SFBG Blogs

Big balls

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By Marianne Moore

My friend’s rich older boyfriend—well, rich relative to my friend, who makes her living pretending to be a fairy at birthday parties (Her fairy name is Ginger-Snap. We know it’s a stripper name. We’re over it.)—is taking her to the Black and White Ball on Saturday, and I’ve been drafted into shopping. We’re now faced with a pretty awkward question: what do normal people wear to the fancy-pantsiest occasion on the San Francisco calendar?

Other people must have faced this problem before. After all, tickets to the party are $200, not cheap by any means but still well within the reach of many modest-living San Franciscans. Maybe some are kept away by the event’s reputation; personally, even if I had $200 to throw around, I would be way too scared to go. Whatever the case, there’s no information out there about how to dress for the B & W if you’re not immensely rich. One thing we know for sure: the boyfriend, while he may be shelling out $400 for tickets, isn’t about to spring for a $10,000 gown. That leaves us to dress on a fairy’s budget.

I figure we have three options:
(1) try and find a cute discounted dress a la TJ Maxx,
(2) go completely casual, or
(3) go vintage.

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Beers With Violet Blue

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While we’re on the subject of Violet Blue, we figured it’s time to post Justin Juul’s recent interview with the sexy local celeb. Read on!

Violet Blue is one of those people who builds robots, dreams about cupcakes, and has twelve phones. You know the type. They usually write about porn and sex on their award-winning blogs and you can pretty much count on them to release about three books a year. They often pose semi-nude for well-known photographers, write columns for daily newspapers, and make appearances on national television shows. Wait. I don’t know anyone that cool, or at least I didn’t until I met Violet. The Guardian recently had a few beers with Ms. Blue to try to learn the secret to her seemingly impossible career and life.

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SFBG: So whatcha been up to lately?
Violet Blue: Well, one new thing I’m working on is a series of interviews for Kink. They’ve really been stepping up their production lately so there are more big-name porn stars coming through. I’ve been interviewing all of them.

SFBG: Who have you interviewed?
Blue: Oh, I’ve done tons. I’ve been gathering them for weeks and I’m just writing them up now. I’ve got Ariel X, Flower Tucci, and a bunch of other famous people. I like doing the interviews because I’m kind of outside the porn industry. So instead of asking them how big their boobs are, I’ll maybe ask them if they have names for their boobs, which I actually did ask a couple girls.

After much Vladislav Delay

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VLADISLAV DELAY
Anima
(Huume)

By Erik Morse

With the re-release of Vladislav Delay’s 2001 electro-acoustic epic Anima, we are granted a peek back at the high-modernist experimentation of European electronics in the late ’90s and early ’00s – the boon of the so-called post-rock era. Finnish DJ and programmer Delay, a.k.a, Sasu Ripatti, once recorded for Achim Szepanski’s underground/post-rave label Mille Plateaux – a titular reference to French post-idealogues Deleuze and Guattari of Anti-Oedipus fame – and he fit easily alongside glitch/IDM labelmates Oval, Cristian Vogel and Thomas Koener and the seminal Clicks and Cuts Series.

While Anima, a 60-plus-minute track of organic synth minimalism, uses little of the computer-generated glitching that became Mille Plateaux’s trademark production, its voluminous and spare abstractions – in rhythms, instrumentation, and tonal palette – was indicative of the “prog” methodology then popular among post-rave artists.

As rave historian Simon Reynolds once described it, the world of underground electronica following the acid house explosion was not that much different than that of rock in the the early 1970s, when increasingly “intellectualized” musicians had to reconsider their goal in the wake of the Summer of Love. According to Ripatti the title of Anima reflects a psychological component to the music, “an inner feminine part of the male personality.” Questions about the veracity of this assertion aside, the dip into musical psychologisms evidences a post-’60s Jungian turn – a popular citation among progressive musicians.

Why is PG&E attacking Leno on education?

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It’s not like schools are their business – at all. But the $13 billion utility company is the big money behind recent television ads depicting Mark Leno as a foe of children and schools.

