Volume 46 [2011–12]

Beyond the video

Andrew Lam
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124
Beyond the video

steve@sfbg.com

The Board of Supervisors received the official misconduct case against suspended Sheriff Ross Mirkarimi this week, with a majority of Ethics Commission members urging supervisors to give more weight to the 45-second video that started this sordid saga than the voluminous record they have compiled at great expense over five months of hearings.

Yet Chair Benedict Hur, the commission’s sole vote against finding that Mirkarimi committed official misconduct, last month argued that supervisors shouldn’t take such a narrow view of this decision, expressing concern about the “dangerous precedent” of removing an elected official for conduct unrelated to his job.

Ironically, Hur will be the one presenting the commission’s case to the board later this month, a decision his colleagues made because the other options weren’t good and because they said he has been so knowledgeable and fair-minded through the process. While Hur is likely to play it straight, the supervisors will have an opportunity to elicit his true perspective — raising questions that will be central to the sheriff’s future.

Will supervisors see their decision as a matter of showing zero tolerance for even minor acts of domestic violence, as Mayor Ed Lee and some women’s groups are urging? Or will they see this as governmental overkill in pursuing a punishment that doesn’t fit the crime, overturning an election and giving mayors too much power to go after their political rivals?

Is this just about Mirkarimi and his actions, or are there larger, more important principles involved in this unprecedented decision?

In the video, Mirkarimi’s wife, former Venezuelan soap opera star Eliana Lopez, displays a small bruise on her right bicep and tearfully tells the neighbor who filmed it, Ivory Madison, that Mirkarimi caused it the previous day, Dec. 31, and “this is the second time this is happening.” She also said that she wants to work on the marriage, but that, “I’m going to use this just in case he wants to take [her son] Theo away from me.”

Lopez last month spent more than three hours on the witness stand being grilled by Deputy City Attorney Peter Keith and Ethics commissioners, explaining why she made the video and how she believed Madison was an attorney and their conversations were confidential. She repeatedly insisted that she was not a victim of domestic violence and criticizing city officials and prosecutors for persecuting her family and taking away her husband’s livelihood.

There was nothing in the testimony that obviously impeached Lopez or hurt her credibility. To many observers -– particularly Mirkarimi supporters, who made up the vast majority of those giving public comments to the commission -– her testimony marked the moment when the city’s case began to unravel. Indeed, on Aug. 16 the commissioners voted unanimously to reject most of the charges that Lee filed, including witness dissuasion, abuse of authority, and impeding the police investigation.

In the end, there was just that video, and commissioners on Sept. 11 added a final statement into the record that they believed it more than anything Lopez has said since then. Even Hur said that he found it compelling, and that more may have happened on Dec. 31 than Lopez and Mirkarimi have admitted.

But there really isn’t much evidence to support that belief, and Hur said in August that it shouldn’t matter anyway. If the city’s vague and untested official misconduct language can apply to low-level misdemeanors unrelated to an official’s duties, he said, “we are opening this provision up to abuse down the road.”

 

Torture, for real

Andrew Lam
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3

OPINION Last week I walked into my favorite café in SoMa and noticed the barista wearing a t-shirt emblazoned with the black and orange word “torture.”

I froze. I knew I was holding up the line but I didn’t care. I had to ask about that shirt.

“Oh, it’s to promote the San Francisco Giants,” he said. He continued speaking, not noticing my umbrage. “So do you want your coffee hot or cold today?”

I wanted to keep talking about that shirt, but I didn’t know what to say. “I will have my coffee cold please,” I told him.

For the past ten years, torture has never been far from me. When I worked at Amnesty International, it was two doors down in the person of my colleague Kumar, who was tortured in Sri Lanka for advocating for Tamil rights. When I was on Capitol Hill as a foreign policy aide in the House of Representatives, I saw lawmakers justify President Obama’s lackadaisical attitude towards US torture.

One of the first things I learned at Amnesty International is the power and the responsibility of words. Human-rights work is about finding and verifying stories and then giving those stories names: war crime, rape, genocide … torture. It’s in the naming that our action begins. When we use the word torture it carries weight—and can heal wounds—because for so many people, their torture is denied, rationalized, or trivialized.

When I see the word torture on a t-shirt I do more than cringe: I mourn how far we are as a nation from a serious discussion of the use of torture by our own government.

Just last week Attorney General Eric Holder announced that the Justice Department was closing the last two cases examining harsh CIA interrogation tactics during the Bush administration.

According to the ACLU, “(CIA) Interrogators were told they could use, among other tactics, extended sleep deprivation; ‘stress positions’ such as forced-standing, handcuffing in painful crouched positions and shackling people to the ceiling, usually for hours or even days; confining prisoners to small, coffin-like boxes with air and light cut off; extended forced nudity; sensory bombardment; extreme temperatures; hooding; and physical beatings, including slamming prisoners into walls.”

I can understand and I can attest that watching your team blow a lead in the bottom of the ninth is painful, excruciating even. It might cause you to drink or curse or smoke more. But it’s not torture. It doesn’t violate the core of your being. It doesn’t terrorize your nights.

Standing in line at the café that day, I thought of my friend Firoze who was tortured so badly he can no longer have sex. I wonder what he would say if were staring at the Barista with the “torture” t-shirt.

He would probably laugh and say it’s just a game. And then he might say what he told me each time we met: “People have no idea.”

Zahir Janmohamed recently completed a fellowship at the San Francisco Writers’ Grotto and is writing a book about Juhapura, the largest ghetto of Muslims in India

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Locking down reforms

Andrew Lam
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0

steve@sfbg.com

Realignment, California’s year-old program of diverting more inmates and parolees from state prison to county jails and probation offices, was borne of necessity: The state faced a severe budget crisis and had been ordered by the federal courts to reduce the population in its overcrowded prisons. But Realignment is proving to be a real opportunity to address inmates’ needs and reduce recidivism, particularly in San Francisco, where progressive notions of rehabilitation and redemption have deep roots.

“Realignment is the most significant criminal justice reform in decades,” says Assembly member Tom Ammiano, the San Francisco Democrat who chairs the Assembly Public Safety Committee and has helped oversee the process. “The motivation of many of us came from things that were thwarted, like sentencing and parole reform, in Sacramento for many years.”

San Francisco was uniquely positioned to thrive under the new system and to be a model for other counties that seek to improve on the 70 percent recidivism rate among state prison inmates, and the myriad problems and costs that spawns. Former Sheriff Michael Hennessey brought a variety of innovative educational and support services into the jail during his 32-year reign that ended last year (see “The unlikely sheriff,” 12/20/11).

“It’s more than an opportunity. It’s in line with the Michael Hennessey doctrine of enhancing public safety while elevating the idea of redemption, and I subscribe to that,” said suspended Sheriff Ross Mirkarimi, who successfully ran as Hennessey’s endorsed heir before Mayor Ed Lee ousted him over domestic violence allegations. “Michael Hennessey made famous the rehabilitation programs inside the jail and outside the jail.”

San Francisco was also in a good position as both a manageably sized city and county, and one that had room for the influx of inmates. It was ordered by the courts in the 1980s to reduce its crowded jail population – the peak jail population of 2,300 is now down to about 1,550 – and gained even more capacity last year when the SFPD’s crime lab scandal resulted in hundreds of drug cases being thrown out by the courts.

“It’s something that makes sense for San Francisco,” Acting Sheriff Vicky Hennessy told us. “We’re doing better than most other counties because we had the bed space and we had community programs. Michael Hennessey is a visionary…and he got these community programs out there.”

Undersheriff Ellen Brin, who oversees the jail, said the main difference among inmates that San Francisco is dealing with under Realignment – a total of 2,258 in the jail over the last year, staying an average of 60 days each, and another 306 convicts under post-release supervision – is that they’re in local custody longer than before.

“It’s sort of the same population we’ve always dealt with, but maybe we’re dealing with them on a longer term,” she said.

That creates some challenges – Brin said there are more inmates who are a little more hardened and “more sophisticated” – but it also gives local programs more of a chance to help the inmates. That was one of the arguments for Assembly Bill 109, the main legislation that created Realignment, along with five other related bills.

“That was the whole plan about AB 109 is the counties do it better,” Brin said. “For us, we’ve been doing these programs for so long, with reentry and other community programs, so it’s easy for us to manage this population because they’re here longer.”

Realignment has also prompted more collaboration among the affected local agencies – particularly the Sheriff’s Department, Adult Probation Services, and the District Attorney’s Office – and their counterparts on the state level.

“We haven’t had an overarching initiative that we’ve all been required to sit around a table and work on. This has kind of brought us together, and we’ve discovered other areas where we need to work together as well,” Hennessy said.

That has sparked new programs. For example, San Francisco just started to bring those about to be paroled from state prison into the local jail before their release in order to integrate them into the San Francisco rehabilitation system. “We’re creating a reentry cycle for them so they aren’t just getting off the bus and landing here and going directly to Probation for an interview,” Hennessy said. “Now, we’re going to try to bring them here 60 days early and provide them with wrap-around services, so that we can get them established, get them housing, give them the best opportunity we can for a successful reentry.”

