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SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM

SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

T H E SA N F R A N C I S C O B AY G UA R D I A N E D I T O R I A L S

4.6.11

In Wisconsin and San Francisco the deficit is the excuse to require cuts in public worker retirement and community services.

From Wisconsin to San Francisco

EDITOR’S NOTES By Tim Redmond tredmond@sfbg.com

The American environmental movement emerged out of the late 1800s, when a few visionaries like Gifford Pinchot, John Muir, and Teddy Roosevelt decided that America’s mad rush to tame the wilderness and conquer the continent from sea to shining sea had gone too far. They weren’t always in synch, the early conservationists — Muir thought wilderness should be left alone, and Pinchot, the first director of the National Forest Service, thought forests should be managed to improve the lives of people. But the early battles all followed a basic underlying theme: it was about taking land out of private hands and putting it into the public sector. They didn’t always talk about it that way, but when you follow the great philosophical and political arguments of the day, that’s what it came down to. The mining, logging, and ranching interests (and land speculators, like Pinchot’s father) wanted the federal government to keep its nose out of the great forests, plains, mountains, and deserts. Roosevelt realized that the only way the land would be preserved for future generations was to nationalize it — and he fought mightily to do it. (In 1907, Roosevelt designated 16 million acres of land as national forests minutes before Congress voted to suspend all future acquisitions.) That’s something the modern environmental movement has lost sight of in the past couple of decades. Some major enviro groups in California supported energy deregulation in the 1990s, arguing that the private sector could do a better job of managing sustainable electricity generation (that worked out well). Respected green leaders like Adam Werbach argue that they can convince giant corporations to make the planet more sustainable. When you hear about solar energy projects at the governmental level these days, the discussion is all about public-private partnerships. Now, I’m not going to argue that all business is evil, or that there’s no

By Roxanne Sanchez and Larry Bradshaw

Taxes — without the GOP

Public Defender Jeff Adachi is scurrying all over town trying to explain how his version of pension reform is really “progressive.” It would be laughable if its implications weren’t so devastating for working people employed by the city and those living in and around San Francisco. Adachi is rightfully worried that the events in Wisconsin and the national movement to defend union rights they have inspired will hurt his campaign. He is eager to say that he, unlike the Republicans in Wisconsin, supports unions’ rights to collective bargaining. But while Wisconsin Gov. Scott Walker and the Republican Legislature eliminated collective bargaining for their public employees to slash their wages, health care, and pensions, Adachi is slashing San Francisco’s workers pay and pensions through the ballot, effectively taking those items off the bargaining table. What’s the difference? In both Wisconsin and San Francisco the deficit is the excuse to require cuts in public worker retirement and community services. Walker created Wisconsin’s deficit by granting huge tax cuts for corporations and the super-rich. In San Francisco, the deficit that cannot cover the city’s pension fund contributions was similarly brought on by three decades of tax cuts for corporations and the rich in California, compounded by former Mayor Gavin Newsom opposing nearly every revenue measure proposed throughout his seven-year reign — and by the city not contributing its share to the pension fund for all the years the stock market was doing well.

EDITORIAL Gov. Jerry Brown did everything he promised to do. He negotiated in good faith with the Republicans. He listened to their ideas. He made it clear he was willing to accept concepts (pension reform, for example) that his biggest campaign supporters wouldn’t like. And he got absolutely nowhere. The Republicans in Sacramento have demonstrated over the past two months that they have no interest in solving the state’s budget crisis and that they’re nothing more than obstructionists. It’s time for the Democratic Party leadership to give up on all this talk of bipartisanship and craft a budget solution that works — without the GOP. There are several possible alternatives, but they all require Brown and the Democratic leadership in the Legislature to acknowledge that there’s no way to keep the state solvent and functional without at least extending existing taxes — and no way to get

two-thirds support in the Assembly or Senate for any tax measure. There’s some talk among progressives in Sacramento of using a creative legal strategy to put the extension of temporary sales and car taxes on the ballot with a simple majority vote. In essence, the Legislature can amend any existing law with a simple majority vote — and amending the current tax code to extend the temporary taxes for a year might work. Republicans will howl and sue, and it’s possible that the courts will side with them — but it’s worth a try. At the very least, the Democrats will be highlighting the difference between the two parties, giving the public a clear choice — and putting the GOP legislators on notice that if they won’t help find a solution, they’re going to be irrelevant. The other option is to start gathering signatures immediately for a ballot initiative, or series of initiatives, that not only extends the temporary taxes but increases taxes on big corpo-

rations and the very rich. It’s too bad Brown didn’t start that process months ago; it would have given him immense bargaining clout with the Republicans. As it is, any initiative would have to wait until November; there’s nowhere near enough time to qualify a measure for a special June election. Still, a lot of the projected state cuts could be delayed until after the voters have a chance to weigh in — and the politics are clearly on the side of progressive taxes. In fact, a poll commissioned by the California Federation of Teachers shows that 78 percent of Californians support a 1 percent increase in income taxes for Californians earning more than $500,000 a year. Even Republicans back the notion by a 60 percent majority. With Brown leading the charge, raising the money for a signaturegathering effort and a strong campaign shouldn’t be a problem. And

EDITORIALS 5

green issue 12

PICKS 28

MUSIC LISTINGS 45

on the cheap LISTINGS 52

NEWS 8

FOOD + DRINK 26

ARTS + CULTURE 32

STAGE LISTINGS 51

FILM LISTINGS 53

CONTINUES ON PAGE >>

CONTINUES ON PAGE >>

CONTINUES ON PAGE >>

independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | EDITORIALS

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fridaY nights 08 at the de Young

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way to combine profit and environmental consciousness. But in the end, economist Robert Reich is correct: private corporations are accountable to their shareholders and the bottom line — not to the public good. That’s how it’s always going to be. Which means that, in the end, saving the planet is going to be a public-sector responsibility. It’s going to be about strict regulations, about public control of essential resources, about changing the way we think about energy (it’s now a commodity to be sold instead of a public service), and about maintaining and increasing the amount of land that’s permanently owned and operated by the public. That’s my message for Earth Day 2011. 2

In determining how “progressive� Adachi’s measure is, we should, as always, follow the money. Here’s who’s is backing his proposal: › Michael Moritz, the billionaire venture capitalist (and No. 308 last year on Forbes’ list of wealthiest Americans) who hosted fundraisers for Prop. B — Adachi’s first attempt last year at pension reform that was soundly defeated — and is a major financial backer of Republican Ohio Gov. John Kasich and the Ohio Republican Party Central Committee. › Howard Leach, the billionaire financier who raised almost $400,000 for the George W. Bush campaign and was rewarded with the position of ambassador to France. He also contributes to the Republican Governors Association, whose major objective was the election of the new crop of conservative governors pushing anti-worker measures in Wisconsin, Ohio, Indiana, Florida, New Jersey, and other states. › David Crane, who is a paltry multimillionaire former investment banker and close friend of and former top pension adviser to Republican former Gov. Arnold Schwarzenegger. You have to wonder why these super-rich are suddenly so concerned about the parks and senior and youth programs, the mental health and drug abuse programs Adachi cites as being cut because of pension costs. If these billionaires were so moved, they could take the money they are sinking into Adachi’s measure and donate that to the programs. Or they could support some kind of progressive revenue measure that makes the wealthy downtown financiers and investors — who can afford to pay — ante up to protect the programs they claim to be concerned about. No one is more concerned with the viability of the pension fund than those who plan to retire on it. That’s why the city’s unions are engaged in discussions with the city to develop real pension reform that is fact-based, principled, and compassionate to those trying to raise families in this economic climate. So when Adachi’s high-priced signature gatherers (paid as much as $5 per signature to get Prop. B on the ballot) come to your neighborhood grocery store, just say “No!� No, this is not what we call progressive policy. Not in Wisconsin, and not in San Francisco. 2

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From 5–8:45pm with free programs and live music. Enjoy cocktails and dinner in the cafÊ. Mar 25—May 6, 2011: every Friday from 5–8:45pm view the 2OPHF &RORVVDO0DVWHUZRUNV RI $QFLHQW 0H[LFR exhibition for free.* *Permanent collection & other special exhibitions not included.

> view the special exhibitions Balenciaga and Spain and Olmec: Colossal Masterworks of Ancient Mexico.

> celebrate the Olmec exhibition with music and dance by Los Cenzontles.

> enjoy jaguar painting demonstrations by artist Calixto Robles and listen to researcher and artist Jim Berenholtz discuss ancient jaguar dance traditions of Mexico.

> watch Fandango: Searching for the White Monkey,

a documentary that features musicians trying to revive traditions of Veracruz, Mexico. In the Koret Auditorium at 7pm; VHDWLQJ LV RQ D ÀUVW FRPH ÀUVW VHUYHG EDVLV

> create a good luck amulet inspired from Mesoamerican art.

Friday Nights at the de Young is part of FAMSF’s Cultural Encounters initiative generously funded by The James Irvine Foundation, The Wallace Foundation, the Institute of Museum and Library Services, the Columbia Foundation, and the Winifred Johnson Clive Foundation.

Golden Gate Park 50 Hagiwara Tea Garden Drive deyoungmuseum.org 415.750.3600

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if California can start clearing up its red ink with taxes on the very wealthy, it will send a profound message nationwide. Brown, to his credit, is finally starting to travel around the state and preach his message. He’s hitting Republican districts and trying to get voters to pressure their representatives to work with him. It’s a nice idea, two months too late — and it’s unlikely to turn any legislators around at this point. On the other hand, the governor, whose popularity is high, would do wonders for the politics of the state and the nation by resuming the old populist stance he took in the early 1990s when he campaigned for president as a foe of corporate power and concentrated wealth. The folks at Calbuzz, the Santa Barbara political blog, put it nicely, suggesting that Brown start channeling the legendary former Wisconsin governor, Bob La Follette. “As a political matter, it’s time for Jerry Brown to reach for his inner La Follette and start sounding some good, old-fashioned, Wisconsin-style populism. Instead of going after the railroads, as La Follette did, however, Brown should aim at the ultrawealthy, the oil companies, and other greedy corporate interests that have a) allowed the California Republican Party to gridlock the budget process and b) fought to keep special corporate loopholes, including outrageously low property tax rates from Prop. 13.� That’s how you turn California around. 2

Roxanne Sanchez is president and Larry Bradshaw is San Francisco vice president of SEIU Local 1021.

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Man on the move +^[WRWP 6JW VX_N\ ]X VRM 6J[TN] JWM KNPRW\ LXW_N[\RXW ]X WXWY[XOR] \]J]^\ By Steven T. Jones steve@sfbg.com As the homegrown Burning Man festival and culture marks its 25th anniversary, Black Rock City LLC, the company that stages the annual event, is about to take a couple of big steps. Next month, organizers say it will move into a high-profile new headquarters on mid-Market Street and form a new nonprofit group to take over Burning Man. Tickets to the weeklong festival, which takes place Aug. 28-Sept. 5 in Nevada’s Black Rock Desert, have been selling at their fastest pace ever and the city is likely to exceed a population of 50,000. Symbolizing perhaps the biggest transitional year since 996, when the LLC was formed and a more formal civic infrastructure was created, the eponymous Man will be in a new pose for the first time: striding across a chasm rather than standing still. While the transitions have been in the works for years, event founder Larry Harvey publicly laid out the details for the first time on April , when he addressed a gathering of Burning Man regional representatives from around the world. “I’m here tonight to talk to you about the next step for Burning Man,” Harvey told the crowd of about 50 regional representatives and another couple hundred

burners, including Sup. Eric Mar, who attended the event last year for the first time. Sup. Jane Kim, who is sponsoring a controversial mid-Market tax exclusion zone that would benefit BRC and many other companies (see “Selling the Tenderloin,” March 30), appeared at the event briefly but didn’t stay for the whole speech. Harvey then proceeded to talk for more than an hour, revealing often personal details about the bitter infighting among BRC’s six board members that followed lawsuits filed in 2006 by board member Michael Mikel and in early 2007 by John Law, an estranged founder of the modern event, over control of Burning Man’s trademarks and future (see “Burning Brand,” /6/07). “It triggered a series of cascading events, and those began a rite of passage,” Harvey said, echoing this year’s Burning Man art theme, Rites of Passage. With Mikel and Law forcing the question of what would become of the event, BRC realized it needed a new operating agreement, but the board members couldn’t agree on the fundamentals and ended up in mediation. “It began to look like everybody would lawyer up,” Harvey said. “It felt like the band was breaking up.” They brought in corporate appraisers to “think about what the

pie will fetch, then divide by six,” an idea that was as abhorrent to Harvey as it would certainly have been to the vast community of burners who have helped give the event its value over decades now. “It was against everything we stood for, everything we had practiced,” he said. “How could we sell our life’s work like a commodity?” Eventually, working with a committee of BRC senior employees that formed after relations on the board devolved, they decided to turn control of the event and its assets over to a new nonprofit group called The Burning Man Project. “Why not act to change the world, a world that you won’t be in? And that’s what we want to do,” Harvey said, eliciting applause from the room. “We want to get out of running Burning Man. We want to move on.” But it’s going to be a slow process. In May, he said the LLC will file papers to create the nonprofit, which will initially be run by the current board members and at least seven more directors selected by that board. In about three years, depending on how the new nonprofit forms up, the LLC will turn over management of Burning Man, while holding onto control of the logos and trademarks for another three years after that, Harvey said. And that’s when the six board members will officially cash out. “We will liquidate our ownership interests and it will be for more than $20,000,” Harvey said, alluding to the sum promised to departing board member under the LLC’s original operating agreement, an amount he dismissed as “laughable.”

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This year’s Burning Man will be in a new pose, stepping across a chasm, as part of the Rites of Passage theme. ;<J@>E 9P IF; >8II<KK# I<E;<I@E> 9P IF; >8II<KK 8E; 8E;I<N AF?EJKFE<

The slow, conditional transition and big potential payout were criticized by longtime burner and former mayoral candidate Chicken John Rinaldi, who led a 2004 rebellion against the board’s control over an event that is created mostly by its participants. “We’ve gotta pay for their retirement for something they stole from us in the first place?” Rinaldi said. “They’re turning Burning Man into a commodity. They’re selling the event.” Harvey, Mikel, and board member Marian Goodell say they are simply trying to safeguard Burning Man and ensure its longevity. “Nonprofits can go bad so the real challenge

is creating a rugged framework,” Mikel said. “This thing needs to run beyond us.” But even Rinaldi agreed with the move to Mid-Market, which Goodell said is good timing as BRC begins to create and shape the Burning Man Project. “We need to be in an urban environment to get a handle on what we need,” she said, noting how isolated their last two offices along Third Street have been. “We want to have a public face to the world.” 2 Guardian City Editor Steven T. Jones is the author of The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture.

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@E;<G<E;<EK# CF:8CCP$FNE<; s J8E =I8E:@J:F 98P >L8I;@8E independent, locally-owned | SAN FRANCISCO BAY GUARDIAN |s J=9>%:FD SFBG.COM |s E<NJ news

10 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

PHOTO: Jacqueline Grossbard

PHOTOGRAPHERS: Enter your best fashion photographs on our website FASHION LOVERS: Vote for your favorites online

APRIL 4 to MAY 29, 2011

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independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | news 11

the green issue

the green issue

Top to bottoom: Rebecca Burgess’ finished natural dye yarns, a day in the greenhouse planting indigo seeds, and her farmmate, Queeny the horse. Queeny Photo by Paige Green; Photos by Caitlin Donohue

Threads of change A fibershed activist wants us to consider our clothes By Rebecca Bowe and Caitlin Donohue rebecca@sfbg.com; caitlin@sfbg.com GREEN Planting indigo seedlings in a leaky greenhouse in the mist of a cold Marin County afternoon, Rebecca Burgess thinks about what she’s going to wear. She’s not a fashion model, or a clotheshorse, but she is on a yearlong quest to attire herself only in garments that were sourced and produced bio-regionally — or within a 150-mile radius of home — an area she calls her local fibershed. Why take on such a challenge? “If we don’t want BP oil spills, it’s about more than just not fueling our cars with it,” Burgess says. While many activists seeking to unplug from oil dependency have worked to encourage bicycles, local agriculture, and reusable 12 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

shopping bags, her approach takes on the materials we use to clothe our bodies. Half of all jeans sold annually in the United States — around 200 million pairs — are produced in the Xintang township in China’s Pearl River Delta, where a Greenpeace study found hazardous organic chemicals and acidic runoff in the watershed, both of which may contribute to profound health risks for factory workers and their communities. Of course, oil is consumed in the transport of factory-made garments halfway across the globe. But as Burgess notes, that’s only part of the reason for her project, which so far has yielded a book on the making of natural dyes and a plan for a community cotton mill in Point Reyes. She’s also concerned about the synthetic fibers mass-manufactured clothes are made of. “We’re wearing a lot of plastic,” she notes. Not just plastic: petrochemicals, formalde-

The

STreeTS

ISSue

The Guardian Street Issue takes it outside to explore the amazing history, culture, and energy of the streets. The issue covers bike culture and issues, outdoor activities, street food, street art, street musicians, and all things San Francisco streetwise, both underground and mainstream.

