Volume 43 [2008–09]

Boot up

0

› a&eletters@sfbg.com

Writing about Umberto D (1952), André Bazin located the intrepid beauty of Italian neorealism in its accumulation of small slivers: "The narrative unit is not the episode, the event, the sudden turn of events, or the character of its protagonists; it is the succession of concrete instants of life, no one of which can be said to be more important than another, for their ontological equality destroys drama at its very basis."

The sentence’s movement from careful observation to impassioned ethos is typical of Bazin’s noble endeavor to demonstrate the Italians’ modest profundity. The French critic was no proponent of formalism, but his composite sketch of neorealism — a mixed use of professional and amateur actors, location shooting, long takes, and a situational plotline — remains a given at Cannes.

Looking at the films in the Pacific Film Archive’s series "Moments of Truth," it’s easy enough to see why. Realism is often used as a cover to smuggle ideological biases into narrative, but a movie like Open City (1945) still draws a bracing connection between an economy of means and a strong moral imperative. Filmed in the rubble of Il Duce, the procession of dark apartment corridors and deserted streets submerge suspense into the act of witnessing. Neorealist orthodoxy aside, director Roberto Rossellini surely would have admitted that the truth is a lot more palatable when you have Anna Magnani in the leading role. Her death scene would seem to depart from neorealism in its wrenching montage (and burst of melodramatic strings), but it is Open City‘s most searing breach of moral injustice, around which the quieter scenes of resistance and despair organize their electric charge.

Among the PFA’s selection, I dote most on Il Posto (1961), an ethnography of adolescence that summons vast stores of quotidian melancholy from a backdrop of workaday drudgery. Whenever such a delicate work of neorealism threatens to buckle under the weight of critical piousness, we might look to the French New Wave filmmakers who identified with the Italians more for reasons of intellectual fecundity than partisan rigidity. Jean-Luc Godard and company liked the Hollywood pictures too, of course, but one senses their close affinity to the neorealists in their resourcefulness and flexibility. Instead of film as product, here was film as choice; pictures like Open City and Il Posto may have been branded with ideals of Truth and Reality, but the secret of their success rests in their sense of possibility. *

"Moments of Truth: Italian Cinema Classics"

Nov 29–Dec 21, $5.50–$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249, www.bampfa.berkeley.edu

Plucky 15

0

› superego@sfbg.com

SUPER EGO When, oh, when, will someone acknowledge properly that Kinko’s was responsible for rave — at least the good rave? So many legendary early 1990s parties sprang from adorable Apple IIe addicts frantically photocopying the two-toned fruits of stoned flyer-making labors at 3 a.m. onto Lift-Off Lemon and good ol’ Lunar Blue. We grateful ex-ravers, despite ongoing nerve damage, should really erect a mimeo-monument to that generic copyhouse — a mass of leftover smiley-face baggies and filthy chill-out room inflatables, perhaps, fashioned in the shape of a poor, perplexed clerk?

I’m chortling over the phone about this with Flash, the guiding light and graphic design arm of the Tribal Funk party production crew, formed 15 years ago by South City teen Keith Neves with just such a rush-job handout. "Keith was really sick of the rave scene’s slickness and commercialism back then, so he passed out a handmade flyer saying, ‘Meet at my house and let’s see if we can do it right. Get it back on track. Do it for less,’" Flash explains. A couple dozen people showed up, and the Tribal Funk saga was launched.

It’s a wondrously wriggly epic, dotted with giggling daisy logos and projected grinning cows, that kicks off with a 1993 Thanksgiving Day rave called "The Beginning" at the National Guard Armory in Concord and winds its way through the College of San Mateo dining hall, the Santa Cruz Civic Auditorium, and across "some rickety pier in China Basin." It brushes up against other well-known party names like the Gathering, Stompy Stomp, Coolworld, Toon Town, and Funky Techno Tribe and survives huge rain-outs, threatened cop busts, wily rival crews, and several cringe-inducing encounters with the word "phat." It amasses a rippling pool of luscious West Coast DJ talent: Carlos, Tony, DJ Dan, Cut Chemist, Z-Trip, and Charlotte the Baroness. Also, Chi-town house god Mark Farina — virtually unknown in the Bay when he spun at a 1994 Tribal Funk joint — will be rocking the nostalgia train with the wiggy Bassbin Twins as part of the 15th anniversary celebration at Mezzanine.

From its original collective, T-Funk has been pared down to Flash and the now-Los Angeles-based Neves, and has gone through several retirements — yet it’s still delivered a massive massive many Thanksgiving weekends since its first Turkey Day bash. Vibe feathers! "I know it sounds clichéd," Flash reflects, "but we’ve always been about musical cross-pollination. It seems like the right time for us to be around again. We started when the scene was weak, and I feel it’s gotten weak again — the underground SF-sound scene, I mean.

"Plus," he adds, "it’s hard to kick the party-throwing bug. It’s a drug — not about money, you’ll never make money, and not about ‘scoring chicks.’ There’s no feeling in the world like standing behind the DJ as 2,000 people jump up and scream for joy. You just gotta do it, man." *

TRIBAL FUNK 15 YEAR FAMILY REUNION

Sat/29, 9 p.m.–7 a.m., $25

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

CLUCK AND BEAR IT

Gobble all the stuffing you want, then dance as the rollicking, bear-and-other-friendly Blowoff party returns to Slim’s. I rarely recommend biggish parties like this — not because I don’t love me some bare-chested bear meat, but because I never trust the music at large gay-oriented affairs. But the last installment was a packed hairy hoot, and DJ duo Richard Morel and Bob Mould kept the beats interesting, rocky even. Claws out, kiddies.

Sat/29, 10 p.m., $15. Slims, 333 11th St., SF. www.slims-sf.com

Sticky buns

0

› le.chicken.farmer@gmail.com

CHEAP EATS This Thanksgiving I am thankful for sushi, pre-cum, the hangtown fry, clam chowder, big green salads, soft-boiled eggs, carnitas tacos, biscotti, roasted chickens, cum, day-old sticky buns, and Canada. However, I have no plans for Thanksgiving dinner.

How can this happen? My favorite holiday! My only holiday!

Deevee and Gilley are going camping. I’m invited, but don’t like to be cold. The Maze invited me to San Diego for dinner with his parents. I like to be warm, but the train ticket costs $150 and you have to spend half the time on a bus. What kind of train ticket is that?

My new favorite country is Canada. Truth be told, Canada was my old favorite country too, only for different reasons. I used to like Canada because it seemed less like a country than other countries, the mouse sleeping next to the elephant. Its people, peaceful and funny.

Second City Television was my favorite TV show. "O Canada" stirred me more than "The Star-Spangled Banner." I almost died in Canada, in the late 1990s, and have only been back once since, to play cowboy songs for elderly shut-ins in Ottawa.

That was five years ago, and I was in a van. You don’t need a passport to get into Canada, just to come back. I learned. The hard way. I’m afraid to fly and can’t afford to and have no plans to visit my new favorite country, but that’s OK. Apparently, it will come to me.

In Canada all the animals are moose. If you have mice, and you trap one, you will find on closer inspection that your mouse is a little tiny moose. If you have a cat and a dog, you have a moose and a moose. Small ones. If you go to the zoo, or the circus, and they feature an elephant, it will be played by a humongous moose. And if you see an actual-size moose — say, on the side of a small road in the mountains — then that’s a moose too.

Thanksgiving in Canada happens in October and is not a big deal, according to my Canadian. After work I picked him up at the airport, and I took him out for sushi and then to a downtown hotel with clawfoot bathtubs.

We hardly slept that night, or the next, or the next. The groundwork had been laid online, which doesn’t sound right, I realize. But besides sex, we drove around and talked about food, and movies, and food. Fuck history, Canadians know as much about American barbecue as most Americans do. We’d eaten at a lot of the same places in the South. He knew where to get fried chicken in Missouri, and Buffalo wings in Buffalo. I showed him where to go for breakfast in San Francisco, lunch on the Sonoma Coast, and dinner in the wine country.

He bought me a bottle of great whiskey and a big book about road food. All weekend that weekend I didn’t check my e-mail or answer my cell phone, and my friends worried about me. They needn’t have. I was visiting Canada, in the comfort of my own county and country. And I found it infinitely sweet, hospitable, romantic, and, best of all, game.

The boys around here, you know, the too-cool-for-drool outside-the-box ones who describe themselves on the dating sites as open-minded, adventurous, looking for new experiences, blah blah barf … I hate to say this, my rad hipster sexually-liberated countrymen, but you were just schooled in all of the above by a middle-aged Canadian tweed with daughters and a favorite toothpaste.

He didn’t know I was trans when he first wrote to me, just liked my pics and words and food-itude. I told him right away. I told him and showed him: look, man, an outtie. And unlike you, he shrugged. Never been with a body like mine, he said, never even thought about it. But … he couldn’t wait to find out.

And did.

And loved it. And loves me. He said so.

"I love you too," I said. And I took him back to the airport and then went to play soccer as usual.

My new favorite restaurant is Sushi Man. Just for the name. That’s all. The sushi was … well, nobody got hurt or anything. I got sashimi hamachi and some saba, and the steamed spinach thing with sesame seeds, which was great. Better than the sushi. Nice atmosphere, surreal service, nobody there … *

SUSHI MAN

Daily: 5 p.m.–10:30 p.m.

731 Bush, SF

(415) 981-1313

Beer & wine

MC/V

In every dream home …

0

› andrea@altsexcolumn.com

Dear Andrea:

I’ve been with my husband for 10 years, and we are still pretty young. He has become infatuated with a woman at work. It started as a ride-share and friendship, and recently developed (to their surprise) to an intense infatuation. He started staying out late nights drinking with the work crew so he could spend more time with her. They have not kissed or had sex, but the touchy-feeliness is there. After I discovered the relationship, he vowed to end it and to try to build stronger bonds with me. But ending it was a lot harder than he thought. It took me finding several communications between them for him to agree to go to therapy and finally tell her they could have no more contact outside of work. Now I’m having trouble trusting him. I break down a lot and he feels so guilty he thinks I’d be better off without him. We are starting couple’s therapy soon and he’s not in a position to leave his job. I can’t compete with this infatuation. We had a short infatuation, but things moved so fast that it dwindled more quickly than I think it should have. He told me that she makes him feel dizzy and that he’s never felt like that for anyone before. Am I going to lose him?

Love,

Tearfully Fearful

Dear Tears for Fears:

I’m a little worried, due to the finding of a few last (we hope) e-mails before he agreed to therapy, and frankly, due to your snooping (I assume you were snooping). Both are bad for both of you.

Given that he has apparently given up the stolen moments with Object of Affection (No more late nights drinking, right? And let’s assume his schedule doesn’t allow for Don Draper-style unexplained absences from the office, starting at lunch and ending when he damn well feels like ending them?), I can be cautiously optimistic, if a bit concerned about the you-not-trusting-him (understandable!) and him-feeling-like-skulking-off-because-it’s-all-ruined-now-anyway parts. Not only will he have to get over her for this to work, you will both have to get over yourselves. The latter may be harder.

Infatuations of the sort your husband had usually require some kind of fuel to keep burning, and if they have stopped seeing each other in any but the most unavoidable and quotidian "Hey, did you get that TPS report?" fashion, it has a good chance of dying down.

The truth is, 10 years in, something like this is to be expected. You could even consider patting yourselves on the back that it took 10 years, rather than the more expected seven (some researchers postulate that humans are programmed to move on after seven years, the time it takes to rear a man-cub to independence) or the alarming four, a figure that shows up in recent research on divorce in Western industrialized countries. Small consolation, I know, but 10 good years is worth a lot!