With counties now responsible for the people local judges send to jail, there’s more interest in reforming sentencing laws and exploring more progressive and community-based alternatives to incarceration, which is the focus of the new San Francisco Sentencing Commission that held its first meeting last month.

“District Attorney [George] Gascon is very supportive of Realignment, DA’s Office spokesperson Stephanie Ong Stillman told us. “He has said it could have the greatest impact on justice reform in decades. San Francisco is on its way to being a model for the state.”

But the flip-side of San Francisco’s advantages has been a growing backlash against Realignment in conservative counties with disproportionately high incarceration rates and a lack of capacity in their jails – which is often a byproduct of combining tough-on-crimes policies with anti-tax attitudes, something Ammiano is now dealing with in Sacramento.

“There is a lot of push-back from the Republican Party and alarmism over Realignment,” Ammiano said, noting that he’s just waiting to be hit with anecdotal stories about a transferred inmate committing some horrific crime, even though Realignment only involves low-level convicts who committed non-violent and non-sexual crimes.

Ammiano will work with a newly constituted Board of State and Community Corrections that will distribute funds to counties that need to beef up each their jail capacities or their treatment programs. That mix hasn’t been set yet, but Ammiano said he won’t support counties that simply seek more state resources to maintain high incarceration rates.

“In one way, it’s perturbing and the other way, it’s exciting,” Ammiano said. “For me, the more the county has programs, the more sympathetic I’ll be.”

Yet in this era of chronically underfunded government entities, even San Francisco is strained. Hennessy and Brin say Realignment has brought more inmates with serious mental health issues into the jails for longer periods of time — and that has stretched their resources.

“That’s where we lack, even before AB 109, and I’d like to get more people in there who are experts in the mental health field,” Brin said.

Hennessy agreed, but added, “The mental health program we have is extremely good, it’s just overtaxed because we’re seeing many more people, and this is across the state.” Mental health isn’t the only issue. “The other thing that is a concern is housing for people,” Hennessy said, explaining that the city needs both supervised housing and regular low-income housing for former inmates returning to the community. Maintaining the Sheriff’s Department progressive legacy in the face of new challenges is one reason why Mirkarimi sees danger in Lee’s decision to overturn that election and consolidate more power in the Mayor’s Office. “It’s important that the independence of the Sheriff’s Department be preserved,” Mirkarimi said. “Programs can easily be changed by successive mayoral administration if there isn’t that check on power.” But for now, Brin said San Francisco’s various law enforcement officials have been working well to realize the potential of Realignment: “The collaboration between the criminal justice partners has just been really, really great. Everybody is working together to try to accomplish the same thing.”

Ending the mayor’s commission monopoly

Andrew Lam
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2

EDITORIAL Ten years ago, San Francisco voters took a huge step toward decentralizing control of city planning, approving a measure that splits the appointments to the powerful Planning Commission between the mayor and the Board of Supervisors. A year later, a similar change gave the supervisors a role in appointing Police Commission members.

By any rational account, it’s been a complete success. The commissions better reflect the diversity of opinion in the city, function well and are no longer complete rubber stamps for the mayor and his planning director and police chief.

The mayor still controls the majority on both panels; his ability to set the direction of city policy hasn’t been harmed. But there’s a least a chance for a dissenting voice or two.

Compare that to, say, the Recreation and Parks Commission.

Rec-Park is a disaster. The seven members are all appointed by the mayor. Some have little or no past experience in anything related to recreation or parks. One actually works as Mayor Ed Lee’s scheduler. Commission votes are nearly always unanimous and the panel supports the director more than 90 percent of the time.

The mayoral appointees have overseen the rampant privatization of public space and a change in direction that undermines the entire concept of urban parks. Rec-Park staff have been directed to find increased ways to turn the parks into cash machines, prioritizing revenue over public access.

The result: So many people are angry at the department that it’s possible San Francisco voters will reject a bond act in November aimed at providing badly needed money to fix up ailing parks and facilities.

The discontent with Rec-Park stems in significant part from the perception that the commission is inaccessible and uninterested in public input. Since all of the members typically line up in lockstep on every decision, there’s little discussion and less chance for opposing opinions to get heard.

There’s a pretty easy fix — the supervisors could put a charter amendment on the ballot giving the board three of the seven appointments. But that would leave a long list of other key commissions unchanged — and there’s no reason to address the problem piecemeal. It’s time for the supervisors to push a comprehensive reform package that redefines how every policy commission in the city is structured.

The reason district elections of supervisors has been such an unqualified success (and remains incredibly popular) is that it guarantees not only neighborhood input on issues but a diverse board. Fiscal conservatives have a voice; so do left-progressives. You won’t find that on most mayoral commissions; it’s very, very rare for a mayor to appoint someone who doesn’t share his or her policy perspectives.

The mayor of San Francisco — who needs to raise huge gobs of money to get elected, leaving him or her deeply in debt to powerful and wealthy individuals and interests — has too much power. That’s a basic problem in the City Charter. The supervisors should start holding hearings now on alternative approaches to a more equally shared governance. Splitting appointments to all commissions would be a great start.

 

Convict clinicians

Andrew Lam
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1
Convict clinicians

news@sfbg.com

Editor’s Note: Dey is an inmate at Soledad State Correctional Facility serving 25 years-to-life for his third strike.

Recidivism is like a circular river of criminality. After picking up toxic momentum in my neighborhood, deviance carves a path of destruction through yours. Being a participant in this tragic affair while defined indefinitely by a rap sheet from hell — it’s a feeling worse than death.

Someone has to put their foot down and say enough is enough. If I only had one wish — I’m almost embarrassed to say — prisons and jails would become factories that turn lawbreakers into advocates for change. Sound crazy? Welcome to my world, where sanity is a luxury. But I’m willing to put up or shut up.

In 2007, the Legislature approved Assembly Bill 900 to bring the smart-on-crime movement to the California Department of Corrections and Rehabilitation (CDCR). An expert panel designed the California Logic Model to evaluate and measure evidence-based methods, which are supposed to combine education, lifeskills, and cognitive restructuring. In theory, it makes perfect sense.

Then the recession hit, and the labor-intensive smart-on-crime movement never got moving. Budget cuts brutalized rehabilitation. About the only austerity measure left to impose, according to conventional wisdom, is to remove the word “rehabilitation” from the agency’s masthead. As the state struggles with a federally imposed prison population cap and counties scramble with Realignment’s influx of prisoners, I’m through waiting. Seventy percent of incarcerated people who still suffer from untreated substance abuse will continue to recidivate 70 percent of the time. It’s not a puzzle. People need help, and lives are at stake — including my own.

OPPORTUNITIES INSIDE

In late 2009, I found myself part of a mass transfer of long-term offenders being sent to the Correctional Training Facility (CTF) in Soledad. Attempts to think outside the box in higher security prisons always fell on deaf ears. However, the abundance of rehabilitative programs being offered in CTF presented a rare opportunity.

Inmate-run groups grew roots in CTF in the mid-’00s, and programming cuts didn’t impact CTF to the same degree as other prisons. In the self-help method, volunteers from the community or correctional employees in their off-hours team up with prisoners to deliver services. Soledad is unique. Seven days a week, seminars and workshops facilitated by inmates for inmates cover 12-steps, anger management, and victim awareness, to name just a few.

One shining example is a self-funded college program that serves almost 300 students a semester. In 2010, a small cohort of determined individuals established an arrangement with Palo Verde College to become specialists in their Alcohol and Drug Studies (ADS) program. Since I’m “struck-out” for a three-strikes drug offense, I have a vested interest in this concept. Thirteen years of bearing witness to political and governmental indifference to public safety has turned me into a fanatic on a mission. We need training and treatment — and we need it now. The CDCR does have a substance abuse certification program in Solano State Prison, but it is too exclusive and expensive, not to mention a logistical nightmare.

Palo Verde College offers ADS to some CDCR prisoners via distance education, but obtaining state credentials requires a larger investment. We found an investor. With the help of a generous nonprofit organization, we intend to use the ADS program to develop an inclusive and mobile method of cost-effective licensing.

As the spring 2011 semester comes to an end, we have almost 20 students ready to begin the final phase of state certification. Twenty guys might not be able to change the world, but if given the chance, we can lay a solid foundation to make an impact on the underworld. I’m excited.

In-custody substance abuse treatment followed by aftercare is most effective when total exposure lasts two to three years. It’s also very expensive. Post-secondary training tied to long-term treatment is fiscally and socially responsible — cutting right to the heart of criminal thinking, anger, and addiction. Our specialized studies empower us to develop promising methods that can be delivered for next to nothing.

We follow the evidence. A rehabilitative oversight committee identified adult education and addiction as the two greatest criminogenic needs not being met. In response, a handful of us formed Inside Solutions, an evidence-based think-tank, and designed a program that addresses these unmet needs.

