Bay Guardian Archives

A broad abroad

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cheryl@sfbg.com

LIT In her 20s and 30s, Kristin Newman had built an enviable career writing and producing hit shows like That ’70s Show, How I Met Your Mother, and Chuck. But her personal life proved far less satisfying; after breaking up with her first love, she bounced between relationships while watching her friends settle down and spawn. Fortunate to have a job that allowed for months-long vacations between TV seasons, she began pursuing her wanderlust tendencies in earnest — emphasis on the “lust,” since her travels to places like Brazil, Iceland, Israel, and (especially) Argentina often included flings and what she came to call “vacation-ships” with locals and others she met on the road.

Along the way, she did some soul-searching — but fear not, her memoir What I Was Doing While You Were Breeding (Three Rivers Press, 291 pp., $14.99) is hardly a touchy-feely treatise along the lines of Eat, Pray, Love (more on that later). Instead, it’s a raunchy, witty, relatable look back at journeys that helped guide her into the next chapter of her life, at her own speed, with plenty of disasters and stirring moments along the way. I had to meet the woman behind the book, so I called her up in Los Angeles (her current project is upcoming ABC comedy Galavant, which has a fairy-tale theme and was created by Dan Fogelman, who wrote 2010’s Tangled).

SF Bay Guardian What I Was Doing While You Were Breeding is an evocative title. How did you come up with it?

Kristin Newman I thought I’d just write a few funny stories, kind of as writing samples, to get my next sitcom job. All of a sudden, I had 70 pages. It all happened the same month that I met my now-husband, and my stepmother died, and it just kind of poured out of me.

As I sat down to write, I realized [with all these trips and relationships], I wasn’t just biding my time and being silly while waiting for something to start. What I had been doing was actually its own important thing: finding a new way to be happy. My friend, who has a kid by the way, suggested that I call it What I Was Doing While You Were Having Stupid Babies [laughs]. I thought that was going to turn too many people off. So we went with Breeding.

SFBG The title might lead some to believe that you don’t like children, but anyone who reads the book will realize that’s not the case.

KN I always wanted to have kids. But deep into my 30s, I absolutely was not ready yet. Biology kicks in at a certain point, and I felt like I saw so many people around me jumping into things just because of their age, after waiting so long. I knew that I theoretically needed to figure things out, but I just wasn’t feeling it yet. I was always cool with adopting, and I write about freezing my eggs, because I felt like, I can’t let this number dictate what I do. It’s too big of a decision.

SFBG The book is a personal memoir, but it’s also a guidebook of sorts. What’s your travel philosophy?

KN The biggest thing is: Go where the guidebooks don’t tell you to go. Find locals and ask them where their secret places are. Dating a local is a great way to get advice from a local — that’s why I love a vacation romance! If you’re traveling alone, don’t go for the high-end places, even if you can afford them, because that’s not where single people go. It will be all married old people who aren’t going to want to hang out with you. If you’re not 21 and don’t want to hang with the backpackers, shoot for the mid-range.

Always say yes! And then find out how many amazing things happen as a result of accepting invitations to places, or checking out something new that somebody you meet one day suggests. The best things always happen because I say yes to something. Then, it empowers you to do that when you get home, too. Even when I can’t jump on a plane, I take a book and read alone at a restaurant, which I never used to do. I’ll walk into parties alone, or take myself to a museum. I do a lot more things alone in my own town, and that changes everything. You just feel like, “I can handle it!”

SFBG Do comparisons with  Eat Pray Love drive you crazy?

KN I wrote about that book in my book, because I knew that people would compare the two. It doesn’t drive me crazy — that book touched a lot of people, and that’s great. I had a complicated relationship with that book, as I think a lot of people do, dealing with the concept of “misery of the entitled person.” I think that all kinds of people who have entitled, lucky lives can be horribly miserable — look at Robin Williams. So I don’t blame [Elizabeth Gilbert] for her self-created misery, as someone who creates her own misery on a regular basis.

But I wanted to try and take myself a little less seriously, and have a much more comic, self-deprecating approach to the silliness that was my tail-chasing. That was my goal, to have it be fun. Also, by holding off on having sex for most of that book, I feel like she missed out on a really easy way to feel better! [Laughs.] *

KRISTIN NEWMAN

Sept. 20, 1pm, free

Book Passage

51 Tamal Vista, Corte Madera

www.bookpassage.com

 

Events: September 10 – 16, 2014

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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 10

Lan Cao Mechanics’ Institute, 57 Post, SF; www.milibrary.org. 6pm, $15. The author shares her novel, The Lotus and the Storm, about a Vietnamese American family during and after the Vietnam War.

Gillian Conoley City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. The author discusses Thousand Times Broken, her new translation of three Henri Michaux works, with a presentation of the original art displayed in the book.

James Ellroy Commonwealth Club, 595 Market, SF; www.commonwealthclub.org. 6pm, $7-20. The acclaimed crime novelist (LA Confidential, The Black Dahlia) discusses his long career and latest work, Perfidia.

Carl Russo Green Apple Books, 506 Clement, SF; www.greenapplebooks.com. 7pm, free. The author shares The Sicilian Mafia: A True Crime Travel Guide.

THURSDAY 11

Samuel Fromartz Book Passage, 1 Ferry Bldg, SF; www.bookpassage.com. 6pm, free. The journalist-turned-baker discusses his new book, In Search of the Perfect Loaf: A Home Baker’s Odyssey.

FRIDAY 12

Tanya Holland Books Inc, 1344 Park, Alameda; www.booksinc.net. 7pm, free. The chef, Food Network personality, and author launches her new cookbook, Brown Sugar Kitchen: New-Style, Down-Home Recipes from Sweet West Oakland.

SATURDAY 13

Bay Area Free Book Exchange’s Fifth Anniversary Free Book Blowout Bay Area Free Book Exchange, 10520 San Pablo, El Cerrito; www.bayareafreecookexchange.com. 9am-6pm, free. Through Sun/14. Celebrate five years of free books at this anniversary party, and take home some new reading material of your own from the Bay Area Free Book Exchange’s shelves. Or, go one more step and bring some old books (as well as CD and DVDs!) to donate and share with others.

Ghirardelli Chocolate Festival Ghirardelli Square, 900 North Point, SF; ghirardelli.com/chocolatefestival. Noon-5pm, $20-40. Through Sun/14. Help raise money for Project Open Hand and satisfy your sweet tooth at this 19th annual dessert and wine fiesta. In addition to offering samples of gourmet goodies from over 50 vendors, Ghirardelli hosts chef demos, a silent auction, a “Chocolate School” (learn about chocolate-making!), and the ever-popular hands-free sundae-eating contest.

Sea Music Festival San Francisco Maritime National Historic Park, Hyde Street Pier, SF; www.nps.gov/safr/planyourvisit/seamusicfestival2014.htm. 9am-5pm; evening chantey sing, 7:30-9:30pm. Outdoor performances free; admission to historic ships $5 (kids 15 and under with adult supervision, free). Learn about maritime history through music at this all-day fest of traditional and contemporary songs, instrumentals, and dances. The Sea Music Concert Series continues aboard the Balclutha Sept 20, Oct 25, and Nov 25 ($12-14 or a season ticket, $36).

“Tour de Fat” Lindley Meadow, Golden Gate Park, SF; www.newbelgium.com. 10am-5pm, free (beer, $5; donations for nonprofits accepted). “Bikes, beer, and bemusement” highlight this annual outdoor party, with a costumed bike parade, beer-brewing activities, yo-yo performers, a dance contest (winner gets a new cruiser!), and headliner Reggie Watts.

SUNDAY 14

John Jung Eastwind Books of Berkeley, 2066 University, Berk; www.asiabookcenter.com. 3pm, free. The author presents two works: Chinese Laundries: Tickets to Survival on Gold Mountain and Sweet and Sour: Life in Chinese Family Restaurants.

Sunday Streets: Western Addition Fillmore between Geary and Fulton; Fulton between Fillmore and Baker, SF; www.sundaystreetssf.com. 11am-4pm, free. What traffic? Explore the neighborhood (including breezy, hilly Alamo Square) on foot or bike.

Urban Air Market Hayes Valley, Hayes and Octavia, SF; www.urbanairmarket.com. 11am-6pm, free. Over 130 emerging and established designers share their wares at this outdoor community market. Also: food trucks and live music.

“Writers with Drinks” Make-Out Room, 3225 22nd St, SF; www.writerswithdrinks.com. 7:30pm, $5-20. With Evan Lepucki, Robin Sloan, Lenelle Moïse, Annelyse Gelman, Cecil Castellucci, and Christina Nichol.

TUESDAY 16

Courtney Moreno Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. As part of the “New Voices, New Stories” series, the author shares her first novel, In Case of Emergency. *

 

Falling apart together

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cheryl@sfbg.com

FILM “I don’t know … maybe we were doomed from the beginning,” muses Maggie (Kristen Wiig) at the start of The Skeleton Twins. It’s her voice-over, but the figure onscreen is her brother, Milo (Bill Hader), who mopes to Blondie before flopping into a bathtub that slowly fills with water and blood from his slashed wrists. The twins haven’t seen each other in over 10 years, and the ice takes awhile to break when Maggie appears at his hospital bedside. They’ve been separated by geography (he’s in LA; she still lives in their hometown of Nyack, New York) and lifestyle — recently separated from his most recent boyfriend, Milo’s on his way from being a struggling actor to simply being a failed one; Maggie’s a married dental hygienist whose life seems to be in perfect working order. Seems.

Of course, we share her secret: On the same day Milo was penning a suicide note — “See ya later,” with a smiley face — Maggie was on the verge of gobbling a handful of pills in order to make her own permanent exit. Her marriage, to perfectly oblivious Lance (Luke Wilson), is a snooze, and she’s been secretly been taking birth control despite his much-vocalized desire to have kids ASAP. She also hasn’t, ah, been entirely faithful. Clearly, these siblings have more in common than they realize. They’re both deeply miserable, unable to shake a troubled past that includes their beloved father’s suicide, a distant mother (Joanna Gleason) who prefers New Age clichés to honest communication, and the scandalous incident (involving Milo and his high school English teacher) that caused their estrangement.

There’s only one path for these sad sacks (since if one of ’em actually died, that would make this black comedy a little too black), so they set about trying to mend fences. Milo moves into Maggie’s Pottery Barn catalog of a house, and though the surroundings are twee suburbia, the mood is decidedly desperate. Milo’s former teacher (Modern Family‘s Ty Burrell) is still in town, still closeted, and still as confusing a figure to grown-up Milo as he was to teenage Milo. And Maggie is hardly a calming presence, having realized long ago that her husband is alllll wrong for her, despite the fact that he’s possibly the nicest, most understanding dude on the planet. It’s obvious — despite their frequent arguments, and the fact that both do some pretty terrible things — that the only bond in The Skeleton Twins that has any chance at repair is Milo and Maggie’s.

