Volume 44 [2009–10]

Tropic of dancer

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arts@sfbg.com

DANCE Judging from the packed salsa classes he’s been teaching at Dance Mission Theater for 12 years, Ramón Ramos Alayo is correct: the Bay Area is a hotbed for Cuban-Caribbean culture. But even he underestimated its pull. When I spoke to him on a recent balmy spring evening, he was expecting that night’s attendance to drop. “It’s light and warm, so people like to spend their free time outside,” he explained before heading for class. Wrong. If more aficionados had shown up, they would have had to move the furniture.

In addition to being a highly sought-after instructor — he also teaches modern dance at ODC — Ramos Alayo is a dancer, musician, choreographer, and the director of the annual CubaCaribe Festival (this year’s installment takes place at Dance Mission Theater April 16-May 2). Multitasking may be in his blood, but it’s also something he was trained for.

At the Havana National School of Art, where Ramos Alayo enrolled at age 11, every student had to study ballet, folklórico, and modern dance. “If you didn’t pass the grade in each genre on every level, you were out,” he remembered. After getting his master’s, he had the choice of joining either a modern or traditional company: he went with two modern groups. But when he founded his own Alayo Dance Company in San Francisco in 2002, he made its mission inclusive, fusing Afro-Cuban, modern, traditional folkloric, and popular Cuban dance styles. Although for some fusion suggests loss of identity, to Ramos Alayo it indicates creating something new from what exists.

As a choreographer and performer, Ramos Alayo is as at home in dances based on the Yoruban Orisha myths performed at the Ethnic Dance Festival as he is in original works inspired by political history and personal experience. His 10 dancers have to be able to do it all. Blood + Sugar is a raw dancer theater work about slavery; La Madre takes an intimate look at family. One of his earliest pieces, Wrong Way, is an athletic yet poignant duet for two men. He doesn’t recall the details of the recent Grace Notes, a free-flowing improvisation with bass player Jeff Chambers, but he does remember how good it felt to be performing it. “We had never rehearsed. We just looked at the score, and I had some spatial cues.”

Ramos Alayo’s wide-open approach to what it means to be contemporary artist living in the diaspora also shapes his curating of CubaCaribe, now in its sixth year. Under the overall banner of “From Katrina to Port-au-Prince,” this year’s festival honors the survivors of recent catastrophes. The first weekend will present Haitian and Haitian-rooted ensembles. New York’s Adia Whitaker is a modern, Haitian trained dancer-choreograher; Afoutayi recently relocated from Haiti to San Francisco; and Kumbuka is a New Orleans-based Haitian-Carnival ensemble. Afoutayi and Kumbuka make their San Francisco debuts.

The second weekend traditionally showcases local artists. Liberation Dance Theater’s current work is based on modern dance and reggaeton — a mix of Caribbean-based music styles. Alfafia is a collectively-run Haitian group from San Francisco City College. In the past, Paco Gomes has elegantly fused Afro-Brazilian with modern dance.

On first glance, Los Lupenos de San Jose, a group known for its rendition of regional Mexican dances, is not a natural for CubaCaribe. What got them an invitation was Salón Mexico, Susan Cashion’s choreography of social dances like el danzón and the mambo. They originated in Cuba but started their worldwide journey by way of Mexico.

Ramos Alayo’s new hour-long Migrations was inspired by New York subway performers. Joining his own ten dancers for the third weekend will be a hip-hop artist, a tap dancer, and a steel-drum musician.

CUBACARIBE FESTIVAL OF DANCE AND MUSIC

Through May 2, Fri–Sat, 8 p.m.;

Sun, 7 p.m.; April 25, 3 p.m., $12–$22

Dance Mission Theater

3316 24th St., SF

www.cubacaribe.org

Hugs and kisses

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le.chicken.farmer@gmail.com

CHEAP EATS We left space for The Attack at our table. She wasn’t dead or anything, just at work. Some people are dead. And some are only faking it. Still others of course are in line at Walgreens, or otherwise alive and well and just generally off doing something. So they can’t have breakfast with you at Rico’s Diner, damn!

My mind is boggled and my knees are buckled and rug-burned, but apparently I have a little prettiness left, according to an old-school pimpishly attired dude in a cape and fedora, downtown Oakland.

"You are beautiful ladies," he said to me and Pod, in passing. "You keep that up now!"

You keep that up now. Keep it up. Keep up the beauty.

Pod has a curling-iron burn on one of her cheeks.

When we saw the guy again he smiled even bigger, pumped his fist instead of tipping the fedora, and said pretty much the same things: "Beautiful" and "you keep that up now." I was wearing jeans and a T-shirt, a few flakes of last night’s mascara, and chicken-fried steak flavored lip gloss.

You keep that up now.

Beauty is hard to define. Like wet soap, life, and a live fish, beauty — once defined — is also hard to hold on to. It requires concentration. Sometimes you need a coach. Sometimes you need a lover, and sometimes your lover sucks, strains, and presses the beauty right out of you and then you need coaches and cheerleaders again to get it back.

Thank you, pimpishly attired fedora-tipping and fist-pumping dude. Thank you Pod. Thank you The Attack. And thank you Rico’s, for supplying the chicken-fried steak flavored lip gloss.

And, oh, so many other kinds of hot sauce. It gave Pod and me the idea to have a "hot sauce tasting" instead of a "wine tasting" party. And this gives me the idea to have a "lip gloss tasting" party after that.

Which reminds me of a rainy day in La Rochelle, a beautiful port town on the west coast of France where, as a recent romantic refugee, I participated materially in this January’s humidity levels.

I was with my chicken farming comrade on her one day off, shopping for All Things Brown, when we saw a tall, cute man standing in a crowded square with a small sign saying, in English, "Free Hugs." And he didn’t seem to be collecting money or selling anything. And he didn’t look like he smelled bad. And I have never been more in need of hugs so I walked right up to him and hugged him. If nothing else, this gave my chicken farmer’s daughter, who is 11, something to giggle about for the rest of this year. Plus I got to learn my first French phrase, Lâchez moi, or "Let go of me."

Now I don’t need hugs anymore. I need kisses, and to learn how to say ne lâchez pas de moi, s’il vous plaît in English.

"Mmm," says the dreamy dreamboat of my dreams, "What’s that hot sauce you’re wearing?"

El Yucateca. Extra extra hot. Which goes very good with chicken-fried steak and gravy, by the way. Not that Rico’s needs the boost. It was one of my favorite chicken frieds that I can remember. And the over-easies were good, and the omelet I had the first time I went there was great.

I love this place. It’s simple, delicious, and cheap. They do standard American breakfast stuff, plus burgers (which I haven’t tried yet), and veggie and vegan things (which I never will). And it feels like you’re eating on a train, I think because the kitchen’s in the middle of the room, and you have to place your order at a counter there. Plus all the windows. Although, I have to admit that the corner of 15th and Franklin streets does tend to stay a little still.

One of the most beautiful things I ever saw: my curling-iron burnt pal Pod — who is a dot artist, after all — carefully dispensing drops of I-forget-which hot sauce around the breakfast sandwich on her plate. I don’t know exactly what she was going for, but it was a Goldsworthy worthy masterpiece.

You keep that up, now, Pod.

RICO’S DINER

Mon.–Sat.: 10 a.m.–2:30 p.m.

400 15th St., Oakl.

(510) 444-8424

Cash only

Beer

Believe it!

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arts@sfbg.com

VISUAL ART What would you do if you had been born with a treasure chest? This is a real-life Pippi Longstocking-tale: Jaina Bee is a quirky lady who sports a pink glam crewtop, was raised with minimal parental interference, and is undeniably devoted to her friends. Like Pippi, she was given a suitcase full of gold coins and owns a home.

Thirteen years ago, when Jaina Bee was in her late 20s, she purchased her Potrero Hill property with a vague vision of creating a collaborative-art utopia.

Each chamber of Granny’s Empire of Art has been given a fitting nickname. Sitting in the trophy room, named for its collection of taxidermy, it’s hard to imagine it as just another blank slate with off-white walls. “There’s a difference between decorating and transforming,” Jaina Bee says. Now: antique sofas, stripes of plaid and French country wallpaper, a haunting brick-based collage of cigarettes and electrical plugs, a hanging chandelier, and portraits of Jaina Bee with chickens — and of the benefactors of her inheritance, her step-grandfather Fred Davis and his father Edwin — fill the living room.

“Seriously, the deepest and most inescapable influence was my mother, who was a total prankster, trickster, nonconformist type,” she says. “As soon as I got out of high school and went into college, she lived out her trippy communal fantasy in Santa Cruz.”

As an experiment based around her deep curiosity about people, Jaina Bee’s mother threw open her doors. Those who came in were mostly freeloading Dead Heads of the 1980s. It was a madhouse.

“I took what I learned from observing that and inevitably turned this into my own semi-open house,” says Jaina Bee. “There are lots of people who make this place their home when they’re in town. They’re all creative, and they all contribute in some way to the household, whether it’s designing lights or creating rooms. And when I’m out of town for months at a time, people come and go just as freely as if I were here. So the house has a kind of life of its own. It’s bigger than all of us.”

“You can’t try to control it,” responds Jenny B, who did the lighting for the house and is staying over.

While her mother was watching her lawless social study, Jaina Bee was attending San Francisco Art Institute, where she befriended many artists who would later be involved with Granny’s.

Her professor Tony Labat challenged her to test, trial-and-error-style, without knowing the results. “That gave me the courage to experiment with collaborating with people not necessarily knowing where it was going to go,” she explains. She took this mentality seriously when she began working on her home. “The whole reason things have turned out the way they have here is that I didn’t try and control it too much — just enough to keep it from going into complete chaos.”

Of course, this is not the first art-home assembled by an eccentric heiress. Granny’s Empire of Art follows a tradition extending from Isabella Stewart Gardner and Sarah Winchester to Peggy Guggenheim and Doris Duke. But none of these comparisons quite fit because of Granny’s particular emphasis on collaboration and experimentation.

“It’s an unusual circumstance with Jaina, because she really wants people to do what they’re good at doing. She’s not sitting there saying she wants it this way. She has a lot of trust with her vision,” explains Christine Shields, who met Jaina at SFAI and has done work on the home since the initial painting sessions when she chose red for what would later be known as the opium den.

“When the whole house started, I thought it was so disparate. It seemed very hodgepodge and very crazy-quilt style. But the more time that goes by, the more it becomes this big vision and it has this cohesion that I couldn’t really see in the beginning,” Shields says. “But I know Jaina saw it.”

Granny’s two homes — an old farmhouse in the back and a Victorian in the front — contain a Ripley’s-Believe-It-or-Not!-worthy staircase covered with pencils that leads to a vintage Circus Circus carpet, a Gaudi-meets-the-Yellow-Submarine bathroom with glow-in-the-dark-slices hidden in the tiles, a fur meditation room, a haunted parlor with multicolored drywall, found photographs compiled into a pseudo family albums, and an old-timey phonograph. All this — and more — comes together to form a fairytale dollhouse that expands with the bite of a cookie, just like Alice’s wonderland.

“This is beyond my wildest dreams of the perfect environment. I’m always discovering things I didn’t notice before,” says Jaina Bee. “I think sometimes my friends have actually stuck things in here without telling me.”

Unlike the Peggy Guggenheim Collection or the Isabella Stewart Gardner Museum, there’s an energy that emanates from the life within the home. Jaina Bee says she’s thought about the future of Granny’s Empire of Art and the possibility that it might become a place for an artists residency program, but says she’s made no official plans. Granny’s is alive and growing.

There are even lovely sister cats, Crackle and Quilty, who share the home. “They wrecked a lot,” Jaina Bee says matter-of-factly. “I think in one year these kittens did $1000 in damage — to masterpieces. But that’s art as life. I don’t want it to be so precious I can’t be comfortable.”

www.jainabee.com

Drowned out

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rebeccab@sfbg.com

GREEN ISSUE The tiny, rigid-hull inflatable boats that researchers at Scripps Institution of Oceanography use for whale tagging are a mere fraction of the size of the blue whales they are deployed to search for. But Scripps PhD candidate Megan McKenna says there’s no reason to worry about the mammoth creatures — which can weigh as many tons as 27 elephants put together — bumping up against the boat when she reaches overboard with a pole to tag them.

“They’re just pretty mellow, I guess,” McKenna says. “There’s no flailing or anything. Some barely even notice that we’re there.” For two summers, she’s ventured out in pursuit of the endangered whales, popping short-term monitoring tags on them to learn how they behave when massive cargo shipping vessels motor past.