Starting in the summer of 2011, college-educated tutors began helping illiterate offenders raise their test scores while the ADS students began facilitating cognitive-lifeskills workshops. By establishing a voluntary program that doesn’t impact the budget, we are delivering group-oriented treatment to those who need it the most. One prisoner helping another is power without equal. Delivering programs doesn’t take a lot of money — it takes ingenuity, passion, and tenacity. We do things for pennies on the dollar, and we wouldn’t even know what to do with the type of funds it takes to mismanage a fully-staffed program. Rather than some bunk program ran by a bunch of timecard punching half-assers, we remain true to our cost-effective roots by making something out of nothing. More bang for the buck is the motto of our method. For years, I felt like I was buried alive on the banks of the Recidivism River. Not anymore. Now I’m on a collective sojourn of systemic self-actualization. Accumulating multiple ADS certifications, college degrees and delivering treatment is a life-changing convergence of therapeutic alchemy. I have been transformed by the process of turning convict lead into clinical gold — social justice of the highest order. If we had a budget to match our enthusiasm, I can only imagine. In the here and now, not bad for a bunch of criminals.

1,2,3, kinky

Jesse Hawthorne Ficks
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0
1,2,3, kinky

caitlin@sfbg.com

SEX 2012 For youse who are considering dipping toes into a pool of liquid latex this weekend, Mollena Williams, co-author of Playing Well With Others: Your Field Guide to Discovering, Exploring and Navigating the Kink, Leather and BDSM Communities (Greenery Press, 312pp, $19.95) and long time player on the Bay Area BSDM scene, has a clarifying statement about making Folsom Street Fair your first kinky sex event.

“It’s probably akin to getting to know the animals on the African plain by visiting the Bronx Zoo,” Ms. San Francisco Leather 2009 told me when I caught her on the phone. “You will have an idea of what the giraffes do when you see them in the Bronx Zoo, but if you travel and see them wandering the plains you’re going to be like, oh my gosh!”

But if the fair that’s launched a thousand sluts isn’t a good place to learn how to be a responsible kinkster, one might ask, how does a nipple clamp-craving individual who just read that book and has a new profile on FetLife (user name: ChristianGreysTie) — or has a yen for rough play that is entirely unrelated to popular fiction — get one’s start on the scene?

Never fear, my corseted dear. Playing Well With Others holds the answer to that question, and then some. Genderqueer leather lad Lee Harrington came up with the idea for the book some years ago, drafting Williams as co-scribe to diversify and deepen the perspective offered in the book. Their voices are perfection — Williams’ experience as a person of color on the scene and Harrington’s as a transperson make for a 101 to the BDSM community that takes very little for granted about the reader.

In straight-forward, friendly language, the book covers basic identity issues such as what and why kinksters exist. There’s a vast chapter that runs down the various kinds of kink events, from woo-woo spiritual retreats to clothing swaps to fetish balls. It’s really all in there: advice on making kinky business cards for passing out to possible paramours, ways to trick out your sexy social networking profile, and how to negotiate safely and sanely with a partner regarding just what your relationship can handle at that pony play conference.

Williams told me there has been a gentle surge in participants in the BDSM scene, offering the real-life, previously-mentioned 50 Shades of Grey-based FetLife handle as proof that popular culture is causing an uptick in online participants, at least. Playing Well With Others offers important tips on the perils and pitfalls of kink community. Williams cited her own sexual assault that occurred during a play scene as an example of something that she had trouble wrapping up into a neat, advice column package for the book. The BDSM scene has its “criminally pathological,” just like every other segment of society, she said.

Boundaries weren’t a real big part of 50 Shades, in which dominant, older Christian Grey does not take no for an answer from his virginal quarry. His doltishness is presented in the book’s pages as the height of romance. “It’s not romantic to stalk someone,” cautions Williams. “I don’t care how wretched hot you are, if someone says they don’t want to see you and you show up on their doorstop — that’s not a thing.”

“We wanted to have a road map, because it is a jungle out there,” she told me.

Sorry to leave you hanging back there if you were waiting to hear what Williams had to say about the perfect starting point for your public pervert-dom. That would be at your local munch, or casual (think streetwear and sneakers, not harnesses) gatherings of kinksters.

The more-intimate affairs take place in non-intimidating public venues and offer a chance to have conversations about who or what you’re trying to kneel to, as opposed to mega-events like this weekend’s fair, where the emphasis is more on show ‘n’ tell peacocking than one-on-one information share.

“I don’t know if Folsom is there to help you find your community,” reflected Williams. “But it’s there to help you celebrate your freakiness. In that, it’s unparalelled. There’s nothing like being able to walk down the street in your corset, bra, and panties, and share that part of you.”

 

Words and deeds

Andrew Lam
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4
Words and deeds

steve@sfbg.com

When Mayor Ed Lee appointed engineer and pro-development activist Rodrigo Santos to fill a vacant seat on the City College of San Francisco Board of Trustees, both men talked about the urgent need to save this troubled but vitally important institution.

“Our economic future is directly tied to the success of City College,” Lee said at a press conference, touting the school’s critical job-training role.

But when you cut through all the politics and hyperbole, the school’s biggest single problem is a lack of money — and the mayor and his new trustee aren’t doing much to help.

Neither Lee nor Santos have yet endorsed or publicly supported Proposition A, the $79-per-parcel tax that would stave off deep cuts to a district whose accreditation has been threatened over its anemic cash reserves and reluctance to scale back its course offerings (see “City College fights back,” July 17).

Nor have they appealed for support from their deep-pocketed allies in the business community, which City College supporters say should be doing more to support the district.

And while some say Lee is finally getting ready to endorse Prop. A, he’s done nothing to help the campaign.

“It’s a shame because [the mayor] has pledged to support City College,” John Rizzo, president of the Board of Trustees and a supervisorial candidate from District 5.

Lee also refused a request the trustees made last year to ease the more than $2.5 million in rent and fees that the district pays annually to the city. That’s a stark contrast to the city’s generous support of the San Francisco Unified School District, which gets an annual subsidy from the city of around $25 million, thanks to a ballot measure pushed by city officials of various ideological stripes.

“K-12 is important, but when we try to get help from the city, it falls on deaf ears and I don’t know why. Maybe little kids are cuter,” Rizzo told us.

Sup. Eric Mar said that dichotomy is a real problem, particularly given City College’s current challenges and the important role it plays in providing low-cost training to local workers. Mar has called for a hearing this month before the Joint City and School District Select Committee, which oversees SFUSD’s relationship with the city.

“I support stronger city support for City College,” Mar told us.

Asked about Lee’s unwillingness to help with City College’s fiscal situation, mayoral Press Secretary Christine Falvey said Lee has offered logistical support from city officials to help City College overcome the threats to its accreditation and has been carefully monitoring the situation, but she didn’t directly address why he has withheld financial support or endorsed Prop. A.

“The mayor has not taken a position on the parcel tax and is focusing his efforts on supporting the college’s need for serious fiscal and management changes and protecting its accreditation,” she told us by email Sept. 7. “The mayor knows it is more important than ever that the City support City College to make sure they get back on their feet for the sake of current and future City College students and for all San Francisco residents.”

But City College officials aren’t buying it. “Talk and nice words don’t mean anything anymore,” Rizzo said.

Other Prop. A supporters agree.

“The mayor needs to step up and support this,” Trustee Chris Jackson told the Guardian, arguing that most of the district’s problems stem from steadily declining financial support from the state. “We have a revenue problem.”

“It is the workforce training vehicle for the city,” said Rafael Mandelman, a candidate for trustee who has been actively supporting Prop. A. “Maybe now is the time when the city shouldn’t say no to that.”

Falvey responded by saying, “The City supports all of our public education institutions in some capacity. Each public education institution also pays the city for some of the required services it is provided.”

Other Prop. A supporters say they are hopeful that Lee may still come around. Alisa Messer, president of American Federation of Teachers Local 2121, which represents City College faculty, told us, “The mayor says he supports City College and we’re hoping he will support the measure soon.”

Gabriel Haaland, who has been working on the measure for SEIU Local 1021, also told us as we were going to press on Sept. 10, that Lee seems to be coming around: “From what I understand, the mayor is about to endorse it.”

 

 

PROMISE OF SUPPORT

When Lee appointed Santos — who has raised an unprecedented amount of money for his race, $113,153 as for July 1, mostly from the real estate and development interests he represents as president of Coalition for Responsible Growth — some argued that it would bring needed financial support for the district and the Prop. A campaign.

“He is expected to bring his allies in these fields into the fight to save City College, which faces a critical 2/3 vote on a parcel tax this November,” Tenderloin Housing Clinic Director Randy Shaw wrote on his Beyond Chron blog on Aug. 22, a day after telling the Guardian how the parcel tax was essential to City College’s future and Santos was uniquely positioned to support it.

But Santos, whose campaign didn’t return Guardian calls on the issue, hasn’t appeared at any Yes on A campaign events or offered any discernible support for the measure, whose supporters had only raised a little over $20,000 as of July 1. While there is little organized opposition to Prop. A, the fact that it needs approval by two-thirds of voters is a challenge that requires strong support.

Rizzo said Shaw’s argument doesn’t hold up. “It’s a nice theory,” he said, “but I haven’t seen evidence of that, and I haven’t seen Rodrigo at any Prop. A events.”

Santos hadn’t been involved with City College or educational issues before deciding to run for trustee, and he’s widely perceived as an ambitious politico setting himself up to run for the Board of Supervisors. At his press conference, Santos pledged to aggressively fight for City College.

“I join an institution that must be saved, and I’m absolutely committed to that goal,” Santos said.