So what does he say now about the dizziness? Is he still dizzy when he thinks of her, or is it now mostly retroactive dizziness, dizzy with some distance? We’ve talked about those dizzy spells before in the column. They are a sure sign of "limerence," the crazy part of love, which I described here: "I make a distinction between loving a whole lot and limerence (which differs from infatuation in both duration and intensity), which is not so much a feeling as it is a form of madness, and like other forms of madness is turning out to have a biochemical basis. ‘When I think of you my serotonin plummets, my darling! O, how my dopamine soars! My heart pounds with norepinephrine …’"

Limerence produces sensations not only of lightheadedness but of physical pain or "heartache." It is tremendously exciting, and we tend to assume that anything so compelling must be both real and important. But if you remember that a really great book or a roller-coaster ride can create similar sensations, you realize that it needn’t be anything of the kind. The rush can be addictive, though, so let’s hope that your husband can give the rush its due and then steer clear. He will need some help, from both you and the therapist. Any sign that he is just nodding and saying whatever will get him out of there the fastest, and I’d start worrying again.

Interestingly, there are 12-step groups not just for the more obvious "sex addicts" but also for "love addicts." They are meant for those who use "love" as a drug to lend meaning to an empty life or excitement to a dull one, not to the ordinary person who, glimpsing something shiny, follows it through the faerie wood and then, realizing he’s been briefly enchanted, returns, chastened. Still, understanding that "love" (these are not quite scare quotes, but certainly sneer quotes; I don’t think what these seekers are finding deserves the name) can be so powerful a drug may help both of you to forgive him.

Love,

Andrea

Got a salacious subject you want Andrea to discuss? Ask her a question!

Also, Andrea is teaching! Contact her if you’re interested in (sex)life after baby classes. Her new blog is at www.gogetyourjacket.com, but don’t look there for the butt sex. There isn’t any.

Art star for a day

0

Any retrospective of participatory art is a curatorial gamble that raises a host of questions. How do you encourage engagement? How do you physically display and arrange pieces that depend on the viewer’s actions, interactions, or interpretations? And how broadly do you define participation?

SFMOMA curator of media arts Rudolf Frieling has recognized and embraced such risks in organizing the timely survey "The Art of Participation: 1950 to Now." The payoff is an open-ended terrain that is alternately challenging, gimmicky, and surprisingly fun. Critic Lucy R. Lippard loosely defined ’60s and ’70s conceptual art as "work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized’." This definition can double as a nice general description for many of the pieces Frieling has selected.

Formative minimal, conceptual, and Fluxus experiments fill the exhibit’s first two galleries. Many are embodied by photographic or filmed documentations of actions, such as Yoko Ono’s Cut Piece (1965). Others involve a notable absence of action — as with John Cage’s infamous 4’33" (1952), here represented by the double-whammy visual pun of David Tudor’s blank transcription of the score and the unattended piano the piece is performed on daily.

Some artists within "The Art of Participation" directly solicit input, although it should be said that browsing online art in a museum is kind of a drag when there’s so much else to see. Reproductions of Lygia Clark’s ’60s dialog objects allow viewers to physically explore what the artist calls "tactile propositions." An elderly couple generated some unintentional comedy when trying on Clark’s Terry Gilliam-esque, two-headed 1968 viewing apparatus Dialog: Goggles. Erwin Wurm’s delightful One Minute Sculptures (1997) double dares viewers to join the ranks of his subjects — photographed in varying fantastic and ridiculous situations that involve household objects — by following microscopic posing instructions scrawled on a white platform and the gallery walls.

The accumulated scuffs and scrapes of past visitors’ attempts at becoming art that surround One Minute Sculptures brought to mind Cage’s comment that Robert Rauschenberg’s White Paintings (1951) — which inspired 4’33" and are displayed near the perpetually silent piano — are "airports for dust and shadow." So, too, is the museum in the age of electronic reproduction, as more and more people participate in aesthetics via YouTube and Flickr. "The Art of Participation" recognizes and democratically celebrates this shift, even as it sometimes stubbornly clings to old, institutional habits and material objects.

THE ART OF PARTICIPATION: 1950 TO NOW

Through Feb. 8, 2009, $7–$12.50

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

Story of the eye

0

> a&eletters@sfbg.com

In "Brought to Light: Photography and the Invisible," SFMOMA associate curator of photography Corey Keller assembles an exciting encyclopedia of daguerreotypes, photographs, and X-rays to reconstruct and demonstrate the 19th century education of the eye. Separated into species of work (microscopy, telescopy, electricity and magnetism, motion studies, X-rays, and spiritualism) and sub-sectioned into various flora and fauna, "Brought to Light" has the distinct feel of a fin de siecle terrarium or medical amphitheatre — a suitable mise-en-scene for the subject matter.

By way of prologue, "Brought to Light" details the emergence of the improved optical technologies and positivist sciences — largely indebted to French theorist Auguste Comte — that set the stage for a "Copernican revolution" by the latter half of the 1800s. The resulting impact was first felt in the discipline of astronomy, when detailed images of the moon appeared to an astonished public courtesy of George Phillips Bond and Samuel Humphrey.

Though these lunar photographs proved unprecedented in capturing the collective imagination, the scientific community was quick to shift its classificatory gaze to the molecular universe. Early photomicrographers Alfred Donné and Auguste-Adolphe Bertsch experimented with new chemical exposures to produce startling images of diatoms, insects, and human cells. Eadweard Muybridge and Étienne-Jules Marey ossified high-speed events through stop-action "chronotypes," thereby converting temporal mysteries — such as the arc of a cannonball, or the positioning of a racehorse’s legs in mid-stride — into a visual experience. By century’s end, Wilhelm Conrad Röntgen had successfully transmogrified the living human body into a ghostly apparition through his discovery of the X-ray.

So influential was technical culture upon the epistemological discourse of the period that the roving gaze of the scientist had insinuated itself into the collective perception of the laymen. As the astronomer Pierre Jules César Janssen prophetically pronounced in 1877, the photography plate had supplanted human vision to become the "true retina." Always intriguing, "Brought to Light" tells the story of a moment in history when the rational world suddenly plunged into its subterranean counterpart, redefining the story of the eye. *


BROUGHT TO LIGHT: PHOTOGRAPHY AND THE INVISIBLE, 1840-1900

Through Jan 4, 2009; $7-$12.50

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

Still fighting

0

› news@sfbg.com

The workers at the Woodfin Suites Hotel in Emeryville have had to fight hard for their rights against an intractable employer — one with a history of harassment and denying them proper pay — but the workers could be on the verge of yet another small victory.

The Emeryville City Council could decide Monday, Dec. 1 whether to award about $200,000 in back wages owed to the workers, thus potentially touching off yet another chapter in a long legal battle pitting local workers and voters against a conservative, out-of-town hotel owner.

This case stems from Measure C, a living wage ordinance passed by city voters in November 2005 that was aimed at hotel housecleaners. The measure requires that hotels pay all employees a minimum wage of $9 per hour and overtime pay for workers who clean more than 5,000 square feet of floor space.

Brooke Anderson, executive director of the East Bay Alliance for a Sustainable Economy (EBASE), said the measure came about after talking to housekeepers who complained about the long hours and stressful workloads. EBASE, an Oakland community-organizing nonprofit, ran the campaign to pass Measure C along with UNITE-HERE Local 2850 and the Alameda Central Labor Council.

Rosa, a Woodfin employee who asked not to be identified, has cleaned the hotel’s luxurious suites for three years. She said that prior to Measure C’s implementation, she struggled to complete her daily workload. "It was an excessive amount of work. If we didn’t finish, we had to clock out and work without pay."

Through communication with the workers after the measure went into effect Dec. 5, 2005, EBASE found that Woodfin and the Marriott Courtyard Hotel were not in compliance. "We had workers start taking journals down saying, ‘I cleaned this many rooms today, what I should have been paid was X, what I did get paid was Y’," Anderson said.

By fall 2006, Woodfin and Marriott workers went public with their complaints, "essentially blowing the whistle on their hotels’ not complying with the law," Anderson said.

Both groups of workers testified before the City Council. Marriot quickly came into compliance, raising wages across the board and paying back wages for the year spent out of compliance. Woodfin slowly came into compliance, dropping the room load from about 17 to around 9 over the next three months.

Yet in June 2007, city officials found that Woodfin owed about $250,000 in back wages. The hotel appealed the ruling, arguing that Measure C was unconstitutional. In April, the Alameda Superior Court ruled that the law is constitutional and that the city of Emeryville has the right to demand back wages, but it took issue with the methodology used to calculate the owed amount. The judge ordered the city to revise its back wage order and hold another hearing.

The city reissued its order in August, calling for around $200,000 in back wages. Woodfin appealed the ruling; a first hearing was held Nov. 17, and a final decision is expected Dec. 1.

Woodfin’s argument this round, according to spokesperson Tim Rosales, is that Emeryville did not clarify its requirements until 2007 so the company cannot be held accountable for regulations it believed it was complying with. Rosales said the city passed "implementing regulations" in 2007 and "tried to retroactively apply those 2007 rules to 2006."

"It would be as if the IRS applied this year’s tax increases to last year’s taxes and asked you to pay the difference," he said. Additionally, Woodfin cleans each large suite with a team of housekeepers, making it difficult to calculate individual square footage.

EBASE counters that Woodfin purposely ignored Measure C’s regulations, which it vehemently opposed during the election. Anderson also said the hotel has a long history of using intimidation tactics throughout the two-year struggle.

The Guardian broke the story last year ("Calling in the feds," 6/13/07) that the owner of Woodfin Suites, Sam Hardage, used connections with US Rep. Brian Bilbray (R-San Diego) to have the Immigrations and Customs Enforcement officials audit his own hotel, which he then used as a pretext for trying to fire some of his workers.

"The real question," Emeryville City Council Member John Fricke told the Guardian, "is why has the Woodfin hotel chosen to invest so much money fighting Measure C.

"It’s pretty clear that the Woodfin has spent many times the back wage it owes and paid that to lawyers," he said.

Rosales said that the hotel was battling on a matter of principle. "One could argue that were going to be doing business in Emeryville for a very long time," he said. "We want to find some clarity on the issue so the city can’t adopt measures and apply them retroactively."

Both sides hope for a favorable outcome Dec. 1, but remain entrenched and ready to defend their positions.

"We are confident that a favorable decision will be made and we hope that the hotel will pay," Rosa said. "[The dispute] has made me stronger both as a person, and as a member of the working class."

Woodfin is confident but prepared to continue fighting.

"Really what we want to do is find some good resolution between ourselves and the city," Rosales said. If they don’t, he said, "I think we could find ourselves back in court." *

After the bubble

0

› amanda@sfbg.com

Speculators will be able to sit on tracts of San Francisco land until the market improves. Development impact fees will be set too low to cover the costs of neighborhood improvements like parks, streets, and transit. Affordable housing development is intimately tied to a busted market rate-housing boom.

This is the future of the eastern South of Market, Potrero Hill, Central Waterfront, and Mission District neighborhoods as laid out in the Eastern Neighborhoods Plan, a community rezoning effort that began in 2001 that now fills a binder thicker than a weightlifter’s bicep.

After more than 30 public hearings, the plan is approaching final approval by the Board of Supervisors. While some are lauding all the heavy lifting that’s been done to get it to this stage, there are still some noticeable shortcomings.

"The plan itself is despicably deficient in terms of affordable housing," housing activist Calvin Welch told the Guardian. That sentiment was echoed by spokespeople from the Mission Anti-Displacement Coalition and the South of Market Community Action Network, who may join together in a legal challenge of the plan’s Environmental Impact Report for failing to properly consider socioeconomic impacts.

"There will be environmental impacts in terms of displacement, increased amounts of traffic and cars, increased levels of noise," said April Veneracion, SOMCAN’s organization director. "The Board of Supervisors could have addressed these inadequacies in the EIR with amendments."

Some last minute amendments were added that would audit the financing of projects and reduce land speculation — but due to a tricky legislative maneuver, even these concessions could be axed by a veto from Mayor Gavin Newsom.

The bulk of the plan rezones vast tracts of industrial land on the eastern flank of the city for housing, mixed urban use (including retail and commercial sites), and a light industrial category called "production, distribution, and repair" (PDR) that protects many of the working-class jobs remaining in San Francisco.

Building height limits will increase in some areas and remain at 40 feet in others. Between 7,000 and 10,000 new units of housing are anticipated, with affordable housing rates between 15 to 25 percent, depending on the location and project.

