News

Guardian Intelligence: August 20 – 26, 2014

Michael Redmond
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LIVE AND LET DIE

No one better to close out the cold, remote, history-filled behemoth that is Candlestick Park than Sir Paul McCartney, who played a an energetic three-hour set at the stadium Aug. 14 — nearly 48 years to the day after the Beatles played their final live show there. In a week of depressing headlines, a 45,000-person sing-along to “Hey Jude” was exactly what we needed. Check out our Noise blog at SFBG.com for a full review. PHOTO BY RYAN HOLMES

CROONING FOR A CAUSE

The Help is On the Way gala concerts — put on by the Richmond/Ermet AIDS Foundation to benefit various local AIDS service agencies — have been happening for awhile; Sun/24’s edition at the Palace of Fine Arts marks the series’ 20th anniversary. But this lineup might be the most sparkling of them all, with Florence “Mrs. Brady” Henderson sharing top billing with fellow TV legend Richard Chamberlain. Plus! Maureen “The Morning After” McGovern, and a list of Broadway and cabaret stars you may not recognize by name, but are guaranteed to be possessed of dazzling pipes. www.helpisontheway.org

GROVER NORQUIST’S BUCKET LIST

Burning Man’s most notorious attendee, arch conservative Grover Norquist, has been confirmed as a speaker at a playa camp called Palenque Norte. And get this: Norquist’s scheduled talk will be directly preceded by that of a faux guru, Kumare, star of the eponymous documentary Kumare: The True Story of a False Prophet. Kumare, aka Vikram Gandhi, is a New Jersey-born Indian American who gained a following in the US after posing as a fake swami, according to a New York Times profile, growing his hair long and imitating his grandmother’s voice. Can a fake swami melt Norquist’s ice-cold libertarian heart?

STREET EATS

The sixth annual SF Street Food Festival took place — and lots of plates — on Saturday, Aug. 16. Some highlights: octo okono (fried octopus popsicle) from Stones Throw, aquavit-cured salmon and fennel crostinis from Chef Pelle Nordic, ahi tuna kitfo from Radio Africa Kitchen, Thai iced coffee ice cream from Secret Scoop. Also: gorgeous weather, chill vibes, and shorter lines (except for the ever-popular Nombe ramenburger, of course). More pics on the Pixel Vision blog at SFBG.com

BACTERIAL MIND CONTROL

Your gut is host to millions of bacteria, and they might be controlling your mind. So say researchers from UC San Francisco, Arizona State University, and the University of Mexico, who published an article in the journal BioEssays concluding that microbes influence humans’ eating behavior to favor the nutrients they thrive on. “Bacteria within the gut are manipulative,” said co-author Carlo Maley, who directs UCSF’s Center for Evolution and Cancer. “Our diets have a huge impact on microbial populations in the gut. It’s a whole ecosystem, and it’s evolving on the time scale of minutes.” Armed with this information, ask yourself: Do you really want to chow down on that bacon-wrapped hot dog, or is that just your itty-bitty masters talking?

MOMENT OF SILENCE FOR FERGUSON

As many of us watch in horror as Ferguson, Missouri police lob tear gas grenades and fire rubber bullets into crowds of their own citizens, demonstrations in Oakland and San Francisco sprouted to support victims of police violence. In Frank Ogawa Plaza hundreds gathered for a moment of silence in Thursday, Aug. 14 to honor the death of Mike Brown, as well as those killed by police in the Bay Area: Oscar Grant, Alex Nieto, Andy Lopez, and more.

VIOLENCE ON THE BRAIN

No one is hooking police officers’ brains up to electric diodes, but this is almost as cool. A group of scientists from UC Berkeley are building a massive database of news accounts and social media to find patterns in police and protester interactions, hoping to discover what actions (or even political situations) spur violence on both sides. We don’t know what motivates police, but it’s safe to say when cops roll through a small suburban town in tanks armed with military grade weapons, protesters might be spurred to defend themselves.

TEENS FAST FOR KIDS

If you’ve ever seen teenagers swarm a stack of pizzas, this might shock you: Last week, 10 Bay Area teens (and one 20 year old) finished a five-day fast to bring awareness to the plight of Central American child refugees. Over 1,900 child refugees are in the Bay Area now, according to federal data, and few of them have been placed with families. Nonprofits designed to help them are stretched to the limit. Those that return home are met with violence and potentially, death, in their home countries of Guatemala, El Salvador, and Honduras.

 

More time, same crime

Michael Redmond
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More time, same crime

joe@sfbg.com

Roll up a dollar bill, snort a line of coke, sit back and smile: If your cocaine use leads to a conviction, your drug of choice will be spared from the harsher penalties associated with inhaling the substance through a glass pipe. When it comes to busts for cocaine possession and dealing, those caught with a rock instead of the powdered stuff are kept behind bars longer. But that could soon change.

The drug is the same, the punishment is not — and a new bill may soon end that decades-long disparity, one that critics have called racist. But crack cocaine use is now at a historic low in San Francisco, raising a question: What took so long?

The California Assembly voted 50-19 Friday [8/16] to pass the Fair Sentencing Act, which aims to lower the sentence for possession with intent to sell crack cocaine to be on par with that of powder cocaine.

The bill, authored by Sen. Holly Mitchell (D-Los Angeles), is seen as championing racial justice.

“The Fair Sentencing Act will take a brick out of the wall of the failed 1980s drug-war era laws that have devastated communities of color, especially black and Latino men,” Lynne Lyman of the Drug Policy Alliance said in a prepared statement.

Crack cocaine rocks have tended to be more heavily used by African Americans, while powdered cocaine tends to be the province of rich white folks. The bill would lessen the maximum sentence for crack cocaine possession with intent to sell to four years, down from five. It would still constitute a felony.

In California, having a drug-related felony on record can prevent the formerly incarcerated from accessing housing assistance and food stamps, further feeding a cycle of poverty. The Fair Sentencing Act now awaits Gov. Jerry Brown’s pen. But some say this disparity should have been addressed some 30 years ago.

The 1980s gave rise to the “crack epidemic” narrative, a supposedly sweeping addiction promulgated by media reports on crack’s outsized harm to pregnant women and newborn babies. But those health impacts are now understood to be on par with tobacco use during pregnancy, rather than the terrifying danger it was presented to be.

Still, the images and narratives from that era were powerful.

In a television news report that aired in the 1980s, an unnaturally tiny baby quivers and shakes on the screen. Then-First Lady Nancy Reagan appears and hammers the point home: “Drugs take away the dream from every child’s heart, and replace it with a nightmare.” Flash forward to the future, and university researchers have produced studies showing that the babies born to crack-using mothers that so frightened the country were simply prematurely born, and went on to lead healthy lives.

True or not, people were outraged. The change in laws happened “virtually overnight,” Public Defender Jeff Adachi told us. Crack cocaine hit San Francisco hard.

Paul Boden, executive director of the Western Regional Advocacy Project, remembers it well. He had just come out of homelessness in the Tenderloin in the ’80s. Just prior to starting as a staffer at Hospitality House, he saw the worst of it.

“People were killing each other over the stupidest shit. It got really violent,” he said. “What crack cocaine did is it divided a community against itself. I never thought I’d get to a point where I missed heroin.”

But, he added, “I do think the advent of crack and the assumption that every black male was doing crack gave the cops carte blanche for all of their racist patterns.”

According to the Drug Policy Alliance, people of color accounted for over 98 percent of men sent to California prisons for possession of crack cocaine for sale. Two-thirds were black, and the rest were Latino.

Long since the days when cops regularly raided the Tenderloin on a hunt for every glass crack pipe, the SFPD is now a somewhat more lenient beast in the drug realm. Drug arrests in the city dropped by 85 percent in the last five years, according to California Department of Justice data. Police Chief Greg Suhr downsized his narcotics unit, shifting to focus on violent crime.

“People that sell drugs belong in jail because they’re preying upon sick people,” Suhr told the Guardian, although he added, “People with a drug problem need to be treated, as it’s a public health issue.”

