Volume 40 [2005–06]

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Party with us at our 39th annual Best of the Bay celebration!

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The San Francisco Bay Guardian presents our 39th Annual Best of the Bay party to celebrate the awesome people, places and things that make living in the Bay Area so great, featuring Maus Haus and MicahTron!

Plus: DJ Dials to start out the evening, with House of Babes DJs Rapidfire, Pink Lightning, and Jenna Riot to follow. Upstairs, you will find a special Motown on Mondays dance party with special guest vocalist Ezekiel McCarter (Afrolicious, Con Brio, Ascension)!

With three hosted bars, Hella Vegan Eats, Minnie Bell’s Soul Movement, and Hey Cookie! on site, free photos by Snappea Photobooths, and more!

Get your tickets here (advance tickets are recommended!) and click on “Purchase Now.” At check out, please consider donating to La Cocina, our official non-profit sponsor of the event. Other sponsors include Fiat, Rolling Rock, Distillery 209, Stein Family Wines, La Cocina, WillCall, and Guitar Center.

Wednesday, November 6 from 8:30pm-midnight @ 1015 Folsom, SF | $10, includes hosted bar, free photo booth, and more!

 

Guide to Pride 2013*

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WED/26

Pullin’ Pork for Pride The Bay Guardian and Hard French Present the Ninth Annual Queer Pride Happy Hour hosted by Lil Miss Hot Mess with performances by Dick Van Dick, Tara Wrist, and Rotimi Agbabiaka with DJs Carnita and Brown Amy. Celebrate LGBT culture and our progressive heroes that keep San Francisco legit with kick-ass soul jams, free comfort food, and ice cold adult beverages. Plus: bring a dark-colored t-shirt and get your Bradley Manning screen print to wear proudly during Pride. All of the Bay Area’s queer singles, marrieds, residents, visitors, boys, girls, bears, and babydykes are invited to our hottest happy hour of the year! Wed/26 from 6-9pm @ Pilsner Inn, 225 Church, SF | FREE


THU/27

Slow Knights and Bright Light Bright Light Folsom Street Events is throwing one big-ass, sordid concert to help kick off your SF Pride weekend! Slow Knights is the new side project from Del Marquis of Scissor Sisters fame. Check out his bump-and-grind debut album Cosmos now. Bright Light Bright Light is Welsh-born Rod Thomas, a singer, writer, and producer that NME has called “the boy Robyn in all but name.” His debut album Make Me Believe In Hope is a tour-de-force, drawing influences from late 80s electro-pop and early 90s classic house to help get your juices flowing. Honey Soundsystem DJs will keep the sexy vibes going long after the bands are done. This is a must for any Scissor Sisters fan (as other band members may be in attendance). Thu/27 from 9pm-2am @ Public Works, 161 Erie, SF | $25 | showfolsompride.eventbrite.com

 

FRI/28

Sissy Darlings in the Night Bay Area radical queer dance parties Ships in the Night and Sissy Strut are joined by Darling Nikki for their Fourth Annual Friday Pride party, Sissy Darlings in the Night. Each of these fabulous parties has deep community roots, throwing benefits and raising cash for various local organizations. This Pride, they bring their local style of durty, bumpin’ gay-fabulousness, where every shape, size, color, and flavor of queer and queen can come shake it till they’re sweating glitter. There will be soul music in the early evening followed by hip-hop and booty jams ‘til close, featuring DJ Durt, Pony Boy, Sissyslap, and more to make you weak in the knees. After the Trans March, celebrate all things queer the way we do in the Bay of Gay. Fri/28 from 8am-2am @ Underground, 424 Haight, SF | $5

Original Plumbing Original Plumbing, the trans guy quarterly magazine born in San Francisco (and since moved to Brooklyn) is back for their fourth year in a row to host Unofficial: OP’s Dance Party After the Trans March. After a prideful day in the park stumble over to the Elbo Room to grind, sweat, and cruise with other queerios. Join hosts Rocco Katastrophe and Amos Mac and dance all night with music by DJ Average Jo from New York, Stay Gold’s DJ Rapid Fire, and DJ Chelsea Starr from Portland. Also featuring Go-Go Trans Boy Heart Throbs and Starr Violet at the door, and a creepy colorful Troll Doll photo booth that will ensure you never forget the evening. Fri/28 from 9:30pm-2am @ Elbo Room, 647 Valencia, SF. | $6-$10 | originalplumbing.com

Bearracuda It’s the high-holy gay holiday of Bearracuda Gay Pride at Public Works where 1000 bears from all over pack it into the party and kick off Pride weekend in San Francisco. This year they have a lineup you will go gay for! On the main floor are San Francisco favorites, Craig Gaibler and Steve Sherwood, who together have played for Bearracuda all over the world, from Atlanta to Auckland. Joining them are hot go-go bears Shawn (from RuPaul’s Drag Race pit crew) and Ryan. Upstairs will be two big names from San Francisco’ legendary DJ collective, Honey Soundsystem: P. Play and Josh Cheon! Jump the line with $12 advanced tickets at Body on Castro or at bearracuda.com. Fri/28 from 9pm-3am @ Public Works, 161 Erie, SF | $12| bearracuda.com

 

SAT/29

Dark Room Dark Room and The Black Glitter Collective Present: Black Hole – The Queer Pink Saturday After Party featuring Believe live on stage with special guest DJ and drag superstar Heklina from Trannyshack along with the debut of Per Sia and Daddies Plastik’s new single “Google Google Apps Apps,” while host Lady Bear and her Dark Dolls give dark drag and sexy looks. Dark Room resident DJs Le Perv, Omar Perez, Rachel Aiello, and Daniel Toribio blend dark electro, techno, industrial, freestyle, and more to keep you dancing all night long. Add custom visuals/art, human art installations, and drink specials, and you have one of San Francisco’s most unique and sexy queer parties ever! Sat/29 from 9:30pm-2am @ Cafe Du Nord, 2170 Market, SF | $10

The House of Babes Three of San Francisco’s beloved queer dance parties – Stay Gold, Fix yr Hair, and Swagger Like Us – present The House of Babes. Walking distance from Dolores Park and the Castro, the party kicks off with drag acts, cheap happy hour drinks, and food vendors. Look forward to performances by Micahtron, Double Duchess, and Vogue & Tone, Baltimore superstar DDm, and local and guest DJs spinning the best in booty dropping jams. Get cute for the photobooth hosted by installation artist Matt Picon and photographer Shot in the City. Feel good knowing that local queer youth heroes, Lyric, are beneficiaries of the event. This promises to be an ecstatic, sweaty Pride party not to be missed. Sat/29 from 7pm-3am @ Public Works, 161 Erie, SF | $12-$15 | thehouseofbabes.eventbrite.com

 

SUN/30

Hard French Hearts los Homos Hard French is hosting an intergalactic Pride Party at the historic Roccapulco nightclub on Mission Street and will keep you on your feet with a combination of classic all vinyl soul combined with live performances by some of the hottest queer bands and DJs. Hard French has hand picked their favorite artists including Seattle-based funk-psychedelic duo THEESatisfaction, Portland post-punk darlings Magic Mouth, and SF nine-piece neo-soul band Midtown Social. Joining them will be guest DJs Olga T and Taco Tuesday. Of course, no Hard French party would be complete without DJs Brown Amy and Carnita and smoking hot moves from the Hard French Jiggalicious Drag Babes. Sun/30 from 4-11pm @ Roccapulco, 3140 Mission, SF |$20-$65 | hardfrench.com

Queerly Beloved Courtney Trouble’s Queer Pride Pink Sunday Dance Party is back, hosted by Courtney Trouble and Jenna Riot – SF’s Femme Dream Team! Featuring intergalactic space group Icy Lytes, DJs Jenna Riot, Chelsea Starr, and special guest Automaton, video booth by Ajapopfilms and QueerPorn.TV, and the Queer Porn Circus with performances by Courtney Trouble, Jade Phillips, and sexy gender fucking go-go dancers. Plus, if you’re in dire need of a spanking, a smooch, or just a damn good foot rub, the Cum and Glitter Kissing Booth has got you covered with super cheap massage, lap dance, and whatever else you’re perverted heart may desire. Sun/30 from 3-9pm @ El Rio, 3158 Mission, SF | $8 | queerlybeloved.brownpapertickets.com

Big Freedia This is going to be ridiculous. The undisputed Queen Diva of NOLA Bounce is droppin’ by this unofficial Pride after party at Public Works. Words cannot do justice to the all-out sparkle-sweat blast that is a Freedia show. Bring a towel and someone to get freaky with on the dance floor with warrior-stripper-rapper Brooke Candy, the godfather of Detroit Ghettotech DJ Assault, Lady Tragik, Dick Van Dick, Marco de la Vega, and more! This show will be legend. Do. Not. Miss. Sun/30 from 7pm-1am @ Public Works, 161 Erie, SF | $20-$30| publicsf.com

Honey Soundsystem Honey Soundsystem presents its annual Extended Pride event at the Holy Cow Nightclub featuring its line-up of residents Jason Kendig, P-Play, Josh Cheon, and Robot Hustle. In celebration of Pride they will be going after-hours until 4am with the same world class dance music you have come to expect from Honey. Sun/30 from 9pm-4am @ The Holy Cow Nightclub, 1535 Folsom, SF | $10 | honeysoundsystem.com

 

TUE/2

Switch Tuesdays: Pride Decompression Get nasty with Jenna Riot and Deejay Andre as they present this special post-Pride edition of Switch and what may be your last chance to find the Pride babe of your dreams. QBAR has been keeping the queer-girl dream alive for seven years now, making your Tuesday nights a whole lot hotter. Get wet with DJs Jenna Riot, Andre and guest Leah Mcfly and impress all the babes with your twerkin’ skills, as they spin the hottest Top 40, hip-hop, electronic, pop, and booty bouncing beats. Cruise, werq, twerk, get naughty, and dance ’till you sweat. Tue/2 from 9pm-2am @ QBAR, 456 Castro, SF | $5

 

 

Pet Guide*

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Wag Hotels

Unparalleled in the industry, Wag Hotels is the ultimate stay and play resort for dogs and cats. Designed from the ground up with pet care in mind, Wag Hotels aims to provide your best friend an elite experience during his or her stay while giving you the peace of mind knowing that your pet is safe, healthy and happy. They offer a variety of innovative services and amenities, including hotel-style boarding, All Day Play/ Dog Day Care, training, grooming, and spa services. Featuring open-air, loft-style facilities with fun play areas including a spacious rooftop with views of the bay, and peaceful private rooms for snoozing, Wag Hotels is open and providing care 24 hours a day, 7 days a week, 365 days a year.

Why CEQA matters

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By Arthur Feinstein and Alysabeth Alexander

OPINION Is now the time to significantly weaken San Francisco’s most important environmental law? When our world is facing the greatest environmental threats ever experienced, why is there a rush to diminish our hard won environmental protections?

That’s the question we should all ask Supervisor Scott Wiener, who has proposed legislation that would significantly weaken the city’s regulations that enforce the California Environmental Quality Act.

Global climate change and extreme weather events are sending a clear message that the world is in trouble. Unprecedented droughts threaten our food supply and drinking water, while floods and sea level rise threaten our homes (the Embarcadero now floods where it never has before). The ozone hole still exists, threatening us with skin cancer, and the critters with whom we share this world are experiencing an unprecedented extinction rate.

Recent region-wide planning efforts, such as One Bay Area, expect San Francisco to provide housing for more than 150,000 new residents, bringing even more impacts to our city.

The best tool available to city commissioners, supervisors, and the public to understand and effectively reduce negative environmental effects of new projects is CEQA, which requires analysis and mitigation of unavoidable environmental project impacts. CEQA mandates that the public be informed of such impacts, and requires decision-makers to listen to the public’s opinions about what should be done to address them. It allows the people to go to court if decision-makers ignore their concerns.

Without an effective CEQA process, the public is helpless in the face of poor planning, and planning based only on the highest corporate-developer-entrepreneur return on the dollar with no regard for environmental consequences, including noise, night-lighting, aesthetics, and transportation — all issues of concern to urban residents. And with current tight real-estate economics, worker safety is at risk if developers cut corners on environmental review, especially with projects built on toxic and radioactive waste sites like Treasure Island, which potentially endanger construction workers and service employees who will work in these areas after projects are completed.

