California

Dogs behind bars

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› news@sfbg.com

Why would an underfunded, understaffed, volunteer-dependent organization dedicated to taking care of animals institute new policies that prevent volunteers from volunteering and, some say, put the animals at risk?

That’s the question some people are asking about the Alameda city animal shelter, where the director has fired several core volunteers, reduced the number of hours other volunteers can work, and at one point temporarily suspended the volunteer dog-walking program.

After some outcry, the dog walkers are back — but there’s still a lingering battle between director Diana Barrett and the volunteers, and the result is a policy that leaves shelter dogs in conditions that experts say border on inhumane.

Under Barrett’s new rules, laid out in a June volunteer handbook, dogs not yet eligible for adoption are now kept in small kennels 24 hours a day, for as long as 11 days if the dog is a stray and up to 21 days for any dog ever registered to an owner. Barrett’s policy dictates that these "on hold" dogs may no longer be visited, petted, walked, bathed, or allowed to play with toys.

Dogs eligible for adoption are locked in kennels 23 hours a day, with dog walks limited to 20 minutes, at most three times a day.

"I think those conditions border on abuse," behaviorist Bob Gutierrez, who for 10 years was coordinator of the San Francisco Society for the Prevention of Cruelty to Animal’s Animal Behavior Program, told the Guardian when we described the rules to him.

At the SPCA, Gutierrez recounted, "we would encourage people to interact with the dogs as often as possible because socialization is an ongoing process, even with adult dogs."

There’s also a physical health risk. "Dogs will not foul their own space," Gutierrez explained, "and dogs that are confined that long often develop some medical issues from not emptying their bladders at regular intervals."

And the shelter doesn’t routinely vaccinate the dogs in its care.

Deb Campbell, volunteer coordinator at the San Francisco animal-control shelter, said dogs there are generally taken out five or more times a day and are also given a socialization hour in a dog park where volunteers supervise group play.


BAD BEHAVIOR


Barrett, an animal control officer with the Alameda Police Department, which manages the shelter, has been on the job since 2000.

Since the shelter has only limited paid staff — three animal control officers, including Barrett — who also have to go out on calls, much of the work of walking and caring for the animals has been done by volunteers.

But some of those volunteers have clashed with Barrett — in one case, a Barrett memo talks about "foul language" and "argumentative-confrontational stances toward staff members" — and as a result, the entire program has been changed.

Although a half-dozen core volunteers had each previously worked from three to five days a week every week, Barrett’s new rules permit only two volunteers per hour and limit each volunteer to a maximum of 20 hours per month — one half day per week. Anyone who works more than four hours a week "will be given a mandatory break of two weeks," according to the August edition of the shelter’s volunteer handbook, and if the infraction is repeated, the volunteer’s service will be terminated.

At least six volunteers have resigned in protest. As Mary Sutter and her 16-year-old daughter, Kaity Sutter, who were volunteers for four years, explained in a July 25 letter, a copy of which was provided to us, "We left … because we felt that policies were being put in place to control people to the detriment of the dogs."

Alameda city manager Debra Kurita has barred Barrett from speaking to the media, and Lt. Bill Scott, Barrett’s supervisor, serves as her designated spokesperson. Scott defended the changes as allowing "increased efficiency and supervision." Asked about the reduction in the volunteer hours — formerly 11 a.m. to 4 p.m., now 11 a.m. to 2 p.m. — Scott said, "We can do more now in three hours than we could before in five," but he could not explain how, nor which tasks are being accomplished more quickly.

Scott insisted that the volunteers who were most recently let go were dismissed for cumulative histories of infractions. A June 27 memo from Barrett outlined the problems, some of which seem to be a bit of a stretch.

One volunteer, Jim Gotelli, was cited for "tampering with city property" — because, according to Gotelli, he bought and attached a new hose nozzle to replace a broken one.

Gotelli was also given a written reprimand for contacting a law professor at UCLA who is an animal-law expert and asking if the Alameda shelter was complying with the Hayden Bill, a state law that sets minimum standards for care in California animal shelters. Barrett informed Gotelli that as an agent of the city, he was barred from seeking outside legal advice. Gotelli was dismissed in July after writing a letter to the city attorney seeking policy clarification.

Another charge cited by Barrett — "feeding the dogs unauthorized food and causing them gastric distress" — apparently refers to Dan Mosso, who for 18 months paid out of his own pocket for premium-quality food for the dogs, with Barrett’s consent, until she suddenly withdrew permission. Mosso was also terminated in July, for questioning shelter policy.

Scott also made dark hints to us about a "subgroup that needed to be broken up," apparently referring to a group of long-term core volunteers — Gotelli, Mosso, and Donna McCaskey — who suggested to Barrett that the shelter might not be in compliance with the law. Scott suggested that a public organizing campaign by the terminated volunteers — which includes an online petition — is a vendetta against Barrett. But each volunteer we interviewed praised Barrett for some of her work. "It’s not about us, and it’s not really about Diana Barrett — we’re worried about the dogs," Mosso said.

Okorie Okorocha, a lawyer and expert in animal law, wrote an Aug. 17 letter to the city of Alameda charging that the shelter is vioutf8g the Hayden Bill. In the letter, Okorocha stated that several Alameda residents "have first-hand knowledge that animals in your shelter are kept in cages or kennels for periods of 10 to 20 consecutive days without receiving any exercise."

Mohammed Hill, a deputy city attorney, stated in an Aug. 29 response that it’s perfectly legal to keep dogs in their kennels without exercise as long as the cages are big enough for the animals to walk around in. The cages at the shelter are 12 feet long, seven feet wide, and four feet high. But the cages are divided, so that much of the day the dogs are in a six-foot space.

Some animals — those who have been claimed by owners but not yet picked up — are kept caged all the time "for liability reasons," Hill’s letter states.

However, it adds, "The shelter has a current staff level of approximately 40 dedicated volunteers who on average walk each dog for a period of 20 minutes three times a day, six days a week." But the shelter is only open five days a week, and the volunteer statistics Hill cites are almost certainly inflated. Since the volunteers can only work from 11 a.m. to 2 p.m., it’s unlikely that the dogs are getting three walks a day.

In fact, that could only happen under perfectly optimal conditions — a factory-line approach to dog walking, with no more than five dogs and two volunteers per hour, the last of which, several observers say, has not been the case. At least one visitor observed that the paperwork showed no walks for any dogs on the day she visited.

Vicky Smith, a 55-year-old schoolteacher, visited the shelter recently to offer her services as a volunteer. She said Barrett told her the shelter needed no more volunteers.

Equally troubling were the conditions that Smith observed in the cat area two weeks ago: empty water bowls, crusted-over remnants of canned food dried in the food bowls, a terrible stench from dirty litter in several cages, all against the background din of a multitude of cats yowling for attention. The one volunteer on duty seemed completely overwhelmed and, Smith said, apologized, saying, "There are hardly any volunteers anymore."

WHO’S WATCHING?


The situation at the Alameda shelter might not have reached this point had there been effective oversight. The city lacks an animal-welfare commission, and Scott told us repeatedly that nobody at the Police Department has specific expertise in animal welfare. Scott is so unfamiliar with the shelter that he was literally unable to answer a single question about its daily operations. He repeated, "That’s animal stuff, that’s beyond me," "I wouldn’t know," "That’s a question of animal law," and variations thereof a total of 11 times.

We asked Scott how, without such knowledge, he could be certain that Barrett was making the wisest possible decisions. "We work closely with the Humane Society of Alameda," he assured us.

While that statement is technically true, it is profoundly misleading. The Police Department does receive grants from the HSA, but the bulk of the funds received do not go to the shelter; instead, for instance, last year the department spent $15,000 in HSA funds to purchase two police dogs and thousands more on bulletproof vests for the dogs.

When asked about Scott’s assertion that the HSA provides the animal knowledge that the police lack, HSA president Carmen Lasar denied it fiercely, repeating several times with increasing agitation, "Our only role is helping them financially."

Discussing the nature of municipal shelters in general, Carl Friedman, director of San Francisco Animal Care and Control, told us, "Most of the successful agencies are independent, not part of any other department, and either report directly to their city administrator or have oversight from a commission that includes members of the public. Politically, the independent departments are usually free to fight for the resources and funding they need."

In response to the recent burst of publicity about the issues at the Alameda Animal Shelter, Police Chief Walter Tibbet publicly pledged to conduct "a full investigation" into those issues. After we made numerous Public Records Act requests of the city of Alameda, the investigation was upgraded and is now being conducted by Internal Affairs. The investigating officer, Sgt. Robert Frankland, is on vacation through Oct. 10 and does not expect to finish his report until early November.

"Volunteering at the shelter is the best thing I’ve ever done, one of the most satisfying things, and I love it, and I miss it," Mosso said. "But if this is my legacy, so be it: that they’ll never let me come back, but at least the dogs will get walked and get proper care."

Hispanics go hyphy

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› a&eletters@sfbg.com

Latinos rarely receive credit for all they’ve brought to the rap game. After all, it was primarily Puerto Ricans who authored those boogaloo break-dance moves in the Bronx. And what would Cali hip-hop be without the laid-back style of Chicano cholos and their "low lows"?

Currently, a contingent of local Latino rap artists is pushing hard for recognition. Its members are on the Thizz Latin label, an imprint of Mac Dre’s Thizz Entertainment group. Only a year old, Thizz Latin is the brainchild of Julio "Gold Toes" Sanchez, a Chicano MC and hip-hop impresario hell-bent on highlighting the diversity of the hyphy movement.

To the Mission District native, San Francisco is practically synonymous with diversity. "I’m a San Franciscan to the heart," Sanchez says. "I’m a melting pot within my mind and in my soul."

On this hot Mission afternoon, he rolls up in his cream-colored Cadillac to tell me the Peruvian joint where we planned to meet is closed. Instead, he takes me to a Chinese restaurant where the Asian immigrant owners greet him by first name. To some, Sanchez could be imposing, with his brawny build, shaved head, and fiery demeanor. To the restaurant’s proprietors, he’s just a neighborhood kid.

Sanchez is using his community-bridging skills and street hustle to build a wide audience for his label’s pan-Latin roster of rappers, including Mr. Kee, Tito B, Freddy Chingaz, and Louie Loc, who are of Cuban, Mexican, Salvadoran, and Nicaraguan descent, respectively. "We can go to Hunters Point and have it rocking. We can go to the Mission and have it rocking. We can go to Union Street, and we can have it crackin’ off the hook. We could go to Chinatown, and they’re gonna love us."

One of Thizz Latin’s premier artists, Chicano MC Jimmy Roses, opened the "Super Hyphy 18" concert recently in Santa Rosa. Minutes into his set, he made the remarkably mixed crowd of more than a thousand move with his feel-good anthem "Who Rock the Party," an ebullient track that received some airplay on local radio and galvanized what Sanchez calls the Latin hyphy movement.

Movement building, however, has been impeded by the peculiar racial politics of local commercial radio. Although Thizz Latin artists have garnered a few spins, radio play in the Bay largely eludes them, despite the fact that several of the imprint’s releases have sold more than 20,000 units. The explanation given by DJs and programmers? They’re not black enough for hip-hop and R&B stations, and they’re not Latin enough for the Hispanic format. In Sanchez’s words, "We’re everywhere but the motherfucking radio!"

The situation mirrors the marginal, neither-here-nor-there position of US Latinos, who comprise the nation’s largest minority yet rarely receive recognition in the mainstream media. The music industry in particular can’t seem to wrap its brain around the biculturalism of urban Latino youth, many of whom grew up listening to traditional Latin sounds yet are utterly immersed in hip-hop.

Thizz Latin beatmaker Ivan "Baby Boss" Martinez, a rising star at 18, is a perfect example of this. The Mexican American college freshman explains, "Whenever we’re with our families, we’re bumpin’ banda. We’re playing mariachi in the car. But when I’m with my clique, it’s just hip-hop and reggaetón."

Martinez’s dexterity in mixing multiple genres impressed "ShoBoy" Edgar, a popular DJ on fledgling KWZ, 100.7 FM ("La Kalle"). The reggaetón-heavy station, which specifically targets urban Latino youths, hired Martinez to produce a few commercials but seldom plays Thizz Latin tracks — ostensibly because they’re in English.

