SFBG Blogs

Forum begins to bridge the housing-transportation divide

0

Advocates for sustainable transportation and affordable housing in San Francisco — who have been pitted against each other in this election — discussed their differences and found some common ground for a post-election agenda during a community forum last night [Thu/9] hosted by the Bay Guardian and San Francisco Transit Riders Union.

We intended for the forum, “Bridging the Gaps in Funding Transit and Housing,” to begin to heal the rift that has developed over the last couple years and played out strongly this year in the creation of and campaigns for Propositions A, B, G, K, and L, with each camp not supporting the other’s priorities.

But there was broad agreement that both sides should work together on an affordabilty agenda that combats rising housing and transportation costs, the need to incorporate equity and social justice studies into the solutions this coalition should pursue, and even some specific funding mechanisms to meet both needs, including charging transportation impact fees to residential developers and uniting in a campaign to increase the local vehicle license fee in 2016.

“If you looking at what kind of city this is going to be, it really is about housing and transportation. They are two sides of the same coin,” Sup. Scott Wiener said after he arrived late in the forum, explaining how he has filled a critical void in transportation advocacy at City Hall. “The problem has been that over time, everytime there’s a budget fight, Muni loses.”

But Wiener has been a political lightning rod, particularly with renters and affordable housing activists who blame him for the division and for moving forward with Prop. B, which increases funding for Muni, without building a broader coalition first.

“I think the VLF could have had a chance [this year], but what it was lacking was a solid coalition to pull it off,” Peter Cohen, co-director of the Council of Community Housing Organizations, said at the forum.

Cohen and his allies were left out of the Mayor’s 2013 Transportation Task Force, and they were critical of it for setting priorities and identifying funding options before undertaking a broad study of equity and social justice considerations, a study that the SFMTA is now working on with support from transportation activists.

Cohen didn’t accept the framing that helping Muni necessarily helps low-income households — 53 percent of Muni riders don’t have access to a car and 51 percent live in low-income households, according to an SFMTA ridership survey presented at the forum by the agency’s Jonathan Rewers — saying many system improvements are aimed at wealthier parts of town.

“The question is what parts of the system are actually being improved,” Cohen said, adding, “When you get down to the fine grain scale, it’s a lot more complicated.”

But Wiener and transit activists didn’t agree, noting that most Muni lines connect rich and poor neighborhoods, and that when you consider that low-income people disproportionately ride public transit, giving money to Muni necessarily helps the poor.

“There are very few [Muni] lines that only serve low-income people or high-income people,” Wiener said, arguing the public transit funding helps the entire city, and disproportionately the low-income people who rely on Muni.

“Helping Muni intrinsically helps low-income folks,” Amandeep Jawa, president of the League of Conservation Voters, said. “Fixing Muni is intrinsically a equity issue.”

That was also how SFTRU’s Thea Selby framed the issue: “We have a customer base that is low income and we have to take that into account.”

But because affordable housing and the transportation system each have funding needs running into the billions of dollars, there is tension.

“It’s a limited pile of funds, so we all feel like we’re fighting in a zero sum game,” Jawa said, blaming elected officials for unnecessarily creating that divisive paradigm and failing to identify new funding sources. “There is a lack of political leadership in this town, and not on the activist side.”

But when Jawa made an exception of Wiener (who hadn’t yet arrived at the forum), praising Wiener’s leadership on transportation issues, Cohen reacted angrily and blamed Wiener for sowing the divisions between transportation and housing activists.

“We see very intentional wedging,” Cohen said, criticizing Wiener for placing Prop. B on the ballot (which Cohen and his group opposes) and for opposing Prop. G, the anti-speculation tax that is a top priority for affordable housing advocates this election. “We have had a very difficult time working together because we have been pitted against each other.”

Yet Jawa criticized how Cohen and affordable housing activists have tried to frame the discussion around Prop. B, which increases General Fund contributions to Muni as the city’s population increases: “I don’t believe the notion that we’re stealing from affordable housing. We’re not.”

Eventually, those tense moments in which the divisions were sharply on display yielded to more civility and pledges to work together after this election.

“From my perspective, we need to not be at each other’s throats, but we have to work at all those priorities,” said Peter Strauss of the SFTRU.

“Talking, we can begin to understand each other’s priorities,” said Chema Hernández Gil of the San Francisco Bicycle Coalition, pledging to work with Cohen and other affordable housing and social justice activists to strength that coalition.

Hernández Gil cited studies showing that housing is the biggest expenditure for San Franciscans, followed by transportation costs. A worker making minimum wage pay about half of his or her income on housing and a quarter on transportation, leaving very little left for other expenses.

“If you need a car, how much it costs to live here gets so much more expensive,” Jawa said, citing the importance of transit-first policies to an affordability agenda. So he said the pro-car Prop. L would make San Francisco more expensive. “Prop. L is all about transportation affordability in the end,” Jawa said, urging voters to reject the measure.

Cohen noted that he’s supporting the Prop. A general obligation transportation bond and will continue to supporting the creation of a sustainable transportation system as well.

“Right now, residential development doesn’t pay a nickel for transportation infrastructure,” Cohen said, with his call for a residential transportation impact fee winning support from most of the activists in the room.

Cohen asked the transportation activists for their support on housing issues.

“What we have in San Francisco is a dramatic shortage of affordable housing,” Cohen said, calling for a broad coalition to support more public funding to build affordable housing. “It’s going to take a lot of work and a lot you coming back to support funding measures on the ballot.”

DropBox employees drop money for Mission soccer field, kick out neighborhood kids

0

Mission neighborhood tension has never been higher. The tech fueled boom has predominantly white and Asian newcomers butting heads with Latino neighbors who are long-time residents. 

The newest scuffle is over a small patch of green: Mission Playground’s soccer field, located on Valencia between 19th and 20th streets.

A video now making the rounds captures an argument between Dropbox employees and Mission neighborhood kids. The Dropbox employees, including designer Josh Pluckett, argue they’ve already paid for and reserved the field.

The Mission youth counter that the field historically has always been pick-up-and-play (first-come, first-serve), no reservations required. 

The video has many startling moments, highlighting the divide between the two groups. Can we all just acknowledge the oddness of a Latino man asking a white tech dude to “show me your papers,” as he asks for his soccer field use permit? Later in the video, things really heat up.

Just because you’ve got the money to book the field doesn’t mean you could book it for an hour,” one taller youth tells the Dropbox employees. When the dudes-in-Dropbox-shirts explain they paid $27 to rent the field, the kid replies “It doesn’t matter, this field has never been booked. How long have you been in the neighborhood bro?”

The Dropbox employee responds “over a year.”

Another one off camera says “Who gives a shit? Who cares about the neighborhood?”

“I’ve been born and raised here for my 20 years, and my whole life you could just play here,” the youth responds. 

On the surface this is a gentrification argument: the kids may not be able to afford regular use of the field, wheras those with big dollars can pay up for use. But the incident also highlights the problem with privatization of our public spaces. 

As Mission Local pointed out, the field used to be concrete pavement, but neighborhood folks still played soccer. And damn, they played soccer, injuring themselves frequently on the asphalt. That was then. Now, you’ve got to pay to play. 

Suffice to say, less neighborhood folks play there now. 

Renting out the field for only one night costs $27 per hour, but to rent the field regularly (like neighborhood kids playing weekly would have to) costs $5 to $10 per player per week. What kid has that kind of money on a weekly basis?

The Guardian has long covered the privatization of neighborhood parks, a charge led largely by Recreation and Parks Department General Manager Phil Ginsburg. 

Connie Chan, a spokesperson for RPD, responded with this statement:

“Last year Mission Playfield was available for free, drop-in play 96% of the time. Like all parks and recreation facilities, Mission Playfield is open for both drop-in and permitted use.  Users of Mission Playfield are guaranteed a minimum of 16 hours per week of free, drop-in play and last year were able to access 4021 hours of free, drop-in play. In 2013 the field was permitted for 734 hours of free youth permitted play, and 185 hours of paid adult permitted play.  The Department has long recognized that our City has limited open space for recreation, and we definitely lack playfields for both adults and youth to play; we encourage all our park users to respect one another and share our parks.”

She also shared this image of Mission Playground signage:

paytoplay

It’s a matter of history that much of Golden Gate Park, including the arboretum, used to be free (or rather, paid by our tax dollars). In a movement that started over five years ago, San Franciscans now pay a premium to enjoy many park amenities throughout San Francisco. 

“What a lot of us think the Recreation and Parks Department is actually doing is relinquishing the maintenance of park facilities to private entities,” Denis Mosgofian told the Guardian in 2011, when the park privatization battle heated up. Mosgofian founded Take Back Our Parks following his battles with the RPD over the closures and leases of rec centers. “They’re actually dismantling much of what the public has created.”

For the past six years, RPD has sought to build more astroturf soccer fields at the end of Golden Gate Park near the Beach Chalet. This November, Proposition H is poised to take down the project, if the measure passes. The Guardian endorsed No on Proposition H, because we felt that particular soccer field in Golden Gate Park often went unused as is. But Proposition I is shady ballot box politicking.

Proposition I would ease city rules and public democratic processes around park construction to allow the rapid creation of many more astroturf fields. If it passes this November, you can look forward to seeing many more arguments like the YouTube video above. 

THE GUEST opens today! Plus more new movies!

0

FINALLY, clever, retro-styled thriller The Guest is here. Check out our interview with the filmmakers and star here, and then go see The Guest this weekend. You’re welcome. 

After you’ve TCB in that regard, you might also want to check out sleek new Patricia Highsmith adaptation The Two Faces of January (review here), family drama The Judge (interview with the director here), or journalism thriller Kill the Messenger. How to decide? Read on for reviews of these and even more films, plus trailers. 

https://www.youtube.com/watch?v=ccai-E36BfI

Advanced Style Many successful blogs have been turned into books, but few make the leap to film. Street-style photographer Ari Seth Cohen’s online album of fashionable elders translates well to the big screen, as without exception all of the women featured in Lina Plioplyte’s doc are vivacious, quotable (“I’m an artist, and my art is dressing!” “Good style improves the view for everybody!”), and — obviously — wonderfully, uniquely put together. Although at least one subject, 80-year-old Joyce, is wealthy (witness her to-die-for vintage Chanel purse collection), the rest of the women eschew designer for the most part; one owns a vintage store (“Sometimes I’m building an outfit for seven years!”), one owns a boutique (“You either have it, or you don’t … but you can learn it!”), and others are artists, including a former Apollo theater dancer. All are close with Cohen, an access point that allows Advanced Style to dig beyond fabulous hats and into end-of-life issues, including health concerns among the women and their aging spouses. But mostly, this is an upbeat, inspiring look at women who are embracing their later years — and looking rather fab doing it. (1:12) (Cheryl Eddy)

Alexander and the Terrible, Horrible, No Good, Very Bad Day In this Disney comedy based on the Judith Viorst children’s book, Steve Carell and Jennifer Garner star as parents to an 11-year-old struggling through, well, see title. (1:22)

Björk: Biophilia Live Those who saw one of Björk’s mind-boggling, futuristic spaceshows for her most recent full-length, Biophilia — performed at only a handful of intimate venues around the world — know the specialness of that experience. At the shows, Björk, everyone’s favorite chirping Icelandic wood-fairy, stood on relatively diminutive stages surrounded by a chilling blonde choir while a Tesla coil vibrated electric shocks of purple lightning. Now those who missed out on these very-special-Björk-moments have the luxury of viewing the full show with concert film Bjork: Biophilia Live. The album was heavily based around imaginative musical apps created for it, making the film an interactive experience as well (play along at home!) The film showcases the complete experience of Biophilia, which touches on nature, music, and technology, during Björk’s showing at London’s Alexandra Palace in 2013. While it would have been nice to see a few behind-the-scenes moments, Biophilia Live still brings up close rushes of electrifying sounds, glittering visuals, and a poufy red-orange cotton candy wig floating delicately above Bjork’s cherubic face. (1:37) Roxie. (Emily Savage)