Lee assembled a variety of representatives from “the city family” at his press conference, including trustees Natalie Berg and Anita Grier, Interim Chancellor Pamila Fisher, representatives from the Controller’s Office, Board of Education, Department of Children Youth and their Families, and the Mayor’s Budget Office.

“They, after all, need our help, need our support and they will not be able to accomplish it all by themselves,” said Lee, who pointedly didn’t say anything about the parcel tax at the event, even though he sang the praises of the district. “It empowers those economic sectors that we consider most valuable to our future, especially in the area of health care, hospitality, biotech, and now technology in general. We have become dependent on City College for their ability to prepare future workforces.”

Lee also sounded a tough love theme, saying “any improvement means a change from the status quo” and praising Santos as “someone who shares my vision of reform and will support the tough decisions ahead.”

Indeed, the board members face a number of tough decisions in the coming weeks, from whether to abdicate some of their authority to a special trustee empowered to make unilateral decisions about what programs to cut or campuses to close. The college is responding to a threat from the Accrediting Commission for Community and Junior Colleges to live within its means or lose its accreditation.

Santos didn’t mention Prop. A during the press conference that followed his swearing in, instead offering vague platitudes and promises that he’s willing to work hard and make tough decisions, while also making some puzzling statements about the district’s current situation.

“We must support the interim chancellor, Pamila Fisher,” he said. “Our primary duty is to ensure she enjoys the support and tools needed to implement difficult reforms. At the same time, we will hold her accountable, we will help her, we will challenge her.”

He appeared unaware that Fisher’s tenure ends in just a few weeks, well before any reforms could possibly be approved or implemented.

Some Prop. A supporters are hoping Santos will also challenge his allies in the business community to open their wallets and support both Prop. A and ongoing operations at City College.

“It would be great for the businesses to step up in a big way because they are really benefiting from our workforce training programs,” Messer said. “It’s clear to me the business community understands how important City College is to this city.”

Now, City College’s biggest supporters say it’s time for the city and the business community to put their money where their mouths are.

“City College certainly gives back to the people of San Francisco,” Rizzo said, “and it’s time for the city to give back to City College.”

Symptom of the universe

Andrew Lam
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0
Symptom of the universe

cheryl@sfbg.com

TRASH Get ready, Damon Packard fans — the mad genius behind underground cult sensations Reflections of Evil (2002) and SpaceDisco One (2007) unfurls his latest, Foxfur, at Other Cinema’s fall season kickoff (also on the bill: Marcy Saude with a slideshow on ufologist George Van Tassel, free champagne and VHS tapes, and more). I spoke with the Los Angeles-based Packard, who hopes to attend in person, ahead of the event.

San Francisco Bay Guardian How long did it take you to make Foxfur?

Damon Packard A little less than two years. I mean, it should have taken a week, because there were so few shooting days. It just took that long because it’s so difficult when you’re working with no money. I was adding little bits right up to the last minute [before the film’s July 21 premiere in SoCal]. Shots of cats, stuff like that.

SFBG Is that why you have something like six different women playing the lead role?

DP Yes. There were always these short windows of time when we had to shoot, and I had to get whoever was available. It became an experiment in the end, with the multiple actresses.

SFBG When people ask you what Foxfur is about, how do you explain it?

DP It’s difficult to sum it up. I would say it’s a UFO sci-fi fantasy, mostly about the Billy Meier Pleiadian contacts of the 1970s. That was the inspiration.

SFBG Many of your previous films made use of non-original footage, like Carpenters videos and old commercials, but Foxfur is all original, isn’t it?

DP Well, I do use music from Tangerine Dream scores: Firestarter, Wavelength (both 1984), things like that. Also some ambient tracks by Steve Roach and Michael Stearns.

SFBG In addition to Foxfur‘s Billy Meier references, the film also has actors portraying David Icke and Bob Lazar. Why conspiracy theorists?

DP Well, they’re part of the Foxfur universe — I like taking real-life characters and incorporating them into a story. Foxfur is obsessed with New Age elements — crystals, dolphins, the Pleiadians — which includes people like David Icke and Richard Hoagland. She’s an avid Coast to Coast AM listener. So yeah, it was supposed to be about her disillusionment. She’s so devastated when she discovers that it’s not real.

SFBG There’s a line in Foxfur about how “everyone is operating in their own vacuum of reality,” and scenes depicting people zoned out on their phones, unhelpful store clerks, and so on. Were those your 21st century frustrations coming out?

DP It happens a lot in real life — everywhere you go, you sort of run into that. Nobody knows anything about anything and nobody wants to help anyone. It’s a kind of apathetic, clueless, state of mind. Or if you need to call your bank, for example, you’re gonna get transferred to all these different worthless departments where people won’t be able to help you. There are always problems, errors, computer systems going down. You can’t get any answers to anything.

SFBG You’ve said in the past that you’re anti-CGI, and Foxfur (which contains the line “I hate Peter Jackson!”) suggests you still feel this way.

DP I do think there’s room for a good balance between practical and digital effects — there’s no reason not to use modern technology. For the most part, though, I hate it. It usually looks awful. I don’t know why other filmmakers, including veteran filmmakers, don’t see that.

I think practical effects are better and always will be, but there aren’t any companies set up to do practical effects anymore. It’s incredibly difficult to do and there aren’t any filmmakers pushing for it. But real explosions, real pyro, always looks better than any kind of digital explosion.

SFBG Is there any hope for the future of film? Or — since Foxfur takes place on the eve of the apocalypse — of humanity?

DP One of the themes of Foxfur is about the “dead zone” — in the film, it’s the time we’re in now, where everything is revolving in circles. It’s a time that wasn’t meant to exist. We’re in the end of the world already.

To me, it feels like music, fashion, it’s all reaching to the past. There’s no new movements going on. It’s a strange time. And movies feel that way too; it seems like everything’s been done already. Everything is an updated variation. I wanted Foxfur to be really pressing in that sense: that there’s no hope, there’s no point in anything. I can’t imagine there’s any future to cinema, or what movies will be like in even five to ten years from now. Are we going to see reboots of reboots? How many reboots can they keep going on with? If it’s not a reboot or a sequel, it’s a reboot or a sequel in disguise.

OTHER CINEMA

Sat/15, 8:30pm (reception at 8pm), $6

Artists’ Television Access

992 Valencia, SF

www.othercinema.com

Dream of the ’90s

Andrew Lam
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5
Dream of the ’90s

emilysavage@sfbg.com

MUSIC By now, Antwon’s mug has probably nestled somewhere in your brain. It’s hard to take your eyes off him in the Brandon Tauszik-directed video for Antwon’s song “Helicopter,” slowly spitting rhymes over a screaming alarm of a beat, wandering Oakland, drinking on porches, pouring hot sauce on breakfast in between scenes from the classic film, Bullit (1968). Or as one media outlet breathlessly noted, “Malt liquor, Steve McQueen, and Sriracha!”

There he is in the Mission District, in the flesh, taking time out to chat with me; the San Jose-based rapper (who’s more often found in Oakland) travels to the city twice a week to work at vintage clothing shop New Jack City, an eye-popping gem of a store, stuffed with letterman’s jackets, button-downs, and gently worn Mickey Mouse sweatshirts, mostly plucked from the 1980s and ’90s.

Now here’s his sturdy frame — which, along with his voice, has inspired not-inaccurate comparisons to Biggie — in a warped movie clip run through a VHS player in yet another music video, this time looking straight out of a ’90s positive hip-hop video for his song “Living Every Dream.”

The track, produced by witch house term-coiner Pictureplane, is on Antwon’s newest mixtape, End of Earth. It’s his third since last September’s Fantasy Beds, which produced “Helicopter.”

“Living Every Dream,” the wobbly reworking of Suzanne Vega’s a capella cinematic earworm, “Tom’s Diner” (Christian Slater with the baboon heart!) is doubtless one of the standout tracks on End of Earth, an album frankly full of surprising turns.

“I had been wanting to sample that song to make a hip-hop song for really as long as I can remember, [since] high school maybe,” says Travis Egady a.k.a Pictureplane. “It is just a great tempo and loop. I wanted to hear Antwon’s voice on it.”

“He is really relatable… no bullshit artist,” Pictureplane says of Antwon. “[He’s] a rapper you want to be friends with. He is a hip-hop everyman.”

Another side of the everyman comes out on End of Earth‘s more playful “Diamond and Pearls,” produced by his longtime DJ Sex Play (formerly Bad Slorp), who produced all of Antwon’s December 2011 release, My Westside Horizon.

Other tracks on End of Earth such as “Laugh Now,” produced by Wounderaser, and Rpldghsts-produced “Cold Sweat” more recall the hardcore scene Antwon grew up in. A scene he credits with teaching him how to perform. “I learned how to play shows by going to hardcore shows,” he says from his post in New Jack City. There are indeed mosh pits and sweaty dogpiles at his shows, which is unexpected at traditional hip-hop club nights, though those lines seem to be blurring across the board.

In particular “Laugh Now” blurs genre and scene, with themes of isolation, anxiety, and personal demons, tethered by actual howls and dragged out vocals growling “La-a-a-gh now,” and lyrics like “This for the people that talk shit about you/But when they see you they walk around you.”

