Drugs

Small Business Awards 2008

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When Jean Dibble and I founded the Guardian in 1966, we came with the values of the Midwestern small business, the family farm, and the small-town community. We like to say that the Brugmann and Dibble families have been continuously in small business for more than l00 years.

My grandfather was the eighth child of a German immigrant farmer who homesteaded on 160 acres of prairie grass in northwest Iowa, near Spencer. He picked nearby Rock Rapids as the place to set up a general store-type drugstore, and he and my father spent their entire lives in the store, which was known throughout the territory as "Brugmann’s Drugs, where drugs and gold are fairly sold, since l902." I started in the store at age l2, selling peanuts and stamps.

My wife Jean’s family members were small-business people. Her father had lumberyards in Nebraska, and later a hardware store in Iowa.

Jean and I were delighted to find that San Francisco was a city rich in small, locally owned, independent businesses, and rich in a wide swath of neighborhoods bristling with distinctive small businesses, backed up by vigorous neighborhood small business associations.

Small business, we found, was the leading job generator in the city and the key player in building a sustainable local economy. After the l906 earthquake, it was the entrepreneurs and small businesses who lifted the city from the ashes. After the dot-com bust, it was the small-business community and vibrant neighborhoods that cushioned the blow. Today, it’s up to small business again.

And so the Guardian is pleased to salute the small-business community with our fourth annual Small Business Awards. We proudly announce our seven winners, who are each in their own way working to transform the city into a green, sustainable, local economy and pulling the city out of the recession.

They struggle valiantly against daunting odds to keep their business going, their neighborhoods lively, and San Francisco an incomparably great city. Let us salute them. (Bruce B. Brugmann)

Click below to read more about this year’s winners:

>>Small Green Business Award
Luscious Garage

>>Die-Hard Independent Award
Hazel’s Kitchen

>>Small Business Activist Award
Scott Hauge

>>Community Business Award
El Rio

>>Big Box Alternative Award
Cole Hardware

>>Chain Alternative Award
Books and Bookshelves

>Arthur Jackson Diversity in Business Award
WAGES

Loaded

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REVIEW How do you say Kier? "Kia" like the car, if you had asked former Deee-lite diva Lady Miss Kier, when she was, er, hea for a special performance at monthly, genre-defying club Loaded on April 4.

The once de-groovy entertainer whose Brooklyn drag queen persona, complete with exaggerated accent that can best be described as a Rosie Perez-RuPaul collision, charmed audiences back in the early ’90s when she convinced us we could bomb the world with ecstasy, armed only with the power of love and a good beat.

Maybe the routine’s grown stale, maybe the drugs have worn off, or perhaps I’ve become too jaded for a World Clique (Elektra/Wea, 1990) mentality after watching bombs over Baghdad, part two, but Kier’s performance this time around lacked sincerity. In fact, the once vibrant and agile songstress, who worked video screens and club stages in retro-futuristic catsuits and platform boots as part of the groundbreaking Dee-lite two decades ago, could no longer bring us together — or even get it together — that night, even aided by a skilled backing band including P-Funk’s Ronkat and trippy background visuals.

Before the set began, Kier — in a lime and aqua space-age church dress, topped off by an over-the-top monster weave that housed more extensions than AT&T — kept the ironically mustached and spectacled crowd waiting for a good 20 minutes while rigging up her PowerBook. The purpose of this preliminary step became clear as Kier opened with her new material, including the less-than-stellar "Go Down on Me."

If she managed to maintain her soulful vocals, it was difficult to hear, since they were so heavily processed. If her eyes were still glimmering beacons of hope, it was impossible to see, since they continually searched her computer screen for lyrics. And forget about high kicks, when tightly trussed-up Kier could only manage the occasional hand-chopping move. As expected, Kier’s closer — the perennial favorite "Groove Is in the Heart" — continues to set the dance floor ablaze. Still, Kier should heed her own wise words: "You’re only as good as your new material." I wonder: if that’s true, how one might say, deee-sappointed?

LOADED First Fridays, 10 p.m.–2 a.m., $20. Rickshaw Stop, 188 Fell St, SF. www.myspace.com/clubloaded

Highway 51

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Pixel Vision blog: Additional SFIFF movie reviews, and daily reports by Jeffrey M. Anderson

WED/30

I Served the King of England (Jirí Menzel, Czech Republic, 2007) The sheer delight of this typically spry, witty film by Czech master Menzel is enough to remove the sting from the fact that it’s been 14 years since his last feature. The story presents the dizzy rise and fall of a resourceful waiter during the Nazi occupation. Only Menzel could make a chronicle of such amoral ambition so funny and charming without trivializing the underlying themes. (Dennis Harvey)

6 p.m., Kabuki. Also Sat/3, 9 p.m, Kabuki

Vasermil (Mushon Salmona, Israel, 2007) Salmona’s feature debut threads the stories of a few disaffected adolescents — one an Ethiopian Jew, another a recent Russian immigrant. Asshole fathers and cruel, amateur gangsters abound in this dystopia. Salmona’s skilled handling of nonprofessional actors brings across the script’s twin-toned slice of prejudice and menace. (Max Goldberg)

6:30 p.m., PFA; Sun/4, 1 p.m., Kabuki; Mon/5, 6:45 p.m., Kabuki; May 7, 7 p.m., Kabuki

