SFBG Blogs Archives — Page 9 of 597 — San Francisco Bay Guardian Archive 1966

Landlord plaintiff in eviction fee case has history of tenant law violations

Sasha Cuttler

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July 25, 2014

Landlord plaintiff in eviction fee case has history of tenant law violations

San Francisco landlord attorneys filed a lawsuit on Thursday against San Francisco and five tenants in an effort to overturn Sup. David Campos’ new law requiring higher relocation assistance payments to tenants evicted under the Ellis Act, but the main plaintiff in the case may not be the helpless victim the suit purports him to be.

Under the recently implemented measure, landlords must now pay the difference between their tenants’ current rent and the cost of “comparable” units for two years, as determined by the City Controller’s Office. Though many property owners haven’t been deterred by the measure, as evidenced by the Ellis Act evictions that continue to sweep the city, a group of landlords and their attorneys filed a lawsuit (Jerrold Jacoby et al. v. City and County of San Francisco, et al.) claiming the new law is unjust.

“The city has tried to change the rules on them,” said attorney Andrew Zacks, who represents the plaintiffs. “We don’t think that is allowed under the law.”

Jacoby, the lawsuit’s main plaintiff, is an 80-year-old property owner who, according to tenant attorney Joseph Tobener, is a “slumlord” who has mistreated his tenants and failed to adequately maintain his valuable rental property.

“He is in the business of landlording. That is all he does,” Tobener, who represents three of the five tenants being sued in the lawsuit, told the Guardian. “The lawsuit against the City only used Jacoby as plaintiff because he is a senior…They think this guy Jacoby, a slumlord, is a perfect plaintiff, but they misrepresent this story in their complaint.”

One of Tobener’s clients, Judith Barrett, is a 62-year-old single mother who teaches English at Galileo High School in San Francisco. She has lived in her current unit for 25 years, and she lives paycheck-to-paycheck.

Barrett, who Jacoby recently evicted using the Ellis Act, has been involved in protracted legal proceedings with her landlord in the past. Tobener said Jacoby and unit co-owner Jeanmarie Hryshko (Jacoby’s ex-wife) have collected more than $22,500 in illegal rent since October 2009, according to a ruling by the San Francisco Rent Board. That’s just the tip of the iceberg, according to Tobener, who said there was “much more prior” but that it extends beyond the statute of limitations.

Using a clause in the San Francisco Rent Board’s regulations, Jacoby claimed “financial hardship” when sued by Barrett over the illegal rent collection. “He tried to file a hardship exemption for the $22,500 at the Rent Board and he lost,” said Tobener, who also noted that Jacoby and Hryshko still owe Barrett an additional $8,000 because they executed the eviction before the reduced rent could cover the landlord’s debt to his tenants.

Barrett’s eviction, according to Tobener, was prompted by a lawsuit filed by tenants that claimed the landlords wouldn’t make “even the most basic repairs to the subject unit.” The lawsuit, which is still pending, claims that Jacoby and Hryshko have saved hundreds of thousands of dollars over the years, though they have an equity of $1.8 million on the two-unit property.

“That’s flat out untrue. There is a chronology that completely undercuts Mr. Tobener’s statement,” Zacks said, noting that aggressive moves by the tenants—specifically ”legal threats” from Tobener—ultimately resulted in the Ellis evictions. “This is exactly why we have the Ellis Act and why it’s an important right for property owners. The notion that [Jacoby] should have to pay $100,000 to stop being a landlord is not only unfair, it’s illegal by state law.”

The “aggressive moves” in question are chronicled in Tobener’s letter to David Wasserman, an attorney involved in the case. Tobener believes Jacoby and Hryshko have no intention of living together, and that they instead hope to rid their debt by evicting their rent-controlled tenants.

“If we are successful in proving that your clients have ulterior motives or are retaliating against the tenants, we will then file a wrongful eviction action against your clients,” Tobener wrote. “By now, I am sure your clients have wrongful eviction insurance. Perhaps they take comfort in the protections this insurance will provide them should they lose their unlawful detainer bid. But, what your clients may not know is that their insurance policy will not cover our largest seam of gold — the treble-damages penalties under the San Francisco Rent Ordinance for wrongful eviction.”

In the event of an unfavorable ruling, Zacks said he and his client don’t plan to remain complacent. “If the local judge agrees with the city,” he said. “We will appeal.”

Indeed, could be just the beginning of epic court battles between landlord and tenants advocates in San Francisco, where the hot housing market has triggered an eviction epidemic. The November ballot includes a tax on real estate speculation, which landlord groups have already threatened a lawsuit to challenge.

“Ellising a two-unit building is a real estate speculation play,” Tobener told the Guardian. “They are going to remodel and sell as TICs [tenants-in-common] to wealthy new owners. They cannot re-let the units, so they have to remodel and sell.”

Anti-war protesters rally against Gaza invasion and rising Palestinian death toll

Sasha Cuttler

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July 25, 2014

51

Anti-war protesters rally against Gaza invasion and rising Palestinian death toll

As the West Bank erupted today in a “day of rage” against Israel’s ongoing invasion of Gaza and its lopsided death toll during 18 days of combat with Palestinians, anti-war activists in the Bay Area have been holding daily protests outside the Israeli consulate in downtown San Francisco and preparing for what they hope will be a big demonstration tomorrow [Sat/26].

Anti-war activists will gather tomorrow at 1pm in Justin Herman Plaza (Market and Embarcadero) for a rally and march organized by the ANSWER (Act Now to Stop War and End Racism) Coalition and other groups, including Arab Resource Organizing Center, Arab Youth Organization, and American Muslims for Palestine. The march will go up Market Street and circle around Union Square before returning to the starting point.

“Israel receives $4 billion in ‘aid’ from the United States each year. This money is being used to commit war crimes against the Palestinian people in Gaza. We are demanding that all U.S aid to Israel be ended now! More than 200 people in Gaza have been killed and more than 1,500 have been wounded from Israeli bombs and missiles. This has to end!” ANSWER wrote in its call-to-protest, although The New York Times reports the Palestinian death toll is now at least 800, compared to 38 Israeli deaths.

During yesterday’s daily protest outside the Israeli consulate, from 4-5pm at 456 Montgomery Street, a Palestinian woman named Jaclyn told the Guardian that the US media is to blame for the relatively small number of protesters on the streets. Recent protests have been small compared to massive demonstrations lduring the buildup to the US invasion of Iraq in 2003.

“The problem is the media, they don’t’ have the correct information. People are being brainwashed, frankly,” she told us.

Protester Russell Bates, who was holding a Palestinian flag that he says he’s been flying for the last 10 year in solidarity with Palestinians under Israeli occupation, noted that Gaza has been invaded by Israel three times in the last seven years, with lopsided death tolls in each conflict and yet continuing US financial aid.

“The US government Israel-occupied territory, for sure,” he said. “It’s unimaginable to me how people can remain quiet.”

Citizens United measure challenged — does it matter what Californians think about corporate personhood?

Sasha Cuttler

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July 25, 2014

2

Citizens United measure challenged — does it matter what Californians think about corporate personhood?

Recently, the California Legislature approved a nonbinding question that would allow California voters to show their thoughts – mainly, their disdain – for the 2010 US Supreme Court ruling in the Citizens United case that allowed corporations to make unlimited campaign contributions.

But on Tuesday, opponents filed a lawsuit seeking to remove the question from the November ballot. They say the ballot should be reserved for laws, not the measurement of non-binding feelings. Meanwhile, advocates say putting the question on the ballot provides California voters with the very voice often quieted and underfunded compared to the corporations that the court decision empowered.

The advisory measure, which would appear as Proposition 49, is threatened by a lawsuit filed by the Howard Jarvis Taxpayers Association, an advocacy group for taxpayers’ rights. Gov. Jerry Brown isn’t a massive cheerleader for the advisory measure, either. He opted not to sign it, pointing out that the Legislature had already approved a resolution asking Congress to convene a constitutional convention to overturn the decision.

He added that the state should not “make it a habit to clutter our ballots with non-binding measures as citizens rightfully assume that their votes are meant to have legal effect.” The HJTA claim the measure is an attempt to increase voter participation in a a mostly mundane statewide election.

“It is very disappointing that the majority in the Legislature views the elections process as their personal plaything,” HJTA President Jon Coupal wrote in a biting statement.

Similarly, the Sacramento Bee wrote that the proposed ballot measure is “designed to lure more Democrats to the polls when legislators are trying to keep their seats.”

But the initiative’s supporters argue that it’s important to bring voters to the polls because citizens could use more of a voice. This argument is not so different than those who think political protests matter because they help voice public opposition and attract political attention. This measure just has a more legislative flavor than the typical street protest, and involves more taxpayers’ cash. But according to Michael Sutter, volunteer organizer for The Money Out Voters In Coalition, it would only cost voters two pennies at most.

“This is one of those issues where Californians know that this is wrong, want to do something about it, and feel that this is a very good way to have the national conversational in an unavoidable way,” Sutter said. “We can make big noise here in California.”

Since the Citizens United decision, cities around California have found comfort in voicing their disapproval through non-binding resolutions at the local level. In 2010, Richmond voted unanimously to support a resolution calling for a constitutional amendment to abolish corporate personhood, and two years later, San Franciscans followed suite, passing Proposition G with 81 percent of the vote.

Yet the Citizens United decision still stands, and the usefulness of such non-binding resolutions remains to be seen.

John Bonifaz, co-founder and president of Free Speech for the People, launched a national campaign opposing Citizens United right after the decision was made. Since then, 11 states have passed some kind of resolution announcing their support for overturning Citizens United.

“It was not a waste to have Montana voters vote on this kind of measure in 2012, nor to have Colorado voters vote on this measure in 2012,” Bonifaz told the Guardian. “This is a critically important measure for the future of our democracy. Are we going to become a nation where only the big money interests and corporations are able to be heard, or are we in fact going to reclaim a basic fundamental promise of government by and for the people?”

Non-binding measures rarely make an appearance on the California ballot. According to Sutter, the last time to come close was in 2007 when the State Senate passed a non-binding ballot measure asking voters if they supported withdrawal of troops in Iraq. “We only use these kinds of measures when national policy is directly at odds with the will of the California people,” Sutter said.

The Iraq ballot measure was promptly vetoed by then-Gov. Arnold Schwarzenegger. Critics condemned its usefulness; after all, how could California opposition bring the troops home? And now, how can opposition in California to outrageous campaign contribution help level the political playing field?

The truth is that maybe it won’t.

“By allowing SB 1272 to become law without my signature, it is my intention to signal that I am not inclined to repeat this practice of seeking advisory opinions from the voters,” Brown stated.

But Sutter thinks his attitude is the problem, and that maybe political figures should consider seeking voter feedback more often. “Jerry Brown has a problem with the concept of the people advising their representatives, and that’s an attitude I have a problem with,” she said.

Prop. 49 might not change the Citizens United Decision, but — if it survives the lawsuit — it will make it apparent that a whole lot of California voters want the court decision overturned. The question is whether or not those in power care what people think.

Here are some things that happen when you interview hip-hop legend Biz Markie during a promotional celebrity appearance at an A’s game

Steven T. Jones

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July 25, 2014

4

Tonight’s game starts at 7:05, at which point Biz Markie, the “clown prince of hip-hop,” most famous for his hit sing-songy single “Just a Friend,” off the 1989 album The Biz Never Sleeps, will be throwing out the first pitch against the Houston Astros.