Antown grew up in Sunnyvale — his mom’s from the Philippines and his dad is from Fresno. In middle school he recorded mixtapes with a friend through a karaoke machine, and sold them at school.

He later performed as his own one-man noise act, warping sound on a SP-303 and running his vocals through distortion pedals. In 2009 he traveled to Philadelphia to join the punk band Leather, but he then returned to his roots. He had rapped before, but really got started again when he came back to California. “It really kind of like, took on a life of its own.”

While for now he’s still based in San Jose, he’s most often found in Oakland, where he hangs out with Trill Team 6 (a loose crew of Oakland DJs, producers, and musicians, including figurehead Mike Melero) who rifle through jackets at New Jack City as we talk. He points to the shoppers and says he’s a part of the East Bay scene, “because of those dudes.”

“I played shows in San Jose, but it was really boring,” he adds, eyes widening. “I like the energy more in Oakland. It feels like when I was younger and just threw parties and it was about having fun and shit. It seems like that same energy is in Oakland now.”

While he’s clearly more connected to the East Bay, some of his biggest and most memorable shows yet have been in San Francisco — he opened last month for Theophilus London at the Mezzanine (flashiest) and played in the sandy Sutro Baths caves earlier this summer (unforgettable) as part of the Ormolycka Cave Series.

“That was my favorite,” he says of the beach cave show. “It was real crazy.”

Up next is his first ever show with Pictureplane — the two will play a Future | Perfect and #Y3K-presented show at Public Works. (The first time they met in person was at a massive EDM fest in the Bay Area, says Pictureplane: “We walked around and took pictures of all the teenage ravers. We watched David Guetta along with like, 50 thousand people together”).

After that Public Works date, a Mission Creek show at the Uptown in Oakland with Cities Aviv, Friendzone, and Chippy Nonstop. But then he may go back underground, or at least, play less frequently in the Bay Area for a bit. His mug might be less on your radar for a hot minute, while he gathers tracks for another full-length, just him and DJ Sexplay this time around.

ANTWON

With Pictureplane, Chippy Nonstop

Fri/14, 9pm, $15-$20

Public Works

161 Erie, SF (415) 932-0955

www.publicsf.com

 

A studied approach

Andrew Lam
-
2
A studied approach

caitlin@sfbg.com

HERBWISE In 1992, Donald Abrams was in an Amsterdam hotel room watching the arrest of a volunteer at his hospital, SF General, on TV. 73-year old Mary Jane “Brownie Mary” Rathburn was being taken to jail for providing AIDS patients with THC-infused pastries.

The fact that Abrams, an oncologist who had turned his attention to HIV/AIDS in the midst of the virus’ attack on San Francisco, learned of Rathburn’s plight via international news was particularly biting, given the circumstances. He was in the Netherlands attending the International AIDS Conference, which was originally slated to be held in Boston. The conference had to be moved when it became apparent that many of its most important participants would be unable to attend — in 1987, the US Senate unanimously passed a ban that prevented HIV-positive people from getting into the country. (Kudos to the government, by the way, for lifting that ban. Ahem, last year.)

One can imagine the questions that arose for Abrams regarding his country’s commitment to fighting the disease.

So later, when Rick Doblin of the Multidisciplinary Association for Psychedelic Studies (MAPS) wrote to General’s AIDS program suggesting that “Brownie Mary’s institution” take the lead in researching the effect of cannabis on AIDS wasting syndrome, Abrams swung into action.

He was watching his community waste away from the disease. And he wasn’t happy with existing treatments. The data supporting AZT’s efficacy was faulty, he thought, a quick fix by a government under pressure to come up with a solution to an epidemic.

In the pre-Proposition 215 era, large numbers of AIDS patients were getting pot from illegal cannabis clubs to combat the nausea and vomiting caused by AIDS wasting syndrome. The substance had to be studied, reasoned Abrams.

But organizing investigations into a federally-controlled substance is no easy matter. Since marijuana is a Schedule I drug with no officially-acknowledged medicinal use, research facilities have to get the go-ahead from several different government agencies (which focus on preventing drug abuse, not finding ways to use them to medical advantage) to be able to run experiments that use the stuff.

The process was interminable, though finally Abrams managed to complete important experiments with the drug which suggest marijuana is a useful tool in counteracting painful nerve damage, and that vaporization is just as effective a way to consume THC as smoking, among other findings.

After taking a break from researching pot for years, Abrams has once again submitted grant proposals for a few cannabis-related studies. He’s one half of a pot power couple — his husband, cannabis activist Clint Werner, is the author of 2011’s Marijuana: Gateway to Health and suggested at a June Commonwealth Club lecture that cannabis be as prevalent as ice packs in NFL locker rooms, so useful is the drug in ameliorating brain damage.

Of course, regardless of whether Abrams — who has since stepped down from AIDS research to focus on oncology — secures funding and permission for these new studies, and regardless of his findings thereafter, he hardly thinks his work will convince the government to legalize marijuana. He’s been a little disappointed with our elected officials lack of “backbone” in standing up to federal agencies that are making it harder for his older patients to access dispensaries.

Because see, the War on Drugs isn’t about the drugs at all, but politics. The man who has been researching the power of pot for decades is, sadly, resigned to the fact. Says Abrams one Thursday afternoon, sitting in his office in the SF General oncology ward: “It’s clear to me after doing this for 15 years that science is not driving the train.”

Even if the general public is of the 215-supporting sort — after all, he quips, “more people [in California] voted for marijuana than Meg Whitman.”

Dark and stormy

Andrew Lam
-
1
Dark and stormy

arts@sfbg.com

FILM In Ira Sachs’ intensely discomfiting Keep the Lights On, Erik (Thure Lindhardt) is a Danish documentarian in late-1990s New York City, prodding his career along, spending time with friends, having casual sex with strangers. One of the latter is Paul (Zachary Booth), a publishing-house lawyer who first tells him “I have a girlfriend, so don’t get your hopes up.” Yet some time later they’ve become a tentative couple, then a live-in one.

Erik is patient and easygoing, but Paul has secrets and problems all the more difficult to deal with because he denies, hides, or lies about them. He disappears for days at a time, then turns up wrecked. Crack is just the addiction we see; there are evidently others. Erik tries everything — group interventions, rehab, endless attempts at frank conversation that invariably turn into Paul accusing him of being unreasonable — but nothing sticks. On some level, Paul doesn’t want to be saved; drugs are like a bad old boyfriend he can’t help keep going back to, when not crawling back to the current one for forgiveness.

It takes Erik a decade to come to terms with, and extricate himself from, a relationship in which all his best efforts only bring torment, grief, and exasperation. “I have no idea who you are, I have no idea what you’re doing,” he cries during one argument. “I don’t know why you’re focusing on me,” Paul snaps, instinctively trying to shift the blame. Near the end, he questions out loud if Erik ever loved him — the fact that he isn’t doing what Paul wants that very second somehow negating years of sacrifice and worry that could only have been sustained by love.

Keep the Lights On is the kind of excellent movie a lot of people don’t like: it’s not just depressing in the sense of having downbeat, difficult subject matter, it actually sets out to be unpleasant and succeeds. There is a point to that. Leaping forward a couple years at a time, leaving us to figure out how things have shifted in the interim, Sachs’ script (co-written with Mauricio Zacharias) induces in the viewer the disoriented helplessness of dealing with a loved one who can’t or won’t tell the full truth — it’s his best defense.

The film’s somewhat squirm-inducing intimacy comes naturally, as the writer-director lived this story, however much it’s been tweaked into fictive dramatic form. “Paul” is a stand-in for a long-term boyfriend who wrestled with similar demons while somehow sustaining a high-profile career in the publishing industry. (He’s also since written a couple of memoirs about his addiction struggles, though despite that public self-exposure, the film still “created a wedge” between them, according to Sachs.)

“I think all of my films are autobiographical — I only feel excited to tell a story when I’ve lived an experience and have some analytical understanding of what took place,” Sachs said while in San Francisco for the movie’s screening at Frameline 2012.

Still, Lights is clearly a more jarringly personal project than his unsettling coming-out tale debut The Delta (1996) or the Sundance prize winner Forty Shades of Blue (2005), let alone 1950s heterosexual infidelity seriocomedy Married Life (2007). Nonetheless he now “sees them all as the same film — they’re all about people arriving at a point where they’re comfortable with who they are.”

Saying that he himself was “uncomfortable with who I [was, up] until the events in this film,” he now lives “an open life” with husband Boris Torres, a painter whose work is seen under the opening titles. “That’s a consequence of work I’ve done on my own,” Sachs said. “I really feel that secrets almost killed me. It’s very empowering to claim your secrets. I intended to make a film about shame and to do so shamelessly.”

In some ways, “this film is less about addiction than obsession, which is a very comfortable place for many of us to be — it cuts out the rest of the world and narrows the challenges. It’s very addicting to engage in this kind of relationship.” Some nonexploitative but explicit sexual content made Lights hard to cast (one major agency told him not a single one of their actors were “available”), but wound up with bilingual rising star Lindhardt. It’s an extraordinary performance that carries the whole film; by contrast Booth, to the frustration of some reviewers, plays a character deliberately kept somewhat furtive and unknowable.

