Volume 42 [2007–08]

Sketches of Spain

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John Fahey remains the beacon of American Primitive Guitar, but Peter Walker’s two out-of-print 1960s albums — Rainy Day Raga and Second Poem to Karmela or Gypsies Are Important (both Vanguard; 1966, 1969) are benchmarks of exuberant raga-blues sure to destroy any open-tuned acolyte. Solo guitar has never been a bankable venture — Fahey himself pawned instruments to pay the rent — but the recent stream of reissues and compilations (e.g., Tompkins Square’s Imaginational Anthem series and Numero Group’s Guitar Soli) highlight the breadth and influence of this loose-knit musician’s movement, while younger disciples like Jack Rose, James Blackshaw, and Ben Chasny reanimate the tradition. Walker writes me a series of e-mails from Peru about his eye-opening experience touring with Rose: "I had no idea I could work in this country or that anyone cares about what I was playing…. All of these younger players have picked up the ball from Sandy Bull, me, Robbie Basho, and John Fahey and run with it."

The fresh faces on the 2006 A Raga for Peter Walker tribute album seem eager to lap up Walker’s former torrents of notes, but the 70-year-old guitarist has long since moved on to the more capacious terrain of Spanish flamenco. He points out that the form is based on some of the same scales as raga in the liner notes to his new record, Echo of My Soul (Tompkins Square), a bridge he’s given himself plenty of time to cultivate in his 40-year gap between records.

"I first went to Spain to study in the fall of 1963," he writes. "It wasn’t until that winter that I had a chance to study in Valencia with a Sr. Pappas, who sold meat during the day and taught flamenco at night a few miles outside the city. It transformed my view of the instrument and what was possible." This from the man who participated in at least two zeitgeists in his younger days, playing the Greenwich Village coffeehouse circuit with people like Tim Hardin and Karen Dalton, and serving as the "musical director" for Timothy Leary’s LSD-coated celebrations.

Once a bright light of the counterculture, Walker’s voracious musicality returned him to the semi-anonymity of tutelage. While Echo of My Soul evokes tender evenings and intergenerational anthems, it’s also something of a student portfolio: "I made a recording each year reflecting my development, [and] I took the best of these to make a compilation to submit as my application to play in a major competition in Murcia," Walker writes. "The consensus in the Sacromonte community was whether or not it was pure traditional flamenco. It was certainly very beautiful music, so I decided to release it."

When I saw Walker play at the 21 Grand two years ago, I knew nothing of this long back-story, but the explorative nature of his musicianship was plain from his relaxed performance. He ran through many of the lyrical themes and rippling chord clusters that comprise Echo of My Soul, pausing between each piece to relay a story from Seville, Granada, or Woodstock. The 21 Grand is a chilly performance space, but Walker imbued it with worldly warmth — something decidedly lacking in most club performances. It might seem anachronistic to travel thousands of miles to study a musical form in the age of the iPod, but computer interfaces cannot satisfy curiosity in such full bloom. "I am in Lima, having a blast," Walker mentions in our first e-mail exchange. "Great music scene here…. The flamenco/Inca/jazz fusion is great."

PETER WALKER

With the William Hooker Trio

July 19, 7 p.m., $12

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

Noise to go

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Load combo Monotract inspired immediate double — nay, triple — takes as it took the stage at the label’s South by Southwest showcase at Room 710 in Austin, Texas, last year. Noise impresario Carlos Griffoni and ace drummer Roger Rimada were missing in action due to a snowstorm, and the New York City band’s sole rep turned out to be guitarist-vocalist Nancy Garcia — flailing away on guitar with massive curls and girlish frock and evoking images of early punk women before the genre’s look, and sound, became codified. Alongside Garcia was an impromptu experimental-music supergroup incarnation of Monotract — Sonic Youth’s Thurston Moore also on guitar, Burning Star Core’s C. Spencer Yeh on violin, and Magik Marker’s Pete Nolan on drums — generating a memorable, noise-fueled set only tangentially related to the genuine article’s powerful album that same year, Trueno Oscuro (Load). The fourth album by the band ended up drawing praise from both Pitchfork Media and The Wire for its loud-soft waves of epic distortion ("Red Tide"), no-wave-ish blurt ("Cafu y Kaka"), and electronic-groan tribal-chant ("Big N"), which saw Garcia memorably motor-mouthing toward the reverb-bristled finale.

Apparently Garcia is not only resourceful in a jam, but something of a triple, even quadruple, threat. The Miami, Fla., native of Cuban American descent has been working in dance, video, and visual art, in addition to music, since moving to NYC eight years ago, where she studied at the Merce Cunningham dance studio and recently received a master’s in interactive technology at New York University’s Tisch School of the Arts. And she’s traveled far —aesthetically and geographically — from her sun-baked teen years in Miami, listening to grunge on the radio and flailing at her guitar as part of Rat Bastard’s Laundry Room Squelchers.

Her first tour with the noise group at 18 led to some "permanent damage, for sure," she says with a chuckle, speaking by phone from NYC. "I was really young and in high school, so it was just really amazing that someone invited me to go on a stage and I could play whatever I wanted. Basically there was no judgment passed, ever."

A dancer since age six, Garcia began composing music and dance at around the same time, so it was natural that one medium informed the other. Garcia’s 2007 dance piece, No Keys, for instance, juxtaposed frugging and head-banging rock moves drawn from Tina Turner and Iggy Pop with lyrics from the Slits and John Holt, beneath one of the musician’s wall-size drawings. Another work, 2005’s localstwang, saw Garcia moving and making music simultaneously, using contact mics attached to effects pedals and amps. That sense of play will factor into Garcia’s Mission Creek show — a first for her as a solo live performer: it will involve guitar, oscillators, and perhaps other "random instruments in the space," she offers. "I like to stay sort of open. Oh, also some movement. It’s hard not to move when there’s music playing."

NANCY GARCIA

With Fishbeck/Duplantier, Jane(t) Pants, and Kunsole

Fri/18, 8 p.m., $5–<\d>$15 sliding scale

New Langton Arts

1246 Folsom, SF

(415) 626-5416

Dye, dye, darlings

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Feel like dyeing? If yes, there are many products available to help you do so, but it’s unlikely that any color you choose will be anywhere near as exciting as the fearsome fun that Bleachy Bleachy Bleach conjures up. By the time they’ve set a dance beat behind their computer-scrambled screams and guitars, second-guessing is out of the question: these two shred hard without having to bring any ordinary instruments on stage.

Band members Kadienne Eslami and Jessie Abbey met in high school in Pleasanton and often went to shows in Oakland, Berkeley, and friends’ houses before deciding to start a band. According to Eslami, who spoke about the project by phone from her Pleasanton home, it was the frequent re-dyeing of their formerly purple and pink heads of hair that brought about the Bleachy Bleachy Bleach name — a moniker that also suggests the purging, triply frown-obliterating force of their music. Smiles are what got them started in the first place. "We started out playing through a PlayStation on a DDR mat, then started putting more emotion into it," said Eslami, who spells out her first name on one of the group’s earliest tracks, "Boobopera," before the bass beat kicks in and a splintered "easy lemon squeezy" rap unravels into screeches and buzzing chatter in French.

They employ noise in a variety of ways, alternately emotional and playful: the manic skitter of their new song "Toys" closes out its beat with a small dog’s bark. The duo also make use of a toy guitar, saxophone, and other assorted odd instruments in their convention-melting assemblages.

"Mostly what we do is record with instruments and collaborate with friends to make beats," Eslami says, "particularly Dylan Reznick from [the now-defunct band] Robin Williams on Fire, and most recently with Vice Cooler of XBXRX." When gigging on the John Benson–built Bus venue and elsewhere, they sing on microphones alongside their programmed laptop, adding that human presence that makes their songs so affecting. "Tennies," a song off their 12-inch coming out later this year, is about a guy Eslami met on Muni who had holes drilled in his head: "he explained how when people talk to him, he interprets their sentences backwards and has to translate them back to himself." Backwards translation won’t be necessary to keep beat with the Bleach, but scratching a chalkboard could make for fun accompaniment.

BLEACHY BLEACHY BLEACH

With Rubber O Cement, Take Up Serpents, Ettrick, Amir Coyle, Mikey Yeda, and Hora Flora

July 17, 8 p.m. doors, $5

Balazo 18

2183 Mission, SF

www.balazogallery.com

Resurrection blues

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› kimberly@sfbg.com

Lazarus has risen — in North Beach. Picture him, dazed and confused, perfumed with decay and dragging a tattered burial cloth, easily mistaken for yet another starry-eyed traveler in search of beat antiquities, wandering down Columbus Street. But the Bible-thumping, god’s honest truth is Lazarus is more likely to be sighted making a beeline into Café Trieste, work-weary and bright-eyed, smiling broadly and snatching a small iced coffee at the counter. That’s our latter-day Lazarus, otherwise known as Trevor Montgomery, once a member of Tarentel and the Drift and now generating an occasionally beautiful, always heartfelt moan of his own, last heard on 2007’s almost-epic animistic howl of a recording, Hawk Medicine (Temporary Residence).

We meet at Montgomery’s former workplace, Trieste, amid the still wild-eyed bohos, newly pressed and somewhat impressed seekers, and aspiring poets — or at least bloggers — hunched over laptops in crusty corners. Montgomery slips into the crowd seamlessly here at his liberation locale. When he first moved to North Beach about five years ago, he lived in a Chinatown hotel — as the sole non-Cantonese speaker. "It really freed me up to really write songs because I’d been living with Danny [Grody] and Jefre [Cantu-Ledesma] in Tarentel for years before that and I could never play," he explains above the din of java-making. "I felt like everybody was listening to me."

Now in the shadow of Coit Tower, Montgomery is glad to find that people are indeed listening: the four-piece touring version of Lazarus — which includes Kathryn Sechrist and Kelly Nyland in addition to the Papercuts’ Jason Quever — recently returned from a date at All Tomorrow’s Parties in the United Kingdom, curated by Montgomery’s friends Explosions in the Sky. He swears it was probably Lazarus’ best performance to date. "People surprisingly wouldn’t let me leave the stage," he says happily. "I’m really, like, all blown away." On top of that was the thrill of selling merch next to Wu-Tang Clan and Animal Collective.

