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Why Brian Wilson’s next album will probably be a masterpiece

Steven T. Jones
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Why Brian Wilson’s next album will probably be a masterpiece

The name “Beach Boys” can refer to either of two bands.  The first is the happy-go-lucky surf rock band that does songs about cars and California, led by the conservative Mike Love; the second is one of the most audacious and avant-garde bands of the psychedelic era, led by the mad Zen master Brian Wilson. Though most of the music-listening world knows them primarily as the former, the latter has proven far more influential, pushing the Beatles’ creativity to breaking point out of rivalry as well as serving as a major touchstone for the last decade or so of indie rock.

This latter influence, coinciding with Wilson’s 2004 solo revival of his aborted 1967 album Smile, has allowed the psychedelic Beach Boys to enjoy a greater cultural standing among a younger, hipper generation. Wilson’s reunion with Smile lyricist Van Dyke Parks on 2008’s That Lucky Old Sun was much-hyped by the music press; their previous collaboration, 1995’s Orange Crate Art, was barely even noticed by critics or audiences. Audiences want another psychedelic masterwork from Brian Wilson. And I would be unsurprised if he made one — in fact, I would be surprised if he didn’t.

There’s no doubt he still has the capacity to make music every bit as beautiful and daring as the pocket symphonies that graced Pet Sounds and Smile. The Wilson-written suite that ends the 2012 Beach Boys album That’s Why God Made The Radio is nearly as good as the one that ended Surf’s Up more than 40 years prior. And the version of “Live Let Live” Wilson recorded for the post-March Of The Penguins cash-in An Arctic Tale contains some of the most gorgeous backing vocals I’ve heard on any song, Wilson-penned or otherwise.

Since the 2004 solo Smile, Brian’s released a Christmas album, two covers albums, and That Lucky Old Sun. The latter is the only true Wilson album among these, and its song-cycle structure and bursts of experimental caprice make it undoubtedly the progeny of Smile. But its flaws are common to many, if not most, latter-day albums by aging rock stars. His vocals haven’t aged well; the production is sterile; he makes a lot of ill-advised tributes to the music and culture of his childhood (sample line: “Every girl’s the next Marilyn/every guy Errol Flynn”). There’s a strong sense he’s pandering to the crowd who grew up on “Surfin’ U.S.A.” (or God help us, “Kokomo”), and he tempers his far-out tendencies accordingly. 

But two events have happened since the release that should encourage Wilson to let his creative energy loose.  The first is the 2011 release of The Smile Sessions, a collection of incomplete Smile takes that’s the closest we’ll likely ever get to hearing the finished album. The second is the release of That’s Why God Made The Radio, purportedly the final Beach Boys album and universally acclaimed for the Wilson songs but nothing else. Without the commitment of The Beach Boys, Wilson never needs to write another song about cars and girls again; if he does, it’s up to choice. His fanbase is shifting from older nostalgics to younger music nerds, and it would be advisable for him to target that audience. 

Wilson’s currently working on his first new album since the release of The Smile Sessions. It appears to be a collaborative effort; Lana Del Rey, Kacey Musgraves, Zooey Deschanel, and Frank Ocean are all slated to appear on it. All of these artists but Musgraves are Los Angelenos, and Del Rey and Ocean explicitly tap into L.A. mythology in their music. The melancholy those latter two artists bring to their portrayal of the City of Angels is very much in line with the wistful nostalgia of Wilson’s best recent work. 

They’re also artists more in line with the indie world — the world that eats up Wilson’s poignant Pet Sounds-era work and disavows anything with even the most casual reference to surfing. They’ve more likely signed on to work with the man who made those great Sixties albums. And if they end up having any influence beyond merely contributing vocals, they’ll likely skew the album in that direction. If not, it’s still promising that Wilson would choose to work with these artists in the first place. It would be his first attempt to market himself to a younger audience since he loaded up Love You with synths back in 1977. And so far, he’s looking in the right place.

The current incarnation of the Beach Boys (sans Wilson, Al Jardine, and David Marks) play the Mountain Winery on August 1. Wilson’s new album does not yet have a release date, but much of it is complete according to Rolling Stone.

King of the commons

Michael Redmond
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King of the commons

steve@sfbg.com

When Susan King attends the Aug. 24 Sunday Streets in the Mission District — the 50th incarnation of this car-free community gathering, coming the week before her 50th birthday — it will be her last as director of an event she started in 2008.

That successful run was made possible by King’s history as a progressive community organizer who also knew how to do fundraising, a rare combination that has made Sunday Streets more than just a bicycle event, a street faire, or a closure of streets to cars that the city imposes on its neighborhoods on a rotating basis.

Instead, King took the ciclovia concept that started in Bogota, Colombia in the late ’70s — the idea was creating temporary open space on streets usually dominated by cars (See “Towards Carfree Cities: Everybody into the streets,” SFBG Politics blog, 6/23/08) — and used it as a tool for building community and letting neighborhoods decide what they wanted from the event.

“I regard the organizing as community organizing work rather than event organizing, and that’s significant,” King told the Guardian. “We’re creating the canvas that community organizations can use.”

San Francisco was the third US city to borrow the ciclovia concept to create open streets events — Portland, Ore, was the first in June 2008, followed quickly by New York City — but the first to do one that didn’t include food trucks and commercial vending, which Sunday Streets doesn’t allow.

“It’s not a street fair, it’s about meeting your neighbors and trying new things,” King said, referring to free activities that include dance, yoga, and youth cycling classes and performances. “It’s a really different way of seeing your city. A street without cars looks and feels different.”

Now, after seeing how Sunday Streets can activate neighborhoods and build community, and watching the concept she helped pioneer be adopted in dozens of other cities, King says she’s ready for the next level.

“I want to apply what I know on a larger scale, ideally statewide,” King said of her future plans. “This really opened my eyes up to the possibilities.”

 

WORKING WITH COMMUNITIES

After a lifetime of progressive activism — from grassroots political campaigns to city advisory committees to working with the Green Party — King knew the value of listening to various community stakeholders and earning their trust.

“We try to be culturally competent and work with each neighborhood,” King said. “We want to work with the neighborhood instead of dropping something on the neighborhood.”

That distinction has been an important one, particularly in neighborhoods such as Bayview and the Western Addition, where there is a long history of City Hall officials and political do-gooders trying to impose plans on neighborhoods without their input and consent.

“We worked really closely together and she gave me a lot of leeway to do Sunday Streets in a way that it worked for the community,” said Rebecca Gallegos, who managed public relations for the Bayview Opera House 2010-2013. “I can’t say enough great words about Susan. She was a truly a mentor to me. They’re losing someone really great.”

The first Sunday Streets on Aug. 31, 2008, extended from the Embarcadero into Bayview, opening up that neighborhood to many new visitors. King cited a survey conducted at the event showing 54 percent of respondents had never been to Bayview before.

“Susan wore a lot of hats. Not only did she create community in all the neighborhoods in San Francisco, but she knew how to go after the money,” Gallegos told us. “She walks the walk and doesn’t just talk the talk.”

Meaghan Mitchell, who worked with the Fillmore Community Benefits District, also said King’s skills and perspective helped overcome the neighborhood’s skepticism about City Hall initiatives.

“Susan came in and was very warm and open to our concerns. She was a joy to work with,” said Mitchell, who went on to work with King on creating Play Streets 2013, an offshoot of Sunday Streets focused on children.

The neighborhood was still reeling from a massive redevelopment effort by the city that forced out much of its traditional African American population and left a trail of broken promises and mistrust. Mitchell said King had to spend a lot of time in community meetings and working with stakeholders to convince them Sunday Streets could be good for the neighborhood — efforts that paid off as the community embraced and helped shape the event.

“It was nice to know the Fillmore corridor could be included in something like this because we were used to not being included,” Mitchell told us. “Community organizing is not an easy job at all because you’re dealing with lots different personalities, but Susan is a pro.”

 

ROUGH START

It wasn’t community organizing that got King the job as much as her history with fundraising and business development for campaigns and organizations, ranging from the San Francisco Symphony to the San Francisco Women’s Building.

At the time, when city officials and nonprofit activists with the Mode Shift Working Group were talking about doing a ciclovia, King was worried that it would get caught up in the “bike-lash” against cyclists at a time when a lawsuit halted work on all bike projects in the city.

“I thought that would never fly,” King said. “We started Sunday Streets at the height of the anti-bike hysteria.”

But her contract with WalkSF to work on Masonic Avenue pedestrian improvements was coming to an end, she needed a job, and Sunday Streets needed a leader who could raise money to launch the event without city funds.

“I know how to raise money because I had a background in development,” said King, who raised the seed money for the first event with donations from the big health care organizations: Kaiser, Sutter Health/CPMC, and Catholic Healthcare West. And as a fiscal sponsor, she chose a nonprofit organization she loved, Livable City, for which Sunday Streets is now a $400,000 annual program.

King had a vision for Sunday Streets as an exercise in community-building that opens new avenues for people to work and play together.

Immediately, even before the first event, King and Sunday Streets ran into political opposition from the Fisherman’s Wharf Merchants Association, which was concerned that closing streets to cars would hurt business, and progressive members of the Board of Supervisors who were looking to tweak then-Mayor Gavin Newsom, whose office helped start the event.

City agencies ranging from the Police Department to Municipal Transportation Agency required Sunday Streets to pay the full costs for city services, something that even aggressive fundraising couldn’t overcome.

“We were in debt to every city department at the end of the second year. It was the elephant in the room going into that third year,” King said.

But the Mayor’s Office and SFMTA then-Director Nat Ford decided to make Sunday Streets an official city event, covering the city costs. “It was the key to success,” King said. “There’s no way to cover all the costs. The city really has to meet you halfway.”

King said that between the intensive community organizing work and dealing with the multitude of personalities and interests at City Hall, this was the toughest job she’s had.

“If I would have known what it would be like,” King said, “I would never have taken the job.”

 

SUNDAY STREETS SOARS

But King had just the right combination of skills and tenacity to make it work, elevating Sunday Streets into a successful and sustainable event that has served as a model for similar events around the country (including at least eight others also named Sunday Streets).

“The Mission one just blew up. It was instantly popular,” said King, who eventually dropped 24th Street from the route because it got just too congested. “But it’s the least supportive of our physical activity goals because it’s so crowded. It was really threatening to be more of a block party.”

That was antithetical to the ethos established by King, who has cracked down on drinking alcohol and unpermitted musical acts at Sunday Streets in order to keep the focus on being a family-friendly event based on fitness and community interaction.

Even the live performances that Sunday Streets hosts are required to have an interactive component. That encouragement of participation by attendees in a noncommercial setting drew from her history attending Burning Man, as well as fighting political battles against the commercialization of Golden Gate Park and other public spaces.

“It was my idea of what a community space should look like, although I didn’t invent it…We really want to support sustainability,” King said. “We’re not commodifying the public space. Everything at Sunday Streets is free, including bike rentals and repairs.”

As a bike event, the cycling community has lent strong support to Sunday Streets, with the San Francisco Bicycle Coalition strongly promoting it along the way.

“The success of Sunday Streets has been a game changer in showcasing how street space can be used so gloriously for purposes other than just moving and storing automobiles. At every Sunday Streets happening we are reminded that streets are for people too,” SFBC Director Leah Shahum told us. “Susan’s leadership has been such an important part of this success.”

Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

Sue Vaughan
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Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

“We stopped checking for monsters under our beds when we realized they were inside us,” reads a quote often misattributed to the Joker in 2008’s The Dark Knight. The presenters at July 14’s “BAASICS.5: Monsters” event at ODC Theater capitalized on this concept, examining both modern monsters (though not “cars and corn syrup,” as one emcee mentioned at the beginning of the event) and monsters of yore. 

In past years, the organization has explored provocative topics such as the future (more weighted toward a possible uprising of robots rather than the nagging question “What am I going to do with my life?”) and psychiatric and neurologic disorders by juxtaposing science and art. It’s easy to find the right balance between the two for these past themes, but I wasn’t quite sure what to expect from this year’s event. 