While making Keep the Lights On afforded Sachs a cathartic way to “free myself from inhibitions around the story itself,” the consequence has been that “in the aftermath of these events I chose to live an honest life, and the result is that the dishonest and illicit is less interesting to me. So having made four films about deceit within a romantic relationship, that is no longer how I live or a story I’m interested in telling.”

He says his next project will be “about a 30-year relationship based on love and complexity between two men who decide to get married at ages 60 and 70.” Lights also pays homage to gay elders: Erik is working on a documentary about real-life photographer and filmmaker Avery Willard (whose still little-known work comprises “a visual anthropology of gay life in New York from the ’40s to the ’90s”), and the score consists of slippery songs by Arthur Russell, the enigmatic cult cellist-composer who died of AIDS 20 years ago. *

 

KEEP THE LIGHTS ON opens Fri/14 in Bay Area theaters.

All in the game

Andrew Lam
-
0
All in the game

arts@sfbg.com

FILM How might filmmaker Nicholas Jarecki measure the success of Arbitrage, his debut feature about a hedge fund honcho’s attempt to sell his way out of desperate circumstances? Perhaps a gauge can be found in the response the writer-director received at a recent East Hampton screening for a roomful of magnates such as John Paulson, figures who provided some of the initial inspiration for Arbitrage.

"I think the net worth of the room was somewhere around $20 or $30 billion," recalls Jarecki on recent visit to San Francisco. "They came up to me after the screening and said, ‘You know, we really liked the film and we just have to tell you — it made us uneasy from beginning to end. Really, what you put up there is our nightmare.’ I said, ‘Well, thank you.’"

The boyish Jarecki looks as pleased as a high-roller who has just bought low and sold high; he’s crafted a capitalist all-American horror story of sorts, for billionaires as well as the fascinated and repulsed 99 percent. As Arbitrage opens, its slick protagonist, Robert Miller (Richard Gere), is trying to close the sale of his life, on his 60th birthday: the purchase of his company by a banking goliath. The trick is completing the deal before his fraud, involving hundreds of millions of dollars, is uncovered, though the whip-smart daughter who works for him (Brit Marling) might soon be onto him.

Meanwhile, Miller’s gaming his personal affairs as well, juggling time between a model wife (Susan Sarandon) and a Gallic gallerist mistress (Laetitia Casta), when sudden-death circumstances threaten to destroy everything, and the power broker’s livelihood — and very existence — ends up in the hands of a young man (Nate Parker) with ambitions of his own.

It’s a realm that Jarecki is all too familiar with. Though like brothers Andrew (2003’s Capturing the Friedmans) and Eugene (2005’s Why We Fight), Jarecki’s first love is documentaries (his first film, 2006’s The Outsider, covered auteur James Toback), his family is steeped in the business world. Both his parents were commodities traders, and Jarecki, who describes himself as a "computer geek in my youth," once owned his own web development firm and internet access provider, among other ventures. Nonetheless, the filmmaker —who graduated from New York University film school at 19, served as a technical adviser on the 1995 film Hackers, and co-wrote the script 2008’s The Informers — continued to hear the siren call of feature film.

"I had knowledge of venture capital and the markets, but at the same time it was, what’s a credit default? What is this?" he remembers of the time he started writing Arbitrage‘s script in 2008. Bernard Madoff interested him less than "someone who was a good guy but who became corrupted along the way and started to believe in his own invincibility and his own press releases."

Jarecki found his "King Lear-esque" nouveau robber baron in Richard Gere, after convincing the actor to take a chance on a first-time director. He ended up digging in deep with Gere and the rest of the cast during a month of rehearsals, research, and rewrites. "I was doing my own mad arbitrage and putting the film together — the voluminous amounts of documents they make you sign, and I borrowed many millions of dollars from a major bank," Jarecki explains. "So it was rehearsing in one room and calling the wire desk on the other."

As a result, the moviemaker found himself understanding Miller’s part only too well: "When I was writing and the characters had to do something, the person I modeled the decision on was myself. What would I do? And the more surprising and frightening the answers, the more I felt I was onto something."

There’s a memorable moment when Miller’s daughter confronts him on his transgressions and he explains, in a moment of startling, almost lamely ineffectual self-consciousness, that he’s a patriarch simply playing his part. Still, Miller doesn’t believe it’s the end of days for those men gathering in East Hampton screening rooms.

"There was a joke I had with the distributor, ‘Will this still be relevant when it comes out?’" he muses. "Yet every week there’s a new revelation of a new fraud: MF Global losing billions of dollars in customer funds in unauthorized trading. A Knight Financial computer glitch and they lose $420 million — I think that’s the exact number lost in the movie — and it just happened two weeks ago. And now it’s, ‘Where’s my morning coffee?’"


ARBITRAGE opens Fri/14 in Bay Area theaters.

Call Miss Jenkins

Andrew Lam
-
2
Call Miss Jenkins

marke@sfbg.com

SUPER EGO I’m not one to gossip, but …. Story of the month, courtesy of weekly Friday drag extravaganza Some Thing at the Stud: a giant party limo parked outside the club. Blah blah Kirsten Dunst, blah blah Alexander Wang, blah blah a dozen hangers-on blah. (I was inside chilling with the true star of the evening, OG NYC clubkid Desi Monster.) Formidable doorperson Dean Disaster: “Seven dollars each, please.” Wang hanger-on, clutching pearls: “But we’ve never paid cover before!” Disaster: “Here, let me guide you through it. Give me seven dollars. And then I’ll let you in the club.” They paid. We’re all VIPs in this house, henty.

ALTON MILLER

The Detroit-Chicago master was integral to the early techno scene (he co-owned the world’s first techno club, the Music Institute) and has produced a vast catalogue of beautiful, grown-up deep house grooves rooted in African drumming’s expansive rhythms and personal tech flourishes — see lovely 2010 album Light Years Away. He also happens to be one of my favorite people ever. (Sorry, journalistic bias!) Join him at fantastic weekly Housepitality for a trip to the stratosphere and some sophisticated magic alongside locals DJ Said of the Fatsouls label and Ivan Ruiz of the just-launched Moulton Music label.

Wed/12, 9pm, $5 before 11pm, $10 after (free before 11pm with RSVP at www.housepitalitysf.com), Icon, 1192 Folsom, SF.

L O S T • C ? T

Weird biweekly dance party. Recommended.

Thu/13, 10pm, $3. Showdown, 10 Sixth St., SF. www.tinyurl.com/lostcatsf

BODY + SPACE

The bi-annual, summer-long Soundwave sonic festival is still in full effect, and this special event sounds experimental-awesome. Example? “Genesis,” a work by Polly Moller “explores 11 dimensions of the universe and the magical creation of a new 12th dimension.” Also: mechanical tone poems, anxiety dances, sonic wombs.

Fri/14, doors 7:30pm, show at 8, $15. Intersection for the Arts, 925 Mission, SF. www.projectsoundwave.com/5/

MADE IN DETROIT

For the past little while, you could actually almost hear the Detroit techno torch being passed to young’uns Kyle Hall and Jay Daniel. It sounded like a butterfly exploding in a Model T factory. Kaychunk! But it actually sounded like an ingenious melding of deep bass sounds and post-glitch effects applied to classic cosmic techno ambiance. Seeing the duo tagteam classic vinyl at this year’s Movement festival cemented my love for them. This As You Like It party may do yours the same.

Fri/14, 9pm-4am, $10 before 10pm, $20 after. Beatbox, 314 11th St., SF. www.ayli-sf.com

RUSTIE

Adore the laser-cut future bass gems that Rustie the Scot has hewn from his sparkling imagination. He’ll be warping 1015 with another great, Kode9, along with sublime electro-stoner Elliot Lipp and locals DJ Dials, Slayers Club, tons more.

Fri/14, 10pm-5am, $20–$25. 1015 Folsom, www.1015.com

BRING YOUR OWN QUEER

Bring Your Own Queer self (not in a paper bag, please!) to this annual free outdoor daytime funfest, filling the Golden Gate park bandshell with hot pick dance party craziness! DJs Carrie Morrison and Steve Fabus, live sets by Adonisaurus and Darling Gunsel, and, like, zillions more. Plus the Jiggalicious Dance Babes. Gotta love the Jiggalicious Dance Babes. Double rainbow part two!

Sat/15, noon-6pm, free. Music Concourse Bandshell, Golden Gate park. www.byoq.org

ANNA CONDA’S BIRTHDAY

She’s 45 alive! SF’s favorite queer-activist drag queen won’t exactly be roasted at this fundraising event for the Harvey Milk Club, but she will be toasted — something like 45 other queens will take the stage at this killer rock ‘n roll dance party (DJs Dirty Knees and Jon Ginoli) and tribute to her royal lowness.