Even more galling to Sanchez is the lack of local hip-hop and R&B radio support, considering that both KMEL, 106.1 FM, and KYLD, 94.9 FM (Wild), regularly sponsor events such as Carnaval in the Mexican American community and even farm their DJs out for private quinceañera parties. Still, they refuse to put Latin rap on regular rotation. At press time, KMEL and KYLD representatives had not responded to requests for comment.

Interestingly, Thizz Latin MCs get more love in other regions, including central California and the Southwest, where they play to crowds as large as 5,000. The hip-hop hotbed of Houston is especially amenable to Latin rap — so much so that local players have begun to migrate there. Vallejo rapper Baby Bash moved to H-Town years ago and subsequently struck gold in record sales. San Jose’s Upstairs Records, home of SoCal Chicano-rap phenom Lil Rob, recently set up shop there.

Even Sanchez, a die-hard San Franciscan, feels the pull southward. He lived in Houston for a time and built strong connections there with top Chicano talent Chingo Bling and South Park Mexican, who both appear on Thizz Latin releases. So does Baby Bash, who recently paired up with Sanchez on "Thick ”N Juicy," a seductive track on Sanchez’s solo debut, Gold Toes Presents: The Gold Rush, set for a Sept. 18 release.

Something of a slow jam, "Thick ‘N Juicy" differs from Thizz Latin’s more hardcore hyphy output. The imprint’s vaguely thuggish brand of rap is offered as another excuse by radio programmers for why it doesn’t get played. But that argument doesn’t hold water considering both KMEL and La Kalle play classic gangsta rap by the likes of Snoop Dogg and 2Pac.

There are obviously racialized assumptions being made about what a real Latino is and what true hip-hop is. This rigid logic pushes Latino rappers into a broadcast border zone as migrant wanderers looking for a place to settle on the radio dial. Hopefully, they’ll find a home once Latinos gain a stronger foothold in the media.

www.myspace.com/blacknbrown

Get your “No more nukes” on

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photo courtesy of wolf.like.me on flickr

That’s right, break out the picket signs — your favorite apocalypse is on the reprise. Irvine Rep. Assemblyman Chuck DeVore has introduced legislation to repeal the 31-year ban on new nuclear power plants and launched a ballot initiative. On Sept. 12, the state’s Republican party unanimously voted to support the bill for more nuclear power, which is being touted as safe, clean, reliable, and affordable — all adjectives the industry has yet to merit.

It’s also being called “emissions-free,” a handy moniker for a power source in our globally-warmed future. It’s being promoted by pro-clearcutting, pro-GMO “environmentalists” that happen to pull paychecks from the nuclear industry.

Pro-nukes fans are now gathering the 433,000 signatures needed to put the bill on California’s June 2008 ballot.

A 1976 California state law banned new nuclear plants until a permanent storage facility for the radioactive waste was established. Meanwhile, said permanent facility – Nevada’s Yucca Mt. — suffered another setback on Sept. 4 when a federal judge ruled the state could suspend water permits for drilling at the site – further delaying a project that is already seven years overdue.

Spent-fuel nuclear waste is currently stored on the sites of nuclear power plants – which has raised concerns about safety from terrorist attacks. CA Attorney General Jerry Brown recently filed a petition with the Nuclear Regulatory Commission, arguing that its waste confidence ruling is inadequate – meaning, we don’t have much faith in your determination that the pools of water where used up nuclear fuel rods bob like swimming pool toys are safe.

Awesome Polk St. block partay

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Spectrum’s Sonic Boom pulls out a new album and the group’s first US trip in more than four years.

No kiddin’, kids – this Gulch getdown on Saturday, Sept. 15, from noon to 7 p.m., puts all the white-wine-grub-boooorrrrring-music street fairs to shame and sets a new standard for free, outdoor, gutter-level entertainment programming in SF. Over near the Hemlock Tavern, at Post and Bush, the club and KUSF will host an open-air show with headliner Space Man 3 alum Sonic Boom’s Spectrum (5:30 p.m.), noise-rock locals Triclops! (4 p.m.), all-lady experimental-noise extravaganza TITS (2:45 p.m.), and Latino cacophony-makers Los Llamarada (1:45 p.m.), and Lou Lou and the Guitarfish (12:30 p.m.).

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Saturday swelters with David Harness.

Futher up the street at Bush and California, Hemlock’s Polk Street neighbor and Grammy-nominated producer Chris Lum’s Moulton Media hosts electronic and techno acts at an outdoor dance-party called “The Block Party Mixtape” – expect visual art and live painting presented by Space Gallery as well as DJs Mauricio V & Jessie Martinez, David Harness, 92.7’s Trevor Simpson, Amenti Music’s Olivier Desmet vs. Yerba Buena Discos, Landshark, Tweekin’ Records’ and Green Gorilla Lounge’s Anthony Mansfield, the 40 Thieves, DJ Andre Lucero, Dirtybird Records’ Claude Van Stroke & Worthy.

You can thank the Lower Polk St. Merchants Association. A beer garden will be open all day along with booths, and Hemlock opens at 1 p.m. with KUSF DJs spinning throughout. And don’t forget, it’s freeeeeee…

The Guardian Iraq War casualty report (9/10/07)

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The Guardian Iraq War casualty report (9/10/07): Gen. David H. Petraeus says the U.S. can reduce troop strength to pre-surge numbers. 9 U.S. soldiers killed today.

Compiled by Paula Connelly

Casualties in Iraq

Gen. David H. Petraeus, the top American military commander in Iraq told Congress this afternoon that the United States should be able to reduce its troop strength to what it was before the recent increase and that it could be done without jeopardizing the hard-won progress made in Iraq, according to the New York Times.

U.S. military:

9 U.S. soldiers were killed today in and around Baghdad, all but one were killed in vehicle accidents, according to the San Francisco Chronicle. This wave of U.S. military fatalities occurred on the same day that U.S. Ambassador Ryan Crocker and top commander Gen. David Petraeus began a series of appearances before Congress to report on the situation in Iraq since President Bush ordered nearly 30,000 extra troops to Iraq this year.

4,037: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

122 : Died of self-inflicted wounds, according to http://www.icasualties.org/.

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to: www.cnn.com

Iraqi civilians:

654,965 more Iraqis may have died since hostilities began in Iraq in March 2003 than would have been expected under pre-war conditions, according to a Johns Hopkins University study.

98,000
: Killed since 3/03

Source: www.thelancet.com

71,510– 78,081: Killed since 1/03

Source: http://www.iraqbodycount.net

For a list of recent events that have resulted in Iraqi casualties, visit :
http://www.iraqbodycount.org/database/recent/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Iraq Military:

30,000?: Killed since 2003

Source: http://www.infoshout.com

Journalists:

200 journalists have been killed since the start of the war in March 2003, according to Reporters Without Borders.

Refugees:

Read a first hand account of how Iraqis are being treated when attempting to enter Jordan on vacation. http://last-of-iraqis.blogspot.com/

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

2.2 million: Iraqis displaced internally

2 million: Iraqis displaced to neighboring states

Incessant violence across much of Iraq’s central and southern regions has forced tens of thousands of people to leave their homes every month, presenting the international community with a humanitarian crisis even larger than the upheaval aid agencies had planned for during the 2003 war, according to United Nations High Commissioner for Refugees’ estimates.

U.S. Military Wounded:

122,000: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (9/10/07): So far, $450 billion for the U.S., $57 billion for California and $1 billion for San Francisco.

Compiled by Paula Connelly

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

Sleep is for sissies!

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Er, actually, I shouldn’t say shit like that, considering whatever cruddy virus I carted from California to Canada is lingering, probably due to acute lack of shut-eye. I am now officially “that coughing asshole” during quiet moments in movies.

Fortunately, the flicks on my schedule today at the Toronto International Film Festival haven’t been too library-like. I hit up the 9am (ouch) screening of Heavy Metal in Baghdad — a doc about Iraq’s only heavy metal band, although at present it would seem Iraq has zero metal bands, considering the members of the outfit profiled here, Acrassicauda, are currently hiding out in Syria. Produced by VICE films, exec produced by Spike Jonze, and inspired by an MTV trip to Iraq soon after the war broke out, I could easily see this doc finding a home on VH-1 or MTV. It’s got a little too much filmmaker presence for me (voice-over, appearing on-camera, and so on), but it’s hard not to love any film that delivers a political message for the kiddies snugly wrapped in a burrito of heavy-metal appreciation (with some intimate glimpses at post-Saddam Iraq, where the sounds of machine-gun fire are just part of the urban landscape). Metal fans can’t even headbang in Iraq, much less grow their hair long for maximum hair-whip effect … but Acrassicauda (a type of scorpion) learned to speak English by listening to Slayer, Metallica, and Mayhem records. Now if that ain’t the very definition of metal, I don’t know what is.

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This is the CD a band member holds up to illustrate “what life here looks like.” Dude ain’t joking, neither.

Feast: 7 homey hearths

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Amber is my living room, and not just because I really like Pabst Blue Ribbon and smoking inside. It’s also because I live in a city where rents are high and living space is scarce, where community rooms are shared with multiple people (if there are community rooms at all), and backyards tend only to be big enough for the recycling bin. In suburban places, people share community and comfort around backyard barbecue pits and luxurious living-room couches. They have dinner parties and cocktail hours and invite friends over for tea. But here, we go to bars and restaurants and taverns and coffee shops. These are the places where we meet our neighbors, celebrate special occasions, while away idle hours, have intense conversations. And so, in many ways, these places — particularly those in our neighborhoods — become extensions of our homes and hearths. As the cold weather approaches (global warming willing), I’ve been thinking more about the literal interpretation of hearth; Amber serves me for late-night writing sessions and drunken postdate tell-alls, but where will I go when I want to curl up with a hot chocolate — or a hot toddy — and a long Russian novel? When I want to play Trivial Pursuit late into the cold night with a small group of good friends? When the weather outside is frightful and my date is so delightful? Where, by god, are the fireplaces? In this city of Edwardian apartments retrofitted with gas heaters (and roomies who have to get up early), here is a list of places with flickering flames and belly-warming booze.

BITTER END


I don’t think the Irish invented the fireplace, but they may have the patent on its best use. Wood paneling? A flaming heat source? Thick beer and hot soup? All Irish pubs seem to have ’em — and this Irish-style Richmond locale is no different. Stumbling into the Bitter End feels a bit like wandering into an O’Malley’s or a McSweeney’s in any country in the world — and with items like shepherd’s pie, Gaelic chicken with whiskey, and beer-battered appetizers on the menu, it’s almost like wandering into one in Ireland itself.

441 Clement, SF. (415) 221-9538

MCKENZIE’S


Sometimes you want cozy and kooky all in the same shot — and those are the times you end up at McKenzie’s. This small local favorite is half neighborhood bar in a mountain town (downstairs) and half cheap hostel (upstairs). Either way, it’s charming: small tables cluster around a fireplace over which a flat-screen television broadcasts sports, a jukebox blasts cheesy-but-lovable ’80s hits, and a live-feed video camera in the upstairs lounge, its images visible to every patron downstairs, lends itself to endless prank possibilities.

5320 Geary, SF. (415) 379-6814

ZEKI’S


Wanting no frills in Nob Hill? Try Zeki’s, which boasts two fireplaces — one by the pool table and one directly across from the leather-lined bar. With paraphernalia from old movies lining the walls and a good selection of European beers on tap, you’ll quickly see why this is a favorite spot for both old-school regulars and just-stumbled-in newbies.

1319 California, SF. (415) 928-0677, www.zekisbar.com

JOHN BARLEYCORN


If ever there were a place that personified hearth, it would be John Barleycorn, the little mountain lodge in the city that’s in danger of disappearing by November. This is the place to order strong whiskey from a salty but jovial bartender, to sip it while sitting on church pews in front of roaring flames, to break out a game of rummy or Scrabble (housed in a cozy room behind the chimney) long after you’d already planned to go home.

1415 Larkin, SF. (415) 771-1620

FIRESIDE


A cross between a dive bar and a swanky hipster joint, this Sunset watering hole embodies the schizophrenia of its up-and-coming neighborhood. Which seems to be fine with the down-to-earth drinkers who perch on leather couches around the neon-lit fireplace that anchors the room’s otherwise understated decor.