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Follow us on independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | news 13

K?< >I<<E @JJL<

The Greek Consulate of San Francisco presents a photographic exhibition by

Reid S. Yalom

Reception: thursday, April 28th, 6-9 pm Greek Wines provided by Athenee importers and mezedes provided by Kokkari estiatorio

April 18, 2011 to May 22, 2011 Design Guild San Francisco 427 Bryant (btwn. 2nd & 3rd)

Sunday, April 17, 2011 Noon - 4:30 pm

the Galleria at the

San Francisco Design Center 101 Henry Adams Street between Alameda and 15th

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TEQUILA & TAMALES B Y T H E BAY

An A-Maize-ing Benefit Event for Benchmark Institute

An afternoon of fun, food & Tequila Sample tequila, tamales, heirloom beans, chocolate and more provided by chefs and other food artisans.

Tequila Rocks!

Z Watch mixologists compete for top prize Z Sample tequila cocktails Z Learn about tequila Z Music Z Presentations Z Art Z Peopleโ s Choice Award

Tickets: Adults $45 until April 10; $50 after Children ages 6-12 $15 Children under 6: Free with adult admission www.tamalesbythebay.org T h a n k s

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415-695-9296 s p o n s o r s

Z R. Lee Patterson,

Zephyr Real Estate

14 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

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The TellinG oF The Journey: Color images

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Paul Wermer

SuStainability ConSulting

Clothes :FEK55 hyde, and carcinogenic polycrylonitriles can all be used to produce your outfit— materials that seep into your pores when you’re active and can hardly be considered ideal to wear against your skin. To limit support of the oilreliant garment industry, Burgess envisions a collaboratively created source of clothing made from materials and processes that are — unlike the heavy-metal laden industrial effluent from denim dyes flowing into China’s Pearl River — completely nontoxic. To that end, she’s linking natural fiber artisans and raw material providers throughout the region with the fibershed project, which aims to bolster local clothing production. Today, she’s the poster child for her effort. Burgess sports striped alpaca kneesocks, an organic cotton skirt sewn by a friend, and a wool sweater her mom knitted with handmade yarn, sourced from a sheep farmer they know. The clothes look well-loved, which makes sense: relying on one’s fibershed for a wardrobe is not easy. When Burgess first embarked on her yearlong bioregional clothing challenge, there wasn’t much in her dresser. “I lived out of three garments for weeks,” she laughs. “People were like, ‘You’re wearing the same thing over and over and over again.’ “ But she found that she wasn’t the only one who believed that a change was possible in our closets. Friends, family, and a wider community of shepherds, cotton growers, knitters, seamstresses, and artisans all pitched in to help her along with the project. Burgess says this growing network underlies what it will take for communities to transition to a more sustainable lifestyle. “All this is about encouraging more relationships.” There’s Sally Fox, whose nongenetically modified colored cotton operation in the Capay Valley is the culmination of years of seedselecting for natural color tones. There’s the 96-year old sheep farmer in Ukiah. Not to mention the hip fiber artisans based in Oakland and the young fashion students in San Francisco who were inspired by her project. “It’s not just of value to an old spinster community, it’s of value to a young, hip generation of people who want to live in a carbon-

free economy,” Burgess notes. “A bunch of urban young people are really into fibers.” Most, she adds, are women. Burgess makes her own clothing, too, and to research her book (Harvesting Color, Artisan, 180 p., $22.95) traversed the country learning from female “wisdomkeepers,” women whose craft practices were based on passed-down traditions encouraging the health of their ecosystems. Today is part of her latest endeavor: growing her own indigo dye so that locally made garments can be dyed blue sustainably. Her day’s work entails planting 400 indigo seeds in flats filled with soil from a ranch down the road. This spring and summer, she plans to raise 1,000 indigo plants in three garden plots just outside the greenhouse. The day the Guardian came to visit, sheep lounged in the pasture beyond her garden plots, as if to illustrate the point that this process won’t require any long-distance transport. She realizes that few people have a greenhouse to plant indigo in, much less the time necessary to produce their own clothing — or the money needed to dress in handcrafted pieces. But by proving that it’s possible to wear clothes that were created by your own community, she hopes that people will at least “settle for second best, which in this case is wearing organic, American-made materials.” Even that would be something — right now clothes just aren’t on most of our sustainability compasses. As an example, Burgess recalls a panel discussion she attended at which sustainable food champions Michael Pollan and Joel Salatin were speakers. Someone (“And it wasn’t even me!” she insists) asked them what role garments played in a sustainable lifestyle. “And they were speechless. They didn’t have a thing to say.” It was a PR challenge Burgess was happy to assume — she has since struck up an e-mail correspondence with Pollan, which she hopes will spread her message further. “Clearly we need some education.” Join Burgess and other yarn producers for a locally made fashion show and to see plans for their community mill May 1 at Toby’s Feed Barn in Point Reyes. For more information call (415) 259-5849 or visit www.rebeccaburgess.com

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independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | arts + culture 17

K?< >I<<E @JJL<

7KLV LV :KDW +DSSHQHG 1H[W The follow up to

NIC SHEFF’S

New York Times bestselling memoir, TWEAK: Growing Up on Methamphetamines

Visit www.Teen-ReadMe.com to see if Nic will be visiting your area on his book tour.

Not just green, but decent: Oakland Green Jobs Corps provides carpentry training and ecoliteracy classes at no cost to program participants. | G?FKF :FLIK<JP F= <CC8 98B<I :<EK<I

Working on it /X^[ ,JUROX[WRJ P[X^Y\ ]QJ] J[N ORPQ]RWP OX[ PXXM P[NNW SXK\ By Caitlin Donohue caitlin@sfbg.com >I<<E With the recession fast seeping into the everyday fabric of American life (or at least Monday through Friday’s fabric), the enthusiasm that the term “green jobs” generates can be well understood. But can we really call a $10 hourly pay rate for installing solar panels sustainable? And what would be the bigger of the two triumphs: creating a carbonfree country or a more equitable nation? With partnerships springing up across the country like the Blue Green Alliance, created by the United Steelworkers and the Sierra Club, maybe the two goals aren’t so separate after all. Here are some West Coast organizations fighting to make sure that the environmentally-friendly jobs that do exist — and have yet to be created — pay a decent wage. 18 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

F8BC8E; >I<<E AF9J :FIGJ Created by the long-time civil rights champions at the Ella Baker Center and other community partners, this program recruits poor young adults to a 38-week course of study that recognizes what it takes to break the cycle of unemployment. Participants begin with classes in basic job skills, literacy, and substance abuse counseling, then continue on to classes at Laney College in basic construction skills, eco-literacy, and specialized green building practices. At graduation, participants are hooked up with well-paying jobs in the green construction sector or traditional building trade union apprenticeships — where their newfound environment-saving skills will make them leaders in the years to come. ``` NUUJKJTN[LNW]N[ X[P

:8C@=FIE@8 @EK<I=8@K? GFN<I 8E; C@>?K Pray for change — or change

K?< >I<<E @JJL< the way you pray? Created 10 years ago in SF, CIPL, whose work has since spread to 38 state affiliates, aides faith communities of all denominations in greening their place of worship. Greatest hits include installing a geothermal heating system in a Berkeley synagogue, work on First Chinese Baptist Church in San Francisco, and tricking out a Bayview-Hunters Point church with solar panels on the congregation’s extremely limited budget. Workers hired to make the holy places sing a song of sustainability are usually sourced from organizations like Richmond Build, which provides training to many people living in public housing and with criminal records. ``` RW]N[OJR]QYX`N[ X[P

8GFCCF 8CC@8E:< Apollo Alliance, another nationwide coalition-building organization that got its start in SF, is making green jobs happen in Los Angeles — with or without federal dollars. The group sponsored the city’s Green Retrofit and Workforce ordinance, which required that municipal buildings achieve LEED certification at the silver level or higher, prioritizing updates on the buildings that were near areas with low income and high unemployment rates. Linked directly to workforce training programs, the ordinance is already under attack in Washington by H.R.1, a bill that would strip its funding. But L.A. is making the first move on the threat — the city is hoping to fund the successful program through energy conservation bonds. ``` JYXUUXJUURJWLN X[P

>I<<E =FI 8CC Erstwhile Obama appointee, environmental rock star, and Ella Baker Center founder Van Jones started this organization in 2008 to place the war on poverty at the heart of the sustainability movement. Sure, with offices around the country, it’s not exactly local. But the group plays an important role supporting nationwide policies that will make green jobs fair and just for workers. It led the charge against last year’s Prop. 23 challenge to the growth of green technologies, taking to the road in a bus that interviewed community members and green energy experts in 10 Californian cities. Plus, it kicked ass with a media campaign smart enough to best the bummers at PG&E and other public utilities. ``` P[NNWOX[JUU X[P 2

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independent, locally-owned | SAN FRANCISCO BAY GUARDIAN |s J=9>%:FD SFBG.COM |s 8IKJ " :LCKLI< arts + culture 19 @E;<G<E;<EK# CF:8CCP$FNE<; s J8E =I8E:@J:F 98P >L8I;@8E

the green issue

Chevron’s Richmond oil refinery and Jessica Guadalupe Tovar — an activist who has pledged to stop the compound from further polluting her community. | Photos by Rebecca Bowe

Drawing a line in the toxic triangle Advocates mount a regional push for environmental justice By Rebecca Bowe rebeccab@sfbg.com GREEN California is often viewed as being among the brightest shades of green. The Golden State’s landmark climate-change legislation has proven magnetic for green-tech startups, while Northern California is defined in part by its longstanding love affair with natural foods and solar power. San Francisco boasts a well-used network of bike routes, a ban on plastic bags, mandated composting of kitchen scraps, and a host of urban agriculture projects. While much of the Bay Area’s environmental reputation is welldeserved, things look different from poor neighborhoods where homes are clustered beside hulking industrial facilities and public health suffers. For years, grassroots organizations working in Richmond, Oakland, and Bayview-Hunters Point have sought to improve air quality and promote

environmental justice in neighborhoods plagued by higher-than-average rates of respiratory disease, cancer, and other preventable illnesses. The Rev. Daniel Buford of Oakland’s Allen Temple Baptist Church told the Guardian that he began talking about the polluted areas of Richmond, Oakland, and San Francisco as a “toxic triangle” two decades ago. It was an analogy, he explained, that plays off the mysterious deaths that the Bermuda Triangle is famous for. Yet the label also served a purpose — to unite three communities of color that were fighting separate yet similar battles against health hazards associated with their surroundings. “There were a lot of things that weren’t in place with public consciousness that are in place now,” Buford said. Today, he isn’t the only one uttering the catch phrase. A host of community organizations banded together as the Toxic Triangle Coalition last year to organize three forums on environmental justice in the three

cities. Advocates cast the neighborhood-specific problems as three parts of a regionwide phenomenon, highlighting how pollution from shipping, crude oil processing, freeway transportation, abandoned manufacturing sites, hazardous waste handlers, and other industrial facilities disproportionately affect communities of color, where poverty and unemployment rates are already high. Buford views the Toxic Triangle Coalition as a strategy to mount pressure for stronger enforcement of environmental laws in disproportionately affected areas. “We live in the whole Bay Area — we don’t live in one little part of the Bay Area,” he noted. “Our coalition strongly urges our state representatives in each of the counties to call for a hearing at the state level.” Oil wars In Richmond, California’s top greenhouse-gas emitter looms as an expansive backdrop of the city, a tangled network of smokestacks and machinery near a hillside cluster of large, cylindrical oil storage containers.

20 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

Chevron Corporation’s Richmond Refinery was built more than a century ago. A few years ago, the oil company began making noise about how it was in need of an upgrade. Weaving through a blue-collar residential area of Richmond in her sedan, Jessica Guadalupe Tovar recounted how Communities for a Better Environment (CBE), the nonprofit she works for, revealed that Chevron hadn’t told the whole story when it was petitioning for a permit to expand the refinery. The oil company’s long-term goals, CBE learned from a financial report, included gaining capability to process thicker crude that tends to be sourced from places like Canada’s Alberta tar sands. “We call it dirty crude,” she said. “But it’s really dirtier crude.” Converting thicker crude to fuel requires higher temperatures and pressures — and that translates to higher greenhouse-gas emissions and a heightened risk of flaring and fires. The refinery expansion could have meant an air-quality situation going from bad to worse. Public health problems such as asthma and cancer have spurred campaigns led by the West County Toxics Coalition, CBE, and other environmental justice groups. Tovar explained how CBE orchestrated an air-monitoring program in 2006, collecting samples from 40 homes in Richmond and 10 in Bolinas as a point of comparison. While trace amounts of chemicals from household cleaners were present in both, samples from the Richmond residences also contained the same toxic compounds that spew from Chevron’s refinery. “We found pollution known to come from the oil refinery settling inside people’s homes,” Tovar explained. “Once it’s trapped in your home, it starts to accumulate.” Chevron won its expansion permit by a slim margin in 2008 with a city council dominated by officials who had reputations for being friendly to the oil giant. Yet environmental organizations filed suit, saying the environmental impact report (EIR) approval was based on was illegal because it failed to analyze the company’s likely plans for heavier crude processing. A Contra Costa County judge ruled in favor of the environmentalists, halting the expansion project in 2009. Chevron appealed, but the decision was upheld in 2010. Stopping the expansion was a substantial victory, but environmental justice advocates remain wary of Chevron — particularly after the company attempted to blame

job losses on the green coalition that filed suit. “Chevron pit workers against us,” Tovar noted. “And also started saying, ‘This is why environmental laws are bad for the economy.’ “ Global trade, local fumes Each day, the Port of Oakland fills with trucks waiting to load up on goods shipped in from around the globe on massive cargo vessels. It’s a local symbol of a globalized economy. But for the West Oakland neighborhoods surrounding the port, the daily gathering of diesel rigs means an unhealthy infusion of particulate matter into the air. A report issued by the East Bay Alliance for a Sustainable Economy (EBASE), the Pacific Institute, and the Coalition for Clean and Safe Ports found that West Oakland residents are exposed to particulate matter concentrations nearly three times higher than the regional average. Health studies have shown that asthma rates in West Oakland are five times higher than that of people living in the Oakland hills, and cancer risks are threefold compared to other Bay Area cities. For the truck drivers, the risk of cancer is significantly higher than average. A state air-quality law that went into effect in early 2010 banned pre1994, heavily polluting diesel trucks from the port, thanks in part to years of environmental campaigning that has publicized public-health impacts associated with the diesel pollution. Yet the new regulation brought an unintended consequence: for truck drivers who must purchase their own gas and pay for their own upgrades, the new rule was ruinous. A survey by the Public Welfare Foundation found that since the new environmental regulation went into effect, 25 percent of Oakland truck drivers had declared bankruptcy, been evicted, or faced foreclosure. Retrofitting the trucks with new air filters is a five-figure prospect, while the cost of a new truck can clear $100,000. “At the end of the day ... a lot of them will only take home about $25,000 a year,” explained EBASE spokesperson Nikki Bas. “It’s an immigrant workforce who are living in poverty.” So the Coalition for Clean and Safe Ports, which pushed for tougher air-quality regulations, is now pressuring for a reform of the trucking industry to place the cost of clean upgrades onto powerful trucking companies instead of low-wage drivers. The coalition’s campaign has