However, the one method of financing affordable housing — known as inclusionary housing, which requires market-rate developers to include a certain percentage of affordable units — is entirely linked to a now-waning economic boom. "Events have rendered it meaningless," said Welch. "The Eastern Neighborhoods Plan is a plan predicated on a red-hot real estate market. Planning has no ability to shift with the market and the market, since mid-September, has changed radically."

The Controller’s Office recently readjusted the city’s revenue projections, suggesting a $90 to $125 million budget shortfall in the current fiscal year, with 40 to 49 percent of that directly connected to flagging real estate transactions.

Yet housing in the Eastern Neighborhoods Plan remains primarily composed of market-rate units, fetching upward of $700,000 apiece, with "middle-income" units discounted to half that, and below-market-rate apartments still costing over $200,000 each. Development impact fees are set for $10 per square foot of construction — not enough to cover the proposed improvements that would make these industrial areas pleasant and safe for everyday residential living and working.

"In order to support the population that’s expected to move in, you need transit improvements, park improvements, street improvements," said Tony Kelly of the Potrero Boosters, a neighborhood group. "Less than half [of these] have been funded by the project."

He characterized the approved parts of the plan as "pretty weak." "They’re rezoning 500 acres of industrial land for housing — predominantly market-rate — right at a time when no one’s building market-rate housing," Kelly said. He also said the plan lacked many creative financing ideas. "When the area plans were presented to our neighborhood back in 2006, the Planning Department outlined all the things a neighborhood needs. There was a chart with 18 different ways to pay for it. How many are now in the plan? One."

Ways to ensure that developer fees are used well and land doesn’t sit fallow were introduced at the last minute. Amendments to the plan, made by Sup. Aaron Peskin, require audits of the neighborhood improvement fees and forcing developers to actually build rather than speculate — but they received a potentially fatal last-minute blow.

The Board’s first vote on the plan occurred during the Nov. 18 meeting and the bulk of the plan received unanimous support (minus Sup. Chris Daly, who is recused from voting because he owns property in the plan area).

But late in the game, a standoff arose between Peskin and Sup. Sean Elsbernd, who opposed blindly rubberstamping the last-minute amendments offered by Peskin during the previous night’s Land Use and Economic Development Committee hearing.

"We saw the actual language of this if you looked in your e-mail in the last two hours," Elsbernd said during the heat of the Board hearing. "I’d like a week to read the changes made by you last night."

The Board voted to continue the matter for a week, but then, at the end of that day’s business, Peskin rescinded the vote and forced the issue. As promised, Elsbernd severed the four Peskin amendments — a legislative tactic that allows one supervisor to slice out parts of legislation and place them into individual files for separate votes.

Peskin countered by severing another amendment, added by Sup. Gerardo Sandoval, which would have allowed special height increases for two lots on Mission Street, where the New Mission Theatre and the Giant Value store currently sit. Gus Murad, who owns the properties as well as the adjacent restaurant Medjool, has been lobbying to convert the properties to commercial and residential space.

The supervisors shot down the "spot zoning" amendment that would let future buildings on the two sites to be built higher than what’s currently allowed on Mission Street. MAC spokesperson Nick Pagoulatos later applauded the move: "It would have been a ridiculous exception to make and one that clearly favored one developer."

Despite Elsbernd’s move to sever the amendments, all four passed, but didn’t receive enough votes to block a veto from Newsom. Supervisors Carmen Chu and Michela Alioto-Pier voted with Elsbernd.

The mayor’s ability to line-item veto some key protections sought by neighborhood activists was at the heart of the move. "That’s absolutely right," Elsbernd told the Guardian, who added that although he hadn’t spoken with Newsom and didn’t know his intentions, "These are issues that absolutely concern me."

The amendments add "metering" and "use it or lose it" provisions to the plan. Metering is essentially an audit performed by the board every five years to ensure that collected developer impact fees are used properly. Peskin said that while they couldn’t meet all the requests of neighborhood groups and housing rights activists, "this was something that we could do that made good public policy sense."

Elsbernd told the Guardian he didn’t object to the concept of metering but would like oversight by the Controller’s Office. "Metering gives the Board of Supervisors full power and takes the executive out of the mix," he said of the plan as it stands now, adding that it should be viewed as a long-term protection. "This is not about Mayor Gavin Newsom. It’s about Mayor Mirkarimi or Mayor Peskin."

The "use it or lose it" requirements are designed to reduce speculation by mandating that a developer with a project that has received a green light from the Planning Department must procure a building permit within three years, after which they have one year to break ground. Currently, there’s no limit to the amount of time a developer can sit on a property, which becomes more valuable after receiving city approval.

Elsbernd said, "Three years is just not fair," but again, he said he thought there was a middle ground and would like to see project developers given opportunities to make cases for extensions. However, if the developer has one of those grandfathered projects that doesn’t have to meet the new, stricter inclusionary housing regulations or pay public benefits charges, they should "have to pay full fare, full affordability, full fees," said Elsbernd.

A second vote on the plan and its amendments is scheduled for the Nov. 25 Board meeting, after Guardian press deadline, but Elsbernd expressed optimism about a compromise as part of last-minute dealmaking. "I would say there’s a possibility, as colleagues realize the potential mayoral veto."

Still, Welch pointed out that resistance to a "use it or lose it" protection is proof that San Francisco’s real estate market is in no way immune to the economic crisis afflicting the rest of the country. "The assumption built into the Eastern Neighborhoods Plan was this robust growing market for condo development and I think the bubble has burst," said Welch. "If that isn’t the case, then why would developers care about a requirement that says you have to build in three years? The Mayor’s Office told me the phones were melting after Monday night’s amendments passed."

But Welch said one of the great ironies of a market-rate housing crash is that it makes nonprofit housing development even more competitive. "That’s why we pushed so hard for ‘use it or lose it.’ It forces developers to say to the city ‘we’ll do it,’ or ‘would you like to buy the site?’<0x2009>" He said the city should be poised to buy those sites in order to build affordable housing and suggested the city lobby Barack Obama’s administration for the funds to do it as part of the large infrastructure improvements planned by the president-elect.

"I think the way housing is financed is going to be totally transformed and the federal government is going to play a bigger role," said Welch. *

San Francisco needs a New Deal

0

By Christopher D. Cook and Eric Quezada


OPINION On the night the voters spoke, word began filtering through Palm Pilots and iPhones about sweeping budget cuts likely to carve a hole in vital city programs. It’s ugly: massive cuts to the Department of Public Health and numerous social service programs. As usual, programs helping those most in need are getting cut the most. Why aren’t we instead raising revenue from those who have the most?

In this year of "change," we need a fundamental shift in our city’s taxing and spending priorities — a bold New Deal for San Francisco that enlarges the public pie that everyone’s scuffling over, and that creates green jobs and new housing opportunities targeting poor neighborhoods and districts.

It’s time to get serious about taxing and redistributing wealth to stimulate new economic opportunities. The passage of Propositions N and Q — expanding real estate transfer and payroll taxes — is a good start. We need to tax wealth in new ways that replenish the local economy, creating green living-wage jobs with health care and opportunities for small businesses and community-serving groups.

City leaders can make San Francisco a model of good sense by demanding that our wealthiest citizens and corporations help fund a program that creates jobs and economic opportunity for the rest of us. Particularly in the city’s eastern neighborhoods, Districts 9, 10, and 11 (and parts of 6), poverty and economic stress are rampant and families are pressed to their limits — unable to afford health care, working multiple jobs, living in overcrowded apartments, and often in shamefully dilapidated housing conditions.

With home prices declining but rents and foreclosures skyrocketing, the city needs to help thousands of working-class residents who provide vital services — teachers, service-industry workers, and cash-poor immigrants — to remain in San Francisco. Now is the time to prioritize production, public infrastructure, education, and cooperation for the common good; our economy needs a stimulus based on solidarity and collective good.

We’re being presented with false scarcity and false choices — do we cut housing or health care to meet the budget? Few are asking the key question: why don’t we have more money to work with, in this vastly wealthy region?

In an earlier New Deal, President Franklin D. Roosevelt imposed a 90 percent tax on upper income brackets — making it virtually illegal for people to earn so much more than others. Locally, city leaders should explore a gross receipts tax on large firms; new taxes on luxury and high-priced items, such as SUVs, second homes, yachts, and other extravagances; perhaps revive the push for a downtown business tax levied on large firms in the financial district; and a truly progressive income tax harnessing revenues from high-income folks.

People can argue over where the money should go. But it’s brutally clear we are in an age of deepening inequality, widening economic stress, and environmental limits. There’s no room for huge disparities — no room to continue allowing extra-wealthy individuals and corporations to consolidate their gains at the expense of the rest of us. We must renew the fight for public wealth — now. *

Journalist and author Christopher D. Cook is a former Guardian city editor, and a local activist. Contact him at www.christopherdcook.com. Eric Quezada is executive director of Dolores Street Community Services, and was recently a candidate for District 9 supervisor.

The coal question

0

> news@sfbg.com

GREEN CITY Over the past few years, a growing number of environmentalists have called for greatly curtailing the burning of coal, a practice that threatens the health of people and the planet. On Nov. 14-15, Rainforest Action Network (RAN) held protests in San Francisco and more than 50 other cities against Bank of America and Citibank, two of the largest financial backers of coal projects.

RAN cites data showing that coal is responsible for nearly 40 percent of US global warming emissions, and claims in a press release that Citibank has provided financial support to "45 companies that have proposed new coal power plants."

According to RAN, Bank of America is "involved with eight of the US’s top mountain top removal coal-mining operators, which collectively produce more than 250 million tons of coal each year."

Mountain top removal is a process in which explosives are used to gain access to underlying coal, devastating ecosystems and polluting watersheds to extract an energy source that emits far more climate-altering carbon than even other fossil fuels. RAN’s Joshua Kahn Russell cited Bank of America’s $175 million financing of Massey Energy, a coal producer that was sued in 2006 by the US Environmental Protection Agency for more than 4,500 violations of the Clean Water Act. Early this year, Massey agreed to a $20 million settlement rather than pay potential fines of $2.4 billion.

RAN has named Bank of America CEO Kenneth Lewis the "Fossil Fool of the Year" for his company’s role in coal. But on the bank’s Web site, Lewis disputes the characterization, citing the company’s promotion of hybrid vehicles and its other efforts to combat global warming, which won an award this year from the Natural Resources Defense Council.

"Our environment initiatives reflect our commitment to addressing climate change, conserving natural resources and building a sustainable economy — for today, and generations to come," Lewis says on the Web site. Similarly, Citibank officials tout what they say is a $50 billion initiative over the next 10 years to promote renewable energy sources.

As the US limps toward an energy policy that relies less on fossil fuels, coal is the big target for environmentalists. But getting off of it won’t be easy, considering it supplies about a quarter of the nation’s energy and helps fuel the faltering economy.

President-elect Barack Obama has made mixed statements about coal. In an election-season interview with the San Francisco Chronicle, he favored a cap-and-trade program that would limit the use of coal and charge new plants "a huge sum for all that greenhouse gas that’s being emitted."

Yet he has also repeatedly voiced support for a so-called clean coal technology known as carbon capturing and sequestration (CCS) that could theoretically prevent coal emissions from entering the atmosphere but that many environmentalists believe to be a myth.

Russell said CCS, which involves capturing carbon emissions from the air and placing them deep underground, is still theoretical and may not be as cost-efficient as switching to cleaner energies. If CCS is a viable alternative, the Intergovernmental Panel on Climate Change (IPCC) has said that coal plants with CCS could reduce carbon emissions by 80-90 percent.

RAN organizer Scott Parkin pointed out that even if clean-coal technology works, the "coal still has to come from somewhere," and the process of extracting it has inherent environmental problems. But coal advocates say we need to be realistic about meeting the nation’s energy needs.

Bank of America spokesperson Britney Sheehan told us, "As a nation, 50 percent of electricity comes from coal." Even in California, 32 percent of electricity is derived from coal, according to the California Independent System Operator. Sheehan said the bank is actively funding renewable energy initiatives to help make the transition to cleaner burning fuels and it is making strides to reduce greenhouse gas emissions.

