Advice

Psychic Dream: Oct. 30-Nov. 5, 2013

0

Oct. 30-Nov.5, 2013

Blame all of your communication problems on Mercury while you can; it’s Retrograde till the 10th
 
ARIES
March 21-April 19
Anxiety is like quicksand in the landscape of your awesomeness, Aries. If you feel overwhelmed by uncertainties this week, try to redirect your focus onto what you do know. Don’t strike out when you feel screwed up in the insides. The best way to learn about your habits of self-sabotage is to catch them in action.

­TAURUS
April 20-May 20
Enjoy the love and intimacy that you have in your life, Taurus. This week your ability to stay present with the good stuff is being tested, especially when it’s outside of your comfort zone. Don’t let your fear of change damn the flow of your life. Staying open and discerning for maximum security and joyfulness.

GEMINI
May 21-June 21
You know all about every corner of the problems that are on your mind; you’ve looked at your concerns from every angle already. Make peace with your troubles so you can finally say sayonara; see you never! to them. Don’t wallow, Twin Star, ‘cause wallowing is so 2011. Move on.

CANCER
June 22-July 22
You don’t need to know if what you’re doing is “right”, you only need to know if it’s right for you, Cancer. You’re trying to see things from other people’s perspectives, but that’s all wrong. Be honest with yourself about what you need based on where you are at, so even if you make a mistake, it’s an honest one you can learn from.

LEO
July 23-Aug. 22
It’s friendship time, Leo! Invest your formidable energy into your platonic relationships this week, and make sure you pick a few brains about what you’re doing while you’re at it. This is a great time to get feedback about how you’re handling your life from the folks that know and love you.

VIRGO
Aug. 23-Sept. 22
You may succeed or you may fail, but there’s no getting around risk this week, Virgo. If you’re doing something that means enough to you to go for it, then it’s worth some daring, too. Challenge yourself to focus on the potential instead of the dangers in front of you. Invest in the possibility!

LIBRA
Sept. 23-Oct. 22
You can’t turn to others for everything, Libra. Or rather, you can, but it doesn’t make you an especially strong or resourceful person. Despite your fears and uncertainties, this is an excellent week to stand up on your own two feet. Trust in your instincts and see where they take you, pal.

SCORPIO
Oct. 23-Nov. 21
You cannot control the world (oh! and how the world suffers for it!), but you can take ownership of your self. Take stock of your participation in matters with humility, Scorpio. The only way to create the life you want is to be the person you want to be, be damned any pettiness that tries to get in your way.

SAGITTARIUS
Nov. 22-Dec. 21
There are no victims or perpetrators, and you, Sir/Madame, are not a martyr. We are all people doing our best; even those who utterly suck are doing their best! Keep your ego out of dynamics this week, and keep your attention trained on accepting others where they’re at. Resist unnecessary power plays.

CAPRICORN
Dec. 22-Jan. 19
If you stop trying to project into the future or magically change the past you might get more headway in your present, dear Cappy. Your homework this week is to find the pleasure in everything you do, no matter how routine or annoying it may be. Change your attitude to see what else changes, pal.

AQUARIUS
Jan. 20-Feb. 18
Sometimes the strongest weapon at your disposal is TLC, Aquarius. This week you can fight, analyze or pontificate, but nothing will work as well as compassion. Practice seeing things through a lense of generosity and kindness, whether you’re looking at yourself, your allies, or your enemies.

PISCES
Feb. 19-March 20
Don’t add to the chaos in your life by being another Negative Nancy this week. If you don’t have something creative to add to the conversation you may need to take a time out until you do. Remember why you care and don’t let your fears stop you from going from participating wholeheartedly. Realign with what motivates you.
Want more in-depth, intuitive or astrological advice from Jessica? Schedule a one-one-one reading that can be done in person or by phone. Visit www.lovelanyadoo.com

Heads Up: 7 must-see concerts this week

2

Well lookie here — seems like SF really is for lovers. We’ve got hoards of young folks intermingling on OkCupid, Grindr, and Tindr. And yes, the penultimate event: Kimye got engaged at AT&T Park last night. Kanye West rented out the whole park to propose to Kim K., which seems…lavish and kinda lonely? Although, I hear there was a 50-piece orchestra, so those people he hired were there at least.

Anyway, that sprinkly-gooey-sweet stuff (ahem, love) extends to the bands you should be checking this week: tender Nanna Øland Fabricius (otherwise known as Oh Land), boy-girl duo Kisses, balmy Warm Soda, and um, Bobby Joe Ebola and the Children MacNuggits.

Plus, there are plenty more acts popping in. There’s even an orchestra event that should put Kanye’s small-ish offering to shame:  Lisa Bielawa’s large-scale sound event in Crissy Field with more than a thousand musicians. See below for more on that and all the others.

Here are your must-see shows: 

The Garden
“This Burger Records up-and-comer is an identical twin duo hailing from Orange, Calif. The 19-year-old Shears brothers specialize in melancholy snippets (most of their songs barely pass the one-minute mark) of post-punk drum ‘n’ bass, androgynous style that would make Boy George jealous, teen angst, and getting reblogged on Tumblr. Their songs are haunting and beautifully executed, though rarely understandable. The lyrics are drawn from inside jokes and twin-speak (the Shears have a secret language, for those occasions when they even need to communicate verbally) and the vocals are often drowned in feedback and reverb. But the words don’t seem to matter. Whatever they’re doing or saying, they’re doing and saying it unlike anyone else.” — Haley Zaremba
With Lovely Bad Things, Bicycle Day
Tue/22, 9pm, $10
Brick and Mortar Music Hall
1710 Mission, SF
www.brickandmortarmusic.com
http://www.youtube.com/watch?v=VFIuZ3C7IJM

Oh Land
Danish musician Nanna Øland Fabricius (otherwise known as Oh Land) is a Renaissance woman. She’s a producer, a singer-songwriter, a former student of the Royal Danish and Royal Swedish Ballet schools (before an injury nudged her toward music-making). And this is perhaps why “Renaissance Girls,” the first single from her newest full-length Wish Bone (Federal Prism/Tusk Or Tooth) works so well. Like much of Oh Land’s output, it’s musically all over the place, with beats and piano, quick-dropped lyrical phrases and twee girlish high notes. And the video both harkens back to her early dancerly ways and provides a hard/soft dichotomy with interpretative choreography performed by Fabricius herself in Hello Kitty-pink overalls set to the backdrop of a dusty, cement-filled construction site and urban alleyways.
With Sun Rai.
Wed/23, 8pm, $15
Independent
628 Divisadero, SF
www.theindependentsf.com
http://www.youtube.com/watch?v=zFCYo3XocIM

Kisses
“Boy-girl duo Kisses is some kind of weird fun. Its poppy sound incorporating analog keyboards, simple percussion, and pleasant harmonies is easy listening at its finest. But the pair isn’t afraid to employ negative space in its tracks, and often places simple beats next to minimal lyrics, creating a sound that falls somewhere between pop and a ’70s tribute group. The dream pop enthusiasts released their second full-length album Kids in LA this past September and have been touring the US with the Blow since the beginning of October. Singer Jesse Kivel embodies a somber nostalgic romantic behind the mic, and keyboard-soundboards Zizi Edmundson, tinkering nonchalantly and occasionally oozing vocally into the mic, makes apathy cool again.” — Hillary Smith
With the Blow and the Ian Fays
Fri/25, 9:30pm, $16
Bottom of the Hill
1233 17th St, SF
(415) 626-4455
www.bottomofthehill.com
http://www.youtube.com/watch?v=vfzUlwXVcIU

Deer Tick

“In 2013 Deer Tick is proving that the only constant is change. The Providence alt-country outfit has always been reliable and consistent in its consistent touring, heavy drinking, and all-around debauchery. But that was before frontperson and primary songwriter John McCauley dealt with an imploded engagement, a father gone to prison, and the realization that maybe it was time to start drinking responsibly. Deer Tick has scaled back its usual 200+ shows per year schedule, and its penchant for escapism, focusing instead on showmanship and honest, personal songwriting. Negativity, its newest studio album, is almost entirely autobiographical. But don’t worry, it’s still Deer Tick — the shows will still be a riotous, sweaty mix of originals and covers, and despite the band’s clean-up act, audience drunkenness and hooliganism is still highly encouraged. “ Zaremba
With Robert Ellis
Fri/25, 9pm, $21
Slim’s
333 11th St, SF
(415) 255-0333
www.slimspresents.com
http://www.youtube.com/watch?v=fNG6aK81ZAk

Clarion Alley Block Party with Bobby Joe Ebola and the Children MacNuggits
There are a few new things you should know about long-running “goofballs of the East Bay punk scene” Bobby Joe Ebola and the Children MacNuggits. The ’95-born act has two new books out through Microcosm Publishing, a comic listen-along book (Meal Deal with the Devil) and a complete discography songbook (The Bobby Joe Ebola Songbook). Both are oddball hilarity at its finest. The Bobby Joe Ebola Songbook contains song lyrics and guitar chords — play along at home! — witty how-to band/life advice, tour anecdotes, and “other bizarre detritus.” Secondly, the band is playing the annual Clarion Alley Block Party this weekend and that should be wall-to-muraled-wall fun. Support DIY punk and an important SF artist-community institution with a full day of live music.
With Apogee Sound Club, CCR Headcleaner, Quite Polite, Devotionals, and more.
Sat/26, 11am-10pm, free
Clarion Alley
Mission Street, SF
Facebook: Clarion Alley Block Party
http://www.youtube.com/watch?v=XCp_oBuWUQw

Airfield Broadcasts
For this large-scale event, composer Lisa Bielawa will turn Chrissy Field into a giant “musical canvas” in which listeners can interact with broad sounds floating through the area with the help of nearly a thousand professional and student musicians including orchestras, choruses, bands, and experimental new groups. The musicians will begin in the center of the field then slowly move outwards, playing Bielawa’s original score.
Sat/26, 10 am and 4pm; Sun/27, noon, free
Crissy Field, SF
www.airfieldbroadcasts.org
http://www.youtube.com/watch?v=YYz1ohOWdLo

Warm Soda
The fizzy, ‘70s glam-aping, powerpop local rockers of Warm Soda are welcome anytime in Heads Up, but this is an extra-special Warm Soda happening. It’s a rare acoustic set by the rock’n’roll band, presented by music mag Radio Silence. Prepare for an intimate evening with one of the Bay Area’s burgeoning acts.
With A Carnival of Hours
Sat/27, 7:30pm, $8
Make-Out Room
3225 22nd St, SF
www.makeoutroom.com
http://www.youtube.com/watch?v=seK8t41objc

Train that struck and killed two BART workers was operated by trainee

103

National Transportation Safety Board investigator James Southworth confirmed at a press conference on the afternoon of Oct. 21 that the train that struck two BART workers was “in operation for training and maintenance purposes,” and that the operator at the time of the fatal crash was a trainee. He said two of the six people on board were trainees.

The NTSB conducted interviews for 8-10 hours with the train operator, the operator’s supervisor and someone from the dispatch office. 

Asked whether the driver had received safety certification, he said, “the training is part of the certification process.” 

When asked if the driver was previously certified, Southworth said “that is information I don’t have.” It’s unclear if the driver was a new trainee or if his certification had lapsed.  

He said the train was going 60-70 miles per hour at the time, and there was an emergency stop. The train was driven by computer under “Automatic Train Operation” and was not in manual mode.

The district’s decision to run the trains without experienced operators would come against the safety advice of the three striking unions, one of whom — Amalgamated Transit Union Local 1555 — even filed a lawsuit earlier this month seeking to prevent BART from doing so. The case is pending, the union’s lawyers told the Guardian. 

“The use of uncertified training personnel to provide uncertified managers with a crash course in how to operate BART trains also presents a public safety issue,” the unions wrote in the suit. 

BART workers undergo 15 weeks of safety training every three years, they wrote, training that saves lives. 

For more on the concerns around safety training and certification for track inspection workers, read our interview with BART safety trainer Saul Almanza.

Pleased to meat you: Fatted Calf Charcuterie

0

If you’ve ever found yourself waiting for the 16 Express on the corner of Fell and Gough, then it’s easy to bet you’ve swiveled around on that red bench to peer through the glass wall of the charcuterie and butcher shop behind, where ruby-colored sausages, pâtés, smoked ham, bacon and meatloaf show off their curves inside a refrigerated display. Unthinkingly, you’ll have walked in.

The Hayes Valley location of the Fatted Calf Charcuterie — the store also has a Napa outpost and a weekly presence at the Ferry Plaza Farmers’ Market — sells a plethora of coveted artisanal delights as well, like hard cheese, house-pickled beets, dried beans, and impeccable pastas. Among the sandwiches, the coffee-bourbon barbeque pulled pork sandwich contains a moist piquancy, while the toasty Croque Monseiur, dripping of Mornay sauce and overlaid with squiggles of cured ham, is worth missing the next bus for. (Grab an extra napkin — these beasts invariably fall apart in your hands and lap.)

You can’t take the entire shop with you, but luckily owners Taylor Boetticher and Toponia Miller just published their first cookbook, In the Charcuterie (Ten Speed Press, 2013), which reads like a whole world of meat — one I’ve become enamored with, after making the Flaky Leaf Lard Biscuits. I caught up with Boetticher before the couple left on a promotional trip, asking him about their journey in charcuterie.

SF Bay Guardian What draws you to charcuterie in particular?

Taylor Boetticher I started making charcuterie when I began working at Cafe Rouge in Berkeley in 1999, and it drew me in almost instantly. I think a large part of what I liked about it was that I was doing this while working behind the meat counter, so I had a really good connection with everyone who was buying the food we were making. It’s different in that sense than working in a restaurant kitchen, you never really interact much with the people you’re cooking for even if you’re in an open kitchen.

When you’re getting feedback about a terrine or a new bacon cure two or three days after you introduce it, it enables you to really get a good sense of what’s working and what isn’t. What continues to draw me to charcuterie is that, at this point, I’m lucky enough to not only work with my wife but with a wildly talented group of individuals whose sole interest is in making the best food we can make… That and the growing interest on the part of the general public make what we do really rewarding. Not much feels better than when a customer comes back in and tells you that you had a part in one of the best dinner parties they’ve ever thrown.

SFBG In the Charcuterie is comprehensive, enlightening, and I’ll admit, a little daunting. Who did you write this book for?

