Cars

Track stars

0

› a&eletters@sfbg.com
“Trolley Dances,” as a friend pointed out, really is a misnomer, at least when applied here: San Francisco’s rail-bound transportation is either on streetcar lines or the underground BART tracks. But “Trolley Dances,” which returned this year for the third time and presented four dance companies in four different venues, gets its name from San Diego, where trolley cars do exist. In Northern California the free event is produced by Kim Epifano’s Epiphany Productions. These relaxed performances are a hit for tourists as well as locals, and they both turned out in respectable numbers — between 60 and 100 at any one station — on the morning of Oct. 20. It was quite a splendid way to spend two balmy mid-October hours in the sun.
If I may nitpick for a moment: those who expected to ride from one performance to the next were happy only if they had walking shoes on. Two of the four locations were reached on foot (at a pretty clipped pace for some of the elderly audience members), and the rest were accessible by Muni, which — surprise, surprise — kept everyone waiting a good 20 minutes. No wonder some lost patience and hoofed it elsewhere. I am not a fan of walking behind a leader hoisting a placard ahead of me, but if I hadn’t done just that, I might never have found my way into the impressively spacious Spear Tower Atrium of One Market Street, site of Yannis Adoniou’s In the Crowd.
With his own Kunst-Stoff dancers Kara Davis and Julian DeLeon in red jumpsuits and 22 dancers from the Lines Repertory Ensemble in black leotards and tops, Adoniou and his crew looked quite at home amid these elegant environs. He took his inspiration from the central aluminum-rod sculpture, arranging his dancers stelalike around it. It was good to see him work with a large ensemble, giving the dancers relatively simple but nicely varied patterns that billowed and contracted to good effect. The excellently paired Davis and DeLeon were the wanderers in this crowd: alone and together, supportive of and indifferent to each other. Carey Lambrecht set the mood — at times quite melancholic — with her solo violin.
Next stop was Janice Garrett and Charles Moulton’s Tzigane, in front of 50 California Street. Tanya Bello, Jennifer Bishop-Orsulak, Nol Simonse, and the multitalented Heidi Schweiker romped through precision dances suggested by the loony music of the Fanfare Ciocarlia, which sounded like a military band that had plopped into a circus. Set tightly to the score, the piece — with performers all in black, including berets — had a bouncy, folk dance quality. Dancers took the lead in setting patterns, splitting courting couples, playing around with hand signals, and bouncing off each other and the surrounding flower boxes. At Tzigane’s core as a reluctantly shy ballerina, Schweiker was coaxed into taking the stage, accompanied by some grandmotherly wailing on the soundtrack.
Next, Seawall: Beneath the Surface, by Facing East Dance and Music, was performed against a glorious view of the bay and anchored boats on Pier 38. With the excellent Vijay Anderson on traps, a sextet of women engaged in fairly conventional partnering and ensemble moves. Seawall’s most intriguing parts came from the juxtaposition of the quintet’s sometimes feverish activity with Rae Chung’s stillness and her ability to place martial arts–like moves with exceptionally directed focus.
Finally, the singer-dancers in Epifano’s Love in Transfer, at the Fourth Street Caltrain Station, may have looked like down-and-out travelers, but their folk music–inspired celebration of community and love “for as long as it lasts” suggested a robustly joyous celebration of community. SFBG

Quantum breakdown

0

› le_chicken_farmer@yahoo.com
CHEAP EATS Christ, I love quantum theory, how something can be something, and at the same time something else, and so on, right?
Nobody rides in my pickup truck with me except Earl Butter, because nobody else can handle the mess. When it got to the point where even he was starting to grumble, I decided to say that I had cleaned my truck, without actually doing a thing, same way he says he has hair on his head so now he does.
I cleaned my truck! It’s spotless! It’s clean! Smells nice too … And not only that, but the engine is running just perfectly!
I write to you from under a tree, at the side of a lonely country road, Pepper Road, just north of Petaluma. Beautiful morning, late morning, getting later. One of my favorite things about driving this 20-year-old Chevy Sprint pickup truck, besides the fact that it gets better gas mileage than most hybrids and all other car cars, is that you never know what’s going to happen next.
Sometimes the horn works, sometimes not. Brights, yes. Low beams, no. It generally gets you where you’re going, just a question of when. And anyway, if you’d come visit me more often, you’d know there’s about a 50-50 chance that if your car breaks down, it will leave you somewhere pretty, like here. Although, I don’t say my truck “breaks down”; I say it “surprises me.”
The cows are not interested. The cars and trucks tackling the Cotati Grade, 101, are just far enough away to sound a little bit like a river. And a big white crane just hopped the fence and is standing, I swear, 15 yards away on the road, looking at me.
“Hey, you know anything about cars?”
It shakes its head.
I have some ideas: wires, rotor, gas cap, other parts I might buy to, um, encourage my motor to operate more predictably. Question is: should I?
Yesterday it left me at Bush and Fillmore. I coasted to a stop, I swear, in a legal parking space behind a car that had just surprised its owner too! She had a cell phone and let me use it and was very kind to me and sweet. In fact, if we didn’t fall in love and live happily ever after, it was only because her tow truck showed up before the thought did.
Me, I can’t afford no tow trucks. I’d called my lawyer, told him I’d be a little late for lunch, then hopped a 22 and headed for the Mission. My lawyer Will, Esquire, works for some food safety group, tackling Monsanto and other evil empires from his office, Mission and 22nd, overlooking the whole city and both bridges.
He eats at Tao Yin, that Chinese and Japanese joint on 20th, my new favorite restaurant. Lunch specials are $4 to $5 with soup and rice, between 11am and 4pm. Fish with black bean sauce, yum, vegetarian delight for him. And because I’m not currently being sued by anyone or under arrest, we had nothing to talk about but life’s little pleasantries, like the impending end of the world on account of global warming and whatnot.
By the time I got back to my car, it started! I’d missed my gig, my reason for being in the city in the first place, but I had plenty of time to get over to the East Bay, so long as I was here, and have dinner with Ask Isadora at my new favorite restaurant, Amarin, in Alameda.
Thai food. Chicken curry, eggplant and pumpkin special, pad thai, yum yum yum … and because I have no sex life or relationship issues, we had nothing to talk about but life’s little pleasantries, like zoophilia and, you know, whatnot.
Afterwards: bluegrass jam at McGrath’s! Where (Ask says) two straight guys hit on me but I didn’t see it. So they did, and they didn’t. (Christ, I love quantum theory!)
Tell you what: the food was pretty good both places yesterday but not as good as the sum of the leftovers today, under this tree, all jumbled up and warmed on the engine block wrapped in a ball of old burrito foil found under the seat, because, see, I haven’t really cleaned. SFBG
TAO YIN
Mon.–Thurs., 11 a.m.–10 p.m.; Fri.–Sun., 11 a.m.–10:30 p.m.
3515 20th St., SF
(415) 285-3238
Takeout and delivery available
Beer and wine
AE/MC/V
Quiet
Wheelchair accessible