Produced by indie darlings Jay and Mark Duplass, and directed by Craig Johnson (whose co-writer, Mark Heyman, also co-wrote 2010’s Black Swan), The Skeleton Twins might veer too deeply into melodrama territory were it not for its restrained script, and its appealing cast. Saturday Night Live alums Wiig and especially Hader are mostly known for their comedic talents — we all saw Wiig give good pathos in 2011’s Bridesmaids, but it’s impressive to see the same actor who portrayed flamboyant club kid Stefon bringing depth to a more serious role. (Not to say that Skeleton is entirely grim; there’s an extended lip-sync sequence that fans of the soundtrack to 1987’s Mannequin will find difficult to resist. Plus, this is very much a family that uses sarcasm as a survival method … and, sometimes, nitrous oxide.)

It’s also gratifying to see a relationship movie that’s not solely focused on romance. In fact, the film’s message that squaring away one’s beef with the family members that matter most (once you’ve jettisoned those beyond all hope, like Maggie and Milo’s selfish, Sedona-dwelling mother) is an important step toward healing and finding-your-true-self-ness. And it just so happens that The Skeleton Twins is being released not long before the holiday that holds so much meaning for its protagonists: Halloween. Though many a family drama pivots around Christmas, The Skeleton Twins is a tad too smart for that, and far too aware of the ways life can sneak razor blades into its twists and turns. *

 

THE SKELETON TWINS opens Fri/12 in Bay Area theaters.

Urban decay

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arts@sfbg.com

FILM It increasingly seems like the ultimate plan for the poor must be simply to drive them into the sea. What else is going to be done with them if we realize the Koch brothers’ dream of no minimum wage, food stamps, welfare, or Social Security? (One alternative already in practice: Build more prisons, of course.) Hostility toward the have-nots, believing that somehow they got there by being lazy or criminal or genetically inferior, is of course as old as civilization itself. But legislating to create poverty rather than to solve it is a significant reversal over the general trend of American history over the last century or so.

This kind of “Sorry, you’re screwed” mentality may seem alarming here, but it’s a basic part of the social structure wherever economic resources have always been scarcer and a drastic wealth-power divide taken for granted. Part of the impact of Ira Sachs’ excellent Love is Strange, now playing, comes from our horror that this doesn’t happen to these people, since educated, middle-class white Americans aren’t supposed to become more or less homeless. The protagonists in UK-Philippines co-production Metro Manila, however, stir our sympathy but little surprise when they become completely homeless. (Unlike the Strange characters, they have no safety net of friends and relatives who can take them in.)

Oscar (Jake Macapagal) and Mai Ramirez (Althea Vega) are rice farmers who live in the Ifugao province, tending their crop on 2,000-year-old terraces cut into the mountains. It’s grueling work in which nine-year-old daughter, Angel (Erin Panlilio), is already enlisted; another child is still a babe in arms. This stunning verdant landscape, shot by former fashion photographer Sean Ellis (also the director and co-scenarist), might be paradise on Earth with less toil and a lot more pay. But as the Ramirez family discovers, the crop that paid 10 cents a pound last year now only pays two. The family can’t survive on that return — it’s not even enough to buy seeds for next year’s harvest.

There’s nothing they can think to do but to follow the path of so many impoverished rural folk before them and head to the big city. Upon arriving in Manila, they’re stunned by the noise, crowds, and the aggressive police presence; one day they’re horrified witnesses as an attractive woman walking alone is pulled screaming into a passing car and spirited away, though no one else seems to blink. What seems a lucky break with a Good Samaritan turns out to be a scam that robs them of their paltry cash store and the shelter they thought they’d bought with it. Hustling frantically, Oscar gets himself a day’s physical labor, only to be paid with a sandwich.

Time and again, they find those who offer help are predators who recognize easy marks when they see them. Mai is tipped to a barmaid job that even has babysitting. But it’s the kind that starts with the interviewer saying “Show me your tits.” “Daycare” consists of letting the kids crawl around the women’s changing room, and keeping customers “happy” is scarcely distinguishable from straight-up prostitution. Then Oscar’s military-service tattoo gets him embraced as a fellow veteran by older Ong (local film and TV veteran John Arcilla). The latter seems a savior, setting up the family in a fairly nice apartment, taking on Oscar as his new partner in an armed security-guard service where the main duty seems to be running questionably legal amounts of money around.

All this happens in Metro Manila‘s first half, after which it becomes less a tally of everyday exploitations and slum indignities than a crime drama in the mode of Training Day (2001), or Brillante Mendoza’s notorious 2009 Kinatay, which won a controversial Cannes Best Director Prize in 2009 and subsequently played Yerba Buena Center for the Arts. (YBCA’s New Filipino Cinema festival provided Metro‘s area premiere earlier this summer — the Roxie’s single showing this Thursday evening will doubtless be as close to a regular theatrical release as it gets hereabouts.) Ellis’ film isn’t as slickly hyperbolic as Day or as challengingly grungy as Kinatay, inhabiting a useful middle ground between thriller and case-pleading exposé. Itself an audience award winner at Sundance, Metro feels creditably engulfed in its cultural setting — if this were a movie by an old-school Filipino director, there might have been a heavier emphasis on the Ramirezes’ Christianity, which is presented simply and respectfully here but not used to milk viewer emotions.

Ellis funded this feature (his third) himself, the story inspired by a violent fight he witnessed between security guards during a prior trip to the Philippines. He doesn’t speak Tagalog, making Metro one of the better films in recent history by a director shooting in a language he doesn’t understand, something that happens more often than you might think. (Interestingly, Metro has already been remade as the Hindi movie CityLights.) The script he’s co-written with Frank E. Flowers is economical, such that when there’s a rare moment of what otherwise might pass for preachiness, the truth stings instead. When a suddenly less grateful than fearful Oscar tells his boss, “I don’t believe in hurting people,” Ong snaps, “Don’t speak. You have no voice in this world.”

Indeed. Money talks. The rest of you, STFU. *

METRO MANILA

Thu/11, 7pm, $10 (followed by Skype interview with Sean Ellis)

Roxie Theater

3117 16th St, SF

www.roxie.com

 

Jock joints

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culture@sfbg.com

CULTURE Jim McAlpine wants the world to know that not all marijuana users are lazy, permanently couch-locked, junk-food addicted stoners. That’s why McAlpine is organizing the 420 Games, a series of athletic competitions in which weed enthusiasts will run, walk, and bike their way to larger societal acceptance.

The Games’ inaugural event, a five kilometer fun run in Golden Gate Park Sat/13 that McAlpine hopes will attract 500 participants, will be followed by a road cycling competition in Marin County, a “Marijuana Olympics Challenge” in Sacramento, and foot races across the state. “What better way to prove that you’re not a stoner just because you use marijuana, than [by] going out and being motivated and athletic?” McAlpine points out in an e-mail interview with the Guardian.

The visual of hundreds of healthy weed users jogging en masse through Golden Gate Park’s winding green thoroughfares seems like an apt PSA for responsible pot use. The 420 Games also just sound like a good time. At the inaugural event, attendees have the option to skip the athletics completely and come for the afterparty, which features an artisanal beer garden sponsored by Lagunitas and a set by Zepparella, an all-female Led Zeppelin cover band.

Those expecting the baseball bat-sized joints and puking, littering high schoolers present each year at the 4/20 celebrations on Hippie Hill in the park, be warned: There will be no sanctioned on-site cannabis use at the 420 Games, and attendees are encouraged to drag only on legal weed before and after the event. The Games are not a free-for-all smoke out, radical demonstration, or a call to legalize weed now; rather, McAlpine has packaged his sporting events in a way that will encourage even cannabis skeptics to examine their views about marijuana in 2014.

In his previous life, McAlpine was an entrepreneur who ran a discount ski pass company. But drought and years of dismal snowfall have driven McAlpine to find additional ways to spend his time. He was inspired by the potential of the cannabis industry, and seeks to use many of the proceeds from the 420 Games to fund a 501c3 nonprofit, the PRIME Foundation, which he’s establishing. Though PRIME has yet to begin educational programming and McAlpine has few details on when it will begin operating, he told the Guardian that he wants the organization to be a source of education for youth and adults about marijuana addiction, and about the very real benefits of weed and hemp. “I hope we can begin to raise some money to create campaigns to really educate the public on topics like this,” he says, referring to the 420 Games kickoff.

Of course, the 420 Games are not the only proof that weed-smoking athletes exist. One need only look at the countless Olympians and NFL, NBA, and NFL players who have been caught with pot to know that the sporting life is not one that is necessarily devoid of THC. The highest-profile case was that of swimmer Michael Phelps, the Olympic phenom who has won more medals than anyone in the history of the Games (22 total, 18 of them gold). In 2009, three months after dominating the lanes in Beijing, a leaked photo appeared to show Phelps smoking a bong. Since the photo’s depicted infraction took place during the off-season, Phelps escaped Olympic sanctions, but he did receive a competition suspension and lost a few endorsement deals.

In 1998, Canadian snowboarder Ross Rebagliati was nearly stripped of his Olympic gold medal after a post-competition positive drug test, but ducked punishment when it was proven that marijuana wasn’t officially on the banned list of the Olympics’ governing board. It was added three months later, which meant American judo star Nicholas Delpopolo was expelled from the 2012 London Olympics when his results came back positive for pot (he maintains he unwittingly ate weed-infused food, but no exception was extended for ignorance of intoxication).

Josh Gordon of the Cleveland Browns was the NFL’s leading receiver during the 2013 season when he failed a drug test for pot. The league recently announced he will be suspended for the entire 2014 season. Pittsburgh Steelers running backs Le’Veon Bell and LeGarrette Blount were pulled over with weed in their car last month, but have yet to be suspended from play. And of course, who could forget SF Giants pitcher Tim Lincecum’s 2009 off-season misdemeanor charge, when a pipe and weed were found in his car’s center console during a traffic stop? The list of athletes who have been discovered with weed is rather lengthy, all things considered.

The NHL has removed marijuana — and all drugs not deemed to be performance-enhancing — from its list of banned substances, choosing instead to offer optional addiction counseling to athletes who repeatedly test positive. But NFL spokespeople have repeatedly asserted that no change will be forthcoming in the league’s weed policy. This is especially distressing given that football players likely stand to benefit much more than most people, particularly athletes, from marijuana’s pain management effects. A lawsuit filed earlier this year by 750 ex-NFL players takes on the league for alleged distribution of opioid painkillers that have been shown to have detrimental long-term effects on players’ health.

