy little bodies clad in teensy little schoolgirl uniforms, until they’re not, get non-consensually multipenetrated by … tentacles. How did you think that sentence was going to end?

Anyway, I got the idea and I stored it away and brought it out occasionally to amuse or shock people and I totally forgot I’d still never seen any myself until I went looking for something else and somehow stumbled over the tentacles (another "I hate it when that happens" thing) and it all came back to me.

It’s the dullest thing ever. I’d seen enough hentai (anime porn) to expect this (it tends to be weirdly slow and standardized and repetitive and badly dubbed). It’s not the easiest sort of porn to project yourself into, even for a person who likes porn more than I do. And that’s the stuff without tentacles. The odd thing about the tentacles, beyond the fact that they exist at all (they were invented to get around restrictions on depictions of non-tentacular intercourse), is that they are so … uninspired. They never seem to be attached to an interesting monster with any motivations besides rape, and they have a very limited repertoire of sexual acts. They’re very "bad teenage date" — stick it in, stick it in, stick it in, but unlike a bad teenage date, they can do all the sticking-in at the same time. Whoopty-do.

Here’s what I do like about tentacle porn:

1) Making fun of it has turned into a sort of online cottage industry, and if you look around you can find some hilarious examples, like the grumpy beasties at Ghastly’s Ghastly Comic: Tentacle Monsters and the Women Who Love Them (www.ghastlycomic.com) who are offended that anyone might think they’d commit an act of "bestiality." See also "How To Avoid Tentacle Rape" (uncyclopedia.wikia.com/wiki/HowTo:Avoid_tentacle_rape) or Dwight Schrute’s blog (www.nbc.com/The_Office/dwights-blog/2008/05/the-curious-rise-of-tentacle-sex-in-manga).

I think Cthulhu might like it, and whatever keeps Cthulhu happy … It has its own soda (www.tentaclegrape.com).

Love,

Andrea

Dear Andrea:

I found some very weird porn on my boyfriend’s computer (I swear I wasn’t snooping!) It’s bondage stuff with Japanese girls and really, I don’t know what’s going on. He’s never even mentioned an interest in anything like this! Does he want to tie me up? (Not my thing.) Does he wish I was Japanese? Help!
Love,

Tall, blonde, not tied up

Dear Blondie:

Im sorry! I don’t believe you weren’t snooping, mind you, but I’m still sorry. Please don’t take this too much to heart, though. Boys will be boys, and boys will look at bondage porn.

You have two ways to go here. The first is to ask him about it and (probably) feel better when he (probably) insists that he likes you just the way you are, and if he wanted a Japanese bondage girl he would have tried to date them back when he was dating, and he’s sorry he freaked you out. The second is to just shrug and go about your business. I do kind of have a preference for the latter, but I will understand if you can’t let it go and feel like you have to confront.

Just practice telling yourself that fantasy is fantasy and reality is reality and many people harbor fantasies they not only can’t act out, but wouldn’t even want to given the opportunity. Make sure you believe this yourself before you confront him. Otherwise your skepticism is sure to show, and he will get defensive and end up accusing you of not trusting him and going through his stuff — and that is not somewhere you want to be. See why I’d pick the second option, assuming you gave me ultimate power over your decision-making processes?

What? No, I don’t have creepy power fantasies about running your life, but even if I did I wouldn’t tell you about them, and I’d thank you not to go looking for them on my computer.

Love,

Andrea

Don’t forget to read Carnal Nation (carnalnation.com) for more Andrea and other cool stuff.

alt.sex.column: Shokushu Goukan!

1

By Andrea Nemerson. View more alt.sex here.

AltSex_Icon.jpg

Dear Readers:

It’s a dull, drippy week in California and when the weather gets like this a writer’s fancy turns to tentacles.

Manifestly untrue, I know, but mine did. Recently while researching something else (the famous Sybian ride-on sex toy, the one whose dealer claims it will "cause a female to literally explode on it" — I hate it when that happens!) I came upon a repository of tentacle porn, and boy did that take me back. Once upon a time I had somehow managed never to hear of tentacle porn until one night when I was hanging out with my friend Annalee Newitz, the high tech high-weirdness expert and she was all, "Oh, blah blah blah this weird thing and that weird thing and tentacles" and I was all, "Wait, what was that last thing again?"

It’s tentacle porn. It’s Japanese. Extremely Japanese. Innocent schoolgirl types, drawn anime/hentai fashion with giant eyes and giant boobs and teensy little bodies clad in teensy little schoolgirl uniforms, until they’re not, get non-consensually multipenetrated by … tentacles. How did you think that sentence was going to end?

Anyway, I got the idea and I stored it away and brought it out occasionally to amuse or shock people and I totally forgot I’d still never seen any myself until I went looking for something else and somehow stumbled over the tentacles (another "I hate it when that happens" thing) and it all came back to me.

It’s the dullest thing ever. I’d seen enough hentai (anime porn) to expect this (it tends to be weirdly slow and standardized and repetitive and badly dubbed). It’s not the easiest sort of porn to project yourself into, even for a person who likes porn more than I do. And that’s the stuff without tentacles. The odd thing about the tentacles, beyond the fact that they exist at all (they were invented to get around restrictions on depictions of non-tentacular intercourse), is that they are so … uninspired. They never seem to be attached to an interesting monster with any motivations besides rape, and they have a very limited repertoire of sexual acts. They’re very "bad teenage date" — stick it in, stick it in, stick it in, but unlike a bad teenage date, they can do all the sticking-in at the same time. Whoopty-do.

Here’s what I do like about tentacle porn:

Climate change

0

› a&eletters@sfbg.com

I’ve heard about a fortuneteller with a tarot deck and a dead fish. I can smell the fish, but I’m daunted by the line in front of the curtain, so I wander into another room and stand before a terrycloth sculpture of some tropical beach getaway. It looks a little like a desert nomad’s tent in Technicolor, and comes fronted by an immobile bare-shouldered woman in vertical repose, cast like a caryatid and basking in cat-eye shades under some imagined equatorial sun for, I’m told, hours on end.