The first 40

0

› bruce@sfbg.com
On Oct. 27, l966, my wife, Jean Dibble, and I and some journalist and literary friends published the first issue of the first alternative paper in the country that was designed expressly to compete with the local monopoly daily combine and offer an alternative voice for an urban community.
We called it the San Francisco Bay Guardian, named after the liberal Manchester Guardian of England, and declared in our statement of intent that the Guardian would be a new model for a big-city paper: we would be independent and locally owned and edited, and we would be alternative to and competitive with the San Francisco Examiner and San Francisco Chronicle, which were published under a joint operating agreement that allowed them to fix prices, pool profits, share markets, and avoid competition.
We stated that “the Guardian is proposed, not as a substitute for the daily press, but as a supplement that can do much that the San Francisco and suburban dailies, with their single ownership, visceral appeal and parochial stance, cannot and will not do.” And we played off the name Guardian by stating that we would be “liberal in assessing the present and past (supporting regional government, nuclear weapons control, welfare legislation, rapid transit, tax reform, consumer protection, planning, judicial review, de-escalation and a promptly negotiated settlement in Vietnam.)” But the Guardian would also be “conservative in preserving tradition (civil liberties and minority rights, natural resources, watersheds, our bay, our hills, our air and water).”
It was rather naive to challenge the Ex-Chron JOA with little more than a good idea and not much money and a wing and a prayer. We had almost no idea of what we were getting into in San Francisco, a venue that Warren Hinckle of Ramparts and many other defunct publications would later describe as the Bermuda Triangle of publishing. But we had, I suppose, the key ingredient of the entrepreneur — the power of ignorance and not knowing any better — and somehow thought that if we could just get a good paper going, the time being l966 and the place being San Francisco and the world being full of possibilities, we would make it, come hell or high water.
Well, after going through hell and high water and endless soap operas for four decades, Jean and I and the hundreds of people who have worked for the Guardian through the years have helped realize the paper’s original vision and created something quite extraordinary: an influential new form of independent alternative journalism that works in the marketplace and provides what little real competition there is to the monopoly dailies. And let me emphasize, the alternatives do not require government-sanctioned JOA monopolies and endless chains and clusters of dailies and the other monopolizing devices that dailies claim they need to survive.
Today I am delighted to report that there are alternative papers competing effectively with their local chains throughout the Bay Area (seven, more than any other region), throughout the state from Chico to San Diego (22, more than any other state), and throughout the nation (126 in 42 states, with a total circulation of 7.5 million, and more coming all the time). There are even cities with two and three competing alternatives, and there are cities where the monopoly daily is forced by the real alternatives to create faux alternatives to try to compete (it doesn’t work). And alas, there is now a Village Voice–New Times chain of 17 papers in major markets, including San Francisco and the East Bay, that is abandoning its alternative roots and moving to ape its daily brethren.
Jean and I met at the University of Nebraska at Lincoln in 1957. Two friends and I were driving around Lincoln one fine spring day, drinking gin and tonics, which were drawn from a tub of gin and tonic that we had mixed up and stashed in the trunk of our car. We happened upon Jean and her younger sister, Catherine, who had come from a Theta sorority function and were standing on a street corner waiting for their mother to pick them up and take them to the Dibble family home in nearby Bennet (population: 412). We stopped, convinced them to ride with us, and got them safely home. They declined our offer of gin and tonics, as did their astonished parents and grandmother when we arrived at the Dibble house.
Jean and I made a good team. We both had small-town Midwestern values and roots in family-owned small-business. Her father owned lumberyards in small towns in southeast Nebraska. Her maternal grandfather founded banks in Kansas and Nebraska and was the state-appointed receiver for failed banks in Kansas during the Depression. Her paternal grandfather owned a grocery store in Topeka, Kan. Jean had the business background and the ability to create a solid start-up plan — she was a graduate of the Harvard-Radcliffe Program in Business Administration and had worked in San Francisco for Matson Navigation as well as Hansell Associates, a personnel firm.
I was the son and grandson of pioneering pharmacists in Rock Rapids, Iowa. (Population: 2,800. Slogan: “Brugmann’s Drugs. Where drugs and gold are fairly sold. Since l902.”) I had the newspaper background, starting at age l2 writing for my hometown Lyon County Reporter (under the third-generation Paul Smith family); going on to the campus paper (which we called the Rag) and then the Lincoln Star (under liberal city editor “Sterl” Earl Dyer and liberal editor Jimmy Lawrence); getting a master’s degree in journalism at Columbia University in New York City; and then working at Stars and Stripes in Korea (dateline: Yongdongpo), the Milwaukee Journal (where I got splendid professional training at one of the top 10 daily papers in the country), and the Redwood City Tribune (where I plowed into some of the juicy Peninsula scandals of the mid-l960s in bay fill, dirt hauling, and the classic Pacific Gas and Electric Co.–Stanford University Linear Accelerator battle). To those who ask how Jean and I have worked together for 40 years, I just say we have complementary abilities: she handles the bank, and I handle PG&E.
Not only did I find my partner at the University of Nebraska, but I also got the inspiration for the Guardian. In fact, I can remember the precise moment of truth that illuminated for me the value of an alternative paper in a city with a monopoly daily press (then, in Lincoln, a JOA between the afternoon Lincoln Journal and the morning Lincoln Star) that was tied into the local power structure, then known as the O Street gang (the local business owners along the downtown thoroughfare O Street). The O Street gang was so quietly powerful that it once decided to fire the Nebraska football coach before anyone bothered to notify the chancellor.
As a liberal Rag editor in the spring of 1955, I had just put out an important front-page story on how one of the most controversial professors on campus, C. Clyde Mitchell, who had been under fire for years from the conservative Farm Bureau and others because of his liberal views on farm policy, was being quietly axed as chair of the agricultural economics department.
We had gotten the tip from one of Mitchell’s students and had confirmed it by talking to professors in his department who had attended the meeting where the quiet firing was announced by Mitchell’s dean. Our lead story was headlined “Ag Ex Chairman Mitchell said relieved of post, outside pressures termed cause.” And I wrote a “demand all the facts” editorial arguing in high tones that “any attempt to make professors fair game for irresponsible charges, any attempt by pressure groups unduly to influence the academic position of university personnel … is an abridgment of the spirit of academic freedom and those principles of free communication protected by the Constitution and the Bill of Rights.” It was a bombshell.
The Lincoln Journal fired back immediately with a classic daily front-page story seeking to “scotch” the nasty rumors started by that pesky Rag on the campus. The story had all the usual recognizable elements: it did not independently investigate, did not quote our story properly, did not call us for comment, took the handout denial from the university public relations office, and put it out without blushing. Bang, that was to be the end of it, on to the next press release from the university.
It made me mad. I knew our story was right, the daily story was wrong, and the story was important and needed to be pursued. And so I stoked up a campaign for the rest of the semester that ultimately emboldened Mitchell to make formal charges that the university had violated his academic freedom. He gave us the scoop for two rousing final editions of the Rag. The proper academic committee investigated and upheld Mitchell but dragged the case out and waited until I graduated to release the report.
Against the power structure and against all odds, Mitchell, the Rag, and I had won the day and an important victory on behalf of academic freedom in a conservative university in a conservative state during the McCarthy era. During this battle I learned how the power structure fights back against aggressive editors. At the height of my campaign defending Mitchell, I was kept out of the Innocents Society, the senior men’s honorary society, although my four subeditors and managers all made it in. The blackball, the campus rumor went, came directly from the regents president, J. Leroy Welch, then president of the Omaha Grain Exchange (known to our readers as the “Old Grain Head”), via the chancellor via the dean of men.
I am forever indebted to them. They taught me at an impressionable age about the power of the alternative press and why it is best exercised by an independent paper on major power structure issues. They also taught me a lot about press freedom, which they were trying to grab from the Rag and me, and how we had to fight back publicly and with gusto.
When Jean and I founded the Guardian, we did so in the spirit of my old Rag campaigns. In fact, we borrowed the line from the old Chicago Times and put it on our masthead: “It is a newspaper’s duty to print the news and raise hell.” We wanted a paper that would be willing and able to do serious watchdog reporting and take on and pursue the big stories and issues that the monopoly dailies ignored — and then were ignored by the radio, television, and mainstream media that take their news and policy cues from the Ex and Chron. In JOA San Francisco that was a lot of stories, from the PG&E Raker Act scandal to the Manhattanization of the city to the theft of the Presidio to the steady conservative downtown drumbeat on such key issues as taxes, social justice, the homeless, privatization, war and peace, and endorsements.
Significantly, because of our independent position and credibility, we were able to lead tough campaigns on public power, kicking PG&E out of a corrupted City Hall and putting a blast of sunlight on local government with the nation’s first and best Sunshine Ordinance and Sunshine Task Force.
Our first big target in our prototype issue was the Ex-Chron JOA agreement, which we portrayed in an editorial cartoon as two gigantic ostrich heads coming out of a single ostrich body, marked in the belly with a huge dollar sign. Our editorial laid out the argument that we have used ever since in covering the local monopoly and in positioning the Guardian as the independent alternative. “What the public now has in San Francisco, as it does in all 55 or so of 1,461 cities with dailies, is a privately owned utility that is constitutionally exempt from public regulation, which would violate freedom of the press. This is bad for the newspaper business and bad for San Francisco.”
The Guardian prospectus, used to raise money for the paper, bravely put forth our position: “A good metropolitan weekly, starting small but speaking with integrity, can soon have influence in inverse proportion to its size. There is nothing stronger in journalism than the force of a good example.”
It concluded, “The Guardian can succeed, despite the galloping contraction of the press in San Francisco, because there are many of us who feel that the newspaper business is a trade worth fighting for. That is what this newspaper is all about.” And we quoted the famous phrase used by Ralph Ingersoll in the prospectus for his famous PM newspaper in New York: “We are against people who push other people around.”
Our journalistic points were embarrassingly timely. A year before the Guardian was launched, Hearst and the Chronicle had formed the JOA with the Examiner and killed daily newspaper competition in San Francisco. The two papers combined all their business operations — one sales force sold ads for both, one print crew handled both editions, one distribution crew handled subscriptions and got both papers out on the streets. The newsrooms were supposedly separate — but as we pointed out over and over at the time and ever after, the papers lacked any economic incentive to compete.
The San Francisco JOA became the largest and most powerful agreement of its kind in the country, and San Francisco was the only top-10 market in the country without daily competition.
This was all grist for the Guardian editorial mills because the JOAs, most notably the recent SF JOA, were in serious legal trouble. The US attorney general was successfully prosecuting a JOA in Tucson, Ariz., claiming the arrangement was a violation of antitrust laws. Naturally, the local papers were blacking out the story. But if the Tucson deal was found to be illegal, the Chron and Ex merger would be illegal too — and the hundreds of millions of dollars the papers were making off the arrangement would be gone.
The JOA publishers, led by Hearst and the Chronicle, quietly started a major lobbying campaign in Washington for emergency passage of a federal law that would retroactively legalize their illegal JOAs. They called it the Newspaper Preservation Act. Meanwhile, the late Al Kihn, a former camera operator for KRON-TV (which was at the time owned by the Chronicle), had prompted the Federal Communications Commission to hold hearings on whether the station’s license should be renewed. His complaint: his former employer was slanting the news on behalf of its corporate interests. We pounced on these stories with relish.
For example, in our May 22, 1969, story “The Dicks from Superchron,” we disclosed how private detectives under hire by the Chronicle were probing Kihn’s private life and seeking to gather adverse information about him to discredit his complaint and to “harass and intimidate him,” as we put it. Later, I found that the Chronicle-KRON had also hired private detectives to get adverse information on me.
I was a suspicious character, I guess, because I had gone to the KRON building to check the station’s public FCC file on the Kihn complaints, the first journalist ever to do so. The way the story came out at a later hearing was that the station’s deputy director left the room as I was going through the records and called Cooper White and Cooper, then the Chronicle’s law firm. An attorney called their investigators, and four cars of detectives were pulled off other jobs and ordered to circle the building until I came out and then follow me when I left the station to return to my South of Market office. They also surveilled me for several months and even sent a detective into the office posing as a freelance writer. (The head of the detective agency and I later became friends, and he volunteered that I was “clean.” He gave me a pillow with a large eye on it that said “You are being watched.” I displayed it proudly in my office.)
Kihn and I were asked to testify before a Senate committee about the Chronicle-KRON’s use of private detectives at hearings on the Newspaper Preservation Act in Washington in June 1969. I took the occasion to call the legislation “the bill for millionaire crybaby publishers.”
I detailed the subsidies in their special interest legislation: “amnesty, immunity from prosecution, monopoly in perpetuity, the legal right to gun down what few competitors remain, and as the maraschino cherry atop this double-decker sundae, anointment as the preservers and saviors of the newspaper business.” And I summed up, “If you plant a flower on University of California property or loose an expletive on Vietnam, the cops are out of the chutes like broncos. But if you are a big publisher and you violate antitrust laws for years and you emasculate your competition with predatory practices and you drive hundreds of newspapers out of business, then you are treated as one of nature’s noble men. And senators will rise like doves on the floor of the US Senate to proffer billion-dollar subsidies.”
After I finished, Sen. Everett Dirksen (R-Illinois) rose as the first dove and characterized my testimony as “quite a dramatic recital” but said that I had not provided a “workable, feasible solution.” Sen. Philip Hart (D-Michigan) recommended that the publishers ought to “read their own editorials and relate them to their business practices.” Morton Mintz, who covered the hearing for the Washington Post, came up and congratulated me. His story, with my picture and much of my testimony, was on the front page of the Post the next day.
Back in San Francisco the Chronicle published a misleading short story in which publisher Charles de Young Thieriot avoided admitting or denying the detective charge and added he had no further comment. Less than a week later, Thieriot wrote the Senate subcommittee and admitted to the charge, saying the use of the detectives was “entirely reasonable and proper.” This statement, which contradicted his statement in his own paper, was not reported in the Chronicle. The “competing” Examiner also reported nothing — neither the original private detective story nor the Washington testimony nor the Thieriot admission.
Nor did either paper report anything about the intensive JOA lobbying campaign headed by Hearst president Richard Berlin, who twice wrote letters to President Richard Nixon threatening the withdrawal of JOA endorsements in the l972 presidential election if he refused to sign the final bill. This episode illustrated in 96-point Tempo Bold the pattern of Ex and Chron suppression and obfuscation they used to advance their corporate agenda at the expense of the public interest and good journalism, all through the years and up to Hearst’s current monopoly maneuvers with Dean Singleton and the Clint Reilly antitrust suit to stop them.
Perhaps the most telling incident came when Nicholas von Hoffman, in his Washington Post column that was regularly run in the Chronicle, called the publishers “as scurvy as the special interests they love to denounce.” He singled out the Examiner and Chronicle publishers, writing that they were “so bad that the best and most reliable periodical in the city is the Bay Guardian, a monthly put out by one man and a bunch of volunteer helpers.” Neither paper would run the column, and neither paper would publish it as an ad, even when we offered cash up front. “The publisher has the right to refuse to run anything he wants, and he doesn’t have to give a reason,” the JOA ad rep told us. The Guardian of course gleefully ran the censored column and the censored ad in our own full-page ad.
On July 25, l970, the day after Nixon signed the Newspaper Preservation Act, the Guardian filed a major antitrust action in San Francisco attacking the constitutionality of the legislation and charging that the Ex-Chron JOA had taken the lion’s share of local print advertising, leaving only crumbs for other print publications in town. We battled on for five years but finally settled because the suit became too expensive. The Examiner and Chronicle continued to black out or marginalize the story, but they and the other JOA papers gave Nixon resounding endorsements in the l972 election even though he was heading toward Watergate and unprecedented disgrace.
Well, in October 2006 the mainstream press is a different creature. Hearst and publisher Dean Singleton are working to destroy daily competition and impose a regional monopoly. The Knight-Ridder chain is no more, and the McClatchy chain has turned the KR remains into what I call Galloping Conglomerati. Even some alternatives, alas, are now getting chained. Craigslist has become a toxic chain. Google, Yahoo!, and Microsoft (known as GYM in the online world) are poised to swoop in on San Francisco and other cities throughout the land to scoop up the local advertising dollars and ship them as fast as possible back to corporate headquarters on a conveyor belt.
I am happy to report on our 40th anniversary that the Guardian is aware of the challenge and is gearing up in the paper and online to compete and endure till the end of time, printing the news and raising hell and forcing the daily papers to scotch the rumors coming from our power structure exposés and our watchdog reporting. The future is still with us and with our special community and critical mission, in print and online. See you next year and for 40 more. SFBG
STOP THE PRESSES: As G.W. Schulz discloses in “A Tough Pill to Swallow,” (a) Hearst Corp. was fined $4 million in 200l by the Justice Department for failing to turn over key documents during its monopoly move to purchase a medical publishing subsidiary, the highest premerger antitrust fine in US history, according to a Justice Department press release; (b) Hearst was also forced by the the Federal Trade Commission to unload the subsidiary to break up its monopoly and disgorge $l9 million in profits generated during its ownership; (c) Hearst-owned First DataBank in San Bruno was alleged in the summer of 2005 to have inflated drug costs by upward of $7 billion by wrongly presenting drug prices, according to a lawsuit reported in a damning lead story in the Oct. 6 Wall Street Journal. Hearst blacked out the stories. And the Dean Singleton chain circling the Bay Area hasn’t pounced on the stories as real daily competitors used to do with fervor.
STOP THE PRESSES 2: SOS alert to the city and business desks of the “competing” Hearst and Singleton papers: here are the links to the key documents cited in our stories, including federal court records of the Oct. 6 Boston settlement with the Hearst-owned First DataBank (www.hagens-berman.com/first_data_bank_settlement.htm), the Justice Department’s antitrust fine of Hearst in 200l (www.usdoj.gov/atr/cases/indx330.htm), and the Federal Trade Commission decision requiring Hearst to give up its monopolistic subsidiary, Medi-Span (www.ftc.gov/bc/healthcare/antitrust/commissionactions.htm).

Or you can read the Guardian each week in print or online.

Politics, beauty, and hope in the Guardian’s arts pages


Forty years of fighting urbicide — and promoting a very different vision of a city

“The first punk rocker”

0

It would be physically impossible to find a cooler film subject than the late Ed “Big Daddy” Roth, the hugely influential and wildly creative artist beloved for his customized cars and monster cartoons (including Rat Fink, born of the SoCal resident’s rejection of Mickey Mouse and all the cookie-cutter mainstreamness represented by the then-brand-new Disneyland).

edcar_ratfink.jpg
Ed Roth and car (and model car).
© Sphinx Productions 2005/ Rat Fink name and device are trademarks of Ed “Big Daddy” Roth, Inc.

Canadian director Ron Mann (Grass, Comic Book Confidential) puts a suitably offbeat spin on his doc, Tales of the Rat Fink, integrating Rat Fink vignettes, quirkily animated still photos, a jaunty surf rock soundtrack, and vintage footage into his exploration of Roth’s life, which dovetails with an enjoyable lesson on American hot rod history.

I recently phoned Mann at his Toronto office for a roundabout chat about hot-rodders, rodents, and Roth’s still-potent legacy. And what about those talking cars, anyway?