Cannabis’ natural painkillers are a different story. In an interview with the Fusion network, former Chicago Bears defensive tackle Tank Johnson estimated that 70 to 80 percent of NFL players “gravitate toward the green,” and not just for recreational use. “Managing and tolerating your pain is how you make your money in this game,” Johnson said.

Berkeley doctor Frank Lucido knows full well why sports enthusiasts would turn to marijuana. “Some athletes might benefit from using cannabis after sports for the acute pain and inflammation from that recent activity or trauma,” Lucido writes in an e-mail interview with the Guardian. “Depending on the sport, a player may use cannabis before to ease chronic pain or muscle spasm, so they can function better.”

Lucido said he has prescribed various ex-NFL players medical marijuana, has worked with patients on seeking cannabis treatment since the passage of Prop. 215 in 1996, and holds the opinion that performance in some noncompetitive sports can benefit from cannabis use beforehand. He’s not alone. Others have commented anecdotally that weed can improve sporting ability, especially in pursuits involving high levels of finesse like golf and bowling.

McAlpine says thus far no pro athletes have announced their support of the 420 Games. In our interview, he alludes to plans to approach Phelps’ management, but he might have better luck shooting for Rebagliati. After his close shave with Olympic disgrace, the snowboarder is now the CEO of Ross’ Gold, a Canadian company that sells 14 strains of premium branded medical cannabis. Philadelphia Flyers veteran Riley Cote is another ex-pro in the world of marijuana — he recently started a foundation to teach people about the role hemp can play in a sustainable lifestyle.

But perhaps the 420 Games will manage to sway public opinion not with the appearance of gold medal winners, but rather everyday people who use weed in their everyday lives — something that weed expos, with their green bikini babes and emphasis on innovative new ways of getting blasted, have failed to do.

“I believe very strongly that there is a huge problem with public perception of marijuana users,” says McAlpine. “Even as it becomes legal. I knew it would be a big step to take on this new venture, but it is 100 percent for a cause I believe in, so that makes it all a lot easier to get up and put the hours in.”

There’s no question that it will take many muscles to change much of professional sports’ opinion on marijuana. But maybe we can start here. Call it a joint effort. *

420 GAMES 5K FUN RUN/WALK

Sat/13, 7am check-in; 8am race; 9am-noon afterparty, $60 (afterparty pass, $42)

Bandshell, Music Concourse, Golden Gate Park, SF

www.420games.org

Feasting on flacks

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culture@sfbg.com

THE WEEKNIGHTER Sometimes it happens. PR companies take me out, feed me, and get me boozed up. All with the hope that I will write about the place that’s feeding/boozing me. Sometimes I write about the place, sometimes I don’t. I make no promises other than I promise to consume the food and booze that’s put in front of me. I imagine I’ve had worse lifetimes, but I wouldn’t know.

This time Natalie was taking me to Chaya (132 Embarcadero, SF, (415) 777-8688) on the PR company’s dime. Sitting on the Embarcadero with staggering views of the bay, Chaya is absolutely lovely. Come at sunset to see the lights twinkle on the Emperor Norton Bridge and sit down to a romantic dinner of incredible French-Japanese fusion.

In fact, if I’m not mistaken, Chaya was one of the first places doing “fusion” back before that was a beaten and tired word in the culinary world. That’s because Chaya has been around in SF for 14 years, which is a remarkable feat in any town, but nearly magical in San Francisco. The thing is, 14 years ain’t shit compared to the fact that the family that owns the Chaya has been in the hospitality business for almost 400 years.

According to the thing Natalie just sent me (since I neglected to take notes): Chaya has an unprecedented 390-year history of restaurants owned and operated by the same Tsunoda family both in Japan and California. Chaya began under an enormous shade tree in Hayama, Japan, centuries ago, where it offered tea, sweets, and respite to weary horseback travelers.

As they say in Japan: that shit cray.

Sitting down in the back area with Natalie and Matthew, Chaya’s marketing manager, I was told about the restaurant’s all-night happy hour, which happens every day. Chaya has long been an after work staple for the well-heeled, so it only made sense to extend the length of happy hour to keep those with well-coiffed hair quaffing well-made drinks.

Then the food came out and it was glorious. I don’t remember exactly what we ate, but there was a lot of it and it was brilliant and made my mouth happy. Matthew was excited to have me eat the Temari-style sushi, which is little round balls of rice topped with fish so fresh you can almost taste their souls. If fish had souls, that is. More food followed, as did drinks with whimsical names and suddenly, somehow, I was full and drunk. Life was good.

Natalie and Matthew began telling me about something called the Kaisen platter, which is a full selection of various raw seafood meant to be shared. “That sounds amazing,” I said, “but if you actually bring that out here right now, I may cry.” I had made the mistake of saying that I would eat and drink anything they put in front of me, and the clever bastards had the balls to call my bluff. Every man has his limits and I had found mine.

It was the golden hour when I finally toppled out of Chaya. The buildings were shimmering like pyrite and by the time I made it to Market, the street had a pinkish hue.

“I think I’m gonna walk home,” I told Natalie. “If you don’t hear from me, it’s because I ruptured something and died on the way home.”

I didn’t die.

To the classrooms, Baby Boomers

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OPINION As long as I’ve been substitute teaching, people have asked what I thought we could do to improve public schools. With all of the classrooms I’ve been in, they figured I might know something. But I’ve never had a simple answer for them, because I don’t actually think there is a single overriding educational crisis.

For most kids, the system works okay, or at least as well as it always has. At the same time, there are large groups of kids clearly struggling — black students most obviously, but not only. If we’re serious about fixing the educational problems of the nation’s “disadvantaged” kids, we need to improve the overall circumstances of their lives.

I’d say there is one surefire thing we can do to improve America’s classrooms: Put more adults in them — and not just teachers.

Think of how seldom the question of class size makes it into the highly politicized national education debate. If you didn’t know any better, you’d think it must be an insignificant element. But if you really want to know if class size is a big deal, just ask someone who teaches. Or if you want private sector confirmation of this, check out the private school brochures or websites, which tout their smaller class sizes.

So why don’t we hear more about this? Maybe because there’s no major corporate or political interests pushing it, as opposed to charter schools — or the various tenure, curriculum, or discipline reforms that vie to become panacea of the moment.

For instance, you’ll likely hear more about the problem of inadequate textbooks in “poor schools” than the too-large classes in them. Could this be related to the fact that the only part of the publishing industry that isn’t struggling these days is the educational sector?

The world’s four largest publishers produce educational materials, and they’re out there making their case and drumming up business all the time. There’s a lot of money to be made selling $85 world history texts to middle school classes of 35 students. Again, if you’re not sure yourself, ask any teacher which would help more: the latest textbook or a smaller class?

Moving from business to politics, the Obama Administration has recently expressed interest in reforming school discipline policy, but it says so little about the surest route to reducing classroom problems: a lower student-teacher ratio. The reason for the silence is pretty obvious. More teachers cost more money. This means higher taxes (or maybe reduced military spending). New textbooks cost money too, of course. The difference, however, is that there are no giant corporations pushing for hiring more teachers — there’s simply no money in it for them.

Yet we could put more adults into the mix even when we can’t actually reduce class size. I’ve been in classrooms where it seemed like the adult-to-child ratio needed to really give kids a shot was something like one-to-five-or-six — and this was not special ed. And I’ve seen combinations of teachers, paraprofessionals (aka teachers’ aides), student teachers, parents, or volunteers from the community that achieved that goal — at least for a little while. I’ve also seen situations where an additional person helped a kid who would have otherwise likely disrupted an entire class and not only prevented that, but got him to produce something useful.

After I had expounded on this idea at a recent gathering in Boston, an old friend came up to me and said, “Look around this room,” noting the crowd of Baby Boomers who are soon retiring and will have considerably more time on their hands. All had an interest in public education.

What if even a small percentage of them could find their way to helping public schools by actually spending time assisting in a classroom? Wouldn’t we have a significant asset on our hands? I think he was right.

Tom Gallagher is a San Francisco substitute teacher and the author of Sub: My Years Underground in America’s Schools (Coast to Coast Publishing, 2014). He can be reached at tgtgtgtgtg@aol.com. To submit a guest editorial, contact news@sfbg.com.

WATERS sign to Vagrant, drop new single “I Feel Everything”

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Van Pierszalowski, the songwriter and primary ringleader of SF’s WATERS, has always seemed like a guy on the brink of wide(r)spread stardom. The band’s music is an ear-pleasing mix of guitar-driven rock riffs and power pop hooks the size of Buicks; it’s radio-ready without feeling squeaky-clean, in no small part thanks to Pierszalowski’s plaintive vocals.

This may be the year it happens for WATERS. The band announced yesterday that it signed to the LA-based Vagrant Records, which will release its forthcoming EP, It All Might Be OK, on Oct. 14. And today we have this album-opening anthem, “I Feel Everything,” which has the deliciously raw feel of Pinkerton-era Weezer but with a fuzz-laden, wall-of-guitar chorus that seems ready for a stadium stage. Give it a listen below.

https://www.youtube.com/watch?v=S7twqkSTUNI

 

Defend the deal

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EDITORIAL Creating a functional and equitable San Francisco for tomorrow requires political will and foresight today. Do our current political leaders have the requisite courage and commitment to the broad public interest, or are they too willing to give away the farm to powerful private interests wielding promises or threats?

This week at City Hall, there was a fascinating test case for these questions, one that we laid out on Sept. 8 on the SFBG.com Politics blog (“Developers lobby hard to slash payments promised to Transbay Terminal and high-speed rail”). In a nutshell, it involves developers of the biggest office towers proposed for San Francisco reneging on promises to pay for vital public infrastructure, which they made in exchange for lucrative upzoning of their properties.

With hundreds of millions of dollars at stake, they hired top political fixer Willie Brown to make their case to politicians, including those he helped bring to power, giving him a cut of whatever money this shakedown can shake loose. The Board of Supervisors was set to consider the issue after the Guardian press time for this issue, so check our Politics blog for what happened, but there a few observations we can make without even knowing what the outcome was.

This power play would never happen unless these developers and their allies — including Salesforce, which has leased most of the Transbay Tower, what would be the tallest building on the West Coast — thought they had a reasonable chance of success. And given how the Mayor’s Office seems willing to give developers and business leaders whatever they want, it seems likely that this lobbying effort will more than pay for itself, to the detriment of the public.

Mayor Ed Lee isn’t a political leader, he’s really just the city’s chief administrator, a role he’s been playing since Brown was mayor and that he continues playing since Brown helped put him into Room 200. Chief-of-Staff Steve Kawa, another loyalist to Brown and downtown, dishes out discipline to supervisors who don’t toe the line.