Wiener’s legislation, introduced at the Land Use Committee April 8, makes it much harder for the public to appeal potentially damaging permit decisions, by shortening timelines and establishing more onerous requirements for such appeals. In many instances it would also steer appeals away from being heard by the entire Board of Supervisors, instead allowing small committees to rule on these crucial issues.

A broad coalition of environmental, social justice, neighborhood, parks protection and historic preservation groups, allied with labor unions, is challenging Wiener’s attack on our environmental protections.

Supervisor Jane Kim recently stepped forward to champion these efforts, and work with these groups to draft a community alternative to make the CEQA process more fair and efficient while carefully protecting our rights to challenge harmful projects.

The supervisors need to reject Wiener’s damaging legislation and consider Kim’s community-based alternative in seeking to truly improve our local California Environmental Quality Act process.

Arthur Feinstein is chair of the Sierra Club Bay Chapter. Alysabeth Alexander is vice-president of politics for SEIU Local 1021.

 

Restaurant Guide*

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La Note and Café Clem

Dorothée Mitrani-Bell, owner and proprietor of both La Note and Café Clem in Berkeley, was born in the South of France and grew up in Paris. Daughter of French gourmet cooks, she is no stranger to fine French cuisine, but wanted to bring the rustic and unpretentious side of things to her clientele. “I sell conviviality,” she says, adding with a laugh: “It’s about people – I want people to be together and sit together…and calm down.”

After “Berkeley called, ” a young twenty-something Dorothée arrived on a one-way ticket and $6 in her pocket, attended Cal, and sometime thereafter set up shop in a once dilapidated 1875 building that she completely renovated and restored on her own. La Note opened in 1997 and has been in the same location since.

“As soon as I walked in to the building, I had a vision of what it is today” – that is a charming eatery with a warm and rustic Provençal ambiance. Reclaimed and repurposed furniture like old pews make it feel homemade, like the food. The pancakes are a must-try, as are the eggs. Les Oeufs Lucas and a fresh croissant will not disappoint.

More Paris than French countryside, the new Café Clem opened last April near Berkeley High with much fanfare. “The kids are fans of the Nutella-filled baguette and les pain perdus.” A pain perdus, for the uninitiated, is a pressed stack of challah layered with Nutella, served here with a glass of milk – French comfort food at it’s finest, for students and adults alike. (Jackie Andrews)

La Note, 2377 Shattuck Ave., Berkeley | (510) 843-1535| lanoterestaurant.com

Café Clem, 2020 Kitteredge St., Berkeley | (510) 280-3881 | cafeclem-downtown.com

 


Taqueria Can-Cun


Voted as “Best Taqueria” in the Best of the Bay for 10-plus years, this taqueria is one of the best in the Mission. Their tacos and burritos are always delicious but if you are looking to mix it up a little try their pastor torta – flavorful pork between two fluffy warm buns with lots of tasty toppings in between. If you are a vegetarian this place will satisfy since they’ve been voted “Best Veggie Burrito” more than once. This small, quaint, authentic taqueria is located in the heart of the Mission at 2288 Mission St. @ 19th with another location at 1003 Market St. @ 6th and their newest one at 3211 Mission St. @ Valencia. Whether you are looking for lunch, dinner or a late night snack, this place deserves consideration. Open Monday through Thursday 10am to1am, Friday and Saturday 10am to 2am, and Sunday from 10am to 1:30am.

 


Bistro SF Grill


Bistro SF Grill provides the best, always fresh, organic, sustainable, local, and eclectic meats, and with their fresh-baked organic breads they create the most exciting burgers.

If you’re looking for a hearty meat dish – whether a traditional Kobe beef burger, or if you’re feeling funky and want to try grilled ostrich, alligator, buffalo, wild boar, or venison – then this is the place for you. Their wide variety menu also has options for the vegan and vegetarian eaters as well. This restaurant serves a wide variety of beers from around the world and also has wine tastings everyday. Open Monday through Friday, 5 to 10pm and Saturday and Sunday, noon to 10pm, located at 2819 California St. @ Divisadero.

 


Las Palmeras

This Salvadorian/Mexican/Latin American restaurant is sure to satisfy everyone’s taste buds, even those of the picky eater. They offer all the traditional Mexican food including refried beans, rice, homemade warm flower tortillas, salad, salsa and their famous pupusas – a thick handmade corn tortilla stuffed with a variety of cheese and pork. The menu also includes tamales, soup, finger lickin’ fried chicken and hamburgers. Open seven days a week from 8:30am to 9:30pm daily, located at 2721 Mission @ 23rd  St.

 


Taqueria El Castillito

This affordable, delicious, and undeniably authentic taqueria may be one of the best in the Mission. This place is best when you are looking for a late night, cheep eat.  They are known for their XXL burritos and bottomless chips and salsa everyday. They also offer a wide variety menu that includes tacos, nachos, and tortas. Whether you want a mild or extra hot salsa, their salsa bar is sure to satisfy whatever your level of spice may be.  El Castillito is pen for lunch, dinner, and late night meals with two locations –2092 Mission St. @ 17th St. and 370 Golden Gate Ave. @ Larkin.

 


Rainbow Grocery


This locally owned grocery store has been serving San Francisco’s Mission District since 1975. They aim to buy goods from local organic farmers, bakers, dairies, and other local businesses whenever possible. They are most known for having a wide selection specialty items, most of which you cannot find in a chain grocery store – plenty of gluten free, vegetarian, vegan, soy-free and organic products. Customer’s favorite items include the wide variety of cheeses, oils and vinegars that you can package yourself, bulk grains and teas, and a large supplement aisle. Located at 1745 Folsom St., Rainbow Grocery is open everyday from 9am to 9pm. 

 


Ganim’s Market

If you’re looking for some good comfort food at incredibly reasonable priecs, then Ganim’s is the place to go. With everything from delicious burgers – veggie too – and fries for $6 or less to traditional English fish and chips for the same price, this is a cheep deli-style joint that will not disappoint. Looking for something different to mix it up?  Try their surf and turf burger – a piece of fried fish on top of a bacon cheeseburger. This place has everything from burgers to burritos, and icy cold beers to wash it all down. Here, you can truly enjoy a huge meal for a small price. Located at 1135 18th St. right on the corner, Ganim’s is open Monday through Friday 11am to 9pm and Saturday from 11am to 7pm. Great lunch specials as well!

 


Blowfish Sushi


Blowfish offers good quality sushi in a modern, upscale environment. The restaurant has a hip club vibe with large TV screens around the dining room and a DJ spinning the latest tracks. With beautiful plating, awesome deserts, and delicious plum wine, this place is sure to satisfy all sushi lovers.  If you’re coming here for lunch make sure to come early or make a reservation as the place is usually packed. Also good to know is that from 2:30-5:30pm, Monday through Friday, it is siesta time. Open for dinner Monday, Tuesday and Sunday from 5:30 to 10pm, Wednesday and Thursday until 10:30 and Friday and Saturdays until 11pm. Located in the Mission at 2170 Bryant St.

 


Reina’s Taqueria

Fresh, inexpensive, local – Reina’s has all the familiar Mexican menu items you are looking for, like nachos, enchiladas, tamales, al pastor burritos, and tacos, all made with the freshest ingredients at a really great price. Make sure to check out their beer and wine selection as well. Reina’s Taqueria makes for a great lunch spot and can accommodate large groups. Located on the corner of 12th St. and Lafayette at 1550 Howard, this taqueria is very convenient to get to. Stop in for lunch or call your order in at (415) 431-0160.

 


Eiji Tofu


If you are looking for a low-key, Japanese restaurant in a small, quaint location then this is the place for you. Eiji offers a limited menu but the options are all signature dishes that are simply delicious, like great sushi, okra beef, homemade tofu, and more. Make sure to end your meal with their most famous dessert, the strawberry mochi. The staff is very knowledgeable and attentive to what you need, making this a great place for an un-fussy or casual dinner date night. Located in the Castro at 317 Sanchez. Open Tuesday through Sunday from 11:30am to 2pm and 5:30pm to 10pm.

 

Central Market Guide*

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CounterPULSE

CounterPULSE is an experimental and innovative non-profit theater, performance space, community center, and gallery with roots deep in the Bay Area’s provocative performance and dance scenes. Supports emerging, local, and talented artists and performers who have not yet tapped into the larger Arts funding streams by producing their own shows, hosting residency programs, and boot camps, not to mention the constant combing of the artist community for emerging talent. Their small and intimate stage can seem to blur the link between audience and performer for a truly unique theater-going experience. Perfect for those seeking an out-of-the-box adventure and fringe art aficionados alike, CounterPULSE is conveniently and centrally located – just a short walk up Ninth St. from the Civic Center BART and Muni Metro stations.

1310 Mission St | (415) 626-2060 | counterpulse.org



A.C.T. Presents: Electra

Direct from its acclaimed sold-out premiere in Los Angeles, A.C.T. director Carey Perloff brings her sweeping production of Sophocles’ Electra to the Bay Area beginning October 25, with a specially-commissioned new translation by London playwright Timberlake Wertenbaker and a haunting original score by Pulitzer Prize-winning composer David Lang. A feast of poetic language, Elektra features two of A.C.T.’s most beloved performers: core acting company member René Augesen in the title role and associate artist (and Academy Award winner) Olympia Dukakis as the fiercely partisan Chorus Leader.

After her mother murders her father, Elektra is driven by grief, perpetually reliving the horrific event to refuel her burning need for revenge. See why the LA Times calls A.C.T.’s production of Electra “shattering in its poignancy.” For show times, visit act-sf.org.

 


24 Days of Central Market Arts Festival

Central Market Arts, is thrilled to announce its third year offering the 24 Days of Central Market Arts Festival, a free and open-to-the-public art festival in the Central Market district of San Francisco. The festival kicked-off last month and continues through October 21 with action-packed performances and activities at a variety of Central Market locales like Mint Plaza, United Nations Plaza, The Old Mint Building, and Market at 6th Street. A calendar and map of all events can be found by logging on to centralmarketarts.org.

Next up is KUNST-STOFF arts presents: Dance Based Artistic processes at Mint Plaza from 1-4:30pm on Saturday, October 20. Sharing the outdoor stage is Tango & More Argentine Dance, Hallie Dalsimer, Santa Barbara Dance Theater Kate Jordan, Tahoe Youth Ballet, Bruno Augusto, Dance ELIXIR, Anne-Rene Petrarca/Sculpted Motion Samantha Giron, Laura Arrington, KUNST-STOFF Dance Company Dancers, and Guests.

 


Marinello Schools of Beauty

Started in 1905 by a physician’s wife cooking up batches of face cream in her Wisconsin kitchen, Marinello Schools of Beauty are now the nation’s leading chain of beauty schools, where industry professionals teach aspiring cosmetologists, estheticians, and manicurists their tricks of the trade. Marinello schools are at the forefront of beauty education so rest assured that their advanced students will give you quality services at unbelievably reasonable prices, that will make you feel like a million bucks. For a complete menu or guest services – everything from five-dollar haircuts to forty-dollar Glycolic peels – visit their website.

1035 Market #100, SF | marinello.com | (415) 800-5842

 


Pearl’s Deluxe Burgers

 

One cannot call him or herself a burger fan unless they’ve eaten at Pearl’s. With four locations, two of which are in San Francisco, there’s no excuse not to! They’ve got a variety of beef burgers (including Kobe!) and chicken sandwiches, salads, homemade chili, and plenty of sides to make everyone in your party happy. Try the healthier and leaner grass-fed buffalo burger, or the somewhat less so King Burger topped with a hot dog, or the much less so – and appropriately named – Phat Bob with BBQ sauce, bacon, onion rings, and cheese. Pearl’s looks out for the vegetarians with veggie burger options, as well as the more indecisive crowd with their clever sides menu that includes “springs” (half sweet potato fries and onion rings), “spries” (half sweet potato fries and french fries), and “frings” (you guessed it – half french fries and onion rings). Down any combo of their outstanding comfort food with one of their milk shakes and you’re good to go.

