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TICed off

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news@sfbg.com

San Francisco tenants who are supposed to be protected by city and state laws are now facing eviction as a result of real estate speculators working hand-in-hand with banks in a scheme that has been implicitly endorsed by federal regulators and the courts.

Kaushik Dattani, whose company owns multiple properties throughout San Francisco, won a summary judgment to use the Ellis Act to evict four families from their rent-controlled apartment. Judge Charlotte Woolard’s April 21 ruling, denying the low-income Mission District families a jury trial, could leave the 12 longtime residents — seniors, disabled, single mothers, and children — homeless within a couple of weeks.

In August 2007, court records show Dattani secured an 18-month, interest-only $1.3 million loan from Circle Bank of Marin to buy the Victorian building at 19th and Lexington streets. The loan included an agreement that he would pull the units from the rental market using the Ellis Act, renovate the building, and sell the five Victorian units as tenants-in-common (TICs).

Traditionally banks haven’t offered loans to individual TIC owners, but Circle Bank of Marin was one of the first banks to start offering such "fractional" loans in 2005, a practice that created a strong market for TICs, loan officer Mark Skolnick (who says he’s an independent contractor and not a bank employee) told the Guardian.

In making the loan to Dattani, court documents show Skolnick predicted a 42 percent profit, which would require all five TIC units to be sold for $3.3 million. But according to Tenderloin Housing Clinic attorney Steve Collier, Dattani has not yet paid off the balloon payment — due April 1 — putting the building at risk of getting handed over to the bank, emptied of residents.

Kevin Stein, associate director of the California Reinvestment Coalition, said the lending scheme is contrary to the federal Community Reinvestment Act, which encourages banks to meet the credit needs of the low-income communities. "It’s within the Federal Deposit Insurance Corp.’s power to say these kinds of loans that result in the displacement of low and moderate income tenants are not helping to meet the community’s credit needs," he said, noting that the FDIC has refused to get involved.

Others argue the importance of creating home ownership opportunities in a city where about two-thirds of residents rent.

"Here we have what looks like a condo, feels like a condo, but it’s a TIC. It’s a way of creating affordable housing," Skolnick said. "Some people lose their home, some people gain a home. The TIC platform is proving to be a very affordable option for this different subset of people."

But for the subset of people being displaced using the Ellis Act — a state law intended to allow existing landlords to get out of the rental business, not to encourage real estate speculation — the affect can be devastating in a city where little new rental or affordable housing is being built.

"They just come in out of nowhere and they see this place, buy it and kick everyone out. There’s no soul there," said Luise Vorsatz, who lived in the house for 30 years before being evicted.

This is not Dattani’s first Ellis Act eviction (when the Guardian contacted Dattani for comment, he hung up on us). In 2000, he hired infamous antitenant lawyers Wiegel & Fried to evict senior Alma Augueles from her flower shop in the Mission. In 2007, he evicted a group of tenants living above Revolution Café on 22nd and Bartlett streets. That building has sat empty for over a year, something that could also happen with his new property given the slumping real estate market.

Under the Ellis Act, if the unit go back on the rental market within five years, the evicted tenants have first priority at their old rent level, but that’s up to the tenants to enforce. "It’s possible the landlord won’t be able to sell and will end up renting it at higher rents," Ted Gullicksen, executive director of the San Francisco Tenants Union, told us.

"They don’t look at the fact that we have pride of tenancy—that we have lived here all these years," said 23-year resident Ronny Ruddrich, who raised her children here and walks to her job as a Noe Valley shoe store manager for the past 22 years. "He drives up in his Mercedes and shows no respect whatsoever."

Shop local, City Hall!

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news@sfbg.com

On Dec. 3, 2008, just before noon, Mayor Gavin Newsom arrived at a press conference in Noe Valley to remind city residents why it’s important to shop locally. The mayor climbed out of his shiny new hybrid SUV, walked into the Ark Toy Company, showed charts and graphs, and talked about how money spent in town helps the local economy. Joined by Steve Falk, president of the San Francisco Chamber of Commerce, Newsom urged holiday shoppers to look first in San Francisco before buying something on the Internet or in some suburban mall.

The mayor’s shop-local press conference was a clear sign that the debate over the role of small business in the San Francisco economy is over. Everyone from the mayor’s business advisors to the Chamber of Commerce to small business advocates and progressive economists now agrees that small local businesses provide the vast majority of the jobs, keep their money in town, and generate more tax dollars, more wealth, and more prosperity for this city than the big out-of-town chains.

It was a picture-perfect scene, until KPIX-TV reporter Hank Plante asked the mayor an embarrassing question: Why, he wanted to know, did the Mayor’s Office buy Newsom’s new car in Colma?

Newsom said he didn’t have a clue.

Actually, the reason was pretty simple: the dealership in Colma submitted the lowest bid. But San Francisco lost out on the sales tax, a local Chevy dealer that was going out of business lost a local sale, San Francisco workers lost a commission — and in the end, the city almost certainly lost more on the deal than it saved with the Colma discount.

That’s the untold story behind the mayor’s promotion. San Francisco, as a buyer of goods and services worth hundreds of millions of dollars a year, does a terrible job at shopping local. Indeed, for years small business advocates have been trying to get city officials to make it easier for local merchants to get city contracts — and they’ve made very little progress.

"I’ve worked so hard on this, year after year, and nothing ever happens," Scott Hauge, a small business activist and organizer, told us. "After a while, I just threw in the towel."

Hauge is devoting his energy these days to statewide issues. But on the local level, there’s a growing sense that the city needs to do more to help small local businesses get their share of the massive public spending pie.

"The Small Business Commission has made it clear that this will be a priority over the next year," Regina Dick-Endrizzi, the commission’s acting director, told us.

Nobody knows exactly what percentage of city contracts for goods and services go to local businesses. Hauge said the Mayor’s Office did a limited survey about a year ago, but the data wasn’t very good. And while Newsom signed an executive order in 2005 directing departments to look for ways to patronize local businesses, there’s not much to show for it.

"I think probably less than 10 percent [of city spending] goes to local businesses," Hauge said.

Board of Supervisors President David Chiu, a former small business commissioner, agrees. "I think it’s accurate to say that at least 70 to 90 percent of all city contracts go to out-of-town businesses," he told us.

As Dick-Endrizzi pointed out, city purchasing has strict rules — and for good reason. "In most cases, you have to put out a request for proposals and take the lowest bid," she said. "If you didn’t have that, you’d have a big problem with favoritism."

But when the lowest bid is the only criterion, San Francisco businesses are at a distinct disadvantage.

"Say a city agency wants to buy five hammers," said Steven Cornell, owner of Brownie’s Hardware. "I have the hammers for $6, but somebody in Nowhere, Miss., can sell them for $5.99.

"Well, the shop in Mississippi doesn’t have to pay San Francisco’s minimum wage, doesn’t have to pay for sick days, doesn’t have to pay for health care … We’ve asked businesses to contribute to all these good social policies, then those businesses get penalized because someone else can sell something cheaper."

Cornell — who says he agrees that local businesses should pay well and give their workers benefits — is frustrated that when it comes to purchasing, the city doesn’t give anything back. "We lost S&C Ford, we lost Ellis Brooks Chevrolet," he said. "Those were all union jobs, with good benefits. And how many cars did the city buy from them?"

When Cornell was on the Small Business Commission, he remembered some small locally owned cabinet-making shops came to complain about a $4 million city contract for woodwork. "They told us that they lost the contract to a Canadian firm," he said. "The costs of operating in San Francisco were higher than in Canada, so they couldn’t compete."

"We do not as a city reflect the fact that we ask employers to do good things for their workers," Chiu added. "When we spend perhaps $1 billion a year in city contracts, those employers don’t have a level playing field."

Sure, on the surface and in the short term, the city gets a better deal when it awards contracts based entirely on price. But San Francisco has, as a matter of public policy, already decided there are good reasons to give minority-owned contractors some advantage in bidding, and that public contractors should pay prevailing union wages and offer benefits to domestic partners. Local enterprises get a modest advantage in some bids, but nowhere near enough to make up for the cost difference of operating in San Francisco.

And as Newsom himself has made clear, spending money locally has a long-term economic benefit that almost certainly outweighs the price differential in most bids. "When Newsom bought his car in Colma, the city lost the sales taxes, and lost the multiplier effect of the money being spent in town," Cornell noted.

In fact, a 2007 study by Civic Economics, sponsored by the San Francisco Locally Owned Merchants Alliance, showed that if city residents shifted just 10 percent of their purchasing from national chains to locally-owned businesses, the city would gain 1,300 new jobs and $200 million in economic activity every year.

Imagine the activity — the positive benefits to the local economy — that would come with the city shifting, say, 25 percent of its spending to local businesses.

Obviously the city can’t buy everything in town. "Nobody in San Francisco makes Muni trains," Cornell noted. But a lot of what city departments buy, from hammers and paper to cars and trucks, is available from local suppliers — or could be. "If the city made it known it was looking to buy something locally, some entrepreneur would come along and figure out a way to supply it," Cornell said.

So how could this work on a policy level? It’s not that complicated. The city controller, or the Human Rights Commission, which oversees contracting policy, could devise a formula showing how much the cost of complying with city laws like the minimum wage, health care, and sick days (laws that most of us, and many small businesses, fully support) drives up the cost of doing business in San Francisco. Then give local merchants an equivalent advantage in the bidding process.

In other words, if the hammers at Brownie’s Hardware cost 25 cents more than the hammers in Nowhere, Miss., because Cornell pays for his workers’ health insurance, he should only have to come within 25 cents of the cut-rate suppliers’ price to get the city’s business. And if the taxpayers have to fork over a few cents more to buy local hammers, the money will come back, and more, from the demonstrated benefits of shopping locally.

Chiu thinks that’s a good idea, and he’s already taken the first steps to forcing the city to shop local. Chiu introduced legislation in April requiring the city to set aside a portion of all contracts for locally-wned businesses and to increase the financial advantage local firms get in bidding.

And at Chiu’s request, the HRC will appear before the supervisors Land Use Committee May 11 to present the latest data on how much city spending goes to local businesses. "I’ve been asking for this for two years," Chiu said.

"It is unwise for our city not to take $1 of public money and give it to a local business that will pass that dollar onto its local employee, who will then spend it at another local business," he added. "The multiplier effect of this is that money spent locally is better for the economy, and for the taxpayers."

On the rise

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a&eletters@sfbg.com

Even when times are shaky in San Francisco, it’s a fine time to head to PlayGround. At the upcoming 13th annual Best of PlayGround festival — which rides into the Thick House on steadily mounting popularity for an unprecedented four-week run beginning May 7 — a ticket will get you a lot of theater, in terms of quantity, quality, and novelty.

