Budget

What jobs?

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For all its shiny gadgets and gleaming new luxury condo towers, San Francisco nevertheless houses a huge demographic that lives at or below poverty.

Officially, it affects about 12 percent of the city’s population, according to the most recent US Census data. Experts from the Stanford Center on Poverty and Inequality calculated an adjusted poverty figure to capture a more accurate portrait of economic disadvantage. According to that alternative yardstick, which factors in location-based costs such as the price of housing, a full 23.4 percent of San Franciscans live in poverty.

City agencies have documented ethnic identities, languages, neighborhoods of residence, and other data concerning poor people who seek assistance through city-administered services. But even though millions of dollars have flowed through city coffers to boost prospects for those who lack steady work, there’s scant documentation showing what this has actually achieved.

Despite budgeted expenditures totaling nearly $70 million for workforce development in 2013-14, not a single San Francisco city official can say how many individuals managed to rise above poverty as a result.

 

FIVE YEARS, NO IMPROVEMENT

At the behest of Board of Supervisors President David Chiu, the city’s Budget & Legislative Analyst recently analyzed the city’s myriad workforce development programs. It found that there is no standard measure to track the results of the programs, which are administered across 14 city departments.

The analysts recommended convening a committee to get a handle on it, “so there would be somebody accountable for compiling that information,” noted Severin Campbell, a principal at city budget analyst Harvey Rose Associates.

The analysis was a follow-up to a similar audit performed in 2007. The previous study concluded that the system to help struggling people obtain job skills and get hired “was fragmented, with inconsistent planning and coordination of resources and inadequate monitoring of programs to ensure that the programs’ goals and outcomes were achieved.”

Analysts who examined the workforce development system in 2007 discovered a lack of evidence that “individuals receiving services were eventually placed into jobs leading to economic self-sufficiency.”

To cure this dysfunction, the Board of Supervisors formulated a plan. In November 2007, it created Administrative Code Section 30, a new policy centralizing oversight of all workforce development initiatives under the Office of Economic and Workforce Development, overseen by the Mayor’s Office.

In 2007, OEWD’s annual budget for its workforce division was $547,841. By 2012-13, that amount had swelled to $19.3 million. The federal government contributes a lot, but citywide, about 65 percent of workforce development spending comes from local funds.

“Since 2007, the city has worked hard to incorporate the recommendations that came from the audit,” OEWD spokesperson Gloria Chan told the Bay Guardian earlier this year. She said the workforce division of OEWD “has made significant strides and progress to improve the city’s workforce system.”

But the latest Budget & Legislative Analyst report tells a different story. “The city continues to lack citywide policy and oversight of its workforce development system,” it notes. “Many of the key provisions of Administrative Code Section 30 have not been implemented.”

Five years have passed, and little seems to have changed. “We didn’t find a broken system,” Campbell said, “but it wasn’t what the city had envisioned.”

The report noted that the shortcomings could be partially attributed to constraints on funding provided by outside entities like the federal government, making collaboration among departments difficult.

Nevertheless, the lack of a cohesive citywide workforce development strategy coincided with one of the worst economic downturns in US history. While certain sectors have experienced recovery by now, many low-income San Franciscans are still grappling with losses sustained during the Great Recession.

A recent survey of panhandlers, commissioned by Union Square business owners, found that the majority were homeless individuals who said they didn’t have jobs, and thus couldn’t afford rent. Some apparently interpreted these findings as a revelation; the survey results were recently spotlighted on the front page of the San Francisco Chronicle.

 

LOOKING FORWARD TO WHAT?

Tiffany Green is one of the 10,883 clients served by San Francisco’s workforce development system in 2012-13. She’d previously worked at the security desk of a Tenderloin services provider, but left that job because she couldn’t find anyone to look after her young son during her shifts — and the job didn’t pay enough to cover child care costs.

So she enrolled in CalWORKS, a state program administered by the city’s Human Services Agency, which offers subsidized child care, food stamps, and cash aid for low-income parents while they complete six-month job training gigs with employers who have partnerships with the city.

She was less than optimistic when asked if she thought it would lead to a steady job. “The outcome is going to be everybody else’s outcome, which is nothing to look forward to,” she said, adding that for all her friends and family members who’d completed similar six-month job training programs, she didn’t know of any who’d landed full-time jobs as a direct result.

Karl Kramer, director of the San Francisco Living Wage Coalition, said his organization has been working with city agencies to build pathways to help participants in the programs connect with opportunities for full-time employment in civil service positions.

His organization is pushing for legislation to reform one of those initiatives, the Community Jobs Program, “to make it a real job training program that fast tracks participants into available entry-level city jobs. The reports that we get is, for people who have been through the programs, it leads to very few full-time jobs,” Kramer said. So far, his group hasn’t gotten much traction with city officials.

Steve Arcelona, deputy director in charge of Economic Support and Self-Sufficiency at the Human Services Agency, didn’t respond to multiple voicemails seeking comment.

 

UNEVEN RECOVERY

The report comes at an odd time — in San Francisco’s current economic climate, new jobs are being created all the time, and the unemployment rate has declined. But experts note that recovery has been uneven, and only certain sectors have reason to be optimistic about the future.

“The San Francisco region is doing better than most,” Chris Haney, executive director of the California Budget Project, told us.

The city boasts a rise in “high-scale, high-production, better paying jobs” in the flourishing tech sector, accompanied by a rise in “lower-paying service jobs,” he said. “But we’re not seeing a tremendous amount of growth in the middle class, middle paying categories.”

The dilemma follows a broader trend of wage inequality that’s persisted over the last couple decades, he added, giving rise to what economists have dubbed the “missing middle.” A decline in the unemployment rate can mask this dysfunction, he said, because “you may have folks who are employed, but they’re employed at lower wages than before … What’s coming back isn’t as solid as it was previously.”

It’s against this precarious backdrop that, despite $70 million dedicated to connecting the low-income or disadvantaged with decent jobs over the past year, the city’s workforce development system appears to be plagued by dysfunction. Chiu recently introduced legislation to implement the Budget Analyst’s recommendations of undertaking yet another system overhaul.

But for many still struggling to get by, few short-term solutions are in sight. Ever-increasing housing costs make the “missing middle” phenomenon especially thorny in the Bay Area, Haney noted. “It’s harder and harder for low and middle income folks to live in the region,” he said. “They are being given clear signals that they need to move.”

Lee family quietly leaves home as activists pledge to push reforms

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Members of Lee family quietly moved out of their longtime home in Chinatown last night, a day before their latest scheduled Ellis Act eviction, which had been postponed twice before thanks to headline-grabbing progressive activism that turned away deputies and persuaded the Mayor’s Office to intervene with the landlord.

But this time, the Mayor’s Office has been mum about the case (officials haven’t responded to our requests for comment) after failing to find a solution to the Lees – an elderly couple using Social Security to care their disabled 48-year-old daughter – still unresolved situation. With help from the Asian Law Caucus and Chinatown Community Development Center, the Lees moved their belongings into storage while they are staying in a hotel.

“The family is staying at a hotel in the city for the next few days as they try to finalize on a couple of potential rental units here. They’ll be paying over twice the amount that they had been paying for their rent-controlled unit. Their SSI won’t be enough to make ends meet, and so they will be spending down their relocation compensation, which may be depleted in the next several months,” Asian Law Caucus attorney Omar Calimbas told us. “Hopefully, the family will be able to find subsidized housing by then, or they will be in a precarious state of affairs again.”

Sheriff Ross Mirkarimi told us yesterday that he’s been waiting for word from the Mayor’s Office and hoping to avoid this evicting the family. “We’re duty bound. It’s a court order,” Mirkarimi said of his eviction obligation. “The eviction is on the books, but we’ve been expecting an alternative plan by the Mayor’s Office after he intervened in this case.”

The San Francisco Examiner, which had earlier given splashy credit to Mayor Ed Lee for stalling the Lee family’s eviction – to the irritation of some activists that probably deserve more credit than anyone in the Mayor’s Office – had the only journalist on the scene with the Lees last night, but the paper didn’t have any comments or updates from the Mayor’s Office.

Weeks before Mayor’s Lee’s headline-grabbing Sept. 25 intervention in the Lee case, Mirkarimi had his Eviction Assistance Unit contact the Lees and try to help them avoid being turned out with no place to go. But in a city where his office performs around 1,000 evictions per year – it executed 998 court-ordered evictions last year — the single full-time staffer in that office is overwhelmed.

“We need more staff to assist when it gets to this point,” Mirkarimi told us. But his budget request last year to add another position to the unit was denied by the Mayor’s Office and Board of Supervisors, a request that Mirkarimi renewed in a Sept. 30 letter to Mayor Lee.

“When there is a determination, our EAU attempts to support individuals and families facing eviction, not just Ellis Act evictions, but all evictions. This unit is comprised of one full time deputy sheriff and the partial time of another deputy.  Based on [the current eviction] trend, our EAU staffing is insufficient and ill-equipped to assist qualified individuals and families who may be at risk of becoming homeless,” Mirkarimi wrote. “With renewed focus on the consequences of evictions in San Francisco, I return to our FY 2013-2014 budget request to enhance our EAU with one full time clinical outreach worker.”

Meanwhile, the activists say they won’t wait for the next budget cycle or rely on the Sheriff’s Department for help with imminent evictions. They say that they plan to propose a package of reforms for dealing with the eviction crisis as soon as this week.

“Overall, the several weeks of reprieve from the eviction that were won after an incredible display of community solidarity with the Lees were very important in giving them time to find a temporary fix,” Calimbas told us. “Stay tuned in the next day or so for the next move by a growing coalition of community organizations, housing advocates and labor in pushing for a comprehensive package of legislative reform to curb the outbreak of displacement-based speculation.”

Guardian Staff Writer Joe Fitzgerald Rodriguez contributed to this report.

 

Gilded Age of Austerity breaks down

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It was a week when it seemed that civil society in the US was on the verge of collapse.

Most of the federal government was already shutdown when Congress came without hours of letting the US default on its debts, a fate avoided late on Oct. 16 with legislation to limp along for a few months before repeating the partisan budget standoff again.

That same day, both BART and the AC Transit were headed for strikes that would hobble the Bay Area’s transportation system after long contract impasses between workers and management. Gov. Jerry Brown then ordered a 60-day cooling off period for AC Transit, just like the one he imposed on BART that had just ended, leading BART to be shut down by a strike that started Oct. 18 (for more on BART, including what caused two fatalities in the system on Oct. 19, see related story).

It may not be the End of the World as We Know It (the title and subject of our 12/18/12 cover story), but this is a striking confluence of events that should cause us all to take stock of the things we take for granted, from reliable public transit systems to a functional federal government to the ability of politics to resolve our differences.

This era could be called the Gilded Age of Austerity, a duality marked by huge and growing concentrations of wealth for the few, but for the rest of us: increasing economic insecurity, a tattered social safety net, crumbling public infrastructure, and few signs of hope that things will get better.

Democracy is a fragile experiment that needs to be regularly reaffirmed by all sides. The US electoral system was already heavily skewed toward the interests of the wealthy, who sponsor both major political parties, to the point where many consider elections to be a sham. But there was still a political system, a basic framework for running the country even during tough times, and that seems to be breaking down.

For the radical right-wingers responsible for hobbling the federal government, this might appear to be a dream come true: Most of the regulators furloughed, funding for most social services stopped, and only the police state remained largely intact (86 percent of Department of Homeland Security employees were on the job and soldiers were still getting paid).

But these anti-government ideologues have never fully understood or appreciated the myriad things that government does to keep civil society functioning over the long term. Our economy relies on federal spending, our health relies on the CDC spotting coming epidemics and the FDA inspecting our food, justice needs a civil court system, our travels depend on roads, and our future depends on today’s young people getting educated (ie Head Start) and fed (ie Food Stamps), and that’s all come to a grinding halt.

It’s a similar situation with public employee unions, like those that operate BART trains and AC Transit buses. As we’ve reported (see “Last train,” July 9), private sector wages and benefits often rise or fall with those negotiated by unions. So when unions can’t win good contracts or maintain funded pensions for workers, we’re all dragged down.

The Gilded Age gets better for the bosses as the Age of Austerity gets worse for the workers.

BART’s unions had an understandable expectation that they would share in the agency’s recent budget surpluses, particularly after accepting wage and benefit concessions of $100 million over the last four years to help with projected budget deficits that never materialized.

BART managers argue that the district has offered enough and that the rest of the money is needed for its ambitious expansion plans, but there should have been a solution here somewhere short of ultimatums (strike vs. the district’s “last, best, and final offer”). When the center still held, before the new Gilded Age fused with the Age of Austerity, people of goodwill could find common ground.

