garbage

Garbage to gold: SF Dump’s new artist

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By Justin Juul

When boring people think about heaven they envision angels and wings and clouds and gold and stuff like that. Other people, cooler people you might say, imagine a world where everything is free, where alcohol flows like water, where cigarettes provide nourishment, and where orgasms last for hours. And then there are people like Paul Cesewski, a well-known Bay Area artist who’s been making bicycle-powered carnival rides, kinetic sculptures, and other weird machines for something like a decade and a half. His vision of paradise is a sprawling landfill of garbage, scrap metal, and castoff PVC tubing. What a weirdo.

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Material!

The cool thing about Cesewski’s version of heaven is that, unlike the angel and harp deal, it actually exists. It’s called the SF Dump and after years of trying, Cesewski has finally scored the Dump’s coveted artist-in-residence gig. He’s been wallowing in scrap metal, garbage, and PVC piping for the past three months and he’s about to let loose with a show. It’s only going on for two days so don’t miss the boat.

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Paul Cesweski, clownin’

Paul Cesweski
SF Dump
503 Tunnel Ave. SF.
Free
May 23 (5:00 – 9:00)
May 24 (1:00 – 5:00)

Small Business Awards 2008: Die-Hard Independent Award

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One day last August I was standing in line at my favorite local sandwich shop, Hazel’s Kitchen, chatting about boats with a guy I’d seen around the Potrero neighborhood.

Meanwhile, the owner, Leslie Goldberg, overheard our conversation while she prepped my sandwich. She asked if I was a sailor and I confirmed that yes, before wrestling deadlines at the Guardian, I hauled lines as a deckhand. I told her I missed sea life and was thinking about getting in on some local yacht club action. "If you know any hot single sailors, send them my way," I joked.

"Actually, I do," she said, smiling wryly.

This is how I met Brian and learned that a handful of happy couples in the neighborhood can testify to Goldberg’s sixth sense for matchmaking.

But the talent most patrons see is sandwich-making. Wholesome, grab-and-go comfort food is the theme of Hazel’s lunch and catering menus. Homey standards like mac and cheese and minestrone soup mingle with sandwiches of turkey and cranberries or roast beef with horseradish.

Goldberg, a Pennsylvania native, opened the sandwich shop 16 years ago with a $10,000 seed grant from another Potrero local she calls her guardian angel. The standing-room only shop serves fresh salads, soups, and sandwiches with ingredients sourced from family-owned local distributors. Produce hails from Marin Organics and the to-go containers are compostable, a move that cut her garbage bill in half.

The shop’s not named after a distant relative, but the wife of Farley, the namesake of the café next door. To Goldberg, a single mother who lived and raised her 12-year-old twins, Emma and Jake, in the apartment upstairs, being a part of the neighborhood is what it’s all about. "Every merchant, every neighbor, helped take care of my kids with me."

When asked about the challenges of being a small business in San Francisco, she immediately cites big-business competition. "When Whole Foods came it was the first time I saw such a drastic change in business," she said. She checked out the grocery chain’s new Potrero location shortly after it opened and was blown away. "Whatever you wanted, they had and it was done beautifully. No one can compete with that."

So how does Hazel’s keep up? Goldberg says the magic ingredient is service. "That’s what I do. It’s my pleasure. When people walk into Hazel’s I want them to smile and feel good."

Perhaps that’s why a couple of months after the Whole Foods grand opening she saw her business go back to normal. "What a small business really has is service and community. Those are two things Whole Foods can’t give people."

I bet it’s hard to order up hot, single sailors there too. (Amanda Witherell)

HAZEL’S KITCHEN

1319 18th St., SF

(415) 647-7941

Shelter shuffle

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EDITOR’S NOTE Guardian reporter Amanda Witherell and intern Bryan Cohen spent almost a week staying in various San Francisco homeless shelters. To get an unfiltered look at the conditions, they didn’t identify themselves as journalists, so some names in this story have been changed to protect people’s privacy. Their undercover reporting was supplemented with extensive research and on-the-record interviews with key officials, providers, and recipients of homeless services.

>>Read Amanda Witherell’s nightly shelter journals, with photos

>>Read Bryan Cohen’s nightly shelter journals, with photos

>>Homeless people share their stories

>>The mayor’s Feb. 14 press conference about homeless shelters

It’s about quarter past seven on a Thursday night, and I’m late for curfew. Not even during my wildest high school days did I have to be home by a certain time, but tonight, 29 years old and sleeping in a homeless shelter, I’m supposed to be in by 6:30 p.m.

Heading down Fifth Street toward the shelter, I wonder what I’ll do if I lose my bed for being late. Can they set me up at a different shelter? Will I have to head back to a resource center in the Tenderloin or the Mission District to wait in line for a reservation somewhere else? Either way, I could be walking the streets for the next few hours, so I adjust my heavy backpack for the journey. Waiting to cross Bryant Street, I stare up at the large, hulking building with its utilitarian name, Multi-Service Center South, and notice there are no shades on the windows in the men’s dorm. Since it’s lit from within, I can clearly see someone standing beside his cot, clad in nothing but blue plaid boxers, obviously unaware that he’s so exposed. I wonder if the windows would be shaded if it were the women’s room. Maybe that’s why we sleep in the basement.

Inside the door I shed my pack and step through the metal detector. The security guard dutifully pats it down and pushes it back into my arms. At the desk I give the last four digits of my Social Security number and am checked in. No questions about being tardy. I’m in.

I’m also late for dinner. A staffer hands me two unwrapped sandwiches from a reused bread bag under the counter. Ham, mustard, and American cheese between two pieces of cheap, sliced bread. After two days in the shelter I still haven’t seen a piece of fruit or a vegetable. I wrap the sandwiches in the newspaper under my arm and head down to my bunk. On the stairs I pass a guy and nod hello. He nods back, then calls out, "Hey, can I ask you something?"

I turn. "Sure."

"What’s a nice girl like you doing in here?"

I shrug and step back, unsure of what to say.

"I’m not trying to mess with you," he says. "I’m not fucking with you. I don’t do drugs. I’m straight. I don’t mess with anything," he goes on, trying to reassure me.

I believe him and dish it back. "Then what’s a nice guy like you doing in here?"

He laughs and shrugs. He tells me he doesn’t really stay here. It’s just for a couple of days. He lives in a $200 per week hotel in Oakland, but if he stays there more than 28 consecutive days, it becomes residential and the rates go up, so he clears out for a few days every month and comes here. The hotel’s nicer than this, he claims. It’s clean and safe, and he has his own space. "I can walk around in my underwear," he says.

We sit on the stairs, talking about how you lose all your privacy when you stay in a shelter, how the regimentation is reminiscent of prison. There are no places to go and be on your own, rest, and be quiet. Once you’re in for the night, you can’t leave except to step out for a smoke.

I ask if he has a job. He tells me he’s a chef for Google. I raise an eyebrow, recalling that the company’s stock is hovering somewhere between $600 and $700 per share right now. The pay isn’t the problem — he gets $16 an hour, but he’s been out of town for a while, caring for a sick family member, and has just returned. He got his job back, but only part-time, and he lost his home.

He’s wary of being on welfare — that’s not the way his mother raised him — but he’s in the County Adult Assistance Program, which gets him $29 every two weeks, a guaranteed bed at the shelter, and a spot on a waiting list for a single-room-occupancy hotel room, the bottom rung on the permanent-housing ladder.

What he really wants is a studio, but his searches haven’t turned up anything affordable. He needs a little boost of cash for a security deposit on an apartment, but when he asked the General Assistance Office if it could help him out with that, the answer was no.

His brow furrows with concern, and then the conversation turns to me. "You got a job?" he asks.

What can I say? I’m a reporter for a local newspaper. I’ve heard that some of the city’s homeless shelters are lacking basic standards, accessing a bed can be complicated, and services are scattered. I thought I’d come find out for myself.

Here’s what I learned: San Francisco has a cumbersome crazy quilt of programs, stitched together with waiting lists and lines. Policies that are written on paper and espoused in City Hall are often missing in shelters. Some rules don’t seem to exist until they’ve been broken. Others apply to some people, but not all. Getting a bed is a major hurdle, and I say that as a stable, able, mentally competent, sober adult.

And once you’re in, it’s sort of like sitting in a McDonald’s for too long. Years ago a friend told me the interiors of fast food restaurants are deliberately designed to make you feel a little uncomfortable. They don’t want you to get too cozy; they want you to eat and leave, making way for the next hungry mouth they can feed.

In other words, shelters are designed to make people not want to use them.

The only information I took with me was a one-page handout I got from a San Francisco Police Department Operation Outreach officer. He said it’s what cops and outreach workers give to people they come across who are sleeping on the streets. I figure if it’s good enough for them, it’s all I need to navigate the system.

The map, as it were, is a cramped, double-sided list of places to get free meals, take showers, store your stuff, sober up, and, of course, get a bed.

For the bed, it instructs, you have to go to a resource center and make a reservation. Some of the resource centers are also shelters. Some aren’t. Some are just reservation stations. They all have different operating hours and are located all over the city, but mostly in the Tenderloin and South of Market.

It takes me a while to puzzle out which ones are open, where exactly they are, then which is closest to me. Phone numbers are also listed, so I assume it’s like making a hotel reservation and dial one up on my cell phone.

The first number doesn’t work. There’s a digit missing. Dialing methodically down the list, I discover that none of the numbers connect me to a person. This is obviously not the way to go.

The way I ultimately get into a shelter is not the way you’re supposed to. In San Francisco’s system, you’re not supposed to just walk up to a homeless shelter and get a bed, but that’s what I do.

At first the woman behind the counter at MSC South tells me the only open beds are across town, at Ella Hill Hutch in the Western Addition. Then another staffer looks at the clock and says he’s not sending me out there. He’ll "drop" beds instead.

The city’s 1,182 beds for single adults are managed through an electronic database called CHANGES. It’s a modern-day improvement on people roaming from shelter to shelter everyday, putting their names on lists for possible beds. Launched in 2004, CHANGES now does that electronically and maintains profiles of people who use the system. If you’ve been kicked out of a shelter, missed your tuberculosis test, or not shown up for curfew, CHANGES knows and tells on you.

Every day around 8 p.m. shelter staff trawl through the reservations and drop the no-shows, cancellations, and reservations that have expired or whose makers have moved on to hospitals, rehab, the morgue, or — less frequently — housing.

MSC is allowed to make reservations for any shelter except itself — that’s against policy. I learn this the next morning, and I’m told it’s because there’s too much corruption and favoritism. MSC is apparently one of the better shelters, so to keep clients from cutting deals with staff, the policy doesn’t allow clients to reserve a bed there.

But after half an hour the staffer hooks me up for a two-night stay, bending the rules to do so. While I’m waiting, he turns away a client who had a seven-day bed but didn’t show up the previous night. The guard confiscates his fifth of vodka, and he gets an earful about drinking.

When the city’s shelter system was born in 1982, it was first come, first serve at the doors of churches and community centers. President Ronald Reagan’s cuts to federal domestic spending landed hard on low-income people, so then-mayor Dianne Feinstein called on local organizations to temporarily house and feed the growing number of street sleepers.

Throughout the ’80s wages stagnated while the cost of living soared: between 1978 and 1988 the average rent for a studio apartment in San Francisco jumped 183 percent — from $159 a month to $450. Twenty years later it’s $1,114. In 1978 the Housing and Urban Development budget was $83 billion. Today it’s $35.2 billion, almost nothing by federal budgetary standards, and almost no new public housing units have been built since 1996, while 100,000 have been lost.

Every year the federal government spends almost twice as much on a single attack submarine as the Department of Housing and Urban Development spends on homeless assistance. State and local governments have been left to pick up the hefty price tag.

San Francisco spends more than $200 million on homelessness, through services, financial aid, supportive housing, emergency care, and shelter beds. There are 13 city-funded shelters, four resource centers, and three reservation stations in San Francisco. The Human Services Agency spends $12.5 million per year on shelters through contracts with nonprofit managers. The Department of Public Health also manages two contracts, for a battered women’s shelter and a 24-hour drop-in center.

But it’s not enough: the nonprofits supplement operating expenses with grants and private donations and recently relied on a special allocation of $300,000 to purchase basic supplies like soap, towels, hand sanitizer, sheets, pillows, and blankets.

James Woods, a spry 51-year-old wearing a red Gap parka barely zipped over his thin, scarred chest, rattles off the places he’s lived: Detroit, Atlanta, Seattle, San Francisco, Louisville, Ky., and his hometown, Nashville, Tenn. "Out of all the cities I’ve been in, this is the only city where you have to go and make a reservation for a bed at the rescue mission all the way across the city in order to come back to the place you started," he says, jabbing the floor of MSC with his cane. "I can’t even make a reservation here for a bed here. They’ll send me across the city to another place to do that."

Woods has been pounding the pavement between MSC and the Tenderloin AIDS Resource Center for eight months. Every day around 3:30 p.m. he heads to the Tenderloin, where he gets in line for a bed. Woods has a fractured hip and arthritis, pins in his knees and feet, and hepatitis C. He’s been HIV-positive since 2002. He walks with a limp that can transform into a springy, stiff-legged canter when he chases the 27 bus down Fifth Street.

Rather than tote all of his possessions with him, he hides them in the drawer of an emergency bed at MSC, so it’s imperative that he get back there every night. Sometimes he waits hours for an MSC bed to open up.

Though Woods speaks highly of some city services, swooning a little when he mentions his doctor at the Tom Waddell Health Center, the daily bed hunt has left him exhausted and disgusted with the city. "They’ve got the program designed to run the homeless off," he says. "They have it as hard and difficult as possible for you to take a breath, take a rest, get a routine."

While a person can reserve a bed for one to seven nights and, if on General Assistance, make arrangements through a caseworker for 30- to 90-day stays, Woods has rarely been able to procure a bed for longer than one night. "Maybe twice I’ve gotten a seven-day bed," he says.

The inability to connect people with beds is not lost on city officials. Mayor Gavin Newsom’s recently hired homeless policy director, Dariush Kayhan, told me, "I really want to solve the issue of the juxtaposition of vacant beds and homeless people on the streets. That to me is untenable."

However, he only discussed the issue in terms of people who’ve chosen not to use the shelters and are sleeping in the street. To him, empty beds signify that there’s more than enough shelter for people. "At this time there’s no plan to expand any shelter beds, and I think homeless people, in many ways, many of them vote with their feet and have decided that shelter’s not for them," he said.

But the Guardian found that even if you are willing and waiting for a bed in a place where someone can presumably connect you with one, it often doesn’t happen.

According to the 2007 Homeless Count, there are 6,377 homeless people in San Francisco. The nine year-round single-adult shelters have enough beds to accommodate one-third of that population. Other emergency facilities shelter some of the overflow on a seasonal basis. The remaining homeless sleep in jails and hospitals, respite and sobering centers, parks and sidewalks.

People also pile up at Buster’s Place, the only 24-hour drop-in resource center in the city, where they slump all night in chairs, forbidden by staff to sleep on the floor.

It took Guardian writer Bryan Cohen five nights to find a spot at a shelter. He spent Jan. 20 and 21 at Buster’s waiting to see if a bed would open up. None did. According to the shelter vacancy report for those two nights, there were 108 and 164 beds set aside for men that went unfilled. On an average night this January, a month marked by cold weather and flooding rain, 196 beds were empty.

Buster’s does not have access to CHANGES but can apparently call shelters and ask about empty beds. I was at the Providence Foundation shelter one night and overheard a call come through and shelter staff tell whoever rang that no, they couldn’t bring more people here. There were four empty mats beside me.