1001 Market Street and 708 Post Street, SF | pearlsdeluxe.com

 


Huckleberry Bikes

Not even open for one year yet, Huckleberry Bikes has already become the FiDi bicycle commuter’s dream come true and go-to (their five-star Yelp score speaks for itself.) Leaving work and need a repair? Riding to work in the morning and catch a flat? Not only are they conveniently located on San Francisco’s heaviest bike commuting corridor with a nice and late close time of 7pm, they were smart – correction: genius – enough to convert a newspaper kiosk on the corner of Market and Seventh Streets for early morning drive-by servicing – open from 7:30am to 9:30am every weekday morning. Their prices are more than reasonable, their staff is less than pretentious, and their shop is stocked to the gills with everything you need for the smoothest ride.

1073 Market Street | huckleberrybicycles.com

 


Summer of Art continues through fall with What’s On Stage?

 

What’s on Stage? (produced by Denia Dance and People in Plazas) takes the stage from the theatre to the streets with free Tuesday lunch-time performances at UN Plaza. A part of the Summer of Art series, this cultural respite from the hectic workweek continues throughout the month of September.

Up next is the September 11 event featuring Yannis Andoniou’s KUNST-STOFF Dance Co., who will preview The Moment You Stood Still…#7 moNOs – catch the world premier at the Old Mint Building Courtyard on October 13 and 14. KUNST-STOFF Dance Company partners with The San Francisco Museum and Historical Society to present this funny, dramatic, and at times “real” play on appropriation and acceptance.

Also catch the Leyya Tawail’s DANCE ELIXER preview of Destroy// with live music by Mike Guarino of Tiberius before a full ensemble of dancers and musicians perform it October 4-6 at KUNST-STOFF arts, as well as Kate Jordan Dance Project’s preview of BUILd – performed by Bruno Augusto – before it premiers October 24 at the 24 Days of Central Market Arts Festival.

We could ride trains

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The Muni trains are fun. I rode them for years before I figured that out. 

Muni was always a matter of function, a means of getting around. I was in a rush, a busy person with Places to Be. I was late; the train wasn’t there. When one of those historic clankers from Boston showed up on Church Street, I got even more crabby. The thing goes about four miles an hour; don’t they know we’re on a schedule here?

And then I had a son.

Even before he could talk, Michael loved trains. He’d point at them and start waving his hands up and down and laughing. “Choo-choo” was one of his first words; I think he knew that one even before “dada” and “mama.” And when I finally took him for a ride on the J-Church, around his second birthday, he became the happiest boy on the planet.

For the next year or so, every weekend morning, when he woke me up at the crack of dawn, I’d ask him what he wanted to do that day, and he’d say, with a big smile, “We could ride trains!” And almost every Saturday and Sunday afternoon, that’s what we’d do, from Church Street to Market Street, down Market, maybe along the waterfront to the end of the line at Fisherman’s Wharf. Then we’d get on another train and ride back home.

Sometimes we’d stop for a while at Dolores Park; sometimes we’d have doughnuts and check out the sea lions at the wharf. Sometimes we’d take a walk along the bay and look at boats. But really, as Zen masters and three-year-old boys have always known, the journey was the destination.

It’s different seeing the city through a child’s eyes.

I remember the amazing sense of wonder I had when I first arrived in San Francisco, a 22-year-old out of the New York suburbs and a Connecticut college town who had never been west of Buffalo. Everything seemed so alive, so special and strange and funny. And after a while, like everyone else, I had to pay the rent, and fight with the bank and the phone company, and the IRS found me, and life in the big city became, well, life in the big city.

But when you walk around with a kid, it all starts to come back. The whole urban world is an adventure. That stuff blowing around on the sidewalks isn’t garbage — it’s treasure. The graffiti on the walls isn’t vandalism (or even art) — it’s a clue to some sort of puzzle, maybe a map to where the pirates buried the gold. Even watching the train pull away just before you get to the corner isn’t any reason to be mad — because (as Michael always announces with glee) pretty soon there will be another one!

Just walking out the door is an explosion of scientific marvels. The wind is moving air, which is pretty cool when you think about it. The fog is a cloud on the ground. The rain makes puddles, and puddles lead to big splashes and soaking wet feet, and life doesn’t get much better than that. I suspect that every day in Michael’s life is like the first time I smoked pot and tried to talk about the difference between time and color.

There was a long period (and now it seems like another lifetime) when I could go for weeks without venturing beyond work, the 500 Club, a couple of take-out places, and my apartment. The advantage (and curse) of this city is that you can live quite well in your own neighborhood (particularly when it’s a place like the Mission District or Bernal Heights), so you don’t need to go anywhere else.

Amazing what I was missing.

I’ve lived in or around the Mission for 10 years, and I’d never been to Garfield Pool. You can swim there for three bucks, and it’s never crowded. The locker room feels like something out of a 1940s socialist paradise — everything’s one color, brutally utilitarian, and just a little bit broken. There are free kickboards, basketballs (and a poolside hoop), and sometimes even swim goggles (I guess when people leave them behind they become properly nationalized). The Upper Noe Recreation Center has the same sort of feel: on Saturday mornings, there’s a toddler gym, filled with a huge conglomeration of toys that look and feel like they were never actually new. But they work just fine and are durable as hell, and on rainy days, dozens of children stranded inside get a chance to ride welded tricycles and plastic cars around and crash into each other, with no ill effect. I smile just thinking about it.

The big children’s playground at Golden Gate Park has a long, steep slide made out of concrete that would make a modern-day insurance agent gasp in horror and alarm. Kids who have barely learned to walk somehow manage to climb up about 75 slippery, uneven steps that are almost too much for me, then sit on torn pieces of cardboard and careen down a hard, fast incline and skid to a stop at the bottom. It’s outstanding.

At Crissy Field, there’s a narrow, shallow channel where the water in the newly restored tidal marsh flows in and out of the bay. I don’t think the people who oversaw the ecological restoration of the wetlands area had any idea they were creating a swimming hole for kids, but that’s what happened: on warm days, dozen of children splash in the stream and build elaborate sand castles on the banks. When the tide goes out, a muddy island appears in the middle. Even with the tide coming in, the channel is never more than a few feet deep. It’s mind-boggling: you’re on the edge of the bay, in the shadow of the Golden Gate Bridge, a few yards away from the icy-cold currents and riptides where even seriously athletic adults in wet suits venture only with care — and three-years-olds are romping in the water with their dogs.

There’s a railroad museum at the old Hunters Point shipyard, with vintage steam engines that still work. There’s a model river (full of water and plastic fish) at the Bay Area Discovery Museum in Sausalito. There’s a working beehive in the bug house at the San Francisco Zoo, and the queen bee has a white dot painted on her abdomen. There’s an artificial earthquake that shakes up the Lego houses you can build at the California Academy of Sciences.

There are stores in the Mission that sell parachuting space aliens. If you ask nicely at Mitchell’s Ice Cream, they’ll stick a few green gummy worms in your chocolate-chip cone.

These are all things I didn’t know.

When I was a kid in the suburbs, I couldn’t imagine growing up in a city. I hope my kids see it differently. Because I’m getting to be a kid again right here in San Francisco — and I can’t imagine anyplace better.

Facing the right way

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It has been roughly two decades since the arrival of 3-D graphics changed video games forever. Visual fidelity and realism have increased geometrically. But though the ability of designers to render convincing buildings and 800-ton interstellar battlecruisers is at a zenith, one aspect of their games falls consistently behind: the people.

Sure, glistening muscles have long been perfected, and the hair looks better every year. Stare into the lifeless, glassy eyes of a cartoonishly-breasted video game sexpot, however, and there’s no mistaking where you are: the uncanny valley, a metaphorical location coined to describe the sudden onset of revulsion we experience when exposed to simulated humans that approach but do not attain realism (think Tom Hanks in 2004’s The Polar Express).

L.A. Noire, at long last, has built a giant suspension bridge over the gap. Team Bondi, the game’s Australian developers, relied on a new technology called MotionScan, which entails filming actors in a special room using 32 synchronized high-definition cameras that shoot from every angle, but focus on the head. The data from the cameras is then combined to create a stunningly accurate 3-D model of an actor’s face, right down to the laugh lines and the slicked-back, 1940s hairstyle. The model is then grafted onto a body rendered using conventional motion capture, resulting in the most believable human beings ever seen in a video game.

This technological innovation was crucial to L.A. Noire‘s design. As a police procedural, the game makes interrogating suspects the player’s most important challenge. Team Bondi turned to MotionScan in order to create a game that allows sharp-eyed, controller-clutching gumshoes to scrutinize the faces of potential perps, hoping to spot the telltale hard swallows, sidelong glances, and spastic blinking of a liar.

The success of MotionScan reaches far beyond the interrogation sequences, however, or even the game itself. There are important scientific findings suggesting that the interpretation of facial expressions is crucial to the way we experience empathy and understand emotions. The introduction of believable human faces into video games will have a seismic effect on the medium, revolutionizing the creation and efficacy of story and character.

L.A. Noire, like any good detective, provides elegant proof. It may be a game about arresting criminals and identifying their lies, but it is also a game whose strength lies in its tragedy. Lives are ruined, children are orphaned, and a generation of soldiers struggles to cope with the horrors it experienced on the killing fields of World War II. Though they all refuse to talk about it, you can see it in their faces. 

 

Affordable housing group’s shady, “shameless” endorsements

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Editors note: This article orginally ran in October, 2000.T


he Brown machine’s soft money operation is churning out some very
duplicitous propaganda. While we haven’t seen many mailers attacking
independent candidates yet (they’re usually deployed in the final days
of the campaign, when the targets don’t have a chance to respond), we’ve
come across flyers that aim to portray business-friendly machine
candidates as champions of progressive causes.



Perhaps the most egregious comes from an organization called the
Affordable Housing Alliance.



Once a legitimate tenant advocacy group, the AHA does little these days
except endorse candidates and send out mailers during election season.
Numerous well-known tenant activists say the AHA reflexively promotes
the candidates of the Willie Brown machine — no matter where they
stand on tenant issues.



And from what we’ve learned about the group’s endorsement process, AHA
director Mitchell Omerberg isn’t even trying to give the group the
appearance of legitimacy.



Omerberg, who works as a deputy city attorney for San Francisco, was
active in the 1979 fight for rent control. We called him several times
and left messages at the AHA, at his home, and at his city office. He
never called us back or faxed us a copy of the group’s endorsements.
The shenanigans began when Omerberg invited candidates to speak at the
AHA’s endorsement meeting. Chris Daly, the District Six hopeful who has
inspired more enthusiasm from tenant activists than any other candidate
in the city, wasn’t even invited. Daly told us his campaign called
Omerberg to ask when the meeting was scheduled, and Omerberg never
called back.


At the Sept. 28 meeting, the candidates whom Omerberg did invite made
their speeches. Then the group’s supposed members voted on the club’s
endorsements. But it’s not clear who most of those members are or where
they came from.


Progressive activist Richard Ow, who probably attends more political
meetings than anyone in San Francisco, told us he didn’t recognize a
single other tenant activist among the voting members. Ow sits on the
boards of the San Francisco Tenants Union, the Housing Rights Committee,
and the Senior Action Network and is active in dozens of other tenant
groups.


The most egregious maneuver came at the end of the meeting. According
to District One supervisorial candidate Jake McGoldrick (one of the few
people who stayed until the end) Omerberg refused to open the ballot box
and tally up the votes there and then.



Instead, he insisted on taking the ballot box home with him.
Apparently Omerberg prefers to count the ballots alone: one former AHA
member, who asked to remain anonymous, told us he did the same thing
after at least two endorsement meetings in years past.


Alex Wong, chair of the Democratic County Central Committee, helped
Omerberg run the meeting, introducing the candidates and watching the
clock as they spoke. Wong, a Brown ally, told us he didn’t know if Omerberg had taken the ballots home with him; he says he, too, had left the meeting by that point. Then he got off the phone, saying he’d call
us back. He never did.



With Omerberg and Wong keeping mum, we couldn’t track down a copy of
the group’s endorsement list. (McGoldrick campaign manager Jerry Threet
says he asked Omerberg for a copy and Omerberg flat out refused.) But an
AHA mailer sent to tenant voters in the Richmond provides a clue.
“Renters have two choices in the November election,” the flyer
proclaims. “Michael Yaki will preserve rent control. Rose Tsai wants to
repeal it.”