Static shock

0

› a&eletters@sfbg.com
REVIEW When it premiered in New York two years ago, Sam Shepard’s latest play was timed to influence the outcome of the presidential election — an enticingly bold agenda. Of course, if you want to influence elections, as everybody understands by now, you need to be more than bold. You need to be Diebold. And anyway, what politician worries about what’s on an Off-Broadway stage? As political theater goes, Hugo Chávez calling George W. Bush the devil and sniffing out his sulfuric farts before the United Nations has much more oomph to it, in addition to getting at least as big a laugh. Chávez also backed up his warm-up zingers with a real political program. And he reads Noam Chomsky!
Two years and another flagrantly stolen election later, The God of Hell remains less interesting for any recyclable reference to the electoral contest between Democrats and Republicans (two packs squaring off again for dominance in the same corporate-owned kennel) than for the reflection in its bleak farce of something larger: an attempt to redraw the psychic and social landscape. Shepard’s ostensibly simple political broadside — whose call to alarm rings more with absurdist resignation than Brechtian defiance — has nonetheless a wily power curled up inside.
The play — sharply directed by Amy Glazer and leading off the 40th anniversary season of the Magic Theatre, Shepard’s old stomping ground — opens on the home of a dying breed: a Wisconsin dairy farmer and his wife. Emma (played with just the right suggestion of guileless good humor and native smarts by Anne Darragh) loves her indoor plants, which she compulsively waters to within an inch of their lives. Frank (John Flanagan), meanwhile, “loves his heifers,” as his affectionate wife readily explains to Frank’s old friend and their current houseguest, the jumpy and radioactive Graig Haynes (Jackson Davis), hiding from some unspecified disaster out west at a mysterious place called, in a name redolent of real-life nuclear disasters, Rocky Buttes. On the one hand, the couple looks primed to live happily heifer after. On the other, they appear stuck in a semiparadisial oasis amid unforgiving winter and a sea of agribusiness, isolated, alone, stoic, lonely, a little loony, and lost without knowing it — yet.
Emma is in the act of coaxing Haynes from the basement with some frying bacon when a stranger at the door interrupts her. As the pork sizzles, the man (Michael Santo), a business suit we later learn goes by the name Welch, appears to be selling a host of patriotic paraphernalia out of his attaché case. But his pushy demeanor quickly goes beyond the usual sales routine, his interest in Emma’s loyalty and her basement growing downright creepy, exuding an unctuousness and a sly arrogance that perfectly suggest the totalitarian turn in what Frank calls a “country of salesmen.” (Santo, whose face stretched into a thin grin bears an eerie resemblance to our real-life torturer-in-chief, is altogether perfect in the part.)
Shepard’s farmers, while purposefully cartoony, aren’t country bumpkins. Nor are they merely atavistic 1950s farmers, existing wholly in the past and detached from the present (as Welch, with telling condescension, likes to imagine them). Locally speaking, they are savvy and sure. (It’s no joke holding your own as an independent dairy farmer amid government-subsidized corporate behemoths.) Emma in particular is rooted to the very house itself, born on a patch of floor Hayes finds himself standing on at one point.
It’s the world beyond the farm and Wisconsin that the main couple find hard to grasp. In the play’s central irony, Frank and Emma tentatively mark the outer world by reference to a standard pop-cultural conspiracy narrative. But significantly, it’s just that laughable (at first) recourse to the formula of a TV thriller or sci-fi movie that points in the direction of the truth, helping Emma and Frank chart the terrain opened up by the arrival of Haynes and Welch. Long before his old friend resurfaces, Frank has already imagined for him, however vaguely, just the kind of intrigue and danger he turns out to have been undergoing. After passing the seeds of this narrative to his wife (who, as it were, dutifully overwaters them), Frank turns around and mocks her paranoia of government vehicles: “Dark cars. Suspicious. Tinted windows. Unmarked Chevies. Black antennas bowed over.” But we already know she’s right. The terrain of conspiracy, like the empire it limns, stretches in all directions, making borders meaningless except as a demagogic strategy in Welch’s fascist, state-centered patriotism.
The play invokes borders mainly to undermine, comically deflate, or cynically manipulate them. The overall and overwhelming implication is their irrelevance to an imperial might that recognizes no boundaries in the exercise of its will (things don’t need to escalate far before Welch threatens to send a bunker buster through Emma’s kitchen window). The vastness of the system confronting Emma and Frank comes across most dramatically in the unstoppable reach of plutonium — named after Pluto, the god of hell — which here serves as both a literal threat of the system and the ideal metaphor for its poisonous, apocalyptic reach. It’s this geography (real, metaphorical, potential) that the play wants us to pay attention to, since survival depends on some grasp of the lay of the land. SFBG
THE GOD OF HELL
Through Oct. 22
Tues.–Sat., 8 p.m.; Sun., 2:30 p.m.
Magic Theatre
Fort Mason Center, bldg. D, Buchanan at Marina, SF
$20–$45
(415) 441-8822
www.magictheatre.org

Change of heart

0

› le_chicken_farmer@yahoo.com
CHEAP EATS It still says Carl’s on the sidewalk in the doorway because that’s what it used to be, and the light from the big scripted Carl’s sign used to romanticize our windows. I was on the bottom (like I like it), and then Wayway lived upstairs from me, and Earl Butter lived on top of him. So anytime any of us looked out our windows, Guerrero and 18th, that was what we’d see: Carl’s.
Ten years later, Wayway, having circled around the Mission, is back on that corner, haunting my old apartment (or vice versa), and Earl Butter still lives up top. Carl’s is something else. The latter-day Missionaries line up around the corner weekend mornings, and their dogs bark, and their cars block people’s driveways, and horns blow, and the longtime residents of 18th and Guerrero wake up too early with hangovers and hate the world. Or at least the little section of it called Tartine. At least Earl Butter does.
I crash in his closet sometimes, and I see him in the morning looking out the window and shaking his fist or worse. Out of respect for Earl and Carl and the “good old days,” I refused for years to eat at Tartine.
Then this: I get an e-mail in response to something I wrote about unisex bathrooms being like bacon to me, and this cool-sounding woman with a cool-sounding name wants to point me to a cool-sounding Web page called PISSR (People in Search of Safe Restrooms). Cool. Oh, and by the way, while she’s at it, she wonders if I’m still looking for dates, and if so, would I happen to be at all interested in queer girls?
I wrote back and said, in effect, where do you eat and when do you want to go there?
Of the three places she mentioned, the only one I’d never been to was Tartine. So we made a plan — Monday, lunch — and that was the day I was cooking one of my chickens all day to say good-bye to my closest, dearest friend Carrie with. Remember?
Big dinner, four courses. So around 11 in the morning, well into Lucille Ball mode and covered in feathers, flour, and tears, I called my lunch date to cancel. First time we’d actually spoken, but before I could come to the point, I must have accidentally said something funny, because she laughed, and that was the end of it. I don’t know if you know this about your favorite chicken farmer, but whether it’s menfolk or the wimmins, the sexiest thing in the world to me is a good laugh. Know what I mean? You can have all your body parts. I want to hear what you laugh like.
She laughed like I like.
“I’m running a wee bit late,” I lied. (I was running a lot late.) “Can we push it back a bit?”
We could! We did, and I was halfway to the city before I realized I was still wearing my apron. At red lights, in the rearview mirror, I tried to make myself pretty, plucking my eyebrows and feathers, etc.
Now, out of necessity, I use the word “date” very loosely these days. Watch out! If you’re meeting me to return a book you borrowed, chances are I’m telling everyone I have a date. In this case, she’d used the word first, so even though it was a pressed sandwich to go, a short walk to Dolores Park, and sitting in the grass for an hour between cooking and more cooking, hell yeah, I was nervous.
Especially about the getting-the-sandwich part, because what if Earl Butter saw me? I had no doubt he would have opened his window and ruined everything. (He confirmed this later: he would have.)
My date was sitting on a bench out front, as planned, reading a Nancy Drew book. She was beautiful, the kind of beautiful that makes you want to run back home and take a longer bath (or in my case, a bath), put on different, cleaner clothes, do something about your hair, and read a lot more than you’ve read so that at least you might seem smart.
Too late for all that. Too late for any of it. I knew Earl Butter to be out gigging until three, and it was quarter till. We got our sandwiches, prosciutto and provolone and something ($8.25) for me, banana and something for her, and we escaped into the park.
So just like that, I have a new favorite restaurant. The sandwich — I’m serious — was awesome!
As for the date … oops, outta space. SFBG
TARTINE
Mon., 8 a.m.–7 p.m.; Tues.–Wed., 7:30 a.m.–7 p.m.; Thurs.–Fri., 7:30 a.m.–8 p.m.; Sat., 8 a.m.–8 p.m.; Sun., 9 a.m.–8 p.m.
600 Guerrero, SF
(415) 487-2600
Takeout available
Wine
AE/MC/V
Wheelchair accessible

Charm latitudes

0

› paulr@sfbg.com
Presidents are so seldom intentionally funny that when a genuine wit makes it to the Oval Office, we (the people!) tend to notice and remember. As a quipster, John F. Kennedy is without peer in modern times, and while his crack that Washington, DC, is “a city of Northern charm and Southern efficiency” might not be his best line, it’s still a pretty good one — not to mention useful for certain latter-day restaurant writers, who admire the deftly phrased paradox while being perennially fascinated by the truth embedded in it. Whether in the New World or the Old, we tend to think of the north as the home of efficiency and practicality, the south of beauty and sensuality, and can ever the twain meet without some sort of Death in Venice disaster?
Kennedy described himself as “the man who accompanied Jacqueline Kennedy to Paris” — another excellent line — so we know he traveled to France. Did he notice, when there, that France might be the one place on earth where the twain could indeed be said happily to meet — that France is simultaneously a northern land of clean cities, fast trains, and a more or less honest bureaucracy and also a Mediterranean realm on easy terms with life’s sunlit pleasures? If so, he has left us no witticism to announce the fact. But I think he would have warmed to Cafe Claude, which isn’t in Paris but feels as if it is, on some lane in the Marais too narrow even for Europe’s ubiquitous Smart Cars.
Here the lane is Claude Lane, a brief segment of asphalt lined by tall glassy buildings that rise in the complex borderland of Union Square, Chinatown, and the Financial District. Nearby Belden Lane, paved with bricks and lined from one end to the other with cafés, trattorias, and fish houses, is better known as a Euro-style restaurant row, but the basic principle is the same, as is the strollable, alfresco feel. The city seems less encroaching in these places, and that is largely because cars are unable to speed through.
Cafe Claude opened more than 15 years ago, so teething and shake-down issues belong to the deep past. The more pertinent question for a place of this age is whether it manages to be both polished and self-renewing or whether senescence has set in. In Café Claude’s case, the answer is pretty clear: it’s in its prime, lively and well run, with food of the urban-earthy sort — rustic dishes prepared with soupçons of metropolitan flash — so characteristic of a certain stratum of Paris restaurants.
For many people, the ultimate treat in French bistros is a plate of steak frites. For me, it is roast chicken ($12.50), a leg and thigh slow-cooked to a gold-dripping tenderness and served with a bright mix of chard, lemon slices, and black olives adrift in the jus. Fries go quite as well with roast chicken as with beef, but at Claude you have to order them on the side ($4, plenty for two). They are sprinkled with herbs and served with a “sauce piquant,” a kind of paprika-enhanced sauce gribiche, lumpy with stubs of cornichons.
The duck rillette ($5) situates a petite slice of meaty pâté, about the size of a brownie, in a vast nest of greens. If shared by two people, the dish is like a charcuterie version of an Easter egg hunt, with the spoils consisting of a single egg. It is best to think of the rillette as a tasting experience: a burst or two of flavor, then on to something weightier, such as that excellent blast from the past, coquilles St. Jacques ($11). Here we have a trio of sea scallops on the half shell bundled with shrimp, mussels, and mushrooms and sealed, oysters Rockefeller–style, under a broiled cap of Gruyère and bread crumbs. The presentation is simple but impressive, and there is a definite unwrapping-a-present pleasure in cracking through the cap to the glistening treasures within.
Weightier still is lamb confit ($23), two rounds of lamb loin braised to pot-roast tenderness and served atop shreds of green cabbage dotted with black olives and bits of red bell pepper. Lamb fat can get pungent if heated, and I had a worry or two beforehand that lamb cooked in lamb fat would be a little too gamy, but the dinnertime kitchen (under chef Leo Salazar) succeeded in discreetly hitting the mute button, with the result a nice lamby — but not too lamby — flavor.
Complaints: the roast-carrot soup ($7), with a submerged reef of Emmentaler gratings, was tongue-searingly hot. A napoleon ($12) of sliced tomatoes and tabs of feta cheese was underseasoned, though the heirloom tomatoes were gloriously ripe. A pan bagnat ($10) featured a smear of tuna salad apparently made from ordinary canned tuna.
But all this was forgiven and then some when the list of digestifs was found to include Armagnac. Armagnac! A snifter for $8 — not bad. Could this be the next big thing? I sippingly pondered that question while the clafouti monster across the table dove into a griotte cherry version ($7) — eggy, I thought (upon a sample or two), but attractively so and baked in a handsome dish of white porcelain.
Cafe Claude must be one of the nicest spots in town to eat outside. There is less tumult and wind than on Belden, and while conventional wisdom teaches that the alfresco season is fleeting in this land of pampered softies, we must remember that the French have a different view: Parisians will take their coffee at sidewalk cafés even with snowflakes twirling softly down around them. So there is northern charm after all. SFBG

CAFE CLAUDE
Continuous service: Mon.–Sat., 11:30 a.m.–10:30 p.m. Dinner: Sun., 5:30–10:30 p.m.
7 Claude Lane, SF
(415) 392-3515
www.cafeclaude.com
Full bar
Noisy
AE/DC/DS/MC/V
Wheelchair accessible

Pumped!

