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Another wake-up call

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By Steven T. Jones
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The New York Post — or the Yes Men’s version of it — finally levels with the people about capitalism and climate change.

A few days after I wrote here about my hopes that the upcoming film “Capitalism: A Love Story” would prompt a national discussion about our doomed economic system, The Yes Men have provided another wake-up call, creating a fake New York Post website and newspapers warning of the climate change disaster we’re headed for if we don’t quickly change our wasteful, overly consumptive ways.

That stunt — a hallmark of this creative duo — precedes the Oct. 7 release of their new film, “Yes Men Save the World.” Combined with Michael Moore’s Oct. 2 release of “Capitalism,” we have an excellent opportunity for an important discussion, if only mainstream media obstacles like Post owner Rupert Murdoch would recognize economic and environmental realities. But we at the Guardian plan to facilitate the discussion over the coming weeks so stay tuned.

Excitement! Dread! Blatant Oscar baiting!

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cheryl@sfbg.com

Let’s be honest, film fans: summer 2009 hasn’t exactly been an exercise in awesome. Early entries like X-Men Origins: Wolverine and Terminator Salvation were disappointing; hyped projects like Public Enemies and Brüno offered some entertainments, but overall felt kinda meh. The Hangover, Up, Harry Potter and the Half-Blood Prince, and Star Trek may have been mostly deserving of their $250 million-plus hauls, but think how many poor suckers emptied their wallets at the sublimely awful Transformers: Revenge of the Fallen, which has raked in a bone-rattling $400 million so far. (That’s a lotta robot balls.)

But in Hollywood, there’s always hope. District 9 kicked ass, and Inglourious Basterds — while not Quentin Tarantino’s masterpiece, not by a forehead-carving longshot — at least provoked spirited debate among filmgoers who’ve been chomping on flaccid fare like GI Joe for months. What follows is a selective list of upcoming releases (dates are subject to change), including some surefire Oscar contenders, though I’m still holding out hope for a dark horse Drag Me to Hell nomination or two.

Sept. 11: In behind-the-scenes Vogue doc The September Issue, the devil wears Prada and busts fashionista chops while getting her magazine’s most important issue to press. Anna Wintour takes off her sunglasses! She cooly dismisses headlines, underlings, feathers, and an ugly pink-and-black ensemble! Director RJ Cutler (producer of 1993’s The War Room) gets the ever-so-glamorous dirt. Also out today: The Hills fembot Audrina Patridge brings her ceiling eyes to the big screen in horror flick Sorority Row; and mumblecore master Andrew Bujalski rolls out his third feature, after 2002’s Funny Ha Ha and 2005’s Mutual Appreciation.

Sept. 18: In a clash of the zeitgeists, Transformers thespian Megan Fox stars as a demonic high schooler in the Diablo Cody-scripted Jennifer’s Body. Irony is, like, so hot, y’know? For The Informant!, Steven Soderbergh returns from indieland to "from the director of Ocean’s Eleven, Twelve, and Thirteen" mode. His newest is the tale of a goofy, whistleblowing agribusinessman played by a fat-and-mustachioed Matt Damon.

Sept. 25: Proud, profiteering misogynist Tucker Max — a figurehead in the "fratire" literary movement — cowrote the script for I Hope They Serve Beer in Hell, based on his book (in turn, based on his blog), which kinda looks like a crasser spin on The Hangover. Fame updates the 1980 high school song-and-dance classic, a remake that actually makes sense given the popularity of the High School Musical series and all those bajillions of televised talent contests.

Oct. 2: Judging by its trailer, Zombieland could be the greatest movie ever made. Also: British footy drama The Damned United, with a script adapted by Frost/Nixon (2008) screenwriter Peter Morgan; and the latest from Michael Moore (the self-explanatory Capitalism: A Love Story) and the Coen brothers (A Serious Man, a ’60s-set black comedy that features no major movie stars).

Oct. 16: At long-friggin’-last, the Cormac McCarthy adaptation The Road — starring Viggo Mortensen and directed by John Hillcoat (2005’s The Proposition )— comes shuffling down the postapocalyptic highway. Spike Jonze’s Where the Wild Things Are squares off for its twee-off with Wed Anderson’s Fantastic Mr. Fox (out Nov. 13).

Oct. 23: Lars von Trier’s Antichrist shocked Cannes — will it make a splash here, opposite Saw VI (oh yeah, they made a sixth one)? Meanwhile, cult cinema fans won’t want to miss the return of Thai martial arts wizard Tony Jaa in Ong Bak 2. Hold on to your Buddha heads! Finally, when Michael Jackson died, he left behind enough rehearsal footage to fill a backstage doc, named This Is It after his never-launched tour. Celebration or cash-in?

Nov. 6: Jon Ronson’s The Men Who Stare at Goats is one of my favorite books. If George Clooney and co. mess this one up, I might have to lock them in a small room and blast the Barney theme until they crack.

Nov. 13: Precious: Based on the Novel Push By Sapphire was raved-about at Sundance, with stars like Mo’Nique and Mariah Carey de-glamming for art. On the complete other end of the spectrum, disaster expert Roland Emmerich masterminds the end of the world (again) with 2012.

Nov. 20: The Twilight Saga: New Moon opens. Look, enough people care about this that I don’t have to.

Dec. 11: Three heavyweights, three very different target audiences. Disney unveils its first-ever African American animated heroine in The Princess and the Frog (about time, Mouse House); Clint Eastwood directs Morgan Freeman as Nelson Mandela in the rugby-themed Invictus; and Peter Jackson takes on Alice Sebold’s bestseller The Lovely Bones, starring Atonement (2007) fabulist Saoirse Ronan as the doomed Susie Salmon.

Dec. 18: I was stoked about James Cameron’s Avatar. Then I saw the trailer. Hmm.

Dec. 25: Now that Guy Ritchie’s no longer married to Madonna, will his filmmaking talent return? With hot property Robert Downey Jr. starring, Sherlock Holmes could be revisionist-tastic. And, strictly for Christmas Day masochists, there’s Alvin and the Chipmunks: The Squeakquel.

Appetite: Prop 8 dogs with curry ketchup, Yucatecan sandwiches, peach shrubs, and more

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

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EVENT
Saturday, 8/22 – SF Street Food Festival
Head to Folsom, between 25th and 26th, in front of La Cocina, for a one-day street food fest featuring some our city’s best… and, yes, presented by La Cocina. Each vendor playfully submits a "Bite", or amuse bouche-like appetizer, a "Forks and Fingers" main dish, and a beverage (order all, one, mix and match). Kasa Indian, La Mar, Delfina, Poleng, Heaven’s Dog/Out the Door, Aziza, Laiola, El Buen Comer, Bi-Rite Creamery and more, show off a diverse range of eats in street fare format… and nothing is priced over $8. Stop by for a bite, or stay for hours of indulgence. There’s passes (from $25-150) giving you a whole range of tasting options. While listening to street musicians or taking in street art, sip a peach/sage shrub from Absinthe. Head over to the beer/wine/spirits garden with Chaac Mool’s Yucatecan milk and cinnamon braised pork sandwich in hand. Snack on Estrellita’s Salvadoran plantain cake before a funnel cake with strawberries and cream from Endless Summer Sweets. Bid in the Silent Auction with some pretty sweet items like "Chef for a day at Chez Panisse" or "Pig Butchery in your home with Ryan Farr". Nice. Note that this is a sister event to the upcoming Eat Real Festival happening in Oakland August 28-30. Celebrate and support San Fran’s dynamic food and drink and ever growing street food community all while benefiting La Cocina… sounds like a perfect Saturday.
Sat/22
11am-7pm
Folsom between 25th and 26th, SF.

www.sfstreetfoodfest.com

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Photo by Virginia Miller

NEW OPENING
Zog’s Dogs in FiDi
Whether you work downtown or not, it’s worth getting a meal from brand new Zog’s Dogs, opened by Jesse Herzog (hence the "zog") who still works his day job but started this stand out of sheer passion for dogs and sausages. Meat runs in his blood… his family line goes back to 1850 in SF where his ancestors started their own butcher shop. Zog’s grills plenty of dogs (including corn dogs), kielbasa, German frankfurters, hot links… all $3-$4.40. But let’s talk about the specialty menu. For an ‘upgrade’ of $5-$6, there’s The Matrix, where bacon is cleverly layered inside the bun rather than wrapped around the dog (never fear: they’ve got it that way, too), so it maintains its crispiness while still imparting piggy flavor. The Prop 8 Dog is two dogs in one bun. Need I say more? The aptly named Moral Conundrum is a quite satisfying veggie dog wrapped in bacon… so you will have to make a moral decision on this one. If I had to choose, I love the garlicky herbs redolent in The Bobo organic sausage, nicely nestled in a wheat bun. But I especially enjoyed the scorching Mexico, which, with a Mission district nod, is wrapped in bacon, smothered in grilled onions, jalapenos and a touch of mayo. The usual mustards, onions and relishes are there to add on, but I couldn’t stop pumping their Curry Ketchup.
Monday-Friday 10am-6:30pm
Saturday 11am-4p
1 Post, SF.
415-391-7071

www.zogs-dogs.com

Hot sex events this week: August 19-25

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Compiled by Molly Freedenberg

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Tie me up, tie me down: This week is bondage-a-licious, thanks to tonight’s Pirate Party and Saturday’s “Art of Restraint.”