I try not to stare at her beach towel, which not only conforms to her shape but also a life-size photorealistic representation of what you imagine to be the body underneath. Somebody finally offers her a color-appropriate drink through a straw as my eyes dart over to a bedroom scene of vaguely subconscious associations: an inanimate, incongruous couple pokes out from under a duvet, the whole scene partially obscured by a murky plastic curtain on which a playfully frenetic lightshow dances. Titled Sea of Dreams and fashioned by Joegh Bullock — landlord and Anon Gallery proprietor, in addition to being one of more than 20 artists with work on display here tonight — it stands just to the left of a DJ booth, and attracts a group of costumed art lovers who also break into dance.

Taking in Unseen/Unsaid, as this one-off evening of curated art and performance is called, is a lot like trying to take in the history of the Climate Theater itself, full of blurring boundaries and strange echoes. In some ways it’s as labyrinthine as the floor plan of the former bordering house at Ninth and Folsom streets whose second floor contains the theater, its offices, and Anon Gallery. Branching out in several directions at once, it also stitches together the fringe arts, tech, and underground party scenes of the mid-1980s to those of the present.

Next year the Climate turns 25, an impressive run for any theater, and probably a better occasion than just now to trace this one’s full baroque lineage. Suffice it to say that the Climate Gallery, as it was originally known, was an accidental theater started by artists who, by their own admission, had no background or even interest in theater per se. But in opening its doors in 1985 to Nina Wise, who had recently lost a performance space, it quickly became a vital scene and vibrant avenue for some of the most dynamic and promising crossover and experimental work around.

In the last year and a half, as a result of a spurt of new energy via new management — as well as a larger recrudescence, if you will, of some of the old SoMa arts scene of the ’80s — the Climate has been looking pretty spry for a decades-old theater. Granted, this is happening at a time of supreme social and economic uncertainty. But what’s particularly striking about this fresh whirl of eclectic programming, as well as some wider neighborhood networking, is how naturally it harks back to the early history of the quirky black box, founded by artists and famed trend-setting party impresarios Bullock and Marcia Crosby — also founders, with Mark Petrakis, of the famed Glashaus parties of the ’90s and the still-influential Anon Salons. The current vibrant and dedicated bustle on this little corner of the city frankly inclines one to wax wise: do not the biggest downpours also give rise to the most unexpected blooms?

NOW PLAYING: THE GREAT DEPRESSION II?


Then again, a few months ago Great Depression II: the Reckoning was just the big coming unattraction. By now it has officially hit theaters, and already set more than one teetering. Most dramatic cases so far: the Magic Theater — whose recent close shave with the bill collectors put in jeopardy the rest of the current season before a massive donor campaign was launched — and Shakespeare Santa Cruz, which underwent a similar, narrowly averted disaster. If this can happen to established, midsize institutions, what of the little guy? And with funding for the arts promising to be an even shakier proposition than usual — $50 mil in the stimulus bill notwithstanding — it’s small wonder that GDII is the inevitable topic of conversation in theater circles.

Climate Theater artistic director Jessica Heidt, however, is talking to me about sloths. We’re parked at a table outside Brainwash, a couple blocks east of Climate, and it’s becoming clear she admires them. "There’s this theory," she says, "that the reason sloths are so sedentary and stay in one tree is that they then fertilize their tree."

I wait for the relevance of this remark to wash over me. I had thought we were discussing the Climate.

"I’m really interested in being rooted in the neighborhood that you’re living in," she continues. "So you can fertilize what’s around you and have a more symbiotic relationship."

Heidt took over Climate in September 2007, shortly after leaving her associate artistic director position at the Magic. Since then, and true to her words on symbiosis, she has been strengthening the theater’s area ties. Recently she banded together with colleagues from other small neighborhood theaters and dance venues under the banner of the newly formed SOMA Culture Coalition, organizing the first theater crawl between the Garage, Boxcar Theater, and Climate.

Meanwhile, Heidt has been coordinating some theater and dinner packages with Climate’s downstairs neighbor, the Medici Lounge. Then there are the collaborations she’s facilitating between Climate artists and neighborhood organizations. She describes one involving women in the penal system based out of the women’s re-entry program on Bryant Street. "That’s been key with the resident artist program," she says, "figuring out partnerships for my eight resident artists to go work with social service organizations, specifically in this neighborhood, where they can give back a little bit — the sloth theory."

THE BIGGEST LITTLE THEATER IN SAN FRANCISCO


So much sprang from the Climate’s operation in the 1980s and ’90s that the outfit was soon labeled "the biggest little theater in San Francisco." And no wonder, since the space managed to be at the precise center of some mighty major trends. Tapped into the local vanguard geek scene of the burgeoning tech industry, for instance, Climate opened the country’s first Internet-wired restaurant-bar downstairs, the Icon Byte Bar and Grill. Meanwhile, the same confluence of art-types and venturesome techies spurred on new social networking strategies, including the earliest version of ex-Climate board member Craig Newmark’s ever-expanding online message board.

In the performance world, Climate helped spawn the storied Solo Mio Festival in 1990, a jaw-dropping who’s who of the form — which enjoyed a real vogue as the most promising segue out of a performance art shtick everyone was getting pretty bored with. Solo Mio’s principal curator was also, as it happens, its second performer, after Wise, to grace the Climate’s new stage in 1985: former SF denizen Bill Talen, a.k.a. Reverend Billy, followed by a runaway hit that solidified Climate’s new status as a serious alternative venue, "avant-vaudevillian" Helen Shumaker’s turn as Mona Rogers in Person, which ended up ensconced off-Broadway. One could go on. There was the international avant-puppetry performance showcase Festival Fantochio …

Climate worked with the hand they were dealt: once, Winston Tong, one "performance art crossover guy" who sparked Fantochio, was stabbed onstage. "Suddenly there was this big blood-spurting thing that we knew wasn’t special effects," remembers Crosby with a cringe. Soon afterward she discovered, while putting up flyers for the show, that the accident had helped them in the all-mighty word-of-mouth department. "’Is that the show where somebody got stabbed?’ they asked. I said, ‘Yeah, you should see it.’ They went, ‘Yeaaah!’<0x2009>"

Bullock — while still a practicing artist and one of the biggest events presenters around, associated with everything from the Sea of Dreams NYE parties to the SF Burning Man events, Decompression, and Flambé Lounge — notes wryly that these days he’s not always recognized when he strays from Anon to the other side of the building. In truth, his and Crosby’s involvement with the theater side of Climate is limited. "I’m still a board member, and I’m still sub-landlord of this space," he says. "But I don’t have much to say about the programming."

