By Tim Redmond
This is a wonderful little moment in history. I particularly like the fact that the Examiner editor says “we’re not going to make any money off this.”
And of course, also the comment
This crazy machine could revolutionize the way in which millions of men beat off
Text by Sarah Phelan
Is “Slim” really Mr. Slim’s real name? And who is this scary-sounding guy, anyways? News junkies should probably be asking these questions now that Carlos Slim Helú has loaned $250 million to the New York Times, and may ultimately take over the financially troubled company, which reportedly is $1.1 billion in debt.
When I first read Mr. Slim’s name, coupled with the phrase “the Mexican billionaire,” I thought there was no way this could be his real name. It had to be a nickname, a scary one at that, evoking comic book-style images in which a burly mobster darkens the newspaper’s door with a long shadow, a cloud of cigar smoke and the threat that “Mr. Slim intends to slim down the newsroom, starting with your left pinkies, if he doesn’t see some profits soon.”
But while it’s true that Mr. Slim is looking for a 10 percent profit at the Times—a scary sounding goal for reporters in an increasingly shrinking media world —it turns out Slim really is Mr. Slim’s real name, albeit a modification of the name of his Lebanese father, Youssif Salim, a Maronite Catholic, who emigrated to Mexico at the tender age of 14.
Upon reaching Mexico, Mr. Slim’s father changed his name from Youssif Slim to Julián Slim Haddad, adding his mother’s surname, Haddad, for good measure, as per Mexican-naming customs.
As the perhaps future king of the NYT, Slim, 69, already exerts influence on the telecommunications industry in Mexico and much of Latin America, and may well be the richest man on Earth, with a net worth of $60 billion, having possibly surpassed Warren Buffet in the recent global economic turmoil. All of which makes me fear that there is a fat chance that Slim will be suffering expanding word counts at the New York Times, any time soon.
THE TWILIGHT SAD
Killed My Parents and Hit the Road
(Fat Cat)
By Todd Lavoie
Get it while you still can: Scottish snarlers the Twilight Sad recently released their limited-edition odds-and-sods gather-up Killed My Parents and Hit the Road, and as it turns out, this is much more than just a stopgap until the next album.
Rather, the EP is a fine showcase for the band’s formidable abilities in interpreting the work of others, as well as their impressive know-how in ramping up the drama onstage. There are also a couple of previously unreleased tracks that have left fans a-foaming in speculation over whether or not the songs are sneak-previews of what’s next for the group. Originally available only at stops on the combo’s autumn tour last year, it is now for sale on the label’s Web site, www.fat-cat.co.uk. Better snag one soon – or else your only option might be eBay.
By Tim Redmond
Interesting how the mayor tries to spin away his dismissal of Margaret Brodkin, the feisty and highly respected director of the Department of Children, Youth and their Families. Here’s the mayor’s press release:
Margaret Brodkin to take new position as Director of New Day for Learning
SAN FRANCISCO, CA – Today Mayor Gavin Newsom announced that he has asked
Maria Su, current Deputy Director of the Department of Children, Youth and
their Families (DCYF), to become the Acting Director of DCYF.“During Maria’s tenure, DCYF has become one of San Francisco’s most
respected and influential organizations, making children one of the city’s
highest public policy priorities,” said Mayor Newsom. “She has overseen the
department’s core service areas, including early care and education, family
support, health and nutrition, out-of-school programs, violent response and
youth workforce development, as well as the Wellness Centers, Beacons and
Transitional Age Youth initiatives.”After over four years of service as Director of DCYF, Margaret Brodkin is
leaving her position in order to become Director of the New Day for
Learning Initiative. The Initiative is a collaboration among city, school
and community partners, and is being funded, in part, by the Mott
Foundation.“New Day for Learning is an important initiative, and one that will put San
Francisco in the national spotlight of education reform and city and school
partnerships,” said Mayor Newsom. “As the Director of New Day for Learning,
Margaret will continue her pioneering work in local child advocacy, and on
improving the lives of every child and youth in San Francisco.”
Sounds like Brodkin just decided it was time to take another job.