It ended up being a lot less grisly than I’d imagined — with the exception of a video clip depicting maggots violating a honeybee. (I can never unsee that.) I felt as though I were in a college lecture hall, viewing PowerPoints — which were much more aesthetically pleasing than the Papyrus-laden slides my freshman year history professor used — and listening to professors, each with an exceptionally dry sense of humor. 

Presenters, ranging from shark conservationists to artists, shared their definitions of a monster, often turning the tables on common misconceptions. David McGuire revealed that more people die from vending machines than from shark attacks, emphasizing how it’s truly a man-eat-shark world out there today. (Ahem, shark fin soup…) Closing presenter Brynda Glazier tackled societal expectations of beauty and normalness, drawing inspiration from her personal life as her brother is disabled, expressing this through seemingly ugly and monstrous sculptures. 

BAASICS’ associate content producer Georgeann Sack — described in the program as a “neuroscientist by day and science communicator by night” — also performed low-key acoustic songs as a segue between presentations. In fact, her music was so low-key that I often had trouble hearing and understanding her, although I’m sure the lyrics to her song “Vampire Love Song” were clever. Sack’s standout performance was her rendition of the Creepshow’s “Zombies Ate Her Brain,” which sounded a little like a singer-songwriter’s DIY GarageBand-recorded music. 

However, the biggest letdown of the event were the short videos. With topics such as malaria research and glowing plants, the videos had potential but ultimately came off as too sterile. The two video shorts seemed as though they were filmed with a cheap digital camera — that highlighted distracting background noise while researchers spoke — and edited in iMovie. Other audience members were just as unimpressed as my friend and I were — I heard some people in the row behind us begin a slow clap after the second video. 

Art and science weren’t exactly joined in holy matrimony at this event. To me, BAASICS.5 was more like an evening well spent in your friend’s apartment — you know, the friend with a great appreciation for art who’s basically a living, breathing encyclopedia of weird shit — and can talk endlessly about it. Bring up Bigfoot and they’ll mention how the highest number of reported Bigfoot sightings originate from Humboldt County and slyly attribute this to the inhabitants’ altered perceptions. And did they mention how there’s a pseudo-porno titled Bigfoot’s Wild Weekend? (Here’s looking at you, Jill Miller!) Maybe zombies are more up your friend’s alley and they created an amazingly detailed zombie survey for people to fill out. (Your hard work definitely paid off, George Pfau.)

As for me, I checked off “Zombies are Vaudeville performers,” “The apocalypse is ‘the big one,’” and “After death, you take harp lessons” as my answers to Pfau’s zombie survey, which I picked up in the lobby afterwards. The real highlight of the event was being exposed to modern takes on tales as old as time, if the outside of the survey brochure, a Where’s Waldo-inspired scene even featuring Michael Jackson from his “Thriller” days, is anything to go by. 

San Francisco to study dropping speed limit to 20 mph for pedestrian safety

Erica Hanna
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30
San Francisco to study dropping speed limit to 20 mph for pedestrian safety

As a part of a citywide effort to eliminate all pedestrian deaths by 2024, San Francisco will study the impact of reducing speed limits to 20 mph. 

“This is a reasonable issue to look into making San Francisco streets safer,” Sup. Eric Mar said, in a public statement. “There is too much excellent work and research going into it nationally and internationally to ignore.” 

The study was proposed by Mar as part of Vision Zero – a Swedish concept adopted by San Francisco at the behest of Sup. Jane Kim earlier this year. The initiative aims to reduce pedestrian deaths to zero within 10 years, with a focus on educating drivers, engineering roads for safety, and enforcing traffic laws (which the SFPD agreed to reform ealrier this year). Data from the study should be available in early fall. 

Where the speed changes would occur is the subject of the study. “We’re going to the experts,” Peter Lauterborn, Mar’s aide, told the Guardian. That’s the whole point of the study, he said, to figure out where and by how much speed could be reduced in the city to save lives. 

Modest adjustment to speed limits lowered pedestrian mortality rates in cities across the world.

Paris, London, cities in Sweden, and New York all implemented speed limit reductions to save pedestrian lives. According to the British Medical Journal, serious traffic-related fatalities or injuries decreased by 46 percent in 20 mph zones in London. 

The San Francisco Municipal Transportation Agency and the San Francisco Police Department got on board with the Vision Zero pedestrian safety plan, proposed by Sup. Jane Kim, earlier this year. 

According to California’s Office of Traffic Safety, San Francisco was ranked number one for traffic fatalities and injuries in 2011, compared to other similarly sized cities. 

“The overall frequency of traffic fatalities in the City of San Francisco constitutes a public health crisis,” the SFMTA warned in its Vision Zero web post. 

The statistics the SFMTA presented may seem dry, but tell the tale of preventable pain pedestrians suffered at the mercy of autos: Over the ten years from 2002 to 2011 the City lost a total of 310 lives to traffic fatalities. Each year alone on average 800 people are injured and 100 severely injured or killed while walking in San Francisco.

Sweden also saw fewer pedestrian crashes, despite increased traffic density. 

Walk SF has repeatedly advocated to fix intersections that are known to be especially dangerous, as only six percent of SF intersections are responsible for 60 percent of pedestrian crashes. Most of these areas are located in SoMa and the Tenderloin districts, the latter is where 6-year-old Sofia Liu was killed on New Year’ Eve. 

Walk SF’s Executive Director Nicole Schneider told us 20 mph zones would make it easier for cars to stop, expand drivers’ view of streets, and decrease the force of impact. 

In 2011 the city instituted 15 mph school zones after strong advocacy from Walk SF and other groups. While Schneider didn’t have any statistics about the impact of the speed limit on hand, she did say that there is a “perception of change” in these zones. 

But there are environmental benefits of slower speeds as well, Lauterborn told us: driving slower uses less gas. 

The U.S. Department of Energy says that speeding, rapidly accelerating, and frequently braking can decrease gas mileage by 33 percent. A lower speed limit would decrease driving costs as well as protect pedestrians. 

Lauterborn said even if the study shows a 20 mph speed limit would be beneficial, there are state laws that might prevent SF from lowering the speed limit. Local governments can only set the speed limit lower than 25mph on streets smaller than 25 feet wide or in business, residential, or school zones. To lower the speed limit to 20mph on a street like Sunset, the city would likely need state permission. 

At a fiery Board of Supervisors hearing on Vision Zero in January, a pedestrian who was hit by a car in 2013 named Jikaiah Stevens offered a scathing critique of current vehicle collision policies. “What is their incentive to drive safely when there are no consequences?” Stevens asked the board that night. A 20 mph limit may go a long way towards preventing pedestrian injuries like Stevens’.

This Week’s Picks: July 16 – 22, 2014

Michael Redmond
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0

Brrrr-illiant!

WEDNESDAY 16

 

 

Jessica Hernandez

Since Jessica Hernandez & The Deltas recorded a full set of tunes for an album two years ago, long stints of touring, writing, and other facets of life delayed their complete release. An excellent EP, Demons, came out last year, and gave fans a taste of what is to come when their new full-length album Secret Evil (Instant Records) is finally released next month. The Detroit-born band plays a tasty blend of blues, jazz, soul, rock and more retro-roots goodness, all building a perfect foundation for Hernandez’ gorgeous and powerful vocals. (Sean McCourt)

With Hungry Skinny, The Tropics

9pm, $12

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

 

 

THURSDAY 17

 

 

Summer Slaughter

While there are plenty of outdoor music festivals and tours crisscrossing the country this summer, metal fans with an aversion to the sun can rejoice that there is one such touring package that hits indoor venues — so you don’t have to worry about a searing sunburn on top of your ringing ears. The promoters of Summer Slaughter 2014 are billing it as the “Most Extreme Tour of the Year,” and it may well be, with death metal legends Morbid Angel headlining the day-long session of debauchery. Joining them will be Dying Fetus, The Faceless, Thy Art Is Murder, Goatwhore, Origin, Decrepit Birth, Within The Ruins, Fallujah, Unhailoed, and Boreworm. (Sean McCourt)

3pm, $29.50-$32

The Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

 

 

 

San Francisco Symphony: Pixar In Concert

While the films of Pixar Animation Studios may have revolutionized the way movies and cartoons are made with their innovative use of computer animation and their resulting reputation for gorgeous visuals, music also plays an important part in the company’s artistic arsenal. Pixar director Lee Unkrich, CCO John Lasseter and writer-director Brad Bird will act as hosts this weekend as the San Francisco Symphony performs parts of the scores from fan favorite films live, including the Toy Story trilogy, Finding Nemo, Ratatouille, A Bug’s Life, Wall-E, Cars, Up, The Incredibles, Monsters, Inc., Brave, and Monsters University. (Sean McCourt)

Through Sun/20

7:30pm Thu-Sat; 2pm Sun, $35-$150

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

 

 

 

Dark Entries 5th Anniversary

Labels like Josh Cheon’s Dark Entries exist to remind us that no matter how much (or how little) good music might be coming out presently, there are always gonna be underappreciated gems from the past to discover. With this digger’s mentality and assistance from prolific mastering master George Horn, the San Francisco label has been attentitively re-releasing ’80s dance obscurities. Hi-NRG, Italo disco, minimal, post-punk, etc: If it’s avant, analog, and (obvs) dark, it’s perfect. Starting off on a anniversary tour, Cheon will be joined by some of the label’s contemporary artists including REDREDRED (Michael Wood) and Bézier (the live synth project from Cheon’s Honey Soundsystem collective-mate, Robert Yang.) (Ryan Prendiville)

With Max+Mara

July 17, 9pm-2am, $8

The Eagle

398 12th St, SF

www.sf-eagle.com

 

July 19 +Flora Palmer

9pm, $7

Terminal

3957 San Leandro St, Oakl.

 

FRIDAY 18

 

 

 

Brainwash Drive-In/Bike-In/Walk-In Movie Festival

The name says it all: Pretty much any mode of transport — even, probably, roller-skating or Segway-ing, though maybe leave your team of draft horses back on the farm — is acceptable conveyance to the Brainwash Drive-In/Bike-In/Walk-In Movie Festival. Once you arrive, settle in (BYO lawn chair or blanket) for an old-school drive-in experience, with films projected on a big screen and sound provided by FM radio as well as amplified speakers. What’s not old-school is the programming: genre-spanning shorts and the occasional feature (this year: a Bollywood pick!), mostly of the “underground” variety, which means you might not catch ’em anywhere else. (Eddy)

Fri/18-Sat/19 and July 25-26, $12

NIMBY

8410 Amelia, Oakl.

www.brainwashm.com

 

 

Erk tha Jerk with Kev Choice

June was a busy month for Erk tha Jerk, the Richmond rapper and producer known for his clever wordplay and catchy, often intensely sexual hooks. On the 12th, he dropped a new video produced by frequent collaborator Fly Commons called “Blast Somebody.” A smooth beat finds Jerk getting existential about his stresses while a near-nude woman gyrates on his bed. The video premiere was bolstered by the announcement that the duo’s upcoming EP, Food and Vegetables comes out on July 15th — the gig doubles as a release party. Fellow East Bay MC Kev Choice opens for Erk. Where Erk often embraces an id-driven and autobiographical style, Kev is far subtler and more socially conscious. A prodigious pianist and bandleader, his set should provide a soulful introduction to Erk’s intensity and bombast. When two of the most idiosyncratic and up-and-coming Bay Area rappers come together, sparks will inevitably fly. (Kurlander)

8pm, $15

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com

 

 

San Francisco Frozen Film Festival

Foggy days, windy nights — yep, it’s summer in San Francisco. No need to the seek air-conditioned comfort of a movie theater in this town, unless the films on offer are as tempting as this year’s San Francisco Frozen Film Festival lineup. The two-day fest offers a stack of shorts by indie, international, and youth filmmakers, grouped into thematic programs: dramatic shorts, animated shorts, LGBT shorts, experimental shorts (including at least one music video), documentary shorts, and the sub-category of short environmental docs, spanning locations as close as Mt. Tam and as far as Antarctica. Brrrr-illiant! (Cheryl Eddy)