TB Thanks! We wrote this book for anyone who’s a little curious about making the most out of the meat they buy and cook, from enthusiastic novices to seasoned professionals. Our goals with this book are to inspire confidence in people when they set out to make something and give them a comprehensive set of basics which will make every bite count.

SFBG Where in your book do you recommend a new-to-meat home cook should begin? 

TB I’d start with the 5 Spice Baby Back Ribs or the Gingery Braised Duck Legs. Both use relatively common cuts (chicken legs are just as awesome if you don’t have access to duck legs) but with exceptionally flavorful treatments that aren’t very complicated. They’re both good examples of how to take a very straightforward cut and really make it sing.

SFBG The book mentions a trip to Spain, Portugal, France, and Italy. How does travel inspire your work?

TB A huge part of travel for us has always been about seeing what and how other people eat, and the role that food plays in different cultures. It’s one of the few things that everyone does and shares. Travel for us is both relaxing and invigorating, just like it is for most people. Wherever we go, we try and keep open minds and eat what everyone else is eating. It’s good to just go with the flow. A lot of time we’ll try different versions of things we’ve been making already, which is always cool. It doesn’t necessarily mean you have to go back and change it immediately when that happens.

I think one of the most exciting things in food right now is the idea that it’s good to know how something is made in its place of origin but not have to be a slave to authenticity. Like with our pulled pork sandwich — I’ve had a lot of them, all over the country. Some are better than others, but I have zero interest in arguing with anyone about the “right” way to do it. Is it tasty? Do you and your guests like it? Those are more important than any pedigrees, in my opinion.

SFBG What is your favorite aspect or variety of charcuterie to make?

TB Tough choice. Right now it’s our brined and smoked meats — we’ve been playing around with a couple new holiday hams that I’m really enjoying. I’ll just say this — when your big experiment of the week is getting a bourbon/honey/gelée glazed smoked ham nailed down 100 percent, it’s a pretty good job overall.

SFBG What is your personal favorite recipe in the book — or what do you crave for your next meal?

TB Errr, it’s probably the meat loaf. I really love that damn recipe.

SFBG Do you have a personal philosophy on eating animals?

TB My personal philosophy on eating animals is pretty simple: make it count. There’s no such thing as cheap meat, and we have a responsibility to make the most out of anything, especially something with a heartbeat, that’s grown for food. I’d love to completely get away from factory farms in this country and have meat animals be more a part of where they started — on farms as part of a program of crop rotation and land management.

Lots has been written about the politics and money involved that make it hard for farmers to do just that, but anything that grows with fresh air, sunshine, room to move around, and good food and water is going to be healthier. And tastier. This is indisputable.

SFBG What is your number one, most essential advice to home cooks on charcuterie?

TB Start small.

SFBG What’s next for the two of you?

TB We’re doing some travel to promote the book on the East Coast and through Texas, then holiday madness will be upon us. In January, we’re hoping to take a vacation. It’s been a pretty busy year.

 

FATTED CALF (Hayes Valley location)

Open daily, 10am-8pm

320 Fell, SF

www.fattedcalf.com

No room left in San Francisco for an artist who helped make the Mission what is

74

After four decades living and creating art in the Mission, iconic San Francisco artist and curator Rene Yañez is being threatened with eviction.

Yañez made local history in 1972 when he brought Dia de los Muertos, the Mexican holiday honoring the dead, to San Francisco. The parade through the Mission District every Nov. 2 quickly became a Bay Area tradition, drawing thousands of people each year.

He founded the Galeria de la Raza and brought Latin America’s premier artists and photographers to showcase their work there. When the Museum of Modern Art rejected the work of a little-known Mexican woman, it was Yañez who gave a young Frida Kahlo a space to exhibit her paintings. He taught art classes for youths in the community and offered crucial support to many of the Mission’s mural projects.

In 1998, the San Francisco Foundation awarded Rene the “Special Trustees Award in Cultural Leadership.” Now, the man who has contributed so much to the culture of this city finds himself on the verge of being expelled from it.

Rene’s impending eviction from the house on San Jose Avenue where he has lived for the for 35 years is producing a fierce reaction. Fellow artist and personal friend Guillermo Gómez-Peña recently released an open letter expressing his outrage and rallying for public support of Rene’s cause.

“You are being physically and culturally evicted,” Gómez-Peña writes. “Shame on this city! Shame on the greedy landlords and politicians! Your sadness is ours…A city without Rene Yañez…can’t be called San Francisco.”

Gómez-Peña’s cry to action will be answered tomorrow (Sat/12) at 2pm at the Brava Theater on 24th Street with Our Mission: No Eviction, a march in protest of the Ellis Act, the law used to evict all of the tenants living in the five-unit house on San Jose, including Rene, his partner Cynthia, his former wife Yolanda, and his son Rio. (For more on tomorrow’s event and the city’s eviction trend, see our Politics blog).

On Saturday, Oct. 26, Brava Theater in the Mission will host “Our Mission: No Eviction!” a fundraiser in honor of Rene and Yolanda featuring art and performances.  All proceeds from ticket sales to the event will go to the legal expenses of fighting the eviction, as well as Rene and Cynthia’s medical bills; both the artist and his partner are currently battling cancer.

“They were kind of at peace that this would be their home when they passed away, in the community they’ve put so much into,” Rio told us. “Cynthia could be dying or dead while they are in the process of moving.”

Under the Ellis Act, Rene and Cynthia qualify for a year-long postponement of their eviction because of their illness, a fact which their landlord, Sergio Iantorno of Golden Properties, LLC, neglected to tell Rene when he offered him $21,000 and a years’ free rent if he accepted his eviction immediately.

Consulting his lawyer, Raquel Fox, Yañez was informed about the legal extension and proceeded to successfully apply for it. Even without her advice, though, Yañez would not have accepted Iantorno’s offer. As Rio explained, that amount is nowhere near enough for Rene and Cynthia Yañez to get another place in San Francisco, especially in the neighborhood that they call home.

“They are in their 70s. They aren’t looking for a huge buyout so that they can start a new life,” Rio told us.

When their original landlord died 13 years ago, Yañez and his fellow tenants pooled their money to make a bid for the house. Golden Properties saw their offer, and doubled it. Now, they are banding together again to refuse Iantorno’s money and fight  the eviction.

“I would rather take my chances and fight it,” Yañez told the Guardian. “And also I see it as resistance to what is going on and affecting a lot of people.”

On Oct. 1, the San Francisco Rent Board released its Annual Statistical Report for fiscal year 2012-2013. The report revealed a 36 percent increase in eviction notices since the year before. Evictions from rent-controlled apartments in particular are at an 11-year high.

The Ellis Act was used 81 percent more than last year, providing the basis for almost 10 percent of all evictions. The law was used with greatest frequency by landlords in the Mission District. Meanwhile, city public health officials estimate that someone earning minimum wage would need to work more than eight full-time jobs to be able to afford a two-bedroom apartment downtown.

“It is a disaster,” states Christopher Cook, an organizer with the nonprofit group Eviction Free Summer. “Individuals, families, and increasingly small businesses are being hammered by these twin tsunamis of evictions and dramatic rent increases. Those two factors have been driving people out of the city in ever greater numbers for the past 10 to 15 years.”

Gómez-Peña blames these changes on the mass of high-paid young people produced by the second dot-com boom. They may work in Silicon Valley, but they play in San Francisco, and this new class of wealthy young techies can and will pay any price to live in the city—especially the Mission District.

“I see them everyday, the hordes of iPad and iPhone texting zombies, oblivious to us and our lives, our inspirations and tribulations,” he writes. “I see them in my building and on the street, invading the city with an attitude of unchecked entitlement, taking over every square inch and squeezing out the last drops of otherness.”

It is no easy task to make room for all that wealth when the majority of the city’s residents are renters protected by law against unfair rent increases, landlord mistreatment, and unwarranted evictions. The actual strength of these safeguards may be waning, though, leading Gómez-Peña to warn the public in his letter that, “As renters our hours here are numbered.”

The only way to evict a tenant in San Francisco is by claiming one of 15 “just cause” reasons for removing them. Among those 15, the Ellis Act is something of a landlord’s dream date, skipping all the talking to get straight to the action—eviction. Established in 1985, the California law gives landlords the unconditional right to evict tenants if they are “going out of business.”

In order to implement the Ellis Act, a landlord must evict all of the tenants in his or her building, giving them 120 days notice, and wait five years before they can put the units back on the rental market at an increased price. However, the law does not prevent landlords from renting the units out as short-term lodgings, or converting them to be sold as one massive unit, tenancies in common or condominiums.

“Ellis Act evictions are impossible to fight,” admitted Ted Gullickson, the head of the San Francisco Tenants Union. This makes them an ideal weapon against rent control, which has allowed residents from lower income brackets to hold onto their homes in San Francisco for decades while the values of the real estate grew and grew. Even then, many tenants do not feel secure. Guerra has heard stories about people with rent control living for decades without hot water, working windows, heat, or even a stove. “To have this amazing rent control,” she concludes, “they put up with substandard living.”

When something broke in their building, Yañez and his family often did not even tell the landlord about it. If they did ask him to fix something, and he ignored their request, no complaints were ever made. “Because of rent control, we tried to keep a low profile,” Yañez acknowledges. “We tried not to bother the landlord or make too much of a fuss, because we did not want to find ourselves in this position.”

Rene has been aware of how precarious his situation is for years. Iantorno attempted to evict him multiple times. He watched as neighbors, nonprofit organizations, and local artists accepted their own eviction notices without a fight. When he first opened the Galeria in 1970, Yañez had a list of artists living in the Mission that neared 200 names. Today, it does not even reach 20.

“Since 2000, they’ve started this thing in the Mission,” he states. “They were very quiet about it at first, but now it’s accelerating. Willie Brown started it, this trend of redevelopment, eviction, displacing people without consideration. He opened up this gaping wound in the Mission, and now these developers are throwing salt on it, trying to kill the patient,” he chuckles. “People get really upset when somebody paints over a mural, like, ‘It has history, it has value, it’s been here for years,’ but they don’t have anything to say if the muralist gets evicted.”

Legally, there is not much that Yañez and his family can do in the coming year to stop their eviction. Even an advocate like Cook admits, “You can’t reverse an Ellis Act. All you can do is fight it, try to make it clear that it’s not worth the landlord’s while, that they’re gonna be in for a world of headaches, costs, and public shaming if they do this.”

Yañez has not accepted the eviction, but he is preparing for the worst, searching for a new home for Cynthia and himself. He continues to scour the Mission, in vain. “I love the Mission,” he explains. “I’ve been there 40 years. I adopted it, it adopted me. And it needs cultural preservation,” he says, curling his hands into fists that bang the air. “We saved the community from really greedy people who had absolutely no interest in who we were as a people. They just saw us as savages standing in the way of them making money. That attitude is still here. It’s actually worse than ever—unregulated and devastating. When I see the trucks moving people out, older people who have no idea where they’re going, sometimes they go downtown to the hotels—I just think it’s really heartless,” he finishes, his eyes wide in earnesty.

Guardian of San Francisco culture that he may be, Rene and Cynthia Yañez will be forced to leave the city in search of somewhere more affordable if their eviction occurs. In that event, there is little chance that the elderly man will be able to return to the city to curate SOMArts annual Dia de los Muertos exhibition as he has every year since he began it.

“I’m hoping that I can hang in. It’s a throw of the dice, but I still have some miles left in me,” he says, his eyes drooping wearily.

There is a chance that the exhibition, which opened today (Friday/11), might be Yañez’s last. Every year, he changes the theme. This November, the Dia de los Muertos exhibition is dedicated to all the living battling cancer, and  all the dead for whom that battle is over. Each piece is haunting, and all together it is a stunning collection encompassing a range of ages and races to touch any and every person that sees it. Like a loved one lost to cancer, the exhibit leaves you wanting more, yet so grateful fpr what you have experienced.

His last or not, it is something that Yañez can be very proud of.

Government shutdown puts thousands of SF veterans’ benefits at risk

69

More than 7,000 employees in Veterans Benefits Administration offices nationwide were furloughed today (Tues/8), the newest casualty of the federal government shutdown.

As the Republicans in Washington hold the nation hostage over President Obama’s Affordable Care Act, federal employees are leaving their offices in droves. Now the veterans who rely on the federal government for healthcare and education checks have nothing to do but wait on word of their uncertain futures. 

The furlough of veterans benefits workers comes at an especially awful time as they struggle to meet an enormous backlog of health benefit claims, revealed this year by the Berkeley-based Center for Investigative Reporting.

“VA’s ability to make significant progress reducing the disability claims backlog is hampered without the increased productivity gained from overtime for claims processors,” the Veterans Benefits Administration said in a statement released today. The agency has reduced the disability claims backlog by more than 190,000 claims over the last six months, it wrote.  

But even worse, it said that if the government shutdown persists into late October there would be no funding available to supply veterans with their November support checks — money many rely on for rent and food.

In the event of a prolonged shutdown, claims processing and payments in these programs would be suspended when available funding is exhausted,” the office wrote in a release.

San Francisco has veterans of many stripes who depend on federal benefits: Students paying tuition, ex-soldiers getting housing benefits, the disabled seeking health care, all would be left without support.

The loss can be felt keenly at City College of San Francisco, where the employees of its pioneering Veterans’ Resource Center wait in fear of Nov. 1. 

 “With the government shutdown we’re going to have a massive amount of people coming in asking questions,” said Adam Harris, a student worker at CCSF’s Veterans’ Resource Center. The 25-year-old is a veteran himself, and served in the Navy for six years as a petty officer second class in Iraq, Afghanistan, and Guantanamo Bay.  

“If people aren’t paid on the first when they’re expected to you get a wave of people asking ‘where’s my money at?’” he said. The GI Bill pays for full tuition for student veterans who have completed their service, and those still serving. But it’s not just tuition. 

“It’s pretty much a living allowance,” he said. In addition to tuition the the GI Bill pays for housing, food and living expenses. City College of San Francisco alone has over 1,200 student veterans according to their own data, many of whom attend full time. 

The state community college chancellor’s office, which oversees California’s 112 community colleges, said the loss of benefits would be dire for its student veterans.

“Should this come about, our student veterans would be left without education benefits and basic housing allowances,” said Paul Feist, a spokesperson for the Community College Chancellor’s office.  “It’s probably safe to assume that many student veterans would be forced to drop out of school should this occur.”