Sat/15, 9pm, suggested donation $5–$10. The Edge, 4149 18th St., SFF. www.tinyurl.com/annaconda45

Eclectic electric

Andrew Lam
-
0
Eclectic electric

arts@sfbg.com

DANCE The newest entry into the arena of collective self-producing is Colin Epstein’s “Constants & Variables” at Dance Mission Theater. None of the six choreographers he presented at its debut (Sept. 7-9) are new, though some of them were, previously, just barely on my radar screen. Epstein has a good eye; he put together a well-balanced program in which the pieces complemented each other in size, genres, and thematic material. They made for an evening of sometimes challenging, sometimes hilarious, never less than competent dance. If Epstein wants an additional career, he just might have one percolating in the back of his head.

As a choreographer-performer Epstein has one foot in the circus world. In A Musement he deftly used a small chair as a prop that acquires its own life to become a contentious partner. The joke is old among clowns, as is the inclusion of a willing audience member. For this to work the timing has to be immaculate. Epstein’s was good but the overall arc could have been tighter.

However, there was nothing wrong in They were already here‘s timing, a splendidly funny courting duet on trapeze for Epstein and the lovely Cat Bodnar (as an ingénue who gets involved with a bumbling suitor). The intricate giving and taking of weight excellently expressed the ebb and flow of their charming relationship.

Venture Dance Project’s smartly designed Wholeding used Laurie Anderson’s whispered “From the Air” as a sonic carpet on top of which the five dancers —all of similar sizes and looks — coalesced into and escaped out of focus. At one moment you saw them as one person and then, in something approximating split screen technique, they divided into different segments. A wafting head, a side bend, or a rocking knee would initiate a scattering and recombination into smaller units without ever disturbing a thrust towards oneness. The evenness of the tone, the excellent use of space, and the small variations within strict parameters made this a pattern dance that breathed with life.

Wasteland: Journey to a New Home paired Derek Harris and the easy-on-her-feet Meegan Hertensteiner in a work that that did exactly what its title suggested. Drawing for some of its funnier imagery on jungle adventure movies, Wasteland‘s morphing identities also suggested a darker underbelly. Though clever and smoothly performed, some of its meandering trajectory could profit from clarification.

Hilary Palanza’s fine duet little heart, out of reach, most recently seen at RAWdance’s CONCEPT series, stood up well in Dance Mission’s larger venue. Here the work developed an elastic sense of breath that expanded its dream-like scale. The contentiousness, the ruptures, and the give and take of aggression popped up like bubbles from a still pond. The dancers slipped out of each other’s embraces and into confrontations, but it was the sensuous physicality of bodily contact that resonated most strongly. What remained was the tactile memory of skin on skin, whether lushly cherished, barely perceived, or roughly rejected.

Jochelle Elise Pereña and Ashley Trottier’s Coat Check started out on a note of high comedy with Trottier dragging what looked like Winnie the Pooh‘s Heffalumps out of a pile of clothes. Then the dancer (who has some of the best-looking gams around) engaged in a hilarious seduction of a spread-out coat, ending in a copulation which fused her with the object of her lust. Unfortunately, the rest of the work didn’t hold nearly as well. My suspicion is that the punch line would have worked better if the “Heffalumps”‘ genders had not been so clearly identifiable from the beginning.

Kelly Kemp’s fascinating excerpt from her new Confessions of a White Girl offered a glimpse of what is to come. Six women in various shades and shapes of white quietly stood one behind one another. Heather Arnett finally stepped out in front. The others followed, each addressing us with mouthed words and tiny gestures. Was this a prisoner line-up, or did we watch the peeling away of layers of Arnett’s identity? Fanning out across the space in overlapping sections, they finally combined into a group shouting answers to an unasked question. The complete Confessions will be seen at the Garage October 5-13.

Nailed it

Andrew Lam
-
0

le.chicken.farmer@gmail.com

CHEAP EATS Hedgehog got me this Groupon for a fancy pantsy mani-pedi at a place in San Mateo puts flower petals and orange slices in your feet water! It’s hard for me to hold a grudge, however, because at the time-of-purchase we were living in New Orleans. For all she knew, San Mateo was a suburb of San Fran, like the Sunset or the Richmond.

Nope. You have to drive.

So I was driving back, all relaxed and pretty and shit, and there was Candlestick … and it was very nearly (at the time) football season … and the only thing I don’t like about getting my nails done is the way you smell for the rest of that day. I mean, I am, at heart, a chicken farmer. Lookswise, I can handle being beautiful, but it’s my nature to smell like hay. Not mimosas.

It takes about 30 minutes to drive from San Mateo to the Mission.

Around about Candlestick, I’m saying, enough became enough. Deciding finally to change the smell of my fingernails, I swerved off the freeway in search of barbecue. In search, specifically, of Franks, where I had eaten once recently on account of another goddamn groupon, this one courtesy of Earl Butter. Who, to his credit, did apologize for eating all the brisket off our three-way-combo before Hedgehog and me ever even knew what hit us.

Turns out the brisket is Frank’s best meat! It’s tender, smoky, and doused in a really good, hot (if you ask for it) basic barbecue sauce, I now know. I got it to go, and they gave me a fork.

But I used my fingers….

CHEAP SPORTS

by Hedgehog

Sunday’s baseball was Mission vs. Mission at Balboa. In my copious notes I dubbed the home team the Good Guys and the away team the Better Guys. Chicken Farmer and our friend Long Tall Phil were playing for the Better Guys, hence that side’s upgrade.

Unfortunately, I don’t know many of the other players’ names and resorted to nicknaming them mostly based on what they were wearing, who they reminded me of, and the few scattered facts I remembered about them from previous games. For example, there was Big Blue, Hairdo, Walnut Creek, Old Timey, Lost Horizons, and In’N’Out. After a while, my play-by-play reads more like I’m calling a horse race.

Anyway, I don’t know how many folks are interested in rec league games, but I think more are probably into Fantasy Baseball. Then again, I don’t know which side of the fence the readership of Cheap Eats falls into demographically so I’ll cover both bases with one bird and say that in my opinion, Fantasy Baseball should allow for at least one Rec League player per team. My reasoning is as follows:

1) Rec Leaguers steal a ton of bases. I am in a Stolen Bases race in my Fantasy League right now and if I had In’N’Out or Gray Shirt Tony, or even Chicken Farmer herself, I wouldn’t need to put all this imaginary pressure on Michael Bourn to do what I’m pretend-paying him for.

2) Rec Leaguers are almost all multi-positional and thus, very useful when setting your lineup. I mean someone who plays left field, short, third, second, catcher and pitcher? And steals three bases in one game?! I mean come on…

3) Major league starting pitchers don’t hold a candle to Rec League pitchers. Unless you count speed, accuracy, or variety of pitches. But the Good Guys starter pitched a complete game! And the Better Guys pitcher went seven innings. Colorado Rockies: take note.

Better Guys, 4. Good Guys, 7.

After the game we went to my new favorite barbecue, which isn’t Franks, but only because you can’t walk to it from our house. You can walk to Southpaw. What my beloved and bristly sportswriter couldn’t have known from the press box was that the whole game in the dugout we were talking about barbecue.

The box score for the Mission’s new smoke house reads: weak, weak ‘cue. At least the ribs and brisket. Go for the sides, which are awesome. Pulled pork with beans and (get this) bechemel over warm potato chips, brussels sprouts with bacon, and my favorite: smoked goat served with fry bread. For that, I will be back.

SOUTHPAW BBQ

Mon, Wed-Fri 5-11:30pm; Sat 3-11:30pm; Sun 11:30am-11:30pm

2170 Mission, SF

(415) 934-9300

AE,D,MC,V

Full bar

East Bay buzz

Andrew Lam
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0
East Bay buzz

caitlin@sfbg.com

BEER I will not re-enter the one-sided debate of whether the East Bay is cooler than San Francisco (we covered that in our much hullabalooed April 11 cover story, helpfully titled “San Francisco’s loss”) But I will tell you this: one side of the Bay Bridge has less hills. Less hills being a boon for the drunk biker in us all.

If that is not enough motivation to embark upon a self-guided cycling tour of the East Bay beer scene, then I don’t know what is. Let me tell you about a recent, successfully-completed jaunt from which my team and I emerged with double IPA paunches, and a newfound appreciation for the San Francisco Bay Trail (of which you can find maps here: baytrail.abag.ca.gov).

EL CERRITO

Hook up your handlebars for a pleasant BART ride out to this north-of-Berkeley, family-friendly area, where a cruise of mere blocks will take you to the airy brewpub of Elevation 66 (10082 San Pablo, El Cerrito. (510) 525-4800, www.elevation66.com). Stainless steel fermentation tanks make for tasty eye candy from the bar, where we wound up setting our messenger bags and ordering a sampler flight of seven beers. For such a tiny operation, Elevation 66 offers a swath of pours: on tap the day we visited were seven of its in-house brews, including a heavenly Contra Costa kölsch, the perfect light beverage with which to begin a day of exercising and drinking, and five guest pours, of which we tried a bubbly, sweet Two Rivers blood orange cider. Important matters settled, we tackled the extensive food menu, which stocks homemade potato chips, a Peruvian causa made with poached prawns, avocados, Yukon potatoes, and habanero, and more.

Now, leave the brewery (I know, but there’s lots to see.) Take the beautiful, wetlands-lined Bay Trail south, feeling free to jump off at the overpass when you see the Golden Gate Fields (1100 Eastshore Frontage Road, Berk. (510) 559-7300, www.goldengatefields.com). If it’s Sunday, all the better — $1 entry, $1 beers, $1 hot dogs.