Through Sat/19, $12 (fest pass, $20)

Roxie Theater

3117 16th St, SF

www.frozenfilmfestival.com

 

 

SATURDAY 19

 

 

Sara Lautman at the Cartoon Art Museum

Macrogroan, Sara Lautman’s ongoing booklet series and accompanying blog, is remarkably diverse. Lautman, July’s cartoonist-in-residence at the Cartoon Art Museum, deconstructs tiring pop culture trends (one illustration includes a speech bubble by a young woman sitting a desk with a computer: “If you heard Matthew Sweet in some bar he’d fit right in but you’d be like Holy Fuck!” Near the bottom right corner of the same illustration: “Gross. I sound like Marc Maron.”) and larger societal issues (“Clothes People We Are Afraid of Becoming” is made up of four sketches of archetypes Lautman fears, with corresponding labels that describe their respective outfits). Her self-referentiality and distinctive, often experimental drawing methods — she has created entire comic books using a crude drawing program on a flip phone — has earned her spots in publications as varied as Bitch Magazine and The Hairpin. Lautman will present her work and discuss her process with visitors to the museum. She sums up her vision of the experience on her site: “Come see me yammer for a while, then hang out.” (Kurlander)

1pm, free

Cartoon Art Museum

655 Mission, SF

(415) 227-8666

www.cartoonart.org

 

 

Jimmy Cliff

Bob Marley may adorn more stoner dens with his smiling face, but the credit for bringing reggae to a worldwide audience goes first and foremost to Jimmy Cliff. As the star and main soundtrack composer of the 1972 Jamaican film The Harder They Come, Cliff brought the once-obscure Caribbean pop style to national attention and broke open the door for the genre’s success in the 1970s. But he couldn’t have done it without a set of killer songs — the film’s title track included —and a voice that puts nearly every stateside soul singer to shame. At 66, he’s still a respected live performer, appearing frequently at festivals — as well as at the Fillmore, where he’ll play on the 19th. (Bromfield)

9pm, $39.50

The Fillmore

1805 Geary, San Francisco

(415) 346-6000

www.thefillmore.com

 

 

 

SUNDAY 20

 

 

The Hole

Sometimes landlords just refuse to openly admit that they’re renting you a dilapidated apartment. On the surface, the similarities between modern life and the 1998 Taiwanese film The Hole end there — unless you think our tenacity for lining up in the rain for day-old bagels imported from New York is a sign we’d prosper in a post-apocalyptic world. The screening is the first in this summer’s Yerba Buena Center for the Arts series comprised of obscure movies selected by local cinema aficionados. There’s just something about the renter’s dilemma (a modern twist on the prisoner’s dilemma) and a fondness for hoarding toilet paper that resonates with viewers. (Amy Char)

2pm, $8-$10

Yerba Buena Center for the Arts

701 Mission, SF (

415) 978-2787

www.ybca.org

 

TUESDAY 22

 

Say Anything

Like many pop-punk bands, Say Anything caught their big break with a completely ridiculous, comically sexual earworm. “Wow, I Can Get Sexual Too,” a song about phone sex that includes zombie references and the word “interweb,” is still the band’s most popular track and a mainstay in teenage bedrooms, but Say Anything’s catalog is anything but shallow and kitschy. Through a decade and a half of mental health issues, drug habits, and music crit’s endless ridicule of pop-punk, Max Bemis and company have continued to turn out catchy and lyrically sharp and funny records. It is perhaps their distinctly un-hip and unapologetically self-aware musical style (they released a record called In Defense of the Genre) that makes the band most earnest and entirely loveable. (Haley Zaremba)

With The Front Bottoms, The So So Glos, You Blew It!

7pm, $23

The Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com


White Lung

Who said music writers can’t make music? When Mish Way isn’t busy freelancing as one of America’s most passionate and hilarious music writers, she’s rocking harder than any other architecture-dancer since Patti Smith as the leader of punk outfit White Lung. After making a splash in Vancouver’s punk scene with its debut It’s The Evil, the band found its profile substantially increased when Rolling Stone included sophomore effort Sorry in their top 10 albums of the year — no small feat for a punk album, least of all one that barely runs 20 minutes. They’ve added Wax Idols member and Bay Area native Hether Fortune on bass for album number three, Deep Fantasy, whose hearty reception should secure the band’s footing in both the critical and the die-hard punk worlds. (Bromfield)

7pm, $12

The Rickshaw Stop

155 Fell, San Francisco

(415) 861-2011

www.rickshawstop.com

 

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Why I drive a taxi

Michael Redmond
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14

 

By Beth Powder

OPINION I left a 17-year career in film to become a taxi driver. I just wanted to be here full time, drive a taxi, and write.

I’ve taken cabs in several cities and countries over the last 20-odd years. When I got here in 1998, it took two hours for a taxi to get to my house on 43rd Avenue. I still never would’ve gotten into anyone’s personal car and paid them for a ride, no matter how hard it was to get a cab sometimes. Not in San Francisco. Not in Jamaica. Not in Jamaica, Queens.

I’m from Toledo, Ohio originally. We always went on road trips. Maybe being in such close proximity to Detroit, some of that car mojo rubbed off on us. My mother is the kind of woman who, at 70 years old, will drive cross-country alone, stopping to call me at 3am from deserted truck stops outside Amarillo, Texas. You might see why I’d drive a taxi.

I have a feeling that a lot of the anti-taxi contingent now in this city haven’t taken too many cabs. Cabs could never put me off because I’d taken so many of them and I knew I was safer in one than standing in a crosswalk. I’ve been hit by cars on foot and on my bike but I’ve never been in an accident in a cab. Not in London. Not in Los Angeles. Not here.

I don’t drive for Lyft or Uber because San Francisco cab drivers receive workers compensation and TNC drivers don’t. Because Lyft mustaches look unprofessional to me. I went to taxi school, got fingerprinted, had a background check, and got licensed.

My taxi has 24/7 commercial livery insurance. My company pays the bills if there’s an accident. San Francisco taxi companies don’t have bylaws stating that passengers cannot hold them liable. San Francisco taxi companies don’t have bylaws stating that passengers take taxis at their own risk. San Francisco taxi companies don’t have bylaws that can be legally interpreted to allow discrimination against passengers of any persuasion. We have to accept pets. And we have to be green.

San Francisco taxis pick up bartenders, sweet old ladies at the hospital who don’t have smart phones, teachers, lawyers, wheelchair users, people of color, San Francisco Giants, former mayor Willie Brown, hookers, trannies, ballerinas, and limo drivers. Everybody. You don’t need a smartphone, but you can always hail a cab using an app called Flywheel.

I’m not a fan of the smugness emanating from Lyft, Uber, et all. Perpetuating spurious claims that cab drivers are all scary or awful is neither cute nor clever. And it certainly isn’t true.

It’s far more likely for a passenger to physically attack a cab driver than the opposite. About a month ago, several men took a cab from my fleet to San Mateo and severely beat up the driver. We have video cameras in every single San Francisco cab, but that still didn’t guarantee this driver’s safety. Nonetheless crime and accidents in taxis are down significantly.

We’re mothers, fathers, grandparents, students, artists, musicians, and entrepreneurs. Cab drivers give companionship, counseling, and safe passage to their passengers.

I want to know how we can have faith in TNCs when drivers aren’t commercially licensed, fully insured, and packing security cameras. How should we feel about droves of these Uber and Lyft phones being shared by multiple drivers, when only one is on record? What happens when a TNC is wrapped around a pole and the driver is held responsibility for their own safety and well-being. These brand new cars won’t be paid off before we start to witness incidents such as this.

How’s a “young mother just trying to make some extra pocket money” going to feel when she has her wages garnished into perpetuity because she rear-ended someone? She’s personally liable with the TNC company. She’s your friend with a car who absorbs all legal responsibility whether she’s found at-fault or not.

As long as there’s a taxi industry, I’ll keep proudly driving my taxi in the city I love. I’ll pick up sweet and not so sweet old ladies, people in wheelchairs, people with dogs, and whomever else needs a ride wherever it is they need to go.

Beth Powder is a cab driver and writer.

 

Treasure Island development plans moving forward after lawsuit rejected

Sasha Cuttler
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22
Treasure Island development plans moving forward after lawsuit rejected

Construction on the first 1,000 of up to 8,000 new homes planned for Treasure Island could begin as soon as next year after the State Appeals Court this week rejected a challenge of the project’s environmental impact report by Citizens for a Sustainable Treasure Island, a grassroots group led by former supervisor Aaron Peskin.

The group challenged the project’s unanimous 2006 approval by the Board of Supervisors after its terms were modified the next year by the developers, Wilson Meany and Lennar Urban, to increase the number of homes and decrease their affordability. The project Peskin helped approve was 6,000 homes, 30 percent of them affordable, but now it’s up to 8,000 homes, 25 percent affordable.

More recently, stories by the Center for Investigative Reporting/Bay Citizen, San Francisco Chronicle, and others have also found evidence of lingering radiological contamination on the island from its days as a US Navy base, something that Peskin told us should raise concerns about the project.

“Obviously, we are disappointed in the court ruling and are very concerned it ignores the now widely reported news that Treasure Island is much more contaminated, by radiologically contamination, than we knew,” Peskin told us. As for whether his group intends to appeal the case to the California Supreme Court, he said, “We are assessing our options.”

Wilson Meany principle Chris Meany didn’t immediately return Guardian calls for comment (we’ll update this post if and when we hear back), but in a press release, he said, “After several years of unnecessary and costly litigation, we can finally begin building more homes for people who want to live in San Francisco.”

In addition to the homes, the project includes up to 500 hotel rooms, 450,000 square feet of retail space, 100,000 square feet of office space, and 300 acres of open space. To compensate for projections that rising seas caused by global warming would inundate the artificial island by the end of the century, its height will be raised substantially, with the EIR noting there will be about 100,000 trucks of landfill coming over the Bay Bridge during construction.

Traffic generated by the project has been a major concern of transportation officials from the beginning. San Francisco Transportation Authority Executive Director Tilly Chang said the challenge was, “How do you keep the Bay Bridge flowing and not muck up traffic?”

The plan calls for expanded bus and shuttle service to Treasure Island, new ferry service from the Ferry Building, and both expensive parking on the island for non-residents and a toll for driving onto the island, most likely set at $5, Chang said. The ferry service is set to launch around when the first phase of housing construction is complete, probably in 2018.

Meanwhile, work has already begun on a project to replace and improve the freeway ramps at adjacent Yerba Buena Island and the bridge that connects them to Treasure Island. SFTA Deputy Director for Capital Projects Lee Sage said the ramps will give much more time for cars to slow down or accelerate as they enter or exit the freeway there.

“It’s going to be very complicated, but we’re on target,” he said, estimating the eastside ramps will be done in 2016 and the westside ones a few years later.

Just last month, the Board of Supervisors approved terms accepting Treasure Island from the US Navy. Later this month  assuming that the issue of radiological contamination doesn’t derail the transfer — the city and project developers are scheduled to pay the Navy $55 million for Treasure Island and complete the deal.

But Peskin’s group and its attorney Keith Wagner, objected to the transfer in a June 25 letter to the Navy, calling for more studies on the substantially increased density of development on the island and more thorough testing and cleanup of contamination.

Wagner wrote, “In summary, the Navy’s 2003 EIS, on its own terms, did not evaluate the true nature of the City’s far more expansive contemporaneous development plans/proposals, let alone the even more expansive development plans that were ultimately devised and approved by the City in 2011; in the decade since the 2003 EIS was finalized, the Navy has developed significant and substantial new information indicating the nature, scope and severity of radiological and hazardous materials across NSTI that could impact the City’s 2011 development plans.”