Laura Guzman, director of the Mission Neighborhood Resource Center, said CHANGES was a breakthrough in getting people into beds, but when it was first launched in 2004, things were different. "You had a choice. Shelter of choice was much easier to achieve. Then Care Not Cash happened," she said.

Most of the city’s beds are assigned to beneficiaries of certain programs, like Swords to Ploughshares and Newsom’s signature plan Care Not Cash, or to people with mental health or substance abuse issues who have case managers.

Though beds can be turned over to the general public when they are dropped after curfew, one wonders how effectively that happens.

The challenges are worst for Latinos, refugees, and immigrants, who face language barriers and the potential hurdle of illegality.

As a result, they flood one of the few places they can get in. Dolores Street Community Services reported the second-lowest vacancy rate in January, just 5 percent. The 82-bed program hosts a waiting list and is one of the more flexible in the city — deliberately so, as many of its Latino participants have jobs or work as day laborers. Marlon Mendieta, the executive program director, says, "They have a plan and just need to save up some money to move into a place."

However, rising rents have made moving on difficult. "We have people who are basically just cycling from one shelter to another," Mendieta said. "We see some who exit our shelter, find housing, but might end up back at the shelter if rent goes up or they lose work."

Providence is one of the sparest of homeless facilities and is located in a Bayview church. Unlike at other shelters, there’s no hanging out here. When the doors open at 9:30 p.m. about 90 people with reservations are already lined up in the rain on its dark side street.

We receive one blanket apiece, and the men shuffle into the gym while I follow the other females into a smaller side room, where 12 mats are laid out on two ratty tarps. Several women immediately lie down, speechless.

The cook gives a quick blessing when plates of food arrive on two sheet pans: spaghetti, heavily dressed salad, limp green beans mixed with cooked iceberg lettuce, and a very buttery roll. It’s all heavy and slightly greasy, but also warm and a closer approximation of a square meal than any of those offered by the other shelters I’ve stayed in so far.

Moments after I finish eating the lights are turned off, even though a couple of women are still working on their meals. A shelter monitor comes through and confiscates our cups of water, saying she just refinished the floors in here and doesn’t want any spills. I notice that unlike at other shelters where I’ve stayed, none of the women here have bothered to change into pajamas. Some haven’t even removed their shoes. I follow suit, tucking my jacket under my head for a pillow and pulling the blanket around me.

When the lights come back on at 5:45 a.m., I understand why no one changed: there’s no time to get dressed. Shelter monitors enter the room, rousting sleepers with catcalls to get up and get moving. One turns on a radio, loud. They’re brisk and no-nonsense, grabbing blankets and shoving them into garbage bags, pulling mats into a stack at the edge of the room.

A woman becomes perturbed by being hustled and talks back to the shelter monitor. A verbal battle ensues, with the client picking up her mat and throwing it across the room, scattering her possessions. "What a woman, what a woman," the shelter monitor yells. "We’ll see if you get a bed here tonight."

Another staffer comes through with a toxic-smelling aerosol, which she sprays around us as we get ready to leave. The bathroom, the cleanest I’ve come across in the city’s shelter system, is still a clusterfuck as a dozen women wait to use the three toilets and two sinks. One stall has a broken door, and the only morning conversation is apologies to the occupant.

Even though the contract between Providence and the HSA says the former will provide shelter until 7 a.m., it’s a little after 6 a.m. and all 90 of us are back out on the street, rubbing sleep from our eyes, shivering in the dark dawn, and waiting for the Third Street T line. When the train comes, most of us board without paying and ride back toward the city center to get busy finding some breakfast and making preparations for where to stay tonight. I have four hours before I have to be at work.

Shucrita Jones, director of Providence, later tells me the shelter’s materials have to be cleaned up by 7 a.m. because the church is booked for other activities. "We turn the lights on at 6. The clients have at least until 6:10 to get up. We encourage everyone to be out of there by 6:15 so we can be clear of the building by 6:30," she says. To her defense, she adds that the shelter monitors often let people in earlier than the contracted time of 10 p.m. and that when the weather is particularly nasty she’ll open the doors as early as 8:30 p.m. to let people in out of the cold.

As for the discrepancy between empty mats in the shelters and people going without beds, she blames the reservation system. "CHANGES has a lot of glitches," she says. "It’s got a lot of errors the city and county [are] trying to fix."

What I witness isn’t as bad as what I hear. In the shelters everyone has a horror story — some are about how they got there, others about what’s happened to them since they arrived. Nearly all include a questionable experience with staff — from witnessing bribes for special treatment to being threatened with denial of service for complaining. Their observations echo mine: the administration and certain high-level staffers exhibit genuine concern and an ability to help when you ask, but lower-tier workers aren’t as invested in providing good service.

Tracy tells me she sent her daughter to private school and considers herself a victim of the dot-bomb era and an illegal eviction that landed them at the Hamilton Family Center. "We were given one blanket. It was filthy. It had poo on it, and, I’m not kidding, there were even pubic hairs," she says.

She describes the shelter’s intake process as similar to that of jail bookings she’s seen on television. Six days later she and her child were thrown out. No reason was given, though she’s convinced it’s because a staff member overheard her complaining about a recent incident involving another client sneaking in a gun. When she was told to leave immediately, she wasn’t informed that she had the right to appeal. So she and her daughter hastily gathered their things and hit the dark Tenderloin streets.

A grievance system exists for people who’ve been hit with denial of service, or DOS’d, the colloquial term for kicked out. But the process can take months. Shelter managers I spoke with don’t deny that stealing is rampant, favoritism exists, and complaints occur — the greatest number about staff and food.

General complaints are supposed to be handled within the shelter, though they may be copied to the city’s Shelter Monitoring Committee. The SMC submits quarterly reports to the Board of Supervisors, Mayor Newsom, and the public, which show regular instances of inconsistent and unsafe conditions, abusive treatment, and a lack of basic amenities like toilet paper, soap, and hot water.

Those reports prompted Sup. Tom Ammiano to sponsor legislation mandating standards of care for all city-funded shelters (see "Setting Standards," 1/30/08). The new law would create baseline standards and streamline a complaint and enforcement process.

According to the HSA, many of these standards are already policies included in the contracts with the nonprofits that run the shelters, requirements such as "provide access to electricity for charging cell phones."

During my stay at the Episcopal Sanctuary, I asked the shelter monitor on duty where I could plug in my cell phone and was told I couldn’t. When I asked why not, the only reply was that it’s against shelter policy. At Ella Hill Hutch Community Center, Cohen was told he could plug in but at his own risk — his unattended phone would probably be stolen.

I reviewed all of the contracts between the city and the nonprofit shelter providers, as well as the shelter training manual that’s given to staff. I was unable to find the same list of policies the HSA gave to the budget analyst. I asked HSA executive director Trent Rhorer how these policies have been communicated to the shelter staff, but he did not respond by press time.

While the ability to charge a cell phone seems relatively minor, its ramifications can be huge. The first time James Leonard met with his case manager at Next Door shelter, he knew exactly what he needed to get back on his feet: bus fare to get to and from three job interviews he’d already scheduled, a clothing voucher so he’d have something nice to wear when he got there, and a couple of dollars for the laundry facilities at the shelter. He also needed to charge his cell phone to confirm the interviews. He said he was denied all four things.

The standards of care, if passed, could improve access to those basic provisions, but some in the Mayor’s Office have balked at the estimated $1 million to $2 million price tag. The budget analyst’s final report is scheduled for release Feb. 14, in time for a Feb. 20 hearing at the Budget and Finance Committee.

Deborah Borne, medical director of the DPH’s Tom Waddell clinic, is a proponent of the standards from a public health perspective. "For me, I’m looking at decreased funding and how can I best affect the most population with what remains," she said.

Dirty shelters can help spread disease outside their four walls, as clients leave every day to use municipal services like buses, libraries, trains, and restaurants, which we all enjoy. Borne says this is something that’s been tackled by other facilities that house large numbers of people and is long overdue in the shelters.

"You can argue about whether we should or shouldn’t have shelters, but there are no city, state, or federal regulations for them. There are tons of regulations for the army, for public schools and colleges, but we put people in shelters and there’s none," she said. To her, San Francisco is on the cutting edge of care with this legislation. "I can’t wait until we do this on a state level," she said.

Kayhan said he and the mayor support the spirit of the legislation and have no problems with most of the no-cost items, but the price tag for staffing, training, and enforcement is a concern. "I think when you’re looking at how much money you’re going to spend on homelessness overall," he told us, "I would rather allocate additional resources to create another unit of housing for someone as opposed to enhancing the service model of the shelters."

Every day he’s on duty in the Tenderloin, police captain Gary Jimenez comes across homeless people — or people who seem homeless but aren’t.

"One day on Turk Street, I came by a long line of people drinking. I was walking with a Homeless Outreach Team officer, and he said he knew them all. Only about 20 percent of them were actually homeless. They don’t want to sit in their rooms drinking. We give people housing but we don’t acclimatize them, get them used to being inside. They want to do what they’ve been doing, and they go out on the streets to do it. It’s social," he said.

Larry Haynes agrees. "It’s lonely and depressing in your room," he says. He lost his Beulah Street apartment through an Ellis Act eviction and has been living in the Vincent Hotel for three years, after a nine-month stint in the shelter system. He’s a tenant representative now, advocating for improved conditions in the SROs, which still beat the shelters.

"The criticism I hear from people on the streets is that there are some good shelters but you can’t get in them," Jimenez said. "Then there are shelters that are open that you can go to, but you wouldn’t want to because they’re really bad."

He tells me he’s visited shelters but finds it difficult to get a feel for how valid the complaints are. "I can’t tell without waking up there or knowing what it’s like to be thrown out on the street at 6 a.m. in the cold when there’s nothing open," he said.

The Shelter Monitoring Committee has requested that HSA staff stay in shelters at least once to get firsthand experience, but it’s yet to receive confirmation that this has occurred. When we asked Rhorer about the policy, he said, "There are 1,800 employees who work for HSA, so there is no way of knowing if any of them have been homeless and used the shelter system."

In our first conversation, Kayhan told me he had never stayed in a shelter. In a later interview, when I asked what he thought about the public perception of the shelters, he said, "I’m just not sure that the criticism that I hear around the shelters as being dangerous hellholes — or whatever has been said — matches what I see in the shelters or what I read with respect to incident reports or what I hear at the Shelter Monitoring Committee or at the shelter directors’ meetings. So perception is reality."

"Housing first" has been Mayor Newsom’s modus operandi for handling homelessness, and it’s a good one — the idea being to stabilize people, whatever condition they’re in: drunk or sober, clean or using, ill or able, young or old, alone or with family.

The city’s 10-Year Plan to End Chronic Homelessness, released in 2004, recommended 3,000 units of supportive housing to get the chronically homeless off the streets. Kayhan confirms the Mayor’s Office of Housing is on track to meet that goal through master-leasing SROs and building or renovating new affordable units, where occupants will get supportive services.

The chronically homeless, a catchall term for folks who stick to the streets and don’t or aren’t able to use the system, have been the mayor’s target and Kayhan’s priority. This makes sense because they’re the most visible face of homelessness.

Last year’s city budget allowed a tripling of staff for the Homeless Outreach Team, which works diligently to move the most entrenched homeless off SoMa side streets and out of encampments in Golden Gate Park. A special allocation of shelter beds was set aside for them, and those who refused shelter were put directly into stabilization units in SROs, bypassing the shelter system entirely.

For some, this has been great. It’s how Leonard finally started to make some progress. He bailed on the shelters after having his possessions thrown out three times by staff and hit the streets, where HOT found him, deemed him "shelter challenged," and moved him into a stabilization unit.

"I feel almost as good today as the day before I became homeless," he tells me one afternoon in January. The Bay Area native is hoping to transition into a subsidized rental soon.

Twenty-five percent of shelter staff are required to be homeless or formerly homeless. Some shelters hire up to 80 percent. Tyler is one of them — he lives at MSC South but works for Episcopal Community Services, which runs Sanctuary, Next Door, and the Interfaith Emergency Winter Shelter Program. He shows me his pay stub to prove it, and I note that every two weeks he takes home more than I do. "Yeah, I make good money," he agrees.

He’s been looking for an apartment, but rents are high and he hasn’t found anything good. A plan to move in with a family member fell through, so he’s just hanging out on the housing wait list. "What I really want to do is see what they’re going to do for me. I’ve been on [Personal Assistance Employment Services] for six months. Where is my SRO if I can afford to pay for it? So obviously that shit doesn’t work," he says.

He’s bitter about the effect the Golden Gate Park sweeps have had on the SRO stock. "They got SROs right away," he said of the 200-plus people who were removed from the park by HOT, put into stabilization beds, and transitioned to SROs. "They took them right away ’cause Gavin had to clean that shit up," he says.

Tyler, like many people I spoke with, keeps as sharp an eye as possible on City Hall. They read the papers and have opinions informed by firsthand experience about programs like Care Not Cash. They know Kayhan is making $169,000 per year and they’re making $29 every two weeks.

One morning, coming out of the bathroom at Sanctuary, I stop to study a posting for affordable housing on a bulletin board. It’s a studio for $863 per month, more than I pay for my one-room Mission flat. The longer I stay in the shelters and the more people I talk to, the less secure I feel in my economic stability.

Ruby Windspirit has been homeless since Jan. 14, two days before I started my tour of the shelters. The 59-year-old Irish Navajo was attending school in Portland, Ore., studying photography and science, when she became ill with bone cancer. She came to San Francisco to convalesce closer to her daughter, who lives in a one-bedroom apartment in the Castro with three other people.

Windspirit knew she couldn’t stay on the couch for too long and made a reservation for a $27 per night hotel in the Tenderloin. Despite the reservation, she couldn’t get in for two days and the bed she was ultimately given was two box springs with a piece of plywood for support. The sheets were dirty. She left after two weeks and entered the shelter system. She says Next Door is "150 percent better" than the hotel. She has a bed off the floor and the extra blanket her doctor recommended, though she was scolded for trying to plug in her phone.

I try to imagine what people like Windspirit would do if there weren’t shelters. But the Ten Year Council also recommended a phasing out of shelters within four to six years, to be replaced by 24-hour crisis clinics and sobering centers.

There are 364 fewer shelter beds in San Francisco than when Newsom became mayor. This year more may go. The city is currently requesting proposals to develop 150 Otis, which serves as a temporary shelter and storage space for homeless people, into permanent supportive housing for very-low-income seniors. About 60 shelter beds will be lost.

The HSA confirmed there are currently no plans to open any more shelters in San Francisco. The last plan for a new shelter — St. Boniface — fell through, and the money that was set aside for the project still languishes in an HSA bank account. Midyear budget cuts proposed by the mayor put that money on the chopping block.

Buster’s Place is also on the list of cuts. By April 15, the only place where someone can get out of the elements at any time, day or night, could be closed for good.

Kayhan, who previously oversaw Project Homeless Connect, Newsom’s private-sector approach to the problem, agreed that shelters will always be needed. What he worries about are the people who become dependant on them and refuse housing offers, although he’s also thinking about ways that shelters could be more amenable.

"I’d like to look at the next step with Homeless Connect to try and institutionalize that in the way we do business specifically in the shelters," he said, imagining a shelter pilot of one-stop shopping for services.

But just three weeks into his new job Kayhan was reaching out to constituents to try to figure out what isn’t working. He told us, "What I’m trying to do since I came into this position is be on the street and measure the impact the system is having on those that are on the street day in and day out and try to see what part of the system isn’t working properly or needs to be resourced differently so that we don’t see homeless people, long term, on the streets."