It’s an important question for a couple of reasons. Government funding was provided for the Scripps study after two blue whales were struck and killed by commercial shipping vessels in 2007, tragedies magnified by the fact that the marine mammals are still struggling for survival. If even two die in such collisions every few years, the entire species could be imperiled, McKenna says.

At the same time, a less-understood phenomenon has marine scientists worried that the deep-blue giants’ survival is being undermined by a subtler problem, that Jackie Dragon of San Francisco-based Pacific Environment likens to “death by a thousand cuts.” Noise generated by whirring ship propellers registers at the same frequency as the low tones whales use to communicate and forage for food, and researchers are concerned that the constant interruption is affecting their ability to engage in basic survival behavior.

Put together with an array of concerns including chemical pollution, marine debris, over-fishing, and ocean acidification, noise pollution is just coming onto the sonar of local marine sanctuary councils and federal environmental agencies, and proposed solutions are only in the fledgling stages.

Pacific Environment is one of several environmental organizations advocating for shipping vessels to travel at slower speeds, a quieter practice that also reduces the chances of hitting a whale. Despite growing evidence that noise pollution and ship strikes pose big problems for the planet’s largest mammals, it’s likely to be an uphill battle in an growing global industry where time is money, and on-time delivery is paramount.

Endangered whales favor the Gulf of the Farallones and Cordell Bank sanctuaries, not far from San Francisco, so Pacific Environment has chartered a catamaran to take ecologically-minded whale watchers out to what Dragon dubs the “Yosemites of the sea.” Using hydrophones, they capture the deep, rumbling whale calls. They also pick up noise generated by commercial ships, whose designated lanes cut directly through the protected areas.

Under just the right ocean conditions, the low, eerie mating call of a male blue whale off the coast of California can be heard by a female off the coast of Hawaii. “That just has to do with the physics of sound in the ocean,” McKenna explains. “They’re vocal animals. You can think of sound in the ocean as our vision. Sound travels so much better in water than light does, so it’s really an acoustic environment that they’re living in.”

McKenna is working with whale researchers John Calambokidis of the Cascadia Research Collective and John Hildebrand of Scripps Institution. While they’ve observed that some whales linger at the surface longer than usual after a ship has passed, leaving them vulnerable to a strike, there are no conclusive results as of yet.

To explain the noise impacts, Dragon uses an analogy of trying to communicate in a crowded bar where it’s difficult to hear. “In the ocean, sound is king,” she says. “This chronic, noisy, foggy environment … has a masking effect. It might mean whales will not be able to navigate correctly, or may not be able to communicate with mates or offspring.”

The Gulf of the Farallones National Marine Sanctuary supports a rare concentration of blue whales, partly because the water is rich in nutrients, biodiversity, and tiny, shrimp-like creatures called krill. Blue whales and endangered humpbacks forage there from April through November, the colossal blues consuming an astounding 4 tons of krill each day.

At an April 8 joint meeting between the Gulf of the Farallones and Cordell Bank marine sanctuary advisory councils, the groups discussed creating a working group — bringing together stakeholders from the U.S. Coast Guard, shipping industries, and others — to establish a set of recommendations for how to regulate noise pollution in the sanctuaries.

“The purpose is to better understand the issue from the standpoint of the sanctuary,” explains Lance Morgan, who chairs the Cordell Bank council. “Ideally, we’d produce a report that says, here’s what we think the issues are.”

Yet Morgan acknowledges that it won’t be easy to get the federal government to impose new sanctuary regulations since there are still so many outstanding questions. “We’re learning a lot about the acoustic environment,” he says. One concern is whether whales are actually able to perceive the sound of the giant shipping vessels, he notes, since the environment has become so noisy. If they can’t hear the ships, they’re at a much higher risk of collision. “We certainly know we can drown out whale calls in certain situations,” he says, “but what does that mean in the long term?”

There are around 14,000 blue whales left across the entire watery globe, according to the most optimistic estimates, just a sliver of the estimated 300,000 that lived before they were nearly harpooned to extinction during a ruthless whaling era. Scientists are encouraged that their numbers have climbed since the mid-1960s when they were listed as endangered.

Yet even with this mild success story as a backdrop, there is growing concern about potential long-term effects of underwater industrial noise. Navy sonar, military air guns, and blasts from seismic surveys all contribute to the problem at varying frequencies. The collective din of ocean noise has doubled every decade since the 1950s, and the shipping business is only expected to grow.

Maersk, the world’s largest shipping company, runs weekly container ships from Hong Kong to ports in Oakland and Long Beach, a journey lasting more than two weeks. Getting the goods there on time is “the most important thing to our customers,” says Lee Kindberg, the company’s environment director.

The container ships arrive crammed full of everything from electronics — which require special climate-controlled containers — to clothing, bath products, household items, and pharmaceuticals. Perishable items are transported in refrigerators, consuming a third more energy and powered by auxiliary engines. Up to 8,000 containers can be packed onto a single ship, and the average vessel size has expanded around 20 percent in the past five years. More than 90 percent of the world’s traded goods are transported by water, with shipments on container vessels increasingly rapidly.

If ever there was an icon for globalization, and all that the buy-local and sustainability movements rail against, it would be a diesel-powered container ship transporting heavily packaged stuff halfway across the globe.

“Clearly it’s not a good thing if we hit a whale,” Kindberg says. Undersea noise pollution “is certainly an issue that we’ve been made aware of. But there doesn’t seem to be any real clarity as to what the impacts are,” she notes. Maersk would support certain speed reductions to protect the whales, Kindberg says, but “if you slow down in one place, you need to speed up someplace else, and that can take more fuel.”

Regulations in certain waters off the eastern seaboard already require ships to move at slower speeds to minimize harm, and Kindberg says Maersk has voluntarily opted to operate at slower speeds to reduce greenhouse gas emissions (it saves on fuel costs too). But when going along at 10 knots (around 11 m.p.h.), the speed environmental organizations say is safest for marine mammals, it’s harder to maneuver the ship, Kindberg says. Sailing around the marine sanctuaries is not an option in California, she adds, since ships have to pass through them to get to the ports.

Other efforts to solve the shipping-noise problem focus on ship design. “We’re building larger and larger ships, and they’re getting noisier and noisier,” says marine ecologist Leila Hatch of the National Oceanic and Atmospheric Administration (NOAA), who studies the effects of underwater sound on marine mammals.

The International Maritime Organization accepted a plan in 2008 to form a working group and to pin down guidelines for making commercial ships quieter, according to Hatch. Although the guidelines aren’t enforceable and are unlikely to be implemented any time soon, she sees it as an opportunity for a win-win scenario. If new ships featured a design with more efficient propulsion, they could be quieter, cheaper to operate, and more energy-efficient — which would also improve the air-quality problems associated with giant commercial ships.

The California Air Resources Board, meanwhile, initiated an effort last year for a program to get commercial vessels to slow down near the coastline, a bid to reduce emissions of smog-causing chemicals and the greenhouse gas carbon dioxide. Not much is happening on that front to date, but such a program could have the positive side effect of quieting underwater noise.

Hatch has been trying to quantify the decline in hearing ranges for marine mammals as the seas grow increasingly crowded with larger, noisier ships. “Much of the space they used to have is taken up by shipping noise. What is that likely to mean in terms of their ability to communicate effectively and find food?” she asks.

To find answers, she’s engaged in a research project at the Stellwagen Bank National Marine Sanctuary off the coast of Massachusetts that blends GPS ship-tracking data with profiles from sound-monitoring devices planted on the sea floor. Results suggest that whales’ communication ranges have diminished by 80 percent in some places.

There are few easy answers, however, since scientists are still trying to piece it all together. One certainty is that “we’re changing the environment they’re trying to live in,” notes McKenna, who says she now finds herself wondering if she’ll end up purchasing something that’s packed onto a massive containership when she spies one out on the horizon. “To what degree is it impacting them?”

She can’t say exactly, and that’s part of the problem, because the global shipping industry wants to see some concrete facts before the battleship can be turned. In the meantime, Kindberg says the captains helming Maersk line are just trying to avoid hitting the whales.

An inconvenient war

4

By Christopher D. Cook

news@sfbg.com

For two weeks, in the marble-walled modernist grandeur of the Ninth Circuit U.S. District court in San Francisco, I watched nearly a dozen well-dressed lawyers for the Service Employees International Union — long my favorite union and one I’ve written about and marched with over the years — sue the bejeezus out of two-dozen former SEIU comrades-in-arms, some of labor’s most committed soldiers.

Judge William Alsup’s courtroom was packed and tense every day for two weeks, patrolled watchfully by U.S. marshals as former coworkers shot glares across the aisle and rushed by each other in the hallway outside. “This is like a bad family reunion,” one told me. Indeed, there’s a painful, often quite personal fight inside the family of labor — a fight one can only hope will lead to strong, deep democratic unionism down the road.

In the latest chapter of a saga that’s simmered to a boil over four years, SEIU sued 24 former staffers of its powerful 150,000-member Bay Area local, United Healthcare Workers West (UHW), alleging they used the union’s money and resources to create a rival organization. Since SEIU took over the old local in a bitter trusteeship fight in January 2009, the National Union of Healthcare Workers (NUHW), led by former UHW president Sal Rosselli, has been organizing workers in droves, challenging SEIU’s hold on health care workers in California.

In the end, following grueling testimonies and cross-examinations, it came to this: on April 9, the jury hit NUHW and 16 of its leaders with a $1.5 million penalty (which might be reduced to $737,850 depending on Alsup’s interpretation of the jury’s intent). It’s a lot of money, but far less than SEIU’s original claim seeking $25 million, and the appeals are likely to drag on into next year.

After dozens of interviews and whispered conversations in the hallways outside Alsup’s courtroom, I was left wondering: how could this be happening? At a time of historic lows in union membership (7.2 percent in the private sector last year) and a recession that may never end for workers, how could SEIU, once the darling of the progressive labor movement, be embroiled in a brutal war with one of its flagship former locals? How could these two unions be tearing each other apart, exchanging ugly accusations that threaten to further tarnish labor’s tenuous reputation? All at a time when California unemployment sits stubbornly at 12.5 percent and more than 90 percent of workers remain unorganized. Hospital executives who are accustomed to tangling with a unified labor front must be thanking their lucky stars.

But this isn’t some union corruption story or simply a scuffle for personal power. Beyond the name-calling lie crucial questions about how unions function, about whose voices are heard both in union offices and on the shop floor. How much voice will workers have in union decisions, not just about break rooms and arguments with the boss, but in the shape and direction of the labor movement?

Ultimately this fight won’t be decided by any jury or judge: despite the verdict, NUHW and its volunteer organizers are pressing on with SEIU for the right to represent California’s health care workers, 400,000 of whom currently pay dues to SEIU. Over the past year, more than 80,000 of those dues-payers have signed petitions to join NUHW, which has won seven of nine elections of health care workers called so far. With more big elections coming soon, most notably among 47,000 Kaiser Permanente workers this June, the stakes are only getting higher.

In a nutshell, the two sides argue thus: SEIU contends that Rosselli and company flouted the will of President Andy Stern, and ultimately its members, by refusing to abide by Stern’s decisions on a union consolidation. That led to a trusteeship of Rosselli’s local, with its leaders allegedly using SEIU resources to form their own union. Rosselli and NUHW insist they were boxed into an untenable corner by Stern’s centralization of power in Washington, D.C., at the expense of locals and workers and that they tried many times to resolve disputes internally, and only broke away to form a new union after they were forced out by Stern.

To convince a jury of its claims, SEIU amassed a formidable legal team drawing from four firms at a cost of roughly $5 million, according to SEIU spokesman Steve Trossman. (An expert witness hired by SEIU testified the union paid him roughly $300,000 just to prepare testimony for the case; defendants say the trial cost SEIU closer to $10 million.) Whatever the number, it’s an awful lot of time and money that could be spent organizing new workers and winning strong contracts instead.

Asked if he thinks the trial is worth the expense, Trossman said, “I think members of the union, when this is over, are going to get the truth of what happened — that they directly used union resources … to hold onto personal power.”

Dan Siegel, NUHW’s chief attorney, casts it differently: “This case is about punishing the defendants and sending a message” to other union dissidents across the country.

 

A LONG-TERM BATTLE

The rift that ended up in federal court has its roots in a 2006 move by Stern to consolidate California’s long-term health care workers, such as home care and nursing home employees, into a single statewide local — a move that would peel away 65,000 long-term care workers from Rosselli’s union.

The most likely beneficiary of the consolidation was the Los Angeles-based Long-Term Care Workers Union, local 6434, headed by Tyrone Freeman, who had been fending off corruption charges (allegedly stealing more than $1 million in union funds for personal gain) since 2002, according to the Los Angeles Times.