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>> Bondage A Go Go: Pirate Party
The weekly sadistic disco hosts a costume party for pirates, slaves, sluts, and scalliwags, featuring the Bootie Beauty Contest ($200 for first prize) and treasure hunts.

Wed/19, 9:30pm. Free with pirate attire until 10pm. 520 4th St, SF

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>> Positions for Pleasure
Sex educator Jamye Waxman has been doing research for an upcoming DVD and video game on sex positions and wants to take you on a back-bending, mind-expanding, stand up, sit down, lay back ride through positions for pleasure.

Wed/19, 8-10pm. $25-$30. Good Vibrations Valencia, 603 Valencia, SF; (415) 522-5460, events.goodvibes.com

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>> Thrillville’s Satanic Sci-Fi Schlock-O-Rama
See the live retro-rocket heat of Red Hots Burlesque, plus rare 35mm prints of Missile to the Moon — all hosted by Will the Thrill and Monica Tiki Goddess.

Thurs/20, 7:30pm. $12. 4 Star Theater, 2200 Clement, SF; (415) 666-3388, intsf.com/4-star_theatre

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>> Sex Workers’ Writing Workshop
Gina de Vries hosts this workshop for people working or who have worked in the sex industry as a way to share their writing about anything.

Thurs/20, 5:30-7:30pm. $10-$20. Center for Sex and Culture, 1519 Mission, SF; sexandculture.org

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Appetite: Prop 8 dogs with curry ketchup, Yucatecan sandwiches, peach shrubs, and more

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

appstreetfooda.jpg

EVENT
Saturday, 8/22 – SF Street Food Festival
Head to Folsom, between 25th and 26th, in front of La Cocina, for a one-day street food fest featuring some our city’s best… and, yes, presented by La Cocina. Each vendor playfully submits a "Bite", or amuse bouche-like appetizer, a "Forks and Fingers" main dish, and a beverage (order all, one, mix and match). Kasa Indian, La Mar, Delfina, Poleng, Heaven’s Dog/Out the Door, Aziza, Laiola, El Buen Comer, Bi-Rite Creamery and more, show off a diverse range of eats in street fare format… and nothing is priced over $8. Stop by for a bite, or stay for hours of indulgence. There’s passes (from $25-150) giving you a whole range of tasting options. While listening to street musicians or taking in street art, sip a peach/sage shrub from Absinthe. Head over to the beer/wine/spirits garden with Chaac Mool’s Yucatecan milk and cinnamon braised pork sandwich in hand. Snack on Estrellita’s Salvadoran plantain cake before a funnel cake with strawberries and cream from Endless Summer Sweets. Bid in the Silent Auction with some pretty sweet items like "Chef for a day at Chez Panisse" or "Pig Butchery in your home with Ryan Farr". Nice. Note that this is a sister event to the upcoming Eat Real Festival happening in Oakland August 28-30. Celebrate and support San Fran’s dynamic food and drink and ever growing street food community all while benefiting La Cocina… sounds like a perfect Saturday.
Sat/22
11am-7pm
Folsom between 25th and 26th, SF.

www.sfstreetfoodfest.com

————

zogs.JPG
Photo by Virginia Miller

NEW OPENING
Zog’s Dogs in FiDi
Whether you work downtown or not, it’s worth getting a meal from brand new Zog’s Dogs, opened by Jesse Herzog (hence the "zog") who still works his day job but started this stand out of sheer passion for dogs and sausages. Meat runs in his blood… his family line goes back to 1850 in SF where his ancestors started their own butcher shop. Zog’s grills plenty of dogs (including corn dogs), kielbasa, German frankfurters, hot links… all $3-$4.40. But let’s talk about the specialty menu. For an ‘upgrade’ of $5-$6, there’s The Matrix, where bacon is cleverly layered inside the bun rather than wrapped around the dog (never fear: they’ve got it that way, too), so it maintains its crispiness while still imparting piggy flavor. The Prop 8 Dog is two dogs in one bun. Need I say more? The aptly named Moral Conundrum is a quite satisfying veggie dog wrapped in bacon… so you will have to make a moral decision on this one. If I had to choose, I love the garlicky herbs redolent in The Bobo organic sausage, nicely nestled in a wheat bun. But I especially enjoyed the scorching Mexico, which, with a Mission district nod, is wrapped in bacon, smothered in grilled onions, jalapenos and a touch of mayo. The usual mustards, onions and relishes are there to add on, but I couldn’t stop pumping their Curry Ketchup.
Monday-Friday 10am-6:30pm
Saturday 11am-4p
1 Post, SF.
415-391-7071

www.zogs-dogs.com

Writers’ Block: Precita Eyes’ Urban Youth Arts Festival

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By Michael Krimper

Precita Eyes — the community-based non-profit responsible for beautifying Mission street walls and educating San Francisco on mural art for over 30 years — has quite a celebration planned for their upcoming 13th annual Urban Youth Arts Festival. Live music performances, from local headliners to up and coming performers under the age of 20, will rock the park. Young heads will craft colorful aerosol art on open canvases, or you can throw down some paint yourself if you can an available board. I got a chance to catch up with the head organizer of the event, Precita Eyes’ youth arts coordinator Eli Lippert, just before he got too busy preparing last minute touches for Saturday’s festivities.

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SFBG How did you get into Precita Eyes?
Eli Lippert I started coming to Precita Eyes as a student in the youth arts program that I’m now running. I started when I was about 14 going to classes here and then stuck with it. I got involved with painting murals and doing more projects. I got a little older, and now I’m actually teaching the class and running the program that I was a part of. You could say I’m kinda’ a product of my environment.

SFBG What is the makeup of the youth arts program?
EL It’s still pretty much the same setup. There’s two weekly ongoing classes that are year-round. One is called the urban youth arts program and the other is the youth mural workshop. They’re for teenagers mostly ages 11 to 19. A lot of the kids that come through are interested in graffiti and more urban styles of art. So in the urban youth arts class we center on that kind of stuff and then in the youth mural workshop we focus more on the various processes of painting.

SFBG Do a lot of the students have an interest in doing illegal graffiti art?
EL Well, some of them do. Some of them have done it in the past or in their own time before coming to Precita Eyes. It’s not something that we promote for the kids to do. But most of them have come from a graffiti background, even myself, I started out doing graffiti — as entree into the art world, I guess I would say. But what we try to do is to get them to channel the energy that they have for [graffiti] and put it into something positive for the community. So the students can show the community what they can do with all this energy and talent that they have.

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SFBG Does Precita Eyes teach students how to get legal art out there in public space?
ELThat’s also part of my job — to find things like that and organize the group. But the students are always involved in some part of it. For example in the magazine class we got a grant, but the grant is a student-based grant. It was written entirely by our students. So they were involved in the whole process, and they got more of an idea of the different artistic avenues from the ground up.

The SF budget battle continues

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By Tim Redmond

The full Board of Supervisors votes on the San Francisco budget tomorrow (Tuesday), and there are still some serious issues on the table. Among other things, the budget doesn’t include adequate money for public financing of the upcoming supervisorial and mayoral elections, and that’s big deal: Public financing is a crown jewel in San Francisco’s political reform efforts. The Public Defender’s Office is way underfunded (which is silly since criminal defendants are guaranteed legal representation, and hiring outside counsel is more expensive than funding the PD). Key social services are still taking a huge hit. There are still plans for 1,500 layoffs of city employees this fall — and that means a lot of what people depend on San Francisco for won’t get done. (Among the most painful: The loss of recreation directors, who are mentors for hundreds of kids.)

Sup. Ross Mirkarimi wants to find another $4 million to $6 million to fund public financing and some other services — and he’s looking to take that from a few areas that haven’t exactly been sharing the pain. For example, thanks to a push from Budget Committee Chair John Avalos, the Fire Department actually took some cuts. But the Police Department didn’t. While the Service Employees International Union Local 1021 gave back $40 million and is facing 1,500 layoffs, the Police Officers Association gave back nothing.

The problem with that, of course — besides the fact that it isn’t fair — is that the next time the city faces a budget crisis, which is probably going to be next year, the firefighters won’t want to give up a penny. Hey, they took the hit last time, and there was no parity from other public-safety areas. And if you think Local 1021 is going to be coming to the table with more cuts, you’re crazy.