THURS/1

Valse Sentimentale (Constantina Voulgaris, Greece, 2007) With this infuriatingly pessimistic yet haunting film, the daughter of acclaimed filmmaker Pantelis Voulgaris tries her hand at feature filmmaking. The story is set in the Athenian neighborhood Eksarxia. There, misfits Stamatis (Thanos Samaras) and Electra (Loukia Mihalopoulou) struggle to come to terms with each other. (Maria Komodore)

1:30 p.m., Kabuki. Also Sat/3, 6:30 p.m., Clay; May 7, 9:15 p.m., Kabuki

FRI/2

All Is Forgiven (Mia Hansen-Løve, France, 2007) All Is Forgiven might be compared to Olivier Assayas’ 2004 Clean for its autumnal portrait of one character’s drug abuse, but it avoids that film’s flat reading of an addict’s self-absorption. Unlike most other movies about drugs, it isn’t exclusively about the user. The era-evocative soundtrack selections within Hansen-Løve’s subdued melodrama are emblematic of the film’s assured flow. (Goldberg)

9:30 p.m., Clay. Also Sun/4, 3 p.m., Clay; Tues/6, 9 p.m., Kabuki; May 8, 4 p.m., Kabuki

The Art of Negative Thinking (Bård Breien, Norway, 2007) A big fuck you to self-help culture, this amusing black comedy is as coarse, antisocial, and ultimately soft-hearted as its protagonist. A stoner recluse who seeks solace in Johnny Cash records, spliffs, and his gun, he instigates a mutinous program of catharsis through hard partying. By the end credits, though, the Harold Pinter–esque dinner party has given way to Farrelly Brothers comedy. (Matt Sussman)

9:30 p.m., Kabuki. Also Sun/4, 3:45 p.m., Kabuki; May 8, 8:15 p.m., Clay

Linger (Johnnie To, Hong Kong, 2008) Johnnie To is a one-man HK film industry, and his finely honed skills allow this romantic ghost story to at least occasionally step over puddles of sentimental goop. Li Bingbing stars as a student who loses new boyfriend Vic Zhou in a car accident. The story overstretches, but To’s strikingly clear and vivid compositions — full of nature, architecture, and light — help his film breathe. (Anderson)

8:30 p.m., Kabuki; Sat/3, 3:30 p.m., Kabuki; Mon/5, 3:15 p.m., Clay

SAT/3

Flower in the Pocket (Liew Seng Tat, Malaysia, 2007) Marred only by a wafer-thin Casio score, Flower in the Pocket is one of those slice-of-life revelations that makes you wonder why there aren’t more promising auteurs. The broken flowers here might well be the film’s two neglected, elementary school–age Chinese brothers — adrift after the disappearance of their mother and barely able to speak Malay. Director-screenwriter Liew has an acute eye for detail and a way of teasing poetry out of throwaway interludes. (Kimberly Chun)

3 p.m., PFA. Also Mon/5, 3:45 p.m., Kabuki; May 8, 6 p.m., Kabuki

The Wackness (Jonathan Levine, US, 2007) The kind of movie people get overexcited about within the Sundance Film Festival’s hype bubble, Jonathan Levine’s feature isn’t that good — but it is good. New high school grad Luke (Josh Peck) is a 1994 loner whose parents are on the verge of being evicted from their Upper East Side apartment. A wired and inspired Ben Kingsley provides this coming-of-age flick’s comic high points. (Harvey)

7:30 p.m., Kabuki

SUN/4

Stay Tooned, Kids! (Various, 2007) This sturdy collection of nine above-average cartoons, totaling 66 minutes, is largely suitable for kids of all ages, though the longest one, France’s Saint Feast Day, may teeter a bit too far into suggested violence and gore. (An ogre prepares to eat a child for an annual holiday, but accidentally knocks out all his teeth.) The amusing Claymation Still Life revisits the Shaun the Sheep character from Nick Park’s 1995 A Close Shave. (Anderson)

10:15 a.m., Kabuki

TUES/6

American Teen (Nanette Burstein, US, 2007) When is a documentary so slick it’s not a documentary? You might ask yourself that while enjoying Nanette Burstein’s portrait of senior year for several high schoolers in an Indiana small town. American Teen seems staged, and the ultraslick packaging — including animated sequences that caricature the subjects’ dreams — feels like an upscale version of reality entertainment. (Harvey)

6 p.m., Kabuki. Also May 8, 3 p.m., Kabuki

Lit: Still Broke Ass after all these years

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By Justin Juul

Broke Ass Stuart is a travel writer, an SF cult hero, and one of the luckiest sunzabitches you will ever meet. Not only does he get paid to travel the world and write, but he also gets to do it as himself. Most travel writers have to water their stories down for those crappy airplane magazines or they just write thousands of fact-of-the-matter-reviews designed for hurried tourists. But not Stuart. He doesn’t have to do any of that shit.