0

› deborah@sfbg.com
There’s something about the infectious confidence of do-it-yourselfers that makes me feel like I can learn to build my own space rocket in the blink of an eye.
That’s definitely the vibe I got when I pedaled up to the BioFuel Oasis in West Berkeley’s light industrial district and met with three of the six women who run the worker-owned cooperative, which is doing so well it’s in the market for new digs.
After pulling off the blue coveralls she wore for a Guardian photo shoot and quickly returning to a project she had going on the computer, Melissa Hardy tells me, “It’s not that hard to work on the fuel delivery system of a car…. Let me just demystify that for you.” Folks who haven’t ventured under their own hood much may be put off knowing that the fuel filter and lines of their trusty old Mercedes-Benz could need changing if they make the switch to biodiesel, but Hardy likens these tasks to changing the tire on a bicycle.
Hardy met the women of BioFuel Oasis in the Berkeley Biodiesel Collective (www.berkeleybiodiesel.org), a group that promotes the use and creation of alternative energy through educational seminars. Before getting into biodiesel, Jennifer Radtke brewed her own wine and Gretchen Zimmermann always enjoyed tinkering with cars. They learned to make their own biodiesel while with the collective. Radtke then started BioFuel with SaraHope Smith, who no longer works with the group, in December 2003.
Thanks to them, diesel car owners can go to the BioFuel facilities garage and fill up on recycled oils processed from the greasy waste of a potato chip factory. At $3.70 per gallon, that’s more than the falling diesel prices, currently $2.83 per gallon in California, but biodiesel drivers still get pretty good mileage — about 8 percent less than when they use regular diesel fuel — and they won’t be contributing to asthma in children.
One reason the price is so high is lack of supply. After filling up his Mercedes 1980 240D and three five-gallon tubs for $113.40, customer Ryan Lamberg, who works with Community Fuels, a company in the process of building a biodiesel refinery, points out that the price can come down as more local farmers turn to growing feedstock crops.
As Radtke explains, the collective has “a commitment to selling biodiesel from recycled vegetable oil, because it is the most sustainable feedstock.”
Though veggie oil has less than half the carbon monoxide and other greenhouse gas emissions of diesel fuel, it does release more nitrogen oxides than other fuels. Perhaps in recognition of this downside, the collective has been running a series of events called “Driving Still Sucks,” which encourages people to continue to walk, bike, and bus.
“We think biodiesel is a transitional solution — not the answer,” Radtke says.
Still, the group believes in its mission to provide an alternative fuel in an alternative way to meet the demands of green-minded Bay Area residents — not to mention Willie Nelson, who stops by to fill up every time he passes through town.
“We’re busting at the seams,” Hardy says. The collective currently is seeking a new, larger space to serve the 1,600-plus customers signed up with the co-op. “We want to create a place that isn’t just a pump and run but more of a crossroads or meeting place, like a natural food store,” Radtke says. SFBG
BIOFUEL OASIS
2465 Fourth St., Berk.
(510) 665-5509
www.biofueloasis.com

Casting off

0

› amanda@sfbg.com
Hornblower Yachts assumed control of the ferry service to Alcatraz Island on Sept. 25. As the new crew cast off the dock lines, spurned union workers — some 30-year veterans with the former contractor, Blue and Gold — rallied with supporters at the entrance, asking passengers not to board the boats.
Two union-friendly visitors from Sydney, Australia, ripped up their tickets and demanded refunds. “We don’t agree with what they’re doing to the workers,” one said, while in the background Supervisors Aaron Peskin and Tom Ammiano took turns with the bullhorn, also offering their support to the workers.
“All of our colleagues on the board are not going to stand for it,” Peskin said to the couple hundred laborers gathered on the sidewalk. “We’re going to stand with you and march with you.”
Terry MacRae, CEO of Hornblower, expressed little concern about the boycotting tourists and the rally at his gate. “I suspect there’s plenty more people who want the tickets if they’re not going to use them,” he told the Guardian. Visits to Alcatraz peak this time of year, with a couple thousand people turned away every day when tickets sell out, according to National Park Service spokesperson Rich Wiedeman.
The NPS decision to grant the lucrative, 10-year contract to Hornblower over Blue and Gold has resulted in more than just what some are calling the largest union layoff in San Francisco waterfront history. The story also has an environmental angle as slick as an oil spill and a nasty landlord-tenant tussle.
“The port and I are extremely concerned with how Hornblower has conducted itself,” City Attorney Dennis Herrera told the Guardian, referring to the company’s artful dodge of city and state permitting processes. “They’ve focused more energy on sidestepping public oversight than complying with it.”
Despite infuriating two leading San Francisco institutions — unions and city planners — MacRae has managed thus far to avoid too much of a stir by keeping another critical local constituency off his back with a well-played “green” card.
THE GREEN MACHINE
When NPS put out a request for proposals in 2004, three companies submitted bids for Alcatraz: Red and White, a local charter and bay cruise company that ran the service when it first started in the ’70s; Blue and Gold, which took over Red and White’s boats and unionized crew in 1994; and Hornblower Cruises and Events, which runs charter and dinner boat cruises from five California ports and is a subsidiary of a larger, $30 million company.
When Brian O’Neill, superintendent of the Golden Gate National Recreation Area, announced last year that Hornblower won the bid, union activists immediately challenged the choice. Mayor Gavin Newsom, Peskin, Rep. Nancy Pelosi, and both of California’s US senators expressed concerns about the decision. Neighborhood group Citizens to Save the Waterfront filed suit. Environmentalists, however, were elated.
For the first time since being passed by Congress in 1998, the Concessions Management Act applied to the bid for Alcatraz. In addition to forbidding the Department of the Interior from favoring incumbent contractors, the act also outlined new criteria for awarding contracts that included a mandate to improve environmental quality in national parklands.
“Bluewater Network has been advocating for more than five years for a solar- and wind-powered ferry for San Francisco Bay,” said Teri Schore, a spokesperson for the local environmental group. She added that diesel vessels in the Bay Area account for more pollution than cars and buses combined. “We’ve been talking to every ferry operator on the bay, and we also knew that the Alcatraz contract was up. We thought it was the perfect application.”
Hornblower’s MacRae wrote a provision into his bid that within two years of taking over the Alcatraz service, the company would build and launch a ferry to run on a combination of solar, wind, and diesel power. After one year of testing the vessel, a second would be built within five years.
That — in combination with a plan to make two initial vessels 90 percent more fuel efficient, as well as implement a clean energy shuttle service on the Embarcadero, power the landing facilities with solar panels, purchase green products, and vend healthy snacks — put Hornblower’s bid over the top.
Wiedeman said all bidders are informed that financial feasibility of the company and potential revenue for the government, as well as environmental and sustainability initiatives, were considered. But some criteria were more weighted than others, and Hornblower ranked strongly on all points.
“We’re ecstatic,” Wiedeman said. “We’re looking at higher-quality visitor services from the get-go.”
But some doubt whether the proposed vessels are anywhere close to a reality. MacRae said a final design and marine contractor have not been selected yet, although Solar Sailor’s model BayTri has been touted. A giant solar-arrayed fin provides auxiliary wind and sun power to the trimaran’s diesel engines. No such vessel has ever been built, but the model is based on a smaller solar ferry that services Sydney Harbor in Australia — with a top speed of just seven knots.
The proposed boat is emissions free and could go 12 knots with the aid of the wind, although it would need a push from auxiliary diesel engines to keep up with Alcatraz’s schedule. Boats now run between 15 and 19 knots.
The other concern is that MacRae’s commitment of $5 million for constructing the 600-passenger vessel might not be enough. The San Francisco Water Transit Authority has been looking into a similar vessel carrying no more than 150 passengers that would cost between $6 and $8 million.
“Their requirements for design are different than what mine would be,” MacRae said. “I think it’s possible to do it for $5 million.”
Bluewater Network founder Russell Long worries that the low-budget cap could hurt the vessel’s environmental potential. “We believe that Hornblower may intend to maintain this budget ceiling even if it compromises other aspects of the design, such as best management practices in regard to environmental components,” he wrote in a letter to NPS, urging reconsideration of the contract.
NPS awarded the contract anyway and Bluewater is hoping for the best.
“We will be watchdogging the progress and keeping track of what’s going on. If it doesn’t happen, it will be a huge black eye for the National Park Service, Hornblower, and the city of San Francisco,” Schore said. “At this point we have faith that it’s going to get built, because it’s in the contract.”
However, Hornblower’s snub toward union contracts and dodgy relations with the city suggest that playing by the rules may not be a top priority for the company.
THE PERFECT TYPO
Since 1974, boats to Alcatraz have run from the Pier 39 area of Fisherman’s Wharf, where waiting ticket holders can indulge in the myriad distractions the tourist hub offers.
MacRae launched his new ferry service from Pier 31, half a mile farther south on the Embarcadero, where he currently leases space and operates a charter and dining cruise business.
Pier 31 is little more than a parking lot with a ramp and floating dock, which only sees about 100,000 people a year, far fewer than the 1.3 million annual passengers Alcatraz draws.
MacRae has attractive plans for a complete overhaul of the area, which would include landscaping and sheltered seating, a bookstore, and an informational center. Such alterations would require a thorough run through the city’s planning process, which MacRae told the NPS he won’t be doing until 12 to 18 months from now.
Instead, interim improvements to the lot were planned, which sparked concern from the city that the sudden increase in foot traffic wouldn’t be properly mitigated. That area of the Embarcadero also hosts 250,000 passengers a year from cruise ships docking at adjacent Pier 35. The Port spent close to $200,000 last year controlling that traffic with signage and police officers. The addition of thousands more visitors streaming down the sidewalks seeking passage to Alcatraz could cause gridlock every time a cruise ship docks.
Monique Moyer, executive director of the port, sent repeated letters over the last year to MacRae asking for clarifications about his plans and expressing concern that the change in use of Pier 31 required a review of existing permits.
She wasn’t alone. On July 31, Citizens to Save the Waterfront filed suit against Hornblower, claiming that the amount of activity at Pier 31 would increase twentyfold. “That represents a substantial change in the intensity of use,” Jon Golinger, a representative from the group, told us.
A change in the intensity of use of a waterfront property triggers the need for a complete environmental impact review (EIR) from the Bay Conservation and Development Commission (BCDC), a state agency with jurisdiction over anything within 100 feet of the shoreline. As many city developers know, EIRs can take many months to consider all potential changes to the existing landscape that the applicant would cause. Delays of that sort could have hindered MacRae’s ability to assume ferry service on the contracted date of Sept. 25.
MacRae said the litigation kept him from divulging to the city his proposed plans for upgrades to the pier.
Just days before the lawsuit was to be argued in San Francisco Superior Court on Sept. 6, BCDC executive director Will Travis sent a letter to Moyer stating that Hornblower’s new service and alterations to Pier 31 did not require any new permits.
He cited a typo from Hornblower’s current BCDC-issued permit as an allowance for the increase in passengers. The permit states that the pier may provide “access to the entire bay via vessel for 200,000 to 5000,000 [sic] people/year.”
He footnoted the quote: “There is clearly a typographical error in the 5000,000 number, which is intended to state the maximum anticipated usage of the dock … the correct number is probably either 500,000 or 5,000,000. While it seems reasonable to believe that the correct number is 500,000, the record contains nothing to substantiate this conclusion.”
Travis also relayed that Hornblower plans to use temporary measures that include trailers with port-a-potties, a portable ticket booth, and hollow traffic barriers for guiding traffic and pedestrians on and off the boat.
Herrera told us that this was the first Moyer had heard of what was planned for the lot and there was concern about how other services in the area and traffic on the Embarcadero would be affected, as well as if any structures, signage, and other enhancements would require additional permits. “It certainly would have been nice if they had shared all these plans so the port could conduct the proper environmental review that we all agree is in order,” he said.
In a strongly worded letter to Travis, Herrera wrote that to allow Hornblower to proceed without any environmental review could violate the California Environmental Quality Act (CEQA) and urged the BCDC to “issue an immediate cease and desist order” to prevent the start of service. Herrera also made the salient point that “the later the environmental review process begins, the more bureaucratic and financial momentum there is behind a proposed project, thus providing a strong incentive to ignore environmental concerns that could be dealt with more easily at an early stage of the project.”
On Sept. 7, BCDC commissioners met in closed session at the end of a four-hour meeting and voted to stand by Travis’s argument.
David Owen, a former Peskin aide who’s also a BCDC commissioner, was one of two abstentions to the otherwise unanimous vote. “It was really frustrating, because it seemed like Hornblower did everything in their power to avoid a permit review,” Owen told us. “Now what? We have a CEQA lawsuit and then the Board of Supervisors shuts down the Alcatraz ferry service? They’ve managed to start up service without acquiring a single permit. Kudos to them for strategy.”
Citizens to Save the Waterfront then dropped its lawsuit, feeling it was weakened by the BCDC decision.
“Essentially, now there’s a turf war between Bush’s park service and the Port of San Francisco,” Golinger said. “BCDC tried to avoid getting involved, but the precedent it sets is horrible. A corporation can come in and skirt any planning process.”
UNION TOWN POLITICS
After scoring the Alcatraz bid, Hornblower sought an exemption to the Service Contract Act of 1965 that would have required MacRae to pay equal to or more than what current crew make. But the Department of Labor ruled Sept. 21 against Hornblower. So veteran Blue and Gold crew have added safety to their concerns.
“I’ve made tens of thousands of landings on Alcatraz Island, and now they have captains who have never been there,” Capt. Andy Miller said. For 17 years, Miller has navigated the busy shipping lanes and the constant summer fog against the tugging tide and the sudden slams of inclement weather to bring tourists, park service staff, and supplies to the island.
“No one’s ever gotten hurt. It’s a very tricky place to land a boat. It takes skill and experience that you can’t just hire off the street,” he said.
Miller said he applied for a job with Hornblower but was not interviewed. So far, no captains and only three ticket agents and a deckhand have been hired from Blue and Gold’s former fleet.
“We have a ready workforce,” Master, Mate, and Pilot union spokesperson Veronica Sanchez said. “They’re going to have to be paid the same wages as union workers at Blue and Gold. They don’t want to be a union shop. Why don’t you want to be a union shop on a union waterfront like San Francisco?”
One reason could be concern that it might bump up costs for Hornblower’s other tour operations. “They want us to agree that if we sign up our workers for Alcatraz, that we won’t organize the dining yachts,” Sanchez said. In 1998, the union attempted to organize Hornblower’s dinner cruise operations in San Francisco but didn’t prevail in a supervised election.
MacRae said he’s not opposed to the unions and he’s encouraged the Blue and Gold staff to apply for jobs. “The unionization is the choice of the workers,” he said. “We try to let the employees make the choices. Last time I checked, that’s who the unions represent.”
“We want to make sure we have the best crew,” he said. “Many of the products and guest services we provide aren’t what Blue and Gold do now.” He added that some current employees from the dining cruises have also been shifted to the Alcatraz route.
“I’ve been here 21 years, and we’ve been replaced by busboys and waiters,” said deckhand Robert Estrada, standing with fellow workers outside the gate of the new Alcatraz ferry service.
Estrada said Hornblower’s reliance on part-time, low-wage workers has earned the company the nickname “the Wal-Mart of the Water.” The company’s rapid expansion, from a two-boat Berkeley-based charter to a multinational fleet with government contracts is a similar characteristic.
Blue and Gold spokesperson Alicia Vargas assured us that the remaining ferry services to Alameda, Angel Island, Oakland, Sausalito, Tiburon, and Vallejo will be solvent, but some of the veteran crew who haven’t been laid off yet are worried this is the beginning of the end.
“The public needs to be warned. If funds don’t come from Alcatraz, Blue and Gold could fold,” said David Heran, an International Boatmen’s Union member and deckhand since 1974 who applied to Hornblower but wasn’t hired. “I’m not ready to retire yet, and this wasn’t the way I was expecting it to happen.” SFBG

Fuzzy police math

0

By Tim Redmond

After ducking the question for weeks, the San Francisco police chief has finally announced that she doesn’t want foot patrols in high-crime areas because it will harm response times. Take the cops out of their cars, the argument goes, and they can’t get around as fast when somebody calls for help.