Yet many say such incrementalism belies the seriousness of the climate change threat. Dr. James Hansen, head of NASA’s Goddard Institute of Space Studies, was quoted by RAN as saying, "The science is clear: a moratorium on new coal-fired power plants, and phase-out of existing coal plants, is essential if we want to preserve creation, the life on our planet, for young people and future generations." 2

Editor’s Notes

0

› tredmond@sfbg.com

The Board of Supervisors passed the Eastern Neighborhoods Plan last week, in what seemed to be an awful rush. If it had been my call, I’d have left the transformative rezoning to the next board, which will have to deal with the impacts of it. But that wasn’t to be. The meeting was marked by Board President Aaron Peskin pushing a series of crucial amendments that Sup. Sean Elsbernd wanted to delay — and that Mayor Gavin Newsom may veto. That will force an override vote, and it will be close.

So one of the most important land use decisions in the history of San Francisco is going to be coming down during the holiday season, during the last few weeks that the outgoing board is in place, and possibly after Sup. Tom Ammiano — a solid progressive vote — has left for Sacramento.

This is not good.

The plan itself is a bit out of date — it was designed for a time when developers were champing at the bit to build market-rate housing in southeastern San Francisco. And while housing demand in this city is still strong, the market has dropped a bit, and the notion that fees on high-end condos will be paying for affordable housing and infrastructure is a lot more shaky these days.

I was never that thrilled with the rezoning anyway — it allows way too much expensive housing, nowhere near enough affordable housing, and the fees that developers will pay are utterly inadequate to fund the level of transportation, parks, schools, water and sewer pipes, and other facilities the area needs.

But at least the amendments add some sanity to the plan. One of Peskin’s proposals would mandate that developers who get a conditional use permit for their projects actually start building within three years — or lose their right to special zoning. That not only makes sense, it’s an anti-speculation measure — you can’t just buy up land, get special permission for additional height and density, and then sit on it until you can flip the property for more cash.

Of course, the Mayor’s Office is getting flooded with calls from developers who think this is just an outrage. The builders are also unhappy with another amendment, which requires the city to monitor the payment of building fees to make sure they’re coming in on time and going to the right places.

So if the mayor holds true to form, he’s going to veto those parts of the plan, and right now, progressives don’t have eight votes to override him. If that’s how it goes down, then the new board needs to take up the issue again in January. And while the new supes are at it, maybe they can try to raise the development fees.

The good news is that the lower the housing market goes, the more competitive nonprofit developers can be. And if the Obama administration comes through with some federal affordable housing money, the community-based organizations could be the ones driving the new wave of construction.

It sucks that Prop. B didn’t pass, because this is a rare opportunity for the public sector and the nonprofits to grab building sites. The supervisors can still allocate money for affordable housing in the next budget. And if there’s federal money to match it, Newsom, who refused to spend the last allocation, should be hammered by every part of the city if he screws up this sort of chance.

Fueling change

0

EDITORIAL As a lame duck Board of Supervisors winds down, and the economic crisis and bloody budget cuts absorb most of the political focus at City Hall, there’s a major environmental issue creeping toward a January deadline — and city officials need to present a united front.

At issue is the Mirant power plant in Potrero Hill, an aging fossil fuel dinosaur that has been belching pollution into the southeastern part of the city for years. It’s been hard to shut down — the California Independent System Operator (Cal-ISO), the regulatory agency that controls the electric grid, wants some sort of generating facility inside the city lines. Sup. Aaron Peskin, backed originally by Mayor Gavin Newsom, sought to replace the Mirant plant with city-owned combustion turbines — so-called peakers — that would run only when needed. But Pacific Gas and Electric Co., fearing city ownership of power production, fought that proposal, and some environmentalists, arguing that the city should build no new fossil fuel plants at all, also opposed the plan.

On May 5, seven PG&E lobbyists descended on the Mayor’s Office and gave Newsom his marching orders: drop the peakers proposal or we’ll spend whatever is necessary to kill it. Newsom suddenly decided he didn’t like the peakers after all, and started pushing a PG&E-backed alternative: the Mirant plant, which runs on diesel and natural gas, could be converted to run entirely on natural gas, thereby reducing emissions.

The emissions numbers are pretty complicated. If the city ran the natural-gas-fired peakers for only a limited amount of time, they would emit less pollution than the Mirant plant. Obviously neither option is pollution-free; neither is sustainable; and neither is perfect.

Still, the worst of all possible alternatives would be allowing Mirant to continue to operate a private plant. At least the peakers would be city-owned and city-run. The city would have some control over how often they were fired up and could shut them down when more renewable technology becomes available. The Mirant plant — even after a retrofit — would continue burning fossil fuels; the private company would continue to profit; and the city would have no control at all.

Besides, it’s not clear that the plant even can be retrofitted for natural gas. The project that Newsom, PG&E, and Mirant are proposing has never been done before. Mirant may not be able to get the financing; the technology may not exist.

Which means that it’s entirely possible nothing will change. If all goes the way PG&E wants, the city will abandons the peakers, the dirty Mirant plant will continue to run without a retrofit, and the people of southeast San Francisco will continue to suffer.

But there’s a problem facing Mirant, and it could potentially change the whole picture. The plant sucks 200 million gallons of water out of the bay every day for cooling — and its Regional Water Quality Control Board permit expires at the end of this year. The board has said it’s not inclined to renew the permit, since the plant can’t meet modern water-quality standards. So as of January, Mirant could be forced to shut the plant anyway — unless the company, and Cal-ISO, find a way to force the water board to back down.

That’s where the city comes in. The mayor, the supervisors, and City Attorney Dennis Herrera should publicly inform both the water board and Cal- ISO that San Francisco does not want the permit renewed for the current Mirant plant. Even if Newsom thinks the facility can be upgraded, it’s hard to argue that the existing plant is anything but a disaster. And unless and until there’s a credible, peer-reviewed retrofit plan, Newsom has no business siding with Mirant and PG&E.

The water board could force the issue. If the Mirant plant has to close, the city either needs to come back with a peaker plan that environmentalists can accept or find a way to meet Cal-ISO’s mandates without new fossil fuel generation. That sounds like an excellent outcome to us. *

Clean energy

0

EDITORIAL Pacific Gas and Electric Co., its political hacks, and to a great extent, the San Francisco Chronicle all seem to take the same line on the defeat of Proposition H: It’s done. The people have spoken. Public power has been on the ballot 11 times, and it’s never passed.

And — as is always the case with a losing campaign — supporters of the Clean Energy Act are discussing what went wrong, looking at how the measure was written, the details, the language, the scope to see if there was something that could have been done differently.

But that ignores the central reality of the campaign for Prop. H: PG&E spent nearly $10.3 million to kill it. And it’s very, very hard to fight that kind of money.

The truth is, there was nothing wrong with the language or scope of Prop. H. If it had passed, it would have given the city the tools to create a sustainable energy portfolio that would be the envy of the nation. In fact, there is little doubt that the Clean Energy Act was well ahead in the polls when it was first placed on the ballot.

But as we’ve seen with so many races over time (and as we saw with Proposition 8 this fall) when a ballot measure it becomes a citywide or statewide race, big money has a serious impact. And we’ve never seen this kind of money in a San Francisco initiative campaign. In the end, PG&E spent about $53 per vote. That’s an outrageous sum, dwarfing any political spending that’s ever happened in San Francisco

Yet despite the barrage, the Clean Energy Act got tremendous grassroots and political support. Clean Energy has a strong constituency in San Francisco, including from the Sierra Club, and the power of this campaign won’t go away. Despite the efforts of downtown and PG&E, progressives still control the Board of Supervisors. Three of the city’s four representatives in Sacramento — Senator-elect Mark Leno, Assembly Member Fiona Ma and Assembly Member-elect Tom Ammiano — supported the legislation and will continue to back efforts to replace PG&E’s dirty power with locally- owned renewable energy. PG&E has money but it’s running out of friends in this town — and its illegal monopoly is the very definition of unsustainable.

There’s now an organized constituency for clean energy and public power, seasoned by this campaign and ready to continue the battle. That’s what needs to happen. There are numerous fronts: the city needs to be moving forward quickly with community choice aggregation, which offers the potential for cheaper, cleaner power. (The downside to CCA is that it doesn’t allow the city to make money; PG&E would still own the transmission lines, and thus make all the profits in the system.) Potentially, however, a CCA agency could begin moving toward creating local generation facilities and eventually toward building a local transmission system. A CCA also could directly access the city’s own Hetch Hetchy power and begin delivering it to local customers (once San Francisco can get out of the contracts requiring it to send too much of that power out of town).

The supervisors need a strong Local Agency Formation Commission to keep monitoring and pushing this, and the new board president needs to be sure LAFCO members are committed to and energized about renewable energy and public power.

Several supervisors — Sean Elsbernd, for example — told us they saw no reason for Prop. H to be on the ballot since so much of what it called for could be done by the board. Fine: Sup. Ross Mirkarimi, one of the authors of Prop. H, should immediately introduce legislation to do everything in Prop. H that doesn’t require a city charter change. Let’s see if Elsbernd and the mayor are really just PG&E call-up votes or if they’re willing to support an energy options feasibility study and strong renewable-energy mandates for the city.

And there are still legal options that the board should look at. City Attorney Dennis Herrera never wanted to go to court to enforce the Raker Act, the federal law requiring San Francisco to operate a public power system, but that’s an area the board can push. David Campos, the apparent supervisor-elect in District 9, is a lawyer who has worked in the city attorney’s office and sued PG&E, so this is an area where he can show leadership.

The bottom line is that this battle isn’t over.

There were other disappointments on what was generally a progressive ballot. Proposition V — the phony measure calling on the school board to reinstate JROTC — passed, narrowly. It was mostly a wedge issue to hurt progressive candidates for supervisor, and has been a horribly divisive issue in the schools. The school board, which cut off JROTC last year, is now pushing for an excellent public service alternative and doesn’t need to go back and reexamine the issue. JROTC is a terrible idea for San Francisco, and the newly elected board members shouldn’t even bring this up again.

Of course we were deeply unhappy about the passage of Prop. 8. The repeal of same-sex marriage was such a blow to San Francisco that it dampened a lot of the enthusiasm over the Obama victory. But that one’s not over, either; it has just begun. Statistics show that voters under 30 overwhelmingly support same-sex marriage — and if the campaign is run differently, and the message is positive, it’s likely that Prop. 8 can be overturned. Marriage equality advocates should think seriously about preparing now for a major campaign in November 2010 to restore equal rights for same-sex couples in California.

Tyranny of the majority

0

› steve@sfbg.com

When the California Supreme Court agreed last week to decide the legality of Proposition 8 — which a slim majority of Californians passed Nov. 4, taking from same-sex couples the marriage rights that the court had established in May — the debate shifted to a concept far older than that of gay rights.

Essentially, it will decide whether this is a case of the "tyranny of the majority," a phrase Alexis de Tocqueville coined in his classic 1835 book Democracy in America, drawing on a concept from the ancient Greeks that was the philosophical underpinning of the US Bill of Rights and the central paradigm of constitutional democracy.

The founding principle is that basic rights — such as the freedoms of speech, religion, and association — are not subject to majority approval and can’t be taken away by a simple popular vote. So the question now before the judges is whether the right to marry, which the court ruled had been unconstitutionally withheld from same-sex couples, is among those core rights.

"The whole notion of equal protection is to protect minority interests from the periodic discriminatory impulse of the majority," Robert Rubin, legal director for the Bay Area chapter of the Lawyers Committee for Civil Rights, told the Guardian. "And [upholding Prop. 8] would turn that on its head."

‘CONSTITUTIONAL CRISIS’


Even before the votes were counted election night, the San Francisco City Attorney’s Office and its counterparts in Santa Clara County and the city of Los Angeles were developing their challenge to the legality of Prop. 8, which they filed Nov. 5.

Both Prop. 8 proponents and the California Attorney General’s Office agreed that the high court should immediately take the case rather than let it rattle around the lower courts for months or years. "Review by this Court is necessary to ensure uniformity of decision, finality and certainty for the citizens of California," Attorney General Jerry Brown wrote to the court.