Since 1996, the annual festival has drawn from the best work presented in PlayGround’s signature short play contests — a monthly challenge (from October through March) to develop a 10-minute script in four days around a given theme ("When Pigs Fly" served one time), with winning scripts getting staged readings by leading Bay Area acting and directing talent in Monday Night performances at Berkeley Repertory Theater. The festival, meanwhile, gives the cream of the yearly crop (those earning PlayGround’s Emerging Playwright Award) fully staged productions, again with the collaboration of the finest Bay Area directors, actors, and designers.

This unusual mix of fresh, untested (or just emerging) talent on the page and seasoned professionals on and off the stage means there’s really nothing else quite like it in Bay Area theaters, and it remains a crowd-pleaser. Attendance at Monday Night performances broke all records this year, notes artistic director Jim Kleinmann, who founded PlayGround in 1994 with colleagues Brighde Mullins and Denise Shama.

But it’s also been a marked success in the underlying mission of developing new theatrical voices and strengthening the theater community as a whole in the Bay Area. (A recent Theatre Bay Area Magazine article listing the region’s 13 top emerging playwrights included no less than eight PlayGround alumni.) Kleinmann says the inspiration for PlayGround came from a playwriting exercise developed by his old teacher at Brown University, renowned playwright Paula Vogel, but has steadily expanded to include several commissions for full-length work from PlayGround writers. This year’s five commission winners will have their work presented in staged readings as part of the festival. The thrust throughout has been to nurture craft in the context of encouraging ties between new and seasoned theater makers.

"It certainly has evolved," Kleinmann says. "As the number of writers increased over time and the writers started to have longer-term relationships with PlayGround a couple of years into the Monday Night format, we added the festival, [which] became a really important showcase." These festival playwrights would have their works published too in a PlayGround anthology, making them available to readers and theater companies elsewhere. Still, a few years later Kleinmann and colleagues began work on new avenues of support.

"We’d always hoped that if we could discover these writers and worked to nurture them, midsize theaters would take them under their wings," he says. "That wasn’t happening as quickly as we might have hoped. So we found there was a need to bring writers to another level [with the commissions], where they would be able to be supported in their full-length work."

It’s a formula that has paid off with writers and audiences for more than a decade. Among the other enticements of new work in this format, there’s a serious vicarious thrill that goes with seeing actors of the caliber of a Stacy Ross or Jim Carpenter, under direction of a Barbara Oliver or Chris Smith, assay work by a gifted but still-developing or even unknown voice. In addition, "there’s no question it creates a dialogue about their work and [the actors and directors] become champions for their work," Kleinmann says. "What you [end up having] is a stronger community."

"BEST OF PLAYGROUND FESTIVAL"

May 7–31 Thu–Sat, 8 p.m.; Sun, 7 p.m., $28-$40

Thick House, 1695 18th St, SF

(415) 401-8081, www.playground-sf.org

Our 2009 Small Business Awards

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>>More on SFBG.com
Why can’t City Hall shop local?

EMPLOYEE-OWNED BUSINESS AWARD

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Photo by Pat Mazzera

CHURCH STREET FLOWERS

"It was really all about trust," says Stephanie Foster of Church Street Flowers, when asked about the benefits and perils of transferring ownership of the delightful bouquet boutique — and perennial Guardian Best of the Bay winner — near the Castro to the employees. Foster, along with Rachel Shinfeld and Brianna Foehr, took over in December 2008 from previous owners Michael Ritz and Thomas Teel, who’d run the shop for a decade. "The three of us had worked here for a while and we knew our stuff, so Michael and Tom knew they could rely on us to preserve the legacy. And the outpouring of support from our neighbors and regular customers has been overwhelming."

The ownership change of the cozy shop, bursting with vibrant blooms and friendly energy, went off without a hitch. "We were part of the lucky few who received a small business loan before the economic collapse," Shinfeld says. "But our business plan was smart, and the bank saw that we knew what we were doing." And, even in the current climate, business is thriving. "Our arrangements aren’t your standard cookie-cutter stuff," Foster says. "People nowadays want personalized, reasonably priced, green-minded, and locally sourced. We fit into all that — most of our flowers are from the downtown flower market and we keep an eye out for organic. Plus we strive to create a real connection with our customers, so we can give them exactly what they want."

"Sure, there have been some adjustments," Shinfeld adds. "There’s a lot of paperwork — and the first thing we needed to tackle was a Web site redesign. But our experience working here helped us through, and I think we’re just beginning to blossom in our new roles." (Marke B.)

CHURCH STREET FLOWERS

212 Church, SF

(415) 553-7762

www.churchstreetflowers.com

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GOLDEN SURVIVOR AWARD

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Photo by Charles Russo

GREEN APPLE BOOKS

What is the special ingredient that transforms a business from just another store into a place that makes people feel inspired and connected? After 42 years as a San Francisco independent bookseller, Green Apple Books and Music seems to have found it. Located on Clement Street in a building that predates the 1906 quake, it’s a "big, sprawling, dusty and funky new and used bookstore," as co-owner Pete Mulvihill describes it, creating an atmosphere for interactions that might seem impossible in a big-box store. Several weeks ago, for instance, a customer approached the store clerks, presented a CD, and requested that they play it. He also asked them to clear out the philosophy room. "I want it to myself for just a minute," he explained. The staff complied, the music started, and the man whisked his girlfriend into the philosophy room and proposed to her.

"To me, that’s an honor that somebody loves the place so much that they would propose to their girlfriend here," says Mulvihill, one of three owners and an employee for more than 15 years. A founding member of the San Francisco Locally Owned Merchants Alliance, he has been at the forefront of a push to identify and promote the city’s small, independent businesses. "Locally-owned businesses recirculate more money in the local economy than national chains," the SFLOMA Web site points out.

"Frankly, we’re invested in the community," Mulvihill explains. "[We] love San Francisco, and we don’t want to go anywhere." (Rebecca Bowe)

GREEN APPLE BOOKS

506 Clement, SF

(415) 387-2272

www.greenapplebooks.com

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CHAIN ALTERNATIVE AWARD

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Photo by Charles Russo

HUT LANDON

Hut Landon is responsible the past few years for helping direct millions of dollars into small business in San Francisco and beyond, and millions more into the local economy.

He does it through his energetic and creative leadership of two key organizations that promote the interests of locally-owned small business. Landon has been the executive director of the Northern California Independent Booksellers Association (NCIBA), which promotes the interests of 200 independent bookstores in the region. He is also executive director of the San Francisco Locally Owned Merchants Alliance (SFLOMA).

Under Landon’s stewardship, the two groups commissioned a pioneering 2007 study that quantified the value of locally-owned businesses in the city. Their stunning finding: if consumers redirected l0 percent of their retail purchases from chains to locally-owned merchants, the result would generate about $200 million for the economy, l,295 jobs, and $72 million new income for workers.

Landon’s timing could not have been better. As the economy tanked, local merchants and neighborhood business organizations used the l0 percent consumer shift as a mantra. The study also pointed out that the local economy could get another big boost if the city would shop locally with the tens of millions it now spends outside the city for goods and services.

Landon likes to use the example of two brothers who live together. One works on Potrero Hill and eats lunch at one of the many locally-owned restaurants. The other works at Stonestown shopping center and eats at a chain restaurant because that’s all there is out there. The Potrero Hill money, he points out, stays in the community. The chain store money is sent back to headquarters. (Bruce Brugmann)

HUT LANDON

Northern California Independent Booksellers Association

1007 General Kennedy, SF

(415) 561-7686

www.nciba.com

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SMALL BUSINESS ADVOCATE

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Photo by Abi Kelly

REGINA DICK-ENDRIZZI

Small business owners often feel as if they don’t have many advocates at City Hall. But they do have Regina Dick-Endrizzi.

Dick-Endrizzi, acting director of the Small Business Commission, has been moving rapidly on ways to help small businesses feel more comfortable dealing with the city — and to help them thrive in a tough economic environment. She helped establish the Small Business Assistance Center, which guides local merchants and prospective entrepreneurs through the thicket of city regulations. "It’s a tremendous asset," she told us. "When people walk through the door, we can take the time to help them develop a roadmap to doing business here." And she’s a driving force behind the Shop Local campaign, which will launch this month with bus shelter and bus-side ads designed to encourage San Franciscans to keep their money in town (co-sponsored by the Guardian).

Known in political circles as a former aide to Sup. Ross Mirkarimi, Dick-Endrizzi has a solid background in business. She moved to San Francisco in 1986 to open the Haight Street Buffalo Exchange store, and worked with that company for 13 years. "We bought our inventory from local people, and I had to have a close relationship with local small businesses," she said. "I have an intimate understanding of what it takes to run a business."

After several years in Mirkarimi’s office, she learned of the opening at the Small Business Commission, and plans to stay there for a while. "I truly believe in what this department offers to small business," she said. "There’s such a tremendous need." (Tim Redmond)

REGINA DICK-ENDRIZZI OFFICE OF SMALL BUSINESS

1 Dr. Carlton B. Goodlett, SF

(415) 554-6134

www.sfgov.org

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GOOD NEIGHBOR AWARD

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URBAN SOLUTIONS

Urban Solutions has its roots in the South of Market Foundation, an economic development corporation formed in 1992 in response to what SoMa merchants, residents, and community-based organizations felt was a lack of accountability in their neighborhood’s development.

A decade later, the organization changed its name and Urban Solutions was born. Two years after that, the burgeoning nonprofit opened a second office, this time in the Western Addition, becoming an important source of service in both neighborhoods.

Urban Solution’s executive director Jenny McNulty says she is currently excited about her organization’s Green Business initiative, which helps educate small business on how to conserve resources and reduce their carbon footprints — and save money in the process.

McNulty is also amped about Urban Solution’s effort — undertaken with the San Francisco Redevelopment Agency — to revitalize Sixth Street’s commercial corridor.

"We’re expanding our Green Business Initiative program, which offers free consulting to help small businesses go green by implementing cost-saving practices to increase the sustainability of their business operations," McNulty said.

Urban Solutions’ Sixth Street revitalization effort includes beautifying the area and helping businesses, in conjunction with Redevelopment Agency grants, by improving their facades, installing new awnings, repainting buildings, and replacing windows, storefronts, and entrance ways.