Unfortunately there’s sadness mixed in with the joy. Montgomery also has had to cope with the aftershocks of his mother’s massive brain aneurysm two months ago, which sent him down to Orange County, where he grew up, to "take care of my dad and make dinner for him." Still, he was able to take his recording gear to make music in his parents’ garage — pieces that likely will show up on his forthcoming 12-inch on Secretly Canadian offshoot St. Ives, which will sport recycled, hand-modified LP covers courtesy of Montgomery and his artist chum Ryan Coffey. "I think the theme of the record musically is going to be extremes: opposites," Montgomery says. "I’ve been doing just a lot of wild, maniacal guitar playing." He laughs and throws his arms around. "You know, I have a lot of that in me. I need to get it out." *

LAZARUS

With Tiny Vipers and Garrett Pierce

Thurs/17, 9:30 p.m., $6

Hemlock Tavern

1131 Polk, SF

www.hemlocktavern.com

Get the Drift

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If you haven’t caught wind of the Drift, maybe you should take that coat off. This San Francisco outfit’s instrumental rock creeps deftly outward and upward into an exhilarating, rapidly unfolding sprawl, channeling dub and old school jazz fusion in its whirring excursions.

Over the phone from SF, Danny Grody, the group’s guitarist and keyboardist, happily talked about the band’s inception and recording their second album, Memory Drawings, released in April on Temporary Residence. The Drift began as a trio — including Grody; drummer Rich Douthit; and Trevor Montgomery, who later left to focus on his main project, Lazarus — coalescing tangentially to the buzzing prog-scape of Tarentel into a group with a more contemplative and spacious jazz-like dynamic. Thanks to trumpeter Jeff Jacobs’ entrance through an ad on Craigslist and the upright bass playing of Safa Shokrai, the lineup that produced 2005’s Noumena (Temporary Residence) and Memory Drawings came together.

"With our older songs, parts tended to linger a bit in the ether before they settled," said Grody, who points out that the trumpet and guitar carry the melody in tandem this time out, while the whole ensemble tightened the shifts between the "more structured elements and the more amorphous, abstract spaces" of their music. Tracks like "Golden Sands" are delightfully reminiscent of the sighing final two albums from Talk Talk: brushed drums and airy, delayed guitar work are overlaid with ghostly trumpet smears and keyboards that could have been on Terry Riley’s Rainbow in Curved Air (Columbia, 1967).

Recorded with Jay Pellicci at Tiny Telephone in SF, Memory Drawings sports a title inspired by Donal Mosher’s sleeve art, which depicts a Colter Jacobsen photograph of a moon-flash on a dark ocean at two levels of remove — a pencil drawing in an LP sleeve composed from memory of the photograph, and a second drawing rendered from a memory of the prior memory. These "memory drawings" are eerily similar to, as Grody points out, the band’s own approach to recording and live performance: their collective memory of their songs, free-form in length and in varying stages of completion, ultimately determines their recorded and performed shapes. Boasting an "arsenal of fragments" alongside more finished grooves, Grody explains, the Drift "tried to cover the spectrum from really defined pieces to things that are more skeletal" in laying their efforts to tape. These songs remain in continual drift, highlighting the beauty possible when music forges new space within the sometimes serendipitous gaps of memory.

The Drift

With Christopher Willits, Mi Ami, Tussle, and Eyes

July 17, 9 p.m., $8

Gray Area Gallery

1515 Folsom, SF

www.mcmf.org

Can’t knock the Tussle

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› johnny@sfbg.com

Playing name-that-tune with Tussle isn’t easy. The San Francisco group makes instrumentals. As founding member Nathan Burazer puts it, they’re "not very word-oriented." And neither am I, it turns out, when faced with the challenge of matching the eight out of nine songs I’ve heard from their propulsive Cream Cuts (Smalltown Supersound) with the album’s final track listing. For a minute, I try to get new member, bassist and electronics player Tomo Yasuda, to ID songs based on my descriptions, but noting that one number — "Transparent C" — has a beep-beep motif, not unlike that of a Road Runner cartoon, only gets us so far. There’s some merriment when another song with handclaps that a mutual pal describes as the "gay one" turns out to have the title "Rainbow Claw." But in the end, it’s easiest to discuss and define Cream Cuts while listening to it.

Which is fine with me, because from first listen I’ve considered Cream Cuts one of the best albums of the year — a metamorphosis in which the band’s rhythmic core becomes more sinuous, its atmospherics more expansive, and its overall sound both deeper and more party-ready. Though the foreboding planet-of-the-vampires ambience of "Third Party" would not be out of place on Cluster’s underrated Cluster 2 (Brain, 1972), Burazer is clear that he and fellow original member Jonathan Holland are striving to move beyond the "File under: ESG" or "File under: Can" download dog-tags sometimes attached to their 2004 debut Kling Klang (Troubleman Unlimited) and 2006’s Telescope Mind (Smalltown Superound). In fact, "File under: Wu-Tang" would be a more interesting — and correct — frame of reference for the new release’s downtempo moments. "We listen to a lot of hip-hop," Burazer says. "A lot of Wu-Tang, Ghostface, Lil Wayne, and J-Dilla."

The cover art for Cream Cuts, by Simon Evans and Lart Cognac Berliner, uses hand-woven colored paper. The music inside is bathed in moonlight. This nighttime resplendence is apt, since all four current members of Tussle — including Holland’s fellow drummer Warren Huegel — are fans of the blind street musician and compositional visionary Moondog. But whereas Moondog’s old stomping ground was Sixth Avenue in NYC, Tussle is creating a SF city sound. It’s a sound that can be traced back to North Carolina in 1994, when Burazer and Holland first turned one room in a shared apartment into a place to make music. On new tracks such as "ABACBA" and "Titan," the jam session intuitiveness at the core of Burazer’s and Holland’s bond takes on a new finesse, momentum, and flair for drama.

All of the above reach anthemic immediacy on Cream Cuts‘ "Night of the Hunter." There, the chunkiness of past Tussle recordings gives way to a more fluid and formidable funkiness. It takes a certain nerve to give a song the same name as a classic film, but Burazer has an innate understanding of the Southern menace and beauty within Charles Laughton’s 1955 masterwork. The electronics player’s childhood in Carolina included time spent in a cult. "My parents and I were full-time volunteers in this hospice in the mountains [that turned into a cult]," he explains. "There was a guru, everyone met on the full moon, and there was wife- and child-swapping. There were no drugs or sexual violence — it was mild. But it was a cult."

The experience — one I relate to somewhat — left Burazer "allergic to holier-than-thou authority figures." Instead of a follow-the-leader dynamic, he and Holland built Tussle on a foundation of cooperative intuition, and they’ve discovered another level of open, even-handed collaboration with the group’s newest member, Yasuda. "Tomo puts me at ease," Burazer says. "He’s so easy to work with and so brilliant. He has a calming quality. Things are light with him, even though he’s carrying the low end musically. As a person, he’s playful." This playfulness is just as fruitful in another of Yasuda’s current projects, Coconut, where he and visual artist Colter Jacobsen create meandering folk and jazz improvisations that Arthur Russell might appreciate.

Tussle in 2008 aren’t without a sense of humor or adventure, whether it involves playing under the influence of natural hallucinogens in a Museum of Natural History or bringing a Gay.com Frisbee in their percussion bag to a show at CellSpace. In the end, naming what they do or attempting to define it is beside the point. "Some of the [song] titles come from [playing] Mad Libs on tour," Burazer offers when I ask how this group of instrumentalists deals with words. It makes sense: Cream Cuts is Tussle’s mad liberation from past constraints, a ‘shrooming world of sound that offers pleasure right now, and hints of greater possibilities to come.

TUSSLE

With Christopher Willits, Mi Ami, the Drift, and Eyes

July 17, 9 p.m., $8

Gray Area Gallery

1515 Folsom, SF

www.mcmf.org

COCONUT

With Waters and Hollers, and Shygrape

July 17, 9 p.m., $5

Argus Lounge

3187 Mission, SF

www.mcmf.org

Speed Reading

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BALDWIN’S HARLEM: A BIOGRAPHY OF JAMES BALDWIN

By Herb Boyd

Atria

272 pages

$24

Herb Boyd’s Baldwin’s Harlem is a successful primer on James Baldwin’s work and a well-researched travelogue through the history of ever-changing Harlem. But it’s also something more.

When Boyd, an accomplished journalist for the Amsterdam News in Harlem, was approached to write a biography of a native son and his native soil, it probably seemed like an apt placement. And therein lies the rub.

In the book’s preface, Boyd writes that he "felt a pressing need to defend [Baldwin] from some of those writers and critics who seemed to relish bashing him with each new publication, or renouncing him for being less than totally committed to the struggle for Black liberation." He then proceeds to relish in a similar type of bashing and renouncing — in this case, connected to sexual liberation.

Over the course of Baldwin’s prolific writing career, he had more beef than 50 Cent and LL Cool J combined. Baldwin may have possessed a postmodern understanding of beef as a way to gain notice, a knowledge employed later by the aforementioned rappers. Boyd continues this legacy by excoriating Baldwin (and the word excoriate). He does this through off-hand commentary wedged between well-researched biographical and bibliographical elements. These comments reveal more about the biographer’s none-too-flattering personal opinion than they do his subject’s life. One striking example occurs when Boyd describes a young Baldwin’s sexual deflowering by an older tough as his being "turned out." The homophobic contempt in that chapter alone taints Boyd’s portrait of Baldwin. Being a black writer from New York is simply not enough to give James Baldwin the justice he deserves.

Beyong the nerd herd

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REVIEW Amid impoverished rural segregation, my parents were part of the first bus boycott in Montgomery, Ala. While my father studied Frantz Fanon and tae kwan do in Okinawa, my mother went on to be a probation officer in Los Angeles during the Watts riots. I was born in a riot-torn Washington, DC, around the time my father helped take over the administration offices of Howard University. I’m a Black Movement baby, and Ta-Nehisi Coates is one of my number.

Coates’ The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood (Spiegel and Grau, 240 pages, $22.95) is a memoir about growing up in Baltimore through the Black Power 1970s and crack power ’80s as one of the seven children of Paul Coates, owner and founder of Black Classic Press.

Judging from recent books such as Junot Diaz’s The Brief and Wondrous Life of Oscar Wao to Shawn Taylor’s Big Black Penis, the black nerd has become the locus of pomo literary style. And why not? Who, besides me, didn’t love Urkel? Coates begins his tale as a sensitive black nerd — Beautiful Struggle even has a Dungeon and Dragons–esque map of Old Baltimore on the inside front cover. Swords, dragons, and Monotype Corsiva font chart intersections like Garrison and Liberty, where, as the author relates, "the Orcs cold-played me for my scullie." Ultimately Coates moves beyond the nerd trend, instead playing the vulnerable, reluctant warrior with grace and wit.

Initially unwilling to fight, Coates is sucker-punched, jacked, and tormented on the mean streets. To navigate Baltimore’s threats and perils means acquiring what he calls "The Knowledge": street smarts and savvy that is "the sum experience of our ways from the time Plymouth Rock landed on us." This knowledge is built upon the realization that "death was jammed in us all, hell-bent on finding a way out," and that a man shouldn’t measure his "life in years but in style."

