Environment

All the buzz: a report from CoffeeCon San Francisco

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Whether your caffeinated allegiances lie with Blue Bottle, Four Barrel, or a non-coffee drink, CoffeeCon San Francisco offered something to appeal to everyone’s cravings on July 26. Venturing out of Chicago for the first time, the consumer coffee festival boasted a multitude of roasters — many of them local and therefore well-acquainted with using glorious Hetch Hetchy water in the brewing process — and a wide variety of presentations to intrigue both casual coffee drinkers and connoisseurs. Plus, unlimited coffee samples!

One of CoffeeCon’s immediate strengths was its venue. A far cry from a sterilized, gray environment, the event took place at Terra Gallery & Event Venue, a SOMA art gallery. Paintings and coffee naturally complement each other, and within minutes, it felt like a laid-back Saturday morning, where I admired colorful, contemporary paintings while sipping rich, appropriately bitter coffee. The only way for the event organizers to improve future venues is to recreate the feelings of a cozy coffee shop, which it seems like they made a crack at with the abundant comfy couches. However, I was a little disappointed to see that the live music, which was promised on CoffeeCon’s website to “add atmosphere,” was absent, although I suppose that gives it something to improve on next year.

While I was impressed by the roundup of some of SF’s more recognizable coffee brands and enjoyed their samples, I gravitated more toward more unconventional participants — ones that technically didn’t even sell coffee. Drawn in by the wafels and the company’s clever name, my first stop was Rip van Wafels. Stroopwafels are heavenly, although I’ve always been too impatient and scarfed them down before I could pair them with coffee. There are two main strategies to tackle the combo: you can either one, place the wafel on the edge of the coffee cup, let the steam from the drink infuse the wafel’s caramel flavor, and eat it once the wafel droops or two, say “fuck it” and just dunk the wafel in the coffee. 

In addition to Rip van Wafels, I was a big fan of Project Juice and Torani — all three of which are local companies. I did a double take when I walked past Project Juice’s booth; it seemed just a little out of place at a coffee festival. My hesitation quickly waned. The company sells organic, cold-pressed drinks, including a tasty, healthy coffee alternative: Get Up and Go-Go (claiming to be 67 percent less acidic than normal coffee), which is incidentally made with another one of its drinks, Almond Mylk. The other drinks were just as delicious, although I didn’t expect the ginger to pack such a punch. Torani was a breath of fresh air on the unusually hot SF summer day. The booth served iced coffee with liberal additions of its flavored syrups — vanilla is a popular, traditional favorite, but the s’mores syrup is a tempting flavor that recalls childhood summers.

Though the upper level of the gallery was a perfect setup for the booths, the lower level was much less suited to handle the presentations. Essentially, the lower level is divided into two rooms of similar size. A handful of presentations simultaneously went on in the first room, which was divided into curtained subsections. It was a cacophony; I’d strain to hear my speaker over the presentations happening mere feet away and the louder speaker in the other room, who had the privilege of using a microphone. 

Still, I managed to clearly hear one poignant comment Helen Russell, co-founder and CEO of Equator Coffee & Teas, made: “It’s more than just what’s in the bag.” Russell spoke about social and economic responsibility, telling a heartwarming story about a little girl with a debilitating leg infection she met on a Panama coffee farm. She invested in the girl’s medical treatment and education, and even bought her a horse named Barista (because why not?) Maybe there’s more to coffee than just being a life-restoring elixir in the morning.

Snap sounds

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LYKKE LI

I Never Learn (LL/Atlantic)

Lykke Li is a pop star who surrounds herself in clouds of reverb, so the obvious reference point for her music is Phil Spector’s ’60s girl-group productions. But strip away the layers of sound and her third album I Never Learn is essentially a set of adult-contemporary ballads that would slot nicely into any KOIT lineup. These songs are personal rather than universal, introverted rather than extroverted, subtle and slight rather than big and dumb — though there are some pretty shameless hooks on this album, readymade for festival sing-a-longs.

Li and her production team took a gamble on taking the brutally-short approach to this album; it’s only nine songs over 33 minutes, and music this fluid usually needs more room to splash around. But these songs are rich enough in content that each one feels like an event. “Just Like A Dream” and “Silver Line” have great choruses, while “Gunshot” and “Heart of Steel” feature neat production touches (slinky organ and twangy Morricone guitar, respectively). The album’s highlight is undoubtedly “Love Me Like I’m Not Made Of Stone,” a great acoustic ballad that could make it onto the charts with a bit more exposure.

XIU XIU

Angel Guts: Red Classroom (Polyvinyl)

Xiu Xiu has always been a bit silly. Though Jamie Stewart’s long-running project is often brutal in its emotional honesty, there’s no denying how over-the-top Stewart’s gasping vocals are, how absurd their lyrics can be are. Angel Guts: Red Classroom continues this trend, and it’s more theatrical than ever. And while this is the first Xiu Xiu album in about ten years that still might have the power to shock people, it also has more ill-advised moments than usual.

The main edge Angel Guts has musically over past Xiu Xiu albums is the change in Stewart’s voice. The vulnerability and hurt remains, but it’s overshadowed by a commanding deepness. The porn ode “Black Dick” wouldn’t be effective if he didn’t sing it with such power. But then we have him screeching “IT TASTES LIKE A COOKIE” for no reason, opening and closing the album with shameless noise, delivering monologues that scan as melodramatic even by Xiu Xiu standards. Though Angel Guts is flawed, it’s their most engaging listen in a decade, and it also features two of their best songs to date: the Michael Jackson-like “Stupid In The Dark” and “Adult Friends,” the most terrifying aging ballad I’ve ever heard.

https://www.youtube.com/watch?v=1r89LG9QGsc

RICKY EAT ACID

Three Love Songs (Orchid Tapes)

There are 12 songs on this album, none of them are really about love, and if you put this on during an acid trip you’d probably be in ultimate entrapment by track four. Sam Ray’s ironic streak has always been pretty obvious — he’s got a folk project called Julia Brown (he’s not really a girl, haha) and previously performed under the name Teen Suicide. But as annoying as indie-rock irony can be, Ray can get away with it simply on the virtue of how sincere his music is. As on his wonderful Julia Brown debut To Be Close To You, Three Love Songs evokes the mundane but beautiful — empty rooms, road crews working late at night, light filtering through curtains.

As such, it’s a great all-purpose ambient album. Just about any situation could easily be soundtracked by a track on this album; while the first half of the record is a bit melancholy and might ruin your day in the wrong context, the second half is playful and almost goofy. There are better ambient albums for specific situations, but if I can’t think of the proper music pairing for a certain environment, I’d feel safe turning to Three Love Songs.

Everyone’s hospital

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rebecca@sfbg.com

“I am a survivor of the AIDS epidemic,” Daniel volunteered, beginning to tell us his very San Francisco story.

He was diagnosed with HIV in the 1980s. Working in fine dining rooms of San Francisco hotels at the time, he had health insurance, and had gone to Kaiser for an unrelated procedure. That led to a blood test — and then wham.

“They just bluntly, without any compassion, just told me: You have it,” Daniel said. “Like telling you that you have a pimple on your nose or something.”

All around him, friends were dying from the disease. “I didn’t freak out, because that’s just my personality,” he recalled. “I know a lot of people who have been diagnosed, and they want to take their lives or whatever.”

Today, he’s unemployed and living on a fixed income. He lost his left eye years ago to an infection linked to HIV; he now has a prosthetic eye.

“I’m single, disabled, and low-income,” reflected Daniel, who didn’t want his last name printed due to privacy concerns. Originally from El Salvador, his family came to the U.S. when he was 10 and Daniel has permanent resident status. But despite the disadvantages he faces, Daniel still isn’t freaking out. His medical needs are met.

He got on MediCal after having to drop Kaiser. “And then I ended up at SF General,” he said, “with some of the most professional staff, doctors rated worldwide. It has some of the most professional health care providers for HIV, all in one place.”

Daniel is one satisfied San Francisco General Hospital patient, and he might as well be a poster child for how public health is supposed to work in big cities. Rather than being deprived of primary care and then showing up at the emergency room with preventable complications stemming from his disease, he’s keeping everything in check with regular doctor’s visits — and he can access this high level of care even though he’s on a very tight budget.

There’s a concerted effort underway in the San Francisco Department of Public Health to give more patients precisely the kind of experience Daniel has had, while also expanding its role as the region’s go-to trauma center.

But a difficult and uncertain road lies ahead of that destination, shaped in part by federal health care reform. The new course is being charted amid looming financial uncertainty and with more patients expected to enter the system and the doors of SF General.

Not every General Hospital patient is as lucky as Daniel. For scores of others, SF General is the last stop after a long, rough ride.

 

EMERGENCY CARE

Craig Gordon and Dan Goepel drive an ambulance for the San Francisco Fire Department, regularly charging through congested city streets with sirens blaring as they rush patients to SF General and other care facilities. They see it all: Patients who are violent and psychotic and need to be restrained in the back of the ambulance, folks who’ve just suffered burns or gunshot wounds.

Sometimes, in the thick of all of this, SF General’s Emergency Department is closed to ambulances — in public safety lingo, it’s called being “on diversion” — so the medics will have to reroute to different hospitals.

SF General might go on diversion because the Emergency Department is too slammed to take on anyone new, or because it’s too short-staffed to take on new patients without pushing nurse-to-patient ratios to unsafe levels.

For serious trauma cases, strokes, heart attacks, or traumatic brain injuries, however, the doors are always open. Patients with less-serious cases are the ones to be turned away when the hospital is on diversion.

Patients who wind up en route to SF General in Gordon and Goepel’s ambulance might be living on the margins. “If you’re kind of living on the cusp … you’re not likely going to pursue getting a primary care physician,” Goepel pointed out. “When something comes up, then you find yourself in the emergency room.”

Or their patients might be getting rescued from a spectacularly awful situation, like a plane crash. In this densely populated, earthquake-prone region, there is only one top-level trauma center between Highway 92 and the Golden Gate Bridge: SF General. Anyone in the city or northern San Mateo County unfortunate enough to experience a life-threatening incident — a car wreck, shooting, nasty fall, boating accident — winds up there, regardless of whether they’re rich or poor, indigent or insured. Ranked as a Level 1 trauma center, SF General is equipped to provide the highest level of care.

“In the summer, when school is out, we have a high season of gunshot wounds and stab wounds,” explained Chief Nursing Officer Terri Dentoni, who recently led the Guardian on a tour of the Emergency Department. “When it’s really nice outside, you have a lot of people who get into bike accidents, car accidents. … Last week, we were just inundated with critical care patients.”

Around 100,000 patients flow through SF General’s doors each year, and more than 3,900 need trauma care. On July 6, 2013, when Asiana Airlines’ Flight 214 crash-landed at San Francisco International Airport, more than 60 crash victims were rushed to SF General with critical issues ranging from organ damage to spinal injuries.

“It was a very big tragedy,” Dentoni said. “But it was amazing how many people we took care of, and how well we took care of them.”

Aside from being the sole trauma center, SF General is also designated as the county’s safety-net hospital, making it the only healthcare option for thousands who are uninsured, poor, undocumented, homeless, or some combination thereof. This makes for complex cases. Patients might require translators, be locked in psychiatric episodes, or need a social worker to help them get to a medical respite facility after being discharged if they’re too weak to fend for themselves and don’t have anyplace to go. There isn’t always a place to send them off to.

“We’re seeing people who are dealing with poverty, and often homelessness, in addition to mental health issues,” explained Jason Negron, a registered nurse in the Emergency Department. “You’re seeing patients who often have a number of things going on. Someone who has multiple illnesses — HIV, heart failure, Hepatitis C — even under the best of circumstances, they would be juggling medications. So what happens when they’re out on the streets?”

San Francisco ranks high on the list of health-conscious cities, a haven for organic food aficionados, yoga addicts, and marathon runners. It’s also a world of high stakes struggles and mounting economic pressures. With the city’s skyrocketing cost of living, sudden job loss can spell disaster for someone without a financial cushion. SF General is the catchall medical care facility for anyone who’s slipped through the cracks.

But while rank-and-file hospital staff must tackle grueling day-to-day problems, like how to juggle multiple patients with complex health issues when all the beds are full and the hospital is understaffed, hospital administrators face an altogether different challenge.

For the past several years, the city’s Department of Public Health has been preparing for the implementation of the Affordable Care Act, aka Obamacare, the federal policy that is reshaping the health care landscape. Since public hospitals are mandated to provide safety-net care, they are uniquely impacted by the ACA.

Even with a sweeping new rule mandating health insurance for all, some segment of the population will nevertheless remain uninsured. But they’ll still need medical care — and when health crises come up, they’ll turn to SF General. Trouble is, no one knows exactly how much funding will be available to meet that need as the financial picture shifts.

 

FUNDING CUTS LOOM

Even as ACA aims to increase access to medical care, it’s also going to trigger major funding cuts at the local level. With both state and federal funding being slashed, San Francisco’s county health system stands to lose $131 million in financial support over the next five years, a budgetary hit totaling around 16 percent.

That’s a significant shortfall that will directly impact SF General — but the cuts are being made with the expectation that these gaps will be filled by reimbursements riding in on the waves of newly insured patients enrolled in ACA. Before federal health care reform took effect, around 84,000 San Franciscans lacked health insurance. At the start of this year, 56,000 became eligible to enroll in a health insurance plan.

SF General serves most of the area’s MediCal patients, the subsidized plan for people living on less than $16,000 a year. And since the county gets reimbursed a flat rate for each patient, the expansion of MediCal under federal health care reform will presumably help San Francisco absorb the state and federal funding losses.

“There’s a certain set of patients who previously were not paid for, who now will have MediCal,” explained Ken Jacobs, an expert in health care policy and professor at the UC Berkeley Labor Center.

But there’s a catch. Since MediCal and insured patients will be able to choose between San Francisco’s public system (called the San Francisco Health Plan) and a private medical provider, SF General also runs the risk of losing patients. If too many decide to go with Anthem Blue Cross instead, the system could veer into the red.

“There’s some question of what share of those we’ll keep,” Jacobs noted.

Asked about this, hospital CEO Sue Currin sounded a note of confidence. “Because our outcomes and our quality of care has been so high…75 percent of everyone who’s enrolled in MediCal managed care default to the Department of Public Health,” she told us.

But the journey toward ACA has only just begun, and things are still falling into place. Costs are projected to rise if nothing is done to improve efficiency, while at the same time, the pending state and federal funding shortfalls could take a toll.

Retaining and attracting insured patients is the only way to avoid a resource crunch — but patients could always walk away if they’re dissatisfied. This uncertainty “makes financial planning and management of risk even more challenging,” according to a report issued by the City Controller.

“We don’t know yet today how the Affordable Care Act will impact the safety net,” acknowledged Erica Murray, CEO of the California Association of Public Hospitals, which represents 21 public safety-net institutions throughout the state. “How are these health care systems evolving to be competitive? How do we continue to fulfill our core mission of being the safety net? That is the fundamental challenge. And we don’t know today, and we can’t be certain, that these public health systems will have sufficient funding.”