603 Irving, SF. (415) 731-6433

WILD SIDE WEST


A favorite of lesbians citywide and heteros in the know, this Bernal Heights beauty is most famous for its gorgeous garden patio. But a woodstove, a great jukebox, and strong, well-made drinks also make it perfect for those cold, foggy nights when all you want is a soft scarf, a smooth Scotch, and someone — boy, boi, or girl — to spoon with.

424 Cortland, SF. (415) 647-3099

HIDDEN VINE


OK. Including Hidden Vine may be cheating, as this secret hideaway doesn’t have a fireplace per se. But it’s sure got the atmosphere. Though this is a high-end drinkery, featuring a different wine region every month and offering an impressive selection of artisanal cheeses, the Vine is more comfy than chichi. And a display of white votive candles gives the impression — if not the heat — of a fireplace’s warmth.

620 Post, SF. (415) 674-3567, www.thehiddenvine.com*

Feast: 4 guides to hot wines

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Good lord, the grape. Living in a world-class wine region (or rather, living so close to several) literally drenches one in delightful tannins and myriad notes of blackberry, chocolate, tobacco, apple, and plum. But while we’ve definitely forgone our youthful tastes for brown-bagged Mad Dog breakfasts in favor of a late-night glass or two of Lavis Langrein at Bar Bambino (www.barbambino.com) or a dinnertime flight of fantastically obscure German whites at Cav (www.cavwinebar.com), we admit that when it comes to which fashionable corks to pop for fall, we haven’t quite graduated from “oh, whatever” to outright oenophiles. Sure, we dip into the media stream enough to know what’s hip in the bars and clubs these days (rose and sparkling wines are so over; Lambrusco is on its way back), but honestly, if you asked us the difference between syrah and shiraz, we’d probably answer, “Doesn’t one of them have a yellow kangaroo on the label?” So we took it upon our taste buds to go straight to the source, and ask a few of our latest favorite wine bars and stores for the juice on what’s big. Chin-chin!

 

QUE SYRAH

This funky little wine bar in West Portal specializes only in delightful small production wines, but proprietor Stephanie McCardell tells us that in the overall big picture her clientele’s tastes are trending toward syrahs, white Rhônes, Roussanes, and viogniers. (White Rhônes and viogniers are especially attractive to those among us suffering from Chardonnay fatigue.) A current hot seller right now is the Vin Nostro Syrah, grown in Red Hills, Lake County, which McCardell describes as smoky, with dark fruit notes and that slight bacon aspect inherent to most syrahs. Que Syrah also carries wines from all over the world and is currently featuring two from Croatia — Bibich Reserva, a Dalmatian red with a subtle fruit and red pepper quality, whose main grape is a relative of Zinfandel, and a Croatian Malvasia, a dry, crisp white with peachy and other stone fruit characteristics.

230 W. Portal, SF. (415) 731-7000, www.quesyrahsf.com

 

OTTIMISTA ENOTECA

Ottimista Enoteca is a gorgeous Italian wine bar and restaurant in the Marina with an outdoor patio to die for and a menu to match. (Hello, fontina-stuffed risotto balls. Hello, nutmeg-sugared ricotta doughnuts.) Ottimista’s Melissa Gisler tells us that requests from her clientele for Sicilian wines have been off the charts lately, and a recent rise in import volume has allowed Ottimista to offer a much wider breadth of options from the region. (Two hot Sicilian labels: Nero d’Avola and Cantine Berbera.) Due to the volcanic nature of Sicily’s soil, these wines tend to have a tang of acid and notes of minerality, but also come bearing a powerful fruity flavor, with a very clean quality. The trend toward Sicilians has been noticeable, Gisler says, because Ottimista usually focuses on Northern Italian wines — like those produced in the Piedmont region, or from areas near the Austrian and Slovenian border — where the days are hot and the nights are cold.

1838 Union, SF. (415) 674-8400, www.ottimistaenoteca.com

 

BIONDIVINO

Carrie Smith of Biondivino, a sleek Russian Hill wine boutique that offers a mind boggling array of labels (yet provides enough comforting atmosphere and information to guide you through it all), has also noticed an upswing of interest in wines from Sicily, especially those from Etna. But another “strange surge” of interest, she says, is in the return to classics from the Tuscany and Umbria regions. A big winner among Biondivino winetasters this year has been the intensely fruity and now near impossible-to-find Valdicava Brunelo di Montalcino (brunello is closely related to sangiovese, another hot grape this year). Smith’s favorite white at the moment is Piedmontese Timorasso — lush and rich, creamy without being oaky or buttery, with a golden acidity. “It’s a good brain slap that makes you think, and want some more,” she says. Her favorite red is Vigneti Massa, from a Croatian varietal. With the power of a brunelo and the structure and elegance of a borello, she says, this wine is dark and rich, with nice-ending tannins.

1450 Green, SF. (415) 673-2320, www.biondivino.com

 

SWIRL ON CASTRO

“Tiny production California wines as well as pinot noirs and Argentine Malbecs are going to be all the rage this fall,” according to Jerry Cooper, one of the owners of this spiffy wine shop. According to him, the tiny productions most in demand are coming from Santa Barbara and Mendocino Counties. Increasingly popular are organic and biodynamic wines, whose producers employ a holistic, “metaphysics meets Farmer’s Almanac” approach to growing and harvesting. The reason for this popularity? “The qualities of these wines are of an artisan nature, with more flavor. They taste more of the regions they hail from.” Cooper also notes that while Bordeauxs have waned in popularity, Burgundies have maintained their place on the trend roster, especially in anticipation of the arrival of the 2005 vintage. Also hot: South African wines from the Cape. But mostly he sees wine becoming a more localized affair, including the way in which it’s encountered and purchased. “The wine bar has become the new neighborhood institution,” he says.

572 Castro, SF. (415) 864-2262, www.swirloncastro.com

Feast: 7 locally grown bulk foods

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Think about it: every time you take a sip of Bordeaux, a fuzzy baby polar bear loses another drop of its habitat. Importing your party goods from overseas comes at a big fossil fuel–spewing cost. If you want the good times to keep rolling into the next millennium, you won’t have to suffer a bit. Just stick to Napa Valley wines and local microbrews and limit your fruit and veggie intake to the produce of local organic and sustainable farms. But what about some of the bulk items you keep in your kitchen? Getting some of your dietary staples from local sources isn’t as difficult as you might think. And, remember, the fresher your food, the better it tastes. (Deborah Giattina)

FULL BELLY FARM


Eureka! There’s wheat growing in California. This certified organic and sustainable farm in the Capay Valley, about an hour north of Sacramento, tills four to five acres of the grain, mills it, and bags it for sale at farmers’ markets in Berkeley and Marin. The same goes for Full Belly’s three acres of blue corn. Freshly milled flour and corn contain oils that dissolve more quickly than those in the all-purpose varieties shelved at the supermarket, making the flavor dramatically more delicious.

(530) 796-2214, www.fullbellyfarm.com

RANCHO GORDO


To get away from genetically modified, corporate-trademarked crops and seek out interesting varieties, organic farmers are looking to vintage legumes. Rancho Gordo, a Napa Valley farm, grows heirloom beans in limited quantities and gives them pretty names like Nightfall Red and Black Valentine. These fresh beans, once unfamiliar to the American palate, are bursting with yumminess — and the potential for new recipes. Buy them at Rainbow Grocery, farmers’ markets, or online. Rancho Gordo also grows corn and makes its own tortillas.

(707) 259-1935, www.ranchogordo.com

SCIABICA AND SONS/BARIANI OLIVE OIL


Just because you need your olive oil brand to end in a vowel to feel authentic doesn’t mean you have to ship it in from Mother Italy. Two local family-owned and -run olive growers and pressers can service all of your extra virgin needs. The Barianis moved to Sacramento from the Lombardy region of Northern Italy in 1989 and have been producing limited quantities of raw organic extra virgin olive oil from their own orchard and handmade press since the 1990s. Sciabica and Sons have been pressing oil from olives harvested in every season since the 1930s. Their organic variety comes from their San Andreas orchard.

(209) 577-5067, www.sciabica.com. (415) 864-1917, www.barianioliveoil.com

MINT HILL APIARY


No doubt, banishing refined sugar from your diet isn’t easy. But when you think about Brazil being the largest producer of sugarcane and the spike in carbon dioxide levels caused by the loss of rainforests to make way for massive plantations, you might consider turning to recipes that replace the white powder with honey. Mint Hill honey is produced in the Castro and is conveniently stocked at Bi-Rite Market.

(415) 290-7405, www.minthillhoney.com

MENDOCINO SEAWEED VEGETABLE CO.


Known as a healing food, seaweed enhances vegetables, makes great soup stock, and can even substitute for noodles. An ocean-loving couple living on the rocky shores of Mendocino County carefully harvest wild seaweed from the Pacific and dry it for consumption. According to John Lewallan, who cofounded the Mendocino Seaweed Vegetable Co. in 1980, the Pacific Northwest has the cleanest water and produces the best seaweed. Buy your sea palm fronds and iron-rich red dulse online or at Rainbow Grocery.

(707) 895-2996, www.seaweed.net

HODO SOY BEANERY


Honestly, the beans used by Minh Tsai and John Notz of Hodo Soy originate in the Midwest, but the benefits of purchasing Hodo’s hand-rolled tofu are the freshness and the astounding flavor that come from processing the beans in Hodo’s nearby Santa Clara facility. Tsai and Notz also sell adventurous prepared tofu dishes at Bay Area farmers’ markets.

(415) 902-5137, www.hodosoybeanery.com

KODA FARMS


Gluten-intolerant San Franciscans can find refuge in grains and rice flours grown and ground at Koda Farms, located in the San Joaquin Valley. The Koda family for generations has been farming sweet, brown, and paddy rice, which it sells both as whole grain and ground into a gluten-free flour it calls Mochiko. Its Kokuho Rose Premium Rice Flour is organic and runs in limited production. You’ll find Koda’s goods at Rainbow Grocery.

(209) 392-2191, www.kodafarms.com

Feast: 5 sexy suppers

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Some dates are sweet. You go to a nice restaurant with lacy tablecloths, order food that won’t make your breath stink later, have polite conversation while shyly catching each other’s eye over the rim of your wine glass, and hold hands tentatively as you walk to the car, wondering if you’ll share a delicate kiss before you part ways for the night. But these aren’t usually the dates I want. More often, I like my dates down and dirty, boozy and bawdy, or, at the very least, out of the ordinary. I want to be either seduced by the cuisine or seduced by my company, but either way, I want my evening out to get me off. Here are some date destinations that are a guaranteed sure thing.

ASIASF


You can’t talk about food and sex and San Francisco without talking about this SoMa phenomenon. The food is good — the crab cakes are more crab than filler, and the beef in the steak salad was good quality — but the real reason you’re here is the drag show, though "drag show" is an anemic phrase for describing what you’ll see. This swanky spot features some of the hottest women this side of the Y chromosome (or Thailand) and some of the best dramatic performances this side of the Fringe Festival. My personal favorite? Red-haired Ginger, who downed a liter of Grey Goose and a bottle of "pills" while lip-syncing to "All by Myself." Pair her performance with the mint-heavy pomegranate mojito, and you’ll find yourself trying to take her home at the end of the night. (Note: She won’t go — she has a beau.)

201 Ninth St., SF. (415) 255-2742, www.asiasf.com

MAHARANI’S


You know those fantasies you have about being royalty in some foreign country while you seduce your polite, well-mannered, yet kinky lover-to-be over a plate of something steamy? This is the place you want to do it. The main dining room isn’t much to look at, but get a reservation for the Fantasy Room and you’ll find yourself in a private, beaded booth with cucumber-infused drinking water, warm towels scented with rose water, and Indian food served more elegantly than you ever imagined it could be (think geometric plates and California cuisine–<\d>style garnishes). The prix-fixe menu is a bit overpriced, but the Kama Sutra cocktail really is titilutf8g. And there’s something to be said for having control over your own lights and playing shoeless footsy under your private table.