They noted that the VA’s educational benefits hotline is inaccessible during the government shutdown, cutting off a vital counseling service as student veterans navigate their tuition payments.

The CA Community College Chancellor’s Office most recent data shows that as of the 2011-12 school year, there were over 44,000 community college student veterans receiving benefits statewide, many of whom are in the Bay Area. All would be affected. 

Rachel Maddow announcing the shutdown of veteran benefits offices, which give advice and aid for veterans seeking help with their education, lhousing and health benefits.

Student at the state level colleges will fare no better, though, and there are just over 700 student veterans at San Francisco State University, according to their website. The head of SFSU’s veterans center, Rogelio Manaois, said that his office was sending regular updates to SFSU students and that they were prepared for the possible delay of benefits.

Notably not all veterans depend on the GI Bill to live. Some vets the Guardian spoke to at City College said that they had part time jobs and would not be in hardship if there were a drop in payments. Also, the VA Medical Center in the Outer Richmond announced on its website that it will not be affected by the government shutdown. Not all veterans are in the same boat, however.

Bobby Hollingsworth served as a Criminal Investigations Divisions investigator in the US Army from 1999 to 2010. Though he’s now a graduate of SFSU, he and his family depend on disability payments from the VA to live. 

Hollingsworth injured his his leg in basic training, and the repeated stress through the years required multiple surgeries that he never fully recovered from. His disability payments also cover PTSD, as through his decade of service he spent over a year listening to the explosions of mortar shells peppering his Containerized Housing Unit in Iraq. 

He remembers those days vividly.

“I heard commotion and opened my door and looked up and to the side of our CHU’s. The sky was lit up like a scene in Star Wars” he said. “We got hit with seven mortars that night and a few airmen were rushed to the hospital with unknown injuries. We just never really followed up on those things. At the time maybe we thought best not to know.”

To say he earned his benefits is an understatement, he said, and the same goes for all of his fellow Veterans. 

As a documentary filmmaker, he is investigating other Veterans who have been denied their education benefits. Now the government shutdown may delay Hollingsworth’s payments as well. 

His wife depends on them for college, he said, and without his disability payments he may be unable to make his first mortgage payment on their new house. His wife and four-year-old son will be fine for now, he said, but if the payments are delayed for long he’ll be worried.

“I can hold out for a month because of emergency savings and the food bank,” he said. “But by December, it will be a nightmare.”

Yesterday the VA posted their “Veterans Field Guide to Government Shutdown,” which can be read here.  

Weekly Picks: October 9 – 15, 2013

0

Huzzah!

THURDAY 10/10

 

“Calacas: Day of the Dead”

This is the first year Creativity Explored — which guides artists with developmental disabilities — has taken on Day of the Dead, and if the colorful images (depicting, mainly, an array of bejeweled, multicolored, dressed-up, and carefully detailed skull and skeleton sculptures) released ahead of the exhibit are any indication, it won’t be the last. Swing by tonight for the opening reception, or visit anytime during gallery hours through late November to admire a diverse slate of works by over 20 studio artists. (Cheryl Eddy)

Through Nov 24

Opening reception tonight, 7pm, free

Creativity Explored Gallery

3245 16th St, SF

www.creativityexplored.org

THURDAY 10/10

 

Frameline Encore: The New Black

The complexities of the struggle for equality come to light in The New Black, a documentary that shows both the advocacy for and opposition to recent marriage equality movements by the African-American community. Winner of the Frameline37 AT&T Audience Award for Best Documentary, The New Black is returning to the Roxie Theater as a part of Frameline Encore’s free queer film series. Come in and enjoy the documentary, and perhaps even chat with filmmaker Yoruba Richen, who is expected to be in attendance. (Kirstie Haruta)

7pm, free

Roxie Theater

3117 16th St, SF

(415) 431-3611

www.roxie.com

THURDAY 10/10

 

Stereo with Le1f

Albany Bowl plays the same mix every Wednesday night. Somewhere between Calvin Harris with Rihanna and the Biebs, a familiar saxblat beat begins. “I love this song,” I tell my friends, before realizing I’ve been fooled again: It’s not actually the playfully sinister “Wut” by motormouthed rapper Le1f, but a popular knockoff. I should just get used to it. Because while some people will know what it is/what is up, there’s also that larger contingent that is painfully oblivious to basic shit. (Some stores exist that sell used clothes for less money?) Catch Le1f — who just released his Tree House mixtape — with fellow Tumblr spawn, including “Wut” producer Matrixxman, at this 3D visual (first 100 people get glasses) and arcade themed dance party. (Ryan Prendiville)

With Lakutis and WolfBitch

9pm, $15 presale

Mighty

119 Utah, SF

(415) 762-0151

www.mighty119.com

FRIDAY 10/11

 

“Imagining Time, Gathering Memory: Día de Los Muertos 2013 Opening Celebration”

SOMArts opens its 2013 Día de Los Muertos exhibition with an evening of live music and interactive performance, and the unveiling of over 30 altars and art installations. Curated by René and Rio Yañez, the exhibition is a display of works inspired by memories that honor life and the lives of loved ones no longer with us. With this theme in mind, the exhibit has been dedicated to those who have been affected by cancer, which has become the No. 1 cause of death of Latinos. Artists were also asked to keep in mind recent national tragedies and local issues that have touched their lives while creating their works. Join in to celebrate your own memories and honor the lives of your loved ones. (Haruta)

Through Nov. 9

Opening reception tonight, 6pm, $7–$10

SOMArts Cultural Center

934 Brannan, SF

(415) 863-1414

www.somarts.org

FRIDAY 10/11

 

Arab Film Festival

The 17th Arab Film Festival begins its California tour tonight at the Castro Theatre before shifting to the Opera Plaza Sat/13-Sun/14, then meandering to Los Angeles, Berkeley, and San Diego over the next several weeks. At press time, organizers were still shaking out the specifics of the schedule, but opening night is locked in: Annemarie Jacir’s When I Saw You, which picked up the Network for the Promotion of Asian Cinema (NETPAC) award at the 2012 Berlinale. It’s the Jordan-set tale of Palestinian refugees, including an 11-year-old boy and his mother, struggling to make their way in a new country after the 1967 war. (Eddy)

7:30pm, $15–$40

Castro Theatre

429 Castro, SF

www.arabfilmfestival.org

FRIDAY 10/11

 

A Rite

PBS’ The News Hour closes its Friday shows with headshots of the soldiers who died recently in Iraq or Afghanistan. Many of them were just so unbearably young. Looking at those faces gives you an inkling of why Bill T. Jones and Ann Bogart did not choose a virgin girl but a soldier as a sacrificial victim for their rethinking of Stravinsky’s The Rite of Spring. The two collaborators didn’t have to look far to see that innocents are still being slaughtered, supposedly for the “common good.” Calling their work A Rite, and making free use of Stravinsky’s score, they set it on six actors of Bogart’s SITI Company and nine dancers of the Bill T. Jones/Arnie Zane Dance Company. For the purpose of this show, they call themselves “dactors.” (Rita Felciano)

Through Sat/12, 8pm; Sun/13, 3pm, $35–$40

Bill T. Jones/Arnie Zane Dance Company and SITI Company

Lam Research Theater at YBCA

701 Mission, SF

415-978.ARTS

www.ybca.org

FRIDAY 10/11

 

Mortified

Why is it that our teen years — insert a faded class portrait with braces and acne, mixtapes slipped into Bobby-from-math-class’s locker, and Prom Night (aka Wrong Night) — leave behind indelible scar tissue? This month’s Mortified, a live comedy-musical show where adults explore the most embarrassing moments of their formative years, features love letters, diary entries, and angst-filled poems on getting the guy in 10 days, a kid’s trip out of the closet with guru Liza Minelli, a temporary pathological liar and his gullible Jewish parents, and a girl’s stab at erotica. Borrowing words from the audience, freestyle hip-hop/improv crew the Freeze will add laughter to the tears with musical interludes. (Kaylen Baker)

7:30pm, $21

DNA Lounge

375 Eleventh St, SF

(415) 626-1409

www.getmortified.com

SATURDAY 10/12

 

Alternative Press Expo

A Bay Area institution that stands out even more in the absence of still-wayward WonderCon, APE is focused on independent and self-published comics, with all the comic-con trappings — an exhibit hall with creators and publishers hawking their goods, workshops for aspiring professionals, and even a “Comic Creator Connection” networking event. Programs include a 10th-anniversary discussion of SF’s Cartoon Art Museum, a talk among comic-creator couples, and a panel on queer cartoonists. Special guests include Bill Griffith (Zippy the Pinhead), Colleen Coover and Paul Tobin (Bandette), Anders Nilsen (Big Questions), Raina Telgemeier (Smile, Drama), Diane Noomin (DiDi Glitz), Bay Area publishing legend Ron Turner (Last Gasp), and APE founder Dan Vado (SLG Publishing). (Sam Stander)

Sat/12, 11am-7pm; Sun/13, 11am-6pm, $10–$20

Concourse Exhibition Center

835 Eighth St, San Francisco

comic-con.org/ape

SATURDAY 10/12

 

Chocolate 101 with Dandelion Chocolate

For the past 3 million years, the cacao plant has thrived in the cool, dewy mountains of Central America, cultivated by Mesoamerican peoples to make a bubbling, dirt-bitter beverage representing power, desire, and sanctity. Dandelion Chocolates will teach a workshop on the methods of grinding beans on a metate, and mixing ingredients to re-create this ancient hot chocolate, right inside the Mesoamerican cloud forest at the SF Botanical Gardens. Only three decades old, this plant collection survives far from Central America by the grace of Karl, the bay’s infamous fog. After class, gardens curator and horticulture expert Dr. Don Mahoney will lead a tour through the forest, detailing the cultural impact of the plants on the inhabitants of Mesoamerica. (Baker)

11am, $30–$40

San Francisco Botanical Gardens

1199 Ninth Ave, SF

(415) 661-1316

www.sfbotanicalgarden.org

SATURDAY 10/12

 

Play it Cool with Lovefingers

When I’m not taking my own advice, Derek Opperman’s list of top 5 parties over at SF Weekly is always my go-to for planning a night or weekend out. Likewise, if I miss a DJ that I wanted to see (or that I did see, but have no recollection), I always check out his “Lost in the Night” blog the morning after, for a more clear-headed account. It follows that I’m looking forward to hearing what Opperman and company bring to their Play it Cool parties. This inaugural event upstairs at Balançoire (formerly 12 Galaxies) features LA’s left-field disco head Andrew Hogge, aka Lovefingers aka half of the Stallions, the person behind E.S.P. Institute label and the beloved but now defunct lovefingers.org. (Prendiville)

9pm, $5 (free before 10)

Balançoire

2565 Mission, SF

(415) 920-0577

www.balancoiresf.com

SUNDAY 10/13

 

King Khan and the Shrines

Huzzah! King Khan and the Shrines have finally recorded a new album! After six years of silence, these psychedelic soul-punk weirdos are back and showing their softer side with Idle No More. The new album is informed not by Khan’s typical crass humor and brash antics, but with a new sense of introspection. In the years he’s been gone, Khan has dealt with the tragedy of losing a few close friends and has coped by spending time in psych wards as well as Buddhist monasteries. As the next step of the healing process, Khan has returned to music, his original source of salvation. While his live show is not quite as insane (or nude) as it was in his youth (he’s now 36 years old) he’s still a helluva performer, and we couldn’t be happier to have him back in the spotlight. (Haley Zaremba)

With Hellshovel, Slipping Into Darkness

8pm, $16

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com

TUESDAY 10/15

 

Quintron and Miss Pussycat’s Mystery in Old Bath

Miss Pussycat and Quintron have a reputation for putting on colorful, imaginative, and otherworldly musical performances on stage. With their latest puppet film, The Mystery in Old Bathbath, (featuring characters, Trixie and the Treetrunks) they delve deeper into a realm of wonder, but in a different medium. This 45-minute opus contains drama, high jinks, and handcrafted cuteness — and it has already garnered creative accolades in some high places. Greet Q&P in person at the Roxie as they’ll stick around for a Q&A after unveiling this all-puppet cast adventure, written and directed by the duo for our viewing pleasure. (Andre Torrez)

7:30pm $10

Roxie Theater

3117 16th St, SF

(415)863-1087

www.roxie.com

Friends in the shadows

36

rebecca@sfbg.com, joe@sfbg.com

It’s a simple fact of life: Money buys influence. But in San Francisco, despite strict sunshine laws to illuminate donations to city agencies and gifts to the regulators from the regulated, money still circulates in the shadows when it flows through the coffers of “Friends” in high places.

Major real estate developers, city contractors, and large corporations often lend financial support to San Francisco city departments, to the tune of millions of dollars every year. But the money doesn’t just flow directly to city agencies, where it’s easily tracked by disclosure laws. Instead, it goes through private nonprofits that sometimes label themselves as “Friends Of…” these departments.

They include Friends of City Planning, Friends of the Library, a foundation formerly known as Friends of the San Francisco Department of Public Health, Friends of SF Environment, and Friends of San Francisco Animal Care and Control.

The Friends pay for programs the departments supposedly cannot cover on their own. Bond money can build a skyscraper, but sometimes not fill it with furniture. Agencies are barred by law from funding an employee mixer or a conference trip, so departments turn to their Friends to fill in the gaps. Adding bells and whistles to city websites, holding lunchtime lectures, hiring a grant writer — or, in the case of the Department of Public Health, bolstering health services for vulnerable populations — these are all examples of what gets funded.

The extra help can clearly be a good thing, but the lack of transparency around who’s giving money raises questions — especially if it’s a business gunning for a major contract or a permit to build a high-rise.

City agencies receive outside funding from a wide variety of sources. Sometimes grants are made by the federal government, or a well-established philanthropic foundation — and according to city law, gifts of $10,000 or higher must be approved by the Board of Supervisors. But in the case of organizations like Friends, which are created specifically to assist city government agencies, the original funders aren’t always identifiable. And the collaboration is frequently much closer, with city staff members serving on Friends boards in a few cases.

the circle of donations to "friends of" foundations

Friends board members told the Guardian that their partnership with government helps bolster city agencies in a time of increasing austerity, in service of the public good. But do the special relationships these influential insiders hold with high-ranking city officials come into play when awarding a contract, issuing a permit, making a hiring decision, or determining whether a developer’s request for a rule exemption should be honored? Without more transparency, it’s tough to tell.