So Mirkarimi told me he thinks that between the police, the Hotel Tax funding for the Convention and Visitors Bureau and the big arts organizations (the opera and symphony, whose patrons by and large can afford to buy tickets without as much city subsidy) there’s enough to fill some critical gaps in the budget.

It’s going to be tricky — Avalos and Board President David Chiu negotiated the budget deal with the mayor, and it will be hard for them to push at this late date for more changes. But Avalos told me he’s “open to” Mirkarimi’s proposals and will give them all due consideration. So, by the way, did Sup. Bevan Dufty: “I’m open to it,” he told me. “I have some concerns about the budget and will listen to any ideas.”

So the budget battle still isn’t over — and tomorrow’s meeting will be fascinating.

Superior sounds

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In the dead of last winter, the enigmatic and bombastically-titled "The Very Best" Mixtape (Ghettopop) cracked the frozen-over music blogosphere, thanks to its barrage of blasts straight from the center of an African sun. Self-baptized as The Very Best, European production/DJ duo Radioclit (another unfortunate name) teamed up with the Malawian born, London-based singer Esau Mwamwaya. The resulting left-field effort virtually burned through rigid or frigid genre horizons, blending multilingual African vocals, synth-heavy indie pop, thunderous polyrhythms, and an outer-national pastiche of celebratory dance thumpers.

Riding high on an internet buzz that is still multiplying, The Very Best has been hard at work on its upcoming official debut, The Warm Heart of Africa (Green Owl), scheduled for release this fall. If Internet leaks can predict anything, the recording expands on Radioclit’s worldly sensibility. Brace yourself for hazardous dance floor anthems well-fed on the homegrown African sounds of high-life and marabi, as well as bass-laden pop grooves from, well, all over the globe. Mwamwaya’s pipes wander and work wonders over Radioclit’s multitextured, voracious production. Versatile melodies and subtly intricate lyricism uplift the percussive hymns to create a remarkable sonic balance between earthly thrust and airy lightness. In addition to The Very Best’s core dynamism, the debut also promises guest collaborations with MIA (on the enchanting "Rain Dance") and Vampire Weekend’s Ezra Koenig (the hypnotically incandescent "Warm Heart of Africa"). Ah, the revival of spasmodic, sun-drenched Afro-pean music. My year looks brighter already.

BLASTHAUS PRESENTS THE VERY BEST

With Bersa Discos

Fri/17, 9 p.m., $15.

Mighty, 119 Utah, SF

(415) 762-0151

www.mighty119.com

Magic man

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a&eletters@sfbg.com

A young musician’s sojourn after a successful debut album is often a grueling lesson about the fickleness of fans. But U.K. producer, DJ, and multiinstrumentalist Bonobo — also called by his more earthly moniker Simon Green — has transcended expectations and narrow definitions since his first full-length LP Animal Magic (Tru Thoughts, 2001). Once lauded by critics and listeners as the sanguine monkey king of downtempo "chill," Green has refined and filled out his inspired sonic vision long after the dissolution of that nebulous genre.

"There’s definitely a jazz sensibility [to Bonobo’s music]," Green tells me on the phone from Montreal, at the dawn of a North American tour. "Jazz is the main ingredient and then it swings off into different genres." But Green quickly qualifies his statement, pointing out that his music feeds hungrily on electronic narratives and a hip-hop aesthetic for mixing samples and loops. Dial ‘M’ For Monkey (Ninja Tunes, 2003) highlights just this talent for arranging sample cuts and live instrumentation into textured narratives. Composed of languid keyboard loops, horn blares, spacey flute riffs, and programmed atmospherics, the sensually percussive sound travels like moonlit waves. Green forged stronger and more intricate compositions in his most recent release, Days To Come (Ninja Tunes, 2006). This record sees Green’s younger somnambulant drive mature into the insightful introspection and passion conveyed by human rhythms and voices. A collaboration with the incredible vocalist Bajka emboldens Bonobo’s paradoxical balance between ephemeral and earthly wavelengths.

Today, Green is still following the elusive muses into realms of experimentation. He just finished producing an acoustic folk project for songstress Andreya Triana (of Fly Lo’s alluring "Tea Leaf Dancers"). "I think you can get bogged down with one way of working," Green says. "I like the idea of trying something else away from making my own music, because it expands [my] boundaries." For Triana’s upcoming debut Lost Where I Belong (Ninja Tunes), Green abandoned sampling for tabula rasa song production. The lo-fi, sparse arrangements emphasize the fullness of Triana’s effusive voice.

Green came out of the bottom-up recording experience rejuvenated and ready to write stories into tracks. He says his next effort will strive for cinematic orchestration. "I want to make sure it’s a progression from the last one," he says. "One tune has three different tempos and hugely different arrangements as it progresses." But adventurous strands of jazz continue to shift within Bonobo’s music. He’s still writing tales of love and isolation. We listen, navigating infinite horizons, and yes, more days to come.

BONOBO

With Andreya Triana

Sat/18, 9 p.m., $25

Mighty

119 Utah St, SF

(415) 626-7001

www.mighty119.com

Paving the way for privatization

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news@sfbg.com

City officials are considering shutting down the municipal asphalt plant — the source of material for repaving roads and fixing potholes — in order to facilitate construction of a private plant on the waterfront that the city would agree to help finance and support over the long term.

While the privatization plan is being billed by project proponents as a way to save money during tough financial times, it raises questions about whether relying on the private sector for this essential material could hurt the city’s ability to make emergency repairs and ultimately end up costing taxpayers even more.

For the cash-strapped Port of San Francisco, which will make millions of dollars leasing land for the new facility, this is unquestionably a good deal. But for the rest of the city, which is losing a potentially valuable public resource it has operated since 1909 when the first municipal plant opened, the answer is a bit less clear.

Douglas Legg, manager of finance and budget at the Department of Public Works (DPW), argues that the municipal plant is not cost-effective and that the city would pay less if it contracts with an outside vendor. In a 2006 study, Legg found that the city’s cost to produce a ton of asphalt was $75 while private plants offered it for $67.

"It’s true that E.B.I. Aggregates and Graniterock are a little cheaper because they have a market advantage: they own their own gravel quarries," admits Ben Santana, who has managed the municipal plant in the Bayview for the last 21 years. But he still thinks his facility plays an important role. "Otherwise they would have gotten rid of us long ago. We can mobilize in a few hours and city trucks don’t have to wait in line with other clients."

In the aftermath of the 1989 Loma Prieta earthquake, the municipal plant proved to be a valuable asset. "The plant wasn’t damaged. We sent our crews to take care of cracks and voids that had suddenly opened up," Santana recalls. "So the city didn’t have to go south to get material, or pay to get the private plants to open."

Indeed, in 2006, DPW held off the proposed shutdown in order to maintain its access to asphalt in emergencies. Officials worried about being dependant on plants outside city limits, especially since E.B.I. in Brisbane was slated to cease operations in the upcoming years, which would have left Graniterock potentially enjoying a monopoly that could result in price increases.

Although the agency recognizes that it has to have an asphalt plant inside city limits to function well, it is losing the political will to maintain its own. So when port officials approached DPW with their plan to attract a private asphalt operator, the threat to close down the municipal plant resurfaced.

The port has issued a request for proposal (RFP) for an asphalt-batching plant to be built on Pier 94. The selected bidder would be bound to negotiate a long-term contract with the city guaranteeing it would supply asphalt at a price tied to the Northern California asphalt price index.

The port and DPW assume the potential market for asphalt in the city will be large enough to draw private operators. But that belief seems to contradict the rationale behind the decision to close the municipal plant in the first place, which was that it couldn’t produce volumes large enough to bring the price per ton down.

"The demand from the street resurfacing program was nowhere near as high as we thought it would be," Legg says. In 2004, DPW installed two silos on the site to store hot asphalt and increase production. DPW was hoping to generate additional revenue for the department by selling asphalt to private contractors and other agencies. But two years later, Legg concluded in his report that the plant not only failed to turn a profit, it was facing a $100,000 shortfall to repay its investment.

Demand might be picking up, though: city officials expressed their intention to make up for years of neglect in the upkeep of San Francisco streets by introducing a $368 million safe street and road repair bond measure for the November ballot. The plan would boost the number of blocks to be resurfaced from 100 to 400 for the next 10 years, something that might make the city-owned plant more cost-effective. But Legg skeptically points out that the plant still requires replacement of some key components.

"Last year we had a $60 million capital budget for all capital improvement needs in the city from the general fund sources. This year, we’ve got $22 million," Legg says. "They’re scarce dollars. I can’t speak for what the Board [of Supervisors] will chose to do, but it’s challenging to get capital money."