Suhr said he supports the lower sentencing for crack cocaine to make it on par with powder.

“Cocaine,” he said, “is cocaine.”

District Attorney George Gascon’s office also prosecutes mostly violent and property crimes as opposed to drug possession, reflecting a rare show of agreement between the Public Defender’s Office, the SFPD, and the DA. San Franciscans battling drug problems are often diverted to drug courts and rehabilitation programs.

Crack cocaine has largely moved on from San Francisco, leaving its ugly legacy. Meanwhile, heroin use is on the rise, but nevertheless carries the same harsh sentence as crack cocaine for possession with intent to sell.

“It’s the pathetic state of politics today that it took this long for this to happen,” Boden told us, on sentencing reform. “Now it won’t cost me anything, I’ll show what a great liberal I am.”

 

Paul McCartney bids Candlestick a fiery goodbye

Steven T. Jones
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5

My earliest memories of Candlestick are formative ones. Like any Bay Area kid who cut her baseball teeth on Giants games at the notoriously frigid stadium, I thought every family prepared for sporting events by piling on 17 strategic layers and stuffing their car full of sleeping bags and other accoutrements that could double as equipment for scaling Mount Kilimanjaro.  

This has been, of course, most of the park’s (limited) charm: By default, it’s for die-hards only — very few folks want to deal with that traffic and that wind and that fog and that everything else just to sit at the bar and not pay attention to a game — because the place ain’t easy to love. Like so many ex-boyfriends throughout history, it’s been cold, distant, difficult to reach. And, like all great exes, Candlestick needed one last night. 

candlestick

Paul McCartney, who bound around the stadium’s stage for nearly three straight hours last night [Aug. 14], clad in black dad jeans, a white collared shirt, and red-and-black-striped suspenders, making silly faces, reading from the signs in the front row, punctuating the ends of songs with a double thumbs-up, and giving the people what they wanted by way of Beatles anecdotes as stage banter, filled that sentimental need in a way it’s difficult to imagine anyone else pulling off.

“I don’t know if you know this, but the Beatles played our last gig at Candlestick,” Sir Paul said casually, about an hour into the set, after an energetic, check-your-pulse-if-you-don’t-find-this-uplifting rendition of “We Can Work It Out,” to a roaring crowd of people from all over the world who definitely did know that. “We got so pissed off we never did it again.”

“No, there are some great memories here,” he continued, “and it’s sad to see the old place closing down. But we’re gonna close it down in style.”

And then he led the entire stadium in a sing-along of “And I Love Her,” turning his back to the crowd and shaking his butt during the sweet, brief guitar solo.

aul

If you were among the 44,000 people lucky enough to actually make it inside the park (in a timely illustration of one reason the Niners are departing for greener pastures, as many as 6000 frustrated ticket-holders reportedly either turned around and went home after being stuck in traffic for four hours or didn’t get in until nearly 11pm, as the stadium’s one remaining parking lot took on Lord of the Flies undertones), you were treated to what you’d been promised: a 72-year-old living legend — a cliche, but it applies in this instance — reminding you exactly why he’s a legend, and also kind of making you wonder what he’s on that he has this much energy at 72. Vegetarianism?

With a backing band of four — a lead electric guitarist, a bassist, a keyboard player who took care of strings, horns, and all other instrumentation with the somewhat disorienting press of a key, and the super-animated Abe Loboriel Jr. on the drums (who by all appearances was snatched from a Sublime cover band but has in fact toured with McCartney for 13 years) — each of them singing their asses off, as you can only imagine you would do if given the responsibility of filling in for John Lennon and George Harrison on harmonies that used to make girls literally pass out — Sir Paul led a dialed-in, bombastic rock ‘n’ roll show last night.

And it was a rock ‘n’ roll show, from the show-opener of “Eight Days a Week” to the show-ender (rather, second encore-ender) medley of “Carry That Weight,” “You Never Give Me Your Money,” and “The End,” aka a condensed version of the ending suite from side two of Abbey Road. In between, there was “Paperback Writer,” with McCartney playing the same guitar he used on the original record (one of at least a dozen he played over the course of the night). There was “All My Lovin’,” there was “Lady Madonna.” There was a story about Jimi Hendrix learning Sgt. Pepper’s within two days after it was released in 1967, but using so much whammy bar on it when he played in London that his guitar was then miserably out of tune, and he had to ask Eric Clapton, who was in the crowd, to come tune it for him. 

paul

There was “Eleanor Rigby” and “Being for the Benefit of Mr. Kite,” and “I Saw Her Standing There,” and “Yesterday,” and “Back In the USSR,” and a stadium full of gleeful adults who pay their taxes and run large companies and get the senior discount at the movies singing their faces off to “Ob-La-Di, Ob-La-Da” and the Look at meeeee part of “All Together Now.” (“One of my most serious compositions,” McCartney allowed at that one’s conclusion). There was a ukulele-led “Something” as a tribute to George Harrison. There were unreleased black-and-white photos of the Beatles at Candlestick in 1966 projected behind him as McCartney jumped into the last song they performed that night nearly 50 years ago, “Long Tall Sally.”

He did a handful of Wings songs, prefacing each one with a smirking, self-indulgent “Wings” hand signal. Were they fine? Sure, they were fine. Are they Beatles songs? They are not Beatles songs. They are not “Blackbird,” which he played solo in a spotlight, on top of an elevated portion of the stage (after an introduction that stopped disappointingly short of getting political when he mentioned being inspired by the Civil Rights movement, and terrible things happening “in the Southern part of the United States”). Nor were they “Maybe I’m Amazed,” off his 1970 solo album, which would have sent chills down spines even without the standard “I wrote this for Linda” opening. Songs off the new record (New) played well, with McCartney perched behind a psychedelic rainbow-colored piano: the title track, the jumpy keys-driven “Queenie Eye,” and “Everybody Out There,” from which the “Out There” tour draws its name. Huge-screen videos of Natalie Portman and Johnny Depp signing the lyrics during “My Valentine” were, well, huge-screen videos of Natalie Portman and Johnny Depp. No complaints. 

The highlights, though? You could point to the the fireworks that shot out of the stadium and the five-foot flames that burst forth from the front of the stage on the first chorus of a super-heavy “Live and Let Die” — though I couldn’t help but think it all would have been cooler if they actually began demolition on the park during that song, maybe letting Paul take the first swing of the sledgehammer?

fireworks
Instagram // alexaikochan

But no. The highlight was — look, this was a pretty awful week to be a person who reads the news. There are awful things happening in Ferguson, Missouri; there are awful images still pouring out of the Middle East; and one of the world’s most reliably uplifting, warm-hearted class clowns decided he didn’t want the job anymore. We want comfort food at times like these. We want things that we know and love to keep on being the way we know and love them.

You know what’s more reassuring than tomato soup and a grilled cheese sandwich? Paul McCartney singing “Hey Jude” to an entire stadium as a campfire lullaby. Couples in their 70s and 80s with their arms around each other, remembering, looking like they don’t mind the cold one bit. The knowledge that the sight and sound of 44,000 humans of all ages all holding their stupid iPhone lights and singing along to a Beatles song nearly involuntarily, because the melodies are in their bodies, because of the way Beatles songs have transcended the pop canon and are now seemingly passed down to children through DNA or the public water supply, apparently has the power to make you feel like maybe humanity isn’t doomed after all.

We needed that this week. And for Candlestick, it was one hell of a one last time.

paul

Notes:

— Tailgaters: Well-off middle-aged people in heels and/or NorthFace jackets drinking white wine and microbrews outside of their luxury SUVs in the nearby business park parking lots.

— His set list was not all that different from the one he played exactly a year ago at Outside Lands, several people have noted. None of these people have seemed especially upset by that.

— Shout-out to the people “looting” on their way out (trying to tear a “wine bar” sign off a second-story concrete wall).

— Paul McCartney is starting to look a little like a grandma, yes. But his skin is eerily smooth and there was no denying his energy last night. I do wish he would ditch the hair dye.  