The chief cites an internal study her staff has done (not enough cops to patrol the streets, but plenty of time for the uniformed staff to spend behind their desks doing studies) that purports to show that removing one mobile unit each shift and replacing the car-bound officers with foot patrols would increase the time it takes to answer a 911 call by several minutes. Sounds awful.

But the study didn’t seem to consider the other side: The cops on the beat — already stationed in the areas where crime is the worst — might actually decrease the number of 911 calls, or get to them faster than the car patrols coming from somewhere else in the precinct. It’s no secret where most of the violent crime happens; that’s why the supervisors are asking for the foot patrols.

If the cops really want to cut the homicide rate (instead of just getting there faster after someone’s already been shot) they need to embrace this kind of proposal. Chief Fong’s current approach clearly isn’t working.

Turf’s up

0

› a&eletters@sfbg.com
First nicknamed the Rolling 20s in the ’70s, then the Twomps in the ’80s, the group of East Oakland avenues below MacArthur and between 19th and Fruitvale avenues received its present designation, the Murder Dubs, in the early ’90s, when a neighborhood hustler named P-Dub began a lethal reign of terror in an effort to control the local drug trade. Naturally, this didn’t endear him to the community, which locked its collective doors to him the night his number came up, leaving him to be gunned down in the street by pursuers circa 1994.
Yet despite this violent legacy, the vibe in the Dubs seems remarkably friendly, at least in the company of its most famous son, 23-year-old MC and producer Beeda Weeda. Head of the sprawling Pushin’ the Beat (PTB) camp — whose roster includes a half-dozen talented producers, as well as rappers like Lil Al the Gamer and veteran crew Under Survalance — Beeda is on familiar terms with most of the neighborhood, though this doesn’t prevent a nearby group of kids from treating him like a star.
“Are you really Beeda Weeda?” one boy asks. “My name’s Beeda Weeda too!” A girl asks for his autograph. “Go get some paper,” the rapper answers, and the kids race home for supplies, allowing us to finish our photo shoot before Beeda poses with his fans and surrenders his signature.
Far from letting it go to his head, Beeda Weeda seems merely amused at his newfound celebrity.
“People see you on TV and they think you rich and famous,” he says with a laugh, referring to his video for “Turf’s Up,” which has been in heavy rotation on VJ-TV (Oakland cable channel 78) for several months, in addition to receiving more than 70,000 plays on YouTube. There’s a vast gulf separating local access from MTV. Still, Beeda has already made inroads into MTV terrain, not the least of which is his contribution to E-40 and Keak Da Sneak’s “Tell Me When to Go” video.
Beeda explains, “40 heard about me and knew I was still in the mix in the town. He didn’t even know I did music when we first hooked up. They wanted to get the elements of the street, the whole sideshow thing, so I helped him do the casting in terms of the cars, the locations, things like that.”
Drawing on their extensive neighborhood network, Beeda Weeda and PTB’s in-house video guru, J-Mo, would end up exerting a considerable influence on the image of hyphy in the national consciousness, due to the video’s success on MTV. The experience also netted PTB some of the unused footage, not to mention high-profile cameos by E-40 and Lil Jon, for its “Turf’s Up” video. More recently, Beeda and West Oakland partner J-Stalin were filmed together in the studio working on their upcoming album, for a segment of an as-yet-untitled MTV reality show following cub reporters for Rolling Stone. (MTV exec Ryan Cunningham confirmed nothing save that the segment was likely to air. Presumably, some sort of Rolling Stone article will run.) At the time of our photo shoot, Beeda’s solo debut, Turfology 101, was about a week away from its Aug. 29 street date and had already been reviewed in the latest issue of Scratch. Released on Souls of Mischief–Hieroglyphics member Tajai’s Clear Label Records and distributed through Hiero/Fontana/Universal, Turfology has just enough major-label clout behind it to get itself noticed even on a NY magazine’s New York–centric radar.
He may not quite be famous yet, but as Beeda Weeda is forced to acknowledge, “My name’s starting to ring bells.”
WHAT’S THAT SOUND?
Some rap names are chosen; others, given. In this case, Beeda Weeda is the rapper’s childhood nickname, derived from his association with Peeda Weeda. “He was like my OG when I was a little kid,” Beeda says. In 1992, at age 15, Peeda was shot by the Oakland Police Department and left paraplegic, one of many victims of the neighborhood’s most violent period.
As the ’90s wore on and Beeda entered his teens, he began making tracks, inspired by neighborhood musicians who would eventually form the core of the PTB production squad. “Most of them are older than me,” he says. “They were into music before me, so I was looking up to them. We got Big Vito, GB, LG, Tre, Miggz, and G-Lite.”
“My partner from the neighborhood, J-Boog, was rapping, and I started making beats,” Beeda continues. “But I didn’t start getting serious until I did a track called ‘Hard Hitters’ for a little group I put together called Dying 2 Live. It came out on an actual CD.”
While “Hard Hitters” didn’t cause much of a ripple in Bay Area hip-hop’s late-’90s commercial doldrums, it was sufficient to establish Beeda Weeda as a neighborhood beatmaker, attracting the attention of up-and-coming rapper Lil Al.
“We hooked up, and I started slanging beats to him,” Beeda says. “He was, like, ‘Man, let’s be a group,’ so that’s when I started really writing. We put out a whole album, all original music, and pushed it in the streets. We pressed it up ourselves. Did all the artwork. I damn near engineered, produced, and mixed the whole thang. It was called Just an Introduction by Lil Al and Beeda Weeda.” Released on their own Young Black Entrepreneurs label in 2002, Just an Introduction would quickly sell out its 500-copy run and make the pair’s reputation in the streets as young rappers.
“At the same time,” Beeda confesses, “we wasn’t really eating off the music, so we had to do other things to make money. Bro got caught up in some bullshit, had to do a little time.” With Lil Al in prison, plans to press a more professionally packaged Introduction were abruptly shelved as Beeda was forced to evolve into a solo act.
“ROLLING MURDER”
“I did a few songs, and I was just pushing it through the Dubs,” Beeda continues. “My music has a lot to do with my environment, certain situations that happen to me or my people. I was basically just making music for me and my niggas.”
Such a local focus, crucial to the Turfology concept, is what gives the album its distinctive flavor. Granted, it mightn’t be to everyone’s taste: Scratch’s generally positive review faults PTB’s use of “the synthesizer,” which makes me wonder how the writer imagines hip-hop is made in the hood. If there’s sense to this remark, it’s in the fact that Beeda and company don’t hide the instrument’s “synthness.” They push big chords composed of the most unearthly sounds right in your face.
As for the suggestion that Turfology at times “sounds like one overlong track,” I can only guess the reviewer is accustomed to the 16-tracks-that-have-nothing-to-do-with-each-other formula of most rap discs. Turfology has a sonic coherence sorely lacking in contemporary hip-hop, the stuff that makes for classic albums. The PTB producers are clearly riffing off each other rather than chasing the hyphy train, yet they don’t sound like they’re in a vacuum. The in-house tracks on Turfology blend seamlessly with beats by young North Oakland producer Jamon Dru of Ticket Face, Charlie O of the Hard Labor camp, and East Oakland’s Mekanix.
“Their music is real current and authentic,” says Clear Label Records head Tajai during a session for the upcoming Souls of Mischief album.
Tajai heard some of Beeda’s demos by chance in a friend’s car and immediately got in touch with PTB. Having dropped several of his own solo albums and collaborations, Tajai was looking to expand his roster with other artists. Along with Baby Jaymes and R&B singer Chris Marisol — both of whom are scheduled to release albums next year — Beeda Weeda and PTB made Clear Label suddenly one of the hottest imprints in the Bay. Tajai dismisses the notion that a hood rapper like Beeda is incongruous with Hiero’s “backpacker image.” “Hiero is from East Oakland. Beeda’s a real serious artist and student of rap in general, and I want Clear Label to be a forum for that kind of artist.”
DO YOUR HOMEWORK
In the months since signing with Clear Label and preparing for Turfology to drop, Beeda has busily maintained his buzz on the mixtape circuit. “Tajai gives us the avenues, but as far as promoting, we do that on our own. Since I’m a new artist, we did The Orientation, had DJ Backside mixing it. That had about 12 songs on there and two originals. The game out here is so saturated. I was, like, ‘Let’s give them away.’ So we started passing ’em out in different cities; next thing you know, my name started ringing.”
At the end of May, Beeda dropped a second mixtape, Homework, mixed by the Demolition Men and consisting of PTB originals. A classic in its own right, Homework, with its organ-driven title track by Jamon Dru, is still banging all over Oakland, unlikely to be silenced even by Turfology’s release.
As we wrap our discussion, the PTB house in the Dubs is virtually empty, prior to being sold. The organization is getting too big to stay in the hood, and the camp is shopping for an industrial space.
“I love this place,” Beeda says. “When our studio was outside the hood for a while, I used to find myself driving out for no reason. I just missed it.” Clearly, the MC is connected to his community, and even if PTB has to relocate, it’s clear that he and his crew have no intention of leaving it behind. SFBG
www.myspace.com/beedaweeda

The cost of harassing the homeless

0

EDITORIAL Mayor Gavin Newsom, who has always talked about treating homeless people with compassion, is allowing the cops to do just the opposite — and it’s costing the city millions. As Amanda Witherell reports on page 11, the San Francisco Police Department under the Newsom administration has issued 31,230 citations for so-called quality of life offenses like sleeping on the streets, sleeping in the parks, and panhandling. In a pioneering study, Religious Witness with Homeless People reports that issuing and prosecuting those citations cost taxpayers $5.7 million over the past two years.
This is a reminder of the failure of the Newsom administration’s housing policy — and a terrible waste of law enforcement resources. The mayor needs to put a stop to it now.
Think about it: most homeless people are living on the streets because they don’t have the money for housing in this famously expensive city. In the vast majority of the cases, giving someone who’s broke a ticket for $100 is a colossal waste: the offender isn’t going to be able to pay anyway, so the unpaid ticket turns into an arrest warrant. The next time around, the police can nab this person and put him or her in jail (costing the city $92.18 a day, according to the Sheriff’s Department). In the end, 80 percent of the citations are dismissed anyway — but not before the police, the courts, the district attorney, and the sheriff run up a huge tab.
In some cases, it’s just another hassle for homeless people. In other cases though, these seemingly minor tickets can rob someone of the last vestiges of a semitolerable life. The list of quotes from homeless people included with the study is, to say the least, depressing:
“They wake me up in the morning and threaten to arrest me if I don’t stand up and start walking. The drop-in centers are full, so I either walk or get ticketed. I can’t walk all day long.”
“They took my vehicle away because I slept in it in the mornings while waiting to get another construction job. Losing my truck was the worst thing that ever happened to me. I can’t get a job without my truck, so now I’m on the street.”
“Just one ticket for sleeping can violate my parole, and then I’ll be in [prison] with murderers.”
“I went to Project Homeless Connect, and they really helped me. Two days later, they arrested me for not paying my tickets.”
The city is facing a homicide epidemic. The police brass constantly complain that there aren’t enough uniformed officers to keep the streets safe. Sup. Ross Mirkarimi is having to fight to get approval for a modest pilot program that would put exactly four officers on foot patrols in high-crime neighborhoods; that program could be funded for less than one-tenth what the city is spending harassing the homeless.
It makes absolutely no sense for the police to be wasting time issuing these sorts of citations. Sure, violent people who are a threat to the public need to be kept off the streets — but that’s only a very small number of the homeless in San Francisco. Letting people sleep in the parks or in their cars isn’t a solution to the homeless problem — but it’s hardly a massive threat to the city’s populace (and certainly not when compared to the growing murder rate).
Newsom, of course, could and should make a public commitment to spending that $5 million in a more useful and productive way. And the Police Commission should look into the Religious Witness study and direct the chief to order officers away from giving quality-of-life citations.
If none of that happens, the supervisors ought to look into this too. If the cops have the money to be chasing panhandlers and car sleepers, the budget committee should look at the department’s allocation and see if some of those resources can’t be better spent fighting actual crime. SFBG

$70 million

0

By Tim Redmond

Assemblymember Mark Leno has gotten one of the most important bills of the year through the state Legislature, and if the governor signs it — and he might — it could bring an additional $70 million to San Francisco, enough (for example) to wipe out Muni’s structural budget deficit.

The billl would allow San Francisco the option of imposing a 2 percent fee on motor vehicle registrations — the same fee that every car owner in California paid for years until Gov. Schwarzenegger summarily repealed it, leaving the state with a $5 billion budget deficit.

If the city voters approved it, the fee could be assessed on cars registered in San Francisco. The city would pick up desperately needed cash for public transit, and car owners would be no worse off than they were under every governor in the past 25 years (except for this one).

Congrats to Leno for making this happen — and if it becomes law, the supervisors should move immediately to implement it.