"Our focus is low-income businesses," McNulty said. (Sarah Phelan)

URBAN SOLUTIONS

1083 Mission, SF

(415) 553-4433

www.urbansolutionssf.org

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GOOD NEIGHBOR AWARD

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Photo by Abi Kelly

JENS-PETER JUNGCLAUSSEN

Jens-Peter Jungclaussen had a dream: Buy a gutted, camouflage-painted school bus on eBay, convert it to biodiesel, and put it to use as a mobile classroom by day and a party on wheels by night, a rollicking omnibus of education, culture, and sustainability. With a few flicks of his wrist, Jungclaussen, a former German windsurfing pro and biology and PE teacher, transforms the bus to suit the need at hand — pulling down a movie screen from the roof; unpacking a buffet table, wet bar, or set of turntables from beneath the seats; or simply switching on the "party lights." Dubbed das Frachtgut ("the good freight"), the bus has hosted dinner parties on Twin Peaks, ecology classes in Muir Woods, sunrise raves on undisclosed beaches, and screenings of The Big Lebowski (complete with bowling and White Russians). It also serves as a mobile billboard for its various local, eco-friendly sponsors and can be rented for field trips and corporate events.

The ever-enthusiastic and tireless Jungclaussen recently turned his attentions to youth education, this year offering for the first time a "mobile summer camp." Teaming up with fellow teachers Michael Murnane, Gretchen Nelson, Justin Ancheta, and Leah Greenberg, he’ll present three, 11-day sessions on wheels that will introduce young people to a variety of Bay Area natural, artistic, and historical treasures. But don’t worry, the parties will still keep rolling. As Jungclaussen promises of the bus, "What you want it to be, it will become." (Marke B.)

JENS-PETER JUNGCLAUSSEN

(415) 424-1058

www.teacherbus.com

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ARTHUR JACKSON DIVERSITY IN SMALL BUSINESS AWARD

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IRENE HERNANDEZ-FEIKS

It’s easy to assume that the purpose of Chillin’, the brainchild of Mexico City native Irene Hernandez-Feiks, is simply to have a good time. But the multimedia parties Hernandez-Feiks has been throwing for 11 years are much more than entertainment. Their actual purpose is to stimulate the economy and support one of the most difficult small businesses to sustain: the business of art.

A former designer herself, Hernandez-Feiks started out organizing weekly happy hours at 111 Minna where she would feature up to five independent Bay Area designers. Her philosophy? Charge the designers nothing for the opportunity and take no commission. The formula worked so well that Chillin’ eventually grew from weeknight happy hours to Saturday night events, complete with DJs. Now Chillin’ is a full-fledged happening — indeed, the June 13 anniversary show at Mezzanine features 180 photographers and artists, 40 filmmakers, 80 fashion designers, and 12 DJs.

But watching Chillin’ grow — and seeing participating artists transform themselves from local to international names — isn’t enough for Hernandez-Feiks. She also devotes much of her time to charity work, including involvement with Gen Art, the Mexican Consulate Cultural Affairs division, the United Nations and Natural World Museum, and the Art Seed Apprenticeship Program benefiting Bayview- Hunters Point youth.

"Because of Chillin’, I have relationships with so many artists," she says. "I want to use those connections to help everybody out." (Molly Freedenberg)

IRENE HERNANDEZ-FEIKS

Chillin Productions

(415) 285-1998

www.chillinproductions.com

Waterbar

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paul@sfbg.com

Waterbar is, obviously, a seafood house, but it doesn’t shout this fact in your face. The building is handsome in a generic way, and the interior décor is notable mostly for its artful blend of bustle and hush. There is water to be seen — the bay, to be precise, viewable through gigantic plate-glass windows, although your eye is likely to be drawn upward to the Bay Bridge, which looks particularly massive when observed from almost directly below and does set the mind to hoping that all these seismic retrofits will do the trick.

Inside, there’s more water, held in two tall glass columns that are, in effect, aquariums. A curious effect of these watery columns is that they, like the bridge, carry one’s glance upward, to colorful fish swimming near the ceiling. The fish are glancing right back; are they marveling at their on-high view or wondering when their luck will run out?

Waterbar, which opened early in 2008, is the fraternal twin of next-door Epic Roasthouse, and it’s the kinder, gentler sibling. The tone of the place is a little less assertive, prices are more modest, and the maritime menu probably raises fewer ethical and environmental hackles than Epic’s meat-driven one — although not no hackles, since the tale of the world’s collapsed and collapsing fisheries now includes a chapter about our very own king salmon. I was surprised to find skatewing ($30) offered, since skate is a flat-out "avoid," according to the Monterey Bay Aquarium’s Seafood Watch service. Since it’s typically brought in from the East Coast, it also casts a larger-than-ideal carbon shadow. On the other hand, it is fabulous: a fan of ribbed white flesh, pan-seared to a crisp gold, splashed with a (too-salty) morel consommé, and plated with gnocchi, morels, English peas, and a pair of braised scallions.

Chef Parker Ulrich is a protégé of Farallon’s Mark Franz, and the pedigree shows. Seafood cookery benefits inordinately from a bit of flair, and Ulrich brings that flair. Exhibit A: the skatewing, which, after hesitating, I asked for and enjoyed. Another major example would be the grilled local sardines ($13), a set of plump, whole fish, nicely charred and plated with a celestial bread-crumb salad, golden and crunchy yet fragrant with mint.

Whole fish, including petrale sole, actually make up an entire subset of the menu. But petrale, a local favorite, might also recur as filets at the heart of a three-course prix fixe ($40), preceded by a sprightly green salad with pickled onions and crumblings of goat cheese and followed by a slice of lemon pound cake (slightly dry, intensely lemony), garnished with a strawberry dice and a puff of whipped cream. The fish itself was expertly cooked had been minimally fiddled with, although I was disappointed to notice that the accompanying ensemble (peas, gnocchi, braised scallions) was virtually identical to the skatewing’s.

Soups can be both fancy and less so. In the former category: a sumptuous lobster bisque ($9), poured tableside from a porcelain chalice over a lump of lemon chantilly cream and a clutch of tarragon leaves, which drift in the resulting thick sea like a school of exclamation marks searching for their dots. (The pouring, incidentally, is done by a member of a service team that practically swarms at key moments. When you first sit down, there is only one server, smiling and asking about drinks, but when the food starts to emerge from the kitchen, it’s brought and presented by a cast of … well, several, if not thousands.)

On the plainer side we find a clam chowder ($9), made with topneck clams, ample chunks of bacon and potato, and plenty of cream. There’s nothing subtle about this dish; it’s like running your pile-driver of a fullback straight up the middle on third and two and picking up eight yards. It’s good, in the full, unvarnished sense of that word.

I sound a gentle cautionary note as to items (other than alcoholic drinks) that are served at room temperature or lower. Coins of braised octopus ($16) — not quite room temperature, not quite chilled — were a little rubbery, although tasty. And the bread in the tirelessly replenished basket was both tough and under flavored; perhaps that was why the accompaniments included not only butter but a small dish of sea salt.

Still, Waterbar is lovely and worthy, a place that, despite its deluxe location and big ownership names (Pat Kuleto, Jan Birnbaum), offers something like value. Not many view restaurants can make that claim.

WATERBAR

Dinner: 5:30-10 p.m.

Lunch: Mon.-Fri., 11:30 a.m-2 p.m.

Brunch: Sat.-Sun., 11:30 a.m.-3 p.m.

399 The Embarcadero, SF

(415) 284-9922

www.waterbarsf.com

Full bar

AE/CB/DC/DS/MC/V

Well-managed noise

Wheelchair accessible

Hoof it

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superego@sfbg.com

SUPER EGO Hey, Shakes, have you puffy-penned and bedazzled your hamdemic flu mask yet? Mine’s totally going for that retro postapocalyptic electro look (so future yesterday!) and says "oink pAArty." I made it by running a pair of florescent New Balances and last-season Bottega Veneta remnants through my vintage Ronco Dial-O-Matic. Then I simply collaged. When the World Health Organization says "panic," I think "personalized nightlife accessory opportunity." Are they still serving bourbon bacontinis at Pop’s Bar on 24th Street? Flask us a threesome of those, text my porky ass from the Powerhouse trough, and let’s greet humanity’s swine song on the dance floor, chop chop.

TOPPA TOP


All praise to invaluable hometown hosts Jah Warrior Shelter HiFi Sound System for this weekly dancehall and reggae refresher at Club Six. None fear dread the mad decent cover, smoked-out vibe, and sticky-fresh deep-needling by the likes of Jah Yzer, Irie Dole, and Ivier at SF’s only "reggae happy hour". Wait, isn’t every reggae hour supposed to be happy hour?

Thursdays, 9 p.m., $5. Club Six, 66 Sixth St., SF. www.clubsix1.com

FREQO DE MAYO


Right after you sleep off your crudo de Cinco, step to this annual wigout’s mixed piñata of up-to-the-nanosecond styles. Vibesquad, a.k.a. Denver crunkadelic producer and DJ Aaron Holstein, brings the dirty future bass. Scuba, my current sonic crush, kills with dubstep depth that suddenly rounds up into sweet release, and New York City’s DJ Sabo is the coolest baile breaks kid on the globaltronic block. Headliner Kid Kenobi is less intriguing — a slick Aussie techno-popper with a B-boy lite patina. But at that point, you may just want to drop a lime and cut loose in your funny hat.

Fri/8, 10 p.m., $15. 103 Harriet, SF. www.1015.com

DIRTYBIRD PAJAMA JAM


Ha ha ha, I feel so spring break. Famed local techno label Dirty Bird matches its goofy sensibility with a no-slumber party, bunny slippers and all. DJs Claude VonStroke, Worthy, Justin and Christian Martin, and up-and-comer J. Phlip bring the post-minimal hijinks, you bring the stripy drawers and stuffed E.T. dolls.

Fri/8, 10 p.m., $15, Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

MALUCA AND ISA GT


Ladies, it’s your turn. I’m fainting for bad-girl MC Maluca’s raw and minimal electro-mambo heartstopper "El Tigeraso" single — her Dominican-via-Brooklyn roots tangle in all the right places. Colombian turntable whiz Isa GT sets her filters on stun and techs up the new-cumbia phenom with some major bounce and rave-y buildups. She’s got big names like Crookers in her corner, remixing her blog hit "Pela’O," but she’ll carve out killer stratospherics of her own in her SF debut.

Sat/9, 10 p.m., $10. Elbo Room, 647 Valencia, SF. www.elbo.com

NICKY SIANO **CANCELED! D’OH!


There is no house, there is no techno — there’s only a vast rainbow continuum of disco. So goes the current theoretical trope of dance music criticism (which unfortunately negates years of pre-mirrorball funk and kraut innovation). Still, if disco is Genesis, then DJ Nicky Siano of legendary ’70s Big Apple club the Gallery, which inspired Paradise Garage and Studio 54, is Adam — and this four-hour farewell set on the eve of his retirement should be a revelation.