Dead Snow 2: Red vs. Dead Beginning moments after the events of the original 2009 Dead Snow, Tommy Wirkola’s sequel has that film’s sole survivor, Martin (Vegar Hoel), fleeing the resurrected Nazi invaders who laid waste to his seven fellow med school students on their holiday weekend. Crashing his car en route, he wakes up in the hospital, where there’s some good news — he’s alive — but also plenty of bad. For one thing, the infected arm he sawed off to escape zombie-bite infection has been replaced; that would be good, if he weren’t now the bearer of an arm belonging to none other than the nefarious Col. Herzog (Orjan Gamst); naturally, the limb has a malevolent mind of its own. Plus, the authorities laugh off his story of undead Nazi attackers, naturally assuming that he killed his friends himself. Worse still, Martin figures out that Herzog and company won’t stop killing (and “turning”) the living until they’ve conquered a sleepy town some miles away — thus completing their direct orders from Hitler 70 years ago. The first film took its time revealing the outrageous premise, poking along as a conventional slasher until turning into an increasingly berserk, hilarious black comedy midway. This follow-up makes an all-too-predictable mistake: It starts out at “over-the-top,” leaving the movie nowhere to go but further into slapstick gore and bad-taste jokes, all scaled bigger but just half as funny as before. (There’s also the really dismal addition of three zombie-obsessed American nerds, additional “comedy relief” presumably aimed at US audiences — but I’m not sure even a Norwegian could find these asinine cartoons amusing.) Dead Snow 2 has high energy and some laughs, but if you haven’t seen the original, that’s the place to start — and perhaps to end. (1:40) Roxie. (Dennis Harvey)

The Disappearance of Eleanor Rigby: Her/Him The combined version, Them, was released earlier this fall; now, the individual films exploring a marriage in shreds arrive in theaters. Jessica Chastain and James McAvoy star. (3:19)

Dracula Untold Now it can be told: Dracula was super-duper into Game of Thrones! Between the tension-fraught banquet scenes, swordplay, intrigue, ornate costumes and armor, mop-topped children in peril, and dragon references — not to mention the casting of Big Daddy Lannister (Charles Dance) in a key role — the HBO show looms large over this lightweight but enjoyable vampire yarn, which isn’t necessarily a bad thing. Soulfully goth Luke Evans (the Hobbit series) stars as Count Dracula before, during, and after his transformation into the fang-bearer of legend; turns out he was a bloodthirsty dude even in human form (hence the nickname “Vlad the Impaler”), though the film lets him rationalize this battlefield behavior by pointing out it was an intimidation tactic designed to save lives by encouraging armies to surrender. Uh-huh. Some clever effects (bats galore!) and flashes of wry wit add to the fun of this mostly forgettable but seasonally-appropriate exercise. (1:32) (Cheryl Eddy) 

The Green Prince Nadav Schirman’s Sundance Film Festival audience award winner (and SF Jewish Film Festival opening night film) should make an impression well beyond the fest circuit; it’s edited and scored like a thriller, surging ahead with constant tension despite the fact that most of the movie consists of the same two talking heads. But what subjects: Palestinian Mosab Hassan Yousef, oldest son of a Hamas leader, and Shin Bet agent Gonen Ben Yitzhak, the man who recruited Mosab to spy on behalf of Israel. How this relationship came to be, the sensitive information it yielded, the incredible risks both men took, and how Mosab eventually ended up living in the United States and sharing his tale — for so long, a life-or-death secret — with the world, is an undeniably gripping tale of loyalty, trust, and a most unlikely friendship. (1:41) (Cheryl Eddy)

The Guest See “Go for Goth.” (1:39)

The Judge Crackling chemistry between Robert Downey, Jr. (as Hank, a hotshot Chicago lawyer who reluctantly returns to his rural hometown after the death of his mother) and Robert Duvall (as the stern title character, Hank’s long-estranged father, Joseph) elevates this otherwise heavy-handed look at a dysfunctional family forced to pull together when Joseph is arrested for murder. The rest of the cast in this more mature departure for director David Dobkin (2005’s The Wedding Crashers) ain’t bad, either; there’s Vincent D’Onofrio as Hank’s seething older brother; Vera Farmiga as Sam, the high school sweetheart Hank left behind; and Billy Bob Thornton as a gimlet-eyed prosecutor with an ax to grind. At two hours and 20 minutes, there’s a lot of opportunity for sentimentality, including a recurring narrative device of using home movies — a treasured hobby of Hank’s younger brother, Dale (Jeremy Strong), unfortunately scripted as a “childlike,” vaguely autistic type — to remind us The Way We Were When Things Were Good. And as if the drama of a murder trial wasn’t enough, there’s also Hank’s tentative reconciliation with Sam, relationship-building efforts with his own wee daughter (Emma Tremblay), a tornado, etc. etc. If The Judge tries to be too many genres at once (see also: Cameron Crowe’s lesser filmography), at least it has those marvelously acted Downey vs. Duvall tête-à-têtes — as well as one memorably hilarious jury-selection scene. For an interview with Dobkin, visit www.sfbg.com/pixel_vision. (2:21) (Cheryl Eddy)

Kill the Messenger Based partly on former San Jose Mercury News investigative reporter Gary Webb’s 1998 book, Dark Alliance, and partly on a posthumous 2004 biography of Webb written by SoCal reporter Nick Schou (from which the film takes its title), Kill the Messenger recounts a grim tale of single-minded muckraking, professional betrayal, and how the federal government’s dubious War on Drugs took an extra-grim turn during the Reagan administration. As the film opens, Webb (Jeremy Renner) is working for the Mercury News, having moved to the Bay Area with his wife (Rosemarie DeWitt) and three kids after some marital trouble back east. In the course of covering a drug dealer’s trial, he gets tipped to a story connecting the CIA, the US funding of the contras in Nicaragua, and the crack cocaine that began pouring into Los Angeles and other American cities in the mid-1980s. Michael Cuesta, who since his directorial debut with L.I.E. in 2001 has been mainly working in television (Homeland, Six Feet Under), attempts to combine an All the President’s Men-style journalistic crime procedural with a portrait of the man who broke the story and was in turn broken by it — or rather, by the CIA and the mainstream press, which turns on him with the vengeance, it’s implied, of a handful of prestigious papers of record that got majorly scooped. The portrait, with Renner giving a nuanced, painfully sympathetic performance, comes out better than the procedural, which feels blurry in places from the speed of the discoveries. (1:52) (Lynn Rapoport)

Kite Based on Yasuomi Umetsu’s cult anime, known for its fetishy sex and violence involving a young girl assassin with a penchant for traditional Japanese school uniforms, South Africa-set sci-fi action indie Kite begins with a bang — and a hail of bone fragments and gray matter splatter when an explosive bullet connects with a baddie’s skull. Set in the dystopic near future, after a global financial meltdown, Kite picks up in the middle of an all-too-familiar seedy scenario: an out-of-it teen hooker in a body-con mini and neon wig is getting dragged into the elevator by a trashy sleazebag. His unnecessary cruelty to an elderly lady sharing their lift forces the damsel to break cover and unleash those exploding bullets. It turn out Sawa (India Eisley) is far from your traditional hapless victim — rather she’s a brutal assassin out to avenge her parents’ murders and jumped up on a military drug designed to dull the pain and memories related to PTSD, administered oh so helpfully by her father’s old law-enforcement partner Aker (Samuel L. Jackson). The catch: a mystery man (Callan McAuliffe) who threatens to disrupt the smooth flow of bloody mayhem with his promise to dredge up Sawa’s past. Kite‘s acting talent — in particular Eisley and Jackson — and cinematographer Lance Gewer do what they can, painting the screen with lurid hues and just as over-the-top emotive moments, with pulpy material that’s high on the ultra violence (and salacious kicks for those into little girls with guns) but low on originality. (1:30) (Kimberly Chun)

One Chance Dramedy about the unlikely rise of Britain’s Got Talent breakout Paul Potts (played by James Corden, who just replaced Craig Ferguson as host of The Late Late Show). (1:43)

The Two Faces of January See “Con and On.” (1:38)

Remembering Gary Webb, the fallen messenger resurrected on film

0

I always enjoy seeing fellow journalists and their work celebrated in a Hollywood blockbuster such as Kill the Messenger, which opens tomorrow. It’s even more exciting when that journalist is someone that one knows and admires, as I did the film’s protagonist, the late Gary Webb, author of the explosive “Dark Alliance” series connecting the CIA to cocaine trafficking in the ‘80s and early ‘90s.

I was happy to run a story on Webb and the film in this week’s paper, a piece written by former Sacramento News & Review editor Melinda Welsh, who hired me back in 2000 to be the paper’s news editor. I had already moved on to the Bay Guardian, in 2003, before Webb came to work for SN&R, so never got the chance to work directly with him, as Welsh did before Webb took his own life (her story, including this longer version from SN&R, is well worth reading).

But I did introduce Webb to the SN&R editor that I worked under, Tom Walsh, who was the worst boss I’ve ever had, a petty tyrant who made most of his employees (at SN&R and later SF Weekly) miserable. I met Webb through some journalistic colleagues one night at a party thrown by Robert Salladay, then a reporter with San Francisco Chronicle and now with Center for Investigative Reporting.

I was star-struck upon meeting Webb, remembering what a big impact his 1996 “Dark Alliance” series in the San Jose Mercury News had on me and other young newspaper journalists at the time. It exposed how the CIA turned a blind eye to the cocaine trafficking into the US that was being done by the Contra rebels that the Reagan Administration was supporting in Nicaragua. Perhaps even more significantly, it was the first big newspaper investigation of the Internet age, showing how online journalism could go viral and reach millions of people.

It was inspiring, but it was followed by dispiriting attacks by fellow journalists who tried to debunk its findings and the conclusions made by many of its readers, who went further than Webb in accusing the CIA of intentionally fueling the crack epidemic as a way of undermining African American communites in big cities.  

Those attacks helped deny Webb the Pulitizer Prize that he probably deserved (the CIA’s inspector general later confirmed Webb’s main findings) and led his own newspaper editors to sell him out, fueling his battle with depression and leading him to the job he had when I met him. He worked as an investigator for the Joint Legislative Audit Committee, an investigatory arm of the California Legislature staffed almost entirely by former journalists (he later got laid off during the state’s lean budget years).

We didn’t know each other very well — we had lunch or drinks a few times and he was a helpful source of mine in the Capitol on a few occasions — but we did talk about how he felt betrayed by his profession and yet still longed to get back into the work that he loved doing.

Journalism plays a critically important yet undervalued role in the US, where the profession has been losing journalists in droves to the public relations industry and corporate communications jobs, positions often designed to fool the public instead of inform it.

Welsh calls Webb’s story “a cautionary tale,” and it was indeed, both for journalism and the broader public interest. I’m looking forward to seeing the film, and hoping that it helps humanize Webb and his fellow messengers before we’re forced even further into the margins of civil society.  

The battle for BART board

The race for BART board of directors in the upcoming November election has been highly contested this year. As we previously reported, incumbent James Fang faces a challenge from investor and former solar company entrepreneur Nicholas Josefowitz, a Harvard graduate in his early 30s.

Here’s your opportunity to listen in on the Bay Guardian endorsement interviews with candidates running for BART board. Alongside our colleagues from down the hall at the San Francisco Examiner (check out the Examiner’s endorsements here – they’re rather similar to ours), we spent a couple weeks interviewing candidates running for office in local and statewide races.

Here’s our interview with James Fang.

And here’s our interview with Nick Josefowitz.

As we explain in our Endorsements issue, which hit newsstands yesterday, we decided to go with Josefowitz. It was a surprisingly tough choice, given how long we’ve been wanting someone to make a strong and well-funded challenge to Fang, San Francisco’s only Republican elected office holder and the longest serving director at an agency that has been hostile to worker safety reforms and meaningful oversight of the BART Police Department.

We got our wish when Josefowitz entered the race, did well in fundraising, and got lots of progressive political support. But SEIU Local 1021 strongly supported Fang, who walked the picket lines with striking BART workers last year. They and other Fang allies also highlighted Josefowitz’s opposition to CleanPowerSF and Prop. G, raising questions about his progressive credentials and political naïveté.

Fang deserves credit for supporting BART workers last year and with advocating for a BART extension to Ocean Beach. But the BART board needs new blood, and we believe Josefowitz has the energy, ideas, and perspective to move the district in a more sustainable, accountable, and innovative direction.

Imelda May on motherhood, rockabilly influences, and when to say “Screw it”

0

Taking the sounds of traditional rockabilly, blues, and jazz and giving them an injection of her own infectious energy and style, Irish chanteuse Imelda May can make listeners swoon at a ballad or jump up to the searing rockers that pepper her excellent new album, Tribal (Verve), which was released last month here in the United States.

 May has been rocking stages for well over a decade in the UK, and is finally gaining the popularity here that she and her talented band so rightly deserve — local fans have a chance to see her up close and personal tonight, Oct. 9, when she hits The Fillmore, a follow up headlining gig to her searing set in August at Outside Lands, where she rocked the opening slot on the main Polo Fields stage.

After that performance — where she and her band were one of the standouts of the entire weekend — May sat down for an interview backstage, talking about her new album, touring around the world, and playing a big show in Golden Gate Park. 