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His first book, Broke Ass Stuart’s Guide to Living Cheaply in San Francisco, which he originally published himself as a zine, helped him carve a niche as a new voice in an industry overpopulated by impersonal clones. Since releasing his first book, Stuart has gone on to write a second SF edition and he recently spent ten months in New York doing research for his newest book, Broke Ass Stuart’s Guide to Living Cheaply in New York City. Sounds like a dream come true doesn’t it? Well, apparently travel writing isn’t all it’s cracked up to be. After four years of writing Broke Ass Stuart books and doing odd jobs for Lonely Planet, Stuart’s life is in shambles. He’s homeless, disoriented, and still broke-as-fuck.

The Guardian caught up with Stuart recently to remind him that his job is awesome and that other financially challenged writers (ahem) would kill to be in his position.

SFBG: So what’s up with your New York book? Did you make tons of money off it?
Stuart: No dude. Let me tell you, writing books is not the way to wealth and fame. I blew through my New York advance pretty quick and wound up waiting tables the whole time I was there. The book’s not coming out till November so I won’t be getting any royalties for a long time. I can’t even think about that money, really. I mean, I’ve been waiting tables for nine years.

SFBG: Shit. Yeah. So have I actually.
Stuart: It’s like a fuckin’ bad habit. It’s such a weird subculture, you know? Like people in the restaurant fucking each other, tons of drugs. And then you get out at night and you’re all revved up from dealing with assholes all night…

SFBG: So you take all your tips and go blow it another bar.
Stuart: Exactly. It’s definitely, uh, special.

Going back

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Pay no attention to the feathered and paisleyed, freaked-out and gentled-up flower child batting his bejeweled lashes behind the ruby velvet curtain. Despite the neo-glam-hippie network enmeshing his label, the Devendra Banhart– and Andy Cabic–owned Gnomonsong, and the narcotic dream-folk wafting around his San Francisco indie pop project Papercuts, songwriter-producer Jason Quever would never call himself a hippie, though heaven knows he’s tried to be one. "I have too much anxiety to be a hippie," the thoughtful Quever free-associates as he settles into his Excelsior District digs, now that his springtime rambling — spent performing with and opening for Beach House on their recent national tour — is done.

"There was a moment when I was younger when I thought maybe that’s what I am," the 32-year-old continues, sounding a wee bit wistful. "But no, I’m not very free. I have to be moving and wearing shoes — I’m just not relaxed enough to be groovy with anything. I have too much inner turmoil to pull that off, and bummer hippies are the worst — so negative."

He knows of what he speaks, as the child of "burnout hippies" who retreated to Humboldt County ("Yeah, it was funny. To get away from drugs, they lived on a Christian commune"). And though he’s always admired genuinely, "extremely relaxed" folks, Quever, by his own admission, only gets truly blissed out while writing songs.

The music making started at 5, when Quever and his friends wrote their first song: a video game ode titled "Dragon Slayer." "I still remember banging on an LP cover with chopsticks," he recalls. Songwriting became an anchor of sorts when he bought a four-track at age 15, following a summer spent adrift and alone after his mother died suddenly of a brain aneurysm.

Still, the past — and sounds redolent of tube amps, ’60s pop, magnetic tape, and a certain exquisite melancholy ornamented with chapel chimes, shivering strings, arpeggiated guitars, and thumping toms — pulls him back, although Quever appears to have built a kind of community around his current home studio, unofficially dubbed Pan American Recording "just to make it sound classy." There he’s tracked or mixed such local players as Vetiver, Casiotone for the Painfully Alone, the Skygreen Leopards, the Finches, the Moore Brothers, and Still Flyin’ — artists, Quever says, who "can handle analog recording and don’t need editing, and people who are into that sound too. People who want perfection — I can’t give them that."

Quever sounds a little dejected, much as he did while discussing reviews of Papercuts’ most recent full-length, Can’t Go Back (Gnomonsong, 2007), and writers’ focus on a perceived ’60s-vintage sound. But the singer-songwriter just as quickly cheers up: "That’s the fun thing about analog — it automatically weeds out a lot of people I don’t want to deal with. Most people who come over are relaxed and just want to have fun. The OCD obsessives just can’t obsess about it, and I do. When I mixed my last record, I obsessed over it the way you shouldn’t with analog."

Quever will have to see what the future holds now that he’s back home and writing songs, after his April 18 show at Cafe Du Nord with Papercuts’ current lineup, which includes filmmaker David Enos and Lazarus’ Kelly Nyland and Trevor Montgomery. Taking a cue from the title of Can’t Go Back, he knows there’s nowhere to venture but forward. "I’m just keeping out of jail," Quever says cheerfully — so every day, he agrees, is a success.

For more on the Papercuts’ April 18 show, see "Not for Locals Only," page 30.

While their guitars gently weep

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› a&eletters@sfbg.com

In the liner notes for his 1978 album, Ambient 1: Music for Airports (Editions EG/Polydor), Brian Eno wrote that the music contained within "must be as ignorable as it is interesting." Though that watershed release launched a thousand new age imitators under the banner of ambient music, Eno’s ambivalent criteria still holds as a descriptive litmus test for any music that only partially depends on focused engagement in order to be fully appreciated.

Or as Adam Wiltzie, one half of the dreamy instrumental duo Stars of the Lid, puts it: "There is a narcoleptic feeling that I want to get within each tune. If the piece doesn’t make me fall asleep, then it’s probably not finished."