The theater itself is the Climate’s second incarnation — after a progressively overtaxed Bullock and Crosby finally decided to hang up their theater hats and vacate the storefront space at 252 Ninth St. in the late ’90s — and it’s the handiwork of magician, actor, showman, and impresario Paul Nathan of Dark Kabaret — a lavishly popular event that has served in part, like Bullock and Crosby’s famous Glashaus parties, as a fundraiser for the theater.

Nathan happened to be driving by, contemputf8g a sojourn in Europe in the wake of the dot-com bust, when he saw the for-rent sign at Ninth and Folsom. He knew the space well from Glashaus party days and the old Billboard Café, which derived its name from the sheets with painted messages that regularly hung from the roof. "I thought, you know, small theater is a dumb idea," he says. "But with a billboard there, we might be able to make a go of it." He got a good deal on the rent from Bullock, built a stage in the empty space, and took on the Climate name again with Bullock’s hearty approval.

"We started with Devil in the Deck and Titillation Theater," Nathan recalls. The evolving smart and sexy sketches of Titillation Theater (favorite program title: Let’s Pretend I’m Not Your Mother) produced another long-running success for the Climate. "We got huge crowds, but we were also advertising in the Chronicle, so our advertising budget was just insane," he adds. "We were breaking even, or making a little bit of money each week. But we really didn’t know what we were doing. There was no grant money." Eventually, Nathan says, they couldn’t afford to continue: "You do the numbers — it just can’t happen."

A NEW CLIMATE


Journey across the gulf of the dot-com boom of the late 1990s, during which the theater briefly disappeared along with many other art spaces and artists, to the moment when Heidt joined the Climate in 2007. In step with the intrepid optimism she detects in her SoMa environs, she has cheerfully and tirelessly overseen a remarkable resurgence of activity at the 49-seat black-box theater. With its all-volunteer staff, the venue hit a high point in February, presenting in that one month 16 downright disparate shows, including the current West Coast premiere of Skin, a smart, bold, adults-only rumination on lust and fidelity by the sharp and whimsical young Atlanta playwright Steve Yockey, a coproduction with Encore Theater, which coproduced Yockey’s Octopus at the Magic last year.

As offbeat as any play by Yockey promises to be, it remains one of the more straight-ahead components in an unusually varied theatrical lineup. The Climate’s programming stretches beyond the average small theater fare and its audience, to encompass a range of performance and visual art styles and solid Bay Area microscenes — like those around clowning or belly dance — as well as a laidback, brew-in-hand atmosphere of cultured fun, or just funny culture, amenable to a more general bar-hopping crowd.

The first show Heidt produced, You Tubed, a performance series codirected by the artistic director and Richard Ciccarone, was a crowd-pleasing blend of quotidian Internet technology and live reenactments. At the same time, Climate is also making forays into exploratory works in other media: one of Heidt’s first initiatives was establishing both a music and (now defunct) film series. She also repeatedly brought in acclaimed clown and Cirque de Soleil vet John Gilkey’s rollicking band of bad-boy "anticlowns," Your New Best Friends.

"The great thing about this space is that we get to try stuff out and to be much more experimental," Gilkey explains, taking a break from rehearsing a new show he’s developing for the Climate stage. Gilkey’s association with the Climate runs back at least 15 years, but it’s not nostalgia that brings him back.

"The history of San Francisco is that of producing amazing clowns," he says, citing Geoff Hoyle, Bill Irwin, and Larry Pisoni. "I think we have to push a lot harder to be more subversive, more daring, and bolder in the kind of clown we’re creating. This is the place that has open doors for the forward stuff, and that’s what excites me."

Climate’s forward programming last month included installments of the Wednesday night Music Box concerts; another Improv Soapbox open jam session hosted by resident champs Crisis Hopkins; the Monday night Clown Cabaret directed by Paoli Lacy and showcasing students and grads from the Clown Conservatory, as well as faculty and seasoned clowns of the likes of Gilkey, Joel Salom, and James Donlon; another boisterous staging of the matchmaking show and runaway hit, The Dating Game; and Unseen/Unsaid, one in a series of irregular, curated, multi-artist, multidisciplinary, and multi-roomed art parties.

Looking back at its history, the Climate’s success then, and now, has resided in its talent for bridging not just disciplines and genres, but audiences and whole scenes in what was once — and increasingly is again — a flourishing hub of arts and nightlife in SoMa. While it remains to be seen if this gradual crawl back to life can weather the full brunt of the coming economic storm, Heidt’s sloth theory dovetails comfortably with her vision of a diverse but tight-knit artistic community.

Her extensive theater background has held her in good stead: Heidt knows how to produce, direct, and write grants — although ticket sales are still the main source of operation revenue. At the same time, she’s been inspired by what she was not familiar with. "For me that’s been one of the most exciting things about being here — going to Burning Man, knowing it’s a city of crazy artists, incredibly talented people, and it’s all sort of below the surface of what you’re seeing in the mainstream," she says. "To be able to tap into that world a little has been really fun."

As for Bullock and Crosby, who both have remained deeply involved in the culture and organizing of Burning Man and its year-round Bay Area events, they are clearly gratified with a direction they see as consonant with the theater’s long, remarkably fruitful tradition of cultivating crossover communities and promoting the edgy, fun, experimental, and unexpected. "She’s doing the kind of programming that we used to do," says Bullock, "which is eclectic."

I’m hearing echoes again. "South of Market is starting to come back," he continues. "I think there’s a resurrection of the arts right now. I think this corner and this block are key to it, with New Langton Arts and Eighth Street. I mean, this is becoming what it used to be 20 years ago." Bullock laughs. "It’s like, what the hell?"

SKIN

Through March 21

Thurs.–Fri., 8 p.m.; Sat., 7:30 and 10 p.m.; $15–$20

Climate Theater

285 Ninth St., SF

(415) 263-0830

For info on this and other events, go to www.climatetheater.com

Hard Knox Cafe

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› paulr@sfbg.com

The password for 2009 so far seems to be "hard," as in hard times, hard luck, hard cheese. To this list we might also add Hard Knox Café, whose time has come, though it’s never really gone. By this I mean that when you can go into a place and pay $10 for three pieces of good fried chicken and two substantial side dishes, along with a complimentary cornbread muffin, chances are you’ll be back, regardless of Wall Street weather. And who needs dessert when Stella Artois on tap is just $3.50?