1122 Post, SF. (415) 775-1988, www.maharanirestaurant.com

OVATION AT THE INN AT THE OPERA


San Francisco does dive bars, and does them well. But this city also does sexy elegance in a way that’s particularly ours, and Ovation is a perfect example. This hotel restaurant is opulent and classically romantic, with green velvet chairs and white tablecloths and entrées that cost more than most parking tickets. But in true Bay Area style, it’s also accessible, comfortable, and beautiful in an understated way — all of which make it sneakily sexy. The small, intimate bar grounds the dining room, and a fireplace warms the dignified décor, which might otherwise seem cold and baroque. Plus, is there anything hotter than illicit bathroom sex when you’re all dressed up?

333 Fulton, SF. (415) 553-8100

WOODHOUSE FISH CO.


I’m not sure I understand the appeal of oysters. I’ve trained myself to like them, especially with a bit of horseradish and ketchup. But are they really an aphrodisiac? Is it because of their obvious resemblance to female body parts? Or is it because you know that if your date can handle their mucusy texture and fishy flavor, they surely can handle, uh, yours? I can’t begin to guess. I prefer the sides of broccoli and fries (both well made) over the seafood at this joint in the Safeway district. But there’s one thing I find truly sexy about Woodhouse oysters: on Tuesday nights, they’re $1 apiece. Which means that after filling up, there’s still enough cash for a shot of tequila at the Transfer and coffee in the morning. And what’s sexier than shellfish? A date that doesn’t break the bank.

2073 Market, SF. (415) 473-CRAB, www.woodhousefish.com

SUPPERCLUB


Dinner in bed? It’s almost too obvious. But you can’t deny the appeal of overt sexuality, even if it’s delivered in a stylized, sometimes-too-LA package. The all-white dining room at this dinner-as-experience destination is striking, and I’ve rarely tasted food so delicious and subtle — particularly the vegetarian options — as it is here. And whether it was watching a tranny strip down, without fanfare or theatricality, to his bald, tattooed, masculine self, or whether it was the Late Night Sneaky I ordered (top-shelf tequila, a Corona, and an ExportA cigarette in a shot glass), or whether it was just settling into the couch cushions as my dirty martini settled into my bloodstream, it was hard to wait to jump my date until we got home.

657 Harrison, SF. (415) 348-0900, www.supperclub.com*

Love will tear us apart … and, uh, so will the bullets

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Day one of the Toronto International Film Festival. New this year: badges with bar codes. Now, when you enter a screening room, they zap you in the badge instead of making you sign in. There’s also a lot of construction going on in the mall that envelops the main festival theater. This is my third year at TIFF, but things feel a little unfamiliar so far.

Not the case with the movies (or the ancient-popcorn smell that fills the theaters…rank, yet comforting somehow). I’ve already seen some really great ones. Been up since 4am California time (is there any other time, really?) and I’m up at the same time tomorrow, so I’ll keep this post pretty brief.

The day began as more of my days should: with a satisfying jolt of Spanish horror.

orphanage.bmp
You can check out any time you like, but you can never leave … amigo.

Project Censored: The Byrne ultimatum

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amanda@sfbg.com

Sometimes the story behind a story is just as juicy as the story itself. One of Project Censored’s picks for the 2008 list – “Senator Feinstein’s Iraq Conflict” started out as a project funded by the Nation Institute, and was supposed to splash the cover of the Nation magazine prior to the November 2006 election. Instead, it took some interesting peregrinations – involving some charges of partisan political influence — before it was finally printed in the North Bay Bohemian on January 24, 2007.

Petaluma-based freelance journalist Peter Byrne was originally paid $4,500 by the Nation Institute to research connections between lucrative defense contracts granted to Perini and URS companies, in which Richard C. Blum held stock, and the Senate Appropriations Military Construction subcommittee (MILCON) that funds the contracts– and which includes Blum’s wife, Sen. Dianne Feinstein, as a ranking member.

Blum’s companies were involved with more than $1.5 billion in defense contracts between 2001 and 2005. Michael R. Klein, Blum’s business partner and Feinstein’s legal advisor, had been informing the senator about specific federal projects in which Perini had an interest, specifically to avoid conflict of interest issues, but Byrne reported Feinstein was not told about potential URS contracts. So, in the case of Perini, Feinstein would be informed and recuse herself from pertinent decisions, but with URS, she’d remain in the dark, and because the detailed project proposals don’t include the names of the companies bidding, the senator wouldn’t know it was URS.

“In theory, Feinstein would not know the identity of any of the companies that stood to contractually benefit from her approval of specific items in the military budget – until Klein told her,” Byrne wrote.

According to Klein, a Senate Select Committee on Ethics ruled, in a confidential decision, that this was all above board.

But Byrne contends, “That these confidential rulings are contradictory is obvious and calls for explanation.”

Furthermore, Byrne’s research concluded that the senator could potentially look at the lists from Klein, compare them to the nameless funding requests and contracts coming before MILCON, and draw substantial conclusions on her own about where the money would end up.

“Klein declined to produce copies of the Perini project lists that he transmitted to Feinstein. And neither he nor Feinstein would furnish copies of the ethics committee rulings, nor examples of the senator recusing herself from acting on legislation that affected Perini or URS. But the Congressional Record shows that as chairperson and ranking member of MILCON, Feinstein was often involved in supervising the legislative details of military construction projects that directly affected Blum’s defense-contracting firms,” Byrne wrote.

A month after Byrne turned the story in to Bob Moser, who was the Nation‘s editor on the story, the piece was killed. In an email to Byrne, Moser wrote, “The main reason is that with Blum’s sale of

Perini and URS stock last year, this became an issue of what Feinstein did rather than an ongoing conflict. Because of that, and also because Feinstein is not facing a strong challenge for re-election, the feeling here, finally, was that the story would not likely have the kind of impact we want from investigative stories.”

Later in the email, Moser writes the story lacks a “smoking gun,” apparently because Byrne lays the case for a perceived conflict of interest and relies on the testimony of non-partisan ethics and government experts for support.

Still, Byrne told us, “I was shocked. The story was really solid, completely fact-checkable, and even though it was complex I think I boiled it down pretty well.”

The Nation‘s publicity director, Ben Wyskida, told us it’s rare for the magazine not to publish a story in which the Institute has invested significant time and money, but in this case the editors decided to pass. “Ultimately they just didn’t feel like he delivered the story that we’d hoped.”

“At the same time, we do think it’s an important story,” he added.

Undaunted, Byrne took it to Salon.com, which initially agreed to buy it, but then killed it as well. When asked why, news editor Mark Schone told us, “We don’t discuss those kinds of editorial decisions. We have a long history of publishing investigative pieces.”

Byrne thinks it was political. “In my opinion it’s because both the Nation and Salon have an editorial allegiance to the Democratic Party.” It was, he said, too sensitive a time to publish a story critical of a Democrat when the party was positioning to take control of the legislative branch.

The Nation vehemently denied the decision to kill had anything to do with that. “It’s absolutely false that we had any political biases that caused us not to run the piece. It was the reporting and the timeliness,” said Wyskida.

Salon would not comment on Byrne’s political theory.

When pushed for specifics on what the story lacked, Wyskida said, “Generally, we felt like it was possible there were pieces of the story we could not verify or stand behind.”

Byrne went on to pitch the story to Slate, the New Republic, Harper’s, the Los Angeles Times, and – thinking that conservative publications might bite – American Spectator and Weekly Standard. “Most of the editors praised the reporting, but turned down the story,” Byrne writes in an update for Project Censored’s publication. “So I sold the tale to the North Bay Bohemian, which, along with its sister papers in San Jose and Santa Cruz, ran it on the cover – complete with follow-ups. After it appeared, the editors and I received a series of invective-filled emails from war-contractor Klein (who is also an attorney) but, since he could show no errors of fact in the story, he did not get the retraction he apparently wanted.”

Klein, a key figure in the series of stories, is chairman and founding donor of the Washington, DC-based Sunlight Foundation, an organization that promotes more government transparency and grants investigative work undertaken with those goals. The Blum Family Foundation has also given seed money to Sunlight.

The foundation’s Web Site has posted a rebuttal to Byrne’s story, written by senior fellow and veteran investigative journalist, Bill Allison. It includes a spirited exchange between Byrne and Allison on some of the finer points of Byrne’s reporting, and links to the original Congressional hearings that Byrne cites for some of his evidence of Feinstein’s questionable ethics.

Shortly before Byrne’s story was printed in the North Bay Bohemian, Feinstein quit MILCON. Byrne reported this resignation in a March 21, 2007 story, in which he speculates thinks it was because of his questioning her ethics.

Feinstein’s office denies any connection. Press officer Scott Gerber said that at the start of a new Congressional session, “She took the opportunity to become chair of the Interior Appropriations Subcommittee. It’s a better subcommittee for California.” Her office also attempts to blow holes in Byrne’s story with a detailed rebuttal similar to Allison’s – not issued as a press release but provided upon request (and available here in pdf form.)

Despite the rebuttals, which contend that facts have been distorted, Byrne says no evidence exists that merit any retractions.

“Stories get killed all the time for various reasons but what I found interesting is that they paid me almost $5,000,” said Byrne, who expressed admiration for both the Nation and Salon. “The editor worked really hard with me but it was leading up to the elections. I’m not actually accusing them of anything nefarious. They basically told me they weren’t going to print it for political reasons.”

Peter Phillips, director of Project Censored, which rated the Byrne story as #23 out of the top 25 stories the mainstream media missed last year, said it played a part in prompting him to conduct a survey of 10 popular “left”-leaning publications. The survey looked at whether or not liberal news outlets touched stories that weren’t reported by the mainstream media and the results were included as a chapter in Project Censored 2008.

EDITORS NOTE: The above story reports that the piece on Dianne Feinstein’s conflicts of interest was slated to
run on the cover of The Nation. Ben Wyskida of the Nation contacted us after publication say that “we just don’t make promises like that; our covers never get decided until all the edits are in.”

Paging Dr. Sumchai

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› sarah@sfbg.com

If mayoral candidate Ahimsa Porter Sumchai were a superhero, she’d be Rescue Girl, her petite athletic form encased in a silver jumpsuit and cape as she swooped in, using her understanding of complicated medical and scientific issues as her secret weapon, to save high-risk communities from environmental racism, economic disenfranchisement, and social displacement.

Instead, she’s the candidate who claims to be thankful her name was excluded from the San Francisco Chronicle‘s Aug. 11 coverage of the mayor’s race, in which Gavin Newsom’s challengers were dissed as a peanut gallery of lunatics.

"I’m glad the Chronicle did not disrespect me in the context of ‘a chicken, a wolf, and a grasshopper’-style jokes, like the race is a big laugh," says Sumchai, 55, as I pick her up at the corner of Third Street and Palau Avenue, which lies a stone’s throw from Sumchai’s campaign headquarters in the heart of Bayview–<\d>Hunters Point and a five-minute drive from the Environmental Protection Agency’s Superfund site at the Hunters Point Shipyard.

This intersection was the main drag for Navy operations when the shipyard was active, Sumchai explains as we pass rows of tightly packed houses and a sprinkling of churches — including Grace Tabernacle Church, which has recently become a rallying point for hundreds of residents concerned about exposure to toxic asbestos dust at Lennar Corp.’s Parcel A redevelopment work site at the shipyard.

Sumchai has made that exposure a central focus of her campaign.

"When I become mayor, Lennar will shut down at Parcel A, and I will establish a plan that includes a human safety component and testing of potentially exposed residents," says Sumchai, who also opposes what she calls "the dirty transfer of the shipyard," through which Newsom has proposed folding Candlestick Point into the shipyard so he can build a stadium for the 49ers — and Lennar can build 6,500 more condos at Candlestick.

Sumchai, whose grandparents came from St. Louis in 1939 and whose father was exposed to asbestos when he worked as a shipping clerk at the shipyard, is an academic success story, emerging from the Sunnydale housing project to graduate from UC San Francisco medical school in 1982.

But while Sumchai is incredibly bright, her eggheadedness sometimes seems to get in the way of letting her make concise, down-to-earth statements. Instead, she often comes across as if she spent too much time in the library, a trait that can leave audiences who don’t have science degrees utterly baffled and uncertain as to what point she just tried to make.