Motorists fight back in “transit-first” San Francisco

Sasha Cuttler
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78
Motorists fight back in “transit-first” San Francisco

Believing that they’re somehow discriminated against on the streets of San Francisco, a new political coalition of motorists, conservatives, and neighborhood NIMBYs yesterday [Mon/7] turned in nearly twice the signatures they need to qualify the “Restore Transportation Balance in San Francisco” initiative for the November ballot.

It’s a direct attack on the city’s voter-approved “transit-first” policies and efforts to reduce automobile-related pollution and greenhouse gas emissions. It would prevent expanded parking meter enforcement unless requested by a neighborhood petition, freeze parking and permit rates for five years, require representation of motorists on the SFMTA board and create a Motorists Citizens Advisory Committee within the agency, set aside SFMTA funding for more parking lot construction, and call for stronger enforcement of traffic laws against cyclists.  

“With 79 percent of San Francisco households owning or leasing an automobile and nearly 50 percent of San Franciscans who work outside of their homes driving or carpooling to work, it is time for the Mayor, the Supervisors, and the San Francisco Municipal Transportation Agency (SFMTA) Board to restore a balanced transportation policy for all San Franciscans,” the group claims on its petition.

But given that drivers already dominate the space on public roadways, often enjoying free parking on the public streets for their private automobiles, transportation activists say it’s hard to see motorists as some kind of mistreated population.

“The idea that anyone who walks or cycles or takes public transit in San Francisco would agree that these are privileged modes of transportation is rather absurd,” Tom Radulovich, executive director of Livable City and an elected member of the BART board, told the Guardian.

He said this coalition is “co-opting the notion of balance to defend their privilege. They’re saying the city should continue to privilege drivers.”

But with a growing population using a system of roadways that is essentially finite, even such neoliberal groups as SPUR and the San Francisco Chamber of Commerce have long promoted the idea that continued overreliance on automobiles would create a dysfunctional transportation system.

“Prioritization of the single modes of transportation isn’t a matter of ideology, it’s a matter of geometry,” Radulovich said. “We’re all better off, including motorists, if we prioritize other modes of transportation and encourage people to get out of their cars.”

Still, the revanchist approach to transportation policy in San Francisco has been on the rise in recent years, starting with protests against parking management policies in the Mission and Potrero Hill, and continuing this year with Mayor Ed Lee successfully pushing the repeal of charging for parking meters on Sundays.

The coalition behind this ballot measure includes some of the combatants in those battles, including the new Eastern Neighborhoods United Front (ENUF) and old Coalition of San Francisco Neighborhoods. Other supporters include former westside supervisors Quentin Kopp, Tony Hall, and John Molinari, and the city’s Republican and Libertarian party organizations.

Spokespersons for the coalition didn’t return Guardian calls, but we’ll update this post if and when we hear back, and we’ll have a longer analysis of this issue in next week’s Guardian.

But Radulovich said that while conservatives are helping drive this coalition, anger over the city’s transportation policies is more of a throwback to a bygone era than it is based on conservative principles (for example, the SF Park program criticized by the coalition uses market-based pricing to better manage street parking and encourage turnover in high-demand areas).

As he said, “There are certain people who believe in the welfare state, but only for cars and not for humans.”  

The Fourth of July: Remembering the good old days in Rock Rapids, Iowa

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3

By Bruce B. Brugmann

(Note: In July of 1972, when the Bay Guardian was short a Fourth of July story, I sat down and cranked out this one for the front page on my trusty Royal Typewriter. I now reprint it each year by popular demand on the Bruce blog, with some San Francisco updates and postscripts.)

Back where I come from, a small town beneath a tall standpipe in northwestern Iowa, the Fourth of July was the best day of a long, hot summer.

The Fourth came after YMCA camp and Scout camp and church camp, but before the older boys had to worry about getting into shape for football. It was welcome relief from the scalding, 100-degree heat in a town without a swimming pool and whose swimming holes at Scout Island were usually dried up by early July. But best of all, it had the kind of excitement that began building weeks in advance.

The calm of the summer dawn and the cooing of the mourning doves on the telephone wires would be broken early on July Fourth: The Creglow boys would be up by 7 a.m. and out on the lawn shooting off their arsenal of firecrackers. They were older and had somehow sent their agents by car across the state line and into South Dakota where, not far above the highway curves of Larchwood, you could legally buy fireworks at roadside stands.

Ted Fisch, Jim Ramsey, Wiener Winters, the Cook boys, Hermie Casjens, Jerry Prahl, Elmer Menage, and the rest of the neighborhood gang would race out of  their houses to catch the action. Some had cajoled firecrackers from their parents or bartered from the older boys in the neighborhood: some torpedoes (the kind you smashed against the sidewalk); lots of 2 and 3-inchers, occasionally the granddaddy of them all, the cherry bomb (the really explosive firecracker, stubby, cherry red, with a wick sticking up menacingly from its middle; the kind of firecracker you’d gladly trade away your best set of Submariner comics for.)

Ah, the cherry bomb. It was a microcosm of excitement and mischief and good fun. Bob Creglow, the most resourceful of the Creglow boys, would take a cherry bomb, set it beneath a tin can on a porch, light the fuse, then head for the lilac bushes behind the barn.

“The trick,” he would say, imparting wisdom of the highest order, “is to place the can on a wood porch with a wood roof. Then it will hit the top of the porch, bang, then the bottom of the porch, bang. That’s how you get the biggest clatter.”

So I trudged off to the Linkenheil house, the nearest front porch suitable for cherry bombing, to try my hand at small-town demolition. Bang went the firecracker. Bang went the can on the roof. Bang went the can on the floor. Bang went the screen door as Karl Linkenheil roared out in a sweat, and I lit out for the lilacs behind the barn with my dog, Oscar.

It was glorious stuff – not to be outdone for years, I found out later, until the Halloween eve in high school when Dave Dietz, Ted Fisch, Ken Roach, Bob Babl, Jerry Prahl, Jack McBride, and the  rest of the Hermie Casjens gang and I made the big time and twice pushed a boxcar loaded with lumber across Main Street and blocked it for hours. But that’s another story for my annual Halloween blog.

Shooting off fireworks was, of course, illegal in Rock Rapids, but Chief of Police Del Woodburn and later Elmer “Shene” Sheneberger used to lay low on the Fourth. I don’t recall ever seeing them about in our neighborhood and I don’t think they ever arrested anybody, although each year the Lyon County  Reporter would carry vague warnings about everybody cooperating to have “a safe and sane Fourth of July.”

Perhaps it was just too dangerous for them to start making firecracker arrests on the Fourth – on the same principle, I guess, that it was dangerous to do too much about the swashbuckling on Halloween or start running down dogs without leashes (Mayor Earl Fisher used to run on the platform that, as long as he was in office, no dog in town would have to be leashed. The neighborhood consensus was that Fisher’s dog, a big, boisterous boxer, was one of the few that ought to be leashed).

We handled the cherry bombs and other fireworks in our possession with extreme care and cultivation; I can’t remember a single mishap. Yet, even then, the handwriting was on the wall. There was talk of cutting off the fireworks supply in South Dakota because it was dangerous for young boys. Pretty soon, they did cut off the cherry bomb traffic and about all that was left, when I came back from college and the Roger boys had replaced the Creglow boys next door, was little stuff appropriately called ladyfingers.

Fireworks are dangerous, our parents would say, and each year they would dust off the old chestnut about the drugstore in Spencer that had a big stock of fireworks and they caught fire one night and much of the downtown went up in a spectacular shower of roman candles and sparkling fountains.

The story was hard to pin down, and seemed to get more gruesome every year – but, we were told, this was why Iowa banned fireworks years before, why they were so dangerous and why little boys shouldn’t be setting them off. The story, of course, never made quite the intended impression; we just wished we’d been on the scene.  My grandfather was the town druggist (Brugmann’s Drugstore, “Where drugs and gold are fairly sold, since 1902″) and he said he knew the Spencer druggist personally. Fireworks put him out of business and into the poorhouse, he’d say, and walk away shaking his head.

In any event, firecrackers weren’t much of an issue past noon – the Fourth celebration at the fairgrounds was getting underway and there was too much else to do. Appropriately, the celebration was sponsored by the Rex Strait post of the American Legion (Strait, so the story went, was the first boy from Rock Rapids to die on foreign soil during World War I); the legionnaires were a bunch of good guys from the cleaners and the feed store and the bank who sponsored the American Legion baseball team each summer.

There was always a big carnival, with a ferris wheel somewhere in the center for the kids, a bingo stand for the elders, a booth where the ladies from the Methodist Church sold homemade baked goods, sometimes a hootchy dancer or two, and a couple of dank watering holes beneath the grandstand where the VFW and the Legion sold Grainbelt and Hamms beer  at 30¢ a bottle to anybody who looked of age.

Later on, when the farmboys came in from George and Alvord, there was lots of pushing and shoving, and a fist fight or two.

In front of the grandstand, out in the dust and the sun, would come a succession of shows that made the summer rounds of the little towns. One year it would be Joey Chitwood and his daredevil drivers. (The announcer always fascinated me: “Here he comes, folks, rounding the far turn…he is doing a great job out there tonight…let’s give him a big, big hand as he pulls up in front on the grandstand…”)

Another year it would be harness racing and Mr. Hardy, our local trainer from Doon, would be in his moment of glory. Another year it was tag team wrestling and a couple of barrel-chested goons from Omaha, playing the mean heavies and rabbit-punching their opponents from the back, would provoke roars of disgust from the grandstand. ( The biggest barrel-chest would lean back on the ropes, looking menacingly at the crowd and yell, “ Aw, you dumb farmers. What the hell do you know anyway? I can beat the hell out of any of you.”   And the crowd  would roar back in glee.)

One year, Cedric Adams, the Herb Caen of Minneapolis Star-Tribune, would tour the provinces as the emcee of local  variety shows. “It’s great to be in Rock Rapids,” he would say expansively, “because it’s always been known as the ‘Gateway to Magnolia.” (Magnolia, he didn’t need to say, was a little town just over the state line in Minnesota which was known throughout the territory for its liquor-by-the-drink roadhouses. It was also Cedric Adams’ hometown: his “Sackamenna,” as Caen would say.  Adams kissed each girl (soundly) who came on the platform to perform and, at the end, hushed the crowd for his radio broadcast to the big city “direct from the stage of the Lyon County Fairgrounds in Rock Rapids, Iowa.”

For a couple of years, when Rock Rapids had a “town team,” and a couple of imported left-handed pitchers named Peewee Wenger and Karl Kletschke, we would have some rousing baseball games with the best semi-pro team around, Larchwood and its gang of Snyder brothers: Barney the eldest at shortstop, Jimmy the youngest at third base, John in center field, Paul in left field, another Snyder behind the plate and a couple on the bench. They were as tough as they came in Iowa baseball.

I can remember it as if it were yesterday at Candlestick, the 1948 game with the Snyders of Larchwood. Peewee Wenger, a gawky, 17-year-old kid right off a high school team, was pitching for Rock Rapids and holding down the Snyder artillery in splendid fashion. Inning after inning he went on, nursing a small lead, mastering one tough Larchwood batter after another, with a blistering fastball and a curve that sliced wickedly into the bat handles of the right-handed Larchwood line-up.

Then the cagey Barney Snyder laid a slow bunt down the third base line. Wenger stumbled, lurched, almost fell getting to the ball, then toppled off balance again, stood helplessly holding the ball. He couldn’t make the throw to first. Barney was safe, cocky and firing insults like machine gun bullets at Peewee from first base.

Peewee, visibly shaken, went back to the mound. He pitched, the next Larchwood batter bunted, this time down the first base line. Peewee lurched for the ball, but couldn’t come up with it. A couple more bunts, a shot through the pitcher’s mound, more bunts and Peewee was out. He could pitch, but, alas, he was too clumsy to field. In came Bill Jammer, a farmer now in his late 30’s, but in his day the pitcher who beat the University of Iowa while playing for a small Iowa college called Simpson.