Old guys, touchy-feely teens, and rep-house picks you don’t wanna miss: weekend movies!

Sue Vaughan
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Old guys, touchy-feely teens, and rep-house picks you don’t wanna miss: weekend movies!

Outside of the multiplex this week, don’t miss Midnites for Maniacs curator (and Guardian contributor) Jesse Hawthorne Ficks’ very special tribute to William Lustig at the Yerba Buena Center for the Arts. Exploitation icon Lustig will appear in person to chat about his films, and they’re screening the entire Maniac Cop trilogy … so why haven’t you gotten tickets yet?

Also, check out the Turkish Film Festival, which runs August 19-21 at the Embarcadero and screens new films from Turkey for free! You can reserve seats here.

Meanwhile, Hollywood would like to remind you that age ain’t nothing but a number (The Expendables 3), that feelings are important (The Giver), and that not all cops are evil (Let’s Be Cops, which technically is about fake cops). Reviews, trailers, and more below!

https://www.youtube.com/watch?v=4xD0junWlFc

The Expendables 3 Patrick Hughes — the guy tapped to helm the remake of 2011’s The Raid — directs a cast of thousands (more or less) in this third installment of Sylvester Stallone’s retro action franchise. By now, the Expendables movies have their formula down, not that it was particularly original to begin with, and all the marks are duly hit in part three: sinister bad guy (Mel Gibson — a solid choice, since who doesn’t love to hate him?) angers mercenary Barney (Stallone) and his team of graying, gun-wielding, shit-talking badasses (Jason Statham, Dolph Lundgren, Randy Couture, and Terry Crews). Revenge is sought, bullets fly, buildings explode, a government operative sticks his nose in (here, it’s Harrison Ford), and Arnold Schwarzenegger shows up to save the day. Fortunately, Expendables business as usual also happens to be stupidly enjoyable, especially with the addition of a just-out-of-prison (onscreen and off) Wesley Snipes. There are also fun roles for Antonio Banderas, Kelsey Grammar, and Robert Davi, but the crew’s next-generation recruits (rebel Kellen Lutz, hacker Glen Powell, weapons master Victor Ortiz, and ladybro Ronda Rousey) seem rather unnecessary. Isn’t the point of these movies to remind us that old guys still rule? (2:07) (Cheryl Eddy)

Finding Fela Having taken on Enron, WikiLeaks, Hunter S. Thompson, Ken Kesey, Eliot Spitzer, and Lance Armstrong, documentarian Alex Gibney (an Oscar winner for for 2007 torture exposé Taxi to the Dark Side) turns his attentions to yet another fascinating figure: Afrobeat pioneer and political activist Fela Kuti. Finding Fela incorporates the making of Bill T. Jones’ Tony-winning musical Fela! into its tale of the late lightning rod, but footage of the real Kuti is more compelling than any staged recreation; his performances at Lagos nightclub the Shrine are legendary, and rightfully so, as we see here. But despite its dynamic, complicated subject — being a musical visionary would be doc-worthy enough, but he was also regularly persecuted by the Nigerian government, and was both free-living polygamist (with some regressive views on women’s rights) and spiritual explorer — Finding Fela is disappointingly conventional, presenting the expected mix of vintage clips and contemporary interviews (with Kuti’s children and fellow musicians, among others). Enlightening, but not essential. (2:00) (Cheryl Eddy)

The Giver Lois Lowry’s classic YA novel gets a veteran helmer for its big-screen adaptation, but Philip Noyce’s ability to attract top adult talent (Meryl Streep, Jeff Bridges) can’t outweigh his heavy-handed interpretation of what was never a subtle work to begin with. In a vaguely post-apocalyptic society so regulated and dulled that nobody has emotions or empathy, a young man named Jonas (Maleficent‘s Brenton Thwaites, bumped up in age from the book’s 11-year-old) is tasked with becoming the “receiver of memories.” Basically this means that he gets to hang out with Bridges’ character and learn things about the world and human history in the form of Koyaanisqatsi-meets-National Geographic montages (music — it’s a thing! Also: war is hell, etc.) This is life-changing stuff, but part of the deal is that he must never, ever tell anyone else about it, at least until he’s as grizzled as Bridges and has his own successor in need of a thorough mind-blowing. Of course, he immediately loops in pretty BFF Fiona (Odeya Rush), who he’s been seeing in a new light since catching wind of a concept called “love.” Soon, his awakening draws the ire of his mother-esque guardian (Katie Holmes), as well as the community’s leader (Streep). If you’re looking for suspense, or any curve balls (duuuude … once Jonas’ mind starts expanding, he starts seeing the black-and-white world in color!), best backtrack to one of Noyce’s 1990s thrillers (1992’s Patriot Games, perhaps). About the only surprise in The Giver is that Taylor Swift’s much-hyped role is smaller than expected, and not nearly as distracting. (1:40) (Cheryl Eddy)

Kink Itching for more than the run-of-the-mill tour behind the forbidding doors of the Armory? Kink.com may seem like old news to Missionites, but fewer still have, ah, penetrated the actual sanctum sanctorums of BDSM videos in production. Director Christina Voros teams up here with producer James Franco, for whom she served as cinematographer on As I Lay Dying, to look in on the process and some of the issues and personalities behind Kink’s brand of porn, and attempts to make her way through the tangled complex of desire that seems to parallel both the Armory’s fortress and the city’s labyrinthine counterculture. Ever wonder how to step on a penis without eliciting a scream — be it from pleasure or pain? We learn that and look in on former farm boy turned porn star and director Van Darkholme in action, teaching his dom how to pummel his sub hard enough to deliver a satisfying thump but not hurt. Meanwhile, other filmmakers go to town in ways that should press more than a few buttons when it comes to, say, rape fantasies. Pungent stuff, complete with full frontal male and female nudity and explicit acts with sanders and the like, although Kink would have only been better with a more honed focus on the humans behind the mechanical phalluses. Voros is obviously on Team Kink, though the multiple on-camera quasi-apologies regarding BDSM culture in general give the appearance of players and pornographers protesting a smidge too much. (1:19) Roxie. (Kimberly Chun)

Let’s Be Cops Another buddy cop comedy — except this time, the cops (Jake Johnson and Marlon Wayans Jr.) are faking it. (1:44)

Shahum leaving SF Bike Coalition to study Vision Zero

Sasha Cuttler
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30
Shahum leaving SF Bike Coalition to study Vision Zero

San Francisco cyclists are losing a key advocate — but this and other US cities may next year gain a knowledgable new leader for Vision Zero, the ambitious program for eliminating all pedestrian deaths — with today’s announcement by Leah Shahum that she is stepping down as executive director of the San Francisco Bicycle Coalition at the end of the year.

Shahum has been accepted into the German Marshall Fund Fellowship, a four-month program where she will study European success stories in the Vision Zero concept, focusing on cities in Sweden, the Netherlands, and Germany, before returning to the US to work on programs that reduce traffic-related fatalities.

“They’ve made huge progress after they started with Vision Zero in the late ‘90s,” Shahum told the Guardian. “I’m really passionate about the potential of Vision Zero in San Francisco and other US cities.”

At the SFBC, Shahum worked her way up from a volunteer to becoming executive director 12 years ago, presiding over the organization becoming the city’s largest grassroots, member-based advocacy organization, one that has a strong influence at City Hall.

Shahum has also sought to broaden the SFBC’s mission, working closely with organizations such as Livable City and Walk San Francisco to challenge paradigms and funding models that heavily favor the automobile on the streets of San Francisco.

“The work we’ve been doing at the Bike Coalition has long been broader than just biking,” Shahum said. “The work we’re doing benefits all road users and I think it’s important to bring everyone into this discussion.”

Walk SF Director Nicole Schneider said Shahum’s departure is bittersweet news.

“It’s really sad to see her go and we’ll dearly miss her tenacity and leadership in San Francisco,” Schneider told the Guardian. “But I’m thrilled that she’s working on Vision Zero and she’ll be a huge asset in this country.”