This particular game, the evening of July 23, also falls on the A’s 15th annual Root Beer Float Day, a beloved tradition that raises money for the Juvenile Diabetes Research Foundation by having A’s players, coaches, announcers, the staffs of several radio stations, and celebs of various stature (Real World cast members) scoop and serve root beer floats at $2 each for two hours before the first pitch.

As for how it came to be that a diabetes-related charity event revolves around a soda and ice cream-based dessert — surely there’s an explanation. Resolve to look into this later.

This annual dessert appreciation is normally scheduled for a day game and takes place outside. Tonight’s, by contrast, is held in a long, balloon-strewn indoor corridor, and by 6pm, navigating the packed, echoing concrete space has become difficult, especially near the most coveted root beer float stations: Jose Canseco and Biz Markie.

Biz Markie is here in an official capacity as a spokesperson for Zevia, a “zero-calorie soda” made with stevia, which explains why he’s posing for photos and signing autographs in front of a Zevia banner, while staffers (plus A’s pitcher Jeff Samardzija) scoop ice cream and pour cans of Zevia, in addition to root beer, behind him. Zevia has joined A&W as an official soda donor for the evening. A small sampling of Zevia flavors: Cream Soda, Mountain Zevia, Dr. Zevia.

.@BizMarkie and Samardzija got what you need…root beer floats. pic.twitter.com/kzA2EvxNGz

— Oakland Athletics (@Athletics) July 24, 2014

Biz Markie, dressed in a personalized A’s jersey and A’s cap with a heavy-looking gold chain around his neck that reads “Biz,” seems a little overwhelmed by it all. He turned 50 in April. He’s been on his feet all day; there was some promotional KPIX event in the city before this. The line to pose with him — made up of everyone from small children who know Biz Markie from his stints on the feverishly popular Nickelodeon show Yo Gabba Gabba! (he toured with the live stage version in 2013) to dudes who are also in their 50s — snakes around a metal barrier, with no end in sight. The decision is made that the line should be cut off at some point. You were supposed to grab him for 10 minutes during this portion of the evening, but instead suggest that maybe it would be better if you met up during the game, after this is over and he can relax a little?

At 6:30, the entire event has run out of cups. Plenty of ice cream and root beer left on almost all the tables, but the pseudo-celeb scoopers can’t give you any unless you bring your own receptacle. Witness one man scooping ice cream carefully into a plastic water bottle.

At 7:05 Biz Markie takes the mound for the first pitch. It is not good. It’s not 50 Cent-bad — the ball makes it to the plate — but it’s not good either, veering upward, slowly, in a high arc. At the view reserve-level bar inside the stadium, there’s a low, wincing “oooh,” from several patrons.

Sometime during the third inning, one of the Zevia people, who have flown up from LA to manage Biz’s appearances and who are all unfailingly fresh-faced and friendly, texts you that it’d be a good time to come to the suite. Two innings and one and a half beers later, you make it there. The suite is filled with Zevia people and their kids and wives, plus Biz and his cousin, the producer and DJ Cool-V, who co-produced several of Biz’s albums. There’s pizza and popcorn and beer and Zevia. You are encouraged to sit down next to Biz. He has just finished eating.

“Do we have those toothpicks?” he asks Cool-V. “Nah, we left them back at the hotel,” Cool-V replies. Biz starts going at his teeth with a silver-colored plastic fork. Someone comes by to check his wireless mic; he’ll be singing “Take Me Out to the Ballgame” during the 7th inning stretch. Biz checks his phone and has an email about his flight to San Diego tomorrow.

You: What’s happening in San Diego?

Biz: Comic Con. I have a song in the movie The Book of Life. So I’m singing “Just a Friend.” With Channing Tatum.

You: You’re singing “Just a Friend” with Channing Tatum?

Biz: (Nods.)

You: Is it funny to you that there’s this age gap, where little kids know you from being on children’s television, and people over a certain age know you from being, you know, you?

Biz: (Laughs.) I mean…I’ve always liked to do stuff with kids, play with little kids. Not in the Michael Jackson way, though. The normal way.

The way he met up with the Zevia people is as follows: He was on the Yo Gabba Gabba! set and got thirsty and didn’t want a regular soda, nor a diet soda. His co-star DJ Lance Rock handed him a Zevia, and he liked it. So he hooked up with them as a spokesperson. He’s been trying to live a healthier lifestyle in general; he’s lost more than 100 pounds since 2011.

You: So you actually really like it?

Biz: Oh yeah. I wouldn’t do it if I didn’t like it. I don’t do anything I don’t like.

You: Who’s your baseball team, normally? You’re from Long Island, yeah?

Biz: Yankees. A’s, Cincinnati Reds.

Zevia person: Could you wear that [A’s jersey] in New York?

Biz, suddenly animated: I wear whatever I want in New York. I can walk down the street wearing a dress and a wig in New York, if I want.

Cool-V: He did! He did an album cover with a dress and a wig.

Biz: I did. Like Madea, only I did that before Madea.

You: So you should get royalties from Tyler Perry, basically?

Biz: (Silence.)

A few minutes pass.

Biz, to no one in particular, gesturing at the glass panel through which we are viewing the game: Do you think I would hurt myself if I jumped from here?

Several people in the room: Yes.

It has come time for the 7th inning stretch. You are suddenly part of an entourage following Biz down to field level, where everyone waits while these terrifying new acid-trippy A’s All-Star “big head” mascots do their thing. “Is he leaving after this?” one of the Zevia people asks. “Yeah, he is,” confirms another Zevia person, also maybe confirming why Biz looks so amped for this part of the evening to take place.

You are going to be annoying now, but there’s no choice. He has three minutes of standing here left to kill and he’s not talking to anyone. In three minutes they’ll start blasting “Just a Friend” — which came out 25 years ago this October, and peaked at #9 on the Billboard charts — over the PA, as his entrance music, for the second time this evening. What must it be like, you wonder, to be a working entertainer, on the road half the time for 30 years, but still be introduced, always, with one kinda-jokey thing you did 25 years ago? Weird Al, whose career began in the early ’80s and who’s a regular on the county fair circuit, had an album hit #1 on the Billboard charts this week for the first time. How are their lives similar? How are they different? You realize you still haven’t tried any Zevia.

“So,” you say. “Do you have anything planned for the 25th anniversary of —”

“Of The Biz Never Sleeps?” he says, eyes on the field, then darting quickly over to you for half a second, then back to the field. “Yeah. I can’t say what it is. But you wait and see.”

Then he’s off to sing. He leaves, quickly, out a side door, after that — hopefully, contrary to his hit album title, to get some sleep.

But, as per his instructions, you’ll be waiting. We’ll be waiting, Biz. We will wait and see.

“How to Cook a Frog” at CounterPulse

Sue Vaughan

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July 25, 2014

1

What’s cooking?

You may well ask, as towering gourmand Julia Child (Annie Danger) appears at Counterpulse tonight and tomorrow, walking her studio audience through a classic recipe with a decidedly contemporary flavor.

If frog doesn’t sound like your thing, consider that we don’t always know we like something until we try it. Or consider the way this surveillance state being forced down your throat goes right to your ass. Or consider that Dalton Trumbo (following Emile Zola) once referred to his time (the time of McCarthy and other manifestations of totalitarian creep) as the Time of the Toad — an era in which maintaining indifference to the injustice and horror around you was tantamount to learning how to swallow a whole wet one each and every day.

The dough and the rolling pin! Julia is breaking it down. And Annie Danger — one of the city’s most fearless and unusual leavening agents — is cooking up a storm.

“How To Cook a Frog”

Fri/25-Sat/26, 8pm, free-$10 (sliding scale)

CounterPulse (new location!)

80 Turk, SF

Counterpulse.org; tickets here

The Rock gets mythological, ScarJo turns scary-smart, Woody’s tepid latest, PSH’s final role, and more: new movies!

Sue Vaughan

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July 25, 2014

0

The Rock gets mythological, ScarJo turns scary-smart, Woody’s tepid latest, PSH’s final role, and more: new movies!

In case you missed the cover of this week’s paper, the 34th San Francisco Jewish Film Festival kicked off last night and runs through Aug. 10 at an array of Bay Area venues. Get the whole schedule and info on tickets here; check out our commentary here and here.

From the glittering (and otherwise) land of Hollywood, a raft of new releases also await. Read on for reviews of Hercules, Lucy, Magic in the Moonlight, A Most Wanted Man, and more!

https://www.youtube.com/watch?v=QHFkp5IpKNo

And So It Goes It’s not hard to scope out what the draw might be here for gray foxes like Diane Keaton and Michael Douglas when it comes to this Rob Reiner effort. The woman who so winningly wrapped her vocal cords around “Seems Like Old Times” in Annie Hall (1977) was obviously diverted from her Pinterest duties by the opportunity to sing her heart out on screen again (accompanied on piano by Reiner, a sad comic side dish). Meanwhile, Douglas gets to play a self-absorbed boomer who’s making up for neglecting the next generation — namely his son, an incarcerated addict — in a role that gives off a strong whiff of autobiography. Douglas’s Oren is doing his half-assed penance by caring for his stranger of a granddaughter Sarah (Sterling Jerins), a chore that he not-so-nicely foists onto the Keaton’s Leah. His character and turnaround of sorts, burnished by the triumph of a successful real estate transaction, is as mundane and unconvincing as a half-hour sitcom pivot. The colorless characterization and lame dialogue can probably be primarily attributed to As Good as It Gets (1997) writer Mark Andrus, who seems to be recycling bits of the latter’s title as well as stale chunks from sundry romantic comedies — though considering the missed opportunities and overall weak soup of And So It Goes, Reiner also appears to be chipping away at whatever reputation he has acquired. Is this really the same Reiner who made This Is Spinal Tap back in 1984? (1:35) (Kimberly Chun)

The Fluffy Movie Concert movie starring stand-up sensation Gabriel Iglesias. (1:41)

https://www.youtube.com/watch?v=RUM3V8Yh1EU

Hercules Dwayne Johnson is imposingly large indeed as the demigod of fabled strength. Going the Lone Ranger (2013) route of being winky-wink cynical about “the legend” while eventually buying into it anyway, here Herc is really just a 4th-century BC mercenary probably fathered by some random dude (as opposed to god-of-gods Zeus), and who with his merry band of sidekicks goes around fighting against pirates, pillagers, and such. These gigs are taken “for the gold,” but you know this Hercules wouldn’t be down fighting good people on behalf of bad people. When he’s hired to lead the citizens of Lord Cotys (John Hurt) against marauding hordes of alleged centaurs and extreme-wrestling-type beardos with green makeup led by Rhesus (Tobias Santelmann), the plot advances toward the expected training montages and battle sequences. But the plot thickens only when our don’t-call-us-heroes heroes begin to suspect they might have been misled into playing for the wrong team. Relegating a mythology-based tale’s magical aspects to dream sequences and trickery (spoiler: those aren’t real centaurs!), this adaptation of Steve Moore’s graphic novel is way less Clash of the Titans (1981/2010) and much more in the straightforward action realm of Troy (2004) and 300 (2006). It’s big and handsome, like its star, though not so debonair — the pedestrian screenplay doesn’t let him have much fun, while the supporting players allowed to smirk and deliver generally lame quips aren’t much compensation. Directed by Brett Ratner, Hercules is not the campfest of unintentional hilarity some may have hoped for. Neither does it have the content originality or stylistic personality to be memorable. Instead, it’s just pretty decent late-summer entertainment: Probably worth it if you’re craving 98 painless air-conditioned minutes, possibly not if you could really use those 12 bucks or so elsewhere in your life. (1:39) (Dennis Harvey)

I Origins Sci-fi film about a heartbroken biologist (Michael Pitt) whose research leads him to some deeply metaphysical places. (1:53)