Brown had previously ruled that the roughly 18,000 marriages performed since May were legal and that Prop. 8 is not retroactive, something proponents of the measure dispute and which the Supreme Court also has agreed to decide in this case. But two of the three "issues to be briefed and argued," as the high court ruled Nov. 19, were more fundamental: "1) Is Proposition 8 invalid because it constitutes a revision of, rather than an amendment to, the California Constitution? (see Cal. Const., art. XVIII, 1-4) 2) Does Proposition 8 violate the separation of powers doctrine under the California Constitution?"

Narrowly framed, the first question asks whether the process of banning same-sex marriage in the constitution should have gone through the more cumbersome revision process, which involves winning a two-thirds vote in the California Legislature before submitting the measure to voters. And the second concerns whether the legislative branch of government (in this case, through a direct vote of the people) can legally override this decision by the judicial branch.

But more broadly framed, both questions go to the same basic issue: can a simple majority of voters take away rights from a protected minority group, one the judicial branch has already ruled is entitled to the same marriage rights as heterosexual couples? The implications of that answer are so profound that City Attorney Dennis Herrera, in a City Hall press conference after the court announced its decision, cast the matter as no less than a "constitutional crisis."

"The cases before the Supreme Court today are no simple rematch. To be candid, the principles implicated here are of far greater consequence than marriage alone," Herrera said. "In short, this case has gone beyond the simple issue of marriage equality. And no matter what your view of same-sex marriage is, it’s important to understand that the passage of Proposition 8 has pushed California to the brink of a constitutional crisis."

He then explained why.

"This measure sought to do something that no other constitutional amendment has ever done here in the state of California, and that is to strip a fundamental right from a protected class of citizens and in doing so, it did not merely undo a narrowly disfavored Supreme Court ruling. Its legal effect is nowhere [near that] simple or elegant. Rather, it upended a separation of powers doctrine deeply rooted in our system of governance. It trounced upon the independence of the state’s judicial branch and it eviscerated the most fundamental principle of our state’s constitution. And if allowed to stand, Proposition 8 so devastates the principle of equal protection that it would endanger fundamental rights of any potential electoral minority, even for protected classes based on gender, race, or religion. And it would mean a bare majority of voters could enshrine any manner of discrimination against any unpopular group, and our state constitution would be powerless to disallow it," Herrera said.

That’s why he said 12 cities and counties have joined this suit — including Los Angeles and Alameda counties, which were not part of the original same-sex marriage case — along with supporting roles being played by the NAACP, the Mexican-American Legal Defense Fund, the Asia Pacific American Legal Center, and California Council of Churches.

There is some irony to the Council of Churches’ involvement given that religious groups, particularly the Catholics and Mormons, provided the backbone of financial and volunteer support for the Yes on 8 campaign. Yet the council argues that Prop. 8 is an attack on religious freedom.

"It is kind of ironic, and I don’t they they’re paying attention to the big picture, to be honest with you," Eric Isaacson, attorney for the Council of Churches, told the Guardian. "But history tells us that religious groups are often the victims of such persecution."

He cited laws that have taken rights from Jews in many countries and instances of majorities in the United States going after Jehovah’s Witnesses and the Mormons, a group driven from state to state by discriminatory mobs until they finally settled in Utah to enjoy religious freedom.

Beyond the historical and precedent-setting nature of the case, the council’s executive director Rick Schlosser told the Guardian that Prop. 8 discriminates against Episcopal, Unitarian, and other churches that believe all people have the right to marry.

"We work on a lot of religious freedom issues and there’s a huge number of churches that support the right of people to marry," Schlosser said. "There are a lot of churches that think it’s their religious duty to perform same-sex marriages."

CONFLICTING TRADITIONS


Frank Schubert, who managed the Yes on 8 campaign, scoffs at attempts to frame this debate around larger constitutional issues: "This is simply about marriage and what the definition of marriage will be."

He called the chances of overturning the measure "minuscule," and said, "the constitution belongs to the people." Rather than an initiative upsetting constitutional traditions, Schubert blamed the Supreme Court for reinterpreting marriage: "It’s the first time in California that rights that did not exist were granted on a narrow court decision and the people corrected that."

Yet the traditional gender structure of marriage is now in conflict with traditions of equal protection and separation of powers, something same-sex marriage advocates say needs to be the subject of a concerted public education campaign.

"There is a major civics education to be undertaken," Rubin said, recalling how he was also criticized publicly in 1994 for his role in winning a restraining order against Proposition 187, which sought to withhold government services from undocumented immigrants. "Yet the notion that protecting minority interests is not subject to popular will is not that hard to understand."

Maybe, but some constitutional law scholars say the formulation is not quite that simple. "The notion that a majority can’t take away a minority group’s rights, that just isn’t true," said UC Berkeley’s Boalt School of Law professor Jesse Choper. He takes a less philosophical view of the case, noting that California law explicitly allows the constitution to be amended, essentially however the people see fit, a process far easier than the one to change the federal constitution.

Choper said the specific question before the court is whether voters can remove same-sex marriage rights from the constitution. "And the answer is yes, if they do it properly," he said. That determination will come down to whether the judges believe this change is a mere amendment, or a more serious revision. Choper said the case law on that question isn’t well-established, but his reading of it is that plaintiffs face a real challenge in arguing that a simple change to the constitution — albeit a weighty one — requires the revision process. "It’s uphill," he said. "They’ll have to cut a new cloth."

But Herrera and his fellow plaintiffs don’t agree. While he characterized the coming legal battle as difficult and complicated, he expressed confidence in their ability to show that Prop. 8 changes core constitutional principles.

"That’s why I think this is a revision rather than amendment, because it would so radically change the balance of power and responsibility between our branches of government," Herrera said.

Santa Clara County Attorney Ann Ravel, who joined Herrera’s press conference, agreed, stepping up the podium to say, "Let me just add something to that. If this is not a case of revision, it’s hard to imagine any case that the court might find there to have been a revision, and there have been some."

While Choper may not agree with the plaintiffs on how the court will decide the equal protection questions, he does agree that the outcome could have serious implications for minority rights and the ability of voters to target disfavored groups. "If they can do it to this minority, they can do it to other minorities," Choper said.

Rubin said the religious groups pushing Prop. 8 are being short-sighted: "What they may like today when they have 51 percent of the vote, tomorrow they may be on the 49 percent side and may not like that basic rights come down to majority rule."

And that’s why the issue gets elevated to the larger question of whether this is a case of tyranny of the majority, something that could become an issue for the federal courts, which is likely to see cases challenging whether lax California standards on precedent-setting initiatives might run afoul of bedrock principles in the US Constitution.

"Yes of course you could challenge it in the federal court," Choper said. "If Prop. 8 stands, someone will bring a case about whether discrimination against gay marriages violates the equal protection clause of the federal constitution."

Herrera said he doesn’t want to go there yet, but he left that door open in response to a question from the Guardian: "Are there potential federal issues down the road that could be raised or discussed? It’s no secret that’s potentially there, but at this point, I don’t think that’s something that we’re going to focus on."

THE LONG VIEW


While the judges and lawyers in this case may focus on narrow legal concepts and definitions, Herrera is seeking to present the case in a far grander context.

"Equal protection under the law is what separates constitutional democracy from mob rule tyranny and it is a principle that reaches back eight centuries to the Magna Carta and it has guided the founding of our nation and our state," he said. "So I understand that on same-sex marriage, the emotions on both sides run high, but it’s important to understand the legal stakes are even higher. The cases before the high court today are no longer about marriage rights alone. They are about the foundations of our constitution. And as citizens we share the blessing of a common jurisprudence, and I refuse to accept that it is beyond us to find common ground in its enduring and deeply American principles: equality under the law, separation of powers, and an independent judiciary."

Ravel reinforced Herrera’s perspective, telling reporters, "The Supreme Court is going to decide, as Dennis said, a question that goes to the very foundation of our democracy and that will also impact every city and county in the state. The court has held, previously, that all couples have to be treated equally when it comes to the important institution of marriage. A majority of voters can’t undercut the court’s role in protecting minorities in our society."

Essentially, this is no longer a case about same-sex marriage.

"The merits of the case are different than they were back in May. The fact of the matter is the California Supreme Court found there was a fundamental right to marry and that LGBT couples are entitled to that right. The issue here is should Prop. 8 be struck down because it was an improper amendment versus a revision," Herrera said. "So I think everybody is focused on the right issues." *

Let it reign

0

Fallout 3

(Bethesda Softworks/Zenimax Media; XBOX360, PS3, PC)

GAMER "War. War never changes." These words have introduced three Fallout games, intoned by narrator Ron Perlman as the camera pulls back to reveal a landscape devastated by nuclear bombardment. The world of Fallout is one steeped in retro-futurism, imagining a history in which the end of World War II was succeeded by rapid technological progress but complete cultural stagnation. In the 21st century, competition for resources leads to the Chinese invasion of Alaska, quickly countered by the American annexation of Canada. The question of who fires first is deliberately elided, but the human race soon witnesses the dawn of the apocalypse.

A small fraction of humanity weathers the mushroom cloud, eking out a living among the rubble. Still others are preserved within vast underground vaults. You begin life in Vault 101, literally emerging from the womb and triggering an inspired character creation sequence in which your father’s delivery room commentary on your sex, name, and future appearance is interrupted by menu screens that allow you to customize these qualities.

Emerging into the outside world, you are thrust into the vast and dangerous Capital Wasteland, which encompasses Washington, DC, and its environs. Bethesda Game Studios, having acquired the Fallout license from Interplay, has designed an enormous, incredibly detailed, and realistic landscape, filled with places to explore and characters to interact with. Danger and fun lurk in every bombed-out building.

The realism has its drawbacks. The first two Fallout games had graphics so simple that they allowed the player to fill in the gaps with his or her own imagination, and the fully realized world of Fallout 3 takes some getting used to if you’ve played the first two games. The series’ trademark dark humor is also somewhat diminished. Bethesda doesn’t have the knack for the pulpy, dystopian treatment of slavery, cannibalism, prostitution, and drug use that the previous installments did.

Gameplay is conducted in either the first or third person. The "V.A.T.S." targeting system is back in fine form, enabling you to aim at limbs and heads RPG-style and generally wreak havoc. It also can be played as a more traditional FPS, although this mode feels rubbery and inferior.

As much as it would have accorded with critical ethics, I have not played the game to completion. There is too much left to explore, to experiment with, before I set the events in motion that will conclude the main narrative. Despite my backwards-looking gripes, Fallout 3 is a masterwork of world creation, an apocalypse too good to leave, and a game almost too good to win.

Wonder as they wander

0

› a&eletters@sfbg.com

The great Langston Hughes titled a volume of his autobiography I Wonder as I Wander, invoking the notion of the poet in terms entirely personal and inevitably representative of a whole people, violently unsettled by history and restlessly searching for meaning, home, dignity — in short, for themselves. In Hughes’ art, this dovetailed with the image of the poet as blues singer and the blues singer as poet. His writing signaled that vernacular music as secular and sacred verse to a population caught up in forces larger than itself, but marked nevertheless by millions of singular experiences given individual voice in song.

The same themes of displacement and song run compellingly throughout the late August Wilson’s magisterial 10-play cycle of the African American 20th century, and rarely as forcefully as in 1988’s Joe Turner’s Come and Gone, currently receiving director Delroy Lindo’s fine, impressively cast production at the Berkeley Rep. But Hughes’ title applies readily to another great historical population as treated in another revival this month, making the stories evoked in Joe Turner and Traveling Jewish Theatre’s less successful The Last Yiddish Poet touchstones of broadly but pointedly similar significance.

Set in 1911 during the great migration of African Americans northward, Joe Turner‘s action unfolds in Pittsburgh’s Hill District. The setting is a boardinghouse operated by the basically decent but huffy Seth Holly (Barry Shabaka Henley) and his kindhearted wife, Bertha (Kim Staunton). Into this warm, burnished house comes a small assortment of transient borders, all more or less fresh from the South: the headstrong guitar player and manual laborer Jeremy (Don Guillory), the lovelorn Mattie (Tiffany Michelle Thompson), and the fiercely independent beauty Molly (Erica Peeples).