City disclosure rules state that any gift to a department must be prominently displayed on that department’s website, along with any financial interest the donor has involving the city. But Friends and other outside funders are under no obligation to share their supporters’ names, much less financial ties, when they distribute grants. Meanwhile, the disclosure rules that are on the books seem to be frequently ignored, misunderstood, or unenforced, our investigation discovered.

How are donors repaid for their support? Consider the controversy earlier this year around Pet Food Express, which won approval in June for another store in the Marina District despite opposition from four locally owned pet stores in the area that fear competing with a large national chain. Pet Food Express won the unlikely support of the city’s Small Business Commissioners, some of whom reversed their 2009 positions opposing the chain’s previous application.

SF Animal Care and Control Director Rebecca Katz personally lobbied the commission to support Pet Food Express, at least partially because the company has donated pet supplies valued at $50,000 to $70,000 per year to the department. That’s a lot of money for a cash-strapped city department, but a pittance compared to the profits of an expanding national chain.

It’s moments of clarity like those, when the public can easily trace the line from donations to political influence, that show why disclosure is so crucial. But those moments are few and far between when trying to trace the funders of private foundations and Friends organizations, where deals often happen in the dark.

 

WHEN DEVELOPERS ARE FRIENDS

At the Merchant Exchange Building in May, a crowd of high-profile real-estate developers mixed and mingled with city planners, commissioners, and even Mayor Ed Lee, wine glasses in hand. Sources told the Guardian that most of the planning staff was present, and not all were happy about having ribbons and name tags affixed to their shirts, as if they were being auctioned off.

With around 500 in attendance, the event was an annual fundraiser hosted by the Friends of San Francisco City Planning, a nonprofit organization that accepts contributions of up to $2,500 per individual to lend a helping hand to the Planning Department. This year’s event was titled “Incubator Startups, New Jobs for the Future,” hinting that the development community shares the mayor’s affinity for new tech startups and the droves of high-salaried IT professionals they’ve attracted to the city.

Some Friends of City Planning board members are major real-estate developers who routinely seek approval for major construction projects. Others are former planning commissioners, or have a background in community advocacy.

Amid widespread concern about displacement, gentrification, and the overall character of San Francisco’s built environment, no city department has greater influence than Planning. An individual’s interpretation of the Planning Code can carry tremendous weight; it’s a series of small decisions that shape a project’s profits and the look and feel of San Francisco’s future. And with cranes dotting the city’s skyline and market-rate construction catering to the wealthy while middle income residents get priced out, the amount of capital flowing through the development sector these days is astonishing.

In this dizzy climate, there might seem to be something askew about affluent developers and land-use attorneys rubbing elbows with city regulators, all eager to pass the hat for the Planning Department. Whiff of impropriety or no, the fundraiser appears to be totally legal.

“We aren’t violating the law — that I know,” Friends of City Planning Chair Dennis Antenore told the Guardian. “We’ve had legal advice on that for years.”

There is close collaboration between Friends of San Francisco City Planning and the Planning Department — a partnership so entrenched that it’s almost as if the nonprofit is an unofficial, private-sector branch of the agency.

“We are certainly thankful and appreciative,” Planning spokesperson Joanna Linsangan told the Guardian. “They’ve helped us for many, many years.” The additional funding is needed, she said, because “there isn’t a lot of wiggle room” in the departmental budget.

Each year, Planning Director John Rahaim submits a wish list to the Friends, outlining projects he wants funding for. This year, he requested $122,000 for a variety of initiatives, including training support to help planners assess proposals for formula retail (read: chain stores). That’s a hot-button issue lately, and one that shows how seemingly small decisions by planners can have big impacts.

When the department’s zoning administrator ruled that Jack Spade, a high-end clothing chain that opened up in the old Adobe Books location on 16th Street, wasn’t considered formula retail and therefore didn’t need a conditional use permit, neither widespread community outrage nor a majority vote by the Board of Appeals could reverse that flawed decision. It was a similar story with the Planning Commission’s Oct. 3 approval of the 555 Fulton mixed use project, where Planning Department support for exempting the grocery store for the area’s formula retail ban made it happen, to the delight of that developer.

Even though the planning director makes specific funding requests each year to the Friends and pitches the projects in person at their meetings — and the Friends publishes a list of the grants it awards to the department online — the Planning Department is not reporting those gifts to the Board of Supervisors.

“I confirm that the Planning Department did not receive any gifts,” Finance and IT Manager Keith DeMartini wrote in official gift reports submitted to the Board of Supervisors for the years 2011-12 and 2012-13. Those reports were sent to the board on Oct. 7 and Oct. 4, respectively, well after the July filing deadline and after the Guardian requested the missing reports.

The Friends typically funds two-thirds of the requests, said board member Alec Bash, totaling around $80,000 a year. In 2012, the Friends awarded a $25,000 grant to make the department’s new online permit-tracking system more user-friendly, making life a lot easier for developers.

When asked what safeguards are in place to prevent undue influence when the director is soliciting funding from a nonprofit partially controlled by developers, Linsangan responded, “those are two very separate things. One does not influence the other.”

She stated repeatedly that planners are not privy to information about individual contributors — but the fundraisers are organized by a board that includes identifiable developers, and anyone who attends can plainly see the donors in attendance. Nevertheless, Linsangan insisted that planners would not be swayed by this special relationship, saying, “That’s simply not the way we do things around here. We do things according to the Planning Code.”

But as the ruling on Jack Spade shows, as well as countless rulings by planners on whether a project is categorically exempt from the California Environmental Quality Act, interpreting the codes can involve considerable discretion.

The public can’t review a list of who wrote checks to the Friends of San Francisco City Planning for the May fundraiser. Since the organization waits a year between collecting the money and disbursing grants, donors stay shielded from required annual disclosures in tax filings.

But Antenore says the system was established with the public interest in mind. “We don’t reveal the contributors, because we don’t want anybody to have increased influence by a donation,” he insisted. Bash echoed this idea, saying the delay was to “allow for some breathing room.”

Unlike some of his fellow board members from the high-end development sector, Antenore has a history of being aligned with neighborhood interests on planning issues, helping author a 1986 ballot measure limiting downtown high-rise development. He emphasized that the developers on the Friends board are balanced out by more civic-minded individuals.

Still, developers who regularly submit permit applications for major construction projects sit on the Friends board. Among them are Larry Nibbi, a partial owner of Nibbi Bros.; Clark Manus, CEO of Heller Manus Architects; and Oz Erikson, CEO of the Emerald Fund development firm.

“We’re not making use of [the funding] in a way that benefits these people,” Antenore said. “I wouldn’t do this if I thought otherwise. I have been careful to maintain the integrity of this organization.” The money is meant to facilitate better planning, he added. “I don’t think there’s any conspiracy,” he said. “We’re not financing anything evil.”

Both the Planning Department and its Friends dismissed the idea that the donations could open the door to favoritism or undue influence. So why isn’t the department reporting gifts it receives from the Friends to the Board of Supervisors, or disclosing them on its website, as required by city law?

According to a 2008 City Attorney memo on reporting gifts to city departments, when an agency receives a gift of $100 or more, it “must report the gift in a public record and on the department’s website. The public disclosure must include the name of the donor(s) and the amount of the gift [and] a statement as to any financial interest the contributor has involving the city.”

John St. Croix, director of the San Francisco Ethics Commission, confirmed that’s the current standard, telling us, “The actual disclosure should be on the website of the department that received the gift.”

Linsangan said records of the gifts are indeed available — listed as “grants” in the department’s Annual Report. But while the 2011-12 report lists grants from sources such as the Metropolitan Transportation Commission and the Environmental Protection Agency, there was no mention of Friends of City Planning.

The memo also says any gift of $10,000 and above must first be approved by a resolution of the Board of Supervisors. But last year, when the Friends provided $25,000 to upgrade the permit-tracking system, it wasn’t sanctioned by a board resolution. Asked why, Linsangan made it clear that she was not aware of any such requirement.

As is common, when it comes to adhering to disclosure laws, confusion abounds. And sometimes, only sometimes, politicos get caught.

 

READING UP ON DISCLOSURE LAWS

When the head of a city agency fails to report gifts totaling $130,000, how much do you think he is fined?

City Librarian Luis Herrera failed to report receiving that amount in gifts and he was fined exactly $600 by the California Fair Political Practices Commission on Sept. 19. Specifically, Herrera had to file a form 700 with the FPPC to state the gifts he received. From 2008-2010, the forms he turned in had the “no reportable interests” box checked.

The money was used in what he calls the City Librarian’s Fund, which is the money he keeps on hand to pay for office parties and giving honorariums to poets and speakers who perform at the library’s branches, money that wasn’t disclosed on the very forms designed for reporting it.

There are two stories of how the fine came about. Longtime library advocate James Chaffee said that it was the result of a complaint he filed with the FPPC in April, and indeed, he sought and obtained many public documents revealing the money trail. San Francisco Public Library spokesperson Michelle Jeffers disagreed, saying that the fine was the result of an ongoing conversation with the FPPC to figure how exactly to file the gifts appropriately.

“The law wasn’t clear around these forms and it wasn’t clear if he had to report them,” she told the Guardian. “For amending the reports you have to pay a $200 fine for every year it was proposed. We keep scrupulous records on every pizza party we have.”

When government officials receive “gift of cash or goods,” they must report them annually in statements of economic interest, known as a Form 700, to the city Controller’s Office. The form is kind of a running tally of who is receiving gifts from whom, a way for the public to track money’s influence in government.

The gifts came from the Friends of the San Francisco Public Library, another nonprofit that bolsters city agency funding. Now Herrera has to list the $130,000 gifts from fiscal years 2008-09 and 2009-10 on his website.

What exactly does that accomplish? As it turns out, not a whole lot.

City Administrative Code 67.29-6 defines the reporting of gifts to city departments, and one of those requirements is to make a statement of “any financial interest the contributor has involving the city.” Now that Herrera lists the Friends of the San Francisco Public Library as donors on the department website, the statement of financial interest by the friends group is this: “none.”

There are myriad donors to the Friends of the SFPL, and the group doesn’t have to state the economic interests of its donors, or even mention who its donors are. The code requires gifts be reported to the controller, and the deputy city controller told us this doesn’t apply to the “friends of” organizations, or any nonprofit foundation arms of city departments.

“If gifts are made to a department, yes, they have to disclose, so people don’t get preferential interest in getting city contracts,” Deputy Controller Monique Zmuda told us. “I know it’s a fine line. The foundations don’t provide us with anything.”

Friends of the SFPL doesn’t provide money just for pizza parties. A breakdown of a funding request from the library to its Friends shows requests up to $750,000 to advertise the library on Muni and in newspapers, funding for permanent exhibits, and the City Librarian’s personal fund. That’s just the money it gives to the library. Other monies are spent directly on activities supporting the library.

As Jeffers pointed out to the Guardian, the money isn’t spent on “trips to Tahiti.” Friends of the SPL do good city works, from a neighborhood photo project in the Bayview branch library to providing books for children. But the question is: Who’s buying that goodwill and why?

The millions of dollars in donations made to the Friends of the SFPL don’t need to be approved by the Board of Supervisors, like gifts to departments do. They’re not checked for conflicts of interest or financial interest by any governmental body. Donors give and the Friends of SFPL spend freely, financial interest or not.

When our research for this story began, no financial statements were available of the Friends of the SFPL website. After a few days of inquiries, the most recent year’s financial statements from 2011-12 were posted to the website.

Ultimately, the San Francisco Public Library is one of the smaller city departments, with an annual budget that hovers around $86 million. The Department of Public Health is a much bigger beast, with a 2011-12 budget of around $1.5 billion.

One of its main foundations, the San Francisco General Hospital Foundation, is also one of the largest nonprofits that supplements city spending. In many ways, it could be described as the model of disclosure for city foundations, although its disclosures are not by law, but by choice.

 

FOUNDATION OF FRIENDS

The Department of Public Health relies on a few entities that fundraise on its behalf: the San Francisco Public Health Foundation, the Friends of Laguna Honda Hospital, and the San Francisco General Hospital Foundation.

“They’re private nonprofit entities that are separate from the department,” CFO Greg Wagner told us. “But their roles are to support the department in its efforts.” He cited examples such as sending its staff to conferences or hosting meetings, “things that we don’t have the budget for or don’t have the staff or resources.”

The lion’s share of the DPH’s gifts are funneled through the SFGHF. Unlike many of the assorted Friends groups or foundations that support city services, the SFGHF extensively reports the sources of its $5 million in donations. The donors include a veritable who’s who of San Francisco: the Giants, Sutter Health, Xerox, Pacific Union, and Kohl’s all donated between $1,000 and $10,000 in the past two years.

But the largest gifts to the SFGHF came from Kaiser Permanente, and its financial interests in the city run deep. Kaiser came into the city’s crosshairs in July, when the Board of Supervisors passed a resolution calling on Kaiser to disclose its pricing model after a sudden, unexplained increase in health care costs for city employees. Kaiser holds a $323 million city contract to provide health coverage, and supervisors took the healthcare giant to task for failing to produce data to back up its rate hikes.

In the meantime, Kaiser has also been a generous donor. It contributed $364,950 toward SFGHF and another $25,000 to SFPHF in fiscal year 2011-12.

The funding from Kaiser and a host of other contributors — which include Chevron, Intel, Genentech, Macy’s, Wells Fargo (another city contractor), and a pharmaceutical company called Vertex — does support needed programs. They include research into the health of marginalized communities, services through Project Homeless Connect, screening for HIV, and immunization shots for travelers.

But because DPH doesn’t count much of this support as “gifts” formally received by the city, it isn’t subject to prior approval by the Board of Supervisors, or posted on the department’s website along with the contributors’ financial interests. Major contributions are disclosed in a report to the Health Commission, something Wagner described as a voluntary gesture in response to commissioners’ requests.

“Most gifts to foundations are donations to a nonprofit and do not come through the city or DPH at all,” he noted.

This distance is maintained on paper despite close collaboration with the department. In the case of Project Homeless Connect, a program that holds a bimonthly event to aid the homeless, it supports programs headquartered in city facilities. Penny Eardley, executive director of SFPHF— which used to be called Friends of San Francisco Public Health — noted that her organization occasionally makes grants or seeks funding in response to department requests. And Deputy Director of Health Colleen Chawla is a foundation board member. It’s almost like these foundations are extensions of the department, except they’re not.