But wait: Here’s what Brodkin told her supporters today:
Dearest Colleagues,
Although he has praised my service and called me a “superstar,” Mayor Newsom has asked me to leave DCYF. Today will be my last day as Director. I am disappointed to be unable to complete the work that I have begun, but I leave behind a talented and dedicated DCYF staff, a broad network of wonderful partners, and many exciting projects in the works. I hope DCYF will continue to thrive
In other words, Newsom fired her. Why? Well, I haven’t been able to reach Brodkin to see if she wants to tell her side of the story. But let me speculate for a moment.
I think it’s fair to say the Mayor Newsom will be taking aim in the next few months at all of the set-asides in the city budget. I think he is looking toward a November ballot measure that will include “budget reform” — which means no more special earmarked programs.
One of the major earmarks he’ll try to eliminate: The Children’s Fund. That was Brodkin’s pet project and she was instrumental in getting it passed. I suspect the mayor, who hates dissent in the ranks, didn’t want to go forward seeking a “reform” in funding for kids programs that his own DCYF chief would loudly and visibly opppose.
Just my suspicion.
I have had a few minor clashes with Brodkin since she went to City Hall, but I have to say that she has been one of the single most tireless and dedicated champions of children and families in San Francisco, has devoted her life to the cause and was one of the few members of the Newsom administration who cared more about the cause than about political ambition. I suspect this new gig is just temporary, and she’ll soon be back raising hell on the streets, where we need her.
I am sorry to report that our good friend Lani Silver, a remarkable woman of endless good causes and good results, died early this evening at the home of her sister in San Francisco. She had been battling brain cancer since last September. B3
By Jesse Hawthorne Ficks
Ficks interviews Kelly Reichardt, director of Wendy and Lucy, which opens in the Bay Area Fri/30. (For Guardian reviewer Lynn Rapoport’s take on the film, go here.)
San Francisco Bay Guardian: Why are all the hipsters moving to Portland? They heard there were no jobs.
Kelly Reichardt: That’s a good one. It’s actually not even a joke. Did you know 66,000 people moved to Portland last year? We (filmmakers) Todd Haynes, Gus (Van Sant), myself, we’re all ruining it for Portland by making films there.
SFBG: Both of your last films were shot in Portland. Why did you start making films there?
KR: Todd Haynes is a close friend and moved there about nine years ago. He kept calling me and saying, “These people are so great!” And I was like “Yeah, yeah, yeah, shut up.” So I started visiting him out there and started making some short films. Then Todd introduced me to Jon Raymond who ended up writing Old Joy (2006) and Wendy and Lucy and now we’re working on a new film together. Jon also wrote a novel that I really fell for, The Half Life. If you don’t want to take my word for it, it’s one of Thurston Moore’s favorites. In any case, Jon’s writing is so region specific (born and raised in Portland) and his writing ties people into their surroundings in a way that is really appealing to me. There’s also a lot of space in his writing, which makes it easy as a reader to bring your own self to the table. I’m making films again because I found a writer that really fits with my filmmaking style. And the films are so much the better for it.
SFBG: While watching Wendy and Lucy I kept thinking this film is the perfect antithesis to Sean Penn’s Into the Wild (2007).
KR: It’s funny, when I saw the trailer for Into the Wild I was like, “oh no, that’s our movie!” But his film is more like, Nature on Speed.
SFBG: Michelle Williams was so wonderful in Wendy and Lucy, especially her scenes with the older man who played the security guard.
KR: The security guard is an interesting guy in real life too! His name is Walter Dalton — Wally. I can’t even remember what the character’s name was suppose to be in the script but it just became Wally because he so embodied it. His other life before Wendy and Lucy was that he was a writer for TV like [for] the Smothers Brothers, Laverne and Shirley and Barney Miller. I love the Smothers Brothers. Plus he’s a total lefty, awesome guy. And he just came down from Seattle to read for us one day. He’s such a good guy, that when he would leave the set, we would all go, “Oh Wally.”
SFBG: Wendy and Lucy, like Old Joy, feels like the answer to what’s dragging down the recent indie cinema scene. Do you make a conscious effort to take that step when making your films?
KR: That’s so nice of you. Come to my class and tell my students that. My students are all like “You’re gonna show us this again?”
Wendy and Lucy trailer:
SFBG: I really do think your films are that next step. A neo-indie scene, which is less marketed to them and can deliver something that they didn’t know they wanted.