They join a more permanent lodger, pigeon-catching backyard shaman Bynum Walker (Brent Jennings). The Hollys are descendants of Northern freemen, but the others are a mere generation from slavery — possibly excepting Bynum, old enough to have been born a slave, and not counting the play’s lone white character, merchant Rutherford Selig (Dan Hiatt), who, as a descendant of slave catchers, has adapted unselfconsciously as a "people finder" among rootless African American migrants.

The main plot of Wilson’s evocative, earthy, and humor-laden tale of disunion, reunion, and fractured identities takes hold with the arrival of the grimly forlorn, vaguely menacing Herald Loomis (Teagle F. Bougere). Loomis’ story makes bitter sense of the play’s title, a blues lyric repeated throughout by Bynum and fashioned by Southern women whose men were disappeared and forced into labor by the infamous Joe Turner. Since his release from bondage, the anguished and haunted Loomis, a former deacon, has searched with trancelike focus for the mother of his shy daughter (Inglish Amore Hills, alternating with Nia Reneé Warren). The Hollys’ boardinghouse takes on the baleful aspect of Loomis entombed soul as his violent outbursts of protest and revelation — and the mediating, ministering wisdom of the perspicacious, wondering Bynum — edge the play beyond naturalism toward a mythopoesis of half-submerged history.

The resurrection of history and half-buried tradition, as well as the literal voicing of experience and identity, is also at the center of The Last Yiddish Poet, an otherwise very different kind of play from Joe Turner. Originally produced by Traveling Jewish Theatre in 1980 and now revived to lead off its 30th-anniversary season, the production is aptly peripatetic in structure as well as theme: two actors in vaudevillian comic getup (artistic director Aaron Davidman and TJT cofounder Corey Fischer, also the play’s cocreator and half of the original cast) roam about a limbolike white-on-white set scattered with occasional detritus, most particularly and strikingly a pyramidal display at the far left of the stage on which a mound of books lie in disarray. The actors eventually mount a low stage within the stage, behind a row of modest footlights composed of painted tin cans, and amid knowing cornball lines they announce that they are speaking in "Yiddish" accents, despite not knowing Yiddish, so that the audience will recognize their Yankee selves as Jews.

What follows is a reclamation of the language as a search for identity and authenticity, in several dramatic and musical modes and moods and in struggle with manifold forces of history, from assimilation to persecution to the blunt inconstancy of time itself. Director, cocreator, and TJT cofounder Naomi Newman admits in her program notes that reentering the play after many years was not as easy as expected. Much has changed with respect to the place of Yiddish in Jewish lives. There is a quality of hesitation in the updated staging, which undermines some of its poignancy, although the awkwardness disappears at key moments, including Fischer’s hulking, half-masked portrayal of Nakhman — the rebbe known for contributions spiritual and literary in Yiddish — and second-generation TJT artist Davidman’s channeling of formerly unfamiliar Yiddish verses, in what amounts to an act of possession in at least two senses. *

JOE TURNER’S COME AND GONE

Through Dec. 14

Tues. and Fri., 8 p.m.; Wed., 7 p.m.; Thurs. (except Nov. 27) and Sat., 2 (except Sat/22 and Dec. 11) and 8 p.m.; Sun., 2 and 7 p.m.; $13.50–$71

Berkeley Repertory Theatre

Roda Theatre, 2015 Addison, Berk.

www.berkeleyrep.org

THE LAST YIDDISH POET

Through Dec. 14

Thurs.–Sat., 8 p.m.; Sun., 2 p.m.; $30–$34

Traveling Jewish Theatre

470 Florida

www.atjt.com

Clean and saber

0

› kimberly@sfbg.com

SONIC REDUCER All allusions to Guns ‘N Roses much-contemplated, way-overthought, über-delayed ejaculation Chinese Democracy (Interscope) aside — is there such a thing as being too brainy or geeky to rock? Some might have pegged the cerebral, multi-syllable-slinging Decemberists as such: with its Brit-wave and Elephant 6 pop-literati influences, the band seemed to herald an aughtsy-totsy wave of archly smart indie pop (e.g., Arcade Fire) that drew from both stage-y American standards and college-radio playlists — theirs was less college rock than a college-educated rock. Add in the renown surrounding Decemberists’ 2005 San Francisco show, which cut "Chimbley Sweep" with a light saber duel, and eventually touched off playful competition with Stephen Colbert, and you’ve gotta wonder, how nerdy can one band get?

Well, attribute it to roving minds and too much drink, according to ever-cogitating, multi-tasking band leader Colin Meloy, 34. "I try not to be totally static onstage," drawls the songwriter by phone from his Portland, Ore., home as his 2-year-old son freaks out. "Typically if I go see a rock show, I just want to see a rock show and have the songs speak for themselves. But we’ll do gags, audience participation. Stuff born out of boredom and drunkenness."

Meloy and company’s restive imaginations most recently spawned a series of three singles titled Always the Bridesmaid, composed of tunes recorded last March but which weren’t quite right for the group’s March 2009 Capitol album, The Hazards of Love. The first 12-inch included "Valerie Plame," a jubilant shout-out, bustling with feisty accordion and brass, to the all-too-exposed CIA operative. "I would be listing to the radio and making dinner and hearing about Valerie Plame and what struck me was how perfectly the cadence of her name was for a pop song," Meloy explains. "’Valerie’ has been used in a lot of pop songs — there’s something about the first stressed syllable in a three-syllable name and the cadence onward, and the beautiful punctuation of the last name. It was just screaming to have a pop song written around it."

The last single — with the prettily melancholic, banjo-bedecked "Record Year" and the wistful, acoustic guitar-glittered "Raincoat Song" — comes next month. "I think it might be the only thing we ever released in December," quips Meloy.

As for the long-awaited LP, which the combo will likely play in its entirety on tour next spring, Meloy describes it as an "experimental narrative" forged after listening to a lot of old folk songs as filtered through ’60s-era British revivalists. "I noticed common elements were popping up and I thought it would be interesting to take those individual elements and throw them together in an extended song and see what sort of narrative it would create," he says.

"These days, to be a musician and to be constantly immersed in music, your outlook on music changes drastically," continues Meloy. "I find I rarely get the spine-tingling moments from music anymore. I think I’m jaded and immersed — you know how you work in a pizza place and get sick of pizza — and the spine-tingling moments are few and far between, but I find I’m rediscovering those moments in old folk songs. I find it in songs that make me weepy but have been around for centuries." *

THE DECEMBERISTS

Tues/25, 8 p.m., $30

Warfield

982 Market, SF

www.goldenvoice.com

BACK FROM THE JOINT: CHEECH AND CHONG

The comedy duo didn’t go entirely up in smoke with the ’80s: so-called "grumpy old stoners" Cheech and Chong return to the Bay for their first show in SF in, like, forever (Chong said manager Lou Adler’s feud with Bill Graham led to their blackballing), with a concert film in the works. How has the gray matter been, retaining the routines? "It’s all body memory," says the personable Chong, 70, from his Arizona stop. He attributes his skills and timing to writing and playing music. "I got my early comedy training with black jazz musicians. They are, without a doubt, the funniest people on the planet." Meanwhile the pair doesn’t pull any punches when it comes to each other. According to Chong, Marin initially pulled out of their act because "he wanted to play golf and get fat and get invited to parties," whereas Marin, 62, says he visited Chong once in the pen, but never got close to incarceration himself: "I’m smarter than that." So Martha Stewart is paying tribute to the twosome at their forthcoming roast? "She’s an ex-con," Marin wisecracks. "She relates to Tommy because she was in the joint."

Sun/23, 8 p.m., $39.50–$59.50. Nob Hill Masonic Auditorium, 1111 California, SF. www.livenation.com

BEAR WITH ME

MINUS THE BEAR


I like their math, class. Wed/19, 8 p.m., $20–$22. Bimbo’s 365 Club, 1025 Columbus, SF. www.bimbos365club.com

MISHAP SCIENCE FAIR


The Dead Hensons, TopR, the Missing Teens, and others make the chemistry happen. Sat/22, 8 p.m., $12 (free with project). Mighty, 119 Utah, SF. mighty119.com

YOUTUBE LIVE


You like to watch — and watch you will: the only way to catch Akon, Soulja Boy Tell ‘Em, Spinto Band, and other YouTube stars at Fort Mason is online. Sat/22, 5 p.m., free. www.youtube.com/live

BIZARRE BAZAAR


This burner-centric booty-shaker raises moolah for the Hookahdome camp. With Cheb i Sabbah and others. Sun/23, 2 p.m., $20–$30. Kelly’s Mission Rock, 817 China Basin, SF. www.kellysmissionrock.com

EARL GREYHOUND


"S.O.S." — NYC hard rocker alert. Mon/24, 8 p.m., $13–$15. Slim’s, 333 11th St., SF. www.slims-sf.com

THE ROSEBUDS


Dig the moody Life Like (Merge). Mon/24, 8 p.m., $12–$14. Independent, 628 Divisadero, SF. (415) 771-1422. www.theindependentsf.com

Child’s play

0

It can’t be easy, capturing the spirit of childhood and distilling all that wondrous essence into effective, life-affirming art. First, there’s the pile-up of cynicism we tend to amass over the years. Sure, we grown-ups might call this protective shield "realism," but it doesn’t exactly lend itself to fostering the same wide-eyed exuberance we felt as youngsters. On the opposite end of the spectrum: over-sentimentality. Simply put, schmaltz can kill a mood in no time — so let’s keep it away from the kiddies, shall we? There’s the dilemma: how to convey the innocence and excitement of youth without succumbing to corniness. We can’t all be Brian Wilson, after all.

Volker Bertelmann must have had a wonderful childhood. The Dusseldorf pianist and composer — known in the record shops simply as Hauschka — recently released an album’s worth of meditations and reminiscences about growing up in a small, woodsy German town, and I’d be hard-pressed to cite a more touching instrumental recording from this year. Ferndorf (130701/Fat Cat) — named after Bertelmann’s hometown village — glides along in a delicate dance between impish and introspective, evoking images of little boys and girls lost in playtime but also conjuring moments of quiet contemplation.

It’s an enormously engaging listen, made all the more magnetic by its unsentimental depiction of the emotional lives of children. Joined by a string duo, an occasional trombonist, and a grab bag of subtle electronic textures, Bertelmann’s comforting — but challenging — piano minimalism could very well be the new working definition for cinematic music. Ultimately, however, the 12 songs contained here should send listeners back to recreating scenes from their own childhoods. No movie required.

Hauschka live at Mutek 2007, Montreal

A classically trained pianist, Bertelmann has worked largely in the past as an exponent of John Cage’s "prepared piano" technique, in which items such as corks, straps of leather, and scraps of metal are attached to the instrument’s hammers and strings to create an endless array of clicks and rattles. With such a battery of odds and ends set in place, the piano can be transformed into a one-man percussion section of sorts. Earlier Hauschka works such as 2004’s Substantial and 2005’s The Prepared Piano (both Karaoke Kalk) were manifestos celebrating the possibilities of the technique. As one might guess, Cage’s presence could be spotted on both discs, as well as those of several other modern composers: Arvo Part, Philip Glass, and Steve Reich.

Last year’s Room to Expand (130701/Fat Cat) showed Bertelmann broadening his palette and introducing strings and electronics into the mix. Given that the pianist is also a member of synth-tweaking experimentalists Music A.M. and Tonetraeger, the addition of electronics to enhance the piano’s versatility was perhaps a natural extension of lessons learned from Cage.

Much of Ferndorfs playfulness emerges from the prepared-piano technique. "Barfuss Durch Gras" is a sputtering, plonking hydraulics-overdrive containing as many as 10 different piano textures at once, while the twitching waltz of "Heimat" derives much of its spunk from the curious union of a quasi-ragtime melody with a soft-footed pit-er-pat rhythm and disembodied horn sounds, all of which have been somehow generated by the same instrument. The Michael Nyman-esque "Blue Bicycle" has all the breeziness of a spring afternoon, but is pushed along urgently by pulsing circular piano patterns and the rush of two cellos, played marvelously by Insa Schirmer and Donja Djember. The string-drenched autumn tones of "Morgenrot" recall moments of Ryuichi Sakamoto or avant-chamber experimentalists Rachel’s, but also spotlight Bertelmann’s flair for bittersweet nostalgia.