Land Ho! “Ex-brothers-in-law set off on a road trip through Iceland, hoping to reclaim their youth” — that’s the studio-supplied elevator description that does accurately describe Land Ho!, but the film is about so much more than that. Jocular Mitch (Earl Lynn Nelson) is fond of inappropriate jokes, smoking weed, and pushing boundaries, while more reserved Colin (Paul Eenhoorn of 2013’s This is Martin Bonner) is dealing with a recent divorce after enduring the death of his first wife. A spontaneous trip to Iceland, funded by Mitch (who’s going through a senior-life crisis of sorts), takes the pair to Reykjavik dance clubs, spectacular geysers, hot springs, and lonely rolling moors, all the while bantering about life and love (and getting into more than one stupid argument, as old friends do). Without really innovating on the road-movie genre, writer-directors Martha Stephens and Aaron Katz manage to avoid any cute-geezer clichés (for those interested, The Best Exotic Marigold Hotel 2 comes out next year) in this low-key, personality-driven tale, which aims to please with vintage American-indie charm. (1:35) (Cheryl Eddy)

https://www.youtube.com/watch?v=7kqq2eBvGTY

Lucy Eurotrash auteur Luc Besson’s latest is a mostly fun action fantasy about a party girl (Scarlett Johansson) who runs afoul of gangsters in Taipei and ends up with a leaking packet of futuristic drugs sewn into her shapely stomach. Side effects include super strength and supernatural intelligence — insert pseudo-science mumbo-jumbo about tapping into 100 percent of one’s woefully underused brainpower, etc. etc. — which leads to some satisfying scenes in which Johansson’s Lucy flattens a hallway of cops with a single gesture, or filters through every phone conversation in the Paris metro area to find the one guy she needs to eavesdrop on. She’s also able to beam herself into electronic devices, a nifty trick that convinces kindly scientist Morgan Freeman to help download her magnificently advanced intelligence into a kind of living computer (shades of 2013’s Her and Under the Skin, except this time ScarJo’s wearing a really great dress). South Korean weirdo/superstar Choi Min-sik (2003’s Oldboy; 2010’s I Saw the Devil) is an inspired choice to play the vengeful kingpin intent on tracking down his runaway mule, and Besson adds some arty flair via nature-show footage and Cosmos-esque clips from beyond the infinite — though the film’s Big Ideas wobble precariously amid its other, mostly silly elements. (1:29) (Cheryl Eddy)

Magic in the Moonlight Woody Allen’s latest — after last year’s vodka-drenched Cate Blanchett showcase Blue Jasmine — offers a return to period romance á la 2011 smash Midnight in Paris. Instead of Owen Wilson time-traveling through the artsy 1920s, we get winsome 1920s clairvoyant Sophie (Emma Stone, 25 years old) falling for the skeptic who’s sent to debunk her, played by Colin Firth (who’s 53). Firth’s performance is easily the best part of Magic in the Moonlight; his Stanley Crawford is a theatrical conjurer famed for his yellowface act, in which he solemnly makes elephants disappear. Off-stage, he’s a self-proclaimed genius regarded by most who meet him as a pompous jerkface. When he’s summoned to the South of France to help a longtime friend and fellow magician (Simon McBurney) prove that Sophie — from humble origins, she’s grown fond of high-society living — is hoodwinking the fancy American family that’s taken her in, nothing unfolds as he expects. The whole exercise is lighter than meringue; it’d be passable as lesser Allen except for that obvious, comically huge age gap between the leads. He knows we disapprove, and he does not care. Are you trolling us, Woody? (1:40) (Cheryl Eddy)

https://www.youtube.com/watch?v=cYORzJ3e-Og

A Most Wanted Man Director Anton Corbijn’s film may not be the greatest John le Carré adaptation in recent years (see: 2011’s Tinker Tailor Soldier Spy), but it’s still a solid thriller, anchored by Philip Seymour Hoffman’s turn as Günther Bachmann, the once-bitten-but-not-yet-shy head of an top-secret branch of Germany’s FBI/CIA equivalent. Its task: spying on Hamburg’s Islamic groups, where the 9/11 attacks were planned, though the enemies that Bachmann faces come mostly from within the greater intelligence community, including his superiors. Never before has the phrase “the Americans have taken an interest” been so chilling, especially to a guy who is just trying to do his job, if only everyone else (including Robin Wright as one of those meddling Americans) would keep their sticky mitts off his delicately planned surveillance operations. There’s a forward-moving plot, of course, about a Chechen-Russian illegal immigrant with a huge inheritance who might be a terrorist (Rachel McAdams plays his human-rights lawyer), but could also serve a greater purpose by helping bring down an even bigger target. And while A Most Wanted Man‘s twists and turns, involving Willem Dafoe as a banker who becomes a reluctant player in Bachmann’s scheme, are suspenseful, Hoffman’s portrayal of a man trapped in a constant maze of frustration — good intentions cut off at every turn, dumping booze into his morning coffee, breaking up a bar fight, ruefully admitting “I am a cave dweller,” visibly haunted by past errors — is the total package, a worthy final entry in a career that ended way too early. (2:02) (Cheryl Eddy)

SF voters to weigh in on Beach Chalet turf war

Sasha Cuttler

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July 24, 2014

80

SF voters to weigh in on Beach Chalet turf war

A city project that would install artificial turf and stadium lighting at the Beach Chalet soccer fields at the west end of Golden Gate Park has survived numerous challenges over the last four years, including appeals to the California Coastal Commision and the courts. But this November, San Francisco voters will have the final say.

A citizens’ initiative that would block the project this week qualified for the ballot after turning in more than 16,000 signatures, collected by the Coalition to Save Golden Gate Park. Yet city officials and supporters of the project — including the City Fields Foundation, which has been installing artificial turf on playing fields around the city in recent years — aren’t taking any chances, creating a rival measure sponsored by six members of the Board of Supervisors.

Not only would the supervisors’ measure invalidate the citizens’ initiative if it gets more votes — it contains a so-called poison pill, an increasingly common electoral tactic — but it would make it more difficult to challenge future trail, playground, and playing field projects that would increase the number of users by 50 percent or more.
“We think it’s a terrible measure that disenfranchises voters all over the city,” Jean Barish, a spokesperson for the Coalition to Protect Golden Gate Park, told the Guardian. “It would give the Recreation and Park Department a lot more authority than they have now.”

Patrick Hannan, a spokesperson for the City Fields Foundation, worked with supervisors on the rival measure and he denies that it would limit citizens’ rights to challenge future projects.

“The legislation in no way curtails any kind of appeals process,” Hannan said. “It says you can’t pass a law to stop projects from going forward after they’ve been approved.”

But Hannan couldn’t cite any examples of approved projects being later stopped by legislation, and the vaguely worded measure doesn’t make clear whether it would preclude citizens from challenging approved projects by initiative or referendum.

Mike Murphy, the official proponent behind the iniative that seeks to stop the Beach Chalet project, said the intent of the supervisors’ measure seems to be to limit the public’s right to challenge artificial turf projects, which the city measure explicitly said city bodies “shall approve” if they increase playing time and have an approved environmental impact report.

He called on the supervisors sponsoring the measure — Sups. David Chiu, Eric Mar, Mark Farrell, Katy Tang, Scott Wiener, and London Breed — to remove their names before next week’s electoral deadline.

“This is a highly politicized issue and it always has been,” Murphy said. “We need to refocus the debate not on why [the city needs more playing fields] but on what’s being done at this site.”

Opponents of the Beach Chalet project say articificial turf can be toxic and unhealthy and that it shouldn’t replace natural grass. But supporters of this and other artificial turf projects say that they substantially increase the available playing time on fields that are desperately need to keep up with demand, particularly by youth sports.

“Artificial turf is safe and this project is cleared to proceed,” Hannan said. “The question is whether the city wants to give more kids more fields they can use.”

He cited studies showing that because the artificial turf his group has installed on city-owned fields since 2011, available playing time on fields has increased by 30 percent: “That’s a direct result of our project.”

And now, voters will get their chance to weigh in on this ongoing, highly charged turf war.

Smart Bomb goes off in Oakland

Steven T. Jones

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July 24, 2014

0

By Micah Dubreuil

As a child, you imagine your toys come to life whenever your back is turned. As an adult in the Bay Area, you imagine that every night you choose to stay in, the bars are all packed with experimental underground DJs, food carts, live visual artists and the kind of freaky electronic jazz you would see in a Blade Runner spinoff series. And yet when you do turn around — at either age — your dreams often fall short (if your toys ever did come to life, please let us know).

This is not the case at Smart Bomb, a bi-monthly multimedia showcase at the Legionnaire Saloon in downtown Oakland; the next edition is this Saturday, July 26. Centered on the East Bay beat scene, the night is a multi-layered affair in every sense: local food outside, fringe producers, controllerists, and DJs downstairs, out-of-the-box grooving live acts upstairs. Here you might find a homemade synthesizer or heavily effected saxophone wailing the night away while a painter furiously creates an accompanying visual spectacle. It’s a creative assault on every sensory input, in the best possible way.

Smart Bomb is the brainchild of the band Secret Sidewalk, which is itself a microcosm of the Smart Bomb smorgasbord: a collection of electronic and acoustic musicians arranged around beat music with backgrounds in turntablism, hip hop, DIY synthesis, and jazz.

“We’re a band, yes, but we’re a collective,” says saxophonist Marcus Stephens, of the collaborative artistic community the band has built. Any night might feature a solo performance or duo experimentation as well as the full group’s mainstay set. (This weekend’s event coincides with and celebrates the release of Secret Sidewalk’s new 7” vinyl single “Cholo Curls” on CB Records.)

In addition to the ever-changing cast of local performers, Smart Bomb regularly features guests from both the local and national scene, including heavy-hitters such as the Broun Felinis, rapper Kool A.D. (from Das Racist), and Dibia$e. “We wanted to invite other performers and artists as well — MCs and a few live bands that are on our same wavelength in terms of progressive music,” says Stephens. At their last event, Phesto Dee — from the seminal Oakland hip-hop groups Heiroglyphics and Souls of Mischief — performed a solo set with Secret Sidewalk as the backing band, an arrangement of MC and experimental beat ensemble that neither had ever explored before.

Even with the event’s avant-garde leanings, the experience is decidedly unpretentious; Stephens says they reliably get a positive response from a super diverse room full of people. “We always seem to get a warm crowd — a lot of musicians, a lot of artists, a lot of curious mofos who want to see what the buzz is about.”

SMART BOMB (w/ record release for Secret Sidewalk)

Sat/26, 9pm-2am, $5

Legionnaire Saloon

2722 Telegraph, Oakl.

www.legionnairesaloon.com

Twitter releases diversity figures: mostly white, mostly male

Erica Hanna

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July 23, 2014

50

Twitter releases diversity figures: mostly white, mostly male

Surprise, shock, flabbergasting awe — these are all completely invalid responses to Twitter’s revelation of its diversity figures, which the disruptive San Francisco tech company released today (in a tweet, of course).

Twitter divided its diversity statistics into three categories: tech, non-tech, and leadership. Guess which area had the most white folks? If you guessed tech, you get a (vanilla) cookie.

Twitter’s tech employees are 90 percent male. Its ethnic figures are more diverse: their tech employees are 58 percent white and 34 percent Asian. Just 1 percent of Twitter’s tech-oriented employees are African American, and 3 percent are Latino.

In a blog post by VP of Diversity and Inclusion Janet Van Huysse, the company admits it has a long way to go:

…we are joining some peer companies by sharing our ethnic and gender diversity data. And like our peers, we have a lot of work to do.”