Cops out of their cars

0

EDITORIAL The politics of crime can be tricky for the left: progressives are against far-reaching and punitive crackdowns, against police abuse, against the pervasive financial waste in law enforcement … and sometimes can’t come up with answers when neighborhoods like Hunters Point and the Western Addition ask what local government is going to do to stop waves of violence like the homicide epidemic plaguing San Francisco today.
So it’s encouraging to see Sup. Ross Mirkarimi, a Green Party member representing District 5, taking the lead on demanding more beat cops for the highest-crime areas in town. Mirkarimi’s not pushing a traditional reactionary approach of suggesting that the city hire more police officers and lock more people in jail; he’s advocating a simple — and decidedly progressive — approach to the issue. He wants the cops out of their cars and on the streets. On foot.
The idea of beat cops and community policing isn’t new at all; in fact, it’s the modern approach of highly mobile officers in cars, dispatched by a central computer and radio system in response to emergency calls, that’s a relatively recent trend. Police brass love it — they can cover more ground with fewer troops — and a lot of patrol officers like it too. They have that big metal car to protect them from potentially hostile criminals, and they don’t have to interact every minute of every day with the people on the streets.
But cops walking the beat are a proven deterrent to crime — and that’s not merely because of their visible presence. Properly trained and motivated community police officers can forge ties with merchants, residents, and neighborhood leaders. They can figure out where problems are likely to happen. They can become an asset to the community — not an outside occupying force that residents neither trust nor respect.
It’s a crucial change: right now, one of the biggest problems the San Francisco Police Department faces in solving homicides is the unwillingness of witnesses to come forward, in part because of a general mistrust of police. When there’s a killing, homicide detectives appear as if out of nowhere, demanding answers; it’s little wonder nobody wants to talk to them.
We recognize that beat patrols won’t solve the homicide crisis by themselves. That’s a complex socioeconomic issue with roots in poverty and desperation, and a couple of folks in blue on the street corner can’t alleviate decades of political and economic neglect.
And we also realize that it can be expensive to put officers on foot — they can’t respond as fast, and it takes time to develop community ties. But Mirkarimi isn’t asking for a total overhaul of the SFPD’s operations. He’s asking for a modest pilot program, a one-year experiment that would put two foot patrols a day in the Western Addition, focusing on areas with the most violent crime. The ultimate goal, Mirkarimi says, is to create a citywide beat-patrol program.
It won’t be easy: the department seems to be pulling out all the stops to defeat Mirkarimi’s proposal, which will come before the Board of Supervisors on Sept. 19. The Police Commission needs to come out in support of Mirkarimi’s proposal and direct Chief Heather Fong and her senior staff to work to make it effective.
The supervisors, some of whom worry that beat patrols in high-crime districts will mean less police presence in other areas, should give this very limited program a chance. Nothing else is working. SFBG

BAY AREA FALL FAIRS AND FESTIVALS

0

SEPT. 2–4
Art and Soul Oakland Frank Ogawa Plaza and City Center, 14th St and Clay, Oakl; (510) 444-CITY, www.artandsouloakland.com. 11am-6pm. $5. The sixth incarnation of this annual downtown Oakland festival includes dance performances, lots of art to view and purchase, an expanded “Family Fun Zone,” and a notably eclectic musical lineup. Big-name musical performers include New Found Glory, Rickie Lee Jones, Calexico, and the Silversun Pickups.
Sausalito Art Festival Army Corps of Engineers-Bay Model Visitor Center and Marinship Park, Sausalito; (415) 331-3757, www.sausalitoartfestival.org. Call or check Web site for time. $5-20. The Sausalito waterfront will play host to hundreds of artists’ exhibits, as well as family entertainment and top-notch live music from the likes of Ramblin’ Jack Elliott, Dick Dale, and the Lovemakers.

SEPT. 2–24
Free Shakespeare in the Park Parade ground in the Presidio, SF; (415) 558-0888, www.sfshakes.org. Sat, 7:30pm; Sun and Labor Day, 2:30pm. Free. Shakespeare’s The Tempest gets a brilliant rendition under the direction of Kenneth Kelleher on the outdoor stage: families fostering budding lit and theater geeks should take note.

SEPT. 4
Cowgirlpalooza El Rio, 3158 Mission, SF; (415) 282-3325, www.elriosf.com. 4pm. $10. This sure-to-be-twangy evening on el Rio’s patio features music by the most compellingly country-fried female musicians around, including Austin’s the Mother Truckers, 77 el Deora, and Four Year Bender.

SEPT. 9
Brews on the Bay Jeremiah O’Brien, Pier 45, SF; www.sfbrewersguild.org. 12-4:30pm. $8-40. Beer tasting, live music, and food abound at the San Francisco Brewers Guild’s annual on-deck showcase.
911 Power to the Peaceful Festival Speedway Meadows, Golden Gate Park, SF; (415) 865-2170, www.powertothepeaceful.org. 11am-5pm. Free. This event calling for international human rights and an end to bombing features art and cultural exhibits, as well as performances by Michael Franti and Blackalicious.

SEPT. 9–10
Chocolate Festival Ghirardelli Square, 900 N Point, SF; www.ghirardellisq.com. 12-5pm. Free. An indisputably fun weekend at the square includes chocolate goodness from over 30 restaurant and bakery booths, various activities for kids and families, and a “hands free” Earthquake Sundae Eating Contest.
San Francisco Zinefest CELLspace, 2050 Bryant, SF; (415) 750-0991, www.sfzinefest.com. 10am-5pm. Free. Appreciate the continuing vitality of the do-it-yourself approach at this two-day event featuring workshops and more than 40 exhibitors.

SEPT. 10
Solano Avenue Stroll Solano between San Pablo and the Alameda, Berkeley and Albany; (510) 527-5358, www.solanoave.org. 10am-6pm. Free. This long-running East Bay block party features a clown-themed parade, art cars, dunk tanks, and assorted artsy offerings of family fun, along with the requisite delicious food and musical entertainment.

SEPT. 16–17
Mill Valley Fall Arts Festival Old Mill Park, Mill Valley; (415) 381-8090, www.mvfaf.org. Sat, 10am-6pm; Sun, 10am-5pm. $7. Dig this juried show featuring original fine art including jewelry, woodwork, painting, ceramics, and clothing.

SEPT. 17
Arab Cultural Festival County Fair Building, 9th Ave and Lincoln, Golden Gate Park, SF; www.arabculturalcenter.org. 10am-7pm. $2-5. Lissa Faker (Do you still remember?) is the theme for this year’s Arab Cultural Festival, featuring a bazaar with jewelry, henna, and Arab cuisine, as well as assorted folk and contemporary musical performances.

SEPT. 23–24
Autumn Moon Festival Grant between California and Broadway and Pacific between Stockton and Kearney, SF; (415) 982-6306, www.moonfestival.org. 11am-6pm. Free. At one of Chinatown’s biggest annual gatherings, you can see an acrobatic troupe, martial artists, street vendors, and of course, lots of moon cakes. I like the pineapple the best.

SEPT. 24
Folsom Street Fair Folsom between Seventh St and 12th St, SF; www.folsomstreetfair.com. 11am-6pm. Free. The world’s largest leather gathering, coinciding with Leather Pride Week, features a new Leather Women’s Area along with the myriad fetish and rubber booths. Musical performers include My Life with the Thrill Kill Kult, the Presets, and Blowoff, Bob Mould’s new collaboration with Richard Morel.

SEPT. 29–OCT. 1
A Taste of Greece Annunciation Cathedral, 245 Valencia, SF; (415) 864-8000, www.sfgreekfoodfestival.org. Call or check Web site for time. $5. Annunciation Cathedral’s annual fundraising event is an all-out food festival where you can steep yourself in Greek dishes, wine tasting, and the sounds of Greek Compania.

OCT. 3
Shuck and Swallow Oyster Challenge Ghirardelli Square, West Plaza, 900 North Point, SF; (415) 929-1730. 5pm. Free to watch, $25 per pair to enter. How many oysters can two people scarf down in 10 minutes? Find out as pairs compete at this most joyous of spectacles, and head to the oyster and wine pairing afterward at McCormick and Kuleto’s Seafood Restaurant, also in Ghirardelli Square.

OCT. 5–9
Fleet Week Various locations, SF; (650) 599-5057, www.fleetweek.us. Cries of “It’s a plane!” and “Now there’s a boat!” shall abound at San Francisco’s impressive annual fleet gathering. Along with ship visits, there’ll be a big air show from the Blue Angels and the F-16 Falcon Demonstration Team.

OCT. 5–15
Mill Valley Film Festival CinéArts at Sequoia, 25 Throckmorton, Mill Valley; 142 Throckmorton Theatre, 142 Throckmorton Ave, Mill Valley; Christopher B. Smith Rafael Film Center, 1118 Fourth St, San Rafael; (925) 866-9559, www.mvff.com. Call or check Web site for times and prices. Documentaries and features of both the independent and international persuasion get screentime at this festival, the goal of which is insight into the various cultures of filmmaking.

OCT. 6–14
Litquake Various locations, SF; www.litquake.org. San Francisco’s annual literary maelstrom naturally features Q&As and readings from a gazillion local authors, but also puts on display a staged reading of an Andrew Sean Greer story, music from Jay Farrar and Ray Manzarek, and a storytelling session with Sean Wilsey and his mother, Pat Montandon.

OCT. 12–15
Oktoberfest by the Bay Fort Mason Center, Marina at Laguna, SF; www.oktoberfestbythebay.com. Check Web site for times. $5-15. One of the few places your lederhosen won’t look silly is the biggest Oktoberfest left of Berlin, where the Chico Bavarian Band will accompany German food and a whole lotta beer.

OCT. 28–29
Wonders of Cannabis Festival County Fair Building, 9th Ave and Lincoln, Golden Gate Park, SF; (510) 486-8083, www.cannabisactionnetwork.org. 11am-7pm. $20. Ed Rosenthal, cannabis advocate extraordinaire, presents contests in comedy and joint rolling, cooking demonstrations, two musical stages, and some heavy-duty speakers: Terrence Hallinan, Ross Mirkarimi, Tommy Chong, and interestingly, Rick Steves of the eponymous PBS travel show. SFBG

Shack chic

0

› paulr@sfbg.com
The crab shack is a species of restaurant indigenous to the Gulf and Atlantic coasts of the United States, and so in these Pacific parts is something of a rarity. Back East, crab shacks tend to be found near beaches — my first experience of one was at Rehoboth Beach, Del., in the summer of 1987 — and to emphasize freshness and immediacy over elaborate preparation. Hence the omnipresence of crab and lobster rolls, french fries, fried clams, steamed crustaceans presented whole and chilled, and other simple, honest fare from the sea.
(A word to the wise: according to the Urban Dictionary, www.urbandictionary.com, “crabshack” also means “crusty slut.” Use of condoms is advised when approaching same, but why? Do rubbers stop critters?)
If you were to launch a search for crab shacks in San Francisco, you would probably not begin at the bustling vortex of Market, Church, and 14th streets — our version of Piccadilly Circus, with not a beach in sight but zillions of streetcars and buses and a subway line underfoot and a zillion transit connections with a zillion pedestrians to make use of them, or not. Also: cars beyond number; you are well advised not to drive into this maelstrom. But do go, by foot or bike, Muni or horse, because at this insane intersection you will find, in the longtime Café Cuvée space (subsequently and briefly occupied by World Sausage), the Woodhouse Fish Company, a cheerfully clattery simulacrum of a crab shack with a to-the-point menu of crab-shack greatest hits, convincingly rendered.
The space has always been a little awkward, despite its high profile at a busy crossroads. There isn’t a proper entryway — you step in and are among tables — and the street presence can seem a little too immediate when a bus roars by or an ambulance shrieks or (less frequently, but surprisingly frequently this summer) a hot wind blows. The lack of a buffer zone was a burr under Cuvée’s elegant saddle, but it matters less for an urban crab shack.
Although tumult from the outside world does seep in with regularity, the place doesn’t look like a shack. It’s been redone in handsome white and green tiles, with a bit of kitschy crab iconography worked into the floor. The look is clean and low maintenance, if reverberant. But tidying up does have its price; a glance at the menu card reveals plenty of numbers in the upper teens, with a few over $20 — not exactly shacky. On the other hand, $29 for a one-and-a-half-pound Maine lobster, served chilled, with drawn butter and coleslaw, isn’t a bad deal. Lobster is best when tinkered with little; the meat has a subtle sweetness that builds if left alone but is easily drowned by sauces. However, some sauce work might have helped the disappointing coleslaw. The cabbage shreds were pretty enough, a mélange of purple and green, but the dish was a little thin in the creaminess department.
A near relation to the slaw, but better equipped, cream-wise, is the iceberg wedge ($5.50), a quarter head of iceberg lettuce showered with bread crumbs, in the manner of a gratin, and lounging amid a supplicant pool of blue cheese dressing dotted with garlic croutons, tomato wedges, and slices of ripe avocado. The truth is that there is too much boring lettuce here — iceberg’s dim reputation is hardly undeserved — but the peripheral players are zesty enough to conceal much of the boringness. A more sophisticated sort of chilled salad is the stuffed avocado ($16); the fruit is peeled and halved and the halves stuffed with, respectively, crab meat (whose sweetness, like that of lobster, benefits from light handling) and peeled prawns. Sauces stand ready at the sides of the platter: a decent cocktail sauce and a distinctively clean-flavored lemon mayonnaise instead of the usual suspect, tartar sauce. I dunked both garlic bread and fries in the mayo and was pleased.
The clam chowder is excellent and is available by cup ($4.50) or bowl ($6) or as part of the Gloucester lunchá ($8.75). This midday option (available until 3 p.m.) also includes half a crab roll — with a seam of melted cheddar cheese that seems out of place — a stack of good fries, and a watermelon point. The roll’s roll was soft and toasty warm, but I wondered: if this is a half roll, how big is a full roll? The answer must be that if you have to ask, you don’t want to know.
You can also get fried Ipswich clams (flown in from New England) on a roll, but at dinnertime one does not favor sandwiches, so we go instead to the platter version ($20), a formidable mass of clam meat liberated from shells and given a knobbly breading before the quick swim in hot oil. Impressions: excellent rough-tender texture, clam meat has a chicken-livery flavor I’d never noticed before, and a plateful of fried clams with french fries is a lot of fried. A squeeze or two from a lemon wedge cuts the greasiness a little though not a lot, but even a little is better than nothing.
An excess of fried food during a dinner’s savory sequence can induce panic about dessert — i.e., should I have fries and a slice of chocolate mousse cake with a scoop of gelato? should I phone ahead for an ambulance? — but Woodhouse solves this problem by not offering dessert. You might luck out at dinner and score, gratis, a thumbnail-size brownie for everyone in your party: petits fours, crab-shack-style. I admire this cheerfully stern no-sweets policy. And … a hint for you sugar sluts: Just Desserts is just around the corner. SFBG
WOODHOUSE FISH COMPANY
Daily, 11:45 a.m.–9:30 p.m.
2073 Market, SF
(415) 437-CRAB
www.woodhousefish.com
Beer and wine
MC/V
Noisy
Wheelchair accessible