Legg also noted the city plant’s "frequent breakdowns" and limited capacity to store raw materials, criticism countered by Santana. "The plant was modernized in 1993. Sure, some equipment does date to 1953, and I’ve been pushing to replace them for years. But it’s nothing the city can’t afford. Yes, it does sometimes go down. That’s part of operating a plant. But we’ve never run out of material because I always make sure to have some on ground or en route."

Brad Benson, project manager at the Port of San Francisco, discounts the recent limited asphalt consumption in the city, noting major development proposals in the city’s future. "Think about shipyard development, Treasure Island development, Caltrain, parking lots," Benson says. "If there’s not the demand, there won’t be bids. No one is going to invest $3 [million] to $10 million, whatever it costs to build an asphalt plant, if they don’t perceive a market."

But what might also hook prospective bidders is the provision, stated in the RFP, that the "risk capital to construct the facility (may be offset by city financing)." Benson explains that "this concept was introduced here in the midst of the financial crisis when people were having trouble finding sources of capital. The city may have access to some lower cost sources of debt."

Benson said he doesn’t know if city financing would be needed. "Obviously, the port prefers bidders that come in with their own sources of financing. That has been the model to build the neighboring concrete plants. The only reason to consider it is if the city combines lower-cost financing and could get lower cost asphalt in return. Then it might be worth doing."

It’s an interesting paradox: the city wouldn’t have funds to upgrade its plant, but would be ready to chip in to outsource?

But there are other issues driving the proposal. Karen Pierce, a Bayview- Hunters Point community activist who sits on the port’s Southern Waterfront Advisory Committee, told us she would "like to see the municipal plant move away from where people live. There needs to be a buffer area. A newer plant on port property would be further away, and we would have the opportunity to make sure it uses technologies that reduce the amount of pollution."

The municipal asphalt plant, which has never received complaints for pollution, currently incorporates 15 percent of recycled asphalt in its production. The RFP requests its potential tenant raise this amount up to 45 percent.

The proposed lot is also three times bigger than the existing one on Jerrold Avenue and has the advantage of being located near a maritime terminal where sand and gravel, the aggregates mixed with tar to produce asphalt, are imported. Also, there are two concrete batching plants and a construction material recycling center in the vicinity.

"Co-locating businesses that share each other’s products and reducing long-haul truck trips are the kernels of a broader idea for an ecoindustrial park that the port is developing in this area of the waterfront," Benson says.

If the asphalt plant project falls through, the port does have a backup plan: it is considering leasing the site to yet another concrete plant. Bids on both proposals are due in September, after which the Board of Supervisors will consider whether to close the city’s plant.

What’s wrong with San Francisco?

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EDITORIAL In the end, Mayor Gavin Newsom got his way. The San Francisco supervisors made some significant changes to the budget and saved some $40 million worth of programs that the mayor wanted to cut or privatize, but the Newsom for governor ads will still be able to proclaim that the mayor solved his city’s budget problem without raising taxes or cutting police and firefighters.

Instead, this fall some 1,500 city employees are slated to be laid off, 400 of them in the Department of Public Health. Many recreation directors will get pink slips. Human services will lose at least 100 people. Nonprofit service providers will see much of their city funding disappear. The money to pay for public financing of the upcoming supervisorial and mayoral races is gone. Newsom’s pet (and expensive) 311 service will still be open 24 hours a day (with a lot of the money coming from Muni).

Not one of the city’s hugely redundant fire stations will close, even for a few days at a time. The bloated police budget will see no significant cuts, and the cops and firefighters will still get raises. The mayor will continue to employ five people in his press office.

And the only new revenue in the budget comes from fee increases on Muni, public parks, after-school programs, street fairs, restaurants, and the like.

Sup. John Avalos, chair of the Budget and Finance Committee, told us this was the best deal the supervisors could get, and it’s true that the board forced Newsom to add back a lot of money he wanted to cut. But the committee stopped far short of doing what it should have done — fundamentally changing the priorities of the Newsom budget.

Campos told us that he had "mixed feelings" about the deal and expressed concern about the board’s ability to shape midyear cuts and the lack of commitment from Newsom to support support placing revenue measures on the November ballot. Mirkarimi said he was happy with the dollar amounts of the add-backs but proposed holding in reserve some funding for the mayor’s pet projects — a tool for ensuring that Newsom consults with supervisors on the midyear cuts as promised — but Avalos opposed the idea.

Avalos said he’s relying on Newsom’s commitment to him: "The mayor has given me the assurance that he will not make unilateral decisions." But Newsom has a history of breaking such promises.

And the supervisors have not included any new tax revenue in the budget projections. Which puts San Francisco far behind Oakland.

The Oakland City Council has plenty of problems, and the mayor of Oakland, Ron Dellums, has been missing in action on a lot of the city’s problems lately. But when the mayor and the council had to address the budget problems, they came up with a solution that includes at least $6 million in new taxes. While that sounds like a small number, it’s almost 10 percent of Oakland’s budget shortfall. And the new taxes, which will need voter approval in a special July 21 election, are included as part of the budget plan for fiscal 2009-10.

Two of the new taxes — a levy on pot clubs (which the clubs themselves strongly support) and a loophole-closing measure that forces big businesses to pay their fair share of real estate transfer taxes — require only a simple majority vote to take effect. The reason: the council voted unanimously to declare a fiscal emergency and put the measures on the ballot. That allowed the city to avoid the state law that requires a two-thirds vote on most new taxes.

Measures C, D, F, and H make up a generally progressive package that has the support of Council Members Rebecca Kaplan and Jean Quan and Rep. Barbara Lee. We’re happy to endorse all four.

Measure C is a 3 percent increase in the city’s hotel tax, which would rise from 11 percent to 14 percent. Half the new money would go to the Oakland Convention and Visitors Bureau while the other half would be split between the Oakland Zoo, the Chabot Space and Science Center, and cultural arts programs and festivals in the city. We could argue with the distribution (arts festivals should probably get more money and the Visitors Bureau less) but overall, it raises the hotel tax to the level of most other cities in the area and would raise money for the sorts of programs hotel taxes typically fund.

Measure D is a technical amendment to the Oakland Kids First law that mandates spending on programs for children and youth. It changes the spending requirement from 1.5 percent of total city revenues to 3 percent of the general fund. That’s slightly less money than the program currently gets, but a lot more than it has had over the past decade. The coalition that put Kids First on the ballot in 1996 (and modified it in 2008) supports this modest change.

Measure F is a creative new tax. It would impose a 1.8 percent gross receipts tax ($18 per $1,000 in sales) on medical marijuana businesses. Most efforts to hike business taxes face bitter opposition from business owners, but in this case, the pot clubs are happy to pay. In fact, the four dispensaries in Oakland are among the measure’s strongest supporters. Paying taxes tends to legitimize the clubs — and while it’s going to be tricky to track sales in what is still largely a cash business where records have in the past been kept vague to avoid the threat of federal prosecution, this is a strong step in the right direction.

Measure H would prevent big corporations from cheating Oakland out of real estate transfer taxes. Under current law, a business that owns property in Oakland and is bought by another business (or becomes part of a merger) doesn’t have to pay transfer taxes on the property it owns. Closing that loophole could bring in as much as $4.4 million a year.

There’s a lesson here for the much larger city across the Bay.

San Francisco desperately needs new revenue. And while the mayor has talked, in vague terms, about maybe supporting some sort of tax measures in November, he hasn’t committed to anything. There are several proposals floating around the board, the latest of which is a Labor Council-supported tax on alcohol consumption, but no coherent package. The progressives on the board — both those who support the compromise Newsom budget and those who don’t — need to set aside those differences, now, and get to work on finding ways to bring in enough new money to deal with the impacts of further state cuts and stave off some of the layoffs slated for the fall.

The main obstacles are Sups. Sean Elsbernd and Michela Alioto-Pier. Everyone who cares about saving services in this city needs to pressure them to back away from their GOP-style no-new-taxes stands. If those two would at least agree to let the voters decide on new revenue measures, the city would likely get a unanimous board — and the ability to raise taxes with a simple majority vote.

Oakland’s pot club tax and real estate transfer tax are great ideas that can be directly imported to San Francisco. The city’s business tax could be made more progressive (and bring in new revenue) with a simple change in the tax rates (higher on the big outfits, lower on the small ones). We’re dubious about a sales tax increase — even a half-percent hike would bring the local tax rate to 10 percent. And, even though the alcohol tax isn’t exactly progressive, those ideas could be acceptable as part of a package.

The main thing is that the city will need, at minimum, another $100 million this fall, and probably ought to be looking at raising twice that much. Oakland — a city with far fewer resources, a much smaller business base, and radically less wealth — is managing to fight its deficit with progressive taxes. What’s wrong with San Francisco?