Sat/9, 9:30 p.m., $15. Paradise Lounge, 1501 Folsom, SF. www.paradisesf.com

BIONIC


The 11-year-old Sunday chunky house and techno weekly has settled in nicely to its new digs at Triple Crown, just in time for some excellent weekend recovery comfort and joy. Sure, we all miss the great Top in Lower Haight, but the Crown’s primo sound system suits DJs Nikola Baytala, Solar, and surprise special guests quite rightly. Freak factoid: the night started out as "Bionic Peanut Butter" after the classic Gwen Guthrie throwdown. Yummers.

Sundays, 10 pm, $5, Triple Crown, 1760 Market, SF. www.triplecrownsf.com

SCUBA with Catherine Galasso and Salt Horse

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PREVIEW Two years ago Catherine Galasso appeared at the WestWave Dance Festival in Gnome Trouble, based on the Grimm brothers’ fairy tale Snow White and Rose Red. Freud would have loved to bite into that story of sibling rivalry. Even though Galasso’s piece wasn’t that successful, it somehow stayed in memory. Apparently she likes folk tales. She is back with another one, The Improbable Reign of Norton I, Emperor of the United States. In fact Norton was a 19th century San Franciscan, eccentric to say the least. He will be joined on stage by other semimythic Barbary Coast denizens, including Joaquin Murrietta, a Robin Hood type bandit. Sharing the bill with Galasso will be a kindred spirit, Seattle’s Salt Horse dance-sound company, with This Was a Cliff. Taking an entirely different perspective — improvisatory and nonnarrative — they also create imagistic dance-theater works in which reality and fantasy collide and cooperate. The double bill comes courtesy of SCUBA, the national touring network created by ODC Theater, Velocity Dance Center in Seattle, and the Southern Theater in Minneapolis. This small venture by cooperating presenters was founded in 2003 in a time of plenty. It seemed a good idea then. It’s an even better one today if small presenters and their artists are going to survive.

SCUBA WITH CATHERINE GALASSO AND SALT HORSE Sat/9, 8 p.m.; Sun/10, 7 p.m., $15–$18. ODC Theater, 351 Shotwell, SF. (415) 863-9834, www.odctheater.org

Listen/Vision 06

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PREVIEW In addition to making music, Christopher Willits is a guiding force behind the art and experimental music site Overlap (www.overlap.org). In conjunction with Overlap’s next event, I caught up with him by e-mail.

SFBG What was it like to collaborate with Ryuichi Sakamoto on Ocean Fire (12k, 2008)?

Christopher Willits It was surreal. We fell into an oceanic trance, and a bunch of music suddenly emerged. Then a Godzilla-like sea monster morphed out of his piano and he vaporized it with his max patch.

SFBG You’ve also worked with Brad Laner of Medicine. Are you an admirer of that (ahead-of-its-time) band?

CW Medicine [had] a mind-splittingly original sound — it was a soundtrack to many high school adventures. Now it’s an absolute joy to be friends with Mr. Laner. Together we are the varsity band members (guitar I and II) of the North Valley Subconscious Orchestra. We’re aiming for nationals next year.

SFBG What do you like about the Bay Area’s close proximity to the ocean?

CW The smell of fresh wind, and dreams of flying great white sharks.

SFBG I saw a fave list of yours once that had Magma, the Carpenters’ "Close to You" and Sun Ra’s Lanquidity on it. Who is inspiring or obsessing you at present?

CW That is a timeless list — can I say them again? Let’s add Morton Subotnick, Wild Bull (www.merlindarts.com), all Eliane Radigue, all Elvin Jones, John Coltrane, and that band that plays at El Rio on Sunday night.

SFBG You recently toured in China, including a performance with images on ice. What did you discover?

CW I discovered a resilient community of artists and experimental musicians pushing against the grain (and firewall) of this mammoth country or force. They understand my history and what I’m doing — another win for Chinese bootlegs? I also found some of the best food ever: huajiao (flower pepper) with asparagus! But hold the boiled big brains. Those I’m definitely not into.

LISTEN/VISION 06 With Christopher Willits, Taylor Deupree, and Classical Revolution. Sun/10, 8 p.m., $10. Café Du Nord, 2170 Market, SF. (415) 861-5016. www.overlap.org.

Booker T. and Bettye LaVette

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PREVIEW In the 1960s Booker T. and the MG’s served as Stax/Volt’s house band, much like the Funk Brothers were for Motown. Playing alongside Otis Redding, Sam & Dave, and the Staple Singers, among others, they beat Love and also Sly and the Family Stone to the racially-integrated rock-band punch. It was 1962’s "Green Onions" on the Memphis-based soul label that put them on the map. The song’s recent omnipresence at sporting events has given it a bit of a "jock jam" tag, but it isn’t tarnished completely.

Today Booker T. Jones is letting his signature Hammond organ sound sing alongside "the Great Lady of Soul," Bettye LaVette. After hearing her humbling rendition of the Who’s "Love Reign O’er Me" at that group’s Kennedy Center Honors, I knew LaVette’s tag was legit. Even Barbra Streisand — in attendance that night — recognized it. She turned to Pete Townshend in disbelief, asking if he’d really written that song. LaVette gives the rock opera ballad a gut-wrenching, soulful treatment. She owns it.

For most of her career, the Detroit native has struggled, but she’s steadily built an audience, touring with late legends including James Brown and a young Mr. Pitiful along the way. LaVette’s had one-off singles released by Atlantic and Motown. It seems she is finally getting her due, having had the honor of dueting on a song at President Obama’s inauguration ceremony — even if it was with Jon Bon Jovi.

Now LaVette’s career has paralleled Booker T’s. Both are signed to Anti- Records. Booker’s new album for the label, Potato Hole, features Neil Young and includes a playful version of Outkast’s "Hey Ya," Expect covers aplenty — and some surprises, too — from this bill’s soulful one-two punch.

BOOKER T. AND BETTYE LAVETTE Fri/8, 8 p.m. Independent, 628 Divisadero, 415-771-1421. www.theindependentsf.com

Sita Sings the Blues

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REVIEW A few years ago, independent animator and comic strip artist Nina Paley left San Francisco for India, where her boyfriend had found employment. A while later, during a visit home, she received a surprise, brusque communication from the bf informing her she need not return — the relationship was over. Just what the bf ultimately got out of this episode is unknown. But Paley got posterity: her first feature film, inspired by both the breakup and the ancient Sanskrit epic the Ramayana, is artistic therapy that also happens to be just about the most delightful movie in eons, cartoon or otherwise. Utilizing very different animation techniques, she cuts between a blatantly autobiographical tale of romantic woe and the mythological travails of Sita, beloved of the noble Rama. He rescues her from an amorous, abducting rival, but his chivalry dies when false accusations about her "purity" threaten to tarnish his image. Then, as now, men are pigs. Sita wriggles through her fate like a Bollywood Betty Boop, frequently crooning vintage 78 tracks by Jazz Age blues chanteuse Annette Hanshaw, and the visual wit on display is akin to Max Fleischer’s antics plus intellectual gamesmanship, grotesque streaks, and eye-popping color. Paley breaks the fourth wall in umpteen ingenious ways. Sita Sings the Blues is so full of fun and invention you may start looking forward to seeing it again after it’s barely started.

SITA SINGS THE BLUES runs Fri/8–Tues/12 at the Red Vic. See Rep Clock.

“Desiree Holman: Reborn”

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REVIEW It’s time to dance — to sashay from the video installation within Nick Cave’s "Meet Me at the Center of the Earth" at Yerba Buena Center for the Arts to the video aspect of Desirée Holman’s part of the SECA exhibition, now in its last days at San Francisco Museum of Modern Art. To hustle between the two is revealing. Not only do Cave and Holman share an irreverent interest in choreography and the unity or community that can spring from mutual movement, they also devote considerable creative energy to costuming. Most compelling of all, these strange kin tap into and surrealistically subvert (in Holman’s case) or explode (in Cave’s instance) conventions regarding race relations in the early Obama era. Think about it. Dance to this.

Closer to the Tenderloin at Jessica Silverman Gallery, Holman turns her attention to the feminine and maternal in "Reborn," a solo show that, much like her SFMOMA contribution, mixes drawings, mask-making (or more precisely here, doll-making), and video involving choreography. Holman’s drawings for the exhibition are as sickly they are lovely — a woman’s split ends take on a windswept weeping willow quality. In the alluring yet disgusting series of images, milk spills from mothers’ mouths as they nurse unsettlingly complacent babies. The video Reborn, nestled perversely in the cement block back room — or should I say back womb? — of Silverman Gallery, mines comedy and the type of incipient frustration that can grow into rage. It does so via games of duck-duck-goose, hummed lullabies, and the occasional bedazzled burka.

DESIRÉE HOLMAN: REBORN

Through May 30. Tues.-Sat., 11 a.m.-6 p.m. Silverman Gallery, 804 Sutter, SF. (415) 255-9508. www.silverman-gallery.com

Editor’s Notes

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Tredmond@sfbg.com

The first time the Guardian made an issue of the role small businesses play in the local economy, official San Francisco freaked out.

It was 1985, and only a handful of people were talking about sustainable local economies, about the connection between environmentalism and community-based economics, about how malls and chains stores were ruining America, and how spending money locally would create more jobs, with less waste of energy, than shopping at Wal-Mart or Home Depot.

The Guardian hired MIT economist David Birch to produce a study on job generation in San Francisco. His conclusion: small, locally-owned, independent businesses generated the vast majority of jobs in San Francisco. That directly contradicted the fundamental thesis driving city planning at the time; the planners and the mayor (Dianne Feinstein) argued that high-rise office development was the city’s prime source of new jobs.

The day the study came out, the city planning director (Dean Macris) called in his senior staff and directed them to work all weekend poring over our study and trying to figure out how to discredit it. Feinstein ignored us. The supervisors continued to allow high-rises to sprout, damaging small business and the local economy. The Chamber of Commerce was so disdainful of small business that a group of Fisherman’s Wharf merchants quit in disgust.

Today that battle is over. Done. The argument isn’t even an argument anymore. Everyone, from Mayor Gavin Newsom and the Chamber on down, agrees that locally-owned businesses are the lifeblood of the San Francisco economy. The mayor goes around urging people to "shop local."

But as we suggest in this special issue on San Francisco small business, the city itself isn’t doing such a great job at that. In fact, the public sector in general has been trained for so long to do business with the lowest bidder that the role a major institution like the city and county of San Francisco can play in boosting the local economy has gotten lost.

A 2007 study sponsored by the San Francisco Locally Owned Merchants Alliance shows that if local residents shifted just 10 percent of their purchases from big chains to local businesses, the city’s economy would pick up $200 million and 1,300 new jobs a year. Imagine if City Hall, BART, state agencies, the school district — every public sector agency in this city — did the same. *

Making sunshine work

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EDITORIAL The Sunshine Ordinance Task Force and the Ethics Commission are talking to each other, which is some small progress on one of the most annoying lingering issues in San Francisco. But the joint meeting last week, while positive in tone, didn’t solve the basic problem.

