SFBG Blogs

Oooh, let’s have a border war

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If San Francisco tries to enact a congestion management fee, San Mateo officials are going to fight back with their own. How fun; a border war. Since I’ve long suggested that our future may be in city-states, not nations, it strikes me as an interesting political moment.


But on a serious note: what would be wrong with a toll in both directions? What would be wrong with asking California motorists, who enjoy among the lowest gas tax rates in the western world and who for the past few years have had a dramatic reduction in annual registration fees, to pay a little more to local government? What’s wrong with making it cost more to drive your car during commute hours?


Yeah, that means it will cost more for a San Franciscan to go shop at Serramonte Mall (during rush hour; who shops then anyway?). So what? That might encourage San Franciscans to shop locally. Yeah, it will cost more to commute by car, in either direction; maybe more people will ride their bikes or take the bus. (Particularly if the money goes into improving transit.)


I’m not going all Smoot-Hawley here, but congestion-management fees — extra charges for driving in certain areas during certain times of day — are generally a good idea. And if San Mateo wants one, too, excellent.


Cities have been fighting for years over who can cut taxes more for big businesses. This seems a much more reasonable fight. So: Border war? Bring it on.


 

Brown’s education summit gives me hope

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Most of what’s going on is just really, really disturbing — Brown is doing a good job of explaining just how bad the economy is, just how awful things are for education — and what that means for students. But he made one comment that struck me as critical (and that might, maybe, make Brown a great governor) came about an hour into the presentation.


Brown was talking about how the nation got into this crisis — about how people were forced to live on borrowing, and when the real estate market collapsed America became de-leveraged — when he took a slight sidetrack to say:


“Income redistribution upward from the middle class is comparable to the 1920s … it’s a societal crisis. We have to exercise discipline, but also fairness.”


A few points on this:


1. The incoming governor of California actually mentioned the words “income redistribution.” That’s a term almost entirely missing from the current debate. And he made it clear that part of the budget problem — part of the reason the state and the nation are in this crisis — is that the rich have gotten a larger and larger share of the pie.


2. Brown seems to think this is actually a problem, a “societal crisis.” Again: Obama doesn’t talk about that. Other than Bernie Sanders, most politicians in Washington are afraid of it. Just talking about wealth and income inequality (particularly in the context of education funding) is a huge step.


3. Brown talked about “fairness and discipline” together. Yes, we have to understand that resources right now are limited; but we also have to understand that part of the budget debate ought to be about the larger social issue of unfair distribution of wealth.


I know none of this seems like such a huge deal — it’s basic reality. But it’s so unusual that it’s refreshing.


 

The true cost of local hire

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Chronicle columnists Phillip Matier and Andy Ross are claiming it will cost $2.2 million annually to carry out Sup. John Avalos’ newly approved legislation that mandates local hire rates on city-funded construction projects,

And Human Rights Commission director Theresa Sparks is claiming it will actually cost $3 million to run the program.

Neither Sparks nor Matier and Ross are talking about the savings the program will create in terms of the need for less law enforcement, if more local residents are hired. Nor do they mention the economic benefit of tax payer dollars being funneled into the local economy, if more San Francisco residents are hired on city-funded construction projects.

As a result, their conversation sounds like an attack on local hire legislation that Sparks says she supports.

“Matier & Ross are about a million dollars off,” Sparks told the Guardian in a voice mail message three days after I first called asking if it was true that HRC was pissed that the Office of Economic and Workforce Development was being charged with monitoring Avalos’ newly approved program.

‘We tried to get them to leave it with us,” Sparks said, noting that HRC already has contract compliance officers overseeing every city contract.

“This will cost $2-3 million more, and it’s unnecessary,” Sparks continued, noting that during her (ultimately unsuccessful) D6 campaign she talked about “inefficiency in government” and here was yet another example of that very same wasteful phenomenon.

‘Rather than approve a project, the agency that creates a program wants to hire its own people and create a whole new infrastructure, “ Sparks said. “We tried to participate in the local hire ordinance, but we were excluded from all the meetings.”

Sup. John Avalos’ legislative aide Raquel Redondiez disagrees that Sparks was omitted from the discussion. And Redondiez has the emails to prove it.

In an Oct. 21 email sent to Redevelopment director Fred Blackwell, Rhonda Simmons in the Office of Economic and Workforce Development, and Sparks at HRC, six weeks before Avalos’ legislation passed on its first reading, Redondiez wrote that Avalos would like to meet with Blackwell, Simmons and Sparks.

“Supervisor Avalos would like to meet with your offices to learn about how current contracts are now tracked for local hiring, lbe [local business enterprises], and union hours,” Redondiez wrote. “As we move forward with the local hiring legislation, we would like to have a deeper understanding of the current tracking practices and possibilities.Please let us know when we can meet in the next 10 days.”

Redondiez email thread shows she got a reply from Guillermo Rodriguez in the Mayor’s Office the same day. But there was no reply from Sparks. Blackwell and Simmons attended local hire hearings at City Hall in November and December. This reporter does not remember Sparks at those hearings, but community advocates say they saw her outside at least one hearing, in November.

So, does this add up to HRC being deliberately excluded from the discussion about how best to monitor local hire, or something entirely different?

Community and worker advocates, who support the legislation, say they tried to reach out to Sparks, but got mixed messages. They say Sparks said she was supportive of the legislation, but that they were left with the impression that HRC wasn’t interested in monitoring the program.

Michael Theriault, Secretary-Treasurer of the Building Trades, which opposes Avalos’ legislation because it believes the measure will pit workers who live here against workers who don’t, didn’t sound like he was advocating to put HRC in charge of monitoring compliance with the mandatory local hire ordinance.
“There is a sense that HRC is about small business advocacy,” Theriault said.

Sparks hasn’t returned my latest call, but I’ll be sure to post her comments here. So stay tuned as we follow the latest twist in the local hire debate. And don’tforget to tune in to tomorrow’s Board meeting (Dec. 14, 2 p.m. at City Hall), when the local hire legislation has its second reading.

Libidinous literature with Naked Girls Reading

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I had asked Lady Monster, over a pair of red wine glasses and the pleasant buzz of nearby patrons at Revolution Cafe, to tell me what story she’d read at the Halloween installation of her Naked Girls Reading literary series. We were chatting in anticipation of her International Day to End Violence Against Sex Workers edition of NGR (Fri/17) which will take place at the Center for Sex and Culture after the day’s City Hall vigil and march.

The curvaceous redhead is quite the story teller, even clothed. “I did the elevator scene from The Shining,” she told me, launching into a brief summary of the Torrance family’s elevator travails. By the end of it I had the crap scared out of me – and she was fully clothed! Imagine what this lady can get done in the buff – surely, a live literary luminary not to be trifled with.

Lady Monster first heard of the Naked Girls Reading series circa its Chicago inception by burlesque showgirl Michelle L’Amour in 2009. The series sits down sex-positive female role models (SF’s chapter features sexologist Carol Queen, sex activists, and burlesque beauty Dottie Lux among others) for a theme night of literary lustiness. The event struck a chord (books and boobies yay!), and not just among Chicago pervs – the series has been featured on the Carson Daly show and has spread to nine other cities. “Like wild blazes,” says Monster.