One night at MSC, in the bathroom before bed, a young woman tells me her story while I brush my teeth and she washes off her makeup. Not too long ago she drove here from Florida to meet up with her boyfriend. They were hanging out on the street one night when a cop came by, cited him for an open container, and discovered he had a warrant. Now he’s in jail in San Rafael.

She started sleeping in her Suburban while she looked for job and a place to stay. One night while she slept, parked at Castro and Market, she was hit by a drunk driver. She lifts a hank of long blond hair and shows me a bright pink tear of stitches above her temple. An ambulance took her and the drunk to the hospital. Her totaled car was towed. When the hospital found out she had no place to go, it sent her here.

"Now I’m in a fucking homeless shelter," she says, genuinely aghast at the situation and truly lost about what to do. She has her bed for five more days.

She could get a job. She says, "I have hella references," from working in restaurants for years. She could sleep in one of her friends’ cars, but it seems like so much work: waking up in the car, going to a resource center or shelter to wash up, then going to work.

We joke about living in the shelter. "Yeah, you can come over," she imagines telling her friends. "Dinner’s at 4:30."

"You’ve got to leave by 10," I say.

"It’ll be fun. We can hang out and smoke on the patio," she says.

I don’t know what else to say, except "Good luck." I know what it’s like to chase a boyfriend to San Francisco. I remember sleeping in my car when I was 21, during a strange time between graduating from college and getting a place to live for the summer in a town where housing was tight. I think about my little sister, packing up her Subaru one day and taking off to Miami, where she didn’t know a soul. You have a little money, a lot of hope, and that youthful sense of invincibility, but sometimes it all comes down to luck.

I bid her good night, pack up my toiletries, and wipe my face with my shelter-issued towel. It smells vaguely of bleach and shit.

› amanda@sfbg.com

Bryan Cohen contributed to this report.

Careers & Ed: Branching out

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› culture@sfbg.com

Paul Donald, the founder of sustainable online retailer Branch Homes, agrees to meet me at Mission Beach Cafe. He arrives dressed in a black turtleneck sweater and smart bluish purple rimmed glasses and takes a seat at the wooden table where I’m sitting. At one point during our conversation I accidentally make a big black ink smudge on the tabletop.

"It’s heavily varnished, and we’ve got some toxic industrial cleaners that will take care of that," he says dryly.

This is clearly a joke, as everything about Branch — and Donald — is the polar opposite of varnished and toxic. In fact, the San Francisco company only carries ecofriendly, fair trade, and organic objects, clothing, and furniture, with an emphasis on local and national designers (though it has products from all over the world).

But Donald didn’t start out as a retailer, or even a sustainability advocate. His background is in design. In fact, he spent 12 years in New York and San Francisco helping craft the identities of magazines like Spy, Wired, and Sunset before founding Branch Home in 2005. Which is probably why he describes his current job this way:

"I’d like to tell people that I’m the creative director for this cool company that’s at the nexus of design and sustainability — and it just happens to be a retail store," he says, sounding slightly apologetic when he gets to the retail part. After all, when you’re used to being a hip graphic designer, perhaps the title of shopkeeper just doesn’t hold the same mystique.

So how did he get from one to the other?

SMART SHOPPING


Donald said there wasn’t a singular "aha!" moment behind Branch. Instead, the idea percolated over time. It could’ve started with his childhood in small-town Iowa, where working in cornfields during the summers inspired his love for the land and a curiosity about where food comes from. This curiosity expanded to include other everyday products when, years later, he read William McDonough and Michael Braungart’s Cradle to Cradle (North Point Press, 2002).

Then, while in his often stressful role as creative director for Sunset magazine, Donald frequently found himself shopping to relax — although he says his motives were more entertainment driven than consumption driven. But he openly celebrates the role of shopping in our lives — as a form of exploration, education, connection, and, of course, therapy.

"It’s an opportunity to discover what’s new and interesting and beautiful in the world," he says.

He also acknowledges shopping’s darker side, including the toxic materials, processes, and packaging that put our objects of desire on the shelf and our purchases’ not-so-pretty by-products: deforestation, global warming, the Great Pacific Garbage Patch (or GPGP, a plastic floe of trash floating in the ocean that’s twice the size of Texas), unfair wages, and poor working conditions.

This duality pointed toward the creation of Branch, which represents a greener, happier alternative to our society’s often blind and copious consumption. "No one wakes up and thinks, ‘I want to contribute to deforestation today,’<0x2009>" Donald says. "We’re just not brought up to think about the life cycle of the things we consume." Instead of flat-out asking people to abandon their consumptive ways (an improbability as far as Donald is concerned), Branch encourages design-savvy shoppers to get curious about whence and from what things come. "We can’t consume our way to a better world, but we can be more considerate about what we buy," he says.

That’s why each item Branch sells, from stuffed animals to kitchenware, comes with its own story — what it’s made from, how and where it’s made, and who made it — on the Web site and on printed cards that are included in each package. This helps to create another point of connection between object and buyer and furthers Branch’s goal of educating consumers about sustainability, something that’s close to Donald’s heart.

But even people who don’t read all the stories that come with the products can rest assured that Donald, in his dual role as Branch’s curator and art director, has already made a lot of the hard choices for them. Branch offers a well-edited collection of products that are also manufactured and brought to market in such a way that its customers don’t have to feel guilty about buying — or, eventually, disposing of — them.

In addition to the Web site, Donald’s original plan involved opening a physical store with an adjacent café that would serve locally and sustainably grown foods. After a few bids fell through right around Thanksgiving of 2005, it dawned on Donald that he had a bunch of inventory on the way and no place to display it. He decided to launch the site first and deal with the rest after the holidays. At the time there were no other stores like Branch, and it found popularity online through blogs and word of mouth. When sustainable design hit the mainstream a little over a year later, Branch had an advantage over new competition as an already established brand. Plus, more exposure and increased visibility meant increased sales.

With zero retail or customer service experience (Branch is his first job that involves interacting directly with the public) and no formal business background, Donald says he was lucky to learn the ropes online, without the albatross of a physical retail space — not to mention a café, something with which he has even less experience. With just a single focus, Donald found he was less in the spotlight, and the growing pains weren’t so extreme. He likens his role at Branch to being a single parent and admits he’ll always choose thinking about branding and design above burying himself in a spreadsheet.

He still longs for a storefront in San Francisco, and if all goes according to plan, there may be a Los Angeles and a New York Branch in the not-so-distant future.

BEAUTIFUL AND SUSTAINABLE


A self-described design snob, Donald says he’s only interested in working with objects that are both beautiful and sustainable. "To make any kind of real impact we need to reach a broad audience," he says. "Tie-dye and hemp sandals aren’t going to do this." Branch is successful largely because it caters to anyone who appreciates good design — green or not. It educates unsuspecting browsers when their guards are down — when they’re relaxed and curious. Donald avoids loaded labels like environmentalist and opts instead for the more friendly moniker of thoughtful citizen to describe himself and the people he’s targeting. "In the same way I try not to be preachy about Branch, I try not to use preachy words," he says.

Ultimately, he would like to see more designers take the green road. (He’s currently on the lookout for affordable, everyday, sustainable tableware, which so far has proved difficult to source.) Donald is also working to expand Branch’s offerings to include things that make it easier for people to live a more sustainable lifestyle, such as power strips with easy-to-reach on-off switches and reusable shopping bags.

In fall 2006, Branch partnered with the California College of the Arts and became a client for its wood furniture class, which required students to neither create furniture nor use wood as a material. "Leave it to an art school," Donald says. The assignment was to design a sustainable product for Branch. The final designs were exhibited in a show at the end of the semester — and a few have been earmarked for possible future production for Branch. Each student was forced to grapple with the challenges of sustainability, but even more significant for Donald, many commented that their involvement in the Branch project had already begun to influence their approach to their other work. "Designers have so much power," Donald says. "And the best way to solve a problem is to not create one in the first place."

Donald is keen on helping designers establish more sustainable practices, which sometimes results in an exclusive product line for Branch. For example, designer Derrick Chen of Urbana Design modified his popular resin-coated bent-plywood tray by creating a cork-topped version — an item that has proved hugely popular in its sustainable iteration.

But for all of its cool, Earth-friendly appeal, Branch is still competing in a price-driven world dominated by the cheap and clever designs of Target and IKEA. "There’s a big difference between getting the message and shelling out an additional 10 to 20 percent more for a sustainable product," Donald says. To his mind, it’s going to be a long time before the Target shopper starts asking the tough questions. "We’re like dogs," he says. "We need to have our noses rubbed in it before we’ll change."
Visit Branch at www.branchhome.com.

Consumerist crap for the holidays

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› annalee@techsploitation.com

TECHSPLOITATION For the holidays, I don’t want to do something nice for the earth. I don’t want to buy special laptops loaded with Western video games and imagery for kids in Africa without computers. I don’t want to get handmade iPod covers from the Etsy online store that nurtures local craftspeople. And I don’t want to go off-line for a day to commune with people in the real world.

I want toxic Chinese toys covered with paint that will make me hallucinate. I want a sparkly-crap mobile phone that will break within a week and turn into circuit-board garbage that cannot be recycled and will therefore be shipped to developing countries where it will be hacked and resold. I want a media device that’s wrapped in so many layers of plastic and nonrecyclable material that the very act of opening it is like smashing my carbon footprint onto the face of Mother Earth. I want a useless gizmo mass-produced by machines that stole jobs from nonunionized workers who stole jobs from the natives.

In short, I want a Nintendo Wii.

It’s the biggest-selling video game console ever, and it’s made from so much biosphere-destroying garbage that I’ll be scrubbing methane out of the air for the rest of my life to make up for even thinking about owning one. Plus, Wii controllers are motion sensitive, which means they strap onto your body. Every time I use my Wii — which, I would like to underscore, I do not yet own — I will be turning myself into a literal extension of my machine.

Do you hear that, hippies? I want to strap electronics to my body and trance out to violent imagery while I wave my arms around, killing imaginary things. That’s what I want to do for the holidays.

But the Wii isn’t just a consumer electronics death monster. It’s also something I think everyone should own or at least try out, because it truly represents the future of technology. The fact that people can now interact with a video game simply by waving their arms — and the video game "sees" the waving and responds to it onscreen — is revolutionary. There’s a good reason why Wiis are popular with people of all ages, unlike most game systems. They respond to natural human movement rather than force people to learn elaborate combinations of buttons and knobs on bizarrely shaped controllers. The Wii is a machine made for humans.

Already those humans are figuring out ways to repurpose the Wii and make it work with other kinds of devices. There’s a Wii DJ (called, of course, WiiJ) who uses his Wii controllers to cue up and mix tracks on a computer. Somebody else is using a Wii controller to operate Bluetooth devices. And so on. The point is, the Wii is cool not because it’s a video game system but because it’s introduced a new way of interacting with computers. If you want to know what a home computer setup will look like in 10 years, play with a Wii. Your mouse will soon be replaced with a motion-based setup. You’ll point with your finger and click by tapping two fingers together. Or by saying click.

I don’t mean to romanticize the Wii, because it is, after all, just another thing with built-in obsolescence. It’s a toy you’ll throw away without thinking, consigning it to an unknowable half-life as indigestible silicon shards. It sucks when great future innovations are doomed to become garbage that may last longer than the benefits of the innovation itself.

But if the holidays are a time of reflecting on the past and the future, you might as well hang out with your friends and play Guitar Hero on the Wii. After all, donating to cool charities and supporting local artists is something you should be doing all year. You should buy a cute present for your sweetie from Etsy when it strikes your fancy, not just when the capitalist juggernaut tells you to. And, of course, you should never be off-line for a day. That’s just taking things too far.

Annalee Newitz is a surly media nerd who will be online for the next 50 years.

Pollution for truth? Egads!

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By Benedict Sinclair

SF Tea Party for 9/11 Truth
Dec. 16, 1pm
Pier 39
415-451-8102
www.communitycurrency.org

Hoo, boy — here come the truth fetishists. They’re still groping away at that mirage in the distance where we all get to know what actually happened on 9/11, who was behind it, and how to claim the tragedy for political means in order to replace one lame duck for another in that most outmoded of positions, “American president”. The Boston Tea Party is slated to become another terribly misused reference to successful protest in this, its 234th anniversary, as activists try to gather angry Americans not sold on the media’s representation of the World Trade Center bombings at both Bostonian and San Franciscan docks. Attendants are asked to dress in colonial attire—preferably from the late 18th Century (leave the pith helmet at home, Grandpa)—and to bring fifes and drums, presumably for their distracting novelty value.

tparty.jpg
Not exactly recycling, but ….

“Proclamations” will be made denouncing such garbage as the 9/11 Commission Report, PATRIOT Act, Military Commissions Act, and just the broad, general notion of all-around tyranny. “Genuine” investigation, accountability and impeachment will be called for. The final act of protest will be a mass dumping of cardboard and bleached paper—a series of large, corny replicas of the actual published work being protested—into that precious natural resource: the San Francisco Bay. At least they could make ash of the boxes first, like they’re doing in Milwaukee, and in a slightly more tasteful and harmless move stick to dumping spent carbon instead.

Yes, let’s all wheel a bunch of junk effigies down to the bay and dump them in the water in a game of dress-up, all on the basis that errors can be found in each account given on the attacks, which isn’t exactly the most surprising turn of events since the trial in Rashomon.

Butterflies

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› le_chicken_farmer@yahoo.com

CHEAP EATS In the picture she is wearing a loose white gown, and her hair is white, and so are her eyebrows. In one hand, in her lap, she is clutching a white handkerchief, and upon the middle finger of her other hand, a monarch butterfly has landed. My grandmother is holding this butterfly to her puckered lips, as if to kiss it.

We didn’t want her to have a heart attack, so I would wear jeans and a loose T-shirt and put my hair in a pony tail. What we talked about was chickens. On the phone, in person … chickens. I considered naming myself after her. I did name one of my chickens after her. But I never "came out" to my Grandma Rubino.

I was thinking about this the other day in a Dumpster.

You do know I’m a Dumpster diva, right? And I say diva not because I tend to be more elegantly dressed than most of my fellow divers — although I do, to the amusement of many a construction worker — but because I tend to sing while I work. If I’m not wrangling out the words to one of my own original, lighthearted compositions, such as "The Absolute Nothing Blues," "I’m Pretty Scared Right Now," or "Agent of Entropy," then I’m mimicking something I halfway remember and in no way understand from Madame Butterfly.

Io credo a lasagna / E la grande soil / Senza chili con carne piangere taaaaaannnnnnto!!! . . . for example. I belt it out.

My new car, by the way, is a pickup truck. I know this to be true, even though it’s shaped like a station wagon, because I have already hauled a load of scrap wood and a lot of garbage in it. I drove it to West Oakland and then took a train to Pittsburgh, Pa. Moonpie was getting married.

She’s my oldest friend in the whole wide world, and a lot of my other oldest friends in the whole wide world would be there, including Shortribs, Bikkets, and Nada. Haywire, who lives in Pittsburgh, was out of town.

It was probably the best-written wedding ever, full of poetry and poets, and held on the top floor of a downtown artist’s studio. Me and Bikkets made the music, on steel drum and violin. The cat who married them was the most qualified marrier I ever heard of: not a minister, nor a priest, nor a justice of the peace, nor a ship’s captain, but a poet. The families just had to deal. And did, quite nicely.

I wear hand-me-downs and shop, if I shop, at thrift stores. I don’t know about fashion, or etiquette, so I called Moonpie a week ago or so, while I was still in the woods, packing, for permission.