Now he was pitching on guts and beer, a combination good enough for many teams and on good days even good enough  to take on the Snyders. Jammer did well for a couple of innings, then he let two men on base, then came a close call at the plate. Jammer got mad. Both teams were off the bench and onto the field and, as Fred Roach wrote in the Reporter, “fisticuffs erupted at home plate.” When the dust cleared, Jammer had a broken jaw, and for the next two weeks had to drink his soup through a straw at the Joy Lunch cafe, John Snyder, it was said later, came all the way in from center field to throw the punch, but nobody knew for sure and he stayed in the game. I can’t remember the score or who won the game, but I remember it as the best Fourth ever.

At dusk, the people moved out on their porches or put up folding chairs on their lawns. Those who didn’t have a good view drove out to the New Addition or parked out near Mark Curtis’ place or along the river roads that snaked out to the five-mile bridge and Virgil Hasche’s farm.

A hush came over the town. Fireflies started flickering in the river bottom and, along about 8:30, the first puff of smoke rose above the fairgrounds and an aerial bomb whistled into the heavens. BOOM! And the town shook as if hit by a clap of thunder.

Then the three-tiered sky bombs – pink, yellow, white, puff, puff, puff. The Niagara Falls and a gush of white sparks.

Then, in sudden fury, a dazzling display of sizzling comets and aerial bombs and star clusters that arched high, hung for a full breath and descended in a cascade of sparks that floated harmlessly over the meadows and cornfields. At the end, the flag – red, white and blue – would burst forth on the ground as the All-American finale in the darkest of the dark summer nights. On cue, the cheers rolled out from the grandstand and the cars honked from the high ground and the people trundled up their lawn chairs and everybody headed for home. b3

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This Week’s Picks: July 2 – 8, 2014

Michael Redmond
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0

WEDNESDAY 2

 

Be Calm Honcho

As Be Calm Honcho’s lead singer croons about her love of California on the band’s debut album, differences between the SF-based band and an LA-based band quickly emerge. (Yes, LA. You can stop bragging about being able to bath in sunshine at the beach 365 days a year.) Be Calm Honcho recorded the album in Stinson Beach, where Karl the Fog must’ve frequently drifted in, comfortably settling into his guest role on the album. The tunes sound effortlessly dreamy — even a little gloomily hopeful. The band is joined, fittingly, by fellow local bands, The She’s and Owl Paws, at its record release show tonight. (Amy Char)

With The She’s and Owl Paws

8pm, $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

 

Deafheaven

For the past three years, these hometown heroes have managed to charm the pants off of critics and fans alike with their powerfully emotive mixture of black metal and shoegaze. The band’s most recent album, Sunbather, a sad, seething record about the melancholy of perfectionism and unattainable ideals, was a critical darling that brought Deafheaven onto the national stage in a flood of gushing reviews and end-of-the-year best-of lists. Though they are a relatively new band, with only a few years and two albums under their belt, Deafheaven both record and perform with a masterful confidence and unabashed willingness to break the rules, creating a sound that has been described as “post-everything.” You don’t want to miss the chance to see them shred on their home turf. (Haley Zaremba)

With Wreck & Reference

8pm, $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

 

 

Answer Me! A Comedy Game Show

A thick layer of dust covers your high school quiz bowl trophy in your childhood bedroom. Between Netflix marathons of Orange Is the New Black, you sort of yearn for an intellectually stimulating challenge. Take everything you know about Piper Chapman and head over to the Mission for tonight’s pop culture game show. (While you’re at it, consider renting a video or two to support Lost Weekend Video before the competition begins.) Two teams, each comprised of two local comedians and one randomly selected audience member, duke it out for frivolous fame and useless trinkets. Plus, your teammates are sure to be more entertaining than that awkward mouth-breather back in high school. (Amy Char)

8pm, $10

The Cinecave at Lost Weekend Video

1034 Valencia, SF

(415) 643-3373

www.lostweekendvideo.com

 

THURSDAY 3

 

Legendary Stardust Cowboy

Inspired by his obsession with space travel, Norman Carl Odam became the Legendary Stardust Cowboy in 1961 and has been honing his maniacal psychobilly style ever since. “The Ledge” is as interested in cars and girls as he is in sci-fi, toilet humor, and the political issues of whatever era he happens to find himself in (“They signed the treaty in Kyoto, Japan!” he screams on “Global Warming,” as if a UN conference was as exciting as a sockhop.) His absurd subject matter and often incomprehensible vocals have earned him fans from outsider-music guru Irwin Chusid to David Bowie, who covered “I Took A Ride On A Gemini Spacecraft” on his album Heathen. The Ledge’s upcoming Stork Club show should demonstrate why he’s considered one of America’s best — or at least most polarizing — touring musicians. (Daniel Bromfield)

9:30pm, $5

Stork Club

2330 Telegraph, Oakland

(510) 444-6174

www.storkcluboakland.com

 

FRIDAY 4

 

Venetian Snares

Winnipeg-based electric music artist Andy Funk, better known as Venetian Snares, has been releasing bass-heavy odysseys of albums since the early 1990s. His artistic diversity and tendency to reinvent himself has led to a scattered but unbelievably prolific output — he’s put out 26 formal full-lengths for 8 different labels since 1998 alongside hundreds of EPs, singles, and mixes. While Venetian Snare’s time signatures, samples, and equipment are constantly in flux, his music stays abrasive and challenging no matter the set-up. His newest album, My Love, is a Bulldozer, released two weeks ago, juxtaposes modern classical elements — particularly strings — with extended drum machine and bass breakdowns and irreverent, often hilarious lyrics. Known for his live mixing and aggressive sets, expect both IDM aficionados and raging moshers to be showing up in full force. Avoid the trite fireworks and head to the Independent for some real explosives. (David Kurlander)

8pm, $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

 

Gilman Benefit

924 Gilman has gotten some flak recently for hiking up the prices of its shows, deviating from its original $5-a-show credo in order to satisfy the demands of its $4,500 rent. Luckily, Gilman will will be hosting not one, but two benefit concerts in the first two weeks of June — and both will only set you back a paper Lincoln. The first will take place on the 4th of July and features a host of local bands, including The SoundWaves (San Leandro), Flip & The European Mutts (San Jose), and Black Dream (San Francisco) — plus Drinking Water, an Arizona ska-punk trio that’s toured in the US and Mexico. Though benefit No. 2 features a higher proportion of indie rockers, this one is as punk as anything the Gilman’s ever put on. (Daniel Bromfield)

7pm, $5

924 Gilman

924 Gilman, Berkeley

(510) 524-8180

www.924gilman.org

 

SATURDAY 5

 

The Fresh & Onlys

Though they rose to fame with the San Francisco garage-rock explosion of a few years back, the Fresh & Onlys eschew the punky pulp-horror aesthetic of many of their contemporaries in favor of a romantic sound that’s more Heart Shaped World than “Heart Shaped Box.” Though their early recordings (Grey Eyed Girls, Play It Strange) are as fuzzy as anything Ty Segall or John Dwyer’s ever done, the Fresh & Onlys have always been more pop than rock, more brain than body, more introverted than extroverted. But that doesn’t mean they can’t hold it down live — whether as an opener or headliner, they can bend their style to suit just about any live setting and keep the party going. (Daniel Bromfield)

9pm, $15

The Chapel

777 Valencia, San Francisco

(415) 551-5157

www.thechapelsf.com

 

 


SUNDAY 6

 

“Brakhage, Brakhage, Brakhage!”

Add about 397 more “Brakhages” to the title of this Yerba Buena Center of the Arts tribute to the late, great experimental filmmaker, and you’ll have the approximate number of films he created over the span of his career. Three programs highlight both familiar and rare works from the celluloid wizard. Up first is today’s “Self and Other,” films from 1974-86 that examine “how autobiography and portraiture can be represented with motion pictures.” Later programs are “Sound Films” (1962-74), spotlighting some of the oft-silent artist’s soundtracked pieces; and a vivid, gorgeous array of late-career works represented in “Hand-Painted Films” (1993-2002). (Cheryl Eddy)

2pm, $8-$10

Also July 10, 7:30pm; July 13, 2pm

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

 

 

The San Francisco Symphony

The San Francisco Symphony heads west to the Sunset on Sunday for its annual appearance at the free Stern Grove Festival. The outdoor affair, picturesquely located in a green basin of rocks and picnic tables, will feature a mostly 20th-century program conducted by charismatic former Symphony Resident Conductor Edwin Outwater. More unconventional programming, including several offerings from Howard Hansons 1930s opera Merry Mount, join standard overtures and waltzes by Bernstein and Richard Rodgers. A potential second-half highlight comes in the form of Ravel’s heartbreakingly gorgeous “Pavane Pour Une Infante Defunte” and exhilarating “Bolero,” both presented with jazz improvisations from prolific pianist Makoto Ozone — the reworking of these iconic classics into new styles should lead to striking new modalities and moods. Pack up a cheese plate and your best white capris and head down to the Grove for an alternately meditative and rousing journey through the modern classical canon. (David Kurlander)

2pm, free

Sigmund Stern Grove

19th Ave. and Sloat, SF

(415) 252-6252

www.sterngrove.org

 

 

MONDAY 7

 

Cloud Nothings

Cleveland’s Cloud Nothings have been indie darlings since the band’s formation in 2009, but have received special praise for April’s Here and Nowhere Else. The new work sees the group embracing a punchier punk aesthetic — lead singer and rhythm guitarist Dylan Baldi spins confused, remarkably catchy choruses over staccato guitar lines and astonishing drum fills by hitherto unknown new addition Jayson Gerycz. Their present tour, which winds around iconic mid-size theaters in the West and Midwest before a European leg, promises a taut, kinetic setlist that includes all of their new album and a few scattered cuts from their three preceding LPs. These guys may be melodic, but they embrace involved and improvised instrumental interludes onstage that lend each show unpredictability and showcase Gerycz, Baldi, and excellent bassist TJ Duke. The stately Great American Music Hall provides an ideal locale for the group’s blend of flash and homage. (David Kurlander)

8pm, $20

859 O’Farrell, SF

(415) 885-0750

www.gamhtickets.com

 

TUESDAY 8

Nick Cave and the Bad Seeds

Eccentric doesn’t really being to cover it. Nick Cave is a madman with a burning spark of genius propelling his frenetic presence and unparalleled career, careening from genre to genre, turntable to page to screen, and implanting his gritty, unmistakable thumbprint into everything he touches. With an almost four-decade career, the onetime frontman of Australian punk and post-punk bands the Lost Boys and the Birthday Party, and current frontman of Grinderman and the Bad Seeds, Nick Cave is a legendary force of nature. Everything about Cave’s musical style is unique, but it is his lyrics that set him apart as one of the most imaginative and unapologetically confrontational artists in the industry. Stained pink with blood, sweat, and semen, his songs are a visceral journey that only Cave, one of the most energetic and impassioned performers alive, could properly deliver. His sneer and snarl are a sight to behold. (Haley Zaremba)

With Jonathan Richman

8pm $53

The Warfield

982 Market, SF

(415) 673-4653

www.thewarfieldtheatre.com

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Google Bus sewers

Michael Redmond
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131
Google Bus sewers

STREET FIGHT With most city officials supporting the accommodation of private transit in some form, the San Francisco Municipal Transportation Agency is now vetting where tech workers should board and egress the private corporate commuter buses that ply the 101 and I-280 between San Francisco and Silicon Valley suburbs. A list of proposed bus stops was circulated in June, and the first round of bus stop proposals is set for approval in August.

Short of a proper environmental study, which is the subject of ongoing litigation, the list deserves more scrutiny and deliberation because certain areas of the city — such as Hayes Street in the Western Addition and 18th Street in the Mission — might be effectively made into Google Bus sewers.