In Beautiful Struggle, Coates contrasts his older brother Bill and father Paul. Bill is a popular player in a decaying neighborhood, struggling to make it to the outside world. Paul is a former Black Panther and full-time revolutionary attempting to raise seven kids to attend the mecca of Howard University, where he’s a janitor, rogue black historian, and would-be publisher.

Watching Bill embrace hip-hop, smoke blunts, chase dimepieces, and pack a biscuit, Coates becomes versed in The Knowledge. He sets it against his father Paul’s "Knowledge of Self," as drawn from Kwanzaa, Nkrumah, and the consciousness of being more god than man and more man than animal. In attempting to find a balance between these tropes, Coates invokes the words and experiences of J.A. Rodgers, Rakim, George Jackson, Ishmael Reed, and KRS-ONE with uncanny ease. He embodies both the hope and the bane of the Black Power movement, and his flashbacks capture its tender and toughening moments.

It is this tension that gives The Beautiful Struggle its potency. Coates charts the seemingly boundless optimism of his father’s generation and the rising cynicism of his and brother’s. He does so with a compassionate, poetic voice that is rooted in a no-bullshit grasp of his personal history and of American history over the past 60 years. To read this book is to catch a glimpse of the profound legacy and letdown of a generation raised to rebel but forced instead to fight disappointment, imprisonment, and despair. As Coates puts it, "The Knowledge Rule 2080: From maggots to men, the world is a corner bully. Better you knuckle up and go for yours than have to bow your head and tuck your chain."

Laid, paid, played

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› kimberly@sfbg.com

"The problem with you is that you have a shitty way of looking at things. I just look at the dopeness, but you just look at the wackness." Ouch. Tough talk coming from the girl of your dreams, but Stephanie — The Wackness‘s been-there, banged-that uptown teenage heartbreaker — turns out to be right on, in her glibly damaged way.

It’s 1994, a moment simultaneously innocent and ominous, heady and paranoia-stoking: the year Kurt Cobain checks out of this temporal plane, while the Notorious B.I.G., OutKast, Nas, and assorted members of the Wu-Tang Clan check in with name-making first albums. New York City’s new mayor, Rudolph Giuliani, is taking his crackdown on so-called quality-of-life crimes citywide, giving his police department more power to put the kibosh on graffiti, public beer drinking, and loud boom boxes. The threat of imminent arrest hangs, seldom spoken, over Luke Shapiro (Josh Peck), who’s just graduated from high school and selling pot as the summer days melt away before his college years begin. Lonely and socially awkward, Luke either withdraws from reality, playing videogames and listening to rap, or stays at a safe remove, choosing a remote perch above the crowd at parties. The latter tactic comes in handy as he witnesses his parents’ squabbling and increasing money troubles.

Luke’s sole talent seems to be peddling weed from an ice cream cart as he roams the city. That, and making mixtapes, thanks to ideas caught from his supplier Percy (Method Man, who wittily introduces Luke to the Notorious B.I.G. by way of "The What," a Biggie and Method collabo). His only friend appears to be his therapist, Dr. Squires (Ben Kingsley), a gray-maned boomer who trades sessions for dime bags and is in dire need of some healing himself. Squires’ stepdaughter Stephanie (Olivia Thirlby) is the hopelessly distant beacon of hope in Luke’s firmament, so when the two are stuck in the city for one last summer before irrevocable collegiate change, Luke can’t help but lose his cool.

Turns out it’s the sweaty, sweltering season for everyone: a time to tell truths and strip away shopworn facades. Squires and Luke bond, roving way out of the office. The teen instructs the counselor in the ways of weed dealing, while amping up his business to save his family from eviction. The pair also look to get laid, Squires’ prescription to all of Luke’s ills. And the women do sail through, including Mary-Kate Olsen as Luke’s jam band–y socialite client, who amazingly gets to second base with Squires, a half-mockable, half-empathetic character that Kingsley disappears into with sweaty, beady-eyed desperation.

Writer-director Jonathan Levine shows he learned a thing or two from a youth spent assisting NYC rhapsodist-anthropologist Paul Schrader. Painting this surprisingly gentle étude to an urban youth in sepia hues, he takes care to get the context right, from the vernacular built on "that’s mad crazy" and "that’s really dope" to a soundtrack laced with tunes like A Tribe Called Quest’s "Can I Kick It?". That song’s "Walk on the Wild Side" bassline conjures the gritty, narcotic lassitude of summer in the city while bridging the years between Squires and Luke.

Luke may not be as brainy and broken as Holden Caulfield or as mortality-fixated and mundane as Andrew Largeman of Garden State (2004), but Peck hits the right notes of cringe-inducing yet pungent realism required to turn this potential cipher into a full-fledged character. Especially when Luke dares to reach for dopeness and call Stephanie on a pay phone, and his "I love you" quickly turns into a defensive "OK, if you can’t handle that, fuck it! Fuck you!" Alternately vulnerable, stumbling, and Teflon-clad, the kid will find his way through the urban jungle of his teens, one way or another. 2

THE WACKNESS

Opens Fri/11 at Bay Area theaters

www.sonyclassics.com/thewackness

Orphan storm

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› a&eletters@sfbg.com

The orphan was a staple figure in silent cinema. She or he evoked the pathos required in sentimental melodramas, and also highlighted a prevalent social problem. The predicament wasn’t that orphans existed so much as that orphanages did. Dickensian clichés of wicked minders profiting from the ill-keeping of abused and undernourished charges were often not far from the truth.

The notion that flowers of pure innocence might spring from this kind of environmental mire was a popular dramatic conceit. It floated entire careers for such variably waiflike or plucky Pollyannas as Janet Gaynor, Lillian Gish, Mary Miles Minter (until she went down in a murder scandal), and of course, Mary Pickford, who was still playing foundlings in 1926, at 34. Their male counterparts were generally allowed to be scrappier: sad from being misunderstood, but gosh-darn-determined to prove the haters and snobs wrong.

One of the least-known titles in the 13th San Francisco Silent Film Festival, The Soul of Youth is a small delight that hews to and transcends the reigning tropes of screen ragamuffinery circa 1920. It opens on a note of heavy moral correctitude, as titles inform us that "A woman, who pray God there be no more like, has offered for sale her unborn child. Think of it: a helpless little baby, before its eyes have opened on the world, labeled ‘unwanted’ and sold!" Framed only to call the mother’s character into question, it’s no matter that this woman is impoverished, or that she dies after giving birth, or that she was initially tricked into the exchange by an addict who had the goods on her errant politician boyfriend.

Little Ed is then dumped into the nearest orphanage, a cruel place where — when next encountered at age 14, as played by 17-year-old Lewis Sergant — he is considered incorrigible and unfairly blamed for thefts and other misdeeds. His rescue of an imperiled black babe (cringingly named Rastus) goes unappreciated. It’s only when he secretly takes in a fellow underdog — a stray canine named Simp — that "for the first time, love enters Ed’s life." When this uninvited boarder is discovered, the pair must escape the orphanage and then the police, landing on that "Mecca of the homeless — the streets."

Meanwhile it turns out the sleazebag who rejected him as a son is now a corrupt mayoral candidate angling to defeat a terribly upstanding one. Ed’s accidental involvement in that race — by risking his neck to preserve the respectability of virtuous rich folk and becoming a hero — proves his ultimate salvation. In classic wish-fulfillment fashion, he ends up (à la Little Orphan Annie) rewarded via adoption by the morally superior luxury class. But Soul of Youth is savvy enough to contrast Ed’s new family with a wealthy neighbor who thinks she can replace her beloved lap-cat with a cherub sporting "blue eyes and golden curls." Just like Paris Hilton and her impulse-buy menagerie!

Soul of Youth was directed by William Desmond Taylor, whose yet-unsolved 1922 murder destroyed the futures of actresses (and intimates) Minter and Mabel Normand. The lovely work he does here makes one lament his too-short career. His protagonist, the floppy-banged, spunkily adorable Sargent, played Huckleberry Finn the same year. He subsequently suffered the usual post-juvenile career slide, resurfacing as a pal of Tarzan in mid-’30s serials and exiting as an unidentified thug in Miss Mink, a beyond-obscure film from 1949. He spent the next 20 years as a California state probation officer.

During Taylor’s youth as a performer, Victorian morality still targeted his own lack of a parent — as well as his outright illegitimacy — as inherently morally suspect and something to be overcome. Simultaneously prim and liberal in teaching its big lesson, Soul of Youth winds up firmly on the side of nurture over nature. "The kind of man this boy will make depends on his surroundings. It’s up to us, dear," the film’s virtuous tycoon tells his vain socialite wife.

Alongside the poorhouse and the asylum, the orphanage was a widespread 19th-century American public entity later disgraced/dismantled by reformists. The orphanage helped usher in the "welfare" era — stressing economic support where parents couldn’t manage rather than pushing abandoned, "bastard," or otherwise problematic kids into warehouse institutions. (Those group and foster homes they were shunted toward hardly fixed all historic problems, however.) Soul of Youth retains charm for insisting class, economic, and other social divisions might well tumble before the sheer force of Ed’s nascent Boy Scout–dom.

THE SOUL OF YOUTH Sat/12, 11:40 a.m., Castro

THE 13TH SAN FRANCISCO SILENT FILM FESTIVAL runs July 11–13 at the Castro, 429 Castro, SF. Advance tickets (most shows $12–$17) are available by calling 1-800-838-3006 or visiting www.silentfilm.org

Erraticism

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› le_chicken_farmer@yahoo.com

CHEAP EATS Rube Roy’s gonna enjoy this … That sweet bluegrass kitty I wrote about? We got in an argument and I was the one who had to go to the hospital. It bit me, the little love, and drew blood. Just a couple a drops, but still, I’m a stickler for details. I called the advice nurse to see if I should bring the poor, exposed kitten in for a blood test, since probably some of my cells got left in its mouth, and it might have had a small cut or cold sore in there, for all I knew.

Ironically, the nurse was more worried about me! In her opinion, since this was technically a wild animal, albeit a cute one, I was at risk for rabies, kitten scratch fever, and sundry heavy metal maladies. Infection … who knew kittens could be so dangerous?

"Are you behaving erratically?" the advice nurse asked. To be fair, there were other questions too, but this was the one that impressed me. Was I behaving erratically?

I had one of those blink-of-the-eye moments, where a sudden shift in perspective allows you to see your life objectively and with absolute clarity. No time passes, yet you take instantaneous and discerning stock of your entire past, present, future, and (if you’re me) present perfect progressive.

Four years I’ve been living with my insane cat in this falling-down shack in the woods next to my homemade falling-down chicken coop. I’ve been driving a perplexingly sporadic little blue pickup truck that isn’t a pickup truck and only sometimes has a horn, or headlights, or first gear, and also only sometimes goes.