“Nowhere else but in California did SEIU attempt splitting long-term care and acute care workers into different unions,” said John Marshall, an SEIU strategic researcher who resigned in protest of UHW’s trusteeship, but who remains active in the labor movement. “But it’s worse than that — here SEIU proposed forcing long-term care workers into a local that was widely known to be corrupt, that had contracts with substandard wages and benefits. And on top of it all Stern and SEIU refused to allow those workers to vote on whether or not the transfer should occur.”

When Freeman’s alleged corruption became front-page news in the Times in 2008, and even after SEIU put the L.A. local in trusteeship later that year, Stern continued to push the consolidation. Rosselli resisted, arguing the shift would weaken workers’ voice and standards; wages for workers in Local 6434 were often far lower than those for their counterparts up north, and the mounting corruption charges didn’t bode well for union bargaining power or democracy.

SEIU’s Trossman insists union leaders were not aware of the Freeman allegations until they appeared in the L.A. Times, though one of those stories quotes an unnamed inside source saying Trossman knew of the charges as early as 2002. But Trossman said the issue was not Freeman. “The proposal was to create a new long-term care local in California, and by the time that decision was made in January 2009, Tyrone Freeman was already long out of the picture,” he told us, insisting the long-term care decision was made after hearings and an “advisory member vote.”

Yet 15 months after the takeover of UHW, the consolidation of long-term care workers remains on hold.

Friction between Stern and Rosselli — over the merger, leadership, and labor movement strategy — heated up throughout 2007 and 2008; Rosselli was unanimously booted off of Stern’s “kitchen cabinet” of labor leaders, and removed from his post as president of SEIU’s California State Council.

Then on Jan. 22, 2009, an SEIU-commissioned report by former Labor Secretary Ray Marshall recommended trusteeship — if Rosselli’s union didn’t abide by the transfer of its long-term care workers. A few days later Rosselli and the UHW executive board sent Stern a letter saying they would abide by the merger — if the UHW rank and file could vote on it first. No deal: on Jan. 27, UHW was put into trusteeship: its buildings were locked up, security guards patrolled the perimeters, and many of the deposed union staff camped out on the floors of their old offices.

On the afternoon of the 27th, Rosselli, who had been reelected UHW president earlier that month, spoke to cheering supporters: “[It’s] your right to determine what union you want to be in!”

NUHW members insist it’s never been about Rosselli or the other defendants. “We are not just a bunch of lemmings — we do what we believe,” said Tonya Britton, a Fremont convalescent home worker. “They couldn’t make it this far if there weren’t all of us members … When I heard about the trusteeship, I wanted a union that was for members, not top-down. We were making gains. Now it seems we’re doing nothing but fighting.”

 

Christopher D. Cook is a former Bay Guardian city editor. He has written on labor for Mother Jones, Harper’s, The Economist and others. This story was funded in part by spot.us.

In the company of bees

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Sarah@sfbg.com

GREEN ISSUE On a rainy afternoon in April, I’m standing on an abandoned military base on Alameda Island counting bees on a wild rosemary bush. In the three minutes I’ve been standing here, I’ve spotted five large, furry bumblebees, flitting from flower to flower, performing the function that keeps the whole ecosystem buzzing.

But the honeybees I often see here are absent. I’m not surprised. As I learned from Bernd Heinrich’s Bumblebee Economics (Harvard University Press, 1979) bumblebees are tundra-adapted insects that are better able to forage at low temperatures than sun-loving Italian honeybees.

I’ve been obsessed with bees for years. My sister says it began when I got stung on the bum as a toddler. My daughter says it started the day we rescued a swarm of half-drowned honeybees that had gotten stranded in high winds on a beach in Santa Cruz. All I know is that my bee obsession really bloomed when we lived on a lavender farm on the north coast of California and I found bumblebees asleep on the lavender, at night.

A beekeeper on the farm explained that, unlike honeybees, bumblebees don’t form permanent colonies. Instead, they nest in empty mouse holes and form small social groups that die out each fall. The bees sleeping on the flowers were probably male, he added; they tend to be lazier, while the females do most of the work.

He told me that only the young pregnant bumblebee queens hibernate in the fall, emerging alone the next spring to start new colonies. There are more than 4,000 species of native bees in North America. Some are the size of ants; others are territorial and drive other bees off the flowers they guard. Most are solitary, nonaggressive loners, and some aren’t that busy at all.

Curious, I bought a book about beekeeping from a clerk who told me his father once kept bees in Oakland. “Urban honey is the best,” he said, explaining that urban gardens often contain unusual and diverse collections of plants. “City bees have far more exotic choices of nectar.”

Fast-forward to the present and it seems that the general public also has taken a much more active interest in bees, particularly since 2006 when colony collapse disorder decimated honeybee populations, triggering warnings of a coming agricultural crisis and potential devastation to the ecosystem.

Scientists estimate that bees pollinate nearly three-fourths of the world’s flowering plants. These plants provide food and shelter for many species of animals. A 2008 survey by the U.S. Department of Agriculture shows that 36 percent of the 2.4 million hives in the U.S. have been lost to colony collapse disorder, which translates into billions of honeybees.

Some species of bumblebees also are vanishing. Robbin Thorp, professor emeritus of entomology at UC Davis, blames their disappearance on commercially reared bumblebees that are imported to pollinate hothouse tomatoes and then escape into the wild, where they leave pathogens on flowers (see “Buzz Kill,” 01/27/10).

But amid such big news, I’m still keeping a diary of notes on bees and focusing on my own backyard on Alameda Island, wondering how I can attract more bees. Xerces Society for Invertebrate Conservation heeded Thorp’s thesis and petitioned to stop the cross-country movement of bumblebees, but the Portland, Ore.,-based group has also produced handy pocket guides to help people like me identify bumblebees in the field.

So far I haven’t spotted the missing Western bumblebee, Bombus occidentalis. But I did see a bumblebee queen spiraling through a Potrero Hill garden on a mild day in early January. Reached by phone, Heinrich, professor emeritus of the biology department of the University of Vermont, told me that the queen would retreat into her underground hole when the weather got cold and wet again, which it soon did.

When he was writing Bumblebee Economics, which explores biological energy costs and payoffs using bumblebees as the model, Heinrich studied Bombus terricola, the yellow-banded bumble bee that was plentiful around Maine bogs in the 1970s.

“I could see dozens all at once. But since then, for years I didn’t see any at all, and since then I’ve only seen a few,” Heinrich said “Nobody figured out what happened.”

Gordon Frankie, professor and research entomologist at UC Berkeley, told me he’s happy to see the increased interest in urban bees. “People have begun to recognize that bees have a major role to play in agriculture,” Frankie said, as he and Rollin Coville, who has a doctorate in entomology from UC Berkeley and a passion for photographing insects, showed me around the experimental urban bee garden they created in 2003 at the edge of a field in downtown Berkeley.

“Bees love blues, purples, pinks, and yellows,” Frankie said, explaining that bees can see ultraviolet hues but not red flowers as we observe bees busily foraging on a blue lilac bush.

He also said bees love hanging out in open meadows where the sun shines and where they can see the flowers. “In the forest is no damn good if you’re a bee,” he said.

In July 2009, Frankie, Coville, and Thorp published an article in California Agriculture that outlined the results of bee surveys in gardens in Berkeley, La Canada Flintridge, Sacramento, San Luis Obispo, Santa Barbara, Santa Cruz, and Ukiah.

“Evidence is mounting that pollinators of crop and wild land plants are declining worldwide,” they wrote. “Results indicate that many types of residential gardens provide floral and nesting resources for the reproduction and survival of bees, especially a diversity of native bees. Habitat gardening for bees — using targeted ornamental plants — can predictably increase bee diversity and abundance and provide clear pollinator benefits.”

Frankie and Coville also helped produce a 2010 native bee calendar that features Coville’s photographs of bumble, squash, mason, carpenter, leafcutter, mining, wool carder, cuckoo, and ultragreen sweat bees, plus tips on how to attract these pin-ups by planting a variety of bee-friendly plants, avoiding pesticides, and refraining from over-mulching.

Researchers have observed almost 50 species of native bees at UC Berkeley’s bee garden, out of 85 species recorded citywide. UC Berkeley’s urban bee gardens’ Web site, (www.nature.Berkeley.edu/urbanbeegardens) notes that bees have preferences for gardens as well as flowers.

“Gardens with 10 or more species of attractive plants attracted the largest number of bees,” the Web site states, cautioning people against hanging around plants too long. “If an observer spends too long in one place hovering over the same patch of flowers, the bees will gradually begin to move on to other flowers where they won’t be bothered. To facilitate counts, it is sometimes a good idea to create little paths through the garden so that all patches are accessible to the observer.”

Here in California, high real estate prices have led to the increased paving over of bee habitat. And bees have come under additional stress in the wake of a 2006 E. coli outbreak that sickened more than 200 individuals and resulted in at least three deaths on the Central Coast. Growers have since been pressured to eliminate hedgerows, wetlands, habitat, and wildlife around farms.

But as a February 2010 Nature Conservancy report on food safety and ecological health notes, “certain on-farm food safety requirements may do little to protect human health and might in fact damage the natural resources on which agriculture and all life depend.”

These concerns have a direct, if hidden, impact on Bay Area residents, whose food supply comes almost exclusively from outside urban limits. Take San Francisco, where crop production consists of $1 million worth of orchids, flower cuttings, and sprouts on two acres of land, according to a 2008 Department of Public Health report.

Missing from that equation is the honey that local bees produced. As San Francisco beekeeper Robert MacKimmie recently noted, mites hit his hives hard in 2009. “And the summer and fall were pretty brutal since we were in the third year of drought,” MacKimmie said.

He hopes El Nino-related rains will be good for this year’s bees: more water means more flowers for bees, which rely on nectar and pollen to sustain themselves and their developing brood.

MacKimmie doesn’t have a garden and uses other people’s yards to keep his bees. “The honey serves as rent,” he said, noting that he only places two hives in each yard to disperse the bees in more equitably and sustainably. He points to the work of Gretchen LeBuhn, a San Francisco State University professor who started the Great Sunflower Project in 2008, as a fairly easy way to gather information about bee populations.

Reached by e-mail, LeBuhn said her project has more than 80,000 people signed up to plant sunflowers this year. “Participants create habitat by planting sunflowers and then contribute data to our project by taking 15 minutes to count the number of bees visiting their sunflower,” she wrote.

“The Great Sunflower Project empowers people from preschoolers to scientists to do something about this global crisis by identifying at risk pollinator communities,” LeBuhn said. “By volunteering to collect data as a group, these citizen scientists provided huge leverage on a minimal investment in science and created the first detailed international survey of pollinator health and its implications for food production.

“Getting this kind of critical scientific data at thousands of locations using traditional scientific methods would cost so much money that it is untenable,” she added.

LeBuhn encourages people to submit their bee count data at www.greatsunflower.org, which recommends growing bee balm, cosmos, rosemary, tickseed, purple coneflowers, and sunflowers. Unfortunately her data shows that “at least 20 percent of the gardens are getting very poor pollinator service.”

The public is encouraged to visit the UC Berkeley bee garden in May when public tours begin. But you might want to brush up on your Latin, the language experts speak when they hang out with the bees.

Coville saw a mason bee land on a lavender-flowered sage and said, “I think I just saw an Osmia on a Salvia mellifera!”

Frankie smiled at me and said, “It’s bee talk.”

The dawn of Earth Day

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tredmond@sfbg.com

GREEN ISSUE The heavens welcomed Earth Day to America. All over the country, April 22, 1970 dawned clear and sunny; mild weather made it even easier to bring people into the streets. The Capitol Mall was packed, and so many members of Congress were making speeches and appearing at events that both houses adjourned for the day.

Mayors, governors, aldermen, village trustees, elementary school kids, Boy Scout troops, labor unions, college radicals, and even business groups participated. In fact, the only organization in the nation that actively opposed Earth Day was the Daughters of the American Revolution, which warned ominously that "subversive elements plan to make American children live in an environment that is good for them."

By nightfall, more than 20 million people had participated in the First National Environmental Teach-In, as the event was formally known. It established the environmental movement in the United States and helped spur the passage of numerous laws and the creation of hundreds of activist groups.

It was, by almost all accounts, a phenomenal success, an event that dwarfed the largest single-day civil rights and antiwar demonstrations of the era — and the person who ran it, 25-year-old Denis Hayes, wasn’t happy.

His concern with the nascent movement back then says a lot about where environmentalism is 40 years later.