“San Francisco Assemblyman Mark Leno claims that he’s for better schools,” the ad informs, according to a transcript provided by the California Teacher’s Association. “Yet in 2004, it was Leno who joined Republicans, and with one vote to spare, cut $3.1 billion from California schools.”

Actually, said CTA in a news release, “It distorts Leno’s support for a state budget in 2004 that temporarily reduced some funding for schools. The budget was approved by the Legislature with bipartisan support in that financially difficult year for the state.”

CTA, which represents 90 percent of the state’s educators, endorsed Leno in the District 3 State Senate race, and held a rally today in Mill Valley to affirm their support and criticize PG&E.

“Why is PG&E behind this?” CTA’s Mike Myslinski wondered when we spoke to him. “Leno has a strong education record and parents and teachers are very disturbed by this ad.”

The ad was attributed to a political action committee called “Protect Our Kids,” which late independent expenditure filings [PDF] with the CA Secretary of State show is heavily funded by CALIFORNIANS FOR A CLEAN ENERGY FUTURE, A COALITION OF ENVIRONMENTALISTS, TAXPAYERS, AND PACIFIC GAS AND ELECTRIC COMPANY. [PDF]

Looks like the San Francisco Police Officers Association, as well as a couple of out of state companies, also kicked in to cover the $100,000 in cash that’s been spent on anti-Leno propaganda that has nothing to do with energy – clean or otherwise. But, as CTA points out, “The PG&E-funded ad comes at a time when one of Leno’s opponents in the Senate race, Joe Nation, is being criticized for his huge financial support from business interests. PG&E is a supporter of Nation.”

It wasn’t all that long ago Leno was shaking hands with PG&E over at the LGBT center.

Fired up: Fiery Furnaces’ Matthew Friedberger on politics, personality, ‘Sandanista’

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Matthew Friedberger of Fiery Furnaces is a pistol, punctuating his thoughts with chuckles, and backing up and turning around his statements continually. For the first part of this interview, go to this week’s Sonic Reducer. Otherwise read on.

SFBG: So you describe Remember as long and people can use it as they will. It’s not designed to be an “album album”?

Matthew Friedberger: Well, not to compare this to a masterpiece like the Clash’s Sandanista, which is one of my favorite records, but I never listen to that all at once. I think of that as one record, even if it’s a three-record record, and it’s longer, I think, than this one. But totally different, totally different. Like I say, I don’t mean to compare [Remember] to a record like that. But, um, I do think of it as a record, if you want to think about it – not that you think about it – but if somebody wanted to think about it…you’d think about it together.

Woo-hoo, a planning party

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What are you doing after work tomorrow? Critical Mass? The Alterna-Mass that all the cool bikers are talking about? Maybe a happy hour somewhere, or heading home to get dolled up for the Bohemian Carnival?
Hey, how about the Market-Octavia Plan Party?
— cue the crickets —
OK, OK, maybe a party to mark the successful end of the years-long process to create and win political approval for a new Market & Octavia Neighborhood Plan is something that only a policy wonk can get excited about. But it is a very San Francisco type of plan, creating strict limits on new parking, good affordable housing incentives, and design standards promoting walkability. As plan participant and party promoter Jason Henderson said, “This is the plan that sets the precedent for a more sustainable, car-lite future for San Francisco.”
Not doing it for you? Try this quote from the party invite: “Munchies and partial hosted bar.” Better? It’s also at the Rickshaw Stop, the coolest bar in Hayes Valley, from 5:30-9:30. And it will feature speeches by Sup. Ross Mirkarimi, Planning Commission President Christina Olague and lots of others who helped bring this baby home.
So come on down…if you’re into that sort of thing.

March to stop the Moth Spray

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Photo courtesy of Vegan Reader

Moth spray activists are planning to walk across the Golden Gate Bridge on Saturday, May 31, to protest government plans to spray the Bay Area with moth pheromones.

Folks will gather at 9 am on the San Francisco side in the bridge parking lot, begin their walk at 10 am, and rally at 12 noon at the West End of Crissy Field, between Mason Street and the Marine Sanctuary Visitor Center. (Presumably, no one is going to try the Tibetan monks’ stunt of climbing the bridge, this time dressed as Light Brown Apple Moths.) You can find more information about the details of the march, here.