And while the odds are clearly stacked against her in the mayor’s race, Sumchai is using her candidacy to ask tough questions on behalf of a community that is beginning to rally for environmental justice after decades of exposure to pollution from two power plants, two freeways, the shipyard, and a sewage plant that impacts five percent of the city’s population with the smell of treating 80 percent of the city’s solid waste.

"To continue with activities that are harmful challenges the fundamental ethics of being a physician, says Sumchai, who practiced emergency medicine for 20 years.

It’s an experience that informs her current crusade to halt Lennar’s construction on Parcel A at the shipyard. The community’s exposure to dust adds up to "an epidemic," she says.

"It gets on their clothing. It’s airborne. And then there’s the geographic proximity to the site of exposure," Sumchai explains, gesturing to the schools, residences, and neighborhoods that lie downwind of Lennar’s site.

From Monster Park, we take the freeway, exiting at Sunnydale, where Sumchai’s family moved when she was seven.

"When we talk about ‘affordable housing,’ what we really mean is affordable to people making $80,000, while people making $12,000 to $20,000, which is the real average median income in the Bayview, have nowhere to go," Sumchai says. She argues that developers on city-owned land should be required to offer 30 percent to 45 percent of their units at prices affordable to very low-income residents.

Crime is another issue that’s important to the candidate. Sumchai, who used to take the bus from Sunnydale to the Lutheran church on Palau and still uses public transit three times a day, says the gangs she saw then had low-velocity weapons and knives, while today they potentially have access to access military assault weapons.

"The lethality of the gang activity has become enormously problematic," she says, noting that the likelihood of getting enmeshed in the criminal justice system lessens for kids involved in after-school activities more than two times a week.

Sumchai has never lived the posh, comfortable life that is often associated in the public mind with successful physicians. In fact, she’s had to be rescued herself from "critical stressors, major traumas [that] could have led me down a path that was not so productive."

In 1999, she had to surrender her medical license. As California Medical Board records tell it, a series of personal catastrophes hit, and Sumchai was diagnosed with post-traumatic stress disorder after she experienced insomnia, anxiety, emotional upwellings, and re-experienced traumatic moments "when threatened-stressed or exposed to reminders of her graphic experiences as a emergency trauma physician." These upwellings became "explosive outbursts of anger and paranoia" and contributed to Sumchai’s problems, according to her records, which indicate that she received a 116-day stint in county jail, three years’ probation, and a $200 fine for resisting arrest.

Claiming that she did not receive the medical care she needed when she was imprisoned, Sumchai says, "I have as a physician been to the mountaintop and also to the bottom of the pit in terms of my experiences of how the sick, disabled, homeless, and mentally ill are looked upon and treated."

Crediting the influences of key mentors "who had the courage to intervene and bring in resources and moral compasses," Sumchai says her medical license was reinstated in December 2005, but she has no interest or intention of returning to work in emergency or trauma operations. Today she works as a personal trainer, a sports nutrition consultant, and a fitness industry administrator in between writing for the San Francisco Bay View, meditating, doing Pilates exercises, and running for mayor.

And she’s still constantly in fights — even with her friends. Joe O’Donoghue, the fiery former head of the Residential Builders Association, hired her as a personal trainer and told her earlier this year — in confidence, he insisted to us — that former superintendent Matt Gonzalez was getting ready to enter the mayor’s race. The moment she left the gym, Sumchai called Gonzalez — and O’Donoghue promptly fired her.

For now, Sumchai is setting her sights on bringing about change by debating issues that otherwise aren’t being voiced on behalf of folks whose needs and concerns are being neglected.

Editor’s note: The original version of this story failed to note that Sumchai is a practicing physician as well as a personal trainer and nutrition consultant. She has an active medical practice in West Portal.

Editor’s Notes

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› tredmond@sfbg.com

Isn’t it just great that San Francisco was about to enter into a long-term contract to turn part of our municipal infrastructure over to a company that is laying off 40 percent of its employees, floundering around trying to find a business plan, and getting entirely out of the line of work Mayor Gavin Newsom had in mind?

I feel good that the young mayor (who is acting more and more like a little kid every day) was so careful in preparing plans for a citywide wi-fi service that he never acknowledged, up to the very end, that his public-private partnership was poorly conceived and headed for the rocks.

And now it’s just so special that he wants to blame the Board of Supervisors for scrutinizing the contract — which is exactly what any decent legislative body is supposed to do at a time like this.

The EarthLink nosedive happened at the perfect time for San Francisco. If the company had hung on a little longer to its business plan for citywide wi-fi, the mayor might have managed to push enough supervisors to sign on to the deal. Or his November ballot measure might have passed, and the board might have been afraid to defy the voters. This might have been a grand little fiscal, legal, and political nightmare that could have stalled any progress on municipal broadband for years.

Newsom still insists that he was on the right track. "EarthLink would have been legally obligated to fulfill its promises to San Francisco, and we would have had a functioning wi-fi system by now," Newsom told the San Francisco Chronicle.

But the reality is, a company that doesn’t want to do a job that no longer fits into its business strategy — and a company having enough financial problems that it’s had to cut its staff almost in half — isn’t what you would call an excellent partner. And we can all thank the fact that this Board of Supervisors is relatively independent of the Mayor’s Office for our not being stuck in a rotten deal.

San Francisco doesn’t have a terribly good record of negotiating public-private partnerships or development deals. Back in the early 1980s, then-mayor Dianne Feinstein personally took control of the negotiations with Pacific Gas and Electric Co. for a long-term contract to transmit the city’s power. The deal was about as bad as it could get — everything for PG&E, nothing for the city — but the mayor insisted it was an excellent contract, and she and PG&E’s lobbyists rammed it through a compliant Board of Supervisors. It’s wound up costing San Francisco tens of millions of dollars, and the city’s been trying to get out of it for years. PG&E’s franchise fee is the lowest that any city charges a private utility in California — and it was assigned in perpetuity by a compliant Board of Supervisors in the 1930s.

We’re supposed to be a little more sophisticated today. District elections have ended the mayoral rubber stamp at City Hall, and the mayor should understand that any time he works out a deal like this, the supes are going to give it a hard look. If it’s so great for everyone, then making the details public as early as possible, working with the board (instead of refusing even to show up), and sharpening the deal will make things even better.

That’s not how this mayor does business. And you can tell. *

The Guardian Iraq War casualty report (9/4/07)

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The Guardian Iraq War casualty report (9/4/07): New report: Iraq has failed to meet 11 of the 18 military and political objectives set by Congress and agreed on by Bush.

Compiled by Paula Connelly

Hearings on the Iraq war, in both the Senate and the House, will be held every day for the next week as Democrats seek to shape the debate over the war ahead. Democrats will bring a new report by the Government Accountability Office to the discussion, showing virtually no political progress by the Iraqi government as the latest evidence that President Bush’s military strategy is failing. The G.A.O. report concluded that “violence remains high” in Iraq amid mixed progress on security and that political reconciliation efforts remain far from sufficient, eight months after President Bush began his troop-increase plan. The report places greater emphasis on shortcomings than successes, saying that Iraq has failed to meet 11 of the 18 military and political objectives, or benchmarks, set by Congress and agreed on by Mr. Bush, while partially meeting four. Read more in today’s New York Times article.

Casualties in Iraq

U.S. military:

4,007: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

118 : Died of self-inflicted wounds, according to http://www.icasualties.org/.

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to: www.cnn.com

Iraqi civilians:

654,965 more Iraqis may have died since hostilities began in Iraq in March 2003 than would have been expected under pre-war conditions, according to a Johns Hopkins University study.

98,000:
Killed since 3/03

Source: www.thelancet.com

71,277 – 77,827: Killed since 1/03

Source: http://www.iraqbodycount.net

For a list of recent events that have resulted in Iraqi casualties, visit :
http://www.iraqbodycount.org/database/recent/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Iraq Military:

30,000?: Killed since 2003

Source: http://www.infoshout.com

Journalists:

200 journalists have been killed since the start of the war in March 2003, according to Reporters Without Borders.

Refugees:

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

2.2 million: Iraqis displaced internally

2 million: Iraqis displaced to neighboring states

Incessant violence across much of Iraq’s central and southern regions has forced tens of thousands of people to leave their homes every month, presenting the international community with a humanitarian crisis even larger than the upheaval aid agencies had planned for during the 2003 war, according to United Nations High Commissioner for Refugees’ estimates.

U.S. Military Wounded:

158,509: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (9/4/07): So far, $448 billion for the U.S., $56 billion for California and $1 billion for San Francisco.

Compiled by Paula Connelly

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

Slow art movement

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› a&eletters@sfbg.com

PREVIEW If you didn’t experience The Weather Project, Icelandic artist Olafur Eliasson’s 2003 installation in London’s Tate Modern, chances are you’ve seen images of it in any number of nonart publications or photo blogs. The piece — a dramatic emulation of an amber sun’s atmosphere, created with such simple elements as a bank of lights and a mirrored ceiling — reportedly attracted two million visitors, many of them repeat customers, who sprawled on the public floor, pondered their reflections on the ceiling, and basked in the glow. It was, to say the least, a popular work of art. But high visibility and big crowds, in art world circles, are usually viewed with skepticism or met with critical intimations of diluted intentions, easy punch lines, or sellouts.

Eliasson’s work — the subject of two concurrent exhibitions, including a midcareer survey and a presentation of a frozen BMW hydrogen-powered race car made as part of the car company’s high-profile art program, that open at the San Francisco Museum of Modern Art this week — is that rare animal that manages to appease a broad public as well as art cognoscenti. His experiential and frequently sublime projects are usually created with exceedingly common, immaterial, and noncommodifiable elements, including air, water, light, and water, though in their sophisticated deployment, Eliasson — who operates a studio employing 30 architects, scientists, researchers, and fabricators — makes art that is the antithesis of funky. The artist harnesses natural and perceptual phenomenon, alludes to environmental concerns, acknowledges an artistic connection to the California Light and Space artists of the 1960s and ’70s, and taps into the allure and resources of high-end luxury brands. He rigorously engages in thorny intellectual dialogues on the nature of art in the 21st century. In short, Eliasson is an unlikely candidate as a popular artist.

In his case, approachability is only one component of very layered intentions. "I’ve always been very proud of being a mainstream artist and not trying to be on the outskirts of society," Eliasson confessed to me during a recent visit to the city to supervise the labor-intensive installation of his SFMOMA-originated show. "I have no interest in being avant-garde in the sense that it means I’m not part of society. There’s a great value to be found in feeling a part of society."

In fact, Eliasson’s works are notable for the way the viewer’s participation makes them complete. His installations rely on perception and immersion. It’s not for nothing that his survey exhibition is titled "Take Your Time."

The exhibition entailed a major transformation of the fifth-floor gallery at SFMOMA from an expansive, open room to an elliptical warren of spaces to let visitors experience such self-descriptive pieces as Room for One Color, 360 Degree Room for All Colours, Moss Wall, and One-Way Colour Tunnel, the latter an elaborate new piece in which the museum’s skylight bridge becomes a kaleidoscopic passageway from one direction, a monochromatic one from the other. Eliasson had much to do with the layout of the show, which is designed to slow down the experience, and the word temporality and the idea of its manipulation are invoked frequently in conversation.

"The reason I think the sequence of my installation here is so crucial — and my involvement with it is about implementing temporal ideas into the show — [is] a lot of the pieces are actually slow," he said. "The tunnel [over the bridge] has no central way of looking at it. You have to walk through it one way and then another to experience it. The whole idea of all these long tunnels — the show is really a show of corridors — is another way of mediating temporality."

Eliasson’s work is concerned with the act of engaging in the present moment. His car, Your Mobile Expectations: BMW H2R Project, for instance, is an iced vehicle, presented as the separate exhibition "Your Tempo" in a room-sized freezer that chills to 14 degrees Fahrenheit.

The vehicle is presented by the museum’s Department of Architecture and Design, attesting to the latitude of Eliasson’s work, which has been seen through the lenses of art, fashion, architecture, design, and environmentalism. He emphatically stresses the means. "I don’t think art is that fragile," he said. "Art can easily go out and work like a virus."