While the Board of Supervisors adopted the goals of Vision Zero earlier this year, that program has yet to be fully defined or funded, particularly after Mayor Ed Lee ditched a fall ballot measure that would have increased the local vehicle license fee, which would have dedicated some funding to pedestrian safety improvements.

“We need to really figure out what Vision Zero means for a US city, so we can learn a lot from European cities,” Schneider said. “In order to implement Vision Zero, we’re going to need funding to replace our obsolent traffic infrastructure that valued speed over safety.”

Shahum said it was a good time to make the transition and focus on Vision Zero, which will be the subject of an international conference she’ll attend this November in New York City, which has been leading the way on the concept among major US cities.    

“It’s at the valuable crossroads of injury prevention and sustainable transportation,” Shahum said. “I’m excited to take Vision Zero to the next level, not just in San Francisco, but around the nation.”

SFBC put out a statement commending Shahum for her 17 years of work with the SFBC and announcing it will be conducting a nationwide search for a new director.

“We thank Leah immensely for leading our community’s efforts to make San Francisco a safer, more inviting place to bike and a better place for all of us to live,” SFBC Board of Director President Lawrence Li said in the statement. “Leah leaves behind a legacy of one of the most bike-friendly big cities in America and one of the most well-organized and effective membership groups in the country.”

Shahum said she’s not sure exactly what form her post-fellowship work will take, but that she’s excited about the possibilities of this opportunity.

“I think it’s time for some new adventures,” Shahum told us. “As much as I love what we’re doing in San Francisco, things have to move faster to be meaningful.”

Call the Pope

Michael Redmond
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0
Call the Pope

culture@sfbg.com

THE WEEKNIGHTER It’s a funny thing to be filling out a job application and have to put your previous employer as Tony the Pope. But that’s the name I know him by, and truthfully, I don’t wanna know his real last name, anyways. I prefer to have at least a little bit of mystery in my life.

I had been working at The Unresolved Love Life of Evelyn Lee, which may be the longest name for a bar ever, when I got news that the bar had been sold to Tony and would now be called Mission Hill Saloon (491 Potrero, SF. 415-552-5545)… again. It had been Mission Hill before it was Evelyn Lee, and apparently Tony was changing it back. Regardless, I came to love working at the place and didn’t care what it was called as long as I had a shift or two.

Depending on the bar, the regulars can either be the best or worst thing about it. The jury is still out about which category Mission Hill’s falls into. Or at least, that’s the kind of shit I’d talk to them while behind the bar. A bartender’s best weapon is his wit, and working at Mission Hill Saloon was a good test of mine every time I was at the stick. The crowd ranges from hipsters to cooks and construction workers — and all of them are prepared to give you a hard time for absolutely no reason at all. And that’s just how I like it.

I experienced one of my most ridiculous San Francisco moments ever while working there. I’d been chatting with a girl on OkCupid, and we had made plans to grab a drink on Sunday evening. We never discussed where I worked so we were both surprised when she came in on my Thursday night shift. Coincidently, she lived above the bar. That is some serious San Francisco shit right there. We went out once and decided it would be easier to just be friends considering she lived above the bar I worked at. [Good call — Ed.]

The Mission Hill Saloon is in an old building. I’m not sure of its age, but it’s old enough. One night, Raph, one of the regulars, told me — as I was closing the bar at 2am — that the place was seriously haunted and that he wouldn’t want to be in there all by himself at night. He gave me a wink as I ushered him out the door and locked it behind him. The asshole knew I had at least an hour of closing duties, by myself, in that old bar. I didn’t want him to know that his saying that shit really spooked me, and I put at least $5 in the jukebox so I wouldn’t hear any late night creepy old building sounds. Nothing ghostly ended up happening. Or if it did, I couldn’t hear it over the jams.

Unfortunately I only worked at Mission Hill Saloon for a little while. After Tony bought the bar he decided to work as many shifts on his own as he could, just to keep costs down. I completely understood, and I knew he’d be a great reference for whatever my next bar gig would be. Which is why I found myself filling out an application and using Tony the Pope as a previous employer. Tony may not be a religious man, but he sure does pour some strong-ass holy water. Plus, now it’s nice to be on the other side of the bar — so I can join the peanut gallery and give him shit.

P.S. This Weeknighter is dedicated to Ashley Dickinson who loves Mission Hill almost as much as I do.

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

Locals Only: Tom Rhodes

Steven T. Jones
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1

There are artists who are known for being shy and reclusive — for producing their best work while holed up in their room, or in a cabin in the woods, or on a solo bender.

And then there are those who feed off the energy of an audience. The magic of a live performance is in the interaction, right? In the knowing that, though you’re just a face in a crowd at a venue like thousands of others across the country, the experience you’re having with a musician live on stage is unique to that evening; whether it’s a drum coming in a millisecond later than it did the previous night or banter that changes based on what the band drank backstage.

With Or Without, the fourth self-released album from East Bay singer-songwriter Tom Rhodes, has taken the concept of a live album — the attempt to capture that specific face-to-face, performer-audience magic — and distilled it like a fine whiskey. Created over the course of four separate live performances in November in front of intimate studio audiences at San Francisco’s own Coast Recorders, the resulting music sounds like you’ve been snuck into something secret and awesome: There’s a particularly liberated-sounding husk in Rhodes’ voice (one could guess he falls into the latter camp of artists), an excitingly un-tucked feeling behind pedal steel man Tim Marcus’ guitar, and the overall feeling of the band playing directly to you; this album would be particularly welcome on a solo road trip.

Perhaps relatedly, Rhodes has traveled extensively, and also swerved between genres a good deal. Ahead of his show with fellow local alt-country/folk heavyweights The Lady Crooners (who also appear on his album) and Kelly McFarling this Wednesday, Aug. 13 at the Freight and Salvage Coffeehouse, we caught up with Rhodes to hear about the inspirations for this album and, of course, his favorite foods.

SF Bay Guardian How and when did you first start playing music? Who are the songwriters you look to for inspiration? What’s the first record you really remember loving?

Tom Rhodes I have been playing music for as long as I can remember. As a very young child I remember my mother teaching me piano, singing at home and at church; instruments were all over the house and I was never told that I was too young or clumsy to experiment with them. My mother is a classically trained singer and multi-instrumentalist (she played the oboe, clarinet, piano, and guitar) and my father is an incredibly passionate music collector. So I wound up in this perfect environment for creating a child who would grow up to be a musician: A kid in a house filled to the brim with instruments and parents who were constantly listening to music on top of the line stereos, and discussing that music with parents who really dove into it themselves. My dad’s record collection numbered in the thousands, we had a room that was filled with shelves of records and I would play them all the time. Then it was tapes, then CDs.

The music that I came of age to was so diverse that I can’t begin to list even my favorites…it’s everything…they all had pretty equal weight, but the first “songwriter” that I remember falling in love with lyrically and musically was (and still is) Paul Simon. It’s really a toss-up between him and the older Jackson Browne stuff for me when it comes to a benchmark that I have always tried to get close to. The first record that opened up huge doors in my head as far as songwriting goes was Paul Simon’s Graceland. It has this scope, and tenderness, and insight that continues to this day to have new and deeper meanings to me, and it was like nothing I had ever heard.

SFBG From your bio, it sounds like you’ve lived all over. Do you think your style has changed with geographic location? How are you influenced by the place you live? What led to the fuller band sound on this album?

TR Living in lots of places has definitely affected my style. Everywhere I go I try to find the music that makes that spot special and dig into it. In the Bahamas I would follow around the musicians in the Calypso bands trying to figure out how their crazy rhythms worked. In New Orleans I fell in love with Zydeco and Second Line…I played with local cats and tried to catch their vibe. I’ve busked everywhere I have lived, and I always check out the local buskers…they will tell you where the heart of the city is quicker than any overpriced bar. San Francisco is a bit different on its influence on me. It has been less musical and much more intellectual. For the first time in a long time I have had the social freedom to explore some concepts about humanity and myself by being surrounded by other people on a similar quest. San Francisco has such a diverse and transplanted population that it’s style seems to be more about what you’re saying than how you are saying it. That has rubbed off on me a bit. 