The ironist (a.k.a. yours truly) finds plenty to like at Hard Knox Café beyond the fried chicken and the Stella. There’s the fact that such a value-driven spot should have opened a decade ago, at the golden crest of the Clinton boom, and gone on thriving across 10 topsy-turvy (mostly turvy) years, only to find itself perfectly positioned — and named — for what we can hope will be a new era of value. (A second, and larger, venue opened last summer on outer Clement Street.) There’s also the fact that a restaurant serving American comfort-Southern-soul food should be operated by a Vietnamese family, the Huas.

But maybe that isn’t ironic at all. Maybe it’s just American. And even for confirmed ironists, non-irony has its attractions. Hard Knox’s interior design, of a roadhouse, is quietly witty, with wall panels of corrugated steel (shades of the original Straits Café!), floors of distressed wood, and booths upholstered in red vinyl. The crowd, like the neighborhood, is mixed: young and old, working class and tech-geek, people at a round table deep in conversation over piles of chicken bones while others wait just inside the front door for takeout.

It’s not hard to see why the food has such broad appeal. If you could only have one meal a day, you’d want something from Hard Knox. No, it isn’t fancy; the only foam you’ll find here is the head on your Stella. But it does have that mom-is-cooking authenticity. Everything tastes good. And the portions are big. You will not leave hungry.

We did have a slight salting issue with the beef short ribs (at $13 one of the pricier items on the menu). The meat, on its bracelets of bone, was fabulously tender but timid, like a pale partygoer clutching a plastic cup in a lonely corner, waiting to be teased out. Sprinkling salt on awkward party guests isn’t necessarily a winning strategy, but it does have a way of bringing beef to life — beef, which, even more than television, asks so little and gives so much.

The crusty fried chicken suffered from no such underseasoning: the coating was adequately seasoned, and the meat was tender, juicy, and flavorful. But we aren’t talking about Cajun or otherwise spicy fried chicken; the batter was crisp more than tasty, and while this had the virtue of letting the chicken taste like chicken — and I like the taste of chicken — it also didn’t set off any spice fireworks. Of course, none were promised.

At least as appealing as the big plates of protein are the side dishes. In fact you could make a meal of these, a kind of Southern-comfort tapas dinner. You get your pick of two with each main dish, but you can get them à la carte for $3 each, which isn’t bad at all.

The lack of glamour in the sides is almost glamorous. We were particularly taken with the stewed cabbage, the mere name of which stirred unholy memories from childhood, when "stewed" could only mean "boiled to death." And stinky! Like the reek of old shoes. But this cabbage — green, cut into thick shreds — had been gently handled; it was a little more tender than stir-fried versions, and very subtly scented with, perhaps, some bacon, fatback, or salt pork. Cabbage once filled me with fear and loathing, but I could eat Hard Knox’s version … well, maybe not every day, but often.

Mac and cheese was tasty if slightly gummy. Collard greens are underappreciated outside the South; they are among the tastier greens on their own, and when zipped up, as here, with garlic and a touch of vinegar, they can become almost addictive. Comparably underappreciated (and perhaps almost unknown) beyond the South are black-eyed peas, with their distinctive two-tone look and near-gritty texture; Hard Knox serves them with short-grain white rice, and if you feel inclined to add a jolt of hot sauce to this mildness — not a bad idea — a bottle of Crystal is sure to be near at hand.

Although Third Street has changed considerably in the last decade, with Muni Metro’s T-line now running down the median to relieve some of the tedium, the corridor is still industrial and can still have a sinister video-game sameness, especially at night. But finding Hard Knox Café is — dare I say? — easy. Look for the clumps of people milling around at the roadside. *

HARD KNOX CAFÉ

Mon.–Sat., 11 a.m–9 p.m.; Sun., 11 a.m.–5 p.m.

2526 Third St., SF

(415) 648-3770

also 2448 Clement, (415) 752-3770

www.hardknoxcafe.com

Beer and wine

MC/V

Noisy

Wheelchair accessible

Compostmodern

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› news@sfbg.com

GREEN CITY The easier a compost bucket is to use, the more people will use it. But Compostmodern ’09 isn’t about compost at all — it’s about design. This annual event is a collaboration between the American Institute for Graphic Artists (AIGA) and the Academy of Art University that examines the intersection of design and environmental sustainability.

This weekend’s conference, held at various locations around San Francisco, features talks and slide shows by local designers, art installations, workshops, and demonstration projects proving that brown is the new green.

"I’m interested in helping people get a good grounding in what designing for sustainability means. The reality is that this industry is still so new," Nathan Shedroff wrote on the Compostmodern blog (compostmodern.wordpress.com). Shedroff chairs the Design Strategy MBA program at California College of the Arts, and will discuss sustainability frameworks at the conference.

Local graphic designer Amy Franceschini (futurefarmers.com) presented some of her work at Compostmodern in 2006. Inspired by all things green, she posed a question that only a designer would ask: if earth-bound plants lean toward light naturally, might design liberate plants to move about freely? There were mixed results to her experiment, but the question alone gets at the spirit of the conference: bridging the gap between the possible and the possibly possible by challenging designers to be environmentalists.

Autodesk brings sustainable design into the world of software by incorporating powerful new analytical tools into 3-D modeling programs used in architectural and other design. "Full-on energy analysis used to be really challenging and expensive," said program manager Dawn Danby, a featured speaker at Compostmodern this year. "We’re making software that empowers designers to make a case for sustainability, to make better decisions, decisions that have huge impacts on things like water or energy use. We need to make design a solution, not just a bonus when times are good."

Michael Gelobter, another of this year’s Compostmodern presenters, told the Guardian that the Bay Area’s unique combination of companies, researchers, and activists all living together is what makes it the epicenter of the clean-tech revolution. Even though he’s a climate strategist, Gelobter is optimistic about the future: "We have to own this change, and in the process solve a lot of other problems like wars and financial waste.