Maybe we’ll pull ourselves back from the brink and learn our lessons. Or maybe we’ve entered the endgame, a place where the desperation of those living in the Age of Austerity finally matches the greed and self-interest of those living in the Gilded Age, where one must defeat the other to survive, like two fighting birds plummeting to the ground in a death spiral.

And if that’s the case, are we ready for the next era? Have we sown our seeds and tended our gardens? It took World War Two to really get us out of the Great Depression, and I’d like to think we’ve evolved since then. But given recent events I’m not so sure.

Camp classic

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cheryl@sfbg.com

FILM Daniel Farrands’ 400-minute documentary Crystal Lake Memories: The Complete History of Friday the 13th received coverage last month in an unlikely outlet: the New York Times. “A Seven-Hour Documentary About a Horror Franchise? The Director Explains,” read the skeptical headline.

“A seven-hour documentary about a horror franchise?” I said. “Gotta get my mitts on that!”

Seven and some odd hours later, I was on the phone with the Los Angeles-based Daniel Farrands for my own interview with the Crystal Lake Memories director. Farrands, whose previous docs include 2010’s Never Sleep Again: The Elm Street Legacy and 2009’s His Name Was Jason: 30 Years of Friday the 13th, was as stoked about the Times piece as you’d expect.

“I was really honored and sort of surprised that they were interested,” he says. “It’s a coup for our little slasher show that could.”

Any student of the Friday the 13th series can understand Crystal Lake Memories‘ running time. It covers the entire hockey-masked enchilada: 10 Friday films, late-1980s TV curio Friday the 13th: The Series, 2003’s Freddy vs. Jason, and the 2009 Friday remake. Frankly, it’s surprising Farrands was able to cram the whole thing into 400 minutes.

“It’s amazing to me that we got it down to that length,” he agrees. “We had hundreds of hours of interviews that we had to cut. And there are always those stories you wish you could have told, but for some reason they didn’t really work within the narrative as it’s developing.” (To that end, he adds, true diehards who early-ordered the straight-to-DVD/Blu-ray title through its official website — www.crystallakememories.net — got an additional disc containing four more hours of bonus material. You can still buy the film there, but not the bonus disc.)

It goes without saying that you should probably view the Friday series before checking out the doc. Why attempt the epic experience of watching Crystal Lake Memories if you’re not already a confirmed Jason Voorhees freak?

The Friday the 13th franchise has been around since 1980 and has amassed a huge and loyal fan following,” Farrands says. “[Crystal Lake Memories] is unabashedly intended for them. That being said, we really wanted it to be something that would be of interest even to the non-horror crowd — if you’re into cinema, and [interested in] what it takes to make a low-budget film. This film and our four-hour retrospective on the Nightmare on Elm Street series, Never Sleep Again, are kind of film-school courses in the form of horror documentaries. There’s so much interesting stuff in there in terms of being in the [low-budget filmmaking] trenches; our edict was to tell the real stories about making these kinds of films.”

Crystal Lake Memories tracks down some 160 cast and crew members spanning the Friday series (Betsy Palmer, the veteran actor who played Mrs. Voorhees in the original film, grins as she remembers reading the script and thinking “What a piece of junk!”). Many of the thespian interviewees are still unknowns, but several cult favorites — including special effects makeup pioneer Tom Savini, series creator Sean S. Cunningham, and prolific producer Frank Mancuso Jr. (Farrands’ longtime mentor) — stop by to share memories. Corey Feldman, who appeared in 1984’s Friday the 13th: The Final Chapter during the height of his child-star days, narrates the film.

One notable omission: Kevin Bacon, whose gruesome fate in the first Friday came years before he broke out in 1984’s Footloose.

“Recently, he appeared on the Tonight Show and he talked all about Friday the 13th,” Farrands says. “So he’s not ashamed of it, necessarily. But unfortunately, while we were conducting our interviews, we couldn’t make it work with his schedule. But we tried, and they tried! I think people have this misunderstanding that some of these bigger stars are embarrassed by it, and that’s just not true. I mean, Johnny Depp wasn’t ashamed that he was in A Nightmare on Elm Street (1984).”

Farrands’ own résumé is filled with horror-related credits. Just a smattering: he wrote the screenplay for 1995’s Halloween: The Curse of Michael Myers; directed multiple History’s Mysteries episodes on the Amityville phenomenon; and is developing a TV show set “in the universe of Jason Voorhees” called Crystal Lake Chronicles. His earlier Friday doc, His Name Was Jason, was a 90-minute work that “focused on Jason Voorhees as a pop-culture icon,” he says.

For Crystal Lake Memories, “we wanted to sequentially chronicle the making of the entire series.” It does make use of some Jason footage, particularly outtakes from interviews conducted for that film. But, “we did 60-some new interviews for this film that were not in Jason.

Fresh faces include Dana Kimmell, star of 1982’s Friday the 13th Part III, and Jennifer Cooke, star of Jason Lives: Friday the 13th Part VI. “[Cooke] has literally never spoken of her experience with the film other than, I think, one article back in 1986 when the film was made. It took a lot of convincing to get her to go on camera. But she was very nice and gave us a terrific, in-depth interview.”

As you might suspect, the actors’ recollections tend to revolve around their death scenes — achieved, in the pre-CG era, via the wizardry of artists like Savini, who made Friday‘s signature gore as outrageous as possible.

“The Friday the 13th violence was very in-your-face. The violence in Halloween (1978) was kind of subdued, and suggested, more like Psycho (1960). Friday the 13th took it to the next level. People walked out, like, ‘How did they do that?’ The audaciousness of what they pulled off, and the fact that the film was released by a major studio and put on 1,600 screens at the time — it just hadn’t been done. So I think that’s why Friday the 13th was kind of a watershed film.”

 

Vote “no” on everything

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All this year’s candidates are unopposed incumbents, which is lame. It’s a sign of an unhealthy democracy that we don’t even have a choice. Why isn’t anyone running? The citywide races on this ballot have no term limits and no public financing, so we’re stuck with career politicians until they decide to move on. Even if they’re okay at their jobs, that’s problematic.

We aren’t necessarily opposed to Treasurer Jose Cisneros or City Attorney Dennis Herrera. They each have admirable accomplishments on their résumés, but they aren’t the type of pioneering progressive leaders that we’re comfortable endorsing in uncontested elections — and Herrera has a couple ugly marks on his record (gang injunctions and invalidating a people’s referendum on Bayview/Hunters Point development).

We are, however, strongly opposed to the Guardian’s endorsements of Carmen Chu and Katy Tang. Back in the day, they worked together in Mayor Gavin Newsom’s budget office. Then he appointed Chu as District 4 supervisor and Tang became her legislative aide. Then Mayor Ed Lee appointed Chu as Assessor and it was Tang’s turn to be District 4 supervisor.

Are you sensing a trend? If Tang goes on to serve two full terms, the Sunset will go from 2007 until 2022 without a contested election. That’s crazy pants!

Odds are that will also mean 15 years without the District 4 supe ever disagreeing with the mayor. Chu was on the opposite side of virtually every contested vote The League has ever cared about: free Muni for youth, the Sit-Lie law, increasing the hotel tax, Election Day voter registration, and CleanPowerSF.

Tang hasn’t been around long, but she’s already voted against CleanPowerSF and carried the mayor’s water by trying to weaken John Avalos’s Due Process for All ordinance. She attempted to insert exceptions that would’ve made undocumented San Franciscans unsure if they could call the police without risking family members’ deportation. When she used the fearmongering image of the city becoming a “safe haven for criminals,” she was rightfully booed by hundreds of immigration and domestic violence advocates in the audience.

And then there’s the golden rule of politics: Follow the money! Chu and Tang have racked up over $150,000 each. Huge chunks of that money come from developers, property managers, consultants, and others looking to strike it rich with land use deals approved by the new board.

That’s especially troubling for Assessor-Recorder Chu. She’s responsible for assessing property taxes, most of which come from skyscrapers downtown. She should be all up in the business of those corporations: Every time a building changes hands or a company’s ownership changes, the company owes a real estate transfer tax. But Chu is buddy-buddy with the Building Owners and Managers Association, taking piles of cash from the real estate industry. That sucks.

This business of the mayor appointing his buddies who then go on to win uncontested races has got to stop. It’s troubling that the mayor — our executive branch — unilaterally fills out our legislative branch. Hello? Did the folks writing our City Charter ever hear of “checks and balances?”

We think all mayoral appointees should be placeholders, legally prohibited from running in the following election. None of this pledging not to run and then “changing your mind” (we’re looking at you, Ed Lee). That reform would be a proposition we could say yes to — and a welcome change of pace from this November’s ballot.

The San Francisco League of Pissed Off Voters is an all-volunteer local chapter of the National League of Young Voters.

Supes approve funding request for jail construction

“A Costco warehouse with metal bunk beds” is how Matt Freeman of the San Francisco Sheriff’s Department described one of the county’s outmoded jail facilities, speaking at a meeting in City Hall today (Tue/22). At its meeting, San Francisco Board of Supervisors cleared the way for the Sheriff and the Department of Public Works to request $80 million in state funding to be put toward the construction of a modernized jail.

The new facility would replace seismically vulnerable 1950s era jails that are slated for demolition as part of a larger Hall of Justice overhaul. However, some supervisors voiced reservations about the plan.

As the Guardian recently reported, plans for the $290 million jail rebuild have drawn criticism from community advocates who question the use of resources that could be spent on programs to help people stay out of the criminal justice system.

Sup. Eric Mar, who refused to endorse the grant application at a recent Budget & Finance Committee meeting, piped up at the beginning of this meeting to say he’d had a change of heart. Evidently, Sheriff Ross Mirkarimi and some others from the Sheriff’s Department took him on a tour of the San Bruno jail, the county’s most modern facility, to show him the difference between an outmoded jail and one designed with rehabilitative programming in mind.

“I see now that the need is really critical, for safety for inmates but also … a seismically safe and modern jail,” Mar said. “I’m convinced now that it’s really about … supporting anti-recidivism and rehabilitation programs. I really appreciate the sheriff and his staff for opening my eyes.”

But Sup. David Campos was not yet entirely sold on the need for a new jail. “I am not in a position to say that I support the building of this facility,” he said, but said he could be open the possibility after studying the details. “I do acknowledge that I have a bias – I would rather spend less money building a jail than building other things that I think are better investments for our city. That’s not to say I don’t want the jail population to be taken care of. I clearly do.” His office has requested a hearing on this topic, which will be held in early December.

Sup. John Avalos said he too had found it “difficult to support a jail altogether,” but noted that a debate on that decision would come at a later time. “This is just making sure that we have an opportunity to receive state funding if we decide to rebuild,” he said.

In the end, the request to submit an $80 million grant application for state funding was approved without opposition. But the preliminary discussion suggests that a broader debate over San Francisco’s jail rebuild is on the horizon, and it’s an issue where typical political allies won’t necessarily see eye-to-eye. At the same time, it’s a big financial commitment. According to City Controller Ben Rosenfield, the total cost could be in excess of $500 million after financing is factored in.

INFOGRAPHIC: Brown signs legislation creating two tiers of college tuition, for the rich and the poor

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For six California community colleges, when the classes get crowded, those with money will get in, and the poor will struggle. 

On Oct. 10, Gov. Jerry Brown signed Assembly Bill 955, allowing six allegedly overcrowded community colleges to charge $200 per unit instead of the state-mandated $46 for their most in-demand classes. 

The bill was sponsored by Assemblymember Das Williams (D- Santa Barbara), and would effect College of the Canyons, Crafton Hills College, Long Beach City College, Oxnard College, Pasadena City College, and Solano Community College. But state officials and local activists fear this is the first step towards steeply increasing community college fees.

At a California Community College Board of Governors meeting last month, state Chancellor Brice Harris said the tuition hikes could lead to less funding from Sacramento.

“The next time the budget goes in the tank, they’ll tell (us), ‘we can’t give it to you, tell your colleges to raise fees,’” he said. “We have had historically free and open equal access. This bill fundamentally changes that equation.”

When reached for comment, a spokesperson for Harris said he was unavailable.

Shanell Williams, student trustee at City College of San Francisco and an activist who’s fought student inequality at the state level before, echoed Harris’ sentiments back when AB955 was first on the table. “AB955 creates a system of haves and have nots,” she said. “Students that cannot afford to pay more will essentially be denied access.”

A two-tiered payment system was tried once before at Santa Monica College last year. Students protested and were pepper sprayed in an incident that blew up in the news media.

In light of the new tuition hike, we’ve created an infographic to help put the new costs in context. Check it out below, and link to it directly here.

For our previous coverage on AB955, click here.

Lock-up shake up

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rebecca@sfbg.com

Should San Francisco spend $290 million on a modernized jail to replace the old ones that will be demolished when the Hall of Justice comes down?