"Moonpie," I said, "can I wear all black to your wedding?"

This was before I knew I’d be attending a funeral as well. I didn’t find that out until I was already on the train.

"Whatever makes you feel beautiful," Moonpie said.

Nor did I know that Bikkets would wear all black, and the three writers who read things. Even the Poet of the Peace: all black, even his tie. The bride wore whatever. It didn’t matter. Against a night sky like us, the Moon was going to shine.

After the wedding, after the reception, me and cousin Choo-Choo went to Moonpie’s new house, where we were staying with Nada and Shortribs. Moonpie and her man were off somewhere, so I got to sleep in their bed.

More important, I got to raid their refrigerator. The night before there had been a calzone and pizza party, and all I could think about before, during, and after the wedding dinner, was midnight snacking on last night’s leftovers. There had been a particularly excellent hot sausage calzone, which was for some reason not popular.

I knew there was a lot left, and I scoured their refrigerator but couldn’t find it. Shortribs and Nada had slept there the night before too. I asked and Nada admitted, a little sheepishly (but not sheepishly enough), that she’d thrown it all away that morning. "It sat out overnight," she said.

There was a huge Hefty garbage bag right there, and, in my wedding best, a butterfly in black, I dove in. I am my grandmother’s granddaughter. I have survived the Great Depression — and a lot of littler, not-so-great ones too. Like a lot of my family, I eat compost. I eat garbage.

I hold my grandma’s pretty picture to my own puckered lips and whisper to it. "I lied," I say.

She whispers back, "How are the chickens?"

Remantling

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› le_chicken_farmer@yahoo.com

CHEAP EATS I’m back in the woods! To get here I had to ask my ex-pickup truck one last favor: get me there. Here. It was the middle of the night. We were loaded down with all of my clothes and musical instruments, and I was singing (a capella, of course) that old World War II song "Coming In on a Wing and a Prayer."

Remember: my car dies every now and again for no good reason and stays dead for an hour or more at a time. First gear had been hit-or-miss for many months, then mostly miss. By the night in question it was a distant memory. But this was new: every time I turned on a turn signal the headlights went out, and I had to jiggle the doodad to get them back, in most cases before I killed any road signs or had a heart attack.

I patted my old ex-truck on the dashboard. "Come on, baby," I said. "We’re not into the woods yet."

It’s been a long time since I stopped all the way at a stop sign. Now I couldn’t signal my turns either. I’d gotten a hot dog in Petaluma, at a 7-Eleven, because nothing else was open and the last thing in the world I needed was to be pulled over by the cops on an empty stomach.

Before you get to the woods there are miles and miles of farmland. Small farms. In the daytime it’s bucolically beautiful. At night you can feel the weight of your own death, as real as the smell of cow shit. Mostly the farms are dairy farms.

The roads there are what I aspire to be: dark and curvaceous. There was a hot dog in my lap. Right when I started to lose my AM radio signal I felt a chill, so I turned on the heater, and the headlights went out.

I jiggled the heater thingy, and when that didn’t work I joggled the turn signal doodad, and when that didn’t work either I slammed on the brakes. The road was there, but I sure as hell couldn’t see it. The car stopped before hitting anything, but it stalled.

Then the lights came on. I was in the breakdown lane on the wrong side of the road. There were some cows on the other side of a fence, looking at me like I was flying saucers. I turned off the headlights, turned the key in the ignition, and it started. I tried to turn on the headlights, and the headlights came on.

OK. I was going to go the rest of the way without touching a thing, except the steering wheel and the shifter. And my hot dog. It was loaded with salsa, hot peppers, and pickles, most of which wound up in my hair and skirt.

If I’d known that my subletter had left behind a can of chili and a can of beans, I’d have saved the hot dog too for later. Of course, if I’d known that he’d also left behind three months plus of dirty dishes, a lot of little red beard hairs in the bathroom sink, and a good, thick carpeting of garbage across the wood floor of my shack, I’d have turned around and gone back to the city and put off my homecoming, or shackcoming, for another week or month. Or whatever, just so it was daytime when I arrived.

I told you I was dismantled. Well, I’m remantling. First things first: I made it back into the woods. For the first time since the end of June, I was home. There was the hammock, the bathtub, the chicken coop. The mess.

Second thing second, late afternoon the next day, while I was scrubbing and painting and vacuuming and scraping, Mountain Sam came over in Mountain Veronica’s car and gave it to me. I use the word gave because it makes them out to be exactly as heroic and generous and beautiful as these two are, but the journalistic fact is that they bartered it to me in exchange for services to be rendered later. I have to caretake their place and yard and hot tub while they are, indefinitely, somewhere else.

Sound nebulous? It is! Especially compared to a car. A less-than-10-years-old one, at that. Which is a first for me. Working horn, headlights, everything. How often does that happen? First gear …

As if I weren’t already blown away, there was more. They threw in sandwiches. Mountain Veronica had made us sandwiches, and Mountain Sam and I sat outside my old shack, in front of my new car, eating sandwiches and drinking sweet tea out of jars. *

Rat with wings

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SEVENTIES FLASHBACK The ’60s were all about changing society. When that didn’t pan out, the ’70s went all inwardly focused, pursuing pleasure and spirituality. Both goals frequently commingled as fads, cults, and pop religio-psych fixes. The Age of Aquarius dawned no more: Planet Self-Help was rising, and exotic waves washed across the shore of American consciousness.

Perhaps nothing in that era’s landscape of seekerdom spread its populist wings farther — or became a more dated Me Decade punch line — than Jonathan Livingston Seagull. Richard Bach’s precious wee tome (of fewer than 10,000 words, stretched to book length by Russell Munson’s black-and-white aviary photos) was first issued in 1970 by Macmillan after numerous other publishers passed. This little-being-that-could tale is about a "one-in-a-million bird" who yearns to transcend his garbage-eating tribe by flying for the pure joy and challenge of it. Expelled from this group, he’s taken in by gull teachers operating on a "higher plane" and ultimately graduates to "working on love" with his original, dumbly materialist flock, which needs schooling the most. It’s kinda Zen, albeit with Western appeal in that the seeker is granted special FasTrak-to-enlightenment status: "You, Jon, learned so much at one time that you didn’t have to go through a thousand lives to reach this one," one teacher tells our protagonist. So Anakin Skywalker!

With collegians steeped in Herman Hesse and Carlos Castaneda fanning the flame, Seagull became a phenomenon, surpassing Gone with the Wind‘s hardcover-sales record. It topped the New York Times‘ best-seller list for 38 weeks and was translated into umpteen languages (my thrift-shop edition is English-Korean). It inspired a ballet, a spoken word record by "MacArthur Park" crooner Richard Harris, myriad parodies, and a cameo appearance on Brady Bunch daddy Mike’s bedside table. Could a movie version possibly miss?

Oh yes, it could: thanks to Paramount Home Video, the single most ridiculed flop of 1973 is newly out on DVD. Like most such whipping posts (Heaven’s Gate, Inchon, etc.), it’s not nearly as bad as its reputation suggests. Still, some cringing is appropriate. Much is Bach’s fault, even though he sued Paramount over minor textual deviations. The pompous parable and sentiments behind lines like "There’s got to be more to life than fighting for fish heads!" remained all his. Lit crits carped well before film reviews dug a deeper hole. One called the book "a mishmash of Boy Scout–Khalil Gibran–Horatio Alger doing Antoine de Saint-Exupéry spouting the Qur’an as translated by Bob Dylan." But full shit-storm blame rested on the decision by the producers and director Hall Bartlett to visualize a live-action narrative starring actual gulls (controlled on set by radar signals) with dubbed Hollywood actors’ voices.

Painfully whisper-intense James Franciscus "beaked" Jonathan. Richard Crenna, Hal Holbrook, Dorothy McGuire, and Nanny and the Professor‘s Juliet Mills were other seagull ventriloquists. Perhaps evocative, simple animation à la 1971 AMC Movie of the Week classic The Point (which had music by Harry Nilsson) would have been a better path. Bartlett (his career a casualty) went on a promotional tour with "star" birds, creating a truly shitty situation in hotel rooms nationwide. That didn’t help to choke back reviewers’ laughter or massive public indifference. Nobody denied Jack Couffer’s stunning, Oscar-nominated cinematography. And Neil Diamond’s original song score — soaring or insipid, choose yer side — took on a commercial life of its own.

But the film was doomed. A second version, replacing dialogue with Sir Lawrence Olivier’s narration, was released. But when a movie’s already branded a dud, such salvage tactics never work. This screen Seagull lives on as a fabled crapsterpiece, designated "Golden Turkey" by the likes of future conservative art warden Michael Medved. Aviator turned novelist turned sage Bach found his audience shrinking, though a faithful core remains, which now forgives and even appreciates the movie he disowned. These days Love Story, Erich von Däniken (of Chariots of the Gods?), and pet rocks have little noncamp residual value. But Jonathan Livingston Seagull is still in print.

Scavenging’s new spirit

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› culture@sfbg.com

>>Click here to check out our Style 2007 Guide

It’s a warm September night, and I’m standing in a crowded art gallery in South San Francisco, staring at a metal octopus that moves its tentacles when you press a button. In many ways, it’s like every other reception I’ve been to: a table with snacks and wine, a healthy feeling of snobbery in the air, and a swath of hipsters blocking my view of everything. But as I walk around I notice some differences. The smell of decomposing flesh, the sound of heavy machinery, the walk-in "free shed," dozens of trash cans, and the mounds of refuse on the horizon all suggest that I’m standing in the middle of a landfill. Which, well, I am. It’s the site of the art exhibition "Waste Deep," by Nemo Gould, the San Francisco Dump’s artist in residence. And what’s most striking? I feel completely at home.

After spending most of September with junk collectors, vintage clothing nerds, and art diggers, I’m now completely accustomed to wallowing in trash and noticing freebies. For example, before driving to the SF Dump this evening I ate free baked goods at the X-rated Cake Gallery in SoMa, scrounged through leftovers at an estate sale in Bernal Heights, and knocked back pints of free Pabst at Broken Record in the Excelsior.

Yes, friends, I have become a bona fide freeloader. But like my newfound partners in grime I shun the connotations of the term. I choose instead to see myself as a sort of hip cultural revolutionary, one of the loose band of entrepreneurs and artists I’ve met over the past month who shamelessly revel in their personal gain because, at the end of the day, they know they’re "working" for a good cause. Not only are we getting a lot of cool free shit, but we’re also helping to transform the traditional hippy-dippy recycle-reuse-redistribute ethos into something more refreshing.

The freestyle movement is growing. Freeganism, a ragtag philosophy of cost-free living in a gift economy, has gained some national attention of late — especially in these economically challenging times — and the freegan ethos incubated in San Francisco, where groups like the Diggers gave away food during the ’60s. This city knows a thing or two about priceless give-and-take. And thanks to the freegan types I’ve been hanging out with, I now look at scavenging as an art form, a party, and a necessary lifestyle, one that has more to do with fashion, art, music, booze, and friendly competition than with fighting world hunger, globalization, or the war machine. Oh, most scavengers are concerned with all of that too, but creating awareness (about irresponsible consumption and the effects of wastefulness on the environment and humanity) is the fortunate by-product of the lifestyle, rather than its focus — which is, of course, copping free stuff.

THRIFTY EYE FOR THE HIP GUY


My journey from a life spent paying to consume to one consumed by the pursuit of freebies began two years ago, when I moved into a new building in the Mission. My neighbor was Aaron Schirmer — a reclusive artist who lives in a world of secondhand designer denim, seminew Macintosh computers, and used sound systems — whom I’d occasionally run into on my way to buy cigarettes and Jim Beam. Usually we’d smile and nod. But one day while he sat smoking on the stoop, he flagged me down. "Check out what I found today," he said.

At his side sat a large bag of American Apparel man panties and a crate of old-school electro cassettes. When I asked where they’d come from, he rambled on about free markets, dumpsters, and swap meets. Then he stopped abruptly, fished for the keys to his house, and said, "Here, I’ll show you."

I followed him into a hallway lined with half-finished paintings and strategically cracked mirrors, through a ’50s-style kitchen, and into his living room. In the corner, beneath a dangling gold and green Eames-style lamp, sat a 50-inch color television. His bedroom walls were lined with random bric-a-brac and outsider art, and his couch was a row of velvet-lined theater seats. Schirmer spread his arms and did his best Vanna White. "Here it is," he said. "I found all of this shit on the streets. People leave piles everywhere, and I just roam around all day and pick through them."

I quickly fell into a routine with Schirmer, a retired world-traveling DJ who now spends his days spinning rare records, tending his garden, and scavenging. I would come over to his house after work, crack a beer, and check out his finds, occasionally claiming certain items for myself. We’d then scroll through the Free section on Craigslist to devise a tentative map for the following day’s scavenge. I rarely had time to join him on his daily hunts, but I quickly learned that the free pot is virtually bottomless. And I was hooked.

These days I roam the neighborhood (corporate dumpsters are always a good bet) or scour the Internet anytime I need something. On my most recent search I found a stuffed bunny, a six-foot-tall stack of records, a pair of cowboy boots, and — I shit you not — Sharon Stone’s old couch. But I’m no expert. Anyone can search a Web site, but it takes a true connoisseur, someone like Kelly Malone, to build a business from scavenging.

FREE-MARKET ECONOMY


Malone, cofounder of the Mission Indie Mart, spent 10 years climbing the retail ladder at places like the Gap and Limited until she worked her way up to a glamorous life as a traveling designer. But then tragedy struck — in the form of ovarian cancer and its debilitating treatment process — and she had to quit. After spending the first few days of her indefinite vacation watching television, drinking too much at the Phone Booth, and watching old movies, she decided to revisit an old hobby: scavenging. "I just started over and kept positive," Malone said. "When I wasn’t sick from the chemo, I was trash-picking for cool stuff to sew and reconstruct." Malone began meticulously scouring estate sales, flea markets, and garage sales for that perfect owl clock or a one-of-a-kind sundress. She also got into interior and exterior design, grabbing spare paint and building materials off the streets, then enlisting her friends to help construct a backyard oasis.

Soon, though, Malone’s home had morphed into a retro junk museum. Her backyard was now dotted with old benches, barbecue grills, sculptures, and a sound system. Clothes were spilling out all over the place, and she had enough paint to cover a mansion. It was time to expand.

Malone began taking her stuff down to the flea market in South San Francisco. She set up a booth with music and goodies, offered free beer and hot dogs to friends, and spent whole weekends selling dolled-up vintage goods and making friends with others who did the same. It was there that she struck up a business relationship with Charles Hurbert, a public relations representative at a marketing firm who has a penchant for outsider art and found fashion. Soon Malone and Hurbert combined forces and decided to look beyond sanctioned venues. Malone’s backyard beckoned. The Mission Indie Mart was born.

The first mart went off without a hitch. Malone and Hurbert invited swap meet–interested friends to set up booths in Malone’s backyard. Cheapo flyers were designed, beer was purchased and resold at cost, and reimagined found apparel was offered for sale. It was a thrifty one-off that felt like an illegal rave, and people loved it. Mission District locals swarmed Malone’s backyard and nearly bought up her entire inventory. When she held it again the next month, the mart was even more successful and attracted more people — so many that her landlord threatened to evict her. So Malone sought sponsors and a new venue. The next Mission Indie Mart will be at 12 Galaxies and will feature a set by DJ Lovedust, extremely cheap Stella Artois, and an even bigger collection of vendors.

The mart’s success suggests that this model benefits its founders, who make some income from the event, and attendees, who get cheap goods, as much as it does San Francisco’s thriving community of independent designers, vintage-clothing dealers, and the recycling-scavenging movement in general. Malone and Hurbert are proving again that with a little effort and creativity, free shit can be turned into gold.