I’ve been lying outside in my junkyard bathtub, plucking my boobs and wearing a cowboy hat. There’s a black rubber ducky with anarchist slogans floating between my feet, a jar of piss next to a bowl of popcorn outside the tub, and on a beautiful Tuesday morning, to give just one example, while folks half my age and even probably one or two people twice my age are stuck in offices being productive members of society, here I am in said tub talking on the phone with you, Ms. Advice Nurse, because I tried to help a kitten.

"Me? Behaving erratically?" I said, more than a little miffed at her insinuating tone. "I’m a consistent character, if you don’t mind! Did I bite a kitten? No. A kitten bit me. Am I behaving erratically? What about this little nefarious bastard?"

My chickens were lined up on a log, just 10 feet away, looking at me and screaming. Inside our shack, Weirdo the Cat was jumping up onto and off of our chair, repeatedly, trying to bat down song lyrics that were hanging like laundry on my indoor clothesline, swaying in the wind because the windows were open to air out something I’d done.

"What’s that noise?" the advice nurse asked. "And what was that word you used?"

"Chickens. Didn’t I tell you? I’m outside, in the tub," I said. "What? Nefarious? It means wicked, or evil."

"Hold on a minute," she said, and she went away and came back nine seconds later and said I had to go see the doctor. As soon as possible. I guess because chicken farmers don’t normally use the word nefarious.

So, well, so I was erratic. And scared now too, so I called in "bit" from work, and did go see my doctor. I hate heavy metal music … and am susceptible to suggestion. Even dumb ones, like I could die from this horrific kitten wound, which was on my index finger and looked like a little dot, or freckle, only smaller.

My doctor laughed her ass off. She did give me a vaccine shot against tetanus, whooping cough, and something else — not because I got poked by a kitty, but because I work around little baby human infants and shit, in addition to chickens, chicken wire, and nefarious wildlife. So here’s why I love my doctor, and not advice nurses: while I was there, I showed her some warts I have and she said, and I quote, "Put duct tape on them."

————————————————–

My new favorite restaurant is Cable Car Pizza. And if you believe that, I’ve got a cute little kitten for you. This place kinda sucks. Only reason we went was we had a band to feed, and Arinell wasn’t open yet. I started foaming at the mouth when they rang me up. Georgie Bundle said $26 was the going rate for a large with a couple of toppings. If so, they might consider putting that price on their board, which apparently hasn’t been updated since the 1980s. It took four people to take our order.

CABLE CAR PIZZA

Daily: 11 a.m.–3 a.m.

535 Valencia, SF

(415) 431-8800

No alcohol

AE/MC/V

All or nothing

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› andrea@altsexcolumn.com

Dear Andrea:

When my husband and I first married, he was into S-M. I was very inexperienced, while he … well … wasn’t. Things were interesting for a while until he repeatedly breached our full-disclosure agreement and saw other people behind my back, but came clean about it later. There was also an issue with anal sex (he’s hurt me too many times). We’ve been completely out of the scene for several years and are enjoying a much closer connection. However, three kids later sex is very boring, planned, and short.

I’d love to have fun with him again, but he’s so sex-crazy I’m afraid of re-opening the door to trouble. He still uses a lot of nasty porn and Web sites where he exchanges e-mails with subs. I don’t like this, but I understand that he’s got to have an outlet. He’s a pretty all-or-nothing kind of guy. Also, I think that he isn’t sure how to approach me anymore after having three children. Who feels sexy with baby puke on their sleeve and no shower? Is there any hope for us? Also, he refuses to go into therapy or ask for help because he doesn’t want to be judged.

Love,

Want Something

Dear Want:

You may be surprised to hear this, but for a couple who not only have such disparate experience levels and requirements but also three small children, you seem to be doing pretty well. Any number of issues casually glanced on in your letter could easily have doomed you — yet you persevere and even feel closer than when you were doing all that kinky stuff? You’re OK.

The S-M obscures things a bit, but the core issues here are no different from ones we discuss in classes (rather imprecisely titled "Is There Sex After Motherhood?") I’ve been teaching at a local nice-moms-and-their-babies education center. The baby puke, for instance. One of the most disheartening things I heard while awaiting my own babies was, "Oh, I didn’t change my clothes for six months. I just wore this ratty old T-shirt full of holes and spit-up." (This from a lovely friend who was only telling me the truth as she’d lived it.) "Forget it, then," I thought. "If it’s going to be like that, I’m not doing it."

And it wasn’t like that, of course, not for me and it shouldn’t be for you. One needs to do whatever it takes not to sink to that barely human state where you figure, what the hell, why bother showering when you’re just going to get dirty again? Get enough T-shirts so there’s always a clean one! Drag everybody into the shower with you, get up at 5 a.m., pay a neighbor to watch the kids for half an hour, whatever works. Get enough time to look and feel decent. We’re not talking about a hot-stone massage, Yummy Mummy makeover here. Grooming enough to bear the sight and smell of oneself shouldn’t be too high a bar.

I would like to launch into some ways you two could get back to breaking out the whips and chains and stuff, but I worry. Does he really need to have it all? Is he really insisting on nothing if he can’t? I’m hoping a guy starved of all but virtual kink for a couple of years may be more amenable than he used to be to a scaled-down version of "hell-bent for leather." Maybe "leaning toward Naugahyde"?

I do believe he doesn’t know how to approach you anymore, so here’s the obvious suggestion: you approach him, but only after ensuring that you won’t end up with him holding the power, reins, flogger, modem, and lube again, which he didn’t use enough of anyway. Take this opportunity to decide which games you liked, which might do, and which are untenable. Given the scarcity conditions that follow the introduction of many small children into the marital equation, I would also suggest that the whole "other partners" thing is right out. In order to get beyond the dreary status quo (although I do have to put a good word in for the parents-of-small-children quickie while I’m here), you’ll need to plan. You’ll also need to throw some childcare money at the problem (what my husband and I refer to, just to annoy people, as "paying young women for sex"). This is all stressful and expensive enough already, so no way will you want to pay for babysitters for his nights out without you. Save your cash for kinky-sex dates.

Obviously, all this depends on him not being so crazy, sex- or otherwise, and that "some but not all" actually is an option. I’m hoping that after a few years of deprivation and with the added motivation of keeping a beloved family intact, he can embrace moderation. Tell him it’s like the French model of eating, you know? A little + a little + a little = plenty.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Andrea is also teaching two classes: "You’ve Really Got Your Hands Full" — a realistic look at having twins — at Birthways in Berkeley.

McGoldrick’s privatization betrayal

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OPINION This isn’t the first time it’s happened. Most politicians break promises. That’s the nature of politics. But when someone signs a pledge — twice — saying he won’t privatize city services, when he holds himself out as a champion of anti-privatization and then goes directly against that stand —well, it kind of makes you wonder.

That politician is San Francisco Sup. Jake McGoldrick. In the past, he stood against privatizing services. He has fought for golf courses, for the Internet; heck, he even fought for horses when Mayor Gavin Newsom threatened to privatize the stables. During the Service Employees International Union endorsement process, he signed a pledge that he would not privatize work currently done by city workers. We endorsed him and even fought against the effort to recall him. But when the rubber hit the road for people, he screeched out of there.

Newsom has proposed contracting out the work of the Institutional Police, a group of workers represented by SEIU Local 1021. Institutional police officers work primarily at San Francisco General and Laguna Honda hospitals, but they also provide security at health clinics throughout the city. That security — not only for the workers, but for the community that these institutions serve as well — might soon be gone.

If you have ever been in SF General’s emergency room during a violent incident, you know exactly how bad a decision that would be. A nurse who met with McGoldrick described how bad it got on her shift one night. A man who had been shot was being transported to the ER, and the shooter was following closely behind, hoping to finish off the job. When the victim and assailant pulled up to General, the institutional police were there waiting with guns drawn. They disarmed the shooter and arrested him.

The nurse who told this story looked McGoldrick squarely in the eye and told him that the community would know immediately when the ER was staffed by private security officers, and that would endanger the workers and the patients there.

Even the union that represents the private security officers — whose members would get the jobs — told McGoldrick the work should remain with the institutional police.

Training for private security officers is minimal and inconsistent. Turnover is rapid. When private security officers are transferred to new buildings, they’re often not trained on its specific emergency procedures. There is little oversight to enforce existing state training requirements.

This shouldn’t be about money. A couple of weeks ago, during public hearings on the budget, the Controller’s Office reported on the exponential growth of six-figure salaried executive positions in the past few years; 55 new management jobs were created this year alone. McGoldrick, who heads the Budget and Finance Committee, could easily have moved some of that money around, as SEIU 1021 advocated, rather than leave the city’s health care facilities at risk. But he didn’t.

Unfortunately, it only takes one bad incident to expose the false "savings" of contracting out security to inexperienced and less-trained guards. Six supervisors appear to agree. What happened to Jake McGoldrick?

Robert Haaland

Labor activist Robert Haaland works for SEIU Local 1021.

The gruesome twosome

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HORROR SEQUEL If you know Monsturd, you love Monsturd. If you don’t know the 2003 horror comedy by San Francisco filmmakers Rick Popko and Dan West, imagine a tiny town menaced by a mad scientist-created shit monster, with clueless cops, a no-nonsense FBI agent, and a climax that unfolds around a chili cook-off.

Doesn’t appeal? Don’t read on. But fans of homespun exploito-stravaganzas will want to know that Popko and West have finally finished Monsturd‘s sequel (the making of which I chronicled in "Blood Brothers," [05/30/06]). It’s called Retardead, and it returns to that same tiny town soon after the events of Monsturd. This time, the stakes are both higher (zombies!) and lower (zombies spawned from special education students!), and there’s way more of everything: gore, off-color jokes, cursing, and totally random moments, like an LSD freak-out scene, an exploding helicopter, second-unit footage contributed by horror fans across the country, a saucy appearance by dance theatre troupe the Living Dead Girlz, and a cameo by Jello Biafra.

Popko and West, who reprise their Monsturd roles as goofy deputies, realize they’ve created something rather crazy — and with all the technical problems they encountered in Retardead‘s post-production (from editing on outdated software to the disasters they overcame while working on the film’s first batch of DVDs), are now a little crazy themselves.

"The movie’s cursed — I think it’s karma because of the title," Popko theorized. "The karma gods are like, we’re gonna let you have this movie, but it’s gonna cost you in terms of pain and suffering all the way through till the very end. Monsturd took us two years, and we thought that was forever. And here we are five years after starting Retardead, and we’re finally seeing the end of the tunnel."

Though the movie is completed, "we’re still kind of shell-shocked," West said. "We still have the premiere to go through, and we don’t trust this thing. If it can fuck with us, it will fuck with us. It’s like the Frankenstein monster that has its own life, and we’re its bitch."