"A lot of our relationship with climate change and fossil fuels has to do with the built environment, the designed environment — our cities, buildings, schools. and the way we design our day-to-day interactions with products," Gelobter continued. "All of those include assumptions about energy use, where we get the energy, and the form that energy comes in. And designers are really the front line in redrawing that. They’re the cutting edge of how we make the world different, so they have to be informed about policy and economics, but also [about] people’s day-to-day lives, their lived experience of how change might happen. They have to be able to design to those kind of criteria."

That’s why Gelobter founded Climate Cooler, shifting his work from policy to shopping and "changing the choices consumers have so that they can take action." He insists that cleaning up the economy is good business. "You stop smoking crack, and you suddenly have all this money to spend on things that are a whole lot healthier. That’s true with fossil fuel use and the other things that cause global warming as well."

Gelobter’s latest project will equip Intuit’s popular QuickBooks accounting software with a carbon-calculator. It’s a partial redesign to help small businesses know the impact of their purchasing patterns on global warming, and to "start using that information to make better choices, to save money, save energy, and reduce their [carbon] footprint."

Taking on Herculean problems is not for everyone. But Compostmodern seeks to engage top designers with the task of making the seemingly impossible a little more likely. It’s a goal that is essential to achieving sustainability on a grand scale and using this economic meltdown as an opportunity to redesign our world.

COMPOSTMODERN ’09

Herbst Theatre, SF

Feb. 21

8:30 a.m.–5:00 p.m.

www.compostmodern.org

Never fit in: Cynic mixes it up with extreme metal and avant-garde jazz

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By Ben Richardson

Though nurtured in the humid birthplace of modern death metal, Miami, Florida’s Cynic never really fit in with its more brutal peers. Despite having played on Death’s pivotal album Human (Relativity/Sony, 1991), childhood friends Paul Masvidal and Sean Reinert suffused their own material with the swirling melodic experimentation of ’70s prog rock and fusion, creating in Cynic a unique hybrid of extreme metal and avant-garde jazz.

Masvidal’s guitar playing was filled with haunting melody and lithe fretboard runs that drew on scales and modes not traditionally associated with metal, and his vocals, sung through a vocoder, achieved an eerie, otherworldly quality that fit the music impeccably. Reinert’s drumming abandoned the blast-beat bludgeon that defined the extreme metal of the time in favor of a creative, musical approach that fleshed out the band’s experimental sound.

Early demos laid the groundwork for their 1993 album Focus (Roadrunner), which quickly became a cult classic among those interested in metal that was challenging and inventive. Such listeners were few in number, however, and the lack of enthusiasm, coupled with the travails of the music industry and the destruction wreaked by Hurricane Andrew, led to the band’s break-up in 1994.

Masvidal and Reinert continued to collaborate, and in 2006, they announced that Cynic was re-forming. After playing a number of European festival gigs in the summer of 2007, the group entered the studio the record the long-awaited follow-up to Focus. Traced in Air was released in 2008 on the French label Seasons of Mist, and the outfit has recently begun a full U.S. tour as direct support for Swedish tech-metal titans Meshuggah. I reached Masvidal by phone as he waited to take the stage on the tour’s second stop.

Revved up on garage rock

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› kimberly@sfbg.com

SONIC REDUCER Grease monkeys gotta scratch their coconuts and wonder: why have the words garage rock become so dirty? Especially when a garage-rock explosion of sorts seems to be going off all around us.

Few want to be tagged as such — though their affection for three chords; adoration of the square-one pleasures of guitar, bass, and drums; and love of a classic pop hook are out there for all to see. Does retro spell lame-o in a year beset with cultural, economic, and political change?

Not if you recall the last late-’90s/early-’00s garage rock resurgence, which arrived on the heels of a boom in tech-sector/dot-com creativity and coincided with a burgeoning home-recording underground — a rough, eerie corollary of the ’60s-era moment when British Invasion bands sparked a zillion garage-rock combos. No coincidence, I believe, that as digital home recording and online musical dissemination made it possible for every guy’s and girl’s band to reach a wide audience, so too did a world open up for vinyl and analog lovers of the most hidden and once-unheard-of musical niches, who were suddenly able to find newbie listeners.

So perhaps change, of the most DIY variety, is the very reason why so many bands in the Bay Area — and out past our waters where Wavves, Vivian Girls, and Jay Reatard ripple — are tapping into the garage-rock vein that oldsters like Legendary Stardust Cowboy (who bunks down in the South Bay) would recognize as similar to their own. Do you have an affinity for the early blues-based rock ‘n’ roll that can be traced from Chuck Berry and Carl Perkins to the Rolling Stones and the Kinks to their alternately upbeat and haunted progeny the Troggs, the Seeds, the 13th Floor Elevators, and San Jose’s Chocolate Watchband, then onto ’80s revivalists like the Lyres, the Scientists, the Cynics, and the Fuzztones, and further on to late-’90s wavers like the White Stripes, the Dirtbombs, the Detroit Cobras, and the Von Bondies?

Noisy, psychy, punky, gay, straight, sweet or grating — however you twist it, the current nu–garage rock explosion in the Bay is nowhere near as easy to tag, bag, and classify. How do you reconcile the ear-burning blast of Mayyors with the sweetly contrarian kicks of the Nodzzz’s "I Don’t Wanna (Smoke Marijuana)"? The latter’s parentheses are crucial here because theirs is a cry against easy conformity, really, rather than drugs ("I don’t wanna smoke marijuana… I just wanna get high / On another drug!"). Subverting the white-straight-boy paradigm also seems to be part of the plan for outfits like Hunx and His Punx, and the LaTeenOs.

Eric Friedl — owner of esteemed Memphis garage rock label-shop Goner Records and ex-member of the Oblivions — has noticed the rock ‘n’ roll energy surge coming off of SF: Sic Alps and the Oh Sees played 2008’s Gonerfest, and Goner releases by Ty Segall and Nobunny are on the horizon. "For whatever reason we like the bands coming out of there," Friedl says of the Bay. "In the ’90s there seemed like a lot was going on, and then it kind of died out, but yeah, I think it goes in cycles. People got tired of the garage-rock bands in the late ’90s, and it took ’em another five or six years to get back to straight-ahead rock ‘n’ roll."