Wiltzie and musical partner Brian McBride have taken their time refining their soporific version of Eno’s barely there aesthetic, releasing just a handful of beatless, slow-burning full-lengths during the past decade. Coming six years after their epic sophomore Kranky release, The Tired Sounds of (2001), last year’s And Their Refinement of the Decline (Kranky) proved to be another gentle juggernaut: treated violin, cello, and fog-horn brass provided tonal counterpoints to the clouds of diaphanous guitars over the course of two hours. Given that the duo tours even less frequently than they put out new material — primarily due to the fact that Wiltzie and McBride now live on opposite sides of the Atlantic — their April 15 stopover at the Independent is the equivalent of catching a passing comet with the naked eye.

Eno is an obvious touchstone, although Wiltzie responds somewhat begrudgingly on the phone from Brussels when I bring up the comparison. "I grew up listening to Eno’s ambient works and whether I liked them or not they must have influenced me somewhat," he explains. "But influences — and whether or not people hear this or that artist in our work — can be like a strange beauty pageant where everyone has their personal favorites."

Granted, Eno’s earlier ambient experiments on Music for Airports and Discreet Music (Editions EG, 1975) focused on creating systems that would self-generate infinite variations from prerecorded tape loops. SOTL is a far more compositionally oriented project, and many of Wiltzie’s "personal favorites" are composers: Gavin Bryars, Arvo Part, Bernard Herrmann, and Alexandre Desplat. Their influence is clear. And Their Refinement sounds, well, refined compared to the rough-hewn compositions of earlier releases. On many tracks the strings and horns are upfront in the mix, and even then only lightly brushed with a wash of delay and soft EQ, while longer pieces, such as the 17-minute album closer, "December Hunting for Vegetarian Fuckface," are suites unto themselves.

"Maybe my classical music influences are showing more and more," Wiltzie suggests when I ask him about And Their Refinement‘s more delicate arrangements. "I also am on a lot less drugs than I used to be as a kid. Maybe I just have more clarity now," he laughs. "I’m just growing older, I guess."

What hasn’t changed is the evocative power of SOTL’s music, even as it tends to massage listeners into slumber. Perhaps it is the blank-canvas quality of ambient music that has made "cinematic" such an ubiquitous way to describe what’s being heard (as prescient as ever, Eno’s Music for Films [Editions EG, 1978] offered soundtracks for imaginary movies). No one ever hears a song the same way, yet SOTL’s music touches a specific emotional range — one that is definitely in a minor key.

Case in point: And Their Refinement‘s "Don’t Bother They’re Here," a reverb-soaked gloss on the opening bars of Stephen Sondheim’s maudlin ballad "Send in the Clowns." Stripping away the original’s thick coating of show tune schmaltz, SOTL leave only a whispered trace of the lonely little melody at its center.

"We both love Judy Collins’s version of that song. It’s just a nod to beautiful melody," Wiltzie explains. "I’ve just wanted to create a beautiful sound that encapsulates a feeling of beauty and sadness in the same breath."

STARS OF THE LID

With Christopher Willis

Tues/15, 8 p.m., $15

Independent

628 Divisadero, SF

www.theindependentsf.com

This is you driving on drugs

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Endless Ocean: Dive, Discover, Dream

(Nintendo Wii)

GAMER I thought I was looking for some new, nonmayhem-oriented games, and someone recommended Endless Ocean. I read the box and said, "Hmmm. A game where you swim around and look at pretty fish. Yeah. I could do that."

Endless Ocean is a game about scuba diving: you play a young marine biologist tasked with helping to catalog the inhabitants of an imaginary coral reef. Your job is to explore the underwater landscape, to collect artifacts, and to observe as many new and different types of fish as you can, all while listening to a calming synthpop soundtrack. In other words, Endless Ocean is Valium on a disc — which has both good and bad implications.

First off, I’d really like to commend Arika for developing a game that obviously wasn’t destined to sell a gazillion copies. Although it involves the latest in a trilogy, it really brings something unique to the console game repertoire: the ability to delve into environments for their own sake, at your own pace. I stared captivated at the screen, late into the night, using my Wiimote to swim under coral and to follow fish, trying to get as close to the fish as I could in order to see the details of their bodies. Endless Ocean has one of the most user-friendly swimming controls of any game I’ve played. Usually swimming in a console game is an unholy pain. It’s still a bit awkward with Endless Ocean, but oddly enough, it lends realism to the game: steering yourself in an environment that is denser than normal with a giant tank on your back is awkward.

Endless Ocean‘s greatest failure is that it’s not realistic enough. I wished many times while playing the game that my Wii was a PS3 with a Wiimote so I could swim easily and have the detailed fish. I wanted to see their fins and scales. But the Wii just doesn’t support the high-resolution graphics that would allow this. They do a lot with what they have, but it isn’t enough.

Part of the game mechanic is that you gather information about the fish by "befriending them." In the language of videogames and toddlers, this means "poking them." The fish just keep swimming their scripted loops: they don’t care and they’re not real fish. I even used my underwater pen to tag the reef near one with an anarchy sign. Not even a dirty look.

Fish are not the astrophysicists of the animal kingdom. It can’t be hard to write fish artificial intelligence. They should at least swim off when you try to poke them. I feel that with an actionless game like this, the enjoyment needs to come either from being able to admire the environment like artwork or from being able to interact with it. The aim to create realism with all the detail that this implies is just unrealistic on the Wii, and the world’s responses to your overtures are dull rather than compelling.