Under the city’s Sunshine Ordinance, the task force investigates complaints about city agencies improperly withholding records or meeting in secret. If the task force members find that there’s been a violation — and that the matter is serious enough to merit enforcement action against the city officials involved — the file is forwarded to Ethics, which can charge elected and appointed officials with misconduct.

But that never happens.

Fourteen times the task force has asked Ethics for action, and 14 times those cases have been dismissed — with little serious investigation. In fact, at the April 24 meeting, John St. Croix, the executive director of Ethics, admitted that his staff doesn’t always interview the complainants in these cases. Instead, Ethics asks the respondent for his or her side, and relies heavily on the advice of the city attorney.

That’s a problem in itself, because sometimes City Attorney Dennis Herrera will advise a department to keep something secret when the task force — which has its own lawyer, also from the City Attorney’s Office — disagrees. And in some cases it’s very clear that city officials have willfully ignored, defied, or sought to circumvent the open-government law.

Mayor Newsom, for example, refuses to release his full appointments calendar, which would show the public whom he’s meeting with — a key way for San Franciscans to understand who is influencing, and seeking to influence, city policy. The New York Times just published a detailed investigative report on Treasury Secretary Timothy Geithner’s ties to Wall Street financiers, basing the story in significant part on a review of Geithner’s appointment calendars. The New York City Federal Reserve Bank — a secretive institution if ever there was one — released the calendars of Geithner’s appointments when he was bank president. Newsom can certainly do the same, and the law requires him to. But he simply ignores that mandate.

The district attorney also has the authority to enforce the law, but has never filed a single sunshine violation case.

The San Francisco Sunshine Ordinance is supposed to be the best and most comprehensive law in the state ensuring public access to government activities. But it’s rendered almost meaningless when city officials can defy it, routinely, and suffer no consequences.

The current enforcement system is simply not working. The supervisors should hold hearings on this with the goal of placing a charter amendment on the ballot giving the task force the independent authority to order documents released and adopting a more effective way to sanction officials who disregard the law. The task force should also have the right to take cases directly to the Ethics commissioners and prosecute them in public before the full commission. It’s the biggest open government issue in the city right now. Which supe wants to take it on? *

CJC just criminalizes the poor

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OPINION Two SF police officers stood; another was in the car at the curb, door ajar, lights flashing onto the sidewalk. It was 3:00 p.m. and the lights, the three police officers, and the squad car were all focused on one small man huddled next to a shopping cart and a torn Hefty bag, shining steel handcuffs glittering off his deep brown wrists. The man said nothing as they arrested him. His "crime": sitting, standing, sleeping while houseless in San Francisco.

It’s illegal to be houseless in the United States. In fact, arguably it’s illegal to be poor in a nation that has somehow equated urban messiness with the presence of youth, adults, and elders sitting, standing, and convening in public and cleanliness with emptiness and the lack of people, color, and things. Since the new $2.7 million Community Justice Center (CJC) — a.k.a. the poverty court — opened in San Francisco, police have been out in droves drumming up customers.

There are so many wrong things about the CJC, beginning with criminalizing people in poverty just for being poor. As a poverty scholar and formerly houseless child and young adult who was incarcerated for the sole act of living without a home, I can say for a fact: it didn’t matter how many times you arrested me or my Boricua houseless mama — it didn’t take us out of homelessness. In fact, it made our situation more compounded, more complicated, more intractable.

The city is grappling with a $350 million budget deficit — it has been cutting back and closing vital emergency services for houseless people, like the Tenderloin Resource Center (TARC) and Caduceus, for example, which does truly revolutionary work with houseless folks who struggle with a psychological disability.

But I think one of the most terrifying aspects of the CJC is the institutionalization of a new form of criminalized service provision. This stems from the idea that the delivery of services, advocacy, mental health, physical health, and housing are somehow more urgently needed, deserved, or valid if they are triggered by arrest and adjudication.

At the hour of 3:00 p.m., near the corner of Hyde and Larkin streets, the system was triggered by Richie, a 56-year-old who used to hold down a construction job until he was laid off. Arresting him didn’t get Richie a job. The CJC didn’t get Richie a job. But, the folks there would argue, they referred him to job training and a temporary shelter bed. And guess what? Other organizations that didn’t arrest Richie also referred him to job training and a temporary shelter bed.

My mother and I didn’t get affordable housing, mental health services, or access to free child-care for my infant son because I was arrested.

Acts of revolutionary legal advocacy, art, support networks, and political awareness, like the ones I learned through the Suitcase Clinic, POOR Magazine, WRAP, the Coalition on Homelessness, and People Organized to Win Employment Rights, were what took me out of the sorrow and desperation and depth of struggle of poverty.

Criminalization, arrest, and adjudication of people in poverty really accomplishes only one thing: it brings the prison industrial complex to a neighborhood near you. *

Tiny a.k.a. Lisa Gray-Garcia is the author of Criminal of Poverty: Growing up Homeless in America and the cofounder of POOR Magazine/PoorNewsNetwork.

What’s a label?

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Who needs record labels? Do you? Yes, the music industry is in turmoil — so what’s the point of branding anymore? The Guardian checks out anonymous underground classics, military-industrial backers, trickle-up breakthroughs, warped corps, reissue revivalism, and indie’s wild, wild ride.

>>The name game
What does a record label mean in 2009? Label owners sound off
By Johnny Ray Huston

>>Saved by zero
Dance music still shakes off labels and flirts with the void
By Marke B

>>Great expectations?
Indie labels ride the ups and downs of the blog buzz and bluster
By Kimberly Chun

The name game

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johnny@sfbg.com

LABELS Look for the label: that shopper’s instruction has carried a wealth of meanings over the years in the music industry. Stax and Motown have soul. Jazz has Verve. Kudu has that bluesy voodoo. If you want a symbol of vindictive business dealings, look up Savoy. If you’re obsessed with the history of post-punk and indie rock, see Factory, Rough Trade, and Creation. Yet what does a label mean in 2009? Do labels still matter in an ever more ephemeral music industry? In fact, does matter itself matter anymore in a world where the C in CD might as well stand for coffin-bound? God save EMI?

I put the first question to a number of label owners and representatives recently, hoping their answers might provide an entry into a discussion of the role of labels and the potential of music today. Their answers did not disappoint. "Anyone saying [labels] are dead and gone is not factoring in the talented, but brainless, American Idol contestant," quipped Ken Shipley, founder of the vaunted reissue and archival label Numero Group. "They’re backed by liquor companies and weapons manufacturers, and as long as the Army needs music for commercials at movie theaters, they’ll be in business. The labels that are about to be useless are the large indies — crippled by an infrastructure and overhead built for the ’90s CD bonanza — and the micro-indies, [that are] doing what any band’s manager can already do."

Such a perspective suggests that reissue labels have the truest vital stake in the future of commercially produced music, and this passionate music lover has to admit that it sometimes feels this way: over the last few years, archival entities such as Numero Group, Omni Recording, Trunk, Light in the Attic, and the local Water label have played as major a role in my listening experience as any indie dedicated to new groups and artists.

Yet even as iTunes demands that everyone stand under its umbrella, the meaning and importance of a small label can persist in very simple and profound ways. "I pay attention to records coming out on good labels that I know I can trust," says Filippo Salvadori of Runt Distribution, the Oakland home to reissue labels including Water and 4 Men with Beards. "A record label is an important hub for art and idea exchanges between music lovers and musicians," Bettina Richards of Thrill Jockey likewise declares, her directness and use of the word record born of past and recent experience.

"I think labels are as important as ever," maintains Mike Schulman of the Bay Area indie pop shrine Slumberland, which is currently experiencing a new burst of recognition thanks to bands such as Crystal Stilts and the Pains of Being Pure at Heart. "With the increasing fragmentation and atomization of genres and scenes and markets, customers rely on labels as a curatorial enterprise, a shorthand signifier for what they’re into, and a useful tool to help sort through the mountain of new music."

The curatorial corollary, or an editorial variant, comes up more than once among small label owners. "In an sense, we serve as editors, but to do more than edit," says Andres Santo Domingo of Kemado Records. "We actively promote the artists on our roster and help make their life easier so they can dedicate themselves to being musicians [at a time when making] music is less financially viable than it was in the past."

Joakim Hoagland of the Norwegian label Smalltown Supersound has a more idealistic view of the label owner’s enterprise. "In my opinion, running a label is an artform," he writes, still passionate in the wake of a recent public debate with Peter Sunde of the Pirate Bay, a staunch opponent of music labels and other aspects of copyright culture. "I am in general a label fan and have read most books available on labels like Elektra, Impulse, Creation, Rough Trade, Factory, and so on. I love labels, and sometimes am more interested in a label than an artist."

While Hoagland makes a case for the label identity that is forged as a labor of love for new music, Shipley of Numero Group feels that reissue labels have a "brand identity" that most labels devoted to contemporary music currently lack. Indeed, this might be the case, thanks to the manner in which iTunes seems to have swallowed the experience of listening to recorded music. "Although millions of labels sell their music through iTunes, the only brand name that is really involved and talked about through the process is iTunes, which isn’t even a label," notes Jonny Trunk of the U.K. reissue treasure trove Trunk. "You cannot search on iTunes by label. Which is rubbish, really."

Matt Sullivan of the Seattle-based label Light in the Attic fuses Hoagland’s appreciation of past labels with Shipley’s and Trunk’s devotion to discovering old "lost" music. "There was something so beautiful about labels like Stax, early Sub Pop, Creation, or even Reprise/Elektra/Warner when Stan Cornyn was at the helm in that golden age of the late 1960s and early 1970s," he observes. "No one’s done it better since."

For Sullivan and Light in the Attic, a label functions as a way to right past industry wrongs, and find or create new audiences for abused and neglected artists. "Most managers, labels, publicists, booking agents, etc. are crooks and cheats, better suited for a position at Enron or Madoff Investment Securities," he notes. "After all, though, this is the entertainment business and it feeds on low-lifes." He contrasts this bleakly funny outlook with the dedication required in reissuing a choice recording from long ago: "Folks have no idea the amount of time that goes into a reissue. On the other hand, I have no idea the time that’s invested in making a tube of toothpaste." This dedication results in a recorded object with artwork in the case of Light in the Attic, or Trunk, whose namesake is an expert on music library treasures, and the author of a deluxe book of artwork (with a CD) related to the subject, The Music Library (Fuel Publishing).