SFPHF also earns revenue as a city contractor. When DPH received a grant from the Centers for Disease Control, it contracted with SFPHF to manage subcontracts with about a dozen community-based organizations.

The web gets even more tangled. The president of SFPHF is Randy Wittorp — who’s also Director of Public Affairs for Kaiser Permanente’s San Francisco Service Area. It’s a similar story with SFGHF, whose board includes several General Hospital administrators, including CEO Susan Currin.

Former Health Commissioner James Illig said people shouldn’t worry, that hospital the staff would never direct foundation funds to pet projects or mishandle funds. They maintain a separation and a firewall,” he said, for example noting, “Sue Currin is not directing funds to her own hospital.”

But he did admit that since SFGHF’s minutes are not public documents, that “raises a few concerns,” arguing the public should be able to inspect financial documents to decide if the foundations are directing funds lawfully to city departments.

Even when the public by law has a right to access financial records of a city department, rooting out corruption can be like pushing a boulder up a San Francisco hill.

 

FROM PATIENTS TO PARTIES

In 2010 and 2011, Laguna Honda Hospital administrators and staff used money from the hospital’s patient gift fund to throw a party. And then they spent it on airfare. And then they gave laser-engraved pedometers to the staff. All told, they spent nearly $350,000 meant for the dying and the infirm, nearly half of the total funds.

The incident was big, messy, and out in the public eye. It was an all-too-rare glimpse into the shady use of public funds by public officials. But when hospital staff members Dr. Derek Kerr and Dr. Maria Rivero blew the whistle on Laguna Honda’s misuse of patient funds in 2010, they were drummed out of their jobs.

Eventually litigation on behalf of the whistleblowers and their complaints of corruption were found to have merit.

Kerr’s vindication came at a meeting of the Health Commission in April 2013. In the packed City Hall meeting room, the public watched as Laguna Honda Executive Director Mivic Hirose read her apology to Kerr and Rivero aloud, even announcing a plaque in Kerr’s honor.

“The hospital will install the plaque in the South 3 Hospice,” she read, stiltedly, from a written statement, surrounded by microphones at the podium. “The plaque will say: In recognition of Derek Kerr MD of his contributions to the Laguna Honda’s hospice and palliative care program 1989-2010.”

Kerr received a settlement of $750,000 and something more important: His good name cleared.

But that conflict of interest was rooted out only after years of litigation that revealed the financial abuse through legal discovery of the department’s documents — documents that should’ve been public in the first place. ABC 7’s I-Team broke the story and did much of the reporting at the time, otherwise the entire affair may have been swept under the rug.

The misuse of funds was only brought to light with the revelation of public documents — revelations not possible with most Friends groups. The Laguna Honda Hospital Foundation has also had financial dealings with potential conflicts and a lack of transparency.

The now-defunct LHHF’s board chair, former City Attorney Louise Renne, made an interesting choice for her vice chair after she formed the nonprofit in 2003. Derek Parker was vice chair of the LHHF while simultaneously heading architecture firm Anshen-Allen, with a $585 million city contract to rebuild the hospital.

So he was not only rebuilding Laguna Honda under city contract, but soliciting and spending donations meant to supplement his project. Renne wrote to the Health Commission in December 2011 that LHHF’s purpose was to manage over $15 million in donations meant to furnish the hospital with beds, chairs, and other necessities. Eventually, then-Mayor Willie Brown found funding for the hospital, reducing the foundation’s role.

In a phone interview with the Guardian, Renne said the goals of the LHHF were only ever to furnish the newly christened hospital. “Our purpose was to fill the void, if you will, for what the city and its services could not do,” she said.

But in her letter, Renne advocated for LHHF to take an active role in fundraising for the hospital for years to come. “Today, the members of the Board of Directors of the Foundation continue to assist the hospital in various phases of its new projects and operations with projects approved by the City and/or the hospital administration,” she wrote to the Health Commission.

And Parker would have potentially managed millions of dollars flowing through donations for countless other hospital projects, while heading an architectural firm with contracts to build in San Francisco. We were unable to reach Parker for comment.

“I never saw Derek use his position as an architect or position for any political gain, I never saw it,” Renne told us. But no one else would see it either, because organizations like the now closed Laguna Honda Hospital Foundation operate without public oversight.

The Health Commission itself even noted this in its March 2012 meeting, the minutes describing then-commissioner James Illig as critiquing the foundation for not being open about its source of funding.

“Commissioner Illig thanks Ms. Renne and Mr. Parker for coming to the Commission,” the minutes read. “Because (LHHF) is a project of Community Initiatives, a fiscal sponsor for nonprofits, it is not possible to find basic financial information about the Foundation or its activities.”

Divided interests on hospital board

Due to a quirk of her foundation being under the “umbrella” of a separate entity, Community Initiatives, Illig was never able to even get the LHHF’s IRS forms, he told us. “We tried to get information and reports, and the Community Initiatives [Form] 990 was giant,” Illig said. “It didn’t separate anything out.”

Illig told us that it made sense to have Parker on the board because he is monied and well connected, making it easier to solicit donations. But insiders close to the board told us that Parker’s position may have made it easier to swing getting other contracts for his firm.

Parker got another city contract building the UCSF Benioff Children’s Hospital at Mission Bay, slated to open in 2015. No doubt his firm got the job partly due to his reputation as pioneering architecture that leads to healthy patient outcomes — but then again, the board he served on also approved donations to research at UCSF.

Laguna Honda Hospital Foundation may now be defunct, but it serves to illustrate the lack of controls and oversight of the foundations beyond even gift disclosure.

 

OFF THE BOOKS

It might be characterized as a web of influence, cronyism, or just the way business is done. But is there something improper about all of this?

Private funding often represents a needed boost that allows for important work to take place beyond what could happen under ordinary budgeting. At the same time, it smacks of privatization. While departments and funders point to lean times in the public sector to justify the need for this help, the funding continues to flow whether it’s a good year or a bad year for city government. And at the end of the day, the most glaring issue of all seems to be the lack of transparency.

Are city departments ever tempted to bend the rules to lend a little help to their Friends? As long as the funding is in the dark, the public has no way of knowing.

Ethics chief St. Croix told us his office lacks the resources to visit every city website and check up on whether departments are following the disclosure rules. “If someone brought it to my attention that a department received a gift and didn’t post it [on the website],” he said, “we would look into it.”

But if the watchdogs need watchdogs, citizens who can’t even review documents that should be publicly available, then these quasi-governmental functions and the people who fund them will remain in the shadows.  

Danielle Parenteau contributed to this report.  

ADDENDUM  

When city funders operate in the dark, one of the best ways to learn about corrupt influence, misuse of funds, and other transgressions is from whistleblowers. If you have a tip for us, send us snail mail at SAN FRANCISCO BAY GUARDIAN, 225 Bush, 17th Floor, San Francisco, CA 94104. Or email us at news@sfbg.com. Just make sure not to use an email address provided by your workplace, which is less secure.

Psychic Dream Astrology: October 16-22, 2013

0

10.16-22.2013

Mercury goes Retrograde on the 21st until November 10th. Expect disturbances so you can handle them more gracefully. 

ARIES

March 21-April 19

Even if you do the right thing it may feel kinda wrong this week. You’re growing in ways that allow you to behave differently than your habits would have you, and that’s a good thing. The trick is to move mindfully at every step, Aries. There’s no rush, so take your time to do it right the first time.

­TAURUS

April 20-May 20

Work towards creating security, Taurus. Reflect on what the perfect balance between your personal, or internal needs, and your professional, or external needs is. You are poised to create foundations that you can build on, so you’d better be sure you’re putting together what you truly want.

GEMINI

May 21-June 21

Don’t make a stab in the dark, Twin Star! No matter how badly you’re itching to make changes, you are way too unclear and reactive to do much good. Get your head together before you try figuring out your life this week. You need a time out before you do some serious damage, pal.

CANCER

June 22-July 22

Crack open your lesson books, ‘cause this week is all about learnin’, Moonchild. Listen to your most trusted advisors, write in your journal, or talk to your God; just do what you have to do in order to make choices you can live with. You are in a deeply fertile place, so bring clear intention to everything you’re involved in.

LEO

July 23-Aug. 22

With a light as bright as yours, you’re bound to cast some shade. This week your greatest strengths can be found in the shadows, so don’t avoid them, Leo. You are capable of innovating a new path for yourself, but first you need to take a step back and spend some time with your inner self, pal.

VIRGO

Aug. 23-Sept. 22

You need to make a move, Virgo, just don’t compromise common sense and mindfulness as you boldly strike out this week. This is not the time to sit back and contemplate your navel. Let old, habitual ways of being fall away as you try a little daring on for size.

LIBRA

Sept. 23-Oct. 22

The things that disappoint you are also your greatest teachers. Learn from what’s not working in your life! The stuff that doesn’t work for you can help inform a more whole picture of what does. Your problems can be an opportunities for knowing what you’re made of. Rise to the occasion, Libra.

SCORPIO

Oct. 23-Nov. 21

Set your boundaries, Scorpio. Saturn gets what Saturn wants, and right now it wants to teach you how to better take care of yourself and the stuff that’s important to you. Focus on what you want to have more of in your life; that’ll help you see what you have to say no to or put on ice this week.

SAGITTARIUS

Nov. 22-Dec. 21

If you strike out in reaction to your fears you’re likely to make things more dramatic than they need to be. You may feel stymied this week, but the worst thing you can do is try to fight your way out. Figure out what’re your fears versus real threats before you decide how to handle things, Sag.

CAPRICORN

Dec. 22-Jan. 19

You have to let some stuff go, Capricorn, and that can be rough on it’s own. What’s making matters worse is your lack of clarity around where you’re at and what you want next. Don’t act until you’re ready; strive to feel grounded about what you need before you shake things up this week.

AQUARIUS

Jan. 20-Feb. 18

You can think your situation in circles if you want to, but you’ll be helping no one. This week you gotta put your money where your mouth is. Step forward and act in integrity with what you believe. You may make mistakes, but it’s way better than sitting around wringing your hands.

PISCES

Feb. 19-March 20

Accept where you’re at, Pisces. Engaging in power struggles won’t work well for you this week. Make peace with the choices you’ve made so you can stop wasting your energies lamenting the past. Reassess your actions and goals in order to get an accurate assessment of your current reality.

 

Want more in-depth, intuitive or astrological advice from Jessica? Schedule a one-on-one reading that can be done in person or by phone. Visit www.lovelanyadoo.com

Mayor Lee responds to political furor with more funding to fight evictions

136

We’re not sure whether it was the high-profile recent protests against the eviction of the Lee family, our well-read “City Hall must address rising rents” editorial or eviction and gentrification coverage last week, our earlier focus on record eviction rates, or just the growing view that City Hall is too friendly to landlords and neglectful of tenants, but the Mayor’s Office has finally awoken to the biggest issue facing this city.

With skyrocketing rents — and with increasingly common efforts by the landlords of rent-controlled apartments to take advantage of that market by forcing out their tenants — Mayor Lee this afternoon announced that he’s tripling funding to fight illegal Ellis Act evictions, making populist statements along the way.

Now, spending an additional $700,000 to fight greedy, deep-pocketed landlords is not exactly going to change the playing field, but it’s a nice gesture and an indicator that Mayor Lee is starting to notice the problem. Hopefully, with pressure by progressive politicians and activists, this will be just the first of many such actions.

His press releases follows in it entirety:

*** PRESS RELEASE ***

MAYOR LEE ANNOUNCES ADDITIONAL RESOURCES FOR EVICTION PREVENTION IN SAN FRANCISCO

San Francisco to increase resources to support residents and families affected by illegal Ellis Act evictions and releases Eviction Prevention Funding from Housing Trust Fund

San Francisco, CA—Mayor Edwin M. Lee announced San Francisco will triple the amount of funding to prevent illegal Ellis Act evictions and that the City will release $700,000 in funding for other eviction prevention services from the Housing Trust Fund.

“San Francisco must remain a viable place to live and work for people at all levels of the economic spectrum,” said Mayor Lee. “That’s why I am providing additional resources to stop unlawful evictions and provide tenant counseling for our residents, so that San Francisco remains a City for the 100 percent.”

The Human Services Agency (HSA) currently provides nearly $8 million in homeless prevention and eviction defense services, an increase of $1.3 million from last year’s budget. In this year’s budget, the City was providing nearly $125,000 to fund free legal advice and represent 55 San Francisco families who have been affected by illegal Ellis Act eviction threats. Today, Mayor Lee tripled the amount of funding with an additional $250,000, which will immediately be available to eligible organizations that provide Ellis Act prevention legal work and will help more families and people at all levels of the economic spectrum remain in San Francisco.

“Providing resources to stop unlawful evictions has proven to be one of the most effective strategies to prevent displacement and homelessness in our City,” said Trent Rhorer, Director of the San Francisco Human Services Agency. “This additional $250,000 will help keep San Francisco families in their homes.”

The Mayor’s Office of Housing will also provide $700,000, from the Affordable Housing Trust Fund, to fund tenant counseling services. This is a 63 percent increase in funding and brings the total amount to more than $2.3 million in eviction prevention services from the Mayor’s Office of Housing. These additional resources will be distributed to community based organizations specifically expanding legal representation for individuals facing eviction; rental assistance to individuals and families who are currently homeless or are struggling to keep their current rental housing; and to provide outreach to San Franciscans to better inform them about their legal rights.

The Mayor’s Office of Housing has prioritized eviction prevention services and funds activities including legal services, tenant counseling, rental assistance, move-in assistance, know your rights trainings, and other types of tenant support.  Services are offered through a diverse group of community based organizations that reach San Francisco’s many communities including seniors, people with disabilities, immigrants, the homeless and families.

The HSA will issue an ‘Invitation to Bid’ this week so eligible organizations can apply and use the HSA funding to expand their legal services in order for them to be available to vulnerable tenants within 30 days. It is anticipated that the additional HSA funds will help at least 150 households receive legal advice and representation.

 

 

 

 

San Francisco Homebrewers Guild Q&A: A mashing good time

0

For this week’s cover story, I profiled one particular homebrewer — my husband — on his quest to DIY kegerator glory. But there’s more to this story — hundreds more, in fact. And the homebrewers of San Francisco congregate in the virtual San Francisco Homebrewers Guild (cute motto: “A mashing good time!). I chatted with the friendly and knowledgeable Kevin Inglin, who is the group’s VP (Chris Cohen is the group founder and president) about rising membership, local homebrewing trends, and helping people brew better beer:

SF Bay Guardian
How many active members are there in the San Francisco Homebrewers Guild?