For better or worse, the monster is at last ready to terrorize audiences. West is excited: "The movie’s good. I love the movie. It’s weird, it’s 10 times better than Monsturd — cinematically, it’s much better. The special effects are just insane. We love the weird factor of this one. We were able to get our sense of humor and get a lot of non sequiturs in there. We love that stuff."

"I love how different it is," Popko agreed. "Dan and I are big fans of the horror genre, and the comedy genre, and there are a million friggin’ zombie movies out there. We didn’t want to fall into that trap of just being another zombie flick. So the thing I’m most proud of with Retardead is that this is gonna be a different experience. Yes, it is a zombie movie, but it’s like no other zombie movie that has ever been made before."

After the premiere — at which they’ll pass out barf bags in homage to their idol, Herchell Gordon Lewis, who did the same for 1963’s Blood Feast — the duo hopes to self-distribute their film over the Internet. They are also already planning a third collaboration, "a movie about making a sequel," West revealed, which will likely include pirates, Satanists, space vampires, "a werewolf thing," and more Biafra.

In the meantime, the pair hopes to greet a raucous crowd this weekend at the Victoria Theatre. "Ideally we’d like to see audiences going wild and crazy at a few of these key scenes that we’ve got in there that will hopefully surprise and shock people," Popko said.

"Specifically, that vomit scene," West chimed in, and the codirectors chuckled with delighted pride.

RETARDEAD

Fri/11–Sat/12, 7 and 9:30 p.m.; Sun/13, 5:30 and 7:30 p.m., $10

Victoria Theatre

2961 16th St., SF

(415) 863-7576

www.victoriatheatre.org, www.4321films.com

Real money, false arrest

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› gwschulz@sfbg.com

The false arrest of an elected official in San Francisco for using a $100 bill that police wrongly thought was counterfeit has evolved into a potentially precedent-setting legal struggle over police accountability.

The San Francisco City Attorney’s Office is seeking to appeal the case all the way to the conservative-dominated US Supreme Court, an expensive fight that could overturn what would seem a welcome ruling in liberal San Francisco. The Ninth Circuit Court of Appeals last August affirmed in the case that citizens have the right to sue police officers after being unreasonably arrested for a crime they didn’t commit.

After a federal district judge refused to grant qualified immunity to the officers and throw out the lawsuit, City Attorney Dennis Herrera’s office insisted on repeated appeals argued by deputy city attorney Scott Wiener, rather than settling for a few thousand dollars and accepting that the cops simply screwed up.

"There are some people who would say ‘Why don’t you just pay a little money to settle it?’<0x2009>" Wiener told the Guardian. "But we have to take a broader institutional perspective, because if you start settling cases that don’t have merit, you’re going to wind up with a lot more cases like that than you would have otherwise."

At the center of the story is attorney Rodel Rodis, a Filipino activist and elected trustee of City College of San Francisco, who was arrested in the spring of 2003 and dragged to a police station for supposedly trying to buy a handful of items from a Walgreens with a counterfeit $100 bill. The bill turned out to be real.

But by the time the officers came to that conclusion, Rodis had suffered what he regarded as the terrible embarrassment of being shoved into a squad car with his hands behind his back in front of neighbors and constituents. It also occurred just around the corner from his longtime law practice and the main campus of City College, where he’s been an elected trustee since 1991.

Rodis promptly filed a $250,000 claim against the city, former Police Chief Alex Fagan Sr., and two officers at the scene alleging false arrest, excessive force, and the negligent infliction of emotional stress, among other things. He later offered to settle the suit for $15,000, but the City Attorney’s Office refused to accept the deal.

Five years and innumerable legal bills later, the case just keeps getting worse for the city — even before it lands in front of a jury to determine if indeed the police should compensate Rodis.

"Part of my mind was saying … ‘I’m not going to argue. I’m not going to resist,’<0x2009>" Rodis said of the arrest. "I put my hands behind my back but I’m thinking ‘This has got to be a mistake. Somebody here has to have some sense.’<0x2009>"

Rodis was suffering from minor allergy symptoms on Feb. 17, 2003, when he headed to a Walgreens on Ocean Avenue he’d been going to for 20 years. It was located near his Ingleside home and a law office he’s had in the neighborhood since 1992.

He picked up some cough syrup, Claritin, toothpaste, and a few other things. The total came to $42 and change, so he tried to pay with a $100 bill.

"I just happened to have it in my wallet," Rodis said.

The drugstore clerk used a counterfeit detection pen to be sure the bill was legit. It was, according to the marking, but the bill was printed in the 1980s before watermarks and magnetic strips were used to help stop counterfeiting.

The young clerk was unfamiliar with the bill’s design and called a manager to be sure. He, too, used a counterfeit pen to confirm that it was real. But the manager told Rodis he was still going to call the police, fearing it was fake. That’s when things turned surreal. Two officers showed up and almost immediately placed Rodis in handcuffs before trying to ascertain if he’d actually attempted to defraud Walgreens.

"They made no effort to determine what the situation was … they just assumed," Rodis said. "When she said ‘Put your hands behind your back,’ I thought I was in some Twilight Zone moment."

A third ranking officer on the scene, Sgt. Jeff Barry, had known Rodis for years as a local lawyer and City College trustee. Their sons were classmates. But Barry allegedly failed to step in and question whether Rodis was likely to be a fraud artist.

Another officer, Michelle Liddicoet, told Rodis she knew who he was and that he "should be ashamed of himself," according to the suit.

Feeling humiliated as other Filipinos he knew looked on, Rodis was put into the back of a patrol car and taken to Taraval Station, where he was handcuffed to a bench. There he waited another 30 minutes or so until the police officers were able to reach the Secret Service, which investigates currency for the US Treasury Department. A federal agent confirmed that the bill was likely genuine. The whole ordeal lasted about a couple of hours and Rodis was driven back to the drug store.

"This wasn’t a situation where Mr. Rodis was held in jail overnight or for a week or had to post some large amount in bail," Wiener said.

Fagan sent out a department memo shortly afterward stating that suspects have to know the currency they’re using is counterfeit before being arrested, and in any event, if they insist it’s real, the officer can book the bill as evidence for later examination and give them a receipt without arresting anyone.

But by then the damage was done and the hasty reaction of police would lie at the heart of the case that Rodis subsequently filed.

Rodis is an unlikely champion of police accountability. Known for his cantankerous personality, he all but accused the secretary of the San Francisco Veterans Equity Center last month in his regular column for the Philippine News of supporting a band of communist guerillas in the Philippines known as the New People’s Army, a charge the man angrily denied.

He bitterly responded with a string of e-mails last year when the Guardian reported he was several months late in sending legally required campaign disclosure forms from his 2004 reelection to the Ethics Commission (see "At the crossroads," 07/17/07).

But the city’s police academy also has invited Rodis to lecture recruits about San Francisco’s Filipino community as part of the department’s sensitivity training. A week after the incident involving Rodis, an elderly Filipino man who sold the San Francisco Chronicle downtown was savagely beaten and robbed of $400. He never found a police officer while walking to his Tenderloin home, where he died. The two incidents, one following on the heels of the other, enraged the city’s Filipino population of 36,000, and Rodis believes it proves the police department continues to have trouble with discrimination.

"The fact that it happened to me meant that I was in a position to do something about it," Rodis said of his dust-up. "For many [Filipino immigrants] … they wouldn’t have had the resources or the knowledge of the procedures to fight back. Even up to now, five years later, I still bump into people who appreciate the fact that I filed the action."

The case was assigned to Wiener, who is coincidentally the elected chair of the San Francisco Democratic County Central Committee and a longtime party activist in a city that’s famously wary of any perceived threat to civil liberties.

In his capacity as a lawyer for the city, though, Wiener tried to have Rodis’ suit tossed using a common courtroom maneuver known as summary judgment. Civil defendants request them from a court by arguing that a claim is so lacking in merit that they shouldn’t have to endure a costly, time-consuming jury trial.

He also made the standard claim that city employees — in this case police officers — are shielded by what’s known as qualified immunity, a legal argument designed to allow them room to make honest mistakes without facing an endless barrage of expensive litigation.

In March 2005, federal district judge Maxine Chesney granted the request in part, throwing out Rodis’ claim of liability against the city and county. But she allowed the part of the suit involving the two officers to move forward, arguing the arrest was illegal because they didn’t have probable cause that Rodis intended to defraud the store.

So Herrera’s office turned to the Ninth Circuit Court of Appeals, and in a move that surprised Wiener, the panel ruled 2-1 that public employees are entitled to qualified immunity, but not when they fail to act on their considerable law enforcement powers in a reasonable way and take into account all factors present at the scene.

To put it bluntly, cops sometimes make an error in judgment but they still have to use their brains for establishing probable cause. The panel also argued that even if the bill was counterfeit, Rodis did nothing wrong if he wasn’t aware of it.

"Even without knowledge of Rodis’ identity and local ties," the majority wrote, "based on the totality of the other relevant facts, no reasonable or prudent officer could have concluded that Rodis intentionally and knowingly used a counterfeit bill."

Now Herrera had on his hands published legal precedent that his staff believed imposed a new requirement on police officers to not only conclude that perpetrators passed counterfeit currency but also that they intended to defraud their victims. The decision, city officials claim in their pleading to the Supreme Court, could hamstring local and federal law enforcement investigating counterfeit currency and some other types of fraud.

"They said it was clearly established that probable cause is a fluid concept," Wiener said of the ruling. "Well, that’s a meaningless statement. Of course probable cause is a fluid concept. But the point of qualified immunity is that officers are entitled to rely on the current state of law about what the requirements are and shouldn’t have to predict what a judge is going to do down the road."

Lawrence Fasano, a lawyer for Rodis, counters that Fagan’s memo to the department reinforced the court’s opinion. Considering that the police and people in the neighborhood had known Rodis for years, the officers on the scene should have concluded that it was out-of-character for him to pass a counterfeit bill.

"All the evidence that was looked at by the police officers at the time indicated that he did not intend to pass counterfeit currency, including the fact that he had other $100 bills in his pocket that were genuine," Fasano said.

Fasano argued, too, that case law in California made clear the issue of intent cannot just be set aside by police.

Other cities and counties in California so fear the case’s impact that two interest groups representing them, the League of California Cities and the California State Association of Counties, filed a joint friend-of-the-court brief after the Ninth Circuit’s ruling, arguing that digital counterfeiting was a "threat to the nation’s fiscal health" that could grow in the future, and if allowed to stand, "the panel majority’s decision would eviscerate the doctrine of qualified immunity to the detriment of the public."