KR: Well, I teach visual storytelling up at Bard College. It’s a very groovy place. I get to work with a bunch of filmmakers that I really admire like Peter Hutton, Jacqueline Goss, Peggy Ahwesh, Les LeVeque. It’s this hardcore, mostly avant-garde group who are all so badass. And that’s the funny thing with me there; I’m like the sell-out narrative person of the group! (Laughs)
SFBG: What a great role to play!
KR: I’m what they can handle as far as narrative goes. So I teach visual storytelling, and the gist of my class is kinda old school in the way of telling a story through camera placement and movement. I do sort of feel that this is going by the wayside, how to tell a story visually, just by the nature of video cameras and the whole mumblecore movement which is the opposite to what I’m trying to teach. Though I can’t say that my students have embraced mumblecore as much as I feared they would.
SFBG: Are you attracted to working with other filmmakers, or working in a community like the mumblecore directors?
KR: (Laughs) I’m in a community. I swear I am! Ira Sachs (Forty Shades of Blue, 2005), Larry Fessenden (The Last Winter, 2006), and I all used to share an office back in the day so we all like showing each other our latest films. It’s true we don’t act in one another films or anything. I have Todd Haynes watch cuts of my films and give me notes as well as Phil Morrison who directed Junebug (2005). Actually Todd Haynes did make an appearance in one of my films once when he stopped by the Wendy and Lucy set, by walking into a really long take, wearing an Old Joy t-shirt! I was like, “Who’s that asshole? Oh Todd, thanks for stopping by.” I also keep up with So-Yong Kim (In Between Days, 2006). So yeah, I’m in a community.
SFBG: Why did you start teaching?
KR: They say, “Those who can’t do, teach” but they never talk about the actual teaching part. When teaching is good, it’s really, really good. Being at Bard College is a place I have wanted to be at for a long time. There’s eight students to a class and they don’t let you just major in film. When my students are coming into my class saying things like, “I just built a theremin in music class!” it really charges me. One of my classes is Intro to Moving Image and all these kids who are growing up with computers are suddenly getting to go into the Cascades with a Bolex in their hands for the first time and it’s awesome. Plus, I love to talk about film. As I said, I’m working on a new film, a Western with Jon (Raymond) and so I’ve been slipping Westerns into my teaching, which keeps me thinking about my own things in a new way. These kids who are studying avant-garde filmmaking more than narrative, will hear me say something I take perfectly for granted like “objective shot” and they’ll bring in a shot of a beetle and ask if it’s objective. And I’ll get to go, “I don’t know, let’s sit here and think about it!”
SFBG: How do you continue to make these little masterpieces?
KR: I haven’t put the burden of having to make my living on filmmaking. I mean it just didn’t work for me. I think these films, the way we’re making them really works because that burden isn’t there. You go off and no one’s paying attention to you and you have privacy and have six months to edit and then you can still go back and shoot and redo some things. There aren’t too many hands in the pie. It’s all just very small stuff. And since no one’s getting paid on these movies, we can take that burden off the filmmaking process and I’m able to be put in the realm that’s more feasible for me.
SFBG: Please just keep making more of these kinds of movies.
KR: Thanks, man.
Sal Rosselli, Guardian Photo by Charles Russo.
By Steven T. Jones
There’s a new union in town, National Union of Healthcare Workers (NUHW), which was formed today by the United Healthcare Workers leadership team that was yesterday ousted by UHW’s parent union, Service Employees International Union. NUHW might as well stand for the New UHW.
SEIU has imposed a trusteeship on UHW, which involved suspending local bylaws, taking over UHW lists and contractual obligations, formally kicking out more than 70 elected UHW leaders, and appointing as trustees two SEIU executive vice presidents: David Regan and Eliseo Medina.
But UHW leaders continue to occupy the union’s Oakland headquarters, which they’ve used as the base of operations to launch the new union that they hope will be populated by many of UHW’s 150,000 members, who must vote to disaffiliate with SEIU to join the new union.
“As a healthcare workers union, NUHW is committed to continuing the tradition of a member-led, democratically controlled union,” ousted UHW head Sal Rosselli said in a prepared statement. “There are lot of things that we still have to figure out, but we know NUHW will be all about accountability to the members, democratic-decision-making, organizing the unorganized and winning improvements for healthcare workers and the patients and residents we serve.”