That’s been the plan for years, but the Board of Supervisors Budget & Finance Committee started to ponder that question at its Oct. 9 meeting, setting the stage for a larger debate that hinges on questions about what it means to take a progressive approach to incarceration.

The Department of Public Works, in collaboration with the Sheriff’s Department, is preparing to submit a state grant application for $80 million to help offset the cost of rebuilding County Jails 3 and 4, outmoded facilities that are located on the sixth and seventh floors of the Hall of Justice.

That building is seismically vulnerable, and slated to be razed and rebuilt under a capital plan that has been in the works for the better part of a decade. With a combined capacity of 905 beds, Jails 3 and 4 were built in the 1950s and are in deplorable condition.

At the hearing, when supervisors considered whether to authorize the $80 million grant application, Sheriff Ross Mirkarimi said the current state of affairs is so bad that his department had to convert a bathroom to a visitation area because there was nowhere else for inmates to spend time with their kids in the same room. In other areas of the jail, temporarily vacant holding cells sometimes double as classroom space, since the department lacks dedicated areas for conducting classes.

The new jail would be built with somewhere between 481 and 688 beds, based on a lower calculated projected need, and more space would be devoted to programs like substance abuse education, parenting programs, or counseling.

San Francisco currently has five jails, but only one — a San Bruno facility built in 2006 — has what the Sheriff’s Department considers to be adequate space for rehabilitative services. Inmates there can opt to earn a high school diploma or take a course in meditation, and the department wants to build on that design in the new facilities.

Mirkarimi urged committee members to sanction the funding request as a first step toward that goal. “Whether it’s parenting programs or something that goes much deeper, then we need that space to make it happen,” he said.

At the same time, some community advocates questioned the very premise of spending millions on a new jail, arguing that scarce public resources could be better spent on services to prevent people from winding up in the criminal justice system to begin with.

In late August, the American Civil Liberties Union and the Lawyers’ Committee for Civil Rights of the San Francisco Bay Area called for the plan to be reexamined. “We agree that Jails 3 and 4 in the Hall of Justice should be torn down,” they wrote, “[but] we question the need to replace them with a new facility.”

Micaela Davis, criminal justice and drug policy attorney at the ACLU of Northern California, told the Guardian that advocates are seeking to reframe the debate by questioning why a new jail should even be built, rather than focusing on what kind of jail should replace the old ones.

She and other advocates are pushing for the county to explore alternatives to jailing arrestees who haven’t yet gone to trial, or look at ways of reorganizing housing for existing inmates. Given that the jail has been in the capital plan for so many years, she said, “it just seems necessary to reevaluate before moving forward with this project.”

While Sup. David Campos hasn’t taken a position so far, he submitted a request at the Oct. 1 board meeting for a hearing “to have an open discussion about what is being proposed, and to really examine if what is proposed makes sense,” he said. It’s expected to take place in early December at the Neighborhood Services and Safety Committee.

If San Francisco is awarded the $80 million in state funding, it must agree to dedicate $8.9 million of its own funds toward the project, which would be spent on preliminary designs, studies, environmental review, and other early costs, according to a board resolution approving the request.

Speaking at the Oct. 9 committee hearing, Sup. John Avalos responded to activists’ concerns by saying: “The last thing I want to do is build out the prison industrial complex. … I’ve always wanted to make sure we were minimizing what would lead to incarceration of more people.” While he did support the idea of applying for the grant, he did so with a caveat. “I would certainly want to uphold the right to vote against a jail in the future,” Avalos said.

Sup. Eric Mar, on the other hand, would not consent to allowing the funding request. “I can’t, under clear conscience, support this,” he said. In the end, the committee authorized the grant application with Avalos and Sup. Mark Farrell supporting it, and Mar opposed.

The Gilded Age of Austerity and the breakdown of civil society

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Is this the week that civil society in the US finally collapses? It’s starting to feel that way. Most of the federal government is already shut down, and on Thursday, it could start defaulting on its debts, possibly dragging down the global economy. And here in the Bay Area, our transportation system will descend into gridlock if strikes shut down BART tomorrow and AC Transit on Thursday, as their unions are threatening.

It may not be the End of the World as We Know It, but this is a striking confluence of events that should cause us all to take stock of the things we take for granted, from reliable public transit systems to a functional federal government to the ability of politics to resolve our differences.

This era could be called the Gilded Age of Austerity, a duality marked by huge and growing concentrations of wealth for the few, but for the rest of us: increasing economic insecurity, a tattered social safety net, crumbling public infrastructure, and few signs of hope that things will get better.

Democracy is a fragile experiment that needs to be regularly reaffirmed by all sides. The US electoral system was already heavily skewed toward the interests of the wealthy, who sponsor both major political parties, to the point where many consider elections to be a sham. But there was still a political system, a basic framework for running the country even during tough times, and that seems to be breaking down.

For the radical right-wingers responsible for hobbling the federal government, this might appear to be a dream come true: Most of the regulators furloughed, funding for most social services stopped, and only the police state remains largely intact (86 percent of Department of Homeland Security employees are on the job and soldiers are still getting paid).

But these anti-government ideologues have never fully understood or appreciated the myriad things that government does to keep civil society functioning over the long term. Our economy relies on federal spending, our health relies on the CDC spotting coming epidemics and the FDA inspecting our food, justice needs a civil court system, our travels depend on roads, and our future depends on today’s young people getting educated (ie Head Start) and fed (ie Food Stamps), and that’s all come to a grinding halt.  

It’s a similar situation with public employee unions, like those that operate BART trains and AC Transit buses. As we’ve reported, private sector wages and benefits often rise or fall with those negotiated by unions. So when unions can’t win good contracts or maintain funded pensions for workers, we’re all dragged down. The Gilded Age gets better for the bosses as the Age of Austerity gets worse for the workers.

BART’s unions had an understandable expectation that they would share in the agency’s recent budget surpluses, particularly after accepting wage and benefit concessions of $100 million over the last four years to help with projected budget deficits that never materialized.

BART managers argue that the district has offered enough and that the rest of the money is needed for its ambitious expansion plans, but there should have been a solution here somewhere short of ultimatums (strike vs. the district’s “last, best offer”). They shouldn’t have needed Gov. Jerry Brown to order the recently ended 60-day cooling off period — the same stall tactic that AC Transit is now asking for — in a world where the basic social contract behind civil society was still intact. When the center still held, before the new Gilded Age fused with the Age of Austerity, people of goodwill could find common ground.

“People’s very livelihoods hang in the balance adding to the additional frustration felt throughout the Bay Area today when both parties failed yesterday to reach an agreement,” Mayor Ed Lee said yesterday in a prepared statement about the BART strike as he cancelled plans to leave on a trade mission to China sponsored by business elites to help carry out their agenda.

Yes, people’s very livelihoods — and their quality of life, and sometimes, their lives — are at stake in these political struggles, those I mentioned and those happening in San Francisco around gentrification and taxation. Anyone who thinks that modern capitalism is sturdy enough to withstand any shock doesn’t have a very good grasp of either economics or history.

Maybe we’ll pull ourselves back from the brink and learn our lessons. Or maybe we’ve entered the endgame, a place where the desperation of those living in the Age of Austerity finally matches the greed and self-interest of those living in the Gilded Age, where one must defeat the other to survive, like two fighting birds plummeting to the ground in a death spiral.

And if that’s the case, are we ready for the next era? Have we sown our seeds and tended our gardens? It took World War Two to really get us out of the Great Depression, and I’d like to think we’ve evolved since then. But this week, I’m not so sure.  

Best of the Bay 2013 Readers Poll: Food and Drink

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BEST OF THE BAY 2013: READERS POLL

Food and Drink

 

BEST OVERALL RESTAURANT

NOPA

560 Divisadero, SF

www.nopasf.com

 

BEST NEW RESTAURANT

COQUETA

The Embarcadero

Pier 5, SF

www.coquetasf.com

 

BEST BUDGET RESTAURANT

TU LAN

8 6th St, SF

 

BEST SPLURGE RESTAURANT

GARY DANKO

800 N Point, SF

www.garydanko.com

 

BEST LATE NIGHT RESTAURANT

GRUBSTAKE

1525 Pine, SF

www.sfgrubstake.com

 

BEST ROMANTIC RESTAURANT

FOREIGN CINEMA

2534 Mission, SF

www.foreigncinema.com

 

BEST FOOD/DRINK FESTIVAL (TIE)

EAT REAL

www.eatrealfest.com

SF STREET FOOD

www.sfstreetfoodfest.com

 

BEST FOOD CART

THE CHAIRMAN TRUCK

www.thechairmantruck.com

 

BEST FARMERS MARKET

FERRY PLAZA

1 Ferry Bldg, SF

www.cuesa.org

 

BEST PIZZA

LITTLE STAR

Multiple locations

www.littlestarpizza.com

 

BEST SANDWICHES

IKE’S PLACE

Multiple locations

www.ilikeikesplace.com

 

BEST BURRITOS

TAQUERIA CANCUN

2288 Mission; 3211 Mission St; 1003 Market St, SF

 

BEST SMALL PLATES

CHA CHA CHA

Multiple locations

www.cha3.com

 

BEST BURGER AND FRIES

SUPER DUPER

Multiple locations

www.superdupersf.com

 

BEST BARBECUE

MEMPHIS MINNIE’S

576 Haight, SF

www.memphisminnies.com

 

BEST SUSHI

ICHI SUSHI

3369 Mission, SF

www.ichisushi.com

 

BEST BOWL OF NOODLES

KATANA-YA

430 Geary, SF

www.katanayausa.com

 

BEST SALADS

BLUE BARN

Multiple locations

www.bluebarngourmet.com

 

BEST SEAFOOD

BAR CRUDO

655 Divisadero, SF

www.barcrudo.com

 

BEST SOUL FOOD

BRENDA’S

652 Polk, SF

www.frenchsoulfood.com

 

BEST ITALIAN

PALIO D’ASTI

640 Sacramento, SF

www.paliodasti.com

 

BEST MIDDLE EASTERN

LA MEDITERRANEE

Multiple locations

www.cafelamed.com

 

BEST INDIAN

DOSA

Multiple locations

www.dosasf.com

 

BEST MEXICAN (TIE)

PUERTO ALEGRE

546 Valencia, SF

NOPALITO

www.nopalitosf.com

 

BEST CHINESE

MISSION CHINESE

2234 Mission, SF

www.missionchinesefood.com

 

BEST THAI

LERS ROS

Multiple locations

www.lersros.com

 

BEST VEGETARIAN

GREENS

Fort Mason, Bldg A, SF

www.greensrestaurant.com

 

BEST VEGAN

MILLENNIUM

580 Geary, SF

www.millenniumrestaurant.com

 

BEST BREAKFAST

DOTTIE’S TRUE BLUE CAFÉ

28 6th St, SF

www.dotties.biz

 

BEST BRUNCH

MISSION BEACH CAFÉ

198 Guerrero, SF

www.missionbeachcafesf.com

 

BEST LUNCH

MARKET & RYE

Multiple locations

www.marketandrye.com

 

BEST APPETIZERS

SAUCE

Multiple locations

www.saucesf.com

 

BEST DESSERT

HEY, COOKIE!

www.heycookiesf.com

 

BEST SERVICE

GARY DANKO

800 N Point St, SF

www.garydanko.com

 

BEST FOOD/DRINKS WEBSITE

TABLEHOPPER

www.tablehopper.com

 

BEST CAFÉ

ATLAS CAFÉ

3049 20th St, SF

www.atlascafe.net

 

BEST CUP OF COFFEE

SIGHTGLASS

270 7th St, SF

www.sightglasscoffee.com

 

BEST CUP OF TEA

SAMOVAR

Multiple locations

www.samovarlife.com

 

BEST OVERALL BAR

MONARCH

101 6th St, SF

www.monarchsf.com

 

BEST NEW BAR

VIRGILS SEA ROOM

3152 Mission, SF

www.virgilssf.com

 

BEST DIVE BAR

EL RIO

3158 Mission, SF

www.elriosf.com

 

BEST SWANKY BAR

REDWOOD ROOM

495 Geary Street, SF

 

BEST SINGLES BAR

MADRONE ART BAR

500 Divisadero, SF

www.madroneartbar.com

 

BEST SPORTS BAR

HI-TOPS

2247 Market, SF

www.hitopssf.com

 

BEST HAPPY HOUR

GREEN’S SPORTS BAR

2239 Polk, SF

 

BEST WINERY (TIE)

V. SATTUI WINERY

1111 White Lane, St. Helena

www.vsattui.com

BLUXOME STREET WINERY

53 Bluxome St, SF

www.bluxomewinery.com

 

BEST WINE BAR

NOETECA

1551 Dolores, SF

www.noeteca.com

 

BEST BREWERY

ANCHOR BREWING

1705 Mariposa, SF

www.anchorbrewing.com

 

BEST SELECTION OF BEERS

TORONADO

547 Haight, SF

www.toronado.com

 

BEST CREATIVE COCKTAILS

TRICK DOG

3010 20th St, SF

www.trickdogbar.com

 

BEST BLOODY MARY

ZEITGEIST

199 Valencia St, SF

www.zeitgiestsf.com

 

BEST BAR STAFF

DNA LOUNGE

375 11th St, SF

www.dnalounge.com

 

BEST CANNABIS EDIBLES

THE GREEN CROSS

4218 Mission St, SF

www.thegreencross.org

 

BEST BAKERY

ARIZMENDI

Multiple locations

www.arizmendi.coop

 

BEST BUTCHER SHOP

AVEDANO’S

235 Cortland, SF

www.avedanos.com

 

BEST CHEESE SHOP

COW GIRL CREAMERY

1 Ferry Bldg, SF

www.cowgirlcreamery.com

 

BEST CHOCOLATIER

FOG CITY NEWS

455 Market St, SF

www.fogcitynews.com

 

Friends in the shadows

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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.