Of course, Richmond renters have more than two choices. There are five
candidates on the District One ballot, including McGoldrick. McGoldrick
has been active on tenant issues for decades, including a term as a San
Francisco Rent Board commissioner from 1988 to 1992 and another as
cochair of the now defunct Housing and Tenants Council, an umbrella
coalition for the movement.


“Jake has a long history of being pro-tenant, from his days on the Rent
Board to doing grassroots work on every tenant campaign and every piece
of tenant legislation,” said Ted Gullicksen of the Tenants Union. The
city’s preeminent renters’ advocacy group, the Tenants Union gave
McGoldrick its enthusiastic endorsement. If you believe the AHA’s
mailer, he’s not even in the race.


On the other hand, Gullicksen said, “Yaki initiated legislation to stop
owner move-in evictions — but then, under pressure from landlords,
killed it himself. Since then he has consistently been against tenants
and with the real estate industry.”


That’s the candidate of the Affordable Housing Alliance. Yaki has a
strong claim on AHA support: he is backed by Willie Brown, of whom he
has been a stalwart ally, and Omerberg worked on Yaki’s 1998 campaign
for the board.


“As a tenant who went through an owner-move-in eviction, I strongly
believe in protecting our rent-control laws and stringently enforcing
protections for seniors and the disabled,” Yaki told us through his
consultant Ellie Schafer. “I am proud to have supported all the measures
which passed the Board of Supervisors expanding OMI and Ellis Act
protections.” (Note Yaki’s careful phrasing: he supported the measures
that passed, and opposed the measures that failed. The same can be said
for most of Willie Brown’s other appointees; that’s why those measures
passed and the others failed.)


The AHA also endorsed Meagan Levitan in District Three, according to a
Levitan mailer. Her opponent Aaron Peskin, who spoke at the endorsement
meeting, has the support of the Tenants Union and just about every other
legitimate tenant activist. Yaki and Levitan are both endorsed by the
Small Property Owners Association and the San Francisco Apartment
Association, which lobby for landlords.


The AHA’s endorsements of Yaki and Levitan were no surprise to longtime
members of the tenant movement. “Historically, the Affordable Housing
Alliance hasn’t endorsed credible pro-tenant supervisors,” Robert
Haaland of the Housing Rights Committee told us. “It’s a group that’s
used to perpetuate machine candidates. It’s another shameless example of
how the machine stays in power.”

Crime Bomb

1

Editors note: This story was originally published May 31,  2001.


They found Virginia Lowery lying in the garage of her Excelsior home, an electrical cord around her throat, an ice pick jammed through her skull — in one ear and out the other. For the next 11 years San Francisco homicide detectives made no progress on the case. Promising leads turned into dead ends. Theories collapsed. The cops assigned to the case retired. It looked like Lowery’s 1987 slaying would never be solved.


Then in April 1998, by pure chance, police found Robert C. Nawi. Or rather, they found his fingertips.


When Nawi, a 57-year-old carpenter, got in a shouting match in a North Beach watering hole, he was picked up by the cops on misdemeanor charges and shuttled to county jail, where he was fingerprinted and booked. The computer spat out some interesting news: Nawi’s digits, according to the database, resembled a fingerprint found at the scene of Lowery’s slaying.


Soon thereafter, police evidence analyst Wendy Chong made a positive print match, and the new suspect found himself facing murder charges and life in a cage.


Nawi’s fate, to be decided at trial next year, rests largely on police readings of his fingerprints, as well as some DNA gathered by the coroner. Which raises some questions: How, exactly, did the cops and their computers analyze the evidence? Did they get it right? Is anybody checking their work?


 


Making a match between the distinguishing ridges and whorls, often microscopic, of two fresh fingerprints is a relatively simple task for a print expert. However, cases like Nawi’s aren’t so clear-cut: the print collected in Lowery’s garage is faint, smudged, and missing in patches.


Michael Burt, the resident forensicscience guru at the San Francisco Public Defender’s Office, shows me an 8-by-10-inch enlargement of the print discovered at the murder scene; it’s blurry, grainy, and only about 60 percent complete. To my layperson’s eye, it bears little resemblance to the clear, fresh mark left by Nawi at his booking. “The one print is so washed out you can’t see anything,” says Burt, who is representing Nawi. “This is not science at all; it’s subjective and shouldn’t be allowed.”


Burt, a 22-year veteran defense lawyer known around the Hall of Justice for his trademark cart full of documents, has plenty of cause to doubt the cops’ evidence. Despite what you may have seen on Law and Order, fingerprint examiners can — and often do — get it wrong. Last year 141 of America’s top forensic labs were tested to see if they could accurately match two fingerprints: 39 percent failed; 11 labs made false IDs. San Francisco analysts are rarely, if ever, graded for accuracy.


Jim Norris, head of the San Francisco Police Department’s forensics division, argues that new computer imaging tools are making it possible to match even sketchy, partial prints. “When somebody shows a print that was originally collected at the crime scene, and it looks very difficult to deal with, what they’re not looking at is the image that has been [digitally] enhanced,” Norris explains. “It’s a lot easier to deal with.” Norris admits that the department has seldom tested its print examiners for accuracy, but he says their work is constantly checked by superiors.


According to Burt, in this particular instance analysts didn’t turn to computers but simply enlarged the prints before making the call. The district attorney’s DNA evidence against Nawi is equally flawed, he says. When coroner Boyd Stephens autopsied the corpse, he — per routine — snipped the woman’s fingernails with a household nail clipper and stuck them in an envelope. Unrefrigerated, the clippings slowly rotted for more than a decade, until, in the wake of Nawi’s arrest, prosecutor John Farrell had them tested for DNA.


When the crime lab got the evidence, in 1998, DNA analyst Alan Keel scraped all 10 nails with a single cotton swab, combined the scrapings into one tiny pile, and dropped them into a genetic-typing device. According to standard forensic procedure, each nail should’ve been swabbed and tested separately.


Now, Burt contends, the sample has deteriorated because of a lack of refrigeration and has been contaminated with the DNA of more than one person. “[Keel] says there are three, possibly four different individuals underneath her fingernails,” the lawyer says. “He’s trying to grab my client out of that mixture. There’s no scientific way to do that.”


Norris disagrees: “There are ways to deal with [DNA] mixtures; it’s not a common problem luckily, but it’s something that comes up — for example, in rape cases where there are multiple assailants. There are ways to deal with it.”


I run down the scenario for Dr. Simon Ford, a Ph.D. biochemist and DNA expert who heads up San Francisco–based Lexigen Science and Law Consultants. “That’s not good,” Ford tells me. “You should deal with each hand separately, at least, and probably each nail separately. I don’t think combining all the nails together is a good idea.”


 


The dispassionate examination of crime scene evidence — narcotics, fingerprints, hair and fibers, genetic material, firearms, and everything else — is a cornerstone of the American justice system. The work, which can mean the difference between life and death for a suspect, is carried out by more than 500 labs nationwide, most of them run by law enforcement agencies.


In the public imagination — as shaped by endless cops-and-lawyers TV shows — forensic science is a perfectly impartial arbiter of justice. Eyewitnesses get confused. Police may be corrupt. Lawyers can corkscrew facts. Juries, not always composed of the brightest lights, can be swayed by mob dynamics. But science doesn’t lie. If the analyst says the bullet came from the suspect’s gun, then it must have.


It’s a comforting thought.


There’s just one problem: All forensic science is performed by humans, and all people make blunders. They mislabel samples. They use malfunctioning equipment. They inadvertently drop a flake of skin in a vial of blood, thus adding their own DNA to the sample.


Subjectivity, too, plays a starring role in forensic science, much of which depends on human-made comparisons. In one case heard last year by San Francisco Superior Court Judge Robert Dondero, two DNA experts couldn’t agree on the meaning of a genetic sample.


In addition to honest mistakes born of incompetence and overwork, there are continuously uncovered examples of fraud: the lab analyst, believing that the verdict justifies the means, willing to lie on the stand or fake test results. While the scientific question of DNA accuracy has been hashed out extensively in court rooms and the media, the issue of police crime lab accuracy has gone ignored, both by press and government regulators.


Each year California cops make 1.5 million arrests. Each of the state’s 19 local crime labs — run by sheriffs, prosecutors, and cops — performs thousands of analyses annually. Each of those tests, if faulty, could put an innocent person behind bars, or set a guilty soul free.


And in the wild world of forensics there are precious few safeguards against human bias and error: Crime labs are almost entirely unregulated. There are virtually no federal laws governing their operation; no law that says, “Bullet comparisons must be done using the best, most accurate techniques”; no law that says, “DNA examiners must meet these basic educational criteria”; no requirement that crime labs be audited and inspected. In California only DUI-<\h>testing procedures are regulated by state law.


“There’s more regulation in whether some clinical lab can give a test for strep throat than there is on whether you can use a test to put somebody in the gas chamber,” public defender Burt says. “That to me seems backwards. The stakes are the highest in the criminal justice system. These people are deciding who lives or dies.”


The ramifications spread beyond individual cases. While billions of dollars have been poured into police departments and prisons over the past two decades, pols and badge wearers have shown little interest in adequately funding or regulating crime labs. California’s facilities need hundreds of millions of dollars in repairs and equipment upgrades. The idea of public oversight is off the radar entirely.


The nonprofit American Society of Crime Laboratory Directors (ASCLD) is the closest thing forensics has to a regulatory agency. Created in the early 1970s to “improve the quality of laboratory services provided to the criminal justice system,” the group runs a voluntary accreditation program for forensic facilities. To get the society’s stamp of approval, a facility must pass a 149-point inspection. (Sample question: “Are the procedures used generally accepted in the field or supported by data gathered in a scientific manner?”) To maintain the certification, a lab must be tested annually and be reinspected every five years.


Of the approximately 500 labs in the United States, a mere 187 are accredited by the ASCLD. Only 11 of California’s 19 local crime labs have the group’s seal of approval. The San Francisco police facility isn’t one of them. Neither is the Contra Costa sheriff’s lab. Nor the San Mateo sheriff’s forensic unit.


 


“Got dope?” asks the white-coated woman who opens the locked door to the SFPD crime lab. She’s expecting cops bearing drug-filled baggies, to be weighed and tested and filed away until the courtroom beckons. Crime lab chief Martha “Marty” Blake steps out of her windowless office to greet me.


A few months back, Blake and her 18-person team traded overstuffed quarters in the city’s central cop shop at Eighth Street and Bryant for expansive new $1.5 million digs out in the asphalt wastes of the Hunters Point shipyard. “I’m getting ready to apply for accreditation, hopefully by next spring,” she says, pointing to a file cabinet emblazoned with the ASCLD seal. “We couldn’t get accredited in that facility when we were downtown at the Hall of Justice. It was too cramped. There was no way we could guarantee there would never be any chance for any contamination of the evidence when we had four people crammed into a little room trying to look at clothing, for example.”


Blake’s operation has taken its lumps over the years. In 1994 analyst Allison Lancaster was canned after she was videotaped faking drug tests. Last year Superior Court Judge Dondero slammed the lab’s lead DNA expert for “engaging in shortcuts,” “performing missteps,” and harboring a questionable “degree of bias” against defendants. Defense lawyers like Burt continue to hammer the lab for its lack of credentials.


With her eyeglasses and graying hair Blake looks more like a schoolteacher than a cop. She pulls a xeroxed sheet of paper out of a drawer and eagerly places it in front of me. “We just switched to a new case review process. This is the sort of thing we have to implement for accreditation. Every case we produce has to go through a review by a supervisor,” she explains. “This wasn’t happening before; a review happened before, but you’d just glance over [the work] and say, ‘Hmm, looks good to me,’ and initial it. It was sort of lightweight.” Bolstered by an increased budget and a growing staff, the lab’s procedures are improving across the board, according to Blake.


Why should forensic labs, which can land someone on death row, go without government oversight? “I’d like to think we can do this ourselves,” Blake replies, noting that the state’s management of the DUI testing program has been less than stellar. “I’m a little nervous about other agencies getting involved in regulation,” she says, because they don’t “really know the science.”