As far as the fuller sound on the album, that has come from the amazing musicians that I am surrounded by.  The musicianship in the Bay Area is top notch right now, and some very special stuff is going to start emerging from it very soon.  I look at SF as a town on the brink of being a center of music in the next 5-10 years.

SFBG Can you tell me a bit about how the way this album was recorded, using live sessions? How do you think it affects the overall sound/feel of a record?

TR This album was a concept before the first note was recorded. The concept was to create a record that would be the most real and honest piece of art I had ever made.

The record is self-financed, and even the crowd funding was done in a way that didn’t ask for donations but rather I asked people to hire me to do work with the knowledge that the money I made was going into making this album. I wanted to walk away from the process with a piece of art that I would pay $15,000 for, and I have it.

To create that we had to do everything the hard way (i.e. the right way). I brought in Charlie Wilson (SonicZen Records) to help me build a band around these songs that I had labored over for almost three years and record them live in a top shelf studio. We rented out Coast Recorders for four days, invited in a small audience each night, and played the album for them live. We took the best takes and that’s the record that you hear.

Recording live is very hard and very risky, so it is very rare to see artists attempting it these days, unless they are trying to make a record on the cheap.  There are so many variables that can go wrong (you can lose your voice, there can be technical issues that take up recording time, the band can make mistakes, some small thing can be out of tune) and if any of them happen, you wind up with a bad sounding album and no back-up plan.  Most records are tracked separately these days to avoid that, but to me it takes all of the real life out of it, and it tells me almost nothing about the person who recorded it.

Another thing is doing it in front of an audience. I am a live performer by trade really, I spend 90 percent of my time in music with a guitar strapped to my chest and singing to real, live, human beings (and sometimes my dog). Performing is what I do best, so why go into a studio and do anything other than that? I find tracking vocals in a booth takes all of the emotion out of it for me, and I have to put it back into the music in some fake kind of way. Why not just do it the right way and record it? (The answer most producers and engineers would tell you is that most people can’t do that. They make too many mistakes, don’t know their songs, it’s hard to isolate the voice and guitar from each other to edit them later.) One of the amazing things that Charlie Wilson did in this whole process was to not back down from those challenges.

So in the end we have this album.  It is exactly what I wanted.  It is a collection of songs that say exactly what I want them to say, and it doesn’t just sound like what we sound like when we play as a band… it IS us playing as a band.  Performing these songs with our hearts wide open.  But when someone hears the record I hope that they don’t hear that it’s live, I hope that they FEEL that it’s real.

SFBG How do you describe your genre, when forced to? (Sorry.) There have been some pretty real shifts from album to album — is that conscious/intentional/inspired by anything in particular?

TR I’m ok with this [question] now…This album is Americana. It’s a weird term, but it’s where this record sits, probably the last one too. The stylistic shifts aren’t just from album to album, they are from song to song inside of those albums. Those shifts aren’t actually purposeful (other than being strongly guided to have more of a rock record for “No Apologies”) as much as they are a byproduct of the way that I write. I don’t write music to fit a genre, I just write the songs that come to my mind in the most effective way that I can to get the idea across. Sometimes that requires a completely different feel than other songs that I write. Each song needs to be served to the best of my abilities, regardless of what sort of music is expected of me. I grew up listening to and learning such a diverse collection of music that I have a pretty broad pallet in my head to choose from. It’s actually pretty coincidental that this album has such a singular vibe that way. Even on this album there are some genre swings; “Dying is Easy” is what I would call an R&B tune, “Nobody’s Listening” is pretty poppy, but the band and the circumstances gave this record a much more specific vibe, and we recorded it live so we couldn’t go back later and alter that feel. Not that I would do that in a million years.

SFBG Plans for the coming year?

TR This year is all about trying to spread the word about this record. That is the absolute hardest part about being an independent musician, just getting in front of new eyes and ears.  There are some big shows lined up, some tours in the works, music videos to be released…hopefully I can find people who can help me with that. That is my goal for this year, find a team of people who can help to spread this music around. I think that this album has what it takes, now I just need to show it to the world.

SFBG Where in the Bay do you live? What’s the one Bay Area meal/food item you couldn’t live without?

TR I live in the East Bay, in the Emeryville/Oakland area. There is a Mexican place out here that has the best burritos in the area, called Chili Jalapeño. It’s a hole in the wall, but I honestly daydream about their food.

SFBG Other Bay Area bands you love?

TR I love The Lady Crooners (not just because they are on my album!). They have some of the best harmonies in the business, and they make me smile every time I see them. Con Brio is an absolute must-see if you like to dance. Quiles and Cloud destroy me with their tight two-part harmonies and dark beautiful songs. When it comes to local songwriters, Lia Rose, Andrew Blair, Kelly McFarling…there is an awesome scene in this city right now, it’s bubbling under the surface, and someone smart is going to come along and figure that out. When the top blows off of the kettle I just hope to be around to see it.

Tom Rhodes, Kelly McFarling and the Lady Crooners

Wednesday, Aug. 13, 8pm, $17

Freight & Salvage Coffehouse

2020 Addison, Berk.

www.thefreight.org

Locals Only is our shout-out to the musicians who call the Bay Area home — a chance to spotlight an artist/band/music-maker with an upcoming show, album release, or general good news to share. To be considered, drop me a line at esilvers@sfbg.com.

Alerts: August 6 – 12, 2014

Michael Redmond
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THURSDAY 7

 

The Harvey Milk LGBT Democratic Club’s 2014 Dinner and Gayla

City College of San Francisco’s Mission Campus, 1125 Valencia, SF. milkdinner.eventbrite.com. 6-9pm, $40 and up. Join the Harvey Milk LGBT Democratic Club to celebrate 38 years of progressive politics in San Francisco and proudly honor our City College champions. Honorees include Congresswoman Jackie Speier, City Attorney Dennis Herrera, City College Trustee Rafael Mandelman, Student Trustee Shanell Williams, Former President AFT 2121 Alisa Messer, and Keynote Speaker and Bayard Rustin Civil Rights Award Recipient CeCe McDonald. Enjoy dinner by City College culinary program graduates and celebrate a host of other Milk Club honorees.

 

Rally for Affordability

San Francisco City Hall, SF. 2-3:30pm. Youth Movement of Justice Organizing (aka YouthMOJO) is a youth program of the Chinese Progressive Association that collected over 800 pledge cards in support of a campaign to fight for the $15 minimum wage, and the anti-speculation tax. At this rally, members will share stories about their families’ struggles to live in San Francisco. Featuring guerilla theater performances, and more.

 

FRIDAY 8

 

Book Talk with Tony Serra

Book Passage, San Francisco Ferry Building #42, SF. 6pm, free. Tony Serra, a sometimes resident of Bolinas who’s been in the news recently for defending Raymond “Shrimp Boy” Chow against the federal government, will talk about his latest book, Tony Serra — The Green, Yellow and Purple Years in the Life of a Radical Lawyer, at an event sponsored by Marin’s Book Passage (at its San Francisco location). This work is billed as “a chromatic, metaphoric autobiography” of Serra’s defense of the Black Panthers, S.L.A., New World Liberation Front, Nuestra Familia, Earth First, Hells Angels, Mafia and Native Americans, intertwined with his anti-establishment ideology. “Forgive my romanticized and self-indulgent propositions in the forthcoming pages,” Serra says of the book. “Recall that such were written at Lompoc Federal Prison camp during my incarceration for U.S. tax resistance. … Mine is not a quest for accuracy. Mine is a flight into whimsy and caprice, a retrospective twinkle in the eyes of memory: In short, confinement escapism.”