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

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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.

 

 

 

 

TIFF diary #7: Southern gothics

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Intrepid filmgoer Jesse Hawthorne Ficks’ reports from the 2013 Toronto International Film Festival continue this week. Stay tuned for more posts, including Jesse’s upcoming list of his top 12 films from the fest!

From director David Gordon Green, gothic Texan tale Joe gives Nicolas Cage a showy role, in the manner of Werner Herzog’s Bad Lieutenant: Port of Call — New Orleans (2009). Luckily Joe turns out to be a rambling bundle of fun,  thanks in no small part to Cage’s typically uneven (yet always hypnotic) performance. That said, the film earned some glaringly obvious comparisons to Jeff Nichols’ Mud (2012), including the casting of teen actor Tye Sheridan, who plays a similar role in both films.

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

Another gothic tale, this time from Virginia: it’s very important to keep your eyes glued to the screen throughout Jeremy Saulnier’s Blue Ruin. This modern-day Western captures the genre’s grittiest glory by way of contemporary conflicts, with a cast led by Macon Blair. His physical and emotional transformation is one that few performances this year will rival.

Director Saulnier now has two gritty little ditties to his name this year, following up his cinematography credit on I Used to Be Darker, which screened at Sundance in the NEXT category. Blue Ruin reminds me of what John Carpenter was doing 35 years ago with Assault on Precinct 13 (1976). His characters live and breathe and their driving motivations are the stuff that genre audiences can really dig their fingers into. Let’s hope Saulnier is able to make a few more low-budget films before Hollywood snatches him up to make a superhero blockbuster. (And I bet he’ll do a smash-up job if he does.)

Film Listings: September 25 – October 2, 2013

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, Sam Stander, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

Baggage Claim A flight attendant (Paula Patton) searches high in the sky for Mr. Right in this comedy from writer-director David E. Talbert. (1:33)

Cloudy With a Chance of Meatballs 2 The sequel to the 2009 animated hit based on the children’s best-seller promises the introduction of “mutant food beasts,” including “tacodiles” and “shrimpanzees.” (1:35) Presidio.

Don Jon Shouldering the duties of writer, director, and star for the comedy Don Jon, Joseph Gordon-Levitt has also picked up a broad Jersey accent, the physique of a gym rat, and a grammar of meathead posturing — verbal, physical, and at times metaphysical. His character, Jon, is the reigning kingpin in a triad of nightclubbing douchebags who pass their evenings assessing their cocktail-sipping opposite numbers via a well-worn one-to-10 rating system. Sadly for pretty much everyone involved, Jon’s rote attempts to bed the high-scorers are spectacularly successful — the title refers to his prowess in the art of the random hookup — that is, until he meets an alluring “dime” named Barbara (Scarlett Johansson), who institutes a waiting period so foreign to Jon that it comes to feel a bit like that thing called love. Amid the well-earned laughs, there are several repulsive-looking flies in the ointment, but the most conspicuous is Jon’s stealthy addiction to Internet porn, which he watches at all hours of the day, but with a particularly ritualistic regularity after each night’s IRL conquest has fallen asleep. These circumstances entail a fair amount of screen time with Jon’s O face and, eventually, after a season of growth — during which he befriends an older woman named Esther (Julianne Moore) and learns about the existence of arty retro Swedish porn — his “Ohhh … ” face. Driven by deft, tight editing, Don Jon comically and capably sketches a web of bad habits, and Gordon-Levitt steers us through a transformation without straining our capacity to recognize the character we met at the outset — which makes the clumsy over-enunciations that mar the ending all the more jarring. (1:30) Four Star, Marina. (Rapoport)

Enough Said Eva (Julia Louis-Dreyfus) is a divorced LA masseuse who sees naked bodies all day but has become pretty wary of wanting any in her bed at night. She reluctantly changes her mind upon meeting the also-divorced Albert (James Gandolfini), a television archivist who, also like her, is about to see his only child off to college. He’s no Adonis, but their relationship develops rapidly — the only speed bumps being provided by the many nit-picking advisors Eva has in her orbit, which exacerbate her natural tendency toward glass-half-empty neurosis. This latest and least feature from writer-director Nicole Holofcener is a sitcom-y thing of the type that expects us to find characters all the more adorable the more abrasive and self-centered they are. That goes for Louis-Dreyfus’ annoying heroine as well as such wasted talents as Toni Colette as her kvetching best friend and Catherine Keener as a new client turned new pal so bitchy it makes no sense Eva would desire her company. The only nice person here is Albert, whom the late Gandolfini makes a charming, low-key teddy bear in an atypical turn. The revelation of an unexpected past tie between his figure and Keener’s puts Eva in an ethically disastrous position she handles dismally. In fact, while it’s certainly not Holofcener’s intention, Eva’s behavior becomes so indefensible that Enough Said commits rom-com suicide: The longer it goes on, the more fervently you hope its leads will not end up together. (1:33) (Harvey)

Haute Cuisine French drama about a restaurant owner (Catherine Frot) who becomes the personal chef to president François Mitterrand. (1:35) Opera Plaza..

Inequality for All See “The Great Divide.” (1:25) California, Metreon.

Inuk Though the Greenlandic-language Inuk takes its name from its troubled Inuit protagonist, ice is arguably its central character. And the lyrical sweep and striking beauty of the icy expanses in Uummannaq Bay and Nuuk, Greenland, threaten to upstage the adventure story at Inuk‘s heart. Seeking refuge from his alcoholic mother and her abusive friends and escaping into hip-hop, the teenage Inuk (Gaaba Petersen) has been found battered and sleeping his car far too often, so he’s taken to a in the north by teacher and foster care worker Aviaaja (Rebekka Jorgensen) to learn about the old ways of hunters and an ancient wisdom that is melting away with the polar icecap. A journey by dogsled with local hunters turns into a rite of passage when bear hunter Ikuma (Ole Jørgen Hammeken) takes Inuk under his damaged wing and attempts to reconnect him to his heritage. “The ice is no place for attitude,” he declares, as Inuk makes foolish choices, kills his first seal, and learns the hard way about survival north of the Arctic Circle. You can practically feel the freezing cold seeping off the frames of this gorgeous-looking film — a tribute to director Mike Magidson and his crew’s skills, even when the overt snow-blinding symbolism blots out clarity and threatens to swallow up Inuk. (1:30) Roxie. (Chun)

Metallica: Through the Never See “Hit the Lights.” (1:32)

“Millie Perkins in the Exploitation Cinema of Matt Cimber” Millie Perkins was a successful 20-year-old model with no acting experience when she made her film debut in 1959’s The Diary of Anne Frank, playing the title role. But her mainstream Hollywood career almost immediately foundered and soon she was playing much less angelic roles in B-movies — among them several subsequently cult-worshipped Monte Hellman films and the 1968 AIP counterculture-nightmare hit Wild in the Streets. In the mid-1970s she made two back-to-back movies for Italian exploitation maestro Matt Cimber (aka Thomas Vitale Ottaviano), who a decade earlier had briefly been married to Jayne Mansfield. The Film on Film Foundation is screening rare 35mm prints of both in this one-night tribute bill. The better known of the duo, The Witch Who Came From the Sea (1976), is a bizarre psychochiller in which Perkins gets one hell of a role as SoCal cocktail waitress Molly, who seems normal enough (if a tad taciturn) but is prone to irrational rages, blackouts, drinking binges, indiscriminate pill-popping, and … murder, though we (and she) aren’t always sure whether her crimes are real or delusional. While Witch has gained some critical appreciation in recent years, the prior year’s Lady Cocoa (also released, even more improbably, as Pop Goes the Weasel) remains obscure — a late addition to the early ’70s blaxploitation craze with “First Lady of Las Vegas” Lola Falana in a non-singing role as a tough jailbird who gets a 24-hour pass to testify against her evil thug ex-boyfriend — or at least try to, if his goons (including NFL Hall of Famer “Mean” Joe Greene) don’t snuff her first. Perkins has a supporting role as one half of an alleged honeymooning couple who aren’t quite as harmless as they seem. Perhaps overwhelmed by the challenge of topping these two films, Perkins was inactive for several years afterward, then found herself welcomed back to Hollywood via numerous roles in TV movies and big-screen ones, plus recurring roles on primetime soap Knot’s Landing and the 1990 miniseries Elvis (as the King’s mom). Roxie. (Harvey)

On the Job Filipino director Erik Matti’s gritty crime thriller has such a clever hook that Hollywood is already circling it for a remake. No shock there. It is surprising, however, that On the Job is based on true events, in which prisoners were temporarily sprung to work as hired guns for well-connected politicos. (Kinda genius, if you think about it.) The big-screen version has veteran inmate Tang (Joel Torre) dreading his imminent parole; he’d rather have the steady income from his grisly gig than be unable to provide for his wife and daughter. As he counts down to his release, he trains volatile Daniel (Gerald Anderson) to take his place. Poking around on the other side of the law are world-weary local cop Acosta (Joey Marquez) and hotshot federal agent Francis (Piolo Pascual), who reluctantly team up when a hit cuts close to home for both of them. The case is particularly stressful for Francis, whose well-connected father-in-law turns out to be wallowing in corruption. Taut, thrilling, atmospheric, and graphic, On the Job makes up for an occasionally confusing storyline by offering bang-up (literally) entertainment from start to finish. Groovy score, too. (2:00) Metreon. (Eddy)

Out in the Dark Meeting in a Tel Aviv gay bar, Nimr (Nicholas Jacob) and Roy (Michael Aloni) are instantly smitten with each other, though there’s much dividing them. Roy is a Jewish lawyer working at his father’s high-end firm, while the former is a Palestinian graduate psychology student who’s lucky just to get a temporary travel pass so he can take one prestigious course at an Israeli university. Even this small liberty brings him trouble, as his increasingly fanatical older brother considers any contact with Israelis borderline traitorous to their homeland and to conservative Muslim values. Needless to say, Nimr is not “out” to his family — and even though Roy is, his parents’ “tolerance” proves superficial at best. The men’s relationship soon runs into considerable, even life-imperiling difficulty from various political, cultural, religious and personal conflicts. Director and co-writer Michael Mayer’s first feature isn’t the first screen love story between star-crossed Israelis and Palestinians (or even the first gay one). It can be a bit clumsy and melodramatic, but nonetheless there’s enough chemistry between the leads and earnest urgency behind the issues addressed to make this a fairly powerful story about different kinds of oppression. (1:36) Elmwood. (Harvey)

Rush Ron Howard’s Formula One thriller Rush is a gripping bit of car porn, decked out with 1970s period details and goofily liberated camera moves to make sure you never forget how much happens under (and around, and on top of) the hood of these beastly vehicles. Real life drivers James Hunt and Niki Lauda (played by Chris Hemsworth and Daniel Brühl, respectively) had a wicked rivalry through the ’70s; these characters are so oppositional you’d think Shane Black wrote them. Lauda’s an impersonal, methodical pro, while Hunt’s an aggressive, undisciplined playboy — but he’s so popular he can sway a group of racers to risk their lives on a rainy track, even as Lauda objects. It’s a lovely sight: all the testosterone in the world packed into a room bound by windows, egos threatening to bust the glass with the rumble of their voices. I’m no fan of Ron Howard, but maybe the thrill of Grand Theft Auto is in Rush like a spirit animal. (The moments of rush are the greatest; when Lauda’s lady friend asks him to drive fast, he does, and it’s glorious.) Hunt says that “being a pro kills the sport” — but Howard, an overly schmaltzy director with no gift for logic and too much reliance on suspension of disbelief, doesn’t heed that warning. The laughable voiceovers that bookend the film threaten to sink some great stuff, but the magic of the track is vibrant, dangerous, and teeming with greatness. (2:03) (Vizcarrondo)