SATURDAY

0

Aug 5

Music

Fleshies

Leave it to the Fleshies to carve out something really special in the Bay Area punk scene: since 1999 these Oakland punks boast a sound that, while not wholly serious – among their newest songs is “Half Wolf, Half Vampire … You Are in BIG Trouble!” – is sure to shake the humble listener in rather maniacal fashion. A former asset of the notorious S.P.A.M. (Smarmy Post-Angst Musicians) Records label, they’re coolly anthemic and could easily crunch with the more popular punks if they weren’t so staunchly weird, but therein lies their charm. (Michael Harkin)

With the Bar Feeders and Black Elk
10 p.m.
El Rio
3158 Mission, SF
$7
(415) 282-3325
www.elriosf.com

Event

“Hellraiser 4 Pinewood Derby and Art Auction”

The “Hellraiser 4 Pinewood Derby and Art Auction” has visions of flames in its name and does take place on a Saturday, but burning mishaps are unlikely. Instead expect miniature-size, driverless derby races featuring cars painted and designed by all-star artists, with awards for fastest car and best in show. A silent auction at the event benefits the Mission-based bilingual Buen Día Family School. (Johnny Ray Huston)

8 p.m. (doors open at 6)
Shooting Gallery
839 Larkin, SF
Free
(415) 931-8035
www.hellsbellescarclub.com
www.shootinggallerysf.com

After oil

0

OPINION Every day a river of cars flows across the Bay Bridge into San Francisco, bringing workers, tourists, and visitors to the city. Nearly all run on petroleum fuels. Every day a staccato procession of planes lands at SFO, bringing tourists, conventioneers, and returning residents. All fly on petroleum fuels. Every day a phalanx of trucks delivers food to grocery stores, restaurants, and corner markets. All run on petroleum fuels. Every day roads are paved, potholes are filled, roofs are tarred, machinery is lubricated, and tires are replaced. All are done with petroleum-derived products. Every day hundreds of thousands of purchases take place, every one enabled by petroleum.
What will happen when the petroleum behind all these activities costs $100 a barrel? $200 a barrel? Or more? San Francisco’s viability as a major West Coast city is based on cheap petroleum. But the century of cheap petroleum is quickly coming to an end, and an era of expensive, scarce oil is dawning. Just as US production of oil peaked in 1970, production of oil from an increasing number of other countries has peaked as well. Currently, 33 of the top 48 major oil producers in the world are in irreversible decline, among them the United Kingdom, Norway, Mexico, and Indonesia. Within a few years — and indeed some claim it has already happened — global oil production will peak, then begin a protracted decline. The consequences are unthinkable. A world — and a city — built on cheap petroleum faces the largest challenge of modern times.
Nothing exists that can seamlessly replace petroleum. For transport, ethanol and biodiesel have been touted but both require tremendously higher levels of energy inputs for production compared to petroleum, and the competition with food production is already apparent with the rising price of corn in the Midwest. For other uses — lubrication, paving, plastics, pesticides, pharmaceuticals, cosmetics, paints, inks, solvents, detergents, rubber, and thousands more — no drop-in substitute is remotely ready. Alternate sources — such as the tar sands of Canada — produce in net only a half barrel of oil for every barrel of energy consumed. As petroleum production reaches its peak, every aspect of our lives will be profoundly impacted.
What can be done? First, it’s important to understand the phenomenon. Peak oil is not an oil company conspiracy, nor is it the result of OPEC’s actions — this is the result of a century and a half of ever-rising exploitation of a finite energy source. Second, we need to examine how we use energy in San Francisco to determine ways to either reduce consumption or find nonfossil alternatives to supply it. We need to examine our food supply — completely dependent on petroleum for planting, harvesting, processing, and transporting — along with city operations and residential, commercial, and transportation requirements to assess their vulnerability in an era of rising energy prices.
In April, San Francisco became the first major city in the United States to pass a peak-oil resolution, and on July 28 the San Francisco Local Agency Formation Commission held the first in a series of hearings on the issue of peak oil. Over the next year the commission will hold additional public hearings to educate and inform the citizenry of San Francisco on peak oil and will be launching a study to identify the possible responses we can take. SFBG
Ross Mirkarimi
Sup. Ross Mirkarimi represents San Francisco District 5.

Monopolies are forever

0

July 28, 2006

By Bruce B. Brugmann
(henceforth to be known as B3 in this Bruce blog)

Earlier this week I dropped by Christopher’s Books on Potrero Hill, my favorite neighborhood bookstore, and was delighted to find a new grassroots newspaper that is published, written, edited, and distributed by a l3-year-old young lady.

Oona Robertson calls her paper “The hill, a Potrero Hill Kids newspaper.” She writes that she has “lived on Potrero Hill all my life. I like to read, write, fence, play sports and be in nature. I live with my mom, dad, sister, brother, fish and cats. I hope you enjoy my newspaper.”

She says her paper is “for kids of all ages.” The current issue has a poem titled
”Ode to my cat,” an essay headlined “The benefits of not owning a car,” part two of a serial about l5-year-old kids spying on a rich man in a mansion in Napa, four “fun summer recipes,” a synopsis of two kids movies (“Cars” and “Garfield, a Tale of Two Kitties”), a review of “The Alex Rider series,” a “Corn Cake Monster” comic strip, advice for bored kids during the summer (“try the ultimate water fight: invite all your friends and kids from your block to come to your house for the ultimate water fight…bring water balloons, water guns, water bottles, buckets, soakers, anything they can think of…Then go into your backyard or out front and either organize teams or have a free for all.”

The monthly paper is sold for $l at Christopher’s Books, but Oona says for an extra $3 she will hand-deliver her paper, but only to the houses of Potrero Hill kids. She will also take ads for $l. And she will take editorial submissions from kids. (Send ads and submissions to the hill, %Christopher’s Books, 1400 l8th St., SF 94l07.)

The hill is an amazing bit of entrepreneurial journalism, which I was reading as an email came in from my source in Contra Costa County, a news junkie and First Amendment warrior, who regularly alerts me to news in the Contra Costa Times that doesn’t appear in the San Francisco Chronicle. Did you see that the judge is going against Clint Reilly on his antitrust suit, he asked. No, I replied, I didn’t see the story. So I checked and sure enough, buried on page 9 in the Bay Area section, with a wimpy little head “Early ruling denies bid to halt big media sale,” was a story in the classic Chronicle tradition of minimalist and pock-holed media and power structure reporting. For attentive Guardian readers, you know our competitive-paper line. But this story had major whoppers and raised in 96 point Tempo Bold a new flurry of unanswered questions about a media monopoly move that will (a) allow Denver billionaire Dean Singleton to buy the Contra Costa Times, San Jose Mercury-News and Monterey Herald, plus a batch of weeklies and free dailies, and pile them up in his existing stable of papers that ring the bay, and (b) thereby gain a chokehold on Bay Area journalism for the duration, and (c) destroy the last remaining daily competition in the Bay Area–with the Chronicle– by getting Chronicle owner Hearst to assist and invest in the deal with undisclosed multi-million dollar stakes in other Singleton properties outside the Bay Area.

Whopper No. l: “In issuing the preliminary ruling (against Riley and for the Hearst/Singleton consortium), U.S. District Judge Susan Illston said the defendants faced greater harm than Riley if the sale of the San Jose Mercury News and Contra Costa Times was halted. ’I don’t see imminent irreparable harm to the plaintiffs,’ she said.”

Whopper No. 2: “Alan Marx, an attorney for MediaNews (Singleton), said there will be no cooperation between Hearst and MediaNews after the transaction. He said serious delays to the sale could force MediaNews to incur interest rate penalties of at least $22 million on loans that MediaNews has arranged to finance the purchase.”

Pow! Pow! Pow! If this single ownership chokehold on the Bay Area is not “irreparable damage,” then what is? Why is the federal judge worried about “irreparable damage” to billionaires in New York (Hearst) and Denver (Singleton), as well as the other billionaire partners to the deal in Sacramento (McClatchy) and MClean, Va. (Gannett) and Las Vegas (Stephens), and not worried about “irreparable damage” to the public, to readers, to advertisers, to competitive papers, to the health and welfare of their local communities, and to the marketplace of ideas principle underlying the First Amendment?

Some other key questions that the Chronicle and the other participants in the deal aren’t raising and answering: How can the publishers proceed before the Justice Department and the Attorney Generals approve and sign off on the deal? Why don’t they ask Attorney General Bill Lockyer about the status of his investigation? Lockyer, after all, is running for state treasurer and is on the campaign trail, as is Oakland Mayor Jerry Brown, who is running for Attorney General. Lockyer appeared on the Will and Willie show on the Quake last week and left the room, just before Guardian executive editor Tim Redmond came on. Redmond opened up his remarks by saying that he wished he had known Lockyer was on the show, because he would have asked him about his investigation. And then Tim and Will Durst and Willie Brown discussed the impact of the Hearst/Singleton issues in an open and lively way almost never done in the mainstream media. Why are Lockyer and Brown on the lam, and allowed to be on the lam, when they are once again running for major statewide offices? Let me note that they refuse to answer our repeated questions on the deal.

More questions: why, if Hearst and the other publishers feel they can’t cover themselves, don’t they get comments and op ed pieces from journalism or law professors at nearby UC-Berkeley, Cal-State Hayward, Stanford, San Jose State, SF State, USF? Why don’t they check with other independent experts such as Ben Bagdikian of “Media Monopoly” fame, who is living in Berkeley? Why don’t they quote Norman Solomon, a local media critic who writes a nationally syndicated column? Or Jeff Perlstein, executive director of Media Alliance or the Grade the News media reporting operation housed at San Jose State University? Why don’t they quote union representatives at the Chronicle and Merc? Why don’t they quote any one of the six U.S. representatives from the Bay Area that called on Justice and the AG to carefully scrutinize the sale? Why don’t they call on Sup. Ross Mirkarimi, who introduced a local resolution opposing the sale, or any of the other supervisors who approved it unanimously? (Note: the Chronicle refused to run the Mirkarimi resolution even though I personally hand-carried it to the Chronicle City Hall reporters in the City Hall pressroom.) Why is it left to the handful of remaining independent voices to raise these critical questions?

I’m sending these questions to the local publishers, and I’ll let you know what they say.

Hearst has never been much good on local power structure issues (witness its blackout of the PG&E-Raker Act scandal), but things will only get worse when it is comfied and liquored up with Singleton and there is no real daily competition in the Bay Area. The way Hearst and the other billionaire publishers blacked out and minimalized this critical story–a story critical to their future credibility and influence–is a harbinger of the future of journalism in the Bay Area and beyond. Alas. Alas.

I sometimes think that Oona Robertson and the hill can do better.

This is my first blog, so please be kind until I get the hang of it and get safely out of my Royal typewriter past. I have much to say, in a journalism career that started at age 12 on the famous Lyon County Reporter in my hometown of Rock Rapids, Iowa. I wrote a rousing story about catching a trout in the Black Hills on a vacation with my parents. I wrote a column for four years during high school, wrote off and on through the years and even worked a summer as the only reporter on the paper. I learned a couple of key things in the College of Community Journalism in Rock Rapids: that it is important to be accurate, and good spirited, because the locals know the story and read the paper to see if you got it right. And that, when you write about somebody, you write knowing you may seeing them later that day at the Grill Cafe or Brower’s Pool Hall or the golf club.

In Rock Rapids, I always felt I was having an ongoing conversation with the the people in town and on the farms. And, for the past 40 years at the Guardian, I have felt that the Guardian staff and I were conversing with our readers and the people of San Francisco. So now, with the magic of the internet and the blog, I hope to converse even more directly with our readers. Join the conversation. Join the fun. B3

{Empty title}

0

› tredmond@sfbg.com
I started down Valencia Street around 8:30 last Thursday morning, trying to get to Mission and Embarcadero for a 9 a.m. radio show, and I caught up with two other bicyclists at a red light around 23rd Street. None of us said anything, but we rode more or less together for a couple more blocks, then picked up a few more riders here and a few more there, and by the time we hit Market Street, there were probably 15 of us, riding along in some sort of impromptu Critical Mass–style convoy. We (carefully) ran lights together, rode around cars together, and somehow, I think, psychically watched each other’s backs. I was on Market Street during rush hour, and I actually felt almost safe.
It was a San Francisco moment, one of those instances of accidental community that make you remember why this is the world’s best city. And while the greedheads keep trying to ruin it, we can still dream of making it better.
That’s what this Best of the Bay issue is dedicated to: a celebration of all that is wonderful in San Francisco and the Bay Area — and a vision of what it could be, maybe even might be, if we can wrest control of the future from the people who brought us the high-rise boom, the war against fun, dot-com development, Gavin Newsom, and the $2,000 studio apartment.
It could be, it can be, and sometimes it is — the city of the future. SFBG

Hot times

0

By Steven T. Jones
I finally got around to seeing An Inconvenient Truth on Friday night, just as the realities of global warming couldn’t be more clear. It was downright balmy at 10 pm when I stepped out of the theater and the weekend only got hotter from there, breaking heat records all over the country. I spent Sunday with my kids in Modesto and endured 115 degree heat, the kinda weather that convinces some bodies to simply drop dead. And it’s only going to get worse, a truth both incontrovertible and inconvenient to our status quo political and media establishment, which love to mock progressive voices like the Guardian who urge radical change. Even here in San Francisco, we’re still fighting about whether to facilitate bicycling and other measures that discourage driving cars. It’s maddening. Sup. Ross Mirkarimi will this Friday at 1:30 hold a hearing on Peak Oil before LAFCO — which will likely be belittled by the Chron and the Ex’s resident blowhard Ken Garcia. They prefer small potatoes BS like clean streets and playing nice with downtown and love to mock supervisors who talk about war, human rights, or saving the planet. But in the absence of leadership at the state and federal levels on the most important issues of the day, maybe it does become incumbent on San Francisco to step up and lead. Maybe radical proposals have become the most reasonable. And for the rest of us, even the small stuff will help.