“Almost immediately Michelle had people wanting to franchise the series,” she continues. Naked girls getting brainy? Lady Monster had an inkling that her own San Francisco community would gag for a NGR chapter of their own. She scheduled NGR’s SF breakout in May of this year and the show’s played to packed houses every two months since – and will score a regular monthly gig at Viracocha come the new year. “It’s so much fun, so silly. It’s all about being comfortable in your own skin,” Monster asserts.

That’s something that she’s had little trouble with – even growing up on an Ohio farm, Monster started hosting her (initially PG-13 rated) play parties in fifth grade. “I’d have all my friends over and make sure everyone was coupled off. Then we’d go into my room and close the door. At first we’d all just make out, but as we got older it got more serious. I was my own sexually liberated role model!” With a little help from some open-minded parents, of course. “They didn’t bother us, they let us have our time together.”

From grade school groping, Monster graduated to more advanced expressions of sexuality. She worked the graveyard shift at a phone sex line and loved the intimacy and honesty she could find in horny men just getting home from last call. “I wanted to hear their secrets all the time,” she confesses. But she wanted it to happen face to face, so she tripped her way into a job doing “legal escort work.” Private peep show stuff, for which Monster would strip or faux-masturbate for a paying customer. 

Only it wasn’t legal, a fact that her employer neglected to tell her. And even though she was getting face to face time, the sexual intimacy she’d felt with men on the other end of the phone line was gone. “There was no talking! Yeah, the money was a lot better but I had to get out of there.” All the way to San Francisco, in fact – where Monster has put her open sexuality to work in service to SF Sex Information and pens sex stories and erotic poetry. She’s also a long time performer in the burlesque scene – she’s been known to create her own astronomically-inspired LED-lit costumes and accesorize with glitter-dipped viking axes. Oh, and she toured with Ministry.

Like NGR, The International Day to End Violence Against Sex Workers was created by an empowered sexual superstar and has grown into a far-reaching event, marked by vigils in cities around the globe and marches of men and women carrying red umbrellas (the adopted symbol of the movement). It was started by the Bay’s own feminist porn star Annie Sprinkle, an ex-sex worker who Monster counts amongst her role models: “she’s not really a mother figure, more like a respected aunt,” Monster says.

“Sex workers need protection,” she continues, noting that Sprinkle started the annual day of memorial after reading a serial killer’s confession that he killed over 40 prostitutes because he knew they were less likely to be reported missing or inspire dedicated police investigations.

Lady Monster’s convinced that sex worker safety is an issue that carries particular import this year for a variety of reasons. First: shitty profits. “Business is definitely being affected by the economy,” she says. “And on top of that the market’s flooded,” with all the men and women out of work in other industries. Lack of work can make it harder to avoid risky working situations that put sex workers at risk of withheld wages, assault, or rape. The shut-down of Craigslist’s casual encounters listings has made it more difficult to find clients in the first place, and in the midst of all of this, SFPD has adopted an evidenciary policy that discourages condom usage: if cops find a rubber on a suspected prostitute, they’ll use it as evidence of intent to have sex for money. 

That’s why Monster’s event Friday (which follows a vigil and march from City Hall that starts at 4 p.m.) will give voice to those that often go unheard in our society. Monster, her regular NGR cast, and Sprinkle will all read from literature penned by sex workers, including Jillian Lauren’s memoir of her time in the prince of Brunei’s harem and Scarlet Harlot’s account of becoming a radical prostitute, Unrepentant Whore.

“This is such a great opportunity for feminism and art,” Monster says. Undeniably, giving naked women a stage on which to talk about reclamation of body and sex issues is a unique approach. NGR, sex worker edition: sure to be a hot night, but also a reflection of the power of corpus woman when framing its own literary discourse. 

 

Naked Girls Reading: International Day to End Violence Against Sex Workers 

Fri/17 9 p.m., $15-20

Center for Sex and Culture

1519 Mission, SF

(415) 255-1155

www.nakedgirlsreading.com

 

Bikes are not cars

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Okay, first of all, this is ridiculous. California cities are supposed to be encouraging people to ride bikes instead of cars. And bikes aren’t 3,000-pound metal devices propelled forward with internal combustion engines; yes, a bike can hit a pedestrian, but the likelihood of fatal injuries isn’t that high. Certainly not compared to cars.


Besides, and here’s the thing that really gets me: This kid gets a ticket for running a stop sign on his bicycle and “now he has to go to traffic school to keep a moving violation off his driver’s license.”


How is that possible? You don’t need a license to ride a bike. A bike isn’t a car; the skills are entirely different. The risks are entirely different. You can ride a bike before you turn 16. You can ride without proof of citizenship. You don’t have to give up a fingerprint or fill out forms or take a test to ride a bike.


So why should you face a violation on your license to drive a car when you’re not driving a car? Should I get a point on my driver’s license if I sit on the sidewalk, or walk against the light, or block traffic in a political protest? Those things aren’t remotely related to driving a motor vehicle.


I got stopped once by a cop for (allegedly) running a stop sign, and he asked to see my driver’s license, and I (politely) said: Why? I’m not driving a car. I’m happy to provide ID, but I don’t need to present a document from the California Department of MOTOR vehicles when I’m not operating a MOTOR vehicle. Especially when I’m making the world a cleaner, better place with my transportation choice.


Oddly enough, he agreed. We had a pleasant talk about bicycle safety and he let me go. You’d think the UC cops would have better things to do.

SFBG Radio: What will Jerry do?

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When Jerry Brown goes to UCLA to talk about education, what’s he going to say? How’s he going to promote the UC system when he’s facing a $25 billion budget crisis? Johnny and Tim talk abou that (and the Obama health care law and a few other things) after the jump.

sfbgradio12132010 by endorsements2010

Forget “Deborah” — Debbie Gibson is back!

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Despite having had a nearly 25-year (and counting) career in show business, singer Debbie Gibson is still full of youthful energy and excitement when talking about recent projects and what she has planned for the future — perhaps that is due in part to the fact that she had her first hit single and taste of fame when she was only 16 years old. The ever-vivacious Gibson is particularly excited about taking part in a benefit concert and cabaret show tonight here in San Francisco, “One Night Only: A Shrektacular Holiday Celebration,” which will also feature the cast of Shrek currently at the Orpheum Theatre, and raises funds for the Richmond/Ermet AIDS Foundation.

“Pretty much if I’m available, I can’t say no to this organization,” says Gibson, who has always been heavily involved with helping charitable groups throughout her career. “I really enjoy these intimate shows with solo theater performers, and it’s kind of a perfect fit for me — obviously I bring my pop persona to the table, but at the same time I’m part of the theater community, so it makes perfect sense really.”