ONGOING

Battle of the Year Nothing burns Americans more than getting beat at their own culture game. Hence the premise of this 3D dance movie named after the international b-boy competition that regularly shuts out US teams. Diddy-like hip-hop kingpin Dante (Laz Alonso) is feeling the softness of the market, never mind that the trend cycles have spun the other way — we gotta win the b-boy crown back from the Koreans and Russians! So he enlists his old friend and now-down-and-out coach Jason (Lost‘s Josh Holloway) to assemble a winning crew from ragtag talents pulled from across the country, among them the strutting Rooster (Chris Brown). How does one put together a real team from this loose gathering of testosterone-saturated, ever-battling egos? Korean American director Benson Lee twirls off his own documentary Planet B Boy with this fictitious exercise that begs this question: why aren’t there more 3D dance movies? Probably because, much like porn, everything surrounding the money shots usually feels like filler. Leave aside the forced drama of bad news unbearables like Brown and his frenemies — the moments when Battle really lives up to the hype are when the movie’s many hyperathletic, gravity-defying b-boys like Ivan “Flipz” Velez, Jon “Do Knock” Cruz, and David “Kid” Shreibman show off their moves. (1:49) 1000 Van Ness, SF Center. (Chun)

Blue Caprice On Oct. 24, 2002, a man and a teenager were arrested upon being found sleeping in their car at a Maryland rest stop. That ended the three-week reign of terror known as the Beltway sniper attacks, in which 13 people were shot (10 fatally) in a wide area surrounding Washington, DC. When facts started coming to light, what seemed most striking about these attacks were their utter randomness, as well as the curious relationship between the two shooters: 41-year-old John Allen Muhammad and 17-year-old Lee Boyd Malvo, who’d met three years earlier in Antigua. Malvo, who was sorely in need of guidance and a guardian, was taken back to the US by his new protector, and was too grateful, gullible, or intimidated to question his intentions. Alexandre Moors’ first feature offers an unsettling if ambiguous take on a case that still leaves a lot of questions unanswered. We see Lee (Tequan Richmond) accept whatever strange wisdom Muhammad (Isaiah Washington of Grey’s Anatomy) has to offer — becoming an outlet for John’s bottomless, often scarifying anger, and his need to create someone as emotionally disconnected from other humans as himself. The shootings themselves are dealt with very discreetly; Moors and scenarist Ronnie Porto aim to conjure an atmosphere of isolation and indoctrination where we’re nearly as blindsided as Lee. While its deliberate omissions and psychological gaps are somewhat frustrating, Blue Caprice does cast a spell — aided considerably by Brian O’Carroll’s artful photography (no shaky-cam here) and a fine, unpredictable original score by Sarah Neufeld and Colin Stetson. (1:34) Roxie. (Harvey)

Blue Jasmine The good news about Blue Jasmine isn’t that it’s set in San Francisco, but that it’s Woody Allen’s best movie in years. Although some familiar characteristics are duly present, it’s not quite like anything he’s done before, and carries its essentially dramatic weight more effectively than he’s managed in at least a couple decades. Not long ago Jasmine (a fearless Cate Blanchett) was the quintessential Manhattan hostess, but that glittering bubble has burst — exactly how revealed in flashbacks that spring surprises up to the script’s end. She crawls to the West Coast to “start over” in the sole place available where she won’t be mortified by the pity of erstwhile society friends. That would be the SF apartment of Ginger (Sally Hawkins), a fellow adoptive sister who was always looked down on by comparison to pretty, clever Jasmine. Theirs is an uneasy alliance — but Ginger’s too big-hearted to say no. It’s somewhat disappointing that Blue Jasmine doesn’t really do much with San Francisco. Really, the film could take place anywhere — although setting it in a non-picture-postcard SF does bolster the film’s unsettled, unpredictable air. Without being an outright villain, Jasmine is one of the least likable characters to carry a major US film since Noah Baumbach’s underrated Margot at the Wedding (2007); the general plot shell, moreover, is strongly redolent of A Streetcar Named Desire. But whatever inspiration Allen took from prior works, Blue Jasmine is still distinctively his own invention. It’s frequently funny in throwaway performance bits, yet disturbing, even devastating in cumulative impact. (1:38) Balboa, Clay, Metreon, 1000 Van Ness. (Harvey)

C.O.G. The first feature adapted from David Sedaris’ writing, Kyle Patrick Alvarez’s film captures his acerbic autobiographical comedy while eventually revealing the misfit pain hidden behind that wit. Tightly wound David (Jonathan Groff), on the run from problematic family relations and his sexual identity, takes the bus from East Coast grad school to rural Oregon — his uninhibited fellow passengers providing the first of many mortifications here en route. Having decided that seasonal work as an apple picker will somehow be liberating, he’s viewed with suspicion by mostly Mexican co-workers and his crabby boss (Dean Stockwell). More fateful kinda-sorta friendships are forged with a sexy forklift operator (Corey Stoll) and a born-again war vet (Denis O’Hare). Under the latter’s volatile tutelage, David briefly becomes a C.O.G. — meaning “child of God.” Balancing the caustic, absurd, and bittersweet, gradually making us care about an amusingly dislikable, prickly protagonist, this is a refreshingly offbeat narrative that pulls off a lot of tricky, ambivalent mood shifts. (1:37) Elmwood, Smith Rafael, Sundance Kabuki. (Harvey)

Elysium By the year 2154, the one percent will all have left Earth’s polluted surface for Elysium, a luxurious space station where everyone has access to high-tech machines that can heal any wound or illness in a matter of seconds. Among the grimy masses in burned-out Los Angeles, where everyone speaks a mixture of Spanish and English, factory worker Max (Matt Damon) is trying to put his car-thief past behind him — and maybe pursue something with the childhood sweetheart (Alice Braga) he’s recently reconnected with. Meanwhile, up on Elysium, icy Secretary of Defense Delacourt (Jodie Foster, speaking in French and Old Hollywood-accented English) rages against immigration, even planning a government takeover to prevent any more “illegals” from slipping aboard. Naturally, the fates of Max and Delacourt will soon intertwine, with “brain to brain data transfers,” bionic exo-skeletons, futuristic guns, life-or-death needs for Elysium’s medical miracles, and some colorful interference by a sword-wielding creeper of a sleeper agent (Sharlto Copley) along the way. In his first feature since 2009’s apartheid-themed District 9, South African writer-director Neill Blomkamp once again turns to obvious allegory to guide his plot. If Elysium‘s message is a bit heavy-handed, it’s well-intentioned, and doesn’t take away from impressive visuals (mercifully rendered in 2D) or Damon’s committed performance. (2:00) Metreon, 1000 Van Ness, Sundance Kabuki. (Eddy)

The Family It’s hard to begrudge an acting monolith like Robert De Niro from cashing out in his golden years and essentially going gently into that good night amid a volley of mild yuks. And when his mobster-in-witness-protection Giovanni Manzoni takes a film-club stage in his Normandy hideout to hold forth on the veracity of Goodfellas (1990), you yearn to be right there in the fictional audience, watching De Niro’s Brooklyn gangster take on his cinematic past. That’s the most memorable moment of this comedy about an organized criminal on the lam with his violent, conniving family unit. Director-cowriter Luc Besson aims to lightly demonstrate that you can extract a family from the mob but you can’t expunge the mob from the family. There’s a $20 million bounty on Giovanni’s head, and it’s up to his keeper Stansfield (Tommy Lee Jones) to keep him and his kin quiet and undercover. But the latter has his hands full with Gio penning his memoirs, wife Maggie (Michelle Pfeiffer) blowing up the local supermarket, daughter Belle (Dianna Agron, wrapped in bows like a soft-focus fantasy nymphet) given to punishing schoolyard transgressors with severe beatings, and son Warren (John D’Leo) working all the angles in class. Besson plays the Manzoni family’s violence for chuckles, while painting the mob family’s mayhem with more ominous colors, making for a tonal clash that’s as jarring as some of his edits. The pleasure here comes with watching the actors at play: much like his character, De Niro is on the run from his career-making albeit punishing past, though if he keeps finding refuge in subpar fare, one wonders if his “meh” fellas will eventually outweigh the Goodfellas. (1:51) Metreon, 1000 Van Ness, Sundance Kabuki, Vogue. (Chun)

The Grandmaster The Grandmaster is dramatic auteur Wong Kar-Wai’s take on the life of kung-fu legend Ip Man — famously Bruce Lee’s teacher, and already the subject of a series of Donnie Yen actioners. This episodic treatment is punctuated by great fights and great tragedies, depicting Ip’s life and the Second Sino-Japanese War in broad strokes of martial arts tradition and personal conviction. Wong’s angsty, hyper stylized visuals lend an unusual focus to the Yuen Woo-Ping-choreographed fight scenes, but a listless lack of narrative momentum prevents the dramatic segments from being truly engaging. Abrupt editing in this shorter American cut suggests some connective tissue may be missing from certain sequences. Tony Leung’s performance is quietly powerful, but also a familiar caricature from other Wong films; this time, instead of a frustrated writer, he is a frustrated martial artist. Ziyi Zhang’s turn as the driven, devastated child of the Northern Chinese Grandmaster provides a worthy counterpoint. Another Wong cliché: the two end up sadly reminiscing in dark bars, far from the rhythm and poetry of their martial pursuits. (1:48) Metreon. (Stander)

In a World… (1:33) Balboa, Sundance Kabuki.

Insidious: Chapter 2 The bloodshot, terribly inflamed font of the opening title gives away director James Wan and co-writer and Saw series cohort Leigh Whannell’s intentions: welcome to their little love letter to Italian horror. The way an actor, carefully lit with ruby-red gels, is foregrounded amid jade greens and cobalt blues, the ghastly clown makeup, the silent movie glory of a gorgeous face frozen in terror, the fixation with 1981’s The Beyond — lovers of spaghetti shock will appreciate even a light application of these aspects, even if many others will be disappointed by this sequel riding a wee bit too closely on its financially successful predecessor’s coattails. Attempting to pick up exactly where 2011’s Insidious left off, Chapter 2 opens with a flashback to the childhood of demonically possessed Josh Lambert (Patrick Wilson), put into a trance by the young paranormal investigator Elise. Flash-forward to Elise’s corpse and the first of many terrified looks from Josh’s spouse Renai (Rose Byrne). She knows Josh killed Elise, but she can’t face reality — so instead she gets to face the forces of supernatural fantasy. Meanwhile Josh is busy forcing a fairy tale of normalcy down the rest of his family’s throats — all the while evoking a smooth-browed, unhinged caretaker of the Overlook Hotel. Subverting that fiction are son Dalton (Ty Simpkins), who’s fielding messages from the dead, and Josh’s mother Lorraine (Barbara Hershey), who sees apparitions in her creepy Victorian and looks for help in Elise’s old cohort Carl (Steve Coulter) and comic-relief ghost busters Specs (Whannell) and Tucker (Angus Sampson). Sure, there are a host of scares to be had, particularly those of the don’t-look-over-your-shoulder variety, but tribute or no, the derivativeness of the devices is dissatisfying. Those seeking wickedly imaginative death-dealing machinations, or even major shivers, will curse the feel-good PG-13 denouement. (1:30) Metreon, 1000 Van Ness. (Chun)

Instructions Not Included (1:55) Metreon.

Lee Daniels’ The Butler (1:53) 1000 Van Ness, Presidio, SF Center, Sundance Kabuki.