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KFO@: JFLG In San Francisco’s Bayview-Hunters Point neighborhood, environmental justice groups have spotlighted the toxic stew associated with the naval shipyard and other pollution sources for years. A 2004 report produced jointly by Greenaction for Health and Environmental Justice, the Bayview-Hunters Point Mothers Environmental Justice Committee, and the Huntersview Tenants Association outlined a “toxic inventory� of the area. The inventory depicts a more complicated web of :FEK@EL<J FE G8>< )) 55

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toxic sources than the asbestos dust and naval shipyard cleanup that have been focal points of news coverage surrounding Lennar Corp.’s massive redevelopment plans for that neighborhood. “Over half of the land in San Francisco that is zoned for industrial use is in Bayview-Hunters Point,� this report noted. “The neighborhood is home to one federal Superfund site, the Hunters Point Naval Shipyard ... a sewage treatment plant that handles 80 percent of the city’s solid wastes, 100 brownfield sites [a brownfield is an abandoned, idled, or underused commercial facility where expansion or redevelopment is limited because of environmental contamination], 187 leaking underground fuel tanks, and more than 124 hazardous waste handlers regulated by the U.S. Environmental Protection Agency.� The shipyard, meanwhile, has been the central focus of controversy surrounding plans to clean up and redevelop the area. People Organized to Win Employment Rights (POWER) and Greenaction are currently challenging the EIR for Lennar’s massive redevelopment plan for the neighborhood, charging that the study is inadequate because a cleanup effort on the part of the U.S. Navy has yet to determine the level of toxicity that will need to be addressed, so the assessment is based on incomplete information. Asthma is commonplace in the Bayview, and health surveys have shown that the rates of cervical and breast cancer are twice as high as other places in the Bay Area. “Our environmental issues are massive still, and it’s not just Bayview- Hunters Point,� notes Marie Harrison, a long-time organizer for Greenaction and a Bayview resident. Harrison recalled the many times she’d gotten out of bed in the middle of the night to drive a friend’s or neighbor’s asthmatic child to the hospital. “That story has repeated itself tenfold in Richmond and in Oakland,� she added. Nor is the problem simply limited to those Bay Area cities, she said, noting that communities of color throughout the Environmental Protection Agency’s Region 9 face similar issues. As awareness about the scope of the problem has increased over the years, she said, “We start to say, my God, this triangle has to become a circle.� 2 22 J8E =I8E:@J:F 98P >L8I;@8E SAN FRANCISCO BAY GUARDIAN |s J=9>%:FD SFBG.COM |s @E;<G<E;<EK# CF:8CCP$FNE<; s DFEK? KB $ KB# KBKB independent, locally-owned | april 6 - 12, 2011

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XFFLMZ Call Fran @ 415-447-9396 Meet Bay Guardian City Editor Steven T. Jones and hear him read from his new book, The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture at one of the following events. APRIL 8, 7:00 PM | BOOKS INC. | 1344 Park St. | Alameda, CA APRIL 14, 6:00 PM | STANFORD UNIVERSITY BOOKSTORE | 519 Lasuen Mall | Stanford, CA APRIL 20, 6:00 PM | MAPLE STREET BOOKS | 7523 Maple St. | New Orleans, LA APRIL 23, 1:00 PM | GARDEN DISTRICT BOOK SHOP | 2727 Prytania St. | New Orleans, LA MAY 11, 7:00 PM | BOOKS INC. | 301 Castro St. | Mountain View, CA MAY 19, 7:30 PM | PEGASUS BOOKS | 2349 Shattuck Ave. | Berkeley, CA MAY 25, 7:30 PM | BOOKSMITH | 1644 Haight St. | SF, CA AUG. 11, 6:00 PM | SAN FRANCISCO MAIN LIBRARY, LATINO HISPANIC MEETING ROOM | 100 Larkin St. | SF

Or you can order a signed copy of the book directly from the author at www.steventjones.com.

Project Kaisei pulls up trash from the Great Pacific Garbage Patch, a continent-sized mass of environmental nightmare.

Fishing for plastic 9[XSNL] 4JR\NR QXYN\ ]X LUNJW ^Y ]QN 0[NJ] 9JLRORL 0J[KJPN 9J]LQ By Sarah Phelan sarah@sf bg.com >I<<E For the past two summers, scientists and environmentalists with Project Kaisei, a Sausalito nonprofit focused on increasing public awareness of marine debris, have sailed out under the Golden Gate Bridge to survey trash in the North Pacific Gyre. A gyre is a naturally occurring system of rotating currents in the ocean that is normally avoided by sailors because of its light winds. The North Pacific Gyre is the largest of the five major oceanic gyres in the world, and the one with the biggest known accumulation of trash, most of which is plastic. Some folks call this vortex the Great Pacific Garbage Patch. But Project Kaisei founder Mary Crowley calls the vortex “the eighth continent� to convey its size and impact. Now, as Project Kaisei prepares for its 2011 expedition in June — depending on funding, marine conditions, and equipment collection — team members are taking the next steps in the project’s mission to capture the plastic in the gyre. These steps include testing for efficient ways to clean up trash mid-ocean and exploring if some captured plastic can be turned into liquid fuel to power future clean-ups.

24 SAN FRANCISCO BAY GUARDIAN |s J=9>%:FD SFBG.COM |s @E;<G<E;<EK# CF:8CCP$FNE<; s DFEK? KB $ KB# KBKB independent, locally-owned | april 6 - 12, 2011 24 J8E =I8E:@J:F 98P >L8I;@8E

“We’ll be focusing on testing marine debris collection equipment, doing some clean-up, further recording what’s out there, and working with ocean current experts. But we need good sponsorship,� Crowley said. “Down the line, we’re looking to have a recycling plant on deck with smaller vessels feeding it so we can do clean-ups mid-ocean. And we’re going to recycle. It’s not going to end up in a dump with plastic blowing back into the ocean.� Crowley believes unemployed fishermen should be paid to clean up the gyres. “And we should start in our own towns and states and countries,� she said. “We need to produce a solution locally to take effect globally. Part of the response has to come from multinational corporations that are selling stuff throughout world. It’s shocking to me that 90 percent of our pelagic fish are gone and we’ve killed 50 percent of the corral reefs.� Project Kaisei’s preparations are taking place in the wake of a tsunami that devastated Japan in March, sucking a big pulse of debris into the ocean and crippling four nuclear reactors that continue to leak radiation into the water, raising fears of damage to sea life. Experts predict that some of the debris from the tsunami will eventually wash up on beaches in Hawaii and California, but Crowley doubts the state will be affected radiological-

ly. “The majority [of the debris] got whooshed out by the tsunami before the leaks began,� she explained. She says that at a marine debris conference in Honolulu shortly after the tsunami, attendees expressed concern about “landsourced� debris — trash that flows into the ocean by way of rivers and streams or is dumped directly into the ocean from ships. “People said that in recent years there’s also been all this debris from natural disasters, including tsunamis,� Crowley noted. “Well, I see debris from natural disasters as all the more reason to develop effective ways to get trash out of the ocean.� But Captain Charles Moore, who founded the Algalita Marine Research Foundation in 1994 to restore disappearing kelp forests and wetlands along the California coast, thinks a moratorium on plastic production would make the most sense. Moore’s focus shifted in 1997, when he encountered trash, mostly plastic, scattered across the North Pacific Gyre, and subsequent studies by his foundation claim that trash outweighs zooplankton in the gyre by a factor of six to one. “Mary Crowley really wants to go out there with big boats and get big pieces of plastic out,� Moore said. “I’m not really opposed to that, but it’s a lot of time and money that could be spent trying to stop the waste getting there in the first place.

K?< >I<<E @JJL< It’s like having a leaking faucet and bailing out the sink rather than calling the plumber. The time has come for society to draw a line in the sand and say no more plastic. Our plastic footprint is causing more problems than our carbon footprint.� Moore believes it’s time to withdraw from globalized production and support locavore and slowfood movements instead. “We send stuff to be produced in the cheapest locations possible, package it in plastic, then send it back here. It’s nuts,� he said. But Crowley says not all plastic use is bad, even as she advocates for getting larger pieces of plastic out of the water, and supporting companies that use less on no packaging. “Plastic is an amazing material for construction and railroad ties, decking, and some medical uses,� she said. “It’s just not right material for throw-away items because it lasts for centuries. I subscribe to oceanographer Sylvia Earle’s view that a plastic bottle can last for 500 to 600 years. That’s why it’s important to get out these bigger pieces of plastic. We don’t want them broken down in the belly of a whale or the stomach of an albatross.� Studies suggest that 100,000 marine mammals — possibly more — along with thousands of sea birds die each year from debris entanglement, and that thousands more marine mammals, sea birds, fish and sea turtles die from ingesting marine debris, including plastic bags, which bear an unfortunate resemblance to jellyfish, once in water. Crowley recalls how in 2009, when Project Kaisei had 25 people on board, including scientists, sailors, filmmakers, graduate students, and engineers, the team was surprised to find plastic in sampling taken 400 miles off the West Coast. “We were anticipating clean water,� Crowley said. In the end, the project’s research vessel, the Kaisei, whose name means “ocean star� in Japanese, and the New Horizon, a Scripps Institute vessel that participated in the project’s first mission, found some plastic in every single trawl. “A lot was smaller microparticulates of plastics and preproduction plastic pellets,� Crowley said, noting that she also saw Clorox bottles, plastic bags, ghost nets, toothbrushes, children’s toys, and plastic chairs floating on, or lurking up to nine feet below the surface of the ocean. “If you’re in still water, you sometimes see confetti-like pieces of

plastic. And if you’re up on the crow’s nest and going two to three knots, you see bigger pieces,� she said. No one knows exactly how many bits of debris are already floating in the ocean or have been ground up into tiny particles on our beaches. The National Oceanic and Atmospheric Administration notes that, to date, “there has not been a comprehensive marine debris abundance assessment for the world’s oceans, or even for a single ocean.� Moore’s foundation says 80 percent of marine debris comes from land and only 20 percent from marine-related activities like fishing. To Crowley’s mind, the main problem is that only 5 percent to 7 percent of plastics are recycled. “Plastic was invented in the 1880s to replace ivory for pool balls and didn’t proliferate until the last 60 years,� she said. “But even when plastic is dumped into a landfill, it has this insidious way of blowing about and ending up in drains, rivers, and oceans because plastic is a very light, easy material to move around.� Crowley grew up sailing on Lake Michigan, ran away to sea at age 19, and ended up sailing around the world and founding an international boat chartering business. Somewhere along the line, she says, she started describing the vast, continuous expanse of water that covers 71 percent of the planet and creates most of our air as “the global ocean.� “It really is all connected,� she said. “The health of the oceanic ecosystem is very important to the health of the planet. There’s a terrible misconception that the oceans are so vast they can be used as a garbage pail.� When she began to see trash underwater, Crowley realized that future generations wouldn’t be able to enjoy the oceans the way she has. She decided to take action four years ago when she began to see an increase in the garbage covering the North Pacific Gyre. “I kept seeing the message that there’s a terrible problem, but there’s nothing we can do,� Crowley said, recalling how that messaging and her own sense of urgency prompted her to found Project Kaisei to increase public understanding of what’s in the gyre. “If you’re in the area for a couple of weeks, you have days when you feel you’re voyaging through a field of scattered garbage,� she said. “And when you look out, you see garbage on the horizon.� 2

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independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | arts + culture 25

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It’s a lovely world in which chef Jason Moniz’ local cuisine can be not just sustainable, but solidly delicious. Here, the cheeseburger with bacon, carmelized onions, and fries. >L8I;@8E G?FKF 9P IFIP D:E8D8I8

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Loco for Locavore By Paul Reidinger paulr@sf bg.com ;@E< In a better world than this one — a world of locavores — there would be no need for a restaurant like Locavore. President Kennedy would have gone to the Berlin Wall and declared, “Ich bein ein locavore!� — and been greeted with applause from the other side. In related news, the dictatorship of the proletariat would have peaceably dissolved itself. In the world we have, Locavore is a rather lovely place. It’s been some time since I found so much poured concrete so full of charm. The floors and walls are concrete, curving into a low ceiling so that you feel a little as if you’re inside one of the sections of BART’s transbay tube before they sank it for installation. Considering all the hard surfaces and the exuberance of the crowd, the place is surprisingly not too noisy. There is a definite roar, low and sustained, but it doesn’t interfere with conversation or require cross-table shouting and the use of signal flags. How the sound damping was achieved must be a trade secret, because none of the usual suspects (including that quilted baffling material) are visible.

The restaurant, which opened near Halloween, procures all its ingredients (including beer, wine, and cider) from within a radius of 00 miles — and since, as we know, there’s a lot of agricultural action within 00 miles of this city, yearround, the question presented is whether you would know you were in a restaurant committed to this philosophical and moral principle if you didn’t know beforehand. My guess is no. It would be different if Locavore was, say, in Burlington, Vt., where the land and climate would pose serious challenges to locavoricity for a chef composing a late-winter menu (or any winter menu). But in our land of plenty, with its rich tilth and kindly climate, such stresses are muted. The result is that Locavore’s cooking doesn’t seem very different from that of a host of other places. But this isn’t a bad thing. Chef/ owner Jason Moniz’s food is excellent, reasonably priced, and the vegetarian angle seems to have been considered with some imagination. We were most impressed with the spicy yuba soy roll ($ 7), a trio of chubbies made from yuba (tofu skin), stuffed with chopped, spiced yuba, gift-wrapped with ribbons of wilted red-mustard greens and finished with an emulsion of soy and purÊed

26 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

baby leeks that assumed the form of a foam the pale green color of spring. The plate also included a small bundle of whole baby leeks, which added their subtle, sublime onionyness to the proceedings and were only slightly hard to handle. But flesh-lovers need not despair. There is plenty of animal protein on the menu, from mussels ($9) in an herbed broth made faintly bittersweet by grapefruit, to ham hock ravioli ($ 0), smoky and adrift in a buttery broth of so intensely meaty as to be kind of pork liqueur. A little lighter, but still substantial, was a pair of chicken croquettes ($ 0) served with baby chicories, spiced hazelnuts, and ghostly splinters of apple slaw — almost like a salad, with a set of crisp golden disks thrown in. It’s hard for me to resist halibut, which is one of the most user-friendly fish, is taken from well-managed fisheries, and has a nice weight. Locavore’s version ($ 9) did right by this indispensable seafood, pan-frying a filet to a crispy gold without drying it out and serving it with lovely little crisp-gold gnocchi (a clever echo — were these browned alongside the fish?) and a jumble of chard and green garlic that captured the passage from winter to spring. No one would ever say the halibut was undersalted, incidentally, but because most seafood has a faint sweetness,

balance was maintained. To the charge that I have perhaps too often described this or that dessert as resembling a cloud, or clouds, I would have to plead guilty. But now I must do it again, because Locavore’s honey semifreddo ($7), a puff of creamy gold, was the most cloud-like apparition I have ever seen descend to a dessert plate. And its sweetness was elusive and complex, no doubt in large part because of the presence of kiwi slices and chunks of oro blanco, the mild white grapefruit that nonetheless packs a real grapefruit charge of sourness and bitter bite. In symphony, these ingredients made a beautiful, balanced mouth music unlike any other I’ve ever enjoyed. This dessert did not ask to be liked, and for that reason alone, — how many desserts show that kind of resolve? — this intermittently lapsed locavore had to like it. 2 /2&$925( -RWWN[# 6XW ¸=Q^[\ ¸"# Y V $ /[R <J] ¸ # Y V 5^WLQ# =^N\ ¸<J] # J V ¸ Y V 6R\\RXW </ ! " ! ``` UXLJ_X[NLJ LXV @RWN JWM KNN[ -< 6, ? 5R_NUb WX] Z^R]N WXR\b @QNNULQJR[ JLLN\\RKUN