UC Davis scientists continue to challenge the United States Department of Agriculture and the California Department of Agriculture’s claims that the moth poses a severe threat to agriculture and that the aerial pesticides will effectively eradicate the pest.

But the CDFA is fighting back.

In a recent press release, the CDFA claimed that “aerially-applied moth pheromones have been used around the world for more than a decade with no indication of harm to people, pets or plants.”

“To date, the only impact on the environment or living things is confusion in male moths looking to mate with females,” CDFA officials claim.

It’s pronouced “Oo-vuh:” Uwe Boll, Part One

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Just so you know. It’s not “Oo-way.” This is the first thing I learned while gearing up to interview Uwe Boll last August, on the occasion of the uncut version of his film Postal‘s world premiere at the 2007 Dead Channels Film Festival. The film played to a small but enthusiastic Castro Theater crowd, many of whom were surely lured more by the Boll’s presence than by the film itself. Boll, who has embraced video games as cinematic source material the way other directors have embraced, say, Shakespeare, is so fond of controversy it’s difficult to read a news story about him that doesn’t include something ridiculous, like a Boll vs. critics boxing match or an anti-Boll petition. The first picture of him furnished by a Google search features a grinning Boll flipping off whoever’s behind the camera.

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Postal, as a whole, is kind of an exercise in fuck-you cinema: in addition to making light of 9/11, it pokes fun at everything from new-agers to trailer trash to coffee snobs to midgets to Nazis … and more. (Read my shockingly positive review here.) The long-delayed film is finally getting a theatrical release; it rocks the Roxie starting tomorrow. Such an event affords me the chance to dust off my interview with Boll and cast members Zack Ward (who plays “Postal Dude,” and also appeared in 2007’s Transformers) and Larry Thomas, Seinfeld‘s “Soup Nazi” — who plays Osama Bin Laden. Read on for part one, if you dare.

3.26 million ways to reuse your Prop. G fliers

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As Prop. F supporters continue to liven up their shoestring campaign with dance, debate and rap songs,
yet another huge question is looming over the Prop. G campaign: What is San Francisco going to do about all the glossy Prop. G fliers that are choking up mailboxes citywide?

Since the Lennar-financed Prop. G campaign has already spent over $3.26 million to try and influence the June 3 vote, how about helping find 3.26 million ways to reuse the Prop. G mailers? (ways that don’t involve burning them, tempting as that may be, since that would make air quality worse)

We came up with the first three.

1. Wallpaper to cover the mold in your non-luxury dwelling.
2. Materials for your 2008 Halloween costume.
3. A year’s supply of bird cage liner.

Prop. F’s break dancing rattles the system’s chains

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Turfaholic’s Johnel dazzled at a recent Prop. F rally on Palou street in the heart of the Bayview. Stay with it, and you’ll get to the part where Johnel sets his own chains a-spinning. Awesome to watch.

Played-out Bill O’Reilly: the no spin zone

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Play us out already: The original O’Reilly footage of the man flipping out.

By Laura Mojonnier

By now, you have undoubtedly had the pleasure of seeing Bill O’Reilly go ballistic on an old Inside Edition outtake that resurfaced online earlier this month. The clip spread like only viral videos can, and within days, O’Reilly himself addressed the mini-controversy on his show, joking that the taped meltdown was only the tip of the iceberg. “By contractual obligation, I have to create a few dramas every year for the amusement of my coworkers,” he said smiling, exuding an alarming degree of humility, perspective, and self-control that certainly did not win him his contract at Fox.


Inside the back pedal.

O’Reilly’s attempt to put the matter to rest was futile, however. The footage is just too damn good. I’ve already incorporated his best outbursts into my everyday conversation (“Fuck it! Do it live!” and “Fucking! Thing! Sucks!” are my favorites). The clip is the first video that pops up when you search his name on YouTube, and as of press time, it has garnered more than 1.3 million views. I am clearly not alone.