The ‘80s pop chanteuse, famous for her initial hits such as “Only In My Dreams,” “Out of the Blue,” and “Electric Youth,” was one of the few stars of that time and genre who wrote and arranged much of her own material, which led to her successful forays into Broadway productions, and eventually into acting for film.

Her recent appearance in the cult B-movie Mega Shark vs. Giant Octopus has also sparked a new run of interest for celluloid gigs, with Gibson happily looking forward to the release of a new SyFy Channel movie, Mega Python vs. Gatoroid, which finds her teamed with another singer and actress who once vied for the same airwaves and video times as she did back in the 1980s — none other than Tiffany.

[Mega Shark] was so bad it was good; this one is smart, kitschy, and campy, it’s sexy sci-fi horror, and it was so much fun to do,” enthuses Gibson. “The first one was done a lot on blue screen, and all that; for this one I was hanging from rope ladders, crawling in the swamp, and climbing buildings. It was actually quite an action movie in addition to being a sci fi movie. Throw in a little food fight between me and Tiffany and there you go!”

Gibson says that both actresses had fun playing on their supposed rivalry from their youth, and that they didn’t mind that some of the people behind the film may have had, er, some ulterior motives. “We were like, ‘what dirty old men at SyFy sat around [asking] how they could get Tiffany and Debbie Gibson to get whipped cream on each other?'”

Gibson is referencing a scene from the movie — which comes out next month — that was released early, showing a drawn-out, extended cat fight between the two involving smashed cake, wrestling in a river, and a hilarious reference to the title of one of their hit songs. At tonight’s special show, Gibson is planning on performing a new song, one she hopes will provide a new take on holiday tunes, and also on her supposedly squeaky clean image from her past. 

“I wrote it about a year ago, and it’s a kind of a modern ‘Santa Baby,’ a sexy, jazzy, original Christmas song. It’s tongue in cheek,  mocking myself, it’s called ‘The Naughty List’ — I’ve always been the good girl and I’d very much like to be on ‘The Naughty List’ for once!”

http://www.youtube.com/watch?v=qf8BoWKeHow&feature=related

Debbie Gibson
Mon/13, 8 p.m., $35-$65
Theatre 39, Pier 39, SF
(415) 273-1620
www.helpisontheway.org

Live Shots: Roger Waters’ epic “The Wall,” HP Pavilion, 12/08/2010

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In the minutes before Pink Floyd mastermind Roger Waters took to the stage at HP Pavilion earlier this week to perform the band’s epic 1979 double album The Wall, the playlist coming through the house speakers gave way to Billie Holiday’s “Strange Fruit,” a song that seemed well-matched for the impending performance. For an artist that is commonly known for romantic jazz ballads, Holiday’s “Strange Fruit” was a defining moment in her career, a point in which she ascended beyond the simplest manifestations of her identity and delved into the  darkest corners of her times.

In a similar sense, there is no easy way around The Wall. Pink Floyd’s last album during their monumental run in the ’70s — Dark Side of the Moon, Wish You Were Here, Animals — was not only their most artistically ambitious, but a lingering challenge to the nature of the band’s legacy. Longview attempts to define Pink Floyd in the realm of blacklight posters, spacey sounds, or a Dazed and Confused mindset, will inevitably get stuck at The Wall: a dark and confrontational album that is ultimately the most emblematic of Pink Floyd’s greatest characteristics.

So, with Waters (at age 67) suggesting that this will be his last tour, it is appropriate that he would finish with his masterpiece. And make no mistake – this was a concert for the ages.

Playing before an enthralled sold-out crowd, Waters put on a spectacle of acid-casualty-inflicting-potential that seemed peerless on numerous fronts. Musically, the material was as dynamic as it was seamless, deftly rendered by a world-class band of musicians over a juggernaut of a sound system. Visually, the staging seemed calibrated past “entertain” and set on “assault”, showcasing a sensory barrage of giant puppets, crashing airplanes, and flying pigs all amidst the construction (and eventual toppling) of a 40ft wall that also served as a towering projection screen for a dizzying array of images and video.

Yet the most notable aspect of the performance was the sheer relevance of the material. This was really an amazing feature, considering that Waters wrote The Wall in the run up to the Reagan-Thatcher era and was now performing it in the aftermath of Bush-Cheney. In this regard, Waters delved deeply into the confrontational aspect of the album’s material, challenging the audience with all-too-timely themes of war, ideology, government surveillance, and the general estrangement of modern human relations. During “Run Like Hell” the projections on the wall at one point showed the Wikileaks-released video of the 2007 Apache Helicopter massacre in Baghdad; not exactly light viewing material to accompany one of Floyd’s classic radio hits.

Waters looked and sounded formidable throughout the concert, stalking the stage with good-humored authority as the wall was erected in front of the band throughout the beginning half of the album. This first set was packed with striking moments, such as the ominous acoustic beauty of “Goodbye Blue Sky” beset by visuals of bomber planes dropping their payloads of -isms  (dollar signs, religious symbols, and corporate logos) on those below. “Another Brick in the Wall (Part 2),” with its re-occurring mantra – “We Don’t Need No Education” – was already a staggering spectacle as a three-story marionette school teacher with laser eyes dwarfed the musicians below, only to then be embellished by a choir of  local school kids filling the stage to sing the later verses.

However, the most poignant moment of the show came during the second set as Waters – who had lost his father as a boy during World War II – performed “Vera” and “Bring the Boys Back Home” beneath video spots of children reuniting with their fathers returning home from war. The final clip – of a young girl going from surprise to gut-wrenching emotion as she first sees her father – left audience members wiping back tears as Water’s sang the line, “Does anybody else in here/feel the way I do?”

The wall came toppling down after the more theatrical rock-opera moments of the second album, culminating with “The Trial” performed  beneath Gerald Scarfe’s hallucinatory animation from the 1982 film adaptation of the album. Waters and company finished the concert amongst the rubble, playing a wonderfully serene and hopeful version of “Outside the Wall.”

Much has been made of the fact that the original staging of this album was a logistical debacle when it was performed in only four cities some 30 years ago, and that the evolution of technology has now made it feasible. Yet, in a similar sense, the album’s material has matured in its own way in this time. Writing during a time of personal crisis in the late 70s, Waters conceived the album as an exploration of human relationships and the many obstacles that hinder them. The timeliness of these themes then — especially after a decade marred by war and a divided population – makes this tour less of a nostalgic throwback and more of manifested vision. Pink Floyd had always been far ahead their time, so there is a fitting logic that it would take three decades for The Wall to be properly realized in concert.

Of course, it’ll be interesting to see if this tour is in fact the last call on an original Pink Floyd experience. Altough the surviving band members are getting on in years (keyboardist Richard Wright died in 2008), they have made some steps at amends recently, and even expressed interest in collaborating again. Perhaps then, there is still time for those walls to come down. After all….when it comes to Pink Floyd, it’s well known that pigs will fly

SFBG Radio: In praise of Pelosi

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Not words you hear around here too often, but today we say: Pelosi’s doing exactly the right thing holding the line on tax cuts for the rich. So what happens next? We’ll fill you in after the break.

sfbgradio12/10/2010 by endorsements2010

The Noir in the War on Christmas: Noël Noir @ YBCA

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You have probably heard that the Smithsonian Institution’s National Portrait Gallery recently ejected from its premises David Wojnarowicz’s video installation, A Fire in My Belly. The work was part of the museum’s “Hide/Seek: Difference and Desire in American Portraiture,” reported to be the first major museum exhibition addressing gay and lesbian identity in the arts.