Geoffrey Ellis, who puts out the zine Sadkids and documented Bay Area bands’ excursions out to Gonerfest, agrees. "It seems like in the last few years [garage rock] has hit its stride where it hadn’t existed for a while and was pretty relegated to undergroundish types of scenes," says the graphic designer whose garage rock images will be exhibited as part of "Rock Show," a group photo exhibit. "But now it’s just taken off everywhere."

Still, for all the new activity and faces, one of the pleasures of garage rock remains the breaking out of musty ole vinyl and listening to the San Jose–born Count Five’s "Psychotic Reaction," the Standell’s "Try It," and the Human Beinz’s "Nobody But Me" — and wondering where my Music Machine LP is. The last so-called garage-rock revival gave you the impression that the bands weren’t so much listening to the, er, originals as much as each other — many of those groups’ general raw sound seemed to be the main reason why they were dubbed garage rock, apart from some true believers and record collectors in Detroit. Garage rock was a somewhat commercial brand last time around. But this current surge seems content to ride tides far from marketable shores, melding garage rock’s ruff ‘n’ tough joys with surf riffs, hardcore aggression, proto-metal heavitude, or psychedelic exploration.

These bands seem closer to the scenario that Don Waller wittily sketched out in the liner notes to a Nuggets ’80s reissue: "The typical punkadelic band came from some suburban Anywheresville and consisted of one kid who’d grown up copying Chet Atkins licks on his uncle’s hollow-body, another who’d had 10 years of classical piano lessons, a hyperactive woodshop dropout on drums, a lead singer with a range of three and a half notes, and a bass player brought in for his ability to attract girls."

The garage may be gone, if altogether nonexistent, for many in the densely populated Bay Area. But considering that even the purportedly first garage-rock combo, Tacoma, Wash.’s fresh-faced Wailers (who made a big impression on the Kingsmen with their own "Louie Louie"), wryly made a big deal of recording in a "proper environment … namely a recording studio," in the liner notes of Out of Our Tree (Etiquette, 1966), the hands-on wherewithal of today’s bands isn’t so far from that of yesteryear’s ensembles.

"Pushin’ Too Hard"? For a while there "everyone was too self-conscious," opines Carlos Bermudez of Photobooth and Snakeflower 2, "but now there are a lot of bands that are doing well and playing sloppy again — all the garage stuff that people seemed to have grown out of. Schlocky fun party music is starting to happen again."

ROCK SHOW

Through April 7; reception Sun/1, 6 p.m.

Rite Spot Café

2099 Folsom, SF

www.ritespotcafe.net

NOISE ALLOYS

MAN/MIRACLE AND EAGLE AND TALON


The former plunges fists-first into ’00s-y sing-along fun and an ’80s synth-sensitivity vibe; the latter duo into grrrly lo-fi. With Railcars. Thurs/29, 9 p.m., $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

MATT AND KIM


Where’s the dance party? It’s wherever the pair’s primal pop is hopping. Their new Grand (Fader) sneaks up on you with its larger-than-life lowdown. With Hawnay Troof. Mon/2, 8 p.m., $10. Café du Nord, 2170 Market, SF. www.cafedunord.com


>>MORE GARAGE ROCK ’09

“Japan Dance Now”

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PREVIEW What does avant-garde Japanese dance look like? Butoh is 40 years old. Eiko and Koma have been working their version of slow dancing for three decades. What about dancers who have grown up in a high-tech, high-velocity, video-drenched urban environment? We at least get glimpses of the movies, comics, and pop music that are part of their lives. Once in a while, a company like the Condors will come through town on their way to somewhere else. But for the most part, our exposure to that type of edgy new dance — highly influenced by electronic media and sophisticated in its use of those elements — remains nil.

Now Yerba Buena Center for the Arts is making an attempt to open minds and ears to new moves from Japan. Next month they bring back Papa Taruhamara, and this weekend they present three companies in a performance titled "Japan Dance Now" on their first stop of a three-city tour of the states. Baby-Q, a multimedia company that includes a robotics specialist, is directed by choreographer Yoko Higashino. The group stages her solo E/G-Ego Geometria. Nibroll’s seven athlete-dancer-comedians are taking on the everyday in their excerpt of Coffee. Sennichimae Blue Sky Dance Club is an all-female ensemble with serious hair. The company describes The End of Water as an exploration of aspects of femininity from a pop butoh perspective.

JAPAN DANCE NOW Thurs/29–Sat/31, 8 p.m., $25–$30 (On Sat/31 audience members receive special entrance to the post-performance "Big Idea" party, 9 p.m.-midnight, in the Grand Lobby and Galleries). Novellus Theater, Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org

Profiles of change

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› amanda@sfbg.com
Photos by Pat Mazzera

"Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America," President Barack Obama told US citizens on his Inauguration Day. "For everywhere we look, there is work to be done."

He’s not just cheering himself on — he’s asking his constituents to embrace what’s to come and to consider what more we can be as the individual moving parts of this incredibly complex country.

Even as far back as the Democratic National Convention, Obama turned his campaign slogan into a call to action. "All across America something is stirring. What the naysayers don’t understand is this isn’t about me — it’s about you."

That rang in the ears of people profiled below, who changed their lives in response to his call. That inspired other changes, suggesting that the effort to elect Obama is having a spillover effect on organizing at other levels — which may become a part of how US citizens respond to his actions in office.

Expectations are high for the changes he will order and already there’s indications of what’s to come, such as the closure of the Guantánamo Bay detention facility, the end of the military’s "don’t ask, don’t tell" policy on homosexuality, and a commitment to action on climate change.

Many are eager to see more fundamental change in areas such as war, jobs, housing, energy, and transportation — areas we explore in this issue — as well as greater engagement between the White House and the grassroots groups that helped elect Obama.

In the profiles and stories that follow, the Guardian asks questions about what and who will change and how to move past a pithy slogan to trigger the transformation this country desperately needs.

————

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MARIA GOMES

Maria Gomes was committed to Obama from the beginning. "I signed up right after he announced," said this Menlo Park resident, who joined Silicon Valley for Obama and volunteered on the campaign.

Her first big assignment was in Iowa, where she spent 10 days campaigning before the caucus along with her husband and two teenage children. For Gomes, Obama’s Iowa win was a particularly powerful and pivotal moment. "I just realized the power of the volunteers and how awesome it was," she said. "It was clear to me after Iowa that he was going to win, so I just dove in."