In a conference call with reporters, Regan and Medina blasted the Rosselli team for promoting the schism with SEIU, which had sought to transfer 65,000 long-term care workers from UHW to another SEIU local, something Rosselli says his members urged him to resist. “That battle ended yesterday,” Medina said, while Regan noted that, “It’s sad when a group of local officers lose their way.”
SEIU leaders hope to put the conflict behind them and move forward together to fight deep cuts being proposed in California’s budget, but it’s an open question how many UHW members are going to resist the change and follow Rosselli out the door, something that will become more clear in the coming weeks.
Mom and Pop lose their voice as the recession-racked small business community is feeling City Hall neglect and used by PG&E and big downtown business
By Bruce B. Brugmann
(Scroll down for a list of the Small Business Commissioners)
Here’s a snapshot of how the Pacific Gas & Electric Company and its downtown allies operate to keep City Hall safe for the illegal private power monopoly. Rebecca Bowe’s story in the current Guardian shows how a PG&E spokesperson, Darlene Chiu, and a Bank of America ally, retired Bank of America executive Irene Yee Riley, have taken control of the Small Business Commission through key commission appointments by Mayor Gavin Newsom, a PG&E ally.
PG&E’s interest is clear: to grab as many City Hall appointments as possible to protect and enhance the position of this corrupt and corrupting private utility. (See Guardian stories and editorials since l969.) And, at the Small Business Commission, to help insure that the commission does nothing to injure PG&E’s position, such as raising questions about the many terrible problems small business has with PG&E’s high rates, unreliable service, onerous collection policies, and unaccountability. How, many small business people ask, does a small business complain about any of these problems with PG&E?
Timely example of PG&E unaccountability: Chiu, since Newsom appointed her last March, has missed four commission meetings, more than any other commissioner. Bowe called Chiu at PG&E to ask why she had missed so many meetings, but Chiu did not return her calls by press time. I will try myself tomorrow. However, I am not optimistic. PG&E has long maintained a corporate policy of not returning Guardian phone calls or providing information even when its representatives are sitting on public commissions purportedly doing public work representing small business.
By Rebecca Bowe
Bank of America and Pacific Gas and Electric Co. are quite the opposite of mom-and-pop operations, yet two of the seven members appointed to San Francisco’s Small Business Commission hail from these corporations, much to the chagrin of true small business leaders.
In a heated e-mail fired off to an assortment of City Hall staffers Jan. 13, Small Business Commissioner Michael O’Connor criticized the Mayor’s Office for diluting the commission — which was set up to go to bat for the little guy — with big business appointees.
Meanwhile, funding for the Small Business Assistance Center was almost eliminated last month by the Board of Supervisors.
Click here to continue reading.
Previous Guardian coverage:
>>Volume 20.02 (PDF) An exclusive Bay Guardian study in 1985 challenges the convention wisdom that downtown development creates jobs. Instead, our study by an MIT economist shows that small business have created virtually all the new jobs in San Francisco since l980.
>>Volume 21.02 (PDF) Our updated study in l986 shows that as highrises have gone up, downtown San Francisco has lost jobs. In fact, all the net new jobs in the city have come from new and small businesses in light industrial areas and the neighborhoods
>>October 1, 2003 (PDF) The Guardian’s small business agenda for San Francisco
This in from the folks with the folks who give you Hardly Strictly Bluegrass:
“Normally known as the man who brings you the fabulous Hardly Strictly Bluegrass festival in Golden Gate Park each year, this weekend you will have the chance to see Warren Hellman in his other guise: that of humble banjo player. Warren will be sitting in with the inimitable Ron Thomason (leader and humorist of Dry Branch Fire Squad) and Heidi Clare (fiddler and clogger extraordinaire, formerly with old-time band Reeltime Travelers) at their show in Sausalito on Saturday, Jan. 31. A good time is guaranteed by all so get there early to get a seat!”