Wiener filed the Supreme Court petition in May after a larger panel of Ninth Circuit judges rejected a request for rehearing earlier this year. While the Supreme Court accepts only a fraction of the thousands of cases it receives annually, Wiener believes there’s a chance it will be accepted because of another such case it’s examining from the Tenth Circuit. The city won’t know for sure until the fall.

He adds that it’s extraordinarily dangerous for police to be forced to consider a citizen’s status as an elected official before concluding that probable cause exists for an arrest. The City Attorney’s Office won’t disclose how much has been spent on the case until it’s resolved, but Rodis estimates he’s spent more than $50,000.
The US dollar may be losing value internationally, but a $100 bill from the 1980s could cost San Francisco big bucks.

A rictal dysfunction

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According to Peter Bogdanovich, 1928 remains unique in film history as Hollywood’s greatest year. The latter-day American director cites landmark silent film contributions such as King Vidor’s The Crowd, Victor Sjöström’s The Wind, and Buster Keaton’s Steamboat Bill Jr. as evidence that synchronized sound — first used in 1927’s The Jazz Singer — initially limited rather than expanded the cinematic medium. Alongside those celebrated pictures, Bogdanovich also praises a 1928 German Expressionist classic produced in the United States: Paul Leni’s macabre mutilation drama The Man Who Laughs.

Based on an 1869 novel by Victor Hugo, The Man Who Laughs is a mordant and often morose satire about a deformed clown in the Stuart Court. It follows the sad character of Gwynplaine, the son of a British duke who is orphaned and forsaken to die at the command of the British sovereign.

Gwynplaine survives, but with a horribly butchered mouth permanently twisted into a smile, He grows up amid a wandering freak show, becoming its main attraction. His only pleasure comes in the form of his adopted family — carnival mountebank Ursus the Philosopher and the blind beauty Dea, who loves Gwynplaine and remains unaffected by his strange visage. But when word reaches Queen Anne that an heir to the dead duke remains alive, she commands that Gwynplaine be installed as a lord and made to marry the reigning duchess Josiana. Forced to leave Dea and Ursus for the royal court, Gwynplaine soon bears the brunt of a royal freak show whose insidious machinations are alien to the golden-hearted clown.

The Man Who Laughs was produced by Universal in the wake of its increasingly popular horror pictures, particularly the 1925 blockbuster The Phantom of the Opera. Budgeted at the then-unprecedented amount of $1 million, Leni’s film became a flamboyant melding of costume melodrama and Expressionist mise-en-scène. It stars Mary Philbin as the blind heroine Dea and Conrad Veidt — a German Jewish actor featured in Robert Wiene’s The Cabinet of Doctor Caligari (1919) — as the mutilated clown. Without reliance on dialogue, and beneath a rictus held in place by prosthetic hooks, Veidt produces an extraordinary gamut of emotion through little more than a lachrymose stare. Often mantling his disfigurement with a cape and moving with the rigid gait of a trauma victim, his Gwynplaine becomes a kind of paralytic, living and communicating only from his goitered eyes. He is a casualty of what Hugo declares "an art/science of inverted orthopedics." The film’s image of Veidt influenced comic book writer Bob Kane when he created Batman’s arch-nemesis The Joker.

Leni’s film hasn’t enjoyed the immediate critical attention of Expressionist classics such as Fritz Lang’s Metropolis (1927) or F.W. Murnau’s Nosferatu (1922). But its anticipation of the horror genre’s waves of mutilation — from Georges Franju through to David Cronenberg — is remarkable.

THE MAN WHO LAUGHS

Sat/12, 7:45 p.m.

Castro Theatre

429 Castro, SF

(415) 621-6120, www.castrotheatre.com


THE 13TH SAN FRANCISCO SILENT FILM FESTIVAL runs July 11–13 at the Castro, 429 Castro, SF. Advance tickets (most shows $12–$17) are available by calling 1-800-838-3006 or visiting www.silentfilm.org

Our personal Mission

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"Smaller and better and more underground" is how Mission Creek Music and Arts Festival founder Jeff Ray describes the event’s 12th annual go-around. Now immersed in his MFA studies at San Francisco State University, Ray has turned to such curators as Smile’s Neil Martinson, Numbers’ Eric Landmark, Extra Action Marching Band’s Ben Furstenberg, and the Fucking Ocean’s Marcella Gries to cast MCMF’s net wider while tightening its focus to a compact five days. Expect a new Latin series and renewed commitment to local artists and Collision programming, which mixes experimental music, sound art, dance, performance, and video. Unrest assured, Ray says: "We still have a really good ear." (Kimberly Chun)

For a complete schedule go to www.mcmf.org




>>Can’t knock the Tussle
The San Francisco instrumentalists turn mad liberation into Cream Cuts
By Johnny Ray Huston


>>Get the Drift
Sonic Memory Drawings and outward instrumental rock creeps
By Michael Harkin


>>Resurrection blues
Lazarus passes around Hawk Medicine
By Kimberly Chun


>>Dye, dye, darlings
The smile-inducing shades of Bleachy Bleachy Bleach
By Michael Harkin


>>Noise to go
Nancy Garcia unleashes her sense of play
By Kimberly Chun


>>Sketches of Spain
Peter Walker communes with a new muse
By Max Goldberg


>>Feeding the fire of Mountainhood
Delicate rusticity straight outta Almaden
By Kimberly Chun


>>Cream-colored slumbers
Foxtails Brigade float beyond experimental folk
By Kat Renz


>>I’m here with lonesome
Copping the White Buffalo stance
By Kat Renz

>>Sneaky Creek: More Mission Creek highlites

>>PLUS: Touch the Mochipet! Touch him!

Millennium

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› paulr@sfbg.com

Considering that San Francisco is the center of the vegetarian universe and home to one of the country’s first, greatest, and most durable vegetarian restaurants — Greens — it has long seemed faintly odd to me that we don’t have more Greens-like places: restaurants that reconcile the vegetarian impulse (with its complex ecological and ethical components) and high style. We do have Millennium, at least, and maybe its sustained excellence has scared off would-be copycats and competitors.

Millennium isn’t as old as Greens, which turns 30 (!) next year, but it’s been around the block a few times — in fact, it’s even changed blocks. The restaurant opened in 1994 in a modest Civic Center setting; its neighbors then included, a few steps away, Ananda Fuara, a cheerfully plain spot whose curry-scented asceticism embodied what many people might have thought was a fundamental quality of vegetarian restaurants. But about five years ago, Millennium moved into much more sumptuous digs in the Hotel Savoy (now the Hotel California) at the edge of the theater district. In doing so, it displaced a French restaurant I’d long liked, Brasserie Savoy, but this sin can be pardoned, if only because there are plenty of good French restaurants in this city, but only one Millennium.

Millennium is special — but why? The setting is handsome, certainly — and not too different from its Brasserie Savoy days — but it doesn’t call attention to itself beyond a gracious spaciousness, gently partitioned with drapings of gauze and lit by netted cylinders that dangle from the high ceilings like hemp hams being air-cured. Noise is carefully controlled despite the hard tiles of the checkerboard floor. The space tells people: this is a nice place, a serious restaurant, and we want it to look good, but we spend most of our resources of money and energy on the food.

And the food is marvelous. It is elegant, nuanced, interesting, and is the kind of food you would be sorely tempted to offer to a meat-eater without disclosing there’s no meat in it — nor butter, eggs, cream, or any other animal product — to see if the meat-eater noticed. (My bet would be, probably not.) It’s also the kind of food you’d never make at home, even if you knew how; the wealth of emulsions, purées, essences, and flavored oils is a triumph of saucing and reflects an investment of time and skill that make the best restaurant kitchens what they are and reminds us that some gastronomic experiences remain unique to restaurants. (Millennium’s chef, Eric Tucker, has been running the kitchen from the beginning.)

One of the few dishes, perhaps the only one, I might have had a hope of recreating at home was a platter of seared romano beans ($5.75) — flat green beans — sprinkled with a mince of sundried tomato and dabbed with a rich black-olive tapenade. The gnocchi ($10.25), too, might just be within reach; these swam (with a cohort of similarly sized white beans) in a creamy morel mushroom sauce, with swatches of whole mushroom laid on top. (Morels are often described as resembling honeycombs, but they can also have the look of tiny brains.)

On the other hand, I would never attempt a dish like the black bean torte ($10.25), a disk-shaped layering founded on a whole-wheat tortilla and including caramelized plantains, a ladling of smoky black-bean puree, and some cashew sour cream. Rolling away from the torte’s front door was a carpet of habañero-pumpkin salsa verde, while a salsa of strawberries and jicama completed the ensemble. At last, somebody using the tartness of seasonal strawberries in a savory rather than sweet sense!

As at many places around town lately, Millennium’s menu offers excellent mix-and-match possibilities: you can make a nice little dinner for yourself with a couple of the smaller courses. But the main dishes do not disappoint; they’re substantial and satisfying, and because they don’t rely on meat, they’re neither heavy nor oversimple. While the best meatless cooking, for me, involves dishes that traditionally don’t have meat and don’t bother with substitutes, we were impressed by the meatiness of spice-rubbed tempeh torpedoes ($22.95), blackened and plated with smashed potatoes and a mélange of summer squashes in a lemon-caper sauce of cashew cream. Also good was a napoleon ($22.95) of polenta-crusted zucchini spears, surrounded by white beans, braised baby carrots, and a corn-zucchini hash in a coconut-milk sauce.

The flavor palette draws on a world of influences. The kitchen has been known to use zatar, a spice blend common in the Middle East, and the value of seasoning practices from south and southeast Asia is certainly recognized. But the dominant flavorings are from the Mediterranean basin. This is particularly true of the dessert menu — but this is particularly not a criticism of the dessert menu, since making any sort of dessert at all without cream or butter is a formidable undertaking, and making a dessert that would be exceptional at any restaurant is nothing short of astounding.

Millennium offers such a dessert. It is the lemon trifle ($8.25), a slice of rum-soaked walnut cake, topped with lemon cashew cream and capped off by a helmet of basil ice cream (also made with cashews) that reminded me of a pesto that had died, gone to heaven, and been reincarnated as a sweet. Its strange and alluring radiance half-obscured an equally worthy panna cotta ($8.25), a pearly disk of coconut milk and rosewater served with raspberries, an intense apricot emulsion, and a pat of chocolate-raspberry sorbet.

The patronage is surprisingly and pleasingly heterogeneous in age and affect. Having developed a mild case of hipster fatigue from Mission restaurants, I was relieved to see even younger people dressed nicely but unaffectedly at Millennium. They, like we, came for the food, stayed for the trifle, and left happy.

MILLENNIUM

Dinner: Sun.–Thurs., 5:30–9:30 p.m.; Fri.–Sat., 5:30–10 p.m.