“I loved it! Great audience. I always love doing festivals abroad, because you can see kinda half of the crowd has come to see you, and then half the crowd don’t know what the hell or who you are. So it’s nice to see if you’re winning people over as you’re going along,” said May in her distinctive Dublin accent.

“There were a lot of people up in the front, kind of thinking, ‘Who is she?’ and then by the end were jumping up and down, and singing back to me, so they were an open crowd.”

The last couple of years have been whirlwind ones for May and her band, as they’ve been steadily building a bigger and bigger fan base, constantly gigging across the globe — which even the now-seasoned veteran of the road admits can get to her occasionally. 

“I’ve often said, ‘It’s great to be in…’ and I turn around and say, ‘Where are we? What country are we in? What month is it?” laughed May. “Because you just jump on the bus, you get off, you play, you get back on, sometimes you lose your mind of where you are, or what time zone you’re in.”

Having gotten her start singing while still a teenager growing up in Dublin, Ireland, May was always attracted to the sounds of  early rock n’ roll, particularly classic rockabilly — a style that she was advised early on in her career to cut out of her repertoire.

“I love a lot of music, and I started doing roots music, and blues, jazz, rock n’ roll, punk, and then rockabilly of course, and then all of a sudden you’re shunned — why is there no room for the music that basically started rock n’ roll, that started punk? Without it, you wouldn’t have the Beatles, the Rolling Stones, Led Zeppelin…I mean, they started a whole new movement.”

“All of the classic greats over the years — Jeff Beck, Jimmy Page, Marc Bolan, Jimi Hendrix — they all cited rockabilly artists as their influence,” she continued. “And if it wasn’t for them, we wouldn’t be doing anything…so why is it shunned, if it’s that influential? I didn’t get that, so I thought, ‘Screw you!’ and I’m going to do it more, and I’m going to keep going until people hear it, and I knew when people heard it more, they would love it.”

That searing spirit is evident throughout Tribal, where on the title track May sings, “When you look in the mirror, tell me what do you see?/Someone new or your ancestry?/You’re a king, you’re a queen, you’re a wizard, a fool/Or if you’re me, then rockabilly rules.”

That core concept and rebellious attitude have fueled May’s connection with fans, and she shares a basic love for the purity and simplicity of the music.

“Audiences get it. They don’t really care what it’s called, they just know that it feels good, and you go crazy with it. It has no rules, the original rockabilly. It was exciting, it was adventurous, it was thrilling, it was dangerous, it was sexy. It was just fabulous music,” said May. 

“And I thought, people now would completely relate to that, so I said, ‘I’m doing it anyway.’”

In 2012, May and her husband Darrel Higham — who is also the ripping guitar slinger in her band — welcomed a baby girl into their lives, and took some time off from the road and performing. One of songs on Tribal, “Little Pixie,” is a sweet ode to their daughter, based on a poem written by her brother.

“I turned it into a song, and I thought it turned out really beautiful,” she said. “I’m from a normal, Dublin working-class family, and I don’t think he believed how great he was. I think this has helped. I was going, ‘This is brilliant!’”

Once the family and band were ready to get back to work, May says the material that comprises Tribal just came out naturally in the writing process — in addition to a tender ballad like “Little Pixie,” there are rollicking and raucous tunes such as “Hellfire Club,” which tells the story of an infamous den of inequity outside the city of Dublin. 

After the release of the album, May said she’s been questioned about how becoming a mother didn’t change her writing or singing style to veer away from rock n’ roll — a fact that she finds rather irritating. 

“Mothers are feral…your protective instinct comes out. I think being a mother magnifies a lot of stuff within you. I get a lot of interviews, and I cannot tell you how bored I’m getting with it, having them say, ‘So, you’re a mother, how come you’ve written a rock n’ roll album?’ And I’m like, ‘Geez, shoot me now!’” laughed May. 

“I’m madly in love with me baby, but you don’t all of a sudden become like, ‘I’m a mother now, I better not rock n’ roll’ — why not? The reality of most people is that you magnify different parts for what you need, so if you’re out partying on a Saturday night, you’re not going to be in that same mood for most people in an office on a Monday morning, you know? It’s the same way as when I’m on stage going crazy: I’m not going to be like that when I’m putting my baby to sleep.”

In addition to her successful albums and touring, May has been delving into other aspects of the entertainment world: She recently started taping episodes of The Imelda May Show back home in Ireland, where she is showcasing artists that might not otherwise have a chance at large-scale exposure.

“I never aspired to be a TV presenter — never, ever — however, I have a great interest in Irish bands and in the music of Ireland. There’s too many good bands, and there’s nothing on [to showcase them] except The Voice or The X Factor. And I think those are TV shows, I don’t think they’re music shows. They’re fun TV shows,” said May.

“I think for bands that are already working, and already gigging, and want to find some kind of platform, as supposed to somebody that just wants to be ‘discovered’ — I think there’s nothing really for them there.”

American fans can find the shows online at www.rte.ie, and catch the incendiary performer live on her U.S. tour, which runs through mid-October, before she heads back to Europe for a slate of gigs scheduled through the end of the year.

“I love it. Tthis is what I do, and I’m really glad I stuck to me guns. I wasn’t going to change for anyone,” said May. 

“I wasn’t after fame, so I wasn’t going to change to chase something I didn’t really want. I just wanted to make good music.”

IMELDA MAY

Thu/9, 8pm, $29.50

The Fillmore

1805 Geary, SF

 (415) 346-6000

www.thefillmore.com

ACCJC dismissal rebuffed, City College goes to trial for its life in 18 days

0

The courtroom saga between City College of San Francisco and its accreditors reached a new milestone yesterday, as Superior Court Judge Curtis Karnow rejected the accreditors’ motion to dimiss the City Attorney’s Office’s case against the decision to close the college, yet again. 

Like Charlie Brown’s decades-long effort to kick the football from Lucy’s hands, the accreditors keep trying to get the case dismissed and they keep failing.

“This is the fourth time they’ve tried to say they’re immune (from a lawsuit),” Sara Eisenberg, lead prosecutor from the City Attorney’s Office told us. “It’s a running theme.”

The City Attorney’s Office is representing the People of the State of California (not the college directly), suing the ACCJC for what they say was an unfair accreditation evaluation. Accreditation is vital for degrees from colleges to be worth the paper they’re printed on, a process many schools go through. When the ACCJC evaluated City College and decided to rescind its accreditation, the City Attorney’s Office alleges, the ACCJC was “embroiled in a political dispute with the college,” and the team that evaluated the school were “individuals affiliated with districts and organizations” that shared the ACCJC’s political leanings.

In plain English, the accreditors stacked the deck with evaluators inclined to disagree with many of the funding choices, teaching choices, and other decisions City College administrators and trustees had made. There are other complaints related to the way the ACCJC conducted its evaluation, but suffice to say the case is multi-layered. 

In seeking to have the case dismissed, the ACCJC’s attorneys alleged communicating with the government was “petitioning activity,” that the only court legally able to discuss the case was at the federal level, and that the true liability for their decision to close the college lay with the state. Those were some mixed messages, and Judge Karnow rejected all of those motions yesterday.

We walked side-by-side with Dr. Barbara Beno, the head of the ACCJC, as she left the hearing. All she had for us was a terse, “no comment.” 

The ACCJC may not have had much luck in court on Tuesday, but Karnow issued a warning to the City Attorney’s Office as well. The City Attorney’s Office must prove there was true harm against City College of San Francisco, Karnow told Eisenberg, and the court.

“In this case,” he said, sternly, “you’re going to have to prove some harm. It cannot just be a technical violation.”

Eisenberg and her team at the City Attorney’s Office have a challenge. They must not only prove that the ACCJC violated its own rules and federal law, but that the People of the State of California suffered a specific and identifiable harm through the process of an unfair evaluation.

We asked Eisenberg how she would prove this. “I’m a little loathe to get into our strategy in advance of the trial,” she told the Guardian. “But when you don’t get a fair review of an institution, particularly a public community college, that in itself is a harm. These flaws in the process led to a potentially different outcome than they would have received (otherwise).”

“We don’t know for sure what the outcome would be if a fair process was followed,” she said. “We have a right to know that.”

Come Oct. 27, we’ll see exactly what her strategy is. And, in another treat, the once private documents governing the ACCJC’s secret processes and secret decisions around City College will be revealed as the City Attorney’s office demands discovery. 

We can’t wait.

CPUC head Michael Peevey is stepping down

The head of the California Public Utilities Commission, Michael Peevey, has announced that he will step down once his term comes to an end in December.

As the scandal of inappropriate emails between high-ranking CPUC officials and Pacific Gas & Electric Co. executives continues to grow, more and more people have called for Peevey to be fired. 

The latest batch of emails to be released even details how Peevey hosted PG&E executives at his vacation home in Sonoma in 2010, where they talked shop over “two bottles of good pinot.”

In recent weeks, in the wake of the email scandal, CPUC employees have called for Peevey to resign, with one staff member calling him “something like an untouchable mob boss.”

It got so bad that the San Jose Mercury News even came out with an editorial last June that straight up dismissed the agency as a “disaster,” writing, “The degree of incompetence is so high, it’s hard to find anything the PUC does well under President Michael Peevey’s leadership.”

California Sen. Jerry Hill even planned to move forward legislation to block Peevey from reappointment if Gov. Jerry Brown appointed him for yet another term.

San Bruno Mayor Jim Ruane has called on California Attorney General Kamala Harris to investigate the illegal emails between CPUC officials and PG&E executives.

“Twelve years as president is enough,” Peevey said in a statement.

Meanwhile, waaay back in 2011, we at the Bay Guardian noticed a trend: Peevey was regularly going on fancy international getaways in the company of PG&E executives. We published an in-depth investigative cover story about it, titled The Secret Life of Michael Peevey: California’s Top Energy Regulator Rolls With Power Company Executives Behind the Scenes.

At that time, we wrote:

As PG&E and the CPUC both work to win back the public’s confidence after their latest deadly failure, it’s worth analyzing whether their relationship — shaped by vacations together at exotic locales — has grown too cozy.

Strange bedfellows: Moderate Mark Farrell endorses progressive David Campos for Assembly

0

Political moderate Supervisor Mark Farrell announced his endorsement of Supervisor David Campos for Assembly today. It’s a real shocker, here’s why. 

A bastion of Marina district politics and part of the city’s neoliberal to fiscal conservative faction, Farrell is about as ideologically opposed to Campos’ brand of progressive politics as you can get in this city. If Campos is a firebrand with a picket sign, Farrell is a tie-wearing venture capitalist with his nose in a budget book. But still, Farrell has found an ally in Campos, and vice versa. 

“From working to close loopholes in San Francisco’s universal healthcare law to enhancing public safety and reducing homelessness by helping to implement Laura’s Law, David has proven his commitment to finding solutions through cooperation and compromise,” Farrell said in a press statement. “I trust his dedication to the public interest and know that he will find ways to bridge his progressive ideals with the pragmatic realities facing our state. I firmly believe he will be an effective leader for San Francisco in the State Assembly.”

The two worked together to find compromise solutions on a number of measures, including a deal to save St. Luke’s Hospital. But few deals were more controversial than Laura’s Law, which worried advocates for the homeless community, and Campos. The problem? The community felt that if homeless people would be forced into mental health treatment, their care and mental well-being would be threatened. On Farrell’s side, he was concerned for public safety, and felt those with mental health problems weren’t getting the treatment they needed.

There was an ideological split on how to help those with mental health problems. 

But Campos and Farrell eventually forged an agreement, allowing for interventions offering voluntary care from family and peer advocates, before involuntary treatment was invoked. Wrap around services would also be available to help alleviate the real life stressors that contribute to mental health issues, another win.

Farrell got Laura’s Law, and Campos and homeless advocates won vital protections. That’s the kind of compromise Board President David Chiu, Campos’ opponent in the Assembly race, has said time and time again that Campos is not capable of due to his staunch progressive values.

Clearly, Farrell disagrees, hence his endorsement.  

“I’m honored to have earned Mark’s endorsement,” Campos said, in a press statement. “We have worked together on a number of significant projects and pieces of legislation, from the CPMC rebuild project to small business tax legislation, and through community-minded negotiations, we have been able to find common ground on a number of issue critical to the residents of San Francisco.”

Although Chiu has passed much legislation, and brands himself as the “compromise candidate,” many political insiders noted that’s an easy political position when you maneuver yourself into becoming a key swing vote. When the board is split and you are the lone vote that could make or break legislation, people have to compromise with you. There’s a hammer over their heads. 