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Tilt-A-Whirling By L.E. Leone le.chicken.farmer@gmail.com :?<8G <8KJ Coach worries. She wakes up thinking about her social calendar instead of Libya. Personally, I don’t sleep with my cell phone under my head. By the time I wake up, Coach’s texts have accumulated like little pieces of folded white construction paper cut into snowflakes. We live in sunny California, but the drifts are downright Northeastern. School is cancelled. Before I know that though, before I even find my phone, let alone look at it, let alone listen to the weather on my transistor radio, I need to use the bathroom. As soon as I sit on the toilet, my cat Stoplight jumps in my lap. It’s the only time he loves me, or the only time I have time for him. Or both. To this point in my morning, I have not thought about Libya either, and I pee without thinking, as usual, anything. Stoplight jumps from my legs to the bathtub as soon as I reach for the toilet paper and, as is our custom, while I look in the mirror at the way I look, he looks at me. The sense of judgment is intense, almost palpable, but I’m used to this. My hair is mussy, so I muss it more. Then I bug my eyes, lean down over the tub into my poor cat’s face, and go, “Mwa-ha-ha-ha.� “Meow,� says he. Now I am ready to brush my teeth. Tragically, I drop the toothpaste cap and it bounces off the tile and under the tub. While I am brushing my teeth, I wonder where that little plastic cap might have gotten to, how I’m going to find it, and how — if I don’t find it — I am going to store this brand new, full tube of toothpaste without fear of it oozing out all day while I’m away, and taking over my apartment, speaking of snow days. Speaking of drifts. I spit. I rinse. I get down on my hands and knees and look and feel under the tub, not thinking at all about Libya. I can’t find the toothpaste cap, so I stand the tube up in the glass where I keep my toothbrush, and I go about my business, which for the morn-

ing consists of not thinking about Libya, going to Java Supreme for coffee, and reading my many text messages from Coach. Maybe answering one or two. ) You are not shallow or dumb, don’t worry; and 2) You have chosen your friends wisely. Last night we went to this thing called Girl Talk and were inspired and informed. Tonight there is a poetry reading. Me! And Moonpie! Inspired, informed, and entertained. Tomorrow there’s a dance party, and the next day a game. A week after that, I’ll be back in New Orleans with Li’l Edible and my other baby, eating fried things and just generally going to the zoo. Maybe when I come back I will make a date with my friend Coach, set aside a little time for thinking about Libya, for worrying about world affairs instead of worrying about not being worried. Once the caffeine kicks in, I feel lucky to be alive, and impervious to personal injury and cardiac arrest. I should write a poem, but all I can think about is the hamburger I ate last night, before Girl Talk, with Coach, Papa and Papi, at that new circus-y place, Straw. It was a bacon cheeseburger served on a glazed donut. And I am still amazed, alive and well. But I’m only staying in New Orleans for two weeks this time. Here’s why: that donut burger, chicken and waffles, sweet potato tots with blackberry barbecue sauce, cinnamon sriracha buffalo wings, truffle-oil popcorn, and cotton candy. All the entrees around $ 0, the service is superfriendly, and if you feel like sitting close to like, your date, you can sit in the date seat, which is taken from a carnival ride, probably the Tilt-A-Whirl. Great place. New favorite restaurant. 2 675$: 6XW ¸/[R ¸ Y V $ <J] J V ¸ Y V $ <^W J V ¸" Y V 8L]J_RJ < / 6, ? 7X JULXQXU bN]

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independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | s J=9>%:FD SFBG.COM | s =FF; " ;I@EB food + drink 27 @E;<G<E;<EK# CF:8CCP$FNE<; s J8E =I8E:@J:F 98P >L8I;@8E

THE SAN FRANCISCO BAY GUARDIAN PICKS 1

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Thursday April 7 Film

“An Evening with Les Blank” The man who held Werner Herzog to a bet that involved the consumption of footwear (and filmed it, in 1980’s literally-titled Werner Herzog Eats His Shoe) comes to the Red Vic to present two of his bestloved films: 1969’s The Blues Accordin’ to Lightnin’ Hopkins and 1978’s Always for Pleasure. The Bay Area resident is famed for his ability to seek out and artfully capture American folkways, and this screening includes intimate looks at Texas blues and New Orleans street parties. The latter will be presented in “Smellaround!,” which I think is the Red Vic’s way of suggesting you’ll be unable to resist the rice and beans cooking up free for each attendee — using “Les’ own special recipe.” Let’s hope no boots are in the pot! (Cheryl Eddy) 7:30 p.m., $15 Red Vic Movie House 1727 Haight, SF (415) 668-3994 www.redvicmoviehouse.com Dance

Lemi Ponifasio You have never heard of Lemi Ponifasio, the Samoan chief with a full-body tattoo who

now lives and works primarily in New Zealand? If you had been lucky enough to attend recent Edinburgh, Sidney, Lincoln Center, or Holland festivals, you might have encountered his Mau (“Vision”) company, which earned accolades in ceremonial dance theater that may be culturally-specific but is not culturally-limited. Ponifasio has said that his work always explores issues around “power and life.” Tempest: Without A Body draws on Shakespeare, Paul Klee, and political philosopher Giorgio Agamben. A Maori activist, Tami Iti, appears in the piece to make a case for his people and for social change. On opening night, director Peter Sellars engages Ponifasio in a pre-performance conversation. (Rita Felciano) Thurs/7, 8:15 p.m. (preperformance conversation, 7:15 p.m.); Fri/8–Sat/9, 8 p.m., $30 Yerba Buena Center for the Arts 701 Mission St., SF (415) 978-2787 www.ybca.org Event

“Wicked Plants” Inspired by Northern California writer Amy Stewart’s 2009 New York Times bestseller about deadly plants and their place in human history, the new exhibit “Wicked

Plants: Botanical Rogues and Assassins” features a bevy of beautiful (but dangerous and sometimes lethal) flora. Poison hemlock, white snakeroot, castor bean, and more are among the living examples of plants whose effects on people can range from skin irritation, severe pain, and even agonizing death. Explore more than 30 species of this mysterious greenery, all displayed in a spooky Victorian garden — a setting that would make Agatha Christie proud — if you dare. (Sean McCourt) Through Oct. 30 Tues.–Sun., 10 a.m.–4 p.m., $1.50–$7 Conservatory of Flowers 100 John F. Kennedy Drive Golden Gate Park, SF (415) 831-2090 www.conservatoryofflowers.org Dance

San Francisco Ballet The exquisite range of the San Francisco Ballet will be on display this week as it continues its spring season by opening two mixed programs. Program 6 features the company’s premiere of Wayne McGregor’s Chroma, set to compositions by Joby Talbot and arrangements by Jack White (best known for the recently-disbanded White Stripes, though his musical outlets are legion), along with works by Christopher

Wheeldon (with a score by erstwhile Winger frontmanturned-composer Kip Winger), and artistic director Helgi Tomasson. Program 7 includes Michel Fokine’s Petrouchka, the tragic tale of a puppet who possesses a human soul. Choreographed to Stravinsky’s mysterious and haunting score, this century-old ballet was originally danced by Sergei Diaghilev’s Ballet Russes. (Julie Potter)

when Posehn returns to the live stage, free to riff on whichever hilarious subjects — music, pop culture, and more — he chooses. (McCourt)

Through April 20 Performance times vary, $20–$135 War Memorial Opera House 301 Van Ness, SF (415) 865-2000 www.sfballet.org

Big Freedia and Rusty Lazer Words fail. One would be best served by simply looking live videos of “Azz Everywhere” up on YouTube, to be greeted by the sight of sweaty dancers in booty shorts shaking it for the MC, to the call of “Ass all over/ Like I told ya/ Bend over/ Like I told ya.” This indelible image comes courtesy of bounce (or “sissy bounce”), a New Orleans-regional, bassheavy, call-and-response style of hip-hop. And Big Freedia is its “Queen Diva.” Too heavy for radio, too sexual for TV, but just right for a killer night on the floor. (Ryan Prendiville)

Performance

Brian Posehn After getting his start doing stand-up in Northern California, comedian Brian Posehn has since gone on to lend his many talents to a wide variety of other media: TV shows such as The Sarah Silverman Program, films including Rob Zombie’s The Devil’s Rejects (2005), and albums like 2006’s Live In: Nerd Rage. The album featured the side-splitting parody song “Metal By Numbers,” where he skewered modern “false metal” with his searing lyrics and growled incantations of “Cookie Cookie Cookie!” Fans are sure to be in for a treat

28 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | APRIL 6 - 12, 2011

Thurs/7–Sun/10, 8 p.m. (also Fri/8–Sat/9, 10:15 p.m.), $17.50–$20.50 Cobb’s Comedy Club 915 Columbus, SF (415) 928-4320 www.cobbscomedyclub.com MUSIC

With Richie Panic, Hot Tub DJs, and more 9 p.m., $10 Public Works 161 Erie, SF www.publicsf.com

FRIDAY APRIL 8 Dance

“Triptych: New work by Kelly Bowker, Gretchen Garnett, Ishika Seth” If you look at the history of modern dance, you’ll encounter a group of (mostly) women passionate about their discoveries of the body’s expressive potential. They scraped by financially and danced for and with each other, getting paid if there was money — which was rarely the case. Guess what? Not that much has changed. The Bay Area is still a welcoming place for young artists who just have to do what they have to do. Kelly Bowker, Gretchen Garnett, and Ishika Seth are familiar to those who hunt out the less familiar performance venues. That’s probably how they met and found that they could share precious resources. Bowker calls her piece Parallel Uncertainties; Garnett’s is Six Years Dreaming; and Seth’s two works are Death and Other Things and Khwaish. (Felciano) Fri/8–Sat/9, 8 p.m., $15–$20 CounterPULSE 1310 Mission, SF www.brownpapertickets.com Film

“Jane Russell 1921-2011” Don’t let Elizabeth Taylor hog

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the dead non-blonde former sex symbol spotlight. Jane Russell was so hot she changed censorship in the United States. The promotional pictures for 1943’s The Outlaw got director Howard Hughes in trouble with the Hollywood Production Code and the film was delayed for years until cleavage cuts were made. (Not to mention giving new meaning to the term “double feature” — rim shot!) Sure, Marilyn gets the titular nod with 1953’s Gentlemen Prefer Blondes, but the alluring Russell proves that not all men are gentlemen. (Prendiville) The Outlaw, 1, 5, and 9 p.m.; Gentlemen Prefer Blondes, 3:15 and 7:15 p.m., $7.50–$10 Castro Theatre 429 Castro, SF www.castrotheatre.com MUSIC

Akron/Family True or false: band monikers that contain punctuation marks are penned just to screw with the minds of music and copy editors. Either way, the bicoastal trio Akron/Family is undoubtedly a genre-fuck. It’s avant-garde sans the pretentiousness, combining folk, Japanese noise, fuzzedout rock, and psychedelic elements. To boot, it injects found-sounds like the creaking of a chair into its music à la The Books. While accusations of it

being a cult have been refuted, its newest LP, S/T II: The Cosmic Birth and Journey of Shinju TNT, was purportedly written in a cabin perched upon an active volcano on a Japanese island. The album’s origins are simultaneously weird and awesome, just like the band. (Jen Verzosa) With Delicate Steve, Honeymoon, and DJ Britt Govea 9 p.m., $15 Independent 628 Divisadero, SF www.theindependentsf.com Dance

Fact/SF With a sense of humor and a solid group of daring, theatrical performers, Charles Slender’s Fact/SF burst onto San Francisco’s dance scene with a steady output of new work. Prior to founding his company in 2008, the U.C. Berkeley graduate danced abroad, spending time in Russia studying with choreographer Tatiana Baganova and performing in her Provincial Dances Theatre company. Slender creates with a dance-theater edge, resulting in compositions that range from the minimal to highly physical, some serious and others lighthearted. His company’s third home season, running for two consecutive weekends, features company repertory as well as a premiere. (Potter)

Fri/8–Sun/10, 8 p.m., $20 Garage 975 Howard, SF (800) 838-3006 www.975howard.com

SATURDAY APRIL 9 MUSIC

Cold War Kids With overwhelmingly positive cyberspace reviews of selfreleased EPs With Our Wallets Full and Up in Rags, Long Beach indie-rock foursome Cold War Kids has music bloggers to thank for its popularity — and notoriety. (Pitchfork famously described the band as “skinnyjeaned Christians” because three members attended a Los Angeles bible college). But Cold War Kids has withstood the so-called damnation of this label; newest release Mine Is Yours is more polished than past albums, and the band has joined the ranks of other indieturned-mainstream greats like Kings of Leon. As they say, bigger is better. (Verzosa) With Sean Hayes 8 p.m., $25 Fox Theatre 1807 Telegraph, Oakl. www.thefoxoakland.com MUSIC

Papercuts Frequently revered by critics but

never quite matching the praise with comparable commercial success, Papercuts frontman Jason Robert Quever may finally break the pattern with Fading Parade, a beautiful new album that marks his first release on Sub Pop. The San Francisco songwriter creates lush, ethereal music full of 1980s dream-pop touchstones and traces of the shimmering lo-fi of artists such as Ariel Pink and Wild Nothing. A healthy dose of reverb surrounding Quever’s melancholic delivery, and the sustained organ and synth lines buried underneath, help evoke the feelings of nostalgic longing he’s no doubt shooting to convey. He may be more than a decade into his career, but one listen to Fading Parade makes it seem like Quever is just starting to get warmed up. (Landon Moblad) With Banjo or Freakout 9:30 p.m., $14 Café Du Nord 2170 Market, SF (415) 861-5016 www.cafedunord.com

MONDAY APRIL 11 Event

“The Spirit of Montmartre: Cafes, Cabarets, and Other Cacophony” You don’t have to go to Paris

to delve into the Moulin Rouge lifestyle and bohemian pleasures. Indeed, you can check out this multimedia presentation by professor William Eddelman, a costume designer and theater historian, exploring the rise of the Paris avantgarde. The evening reveals the world of Toulouse- Lautrec and his contemporaries, a hotbed of collaborative performance art, bold design, laughter, and high spirits in the early 20th century. Francophiles won’t want to miss this sensory event, which includes corset fashions by Dark Garden and an absinthe tasting. (Potter) 7 p.m., $15–$20 Museum of Performance and Design 401 Van Ness, SF (415) 255-4800 www.mpdsf.org 2

(1) Tempest: Without a Body (see Thurs/7); (2) “Wicked Plants” (see Thurs/7); (3) San Francisco Ballet in Fokine’s Petrouchka (see Thurs/7); (4) Brian Posehn (see Thurs/7); (5) Big Freedia (see Thurs/7); (6) Akron/Family (see Fri/8); (7) Cold War Kids (see Sat/9); (8) Fact/SF (see Fri/8); (9) Papercuts (see Sat/9) Tempest photo by Lemi Ponifasio; “Wicked Plants” photos by Nina Sazevich; San Francisco Ballet photo by Erik Tomasson; Akron/Family photo by Ian McNeil; Fact/SF photo by Tawnee Kendall; Papercuts photo by Chloe Aftel

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e‑mail (paste press release into e‑mail body — no text attachments, please) to listings@sfbg. com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

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30 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | arts + culture 31

T H E S A N F R A N C I S C O BAY G UA R D I A N arts + cu lture

arts + culture

Found in translation From ancient Greek to modern French, Bay Area theatre explores the possibilities of translation By Nicole Gluckstern arts@sfbg.com Those who know nothing of foreign languages know nothing of their own. — Goethe THEATER In Mark Jackson’s breakout theatrical hit, 2003’s The Death of Meyerhold, title character and playwright Vsevolod Meyerhold asserts that “the classics are always new. That is why they are called the classics.” That philosophy of theatre is one that Jackson’s other plays frequently embrace. From reimagined Shakespeare to adaptations of underproduced Russian dramas, Jackson’s work is invariably characterized by his respect for and understanding of the universal nature of human emotion, regardless of location or century, as well as an intensely verbal style of playwriting and often aggressively physical staging.