Mademoiselle C Fabien Constant’s portrait of French fashion editor-professional muse-stylish person Carine Roitfeld may be unabashedly fawning, but it does offer the rest of us slobs a peek into the glamorous life. The film begins as Roitfeld leaves her job at Vogue Paris; there’s passing mention of her subsequent feud with Condé Nast as she readies her own luxury magazine start-up, CR Fashion Book, but the only conflicts the film lingers on are 1) when a model cancels last-minute and 2) when Roitfeld goes double over budget on her first issue. (Looking at the lavish photo shoots in action, with big-name photogs and supermodels aplenty, it’s not hard to see why.) Mostly, though this is a fun ride-along with Roitfeld in action: hanging with “Karl” (Lagerfeld) and “Tom” (Ford); swooning over her first grandchild; sneaking a little cell phone footage inside the Met Ball; allowing celebs like Sarah Jessica Parker and designer Joseph Altuzarra to suck up to her, etc. There’s also a funny moment when her art-dealer son, Vladimir, recalls that he was never allowed to wear sweatpants as a kid — and her daughter, fashion-person Julia, remembers her mother’s horror when she dared to wear Doc Martens. (1:30) Sundance Kabuki. (Eddy)

Museum Hours Feature documentaries Benjamin Smoke (2000) and Instrument (2003) are probably Jem Cohen’s best-known works, but this prolific filmmaker — an inspired choice for SFIFF’s Golden Gate Persistence of Vision Award, honoring “a filmmaker whose main body of work is outside the realm of narrative feature filmmaking” — has a remarkably diverse resumé of shorts, music videos, and at least one previous narrative film (albeit one with experimental elements), 2004’s Chain. Cohen appears in person to discuss his work and present his latest film, Museum Hours, about a guard at Vienna’s Kunsthistorisches Museum (“the big old one,” the man calls it) who befriends a Montreal woman visiting her comatose cousin. It’s a deceptively simple story that expands into a deeply felt, gorgeously shot rumination on friendship, loneliness, travel, art history and appreciation, and finding the beauty in the details of everyday life. (1:46) Opera Plaza. (Eddy)

One Direction: This is Us Take them home? The girls shrieking at the opening minutes of One Direction: This Is Us are certainly raring to — though by the closing credits, they might feel as let down as a Zayn Malik fanatic who was convinced that he was definitely future husband material. Purporting to show us the real 1D, in 3D, no less, This Is Us instead vacillates like a boy band in search of critical credibility, playing at an “authorized” look behind the scenes while really preferring the safety of choreographed onstage moves by the self-confessed worst dancers in pop. So we get endless shots of Malik, Niall Horan, Liam Payne, Harry Styles, and Louis Tomlinson horsing around, hiding in trash bins, punking the road crew, jetting around the world, and accepting the adulation of innumerable screaming girls outside — interspersed with concert footage of the lads pouring their all into the poised and polished pop that has made them the greatest success story to come out of The X Factor. Too bad the music — including “What Makes You Beautiful” and “Live While We’re Young” — will bore anyone who’s not already a fan, while the 1D members’ well-filtered, featureless, and thoroughly innocuous on-screen personalities do little to dispel those yawns. Director Morgan Spurlock (2004’s Super Size Me) adds just a dollop of his own personality, in the way he fixates on the tearful fan response: he trots out an expert to talk about the chemical reaction coursing through the excitable listener’s system, and uses bits of animation to slightly puff up the boy’s live show. But generally as a co-producer, along with 1D mastermind Simon Cowell, Spurlock goes along with the pop whitewashing, sidestepping the touchy, newsy paths this biopic could have sallied down — for instance, Malik’s thoughts on being the only Muslim member of the biggest boy band in the world — and instead doing his best undermine that also-oh-so-hyped 3D format and make One Direction as tidily one dimensional as possible. (1:32) Metreon, 1000 Van Ness. (Chun)

My Lucky Star Aspiring cartoonist Sophie (Ziyi Zhang) puts her romantic fantasies into her artwork — the bright spot in an otherwise dull life working in a Beijing call center and being hassled about her perma-single status by her mother and catty friends. As luck would have it, Sophie wins a trip to Singapore right when dreamy secret agent David (Leehom Wang) is dispatched there to recover the stolen “Lucky Star Diamond;” it doesn’t take long before our klutzy goofball stumbles into exactly the kind of adventure she’s been dreaming about. Romancing the Stone (1984) this ain’t, but Zhang, so often cast in brooding parts, is adorable, and occasional animated sequences add further enhancement to the silly James Bond/Charlie’s Angels-lite action. (1:53) SF Center. (Eddy)

Planes Dane Cook voices a crop duster determined to prove he can do more than he was built for in Planes, the first Disney spin-off from a Pixar property. (Prior to the film’s title we see “From The World of Cars,” an indicator the film is an extension of a known universe — but also not quite from it.) And indeed, Planes resembles one of Pixar’s straight-to-DVD releases as it struggles for liftoff. Dreaming of speed, Dusty Crophopper (Cook) trains for the Wings Around the World race with his fuel-truck friend, Chug (Brad Garrett). A legacy playing Brewster McCloud and Wilbur Wright makes Stacy Keach a pitchy choice for Skipper, Dusty’s reluctant ex-military mentor. Charming cast choices buoy Planes somewhat, but those actors are feathers in a cap that hardly supports them — you watch the film fully aware of its toy potential: the race is a geography game; the planes are hobby sets; the cars will wind up. The story, about overcoming limitations, is in step with high-value parables Pixar proffers, though it feels shallower than usual. Perhaps toys are all Disney wants — although when Ishani (a sultry Priyanka Chopra) regrets an integrity-compromising choice she made in the race, and her pink cockpit lowers its eyes, you can feel Pixar leaning in. (1:32) 1000 Van Ness. (Vizcarrondo)

Populaire Perhaps if it weren’t set in the 1950s, this would be the fluorescent-lit story of a soul-sucking data entry job and the office drone who supplements it with a moonlighting gig. But it is the ’50s — a cheery, upbeat version of the era — and director Régis Roinsard’s Populaire reflects its shiny glamour onto the transformation of small-town girl Rose Pamphyle (Déborah François) from an incompetent but feisty secretary with mad hunting-and-pecking skills into a celebrated and adored speed-typing champion. Her daffy boss, Louis Échard (Romain Duris), is a handsome young insurance salesman who bullies her (very charmingly) into competing against a vast secretarial pool in a series of hectic, nail-biting tourneys, which treat typing as a sporting event for perhaps the first time in cinematic history. (See also: scenes of Rose cranking up her physical endurance with daily jogs and cross-training at the piano.) The glamour slips a touch when Populaire starts to delve into psychological motivations to rationalize some of Louis’s more caddish maneuvers. But meanwhile, back in the arena, bets are made, words-per-minute stats are quoted by screaming, tearful fans in the bleachers, hearts are won and bruised, a jazz band performs that classic tune “Les Secrétaires Cha Cha Cha,” and we find ourselves rooting passionately for Rose to best the reigning champ’s 512(!)-wpm record. (1:51) Smith Rafael. (Rapoport)

Prisoners It’s a telling sign of this TV-besotted times that the so-called best-reviewed film of the season so far resembles a cable mystery in line with The Killing and its ilk — in the way that it takes its time while keeping it taut, attempts to stretch out beyond the perimeters of the police procedural, and throws in the types of envelope-pushing twists that keep easily distractible viewers coming back. At two and a half hours plus, Prisoners feels like a hybrid, more often seen on a small screen that has borrowed liberally from cinema since David Lynch made the Twin Peaks crossing, than the large, as it brings together an art-house attention to detail with the sprawl and topicality of a serial. Incendies director Denis Villeneuve carefully loads the deck with symbolism from the start, opening with a shot of a deer guilelessly approaching a clearing and picking at scrubby growth in the cold ground, as the camera pulls back on two hunters: the Catholic, gun-toting Keller (Hugh Jackman) and his son (Dylan Minnette), intent on gathering a Thanksgiving offering. Keller and his fragile wife Grace (Maria Bello) are coming together with another family — headed up by the slightly more yuppified Franklin (Terence Howard) and his wife Nancy (Viola Davis) — for Thanksgiving in what seems like a middle-class East Coast suburb. The peace is shattered when the families’ young daughters suddenly disappear; the only clues are the mysterious RV that rumbles slowly through the quiet neighborhood and ominous closeups from a predator’s perspective. Police detective Loki (Jake Gyllenhaal) is drawn into the mystery when the RV is tracked down, along with its confused driver Alex (Paul Dano). That’s no consolation to the families, each grieving in their own way, with Keller perpetually enraged and Franklin seemingly on the brink of tears. When Alex’s aunt (an unrecognizable Melissa Leo) comes forward with information about her nephew, Keller decides to take matters into his own hands in ways that question the use of force during interrogation and the very definition of imprisonment. Noteworthy performances by Jackman, Gyllenhaal, and Dano highlight this elegant, wrenching thriller — while Villeneuve’s generally simple, smart choices might make the audience question not only certain characters’ morality but perhaps their own. (2:33) Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

Riddick This is David Twohy’s third flick starring Vin Diesel as the titular misunderstood supercriminal. Aesthetically, it’s probably the most interesting of the lot, with a stylistic weirdness that evokes ’70s Eurocomix in the best way — a pleasing backdrop to what is essentially Diesel playing out the latest in a series of Dungeons & Dragons scenarios where he offers his wisecracking sci-fi take on Conan. Gone are the scares and stakes of Pitch Black (2000) or the cheeseball epic scale of The Chronicles of Riddick (2004); this is a no-nonsense action movie built on the premise that Riddick just can’t catch a break. He’s on the run again, targeted by two bands of ruthless mercenaries, on a planet threatened by an oncoming storm rather than Pitch Black‘s planet-wide night. One unfortunate element leaves a bitter taste: the lone female character in the movie, Dahl (Katee Sackhoff), is an underdeveloped cliché “Strong Female Character,” a violent, macho lesbian caricature who is the object of vile sexual aggression (sometimes played for laughs) from several other characters, including Riddick. (1:59) Metreon, 1000 Van Ness. (Stander)

Salinger Thank Franny and Zooey that J.D. Salinger checked out before he had to check in. At the close of Shane Salerno’s doc, when we’re informed that the privacy-loving scribbler kicked off to Bananafish land in 2010 at the age of 91, anyone who cared a whit for the Catcher in the Rye author will breathe a wee sigh of relief. What would Salinger have made of the self-promotion today’s authors are obliged to undertake, let alone our share-all social-networking culture? Savages (2012) screenwriter Salerno certainly wouldn’t win any grudging respect from the author for this overwrought, OTT documentary that seems desperate to make a case for its maker’s fascination with the writer. That’s not to say there’s no intriguing information imparted: apart from serving up rare images and footage of Salinger during World War II, the filmmaker also offers supposedly verified details on the stories and novels Salinger was working on over the years in Cornish, NH. The writer’s readers will be happy to learn about these books waiting in the wings — once they wade through stale reenactments that recall mediocre basic cable TV, a sound design that hammers home each revelation with iron-door-slamming cheese, a heavy reliance on an echo chamber of select talking heads, and the numbingly repetitive use of the few images culled from Salinger’s youthful photo sessions. All at hand are milked for maximum, heavy-handed drama — while leaving the viewer puzzling over omissions like the mysterious first wife with “Nazi affiliations” and connections between Catcher to high-profile 1980s shootings that are made, then dropped; curious about the silence of Salinger’s family; and acutely feeling the absence of the much-hyped or derided actual text. (2:00) Metreon, Presidio. (Chun)

Short Term 12 A favorite at multiple 2013 festivals (particularly SXSW, where it won multiple awards), Short Term 12 proves worthy of the hype, offering a gripping look at twentysomethings (led by Brie Larson, in a moving yet unshowy performance) who work with at-risk teens housed in a foster-care facility, where they’re cared for by a system that doesn’t always act with their best interests in mind. Though she’s a master of conflict resolution and tough love when it comes to her young chargers, Grace (Larson) hasn’t overcome her deeply troubled past, to the frustration of her devoted boyfriend and co-worker (John Gallagher, Jr.). The crazy everyday drama — kids mouthing off, attempting escape, etc. — is manageable enough, but two cases cut deep: Marcus (Keith Stanfield), an aspiring musician who grows increasingly anxious as his 18th birthday, when he’ll age out of foster care, approaches; and 16-year-old Jayden (Kaitlyn Dever), whose sullen attitude masks a dark home life that echoes Grace’s own experiences. Expanding his acclaimed 2008 short of the same name, writer-director Destin Daniel Cretton’s wrenchingly realistic tale achieves levels of emotional honesty not often captured by narrative cinema. He joins Fruitvale Station director Ryan Coogler as one of the year’s most exciting indie discoveries. (1:36) SF Center. (Eddy)

The Spectacular Now The title suggests a dreamy, fireworks-inflected celebration of life lived in the present tense, but in this depiction of a stalled-out high school senior’s last months of school, director James Ponsoldt (2012’s Smashed) opts for a more guarded, uneasy treatment. Charming, likable, underachieving, and bright enough to frustrate the adults in his corner, Sutter (Miles Teller, 2012’s Project X) has long since managed to turn aimlessness into a philosophical practice, having chosen the path of least resistance and alcohol-fueled unaccountability. His mother (Jennifer Jason Leigh), raising him solo since the departure of a father (Kyle Chandler) whose memories have acquired — for Sutter, at least — a blurry halo effect, describes him as full of both love and possible greatness, but he settles for the blessings of social fluidity and being an adept at the acquisition of beer for fellow underage drinkers. When he meets and becomes romantically involved with Aimee (Shailene Woodley), a sweet, unpolished classmate at the far reaches of his school’s social spectrum, it’s unclear whether the impact of their relationship will push him, or her, or both into a new trajectory, and the film tracks their progress with a watchful, solicitous eye. Adapted for the screen by Scott Neustadter and Michael H. Weber (2009’s 500 Days of Summer) from a novel by Tim Tharp, The Spectacular Now gives the quirky pop cuteness of Summer a wide berth, steering straight into the heart of awkward adolescent striving and mishap. (1:35) Presidio, SF Center, Sundance Kabuki. (Rapoport)

Thanks for Sharing (1:52) Metreon, Sundance Kabuki.