RON THOMASON, WARREN HELLMAN, AND HEIDI CLARE
Sat/31, 8 p.m., $15 donation
Sausalito Presbyterian Church
112 Bulkley, Sausalito
(415) 383-8716
By Rebecca Bowe
About 150 labor representatives and health-service providers turned out at last night’s Board of Supervisors meeting to sound off on drastic budget cuts that many said would weaken an already-strained safety net for populations who are most in need. For more than four hours, representatives from homeless-advocacy groups; clinics serving the uninsured, sex workers or other disenfranchised populations; youth organizations that strive to keep kids off the street; labor-union representatives; stressed-out hospital staffers and many others gave the board an earful. The overwhelming majority urged the Board of Supervisors to approve a special election for June 2, which would give voters an opportunity to decide whether to establish new taxes as a way of generating revenue, rather than relying solely on deep cuts to solve the city’s budget woes.
The city is facing a budgetary crisis of unprecedented scale, with a daunting $576 million deficit. When Mayor Gavin Newsom appeared before the supervisors last December to ask for their cooperation in tackling the budget shortfall, he described it as arguably the most daunting crisis the city has seen since the Great Depression. (Newsom was attending the World Economic Forum in Davos, Switzerland yesterday.)
While the members of the board put off the decision as to whether or not to actually hold a special election, they did pass a measure allowing for the option to stay open. With Supervisors Alioto-Pier, Chu and Elsbernd voting no, the board approved an emergency measure to waive regular election procedures that would have prevented the tax measure from being placed on a June 2 ballot.
Nor did the board vote on an amended budget package, which was introduced by Supervisor Chris Daly to counter Mayor Gavin Newsom’s mid-year budget cuts. Daly’s list of alternative cuts targeted management-level positions, mayoral communications staff and funding for the opera, ballet and symphony in an effort to free up funds that could then be diverted to sectors such as public health.
Instead of adopting Daly’s amended list of cuts, supervisors voted 6-5 on a motion — called by Supervisor Sean Elsbernd — to send the whole thing back to the Budget & Finance Committee for a closer look. “All of this needs to be analyzed,” Elsbernd said after questioning a few management-level cuts included in the list. “To push this forward today without total understanding of the impact of each and every one of these — and these are just the ones I’ve caught while sitting here! — God knows what else is in there. I’m just saying, let’s have this fully vetted.” Supervisors Alioto-Pier, Chiu, Chu, Dufty, Elsburnd and Maxwell supported the motion.
That left an interesting and somewhat mixed message about the politics of the new board. Supervisors Dufty and Maxwell, who will be the swing votes on anything that requires a supermajority (to override a mayoral veto) stayed with the progressives on the vote for a June election. But Chiu – elected board president entirely with progressive support – sided with the mayor’s allies and the moderates on the budget re-allocation vote.
We’ll have to see how this new calculus plays out in the next few weeks.
By Jesse Hawthorne Ficks
Midnites for Maniacs programmer and Academy of Art University film history teacher Ficks tallies up his favorites from Sundance and Slamdance 2009.
(1) Push: Based on the Novel by Sapphire – directed by Lee Daniels
Not to be confused with the upcoming Dakota Fanning film of the same name, this gut-wrenching adaptation of the struggles of Precious, an overweight, illiterate 16-year-old, (performed with utter grace by new-comer Gabourey “Gabby” Sidibe) has the power to take the country by storm if and when it’s released (the film has yet to be picked up by a distributor even though it won Sundance’s Grand Jury and Audience Award prizes). Mo’Nique as Precious’ abusive mother delivers one of the most authentic performances of our time (she won a Special Jury Prize for Acting), while Mariah Carey is brilliantly understated as a caring social counselor. But what’s so special about this Dancer in the Dark-esque film are Damien Paul’s screenplay and director Lee Daniels’ choices to always take the more difficult road with the characters. This is powerhouse filmmaking at its finest.
(2) Humpday – directed by Lynn Shelton
So straight they’re gay! If you took the two straight-male archetypes from Kelly Reichardt’s Old Joy (2006) — the adventurous, wandering beardo and the settling-down, sensitive progressive — got them drunk at a party, and had them challenge one another to have sex with each other, you have the setup for hands-down the funniest bromance mumblecore film of the year. As the two friends (Joshua Leonard and Mark Duplass of 2005’s The Puffy Chair) try and prove who’s living life to the fullest and man-liest, director Lynn Shelton showcases the “awkward moment” and thoroughly explores straight men’s confused sexuality. (If the premise sounds uncomfortable, think of how baffled the Utah audiences were of the concept of two straight guys fucking one another. Magnolia picked the film up so keep your eyes open for the limited release.) This is classic indie cinema of the golden 1990s type.