Gaylord Nelson, a mild-mannered U.S. senator from Wisconsin, came up with the idea of Earth Day on a flight from Santa Barbara to Oakland. Nelson was the kind of guy who doesn’t get elected to the Senate these days — a polite, friendly small-town guy who was anything but a firebrand.

A balding, 52-year-old World War II veteran who survived Okinawa, Nelson was a Democrat and generally a liberal vote, but he got along fine with the die-hard conservatives. He kept a fairly low profile, and did a lot of his work behind the scenes.

But long before it was popular, Nelson was an ardent environmentalist — and he was always looking for ways to bring the future of the planet into the popular consciousness.

In August 1969, Nelson was on a West Coast speaking tour — and one of his mandatory stops was the small coastal city that seven months earlier had become ground zero for the environmental movement. Indeed, a lot of historians say that Earth Day 1970 was the coming out party for modern environmentalism — but the spark that made it possible, the event that turned observers into activists, took place Jan. 28, 1969 in Santa Barbara.

About 3:30 on a Tuesday afternoon, a photographer from the Santa Barbara News Press got the word that something had gone wrong on one of the Union Oil drilling platforms in the channel just offshore. The platforms were fairly new — the federal government had sold drilling rights in the area in February 1968 for $603 million, and Union was in the process of drilling its fourth offshore well. The company had convinced the U.S. Geological Survey to relax the safety rules for underwater rigs, saying there was no threat of a spill.

But shortly after the drill bit struck oil 3,478 feet beneath the surface, the rig hit a snag — and when the workers got the equipment free, oil began exploding out. Within two weeks, more than 3 million gallons of California crude was on the surface of the Pacific Ocean, and a lot of it had washed ashore, fouling the pristine beaches of Santa Barbara and fueling an angry popular backlash nationwide.

Nelson received an overwhelming reception at his Santa Barbara talk — and horrified as he was by the spill, he was glad that an environmental concern was suddenly big news. But, as he told me in an interview years ago, he still wasn’t sure what the next steps ought to be — until, bored on an hour-long flight to his next speech in Berkeley, he picked up a copy of Ramparts magazine.

The radical left publication, once described as having "a bomb in every issue," wasn’t Nelson’s typical reading material. But this particular issue was devoted to a new trend on college campuses — day-long "teach-ins" on the Vietnam War.

Huh, Nelson thought. A teach-in. That’s an intriguing idea.

Hayes was a student in the prestigious joint program in law and public policy at Harvard. He’d been something of a campus activist, protesting against the war, but hadn’t paid much attention to environmental issues. He needed a public-interest job of some sort for a class project, though, so when he read a newspaper article about the senator who was planning a national environmental teach-in, he called and offered to organize the effort in Boston. Nelson invited him to Washington, was impressed by his Harvard education and enthusiasm, and hired him to run the whole show.

The senator was very clear from the start: the National Environmental Teach-In would not be a radical Vietnam-style protest. The event would be nonpartisan, polite, and entirely legal. Hayes and his staffers chafed a bit at the rules (and the two Senate staffers Nelson placed in the Earth Day office to keep an eye on things), and they ultimately set up a separate nonprofit called the Environmental Action Foundation to take more aggressive stands on issues.

Meanwhile, Hayes did the job he was hired to do — and did it well. Everywhere he turned, from small towns to big corporations, people wanted to plug in, to be a part of the first Earth Day. Many wanted to do nice, noncontroversial projects: In Knoxville, Tenn., students decided to scour rivers and streams for trash to see if they could each clean up the five pounds of garbage the average American threw away each day. In dozens of communities, people organized tree-plantings. In New York, Mayor John Lindsay led a parade down Fifth Avenue.

A few of the actions were more dramatic. A few protesters smashed a car to bits, and in Boston, 200 people carried coffins into Logan International Airport in a symbolic "die-in" against airport expansion. In Omaha, Neb., so many college students walked around in gas masks that the stores ran out. But it was, Hayes realized, an awful lot of talk and not a lot of action. The participants were also overwhelmingly white and middle-class.

Hayes wasn’t the only one feeling that way. In New York, author Kurt Vonnegut, speaking from a platform decorated with a giant paper sunflower, added a note of cynicism.

"Here we are again, the peaceful demonstrators," he said, "mostly young and mostly white. Good luck to us, for I don’t know what sporting event the president [Richard Nixon] may be watching at the moment. He should help us make a fit place for human beings to live. Will he do it? No. So the war will go on. Meanwhile, we go up and down Fifth Avenue, picking up trash."

Hayes finally broke with the politics of his mentor early on Earth Day morning when it was too late to fire him. The next day, the National Environmental Teach-In office would close and the organization would shut down. From that moment on, he could say what he liked and not worry who he offended.

"I suspect," he told a crowd gathered at the Capitol Mall, "that the politicians and businessmen who are jumping on the environmental bandwagon don’t have the slightest idea what they are getting into. They are talking about filters on smokestacks while we are challenging corporate irresponsibility. They are bursting with pride about plans for totally inadequate municipal sewage plants. We are challenging the ethics of a society that, with only 6 percent of the world’s population, accounts for more than half the world’s annual consumption of raw materials.

"We are building a movement," he continued, "a movement with a broad base, a movement that transcends traditional political boundaries. It is a movement that values people more than technology and political ideologies, people more than profit.

"It will be a difficult fight. Earth Day is the beginning."

I first met Hayes in 1990, near the office in Palo Alto where he was planning the 20th anniversary of Earth Day. He’d continued his environmental work inside and outside government, at one point running the National Energy Laboratory under President Jimmy Carter. Earth Day 20 was shaping up as a gigantic event, one that would ultimately involve 200 million people around the globe. Earth Day was becoming the largest secular holiday on the planet.

Hayes was excited about the event, which he was running this time without the moderating influence of a U.S. senator. And he was aiming for a much more activist message — in fact, at that point, he was pretty clear that the U.S. environmental movement was running out of time.

"Twenty years ago, Earth Day was a protest movement," he told a crowd of more than 300,000 in Washington, D.C. "We no longer have time to protest. The most important problems facing our generation will be won or lost in the next 10 years. We cannot protest our losses. We have to win."

And now another 20 years have passed — and by many accounts, we are not winning. Climate change continues, and even accelerates; an attempt at a global accord just failed; and Congress can’t even pass a mild, watered-down bill to limit carbon emissions.

And Hayes, now president of the Bullitt Foundation, a sustainability organization in Seattle, thinks the movement has a serious problem. "Earth Day has succeeded in being the ultimate big tent," he told me by phone recently. "To some rather great extent, is had some measure of success."

But he noted that "in American politics these days, it’s not the breadth of support, it’s the intensity that matters. Environmentalists tend to be broadly progressive people who care about war and the economy and health care. They aren’t single-issue voters. And somehow, the political intensity is missing."

Hayes isn’t advocating that environmentalists forget about everything else and ignore all the other issues — or that the movement lose its broad-based appeal — but he said it’s time to bring political leaders and policies under much, much sharper scrutiny and to "stop accepting a voting record of 80 percent."

It’s hard today to be bipartisan, and compromise is unacceptable, Hayes told me. "I was probably right [in 1990]," he said. "If what you’re aspiring to do is stop the greenhouse gases before they do significant damage to the environment, it’s too late." At this point, he said, it’s all about keeping the damage from turning into a widespread ecological disaster.

"I would like to see Earth Day 50 be a celebration," he said. "I would like to see by then a real price on carbon, nuclear power not proliferating, and a profound, stable investment in cost-effective, distributed renewable energy." But for that to happen, "we need to have a very intense core of environmental voters who realize that these threats to life on the planet are more important than a lot of other things."

Tim Redmond is the author, with Marc Mowrey, of Not In Our Back Yard: The People and Events that Shaped America’s Modern Environmental Movement (William Morrow, 1993) which can still be found in the remainder bins of a few used book stores.

No free ride for developers

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EDITORIAL The dumbest plan the Newsom administration has cooked up in a long time continues to make its way through City Hall. The mayor wants to defer fees for housing developers as a way to "stimulate" the economy — despite the fact that the city’s own economist concluded the plan would lead to the creation of a relatively tiny number of jobs and perhaps 40 or 50 new market-rate condos over the next two years.

And the cost would be staggering. Over the next 15 to 20 years, depending on how much the housing market picks up, $43 million worth of fees developers typically pay before they break ground could be deferred, an analysis by Fernando Marti, a member of the Eastern Neighborhoods Citizens Advisory Committee, shows. The city would get the money eventually — but buildings would go up before the cash to provide water and sewer service, public transportation, schools, parks, and other amenities is in the city’s accounts.

At the same time, information released by the city last week shows that the gap between the cost of the infrastructure needed for the Eastern Neighborhoods plan and the fees developers will pay is at least $100 million, and perhaps as much as $234 million.

The message is clear. Under Newsom’s approach, the current residents and businesses of San Francisco will have to put up millions of dollars to cover the costs created by market-rate housing developers. In fact, Newsom’s administration is already suggesting special levies on property in the impacted areas to make up the difference.

In underserved areas like the Eastern Neighborhoods, where transit and open space are already inadequate to meet current needs, the situation is particularly harsh. "They want to have the Eastern Neighborhoods pay higher taxes than anyone else to mitigate the impacts of new stuff that was supposed to pay for itself," planning activist Tony Kelly, who is running for District 10 supervisor, told us. "This is a non-starter."

The problem is nothing new — although a lot of pro-development activists have been denying it for years: new high-end housing development doesn’t pay its own way. If more than 40,000 new residents are going to live in the southeast part of town, San Francisco will have to build schools, police stations, firehouses, bus and rail lines, parks, and in some cases new roads. Then the city will have to hire (and train) cops, bus drivers, firefighters, gardeners, and teachers. None of that is cheap — in fact, the Eastern Neighborhoods Infrastructure Finance Working Group estimates that the actual cost of providing basic infrastructure would be about $22 for every square foot of new development.

The developers howl at that sort of number and insist they can’t afford it, so the city is prepared to charge closer to $10 a square foot. To make up the difference in the Eastern Neighborhoods, the working group suggested some form of tax-increment financing — that is, the city would borrow against the expected new property tax revenues from the new development and use that to build infrastructure. The mayor took that off the table, wanting any new revenue to go right to the General Fund.

And, of course, under the mayor’s current plan, the modest fees developers actually have to pay will be deferred for several years, making the problem even worse. So the only way to pay for the costs of new housing development is some sort of special property-tax district in the affected neighborhoods.

Add to this the fact that the mayor’s proposal would mean the immediate loss of at least 400 affordable housing units, and the whole thing becomes untenable.

The supervisors have amended the fee-deferral plan to make it a bit less awful, but the whole approach is still completely backward. City fees aren’t holding up housing construction; the weak market and tight credit are to blame for that. And when those conditions change, developers will be poised — as always — to make a vast amount of money selling overpriced condos for millionaires in San Francisco. And if they can’t pay their own way, the city shouldn’t allow them to break ground.

Editor’s Notes

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tredmond@sfbg.com

We’ve been talking to people who want to be judges, seven of them. One is already a judge and wants to keep his job; two are challenging him; and four are competing for an open seat. They all talk about their impressive legal backgrounds, life experience, desire to be fair and impartial, and to make the system of justice work for all.

The two who emerge as the winners will take their seats on the bench, and the presiding judge of the San Francisco Superior Court will decide what happens to them next — whether they handle felony murder trials, or juvenile hearings, or family court, or complex civil litigation, or small claims court. The P. J. oversees the court budget and things like the indigent defendant fund. So I asked them all: how does the presiding judge get chosen, anyway?

And all of them, including the sitting judge, said: Dunno.

Now, how can it be that six of the top attorneys in the city and one incumbent jurist don’t know how the person who runs the local courts gets that job? Well, maybe nobody cares — or maybe the whole process is so secretive nobody gets to learn about it.

See, the courts aren’t covered by the Brown Act, which mandates public meetings. So when the judges get together and meet (bimonthly in San Francisco), there’s no meeting notice and no press or public allowed.

I’m told by reliable sources that the P.J. is typically elected by acclamation when there’s only one candidate, and by secret written ballot when there’s competition. The ballots are tallied by the outgoing P.J., then discarded. Nobody knows who voted for whom.

Years ago, when the state Legislature (led by SF senators John Burton and Quentin Kopp) was updating the Brown Act, Ralph Grace, the publisher of a Los Angeles legal paper the Metropolitan News, went to Sacramento to argue that the courts, like any public agency, should operate openly. He got nowhere. "When you’re talking about running a public institution, you should do it in public," Grace told me this week.

There’s no law saying the P.J. has to be elected privately. The California Rules of Court say that local courts can set their own policies and procedures. So it appears that the San Francisco Superior Court could — if the judges wanted — open the doors.
They could. If they wanted to.