But Campos and Farrell are on opposite sides of the political spectrum, as far to either political pole on the Board of Supervisors as you can get. So the two talk, compromise, and make deals that help all their constituents win. 

No matter which Assembly candidate eventually goes to Sacramento, neither Chiu nor Campos will walk in wielding a hammer. The new Assemblyperson will be a freshman lawmaker, the back of the pack, as it were.

When we brought up that point with Farrell, he echoed the sentiment. 

“As a new legislator you don’t come up there with a ton of authority,” Farrell told us. “It’s about forging relationships and working for compromise. David Campos did that with me on the Board of Supervisors, and I believe he could do that in the Assembly.”

UPDATE 12:31 PM: David Chiu’s campaign consultant, Nicole Derse, got back to the Guardian with some observations from Chiu’s camp. 

“I don’t know why Farrell decided to endorse Campos, but when you look at endorsements that affect the district, Kamala Harris or Dianne Feinstein, those are what really affect the state,” Derse said. “This is one random supervisor. The deep support [for David Chiu] from statewide and elected officials is really strong.” 

The endorsement of Campos by Farrell is unique for its aisle-reaching quality. It’s as if the late, well-known Republican Warren Hellman endorsed the progressive anti-speculation tax. To that point, Derse said Chiu had an aisle-crossing endorsement as well. 

“Debra Walker is a pretty good comparison, she ran for the Harvey Milk LGBT Democractic Club and she came out really early for Chiu right out the gate,” Derse said.

Walker was appointed to the Building Inspection Commission by Chiu near the time she endorsed him. Even then, she told the Bay Area Reporter she was considering a dual endorsement.

Essay: Revisiting the Coen Brothers’ 2013 ‘Inside Llewyn Davis’

0

Joel and Ethan Coen have been creating films for 30 years, dating back to their still-stunning, low-budget debut, neo-noir Blood Simple (1984); it premiered at the Toronto Film Festival and won the Grand Jury Prize at Sundance in 1985. They followed with the screwball satire Raising Arizona (1987), which contains a pair of timeless (and quotable) performances by Nicolas Cage and Holly Hunter.

And yet the Coens’ next three films lost millions: the tough-nosed noir Miller’s Crossing (1990), the darker-than-black comedy Barton Fink (1991), and their surprisingly enjoyable ode to Frank Capra, The Hudsucker Proxy (1994). Luckily, their brilliant mid-Western Fargo (1996) followed, winning them an Oscar for Best Original Screenplay and a trophy for Frances McDormand (Joel’s partner in crime) for Best Actress. 

Their next two films were genre twisters: cult classic The Big Lebowski (1998), and Preston Sturges Depression-era homage O Brother, Where Art Thou? (2000). This approach worked, and both were financial as well as critical successes. And even if critics were mixed about their next three releases (2001 surreal noir The Man Who Wasn’t There, Howard Hawks screwball homage Intolerable Cruelty (2003), and 2004 remake The Ladykillers, an ambitious misfire), the Coens mined more gold in 2007 with No Country For Old Men, which scooped up Oscars for Best Picture, Best Director(s), Best Adapted Screenplay, Best Supporting Actor for Javier Bardem. 

While briefly returning to Fargo-esque crime turf with Burn After Reading (2008), a kind of maturing seemed to envelop the Coen’s films after No Country. Recently, they seem to be reaching some sort of apex. Their most personal story, A Serious Man (2009), was followed by their haunting and melancholic remake of the revisionist western True Grit (2010). Last year, they achieved their most powerful film to date with the oddly misunderstood Inside Llewyn Davis

MAJOR SPOILERS AHEAD. (Only read if you have seen Inside Llewyn Davis.)

Llewyn (played to perfection by Oscar Isaac) is a confused character which led many audiences to deem him unlikeable, giving up on him and ultimately dismissing him to sleep in “the bed that he has made.” Taking place in the pre-Bob Dylan coffee houses of Greenwich Village in 1961, Llewyn is attempting to make folk music, while at the same time hating people who play folk music. This sort of contradicting philosophy runs parallel to many other parts in his life: He gets his friend’s girlfriend, Jean (Carey Mulligan), pregnant and then has the audacity to ask his same friend, Jim (Justin Timberlake) to secretly lend him money to pay for the abortion. He ridicules both Jean and his own older sister for their suburban “square” lifestyles, yet he’s constantly asking them for a place to crash. His seafaring father now “exists” in a rest home, unable to speak or control his bowels, while Llewyn’s mother seems to have passed on. 

The Coens have asked us to spend 104 minutes “inside” Llewyn Davis and if one decides to not just turn their back on this self-proclaimed asshole, one needs to ask, “Why is he acting this way?” One reason is his singing partner, Mike Timlin, has recently killed himself by jumping off the George Washington Bridge. Not only has this left Llewyn a solo act musically, I think the film’s big secret is that this unsettling act has left our antagonist heartbroken. What if they weren’t just making music and for reasons only Llewyn understands, Mike took his own life? The film has numerous (supposedly humorous) references to queerness, and you get the feeling the Coens are practicing what the 1961 culture preached (or rather, refused to discuss.)

When Llewyn puts on their album, If We Had Wings, we see an image of Mike for the only time in the film. A shot of his sweet demeanor on the cover is followed by a quiet gaze from Llewyn that rarely surfaces throughout the rest of the movie. 

Multiple people speak of missing Mike, one even urging Llewyn to “get back together with him.” A sort of father figure for Llewyn, Mr. Gorfein (Ethan Phillips), refers to Mike as being the “life of the party” and if this theory of them being in love were true it would make their album name If We Had Wings more than just a prophetic reference to Mike’s suicide.

The film is also a diegetic musical, meaning all of the songs performed are in fact involved in the actual lives of the characters themselves (as opposed to someone breaking out into song to express their innermost feelings.) This makes the lyrics of the songs sung by each character even more important.The traditional title track off of Timlin & Davis’ album is in fact “Dink’s Song” and could be read as quite a declaration when listened to closely, “If I had wings like Noah’s dove, I’d fly the river to the one I love. Well fare thee well, my honey, fare thee well. Well I had a man who was long and tall. Who moved his body like a cannon ball.” 

And then there’s Ulysses, the wandering cat. Llewyn accidentally lets this crafty creature out of the Gorfeins’ apartment, watching helplessly as it escapes into Manhattan. Later, he finds a lookalike to sneak into its place. Why is Llewyn constantly confusing the cat’s gender as being female? After an unfortunate dinner-party episode in which Llewyn is belligerent toward Mrs. Gorfein (her crime: singing along with him to “Dink’s Song”), she notices that “Ulysses” is an imposter, shrieking “Where’s his scrotum Llewyn?! Where’s his scrotum?”

At the beginning of the film, a secretary mishears Llewyn’s phone message that “Llewyn has his cat!” and asks “Llewyn is the cat?!” Misunderstanding is a theme throughout Llewyn’s journey, especially during a surreal road trip to Chicago with scene-stealing jazz player and heroin addict Roland Turner (memorably performed by Coen Brothers regular John Goodman.) After establishing that he’s another character who doesn’t get Llewyn (“What does the L. stand for in Lou L. Wyn?”), Roland asks him if he’s queer, since he’s folk singer and and is carrying around a cat. Llewyn does not respond. After the men are abandoned on the highway, Llewyn hitchhikes a ride past Akron, the town that his ex-girlfriend and the two-year-old child he’s never met reside.

As he drives down a long and twisted snowy highway, he hits a tabby cat in the middle of the snow storm while listening to opera on the radio. Was this all a fever dream? Is this a piece of music that Mike loved and should Llewyn personally feel guilty for his suicide? As the limping cat works its way off the dark and snowy path, Llewyn is yet again all alone in the middle of nowhere. Again, lyrics speak volumes: “Well fare thee well, my honey, fare thee well. I remember one evening, in the pourin’ rain. And in my heart was an achin’ pain. Well fare thee well, my honey, fare thee well. Muddy river runs muddy ‘n’ wild. Can’t give a bloody for my unborn child.” 

Llewyn seems to be purposefully sabotaging his own future. And again, the Coens seem to be hiding their main character’s driving issue as carefully as the character himself. Why can’t he just snap out of this self-destructive cycle? When Jean (like his sister) directly questions him about his future, he yet again resorts to sarcastic put downs that leave anyone who attempt to care about Llewyn in a flabbergasted state.

So Llewyn finds himself riding the subway back and forth. And it brings us to perhaps the final piece of this existential puzzle. Early in the film, Llewyn observes a fellow passenger, an older man around 60 with a small moustache, wearing a coat and hat. The man is also watching him. It feels understandable since Llewyn is carrying a cat on the subway. In fact a pair of twins look at him and smile as well. But the older man appears a second time on a late night, when no one else is on the train and Llewyn is now cat-less. This time, the older man is turned and staring directly at Llewyn.

It took me four viewings in the theater (and one on Blu-ray) to confirm that the man shows up a third time, near the end of the film as Llewyn is passing by a movie theatre, which happens to be playing Walt Disney’s The Incredible Journey (1963). The man is walking just a few steps ahead of Llewyn, but this time he is not looking at our character. He is now just another bystander.

Could this be Llewyn Davis, decades later, wandering the streets alone, remembering a time in his life when he lost his lover, his friends, and gave up his passion for playing music? Is this whole film just a looping memory for someone whose heart had been broken so badly that he was never able to put the pieces back together again? Is this a side effect of a society whose condemnation drove Mike to suicide, or did Llewyn break Mike’s heart with one of his casual hookups? “Fare thee well, my honey, fare thee well. So show us a bird flyin’ high above. Life ain’t worth living without the one you love. Fare thee well, my honey, fare thee well.”

Whatever is actually happening “inside” Llewyn Davis, he is for sure carrying the weight of the world on his hunched over, coatless back and it would be all too easy to dismiss him as a selfish and intolerable person. Like many of their characters over the past three decades, the Coen Brothers make sure not to fall for Hollywood’s tropes. They are not always easy to love, but audiences who choose to (re)take odysseys like Inside Llewyn Davis may be confronted with an alternative cinema that isn’t just inspired by film history, but has become film history. Llewyn Davis fought for dignity in his era. And like many of the characters before him (Barton Fink, The Dude, Larry Gopnik, Mattie Ross), no matter how hard he tries, his life does not go the way he hopes and imagines. Fortunately for their fans, the Coens continue to be able to choose their own remarkable adventures.

Jesse Hawthorne Ficks is the Film History Coordinator at the Academy of Art University, curates MiDNiTES FOR MANiACS, and writes film festival reviews for the San Francisco Bay Guardian.

There are even more inappropriate PG&E emails

Even more internal Pacific Gas & Electric Co. emails – this time flagged by activists focused on safety concerns at a nuclear power plant – raise new questions about the company’s tactics of manipulating the state regulatory process.

PG&E – which is facing federal charges in connection with a 2010 fatal gas line explosion in San Bruno – has come under scrutiny in recent months due to a series of questionable email exchanges revealing a cozy relationship between company executives and members of the California Public Utilities Commission, the state regulatory body that monitors utility spending and rate setting.

Much has been made of emails spotlighted by San Bruno officials, revealing a relationship so cozy that one PG&E executive signed off on an email with a CPUC representative by writing, “love you.” 

Those exchanges were the subject of an Oct. 7 hearing at the CPUC, and could result in financial penalties if an administrative law judge cracks down on PG&E for negotiating with state officials in what’s been dubbed a “judge-shopping” scandal. On Oct. 6, PG&E self-reported even more questionable “ex parte” communications with CPUC officials, correspondence it revealed is being scrutinized by federal prosecutors.

Meanwhile, when it came to an earthquake risk assessment at Diablo Canyon, according to a legal brief filed at the CPUC by the nuclear watchdog group Alliance for Nuclear Responsibility, PG&E “brazenly ignored the commission’s requirements” for working with a state-appointed independent review panel.

The panel of independent experts was appointed because the CPUC lacked staff with the expertise needed to review seismic safety studies concerning the nuclear facility, which is located in proximity to several earthquake fault lines. 

Internal PG&E emails obtained by the Alliance for Nuclear Responsibility, which used discovery to obtain documentation through its status as an intervener in the CPUC rulemaking process, revealed that PG&E was concerned about how to field inquiries from the independent panel.

In one email, a utility executive suggested submitting “processed” data, rather than raw data, to demonstrate how it had arrived at certain conclusions.

Alliance for Nuclear Responsibility spokesperson David Weisman discussed why that matters with an analogy: “Why don’t they want anyone else to look at the raw numbers? It’s like saying, here’s the cake. You might find that it tastes a little funny, but we aren’t going to tell you what went into it.”