“It makes good business sense that Twitter employees are representative of the vast and varied backgrounds of our users around the world. We also know that it makes good business sense to be more diverse as a workforce – research shows that more diverse teams make better decisions, and companies with women in leadership roles produce better financial results. But we want to be more than a good business; we want to be a business that we are proud of.

We are keenly aware that Twitter is part of an industry that is marked by dramatic imbalances in diversity — and we are no exception.

By becoming more transparent with our employee data, open in dialogue throughout the company and rigorous in our recruiting, hiring and promotion practices, we are making diversity an important business issue for ourselves.

Twitter is not the only tech company to struggle with its diversity, and it joins Google, Facebook, LinkedIn and Yahoo in self-reporting its diversity data. In her blog post, Van Huysse points to many efforts made by Twitter to help build a better education pipeline to the tech industry. The number of women and underrepresented (African American and Latino) minorities obtaining Computer Science degrees pales in comparison to their white and male counterparts, a widely recognized problem.

As the Guardian revealed, the San Francisco Unified School District is working on integrating computer science courses into all of its high schools. SFUSD Board of Education commissioner Matt Haney said he’d love to talk about establishing a jobs pipeline established between SFUSD (which is highly diverse) and Twitter (which isn’t).

“If they partnered with SFUSD and other local school districts… in a serious, strategic way, we could go a long way in immediately expanding acccess and diversity in their workforce,” Haney said. “I’d love to see the numbers on how many of their workers are SF public school graduates.”

The education pipeline is oft-mentioned in diversity discussions. But less talked about is Silicon Valley’s pervasive “bro” culture, rife with subtle racism and misogyny that pushes out the small number of minorities who make it in. A study of start-ups by an East Bay nonprofit, the Level Playing Field Institute, addressed this head on.

As we reported in our cover story last week “The Age of the Brogrammer,” LPFI surveyed more than 645 engineers, and found underrepresented people of color (Latinos and African Americans), and women were more likely to encounter exclusionary cliques, unwanted sexual teasing, bullying, and homophobic jokes.

Twitter’s diversity figures, by ethnicity. Graphic via Twitter.

The study’s authors also found that white men were the most likely to believe that diversity was not a problem that needed addressing in the tech sector.

This may be because the problem is much harder for people of privilige to detect. As Kate Losse points out in her piece, “Speculum of the Other Brogrammer,” this pervasive racism and sexism is often much more subtle (and insidious) than say, the “Titstare” gaffe at TechCrunch Disrupt.

LPFI isn’t the only one to point this out. In this article on Slate, an Asian tech worker talks about reverse-bias: people assumed, since he was Asian, that he knew how to program (spoiler: he didn’t). And in this article, an African American man recounts the racism he faced at a tech company. And in this piece, a tech engineer explains how bias pervades the hiring process at many startups.

Yes, the education pipeline to Silicon Valley needs fixing. But as many have shown, Silicon Valley itself needs fixing too.

Building a Twitter we can be proud of – here’s our diversity data to date. https://t.co/Xw2ktU5QQk

— Twitter (@twitter) July 23, 2014

Carletta Sue Kay on strip clubs, literature, and dumpster-diving after art exhibits

Steven T. Jones

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July 23, 2014

6

Carletta Sue Kay on strip clubs, literature, and dumpster-diving after art exhibits

Not long after I sat down with Randy Walker, the male, non-performing ego of one of San Francisco’s most undefinable musical acts, vocal powerhouse Carletta Sue Kay (who performs at The Chapel this Fri/25), we talked a bit about college. Walker asked me the prerequisite questions about the social scene and my major, perking up at the sound of a humanities-centric discipline. I asked if he’d done the whole college thing. Walker chuckled, a glint in his eye, and said he had. “I went to Redlands College but didn’t graduate. Started out in Theater Arts, ended up switching over to English…but what are you really going to do with an English degree?”

As the conversation continued, however, Walker’s dismissal of the formal literary arts became increasingly incongruous with his mastery of language, the modern canon (from David Foster Wallace to Elizabeth McCracken), and allusion in his performances. The singer, whose music is a deft blend of Joplin-esque blues and far more cerebral and melodic existential examination, is anything but simplistic. As Walker’s mind opened up, we twisted and turned through a deliciously intellectual and sordid discourse about strip clubs, eccentric cousins, and the Swiss conceptual artist Thomas Hirschhorn. By the time we left the coffee shop, me with Carletta Sue Kay’s debut album Incongruent in hand, it was clear that Walker and his alter ego were far more complex (and hilarious) than the average wigged, pastichy, four octave-ranged singer-songwriter.

Carletta is a real person, says Walker. So was Walker’s last singing character, a plastic surgery-obsessed Belgian who Walker often presented with a variety of gauze pads and other bandages preferred by convalescents of cosmetic procedures. Both Carletta and the Belgian are Walker’s cousins (his last project was called Mon Cousin Belge). “While I was doing Mon Cousin Belge, I was writing songs at home that I thought needed to be sung by a girl. I thought, ‘I’m going to find some great female singers to record this stuff.’ But then I thought, ‘Hold on…’”

Carletta Sue Kay, Walker’s eccentric, ex-criminal cousin, was an ideal persona that he could put on to present his new works. “Carletta is a very troubled girl. She was involved with a guy and became very obsessed with him. She found out that this guy was sleeping with another girl and constructed a pipe bomb with the intent of killing him in his apartment.” Walker, clearly embracing the macabre underpinnings of the story, smiled and spoke with a bounce in his tone as he recounted her his cousin’s homicidal urges. “Well, they busted her and she went to prison. So the band became Carletta Sue Kay.” The more sorrowful of the band’s songs, which often focus on lost love and sadness, evoke the woeful tale. Now a free woman, the real Carletta has never agreed to see a performance by the band. “She’s completely chill with it. She’s a funny girl.”

The band’s inaugural performance is just as legendary as its naming. Mon Cousin Belge needed an opening act for a headlining gig at Bottom of the Hill, so Walker decided to unveil his new group. He crafted a Grecian arch, covered it in autumn leaves, sprayed it with glitter, and enlisted his friend, artist Greg Gardner, to create a cartoon rendering of his burgeoning alter ego on a piece of fabric curtain that hung down from the arch. “He drew a big fat naked girl. Her nipples were painted with pink glitter. They do the intro music (strum, strum) and I pull the curtain up to reveal myself standing there. The birth of Carletta!”

Throughout his contextualization of Carletta, Walker dropped hilarious one-liners and unexpected anecdotes about culture. I wasn’t surprised to hear The Magnetic Fields’ frontman Stephin Merritt’s name come up a few times, as Carletta Sue Kay has provided back-up vocals for several songs by the group. More surprising, however, was Walker’s invocation of Stephen Sondheim as a primary influence. And when a shirtless, seemingly inebriated man with an unruly mullet danced by in the front window of the café, Walker looked up and, without missing a beat, said, in questionably PC fashion, “It’s a character out of a James Fenimore Cooper book!”

While Walker sprinkled our conversation with bands, authors, and artists, his charisma was not so much in his prolific knowledge of and interaction with the art world, but rather how he used his experiences as a means of telling remarkably funny and compelling stories. In one such story, Walker told of his love for Thomas Hirschhorn’s installation “Utopia, Utopia = One World, One War, One Army, One Dress.”

The exhibit, which showed at the CCA Wattis Instiute of Art a few years back, included juxtapositions of camouflage wear in fashion and the military alongside globes with small camo-tinged tumors growing on them. “After the exhibition ended, they were tossing 80 percent of the work into the trash. So we’re like…dumpster dive!” After snatching nine of the globes used in the exhibition, Walker began to sell them off. “It’s ephemeral,” Walker retorted when I suggested that he was dealing in the conceptual art black market.

Walker informs his new songs, which he’s collecting for an upcoming record called Monsters (much of which he will sing on Friday), with a similarly diverse range of artistic interests as his stories. “It’s influenced by Hammer classic horror films — Creature from the Black Lagoon — anywhere from comical to kitschy, but always with a dark theme. But then it’s going to mixed with a lot of genuine sadness.” Stylistically, Carletta Sue Kay continues to move towards more piano-heavy, lyrical wandering in comparison to the high-octane blues of its initial incarnation. Walker is seemingly aiming, both in his tales and his music, for the intersection between poking fun at cultural elements and emotionally engaging with their deeper messages.

How we ended up talking about strip clubs I may never know (and I have a complete recording of the conversation). Seemingly, it branched out of a conversation about Walker’s boyhood home, Fontana, Calif., which he cited for its high methamphetamine rates and large Pentacostal population. Before we knew it, however, we were talking about a wide range of California strip clubs, from the sketchier SoCal ones that he saw as a younger man and more upscale ones like Mitchell Brothers. Walker, who is gay and has been with his partner for more than 20 years, goes with his straight friends seemingly as a means of understanding the culture and to have fun. His stories, however, soon entered surreal realms of aggressive strippers, extreme money-spending binges by his friends, and abstract deconstruction of the vibes inside various clubs.

Whatever the reason for the digression, it perfectly captured Walker’s unabashedly entertaining form of communication — simultaneously intellectual, pulpy, and laugh-out-loud funny. For a man with such powerful personae, Randy Walker is wholly himself.

CARLETTA SUE KAY

With The Dead Ships and Titan Ups

The Chapel

777 Valencia, SF

www.thechapelsf.com

Will San Francisco voters give Muni more money to serve a growing population?

Sasha Cuttler

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July 23, 2014

56

Will San Francisco voters give Muni more money to serve a growing population?

Beating up on Muni and the San Francisco Municipal Transportation Agency is a perennial pastime for many San Franciscans, who will be given the opportunity to put their money where their mouths are this November. Will they be willing to give Muni the money it needs to serve its growing ridership, even at the cost of other city programs and priorities?

The Board of Supervisors yesterday [Tues/22] voted narrowly to place Sup. Scott Wiener’s Muni funding measure on the fall ballot. It would increase General Fund contributions to the SFMTA as the city population increase, retroactive back to 2003 when the current rate was set, giving the agency an immediate $20-25 million boost to serve the roughly 85,000 new residents the city has added since then.

“For too long City Hall has been slow to prioritize transit funding,” Wiener said in a press release. “We are a growing city, and we need to take firm steps to ensure that our transportation system keeps up with that growth. Improving transit reliability and capacity and making our streets safer are key to that goal.”

While everyone says they support Muni — even David Looman, the proponent behind the Restore Transportation Balance initiative that seeks more SFMTA funding for cars, which will also appear on that ballot — Wiener has been the rare strong advocate locally for actually giving the agency more money.

Mayor Ed Lee created a $10 million hole in the SFMTA budget by demanding the repeal of charging for parking meters on Sunday this year, and then he dropped his support for a local increase in the vehicle license fee this year, prompting Wiener to introduce his Muni funding measure, which the mayor would have the authority to terminate if voters approve a VLF increase in 2016.

A $500 million general obligation bond transportation measure backed by Lee and the full Board of Supervisors will also appear on the November ballot, but it will go mostly to cover Muni’s capital needs, not the growing demands on its operating budget.

Wiener’s Muni funding measure yesterday barely got the six votes this charter amendment needed to qualify for the ballot: those of Wiener and Sups. London Breed, David Campos, David Chiu, Malia Cohen, and Jane Kim (Sup. John Avalos was absent).

In recent years, there’s been a rift in the city’s progressive coalition between environmental and transportation activists on one side and affordable housing advocates on the other, who sometimes battle over city funding they see as a zero sum game. So it will be interesting to watch how the politics surrounding this measure shape up going into the fall campaign season.