City leaders should be willing to play hardball, stick to the original deal, and call the bluff of these developers, even if that means risking that these towers might not get built in their proposed form and timeline. Yes, that strategy might involve some legal liability, but these massive towers were always proposed as a means to an end.

San Francisco doesn’t need a 1,000-foot office building. But given its commitment to rebuild the Transbay Terminal, it does need to ensure that expensive project includes 21st century rail service connecting to the rest of the state, as well as the open space and neighborhood amenities that these developers should fund.

Equally important, San Francisco needs to show that it’s not for sale, that it won’t be bullied, and that its leaders are looking out for more than their own political interests.

Racing for solutions

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rebecca@sfbg.com

Although there are five seats on the San Francisco Board of Supervisors up for reelection this fall, incumbents face few contenders with the requisite cash and political juice needed to mount a serious challenge. The one race that has stirred interest among local politicos is the bid to represent District 10, the rapidly changing southeastern corner of San Francisco that spans the Bayview, Hunters Point, Visitacion Valley, Dogpatch, and Potrero Hill neighborhoods.

Sup. Malia Cohen, who narrowly beat an array of more than a dozen candidates in 2010, has raised way more money than her best-funded opponent, progressive neighborhood activist Tony Kelly, who garnered 2,095 first-place votes in the last D10 race, slightly more than Cohen’s, before the final outcome was determined by ranked-choice voting tallies.

For the upcoming Nov. 4 election, Cohen has received $242,225 in contributions, compared with Kelly’s $42,135, campaign finance records show. But Kelly, who collected the 1,000 signatures needed to qualify for the November ballot and qualified for public financing, has secured key progressive endorsements, including former Mayor Art Agnos, Assemblymember Tom Ammiano, Sups. David Campos and John Avalos, and the Potrero Hill Democratic Club.

Others who’ve filed to run for this office include Marlene Tran, a retired educator who has strong ties to families in the district, especially in Visitacion Valley, through her teaching and language-access programs (she’s known by kids as “Teacher Tran”); Shawn Richard, the founder of a nonprofit organization that offers workshops for youth to prevent gun violence; and Ed Donaldson, who was born and raised in Bayview Hunters Point and works on economic development issues. DeBray Carptenter, an activist who has weighed in on police violence, is running as a write-in candidate.

But the outcome in this dynamic district could be determined by more than campaign cash or political endorsements. That’s because the D10 supervisor faces the unique, unenviable challenge of taking on some of the city’s most intractable problems, which have disproportionately plagued this rapidly changing district.

Longstanding challenges, such as a high unemployment and crime rates, public health concerns, social displacement, and poor air quality, have plagued D10 for years. But now, fast-growing D10 is becoming a microcosm for how San Francisco resolves its growing pains and balances the interests of capital and community.

 

MIX OF CHALLENGES

While candidate forums and questionnaires tend to gauge political hopefuls on where they draw the line on citywide policy debates, such as Google bus stops or fees for Sunday parking meters, neighborhood issues facing D10 have particularly high stakes for area residents.

While other supervisors represent neighborhoods where multiple transit lines crisscross through in a rainbow of route markers on Muni maps, D10 is notoriously underserved by public transit. The high concentration of industrial land uses created major public health concerns. A Department of Public Health study from 2006 determined that Bayview Hunters Point residents were making more hospital visits on average than people residing in other San Francisco neighborhoods, especially for asthma and congestive heart failure.

Unemployment in D-10 hovers near 12 percent, triple the citywide average of 4 percent. Cohen told us efforts are being made on this front, noting that $3 million had been invested in the Third Street corridor to assist merchants with loans and façade improvements, and that programs were underway to connect residents with health care and hospitality jobs, as well as service industry jobs.

“The mantra is that the needle hasn’t moved at all,” Cohen noted, but she said things are getting better. “We are moving in the same downward trend with regard to unemployment.”

Nevertheless, the high unemployment is also linked with health problems, food insecurity — and violence. In recent months, D10 has come into the spotlight due to tragic incidents of gun violence. From the start of this year to Sept. 8, there were 13 homicides in D10.

Fourth of July weekend was particularly deadly in the Bayview and D10 public housing complexes, with four fatal shootings. Cohen responded with a press conference to announce her plan to convene a task force addressing the problem, telling us it will be “focused on preventing gun violence rather than reacting to it.”

The idea, she said, is to bring in expert stakeholders who hadn’t met about this topic before, including mental-health experts and those working with at-risk youth.

“I think we need to go deeper” than in previous efforts, Cohen said, dismissing past attempts as superficial fixes.

But Cohen’s task force plan quickly drew criticism from political opponents and other critics, including Sheriff Ross Mirkarimi, who dismissed it as empty rhetoric.

“How many people are cool with yet another task force?” Kelly said in a press statement challenging the move. “We can’t wait any longer to stem the deadly tide of violence in District 10. Supervisor Cohen’s task force won’t even propose solutions till 2017. We can’t wait that long.”

Kelly told us he’s formulated a five-point plan to tackle gun violence, explaining that it involved calling for a $10 million budget supplemental to bolster family services, reentry programs, job placement, and summer activities aimed at addressing poverty and service gaps. Kelly also said he’d push for a greater emphasis on community policing, with officers walking a beat instead of remaining inside a vehicle.

“How do you know $10 million is enough?” Cohen responded. “When you hear critics say $10 million, there is no way to indicate whether we’d need more or less.” She also took issue with the contention that her task force wouldn’t reach a solution soon enough, saying, “I never put a timeline on the task force.”

Cohen also said she wanted to get a better sense of where all of the past funding had gone that was supposed to have alleviated gun violence. “We’ve spent a lot of money — millions — and one of the things I am interested in doing is to do an audit about the finances,” she said.

She also wants to explore a partnership with the Guardian Angels, community volunteers who conduct safety patrols, to supplement policing. Cohen was dismissive of her critics. “Tony was not talking about black issues before this,” she said. “He hasn’t done one [gun] buyback. There’s no depth to what any of these critics are saying.”

Tran, who spoke with the Guardian at length, said she’d started trying to address rampant crime in Visitacion Valley 25 years ago and said more needs to be done to respond to recent shootings.

“There was no real method for the sizable non-English speaking victims to make reports then,” Tran wrote in a blog post, going on to say that she’d ensured materials were translated to Chinese languages to facilitate communication with the Police Department. “When more and more residents became ‘eyes and ears’ of law enforcement, community safety improved,” she said.

Richard, whose Brothers Against Guns has been working with youth for 20 years and organizing events such as midnight basketball games, said he opposed Cohen’s task force because it won’t arrive at a solution quickly enough. He said he thought a plan should be crafted along with youth advocates, law enforcement, juvenile and adult probation officers, and clergy members to come up with a solution that would bolster youth employment opportunities.

“I’ve talked with all 13 families” that lost young people to shootings this year, Richard said, and that he attended each of the funerals.

 

CHANGING NEIGHBORHOOD

Standing outside the Potrero Terrace public housing complex at 25th and Connecticut streets on a recent sunny afternoon, Kelly was flanked by affordable housing advocates clutching red-and-yellow “Tony Kelly for District Supervisor” campaign signs. The press conference had been called to unveil his campaign plan to bolster affordable housing in D10.

Pointing out that Cohen had voted “no endorsement” at the Democratic County Central Committee on Proposition G — the measure that would tax property-flipping to discourage real estate speculation and evictions — Kelly said, “This is not a time to be silent.”

While Cohen had accepted checks from landlords who appeared on the Anti-Eviction Mapping Project’s list of worst offenders for carrying out Ellis Act evictions, Kelly said he’s pledged not to accept any funding from developers or Ellis Act evictors. Asked if any had offered, Kelly responded, “Some. They’re not knocking down my door.”

Cohen told us that she hadn’t supported Prop. G, a top priority for affordable housing advocates, because she objected to certain technical provisions that could harm small property owners in her district. As for the contributions from Ellis Act evictors, she said the checks had been returned once the error was discovered. Her formal policy, she said, is not to intentionally take money from anyone involved in an Ellis Act eviction.

Speaking outside Potrero Terrace, Kelly said he thought all housing projects built on public land should make at least one-third of their units affordable to most San Franciscans. He also said renovation of public housing projects could be accelerated if the city loaned out money from its $19 billion employee retirement fund. Under the current system, funding for those improvements is leveraged by private capital.

Mold, pests, and even leaking sewage are well-documented problems in public housing. Dorothy Minkins, a public housing resident who joined Kelly and the others, told us that she’s been waiting for years for rotting sheetrock to be replaced by the Housing Authority, adding that water damage from her second-floor bathroom has left a hole in the ceiling of her living room. She related a joke she’d heard from a neighbor awaiting similar repairs: “He said, Christ will come before they come to fix my place.”

Lack of affordable housing is a sweeping trend throughout San Francisco, but it presents a unique challenge in D10, where incomes are lower on average (the notable exceptions are in Potrero Hill, dotted with fine residential properties overlooking the city that would easily fetch millions, and Dogpatch, where sleek new condominium dwellings often house commuters working at tech and biotech firms in the South Bay).

Home sale prices in the Bayview shot up 59 percent in two years, prompting the San Francisco Business Times to deem it “a hot real estate market adorned with bidding wars and offers way above asking prices.”

One single-family home even sold for $1.3 million. Historically, the Bayview has been an economically depressed, working-class area with a high rate of home ownership due to the affordability of housing — but that’s been impacted by foreclosures in recent years, fueling displacement.

Although statistics from the Eviction Defense Collaborative show that evictions did occur in the Bayview in 2013, particularly impacting African Americans and single-parent households, Cohen noted that evictions aren’t happening in D10 with the same frequency as in the Tenderloin or the Mission.

“When it comes to communities of color in the southeast, it’s about foreclosure or mismanagement of funds,” explained Cohen.

She said that a financial counseling services center had opened on Evans Street to assist people who are facing foreclosure, and added that she thought more should be done to market newly constructed affordable units to communities in need.

“There’s an error in how they’re marketing,” she said, because the opportunities are too often missed.

But critics say more is needed to prevent the neighborhood from undergoing a major transformation without input from residents.

“This district is being transformed,” Richard said. “A lot of folks are moving out — they’re moving to Vallejo, Antioch, Pittsburg. They don’t want to deal with the issues, and the violence, and the cost.”

At the same time, he noted, developers are flocking to the area, which has a great deal more undeveloped land than in other parts of the city.

“The community has no one they can turn to who will hold these developers accountable,” he said. “If the community doesn’t have a stake in it, then who’s winning?”