It’s a logical progression that a writer with such a facility for his own language might eventually turn to the translation of theatrical works in other languages — especially after spending a year abroad, steeped in the theater scene of another country (in Jackson’s case, Germany). To date, Jackson has translated two full-length works, Faust, Part 1 by Johann Wolfgang von Goethe and Mary Stuart, by Friedrich Schiller, presented in 2009 and 2010 by the Shotgun Players at the Ashby Stage. Translating from a director’s perspective, Jackson’s primary focus is on the spirit of the original play, and the intentions of the playwright, not necessarily a word-for-word direct interpretation. “Why do that,” he wonders when asked about his approach, “except out of academic interest?” In addition to preserving the overall intention of the pieces he translates, Jackson also focuses on what he calls the “music” of the German language.

“Fortunately, because English is a Germanic language, it’s easier to retain the melody of it,” he explains. “To streamline the text but keep the poetry.” From Jackson’s perspective and personal experience, it’s the music of a language that ultimately reveals the character of its people, and therefore the characters of the pieces he translates. For Rob Melrose of the Cutting Ball Theater, an experimental Bay Area company with a dedicated bent for the classics and the avantgarde, translation is an opportunity to stretch his comprehension of the English language and language in general. A dabbler in five languages in addition to English, Melrose has translated a total of seven plays from French and German and appreciates the insight into different cultures learning languages has given him: how the spare simplicity of French reveals the elegance of the French; how the logical, tightly constructed phrases of German are engineered as flawlessly as one of their vaunted automobiles. But even more, he appreciates the ways that these other languages push him as a writer and an artist. “Working in another language makes you think differently,” Melrose explains. “Learning how other languages work helps me appreciate our

32 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | APRIL 6 - 12, 2011

Bay Area shows that tap into the potential of translation include Shotgun Players’ Faust, Part 1, Cutting Ball Theater’s The Tempest, foolsFURY’s The Devil on All Sides, and Thrillpeddlers’ Shocktoberfest Grand Guignol adaptations. FAUST, PArt 1 photo by benjamin privitt; the colossus photo by David Allen

language better and helps me identify what is unique about it. It also helps me stretch English a bit by trying to make it do what French can do or what German can do.” It’s fair to say that Bennett Fisher, a cofounder of San Francisco Theatre Pub and an English teacher, has an in-depth understanding of English, which may be why for fun he chooses to translate plays from ancient Greek and French. The convivial atmosphere created by San Francisco Theatre Pub doesn’t mask its emphasis on thinking theatre, including Fisher’s translations of Cyclops and Ubu Roi. For his Greek translations, Fisher relies on the translation website Perseus project (www.perseus. tufts.edu/hopper), first translating chunks of text verbatim, then struggling to fill in the blanks. “What I end up with is a kind of “me Tarzan, you Jane” sentence,” he says. “Then it’s a kind of puzzle to figure out what it means and how to phrase it to make it sound conversational. Once I get a handle on that, I can do all the stuff I do with French in terms of getting at feeling, tone, intent, and all that. There’s a lot of trial and error. It’s kind of like being a director — you try interpreting the dialogue in different ways and eventually you find a choice that feels right.”

It’s not just the classics that inspire local theatre-makers to try their hand at translation. One of the most exciting productions of 2006 was foolsFURY’s take on Fabrice Melquiot’s The Devil on All Sides, translated by artistic director Ben Yalom. A harrowing blend of magical realism and atrocity, Melquiot’s play set in the former Yugoslavia was pronounced the theatrical discovery of the year in his native France in 2003. The production went on from San Francisco to New York City, and helped inspire foolsFURY’s ongoing Contemporary French Plays Project, with two more Melquiot translations in the works and more possibilities waiting in the wings. Daniel Zilber, cofounder of the Thrillpeddlers, translates original Grand Guignol plays from early 20th-century Paris, retaining all the melodrama and humor of the originals. Both the foolsFURY’s emphasis on physical artifice and the extreme naturalism of the Thrillpeddlers stem from French theatrical traditions, an influence that even extends to the writing and staging of their English-language productions. Much the way the art of translation pushes theatre-makers like Jackson and Melrose to think differently about the language of playwriting, so does the language of French theatricality encourage foolsFURY to create seething tableaux of writhing bodies, as in 2008’s Monster in the Dark, and the Thrillpeddlers to push the playfully edgy Grand Guignol aesthetic in their English original shows. It doesn’t seem like a coincidence that some of Bay Area theatre’s most compelling risk-takers are also drawn to the possibilities translation offers them — from the challenges of the process to the rewards of producing a fresh interpretation of a classic work for the modern stage. But the greatest impact of the translation process may well be the way it continues to influence these theatre-makers during the creation of their original works. Perhaps Melrose puts it best: “It’s only by knowing these other languages well and by translating classic works that I have the idea to push English in my own writing.” 2

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Acid-washed terror! I<KIF >FI< With the upcoming release of Scream 4 — the overlong-awaited latest in a series riffing on 980s slasher clichés — it feels like a good moment to review the source material, which is to say the deadly spawn of Halloween ( 978) and Friday the 13th ( 980). Issued at the heyday of the direct-tovideo market, those films’ myriad cheap-and-cheaper knockoffs explored the full range of variably amateur charm. Two years ago Ti West made a very nice homage in The House of the Devil, a babysitter-in-peril thriller that was slick and canny enough to get an actual theatrical release. No such thing is risked by Drew Rosas’ Blood Junkie, a new DVD release from Troma — the company so indiscriminate it can’t help but release a good movie once in a while. (Still, it should dial down its contempt: Lloyd Kaufman’s recycled allpurpose introduction suggests any movie might be better than the one you’re about to watch.) This dead-on parody of no-budget VHS horror circa 987 (according to its website, Blood Junkie was “shot in Wisconsin for $7,000”) is a sleeper and a keeper for anyone who covets the worst of Reagan decade style.

Mulleted Craig (Nick Sommer) and fellow pencil’stached buddy Teddy (Mike Johnston) are on the prowl for chicks, a quest answered when they meet high school best friends Rachel (tube-topped Emily Treolo) and Laura (feather-haired, four-eyed Sarah Luther), who has just come into a big $35 booze budget left as grocery money by traveling parents for her insecttormenting brainiac little bro Andy (Brady Cohen). The attraction is irresistible; Teddy alone sports a lime-green tiger-striped T, denim vest, and acid-washed jeans. Babe magnet! Anyway, this quartet plus imp go camping near an abandoned chemical plant. Bad things happen, thanks to a killer of extremely vague identity and motivation. Which is just as it should be. With its dweezly synth score, post-synched dialogue, lowbrow FX, fake aerobics workouts, and pseudo-age-streaked “film” stock, Blood Junkie is pure retro-flavva’d silliness. One nice touch is the male protagonists’ bromantic frisson — played as a joke, albeit so persistently that Craig’s offhand mid-wrestle “I seriously want you, man” feels like a naked confession. 'HQQLV +DUYH\

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@E;<G<E;<EK# CF:8CCP$FNE<; s J8E =I8E:@J:F 98P >L8I;@8E s KI8J?33 independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COMs J=9>%:FD | arts + culture

Arts + culture

Look downward, angel The story of San Francisco — as told by manhole covers, sewer vents, and patent stamps By Christopher Radcool Reynolds culture@sfbg.com STREETSCAPES I’m Christopher Radcool Reynolds. I am a builder. I always have been. As a kid the only toy I played with was Legos, spending hours creating cities and landscapes. Later in life, along with my best

girlfriend Alysia Sebastiani, I created Reynolds-Sebastiani Design Services (www.reynolds-sebastiani.com), a landscape and outdoor construction company. We craft residential and commercial work in the Bay Area, including stone walls and paving; woodwork decks, screens, fences, benches, and pergolas; and lighting and irrigation systems. I’m an avid student of historic and current civic growth. One of my

favorite pastimes is researching the early development and construction of San Francisco. This last year I become obsessed with photographing, researching, and cataloging patent stamps on historic paving, manholes, and sewer vents. I do paving and utilities at work, so this pastime has been a natural pairing of my professional and personal passions. I started using Facebook to collect these images and was surprised by how much response I got by what I thought was a dorky trivial pursuit. Initially, I loved the manhole and cared less about the ubiquitous sewer vent covers. There is one in front of every building. A small percentage have the mark of the plumbing or concrete contractor that set them. I didn’t think the mass of them was altogether very interesting.

As I researched, though, I realized the small sewer vents can be more interesting. Part of the draw is the crap shoot. You never even know if you will find a reference; most have no reference I can find. Some only have directory listings, which helps to date their years of operation but doesn’t really offer any more insight. However, sometimes there are a lot of publications containing information on one particular fellow. That’s the coolest part. You can piece together the life of this contractor who helped build the city so many years ago and would be forgotten if not for the iron bearing their name and some obscure references in obsolete publications. It’s kind of amazing to relive the lives of these individuals. Unlike the intimate scale of

sewer vents, large manholes bearing the marks of an obscure utility or railroad company, though exciting to find, tell the story of big business. This story is more of vast wealth and power struggles and less the story of a individual craftsmen out to seek their fortunes in the Wild West. As one of these craftsmen myself, I can relate to the little guys in the trade, so I like to discover their stories and retell them. Both big business and small business are integral in the story of America. (The difference is, most of the big utility companies already have a Wiki page.) Below are a few pictures of interesting items I’ve found on my walk to work — for more, visit the “On the Walk” gallery of my Facebook page, www.facebook.com/ captainchristopher. 2

Super-cool Works Project Administration sidewalk patent stamp from 1940 on the corner of 22nd and Capp streets. This means that the sidewalk was laid using money from the Works Progress Administration, the Obama stimulus money of the 1930s and ’40s. (Editor’s note for font freaks: the WPA used more than 900 typefaces on its projects, most of them handmade and most of them emblematic of the Art Deco design sense of the time. The squared-off “9” and “0” in “1940” make this stamp a particularly unique beauty.)

The Alameda-based Spring Valley Water Company (SVWC) held a monopoly on San Francisco’s water supply from the mid-1800s until it was replaced by the San Francisco Water Department in 1922 during completion of the Hetch Hetchy Dam. This water utility box cover at Capp and 24th streets and others like it have really striking star treads.

I knew that Manhattan and Chicago had steam utility companies that sell steam as a power source. How steampunk, right? I didn’t know that downtown San Francisco had an active steam utility company. This manhole cover at Lombard and Sansome streets came as a surprise. Steam is sold to downtown companies and buildings to use for industrial processes and as radiant heat. The steam is pumped through the walls of local buildings to heat them. It offers a very efficient form of heat and frees the building from having to provide space for its own boiler. You can find a map of SF’s steam system here: www.nrgthermal.com/ Centers/pdfs/NRGsanFranciscoSystemMap.pdf

When new materials enter the market, they first imitate the product they replace. Early plastics imitated wood. Early vinyl imitated leather. Early concrete was marketed as “artificial stone.” Only after a new product has gained acceptance by imitation is it free to develop its own identity. In the early years of San Francisco, most all walks were redwood. Only the wealthiest could afford paving in stone. In the mid-1800s, concrete was (re)invented and began to appear as a cheaper and therefore more accessible alternative to natural stone. Anytime you see ‘artificial stone’ in a patent stamp, like this one at 23rd and York streets, you know it’s very early concrete and likely from when the walk was cast for the first time.

34 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | APRIL 6 - 12, 2011

Imported by Crown Imports LLC. Chicago, IL 60603

independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | arts + culture 35

Arts + culture

CONTINUED

In 1896, the San Francisco Gas Light Company merged with the Edison Light and Power Company to form the San Francisco Gas and Electric Company. SF G&E dissolved in 1903, and operations were taken over by PG&E in 1905. This cover at 23rd and Alabama streets is for a well where gasoline “drip” condensate is cleared from natural gas lines.

Scandal! I found a newspaper article from 1893 that documents a court case involving this company, F G Norman & Sons. This company, along with nine other construction companies, sued the “French Church” for not paying its construction bills. The church, Notre Dame des Victoires, is still standing at 566 Bush Street. This sewer vent cover is at 20th and Valencia streets.

Union Railroads of San Francisco, “URR,” operated under many names including Market Street Railroad Company (a horse-drawn incarnation began in 1857), and Market Street Cable Railway Company (after the company converted to cable drawn cars beginning in 1882). The electrically powered company operated as Union Railroads from the turn of the century and most of the teens until 1918 when it became Market Street Railway, the company that operates the vintage cars that run on Market Street today. This utility vault manhole cover can be found at Webster and California streets.

This one is driving me nuts! “U. E. & G. Co” at 21st and Capp streets — Union Electric and Gas Co.? United Electric and Gas Co.? The treads are reminiscent of early industrial rivets, and it’s definitely pre-PG&E. Usually if there’s no Wiki reference, there are at least a few references to obsolete companies in period trade publications like the turn of the century Public Utility Reports, or trade journals and directories. But in this case, I seem to have come to a dead end. If anyone knows, please contact me.

Here’s an interesting incongruity. A 1907 directory lists the address of this contractor, T.J. Egan, as 503 Castro. The iron-cast sewer vent cover at 20th and Guerrero streets here clearly reads 305 Castro. How funny to discover a 100-year-old typo. I wonder if Egan paid for the listing (or the casting). I wonder if he raised hell over it.

The only reference I could find to the “Warburton, plumber” stamped on this sewer vent cover at 19th and Valencia streets was a directory listing from 1862. That makes this plumber the earliest referenced company, or person, of any I’ve found to date.

36 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | APRIL 6 - 12, 2011

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+^UUN]\ KJKN\ JWM ]QN WN` K[NNM XO PR[U YX`N[ By Kimberly Chun arts@sfbg.com =@CD With great girl power comes great responsibility — words that only a few of the Powerpuff Girls of 20 have lived by. Behold the new generation, too young to settle down, prepped to suit up in skintight Lycra or schoolgirl gear, and eager to mete out punishment to the baddies. Girls mature faster than boys, sure, but that diary-keeping wimpy kid reigning the other half of the cineplex would have plenty to jot down in his diary if he met up with one of these slay-belles. These babes in boyland, with all its the traditionally masculinized violence and bloodshed, aren’t exactly the next Supergirls. They’re nowhere near as bloodless or wholesome as the original DC product (or the 984 Helen Slater film), and they’re less likely to fall prey to the dangers of womanly representation for a mainstream fanboy audience that, say, 2004’s Catwoman succumbed to. But the little girls understand — what it’s like to grapple with a strength that just might spiral out of control. The tension between their innocuous, angelic looks and semisocialized, she-tiger ferocity parallels the balance between their highly trainable programmability and their own desires. They’re damaged kid sisters of Lisbeth Salander more than they are the mutant second-banana femme students of the X-Men, and they’re itching for freedom like Ellen Page’s reality-hampered Boltie in Super, or the fantasy girl-gang hos in Sucker Punch. Or they’ve been souped up as angels of vengeance at the service of embittered father figures, much like Kick-Ass scene-stealer Chloe Moretz’s pint-sized Hit-Girl with her Saturday-morning-cartoon purple wig and stone-cold killer instincts. JK8P FE K8I><K The title character of Hanna falls perfectly into the Hit-Girl mold.