Marin County’s water grab

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By Joan Bennett

OPINION In August 2009, the Marin Municipal Water District’s elected board of directors conducted a public hearing to hear and discuss comments on a proposed $432.8 million desalination plant that would be built near the Richmond-San Rafael Bridge. Despite overwhelming public opposition, the board unanimously approved the proposal. The stated reason: the dire need for a reliable water supply.

There is no truth to MMWD’s rationale.

This is not just a Marin County issue. The plant would have major impacts on the bay.

The Pacific Institute’s yearlong study, "Desalination, With a Grain of Salt," concluded that "most of the state’s seawater desalination proposals are premature … [such plants] fail to adequately address economic realities, environmental concerns, or potential social impacts."

James Fryer, the former head of MMWD’s water conservation from 1992 to 1999 and a water management and conservationist expert with 20 years of experience in the field, concluded in a separate report that desalination should be pursued only as a last resort.

In response, MMWD paraded before the public the inevitable hackneyed specter of a drought. But MMWD’s arguments are contradicted by the facts:

MMWD operates seven reservoirs with more than 79,000 acre feet of water. Annual ratepayer consumption is roughly 28,000 acre feet or less. Last year, consumers used 26,000 acre feet.

Two of those the reservoirs, Phoenix Lake and Soulajoule, have remained untapped for 17 to 20 years.

Since the 1976-77 drought, MMWD’s reservoirs were expanded by 26,000 acre feet, nearly a 50 percent increase.

Marin tree-ring studies demonstrate that a severe drought occurs once every 400 years.

As Paul Helliker, MMWD general manager, recently noted: "This year we won’t have any rationing because we are above our thresholds … there is no reason to because there is no problem with water supply."

If these facts alone are insufficient to convince even the most dubious, there are more.

The water source for desalination is the polluted San Francisco Bay. MMWD insists that expensive filters and reverse osmosis membranes will block dangerous contaminants such as pharmaceuticals, pesticides, chemicals, heavy metals, and Central Marin Sanitary Agency’s 11 million gallons of treated sewage (not to mention untreated spills) dumped daily into the bay near the intended desalination intake pipe.

A desalination plant is an energy glutton. MMWD is already the largest energy user in Marin. The plant would increase MMWD’s energy use from 40 percent to as high as 300 percent depending on the facility’s size and operation.

For decades the water district has urged its customers to conserve, and its customers have complied. As a reward, in February, to erase revenue shortfalls from conservation efforts, MMWD ordered a 10 percent rate hike and simultaneously halved its conservation budget on the disingenuous grounds that "conservation doesn’t work." This raises a conundrum: if rates were raised because of shrinking water use, then does MMWD even need a desalination plant? *

Joan Bennett is a lawyer in Marin. The Coalition for the Public’s Right to Vote About Desalination (CPR-VAD) is circulating an initiative for the November ballot to compel MMWD to obtain voter approval for the plant. For more information, see www.marinwatercoalition.com and www.foodandwaterwatch.org/water/california/marin.

Appetite: 3 non-whisk(e)y highlights from Whiskies of the World

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Whiskies of the World is a little smaller in scope and selection than Whiskyfest, both of which come to few cities in America — and we’re lucky to always be one of them. On March 27, WoW, as Whiskies of the World is known, was chaotic and overly packed in a Hotel Nikko ballroom. Bushmills Pipe and Drum band kept it festive walking through once an hour with rousing bagpipes, while classes, like the Craft Panel Discussion (led by craft distilling masters, including our own Fritz Maytag of Anchor Steam), were an educational high point.

Read more about the event and whisk(e)y tasting highlights in the upcoming 4/15 edition of The Perfect Spot; overview and vendor list link in my 3/22 Guardian column.

For your imbibing pleasure, I’m highlighting just three of the non-whisk(e)y treasures at this year’s WoW:

Bend Distillery: Already a favorite and properly stocked in my home bar, Oregon’s Bend Distillery makes award-winning vodka and gin —  but do what you must to get your hands on these unique, wonderful vodkas they’ve created: Cofia is a lush blend of roasted hazelnuts and fresh-brewed coffee. Only lightly sweet, it’s aromatic, robust, dark. Mazama-infused Pepper Vodka is named after a volcano that erupted to become Crater Lake. A blend of six different sweet and hot peppers, blissfully hot (as in spicy) it also tastes of fresh pepper skins. Recommended in cocktails or with mango juice on the site (and even for cooking), I actually love a splash of it on its own.

Death’s Door Spirits: I’m quite taken with Death’s Door Spirits, a small-batch distiller out of Wisconsin (Washington Island, to be specific, near Madison). Their latest packaging is elegant, turn-of-the-century classic, and their spirits are made sustainably and from local grain. Reflecting the terroir and ingredients of Washington Island, their awesome white whiskey is one of the best in the genre. But in the non-whiskey category, its gin, is amazing – a recent favorite. Plenty of juniper and botanical notes dominate in this clean, beautiful gin.

Corsair – This is a small artisan distiller out of Kentucky, I’m at first titillated by the hip packaging. While Corsair’s Wry Moon rye may not be the stand-out for me, I find the Pumpkin Spice Moonshine a playful white whiskey with the spirit of a pumpkin ale. RED Absinthe particularly intrigued with a pinkish-red hue from hibiscus and floral fennel notes on the tongue.

Where can you get it? Bend has a Web site list. Death’s Door is on its way to California but is already served in savvy, local bars like Nopa and The Alembic. Corsair is tougher to locate as its only available in four states at the moment.

Uproot: Notes from the underground food scene

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Recently Kitchen Table Talks, a monthly series of discussions on the US food system, invited a panel of SF entrepreneurs from the emerging underground food scene for a QA, hoping to answer big questions like what’s driving the trend and whether or not it has a future. As Iso Rabins from forageSF, Leif Hedendal, a veteran chef of secret suppers, Lucera Muñoz Arrellano, the owner of a bacon-wrapped hot dog cart in the Mission, shared their stories, I got a sense that no one had an overarching theory about the recent surge of popular interest. But it’s clear a lot of passionate people are firmly committed to redefining our food culture whether the man likes it or not.

Rabins originally began forageSF as a way to educate people about wild food with guided foraging tours that served to recontextualize nature as not an abstraction but an integrated environment to which we are inherently bound; it can even feed us. As he saw more and more people’s interest in preparing food grow and their resources dwindle, forageSF evolve to include the Underground Market, a venue for foragers and other uncertified producers to sell their goods. He’s had a few run-ins with the health department, but since he’s now operating under the quasi-legal status of a club he said he pretty much plans on running the market till forced to shut down.

In the long term, though, Rabins doesn’t have much interest in “legitimizing” the market considering enough certified farmers markets already exist, and to him, adjusting to the regulations would circumscribe the innovative spirit of the project. But he does see it developing into more of a launching pad for those wanting to make the switch over to the mainstream.

Hedendal, after working in brick-and-mortar food establishments, became disillusioned with what he described as kitchen culture — the demanding schedule and strict hierarchy that disconnected workers from the community, and thus, one of the main pleasures of cooking. He’s also critical of the “cheating” that many restaurants resort to in order to still be considered sustainable and not go broke. After getting out of the professional world almost a decade ago, he’s been involved with various food projects and secret dinners that sought to uphold the values of community, affordability, and creativity — it’s a pretty long and impressive resume. As of right now, he’s cooking for Dinner Discussions, which brings together food and socially-engaged artists. But for all his negative experiences working in restaurants, Hedendal’s ultimate goal is to open one that satisfies his values of true sustainability and community—maybe impossible now but who knows what will be eventually possible with the changing tides in our food and economic culture.

Lucero Muñoz Arrellano, though, kept the conversation grounded in the practical reality for a lot of those who informally vend on the streets. When asked why she began selling the popular Mexican hot dogs, she answered, assisted by a translator, that her biggest reason was to find a way to support her children, bringing it home that for many in this recession, underground food is a means to surviving in a shrinking job market that’s squeezing out the marginalized—especially those who might lack formal education or English language skills.

I don’t want to sell her short, though; her experiences and trials as an informal street vendor have given her a goal other than just subsisting. With her recent acceptance into the incubator program at La Cocina, a nonprofit geared towards nurturing low-income food entrepreneurs, Arrellano has been inspired to convince others to legalize their businesses. She’s intimately familiar with the hurdles that are almost impossible to navigate—like the bureaucratese of the necessary documentation that frustrates many non-English speakers or those who have limited education. And she also knows the risks that informal vendors suffer. At a minimum, the $250 citation fee can wipe out more than a day’s worth of work, not to mention the threat of having the cart confiscated and losing what may be their only livelihood. Some work in fear of arrest and deportation. A very big risk indeed.

In some ways the talk was illuminating and in other ways it confirmed ideas I deeply support. I suspect, given the wide-arching participation in decentralizing the mainstream food industry, the underground scene is not solely about hipster novelty-seeking. (Though, let’s not lie, that does play a significant part.) It also reflects the growing public re-evaluation of dysfunctional socioeconomic systems and support for those who are redefining how and what we eat.

Hey kids! It’s Panique time!

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CULT DVD Alejandro Jodorowsky and Fernando Arrabal have overlapped their whole lives. The Chilean Jodorowsky and Spanish Arrabal arrived in Paris is the mid-1950s, eventually cofounding (with late, lesser remembered artist French artist Roland Topor) the Mouvement Panique — a post-surreallist group named after the god Pan and dedicated to “terror, humor, simultaneity.” The two initially focused on theatrical performance and have in subsequent decades created massive bodies of plays, poetry, novels, visual art (paintings for Arrabal, comic books for Jodorowsky), and more. Internationally, they’ve been most widely experienced as filmmakers of some notoriety whose sporadic work in that medium was busiest during the wide-open late 1960s and early ’70s.

Jodorowsky, of course, rates high on any cineaste’s list of cult idols for the blood-soaked spaghetti western Christ parable El Topo (1970) and mystical-baroque colossus The Holy Mountain (1973), both recently freed from decades of legal trouble for legitimate DVD release. Arrabal’s films have been even harder to see and have fallen into comparative obscurity, partly because they’re less “fun” despite sharing much in the way of striking, shocking, and frequently blasphemous imagery.

In 2005 Cult Epics brought out a collection comprising his first three features: Viva la muerte (1970) and The Guernica Tree (1975), two violently grotesque fantasias about the Spanish Civil War whose dead included his own assassinated painter father, a loyal Republican; plus I Will Walk Like a Crazy Horse (1972), a no-less surreal yet strangely touching love story of sorts between an urban playboy on the run and the three-foot-tall male desert hermit.

Given their penchant for full-frontal nudity, antifascist politics, desecration of religious iconography, and other MPAA-unratable themes, perhaps the weirdest overlap between the two most famous “Panique” insurrectionists is that each once strayed into the alien realm of family entertainment. (They no doubt seized this inapt moment as a respite from perpetual funding woes, which famously scuttled Jodorowsky’s ready-to-go Dune and his El Topo sequel.)

Unsurprisingly, the results did not send Disney into a market-dominance panique. In fact, Jodorowsky’s 1978 for-hire project Tusk was, at least until recently. one of the most infamously unseen movies ever made, a literally and figuratively elephantine India adventure deemed unwatchable for any audience. Check out the cruddy French-language dupe with Spanish subtitles on YouTube and see how far curiosity gets you.

Arrabal’s kid flick wasn’t quite so fully buried, but it too has remained an obscure object of completist desire. Fortunately his second and final DVD collection from Cult Epics just arrived to fill that need. Nominally released in 1982, French-Canadian coproduction The Emperor of Peru stars Mickey Rooney — there goes the scenery in one big chew — as a wuvvable wheelchair-bound eccentric found living in the forest by three children on summer holiday. A former steam train engineer, he teaches them to run an abandoned locomotive so they can take their Cambodian-refugee friend back home to his parents. Never mind that there’s probably not much rail linking the South of France and Phnom Penh, let alone that in 1982 the Khmer Rouge remained very active.

How many children’s films would have dialogue like “Father’s in a concentration camp”? Emperor‘s real raison d’être, in any case, is its myriad fantasy sequences, sprung from the childish imagination of Toby (Jonathan Starr). In his daydreams he’s a firefighter or astronaut whose heroic deeds are applauded by such bystanders as Napoleon Bonaparte. Amid the goofy, mostly innocuous proceedings are stray moments of unmistakable Arrabal — as when Rooney, in full Arabian Nights regalia, is surrounded at imperial court by dwarf attendants. (Arrabal has a thing for little people.)