‘Tis the season, in other words, for another right-wing attack on a piece of artwork by a gay artist depicting Jesus. This one reportedly depicts Jesus at one point with ants crawling over him and is otherwise described in the museum’s catalog (not inaccurately) as “homoerotic.”

Seriously, where’s the sport in this? It’s like crucifying fish in a barrel. The real value for the Republican leadership and attendant blowhards is, of course, in the distraction all their righteous umbrage affords from the real obscenities well underway this holiday season. Yeah, merry fucking Christmas to you too.

To the extent this blatant act of censorship does call attention to the video piece by the late artist-activist Wojnarowicz (who died in 1992), it’s good to see it will be given pride of place tonight at Yerba Buena Center for the Arts’ alternative Christmas party cum fundraiser, Noël Noir. YBCA recently announced A Fire in My Belly will replace the previously slated midnight “surprise” movie, and play on continuous loop from 11 p.m. to 2 a.m.

Noël Noir

Fri/10, 9 p.m.-2 a.m., $25

Yerba Buena Center for the Arts

701 Mission, SF

www.noelnoir2010.com

 

 

The mayoral roulette

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At the San Francisco Tomorrow holiday party Dec. 8th, David Chiu, Dennis Herrera, John Rizzo, Jake McGoldrick and a host of others who I’ve seen at these events for at least the past few years were doing their usual schmoozing — when Ross Mirkarimi, a former SFT board member, showed up with …. Art Agnos. I haven’t seen the former mayor at an SFT event since … I don’t know. Since a long long time ago.


Agnos made a short speech and talked about all of the rising stars in the San Francisco progressive movement — Mirkarimi, Chiu, Rizzo, David Campos, Eric Mar, John Avalos … and it was all very nice and low key. But there was a message in his appearance, in his connection with Mirkarimi, and even in the overall tone of his remarks, which amounts to this:


If the supervisors have trouble finding a progressive who can get six votes — and if they want an old hand, someone who has been through a brutal recession as mayor of San Francisco and dealt with awful budgets and nasty politics, someone who will serve for a year and then walk away — Agnos is open to being asked.


Well, maybe a little more than open to being asked. I wouldn’t say he’s actively, publicly campaiging for the job, but he has met with most of the supervisors, and dropped them all a 13-page memo listing all of his accomplishments, and his supporters (maybe his emissaries) are making the rounds and making the case for Agnos. Which amounts to this:


None of the progressives now more-or-less openly in the mix (Campos, Chiu, Mirkarimi, even Aaron Peskin) can realistically take on all the sacred cows (esp. police and fire), make a bunch of other cuts, and push for all sorts of revenue increases — and at the same time try to run for re-election in November (when the tax hikes would be on the ballot). The only way to do “what needs to be done” is to put in a progressive caretaker who can then take the political heat for the tough decisions — and help set up a campaign for another progressive in November.


I’m not sure I entirely agree — the right person, with the right leadership and agenda, could set up a five-year plan for fiscal stability, launch year one immediately and tell the public that he/she needs a full term to finish the job. But it’s true that it will be tough — and it’s also true that none of the obvious alternatives have ever run citywide.


If Tom Ammiano were interested, we wouldn’t be having this discussion. Tom has run citywide numerous times (for School Board, pre-district elections supervisor and mayor), has been elected by half the city (to the Assembly), and has the credibility to deal with the budget crisis and still win in November. But he’s not, and we have to respect that.


Right now, the progressives can’t seem to unite on a candidate. None of the current board members has six votes today. And Campos, Chiu, Mirkarimi and everyone else in the game knows full well how hard it will be to win in November, particularly against State Sen. Leland Yee, who will be a formidable candidate, and possibly City Attorney Dennis Herrera (who has won citywide), State Sen. Mark Leno (who is popular all over town) and others.


So if a couple rounds pass and there’s no winner, the “progressive caretaker” concept will be in play. It’s possible Mirkarimi would give up his seat two years early and take that job; it’s likely Peskin would agree to serve one year and then step down. But it’s also possible that neither scenario works out — at which point Sheriff Mike Hennessey and Agnos will be in play.


(I hear through the grapevine that Willie Brown is nosing around, too — and let’s remember that he became Assembly speaker by cutting a deal with the Republicans.)


Hennessey’s got a strong progressive record, but has never had to deal with anything remotely as awful as what the next mayor will face. So Agnos backers will make the case that their guy has the experience and gravitas to pull it off.


Given all of that, let me say a couple of things about Agnos, since I was around and watching City Hall when he was mayor (and some of the people who will be voting on this weren’t.)


Art’s a mixture. He was a great progressive member of the state Assembly. When he ran for mayor, we backed him strongly; he seemed to be the great progressive hope. Then his long list of wonderful promises ran into the buzz saw of a deep recession — and made things much worse with his arrogant, imperious style. His first major act in office was to sign a set of contracts that gave away the store to PG&E. He never lifted a finger for public power. And it quickly became clear that he wasn’t a fan of open government or public process. We were all supposed to “Trust in Art” and shut up if we didn’t like it.


That’s why — despite what was at the time and is in retrospect a pretty darn progressive record, a lot of solid accomplishments and absolutly no hint of corruption or scandal — the progressives just weren’t all that excited about his re-election. So he lost to Frank Jordan, who was way worse.


The thing is, Agnos these days is a lot more mellow. He’s 72, knows he’s not going anywhere else in politics, and has essentially admitted to me that he made a lot of mistakes, and his arrogance and closed-door attitude were top on the list. A reformed Agnos — willing to serve with a degree of humility and an acceptance that progressive politics in this town demands inclusiveness, and that even though he’s a former mayor, he’s not by definition the most important person in any room he walks into — would present an interesting option.


Of course, we still don’t know exactly where he would be on the issues, since, like Chiu, he hasn’t even publicly called himself a candidate for the job. I still think anyone who is a serious contender ought to be willing to appear before the supervisors and answer questions.


We all know where to start: What’s your plan for raising a quarter billion dollars in new revenue in 2011?    

SFBG Radio: The death drug, Obama’s failure and more

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In today’s episode, we talk about California’s strange adventures with the death drug — and why the Obama presidency is at stake in the tax debate. Check it out after the jump.

sfbgradio12920109 by endorsements2010

Progressives oppose Obama’s deal with Republicans

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With San Francisco’s own Rep. Nancy Pelosi leading the way, House Democrats have voted to oppose the tax cut deal that President Barack Obama cut with the Republicans – a deal most Americans oppose because of its expensive extension of tax cuts for the wealthy – demonstrating that progressives and even mainstream liberals are increasingly willing to push back against a president that has take their support for granted.