P.S.: Sup. Chris Daly was outspoken in his criticism of the budget deal, blasting Newsom and even taking on his former aide and longtime ally, Avalos. But for all his bluster about the mayor, Daly couldn’t bring himself to oppose Anson Moran, Newsom’s nominee for the Public Utilities Commission. Moran was a staunch ally of Pacific Gas and Electric Co. when he was the PUC’s general manager, and the full board should reject him. *

Editorial: What’s wrong with San Francisco?

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The only new revenue in the budget comes from fee increases on Muni, public parks, after-school programs and the like.Meanwhile, Oakland is fighting its budget deficit with progressive taxes.

EDITORIAL In the end, Mayor Gavin Newsom got his way. The San Francisco supervisors made some significant changes to the budget and saved some $40 million worth of programs that the mayor wanted to cut or privatize, but the Newsom for governor ads will still be able to proclaim that the mayor solved his city’s budget problem without raising taxes or cutting police and firefighters.

Instead, this fall some 1,500 city employees are slated to be laid off, 400 of them in the Department of Public Health. Many recreation directors will get pink slips. Human services will lose at least 100 people. Nonprofit service providers will see much of their city funding disappear. The money to pay for public financing of the upcoming supervisorial and mayoral races is gone. Newsom’s pet (and expensive) 311 service will still be open 24 hours a day (with a lot of the money coming from Muni).

Book sluts unite: The Rumpus’s sex-music-comedy night

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By Juliette Tang

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Local author Stephen Elliott modeling purple fishnet stockings, from Alison Tyler’s blog

Stephen Elliott is not one to hide his overtly sexual side. Nor, for that matter, are any of the writers and performers lined up at the “Sex, Music, Comedy Night with Jill Sobule” to be held next Tuesday, July 7, at the Make-Out Room (3225 22nd St). The event is co-sponsored by Kink.com and The Center for Sex and Culture, and proceeds will support The Rumpus, an online magazine about culture – predominantly indie and alternative in nature – spearheaded by Elliott himself.

The event is solidly sex-themed and will feature readings by former sex workers turned authors Zak Smith, Michelle Tea, Kirk Read, and Madison Young, who will be reading selections from her upcoming bondage memoir. A comedy performance by Kyle Kinane, a film from Wholphin, burlesque by Mariel a la Mode, music by Sig Hafstrom, and special guest musician Jill Sobule round out the night.

Stephen Elliott, the night’s host, promises lots of sexiness for your money’s worth. “Jill Sobule is sexy. Everyone participating in the event is sexy. Doing an event with Kink.com is sexy, and introducing people to Zak Smith is really, really sexy, because he’s an incredible artist who chose to make porn. This is the first time we are having an event with a real sex theme so all the authors are or were sex workers. And I was a sex worker as well, so you even get a sex worker host.”

Isthmus insanity

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a&eletters@sfbg.com

SONIC REDUCER Roberto Gyemant, a.k.a. DJ Beto, doesn’t need to tell you how extra-zesty Panamanian music is: all he has to do is play "Juck Juck Pt. 1," by Sir Jablonsky, off Panama! 2: Latin Sounds, Cumbia Tropical and Calypso Funk on the Isthmus 1967-77 (Soundway), the new compilation curated by the San Francisco native. The bubbly calypso-reggae-funk mutant of a track gets its playful tenterhooks into you — and refuses to let go. "If someone can tell me the genre of that song, I’d love to hear it," Gyemant marvels over fruit juice in the courtyard of Haus. "This guy! ‘I juck them in Spanish, and I juck them in English,’ then he speaks in patois. You’re like, ‘OK, this is a special country!’"

Gyemant’s taken his hot shoe back to the burning avenues of Panama more than 20 times since he first discovered the country’s brassy, highly spiced musical hybrids baking in forgotten grooves buried in neglected radio station LP libraries. At the time, in 2003, he was living in Costa Rica, working on a novel. But the music — and an ever-expiring tourist visa — brought him back to root out more old long-players and to get the stories behind the songs, a major endeavor since the pressings in the tiny country were so small and little info existed on musicians like Papi Brandao, whose infectious, accordion-propelled "La Murga de Panama" runs a Puerto Rican bomba through his tipica (folklorico) ensemble’s Afro-Cuban influences. The fruit of Gyemant’s loving labors: Panama! (Soundway, 2006) and now its tipica-flavored sequel, as well as at least one book, a forthcoming encyclopedia on Latin jazz and dance music from 1930 to 1975.

Gyemant — who also put together Soundway’s 2008 comp Colombia! and the upcoming Colombia! 2 — first got bit by the bug in David, Panama, where he stumbled on a radio station willing to part with its old LPs, crammed floor-to-ceiling in a back room. "The guys really let me loose on it," he recalls. Without a portable turntable, Gyemant tried to figure out which albums and 7-inches were worth buying (hint: he stayed away from the ones listing boleros and clung to the records that mentioned, say, Afrofunk). Talking to collectors and fans led him to such players as Francisco "Bush" Buckley of Menique el Panameno con Bush y los Magnificos, who drove him around Panama and took him to old musicians’ hangouts. Still, the writer wasn’t sure if he was on the right track until he started selling funk LPs on eBay, and Soundway head Miles Cleret bought them all. The two began trading MP3s, which led to the comps.

What makes Panama’s musical blend so sizzling? The nation’s complex, fluid multicultural melting pot. The Afro-Antillean workers of Caribbean descent who came to build the canal — and who made up about 20 percent of the small population — played a major part, opines Gyemant. "Per capita, I’ve never found so many calypso boogaloo records," he raves. "It’s like, what?! Or soul guaracha. Or bossa funk. But I think the music speaks for itself."

PANAMA 2 RELEASE PARTY

With DJ Beto, DJ Guillermo, and Vinnie Esparza

Fri/3, 10 p.m., $5

Elbo Room

647 Valencia St

(415) 552-7788

www.elbo.com

————

TARTUFI GETS ITS FOURTH OFF

Get it straight: Tartufi is not playing the Fourth of July eight-band marathon at El Rio that the duo’s Lynn Angel has organized for four years. Nevertheless, during a break from the rock band summer camp at Sausalito’s Bay Area Discovery Museum, where she and Brian Gorman teach 4- to 7-year-olds how to write songs, Angel makes a case for the holiday. "We have a healthy addiction to fireworks," she says, while Gorman chimes in that he likes the ones the make his stomach shake. San Franciscans must wait until August to shake for Tartufi at the Rock Make Street Festival. Before then, the endlessly creative, good-humored duo hit the U.K., where the excellent rock-symphonic Nests of Waves and Wires (Southern) is garnering raves. "We’ve been getting compared to Animal Collective every other day, which is kind of strange to me," says Angel. "I can’t see the connection myself, but I won’t turn it down!"

BIG TIME FREEDOM FEST

Sat/4, 1:30 p.m., $8

El Rio

3158 Mission, SF

www.elriosf.com

ROCK MAKE STREET FESTIVAL

Aug. 23, noon, free

Treat at 17th Ave., SF

www.myspace.com/rockmakestreetfestival

Appetite: Honeycomb coladas, Italian wines, French prix fixe, and more

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

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NEW OPENINGS
The Plant Cafe Organic’s second location with Bay views

The Embarcadero goes organic with The Plant Café Organic‘s second (and much larger) locale on Pier 3. Stunning Bay views, Blue Bottle and smoothies in the morning (in the cafe side of the space), lunch and dinner (restaurant side) with Spicy Fava Bean & Cherry Tomato Bruschetta or Chicken (organic, of course), Caramelized Onion, Point Reyes Blue Cheese & Fennel Pizza. If breezes kick in, there’s heat lamps outside, while inside the air is fresh with a wall plant installation. Watch the sky turn shades of pink and blue at sunset with a Honeycomb Colada (coconut milk, pineapple juice, rum, honeycomb and toasted coconut garnish) in hand.
Pier 3, The Embarcadero
(415) 984-1973

www.theplantcafe.com

Donato Enoteca debuts in Redwood City
Take a Michelin-starred chef from Italy, place him in the Peninsula and you have Donato Enoteca, Redwood City’s newest destination restaurant. Chef Donato Scotti highlights his Northern Italian roots in a menu using farm-fresh produce and Italian ingredients, like imported burrata, prosciutto and olive oils (the latter available in sampler tastings). While choosing from more than 100 bottles of (mostly) Italian wines, dine on handmade pasta, hand-pulled braised wild boar, octopus carpaccio, or spicy sausage/broccoli rabe pizza from the wood-burning oven. The place soothes in white and brown tones, with wine cellar, and a wrap-around patio replete with couches and chairs – an ideal Summer evening setting from which to sip an apertif.
1041 Middlefield Road, Redwood City
(650) 701-1000
www.donatoenoteca.com

appetite629_Grand.jpg

EVENTS
7/14 – Bastille Day at Grand Cafe
Let them eat cake.… and eat it for free at Grand Cafe‘s Bastille Day celebration. Exec chef, Mauro Pando, prepares special French dishes for the occasion, which you can order a la carte or as an optional three-course prix fixe menu ($58 with wine pairings), featuring beloved French classics like Coquilles San Jacques (scallops) or Duck Coq Au Vin. As you sip on flutes of champagne, French wines (some half-priced) or seasonal cocktails, a vibrant Marie Antoinette graces the ballroom to rousing tunes played by an accordionist. Then there’s cake, glorious cake. Celebrate France’s independence and storm the bastille!
July 14, 5pm
501 Geary, SF
(415) 292-0101
www.grandcafe-sf.com