 

SUNDAY 10

 

Bay Area Civil Liberties Coalition Meeting & Documentary Screening

First Unitarian Universalist Center Chapel, 1187 Franklin, SF. bayareacivilliberties.org. 6-9pm, free. This meeting of the Bay Area Civil Liberties Coalition includes a free screening of the documentary “The Internet’s Own Boy,” the story of “programming prodigy and information activist” and Reddit co-founder Aaron Swartz. There will also be an opportunity to join grassroots efforts against mass surveillance.

Time for change

Michael Redmond
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Time for change

news@sfbg.com

Christy Price doesn’t want to work forever. At 60, the security guard has worked in formula retail stores for 25 years. She says she has trouble making a living due to cuts in her work schedule, a setback that could prevent her from retiring for the foreseeable future.

Price, who has been with her current company for a decade, works at various retailers her company contracts with. Her shift from full- to part-time work is typical for employees of formula retailers in the city, many of whom are half Price’s age and attempting to support families or make their way through college.

“I’m more or less in the same predicament as [the retail workers], in terms of hours,” Price said. “It’s scary, and it’s awful sad. You’ve got people who want to work and contribute, but they aren’t given the opportunity.”

Sup. Eric Mar’s recently proposed Retail Workers Bill of Rights aims to change that. Unveiled at a July 29 press conference at San Francisco City Hall, the legislation seeks to boost prospects for retail workers “held hostage by on-call scheduling, diminished hours and discriminatory treatment by employers,” according to a statement issued by Mar’s office. There are also plans to expand the legislation to include employees of formula retail contractors, like Price.

“We’re here today because raising the minimum wage isn’t enough,” Jobs with Justice Retail Campaign Organizer Michelle Lim said at the press conference. That same day, the Board of Supervisors voted unanimously to place a measure on the November ballot to raise the San Francisco minimum wage to $15 an hour by 2018.

The current trend is for retail employers to hire part-time workers, spreading the hours thin and requiring employees to be on call for many more hours of work than they actually receive. That creates unpredictable schedules, making it difficult for workers to pay the bills.

Having stable work hours makes it possible for formula retail employees to plan for other parts of their lives, like earning college degrees, spending time with family or working other jobs — which is often a necessity for lower wage workers. Plus, as Price notes, companies with too many part-time employees aren’t getting the most out of their workers.

“If you keep undercutting them and cutting their hours, you’re not going to get the customer service that you’re looking for,” Price said. “You’re going to get what you pay for. You do need that skill; some people can do it, some people can’t.”

At the press conference, Mar was joined by fellow lead sponsor Board President David Chiu and co-sponsor Sup. John Avalos, along with speakers from local labor advocacy groups and a host of current and former formula retail workers.

As Lim explained, the proposed Bill of Rights package has four provisions. The first calls for “promoting full-time work and access to hours.” It would require formula retail employers to offer additional hours of work to current part-time employees, before hiring additional part-timers.

That would help prevent situations like those mentioned by retail employees speaking at the press conference. One Gap employee noted that part-time workers are often expected to commit to up to 30 hours of availability a week, yet would only be offered as little as 10 hours, despite being required to remain on call.

Another formula retail employee, Brian Quick, had a particularly rough experience while working for Old Navy at the clothing retailer’s flagship store. Having worked in retail for four years, he said his schedule for the upcoming week would come out on Thursday night, and the hours constantly fluctuated.

“It’s hard to plan anything such as doctor appointments when you aren’t even sure when you work,” Quick said. “Some weeks I would work 35 hours, and the next I’d get 15 hours. How am I supposed to pay bills?”

Last-minute notices became routine for Quick, who sometimes received calls informing him he didn’t have a shift anymore the night before he was scheduled to work.

“One day I came into work and they cut my hours right then and there,” Quick said. “Seems like everything is based on sales and not the well-being of the people who make the sales happen.”

Quick had other troubling experiences while working for Old Navy, including when he was denied Christmas vacation despite applying for it three months in advance. He eventually got the time off, but only through persistence and “the last-minute intervention of a sympathetic manager.”

“We know that consistent and reliable scheduling is important to our employees,” said Laura Wilkinson, a spokesperson for Gap Inc. “We are exploring ways to increase scheduling stability and flexibility across our fleet of stores. For example, last month we announced a pilot project with Professor Joan Williams of [University of California] Hastings College of Law to examine workplace scheduling and productivity.”

Gap Inc., the corporation that owns Old Navy, could be at the forefront of improving conditions, but the legislation’s supporters aren’t counting on retailers to make the necessary changes.

Instances like Quick’s are common in formula retail all over the country. Many retail employees, including some of Quick’s co-workers, must support families despite the unpredictable hours and low wages.

The second provision of the Retail Workers Bill of Rights attempts to fix that. It calls for “discouraging abusive on call practices” and aims to “encourage fair, predictable schedules.” Specifically, that would entail employers posting core schedules in advance with reasonable notice and providing premium pay “when an employer requires an employee to be ‘on-call’ for a specific shift, or cancels a shift with less than 24 hours notice.”

The third provision looks to improve conditions for part-time workers, calling for “equal treatment.” That means prohibiting employers from discriminating against employees “with respect to their rate of pay,” among other things like promotion opportunities and paid or unpaid time off.

It also addresses a chief concern for many part-time workers: ensuring that employees unable to maintain “open availability,” or being available at any time for a shift, are not denied employment. That’s especially significant for students and parents who have to balance their lives outside the retail industry with its demanding work hours.

“These policies, I feel, will have a huge impact on the lives of tens of thousands of our services workers, many of them low-wage workers who live with uncertainty and fear about their schedules and their other responsibilities in life,” Mar said as he introduced the legislation.

“Many of my family members and close friends are in that category, [along with] single moms, students in college and others that really deserve fair scheduling and a fair chance at economic justice.”

The final provision seeks to protect workers’ job security when their companies are bought or sold, requiring a 90-day trial period for existing employees if a formula retail business is acquired. This is meant to prevent companies from simply forcing out previous employees, allowing the workers a grace period to search for new work.

The legislation would impact an estimated 100,000 workers at approximately 1,250 stores across San Francisco. Those that qualify as formula retail businesses under city law include fast food businesses, restaurants, hotels and banks, and they must meet requirements in Section 703.3 of the San Francisco Planning Code.

In short, the law will apply to businesses considered to be chain stores, such as Target, McDonald’s, Starbucks, Wells Fargo and other major companies doing business throughout the city.

But the Retail Workers Bill of Rights’ supporters believe its impact will be felt beyond San Francisco, citing the city’s history of starting nationwide movements.

“San Francisco has always led the way when it comes to policies that protect working people,” Lim said. “The Retail Workers Bill of Rights is a commonsense proposal to bring stability to some of our city’s most marginalized workers.”

The supervisors sponsoring the ordinance have received plenty of help from Lim and Jobs with Justice San Francisco, a worker’s rights organization that has played an integral role in the city’s fight to improve labor conditions.

In 2013, Jobs with Justice mobilized labor support for the California Domestic Workers Bill of Rights, legislation not unlike Mar’s proposed legislation. In September 2013, Gov. Jerry Brown signed the Domestic Workers Bill into law, making California the nation’s first state to mandate overtime pay for domestic employees, specifically designating time-and-a-half pay for those working more than 45 hours a week or nine hours a day.

Even more support has come from the San Francisco Labor Council, Service Employees International Union Local 87 and Young Workers United, among many others, all of which have endorsed the legislation.

The proposal will come back into play in September, when the board returns from its summer recess. The process will start with public hearings, at which Mar said he looks forward to “really lively public conversation.”

That will give workers like Julissa Hernandez, a Safeway employee for 13 years and a veteran of the retail system, a chance to have their voices heard.

Speaking at the City Hall press conference, Hernandez said, “We should let retail workers know that they are not alone in this fight.”

 

Guardian Intelligence: August 6 – 12, 2014

Michael Redmond
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0

GOOD VIBES

Jerry Day, when deadheads spanning generations congregate around the Bay Area to celebrate the legacy of SF native Jerry Garcia, should maybe start going by Jerry Week: Friday, Aug. 1 saw sold-out crowds at Berkeley’s Greek Theater and San Rafael’s Terrapin Crossroads for performances led by Warren Haynes and Stu Allen, respectively, while the official 12th annual Jerry Day celebration on Aug. 3 brought the masses to the city for Melvin Seals & the JGB and tons more at McLaren Park. Missed ’em? Don’t worry: Aug. 12 is Jerry Garcia Tribute Night at AT&T Park.