580 Geary (in the Hotel California), SF

(415) 345-3900

www.millenniumrestaurant.com

Full bar

AE/DC/MC/V

Pleasant noise level

Wheelchair accessible

Sterile plans

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› sarah@sfbg.com

When state and federal agencies announced June 19 that they are going to release millions of sterile moths into California cities to combat the crop-threatening light brown apple moth (LBAM), they insisted that their alternative pheromone spray program was safe and would continue to be applied in rural areas.

"Aerial applications will continue to be an important tool, especially in densely forested areas," says the statement on the California Department of Food and Agriculture’s Web site. "Our health officials did not find a link between the spraying and reported illnesses."

CDFA’s strategic shift also fueled fears that the state is simply exchanging one ineffective tool for another in an effort to appear to be doing something to combat the moth.

"The first one, the public didn’t like," said University of California, Davis entomology professor James Carey. "The second is a complete waste of money. They can’t eradicate these things, but [it] lets CDFA throw more public money down the rat hole."

As the Guardian has reported (see "Godzilla versus Mothra," 01/02/08), Carey believes that the moth, which has been found in a dozen California counties, probably arrived decades ago, not several years ago as state officials maintain.

CDFA spokesperson Steve Lyle acknowledges that some scientists say the LBAM has been here for as long as 50 years, but he’s seen no proof of that assertion, noting that CDFA trapping data found no moths in 2005, but plenty in 2007. "We’ve asked them to provide data, but they’ve yet to release anything," Lyle told the Guardian.

Carey believes CDFA’s 2005 trapping program was inadequately concentrated: "There is no way that CDFA can make any statements on the absence of LBAM in the state based on their 2005 trapping program…. Thus the extent of spread still has to be reconciled with known rates of spread of insects. This is a long-term infestation that has been around for many decades."

Lyle admits that sterile insect technology is an unproven LBAM eradication method. "But we’ve used it successfully in the Central Valley to keep the pink bollworm moth, which is a pest of cotton, at bay, and we’ve successfully moved from malathion to sterile insect technology to treat the medfly," Lyle said.

State officials claim that they switched tools because a pilot study (cofunded by the US Department of Agriculture) in rearing a viable colony of moths at the Agricultural Research Services labs in Albany yielded promising results much earlier than anticipated.

"Because of this success," wrote CDFA Secretary A.G.<0x0007>Kawamura in a June 13 memo to Gov. Arnold Schwarzenegger’s Cabinet Secretary Dan Dunmoyer, "CDFA anticipates that we will be able to move up a delivery date for sterile moths to two years, a timeline that would allow us to utilize it in the central coast region program."

Noting that a single-engine Cessna flies over the Los Angeles Basin each day releasing millions of sterile medflies, Lyle predicts that the state’s sterile moth release program "will be no more distinctive than that," and that the irradiated moths will be "no more radioactive than people’s teeth after a dental X-ray."

"The moths receive a minute amount of radiation that stunts the growth of their reproductive organs," Lyle explained.

USDA’s Larry Hawkins told the Guardian that sterile males and females will be released. "The females won’t be able to lay fertile eggs, but they might be putting out pheromones that draw wild males," Hawkins says, noting that the USDA may need to allocate more money to the program in addition to the funding now in place: $15 million in 2007 and $74.5 million in 2008.

The consequences of California having LBAM already include being quarantined by Canada, Mexico and Chile, with China and South Korea considering similar moves, Hawkins says.

"LBAM typically attacks leaves, but that doesn’t mean it never attacks fruit," said Hawkins, who believes California is posing a risk by leaving the moths untreated this summer, and that the nation needs to build public awareness (see "Chemicals and quarantines," 03/05/08) about invasive pests given accelerating climate change and global travel.

"The insect has not stopped breeding, and our trapping data shows the insect continues to spread and its numbers to go up," Hawkins warned.

But Carey predicts that "the moth problem," in terms of damage to plants, will turn out to be "pretty much nothing on the ground."

"Trade is about dealing with risk, through an agreement between a buyer and seller, that if seller doesn’t find X number of moths because the buyer has been spraying, then the seller can ship the produce," Carey opined. "This is the future of pest control."

How Quickly they forget

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› sarah@sfbg.com

When former Sup. Ed Jew resigned in January 2008, he did so amid allegations that he wasn’t living in the Sunset District when he ran in the 2006 District 4 race, and that he had tried to extort thousands of dollars from the owners of Quickly, a bubble drink chain that has 13 franchises in San Francisco and thousands of stores worldwide.

Although Jew is headed to federal court Nov. 10 on charges of bribery, mail fraud, and extortion — including trying to extort $80,000 from Quickly’s owners for help obtaining city permits — Quickly still hasn’t secured those trouble-triggering permits.

The Small Business Protection Act, which San Francisco voters passed in November 2006, requires chain stores with more than 11 franchises to apply for conditional use permits before opening new outlets, to allow small businesses the opportunity to voice concerns they may have about chain store competition.

"But Quickly thinks they can flout the law," Sup. Jake McGoldrick claimed June 17, when he called for a Land Use Committee hearing into why a Quickly store at 331 Clement Street has been operating without a conditional use permit for a year.

City Planner Scott Sanchez told the Guardian that Quickly owners appealed a notice of violation that the Planning Department issued last summer. Sanchez said the 331 Clement store’s argument was that it was not a Quickly, "even though the store had the Quickly name, its colors, its beverages, and was listed on its Web site." He noted that Quickly eventually withdrew its appeal and opted in March to file a conditional use application instead.

Sanchez also explained that, thanks to a grandfather provision in the Small Business Act, only four of the San Francisco stores listed on Quickly’s Web site require such permits because the other nine opened before the act passed.

With hearings on those four stores scheduled in August, city zoning administrator Lawrence Badiner recalls that it was Jew, not the Planning Department, that first asked about the Quickly stores shortly after he was elected in November 2006.

"I said, ‘It sounds as if they are in violation,’<0x2009>" Badiner recalled. "I’d never heard of Quickly. But when we looked into it, I said, Jesus, yes, it does seem to be a violation of the planning code.’<0x2009>"

"Jew then did with that what he did," Badiner added. "We had no clue that he was in contact with them and proposing to help them. But when a supervisor asks about something, we keep them informed. But we had no clue, until it hit the papers, that he was doing anything with money."

Badiner says it will cost Quickly $1,000 to $2,000 per store to come into compliance. After the Jew allegations hit, Badiner said his department continued to hold discussions with Quickly’s business owners.

"I don’t think we talked about Sup. Jew," Badiner said. "We were trying to be scrupulously fair. Some said we acted too slowly; some say we persecuted them. But we just tried to go through the process."

Jew’s lawyer, Stuart Hanlon, accuses the Quickly stores "of having always been in violation."

"And they are still doing it," Hanlon told the Guardian. "They have one in [board president Aaron] Peskin’s district that Peskin has done zero about. I don’t know how they do it, but they seem to get by without getting the permits."

"What Ed did or didn’t do is a subject of a court case. But why is Quickly allowed to be here in violation of statutes? How are they doing it?" Hanlon asked. "They are clearly a chain store that gets supplied by and delivered to by a main store, and more of them have opened up since Ed had this problem."

Peskin replied to Hanlon’s comment by telling us that "Stuart Hanlon can go fuck himself. The guy shouldn’t be using my name as he does, and if he and his client had any idea how law worked, Ed would not be in a deep pile of trouble. The Planning Department is fully aware of all the violations of Quicklys throughout San Francisco, including my district. The fact that the Planning Department is not doing their job with speed and alacrity has nothing to do with us lawmakers."

When we called the Quickly franchise, a woman gave us a nonworking fax number for the 331 Clement store. When we asked to speak to the relevant Quickly owners, she told us, "Stores are individually owned, so we are not sure about that."

Man with a plan

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› news@sfbg.com

GREEN CITY Environmental groups have voiced cautious optimism about the California Air Resources Board’s new draft plan for fulfilling the legislative mandate of reducing greenhouse gas emissions by 30 percent from 1990 levels by 2020 and 80 percent by 2050. It relies primarily on greater conservation and efficiency, and a push for new technology.

But skeptics await the forthcoming details behind the plan’s vague outlines and openly worry that the complex "cap and trade" system for selling the right to pollute, an approach favored by industry executives, could be counterproductive. Many experts say we need a more radical reevaluation of the current system, such as that proposed by California’s S. David Freeman in his book, Winning Our Energy Independence: An Energy Insider Shows How (Gibbs Smith, 2007).

Freeman has advised presidents and governors on energy policy, run the Tennessee Valley Authority and major municipal utility districts, and recently activated a fleet of all-electric vehicles as head of the commission overseeing the Port of Los Angeles.

His book lays out a plan to phase out Big Coal, Big Oil, and nuclear (which he dubs "the Three Poisons") over 30 years while meeting the needs of our high-energy society by implementing renewable technologies that already exist: sun, wind, and renewably generated hydrogen, supplemented by small hydroelectric, geothermal, and certain biofuels.

"[I]t is entirely practical and feasible to get all our energy from renewable resources and to do so with today’s technology," Freeman writes, contradicting energy industry spin that beginning the switch would take decades. Footnoted calculations and renewable resource maps show that renewables will cost the public less, with supply "over twice as large as what we may need," if used efficiently.

The transition he proposes could eliminate many of the physical, economic, and political risks of our current unsustainable oil addiction, but only if environmentally concerned Americans — which, he posits, are a majority — close ranks and demand a national renewable energy policy that started immediately.

Freeman’s plan also relies heavily on conservation: it recommends federal government-mandated efficiency programs for utilities, auto companies, manufacturers of energy-using equipment, and homebuilders to offset rising consumer demand. Increasing fuel mileage standards by 1 mpg per year for 24 years (to 48 mpg), for example, would push automakers to steadily improve their products.

His second step: retire aging, highly polluting coal and waste-generating nuclear plants, outlaw new ones, and phase in renewable power-generating alternatives using sun, wind, geothermal, biomass, and municipal waste (going from 9 percent renewable now to 60 percent in three decades, at five-year intervals). Forest, agricultural, and municipal waste are preferable to food-based ethanol.

Freeman encourages consumers to get vocal with manufacturers and demand flex-fuel and plug-in hybrid cars (with batteries you can recharge at home) and, ultimately, all-electric cars. Rechargeable types require less gasoline, freeing us from reliance on foreign oil, a militaristic foreign policy, and habitat destruction at home. An excess-profits tax can supply consumer and manufacturer incentives to speed production within a decade.

Because green cars mean more demand for electricity, Freeman looks beyond new thin-film solar rooftop panels, calling on the federal government to develop "Big Solar": desert installations capable of generating 500 MW of power (the largest US solar farm now generates 16). Such a facility could fuel the energy-intensive electrolysis process needed to free clean-burning hydrogen from water (to replace gasoline), which can then be piped and stored.