I hope SFMTA is open to reconsidering some of these proposed bus stops.

Rather than jamming oversized interstate highway-scale coaches on human-scaled, walkable, and bikeable streets with important Muni routes, SFMTA ought to steer them where they are more appropriate: on the wider, car-oriented streets that bifurcate the city.

For example, the current proposal for private commuter buses in the Western Addition is to have these mammoth and incongruent buses running on Hayes Street using Muni stops at Clayton, Steiner, Laguna, and Buchanan.

This is bad news for passengers on the 21-Hayes, a key neighborhood-serving electric trolley bus that has gotten short shrift in the city planning process. With 12,500 boardings daily, the 21-Hayes is often at capacity every morning before it crosses Van Ness.

Just last week, I was on a packed 21 that was blocked (illegally) by a huge corporate bus on Hayes. With an already dense and slow traffic situation, this added at least 30 seconds to the trip before the 21 could access its stop. Repeat that multiple times in the morning and afternoon and you can see that this will be a mess. It’s not worth the dollar the SFMTA collects for such stops, that’s for sure.

Concentrating the private buses on the 21 line (or the 33 in the Mission) will block Muni where Muni is already slow, unreliable, and overcrowded. It will also diminish walkability and bicycle safety on Hayes and other streets identified in the current list (including the commercial corridors on Divisadero and 18th Street in the Mission.)

Rather than streets such as Hayes, SFTMA should redirect the private buses to the multilane, one-way couplet on Fell and Oak streets, only one block south. Along the corridor, SFMTA could collaborate with the private systems to establish new bus stops (red paint) at Clayton, Masonic, Divisadaro, Fillmore, and near Octavia. This scheme would limit clunky turn movements onto neighborhood streets by oversized buses and contribute to traffic calming.

In the mornings, the buses would pick up passengers on Oak Street, starting along the Panhandle, then travel towards Octavia Boulevard before swinging onto the freeway southbound. In the evenings the buses would exit the freeway at Octavia, and stop at drop-off hubs on Fell, between Octavia and Laguna, and then stop incrementally toward Golden Gate Park.

Additionally, the city needs to consider a space for the underpaid, nonunionized drivers to pull over and rest before and after long segments of freeway driving. We want these buses to be safe.

Similar arrangements should be made to spare 18th Street in the Mission from reverting to a Google bus sewer, with emphasis on private corporate bus stops on South Van Ness or Guerrero-San Jose. Surely there are other examples in other parts of the city.

The urgent affordable housing crisis aside, this could be a win-win from a transportation perspective. Tech workers would no longer get blamed for blocking Muni and they can know that while waiting for their bus, they are contributing to calming erstwhile hazardous streets.

There’s a lot of opportunity to combine these new bus stops with traffic calming at dangerous intersections such as Fell and Masonic or Oak and Octavia, all without mucking up Muni or diminishing the walkable human scale of nearby neighborhood commercial streets. And hey, since this is all a “pilot program,” no pesky and expensive EIR is needed — right?

Thinking long-term, this scheme could be a template to jumpstart making this ridiculous private transit system into a regional public bus system modeled on AC transit or Golden Gate Transit, a service open to all. Our car-centric streets are ripe for express bus service and this would help relieve parallel lines like the N-Judah, while enabling the city to attain its aspiration of 30 percent mode share on transit.

And for Mayor Ed Lee and pro-tech-bus members of the Board of Supervisors, it helps with their “vision zero” rhetoric of increasing pedestrian safety because placing the buses on car-centric one-way couplets can help calm traffic.

With a little cajoling by the mayor, he could get his tech sponsors to underwrite streetscape and beautification at the bus stops along these kinds of streets.

After all, Mayor Lee needs to find the money, because last month he betrayed pedestrian and bicycle safety and Muni when he abandoned support for increasing the Vehicle License Fee locally this fall, all the while misleading the public about the important role of Sunday metering. Perhaps it’s time for a tax or license fee on the ad hoc private transit system?

SLOWING DOWN

Speaking of vision zero, Sup. Eric Mar deserves hearty thanks for proposing to reduce speed limits citywide. This is one of the most effective ideas to come from the progressive wing of the Board of Supervisors in a long time and should be implemented yesterday. Higher speeds maim and kill, and the faster cars go the more voracious the appetite for both fuel and urban space.

With reduced speed, the motorist would still be able to drive, just more slowly, perhaps with less convenience than now. But over time the options of cycling, of walkable shopping, and improved public transit would synchronize more seamlessly as car space is ceded to separated cycletracks and transit lanes.

My suggestion is to make the city navigable by car at no greater than 15 miles per hour, a speed deemed not only to be comfortable on calmed pedestrian streets, but also to minimize injury and fatalities when there are collisions. Ultimately, our efforts to curb global warming, reduce injury and death from automobility, and make the city more livable obliges us to slow down, so looking at speeds is a step forward.

Street Fight is a monthly column by Jason Henderson, a geography professor at San Francisco State University and the author of Street Fight: The Politics of Mobility in San Francisco.

A great week for (indie) sci-fi and docs: new movies!

Sue Vaughan
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0
A great week for (indie) sci-fi and docs: new movies!

This week, Frameline continues (our coverage here!), plus offbeat sci-fi winners Coherence and Snowpiercer are well worth seeking out … especially if you’re not in the mood for more giant robot smash-ups from the Michael Bay factory. Plus: new docs and more! Read on.

Breathing Earth: Susumu Shingu’s Dream Japanese artist Susumu Shingu has built his career through his concerted engagement with the natural world. The wise and eternally smiling 75-year-old creates angular and often gargantuan mobiles that harness the power of wind and water to gyrate in ever-changing directions. In Breathing Earth, German director Thomas Riedelsheimer crafts a deliberately paced rumination on Shingu’s life philosophy that, while devoid of the frenetic facts, figures, and trite biographical rehashes that punctuate hyper-informative pop-docs, uses a beautifully simplistic narrative arc to illuminates Shingu’s attempt to create a hilly, open-air collection of windmills. The sculptor’s impassioned narration and charming conversations with potential landlords and investors (who usually entirely miss the point of his mission to raise environmental consciousness through aesthetic beauty) make Shingu impossible not to fall in love with — he is laid-back, funny, and astonishingly youthful. Riedelsheimer’s camera is similarly relaxed, gliding sumptuously over the green and wild landscapes on which Shingu installs his works. Despite his meditative tempo, Riedelsheimer manages to explore a remarkably wide scope; Shingu’s late-life marriage to a fellow sculptor, his appeals to both Japanese and German schoolchildren to care for the earth and help to avoid environmental disasters, and his intricate technical processes all receive intimate and inspiring sections. (1:37) (David Kurlander)

Citizen Koch After quietly influencing conservative ideology, legislation, and elections for decades, the billionaire industrialist Koch brothers have found themselves becoming high-profile figures — much to their dismay, no doubt. The relative invisibility they hitherto enjoyed greatly abetted their impact in myriad arenas of public policy and “popular” conservative movements. Look behind any number of recent red-vs.-blue flashpoint issues and you can find their fingerprints: Notably state-level union busting; “smaller government” (i.e. incredible shrinking social services); seeding allegedly grassroots organizations like the Tea Party; furthering the Corporations = People thing (see: Citizens United); and generally helping the rich like themselves get richer while fostering working-class outrage at everybody else. This documentary by Trouble the Water (2008) co-directors Carl Deal and Tia Lessen touches on all those matters, while also focusing on Wisconsin as a test laboratory for the brothers’ Machiavellian think-tank maneuvers, following a Lousiana GOP candidate on the campaign trail (one he’s marginalized on for opposing corporate influence peddling), and more. Any one of these topics could support a feature of their own (and most already have). Citizen Koch’s problem is that it tries to encompass too much of its subjects’ long reach, while (despite the title) leaving those subjects themselves underexplored. (It also suffers from being a movie completed at least 18 months ago, a lifetime in current US political terms.) For the reasonably well-informed this documentary will cover a lot of familiar ground—which is not to say that ground isn’t still interesting, or that the added human interest elements don’t compel. But the film covers so much ground it ends up feeling overstuffed and unfocused. (1:26) (Dennis Harvey) 

Coherence See “Vortex Room.” (1:29)

Korengal This companion piece to 2010’s Oscar-nominated Restrepo — one of the best docs about modern-day warfare to date, offering unfiltered access to an Army platoon stationed in Afghanistan’s Korengal Valley — uses previously unseen footage shot during the year filmmakers Sebastian Junger and Tim Hetherington spent shadowing their subjects. Korengal is structured as a more introspective work, with musings on what it feels like to be a soldier in the Korengal, surrounded by rough (yet strikingly beautiful) terrain populated by farmers who may or may not be Taliban sympathizers, not to mention unpredictable, heavily armed opponents referred to simply as “the enemy.” Interviews reveal sadness, boredom, a deep sense of brotherhood, and the frustrating feeling of going from “100 miles an hour to a dead halt” after the surreal exhilaration of a firefight. Korengal also functions as a tribute to Hetherington, who was killed in 2011 while on assignment in Libya. Not only does his death add a layer of poignant subtext, it also suggests why Junger felt moved to revisit this story. That said, though Korengal‘s footage is several years old, its themes remain distressingly timely. (1:24) (Cheryl Eddy)

Snowpiercer Eighteen years after an attempt to reverse global warming has gone wildly awry — freezing all life into extinction — the only known survivors are on a one-of-a-kind perpetual-motion train that circles the Earth annually, has its own self-contained ecosystem, and can smash through whatever ice buildup has blocked its tracks since the last go-round. It’s also a microcosm of civilization’s worst class-economic-racial patterns over history, with the much-abused “tail” passengers living in squalor under the thumb of brutal military police. Unseen at the train’s front is its mysterious inventor, Wilford, whose minions enforce “Eternal Order Prescribed by the Sacred Engine.” Curtis (Chris Evans) is default leader of the proletariat’s latest revolt, in which they attempt to force their way forward though the prison section (where they free Song Kang-ho and Go Ah-sung as the train’s original lock designer and his psychic daughter) on to the wonders of the first class compartments, and beyond. This first (mostly) English-language feature by South Korean Bong Joon-ho (2006’s The Host, 2009’s Mother), based on a 1982 French graphic novel, starts out as a sort of locomotive, claustrophobic Mad Max (1979) variation. But it gets wilder and more satirical as it goes along, goosed by Tilda Swinton’s grotesquely comic Minister Mason, and Alison Pill as a teacher propagandist in a particularly hilarious setpiece. In case the metaphor hasn’t already hit you on the head, one character explains “The train is the world, we the humanity.” But Snowpiercer’s sociopolitical critique is as effective as it is blunt, because Bong handles everything here — visceral action, absurdist humor, narrative left-turns, neatly etched character archetypes, et al. — with style, confidence, and wit. Some of the FX may not be quite as seamless as it would have been in a $200 million Hollywood studio production, and fanboys will no doubt nitpick like nitwits at various “credibility gaps.” (As if this movie ever asks to be taken literally.) But by current, or any, sci-fi action blockbuster standards, this is a giddily unpredictable, risk-taking joy. (2:07) (Dennis Harvey)

Third Person A screenwriter, Paul Haggis, pens a script in which a novelist (Liam Neeson) sits alone in a smoke-filled hotel room in Paris struggling over a manuscript about a novelist who can only feel emotions through his characters. What that psychic state would actually look like remains unclear — when the woman (Olivia Wilde) he’s left his wife (Kim Basinger) for shows up, their playful, painful, fraught interactions reveal a man with above-average emotional reserves. Meanwhile, in another hotel in another city, Rome, a sleazy fashion industry spy (Adrien Brody) finds his life turned sideways by a seemingly chance encounter in a bar with a beautiful Romanian woman (Moran Atias) in dire need of money. And in a third hotel, in Manhattan, a young woman (Mila Kunis) cleans up the suites she used to stay in when she was married to a renowned painter (James Franco), with whom she has a son she may or may not have harmed in some terrible way. The film broadly hints at connections between these three sets of lives — in each, the loss or endangerment of a child produces an unrelenting ripple effect; speaking of which, objects unnaturally submerged in water present an ominous visual motif. If the movie poster doesn’t give the game away as you’re walking into the theater, the signposts erected by Haggis ensure that you won’t be in the dark for long. Learning how these characters relate to one another, however, puts considerable drag on the fabric of the plot, exposing the threadbare places, and where Haggis offers his tortured characters redemption, it comes at the cost of good storytelling. (2:17) (Lynn Rapoport)