Gomes, a 60-year-old lawyer, took an eight-month unpaid leave from her work as an immigration and dependency attorney for San Mateo County to devote herself fulltime to Obama’s campaign. It was the first time she devoted her life to get a politician elected.

"In fact, I [had] steered away from politics because I don’t really like politics," she said. "This was different. I really strongly felt the people carried this campaign. I canvassed with CEOs, doctors, young people … nobody took a back seat in this campaign. We did not take it lightly."

She and her husband served as precinct captains in California. After the primary, she coordinated volunteers and voter registration efforts for the general election. Gomes traveled to seven states in the months leading up to Nov. 4, spending Election Day working on voter protection in Las Vegas.

"I felt that the only way he was going to get elected was if people got in there. It wasn’t just going to happen," said Gomes, an immigrant from Cabo Verde, off the western coast of Africa.

And it’s not over for Gomes. Her whole family went to Washington DC for the inauguration, where she answered Michelle Obama’s call to volunteer on Martin Luther King Jr. Day. Gomes has also signed up to work on Kamala Harris’ run for attorney general and she’s still active with her fellow workers at Silicon Valley for Obama.

"About a week after the election I went to a meeting for our field office. Five hundred people were there. We brainstormed how to stay involved in his campaign," she said. They ranked issues they’d like to see addressed by Obama and organized themselves into teams to work on messaging them to the new administration. "We received a survey from the national team…. The [Silicon Valley] team took the national survey and made it local, community by community. That’s the kind of movement that’s happening now. I’m sure it’s going on everywhere because the campaign wanted every state and every county involved." Her husband is now on the tech team and she’s doing fundraising work for the inauguration.

"It’s not over. Nothing has stopped," she said, adding that she believed this kind of organizing would be very present in the administration. "It’s going to be governed by the people. I plan to be involved for the next four years at whatever level I can. I still write e-mails to whoever I think can change something. I hope it will be transparent enough that we can still communicate to people higher up in the administration — all the way to Barack and Michelle Obama."

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AARON KNAPP

Aaron Knapp graduated from law school in 2002 and spent the subsequent six years working for big corporate law firms. By 2008, he began to feel that all of the major decisions in his life had been made based on money and materialism, an certain emptiness that changed suddenly at summer’s end.

"Obama’s speech at the Democratic National Convention was a real turning point for me," he recalled. "The change that I needed in my life was to join in this campaign that transcended the individuals."

He said he did what he always wanted to do: "I quit a job I don’t enjoy." Knapp went to work instead on the Obama campaign, spending about four months in Nevada. Putting Obama in office became too important to not give it his all: "I just wanted to make sure on November 4, I could say to myself I did everything I could."

On election night, with the feeling of victory rushing through him, there was also a kind of malaise, a feeling of "now what?"

"Our roles in the campaign were predetermined — there are a finite amount of things you do in a campaign. Make phone calls, gather data, knock on doors…. After the election, after we won…. What do we do now? Those predetermined roles are no longer set up for us," he said.

Knapp said it required some soul searching to find the next important thing to do: "The task is to get real specific."

He’s now writing a book and working to get the Employee Free Choice Act passed by Congress. The act would amend existing labor laws to make it easier for workers to create unions that are recognized by employers. In 2007, it passed in the House and failed in the Senate, but it was part of Obama’s platform during the primary season, and one of the reasons he garnered support from organized labor.

But, said Knapp, "It’s one of those things that’s being put on the back burner as we transition in this administration…. While Obama was championing this cause during the campaign, there’s no sign of it now."

The waning of enthusiasm for it is indicative of how Obama’s administration may start to handle some of those crucial campaign promises that drew so many people into his fold. That piqued Knapp’s interest and reminded him of the goals of his grandfather, an auto worker for Chevrolet during the 1940s, who passed away during Knapp’s first year of law school: "My grandfather always would plead with me to do whatever I could to get the labor laws back in order. So that’s an issue that’s really important to me."

Knapp also said that it’s important to keep the grassroots Obama movement alive by continuing to push crucial legislation that was part of his platform for change.

"It goes right to the controversial pieces of law and policy that he’s addressing," Knapp said. "If he’s able to keep this mobilization together, that will help him significantly in getting policies through."

———–

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PAULI OJEA

Pauli Ojea, who’s about to turn 30 years old, says that she’s spent her entire adult life "voting for the loser" and advocating for change that’s been slow to happen.

A New Jersey native, Ojea came to California to work for the San Francisco Conservation Corps on environmental education programs. That lead to a position with Breast Cancer Action as a community organizer, where she found that hopeful efforts were often frustrated by political pitfalls.

Then, Ojea attended a 2004 event where she heard Van Jones speak about how a new green wave was coming and it needed to lift all boats. When a position opened with Jones’ new organization, Green for All, she applied to be a policy analyst for the Oakland-based green-jobs advocacy group.

In between the two jobs, she spent a week campaigning for Obama with her mother, a Spanish immigrant who groused that if he lost, she’d be spending more time back in Spain.

Ojea now works on federal green-jobs policy and climate change equity, and has already been deeply affected by the Obama election. "For most of my career in advocacy, there’s been this sense that we probably don’t want to work on federal policy because we’re not going to get anywhere," she explained. "I started at Green For All with Barack Obama elected as president and we’re actually putting a lot of resources into federal policy, and there’s this whole feeling like we’re going to get somewhere. That’s shifted for me. I imagine that for a lot of other environmental and social justice advocates, there seems to be a door opening."

She’s even more enthused after meeting with members of the Obama transition team who were tasked with a review of the Department of Energy. About 30 to 40 people, representing organizations including the Sierra Club and Natural Resources Defense Council as well as renewable energy business leaders and public officials doing energy work in different states, convened in Washington DC to discuss energy policy.

"I’ve been to a lot of public agency meetings and what usually happens is you have maybe an hour and a half of presentation from the agency and maybe a half hour for all the organizations and people trying to get in their piece," she said. "This was different. It was about a two-hour meeting and the whole time it was dedicated to hearing from the community, from businesses, from people with experience in energy efficiency. The transition team members were fully engaged, actually listening, asking questions, asking for clarifications if they didn’t understand something. They were really humble and they seemed really excited about what kinds of changes were possible. I’d never been part of a process like that."