As CDs pile up in landfills, vinyl is returning from the dead with ever-increasing commercial vitality, even if on a smaller scale. "From a personal level, I wish the CD would die," says Chris Manak, a.k.a. Peanut Butter Wolf of Stones Throw Records. "I don’t have an effective way of storing mine without losing them all the time. I wish everybody who liked music would buy a damn turntable or two, like me." Richards of Thrill Jockey sees growing vinyl activity, if not that level of popularity. "A great example of the trickle-up effect is the surge in LP sales," she says. "It is a great adventure to be a part of, and be on the hunt for new sounds without limitation to form."

But what does it all mean for the musician? "There may be some brave new world wherein the artists can do all the work themselves, but I think that notion, at least from the current perspective, is a pipe dream," says Joel Leoshke of Kranky, home of groups such as Deerhunter. "Can you name three artists that work without a label at the moment? I think not."

"Labels needs bands, not vice-versa," counters the acerbic Shipley. "The sooner every band in the world realizes that, the better off they’re going to be. Labels are for the lazy, the incompetent, and the cash-poor. Sadly, this represents 99 percent of all musicians. Good luck." Asked about the future role of labels within the industry, he makes a comparison. "The label’s role is a business version of child support: Wednesdays and every other weekend until your artists hit their teens and hate you."

Other label owners imagine even more dystopian scenarios. "As J.G. Ballard predicted, you will soon see musicians taking cruise ships and airliners hostage to hold private and compulsory listening parties," half-jokes David Thrussell of Omni Recording, which has uncovered vanguard audio explorers such as Bruce Haack. "Naturally, record labels will support artists to the maximum of their ability in these brave new marketing ventures." Slightly more seriously — only slightly — he lists his and Omni’s future goals as at attempt to "pry as many strange or under appreciated records out of musty vaults and attics as we can until the Earth explodes in a cloud of tepid dust (not that far off)."

Some label reps see labels taking on an even more encompassing role in relation to musicians. "I think some of the larger labels will be demanding much more from their artists — these 360-type deals where the labels want to own the artist, their recordings, their publishing, their gig rights, the merchandise, the outfits, all online activity, everything, everywhere," says Trunk. Hoagland of Smalltown Suerosund envisions a similar scenario in kinder, gentler, smaller terms. "My opinion is that labels should do more booking and publishing as well as releasing music. I think it is better for artists if you have one team or label work for you rather than three or four working against each other. I am not sure if 360-type deals work well with the majors, but the indie could make them into something cool."

"I know I’m a bit of a music geek about labels," admits Schulman, who once was more cynical about the industry machinations he’s moved through. "But I think that as the group of people who actually buy music continues to shrink down to a core of those who really care about it, they’ll continue to coalesce around the labels whose taste they trust."

Great expectations?

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Equality has been achieved: this recession is kicking everyone’s arse. But I couldn’t help but squirm at a few recent music-biz disjunctions. How does one reconcile the scene at a South by Southwest "Great Expectations" label panel last month, listening to Tony Kiewel describe 2008 as one of the Sub Pop’s best years, with the bad news from Touch and Go’s Chicago HQ a week later? After shuttering its distribution — which once supported imprints ranging from Drag City to Estrus — in February, the 25-year-plus label laid off its entire staff. Owner and ex-Necros bassist Corey Rusk was going to run the enterprise solo.

A second major blow, especially when one considers Touch and Go’s history releasing important discs by Big Black, Scratch Acid, Die Kreuzen, Slint, Jesus Lizard, and of course, the Butthole Surfers (though the label’s 1999 loss in a legal battle with that band likely hasn’t helped). "Touch and Go basically allowed Merge to exist as something other than a singles label," Mac McCaughan of Merge Records stated in February. "If a company that did everything the right way can’t survive in this environment, then who can?"

Are these simply the latest surges and sucks of free-market capitalism’s death throes and toilet-bowl flows? And what’s the state of independence for local labels eking it out in this still-roiling stew of sorry economic news?

"The black and white fact is that [Sub Pop] is not Touch and Go," opines Cory Brown, owner of Bay Area independent Absolutely Kosher and general manager of Misra Records. He notes that Sub Pop is partially owned by Warner Bros. and that Touch and Go had the tough luck of losing some of its biggest artists, including TV on the Radio, Blonde Redhead, and the Yeah Yeah Yeahs. Those departures "all went down not very well," says Brown, who believes Touch and Go’s contraction was "as much an emotional decision as a business one," considering the company had big releases by Pinback and Three Mile Pilot planned.

Rusk declined to comment, although one wonders what will become of his label’s newer bands, among them the Bay Area’s Mi Ami and Sholi. Still, should he strike up a new alliance, all systems could be go at Touch and Go once again. As Brown puts it, "Geoff Travis has closed Rough Trade multiple times now and come back with it."

What of the local label landscape? Lookout! and Jackpine Social Club have ceased new releases, whereas Tigerbeat6 and Anticon have left town. Slumberland is surfing a twee rock revival, and hip-hop’s SMC has taken on bigger fish like Killer Mike. As newbie Bright Antenna appears on the horizon, veterans such as Alternative Tentacles, Fat Wreck Chords, Runt/Water, Quannum Projects, Birdman, Daly City, Dirtybird, and Hook or Crook are staying alive. AT celebrates its 30th anniversary this year. "As music and media become increasingly accessible instantly from anywhere, the role of curator is more important than ever – if I can access 10 millions songs instantly from my phone, how do I choose?," Isaac Bess, director of business development at SF’s IODA (Independent Online Distribution Alliance) writes via e-mail.

Business is bright, thanks to smart planning, for SF distributor Revolver USA and Midheaven Mailorder, which supports labels such as Gnomonsong and DiCristina Stair Builders. "We’re doing well, and I think that has a lot to do with what our expectations are, and not looking for a big record to be carried by Walmart and Target," says general manager Mike Toppe, who thinks it’s more important to "keep connecting with people who are passionate about music."

Fat Mike, who started Fat Wreck Chords to put out music by his bands NOFX and Me First and the Gimme Gimmes, has a more hardcore perspective. "In the ’90s, every fucking band we signed sold a shitload of records and got popular all over the world. It was ridiculous," he e-mails from NOFX’s current European tour. "Now only the really good bands can sell a decent amount. That’s okay, though. This industry collapse is mostly killing mediocre bands." As for the decline in CD and recorded music sales, the SF road warrior believes that’s not going to stop: "The record industry party is over, but great live bands will always do okay."

But what about the groups that can’t pick up blogosphere buzz? Both Jacobs and Brown acknowledge the difficulty in developing emerging or even mid-level bands via traditional avenues. Add in the complicating factor of so-called 360 deals, in which a label takes a percentage of all artist revenue in exchange for promotion, and you have what Brown calls a "destructive" outlook. "The bottom line is musicians should get paid," he said. "Forget about how labels are doing — how are musicians doing in this climate?

"I think new ideas really have to come into play, and those have to be based on the quality of life for the musician, not the company that comes up with an application," he continued, touching on the lack of public funds for musicians and lack of official recourse for bands if, for instance, they don’t get paid by a club. "It’s basic stuff, but it’s harder to look past those things. It has to go back to the content provider."

Home run

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In American Hwangap, Lloyd Suh’s charmingly witty and gently woebegone world premiere, hwangap — the momentous 60th birthday marking completion of the astrological life cycle in Korean tradition — is occasion for a fresh start for Min Suk (an irresistibly expansive Keone Young), a former engineer and disenchanted immigrant returning home to his Texas-raised Korean American family 15 years after abandoning them and fleeing back to the old country. Of course, it’s not so easy to go home again.

Oldest son David (a razor-sharp Ryun Yu), the New York investment banker whose roiling inner turmoil takes the form of hilarious sangfroid, stays perpetually perched on the phone. Daughter Esther (a potent Angela Lin) vents her rage at her father soon after fetching him from the airport. Only youngest son Ralph (Jon Norman Schneider) seems suitably excited about the upcoming celebration, but then he’s over 30 and still living like a preteen in his mother’s basement. And while ex-wife Mary (a gracefully assured Jodi Long) musters a generous and forgiving mood, she is no longer the docile hausfrau Min Suk once knew. For his part, Min Suk remains determined to somehow win back their affection, persevering with sharp-witted good nature and newfound humility, even as it leads him literally up the backyard tree.

Magic Theatre and new artistic director Loretta Greco hit this one out of the park. Suh’s American Hwangap is a fresh, heartfelt and very funny family drama whose Shepard-esque themes and setting come underscored by passing slide-guitar licks and Erik Flatmo’s delicately whimsical scenic design, which gives just the right lift to the comically bent realism in director Trip Cullman’s production.

AMERICAN HWANGAP

Wed/29-Sat/2, 8 p.m.; Sun/3, 2:30 and 7 p.m., $45-$75

Magic Theatre, Fort Mason Center, Marina at Laguna, SF

(415) 441-8822

Reel Talk

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At last year’s San Francisco International Film Festival, in his State of Cinema address, Wired cofounder Kevin Kelly spoke of a media landscape inundated with screens, in which you’re as likely to watch a movie on your PDA, or even a grocery checkout screen, as you are in a theater. The message was clear: the way in which we create and consume films is changing. To some extent, we have been living in this brave new world for some time, so SFIFF’s choice of photographer Mary Ellen Mark to deliver this year’s State of Cinema address carries with it an implicit nostalgia for cinema’s old world. Mark, who has frequently turned her camera on marginal subjects — Indian prostitutes, homeless American teens, circus performers — has also periodically worked as an on-set photographer over her four decade career, capturing moments of behind the scene candor on the sets of directors such as François Truffaut, Federico Fellini, Milos Forman, Tim Burton, and Francis Ford Coppola. The images, collected last year in Seen Behind the Scene: Forty Years of Photographing on Set (Phaidon), present Mark as an anti-Annie Liebovitz. She manages to catch her subjects unaware — as with the hilarious image of Dustin Hoffman making faces behind a quite serious Sir Laurence Olivier between takes on 1976’s Marathon Man. Others — among them Marlon Brando caught with a bug resting on his bald pate on the set of 1979’s Apocalypse Now — seem to square off with the camera. Incidentally, two of this year’s major SFIFF honors are going to Coppola and fellow child of the ’60s Robert Redford, so there’s a bit of a love fest for the era going on at this year’s fest. Undoubtedly Mark has as many fascinating stories as she does compelling images, but hopefully her talk won’t just be a stroll down memory lane.

"STATE OF CINEMA ADDRESS BY MARY ELLEN MARK"

Sun/3, 1 p.m., $12.50

Sundance Kabuki, 1881 Post, SF

www.sffs.org

The body count

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› le_chicken_farmer@yahoo.com

I pushed a peanut shell through a hole in the tabletop. We were outside, upstairs, on a wraparound deck and the left side of me was getting burnt. The right side of him. Hot day …

There were boats. Water. There was a view of the Oakland skyline.