O’Reilly meltdown: the dance remix

But the real story here, I think, is not the meltdown itself – everyone knows that O’Reilly is a barking, chauvinistic blowhard – but rather the dance remix. Nothing hits the spot quite like watching O’Reilly on loop, rapping, “I don’t know / I don’t know / I don’t know / Fuck!” to the sweet techno beat. I can basically recite the entire song by heart. And in light of the remix, the original footage seems a hollow shell of its former self. It no longer possesses the same power to shock and titillate. Why not? The dance remix, in all its repetitive hilarity, shows O’Reilly’s freak-out for what it actually is: a sadly predictable confirmation that his television personality is not an act.

‘REN’-membering Matthew Barney in LA

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Heave ho at Matthew’s Barney’s REN. Photo courtesy of www.lipsticktracez.com/reggie/.

By Glen Helfand

How any artist follows up a large scale, career-making project is accompanied by the same critical pressure that greets the sophomore album of a hot new band. Matthew Barney made it through his post-Cremaster days with Drawing Restraint 9, which took over a whole floor at San Francisco Museum of Modern Art a couple of summers ago, though many would agree that while it stayed the course, it was a film and exhibition that didn’t quite rival the five part film/sculpture extravaganza that preceded it.

In an interview before that show, Barney said his next works would be in the realm of live performance, and true to his word, he’s been mining that vein. He staged a typically perverse work at the 2007 Manchester International Festival, an adults-only performance that involved a bull, a self-fisting female contortionist and Barney wearing a live dog on his head. (The reviews were mixed.) Another performance, staged in New York, was shown as a video as part of an exhibition at Los Angeles’s Regen Projects last year.

I can’t say I wasn’t thrilled to get an invitation to a recent Barney performance, titled REN, that took place on May 18 in not so beautiful Norwalk, a south-of-LA suburban flatland populated by convenience stores and auto dealerships. Here’s some of what the invite promised: “’Ren’ represents the first stage of the soul in its journey through the afterlife in which its ‘Secret Name’ is revealed, and subsequently lost. REN will reference the Cremaster Cycle, linking Barney and [music collaborator Jonathan] Bepler’s earlier project to the iconography and mythology of ancient Egypt. REN will feature the return of the 1967 Chrysler Imperial and Aimee Mullins from Cremaster 3, a Southern California drum and bugle corps, ranchera singer Lila Downs, and British performance artist Mouse. Performance is approximately one and a half to two hours in duration.”

Where in the world is Carmen Policy?

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Where in the world is Carmen Policy?

That’s what Prop. F supporters are wondering amid the deafening silence that has followed their invite to Lennar consultant and former 49ers president Policy to debate POWER community organizer Alicia Schwartz on Saturday, May 31, in the Bayview.

Back in February 2008, Policy made headlines when he was hired by Lennar executive Kofi Bonner to head what has since become the $3 million Prop. G campaign. That measure primarily involves a land exchange that would allow Lennar to build a new 49ers stadium atop the toxic Hunters Point Shipyard site, while building luxury condos and retail buildings on the former Monster Park site.

Prop. F campaign manager Chris Cassidy says that the Prop. F campaign, which would require 50 percent of all Lennar’s housing units to be truly affordable to the folks who currently live in the Bayview, decided to invite Policy to debate Prop. F’s Schwartz, “because of the money Policy has received from Lennar and because of his connections to the community from when he was president of the 49ers.”

Prop. G’s most recent campaign financial disclosures show that $40,915 was paid to Carmen Policy, $343,138 for attorneys’ fees, $1.3 million on advertising, and $767,607 on “consulting services.”

As Power’s Schwartz notes in a Prop. F press release, “Politics can be a contact sport, but it should also be a contest of ideals.”

Prop. F organizers say the debate will take place, with or without Policy, at 5030 3rd Street and Quesada Avenue, ( near the MUNI T-Line – Palou Ave. Stop) on Saturday May 31 – 6:30-8:00

Hey, at least Schwartz is challenging Policy to a dance-off…(watch Schwartz, third from left, do the Cha Cha slide).

No self-indulgence for SF’s Mitch Marcus Quintet

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Mitch Marcus in repose.

