Guns

THE GUEST opens today! Plus more new movies!

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FINALLY, clever, retro-styled thriller The Guest is here. Check out our interview with the filmmakers and star here, and then go see The Guest this weekend. You’re welcome. 

After you’ve TCB in that regard, you might also want to check out sleek new Patricia Highsmith adaptation The Two Faces of January (review here), family drama The Judge (interview with the director here), or journalism thriller Kill the Messenger. How to decide? Read on for reviews of these and even more films, plus trailers. 

https://www.youtube.com/watch?v=ccai-E36BfI

Advanced Style Many successful blogs have been turned into books, but few make the leap to film. Street-style photographer Ari Seth Cohen’s online album of fashionable elders translates well to the big screen, as without exception all of the women featured in Lina Plioplyte’s doc are vivacious, quotable (“I’m an artist, and my art is dressing!” “Good style improves the view for everybody!”), and — obviously — wonderfully, uniquely put together. Although at least one subject, 80-year-old Joyce, is wealthy (witness her to-die-for vintage Chanel purse collection), the rest of the women eschew designer for the most part; one owns a vintage store (“Sometimes I’m building an outfit for seven years!”), one owns a boutique (“You either have it, or you don’t … but you can learn it!”), and others are artists, including a former Apollo theater dancer. All are close with Cohen, an access point that allows Advanced Style to dig beyond fabulous hats and into end-of-life issues, including health concerns among the women and their aging spouses. But mostly, this is an upbeat, inspiring look at women who are embracing their later years — and looking rather fab doing it. (1:12) (Cheryl Eddy)

Alexander and the Terrible, Horrible, No Good, Very Bad Day In this Disney comedy based on the Judith Viorst children’s book, Steve Carell and Jennifer Garner star as parents to an 11-year-old struggling through, well, see title. (1:22)

Björk: Biophilia Live Those who saw one of Björk’s mind-boggling, futuristic spaceshows for her most recent full-length, Biophilia — performed at only a handful of intimate venues around the world — know the specialness of that experience. At the shows, Björk, everyone’s favorite chirping Icelandic wood-fairy, stood on relatively diminutive stages surrounded by a chilling blonde choir while a Tesla coil vibrated electric shocks of purple lightning. Now those who missed out on these very-special-Björk-moments have the luxury of viewing the full show with concert film Bjork: Biophilia Live. The album was heavily based around imaginative musical apps created for it, making the film an interactive experience as well (play along at home!) The film showcases the complete experience of Biophilia, which touches on nature, music, and technology, during Björk’s showing at London’s Alexandra Palace in 2013. While it would have been nice to see a few behind-the-scenes moments, Biophilia Live still brings up close rushes of electrifying sounds, glittering visuals, and a poufy red-orange cotton candy wig floating delicately above Bjork’s cherubic face. (1:37) Roxie. (Emily Savage)

Dead Snow 2: Red vs. Dead Beginning moments after the events of the original 2009 Dead Snow, Tommy Wirkola’s sequel has that film’s sole survivor, Martin (Vegar Hoel), fleeing the resurrected Nazi invaders who laid waste to his seven fellow med school students on their holiday weekend. Crashing his car en route, he wakes up in the hospital, where there’s some good news — he’s alive — but also plenty of bad. For one thing, the infected arm he sawed off to escape zombie-bite infection has been replaced; that would be good, if he weren’t now the bearer of an arm belonging to none other than the nefarious Col. Herzog (Orjan Gamst); naturally, the limb has a malevolent mind of its own. Plus, the authorities laugh off his story of undead Nazi attackers, naturally assuming that he killed his friends himself. Worse still, Martin figures out that Herzog and company won’t stop killing (and “turning”) the living until they’ve conquered a sleepy town some miles away — thus completing their direct orders from Hitler 70 years ago. The first film took its time revealing the outrageous premise, poking along as a conventional slasher until turning into an increasingly berserk, hilarious black comedy midway. This follow-up makes an all-too-predictable mistake: It starts out at “over-the-top,” leaving the movie nowhere to go but further into slapstick gore and bad-taste jokes, all scaled bigger but just half as funny as before. (There’s also the really dismal addition of three zombie-obsessed American nerds, additional “comedy relief” presumably aimed at US audiences — but I’m not sure even a Norwegian could find these asinine cartoons amusing.) Dead Snow 2 has high energy and some laughs, but if you haven’t seen the original, that’s the place to start — and perhaps to end. (1:40) Roxie. (Dennis Harvey)

The Disappearance of Eleanor Rigby: Her/Him The combined version, Them, was released earlier this fall; now, the individual films exploring a marriage in shreds arrive in theaters. Jessica Chastain and James McAvoy star. (3:19)

Dracula Untold Now it can be told: Dracula was super-duper into Game of Thrones! Between the tension-fraught banquet scenes, swordplay, intrigue, ornate costumes and armor, mop-topped children in peril, and dragon references — not to mention the casting of Big Daddy Lannister (Charles Dance) in a key role — the HBO show looms large over this lightweight but enjoyable vampire yarn, which isn’t necessarily a bad thing. Soulfully goth Luke Evans (the Hobbit series) stars as Count Dracula before, during, and after his transformation into the fang-bearer of legend; turns out he was a bloodthirsty dude even in human form (hence the nickname “Vlad the Impaler”), though the film lets him rationalize this battlefield behavior by pointing out it was an intimidation tactic designed to save lives by encouraging armies to surrender. Uh-huh. Some clever effects (bats galore!) and flashes of wry wit add to the fun of this mostly forgettable but seasonally-appropriate exercise. (1:32) (Cheryl Eddy) 

The Green Prince Nadav Schirman’s Sundance Film Festival audience award winner (and SF Jewish Film Festival opening night film) should make an impression well beyond the fest circuit; it’s edited and scored like a thriller, surging ahead with constant tension despite the fact that most of the movie consists of the same two talking heads. But what subjects: Palestinian Mosab Hassan Yousef, oldest son of a Hamas leader, and Shin Bet agent Gonen Ben Yitzhak, the man who recruited Mosab to spy on behalf of Israel. How this relationship came to be, the sensitive information it yielded, the incredible risks both men took, and how Mosab eventually ended up living in the United States and sharing his tale — for so long, a life-or-death secret — with the world, is an undeniably gripping tale of loyalty, trust, and a most unlikely friendship. (1:41) (Cheryl Eddy)

The Guest See “Go for Goth.” (1:39)

The Judge Crackling chemistry between Robert Downey, Jr. (as Hank, a hotshot Chicago lawyer who reluctantly returns to his rural hometown after the death of his mother) and Robert Duvall (as the stern title character, Hank’s long-estranged father, Joseph) elevates this otherwise heavy-handed look at a dysfunctional family forced to pull together when Joseph is arrested for murder. The rest of the cast in this more mature departure for director David Dobkin (2005’s The Wedding Crashers) ain’t bad, either; there’s Vincent D’Onofrio as Hank’s seething older brother; Vera Farmiga as Sam, the high school sweetheart Hank left behind; and Billy Bob Thornton as a gimlet-eyed prosecutor with an ax to grind. At two hours and 20 minutes, there’s a lot of opportunity for sentimentality, including a recurring narrative device of using home movies — a treasured hobby of Hank’s younger brother, Dale (Jeremy Strong), unfortunately scripted as a “childlike,” vaguely autistic type — to remind us The Way We Were When Things Were Good. And as if the drama of a murder trial wasn’t enough, there’s also Hank’s tentative reconciliation with Sam, relationship-building efforts with his own wee daughter (Emma Tremblay), a tornado, etc. etc. If The Judge tries to be too many genres at once (see also: Cameron Crowe’s lesser filmography), at least it has those marvelously acted Downey vs. Duvall tête-à-têtes — as well as one memorably hilarious jury-selection scene. For an interview with Dobkin, visit www.sfbg.com/pixel_vision. (2:21) (Cheryl Eddy)

Kill the Messenger Based partly on former San Jose Mercury News investigative reporter Gary Webb’s 1998 book, Dark Alliance, and partly on a posthumous 2004 biography of Webb written by SoCal reporter Nick Schou (from which the film takes its title), Kill the Messenger recounts a grim tale of single-minded muckraking, professional betrayal, and how the federal government’s dubious War on Drugs took an extra-grim turn during the Reagan administration. As the film opens, Webb (Jeremy Renner) is working for the Mercury News, having moved to the Bay Area with his wife (Rosemarie DeWitt) and three kids after some marital trouble back east. In the course of covering a drug dealer’s trial, he gets tipped to a story connecting the CIA, the US funding of the contras in Nicaragua, and the crack cocaine that began pouring into Los Angeles and other American cities in the mid-1980s. Michael Cuesta, who since his directorial debut with L.I.E. in 2001 has been mainly working in television (Homeland, Six Feet Under), attempts to combine an All the President’s Men-style journalistic crime procedural with a portrait of the man who broke the story and was in turn broken by it — or rather, by the CIA and the mainstream press, which turns on him with the vengeance, it’s implied, of a handful of prestigious papers of record that got majorly scooped. The portrait, with Renner giving a nuanced, painfully sympathetic performance, comes out better than the procedural, which feels blurry in places from the speed of the discoveries. (1:52) (Lynn Rapoport)

Kite Based on Yasuomi Umetsu’s cult anime, known for its fetishy sex and violence involving a young girl assassin with a penchant for traditional Japanese school uniforms, South Africa-set sci-fi action indie Kite begins with a bang — and a hail of bone fragments and gray matter splatter when an explosive bullet connects with a baddie’s skull. Set in the dystopic near future, after a global financial meltdown, Kite picks up in the middle of an all-too-familiar seedy scenario: an out-of-it teen hooker in a body-con mini and neon wig is getting dragged into the elevator by a trashy sleazebag. His unnecessary cruelty to an elderly lady sharing their lift forces the damsel to break cover and unleash those exploding bullets. It turn out Sawa (India Eisley) is far from your traditional hapless victim — rather she’s a brutal assassin out to avenge her parents’ murders and jumped up on a military drug designed to dull the pain and memories related to PTSD, administered oh so helpfully by her father’s old law-enforcement partner Aker (Samuel L. Jackson). The catch: a mystery man (Callan McAuliffe) who threatens to disrupt the smooth flow of bloody mayhem with his promise to dredge up Sawa’s past. Kite‘s acting talent — in particular Eisley and Jackson — and cinematographer Lance Gewer do what they can, painting the screen with lurid hues and just as over-the-top emotive moments, with pulpy material that’s high on the ultra violence (and salacious kicks for those into little girls with guns) but low on originality. (1:30) (Kimberly Chun)

One Chance Dramedy about the unlikely rise of Britain’s Got Talent breakout Paul Potts (played by James Corden, who just replaced Craig Ferguson as host of The Late Late Show). (1:43)

The Two Faces of January See “Con and On.” (1:38)

Imelda May on motherhood, rockabilly influences, and when to say “Screw it”

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Taking the sounds of traditional rockabilly, blues, and jazz and giving them an injection of her own infectious energy and style, Irish chanteuse Imelda May can make listeners swoon at a ballad or jump up to the searing rockers that pepper her excellent new album, Tribal (Verve), which was released last month here in the United States.

 May has been rocking stages for well over a decade in the UK, and is finally gaining the popularity here that she and her talented band so rightly deserve — local fans have a chance to see her up close and personal tonight, Oct. 9, when she hits The Fillmore, a follow up headlining gig to her searing set in August at Outside Lands, where she rocked the opening slot on the main Polo Fields stage.

After that performance — where she and her band were one of the standouts of the entire weekend — May sat down for an interview backstage, talking about her new album, touring around the world, and playing a big show in Golden Gate Park. 

“I loved it! Great audience. I always love doing festivals abroad, because you can see kinda half of the crowd has come to see you, and then half the crowd don’t know what the hell or who you are. So it’s nice to see if you’re winning people over as you’re going along,” said May in her distinctive Dublin accent.

“There were a lot of people up in the front, kind of thinking, ‘Who is she?’ and then by the end were jumping up and down, and singing back to me, so they were an open crowd.”

The last couple of years have been whirlwind ones for May and her band, as they’ve been steadily building a bigger and bigger fan base, constantly gigging across the globe — which even the now-seasoned veteran of the road admits can get to her occasionally. 

“I’ve often said, ‘It’s great to be in…’ and I turn around and say, ‘Where are we? What country are we in? What month is it?” laughed May. “Because you just jump on the bus, you get off, you play, you get back on, sometimes you lose your mind of where you are, or what time zone you’re in.”

Having gotten her start singing while still a teenager growing up in Dublin, Ireland, May was always attracted to the sounds of  early rock n’ roll, particularly classic rockabilly — a style that she was advised early on in her career to cut out of her repertoire.

“I love a lot of music, and I started doing roots music, and blues, jazz, rock n’ roll, punk, and then rockabilly of course, and then all of a sudden you’re shunned — why is there no room for the music that basically started rock n’ roll, that started punk? Without it, you wouldn’t have the Beatles, the Rolling Stones, Led Zeppelin…I mean, they started a whole new movement.”

“All of the classic greats over the years — Jeff Beck, Jimmy Page, Marc Bolan, Jimi Hendrix — they all cited rockabilly artists as their influence,” she continued. “And if it wasn’t for them, we wouldn’t be doing anything…so why is it shunned, if it’s that influential? I didn’t get that, so I thought, ‘Screw you!’ and I’m going to do it more, and I’m going to keep going until people hear it, and I knew when people heard it more, they would love it.”

That searing spirit is evident throughout Tribal, where on the title track May sings, “When you look in the mirror, tell me what do you see?/Someone new or your ancestry?/You’re a king, you’re a queen, you’re a wizard, a fool/Or if you’re me, then rockabilly rules.”

That core concept and rebellious attitude have fueled May’s connection with fans, and she shares a basic love for the purity and simplicity of the music.

“Audiences get it. They don’t really care what it’s called, they just know that it feels good, and you go crazy with it. It has no rules, the original rockabilly. It was exciting, it was adventurous, it was thrilling, it was dangerous, it was sexy. It was just fabulous music,” said May. 

“And I thought, people now would completely relate to that, so I said, ‘I’m doing it anyway.’”

In 2012, May and her husband Darrel Higham — who is also the ripping guitar slinger in her band — welcomed a baby girl into their lives, and took some time off from the road and performing. One of songs on Tribal, “Little Pixie,” is a sweet ode to their daughter, based on a poem written by her brother.

“I turned it into a song, and I thought it turned out really beautiful,” she said. “I’m from a normal, Dublin working-class family, and I don’t think he believed how great he was. I think this has helped. I was going, ‘This is brilliant!’”

Once the family and band were ready to get back to work, May says the material that comprises Tribal just came out naturally in the writing process — in addition to a tender ballad like “Little Pixie,” there are rollicking and raucous tunes such as “Hellfire Club,” which tells the story of an infamous den of inequity outside the city of Dublin. 

After the release of the album, May said she’s been questioned about how becoming a mother didn’t change her writing or singing style to veer away from rock n’ roll — a fact that she finds rather irritating. 

“Mothers are feral…your protective instinct comes out. I think being a mother magnifies a lot of stuff within you. I get a lot of interviews, and I cannot tell you how bored I’m getting with it, having them say, ‘So, you’re a mother, how come you’ve written a rock n’ roll album?’ And I’m like, ‘Geez, shoot me now!’” laughed May. 

“I’m madly in love with me baby, but you don’t all of a sudden become like, ‘I’m a mother now, I better not rock n’ roll’ — why not? The reality of most people is that you magnify different parts for what you need, so if you’re out partying on a Saturday night, you’re not going to be in that same mood for most people in an office on a Monday morning, you know? It’s the same way as when I’m on stage going crazy: I’m not going to be like that when I’m putting my baby to sleep.”

In addition to her successful albums and touring, May has been delving into other aspects of the entertainment world: She recently started taping episodes of The Imelda May Show back home in Ireland, where she is showcasing artists that might not otherwise have a chance at large-scale exposure.

“I never aspired to be a TV presenter — never, ever — however, I have a great interest in Irish bands and in the music of Ireland. There’s too many good bands, and there’s nothing on [to showcase them] except The Voice or The X Factor. And I think those are TV shows, I don’t think they’re music shows. They’re fun TV shows,” said May.

“I think for bands that are already working, and already gigging, and want to find some kind of platform, as supposed to somebody that just wants to be ‘discovered’ — I think there’s nothing really for them there.”

American fans can find the shows online at www.rte.ie, and catch the incendiary performer live on her U.S. tour, which runs through mid-October, before she heads back to Europe for a slate of gigs scheduled through the end of the year.

“I love it. Tthis is what I do, and I’m really glad I stuck to me guns. I wasn’t going to change for anyone,” said May. 

“I wasn’t after fame, so I wasn’t going to change to chase something I didn’t really want. I just wanted to make good music.”

IMELDA MAY

Thu/9, 8pm, $29.50

The Fillmore

1805 Geary, SF

 (415) 346-6000

www.thefillmore.com

Straight shooter

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culture@sfbg.com

THE WEEKNIGHTER I’ve never been hunting and I’ve only shot a gun on one occasion. OK, it was multiple guns on the same occasion in a shooting range in San Diego, but still I’ve only shot at things once in my life. I guess I did a good job of killing the piece of paper I was shooting at since my friend Josh told me I had good aim for a beginner. It was pretty easy considering the target just hung there and took the abuse.

Despite my lack of hunting prowess and experience, I’ve been to Bloodhound (1145 Folsom, SF. www.bloodhoundsf.com) lots of times. Even though it’s a hunting lodge theme bar, I’m pretty sure it would be frowned upon if you were to walk in there brandishing a hunting rifle. And by frowned upon, I mean people would flee from there as quickly as possible screaming horrible, terrified profanities about someone having a gun. They might do the same if you walked in there dressed like you were going on a hunting expedition, except instead of frightened running and yelling about firearms, it would be about your atrocious attire. Even San Francisco has standards when it comes to what you wear.

I went on a date there once with someone whose ex-boyfriend was employed by my ex-girlfriend’s current boyfriend. It was some San Francisco shit to say the least. I went on another date there where a crazy lady yelled confusing obscenities at my date while also trying to woo her. That was also some San Francisco shit. Considering that Bloodhound is on Folsom between Seventh and Eighth, it is basically surrounded by San Francisco shit. And I mean this in a literal sense this time. People poop everywhere in SoMa.

I like Bloodhound. It’s got fancy drinks and lots of wood and light bulbs that look old timey but aren’t because actual old timey light bulbs probably wouldn’t light. I know a lot of SF bars have this look now but Bloodhound opened in 2009 so it was ahead of the curve. Plus it has stencils of birds on the ceiling, chandeliers made out of antlers, and dead animal parts on the walls. I think this is supposed to make you think about shooting stuff and since everyone knows shooting stuff makes you thirsty, your mind will get tricked into buying some fancy cocktails. I really like Bloodhound’s fancy cocktails, especially the one named the Bloodhound. This is great just in case you get so drunk you forget where you are. If you remember the name of your drink, you’ll also know where it is that you’re drinking. This also works in reverse.

In case you still had any doubts that Bloodhound is your local hunting lodge in the heart of San Francisco, you must visit the website. Once you get there, you will be serenaded by the sweet and twangy sounds of Nancy Sinatra and Lee Hazelwood doing their rendition of “Jackson.” (No Ted Nugent, though.) I’ve never been to a hunting lodge or to Jackson, but I imagine this website feels exactly like a hunting lodge in Jackson would feel. The website even has a game you can play that lets you shoot stuff! I’m getting thirsty just thinking about it!

Hopefully one day soon you and me can go to Bloodhound together and plan our first hunting trip. And in case we just get too wasted to follow through on our plans, let’s just settle on playing Big Buck Hunter and call it a day.

Stuart Schuffman, aka Broke-Ass Stuart, is a travel writer, poet, and TV host. You can find his online shenanigans at www.brokeassstuart.com.

 

Bombshell BART report slams hiring of union-busting negotiator Tom Hock

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Independent investigators analyzing BART’s recent turmultuous, rollercoaster-ride labor negotiations issued their report yesterday, concluding that last year’s pair of damaging strikes could and should been avoided. The opinions that the analysts collected from the unions, management, and BART’s Board of Directors covered a wide spectrum, but there were a couple of common themes. 

First, the strikes and the death of two BART workers who were killed on the tracks when BART management ran scab-run trains while the workers were on strike, were devastating to the district and its personnel.

“We just walked out of a war,” one anonymous BART employee (or manager) told the report authors. Other anonymous quotes follow a similar theme: “It was like Vietnam… Labor massacare… The bloodiest strike ever… He was our hired gun… They threw bombs.” 