 

Tenderloin upstart Book & Job aims to level the art-gallery playing field

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Carson Lancaster is tired of the bullshit. He’s tired of watching the same handful of mainstream galleries hang the same artists and shun a majority of San Francisco’s young, talented artists. “It’s like that scene in Scanners. You know, the one where the guy’s head explodes? That’s what it feels like every time I walk into one of those places,” he said.

Lancaster is the owner of Book & Job, an art gallery that seeks to do exactly the opposite: make San Francisco’s art market accessible to both artists and consumers. Located on Geary and Hyde Streets, Book & Job blends into the grit of the Tenderloin and in no way resembles the blue-chip megaliths huddled toward Union Square. The space is tiny. There’s no team of attractive sales people standing at the entrance, no bubbly event photographers milling around, no tuxedos, and no free champagne.

However, it isn’t uncommon to see a small throng of young people spilling from the entrance on a given Saturday night, or passers-by (likely coming from galleries down the street) stopping in their tracks to gander at the commotion — looking for something, anything, that slightly resembles uncharted territory: candid photographs from inside of a ramshackle San Francisco mosque, say, or a couple of naked male performers feeding each other wedding cake while dancing to Celine Dion. That, Lancaster feels, is an art scene.

Which is why Lancaster is all ears if an artist wants to show work at Book & Job. Though it began mainly for photographers, in the past couple of years the small gallery has broadened its horizons to include just about anything — paintings, zines, and performances. “People come in all the time and say, ‘I like this place because it’s pure, because it’s real, because it’s no bullshit,” he continued. “It’s known in the community as the no bullshit gallery.”

Sat/13, Lancaster’s walls will feature work from an analog photography club called Find Rangers, which sent out an open call to artists around the world. Lancaster and a group of colleagues started the club for many of the same reasons he opened his gallery. “It’s a grassroots affair,” he said. 

As a former photography student at Academy of Art University, Lancaster wondered why many of the best students would flee San Francisco after graduating, but he eventually came to a realization: “The San Francisco art scene sucks. It is very close-minded, unfriendly, not open to interpretation, set in the same ways. And for young artists at CCA [California College of the Arts], SFAI [San Francisco Art Institute], and Academy of Art, to go to an art gallery in the city [and inquire about showing their work], they’re going to be told to go fuck themselves in so many words.”

Lancaster spoke of a disconnect between San Francisco’s relatively insular gallery scene and the high number of art students in the area. From 2002 to 2012, San Francisco received more art funding per capita than any another city in the nation, according to a 2014 study released by the Cultural Policy Center at the University of Chicago. And yet, the city’s abundance of talented artists cannot break in and are thus forced to seek greener pastures, usually in New York or Los Angeles.

Lancaster believes that this is largely because art galleries in San Francisco have tight business models, and that giving artists a chance just doesn’t allow them to stay afloat. These galleries, he said, would rather show artists they know can sell. “They have their roster of artists,” he explained. “December is Ferris Plock, or September is Jay Howell or Mike Giant, and it’s the same names over and over again. It’s more like a meat factory. It’s the meat aisle.”

This is especially prevalent nowadays, Lancaster explained, as many of the higher-end galleries are struggling themselves with out-of-control rents and the city’s shifting cultural values. In the past year, particularly downtown, a rash of galleries have either relocated or completely shuttered.

But Lancaster isn’t worried about Book & Job. His lease is written such that his rent stays fixed — and relatively low — until 2022. For next eight years, Book & Job cannot be priced out, even as the neighborhood continues to transform around it. “This is place is blowing up,” he said, pointing out the new cafés and restaurants that are now sprouting up around the Tenderloin. All the same, in the coming years Book & Job will serve as a small preservation of what remains of city’s DIY ethos, a channel through which local artists can be discovered without having to flee the city. 

“It’s a really nervy thing to do,” Sarah Barsness, one of Lancaster’s former Academy of Art teachers, says of the gallery. She explained that it’s extremely difficult to open a successful art gallery in the city, let alone one as “subversive” as Book & Job. “He’s doing the thing that you’re never supposed to do, which is having a lot of work that he sells for nothing, and spreading it out to a different, broader population — younger people and fellow students,” she explained. 

She even compared Lancaster to Andy Warhol and other pioneers of the pop art movement, who sought to strip art of its “preciousness” and “elitism” by selling prints for pennies on the dollar. Ultimately, Barsness explained, this made art more democratic. “It’s really important right now because we’re at a high point of elitists,” she said. “It’s over the top.”

By making art more democratic, she explained, galleries like Book & Job “bring artists back into the conversation,” making art more about art and less about business. But Barsness believes many San Francisco galleries have always operated this way. “San Francisco collectors are notorious for not buying San Francisco art,” she said, explaining that galleries have had to survive by bringing in work from other cities. 

While Barsness feels that the economic cards are not stacked in Lancaster’s favor, she feels that Book & Job embodies much of what art stands for. “Art is not supposed to preach. It’s supposed to show you an alternative way of thinking, so that questions emerge,” she said. “[Book & Job] is a little work of art, in that sense, making you ask: Do galleries have to operate this way? Is it wrong to have galleries operate this way? And why is it wrong?”

For Lancaster, however, Book & Job’s place in the art world isn’t so much subversive as it is deeply personal. In March, Lancaster found his close friend, renowned San Francisco artist Shawn Whisenant, dead from a health issue in the back room of the gallery, where he had been sleeping. Whisenant was a San Francisco street artist and photographer and one of the last “true” San Francisco artists, according to KQED’s Kristin Farr, who remembered him fondly after his passing.

And for Lancaster, Whisenant’s artistic ethos of “no B.S.” will always shape how Book & Job is run. A day doesn’t go by in which Lancaster doesn’t think about what Whisenant would have done. “He’s the angel and devil on my shoulder,” he said.

The room in which Whisenant died has been converted into a dark room, and for now Lancaster plans to share it with other like-minded photographers and use it to hone his own skills. “If someone is checking their phone and they see my open call [for a Find Rangers Camera Club exhibit], and they dust off their camera and buy a roll of film, I’m doing something right,” he said. “That’s not just me selling a booklet to help pay rent, that’s helping someone’s creativity … and that’s really cool.”

Find Rangers Camera Club exhibit

Sat/13, 7-11pm

Book & Job Gallery

838 Geary, SF

www.book-job.com

Catching up with burlesque star and fashion icon Dita Von Teese

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With a seductive and sexy nod to the past, modern pin-up and burlesque queen Dita Von Teese has been at the forefront of reviving a once nearly lost art form for two decades.

Bringing back the sense of classic style and glamour of the golden days of Hollywood and meshing it with the tantalizing teasing of the old-time burlesque circuit, Von Teese wraps up a two-night stand at the Fillmore tonight with her Burlesque: Strip, Strip, Hooray! show, a live revue featuring not only her own titillating talents, but a host of other performers as well, including Dirty Martini, Catherine D’Lish, and Lada Nikolska from the Crazy Horse Paris.

When Von Teese (real name: Heather Sweet) first got interested in retro styles and the bawdy and risqué performances of the past, there was just a small community of performers around the world that she recalls encountering; two decades later, she has watched the scene flourish and rapidly expand.

“It’s been really interesting to see the gradual unfolding of the burlesque revival and how massive it’s become. People are starting to get the message that this is inspiring and empowering [for] women that maybe can’t relate to other modern standards of beauty,” says Von Teese. 

“When I started making these shows, I started styling myself after retro looks because I felt that I couldn’t relate to any Victoria’s Secret models, or Sports Illustrated swimsuit models. That’s part of why I look to icons of the past like Marlene Dietrich, and Marilyn Monroe and Betty Grable — I felt that created glamour was something I could maybe capture the spirit of.”

When her tour dates end later this year, Von Teese is looking to take some time off from the road and focus more on other successfully growing parts of her creative output, including makeup, perfume, clothing, and a new line of lingerie, which she will be promoting via an in-store appearance at Bloomingdale’s in San Francisco Tuesday evening.

“It’s important to evolve. I have a 20-year career as a burlesque dancer, and I have to think a lot about my personal evolution. I don’t want to keep doing the same show over and over,” says Von Teese. “I don’t like to claim to be a fashion designer, but I think what I really do is take retro style and find the very ‘best of,’ and find the things that translate to modern times and don’t look like they’re dated or just retro style clothes. I love things that are like classic silhouettes: they stand the test of time and still look elegant and classic and glamorous, but they don’t make you look like you’re in a costume drama.”

And unlike many other performers or stars who are content to simply attach their name to a product, Von Teese chooses to be involved with every aspect of whatever project she is working on at the moment.

“I’m very hands-on, in a sense I am an aesthetic control freak, that’s what I do. With a lot of celebrity lines or celebrity-endorsed products they’ll just sign off, or say, ‘Oh, yeah, that looks good,’ but I’m completely hands-on during the entire process,” she says.

“I base the collection on my vast archive of vintage clothing and lingerie, so there’s a lot of work that goes into that. It’s the same as my burlesque shows. It’s me creating something that I believe in, and that I think is beautiful.”

It’s clear that Von Teese has an ever-growing fan base that appreciates and is inspired by what she does both on-stage and off. She says she’s seeing people of all backgrounds coming to her shows and enjoying themselves.

“I think people are starting to understand it more. It’s been great when people come out and see the show, and to see the diverse audiences,” says Von Teese. “I think that’s why we have such an interesting, eclectic group of people coming to these shows: they’re seeing this attainable way of creating beauty and sensuality.”

“Burlesque: Strip, Strip, Hooray!”

Mon/8, 7:30pm, $45

Fillmore

1805 Geary, SF

www.ticketmaster.com

 

Dita Von Teese in-store appearance

Tue/9, 6pm, free

Bloomingdale’s

845 Market, SF

www.dita.net

Developers lobby hard to slash payments promised to Transbay Terminal and high-speed rail

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Will the San Francisco Board of Supervisors let developers of the biggest office towers proposed for San Francisco renege on promises to help pay for the Transbay Terminal reconstruction, extension of rail service to that site, and other public amenities? Or will Willie Brown successfully use politicians that he helped get into office — most notably Mayor Ed Lee and Sup. Jane Kim — to let the developers keep hundreds of millions of dollars in excess profits?

The answers to those questions will become clearer tomorrow [Tues/9] as the board considers a complex yet crucially important agenda item. It involves creation of a special tax district around the Transbay Terminal, where office tower developers have been awarded huge upzonings — including the Transbay Tower, which would be the tallest building on West Coast at more than 1,000 feet — in exchange for paying for public works projects to serve the area.