This Is the End It’s a typical day in Los Angeles for Seth Rogen as This Is the End begins. Playing a version of himself, the comedian picks up pal and frequent co-star Jay Baruchel at the airport. Since Jay hates LA, Seth welcomes him with weed and candy, but all good vibes fizzle when Rogen suggests hitting up a party at James Franco’s new mansion. Wait, ugh, Franco? And Jonah Hill will be there? Nooo! Jay ain’t happy, but the revelry — chockablock with every Judd Apatow-blessed star in Hollywood, plus a few random inclusions (Rihanna?) — is great fun for the audience. And likewise for the actors: world, meet Michael Cera, naughty coke fiend. But stranger things are afoot in This Is the End. First, there’s a giant earthquake and a strange blue light that sucks passers-by into the sky. Then a fiery pit yawns in front of Casa Franco, gobbling up just about everyone in the cast who isn’t on the poster. Dudes! Is this the worst party ever — or the apocalypse? The film — co-written and directed by Rogen and longtime collaborator Evan Goldberg — relies heavily on Christian imagery to illustrate the endtimes; the fact that both men and much of their cast is Jewish, and therefore marked as doomed by Bible-thumpers, is part of the joke. But of course, This Is the End has a lot more to it than religious commentary; there’s also copious drug use, masturbation gags, urine-drinking, bromance, insult comedy, and all of the uber-meta in-jokes fans of its stars will appreciate. (1:46) Metreon, 1000 Van Ness. (Eddy)

20 Feet From Stardom Singing the praises of those otherwise neglected backup vocalists who put the soul into that Wall of Sound, brought heft to “Young Americans,” and lent real fury to “Gimme Shelter,” 20 Feet From Stardom is doing the rock ‘n’ roll true believer’s good work. Director Morgan Neville follows a handful of mainly female, mostly African American backing vocal legends, charts their skewed career trajectories as they rake in major credits and keep working long after one-hit wonders are forgotten (the Waters family) but fail to make their name known to the public (Merry Clayton), grasp Grammy approval yet somehow fail to follow through (Lisa Fischer), and keep narrowly missing the prize (Judith Hill) as label recording budgets shrivel and the tastes, technology, and the industry shift. Neville gives these industry pros and soulful survivors in a rocked-out, sample-heavy, DIY world their due on many levels, covering the low-coverage minis, Concert for Bangladesh high points, gossipy rumors, and sheer love for the blend that those intertwined voices achieve. One wishes the director had done more than simply touch in the backup successes out there, like Luther Vandross, and dug deeper to break down the reasons Fischer succumbed to the sophomore slump. But one can’t deny the passion in the voices he’s chosen to follow — and the righteous belief the Neville clearly has in his subjects, especially when, like Hill, they are ready to pick themselves up and carry on after being told they’re not “the Voice.” (1:30) Smith Rafael. (Chun)

Wadjda Hijabs, headmistresses, and errant fathers fall away before the will and wherewithal of the 11-year-old title character of Wadjda, the first feature by a female Saudi Arabian filmmaker. Director Haifaa al-Mansour’s own story — which included filming on the streets of Riyadh from the isolation of a van because she couldn’t work publicly with the men in the crew — is the stuff of drama, and it follows that her movie lays out, in the neorealist style of 1948’s The Bicycle Thief, the obstacles to freedom set in the path of women and girls in Saudi Arabia, in terms that cross cultural, geographic, and religious boundaries. The fresh star setting the course is Wadjda (first-time actor Waad Mohammed), a smart, irrepressibly feisty girl practically bursting out of her purple high-tops and intent on racing her young neighborhood friend Abudullah (Abdullrahman Algohani) on a bike. So many things stand in her way: the high price of bicycles and the belief that girls will jeopardize their virginity if they ride them; her distracted mother (Reem Abdullah) who’s worried that Wadjda’s father will take a new wife who can bear him a son; and a harsh, elegant headmistress (Ahd) intent on knuckling down on girlish rebellion. So Wadjda embarks on studying for a Qu’ran recital competition to win money for her bike and in the process learns a matter or two about discipline — and the bigger picture. Director al-Mansour teaches us a few things about her world as well — and reminds us of the indomitable spirit of girls — with this inspiring peek behind an ordinarily veiled world. (1:37) Opera Plaza. (Chun)

We’re the Millers After weekly doses on the flat-screen of Family Guy, Modern Family, and the like, it’s about time movieland’s family comedies got a little shot of subversion — the aim, it seems, of We’re the Millers. Scruffy dealer David (Jason Sudeikis) is shambling along — just a little wistful that he didn’t grow up and climb into the Suburban with the wife, two kids, and the steady 9-to-5 because he’s a bit lonely, much like the latchkey nerd Kenny (Will Poulter) who lives in his apartment building, and neighboring stripper Rose (Jennifer Aniston), who bites his head off at the mailbox. When David tries to be upstanding and help out crust punk runaway Casey (Emma Roberts), who’s getting roughed up for her iPhone, he instead falls prey to the robbers and sinks into a world of deep doo-doo with former college bud, and supplier of bud, Brad (Ed Helms). The only solution: play drug mule and transport a “smidge and a half” of weed across the Mexican-US border. David’s supposed cover: do the smuggling in an RV with a hired crew of randoms: Kenny, Casey, and Rose&sdquo; all posing as an ordinary family unit, the Millers. Yes, it’s that much of a stretch, but the smart-ass script is good for a few chortles, and the cast is game to go there with the incest, blow job, and wife-swapping jokes. Of course, no one ever states the obvious fact, all too apparent for Bay Area denizens, undermining the premise of We’re the Millers: who says dealers and strippers can’t be parents, decent or otherwise? We may not be the Millers, but we all know families aren’t what they used to be, if they ever really managed to hit those Leave It to Beaver standards. Fingers crossed for the cineplex — maybe movies are finally catching on. (1:49) Metreon, 1000 Van Ness. (Chun)

The World’s End The final film in Edgar Wright’s “Blood and Ice Cream Trilogy” finally arrives, and the TL:DR version is that while it’s not as good as 2004’s sublime zombie rom-com Shaun of the Dead, it’s better than 2007’s cops vs. serial killers yarn Hot Fuzz. That said, it’s still funnier than anything else in theaters lately. Simon Pegg returns to star and co-write (with Wright); this time, the script’s sinister bugaboo is an invasion of body snatchers — though (as usual) the conflict is really about the perils of refusing to actually become an adult, the even-greater perils of becoming a boring adult, and the importance of male friendships. Pegg plays rumpled fuck-up Gary, determined to reunite with the best friends he’s long since alienated for one more crack at their hometown’s “alcoholic mile,” a pub crawl that ends at the titular beer joint. The easy chemistry between Pegg and the rest of the cast (Nick Frost, Paddy Considine, Martin Freeman, and Eddie Marsan) elevates what’s essentially a predictable “one crazy night” tale, with a killer soundtrack of 1990s tunes, slang you’ll adopt for your own posse (“Let’s Boo-Boo!”), and enough hilarious fight scenes to challenge This is the End to a bro-down of apocalyptic proportions. (1:49) Metreon, 1000 Van Ness. (Eddy) *

 

LAFCo should launch CleanPowerSF

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OPINION Last month, the Mayor’s Office and San Francisco Public Utilities Commission (SFPUC) — largely at the mayor’s behest — refused to launch CleanPowerSF, a program which is absolutely crucial to leading the country and the world to reverse the climate crisis (see “Power struggle,” Sept. 18).

The Board of Supervisors must now use its state-granted authority to activate San Francisco’s Local Agency Formation Commission (LAFCO) to launch CleanPowerSF, regardless of SFPUC.

CleanPowerSF plans currently waiting to be implemented would create 1,500 jobs a year for the next 10 years, and install over 400 megawatts of local clean electricity projects. By 2024, 50 percent of our electricity would be generated by such local clean installations.

The newest proposed rates for CleanPowerSF are now fully competitive with PG&E, and the SFPUC’s staff (before the mayor intervened) was making unprecedented progress on the local clean energy installation plans. So at the SFPUC’s Aug. 13 hearing on CleanPowerSF rate-setting, community and environmental advocates stood unanimously to urge that the program be launched.

For the mayor and SFPUC of what is supposed to be one of the most environmental cities on Earth to completely ignore those community advocates, and throw a monkey wrench into the launching of CleanPowerSF, is simply beyond the pale.

Thankfully, in its wisdom, when the 2002 California Legislature passed the Community Choice law that made CleanPowerSF possible, it put city councils and county boards legally in charge of such programs (not mayors).

So is not up to the Mayor’s Office whether or not CleanPowerSF is launched. It is instead the job of the San Francisco Board of Supervisors. And in a resounding 9-2 vote on Sept. 17, the Board of Supervisors raked the SFPUC (and by extension, the mayor) over the coals for not initiating CleanPowerSF. The vote was in favor of Sup. London Breed’s resolution demanding that the SFPUC obey the will of the board and launch CleanPowerSF immediately.

That’s a great first step, but the board now needs to go beyond resolutions and take decisive action through LAFCo, its most powerful tool for moving CleanPowerSF. LAFCo is independent of city government, is funded and tasked to oversee new enterprise programs like CleanPowerSF, and four of its five members are elected supervisors.

 

This independent supermajority can check mayoral overreach, and the LAFCo’s current board commissioners are John Avalos, David Campos, Eric Mar, and London Breed, all advocates of CleanPowerSF.

LAFCo was specifically given the budget and authority to act on CleanPowerSF when SFPUC fails to do so, and has already done this successfully in the past. When CleanPowerSF was first created in 2004, SFPUC refused to draft an implementation plan. In response, LAFCo stepped in with its own implementation plan and SFPUC, not wanting to lose influence, got back to work.

In 2011, SFPUC tried to sidetrack CleanPowerSF into only purchasing (but not building) clean power, refusing to fund planning work to establish a local installation and green jobs program. LAFCO stepped in to fund that work itself, and again SFPUC came back to the fold and hired Community Choice experts Local Power to do the work.

Now, yet again, SFPUC is refusing to do its job. Six months ago, it abruptly halted work on the local buildout and green jobs plan, and last month SFPUC put the whole program on hold by not setting rates.

LAFCo must now use its authority and leverage to both remove the rate-setting road block, and get the CleanPowerSF local buildout planning back on track. Eric Brooks is the sustainability chair of the San Francisco Green Party.

Fight to save City College grows teeth and bites back

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Saving City College of San Francisco became a bigger battle yesterday when the California Federation of Teachers announced a lawsuit in San Francisco Superior Court to keep CCSF open.

The suit is directed against the Accrediting Commission for Community and Junior Colleges, which pronounced the college’s death sentence July 3 by promising to revoke its accreditation in a year, without which a school cannot receive state funding and its students cannot get federal loans. 

Now, the ACCJC finds itself the institution under investigation by the feds and even City Attorney Dennis Herrera, and the CFT lawsuit is the latest legal challenge to the accreditors. 

The CFT charged the accrediting commission with using unfair and illegal business practices in its efforts to abolish City College. When asked for a statement about the impending lawsuit, ACCJC representative Tom Lane declined to comment.

“The ACCJC must be held accountable for their reckless, irresponsible and illegal actions,” CFT President Joshua Pechtalt explained at the Sept. 23 press conference held on the steps of City Hall, where the suit was announced. More importantly, Pechtalt said, winning this lawsuit could potentially stop the closure of CCSF.

A group of students, faculty, and elected officials stood with Pechtalt on the stone steps. One by one, they enumerated the improper activities that will be the basis of their lawsuit against the ACCJC: failing to adhere to its own policies and bylaws, violations of state and federal laws, and sanctioning CCSF without just cause.

Assemblymember Tom Ammiano said that the illegal behavior must stop here and now.

“The blatant lack of transparency, the loose interpretation of the rules, all seen through a lens of hubris and elitism, cannot continue,” he said. “San Francisco is our backyard and the college is our treasure.”

While Ammiano admitted that CCSF is not without its flaws and areas in need of improvement, he was quick to assert that closing the college was not the solution. “Stay out of our backyard unless you have something constructive to say,” he declared.

CCSF Student Trustee Shanell Williams assured the crowd that the lawsuit would be won. “The diverse population of the San Francisco Bay Area, including working families, single parents, new immigrants and others, depends greatly on this college being here,” she said. “If we lose City, we are going to be on our way to being an indentured, working class state.”