FRUGAL PHILANTHROPY


That’s also what Jason Lewis and Monica Hernandez, the founders of SwapSF, are doing at CELLspace — but for them the party and the product are more important than the money.

The couple started SwapSF a few years ago as a way to poach their friends’ unwanted apparel. "I had this friend who owned like a million pairs of limited-edition sneakers that he never wore," Lewis said. "The swap idea started as a way for me to get my hands on some of them." So Hernandez and Lewis, who have been throwing events since they met at a party five years ago, did what came naturally: they drew up a flyer, bought a bunch of cheap beer and pizza, and invited their friends to get down.

The idea has taken off, as I witnessed Sept. 22 when I threw a few shirts, a pair of pants, and some old hats in a bag and pedaled down to Bryant and 18th Street to volunteer at their recent event, the Most Hyperbolically Stupendous Clothing Swap Ever. It was to be a win-win situation: a little time in exchange for first dibs at free clothes. I arrived at CELLspace at 11 a.m. to find a DJ spinning downtempo hip-hop, a handful of kids sorting through bags, and Hernandez, who greeted me with a smile, a name badge, and a beer. I’d envisioned spending a leisurely afternoon sipping beer provided by Trumer Pilsner (the event sponsor) with about a hundred other scavengers, and the day seemed to be turning out that way.

But neither I nor the organizers were quite prepared for the four-hour clusterfuck that awaited us. Soon the volunteers were drowning in a mile-high volcano of pants, shirts, scarves, and underwear. By noon, the event’s official start time, a line wound around 19th Street. At 12:30 p.m. the place was packed. It was as if every hipster in the Mission had gotten wind of an opportunity for free music, beer, and dancing and had gathered up their unwanted clothes to join the party — a party that happened to result in free clothing for charity organizations like A Woman’s Place, the AIDS Emergency Fund, and San Francisco General Hospital.

FREE YOUR MIND


Since starting in Lewis and Hernandez’s apartment and then relocating, the SwapSF event has become so popular that it’s getting hard to handle. Even the duo have been surprised by its sudden and exponential growth. It seems that by using sarcastic graphic design on their flyers, guerrilla promotion techniques (word of mouth, stickers, blogs, etc.), and a refrigerator full of beer, Hernandez and Lewis have tapped into a new way to market charity events to a community of self-obsessed hipsters. Like Malone, the SwapSF duo see something wrong with the way our culture consumes and wastes, but they’re reluctant to jump on a soapbox — or even stand close to one.

Which may be why their parties have been garnering more attention and support than have the more traditional free markets that have been held across the nation for years. Malone and her contemporaries are creating awareness with no pretenses, no preaching, and no Hacky Sack–playing hippies. They are nurturing a world of gift exchange that speaks to a new generation of recyclers who enjoy the selfish thrills of scoring, a good party, and daytime drinking more than — or at least as much as — the satisfaction people find in collective self-sacrifice and charity.

Even San Francisco Dump artist Nemo Gould isn’t making his garbage art purely, or even mostly, as a political statement. "By virtue of it being made out of garbage, my art does make a statement about waste and overconsumption," Gould said. "But that’s not what it’s really about." Although Gould sees the danger in the complex environmental situations that create places like the SF Dump, his desire to work there had more to do with personal satisfaction than with changing the world. The dump’s Artist in Residence Program offers one of the most coveted positions in the city because it guarantees lifelong access to free garbage.

"There’s a scavenger spirit," Gould said. "Whoever has it is compelled to collect. Whatever comes after that is up to the scavenger."

The scavenger spirit is currently creating a subculture. Like skateboarders who view the city’s byways as a concrete playground, the new breed of scavengers looks at the urban environment from a different perspective. In their eyes the streets of San Francisco are aisles in a seven-mile-by-seven-mile warehouse of free shit. Their primary goal is to decorate their homes with one-of-a-kind furniture, dress their bodies in fly gear, and pad their pocketbooks, all while avoiding overdraft charges and, on the side, helping to generate awareness. In their separate and edgy styles, Gould, Malone, Hernandez, Lewis, and Schirmer have managed to turn this spirit into a lifestyle that doesn’t alienate people with its self-righteousness. I mean, everyone wants free shit, right? Who can’t relate to that?

THE (FREE) SHIT LIST

There’s a fine line between scavenging to make a statement and being a straight-up freeloader. Luckily, it’s up to the individual to decide exactly where that line is drawn. Here are some resources for learning more about the score.

FREEGAN.INFO


Information about strategies for sustainable living beyond capitalism; includes freegan hot spots in San Francisco.

freegan.info/?page=SanFrancisco

REALLY, REALLY FREE MARKET


A monthly alternate-economy festival and a really good place to get rid of your old stuff.

www.reallyreallyfree.org

MISSION INDIE MART


Kelly Malone and Charles Hurbert’s unique party take on the freegan ethos.

www.myspace.com/missionindiemart

SWAPSF


Jason Lewis and Monica Hernandez’s fabulous swap bonanza.

www.swapsf.com

MYOPENBAR.COM


A list of every open bar, happy hour, and extremely cheap alcohol event in the city.

sf.myopenbar.com

GOING.COM


A cross between MySpace and Yelp that focuses entirely on events, including a free section featuring happy hours, art openings, and concert ticket giveaways.

www.going.com

SAN FRANCISCO DEPARTMENT OF THE ENVIRONMENT


Official city site for recycling, disposal, and reuse information.

www.sfenvironment.org

SAN FRANCISCO DUMP


Learn about our city’s unique take on garbage and strategies for recycling.

www.sunsetscavenger.com

SCRAPEDEN SF


An art foundation dedicated to transforming trash into interactive public sculptures.

www.blackrockarts.org/projects/scrapeden-sf

ARTGOODHITLERBAD


Mission Indie Mart cofounder Hurbert blogs his best scavenger finds.

www.artgoodhitlerbad.com

NEMO GOULD


The latest artist in residence at the SF Dump has been making cool stuff from garbage for years.

www.nemomatic.com

The underground campaign

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Click here for the Guardian 2007 Election Center: interviews, profiles, commentary, and more

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Elections usually create an important public discussion on the direction of the city. Unfortunately, that debate isn’t really happening this year, largely because of the essentially uncontested races for sheriff and district attorney and the perception that Mayor Gavin Newsom is certain to be reelected, which has led him to ignore his opponents and the mainstream media to give scant coverage to the mayoral race and the issues being raised.

To the casual observer, it might seem as if everyone is content with the status quo.

But the situation looks quite different from the conference room here at the Guardian, where this season’s endorsement interviews with candidates, elected officials, and other political leaders have revealed a deeply divided city and real frustration with its leadership and direction.

In fact, we were struck by the fact that nobody we talked to had much of anything positive to say about Newsom. Granted, most of the interviews were with his challengers — but we’ve also talked to Sheriff Mike Hennessey and District Attorney Kamala Harris, both of whom have endorsed the mayor, and to supporters and opponents of various ballot measures. And from across the board, we got the sense that Newsom’s popularity in the polls isn’t reflected in the people who work with him on a regular basis.

Newsom will be in to talk to us Oct. 1, and we’ll be running his interview on the Web and allowing him ample opportunity to present his views and his responses.

Readers can listen to the interviews online at www.sfbg.com and check out our endorsements and explanations in next week’s issue. In the meantime, we offer this look at some of the interesting themes, revelations, and ideas that are emerging from the hours and hours of discussions, because some are quite noteworthy.

Like the fact that mayoral candidates Quintin Mecke and Harold Hoogasian — respectively the most progressive and the most conservative candidate in the race — largely agree on what’s wrong with the Newsom administration, as well as many solutions to the city’s most vexing problems. Does that signal the possibility of new political alliances forming in San Francisco, or at least new opportunities for a wider and more inclusive debate?

Might Lonnie Holmes and Ahimsa Porter Sumchai — two African American candidates with impressive credentials and deep ties to the community — have something to offer a city struggling with high crime rates, lingering racism, environmental and social injustice, and a culture of economic hopelessness? And if we’re a city open to new ideas, how about considering Josh Wolf’s intriguing plan for improving civic engagement, Grasshopper Alec Kaplan’s "green for peace" initiative, or Chicken John Rinaldi’s call to recognize and encourage San Francisco as a city of art and innovation?

There’s a lot going on in the political world that isn’t making the front page of the San Francisco Chronicle. The interviews we’ve been conducting point to a street-level democracy San Francisco–style in all its messy and wonderful glory. And they paint a picture of possibilities that lie beyond the news releases.

THE RIGHT AND THE LEFT


As the owner of Hoogasian Flowers on Seventh Street and a vocal representative of the small-business community, mayoral candidate Hoogasian describes himself as a "sensitive Republican," "a law-and-order guy" who would embrace "zero-based budgeting" if elected. "The best kind of government is the least kind of government," Hoogasian told us.

Those are hardly your typical progressive sentiments.

Yet Hoogasian has also embraced the Guardian‘s call for limiting new construction of market-rate housing until the city develops a plan to encourage the building of more housing affordable to poor and working-class San Franciscans. He supports public power, greater transparency in government, a moratorium on the privatization of government services, and a more muscular environmentalism. And he thinks the mayor is out of touch.

"I’m a native of San Francisco, and I’m pissed off," said Hoogasian, whose father ran for mayor 40 years ago with a similar platform against Joe Alioto. "Newsom is an empty suit. When was the last time the mayor stood before a pool of reporters and held a press conference?"

Mecke, program director of the Safety Network, a citywide public safety program promoting community-driven responses to crime and violence, is equally acerbic when it comes to Newsom’s news-release style of governance.

"It’s great that he wants to focus on the rock star elements, but we have to demand public accountability," said Mecke, who as a member of the Shelter Monitoring Committee helps inspect the city’s homeless shelters to ensure that people are treated with dignity and respect. "Even Willie Brown had some modicum of engagement."

Mecke advocates for progressive solutions to the crime problem. "We need to get the police to change," he said. "At the moment we have 10 fiefdoms, and the often-touted idea of community policing doesn’t exist."

Hoogasian said he jumped into the mayor’s race after "this bozo took away 400 garbage cans and called it an antilitter program." Mecke leaped into the race the day after progressive heavyweight Sup. Chris Daly announced he wasn’t running, and he won the supervisor’s endorsement. Both Hoogasian and Mecke express disgust at Newsom’s ignoring the wishes of San Franciscans, who voted last fall in favor of the mayor attending Board of Supervisors meetings to have monthly policy discussions.

"Why is wi-fi on the ballot [Proposition J] if the mayor didn’t respect that process last year?" Mecke asked.

Hoogasian characterized Newsom’s ill-fated Google-EarthLink deal as "a pie-in-the-sky idea suited to getting young people thinking he’s the guns" while only giving access to "people sitting on the corner of Chestnut with laptops, drinking lattes."

In light of San Francisco’s housing crisis, Hoogasian said he favors a moratorium on market-rate housing until 25,000 affordable units are built, and Mecke supports placing a large affordable-housing bond on next year’s ballot, noting, "We haven’t had one in 10 years."

Hoogasian sees Newsom’s recent demand that all department heads give him their resignations as further proof that the mayor is "chickenshit." Mecke found it "embarrassing" that Sup. Ross Mirkarimi had to legislate police foot patrols twice in 2006, overcoming Newsom vetoes.

"San Francisco should give me a chance to make this city what it deserves to be, " Hoogasian said.

Mecke said, "I’m here to take a risk, take a chance, regardless of what I think the odds are."

ENDING THE VIOLENCE


Holmes and Sumchai have made the murder rate and the city’s treatment of African Americans the centerpieces of their campaigns. Both support increased foot patrols and more community policing, and they agree that the root of the problem is the need for more attention and resources.

"The plan is early intervention," Holmes said, likening violence prevention to health care. "We need to start looking at preventative measures."

In addition to mentoring, after-school programs, and education, Holmes specifically advocates comprehensive community resource centers — a kind of one-stop shopping for citizens in need of social services — "so individuals do not have to travel that far outside their neighborhoods. If we start putting city services out into the communities, then not only are we looking at a cost savings to city government, but we’re also looking at a reduction in crime."

Sumchai, a physician, has studied the cycles of violence that occur as victims become perpetrators and thinks more medical approaches should be applied to social problems. "I would like to see the medical community address violence as a public health problem," she said.

Holmes said he thinks the people who work on violence prevention need to be homegrown. "We also need to talk about bringing individuals to the table who understand what’s really going on in the streets," he said. "The answer is not bringing in some professional or some doctor from Boston or New York because they had some elements of success there.

"When you take a plant that’s not native to the soil and try to plant it, it dies…. If there’s no way for those program elements or various modalities within those programs to take root somewhere, it’s going to fail, and that’s what we’ve seen in the Newsom administration."

Holmes spoke highly of former mayor Art Agnos’s deployment of community workers to walk the streets and mitigate violence by talking to kids and brokering gang truces.

The fate of the southeast sector of the city concerns both locals. Sumchai grew up in Sunnydale, and Holmes lived in the Western Addition and now lives in Bernal Heights. Neither is pleased with the city’s redevelopment plan for the Hunters Point Shipyard. "I have never felt that residential development at the shipyard would be safe," said Sumchai, who favors leaving the most toxic sites as much-needed open space.

Despite some relatively progressive ideas — Holmes suggested a luxury tax to finance housing and services for homeless individuals, and Sumchai would like to see San Francisco tax fatty foods to pay for public health programs — both were somewhat averse to aligning too closely with progressives.

Sumchai doesn’t like the current makeup of the Board of Supervisors, and Holmes favors cutting management in government and turning services over to community-based organizations.

But both made it clear that Newsom isn’t doing much for the African American community.

ORIGINAL IDEAS


The mayor’s race does have several colorful characters, from the oft-arrested Kaplan to nudist activist George Davis to ever-acerbic columnist and gadfly H. Brown. Yet two of the more unconventional candidates are also offering some of the more original and thought-provoking platforms in the race.

Activist-blogger Wolf made a name for himself by refusing to turn over to a federal grand jury his video footage from an anarchist rally at which a police officer was injured, defying a judge’s order and serving 226 days in federal prison, the longest term ever for someone asserting well-established First Amendment rights.

The Guardian and others have criticized the San Francisco Police Department’s conduct in the case and Newsom’s lack of support. But Wolf isn’t running on a police-reform platform so much as a call for "a new democracy plan" based loosely on the Community Congress models of the 1970s, updated using the modern technologies in which Wolf is fluent.

"The basic principle can be applied more effectively today with the advent of the Internet and Web 2.0 than was at all possible to do in the 1970s," Wolf said, calling for more direct democracy and an end to the facade of public comment in today’s system, which he said is "like talking to a wall."

"It’s not a dialogue, it’s not a conversation, and it’s certainly not a conversation with other people in the city," Wolf said. "No matter who’s mayor or who’s on the Board of Supervisors, the solutions that they are able to come up with are never going to be able to match the collective wisdom of the city of San Francisco. So building an online organism that allows people to engage in discussions about every single issue that comes across City Hall, as well as to vote in a sort of straw-poll manner around every single issue and to have conversations where the solutions can rise to the surface, seems to be a good step toward building a true democracy instead of a representative government."

Also calling for greater populism in government is Chicken John Rinaldi (see "Chicken and the Pot," 9/12/07), who shared his unique political strategy with us in a truly entertaining interview.

"I’m here to ask for the Guardian‘s second-place endorsement," Rinaldi said, aware that we intend to make three recommendations in this election, the first mayor’s race to use the ranked-choice voting system.