Clubs: Honey Soundsystem looks to ‘Dancer from the Dance’

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Honey! All photos by Joshua Rotter.

By Joshua Rotter

It’s a story as old as disco. Attractive “straight” Midwesterner moves to the big city to find himself, only to get blindsided by a barrage of drugs, sex, and tea dances. True, dancing became a major component of gay life in the post-Stonewall ’70s, when the dance floor served as both a place of expression and escape for many gay men. It’s this defining period in gay history that novelist Andrew Holleran highlighted in his 1978 novel, Dancer from the Dance.

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Taking his title from poet William Butler Yeats’s 50 year-old line, “How can we know the dancer from the dance?” Holleran attempted to examine this brain-twister in his chronicle of gays looking for companionship and understanding in pre-AIDS New York City and Fire Island, by focusing on the misadventures of his beautiful yet provincial protagonist Anthony Malone, who loses himself in the shuffle and shag club scene.

Thirty years later, the Honey Soundsystem collective – DJs Pee Play, KenVulsion, Robot Hustle, Jason Kendig, and Josh Cheon – took cues from this groundbreaking work for their most recent theme party.

Now “Voyager”

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› kimberly@sfbg.com

SONIC REDUCER Carla Bozulich is a force of nature. And nature in all its sweetest Central Texas manifestations — crisply twittering songbirds, spring sun glinting off the tin-sided porch, a slight breeze blowing in from the Colorado River — responds gently in kind, encircling the half-renovated cottage where she’ll be playing a small house show on the outskirts of South by Southwest. The former Geraldine Fibbers leader piles out of the van along with the rest of her virtuosic, dusty, somewhat road-dazed ensemble Evangelista. We’re a long way — more than a decade — from the time Bozulich’s disintegrating ’90s alt-rock combo opened for Iggy Pop at Austin, Texas’s largest intersection for thousands of SXSW onlookers.

"I have a potential with my voice of — I don’t know how to say this without sounding really ridiculous — but I’ve frightened bears away from attacking," Bozulich says, laughing slightly, tucked into a porch a few weeks back and tackling each question with the driving eloquence of a woman who’s spent plenty of time behind the wheel of her passions. "Wild dogs at another time when I was with Tara." She imitates the hounds barking meekly then crawling away, whining. "I just consider it something that I was born with, and a lot of times when I sing, I’m kind of holding it back because it’s sort of too much. So I just kind of decided when I started doing Evangelista that I was going to sort of work on a project where I didn’t hold back and I would try to use it to really inspire people to blow off the kind of trendy, lethargic, like, boundaries — you know, the boundaries you don’t cross in terms of not embarrassing yourself!"

We’ve ducked onto the porch as Scary Mansion plays in back to talk about Evangelista’s new album, Hello, Voyager, Bozulich’s second on the great Constellation imprint — her first, titled Evangelista (2006), was the indie’s first non-Canadian release — and the stunning show she gave the other night. It was likely one of the best of the fest, with Bozulich howling into her mic, pacing the stage during the new LP’s title opus, uncoiling sharp, eloquent shards of noise, and hopping in place with a contented smile as her band — a relatively new incarnation that includes longtime bassist-collaborator Tara Barnes, cellist Andrea Serrapiglio, and guitarist Jeremy Drake — generated a moving, glorious din. "The west is the best and the wind knows my name," Bozulich told the heavens — and you believed her.

Unfortunately the heavens opened up and poured down misfortune last November while Evangelista toured Europe. "I got hurt really bad in Paris. I was hit by a random madman on the street, who broke my cheek," Bozulich recalls of the incident, which occurred while she was singing and being interviewed on the street. Her face still feels shattered. "It was completely random. In a nutshell, he hit everybody, but he broke my cheek." But instead of crawling home to a friend’s couch and recuperating, she decided to stay on the road. "It was a weird decision, but looking back I’m really glad I did," she says. She saw Pompeii, Rome, and Tuscany, though her face was purple and swollen, and it was, she allows, "hard to sing." Yet, she adds, "I was having the adventure of my life."

Bozulich’s tactic in the face of disaster perfectly parallels her desire to venture out on a limb in every way. "I don’t take drugs or drink and haven’t for many years," she confesses. "So for me the ultimate high I’ve discovered after all these years is really — I have to say — embarrassment, doing something that might not be supercool. It separates a room, and there will be some people who will be like, ‘Yeah, fuck it! I’m sick of this, too. I really want to express who I really am.’" And in a sense Evangelista’s music is a very specific response to wartime disenfranchisement, written by an artist who describes herself as a "really, really far-left progressive, politically, and I feel like music is one of our only ways that we can organize. Fundamentalists still have that leg up on us. They aren’t afraid to join together."

Bozulich has done it before: fronting her old group Ethyl Meatplow — during which the shy girl who once sang behind drum kits "really learned to be a badass" — she changed lives: "People still come up to me saying really great things like, ‘We conceived our child in the bathroom at an Ethyl Meatplow show.’ And there’s several people who have said, ‘I came out of the closet just from listening to Ethyl Meatplow’ — and that’s political. That’s great!" She stares out at the fast-food drive-throughs that surround even this tiny show, and the sweet recording deals, massive crowds, and Iggy Pop opening slots don’t seem like much after all. "I’ve just been very lucky, you know."