By Dina Maccabee

The Mitch Marcus Quintet sounds so confident, so full of easy attitude and laid-back strut on the group’s latest release, The Special, (Jazzcubed, 2007), you could almost mistake this mile-a-minute jazz record for an easy ride.

Each track unfolds with a bounty of melodic and structural invention, though the mix of influences – from Eric Dolphy to the Meters – is practically seamless. With saxophonists Mitch Marcus and Sylvain Carton up front flying in tight formation through some impressive mid-air turns, it’s the quintet’s simmering rhythm section that’s responsible for continuously building, tearing down, and rebuilding The Special’s beat-driven foundations. As drummer Ches Smith and bassist George Ban-Weiss man all the bases from swaggering swing to idiosyncratic odd meters and loping six-eight time, guitarist Mike Abraham romps out in left field, lobbing passages of inspired insanity, such as his distorted surf-raga shred-a-thon on “Inditranego,” psychedelically into play.

Like those groundbreaking records by Miles Davis and Ornette Coleman that still shine as irresistible beacons for straight-ahead boppers and free-jazzers alike, The Special has the potential to appeal to both lovers and haters of the jam paradigm. While nearly every tune follows a tightly orchestrated opening with an expansive field of spontaneous solo and ensemble exploration, the improvising feels so honest and un-forced, the vibe so rooted and right, there’s not a self-indulgent note to be heard.

Mitch Marcus Quintet
June 9, 8 p.m. and 10 p.m., $6-$12
Yoshi’s
510 Embarcadero W., Oakl.
(510) 238-9200

Prop 98 could destroy the next Kerouac

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By Jen Sullivan Brych

What if Jack Kerouac couldn’t find a cheap place to crash in San Francisco so he could drink at Vesuvio Café and bang on his typewriter? Would he have been forced to remain in the “sanitarium” of San Luis Obispo, as he referred to it? Would he have been forever missing what a biographer called the “feverish intensities” of San Francisco, never inspired to write again?

Even worse, what if the next generation of Kerouacs and Alice Walkers and Michelle Teas can’t afford to live in San Francisco anymore? The frightening Proposition 98 on the June 3 ballot would eliminate all rent control in California. If San Francisco loses rent control, it loses writers and its literary scene.

“If rent control goes, I know I’d lose my apartment soon enough,” said writer Peter Orner via email. Orner wrote The Second Coming of Mavala Shikongo, a finalist for the Los Angeles Times Book Prize and winner of the Bard Fiction Prize. He was also a Finalist for the Pen Hemingway Award for Esther Stories.

Orner has lived in the Mission for about five years. “They’d replace me with an investment banker in about forty seconds,” he said.

So why should people care if writers like Orner leave the city en masse? Richard Florida, University of Toronto business professor and author of the book The Rise of the Creative Class, argues that this group of people is creative, makes good money, and values diversity. The creative class includes writers of all genres, as well as educators, financiers, scientists and techies.

The group is attracted to urban areas like San Francisco, which ranked number one in Florida’s creativity rankings for large cities, because of its theater venues, its cafes and spoken word performances, its rock musicians and art galleries; in other words, because of its writers and artists and the quality of life they provide. Florida argues that cities which are successful in attracting this creative class are prospering, while cities that don’t are not. So, if rent control vanishes and the writers and artists disappear, our city by the Bay will suffer.

Nerd is the New Cool: An Interview With Yo-Yo Master David Capurro

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By Justin Juul

If we’ve learned anything from the most recent technological revolution (Web 2.0 and stuff, duh!), it’s that nerds are way cooler than we thought they were. In fact, the word “nerd” has lost nearly all of its negative connotations, now defining a certain type of person with highly specific interests rather than a loser. “I’m a music nerd,” people will proudly say, or “I’m an art nerd.” Being a nerd, then, has become cool; and not just in an ironic hipster sense like when you wear glasses without lenses or pretend to like B-movies. The people who used to be nerds are now actually cooler than the people who used to be cool. Take skateboarders for example. Being a skateboarder in 1990 meant that you lived a life of dread, that you were a nerd, and that all the jocks, cheerleaders, and thugs got to make fun of you. But being a skateboarder these days means that you have the freshest gear before anyone else, you know about underground art and music, and you have a pretty good chance of being an extra in the next Larry Clark film. The same thing goes for yo-yo champions like David Capurro. He may not spend his weekends getting drunk and doing cocaine at clubs, but well, come on; that shit’s for nerds.