The second thing everyone agreed on, from management to the unions, was that hiring union-buster labor consultant Tom Hock as a negotiator was a bad idea

I think a lot of the stakeholders involved and unions have identified that Tom Hock was the problem,” Tom Radulovich, a BART board director, told the Guardian. “This (report) validates my concerns. They talked to everybody.”

Agreement Dynamics Inc., who conducted the investigation on behalf of the BART board, did in-depth interviews with a multitude of BART union representatives, employees, managers, and labor negotiators. Through the report, Agreement Dynamics found a culture of distrust between labor and management that they described as entrenched and multi-generational. On top of that already potent powder-keg, Hock was hired as a negotiator. Seven board directors cast “aye” votes to hire Hock, including Radulovich. Directors Fang and Murray were absent from the room at the time of the vote.

According to the report, Hock came in with guns blazing. Mixing that attitude with what the report describes as BART General Manager Grace Crunican’s lack of experience in labor negotiations, and there was a perfect recipe for conflict. 

“When Tom Hock took over as chief negotiator, Grace had become hard line,” one source told Agreement Dynamics. “There wasn’t enough trust built… Tom Hock thought a strike was inevitable. I don’t know how we thought we could win. We did not even have the whole board supporting this.”

But despite the lack of groundswell support, Hock perpetuated a strategy to push the unions to strike, according to the source. 

“Tom pushed it to strike because Grace would not budge financially,” the source said. “So Tom said to Grace, ‘You will have to strike with your position.’ Management thought we could win the PR battle and the unions would cave. But the unions had politicians. The press can turn on a dime. They did and our strategy backfired.”

Two managers told Agreement Dynamics that lack of planning exacerbated this problem.

“We did not have a Plan B to prevent a strike,” one manager told the investigators. Another told them, “This strike was not productive. We never did a course correction and then there was another strike. Two people got killed. We spent millions to end up getting creamed, and engendering hate.”

In interviews with the investigators, Hock told them he believed the strike would be very short and the unions would “have to come back and reach an agreement” before management would have to give in. He based this on the Bay Area’s sentiment against the unions, the report wrote. He told investigators that media reports also heavily favored management’s perspective. (The report also outlines how management believed their ‘good strategy’ helped sway big media, like the San Francisco Chronicle, to take their side. Good job, guys.)

The negotiators were told by Hock that a number of factors led to the strike, as he tried to deflect blame. But the report’s analysis said “the conditions cited by Tom Hock (elected board, politically strong unions, ineperience in labor negotiations) have existed in prior negotiations when no strike resulted.” 

So Hock pushed the unions to strike, the same strike that led to two workers’ deaths, the report seemingly implies. But that was not his only misstep, according to the report. He also didn’t read the contract he signed off on.

After labor negotiations concluded, BART management brought celebrations to a screeching halt. For those that remember, a provision on family medical leave, section 4.8 of the labor contract, was disputed by BART management. They said they never signed that provision, which could cost BART upwards of $40 million in sick leave, if approved. 

BART management said it signed the provision due to a “clerical error,” which BART board director Zachary Mallet confirmed to the San Jose Mercury News. “The cause of this incident has been confirmed as a miscommunication-based clerical error during the write-up of a tentative agreement,” Mallet told the Merc. 

But Hock and district negotiators Paul Oversier and Rudy Medina all told Agreement Dynamics that they signed it without reading it. “If Tom Hock had read it before he signed it, 4.8 would not have happened,” one BART staff member told the investigators. 

But as much as Hock comes under fire in this report, the report also found that he came at a time of deep division between labor and management. The report shows a way out for that: leadership from the BART Board of Directors. Radulovich told the Guardian he agrees. The board must take the reins in righting the historic bad blood between all sides at BART. 

A lot of it is the culture of your organization,” he said. “When I was a baby BART director, [employees and management] were complaining about things that happened back in 1979. You do feel like you’re walking in on a fight going on long before you got there, and going on long after you leave.”

“That antagonism has been there from the beginning,” he told us. “The question I ask myself is: how can I change that?”

Tomorrow morning at a press conference at 9am, some of the BART board will present the report and talk about its findings. Maybe we’ll find those answers then. 

Racing for solutions

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rebecca@sfbg.com

Although there are five seats on the San Francisco Board of Supervisors up for reelection this fall, incumbents face few contenders with the requisite cash and political juice needed to mount a serious challenge. The one race that has stirred interest among local politicos is the bid to represent District 10, the rapidly changing southeastern corner of San Francisco that spans the Bayview, Hunters Point, Visitacion Valley, Dogpatch, and Potrero Hill neighborhoods.

Sup. Malia Cohen, who narrowly beat an array of more than a dozen candidates in 2010, has raised way more money than her best-funded opponent, progressive neighborhood activist Tony Kelly, who garnered 2,095 first-place votes in the last D10 race, slightly more than Cohen’s, before the final outcome was determined by ranked-choice voting tallies.

For the upcoming Nov. 4 election, Cohen has received $242,225 in contributions, compared with Kelly’s $42,135, campaign finance records show. But Kelly, who collected the 1,000 signatures needed to qualify for the November ballot and qualified for public financing, has secured key progressive endorsements, including former Mayor Art Agnos, Assemblymember Tom Ammiano, Sups. David Campos and John Avalos, and the Potrero Hill Democratic Club.

Others who’ve filed to run for this office include Marlene Tran, a retired educator who has strong ties to families in the district, especially in Visitacion Valley, through her teaching and language-access programs (she’s known by kids as “Teacher Tran”); Shawn Richard, the founder of a nonprofit organization that offers workshops for youth to prevent gun violence; and Ed Donaldson, who was born and raised in Bayview Hunters Point and works on economic development issues. DeBray Carptenter, an activist who has weighed in on police violence, is running as a write-in candidate.

But the outcome in this dynamic district could be determined by more than campaign cash or political endorsements. That’s because the D10 supervisor faces the unique, unenviable challenge of taking on some of the city’s most intractable problems, which have disproportionately plagued this rapidly changing district.

Longstanding challenges, such as a high unemployment and crime rates, public health concerns, social displacement, and poor air quality, have plagued D10 for years. But now, fast-growing D10 is becoming a microcosm for how San Francisco resolves its growing pains and balances the interests of capital and community.

 

MIX OF CHALLENGES

While candidate forums and questionnaires tend to gauge political hopefuls on where they draw the line on citywide policy debates, such as Google bus stops or fees for Sunday parking meters, neighborhood issues facing D10 have particularly high stakes for area residents.

While other supervisors represent neighborhoods where multiple transit lines crisscross through in a rainbow of route markers on Muni maps, D10 is notoriously underserved by public transit. The high concentration of industrial land uses created major public health concerns. A Department of Public Health study from 2006 determined that Bayview Hunters Point residents were making more hospital visits on average than people residing in other San Francisco neighborhoods, especially for asthma and congestive heart failure.

Unemployment in D-10 hovers near 12 percent, triple the citywide average of 4 percent. Cohen told us efforts are being made on this front, noting that $3 million had been invested in the Third Street corridor to assist merchants with loans and façade improvements, and that programs were underway to connect residents with health care and hospitality jobs, as well as service industry jobs.

“The mantra is that the needle hasn’t moved at all,” Cohen noted, but she said things are getting better. “We are moving in the same downward trend with regard to unemployment.”

Nevertheless, the high unemployment is also linked with health problems, food insecurity — and violence. In recent months, D10 has come into the spotlight due to tragic incidents of gun violence. From the start of this year to Sept. 8, there were 13 homicides in D10.

Fourth of July weekend was particularly deadly in the Bayview and D10 public housing complexes, with four fatal shootings. Cohen responded with a press conference to announce her plan to convene a task force addressing the problem, telling us it will be “focused on preventing gun violence rather than reacting to it.”

The idea, she said, is to bring in expert stakeholders who hadn’t met about this topic before, including mental-health experts and those working with at-risk youth.

“I think we need to go deeper” than in previous efforts, Cohen said, dismissing past attempts as superficial fixes.

But Cohen’s task force plan quickly drew criticism from political opponents and other critics, including Sheriff Ross Mirkarimi, who dismissed it as empty rhetoric.

“How many people are cool with yet another task force?” Kelly said in a press statement challenging the move. “We can’t wait any longer to stem the deadly tide of violence in District 10. Supervisor Cohen’s task force won’t even propose solutions till 2017. We can’t wait that long.”

Kelly told us he’s formulated a five-point plan to tackle gun violence, explaining that it involved calling for a $10 million budget supplemental to bolster family services, reentry programs, job placement, and summer activities aimed at addressing poverty and service gaps. Kelly also said he’d push for a greater emphasis on community policing, with officers walking a beat instead of remaining inside a vehicle.

“How do you know $10 million is enough?” Cohen responded. “When you hear critics say $10 million, there is no way to indicate whether we’d need more or less.” She also took issue with the contention that her task force wouldn’t reach a solution soon enough, saying, “I never put a timeline on the task force.”

Cohen also said she wanted to get a better sense of where all of the past funding had gone that was supposed to have alleviated gun violence. “We’ve spent a lot of money — millions — and one of the things I am interested in doing is to do an audit about the finances,” she said.

She also wants to explore a partnership with the Guardian Angels, community volunteers who conduct safety patrols, to supplement policing. Cohen was dismissive of her critics. “Tony was not talking about black issues before this,” she said. “He hasn’t done one [gun] buyback. There’s no depth to what any of these critics are saying.”

Tran, who spoke with the Guardian at length, said she’d started trying to address rampant crime in Visitacion Valley 25 years ago and said more needs to be done to respond to recent shootings.

“There was no real method for the sizable non-English speaking victims to make reports then,” Tran wrote in a blog post, going on to say that she’d ensured materials were translated to Chinese languages to facilitate communication with the Police Department. “When more and more residents became ‘eyes and ears’ of law enforcement, community safety improved,” she said.

Richard, whose Brothers Against Guns has been working with youth for 20 years and organizing events such as midnight basketball games, said he opposed Cohen’s task force because it won’t arrive at a solution quickly enough. He said he thought a plan should be crafted along with youth advocates, law enforcement, juvenile and adult probation officers, and clergy members to come up with a solution that would bolster youth employment opportunities.

“I’ve talked with all 13 families” that lost young people to shootings this year, Richard said, and that he attended each of the funerals.

 

CHANGING NEIGHBORHOOD

Standing outside the Potrero Terrace public housing complex at 25th and Connecticut streets on a recent sunny afternoon, Kelly was flanked by affordable housing advocates clutching red-and-yellow “Tony Kelly for District Supervisor” campaign signs. The press conference had been called to unveil his campaign plan to bolster affordable housing in D10.

Pointing out that Cohen had voted “no endorsement” at the Democratic County Central Committee on Proposition G — the measure that would tax property-flipping to discourage real estate speculation and evictions — Kelly said, “This is not a time to be silent.”

While Cohen had accepted checks from landlords who appeared on the Anti-Eviction Mapping Project’s list of worst offenders for carrying out Ellis Act evictions, Kelly said he’s pledged not to accept any funding from developers or Ellis Act evictors. Asked if any had offered, Kelly responded, “Some. They’re not knocking down my door.”

Cohen told us that she hadn’t supported Prop. G, a top priority for affordable housing advocates, because she objected to certain technical provisions that could harm small property owners in her district. As for the contributions from Ellis Act evictors, she said the checks had been returned once the error was discovered. Her formal policy, she said, is not to intentionally take money from anyone involved in an Ellis Act eviction.

Speaking outside Potrero Terrace, Kelly said he thought all housing projects built on public land should make at least one-third of their units affordable to most San Franciscans. He also said renovation of public housing projects could be accelerated if the city loaned out money from its $19 billion employee retirement fund. Under the current system, funding for those improvements is leveraged by private capital.

Mold, pests, and even leaking sewage are well-documented problems in public housing. Dorothy Minkins, a public housing resident who joined Kelly and the others, told us that she’s been waiting for years for rotting sheetrock to be replaced by the Housing Authority, adding that water damage from her second-floor bathroom has left a hole in the ceiling of her living room. She related a joke she’d heard from a neighbor awaiting similar repairs: “He said, Christ will come before they come to fix my place.”

Lack of affordable housing is a sweeping trend throughout San Francisco, but it presents a unique challenge in D10, where incomes are lower on average (the notable exceptions are in Potrero Hill, dotted with fine residential properties overlooking the city that would easily fetch millions, and Dogpatch, where sleek new condominium dwellings often house commuters working at tech and biotech firms in the South Bay).

Home sale prices in the Bayview shot up 59 percent in two years, prompting the San Francisco Business Times to deem it “a hot real estate market adorned with bidding wars and offers way above asking prices.”

One single-family home even sold for $1.3 million. Historically, the Bayview has been an economically depressed, working-class area with a high rate of home ownership due to the affordability of housing — but that’s been impacted by foreclosures in recent years, fueling displacement.

Although statistics from the Eviction Defense Collaborative show that evictions did occur in the Bayview in 2013, particularly impacting African Americans and single-parent households, Cohen noted that evictions aren’t happening in D10 with the same frequency as in the Tenderloin or the Mission.

“When it comes to communities of color in the southeast, it’s about foreclosure or mismanagement of funds,” explained Cohen.

She said that a financial counseling services center had opened on Evans Street to assist people who are facing foreclosure, and added that she thought more should be done to market newly constructed affordable units to communities in need.

“There’s an error in how they’re marketing,” she said, because the opportunities are too often missed.

But critics say more is needed to prevent the neighborhood from undergoing a major transformation without input from residents.

“This district is being transformed,” Richard said. “A lot of folks are moving out — they’re moving to Vallejo, Antioch, Pittsburg. They don’t want to deal with the issues, and the violence, and the cost.”

At the same time, he noted, developers are flocking to the area, which has a great deal more undeveloped land than in other parts of the city.

“The community has no one they can turn to who will hold these developers accountable,” he said. “If the community doesn’t have a stake in it, then who’s winning?”

 

Tom’s legacy

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steve@sfbg.com

At a moment when San Francisco politics has slid toward the slippery center — when one-time progressives align with business elites, the political rhetoric seems hollow, and the vaunted value of “civility” in City Hall increasingly looks more like a deceptive power grab by the Mayor’s Office — it feels so refreshing to talk with Tom Ammiano.

For one thing, he’s hilarious, always quick with quips that are not only funny, but often funny in insightful ways that distill complex issues down to their essence, delivered with his distinctive nasally honk and lightning timing. Ammiano developed as a stand-up comedian and political leader simultaneously, and the two professional sides feed off each other, alternatively manifesting in disarming mirth or penetrating bite.

But his humor isn’t the main reason why Ammiano — a 72-year-old state legislator, two-time mayoral candidate, and former supervisor and school board member — has become such a beloved figure on the left of state and local politics, or why so many progressives are sad to see him leaving the California Assembly and elected office this year for the first time since 1990.

No, perhaps the biggest reason why public esteem for Ammiano has been strong and rising — particularly among progressives, but also among those of all ideological stripes who decry the closed-door dealmaking that dominates City Hall and the State Capitol these days — is his political integrity and courage. Everyone knows where Tom Ammiano will stand on almost any issue: with the powerless over the powerful.

“Don’t make it about yourself, make it about what you believe in,” Ammiano told us, describing his approach to politics and his advice to up-and-coming politicians.

Ammiano’s positions derive from his progressive political values, which were informed by his working class upbringing, first-hand observations of the limits of American militarism, publicly coming out as a gay teacher at time when that was a risky decision, standing with immigrants and women at important political moments, and steadily enduring well-funded attacks as he created some of San Francisco’s most defining and enduring political reforms, from domestic partner benefits and key political reforms to universal health care.

“He has been able to remain true to his values and principles of the progressive movement while making significant legislative accomplishments happen on a number of fronts,” Sup. David Campos, who replaced Ammiano on the Board of Supervisors and is now his chosen successor in the California Assembly, told the Guardian. “I don’t know that we’ve fully understood the scope of his influence. He has influenced the city more than most San Francisco mayors have.”

So, as we enter the traditional start of fall election season — with its strangely uncontested supervisorial races and only a few significant ballot measures, thanks to insider political manipulations — the Guardian spent some time with Ammiano in San Francisco and in Sacramento, talking about his life and legacy and what can be done to revive the city’s progressive spirit.

 

 

LIFE OF THE CAPITOL

Aug. 20 was a pretty typical day in the State Capitol, perhaps a bit more relaxed than usual given that most of the agenda was concurrence votes by the full Senate and Assembly on bills they had already approved once before being amended by the other house.

Still, lobbyists packed the hall outside the Assembly Chambers, hoping to exert some last minute influence before the legislative session ended (most don’t bother with Ammiano, whose name is on a short list, posted in the hall by the Assembly Sergeant-at-Arms, of legislators who don’t accept business cards from lobbyists).

One of the bills up for approval that day was Ammiano’s Assembly Bill 2344, the Modern Family Act, which in many ways signals how far California has come since the mid-’70s, when Ammiano was an openly gay schoolteacher and progressive political activist working with then-Sup. Harvey Milk to defeat the homophobic Briggs Initiative.

The Modern Family Act updates and clarifies the laws governing same-sex married couples and domestic partners who adopt children or use surrogates, standardizing the rights and responsibilities of all parties involved. “With a few simple changes, we can help families thrive without needless legal battles or expensive court actions,” Ammiano said in a press statement publicizing the bill.

Ammiano arrived in his office around 10am, an hour before the session began, carrying a large plaque commending him for his legislative service, given to outgoing legislators during a breakfast program. “Something else I don’t need,” Ammiano said, setting the plaque down on a table in his wood-paneled office. “I wonder if there’s a black market for this shit.”

Before going over the day’s legislative agenda, Ammiano chatted with his Press Secretary Carlos Alcala about an editorial in that morning’s San Francisco Chronicle, “Abuse of disabled-parking program demands legislators act,” which criticized Ammiano for seeking minor changes in a city plan to start charging for disabled placards before he would sponsor legislation to implement it. The editorial even snidely linked Ammiano to disgraced Sen. Leland Yee, who is suspended and has nothing to do with the issue.

“I’ve had these tussles with the Chronicle from day one. They just want people to be angry with me,” Ammiano told us. “You stand up for anything progressive and they treat you like a piñata.”

He thought the criticism was ridiculous — telling Alcala, “If we do a response letter, using the words puerile and immature would be good” — and that it has as much to do with denigrating Ammiano, and thus Campos and other progressives, as the issue at hand.

“Anything that gets people mad at me hurts him,” Ammiano told us.

But it’s awfully hard to be mad at Tom Ammiano. Even those on the opposite side of the political fence from him and who clash with him on the issues or who have been subjected to his caustic barbs grudgingly admit a respect and admiration for Ammiano, even Lt. Gov. Gavin Newsom, who told the Guardian as much when we ran into him on the streets of Sacramento later that day.

Ammiano says he rarely gets rattled by his critics, or even the handful of death threats that he’s received over the years, including the one that led the San Francisco Police Department to place a protective detail on him during the 1999 mayor’s race.

“You are buoyed by what you do, and that compensates for other feelings you have,” Ammiano said of safety concerns.

Finally ready to prepare for the day’s business, he shouts for his aides in the other room (“the New York intercom,” he quips). The first question is whether he’s going to support a bill sponsored by PG&E’s union to increase incentives for geothermal projects in the state, a jobs bill that most environmental groups opposed.

“That is a terrible bill, it’s total shit, and I’m not going to support it,” Ammiano tells his aide. “It’s a scam.”

As Ammiano continued to prepare for the day’s session, we headed down to the Assembly floor to get ready to cover the action, escorted by Alcala. We asked what he planned to do after Ammiano leaves Sacramento, and Alcala told us that he’ll look at working for another legislator, “but there would probably be a lot more compromises.”

 

 

SPARKING CHANGE

Compromises are part of politics, but Ammiano has shown that the best legislative deals come without compromising one’s political principles. Indeed, some of his most significant accomplishments have involved sticking to his guns and quietly waiting out his critics.

For all the brassy charm of this big personality — who else could publicly confront then-Gov. Arnold Schwarzenegger at a Democratic Party fundraiser in 2009 and tell him to “kiss my gay ass!” — Ammiano has usually done the work in a way that wasn’t showy or self-centered.

By championing the reinstatement of district supervisorial elections and waging an improbable but electrifying write-in campaign for mayor in 1999 (finishing second before losing to incumbent Willie Brown in the runoff election), Ammiano set the stage for progressives to finally win control of the Board of Supervisors in 2000 and keep it for the next eight years, forming an effective counterbalance to Gavin Newsom’s pro-business mayoralty.

“I just did it through intuition,” Ammiano said of his 1999 mayoral run, when he jumped into the race just two weeks before election day. “There was a lot of electricity.”