Nationally, the accountability vacuum is producing a steady stream of scandals, raising unsettling questions about the way we administer justice in this locked-down nation. A small sampling:
• Let’s start with the trial of the century, wherein O.J.’s defense team put the forensic bunglings of the Los Angeles Police Department on display for “unacceptable sloppiness,” pointing out a dozen major instances of possible evidence contamination. After losing the Simpson trial, the lab promptly began a thorough overhaul.
• In 1993 the West Virginia Supreme Court found a police blood expert guilty of fabricating or misrepresenting evidence in a staggering 134 cases. The man, one Fred Zain — employed by the state cops during the 1980s — was put on trial for perjury, while the state freed several unjustly imprisoned death row inmates and paid out millions to people who had been wrongfully convicted. Bexar County, Texas, where Zain worked in the early ’90s, also prosecuted him for perjury.
• A few years later, in 1997, the reputation of the Federal Bureau of Investigation crime lab — at the time widely regarded as the pinnacle of forensic science — was shredded by the allegations of a whistle-blowing scientist. The bureau’s lab practiced shoddy science and regularly presented inaccurate, pro-prosecution testimony, charged Dr. Frederic Whitehurst, one of the agency’s top explosives experts. The FBI denied the allegations and tried to discredit Whitehurst, but a scathing 517-page report by the Justice Department’s inspector general corroborated many of the scientist’s major claims and recommended disciplinary action against five agents.


• An April 1997 front-page story in the Wall Street Journal brought more unflattering publicity to the FBI lab, scrutinizing the track record of agent Michael Malone, a hair and fiber analyst. The paper quoted three well-known forensic scientists who challenged Malone’s analyses (one labeled him a “fraud”), illustrated numerous cases where the agent seemed to be fudging the evidence — and noted that courts were busy overturning convictions obtained with his testimony. “The guy’s a total liar,” one defense lawyer told the Wall Street Journal.
• In 1998 San Diego jurors convicted a top county police DNA expert of embezzling $8,100 in cash seized as evidence in murder cases. That same year the San Diego Police Department embarked on a 10-month internal investigation into charges of sloppy work and missing evidence at its crime lab, and it admitted that it had lost crucial evidence in an unsolved homicide case.
• Last year a crime lab chemist in Prince George’s County, Md., claimed that the police department was using improperly calibrated drug analysis equipment. Defense lawyers promptly challenged some 100 pending drug cases.



California is one of the few states that has actually scoped the inner workings of its local crime labs. The results of that onetime review, performed in 1998 by the state auditor’s office, are disturbing. Quality control was lacking at most of the facilities. Many of the labs were using “outdated and improperly working equipment.” As in San Francisco, many didn’t make their scientists undergo regular proficiency testing.


Without quality assurance measures — minimal at 13 of the 19 labs — the potential for error shoots through the roof. California auditor Elaine Howel says the study raised serious questions. “There are several issues,” she says. “Is the evidence being handled appropriately so there’s no potential for contamination?” Labs, according to Howel, should “make sure they are consistently applying the methodology so one forensic examiner isn’t using one technique and someone is using a different technique to conduct the same type of testing. That ties back to the credibility of the results.”


Ten of the outfits were relying on “outmoded” technology that needed replacement. At the Huntington Beach Police Department lab, staffers worked up a Rube Goldberg–<\d>esque scheme to revive a broken arson analysis gadget. Sort of. “Because the laboratory does not have the funds to replace this equipment, staff found a creative way to cool the [machine] using hoses rigged to a faucet,” auditors found. But, they noted, “this method could negatively affect the analysis of the evidence processed by this instrument.”


Then there was the question of whether the analysts themselves were up to par. “We think forensic examiners need to be tested every year to make sure they’re maintaining competence in their ability to perform the forensic examinations they’re doing,” Howel tells me. Eight of the labs had no proficiency testing for their staffers.


“It helped us put our operation in perspective to the rest of the state,” says S.F. lab chief Blake, who thinks the audit was fair. “We did look like we were swamped. It helped us get our additional staff.”


Whitehurst, the former top explosives expert at the FBI, doesn’t like the term ‘whistle-blower.’ “We’re simply scientists, and we disagree with the type of science that’s being practiced — because it’s not science,” he told me. “Our forensic labs are dictating truth; they’re not discovering it.” Whitehurst says he constantly hears from irate crime lab scientists claiming their operations are riddled with improprieties.


The Ph.D. chemist spent eight years at the bureau combing the rubble of bomb blasts for clues. And complaining. During his tenure with the bureau, he made 237 written complaints concerning what he saw as a pattern of bunk science and bogus testimony on the part of his colleagues. The charges spurred an 18-month probe by the Justice Department, the phone-book-size results of which were made public in 1997, undoubtedly marking one of the FBI’s worst public embarrassments.


The special-inspection team, an international panel of renowned forensic scientists, had few kind words for the lab, finding “significant instances of testimonial errors, substandard analytical work, and deficient practices” in numerous investigations, including the Unabomber, Oklahoma City, and World Trade Center bombings. Among the skeletons in the bureau’s closet: “scientifically flawed reports”; examiners devoid of the “requisite scientific qualifications”; and five agents who couldn’t be trusted.


Whitehurst’s experiences have led him to believe that crime labs should be overseen by federal or state authorities, rather than by ASCLD and its voluntary certification program. “It’s a foregone conclusion; there’s no question in my mind in five years forensic labs will be regulated, and they will be audited,” said Whitehurst, who now lives in Bethel, N.C., and acts as an expert witness in criminal trials. “There’s too much discovery happening.”


Lab directors argue that their work is constantly reviewed by the courts — juries don’t have to believe a forensic expert; judges can overturn verdicts based on forensic evidence — making their profession among the most scrutinized.
Whitehurst disagrees, saying juries, defense lawyers, and judges are often baffled by the science presented to them. “Listen to this phrase: pyrolisis-gas chromatography/mass spectrometry,” he says. “Do you know what that is? Let’s try this one: fourier transform infrared spectrometry. I’ve got a doctorate in chemistry and a jurisdoctorate also. What I’m saying to you are completely foreign concepts. When I try to explain how a ultraviolet spectraphatometer works, or how a micro spectraphatometer works, just saying the words begins the glass-over of the eyes.”


The Alameda County Sheriff’s crime lab is housed in a two-story building in the foothills just off 150th Avenue in San Leandro. On the second floor, in a series of linoleum-tiled rooms connected by a cluttered hallway, the lab’s technicians scope the physical remnants of crime, putting bullets beneath microscopes, lifting latent fingerprints from knife handles, culling DNA strands from splattered blood.


Each year the operation, which analyzes evidence for most of the county’s police forces, handles some 200 “major” investigations, most of them murders and rapes. But drug cases (1,800 to 2,000) and DUIs (more than 4,700) make up the bulk of the work. There are only eight lab technicians to handle the massive load.


“Every analytical report has to be right on the mark,” said lab director Tony Sprague, who has worked at the facility for 30 years. “We have a huge responsibility to make sure all the results are accurate.”


Sprague guides me through the building, showing me a single lead particle, as magnified 10,000 times by a monstrous, $270,000 scanning electron microscope. Next door a white-<\h>coated technician sits glued to a conventional microscope, studying a handgun cartridge. Across the hall are the analysts’ personal workstations: on one of the wide-topped tables sit the innards of an auto; on another lie sheets of paper covered with boot prints.


Sprague is an amiable gearhead and explains in detail how each of the machines works. The gas chromatograph/mass spectrometer, an ovenlike slab of a machine, can detect the presence of gasoline or kerosene in air samples collected at the scene of a suspected arson fire. Another device uses infrared light to determine the chemical composition of a given substance — a bag of white powder for instance.


The lab’s ASCLD accreditation in June 1999 was a huge undertaking, according to Sprague. “It took us about two years [to get certified],” he says. “It was costly from the standpoint that you have to take dedicated staff time away from analytical work to get the paperwork done for the accreditation process. In our case we really didn’t change our ways of doing forensic science to meet accreditation standards. There was really no issue about doing things differently — the thing we had to do, we had to document all the policies, the procedures, all of our quality assurance records had to be brought up to a little bit higher level.”


Voluntary reviews by the nonprofit ASCLD are enough regulation for Sprague, who views government oversight as a losing proposition. “Some mandated federal program? I don’t know that that’s really the answer,” he says. “That would involve a huge bureaucracy. It would be a very difficult situation.”


Ralph Keaton, executive director of ASCLD’s accrediting board, agrees. “I think crime laboratories should have some kind of program to review the quality of the work being produced by the laboratory — and that’s the reason we came into existence,” he tells me via telephone from the organization’s headquarters in Garner, N.C. “It’s my opinion that no one can evaluate the type of work being done better than the actual practitioners of that discipline. Just like the oversight of the medical profession is best done by the doctors themselves.”


Speaking to me in his office library, Sprague tells me he is proud of the work his team does, proud to be acknowledged by his peers. But he admits to a certain frustration, saying that his lab is seriously short-staffed: “We’re about one-third the strength we should be at for what we’re doing.”

Crime Bomb

0

Editors note: This story was originally published in 2001.


 


They found Virginia Lowery lying in the garage of her Excelsior home, an electrical cord around her throat, an ice pick jammed through her skull — in one ear and out the other. For the next 11 years San Francisco homicide detectives made no progress on the case. Promising leads turned into dead ends. Theories collapsed. The cops assigned to the case retired. It looked like Lowery’s 1987 slaying would never be solved.
Then in April 1998, by pure chance, police found Robert C. Nawi. Or rather, they found his fingertips.
When Nawi, a 57-year-old carpenter, got in a shouting match in a North Beach watering hole, he was picked up by the cops on misdemeanor charges and shuttled to county jail, where he was fingerprinted and booked. The computer spat out some interesting news: Nawi’s digits, according to the database, resembled a fingerprint found at the scene of Lowery’s slaying.
Soon thereafter, police evidence analyst Wendy Chong made a positive print match, and the new suspect found himself facing murder charges and life in a cage.
Nawi’s fate, to be decided at trial next year, rests largely on police readings of his fingerprints, as well as some DNA gathered by the coroner. Which raises some questions: How, exactly, did the cops and their computers analyze the evidence? Did they get it right? Is anybody checking their work?