Kevin Inglin We have about 140 dues-paying members in the SFHG ($45 annual membership gets them into monthly meetings for free — $5 for non-members — and allows them to enter our quarterly competitions for free, attend members-only events, and gets them discounts at local homebrew supply shops).

Our emailing list and Meetup group numbers are nearing 500. We have more than 130 people who are regularly “active” on our Meetup page (meaning they access the page for information at least bi-weekly), and we usually have 40-80 members who attend our monthly meetings and events.

SFBG How long has the group/guild been active? It combined with another group late last year, correct?

KI That’s correct. The current formation of the SFHG is really a combination of two groups. In October 2012 I took over as organizer of a Meetup group (of which I had been a member for about a year) called the SF Homebrew Club, which had formed online in December 2010. Chris Cohen started the SFHG in February 2012 and had held a couple of events throughout 2012. Upon taking over the Meetup group, I was pondering what type of homebrew club I thought we needed to be what my role would be as organizer and I came across what Chris was doing with SFHG.

I thought we had a lot of similar goals with regard to uniting and promoting the homebrewing community in the city, so I reached out to him and very quickly thereafter cross-promoted the November 2012 “SFHG Presidential Honey Ale Competition” — an event he already had in the works — to members of the Meetup group. In December of that same year, Chris then cross-promoted a Meetup group event — a North Bay Craft Brewery Tour I had been working on – to the members of the SFHG.

After those two very successful joint endeavors, we made it official in January 2013 when we merged the two groups, changed the Meetup group name to SFHG to ensure common branding, began having our regular monthly meetings, and proceeded to carry out numerous events throughout the year. We haven’t looked back since!

SFBG Any common homebrewing trends you’ve noticed among the group lately? Any ongoing trends or common issues that always arise among members?

KI I think the common trend in the homebrewing community is that every homebrewer at one time or another secretly desires to “go pro” — if they say they haven’t after someone has told them “that’s really great beer!” they’re probably lying!

Joking aside, I think the trend among homebrewers is creativity and reviving often “forgotten” styles or bringing a new twist to old classics. This creativity inevitably then emerges in the craft brewing scene as many craft brewers do indeed have homebrewing roots. People new to homebrewing then see what is happening in the craft brewing world and work to replicate those beers, so it’s somewhat of a circuitous path, but the two communities (homebrewing and craft brewing) tend to feed off one another.

In the past several years, we’ve seen the craft beer scene follow the homebrewing lead of running through big, high-alcohol “extreme” beers (e.g., big stouts and barleywines), and who can make the hoppiest IPA known to man. Now we see sour beers trending quite a bit in the craft brewing industry, which is at least in part due, in my opinion, to a trend of homebrewers seeking to make these challenging and very tasty beers for the past several years.

Our club is about to embark on a sour beer project with GigaYeast, a local, up-and-coming yeast provider that is gaining an increased market presence – we’re very excited about helping them gather data to tweak their sour yeasts and agents they’ll ultimately bring to market for use by other home and craft brewers.

SFBG Are most members brewing all-grain or extract? What is the experience level of most of the members?

KI We really run the gamut. We have several brewers who have been at it for a decade or more and a large group of people new to the hobby. With that mix of experience level, we have a corresponding mix of brewers who are all-grain and those using extracts. Being in an urban environment, some of our brewers are challenged with space and continue to use extracts for this reason, others have found ways to move to all-grain, but do so on a much smaller scale (1 to 3 gallon batches) than is most-often found in the hobby, where brewing 5 gallons at a time is the most common volume.

SFBG Have you noticed any uptick in membership in the past six months-few years?

KI Absolutely! Before we merged the SF Homebrew Club with SFHG, there were 287 members in the Meetup group, of which, just more than 30 were “active” members regularly using the site to gather and share information. We now have more than 460 members in the Meetup group, of which more than 130 are regularly “active” so that has definitely been very positive and consistent growth for the group over the past 11 months.

With the merger of the Meetup group into the SFHG proper, we’ve also seen a significant increase in paid memberships for SFHG (nearly double from last year), which has been essentially to the vitality of the group and allowing us to host so many events for members in the past year.

SFBG When did you personally start homebrewing?

KI I started in 1996 with an equipment and ingredient kit I bought from a display set up in the corner of a German bar. I had no group or resources to really tell me what to do, so I just read what I could and went for it. Those first batches weren’t too great, but I’d like to think now after all these years I’m able to produce beers a bit more palatable!

SFBG Anything else you would like to add about yourself or the group?

KI Running the SFHG has been a truly rewarding experience – it’s always great to help someone “get it” and see their joy when they make a beer far better than they ever thought they could based on information and tips they gathered from other club members. Having struggled somewhat on my own when I got started, it’s very enjoyable to help others avoid that isolation and be able to improve their brewing much more quickly based on the help and advice from others. That’s really the crux of our existence — help people brew better beer!

As for me personally, as an Army officer, I’ve moved around quite a bit over the years and homebrewed in Tennessee, Alabama (not realizing it wasn’t legal there at the time – thankfully it is now!), Hawaii, Virginia, Texas, Germany, and of course here in California.

It’s been a very enjoyable hobby and now that I’m set to retire from the Army in 2014, my wife and I have indeed decided to venture into the ranks of the professionals and open our own Nano Brewery here in the city. I’ll be attending a professional brewing course next year to augment my homebrewing experience and we’re in the throws of getting the business off the ground in the coming months. Wish us luck!

Final Burning Man ticket sale brings total to 61,000 sold for $23 mil

11

With the final official Burning Man ticket sale going off without a hitch yesterday, Bay Area burners are now in mad preparation mode, with DPW setup crews arriving on the playa this week, early art crews heading out next week, and everyone else anxiously awaiting the official start of the annual Nevada desert bacchanal in 27 days.

With the US Bureau of Land Management recently awarded the event a permit and population cap of 68,000 — a big jump from last year’s 60,000 cap — Black Rock City LLC decided to bump up yesterday’s “OMG! Sale” ticket offering from the initially planned 1,000 up to 4,000.

“The sales yesterday went breathtakingly smoothly,” event spokesperson Jim Graham tells the Guardian.

Yesterday’s ticket sales brings the total number of tickets sold up to 61,000. Accounting for the expensive early sale tickets (3,000 at $650 each), low-income tickets (4,000 at $190), and 54,000 at this year’s standard $380 price, that brings the LLC’s gross revenue from ticket sales (not counting fees) to $23.23 million. The LLC also gives away thousands of tickets each year to volunteers, art crews, and VIPs.

No wonder this ambitious organization could afford to hire Graham as yet another official spokeperson, joining Megan Miller (US Sen. Barbara Boxer’s former flak) and longtime spokesperson Marian Goodell, an LLC board member.  

After last year’s stressful scramble for tickets, availability seems to be pretty good this year. Craigslist has lots of tickets still available for face value, and while Stubhub is still listing 223 tickets starting at $550 each (burners consider it bad form to charge more than face value), anecdotal evidence suggests that’s just wishful thinking by scalpers still hoping for a big score.

My advice: don’t pay more than face value, and if you’re willing to wait until the very last minute, you’ll probably get one for even cheaper than that.

Or as Graham told us, “Everybody who wants to get to the event will certainly get a ticket.”

Guardian forum sparks lively discussion

26

We had a packed house last night for our community forum on the future of the Bay Guardian and the progressive movement in the Bay Area, with lots of great input, advice, gratitude, and just a bit of acrimony. It was even more informative and inspiring than we had hoped for and we appreciate everyone coming out and speaking so frankly.

As Sup. David Campos (who just announced his candidacy for the California Assembly) said last night, “The Bay Guardian has been the conscience of the [progressive] movement and I think it’s important for the Guardian to continue to play that role,” and that’s a role that the new generation of Guardian leaders will continue playing while also reaching out to a new generation of Guardian readers.  

We’ll have a full rundown in next week’s paper, along with an extended letters to the editor section to make up for shutting down online comments this week, so for now let me just offer a brief overview. In addition to Campos, the crowd of around 100 people included Sup. John Avalos, Sheriff Ross Mirkarimi, and City College of San Francisco Trustees Rafael Mandelman and Chris Jackson.

The crowd also included Todd Vogt, CEO of the San Francisco Print Media Company, who got an earfull from progressive activists Gabriel Haaland, Chris Cook, and others over the abrupt departure of longtime Guardian Editor Tim Redmond in June, with concerns expressed over the Guardian’s credibility and editorial autonomy.

Both Vogt and those on the Guardian’s panel — which included (from right in the photo above) Publisher Marke Bieschke, Editor Steven T. Jones, Music Editor Emily Savage, Senior A&E Editor Cheryl Eddy, Art Director Brooke Robertson, and News Editor Rebecca Bowe — emphasized that the Guardian has full editorial autonomy and control over what we cover and how, and who we endorse. The mission of the paper — “To print the news and raise hell,” and to be an indispensible guide to Bay Area arts and culture — hasn’t changed.

We’re all still digesting everything what was said last night (both at the forum in the LGBT Center and an informal session afterwards at Zeitgeist that went late), and we will be factoring it into what we do and continuing this ongoing conversation with all of you. We also welcome everyone’s input and advice, which you can send to us at news@sfbg.com.

A special thanks to Alix Rosenthal for moderating the public input — and to everyone who came — for somehow keeping the comments and questions clear, concise, and constructive.

Onward!

UPDATE: Journalist Josh Wolf has written an excellent summary of the forum here at on the Journalism That Matters website. Check it out.

8/6 UPDATE: We just turned comments back on after shutting them off for a week-long experiment.

Is the Guardian empowering Chiu or just recognizing his power?

67

I’ve been hearing lots of back channel complaints and concerns from progressive San Franciscans since last week’s blog post on Board of Supervisors President David Chiu and the role he’s played forging compromises on controversial pieces of legislation this year.

Some have even suggested that the Guardian has gone centrist under my freshly minted editorship, which I actually find kinda funny given my history, perspective, and the righteously anti-corporate and progressive perspective stories that I’ve written and edited in recent weeks. I can honestly tell you that I call ‘em like I see ‘em, now as always, even if that doesn’t always hew to the progressive orthodoxy of some.

Nobody really wants to speak on the record against Chiu, which is understandable given the powerful and pivotal position that he’s carved out for himself as a swing vote between the two ideological poles and on the Land Use Committee, whose makeup he personally created to enhance that role.

So for now, let me just air some of the criticisms and offer some responses and perspective. The main issue seems to be that Chiu allows both progressive and anti-progressive legislation to be watered down until it is palatable to both sides, empowering the moderates over the progressives.

That’s a legitimate point, it’s certainly true that Chiu’s worldview is generally more centrist than that of the Guardian and its progressive community, and we’ve leveled that criticism at Chiu many times over the years. The fact that he ends up in a deciding role on controversial legislation is clearly a role that Chiu has carved out from himself, no doubt about it. And that’s certainly why he played the pivotal role that he has this year.

But when he uses that role to empower and support tenant groups, as he did on the condo lottery bypass measure, I think that’s something worth noting and praising, particularly in my quick little blog post that seems to have grown in perceived significance beyond what I may have intended.   

Many of the criticisms involved the CEQA reform legislation that was unanimously approved by the board last week after progressives opposed its initial iteration by Sup. Scott Wiener.

As some have suggested, Sup. Jane Kim does deserve tremendous credit for resisting the initial legislation and working with activists on an alternative, and I included that recognition in my initial story on the legislation. And it’s valid criticism of Chiu to note that Kim had five votes for her legislation and that it was only Chiu who stood in the way of its passage (whether Mayor Ed Lee would have vetoed it, necessitating the need for two more votes, is another question).

But I quoted Eric Brooks, an activist who spent months working on the compromise, as saying the CEQA legislation ultimately does make it easier to oppose bad projects. And when it was approved unanimously by the board, I figured it was safe to place that piece of legislation on the list of Chiu legislative accomplishments for the year.

We at the Guardian will make mistakes, as we always have from time to time. But I’m going to try to err on the side of open, transparent public debates — while supporting a rejuvenation of the city’s progressive movement, so that it is able to start playing offense and protecting this city’s diversity, vitality, and progressive values.

And if you have any criticisms or advice for the Guardian, please come to our forum on Wednesday or offer them to me directly. Thanks for reading.

Labors of love

0

arts@sfbg.com

THEATER A white passenger van pulls to the curb in a Santa Rosa neighborhood, discharging a group of Latino men and women at the door of a converted warehouse. The visitors vary by age, class, and education. All hail from Mexico or Central America, but more recently Los Angeles, where they’re among the city’s thousands of jornaleros, or day laborers, making their way job by job, often without secure documentation or security of any kind.

Standing beside the warehouse on this quiet street, they could be mistaken for an ad hoc work crew. But the warehouse is a theater, and this sunny afternoon in June is the culmination of a precious week off. Not that these men and women aren’t here in Santa Rosa to work — just this time, it’s on a play.

Brent Lindsay and Amy Pinto, artistic directors of the Imaginists, greet the visitors as they collect outside the theater and saunter in, joining other members and friends of the Santa Rosa company. It’s the final day of a weeklong artistic exchange between the Imaginists and Teatro Jornalero Sin Fronteras (Day Laborer Theater Without Borders), a Los Angeles–based Spanish-language ensemble theater created by and for the immigrant day laborer population. The ten-member troupe, founded in 2008 under the umbrella of LA’s Cornerstone Theater and led by co–artistic directors Juan José Mangandi and Lorena Moran, has created 15 short plays that they perform mostly at day laborer centers across Los Angeles — although last year saw TJSF tour both Northern California and El Salvador. The plays examine everything from the legal and human rights of immigrant workers to the transnational cultures migrant workers share and foster.

After a light breakfast of coffee and pan dulce, the two companies gather in a circle for warm up exercises led by both Lindsay and Moran. Then they all get back to work on a playlet they’ve been developing from improvisations. It begins with two workers who alternately pay off and slip by a snoozing guard (played by Imaginists company member Eliot Fintushel) to dump toxic waste into a nearby stream. When this causes an environmental disaster, a government spokesperson (Pinto) assures people in the audience that their organic produce is safe. Meanwhile, a cleanup crew of migrant workers is slowly poisoned to death. A news team rushes to the scene of the eco-disaster, but seems to take no notice of the brown bodies sprawled over it. Left alone onstage, the workers rise as ghosts — beginning with one who sings, “They’re carrying me off to the cemetery. Don’t anyone cry for me. Just sing my favorite song…” — and one by one exit the stage.