(3) We Live in Public – directed by Ondi Timoner
Following-up Timoner’s 2004 Documentary Grand Jury Prize-winning Dig!, this jaw-dropping doc follows the bipolar exploits of Josh Harris, a man who predicted every single step of the internet. The hypnotic footage has the power to warp the viewer into Harris’ Orwellian vision of the future. It’s as fascinatingly addictive as it is horrifyingly revealing of where our current society is headed.
LOCAL ARTIST Brian Wasson
TITLE Honey (digital c-print, 30 by 24 inches, edition of five)
STORY "Start every day with a mile and get it over with." — W.C. Fields
BIO Brian Wasson became an Eagle Scout in 1992. He received his MA from Arkansas State University in 2002 and his MFA at San Francisco Art Institute in 2004. He has shown solo at Little Tree Gallery and Ping Pong Gallery.
SHOW "Last Wash." Through Feb. 20. Ping Pong Gallery, 1240 22nd St., SF. (415) 550-7483, www.pingponggallery.com
WEB www.bwasson.com
By Juliette Tang
What: One of our favorite fashion co-op boutiques, The Mission Statement, will be slashing 20-40% off all merchandise.
When: This Friday only, January 30, from 6PM to 10PM.
Where: 3458 18th Street, between Mission and Valencia.
Perks: The designers will be there on Friday to chat with shoppers, and complementary homemade treats and hot mulled wine will be offered to add some spice to your shopping experience.
————
What: Carrots, the uber, uber-upscale boutique that sells labels like Stella McCartney, Narcisco Rodriguez, Rag and Bone, and Peter Som, is selling everything at 75% off. That means a Peter Som dress at a price point of $1,300 will be $325 this week.
When: Until Sunday, February 1.
Where: 843 Montgomery St, between Pacific and Jackson.
Perks: The Grimm sisters, who own and run Carrots, are known for giving customers free beer. Check out this SFBG interview with Melissa and Catie Grimm if you don’t believe me.
Gotta love Hunx and His Punx (check Brandon Bussolini’s interview with the multitalented Seth Bogart in this week’s new garage rock issue). One of the primo reasons why? Well, in addition to the band’s gritty pop-rocks, stage sets, and kitsch-Querelle sailor suits, there’s the Justin Kelly-directed “Gimmie Gimmie Back Your Love,” coming in the fine, camp-fired fun tradition of the Gravy Train!!!! vids.
See Hunx and His Punx at punk-rock central Gilman Street Project this week, in honor of Punk Rock Joel’s birthday. Also promised: Thorns of Life, the latest project from Blake of Jawbreaker and Aaron Cometbus, as well as free birthday cookies! (Get onboard the Cookie Train!!!!?)
HUNX AND HIS PUNX
With Thorns of Life, ReVolts, Off with Their Heads, Comadre, and free birthday cookies for Punk Rock Joel
Sat/31, 7:30 p.m. doors, $8
924 Gilman Street Project, Berk.
(510) 525-9926
www.924gilman.org
Sunday Bloody Sunday? Jay Reatard’s Blood Visions (In the Red, 2006).
By Andre Torrez
Jay Reatard used a tiny hipster girl as a lawn dart, hurling her into the crowd, not even paying attention to whether anyone was there to catch her.
It was a brutal act of pure unadulterated rock ‘n’ roll antics. Jaws dropped Sunday night, Jan. 25, when it all went down at the Independent. The wind of sound coming out of his Flying V guitar was disorienting and all, especially from my front and center stage vantage point, but I know what I saw, and believe you me, it wasn’t pretty.
By Steven T. Jones
Service Employees International Union President Andy Stern this afternoon executed his threat to take over the Oakland-based United Healthcare Workers and oust its defiant leadership team, formally placing UHW under a trusteeship.
“Today we bring an end to a sad chapter in the life [sic] a local union with great members, whose leadership lost their way, engaged in serious financial wrongdoing, refused to end their attempts to subvert the democratic processes of this union and failed to take action against a reported decertification effort,” Stern wrote in a prepared statement.
UHW head Sal Rosselli was careful to avoid advocating a decertification effort to divorce UHW for its SEIU parent during interviews with reporters yesterday (for more of this point, see my story in tomorrow’s Guardian), but that’s a real possibility now that Stern has ousted the leaders of their fiercely loyal union, precisely because they were doing the will of members in opposing an SEIU-ordered reorganization.