AIRBNB’S GAFFE-STROTURF?

Last week, Airbnb sent out an email blast proclaiming: “Big News: Launching Fair to Share San Fransisco!” [sic]. Misspellings happen, and hey, we all make mistakes. But what is Fair to Share? It’s “working for fair rules for home sharing,” according to the blast, linking to an online petition “urging the Board of Supervisors and San Francisco leaders to enact rules that let people share the home in which they live.” More to the point, this “coalition” seems focused on weakening enforcement provisions in legislation moving forward to regulate short-term rentals. So there you have it, SF’s newest grassroots movement — backed by a company valued at $10 billion.

SENIORS VERSUS SHUTTLES

Octogenarians unite! On the first day of the tech shuttle pilot program, last Friday a group of 25 or so seniors and people with disabilities blocked two Mission tech shuttles from making their morning tech sojourn to Silicon Valley. “Stop the senior evictions!” they shouted, alleging that 70 percent of no-fault evictions since 2011 were within four blocks of the shuttle stops, and two thirds of those evictions were of seniors. The 30-something tech workers looked ignored their elders, smartphones in hand, safely ensconced in their corporate buses.

REMEMBERING THE I-HOTEL

Nearly four decades ago, thousands of San Franciscans blockaded sheriffs from evicting seniors from the International Hotel, the last vestige of the Filipino community known as Manilatown. Eventually the sheriffs were successful, but the shameful displacement helped spur many San Francisco rental protections we enjoy today. Last week, the International Hotel Manilatown Center honored the anniversary of this dark mark on the city’s history. “We fought as long as we could,” Peter Yamamoto told us, who was 23 when he fought the evictions so long ago. “That night was like electricity.”

ON A HIGH NOTE

The San Francisco Opera kicks off its 92nd season Sept. 4 with a new production of Vincenzo Bellini’s Norma, starring soprano Sondra Radvonovsky, pictured, as the Druid priestess who falls in love a Roman soldier (spoiler: it doesn’t end well). The fall season — which also includes the work that started it all for SF Opera back in 1923, Puccini’s La Bohème, in November — continues Sept. 6 with the opening of Carlisle Floyd’s Susannah, with another stellar soprano, Patricia Pacette, playing the falsely accused Appalachian heroine. Opening weekend also includes the ever-popular “Opera in the Park” Sept. 7 in Sharon Meadow, for those who prefer their arias free and open-air. www.sfopera.com. PHOTO BY MARTY SOHL

WEINER TAKES ALL

Did you hear the pitter-patter of little feet over the weekend? If it wasn’t your child (or your pesky biological clock playing tricks on you), it was most likely the Wienerschnitzel Wiener Dog Race Nationals — the Bay Area regionals portion of which drew hundreds to the Santa Clara County Fair. They scampered! They leapt! The totally got distracted and lost interest in that cute little wiener dog way! Who put the most “dash” in “dachshund”? Why, Wally the Wiener of Gilroy, who took home $250 and a trip to San Diego for the national races.

HEY, SUGAR DADDY

We’re normally weirded out by pop culture-food trend tie-ins, but when Tout Sweet Patisserie (Macy’s Union Square, 170 O’Farrell St., 3rd Fl, www.toutsweetsf.com) chef Yigit Pura announced the launch of the “Hedwig Schmidt” macaron — in honor of beloved Tony-sweeper Hedwig and the Angy Inch — we totally bit. Bourbon-orange marmalade ganache with a brandied cherry center, covered in edible red glitter? Danke, mister!

IRON MAN: APP DEVELOPER?

Because San Francisco doesn’t have enough tech CEO megalomaniacs, Marvel Comics had to fictionalize one: Tony Stark, aka Iron Man, is headed to the city by the bay. Okay, not actually (sorry fellow geeks, Iron Man is fictional), but in the comic book world, the Manhattan-based metallic hero will develop apps by day, and rocket about in his new all white, iPod-esque armor by night. But why not an everyman superhero, like say, Spiderman? Remember, Peter Parker is a photographer: He’d probably move to Oakland.

 

Happy Hour: The week in music

Steven T. Jones
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9

Happy Friday, friends, and welcome to August. We’re only about a month away from summer weather!

As happy hour draws closer, here’s a look back at the best music and music news we heard and saw this past week:

— Sharon Van Etten shone in a free, intimate (though packed-to-the-gills), Pandora-presented evening at The Chapel on Tuesday night [July 29]. “I wrote this song while living in my parents’ basement…I was 26,” she said with a laugh in her voice. “How many of you have ever tried to move back in with your parents’ when you were in your twenties?” [Loud whooping from most of the room.]

“I think that just usually means you’re trying to figure out who you are, that you’re still finding your path, you know?” she continued. “I mean, if you really knew who you were by the time you were 20, fuck you. No, sorry, that’s great. Anyway, this song is about trying to get your shit together.” Millennial anthem for the ages?

— New for this year at Outside Lands: an entire stage devoted to food events, called “GastroMagic.” Some of said events are paired somewhat hilariously with accompanying musical acts, like the “Beignets & Bounce Brunch with Big Freedia and Brenda’s French Soul Food,” in which audience members who answer the Queen of Bounce’s call to twerk will be “awarded with beignets.” No word on the distribution method, exactly, but we pictured t-shirt cannons?

freedia

— This NPR piece on why band photos look the way they do is relevant to our interests. Specifically, if any banjo-laden alt-country/Americana band ever sends us an EPK that includes a photo shoot in an alley full of burning crash cans, we will run it.

— Speaking of Americana: This is a fun piece from the Bay Bridged about the boys of Goodnight, Texas, who make it work despite being in what amounts to a four-way long-distance relationship. Are there Cosmo tips for that yet? Get with it, lady mags. Anyway, GN,TX’s new album Uncle John Farquhar drops Aug. 5, and it’s rather good.

— Here’s a smart essay at Ebony about the shitstorm that ensued this week from Nicki Minaj’s new album, um, art for Anaconda.

— Like much of the music-related Internet, we too got obsessed with a little-known Canadian singer-songwriter named Tobias Jesso Jr., who by all appearances is a young reincarnation of Harry Nilsson mixed with shades of Joe Jackson and who hasn’t even put out an album yet, but damn does he need to hurry up (quick, while Stereogum, Pitchfork, Consequence of Sound, your local PTA president, etc., are addicted to this song):

— Hardly Strictly Bluegrass keeps dropping hints about this year’s lineup. Listen here and tell us your guesses.

— Andrew Bird is a self-deprecating sweetheart in addition to being very good at songwriting and whistling, as you can see in this SFist interview, and he’s playing Stern Grove for free this Sunday at 2pm.

— Mastodong.

Read the memo detailing Mayor Ed Lee’s punishment of supervisors who supported Muni

Erica Hanna
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Read the memo detailing Mayor Ed Lee’s punishment of supervisors who supported Muni

The story is snowballing.

Mayor Ed Lee is furious at supervisors who voted for Sup. Scott Wiener’s Muni funding measure, and told reporters Monday he would hold them “accountable.”

News of the mayor’s retribution has circled round, and the timing of a memo issued by Kate Howard, the mayor’s budget director, has raised eyebrows. The memo directs city departments to prepare for budget cuts she said are called for due to Wiener’s measure.

The Guardian has obtained the memo and is embedding it below.

“Last week, the board of supervisors sent a measure to the ballot that the budget does not contemplate,” Howard wrote. “As a result of this unanticipated measure, the Mayor’s Office is directing departments to propose contingency plans that could be implemented should the measure pass.”

Howard is referencing Wiener’s new Muni funding measure, which would raise the transit agency’s funding with the population. The cost is estimated to be about $22 million annually.