CARLA BOZULICH’S EVANGELISTA

Thurs/27, 7 p.m., free

Amoeba Music

2455 Telegraph, Berk.

www.amoeba.com

Also Fri/28, 9 p.m., $10

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

FILL ‘ER UP

MIA DOI TODD


Channeling Joni Mitchell and even dreamier Laurel Canyon lasses alongside hand-drummer Andres Renteria and bassist Joshua Abrams (Prefuse 73), Todd has bewitched the Arthur mag crowd with her seventh full-length, Gea (City Zen). With Jose Gonzalez. Thurs/27, 8 p.m., $25. Fillmore, 1805 Geary, SF. www.ticketmaster.com

DEVIN THE DUDE AND BUN B


The SXSW smoke clears as the Texas hip-hop odd mob mess around in San Fran town. With Vital, Ryan Greene, Chris Lee, DJ D, and Jamie Way. Sat/29, 9 p.m., $15. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

LEYNA NOEL


The SF singer-songwriter serves up "tea metal" backed by Erase Errata drummer Bianca Sparta. With Ora Corgan, and Gabriel Saloman and Aja Rose. Mon/31, 6 p.m., $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

SFIAAFF: Take one

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>Buddha Collapsed out of Shame (Hana Makhmalbaf, Iran, 2007) Buddha marks the feature debut of Hana Makhmalbaf, one of acclaimed Iranian director Mohsen Makhmalbaf’s daughters (she made her first short, The Day My Aunt Was Ill (1997), when she was only 9 years old). It has already won eight awards at different international film festivals, a fact that becomes more impressive when one considers the filmmaker’s age: she’s 19. Reminiscent of Abbas Kiarostami’s cinema, her first feature is shot in a neorealist style in Bamian, Afghanistan, and features a 5-year-old girl named Baktay (the extraordinary Nikbakht Noruz) as its main character. In following the youngster during her struggles to attend school, the film becomes a stunning exploration of how Afghanistan’s violent political history affects its youth. (Maria Komodore) March 15, 12:45 p.m., Castro; Tues/18, 8:45 p.m., Pacific Film Archive.

>Happiness (Hur Jin-ho, South Korea, 2007) One of the most adept melodramatists working in South Korea, Hur casts an affectionate, gently comic glance on the see-sawing declines and resurrections of the hard-partying, handsomely weather-beaten Young-su (the talented Hwang Jung-min), an aging club kid with a raging case of cirrhosis. Luckily, the man is able to rub a few brain cells together and get himself to a rural health retreat that specializes in detoxifying worst-case-scenarios with clean living, herb gathering, fresh air, and outrageously light exercise. Young-su is also lucky enough to win over the clinic’s sweet, fragile princess, Eun-hee (Lim Soo-jung), who suffers from lung disease and just might keel over if forced to break into anything more strenuous than a stroll. But can you keep the playboy down on the farm once his liver is back in business? (Kimberly Chun) March 15, 6 p.m., Castro; March 16, 5 p.m., PFA; March 22, 7 p.m., Camera.

Never Forever (Gina Kim, South Korea/USA, 2007) At first, it’s purely business: as a last-resort response to her Korean American husband’s infertility, Sophie (The Departed‘s Vera Farmiga, sporting an ice-blond ‘do) lurks after a Korean immigrant (Jung-woo Ha) she spots at a fertility clinic. She pays him big bucks to have sex with her and possibly make a baby — therefore saving her husband (David L. McInnis) from depression and getting his intensely Christian family off their backs. Of course, things get complicated mighty fast. Farmiga is riveting in this deliberately quiet (save its melodramatic violin-heavy score) drama, a delicate exploration of doing the wrong thing for the right reasons — and grappling with the sudden realization that wrong and right are often not so easy to define. (Cheryl Eddy) March 15, 9:15 p.m., Clay; March 16, 7:50 p.m., PFA.

>Ping Pong Playa (Jessica Yu, USA, 2007) Energetic direction by Jessica Yu — best-known for docs like the Henry Darger portrait In the Realms of the Unreal (2004) and the Oscar-winning short Breathing Lessons (1996) — perfectly complements a star-making turn by Jimmy Tsai as Christopher "C-Dub" Wang, a slacker who discovers he’s got talent as a ping-pong teacher and, eventually, competitor. Yu and Tsai cowrote the hip-hop flavored script, filled with rapid-fire dialogue and culturally targeted zingers (as when C-Dub assures an opponent, "I hope you’re hungry, because I’m about to serve you some Chinese take-out!"). Winning from start to finish, Ping Pong Playa achieves the near-impossible: it makes infectious hilarity seem entirely effortless. (Cheryl Eddy) March 14, 6:45 p.m., Clay; March 17, 9:30 p.m., Kabuki; March 22, 2:15 p.m., Camera.