CONTESTS
Calling all Mixologists to compete at SF Chefs.Food.Wine
"SKYY’s the Limit": a cocktail competition open to all bartenders who want to compete for "Best Cocktail 2009" at August’s upcoming SF Chefs.Food.Wine bash in Union Square (and thereabouts). The spirit to be used? Campari, Italy’s delightfully bitter, rose-tinged apertif. Submit your own Campari creation to David Nepove himself (at davidnepove@southernwine.com) by July 6 and the top 15 recipes will be selected on July 21st, with the overall contest including judges the likes of H. Joseph Ehrmann, Martin Cate, Victoria D’Amato Moran, Scott Beattie and Marco Dionysos. Semi-finalists make their own creations during the festival on August 7 and 8 using Skyy Spirits and one secret ingredient revealed each day. With semi-finalists narrowed down from these competitions, two finalists compete August 9th for a grand prize of two round trip air tickets in the US with Virgin Airlines.
Deadline for recipe entry: July 6
www.sfchefsfoodwine.com

Madison Young: our favorite art slut

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By Juliette Tang. Check out Madison in this our Hot Pink List 2009!

Madison Young: renaissance porn star. She is most famous for being an adult entertainment performer and director, but she’s also a writer, blogger, sex educator, artist, and the founder of San Francisco’s Femina Potens Gallery, an art space dedicated to bringing visibility to the artwork of female, queer, and trans artists in our community. For Madison’s work as an advocate of queer empowerment in our community – and for personally making sure (via her www.madisonbound.com Web site) that we have plenty of access to hot queer BDSM – we’re showcasing Madison in our upcoming Queer Issue (this Wednesday!) in honor of Pride Week.

Madison recently sat down with the San Francisco Bay Guardian to discuss her work in pornography, the philosophy of Femina Potens, and the importance of art and advocacy in our community.

SFBG: You founded Femina Potens in 2001. How did you come up with the concept of the gallery, one that advances the art of women, queer, trans, and kink communities in SF? Why do you personally feel it is important for these artists to have a space to express themselves and showcase their work?

MY: I always knew that I wanted to create a physical space for artistic growth, collaboration and community connection. When I moved to San Francisco in 2001, I realized the focus that I wanted that space to have due to a lack of existing physical spaces for women and trans community dialogue around art and sex. Femina Potens fills that void. We have created an accessible and visible physical space in the heart of the Castro where the voices of visual, literary, and cinematic artist are being heard. We are breaking down barriers between the artist and audience, creating interactive art works, blurring the lines of gender and alternative sexual cultures, and creating a space for artistic growth of emerging artists who are exhibiting or reading side by side with queer literary and artistic legends like Michelle Tea, Annie Sprinkle, Carol Queen, Inga Muscio, Daphne Gottlieb and more. Its important for us not only to have transitory festivals and events at other organizations spaces but for our community to have a physical space where their work is celebrated. Creating spaces like Femina Potens allows women and trans community an honest reflection of their experiences and their lives. It also encourages more people in the community to exhibit their work. Our audiences range in gender and sexuality, attracting a crowd that is drawn to cutting edge art, alternative sexuality, avant-garde performances, and flocks of tourists who are interested in the “San Francisco Experience”.

SFBG: What sparked your interest in art? How would you describe your level of involvement with the general artistic community?

MY:I grew up in a very small conservative farm town and then the suburbs of Ohio. I always felt like an outsider. I was constantly trying to stretch my wings for something more. I was instantly drawn to theater and art from my first elements of exposure to this world. In a life where I felt unable to to express myself emotionally, I found art in its many forms to be the purest most honest expulsion of what was going on inside of me. Art was a way to connect to others and to communicate. Art was a way to get out of my head and into my body. I convinced my mother to let me attend a performance art school in downtown Cincinnati for my junior and senior year. That is where I truly found myself and knew that art would always be a part of my life. I often tell people that the first sexual experiences that I had were those that happened on a stage in a black box theater. That is where I first was able to let myself go and to energetically connect in an intimate way with another person.

SFBG: Do you think there are noted artistic, political, or ideological differences between the work exhibited at Femina Potens and that of more mainstream galleries?

Under the umbrella

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Understanding music through the kaleidoscopic lens of jazz is daunting. But it’s a challenge made for virtuoso drummer, multiinstrumentalist, rapper, and arranger Karriem Riggins.

Riggins allows jazz’s free-flowing aesthetic to guide his quest to study genres, explore amorphous coagulations of sound, and synthesize diverse sonic influences and life experiences. His muse opens an expansive universe of musical possibilities. "I feel like I’m one with music," he says, during a recent phone interview. "But I want to reach the point where it’s so effortless to do anything I want to do. Any genre — I want to do everything." Whether playing drums for powerhouses like Ray Brown and Herbie Hancock or producing and rhyming with Madlib, Riggins shows a rare adeptness at either transcending or crossing skillfully between musical traditions.

As a youngster in Detroit, 17-year-old Riggins got his big break when singer Betty Carter invited him to perform with her band as part of the esteemed Jazz Ahead program in New York. He found himself awestruck by the city’s explosive music talent. "I stayed there, I didn’t want to go home," he says. "There were more people my age playing incredible [music]." After a two-week stint grooving with Carter, Riggins found work playing drums for pianist Steven Scott and jumped on opportunities to hold down percussion for Roy Hargrove and Benny Green, steadily absorbing their mastery through musical osmosis.

But Riggins also aspired to refine his other passion, hip-hop. After returning to Detroit, he honed production and lyricist techniques with Common and No I.D. while they were producing One Day It’ll All Make Sense (Relativity, 1997), even flipping a track of his own for the record. Since then, Riggins has laced textured beats for the Roots as well as soul conjurer Erykah Badu and finished the production on J Dilla’s brilliant posthumous project The Shining (Bbe, 2006). Riggins’ raw formula balances live instrumentation and samples, keeping the creative process free while allowing the final vision to cohere within a holistic jazz sensibility. "I feel like hip-hop and a lot of other genres are under the umbrella of jazz," he insists. "Jazz is really the core of the music." He nonetheless notes at least one fundamental distinction between jazz and hip-hop. While hip-hop’s flavor requires simplicity, jazz demands colorful and rhythmic experimentation, a complexity that would detract from hip-hop’s minimal solidity. The singular manner in which Riggins’ negotiates this tension is what makes his multifaceted sound so damn compelling.

In the upcoming Virtuoso Experience Tour, where Riggins plans to introduce his new quintet with pianist Mulgrew Miller, either Pete Rock or DJ Dummy will collaborate on the turntables. "There are very few musicians who are revolutionary musicians, who take the music into their own world and develop something really innovative," Riggins says, noting luminaries like Miles Davis and Gary Bartz. "That’s the type of artist that I want to be."

KARRIEM RIGGINS VIRTUOUSO EXPERIENCE TOUR

With Mulgrew Miller, Pete Rock (Wed/24) and DJ Dummy (Thurs/25)

Wed/24–Thurs/25, 8 and 10 p.m., $20

Yoshi’s

510 Embarcadero West, Oakl.

(510) 238-9200

Dirty dancing

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kimberly@sfbg.com

SONIC REDUCER "I guess it’s different things at different times. I guess different songs are in different modes." David Longstreth of Dirty Projectors is trying — but not very hard — to discuss his songwriting process by phone from Richmond, Va. From the sound of it, the Projectors are trudging along sluggishly today, so as one of those writers with a word or two to spare, I thought I’d help the tongue-tied onetime Yalie out.

"So do you write songs by jamming together as a band or do you compose all the parts yourself?" I wonder innocently.

"It’s hard to write music by jamming," sighs Longstreth, 27, "though not for someone like Phish. Or the Grateful Dead. Or the String Cheese Incident. Hey," he decides to turn the tables on his tiresome interrogator, "what kind of music do you listen to?"