Add a dash of The Boys from Brazilstyle genetic engineering — Hanna has the unfair advantage, you see, when it comes to squashing other kids on the soccer field or maiming thugs with her bare hands — and you have an ethereal killing/survival machine, played with impassive confidence by Atonement (2007) shit-starter Saoirse Ronan. She’s been fine-tuned by her father, Erik (Eric Bana), a spy who went out into the cold and off the grid, disappearing into the wilds of Scandinavia where he homeschooled his charge with an encyclopedia and brutal self-defense and hunting tests. The repellent association with real-life child soldiers who are forcibly conscripted to fight wars for corrupt elders is somewhat dispelled by the back-to-the-landof-the-Vikings backdrop, with the film opening on Hanna hunting, clad in furs and skins, hidden in the white-on-white snowy woods beside other predators and prey. Atonement director Joe Wright plays with a palette associated with innocence, purity, and death — this could be any time or place, though far from the touch of modern childhood stresses: that other Hannah (Montana), consumerism, suburban blight, and academic competition. The 6-year-old Hanna, however, isn’t immune from that desire to succeed. Her game mission: go from a feral, lonely existence into the modern world, run for her life (the Chemical Brothers’ score gives her the ideal Run Lola Run-ish background music), and avenge the death of her mother by killing Erik’s CIA handler, Marissa (Cate Blanchett). The nagging doubt: was she born free, or Bourne to be a killer? Much like the illustrated Brothers Grimm storybook that she studies, Hanna is caught in an evil death trap of fairytale allegories. One wonders if the super-soldier apple didn’t fall far from the tree, since evil stepmonster Marissa

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oversaw the program that produced Hanna — the older woman and the young girl have the same cold-blooded talent for destruction and the same steely determination. Yet there’s hope for the young ’un. After learning that even her beloved father hid some basic truths from her — and that family life can be less desperately cutthroat, especially when she encounters the celebrity-gossip-spouting tourist teen Sophie (Jessica Barden) and her family — this natural-born killer seems less likely to go along with the predetermined ending, happy or no, further along in her storybook life. :898I<K ;LI@E> N8IK@D< It’s a mental game for Baby Doll in Sucker Punch, Zack Snyder’s exercise in supergirl action fantasy and gothic Lolita dread. Emily Browning’s puffy-lipped, animeeyed darling is far from infallible, except in the crazed, mixed-metaphor war games in her mind. Her talent for disassociation kicks off with her primal crime: she mistakenly kills her younger sister while trying to protect them both from a menacing stepfather. Escape and heroism can be had via one’s fertile yet traumatized imagination: Baby Doll is imprisoned in an asylum for girls where she’s next in line for a lobotomy, thanks to her stepdad’s machinations. And like a multilayered fantasy game, reminiscent of Dorothy’s dreamy recasting of friends and family in The Wizard

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of Oz ( 939), she’s transported to a brothel-dancehall, along with other girlish inmates. Here Baby Doll has just a few days to hatch a plan that will allow the girls to escape before her virginity is sold off. Her very special defense: she mesmerizes all who see her dance, and then goes far, far away, into a dream world where she’s dressed like a sexy J-pop schoolgirl and battles giant samurai or robot-zombie Nazis. Thoughts of Burlesque (20 0) are mercifully vanquished. Though Baby Doll’s initial battle scene at a Japanese temple evokes Quentin Tarantino’s take on girl-power revenge fantasy, Kill Bill (2003-2004) — while catering to the fanboys who ogle (and fear) deadly hotties in vixenish costume — Sucker Punch distinguishes itself not with its blatant po-mo plundering of movie, game, and music history, but with its adherence to the idea that sisterhood is powerful, as Baby Doll forms a girl gang of super-fighters with her fellow inmates-dancers. Therein lies the real super-heroism: the organizing, hearts-and-minds might of an underdog who can imagine overcoming huge odds. Even if the hero and the final girl, Baby Doll, is only a legend in her mind. 2 +$11$ XYNW\ /[R ! RW +Jb *[NJ ]QNJ]N[\

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Arts + culture

Two for the road Moving on from San Francisco, Moon Duo travels through Mazes By Michelle Broder Van Dyke arts@sfbg.com MUSIC Erik “Ripley” Johnson is on the road. As the mastermind behind psych rock quartet Wooden Shijps and krautrockers Moon Duo, he spent eight months on tour last year. When he started Moon Duo with Sanae Yamada, Johnson knew that there’d be a degree of convenience in traveling as a twosome: it’s cheaper and much easier to be flexible and mobile. He was ready to tour as a full-time job. Since Moon Duo began in 2009, Johnson and Yamada have put out two singles, the EP Killing Time (Sacred Bones) and the album Escape (Woodsist). Moon Duo’s justreleased second full-length, Mazes (Sacred Bones), relays the story of a wandering life. “We decided to name the album Mazes after we moved from San Francisco,” Johnson says over the

phone, while the pair is on the road from New York to Massachusetts for their next gig. “That song is about choosing a path in life, but how you don’t necessarily know where it’s going to take you.” Moon Duo creates trance-inducing music that builds minimalist, rhythmic repetition from drum samples and keyboards that support Johnson’s guitar freak-outs. It’s an experience of texture and tone that is sustained and then rerouted. Most of Mazes was recorded lo-fi in Johnson’s and Yamada’s Mission District apartment last spring, when the couple was in transition. While they worked on the album, Johnson and Yamada packed up. “We needed to get out of the city because we were never there and we were paying all this rent,” Johnson says. By summer, the pair had moved to the wild highlands of Blue River, Colo. “We thought we’d finished recording the album in San Francisco, but we weren’t happy with some elements,” he adds. So Moon Duo headed to Germany. Although

Erik “Ripley” Johnson of Moon Duo: “We needed to get out of [San Francisco] because we were never there and we were paying all this rent.”

Johnson acknowledges the synchronicity of recording in Berlin, he says it wasn’t motivated by his interest in krautrock, which he came to through Julian Cope’s influential book Krautrocksampler. “Every record he talks about, he’s so enthusiastic,” he says of Cope’s writing. “I can’t say I agree with all his choices, but it’s a guide book, and I went through it and

bought stuff that sounded cool.” The process of making Mazes reached Germany because Johnson and Yamada’s friends in Berlin had a studio and offered to help mix the album. “It just seemed like we should try it out in a different perspective, and go into a proper studio,” Johnson explains. There, the pair rerecorded some parts, tweaked things, and

played with a collection of vintage drum machines. The results are tight. Mazes’ opening track “Seer” is a variant of a song off Escape, but lighter on the fuzz and denser with the rock ’n’ roll. It gives you a good hint of where the band is heading on the rest of the many-layered album. Forerunners in the current kraut revival, Moon Duo is inspired by two-piece predecessors Silver Apples and Suicide while also exploring other sounds, including psychedelic wanderings, Velvet Underground-style hypnosis, and Modern Lovers post-punk. “When You Cut” starts with lush synth and deep-throated vocals, and upbeat claps keep the song going steady, providing the framework for an untamed guitar solo. The band goes pop with the two-step “Run Around,” then gets dark again on the reverb-drenched “In the Sun” and on the closer, “Goners.” Ultimately, Mazes is a personal journey through music history, but one that also reflects the travels of life. 2 MOON DUO With Lilac, Royal Baths Mon./11, 9 p.m., $10 Bottom of the Hill 1233 17th St., SF (415) 621-4455 www.bottomofthehill.com

HARE-RAISING: AND YOU SHALL KNOW A FEW TRUTHS ABOUT LIGHTNING BOLT

MUSIC This I know, having heard the name discussed in hushed yet excited tones among ecstatic ex-hardcore kids, having taken in all of two Lightning Bolt shows by Brians Chippendale and Gibson since Ride the Skies (Load, 2001). Having felt the gale-force winds of their live fury while swapping sweat with pinballing strangers. Having tasted the salad and found it delightful. Having waited with anticipation for their next show in the Bay Area—this time the night before they play Coachella. Lightning Bolt’s most recent album, Earthly Delights (Load, 2009), is just as majestically noisy — and chock-full of wonder — as their seeming-career-best Hypermagic Mountain (Load, 2005). The time is right to share some truths about the dynamic duo. Drummer-vocalist Brian Chippendale likes his friends furry. “Mustard ran off, Weird appeared out of nowhere. Omni died,” says Chippendale of his Fort Thunder felines, driving the van and deep into the weeds of Peter Glantz and Nick Noe’s 2002s documentary, Lightning Bolt: The Power of Salad [and writ small like an after-

thought] & Milkshakes. “Calico is too stupid to leave. Warlord ran off ...” The talented cartoonist then goes on to recount the sad end of a pet rabbit, which broke its neck playing around metal. Seeing it bare its teeth, arch its back, and let lose a hair-(or hare-)raising “death scream,” Chippendale was forced to put it out of its misery with a sledgehammer. “Aw, I can’t believe I did that,” he says. “I love animals! Better than people, animals.” Unless Lightning Bolt is playing, freakishly, on a stage, you must make the effort to get up close — or find a rafter or pole to dangle from. I first saw ’em around ’03 when they played the Verdi Club, the old-folks rec hall near that sketchy patch of Bryant Street where working gals like to service their johns curbside. I wasn’t one of the lucky dozen or so standing right next to the twosome on the floor, so I wasn’t able to see much, even when I climbed up on a rickety metal folding chair to get a glimpse of sock-monkey-ish-masked Chippendale, looking like a mad drummer from the island of lost toys. I fared better at Lobot Gallery in 2007, when I used all my best pit skills to wiggle up to the front for the first couple songs, risking a broken nose to get my fill of Lightning Bolt’s unforgettable way with Sabbath-style volume and Phillip Glass-style repetition, primal rambunctiousness and raw poetry. Certainly they’re the fiercest bass-and-drum duo ever to step into the formidable footwear of Ruins and godheadSilo, but has there ever been another hardcore or noise combo that has fully tapped the melodic and textural possibilities buried within a full-force blast beat? Bassist Brian Gibson works for video game company Harmonix on games such as Rock Band. “I wish more of my projects were pure recreation,” the Rhode Island

38 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | APRIL 6 - 12, 2011

School of Design-schooled painter told Motherboard.tv. “I just get caught up in this sort of addiction to doing art and music stuff, but it would nice to be just fishing or exercising or drag racing. So much of what I do is about me being deeply obsessed with projects and being alienated from communities and wanting to do something different.” Don’t worry about missing the companion cassette that once went with Lightning Bolt’s “yellow album” debut — the CD includes the enthralling 30-minute noise epic “Zone.” You also get the funny intro to “Caught Deep in the Zone,” in which a Euro-accented fellow warns, “Next time you go and buy a record and you think you’re all alternative and groovy — and everyone is into the alternative charts — remember it’s just like the other side, just a bit stranger.” Cue an onslaught of feedbackwracked, crunching skree: the death scream of Godzilla as lizard flesh is wrenched from bone. One of the best Lightning Bolt videos: Paper Rad’s “13 Monsters.” This ode to terrifyingly cute cartoon imagery, à la headless, bassplaying hot-pink tigers, opens with Gumby comforting a distraught Goo, who sobs, “There were 13 of them ...” (Kimberly Chun) LIGHTNING BOLT With T.I.T.S. and High Castle Wed./13, 8 p.m., $10 Rickshaw Stop 155 Fell, SF www.rickshawstop.com

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=@:K@FE › Ivan and Misha, stories, Michael Alenyikov (TriQuarterly Books, 2 2 pages, $ 8.95) › Heidegger’s Glasses, Thaisa Frank (Counterpoint, 320 pages, $25) › Gold Boy, Emerald Girl, stories, Yiyun Li (Random House, 240 pages, $25) › Death is Not an Option, stories,

Suzanne Rivecca (W.W. Norton, 22 pages, $23.95) › The More I Owe You, Michael Sledge (Counterpoint, 320 pages, $ 5.95)

GF<KIP › Suck on the Marrow, Camille T. Dungy (Red Hen Press, 88 pages, $ 8.95) › Trance Archive: New and Selected Poems, Andrew Joron (City Lights Publishers, 20 pages, $ 4.95) › Writing the Silences, Richard O. Moore (University of California Press, 36 pages, $ 9.95) › Rough Honey, Melissa Stein (The American Poetry Review, 96

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pages, $ 4) › Pleasure, Brian Teare (Ahsahta Press, 88 pages, $ 7.95) › Come on All You Ghosts, Matthew Zapruder (Copper Canyon Press, 96 pages, $ 6.95) KI8EJC8K@FE# =@:K@FE › Translation by Anne Milano Appel, Blindly, by Claudio Magris, from Italian (Penguin Group Canada) › Translation by David Frick, A Thousand Peaceful Cities, by Jerzy Pilch, from Polish (Open Letter Books, 43 pages, $ 4.95) › Translation by Damion Searls, Comedy in a Minor Key, by Hans Keilson, from German (Farrar, Straus and Giroux, 44 pages, $22) GF<KIP › Translation by Kurt Beals, engulf— enkindle, by Anja Utler, from German (Burning Deck, 96 pages, $ 4) › Translation by Joshua Edwards, Ficticia, by María Baranda, from Spanish (Shearsman Books) › Translation by John Sakkis and Angelos Sakkis, Maribor, by Demosthenes Agrafiotis, from Greek (Post-Apollo Press, 86 pages, $ 5) :?@C;I<EËJ C@K<I8KLI< › Arroz con leche/Rice Pudding: Un poema para cocinar/A Cooking Poem, Jorge Argueta, illustrator Fernando Vilela (Groundwood Books/Libros

Tigrillo, 32 pages, $ 8.95) › The Haunting of Charles Dickens, Lewis Buzbee (Feiwel and Friends, 368 pages, $ 7.95) › The Vinyl Princess, Yvonne Prinz (HarperTeen/HarperCollins Publishers, 320 pages, $ 6.99) › Other Goose: Re-Nurseried!! and ReRhymed!! Children’s Classics, J. Otto Seibold (Chronicle Books, 80 pages, $ 9.99) › Shooting Kabul, N.H. Senzai (Simon & Schuster Books for Young Readers/Paula Wiseman Books, 272 pages, $ 6.99) JG<:@8C I<:F>E@K@FE 8N8I; Indivisible: An Anthology of Contemporary South Asian American Poetry, edited by Neelanjana Banerjee, Summi Kaipa, and Pireeni Sundaralingam (University of Arkansas Press, 220 pages, $24.95) =I<; :F;P 8N8I; =FI C@=<K@D< 8:?@<M<D<EK Tamim Ansary 2 1257+(51 &$/,)251,$ %22. $:$5'6 <^W Y V ¸ # Y V 4X[N] *^MR]X[R^V <JW /[JWLR\LX 6JRW 5RK[J[b 5J[TRW </ ``` YXN][bOUJ\Q X[P

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California before us: Local author’s Laura Cunningham’s A State of Change is nominated for a Northern California Book Award.

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C@K This week brings the 30th installment of the National California Book Awards. Some of the books up for awards have been written about in the Guardian during the past year, including Rebecca Solnit’s Infinite City: A San Francisco Atlas, Richard O. Moore’s Writing the Silences, and Destiny Disrupted: A History of the World Through Islamic Eyes, by the 20 Fred Cody Award for Lifetime Achievement winner Tamim Ansary. Local authors, editors, and translators among this year’s nominees include Solnit, Moore, Aife Murray, Brian Teare, Damion Searls, Michael Alenyikov, John Sakkis (who has contributed to the Guardian), Kate Moses, Matthew Zapruder, Lewis Buzbee, Neelanjana Bannerjee, and Pireeni Sundaralingam. The 20 edition of NCBA arrives at a time when the value and resolve of independent booksellers is clear. For many years, Borders and other chain stores seemed poised to kill small businesses devoted to selling books, and in fact, chain marketing undoubtedly has had a negative impact on individual shops. But Borders recently filed for bankruptcy, while a number of unique booksellers in the Bay Area and beyond continue to survive and thrive. Thanks to the Berkeley-based Small Press Distribution and San Francisco shops such as Needles & Pens, small publishing is also alive and within real-life reach. Here is the list of this year’s NCBA nominees, for the next time you venture into the neighborhood bookshop or library.