TAKE YOUR TIME: OLAFUR ELIASSON

Sept. 8, 2007 Feb. 24, 2008

YOUR TEMPO: OLAFUR ELIASSON

Sept. 8, 2007–Jan. 13, 2008

Mon.–Tues. and Fri.–Sun., 11a.m.–5:45 p.m.; Thurs., 10 a.m.–8:45 p.m.

$7–$12.50 (free first Tues.)

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

Palmetto Restaurant and Lounge

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› paulr@sfbg.com

Let us now parse famous streets — in particular, Chestnut and Union streets, those parallel avenues and venues of Marina culture, so near to yet far from each other. As someone who cannot be said to be a habitué of either promenade, I speak with the authority of the outworlder, the sporadic visitor whose perceptions are freshened by infrequency. Therefore: Chestnut Street seems to me to be peopled by post-collegiate sorts in their 20s, while Union Street, a few blocks up the hill, strikes me as more thirtysomething country. There the upland air, while still smelling strongly of youth, acquires a crisp note of adultness. One notices better shoes, and certainly fewer chain and fast-food restaurants, than in the nearby bottomlands. Union Street, in fact, is a pretty good place to eat; Betelnut is still there and well into its second decade of life, while just a block or so away we now find Palmetto Restaurant and Lounge, which opened over the summer in a unique space long occupied by Café de Paris L’Entrecote. (And, for Tales of the City nostalgists, the lights of Perry’s are still a-twinkle.)

Palmetto’s street persona is that of a glassy cottage that’s begun to sink decorously into the pavement. You make your entrance by taking a few counterintuitive steps downward, and you find yourself at the edge of an airy, open, well-lit solarium with, behind the host’s station, a bar that could easily be a sports bar. The clientele is fearsomely athletic-looking, as if everyone is a model awaiting an imminent photo shoot for Power Bars. But the restaurant’s ruling muse turns out to be elegance, not brawn. The interior was redesigned by the noted architect Cass Calder Smith, and the idea, as in a certain sort of cooking, is to let the space speak in its own voice. The overall effect is one of warm minimalism — an apparent paradox, yet one is bewitched by the scale of the rear dining room (which is far larger than the glassy little house on the street implies) and the easy fluidity of human movement. There is even, in a throwback, an exhibition kitchen at the restaurant’s very rear — a discreet nod to the culinary voyeurs who still lurk among us.

Chef Andy Kitko (a Gary Danko alumnus) has picked up the script left behind by the departure, some years ago, of 42 Degrees — as in 42 degrees of latitude, as in, more or less, a line running near the coasts of southern Europe and northern Africa, through Italy and the Balkans and on to the Black Sea, whose south shore consists mostly of Turkey. The word the restaurant uses to describe Kitko’s panoramic menu is "contemporary Mediterranean," and although "Mediterranean" has lately become a squishy term, here its big-tent roominess seems right. "Contemporary," of course, is code for "California," meaning, more or less, we’ll try anything once.

The food tilts toward small plates, along with soups, salads, and pastas available by the half-size. These last are not inconsiderable. Maccaronis amatriciana ($8) featured the classic Roman sauce of pancetta, onion, chili, and tomato — pleasantly spicy, with a hint of smoke — spooned over a healthy portion of house-made pasta, like stubby straws that had been slit open.

The bigger plates, interestingly, are on the not-huge side. The burger ($12) was just right, about a third of a pound of Meyers Ranch beef — and it was also fabulously juicy and full of flavor, a best-in-show contender. It would have been satisfying even if it hadn’t come with a cone of crisp, well-salted frites and their sidekick trio of sauces: ketchup, tomato, and cumin aioli, with its breath of the Maghreb. King salmon ($24), meanwhile, was given a yogurt marinade and served atop a tabbouleh paste with peas and cumin carrots; it felt vaguely Turkish to us.

But, as is so often the case, the kitchen saves its best work for the smaller jewels. A trio of arancini ($8), basically risotto fritters that look like batter-fried golf balls, were scented with Meyer lemon and carried a secret cargo of tarragon crème fraîche. House-made lamb sausage ($10) arrived, still sizzling from the grill, on a ragout of navy and fava beans, while flaps of grilled Monterey Bay sardines ($8) were mounted on rounds of toast, with rich, dark caponata on hand to help balance the fish’s oiliness.

Some of the stuff drifted toward the ordinary: an heirloom tomato salad ($12), with burrata di bufala and balsamic drizzle was good, but practically every restaurant in town is offering something similar; and a wild mushroom soup ($8) with garlic chives and a crouton, was also good and only slightly less familiar. Some of the so-called accompaniments, on the other hand, were unexpected and tasty. A Castilian-style pisto ($6) resembled its summer-bounty relatives, ratatouille and caponata, but put more emphasis on diced eggplant and added haricots verts for color, while grilled corn with lime butter ($5) fitted the butter, in melting pats, atop disks of cob that looked like yellow nigiri.

There is at least one extraordinary dessert awaiting your attention. It bears the nearly unmanageable name of galaktoboureko ($8). If you can make it understood that this is what you want, you will soon be feasting on a pair of crisped phyllo tubes filled with lemon-infused semolina custard and plated with lavender honey and grilled fig halves that look like pieces of candy. I like figs about as much as I like chestnuts, which is not very, but here we have a dessert that’s greater than the sum of its parts — or, an artful union.<\!s>*

PALMETTO RESTAURANT AND LOUNGE

Brunch: Sat.–Sun., 9:30 a.m.–3:30 p.m. Dinner: Sun.–Thurs., 5:30–10 p.m.; Fri.–Sat., 5:30–11 p.m.

2032 Union, SF

(415) 931-5006

www.palmetto-sf.com

Full bar

AE/DISC/MC/V

Well-managed noise

Wheelchair accessible

Board youth

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Wanna take your backyard pool party to the next level? You’ll need the Traditional Fools on speed dial: their infectious, scuzzy surf punk is the best accompaniment this century has to offer to the twist, the shimmy, and the ladling of tropical punch. The three young men who make up the Fools — guitarist-drummer-vocalist Ty Segall, bassist-vocalist Andrew Luttrell, and guitarist-drummer-vocalist David Fox — all grew up in sunny South Orange County but later moved to San Francisco, where they became acquainted shortly after arriving two years ago.

"We all just wanted to get out of Orange County," Luttrell, 21, explains. According to Luttrell, who gladly skateboarded along with Segall, 20, into the Mission to be interviewed, the Mexican food may be excellent back home, but when it comes to playing music in Orange County, "nobody cares except people in other bands." Reservations aside, the Fools consider themselves de facto products of Southern California, which makes sense when you hear them: they excitedly cite X, the Screamers, and the early ’80s Los Angeles punk generally found on the Dangerhouse label as a shared influence, and their eyes and smiles widen further at the mention of Redd Kross, from whose catalog the Fools can play a remarkable dozen covers at will, including a killer rendition of "Annette’s Got the Hits." All things considered, it’d be pretty inaccurate to pin down what they’re doing as straight-ahead surf rock: those kinds of riffs are most definitely present, but these guys sound way more subterranean than, say, Dick Dale or the Ventures.

When the three first musically convened early last year, they jammed on the Cramps’ "Human Fly," and it clicked quickly enough for them to crank out their first three songs: "Layback," "Street Surfin’," and "Rock ‘n’ Roll Baby," all prominently featured on their first demo CD-R, which was a surf-washed slice of garage punk glory. Their style has only become more refined since then, as evidenced by their fantastic live cassette, Live at Wizard Mountain (Wizard Mountain Tapes, 2007), and their new, self-titled 7-inch on the Bay Area’s Chocolate Covered Records. They block-printed all the covers for the single, which sports the benevolent gaze of a "chillin’ cheeseburger" and their sharpest tunes yet: "Surfin’ with the Phantom" gets the Vincent Price award for its spooktastic cackle and sense of impending wipe-out doom, and "River" is dialed in to the kind of raw, giddy party punk that Rocket from the Crypt were once able to muster.

The Fools have already opened for such heavyweights as the Phantom Surfers and strangely have never had to book themselves a Bay Area show, despite their frequent gig schedule: they’ve always been brought in by invitation, which also goes for their upcoming appearance at the now-renowned Budget Rock festival in Oakland. As well established as they may be locally, the Fools look poised to make waves overseas: their next release will be a split single put out by a label in Italy. In any case — look out, collectors! — they’re only getting 30 copies to sell themselves. "We’ll sell them for 15 bucks," Segall and Luttrell agree before laughing aloud. "Nah, we wouldn’t do that."<\!s>*

THE TRADITIONAL FOOLS

Sat/8, 8 p.m., $6

924 Gilman Street Project

924 Gilman, Berk.

(510) 525-9926

www.924gilman.org

Word on la calle

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› a&eletters@sfbg.com

Times are tough in the music biz. Not only are CD sales slumping, but radio stations are losing ad revenue to online ventures. One of the only genres or formats holding it down commercially is Latin music — a fact that falls well below the radar of your average gringo.

This shouldn’t be so surprising, considering that Latinos are the largest minority group in the United States and represent the fastest-growing segment of the population. Another factor fueling Latin music’s stateside success is the rise of reggaetón, the energetic blend of hip-hop, Jamaican dancehall, and Puerto Rican sounds that tops the Latin charts and even garners airplay on mainstream hip-hop and R&B stations. The so-called Latin boom that reggaetón triggered — far surpassing that of the late ’90s — inspired media behemoth Clear Channel to convert dozens of stations from English to Spanish in 2005 and roll out a new reggaetón-heavy format known as Hurban.

Although Hurban doesn’t exactly roll off the tongue — it’s an awkward combination of Hispanic and urban — radio execs are hoping it will be easy on the ears of US Latinos ages 35 and younger, who represent somewhere around $350 billion in purchasing power.

In the Bay Area, the Hurban phenomenon is represented by San Rafael radio station KWZ, 100.7 FM ("La Kalle"), owned by Hispanic media titan Univisión. Although the name suggests urban edginess, the station’s director of programming, Bismark Espinoza, explains, "It’s basically a top 40 station…. It’s a Spanish CHR [contemporary hit radio station], if you will." Earlier this summer, the station dumped its tagline "Reggaetón y más" as the gasolina-fueled genre hit a sales plateau. Pop artists such as Shakira, Maná, and teen sensation RBD get more airtime now. Reggaetón still dominates the playlist, however, and DJs lace their bilingual banter with Puerto Rican street slang like perreo, which can mean dirty dancing or doggy-style sex — either way, the Federal Communications Commission wouldn’t have a clue.

Bilingualism is the most innovative aspect of Hurban radio. In attempting to reach the ostensibly bicultural second- and third-generation young adults of Generation Ñ, Hurban stations hire on-air personalities who can code switch between Spanish and English with the fluidity of a United Nations translator — or a Spanglish-spitting street hustler. "If our audience talks like that, we just try to relate to them as much as we can," Espinoza says. "It’s just natural — the way they talk on the street, the way they talk to their families, the way they talk to their friends."

La Kalle has the language down. The music is another question. In June the station ranked number 24 in the region, with four other Latin stations ahead of it. In order to compete, the station’s programmers continually experiment with the format, trying to stay on top of the remarkably varied musical tastes of young Latinos. Espinoza contends that the latest craze is a hybrid of reggaetón and Dominican bachata balladry. Sometimes referred to as "crunkchata," the tropical style is favored by artists such as Aventura, Rakim y Ken-Y, and Toby Love, who top La Kalle’s request lists.

Tropical music? This is California, carnales. Given that the vast majority of Latinos in the Bay Area are of Mexican descent, where’s the Chicano rap? Where’s the Mexican banda? No doubt, Chicanos in San Francisco like their island music. They’ve been dancing to salsa con sabor since the days of Cesar’s Latin Palace in the Mission District. But the hottest thing right now among Mexican Americans is regional music from their homeland: ranchera, grupero, Tejano, norteño, and banda. All four of the top-ranked Bay Area Spanish-radio stations play some variation on a Mexican theme. For listeners between 18 and 34, the second most popular spot on the dial is KRZZ, 93.3 FM ("La Raza"), a regional Mexican station in San Francisco.