In what might be the disc’s finest moment, "Schones Madchen" — a memory of young, innocent flirtation — imagines Amelie composer Yann Tiersen interpreting Reich. Delicate repetitions of piano flutters curve around lush curls of strings, clock-spring clicks and tics tap away underneath, and the wonders of early infatuation are compressed into less than four minutes.

HAUSCHKA

With Tom Brosseau and Magik*Magik Orchestra

Sun/23, 8:30 p.m., $10

Hotel Utah Saloon

500 Fourth St., SF

(415) 546-6300

www.thehotelutahsaloon.com

Mauled by success!

0

> a&eletters@sfbg.com

There’ve been happy coincidences aplenty for the Vivian Girls this year. Two examples: they’ve recorded and played shows with Fucked Up, which wrote a song with the same name as their band before they ever assembled ("Vivian Girls" appeared on 2006’s Hidden World (Jade Tree), and the Vivian Girls began early last year), and, at one of those shows, bass player Kickball Katy found out she wears the same kicks as Ezra Koenig from Vampire Weekend. "We both have the Sperry boat shoes," she explained, claiming Koenig was more weirded out than she was at this discovery.

At the time of our phone conversation, being in those shoes sounded a bit wearying. It was rainy and cold in the group’s Brooklyn home base, and October had been a busy month for the trio, which includes guitarist Cassie Ramone and drummer Ali. CMJ burned them out on what was supposed to be an October at-home break. As Katy put it, "It was kind like being on tour while being at home." Twelve hometown shows in a month does sound like a bit much, especially alongside several other one-off jaunts along the Eastern seaboard.

I guess these things happen when you set blogger hearts aflutter with a great record. Since their self-titled debut sold out its original 500-copy run on Mauled by Tigers in just 10 days earlier this year — it has since been reissued by In the Red — the attention has snowballed around their rather meek undertaking to, as Katy said, "sound like the Wipers." In truth, they do sorta sound like the Wipers, but this is where another of those coincidences comes in. Without really meaning to, their reverb-heavy pop turned out to have aesthetic forebears in older English bands like Dolly Mixture and Talulah Gosh.

Vivian Girls, “Tell the World”

Little realizing Vivian Girls would earn a place alongside such distinguished bedfellows, Ramone started the group in March 2007 with former drummer Frankie Rose, who left the outfit earlier this year and now drums for kindred Brooklyn group Crystal Stilts. Katy, who knew Ramone from high school, joined in on bass guitar shortly thereafter. Ali took over on drums early this summer, and they’ve since plowed ahead promoting their record and three singles. The entire threesome sings, and their sound is one you’d hardly hear elsewhere, delivered in earnest, these days: informally sweet vocal harmonies, jangled and thrashy guitars, and a hurried rhythmic sense that makes their album’s 21 minutes feel even shorter than they actually are.

Hurried Vivian Girls may sound, but they’re clearly not harried, even with their heavy touring schedule. "We do Vivian Girls everyday," Katy said, "whether it’s touring or other things. There’s a lot to do." The latest to-do is especially impressive. They’re silk-screening 7-inch sleeves because they’ve started their own label, Wild World, and the inaugural release will be a fan club-esque package deal: a 7-inch including new songs "Surfin Away" and "Second Date," a cover of the Beach Boys’ "Girl Don’t Tell Me," along with a T-shirt, button, and postcard. A thousand copies will be up for pre-order soon. Of course they’ll sell out. But as Katy points out, when you make something yourselves, "a thousand of anything is a lot."

Lots of other plans are slated, too. The band is set to tour England shortly after its present West Coast excursion and will be recording a second album with Steve McDonald from Redd Kross in January. It’s all very exciting, and thanks to the lyrics of standout single "Tell the World," it’s easy to succinctly explain the thrill of hearing this trio beat their hearts out and succeed: "Keep it to myself? No way!"

VIVIAN GIRLS

With Love Is All and Nodzzz

Thurs/20, 9 p.m., $12–$14

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Warming to cold fact

0

Now that we’re deep into November, I can safely announce my choice for 2008’s top reissue: Sixto Rodriguez’s scrumptiously echo-rippled psychedelic folk-soul delight Cold Fact (Sussex/Light in the Attic). Originally released in 1970 by Sussex, the album never made a big dent in the American countercultural consciousness. Though it feels like an underground classic on par with the finest from such visionaries as Love, relatively few got a chance to hear it when it first emerged. Based on what I’ve read, Sussex didn’t have much pull with FM underground radio — the try-anything format for which Rodriguez was best suited — and thus the singer-songwriter was never exposed to his greatest potential audience.

Sixto Rodriguez, “Sugarman” (video by Yellowcatz)

That’s a damn shame considering that Cold Fact‘s riveting combination of barbed social commentary, blazing stream-of-consciousness delivery, and shiver-down-the-spine vocal testimonials — often heightened by understated studio freak-out-ery — would have connected with listeners seeking another voice tapping into the darker side of the hippie dream. While very much a product of the ’60s, the recording speaks directly to the rising levels of disillusionment in America at the decade’s turn. For last-name-only Rodriguez, a reconciliation of the bright-eyed optimism of Flower Power with the grim realities of the late ’60s takes place in the form of teeth-gritting folk spiels and soul-stirring calls for social change that barely conceal a seething rage. To seal the deal, he delivers his lyrics with infinite cool, coming across as both aloof and strident within the turn of a phrase.

As for those songs, the immediacy of numbers like "Crucify Your Mind" and "Sugar Man" pulls your ears the quickest. For all of their psychedelic embellishments, these tunes are essentially the sound of one man laying it out over the simple strums of an acoustic guitar. Even decades into the folk-rock phenomenon, many of Rodriguez’s songs will likely hit first-time listeners with that revelatory "Wow, how come I’ve never heard this before?" feeling.


RODRIGUEZ Sun/23, 2 p.m., free. Amoeba Music, 2455 Telegraph, Berk. www.amoeba.com. Sun/23, 8 p.m., $17–$19. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

‘Fight’ songs

0

› a&eletters@sfbg.com

On the night of Nov. 4, while President-elect Barack Obama was giving his victory speech in Chicago, Flobots were performing at the 9:30 Club in Washington, DC.

"We ended up performing just after McCain gave his concession speech, and then we stopped when Obama gave his acceptance speech," remembers Jonny 5, the rap band’s lead vocalist, on the road to New Haven, Conn. He calls the moment "full of euphoric disbelief." Outside the club "there were people everywhere in the streets, giving each other hugs, and impromptu parades."

It wasn’t the first time Flobots’ career path had intertwined with that of the president-elect. In September, when the Democratic Party held its convention in the group’s hometown of Denver, they participated in several ancillary events, including a concert with Rage Against the Machine. "The entire event was planned to support the Iraq Veterans Against the War, who had a march immediately after the event," says Jonny 5. "So we used the stage to rally people."

Flobots’ rise from regional upstarts to modern-rock radio stalwarts mirrors Rage’s emergence more than 15 years ago. Just as Zack de la Rocha and company did with their fuzzy emo-punk, Jonny 5 — along with rapper Brer Rabbit — adds rhymes to an exotic mix of jazz horns, funky breaks, and hard-rock guitar. And the six-member crew are equally consumed with progressive politics. Each song on Fight with Tools (Universal Republic/Flobots Music, 2007), the outfit’s second album, overflows with righteous anger and activist fervor.

Flobots, “Handlebars”

"We want money for health care and public welfare! Free Mumia and Leonard Peltier!" Jonny 5 and Brer Rabbit offer on "Same Thing." "We say, ‘Yes,’ to grassroots organization, ‘No,’ to neoliberal organization! Bring the troops back to the USA and shut down Guantanamo Bay!"

"Handlebars," of course, was Flobots’ breakout moment. Much of Fight with Tools, which Flobots released independently last year, before Universal Republic signed them and reissued the album this spring, feels overwhelmed by earnest slogans. But on "Handlebars," Jonny 5 weaves a stream-of-consciousness allegory about American exceptionalism while the rest of the band build, like an orchestra, to a cacophonous conclusion.

Jonny 5 says his influences range from hip-hop collectives such as Project Blowed to organic music ensembles like Ozomatli. The unusual chart success of "Handlebars," which soared into the Billboard Top 40 last summer, helped Flobots sell more records than any of their inspirations.

"Personally, I had this obsession or insecurity about whether we were really hip-hop, and whether we were representing the hip-hop community correctly. I don’t know … I was hung up on it," Jonny 5 explains. "[Influential indie rapper] 2Mex was with us for four or five dates on the West Coast, and the minute we would mention any criticism we’d get, he’d say, ‘Fuck that, man. Keep expanding. That’s what hip-hop is.’<0x2009>"

FLOBOTS

Sun/23, 8 p.m., $27.50–<\d>$30

Warfield

982 Market, SF

www.goldenvoice.com

Cinemascope baroque

0

> a&eletters@sfbg.com

"You give your body and you keep your soul." This is the Faustian bargain a circus promoter offers Lola Montès (Martine Carol) in Max Ophüls’ reimagining of the Victorian courtesan’s life. Ophüls, himself something of a ringmaster, inscribes his enchantress in a ravishing purgatory; the film skates complex figure-eights of flashback and reenactment, seduction and spectacle, voyeurism and exhibitionism. Ophüls was known for his 19th century élan, but his swan song is the work of a consummate modernist. A spirit of jubilant decay overhangs his taste for shots that simultaneously sensationalize the cinematic apparatus and lay it bare. Unlike Jean-Jacques Beineix’s Diva (1981), however, Lola Montès (1955) registers the emotional strain of such stylistic excess. A lavish production process and subsequent bowdlerized edits left Lola a dormant dream for decades, but a new restoration by Cinémathèque Française once again looses Ophüls’ picaresque of novelistic depth and ironic artifice.

The plot, later revived in Showgirls (1995) and The Last Mistress (2007), is that of the woman navigating the marketplace. We’re introduced to Lola in spectacle res, exhibited as a circus’ main attraction. The ringmaster crows about her past lovers, moving her through reenactments of former exploits. Lola’s own flashbacks carry the film back to her trysts with composer Franz Liszt (Will Quadflieg) and Bavaria’s King Ludwig I (Anton Walbrook), and the circus stage-sets transmogrify into Ophüls’ equally fantastic uses of Technicolor and CinemaScope.

The ringmaster announces Lola as a femme fatale, but Ophüls doesn’t let us off so easily. Like Citizen Kane (1941), Lola Montès deconstructs biographical tropes. But whereas the flashback structure of Orson Welles’ debut fragments the character of power, Lola‘s jigsaw scheme slips us through the looking glass of desire. Ophüls’ camera movements simultaneously imbue the film with realist fluidity and make us more aware of theatrical, painterly aspects of set design and staging. This dynamism, so important to future melodrama artists like R.W. Fassbinder and Todd Haynes, is crucial to Lola’s crumpled beauty. And if Martine Carol’s porcelain performance gets crushed by the double-sided brilliance of Max and his tracks, it’s not at all clear that he intends for us to feel we’ve broken through her façade.

The film’s rude asides about product placement and the profit margins of scandal ("Especially in America!") give Lola continued currency, but it’s Ophüls’ remarkable use of the still nascent CinemaScope technology that makes the restoration a must for the big screen. Lola is one of the few films of its era to express the contradictory potentials of Henri Chétien’s anamorphic process. Ophüls sows his widescreen images with all manner of obstructions, so that Lola simultaneously seems to expand and shrink into the largesse of her role. Roland Barthes might have been thinking of this shattering example of movie portraiture when he wrote of CinemaScope: "The stretched-out frontality becomes almost circular; in other words, the ideal space of great dramaturgies."