Ojea sees more potential than ever for the activist community in the Obama administration. "It could provide more opportunity and open more doors for what your activism is about. There’s such a difference between being used to being on the outside of the fence, behind the barricade, screaming because it’s the only way to be heard. Is that going to change? Are we going to be inside the fence?"

She recalled Obama’s campaign observation that "change doesn’t come from Washington, change comes to Washington." She’s hoping the Obama team’s outreach will continue.

"We’re at a really strange and critical time," Ojea said. "As Van says, in America, in terms of the economy, the floor has dropped out from under us. But with the election of Obama, the ceiling has come off. There’s a lot of opportunity, and things could also go downhill. What are we going to do?"

Prophet sees

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› kimberly@sfbg.com

SONIC REDUCER "I’m going to start smoking again. I’m going to start eating bad and quit working out."

Here, have a few determinedly daft new year’s resolutions from an old hand at San Francisco music-making from Chuck Prophet, who happens to be headlining the old year out at Starry Plough Dec. 31. Don’t say he never gave you anything. But seriously, our Prophet?

Actually ’09 vows are the last thing Prophet wants to be burdened with. "I’m just lazy," the singer-songwriter confesses from his South of Market mini-HQ. "Why would I put any more assignments on myself?"

You know what he means. New Year’s resolutions — what better way to hang an albatross round the old oak tree and set yourself up for FAILblog? Still, ’tis the season, and I have a few ideas on how to institute change in this recession-wracked music scene, inspired by the last time the pink slips flew round the turn of the century, post-tech boom. Call these my "Keep the Scene Strong Goals for ’09," all related to stamping out the scourge of many a creative milieu: passive consumption. Though, hell, who even has the time and cash to consume very much these days?

— Engagement. It’s as simple as talking to the performer after the show. And no, I don’t mean hit on the band. Instead, start a dialogue — of either the positive or constructively critical ilk — with your friendly neighborhood musicmaker. Who wants to play into a void, to a passive, glazed-look blank generation? Feedback ain’t just a whole lotta noise. If the spirit moves you, feel free to buy those hard-working musicians and DJs a round of drinks. The Hemlock’s $1 bag of hot peanuts is a nice gesture.

— Dance. OK, the early ’00s saw a rock crew shook it up at shows, but San Francisco is slipping, regaining that bad reputation of resembling zombie-like, arms-folded slabs of tofu. Hold up your end of the bargain and get a move on.

— Stretch. Yes, stretching before dancing helps with muscle aches. But I mean listen to new sounds. If you’re a metal dude, lend an ear to weird new America-style folk — think about Zep’s connections betwixt loud and languorous. If you’re an indie rock chippie check into Fania salsa reissues; a gangster rap head, a bit of death metal or a dab of indie-literati-pop.

— Prepare yourself for the worst — and possibly the best. Everyone’s wondering if they’re going to be laid off or face a work drought in ’09. Instead resolve to put that anxious energy and restless imagination to good use. Come up with some nice, meaty, beaty post-layoff projects. Take up an instrument, even if it is simply a shareware synthesizer. Switch up your recorded listening by swapping records or MP3s with pals — or dive into an affair like KUSF-FM’s Rock ‘n’ Swap on Jan. 11 (www.kusf.org/rocknswap.shtml). Throw a show at your abode, or better yet, put on a free music happening in a public space (i.e., the Toxic Beach throw-downs, mobile Flag Day jamboree).

Sure, everyone knows resolutions are made to be broken. Even Prophet spurned his faux resolutions after we spoke, via e-mail: "So last night after eating cereal for dinner, passing out watching the Food channel, I’ve decided my NY resolution is to cook more often. Taking up smoking is a bit daft, I have to admit." Tasty words — and food — for thought.

CHUCK PROPHET

Wed/31, 9:30 p.m., $26.50

Starry Plough

3101 Shattuck, Berk.

www.starryploughpub.com

For more from Chuck Prophet, go to Noise blog at sfbg.com.

THE MOST INTRIGUING READER TOP 10: MITCH CARDWELL

"Budget Rock-er, zine scribe, lover, drunkard"

1. Hank IV, Refuge in Genre (Siltbreeze) They’ve made SF home to Earth’s greatest punk band once again.

2. Nothing People, Anonymous (S-S) They only play great shows, release great records, etc.

3. The Hospitals, Hairdryer Peace (Stonehouse) Ear-splitter of the year, without question.

4. Buzzer, Disco Kiddz EP (Douche Master) Glam, proto, pub — it’s all here.

5. Nobunny, Love Visions (Bubbledumb) Punk parody is always a winning concept.

6. Colossal Yes, Charlemagne’s Big Thaw (Ba Da Bing) Piano pop-psych crafted in a totally winning fashion.

7. Wounded Lion, "Pony People" 7-inch (S-S) Pop that is both brainy and fun.

8. Mayyors, both 7-inches (self-released) Mayyors wow with sheer force of volume.

9. Scarecrow and the Shuckers at the Stork Club

10. Thee Oh Sees, The Hounds of Foggy Notion CD/DVD (Castle Face) I’ll take this over their recent hit LP.

PRESSURE TO PERFORM: A FEW MORE NYE OPTIONS

LES CLAYPOOL


The Bay Area original makes the leap from his longtime NYE venue at the Fillmore. With Zappa Plays Zappa and Tim Fite. Wed/31, 8 p.m., $69–<\d>$126. War Memorial Opera House, 301 Van Ness, SF. www.goldenvoice.com

BORTS MINORTS AND THIS BIKE IS A PIPE BOMB


NYE Hemlock reg This Bike is joined by the SF troupe Kelley Stoltz describes as "fun SF weirdness without the Burning Man remorse." Wed/31, 9 p.m., $10. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

MOS DEF


Most definitely "Sneakers Required" with DJs like Apollo and Sake One. Wed/31, 9 p.m., call for price. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787.

LAUGHTER AGAINST THE MACHINE


Funny fellahs W. Kamau Bell, Bucky Sinister, and Nato Green issue their response to all the ‘WHOOOOOOHOOOOO!’ that typically goes down on NYE. Wed/31, 7:30 and 10 p.m., $30 (friendofkamau discount code for $10 off). Phoenix Theatre, 414 Mason, SF. www.brownpapertickets.com/event/50525