Throughout, Lindsay directs from a chair audience-side, giving advice or suggestions. All, however, are welcome to chime in with comments and do. An elderly woman named Adela Palacios, for instance, suggests that before departing the stage each ghost can simply state their name and what they did for a living, a suggestion readily embraced by all. Soon the form of the scene has a solid arc, and a tone that makes a virtue of the mix of amateur and professional actors. Combining slapstick, winking asides, an eerie sense of tragedy, and a moving use of direct address, it’s a surprisingly affecting bit of work.

“We come to the theater as older people,” explains Moran. “But we feel we’ve found a company [in the Imaginists] like us. We share the same path.” A native of Guatemala who worked in business administration before fleeing domestic abuse and the country, Moran (translated by Gustavo Servin of the Imaginists) speaks eloquently about the company she joined five years ago amid a dangerous working life both foreign and alienating to her. She acknowledges frankly, “Theater saved my life.”

TJSF is currently developing its first full-length play, Caminos al Paraíso (Paths to Paradise), written by Mangandi and directed by Moran. This exchange in Santa Rosa, made possible by a grant from the Network of Ensemble Theaters, has offered TJSF members the opportunity to learn important technical aspects of crafting a full evening’s production from their more experienced colleagues. At the same time, it’s offered the Imaginists, which has grown into a bilingual company since rooting itself in Santa Rosa, a chance to advance its own mission through contact with a deeply community-driven Latino theater. But neither motive really captures the personal ties and mutual respect that have been forming here, the subtle and profound reciprocity of influence, and the solidarity emerging from it all.

“TJSF is a brave, important theater company that is telling stories that we don’t usually hear,” reflected Pinto by email. “Coming together for a week, we were able to strengthen our own resolve to tell these stories, not to be afraid of being deemed ‘political.’ For the Latino members of the Imaginists, the exchange was a catalyst to be empowered by their histories and stories. This exchange reinforced how necessary it is to have comrades, to share experiences and methods, to have a network of support throughout the country for this work.”

The Imaginists plan to travel to Los Angeles for another face-to-face meeting with TJSF over next steps. Together they hope to develop something that can tour to labor centers across the country.

In the meantime, inspired by the exchange, the Imaginists are concocting a new play, based on a famous children’s story, which will address the plight of undocumented people. Working title: REAL. *

For an extended version of this story, visit www.sfbg.com/pixel_vision.

 

Labors of love

0

Los Angeles’s Teatro Jornalero Sin Fronteras makes common cause with Santa Rosa’s the Imaginists

(Note: what follows is an extended version of a story and interview that appears in this week’s Guardian.)

A white passenger van pulls to the curb in a largely residential Spanish-speaking neighborhood in Santa Rosa, discharging a group of Latino men and women at the door of a converted warehouse. The visitors vary by age, class, and education. All hail from Mexico or Central America, but more recently Los Angeles, where they’re among the cities thousands of jornaleros, or day laborers, making their way job by job, often without secure documentation, or much security of any kind.
Standing beside the warehouse on this quiet street, they could be mistaken for an ad hoc work crew. But the warehouse is a theater, and this sunny afternoon in June is the culmination of a precious week off. Not that these men and women aren’t here in Santa Rosa to work — just this time it’s on a play.

Brent Lindsay and Amy Pinto, founders and artistic directors of the Imaginists, greet the visitors warmly as they collect outside the theater and slowly saunter in, joining other members and friends of the Santa Rosa company inside its spacious single room, together with their small children. The two groups have known each other barely a week, but already seem more than colleagues — more like extended family.

It’s the final day of a weeklong artistic exchange between the Imaginists and Teatro Jornalero Sin Fronteras (Day Laborer Theater without Borders), a Los Angeles–based Spanish-language ensemble theater created by and for the immigrant day laborer population. The ten-member troupe, founded in 2008 under the umbrella of LA’s Cornerstone Theater and led by co-artistic directors Juan José Mangandi and Lorena Moran, has so far created 15 short plays that they perform mostly at day laborer centers across Los Angeles — although this last year saw TJSF tour both Northern California and El Salvador. The plays examine everything from the legal and human rights of immigrant workers to health issues to the transnational cultures migrant workers share and foster.

After some socializing over a light breakfast of coffee and pan dulce, the two companies gather in a circle for some warm up exercises led by both Lindsay and Moran. One particular challenging memory game provokes mild frustration and laughter. “This is why we do this exercise,” explains Moran to her actors, all amateurs and volunteers united by the unique opportunities their theater has offered them. “We need to connect to another person and remember details about them.”

Then they all get back to work on a playlet they’ve been developing from improvisations. It begins with two workers who alternately pay off and slip by a snoozing guard (played by Imaginists company member Eliot Fintushel) to dump toxic waste into a nearby stream. When this causes an environmental disaster, a government spokesperson (played by Pinto) assures people in the audience that their organic produce is safe. Meanwhile, a cleanup crew of migrant workers is slowly poisoned to death. A news team rushes to the scene of the eco-disaster, but seems to take no notice of the brown bodies sprawled over it. Left alone onstage, the workers rise as ghosts — beginning with one who sings, “They’re carrying me off to the cemetery. Don’t anyone cry for me. Just sing my favorite song…” — and one by one exit the stage.

Throughout, Lindsay directs from a chair audience-side, giving advice or suggestions at various points. All, however, are welcome to chime in with comments and do. An elderly woman named Adela Palacios, for instance, suggests that before departing the stage each ghost can simply state their name and what they did for a living, a suggestion readily embraced by all. Soon the form of the scene has a solid arc, and the action gains many subtleties, as well as a tone that makes a virtue of the mix of amateur and professional actors. Combining slapstick, winking asides, an eerie sense of tragedy, and a moving use of direct address, it’s a surprisingly affecting bit of work.

“We come to the theater as older people,” explains Moran. “But we feel we’ve found a company [in the Imaginists] like us. We share the same path.” A native of Guatemala who worked in business administration before fleeing domestic abuse and the country, Moran (translated by Gustavo Servin, a young member of the Imaginists) speaks eloquently about the company she joined five years ago amid a dangerous working life that was both foreign and alienating to her. She acknowledges frankly, “Theater saved my life.”

TJSF is currently developing its first full-length play, Caminos al Paraíso (Paths to Paradise), written by Mangandi and directed by Moran. This exchange in Santa Rosa, made possible by a grant from the Network of Ensemble Theaters, has offered TJSF the opportunity to learn important technical aspects of crafting a full evening’s production from their more experienced colleagues. At the same time, it’s offered the Imaginists, which has grown into a bilingual company since rooting itself in Santa Rosa, a chance to advance their own mission through contact with a deeply community-driven Latino theater. But neither motive really captures the personal ties and mutual respect that have been forming here, the subtle and profound reciprocity of influence, and the solidarity emerging from it all.

“TJSF is a brave, important theater company that is telling stories that we don’t usually hear,” reflected Amy Pinto recently by email. “They tell them with humor, with heartache, in a group, in Spanish. Coming together for a week, we were able to strengthen our own resolve to tell these stories, not to be afraid of being deemed ‘political.’ For the Latino members of the Imaginists, the exchange was a catalyst to take ownership and be empowered by their histories and stories. This exchange reinforced how necessary it is to have comrades, to share experiences and methods, to have a network of support throughout the country for this work.”

The Imaginists plan to travel to Los Angeles for another face-to-face meeting with TJSF over next steps. Together they hope to develop something that can tour to labor centers across the country.

In the meantime, inspired by the exchange, the Imaginists are concocting a new play, based on a famous children’s story, which will address the plight of undocumented people. Working title: REAL.

“For Teatro Jornalero there is no division,” notes Pinto. “They are telling the stories of their lives. They are humanizing a ‘political’ situation. We have to let that sit in us, that uncomfortability — can we turn our politics off and on? No. Everything in art is a choice.”

She adds that the encounter held surprises for them too. “To have an encounter where all your expectations are turned upside down,” she marvels, “theater can do that. We are changed. There was so much laughter the entire week. And a fare share of tears.”

Voices from Teatro Jornalero Sin Fronteras

The following excerpts are from conversations that took place on Saturday, June 22, at the warehouse theater of the Imaginists in Santa Rosa. Members of the Imaginists and Teatro Jornalero Sin Fronteras had just completed their rehearsal, ahead of a public performance that evening, and were seated in a semi-circle to answer a few questions about their collaboration. Translation was provided by Julie Kaiser.

SF Bay Guardian Can I ask a general question of the members of Teatro Jornalero? Anyone who would like to answer please do. What brought you to the company, and why did you join? What does being in the company offer you?

Teatro Jornalero Sin Fronteras My name is Alberto Scareño. I found out about this when some of my friends told me about it. It was really interesting, so I called them up to see if there was a spot for me. They said, sure, come that day. And I went in. I’ve never been an actor. We started with exercises. It was really interesting and relaxing. Sometimes I have a lot of stress, or I’m just mad, and to come to this place that relaxes me — it relieves my stress, and time flies. Now what I hope for is to work with even more verve and learn more about the theater.

SFBG What kind of work do you do to make a living?

TJSF Every morning I go out and look for work at a corner in central Los Angeles. I’m a day laborer.

SFBG And you still find energy after a long day’s work for theater?

TJSF The deal is, I don’t get work everyday. So if I don’t work one day, then I have energy to go. When I work, I’m tired, but I get there, and I get my friends, and we do the exercises and I relax. And it’s fascinating.

SFBG Anyone else?

TJSF My name is Xico [pronounced “Chico”] Salvador Paredes. I was on a workers’ corner in California — I’d joined a battle to have a [day laborer] center made — and the first person that [I met] was Juan José. He had participated in theater as an actor, and he was starting to work on his play about illegals. Then he invited me and Lorena [Paredes is married to artistic director Lorena Moran], and other guys, to work in theater. At first I didn’t like it, because I’m a worker: I just get work, get work, get work — I’m not interested in anything else. I send money [home]. That was my only vision, to have a day of work.

But after I came in, I realized, it’s a weapon for communication and understanding, a means of connecting with other people. We started to create pieces out of our own experience, and to recreate our experience. It serves to take out of us what’s inside of us, and to let us know that we’re not alone. The best part of being in this theater is that we’re getting together with people who don’t know what a day laborer is. A day laborer stands on a corner. In the morning he’s cold. He doesn’t have anything to eat. He doesn’t have the security he’s going to actually get work. People walk by and say, “Oh what a lazy guy,” or they pass by as if you’re just a tree, because you’re just standing there all the time. Nobody understands what you’re doing standing there. But a day laborer has huge hope. And he doesn’t know if he’s going to get work. And that’s us.

With the theater, we’ve told many people about what a day laborer is, and shared with those who don’t know anything about their rights. Now we can say, “This is what it is.” It’s really difficult. I just got into a situation where I’ve gotten into the deportation process. I’m in the struggle, but I also have to go to court. I have to do lots of things. And I might get deported. I came here not just to work; I came here to tell my story. And my story’s big. No bigger than anybody else’s. But it’s very positive for people to hear: Here we are.

TJSF I’m Mario Rivera, and I’m very happy to be here sharing with you all. I’m also, like my friends here, a day laborer and I work in central Los Angeles. I came into the theater because I was invited by Lorena. What I like is learning from my compañeros. I had nerves when people looked at me, and I lost that. I lost that fear, and I really like being here. I’d like to learn more from everybody. And I like the play that we’re doing here [with the Imaginists]. This all suits me. I like all of this.

TJSF I’m Adela Palacios. And I’m not very good for talking. The reason why I’m in the theater is because I don’t have work. I studied nursing. Two times I graduated in nursing. I am a nurse. But I had an accident. Now I can’t find work. In this country there’s a lot of discrimination about age. I looked for work for two years. The only opportunity I’ve found, that opened doors for me without discrimination, was this theater. We are volunteers. We don’t have work. They help us. Sometimes they give us food. I am very grateful to this great person, Lorena. And I’m very grateful to Cornerstone Theater. We have some understanding there. We are not heard as we should be [in society], but they do a little, what they can. They give us a little bit of a normal life. My stress is better than it was. And they’ve done everything possible. They do what they can. They can’t do more. I’m really grateful. You have to accept what there is and not ask for much.

TJSF I’m Heidi Guevara. My problem is I have a fear of being in front of people. But now it’s gone. I didn’t think I’d ever do something like this, because I’m really embarrassed easily. Now I have the courage to be in front of people. Lorena gives us exercises. And they help you to use your voice and express yourself, to overcome your shame. It’s a little complicated, but I’m learning more little by little. And here we go! I’ve been with them one year — you have to keep learning and learning. You know this. You have to keep going and learning. Little by little, but I’m going. Thank you, Lorena.

TJSF My name is Raul Salinas. I’m from northern Mexico. Chihuahua. I have six kids. I’ve been ten years here. Now I’m in the Centro Jornalero for work. I don’t have full-time work. I’ve been with the theater three months. How did I get here? I don’t know. It was just chance. One day Lorena came to the work center. She came to do casting for a play that they’re doing called Ways to Paradise. I wasn’t going to do it. No. But there was another person who wanted to go and I helped him with directions to the place where they were doing the casting. And then I got involved. Now I’m involved with Ways to Paradise, about the problems facing migrant workers, explaining who we are, what we’re doing: Yeah, we’re undocumented, we’re from Central America, Mexico … I started thinking about the work, and I really like it. So I stayed. That’s it. There’s not much more to tell.

SFBG I’d like to ask Lorena: How did you become involved in the theater, and how has your relationship with it evolved over the years?

Lorena Moran I would like to tell you the story of Teatro Jornalero, how the project got created. In 2006, Michael John Garcés, the director of Cornerstone Theater, wrote a play called The Illegals. He went and did castings at all the day laborer centers. [Co–artistic director] Juan José [Mangandi] came out of that. He participated in the work, along with other workers from day laborer centers at the national level. And they were invited to a national congress of day laborers. One day they were bored, just hanging out. And Juan José said, “You know what? I have the script of The Illegals. Why don’t we just do a little piece of it and present it to the congress?” It was a marvelous idea.