The new collection also includes Car Cemetery, a 1983 New Wave “punk” pose fest with Gallic pop king Alain Bashing as a postapocalyptic rock star Christ (ouch indeed). Among other rarities are Arrabal’s delightful hour-long 1992 video Farewell, Babylon!, a collage of past works, impish narrative, and sampled New Yorkers including Spike Lee and Melvin Van Peebles.

Bright futures

0

arts@sfbg.com

DANCE This past weekend, Kendra Kimbrough Barnes and José Navarrete with Violeta Luna — CounterPULSE’s winter artists-in-residence — showed what artists can do, given time and space to work. Both tackled complex issues that extract high human costs. For Barnes it was imprisonment; for the Navarrete-Luna team, water. Both half-hour pieces will benefit from some refinement and rethinking.

Barnes calls her Home Is That Way? a work in progress, so one can hope it will return in a modified form. Home doesn’t even to attempt to untangle the morass surrounding the justice system, instead trying to shed light on the personal cost for prisoners and their families. Intimate yet far-reaching, Home has strong bones; they need to be fleshed out. Seen through Shelley Davis’ chain-link fence, Barnes, Clairemonica Figueroa, Kayos Makaya, and Travis Rowland are four automaton prisoners who do their own version of walking the walk. When Figueroa puts a slight drag into her step, she fills it with the weight in her soul.

The often haunting Home reworks all-too-familiar images well. The dancers spread-eagle themselves against the wall, and you don’t know whether there is guard behind them or whether they are trying to push the stones down. A lineup turns into a row boat with a futile dream of getting away. In a prison yard, the men work at bodybuilding, the women at connecting with each other. When Home attempts to recall a time of innocence, it runs into a common theatrical conundrum. It’s almost impossible for adults to slip into the skin of children. So these games of pattycake, kick the ball, and hopscotch look imposed instead of embodied. The piece’s un-credited writing, though undoubtedly heartfelt, also has a stiff earnestness to it that undercuts its emotional thrust. Davis’ set, including what looks a place for dreaming, needs better lighting.

At the end of another work in progress, New Rituals for a Desperate Era, Navarrete invites the audience to fill out a petition to Congress to recognize water as a human right. He explains that he wants the audience to go away having done something hopeful. Audiences will also take something good with them if a piece is rounded off successfully. He and Luna might try to do that in addition to the political gesture. Luna is a performance artist from Mexico whose finely tuned theatrical skills complement Navarrete’s more exuberant antics. Together they have created a wild ride that starts cosmically and ends in a carnivalesque phantasmagoria. Major credit has to go to long-time Bay Area designer Lauren Elder’s stunning set and costumes, the key to which are that detritus of modern society: the plastic water bottle.

Rituals is divided into distinct episodes, with Luna taking the lead in evoking a holistic perspective of nature with slow-paced but tightly controlled images of birthing and growth through sacred practices. Navarrete is a motor-mouthed huckster of “agua mágica” — the product of multinational greed — that promises to heal everything from asthma to sexual dysfunction. He also beautifully segues into a transformation from an oil-slicked subhuman into a dying fish who dreams of clean water. The final image of the transformation of the gods takes too long, though it’s worth the wait.

Hot for learning

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caitlin@sfbg.com

CAREERS AND ED Quick — what art, sport, language, trade, or superpower would you acquire, given the opportunity? Answer in mind? Sweet! And attainable. In this wild and woolly city of ours, there’s an expert waiting to teach you just the skill you’ve been missing. Here are a few to get you started.

 

HEAVY METAL AEROBICS

Jane Fonda had no idea that one day her neon Spandex would stretch and sweat to strains of Judas Priest and Iron Maiden, but there you have it. Get in shape with Workshop’s cardio/strength-training rock routine.

Sun 1:30-2:30 p.m., Tues 7:45- 8:45 p.m. $10. Workshop, 1798 McAllister, SF.(415) 874-9186.www.workshopsf.org

 

MINI NONSTOP BHANGRA

Your babies will be in the Bollywood mood when they attend this family version of the popular Indian folk dance lessons/club night. Bhangra dancing is take-no-prisoners fun.

April 10, 12 p.m.–3 p.m. $5-$10. Rickshaw Stop, 155 Fell, SF. (415) 694-9080.

www.mininonstopbhangra.com

 

PLEIN AIR LANDSCAPE WORKSHOP

Learn to interpret the urban wonderland around you à la Cézanne, with pencil and watercolors complimenting each other’s touch. This City College Continuing Education class takes you out in the field to get your art on.

April 10–May 15, 9 a.m.–2 p.m. $140-$150. Fort Mason Building B, SF. (415) 561-1860. www.ccsf.edu/Services/Continuing_Education

 

FUNDAMENTALS OF WOODWORKING

Ever want to build a mandolin, learn about electromagnetism, or construct your own steel forge? Nonprofit organization the Crucible has got you covered. Woodworking 101 is a good way to ease in for the hands-on newbie.

April 24–25, 10 a.m.–6 p.m. $235. The Crucible, 1260 Seventh St., Oakl. (510) 444-0918. www.thecrucible.org

 

INTRO TO CLIMBING

Wondering where all the healthy beautiful people hide themselves in SF? Get thee to the climbing gym. Just make sure you take the intro course before scuttling up that nearest wall. Babygirl’s not impressed by unintentional abseiling.

Mon–Fri 12:30, 2:30, 6 and 7 p.m., Sat–Sun 10:30 a.m., 1 and 3 p.m. $28. Mission Cliffs, 2295 Harrison, SF. (415) 550-0515. www.touchstoneclimbing.com

 

BASIC MARIJUANA SEMINAR

Your gateway class into the world of Oaksterdam University’s encyclopedic knowledge of all things ganja related. Its 101 weekend course schools you in weed history, law, horticulture, treat-making, and “budtending,” sure to snag you that sweet gig at the dispensary down the street.

April 10-11 & 17-18, 11 a.m.- 4 p.m., $250. Oaksterdam, 1600 Broadway, Oakl. (510) 251-1544. www.oaksterdamuniversity.com

 

DISCOVERING YOUR LIFE PURPOSE AND CAREER DIRECTION

This class clearly isn’t for you — because you have the rest of your life healthfully, successfully planned and plotted … right? Just in case you don’t, Randi Benator leads a workshop on finding the career path that will help you give your best to your community and yourself.

July 17 10 a.m.– 5 p.m. $150. SF State Downtown Campus, 835 Market, SF (415) 817-4247. www.cel.sfsu.edu

Part of the solution

0

Caitlin@sfbg.com

CAREERS AND ED Just a thought. As our country becomes an economic-cultural stew fraught with problems so complex we don’t even know yet what they are, different approaches to education may be necessary for tomorrow’s good guys. Which is why it’s so positive that Bay Area higher ed institutions have developed unique degree programs that anticipate tomorrow’s issues today. From robot wars to social stratification — learn about this stuff and you’ve got the skills you need for the battles to come.

 

PHILIPPINE STUDIES

Rare is the program in our country that offers a concentration in the culture and history of the Philippines. But with 40,072 Filipinos in the Bay Area, that’s an oversight USF was happy to correct with this concentration, which can be paired with any of its undergraduate degrees to create a Filipino context within science, art, nursing, or the humanities.

University of San Francisco, 2130 Fulton, SF. (415) 422-5555, www.usfca.edu

 

LABOR AND COMMUNITY STUDIES

This associate degree program focuses on giving working people the educational background they need to be effective in the world of labor union activism — collective bargaining, labor law, and workplace discrimination issues, among other things. The school also runs not-for-credit programs that link minority students and workers up with job training for careers in the trades. Kicking ass for the working class, and all that.

City College of San Francisco, Evans Campus, 1400 Evans, SF. (415) 550-4459

www.ccsf.edu

 

TRANSFORMATIVE LEADERSHIP

On the slightly less tangible end of the spectrum, the California Institute for Integral Studies offers an online master’s degree program for “personal transformation and creating positive change in the world.” Courses focus on group mediation, identifying one’s own strengths and weaknesses, and effective leadership. Let Your Love Shine 101 (for professionals).

California Institute for Integral Studies, 1453 Mission, SF. (415) 575-6100, www.ciis.edu

 

EQUITY AND SOCIAL JUSTICE IN EDUCATION

There’s no way an equitable educational system wouldn’t improve this crazy old country of ours. To that end, the future teachers and leaders in this concentration of the master’s program in education study historical/political perspectives of injustice in schools, with a mind to changing things about the way Americans learn.

San Francisco State University, 1600 Holloway, SF. (415) 338-1111, www.sfsu.ca

 

DISABILITY STUDIES

A unique minor at Berkeley examines how the concept of disability has been shaped and created by our social constructs over time. Attention is also paid to how the interpretation of disability has been highlighted in law, art, and politics. The Web site on the study features a wheelchair basketball league open to all comers regardless of bodily capabilities.

University of California Berkeley, Berk. (415) 643-7691, www.berkeley.edu

 

COMPUTER GAME DESIGN

Look, not everything in the future’s gonna be heavy! We’re still gonna need people who are real good at making blood look realistic and keeping a step ahead of everyone’s World of Warcraft avatars. The students in this undergraduate major have seen the light: if we don’t master the machines, they master us.

University of California Santa Cruz, 1156 High, Santa Cruz. (831) 459-0111, www.ucsc.edu

Happy returns

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arts@sfbg.com

THEATER “I didn’t know you were still alive” is an unflattering salute to a long-lost relative, especially one on her deathbed. But it’s one of the nicer things to come from estranged nephew Kemp (Marco Barricelli) as he arrives at the home of his, as it turns out, interminably terminal aunt Grace (Olympia Dukakis). In American Conservatory Theater’s production of Vigil, the 1995 play from leading Canadian playwright-director Morris Panych (The Overcoat), a morbid yet gentle comedy of mismatched loners and reluctant roommates also marks, in its cast and playwright, a series of happy returns to the Geary stage.

After 30 years without contact of any kind, duty dictates that Kemp attend to his dying aunt as her sole surviving relative. In the decades since last seeing her, the once lonely child Kemp has become a 40ish misanthrope, without friends and with what he reports as a decidedly asexual bent (despite the promising homoeroticism of an upbringing spent in dresses supplied by a willful mother with a yen for daughters).

Grace, seeming at times rather spry for someone at death’s door, also seems not to be able to speak, which Kemp no doubt considers a blessing. Utterly caught up in his own self to be seemingly incapable of the most basic tact, let alone empathy, Kemp reels off the details of the funeral he’s planned, including a nifty notion about what to do with her ashes, while giving her brusque encouragement not to hang around on his account. Grace, for her part, takes these machinations and recommendations with slightly addled good nature, clearly not willing to look a gift horse in the mouth, no matter how large it might be.

Grounded in the verbal-gestural dialogue that Barricelli and Dukakis mount with such accomplished ease, the initial short scenes in Vigil have about them the gleefully sardonic urbanity of a New Yorker cartoon, bracketed by the “wonk wah” effect of a not-too-rapid blackout. But there’s a built-in need to escalate such a dynamic for momentum’s sake, and the animated humor can occasionally skirt the Warner Bros. end of the spectrum, though not without a certain cheeky flair. At one point, Kemp, possessed by impatience and channeling Rube Goldberg and Jack Kevorkian in equal measure, wheels out a makeshift euthanizer — a coarse contraption composed of a few choice household items held in taut suspension by a scaffolding of two-by-fours, hinges and strings, with helpful options for the user involving electrocution or bludgeoning, as the mood might strike.

Matching the mischievous tone precisely is scenic designer and longtime Panych collaborator Ken MacDonald’s loft apartment, with its soiled half-papered industrial windows and ramshackle furnishings. The whole thing is tellingly askew, expansive yet intimate, gloomily dilapidated yet airy as a whimsical line drawing.

The situation and the witty half-mute dialogue sustain the first act well enough, but what comes in the second act should ideally take us somewhere unexpectedly further. Here Vigil only halfway succeeds, although the major plot twist is nicely managed by all. Much of the tone and comic strategy of the first act otherwise continue forward, at least until the final scenes. And while it’s far from unpredictable that Kemp and Grace’s fraught anti-aunty-relationship would resolve into something more meaningful and healthy for both, Panych’s route there can at moments feel forced, a bit too “written.” Nevertheless, the actors movingly infuse a respectable measure of poignancy and, sure enough, grace to the play’s final turn, which neatly turns grand topics and outsized characters toward something as truly miraculous as it is utterly commonplace, a quiet little understated metamorphosis.