In another internal PG&E email, a government affairs representative went so far as to ask his coworker: “Do you believe we could get the [independent panel] ‘decommissioned?’”

Several weeks ago, PG&E announced that it had found no safety hazard at Diablo Canyon, essentially telegraphing that there’s nothing to worry about. But that determination was made before the independent review panel had a chance to review the company’s analysis, or weigh in on whether it agreed with the science supporting this finding.

“If you release a report without the panel’s review, that’s not science,” Weisman charged. “That’s propaganda.”

PG&E did not respond to a request for comment.

As the Bay Guardian previously reported, the discovery of previously undetected fault lines around Diablo Canyon six years ago set in motion a new risk assessment to determine whether a major earthquake near San Luis Obispo, where Diablo Canyon is located, would result in power plant equipment failure. State legislators passed a law mandating that these risks be analyzed – long before Japan’s Fukushima nuclear meltdown underscored the importance of taking such hazards seriously.

Now, the Alliance for Nuclear Responsibility is arguing that PG&E should not be allowed to recoup $64 million in ratepayer dollars that the CPUC agreed to set aside to fund the seismic study. “The CPUC granted PG&E ratepayer funding to carry out those seismic studies,” Weisman explained. “Our concern is that that the study itself is inadequate and poorly vetted.”

The Bay Guardian submitted several requests to speak with a knowledgeable CPUC staff member about the matter, but the agency did not grant an interview. Instead, public information officer Constance Gordon emailed a prepared statement that stated simply: “The Independent Peer Review Panel will review the seismic report and will hold a public meeting shortly to discuss it and receive public feedback.”

Interestingly, PG&E’s determination that Diablo Canyon is risk-free was issued on the very same day that the federal Nuclear Regulatory Commission publicly dismissed the concerns of Michael Peck, the former on-site safety inspector at the nuclear facility.

The senior NRC staff member made headlines for formally suggesting that the plant should be temporarily shut down until the science could prove that it would safely withstand a major earthquake. News of Peck’s “differing professional opinion” caused California nuclear activists to immediately file petitions calling for Diablo Canyon to be shut down. 

In a lengthy op-ed published in the San Luis Obispo Tribune, Peck said he stood by his conclusion.

“I have exhausted the NRC processes for raising nuclear safety concerns,” he wrote. “At every turn, the agency reinforced that their original conclusions and actions had been correct. From my perspective, I applied the same NRC inspection standards and agency rules to the Diablo Canyon seismic issues that I’ve used to disposition many other design bases issues during my 20-plus years as an inspector. Because the [differing professional opinion] was reviewed by the highest levels of agency management, I was left with the impression that the NRC may have applied a special standard to Diablo Canyon.”

“All our families are f-ed up:” Director David Dobkin on his Duvall vs. Downey drama ‘The Judge’

0

With dysfunctional family tale-meets-courtroom drama The Judge (out Fri/10), director David Dobkin is no longer simply “the guy who directed The Wedding Crashers (2005)” — he’s also the guy who got Robert Downey, Jr. and Robert Duvall to go toe-to-toe. Downey plays hotshot Chicago lawyer Hank, who verrrry reluctantly returns to his rural hometown after the death of his mother; he’s met with hostile hospitality from his aging, long-estranged father, the town judge (Duvall), who verrrry reluctantly allows his son to represent him when he’s accused of murder. 

The Judge‘s biggest flaw (besides its nearly two-and-a-half-hour running time and some sentimental tendencies) is that it tries to be too many genres at once. But those marvelously acted Downey vs. Duvall tête-à-têtes — and one memorably hilarious jury-selection scene — can’t be ignored. Prior to its theatrical release, The Judge screened at the Mill Valley Film Festival, and I got a chance to speak with Dobkin about his latest film.

SF Bay Guardian The film opens with quite a comedic scene, with Hank dressing down a fellow attorney in a courtroom men’s bathroom. While there are funny moments throughout, it’s not a comedy. Why did you decide to begin there?

David Dobkin I wanted to open the movie with some sort of unexpected little bang, and I also wanted to start with a character that was kind of the Robert that everyone loves in so many of his movies: the most flamboyant, fun, arrogant, sarcastic guy. Part of the design of the movie was, “What if that guy was a real guy?”, and then had to go through this real journey. What would it be when he strips himself down and gets put through a grinder? How does a guy like that fit into a real family? I think that’s part of what’s cool about the movie — he starts there, and he’s very much that guy throughout, but he does slowly peel the onion back. The layers and layers come out, and you get to see Downey in a different way.

SFBG I’m interested to hear how you approached characterizing a typical American small town. Though Hank hated living there — there’s the scene when he first drives back into town, and is moaning to himself, “This sucks!”, it’s actually an incredibly idyllic place. 

DD I’m psyched that you caught that. These are the things that, as a geeky director, have in your head and you think they’ll work a certain way, and you pitch it to your producers. I said to this to Downey, too: The town is the other glimpse of Hank’s father. It’s about certain values and a certain time period. It’s a world that’s preserved in time, like our memories of being a child, or nostalgia. What’s interesting is when he comes back, it’s something that’s appealing to the audience, but he’s put off by it. It makes us curious about him, so you lean in because of that. And then you slowly discover that he was exiled. There was no way he and his father were going to be able to live under the same roof, and there’s something that makes you sad for him about that. 

But at the end of the movie, without giving away the end, hopefully there’s a way he can reconcile that. I think we all wish we could get back home, to an imaginary home — I don’t think it’s really the home we think it was when we were kids. But the older we get, the more nostalgic we get when we think back on it. Our psyches lie to us to keep us connected.

SFBG One way you bring the past into the story is through the family’s home movies. What inspired you to use that as a narrative device, and how did you decide which scenes to depict in them?

DD We wanted to do it for real. We wanted to make it seem authentic, which meant hitting certain notes that you’d expect to see, but in our own way. Especially for [Hank’s younger brother,] Dale [Jeremy Strong]. The movies are centered around him, and it’s almost like he’s trying to put the family back together again. He’s trying to take these old image and reconstruct the stories, and he’s trying to work out what happened. He’s the innocent. We see the collateral damage of that family through his eyes of what’s happened between Robert Downey, Jr. and Robert Duvall’s characters. And the truth is, if there’s discord in a family on that level, everybody’s fucked up by it. Nobody can heal until that thing gets fixed. I think that there’s an unconscious part of you that roots for them to somehow work it out, so that the family can come together again. But we all have that. All our families are fucked up.

SFBG There’s that line, “This family is a fuckin’ Picasso painting.”

DD Yeah. That was Downey, just off the top of his head.

SFBG I enjoyed the bit in the screenplay about selecting jurors based on their bumper stickers. Who came up with that?

DD [Co-screenwriter] Bill Dubuque. He said to us, “I have an idea for a scene with the jury selection.” I was like, “What? Nobody wants to hang around for that. Get into the trial!” But he knew we were trying to find more comedy. You have to have some fun in a movie like this. We didn’t want to make a serious movie in that way. We knew there was a lot of drama in the film, but there’s a lot of humor because those were the [types of] movies that we love. We’d always talk about Rain Man (1988), or Terms of Endearment (1983), when Hollywood would make movies about people, but with movie stars. Which does not happen anymore for the most part. They happen here and there, but they’re certainly not on the agenda.

Aside from those ones in the 1980s, we all loved those ones from the ’70s, when movies were really about people. Kramer vs. Kramer (1979), Ordinary People (1980) — movies that were talking about cultural issues, like divorce and going to therapy, that people hadn’t worked out yet. The films were having the conversation with the audience at the same time. 

The Judge is not an agenda movie, but healing your family and taking care of a parent that’s in trouble is something we’re seeing a lot more of. Certainly for me, I never imagined I was going to have to parent one of my parents. That was the impetus that created the story for this movie — this really difficult experience [in my own life].

SFBG I read that you got the main cast together beforehand for family bonding, or dysfunctional family bonding, as the case may be. Is that a technique you’ve used before, and what does it accomplish?

DD All my movies, I do a three-week rehearsal. I bring the actors in and we build their characters and kind of do a workshop. I never actually perform the scenes all the way — I don’t want to see an emotional scene be on its feet until we’re there on set. But we break it apart, we study it, we talk about it. We talk about our own experiences. I do exercises on back story. It’s kind of like Outward Bound. 

By the time you’re done, everybody has had a shared history, even if it’s only a three-week history. We all get on the same page — I’m able to listen to them talk about stuff, or build things from improvisations into the movie, and everybody gets a chance to be in the room and have a connection that’s real. It’s a sign of commitment. It’s hard to do with big movie stars because their schedules are just really crazy busy, and sometimes it’s hard to do with big actors, someone like Robert Duvall, who is a legend, because they may not want to get down in the dirt and do that kind of work anymore. But for me, I think it informs the work deeply, and part of the reason why the performances in this movie are as powerful as they are is because these guys were all behaving as a family.

THE JUDGE opens Fri/10 in Bay Area theaters.

Holy crap is there a lot of good new music coming out of the Bay this week

0

Looking for something to get you past the hump of Hump Day? Well put down that “which Disney princess is your dog” quiz right this second, for a straight-up ridiculous amount of good new music was unleashed upon the world this week, with a disproportionate amount of it coming from our very own home turf.

Listen up, burst with pride, and let us know what else you’re listening to.

The debut Rich Girls EP we’ve been waiting for all year, Fiver,  is finally out on Breakup Records (full record here) and the Luisa Black-led trio has a release show tonight (Wed/8) at the Rickshaw Stop. Here’s album-opener “Worse.”

The Bay Area punk forefathers in Rancid, to whom we must admit a highly specific regional allegiance, will put out Honor Is All We Know, their first record in five years, at the end of this month. Here’s the first studio track they’ve released, “Face Up.”

The chilled-out Afro-electro-future-soul-tastic sounds of The Seshen, a Guardian GOLDIE winner from earlier this year, are lush and plentiful on their EP Unravelstream the whole thing right here — with UK label Tru Thoughts. Release show this Sat/11 at Leo’s in Oakland. Here’s the first video, for “Unravel.”

We’ve listened to this bit of jangly lo-fi sweetness from SF’s The Mantles at least a half-dozen times since they premiered it yesterday; they’ll have it out on a 7-inch next month via Slumberland Records.

And The Tropics, fresh off a win at the Music Video Race (with a rather different sort of aesthetic), released this video for “Fireproof” — a shot-by-shot remake of Marky Mark’s “Good Vibrations.” More, please. The Tropics’ Wind House is out Oct. 28 on Breakup.

And, lastly: Do you need convincing to watch a new tUnE-yArDs video? Didn’t think so. Ms. Garbus just announced she’ll be home for a show at the Fox Theater Dec. 11, with opener Cibo Matto (!).

 

Why and how we endorsed what we did

0

As I sort through the barrage of positive and negative feedback to the election endorsements that we published today — which included some tough calls that have surprised some of our progressive allies — I’d like to take a moment to explain how we at the Guardian approach our political endorsements and what they represent.

First of all, let me state clearly and categorically that our corporate owners had nothing to do with our decisions, which were made entirely by the Guardian’s editorial board, which includes me, News Editor Rebecca Bowe, and Staff Writer Joe Fitzgerald Rodriguez. And the three of us found consensus on all of our choices, sometimes after long discussions, even when we had differing initial views on a particular race or measure.

The other important point to make is that it’s long been the Guardian’s philosophy to avoid choosing “no endorsement” whenever possible. If voters have to make a tough decisions among bad or equally attractive options, then we shouldn’t shrink from making that decision as well, even if that risks the scorn of a segment of our readership. This was the approach that I learned from former Guardian editors Bruce Brugmann and Tim Redmond, and it’s an approach that I’ve encouraged us to continue as editor.

Finally, there’s the philosophical question of what it means to endorse a candidate, a question that we’ve spent a lot of time pondering and discussing during this election cycle. There’s not a clear and simple answer to the question, so I’ll just discuss what I think it means.

At its most basic, our endorsement means that we think our readers should vote for this person or position in this election. That’s all. It isn’t a validation of everything a politician does or stands for, and our endorsements are often driven by a weak field of challengers more than the strength of an incumbent. Frankly, there’s only one challenger in the five supervisorial races this fall who is well-qualified for the board and running a strong campaign, Tony Kelly in District 10, and we endorsed him.

The endorsement that we’re catching the most shit for right now is Scott Wiener in District 8, which was a tough call that we spent a lot of time discussing. To many progressives, Wiener is the devil, someone who has taken strong and inflexible positions on housing and regulatory issues that have angered many on the left.