Now it seems the mayor is playing for keeps. Following through on his promise to hold supervisors “accountable” for supporting Wiener’s measure, Howard directs city agencies to prepare to make cuts to new programs, hiring plans, and to “scale back existing services.”

But what Howard’s memo doesn’t say is that Muni has its own budget problems, caused not by Wiener’s new ballot measure, but by Mayor Ed Lee.

It’s really a case of the pot calling the kettle black: Lee is saying Wiener’s ballot measure will hurt the General Fund, but supervisors contend Lee hurt Muni’s budget when he pulled his Vehicle License Fee measure off the ballot.

Wiener’s new Muni funding measure was a contingency plan after Lee dropped the VLF, which blew a $33 million hole in Muni’s proposed budget.

The SFMTA outlined the consequences of a failure to pass multiple ballot measures (of which the VLF was one) in its proposed 2015/16 budget. The proposed cuts are a doom and gloom list that would make any Muni rider cut up their Clipper Card in disgust. 

 The agency said such an outcome would make it impossible to improve transit travel time and reliability, and fund pedestrian safety projects. It would also mean fewer buses and lightrail vehicles, a decline in existing infrastructure, and less funding for bicycle infrastructure, among other problems.

In other words, without ballot measures to increase Muni funding, the SFMTA is screwed. 

But when Lee’s license fee measure initially polled poorly, he got cold feet and yanked it. Yet he continued to push forward with a $500 million transportation bond measure, which remains on the ballot. Now he’s feverishly hoping to stop any competing ballot measures which may have the remote possibility of hurting its chances to succeed. 

“I agree with the mayor on many things,” Wiener told the Guardian. But, “ultimately the mayor is elected and I have to exercise my best judgment. It’s not personal, it’s a policy disagreement.”

We asked Sup. David Campos if there’s a fear that these cuts would only hit projects the supervisors favor.

“I think there’s definitely that fear,” he told us. But he noted something important.

“When we’re talking about punishing, you’re not punishing a supervisor, you’re punishing a district they represent,” he said. “Ultimately, you’re punishing constituents.”

Still, at this point, it’s not entirely clear the directives from Howard will target specific supervisor’s projects. 

“We’re concerned,” Campos said, “but we need to ask the budget director what this means.” 

Update [8/1]: Supervisor Scott Wiener sent an email to press today giving further backstory on the memo from Kate Howard regarding the budget.

From his email:

“On Wednesday, in what can only be described as an empty scare tactic, the Mayor’s Office announced that due solely to the transit measure (totaling .25% of the budget), all departments were directed to formulate emergency 1.5% contingency cuts for the 2015/16 fiscal year. The Mayor’s Office further indicated that the cuts will be directed at the “priorities” of the six Supervisors who voted to place the measure on the ballot.

For whatever reason, the Mayor’s Office felt the need to issue these emergency instructions now – a full year before the fiscal year at issue, in the middle of an election campaign, without even knowing whether the measure will pass, and regarding an amount of money that is tiny in the context of the budget. Moreover, there will be a full budget process next spring for the 2015/16 fiscal year, and if the measure passes, the $22 million at issue will simply be part of that budget.

What the Mayor’s Office neglected to mention in its announcement is the existence of a $32 million hole in MTA’s budget for the 2015/16 fiscal year. If this gap isn’t filled – and [Supervisor Wiener’s] measure will fill two-thirds of it – MTA will have to forego plans to purchase new vehicles, rehabilitate run down vehicles, replace failing train switches and signals, rehabilitate broken station elevators, make needed pedestrian safety improvements, and implement the Embarcadero Bikeway.”

Of borders and love songs

Steven T. Jones
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0
Of borders and love songs

esilvers@sfbg.com

LEFT OF THE DIAL The way in which Diana Gameros first came to America is a world away from the heart-wrenching images we’re currently seeing in the news media of children who’ve been sent, on their own, to the U.S. border from Honduras, Guatemala, and El Salvador. At 13, she arrived on an airplane from her home city of Juarez, Mexico; the plan was to stay with an aunt who lived in Michigan for the summer. When Gameros visited her cousin’s school there, and saw that it had a swimming pool, among other luxurious-seeming facilities, her aunt asked if she wanted to go to that school and learn English. Gameros couldn’t say yes fast enough. She wound up staying three years, returning to Mexico for the second half of high school, and then moving back to the U.S. for college.

So no, no one ever sent her out on foot for the border, hoping that on the other side lay someone or something that could mean a brighter future.

And yet: “I’m kind of a fanatic when it comes to following this country’s immigration system and its history,” says Gameros, a fixture in San Francisco’s singer-songwriter scene for her thoughtful, melodic story-songs that contain both English and Spanish (she’s been referred to as the Latin Feist).

“I think there’s a lot that most American people don’t know. You hear people judging, calling these parents irresponsible…it’s so much more complicated than that,” she says. “People don’t know how the U.S.’s actions have affected these countries. People are risking their children’s lives because they need to be here. It’s not for the American dream, they’re not here to buy a nice car, a big house. They’re here because they want to eat, have a roof over their heads, fulfill basic necessities. It’s frustrating. There’s so much ignorance.”

Her unique perspective on border issues is one reason Gameros was selected to perform at MEX I AM: Live It to Believe It, a nearly weeklong festival organized by the Yerba Buena Center for the Arts in conjunction with SF’s Consulate General of Mexico. Bringing together musicians, actors, visual artists, and academics from throughout Mexico from July 31 through Aug. 5, the festival includes classical, indie, and pop music and dance, lectures and discussion of Mexico’s achievements and challenges, and a meeting of minds around border issues.

The program in which Gameros will perform, on the evening of Friday, Aug. 1, is called “Ideas: North and South of the Border,” and aims to explore innovation in the sciences, arts, and culture in Mexico. Among the other speakers: astronaut Jose Hernandez, who grew up in the Central Valley as the son of immigrant farmers; he’ll discuss his journey from childhood (he didn’t learn to read or speak in English until he was 12) through getting a degree in electrical engineering and eventually being tapped by NASA. Rosario Marin, the first Mexican-American woman to serve as Treasurer of the United States, will also be present, along with Favianna Rodriguez, a transnational visual artist whose work “depicts how women, migrants and outsiders are affected by global politics, economic inequality, patriarchy and interdependence” and the director of CultureStrike, an arts organization that works to organize artists, writers, and performers around migrant rights.

On the afternoon of Saturday, Aug. 2, actress-dancer Vicky Araico will perform her award-winning monologue Juana In a Million, which chronicles an undocumented immigrant’s quest to find home.

The other musical performances throughout the week run the gamut from Natalia Lafourcade, a two-time Latin Grammy winning pop singer, to Murcof + Simon Geilfus, an electronic audio-visual collaboration, the award-winning percussion ensemble Tambuco, renowned composer and jazz musician Hector Infanzon, and more.

Gameros, whose 2013 album Eterno Retorno (Eternal Return) features a song called “SB 1070” (after the racist Arizona law designed to prosecute undocumented immigrants), says she thinks her music can be a subtle form of education, an artistic entry point for people who might not know or think much about immigration issues.

“It’s a topic that touches me deeply, so my protest music is my offering, my way to say I’m with you and I stand with you,” she says. “Though if you listen to my lyrics you might think many [songs] are love songs, or written to a lover who didn’t treat me right.”

Gameros adds that she hopes the Latino community in San Francisco will embrace the festival and show up, a sentiment that carries a particular weight as housing prices in areas like the Mission are changing the local face of the local Latino population. “Unless its the symphony doing something with a Mexican artist, we don’t really have access to events like this that are mainstream cultural celebrations, normally,” she says. “And there’s such a fascinating group of people all here for it — I just hope as many people as possible take advantage of it, that they come and hear these stories we have to tell.”

 

MEX I AM: LIVE IT TO BELIEVE IT

July 31 through Aug. 5, prices and times vary

Most events at Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2700

www.ybca.org/mex-i-am

Shots fired

Michael Redmond
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2
Shots fired

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

 

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