"I had my first lesbian lover," I said, to get his attention. I was tired of talking about snowboarding and soccer, sports, his and hers. I was ready for some he-said-she-said, the good stuff.

"Really?" he said, with the big smile with the perfect teeth.

Our beers were half-empty, the peanut basket half-full. I told my story, watching his face, pushing peanut shells through the many holes in the iron tabletop. I thought they were scattering on the floor below, on the deck, but in fact they were piling up on my skirt.

He dates a lesbian. His name is Ratatat and he has black hair and thick, black, old-fashionable glasses, an Asian Woody Allen or Elvis Costello, only a lot younger than both of them, put together.

He also dates me. Although … as our dates get funner, they get farther apart. And we talk more about who else we’re seeing … Which is fine. Really.

No. Really, I have a bad attitude about polyamorousness. Polyamorless, I call it. Luckily, my bad attitude is in this case trumped by a really very good attitude about the nature of reality. The nature of reality is that it is real. It’s what’s for dinner. No. It’s what we are left with after dinner, the bones, dirty dishes, and in some cases, indigestion.

I have started a kind of a museum of Things Guys Left At My Place Because They Leave In Such A Hurry. See? I’m a realist. In lieu of the return visit, let alone flowers, let alone love, I smoke the rest of their cigarettes and wear their big stinky shirts like a nightie in the morning, with my coffee. It’s a cool twist on cross-dressing, and I love it. I love the smell. I love the way guy-grade cotton feels against my bare skin. One man left a pair of sunglasses and I wore them and loved the way the world was.

But how can I explain all this to Ratatat, who treats me truly like a friend? Who leaves nothing and does come back, who picked me a flower one time …

I can’t! So I gave him the fantasy, the body count, instead: one woman, one man, since last we met. And he gave me his. The ongoing lesbian. A cute girl upstairs. Somebody else …

Besides peanuts, which are on and all over the house, we split an appetizer with our beers: Quinn’s signature, a halved tomato dressed with pesto and piled with shrimp. Perfect for the hot day, a midafternoon snack, and the bayside setting. Place used to be an actual lighthouse! Now it’s a split level, split-themed restaurant, yacht club style downstairs, peanut-littered pub up.

And there really was a pirate sitting near the door when we left, after only one beer apiece. Anyway, he was a salty old-timer with a parrot on his shoulder.

After we walked past him I turned to Ratatat and said, "That guy works for me."

Because he did. I’m a fiction writer.

I gave Ratatat and his flat-tired bicycle a ride home and a hug, then went to be with the children. Then went to be with the chicken. Cakey, who I had successfully cured of broodiness by bringing her to the woods and basically traumatizing her. As I write this, she is kicking leaves and looking for bugs right next to me, a healthy, happy, and functional member of society.

Well, what’s good for the chicken …

I will get on an airplane, which is the scariest thought I can think of. My passport application is all filled out. I forget how long it takes but I got a packet of alphabet pasta in the mail yesterday. While I’m waiting I will nitpick these A’s, B’s and C’s into top-secret international love letters, then eat the evidence.

QUINN’S LIGHTHOUSE

Daily 11:30 a.m.-9 p.m.

1951 Embarcadero East, Oakl.

(510) 536-2050

Full bar

AE/D/MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

What do (people) want?

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andrea@altsexcolumn.com

Dear Andrea:
Have you heard of a study that analyzed biometric feedback from self-identified male bisexuals, and the notable finding was that the overwhelming majority of these men were in fact homosexual, not bisexual? The conclusion of the study was that "true" male bisexuality is extremely rare. (For what it’s worth, I consider myself a "true" male bisexual, but what do I know?)

I also heard about another study from at least 10 years ago that tracked the sexual fantasies of self-identified lesbians, and the surprising result was that some 50 percent of these women actually fantasized about men while doing it with their female partners.

Have you heard of these, and would you care to comment?
Love,

Actually Here!

Dear Here:

I have, of course, and they’re all fascinating, partly for the science (which is generally super-simple and not easily misinterpreted) and partly for the reactions in the various communities whenever one of these studies is reported, which are frankly pretty funny.

The "there’s no such thing as male bisexuality" studies have received the most press, and the biggest, most offended reactions, but it’s not like the researchers at Northwestern University and the Center for Addiction and Mental Health in Toronto set out to disprove the existence of an entire sexual orientation! All they did was hook up some volunteers to a plethysmograph and show them porn. I think the first researchers were probably as surprised as anyone when the self-identified bi men failed to respond in a recognizably "bi" manner. About three-quarters of the bi men read as completely gay according to their penises (do penises lie?), while the rest were indistinguishable from the self-identified straight guys. There was no recognizable "bi" pattern of arousal, and the subjects seemed overwhelmingly to fall on one or the other end of the Kinsey scale:

Regardless of whether the men were gay, straight or bisexual, they showed about four times more arousal" to one sex or the other, said Gerulf Rieger… the study’s lead author.

So obviously, you think you exist but you’re wrong, Bi Guy!

Okay, no. What do I really think? I think, for one thing , it’s all funny since in my little bubble of not only San Francisco-ness but San Francisco sex educator-ness, fake bi guys who are actually straight but want hot bi chicks to think they’re cool way outnumber bi guys who are actually gay but closeted. Also, I do think you exist. Clearly truly bi men are rarer even than we thought, but I’m fairly certain that you are not a figment of your own or my imagination, and I think sexuality is a mite more complicated than penile plethysmography.

Another study, described here in a ScienceDaily article from 2003, and distinguished by including only people who identified as gay or straight, turned up more bisexual women than expected, but replicated earlier results where gay and straight (but not bi) men responded consistent with their self-identification: In contrast, both homosexual and heterosexual women showed a bisexual pattern of psychological as well as genital arousal. That is, heterosexual women were just as sexually aroused by watching female stimuli as by watching male stimuli.

The extraordinary article on female desire that ran in The New York Times Magazine (www.nytimes.com/2009/01/25/magazine/25desire) introduced recent research by Meredith Chivers, who’s been following up on the research above with the added fillip of throwing some ape porn in the mix and requiring volunteers to report their own perceptions of their arousal levels, which proved wildly inaccurate: During shots of lesbian coupling, heterosexual women reported less excitement than their vaginas indicated; watching gay men, they reported a great deal less; and viewing heterosexual intercourse, they reported much more. Among the lesbian volunteers, the two readings converged when women appeared on the screen. But when the films featured only men, the lesbians reported less engagement than the plethysmograph recorded. Whether straight or gay, the women claimed almost no arousal whatsoever while staring at the bonobos.

Good to know!

As for the studies (self-reported behavior, no telemetry) that show a high percentage of self-described lesbians fantasizing about men while having lesbisex, eh. People fantasize about all kinds of things, particularly things they feel uncomfortable about. Are those women fake lesbians? The furthest I can go with that is to say that we’ve seen that women are much (so much!) more likely than men to be bisexual by attraction. I’m assuming that some of the women studied are physically attracted to both, but emotionally more attached to women ("Whom do you fall in love with?" is a hugely important but oft-neglected measure of sexual orientation) and some are into women but enjoy fantasies of committing unnatural acts with men. That some must be really not that into chicks but have chosen for whatever reason to live as lesbians is undeniable but just not that important. They wouldn’t be the first people to partner with someone not of their preferred gender, or the last, and their existence does not cast doubt on anyone else’s authenticity. Can anyone do that?

Love,

Andrea

Don’t forget to read Andrea at Carnal Nation.com.

Historic proportions

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news@sfbg.com

GREEN CITY "110 The Embarcadero" is the stately address of a building that doesn’t exist yet. But the battle that continues to be waged over this proposed development, along with skirmishes that are brewing over other proposed buildings nearby, speaks volumes about a complicated tug-of-war that is emerging over a prominent slice of the city’s northern waterfront.

Preservationists are concerned about saving a union hall on Steuart Street that housed the International Longshoremen’s Association during the strike of 1934, which would be razed to build 110 The Embarcadero. That’s one of a number of historic properties critics say could face the wrecking ball as new building plans are drafted. Other proposals, among them 8 Washington and 555 Washington, have neighborhood activists anxious about long skyscraper shadows that could be cast on public parks, the development pressure that would result from allowing skyscrapers to exceed height limits, and views of the bay that would be enhanced from inside luxury high rises but blocked to others.

On the other side of the coin, building-trades union members increasingly desperate for work are fervently advocating for new construction projects that would open the spigot on jobs. And the Port of San Francisco hopes development money will help cover its huge infrastructure backlog.

Meanwhile a report released in early April by the Bay Conservation and Development Commission noted that the waterfront stretch from Pier 35 to the Bay Bridge is one of the most vulnerable to sea-level rise. As plans for this part of the Embarcadero are hashed out in public hearings and architects’ sketches, a new reality must be factored into the mix: some of that land could soon be underwater.

MISSING HISTORY


110 The Embarcadero initially won praise for its goal of attaining the highest certification level for nationwide green-building standards. Sponsored by Hines Interests, it was a shining example of ecodesign that even featured living vines climbing the sides. Even though it would shoot 40 percent above the allowable height limit of 84 feet, the San Francisco Planning Commission gave it a green light.

Enthusiasm waned, however, when historic preservationists pointed out that the building slated for demolition — 113 Steuart St. — was an ILA labor hall during the famous maritime strike of 1934, which erupted into violence after two union members were gunned down by police and led to a four-day general strike that paralyzed the city. "Harry Bridges rose to fame in this building," says architectural historian Bradley Weidmeier, referring to the famous labor leader. "Labor historians from around the country are going to be blocking this."

Hines hired a leading historic architecture firm, Page & Turnbull, to conduct a historic assessment of that building as part of the planning process. Yet the initial report neglected to mention anything about the building being at the center of a profound moment in San Francisco’s labor history.

Former Board of Supervisors president Aaron Peskin, an opponent of the project, says the gaps in information weren’t hard to miss. "The fact that it was ground zero for bloody Thursday, that it was ground zero for the general strike … that people were shot in front of there, that their bodies lay inside. You want to know how we found that out? We got it online," Peskin said.

Page & Turnbull later submitted an addendum, including historic photos depicting people crowding into the two-story building to pay respects to the slain union members. The firm acknowledged its historic significance this time, but asserted that the now-empty building had undergone too many retrofits to comply with historic landmark requirements.

This, too, was challenged by project opponents. "You can look at pictures of dead people laying there on the sidewalk with that building in the background, and look at it today, and godammit, it’s pretty much the same building," Peskin says.

The Board of Supervisors in mid-March approved an appeal of the project and instructed city planners to prepare an environmental impact report. Ralph Schoenman, a preservation advocate who says he met with board members about the project, told us that "members of the board were plainly shocked by finding out that the historic report was so flawed and untrue."