Sure, this kind of approach will be expensive. But it would be attainable when looked at against the high cost of oil wars and steadily rising gas prices; habitat and health benefits further tip the scales.

To supplement lulls in sun and wind, the "cleanest of the fossil fuels — natural gas plants — should be allowed to continue to generate power … to assure reliability during hours when the renewables are not available," Freeman writes.

Freeman incites a people-power surge to usher in the big transition: "A favorite trick of the energy establishment is to say our problems are so big that we have to try everything, which means drilling where oil companies want to drill, strip mining coal, and building prohibitively costly, high-risk, toxic nuclear reactors.

Freeman said we need that same strong commitment to transition away from the Three Poisons, because "coal, oil, and nuclear cause the problems while renewables are the solution."

Support SF’s Clean Energy Act

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EDITORIAL The long-awaited charter amendment that would transform San Francisco’s energy policy will come before the Board of Supervisors within the next few weeks. The measure, known as the Clean Energy Act, deserves strong support.

The proposal is fairly simple, but far-reaching. It includes ambitious targets for reductions in greenhouse gas emissions and a mandate that the city shift to entirely renewable electricity by 2040. That would turn Mayor Gavin Newsom’s green city rhetoric into enforceable reality and put the city where it ought to be — in the forefront of global efforts to end reliance on fossil fuels.

And the sponsors of the charter amendment, Sups. Ross Mirkarimi and Aaron Peskin, realize that the only way the city will ever get serious about sustainable energy programs is to get rid of Pacific Gas and Electric Co.’s monopoly and shift to a publicly-run local utility.

The measure would, for the first time, create a detailed municipal energy policy and put control of the city’s energy future in the hands of city officials, not those of a private corporation. The San Francisco Public Utilities Commission would have a mandate to ensure that by 2017, 51 percent of the electricity used in the city came from renewable sources. By 2030 that number would rise to 75 percent, and by 2040 the city would be seeking a 100 percent renewable portfolio. (Energy from the city’s existing Hetch Hetchy hydroelectric project would count as renewable power, and since Hetch Hetchy already covers a significant percent of the municipal load, the targets are entirely reasonable.)

The PUC would have to prepare a report every two years advising the supervisors on how it is moving to meet the targets.

The measure also directs the PUC to come up with a plan to put San Francisco into the business of retail electric power. That’s something activists have been pushing for since the 1920s. The federal law that gave the city the unique right to build a dam in a national park additionally mandated that San Francisco use the electricity from the dam to establish a public power system. The city has been in violation of the Raker Act for some 90 years now. As we’ve reported in numerous stories going back to 1969, the city built the dam in Yosemite and managed to construct a world-class municipal water system — but PG&E, through bribery, corruption, and political influence, hijacked the dam’s electric power. Although San Francisco is the only city in the nation with a federal public-power mandate and one of the few that owns and operates a major public hydroelectric project, residents and businesses are still stuck with PG&E’s soaring rates and lousy service.

And PG&E — which uses fossil fuels for much of its power and operates a nuclear plant — won’t make even the state’s mild mandate of 20 percent renewable energy by 2010.

Public power cities all over California have lower rates and better service. The Sacramento Municipal Utility District, one of the largest public power systems in the state, is a national leader on renewable energy and conservation efforts. And public power makes tremendous economic sense: a municipal utility would bring tens, maybe hundreds of millions of dollars per year into the city’s coffers. That money could be invested in solar, wind, and tidal energy, and some could go to reduce the structural budget deficit that haunts City Hall every year.

PG&E is already nervous about the prospect of a renewable energy and public power measure passing this fall, and has cranked up a campaign of lies and misinformation. The news media are already starting to pick up the pro-PG&E stance — the San Francisco Business Times is running a "poll" on public power that leads off with the tired old claim that "San Francisco can’t make the buses run on time. But it can find power to keep the lights on?" (A bit of reality here: urban bus systems are tough to run because they lose money. Public power systems make money. The lights stay on in Sacramento, Palo Alto, Los Angeles, Alameda, Santa Clara, and a lot of other cities — and the people who live there pay less, get more reliable service, and are more likely to see reductions in greenhouse gas emissions.)

Six votes are needed to put the Clean Energy Act on the ballot. Any supervisor who doesn’t support it will forever be known as someone who puts the interests of PG&E ahead of the needs of San Francisco, the nation, and the planet.

Editor’s Notes

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› tredmond@sfbg.com

I was dreading the drive home from Lake Shasta. Sunday afternoon. The end of a major holiday weekend. Every car in Northern California would be converging on the Bay Bridge right around the same time I got there. Figure two hours from the Carquinez Bridge to the toll plaza. Hot weather. Tired, hungry kids who have to pee. Nowhere to go, no way to move. An impatient driver (me), who can’t stand waiting five minutes in a grocery store line, stuck in an endless, hellish queue with no outlet for the anger except to crab at my long-suffering partner. It wasn’t going to be pretty.

We did what we could. We got up early Sunday morning, de-fusted the boat, pulled into the dock by 11 a.m., and got on the road by noon. But still: 210 miles to San Francisco. We’d hit the Bay Area right about 3 p.m., along with every other auto-mad idiot who drove somewhere for the Fourth of July.

But a funny thing happened: we cleared Vacaville, and Crockett, and Vallejo, and I kept waiting for the traffic to hit. And then Albany and Berkeley and … whoa: we were on the bridge approach at 3:15, not one single stop-and-go spot, and the bridge was no worse than a typical pre-rush-hour weekday afternoon. It seemed as if nobody was driving.

Nobody is a bit too strong of a term — there were still plenty of people on the road. But for the first time in a decade, the California State Automobile Association reported a decline in car use over the holiday. "Less disposable cash and an overall increase in travel expenses have caused Californians to postpone or downsize their holiday getaways," CSAA spokesperson Cynthia Harris announced.

You could see that up at the lake, where rows of empty houseboats sat at the dock. Part of it was the incessant media coverage of the fires (in fact, Shasta was fine). But the biggest factor was the price of gas. At $4.50 a gallon, people don’t drive as much.

This is good.

For the first time in many, many years, people are talking about fuel efficiency again. I’m obsessed with it: change the oil, keep the car tuned and the tires inflated, and our utterly uncool Saturn wagon, with two-wheel drive and a small, weak four-cylinder engine, gets almost 40 mpg on the highway. We burned maybe 12 gallons round trip, which cost a little more than $50. Twice what it cost a few years ago, but not a deal-breaker. All of a sudden, the SUVs are grounded, and we’ve got the trick ride.

And I started to think: imagine what would have happened if courageous politicians in California had put a $2-a-gallon tax on gas five years ago. The SUVs and Hummers would be long gone. Public transit would be booming. And with 1.5 billion gallons of gas sold per year in the state, there would be $3 billion more each year in new revenue. Enough to fund huge improvements in urban transportation systems. The high-speed rail line to Los Angeles would be well underway. Traffic (and pollution, and global warming) would have dropped dramatically.

Yeah, the price of gas hits hard on working-class people who have to drive. I get that. It’s not the world’s most progressive tax. But the price has gone up anyway (as we all knew it would eventually) — and now all of that money is going into private oil company profits instead of going into public benefits. Something to think about.

Bucking off Chuck

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› amanda@sfbg.com

It was a steamy 95 degrees inside the vineyard, just east of Stockton, where Maria Isabel Vasquez Jimenez was pruning a shadeless stretch of young vines. It was May 14, the third day of work for the 17-year-old immigrant from Oaxaca, Mexico. She’d been working more than nine hours, with just one water break, when she collapsed from heat exhaustion at 3:40 p.m.

An hour and a half later, when she finally arrived at an emergency room, her body temperature was 108.4 degrees. For two days her heart stopped and started, then ceased beating completely.

The California Division of Industrial Relations has opened an investigation of the death and her employer, Merced Farm Labor, whose operating permit had already been temporarily suspended by state officials based on past unpaid fines for unheeded heat safety violations, and a permanent revocation could be imminent.

The San Joaquin county coroner determined that heat was the fatal factor, and so Jimenez’s family has filed a civil suit claiming wrongful death. The district attorney and attorney general have also opened investigations.

"We’re hoping to send a signal to farmers that you don’t just hire a labor contractor because it’s the lowest bid," Robert Perez, the lead attorney on the case, told the Guardian. "We think farmers, when they hire a labor contractor, should check them out."

But activists connected to the case want to send the message even further, to stores like Trader Joe’s that market products made with cheap or exploited agricultural labor.

Merced Farm Labor was subcontracted by West Coast Grape Farming, whose president, Fred Franzia, also owns Bronco Winery, makers of Charles Shaw wine — also known as Trader Joe’s cheap and wildly popular "Two-Buck Chuck." Approximately 72 million bottles of the $2 wine are sold each year, exclusively at Trader Joe’s.

United Farm Workers, responding to Jimenez’s death, have asked supporters to fire off letters to Trader Joe’s requesting the company "implement a corporate policy to ensure that its your suppliers are not vioutf8g the law by failing to provide basic protections such as cold water, shade, and clean bathrooms."

So far reaction has been swift and significant. "We always get a big volume of response because our Listserv is very socially conscious," said Jocelyn Sherman, UFW’s director of Internet communications. "But for this we’ve gotten an overwhelming volume of response. It’s the situation. People need something to be done."

Sherman estimates as many as 15,000 e-mails have been sent from UFW supporters to Trader Joe’s, whose spokesperson, Alison Mochizuki, told us the ire has been misplaced: "The unfortunate and tragic death of Maria Jimenez highlights issues and concerns facing all agricultural industries across America. Maria Jimenez was employed by an independent contractor working in an independent vineyard. The vineyard supplies many wineries, but was not supplying grapes for Charles Shaw. The company employing the young farm worker has no more of a relation to Trader Joe’s than they do to any other wine retailer or restaurant."

However, UFW asserts that subcontracting is the historic artful dodge of many a vineyard, and a vendor like Trader Joe’s, which serves a progressive community, ought to exert its clout on these issues.

"Lovingly nicknamed ‘Two-Buck Chuck’ by a member of the wine press, these California wines have become something of a phenomenon in the wine world, and in our stores," trumpets Trader Joe’s Web site. "Contrary to many an urban legend, these super-value wines began as the result of an oversupply of wine and a great relationship with a valued supplier."

"You say you have a great relationship with this supplier," Sherman responded. "Use this great relationship to protect workers."

A spokesperson for Franzia told the Guardian that the company had no comment. Mochizuki said Trader Joe’s — which has 62 stores in Northern California — is committed to protecting workers: "Our vendors have a strong record of providing safe and healthy work environments and we will continue to make certain that our vendors are meeting if not exceeding government standards throughout all aspects of their businesses."