After he made the runoff, Brown and his allies worked aggressively to keep power, leaning on potential Ammiano supporters, calling on then-President Bill Clinton to campaign for Brown, and even having Jesse Jackson call Ammiano late one night asking him to drop out.

“That’s when we realized Willie really felt threatened by us,” Ammiano said, a fear that was well-founded given that Ammiano’s loss in the runoff election led directly into a slate of progressives elected to the Board of Supervisors the next year. “It was a pyrrhic victory for him because then the board changed.”

But Ammiano didn’t seize the spotlight in those heady years that followed, which often shone on the younger political upstarts in the progressive movement — particularly Chris Daly, Matt Gonzalez, and Aaron Peskin — who were more willing to aggressively wage rhetorical war against Newsom and his downtown constituents.

By the time the 2003 mayor’s race came, Ammiano’s mayoral campaign became eclipsed by Gonzalez jumping into the race at the last minute, a Green Party candidate whose outsider credentials contrasted sharply with Newsom’s insider inevitability, coming within 5 percentage points of winning.

“I just bounced back and we did a lot of good shit after that,” Ammiano said, noting how district elections were conducive to his approach to politics. “It helped the way I wanted to govern, with the focus on the neighborhoods instead of the boys downtown.”

Perhaps Ammiano’s greatest legislative victory as a supervisor was his Health Care Security Ordinance, which required employers in San Francisco to provide health coverage for their employees and created the Healthy San Francisco program to help deliver affordable care to all San Franciscans.

The business community went ballistic when Ammiano proposed the measure in 2006, waging an aggressive lobbying and legal campaign to thwart the ordinance. But Ammiano just quietly took the heat, refused to compromise, and steadily lined up support from labor, public health officials, and other groups that were key to its passage.

“Maybe the early days of being a pinata inured me,” Ammiano said of his ability to withstand the onslaught from the business community for so long, recalling that in his 1999 school board race, “I really became a pinata. I got it in the morning from the Chronicle and in the afternoon from the Examiner.”

Ammiano kept Newsom apprised of his intentions and resolve, resisting entreaties to water down the legislation. “I kept talking to him and I told him I was going to do it,” Ammiano said. “Eventually, we got a 11 to zip vote and Newsom couldn’t do anything about it. That was a great journey.”

In the end, Newsom not only supported the measure, but he tried to claim Ammiano’s victory as his own, citing the vague promise he had made in his 2007 State of the City speech to try to provide universal health care in the city and his willingness to fund the program in his 2007-08 budget.

But Ammiano was happy with the policy victory and didn’t quibble publicly with Newsom about credit. “I picked my battles,” Ammiano said, contrasting his approach to Newsom with that of his more fiery progressive colleagues. “I tried to go after him on policy, not personality.”

Ammiano isn’t happy with the political turn that San Francisco has taken since he headed to Sacramento, with the pro-business, fiscally conservative faction of the city controlling the Mayor’s Office and exerting a big influence on the Board of Supervisors. But San Francisco’s elder statesman takes the long view. “Today, the board has a moderate trajectory that can be annoying, but I think it’s temporary,” Ammiano said. “These things are cyclical.”

He acknowledges that things can seem to a little bleak to progressives right now: “They’re feeling somewhat marginalized, but I don’t think it’s going to stay that way.”

 

FLOOR SHOW

Back on the Assembly floor, Ammiano was working the room, hamming it up with legislative colleagues and being the first of many legislators to rub elbows and get photos taken with visiting celebrities Carl Weathers, Daniel Stern, and Ron Perlman, who were there to support film-credit legislation

“Ron Perlman, wow, Sons of Anarchy,” Ammiano told us afterward, relating his conversation with Perlman. “I said, ‘They killed you, but you live on Netflix.’ I told him I was big fan. Even the progressives come here for the tax breaks.”

When Little Hoover Commission Chair Pedro Nava, who used to represent Santa Barbara in the Assembly, stopped to pose with Ammiano for the Guardian’s photographer, the famously liberal Ammiano quipped, “You’ll get him in trouble in Santa Barbara. Drill, baby, drill!”

Ammiano chairs the Assembly Public Safety Committee, where he has successfully pushed prison reform legislation and helped derail the worst tough-on-crime bills pushed by conservatives. “We have a lot of fun, and we get a chance to talk about all these bills that come before us,” Bob Wieckowski (D-Fremont), who chairs the Judiciary Committee, told the Guardian when asked about Ammiano. “You can see how these bad bills get less bad.”

Ammiano gave a short speech when his Modern Family Act came up for a vote, noting that it “simplifies the law around these procedures,” before the Assembly voted 57-2 to send it to the governor’s desk, where he has until Sept. 30 to act on it. “I think he’ll sign it,” Ammiano told the Guardian, “even though it’s about reproduction and naughty bits.”

“He’s a hoot,” Assemblymember Reggie Jones-Sawyer (D-Los Angeles) said of Ammiano, whose desk is right behind his own. Jones-Sawyer said that he’d love to see Ammiano run for mayor of San Francisco, “but he’s waiting for a groundswell of support. Hopefully the progressives come together.”

Jones-Sawyer said Ammiano plays an important role as the conscience of a Legislature that too often caters to established interests.

“There’s liberal, progressive, socialist, communist, and then there’s Tom,” Jones said. “As far left as you can go, there’s Tom, and that’s what we’re going to miss.”

Yet despite that strong progressive reputation, Ammiano has also been an amazingly effective legislator (something that might surprise those supporting the campaign of David Chiu, which has repeatedly claimed that ideological progressives like Ammiano and Campos can’t “get things done” in Sacramento).

Last year, Ammiano got 13 bills through the Legislature — including three hugely controversial ones: the TRUST Act, which curbs local cooperation with federal immigration holds; the Domestic Workers Bill of Rights; and a bill protecting transgender student rights in schools, which was savaged by conservative religious groups — all of which were signed into law by Gov. Jerry Brown.

“A lot of it is personal relationships, some is timing, and some is just sticking to it,” Ammiano said of effectiveness.

Some of his legislative accomplishments have required multiyear efforts, such as the Domestic Workers Bill of Rights, which was vetoed in 2012 before being signed into law last year with only a few significant changes (see “Do we care?” 3/26/13).

“Tom Ammiano was so incredible to work with,” Katie Joaquin, campaign coordinator for the California Domestic Workers Coalition, for whom the bill had long been a top priority, told the Guardian.

The large grassroots coalition backing the bill insisted on being a part of the decision-making as it evolved, which is not always easy to do in the fast-paced Capitol. But Joaquin said Ammiano’s history of working with grassroots activists made him the perfect fit for the consensus-based coalition.

“That’s difficult to do in the legislative process, and working with Tom and his office made that possible,” Joaquin told us. “He wanted to make sure we had active participation in the field from a variety of people who were affected by this.”

When the bill was vetoed by Gov. Brown, who cited paternalistic concerns that better pay and working conditions could translate into fewer jobs for immigrant women who serve as domestic workers, Joaquin said Ammiano was as disappointed as the activists, but he didn’t give up.

“It was really hard. I genuinely felt Tom’s frustration. He was going through the same emotions we were, and it was great that he wanted to go through that with us again,” Joaquin told us. “Sometimes, your allies can get fatigued with the long struggles, but Tom maintained his resolve and kept us going.”

And after it was over, Ammiano even organized the victory party for the coalition and celebrated the key role that activists and their organizing played in making California only the second state in the nation (after New York) to extend basic wage, hour, and working condition protections to nannies, maids, and other domestic workers excluded under federal law.

“He has a great sense of style,” Joaquin said of Ammiano, “and that emanates in how he carries himself.”

 

 

COMING OUT

Ammiano came to San Francisco in 1964, obtaining a master’s degree in special education from San Francisco State University and then going on to teach at Hawthorne Elementary (now known as Cesar Chavez Elementary). He quickly gained an appreciation for the complex array of issues facing the city, which would inform the evolution of his progressive worldview.

“In teaching itself, there were a lot of social justice issues,” Ammiano said. For example, most native Spanish-speakers at the time were simply dumped into special education classes because there wasn’t yet bilingual education in San Francisco schools. “So I turned to the community for help.”

The relationships that he developed in the immigrant community would later help as he worked on declaring San Francisco a sanctuary city as waves of Central American immigrants fled to California to escape US-sponsored proxy wars.

Growing up a Catholic working class kid in New Jersey, Ammiano was no hippie. But he was struck by the brewing war in Vietnam strongly enough that he volunteered to teach there through a Quaker program, International Volunteer Service, working in Saigon from 1966-68 and coming back with a strong aversion to US militarism.

“I came back from Vietnam a whole new person,” he told us. “I had a lot of political awakenings.”

He then worked with veterans injured during the war and began to gravitate toward leftist political groups in San Francisco, but he found that many still weren’t comfortable with his open homosexuality, an identity that he never sought to cover up or apologize for.

“I knew I was gay in utero,” Ammiano said. “I said you have to be comfortable with me being a gay, and it wasn’t easy for some. The left wasn’t that accepting.”

But that began to change in the early ’70s as labor and progressives started to find common cause with the LGBT community, mostly through organizations such as Bay Area Gay Liberation and the Gay Teachers Coalition, a group that Ammiano formed with Hank Wilson and Ron Lanza after Ammiano publicly came out as a gay teacher in 1975.

“He was the first public school teacher to acknowledge that he was a gay man, which was not as easy as it sounds in those days,” former Mayor Art Agnos told us, crediting Ammiano with helping make support for gay rights the default political position that it became in San Francisco.

San Francisco Unified School District still wasn’t supportive of gay teachers, Ammiano said, “So I ran for school board right after the assassinations [of Mayor George Moscone and Sup. Harvey Milk in 1978] and got my ass kicked.”

Shortly thereafter, Ammiano decided to get into stand-up comedy, encouraged by friends and allies who loved his sense of humor. Meanwhile, Ammiano was pushing for SFUSD to name a school after Milk, as it immediately did for Moscone, a quest that dragged on for seven years and which was a central plank in his unsuccessful 1988 run for the school board.

But Ammiano was developing as a public figure, buoyed by his stand-up performances (which he said Chronicle reporters would sometimes attend to gather off-color quotes to use against him in elections) and increased support from the maturing progressive and queer communities.

So when he ran again for school board in 1990, he finished in first place as part of the so-called “lavender sweep,” with LGBT candidates elected to judgeships and lesbians Carole Migden and Roberta Achtenberg elected to the Board of Supervisors.

On the school board, Ammiano helped bring SFUSD into the modern age, including spearheading programs dealing with AIDS education, support for gay students, distribution of condoms in the schools, and limiting recruiting in schools by the homophobic Boy Scouts of America.

“I found out we were paying them to recruit in the schools, but I can’t recruit?” Ammiano said, referencing the oft-raised concern at the time that gay teachers would recruit impressionable young people into homosexuality.

As his first term on the school board ended, a growing community of supporters urged Ammiano to run for the Board of Supervisors, then still a citywide election, and he was elected despite dealing with a devastating personal loss at the time.

“My partner died five days before the election,” Ammiano said as we talked at the bar in Soluna, tearing up at the memory and raising a toast with his gin-and-tonic to his late partner, Tim Curbo, who succumbed to a long struggle with AIDS.

Ammiano poured himself into his work as a supervisor, allied on the left at various points in the mid-late ’90s with Sups. Sue Bierman, Terrence Hallinan, Leland Yee, Mabel Teng, Angelo Alioto, and Carole Migden against the wily and all-powerful then-Mayor Brown, who Ammiano said “manipulated everything.”

But Ammiano gradually began to chip away at that power, often by turning directly to the people and using ballot measures to accomplish reforms such as laws regulating political consultants and campaign contributions and the reinstatement of district supervisorial elections, which decentralized power in the city.

“People frequently say about politicians, when they want to say something favorable, that they never forgot where they came from,” Agnos told us. “With Tom, he never forgot where he came from, and more importantly, he never forgot who he was…He was an authentic and a proud gay man, as proud as Harvey Milk ever was.”

And from that strong foundation of knowing himself, where he came from, and what he believed, Ammiano maintained the courage to stand on his convictions.

“It’s not just political integrity, it’s a reflection of the man himself,” Agnos said, praising Ammiano’s ability to always remain true to himself and let his politics flow from that. “A lot of politicians don’t have the courage, personal or political, to do that.”

 

 

WHAT’S NEXT

Ammiano’s legacy has been clearly established, even if it’s not always appreciated in a city enamored of the shiny and new, from recent arrivals who seem incurious about the city’s political history to the wave of neoliberal politicians who now hold sway in City Hall.

“Tom has carried on the legacy of Harvey Milk of being the movement progressive standard bearer. He has, more than anyone else, moved forward progressive politics in San Francisco in a way that goes beyond him as an individual,” Campos said, citing the return of district elections and his mentoring of young activists as examples. “He brought a number of people into politics that have been impactful in their own right.”

Campos is one of those individuals, endorsed by Ammiano to fill his District 9 seat on the Board of Supervisors from among a competitive field of established progressive candidates. Ammiano says he made the right choice.

“I have been supportive of him as a legislator and I think he’s doing the right things,” Ammiano said of Campos, adding an appreciation for the facts that he’s gay, an immigrant, and a solid progressive. “He’s a three-fer.”

Ammiano said that Campos has been a standout on the Board of Supervisors in recent years, diligently working to protect workers, tenants, and immigrants with successful efforts to increase tenant relocation fees after an eviction and an attempt to close the loophole that allows restaurants to pocket money they’re required to spend on employee health care, which was sabotaged by Chiu and Mayor Lee.

“I like his work ethic. He comes across as mild-mannered, but he’s a tiger,” Ammiano said of Campos. “If you like me, vote for David.”

But what about Ammiano’s own political future?

Ammiano said he’s been too busy lately to really think about what’s next for him (except romantically: Ammiano recently announced his wedding engagement to Carolis Deal, a longtime friend and lover). Ammiano is talking with universities and speakers bureaus about future gigs and he’s thinking about writing a book or doing a one-man show.

“Once I get that settled, I’ll look at the mayor’s race and [Sen. Mark] Leno’s seat,” Ammiano said, holding out hope that his political career will continue.

Ammiano said the city is desperately in need of some strong political leadership right now, something that he isn’t seeing from Mayor Lee, who has mostly been carrying out the agenda of the business leaders, developers, and power brokers who engineered his mayoral appointment in 2011.

“Basically, he’s an administrator and I don’t think he’ll ever be anything but that,” Ammiano said. “We are so fucking ready for a progressive mayor.”

If Ammiano were to become mayor — which seems like a longshot at this point — he says that he would use that position to decentralize power in San Francisco, letting the people and their representatives on the Board of Supervisors have a greater say in the direction of the city and making governance decisions more transparent.

“I don’t believe in a strong mayor [form of government],” Ammiano said. “If I was mayor, all the commission appointments would be shared.”

But before he would decide to run for mayor, Ammiano says that he would need to see a strong groundswell of public support for the values and ideals that he’s represented over nearly a half-century of public life in San Francisco.

“I don’t want to run to be a challenger,” Ammiano said. “I’d want to run to be mayor.”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This Week’s Picks: August 27 – September 2, 2014

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sloppy yet endearing

WEDNESDAY 27

 

Mount Kimbie

Around the time dubstep started making its rounds with American artists and audiences in the late ’00s, a host of Londoners were developing the style into something more experimental. Among the earliest practitioners of this “post-dubstep” style was Mount Kimbie, which dropped its debut, Crooks & Lovers, in 2010 and unwittingly became one of the genre’s most influential practitioners. Though the duo may not skew as pop as its contemporary James Blake, Mount Kimbie has maintained a loyal following among electronic music fans, and it’s esteemed enough to have released its second album, Cold Spring Fault Less Youth, on the prestigious Warp label. Featuring guest vocals from London pop prodigy King Krule, Cold Spring only bolstered the duo’s reputation after its stripped-down sound had already made a mark on the mainstream. (Daniel Bromfield)

9pm, $20

The Chapel

777 Valencia, SF

(415) 286-2334

www.thechapelsf.com

 

 

El Terrible

Not too many people have seen El Terrible yet. The band announced its arrival quietly at the start of the year with the release of its eponymous debut EP, a murky four-track affair that evokes the guttural vocals of Joy Division and the intricate guitar sounds of My Bloody Valentine. While it may be a new band, the members of El Terrible are all journeymen of the SF music scene. Main writer and singer Terry Ashkinos was formerly the frontman of SXSW veteran Fake Your Own Death, while his live band, made up of locals Scott Eberhardt and Adrian McCullough, has also been on the scene for many years. Get ready to celebrate, as the group will be performing and dropping its new single at this show. Also playing are Rich Girls, the solo project from The Black’s singer Luisa Black, and Katelyn Sullivan’s acoustic Kitten Grenade, which has been performing all over the city and making quite a splash over the last few months. (David Kurlander)

8pm, $5

Brick and Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com

 

THURSDAY 28


Midnites for Maniacs: Popeye and The Wiz

This might appear to be an unlikely double bill of musicals, until you take a look at its stars: Robert Altman’s mile-a-minute 1980 musical Popeye has the recently departed, greatly loved Robin Williams doing his manic thing in the title role, with Shelly Duvall at his side as Olive Oyl, in a performance that makes it hard to imagine any other (live-action) human taking the part on. The Wiz (1978) features another seemingly divinely-inspired talent gone before his time — a 20-year-old Michael Jackson as the Scarecrow to Diana Ross’ Harlem-dwelling Dorothy. Bonus: Richard Pryor as the Wiz. This could count as tearjerker programming, if each of these films wasn’t so likely to make you grin instead. (Emma Silvers)

7:20pm, $12

Castro Theatre

429 Castro, SF

(415) 621-6350

www.castrotheatre.com

 

FRIDAY 29

 

Mission of Burma

It’s been 33 years since Boston’s Mission of Burma unleashed its initial volley of sound, an EP and an album, Vs., followed by more than 20 years of silence. While the band unleashed 70 minutes of recorded material before an unfortunate breakup spurred by singer and guitarist Roger Miller’s worsening tinnitus, the group grew in stature for the next two decades. After an unexpected reunion in 2004, Mission of Burma has released four additional critically-acclaimed albums. The most recent, 2012’s Unsound, is full of impossibly fast tempos, odd tape-loops, and complex rhythms — generally the band’s modus operandi, but even more amped up than ever before. Truly ageless and anything but a nostalgia act, the band hasn’t visited the West Coast in upwards of four years. This set should include both stuff from the ’80s as well as newer albums, along with (if we’re lucky) a couple of delightfully dissonant Beatles covers the band’s been known to play on special occasions. (Kurlander)

7pm, $20

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

 

 

 

Dev

If you listened to the radio at any point during 2010, you’ve probably heard Dev’s uncanny-valley croon on Far East Movement’s reference-heavy single “Like A G6.” But she’s since surpassed the shadow of that song, releasing the equally prom-wrecking single “In The Dark.” With her processed vocals and lewd lyrics, Dev is often compared to Ke$ha and her Parisian foil Uffie. However, Dev differentiates herself from those artists with a subdued, detached vocal style and a love of space-age, almost loungey production. Though she may or may not score another pop hit, she’s certainly not going anywhere — she released an excellent and surprisingly experimental EP with producer Nanosaur last month, and she’s currently prepping another EP, Bittersweet July, scheduled to drop Sept. 23. (Bromfield)

9pm, $18

The Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

 

SATURDAY 30

 

San Francisco Zine Fest

Put down your iPhone, tablet, or other glowing device and stop thinking about zines in the past tense. DIY culture is thriving, and the San Francisco Zine Fest — which returns to Golden Gate Park this year — spotlights indie artists and writers, small presses, and the readers who love them. This year, there’ll be panels on “Race, Gender, and the Future of Zines” and “Creating Feminist Spaces in DIY Culture;” an “Intro to Silkscreen” workshop; and a rather impressive slate of exhibitors and special guests, including Ryan Sands (Youth in Decline), Tomas Moniz (RAD DAD), and illustrator-cartoonist Hellen Jo. (Cheryl Eddy)

Today, 11am-5pm; Sun/31, 11am-4pm, free

SF County Fair Building

1199 Ninth Ave, SF

www.sfzinefest.org

 

 

 

SF Shakespeare Festival’s The Taming of the Shrew

Shakespeare’s The Taming of the Shrew has always been one of his most controversial plays, both for its rampant misogyny and its unique framing device — the protagonist, Petruchio, performs the entire play as a diversion for a drunk. The production he puts on is a retelling of the courtship of his wife Katherina, the “shrew” in question, who he eventually manipulates into being a devoted wife. Despite its turbulent reputation, the play is frenetic and funny, replete with sexy (and yes, particularly sexist) banter and a series of subplots involving winning women through feats of athletic and mental strength. The San Francisco Shakespeare Festival presents the play in its original setting, Renaissance-era Padua, and promises to play up the physical comedy, costumes, and clowns that punctuate faithful versions of the text. Cross your fingers that the weather is sunny, bring a picnic blanket, and enjoy the Presidio and the brilliance of the Bard. (Kurlander)

Through Mon/2

2pm, free

Presidio Lawn

Between Graham St and Keyes Ave, SF

(415) 558-0888

www.sfshakes.org

 

 

SUNDAY 31

 

Pookie & the Poodlez

I saw Pookie open this year’s Burger Boogaloo with a toothbrush still in his mouth; the story was that he’d overslept for his slot but luckily lived close enough to Oakland’s Mosswood Park to drive over in 15 minutes. Though I have no idea whether or not there’s any truth to this story, it’s a neat anecdotal summary of Pookie & the Poodlez’ aesthetic — sloppy yet endearing in an almost teen-idol way. Pookie’s pinched, nasal voice isn’t that far removed from that of Seth “Hunx” Bogart, with whom he has a degree of separation through performing with Bogart’s old flame Nobunny. But Pookie is weirder, more stoned, more affable, and less concerned with performance or with subverting pop tropes than he is with banging out minute-and-a-half pop-punk songs with little pretense or pretention. (Bromfield)

8:30pm, $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

Oakland Pride Parade and Festival

San Francisco may get all the glory, but Oakland? Oakland’s where Sheila E.’s from, and that, friends, is why Oakland’s annual pride celebration gets the drum queen as a headliner and celebrity grand marshal. The festival, which will take over downtown Oakland until 7pm, features three stages with a stacked bill full of live music, a children’s area, a senior area, and a “wedding pavilion” where couples will be able to tie the knot — there’s a story for the grandkids. And of course, food, booze, and all your favorite LGBT organizations will be out in style. Worth the BART trip? And how. (Emma Silvers)

Parade starts at 10:30am, festival 11am-7pm, $10

Parade: Broadway & 14th St; festival: Broadway & 20th St, Oakl.