But I don’t think Wiener is the devil, even though I’ve helped blast him for his bad positions as strongly as anyone in town. I think he’s a complicated person and politician who, in addition to his bad stands, has shown important political leadership and integrity on issues we do support, including transportation, nightlife, and public health. I’ve also found him to be more honest and accessible than his more progressive colleague, Sup. Jane Kim, who we also endorsed with some reservations. If you want to understand why we endorsed them, read our endorsements, it’s all in there.

Personally, for me, the hardest endorsement in our package was going no on Prop. H, and I’m still not sure whether we made the right call — or how I’m going to vote on this measure. I’ve sympathetically covered the political battles over artificial turf and this Beach Chalet project for years, and I viscerally don’t like this project, feeling like it just doesn’t belong right there on the coast.

But I understand the need for more playing time on the city’s fields, we’ve visited the site and seen how tucked away from the surrounding area it really is, and I was persuaded that it’s time to let this project proceed after six-year-long fight. Our strong rejection of the companion measure Prop. I also gives me confidence that we’re not opening the door to a rapid conversion of city playing fields to artificial turf.

Did we get it right? That’s for readers and voters to decide based on their political perspectives, but I can tell you that we made a good faith effort and spent many hours trying. And if you have doubts about the calls we made, please listen to the audio recordings of our endorsement interviews and form your own opinions. Democracy is messy business, imperfect by design, and sometimes “least bad” is the best choice. 

In the end, I’m proud of our endorsements, which provide a valuable public service in helping voters sort through a long and complicated ballot, offering a more neutral and public-spirited perspective than that of the paid advocacy that is filling up voters’ mailboxes and billboards around town right now.

Good luck this election season, and don’t forget to vote by Nov. 4.  

What’s the difference between David C. and David C.?

The Bay Guardian news staff has been meeting with a host of politicians and local movers and shakers recently, to help inform our decisionmaking on the Endorsements issue for the upcoming November election, which hits newsstands Oct. 8.

You can thumb through it for our full package of voting recommendations. In the meantime, we’re offering a closer look at the candidates here on our Politics Blog, where we’ll post the full audio recordings from most of the endorsement interviews we conducted in recent weeks.

Tune in here to learn more about each candidate and ballot measure, and decide for yourself which ones seem worthy of support.

This installment features a pair of audio recordings from our interviews with David Campos and David Chiu, opponents in the race for California Assembly District 17, who represent Districts 9 and 3, respectively, on the San Francisco Board of Supervisors.

As Chiu notes early on in his endorsement interview, “You have in this race two guys named David C., who both have immigrant backgrounds, who both went to Harvard Law School, who are both progressive Democrats by any standard of the state, who have served together for the exact same period of time. And I would also point out that we have voted together 98 percent of the time. I think the key distinction between David and David is, I have moved forward, I have built consensus at the Board of Supervisors time after time on the most difficult and challenging issues that we’ve had … and I have passed … 105 ordinances, while David Campos has done that about a third as often.”

Listen to the full Bay Guardian interview with David Chiu:

Campos, meanwhile, presented a different narrative when comparing himself to Chiu.

“What this race presents to voters is, I think, a clear choice, between two different visions for where San Francisco should be headed,” Campos said. “I think that there are two good people who are running for this office, who have notwithstanding some similarities, real differences in terms of where the city needs to go. I believe that we need to first recognize that we have an affordability crisis, and I’m proud that I was the first member of the Board of Supervisors who started talking about a crisis. And I think that what we need is someone who is going to be a champion for working people, middle-income people in Sacramento. I am running for the most … progressive Assembly district in the entire state of California. And I believe that the person who follows in the footsteps of Tom Ammiano has to be a champion of the underdog.

Listen to the full Bay Guardian interview with David Campos:

SF supervisors vote to legalize and regulate Airbnb’s short-term rentals

0

The San Francisco Board of Supervisors today approved controversial legislation to legalize and regulate short-term housing rentals to tourists, voting 7-4 on the package after supervisors narrowly rejected a series of amendments to rein in an activity that has taken thousands of units off the market for local residents.

Amendments to limit hosted rentals to 90 nights per year, to require that Airbnb pay about $25 million in back transient occupancy taxes it owes the city before the legislation would go into effect, to exclude in-law units from eligibility for short-term rentals, and to limit rentals in single-family home neighborhoods failed on a series of 5-6 votes.

Sups. John Avalos, David Campos, Eric Mar, Norman Yee, and Jane Kim voted as a block on the amendments to limit the scope of short-term rentals facilitated by Airbnb and other companies, as a broad coalition that includes tenant, landlord, labor, neighborhood, and affordable housing groups had sought. Kim parted from that block to vote yes on the final legislation, which the others opposed.

Amendments proposed by Kim to give housing nonprofits the right to file injunctive lawsuits to help enforce the legislation and by Campos to ban short-term rentals in units that have been cleared of tenants by Ellis Act evictions were approved 8-3. But because those changes were substantial, they were turned into trailing legislation that must go back to the Planning Commission.

Despite a series of amendments since Board President David Chiu proposed the legislation over the summer, its basic tenets have changed little. It requires short-term rental hosts to register with the city and rent out only their primary residence, which they must live in for at least 275 days out of the year, with the Planning Department enforcing the regulation on a complaint basis.

That effectively limits the rental of entire homes to 90 days per year, but Chiu, Airbnb, and its hosts strenuously rejected calls to extend that cap to hosted rentals, such as spare bedrooms that might otherwise be available to permanent city residents. Chiu said his legislation was “framed through the lens of our housing affordability crisis,” arguing that many San Franciscans rely on Airbnb income to make their rent.

Avalos said he understands that position, but he said tourists shouldn’t be displacing San Franciscans, proposing the 90-day limit on all short-term rentals. “I think it’s important to maximize our residential housing stock to the utmost,” he said. Mar also voiced strong support for extended the cap, criticizing the “cult-like” beliefs by some home-sharing advocates.

As I’ve been reporting in the Guardian over the last two and a half years, Airbnb and its hosts have been openly defying city laws against short-term rentals, as well as ruling by the Tax Collector’s Office that the city’s transient occupancy tax (aka hotel tax) of about 15 percent applies to short-term rentals.

Airbnb just began to collect that tax for its guests last week, but Campos argued that it should pay those back taxes going back to the city ruling in the spring of 2012 before the city legalizes and validates its activities. Company representatives have said its TOT collection would total about $11 million per year.

“I believe it’s only right that Airbnb make good on its back taxes before this legislation becomes law,” Campos said, arguing this $10 billion company is being rewarded for defying city regulators. “Do we give special treatment to a multi-billion-dollar company?”

But supporters of the legislation were anxious to move it forward, despite the dizzying series of complicated amendments, something Avalos said was unusual. “I’m surprised it was given the green light to leave today,” Avalos told reporters after the vote. “There was a lot of pressure to move it forward.”

Now the question will be whether the Planning Department can effectively enforce the regulations, particularly given that Airbnb has been unwilling to share data that might help in that effort. City officials have seemed powerless to enforce laws against short-term rentals that have been on the books for decades, even with rising public concern about the issue over the last year.

“I’m concerned that the legislation simply isn’t enforceable,” Kim said, arguing for the private right of action component that will be returning for board consideration in the coming months.

The other question is whether we’ve heard the end of an issue that has polarized city residents, or whether the coalition of opponents will succeed in a threatened initiative campaign to put more stringent new short-term rental regulations before voters next year.

Sup. Mark Farrell thanked Chiu for taking on the issue despite the intractable positions on both sides, saying, “I think everyone recognizes this to be a no-win situation.” Wiener are referenced the wide emotional divide on the issue: “The views around it are so intensely divergent.”

“The status quo is not working. This system of home sharing is happening in the shadows with little or no oversight,” Wiener said. “It’s time to bring it out of the shadows.”  

Even supporters of the legislation, such as Breed, said they would continue closely monitoring the situation to ensure the legislation helps curbs widespread abuses of lucrative short-term rentals, including landlords evicting rent-controlled tenants to use Airbnb and entrepreneurial tenants renting out multiple apartments through Airbnb, practices Chiu sought to curb.

“The one thing that I think everyone can agree upon is the status quo is not working,” Chiu said early in the hearing.

After the legislation — which comes back to the board for a perfunctory final vote next week and goes into effect in February barring legal challenges — Airbnb’s Public Policy Director David Owen told the Guardian, “It’s a tremendous step forward and we have a lot of work to do.”

Find your fangs: Total Trashfest is upon us

0

I can already envision the sound of Shannon Shaw‘s voice singing Metallica’s “Enter Sandman,” and it’s music to my ears. The James Hetfield-penned classic is the stuff of nightmares, and with “Rocktober” officially here, the timing is right for the return of the Total Trash Halloween Bash.

Who knew Shannon and The Clams were such metal fans? Or are they? Maybe it’s irony, but either way — you won’t want to miss this annual throwdown of shenanigans, in which your favorite Bay Area bands (and a few from beyond) get all costumed up as other, perhaps more famous rockers from decades past.

This year Total Trash and 1-2-3-4 Go! Records are keeping their co-production in the East Bay for the holiday weekend for two nights of rock n’ roll debauchery. On Friday, Oct. 31, Seth Bogart — better known as Hunx — will slip on his fangs (suitable for sucking) to host and perform as Gayracula. I expect the song “I Vant To Suck Your Cock” will get some stage time; after all, it was basically written for Halloween.

Sleazy horror flicks will project on the screen for the party with a costume contest at Leo’s Music Club on Telegraph Ave. for night No. 1, but the killer lineup doesn’t end there. Yogurt Brain might be on to something with this year’s attempt to upstage their performance last year as Weezer by doing another seminal ’90s act — Smashing Pumpkins. I’m wondering if a bald cap will be employed, or if this will be pre-bald-by-choice Billy Corgan? Pookie and The Poodlez does the Donnas and Cumstain will be Sleezer (another Weezer cover band?).

SF’s legendary Phantom Surfers highlight night No. 2 at Eli’s Mile High Club on Saturday. Those guys always seem prepared for Halloween with their masks, so I think they get a pass on having to dress anyone else.

These shows are always tons of fun and if the Bay Area can come together on one thing, it’s that Halloween rules. Grab a wig and get your tickets before it’s too late.

TOTAL TRASHFEST
Starring Hunx as Gayracula, Shannon & the Clams as “Metallica”, Phantom Surfers, Yogurt Brain AS “Smashing Pumpkins”, Teutonics, Charlie Megira, Pookie & the Poodlez as “The Donnas”, Cumstain as “Sleezer”, Scouse Gits
Oct. 31 through Nov. 2
9pm, $20
Leo’s (5447 Telegraph) and Eli’s Mile High Club (3629 MLK), Oakl.
www.totaltrashfest.com

Big soda explodes on SF, gives $7.7 million to fight beverage tax

0

If the soda tax proponents brought a supersoaker to the November ballot showdown, the soda industry brought a tsunami. New campaign finance reports filed today [Mon/6] show the soda industry gave $7.7 million dollars to shoot down the sugary beverage tax in San Francisco, and no, this does not count money spent in Berkeley against our sister city’s beverage tax. 

That number is completely off the charts. In San Francisco local politics, journalists have written screeds against local tech angel investor Ron Conway for throwing $50,000 at an Assembly race, for a point of reference. It may not be record setting though. In 2008, PG&E spent nearly $10 million to take down a clean energy initiative, Proposition H. Still, $7.7 million is simply an absurd amount of money in terms of San Francisco politics, and rarely seen.

And the American Beverage Association still has the entire month of October to outspend PG&E.

“It makes your eyeballs pop,” said Sup. Scott Wiener, a co-author of San Francisco’s sugary beverage tax, along with Sup. Eric Mar. “The rule of thumb is, if you can raise $1 million in San Francisco, you’re in good shape. I don’t even know what you’d do with $7 million.”

The money spent also bests the record set in nearby Richmond. The failed beverage tax was defeated handily with $2.6 million spent against it. It’s that frightening amount that spurred Wiener and Mar to start a grassroots campaign for the sugary beverage tax a year early. The San Francisco measure, on this November’s ballot, would levy a 2-cents-per ounce tax on sugary drinks sold in containers. The money would go directly into health and wellness programs in schools and city recreation centers. 

But the sugary beverage tax proponents have only raised about $225,000 so far, which is nowhere near the ballpark of the $7.7 million mark. San Francisco is awash in carbonated dollars.

Even more staggering is who the money is from. Most campaign finance forms show a long list of donors. Maybe a few firefighters kick in $500 here, maybe a retiree kicks in $100 there. This form has one, single campaign donor: the American Beverage Association, which is primarily funded by Pepsi Co. and Coca Cola. 