It’s all “very dynamic,” Murray said. “We don’t have sufficient data to be able to draw any definitive conclusions. It’s just too short of a time to be able to make any predictions. It will take several years.”

For all the newly insured patients under ACA, a certain segment will continue to rely on the safety net. Undocumented immigrants who don’t qualify will be left outside the system. Some individuals can be expected to outright refuse ACA enrollment, or be too incapacitated to do so. Others will opt out of Covered California, the ACA plan for people who make more than about $29,000 a year, because their budgets won’t stretch far enough to afford monthly payments even though they technically qualify. They’ll need safety-net care, too.

Yet under the new regime, “We can’t, as a safety net, go forward only with uninsured patients — because there won’t be funding to sustain the whole organization,” explained hospital spokesperson Rachael Kagan. “We will still have uninsured patients, always. But it won’t be sufficient to serve only them.”

Mike Wylie, a project manager in the Controller’s Office, worked on the city’s Health Reform Readiness project, an in-depth assessment performed in tandem with DPH and consultants. “The million dollar question is: Are we going to be on target with the projections?” Wylie asked.

Instead of standing still, San Francisco’s health system must transform itself, the Health Reform Readiness study determined. Ask anyone who works in health care management in the city, and they’ll tell you that DPH has been working on just that. The idea is to focus on network-wide, integrated care that runs more efficiently.

“We need to switch from being the provider of last resort, to the provider of choice,” Wylie noted, voicing an oft-repeated mantra.

This could mean fielding more patient calls with nursing hotlines, or using integrated databases to improve communication. There’s also emphasis on increasing the number of patients seen by a care provider in a given day. The report urged the department to ramp up its productivity level from 1.5 patient visits per hour, where it currently stands, to 2.25 patient visits per hour. Currin noted that the hospital has also been looking into group patient visits.

“Part of getting ready for health care reform was creating more medical home capacity,” Currin said, referring to a system where multiple forms of care are integrated into a single visit, “so we knew we needed to have better access to primary care.”

If no changes are made, the Health Reform Readiness study found, the city’s General Fund contribution to DPH is projected to rise substantially — to $831 million by 2019, up from $554 million in 2014-15.

“We’re a little concerned about this rising General Fund support,” Wylie noted. And even though staffing represents a major expenditure, “They didn’t assume cuts in staff,” while performing the assessment, he said. “What they’re trying to get is more outputs, more efficiency. The managers went over this and said: in order for us to survive, we’ve got to get more out of our system. We may have to cut money — we may have to cut later, if city leaders don’t commit to this rising General Fund. We’ve got to do all these best practices.”

Throughout crafting this road map, he added, “There were some uncomfortable meetings and uncomfortable moments. But I think [DPH Director] Barbara Garcia got everyone to agree to these strategies.”

Talk to rank-and-file hospital staff, however, and some will tell you that getting more out of the system is a tall order — especially when the system already feels like it’s busting at the seams.

 

SPACE CRUNCH, STRESSED STAFF

“We hit capacity every single day,” said Negron, the RN in the Emergency Department. Patients are regularly placed on beds in the hallways, he said. Wait times for the Emergency Department can last four to six hours, or even longer. The hospital is working on limiting those waits, not just because it’s better in practice, but because timely patient care is mandated under ACA.

“Now, we have 26 or 27 licensed beds in our Emergency Department,” Negron said. But in reality, on a regular basis, “We function with 45 to 50 patients.”

A nurse who works in the Psychiatric Emergency Services unit described her work environment as “a traffic jam with all lanes blocked. This is totally business as usual.”

The workload is on the rise, she added. “The psych emergency room used to see 500 patients a month,” she said. “Now we see 600 patients a month, sometimes more. People are moving faster and faster through the system.”

Her unit is the receiving facility for anyone who is placed on an involuntary psychiatric hold, known as a 5150, for individuals who are a danger to themselves or others or gravely disabled.

“It doesn’t matter who they are,” she said. “We get homeless and destitute. We get CEOs. And we have had CEOs — it’s an experience for everyone involved.” Some patients have been involved in criminal activity. “I’ve had high profile people in my unit; people who have done things that, if I tell you what they did, you would easily be able to Google them.”

Patients who come to her wing need to be evaluated, because someone has determined that they are dangerous. It could be that they are “eating rotten food, or running naked in the street, or suicidal, or want to jump off Golden Gate Bridge, or their family thinks they’re out of control.” Sometimes, patients have to be let go once they’re no longer deemed to be a threat, but they still aren’t altogether recovered, she said.

In the psychiatric inpatient unit, meanwhile, the total number of beds has declined from 87 to 44 in the past five years — leading some staff members to voice concerns.

“There is more to do, and there’s less time to do it,” said another staff member who did not want to be named. This person said one psych unit was essentially shut down and another left open — “but then … a patient climbed up into the ceiling, broke some pipes, and flooded the room” in the open unit, so everything was shifted back to the closed unit.

In part, the daily patient crunch is due to a vacancy rate in the hospital nursing staff that hovers around 18 percent — but steps are being taken to address this problem, caused in part by the city’s Byzantine hiring process.

“The nurses are concerned about how, on a day-to-day basis, they don’t feel they have the support and resources they need,” said Nato Green, who represented the nurses’ union, SEIU Local 1021, in recent contract negotiations. “Staff was expected to do more with less. SF General chronically operates at a higher capacity than what it is budgeted for.”

Currin, the hospital CEO — who started out as a nurse herself — rejected this assertion, saying it is not the norm for the hospital to operate over budget. She added that she would like to reduce the nursing staff vacancy rate down to just 5 percent.

“We have had a fairly significant vacancy rate,” she acknowledged. “But just like any other hospital in the city and the country, you have countermeasures that you put in place to address staffing shortages. And so we use nurse travelers. We use as-needed staff, who work here part-time. We’ve been able to fill those gaps with these other staffing measures. We do want to have a more permanent workforce. We’re working with the city and [DPH] to bring in new hires.”

Roland Pickens, director of the San Francisco Health Network (the patient-care division of the Department of Public Health), said he was working with the city’s Human Resources Department to further streamline operations and get a jump on filling vacancies.

“[Chief Financial Officer] Greg Wagner is working with City Controller’s office and the Mayor’s Office, so everyone is addressing the issue of having a more expedited hiring process,” he said.

Negron, the RN, seemed to think it couldn’t happen soon enough. “For us, at the end of the day, who do we actually have that’s on the schedule, that’s on the floor?” he said. Being fully staffed is important, he added, “so we don’t have any more shortages. So we don’t close beds, or go on divert unnecessarily.”

Staff members, who deal hands-on with a vulnerable patient population, lament that there doesn’t seem to be enough resources flowing into the system to care for people who are at the mercy of the public safety net. After all, San Francisco is a city of incredible wealth — shouldn’t there be adequate funding to care for the people who are the most in need?

“Poor people are not profitable,” Green said. “Without regulatory intervention, poor people would not have adequate health care.”

 

EVOLVING INTO THE FUTURE

For all the concerns about staffing and the financial uncertainty caused by ACA, SF General still has plenty to brag about. For one, it’s moving into a brand new, nine-story facility in December 2015, which will be equipped with a seventh-floor disaster preparedness center and nearly twice as much space in the Emergency Department.

It will have 283 acute care beds, 31 more than there are now. Most of the patient rooms will be private, and the new hospital will be seismically sound — a critical upgrade in a city prone to earthquakes. The hospital construction was funded with an $887.4 million bond approved by voters in 2008.

“In a new care environment, it will be more comfortable for the patients and the staff,” Currin said. “It’s just a much better environment. We’re hoping with the expansion … the wait times [in the Emergency Department], instead of taking four to six hours, we’re hoping to decrease that by 50 percent,” she said. “There will be more nurses, physicians, housekeepers.”

Pickens, the Health Network director, said he felt that “the stars had aligned” to have the hospital rebuild nearing completion just as ACA gets into full swing, since the new facility can help attract the patients needed to make sure the health system is fully funded.

The hospital has also launched an initiative to reduce patient mortality linked to a deadly infection. “Sepsis is a reaction the body has to a severe infection,” explained Joe Clement, a medical surgical unit clinical nurse specialist. “It causes organ dysfunction, and in some cases death. It’s very common, it’s growing, there’s more and more of it every year, and about a third of hospital deaths have been associated with sepsis in some way.”

In 2011, SF General began implementing new practices — and successfully reduced the hospital mortality rate from 20 percent in 2010 to 8.8 percent in 2014.

SF General was also recently lauded in The New York Times for being a top performer in quality and safety scores for childbirth. In San Francisco, low-income women who may be uninsured and dealing with harsh life circumstances can nevertheless get full access to multilingual doctors, midwives, lactation consultants, and doulas. The World Health Organization has even designated it as “Baby Friendly,” because of practices that support breastfeeding.

As things move ahead, management is projecting a sense of confidence that SF General’s high-quality care will allow the hospital to attract patients and maintain a healthy system that can continue to support the insured and uninsured alike.

“Value, we usually define as improving health outcomes, and optimizing the resources we have, for as many people as we can,” said William Huen, associate chief medical officer.

Speaking about the sepsis initiative, he said, “This is kind of our model program of, how do you focus on one area where you know you can improve health outcomes, with integration throughout the system, education at every level … and then having the data and perfecting the care. That can be applied to anything. So as a system, I think we’ve developed infrastructure to support that type of work.”

But for the staff members who are actively involved in the union, it continues to be a waiting game to see if the promises of new staffing levels are realized. Until then, many have said that the low staffing levels are a threat to patient safety. “They are waiting to see if DPH lives up to its commitment to hire the people they said they were going to hire, and staff it at the level they were going to staff at,” Green said.

It all comes down to providing care for people who really have nowhere else to turn, Negron told us in the Emergency Department. “I’m sure we see the highest portion of uninsured patients in the city,” he said. “We’re doing that in many different languages, with people from all over the world. I feel like it’s a real honor to be able to work there in that context. I feel honored to meet a need — that’s not always able to be met.”

SF voters to weigh in on Beach Chalet turf war

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A city project that would install artificial turf and stadium lighting at the Beach Chalet soccer fields at the west end of Golden Gate Park has survived numerous challenges over the last four years, including appeals to the California Coastal Commision and the courts. But this November, San Francisco voters will have the final say.

A citizens’ initiative that would block the project this week qualified for the ballot after turning in more than 16,000 signatures, collected by the Coalition to Save Golden Gate Park. Yet city officials and supporters of the project — including the City Fields Foundation, which has been installing artificial turf on playing fields around the city in recent years — aren’t taking any chances, creating a rival measure sponsored by six members of the Board of Supervisors.

Not only would the supervisors’ measure invalidate the citizens’ initiative if it gets more votes — it contains a so-called poison pill, an increasingly common electoral tactic — but it would make it more difficult to challenge future trail, playground, and playing field projects that would increase the number of users by 50 percent or more.
“We think it’s a terrible measure that disenfranchises voters all over the city,” Jean Barish, a spokesperson for the Coalition to Protect Golden Gate Park, told the Guardian. “It would give the Recreation and Park Department a lot more authority than they have now.”

Patrick Hannan, a spokesperson for the City Fields Foundation, worked with supervisors on the rival measure and he denies that it would limit citizens’ rights to challenge future projects.

“The legislation in no way curtails any kind of appeals process,” Hannan said. “It says you can’t pass a law to stop projects from going forward after they’ve been approved.”

But Hannan couldn’t cite any examples of approved projects being later stopped by legislation, and the vaguely worded measure doesn’t make clear whether it would preclude citizens from challenging approved projects by initiative or referendum.

Mike Murphy, the official proponent behind the iniative that seeks to stop the Beach Chalet project, said the intent of the supervisors’ measure seems to be to limit the public’s right to challenge artificial turf projects, which the city measure explicitly said city bodies “shall approve” if they increase playing time and have an approved environmental impact report.

He called on the supervisors sponsoring the measure — Sups. David Chiu, Eric Mar, Mark Farrell, Katy Tang, Scott Wiener, and London Breed — to remove their names before next week’s electoral deadline.   

“This is a highly politicized issue and it always has been,” Murphy said. “We need to refocus the debate not on why [the city needs more playing fields] but on what’s being done at this site.”

Opponents of the Beach Chalet project say articificial turf can be toxic and unhealthy and that it shouldn’t replace natural grass. But supporters of this and other artificial turf projects say that they substantially increase the available playing time on fields that are desperately need to keep up with demand, particularly by youth sports.

“Artificial turf is safe and this project is cleared to proceed,” Hannan said. “The question is whether the city wants to give more kids more fields they can use.”

He cited studies showing that because the artificial turf his group has installed on city-owned fields since 2011, available playing time on fields has increased by 30 percent: “That’s a direct result of our project.”

And now, voters will get their chance to weigh in on this ongoing, highly charged turf war

City will turn Francisco Reservoir into a park, with no affordable housing

San Francisco is getting a new park – but the deal has left some wondering why a small portion of the new parkland couldn’t have been set aside to build housing for teachers and firefighters.

On July 8 members of the San Francisco Public Utilities Commission voted unanimously, amid a flurry of congratulatory exchanges, to transfer the Francisco Reservoir to the Recreation and Parks Department. Nearly everyone who weighed in during public comment praised the decision to convert the reservoir site into open space for the surrounding neighborhood. Located near Russian Hill on Hyde Street just above Bay Street, the Francisco Reservoir has gone unused for the better part of century.

One speaker did offer some balance. “We have the mayor and the Board of Supervisors constantly hitting us over the head saying we need housing,” she pointed out. “We have to start somewhere.” 

Under city law, publicly owned “surplus property” – as the Francisco Reservoir is categorized – must be considered for affordable housing before city departments may let it go for any other use.

Yet during years of discussion between neighbors and city officials to discuss this 4-acre parcel, the idea of building affordable housing apparently didn’t even receive minimal consideration.

Instead, the affluent neighbors wanted a park – and managed to raise nearly $10 million in private funding through several neighborhood associations to help make it happen. That money has been pledged for a park endowment, to cover development and maintenance purposes.

According to City Attorney spokesperson Matt Dorsey, the city’s “enterprise agencies” are exempted from the affordable housing requirement in the surplus property ordinance – this applies to surplus parcels under the ownership of the Port, the SFPUC, the SFMTA, and the Recreation & Parks Department.

A memorandum of understanding approved by the SFPUC, which must win the approval of the Board of Supervisors and the mayor before being finalized, grants some $10 million from the Recreation and Park Department’s open space fund to purchase the Francisco Reservoir from the SFPUC.

Open space is generally a wonderful amenity in an urban environment, particularly for land that hasn’t been used in decades. As Jan Blum noted at the hearing, the parkland will provide environmental benefits such as “habitat for migratory birds, as well as local wildlife.”

But the city’s decision to convert surplus property to open space comes just as Mayor Ed Lee is seeking to build 30,000 new housing units to stem the affordability crisis.

John Stewart, a prominent affordable housing developer appointed to serve on Lee’s affordable housing task force, told the Guardian that he got nowhere when proposing the idea of affordable housing construction for a small portion of the Francisco Reservoir parcel.