Santa Mesa (Ron Morales, USA/Philippines, 2008) Ron Morales’s first feature focuses on 12-year-old Hector (Jacob Kiron Shalov) and his efforts to fit in when he’s forced to leave the United States (where he was born and raised) to be with his grandmother Lita (celebrated Filipino actor Angie Ferro) in Manila, Philippines, after his mother’s death. Despite Shalov’s awkward performance and some uneasy sentimental scenes, Mesa‘s yellow-hued cinematography attractively portrays the colorful, throbbing city, and the young boy’s eagerness to internalize his surroundings without knowing how to speak Tagalog is brave and touching. (Komodore) March 15, 7 p.m., Clay; March 22, 4:30 p.m., Camera.

>3 Days to Forever (Riri Raza, Indonesia, 2007) After a night of partying makes Ambar (Adinia Wirasti) miss a flight to her sister’s wedding, she hitches along with cousin Yusuf (Nicholas Saputra), who’s in charge of driving a set of delicate dishes to the event. Drugs, detours planned and accidental, and frank talk about what it’s like to be a rebellious teen in Indonesia (Ambar’s sister is getting married because her parents caught her having sex) — and an uncertain teen, period — color this road movie. 3 Days to Forever echoes 2001’s Y tu mamá también‘s racy tone and the-journey-is-the-life-lesson message, and boasts similarly photogenic young leads. Bonus for armchair travelers: it also makes Indonesia look like the most magical place on earth. (Cheryl Eddy) March 14, 9:30 p.m., Kabuki; March 18, 9:30 p.m., Clay; March 23, 2:15 p.m., Castro.

Traveling with Yoshitomo Nara (Koji Sakebe, Japan, 2007) Punk’s not dead! And neither are the wide-eyed little girls, drowsy dogs, and the other indelibly etched creatures that populate Yoshitomo Nara’s oeuvre: they’re alive and evolving in Nara’s studio. Koji Sakabe and his crew tail the artist as he travels to public appearances at museums and radio stations where he’s treated like a rock star; as he creates a massive village installation in his hometown of Hirosaki, Japan; and then follow Nara back to his studio, where he conjures his avatars of cuteness all by his lonesome. That’s where things get interesting: watching the bashful yet driven enigma study his own paintings, one hand on his camouflage-encased hip, and then home in with a brush on a fillip in a wide-eyed tot’s ‘do. (Kimberly Chun) March 16, 12:30 p.m., Clay; March 23, 2 p.m., Camera.

The Unseeable (Wisit Sasanatieng, Thailand, 2006) For those whose eyes are still adjusting from the ultraviolet palette of Wisit Sasanatieng’s stunning debut, the genre-bending 1999 western Tears of the Black Tiger, the clammy greens and dusky grays that hang over The Unseeable feel like so much dust on the lens that can’t be wiped off. Unfortunately, you can still see everything coming from a mile away in this ghost tale of a country mouse trapped in (where else?) a decaying mansion. At least the magical touches of 2005’s Citizen Dog seem like genuine quirks in the fabric of reality. Here, the supernatural is an excuse to trot out tired new Asian horror staples like the crazy old lady or spooky child, and the multiple twists of the Shining-aping finale only work to make an already shaky premise all the more hamstrung. (Matt Sussman) March 16, 9:45 p.m., Kabuki; March 21, 9:15 p.m., PFA; March 23, 4:45 p.m., Camera.

>> Complete Asian American Film Fest coverage

“Lautrec in Leather: Chuck Arnett and the San Francisco Scene”

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REVIEW The clean-cut man in the portrait looks straight ahead with knowing eyes, his leather jacket open — an invitation, perhaps? — revealing a muscular torso and chest, on which is tattooed a purple butterfly. The painting’s mix of leather and a little lace sums up much of the art and life of Chuck Arnett, a habitué and documenter of the leather bar scene during gay liberation’s golden age in the 1960s through the late ’70s.

The majority of Arnett’s work was inspired by and made for the bars and back rooms he frequented. Sex, drugs, and rock ‘n’ roll are unapologetically front and center, a potent mix reflected in styles that veer wildly from rough sketches of men fucking in bathhouses to carefully executed psychedelic oils. The surviving fragments and photos of Arnett’s large-scale painted murals for the original Stud, the Tool Box, and the Detour — and related ephemera like patchwork wall hangings of tanned scraps instructing "Eat It!" — not only tell the story of Arnett’s transformation from Southern ballet sissy to acid-dropping public-sex advocate but also illustrate the radical changes the gay community underwent between The Wild One (1953), Stonewall, and Harvey Milk’s murder.

Arnett’s national coming-out as a painter arrived when Life included a photograph of his Tool Box mural in its landmark 1964 spread "Homosexuality in America": the bar’s leather-clad denizens mirrored Arnett’s black-and-white swathe of butch fauna. Five years later Arnett would quote himself in a massive Day-Glo mural for the Stud — sadly, reproduced in photo only: a panorama in which Marlon Brando clones warp into a cosmic chessboard dominated by an American Indian and a Sahasrara chakra. In a corner of the piece one surviving component is an appropriately phallic biker, whose badge says what could have served as Arnett’s maxim: "Freak Freely."

LAUTREC IN LEATHER: CHUCK ARNETT AND THE SAN FRANCISCO SCENE Through April 26. Tues.–Sat., 1–5 p.m. GLBT Historical Society, 657 Mission, no. 300, SF. (415) 777-5455, www.glbthistory.org

Shelter shuffle

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EDITOR’S NOTE Guardian reporter Amanda Witherell and intern Bryan Cohen spent almost a week staying in various San Francisco homeless shelters. To get an unfiltered look at the conditions, they didn’t identify themselves as journalists, so some names in this story have been changed to protect people’s privacy. Their undercover reporting was supplemented with extensive research and on-the-record interviews with key officials, providers, and recipients of homeless services.