Barricelli, artistic director of Shakespeare Santa Cruz, last strode the Geary in 2005 as an ACT core company member. Few actors then or now can so effortlessly fill that cavernous stage like he, and he characteristically proves as commanding as he is subtle. Esteemed costar Olympia Dukakis also has a long connection with ACT, including another two-hander with Barricelli in 2002, For the Pleasure of Seeing Her Again, by French Canadian playwright Michel Tremblay. Dukakis’ largely mute and wonderfully elastic performance as the bedridden, bemused but hopeful Grace holds the stage as fully as Berricelli’s bounding Kemp with his onslaught of self-obsessed verbiage. There’s a palpable generosity between the two actors that makes all the more enjoyable the darkly comic tentativeness between their characters.

VIGIL

Through April 18, $10–$82

Tues.–Sat., 8 p.m. (also Wed. and Sat., 2 p.m.);

Sun, 2 p.m. (also Sun/11, 7 p.m.)

American Conservatory Theater

415 Geary, SF

(415) 749-2228

www.act-sf.org

Twin stars

0

arts@sfbg.com

MUSIC Can two voices get any closer — or be laid any more bare — than those of the xx’s Romy Madley Croft and Oliver Sim? The band’s spare, pared-down pop is so minimally cloaked, with either instrumentation or pretense, that you could swear the pair were scarily close-knit sibs: the Chang and Eng of U.K. rock — the doubled letters of the xx seem less like a set of female chromosomes than a symbolic representation of Croft and Sim’s doubling.

But then what else would you expect from two 20-year-olds who’ve known each other since they were 3, growing up together and into their roles as music-makers? “We went to kindergarten together,” Sim says of their early childhood bonding. “I don’t remember a time in my life when she wasn’t in it.”

The twosome met the xx producer-percussionist Jamie Smith when they were all of 11, forging a tightness that has outlasted the coming and going of keyboardist-guitarist Baria Qureshi — and has comforted Sim during the group’s current journey round the globe. “I’m so glad I’m doing this with my best friend,” Sim says, complaining of the lack of creativity and privacy on the road (he’s been taking refuge in Polaroid picture-taking). “I can imagine it being very lonely being this far from home.”

Far they are. The mild-mannered bassist-vocalist-songwriter has to struggle to make himself heard, against all odds, in a loud North Carolina bar carved out of an old train car, where the xx is performing that night. The success of The xx (Young Turks/XL, 2009) — which landed with a soft yet palpable thump atop critics’ best-of lists last year — has sent Sim, Croft, and Smith off around the world for far longer than Sim feels comfortable with. As for the recording, “I don’t think we even intended to perform it,” Sim explains now. “Going from that to a world tour is very weird.”

Weird because the xx’s bone-piercing, emotionally perceptive music — crafted by two barely legal 20-year-olds who likely wouldn’t get past the bouncer at many of the bars they’ve played — has spoken to so many. Few have used so few tools — an old Casio kids’ keyboard, a drum machine, guitar, and bass — to say so much, so intimately: The xx‘s plangent, eerie spaces and iChat-honed lyrics echo the aural landscapes of Young Marble Giants and kindred student of London’s Elliott School, Will Bevan of Burial. Taking barely traceable cues from the latter as well as from 1990s R&B performers like Aaliyah (who the xx has covered, along with Womack and Womack), the xx is the rare band that makes the space between the sounds, the pauses between the words, speak just as loudly as lyrics. “We’re big fans of subtleties of music,” Sim says. “If you give it room to breathe, you can bring forth a different sort of drama in them.”

At first the sparse arrangements were all they were capable of. “The synchronicity of it came partly from us just trying to play our instruments,” Sim says. “We couldn’t have complemented it if we tried, and as time has gone on, it’s been about restraint, and we try to go for simplicity for itself. Me and Romy don’t have particularly loud voices as well. It wouldn’t make sense to make a overwhelming sound that we had to contend with vocally.”

And in many ways breaking these songs down to their bare pop parts — crystallizing its elements in such boiled-down beauties as “Crystalised” — is a way of distilling the intensity of adolescence, and the cacophonous overwhelm of 21st century experience, down to its very vivid essence. Or a way of capturing on 11 tracks, a few fleeting moments from age 16 — when Sim and Croft wrote “VCR” — to 20. “For me it’s quite strange looking back at the album,” says Sim. “Even though the three or four years doesn’t seem like so much time, going from 16 to 20 is such a big change. I kind of see myself growing up in the whole album. It’s a bit of a diary.” *

THE XX

With Hot Chip

April 16, 8 p.m., $29.50

Fox Theater

1807 Telegraph, Oakl.

1 (800) 745-3000

www.apeconcerts.com

Keep the faith

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arts@sfbg.com

MUSIC My original topic for this article was how indie-rock artists exploit modern R&B and soul music for their nefarious gains. I planned to center my rage at Village Voice “Pazz & Jop” doofuses who ignore future soul overachievers like Sa-Ra Creative Partners; random idiots who bop around to the likes of Trey Songz and T-Pain in ironic, condescending fashion; rock-crit gatekeepers like Pitchfork’s Scott Plagenhoef, who claimed on ilovemusic.com that “I think your best bet is to turn music crit readers into R&B fans, not R&B fans into music crit readers,” as if R&B fans (re: black people?) aren’t smart enough to develop critical philosophy; recidivists who shill for mercury-laden masterpieces like Iggy Pop’s Funhouse and Weezer’s Pinkerton while shunning slickly produced wonders like Aretha Franklin’s Sparkle and Mary J. Blige’s My Life; and any dumbass who wails about how great Motown and Stax 45s are but stubbornly blocks them from the all-important Great Rock Albums canon, arguing that soul artists make classic singles, but not classic albums (in other words, sit in the back of the bus).

The turning point for my paranoid hipster conspiracy would be Little Dragon, who will conveniently return to San Francisco on April 14 for a gig at the Independent. Hailing from Sweden, Little Dragon fuses neo-soul and R&B with the whimsicality of electronic pop. So, for several minutes, I asked lead singer Yukimi Nagano to pick apart Little Dragon’s sound. It seemed silly in retrospect, and not just because Little Dragon already does that on its Web site. Nagano exudes a cool serenity that tames you like Pixar movies temper sugar-addled children and grownups. Focusing on her influences feels like analyzing the computers Pixar uses — worthwhile from a factual standpoint, but ultimately missing the point.

“My favorites were Faith Evans and Brandy, then also a lot of classics like Prince. I love Erykah Badu and a bunch of different stuff,” Nagano said. She and her bandmates — Erik Bodin, Frederik Wallin, and Hakan Wirenstrand — write songs in the classic pop format, blending in “electronic sounds and electronic music because you can experiment so much with it. We have so many different influences, everything from South African house music to soul, R&B, hip-hop and whatever. All the guys produce, and everyone has their own character in writing, so that also gives our albums a lift. It’s not just one person making everything.” Nagano’s character, so to speak, “is that I try to be free in my writing. And people can hear the soul influences in my vocals, I guess.”

Little Dragon’s 2007 self-titled debut was full of slow-burning ballads that owed as much to modern R&B, with its singers’ penchant for subdued melisma and jazzy inflections, as to the synthesized blue tones of 1980s New Wave. “No love left in here/No love in this room/No love in my soul left for you,” she sang on “No Love,” her dourness seeping through the downbeat track. A poetic writer, she used her bandmates’ atmospheric melancholia to coin strangely elliptical lines: “Walking down the stairs, anonymous detached, on the corner I turn, I turn, I turn left.” Not surprisingly, there is homage of sorts to Billie Holiday in “Stormy Weather,” although the lyrics concern something else.

Last year’s Machine Dreams also had lollygaggers wandering aimlessly about, but the music was fuller and more vibrant. Instead of ballads with sad little keyboard riffs, there were panoplies of sounds, from the percussion titters of “A New” to the dense yet airy washes of “Fortune.” Much of the album is kookily uptempo, with clockwork rhythms reminiscent of Howard Jones and Thomas Dolby (in a good way). “Playing live [during the tour for the first album] made us want to pick up the tempo,” Nagano said. “We really love playing dance music. There’s nothing as great as seeing people dancing.”

As Little Dragon pushes in a new direction, the R&B sounds that once inspired them drift into the past. The band is listening to different stuff now, like Depeche Mode, DJ Cleo, and Gui Buratto. “Obviously the first album was written a long time ago, and it’s been a few years. Those songs were written even before 2007. They were already old for us then. Time has passed and you change.”

Machine Dreams is a qualitative leap from the debut album, which Nagano dismisses as “demos” that the group’s label, Peacefrog Records, released without their permission. (She was pleasantly surprised when audiences responded so well to it.) And if Little Dragon is better equipped to harness its current Kraftwerk obsession than the R&B passions of the past, then so be it. Regardless, the results don’t sound like anything else.

“I love music so much, and the guys do as well,” Nagano said. “You know how you get that kick from something you haven’t heard, and get inspired? It’s a great kick to have in your life. We want to find that as often as we can.” That seems painfully obvious to me. *

LITTLE DRAGON

With VV Brown, HOTTUB

Tues/13–Wed/14, 9 p.m., $20 ($30 for two days)

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

Way out Middle East

0

arts@sfbg.com

FILM One frontier in which Israel remains politically left-forward is that of gay rights. Civil marriage, military service, foreign-partner naturalization, and job discrimination issues are all much more progressively legislated than in the U.S. — let alone the rest of the Middle East, where flogging, prison, or even execution punish homosexual "crimes." Nonetheless, as in much of the world today, fundamentalist religious currents endanger progress already made and still being worked toward.

Three out of five films in the "Out in Israel" series at the Roxie deal with strife between gay and Orthodox religious communities. Copresented by San Francisco’s Jewish Film Festival, they’re all part of a larger lineup of April events assembled by the Israeli Consulate in honor of Israel’s Gay Pride Month.

The oldest feature here is from 1992, though it feels like 1972 — Amos Guttman’s 16mm-shot Amazing Grace has the technical simplicity and variably professional acting of early gay-themed movies from just about any nation, whatever their era. And like most such, it’s a downer in which everyone is depressed, isolated, and broke. Young Jonathan (Gal Hoyberger) is fed up, especially with his quarrelsome family and slutty ex-boyfriend, when he meets handsome new neighbor Thomas (Sharon Alexander). Unfortunately the New York City-returned older musician is more interested in using drugs than love to drown his HIV-positive self-pity.

Israel’s gay cinema pioneer, Guttman died of AIDS the following year at age 38 without achieving anything like the popular success that greeted Eytan Fox a decade later. Fox’s 2002 international breakthrough Yossi and Jagger, originally made for local TV, stars Ohad Knoller and Yehuda Levi as IDF officers stationed in a mountain bunker on the Lebanon border. They’re carrying on a giddy affair almost no one knows about till tragedy intervenes. But Avner Bernheimer’s astute screenplay is still only half done: the rest of Fox’s finest effort to date finds closeted grief exacerbated by psychological theft and stinging injustice.

Moving from secular to religious conflict, the remaining "Out in Israel" features focus on clashes with those who view homosexuality’s mere existence as an affront to God. Nitzan Giladi’s documentary Jerusalem Is Proud to Present (2007) opens with Jewish, Muslim, and Christian clerics — united at last — condemning the city’s planned hosting of the 2006 International World Pride Parade as "nothing less than the attempted spiritual rape of this holy city." Violent rioting by Orthodox sects, death threats to gay leaders, and more attempts to shut down the event before it happens, succeeding somewhat yet also prompting righteous obstinacy from the LGBT community. One can laugh queasily at the grandmotherly type who claims HIV infection will jump 300 percent because those gays "just grab people" for their "orgies." But you’ll want to sucker-punch the loudmouthed Brooklyn rabbi who flies in just to spew his smirking homophobia.

Two recent features illustrate the impasse between homosexuality and ultra-Orthodox values in intimate dramatic terms. Haim Tabakman’s debut feature, 2009’s Eyes Wide Open (the only series program with a ticket charge; all others are free), watches trouble brew when a kosher butcher (Zohar Shtrauss) grows dangerously fond of the alluring new assistant Ezri (Ran Danker), whose reputation as a "curse to righteous men" precedes him. While borderline mannered in its minimalist dialogue and direction, the film packs a potent
punch.

Contrastingly not at all interested in restraint is Avi Nesher’s The Secrets (2007), about two girls (Ania Bukstein, Michal Shtamler) discovering Sapphic love at a women’s seminary. They also embark on a secret program of ritual cleansings for a prison-released French murderess (Fanny Ardant, atypically hammy) dying of both cancer and heart disease. It’s too bad the series’ sole lesbian feature is so melodramatically over the top. Then again, it’s probably pretty tasteful by the standards of a director previously associated with schlock like 2000’s Raw Nerve (Mario Van Peebles meets Nicollette Sheridan!) and 2001’s Tales from the Crypt Presents: Voodoo.