The Guardian caught up with Capurro recently to explore the subculture of competitive yo-yo players, who might just be the coolest people on the planet (next to skateboarders, of course).

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SFBG: How did you get into yo-yoing?
David Capurro: I saw a kid playing with a yo-yo when I was ten years old. I was kind of a socially awkward kid so I traded him a pair of walkie-talkies for his yo-yo. I guess I just figured I’d rather play with a yo-yo by myself than go out and try to make friends with those damn walkie-talkies. Besides, yo-yos don’t need batteries.

SF Weekly sneers at sex work

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Sex writer Violet Blue is one of the best things at the Hearst-run SFGate website, an authentic local voice singing the praises of sex-positive San Francisco. So of course, the soulless and snarky hacks over at the SF Weekly felt compelled to try to knock her down a few notches, sneering at the notion that many of us are accepting of sex workers. And for that, they have been rhetorically bent over and pegged by the lovely Mistress Blue in a blog post earlier today.
You’ve really got to read this thing, which is more investigative in nature than your average flame. She brings up the Weekly’s weird history of fake journalism on another sex story, and digs up some good dirt on the latest perpetrator, freelance writer Benjamin Wachs. Now, we couldn’t verify the rumors about Wachs’ efforts to start a right-wing news site in San Francisco (hey, Ben, good luck with that one). But our research does show the guy moved here a year ago from Rochester, NY, which might come as a surprise to the Brighton-Pittsford Post in New York, where he’s supposedly a local columnist.
Messages to Wachs and the Weekly went unanswered — no surprise — but I’ll update if I hear anything new. Or if you see Ben around town…
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…maybe you can ask him why he wanted to live in San Francisco if he has such a problem with our values.

Death metal’s best? Arch Enemy to dominate Slim’s

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By Kat Renz

These may be the enlightened days of reinvigorated heavy metal madness, but San Francisco hasn’t hosted a lineup of melodic death metal bands this hefty in a long time. On Thursday, May 29, at Slim’s, Sweden’s ever-fierce Arch Enemy leads the charge of sweeping arpeggios and throaty declarations on the second-to-last stop on their brief North American “Tyranny and Bloodshed” tour. Joining the brutal quintet are three Century Media label mates – compatriots Dark Tranquility, Divine Heresy, and Greece’s death metal offering Firewind. Insert a proper horned salute to Slim’s here for carrying the torch of loud, heavy music of late (Death Angel, Exodus, Slough Feg, and on Friday, May 30, Candlemass and Soilent Green).

Though hardly a household name, Arch Enemy has caught on with metal listeners. Their seventh full-length studio recording, Rise of the Tyrant (Century Media, 2007), debuted last September at no. 84 on the Billboard charts. It could have been higher had the genre’s fans not spent their audio allowance on another new release: Dethklok’s epic cartoon metal album, The Dethalbum, which clocked in at 34,000 copies during its first week out, making it purportedly the best-selling death-metal album to date.

Assembled in 1996 by former Carcass guitarist Michael Amott and ex-Carnage bandmate John Liiva, Arch Enemy’s infant days were especially notable for the technically devastating dual guitar work of brothers Michael and Christopher Amott. In 2001, the group replaced Liiva with a new vocalist, Angela Gossow. Arch Enemy’s since become lazily tagged as that band with the hot blonde Valkyrie who can growl as gutturally as any angry and seasoned death metal dude. Regardless Gossow holds her own in very male-dominated, aggression-fueled scene. (Fellow journalists with metal ambitions take note, there is hope: writing for a German metal mag at the time, Gossow landed the Arch Enemy gig after giving a demo tape to Christopher Amott during an interview.)