Asked if his running to illustrate a mechanism is akin to a hamster running on a wheel, Rinaldi elaborated on the twin issues that he holds dear to his heart — art and innovation — by talking about innovative ways to streamline the current complexities that artists, performers, and others must face when trying to get a permit to put on an event in San Francisco.

"I’m running for the idea of San Francisco," Rinaldi said. He claimed to be painting a campaign logo in the style of a mural on the side of his warehouse in the Mission District: "It’s going to say, ‘Chicken, it’s what’s for mayor,’ or ‘Chicken, the other white mayor.’"

He repeatedly said that he doesn’t know what he’s talking about; when we asked him what he’d do if he won, he told us that he’ll hire Mecke, Holmes, Sumchai, and Wolf to run the city.

Yet his comedy has a serious underlying message: "I want to create an arts spark." And that’s something he’s undeniably good at.

THE LAW-ENFORCEMENT VIEW


Sheriff Hennessey and District Attorney Harris aren’t being seriously challenged for reelection, and both decided early (despite pleas from their supporters) not to take on Newsom for the top job. In fact, they’re both endorsing him.

But in interviews with us, they were far from universally laudatory toward the incumbent mayor, saying he needs to do much more to get a handle on crime and the social- and economic-justice issues that drive it.

Hennessey said San Francisco’s county jail system is beyond its capacity for inmates and half of them are behind bars on drug charges, even in a city supposedly opposed to the war on drugs.

"I had this conversation with the mayor probably a year ago," Hennessey said. "I took him down to the jail to show him there were people sleeping on the floor at that time. I needed additional staff to open up a new unit. He came down and looked at the jails and said, ‘Yeah, this is not right.’"

Asked how he would cut the jail population in half, Hennessey — in all seriousness — suggested firing the city’s narcotics officers. He readily acknowledged that the culture within the SFPD is a barrier to creating a real dialogue and partnership with the rest of the city. How would he fix it? Make the police chief an elected office.

"From about 1850 to 1895, the San Francisco police chief was elected," he said. "I think it’d be a very good idea for this city. It’s a small enough city that I think the elected politicians really try to be responsive to the public will."

Hennessey said that with $10 million or $15 million more, he could have an immediate impact on violence in the city by expanding a program he began last year called the No Violence Alliance, which combines into one community-based case-management system all of the types of services that perpetrators of violence are believed to be lacking: stable housing, education, decent jobs, and treatment for drug addiction.

Harris told us so-called quality-of-life crimes, including hand-to-hand drug sales no matter how small, deserve to be taken seriously. But it’s not a crime to be poor or homeless, she insisted and eagerly pointed to her own reentry program for offenders, Back on Track.

More than half of the felons paroled in San Francisco in 2003 returned to prison not long thereafter, reaffirming the continuing plague of recidivism in California. Harris said more than 90 percent of the people who participated in the pilot phase of Back on Track were holding down a job or attending school by the time they graduated from the program. "DAs around the country are listening to what we’re saying about how to achieve smart public safety," she said of the reentry philosophy.

But at the end of the day, Harris is a criminal prosecutor before she’s a nonprofit administrator. And her relationship with the SFPD at times has amounted to little more than a four-year stalemate. Harris and former district attorney Terrence Hallinan both endured accusations by cops that they were too easy on defendants and reluctant to prosecute.

To help us understand who’s right when it comes to the murder rate, Harris shared some telling statistics. She said the rate of police solving homicides in San Francisco is about 30 percent, compared with 60 percent nationwide. And she said she’s gotten convictions in 90 percent of the murder cases she’s filed. Nonetheless, cops consistently blame prosecutors for crimes going unpunished.

"I go to so many community meetings and hear the story," she said. "I cannot tell you how often I hear the story…. It’s a self-defeating thing to say, ‘I’m not going to work because the DA won’t prosecute.’ … If no report is taken, then you’re right: I’m not going to prosecute."

YES AND NO


In addition to the candidates, the Guardian also invites proponents and opponents of the most important ballot measures (which this year include the transportation reform Measure A and its procar rival, Measure H), as well as a range of elected officials and activists, including Sups. Aaron Peskin, Tom Ammiano, Jake McGoldrick, Mirkarimi, and Daly.

Although none of these people are running for office, the interviews have produced heated moments: Guardian editor and publisher Bruce B. Brugmann took Peskin and other supervisors to task for not supporting Proposition I, which would create a small-business support center. That, Brugmann said, would be an important gesture in a progressive city that has asked small businesses to provide health care, sick pay, and other benefits.

Taxi drivers have also raised concerns to us about a provision of Measure A — which Peskin wrote with input from labor and others and which enjoys widespread support, particularly among progressives — that could allow the Board of Supervisors to undermine the 29-year-old system that allows only active drivers to hold valuable city medallions. In response, Peskin told us that was not the intent and that he is already working with Newsom to address those concerns with a joint letter and possible legislation.

"If San Francisco is going to be a world-class city, it’s got to have a great transportation infrastructure," Peskin told us about the motivation behind Measure A. "This would make sure that San Francisco has a transit-first policy forever."

Measure A would place control of almost all aspects of the transportation system under the Metropolitan Transportation Commission and give that panel more money and administrative powers in the process, while letting the Board of Supervisors retain its power to reject the MTA’s budget, fare hikes, or route changes. He also inserted a provision in the measure that would negate approval of Measure H, the downtown-backed measure that would invalidate existing city parking policies.

Ironically, Peskin said his approach would help prevent the gridlock that would result if the city’s power brokers got their wish of being able to build 10,000 housing units downtown without restrictions on automobile use and a revitalization of public transit options. As he said, "I think we are in many ways aiding developers downtown because [current development plans are] predicated on having a New York–style transit system."

Asked about Newsom’s controversial decision to ask for the resignations of senior staff, Peskin was critical but said he had no intention of having the board intervene. McGoldrick was more animated, calling it a "gutless Gavin move," and said, "If you want to fire them, friggin’ fire them." But he said it was consistent with Newsom’s "conflict-averse and criticism-averse" style of governance.

McGoldrick also had lots to say about Newsom’s penchant for trying to privatize essential city services — "We need to say, ‘Folks, look at what’s happening to your public asset’" — and his own sponsorship of Proposition K, which seeks to restrict advertising in public spaces.

"Do we have to submit to the advertisers to get things done?" McGoldrick asked us in discussing Prop. K, which he authored to counter "the crass advertising blight that has spread across this city."*

Meet the candidates: Harold Hoogasian

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The Bay Guardian is interviewing the candidates for the 2007 elections. We’ll be updating this entry as more information comes in. Post your thoughts or comments below.

Mayoral candidate Harold Hoogasian

Hoogasian.jpg

www.unplugthemachine.org

“I decided to run after this bozo took away 400 garbage cans and called it an anti-litter program.”

Harold Hoogasian interview


Harold Hoogasian news on SFBG.com

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Elisa’s Cafe and L’s Caffe

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› paulr@sfbg.com

No matter how you prefer to spell café — or caffe, or even cafe — you probably have a favorite one. Haunting a particular café is a prerogative of city dwelling, and in a coffee-involved city like ours, the possible forums for such socially acceptable loitering are vast, even including places that don’t have espresso machines. Not that there’s anything wrong with that. Cafés, you see, don’t have to be about coffee, really, though most serve it in some form and some serve it in many forms. Cafés can also be about food, and in this sense we use the word in more or less the same sense the Parisians do, to describe the most casual sort of restaurant, the sort of place that doesn’t necessarily have full table service but does have tables where you are welcome to linger and discuss and rap your knuckles for emphasis even after you’ve finished eating whatever it was you were eating.

And what were you eating? Nacatamales? Have my typing fingers gone into spasm? Did I mean to type tamales but succumbed to overenthusiasm? No: I meant to type nacatamales because the nacatamal is the tamale of Nicaragua (and Honduras), and you can get them at Elisa’s Café, along with other Central American delicacies. Along with coffee — but not espresso.

Elisa’s opened late in the spring in the Excelsior space occupied for a number of years by Bistro E Europe, a restaurant that served the foods of Hungary and the Roma (a.k.a. the gypsies). The rather Spartan-looking space has been given a nice freshening, with peach paint and black furniture, and you no longer have that forgotten-city feeling while sitting in the window, watching the world go by.

Nacatamales ($5.50), as prepared by Elisa’s kitchen, are bigger and squarer than ordinary tamales. They’re about the size of a watch box and are steamed in plantain leaves, which are peeled away before the plate is presented to you. Otherwise, the similarities are manifest; we are talking about a squarish molding of masa (a close, corn-meal relation of polenta) in which potatoes, rice, tomatoes, onions, raisins, mint leaves, and possibly beef, pork, or chicken, have been cooked, as in a clafoutis or berry muffin. The boundary between the filling and the enclosure is indistinct, in other words.

The nacatamales are big. One is plenty for a single person and might even be splittable if you open your repast with, say, some soup. Soups vary according to the day of the week, and some are pricier than others. The least costly appears on Friday and is meatless: a black-bean soup ($4.50), whose namesake legumes are reduced to a thin purée in which bob peeled boiled eggs and coiled ropes of red pepper. Since the soup is basically mild, enlivenment is provided on the side in the form of a white salsa, a mince of onions steeped in vinegar. The sauce emits almost unbreathable fumes, but once in the soup it settles down to the general benefit.

Other dishes seem more familiar — the sorts of things you might find at other restaurants serving the foods of Mesoamerica — including bistec encebollado ($8.75), several pieces of beef sliced minute-steak thin, then pan-fried and finished with a tousled cap of sautéed onions. There’s also a salad on the side, iceberg lettuce with cucumber coins and quartered tomatoes. Quite American, I thought, as if the shock of Nicaraguan cooking must be buffered somehow for yanqui sensibilities.

When you are sitting in L’s Caffe, on 24th Street between Bryant and Florida, you are sitting in what I think of as the deepest heart of the Mission. And because the Mission is changeable and ever-changing, a café at its heart would almost necessarily be polyglot. The principals of L’s are all named Lozano — which is a Spanish name but also turns up occasionally in Italy. Italy and Spain, of course, have taken turns ruling bits of each other over the centuries.

As if to honor this long entwinement, the café offers a casually international menu, with definite Italian flourishes along with Spanish touches spoken in a New World accent. You can get bagels smeared with lox and cream cheese, or with hummus; you can get a PB&J or a sandwich with pepperoni, mozzarella, and pesto. You can get Chilean-style empanadas ($3 each), half-moon shaped pastry pouches filled with shredded chicken or just vegetables — which might mean mostly spinach.

There’s a minestrone soup ($4.50) whose thick, spicy tomato sauce and flotsam of white beans and pasta would do credit to many an Italian restaurant. The soup goes nicely with, perhaps, a turkey and Swiss sandwich ($5.95), which would be totally all-American if not for the swoosh of hummus on the top slice of whole-wheat bread. Even a five-bean salad ($3.25), a staple of midsummer picnics, features a broad constituency of legumes: black, pinto, lima, and green beans, along with chickpeas.

Not all recent changes in the Mission are awful, if we factor into our judgment L’s Caffe’s commitment to organic agriculture — all the coffee beans are organic, as is much of the food — and to reducing its waste stream through a conscientious program of composting and recycling. As someone who recently had a burrito at a long-beloved taqueria (also in the Mission) and was horrified to see a reckless flow of aluminum foil, Styrofoam, and other manufactured leavings into the garbage, I can tell you that this matters.

ELISA’S CAFÉ

Mon.–Fri., 7 a.m.–7 p.m.; Sat–Sun., 8 a.m.–5 p.m.

4901 Mission, SF

(415) 333-3177

Beer and wine

AE/MC/V

Not noisy

Wheelchair accessible

L’S CAFFE

Mon.–Thurs., 6 a.m.–9 p.m.; Fri., 6 a.m.–10 p.m.; Sat–Sun., 7 a.m.–9 p.m.

2871 24th St., SF

(415) 206-0274

www.lscaffe.net

Beer and wine

DC/DISC/MC/V

Not noisy

Wheelchair accessible

Now recycling is the problem

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By Tim Redmond

The latest installment in the San Francisco Chronicle’s war on the homeless is pretty insane. According to C.W. Nevius, the Haight Ashbury Neighborhood Council’s recycling station is part of the problem and perhaps ought to be shut down.

Think about this for a second: Homeless people have had their general assistance and SSI benefits cut repeatedly. G.A., thanks to Care not Cash, is down to almost nothing. So how are these folks supposed to eat (much less ever find a place to live)?

Some of them do a bit of real work: They go around town and collect bottles and cans, some of which would otherwise be unsightly garbage. Some of the cans and bottles also came out of people’s blue bins, and would otherwise by recycled (for money) by the private garbage company, which is quite profitable anyway; I’m not going to cry about that sort of “theft.”

So these folks haul the bottles to the recycling center and get a few bucks, which, as the Chron even admits, often goes immediately for (imagine this!) food. I bet some of the remaining money sometimes goes for booze or drugs. (Some of my remaiming money every week goes for booze, too, and I know a few highly upstanding citizens who spend some of their disposable cash on the ol’ Evil Weed. I don’t think this signals the imminent decline of society.)

Here’s my question: What would the opponents of the HANC recycling center do — deny the can-collectors their money? Because here’s what would happen: More aggressive panhandling. More petty theft. Car windows broken and stereos stolen. Bicycles stolen. That sort of thing.

As long as we can’t provide people with a decent place to live in this rich city, some will sleep outdoors, including in the park. And they’re going to find a way to get some cash every day. I think the current situation is a lot better than many of the available alternatives.

Of people and plastics

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› sarah@sfbg.com

GREEN CITY Alan Weisman’s book The World Without Us begins with a funny but humbling exploration of what would happen to New York City if humans were gone, wiped out by a virus or a wizard who perfected a way to sterilize our sperm. "Or say that Jesus, or space aliens rapture us away, either to our heavenly glory, or to a zoo somewhere across the galaxy," Wiseman writes, launching into a delicious deconstruction of a great world city.

Without people to unblock the sewers or run the power stations, it wouldn’t take long, Weisman predicts, before the city flooded, streets cratered, weeds sprang up, pipes burst, and fires broke out.

"Collectively, New York’s architecture isn’t as combustible as, say, San Francisco’s incendiary row of clapboard Victorians," Weisman notes as he describes how, with no firefighters to answer the calls, fires triggered by lightning would engulf the city.

Over the following centuries, corrosion would periodically set off "time bombs left in petroleum tanks, chemical and power plants, and hundreds of dry cleaners," while outdoors a great return to wildness would occur, repopuutf8g the city with maturing forests, coyotes, wolves, "and a wily population of feral house cats."

Tracing the Big Apple’s demise through to the next ice age, Weisman concludes that "after the ice recedes, buried in geologic layers below will be an unnatural concentration of reddish metal, which briefly had assumed the form of wiring and plumbing."

Reached by phone, Weisman says he came up with his World Without Us fantasy after reading and writing about the environment for two decades, including stints covering Chernobyl and the melting of the Artic permafrost.

"I saw all this stuff and began to say, ‘Oh man, this hopeless,’ but then I stepped back and saw that there are places that are still untouched and beautiful and that even in Chernobyl, voles were throwing off bigger litters," he says.

Weisman’s book resulted from his struggle to find a way "to get people to read about environmental issues without saying, ‘Oh, forget it,’ and throwing away their newspapers." The author says his fantasy is intended to help people take a long view of our current challenges and begin to understand, for example, the profoundly serious impact of, say, plastic on our world.