“Today’s action by Andy Stern imposing a trusteeship against the members of United Healthcare West has the effect of declaring martial law against those advocating for the right to vote and other democratic principles in their own union. UHW has rejected this imposition,” UHW wrote in a public statement.
Sources say they’re now a standoff between the rival union branches at UHW’s Oakland office. We’ll have more on this battle here tomorrow.
Text by Sarah Phelan
Melissa Nix says she has not seen the report that French investigators recently completed, ruling that her ex-boyfriend Hugues de la Plaza was murdered in his Hayes Valley apartment on Linden Avenue in the wee hours of June 2, 2007
“I was told about it by Hugues’ father, Francois.” Nix said.
But she believes that the SFPD’s suggestion that de la Plaza’s death was a suicide—a suggestion floated out early on in the investigation—is part of a systemic problem that leads all the way back to Mayor Gavin Newsom.
“It was under Mayor Newsom’s guidance and supervision that this happened,” Nix said. “May be there are problems with police workers or the homicide department, but the Mayor has the ability to call upon Chief Heather Fong and her officers any time.”
“Someone has not done their work and I don’t believe it’s the French,” Nix added, claiming that critical forensic evidence went untested for a year, that neighbors were not interviewed in a timely fashion and that vital evidence was not collected.
“I lay the blame not only at the feet of the SFPD, but also at the feet of Gavin Newsom,” Nix said.
Noting that Newsom “incidentally happens to be in Paris right now,” Nix added, “So, what is the Mayor’s priority? Moonlighting as an international celebrity or leading the people of San Francisco?”
By Marke B.
Throw them poak chops, girl!
Yes, I am a fan of the dance. I’m even a fan of the 75-year-old SF Ballet when I can afford to go — and this Friday, January 30, may be the time to hit the Coinstar and buckle up my toe shoes, because it’s the ballet’s special “Nite Out!” program for the LGBTs. Those twirlers are “a ballet company as diverse as our community” according to the promo flyer (which also explains what “LGBT” means in tiny print at the bottom, heh) — and they’re not only gonna put on a kicky show at 8pm. There’ll also be “Meet the Artist” interviews with some of the company at 7pm and, from 10:30-midnight, there will be an “exclusive cocktail reception” with free wine, vodka cocktails, and snacks.
This is part three of SFBG photog Ariel Soto’s travel pic essay of her trip to Thailand and Laos. View her Bangkok pics here, and her Laos pics here.
The monkey cat, Ko Libong
Ko Libong
We ended our trip in Southern Thailand, on a small, relaxed island called Ko Libong. The majority of the population is Muslim, so as the sun set over the blue sea, we got to listen to angelic voices as they called the faithful to prayer.
Market soup chefs in Trang
Dried squid at a night market in Trang
Fish bowls in Trang
By Justin Juul
Art Exhibition: Dino Dinco at Project One
Who Dino Dinco is a Los Angeles-raised photographer/filmmaker/writer/designer who takes pictures of gangsters engaged in intimate behavior (brews in the bathtub, hairy balls in bed, etc), factory workers engaged in life, people wearing fancy clothes, and graffiti (among other things). His images have appeared in Vogue Brazil, Surface, Tokion, and BUTT and his films have been screened all over the world in fancy galleries and art museums like The Louvre and Tate Modern. Dinco also does television, film, and advertising work.
By Steven T. Jones
San Francisco City Hall is packed with people waiting to testify about Mayor Gavin Newsom’s midyear budget cuts and the need for a special election in June for new revenue measures. The Board of Supervisors chamber is filled to capacity, with another few hundred people filling the overflow room in the North Light Court.
Usually, public testimony is taken at the committee level rather than at the full board, but Sup. Chris Daly, who gathered the mayor’s unilateral cuts into his own legislative package, opted to skip the committee and convene the full board as a Committee of the Whole to give the cuts a full public airing.
Labor leaders and community-based groups took the opportunity to turn out their supporters in the hundreds, many wearing the purple shirts of the public employee union SEIU Local 1021, with slogans that include, “Got Public Health?”