Stewart, who emphasized to the Bay Guardian that his company has no financial ties nor interest in developing a project there, penned an editorial for the San Francisco Business Times earlier this year on the Francisco Reservoir transfer, asking, “Why not expand the conversation to include the subject of housing?”

The idea was not well received. “I did not even propose tax-credit, tax-driven, very low income housing,” Stewart noted. “I proposed moderate-income, for teachers and nurses.”

The neighborhood plan showed the area at the end of the parcel, where Stewart thought housing could go, as a dog run.

Sup. Mark Farrell, who represents District 2, where Francisco Park would be located, was deeply involved in discussions about converting the reservior into a park. Farrell’s office didn’t return calls seeking comment, nor did the SFPUC.

“Sup. Farrell didn’t want me speaking to these groups,” Stewart said. “Nobody said, come by, come to our coffee klatch, make the case and we’ll at least talk it over. Nobody wanted to discuss it – that was clear. There was polite silence. But there was silence,” he said. “And their view is – and it’s understandable – they really want to have the whole thing.”

Garbage game

8

San Francisco elected officials frequently celebrate the ambitious citywide goal of sending zero waste to the landfill by 2020, an environmental feat widely viewed as attainable since the current waste diversion rate stands at a stellar 80 percent.

Official city numbers — based on reporting by Recology, a company that has a monopoly on trash collection and curbside recycling in San Francisco — demonstrate that only 20 percent of all city dwellers’ trash ends up in a landfill, that unenlightened dead end for matter discarded from our lives, never to be reprocessed.

Yet a lawsuit against Recology exposed some inconsistencies in the company’s record keeping. It also shed light on how some material counted as “diverted” is routinely sent to a landfill anyway, a practice that muddies the concept of the city’s Zero Waste program but is nevertheless legal under state law.

On June 17, a San Francisco jury determined that Recology misrepresented the amount of waste diverted from the landfill in 2008, enabling it to collect an incentive payment of $1.36 million for meeting the goal. The verdict compels Recology to pay the money back to the city, since it was obtained after submitting a false claim.

The outcome of this lawsuit — brought by a former manager of the Tunnel Road recycling Buy Back facility, who also claims he was retaliated against for trying to expose fraud — highlights some larger questions. Was this inaccuracy unique to 2008, or are Recology’s numbers always a little fuzzy? Are there adequate safeguards in place to prevent the company from fudging the numbers, particularly when both company and city officials have an incentive to exaggerate the diversion rate? And if what’s on paper doesn’t quite square with reality, is San Francisco really keeping as much garbage out of the landfill as the city’s Department of the Environment says it is?

Attorney David Anton, who represented the former Recology employee, Brian McVeigh, said he found it odd that San Francisco officials didn’t show much interest in collaborating to recover the bonus money, even though millions of dollars was potentially at stake. Since damages are trebled under the False Claims Act, cited in the lawsuit, Recology could ultimately be made to fork over the incentive payment three times over.

“The city’s representative in the Department of the Environment actually testified that he hoped this lawsuit would be unsuccessful,” Anton recounted. He guessed that officials remained on the sidelines because in San Francisco’s political power centers, “relationships with Recology are so close and tight. It was a very strange thing,” he went on, “to be pursuing this lawsuit, trying to get money to the city, and the city’s representatives are saying, ‘we don’t want it.'”

Recology has filed post-trial motions in a bid to have the penalty reduced, “asking the court to decide whether there was any evidence at trial that there were public funds in the Diversion Incentive Account, and if so, how much,” explained Recology spokesperson Eric Potashner. “We expect a ruling this summer.”

Department of the Environment spokesperson Guillermo Rodriguez told the Guardian that Robert Haley, manager of the department’s Zero Waste team, was unavailable for comment before press time. With regard to the lawsuit, Rodriguez noted, “The city has been following the trial closely and is awaiting the judge’s ruling on post-trial motions before determining any reaction.”

 

FALSE CLAIMS

The False Claims Act is designed to recover damages to government when false statements are made to obtain money or avoid making payments. It has a provision allowing whistleblowers, such as McVeigh, to lead the charge on seeking civil enforcement action. The whistleblower may be eligible to receive a share of recovery.

Under the bonus incentive program, Recology sets aside extra cash — collected from garbage customers’ payments — in a segregated account. But it cannot withdraw funds from that account unless it hits the city’s established waste-reduction targets. Recology submitted paperwork to the city in 2008 showing that it met the diversion goals, so it was allowed to withdraw the money.

But the lawsuit demonstrated that Recology actually fell short of those goals — and apparently, nobody in city government ever followed up to check whether the reporting was accurate.

A key reason the jury ruled against Recology on this particular claim, according to Anton, was that it was found to have misclassified some construction and demolition waste as “diverted” material. Under state law, when ground-up construction debris is used to cover the top of a landfill — to prevent pests, fires, and odors, for example — it’s counted as “alternative daily cover.” Trash in this category winds up in a landfill, just like any other trash. But state law allows garbage companies to count it as “diverted,” just as if it were an aluminum can tossed into the blue bin.

The lawsuit claimed that Recology tried to count a great many tons of construction and demolition waste as “alternative daily cover” when in reality, it should have been counted as just plain trash.

Solano County records show that a landfill inspector had flagged an “area of concern” after discovering solid waste mixed in with construction debris Recology shipped to a landfill for use as that top layer. “It looks like they didn’t do a good enough job of cleaning out that material,” CalRecycle spokesperson Mark Oldfield noted as he pulled up the report from 2008 at the Guardian’s request.

Had the material gone to the landfill as just plain garbage, instead of “alternative daily cover,” Recology would have had to count it as waste sent to the landfill, instead of waste diverted from the landfill. That would have meant falling short of the waste diversion goal, hence losing out on the $1.36 million.

“Recology kept this completely secret from San Francisco,” according to Anton.

Potashner said it was actually a bit more complicated — the company challenged the inspector’s findings, he said. “The local enforcement agency in Solano County had questions about that material,” but Recology never received a cease-and-desist order, he added. “When we had talked to jurors after the fact, that was the issue that seemed to sway them. In 2008 we didn’t make that bonus by that much. They thought we shouldn’t have been able to count that as diversion because of this issue.”

Either way, the incident exposes a strange reality: When San Francisco city officials trumpet the citywide success of “diverting” 80 percent of all waste from the landfill, some portion of that 80 percent actually winds up in a landfill anyhow. Whether the construction debris counted as “alternative daily cover” has trash mixed into it or not, it’s still destined to wind up in a big, environmentally unfriendly trash heap.

 

CONCRETE NUMBERS

The lawsuit highlighted a few other red flags, too, raising more questions about the city’s true diversion numbers. For instance, the suit claimed that Recology was involved in a system of digging up concrete from its own parking lots, to be handed over to concrete recyclers as “diverted” waste.

“Recology facilities have large areas of concrete pads,” the complaint noted. “Management of Recology … directed Recology work crews in 2005, 2006, 2007, and 2008 to cut out sections of concrete pads and deliver the removed concrete to concrete recyclers, to falsely inflate the diversion incentive reported to SF.”

The waste management company then “solicited cement companies to deliver and dispose of excess and rejected concrete loads to Recology, to fill in the removed concrete pad sections,” according to the complaint. Those shipments were brought in on trucks that weren’t weighed at entry, and then placed in the concrete pads. Management then had work crews remove the same concrete that had been delivered, shipped it to the concrete recyclers, and reported it “as diverted from being disposed in a landfill,” the complaint noted.

This account was corroborated by a Guardian source unrelated the lawsuit, but nonetheless familiar with the inner workings of the company. “They would take the concrete across the road — right across the street,” this person confirmed.

Asked to provide an explanation for this, Recology’s Potashner said, “it is clear, and wasn’t even challenged by the plaintiff at trial, that recycled concrete is diverted, whether it had been from Recology’s lots or anywhere else.”

McVeigh’s case stemmed from his realization, while working as a manager at Recology’s Tunnel Road recycling buyback facility, that employees there were routinely marking up the weights of recyclable materials brought in, in order to pay out certain customers more than they were actually owed. The suit suggests that these routinely inflated California redemption value (CRV) tags contributed to Recology missing its waste-diversion targets, but the jury ultimately sided against the plaintiff on this question since it amounted to a financial loss for Recology, not the city.

The complaint included tag numbers and logs of scale weights that didn’t match up, showing a pattern of fraudulent dealings at the buyback center. In November 2007, for example, “ticket reports showed that 23.4 tons of aluminum CRV cans were purchased at the Bayshore Buyback Center, yet only 16.56 tons existed and were shipped.”

Asked about these claims, Potashner acknowledged that there may have been some “knuckleheads” involved in messing with the scales at the buyback center, but asserted that such activity had since been addressed. He added, “If there were any staffing issues around theft, that was actually affecting Recology’s books,” not the public.

Oldfield, the CalRecycle spokesperson, noted that a long list of paperwork violations had been recorded in 2010, but he said the company appeared to have been in compliance since then — based on logs from inspectors’ visits once a year.

Another problem uncovered in the trial, Anton said, had to do with Recology misrepresenting tons of garbage from out of county, so that it would be counted outside the parameters of the waste diversion program. Potashner said that had been corrected, adding, “the out-of-county waste is really a small volume.”

But he confirmed that yet another practice brought to light in this lawsuit is ongoing, revealing a surprising end for some of the stuff that gets tossed into the green compost bins.

 

MANY SHADES OF GREEN

According to every colorful flier sent out by Recology, the stuff that goes into the green bin gets composted. The green bin is for compost. The blue bin is for recycling. The black bin is for trash that goes to the landfill. This is the fundamental basis of Recology’s waste collection operation and, taking the company and the Department of the Environment at face value, one would assume that 80 percent of all waste was being processed through the blue and green waste streams.

Instead, some of what gets tossed into green bins makes its way to a landfill.

The green-bin waste is shipped to a Recology facility where it’s turned into compost, a process that involves sifting through giant screens. But some of what gets processed, known as “overs” because it isn’t fine enough to drop through the screens, is routinely transferred to a nearby landfill, where it’s spread atop the trash pile. Once again, this six-inch topper of neutralizing material is known as “alternative daily cover.”

Although Recology could convert 100 percent of its green-bin waste into soil-nourishing compost, the practice of using partially processed green-bin waste for “alternative daily cover” is cheap — and it’s perfectly legal under California law. Roughly 10 percent of what gets tossed into the compost bins is used in this way, Recology confirmed.

“There are some people who will say using green waste isn’t really diversion,” acknowledged Jeff Danzinger, a spokesperson with CalRecycle, which oversees recycling programs in California counties. “There’s some people who say we should stop that practice because that just incentivizes a landfill solution for green waste. But if somebody’s saying green waste shouldn’t go into a landfill and get counted as diversion, it’s an opinion.”

Nor is it something the city objects to. The Department of the Environment is aware of this practice, Recology’s Potashner told the Bay Guardian. Yet the city agency has never raised formal concerns about it, despite a mandate under its composting program agreement that the company use green-bin waste for the highest and best possible use.

But there’s no incentive for anyone in city government to complain: Recology may legally count this discarded material as “diverted” in official reporting, thus edging it closer to an annual bonus payment. San Francisco, meanwhile, may count it as part of the 80 percent that was successfully diverted — thus edging it closer to the ambitious Zero Waste program goal.

“It’s great PR to say you’re the highest recycling,” noted the person who was familiar with the company, but wasn’t part of the lawsuit. “It’s almost a movement more than reality. But who’s really watching for the public on these numbers? There’s no watchdog. It’s all about bragging rights.”

 

Recology is “a political business”

Recology’s political connections in San Francisco run deep. Years ago, when former San Francisco Mayor Willie Brown served as speaker of the California Assembly, he also worked as a lawyer for Recology, which was then known as Norcal Waste Systems.

Campaign finance archives show that when Brown ran for mayor in 1995, he received multiple campaign contributions from Norcal employees in what appeared to be a coordinated fashion.

Brown continues to be influential in the city’s political landscape due to his close relationship with Mayor Ed Lee, who himself came under scrutiny in his capacity as head of the Department of Public Works in 1999 when he was accused of granting Norcal a major rate increase as a reward for political donations to Brown.

In 2010, when Recology submitted a bid for a lucrative waste-disposal contract proposing to haul waste to its Yuba County landfill, Lee reviewed its proposal in his then-capacity as city administrator. As the Guardian reported (see “Trash talk,” 3/30/10), Lee recommended far higher scores for Recology than his counterparts on the contract review team, a key to the company winning the landfill contract over competitor Waste Management Inc. Before Lee declared his mayoral candidacy in 2011, news reports indicated that powerful Chinatown consultant Rose Pak had worked in tandem with Recology executives on a campaign effort, “Run Ed Run,” organized to urge Lee to launch a mayoral bid. Company employees had also been instructed to help gather signatures to petition Lee to run for mayor, news reports indicated, but Pak publicly denied her role coordinating this effort. David Anton, the attorney for Brian McVeigh, emphasized that Recology’s close ties to powerful city officials might have something to do with the city’s lack of interest in targeting the company for the improperly received incentive payments. Yet Recology spokesperson Eric Potashner called this assertion “completely untrue. Recology meets with the various city departments and regulators weekly. We are constantly improving our controls and practices for handling the city’s ever-changing waste stream; often at the behest of city regulators.” Recology and its predecessor companies have maintained the exclusive right to collect commercial and residential refuse in San Francisco since 1932, and rates are routinely raised for city garbage customers, based on the company’s own reporting that its costs are increasing. “I can tell you today, there will be another significant increase on July 21, 2016” — five years after the last rate increase — “because they have a monopoly,” said neighborhood activist and District 10 supervisorial candidate Tony Kelly, who previously worked on a ballot measure that sought to have the city’s refuse collection contract go out for a competitive bid. “When you have a closed system … then it’s entirely a black box. It’ll all be self-reported. It’s too powerful of an incentive.” An industry insider familiar with Recology echoed this point, adding that cozy relationships with local officials make it easier for the self-reporting to escape scrutiny. “It’s a political business,” this person said. “In San Francisco, they’re really a political organization.” Since the rate is guaranteed, this person added, the mentality is that there’s plenty of wiggle room for financial losses and expenditures such as generous political contributions. “If you’re losing any money, you just ask for it back when you do your next rate increase. The city doesn’t have any objection. The ratepayers just get stuck with it.” (Rebecca Bowe)

Recycle-pocalypse

16

Joe@sfbg.com

Red explosions and yellow starbursts lit the sky, accompanied by the requisite oohs and aahs.

San Franciscans sat by the beach at Aquatic Park celebrating our nation’s independence, eyes fixed upwards. But all around them, a team of independent scavengers, mostly ignored, methodically combed the wharf, plucking cans and bottles from the ground and overflowing trash bins.

Often derided as thieves or parasites, these workers are cogs in a grand machine instituted by California’s Bottle Bill in 1986, forming a recycling redemption economy meant to spur environmentalism with market principles.

The concept is simple. Taxpayers pay an extra five cents when they buy a can or bottle, and may redeem that nickel by trading the used can or bottle in at a recycling center. Thus, more recycling is spurred.