He focuses on "the Great Pacific Garbage Patch," or the North Pacific subtropical gyre, as it’s officially known. It’s in this swirling sink, Weisman writes, that "nearly everything that blows into the water from half the Pacific Rim eventually ends up, spiraling slowly towards a widening horror of industrial excretion."

"They say it’s an enormous sump, and there are others on the planet where all the plastic ends up," Weisman says, noting that discarded plastic accounts for only 20 percent of the material in landfills, with the rest consisting mostly of construction debris and paper products. But unlike the Rocky Mountains, which are slowly, almost imperceptibly eroding and will end up in the ocean, plastic gets blown into the sea much faster.

"It’s only been around since World War II, but already it’s everywhere," Wiseman says of plastic, which has the featherweight ability, once broken into tiny particles, to ride global sea currents.

Weisman’s account should leave San Francisco proud to be the first US city to ban plastic bags, since these limp suckers apparently feature heavily in the oceanic sumps. But with the Great Pacific Garbage Patch measuring 10 million square miles in area (nearly the size of Africa) as of 2005 and six other tropical oceanic gyres swirling with ugly plastic debris — not to mention all the other environmental problems humans have caused — is it too late to heal our world?

Specuutf8g that microbes will eventually evolve to eat all our plastics — something that could take 100,000 years to occur — Weisman suggests a healing path that doesn’t require a world without us. "Green technology won’t be enough on its own," he notes. "The answer lies in lowering the number of humans on the planet. I don’t mean shoot ourselves, but that we don’t replace ourselves at same rate."

There are 6.6 billion people on the planet, and 9 billion are predicted by 2050. Weisman says that by restricting reproduction to one child per couple, "our population could shrink to 1.6 billion by 2100, and the world will be a better place." And in the meantime, don’t forget the reusable bags on your next trip to the grocery store.*

Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.

Fin-tastic

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TOOTHY TV Stop fronting like you don’t love Shark Week. You live for its exciting footage of the world’s most potent predators, its programming that veers between sensational and scientific, and its narration that comes overstuffed with metaphors: "She is a missile, armed with teeth … ready to fire!" The Discovery Channel knows it has you by the chum bucket, so it’s devoting an entire week of programming to Shark Week’s 20th anniversary. We’re talking 130 hours of sharks, which, if you break it down into minutes, approximates how many teeth a Great White might go through in a lifetime. Anyway, the point is, I’ve been watching Shark Week since I was 12 years old (I still have the glasses from when they did Sharks 3-D a few years back), and while I still don’t really understand how Discovery wants us to feel about sharks — for every program pointing out that humans kill way more sharks every year than vice versa, there’s a Shark Attack Rescuers — I ain’t gonna stop watching anytime soon.

Tops among the new programming is the two-hour Ocean of Fear: Worst Shark Attack Ever, which actually features scant shark footage but does reenact the ordeal of the crew of the USS Indianapolis (appropriately, Jaws star Richard Dreyfuss narrates). Survivors (some played by actors) share their grisly memories of what happened when the torpedoed ship — on a return voyage after delivering parts of the Hiroshima A-bomb — sank into the shark-infested Philippine Sea in 1945. The program includes the famed footage of the men’s eventual rescue.

Also new this year: Deadly Stripes: Tiger Sharks, which backs up its claim that tiger sharks are "the garbage-disposal units of the sea" by revealing that one was found with an entire suit of armor in its belly; Shark Feeding Frenzy, with the star of Discovery’s Survivorman wisely donning chain mail before jumping into a sea full of sharks with a box full of bait; and Perfect Predators, which may answer the age-old question of why hammerheads are so, uh, freaky looking. (Evolution, baby!) And if you think vacationing with your relatives is torture, hitch along with Sharks: A Family Affair, which trails the adventures of a family whose Pops has proudly created "the first-ever children’s shark cage." Dude, don’t you think there’s a reason nobody ever built one before?

SHARK WEEK Runs July 29–Aug. 4 on the Discovery Channel; see www.discovery.com for schedule.

Midnight movie memories

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CHRISTIAN BRUNO In the mid-’60s the Presidio hosted Underground Cinema 12, a package of late-night movies that might incorporate a little [George] Kuchar, a little Busby Berkeley, and a lot of porn posing as art. It was a traveling package of films that was curated by Mike Getz out of LA, but the Presidio put its own SF (which usually meant gay) stamp on things.

KAREN LARSEN Gosh, I remember going to see the Cockettes at the Palace in North Beach in the ’60s. And I remember going to a theater in Chinatown that was 99 cents and showed midnight movies.

MICHAEL WIESE (from "25 Great Reasons to Stay Up Late," by Jennifer M. Wood in MovieMaker): "[In 1968 Steven Arnold and I] were able to book the Palace Theater. At the premiere [of Arnold and Wiese’s Messages, Messages], 2,000 people showed up for a 20-minute, black-and-white film with no dialogue…. That was the real genesis of midnight movies."

MIDNIGHT MOVIES, by J. Hoberman and Jonathan Rosenbaum (Da Capo): "Despite, or perhaps because of, the film’s antihippie gibes, the city in which [Multiple Maniacs] enjoyed its greatest success was SF. Throughout the first half of 1971, it was the weekend midnight feature at the Palace, a movie house whose main attraction was the stage show performed by the Cockettes…. Divine was invited out for an appearance that April, and [John] Waters conducted a special live show. Introduced as ‘the most beautiful woman in the world,’ Divine sashayed out on the Palace stage in Multiple Maniacs costume, pushing a shopping cart filled with dead mackerels. In between ‘glamour fits,’ she heaved the fish into the audience, strobe-lit by the continual detonation of flash bulbs."

PETER MOORE We [the Roxie Cinema] were approached by Ben Barenholtz with Eraserhead in 1977 and showed it for years. Early in the run we brought David Lynch out, and I remember having lunch in a Tenderloin diner that completely charmed David. We also showed Pink Flamingos, The Honeymoon Killers, and Thundercrack! (of course). And we showed Forbidden Zone, but that was a case of trying too hard for cultness.

ROXIE CINEMA CALENDAR, APRIL 1977 "Midnite Friday: Curt McDowell’s Thundercrack! Midnite Saturday: Divine in Mondo Trasho."

ANITA MONGA Curt McDowell, the talented and charming underground (as we called them in those days) filmmaker, was a student of George Kuchar at the [SF] Art Institute, then his lover and collaborator on many films, including the infamous midnight favorite Thundercrack! Curt’s films were moving, confessional, ribald, and often absurd, with brilliant sound and picture, art direction, and original music on the teeniest of threadbare budgets. He was inventive to the bone.

MIDNIGHT MOVIES "At the Strand in SF — where the performance group Double Feature would mime virtually the entire [Rocky Horror Picture Show] — pickaxes were brandished in the audience when Frank took after Eddie with one."

MARCUS HU I remember going with a bunch of high school classmates to the Strand Theatre in 1979 and seeing The Rocky Horror Picture Show and being completely mesmerized by the religious experience of being in a packed theater that was singing and performing in sync with the silver screen. It must have made an indelible mark on me, as I went to work for Mike Thomas, who ran the theater, and that pretty much defined my life!

MARC HUESTIS [Huestis’s Whatever Happened to Susan Jane premiered at midnight on Feb. 13, 1982, at the Castro Theatre to a wild, sold-out house replete with the crème de la crème of San Francisco’s ’80s new wave scene. Mel Novikoff, president of the Surf Theatre chain, gave Huestis a good deal on a fourwall as the fledgling director pushed popcorn at one of his theaters. However, legend says he was heard running out of Susan Jane screaming,] "They’ll go see this garbage, but they won’t come see the Truffaut at the Clay!"

ROXIE CINEMA CALENDAR, AUG.–<\D>SEPT. 1982 "Saturday at midnight! Basket Case!"

SUSAN GERHARD I remember screenings of Todd Haynes’s amazing Superstar: The Karen Carpenter Story at the Castro right when I first moved to SF, around 1988.

MIDNIGHT MOVIES "[Otto Preminger’s] Skidoo … has slowly but surely been gaining a second life as a midnight feature — particularly in the SF Bay area, where the movie is set."

ROXIE CINEMA CALENDAR, JULY–<\D>AUG., 1990 "Saturday midnights … Frank Henenlotter’s latest and possibly greatest grim sex and gore comedy, Frankenhooker!"

WILL "THE THRILL" VIHARO Thrillville began as a midnight series called the Midnight Lounge in April 1997 before switching to prime time — 9:15 p.m. — on Thursdays in January 1999. Around the same time the Werepad shared its vast film library with the public weekly — not at midnight, but they were definitely midnight movies.

PEACHES CHRIST The first Midnight Mass, featuring Faster Pussycat! Kill! Kill!, took place on May 30, 1998.

JESSE HAWTHORNE FICKS Midnites for Maniacs began at the Four Star on Aug. 2, 2003. The slumber party all-night triple feature — with free cereal at 4 a.m. — featured Revenge of the Cheerleaders, Pinball Summer, and Joysticks. The first Midnites for Maniacs event at the Castro took place on Jan. 27, 2006; it was a disco roller-skating triple feature: Roller Boogie, Xanadu, and Skatetown, USA. (Johnny Ray Huston)

Midnight Movie memories

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CHRISTIAN BRUNO In the mid-’60s the Presidio hosted Underground Cinema 12, a package of late-night movies that might incorporate a little [George] Kuchar, a little Busby Berkeley, and a lot of porn posing as art. It was a traveling package of films that was curated by Mike Getz out of LA, but the Presidio put its own SF (which usually meant gay) stamp on things.

KAREN LARSEN Gosh, I remember going to see the Cockettes at the Palace in North Beach in the ’60s. And I remember going to a theater in Chinatown that was 99 cents and showed midnight movies.

MICHAEL WIESE (from "25 Great Reasons to Stay Up Late," by Jennifer M. Wood in MovieMaker): "[In 1968 Steven Arnold and I] were able to book the Palace Theater. At the premiere [of Arnold and Wiese’s Messages, Messages], 2,000 people showed up for a 20-minute, black-and-white film with no dialogue…. That was the real genesis of midnight movies."

MIDNIGHT MOVIES, by J. Hoberman and Jonathan Rosenbaum (Da Capo): "Despite, or perhaps because of, the film’s antihippie gibes, the city in which [Multiple Maniacs] enjoyed its greatest success was SF. Throughout the first half of 1971, it was the weekend midnight feature at the Palace, a movie house whose main attraction was the stage show performed by the Cockettes…. Divine was invited out for an appearance that April, and [John] Waters conducted a special live show. Introduced as ‘the most beautiful woman in the world,’ Divine sashayed out on the Palace stage in Multiple Maniacs costume, pushing a shopping cart filled with dead mackerels. In between ‘glamour fits,’ she heaved the fish into the audience, strobe-lit by the continual detonation of flash bulbs."

PETER MOORE We [the Roxie Cinema] were approached by Ben Barenholtz with Eraserhead in 1977 and showed it for years. Early in the run we brought David Lynch out, and I remember having lunch in a Tenderloin diner that completely charmed David. We also showed Pink Flamingos, The Honeymoon Killers, and Thundercrack! (of course). And we showed Forbidden Zone, but that was a case of trying too hard for cultness.

ROXIE CINEMA CALENDAR, APRIL 1977 "Midnite Friday: Curt McDowell’s Thundercrack! Midnite Saturday: Divine in Mondo Trasho."

ANITA MONGA Curt McDowell, the talented and charming underground (as we called them in those days) filmmaker, was a student of George Kuchar at the [SF] Art Institute, then his lover and collaborator on many films, including the infamous midnight favorite Thundercrack! Curt’s films were moving, confessional, ribald, and often absurd, with brilliant sound and picture, art direction, and original music on the teeniest of threadbare budgets. He was inventive to the bone.

MIDNIGHT MOVIES "At the Strand in SF — where the performance group Double Feature would mime virtually the entire [Rocky Horror Picture Show] — pickaxes were brandished in the audience when Frank took after Eddie with one."

MARCUS HU I remember going with a bunch of high school classmates to the Strand Theatre in 1979 and seeing The Rocky Horror Picture Show and being completely mesmerized by the religious experience of being in a packed theater that was singing and performing in sync with the silver screen. It must have made an indelible mark on me, as I went to work for Mike Thomas, who ran the theater, and that pretty much defined my life!

MARC HUESTIS [Huestis’s Whatever Happened to Susan Jane premiered at midnight on Feb. 13, 1982, at the Castro Theatre to a wild, sold-out house replete with the crème de la crème of San Francisco’s ’80s new wave scene. Mel Novikoff, president of the Surf Theatre chain, gave Huestis a good deal on a fourwall as the fledgling director pushed popcorn at one of his theaters. However, legend says he was heard running out of Susan Jane screaming,] "They’ll go see this garbage, but they won’t come see the Truffaut at the Clay!"

ROXIE CINEMA CALENDAR, AUG.–<\D>SEPT. 1982 "Saturday at midnight! Basket Case!"

SUSAN GERHARD I remember screenings of Todd Haynes’s amazing Superstar: The Karen Carpenter Story at the Castro right when I first moved to SF, around 1988.

MIDNIGHT MOVIES "[Otto Preminger’s] Skidoo … has slowly but surely been gaining a second life as a midnight feature — particularly in the SF Bay area, where the movie is set."

ROXIE CINEMA CALENDAR, JULY–<\D>AUG., 1990 "Saturday midnights … Frank Henenlotter’s latest and possibly greatest grim sex and gore comedy, Frankenhooker!"

WILL "THE THRILL" VIHARO Thrillville began as a midnight series called the Midnight Lounge in April 1997 before switching to prime time — 9:15 p.m. — on Thursdays in January 1999. Around the same time the Werepad shared its vast film library with the public weekly — not at midnight, but they were definitely midnight movies.

PEACHES CHRIST The first Midnight Mass, featuring Faster Pussycat! Kill! Kill!, took place on May 30, 1998.

JESSE HAWTHORNE FICKS Midnites for Maniacs began at the Four Star on Aug. 2, 2003. The slumber party all-night triple feature — with free cereal at 4 a.m. — featured Revenge of the Cheerleaders, Pinball Summer, and Joysticks. The first Midnites for Maniacs event at the Castro took place on Jan. 27, 2006; it was a disco roller-skating triple feature: Roller Boogie, Xanadu, and Skatetown, USA.

Midnight Specialists: Midnites For Maniacs

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› cheryl@sfbg.com

Ask Jesse Hawthorne Ficks what his favorite movie is, and he won’t hesitate: it’s Ski School. Ficks, who programs and hosts the Castro Theatre’s monthly Midnites for Maniacs triple feature, interprets "favorite" literally: the 1991 raunch-com might not surface on any highbrow top-10 lists, but it’s likely no scholar loves Citizen Kane (1941) as much as Ficks loves Ski School.

"I’ve always been upset with people who talk about guilty pleasures," Ficks explained when I paid him a visit at the Ninth Street Film Center. As the Frameline31 box office manager, he was overseeing ticket sales from a room decorated with posters from past Maniacs selections The Legend of Billie Jean (1985) and Joysticks (1983). "There is no such thing as a guilty pleasure. If you love something, you should genuinely love it. You can have some of that campiness — ‘Oh my god, Nicolas Cage’s acting in The Wicker Man [2006] is so bad, it’s hilarious’ — but you’re not cooler than the films that you’re watching. You’re actually in love with the movies that you’re watching. And you can maybe laugh at the movie, but ultimately there should be no mean-spiritedness in it."