Step down, Sexual Harassment Panda

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Part One of a multi-part series on ill-conceived Public Service Announcements by intern Marianne Moore

On a Richmond-bound train the other day I noticed a sign at the end of the car, reading: “Los líquidos calientes queman como el fuego,” which means, “Hot liquids burn like fire.” I confess that I laughed — really, really loudly.

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Matt Smith loves prop. 98

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I almost don’t know what to say about Matt Smith’s SF Weekly piece in favor of Prop. 98. I know Smith gets a little unhinged when it comes to housing issues, but his faith in the free market to lower the price of housing in San Francisco – against all odds and all evidence – is just looney.

He starts off with the typical landlord/libertarian argument against rent control, which is that it screws up the marketplace:

Tens of thousands of other apartments are kept off the market through “hoarding,” as individual tenants remain in cheap and cavernous three-bedrooms, hang on to their old $200-a-month apartments long after they’ve moved in with a spouse, or are otherwise motivated to cling to their leases.

Except that Prop. 98 would allow existing tenants to stay in existing rent-controlled apartments, which lose rent control forever when they’re vacated. So the rent-controlled units would be even more valuable, and the incentive to “hoard” even greater. As would be the incentive for landlords to evict long-term tenants.

But wait, there’s more:

Studies also show that rent control discourages construction of new rental apartments New housing construction fell by one third in the seven years after San Francisco’s rent control law passed in 1979. During the 1990s, meanwhile, the number of rental units actually decreased by 7,500.

Ah, but all newly constructed units are exempt from rent control anyway. So something else must be going on here. Perhaps the number of rental units decreased because developers, who care nothing for the city’s housing needs, realized there’s more money to be made selling condos. It’s the same reasons Lennar Corp. broke its promise to build rental housing in Hunters Point: There’s more money in selling units right now than in renting them.

And, of course, we’re losing rental housing – not to rent control but to condo conversions, another way property owners can make money.

Smith seems to think that without rent control

“it’s reasonable to surmise … that downtown apartment construction would accelerate. Rents would stabilize or decline. …. Businesses would flock to San Francisco, which would have ample new office space and more, cheaper homes for their employees.”

Sounds idyllic, if you want to live in Manhattan, which I don’t.

In fact, Matt Smith’s vision of a “great city” is by nature one that’s constantly growing and ever-more dense. He berates the urban environmentalists:

San Franciscans replaced what had been a metropolitan vision of the future with one best described as suburban. Rather than being a great city, it would instead be a tranquil place to live.

Matt, you have no sense of history. After World War II, the captains of industry who had completely taken over planning and development policy, in the military model of command and control, to make the West Coast war machine work, decided they liked that way of doing business. So a handful of them sat down and planned the future of the Bay Area. Low-cost South of Market housing would be demolished to make way for hotels and a convention center. Following the suburban model, BART would connect outlying bedroom communities with a dense downtown office core. High-rise buildings would hold the economic center of the Pacific Rim. A network of freeways would cross the city in a Los Angeles-style grid.

That’s what the master planners who Smith lauds had in mind. And the people who lived here decided that it wasn’t fair that nobody asked them about it. So they fought back, cutting off the freeways, down-zoning neighborhoods, fighting over-development (which, by the way, hurts city coffers more than it helps) and trying to keep this a decent place to live.

Rapid growth is not always good, not always desirable. Cities are places where people live, and keeping them livable is a noble pursuit.

And when it comes to housing in a city like San Francisco, the market will never, ever solve the problem. I’ve written about this over and over, but here’s the latest.

Regulation – treating housing not just like a fungible commodity but like a necessity of life that the market can’t fairly provide – is the only way to keep San Francisco affordable.

“Fuck Lennar!”

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I’ve witnessed my share of political rallies, but Prop. F’s “We Shall Not be Moved” event at 3rd Street and Palou in the Bayview takes the bumpin’-block-party prize.

Wedged between three cash checking stores, a beauty parlor, and a T-Third station, the rally was awash with multilingual “Yes on F” signs, edgy urban chic and fighting words.

But beyond the many powerful speakers who showed up to stir up the crowd, the afternoon’s three most memorable moments involved song, dance and the spoken word.