But now a wave of recycling center evictions is causing San Francisco’s grassroots recycling economy to crumble, and newly released numbers reveal just how much stands to be lost by the trend.

San Franciscan recyclers may miss out on millions of dollars in redemption, local mom-and-pop stores could wind up on the hook for millions of dollars in state fees, and neighborhoods stand to be besieged by recyclers flocking to the few remaining recycling centers.

Recycling activists and local businesses are pushing for change, but NIMBY interests are pushing for more of the same.

 

SOLUTION IS THE PROBLEM

San Francisco Community Recyclers is on the parking lot of Safeway’s Church and Market location, and after months of legal entanglement, the recycling center’s eviction draws near. Still, SFCR is making a show of resistance.

The San Francisco Sheriff’s Department is set to evict the recycling center within a week or so, as the rebel recyclers have so far refused to vacate voluntarily.

Sup. Scott Wiener says he’ll be glad to see them gone.

“This recycling center caused enormous problems in our neighborhood,” he told the Guardian. This particular Safeway lies within the boundaries of his district, and Wiener says his constituents complain the recycling centers draw too many unruly patrons, who are often homeless.

“There is problem behavior around the center in terms of camping and harassing behavior, defecation, urination in a much more concentrated way,” he said.

This animation shows the areas around San Francisco where recycling centers remain, which are often overburdened with customers as other centers close. The red zones indicate areas where supermarkets are mandated by state law to host recycling centers, but have chosen to pay fees instead.

But others say the not-in-my-backyard evictions only serve to create a ripple effect. The catalyst is a story we’ve reported on before: As well-heeled Golden Gate Park neighbors complained of homeless recycling patrons and waged a successful campaign to shutter the Haight Ashbury Recycling Center two years ago, the clientele adjusted by flocking to the Church and Market recycling center. New numbers illustrate this outcome.

Susan Collins is the president of the Container Recycling Institute, a nonprofit that conducts analysis on recycling data. On average nationwide, Collins said, one recycling center serves about 2,000 people.

But since 2012 the number of recycling centers in San Francisco has been reduced from 21 to 7, causing Church and Market’s service population to boom closer to 40,000, a difference that has more to do with the closures than the density of the area. Data from CalRecycle shows almost half of the city’s populace lacks a recycling center within close proximity, forcing patrons to overwhelm the few remaining centers.

“This makes it a chicken and egg process,” Collins told us. “For people to have the perception that the site is attracting so many people, they have to realize it’s because there are so few sites to begin with.”

Late last month, Assemblymember Tom Ammiano wrote to Safeway Chief Executive Officer Robert L. Edwards, urging the grocery chain to reverse its decision to evict San Francisco Community Recyclers from the Church and Market Safeway.

“Safeway has such a long history of supporting sustainability efforts,” Ammiano wrote, “and I truly believe that it can do so again.” Safeway, however, has other concerns.

“As curbside recycling has increased in San Francisco and around the state,” Safeway Director of Public Affairs Keith Turner wrote to Ammiano, “Safeway’s focus on recycling has evolved as well.”

Safeway is now also flouting local and state laws to throw recyclers off its back. CalRecycle, the state’s recycling agency, performed an inspection in April of the Diamond Heights Safeway. It found that the grocer failed to accept recyclables and offer state guaranteed redemption, despite signing an affidavit with CalRecycle pledging to do just that. CalRecycle cited that location and two other San Francisco Safeways for noncompliance with the bottle bill.

And that’s just the violations CalRecycle has documented so far. Ed Dunn, owner and operator of San Francisco Community Recyclers, has initiated his own investigation into Safeway statewide, filing complaints with CalRecycle alleging that as many as 75 Safeway stores aren’t following the mandates of their affidavits and offering redemption for recyclables.

On the other side of the fence, Safeway and other recycling-center critics (such as Chronicle columnist C.W. Nevius) are essentially saying, who cares? Don’t we all just use blue bins nowadays?

The short answer: Nope.

 

MAKING GREEN, GOING GREEN

“Why do we need recycling centers if we have curbside recycling?” Sup. Eric Mar asked the deputy director of recycling at CalRecycle, point blank.

Jose Ortiz responded in less than a beat. “While some communities think curbside operations ensure the state’s goals of collecting [recyclables], the reality is that 90 percent of recycling volume is collected through recycling centers, not curbside programs,” he said from the podium.

That number came as a shock to many at the Board of Supervisors Neighborhood Services and Safety Committee June 19, including Sups. Mar, David Campos, and Norman Yee. Only 8 percent of recycling statewide comes through blue bins, CalRecyle confirmed to the Guardian.

Nor is that limited to California: Data from the Container Recycling Institute shows that the 10 states with recycling redemption laws produce such a high rate of return that they account for 46 percent of the nation’s recycling. And since California Redemption Value recycling is pre-sorted, experts note, the bottles are often recycled whole (as opposed to broken) which can be used for higher-grade recycling purposes.

So for the city with a mandated goal of zero waste by 2020, the case for keeping recycling centers open is an environmental one. It’s also fiscal.

San Franciscans make $18 million a year selling back recyclables, Ortiz said, most of which went directly into the pockets of recyclers. Those scavengers at the Fourth of July festivities may have only collected five cents per can, but that’s enough to buoy the income of many poor San Franciscans.

At the recycling hearing, David Mangan approached the podium to speak. His red hat was clean and his grey sweatshirt was ironed, but his face was worn with worry-lines and creases.

“I can’t walk more than about eight blocks at a time, and I’m unemployable because of my disabilities,” he told the committee. Recycling centers are a lifeline, he added. “I need this job, I’m on a limited income. I need the help they offer. I need them to stay open, please.”

Critics say some poor and homeless depend on a black market of recycling truck drivers who trade drugs for cans and bottles, then turn to recycling centers to make a profit. But those at the hearing said the extinction of recycling centers actually helps the mobile, black market recycling fleets bloom, as motorists have an easier time shuttling recyclables across the city.

So recyclers are increasingly forced to rely on these so-called “mosquito fleets” for far-flung trips to cash in their bottles.

 

SMALL BUSINESS BUST

Meanwhile, recycling center evictions are becoming a source of anxiety within the small business community.

State law establishes a half-mile radius called a “convenience zone” around any supermarket that annually makes more than $2 million. The supermarket is mandated to provide recycling on-site, accept recyclables in-store, or opt to pay a $100 a day fee.

With the eviction of SFCR from Church and Market, Safeway may opt to pay the fee. But that gap would leave surrounding businesses inside that convenience zone with the same options: accept recyclables in-store or pay $36,000 a year.

Miriam Zouzounis of the Arab-American Grocer Association said those options are daunting for liquor stores and mom-and-pop grocers.

“We just don’t have the space for [recycling],” she said at the hearing. If SFCR were to close, the total of small businesses shouldering the burden of state recycling fees would jump from 100 to more than 360, said Regina Dick-Endrizzi, director of the city’s Office of Small Business.

All told, San Francisco small businesses would be made to send $12.96 million in annual fees to California coffers because a few supermarkets didn’t want to handle recyclables. Mar is now calling upon all involved to step up and solve this glaring problem.

 

SOLUTIONS ON THE WAY

This week the Board of Supervisors is tentatively set to vote on a moratorium of recycling center evictions, introduced by Mar on June 24. The pause would give Mar time to form a work group with those involved: Department of the Environment, Department of Public Works, CalRecycle, local supermarkets, grocers, the Coalition on Homelessness, and others to come together to form a compromise solution.

Department of the Environment proposed a mobile recycling center, which Wiener called an equitable solution that would help distribute recycling responsibility evenly across the city. While that agency did not provide a timeline on the creation of a mobile recycling center before our deadline, it’s been in the works since 2012, when then-District 5 Sup. Christina Olague said it was the answer to the Haight Ashbury Recycling Center’s closure.

It’s been a long wait for a solution. And in the meantime, many more stand to lose.

Pumping up awareness

7

Warning! This is just a friendly reminder that your petroleum habit is hurting us all.

Berkeley’s Community Environmental Advisory Commission recently approved the concept of stickers to be placed on gas pump handles that warn drivers that greenhouse gases such as those emitted from automobile tailpipes contribute to global warming. If it makes sense to warn that cigarette smoking increases the likelihood of developing lung cancer, then hey, why not remind drivers that by using fossil fuels, they’re increasing the planet’s temperature and volatility.

The campaign is led by 350 Bay Area, a grassroots environmental organization affiliated with 350.org, a global climate movement. The name reflects its main goal: follow scientists’ warnings to reduce the amount of C02 in the atmosphere from its current level of 392 parts per million to below 350 ppm, a crucial threshold of climate instability.

While Berkeley has gained the most political traction for 350 Bay Area’s “Beyond the Pump” campaign, 350 Bay Area is also working on getting San Francisco to adopt the gas pump stickers and other planet-saving tactics.

Since last year, advocates with 350 Bay Area worked in collaboration with Sup. John Avalos on a 10-Point Climate Action Work Plan that was officially adopted in April. This plan commits the Bay Area Air Quality Management District to reducing greenhouse gas emissions to 80 percent of 1990 levels by 2050. The group has also been in contact with Avalos and his legislative aide Jeremy Pollack about sponsoring an ordinance to place the warning stickers on gas pumps in San Francisco.

“I think it’s great. We need reminders about the impact of fossil fuels on an individual basis,” Avalos told the Guardian. “We have choices, and this is a great way to build awareness of those choices.”

Avalos said that his office has already started looking into the idea of putting stickers on gas pumps. Right now, he’s still waiting on enough research to ensure the stickers can pass legal muster against any challenges by the petroleum industry.

“Hopefully it will work out. The City Attorney is looking into it, and we’re waiting to see what happens with Berkeley,” Pollack told the Guardian. “We tried something similar with warnings about cell phone radiations, but the court struck it down.”

He’s referring to the nearly three years of legal battles with the mobile phone industry group CTIA over a San Francisco law passed in 2011 that had required every store selling cell phones in the city to display the specific absorption rate of radiation expected from each phone model.

CTIA took San Francisco all the way to the 9th Circuit US Court of Appeals, saying the law interfered with their free speech rights. And, it won. Finally, last May, San Francisco gave in and killed the warning law. Those legal battles are not something San Francisco is likely to forget, no matter what environment-happy warning labels come along.

Yet the San Francisco public might not mind a gentle push. According to a recent poll by the Yale Project on Climate Change Communication, 77 percent of San Franciscans think that residents should be doing more to address climate change. The stickers could serve as a gentle push in that direction, and though Avalos is confident his city will get stickers eventually, it looks like Berkeley residents will get their warnings first.

“We’re not going to stop at Berkeley,” Jack Lucero Fleck, 350 Bay Area Steering Committee member, told us. “Right now, there’s no clues in gas stations that fossil fuels might be a problem. But advertising works. That’s why corporations spend billions on it. The human mind can’t ignore it.”

The campaign — the only one in the country with political fraction — is parallel to a Toronto campaign called Our Horizon. But unlike the stark, graphic warnings in Canada, 350 Bay Area takes heed from failed attempts by the US Food and Drug Administration to pursue graphic cigarette warning labels.

Right now, thanks to tobacco advocates who’ve aggressively protected their free speech rights, warnings on US cigarette packaging are tame. But if you go to Canada for a smoke, you’ll find packaging that reads, “This is what dying of lung cancer looks like,” followed by the image of an emancipated, corpse-like body. The least graphic image is of a gentle crib, but even that’s followed by information about the connection between smoking and Sudden Infant Death Syndrome.

Berkeley could opt for similar, hardcore carbon emission warning graphics (picture it now: baby polar bears balancing on ice, fish washed up on shores, massive dust clouds about to drown villages), but 350 Bay Area is more mindful of the legal fallout that would likely follow.

Instead, the Berkeley warning sticker samplers are downright peppy. In hot pink, the sticker shouts, “Global warming alert!” followed by a pastel blue that informs drivers, with the gentle nudge of a concerned parent, “Burning gasoline emits C02. The City of Berkeley cares about global warming.” Then there’s a picture of a cute little car emitting a cloud of murky C02.

“We wanted the language to be careful and the facts noncontroversial,” 350 Bay Area Campaign Manager Jamie Brooks told us. “We have to be as gentle as possible. It’s tough love.”

One sticker sampler reads, “The State of California has determined that global warming caused by C02 emissions poses a serious threat to the economic well-being, public health, natural resources, and the environment of California.”

You can’t really argue with that, it’s even enshrined in California law. Plus, the stickers aren’t anywhere near the gruesome Canadian samples that show famine in deserts and unhappy kids suffering from smog-induced asthma.

Berkeley City Council member Kriss Worthington, who sponsored the council item in support of the stickers, said, “We made sure we had language that wasn’t questionable and that it wasn’t pre-emptive to state or federal law. The language in the stickers is language already law in the state of California.”

Sure enough, the California Global Warming Solutions Act, adopted in 2006 as Assembly Bill 32, already states that emissions are harmful to humans and the environment.

Yet Western States Petroleum Association’s President Catherine H. Reheis-Boyd isn’t pleased. She issued what Brooks called a “love letter” to the advisory committee. Just as tobacco lobbyists argued that cigarette warnings are forced — and therefore not free — speech, Rheis-Boyd ignores the global warming debate and instead focuses on the US Constitution.

“Far less restrictive means exist to disseminate this information to the general public without imposing onerous restrictions on businesses and forcing unwanted speech in violation of the First Amendment,” she wrote.

Reheis-Boyd goes on to appeal to Berkeley’s history in the Free Speech Movement: “Perhaps no city in our nation has as rich a tradition in the exercise of the First Amendment right to freedom of speech as the City of Berkeley.” She also accuses 350 Bay Area of advancing messages that are not “purely factual” but a “policy determination by the State of California.”

This is true; the stickers do reflect policy determination from AB 32, which mandates the state to reduce greenhouse gas emissions, and that’s why they’re likely to stick.

Besides, the stickers will likely only appeal to global warning believers; they’re meant to remind drivers that there are ways to curb their appetite for gas, such as by choosing public transit or other alternatives modes of transportation. The campaign’s technical advisor, Dr. Kirk R. Smith, said, “The cigarette analogy isn’t perfect, because gas is only one factor in climate change. But individual decisions are important.”

The question is whether or not such peppy stickers can get drivers thinking about the implications of their transportation choices.

The campaign in Berkeley isn’t done yet. After the Energy Commission votes in July, the sticker proposal will head to the Berkeley City Council in September. And from there, 350 Bay Area will see if those in San Francisco might like some friendly warning stickers on their gas pumps.

A benefit series aims to keep the unique Meridian Gallery afloat

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In 2001, interns at Powell Street’s Meridian Gallery planned and painted a 13×48 foot mural on the wall of the SRO Hartland Hotel, a few blocks away in the Tenderloin. The mural, a colorful and sunny street scene showcasing the multiculturalism of the neighborhood, was revered by residents and and left untouched for 10 years until it was vandalized by graffiti. In response, former interns who had worked on the project came back together and, alongside the current kids in the program, repainted the piece. The artists’ lasting willingness to help Meridian in times of need reemerges in a broader sense this week, which marks the climax of the gallery’s June Benefit Series (tonight’s entry: “16 Years of Meridian Music,” a diverse program of new music). 