More reviews from the SF Jewish Film Festival

Sue Vaughan

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July 23, 2014

30

If Instagram is anything to go by (read: it’s not), anyone can make a short film — just slap a filter on it and call it a day! Thankfully, the protagonists in Anywhere Else and Swim Little Fish Swim, two films featured in the 38th annual San Francisco Jewish Film Festival, work on creative projects that can pull their own weight — sans filters — even if the length exceeds 15 seconds from the sidelines. Short DIY clips, not integral to the plotlines, are interspersed throughout of each film and are a breath of fresh air, even if the overall film itself is a hit or a miss.

https://www.youtube.com/watch?v=ynif8W-sto8

If you’re lucky enough to call yourself multilingual, you may have noticed that your personality seems to change when you speak in a different language (level of inebriation aside). With all these factors in mind, the odds of being misunderstood by others increase. This very notion permeates Anywhere Else, Ester Amrami’s first film — literally, as Noa (Neta Riskin), an Israeli graduate student in Berlin, gets her video project (documenting explanations of rich, untranslatable words in foreign languages) shot down by her advisor.

Viewers, intrigued by linguistics or not, will have no trouble following the intricacies that accompany dialogue in the film, whether it’s in German, Hebrew, Yiddish, or English. At the same time, Noa unsuccessfully yearns for the security of “home” in both Germany and Israel. An impromptu trip back to Israel doesn’t help much, especially when her boyfriend Jörg (Golo Euler) visits. The film also tackles weighty issues such as disapproval of Noa and Jörg’s relationship (Noa’s grandmother lost her entire family in the Holocaust) and Noa’s brother’s unease about being a member of the Israeli army.

Contrary to what Noa’s advisor thinks, untranslatable words are perfectly fine — who’s to say that the simple word “home” is sufficient enough to express the complex feeling of belonging? Anywhere Else ultimately and sentimentally proves that complicated problems don’t need complicated solutions.

At first glance, it’s a bit comforting to see that neither Swim Little Fish Swim‘s Leeward (Dustin Guy Defa) nor Lilas (Lola Bessis) have been hardened by the cynical realities of adult life. Leeward is a stay-at-home dad who entertains himself by jamming out on his toddler’s toys, while Lilas is a budding French artist on the brink of her twenties who crashes on Leeward’s couch in the dwindling days before her visa expires. While it initially seems as though Leeward still looks at the world in childlike wonder, the rose-colored glasses quickly shatter, and he becomes a hopelessly useless, naïve man and by far, the most annoying character in the film. The only thing his wife Mary (Brooke Bloom) can count on him to do is shirk his financial responsibilities.

All in all, the sickeningly saccharine film is far too twee, distracting the viewer when Leeward and Lilas finally encounter adult life’s setbacks head-on. It’s stereotypically cute: The film is set in New York, Leeward insists on the hipster kid name “Rainbow” for his daughter instead of “Maggie,” Lilas totes around an old film camera that must be twice her age to record her new friends’ seemingly profound confessions, and Leeward struggles to avoid selling out as a musician. However, if you can muster through all of that, the Swim‘s ending is moderately satisfying, even if it is somewhat predictable.

SAN FRANCISCO JEWISH FILM FESTIVAL

July 24-Aug. 10, most shows $10-$14

Various Bay Area venues

www.sfjff.org

Photo Gallery: Graffiti artists tagging in the sunshine at Precita Park

Erica Hanna

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July 22, 2014

1

Photo Gallery: Graffiti artists tagging in the sunshine at Precita Park

Normally the sound of 20 or so artists rattling and spraying aerosol cans would be quickly followed by the sound of sirens. But Sat/19 the fades went up with gusto.

Artists tagged free standing art boards at Precita Park for the Urban Youth Arts Festival, an event that brings the ultimate underground art into a safe space. Attendees munched on burgers and listened to some good tunes at the festival, which is now in its 18th year.

Many of the street style murals paid homage to the Bay Area, from SF to Oakland. “We’re showing our love to the aesthetic of the community,” Xavier Schmidt, a 25-year-old organizer of the event and SF native, told us. One muralist hand painted a robot adorned in SF Giants and 49ers gear punching out a Google Glass-wearing Godzilla.

“We’ve been doing this since 1987,” Schmidt said, speaking to the event’s roots. Even the event’s hosts, the Precita Eyes Muralists Association, have deep SF bonafides: they’ve been around since 1977.

“This is for solidarity, for community,” he said. “It’s a family event.”

Kids sprayed paint and played, adults kicked back and kvetched about youngsters, SF natives complained about tech employees, and many chowed down on burgers, hot dogs, and veggies donated by the local YMCA. Local musicians A-1 and Hazel Rose came out to play too, adding the head-banging element to the day. We’ve embedded one of A-1’s tracks below. Consider it your photo gallery soundtrack.

Names of the artists have been withheld because callin’ them out on the internet would be wack. All photos by Joe Fitzgerald Rodriguez.

https://www.youtube.com/watch?v=YKpwI4aRAzM

This dude’s head was bangin’ as he sprayed. We’re not sure how he managed to make it look so good.

This kid was super into it, which was hilarious.

A San Francisco robot takes down a Google Glass wearing tech-zilla.

Hazel Rose performed a bombastic set that the crowd, below, felt all sorts of love for.

Oakland got plenty of love too.

Xavier Schmidt, one of the event’s organizers, said this high schooler is a real up and comer in the graffiti scene.

alienexperience

Some of the art boards were for everyone to paint, leading to some dooby-ous results. (Get it? Ha!)

homer

Mmmm, donuts.

puppy

Why Brian Wilson’s next album will probably be a masterpiece

Steven T. Jones

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July 22, 2014

45

Why Brian Wilson’s next album will probably be a masterpiece

The name “Beach Boys” can refer to either of two bands. The first is the happy-go-lucky surf rock band that does songs about cars and California, led by the conservative Mike Love; the second is one of the most audacious and avant-garde bands of the psychedelic era, led by the mad Zen master Brian Wilson. Though most of the music-listening world knows them primarily as the former, the latter has proven far more influential, pushing the Beatles’ creativity to breaking point out of rivalry as well as serving as a major touchstone for the last decade or so of indie rock.

This latter influence, coinciding with Wilson’s 2004 solo revival of his aborted 1967 album Smile, has allowed the psychedelic Beach Boys to enjoy a greater cultural standing among a younger, hipper generation. Wilson’s reunion with Smile lyricist Van Dyke Parks on 2008’s That Lucky Old Sun was much-hyped by the music press; their previous collaboration, 1995’s Orange Crate Art, was barely even noticed by critics or audiences. Audiences want another psychedelic masterwork from Brian Wilson. And I would be unsurprised if he made one — in fact, I would be surprised if he didn’t.

There’s no doubt he still has the capacity to make music every bit as beautiful and daring as the pocket symphonies that graced Pet Sounds and Smile. The Wilson-written suite that ends the 2012 Beach Boys album That’s Why God Made The Radio is nearly as good as the one that ended Surf’s Up more than 40 years prior. And the version of “Live Let Live” Wilson recorded for the post-March Of The Penguins cash-in An Arctic Tale contains some of the most gorgeous backing vocals I’ve heard on any song, Wilson-penned or otherwise.

Since the 2004 solo Smile, Brian’s released a Christmas album, two covers albums, and That Lucky Old Sun. The latter is the only true Wilson album among these, and its song-cycle structure and bursts of experimental caprice make it undoubtedly the progeny of Smile. But its flaws are common to many, if not most, latter-day albums by aging rock stars. His vocals haven’t aged well; the production is sterile; he makes a lot of ill-advised tributes to the music and culture of his childhood (sample line: “Every girl’s the next Marilyn/every guy Errol Flynn”). There’s a strong sense he’s pandering to the crowd who grew up on “Surfin’ U.S.A.” (or God help us, “Kokomo”), and he tempers his far-out tendencies accordingly.

But two events have happened since the release that should encourage Wilson to let his creative energy loose. The first is the 2011 release of The Smile Sessions, a collection of incomplete Smile takes that’s the closest we’ll likely ever get to hearing the finished album. The second is the release of That’s Why God Made The Radio, purportedly the final Beach Boys album and universally acclaimed for the Wilson songs but nothing else. Without the commitment of The Beach Boys, Wilson never needs to write another song about cars and girls again; if he does, it’s up to choice. His fanbase is shifting from older nostalgics to younger music nerds, and it would be advisable for him to target that audience.

Wilson’s currently working on his first new album since the release of The Smile Sessions. It appears to be a collaborative effort; Lana Del Rey, Kacey Musgraves, Zooey Deschanel, and Frank Ocean are all slated to appear on it. All of these artists but Musgraves are Los Angelenos, and Del Rey and Ocean explicitly tap into L.A. mythology in their music. The melancholy those latter two artists bring to their portrayal of the City of Angels is very much in line with the wistful nostalgia of Wilson’s best recent work.

They’re also artists more in line with the indie world — the world that eats up Wilson’s poignant Pet Sounds-era work and disavows anything with even the most casual reference to surfing. They’ve more likely signed on to work with the man who made those great Sixties albums. And if they end up having any influence beyond merely contributing vocals, they’ll likely skew the album in that direction. If not, it’s still promising that Wilson would choose to work with these artists in the first place. It would be his first attempt to market himself to a younger audience since he loaded up Love You with synths back in 1977. And so far, he’s looking in the right place.

The current incarnation of the Beach Boys (sans Wilson, Al Jardine, and David Marks) play the Mountain Winery on August 1. Wilson’s new album does not yet have a release date, but much of it is complete according to Rolling Stone.

SF and UC systems dragging their feet on fossil fuel divestment

Sasha Cuttler

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July 22, 2014

56

SF and UC systems dragging their feet on fossil fuel divestment

The San Francisco Employees’ Retirement System and University of California Board of Regents — two local entities targeted by campaigns urging them to divest of their fossil fuel investments — remain resistant to the change despite official statements of support.

In April of last year, the San Francisco Board of Supervisors voted to push SFERS to divest from fossil fuels. Now, more than a year later, sponsoring Sup. John Avalos questioned Mayor Ed Lee during the July 15 Board of Supervisors meeting about what needs to happen to move toward divestment. Groups such as Fossil Free SF and 350 SF are asking the same question since the issue of climate change is nearing a critical threshold.

Kimberly Pikul and Jed Holtzman of 350 SF told the Guardian that now is the time for action. “There is only so much carbon that we can release before we cook the planet beyond a level to which we can adapt,” Holtzman told the Guardian.

Pikul and Holtzman explained that carbon reserves owned by publicly traded fossil fuel companies represent five times what would be required to “cook the planet.” Only 20 percent of owned reserves can actually be used without massive environmental consequences, so they say stock in a fossil fuel companies is overvalued, making it a risky investment.

“To protect the long-term financial health of the pension fund and the benefits of city workers and retirees, it is a certainty that SFERS needs to divest from its fossil fuel holdings,” said Holtzman.

Despite the unstable investments and risk of environmental change, Mayor Lee seemed more concerned with jobs and green projects when Avalos questioned him about the Retirement Board’s progress at the Board of Supervisors meeting.

Lee told Avalos: “Our commitment of $4.5 million a year to GoSolarSF will continue to create local green collar jobs and … contribute [to] the creation of locally produced 100 percent green energy. These are the kinds of meaningful investments that actually deploy dollars, create jobs, and move the needle on green energy.”

Despite SF’s support of green jobs, Avalos, Fossil Free UC and 350 SF see divestment as one of the pathways toward long-term environmental change and more sustainable energy projects.