Transformers: Age of Extinction In Michael Bay’s fourth Transformers installment a villainous Black Ops leader (Kelsey Grammer) allies with a snarky Steve-Jobs-alike (Stanley Tucci) to build Transformers de coeur: designer impostor robot-cars they hope will reinvent the face of war. In IMAX 3D, “TransFOURmers” is packed with relentless rock-‘em-sock-‘em action, spectacular property destruction, and about as much sense as a bucket of worms. After 60 minutes, you think you’re getting more than your money’s worth. At 90 minutes, you’re tired. At two hours, confusion sets in: If Autobots get stronger together how could Optimus be in so much trouble? Who is the bounty hunting Terminator lookalike? HOW MUCH MORE COULD THERE BE? And then … the action shifts to China, Optimus rides a Dinobot, and chaos reigns. I’ve always liked the working-class poetry of the Transformers themselves — the leader is a trucker and the cast is stacked with ambulances, tanks, and the metal workforce that preserves American lives. If that’s not traditional hero worship, I don’t know what is. But Age of Extinction is the soulless designer imposter it lampoons — the whole sequel-snarking ordeal makes you long for Buzz Lightyear, who saw a thousand Buzz Lightyears on a store shelf and survived that existential crisis heroically — while also riding a dinosaur and fighting Frasier. This Transformers movie (sadly, it won’t be the final one) starts with a thesis: Mark Wahlberg walks through an abandoned movie theater and a Wilford Brimley twin (Ron Shedd) bellows: “Movies today! Sequels! Remakes! Crap!” Age of Extinction follows that moment with nearly three hours of evidence that the cause of extinction is redundancy. (2:30) (Sara Maria Vizcarrondo)

Under the Electric Sky Hey, raver! This 3D concert film enables you to experience the Electric Daisy Carnival without punching any holes in your brain. Or, y’know, dying. (1:25)

Violette Taking on another “difficult” woman artist after the excellent 2008 Séraphine (about the folk-art painter), Martin Provost here portrays the unhappy life of Violette Leduc (Emmanuelle Devos), whose fiction and autobiographical writings eventually made her a significant figure in postwar French literature. We first meet her waiting out the war with gay author Maurice Sachs (Olivier Py), one of many unrequited loves, then surviving via the black market trade before she’s “discovered” by such groundbreaking, already-established talents as Jean Genet (Jacques Bonnaffé) and Simone de Beauvoir (Sandrine Kiberlain). It is the latter, a loyal supporter who nonetheless retains a chilly emotional distance, who becomes bisexual Violette’s principal obsession over the coming 20 years or so. Devos does her best to portray “a neurotic crazy washed-up old bag” with an “ugly mug” — hardly! — who is perpetually broke, depressed, and awkward, thanks no doubt in part to her mean witch of a mother (Catherine Hiegel). “Screaming and sobbing won’t get you anywhere,” Simone at one point tells her, and indeed Leduc is a bit of a pill. For the most part lacking the visual splendors of Séraphine (this character’s environs weren’t so pastoral), Violette is finely acted and crafted but, like its heroine, hard to love. (2:18) (Dennis Harvey)

Free Sunday meters challenge rejected, SFMTA board’s independence questioned

Erica Hanna
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92
Free Sunday meters challenge rejected, SFMTA board’s independence questioned

The San Francisco Board of Supervisors voted to reject an environmental appeal of the decision to repeal paying for parking meters on Sundays, which was voted on by the San Francisco Municipal Transportation Agency in April as part of the agency’s annual budget approval.

It was a hotly contested decision, as competing interest groups fought for their slice of Muni’s funding. SFMTA Chairman Tom Nolan told us at the time, “As long as I’ve been on the SFMTA board I’ve never felt more pressure.”

This week’s appeal to the Board of Supervisors focused on one aspect of the overall SFMTA budget: the repeal of paid Sunday meters. 

“I appreciate there is frustration,” SFMTA Director Ed Reiskin said to the board. That was an understatement.

The Sunday meters benefit many, the appeal’s filers contended: Less cars circled around looking for parking (because more drivers could actually find spots) meant reduced congestion and safer streets for bicyclists and pedestrians. It’s a sign of the strength of the argument that the appeal was filed by transit advocacy group Livable City (whose executive director is BART board member Tom Radulovich) and Mario Tanev, a very bright policy wonk over at the San Francisco Transit Riders Union. 

“The SFMTA’s own data proves the Sunday meters were good for the city,” Cynthia Crews of the League of Pissed Off Voters said to the board. “We need to stop playing chicken with public safety.”

But despite the environmental benefits of paid meters, the appeal was rejected. The reasons are buried in political gobbledygook, but untangling the complex story reveals the mayor’s power, and his missteps. 

Firstly, the environmental appeal wasn’t exactly aimed at the meters themselves, but at the SFMTA budget as a whole. That’s because the SFMTA board didn’t vote to repeal Sunday meters directly, but stuffed it into their approved budget, which is exempt from California Environmental Quality Act review. It was like serving up a distasteful Sunday meter fruitcake with the Muni budget holiday meal: You’d better eat the whole dinner, or else you’re not eating at all. 

Budgets are statutorily exempt from environmental review (otherwise there’d be an EIR with every major financial decision). So the Sunday meters were approved through a politically tactical move, shielded by the environmental exemption cloak of the budget.

This meant the environmental appeal yesterday targeted not just the meters, but it could effectively challenge the entire SFMTA’s right to environmental review exception for its budgets, supervisors said. They also warned such a challenge may set a precedent for other budgets from other agencies to not be exempt from environmental review, an onerous burden. That was too big of a pill for the board to swallow, which is likely why only two supervisors voted against granting the SFMTA the CEQA exemption: John Avalos and Eric Mar. 

Yet most of the political maneuvering wasn’t from the board, but from Mayor Ed Lee, a problem Supervisor David Campos used this review hearing to highlight. “Even if you do or don’t want to see Sunday meter parking, irrespective of the issue,” Campos said, “I think the way this matter was handled by the SFMTA, respectfully, is not something anyone should be happy with.”

He continued: “Let’s be clear: The reason why the SFMTA budget included an item that did not provide for funding from Sunday meters is because the mayor wanted it that way. We have a budget system that is essentially run by decisions made in the Mayor’s Office.”

We posed this idea in our story “Politics over Policy” [4/22], contending that because the SFMTA is appointed by the mayor (meaning, he picks and chooses who is on the board), the board members are therefore politically beholden to the mayor. 

Campos drove this point home at the meeting: “I think there’s something to be said when the appointment of one official (on the SFMTA board) is entirely dependent on [the mayor], who can disagree or agree with the decisions you made.”

The night before our last story went to print, SFMTA Board Chariman Tom Nolan told us that was in fact exactly what happened on the Sunday meter issue. The SFMTA board, whose directors vote on resolutions every week, received a phone call from the mayor asking for a specific vote. And he got it.

“Ed Resikin, myself, and a few others in a conference call [with the Mayor’s Office],” Nolan said. He told us the central message of the call was this: The mayor wanted to put a vehicle license fee increase on the city’s November ballot. In order to do that, the mayor contended, car drivers needed to feel like they weren’t being nickled and dimed. Paid Sunday meters had to go. 

“That was where they advanced the idea that the mayor wanted to do that,” Nolan told us. “That call was right before the mayor’s State of the City message.”

Nolan is an affable, straightforward person. The budget the SFMTA passed came on the heels of a fiery meeting, filled to the gills with activists from the senior and persons with disabilties communities. They asked for free Muni for those same groups, which would cost less money than the Sunday meters would bring in — many at the meeting said the meters could pay for the free Muni service. The need is dire, as some seniors said they regularly made the choice between groceries and a Muni pass.

Nolan sounded deeply effected by their stories.

“Muni is for everybody, especially those who need it most,” he said. “The testimony was very heartbreaking. It’s expensive to live in this city.” 

But in the end, he told us, the mayor felt it was best to kibosh the Sunday meters, which deprived the SFMTA of funding to make Muni free for qualified seniors. We asked Nolan if the mayor had outsized influence on the SFMTA board.

“I think people are aware that we are quasi-independent,” he said. “We are clearly part of the city family. I can assure you that this happens very seldom that we get this pressure from the Mayor’s Office. He’s a very open-minded guy, really, and he has a high tolerance for ambiguity, which I like.”

“But,” you don’t turn him down, he said, because, “he’s the mayor.”

SFMTA Board Director Cheryl Brinkman supported paid Sunday meters. But when justifying her vote to repeal them, she told the packed board meeting the “best political minds” in the Mayor’s Office said it was the right thing to do in order to pass the VLF increase ballot measure.

But in a move that outraged Sup. Scott Wiener and many others, just this month Lee dropped the VLF ballot measure altogether for this year, eventually agreeing to support its placement on the November 2016 ballot.

So to pave the way for success at the ballot box the board rejected free Muni for seniors and lost over $10 million in Muni funding. And in the end, the mayor threw all the justification for his compromises out the window.

Best political minds, indeed. 

Transportation funding faces key test after Mayor Lee flips on VLF increase UPDATED

Sasha Cuttler
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31
Transportation funding faces key test after Mayor Lee flips on VLF increase UPDATED

Facing a deadline of tomorrow’s [Tues/10] San Francisco Board of Supervisors meeting to introduce measures for the November ballot, advocates for addressing the city’s massive long-term transportation funding gap still hope to introduce an increase in the local vehicle license fee, even though the once-supportive Mayor Ed Lee has gotten cold feet.

While Lee and all 11 of the supervisors support a $500 million general obligation bond that would mostly go toward capital improvements for Muni — a measure almost certain to be approved by its July 22 deadline — the local VLF was originally presented by Lee as a companion measure to fund Muni, street resurfacing, and bike and pedestrian safety improvements.

But when Lee got spooked by a poll in December showing 44 percent voter approval for increasing the VLF and the need to actually do some campaigning for the measure, he withdrew his support and left cycling, streets, and safety all severely underfunded. A report last year by the Mayor’s Transportation Task Force pegged the city’s transportation infrastructure needs at $10.1 billion over 15 years, recommending just $3 billion in new funding to meet that need, including the embattled VLF measure.

“It’s important for us to move forward with the local VLF,” Sup. Scott Wiener, who has taken the lead on ensuring local term transportation funding, told the Guardian. “If this is not the right election, then we have to say which election we will move this forward.”

But so far, Wiener hasn’t gotten a commitment from the Mayor’s Office, with which he says he’s still in active talks. The Mayor’s Office also hasn’t returned Guardian calls on the issue. If Wiener doesn’t get an assurance that the VLF will go before voters, then he says that he’ll push another fall ballot measure that he introduced May 20, which would increase the city General Fund contribution to Muni as the population increases, retroactive to 10 years ago (thus creating an initial increase of more than $20 million annually).

“It would be in lieu of the VLF, not in addition to it,” Wiener said the rival measure, noting that he prefers the local VLF, a stable and equitable funding source that wouldn’t cut into other city priorities. [UPDATE 6/10: Wiener said he received a commitment from Lee to place the VLF increase on the 2016 ballot, so he is dropping his measure to increase Muni funding as the population increases].

Sen. Mark Leno spent about 10 years winning approval for the authorizing state legislation that authorizes San Franciscans to increase the VLF, enduring two governors’ vetoes along the way before getting Gov. Jerry Brown to sign it into law last year.