Making a match between the distinguishing ridges and whorls, often microscopic, of two fresh fingerprints is a relatively simple task for a print expert. However, cases like Nawi’s aren’t so clear-cut: the print collected in Lowery’s garage is faint, smudged, and missing in patches.
Michael Burt, the resident forensic-<\h>science guru at the San Francisco Public Defender’s Office, shows me an 8-by-10-inch enlargement of the print discovered at the murder scene; it’s blurry, grainy, and only about 60 percent complete. To my layperson’s eye, it bears little resemblance to the clear, fresh mark left by Nawi at his booking. “The one print is so washed out you can’t see anything,” says Burt, who is representing Nawi. “This is not science at all; it’s subjective and shouldn’t be allowed.”
Burt, a 22-year veteran defense lawyer known around the Hall of Justice for his trademark cart full of documents, has plenty of cause to doubt the cops’ evidence. Despite what you may have seen on Law and Order, fingerprint examiners can — and often do — get it wrong. Last year 141 of America’s top forensic labs were tested to see if they could accurately match two fingerprints: 39 percent failed; 11 labs made false IDs. San Francisco analysts are rarely, if ever, graded for accuracy.
Jim Norris, head of the San Francisco Police Department’s forensics division, argues that new computer imaging tools are making it possible to match even sketchy, partial prints. “When somebody shows a print that was originally collected at the crime scene, and it looks very difficult to deal with, what they’re not looking at is the image that has been [digitally] enhanced,” Norris explains. “It’s a lot easier to deal with.” Norris admits that the department has seldom tested its print examiners for accuracy, but he says their work is constantly checked by superiors.
According to Burt, in this particular instance analysts didn’t turn to computers but simply enlarged the prints before making the call. The district attorney’s DNA evidence against Nawi is equally flawed, he says. When coroner Boyd Stephens autopsied the corpse, he — per routine — snipped the woman’s fingernails with a household nail clipper and stuck them in an envelope. Unrefrigerated, the clippings slowly rotted for more than a decade, until, in the wake of Nawi’s arrest, prosecutor John Farrell had them tested for DNA.
When the crime lab got the evidence, in 1998, DNA analyst Alan Keel scraped all 10 nails with a single cotton swab, combined the scrapings into one tiny pile, and dropped them into a genetic-<\h>typing device. According to standard forensic procedure, each nail should’ve been swabbed and tested separately.
Now, Burt contends, the sample has deteriorated because of a lack of refrigeration and has been contaminated with the DNA of more than one person. “[Keel] says there are three, possibly four different individuals underneath her fingernails,” the lawyer says. “He’s trying to grab my client out of that mixture. There’s no scientific way to do that.”
Norris disagrees: “There are ways to deal with [DNA] mixtures; it’s not a common problem luckily, but it’s something that comes up — for example, in rape cases where there are multiple assailants. There are ways to deal with it.”
I run down the scenario for Dr. Simon Ford, a Ph.D. biochemist and DNA expert who heads up San Francisco–<\d>based Lexigen Science and Law Consultants. “That’s not good,” Ford tells me. “You should deal with each hand separately, at least, and probably each nail separately. I don’t think combining all the nails together is a good idea.”
Blinding them with science
The dispassionate examination of crime scene evidence — narcotics, fingerprints, hair and fibers, genetic material, firearms, and everything else — is a cornerstone of the American justice system. The work, which can mean the difference between life and death for a suspect, is carried out by more than 500 labs nationwide, most of them run by law enforcement agencies.
In the public imagination — as shaped by endless cops-and-<\h>lawyers TV shows — forensic science is a perfectly impartial arbiter of justice. Eyewitnesses get confused. Police may be corrupt. Lawyers can corkscrew facts. Juries, not always composed of the brightest lights, can be swayed by mob dynamics. But science doesn’t lie. If the analyst says the bullet came from the suspect’s gun, then it must have.
It’s a comforting thought.
There’s just one problem: All forensic science is performed by humans, and all people make blunders. They mislabel samples. They use malfunctioning equipment. They inadvertently drop a flake of skin in a vial of blood, thus adding their own DNA to the sample.
Subjectivity, too, plays a starring role in forensic science, much of which depends on human-<\h>made comparisons. In one case heard last year by San Francisco Superior Court Judge Robert Dondero, two DNA experts couldn’t agree on the meaning of a genetic sample.
In addition to honest mistakes born of incompetence and overwork, there are continuously uncovered examples of fraud: the lab analyst, believing that the verdict justifies the means, willing to lie on the stand or fake test results.
While the scientific question of DNA accuracy has been hashed out extensively in court rooms and the media, the issue of police crime lab accuracy has gone ignored, both by press and government regulators.
Each year California cops make 1.5 million arrests. Each of the state’s 19 local crime labs — run by sheriffs, prosecutors, and cops — performs thousands of analyses annually. Each of those tests, if faulty, could put an innocent person behind bars, or set a guilty soul free.
And in the wild world of forensics there are precious few safeguards against human bias and error: Crime labs are almost entirely unregulated. There are virtually no federal laws governing their operation; no law that says, “Bullet comparisons must be done using the best, most accurate techniques”; no law that says, “DNA examiners must meet these basic educational criteria”; no requirement that crime labs be audited and inspected. In California only DUI-<\h>testing procedures are regulated by state law.
“There’s more regulation in whether some clinical lab can give a test for strep throat than there is on whether you can use a test to put somebody in the gas chamber,” public defender Burt says. “That to me seems backwards. The stakes are the highest in the criminal justice system. These people are deciding who lives or dies.”
The ramifications spread beyond individual cases. While billions of dollars have been poured into police departments and prisons over the past two decades, pols and badge wearers have shown little interest in adequately funding or regulating crime labs. California’s facilities need hundreds of millions of dollars in repairs and equipment upgrades. The idea of public oversight is off the radar entirely.
The nonprofit American Society of Crime Laboratory Directors (ASCLD) is the closest thing forensics has to a regulatory agency. Created in the early 1970s to “improve the quality of laboratory services provided to the criminal justice system,” the group runs a voluntary accreditation program for forensic facilities. To get the society’s stamp of approval, a facility must pass a 149-point inspection. (Sample question: “Are the procedures used generally accepted in the field or supported by data gathered in a scientific manner?”) To maintain the certification, a lab must be tested annually and be reinspected every five years.
Of the approximately 500 labs in the United States, a mere 187 are accredited by the ASCLD. Only 11 of California’s 19 local crime labs have the group’s seal of approval. The San Francisco police facility isn’t one of them. Neither is the Contra Costa sheriff’s lab. Nor the San Mateo sheriff’s forensic unit.
Renewing the review process
“Got dope?” asks the white-<\h>coated woman who opens the locked door to the SFPD crime lab. She’s expecting cops bearing drug-filled baggies, to be weighed and tested and filed away until the courtroom beckons. Crime lab chief Martha “Marty” Blake steps out of her windowless office to greet me.
A few months back, Blake and her 18-person team traded overstuffed quarters in the city’s central cop shop at Eighth Street and Bryant for expansive new $1.5 million digs out in the asphalt wastes of the Hunters Point shipyard. “I’m getting ready to apply for accreditation, hopefully by next spring,” she says, pointing to a file cabinet emblazoned with the ASCLD seal. “We couldn’t get accredited in that facility when we were downtown at the Hall of Justice. It was too cramped. There was no way we could guarantee there would never be any chance for any contamination of the evidence when we had four people crammed into a little room trying to look at clothing, for example.”
Blake’s operation has taken its lumps over the years. In 1994 analyst Allison Lancaster was canned after she was videotaped faking drug tests. Last year Superior Court Judge Dondero slammed the lab’s lead DNA expert for “engaging in shortcuts,” “performing missteps,” and harboring a questionable “degree of bias” against defendants. Defense lawyers like Burt continue to hammer the lab for its lack of credentials.
With her eyeglasses and graying hair Blake looks more like a schoolteacher than a cop. She pulls a xeroxed sheet of paper out of a drawer and eagerly places it in front of me. “We just switched to a new case review process. This is the sort of thing we have to implement for accreditation. Every case we produce has to go through a review by a supervisor,” she explains. “This wasn’t happening before; a review happened before, but you’d just glance over [the work] and say, ‘Hmm, looks good to me,’ and initial it. It was sort of lightweight.” Bolstered by an increased budget and a growing staff, the lab’s procedures are improving across the board, according to Blake.
Why should forensic labs, which can land someone on death row, go without government oversight? “I’d like to think we can do this ourselves,” Blake replies, noting that the state’s management of the DUI testing program has been less than stellar. “I’m a little nervous about other agencies getting involved in regulation,” she says, because they don’t “really know the science.”
Beyond O.J.
Nationally, the accountability vacuum is producing a steady stream of scandals, raising unsettling questions about the way we administer justice in this locked-down nation. A small sampling:
• Let’s start with the trial of the century, wherein O.J.’s defense team put the forensic bunglings of the Los Angeles Police Department on display for “unacceptable sloppiness,” pointing out a dozen major instances of possible evidence contamination. After losing the Simpson trial, the lab promptly began a thorough overhaul.
• In 1993 the West Virginia Supreme Court found a police blood expert guilty of fabricating or misrepresenting evidence in a staggering 134 cases. The man, one Fred Zain — employed by the state cops during the 1980s — was put on trial for perjury, while the state freed several unjustly imprisoned death row inmates and paid out millions to people who had been wrongfully convicted. Bexar County, Texas, where Zain worked in the early ’90s, also prosecuted him for perjury.
• A few years later, in 1997, the reputation of the Federal Bureau of Investigation crime lab — at the time widely regarded as the pinnacle of forensic science — was shredded by the allegations of a whistle-<\h>blowing scientist. The bureau’s lab practiced shoddy science and regularly presented inaccurate, pro-<\h>prosecution testimony, charged Dr. Frederic Whitehurst, one of the agency’s top explosives experts. The FBI denied the allegations and tried to discredit Whitehurst, but a scathing 517-page report by the Justice Department’s inspector general corroborated many of the scientist’s major claims and recommended disciplinary action against five agents.
• An April 1997 front-page story in the Wall Street Journal brought more unflattering publicity to the FBI lab, scrutinizing the track record of agent Michael Malone, a hair and fiber analyst. The paper quoted three well-known forensic scientists who challenged Malone’s analyses (one labeled him a “fraud”), illustrated numerous cases where the agent seemed to be fudging the evidence — and noted that courts were busy overturning convictions obtained with his testimony. “The guy’s a total liar,” one defense lawyer told the Wall Street Journal.
• In 1998 San Diego jurors convicted a top county police DNA expert of embezzling $8,100 in cash seized as evidence in murder cases. That same year the San Diego Police Department embarked on a 10-month internal investigation into charges of sloppy work and missing evidence at its crime lab, and it admitted that it had lost crucial evidence in an unsolved homicide case.
• Last year a crime lab chemist in Prince George’s County, Md., claimed that the police department was using improperly calibrated drug analysis equipment. Defense lawyers promptly challenged some 100 pending drug cases.
Under the microscope
California is one of the few states that has actually scoped the inner workings of its local crime labs. The results of that onetime review, performed in 1998 by the state auditor’s office, are disturbing. Quality control was lacking at most of the facilities. Many of the labs were using “outdated and improperly working equipment.” As in San Francisco, many didn’t make their scientists undergo regular proficiency testing.
Without quality assurance measures — minimal at 13 of the 19 labs — the potential for error shoots through the roof. California auditor Elaine Howel says the study raised serious questions. “There are several issues,” she says. “Is the evidence being handled appropriately so there’s no potential for contamination?” Labs, according to Howel, should “make sure they are consistently applying the methodology so one forensic examiner isn’t using one technique and someone is using a different technique to conduct the same type of testing. That ties back to the credibility of the results.”
Ten of the outfits were relying on “outmoded” technology that needed replacement. At the Huntington Beach Police Department lab, staffers worked up a Rube Goldberg–<\d>esque scheme to revive a broken arson analysis gadget. Sort of. “Because the laboratory does not have the funds to replace this equipment, staff found a creative way to cool the [machine] using hoses rigged to a faucet,” auditors found. But, they noted, “this method could negatively affect the analysis of the evidence processed by this instrument.”
Then there was the question of whether the analysts themselves were up to par. “We think forensic examiners need to be tested every year to make sure they’re maintaining competence in their ability to perform the forensic examinations they’re doing,” Howel tells me. Eight of the labs had no proficiency testing for their staffers.
“It helped us put our operation in perspective to the rest of the state,” says S.F. lab chief Blake, who thinks the audit was fair. “We did look like we were swamped. It helped us get our additional staff.”
Busting the FBI
Whitehurst, the former top explosives expert at the FBI, doesn’t like the term ‘whistle-blower.’ “We’re simply scientists, and we disagree with the type of science that’s being practiced — because it’s not science,” he told me. “Our forensic labs are dictating truth; they’re not discovering it.” Whitehurst says he constantly hears from irate crime lab scientists claiming their operations are riddled with improprieties.
The Ph.D. chemist spent eight years at the bureau combing the rubble of bomb blasts for clues. And complaining. During his tenure with the bureau, he made 237 written complaints concerning what he saw as a pattern of bunk science and bogus testimony on the part of his colleagues. The charges spurred an 18-month probe by the Justice Department, the phone-book-<\h>size results of which were made public in 1997, undoubtedly marking one of the FBI’s worst public embarrassments.
The special-inspection team, an international panel of renowned forensic scientists, had few kind words for the lab, finding “significant instances of testimonial errors, substandard analytical work, and deficient practices” in numerous investigations, including the Unabomber, Oklahoma City, and World Trade Center bombings. Among the skeletons in the bureau’s closet: “scientifically flawed reports”; examiners devoid of the “requisite scientific qualifications”; and five agents who couldn’t be trusted.
Whitehurst’s experiences have led him to believe that crime labs should be overseen by federal or state authorities, rather than by ASCLD and its voluntary certification program. “It’s a foregone conclusion; there’s no question in my mind in five years forensic labs will be regulated, and they will be audited,” said Whitehurst, who now lives in Bethel, N.C., and acts as an expert witness in criminal trials. “There’s too much discovery happening.”
Lab directors argue that their work is constantly reviewed by the courts — juries don’t have to believe a forensic expert; judges can overturn verdicts based on forensic evidence — making their profession among the most scrutinized.
Whitehurst disagrees, saying juries, defense lawyers, and judges are often baffled by the science presented to them. “Listen to this phrase: pyrolisis-gas chromatography/mass spectrometry,” he says. “Do you know what that is? Let’s try this one: fourier transform infrared spectrometry. I’ve got a doctorate in chemistry and a jurisdoctorate also. What I’m saying to you are completely foreign concepts. When I try to explain how a ultraviolet spectraphatometer works, or how a micro spectraphatometer works, just saying the words begins the glass-over of the eyes.”
Understaffed in Alameda
The Alameda County Sheriff’s crime lab is housed in a two-<\h>story building in the foothills just off 150th Avenue in San Leandro. On the second floor, in a series of linoleum-<\h>tiled rooms connected by a cluttered hallway, the lab’s technicians scope the physical remnants of crime, putting bullets beneath microscopes, lifting latent fingerprints from knife handles, culling DNA strands from splattered blood.
Each year the operation, which analyzes evidence for most of the county’s police forces, handles some 200 “major” investigations, most of them murders and rapes. But drug cases (1,800 to 2,000) and DUIs (more than 4,700) make up the bulk of the work. There are only eight lab technicians to handle the massive load.
“Every analytical report has to be right on the mark,” said lab director Tony Sprague, who has worked at the facility for 30 years. “We have a huge responsibility to make sure all the results are accurate.”
Sprague guides me through the building, showing me a single lead particle, as magnified 10,000 times by a monstrous, $270,000 scanning electron microscope. Next door a white-<\h>coated technician sits glued to a conventional microscope, studying a handgun cartridge. Across the hall are the analysts’ personal workstations: on one of the wide-<\h>topped tables sit the innards of an auto; on another lie sheets of paper covered with boot prints.
Sprague is an amiable gearhead and explains in detail how each of the machines works. The gas chromatograph/mass spectrometer, an ovenlike slab of a machine, can detect the presence of gasoline or kerosene in air samples collected at the scene of a suspected arson fire. Another device uses infrared light to determine the chemical composition of a given substance — a bag of white powder for instance.
The lab’s ASCLD accreditation in June 1999 was a huge undertaking, according to Sprague. “It took us about two years [to get certified],” he says. “It was costly from the standpoint that you have to take dedicated staff time away from analytical work to get the paperwork done for the accreditation process. In our case we really didn’t change our ways of doing forensic science to meet accreditation standards. There was really no issue about doing things differently — the thing we had to do, we had to document all the policies, the procedures, all of our quality assurance records had to be brought up to a little bit higher level.”
Voluntary reviews by the nonprofit ASCLD are enough regulation for Sprague, who views government oversight as a losing proposition. “Some mandated federal program? I don’t know that that’s really the answer,” he says. “That would involve a huge bureaucracy. It would be a very difficult situation.”
Ralph Keaton, executive director of ASCLD’s accrediting board, agrees. “I think crime laboratories should have some kind of program to review the quality of the work being produced by the laboratory — and that’s the reason we came into existence,” he tells me via telephone from the organization’s headquarters in Garner, N.C. “It’s my opinion that no one can evaluate the type of work being done better than the actual practitioners of that discipline. Just like the oversight of the medical profession is best done by the doctors themselves.”
Speaking to me in his office library, Sprague tells me he is proud of the work his team does, proud to be acknowledged by his peers. But he admits to a certain frustration, saying that his lab is seriously short-staffed: “We’re about one-third the strength we should be at for what we’re doing.”<\!s>v