During his press conference this week, Obama adopted a belittling attitude toward his progressive critics who have pointed that Obama ran for office overtly opposing President George W. Bush’s policy of slashing taxes on the super-rich, which ballooned the federal deficit. And now, in interests of “getting things done,” Obama is standing with Republicans to promote that very policy.

Obama even boasted “the polls are on our side on this,” a statement polls taken since then have shown is simply untrue, as he ridiculed his progressive critics as willing to let unemployment payments expire and middle class tax cuts expire, as Republicans have threatened if Democratic are unwilling to extend tax cuts for the wealthy.

Speaking on PBS’s NewsHour the other night, Nobel Prize winning economist Paul Krugman said he was appalled that Obama would echo this right-wing way of looking at the world, saying, “The president going after his progressive critics is enormously self-indulgent.”

Indeed it was, and those progressive critics now seem to have the upper hand, leaving Obama in the position of either working with Republicans to “ram this down the throats of the American people” (to borrow the GOP description of his health care reform measure) or to finally start working cooperatively with progressives to oppose the Republicans’ transparently hypocritical and unsustainable fiscal policy.

This is a big test for the Democratic Party and it’ll be interesting to see how it plays out in the coming days.

SF Camerawork and YBCA do the right thing (Updated)

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Stop me if you think that you’ve heard this one before: a Washington DC art institution caves in to right wing politicians and conservative Christians calling for the removal of “controversial” work made by an openly gay artist.

No, I’m not talking about what happened with Robert Mapplethorpe more than two decades ago. In case you haven’t been following what’s turning into the biggest art news story of 2010, David Wojnarowicz’s video A Fire in My Belly was removed from the National Portrait Gallery’s exhibit “Hide/Seek: Difference and Desire in American Portraiture” on November 30th, after Smithsonian Secretary G. Wayne Clough bowed to pressure from Bill Donohue, President of the Catholic League, incoming House Speaker John Boehner, and Majority Leader Eric Cantor, who denounced the video as a form of, “hate speech.”

In response, the artist’s estate and the P.P.O.W. Gallery in New York have made Fire In My Belly available for exhibiton, and several museums and galleries across the country have started installing the video, along with other Wojnarowicz pieces. Two San Francisco institutions (that, incidentally, happen to be just down the street from each other) join the protest tomorrow.

The Queer Cultural Center and San Francisco Camerawork will screen the entire 13-minute version of Wojnarowicz’s piece at SF Camerawork’s gallery space at 7pm. The screening will be followed by a presentation on censorship and the arts by art historian Robert Atkins as well as a roundtable discussion with Ian Carter, Kim Anno and (via-Skype) “Hide/Seek” curator Jonathan Katz. Yerba Buena Center for the Arts will also show A Fire in My Belly from 11pm to 2am on a continuous loop as part of its Noel Noir party.

I’m still waiting to hear back from SFMOMA’s press office as to whether or not the museum has any plans to install and/or screen the video. In the meantime, Tyler Green’s ongoing coverage of the fiasco at Modern Art Notes continues to be indispensable.

UPDATED: SFMOMA is going to do the right thing too, in January. A publicist for the museum has just confirmed that it will hold a free screening of the full-length (30-min) version of A Fire In My Belly on Tuesday, Jan. 4 at 5:30 pm with a discussion afterward. Way to go!

DAVID WOJNAROWICZ: A FIRE IN MY BELLY

Friday, Dec 10

7pm, free

San Francisco Camerawork

657 Mission St, Second Floor

(415) 512-2020

http://www.sfcamerawork.org/events/index.php?view=monthly

11pm-2am, $20 general admission

YBCA

701 Mission St

(415) 978-2700

http://www.ybca.org/tickets/production/view.aspx?id=12312

 

“The Tempest” star Djimon Hounsou talks Shakespeare — and Mirren

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Beninese actor Djimon Hounsou has had an impressive career, appearing in a diverse range of projects and earning two Academy Award nominations (for 2002’s In America and 2006’s Blood Diamond). His latest film is Julie Taymor’s adaptation of William Shakespeare’s The Tempest, in which he plays “freckled monster” Caliban, the rightful heir to the island. I spoke to Hounsou about reinventing Shakespeare, finding sympathy for an antagonist, and sparring with Helen Mirren.

San Francisco Bay Guardian: What was your familiarity with The Tempest before you took on this role?

Djimon Hounsou: None. I had very little knowledge about Shakespeare — I’ve known about his work but to dive into his work, it’s a different story. I have tested for Julie Taymor for [her 1999 film version of] Titus Andronicus before, so that was my first recollection of working on Shakespeare. And that was it. So this time around, I was a little bit intimidated and certainly didn’t want to go the distance with it. But with a bit of trust and encouragement from my wife, I ended up going.

SFBG: What in particular attracted you to the character of Caliban?

DH: Probably his raw nature, his very primal nature of the island, his very passionate desire to get rid of Helen Mirren’s character, Prospera. And obviously the text, the layers of text.

SFBG: Do you see the character as a villain? How did you find sympathy for him?

DH: He’s definitely not a villain. He’s enduring everyone else’s dictatorship approach to the land that belonged to him. That land belonged to his mother and he was born on the island, so having Helen Mirren’s character, Prospera, come take possession and enslave me, was absolutely not acceptable. His rage was absolutely justified. His means and his desires are all absolutely humane and natural.

SFBG: There was obviously a lot of makeup involved in your portrayal of Caliban. How does that affect your performance?

DH: It affects it in a good way. Again, that’s part of the persona of the character. That is the character. So the makeup and the prosthetics and all of that, which again, was very difficult to stand in for four hours just to get the makeup applied. It was a test of your mood or your personality. But other than that, I think it enhanced the role.

SFBG: There’s also a lot of physicality involved. How physically demanding was it to play Caliban and what did you hope to capture with that physicality?

DH: It was physically difficult but I took some butoh lessons that really had more to do with the study of nature’s drama — I call it nature’s drama, life and death and all of the above. So I mean, the connection was quite vivid.

SFBG: Julie Taymor is known for these huge, spectacular productions. But what is it like working with her as an actor?

DH: She’s a director that’s hands-on and obviously lets you run with your imagination, and then she’s able to steer you to the right direction, certainly according to her vision. She has such a great understanding of Shakespeare’s world, and obviously that’s what we’re working on, so it’s a tremendous help.

SFBG: I also wanted to ask about working with Helen Mirren, because you have these dynamic scenes playing against one another.

DH: Yeah, it was wonderful. She’s extremely available as an actor. She’s very there, very giving and supportive as well. It was a beautiful experience.

SFBG: Julie Taymor is also known for putting a modern spin on the classics, and this is a reinvention of the story in some way. How do you think The Tempest will appeal to contemporary viewers who may not be familiar with the source material?

DH: I find Shakespeare to resonate through time, through generations. In that essence and having somebody with such a great passion for the work, Shakespeare’s work, like Julie Taymor. I hope people value it. It’s a human story.