Somehow I think I just got stuck in the String Cheese camp for throwing out the dreaded J word, although Longstreth gets gabby at the mention of his friends and fellow Brooklyner soft-liners Grizzly Bear and happily talks about the leaked "crappy burns" of that band’s latest disc, Veckatimest (Warp).

"We all like to hang out and listen to jams and stuff," he offers tentatively, as if trying out a new language, one perhaps invented by candle-selling hippies and moe.-moony preppies.

Oh, never mind — trust the art, not the artist, as my mother, a shiftless artist, once said. And Dirty Projectors’ art is excellent this time around: the Longstreth-led group’s seventh long-player, Bitte Orca (Domino), is a cunning, insinuatingly likeable collection of characteristically complex, left-field songs that seem to shoot from the hip for that ineffable quality that some fine Top 10 hip-hop appears to aim for — polyrhythmic pop that sound as easy and natural as a school-yard chant — while preserving Longstreth’s glimmering, almost-Afropop-like guitar playing, random (string cheese) incidents of harp, and unexpected time signatures that bring to mind, yep, the jams of Yes and their proggy ilk.

Still, those name-drops don’t quite encompass Longstreth’s romantic falsetto feints on "The Bride," the cock-eyed and sinuous Bjork-meets-Beyonce dance-pop of "Stillness Is the Move," or the fetching, erratic chamber folk of "Two Doves" — and do little to capture how luminously lovely the album is, for all its hard corners and uncompromising eccentricity, and how good his current band — which includes vocalist-guitarist Amber Coffman, vocalist-keyboardist-guitarist-bassist Angel Deradoorian, drummer Brian Mcomber — sounds live.

Little wonder that Longstreth has little patience for fool questions — words do little to sum up the gentle bite of Bitte Orca. "A song is like a living thing," he explains, not sure he’ll be understood. "And recording is a document of the song at a particular moment in time. But I think if you’re playing well, there’s an element of growth that’s happening as you’re playing. I wouldn’t describe it as improvisation — but flux."

DIRTY PROJECTORS

July 7, 8 p.m., $15

Independent

628 Divisadero, SF

www.theindependentsf.com

————

KID CUDI

Though the tune first emerged last year, the infectious Day ‘n’ Nite has been going damn near every day and night since Kanye got behind the Cleveland, Ohio, native. With Sean Paul, Ice Cube, and others. Fri/26, 6 p.m., $25.50–$95.50. Shoreline Amphitheatre, One Amphitheatre Pkwy., Mountain View. www.livenation.com

PHOENIX AND MAJOR LAZER

French rock’s photogenic mythical critters attempt to rise above the tabloid fodder — vocalist Thomas Mars is Sofia Coppola’s baby daddy — and hold the line the against futuristic Jamaican toaster with Guns Don’t Kill People … Lazers Do (Downtown) in hand. Fri/26, 9 p.m., $27.50–$70. Regency Ballroom, 1300 Van Ness, SF. www.goldenvoice.com

RODRIGUEZ AND FOOL’S GOLD

The cold fact is that the resurrected folk-rock legend conquered the crowd at his last SF show. This time the Afropop-adoring LA combo promises to shines, too. Fri/26, 9 p.m., $17–$19. Slim’s, 333 11th St., SF. www.slims-sf.com

SKYGREEN LEOPARDS

The SF band embraces a gentle, sunny, new clarity on its upcoming Gorgeous Johnny (Jagjaguwar), with Papercuts’ Jason Quever now in their midst. Sat/27, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

TOM BROSSEAU

Playing with Ethan Rose, Brosseau plies dusky, literary-minded originals on his handsome new Posthumous Success (FatCat). Sun/28, 8 p.m., $10. Café du Nord, 2170 Market, SF. www.cafedunord.com

Renegade Rockers Hold Down 26 Years of SF Breakdancing

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By Michael Krimper


Renegade Rockers in action.

When a breakdance battle erupts — whether in a club or gym, or on the block or Youtube — heads heed and take note. In a swirling cypher, b-boys and b-girls display their skills on the floor in a back and forth rhythm, showcasing commando techniques and more daring, original styles to the appraisal of the crowd and their fellow crew members, and of course for themselves.

The electric dance style has come a long way since its formative years in the boroughs of 1970’s New York. The West Coast, and in particular the San Francisco Bay Area, has been at the center of many of the innovations contributing to the dynamic evolution of breakdancing. One of the legendary local crews still active, the Renegade Rockers, have been breaking boundaries since their founding at SF City College in 1983.

That longstanding history informs Renegades’ consistent dedication to the culture. In their upcoming 26th anniversary event, the crew plans to showcase the skills which keep them competitive with the top players of the worldwide breakdance community. “Organizing the Renegade Rockers anniversary events encourages the dance scene to keep pushing the limits and inspires new generations to come,” team captain Wicket tells me. Beyond the high energy battle competitions, the crew plans to spread the love by hosting a series of panel discussions on the history of street dance and workshops covering the basics, from foundational breaking to popping, locking, and rocking.

Juicy gotcha krazy

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superego@sfbg.com

SUPEREGO Oh, who the hell cares what I think this week? It’s summer and our party hormones — partymones — are totally going apeshit. Before I get into the upcoming party musts, though, I will leave you with one quasi-abstract musing. The thing I’ll miss most about analog TV, besides the term "vertical hold," is the sound of someone frantically banging the top of the box to stabilize the picture. If anyone’s thinking of sampling that in a killer track, now’s the time. Slap that bitch!

NINJA TUNE


It’s been a coon’s age since the forward-thinking label threw one of its freaky bashes here in San Francisco, and despite some questionable recent signings (Thunderheist? Er, pass), it’s pulling out its new big guns with this one. Before he brought down the house on the Brainfeeder tour last year, I couldn’t look at foppish L.A. synth-master Daedelus without flashing back to my more ill-starred ’80s sartorial choices. But he proved himself up to the minute with edgy future bassism and over-the-top Beethoven-like symphonic flourishes. New New Romantic? Sure. Montreal dancehall warper Ghislain Poirier is back as well, and will benefit from Mighty’s mighty bass boost. Opening up is Daly City’s underground patron saint, Mochipet.

Thu/18, 9 p.m., $10 advance. Mighty, 119 Utah, SF. www.mighty119.com

"THE CREATIVES"


There’s nothing more terrifying to me than a drag queen out of drag. Here I’ll be all gossiping tipsily with someone and say something like, "Oh gurl, that Ambrosia Salad mess truly sucked a big one with her number last Friday." And then he’ll say in a deep voice, "I’m Ambrosia Salad, asshole" — and I’ll have to backtrack faster than Scooby and Shaggy from Bluebeard’s tacky ectoplasm. Luckily, hottie photographer Molly Decoudreaux provides a key with her new exhibition, "The Creatives: Daytime Portraits from a Queer Nightlife," in which she ingeniously snaps notorious movers and shakers in their casual home habitats. Who knew these queens had homes? The opening party should be darling.

Sat/20, 7 p.m.–10 p.m., continues through July 10, free. A.Muse Gallery, 614 Alabama, SF. www.yourmusegallery.com

SUREFIRE


That lively Bay nexus for all things dubstep, Surefire Sound, has gone monthly at Triple Crown (yay) and has a stellar June lineup planned. Distance, a hurricane force from the U.K. whose "Night Vision" track on Planet Mu pummels the darkness into submission, brings his streetwise wobble to the tables. Toronto’s XI gets gnarly, his ragamuffin moments reflective of Canada’s simmering melting pot. And much-admired local DJ Antiserum possesses the just-right combination of longtime jungle and breaks experience and wild viral style to crank the party up madly.

Sat/20, 10 p.m., $10. Triple Crown, 1760 Market, SF. www.triplecrownsf.com

GREEN VELVET


True eccentricity is still a rarity on the techno scene, which tends to forego stand-out personalities in favor of mix-friendly assimilation. This can be a good thing: we don’t need another Prodigy, surely. But Green Velvet, the wacky track producer also known as house pioneer Cajmere, gets the balance between dance floor motion and the conceptually bizarre perfectly. The influence of his earworm cuts like "The Stalker," "Flash," and the oddly Eminem-summoning "La La Land" is strongly felt on recent underground Berlin styles and throughout the goofy Dirty Bird label technoverse. He’ll be in town with bonkers duo Designer Drugs, who manage to make electro-sleaze still relevant-sounding, to help celebrate the birthday of one of my favorite SF DJs, Richie Panic.