Meridian Gallery, whose name comes from its mission to focus on hemispheric and cross-cultural interactions, is facing eviction. As rent around Union Square has skyrocketed, from $400 per square foot in 2007 to up to $3,000 today (according to retail consultant Helen Bulwik, quoted in a KQED report), many galleries have been forced to close their doors. The stately Perine Mansion, the three-story French Second Empire brick building where Meridian makes its home, is an especially attractive and lucrative piece of property. Instead of throwing in the towel, Anne Brodzsky, the dynamic co-founder of the gallery who has overseen its operations for over 25 years, has reached out to her friends. 

The original eviction notice was handed down in April. Some close to the gallery are convinced that despite any efforts, the rent will be impossible to pay. Others, Brodzky chief among them, think that the response to the bad news suggests a potential long-term rally from Meridian. Her optimism is fueled by two forces. First, on May 13, the SF Board of Supervisors beefed up affordability programs, including supplemental displacement funds and health benefits, for struggling art non-profits in the city. “I’m amazed by how they’ve managed to come together to help arts programs,” Brodzky exclaimed. 

More effective and instantly helpful than any bureaucratic assistance, however, have been the programs put together by artists affiliated with Meridian. Around the time of the Supervisors’ decision, Brodzky asked her gallery-mates if they were willing to stage an auction. The response was staggering; over 60 artists put up works. More astonishing to Brodzky, though, was the kind of excitement many of the participants exhibited for further events. “Bob Marsh, among many others, approached me and asked if they could stage fundraisers.” 

 Tonight, Marsh is one of the main attractions at the “16 Years of Meridian Music” showcase. An avant-garde visual artist and musician, Marsh discovered Meridian shortly after his arrival in San Francisco 14 years ago. “I started visiting galleries and found that Meridian had a wonderful monthly music series,” he says.

Marsh was inspired by the political sharpness of the organization. “I thought early on, ‘They’re not purveyors of bourgeois wallpaper,’ like so many galleries can be.” For Marsh’s offering, “The Visitor,” he’ll don his Sonic Suit #9, a wearable sculpture made from empty water bottles and other modern detritus, and engage in narrative movement to a musical accompaniment.

“He’s a visitor from another dimension,” Marsh says. “He arrives here, looks around, and has different reactions to the confusing environment that is our world.” Marsh debuted the ever-changing character at the Meridian and feels that its a fitting tribute to the openness and experimentation that the gallery fosters. 

Despite his excitement about the benefit, Marsh turns somber when discussing its necessity. “They have given so much with such passion,” he says. “It’s sad to see them persecuted by blind greed … I don’t think its personal, but everyone just wants a lot of money. Everybody thinks that’s some kind of virtue.”

Neither Brodzky, Marsh, nor other performers and Meridian affiliates with whom I talked  were quick to link the gallery’s financial troubles to a larger ill in San Francisco. They seemingly eschew that brand of macrocosmic victimhood and instead zoom in on what they can do to stay open, one step at a time. Their optimism may be healthier, but it does not mask the sad fact that rising rents are making grassroots galleries a thing of the past. If the artists continue to come together with the intensity of the mural renovation, auction, and benefit series, however, Meridian may just buck the trend.  

 

16 Years of Meridian Music: Composers in Performance

With Bob Marsh, Andrea Williams, Bryan Day, Phillip Greenlief and Jon Raskin’s 1+1, David Samas, Tom Bickley, and the Cornelius Cardew Choir

Thu/26, 7-10pm, $35

Meridian Gallery

535 Powell, SF

meridiangallery.org


Film Listings: June 25 – July 1, 2014

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock. For complete film listings, see www.sfbg.com.

FRAMELINE

Frameline 38, the San Francisco International LGBT Film Festival, runs through June 29 at the Castro Theatre, 429 Castro, SF; Roxie Theater, 3117 16th St, SF; Victoria Theatre, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. For tickets (most shows $10-15) and schedule, visit www.frameline.org.

OPENING

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) Roxie, Smith Rafael. (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 Louisiana 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) Opera Plaza, Shattuck. (Harvey)

Coherence See “Vortex Room.” (1:29) Presidio.

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) Opera Plaza, Shattuck. (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 set piece. 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) (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) Shattuck. (Rapoport)

Transformers: Age of Extinction Mark Wahlberg and the Dinobots star in the latest installment of Michael Bay’s action sci-fi series. (2:30) Presidio.

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. (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) Albany, Embarcadero. (Harvey)

ONGOING

Belle The child of a British naval officer and a Caribbean slave, Belle (Gugu Mbatha-Raw) is deposited on the doorstep — well, the estate grounds — of her father’s relatives in 1769 England after her mother dies. Soon she’s entirely orphaned, which makes her a wealthy heiress and aristocratic title holder at the same time that she is something less than human in the eyes of her adopted society. For Belle is black (or more properly, mixed-race), and thus a useless curiosity at best as a well-bred noblewoman of the “wrong” racial makeup. Based on a murky actual historical chapter, Amma Asante’s film is that rare sumptuous costume drama which actually has something on its mind beyond romance and royalty. Not least among its pleasures are a fine supporting cast including Tom Wilkinson, Miranda Richardson, Penelope Wilton, and Emily Watson. (1:45) Embarcadero, Piedmont, Shattuck. (Harvey)

A Coffee in Berlin How do you say “mumblecore” in German? Jan Ole Gerster’s debut feature has certain arty pretensions — it’s shot in black-and-white, and scored with peppy jazz — but it’s more or less a rambling day in the life of law school dropout Niko (Tom Schilling). It happens to be the very day Niko’s golf-loving father decides to stop funding his shiftless son’s slacker lifestyle, though that crisis (which, you know, Lena Dunham built an entire HBO comedy around) receives nearly equal heft as a cutesy ongoing gimmick that sees Niko incapable of getting a cup of coffee anywhere in Berlin. Hipster ennui can be compelling if it has some underlying energy and purpose (see: 2013’s Frances Ha, to which this film has been compared), but A Coffee in Berlin comes up short on both. That said, it does offer an intriguing portrayal of Berlin — a city whose modern-chic façade barely contains the history that haunts it — and some of its supporting characters, particularly Friederike Kempter as a former schoolmate of Niko’s who has outgrown him emotionally by about one thousand percent, provide pleasant enough distractions. (1:28) Opera Plaza, Shattuck. (Eddy)

The Fault in Our Stars I confess: I’m no card-carrying, vlog-flogging Nerdfighter in author John Green’s teen-geek army. But one can admire the passion — and teary romanticism — of the writer, readers, and the breakthrough novel that started it all. Much has been made over the cinematic tweaks to the best-selling YA book, but those seem like small beefs: OK, male romantic lead Gus’s (Ansel Elgort) perhaps-understandable brattiness seems to have been toned down a touch, but we’ll all get the somewhat-subversive push and pull of Green’s love story centered on two cancer-stricken innocents. Sixteen-year-old Hazel (a radiant Shailene Woodley) has been battling cancer almost all her life, fighting back from the brink, and now making her way every day with an oxygen tank and her devoted parents (Laura Dern, Sam Trammel) by her side. Her mordant wit, skeptical attitude, and smarts attract Gus, a handsome teen with a prosthetic leg, at a cancer support group, and the two embark on what seems like the most normal thing in the world — sweet, sweet love — albeit cut with the poignancy of almost-certain doom. Would the girl who calls herself a grenade dare to care for someone she will likely hurt? That’s the real question on her mind when the two reach out to the solitary author (Willem Dafoe) of their favorite book, An Imperial Affliction. The journey the two make leaves them both open to more hurt than either ever imagined, and though a good part of Fault‘s denouement boils down to a major puddle cuddle — with solid performances by all, but particularly Dern and Woodley — even a cynic is likely to get a bit misty as the kids endure all the stages of loss. And learning. (2:05) Balboa, 1000 Van Ness, Presidio, SF Center. (Chun)

Gore Vidal: The United States of Amnesia Nicholas Wrathall’s highly entertaining documentary pays tribute to one of the 20th century’s most brilliant, original, and cranky thinkers, with extensive input from the man himself before his death in 2012 at age 86. The emphasis here is less on Vidal’s life as a literary lion and often glittering celebrity social life than on his parallel career as a harsh scold of US social injustices and political corruption. (Needless to say, recent history only sharpened his tongue in that department, with George W. Bush dismissed as “a goddamn fool,” and earlier statements such as “This is a country of the rich, for the rich and by the rich” seeming more apt than ever.) He’s a wellspring of wisdoms both blunt and witty, sometimes surprising, as in his hindsight doubts about the virtues of JFK (a personal friend) as a president. We get plenty of colorful archival clips in which he’s seen verbally jousting with such famous foes as William F. Buckley and Norman Mailer, invariably reducing them to stammering fury while remaining exasperatingly unruffled. His “out” homosexuality and outré views on sexuality in general (at odds with an increasingly assimilationist gay community) kept him controversial even among many liberals, while conservatives were further irked by his rock-solid family connections to the ruling elite. In our era of scripted political rhetoric and pandering anti-intellectualism, it’s a joy merely to spend an hour and half in the company of someone so brilliantly articulate on seemingly any topic — but particularly on the perpetually self-mythologizing, money-worshipping state of our Union. (1:29) Opera Plaza. (Harvey)

The Grand Seduction Canadian actor-director Don McKellar (1998’s Last Night) remakes 2003 Quebecois comedy Seducing Doctor Lewis, about a depressed community searching for the town doctor they’ll need before a factory will agree to set up shop and bring much-needed jobs to the area. Canada is still the setting here, with the harbor’s name — Tickle Head — telegraphing with zero subtlety that whimsy lies ahead. A series of events involving a Tickle Head-based TSA agent, a bag of cocaine, and a harried young doctor (Taylor Kitsch) trying to avoid jail time signals hope for the hamlet, and de facto town leader Murray (Brendan Gleeson) snaps into action. The seduction of “Dr. Paul,” who agrees to one month of service not knowing the town is desperate to keep him, is part Northern Exposure culture clash, part Jenga-like stack of lies, as the townspeople pretend to love cricket (Paul’s a fanatic) and act like his favorite lamb dish is the specialty at the local café. The wonderfully wry Gleeson is the best thing about this deeply predictable tale, which errs too often on the side of cute (little old ladies at the switchboard listening in on Paul’s phone-sex with his girlfriend!) rather than clever, as when an unsightly structure in the center of town is explained away with a fake “World Heritage House” plaque. Still, the scenery is lovely, and “cute” doesn’t necessarily mean “not entertaining.” (1:52) Albany, Embarcadero. (Eddy)

Ida The bomb drops within the first ten minutes: after being gently forced to reconnect with her only living relative before taking her vows, novice nun Anna (Agata Trzebuchowska) learns that her name is actually Ida, and that she’s Jewish. Her mother’s sister, Wanda (Agneta Kulesza) — a Communist Party judge haunted by a turbulent past she copes with via heavy drinking, among other vices — also crisply relays that Ida’s parents were killed during the Nazi occupation, and after some hesitation agrees to accompany the sheltered young woman to find out how they died, and where their bodies were buried. Drawing great depth from understated storytelling and gorgeous, black-and-white cinematography, Pawel Pawilowski’s well-crafted drama offers a bleak if realistic (and never melodramatic) look at 1960s Poland, with two polar-opposite characters coming to form a bond as their layers of painful loss rise to the surface. (1:20) Albany, Clay, Piedmont. (Eddy)

Ivory Tower The latest “issue doc” to come down the pipeline is this very timely and incisive look at the cost of higher education from director Andrew Rossi (2011’s Page One: Inside the New York Times). Rossi is a Yale and Harvard Law grad, and he begins his film in the hallowed halls of the latter to frame the question: In the era of skyrocketing tuition, and with the student loan debt hovering at a trillion bucks, is college still worth it? The answer is left open-ended, though with the very strong suggestion that nontraditional education (including community colleges, online learning, and the Silicon Valley-spawned “uncollege” movement) is certainly something worth exploring, particularly for the non-wealthy. Along the way, we do see some positive tales (a kid from the mean streets of Cleveland gets a full-ride scholarship to Harvard; students at rural Deep Springs College follow philosophy discussions with farm work; African American women at Spelman College thrive in an empowering environment), but there’s a fair amount of cynicism here, too, with a hard look at how certain state schools are wooing deep-pocketed out-of-staters with fancy athletic stadiums, luxurious amenities, and a willingness to embrace, however unofficially, their hard-partying reputations. Segments following a student protest at New York’s Cooper Union, a formerly free school forced to consider collecting tuition after a string of financial troubles, echo Frederick Wiseman’s epic At Berkeley (2013), a thematically similar if stylistically very different work. (1:37) California. (Eddy)

Jersey Boys The musical that turned the back story of Frankie Valli and the Four Seasons — the 1960s hit making machines behind upbeat doo-wop ditties like “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” and a zillion more; you will recognize all of them — into Broadway gold ascends to the big screen thanks to director Clint Eastwood, a seemingly odd choice until you consider Eastwood’s own well-documented love of music. Jersey Boys weaves a predictable tale of show biz dreams realized and then nearly dashed, with a gangster element that allows for some Goodfellas-lite action (a pre-fame Joe Pesci is a character here; he was actually from the same ‘hood, and was instrumental in the group’s formation). With songs recorded live on-set, à la 2012’s Les Misérables, there’s some spark to the musical numbers, but Eastwood’s direction is more solid than spontaneous, with zero surprises (even the big finale, clearly an attempt at a fizzy, feel-good farewell, seems familiar). Still, the cast — including Tony winner John Lloyd Young as Valli, and Christopher Walken as a sympathetic mobster — is likable, with Young in particular turning in a textured performance that speaks to his years of experience with the role. For an interview with cast members Young, Michael Lomenda (who plays original Four Season Nick Massi), and Erich Bergen (as Bob Gaudio, the member who wrote most of the group’s hits), visit www.sfbg.com/pixel_vision. (2:14) Four Star, Marina, 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki, Vogue. (Eddy)

Obvious Child We first encounter the protagonist of writer-director Gillian Robespierre’s funny, original film — a Brooklyn-dwelling twentysomething named Donna (Jenny Slate), who works at a lefty secondhand bookstore and makes regular (if unpaid) appearances at a local comedy night — onstage mining such underdiscussed topics as the effects of vaginal discharge on your garden-variety pair of underwear. This proves a natural segue to other hefty nuggets of embarrassment gold concerning her love life, to the dismay of boyfriend Ryan (Paul Briganti), auditing from the back of the club. He pretty much deserves it, however, for what he’s about to do, which is break up with her in a nasty, well-populated unisex bathroom, taking time to repeatedly glance at the texts coming through on his phone from Donna’s good friend, with whom he’s sleeping. So when Donna, mid-drowning of sorrows, meets a nice-looking fellow named Max (Jake Lacy) at the bar, his post-fraternity-presidency aesthetic seems unlikely to deter her from a one-night stand. The ensuing trashed make-out dance-off in Max’s apartment to the Paul Simon song of the title is both comic and adorable. The fractured recap of the evening’s condom-free horizontal events that occurs inside Donna’s brain three weeks later, as she hunkers down with her best friend, Nellie (Gaby Hoffmann), in the bookstore’s bathroom after peeing on a stick, is equally hilarious — and unwanted-pregnancy jokes aren’t that easy to pull off. Robespierre’s treatment of this extended windup and of Donna’s decision to have an abortion is a witty, warmhearted retort to 2007’s Knocked Up, a couple generations’ worth of Hollywood rom-com writers, and an entertainment industry that continues to perform its sweaty contortions of storytelling in the gutless cause of avoiding the A-word. (1:15) California, Embarcadero, Piedmont, Sundance Kabuki. (Rapoport)