SFBG: What was your tactic for approaching the Shakespearean language? Did you have to adapt to a certain way of speaking?

DH: Not for me. Not for Caliban. I hear people have a certain rhythm of speaking Shakespeare. I didn’t want to be concerned with the language necessarily. I wasn’t sold on a formatted way of approaching Shakespeare. I just went straight and it kind of works for Caliban. He only learned language not long ago. I don’t think that that applies to a character like that.

SFBG: Are there any particular Shakespearean roles you’d love to take on in the future?

DH: Maybe. Definitely it is a language in itself that has so much to offer. I think Othello is a great piece to do. There’s so many great pieces that Shakespeare has done, but as far as a colored person is concerned, to be doing Shakespeare, that’s probably the best Shakespeare to do. We’ll see.

The Tempest opens Fri/10 in Bay Area theaters.

Hooking starts at home

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Well goddammit if it’s not raining again. San Francisco is not a town that is built for this: we don’t have fenders on our bikes, our bomber jackets are all made of suede, and our skin melts in even the slightest drizzle. So why not use this shut-in time to create smutty presents for your seductee-to-be this holiday season? Is this pillow turning you on?

“I’ve been a hooker since I was 11 years old. Back then it was all about smiley faces and rainbows, but I’ve matured and so have my designs,” states Brooklyn-via-Castro photographer-hooker Kevin L. Muth by way of introduction to his Dirty Pillowz DIY kits ($35). His kits supply all that you need to create retro-looking, shaggy pillows that look like the lead up to a killer money shot. Designs include four stills of man-on-man loving – including one lovely homage to the tube sock — and two booby pillow pleasers (every woman has them).

Muth and his boyfriend spent many an hour trolling through 70s classic porn “purely for the sake of this project!” to find the best images for aspiring Martha Stewarts to turn into unique bordello décor items. Que artiste! Apparently it is quite the challenge to get the pixel-stitches ratio right, so it is quite astounding that Muth was able to accomplish it in the off hours of his day job cookin’ the books at “a fancy Pilates studio and being nice to super rich Upper West side ladies.”

The beauty of his pillowz is that like the Monets hanging in the Louvre, one must step back a few to fully grok their motif. Up close, they just look like a bunch of yarn. Which is good for when Mother comes over, come to think of it – a situation for which Muth also recommends flipping them over to their less explicit side. 

Pillow kits come equipped with precut yarn, canvas, latch hook, and easy instructions for hooking (though sadly these don’t include high heel repair pointers or even what to do now that Craig’s List has gone prude.) Last Xmas ordering day for SF-ites is Thurs/16. Collect all six designs and your couch can play orgy. Go get ’em go!

www.dirtypillowz.net

 

 

Jackie Beat: “Hung Puerto Rican elves only”

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Generously talented and fantastically energetic (we’re talking 8-bit chipmunk here) LA drag entertainer Jackie Beat is in town with her new show “Jackie Beat’s All-You-Can-Eat Christmas,” Fri/10 and Sat/11 and Brava Theater. It sounds like a real festive hoot. The long-time cabaret circuit favorite, underground club hostess, and member of scandalous electro-revival band Dirty Sanchez pulled out her giant fork and dug into a little interview with us about ambrosia salad, abortion, AM schlock .. and that’s just the beginning. Go pay some money to see her!

SFBG: OK I’m dying over the concept for All-You-Can-Eat Christmas — it’s so refreshing to hear a drag queen talk about eating! What are some of your favorite foods? And do you do a lot of cooking?

Jackie Beat: Well, I was referring more to huge portions of talent, but I do love to eat! The ironic thing is that I have actually lost 100 pounds since my last holiday show, so people may think the title is actually “All-You-Can-Eat (And Then Throw Up!) Christmas,” but I promise it’s not! I still love to eat, I just eat less. My favorite holiday food has to be good old-fashioned Ambrosia Salad.  It’s a big mess of pineapple chunks, pecans, shredded coconut, mandarin orange segments in heavy syrup, mini marshmallow, sour cream and Cool Whip. You can eat a huge bowl of it and then honestly tell people, “All I had was salad!”

SFBG: I love that you sing live — what kind of music is part of the new show?

JB: Most of the new material is in my amazing new outfit — yards and yards of it! Seriously, it gets harder every year to come up with new stuff. I have done thousands of song parodies, including every holiday song ever written! This year, I am doing a Country Christmas Medley, a great medley of horrible old AM radio classics — the type of crap you hear at wedding receptions — but sung with the original lyrics that were too shocking at the time. You know, so all these sweet nostalgic old songs are now about fisting and abortion. Good times! I am also doing a new song about getting a full-cavity search at the TSA and there are plenty of classics like “Santa’s Baby” and “Do Some Blow!”

http://www.youtube.com/watch?v=ZThrYCy9Zzo

SFBG: Who’s your favorite Santa’s reindeer?

JB: Grumpy? Oh wait, that was one of the Seven Dwarves, right? Um, Jan? No, she was in The Brady Bunch, sorry. Um, Rudolph of course! Because he’s the fucking star — like me!

SFBG:  If you had an elf of your own, what would you make him or her do for you?

JB: First he would be Puerto Rican and hung like a horse.  And I think you can figure out the rest!  Oh, and after THAT — he would clean the fucking house!

SFBG: Can you tell me a bit about how the show came about?

JB: Um, I had bills to pay and I don’t know how to do anything else, so…

SFBG: I bet you’ve been pretty busy in general — what have you been doing lately? Any Dirty Sanchez news? You guys just performed here, yes?

JB: We did Folsom Street Fair last year, but we are all so busy with our own lives that we seldom perform together these days.  Hopefully we will be working on some new music soon!

SFBG: You’re in San Francisco pretty regularly — what are some of your favorite things about the city?

JB: The PAYING customers, of course!  Times are tough and like I said, I don’t know how to do anything else.

SFBG: Unfortunately Christmas can’t last forever — what’s next for Jackie Beat?

JB: Quite possibly dropping dead right after this grueling, brutal holiday tour — so come see me now while I am still alive, bitches!

JACKIE BEAT’S ALL YOU CAN EAT CHRISTMAS

Fri/10 and Sat/11, 10:30 p.m., $20–$40. Brava Theater, 2781 24th St., SF. www.brownpapertickets.com

Elizabeth Edwards, breast cancer and the battle for a cure

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When the news hit that Elizabeth Edwards had died at 61, I was sitting in the press box at San Francisco City Hall listening to the supervisors debate the merits of local hire legislation. In fact, I only became aware that Edwards had passed away, because Sup. Michela Alioto-Pier, who was sitting in front of me, was surfing the Internet on her laptop and I happened to see the headline.

The news immediately reminded me, all too powerfully, of the brave fight that my sister-in-law Leila, 47, lost last year after a six-year battle with the disease. She left behind a husband and two young sons, and I always feel a mix of pride at how hard she fought and desperation at how she still wasn’t able to win, whenever I remember her long slide towards death last fall.