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From the Streets to Center Stage

April 27, 2011 7pm • Herbst Theatre With emcee: Dave Clark www.anightwiththestars-sf.com

Power of suggestion: The titular character of Shotgun Players’ Beardo (Ashkon Davaran) shares a thought with the effete tsar (Kevin Clarke). | G?FKF 9P G8B ?8E

Inside job %HDUGR½\ ]JTN XW ;J\Y^]RW [NJLQN\ MNNY OR\QN\ J[X^WM JWM LXVN\ ^Y YN[ONL]Ub `NR[M By Robert Avila arts@sf bg.com K?<8K<I A man lies in the woods, his arm in a hole. A mystic? A mushroom hunter? A mad monk maybe? He’s in tatters, grimy, seemingly unconscious, bearded. Magnificently leafless tree trunks (courtesy of scenic designer Lisa Clark) rise ominously around the man, while nestled among them lurks a somewhat inconspicuous string quintet. Finally, the local peasant who owns the land (Josh Pollock) asks for some explanation. He brings the man home to his wife (Sarah Mitchell), who looks askance at the stranger as she shaves the evening’s fare with a sharp knife. She soon finds herself inexorably charmed by the magnetic outsider as he breaks into a self-promotional song, inspiring the peasant to pound the kitchen table with a soft mallet and his wife to take knife to potato in the manner of a Puerto Rican gĂźiro. Those who thought Rasputin just sold records on Telegraph Avenue are in for a musical and

40 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

cunningly skewed history lesson, in addition to a wholly agreeable evening. In the opening salvo of its 20th anniversary season, Shotgun Players hits a raucous, ribald, and consistently clever bull’s eye with Beardo, the latest from Brooklyn-based Banana Bag & Bodice, creators of 2008’s Beowulf: A Thousand Years of Baggage. Each detail of this exquisite production — from a pitch-perfect cast to the rich palette employed by composer Dave Malloy to Christine Crook’s gorgeously layered, vibrantly crimson-marked costuming — serves an inspired reappraisal of madness and revolution in and beyond the nevernamed Romanov household. Concepts of inside and outside percolate productively throughout Jason Craig’s book and lyrics, as Beardo (Ashkon Davaran), guided by a resolute yet warped-sounding inner voice, penetrates the household of Imperial Russia’s griefstricken Tsarista (Anna Ishida) and her affably effete tsar-husband (Kevin Clarke). His way with their sickly child (Juliet Heller) has them deeply in his debt and enthralled. Meanwhile, Beardo shakes and shimmies behind competing, maybe complimentary, counte-

nances: that of the mystic healer, and that of the debauched cowboy on one hell of a bender. A transcultural mashup of outlaw whimsy, class war, and the banalities of upper-class decadence take flight in some inspired set pieces too fresh to give away here, and a wonderfully orchestrated score. Composer and musical director Dave Malloy, whose gifts for composition and drama have been growing apace since relocating to New York City (where his beautiful and rollicking venture Three Pianos at the New York Theatre Workshop recently won a welldeserved Obie), conjures a very convincing Russian cabaret atmosphere. Doses of Rachmaninoff and other authentic samplings strategically arise amid his brisk Weimaresque rhythms, lilting melodies, and one fantastic choral arrangement — a startling convergence of roughly 40 “peasantsâ€? who suddenly erupt into song. Shotgun’s artistic director Patrick Dooley helms the production with a deft hand, his witty detailing and precise staging perfectly in sync with the loose and wild composure of writer Craig’s sure, literate, post-punk poetics. The cast is uniformly terrific. As the hirsute healer and unlikely royal heartthrob, Davaran delivers — in a Wild West drawl reminiscent of a young Tom Waits crossed with John Huston — a performance that accomplishes the seemingly impossible: making utterly magnetic and finally sympathetic a preposterously unkempt and ridiculous antihero. From Rasputin to Putin, Russia’s political history has been one long cabaret act in much poorer taste than anything you’ll find here. But Beardo, virile and viral, is less about Russia (although it lends tacit support to the long-standing theory that the Russian Revolution was in part galvanized by Rasputin’s undermining of tsarist authority) than about a crazy social hierarchy so steep and brittle, so vast in its gulf between high and low, that a single does of mayhem can become a political force “where the outside meets the inside.â€? It’s then that a little disorder is what’s in order. 2 %($5'2 =Q[X^PQ *Y[RU $ ¸ *\QKb <]JPN " *\QKb +N[T ! ``` \QX]P^WYUJbN[\ X[P

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Strength and nuance: Robert Battle’s The Hunt was a highlight of Alvin Ailey American Dance Theater’s recent stint at Zellerbach Hall.| G?FKF 9P G8LC BFCE@B

Next step =QN *U_RW *RUNb *VN[RLJW -JWLN =QNJ]N[ KJ]]UN\ ]X VX_N KNbXWM KNRWP OJK^UX^\ By Rita Felciano arts@sfbg.com ;8E:< The Alvin Ailey American Dance Theater may be an American treasure, but it’s one that has been adopted by the world. Wherever these dancers go, they jam the houses with enthusiastic audiences. That’s why it may seem curmudgeonly to say that while fabulous, they could be better. Not the dancers: technically, they are top-notch, as well as brave, fierce, and committed. What the company needs — and will now get — is a new vision. It was both hopeful and disconcerting to see the company’s last Zellerbach engagement (March 30) under the leadership of Judith Jamison, Ailey’s first muse. She took over the company upon Ailey’s death, in 1989, when it was demoralized and deeply in debt. Today, Ailey’s repertoire is in good hands, and Jamison has built an enviable infrastructure. But the dancers are such technical powerhouses that audiences the world over gladly indulge work with surface glitz as long as they get Revelations at the end.

The first of this year’s programs showed what is right and wrong with the company. The best pieces by far were by Ailey: Cry (1971) and Revelations (1960). Both received excellent performances. They also showed that the Ailey dancers can be nuanced and expressive, when given half a chance. Cry is dedicated to “all black women everywhere — especially our mothers,” and was created for Jamison. Here its three sections were entrusted to the majestic Rachel McLarec, a fiercely despairing Constance Stamatiou, and Briana Reed as the victorious survivor. The approach worked, though when performed by one woman, Cry feels more complex. In Revelations, Linda Celeste Sims and Glenn Allen Sims pushed themselves physically and emotionally to the edge during “Fix Me, Jesus,” while Amos J. Machanic Jr. almost turned himself inside out in “I Wanna be Ready.” For “Rocka My Soul,” the dancers held back. A wise move: the audience wouldn’t let them go without an encore. The first of two Bay Area premieres, Christopher L. Huggins’ three-part Anointed was intended as a tribute to the growth of the company

under Jamison. Unfortunately, it played to the worst of the audience’s expectations. It was visually full of sound and fury, but conceptually and choreographically dim. A dark-clad figure (Jamar Roberts) calls upon a fierce, fist-clutching fighter (the incredibly fit Sims) to follow him. In voice-over, a reluctant Jamison accepts the call. Next, “Sally Forth,” the work’s best choreography, features Sims in a female quintet with a modicum of rhythmic invention as five dancers fly apart and coalesce into solidarity. A parallel men’s quintet, with a “transfigured” Roberts now in white, presented the men in unison turns that spun off into the wings. Not much there. Only the dedication of the dancers kept Anointed from burning itself to ashes. In the second Bay Area premiere, Robert Battle’s The Hunt, Brown, Sims, Roberts, Antonio Douthit, Kirven James Boyd, and Yannick Lebrun used every ounce of reserve strength. Battle created a convincing evocation of masculinity that turned a cliché — man as hunter — into a complex ritual expression of solidarity, submission, and friendship. Good times were mixed with aggression and victimhood. The ideas flowed in and out of each other in rhythmically intricate stomping, skipping, and running patterns of considerable nuance. All were immaculately performed to music by the outstanding percussion ensemble Les Tambours du Bronx. It’s reassuring to hear that Battle will be taking over the company. 2 independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | arts + culture 41

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The veteran photographer pauses for a snap in the new documentary Bill Cunningham New York. G?FKF :FLIK<JP F= =@IJK K?FL>?K =@CDJ&Q<@K><@JK =@CDJ

The joy of life %LOO &XQQLQJKDP 1HZ <RUN LJY]^[N\ J [N]RLNW] VJ\]N[ J] `X[T By Matt Sussman arts@sf bg.com =@CD To say that Bill Cunningham, the 82-year old New York Times photographer, has made documenting how New Yorkers dress his life’s work would be an understatement. To be sure, Cunningham’s two decades-old Sunday Times columns — “On the Street,” which tracks street-fashion, and “Evening Hours,” which covers the charity gala circuit — are about the clothes. And, my, what clothes they are. But Cunningham is a sartorial anthropologist, and his pictures always tell the bigger story behind the changing hemlines, which socialite wore what designer, or the latest trend in footwear. Whether tracking the near-infinite variations of a particular hue, a sudden bumper-crop of cropped blazers, or the fanciful leaps of well-heeled pedestrians dodging February slush puddles, Cunningham’s talent lies in his ability to recognize fleeting moments of beauty, creativity, humor, and joy. That last quality courses through Bill Cunningham New York, Richard Press’ captivating and 42 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

moving portrait of a man whose reticence and personal asceticism are proportional to his total devotion to documenting what Harold Koda, chief curator at the Costume Institute at the Metropolitan Museum of Art, describes in the film as “ordinary people going about their lives, dressed in fascinating ways.” Press goes about filming Cunningham the way the photographer claims to capture his own subjects: “discreetly, quietly, invisibly.” Press, along with producer Philip Gefter and cinematographer Tony Cenicola (also a Times staff photographer), followed Cunningham for two years with no crew (after Press spent eight attempting to get Cunningham’s consent), tailing the photographer from uptown soirees to the runways of Paris fashion week. Interspersed with Cunningham’s own sharp insights and footage of the photographer biking around Manhattan and throwing himself into oncoming traffic to get the perfect shot, are interviews with old friends and frequent subjects: Upper West Side grandes dames, fashion powerhouses, former editors, neighbors, and strutting peacocks. The loving accounts they share of encounters with Cunningham sing his artistic praises and unwavering

kindness but stop short of revealing much about the man himself, save for his monasticism. Cunningham famously lived for decades in a tiny studio apartment above Carnegie Hall filled almost exclusively with negative-stuffed file cabinets and an Army cot. His uniform is the cheap blue jacket worn by French street sweepers, augmented by a duct-tapped poncho in inclement weather. He rarely stops to schmooze, let alone sleep or eat. When a real estate agent shows Cunningham, who over the course of filming was evicted from his Carnegie Hall cell, the kitchen of the new apartment he will be relocated to, he genially scoffs, “What would I do with that?” Cunningham’s disdain for the material and emotional comforts most of us take for granted might seem at odds with the worlds he documents (perhaps the film’s most shocking moment comes when Cunningham casually reveals he has never been in a romantic relationship). Fashion has become a hydra-headed beast of which street style, and the myriad bloggers who document it, have been completely swallowed by. What Bill Cunningham New York makes clear, however, is that for this man, sustained by indefatigable reserves of passion and the ability to see what others can’t, the pursuit of beauty is not merely his chosen vocation; it has always been and always will be a calling. 2 %,// &811,1*+$0 1(: <25. XYNW\ /[R ! RW +Jb *[NJ ]QNJ]N[\

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SAT Apr 9 9:30pm, $7

SHEARing pinx (VAncoUVER)

SUn Apr 10 9pm, $6

LET THE nigHT RoAR

San Francisco’s Premiere Comedy Club! APRIL 21-23

FAR EASTER 5

Hosted by Dat Phan with special guest Rex Navarrete, Ali Wong & Rajan Dharni

APRIL 28-30

APRIL 7-10

BRIAN POSEHN

From “The Sarah Silverman Program�

JAMIE KENNEDY

From “The Jamie Kennedy Experiment� & “Malibu’s Most Wanted�

MAY 6-8 SARAH COLONNA & BRAD WOLLACK From “After Lately� & “Chelsea Lately�

/6%2 s $2).+ -).)-5- s !,, 3(/73 !2% 35"*%#4 4/ #(!.'% #!,, &/2 3(/74)-%3 #/,5-"53 !6%.5% ,/-"!2$ 3!. &2!.#)3#/ Limit 8 tickets per person. All dates, acts and ticket prices are subject to change without notice. All tickets are subject to applicable service charges.

moira Scar The Tunnel

FRi Apr 8 9:30pm, $7

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29 YEARS OF STAND-UP COMEDY!

LoTo BALL

Hot Lunch pre-Legendary and the Dreamers

continues (ex-Babyland) Victory & Associates

(Atlanta, ex-malevolent creation)

pigs mon Apr 11 10pm, FREE

pUnk Rock SiDESHow

TUE Apr 12 9pm, $6

SyDnEy DUckS

wED Apr 13 9pm, $6

poRcH

w/DJ Tragic & Duchess of Hazard Something Fierce, custom kicks Bone Dweller

Upcoming: Lake, AgesandAges, Burmese, ccR Headcleaner, maserati, Rubber o cement, The Thralls, System and Station, Lost in the Trees, Sean Rowe, Spectrum, Eastern conference champions, Ash Reiter

www.hemlocktavern.com

www.ArtExplosionStudios.com

The real deal <JW /[JWLR\LX +XMb *[] .aYX K[RWP\ RWT ]X ]QN VJ\\N\ By Marianne Moore culture@sf bg.com 9F;P 8IK Two weeks ago more than 300 tattoo, piercing, and body modification artists hung out their shingles at the Cow Palace for the San Francisco Body Art Expo. They came from Beijing, Samoa, Los Angeles, the Haight. Their booths ranged up and down the hall in no particular order. Hip-hop playing over the speakers in the booths did little to cut the pervasive metallic whine of tattoo machines. It was difficult, at first, to tell one artist from another — the same Boris Carloffs and beautiful corpses were everywhere. I overheard Daat Kraus of Santa Rosa Tattoo recommend Freddy Negrete to two young men who’d been flipping through his portfolio. “He’s the real deal, the O.G. Definitely get tattooed by him if you can.� I asked him what sets Freddy apart, but his answer was slippery: “He’s like, 60 years old. He’s an oldschool cholo artist.� I wasn’t totally sure what that meant, but I began to perceive two major styles coexisting at the expo — you could call it East Coast versus West, old school versus new, or color versus black-andgray. East Coast style is partly inspired by old sailor tattoos and vintage poster art — winking pin-up girls and devils, mermaids and anchors. West Coast style is influenced by Asian and Latino art and characterized by script and portraits in black and gray. George Christian of L.A.’s South Style Tattoo, began his career in prison on a tattoo machine made out of a Walkman. He says his style is a Chicano art form, invented in East L.A. “It’s barrio art, self-expression,� he said. He showed me some of his own tats: a portrait of his mom, a sun goddess, a gargoyle — a talisman of protection — and, on his right arm in flowing script, “White Fence� — the oldest Chicano gang in East L.A. I asked how he feels giving someone a tattoo he knows is gang-related. “That’s on them,� he laughed. “I don’t ask why.�

44 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

Skin pics: Tattoo artist Joe Park f lashes his neck work and East L.A. legend Freddy Negrete etches another happy customer. G?FKFJ 9P D8I@8EE< DFFI<

As tattoos become more mainstream, tattoo collectors become more diverse — and so does the form. Barnaby, of Mom’s Tattoo in the Haight, has a B.F.A. from Otis College of Art and Design. He gave himself his first tattoo, a Dead Kennedys symbol, when he was 15. Barnaby seemed a little disillusioned with the expo — he was concerned, for example, about hygiene. He pointed to the rafters above our heads, where a layer of dust was plainly visible. “Would you go to a gynecologist in a garage?� he asked. He showed me his setup — everything, including his lamp, was wrapped in plastic, like in a dentist’s office. He explained that all his precautions are more for his own safety than for his customers’. He keeps himself safe by assuming the worst. “Even if you’re the cutest little blonde virginal 18-year-old, I

assume you have everything, you’re the dirtiest gutter punk I’ve ever seen, with an abscess on your arm. Can you draw?� he asked. I shook my head no. “You can probably get a booth here.� Toward the end of my second day at the expo, by accident, I found Freddy Negrete. He was bent over someone’s forearm, outlining a detailed black-and-gray portrait of Danny Trejo — the famous image where Trejo is lighting up a blunt, smoke wreathing his face, his bare, tattooed chest on display. His client Brian Boulware explained why he’d chosen Danny Trejo. “He’s this great character actor — he’s been in everything� he said. “People will see it and be like, hey, it’s that guy from those movies!� I asked Freddy if he’d ever done any work on Trejo. “Once,� he said, “a long time ago.� 2

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“Nintendo-core� shredders Anamanaguchi play the DNA Lounge Thurs/7. G?FKF 9P <K?8E J8BJ

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apr

“A regular U.N. symposium.� — San Francisco Chronicle apr

apr

sa 8:00

su 7:00

f 8:00

berlin noCturne

baCk to the rootS

Palace of Fine Arts theatre

Paramount theatre, oakland

SÊrgio and Odair Assad are the world’s most revered classical guitar duo, and The German cabaret superstar evokes the 1920s Weimar era in a show perfectly their latest project is a musical voyage suited to the Paramount’s Art Deco setting. to the Middle East via South America.

b-3 baSh

Herbst theatre A Blue Note soul-jazz icon, Smith is still one of today’s best Hammond B-3 organists. And Barbara Dennerlein is another!

liviNg legeNds & New directioNs $

! Saturday, April 16, 8PM Swedish American Hall

Sunday, April 17, 7PM Herbst Theatre

Friday, May 6, 8PM Herbst Theatre

Thursday, May 19, 7:30PM Davies Symphony Hall

Friday, May 20, 8PM YBCA Forum

Sunday, June 5, 7PM Herbst Theatre

Friday, June 10, 8PM Davies Symphony Hall

!