But, as Avalos pointed out, the Retirement Board has “yet to take any steps to divest from fossil fuels or limit the retirement fund’s exposure to the financial risks posed by climate change.”

The only step taken so far is to initiate “Level 1” shareholder engagement with fossil fuel companies. Pikul and Holtzman explained that Level 1 engagement “is largely cosmetic and only calls for SFERS to vote their proxies on climate-related shareholder votes.” The next step is Level 2: shareholder advocacy and engagement with fossil fuel companies. The ideal is Level 3, or investment restriction/divestment.

SF isn’t the only city to seek divestment. Oakland and Berkeley are also pursuing the cause, as are Portland and Seattle. The University of California has also been deliberating the issue and plans to vote on divestment in September.

But the UC Board of Regents seems skeptical, despite the push from students. UC President Janet Napolitano told the Daily Bruin, “Using divestment as a tool is something that should be done rarely, if at all.”

An open letter from faculty to the UC Regents, posted on Fossil Free UC’s website, bases the argument for divestment on students’ well-being: “Current students will be at the peak of life in 2050, identified by numerous studies as a point at which the global community will have either adequately responded to climate change, or will be suffering horribly from it.”

When Harvard rejected divestment in 2013, University President Drew Faust told the San Francisco Chronicle that she found “a troubling inconsistency in the notion that, as an investor, we should boycott a whole class of companies at the same time that, as individuals and as a community, we are extensively relying on those companies’ products and services for so much of what we do every day.”

Stanford University had a similar dependence issue, which is why it compromised by divesting from coal companies, instead of all fossil fuel companies. Before divestment, the university received $19 billion from coal-related investments, money that will now be invested in other things.

While the partial divestment is a step in the right direction, Fossil Free UC student organizer Silver Hannon said, in a press release following July 16 Regents meeting, “While partial divestment could stigmatize the dirtiest energy source, we need to see the Regents take a real leadership position on the issue by adopting a comprehensive fossil-free investment strategy.”

As for SF, Mayor Lee promises that divestment will happen after the Retirement Board has considered the consequences. Since there doesn’t seem to be a study currently underway, the best course of action is to keep Lee and other officials accountable for SF’s climate and clean energy goals, said Pukil and Holtzman.

Lee seems confident that SFERs will divest, even if the timeline is currently unclear.

“I know the commission does seriously consider the fiscal consequences of divestment, and sometimes they decide the benefits outweigh the costs,” Lee told the supervisors. “I trust the Retirement Board and staff to make the right decisions in this regard.”

Anti-Eviction Mapping Project highlights Urban Green’s record of displacement

Sasha Cuttler

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July 22, 2014

5

Anti-Eviction Mapping Project highlights Urban Green’s record of displacement

The Anti-Eviction Mapping Project’s latest creation illustrates the eviction history of Urban Green Investments, a San Francisco-based real estate company that was recently put in the spotlight with its controversial attempted eviction of 98-year-old Mary Elizabeth Phillips.

The Mapping Project’s graphic shows the properties owned by Urban Green and its affiliates, assets that number 385 units in more than 15 buildings. According to the Mapping Project, they have displaced “numerous tenants in the San Francisco Bay Area,” led by the efforts of CEO David McCloskey.

“The Anti-Eviction Mapping Project created this map to expose how large and interconnected the Urban Green and McCloskey network is,” said Erin McElroy of the Anti-Eviction Mapping Project. “We have been shocked at how many tenants they have pushed out and in how many cities they are flipping properties.”

Urban Green’s website advertises the company as a “fully integrated real estate company with brokerage, property management and development capacities.” The company’s strategy is to acquire property, then add value by “increasing efficiencies, enhancing entitlements, and employing carefully calibrated green renovations.”

In recent years, Urban Green has been busy displacing tenants, including in October 2012, when it purchased a multi-family portfolio with 130 units in San Francisco. According to the Mapping Project, the company is involved in around 40 LLCs, “many of which they use to evict tenants and then flip buildings.”

“Companies like Urban Green wouldn’t be evicting tenants like Mary Phillips if we stopped the profiting of buying up then evicting whole buildings just to sell them quickly,” San Francisco Tenants Union Director Ted Gullicksen said in a statement. “We need to pass a surtax on transfers of apartment buildings within five years of last sale this November if we are to stop these displacement practices of speculators like Urban Green.”

Gullicksen referred to the anti-speculation tax that tenant activists and progressive members of the Board of Supervisors has place on the November ballot. Representatives of Urban Green have not returned Guardian calls for comment, but we’ll update this post if and when we hear back.

Even residents outside the Bay Area have not escaped the reach of the McCloskey family, which has a long history of evictions. Urban Green is currently a subsidiary of the business run by David McCloskey’s Thomas McCloskey: Cornerstone Holdings. The family owns property in Colorado (where Cornerstone is based), New York, Hawaii, and California, according to the Mapping Project. Perhaps most controversially, the family owns 300 acres of land in Hawaii, called Kealia Kai, which greatly angered the Kaua`i people in the 1990s. After buying the land for $17 million, McCloskey unsuccessfully attempted to build a private beach community with his land.

More than 2,000 miles of sea separate Hawaii from Phillips’ apartment, but the residents of both areas are suffering similar fates at the hands of the McCloskeys. And though Urban Green stated last week that it would not continue its attempt to evict Phillips, attorney Steve Collier of the Tenderloin Housing Clinic issued a statement making it clear that the company’s efforts are not over. According to Collier, Urban Green’s new strategy is to force out Brant, which would remove Phillips by default because she relies on Brant’s care.

“This has been my home for over 40 years and I don’t want to leave. . . I am just too old,” said Phillips, according to the Mapping Project’s website. “I didn’t sit down and cry, I just refused to believe it. They’re going to have to take me out of here feet first. Just because of your age, don’t let people push you around.”

Jimmy Cliff high-kicks his way through 50 years of music at the Fillmore

Steven T. Jones

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July 21, 2014

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Jimmy Cliff high-kicks his way through 50 years of music at the Fillmore

Jimmy Cliff is a goddamn maniac. It’s about 45 minutes into his 90-minute set at the Fillmore on Saturday night [July 19], and while the sheer volume of ganja smoke in the packed room is making real movement — beyond the standard shuffle/sidestep, white reggae fan head-bob, and occasional 30-second pogo accompanied by the triumphant fist-in-the-air move — seem an insurmountable challenge for most everyone on the dancefloor, 66-year-old Jimmy Cliff is onstage in matching bright yellow-and-red pants, a robe, and a hat, quite literally running circles around everyone.

He’s high-kicking. He’s goose-stepping. He’s pouring buckets of sweat, but his stage presence is magnetic, his control of the room masterful. He never stops grinning. And, supported by a guitarist, a drummer, a bass player, a saxophone player, two keyboard players, two backup singers, and the Fillmore’s very dialed-in sound system, Jimmy Cliff sounds better than the last dozen 25- to 34-year-old rock stars I’ve heard live. He definitely has more energy.

His voice is strong and somehow heartbreakingly clear, whether on songs from his most recent album, 2012’s Tim Armstrong-produced Rebirth — like “Afghanistan,” an update on the classic “Vietnam,” or the upbeat, surprisingly modern-sounding “One More” — or on theclassics, which are almost too many to list: “The Harder They Come,” of course, “You Can Get It If You Really Want,” a chill-inducing “Many Rivers To Cross,” “Sitting In Limbo,” etc., etc., etc. — Cliff stomped and shouted through the last 50 years, darting back and forth not only throughout, you know, linear time and political movements, but the evolution of reggae and Jamaican music itself, tracing the genre from from ska to rocksteady to dancehall. Forget your knowledge of or even affinity for these genres; the weight of the air feels different in the presence of an artist who’s been through, and influenced, so much of what you take for granted as musical history. And I’m pretty sure that wasn’t just the ganja.

Jimmy Cliff “One More” from dan sampson on Vimeo.

In between songs, he bantered (fan: “We love you Jimmy!” Jimmy: “I love you more!” Another fan two minutes later: “We still love you Jimmy!” Jimmy: “I love you double!”), gave history lessons (focused mostly on artists he claims responsibility for discovering: Sam Cooke, Bob Marley), led an audience-participation section for a new song he’s working on, and pretended the show was over and he wouldn’t be coming back on at least three times. And then he came back, three times. The encore fake-out was such that by the time the band walked off stage for real and the house music came over the speakers, the stoned, smiling masses didn’t believe it, chanting “one more,” for a good 10 minutes, until a stage hand who looked like she hated life at that moment walked on to unplug something; she was greeted with a collective groan.

It should be said here: I do not generally identify as a “reggae fan.” Having grown up in the Bay Area and having gone to Reggae on the River once when I was 10 (long story) and having attended a public California university full of dudes with board shorts and blacklight posters, I do not have fantastic associations with large throngs of mainly white people dancing to reggae music.

And yet: I found it difficult to dislike the bro-y, backward cap-sporting contingent at this show, which is a really weird feeling for me. They all just seemed too damn happy. Whatever Jimmy Cliff’s doing at age 66 to keep on doing what he did on Saturday, it’s keeping him healthy, and joyful, and it’s clearly catching. We should all be so lucky.

Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

Sue Vaughan

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July 21, 2014

0

Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

“We stopped checking for monsters under our beds when we realized they were inside us,” reads a quote often misattributed to the Joker in 2008’s The Dark Knight. The presenters at July 14’s “BAASICS.5: Monsters” event at ODC Theater capitalized on this concept, examining both modern monsters (though not “cars and corn syrup,” as one emcee mentioned at the beginning of the event) and monsters of yore.

In past years, the organization has explored provocative topics such as the future (more weighted toward a possible uprising of robots rather than the nagging question “What am I going to do with my life?”) and psychiatric and neurologic disorders by juxtaposing science and art. It’s easy to find the right balance between the two for these past themes, but I wasn’t quite sure what to expect from this year’s event.

It ended up being a lot less grisly than I’d imagined — with the exception of a video clip depicting maggots violating a honeybee. (I can never unsee that.) I felt as though I were in a college lecture hall, viewing PowerPoints — which were much more aesthetically pleasing than the Papyrus-laden slides my freshman year history professor used — and listening to professors, each with an exceptionally dry sense of humor.

Presenters, ranging from shark conservationists to artists, shared their definitions of a monster, often turning the tables on common misconceptions. David McGuire revealed that more people die from vending machines than from shark attacks, emphasizing how it’s truly a man-eat-shark world out there today. (Ahem, shark fin soup…) Closing presenter Brynda Glazier tackled societal expectations of beauty and normalness, drawing inspiration from her personal life as her brother is disabled, expressing this through seemingly ugly and monstrous sculptures.

BAASICS’ associate content producer Georgeann Sack — described in the program as a “neuroscientist by day and science communicator by night” — also performed low-key acoustic songs as a segue between presentations. In fact, her music was so low-key that I often had trouble hearing and understanding her, although I’m sure the lyrics to her song “Vampire Love Song” were clever. Sack’s standout performance was her rendition of the Creepshow’s “Zombies Ate Her Brain,” which sounded a little like a singer-songwriter’s DIY GarageBand-recorded music.

However, the biggest letdown of the event were the short videos. With topics such as malaria research and glowing plants, the videos had potential but ultimately came off as too sterile. The two video shorts seemed as though they were filmed with a cheap digital camera — that highlighted distracting background noise while researchers spoke — and edited in iMovie. Other audience members were just as unimpressed as my friend and I were — I heard some people in the row behind us begin a slow clap after the second video.