At its core, regional music is steeped in the cultural traditions of rural Mexico, in folkloric forms that have been around for more than a century. But Chicanos are coming up with their own cutting-edge hybrids of rap and Latin music. Los Angeles duo Akwid melds banda with breakbeats, and Jae-P pairs G-funk with norteño. These artists earn some airplay on Hurban stations but get very little love on Bay Area urban radio, despite the fact that they each sell hundreds of thousands of records.

La Kalle’s Espinoza insists that urban music with Afro-Caribbean roots is much hotter right now than "urban regional" sounds like Akwid’s. One notable exception to Mexican American obscurity is Chicano rapper Down, whose chart scorcher "Lean Like a Cholo" is currently in heavy rotation on La Kalle. Similar to urban-regional artists, Down wears his brown pride on his throwback jersey sleeve, but he does it by invoking Southern California barrios, not rural Mexican pueblos. His homeland is Nuevo LA, a city with the second-largest concentration of Mexicans in the world.

Given the size of the Mexican American population, you have to wonder how many Chicano artists are out there searching for a record deal or some airplay. "Some people blame the radio stations, some people blame the record companies," Espinoza wearily attests. "I don’t know. I listen to my kids — I play whatever is hot." But Mexican and Chicano music is hot right now. It just can’t seem to find a home on youth-oriented "urban rhythmic" radio formats like La Kalle, much less English-only Bay Area stations such as KMEL, 106.1 FM, and KYLD, 94.9 FM, whose audiences also lean heavily Hispanic.

Although Mexicans and Chicanos are currently relegated to the broadcast barrios of Spanish radio, it will be interesting to see how those borders open up once media companies realize the American mainstream is more brown and proud than ever.

Electricity deregulation falls apart

0

By Tim Redmond

The grand experiment in electricity deregulation appears to be in collapse around the country, according to the New York Times. Oddly enough — or perhaps not oddly enough — the one state that still seems to be sticking with this disastrous program is California.

Green City: Signs of asbestos

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› sarah@sfbg.com

A new front has opened up in the fight for environmental justice in the asbestos-dusted Bayview–Hunters Point community, this time featuring a Nation of Islam–affiliated nonprofit that’s using Proposition 65 — California’s "right to know" law — to force Lennar Corp. to take responsibility for what activists say is a failure to provide clear and reasonable warning that thousands of Californians are being exposed to asbestos on a daily basis in Bayview–Hunters Point.

It’s a creative use of the 21-year-old law to promote environmental justice.

On Aug. 2, the Center for Self-Improvement and Community Development, which runs the Muhammad University of Islam school next to the Parcel A work site, filed suit individually, and on behalf of the public, against Lennar Corp., Lennar Homes of California, Lennar Communities, Lennar BVHP, Lennar Associates Management, and Lennar’s subcontractor, Gordon N. Ball.

At issue is the alleged failure of Lennar and its subcontractor to notify the surrounding community of exposures to asbestos dust during the 16 months that an entire hilltop has been graded on Parcel A of the Hunters Point Shipyard in preparation for developing a 1,500-unit condominium complex.

The suit contends that Lennar and Ball engaged in construction site activities, including grading, scraping, and excavation of materials containing asbestos as well as storage and transportation of materials off site, and continues to engage in these activities without first providing "the adjacent community and persons working at the site with toxic health hazard warnings under California’s ‘right to know’ law."

Enacted in 1986, Prop. 65 was intended to protect California citizens and the state’s drinking water sources "from hazardous chemicals and to inform [citizens] about exposure to any such chemicals." As such, it requires the state to maintain lists of hazardous chemicals and requires businesses to provide a "clear and reasonable warning" before exposing individuals to any of these listed chemicals.

But though asbestos has been listed as a carcinogen since 1987 and has been subject to Prop. 65’s warning requirements since 1988, Minister Christopher Muhammad, who heads the school, claims he first learned that asbestos was in Lennar’s Parcel A construction dust six months after grading began in 2006 —and two months after Lennar admitted to the city that its air monitoring equipment hadn’t been working.

"I did not know that the dust contained asbestos until a young worker, Christopher Carpenter, blew the whistle in October 2006, the same day he got fired from the site after asking the crew to stop digging on account of the dust being too heavy," Muhammad told the Guardian. He recalled how Carpenter visited the school, worried it hadn’t been notified after he saw children playing right next to Lennar’s site.

"The dust clouds were so thick during the summer of 2006, they were like minitornadoes on the hill, which is surrounded by water, so the wind swirls upwards," Muhammad said. He noted that the baseball courts, classroom windows, and jungle gym are 10 feet from a chain link fence that is the only thing separating Lennar’s site from the school, and noted that a Boys and Girls Club, a public housing project, and many residences lie in close proximity to Parcel A, whose dust was seen drifting across the entire neighborhood.

There’s a strong case here: there’s no doubt that the construction project was generating asbestos dust — and still may be. The suit seeks to prohibit Lennar and Ball from engaging in construction activities or any other work at the site "without first providing clear and reasonable warnings to each exposed person residing, working, or visiting the adjacent community and to workers at the site regarding asbestos exposures."

Enforcing Prop. 65 is the responsibility of the state attorney general, the local district attorney, or the city attorney, but as attorney Andrew Packard told us, the law also allows private entities to sue.

Matt Dorsey, spokesperson for City Attorney Dennis Herrera, said the office is "keeping an eye on the situation, including this private effort, and would take it very seriously if a determination is made that a case of action exists in favor of the city."

Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.

The death of Polk Street

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› news@sfbg.com

Click here to read about the Polk’s long, queer history

Kelly Michaels was following the San Francisco dream when she escaped her small Alabama hometown at 17 and hitchhiked westward. It was 1989.

"I had stars in my eyes," Michaels told the Guardian, sitting on the floor of her friend’s small single-room occupancy Tenderloin apartment, hints of a Southern drawl now paired with Tammy Faye mascara and bleached-blonde hair. "When you’re 16 or 17 and have dreams of being famous, you come to California — and you probably end up on Polk Street in drag."

Michaels arrived on Polk with little more than blue jeans, a bra, and rubber falsies to her name, making ends meet as a street sex worker. It wasn’t what she was looking for; the Polk was plagued with drugs and violence. But her dad was embarrassed by his transgendered daughter and didn’t her want her back. The neighborhood was a home.

She found a community at fierce Polk Gulch trans and boy-hustler bars like Q.T. and Reflections, where clientele included one "big, tall, black Egyptian transsexual hell-raiser" known to draw a gun. Scores of boy hustlers "coming in daily from the Greyhound station" danced naked on the bars. At the end of the night, Michaels’s new family members would pool their money and rent a hotel room for $30.

"The bars were the churches, the sanctuaries," Michaels’s friend Terri, an African American man in his 50s, told us. "You weren’t really going to be hassled there."

Not any more. "Polk Street is dead," Michaels told us. "Dead as fuck now."

THE NEW POLK STREET


The new kids on the block are calling it "revitalization."

After the three-decades-old gay bar Kimo’s is transferred to a new owner at the end of September, there will be only two queer bars left on a street that was San Francisco’s gay male center in the 1960s and a gritty, affordable home for low-income queers, trans women, and male sex workers in the following decades. Where scores of hustlers lined up against seedy sex shops and gay bars just a few years ago, crowds of twentysomething Marina look-alikes now clog the sidewalks in front of upscale clubs.

Polk’s queer residents and patrons are now being priced and policed out of their neighborhood — and their city — as business and tourism interests continue to eat away at the city’s center. Lower Polk Gulch, just blocks north of City Hall and one block east of Van Ness, has in the past few years succumbed to multimillion-dollar businesses, upscale lofts, increased rents at SRO hotels and apartments, and a new million-dollar city streetscape beautification plan. The related increase in policing and new efforts to clean up the street is making the area an unwelcoming place for the marginal queers who for so long called it home.

It has been the most down-and-out segments of the queer population — male sex workers, trannies, young people, poor people of color, and immigrants — who have often been the queer population’s boldest and most innovative actors, pushing the movement forward in new ways. What does queer San Francisco lose when our most marginalized members are pushed, policed, and priced out of the city?

HEART OF A COMMUNITY


Michaels stood under a neon purple Divas sign, advertising the three-story transgender club that has stood in Polk Gulch for more than three decades. Divas manager Alexis Miranda, a friend, stepped outside to chat, and a dozen characters from the neighborhood stopped by to shoot the shit. One man rubbed Miranda’s belly through her leopard bodysuit. "This is my baby," he told us jokingly.

Divas is as much a community center as it is a club. Girls from out of town and out of the country know to come to Divas when they step off the boat, plane, or bus. Many trans immigrants make a living as prostitutes, and while Miranda insists that she does not allow them to work inside the club, the close vicinity of San Francisco’s tranny prostitute district has meant tension for Divas.

Miranda told us the police have been targeting the club because of complaints from new merchants. "Some of the people who have new businesses don’t want the people who live here to stay. They want to close us down," she said. "They’re trying to gentrify the neighborhood."

Neville Gittens, a police spokesperson, told us that the San Francisco Police Department performs "regular enforcement in that area" but said any targeted operations cannot be discussed.

Theresa Sparks, a trans woman who chairs the Police Commission, said Miranda made the same claim at the commission meeting Aug. 15. "I don’t know if that’s true or not," Sparks told us. "My intent is to find out what is going on."

Sparks agreed that gentrification is driving trans people out of the Polk Gulch neighborhood: "It is very, very difficult for a transgendered person to survive in this city."

Miranda pointed to a bar across the street. Until 2000, the Lush Lounge was the cruisy trans and hustler bar Polk Gulch Saloon. Now, under a new owner, white twentysomething heterosexuals sip apple pie martinis.

Sonia Khanna, a 28-year-old trans woman with long, curly brown hair and mocha skin told us she doesn’t feel welcome there. "If you’re a tranny, they think you’re a whore," she said.

Miranda said the owner, Steve Black, ejected her when she went to welcome him to the neighborhood. Miranda, a former empress in San Francisco’s Imperial Court System, reported him to the Human Rights Commission. The inquiry was closed when the owner informed the commission that he allows transgendered people into the bar. He didn’t deny tossing out Miranda; he said he just disliked her personally.

The bigger problem may be the neighborhood’s increased property values. Divas owner and Polk Gulch resident Steve Berkey told us that rents have pushed out other established queer businesses on Polk. The only reason Divas stays open is that he owns the building. "It used to be that so many girls lived in the neighborhood," he said. "They packed the place. But now rents have driven them off."

CENTER OF THE STORM


The reasons behind the death of the queer Polk are complex, likely including the ascendance of the Internet as a social networking tool, rising property costs, and the aging of the bars’ core clientele and owners. But most of the community’s rancor has focused on the most visible manifestation of change: neighborhood associations representing new, upscale businesses working with police and the city to clean up the streets.

At the center of the storm is a glass-walled architecture studio at the bottom of Polk Gulch, around the corner from Divas. Two freshly planted palm trees in front of the studio are conspicuous on a site next door to a bleak, institutional homeless shelter outfitted with security cameras and across the street from a porn shop promising "Hot Bareback Action!"

Case+Abst Architects has been the workplace and home of husband and wife Carolyn Abst and Ron Case since they were lured by the area’s low cost in 1999. The trees were the first of 40 planted in a campaign they initiated last year as cofounders of Lower Polk Neighbors. Abst told the San Francisco Chronicle in September 2005 that she "wants a fruit stand [on Polk Street], and we’ll take a Starbucks too."

The group has had an impact: District Attorney Kamala Harris said at a recent community meeting organized by the LPN that she has responded to association agitation by having representatives of the District Attorney’s Office walk the neighborhood with police and installing high-tech surveillance equipment to gain more criminal convictions. Sup. Aaron Peskin has asked the Mayor’s Office of Economic and Workforce Development to include the Lower Polk in its Neighborhood Marketplace Initiative, a program designed to revitalize neighborhood business districts. As part of this program, a part-time staff person now acts as a liaison between Lower Polk merchants and police. Another city program is scheduled to spend $1 million on installing new lights and planting trees later this year.

Activists say the LPN focus is not on outreach, therapy, or support for the Polk’s marginalized residents but on pushing undesirables out of the neighborhood and ejecting outreach programs like a local needle exchange.