Turfaholics’ Johnal performed to a funky remix of “San Francisco (Be Sure to Wear Some Flowers in Your Hair).

Prop. F supporters put a smile on the crowd’s face with their soulful attempts at the Cha Cha Slide.

And last but not least was hiphop emcee Cobe Obeah

Stay with the following video for a minute and you’ll get to the part where Cobe announces that he doesn’t usually cuss, then gets the crowd joining in a “Fuck Lennar!” chant, before delivering a final FU to San Francisco’s Mayor Gavin Newsom.

61st World Newspaper Congress, 15th World Editors Forum

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I’m off to Sweden and the annual assembly of the World Association of Newspapers (WAN), an international free press organization. Ill keep you posted, B3

Connecticut joins SF in charges against McKesson

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Reuters is reporting that the state of Connecticut today followed San Francisco’s lead in suing the McKesson Corp. over an alleged conspiracy to unfairly manipulate the price of prescription drugs. The Connecticut suit charges that McKesson, a multinational corporation based in San Francisco and ranked 18th on the Fortune 500 list, violated anti-racketeering laws by creating a scheme to artificially increase published figures related to what retail pharmacies pay to obtain prescription drugs from wholesalers like McKesson.

The alleged scheme involved the participation of a little-known company based in San Bruno called First DataBank, a subsidiary of media giant Hearst, owner of the San Francisco Chronicle. First DataBank maintains a sophisticated database of prescription drug prices that Medicaid administrators and private insurers use to determine what they’ll pay a pharmacy retailer to cover the cost of your drugs after you’ve made the co-pay.

Because so many prescription drugs exist, First DataBank’s figures are critical for understanding the true cost of pharmaceuticals as they move through market pipelines from the manufacturer to the wholesaler to the corner pharmacy. The suits allege that First DataBank and McKesson conspired to inflate those published prices so that everyone from Medi-Cal to Blue Cross paid far more to pharmacies than appropriate for the drugs. A big part of McKesson’s business comes from chain pharmacies, and if they saw McKesson going to bat for them, the suits claim, they were likelier to maintain those business relationships instead of turning to a McKesson competitor like AmerisourceBergen or Cardinal Health. Yes this stuff sounds sleep-inducing, but there’s a whole lot of money involved if City Attorney Dennis Herrera and others are right about this. Learn more about San Francisco’s lawsuit.

Lit: Erick Lyle on rehab for Newsom and SF, the awful flair of Willie Brown, book box mansions and life in the City

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This week’s Lit features a review of Erick Lyle’s new book On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95). Liam O’Donoghue recently talked with Lyle, who will be appearing at Get Lost Travel Books on June 4th and AK Press Warehouse in Oakland on June 5th:

By Liam O’Donoghue

SFBG: The phase “secret history” is in the subtitle of your book and the term “urban archeology” is used to describe it. Did it feel like an archaeological project — like you were digging up this buried history of the city — when you were compiling the book?
Erick Lyle: When I moved to San Francisco I was lucky enough to be around a lot of older folks who told me their stories about the city and I fell in love with this place instantly. I feel like I’ve got all those stories filed away in my mind, so that when I’m out, riding my bike around the city, if I’m at a certain intersection, for example, I’ll think, “Oh, this is where that punk club was in 1988, but it’s also where so-and-so broke up with her boyfriend in 1995 and there was that one time when a guy tried to hit me with a 2×4.” But I can see all these layers simultaneously in my mind, and for me, part of the enjoyment of living here for awhile is seeing how these layers fit together over time. It gives an added dimension to, for example, a protest event you might be doing, to understand how that event fits into the longer history of the area.

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Erick Lyle, in his secret mansion enjoying the high life

As far as thinking about it as archeology at the time, I wouldn’t say that we were so self-conscious that we would do generator shows in the street so we could say, “This is history.” But if we don’t write this shit down, no one is, it’s not making it in the Chronicle or anywhere else. The things that happen in the doorsteps of the Mission or on the dance floor at the punk club or are spray-painted on the walls: these are the things that make up our lives. That’s the fabric of life in the city.