But those developers, including Hines, Boston Properties, TMG, and others (it’s not clear whether all six upzoned parcels are participating in the current lobbying effort and threatened lawsuit), are now objecting to paying about $1 billion in special taxes and seeking to get that amount lowered to about $400 million. And to do so, they’ve already paid Brown at least $100,000 just this quarter, kicking off a lobbying effort so intense that Brown has finally registered as a lobbyist after questionably resisting it for many years.

Leading the charge against that effort is Sup. Scott Wiener, who said the promised payments are crucial to paying for about $200 million in work on the Transbay Terminal and paying for the first $450 million of the $2.5 billion project of bringing high-speed rail and electrified Caltrain trains into the facility, as well as a promised public park on top of the terminal.

“The downtown extension is one of the most important transportation projects we will deliver in the foreseeable future. It’s a legacy project with huge benefits for San Francisco and the entire state,” Wiener told us. “We have to go to the mat to get it built, and a reduction in this assessment will significantly undermine our ability to deliver the project and get the train downtown. The last thing we need is a very expensive bus station with no train service.”

The developers and their spokespeople (including the San Francisco Chronicle’s Matier & Ross, who announced Brown’s involvement in the project this summer) argue that their fees have gone up substantially since the plan was first hatched in 2007 and fleshed out in the 2012 Implementation Document (which relied on 2007 land values).

That’s true, but that’s mostly because the value of the properties have shot up in recent years (incidentally, so have the costs of bringing the trains downtown), which also makes the projects far more lucrative for the developers. And Adam Alberti, who represents the Transbay Joint Powers Agency, notes that the tax rate hasn’t changed: it’s still the same 0.55 percent of assessed value that it’s always been.

“The rate is exactly the same, 0.55 percent, but the difference is the land valuations,” Alberti told us.

When the rates were formally set this year by the Rate and Method of Appointment (RMA) document, based on detailed studies of the properties and the district, it did charge the tallest buildings a little more than the shorter ones, under the logic that penthouses are more profitable (for example, the Saleforce lease of most of the Transbay Tower is rumored to be the largest commercial office deal in city history).

But the paper trail of documents and conditions for the four projects that have so far been awarded their entitlements always indicated such details would be hashed out by RMA. Indeed, when the city responded to the developers’ legal threats with a 14-page letter on July 14, it meticulously dismantled the convoluted claims by the developers that there’s been some kind of bait-and-switch here.

Still, the developers have been aggressively working the corridors of power in City Hall trying to get their fees reduced.

“Having not received any of the relief that the the Land Owner sought, the Land Owner is now forced to formally protest the formation of the CFD [Community Financing District], the levying of special taxes pursuant to the RMA, and the incurrence of bonded indebtedness in the CFD,” Boston Properties (which has not returned our calls for comment) wrote in a Sept. 2 letter to the city, which prompted Kim, the district supervisor, to continue the item for one week.

The decision to employ Brown upped the ante on this power struggle, given that Brown (who also didn’t return our calls) helped engineer Mayor Lee’s appointment to office in 2011 and worked behind-the-scenes to help Jane Kim beat progressive challenger Debra Walker the year before. Since then, Kim (who didn’t return our calls for comment) has helped do Brown’s bidding a couple of times and made misleading statements about their relationship.

Kim will be a central figure in this unfolding drama, given that it’s taking place in her supervisorial district. Her predecessor, Chris Daly — who says that he’s already been burned once by Hines (which also wouldn’t comment), which he said broke a promise for another $100 million in fees to the TJPA — said the current lobbying effort is essentially a raid on the public coffers that endangers an important project.

“The last redeeming thing about Willie Brown was his unwavering support for Transbay Terminal,” Daly told us, “and now that’s gone too.”

Unfortunately, the complexities of this deal might make it difficult for the general public to digest just how it changes, particularly as they are engineered by Brown, a legendary political dealmaker who spent decades as speaker of the California Assembly before becoming mayor of San Francisco.

But Daly said this project is crucially important for Kim’s district, and it’ll be intriguing to see what happens: “I don’t think she can make a bad vote, but behind the scenes, I’m not sure how much she can stand up to Willie Brown.”  

If the board approves the special tax district and the RMA tomorrow, then the affected property owners will vote on whether to create this Mello-Roos District in December, with a two-thirds vote required for passage. The projects can’t proceed with their current entitlements unless such a district is created, so the effort now is to slash the payments that such a district would require.

“Smart development means, among other things, making sure that development pays for supporting infrastructure,” Wiener told us. “The creation and upzoning of this district were explicitly linked to to funding the transit center and the downtown train extension. By upzoning these properties, we provided the developers with massive additional value and, in fact, the properties have exploded in value. The transit assessment needs to reflect those current property values, not values from the bottom of the recession.” 

[UPDATE: Sup. Kim returned our calls this evening and said this was a difficult issue, but that she wants to defend the city’s stance. “At this point we’re in a legal dispute, an impasse,” Kim told us, noting that she supports the fee structure from the RMA rather than earlier estimates. “The city was very clear those rates were illustrative.”

She said this isn’t simply about getting more money for the Transbay Terminal projects, but holding developers accountable for the upzoning they received. “The question isn’t what is the most money we can extract from the developer,” she said. “The question is: What did we agree to?”

Kim said she has met with Willie Brown about the issue, but she isn’t feeled pressured by him or the developers he’s representing. “Are they making threats? No,” she said. “I didn’t feel pressure at the meeting.”

But she did say she’d always be willing to hear out Brown’s side of the story. “He can just pick up the phone and call me,” she said.

Tomorrow’s meeting will include a closed session discussion of the issue, given its potential for legal actions. As for whether she and other supervisors may be swayed by the legal threat to settle on a lower fee amount, she told us, “That’s what the closed session is for.”

Kim indicated she intends to support the fees the parties originally agreed to. “I think the rates were set clearly,” she said. 

But we may have to take that promise with a grain of salt. Kim has sometimes talked tough, only to compromise later on, as she did with her Housing Balance legislation. After tomorrow’s closed session, we’ll see if her vote is as fiery as her rhetoric. ]

Joe Fitzgerald Rodriguez contributed to this report. 

Owen Pallett on integrity, having his boyfriend as a manager, and the baroque pop of ‘In Conflict’

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You probably wouldn’t assume that someone who’s been putting out solo material for nearly 10 years would be best known for their contributions to other artists’ work, but Owen Pallett shows us that it can happen, and that it’s not necessarily a bad thing, either.

If you were to break Pallett’s career down into a pie chart (similar to the ones Ann Friedman makes that he and I touched on during our chat), then the contents of said pie would be as compelling as they are diverse. At age 34, the prolific Pallett has fashioned string arrangements for acts ranging from Grizzly Bear and Beirut to Linkin Park and Pet Shop Boys. Super-producer Brian Eno is also in on the goods — he can be counted among Pallett’s fans and is featured heavily on Pallett’s new album, In Conflict. And then, of course, there’s the Academy Award nomination he and Arcade Fire’s Will Butler received earlier this year for scoring Spike Jonze’s nearly-reality-sci-fi film, Her. Pretty impressive pie so far — and it’s not even fully populated yet.

Pallett is currently on the road promoting that new record, his fourth solo work, which marks the artist’s second time releasing material under his given name. (He started his career performing as Final Fantasy and his appreciation of video games is only further established by looking at some of his early track names, like “Adventure.exe.”) Reviews of Pallett’s live performances have been almost unanimously blemish-free, and it looks like his most recent tour is no exception. In spite of being lauded for his complex arrangements as well as mastery of his violin and voice via loop pedal (think Andrew Bird), Pallett took a more minimalistic approach on In Conflict, offering fans a simpler and more languid listening experience. But this is by no means signifies a “normcore” album — Pallett is still safely within the bounds of baroque pop here.

He was in Chicago, his last week on tour with Arcade Fire, taking a break at the Soho House when we spoke on the phone. Regardless of the topic, you pick up on something after a few minutes of conversation with Pallett: He values integrity. In Conflict seems like a preemptive name for his most recent album, as there have been several moments of legal or moral discord in Pallett’s career — he refused to accept the money from winning the Polaris Prize in 2006 because of his “antagonistic relationship with the sponsors,” instead giving it to bands he liked that were in need of financial assistance. He also asked Austrian infrastructure service provider Wiener Stadtwerke to sponsor a music festival of his and his agent’s curation instead of taking the company to litigation when it used one of his songs without approval.

Pallett’s advantageous way of handling disputes could also be a reason why he’s such a desired collaborator, especially since his attitude toward differences of opinion goes beyond business — well, kind of. Pallett’s manager is his longtime boyfriend Patrick Borjal, and as one could imagine, Pallett claims they “fight more about work than (they) do about anything else, to be honest.” He adds, however, that “the way we deal with it, I’m very proud of, is that we don’t communicate verbally about work. All of our work related talk is done through email.” If we could all be so lucky.

The systematic way Pallett views the world is evident throughout our exchange, and beyond it — to get an idea, take a look at one of his pieces in Slate. When he weighs in on what it’s like to have his boyfriend be his manager, he acknowledges that “the division of finances is easy,” but that “having my boyfriend as my manager means you won’t see me on [The Tonight Show Starring Jimmy] Fallon or anything…’cause we don’t know how to do that!” He laughs. “Like, we don’t know the number to call! How do you get on Fallon now?” I suggest Googling it.

Fallon or no Fallon, it appears that Pallett’s schedule is at capacity. “Ah, fuck! You’re so lucky!” he exclaims when I share my recent trip to LA’s FYF Fest. “That’s one of the few festivals I like…the bands and the lineup.” Undoubtedly one of the best acts that weekend was another frequent collaborator of Pallett’s, Dan Snaith, who performed as Caribou and Daphni. Pallett teamed up with Snaith on both his projects recently — he’s all over Caribou’s new album, Our Love, having done strings on six tracks, and he also worked on two Daphni tracks, “Julia” and “Tiberius.”

Pallett spoke modestly about how satisfied he was with the Daphni tracks, saying he “felt they were some of the best things [he’s] ever contributed to,” in addition to chuckling about the tour that never was. “A part of me was like, ‘Ehhh…In Conflict hasn’t been making that big of a splash, maybe I’ll just ask Dan to take me on tour in the fall instead.’” Luckily for us and unfortunately for Snaith, that didn’t come to the fruition.

Owen Pallett will be playing this Fri/12 at the Great American Music Hall. I suggest showing up at 9 when the openers come on, as they are “two of [Pallett’s] favorite bands at the moment,” and given his experience, I’m inclined to trust his tastes.

OWEN PALLETT

With Avi Buffalo, Foxes In Fiction
9pm, $21
Great American Music Hall
859 O’Farrell, SF
(415) 885-0750
www.slimspresents.com

 

A firsthand account of the 5-alarm blaze in the Mission

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Editor’s note: We received this firsthand account from Ben Rosenfeld, who lives in close proximity to the site of yesterday’s [Thu/4] 5-alarm fire. Read more about the blaze in the San Francisco Examiner.