OUT IN ISRAEL

April 8–29, free–$8

Roxie

3117 16th St, SF

Whatever it takes

0

culture@sfbg.com

CAREERS AND ED It’s not everyone’s idea of a good time to be choked from behind and thrown into a wall repeatedly, although this is San Francisco. But this is no kinkster playground; rather, it’s an unprepossessing mirrored studio on the Nob end of the Tenderloin where a diverse group encompassing just about every age, gender, and athletic quotient gathers to learn the hand-to-hand combat and self-defense techniques of Krav Maga. Krav is martial without the art: crude but effective street-fighting techniques and counter-weight defenses honed into body memory through repetition, use of full force, and peer coaching. Unlike more rigidly codified martial arts systems, which put an emphasis on form and fair play, Krav puts an emphasis on “whatever it takes.” Whatever it takes to get home alive.

And the tradition of Krav Maga — “contact combat” in Hebrew — takes that mantra very seriously. Developed in the 1930s by Slovakian boxer Imi Lichtenfeld to help Jews defend themselves from anti-Semitic attacks, the “Israeli jujitsu” technique was honed by the Israeli Defense Forces for military purposes. Krav Maga San Francisco, founded in 1999 and owned by brown belt Barny Foland, offers 70 classes, and prepares you for any untoward situations.

A relative newcomer, I attend level one classes at Krav Maga San Francisco once or twice a week, schedule permitting. This week we’re learning to break free from a choke from behind, followed by a push. The first thing we learn when being thrown into a wall from behind is how to protect the face, blocking the impact with our forearms and turning our heads to the side. “That part’s pretty important,” our instructor quips. “You can’t see them now, because we painted over them, but there used to be blood spots on the wall where people bashed their noses.” Good to know.

The next step is breaking the choke, and though the movement itself is not complicated, training it to feel intuitive takes longer. Basically, the chokee shoots an arm straight into the air and quick turns, breaking the hold through leverage. Of equal importance to the choke-break is the follow-though, defensive moves morphing into offense: hammer strikes, groin kicks, a few rapid-fire punches to the soft tissues. Without pads, we mime the strikes, which earlier we practiced at full force on unwieldy foam “shields”. The choking is real enough, though, as is the body-slam, and two days later, a tender spot the size of a thumb rests below my jawline, and bruises on my elbows attest to how I finally learned to not block with them.

The hardwiring process and use of full-force is what inspired me to take Krav in the first place. I had already taken an IMPACT (www.impactbayarea.org) self-defense seminar, which taught me how to take a fall and fight hard from the ground. But Krav aims to keep students on their feet. I find the benefit to training face-to-face against my peers (instead of a “padded suit”) is two-fold. Firstly I learn to strike with force against a person whose face I can see, and secondly, I learn to absorb their blows, a crucial key to surviving a real-life attack. Taking the time to help each class member master every skill genuinely is a top priority at Krav Maga SF. I’ve attended aerobics classes that were more competitive.

Foland assures me it’s the norm. “Anybody who wants to come in and train for competition, we send them down the street to the local kickboxing gym. You can be in a level one class and have level four students in there with you, and the only reason you would know it is because they’re really good, and they’re trying to help you learn. You show your skill by how much you help your partner.”

Of course, folks looking for a more graceful, philosophy-based martial art might ultimately decide that Krav Maga is just too rough around the edges. I think of the earnest man who attended an intro session about a month ago. He’d been blocking well all night, but balked when our instructor urged us to aim our punches for the throat, in order to cause “the most amount of damage in the quickest amount of time.”

“But couldn’t you damage someone permanently if you hit them in the Adam’s apple,” the man asked, concerned.

“I didn’t start the fight, remember,” our instructor said firmly. “But I’m going to finish it.”

KRAV MAGA SAN FRANCISCO

1455 Bush, SF

(415) 921-0612

www.kravmaga-sf.com

 

Duck me

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le.chicken.farmer@gmail.com

CHEAP EATS My cowboy hat had mold in it. My chicken farmer coat had mold in it. Even the buttons were fuzzy. My brother doesn’t take baths, he takes showers, and so the outdoor tub was full of insect skeletons, spiders, spider webs, and junk mail. There is a rumor that a guest of his hid some weed in the chicken coop. Not that I’m interested, but I took a look anyway and only saw straw.

I am tempted to get chickens again. There is no buried treasure that chickens will not eventually uncover, and I’ve always kind of wanted stoner chickens. I’ve always wondered what it would be like if they, as a species, were a little more chill and slept longer. Not that it would matter much to me at this point. Ten years of chicken farming has permanently programmed me to snap awake at first-light. In the year or so since I last farmed actual chickens, nothing has changed on this front.

Anyway, I don’t know if I can keep this place. My brother, who had been subletting it, went bust and lit out for Ohio, leaving me, for the moment, his van. Which burns oil, has a badly cracked windshield, no horn or high-beams, electrical problems, and a slow leak in at least one tire. What this all reminds me of, naturally, is every other car I’ve ever had except for that last little one, the new one, which I sold last year when I sold my soul to the devil, and my heart to someone even meaner.

So wheels being wheels, I am able at will to visit my old, now-haunted shack in the woods, at least until the brother comes back.

Should I get chickens?

Can anyone help me pay the rent? Surely I must have me some friends in town who like to sneak away and be haunted for a weekend by the ghost of broken water heaters, all-night face-touching in the dark, and the squawks of long-ago stewed chickens, scratching and pecking from dusk to dawn in search of rumored grass.

The editor of the paper I write for, if not the world, wrote to me while I was still in Europe and said, “If you come back, I will buy you duck soup.”

Technically he said when you come back, but for fun I want to think of this — this duck soup business — as just that: business. Like a contract extension. Or a contract renegotiation. Or a contract.

So correct me if I’m wrong, my lawyerly readers, but I interpret it like this: If I come back (which I did), what’s in it for me is one bowl of my favorite thing to eat in the whole wide world, duck noodle soup, and — as a kind of a signing bonus — an unwritten, nonverbal, body-languageless, and in-no-way-even-hinted commitment to continue to publish this column for as long as I am alive and can make a sentence — whichever comes first.

Well.

That’s a no-brainer, innit? No brain, no heart, no soul, but I’ve still got me my stomach, don’t I? And a healthy appetite and this shit van for a month, and two places to live and at least two bikes …

So I wrote back just as soon as I was in the country, give or take exactly 13 days, and agreed in spirit to the editor of the paper I write for’s proposal. Then I donned my best business skirt and matchingest sneakers, hopped on one of my at-least-two bikes, and pumped it to the Tenderloin to iron out the details.

The details: wide egg noodles, one whole, delicious, fall-apart tender duck leg quarter, and wontons in a wonderfully businesslike broth. Times two. As a show of support and solidarity, Mr. Redmond ordered the same exact thing!

So I told him my story, like I tell all my friends, only instead of making him cry or puke or curse or have to walk around the block a few times to clear his head, he came back with an even better story. And by better I mean worse. Which makes me feel kind of actually, I don’t know, good — knowing that shit happens to everyone, even editors.

It’s no frills, not undiscovered, cheap-even-if-you-have-to-pay-for-it, and by far my new favorite restaurant.

HAI KY MI GIA

Thu.–Tue.: 8 a.m.–6 p.m.

707 Ellis, SF

(415) 771-2577

Cash only

No alcohol

 

Dreams on 45

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johnny@sfbg.com

MUSIC Sonny Smith is sitting at a window table at the Latin with a cap on his head and a small glass of red wine and some 7-inch single cover art by Stephanie Syjuco in front of him. I get a whiskey and sit down to talk about the matter at hand: art, music, mythologies, and “100 Records,” the gargantuan yet in some ways quite local show of sounds and images he’s putting together at Gallery 16. One man, 100 records — with help from dozens of artists, a number of musicians, a carpenter, and an electrician, Smith not only has created a number of 45s by fictional musicians and bands, he’s built a jukebox to play them.

The due date for Smith’s mammoth creation is a week away, and he’s in the final stages of assembling it. “I’ve been struggling to write down all the bios,” he says, as we talk about some of his imaginary recording acts, which range from New Orleans drag queens to Utah nature lovers. “They’re not Wikipedia-esque, but more like entries in a Rolling Stone Encyclopedia [of Rock & Roll]. At the beginning, I was swapping names and titles all the time — if a surf jam turned out to be a folk song, I could give it to another character. But now, with the last three [records], it has to be what it is.”

What is it? An open-ended project, not solo and self-enclosed in the manner of the Magnetic Fields’ 1998 69 Love Songs, where Stephin Merrit’s formulaic writing reached its apex. Instead, Smith is allowing “100 Records” to form itself as he assembles it. “I’ve only brushed up against the edges of it all becoming interwoven,” he explains over the post-work barroom din. “It’s almost as if I’d rather it not be — if you read the Harry Smith Anthology [of American Folk Music], or a biography of a musician, it’s enjoyable that there are so many loose ends.”

The visual artists contributing to “100 Records” — including William T. Wiley, Alicia McCarthy, Harrell Fletcher, Paul Wackers, and Mingering Mike (who knows a thing or two about creating folk musical figures) — have responded to Smith’s call for cover art in a variety of ways. “Alice Shaw was this character Carol Darger, and I was Jackie Feathers,” Smith says, to give one country-tinged example. “Their biography is that they’ve gotten married and been divorced twice. We took photos together for cover art. And Jackie Feathers also has solo records with art by different artists.”

When one thinks of Sonny Smith, band names don’t come to mind, though his latest endeavor Sonny and the Sunsets plays wittily off of his current San Francisco neighborhood. For years, Smith has put his plain name forward rather than come up with musical monikers. “100 Records” changed all that. “What’s weird is that I tried for years to come up with cool band names,” he says. “I’d come up with one and think, ‘That’s dumb.’ I’ve never had a knack for it. But because [the acts in “100 Records” are] fictional, it was easy to come up with band names — the names came left and right. A lot of the names that came to me I’d be happy to use as real band names. In fact, I’m trying to get a couple of the bands to become real bands.”

Indeed, one of the groups on “100 Records,” the Loud Fast Fools, will soon make the transition from fiction to the reality of today with a gig at the Knockout. Smith’s recording process for the project has been varied. He’s taken instrumental passages from obscure ’50s, ’60s, and ’80s songs, patched and lopped them with Guitar Hero, and put vocals on top. He’s recorded solo. He also knocked out dozens of songs with a multi-instrumentalist group of largely San Francisco musicians, some of whom he refers to by last name: Stoltz, Dwyer.

“There are a couple of balls-out, crazy ‘Louie Louie’-type numbers, and Spencer [Owen] played drums on those,” Smith says, describing the sessions. “It was some of the best drumming I’ve ever played with. He had these bizarre beats and fills. I thought, ‘This is so perfect — this is probably how a song like “Louie Louie” happened.'”

A spaghetti-narrative project like “100 Records” is a natural for Smith, a storyteller who has documented his life in comic book form and written plays. Later in the interview, with the Rolling Stones’ Tattoo You on the stereo at my apartment, he tells me that one of the first singles he bought was by Mick Jagger. “I didn’t buy it because I knew anything — the guy at the record store just told me to buy it,” he says. “It was a record store in Fairfax that was Van Morrison’s parents’ record store. He just bought the store and put his parents there to run it.” This anecdote then spirals into a funny one that a member of Morrison’s band told him about being stuck playing an endless version of “Domino” on a darkened arena concert stage while Morrison secretly caught a cab and a plane to L.A.

Smith has a keen eye for the mythologizing involved in music, and how a college radio DJ can build the guy down the street into a mysterious cult figure. Around the release of one album, his label pestered him to write a fake Pitchfork review, but he declined. “I’d be more into writing a fake Playboy interview,” he says. Ironically, Pitchfork has come calling of late, writing about Sonny and the Sunsets.

Internet career-makers come and go. For now, Smith is more concerned with opening night of “100 Records” and the debut of his own art contribution to the show, a customized jukebox. “It’s a hell of a thing, ” he says, after breaking down the differences between Wurlitzers and other brands, and explaining that a rat-infested jukebox buried under stacks at Adobe Books first inspired the idea. “My friend who is a master carpenter used this German ’50s jukebox as a reference. It’s almost like a joke — like making a stove from scratch. Why would someone do that? But someone did.” That someone is Smith, and he’s hosting a jukebox party this week.

SONNY SMITH: 100 RECORDS

With music by the Sandwitches and Sonny and the Sunsets

Fri/9, 6–9 p.m. (through May 14), free

Gallery 16

501 Third St., SF

(415) 626-7495