Wiener notes that the measure would increase the VLF in San Francisco to 2 percent, restoring it its longtime level before Arnold Schwarzenegger used a VLF reduction as a campaign issue to get elected governor, slashing it to 0.65 percent in 2003.

“That action by Gov. Schwarzenegger has deprived California of about $8 billion per year,” Wiener told us. “This is not some newly minted fee, it restores the VLF to what it was going back to the ‘50s.”

San Francisco Bicycle Coalition Director Leah Shahum said she was disappointed that Lee didn’t follow through on his commitment to fund bike and pedestrian safety improvements through the local VLF, but she said there is wide support on the board for the measure.

“Tomorrow is the big day, but we’re hearing real strong support for the measure,” Shahum told us. “I feel strongly there will be eight supervisors committed to introducing the measure.”

That two-thirds vote threshold is part of the legislation that enabled San Francisco to increase its VLF, but Shahum said she believes there is that level of support on the board for doing the VLF increase this year, which the SFBC would actively campaign for.

“The whole idea was these things would go as a package,” Shahum told us. “This is a huge deal for us. Give the voters a chance to vote for safe and smooth streets.”   

Lee’s abandonment of the VLF comes in the wake of his SFMTA appointees’ repeal of Sunday parking meters, which Lee said was driven by a desire to win over car-driving voters for his transportation measures. Last month on Bike to Work Day, Lee and other city officials also touted the measures as important for bike project, although Shahum said the general obligation bond does little for cyclists, except for an allocation for renovating Market Street. 

“There is not a desigination for bike safety and infrastructure, that was goign to be all in the VLF measure,” Shahum said. 

Wiener cited the long road that Leno traveled to give San Franciscans that opportunity as a reason to move forward with increasing the VLF, a progressive tax that charges more for luxury cars than old beaters used by the working class, but Leno was a bit more circumspect about the situation.

“If it taught me anything, it’s patience,” Leno told us about the long road to let San Francisco authorize a higher VLF. “As with anything in the world, timing is everything.”

Leno said support from labor, the business community, and all of City Hall’s top leaders are all necessary to win voter support for increasing the VLF, so it’s crucial that everyone is enthusiastically on board. “I think we may only have one shot, so when we go to the ballot, we need to have our coalition intact.”

Without commenting on the wisdom of delaying the vote this year, Leno said that if that happens, it’s crucial to get everyone to commit to passing it in 2016, a position Wiener also supports.

“There are times when we need to have a long view,” Leno told us. “But one way or the other, we have to get serious about identifying dedicated revenue to invest in Muni or we will all pay a serious price.”

 

To participate in a public forum on this and related matters, please join us this Thursday evening for “Bikes, Buses, & Budgets: How to create the transportation system San Franciscans needs.” This Bay Guardian community forum, from 6-8pm at the LGBT Center (1800 Market), will feature Wiener; SFBC community organizer Chema Hernandez Gil; Jason Henderson, an urban geography professor at SFSU who writes the Guardian’s monthly Street Fight column; and others, moderated by yours truly. It’ll be fun, informative, and one lucky attendee will leave with a A2B electric bike as part of a free raffle at this free event.    

To the desert and back

Michael Redmond
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0
To the desert and back

arts@sfbg.com

The early May Sunday afternoon when I meet up with Fresh and Onlys frontman and songwriter Tim Cohen, he’s has just reached a milestone in his career: His firstborn child has just seen his band play for the first time in her life. The day before, Cohen and co. played the Hipnic IV festival in Big Sur to a seated audience. The mainstays of San Francisco’s garage rock scene were able to catch the attention of the one-year-old for a bit before her interest evaporated into the air like pot fumes at a music festival. It’ll likely be years before the child knows she had a profound influence on her dad’s band’s newest album, House of Spirits, due out June 10 on the Mexican Summer label.

Our rendez-vous is set at Cafe Abir on ever-buzzing Divisadero Street, which of course is being consumed with another hot new opening. This time, it’s 4505 Meats, which is making a splash of a debut with its inviting smells wafting over from salacious BBQ concoctions. The unofficial fogline of San Francisco feels foreign to Cohen, who’s been a resident of the adjacent Alamo Square neighborhood for almost 13 years. That’s because he’s just spent 15 months in rural Arizona. When we reach the inevitable topic of San Francisco’s recent changes, Cohen remarks, “I was gone for 15 months and almost everything changed in that time. I can see six places that weren’t here when I left. It’s a culture shock.”

For those 15 months, Cohen decamped with his wife, newborn baby, guitar, Korg keyboard, and drum machine to a horse ranch 10 miles outside of Sedona, Arizona. Later on during his stay, he picked up an eight-track recorder from a kid on Craigslist to record his demos on. “It’s simple and gives me a lower-quality song; it’s my favorite device to record on.” says Cohen.

The storyline behind House of Spirits lends a feeling of concept album, thanks to the songwriting’s foreign backdrop. It’s still very much connected to the feel, themes, and sounds of earlier Fresh and Onlys productions, but the intrigue lies in how noticeable an effect the desert environs had on the record.

Cohen ventured to the desert of Northern Arizona expecting a new jolt of creative energy and a deviation in his songwriting, but underestimated the effect absolute desolation — amplified by its contrast to San Francisco’s bustle — would have on himself and the album. “I went there knowing I would have a lot of time to myself, [but] I didn’t know how much or how dire that solitude would become, which definitely fed into my creative process…If you’ve ever spent any time in the desert or anywhere that’s just your environment, there’s no people walking by, trains, cars, planes, it’s just where you’re at and you. I had no way to contest the silence and openness of it all. I just sat there and took it in. Finally after living there for a months, I figured how to manage my space in the environment, and just dug out my space,” says Cohen.

Part of the reason for Cohen’s retreat was the idea of not raising a baby in a big loud city. He does concede that, in addition to learning how to negotiate the vacuum of the Arizonan desert, the album was significantly influenced by his other major learning experience, that of understanding how to be both “a parent with someone and to someone.”

Like a friend coming back from a sweet vacation, Cohen highly recommends the rural experience for fellow artists. “It made me more of a prolific artist, because I came back with tons and tons of material. I worked. I say if you can afford it, give yourself that emptiness and blank agenda.”

But Cohen’s foray into the desert wasn’t all artistic introspection and exploration. The lack of constant and face-to-face communication with his bandmates exacerbated tensions already simmering in the band. That inevitable and familiar dilemma of young parents trading time with their lifelong friends for time with their nascent families provided another strain.

“People were being pulled in a lot of different directions. It began with me moving away. When your buddy has a kid and moves away, a lot of times you can feel a sense of abandonment. In a lot of ways we think of this band as our own baby,” he says. “It was almost like running off and having a baby with someone else.” Not to mention, other bandmates were dealing with evictions and layoffs.

Did the stress ever seriously threaten the album? “Absolutely, at almost every turn,” says Cohen. “We had a limited amount of recording days when I came back to SF, which created a sense of urgency and contributed to inflammation of the issues afflicting the band. These were my songs and demos. [Normally] I send the demos to guys way in advance, they think ‘How can I hear this and contribute to it?’ and that’s how it pretty much works. This time around it was a little less of that.”

For all his recounting of the hurdles and “external and internal issues,” Cohen presents a stoic demeanor, and seems confident that the band has escaped its stormy period.

“In the end we won the big victory,” he says. “This album is definitely a grower.”

Fresh and Onlys record release show

With Cold Beat, Devon Williams

July 5, 8pm, $15

The Chapel

777 Valencia, SF

www.thechapelsf.com

Events: June 4 – 10, 2014

Michael Redmond
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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 4

Anne Germanacos Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author discusses her latest book, Tribute.

“Litquake’s June Epicenter” Hotel Rex, 562 Sutter, SF; www.litquake.org. 7pm, $5-15 suggested donation. Geoff Dyer launches his new nonfiction book, Another Great Day at Sea, and discusses it with Chris Colin.

“Radar Superstar” San Francisco Public Library, Koret Auditorium, 100 Larkin, SF; www.radarproductions.org. 6-8pm, free. Michelle Tea hosts this celebration of the Radar Reading Series’ 11th birthday, with Julian Talamantez Brolaski, Anna Margarita Albelo, Achy Obejas, and Martin Sorrondeguy.

THURSDAY 5

“After Hours: Thursday Night at the Jewseum” Contemporary Jewish Museum, 736 Mission, SF; www.thecjm.org. 6-8pm, free with museum admission, $5 after 5pm. Happy-hour fun with live music, specialty cocktails, a vintage-couture installation using live models, a challah braiding demo, and more.

Robert Dawson Hattery, 414 Brannan, SF; www.eventbrite.com. 7pm, $15. The photographer discusses The Public Library: A Photographic Essay.

Walter Mosely Book Passage, 1 Ferry Bldg, SF; www.bookpassage.com. 6pm, free. The acclaimed novelist reads from his racy new work, Debbie Doesn’t Do It Anymore.

“Shipwreck: Tournament of Champions” Booksmith, 1644 Haight, SF; www.booksmith.com. 7pm, $10 (includes drinks). Six writers “destroy one great book, one great character at a time;” this episode unites a cast of Shipwreck all-stars to take down Gone With the Wind.

FRIDAY 6

“The Sketchbook Project” Classic Cars West, 411 26th St, Oakl; www.sketchbookproject.com (check website for additional dates and locations). 6-10pm. Also Sat/7, 1-5pm. Free. The Sketchbook Project Mobile Library visits First Friday Art Murmur and Saturday Stroll with its collection of thousands of handmade sketchbooks.

SATURDAY 7

Philippine Independence Day Celebration: Lumago Lampas (Grow Beyond) Rhythmix Cultural Works, 2513 Blanding, Alameda; www.rhythmix.org. 7pm, $15-25. Celebrate with performances by Parangal Dance Company, musician Ron Quesada, artist Kristian Kabuay, and more. Presented by the American Center of Philippine Arts.

“Reflections of Me and My World 2014” Oasis Gallery at American Steel Studios, 1960 Mandela, Oakl; www.ahc-oakland.org. 3-6pm, free. ArtEsteem’s 16th annual exhibit highlights work created by local youth in collaboration with West Oakland artists.

Union Street Festival Union between Gough and Steiner, SF; www.unionstreetfestival.com. 10am-6pm, free (tasting tickets, $30-35). Through Sun/8. This 38-year-old festival features tasting pavilions highlighting Bay Area craft beers and wines. Each block of the fest will also have a themed “world,” centered around fashion, culinary arts, tech, locals, crafts, and fitness.

Yerba Buena Art Walk Between Market and Folsom and Second and Fifth Sts, SF; yerbabuena.org/artwalk. 12:30-6pm, free. Yerba Buena Alliance presents this neighborhood showcase, highlighting galleries, exhibitions, and institutions throughout the downtown cultural center.

SUNDAY 8

Haight Ashbury Street Fair Haight between Stanyan and Masonic, SF. www.haightashburystreetfair.org. 11am-8:30pm, free. Live music on two stages, plus over 200 vendor booths, highlight this groovy tradition.

Queer Comics Expo Cartoon Art Museum, 655 Mission, SF; www.cartoonart.org. 11am-5pm, $6-8. Learn about the LGBTQ world of comic books at this first-time event, featuring artists, authors, and costumed fans. Part of the National Queer Arts Festival.

Sunday Streets San Francisco Great Highway, SF; www.sundaystreetsst.com. 11am-4pm, free. Head to the edge of San Francisco and Golden Gate Park to enjoy car-free streets.

MONDAY 9

Cheryl Lu-Lien Tan Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The editor discusses new collection Singapore Noir

TUESDAY 10

Sheila Bapat Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author discusses Part of the Family? Nannies, Housekeepers, Caregivers and the Battle for Domestic Workers’ Rights.

Eric Baus City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. The author celebrates The Tranquilized Tongue, the latest in the City Lights Spotlight Poetry series. *

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