“I have so much to live for,” Leila often told me, reflecting on how much she loved her husband and sons, how she wanted to finish her novel (which she managed to wrap up in the last months of her life) and how she still wanted to visit so many places and people in the world.

An avid advocate for peace, especially in the Middle East, where her father’s family came from, Leila was not one to give up on a cause, once she had it in her crosshairs. She attacked breast cancer with that same dogged determination. She read everything she could on the topic, changing her diet, modifying her lifestyle, going through chemo and the inevitable loss of her beautiful hair, and, at the end, taking a chance with experimental drugs.

I will never forget her telling me, one gut-wrenching afternoon last September, that the doctors had told her there was nothing more they could do. The disease had gone to her liver, and that she was beginning to feel panic and fear. It wasn’t easy to hear that admission, it must have been even harder for her to share it, and it left me hoping that one day, no other woman would ever have to go through this painful battle again.

I wanted Leila to live to see her sons grow up, to enjoy the company of her husband, to write, travel and work for her goal of world peace. But eventually, it became clear that she was not going to make it. When her death finally came, last October, I felt relief that she was no longer suffering, even as I shed tears for her, her family, and all the folks in the world who are going through similar battles.

So, when I got home last night, I immediately went online and wallowed in the huge wave of grief that Edwards’ death evoked as a symbol of the millions of women who live with and die from cancer worldwide.

Some noted that Edwards had not been conducting regular check ups when she found a lump in her breast (an uncomfortable reminder to all of us who haven’t got a check up recently). Others observed that her diagnosis likely fueled her passion for universal health care and helped the passage of Obamacare (a more welcome reminder that despite all the criticisms of Obama, he has pushed through monumental reforms that many will benefit from).

Some wrote about the ever-present fear for survivors that the cancer could come back, and how this awareness had  served to make them more fully appreciate every moment that they do have. Others pointed to the grim reality that even with access to great doctors, advanced treatment options and money, Edwards still could not prevail, because a cure has still not been found.

I’ll end this tribute to Edwards, my sister-in-law, and all the women who have struggled with this terrible disease with a message that landed in my inbox Dec. 7 from California’s First Lady Maria Shriver:

“I was deeply saddened to learn of the passing of my dear friend, Elizabeth Edwards,” Shriver wrote. “My heart goes out to her loving family. Elizabeth was a mighty warrior, and I’ve long admired her courage, her compassion and her personal quest for truth. She was a public servant, a dedicated mother, a tireless advocate and a loyal friend. She showed up to speak at The Women’s Conference every time I asked, and our audience was always moved by the open and honest way she would share the struggles she faced along her journey. I hope her children know their mother was an inspiration to women everywhere — a truly great woman.”

And I’ll add my hope that this nation will intensify its search for a cure for a disease that is the second leading cause of cancer deaths in women today (after lung cancer) and the most common cancer among women, excluding nonmelanoma skin cancers. According to the American Cancer Society, 1.3 million women will be diagnosed with breast cancer annually worldwide, 465,000 will die from the disease, and about 1 in 35 women die from breast cancer in the U.S. Scary? Yes. Curable? Hell, yeah (I hope and pray). Let’s just make sure it remains a national priority.

An astonishing tax ripoff

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Calitics alterted me to this amazing blog post by David Cay Johnston, one of the foremost tax experts in the country and one of the few reporters who understands and writes honestly about tax law. Turns out that the California Public Utilities Commission wants to allow regulated utilities to collect money from ratepayers for taxes that the utilities never have to pay.


That’s right — the utilities (in this case a gas pipeline company, but the policy could apply just as well to PG&E at some point) charge you for the money they are supposed to pay in corporate income taxes — except that they’re exempt from those taxes. So they just keep your money. Wow.

Hot sexy events: December 8-14

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So how’s this for weird: rich folks get freaky too! Yes indeed, according to our friends at the Bay Citizen, upon the launch of an investigation into her and her husband’s possible involvement in an inside trading ring (don’t they just always want to get into those things?) Pac Heights lady-who-lunches Annabel McClellan was discovered to be working on the gosh darn kinkiest iPhone app we’ve ever heard of: My Nookie. 

The app allows users to dish down to the nitty-gritty about their super hot hookups, right down to the positions, location of consummation, and partner used and abused. Share the info with your friends and even send de-personalized My Nookie messages to potential partners with purple anonymous avatars performing the sex event you’d like to try with them. Says McClellan (whose lawyer denies her involvement with the app)’s business partner Milly Hanley to the Bay Citizen, “we are housewives, our kids are older now. We were looking for something to do.” Consider your wealth-induced ennui assuaged, ladies! Now onto the sex events.

Women’s Community Clinic benefit

What’s really, really sexy? A capable, respectful place to nurture your reproductive health, that’s what. Join the women of Pin Up Clinic for live tunes and readings by Carol Queen, Lorelei Lee, and Tina Horn, plus a chance to get your 2011 copy of their frisky sexy lady calendar. All proceeds go to the Women’s Community Clinic, a place that’s more than worthy of your oooh’s and aaah’s. 

Wed/8 6-8 p.m., free

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com


Little Minksy’s Burlesque

For six years, Douglas Good has been holding an SF burlesque show every week – do you know how many pasties that is? His event, Little Minksy’s (named after the banned shows that rocked NYC at the turn of the 20th century) features this week talent from Alotta Boutte, Dottie Lux, Kentucky Fried Woman, Bitter Waitress, and more. It packs Club Deluxe every time – so get there early for a good shot of these lady lumps and attentive bar service. 

Thurs/9 9 p.m.-2 a.m., $5

Club Deluxe

1511 Haight, SF

(415) 552-6949

www.sfclubdeluxe.com


Kinky Holiday Fantasia

Just your typical holiday party here folks, nothing to see: ornament hanging (on bare skin), (living) tree and menorah lighting, jingle bell (boobs), and seasonal (bondage) fashion. More than enough fodder to keep you snickering through your family’s sit-down to watch It’s a Wonderful Life for the 800th time. 

Thurs/9 7:30-10:30 p.m., $15-25 sliding scale

SF Citadel

1277 Mission, SF

(415) 626-2746

www.sfcitadel.org


“Modern Love: A Panel About Open Relationships”

Are we still swinging, San Francisco? Smart money’s on hell yeah, particularly if you ask the speakers at this panel on polyamory: Ethical Slut author Dossie Easton will be there, as well as Carol Queen (She. Is. Everywhere.), and Sarah and Chris, creators of Mission Control’s KISS play party. Perfect for the seasoned spouse-swapper, or any couples looking to open up their loving arms in the future.

Fri/10 6-8 p.m., free

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com


Whobilation

Dr. Suess was due for a kinky overhaul, wasn’t he? Attire yourself in your Whoville best for this holiday play party, where the pinks and purples of the Mission Control harem rooms will try their best not to clash with all the green and red (let’s face it, Judaism has inspired a lot less easily-mimicked pop culture characters, Hanukkah Harry notwithstanding). Like all the other Kinky Salon parties, Whobilation features super sexy talent onstage during the mayhem. On this night of nights, Berkeley’s Burley Sisters Burlesque and Ophelia Coer de Noir take to the fore and Skanky Claus will lead all in a resounding session of dirty carols. 