Hot times

0

By Steven T. Jones
I finally got around to seeing An Inconvenient Truth on Friday night, just as the realities of global warming couldn’t be more clear. It was downright balmy at 10 pm when I stepped out of the theater and the weekend only got hotter from there, breaking heat records all over the country. I spent Sunday with my kids in Modesto and endured 115 degree heat, the kinda weather that convinces some bodies to simply drop dead. And it’s only going to get worse, a truth both incontrovertible and inconvenient to our status quo political and media establishment, which love to mock progressive voices like the Guardian that urge radical change. Even here in San Francisco, we’re still fighting about whether to facilitate bicycling and other measures that discourage driving cars. It’s maddening. Sup. Ross Mirkarimi will this Friday at 1:30 hold a hearing on Peak Oil before LAFCO — which will likely be belittled by the Chron and the Ex’s resident blowhard Ken Garcia. They prefer small potatoes BS like clean streets and playing nice with downtown and love to mock supervisors who talk about war, human rights, or saving the planet. But in the absence of leadership at the state and federal levels on the most important issues of the day, maybe it does become incumbent on San Francisco to step up and lead. Maybe radical proposals have become the most reasonable. And for the rest of us, even the small stuff will help.

A tale of two museums

0

› amanda@sfbg.com
The Presidio, converted from military to civilian use 12 years ago, has six million square feet of former officers’ quarters, barracks, and buildings that make it unlike any other national park in the country.
This public space has become home to a mixed bag of occupants — primarily private citizens, a smattering of nonprofit organizations, and an increasing number of commercial enterprises — as the Presidio Trust pursues a controversial congressional mandate to be financially self-sustaining.
Two different museums have also vied for residence at the site of the park’s Main Post: the California Indian Museum and Cultural Center (CIMCC) and the Disney Museum. Both submitted viable proposals for exhibition space, representing starkly different futures for the Presidio.
This is the story of how one may get to stay and the other just had to go. This is also the story of how the Presidio Trust is transforming a prized national park into just another piece of real estate to be claimed by the highest bidder.
LOST HERITAGE
In Presidio Trust literature, the Main Post is called the “heart of the Presidio.” The centrally located seven-acre parcel includes an enormous parking lot surrounded by dozens of buildings that provide a steady stream of traffic pumping through the arteries of Presidio Boulevard and Doyle Drive. If you were hoping to attract a regular flow of visitors to your museum, the Main Post would be an ideal place to put it.
Photographs of classic Presidio architecture usually show the northwestern edge of the Main Post where Buildings 103 and 104 are a stately couple among a quintuplet of identical four-story brick structures. They are now empty, except for some temporary office space. Approximately 44,000 square feet each, the historic barracks were built between 1895 and 1897 to accommodate troops returning from frontier battles during the conquest of Native American tribes.
When the National Park Service was handed the Presidio in 1995, the CIMCC became one of the first “park partners” to set up office. For almost two years, the museum negotiated with the park service to lease additional space for the first living museum of Native American culture in California.
The museum planners took a shine to Building 103, paid for a $44,000 renovation study, and kicked off the necessary fundraising with a $2 million allocation from then–Senate president pro tem Bill Lockyer. Joseph Myers, a Pomo Indian, lawyer, and chairman of the CIMCC Board of Directors, said there was a lot of enthusiasm for the project.
“Even when we just had office space here we had international visitors wandering through, wondering when there would be a museum here,” he said.
Things were looking hopeful, and on Sept. 21, 1996, the Presidio, originally home of the Ohlone tribe, hosted a formal dedication of the return of a Native American presence to the park. Then-mayor Willie Brown attended the ceremony and pledged his support to the project.
Not long after, the Presidio’s power structure radically shifted. The park was split into two areas, with Area A along the waterfront managed by the park service and the inland Area B and the bulk of its buildings, including the Main Post, managed by the Presidio Trust — the result of a newfangled proposal by Rep. Nancy Pelosi that won acceptance in a Republican-controlled Congress.
The Presidio is the first national park with a mandate to pay its own way; the trust’s finances are governed by a board of seven presidential designees — initially chaired by downtown-friendly Toby Rosenblatt and including Gap founder Donald Fisher. The new landlords informed the CIMCC that all real estate negotiations were on hold.
“We tried very hard to convince them we would be good tenants,” Myers told the Guardian. “The Presidio is originally one of the places where Indians suffered at the hands of Spanish conquistadors. They were tortured and killed for not being good slaves. That’s old history, but it’s certainly morally and culturally acceptable to consider the Presidio a good place for a museum.”
But over the course of three years, serious discussions with the trust were delayed, and alternate plans and proposals for different buildings were ignored. In September 2000, at Myers’s insistence, the CIMCC finally met with Presidio staff and was encouraged to submit a proposal to renovate three dilapidated buildings near Lombard Gate.
The deadline to submit was short, but the CIMCC met it and museum planners say they were promised a decision within 14 days. Nine months later they received a formal response with, according to Myers, no solid answer. They continued waiting until an article in the San Francisco Chronicle informed them that the buildings had been leased to a private foundation from Silicon Valley.
The results of that deal now stand within sight of the Main Post: the Letterman Digital Arts Center, 850,000 square feet of space renovated and leased for $5.6 million a year by the private company Lucasfilm.
According to Presidio spokesperson Dana Polk, negotiations didn’t work out because the CIMCC couldn’t pay rent or put money into the work on the building. “They weren’t able to do either,” she said.
Somehow the museum was able to do it elsewhere. After withdrawing all proposals and vacating its office space, the CIMCC purchased a 24,000-square-foot building in Santa Rosa. The museum pays $10,000 a month in mortgage for the building, now worth $3 million, and it’s a better deal than the Presidio offered: a leased space at $50,000 a month after $10 million in renovations paid out from the CIMCC’s pocket. But it doesn’t lessen the irony or pain of the situation.
“The philosophy behind keeping the Presidio alive for public access was not for the purpose of George Lucas and Disneyland, but for California culture,” said Myers. “I think they have their own idea of what cultural projects are, and it’s not us.”
The new museum is still under construction in Santa Rosa and will include displays of indigenous art and archives. The National Indian Justice Center already calls it a home, and there are regular workshops on subjects like storytelling and art, current issues, and traditional uses of California native plants.
“That would have been a perfect fit for a national park,” said Joel Ventresca, chair of Preserve the Presidio, a watchdog group that’s fought past Presidio developments. He likened the CIMCC to exhibits in Yosemite where visitors can learn about the lives and legacies of local tribes. “Where is that in the Presidio? It’s nowhere.”
Actually, he’s not quite right. Directly in front of Building 103, there’s an old, paint-chipped sign with faded letters that reads, “Old Burial Ground. The area immediately to the west of this marker was used by the Indians, Spaniards, and Mexicans to bury their dead — 1776–1846. The remains are now in the National Cemetery, Presidio of San Francisco.”
MICKEY MOUSE PROPOSAL
If the CIMCC had found a home in Building 103, Myers would be preparing to welcome a new next-door neighbor. The Disney Museum is the next bastion of culture vying for residence in the Presidio and it has designs on Building 104.
The proposal comes from the nonprofit Disney Family Foundation — a compendium of Walt’s family, headed by daughter Diane Disney Miller, that split from the Disney Company. Due to a curiosity about Walt Disney apparently unsatisfied by several theme parks around the world (one of which, at 47 square miles, is nearly the size of all of San Francisco), the family is looking for a place to display what remains of Disney’s personal artifacts.
Museum planners hope that by 2009 they can invite the public to view items like the Academy Awards he once won and the cars he once drove. Part of the Disney proposal includes renovating Buildings 108 and 122 as well, and the overarching plan is for office space and a reading room, gift shop, and café.
Walt Disney never lived in San Francisco, and when asked why the Disney Family Foundation selected the Presidio, trust spokesperson Polk said of the family, “They live relatively locally, in Napa. They’ve always enjoyed the Presidio and the history here.”
No agreements have been signed yet between Disney and the trust, and according to Polk the project is still subject to approval by the Presidio board. But the foundation has announced the plan on its Web site and held a celebration in November 2004, where Miller and trust staff answered questions about the project.
When the Presidio was first conceived as a national park in 1994, it was sold to the public as a “global center dedicated to the world’s most critical environmental, social, and cultural challenges.” Part of the National Park Service’s General Management Plan was to house people and organizations inspired by their unique setting to do good work for the public benefit. Then when Congress put a financial noose around the park and designed the Presidio Trust with a mandate for fiscal sustainability, that vision was blurred.
“This underlying issue of letting market forces come into play in a national park, it’s a terrible precedent,” said Presidio activist Ventresca. “People who have an important cultural story to tell are given the cold shoulder, and people with deep pockets are being given a place to build a monument to their father.” SFBG

Town and country

0

› paulr@sfbg.com
It is safe to say that when city people talk about going on a jaunt to the country, the country they are talking about going on a jaunt to qualifies as the country mostly by virtue of not being the city. Jaunters are not proposing to leave civilization; city people do not drive to Healdsburg on a tranquil Saturday afternoon in June, braving bridge traffic and 101 traffic, so that they can milk cows or pull weeds at a biodynamic winery. City people go, one suspects, largely in hopes of escaping the city’s fog and wind, of seeing the sun and being able to wear short-sleeve shirts without shivering or looking like foolish tourists.
If these simple graces are what you have in mind, then you will find Healdsburg an accommodating place in early summer. Later the weather will grow torrid, and even the lush, arboreal green of the quaint town square will not be enough to banish the faint fear of heatstroke. But the square will still cast its 19th-century spell, and if you are seated in Bistro Ralph, on the north edge of the square, you might find yourself looking out the plate-glass windows to the shady prospect and imagining that you are beside a cooling pond somewhere in Monet-land, at Giverny itself, perhaps.
Ralph Tingle opened Bistro Ralph in 1992, and I remember peering inside the restaurant on a mid-1990s jaunt with European friends and thinking, How chic, how citified! At that time, Healdsburg still seemed to me to be mostly a dusty, sleepy country town — a more relaxed version of day-trippy Sonoma — and Bistro Ralph an aberration arresting in its sleekness, not a harbinger. But … it turns out to have been a harbinger. Today the town square on a warm weekend afternoon is like Union Square, aswarm with expensively dressed pedestrians and honking, bumper-to-bumper traffic: late model cars furiously getting in one another’s way. The wealth of spanking-new or just-renovated buildings — there is one for Gallo, another for a restaurant called Zin — look as if they belonged on the set of a Spielberg movie.
In this transformed locale, Bistro Ralph is no longer quite so striking. You could walk right by it, in fact, if your thoughts were elsewhere (it’s narrow and midblock, unlike Gallo and Zin, a pair of cornerstones), and once inside, you might find yourself paying less attention to the restaurant’s kinship with Zuni and Mecca than to its resemblance to an old Roman storefront: narrow, deep, and cool under a high tin ceiling. Toward the rear of the dining room stands a longitudinal bar, while at the very rear is a semi-exhibition kitchen — not big, but then the restaurant itself is quite snug, not much larger than the original Delfina.
The wine list consists exclusively of bottlings from the Healdsburg vicinity, and this bias gives our first hint as to what Tingle’s food is going to be like. Although California wines have their virtues, they do tend to be fruity and a little boisterous — not the food-friendliest qualities, unless the food is equally assertive. And Bistro Ralph’s is. The only dish we could find on the shy side, in fact, was a Caesar salad ($8), which lacked anchovies, used a mild aged–jack cheese from Vella instead of the traditional parmesan, and was tossed with a dressing in want of more garlic. On the other hand, the spears of romaine were immaculate, and a pair of croutons smeared with a loud red rouille gave a nice murder-mystery twist.
But let us forgive and forget the salad. The rest of the dishes were notable for their muscularity, beginning with a heap of calamari ($11) dipped in a peppery batter before being flash-fried. The pepper was enough to carry the day, but just to make sure, the kitchen provided a pot of gingery sesame-soy sauce for dipping. A bowl of tortilla soup ($6), thick and glossy like velouté, was the most intensely flavored such soup I’ve ever tasted: a liqueur of roasted corn. There was visual and textural interest here too, from crispy strands of fried tortilla and drizzlings of cilantro oil, but, as with the calamari, the soup could easily have stood on its own.
Liver raises a flag for some of us — calves’ liver especially; chicken livers are manageable. Tingle’s version ($12) presents the latter sautéed in a rich yet nicely acidic bath of balsamic vinegar, caramelized onions, and pancetta, with a block of fried polenta to one side, a golden promontory over a moody brown sea. If you’re inclined toward the reddish orange end of the spectrum, you will like the lamb burger ($9.50), whose spicing appears to include (sweet) paprika. Of at least as much note, though, is the pile of sublimely crisp matchstick fries on the plate.
The dessert list is largely a choco-fest. An exception is the “best” crème brûlée ($7.50), whose custard is flecked with vanilla bean to reinforce the claim of superlativity. As for chocolate: It gets no more chocolatey than the marquise Taillevent ($7.50), two petite slabs — rectangles, not squares — of a substance our server described as “a cross between a mousse and fudge,” adrift in a puddle of crème anglaise. Like any great dessert, this one disappears quickly but leaves you with a memory, a pleasurable tingle. SFBG
BISTRO RALPH
Lunch, Mon.–Sat., 11:30 a.m.–2:30 p.m.
Dinner, Mon.–Sat., 5:30–9 p.m.
109 Plaza, Healdsburg
(707) 433-1380
Full bar
MC/V
Can get noisy
Wheelchair accessible