LOLA MONTÈS opens Wed/19 in Bay Area theaters.

Taxi merger

0

› amanda@sfbg.com

A plan to merge the Taxi Commission with the Municipal Transportation Agency will be heard by the Board of Supervisors on Nov. 25. Most city officials and taxi industry bigwigs support the change, but some drivers fear it could signal the end of the semi-autonomous medallion system that has been in place for 30 years.

The merger legislation by Sup. Aaron Peskin is brief, simply transferring duties from the Taxi Commission to the MTA beginning March 1, 2009. But Peskin also helped write another key piece of legislation — last year’s sweeping MTA reform measure Proposition A — that contains a provision allowing the MTA to wipe out all prior taxi regulations.

Skeptics fear that the real target of the merger is Prop. K, the 1978 law that created the current driver permitting system, which requires taxi medallions that are owned by the city to be in every car. With the MTA in control, the door could be open to privatizing taxi medallions. These permits are currently leased by the city for a fee — $658 a year for most cabs — to longtime drivers, but a scheme to sell or transfer them could mean huge profits for the select group of drivers who now hold medallions, with a potentially high transfer fee kicked back to the city.

Reguutf8g San Francisco’s taxi industry involves ensuring cabs are being properly operated, with medallions held by legitimate drivers, and investigating various complaints. But the Taxi Commission barely has enough money to meet its mandate. Proponents of the merger say the MTA can bring more resources and professional attention to the industry. Mayor Gavin Newsom, who as a supervisor in 1998 pushed for formation of the Taxi Commission, has long supported the merger as a way to have all transportation housed in one agency.

“The benefit of merging is the MTA already regulates all surface transportation,” said Jordanna Thigpen, acting director of the Taxi Commission, who was appointed by Newsom after the Taxi Commission ousted Heidi Machen in 2006. “Most cities in the country do incorporate taxis into the common transportation agency.”

Currently, cab companies, medallion holders, and rank and file drivers essentially function as a feudal system, with the serfs driving San Franciscans around in vehicles usually owned by the lording cab companies and permitted by older drivers who hold the coveted medallions. There are only 1,500 of these permits, which are literally tin medallions that correspond to the numbers printed on the sides of cabs. They are owned and regulated by the city, and leased for life to drivers who wait years to move up the list.

Medallion holders make about $20,000 to $50,000 per year leasing their medallions to cab companies, which then charge drivers daily “gate fees” that are set by the city. Drivers pay an average of $96.50 per day to use a cab, but are allowed to pocket all their fares. Drivers usually clear about $150 a day, but that’s before paying gas, tolls, and tickets, and before even sometimes allegedly slipping bribes to dispatchers to get the best assignments. Drivers have no health insurance and are essentially treated as independent contractors.

Drivers have criticized the newly formed Taxi Advisory Group, which has made recommendations to the MTA and is likely to be expanded after the merger into a 15-member council, which would have only three drivers, but seven medallion holders and cab company representatives. Five members of the public would also be seated and their unanimous support would be required for a driver-led initiative or idea to trump the medallion and cab company bloc.

“We want a much greater and fairer representation on this Taxi Advisory Council,” said driver and United Taxicab Workers chair Bud Hazelkorn. “Without that, all the issues that we bring will not be heard.” Those issues include providing health care for drivers and creating a centralized dispatch system so fares are allocated more equitably. He pointed out that drivers are the only people in the system making all their income directly from fares. Everyone else in the industry gets slices from other pies.

And the existing provisions outlined by Prop. K may soon be a thing of the past.

Prop. A included language that allowed for the Taxi Commission merger and stated that once the MTA was in control, “Agency regulations shall thereafter supersede all previously adopted ordinances governing motor vehicles for hire that conflict with or duplicate such regulations.”

During the 2007 election season, this was interpreted by the UTW and Judge Quentin Kopp, a former supervisor who authored Prop. K, as possibly undermining the current medallion system. “The taxicabs CEOs have tried EIGHT times to undo Prop. K, failing each time as voters upheld this good government measure,” Kopp wrote in a paid ballot argument at the time. “Now encouraged by City Hall, Prop. A slips in a deceptive clause undoing 30 years of voter policy.”

Back in 2007, when seeking the Guardian‘s endorsement for Prop. A, Peskin told us, “I have met with the mayor. The mayor has no desire, as do I, to undermine Prop. K, and what we would do if we ever were to transfer the Taxi Commission to MTA, we would transfer upon the condition that they adhere to and embrace by regulation all of the previously voter approved ordinances, such as Prop. K. So I think we have it handled.”

Peskin said he reaffirmed that commitment in a letter, cosigned by Newsom, but neither office could locate a copy of that letter as of Guardian press time.

But at a Nov. 17 Government Audit and Oversight Committee meeting, Peskin asked MTA executive director Nathaniel Ford if it was his understanding that this merger was not to undermine Prop. K. “That is my understanding,” said Ford. “I think it is important to all stakeholders.”

Yet the interpretation is still correct. “The MTA will now have the authority to enact provisions that supersede Prop. K,” City Attorney’s Office spokesperson Matt Dorsey told the Guardian.

This past summer, the Taxi Commission established a Charter Reform Workgroup with a primary goal of reviewing Prop. K. The group is expected to meet for about six months with any recommendations subject to a citywide vote.

Although the workgroup has yet to release any specific statements regarding Prop. K, chairman Malcolm Heinecke believes it’s already making strides simply by opening up public discourse among citizens, companies, medallion holders, and drivers.

“One of the problems with the taxi industry and discussions of reform is that they are very insular,” said Heinecke, who is also an MTA board member. “I believe we have a balanced group of voices [in the group].”

Heinecke said he thinks varied stakeholders are essential because of broad dissatisfaction with Prop. K. “You hear everyone — both inside and outside the industry — bemoaning some aspect of Prop. K. It’s a system we’ve had in place for 30 years; rather than just say it’s bad and not do anything, [the goal of the workgroup] is to look at where we are and revise.”

While it may be true that no one is satisfied, that hardly means members of the factional workgroup agree on how exactly Prop. K should be changed. For some, the problem begins with issues of representation. Not everyone agrees with Heinecke that this is a “balanced group.” Of 12 members, there are just three drivers and three members of the public, with the rest representatives from the upper echelons of the industry.

Driver and UTW member Thomas George Williams pointed out that “companies and medallion holders often have the same interests — most companies are owned by medallion holders.”

Furthermore, Mark Gruberg, a UTW member, told us, “Everyone would say some things can and possibly should be done to improve provisions of Prop. K. But it’s one thing to work around the edges to reform a law and another thing to throw it out the window.”

He pointed out that one proposal before the workgroup would allow medallions to be sold for profit, something he said “would be a complete reversal of Prop. K.” If other cities are an example, medallions could fetch as much as $500,000 apiece, enough for the holder to retire handsomely. “People that have them would clean up at the expense of the next generation of cab drivers,” Gruberg said. “It would be a completely indefensible windfall.”

“This is public property, these medallions,” Hazelkorn said. “They could be misused as a pension, but that’s not a pension that applies to everyone.”

When questioned, Heinecke was vague about concrete changes the workgroup might instigate. “This is a delicate position for me because the whole purpose of the task force is to hear the views of all the stakeholders,” he said.

Taxi drivers, the serfs of the industry, do not have high hopes about the merger. “If the merger happens, the MTA [officials] will be able to do whatever they please,” Williams said. “Everyone knows MTA is always in need of money … they don’t care about drivers or improving industry, only their budget.”

Williams worries that, under the MTA, the commission will lease medallions to companies instead of individual drivers, which would “totally ruin the concept of Prop. K.” Gruberg agreed. He pointed out that some proposals mention levying a tax on the medallion transfers, a potential revenue source the MTA could be eyeing. “It’s a whole new ball game with MTA and if they’re so desperate for cash and they see the taxi industry as a cash cow, they might go for any scheme.”

MTA spokesperson Judson True told us, “We have no intention of looking to taxi revenue to supplement existing Muni operations.”

Judge Kopp said, “By itself that does not disturb Prop. K, but if that’s a fig leaf for some recommendation from this ersatz Charter Reform Workgroup, then it becomes ominous.” He said dressing the changes in a group with a pithy name like Charter Reform “is not reform, it’s subterfuge.”

And, he added, Prop. K doesn’t need reform as much as it needs enforcement. “They’ve been at this for 30 years. Their revisions are always to start to restore the pre-1978 conditions and enable them to treat these permits as personal possessions for sale.”

Peskin, with the approval of other members of the committee, calendared the full board hearing on the merger for a date after the MTA announces the result, expected sometime this week, of its national search for a director of taxi and accessible services. Solid leadership has been elusive: two years ago the Taxi Commission fired executive director Heidi Machen, reportedly for being too tough on cab companies. Machen was replaced by another Newsom appointee, Jordanna Thigpen, who said she has applied to stay on the job but doesn’t know if she’ll be selected.

When asked if the merger would unnecessarily stretch the MTA’s resources, Thigpen said, “On the one hand you could look at it that way. On the other hand, we’re so chronically understaffed. Trying to add staff is so complicated because we’re funded by the taxi industry.”

The taxi industry brings about $1.6 million in revenue to the city, mostly from fees paid by 1,500 medallion holders and about 7,000 drivers. However, “Fees do not currently meet the city’s cost recovery needs,” according to a Taxi Commission merger report. “Both Taxi Commission and Taxi Detail are understaffed and additional enforcement personnel are needed.”

MTA’s True said, “We expect some cost savings or at least increased efficiencies,” when asked how the merger will affect the MTA’s budget. “When it comes to changing Prop. K, raising fees, or adjusting how medallions are allocated,” True said, “I can’t say that it’s not on the table … In the last several months the focus has been on procedural issues. I think that policy questions will largely come post-merger.”

What will your role be?

0

› news@sfbg.com

OPINION Many of us in the Bay Area worked hard to elect Barack Obama. We made phone calls, knocked on doors, made donations — $5, $10, $200. We monitored the polls, gathered and loaded data, and/or otherwise spread the word to friends, relatives, and colleagues. And of course, we all voted.

The good news is we succeeded. We can now believe again in the power of ordinary people to do extraordinary things in this country. That change has come.

But have we done what we really set out to do?

Have we remade our economy so that it is based on a strong core of working Americans who get their fair share of the fruits of economic growth, and not on house-of-cards accounting subterfuge that tends to benefit only those with the most? Have we achieved equal opportunity for everyone, so that CEO’s and other super-wealthy Americans aren’t hoarding tens of millions of dollars they don’t need while the working Americans who generated that income can barely make ends meet? Do we encourage workers to organize so that there’s a more level playing field in negotiations with employers, and real dignity and respect in every workplace?

Do we have affordable health care? Do we have energy independence? Sustainability? A responsible conclusion to a pointless and wasteful war? Enduring peace and diplomacy? Compassion for one another and personal responsibility for our actions?

Needless to say, the answer to all these questions is a resounding no. Not even close. Not yet.

Although he may be our symbol of a change for the better and an inspiration to bring it, Barack Obama is not the change we seek. We are the change we seek.

Which means that if we don’t continue to act and make sacrifices, enduring change will not come.

So what will your role be in bringing about real change in this country?

For what it’s worth, I’ve started making some changes and sacrifices. I left my high-paying job as a big-law attorney protecting the corporate status quo in this country and have committed myself to a different course of serving public and community interests.

I’ll be selling my condo that I love so much because my commitment to public service on the one hand, and the size of my mortgage payment on the other, are inconsistent propositions at this point.

I am doing everything in my power to make sure the Employee Free Choice Act is finally made into law, because my grandfather, who worked on the assembly line at Chevrolet in the 1940s when the Taft-Hartley Act passed over President Truman’s veto, would have wanted it, and would be proud of me for doing it.

What will you change about yourself, your routines, your "comfort zone," so that real change comes to this country for you, your children, and grandchildren? What sacrifice will you make for a cause greater than yourself? Only you can answer these questions. *

Aaron Knapp is a lawyer, writer, and organizer living in San Francisco. He is the founder of the The Post Partisan. He can be reached at aarontknapp@gmail.com.