What does all that money buy? Well, for starters, a whole lot of political ads. The expenditures listed against Proposition E, the soda tax, list over $3,750,000 spent with GCW Media Services, who make slick campaign ads like the one below.

It also goes toward paying those oh-so-pleasant mailed ads, you know, the ones trying to link the soda tax with the rising cost of living, and evictions? The US Postal Service alone netted $3,500 to send those off.

The Young Democrats, who endorsed No on the Sugary Beverage Tax, got a whopping $20,000 for their troubles. And notably, Chile Lindo, whose owner repeatedly came out to testify against the sugary beverage tax, was paid $812. 

And let us not forget our friends at BMWL and Partners, paid over $161,000 by the American Beverage Association so far. No wonder Chuck Finnie, a flack at BMWL, got so testy with us when we questioned claims by the ABA.

“I was a journalist for 20 years, and this is bullshit,” the ex-San Francisco Chronicle investigative reporter told us. “The gloves are off.”

They certainly are. Big soda isn’t sparing a solitary dime when it comes to flooding our TV stations, our radio airwaves, our streets, and our billboards with a straightforward message: to vote against the sugary beverage tax. 

But the real message behind that effort is much easier to see, now that we know how much money they’ve spent.

They’re scared. 

Sugary beverages contribute much to obesity and diabetes rates in San Francisco and beyond, studies have shown, and the showdown with the soda industry in San Francisco and Berkeley could ripple across the country. Big soda’s big lobbyists are running astroturf campaigns we’ve exposed in previous coverage, and this $7.7 million show just how seriously the big soda companies consider these new taxes a threat to their livelihoods.

The only question is, will their big money succeed in hoodwinking San Francisco?

We’ve embedded the campaign filing below, which you can read for yourself or download.



Opponents seek changes in Airbnb legislation before big hearing

0

The broad and diverse coalition opposing Sup. David Chiu’s legislation to legalize and regulate Airbnb and other short-term housing rental companies — which the Board of Supervisors will consider tomorrow [Tues/7] — have boiled its many concerns down to three particular demands.

The coalition of tenant and landlord groups, affordable housing and neighborhood advocates, hotel workers and homeowners, and asundry other community leaders held another in a series of rallies on the steps of City Hall on Friday, again raising a variety of concerns.

But now, they’re penned a letter that has “three core recommedations.” The first is a call to limit rentals to 90 nights per year. That has been a feature of Chiu’s legislation from the beginning for unhosted rentals, given that it requires hosts to be permanent residents who live in their units at least 275 days per year, but the legislation still allows hosts to rent out a spare bedroom through Airbnb with few limits.

“If this is not done, the current proposal will allow year-round tourist rentals in every residential unit in the City which will drive up housing prices, create further economic incentive to increase evictions, further deplete housing stock for residents, and deteriorate the quality of life in our residential neighborhoods,” the coalition wrote in a letter to Chiu.

The supervisor had been a little cagey about the 90-day limit in the past, but when we pressed him on the issue during his endorsement interview with the Guardian last week, he confirmed that his legislation would allow spare bedrooms to be rented for more than 90 nights per year.

Chiu said his primary concern with the legislation was ensuring entire homes can’t be rented more than 90 nights per year, which he said was the main threat to the city’s rental housing stock, but he was open to amendments that would limit the rental of spare rooms, although that’s a practice he still wants to allow.

“We are grappling with the idea of what that balance is,” he told us.

The coalition is also asking for the legislation to explicitly ban short-term rentals of below-market-rate units and other affordable housing built with public subsidies. The third recommendation seeks to include “expedited private right of action” in the legislation, allowing neighbors and other third parties to file enforcement actions with the courts without waiting for city enforcement processes to slowly play out first.

That’s been a big problem recently as the San Francisco Tenants Union and other groups try to file lawsuits against landlords that have evicted rent-controlled tenants in favor of tourist rentals through Airbnb and other sites, but they’ve been prevented from doing so by foot-dragging in the Planning Department and Department of Building Inspection.

Members of this coalition will also present individual demands tomorrow, but the coalition also conveyed its opposition to supervisors approving this legislation tomorrow:

“We are unanimous in our position that the process being pursued by Supervisor Chiu is rushed. The City will live with the intended (and unintended) consequences of this legislation for many, many years. We implore you to amend the legislation with the recommendations articulated above, and as necessary postpone the Board hearing on this measure. This is one of the most important housing policy issues the City has faced in a decade, and the ‘solution’ by the Board of Supervisors must be done right and not hurried.”

The legislation will dominate the otherwise sparse agenda for tomorrow’s meeting, which starts at 2pm in City Hall. We’ll be live-tweeting the action, so follow along @sfbg or check back here for the full report. 

Live shots: A hot and sticky Hardly Strictly

0

In keeping with Hardly Strictly weekend weather of years gone by, this past weekend was the most summerlike the Bay Area’s been all year. Ooo-weee, it was hot out there.

While you’re chugging your coconut water and dabbing your sunburn with aloe vera, here are our photos and reviews of our favorite sets.

Lucinda Williams

Lucinda Williams is about the only person I can think of who actually makes me wish I drove a car more often. Her music just sounds best while you’re moving — or maybe that’s because I associate it with long road trips, because it was on a road trip that I first became obsessed with her classic record Car Wheels on a Gravel Road. Specifically, “Drunken Angel.” Blood spilled from the hole in your heart/over the strings of your guitar… As a completely non-religious person, watching her sing it — a little behind the beat, in that husky/warbly way Williams has where she doesn’t sound entirely sober ever, but also that’s kinda part of her schtick, in front of 1000 people as the 5pm sun bore down on us — felt something like church. (Emma Silvers)

Mavis Staples

During this 64th year musical of her career, songstress Mavis Staples belted out her tunes that fueled the civil rights movement on Saturday afternoon to a Hardly Strictly crowd full of avid fans, one man with nipple piercings dancing in a continuous flow, and several babies with adorable earmuffs. “Hardly Strictly is my favorite festival!” she bellowed to huge applause. “We wanna leave you feeling good.” She unleashed her soulful, resounding voice directly from her gut with a gravelly tone accumulated through decades of performance. In a flowing white blouse, surrounded by a guitarist, backup singers, and drummer also dressed in black and white, Staples kicked off the set with “If You’re Ready (Come Go with Me)” — preaching from the gospel of social justice with lyrics such as “No hatred/will be tolerated.” Although the band’s sound level was occasionally too low in the mix, Staples made up for it with her gospel singing style that brought the funk all on its own.

The band nailed covers such as “The Weight” and the protest song “For What It’s Worth,” with the drummer adding a groovy beat and dropping silent at “Stop children, what’s that sound?” On the old hit “Freedom Highway,” Staples credited her “Pops” with writing the song for their family band, The Staple Singers, and said, “I’m a living witness here…and I’m still fighting, and I’m still on the battlefield.” She soldiered on by ending the set with a ten-minute rendition of her family’s biggest hit, “I’ll Take You There,” that left the crowd in a chilled-out reverie. (Rebecca Huval)

Yo La Tengo

Yo La Tengo is never going to be the flashiest kid in the room. Powered by Ira Kaplan’s voice and moody walls of freaked-out guitar, it’s a critic’s band, one that you almost forget you love until you hear those opening notes of “Sugarcube” (which they opened with). “Do you like being referred to as Hardly Strictly Bluegrass?” Kaplan wondered aloud, sounding, charmingly, every bit like a 22-year-old, cold-weather indie band that didn’t quite know what they were doing at a sunny outdoor festival full of girls in crop tops. “Like if we were to say ‘Hello, Hardly Strictly Bluegrass?’ You, sir, in the front, please speak for everyone.'” Toward the end of the set they brought out Cibo Matto’s Yuka Honda to play keys, followed by (SF legends) the Flamin’ Groovies’ Roy Loney to sing. Ryan Adams was crooning his guts out about 100 yards away, but for half an hour or so, this was the old school cool kid section of the party for sure. (Silvers)

Flatlanders

The 1972 “rowdy country group” from Lubbock, Texas returned to Hardly Strictly this year, wrapping up Saturday’s tunes with a spectacular performance on two acoustic and two electric guitars, as the sun set and a cool breeze blew on exhausted festival-goers. With an outlaw country feel, this group attracted an older generation of fans by far. Lead singer Jimmie Dale Gilmore had a voice similar to Willie Nelson himself, and his stark white shoulder-length hair glimmered with the lyrics “the stars in my life will stay in place” and “where a good guitar-picker makes more money than a cowboy,” (their first song laid down on tape) echoed across the swaying crowd in true bluegrass character. (Haley Brucato)

Rosanne Cash

Johnny Cash’s little girl is definitely keeping the legend alive. Daddy would be proud. But, she has made a name for herself and will undoubtedly be remembered as her own legend. She harmonized with the best of country, and flashed those pearly whites over the packed stage. Fans piled into grass and dirt areas, pushed up against the chain-link fences, and everywhere in between as they forced their way in to catch a glimpse of this Tennessee beauty. Her songs are intoxicating and, although I am not a country fan, I am now a fan of Rosanne Cash. You can’t ignore that talent. (Brucato)

Built to Spill

Nope, don’t care that I saw them two months ago at Slim’s. Built to Spill make me happy every time, every which way, whether it’s Doug Martsch’s raw vocals pushing high above a horde of people on “Time Trap” or the precision of a lilting guitar outro on “Stab.” That said — and I recall coming to a consensus about this with other BTS super-fans later Saturday night — there is something a little weird about sharing the emotional relationship that most Built to Spill fans have to Built to Spill songs with, well, other Built to Spill fans. And non-Built to Spill fans. In a situation that’s not the slightest bit depressing nor lonely whatsoever. It’s almost too raw. This may also be related to the amount of rosé I consumed during the set (come on, it was getting warm fast). “Thank you for listening and paying attention,” said Martsch at the set’s close. Doug. Doug! Anytime. (Silvers)

Tweedy

Jeff Tweedy (Wilco) has a unique family collab going on with this band. I was wondering why the drummer looked so much younger than the other band members, and then I’m told it’s lead singer Jeff Tweedy’s 18-year-old son, Spencer! Ah, that’s sweet. The Tweedys performed with a full band, but for the two that share the family name, they were performing songs from their debut record Sukierae (named after Tweedy’s wife and mother to their son, Spencer). The music is very simple, light,and enjoyable. I laid back on my blue and white blanket, stretched my legs, and relaxed during this set. People seemed happy to be here for this performance and vibes were going strong as the afternoon wore on.  (Brucato)

Social Distortion

Proving punk rock wasn’t and never will be just a fad, Social Distortion headlined the Towers of Gold stage in their 35th year of existence on Saturday. While the band’s Americana-inspired repertoire consists of ample crowd-pleasers, singer-songwriter-guitarist Mike Ness and crew also rewarded long-time fans with some deep cuts and variations on familiar tunes. Wasting no time on introductions, Social Distortion opened with “Through These Eyes,” an anthem that encapsulates their message of hard-earned hope in a cruel and capricious world.

With his sparkly gold-top Gretsch and signature wide stance (not to be confused with Larry Craig’s), Ness led the eager crowd through a veritable tour of the band’s past and present with recent hits like “Machine Gun Blues” and “Gimme the Sweet and Lowdown” intertwined with eternal classics like “Ball and Chain” and “99 to Life.” Mid-set, bassist Brent Harding switched to an upright bass, and the band embarked on a slower, waltzy rendition of 1992’s “Cold Feelings” followed by an acoustic and accordion treatment of 2004’s “Reach for the Sky.” As Ness’s crimson T-shirt became consumed by sweat, he beckoned the audience to sing along to “Story of My Life,” the band’s most well-known and relatable song, and closed with “Ring of Fire,” a romantic Johnny Cash classic that coincidentally qualified the several mosh pits that had formed. That hot afternoon, Social Distortion gave us something to believe in. (Chung Leung)

Lake Street Dive

This talented, and young, quartet provides a stark contrast to the aged musicians scattering the lineup this year. The avant garde group hailing from Boston, MA put a creative spin on pop, jazz, folk, and soul, and it works. Rachael Price (lead singer) bellowed out an unexpected bluesy, sultry voice that eerily resembles the late Amy Winehouse. It’s a really neat combo of sounds with the giant upright bass, talented drummer and guitarist as well — all graduates from the New England Conservatory of Music in Boston. They expertly covered a Hall and Oates song, that got my head bobbing and foot tapping automatically. Lake Street Dive are a genuinely talented bunch and I’m hooked. (Brucato)

Chris Isaak

“When I first came to San Francisco, I used to come down to the park and play guitar here,” said Chris Isaak to an adoring throng of fans at around 6:30pm on Saturday evening. “Who’d have thought that 30 years later, I’d still be playing here for free?” Then he launched into the signature guitar sigh of “Wicked Game,” as the sunburned, stoned, blissed-out masses cheered and swayed and made out. Isaak is a Hardly Strictly veteran, so you’d think he couldn’t surprise you — but then he goes and coordinates dance moves with his band, shimmying side to side in his blue Johnny Cash-esque suit. A handful of Roy Orbison covers, a handful of songs that took the performance well past the official 7pm end time: He can do whatever he wants. Silly grin-inducing. (Silvers)

Bruce Cockburn

Wow. I didn’t expect that kind of guitar playing when I wandered down to the Star stage, exhausted and sunburnt, for the last performance on Sunday. Things were (sadly) winding down for 2014 HSB.  I looked on stage to see a small man fully clad in an army jacket with combat boots, small circular spectacles, standing alone. The swaying crowd could definitely feel the spirit of Warren Hellman hovering over the best festival on earth. Cockburn’s fingerpicking skills on his dark green guitar washed over onlookers. There he stood, with his eyes tightly closed for his entire set, bellowing out a surprisingly raspy voice. You could tell it’s the kind of voice that’s been around awhile, but one that has truly gotten better with age.