Sat/20, 9 p.m., $15 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

DJ SAID


A decade ago, when the Internet was still booming, Said Adelekan brought some serious dance floor spirit to that oft-soulless go-go period with his local Afro-House movement, his Fatsouls label, and his lovely Atmosphere parties. I’m absolutely delighted that he and Fatsouls have resurfaced — goddess knows we could use a little more Afro-injection — to release a new full-length Fatsouls joint, Sun of Gao. Joining Said (and many familiar friendly faces from those days, I hope) will be the luminous DJ Dedan of the great Brothers and Sisters party in Oakland. Expect everything deeply felt, from Afrobeat to minimal techno — oh, and Nigerian legend Rasaki Aladokun on the talking drum.

Friday, June 26, 10 p.m., free. Otis, 25 Maiden Lane, SF. www.otissf.com

Cybernet Expo 2009 gets deep down in it

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By Juliette Tang

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It goes without saying that we tend to take our Internet porn for granted.

Naturally, we are so inundated with porn in our pop up ads, our spam folders, and our Google searches (an unfiltered image search for something as innocent as “cucumber” will get you porn on the first page), it becomes the accepted standard that porn will be an immutable fact that as long as the Internet exists and that we will be entitled to free, or at least accessible, cyberporn until the end days. Unless we’re in the business of making internet porn ourselves, we don’t often think of the business or entrepreneurial aspects involved behind the scenes, or the planning and development it takes to get even the most basic of adult websites off the ground. But adult entertainment, as with any other profession, is a part of an industry (albeit one that is on the fringe of the mainstream) that relies on a complicated network of people who work together and interact as a part of a larger market. And, like all professions, adult entertainment is privy to a phenomenon known as the “Expo”.

What industry, these days, doesn’t have its own expo? Every day, in hotel conference rooms all over the United States, from coast to coast, from New York to LA, from La Quinta to the Four Seasons, professionals gather to drink coffee and mini sodas to meet one another and discuss things like customer conversion and marketing strategies. Usually these expos are a staid and boring affair, with keynote speeches by tedious suit-types with topics like “Putting Service Above Self”. We see them all the time in San Francisco. After the open bar closes down, some of the more adventurous professionals will make their way up from the Renaissance Hotel in Fremont to the city, just to go to Ruby Skye.

At least in the adult entertainment industry, expos provide some entertainment value.

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Slightly exposed at the 2008 Cybernet Expo

If the AVN Adult Entertainment Expo is adult entertainment’s version of Web 2.0, then the upcoming Cybernet Expo is its version of the TechCrunch 50.

It’s Cougartown, Jake

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andrea@altsexcolumn.com

Dear Andrea:

I’m 19 and still a virgin. I’ve never been on a date, kissed a girl, held hands, hugged … you get the picture. I’ve never really had the time to take interest in girls, or the courage to ask one out. I’m now starting to feel pretty lonely, and tired of my lack of "experience." However, after talking with several different girls my age on different occasions, my question has come to this: are virgin guys really worthless for experienced women?

Most women I talk to say that’s the answer to the question. If this is true, I think I’m going to have serious nervous breakdown. Since this is apparently the case, and such a bad thing, I was wondering what I should do — if anything at all — to fix the problem?

Love,

Another Lonely Boy

Dear Boy:

In light of recent discussions of sexual opportunities found on craigslist, among the (barely) used fitness equipment and the remarkably ugly couches, I’m suddenly seeing your problem in a whole new light. In your usual fictional treatments of the "desperate male virgin seeks state-change" trope, you see the hapless hero attempt, unsuccessfully, to get age-mates interested, or to trick them with false-bottomed popcorn buckets or what-have-you. Then you have your prostitute scene, which never goes well. I have no compunctions about suggesting seeing a pro, actually — it may not be legal, but as far as I know I can recommend what I like as long as I don’t recommend whom I like, as in "See my friend Lavinia, she’ll fix you right up."*

In fact,I AM going to suggest you see a pro, since this has been going on way too long and I’m afraid you’re going to get what they used to call "a complex." But I do realize it’s not a solution that fits everyone’s tastes, morals, or pocketbook, and it isn’t much help if what you’re seeking is a boon companion and a chance to get your blank-blank-ed (I hate all those phrases and can’t even bring myself to type the one about cherries. Ick.

We’ll get back to craigslist, but first, no, I don’t think inexperienced men are "worthless" to women. I think very few people can truly be considered worthless (even the worst can be repurposed as mulch, for instance), and I’d hate for you to judge your own worth by what some chicks at a party said. Your "worth" is irreducible and inborn.

How useful you can be to other people may depend on things like skills and history, but probably not as much as you think. I think we’re having some confusion here about what question those girls thought they were answering. Would they really, at the advanced age of 19 or so, reject a serious and otherwise appealing suitor on the grounds of sexual inexperience? Or was it more a case of "I’d rather do it with guys who know what they’re doing"? The latter is understandable, the former a bit sad.

I really think young women of a slightly less hardened persuasion are your best bet, for many reasons, but there is that craigslist option (craigslist is in some senses sui generis, but it could also be considered to stand in here for any online meeting place where "casual encounters" ads are acceptable). I’m thinking that your chances of a cute 19-year-old picking up on your ad in a place like that and thinking, "Sweet! He doesn’t know a thing!" are virtually nil. But if there really is such a thing as a "cougar," then … mrowr.

I am personally still unconvinced that any such widespread social phenomenon of older, slightly stringy but glossily well-preserved ladies prowling for young man-meat yet exists, or ever will. You couldn’t prove it by the presence of the stereotype, though. Not only is there the SNL sketch and a number of ad campaigns featuring "cougars," there’s even an upcoming series staring the ancient and wizened Courteney Cox (I believe she’s 45) in something called Cougar Town. This is not good.

Reservations about the designation and the ugly light it casts on women over, say, 35 who still like sex aside, this could all be good news for you. Try running an ad that says "19-year-old virgin seeks cougar for important life lessons" and see how that works out for you. While it’s true that most female grown-ups are not seeking utterly inexperienced partners half their age, there are certainly some who would find you an interesting experiment.

All this nonsense about pros and ladies on the prowl aside, I do have two other suggestions, both of which seem to have escaped you. One, you can talk to girls and even ask them out without revealing a certain embarrassing biographical fact upfront and, two, you could date virgins.

Love,

Andrea

* No, I don’t know anyone named Lavinia.

Don’t forget to read Andrea at Carnal Nation.com.

“in/divisible” dances past Prop 8 and beyond

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By Rita Felciano

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The fact that the state Supreme Court upheld Proposition 8 probably was no surprise to Dance Ceres choreographer-dancer Brittany Brown Ceres, since the aftershock of the proposition’s passage coincided with her residency at CounterPULSE. But it probably did strengthen her faith in dance’s ability to suggest and strengthen concepts of community, self, and instigating and supporting change. The upcoming in/divisible, presented as part of this year’s National Queer Arts Festival, may also serve as an affirmation for those engaged in the ongoing struggle for equality. Though there is nothing overtly political about Brown Ceres’ choreography, her dances are forceful and affirming of female identity. At their best, they draw you in because of the complexity of the impulses that generate and control them. Still, if you look closely, you can see how they undermine conventional mores and ingrained patterns of thought. But they mostly convince because they are so beautifully and emotionally logical in the way they communicate. For in/divisible, Brown Ceres is collaborating with two soul mates. Aerial artist Sonya Smith complements her own (physically) more gravity-bound choreography. Joining them from San Diego is Sadie Weinberg with American Torch Songs, a set of short dances that look back at one of the universal high school experiences: getting dumped.

IN/DIVISIBLE Thurs/4–Sat/6, 8 p.m., $15. CounterPULSE, 1310 Mission, SF. 1-800-838-3006. www.brownpapertickets.com

in/divisible

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PREVIEW The fact that the state Supreme Court upheld Proposition 8 probably was no surprise to Dance Ceres choreographer-dancer Brittany Brown Ceres, since the aftershock of the proposition’s passage coincided with her residency at CounterPULSE. But it probably did strengthen her faith in dance’s ability to suggest and strengthen concepts of community, self, and instigating and supporting change. The upcoming in/divisible, presented as part of this year’s National Queer Arts Festival, may also serve as an affirmation for those engaged in the ongoing struggle for equality. Though there is nothing overtly political about Brown Ceres’ choreography, her dances are forceful and affirming of female identity. At their best, they draw you in because of the complexity of the impulses that generate and control them. Still, if you look closely, you can see how they undermine conventional mores and ingrained patterns of thought. But they mostly convince because they are so beautifully and emotionally logical in the way they communicate. For in/divisible, Brown Ceres is collaborating with two soul mates. Aerial artist Sonya Smith complements her own (physically) more gravity-bound choreography. Joining them from San Diego is Sadie Weinberg with American Torch Songs, a set of short dances that look back at one of the universal high school experiences: getting dumped.

IN/DIVISIBLE Thurs/4–Sat/6, 8 p.m., $15. CounterPULSE, 1310 Mission, SF. 1-800-838-3006. www.brownpapertickets.com