Testimony should last for hours. The supervisors should earn their pay today while Newsom does Paris. On the special election proposal, they’ll need eight votes today to move it forward to next week, when the board will discuss what specific measures to place on the ballot.
While the supervisors, labor, and citizens have been working on the unprecedented budget crisis, Newsom has been out of town campaigning for governor or gallivanting off to Paris and Davos, Switzerland. What’s his plan to handle the budget deficit?
This week’s editorial. Scroll down to read Editor’s notes.
EDITORIAL In Washington, Rep. Nancy Pelosi – who has never been known as a radical leftist – is proposing that Congress repeal the Bush tax cuts, now, two years before they expire. That would bring $226 billion into the federal till, enough to fund a good part of the stimulus package.
In Sacramento, Democrats are moving toward a special election this spring to allow the voters to approve a tax increase – a move that would prevent disastrous service cuts in this horrible economic climate. Even the Republicans in the state Legislature – about as intransigent a group of people as you’re going to find in public service in America – are actually discussing the possibility that they might accept a tax increase as part of a budget deal.
Supervisor David Campos sent a clear message at the Local Agency Formation Commission (LAFCo) meeting on Jan. 23, emphasizing that he was eager to move beyond the delays that have hindered progress on Community Choice Aggregation. Commissioners Michael Bornstein and Ross Mirkarimi — who represents District 5 on the Board of Supervisors — echoed his concerns, along with an array of community members who turned out to speak during the public-comment session. Meanwhile, a few members of the public warned that further delays might amount to missing the boat on federal funding for alternative-energy programs, which the Obama administration is expected to make available in the near future.
Campos, who represents District 9 on the Board of Supervisors, is also the newest LAFCo commissioner. The city agency is charged with monitoring and advising the San Francisco Public Utility Commission’s efforts to develop and implement a Community Choice Aggregation program, which was mandated in 2004 by the Board of Supervisors to help ensure the “provision of clean, reasonably priced, and reliable electricity.” A CCA program would allow the city and county of San Francisco to become its own wholesale power purchaser for citizens. The plan includes targets for purchasing power generated from renewable resources such as wind and solar, with a goal of 100 percent clean energy by 2040. But the process of getting CCA off the ground has been moving along at a snail pace.
Newsom and his wife with Francois Lacote, “the Father of the TGV.” Photo courtesy of the Mayor’s Office of Communications.
By Steven T. Jones
While the San Francisco Board of Supervisors today wrestles with deep budget cuts and the uphill battle for calling a June special election for new revenue measures, Mayor Gavin Newsom will be wrapping up a five-day trip to Paris and packing up to once again jet over to Davos, Switzerland for the World Economic Forum.
And all this international jet-setting during this time of crisis follows weeks of gallivanting all over California to build support for his long-shot run for governor. This is the same mayor who rejects the June special election because, as press secretary Nate Ballard told us a couple weeks ago, “It’s not fully baked. It will take a citywide coalition (a la Prop A) to win something like this and the coalition just hasn’t been built yet.”
Might I humbly suggest that the reason that coalition (which would require buy-in from the business community, a key Newsom constituency) hasn’t been built yet is that our mayor is more concerned with taking free trips to Europe and moving past San Francisco than he is on running this troubled city.
To be fair, yesterday he did take a ride on France’s high-speed rail, the TGV, and released a statement calling for federal money to help bring California’s version of high-speed rail into the Transbay Terminal, saying, “Including the rail box as part of the terminal construction is necessary for this grand vision to be realized.”
Today, he met with representatives of Velib, Paris’s rent-a-bike program that has 20,000 bikes, as well as some environmental ministers. And he used the occasion to remotely announce plans to start a bike-sharing service here in San Francisco…with a whopping 50 bikes, at a cost of almost $1 million (up to $500,000 to start and $450,000 annually to operate), all going to Clear Channel. And that’s assuming this administration actually follows through on this promise, and finds the money to do so.
“Bike sharing will help connect thousands of residents and commuters to their workplaces and shopping destinations by providing bikes that they can easily borrow,” Newsom said. “This bike sharing pilot project will allow us to test and perfect the bikes and technology that will be used in our citywide network.”
So, while San Francisco may have to shut down environmental programs and social services and anything else that Newsom isn’t using to campaign for governor, at least our celebrity mayor is still out there, somewhere, representing this city.