If the ACCJC succeeds in San Francisco, it will pave the way for identical treatment of other schools across the state, Williams said. Likewise, CCSF triumphing over the commission would be a victory for every community college in California.

Sup. David Campos also recognized the vital importance of CCSF’s continued existence. “We cannot have the American dream alive in San Francisco if City College closes,” he said. “This fight is about the soul of our city. ”

The US Department of Education has cited the ACCJC for failing to follow its own rules and procedures. A month ago, the Joint Legislative Audit Committee began investigating the commission. The following day, Herrera filed a lawsuit against the ACCJC, claiming it had illegally allowed its advocacy and political bias to prejudice its evaluation of college accreditation standards.

A new report released by the city’s Budget and Legislative Analyst on Sept. 16 detailed the economic impact to San Francisco if City College were to close. The report was requested by Supervisor Eric Mar. We’ve detailed some of the report’s findings in the infographic below. 

ccsf closure infographic 

 

Bad dads, hella docs, and more new movies!

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One theme this week is “father figures” — some terrible (see Dennis Harvey’s review of Blue Caprice here, and review of You Will Be My Son below), some frantic (Prisoners), some ass-kicking (Ip Man: The Final Fight).

Elsewhere, check out Jem Cohen’s moving narrative (but also kinda doc-like) Museum Hours (my chat with Cohen here). More short reviews below!
http://www.youtube.com/watch?v=lWOSd-kX1oo

Battle of the Year That’s “battle” as in “dance battle.” And yes, it’s in 3D. (1:49)

C.O.G. The first feature adapted from David Sedaris’ writing, Kyle Patrick Alvarez’s film captures his acerbic autobiographical comedy while eventually revealing the misfit pain hidden behind that wit. Tightly wound David (Jonathan Groff), on the run from problematic family relations and his sexual identity, takes the bus from East Coast grad school to rural Oregon — his uninhibited fellow passengers providing the first of many mortifications here en route. Having decided that seasonal work as an apple picker will somehow be liberating, he’s viewed with suspicion by mostly Mexican co-workers and his crabby boss (Dean Stockwell). More fateful kinda-sorta friendships are forged with a sexy forklift operator (Corey Stoll) and a born-again war vet (Denis O’Hare). Under the latter’s volatile tutelage, David briefly becomes a C.O.G. — meaning “child of God.” Balancing the caustic, absurd, and bittersweet, gradually making us care about an amusingly dislikable, prickly protagonist, this is a refreshingly offbeat narrative that pulls off a lot of tricky, ambivalent mood shifts. (1:37) (Dennis Harvey)

http://www.youtube.com/watch?v=z5vctLV_W7k

Herb and Dorothy 50X50 Building upon her 2008 doc Herb and Dorothy, Megumi Sasaki revisits elderly Manhattan couple Herb and Dorothy Vogel, art-world legends for amassing a jaw-dropping collection of contemporary art despite holding modest jobs and living an otherwise low-key lifestyle. (Out of necessity, they favored smaller works on paper — and whatever they bought had to fit into their one-bedroom apartment.) Remarkably, in 1992, they donated the majority of their highly valuable collection to the National Gallery of Art, but it was so vast that most of it was put into storage rather than displayed. Sasaki’s camera picks back up with the couple (Herb now in a wheelchair, with Dorothy doing most of the talking) as they work with the National Gallery to select 50 museums nationwide, each of which will receive 50 pieces of the collection. Though the film chats with some of the Vogels’ favorite artists (Richard Tuttle, notably, was initially angered by the idea of the collection being broken up), its most compelling segments are those that focus on Vogel exhibitions in relatively far-flung places, Hawaii and North Dakota included. Of particular interest: scenes in which museums without modern-art traditions help skeptical patrons engage with the art — a towering challenge since much of it appears to be of the deceptively simple, “I-could-have-done-that” variety. (1:25) (Cheryl Eddy)

Ip Man: The Final Fight Yep, it’s yet another take on kung-fu icon Ip Man, whose real-life legacy as Wing Chun’s greatest ambassador (tl;dr, he taught Bruce Lee) has translated into pop-culture stardom, most recently with Donnie Yen’s Ip Man series and Wong Kar-wai’s still-in-theaters The Grandmaster. Final Fight is directed by the prolific Herman Yau, and though it lacks the slickness of Ip Man or the high-art trappings of The Grandmaster, it does have one heavy weapon: Hong Kong superstar Anthony Wong. A less-charismatic actor might get lost in Yau’s hectic take on Ip’s later years; it’s chockablock with plot threads (union strikes, police corruption, health woes, romantic drama, brawls with rival martial-arts schools, scar-faced gangsters …) that battle for supremacy. But that’s not a problem for Wong, who calmly rises above the chaos, infusing even corny one-liners (“You can’t buy kung fu like a bowl of rice!”) with gravitas. (1:42) (Cheryl Eddy)

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

Mademoiselle C Fabien Constant’s portrait of French fashion editor-professional muse-stylish person Carine Roitfeld may be unabashedly fawning, but it does offer the rest of us slobs a peek into the glamorous life. The film begins as Roitfeld leaves her job at Vogue Paris; there’s passing mention of her subsequent feud with Condé Nast as she readies her own luxury magazine start-up, CR Fashion Book, but the only conflicts the film lingers on are 1) when a model cancels last-minute and 2) when Roitfeld goes double over budget on her first issue. (Looking at the lavish photo shoots in action, with big-name photogs and supermodels aplenty, it’s not hard to see why.) Mostly, though this is a fun ride-along with Roitfeld in action: hanging with “Karl” (Lagerfeld) and “Tom” (Ford); swooning over her first grandchild; sneaking a little cell phone footage inside the Met Ball; allowing celebs like Sarah Jessica Parker and designer Joseph Altuzarra to suck up to her, etc. There’s also a funny moment when her art-dealer son, Vladimir, recalls that he was never allowed to wear sweatpants as a kid — and her daughter, fashion-person Julia, remembers her mother’s horror when she dared to wear Doc Martens. (1:30) (Cheryl Eddy)

My Lucky Star Aspiring cartoonist Sophie (Ziyi Zhang) puts her romantic fantasies into her artwork — the bright spot in an otherwise dull life working in a Beijing call center and being hassled about her perma-single status by her mother and catty friends. As luck would have it, Sophie wins a trip to Singapore right when dreamy secret agent David (Leehom Wang) is dispatched there to recover the stolen “Lucky Star Diamond;” it doesn’t take long before our klutzy goofball stumbles into exactly the kind of adventure she’s been dreaming about. Romancing the Stone (1984) this ain’t, but Zhang, so often cast in brooding parts, is adorable, and occasional animated sequences add further enhancement to the silly James Bond/Charlie’s Angels-lite action. (1:53) (Cheryl Eddy)

http://www.youtube.com/watch?v=KWhS0xN3C0g

Prisoners Canadian director Denis Villeneuve (2010’s Incendies) guides a big-name cast through this thriller about a father (Hugh Jackman) frantically searching for his missing daughter with the help of a cop (Jake Gyllenhaal). (2:33)

http://www.youtube.com/watch?v=9_zcPBcXeo4

Salinger Documentary about the reclusive author of Catcher in the Rye. (2:00)

http://www.youtube.com/watch?v=cQcr66k-gAM

Thanks for Sharing Mark Ruffalo, Gwyneth Paltrow, and Tim Robbins star in this comedy about sex addicts from the co-writer of 2010’s The Kids Are All Right.  (1:52)

Wadjda The first-ever feature directed by a female Saudi Arabian follows a young Saudi girl who dreams of buying a bicycle. (1:37)

http://www.youtube.com/watch?v=2QmBzl5RBik

You Will Be My Son Set at a Bordeaux vineyard that’s been in the same family for generations, Gilles Legrand’s drama hides delightfully trashy drama beneath its highbrow exterior. Patriarch Paul de Marseul (Niels Arestrup of 2009’s A Prophet) treats his only son, Martin (Lorànt Deutsch) with utter contempt — think the relationship between Tywin and Tyrion Lannister on Game of Thrones, only with even more petty digs and insults. Still hopeful that he’ll inherit the estate someday, despite Papa Jackass’ loud proclamations about his “lack of palate,” Martin sees his future prospects crumble when dapper Philippe (Nicolas Bridet) blows into town, having left his California gig as “Coppola’s head winemaker” to care for his dying father, Paul’s longtime second-in-command François (Patrick Chesnais). Things go from terrible to utterly shitty when Paul decides Philippe is the answer to his prayers (see: title). Melodrama is the only recourse here, and the film’s over-the-top last act delivers some gasp-inducing (or guffaw-inducing, your choice) twists. Heading up a classy cast, Arestrup manages to make what could’ve been a one-note character into a villain with seemingly endless layers, each more vile than the last. (1:41) (Cheryl Eddy)

Bill on Brown’s desk to make two-tiered system of college tuition: for the rich, and the poor

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It seems that one California politician is adapting an old adage for a modern era: If at first students protest and get pepper sprayed, try, try that legislation again. 

AB 955 is a bill that would create a pilot program to raise community college tuition, allowing six allegedly overcrowded community colleges to charge the full cost of their classes during summer and winter sessions. A three-unit class would jump in cost from $138 to roughly $600, depending on the college involved. Authored by Assemblyman Das Williams (D- Santa Barbara), the bill now sits on Governor Jerry Brown’s desk awaiting his signature. 

The colleges in the pilot are College of the Canyons, Crafton Hills College, Long Beach City College, Oxnard College, Pasadena City College and Solano Community College.

Local community college advocates said the pilot program could crack open the door to a future where two-tiered access to community college is the norm: The rich will be able to get classes, and the poor will be crowded out. 

Those fears are prompting local San Francisco activists to join in the fray.

“AB 955 creates a system of haves and have nots,” said Shanell Williams, the student trustee of City College of San Francisco (no relation to Assemblyperson Williams). “Students that cannot afford to pay more will essentially be denied access,” she said.

Williams is a staunch advocate for education equality at City College, and led many of the rallies decrying the school’s loss of accreditation. She now plans to lead a rally against the bill here in San Francisco. But she’s not the only one who thinks this is a bad idea.

Santa Monica College tried to make a similar two-tiered system for tuition last year, offering classes that were previously closed due to lack of state funding by sticking the whole price of the class on students. Santa Monica College students were far from pleased.

Protests erupted, students were pepper sprayed, the incident became national news, and the idea was criticized across the board as class warfare. 

The students’ outrage doesn’t just stem from raised tuition, but from a broken promise. 

The idea of “open access” to classes is mandated by California’s educational master plan, which states that all students over the age of 18 should have access to community colleges and that tuition would be free. Part of the Donahoe Education Act of 1960, it was signed into law that year by Governor Edmund “Pat” Brown.

The Master Plan has eroded slowly since the 90s, and the once tuition-free UC and CSU systems now charge their students fees in excess of $3,000 a semester for full time enrollment — inflated prices which so far the community college system has resisted. Classes cost $46 per-unit at each of the 112 community colleges in California.

Assemblyman Williams  justified his bill in an op-ed for The Daily Californian, saying the idea of open access has failed as the California community college system has already shut over 500,000 students from its doors, according to data from the state community college chancellor’s office.

“Yes, $600 is more expensive than $138, but only in the short term,” Williams wrote. “What’s the cost to a student forced by the current lack of classes to have to face one to four more years of living expenses to complete his or her education? It’s a lot more than $600.”

But Jessica Jones, two-year student body president of Santa Rosa Junior College, fears that the pilot program may just be the beginning.

“Who’s to say it won’t go like wildfire across the state?” she said in comments to the Guardian. Unlike the UC and CSU students, she fears the community college students she sees everyday would have more to lose when the fees are hiked.  More often, she said, those students are “working many jobs, many have families, you’ll see less and less students able to take courses.”

It isn’t just activists who fear this will go statewide. The state chancellor of all 112 California Community Colleges, Brice Harris, has also publicly denounced the bill.

“The next time the budget goes in the tank they’ll tell (us), we can’t give it to you, tell your colleges to raise fees,” he said at a recent state meeting. “All of us who believe this is bad public policy for California are going to have to speak out forcefully with the (Brown) administration to make them understand what a huge policy change this is for the state of California,” he said. 

Jessica Jones works with the Student Senate of California Community Colleges, and though their opinion is not uniform, many student leaders statewide are organizing actions against the fee hike pilot program. Crafton Hills College, Modesto Junior College, Pasadena City College, Long Beach City College, Santa Rosa Junior College and De Anza College will all have demonstrations or engage in write-in campaigns by the end of next week.

Williams, the City College Student Trustee is organizing a demonstration in San Francisco as well. The protest will be at Powell Street BART station on Tuesday, Sept. 24, at 6pm.