Sat/11 10 p.m.-late, $25-35 members and allies only

Mission Control 

www.missioncontrolsf.org


“Abuse in Kinky Relationships: How to Reveal, Deal, and Heal”

It can be tough to distinguish love’s good and bad pain – particularly in the world of BDSM. But peer facilitator-in-training Jocelyn is a veteran of both, and is holding this class to teach about how to identify, fix, and recover from abusive relationships — in and out of the dungeon. 

Tues/14 8-10 p.m., $20

SF Citadel

1277 Mission, SF

(415) 626-2746

www.sfcitadel.org

 

John Lennon, whirled peas, and the British art of tea making

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Yoko Ono’s op-ed tribute to John Lennon in the New York Times today got me tearing up, as I remembered that horrible day, thirty years ago, when I heard that Lennon had been assassinated. I was in my early twenties and still living in England at the time, working in an inner-city school in Birmingham, and I remember feeling that his murder marked the death of my own generation’s innocence.

But as Ono points out in her sweet and funny tribute, Lennon’s untimely demise did not result in him being erased from the collective consciousness.
“People are not questioning if he is here or not,” Ono writes. “They just love him and are keeping him alive with love.”

Ono begins her tribute by revealing that Lennon was the tea maker in their relationship, a role he apparently assumed by dint of his being British.
“Yoko, Yoko, you’re supposed to first put the tea bags in, and then the hot water,” Lennon advised Ono, only to admit later that he had been doing it all wrong.
“I was talking to Aunt Mimi this afternoon and she says you are supposed to put the hot water in first. Then the tea bag,” Lennon said, a revelation that made them both crack up.

Ono’s account reminded me of my father, who was the official tea maker in my family and died overnight of a brain hemorrhage, 33 Christmases ago. A veteran of World War 11 who sailed on a miner sweeper with the Royal Navy, Daddy polished his shoes and made the tea each morning, before walking to the station at a brisk clip to catch the train to London, where he worked as an advertising executive, one of Britain’s original “mad men.”

I remember his morning tea-making ritual, because I was required to skip and do press-ups before breakfast, as part of Daddy’s training of his daughters as up and coming young tennis players. (My older sister was the real athlete, a tom boy who grew up playing rugby, I was the overweight book worm, and we both got forced to play tennis, a sport we became proficient in, but ditched at the end of high school, sick of the endless competition and parental pressure.)

I knew each morning that it was time to grab my skipping rope, when I’d hear the tea kettle whistling. According to Daddy, the proper way to make tea began with heating the water to an extended boil, then pouring it into empty tea cups and tea pot so as to warm them. Next, Daddy would place the water back on the burner to boil again, and spoon tea leaves (one spoon per person, plus one for the pot) into the warmed, but now emptied of water, pot.

Next, Daddy would pour boiling water over the tea leaves, cover the pot with a tea cozy (a little woollen hat with holes for the pot’s spout and handle) and let it stand for three minutes for a weak cuppa, longer for a stronger brew. Then he’d empty water from the warming tea cups, pour in the tea, and add milk and sugar. His method made a great cup of cha—and Daddy would often torment us by standing there and drinking it, in gutsy lip-smacking sips, in between telling us that we needed to skip faster and do an extra twenty push-ups, and perhaps some sit-ups, if he thought we were slacking.

I didn’t always appreciate my father while he was alive, but I loved him. And I still miss him to this day and I’m thankful for the things he taught me, including tea making. The same goes for Lennon. I didn’t always like everything he did, but I loved his music and what he stood for and I still miss him to this day, and I’m thankful for the message he brought to the world. Even though, according to Ono, he didn’t really know how to make tea.

Class conflict in DC and SF

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There’s an unmistakable whiff of class warfare in the air this holiday season, most obviously on the national level where President Barack Obama and congressional Republicans are helping the ultra-rich steal hundreds of billions of dollars from future generations and the country’s current needs. But we’re also seeing it right here in San Francisco, subtly playing out around who will be our next mayor.

During yesterday’s scheduled discussion at the Board of Supervisors on choosing a new mayor, members of the public – from African-American mothers of slain youth to representatives of immigrant communities to those representing labor and progressive groups – urged the board to choose a mayor who would finally represent all of San Francisco, not just the wealthy and the business community.

Then the progressive supervisors who represent the city’s working class districts talked about getting the process underway and voiced some of the things they’d like to see in a new mayor, such as compassion and a willingness to work with the board and community groups. It seemed like a good faith effort at having an open public discussion about the city’s needs.

But on the other side of the aisle, the supervisors who represent the city’s wealthiest neighborhoods voted to delay the discussion without offering a reason why. Sup. Chris Daly made good points about how incoming mayors usually have time to prepare for assuming this powerful office at a time of pressing city needs and tricky political dynamics, arguing for making this decision sooner than later.

And from the Establishment representatives: nothing. Not a word. Instead, we have Mayor Gavin Newsom threatening to delay his swearing in as lieutenant governor to thwart the current board from picking a successor, and being overtly urged to do so in a San Francisco Chronicle editorial and in disingenous, sanctimonious ruses from SF Chamber of Commerce officials.

Why? Well, here’s the closest thing the editorial offered to a reason: “It makes all the sense in the world to have the supervisors who will be working with the interim mayor make the selection. They are the ones who will have to find common ground and develop a working relationship with Newsom’s successor.”

But does it really make any sense to have an inexperienced group of new supervisors (as our current cover stories shows, none of the four new supervisors have held municipal office and two are new to politics) pick a mayor on their first day on the job, and then have that person immediately take on the complicated job of running the city with no staff in place? And to do that by flouting the the California Constitution and the City Charter?

That sounds like a recipe for disaster – and an opportunity for downtown power brokers to make mischief and ensure their interests aren’t threatened as part of whatever backroom deal gets cut to choose a new mayor, district attorney, and board president. Why else would they so vehemently oppose a deliberative public process that would lead to a decision by those who know the workings of City Hall better than anyone?

As we saw in the last election, wealthy San Franciscans are scared to death of progressive malcontents like Chris Daly, and they’re doing whatever they can to prevent him from being involved in this decision. They see, probably correctly, that the current political dynamics of the city could lead to perhaps the most progressive mayor since George Moscone, or maybe ever, and they’ll do whatever they can to prevent that from happening.

The rich of this city and this country have overplayed their hands, crippled the public sector, and, as Sen. Bernie Sanders so eloquently said recently on the floor of the US Senate, shown a selfish disregard for the needs and interests of the vast majority of citizens. The only question now is this: are we ready to finally stand up, fight back, and really give them something to fear? Or are we going to take our cues from Obama and treat anti-government conservatives as good faith actors when they have shown only contempt for our most cherished democratic processes and values?

I suppose next week, when this board reconvenes to try to choose a successor mayor, we’ll find out.