I looked behind me, and I could see others mimicking his meditation-like pose, closing their eyes too, and feeling only the music, deeply concentrated on the bluegrass sounds floating around them. It was magical, and it gave me goosebumps. I was just about to leave (after realizing I could barely remain upright after the draining weekend of music) when “Iris of the World” began playing, and something made me turn back and stay put. (Brucato)

Head First: Explosive Sexual Healing hurts so … good?

0

I’ve got a lot of repressed issues, and I came to San Francisco to try to get them resolved. But I never imagined a possible solution to my problems would be to have some guy finger me while his wife does reiki over my naked body and I scream bloody murder. 

But this kind of thing is an option in the Bay Area, and it’s called Explosive Sexual Healing (ESH). The practice uses things like pain, pleasure, breath work, spiritual alchemy, vocal therapy, and g-spot massage to access emotions and trauma stored in the body. The idea is that once these deep-rooted issues are discovered, they can be dealt with and ideally released. 

ESH isn’t more than a few years old and there are only a few practitioners in California. I did a session with Becky and Cory Center — a husband and wife team that got married four months after meeting each other. When they met, Cory had been released on probation from having been in prison for bank robbery for three years, and Becky was transitioning from her life as a math teacher to a spiritual healer. They met at Landmark Forum, they clicked, and now they’re ESH practitioners. 

I’d be lying if I said I didn’t think this practice was weird. But would that stop me from trying it? No way. I was down to sexually explode.

When I arrived at their home office in Alameda, I sat with them at a table in their entryway and we started the Awakening Session — which involved an alchemical card reading by Cory. He pulled out three cards that he drew himself with marker, laid them on the table in front of me, and told me of my past, present, and future. The reading was pretty accurate, but I couldn’t help but wonder if the detailed form I filled out earlier about my personal history and future desires could have aided in his fortune telling.

Next, they gave me a description about what to expect in the session — explaining that there would be both pain AND pleasure. They asked me about what I wanted healed, and I said that I wanted to stop feeling guilty for feeling satisfied with my accomplishments. I also said I wanted to feel like my brain was just as valuable as my body. They then asked me to come up “affirmations,” which were positive statements that I’d like recited during ESH that would reprogram my brain to think the way I want it to.

“They should be as simple as what a child would say,” Cory said. “As long as they ring true for you.”

So after a lot of back and forth, we came up with the basic statements: “I am free,” “I am wanted,” “I am desired,” “I am important.” These are all nice things to think about, but I thought they were a bit too vague to mend anything specific going on in my head.

Next, they led me into their living room where there was a massage table, psychedelic music, and a blue and green peacock painting above the fireplace. I kept my clothes on and lied on the table.

They taught me how to do what they call “the big draw” — which involved me breathing in and out really fast, tightening my body up into a vertical crunch, then relaxing back onto the table. 

After that, I flipped over onto my stomach.

They told me to relax and breathe while Becky did reiki over my body. 

“Something is telling me you’re ready, Krissy,” Becky said. “That doesn’t have to mean anything to you. Just know it’s saying ‘You’re ready. You’re ready.’” 

When I was finally good and relaxed, Cory started to knead his hands into my muscles — and not in an “Ahh that feels good” way, but in an “I’m gonna leave marks” way. I knew there was going to be pain, I just underestimated how much. I clenched my jaw. They made it clear that I could tell them to stop touching me whenever I wanted to, but I wanted to commit to the experience, so I hung in there.

They told me to scream, but I’m not much of a yeller when something hurts — I’m more of a grunter. I let out a few shouts that weren’t quite to their satisfaction. Becky told me to scream louder, so I did until my throat hurt.

After the process went on for many minutes, my body started reacting to the heat, the pain, and the screaming. I felt like the table was vibrating, and my hands kept cramping up into fists from all the stimulation. Becky told me to kick my legs and pound my hands into the table to get the tingles out. It was both terrifying and embarrassing. But what could I do? I wanted my hands to stop cramping. So I kicked around like a child having a tantrum until my fingers relaxed. 

Finally the pain part was over, and I flipped over onto my back. They blindfolded me, then ran their hands over my body and crotch to top off all that pain with a little pleasure. Then they told me it was time for me to go reflect on my own.

They sent me off for a dinner break. I ate a sandwich and sat on the steps of a building outside — feeling really confused and a little lost. I didn’t think it was responsible of them to leave me alone like that for an hour after such an emotional beating. But I was willing to believe it was a part of their strange methods, and I let it slide.

When I got back, I talked to them about feelings and thoughts that were coming up for me – like how I felt kind of high and had trouble writing in my notebook on account of loopy-ness. 

Soon, I stripped naked and was back on the table, face down. 

“Ow, shit,” I said as Cory shoved his elbow hard into my ass muscles. 

“How would you rate your pain right now?” he asked. 

“Ugh, an eight?” I said. 

“Well, your voice is at a three.”

Becky told me to scream as loud as I could. So I sucked in a deep breath and screamed. 

“Your scream is coming from your throat right now,” she said. “Do it from your belly.” 

Becky told me to match her volume, and she started screaming. So we were both wailing while Cory pressed hard into every part of me he could find — even the inside of my crack.

“Who do you want to speak to?” Becky asked.

I said nothing at first because I had no idea.

“Who? It can be anyone,” she said.

“Men?” I was really guessing. 

She told me to shout what I wanted to say to them. Fortunately, I had let go of my shame much earlier on in the session, so I started yelling shit.

“READ A BOOK ON CUNNILINGUS!” I shouted. “STOP TRYING TO FUCK ME IN THE ASS!”

The point of this part of the session is to find physical pain held in the body and then release it. And as weird as it was, when I screamed like a banshee and cussed at dudes, the pain actually did stop in my ass — even though Cory was digging into it with his elbow. 

“We moved the pain right out,” he said, a satisfied tone in his voice. 

It was time for the pleasure part.

I got up to take a piss, then returned and lied down on my back, exhausted as fuck. I was blindfolded again and Cory slipped and slid his fingers over my sweat drenched body.

“Finally,” I thought. “Time for an orgasm.”

I was wrong.

It was actually time to endure a 10 minute tease session, where I was getting fingered and brought to the brink of orgasm without being allowed to come. And on top of that, they made me say my affirmations while I was trying to get off. So I was screaming, “I am free!” and “I am wanted!” at the top of my lungs while trying to focus on having an orgasm. Finally, I had one, and it was pretty good (definitely juicy). But then it was time for another 10 minutes of teasing, and they brought me right up to the brink of coming, and then stopped me. I did the “big draw” and collapsed back onto the table. They left me alone for a bit.

After awhile, I slowly sat up, feeling like I’d just slept for three days and like I weighed an extra 30 pounds. 

I went back to the entryway and sat down at the table with them. They were kind and checked in with me and my emotions. I felt high, tired, but weirdly alert, confused, and at the same time, relaxed. I was in glass case of emotion.

A few days later Cory called me for a follow-up to check in on me. The two of them recognized that ESH can be jarring, and they were there to make sure I was okay — which I appreciated.

I think the intensity of sensation during the session induced heightened states of awareness which led me to have deep thoughts. Did those deep thoughts help me to stop feeling guilty about being satisfied with my accomplishments? No. Do I feel like my brain is just as valuable as my body? No. But to be fair, to fully heal, you’re supposed to do six sessions, not just one.

ESH could potentially open someone’s mind to new things, and I could see how it would be helpful to a person stuck in a mental or emotional rut. But I don’t think I’d go back for another rendezvous any time soon. I think I prefer a healing experience with more sex and less explosion.

Social Distortion digs up its roots

0

Although they got their start in the fast and loud world of the southern California punk rock scene of the late 1970s and early 1980s, Orange County rockers Social Distortion have long embraced American roots music, incorporating country, rockabilly, folk and blues influences into their songwriting and overall sound.

Founding member Mike Ness — who as the band’s singer, guitarist ,and chief songwriter has guided Social Distortion for 35 years now — can pinpoint an experience he had growing up to when he first made a connection with early 20th century American music.

“It was probably on those Smithsonian Folkways sets that we had around the house — but when I heard the Carter Family at about eight years old, there’s just something about those recordings from that period, the late ’20s, and ’30s,” says Ness over the phone from a tour stop in Oregon.

“Maybe I was internalizing their strife, it just resonated with me, we didn’t have much money growing up, and it just really hit home—and I didn’t really even know at the time.”

That sense of kinship with the pioneers of roots music went on to inform and influence Ness when he started Social Distortion and has continued to help shape the group as they have evolved over the years — a major reason that he is proud to be performing with his band at this weekend’s Hardly Strictly Bluegrass festival in San Francisco (4:45 pm on Saturday at the Towers of Gold Stage).

“I’ve heard it’s just really cool and eclectic — and that it’s huge. I remember when we used to do the ‘Street Scene’ in San Diego and it was downtown, and feeling that the whole town was there, like how it must have been in the old days when you were peddling your elixirs and you had the whole city there in the town square.

“I imagine that’s how it will be there. I think it’s a pretty cool idea. Whenever you get to play in the city, and see the cityscape right there from the stage, or in the park, it’s a very cool feeling.”

In addition to taking cues from the classics when writing his own material, Ness has also made it a tradition to perform many of his favorite songs by other, older artists both live in concert and on records — in fact, he released an entire album of covers back in 1999, the excellent solo effort Under The Influences, in which he paid homage to singers and songwriters such as Carl Perkins, Marty Robbins, and Hank Williams.

While his fans enjoy Ness’ cover versions for having their own unique sound, the performer himself laughs when asked if he has a particular approach for shaping or crafting the songs to be a little different from the originals.

“It’s never been a conscious decision to change them to make it my own. Sometimes I kind of wish I had played in Top 40 bands just so I could have learned different stylistic things, because really, when I pick a cover song, I do pick it because I love it and it’s a personal favorite and I’ve been singing it in my living for a couple of years already — but it just comes out the only way I know how to do it!” Ness laughs.

A couple of other acts on the bill this weekend were artists that Ness went to see in concert while growing up and had a large impact on him, particularly Dave and Phil Alvin (who play Friday afternoon) and their band The Blasters.

“That period of time was just so neat. We were 17 years old, driving from Fullerton to Hollywood every night watching bands and going to these underground clubs, I feel so lucky to have been able to be a part of that — I cut my teeth on that, and The Blasters were a big part of that.”

“These were bands that were already making that connection between punk and American roots music, whether it was rockabilly or folk music or blues. By the mid ‘80s, punk had really started to stereotype itself; a lot of the bands were all just starting to sound the same. We felt the need to separate and stand out, and that really helped me.”

Ness says that fans can expect Social Distortion to play some special tunes for their Hardly Strictly Bluegrass set.

“I definitely want to acknowledge the fact that it’s a roots festival, and pay homage, so we’ll be altering our set a little bit for the festival. Essentially, now Social Distortion is the Carter Family with Les Pauls, you know?” says Ness.

“It’s three chords, it’s the melody, it’s very simplistic. But it’s very honest and heartfelt writing.”

https://www.youtube.com/watch?v=2BaksqH2YXQ

Social Distortion
Sat/4, 4:45pm, free
Hardly Strictly Bluegrass, Golden Gate Park, SF
www.hardlystrictlybluegrass.com