We have lots of ideas that are marvelous. We need a reason to do it and we also need people to help us. Nothing is possible without that. This was a great idea of Juan José. And we got a lot of help from Michael Garcés and Cornerstone Theater. Roberta Uno of the Ford Foundation gave us our first grant, a big grant of several thousand dollars for two years. And right now, we’re working on a small grant of $25,000 for two years. It’s not much — it’s a big deal to maintain 21 people on $25,000. But it would not have been possible at all if we didn’t have these workers — gardeners, housekeepers, bouncers, day laborers, nurses — they all have stories and voices. And they can educate others, and educate themselves about the rules of this country, the laws, their status as undocumented people.

In 2008, I was invited to participate in a casting for the first company of Teatro Jornalero Sin Fronteras. We were 12 members, two directors. Ethan Sawyer, an American graduate of Northwestern, helped train Juan José, who didn’t know anything about the technical part of theater but had a big spirit for it. They helped us, and the other 12 members of the company.

And that’s how my story starts. I’d had just a year here. I’m from Guatemala. I suffered domestic violence; that’s something I don’t want to remember. They even have my three kids; they’re still there now. But I’m here. And I’m growing a better life. And my dream is that when I’m a citizen I can bring my kids here. But nevertheless, I’ve had five years in this country, and the theater saved my life. And if I’m well, I want my friends to be well, in spite of the traumas, the economic problems. I was this close to getting deported once. I was this close to getting deported once. I was working on a corner with my husband, Xico. I was working gardening, in construction, cleaning houses. I spent five months making six houses. Twelve men, one woman. I was the only woman building houses.

All that showed me the world of day laborers from the roots up. We’d get up at 5:00 in the morning and be standing next to Home Depot. And somebody would drive up and say, “I need somebody,” and we’d run. It was like trying to play the raffle. In my country I’m actually a business administrator. I have a university degree. It’s a totally different life. And there I am, standing on the day laborer corner. I’ve had to clean bathrooms, deal with sexual harassment, I’ve had to clean, and change floors out, and paint — it was a completely different thing for my life. And I realized this is the moment to find a sense of what it’s like to be a migrant. Separated from our families, from our countries; we’re not raking in money, we just want to live with dignity.

So we did a casting. We had some administrative help from Michael John Garcés. And I was named the managing director. It was a whole process. It didn’t happen immediately. But from the beginning I was a part of this group. There’s a moment when you’re present, and there’s a moment when you leave. I don’t know when I’ll leave. But I want people to love this group. We have a voice, and we have a story. We ourselves are part of this story, and we’re writing it.

For today, I’m grateful for my life, and I share with Brent and Amy and their group. I haven’t stop writing, because each day I want to get down every word that drops out of their mouths. For me, it’s part of my learning. That’s what this exchange is all about. We’re training in technical ways with a group that has a lot of similarity with us. They’re helping our community of day laborers and house cleaners. We’re talking. Not in the same idiom, but the same language. And I’m very grateful.

SFGB Can you say a little more about what it’s been like to work with the Imaginists?

LM This is a dream. It’s a dream. To think it all started those years again with Juan José and Sergio in Washington, DC. Juan José Mangandi, the other artistic director, he dreams all the time. He thinks of all these big ideas. For four years we’ve been looking for funds to do this. And we found a grant. And here we are. And we’re dreaming of a second one. We don’t know when or how, but we have a dream, we’re going to keep going, we want to build a network of theaters nationally in the same line as [Teatro Jornalero]. But even so, we have to talk more. This coming together now is a first pass.

We’re just dreaming — some groups in a bus, in a van, connecting with each other from different cities. We’re empowering our voice as immigrants with respect to the larger population of whites, African American, and other groups. This is the story that we have. We’re trying to remove the barriers to our opportunities. It’s huge that we came together.

SFBG What about for the Imaginists?

Amy Pinto For us, the kind of work we’re doing — in bringing Spanish and English together, the issues of the day laborers, and bringing people who are day laborers and professionals together to perform — sometimes the community doesn’t understand, and we’re not always supported. So you [Teatro Jornalero] coming here gives us strength. You teach us how to be strong and to come together to make this kind of work. I think for [Imaginists company members] Zahira [Diaz], and Sergio [Zavala], and Marcela [Mejia], and Gustavo [Servin], who is young, meeting all of you — they see the road then; and it can empower them to take more leadership.

Brent Lindsay It reminds us of why we do theater.

LM I have one question for Amy and Brent. How did it come about that two white people decided to come so close to our community, and do such magic things and help empower us? There’s migrants and Latinos — how did two white people decide to tell our stories, to live our stories?

BL There was a gentleman in the video that you showed. Close to the end, he said, I want to be proud of what I do in life. Like you, Lorena, theater saved me. And it became my religion because it saved me. My investment in theater now is the investment of human beings, what theater can give to others. Because what it did for us, that gift — now we should become its messenger. We have to invite every person into this art form. For the reasons that you’re finding: It heals us. It’s too easy to let fear divide us. We have to worker harder, to overcome fear and come together. Because so much of that fear is based on nothing. It’s nonsense. And the best way we learn that is to do what we’re doing now.

A conversation with co–artistic director Juan José Magandi [translation by Marcela Mejia]

SFBG Can you tell me about Caminos al Paraíso and your part in the production?

Juan José Mangandi As the dramaturg, I try to put the stories together in a cohesive way, drawing from the experience of the actors and my own — as a day laborer, as a community organizer, as an undocumented person. There was a lot of pressure of impose specific themes or stories, but in the end I put in what I felt was the most appropriate for the story as a whole. I was tempted to tell my own personal story, but I tried to tell the story of our community. it’s the first full-length play of Teatro Jornalero since I’ve been working with them, seven years now.

SFBG What was the starting point for this new project?

JJM I’ve worked for many years on behalf of day laborers, and have heard many stories, experiences, tragedies, dreams, songs. So Caminos al Paraíso is the story of the breakdown of connection, of what it feels like for people to lose their home, their town, their country. For example, Chronic Stress Disorder is something that affects many immigrants. Every time you cross a border, and then another, the syndrome grows worse. You don’t get rid of it. It manifests in the way you behave — in anxiety, fear, even the change in the diet has an effect, in addition to the intrinsic dangers that a journey like that implies.

So we speak about these things, so people know what happens when one cross the border, including the abuses on the Mexican side of the border. Everybody talks about the US and the racism and the discrimination of an imperialistic government, but what happens when our own people are the ones that are doing the discriminating? So the governments from Mexico and Central American countries say they want to protect the rights of our emigrants and yet they are often the first ones to commit abuses. So it’s a critique of the economic, political, and social conditions. It’s an industry, an industry of immigrants, not only here but there as well, where for the ones that benefit — the government, the traffickers, the narcos, everybody — it’s a business, it creates a lot of employment for people.

So there are a lot of tragic events that immigrants experience before they arrive in the US. And then what happens when we arrive in “paradise”? That will be the second half, and that’s a totally different story. We start to mix with other races, and we start to change. I mentioned already the diet, but also the culture, the values, the sense of belonging to a community, not necessarily a country. And chronic health problems can ensue. Many become bipolar or diabetic, suffer from high cholesterol, high blood pressure. It’s like the body is not prepared for all of this processed food. It’s a big shock physically, in addition to all the other aspects impacting the humanity of the immigrant.

We are escaping because we are old, victims of the corruption, the lack of opportunities. But we come here and there are no jobs really, and we don’t have a social identity — just the paper itself makes such a difference. It’s like being invisible. Besides doing dangerous work, we are also breaking with our cultures, with our identities, who we were and where we came from. Some people get really uptight about clinging to their past identities. It can become a big obstacle to making bridges to connection with each other, to understand each other.

SFBG Do you see the theater you’re making as a means of helping forge a new culture, bridging those divides?

JJM I think that the theater is a weapon of social struggle and transformation—not only for the people that are out in the audience but also for the actors themselves. The government teaches us about political borders, and then the poverty and the ignorance help us create another border, another barrier. We want to be different, we want to be better than the other, we want to separate form each other—a Salvadoran has to be better than a Mexican, a Mexican has to be better than a Guatemalan, and so on. For me, in my experience, the great problem is, and my big question is: Why can’t we integrate? This is what Teatro Jornalero is searching and striving for, to break these separations. We’ve had people from Cuba, Mexico, Salvador, Guatemala… Sometimes it gets heavy between the actors. There’s an inner racism. All of these themes that hurt so much, that we don’t want to talk about, are in Caminos al Paraíso. But then there is also a message for the community. That we should get ready to integrate. That we like this country. That we have adopted it as our own. Now we want them to adopt us as well, as members, and let us taste the good of this country so we can practice compassion for the ones that come after us.

Alerts

0

WEDNESDAY 10

Laborfest: CCSF’s accreditation crisis City College of San Francisco, Mission Campus, 1125 Valencia, SF. www.saveccsf.org. 6-8pm, free. City College serves about 85,000 students and faces threat of closure in July 2014 if its appeals to the Accrediting Commission for Community and Junior Colleges, which has threatened to revoke the school’s accreditation in a year, aren’t successful. At this forum, Marty Hittelman, former president of the California Federal of Teachers, will speak on accreditation and the ACCJC. Sponsored by Save CCSF Coalition and AFT 2121.

THURSDAY 11

Laborfest panel: The press and the powerful First Unitarian Universalist Church, 1187 Franklin, SF. www.laborfest.net. 7-9pm, free. Gray Brechin, author of Imperial San Francisco, will join Westside Observer publisher George Wooding, former Berkeley Daily Planet reporter Richard Brenneman, and former Bay Guardian reporter Savannah Blackwell for a panel talk on the erosion of investigative journalism in the face of commercialization and monopolization of the media.

SUNDAY 14

Panel: The continuing battle for free expression Contemporary Jewish Museum, 736 Mission, SF. www.ginsbergfestival.com. 3-5pm, $12. Allen Ginsberg’s seminal poem, Howl, represented a landmark in the history of freedom of speech, obscenity issues, and the censorship of literary works. This panel talk, led by Peter Maravelis of City Lights Booksellers with panelists Rebecca Farmer of the American Civil Liberties Union (ACLU), Mark Rumold of the Electronic Frontier Foundation (EFF), and James Wheaton of the First Amendment Project, will focus on the continuing fight against censorship today. Presented in conjunction with The Allen Ginsberg Festival and the exhibition Beat Memories: The Photographs of Allen Ginsberg, at the Contemporary Jewish Museum.

TUESDAY 16

Green renters expo Ecology Center, 2530 San Pablo Ave, Berk. Ecologycenter.org. 7-9pm, free. Who says you have to own a home to live a green and energy efficient lifestyle? The Bay Area offers a myriad of resources for renters who wish to green their living spaces with efficiency upgrades, which can also help save money. Representatives from Rising Sun Energy Center, Community Energy Services Corps, the City of Berkeley Recycling Program, Stopwaste.org, the Ecology Center and others will be on hand to offer presentations, tips and advice, and to answer questions.

 

City College will appeal

9

OPINION City College will appeal last week’s decision by the Accrediting Commission for Community and Junior Colleges (ACCJC) to revoke City College’s accreditation.

The reason for the appeal is simple: Most of what ACCJC asked for has been accomplished, and the rest is well on its way towards completion within a year.

First, the San Francisco City College district is financially secure. This is not a district that is close to fiscal collapse. This year’s audit was “clean,” and the budget is balanced, thanks to multiple cost-saving reorganizations, large spending cuts, reforms in practices, and the passage of Propositions A and 30. City College also has a healthy reserve fund well above that of state requirements. City College is even squirreling away money for a special “Ninth year” fund in the event that voters don’t reapprove Prop A when it expires 8 years from now.

The City College budget also increases spending in areas that ACCJC wanted: there is nearly $3 million per year for new technology and building maintenance, both long deferred through the years of radical state funding cuts. City College is also paying money towards the unpaid liability in retiree health benefits. The City of San Francisco also has this kind of liability — to the tune of $4.4 billion — but has so far not come up with a plan to deal with it. City College, on the other hand, has a plan and the funds to enact it.

City College has also cut costs by millions of dollars. There have been layoffs and furloughs, and salary cuts. For instance, faculty members are earning 5 percent less than they did in 2007. Department chairs are earning less, and the Board of Trustees just cut administrators salaries. Streamlined operations have resulted in other savings.

Governance is another area where City College has made major changes. There have been five major management overhauls to streamline bureaucracy, increase efficiency and speed the carrying out of decisions. And many administrators have been replaced. Any one of these overhauls could ordinarily have taken a year each to implement. There were all done in a matter of months.

For instance, the job description of every dean’s position was completely rewritten; some posts disappeared, and new ones were created. Every dean had to reapply for a job, and many did not return. The same is true for other management positions.

City College also replaced a decades-old department chair structure with a system that costs less and has simpler lines of authority. And last fall, the Board of Trustees acted to completely restructure the Participatory Governance system. This is a state-mandated system of getting input from faculty and staff into management decisions. Over 40 committees were dissolved and replaced with a more streamlined system.

The faculty and staff also worked hard in fixing problems identified by ACCJC, particularly in the areas of planning. One of the most important of these is in the collection of Student Learning Outcome data -– a measure of how well students do. Faculty filed thousands of reports in order to fulfill this requirement, a truly enormous amount of work. The collected data will then be used to improve courses next year. This cycle of planning, data collection, and improvement are the basis of ongoing reform effort that takes a year at minimum to prove that it’s working. There is a lot more work to be done in this area. It will take another year to complete — if City College is given the time.

Not everyone at the college agrees with all of the changes that were made. People have the right to express their views, and indeed, we want the internal experts to speak up and give their best advice. And given the speed and monumental scope of the changes, it is very likely that these changes have flaws and that improvements can be made.

But regardless of what people think of the changes that have occurred, these are changes that ACCJC asked for. City College neither ignored nor fought ACCJC’s recommendations, as many people wish we had. City College’s response was to work to enact ACCJC’s will as quickly as possible.

Unfortunately, the decision to revoke accreditation will harm City College’s otherwise good financial position by causing a large drop in student enrollment for fall — and the loss of millions of dollars in state funding. Ironically, this will make it more difficult to finish what ACCJC wants done.

The best course for students is to let City College retain accreditation while it finishes the job that ACCJC wants done.

John Rizzo is President of the City College Board of Trustees