BERKELEY

Note the USDA community garden that will zip by on your right (at 800 Buchanan, Berk.) as you emerge from the Bay Trail into the Albany-Berkeley area, home to some of the largest breweries in the East Bay, besides of course the mega-fermenters at the Budweiser factory in Fairfield.

Your first stop will be at Pyramid Alehouse (91 Gillman, Berk. (510) 528-9880, www.pyramidbrew.com), and though you may find the quality of some of the beers at this Seattle-born chain brewery to be just about what you’d expect from a space tinged with notes of T.G.I. Friday’s, you can make a game of counting the pyramids incorporated into the décor for extra stimulation. If you dare, embark upon a 40-minute free tour given every day at 4pm by a bartender who may or may not include gems like: “if you like metaphors, you’ll love this one.” At any rate, it’s a good primer for people who have no idea how beer is made and it includes tons of free booze at the end. Check out Trumer Pils Braueri (1404 Fourth St., Berk. (510) 526-1160, www.trumer-international.com) a few blocks away for another free tour that runs daily at 3:45pm.

Head back to the Bay Trail, unless you feel like a trip further inland to Berkeley’s two fun brewpubs Jupiter (2181 Shattuck, Berk. (510) 843-8277, www.jupiterbeer.com) and Triple Rock Brewery (1920 Shattuck, Berk. (510) 843-2739, www.triplerock.com). Between Berkeley and Oakland you have three lovely miles of trail ride, and if I’m not mistaken we are in the thick of blackberry season, which means the indigo clumps you’ll see on your right just past Sea Breeze Market and Deli (598 University, Berk.) are ripe for picking.

OAKLAND

You could while away a day within just a few blocks in downtown Oakland, such a prime sitting-out-with-a-microbrew kinda neighborhood it is.

In terms of places that make their own brew, there is none better than the 1890s warehouse building that houses Linden Street Brewery (95 Linden, SF. (510) 812-1264, www.lindenbeer.com), the little brewery that could. There’s only a few meters in between tank and tap here, and on weekdays you can sit in the joint’s tap room and suck down golden pints of its Urban Peoples’ Common Lager, while hearing the story from the bartender of how it came to the forefront of Oakland’s craft beer scene.

You may not even guess, right off the bat, that Pacific Coast Brewing Company (906 Washington, Oakl. (510) 836-2739, www.pacificcoastbrewing.com) is brewing the suds that wind up in your $9/five beer sampler — but it is. The charming brick pub has all the fried pickles one has come to expect from a solid bar menu, and a latticed patio that provides a little privacy from the Oakland cityscape. Out front, you can park your steed and walk it out — the rest of your stops are within stumbling distance, unless you’re trying to really make a day of it and head south to Drake’s Brewing (1933 Davis, San Leandro. (510) 568-2739, www.drinkdrakes.com) and its tucked-away pint parlor.

You may just have saved the best for last. The Trappist (460 Eighth St., Oakl. (510) 238-8900, www.thetrappist.com) and Beer Revolution (464 Third St., SF. (510) 452-2337, www.beer-revolution.com) are two of my favorite Bay beer bars, regardless of area code. Both have superlative selection and cute, sunny patios, but considerably different vibes.

The Trappist is a classy, under-lit place with two bars and an elegant rotating list of beers at each, some local and some from far-flung locales. On our visit, we tried a trio of superb sour beers, including the transcendent red-brown Belgian Rodenbach Grand Cru. Trappist’s food menu is full of elegantly spare, small plates packed with big flavors, like a recent Mahon Reserva cheese platter with truffled almonds and shisito peppers. I’m no meat eater, but I heard rave reviews of the comparatively proletarian Trappist dog, which was studded with bacon and seemed an apt pairing for a beer that may out-class you.

Beer Revolution, as the name would imply, is a populist place — local brewers regularly roll through to share their fermentation philosophies. Though their draft menu is impressively large, the beauty of this place is variety. Inside the bar there is a vast refrigerator land where bottles await for your to-go/for-here fancy. We vote for-here, because you’ll want to savor every drop of your East Bay booze cruise.

Pi in the sky, fig leaf optional

Andrew Lam
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1
Pi in the sky, fig leaf optional

arts@sfbg.com

THEATER Aficionados of the San Francisco Fringe Festival, now in its 21st year, know that sorting out the clowns, puppets, relationships, rock operas, and foreskin on display or under consideration across 12 days and roughly 40 shows can be a real crapshoot. But that’s the deal — and at least part of the appeal — with a curator-free, lottery-based program in which anybody with an act and the luck of the draw can set up shop for an hour on one of the handful of stages in operation at the Exit Theatre complex and participating venues.

Invariably ranging widely across (to borrow a title from this year’s lineup) "the good, the bad, and the stupid," the whole usually proves greater than the sum of the parts, private or otherwise. There’s just no event quite like the Fringe. And a really good show can make up for a lot of boredom and horrified silence.

Take, for instance, that title just borrowed above: the Pi Clowns’ latest show may not be perfect in every respect, but you can’t help respecting their perfect portrayal of our general fallibility. The Bay Area–based six-clown physical comedy troupe wowed in 2008 at their Fringe debut (After-Party), and they wow again in The Good, the Bad, and the Stupid, with expert chops, serious smarts, and an undiminished instinct for the ridiculous. Highlights of said lowlights include a horse race on broomstick stallions, a feast of acrobatic juggling, and another delicious slo-mo melee. (Meanwhile, on the significantly darker end of the clown spectrum, there’s Naked Empire Bouffon Company, raucous devotees of the grotesque, whose You Killed Hamlet, or Guilty Creatures Sitting at a Play was not caught in time for review but remains on the must-see list.)

Moving right down the alphabet from clowns, one will find several Christian-themed plays among this year’s offerings. Granted, most of these involve an ironic or satirical approach — like San Francisco–based David Caggiano’s deft and witty solo play, Jurassic Ark, which I caught in an earlier version elsewhere and which concerns an evangelical preacher Hollywood-bound with an idea for a major motion picture selling Creationism to the heathen evolution-swilling masses.

Then there’s Bible-Not: Stories for Grown Ups, which sounds like it sports a subversive edge to its advertised retellings of popular Bible stories, from Adam and Eve to Noah and the Flood. In fact, the play, written by retired journalist and clergyman Charley Lerrigo, is a lifeless resuscitation of ye old adages in a flatfooted comedic-dramatic vein, wherein, for instance, God appears to Noah as a beautiful woman in a silk gown — but still carries out the genocidal flood because she loves people. The last of the proselytizing play’s four dreary episodes (bridged by overtly thoughtful narration from a "showgirl" played by Karen Biscopink) is the second coming of Christ (Tristan Cunningham) to a San Francisco pastor named Bob (Charlie Shoemaker), who is naturally converted from disbelief to rapturous wonder in the face of the ingenuous, miracle-wielding stranger. Overall decently acted by a dutiful cast, the preachy play nevertheless reaches only the choir at best.

In the realm of puppetry, The Collector, by San Diego’s Animal Cracker Conspiracy, begins promisingly, with delicately designed maquette sets featuring a humble debt collector overseen by a tyrannical monkey-manager, simultaneous video projections and animations on a screen above, and a dreamy, clinking, wistful musical soundscape. But the wordless plot is sometimes challenging to decipher, the pace sluggish, and the action repetitive enough that, by the end, you realize it’s just a nifty installation that thought it was a play.

Meanwhile, Legacy of the Tiger Mother, by Las Vegas–based Angela Chan and Michael Manley, manages to pack a very clear, funny, and compellingly heartfelt storyline about intergenerational tensions between a Chinese American mother and daughter succinctly into a very agreeable hour — with music and witty lyrics for good measure. Chan’s semi-autobiographical musical may have formulaic elements, but they’re executed with winning skill and verve by a smart team fronted by the fine duo of Satomi Hofmann and Lynn Craig, accompanied by Chan on a piano that segues slyly between erratic keyboard exercises, controlled classical recitals, and expressive Broadway-style outbursts. (Meanwhile, on the darker and definitely weirder end of the cabaret spectrum, there’s SF’s Dan Carbone and Andrew Goldfarb in The Wounded Stag & Other Cloven-Footed Tales of Enchantment, whose archness is so arch as to be uncomfortably sincere.)

915 Cayuga’s SF Fringe Fest Extravaganza is a more promising title than show, but the radio-style variety piece, recorded as a podcast before its "live" Fringe audience, has a low-key charm despite often clunky or corny writing thanks to a fairly personable and adroit cast.

Among the more misleading titles is Aerial Allusions — at least if, like me, you picture some serious acrobatic work happening on and/or over the stage at some point. True, there’s a little able and lithesome wriggling around a ladder near the outset, but this meandering and semi-inept duet by a Canadian couple is lopsided in talent and altogether rambling. It took only a few seconds for one gentleman at the back to clear a path through some empty chairs and burst out of the theater. My date followed him a few minutes later. *

SAN FRANCISCO FRINGE FESTIVAL

Through Sun/16, most shows $10 or less

Exit Theatreplex

156 Eddy, SF

www.sffringe.org

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