By Ben Rosenfeld

For those who don’t know, we were lucky our building survived a 5-alarm fire yesterday, almost directly behind us (feet away). Fortunately too, there were no serious injuries.

“Fire watch” crews stayed through the night in the back yard dousing flare ups, and are still here now keeping an eye out. Supervisors, inspectors, and news crews have come in and out. [Department of Building Inspection] inspectors came to confirm the obvious: that the building that burned would be condemned. And AT&T showed up and concluded that their engineering department will need to rewire, as our wires come off the building which burned and which undoubtedly will be demolished. Remarkably, though, my phones still work.

There’s no question that the SFFD’s swift and overwhelming response (and decision to “go defensive” and contain the fire in the unit it broke out in) saved this building and the neighbors’. It was amazing to watch them in action and talk to them about their craft.

I saw the smoke when it was little wisps coming out the back (I happened to be in the back room looking out the window while on the phone), and ran out with a fire extinguisher (absurdly as it turned out), calling 911, and yelling “fire,” and reporting that 911 advised us to evacuate.

I think we banded together really well as residents, working to make sure everyone was alerted and accounted for. We want to help the neighbors rebuild their garden with a neighbor solidarity party in which we also discuss disaster contingencies.

This was a good lesson in the meaning of the phrase, “we’re all in this together,” and in how dependent for our safety we are on one another – especially in SF, where we’re almost literally stuck together.

Photos by Ben Rosenfeld

Kids pushed through immigration court at lightning speed while supes debate legal aid funding

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San Francisco’s efforts to provide legal services for unaccompanied youth who crossed the U.S. border from Central America is heating up as a point of contention between Sup. David Campos and Board President David Chiu, opponents in the race for California Assembly District 17.

The issue stems from the rise of the “rocket docket,” a Department of Justice directive for immigration courts to speed up processing for unaccompanied youth apprehended at the U.S. border. Under the expedited system, created in response to an overwhelming number of kids fleeing north to escape violence, courts are cramming through as many as 50 cases daily. 

“This new docket is dramatically accelerating the pace for the cases of newly arrived, traumatized children and families from Central America,” Robin Goldfaden of the Lawyers Committee for Civil Rights Bay Area wrote in an email to the Bay Guardian. “For many, a wrong decision can mean being sent back to unspeakable harm – brutal beatings, rapes, even death. … But nonprofit legal services providers, already stretched beyond capacity, simply do not have the number of attorneys and other staff required to meet the ever-rising level of need.” 

At the Sept. 2 Board of Supervisor’s meeting, Campos proposed a budgetary supplemental to allocate $1.2 million for legal representation for unaccompanied youth being processed in immigration court in the Bay Area.

“Under international law, many of these kids would actually qualify as refugees,” Campos noted when he introduced the proposal. “And many of them have cases that would allow them to be protected by immigration law in the US,” but those protections would only apply if they had lawyers advocating for them.

Yet Chiu responded to Campos’ proposal by touting his own efforts culminating in a $100,000 grant award for a different legal aid program for undocumented immigrants, the Right to Civil Counsel. Under that effort, the San Francisco-based Lawyer’s Committee for Civil Rights was awarded a city grant to fund pro bono legal representation and associated trainings and workshops, which Chiu described as being “particularly for undocumented children from Central America.” 

Speaking at the meeting, Chiu commented that the board should “work together” to help unaccompanied children threatened with deportation, “rather than working on competing efforts,” which sounded like a dig on Campos’ proposal. That seemed to imply that the problem had been addressed, throwing into question whether there would be enough support to pass the supplemental.

Reached by phone, however, Chiu said he was open to discussing additional funding. “We should have a public discussion about it,” he said. “I’m open to it.” He noted that his office had been working on bolstering immigrant access to civil counsel for months, and that the $100,000 in funding provided as part of the budget process could train up to 400 private-sector lawyers to provide pro bono representation for unaccompanied youth. “All of us are committed to adressing the humanitarian crisi in the way that San Francisco knows how,” Chiu said.

But Campos, who initiated partnerships with legal aid nonprofits and various city departments to put a proposal together, said his funding request was based on research conducted by the Budget & Legislative Analyst to determine what was needed to adequately represent the surge of unaccompanied youth in immigration court.

In nine out of 10 cases nationally, according to a Syracuse University study, youth without legal representation wind up deported, while closer to 50 percent who have lawyers are afforded protection under immigration law. In many cases youth qualify to stay under a category known as Special Immigrant Juvenile Status, created to help kids who suffered abuse, neglect, or abandonment.

The Budget & Legislative Analyst projected that 2,130 juveniles a year would lack legal representation in the San Francisco court. In contrast, the $100,000 grant referenced by Chiu, which was awarded last week to the Lawyer’s Committee for Civil Rights, was only intended to provide enough pro bono legal representation to cover 75 individuals, including adults as well as children, according to service providers.

Immigration attorneys interviewed by the Bay Guardian said the grant to Lawyers’ Committee wouldn’t stretch far enough to cover the pressing need.

“I don’t think the $100,000 is going to be enough,” noted Misha Seay, a staff attorney at the Center for Gender & Refugee Studies who was awarded a fellowship to work on juvenile representation in immigration court before the youth immigration crisis started. “I think it’s a positive thing and a great thing, but we’re going to need a lot more.”

Seay said she had been volunteering in the immigration courts regularly and witnessing firsthand how youth were being thrown into a system that they had little ability to navigate. “We see children of all ages,” she said. “The youngest child I met with was a four-year-old, and then all the way up to 17.”

Goldfaden, of the Lawyers’ Committee, noted that there was a need for more nonprofit attorneys devoted the cause, not just pro bono legal representation. “The grant from the city and the commitment of the pro bono bar comes at a crucial time,” she wrote in emailed comments. “But without the budget supplement that has been proposed to increase the capacity of the corps of nonprofit providers on the frontlines of this crisis, lives will be lost.”

How Big Oil is using front groups to attack global warming regulations

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With California’s landmark measure addressing climate change, Assembly Bill 32, scheduled to begin covering automobile fleets and other transportation sources at the end of this year, Big Oil has been trying to sabotage that process using a variety of front groups and other tactics.

The oil industry failed in its last-minute attempt to get the California Legislature to delay the measure by rejecting AB 69, Fresno Democrat Henry Perea’s effort to exempt automobiles from the regulations, even though vehicles account for more than one-third of the state’s greenhouse gas emmissions.

But front groups funded by the Western States Petroleum Association (aka Big Oil), such as the new California Drivers Alliance, have been running online and newspaper ads attacking the regulations, pushing the meme that it’s a “hidden gas tax,” according to an article published today in Businessweek.

To help counter the trend and highlight the problem, the Stop Fooling California coalition of environmental groups are pushing back in the number of ways, including commissioning award-winning cartoonist Steve Greenberg to do the above cartoon and make it available for free to publications around the state.

Enjoy, and stay tuned as to continue to follow this important issue. 

Joel Daniel Phillips illustrates the overlooked in ‘I Am Another Yourself’

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Joel Daniel Phillips draws people. He draws them with charcoal and pencil and is known for his life-sized renderings of eccentric, seemingly homeless men and women he meets on the corner of Sixth and Mission Streets in San Francisco.

His debut solo show with Hashimoto Contemporary, “I Am Another Yourself,” opens Sat/6 (opening reception 6-9pm; the show runs through Sept. 27). I met up with Phillips to talk about his work and to see his 14 pieces in person.

As we hung out in his roomy studio in East Oakland, the BART train lumbering by every so often, Phillips’s towering life-sized pieces captured my awe and attention. The details he emphasizes in his work  whether it’s a wrinkled pant leg, a takeout container, lines on a face, or a waning pack of Newport Lights  illustrate the attitude and honesty of his subjects. 

“I think of [my work as] a bit like journalism in that the goal is for me to honestly understand something else or someone else and then show it to my audience,” Phillips says. 

Phillips moved to San Francisco three years ago. Not knowing a whole lot about the city, he accepted a live-work studio space on Sixth and Mission. Once he arrived in the neighborhood, he realized it was — well, different. So he started his own artistic exploration of the street corner, which involved approaching people he found particularly intriguing, asking if he could take their photographs, and creating life-sized drawings of them.

When considering whom to approach for a photo, Phillips looks for “people who carry their story on their face” or demonstrate their story in the way they dress. These types of people embody the honesty and vulnerability he aims to capture in his pieces. 

 “I’m fascinated with vulnerability,” Phillips says. “If I approach most people in the street and ask them, ‘Can I take your photograph? I’m an artist,’ they’ll stand in a certain way, pose in a certain way, and have a projected sense of how they want to be perceived. But this particular subset of society doesn’t do that. They allow me into a deeper sense of who they are.”

While people may look at Phillips’s work and assume his drawings are of homeless men and women, that’s not necessarily the case. “A lot of people assume they are all homeless, but I have no idea if any of them are homeless,” Phillips says. 

And he doesn’t care to ask his subjects about their living situations, either. “Part of the reason I isolate my subjects from their backgrounds is because I want to remove certain information,” Phillips says. “I want you to take each person out of context and see them as an individual, rather than place them in a certain box.”

A unifying attitude that links Phillips’ subjects seems to be that “these people are in a place, for whatever reason, where they don’t really give a shit. They’ve gone through a lot of things  maybe hard, maybe just different than your average suburban white kid’s experiences  that have put them in a place where they are comfortable,” Phillips says.

He describes his goal as building an emotional and mental bridge between two disparate cultural groups and allowing people to see themselves in these individuals, who are often from a completely different world than their viewers.

Phillips motions toward Spaceman, who’s sporting Ugg boots, a motorcycle helmet, and a creatively tied tie, and is holding a broom in a way that makes it look like a badass accessory. “I’ve drawn Spaceman several times,” he says. Tinesha, another subject of a life-sized drawing, wears dramatic eye shadow along with a puka shell necklace and is holding a to-go container. Phillips speaks highly of Tinesha and says she is incredibly sweet. 

Then he shows me Billy, one of his smaller drawings. Billy has a long beard and contemplative eyes. His shirt is tucked into his baggy cargo sweatpants, the cuffs of his light button-down shirt are undone, and his crossed arms frame his layered beaded necklaces. “This is Billy the Prophet,” he says. “I’m not sure if anyone other than me calls him that, but he’s definitely a prophet.”