Ping Pong Summer Eighties teen flicks of the My Bodyguard (1980), smart-dweebs-beat-the-bullies ilk are paid homage in Michael Tully’s deadpan satire, which is closer in spirit to the Comedy of Lameness school whose patron saint is Napoleon Dynamite. Radley (Marcello Conte) is an average teen so excited to be spending the summer of 1985 in Ocean City, Md. with his family that he renames himself “Rad Miracle.” He acquires a new best friend in Teddy (Myles Massey), who as the whitest black kid imaginable might make even Rad look cool by comparison. However, they are both dismayed to discover the local center for video gaming and everything else they like is ruled by bigger, older, cuter, and snottier douchebag Lyle Ace (Joseph McCaughtry) and his sidekick. Only kicking Lyle’s ass at ping pong — with some help from a local weirdo (a miscast Susan Sarandon, apparently here because she’s an off screen ping pong enthusiast) — can save Rad’s wounded dignity, and the summer in general. A big step up from Tully’s odd but pointless prior Septien (2011), this has all the right stuff (including a soundtrack packed with the likes of the Fat Boys, Mary Jane Girls, New Edition, Whodini, and Night Ranger) to hilariously parody the era’s inanities. But it’s just mildly amusing — a droll attitude with lots of period detail but not much bite. (1:32) Roxie. (Harvey)

The Rover Future days have never seemed quite so bleak as they are depicted in the wild, wild Aussie west of The Rover — rendered by Animal Kingdom (2010) director David Michod, who co-wrote The Rover with Joel Edgerton. Let’s just say we’re probably not going to see any primo Burner ensembles inspired by this post-apocalyptic yarn: Michod ventures to a plausible future only a decade out, after a global economic collapse, and breaks down the brooding road trip to its hard-boiled bones, setting it in a beauteous, lawless, and unceasingly violent outback. A heist gone wrong leads a small gang of robbers to steal the car belonging to monosyllabic, ruthless mystery man Eric (Guy Pearce). The latter wants his boxy little sedan back, badly, and, in the cat and mouse game that ensues, seems willing to die for the trouble. Meanwhile, one of the gang of thieves — the slow, dreamy Rey (Robert Pattinson), who has been left to die of a gunshot wound in the dirt — turns out to be more of a survivor than anyone imagined when he tracks down the tracker hunting for his brother and cohorts. Michod seems most interested in examining and turning over the ties that bind, in a mean time, an eminently absurdist moment, when everything else has fallen away in the face of sheer survival. Cineastes, however, will appreciate the elemental, existential pleasures of this dog-eat-dog Down Under out-Western, not the least of which include the performances. Pearce’s rework of the Man With No Name exudes intention in the very forward thrust of his stance, and Pattinson breaks his cool — and the confines of typecasting — as a blubbering, babbling, thin-skinned man-child. Clad in the mystic expanses of the South Australia desert, which tip a hat to John Ford Westerns as well as scorched-earth-of-the-mind movies such as El Topo (1970) and Paris, Texas (1984), The Rover is taken to the level of tone poem by the shuddering, moaning cellos of Antony Partos’s impressive, atonal electroacoustic score. (1:42) Metreon, Shattuck. (Chun)

The Signal Sharing its title with a 2007 film — also a thriller about a mysterious transmission that wreaks havoc in the lives of its protagonists — this offbeat feature from co-writer and director William Eubank belies its creator’s deep affection for, and knowledge of, the sci-fi genre. Number one thing The Signal is not is predictable, but its twists feel organic even as the story takes one hairpin turn after another. MIT buddies Nic (Brenton Thwaites) and Jonah (Beau Knapp) are driving Nic’s girlfriend, Haley (Olivia Cooke), cross-country to California. Complicating the drama of the young couple’s imminent separation is Nic’s deteriorating physical condition (it’s never explained, but the former runner apparently has MS or some other neurological disease). The road trip turns dark when the trio (who also happen to be hackers) realize an Internet troll they’ve tangled with in the past is stalking them. After a brief detour into found-footage horror — fooled ya, Eubank seems to be saying; this ain’t that kind of movie at all! — the kids find themselves embroiled in ever-more-terrifying realities. To give away more would ruin the fun of being shocked for yourself, but think Twilight Zone meets Area 51 meets a certain futuristic trilogy starring Laurence Fishburne, who turns up here to play a very important role in Nic and company’s waking nightmare. (1:37) Metreon. (Eddy) *

 

Pride and prejudice

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joe@sfbg.com

As Pride celebrations across the country unfurl their rainbow flags this month, teacher tenure in California suffered a stunning blow from a Los Angeles Superior Court, undermining protections that have shielded the LGBT community from discrimination.

Although the decision will likely be appealed, Judge Rolf M. Treu’s ruling galvanized teachers unions and evoked memories of conservative attacks on gay teachers in the 1970s, including the unsuccessful Briggs Initiative that was a rallying point for then-Sup. Harvey Milk and a new generation of LGBT political leaders.

“To jeopardize any of the protections we have now, it’s a thinly veiled attempt to demoralize teachers, and it’s an attack on public education,” Assemblymember Tom Ammiano, the San Francisco Democrat who began his political career as an openly gay teacher campaigning against the Briggs Initiative, told the Guardian.

LGBT rights and teacher tenure may seem to have little in common, but a peek at the movers and shakers in the LGBT and teachers’ rights movements show an interconnected relationship of protections and the players who fight for them. Loss of tenure can threaten the protection of minority groups, academic freedom, and unpopular political speech, despite employment rights gained in recent years.

“We’ve beaten back that thinking,” Ammiano said, “but it’s still lurking.”

In California, K-12 teachers are shielded by legal protections often referred to commonly as tenure. Permanent status is the backbone of these protections, offering an arbitration process for teachers who administrators intend to fire. Also struck down by the judge was the First In, First Out law, which protects veteran teachers from layoffs by letting go of recent hires first.

In his ruling, Treu said these policies created an environment where students were burdened by ineffective teachers who were difficult to fire, disproportionately detracting from minority students’ education quality in the most troubled schools.

“The evidence is compelling,” the judge wrote in his ruling, “indeed, it shocks the conscience.”

Many education advocates vehemently disagreed with that ruling, and the veracity of the evidence will be further weighed in upcoming appeals. But along the way to pursuing equality for students, the equality of teachers may find itself eroded by an unlikely new hero of the LGBT movement: A conservative attorney who fought against marriage discrimination, but also litigated against the legacy of an LGBT legend.

 

HERO OF MARRIAGE EQUALITY

The morning last year when the US Supreme Court ruled to overturn California’s ban on same-sex marriage, Proposition 8, San Franciscans gathered inside City Hall by the grand staircase. Men held men, women held women, and families held the their children tight.

When the court’s decision finally hit the news, the outcry of happiness and surprise at City Hall was deafening. The expressions on the faces of those there was that of joy with many understandably streaked by tears. Attorney Theodore Olson helped litigate against Prop. 8 and won, and as he fought for gay rights, his face was often streaked with tears as well, LGBT rights activist Cleve Jones told us.

“There was a part of that trial when the plaintiffs Kris Perry and Sandy Stier described their love for each other,” Jones said. “I was sitting with their family in [US District Court Judge] Vaughn Walker’s court. When we broke, Ted Olson went to embrace them and there were tears on his face.”

But Olson is not a poster child for most politics considered the realm of liberals and Democrats. Olson and fellow Prop. 8 litigator Attorney David Boies were on opposing sides of the Bush v. Gore case that Olson won, handing George W. Bush the presidency in 2000. Olson was then appointed solicitor general of the United States, often leading conservative causes.

 

Olson and Boies will talk about their new book Redeeming the Dream: The Case for Marriage Equality at the LGBT center on June 25 (joined by Supervisor Scott Wiener), but Olson gave us a glimmer of those motivations.

Olson, a Los Altos native who attended UC Berkeley School of Law, told the Guardian in a phone interview that his stand on gay rights was based on conservative principles: “I think of conservatives as including people who are libertarians and respect individual liberty.”

 

A trailer for “The Case Against 8,” which features Ted Olson heavily.

He said the right to marry the person of one’s choosing should be an individual right that government has no business banning. That belief in individual liberty is at the core of his political principles. “It affects me in absolutely the deepest personal way,” he told us.

Whatever his ideological motivations, Olson became a hero in the LGBT community. But this year, he was one of the attorneys who convinced Judge Treu of the evils of teacher tenure. In the trial, Olson claimed one Oakland teacher was harming elementary students’ educational outcomes: “The principal couldn’t remove that teacher. These stories are so awful, sometimes you feel people are exaggerating.”

Yet the problems afflicting Oakland schools and its children, the unions argued, are not due to teacher tenure. In a city with high violence rates, students’ broken homes, low teacher pay, and difficult working conditions, critics say Olson oversimplified and misrepresented a complex problem.

“We all know there are problems in our schools,” Jones, who works with unions, told us. “But there’s never of course discussion about poverty, or students growing up in single families, or class sizes.”

These were all arguments the union made against Olson, unsuccessfully. The decision to remove protections for teachers may send ripples into other states and spur increased attacks on teacher protections.

And unlike California, which has strong anti-discrimination protections, that campaign may allow teachers of other states to be fired or dismissed for coming out of the closet, an issue that helped elevate Harvey Milk into such an iconic leader.

 

ECHOES OF BRIGGS

Jones and Ammiano fought alongside Milk against Proposition 6 in 1978, known as the Briggs Initiative, which would have made it illegal for openly gay people to teach. Then-Sen. John Briggs and his allies associated gay teachers with child molesters and frequently said they may influence children to become gay.

“I was born of heterosexual parents, taught by heterosexual teachers in a fiercely heterosexual society,” Milk said in a speech at the time. “Then why am I homosexual if I’m affected by role models? I should’ve been a heterosexual. And no offense meant, but if teachers are going to affect you as role models, there’d be a lot of nuns running around the streets today.”

This fight may be history, but Ammiano said such biases are still with us today, such as with how some see the transgender community. “We’re holding people at bay around LGB issues, but the T part now is the crossroads for the right wing [activists] who are rolling back protections,” he said.

Only 30 US states offer employment protections for sexual orientation, and some of those only cover government employees, according to a study by Center for American Progress. Only 23 states protect against firing for gender identity.

Vulnerable teachers lacking protections granted by tenure or equal employment laws are still being fired in California and across the country. In April, a transgender Texas substitute teacher was fired for making children “uncomfortable,” according to news reports. In Glendora, California, a teacher was fired from a religious private school after a photo of he and his husband kissing on their wedding day made the local newspaper.

This month, President Barack Obama announced an Executive Order mandating federal contractors enact policies protecting workers from dismissal due to sexual orientation or gender identity. Many speculate this was announced to press Congress to pass the Employment Non-Discrimination Act, which would protect private employees from discrimination based on gender or sexual orientation.

briggs

“This is only round one,” stated Senator John Briggs to the press about the defeat of Proposition 6, Nov. 7, 1978, at a Costa Mesa hotel. Proposition 6, called the Briggs Initiative, prohibits gay teachers from working in California public schools. AP file photo by Doug Pizac

But ENDA has stalled for years, despite the best efforts of advocacy groups nationwide. And as the country awaits equality, many teachers’ last hope against unlawful dismissal is tenure. In fact, tenure laws were first drafted after the Red Scare and Sen. Joseph McCarthy’s witch-hunt for communists, California Federation of Teachers spokesperson Fred Glass told us.

Yet Olson recoils at linking LGBT rights to teacher protections. “I support wholly protections for people for who they are, for heaven’s sakes,” he told us, mentioning that Milk “was very much an inspiration and very important to us.”

And Jones still thinks of Olson as a hero, saying that life and politics are complex.

“Irony abounds,” Jones said. “I don’t square it. You can’t square it. It’s there. But my respect for Ted Olson is based on his very genuine support for our community on the issue of marriage. For LGBT people to win equalit,y it’s important there’s a national consensus, it can’t just be from the left. Ted Olson was incredibly important with that effort and will be remembered generations for now. You don’t have to like everything about Ted Olson or President Obama to acknowledge they had a profound effect.”

Jury finds Recology cheated in waste diversion bonus program

A jury has determined that Recology, San Francisco’s garbage collection contractor, was not honest with the city when it collected a bonus payment of $1.36 million for successfully diverting waste from the landfill.

Brought by a former employee, the lawsuit claims that Recology misrepresented the amount of diverted waste in order to qualify for the bonus money. This is especially significant because San Francisco is recognized nationwide as a leader in its quest to send zero waste to the landfill as an environmental goal.

Jurors deliberated for more than a week before issuing their determination, and ultimately found on June 17 that the waste management company had made a false claim and therefore must pay the city $1.36 million to compensate for the amount it improperly received.

The False Claims Act, the California law under which the suit was filed, provides that violators can be made to pay three times the amount collected under false pretenses, with interest tacked on to boot. That means Recology could ultimately wind up paying out an amount closer to $5.5 million.

Under an incentive program set up by the city, Recology may reap additional bonus profits above what it normally earns from the business of collecting and processing San Francisco customers’ trash if it effectively meets targets for keeping the trash out of the landfill, the most environmentally harmful waste disposal method. Under the program structure, Recology may withdraw this extra money from an account it maintains, containing funds derived from rates paid by garbage customers, if it meets the city’s established waste diversion targets.

The lawsuit, filed in 2010, claims Recology used several schemes to manipulate waste diversion records when it submitted records the San Francisco Department of the Environment in 2008, in order to be granted permission to withdraw the bonus money. The suit claimed this happened in three other years, too, but the jury only ruled against Recology for this one year.

The primary way this occurred, according to attorney David Anton, involved misclassifying demolition and construction waste. Under state law, ground up raw construction material that is labeled as “fines” can legally be used to cover up the top of a landfill – in order to prevent pests, fires, and odors, for example. When construction waste is ground up and used this way, it counts as “alternative daily cover” – like a layer of frosting on a giant cake of garbage – and strangely enough, the state allows waste disposal companies to count that frosting as “diverted waste” even though it’s actually part of the landfill.

The lawsuit claimed that Recology tried to count a great many tons of its construction and demolition waste as “fines” when in reality it should have been labeled just plain garbage, because the tons of stuff that they were shipping to the Solano County landfill wasn’t being processed to a fine enough grade to comply with state requirements for what constitutes “fines.”