(510) 545-6251

www.oaklandpride.org


MONDAY 1


The 12th Annual Cowgirlpalooza

Dust off your best boots and work up an appetite for hooch, because this party on the Mission’s sunniest patio — that’s El Rio’s — will have you cuttin’ a rug to the best country crooners the Bay Area has to offer, including the Patsychords (a Patsy Cline tribute band), Velvetta, Jessica Rose, and more. Enthusiastically encouraged: Boots, checkered shirts, creative belt buckles, lassos, getting there early. This annual shindig, thrown by the bar’s beloved, longtime sound guy Frank Gallagher, fills up in less time than it’d take you to watch City Slickers again. (Silvers)

4pm, $10

El Rio

3158 Mission, SF

(415) 282-3325

www.elriosf.com

 

TUESDAY 2


Gina Arnold

Bloomsbury’s 33 1/3 series of compact volumes examining popular albums offers a range of both musical styles (Dusty Springfield, ABBA, Jethro Tull, DJ Shadow, Sonic Youth, Van Dyke Parks, Guns N’ Roses, Celine Dion) and authors (John Darnielle, holding forth on Black Sabbath). The 96th entry comes from veteran rock journalist and recent Stanford Ph.D Gina Arnold, whose take on Liz Phair’s 1993 grunge-grrrl thesis Exile in Guyville offers what the New York Times calls “the most curious” entry in the 33 1/3 canon, taking a “free-form” approach rather than simply combing through each of Phair’s lo-fi anthems. Seems kinda perfect, considering Phair’s own unconventional music-biz approach — plus, any excuse to revisit “Fuck and Run” is always welcome. (Eddy)

7:30pm, free

Booksmith

1644 Haight, SF

www.booksmith.com

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian, 835 Market Street, Suite 550, SF, CA 94103; or e-mail (paste press release into e-mail body — no attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Gearing up for war

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joe@sfbg.com

A tear gas canister explodes as citizens flee from the gun-toting warriors, safely guarded behind their armored vehicles. Dressed in patterned camo and body armor, they form a skirmish line as they fire projectiles into the crowd. Flash bang explosions echo down the city’s streets.

Such clashes between police and protesters have been common in Ferguson, Mo., in the past few weeks since the death of Michael Brown, an unarmed black teenager killed by a police officer. But it’s also a scene familiar to anyone from Occupy Oakland, where Iraq veteran Scott Olsen suffered permanent brain damage after police shot a less-than-lethal weapon into his head, or similar standoffs in other cities.

police embed 1As the country watched Ferguson police mobilize against its citizens while donning military fatigues and body armor and driving in armored vehicles, many began drawing comparisons to soldiers in Iraq or Afghanistan — indeed, viral photos featuring side-by-side comparisons made it difficult to distinguish peace officers from wartime soldiers.

So how did law enforcement officers in police departments across the country come to resemble the military? And what impact is that escalation of armaments having on otherwise peaceful demonstrations? Some experts say the militarization of police actually encourages violence.

Since the ’90s, the federal Department of Defense has served as a gun-running Santa Claus for the country’s local police departments. Military surplus left over from wars in the Middle East are now hand-me-downs for local police across the country, including here in the Bay Area.

A grenade launcher, armored command vehicles, camera-mounted SWAT robots, mounted helicopter weapons, and military grade body armor — these are just some of the weapons and equipment obtained by San Francisco law enforcement agencies since the ’90s. They come from two main sources: the Department of Defense Excess Property Program, also known as the 1033 loan program, and a multitude of federal grants used to purchase military equipment and vehicles.

A recent report from the American Civil Liberties Union, “The War Comes Home: The Excessive Militarization of American Policing,” slammed the practice of arming local police with military gear. ACLU spokesperson Will Matthews told us the problem is stark in the Bay Area.

“There was no more profound example of this than [the response to] Occupy,” he told the Guardian. He said that military gear “serves usually only to escalate tensions, where the real goal of police is to de-escalate tension.”

The ACLU, National Lawyers Guild, and others are calling for less provocative weaponry in response to peaceful demonstrations, as well as more data to track the activities of SWAT teams that regularly use weaponry from the military.

The call for change comes as a growing body of research shows the cycle of police violence often begins not with a raised baton, but with the military-style armor and vehicles that police confront their communities with.

 

PREPARING FOR BATTLE

What motivation does the federal government have to arm local police? Ex-Los Angeles Police Department Deputy Chief Stephen Downing told the Guardian, “I put this at the feet of the drug war.”

The initial round of funding in the ’90s was spurred by the federal government’s so-called War on Drugs, he said, and the argument that police needed weaponry to match well-armed gangs trafficking in narcotics. That justification was referenced in the ACLU’s report.

After 9/11, the desire to protect against unknown terrorist threats also spurred the militarization of police, providing a rationale for the change, whether or not it was ever justified. But a problem arises when local police start to use the tactics and gear the military uses, Downing told us.

When the LAPD officials first formed military-like SWAT teams, he said, “they always kept uppermost in their mind the police mission versus the military mission. The military has an enemy. A police officer, who is a peace officer, has no enemies.”

“The military aims to kill,” he said, “and the police officer aims to preserve life.”

And when police departments have lots of cool new toys, there is a tendency to want to use them.

When we contacted the SFPD for this story, spokesperson Albie Esparza told us, “Chief [Greg Suhr] will be the only one to speak in regards to this. He is not available for the next week or two. You may try afterwards.”

 

“CRAIGSLIST OF MILITARY EQUIPMENT”

Local law enforcement agencies looking to gear up have two ways to do it: One is free and the other is low-cost. The first of those methods has been heavily covered by national news outlets following the Ferguson protests: the Department of Defense’s 1033 loan program.

The program permanently loans gear from the federal government, with strings attached. For instance, local police can’t resell any weapons they’re given.

To get the gear, first an agency must apply for it through the national Defense Logistics Agency in Fort Belvoir, Va. In California, the Governor’s Office of Emergency Services is the go-between when local police file grant applications to the DLA.

The bar to apply is low. A New Hampshire law enforcement agency applied for an armored vehicle by citing that community’s Pumpkin Festival as a possible terrorism target, according to the ACLU’s report. But the report shows such gear is more likely to be used against protestors or drug dealers than festival-targeting terrorists.

“It’s like the Craigslist of military equipment, only the people getting this stuff are law enforcement agencies,” Kelly Huston, a spokesperson of OEMS, told the Guardian. “They don’t have to pay for this equipment, they just have to come get it.”

Troublingly, where and why the gear goes to local law enforcement is not tracked in a database at the state level. The Guardian made a public records requests of the SFPD and the OEMS, which have yet to be fulfilled. Huston told us the OEMS is slammed with records requests for this information.

“The majority of the documents we have are paper in boxes,” Huston told us, describing the agency’s problem with a rapid response. “This is not an automated system.”

The Guardian obtained federal grant data through 2011 from the OEMS, but with a caveat: Some of the grants only describe San Francisco County, and not the specific agency that requested equipment.

Some data of police gear requested under the 1033 loan program up to 2011 is available thanks to records requests from California Watch. The New York Times obtained more recent 1033 loan requests for the entire country, but it does not delineate specific agencies, only states.

Available data shows equipment requested by local law enforcement, which gravitates from the benign to the frightening.

 

TOYS FOR COPS

An Armament Subsystem is one of the first weapons listed in the 1033 data, ordered by the SFPD in 1996. This can describe mounted machine guns for helicopters (though the SFPD informed us it has since disbanded its aero-unit). From 1995 to 1997, the SFPD ordered over 100 sets of fragmentation body armor valued at $45,000, all obtained for free. In 1996, the SFPD also ordered one grenade launcher, valued at $2,007.

Why would the SFPD need a grenade launcher in an urban setting? Chief Suhr wouldn’t answer that question, but Downing told us it was troubling.

“It’s a pretty serious piece of military hardware,” he said. “I’ll tell you a tiny, quick story. One of the first big deployments of SWAT (in Los Angeles) was the Black Panthers in the ’60s. They were holed up in a building, well armed and we knew they had a lot of weapons in there,” he said. “They barricaded the place with sandbags. Several people were wounded in the shooting, as I recall. The officers with military experience said the only way we’ll breach those sandbags and doors is with a grenade launcher.”

In those days, they didn’t have a grenade launcher at the ready, and had to go through a maze of official channels to get one.

“They had to go through the Governor’s Office to the Pentagon, and then to Camp Pendleton to get the grenade launcher,” Downing told us. “[The acting LAPD chief] said at the time, ‘Let’s go ahead and ask for it.’ It was a tough decision, because it was using military equipment against our citizens.”

But the chief never had to use the grenade launcher, Downing said. “They resolved the situation before needing it, and we said ‘thank god.'”

The grenade launcher was the most extreme of the equipment procured by local law enforcement, but there were also helicopter parts, gun sights, and multitudes of armored vehicles, like those seen in Ferguson.

By contrast, the grants programs are harder to track specifically to the SFPD, but instead encompass funds given to the San Francisco Municipal Transportation Agency, the Sheriff’s Department, and even some schools. That’s because the grants cover not only allow the purchase of military surplus vehicles and riot gear, but also chemical protective suits and disaster-related supplies.

But much of the requested gear and training has more to do with active police work than emergency response.

San Francisco County agencies used federal loans to purchase $113,000 “command vehicles” (which are often armored). In 2010, the SFPD purchased a $5,000 SWAT robot (which often comes equipped with cameras and a remote control), as well as $15,000 in Battle Dress Uniforms, and $48,000 for a Mobile Communications Command Vehicle.

In 2008, the SFPD ordered a Bearcat Military Counterattack Vehicle for $306,000.

The Lenco website, which manufactures Bearcats, says it “may also be equipped with our optional Mechanical Rotating Turret with Cupola (Tub) and Weapon Ready Mounting System, suitable for the M60, 240B and Mark 19 weapons system.”

Its essentially an armored Humvee that can be mounted with rotating gun turrets.

police embed 2

Department of Homeland Security grants were used to purchase Type 2 Mobile Field Training, which Department of Homeland Security documentation describes as involving eight grenadiers, two counter-snipers, two prisoner transportation vans, and 14 patrol vehicles.

All told, the Bay Area’s many agencies were awarded more than $386 million in federal grants between 2008 and 2011, with San Francisco netting $48 million of those rewards. Through the 1033 loan program, San Francisco obtained over $1.4 million in federal surplus gear from 1995 to 2011.

But much of that was received under the radar, and with little oversight.

“Anytime they’re going to file for this equipment, we think the police should hold a public hearing,” Matthews, the ACLU spokesperson, told us.

In San Francisco, there is a public hearing for the procurement of military weapons, at the Police Commission. But a Guardian analysis of agenda documents from the commission shows these hearings are often held after the equipment has already been ordered.

Squeezed between a “status report” and “routine administrative business,” a March 2010 agenda from the commission shows a request to “retroactively accept and expend a grant in the amount of $1,000,000.00 from the U.S. Department of Justice.”

This is not a new trend. In 2007, the Police Commission retroactively approved three separate grants totaling over $2 million in funding from the federal government through the OEMS, which was then called the Emergency Management Agency.

Police Commission President Anthony Mazzucco did not respond to the Guardian’s emails requesting an interview before our press time, but one thing is clear: The SFPD requests federal grants for military surplus, then sometimes asks the Police Commission to approve the funding after the fact.

Many are already critiquing this call to arms, saying violent gear begets violent behavior.

 

PROVOCATIVE GEAR

A UC Berkeley sociologist, with his small but driven team and an army of automatic computer programs, are now combing more than 8,000 news articles on the Occupy movement in search of a pattern: What causes police violence against protesters, and protester violence against police?

Nicholas Adams and his team, Deciding Force, already have a number of findings.

“The police have an incredible ability to set the tone for reactions,” Adams told us. “Showing up in riot gear drastically increases the chances of violence from protesters. The use of skirmish lines also increases chances of violence.”

Adams’s research uses what he calls a “buffet of information” provided by the Occupy movement, allowing him to study over 200 cities’ police responses to protesters. Often, as in Ferguson, protesters were met by police donned in equipment and gear resembling wartime soldiers.

Rachel Lederman is a warrior in her own right. An attorney in San Francisco litigating against police for over 20 years, and now the president of the National Lawyers Guild Bay Area chapter, she’s long waged legal war against police violence.

Lederman is quick to note that the SFPD in recent years has been much less aggressive than the Oakland Police Department, which injured her client, Scott Olsen, in an Occupy protest three years ago.

“If you compare OPD with the San Francisco Police on the other side of the bay,” she told us, “the SFPD do have some impact munitions they bring at demonstrations, but they’ve never used them.”

Much of this is due to the SFPD’s vast experience in ensuring free speech, an SFPD spokesperson told us. San Francisco is a town that knows protests, so the SFPD understands how to peacefully negotiate with different parties beforehand to ensure a minimum of hassle, hence the more peaceful reaction to Occupy San Francisco.

Conversely, in Oakland, the Occupy movement was met by a hellfire of tear gas and flash bang grenades. Protesters vomited into the sidewalk from the fumes as others bled from rubber bullet wounds.

But some protesters the Guardian talked to noted that the night SFPD officers marched on Occupy San Francisco, members of the city’s Board of Supervisors and other prominent allies stood between Occupiers and police, calling for peace. We may never know what tactics the SFPD would have used to oust the protesters without that intervention.

As Lederman pointed out, the SFPD has used reactive tactics in other protests since.

“We’ve had some problems with SFPD recently, so I’m reluctant to totally praise them,” she said, recalling a recent incident where SFPD and City College police pepper-sprayed one student protester, and allegedly broke the wrists and concussed another. Photos of this student, Otto Pippenger, show a black eye and many bruises.

In San Francisco, a city where protesting is as common as the pigeons, that is especially distressing.

“It’s an essential part of democracy for people to be able to demonstrate in the street,” Lederman said. “If police have access to tanks, and tear gas and dogs, it threatens the essential fabric of democracy.”

Waiting for answers

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rebecca@sfbg.com

As word spread to San Francisco that police in Ferguson, Mo., were taking reporters into custody and firing tear gas at demonstrators outraged by the death of Mike Brown, a small group of writers and organizers with ties to the Mission District was gearing up to hold street demonstrations of its own.

On Aug. 21 and 22, they staged vigils and a march and rally in memory of a different shooting victim: Alejandro (“Alex”) Nieto, who died suddenly in Bernal Heights Park on March 21 after being struck by a volley of police bullets.

Despite palpable anger expressed during the events held to mark five months since Nieto’s death, it was a far cry from the angry demonstrations unleashed on the streets of Ferguson, where it was like something stretched too far and snapped.

People who knew Nieto gathered for a sunset vigil in Bernal Heights Park at the place where he was killed. They returned the following morning for a sunrise vigil, incorporating a spiritual element with Buddhist chanting. Hours later, in a march preceded by dancers who spun in the streets, donning long feathered headdresses and ankle rattles made out of hollowed tree nuts, they progressed from Bernal Hill to the San Francisco Federal Building.

Despite a visible police mobilization, the protests remained peaceful, with little interaction between officers and demonstrators. Instead, the focus remained on the contents of a civil rights complaint filed Aug. 22 by attorney John Burris, famous for his track record of representing victims of police violence.

Burris, who is representing Nieto’s parents, said he rejected the SFPD’s explanation of why officers were justified in discharging their weapons and killing Nieto. “What we will seek to do is to vindicate his interests, his good name, and to show through the evidence that the narrative put forth by the police was just flat-out wrong,” Burris said at the rally.

Nieto’s encounter with police arose because a 911 caller erroneously reported that he had a black handgun, leading police to enter the park in search of a gunman. In reality, Nieto possessed a Taser, not a firearm. On the night he was killed, he’d gone to the park to eat a burrito just before starting his shift as a part-time security guard at a nightclub, where all the guards carry Tasers. In addition to working at that job, Nieto, who was 28, had been studying administration of justice at City College of San Francisco in hopes of becoming a youth probation officer.

Days after the shooting, police said Nieto had pointed his Taser at officers when they approached. At a March 26 town hall meeting convened shortly after the incident, Police Chief Greg Suhr told attendees that Nieto had “tracked” officers with his Taser, emitting a red laser.

“When the officers asked him to show his hands, he drew the Taser from the holster. And these particular Tasers, as soon as they’re drawn, they emit a dot. A red dot,” Suhr said, adding that Nieto had verbally challenged officers when they asked him to drop his weapon. “When the officers saw the laser sight on them, tracking, they believed it to be a firearm, and they fired at Mr. Nieto.”

Yet attorney Adante Pointer, of Burris’s law office, told the Bay Guardian that a person claiming to be an eyewitness to the shooting has come forward with a different account. The witness, whose identity Pointer did not disclose, said he never saw Nieto draw his Taser and did not hear any verbal exchange prior to bullets being fired.

“To suggest that he’d engaged in the most ridiculous outrageous conduct, of pointing a … Taser at the police when they had guns drawn, is insulting,” Burris said at the rally.

The version of events included in the complaint, which Pointer said was based in part on witness accounts, differs greatly from the SFPD account.

“An SFPD patrol car entered the park and drove up a fire trail before stopping approximately 75 to 100 feet away from Mr. Nieto who at that time was casually walking down the jogging trail to the park’s entrance,” Burris’ complaint states. “Two officers emerged from the patrol car and immediately took cover using their car for protection. Several other officers had also gathered on the jogging path, appeared to be carrying rifle-type guns and were positioned behind Mr. Nieto. One of the officers behind the patrol car called out and ordered Mr. Nieto to ‘stop.’ Within seconds a quick volley of bullets were fired at Mr. Nieto. No additional orders or any other verbal communication was heard between the first officer yelling ‘stop’ and the initial volley of gunfire that rang out.”

SFPD spokesperson Albie Esparza told us the department was unable comment on the matter because “anytime there’s a lawsuit, we cease to speak to anybody about that.”

Adriana Camarena, an author and Mission District resident who helped organize the rally, decried the lack of transparency surrounding the Nieto case in comments delivered outside the Federal Building.

“For five months, city officials have kept sealed all records that could explain what happened on March 21 2014,” Camarena charged. “For five months, SFPD, the Police Commission, the District Attorney’s Office, the Medical Examiner’s Office, and the mayor have maintained in secrecy the names of the four officers who killed Alex Nieto, the original 911 calls, eyewitness reports, the number of bullets fired, and the autopsy report. For five months, the Nieto family has been kept in the dark about the facts that could ease some of their trauma about what happened the day that police killed their son.”

Mike Brown was shot and killed by a police officer in Ferguson on Aug. 9. On Aug. 11, following angry demonstrations, police said they would release the name of the officer who shot Brown — but declined to do so Aug. 12, citing fears over the officer’s safety and threats communicated via social media. Yet on Aug. 15, Officer Darren Wilson was identified by officials as the person who shot Brown.