After perusing his pieces, you might think Phillips is trying to impart some type of social justice-driven message or a call to action against poverty or homelessness. But Phillips says his goal is more about perception than social change. His hope is that if you see these pieces and grapple with this idea of how and why you treat certain people a certain way, then “hopefully the next time you walk by someone on the street you might think about this work and say, ‘Hey, I might not be able to fix shit, but I can at least smile; I can at least say hi.’”

After spending almost three years living at the corner of Sixth and Mission, cheaper rent lured Phillips out to East Oakland in April. He still comes back to his street corner, though. Not just for the next photo, but to continue his friendships with the people he’s photographed. He routinely runs into his subjects – now friends – and buys them lunch or art supplies.

“They know who I am on the street corner now. I’m that guy who draws people. And sometimes people even ask me to draw them,” he says.

Being the guy who draws people has allowed Phillips to become a part of the community. “I’m no longer this gentrifying white presence; I’m not the person who’s trying to change Sixth and Mission from what it’s been. I’m somebody who’s trying to understand what Sixth and Mission is,” Phillips says.

 

“I Am Another Yourself”

Through Sept. 27

Opens Sat/6, 6-9 pm

Hashimoto Contemporary

804 Sutter, SF

www.hashimotocontemporary.com

For inquiries, contact Hashimoto Contemporary: hashimotocontemporary@gmail.com

Follow Phillips on Instagram here

Activists form human barricade to protest crude-by-rail facility

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This morning [Thu/4], at 7am in Richmond, Calif., four environmental activists used U-locks to fasten themselves by the neck to the fence of an oil shipping facility operated by Kinder Morgan. 

They were interlocked with another four activists, who had their arms secured with handmade lock-boxes. “I’m locked to a lock box connected to my partner, Ann, who is locked with a U-lock to the fence,” Andre Soto, of Richmond-based Communities for a Better Environment, explained by phone a little after 8am.

At that time, Soto said several Richmond police officers had been dispatched to the scene and were calmly surveying the human barricade. He wondered out loud if they would be arrested.

The environmentalists risked arrest to prevent trucks from leaving the Kinder Morgan facility for area refineries with offloaded oil shipped in by train. 

Crude-by-rail transport at Kinder Morgan’s bulk rail terminal, located in the Burlington Northern / Santa Fe railyard in Richmond, is the subject of a lawsuit filed in March by Earthjustice on behalf of the Sierra Club, Communities for a Better Environment, the National Resources Defense Council, and the Asian Pacific Environmental Network.

The suit, targeting Kinder Morgan as well as the Bay Area Air Quality Management District (BAAQMD), charges that Kinder Morgan was illegally awarded a permit for crude-by-rail operations without going through a formal environmental review process, which would have necessitated public hearings and community feedback. The case asks for operations to be halted while the project undergoes review under the California Environmental Quality Act. A hearing will be held in San Francisco Superior Court at 1:30pm tomorrow.

Ethan Buckner of Forest Ethics, who was also locked to the fence, said activists were especially concerned that the crude oil being shipped into Richmond, much of which originates in North Dakota, was volatile, presenting safety concerns.

“The oil trains are … very old tank cars that are subject to puncture, and have been known to fail over and over again while carrying oil,” Buckner said. Much of the oil shipped into the Richmond transfer point by rail originates from the Bakken shale region, which has been dramatically transformed by the controversial extraction method known as fracking.

“Nobody was notified that these oil trains were going to be rolling in,” Buckner said. That morning’s protest, he added, was meant to “send a clear message to Kinder Morgan and the Air District that if we can’t count on our public agencies to protect our communities, we’re going to do it ourselves.”

In the end, none of the activists were arrested. They voluntarily unlocked themselves from the fence and left the railyard around 10am. “After three hours we decided thsat we had made our point,” Eddie Scher of Forest Ethics said afterward, speaking by phone.

Along with a group of around ten others participating in the civil disobedience action, the activists who locked themselves to the fence were affiliated with Bay Area environmental organizations including 350 Bay Area, the Asian Pacific Environmental Network, the Sunflower Alliance, the Martinez Environmental Group, and Crocket Rodeo United to Defend the Environment.

Reached by phone, Ralph Borrmann, a spokesperson for BAAQMD, said, “We have no comment on the current litigation, or any actions relating to it.” He added that more information would come out during the Sept. 5 hearing.

When the Bay Guardian asked Kinder Morgan for a comment on the matter, spokesperson Richard Wheatley responded, “You’re not going to get one. We’re not going to comment on it.” Asked for a comment on the lawsuit, Wheatley said, “We’re not going to comment ahead of that hearing. And we’re not going to comment on the protesters.”

Voters still in the dark on campaign funding

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A legislative attempt to shed light on major funders of political campaign ads died in Sacramento last week, and the politics surrounding its demise reflect a split between groups who are normally allies on the left.

The California DISCLOSE Act — which stands for “Democracy is Strengthened by Casting Light on Spending in Elections” – needed a two-thirds vote to pass both houses of the California Legislature, but ended up being withdrawn without ever being brought to a vote.

The bill would have required the three largest funders of television and print ads, as well as the two largest funders of radio ads and robocalls, to be clearly identified in ballot measure ads. It sought to close a loophole allowing funders to disguise themselves behind ambiguous committee names.

Trent Lange, president of the California Clean Money Campaign, said it would have prevented similar scenarios to what happened with Proposition 32 in 2012. In that case, voters remained in the dark on who the true funders were when an Arizona nonprofit calling itself “Americans for Responsible Leadership” funneled $11 million into a committee supporting the ballot measure, which would have restricted unions’ ability to raise campaign funding.  In reality, the money could be traced back to the notorious right-wing Koch Brothers but this was never evident in print, radio, or television ads.

Support for the CA DISCLOSE among Californians was substantial – 78,000 people signed petitions urging the Legislature to pass it, according to the California Clean Money Campaign, and 400 organizations statewide backed it. A poll conducted by the Public Policy Institute of California in March of 2013 reflected 84 percent voter support for increasing disclosure on ballot measures.

Nevertheless, it lacked momentum to even be brought to a vote in Sacramento. Support for approval in the Legislature was reportedly building until opponents lobbied against it. Said opponents were strange bedfellows indeed, consisting of the Howard Jarvis Taxpayers’ Association, a right-wing organization that opposes all taxes on Californians, and a trio of powerful forces in labor, including SEIU California, the California Teachers Association, and the California Labor Federation.

“Organized labor significantly and very strongly opposed it and worked to kill it,” Lange said. “Their opposition said they were opposed to technical details of the bill [and requirements for] finding the original funders – they opposed giving the FPPC that much power. It’s not clear that’s the real answer.”

A call to SEIU to ask why it lobbied against the DISCLOSE Act was not returned by press time.

Sen. Mark Leno, who co-authored the DISCLOSE Act, along with Sen. Jerry Hill and Assembly Speaker Toni G. Atkins, vowed to continue the fight next year.

“I am disappointed we weren’t able to send this legislation to the governor this year, but in this process, an even stronger coalition has emerged to keep the issue and movement alive,” Leno said in a press release. “I look forward to working with Speaker Atkins, Senator Hill and the California Clean Money Campaign as we redouble our commitment to finding common ground that will ultimately prove successful for this cause, which is so fundamental to our democracy.”

Schools not prisons

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OPINION Jay-Z doesn’t usually make political endorsements.

But at a recent concert in Los Angeles, he took the rare and unexpected step of endorsing a California ballot initiative. “California, build more schools, less prisons,” he rapped to the crowd, and then encouraged them to all vote yes on Proposition 47.

Jay-Z chose the right issue to speak out about. On an otherwise quiet state ballot, Californians have the opportunity to make history this fall with Prop. 47, also known as the “Safe Neighborhood and Schools Act.”

While California has long been known as an incarceration trailblazer for all the wrong reasons, Prop, 47 will give us an opportunity to reduce overcrowded prisons and bloated corrections budgets, roll back the failed drug war, and reinvest in public education.

Most importantly, Prop 47 will reduce the penalty for most nonviolent, non-serious crimes, such as drug possession, shoplifting, and bouncing a check, from a felony to a misdemeanor. These offenses are closely associated with drug addiction or poverty, and are not well addressed in prison.

This change will also be retroactive, allowing us to make amends for misguided policies. Approximately 10,000 inmates will be eligible for re-sentencing, helping to alleviate California’s notoriously overcrowded prisons. Hundreds of thousands of formerly incarcerated people with past felony convictions will have them reduced to misdemeanors, lifting existing barriers to employment and housing.

The estimated $150–<\d>$250 million in savings each year will be reinvested into K-12 education, victim compensation, and community-based rehabilitation and re-entry programs.

There are a number of reasons why Prop. 47 would be a huge step forward for California. First, we have to stop wasting money unnecessarily locking people up for long periods of time. California currently spends $10 billion on corrections, which has increased 1500 percent since 1981. Even as crime rates have fallen, corrections spending keeps going up.

The astronomical increase in prison spending has squeezed public education and services. We spend $62,000 to imprison someone for one year, while only about $9,000 per K-12 student. California built 22 prisons since 1980, but we built just one university. Imagine if both of those numbers were flipped. In light of all of our urgent priorities as a state, the cost of imprisonment for minor offenses simply isn’t worth it.

Second, prison time and felony convictions can have a devastating impact on individuals and communities. When a person is sent away to prison, they are separated from their family, community, and employment. Their time spent behind bars often leads to serious negative consequences for their physical health, mental health, and overall wellbeing. When they come out, they can face insurmountable barriers to employment, housing, and assistance.

Others feel the impact too: Hundreds of thousands of children in California have parents who are incarcerated. A recent study showed that for many kids, having a parent in prison is more detrimental to a child’s health and development than divorce or even the death of a parent.

Third, locking people up for drug crimes and petty theft is ineffective. Many California prisoners need drug or mental health treatment, not longer prison sentences. There are now three times as many people with mental illnesses in prisons and jails than there are in hospitals.

And instead of treating drug use as a health issue, we have criminalized it and enforced laws selectively, with communities of color bearing the brunt of this counterproductive war on ourselves.

California has long been one of the country’s pioneers in creative and expansive ways to lock people up. We were one of the first to pass a “Three Strikes” law, and have the unfortunate distinction of being the only prison system found by the US Supreme Court to be unconstitutionally overcrowded.

But just like our fellow citizens who made mistakes in the past, California too deserves a second chance. Prop. 47 gives us our own shot at redemption.

Prop. 47 can provide a mandate for a better California, one where we support each other and invest in our people, and put an end to misguided approaches that have been punitive and wasteful. Demanding “Schools Not Prisons,” a new California majority is emerging, one that will shape our state’s future this November and beyond.

Matt Haney is an elected member of San Francisco’s Board of Education and the co-founder of #Cut50, a new initiative to cut the prison population nationally by 50 percent in 10 years.