The difference between “fines” and regular old construction and demolition waste is that for the latter, the company would have had to pay a fee to dispose of it – and would have had to count it as waste sent to the landfill, rather than waste diverted from the landfill. Had it been counted as plain old garbage, Recology would have missed its diversion targets in 2008, thus losing out on the $1.36 million bonus payment.

“The construction material that they were sending – they were telling SF was qualified to be used for this beneficial purpose at the landfill,” said Anton, “when in fact, the county and the state had said it was not qualified for it, it can’t be used that way, and it can’t be accounted that way.” He added, “Recology kept this completely secret from San Francisco.”

Recology spokesperson Eric Potashner told us the company plans to appeal this finding, because the violation Recology received in regard to the “fines” was only the start of a lengthy process. “The local enforcement agency in Solano County had questions about that material,” he said, noting that Recology went through a formal process of challenging an inspector’s assessment of the material. He said that at the end of the day Recology was never issued a cease-and-desist, nor was it made to revise company records to count it as anything other than “alternative daily cover.”

Another problem uncovered in the trial, Anton said, had to do with Recology misrepresenting tons of garbage generated in San Francisco as having originated in a different county, so that it could be counted outside the parameters of the waste diversion program. Potashner called that “an oversight” that had since been corrected, and added that it would not amount to enough to “move the needle” on hitting the diversion goals.

Finally, Anton noted, it came out in the course of the trial that somewhere between 10 and 20 percent of what residential customers chuck into their green compost bins actually winds up in the landfill at the end of the day.

Where happens to the stuff that goes in the green bin? “What we found out in this trial,” Anton said, “is that it’s sent to a place where they can compost it, but this place doesn’t necessarily make it into compost. Recology owns the composting place. And the composting place happens to be at a landfill. And it happens to be the law that a landfill has to cover the garbage that it gets every day. It’s got to cover it with dirt – six inches of dirt. Every day. A lot of landfills buy dirt to cover it – but the state allows you to … take mulch or green waste, if it’s chopped up fine, and cover a landfill with it. Well, Recology decided that they made more money and did better if they took a bunch of your green bin material, and put it on their landfill, rather than buying dirt.” As a result, he said, some of that green-bin waste “gets put in a landfill every night.”

Which really isn’t what most people would expect would happen after they’ve chucked some yard clippings into a compost bin.

When San Francisco set up the green-bin composting program, Anton said, a specific policy was created against this sort of practice. Nevertheless, “San Francisco knew that the company was doing that,” he said, and permitted it despite the formal policy because “they wanted to help out the company.”

Potashner said it is perfectly legitimate under state law for green waste to be used as alternative daily cover. “The Department of the Environment watches this, and knows we’re doing this,” Potashner said.

All of which underscores a point that Anton said he found to be somewhat confusing, or perhaps telling: “It was a very strange thing,” he said, “to be pursuing this lawsuit, trying to get money to the city, and the city’s representatives are saying, ‘we don’t want it.’”

He said he found it odd that a representitive from the San Francisco Department of the Environment, which oversees the city’s Zero Waste program, even made a statement in the course of the trial suggesting that he hoped the suit wasn’t successful.

Anton guessed that the city remained on the sidelines of this case because its “relationships with Recology are so close and tight.”

The Department of the Environment did not return the Bay Guardian’s request for comment.

Amour Vert brings its eco-friendly designs to Hayes Valley

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“Paris Chic, Cali Cool.” That’s the tagline behind the eco-friendly clothing brand Amour Vert. Usually, the people who refer to California as “Cali” are non-natives. The term implies a certain unfamiliarity with the golden state and a desire to be more ~CaLiFoRnIaN~. Yet, the slogan is fitting. Founded out of a need for clothing that doesn’t sacrifice style for sustainability, Amour Vert’s garments are created by a French designer and made within a 20 mile radius.

Until now, the Palo Alto-based brand was only available in department stores and small boutiques but Amour Vert opens its first retail store today. Nestled in the heart of Hayes Valley, at 437 Hayes, the boutique neighbors the french confectioner Chantal Guillon Macarons and clothing store Steven Alan.

Across the street is Alternative Apparel, a company with a similar commitment to sustainable fashion. But owner Linda Balti maintains that Amour Vert is very different from its neighbor. In an equally sustainable way, Alternative Apparel outsources its garments to socially-responsible factories in Peru, Vietnam, Indonesia, China and other countries around the world. Amour Vert keeps everything local, from its design studio in the Dogpatch, to the exceptional garment factories in the Bay Area, to its beautiful living wall in the Hayes Valley store.

French-German couple Balti and Christoph Frehsee conceptualized Amour Vert after reading a Newsweek article a couple years ago that named the fashion industry as the second polluter in the world.

“I was in the middle of writing a paper for my master’s,” Frehsee said at the store’s opening reception last night. (He studied environmental resources at Stanford.) Balti began researching sustainable alternatives but found that they were either unflattering (think hippie hemp dresses) or expensive, such as John Patrick and Stella McCartney. 

The Parisian designer wanted simple and elegant options to fill her wardrobe at an affordable cost, she says. At the opening reception, Balti wore an Amour Vert sleeveless green palm leaf printed jumpsuit and crisp white hightop sneakers, the epitome of French elegance. With ruffled straps and a cinched waist, the Crystal Jumpsuit is a highlight of the summer collection. This easy and feminine silhouette made of washable silk is indicative of the brand’s casual luxury. Using the finest materials available in the Bay, each garment is handmade from bamboo, silk, organic cotton, recycled polyester, linen, or wood pulp.

Amour Vert’s “Plant a T(r)ee” collection is probably its most impressive. Continuing their dedication to a cleaner environment, Balti and Frehsee have created a small line of garments made from wood pulp, where with each T-shirt purchase (ranging from $75-$135), American Forests will plant a tree in the United States. “It’s our way of directly giving back to the environment what we take from it,” said Balti. So far, they’ve planted 15,000 trees.

In the store, vibrant green and coral pieces with palm tree prints line the walls. Simple, neutral basics are also available. The “Plant a T(r)ee” is mostly comprised of marinières—the quintessentially French navy and white striped boating shirts. With muses such as Charlotte Gainsbourg and Clémence Poésy, the brand maintains a prominently French style. But the Cali vibe is not lost. A lace crop top hangs in the corner embracing the West Coast flair.

The focal point of the store however is a heart-shaped living wall — a nod to Amour Vert’s French name, which translates to “green love.” Designed by SF native, model, and philanthropist Lily Kwong, the installation is composed of small potted plants (for sale for $20) that create a big green heart in the back of the store. The local support continues with two “Made in California” chairs produced by Russell Pritchard, owner of the interior design store Zonal down the street, and board member of the Hayes Valley Neighborhood Association.

“Everyone has been very welcoming,” Frehsee said. At last night’s reception, Kwong made an appearance, and delicious snacks by Chantal Guillon Macarons and the Melt food truck were on hand for hungry partygoers. There was also Amour Vert’s signature photo booth, where a tree will be planted for every photo taken. 

The decision to open a store in Hayes Valley was very natural, Balti said. After several pop-ups in the area, the couple decided to open a permanent location in the neighborhood. The store is a lab project to them, says Frehsee — the couple got their beginnings in science, they met at a defense trade show in Abu Dhabi.

“The store is our opportunity to interact with our customers on a personal level and hear what they love most about Amour Vert,” Frehsee said. “We’re looking forward to having that direct dialogue with them.”

Frameline is underway! Plus: crooners, ping-pong champs, and more, in new movies

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Frameline 38, the San Francisco International LGBT Film Festival, kicked off last night and runs through June 29; check out our big list o’ blurbs right here. Elsewhere, Clint Eastwood directs a musical, Guy Pearce prowls the outback, a very good suburban noir emerges from the Netherlands, a documentary takes on the cost of higher education, and more! Read on for the goods (and bads). 

https://www.youtube.com/watch?v=j-VBgShBKlY

 Borgman Popping out from his underground hidey hole, narrowly escaping organized armed vigilantes — indicating an ongoing, possibly global secret battle this movie is content to leave entirely unexplained — the titular figure (Jan Bijvoet) shambles to a nearby home and demands comfort. Refused, he persists, and housewife Marina (Hadewych Minis) acquiesces — at first on the sly, as husband Richard (Jeroen Perceval) has already beaten their paunchy, disheveled, weird would-be guest. But soon Borgman is insinuating himself with the well-off suburban couple’s three children, gradually warping the family dynamic until he has everyone under his power. You’ve seen this kind of “Enigmatic stranger invades complacent bourgeoisie home, wreaks liberating and/or terrifying havoc” thing before, both in thrillers and in artier parables from Teorema (1968) to The King (2005). There is nothing wildly original about Dutch filmmaker Alex van Warmerdam’s seductive, macabre black comedy in outline, not its satire of oblivious upper-middle-class entitlement or even (perhaps especially) when the too-generous hosts and any unlucky interlopers start getting killed off one by one. You can debate Borgman’s precise point, or whether it has one at all. But there’s a tart, bracing quality to this cruel absurdist joke that is as perversely delightful as the film is utterly misanthropic. (1:53) (Dennis Harvey)

A Coffee in Berlin How do you say “mumblecore” in German? Jan Ole Gerster’s debut feature has certain arty pretensions — it’s shot in black-and-white, and scored with peppy jazz — but it’s more or less a rambling day in the life of law school dropout Niko (Tom Schilling). It happens to be the very day Niko’s golf-loving father decides to stop funding his shiftless son’s slacker lifestyle, though that crisis (which, you know, Lena Dunham built an entire HBO comedy around) receives nearly equal heft as a cutesy ongoing gimmick that sees Niko incapable of getting a cup of coffee anywhere in Berlin. Hipster ennui can be compelling if it has some underlying energy and purpose (see: 2013’s Frances Ha, to which this film has been compared), but A Coffee in Berlin comes up short on both. That said, it does offer an intriguing portrayal of Berlin — a city whose modern-chic façade barely contains the history that haunts it — and some of its supporting characters, particularly Friederike Kempter as a former schoolmate of Niko’s who has outgrown him emotionally by about one thousand percent, provide pleasant enough distractions. (1:28) (Cheryl Eddy)

Fateful Findings Oh my. With the technical sophistication of Birdemic (2008), Doris Wishman-worthy attention to superfluous detail, and the obliviousness of The Room (2008) toward any semblance of narrative or character continuity, this supernatural drama — or, uh, something like that — is making a bid to be the latest so-bad-it’s-surreal midnight movie hit. Writer-director-producer-editor-star Neil Breen, a man of many hats if no apparent talents, plays Dylan, a writer. As a child, he and friend Leah had found a mushroom that turned into a jewelry box (““Look what I found! A treasure! It’s a magical day!”), and which will come to effect their lives in ways that never make any sense whatsoever. They reunite as re-infatuated adults (Jennifer Autry now playing Leah), which is bad news for the pill-popping wife (Klara Landrat) Dylan is kinda over anyway. Meanwhile, their friends Jim (David Silva) and Amy (Victoria Valene) fight a lot, because he drinks to compensate for their nonexistent sex life, and she’s just incredibly bitchy. Eventually we realize that Dylan is working on a new book that will shockingly expose the rampant global corporate and political corruption that apparently no one has ever noticed before. The climax, which must be seen to be believed, has him triumphantly announcing these (extremely vague) revelations to the cheers of invisible thousands, while disgraced officials are seen committing suicide en masse rather than, you know, retiring to the Canary Islands. There’s a fine line between the hilarious and tortuous that is exactly where Fateful Findings lives. With its flatlined pacing, not-from-this-planet dialogue (Dylan straight facedly tells a dead body “I can’t help you outta this one”), gratuitous nudity, and curious insistence that its characters express emotions by throwing things (laptops, pieces of meat, etc.), this inscrutable vanity project is indeed unique. What it lacks to get you through the (many) boring parts is the compelling personality of a Tommy Wiseau — Breen is (like everyone here) awful, but he’s just a zero onscreen, not a fascinating weirdo. You will want to be drunk for this movie. (1:40) Clay. (Dennis Harvey)

Ivory Tower The latest “issue doc” to come down the pipeline is this very timely and incisive look at the cost of higher education from director Andrew Rossi (2011’s Page One: Inside the New York Times). Rossi is a Yale and Harvard Law grad, and he begins his film in the hallowed halls of the latter to frame the question: In the era of skyrocketing tuition, and with the student loan debt hovering at a trillion bucks, is college still worth it? The answer is left open-ended, though with the very strong suggestion that nontraditional education (including community colleges, online learning, and the Silicon Valley-spawned “uncollege” movement) is certainly something worth exploring, particularly for the non-wealthy. Along the way, we do see some positive tales (a kid from the mean streets of Cleveland gets a full-ride scholarship to Harvard; students at rural Deep Springs College follow philosophy discussions with farm work; African American women at Spelman College thrive in an empowering environment), but there’s a fair amount of cynicism here, too, with a hard look at how certain state schools are wooing deep-pocketed out-of-staters with fancy athletic stadiums, luxurious amenities, and a willingness to embrace, however unofficially, their hard-partying reputations. Segments following a student protest at New York’s Cooper Union, a formerly free school forced to consider collecting tuition after a string of financial troubles, echo Frederick Wiseman’s epic At Berkeley (2013), a thematically similar if stylistically very different work. (1:37) (Cheryl Eddy)

Jersey Boys The musical that turned the back story of Frankie Valli and the Four Seasons — the 1960s hit making machines behind upbeat doo-wop ditties like “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” and a zillion more; you will recognize all of them — into Broadway gold ascends to the big screen thanks to director Clint Eastwood, a seemingly odd choice until you consider Eastwood’s own well-documented love of music. Jersey Boys weaves a predictable tale of show biz dreams realized and then nearly dashed, with a gangster element that allows for some Goodfellas-lite action (a pre-fame Joe Pesci is a character here; he was actually from the same ‘hood, and was instrumental in the group’s formation). With songs recorded live on-set, à la 2012’s Les Misérables, there’s some spark to the musical numbers, but Eastwood’s direction is more solid than spontaneous, with zero surprises (even the big finale, clearly an attempt at a fizzy, feel-good farewell, seems familiar). Still, the cast — including Tony winner John Lloyd Young as Valli, and Christopher Walken as a sympathetic mobster — is likable, with Young in particular turning in a textured performance that speaks to his years of experience with the role. Interview with cast members Young, Michael Lomenda (who plays original Four Season Nick Massi), and Erich Bergen (as Bob Gaudio, the member who wrote most of the group’s hits), right here. (2:14) (Cheryl Eddy)