In San Francisco, the names of the four officers who shot Nieto have not been released. Esparza told the Guardian that this was because “there’s specified credible threats against the officers’ lives,” citing a Supreme Court ruling determining that law enforcement agencies can withhold this information under such circumstances.

In addition to the federal civil complaint, friends and supporters of Nieto delivered a petition with almost 1,000 signatures to the U.S. Department of Justice, calling for a federal investigation into the shooting.

Multiple investigations are underway at the local level, but have been stalled due to one missing piece: an autopsy report to be issued by the San Francisco Medical Examiner. Despite the delay in releasing the formal autopsy results, “We did see the body and we did take photographs of it,” Burris noted, referring to his office’s review of the body after it was released to Nieto’s family for burial. Based on that review, Burris said attorneys determined that Nieto had been shot by police more than 10 times.

We placed multiple phone calls to the offices of the Medical Examiner and the District Attorney seeking details about the status of the investigation and to ask about the delay, but received no response.

However Bill Barnes, a spokesperson for the City Administrator’s Office, which the Medical Examiner’s Office reports to, told us the timing of the report is consistent with that of other complex homicide investigations. Barnes added that the Medical Examiner’s Office is waiting on the results of a second toxicology report. The initial results were inconclusive, he said, so another round of testing was initiated.

But that explanation does little to quell the anger of activists who say the SFPD is merely seeking to cover up an unjustified shooting. Pointer said he could see no reason for information being withheld for five months.

“There’s no reason as to why the information that this family deserves as to how their son — our brother, our friend, our leader, our organizer — met his death,” he said at the rally. “There’s just no reason why that story hasn’t been told. If you, the police department, had been justified, why not be transparent? Why not open up your files and let us inspect it so that we can see that what you’re saying is the truth?”

Capitalism, performance art, and a whole lot of ass-shaking: Notes from a Beyoncé and Jay Z show

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First off: To review a Beyoncé and Jay Z show, in the traditional way that music writers generally review live music — assessing and critiquing the sonic experience, the songs performed, the technical skill and effort put into reimagining and translating studio albums into an engaging performer-audience interaction — is totally missing the point.

Yes, they performed songs. More of hers than his, which is how it should be, since her self-titled album that dropped last December like a shiny, extremely well-produced and overtly sexual early Christmas present is roughly nine times better than Jay Z’s Magna Carta…Holy Grail, which came out five months earlier to a resounding critical chorus of “meh.” Taking turns onstage for most of the night (exceptions: “Drunk In Love,” Jay-Z’s timeless chinchilla-themed verse on “Crazy In Love”) before coming together for “Forever Young” and a couple other moments near the end of the two-plus hour show, the duo didn’t exactly perform one song and then another so as much as they led musical theater-style medleys of songs. The pace from start to finish was a full sprint, which is even more impressive considering Bey’s 45 costume changes (maybe a slight exaggeration).

bey

There were few suprises, aside from a sweet cover of Lauryn Hill’s “Ex-Factor.” They mainly did the biggest, showiest parts of the biggest, showiest songs. If you are a person who likes to hear the full version of a song, who relishes the fact of two complete verses before the chorus, who enjoys the quiet build-up, just for example, on Beyoncé’s album-opener “Pretty Hurts,” which is the thing that makes the triumphant chorus on that song really punch in the particular itch-scratching way that makes for a damn good triumphant pop chorus, you might have been a little annoyed at the constant rush. 

Yes, the sound was terrible. Did you know? AT&T Park was not designed with intimate musical performances in mind. The overdriven, speaker-shaking bass drowned out two-thirds of everything else, two-thirds of the time. I probably lost several frequencies from my hearing range last night. Apparently you could hear the show loud and clear (probably clearer than it sounded in the 26th row) for about a mile in every direction. 

This is all beside the point. 

j

Even if you do not give two shits about Beyoncé and Jay Z, even if you only listen to NPR and don’t own a television, even if you’re a survivalist living somewhere in the middle of Montana with no Internet and several guns, you have probably, against your will, heard that there are rumors about their marriage being on the rocks. This is how it works these days; the knowledge enters your consciousness without you even having to read or click on the headlines. Tabloid osmosis. Will they make it to the end of the On The Run tour? Is Jay Z sleeping with Rihanna? Are they all secretly members of a demonic cult that drinks the blood of the young to stay beautiful and also controls the media and/or US government? What does their friend Michelle Obama think? What could this cryptic Instagram picture of them sitting on the beach and laughing with their child possibly mean?

I am fairly certain, after last night’s Beyoncé and Jay Z show, that said rumors did not just coincidentally surface as pop culture’s wealthiest power couple hit the road for an international tour. There is a narrative here, and no matter what you think, they own it and they run it. The text on the screen behind them at the show’s opening read “This is not real life,” and made way for spastic black and white video montages that were interspersed between songs (J and B smoking, J and B wearing masks, riding horses, looking cool, shooting guns, doing some kind of film noir homage, doing some kind of Bonnie & Clyde homage, Bey crying in a wedding dress that kind of turns into a stripper outfit, oh look J’s smoking again).

b

By the show’s end, after songs about anger and sex and distrust and single ladies (yesss), they performed “Halo,” and on the screen behind them was footage from home movies, in color. There’s J and B holding hands jumping off a boat together. There’s Blue Ivy climbing on Jay Z like he’s just a normal dad. There’s B laughing for real, and actually not voguing for a minute. As the show came to a close (Jay: “Ladies and gentlemen, Mrs. Carter,” Bey: “Ladies and gentlemen, Mr. Carter,” bow, hug, walk off stage with arms around each other), the screen read “This is real life.” 

You know what happens when two consummate performers forge a partnership? One hell of a performance. The phrase “Beyoncé and Jay Z show” is redundant. Beyoncé and Jay Z are a show at all times — a walking, talking, completely filtered, directed and produced reality show that is making a lot of people a lot of money (as of this writing, the tour’s grossed around $100 million). And we — everyone in that sold-out ballpark last night — we’re all complicit. “Some Andy Kaufman shit,” mused my friend on the tipsy, ear-ringing walk home, as we discussed how the Carters stand in for our royal family. (Sorry, Pippa Middleton, I’ll take Solange all day, every day.)

jb

You don’t have to give them that much credit in the subversivity department. But you do have to acknowledge that they’re an amazing business — an industry, really — and you are paying attention, whether you like it or not. If Madonna brought performance art to mainstream pop music, turned it into a capitalist transaction? The Beyoncé and Jay Z show has taken the American cult of celebrity, our obsession with reality television, our hunger for knowledge of what famous people are “really like,” and smushed it all together into a product, into capitalism as performance art. At roughly $385 a ticket, plus fees.

I’d go again tonight, if I could.

Random notes: 

— Beyoncé’s body is insane. It is a force of goddamn nature, and she was putting it to work in every way possible last night, in heels, in a thong, with a mass of hair around her shoulders, without a touch of makeup out of place, for two straight hours. It was something to behold. If we are lucky, she signals an evolutionary step forward, as in, in the future, all humans will hopefully look like Beyoncé.

— Relatedly: As fun as it was to hear “99 Problems” and “Hova,” you kind of had the feeling every time Jay Z was on stage by himself that everybody was just waiting for Bey (and her team of super-hot and also mega-talented dancers) to come back out.

— Beyoncé also has an all-female band and most of the members have afros and they looked and sounded fuckin’ great

Jay Z did score some Bay Area points with a brief cover of Too $hort’s “Blow the Whistle,” which he also did last time he was in town, with Justin Timberlake. (Someone should get him on some E-40.)

— There are a lot of rich teenagers in this city. 

Shots fired

2

cheryl@sfbg.com

FILM “The First World War holds the distinction of being America’s most popular conflict while it lasted, and the most hated as soon as it was over,” writes Russell Merritt in the intro to his guest-curated Pacific Film Archive series “Over the Top and Into the Wire: WWI on Film.” Though World War I is a much less popular cinematic subject than WWII, or even the Vietnam War, its complexities mean that the films it did inspire continue to fascinate.

The PFA series kicks off Sat/2 with Charlie Chaplin’s Shoulder Arms (1918), in which the Little Tramp heads “over there” and becomes a most unlikely hero. Included in that same program are Disney short Great Guns (1927), and Winsor McCay’s The Sinking of the Lusitania (1918), a fiery argument in favor of America going to war, as well as one of the first animated documentaries.

“Over the Top” also includes two silent epics (D.W. Griffith’s 1918 Hearts of the World, and Alexander Dovzhenko’s 1929 Arsenal); three certified classics (Jean Renoir’s 1937 POW saga Grand Illusion; Lewis Milestone’s harrowing 1930 All Quiet on the Western Front; and Stanley Kubrick’s 1957 Paths of Glory, starring an impeccably furious Kirk Douglas); and a Washington-set oddity: Gregory La Cava’s 1933 Gabriel Over the White House.

I spoke with Merritt, an adjunct professor in UC Berkeley’s Film and Media Studies Department, just days before the 100-year anniversary of the war’s outbreak on July 28, 1914.

SF Bay Guardian How did you become interested in World War I films?

Russell Merritt For me, World War I is the event that shaped the 20th century, more than the Depression or World War II — and to see how films contributed is one of those endlessly interesting kinds of problems. They were mainly part of the war hysteria that gripped the country starting in 1917, and that in itself is of interest, because we were so opposed to the war just a few years before that, and we became even more opposed to the war after it was all over. The movies reflect that. Trying to account for these dramatic mood swings is part of the fascination.

SFBG How did you select the films in the series?

RM I tried to find both classics and some off-center ones. I suspect nobody who does a series on the First World War is going to forget All Quiet on the Western Front, Grand Illusion, or Paths of Glory, but few would think of Dovzhenko’s Arsenal or Gabriel Over the White House — though those enable us to get to some hidden aspects, or lesser-known aspects, of the ways in which the war was considered.

Of the war films that were made during the war, the only two that anybody remembers are a cartoon [The Sinking of the Lusitania] and a comedy featurette [Shoulder Arms]. Meanwhile, the most popular war film made during the war, D.W. Griffith’s Hearts of the World, with Lillian Gish, is all but forgotten.

SFBG World War I coincided with the early days of cinema. What bearing do you think the two had on each other?

RM In the case of Hearts of the World, it has a direct bearing. This production was unique in that Griffith is the only filmmaker — the only American filmmaker, the only fiction filmmaker — to be allowed onto battlefields, and onto the training grounds in England, to use the armies more or less as extras. It represents this great effort at trying to use motion picture fiction films as what would have been called “informational films” back then — today, we would call them war propaganda films. It reflects this fascination with movies as the latest medium with which to try to influence public opinion.

One of the most fascinating things about this film is Griffith is an American, world-famous for [1915’s] Birth of a Nation. He is invited by the British to make a feature film that will encourage Americans to join the war, or at least to be sympathetic to the Allied side of the war.

But by the time he arrived in Europe, the war had already come to America. So the project changed, and he created an American story about the war. I’m shortening a story that goes on even longer, but this kind of crazy wandering from one project to another reflects the difficulty of trying to find an image for the war other than making the Germans hideous, lustful barbarians. How do you portray the battles, the French, the Americans? That’s all being changed as he’s making the film, and he starts falling back on the patterns that he used when trying to sell the Civil War [in Nation].

All of this relates to your question, because today we have a quite pronounced way of selling government, or more frequently anti-government documentaries. Back then were the very beginnings of this effort to use film for these types of social purposes.

SFBG Hearts used real soldiers, and some of the films, like Grand Illusion, don’t depict any battles, but some of the special effects in the other films are surprisingly impressive. Disembodied hands gripping the barbed wire in All Quiet on the Western Front…

RM That is an unforgettable image, even all these years later. There was also a silent version made of that, with that same shot in it. In some ways, Paths of Glory is the most shocking of the films in the series, because it’s so angry. But the sheer horror of the war, I think, has never been better illustrated [than in All Quiet].

This leads to a subtext in this series: In some ways, you could regard this as a kind of cross-section of the kinds of films that represent the war. But I have a particular argument to make, which is that the films help perpetuate the illusion that the war that Americans fought was interchangeable with the war that Europeans fought. All Quiet is a great example of that. To this day, we think the Americans fought in trenches, that our cause was as confused and as hopeless to understand as was the European cause, and so on.

But in fact, we fought quite a different war. Our reasons for going into the war were quite different, and the experiences we had in the war were quite different. You can ask a class, as I do, “How many of you had relatives that were killed in the First World War?”, and just a sprinkling of hands will go up. Ask the same question in Europe, and it doesn’t matter if it’s France, England, or Germany — all the hands will go up. That gets blurred over in these films, and I’d like [audiences] to reconsider that.

The other thing I want to do is show how the war was used as the teens gave way to the 1920s, and into the 1930s. It had different functions, especially during the Depression, [when it was] interpreted so that it was appropriate to this great economic disaster. That’s the reason I’m including Gabriel Over the White House. And it has a much different purpose when it’s being incorporated into Soviet history; that’s why I’m showing the Ukranian film, Arsenal.

SFBG Perhaps it’s due to those complexities, but World War I hasn’t become a part of pop culture, for lack of a better phrase, the way World War II has.

RM I can’t think of a modern film about America’s involvement in the First World War. I suspect with the American centennial coming up in 2017, that will change. But even documentary filmmakers haven’t touched it. There was a 10-part British documentary series that was made 10 years ago, but we have nothing like that; Ken Burns isn’t going to do something on World War I. The strange part is, it may be as influential as any war we ever fought, certainly more than World War II, in shaping what kind of country we became.

SFBG Why did you only choose one film that was made after World War II? Is it because there just aren’t very many?

RM That’s one reason. And they’re not as interesting, since they more or less recycle the party line on World War I: it was terrible, it was unfair. There’s no new news coming out about the First World War after Kubrick’s movie, as far as I can tell.

SFBG Do you have a favorite among the movies you’re showing?

RM No, I love all my children [laughs]. When you see Grand Illusion, how can you not respond to Renoir’s humane view? This is the most generous view of the war, of officers, and of POWs, that you’ll ever see. It’s not exactly a comedy, but it’s this remarkable way of reconciling enemies, and officers and enlisted men.

Paths of Glory never gets old. It’s based on a historic event that took place in 1914, and kept on taking place; soldiers were frequently being executed for mutiny or cowardice when a military operation became a disaster.

I haven’t seen All Quiet on the Western Front in a long time, and yet for me it’s unforgettable. The big battle scene comes toward the beginning of the film, rather than where it usually comes at the end, and that makes all the difference. *

OVER THE TOP AND INTO THE WIRE: WWI ON FILM

Aug 2-27, $5.50-$9.50

Pacific Film Archive

2575 Bancroft, Berk

bampfa.berkeley.edu

 

What she sees

1

cheryl@sfbg.com

SFJFF The San Francisco Jewish Film Festival opens July 24 with The Green Prince, a documentary based on the memoir of Mosab Hassan Yousef. The son of a founding member of Hamas, he worked as an undercover agent for the Israeli secret service for 10 years, sharing a profound trust with his Shin Bet handler. The closing night film is also a documentary about a conflicted childhood that paves the way for tough choices later in life — but if Little White Lie is also a personal story, it’s a far less political one.

It’s a thoroughly American story, telling the tale of filmmaker Lacey Schwartz, who was raised by her parents — both products of “a long line of New York Jews” — in the decidedly homogeneous town of Woodstock. All of Schwartz’s grade-school friends had light skin and straight hair, while Schwartz was dark, with coarse curls. Lovingly recorded snapshots and home movies of her Bat Mitzvah and other occasions suggest a happy young life, but the “600-pound gorilla in the room,” as one relative puts it, was that Schwartz did not look white, despite ostensibly having white parents. Once she reached her teenage years — and particularly after she enrolled in a high school that had African American kids among its population — she began to realize the go-to family explanation (yeah … that one Sicilian way back in the family tree …) was nothing but a flimsy excuse holding back a mountain of denial.

Now in her 30s, Schwartz has overcome years of identity confusion and is self-confidently assertive in a manner that suggests years of therapy (and indeed, we see footage of sessions she filmed for a student project at Georgetown, where she found a supportive community among the Black Student Alliance). Her parents, however, are not quite as psychologically evolved, although her mother — a pleasant woman who has nonetheless been content to spend her life surfing the waves of passive-aggression — eventually opens up about the Schwartz family’s worst-kept secret. The aptly-titled Little White Lie clocks in at just over an hour, but it packs in a miniseries’ worth of emotional complexity and honesty. Schwartz will be on hand at the film’s San Francisco and Berkeley screenings — the Q&As are sure to be lively.

Another, rather different tale of women using cameras in pursuit of the truth surfaces in Judith Montell and Emily Scharlatt’s In the Image, a doc about Palestinian women who work with Israeli human-rights NGO B’Tselem. Group members, who include high school girls and middle-aged mothers, are given small video cameras to keep an eye on protests, harassment, and anti-Palestinian violence perpetrated by Israeli soldiers and settlers. (In one disturbing clip, we see a small child launch a giant spitball at the lens.) Able to capture footage in areas deemed off-limits to mainstream journalists, In the Image shows how B’Tselem brings investigative reporting to the front lines, and then to the world (thanks, YouTube). It’s also an empowering outlet for the camerawomen-activists, for whom career opportunities are otherwise as rare as are opportunities for artistic expression.

Women are also front and center in a number of SFJFF’s stronger narrative entries. Writer-director Talya Lavie won Best Narrative Feature and the Nora Ephron Prize at Tribeca for Zero Motivation, a pitch-black comedy about female frenemies jammed into close quarters while doin’ time in the Israeli Defense Forces. Most movies prefer to show soldiers in combat, and Zero Motivation does just that — if “combat” means fighting to avoid boring admin work, to achieve the highest score at Minesweeper, to fuck up the most extravagantly, or with staple guns. “There’s a war going on — get a grip!” a superior officer reminds self-centered slacker Daffi (Nelly Tager), and that’s more or less the only current-affairs statement uttered in a film that’s mostly concerned with the agonizing task of achieving responsible young adulthood.

Another coming-of-age tale unfolds in Hanna’s Journey, director and co-writer Julia von Heinz’s drama about a Berlin business-school student (Karoline Schuch) whose résumé is lacking in the sort of warm-fuzzy community service that’ll elevate her in the cutthroat job market. Her estranged mother, who works with a German group placing volunteers in Israel, proves unexpectedly helpful, and Hanna is soon winging her way to work with developmentally disabled adults in Tel Aviv, leaving her sleek wardrobe and yuppie boyfriend behind.

Hanna’s Journey has all the potential to be a pat story about a German woman coming to terms not just with her own life choices, but with complicated family history (hint: it involves World War II) only a trip to Israel can unearth. There’s also a conveniently hunky Israeli (Doron Amit) in the mix. But! Schuch, who resembles Jessica Chastain, brings authenticity to a character who morphs from superficial to soulful in what might otherwise seem like too-rapid time. She also benefits from a subtle, nicely detailed script, which avoids stereotypes and oversimplification, and is not without moments of wicked humor (“German girls are easy — it’s the guilt complex!”)

Less successful at achieving subtelty is For a Woman, writer-director Diane Kurys’ latest autobiographical drama. Here, she explores her parents’ troubled marriage, inspired by a photograph of an uncle nobody in the family wanted to discuss. The fictionalized version begins as Kurys stand-in Anne (Sylvie Testud) and older sister Tania (Julie Ferrier) have just buried their mother, who was long-divorced from the girls’ ailing father.

For a Woman takes place mostly in flashbacks to post-war Lyon, where young Jewish couple Léna (Mélanie Thierry) and Michel (Benoit Magimel) settle and have Tania soon after. Russia-born Michel is a devoted Communist, and he’s overjoyed — yet understandably suspicious — when long-lost brother Jean (Nicolas Duvauchelle) suddenly appears in France, having somehow escaped the USSR. Michel’s political paranoia blinds him to the fact that Léna — who married him to escape a death camp (he didn’t know her, but couldn’t resist her icy blond beauty) — is bored with her stay-at-home-mom life, and has taken an unwholesome interest in his mysterious little bro.

There’s more to the story than that, of course, but For a Woman never goes much deeper than a made-for-TV melodrama: entertaining in the moment, but ultimately forgettable. And even gorgeous period details (Michel’s car is to die for) can’t make up for a frame story that feels rather wan next to the film’s cloak-and-dagger main plotline. 2

SAN FRANCISCO JEWISH FILM FESTIVAL

July 24-Aug. 10, most shows $10-$14

Various Bay Area venues

www.sfjff.org

 

What she sees

3

cheryl@sfbg.com

SFJFF The San Francisco Jewish Film Festival opens July 24 with The Green Prince, a documentary based on the memoir of Mosab Hassan Yousef. The son of a founding member of Hamas, he worked as an undercover agent for the Israeli secret service for 10 years, sharing a profound trust with his Shin Bet handler. The closing night film is also a documentary about a conflicted childhood that paves the way for tough choices later in life — but if Little White Lie is also a personal story, it’s a far less political one.