Last year Abst was the subject of a "wanted" poster put up on Polk by the group Gay Shame. The group calls the LPN a "progentrification attack squad" whose goal is to "remove outsider queers and social deviants from our neighborhood in order to accelerate property development and real estate profiteering."

The hustler bar Club RendezVous lost its lease in 2005 after the property was bought and razed. Its co-owner, David Kapp, didn’t return our phone calls seeking comment, but he told the Central City Extra in February 2006 that a "smear campaign" by the LPN stopped him from relocating down the street. A First Congregational Church is now being constructed where RendezVous once stood. The church was designed by Case+Abst.

Case told us that the Planning Department wanted to see neighborhood support for the RendezVous move. The LPN asked that RendezVous provide security, but the bar’s owners refused. "They always had younger, underage boys hanging out," Case said. "There are a lot of families in this neighborhood. We wished them well, but it’s also a community." He told us he wants not to gentrify the neighborhood but to make it clean and safe.

But safe for whom?

Chris Roebuck, a medical anthropologist at UC Berkeley, told us that the increased policing has also meant increased harassment of trans women. Sex workers, many of them immigrants from Mexico, the Philippines, and Thailand, are "increasingly being pushed into the alleyways, into unsafe spaces," he said. He’s also noticed a criminalization of what he called "walking while trans" in the six years he has spent interviewing trans women on Polk Street.

At a community meeting with the district attorney earlier this month, two trans women said the police, despite sensitivity trainings, do not take them seriously when they report a crime.

"Getting rid of the public space for trans women and drug users is not safe for them," Polk resident Matt Bernstein Sycamore (a.k.a. Mattilda) told us. "Deportation [of immigrant sex workers] is not a safe space. The needle exchange actually does make people safer. Getting rid of it does not make people safer."

Sycamore, editor of the book Tricks and Treats: Sex Workers Write About Their Clients, is concerned with what he calls a "cultural erasure" in the area. "Polk Street has been the last remaining place where marginalized queers can come to figure out how to cope, meet one another, and form social networks," he told us. "That sort of outsider culture has been so dependent on having a public space to figure out ways to survive. That is the dream of San Francisco — that you can get away from where you came from and cope, and create something dangerous and desperate and explosive."

POLK VILLAGE?


When Kimo’s changes hands at the end of September, San Francisco will lose one of the last vestiges of a hustler culture housed on Polk Street since at least the early 1960s.

On a recent night, six gray-haired men sat chatting or reading the paper, relics of Polk Street’s heyday. A young man with a shaved head and black hoodie stood outside the front door and gave a suspicious look to a young blonde woman in bikini straps who breezed in with two friends, laughing, oblivious to him. A sign in front read "No Loitering In Front of These Premises."

The state’s Department of Alcohol Beverage Control mandated the warning, Kimo’s bartender John David told us. He said he thinks that was the result of pressure from the LPN. "Kimo’s is the new whipping boy," he told us. "RendezVous is out, and now it’s our fault that people are on the streets."

Case denies that his group had anything to do with the crackdown on Kimo’s.

A tall man with shaggy brown hair standing on the sidewalk near Kimo’s, who asked to be identified by his porn-actor name, Eric Manchester, complained that a way of life is coming to an end. Manchester said he started hustling on Polk at age 17 after leaving the "redneck, racist town" of Martinsville, Ind., in 10th grade and being stationed in San Diego by the Navy.

"It wasn’t just money for me," Manchester told us. "This was a good place to come and get advice, comfort, support. There are people that need people, and they’re going to take that all away. San Francisco is going down the tubes. All the heterosexual people are moving in. They like the police-state mentality."

Among the new arrivals is the owner of the $6.5 million O’Reilly’s Holy Grail Restaurant that stands just a few doors down Polk Street from Kimo’s. On a recent evening, a musician played soft jazz on a black grand piano, while men in starched pastel button-down shirts stood around on the hickory pecan floor.

Myles O’Reilly opened the restaurant two years ago, when he also transformed a low-rent residential hotel above the space into 14 European-style hotel suites. Neighbors point to the property as a tipping point in Polk’s transformation. But O’Reilly sounded almost defeated when he talked about his "multimillion-dollar jewel in the middle of the desert."

"We are only a couple blocks from City Hall and Union Square," he told us. "But tourism doesn’t come this way."

With the goal of transforming the area, he teamed up with John Malloy, the head of the recently founded Polk Corridor Business Association, who has also chaired the LPN.

One of their projects is on view outside the restaurant and along the street. Colorful banners read: "Welcome to Polk Village … working together to build a cleaner, safer, more beautiful community." The PCBA plans to circulate a petition to officially change the name of Polk Gulch to Polk Village in a few years, but O’Reilly isn’t waiting. He defiantly lists the restaurant’s address as 1233 Polk Village on his building.

That "village" will house a small army if these merchants have their way. "We need foot patrols up and down Polk Street," Malloy, who lives in the neighborhood, told us. "We’re going to get more police even if we have to go out there and hire them ourselves."

O’Reilly took out his cell phone and started showing me photos. "This is defecation on the sidewalk outside," he said, pointing to a smudgy image. "This is condoms on the sidewalk. You see this lovely photograph? That’s a condom in the flowerbed. That’s what my son had to see this morning. And nobody helps."

"There are 1,000 condos being built here," O’Reilly said. "Something has to be done to restrict the number of street people."

VANISHING NEIGHBORHOODS


The Tenderloin, and to a lesser extent Polk Gulch, risked being swallowed by the expanding downtown financial district and tourist industries in the late 1970s. But in the 1980s, community activism secured a moratorium on the conversion of residential hotel units, required luxury hoteliers to contribute millions of dollars in community mitigations, downzoned dozens of blocks of prime downtown property, and created a nonprofit housing boom.

It is these achievements that new merchants and residents point to when distancing themselves from the word gentrification. LPN cofounder Case told us that because apartments in the area are rent controlled, gentrification is "not possible."

Not so, said Tommi Avicolli Mecca of the Housing Rights Committee. "Look at the Castro," he told us. "It’s full of rent-controlled buildings. All you have to do is evoke the Ellis Act, or you buy out the tenants."

Or look next to the Congregational Church construction on Polk. There stands an almost-completed four-story building whose 32 units are being sold for up to $630,000. A large glossy poster in its window advertises the units’ "open living and dining areas," along with "stainless steel appliances, custom cabinets, [and] granite counters."

Brian Bassinger, cofounder of the AIDS Housing Alliance, told us that in one of the buildings where his organization houses people a few blocks south of Polk Gulch, rent is now $1,700 a month, up from $1,325 just a few years ago.

Gayle Rubin, a professor of anthropology at the University of Michigan and a historian of South of Market leather cultures, told us that gay neighborhoods are disappearing across the country as the core of major cities are transformed into high-value areas. This puts pressure on the economic viability of queer neighborhoods, most of which — despite the stereotype of the wealthy gay — have taken root in marginalized, poor neighborhoods.

"Polk Street is just one little battle in the war," Mecca told us. "The Mission was a working-class lesbian area. That whole lesbian culture got lost overnight. The bustling culture of queer artists in the Castro — all gone. The South of Market leather scene — gone. Parts of our culture, the very thing we came to San Francisco for, keep getting wiped out."

Kelly Michaels did develop a certain amount of celebrity as a performer at the famed club Finocchio’s and as a porn star; fans still post photos and gush over her online. And she remains drawn to the Polk, even if her relationship with the neighborhood is deeply ambivalent.

"It’s so evil, so dark, full of drugs and despair," she told us outside Divas. "But this is my home and my family."

"The people left here are going to fight for their home," she said. "Some people have been here forever. Their whole life is here. It’s impossible to get an apartment in other places of this city."

"This is a sanctuary," she said. "They’re taking the sparkle out of San Francisco."

Class of 2007: Jimmy Roses

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CLUBS Hip-Hop Appreciation Society, MEChA (Movimiento Estudiantil Chicano de Aztlán), Black ‘n’ Brown Alliance

QUOTE "We’re in a position to start reaching out to our peers and our gente and be like, ‘Hey, man, we’re here. Let’s get it crackin’. It ain’t the ’70s no more.’ "

Representing the Hispanic wing of the hyphy movement, Jimmy Roses won Latin Rap Artist of the Year at the 2006 Bay Area Rap Scene Awards, but he’s not resting on his laurels. Nor is he satisfied to dwell in a niche. As one of the premiere artists on the Thizz Latin label — an imprint of Mac Dre’s Thizz Entertainment — Roses aims to bring Latinos into the hip-hop mainstream while inspiring peace and unity on the streets. For Roses, the whole notion of hyphy and thizz got twisted to mean purely drug-addled or aggressive behavior when it’s actually more about getting loose, mixing it up, and dropping your gangster guard a bit. "That’s what was good about what Mac Dre did with the hyphy movement," Roses explains. "He brought the whole feel-good element … that made it easier for more ethnic backgrounds to participate."

Roses has "been through it," running the streets and even spending a little time locked up. He’s honest about those experiences but doesn’t glamorize them in his music; he consciously avoids gangster imagery in his lyrics and CD artwork, appearing on the cover of his 2006 self-titled debut looking less like a Norteño and more like a bad-ass "rydah" in leather jacket, motorcycle gloves, and low-rider "loq" sunglasses. "I don’t have to be a cholo to be a Mexican," he says. "I’m proud of that heritage and that culture. That’s my bloodline — that’s my past time. [But] we don’t have to rap like we’re struggling in the barrio."

The hustle that Roses promotes is more of the legitimate come-up kind, encouraging kindred Latinos and ‘hood youths to make something of themselves. Yet his approach isn’t that of the preachy, so-called conscious rapper. To ensure he has listeners’ ears, Roses uses the language of the streets, accompanied by music full of Bay slaps and stylish hyphy synths, typified by the catchy track "Who Rock the Party," which garnered airplay on KYLD-FM (WiLD 94.9) as well as stations throughout Central California and the Southwest.

Roses admits that street hustling, as well as the thug-rap soundtrack that typically goes along with it, has a negative side. Growing up in working-class South San Francisco, he became "oriented with all of that street mentality stuff. It’s inflicted a lot of hardships on my family." But, he adds, "I still love the streets. I love the people in the streets — I do, because you can’t help where you’re from." For Roses, what matters is where you’re going. (Amanda Maria Morrison)

www.myspace.com/jimmyrosesthizz

“Rembrandt to Thiebaud: A Decade of Collecting Works on Paper”

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REVIEW Dada artist Kurt Schwitters maintained that formal elements were second only to an art object’s ability to remain in flux — in spite of the static qualities inherent in his own work. No completed artwork could ever be fully finished but rather was kept open for future reinvention. In the current exhibition at the Legion of Honor, "Rembrandt to Thiebaud: A Decade of Collecting Works on Paper," which includes an approximately 5-by-7-inch collage by Schwitters, this constant plasticity of the art object seems to have come to the fore. Not only has the reception of such a variety of works — ranging from Michelangelo to John Baldessari, James Whistler to Richard Misrach — changed drastically since the inception of the art market, around the time of Rembrandt, but what might be considered an artwork and how its production affects this consideration has morphed as well.

The exhibition opens with a few 15th-century engravings by Albrecht Dürer, introducing us to hundreds of pieces from the largest collection of works on paper in the western United States via the golden ratio. This ideal is slowly dismantled throughout the course of the exhibit as it moves toward the contemporary, exemplified along the way by Yves Klein’s postage stamp, painted in his signature International Klein Blue. Matted and framed, this initially functional object has been elevated to the status of original artwork, which at this moment is perhaps more original than the Dürer multiple. Similarly, Edward Kienholz’s 1969 work For $146.00 was initially a direct illustration of the cost of the piece and has come to illustrate what the work is not worth today. Without making any physical changes, the transformative nature of the collection has led to an intrinsic modification of the artworks contained therein. (Ava Jancar)

"REMBRANDT TO THIEBAUD: A DECADE OF COLLECTING WORKS ON PAPER" Through Oct 7. Tues.–Sun., 9:30 a.m.–5 p.m. California Palace of the Legion of Honor, Lincoln Park, near 34th Ave and Clement, SF. $5–$8, free for 10 and under (free for all Tues.). (415) 863-3330, www.thinker.org/legion