Sunday, May 22, 7PM YBCA Forum

! Friday, April 22, 8PM Davies Symphony Hall

! ! $

Saturday, April 23, 8PM Davies Symphony Hall

! Friday, April 29, 8PM Grace Cathedral

!

! Saturday, April 30, 8PM YBCA Forum

Sunday, May 1, 2PM Gould Theater, Legion of Honor

! # Friday, June 17, 8PM Paramount Theatre, Oakland

Friday, May 27, 8PM Davies Symphony Hall

! Saturday, May 28, 8PM Davies Symphony Hall

! Friday, June 3, 8PM Herbst Theatre

% Saturday, June 4, 8PM Swedish American Hall

info, sound clips & tickets 3&*!:: /2' s

! ! Saturday, June 18, 8PM Herbst Theatre

""

! Sunday, June 19, 8PM Davies Symphony Hall

! Sunday,June 19, 7PM Herbst Theatre

Saturday, June 25, 8PM Herbst Theatre

Follow us on Download our app for iPhone and Android!

jazz & beyond

independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | music listings 45

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F R A N C I S C O

WEDNESDAY APRIL 6 TH

8 PM/$2

THE 21ST CENTURY ASH REITER / THE LAMBS

FRIDAY APRIL 8 TH

8 PM/$12

“COWPOKES GUNSLINGERS & OUTLAW COUNTRY!�

Since 1993 proud to bring you freSh art & pure fun over 21 pleaSe

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5-9pM | 21+ preSented by 111 Minna gallery

I=: C:><=7DG=DD9 9pM -2aM | free | 21+ preSented by audySSey | Space: entire venue | open to the public

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5-9pM | 21+ preSented by 111 Minna gallery

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9pM-2aM| $10 | 21+ preSented by 111 Minn a| Space: entire venue | all 90S, all night long!

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12.30-1.30pM | free | 21+ preSented by center of tranSlation | lunch with noveliSt yiyun li

GOOD LUCK THRIFT STORE OUTFIT

WHISKY RICHARDS / TINY TELEVISION THE PRESERVATION SATURDAY APRIL 9 TH

THE RUSE

9 PM/$10

OUTLIER / ABATIS

TUESDAY APRIL 12 TH

7PM SIGN-UP

OPEN MIC NIGHT HOSTED BY KC CROWELL

WEDNESDAY APRIL 13

8

TH

PM

/$6

THE BUTTERCREAM GANG ALRIGHT / JOHN THILL / DJ B

THURSDAY APRIL 14TH

MY SECOND SURPRISE / HABERDASHER IN THE NAME OF LOVE CONCERT SERIES

FRIDAY APRIL 15 TH

STROKE 9

9pm Free !

dJ FoodCourT & HiS pAlS

8 PM/$15

mATTHeW edWArdS & THe unForTunATeS

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Congratulations to Disposable Film Festival and all the participating filmmakers for a fantastic sell out opening night show at Castro Theater on March 24!

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DiSPOSABLE FiLM FEST BARTENDERS

KATiE GiLLUM & CARLTON EvANS PHOTO CREDiT: JAMiE LUBiNER

Disposable Film Festival would like to thank: Emily Oestreicher, Xavier Bon, Joe Sciortino, Lauren Davis, Sarah Davis, Jessamine Chin, Ted Hope, Blake Whitman, Hawk Ostby, Matthew Lessner, Andrea Allen, Mark Dwight, Lisa Taylor, Heather Mobley, Dalan McNabola, Stefan Nadelman, Beth Pouty, David Cairns, Neil Nag, Mia Quagliarello, Andrew Herwitz, My First Earthquake, Richard Snow, Steven Axelrod, Richard Lee, Justine Jacob, Arami Reyes, Sri Sriram, Ash Huang, Tae Kim, Melissa Cook, Margie Goolan, Kimberly Charles, Kristin Namimoto, Dulcinea Gonzalez, Riley Manlapaz, Stephen Parr, Fara from ATA, Brian from The Castro, everyone that donated their talents to the festival, and all the filmmakers who continue to inspire us to do what we do.

For more information on Guardian sponsored events: www.sfbg.com/promo

:FEK@EL<J FE G8>< +0 55

independent, locally-owned | SAN FRANCISCO BAY GUARDIAN |s J=9>%:FD SFBG.COM |s DLJ@: C@JK@E>J music listings 47 @E;<G<E;<EK# CF:8CCP$FNE<; s J8E =I8E:@J:F 98P >L8I;@8E

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independent, locally-owned | SAN FRANCISCO BAY GUARDIAN |s J=9>%:FD SFBG.COM |s DLJ@: C@JK@E>J music listings 49 @E;<G<E;<EK# CF:8CCP$FNE<; s J8E =I8E:@J:F 98P >L8I;@8E

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Bottom of the Hill

ani difranco Fillmore

fences, rin Tin Tiger, passenger & piloT Rickshaw Stop

The angry orTs Kimo’s

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heavy MeTal kings Slim’s

peelander-z DNA Lounge

Gilman Street

volBeaT, The daMned Things Fillmore

hydrophonic, Burn river Burn, elecTric shepherd

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proTesT The hero, Maylene & The sons of disasTer, TesseracT

Bottom of the Hill

Cafe Du Nord

Warfield

Fox Theater

akron faMily, delicaTe sTeve, 3 leafs Jeff Beck, iMelda May Fillmore

rise againsT, Bad religion, four year sTrong Civic Center

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papercuTs, BanJo or freakouT Cafe Du Nord

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g. love & special sauce, The Belle Brigade

Bottom of the Hill

Metro, Oakland

Moon duo, royal BaThs, lilac

Fillmore

seaMus heaney

Jenny lynn & her gone daddies

sTeve ross

Herbst Theater

Parkside

Rrazz Room

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Hemlock

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Yoshi’s

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Bimbo’s 365 Club

highToWer, The narcs, days of high advenTure,

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ADV TIX THROUGH WWW THEEPARKSIDE COM FOR MORE LISTINGS VISIT WWW MYSPACE COM THEEPARKSIDE

1600 17th Street 252-1330

50 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

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54 SAN FRANCISCO BAY GUARDIAN | SFBG.COM | independent, locally-owned | april 6 - 12, 2011

independent, locally-owned | SAN FRANCISCO BAY GUARDIAN | SFBG.COM | film listings 55

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FICTITIOUS BUSINESS NAME STATEMENT FILE NO. 449264. The following person is doing business as American International Mortgagors/dba/Title America Search Company, 1524 1st Ave #403 Oakland, CA 94606. John M. Brooks, Robert J. Pittman Jr, 1524 1st Ave #403 Oakland, CA 94606. This business is conducted by a general partnership. Registrant commenced business under the above-listed fictitious business name on the date 10/18/04. Signed John M. Brooks. This statement was filed with the County Clerk the County of Alameda, CA by Patrick O’Connell on March 16, 2011. #113331, March 23, 30, April 6 and 13, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0333902-00 The following person is doing business as Diva Nail Lounge, 2057 Market St San Francisco, CA 94114. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date 3/1/11. Signed Linda Hoang. This statement was filed by Magdalena Zevallos on March 3, 2011. #113319. March 16, 23, 30 and April 6, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0333990-00 The following person is doing business as The Viking Hairstyling, 380 Sanchez St San Francisco, CA 94114. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date 1/1/01. Signed Jane Lloyd. This statement was filed by Mariedyne L. Argente on March 8, 2011. #113321. March 16, 23, 30 and April 6, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334059-00 The following person is doing business as Legal Stream, 3435 24th St #15 San Francisco, CA 94110. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed Peter Hibdon. This statement was filed by Maribel Jaldon on March 9, 2011. #113320. March 16, 23, 30 and April 6, 2011

FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334090-00 The following person is doing business as Cafe Pescatore, 2455 Mason St San Francisco, CA 94111. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed Albert Hwang. This statement was filed by Susanna Chin on March 10, 2011. #113326. March 23, 30, April 6 and 13, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334092-00 The following person is doing business as Tuscan Inn, 2455 Mason St San Francisco, CA 94111. This business is conducted by limited liability company. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed Albert Hwang. This statement was filed by Alan Wong on March 10, 2011. #113327. March 23, 30, April 6 and 13, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334119-00 The following person is doing business as Lina’s Rest Home, 84 Norton St San Francisco, CA 94112. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed Flor Bautista. This statement was filed by Magdalena Zevallos on March 11, 2011. #113322. March 16, 23, 30 and April 6, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334166-00 The following person is doing business as Afrosurreal San Francisco, 2063 Bush St San Francisco, CA 94115. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date 3/14/11. Signed Douglas Scot Miller Jr. This statement was filed by Mariedyne L. Argente on March 14, 2011. #113337. March 30, April 6, 13 and 20, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334199-00 The following person is doing business as BIO, 75 OíFarrell St San Francisco, CA 94108. This business is conducted by a corporation. Registrant commenced business under the above-listed fictitious business name on the date 3/15/11. Signed Sylvia Krawec. This statement was filed by Maribel Jaldon on March 15, 2011. #113329. March 23, 30, April 6 and 13, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334231-00 The following person is doing business as Chow’s Garden, 305 22nd Ave San Francisco, CA 94121. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date 3/16/11. Signed Cheung Fuk Chow. This statement was filed by Alan Wong on March 16, 2011. #113328. March 23, 30, April 6 and 13, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334310-00 The following person is doing business as Balboa Construction, 2230 Ocean Ave San Francisco, CA 94127. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed Omar Hijazi. This statement was filed by Maribel Jaldon on March 21, 2011. #113330. March 23, 30, April 6 and 13, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334358-00 The following person is doing business as La Fina Estampa, 1407 Bush St San Francisco, CA 94109. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date N/A. Signed Veronica Shinzato. This statement was filed by Maribel Jaldon on March 22, 2011. #113336. March 30, April 6, 13 and 20, 2011

ORDER TO SHOW CAUSE FOR CHANGE OF NAME CASE NUMBER: CNC-11-547585. SUPERIOR COURT, 400 McAllister St. San Francisco, CA 94102. PETITION of Jose Rafael Quevedo for change of name. TO ALL INTERESTED PERSONS: Petitioner Jose Rafael Quevedo filed a petition with this court for a decree changing names as follows: Present Name: Jose Rafael Quevedo Proposed Name: Joseph Rafael Quevedo . THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name should not be granted. NOTICE OF HEARING Date: May 17, 2011. Time: 9:00 AM room - 514. Signed by Ellen Chaitin, Presiding Judge on March 14, 2011. Endorsed Filed San Francisco County Superior Court on March 14, 2011 by Deborah Steppe, Deputy Clerk. Publication dates: March 16, 23, 30 and April 6, 2011. L#113323 ORDER TO SHOW CAUSE FOR CHANGE OF GENDER CASE NUMBER: CPF-11511136. SUPERIOR COURT OF CALIFORNIA, COUNTY OF SAN FRANCISCO, 400 McAllister St. San Francisco, CA 94102. PETITION OF Paige V. Ramiro for change of name and gender. TO ALL INTERESTED PERSONS: Petitioner Paige V. Ramiro filed a petition with this court for a decree changing petitionerís name to: Petitioner has also filed a petition for a decree changing petitioner’s gender from male to female. THE COURT ORDERS that all persons interested in this matter shall appear before this court at the hearing indicated below to show cause, if any, why the petition for change of name and gender should not be granted. NOTICE OF HEARING Date: May 17, 2011. Time: 9:00 AM room514. Signed by Ellen Chaitin, Judge of the Superior Court on March 8, 2011. Endorsed Filed, San Francisco County Superior Court of California on March 8, 2011 by Param Natt, Deputy Clerk. Publication dates: March 23, 30, April 6 and 13, 2011. L#113325 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334378-00 The following person is doing business as Omar Super Clean House, 3865 Fleetwood Dr San Bruno, CA 94066. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date 5/19/05. Signed Dany Omar Paz. This statement was filed by Magdalena Zevallos on March 23, 2011. #113338. March 30, April 6, 13 and 20, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334464-00 The following person is doing business as La Fusion, 475 Pine St San Francisco, CA 94104. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date 3/1/11. Signed Jose E Bonilla. This statement was filed by Karen J. Hong Yee on March 28, 2011. #113339. March 30, April 6, 13 and 20, 2011 FICTITIOUS BUSINESS NAME STATEMENT FILE NO. A-0334555-00 The following person is doing business as Quality Senior Care, 15 Grijalva Dr San Francisco, CA 94132. This business is conducted by an individual. Registrant commenced business under the above-listed fictitious business name on the date 3/31/11. Signed Teresa Van Devere. This statement was filed by Mariedyne L. Argente on March 31, 2011. #113340. April 6, 13, 20 and 27, 2011

NOTICE OF APPLICATION TO SELL ALCOHOLIC BEVERAGES Date of Filing Application: March 10, 2011. To Whom It May Concern: The name of the applicant is: American Airlines Inc. The applicant listed above is applying to The Department of Alcoholic Beverage Control to sell alcoholic beverages at: San Francisco International Airport Terminal 2 SP D2 205 San Francisco, CA 94128-3161. Type of License Applied for: 51 - CLUB. Publication dates: March 23, 30 and April 6, 2011 L#113333 SUMMONS CASE NUMBER: DR100684, NOTICE TO DEFENDANT: William Ives and Lois Ives YOU ARE BEING SUED BY PLAINTIFF: Robert Averill. You have 30 CALENDAR DAYS after this summons and legal papers are served on you to file a written response at this court and have a copy served on the Plaintiff. A letter or phone call will not protect you. Your written response must be in proper legal form if you want the court to hear your case. There may be a court form that you can use for your response. You can find these court forms and more information at the California Courts Online Self-Help Center (www. courtinfo.ca.gov/selfhelp), your county law library, or the courthouse nearest you. If you cannot pay the filing fee, ask the court clerk for a fee waiver form. If you do not file your response on time, you may lose the case by default, and your wages, money and property may be taken without further warning from the court. There are other legal requirements. You may want to call an attorney right away. If you do not know an attorney, you may want to call an attorney referral service. If you cannot afford an attorney, you may be eligible for free legal services from a nonprofit legal services program. You can locate these nonprofit groups at the California Legal Services Web site (www.lawhelpcalifornia.org), The California Courts Online Self-Help Center (www. courtinfo.ca.gov/selfhelp), or by contacting your local court or county bar association. The name and address of this court is: Humboldt Superior Court 825 Fifth St Eureka, CA 95501 The name, address, and telephone number of plaintiff’s attorney, or plaintiff without an attorney, is: Douglas D. Kaber, 730 7th St Ste E, Eureka, CA 95501. Date: August 10, 2010. by, Joel B., Deputy. Publishing dates: March 23, 30, April 6 and 13 2011. L#113332

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