That feeling may have lingered for some at the April 21 bard meeting when Supervisors voted 7-4 to reject Mayor Gavin Newsom’s nomination of Ruth Todd, a Page & Turnbull principal, to the city’s Historic Preservation Commission.

WHOSE WATERFRONT?


Though the project has been stalled, the issues it stirred are gaining momentum. The picture of what this stretch of the Embarcadero could look like is shaping up to be quite different from developers’ gauzy artistic renderings. Sue Hestor, a land-use lawyer, is a driving force behind a community-led meeting scheduled for June 24 at the headquarters of International Longshore and Warehouse Union Local 34 (the successor to ILA) to initiate a new approach to development along the western edge of the Embarcadero.

"Threatened demolition of the 1934 Waterfront Strike headquarters at 113 Steuart has pulled us together," Hestor wrote in a widely disseminated e-mail. "The community will proactively start defining changes we want. No more waiting for a developer proposal, then meekly responding. The community gets to define how the city should look … along the northeast waterfront. When you start at the Embarcadero it is possible to weave in so many areas, so many neighborhoods, so much of our political and immigrant and labor history."

ILWU members are joining with preservationists in the effort to preserve 113 Steuart. "We are at a historic moment when working people are under unprecedented attack," a team of six Local 34 leaders wrote in a recent statement opposing the demolition. "That living history is a prologue to our struggles of the future."

Not all labor unions agree. At a picket staged by San Francisco’s Building and Construction Trades Council outside a Democratic Party luncheon April 21, protesters carried a few flew signs reading "How can we feed our kids with history?" The signs referenced the city’s Historic Preservation Commission, but the same question might be asked of 110 The Embarcadero, which was favored by building-trade workers.

Neighborhood groups are also worried because the construction of the two proposed 84-foot condominium towers at 8 Washington could cause the adjacent Golden Gateway Tennis and Swim Club to lose half its facility. "Six hundred to 700 kids come every summer to learn to swim and to play tennis," Club director Lee Radner says. "To us, it’s just a matter of the developer not considering the moral issues of the neighborhood club that has given so much to the community." Friends of Golden Gateway (FOGG), which formed to preserve the club in the face of development, has hired Hestor as its attorney.

Because the development would be partially built on a surface parking lot controlled by the Port Commission, a parcel held to be in the public trust under state law, developers proposed a land-swap to get around provisions prohibiting residential uses in those parcels. Renee Dunn, a spokesperson for the Port Commission, noted that the Port’s annual revenues total $65 million, while the amount that would be needed for repairs and maintenance of its century-old infrastructure is almost $2 billion. In general, "Public-private developments provide the dollars needed to make improvements," she told us.

In the wake of concerns about 8 Washington, Board of Supervisors President David Chiu sent a letter to the Port Commission requesting an update to the waterfront plan for that area. "Concerns are currently being raised regarding the proposed development … and the future development of seawall lots along the northern waterfront, and I share many of these concerns," Chiu wrote. In response, the Port agreed to conduct a six-to-eight month focus study for those seawall lots.

Meanwhile, a quietly growing problem may mean that plans for this stretch of the Embarcadero will get more complicated. A report released in early April by the Bay Conservation and Development Commission predicts a 16-inch rise in the level of the San Francisco Bay by 2050, and a 55-inch rise by 2100, based on data from the Intergovernmental Panel on Climate Change. Along San Francisco’s waterfront, the most vulnerable area will be from Pier 35 to the Bay Bridge, the report found. "Sea-level rise has been linear, and it’s continuing, and we expect that based on what we know about climate change, it will accelerate," notes Joe LaClair of BCDC. In the event of storm surges, he adds, "we will have to find a way to protect the financial district from inundation."

As local governments begin to get up to speed on mitigating the effects of climate change, new questions — beyond developers’ plans vs. neighborhood input — will have to come into play. One that BCDC plans to tackle in coming months, LaClair notes, is: "What does resilient shoreline development look like?" It’s a good one to start asking now.

Going nuclear

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news@sfbg.com

April Fool’s Day is known as a day for practical jokes designed to embarrass the gullible.

But Assembly Member Tom Ammiano’s legislative aide Quentin Mecke says the April 1 letter that Ammiano and fellow Assembly Members Fiona Ma and state Sen. Leland Yee sent Mayor Gavin Newsom urging him not to support a proposal to bury a radiologically-contaminated dump beneath a concrete cap on the Hunters Point Shipyard was dead serious.

In their letter, Ammiano, Ma, and Lee expressed concern over that fact that federal officials don’t want to pay to haul toxic and radioactive dirt off the site before it’s used for parkland. They noted that an "estimated 1.5 million tons of toxics and radioactive material still remain" on the site.

A 1999 ordinance passed by San Francisco voters as Proposition P "recognized that the U.S. Navy had for decades negligently polluted the seismically-active shipyard, and that the city should not accept early transfer of the shipyard to San Francisco’s jurisdiction, unless and until it is cleaned up to the highest standards," the legislators wrote. "Given the information we have, a full cleanup needs to happen," Mecke told us.

But Newsom’s response so far suggests he may be willing to accept the Navy’s proposal.

WAR WASTE


From the 1940s to 1974, according to the Navy’s 2004 historical radiological assessment, the Navy dumped industrial, domestic, and solid waste, including sandblast waste, on a portion of the site known as Parcel E. Among the materials that may be underground: decontamination waste from ships returning from Operation Crossroads — in which atomic tests in the South Pacific went awry, showering Navy vessels with a tidal wave of radioactive material.

"We have serious questions about the city accepting what is essentially a hazardous and radioactive waste landfill adjacent to a state park along the bay, in a high liquefaction zone with rising sea levels," the letter reads. "We understand that the Navy is pushing for a comparatively low-cost engineering solution which the Navy believes will contain toxins and radioactive waste in this very unstable geology. We hope that you and your staff aggressively oppose this option."

Keith Forman, the Navy’s base realignment and closure environmental coordinator for the shipyard, told the Guardian that the Navy produced a report that did a thorough analysis of the site.

The Pentagon estimates that excavating the dump would cost $332 million, last four years, and cause plenty of nasty smells. Simply leaving the toxic stew in place and putting a cap on it would cost $82 million.

Espanola Jackson, who has lived in Bayview Hunters Point for half a century, says the community has put up with bad smells for decades thanks to the nearby sewage treatment plant. "So what’s four more years?" Jackson told the Guardian.

Judging from his April 21 reply to the three legislators, who represent San Francisco in Sacramento, Newsom is committed only to a technically acceptable cleanup — which is not the same thing as pushing to completely dig up and haul away the foul material in the dump.

He noted that during his administration federal funding for shipyard clean-up "increased dramatically, with almost a half-billion dollars secured in the last six years." Newsom also told Ammiamo, Ma, and Yee that the city won’t accept the Parcel E landfill until both the state Department of Toxic Substances Control and the federal Environmental Protection Agency "agree that it will be safe for its intended use."

The intended use for Parcel E-2 is parks and open space, said Michael Cohen, Newsom’s right-hand man in the city’s Office of Economic and Workforce Development. The Navy won’t issue its final recommendations until next summer. "That’s when regulatory agencies decide what the clean up should be, whether that’s a dig and haul, a cap, or a mix of the two, " Cohen explained.

TRUCKS OR TRAINS?


Part of the Navy’s concern is the expense of trucking the toxic waste from San Francisco to a secure landfill elsewhere — someplace designed to contain this sort of material (and someplace less likely to have earthquakes that could shatter a cap and let the nasty muck escape).

David Gavrich and Eric Smith say the Navy is looking at the wrong solution. Gavrich, founder of the shipyard-based Waste Solutions Group and the San Francisco Bay Railroad, which transports waste and recyclables, and Eric Smith, founder of the biodiesel-converting company Green Depot, who shares space with Gavrich and a herd of goats that help keep the railyard surrounding their Cargo Way office weed-free, say the military solution is long-haul diesel trucks. But, he observes, the waste could be moved at far less cost (and less environmental impact) if it went by train.

Saul Bloom, executive director of Arc Ecology, a nonprofit that specializes in tracking military base reuse and cleanup operations, would also like to see the landfill removed, even though he’s not sure about the trucks vs. train options.

"We don’t have confidence about having a dump on San Francisco Bay," Bloom said. "I’m concerned about the relationship between budgetary dollars and remediation of the site. I’m concerned that the community’s voice, which is saying they’d like to see the landfill removed, is not being heard."

Mark Ripperda of EPA’s Region 9 told us that community acceptance is important, but a remedy must also be evaluated using nine specific criteria.

"A remedy must first meet the threshold criteria," Ripperda said. "If it passes the threshold test, then it is evaluated against the primary balancing criteria and finally the modifying criteria are applied."

Noting that he has not received any communication from either the Assembly Members or the Mayor’s Office concerning the Parcel E-2 cleanup, Ripperda said that "the evaluation of alternatives considered rail, barge, and truck transport, with rail being the most favorable transportation mode for the complete excavation alternative. However, the waste would still be transported and disposed into a landfill somewhere else and the alternatives must be evaluated under all nine criteria."

Ripperda said it’s feasible to remove the worst stuff — the "hot spots" — and cap the rest. "A cap will eliminate pathways for exposure and can be designed to withstand seismic events," he told us. "The landfill has been in place for decades and the groundwater data shows little leaching of contaminants."

Meanwhile Newsom has tried to redirect the problem to Ammiano, Ma, and Yee, saying he seeks their "active support in directing even more state and federal funds" toward cleaning up the shipyard. He made clear he wants to move the redevelopment project forward — now.

Sen. Mark Leno is carrying legislation that includes a state land swap vital to the city’s plans to allow Lennar Corp. to build housing and commercial space on the site.

But while Cohen claims the aim of the land trade is to "build another Crissy Field," some environmentalists worry it will bifurcate the southeast sector’s only major open space. They also suspect that was the reason Leno didn’t sign Ammiano’s April 1 letter.

Leno says that omission occurred because Sacramento-based lobbyist Bob Jiroux, who Leno claims drafted the letter, never asked Leno to sign. (Jiroux refused to comment.)

Claiming he would have signed Ammiano’s letter given the chance, Leno described Jiroux as a "good Democrat" who used to work for Sen. John Burton, but now works for Lang, Hansen, O’Malley, and Miller, a Republican-leaning lobbying firm in Sacramento whose clients include Energy Solutions, a Utah-based low-level nuclear waste disposal facility that stands to profit if San Francisco excavates Parcel E-2.

Ammiano dismisses the ensuing furor over Energy Solutions as a "tempest in a teapot.

"I signed that letter to Newsom because of the truth that it contains," Ammiano said. "Sure, there’s crazy stuff going on. But within the insanity, there’s a progressive message: the community wants radiological contaminants removed from the shipyard."

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