Anyone who’s checked out a Midnites for Maniacs event knows the depths of Ficks’s cinemania. But even if you’ve never seen the gleeful host in action (typically he’ll toss out trivia questions and reward winners with prizes like out-of-print soundtracks, sometimes in cassette form), you need only peruse a list of Midnites past to get a sense of his passion — the "Aerobicize Triple Feature" (Staying Alive [1983], Flashdance [1983], and Heavenly Bodies [1984]); a 3-D night that included the third Jaws and Friday the 13th films as well as the Molly Ringwald sci-fi nugget Spacehunter: Adventures in the Forbidden Zone (1983); tributes to latchkey kids, punk girls, Dolly Parton, and the underage Jodie Foster; and May’s "Vertically Challenged Monsters" night, which I can safely say will be the only time in recorded history that Gremlins (1984), Howard the Duck (1986), and Troll 2 (presented in rare 35mm prints) share a bill at the Castro. Or anyplace.

Troll 2, a horror comedy that was barely released in 1990, is a prime example of Ficks’s programming technique. He doesn’t pluck flicks from obscurity to amuse snarky audiences; he’s hoping to entertain on a more meaningful level. "I was really concerned that people were going to come out purely to destroy the film as opposed to embracing it for all of its faults," he said. "No one can define that style of acting in Troll 2. It’s not even bad acting. It’s a different style. But I think it had more to do with people being embarrassed of loving something and being so guilty. Their film professors don’t let them love Top Gun [1986]. Midnites for Maniacs is not just [about watching] films that we forgot, but also embracing them and loving them and rooting for them. Not beating up on them."

Ficks’s personal tastes expand beyond underdog obscurities. When he’s not overseeing box offices on the local festival circuit, he teaches film history at the Academy of Art College ("We have a nice exploitation chapter that’s not in the [text]book"). He grew up obsessed with Freddy Krueger in Salt Lake City, where he started coprogramming a midnight series at 16. He also exploited the serendipity of geography to soak up as much Park City as he could. "I grew up at [the] Sundance [Film Festival]. I went to Slacker [1991], and that totally changed my life," he said. "I worked at Sundance from 1994 through 2002. Every year, wherever I was, I’d go back to Sundance and work in different areas of the festival."

A self-taught cinephile, Ficks dropped a film history course at Portland State University after a professor misidentified The Untouchables (1987) as a Martin Scorsese film. After graduation he moved to San Francisco and began working at the 4 Star Movie Theatre, where he learned to be a projectionist and launched Midnites for Maniacs in 2002. At first the series chiefly drew from owner Frank Lee’s impressive stash of martial arts films — until a certain masterwork known as The Garbage Pail Kids Movie (1987) came along.

"I had been looking for 35mm prints at the time, and I ran into this Garbage Pail Kids print," Ficks remembered. "Frank let me play it, but he had no clue what it was. This very first screening of Garbage Pail Kids, we had 250 people — and the theater only holds 198. It blew his mind! Garbage Pail did so well that he just started giving me free rein."

Ficks’s cardinal rule for his screenings — which actually start early in the evening, with the final film unspooling at midnight — is that every film must be shown on 35mm. "You can have a billion ideas of ‘I think we should do summer camp movies.’ But the director of Sleepaway Camp [1983] cannot be found, and he has the only print. So until I can track him down, there’s no way to screen Sleepaway Camp. I know that you could screen it on video or DVD, but I think it makes it part of the challenge and the excitement that everyone’s coming out to see an antique. You’re part of the history."

Midnites for Maniacs made its Castro debut in January 2006, when a packed house cheered Ficks’s triple bill of roller-skating movies: Roller Boogie (1979), Xanadu (1980), and Skatetown, USA (1979). "It was unbelievable, and I was thinking, ‘Maybe only in San Francisco.’ "

Ficks sees the city as big enough — and full of enough diverse film fans — to support all of its various midnight gatherings. He has only praise for Midnight Mass’s Peaches Christ, though on occasion their events have fallen on the same night.

"Peaches is amazing at her performances," he said. "You can get caught up with a reenactment of the swimming pool [scene] in Showgirls [1995]. And it’s unbelievable." He views San Francisco as "a true midnight culture. There are so many films in San Francisco at midnight. I think it’s totally reinventing the culture."

And, for the record, what is it about Ski School that makes it this ultimate film fan’s ultimate favorite? Talking about the movie — which he’ll probably never get to show at Midnites, since it’s only available on video — makes Ficks reflective. "I think I’m always interested in that movie you were obsessed with as a kid. We’re the video generation. We have access to so many more films than anyone else before us. We create these weird personal theaters in our house, with these videos we can rewind and watch over and over again. So Ski School, and movies like it, I go to those movies when times are rough. They’re just like a record, or like a song. And it’s an hour-and-a-half song."

Ficks — who said he’s only walked out of one film in his life, As Good as It Gets (1997), for being "so middle of the road it didn’t matter if I watched it or not" — is determined to carry his Ski School philosophy over to his film series.

"I think when people come out to Midnites for Maniacs, it’s way more important that they have a personal relationship with the movie. It really doesn’t matter what I think about the movie — it’s most important that someone’s coming to a film, [maybe even a film] that they’ve never heard of, and they’re finding something really special." *

MIDNITES FOR MANIACS

"SUMMER CAMPy Triple Feature": Little Darlings (1980), Meatballs (1979), and Revenge of the Cheerleaders (1976)

July 20, 7:30 p.m., 9:45 p.m., midnight, $10 (all three)

Castro Theatre

429 Castro, SF

www.midnitesformaniacs.com

Welcome to my pop nightmare

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› a&eletters@sfbg.com

Gazing disdainfully from the cover of their album Strange House (Loog), the Horrors greet listeners with the air of Edward Gorey characters on a smoke break. Together, they are a scarily beautiful organism: a slick plastic spider with 10 spindly legs and a penchant for manic, blood-soaked coffin rock. Their shows, in contrast, are short, riotous affairs that revolve around a schizoid brand of gothabilly and the shrieks and antics of lead vocalist Faris Badwan. The Horrors have graced the cover of NME, dumped garbage on industry bigwigs at South by Southwest, and amassed a throng of fans worldwide. They’ve also, of course, sent the pointy-shoe market skyrocketing.

The Horrors were born, appropriately enough, in the bowels of a rotting Victorian hotel, the home of the fashionable Junk Club in Southend-on-Sea in London’s neighboring Essex County, in the summer of 2005. Rhys "Spider" Webb, keyboardist for the Horrors, recalls that the transition from clubgoers to band was not a prolonged one. "We were actually sitting around a table, and it was, like, ‘Let’s go into the studio for rehearsal next week.’ Faris had a couple of cover versions he wanted to work on. We’ve been playing ever since, to be honest."

One of the covers that Badwan had chosen, Screaming Lord Sutch’s "Jack the Ripper," eventually became the Horrors’ debut single. It was paired with an original composition, "Sheena Is a Parasite," a bombastic microtune of a minute and 42 seconds, the tale of an enigmatically vile heroine set to a pulsating bass and a skittering, looped backbeat. The song attracted the attention of one Chris Cunningham, the creative force behind Aphex Twin’s infamous "Come to Daddy" and "Windowlicker" videos, who allegedly found it on MySpace. Cunningham had soured on videos and hadn’t made one in seven years when the Horrors caught his ear and sent him into a storyboarding frenzy. Webb remembers, "He contacted Polydor and said, ‘Who’s doing the video? I’d love to do it.’" The finished product shows Samantha Morton falling victim to her own exploding viscera amid a frenetic doomscape. Apparently not bothered by disemboweled women, MTV banned the video for its use of strobe lights, promptly creating more publicity for the piece — and the Horrors — than it would have otherwise garnered.

As heirs of death rock, the Horrors come across like the naughty grandchildren of the Birthday Party, with Badwan channeling bits of Nick Cave as he screams his ghoulish repertoire, his large frame weaving across the stage. (In fact, Bad Seed Jim Sclavunos appears in the credits for Strange House, having produced their single "Count in Fives.") But while blood pours out of their lyrics and violence peppers their shows, it is the Horrors’ love of music — all music — that grants them a sense of humor and keeps them from buying into their gloomy hype. A club DJ for many years, Webb explains that playfulness further, saying, "The music I like to buy could be Robert Johnson or the Sonics, the Contortions, or DNA." He recalls a group walking into the Horrors’ dressing room and getting a surprise: "I think they expected us to be listening to ’60s garage and punk and rhythm and blues, and they caught us all dancing to drum ‘n’ bass records."

In the song "Draw Japan," Badwan tackles manifest destiny as Bauhaus beats rush past and Webb’s organ hiccups away in counterpoint. "I will draw Japan with a ravenous pen / Hungry for oil and iron and tin," he barks. It’s almost more Christian death than the Cramps, a perfect example of the Horrors’ genre blend ‘n’ bend. The key to that meld is guitarist Joshua Third, a.k.a. Joshua Hayward, possessor of the Horrors’ hugest mane of hair and, coincidentally, a physics degree. Webb describes Third as "a bit of a mad scientist" who spends his free time "locked in his cupboard, building strange components." For a recent issue of the band’s fanzine, Horror Asparagus Stories, Third taught readers how to build their own effects pedal. Webb is already gearing up for the next edition, having created a compilation called "Top Tracks about the Unstable State of Human Minds."

For all their conceptual flourishes, the Horrors have encountered a backlash from people who take exception to their meticulously crafted aesthetic. Webb concedes, "If you see a band like us, it looks like this kind of package," but notes that their look is inspired by friends such as album artist Ciaran O’Shea, who worked with Webb before the Horrors existed. Detractors aside, the tacit test for the Horrors will be their upcoming US tour. Webb recounts being warned before their first transatlantic jaunt that crowds in the States would be anything but enthusiastic. Instead, he was happy that "we’ve never found that anywhere in the world. The music provokes the same kind of reaction wherever we are." *

HORRORS

Tues/19, 9 p.m., $13

Popscene

330 Ritch, SF

(415) 541-9574

www.popscene-sf.com

One-on-one-on-one

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Violent Femmes and wrestling boys. The same boys watching TV, huffing glue, jerking off, playing soccer, dodging water balloons, sharing headphones, and dancing, singing, and drumming at punk rock shows. Listed in this manner, the basic ingredients of Alexis Dos Santos’s Glue don’t sound that different from those of a dozen other teen films. But the way Dos Santos views such material is something else entirely. Glue is that rare kind of filmmaking so attuned to pleasure and spontaneity that it tickles your palate, opening up new possibilities about how to live. The film’s chief subject matter — bisexuality that takes exhilarating form before the constraints of adulthood can arrive — is ideally realized through Dos Santos’s sensual and whim-driven approach.

"If my parents made love before I was conceived, would it be me being born or another boy?" skinny, wild-haired, and sleepy-eyed Lucas (Nahuel Pérez Biscayart) wonders to himself at the beginning of Glue, before his jock friend Nacho (Nahuel Viale) and their mutual crush, the gawky yet beautiful Andrea (Inés Efron), arrive on screen. When Andrea is eventually introduced, it’s via a poolside scene in which polite kisses through a steel fence provide one typically fleet example of Dos Santos’s ability to land on the right use of foreground, background, and happenstance scenic detail to convey a shot or scene’s emotional temperature.

This symbiosis between director and actors — and perhaps even more important, between actors — results in some extraordinary passages. Glue meanders near its end, when, in true teen spirit, it doesn’t want a good time to end. But in its best moments, Dos Santos’s debut feature is an important and exciting addition to Latin American cinema’s evolving views of masculinity. (Sergio de la Mora’s recent book Cinemachismo is an excellent source for historical background on the subject.) Glue‘s ménage à trois is more radical than the ones in both Alfonso Cuarón’s Y Tu Mamá También and Fernando Eimbcke’s chaste Duck Season, though one suspects those more commercial movies helped pave the way for the spaces that Dos Santos and his actors discover. Like Julián Hernández’s Broken Sky, in which a trio of young lovers meet and kiss repeatedly in public, Dos Santos’s insular and gutsy film charts territory where people don’t repress their desires.

Thus it’s a shame that, unlike all of the Mexican features mentioned in the previous paragraph, Glue doesn’t have a distributor. Dos Santos’s movie is yet another example of how new Argentine cinema (thanks to talents as varied as Lisandro Alonso, Lucrecia Martel, Verónica Chen, and Pablo Trapero) continues to stretch the time and space dimensions of the word new. Unfortunately, it’s far from the first film from Argentina in the past few years to be neglected by commercial forces. A French feature such as Pascal Arnold and Jean-Marc Barr’s One to Another treats the same elements found in Glue — teen life, bisexual trysts, rock music — in a manner that results in overheated garbage (yes, it stinks), yet it’s been given exactly the type of eminent, if small, US theatrical run that Dos Santos’s movie deserves. That means now is the time to see Glue. (Johnny Ray Huston) *

GLUE (Alexis Dos Santos, Argentina, 2006) June 20, 9:15 p.m., Parkway; June 22, 7 p.m., Victoria

Ed Jew throws a one-two punch at the PUC–then flies to China

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Guardian photo of Ed Jew by Charles Russo
By Sarah Phelan
Before leaving the country at 1am this morning for the home of his ancestors, beleagured Supervisor Ed Jew managed to find time–in between luggage packing and driving to the airport–to dash off a letter to City Attorney Dennis Herrera, requesting an inquiry into “the apparent willful disclosure of confidential personal information by an employee or employees of the Public Utilities Commission.”

Wow. We knew that Jew wasn’t a big fan of the PUC, as witnessed by his ultimately unsuccessful 2005 battle against sewer, water and garbage hikes. But who knew that the supervisor, who is being investigated by the FBI for demanding money from a tapioca bubble drink shop chain in exchange for mucho cash would end up accusing the SFPUC of releasing cherry picked information to the running dogs of the press to make him look bad. Hot diggitty!

Berkeley shutting down art and alt-energy center

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By Steven T. Jones
Just as I was writing about wanting to get back into covering the fantastic alternative energy creations now being developed by Burning Man artists, Berkeley officials were in the process of shutting down an important hub for this work. The Shipyard is a live-work industrial arts space just off Ashby Avenue built from steel shipping containers, which city officials apparently don’t think is safe, so they’ve ordered the artists out and the place shut down immediately, with owner Jim Mason risking $2500 per day fines until he can get out. “It’s a major blow to the underground arts community,” Burning Man’s environmental director Tom Price told me this morning. Even worse, it’s a blow to Mason’s main project for the year, Mechabolic, a gasification system that turns garbage into usable energy without producing carbon or greenhouse gases, the very thing that Berkeley officials claim to support. We’re just diving into this developing story now, so check back for the complete story next week. Or if you want to help them break down many years of funky hard work, stop by the shop at 1010 Murray Street this weekend.

Noticing Burning Man’s new green hue

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By Steven T. Jones
The New York Times has noted Burning Man’s burgeoning environmental activism, which is building to a head for the Green Man themed event this August. Most talking heads in the NYT piece — as well as the green push itself — will already be familiar to regular Guardian readers.
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Artist rendering of the Man’s green platform from www.burningman.com.

But the article reminds me that I’m long overdue to get back onto the Burning Man beat and start writing about some of the wonderful environmental projects now underway around town, including Jim Mason’s gasification project (in which he turns coffee grounds and other garbage into fuel), something he has successfully applied to Chicken John’s truck and will be turning into a giant garbage-eating slug called Mechabolic with the help of artist Michael Christian (whose Flock piece was displayed in Civic Center Plaza in 2005). So there’s that, the homegrown Cooling Man project, Tom Price’s manic push to green the burn, and lots of other exciting projects that are being birthed here and will make an appearance on the playa before taking over the world. Stay tuned.