It’s a thoroughly American story, telling the tale of filmmaker Lacey Schwartz, who was raised by her parents — both products of “a long line of New York Jews” — in the decidedly homogeneous town of Woodstock. All of Schwartz’s grade-school friends had light skin and straight hair, while Schwartz was dark, with coarse curls. Lovingly recorded snapshots and home movies of her Bat Mitzvah and other occasions suggest a happy young life, but the “600-pound gorilla in the room,” as one relative puts it, was that Schwartz did not look white, despite ostensibly having white parents. Once she reached her teenage years — and particularly after she enrolled in a high school that had African American kids among its population — she began to realize the go-to family explanation (yeah … that one Sicilian way back in the family tree …) was nothing but a flimsy excuse holding back a mountain of denial.

Now in her 30s, Schwartz has overcome years of identity confusion and is self-confidently assertive in a manner that suggests years of therapy (and indeed, we see footage of sessions she filmed for a student project at Georgetown, where she found a supportive community among the Black Student Alliance). Her parents, however, are not quite as psychologically evolved, although her mother — a pleasant woman who has nonetheless been content to spend her life surfing the waves of passive-aggression — eventually opens up about the Schwartz family’s worst-kept secret. The aptly-titled Little White Lie clocks in at just over an hour, but it packs in a miniseries’ worth of emotional complexity and honesty. Schwartz will be on hand at the film’s San Francisco and Berkeley screenings — the Q&As are sure to be lively.

Another, rather different tale of women using cameras in pursuit of the truth surfaces in Judith Montell and Emmy Scharlatt’s In the Image, a doc about Palestinian women who work with Israeli human-rights NGO B’Tselem. Group members, who include high school girls and middle-aged mothers, are given small video cameras to keep an eye on protests, harassment, and anti-Palestinian violence perpetrated by Israeli soldiers and settlers. (In one disturbing clip, we see a small child launch a giant spitball at the lens.) Able to capture footage in areas deemed off-limits to mainstream journalists, In the Image shows how B’Tselem brings investigative reporting to the front lines, and then to the world (thanks, YouTube). It’s also an empowering outlet for the camerawomen-activists, for whom career opportunities are otherwise as rare as are opportunities for artistic expression.

Women are also front and center in a number of SFJFF’s stronger narrative entries. Writer-director Talya Lavie won Best Narrative Feature and the Nora Ephron Prize at Tribeca for Zero Motivation, a pitch-black comedy about female frenemies jammed into close quarters while doin’ time in the Israeli Defense Forces. Most movies prefer to show soldiers in combat, and Zero Motivation does just that — if “combat” means fighting to avoid boring admin work, to achieve the highest score at Minesweeper, to fuck up the most extravagantly, or with staple guns. “There’s a war going on — get a grip!” a superior officer reminds self-centered slacker Daffi (Nelly Tager), and that’s more or less the only current-affairs statement uttered in a film that’s mostly concerned with the agonizing task of achieving responsible young adulthood.

Another coming-of-age tale unfolds in Hanna’s Journey, director and co-writer Julia von Heinz’s drama about a Berlin business-school student (Karoline Schuch) whose résumé is lacking in the sort of warm-fuzzy community service that’ll elevate her in the cutthroat job market. Her estranged mother, who works with a German group placing volunteers in Israel, proves unexpectedly helpful, and Hanna is soon winging her way to work with developmentally disabled adults in Tel Aviv, leaving her sleek wardrobe and yuppie boyfriend behind.

Hanna’s Journey has all the potential to be a pat story about a German woman coming to terms not just with her own life choices, but with complicated family history (hint: it involves World War II) only a trip to Israel can unearth. There’s also a conveniently hunky Israeli (Doron Amit) in the mix. But! Schuch, who resembles Jessica Chastain, brings authenticity to a character who morphs from superficial to soulful in what might otherwise seem like too-rapid time. She also benefits from a subtle, nicely detailed script, which avoids stereotypes and oversimplification, and is not without moments of wicked humor (“German girls are easy — it’s the guilt complex!”)

Less successful at achieving subtelty is For a Woman, writer-director Diane Kurys’ latest autobiographical drama. Here, she explores her parents’ troubled marriage, inspired by a photograph of an uncle nobody in the family wanted to discuss. The fictionalized version begins as Kurys stand-in Anne (Sylvie Testud) and older sister Tania (Julie Ferrier) have just buried their mother, who was long-divorced from the girls’ ailing father.

For a Woman takes place mostly in flashbacks to post-war Lyon, where young Jewish couple Léna (Mélanie Thierry) and Michel (Benoit Magimel) settle and have Tania soon after. Russia-born Michel is a devoted Communist, and he’s overjoyed — yet understandably suspicious — when long-lost brother Jean (Nicolas Duvauchelle) suddenly appears in France, having somehow escaped the USSR. Michel’s political paranoia blinds him to the fact that Léna — who married him to escape a death camp (he didn’t know her, but couldn’t resist her icy blond beauty) — is bored with her stay-at-home-mom life, and has taken an unwholesome interest in his mysterious little bro.

There’s more to the story than that, of course, but For a Woman never goes much deeper than a made-for-TV melodrama: entertaining in the moment, but ultimately forgettable. And even gorgeous period details (Michel’s car is to die for) can’t make up for a frame story that feels rather wan next to the film’s cloak-and-dagger main plotline. 2

SAN FRANCISCO JEWISH FILM FESTIVAL

July 24-Aug. 10, most shows $10-$14

Various Bay Area venues

www.sfjff.org

 

Live Shots: Burger Boogaloo 2014, Take #1

3

About 30 minutes into this year’s Burger Boogaloo, I noticed a guy walking around in a Tool shirt. Ten minutes later, I saw another dude walking around in a Meshuggah shirt. This wouldn’t be so remarkable at most concerts, but it’s worth keeping in mind that this was ostensibly an indie rock concert. Most fans of progressive metal wouldn’t dare enter that often rigid and snobbish universe, just as most indie fans would consider those heavy-but-impeccably-produced bands well outside the accepted parameters of “cool.”

But Burger Babes, Burger Boppers, Burger Bitches, Burger Boys, and Burger Heads are not most indie fans. This is a community that has room for 5-year-olds and 70-year-olds, for classic-rock bar bands and summery beach-pop groups, for queer-as-fuck punk rockers and dudes with handlebar mustaches and chain-link guitar straps. In the often overly cool-conscious world of indie rock, it was not only refreshing but relieving to see a community this accepting. Messrs.Tool and Meshuggah might have been wearing those shirts ironically, but at an event like Burger Boogaloo, it would have been less cool to do so than to wear them with pride and earnesty.

boo

Burger seemed to be willing to throw anything at the audience. And at a single-stage festival with ample seating and few extraneous distractions (a “music & arts festival” this was not), there wasn’t much reason to ignore any of the bands. Given how few of these artists were recognized names outside of very underground regional circles, it seemed like the primary purpose of such a diverse lineup was to introduce the audience to as much new music as possible.

The most striking thing about the Burger Boogaloo lineup was how much older the artists were than at most indie showcases. Of the four headliners, none had a frontperson under 30.  Shannon Shaw of Shannon & The Clams is 31; Thee Oh Sees’ John Dwyer is 39; OFF!’s Keith Morris is 58; Ronnie Spector is 70. Milk ‘n’ Cookies have been around since 1973, The Gizmos since 1976, Phantom Surfers since 1988, the Muffs since 1991, and Bananas since 1993. Danny James’ Pear and Reigning Sound both seemed like middle-aged ensembles stuck in the rock era, and they could have as easily opened for Santana as Thee Oh Sees — yet this was not to their detriment, as they were all incredible musicians.

But with the exception of Spector (and Morris to some extent — more on this later), these artists weren’t cross-generational juggernauts or revered influences but rather veteran bands who had honed their craft in obscurity for years.  Though the audience could roughly be split into hip kids and older music-scene stalwarts, it was interesting to see both sides of the audience devour such unhip music with equal relish.  This indicated to me that Burger fans aren’t looking for the coolest, most cutting-edge music.  They’re just looking for a solid supply of rock ‘n’ roll to dance and party to, and Burger Boogaloo provided that and more.

* * *
DAY 1

The first day opened with White Fang, who were either the best or the worst festival opener I’ve ever seen. Frontman Erik Gage walked out in an American flag T-shirt, kissing his guns like the most cartoonish male lover imaginable, before tearing into a short set of songs chiefly about partying and marijuana.  Though they were sloppy and lacked any semblance of self-seriousness, they all but blew the two bands that followed offstage. Though Terry Malts and the Trashies were both competent bands with fine instrumentalists, their singers lacked any of White Fang’s charisma.

Wand upped the energy substantially; though they were a good band, I could not get past their uncanny sonic resemblance to Ty Segall, particularly his Fuzz project. But it was Thunderroads that pumped the energy back into the festival. Hailing from Japan, the trio rolled through a set of unhinged, ’50s-style rockabilly songs sung through thick accents that rendered most words incomprehensible except for rock’s great buzzwords — “rock ‘n’ roll,” “tonight,” “everybody.” Needless to say, they didn’t need much more to get their point across.

thunderroads

Next came the aforementioned bar band Reigning Sound, the extremely good surf band Phantom Surfers, and Sacramento punk band Bananas, whose caterwauling vocalist culled the crowd enough to secure me a prime audience position for Nobunny. Though his spirits were significantly lowered by the audience’s refusal to catch him were he to jump from the amplifier stack, the man in the bunny mask still put on one of the best shows of the night. He more than made up for his admittedly lacking vocal skills through a menacingly cartoonish stage presence, ample crotch-bulge display, and above all else, a set of great rock songs.

nobunny

Next came Milk ‘n’ Cookies, a ’70s power-pop band who could not distinguish themselves from the festival’s more pedestrian pop acts despite their clout. Finally, the big two headliners: OFF! and Thee Oh Sees.

OFF!, the current project of Circle Jerks frontman and founding Black Flag member Keith Morris, was by far the most interesting act at the festival. Morris has long given up adhering (or pretending to adhere) to punk’s staunch anti-commercial aesthetic, evident in his recent promotions with major brands like AOL and Vans (and Burger — OFF! isn’t actually on the label).  But he plays punk because it’s the music he loves — and he performs it with as much fury as in any of his previous projects.

And what fury. Despite his short stature, Morris seemed to tower over the sea of moshing kids at which he directed his harangues. It was an invigorating performance in part because of how tight the band was and in part because of how in love with the music Morris seemed — as pissed-off as his songs were, he looked genuinely happy to be up there.

off

Even better were Thee Oh Sees, whose recent departure for L.A. sent waves of dismay through the Bay Area music community but who are showing no signs of abandoning their hometown fans. Bar none, Thee Oh Sees were the best live band I’ve seen all year. Despite being a relatively new incarnation of the band (singer/lead guitarist John Dwyer being the only constant), they rocked as hard as ever, with Dwyer’s almost Hendrix-like guitarwork carrying the bulk of the sound this time around. But the true star of the show was Dwyer’s voice, a tiny coo that can nonetheless hold an entire crowd captive. He can scream as well as anyone, but why would he need to when he can do so much with so little?

thee

Thee Oh Sees’ music seemed to transcend genre. It was hard to say exactly where the roots of such music lay — there were elements of punk, metal, garage rock, and grunge, but none seemed like an apt signifier. Rather, the hallmarks of each genre combined into a monolithic slab of rock ‘n’ roll that encouraged the audience to move and engage with it rather than analyze it. This focus on rock as a form of music rather than an aesthetic or a concept unified all the bands of the day. At Burger Boogaloo, it didn’t matter how old or how uncool a band was — at the end of the day, it was all about getting down. And isn’t that what a rock show is supposed to be about?
 
DAY 2
 
After the head rush of Day One, it was hard not to be a bit disappointed with Day Two. The lineup pulled a lot of the same tricks to diminished effect. A lot of the bands seemed to be the equivalents of bands from the first day. Pookie & The Poodlez played White Fang’s role as the silly, punky opening act; Meatbodies played Wand’s role as the heavy, grooving jam band; The Gizmos filled Milk ‘n’ Cookies’ role as obscure power-pop legends unearthed from the annals of history. But the day also brought with it some pleasant surprises — not least of which was Ronnie Spector, whose dynamite set ran completely contrary to my expectations.

Pookie, a member of Nobunny, showed up onstage still brushing his teeth. (Apparently he’d overslept but luckily lived a few blocks away–though this is a fun story, the aesthetic appeal of a cute, skinny man walking out onstage with a toothbrush in his mouth to open a festival is just a little bit too good.)  His set was brief but fun, though the similarities to White Fang’s set were a bit obvious — especially after he introduced one of the songs as being about “Slurpees and kissing and marijuana cigarettes.”

The next run of bands was thoroughly disappointing. Summer Twins were, if possible, even more generic than their name suggests. Though my friend theorized they would sound like “Best Coast but less mainstream,” they sounded more like a Best Coast ripoff hastily assembled for a commercial by someone whose grasp on indie aesthetics was limited to 500 Days Of Summer. I was surprised a label like Burger (or any label) would sign such a band. The beach-rock fad has been over for over three years, and it’s easy to tell when a band is still clinging to it — usually they have words like “Summer” or “Twins” in their name.

Dirty Ghosts were interesting only because they were difficult to pin down in a genre — their music wasn’t quite funk, rock, punk, or psychedelia, but it was largely forgettable and didn’t benefit from its implacability. Danny James was similar to the previous day’s Reigning Sound but a lot tighter. La Sera was essentially a better version of Summer Twins. Meatbodies sounded like a less heavy Wand, while the Gizmos played with little effort or enthusiasm and could only have been there because of their clout as an obscure but veteran protopunk band.

Of the mid-day acts, folk singer Juan Wauters was the most enjoyable, but it was hard to tell if it was because of the quality of his music or because he was by far the most unique attraction of the day — he initially performed as a solo artist before being augmented by a bassist, a guitarist, and a percussionist. San Francisco band Personal & the Pizzas were likewise entertaining, but their schtick–pop songs about pizza and brass knuckles played by three tough-looking dudes–got old very quickly.
 
The Muffs ramped up the energy substantially. Fronted by Kim Shattuck (best-known these days for her brief stint in the Pixies), the group started out playing tough yet grooving pop songs driven by Shattuck’s ferocious voice. (She screamed an average of about 10 times per song.)  Yet their set never recovered from an ill-advised mid-performance slow song, which disrupted what could have evolved into full-on moshing but never progressed beyond a lot of enthusiastic bouncing and head-nodding.

shannon

Shannon & The Clams were a fine act, but they were disappointingly low-energy for their late placement in the lineup.  Their show was better because the crowd, desperate to mosh, took it upon themselves to have a good time. The result was a bizarre sort of mix of moshing and slow-dancing that mainly entailed a bunch of people shoving into each other at very deliberate speeds.  Being in the mosh enhanced the performance substantially; the Clams’ girl-group balladry was best suited for slow dancing, and brushing up against a bunch of random strangers with romantic music in the air is pretty much the second-best thing to that. Nonetheless, the fast-paced “The Cult Song” was the undoubted highlight.

I was expecting Ronnie Spector‘s set to be mostly just a glorified celebrity appearance from the woman whose run of Sixties records with the Ronettes inspired a substantial chunk of the festival’s acts.  Instead, I was surprised to be treated to the night’s most electrifying performance.  Over a top-caliber band of stern, professional-looking musicians, Spector let loose with her vocals in a way she was never able to do as part of the homogeneous Wall of Sound her ex-husband/producer Phil Spector pioneered.  Some of her vocal turns were absolutely haunting.  Though she may not sound like the twenty-year-old starlet she once was, she sounds now like what she is–an incredibly gifted vocalist with a natural presence as an entertainer and a long and tumultuous life behind her.

ronnie

But the true star of Spector’s set wasn’t her or her beehive hairdo but the songs, and one song in particular.  The words “Be My Baby” had been placed over the stage in gold balloons hours before, and the inevitability that she would perform it created a natural climax to the festival.  Either directly or indirectly, that song had inspired nearly every act there.  Its maelstrom production practically launched psychedelic rock, while its unmistakable drum opening has become an obvious way for backwards-looking pop acts from The Jesus And Mary Chain to Girls to pay tribute to their influences.

True, that drum opening was the most scream-inducing moment of the entire festival.  But I felt she played it too soon.  Her set was much shorter than it should have been, and deploying the ultimate weapon after only five songs ruined a bit of the song’s climactic nature.  Furthermore, her shout of “my favorite part!” over the reprise of the drum opening defused its impact. But I forgive her — I don’t know if she realizes how revered that song is in the indie community. 

ronnie

Furthermore, treating that song like a sacred artifact would be incongruous with what made Spector’s set so effective — that she wasn’t treated like a sacred artifact. As massive as her influence pop music is, I believe she was there because of her skills as a performer, not for the baggage her name carries. It would be contradictory to Burger’s ethos to bring such a revered artist on if she wasn’t a great performer. Burger Boogaloo isn’t about the mythology of old-school rock ‘n’ roll, but about the sound — and just how great it is to hear that sound live.

crowd

Summer spins

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BORIS

NOISE

(SARGENT HOUSE)

Boris have been dabbling so much in pop lately it’s tempting to look at the band’s latest album, Noise, as a return to their sludge-metal glory days. There are only eight songs, its title is appropriately hostile, and the dark gray cover looks formidable compared to the white-hued, glamorous art on the last few Boris records. But remember: This album is called Noise. Not Metal, not Amps Up To 11. Not even Heavy Rocks, the name given to two of Boris’s most metallic albums. Noise.

And noise is what it offers. These songs are loud, but not in a metallic way — the guitars don’t confront or cut into the red, preferring to simply churn away in the background. Yet this is the only thing really connecting these songs. Noise veers from J-pop to shoegaze to something fairly close to metal, charting a path that ends up sounding more like overly ambitious hardcore punk. Accordingly, it suffers from an identity crisis. As another chapter in the capricious experimental period the band’s been stuck in for the last half-decade, Noise is an interesting curiosity. But if you choose to view it as a return to form, you’re likely to come out of your listening experience very depressed.

 

LANA DEL REY

ULTRAVIOLENCE

(INTERSCOPE/POLYDOR)

Lana Del Rey embodies the trashiest, most cartoonish version of American iconography. Her music reeks of Gatsby, guns, Hollywood, star-spangled banners, Marilyn Monroe, and just about every other cartoon of superficial American glamour. It thus makes sense on paper that she should pair up with producer Dan Auerbach for her second album, Ultraviolence; his band the Black Keys excavates a different patch of the same oilfield, dredging up Route 66 rock reveries rather than Pepsi-Cola pop mythology.

But their respective worlds don’t collide as often as they should on this album. When Auerbach’s bluesy licks bubble up from the background, it’s intensely satisfying, putting Del Rey’s mythology in the context of his own and casting her as another great American cliché: a rock star. But for the most part, Auerbach leaves Del Rey to languish in a bath of reverb. There’s no subtlety to this production: It’s as if Auerbach cranked up a crude GarageBand “reverb” setting on all the master tracks and declared them finished. Del Rey’s persona is as monolithic as the Empire State Building — but obscured behind all the production fog, you might as well be looking at Big Ben.

 

WHITE LUNG

DEEP FANTASY

(DOMINO)

Mish Way has a lot of good things to say. She’s one of America’s most engaging music critics, incorporating her personal experience into her pieces without making them too subjective to interest readers. Much of her writing is filtered through a feminist lens, something far too rare in rock criticism — especially as the misogyny of yesteryear’s rock becomes increasingly stale and obvious. She extends a lot of these sentiments to her gig as the singer of punk band White Lung, whose third album Deep Fantasy addresses sexual assault, body image, and abusive relationships. Apparently. You’d have a hard time doing much more than guessing what these songs were about without the help of a lyric sheet, because most of Way’s lyrics are incomprehensible. I’d be okay with this if not for how pristine everything else sounds. The guitars and drums are punchy and full, but Way’s vocals are so quiet in the mix that her shouting seems less of a deluge of expression as a desperate attempt just to be heard. This music should confront the listener — but ultimately, the listener ends up having to confront the music just to understand what Way is on about.