Art and science weren’t exactly joined in holy matrimony at this event. To me, BAASICS.5 was more like an evening well spent in your friend’s apartment — you know, the friend with a great appreciation for art who’s basically a living, breathing encyclopedia of weird shit — and can talk endlessly about it. Bring up Bigfoot and they’ll mention how the highest number of reported Bigfoot sightings originate from Humboldt County and slyly attribute this to the inhabitants’ altered perceptions. And did they mention how there’s a pseudo-porno titled Bigfoot’s Wild Weekend? (Here’s looking at you, Jill Miller!) Maybe zombies are more up your friend’s alley and they created an amazingly detailed zombie survey for people to fill out. (Your hard work definitely paid off, George Pfau.)

As for me, I checked off “Zombies are Vaudeville performers,” “The apocalypse is ‘the big one,’” and “After death, you take harp lessons” as my answers to Pfau’s zombie survey, which I picked up in the lobby afterwards. The real highlight of the event was being exposed to modern takes on tales as old as time, if the outside of the survey brochure, a Where’s Waldo-inspired scene even featuring Michael Jackson from his “Thriller” days, is anything to go by.

Alternative Ink discusses the flurry of SF ballot measures moving through City Hall

Sasha Cuttler

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July 21, 2014

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Alternative Ink discusses the flurry of SF ballot measures moving through City Hall

Digging deep during the height of summertime fun and frivolity, we Guardianistas showed up in force last night for another lively and informative edition of our biweekly radio show, Alternative Ink, on BFF.fm. Listen to the podcast here (but don’t be fooled by the first minute from a past show, it’s a false front we used to hide this week’s treasure).

With the fall ballot being filled out inside City Hall in recent weeks, we discussed rival housing measures sponsored by Sup. Jane Kim and Mayor Ed Lee, as well as the anti-speculation tax. We also covered the Restore Transportation Balance (placed on the ballot by citizens) and Let’s Elect Our Elected Officials (which was narrowed denied a spot on the ballot by the Board of Supervisors) measures that have been burning up the SFBG comments section lately.

We talked tech, prompted by our pair of long and insightful stories in last week’s issue, and we previewed an interesting story in our coming issue about how San Francisco is dealing with a flood of young immigrants who have showed up seeking refuge status. As always, the show was peppered with great music, this time with a decidedly international flair thanks for our award-winning Art Director Brooke Ginnard’s return from a three-week vacation in Europe (welcome back, Brooke).

After doing the show for a few months now, we’re starting to hit our stride — so much so that we’ve decided to do a live version of the show on the evening of Aug. 28 at the LGBT Center. So stay tuned for more information about the lineup for that show, and please tune in to our next radio show on Aug. 3.

Live Shots: OK Go power through technical difficulties at The Independent

Steven T. Jones

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July 19, 2014

1

Live Shots: OK Go power through technical difficulties at The Independent

Ok Go’s catalog is the sonic equivalent of Fruit Loops. Bright, fun, tasty, and far from satisfying or substantive. They are also one of our generation’s greatest bands. Because what Ok Go lacks in musical imagination and originality, they make up for tenfold with the way they have revolutionized and thoroughly dominated the art of the music video.

Harnessing the power of internet culture and viral videos, Ok Go burst onto the music scene and the blogosphere in 2006 with their now-famous treadmill dance video for “Here it Goes Again.” Now, a century later in internet years, Ok Go continues to churn out pleasant power pop and a steady stream of mind-blowing film pieces (“music videos” almost seems condescending for these painstaking projects—while most bands go on set for six hours to two days, singer Damian Kulash pointed out, Ok Go works on theirs for six weeks to six months).

Somehow, the band has managed to continuously outdo itself with each new video, spending incredible amounts of time and energy on stunningly creative videos featuring stop-motion, Rube Goldberg machines, optical illusions, and the pure power of great choreography.

Perhaps fittingly, playing music seems to be a more of a side effect than a focus of Ok Go’s live show, which more prominently features bright video displays, interactive apps, and truly mind-blowing amounts of confetti (although, unfortunately, no dance routines). And, as with most technology-based things, a certain amount of troubleshooting was required.

However, despite a lot of technical difficulties, stalls, and spotty sound quality at their sold out Wednesday show at The Independent, the audience’s enthusiasm was not dampened in the slightest. A large part of Ok Go’s charm comes from their youthful excitement, curiosity, and energy, all aspects that translate beautifully to a live setting.

During glitches, while guitarist/keyboardist and “genuine, bona-fide nerd” Andy Ross worked on fixing technology failures, frontmen Damian Kulash and Tim Nordwind entertained the audience with Q&A sessions, and even (in what may have been the highlight of the show) a full run-through of Les Miserables’ “Confrontation,” with Kulash as Javert and Nordwind as Jean Valjean.

Ok Go are truly great performers. Their energy is high, their spectacles spectacular, and their banter playful and plentiful. I was taken aback, however, when Kulash casually called San Francisco a city “known for having a lot of faggots.” Even though Kulash is public about his support for gay rights and he followed this statement up with a lame “I say that with love in my heart,” it felt inappropriate and offensive. And all this was even before he called SF “Boston with Disneyland attached.”

But clearly not everyone in the audience took issue with Kulash’s faux pas, and there was an air of excitement and appreciation in the intimate venue from the first song to the last flurries of confetti. When the show had ended, leaving behind deep drifts of the colorful paper, fans didn’t want the fun to end. When I departed, half an hour after the show’s finish, people were still laughing, shrieking, and throwing confetti to the sky.

Betty Yee cleared for November runoff after Perez halts Controller’s race recount

Sasha Cuttler

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July 18, 2014

10

Betty Yee cleared for November runoff after Perez halts Controller’s race recount

California Controller candidate Betty Yee, a San Francisco Democrat, will officially square off against Fresno Mayor Ashley Swearengin, a Republican, in the November runoff election after rival Democrat John Perez today called off a recount request. Perez finished in third place, just 481 votes behind Yee.

Perez, formerly the first openly gay speaker of the California Assembly, had asked for recounts in Kern, Imperial, and San Bernardino counties on July 6. But as those counts dragged on and the deadlines for printing fall ballots neared, the California Democratic Party was pressuring Perez to withdraw, last week contributing $50,000 to her campaign.

The Perez campaign released the following statement just before 5pm today:

“Today I have made the decision to bring the recount process to an end, and pledge my full support to Betty Yee to be California’s next Controller.

While I strongly believe that completing this process would result in me advancing to the General Election, it is clear that there are significant deficiencies in the process itself which make continuing the recount problematic. Even in the effort so far, we have found uncounted ballots, but there is simply not enough time to see this process through to the end, given the fact that counties must begin printing ballots in the next few weeks in order to ensure that overseas and military voters can receive their ballots in a timely manner.

I began this process because every vote deserves to be counted fairly and accurately, and as the recount has made clear, California needs to rethink our approach and incorporate best practices from across the nation. This effort was not about the outcome of a particular election, but the integrity of every election, and the issues brought to the light over the last two weeks need to be addressed in a comprehensive and thoughtful manner.

It has been an honor and a privilege to serve in the Assembly these last six years, and to have led the Assembly at a time when we’ve turned multi-billion dollar deficits into multi-billion dollar reserves, expanded healthcare for more than three million Californians and made college affordable again by enacting the Middle Class Scholarship Act. I am grateful for the support my campaign has received from everyday Californians who have seen the work my colleagues and I have done in the Legislature, and embraced our vision of fiscally responsible and progressive government which expands opportunity for all Californians. We built a tremendous record of accomplishment together, and I look forward to making contributions to build on that record of progress in the future.

In the immediate term, I will be continuing my service in the Assembly, and working hard to help elect Democrats up and down California.”

New Zealand flow over Detroit beats: Ladi6 hits the Bay for the first time

Steven T. Jones

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July 18, 2014

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By Rob Goszkowski

There’s a commonality to a large segment of New Zealand music, much of it with a dubbed-out vibe that one would expect from an island nation. But there’s also an underlying fierceness to it. Karoline Tamati, aka Ladi6, represents this dichotomy well, and her blend of hip-hop and modern soul will be in the Bay Area for the first time this weekend, with shows at Brick and Mortar in the city on Saturday and at the New Parish in Oakland on Sunday.

The lifelong musician started playing music at a young age and was smitten with hip-hop as a teenager when she formed Sheelahroc with her cousin and a friend at 16 years old. She found her singing voice shortly afterward and hasn’t stopped singing. Last year, she released her third album, Automatic, a collaboration with Slum Villager and beatmaker Wajeed, written and recorded in part at Studio A in Detroit and completed at Revolver Studios in Waiku, New Zealand.

Ladi6 has gathered a host of Kiwi music awards, including Best Urban Album and Best Female Artist at the 2011 New Zealand Music awards. Previously, she has collaborated with drum and bass outfit Shapeshifter and the dub-soul band Fat Freddy’s Drop. SFBG spoke with her shortly after arriving in Portland from New Zealand to find out what she’s got planned for her first American tour.

San Francisco Bay Guardian Welcome to the U.S. and congrats on moving up to The New Parish, a bigger venue, at your Oakland gig.

Ladi6 I know! Thank you! I found out on Facebook, too. Nobody tells me anything (laughs). Even thinking about coming here makes me so nervous I feel like I might break out in hives. Coming from New Zealand, my perspective is just that America is the place for music with such a bigger scale. In mind my, strategy is, “Go to America. Do the tour. Don’t think about it. Then go home and think about it.” You know? I’m trying to play it down so I don’t hyperventilate on stage.

SFBG I’m sure you’ll be fine. I caught your performance at the A.R.E.A. 9 festival in Ohau, New Zealand in 2009 and you owned the stage.

Ladi6 Oh That’s crazy! So few people went to that gig but it was such a gorgeous location.

SFBG It was impressive because I feel like it’s easy for hip-hop performances to fall flat when it’s just an emcee and DJ on stage, but yours was really engaging. How do you approach your shows?

Ladi6 I don’t have any tricks or dances. I have played with bands before and it can be easier to get the crowd involved but in some ways, it’s harder as a performer. You have all these personalities up there, but when it’s my show, I’m commanding the stage and it’s just me strutting my stuff. The idea is to make people feel something, some kind of emotion. And when people ask me how I do it, I can’t help but think, “I don’t know the fucking answer to that!”

SFBG By now, you’ve been at it for a long time. And you sing, rap, write…

Ladi6 That’s right, and before I realized I could sing, I rapped. And before I rapped, I played guitar ,so when I jump from one to other it feels very natural. It comes down to trying to put on a more exciting show. I come from a very music family and started playing guitar because everyone plays guitar. I focused on that until I was about 13 or 14 when I discovered hip-hop and I wanted all of it. I wanted to be a B-girl, I wanted to learn how to scratch, the whole nine yards. So I joined this hip-hop crew and we began doing gigs. When one girl in our crew who sang got pregnant and couldn’t perform with us I thought maybe I could sing and I found my voice along the way. Then I joined a band afterward and struck out on my own later and all of a sudden, I’ve never had a real job.

SFBG How did “Automatic” come together?

Ladi6 That was a collaboration with my Parks, who I’ve worked with a lot in the past, and ‘Jeed over four weeks. We went over there and I had never experienced a Detroit winter before. Just…whoa. But we made every song fresh in the studio.

And then we came home to a New Zealand summer and it was just a complete contrast. One was like, the dead of winter, it was snowing and freezing and we’re in this hi-tech studio. The other studio in New Zealand was kind of a high-tech studio, but a lot of the equipment was second hand. And it’s located on a farm. It’s down the road from a waterfall where we’d take breaks and go swimming. The whole family came out to cook for us and stuff. So those experiences really impacted what we came up with. We’ll change it next time, and approach the next one in a totally different way.