FEAST: the Guardian Guide to spring food and drink

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Click here to check out out FEAST picks!

Taking it in

It’s no secret that we are what we eat. But it’s as true on a collective level as it is on a personal one. I’ve been struck by this fact as I’ve toured my new hometown with an eye for Bloody Marys and bloody steaks, learning about the life, vibrancy, art, and activism of San Francisco through its tamales and tajines. Having come most recently from Los Angeles, with the strip-mall predictability of its restaurants, I find myself falling more in love with this bayside city with every PBR I polish off. Not that there aren’t good places to eat in LA — there are. But a city’s culinary landscape is indicative of its culture, values, and politics — and while LA’s sweet spots are few and far between, hidden, often elitist, usually too expensive, and always hard to get to (hello, traffic), San Francisco’s are plentiful, varied, egalitarian, ecofriendly, and accessible. They have personality and heart. They provide nourishment and pleasure. Most of all, they serve damned good food. This is a guide to this city’s characteristic places for dining and drinking, the places that express our great diversity and our activist nature, the places that cater to our exciting nightlife and to the many ways we recover from it. From green restaurants to places to get cocktails, from high-end to lowbrow, from ethnic treasures to all-American classics, these are some of our favorites. This list is by no means comprehensive, as we are blessed to live in a city with so much to offer that a full list of places worth visiting would read like a phone book. For even more, check out our weekly restaurant reviews, in the paper and online at www.sfbg.com, and keep an eye out for our Best of the Bay issue in July. And in the meantime, raise your glass — or your fork — to the fact that we live in one of the most exciting, eclectic, good-eatin’ cities in the world. I for one am happy to drink to that.

Molly Freedenberg

Feast 2007 editor

molly@sfbg.com

The final frontier

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› cheryl@sfbg.com
Ask Aron Ranen about his filmmaking philosophy, and he won’t pause long. “I’m a reality surfer. Things pop up as I’m quote-unquote traveling around the world with my camera.”
When he says “pop up,” he ain’t kidding. While attempting to uncover the truth about the Apollo 11 moon landing in Did We Go? (which screened in 2000 at New York’s Museum of Modern Art), Ranen stumbled upon the fact that the magnetic tapes used to record the 1969 event had gone missing. This peculiar nugget resurfaced in the news lately, generating enough buzz beyond the conspiracy fringes to nudge NASA into a response via its Web site: “Despite the challenges of the search, NASA does not consider the tapes to be lost.”
A month ago Ranen appeared on CNN to discuss the controversy. Host Glenn Beck tried awfully hard to paint the doc maker as a wackjob; the segment ends with a joke likening those who believe the moon landing was faked to those who are “still wondering why Darrin One was mysteriously replaced by Darrin Two.” This kind of reaction doesn’t seem to bother Ranen, who between movies teaches digital filmmaking at DV Workshops, the school he runs out of his Mission District studio.
“My motto is film the obvious,” he explains. (Later in our conversation he expands that motto to include “trust reality … and also don’t fuck it up.”) “I’m just trying to illuminate some of the things that are going on in our culture.” Did We Go? is actually not a wackjob’s manifesto; it features interviews with Apollo 11 flight director Gene Krantz and astronaut Buzz Aldrin — as well as the NASA employee who physically closed the hatch on the rocket before its launch. The film doesn’t try to discredit the moon landing; it tries, with sincerity, to prove that it actually happened. (In other words, there’s a reason it’s not titled We Didn’t Go.)
A filmmaker since he was 13, Ranen has made so many short documentaries that he’s lost count. Over the years the self-funded artist has developed his own approach to shooting. His films are generally unstructured — expecting the unexpected — and are guided by Ranen’s first-person voice-overs, delivered in a tone that hovers between curiosity and amazement.
“Everyone trusts me and talks to me in my films,” he says. It’s a claim backed up by the openness displayed by his diverse array of subjects, many of whom Ranen meets on the fly. His film Power and Control: LSD in the 60s — a tangent-riddled exploration of the drug’s influence on politics and counterculture — features chats with an ex–Stanford University researcher whose simian LSD tests earned him the nickname “Monkey Mike” and a now-elderly professor who was among the Harvard students who participated in Timothy Leary’s 1962 Good Friday experiment. Ranen attributes this kind of access to his lone gunman style.
“I refuse to let anyone go with me. I believe so much of documentary is about the relationship between the filmmaker and the subject. I don’t want a crew or a sound man to mitigate my relationships with these subjects,” he explains. “When I’m talking to someone, you can see their enthusiasm in talking to me.”
Ranen’s go-with-the-flow methodology extends to postproduction. He “edits organically,” subscribing to what he calls “the pinball effect: as you’re watching it, the edit speaks to you and says, no, take that stuff in the middle and put it up front.” He’s also not opposed to altering his films after they are finished. Power and Control screened as a 70-minute feature at the 2005 San Francisco Independent Film Festival; the version at Other Cinema this weekend hovers closer to 40 minutes. Eventually, Ranen hopes to add a chapter exploring the possible LSD-KGB connection.
His most recent film, Black Hair, is also his most widely seen, thanks to a strategy of free distribution via YouTube. The doc, which Ranen says has been viewed some 100,000 times, delves into the racial and economic issues raised by the fact that most of the black hair-care industry’s retail and wholesale markets are controlled by Korean, not African American, businesspeople.
Ranen’s film inspired Bay Area hair-product manufacturer Sam Ennon to found the Black Owned Beauty Supply Association, or BOBSA, now a national organization aimed at what Ennon calls “reorganizing the whole industry in terms of the distribution channel. It’s not that we want to run the Koreans out of business — we just want to share in the business. We want to recirculate the black dollar.”
Ennon says Black Hair gave BOBSA’s cause a major assist. “A picture speaks better than words. The film is really what turned it completely around.”
It’s all in a day’s work for Ranen, who seems to attract unexpected spontaneity and the not-occasional weird coincidence. His DV Workshops was funded with a settlement he received after learning that Nine Inch Nails had sampled one of his films without permission. The dialogue snippet, taken from Ranen’s film Religion in Suburbia, just happened to include this phrase: “do you believe in miracles?” SFBG
POWER AND CONTROL:
LSD IN THE 60S
Sat/30, 8:30 p.m.
Artists’ Television Access
992 Valencia, SF
$5
(415) 824-3890
www.atasite.org
www.dvworkshops.com

Pixies stick

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A smiling Kim Deal holds up a T-shirt with “Pixies Sellout” emblazoned across the back. “Where did you get the inspiration?” she asks guitarist Joey Santiago, who named the band’s comeback tour. “’Cause we sold out in minutes!” he offers sans irony. Santiago might not be in on the joke (somewhat inexplicably), but for the rest of us the subtext is clear. Sure, the Pixies are now well into middle age and showing it, but to claim these indie rock demigods are simply trying to cash in on past success is a little unfair. Since they were never really able to enjoy major-league (outside of the United Kingdom) success (which happened after the breakup) in the first place, they’re just now getting used to this whole rock-glory thing.
LoudQUIETloud, shot during the band’s 2004 world tour, frames their collective “holy shit, they love us!” state of shock perfectly while still managing to focus on the individual members’ personal struggles with art, family, and commerce. Before the tour’s start, lead singer-songwriter Charles Thompson (a.k.a. Black Francis) is plugging away at solo gigs and Nashville records; a newly sober Deal (the only Pixie left with any hair) hasn’t recorded with the Breeders in years and is holed up in Ohio; Santiago is scoring films and raising kids; and drummer David Lovering is pursuing “hobbies of magic and metal detecting” (seriously).
Still, amid all the drug tiffs, card tricks, and mostly energetic renditions of classic tunes like “Caribou” and “Hey,” we get precious little insight into the Pixies’ much-ballyhooed musical influence. Even the film’s title — a reference to the band’s signature seesawing song structure — is never explained. Actually, the title is a good characterization of the movie itself: despite the notorious rancor between members that ultimately led to the band’s demise, for the most part they come off as quiet, funny eccentrics in between the thunderous live footage. They’re so unrelentingly low-key, in fact, it’s hard not to wish one of them would explode, like a Pixies chorus, into something a little less tame. (Michelle Devereaux)