This Week’s Picks: June 18 – 24, 2014

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raucous as it is tender

WEDNESDAY 18

 

 

Zara McFarlane

You’ve got to be plenty ballsy to venture a cover of “Police and Thieves,” the immortal 1976 reggae track by Junior Murvin (produced by Lee “Scratch” Perry, no less) and transformed into a rock classic by the Clash on their debut 1977 album. But this fascinating Jamaican-British singer’s version, a hypnotic cabaret-jazz version floated by a voice clear as a bell, earns the praise heaped upon it. Included on McFarlane’s new album, If You Knew Her, “a tribute to women, from the alpha female to the housewife,” puts a feminist spin on the spooky lyrics that decry “scaring the nation with their guns and ammunition, from Genesis to Revelation.” With her classic poise and lucid style (Roberta Flack springs to mind), it’s easy to see why global soul guru Gilles Peterson snagged McFarlane quick for his Brownswood label. (marke B.)

8pm, $18 advance

Yoshi’s SF

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

THURSDAY 19

 

Mugwumpin 10

Mugwumpin, San Francisco’s ensemble-driven experimental theater company, celebrates its 10th anniversary season this month with a host of performances by itself and others (including A Host of People, from Detroit) as well as a series of symposia, workshops, and “occurrences.” It’s a big deal for a small company devoted exclusively to devised work and should be full of good things, including two revivals and a work-in-progress production of the company’s latest, Blockbuster Season — a duet of disaster featuring co-founders Joe Estlack and Christopher W. White. Beginning this week, you can whet your appetites and explore them too, as Mugwumpin remounts its 2010 hit, This Is All I Need. (Robert Avila)

‘This Is All I Need’

8pm, $25, $40 Two-show pass

June 19-22, July 2-3, 5-6

ACT Costume Shop Theater

1117 Market, SF

www.mugwumpin.org

 

 

mewithoutYou

Ten years ago Philadelphia’s experimental post-hardcore outfit mewithoutYou released their sophomore album, Catch For Us the Foxes. Now, a decade and three albums later, Foxes is still a beloved fan favorite and the defining album of mewithoutYou’s lyrically rich and musically unique career. The album, which borrows its name directly from the Song of Songs, tackles the band’s usual themes of spirituality, nature, and literature in their trademarked spoken (well, shouted)-word vocals over beautifully melancholy, churning instrumentals. In honor of the record’s 10th birthday, mewithoutYou will be playing the entire record start to finish, followed by a set taken from the rest of their catalog. (Haley Zaremba)

With The World is a Beautiful Place & I Am No Longer Afraid to Die, Dark Rooms

8pm, $16

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com

 

 

 

Fresh Meat Festival

There are probably other LGBT festivals in the county. But — call me a chauvinist if you must — there is none like the gay-friendly Fresh Meat Festival, which focuses on transgender-based performance, the way this homegrown three-day event does. Now in its 13th incarnation, it is as raucous as it is tender, and as political as it is personal. Above all, its artists are impressively professional, with the know-how to present one heck of a show, whether they perform ballroom, hip-hop, Taiko, voguing, disco, circus, or music. Whatever their chosen discipline, they make quality work about who they are — comfortably, honestly, joyously. For many of them, and their audiences, it is a gathering of the tribes. Sean Dorsey, the brain and heart behind the festival, is showing excerpts of his yet to-be-born next piece. (Rita Felciano)

Through Sat/21, 8pm, $15-25

Z Space

450 Florida, SF

www.freshmeatproductions.org


FRIDAY 20

 

Animate Your Night: Choose Your Own Adventureland

For more than 50 years now, a collection of fine, feathered friends have been greeting and entertaining visitors at Disneyland’s Enchanted Tiki Room, singing up a storm of tropical-themed tunes in a show that was the very first to showcase audio-animatronics. Fans can pretend they’re at the theme park tonight at the Animate Your Night: Choose Your Own Adventureland party, and celebrate the arrival of a “barker bird” addition to the The Walt Disney Family Museum’s collection with a tiki-themed party to welcome it, complete with live music and dancing, cocktails from Smuggler’s Cove, presentations, and a host of other activities. (Sean McCourt)

7-10pm, $12-$30

The Walt Disney Family Museum

104 Montgomery, SF

(415) 345-6800

www.waltdisney.org

 

 

 

Dean Wareham

While his sharp tenor has gotten a bit lower and his hair is noticeably grayer than it was during his days fronting Galaxie 500, Dean Wareham has remained astonishingly consistent since his burst onto the burgeoning indie rock scene almost 30 years ago. His eclectic and minimalist guitar work and profoundly detached lyrics are on display once again on his eponymous first solo album, which came out in March. To celebrate the occasion, Wareham has embarked on a tour of intimate venues along with his stellar four-piece band. Wareham’s wife and frequent collaborator Britta Phillips, who was an instrumental creative force in Wareham’s post-Galaxie 500 group Luna and on several duet albums since, will also perform with the group. The Chapel, with a capacity of a few hundred, provides the perfect venue to examine Wareham’s instrumental and emotional subtlety, a set that he has promised will include tracks from throughout his career. (David Kurlander)

9pm, $20

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

 


SATURDAY 21

 

 

Nightmares on Wax

With a career that now spans two and a half decades, producer George Evelyn (aka DJ E.A.S.E., aka Nightmares on Wax) is credited with being among the first to merge early New York hip-hop

With the British B-boy and graffiti scenes of the ’80s, forming what would come to be known as trip-hop. Work with greats like De La Soul followed, but Evelyn has evolved with the times — he’s still considered a go-to inspiration and dream collaborator for today’s up-and-coming hip-hop, dub, and funk hopefuls. He also just released a two-disc “best of,” N.O.W. Is the Time, so this show should be a good time to time-travel a bit — while dancing your ass off, of course. (Emma Silvers)

With Ren the Vinyl Archaeologist

9pm, $22-$25

Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

 

 

Summer Solstice Celebration in the Redwoods

What better way to mark the longest day of the year than by savoring the fruits of summer while strolling among 100-year-old redwoods? And by fruit we mean wine, of course, which is complimentary at this annual celebration thrown by the SF Botanical Garden. Local cheeses will also be available for tasting as you stop to savor natural beauty, exploring the trails of lush wilderness that are at our fingertips right here in the city, in what’s likely to be the prettiest twilight you’ll see all year. No togas or complicated flower headdresses required. (Silvers)

6-8pm, $20-$30

San Francisco Botanical Garden

1199 Ninth Ave, SF

www.sfbotanicalgardensociety.org

 

 

SUNDAY 22

 

 

North Beach Bacchanalia

The local record label Name Drop Swamp Records is hosting an all-day music and poetry festival at the Emerald Tablet gallery, a self-described “creativity salon.” Bands include electric chamber folk-rock group Muralismo, the ambient and existential Devotionals, and several more groups with remarkably alluring names — Edwin Valero, named after the legendary Venezuelan boxer who killed his wife and himself in 2010, is sure to be compelling. Poets include Collaborate Arts Insurgency co-founder Charlie Getter and prolific writer and labor activist Paul Corman-Roberts. The Lagunitas Brewing Company sponsorship suggests that the ale will be flowing, while the Beat Museum support ensures snaps aplenty. (Kurlander)

12pm, free

Emerald Tablet

80 Fresno, SF

(415) 500-2323

www.emtab.org

 

 

Waka Flocka Flame

Born in Queens and raised in Atlanta in a musical family, Waka Flocka Flame has been surrounded by hip-hop his entire life. But he never wanted to be an MC. It wasn’t until he was 18 and his mother started managing rapper Gucci Mane (with whom he has been infamously feuding since 2013) that Waka Flocka began experimenting with the mic himself. Now, with three albums, 18 mix tapes, and 111 guest appearances under his belt, Waka Flocka is going hard in da motherfuckin paint and has made a huge mark on the southern trap scene. Aggressive, crisp, and catchy, Waka Flocka’s distinctive beats and rhymes will make for a high-energy show not to be missed. (Haley Zaremba)

With Chanel West Coast, DJ Sean G

9pm, $35

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

 

TUESDAY 24

 

Withered Hand

Jack Kirby aside, I wouldn’t expect to like anything titled New Gods, but the latest album by that name by Slumberland artist Dan Wilson, aka Withered Hand, seems to have a purely grounded worldview. Beauty on the album is of the here-in-the-moment variety; if an afterlife did exist, Wilson seems to wryly propose on the album opener “Horseshoe,” “we could kill our friends, we could sing a song that never ends.” And on “King of Hollywood” there’s a searing bit of self-righteous egotism in the lyric “Some of you guys should get with my God / He hates about everything / Well everything except me / I’m the anomaly.” Now that’s theology anyone can get behind. (Ryan Prendiville)

Opening for Owl John

9pm, $15

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

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Gimme 5: Must-see shows this week

0

Happy Monday, y’all. I know, it’s rough. I hope at the very least that your weekend was better than this guy’s.

If not, don’t despair! Here are some rad shows to look forward to this week from the Bay Guardian team. As the late great Casey Kasem (aka Shaggy) would say, keep your feet on the ground, and keep reaching for the stars. Keep your friends close, and your pizza closer. (Okay, that second part’s just me.)

WED/18

Zara McFarlane
You’ve got to be plenty ballsy to venture a cover of “Police and Thieves,” the immortal 1976 reggae track by Junior Murvin (produced by Lee “Scratch” Perry, no less) and transformed into a rock classic by the Clash on their debut 1977 album. But this fascinating Jamaican-British singer’s version, a hypnotic cabaret-jazz version floated by a voice clear as a bell, earns the praise heaped upon it. Included on McFarlane’s new album, If You Knew Her, “a tribute to women, from the alpha female to the housewife,” it puts a feminist spin on the spooky lyrics that decry “scaring the nation with their guns and ammunition, from Genesis to Revelation.” With her classic poise and lucid style (Roberta Flack springs to mind), it’s easy to see why global soul guru Gilles Peterson snagged McFarlane quick for his Brownswood label — Marke B.

8pm, $18 advance
Yoshi’s SF
1330 Fillmore, SF.
(415) 655-5600
www.yoshis.com

THU/19

mewithoutYou
Ten years ago Philadelphia’s experimental post-hardcore outfit mewithoutYou released their sophomore album Catch For Us the Foxes. Now, a decade and three albums later, Foxes is still a beloved fan favorite and the defining album of mewithoutYou’s lyrically rich and musically unique career. The album, which borrows its name directly from the Song of Songs, tackles the band’s usual themes of spirituality, nature, and literature in their trademarked spoken (well, shouted)-word vocals over beautifully melancholy, churning instrumentals. In honor of the record’s tenth birthday, mewithoutYou will be playing the entire record front to back, followed by a set taken from the rest of their catalog. — Haley Zaremba

With The World is a Beautiful Place & I Am No Longer Afraid to Die, Dark Rooms
8pm, $16
Slim’s
333 11th St, SF
(415) 255-0333
www.slimspresents.com

FRI/20

Dean Wareham
While his sharp tenor has gotten a bit lower and his hair is noticeably grayer than it was during his days fronting Galaxie 500, Dean Wareham has remained astonishingly consistent since his burst onto the burgeoning indie rock scene almost 30 years ago. His eclectic and minimalist guitar work and profoundly detached lyrics are on display once again on his eponymous first solo album, which came out in March. To celebrate the occasion, Wareham has embarked on a tour of intimate venus along with his stellar four-piece band. Wareham’s wife and frequent collaborator Britta Phillips, who was an instrumental creative force in Wareham’s post-Galaxie 500 group Luna and on several duet albums since, will also perform with the group. The Chapel, with a capacity of a few hundred, provides the perfect venue to examine Wareham’s instrumental and emotional subtlety a set that he has promised will include tracks from throughout his career. — David Kurlander

9pm, $20
The Chapel
777 Valencia, SF
(415) 551-5157
www.thechapelsf.com

https://www.youtube.com/watch?v=MSIe4eGaT0M

SAT/21

Nightmares on Wax
With a career that now spans two and a half decades, producer George Evelyn (aka DJ E.A.S.E., aka Nightmares on Wax) is credited with being among the first to merge early New York hip-hop with the British B-boy and graffiti scenes of the ’80s, forming what would come to be known as trip-hop. Work with greats like De La Soul followed, but Evelyn has evolved with the times — he’s still considered a go-to inspiration and dream collaborator for today’s up-and-coming hip-hop, dub, and funk hopefuls. He also just released a two-disc “best of,” N.O.W. Is the Time, so this show should be a good time to time-travel a bit — while dancing your ass off, of course.
 

With Ren the Vinyl Archaeologist
9pm, $22-$25
Regency Ballroom
1300 Van Ness, SF
www.theregencyballroom.com

SUN/22

Allah-Las
Fresh from an appearance at Hickey Fest in up in Medocino County, the psych-garage quartet will bring their grooved out, British Invasion-influenced swagger to the stage at GAMH. It makes sense that three of four Allah-Las members met while working at Amoeba in LA; their sound comes off like they’ve absorbed the entirety of the ’60s soul and pop sections of a record store, thrown in a healthy handful of ’70s psychedelia and surf-rock, mixed them all together, and now can’t help but have the dark-tinged, dreamy result basically leaking out their musical pores. It doesn’t hurt that lead singer Miles Michaud channels Jim Morrison eerily well (in vocal tone, hopefully not in recreational drugs of choice).
 

With Dream Boys, Old Testament
8pm, $16
Great American Music Hall
859 O’Farrell, SF
www.slimspresents.com


It’s all reel

0

cheryl@sfbg.com

FILM As far as Hollywood is concerned, it’s already been summer for weeks, with superheroes (Captain America and Spider-Man have had their turns; X-Men: Days of Future Past opens Fri/23) and monsters (Godzilla) looking mighty comfortable atop the box office. But the season is just getting started, screen fiends, and there’s plenty more — maybe too many more, if you’re operating on a limited popcorn budget — ahead. Read on for a highly opinionated, by-no-means-comprehensive guide; as always, dates are subject to change. (And keep reading for a list of local film festivals, too, since the healthiest diet is always a balanced one.)

The first post-Memorial Day weekend unveils Angelina Jolie (dem cheekbones!) as Sleeping Beauty’s worst nightmare in Maleficent, probably the biggest Disney casting coup since Johnny Depp sailed to the Caribbean. First-time helmer Robert Stromberg has a pair of Oscars for his art-direction work on Avatar (2009) and Alice in Wonderland (2010); if this dark fantasy clicks with audiences, expect a raft of live-action films starring Disney’s ever-growing stable of villains (fingers crossed for Ursula the Sea Witch next).

If fairy tales aren’t your thing, add thriller Cold in July to your calendar (like Maleficent, it’s out May 30). It’s the latest from genre man Jim Mickle (2013’s We Are What We Are), with his highest-profile cast to date. Dexter‘s Michael C. Hall, rocking a mullet, plays a small-town Texan whose unremarkable life goes into pulpy overdrive after he kills a burglar, angering the man’s ex-con father (Sam Shepard). But nothing is what it seems in this twisty tale, which also features Don Johnson and a synth score — both stellar enhancements to the film’s late-1980s aesthetic.

Moving into June, sci-fi thriller Edge of Tomorrow  has Tom Cruise saving the world — just another day on the job for the suspiciously ageless star, though he apparently lives the same day over and over here. Look for director Doug Liman (multiple Bourne movies) and co-stars like Emily Blunt and Game of Thrones‘ Noah Taylor to add some depth — though, OK, this’ll probably still be a one-man show. Never change, Tom. Elsewhere June 6, erstwhile Divergent ass-kicker Shailene Woodley aims to prove she’s not just the poor man’s Jennifer Lawrence with young-adult weepie The Fault in Our Stars.

June 13, undercover cops Schmidt and Jenko — played by the likable team of Jonah Hill and Channing Tatum — return for more jokes (and winks, because they’re in on the joke too, you guys!) in 22 Jump Street. Far less comedic, and far more brain-melting, is sci-fi drama The Signal, which starts off like a typical road-trip movie, then switches gears a few times before slam-banging into weirdness so out-there it’s almost (almost) a spoiler to note that Laurence “Morpheus” Fishburne plays a key role.

The following week (June 20), Aussie filmmaker David Michôd — whose gritty 2010 Animal Kingdom became an insta-classic of the crime genre, and launched the stateside careers of Jackie Weaver and Joel Edgerton — reunites with Kingdom star Guy Pearce for The Rover, the outback-set tale of a man seeking revenge on a gang of car thieves. In an intriguing casting choice, former vampire Robert Pattinson co-stars as a wounded baddie forced along for the ride.

Next up, June 27 unleashes Transformers: Age of Extinction. Memo to the world: Until we all agree to stop seeing these movies, Michael Bay and company will keep grinding ’em out. At least this one is LaBeouf-less.

Ahead of the long Fourth of July weekend, July 2 unleashes saucy comedy Tammy, which stars Melissa McCarthy (she also co-wrote the script) and Susan Sarandon as a road-tripping granddaughter and grandmother. Or, you could check out Eric Bana as an NYPD detective who teams up with a priest (Edgar “Carlos the Jackal” Ramírez, recently cast in the Swayze role in the highly unnecessary Point Break remake) in Deliver Us From Evil; despite sharing a title with Amy Berg’s harrowing 2006 doc about pedophiles in the Catholic Church, it’s about demonic possession — but is still probably less frightening than the Berg film, to be honest.

July 11, Richard Linklater’s Boyhood has a gimmicky premise — filmed over 12 years, it charts the coming-of-age of a child, and his relationship with his parents (played by Ethan Hawke and Patricia Arquette) — but also glowing reviews from its film festival stints. And, just when you thought it was safe to go back to the banana aisle, Dawn of the Planet of the Apes arrives, laying further waste to a San Francisco that already took a beating in the first film, not to mention losing most of its downtown to Godzilla and friends just a week ago. Andy Serkis returns as chimp king Caesar. Also: Roman Polanski’s latest, Venus in Fur — based on the David Ives play, and starring Polanski’s wife, Emmanuelle Seigner — arrives on our shores after picking up a César award for the director in France.

Andy and Lana Wachowski’s latest eye candy-laden epic action fantasy, Jupiter Ascending, is about an ordinary human (Mila Kunis) who turns out to be Neo the One, er, royalty from another planet. Based on production stills, this film also features Channing Tatum flying through the air shooting guns and stuff. July 18 also brings The Purge: Anarchy, sequel to last year’s sleeper hit about a near-future America that allows a crime spree free-for-all one night per year. The follow-up lacks Lena Heady — but it does have Michael K. “Omar” Williams, and the characters actually leave the house this time.

https://www.youtube.com/watch?v=5w0KAHhKECg

Then, on July 25, choose your hero: Dwayne “The Rock” Johnson sporting a hat made out of a lion’s head (and, apparently, beard made out of yak hair) in Hercules, or those dancin’ kids of Las Vegas-set Step Up All In. (For those keeping score, this is the fifth Step Up film.) Plus, there’s Woody Allen’s 1920s-set Magic in the Moonlight, starring Emma Stone as a psychic and Colin Firth as the skeptic who falls for her. Sounds kinda twee, and Allen’s private life remains controversial, but that cast, which also includes Marcia Gay Harden and Jackie Weaver, is all kinds of dynamite.

August begins with a bang — Marvel’s hotly-anticipated Guardians of the Galaxy, which just about broke the Internet when its first trailer rolled out in February, is out on the first — before meandering a bit. Taking a break from her own Marvel duties, Scarlett Johansson (so great in Under the Skin) plays a different kind of superhuman in Luc Besson’s Lucy, while the live action-CG mash-up I’m not sure anyone was really begging for, Teenage Mutant Ninja Turtles, also takes a bow (both Aug. 8).

As the summer winds down, Phillip Noyce (2002’s The Quiet American) strays onto YA turf with an adaptation of Lois Lowry’s The Giver, with Jeff “The Dude” Bridges playing the title role, and Brenton Thwaits (who also stars in The Signal, above) as his protégé. Also out Aug. 15, The Expendables 3 adds Harrison Ford, Antonio Banderas, and Wesley Snipes (!!) to its cast o’ aging action hunks. Don’t you worry, Nic Cage — there’s still room for you in the inevitable part four. And don’t miss The Trip to Italy, which re-teams British comedians Steve Coogan and Rob Brydon for a foodie road trip that will make you guffaw (at the impressions) and drool (over the plates of pasta).

Labor Day looms as Robert Rodriguez brings Frank Miller’s Sin City: A Dame to Kill For, which looks to be as visually stunning as its 2005 predecessor, if not much friendlier to the female perspective; a sports drama inspired by Concord’s own De La Salle High School football team, When the Game Stands Tall; and yet another YA adaptation, If I Stay, starring Chloë Grace Moretz, who is one of the more dynamic teen actors of late, and may make this girlfriend-in-a-coma tale livelier than it sounds. *

ESCAPE THE MULTIPLEX: SUMMER FESTIVALS

San Francisco Green Film Festival (May 29-June 4; www.sfgreenfilmfest.org) Doc-heavy fest of films from 21 countries that explore environmental issues and themes.