LADI6

With Aisha Fukushima & Raptivism, Knight & Grae

Sat/19, 9pm, $13

Brick and Mortar Music Hall

1710 Mission, SF

www.brickandmortarmusic.com

AND

With Antique Naked Soul, Knight & Grae

Sun/20, 9pm, $13

The New Parish

579 18th St., Oakl.

www.thenewparish.com

Everything is terrible, let’s go hear some live music

Steven T. Jones

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July 18, 2014

1

Dear readers! In case none of your coworkers has made any kind of Dilbert-ready joke by the water cooler yet today, let us fill you in: It’s Friday.

And woof, did this week feel a little long to anyone else? Perhaps because the news is filled with horrendous, tragic, apparently senseless events? I’m not one for the “waah, why do news outlets report on so much bad stuff when there’s good stuff in the world” mentality — you should be spurred to anger/sadness/feeling by reading about the state of the world, that’s how change happens.

However. After you do a comb-through of the New York Times and the BBC etc. this morning, do not forget to look at some kittens and puppies. And in between having impassioned all-caps shouting matches on Facebook and in various comments sections this weekend (discuss: is this really how change happens?) try leaving your house to go sweat on a dancefloor with some strangers. Age-old remedy for the post-modern blues. Here are our picks.

FRIDAY/18

Erk tha Jerk with Kev Choice

June was a busy month for Erk tha Jerk, the Richmond rapper and producer known for his clever wordplay and catchy, often intensely sexual hooks. On the 12th, he dropped a new video produced by frequent collaborator Fly Commons called Blast Somebody. A smooth beat finds Jerk getting existential about his stresses while a near-nude woman gyrates on his bed. The video premiere was bolstered by the announcement that the duo’s upcoming EP, Food and Vegetables comes out on July 15th — the gig doubles as a release party. Fellow East Bay MC Kev Choice (and Bay Guardian cover dude back in March) opens for Erk. Where Erk often embraces an id-driven and autobiographical style, Kev is far subtler and more socially conscious. A prodigious pianist and bandleader, his set should provide a soulful introduction to Erk’s intensity and bombast. — David Kurlander)
8pm, $15
Slim’s
333 11th St, SF
(415) 255-0333
www.slimspresents.com

Noise Pop and Boing Boing at OMCA, discussing vinyl

A panel of heavy-hitters discussing vinyl’s return to public favor at the Oakland Museum of California tonight includes Nick Harmer, bassist for Death Cab for Cutie; Winston Smith, visual artist for Dead Kennedys, Green Day, and legendary Bay Area punk label Alternative Tentacles; and Lawrence Azerrad, designer of iconic albums by Wilco, Miles Davis, and the Beach Boys. Plus drinks!
5pm – 9pm, free- $7.50
Oakland Museum of California
1000 Oak, Oakl.
(510) 318-8400
www.musuemca.org

SATURDAY/19

Jimmy Cliff

Bob Marley may adorn more stoner dens with his smiling face, but the credit for bringing reggae to a worldwide audience goes first and foremost to Jimmy Cliff. As the star and main soundtrack composer of the 1972 Jamaican film The Harder They Come, Cliff brought the once-obscure Caribbean pop style to national attention and broke open the door for the genre’s success in the 1970s. But he couldn’t have done it without a set of killer songs — the film’s title track included — and, at 66, a voice that puts nearly every stateside soul singer to shame. — Daniel Bromfield.
9pm, $39.50
The Fillmore
1805 Geary, San Francisco
(415) 346-6000
www.thefillmore.com

SUNDAY/20

Salsa powerhouse Roberto Roena and the LA-based Latin ensemble Boogaloo Assassins celebrate the 50th anniversary of Fania Records, which helped move salsa into the mainstream in New York in the ’60s and ’70s. Guitarist Vieux Farka Touré, son of the late Malian guitarist Ali Farka Touré, performs African blues rock to open. There will likely be some dancing here.
2pm, free
Stern Grove
19th Ave. and Sloat Blvd., SF
www.sterngrove.org

MONDAY/21

The Hold Steady

Does this band have a new record out? Don’t know, don’t care. Unless they radically changed their sound (Thin Lizzy guitars, blue collar/after hours rock, slightly snarled Springsteen storytelling) it doesn’t matter. Because Brooklyn’s Hold Steady epitomize rock’s most underrated quality: dependability. Beyond reviews and records, it’s their live show that consistently seems to
awaken converts, the way an exceptionally good bar band can shock drunks out of stupors. (What are these guys doing here?) If the boys are back in town, count me in, at the center of the pit,
shouting along with Craig Finn. Well…maybe I should give Teeth Dreams a listen. — Ryan Prendiville
With Cheap Girls
8pm, $30
Great American Music Hall
859 O’Farrell St, SF
(415) 885-0750
www.slimspresents.com

TUESDAY/22

White Lung

Who said music writers can’t make music? When Mish Way isn’t busy freelancing as one of America’s most passionate and hilarious music writers, she’s rocking harder than any other architecture-dancer since Patti Smith as the leader of punk outfit White Lung. After making a splash in Vancouver’s punk scene with its debut It’s The Evil, the band found its profile substantially increased when Rolling Stone included sophomore effort Sorry in their top 10 albums of the year — no small feat for a punk album, least of all one that barely runs 20 minutes. They’ve added Wax Idols member and Bay Area native Hether Fortune on bass for album number three, Deep Fantasy, whose hearty reception should secure the band’s footing in both the critical and the die-hard punk worlds. — Bromfield
With Wax Idols, Red Red Red
7pm, $12
The Rickshaw Stop
155 Fell, San Francisco
(415) 861-2011
www.rickshawstop.com

Housing supply and demand theory on trial at City Hall

Erica Hanna

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July 18, 2014

43

Housing supply and demand theory on trial at City Hall

The November ballot is shaping into a housing supply theory showdown, and yesterday’s [Thu/17] Board of Supervisors Rules Committee hearing was the first round.

The committee hosted two hearings on rival housing proposals for the November ballot: Sup. Jane Kim’s City Housing Balance Requirement and Mayor Ed Lee’s Build Housing Now initiative. The two purport to set similar goals for building affordable housing, but Lee’s proposal contains a poison pill that would invalidate Kim’s measure.

The mayor’s philosophy on housing, a strict supply and demand argument, was on full display.

“[Housing] is a competition based on who has the most dollars in their pocket, and the ones with the most dollars win,” Olson Lee, director of the Mayor’s Office of Housing said at the hearing. “If we limit the supply, the people with the most dollars will win.”

The arguments are a little complicated, but let’s try to break them down: Kim’s initiative lays out a requirement for new construction to build 30 percent affordable housing and 70 percent market-rate housing. Currently, new construction projects can build on-site affordable or pay a fee into a pot, known as the Affordable Housing Trust Fund. If new construction needs to be exempt from the balance requirement, under Kim’s measure, that can be decided by the Planning Commission.

But the mayor and his deep-pocketed development allies are shrinking away from this like the Wicked Witch of the West from water. Affordable housing doesn’t make a dime for developers, and the mayor fears Kim’s policy will slam the breaks on market-rate housing construction.

Activist and San Francisco historian Calvin Welch argues supply and demand housing theories won’t solve the San Francisco housing crisis, via 48hills.

Yet Kim’s measure is based on what many progressives in San Francisco believe: San Francisco’s housing market is hot, profits are high, demand is insatiable, and building lots of market rate housing that will never be affordable to most San Francisco won’t solve the city’s affordable housing crisis. The construction pipeline won’t slow down with a few dings to profit margins, she argued.

“I just have to say if building 30 percent affordable housing will halt development, we’re in a whole lot of trouble,” Kim said to her critics. “We have to build. Even people that make money leave San Francisco every day.”

No one is saying Kim doesn’t believe more housing needs to be built. But Lee’s staffers emphasized a belief that more housing construction alone is the solution to the city’s ills, a strategy that hasn’t exactly netted stellar results recently. They also defended the Affordable Housing Trust Fund, as the Mayor’s Office of Housing is funded about “40 percent” from developer’s fees, Olson Lee said. Sarah Dennis Phillips, from the Mayor’s Office of Economic and Workforce Development, argued sharply that any hit to developer’s fees, even marginal ones, would result in a loss of dollars for the city’s General Fund, the funding pot feeds most city services.

The mayor’s ballot initiative essentially asks for a vote of confidence in his plan to build or rehabilitate 30,000 housing units by 2020, which some in the press have pilloried as depending heavily on already-existing units. While 30,000 sounds like a lot, the Controller’s Office said San Francisco would need as many as 100,000 housing units to even make a dent in San Francisco’s skyrocketing housing prices, according to the SF Examiner (though he has since written the Examiner to say his sentiments were misconstrued). The city’s Civil Grand Jury recently released a scathing report of the mayor’s 30,000 housing unit goal, saying “While the residential real estate market is enjoying a strong recovery, it is doubtful the city can build its way out of the current affordability crisis.”

Meanwhile, people are losing their homes and fleeing the city. Some who are holding on by a thread came out to speak at the dueling hearings.

“I have health challenges including cerebral palsy,” Justin Bennet said during public comment. He spoke with a difficulty in his jaw, haltingly and with much effort. He said the housing market made it difficult to move from the dangerous areas of the city he calls home. “I’ve been robbed outside several residences I’ve lived in, so I’m hoping for a change in my housing situation in the future. Thanks for letting me speak.”

A family came up to the podium to speak, with two young housing activists, a brother and sister, 9 and 6, saying they didn’t want to see so many lose their homes.

Advocates from the SEIU 1021, South of Market Community Action Network, Alliance of Californians for Community Empowerment, and the Chinese Progressive Association, to name a few, were on hand at the hearing. They were also on hand for a press conference on the steps of City Hall shortly before the hearing. Ed Donaldson from ACCE called out the mayor’s housing measure, saying its only intent was to torpedo Kim’s.

“I say we should play chicken with the mayor,” Donaldson said at the podium. Metal bands have sung with less volume than the baritone he used while booming, “Let’s see if he has the gall.”

Inside the hearing, Patrick Valentino (who championed luxury development on the waterfront) and Tim Colen of the Housing Action Coalition spoke, defending the mayor’s measure.

“As San Francisco, as a city in affordability, we’re failing. Our rate of failure is accelerating,” he said flatly. He criticized Kim’s plan and asked, “Where’s the money? No one disagrees we need it. The shortcoming I see in the housing balance measure is its premise that if we increase restrictions on market rate housing, it helps subsidize housing.”

He argued instead to gather more stakeholders together (i.e. deep pocketed developers) to negotiate more private funding, a strategy he said that worked in the past.

As others came to the podium to argue against developer greed, Colen watched on, shaking his head, seemingly in disagreement. When someone in public comment argued that developers so far have shirked their responsibilities to build affordable housing, he shook his head again and left the hearing room.

There’s a stark divide in housing philosophy, and supply and demand’s ability to save San Francisco will soon see a trial by voter if Kim’s charter amendment can win six vote at the full Board of Supervisors.

The mayor’s policies seem to be more of the same, Kim said, and now the city seems to be fighting over the crumbs of developers’ fees. Despite opposition from the mayor, Kim told the Guardian she’s open to new ideas from the mayor.

But she also said she won’t back down.

“We’re on a two-fold path right now. If there’s a compromise to get [the city] to 30 percent affordable housing, like new revenue, we’re open to that compromise,” she said. “But we always intended this to go to the ballot.”