Ping Pong Summer Eighties teen flicks of the My Bodyguard (1980), smart-dweebs-beat-the-bullies ilk are paid homage in Michael Tully’s deadpan satire, which is closer in spirit to the Comedy of Lameness school whose patron saint is Napoleon Dynamite. Radley (Marcello Conte) is an average teen so excited to be spending the summer of 1985 in Ocean City, Md. with his family that he renames himself “Rad Miracle.” He acquires a new best friend in Teddy (Myles Massey), who as the whitest black kid imaginable might make even Rad look cool by comparison. However, they are both dismayed to discover the local center for video gaming and everything else they like is ruled by bigger, older, cuter, and snottier douchebag Lyle Ace (Joseph McCaughtry) and his sidekick. Only kicking Lyle’s ass at ping pong — with some help from a local weirdo (a miscast Susan Sarandon, apparently here because she’s an off screen ping pong enthusiast) — can save Rad’s wounded dignity, and the summer in general. A big step up from Tully’s odd but pointless prior Septien (2011), this has all the right stuff (including a soundtrack packed with the likes of the Fat Boys, Mary Jane Girls, New Edition, Whodini, and Night Ranger) to hilariously parody the era’s inanities. But it’s just mildly amusing — a droll attitude with lots of period detail but not much bite. (1:32) Roxie. (Dennis Harvey)

The Rover Future days have never seemed quite so bleak as they are depicted in the wild, wild Aussie west of The Rover — rendered by Animal Kingdom (2010) director David Michod, who co-wrote The Rover with Joel Edgerton. Let’s just say we’re probably not going to see any primo Burner ensembles inspired by this post-apocalyptic yarn: Michod ventures to a plausible future only a decade out, after a global economic collapse, and breaks down the brooding road trip to its hard-boiled bones, setting it in a beauteous, lawless, and unceasingly violent outback. A heist gone wrong leads a small gang of robbers to steal the car belonging to monosyllabic, ruthless mystery man Eric (Guy Pearce). The latter wants his boxy little sedan back, badly, and, in the cat and mouse game that ensues, seems willing to die for the trouble. Meanwhile, one of the gang of thieves — the slow, dreamy Rey (Robert Pattinson), who has been left to die of a gunshot wound in the dirt — turns out to be more of a survivor than anyone imagined when he tracks down the tracker hunting for his brother and cohorts. Michod seems most interested in examining and turning over the ties that bind, in a mean time, an eminently absurdist moment, when everything else has fallen away in the face of sheer survival. Cineastes, however, will appreciate the elemental, existential pleasures of this dog-eat-dog Down Under out-Western, not the least of which include the performances. Pearce’s rework of the Man With No Name exudes intention in the very forward thrust of his stance, and Pattinson breaks his cool — and the confines of typecasting — as a blubbering, babbling, thin-skinned man-child. Clad in the mystic expanses of the South Australia desert, which tip a hat to John Ford Westerns as well as scorched-earth-of-the-mind movies such as El Topo (1970) and Paris, Texas (1984), The Rover is taken to the level of tone poem by the shuddering, moaning cellos of Antony Partos’s impressive, atonal electroacoustic score. (1:42) (Kimberly Chun)

Think Like a Man Too Kevin Hart and company head to Vegas in this sequel to the 2012 hit comedy based on Steve Harvey’s best-selling relationship tome. (2:02)

Doo-wop (that thing): talking with the cast of ‘Jersey Boys’

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The backstage musical that turned the story of Frankie Valli and the Four Seasons — known for 1960s doo-wop ditties like “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” and a zillion more; you will recognize all of them — into Broadway gold ascends to the big screen Fri/20 thanks to director Clint Eastwood, a seemingly odd choice until you consider Eastwood’s own well-documented love of music. 

Jersey Boys weaves a predictable tale of show biz dreams realized and then nearly dashed, with a gangster element that allows for some Goodfellas-lite action (a pre-fame Joe Pesci is a character here; he was actually from the same ‘hood, and was instrumental in the group’s formation). With songs recorded live on-set, à la 2012’s Les Misérables, there’s some spark to the musical numbers, but Eastwood’s direction is more solid than spontaneous, with zero surprises (even the big finale, clearly an attempt at a fizzy, feel-good farewell, seems familiar). 

Still, the cast — including 2006 Tony winner John Lloyd Young as Valli, and Christopher Walken as a sympathetic mobster — is likable, with Young in particular turning in a textured performance that speaks to his years of experience with the role. I spoke with Young, Michael Lomenda (who plays original Four Season Nick Massi), and Erich Bergen (as Bob Gaudio, the member who wrote most of the group’s hits) when the trio made a recent visit to San Francisco to promote the movie.

https://www.youtube.com/watch?v=6tC1yOUvvMo

SF Bay Guardian This must be a crazy time for you guys.

John Lloyd Young It’s a very exciting time for all three of us, and including our fourth colleague Vincent Piazza [who plays Four Season co-founder Tommy DeVito]. This is our first major studio feature film, and we got to be directed by Clint Eastwood. 

SFBG Did he ever break into song on the set?

Michael Lomenda [Laughs.] It was very interesting, actually, to see him between takes trying to capture that Frankie Valli falsetto. I think it was an ongoing challenge for him the whole 38 days that we shot, to try and figure out how to manipulate his voice in that way.

JLY It was a tongue-in-cheek challenge, because it was all playful. He knew he wasn’t gonna sing like Frankie!

SFBG Few can! Though, you’ve been able to do it for several years. How do you keep your voice in shape to hit those notes?

JLY Well, you either have a falsetto or you don’t. If you have it, you just keep it in shape the same way any singer does. Obviously, singers, there’s certain things we can’t do. We can’t go out and yell all night in a bar. We shouldn’t smoke, we shouldn’t drink. The voice is very delicate. Those are very delicate muscles. Anything you do that’s not good for your body in general won’t be good for your voice. But, basically, just living a clean life. And Frankie Valli himself will tell you the same thing.

SFBG It’s interesting that you bring up clean living. I hadn’t seen the stage show, and I didn’t know much about the group before I saw the movie. But in every show-biz biopic, there’s always some kind of vice (usually drugs or booze, as in Walk the Line) that threatens to ruin the performer’s success. Here, it’s the mobster subplot — mobsters are not the typical vice.

Erich Bergen I think that’s one of the things that’s very interesting is that Frankie didn’t get into [drugs or alcohol]. That’s sort of the reason why he’s still around and he’s still on the road, because he’s been able to preserve not only his gift, but his life. Of course, he went through some harsh things in life. He went through a couple of marriages and divorces, and obviously he lost a daughter. Actually, and we don’t go into this in the movie, but he’s lost two daughters. He’s lived a very hard life. He didn’t need drugs or alcohol; that hard life came to him naturally. 

I think that’s what makes this story so interesting: we’re watching someone whose life is hitting him in the face. And we sort of identify with that. I don’t know about you, but for me personally, when I watch a lot of biopics and they start to get into the drugs and all that type of stuff — that’s where I sort of lose them a little bit, because that’s just sort of the generic story at this point. What makes Jersey Boys work is that we really connect with these guys because we identify with them. It’s written in a way that even when they’re not at their highest point, when they’re doing things that aren’t so great — especially the character of Tommy DeVito — we still root for them, and we still want them to succeed. 

SFBG The movie really shows how hard they had to work to be successful. It’s a stark contrast to the music business of today, where someone can become famous overnight thanks to a YouTube video.

EB That’s exactly what we talk about when we’re asked the question, “What makes this story so interesting?” If you look at the groups of today, whether it’s a One Direction or a Justin Bieber, before we actually know their songs, we know what they had for breakfast. But [the Four Seasons] really came at a time when you were trying to hide your real story and project out a shiny, clean image, because that’s what everyone wanted. That’s why Jersey Boys can exist today, because the story was never known. 

JLY I have a thought about that, too, which is that nowadays — without naming anyone by name — a lot of successful music acts are created as an idea in a marketing boardroom first, and then they find someone to fit that image. You know what I’m saying? It seems like the marketers are the stars nowadays. The more you can get an audience to feel there’s something really exciting there, and then get them there, then you’ve won. But when they get there and they don’t have a great experience, well, you already got their money, so who cares?

But I think at the time of Jersey Boys, to succeed you had to work really hard. There were only three networks, and there were very few print outlets. If you actually got on the cover of a magazine, or you got on a network, you made it. But you had to have something to show for it. You had to have talent, and especially that generation of Baby Boomers — the biggest generation we’ve ever had in American history. That’s a lot of people competing for which of the talented ones among them would become known. And the Four Seasons had the talent, but they also had that special, very distinctly East Coast, riveting-to-an-audience kind of thing, with that Mob connection that makes their story unique among that era of bands.

SFBG The movie makes it clear that they had to succeed, because they didn’t have anything to go back to.

ML It’s true. These guys are from the wrong side of the tracks. You have some choices. You can go in the army, you can get mobbed up, or you can become famous, as they say in the film. We also sort of say that they did two out of the three. But I think their music spoke for itself. They broke when their music had to speak for them, and that’s what made them successful.

EB The proof of that is that everyone knows these songs, but not the band. There are so many songs we don’t even get to in this movie, because we’d run out of time! That tells you how much talent they really had as performers, writers, producers — all of those things. Their catalog is endless, and yet nobody knew they were all by the same group.

JL I just saw Clint Eastwood on the Today show, and when they introduced him, they said the Four Seasons had 71 chart-topping hits. 71! I think that’s incredible for that band, coming out of that decade.

SFBG They were also commercially savvy. The songs were so catchy. No wonder people liked them.

ML I think that’s they key to why their music has stood the test of time. Maybe it’s commercially viable, and it is good pop music. But if you did a little deeper into some of the lyrics — for example, “Dawn” is one of my favorite songs, and they’re singing, “Dawn, go away, I’m no good for you, think about what the future would be with a poor guy like me…” It’s that kind of lyric that brings depth so what initially could be perceived as just pop, bubblegum music. It spoke to an audience that I think was sort of the fabric of America.

JLY Their early attempts at marketing are sort of outlined in the movie. You got [producer] Bob Crewe giving them advice on how to get their songs out there. You have Bob Gaudio figuring out how to get his songs out there. I know, and am friends with, the real Bob Gaudio, and it’s funny, he’s a hugely successful songwriter, but he almost seems more proud of his business successes than he does of his songwriting. He gets pumped by being smart in business as he gets pumped by writing a good song.

SFBG As actors, does it present a particular challenge to play a real person, a famous person, particularly if that person is still living? Or were you able to put your own stamp on the characters?

EB I think John had the most pressure out of all of us, because he’s playing someone that’s so well-known, and John can tell you about that experience. But for the rest of us, we really did invent these characters. Even though they were real people, and while we wanted to pay respect to these people, and their families, we did have the luxury of not having to play John Lennon and Paul McCartney. They’re not well-known to the public. So we did get to use our skills as actors and create characters from the ground up.

JLY One of the benefits as an actor approaching the role of Frankie, even in the beginning in the original cast, is that he is known. People know what he looks like and they know what he sounds like. He did some talk show stuff, so they kind of know how he moves. So I knew that I needed to get his physical attributes down. I needed to evoke his sound, look like him, talk like him. But outside of those physical things, the internal life of Frankie Valli, we don’t really know. We didn’t know. 

When I was researching the original Broadway show, all I could find were maybe 12 minutes of footage of him at the Museum of Television and Radio. That was, like, the year before YouTube broke, so now there’s footage of him everywhere, but I didn’t have the benefit of that. But now I have seen a lot of YouTube and everything. So I thought, as long as I get those physical characteristics down, the story of the Four Seasons, the story of Frankie Valli, is still largely unknown to audiences. So I had free reign to kind of build the psychological reality of the character using my own imagination, and the cues that I had from the script. And knowing Bob Gaudio, Frankie Valli’s real-life best friend, and the things he told me about Frankie, and knowing, of course, the man himself. 

But I didn’t feel pressure so much. The pressure I felt was to honor the people who put this movie together, which was Frankie and Bob, and to portray the character in a way that was compelling and riveting to an audience so that we’d have as successful a show as we could have. And now, I think that I feel very proud of what we’ve accomplished with this movie, and I think it’s an enhancement, actually, of what has been out there all these years, with the successful stage musical across the world. 

SFBG How true is the movie to the stage production?

ML It’s actually very similar. We were lucky to work with [screenwriters and musical authors] Marshall [Brickman] and Rick [Elice] on the film, which I think we were all very grateful for, because it meant that we didn’t have to learn too many new lines. [Laughs.] But it was great. I think when I first found out that the movie was being done, I was really concerned that the final product would be true to the stage, because the script is so fantastic. But beauty of film is that you get to flesh out certain relationships, and certain storylines. I think fans of Jersey Boys are going to love a lot of the scenes that they loved from the stage version, but they’re also going to go crazy over the other stuff, the extra stuff that is put into the film.

The stage production is directed in a very slick fashion, but logistics dictate that you have to move from scene to scene very quickly to keep up the energy going in the two-and-a-half hour show. But what Mr. Eastwood does so beautifully with this movie, and with all of his movies, is create a real environment that’s rich and tangible, that you can really sense in the theater. I think Jersey Boys fans are going to love that as well.

JYL If people love the stage show of Jersey Boys, the movie is going to give then a much deeper, more thorough, and much more detailed experience.

SFBG I did not realize, until I was reading up on the movie, that there were Jersey Boys superfans who have seen the show hundreds of times.

EB Michael and I opened the national tour of Jersey Boys in San Francisco, and six years later Michael closed that tour in the same theater. This was my first discovery with anything remotely like that. I remember seeing these fans come in over and over again. At first I thought, “What are they doing?” and “Where are they getting the money that they’re buying such great seats three times a week?” I remember I got a letter one time, we all got these letters, from a fan who said, “I know you probably think it’s crazy that I’m here all the time, but this is the first time I’ve felt happy in 10 years.”

When we get things like that, we don’t really know what to make of that. But we are so thrilled that it’s had an impact. I don’t know if it can be explained. People often ask us, “What is it about Jersey Boys that keeps people coming back?” I don’t know if I know. I don’t know if anyone knows. I know that when people come to see the show, they’re affected by it for whatever reason. It moves them, it changes them. They are really passionate about it, and we’re just sort of lucky that we got to be a part of that somehow. I don’t really know what else to say about it!

JYL I have something else to say about it, and that is: if a person has seen the stage play of Jersey Boys 100 times, let them know, please, on our behalf, that for the price of one Broadway ticket, they can see this movie 10 times! [All three laugh.] So we hope that they decide to make their investment in 10 tickets for the movie. 

SFBG What’s up next for you guys? More musicals?

ML I think we’ve all been bitten by the movie bug. To start on a Clint Eastwood set, we’ve been a bit blessed and totally spoiled. So, I think certainly, we would all like to dive further into this genre and explore it.

EB I agree. My album comes out next week, some new music that I just recorded down in Nashville, and I’m in a new series on CBS this fall called Madame Secretary. I will also be hosting lots of Jersey Boys viewing parties once the DVD comes out. [Laughs.]

JLY I have a new album that I just released, My Turn — it’s R&B hits from the 60s in my voice, not Frankie’s, and it’s on iTunes and Amazon. I’m also a recent appointee by Barack Obama to the President’s Committee on the Arts and Humanities. So I’ll be working with kids in the lowest-performing schools, re-inserting arts into their curriculum to increase their school performance and their school culture. The actor Kal Penn and I will be sharing a school district in Des Moines, Iowa. I’m really looking forward to it.

JERSEY BOYS opens Fri/20 in Bay Area theaters.