San Francisco Silent Film Festival (May 29-June 1; www.silentfilm.org) Exquisitely curated and rock-concert-popular showcase of films from cinema’s earliest days, plus live accompaniment and special guests.

SF DocFest (June 5-19; www.sfindie.com) The San Francisco Independent Film Festival’s doc-tastic offshoot consistently offers a strong slate of true-life tales.

New Filipino Cinema (June 11-15; www.ybca.org) Documentaries, narratives, shorts, and experimental films direct from the Philippines’ burgeoning film scene.

Queer Women of Color Film Festival (June 14-16; www.qwocmap.org) Five shorts programs highlight 55 works, with a focus this year on queer culture in Southeast Asian, North African, Middle Eastern, and other Muslim communities.

Martin Scorsese Presents Masterpieces of Polish Cinema (June 14-Aug 23, bampfa.berkeley.edu) Rare and important works by Andrzej Wajda, Jerzy Kawalerowicz, Wojciech Has, and others — and since Uncle Marty’s in charge, expect glorious digital restorations across the board.

Frameline (June 19-29; www.frameline.org) The oldest and largest fest of its kind, the San Francisco International LGBT Film Festival has been programming the best in queer cinema for 38 years.

San Francisco Jewish Film Festival (July 24-Aug 10; www.sfjff.org) Also the oldest and largest fest of its kind, the SFJFF presents year-round programming, though this fest, now in its 34th year, is its centerpiece event.

Defense attorneys say Shrimp Boy is innocent; slam feds

Who is Raymond “Shrimp Boy” Chow? In the 137-page federal complaint detailing charges that led to the high-profile arrest of Sen. Leland Yee, Chow, and 24 others two weeks ago, Chow is described as the powerful “Dragonhead” of an ancient Chinese organized crime syndicate, “overseeing a vast criminal enterprise involved in drugs, guns, prostitution, protection rackets, moving stolen booze and cigarettes, and money laundering,” as we reported at the time.

Not so, famed defense attorney Tony Serra told a crowd of reporters at Pier 5 Law Offices in San Francisco’s North Beach district, where he and fellow attorneys were joined by supporters wearing red tees bearing the slogan “Free Shrimp Boy.”

Attorneys Serra and Curtis Briggs described a five-year federal operation to target Chow and ensnare him in wrongdoing, insisting he had wanted no part in criminal activity. Serra said agents had “stuffed money into his pocket” despite his protests, and noted that his legal team was representing Chow pro bono because he has no money.

Here are a few words from Serra, followed by Briggs.

Eli Crawford, a longtime friend of Chow’s who said he’d worked as an orderly at a Dublin prison when Chow was held in solitary confinement there years ago, described Chow as a spiritual person who had taken a vow to disengage from wrongdoing in the wake of his criminal past.

Chow was initially appointed a federal public defender, but the team of lawyers has stepped in to take over his defense. Serra said he believed they would enter pleas of not guilty on all counts on Tuesday, when a court hearing is scheduled before a federal magistrate. A court date tomorrow (Fri/11) will deal primarily with discovery, he said. In May, the defense attorneys plan to bring a motion for bail.

Asked about Chow’s link to Yee, Serra said he believed there was “no nexus, no relationship whatsoever.” Serra said he doubted if all defendants named in the complaint would proceed to trial, guessing that some would cooperate or take plea deals.

“If we are really going to trial with Yee,” Serra said, he’d have to think carefully about whether to move for a separate trial.

“Sometimes the strategy is, no, I want to be with him – mainly because, one, there’s no nexus, and two, he’s going to go down,” Serra said. “And that gives the jury, maybe a satisfied appetite, you know, for justice.”

Locals Only: Teenager

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If the music industry gave out awards for patience or persistence, Bevan Herbekian would have a healthy handful of trophies to his name. The multi-instrumentalist has lent his songwriting and frontman skills to everything from loose punk bands to a highly orchestrated indie pop quartet over the course of the past decade and a half, in addition to playing bass on other people’s songs — at the moment, he’s part of fellow Berkeleyite M. Lockwood Porter‘s band — so he’s no stranger to the realities of trying to “make it” as a musician. But Teenager, the moniker under which Herbekian has decided to release his first truly solo album, represents something new for the songwriter: A chance to blend every genre he’s ever loved, to talk about his travels to New York and subsequent, requisite disllusionment with it, a musical space where he doesn’t have to bend to anyone else’s desires.

The resulting joy is contagious — The Magic of True Love, which comes out April 29, is full of unabashedly earnest, tightly crafted pop songs with seriously big instrumentation. There are head-bobbers, there’s high-flying falsetto, there are shout-along soul choruses. His voice carries the energy of someone very young, but these aren’t songs written by a newbie. Herbekian decided to realease one new song off the album each week leading up to the release, which means you can listen to quite a bit of it online. To be real, though, you should probably buy it. It’s catchy as shit, and the guy’s been at it long enough.

We caught up with him this week to hear about songwriting influences, going solo, and exactly how much time he spent listening to Nevermind.

San Francisco Bay Guardian Your bio says you’re from a small Northern California town. Where, exactly?

Bevan Herbekian I was born in Bennett Valley and raised there until I was 13. It’s that small stretch of countryside/small town between Petaluma & Santa Rosa proper that hides behind the hills off the 101. When I was in junior high, my family moved to Avila Beach, which is a tiny beach town on the central coast. It’s got two streets and a population of a few hundred. It made Bennett Valley look like a real urban center.

SFBG When and how did you first start playing music? What instrument was the first? How many do you play now?

BH I started playing music when I was about 12. My dad taught me the riff to Nirvana’s “Come As You Are” and I urgently learned the rest of the album on an acoustic guitar. It was one of those aha! moments for me. I was totally hooked and immediately wanted to start a punk band, but everyone I knew played guitar, so I hopped over to bass. Since then I’ve taken to the other rock ‘n’ roll instruments — piano, organ/keyboards, simple synth stuff, various percussion — I humor myself on drums and basically anything else I can get my hands on.

SFBG What’s the first record you really remember loving?

BH Unquestionably, Nirvana’s Nevermind. Around the same time I picked up the guitar, I borrowed a cassette of Guns & Roses’ Use Your Illusion from a friend’s ‘cool’ older brother — he was in high school so he was automatically cool. My dad caught me walking through the front door with it and said something along the lines of ‘you don’t want to listen to that garbage’ and took the tape, but not in the normal parents-are-a-drag sort of way. An hour later he gave it back to me having recorded Nevermind over it. I remember sitting on the floor of my room hearing those drums kick in and thinking what is this?! It was so loud and aggressive and passionate and vulnerable and somehow just as catchy as the early Beatles stuff that I loved as a little kid. Overnight, I became obsessed. I couldn’t stop listening to it. I literally listened to it every day before school for a year.

SFBG Can you name some of the bands you’ve been in before? The last time the Bay Guardian checked in with you, you were in The 21st Century.

BH Yeah, I’ve spent much of the last 15 years playing in bands. Prior to Teenager I was leading The 21st Century which was this highly orchestrated Indie-Pop/Rock octet with horns and harmonies and big songs in general. Before that I was working on solo stuff similar to what I’m doing now and playing in a fun experimental art-rock(?) band called The Tea Set and of a band/friendship club called World’s Best Dad. Right now, I’m also playing bass in M. Lockwood Porter which is a really sweet Americana/rock ‘n’ roll band led by fellow 21st Centurier Max Porter.

SFBG How was making an album on your own different from with a group? What made it feel like time to do that? It’s interesting, because so many people, when they decide to “go solo,” put out a really stark and stripped-down album, but this record sounds really BIG on all levels, in the best possible dramatic power-pop sense….got some ’70s arena-rock guitar riffs, soul jams with big backup vocals, some choruses that sound like younger (less cheesy) Billy Joel stuff.

BH Ha, that’s funny and pretty true! Yeah, this album came on the heels of being in a band with a lot of people. As is the case whenever working with a large group, there are many competing ideas and opinions. This can be a tremendous strength, but the songs that became this record were incredibly personal and I just found myself wanting to work on them in a solitary way. I had a strong sense of where I wanted to take them — kind of a ‘more is more’ philosophy — and when you have that sort of clarity, it’s best to do it yourself. It’s true, many of these songs are BIG and that’s been something I’ve been chasing for a few years. These songs grew out of some very big feelings so it seemed like the right way to bring them to life. There’s love and loss and desire and deep disappointment running through them so I wanted them to sound as large as it all felt.

SFBG On that note — how would you describe your genre on this album? Who would you point to as your biggest influences?

BH I love so much music and I like trying my hand at a lot of different types, so there’s a handful of genres represented here. I see this album almost like a mixtape of my life. There’s nods to many of my musical loves. There’s some rock ‘n’ roll, ’60s soul, indie pop, folk, and ’90s alternative (do people still say that?). In terms of musical influences, I gravitate towards songwriting. I love the melodies and arrangements of Brian Wilson and Motown. The literary and lyrical precision of Leonard Cohen and Belle & Sebastian blow my mind. Bands like The Pixies, Big Star, Harry Nilsson, and Beck — they’re all staples too…and like many of us, I was indoctrinated at an early age into the ultimate Beatles fan club by my dad so that’s a part of my musical DNA too.

SFBG Where does the moniker Teenager come from?

BH With The 21st Century, I was unapologetically ambitious. Even the band name was a kind of over-the-top statement of bravado and staking claim on something bold and large. Coming out of that, I veered the opposite direction. I thought, what’s one of the more misunderstood, under-appreciated, and generally dismissed groups around? And I arrived at Teenager. I think it was also a chance to acknowledge how long I’ve been writing and recording music at home. In a lot of ways, I’ve been doing the same thing for about 16 years so I thought in a way, my time as a musician and songwriter is dead center in those teenager years. Given the pair of meanings, it somehow felt strangely appropriate.

SFBG Plans for the next year? 

BH Well, I’ve been putting together a new lineup to play these songs out. I’m quite excited about that. I’m eager to tour come early Fall. Also, because this album was such a labor of love and took such a long time, I’m sitting on a lot of backlogged material. My hope is to get into the studio and cut it all by the end of the year and then whittle it down — maybe to a double album. I’ve never made one and have always been a bit against them in principle — I like editing – -but I think it might be time to give it a try.

SFBG Where do you live in the Bay Area? How does being from Northern California/living here influence your music?

BH I lived in San Francisco for a few years and had a stint in Oakland, and now I’m living in Berkeley. Honestly, I’m not sure how Northern California plays a part in my music. To me, it’s home and sometimes it’s hard to see your home for what it really is. But I love the city and the redwoods and the ocean and the mountains. Being surrounded by all that beauty can really instigate some large dreams and make you feel like the world is an astounding place.

SFBG Bay Area meal/restaurant/food item you couldn’t, hypothetically, live without?

BH Without hesitation, La Taqueria followed by banana cream pie and a cup of coffee from Mission Pie. I’ve dubbed it the ‘double threat’ and there are times when I do it twice a week. No joke, I did it today.

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Crime and politics

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steve@sfbg.com

San Franciscans awoke March 26 to the surprising news that state Sen. Leland Yee (D-SF) had been arrested on federal corruption charges as part of early morning police raids targeting an organized crime syndicate based in Chinatown, along with reputed gangster Raymond “Shrimp Boy” Chow and two dozen others.

Yee had a reputation for sometimes trading votes for campaign contributions, a perception that had only gained strength in recent months as he launched his first statewide campaign, running to lead the Secretary of State’s Office, casting key votes for landlords and big industries that he refused to explain to local activists.

So in a year when two other Democratic Senators have also been stung by federal corruption and bribery probes, the televised image of Yee in handcuffs wasn’t beyond the realm of possibilities. It was surprising, but not shocking.

Yet by the mid-afternoon when the 137-page federal criminal complaint was unsealed and journalists started reading through what undercover FBI agents had discovered during their five-year criminal investigation, it read more like a sensational organized crime and espionage novel than a court document, a real page-turner that just got more wild and incredible as it went on.

timelineYeeWhat began with the FBI investigating a murder and leadership transition in the San Francisco branch of the ancient Chinese organized crime syndicate known as the Triad, led by an undercover FBI agent who had infiltrated the group, evolved into a widening investigation accusing Yee of arranging an illegal arms trafficking deal with a Muslim rebel group in the Philippines in exchange for $100,000 funneled into his campaign, on top of smaller favors that Yee allegedly did in exchange for envelopes with $10,000 in cash.

It was even worse for local political consultant Keith Jackson, a key Yee fundraiser who was also on contract with Lennar Urban for its Bayview-Hunters Point development projects, with the undercover FBI agents allegedly drawing Jackson into big cocaine deals, money laundering, bribery, and even a murder-for-hire plot. If the complaint is to be believed, Jackson seemed willing to do just about anything to enrich himself and raise money for Yee.

Meanwhile, the public image that Chow has been cultivating for himself since his 2003 release from federal prison — that of a reformed career gangster turned Chinatown civic leader, someone praised by local politicians for inspiring fellow ex-convicts to turn their lives around — was replaced the complaint’s description of a powerful “Dragonhead” overseeing a vast criminal enterprise involved in drugs, guns, prostitution, protection rackets, moving stolen booze and cigarettes, and money laundering.

“I think the whole city is in shock at the moment,” Board of Supervisors President David Chiu, who represents Chinatown and ran against Yee in the 2011 mayor’s race, told the Guardian that afternoon. “Today’s widespread law enforcement actions are incredibly disturbing. The detail and scale of the criminal activities are shocking.”

In the days that followed, Yee withdrew his candidacy for Secretary of State and was suspended by his colleagues in the California Senate. But where this wild tale of crime and corruption goes next — and who else gets implicated as these powerful and well-connected defendants look to cut deals to avoid the lengthy prison sentences they all face — is anyone’s guess.

 

THE CRIMINAL

Chow, 54, was raised a criminal, telling the History Channel’s “Gangland” that he stabbed someone in Hong Kong at the age of nine before moving to San Francisco in 1977 and getting involved in the Hop Sing Boys gang and Chinatown’s criminal underworld.

He survived the Golden Dragon Massacre, a shooting between rival Chinatown gangs that left five dead, but he was arrested in 1978 for a robbery and sent to prison for the first time, released in 1985. The next year, he was sent back to prison for attempted murder and more gang mayhem, released in 1989.

“I did time with Charles Manson, a good friend of mine. Kimball, a serial killer. I did time with a bunch of amazing people. Each person you talk to you learn something from. Ain’t no stupid people inside the prison, you can say that,” Chow told Gangland.

In 1991, a gangster named Peter Chong was sent from Hong Kong to San Francisco to extend the reach of the Wo Hop To Triad. He enlisted Chow as his right-hand man, and together they extended the reach of the Wo Hop To across the Western United States, trying to create an all encompassing gang named the Tien HaWui, “The Whole Earth Association.”

Chow was arrested again in 1995 on a variety of racketeering and other criminal charges and sentenced to 25 years in prison. But he later testified against Chong and got his sentence reduced, and he was released from federal prison in 2003.

After his release, Chow publicly claimed to go legit, working on book and movie deals about his life, as well as building connections in the political world. Chow posed for photos with then-Mayor Gavin Newsom and other local political figures.

But the latest criminal complaint said that even as Chow pretended to be moving on, he continued to make incriminating statements to the undercover agents “confirming his knowledge of and involvement in criminal activity.”

 

THE COMPLAINT

The criminal complaint alleges that “Chow is currently the Dragonhead, or leader, of the San Francisco-based Chee Kung Tong organization,” which it described as a criminal syndicate connected to Hung Mun, a criminal dynasty that began in 17th century China, “also referred to as a Chinese secret society and the Chinese Freemasons.”

It says Chow was sworn in as CKT head in August 2006, soon after the still-unsolved murder of CKT head Allen Leung. Chow’s swearing-in was reported in local Chinese media sources, so SFPD and FBI conducted surveillance there and launched an investigation.

The FBI says it began infiltrating CKT five years ago, including an undercover FBI agent dubbed UCE 4599, who in May 2010 was introduced to Chow, who “then introduced UCE 4599 to many of the target subjects.” UCE 4599 told Chow he was a member of La Cosa Nostra, the Italian mob.

In March 2012 he was inducted into CKT as a “Consultant,” the complaint alleges. It says that Jackson — a former San Francisco school board member and political consultant — had also be inducted into CKT as a “Consultant,” participating in various criminal conspiracies.

The gang members are accused of laundering money made from “illegal activities, specifically illegal gambling, bookmaking, sports betting, drugs, and outdoor marijuana grows.” They allegedly laundered $2.3 million between March 2011 and December 2013 for UCE 4599, with members collecting a 10 percent fee for doing so.

The complaint says Jackson “has a long-time relationship with Senator Yee,” and “has been involved in raising funds for” Yee’s run for mayor “and for Senator Yee’s current campaign in the California Secretary of State election.” And much of the complaint details deeds allegedly committed by Jackson and Yee.

In fact, the second person named in the complaint, right after Chow, is Yee, “aka California State Senator Leland Yee, aka Uncle Leland.”

As the complaint alleges, “Senator Yee and Keith Jackson were involved in a scheme to defraud the citizens of California of their rights to honest services, and Senator Yee, [Daly City resident Dr. Wilson] Lim, and Keith Jackson were involved in a conspiracy to traffic firearms.”

 

THE POLITICIAN

Yee and Jackson met UCE 4599 through Chow, and then Jackson allegedly solicited him to make donations to Yee’s 2011 San Francisco mayoral campaign “in excess of the $500 individual donation limit. UCE 4599 declined to make any donations to Senator Yee, but introduced Keith Jackson and Senator Yee to a purported business associate, UCE 4773, another undercover FBI agent,” who made a $5,000 donation to Yee’s mayoral campaign.

Yee had $70,000 in debt after that mayor’s race and worked with Jackson on ways to pay off that debt. “This included soliciting UCE 4773 for additional donations and in the course of doing so, Senator Yee and Keith Jackson agreed that Senator Yee would perform certain official acts in exchange for donations from UCE 4773.”

Yee allegedly agreed to “make a telephone call to a manager with the California Department of Public Health in support of a contract under consideration with UCE 4773’s purported client, and would provide an official letter of support for the client, in exchange for a $10,000 donation.”

Meanwhile, it says Jackson and Yee continued raising money for his Secretary of State race by soliciting donations from UCE 4599 and UCE 4180, another undercover agent. “They agreed that in exchange for donations from UCE 4599 and UCE 4180, Senator Yee would perform certain officials acts requested by UCE 4599 and UCE 4180.”

That included Yee issuing an “official state Senate proclamation honoring the CKT in exchange for a $6,800 campaign donation, the maximum individual donation allowed by law.” Yee allegedly did so, and it was presented by one of his staff members at the CKT anniversary celebration on March 29, 2013.

Yee and Jackson are also accused of introducing a donor to unidentified state legislators working on pending medical marijuana legislation, the donor being another undercover agent who claimed to be a medical marijuana businessman from Arizona looking to expand into California, “and in payment for that introduction, UCE 4180 delivered $11,000 cash to Senator Yee and Keith Jackson on June 22, 2013.”

In September, after making another introduction, Yee and Jackson allegedly received another $10,000 cash donation for their services. Then Jackson allegedly had an idea for getting even more money.

“Jackson told UCE 4599 that Senator Yee, had a contact who deals in arms trafficking.” Jackson then allegedly requested UCE 4599 make another donation “to facilitate a meeting with the arms dealer with the intent of UCE 4599 to purportedly purchase a large number of weapons to be imported through the Port of Newark, New Jersey.”

That deal for up to $2.5 million in weapons involved automatic weapon and shoulder-fired missiles, the complaint said, and “Senator Yee discussed certain details of the specific types of weapons UCE 4599 was interested in buying and importing.”

The complaint says that Yee expressed discomfort with how openly UCE 4180 discussed overt “pay to play” links between cash donations and official actions. “I’m just trying to run for Secretary of State. I hope I don’t get indicted,” Yee allegedly told two undercover FBI agents during a walk on June 20, 2013, urging them to be less explicit about connecting official favor with campaign donations.

“Despite complaining about UCE 4180’s tendency to speak frankly and tie payment to performance, and threatening to cut off contact with UCE 4180, Senator Yee and Keith Jackson continued to deal with UCE 4180 and never walked away from quid pro quo requests make by UCE 4180,” the complaint said. “In fact, Senator Yee provided the introductions sought by UCE 4180 and accepted cash payments which UCE 4180 expressly tied to the making of the introductions.”

Yee’s attorney, Paul DeMeester, told reporters they will contest the charges: “We will always in every case enter not guilty pleas, then the case takes on a life of its own.”

 

Joe Fitzgerald Rodriguez contributed to this report.