Broken social scene

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› a&eletters@sfbg.com
Brooklyn, like Oakland and the Mission District, has swelled in the last decade with postadolescents: beards and black hoodies wandering streets on the verge of gentrification. This intermediary space is the setting and premise for indie filmmaker Andrew Bujalski’s latest, Mutual Appreciation. Bujalski first made a splash with Boston-based Funny Ha Ha (2002), an unassuming feature made in the tradition of talky indie forbearers John Cassavetes, Eric Rohmer, and Richard Linklater. Mutual Appreciation again collects a group of guarded postgraduates for its cast, but the film is no angsty trifle. Bujalski pulls off that impossible trick — always surprising no matter the influences — of affecting a naturalistic, improvisational flow while maintaining a clear authorial voice. It’s a dynamic that picks up steam with each exquisitely staged scene, making Mutual Appreciation as absorbing as anything you’re likely to see at the movies this year.
How then do we account for this guided freewheel? Cinematography is, as always, at least part of the answer. The grainy 16mm black-and-white film stock isn’t mere affectation but rather a functional stylistic element, underscoring the drab reality of the movie’s unsettled spaces: apartments with everything secondhand and mismatched, unmade beds on nicked hardwood floors, and rooms that are either too big (making one fret over the lack of proper furniture) or too small (making one crouch). Bujalski and cinematographer Matthias Grunsky court these challenging spaces, always coming up with a revealing composition that frames characters in depth — splayed against walls or hunched in makeshift chairs.
While Bujalski has clearly done his homework on no-budget cinematography, his narration style seems more instinctual and basic to the film’s shape. Like exemplar François Truffaut’s Jules and Jim, Mutual Appreciation pivots on a youthful, untested ménage à trois: boyfriend-girlfriend Lawrence (Bujalski) and Ellie (Rachel Clift) have lived in Brooklyn for some time, while Lawrence’s old friend Alan (Justin Rice) is new in town, lost in an existential quandary over his life and music (“It’s like pop”). Like so many of his progenitors, Bujalski has an innate sense for particular rhythms of talk. This isn’t just a matter of dialogue (“If you kiss me now, my breath’s going to be all beery and burrito-y”) but also of editing — knowing, for example, how to exit a scene, convey a relationship with an unevenly paced phone conversation, and let the camera run on a given close-up to register a character’s unguarded reactions.
More impressive is the way Bujalski subtly orchestrates little one-acts to achieve genuine drama. The principle instance of such narrative structuring is in the many scenes between Lawrence and Ellie, and Alan and Ellie, but none between the old friends in question (until the closing minutes anyhow). If Mutual Appreciation’s narrative seems accidental, it’s a testament to Bujalski’s understated technique. There is certainly method here, from repetitions of dialogue (“That’s flattering”) and theme (gender confusion) to the patient unveiling of character, the apotheosis of which is a sequence of scenes tracing Alan from one Warholian party to another, no better for the omnipresent tallboys of beer.
What begins as nonchalant talk blooms into compelling drama by movie’s end. It seems no coincidence that one of Mutual Appreciation’s three main characters is an indie rocker. Bujalski, after all, registers the fear and trembling that twentysomethings expect from music (middlebrow Indiewood being as unlikely to produce something relatable as the French “cinema of quality” from which the New Wave broke away). But Mutual Appreciation is more than an outlet; in its illuminating narration, many will see a mirror, an ode to these transitional places in which one blusters toward adulthood, talking all the way. SFBG
MUTUAL APPRECIATION
Opens Fri/29
Red Vic Movie House
1727 Haight, SF
$4–$8
(415) 668-3994
www.redvicmoviehouse.com
www.mutualappreciation.com
For an interview with Mutual Appreciation director Andrew Bujalski, go to www.sfbg.com/blogs/pixel_vision.

Grizzly man

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New York City band Grizzly Bear’s gently ambient Yellow House (Warp) manages to delicately conjure bittersweet associations of musty, memory-cluttered childhood homes and reference Charlotte Perkins Gilman’s feminist-modernist novel The Yellow Wall-Paper — but the real household dirt on this band has to remain in one’s imagination.
Vocalist-keyboardist-guitarist-autoharpist Edward Droste is up-front about his own sexuality — saying he’s been in a relationship with one man for most of the band’s existence — but when it comes to the love lives of his straight mates, the sometime journalist and Pro Tools bedroom recordist is the soul of discretion. Grizzly Bear’s tales of random hookups are just “too dirty” to pass along, he explains on the phone from the East Coast college campus where the group is playing before joining the TV on the Radio tour in October. “I usually bond with the girls,” says Droste, 27, miming his role as the band’s father confessor. “It’s cool — we’re leaving town. But it’s totally cool.”
And a certain ethereal cool marks the foursome’s gorgeous soundscapes, now lifted above the tape-hiss fray of their fake-fur-embellished 2004 debut, Horn of Plenty (Kanine; later reissued in 2005 with a CD of remixes by Dntel, the Soft Pink Truth, Final Fantasy, and Solex). Yellow House sounds warm and welcoming, thanks to the production prowess of the band’s brass and woodwinds player Chris Taylor and the recording site: Droste’s mother’s Boston-area home, the yellow house of the disc’s title. The seductive tug of nostalgia takes over as Beach Boys–style harmonies skate over fingerpicked acoustic guitar and strings, bird chirps, and wah-wah pedal flit together on “Little Brother.” Horns lumber alongside busy insectlike electronics and Droste’s and guitarist Daniel Rossen’s cooing vocals during “Plans.” By the time the album breaks into “Marla” — a slowed-down, strings-swathed dusky dirge based on a 1930s-era tune penned by Droste’s great-aunt of the same name, a failed singer who eventually drank herself to death — resistance becomes futile. This is seriously lovely music, a reflection of the group’s recent communal music-making — and far removed from groupie dish.
“Initially, we wanted to record an album before we had a label and didn’t have any money,” recalls Droste, who shares the name of the Hooters cofounder, a distant relation. “My mom was going to be away, it was my old childhood home, and I was, like, ‘Well, we can all have our own bedrooms, record in the living room, and there’s a backyard, and every night we’d have chips and salsa and beer.’”
The laid-back atmosphere and ensuing musical productivity led to a bidding frenzy among indie labels when the recordings emerged, and now Droste is relaxing into a tour schedule that brings him back to San Francisco for the first time since February 2005, when Grizzly Bear — jokingly named after a Droste boyfriend who was anything but — played the Eagle Tavern. How did Droste’s hetero bandmates handle the attentions of SF’s finest bears — and those of the bandleader himself?
“They’re total cock teases. They love attention from boys, but they never do anything,” Droste offers laconically. “Never say never, but I kind of feel like if you’re hanging with me in New York City and there are a million fags everywhere and dozens of opportunities … I’m just gonna drop it and accept the fact.” (Kimberly Chun)
GRIZZLY BEAR
Fri/29, 9 p.m.
Independent
628 Divisadero, SF
$12
(415) 771-1421
www.grizzly-bear.net

Boys? What boys?

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› a&eletters@sfbg.com
I meet bandleader, videographer, and Mission District indie icon Leslie Satterfield at Ritual café on a summer evening as she walks up Valencia Street looking weather-beaten and weary from her recent travels. Is she just back from a cross-country tour, I wonder? No, she was precisely where you’d expect the guitarist from Boyskout to have been: camping. She survived days of deer watching and near–bear sightings in the Sierras, and despite her desire for a hot shower and warm bed, Satterfield settles in with a cappuccino and some good stories.
Satterfield may be best known for her post-punk quartet Boyskout, a band that’s risen the ranks since its inception in 2001 to tour around the United States and Germany and headline major local venues including Mezzanine and Bimbo’s 365 Club. But the sandy-blond, late-20s songwriter has been also turning heads of late with her filmmaking.
Her video for Film School’s song “11:11” — a minimalist travelogue set in San Francisco streets and tunnels — is the latest work for her own Sharkbone Productions, which has also produced Boyskout videos shown internationally at major gay and lesbian film festivals. Her latest projects include a video for Rough Trade UK–signed act Scissors for Lefty and a self-produced experimental film that she describes as “being about love and creating what you believe.”
“Most of my films have been about how we create our own realities with our mind and how powerful the mind itself is — how your thoughts create everything that happens to you,” Satterfield says.
With her Mission artist garb — black boots and worn dark denim — I figure Satterfield had a youth spent in mosh pits and zine-collective punk hangouts. On the contrary, she grew up listening to the Beatles, Olivia Newton-John, and Simon and Garfunkel, while spending a lot of time drawing. She earned a BA in photography from Savannah College of Art and Design and resided in Amsterdam for a year before moving west. Now in addition to classics from Elton John and Heart, her iPod holds songs by Coco Rosie, the Libertines, and Tapes ’n Tapes. It’s an eclectic collection of music, similar to the local bands she holds dear and performs with regularly. The list includes up-and-coming acts like the Fucking Ocean, Tartufi, Full Moon Partisans, Death of a Party, and the Mall, as well as Shande — the group fronted by her sometime–guest guitarist Jennifer Chochinov.
Admittedly a shy, coy romantic who’s just completed an all-acoustic album, Mixing Memory with Desire (Dial), as J-Mod, Satterfield was initially a reluctant lead vocalist. You wouldn’t know it from Boyskout’s recent rock-out performances: Satterfield’s steely, saucerwide blue eyes zap the audience playfully while she mixes it up with her bandmates onstage. Along with bassist Piper Lewine, keys and violin player Christina Stanley, and drummer Ping (and occasionally adding guest guitarists like Chochinov or Daniel Dietrick to the lineup), Satterfield slayed audiences at South By Southwest this year in Austin and returned immediately to begin recording Boyskout’s now completed second album, Another Life (Three Ring). At the time we speak, eight of the planned 11 songs are done but won’t be out, well, until they’re done. “I’m a huge perfectionist,” Satterfield confesses. “The biggest in the world. I really like to take my time and do things to a tee.”
The songs I’ve heard from the project, including the Nocturne-era-Siouxsie-sounding “Spotlight” and the jittery dance-rock slab of “Lobby Boys,” are as refreshing as local underground music can get (word to Live 105). Meanwhile, Satterfield’s singing on the J-Mod disc (fantastically recorded at Hyde Street Studios) resembles Nico or Hope Sandoval in their darkest, most mysterious moments. Each album serves as an introduction to Satterfield’s thoughtful and dissonant guitar playing, a style that compliments her alabaster-smooth voice. Based on her range of projects and contacts, I get the impression that Satterfield has some big opportunities on the horizon.
Other recent adventures include a trip to Portland to teach at the Rock ’n’ Roll Camp for Girls. “I taught last year in New York, and it was really fun. I worked with a group of 8-year-olds who formed their own band called Pink Slip.” Which reminds me, I never did get to ask Satterfield what her day job is. For now I’ll just assume it’s the professional term for “brilliant multidisciplinary artist.” SFBG
BOYSKOUT
With the Mall and the Plot to Blow Up the Eiffel Tower
Oct. 5, 9:30 p.m.
Bottom of the Hill
1233 17th St., SF
$10
(415) 621-4455
www.bottomofthehill.com
www.boyskout.com

TUESDAY

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Oct. 3

Music

Man Man and Pink Mountaintops

With band members identifying themselves as masters of such unusual instruments as the beduggering demonstration and the illustrious quesadilla special, Philadelphia’s Man Man are nothing if not unconventional. Wielding a mightily transfixing power with a carnival-clown playful sound, they bring to mind images of unrelentingly caffeinated children’s choirs playing musical chairs with Tom Waits and Captain Beefheart in Federico Fellini’s junkyard. Providing additional mind-messing are Vancouver’s Pink Mountaintops, whose latest album, Axis of Evol (Jagjaguwar, 2006), is a hypnotically propulsive piece of deliciously twisted modern psychedelia. (Todd Lavoie)

With Dodo Bird
8 p.m.
Independent
628 Divisadero, SF
$12
(415) 771-1421
www.independentsf.com

Visual Art

“Palimpsest; New Paintings” and “Le Silence des Choses”

The shock, misery, and loss of control that a “Dear John” letter recipient experiences are tough topics to sell. In his show “Palimpsest; New Paintings,” Mark Stock captures the dull resignation in the eyes of his subject and builds layers of weight atop it. Catherine Jansens’s watercolors are an inspired complement to Stock’s works. “Le Silence des Choses” shows off her incredible eye for light and unwavering control of the medium. Each exhibit explores a heaviness both in technique and in content that is palpable and startling in the light, airy, whitewashed gallery space. (K. Tighe)

Through Oct. 28.
Tues.-Sat., 10 a.m.-5:30 p.m.
Modernism
685 Market, SF
Free
(415) 541-0461
www.modernisminc.com