>>Read Amanda Witherell’s nightly shelter journals, with photos

>>Read Bryan Cohen’s nightly shelter journals, with photos

>>Homeless people share their stories

>>The mayor’s Feb. 14 press conference about homeless shelters

It’s about quarter past seven on a Thursday night, and I’m late for curfew. Not even during my wildest high school days did I have to be home by a certain time, but tonight, 29 years old and sleeping in a homeless shelter, I’m supposed to be in by 6:30 p.m.

Heading down Fifth Street toward the shelter, I wonder what I’ll do if I lose my bed for being late. Can they set me up at a different shelter? Will I have to head back to a resource center in the Tenderloin or the Mission District to wait in line for a reservation somewhere else? Either way, I could be walking the streets for the next few hours, so I adjust my heavy backpack for the journey. Waiting to cross Bryant Street, I stare up at the large, hulking building with its utilitarian name, Multi-Service Center South, and notice there are no shades on the windows in the men’s dorm. Since it’s lit from within, I can clearly see someone standing beside his cot, clad in nothing but blue plaid boxers, obviously unaware that he’s so exposed. I wonder if the windows would be shaded if it were the women’s room. Maybe that’s why we sleep in the basement.

Inside the door I shed my pack and step through the metal detector. The security guard dutifully pats it down and pushes it back into my arms. At the desk I give the last four digits of my Social Security number and am checked in. No questions about being tardy. I’m in.

I’m also late for dinner. A staffer hands me two unwrapped sandwiches from a reused bread bag under the counter. Ham, mustard, and American cheese between two pieces of cheap, sliced bread. After two days in the shelter I still haven’t seen a piece of fruit or a vegetable. I wrap the sandwiches in the newspaper under my arm and head down to my bunk. On the stairs I pass a guy and nod hello. He nods back, then calls out, "Hey, can I ask you something?"

I turn. "Sure."

"What’s a nice girl like you doing in here?"

I shrug and step back, unsure of what to say.

"I’m not trying to mess with you," he says. "I’m not fucking with you. I don’t do drugs. I’m straight. I don’t mess with anything," he goes on, trying to reassure me.

I believe him and dish it back. "Then what’s a nice guy like you doing in here?"

He laughs and shrugs. He tells me he doesn’t really stay here. It’s just for a couple of days. He lives in a $200 per week hotel in Oakland, but if he stays there more than 28 consecutive days, it becomes residential and the rates go up, so he clears out for a few days every month and comes here. The hotel’s nicer than this, he claims. It’s clean and safe, and he has his own space. "I can walk around in my underwear," he says.

We sit on the stairs, talking about how you lose all your privacy when you stay in a shelter, how the regimentation is reminiscent of prison. There are no places to go and be on your own, rest, and be quiet. Once you’re in for the night, you can’t leave except to step out for a smoke.

I ask if he has a job. He tells me he’s a chef for Google. I raise an eyebrow, recalling that the company’s stock is hovering somewhere between $600 and $700 per share right now. The pay isn’t the problem — he gets $16 an hour, but he’s been out of town for a while, caring for a sick family member, and has just returned. He got his job back, but only part-time, and he lost his home.

He’s wary of being on welfare — that’s not the way his mother raised him — but he’s in the County Adult Assistance Program, which gets him $29 every two weeks, a guaranteed bed at the shelter, and a spot on a waiting list for a single-room-occupancy hotel room, the bottom rung on the permanent-housing ladder.

What he really wants is a studio, but his searches haven’t turned up anything affordable. He needs a little boost of cash for a security deposit on an apartment, but when he asked the General Assistance Office if it could help him out with that, the answer was no.

His brow furrows with concern, and then the conversation turns to me. "You got a job?" he asks.

What can I say? I’m a reporter for a local newspaper. I’ve heard that some of the city’s homeless shelters are lacking basic standards, accessing a bed can be complicated, and services are scattered. I thought I’d come find out for myself.

Here’s what I learned: San Francisco has a cumbersome crazy quilt of programs, stitched together with waiting lists and lines. Policies that are written on paper and espoused in City Hall are often missing in shelters. Some rules don’t seem to exist until they’ve been broken. Others apply to some people, but not all. Getting a bed is a major hurdle, and I say that as a stable, able, mentally competent, sober adult.

And once you’re in, it’s sort of like sitting in a McDonald’s for too long. Years ago a friend told me the interiors of fast food restaurants are deliberately designed to make you feel a little uncomfortable. They don’t want you to get too cozy; they want you to eat and leave, making way for the next hungry mouth they can feed.

In other words, shelters are designed to make people not want to use them.

The only information I took with me was a one-page handout I got from a San Francisco Police Department Operation Outreach officer. He said it’s what cops and outreach workers give to people they come across who are sleeping on the streets. I figure if it’s good enough for them, it’s all I need to navigate the system.

The map, as it were, is a cramped, double-sided list of places to get free meals, take showers, store your stuff, sober up, and, of course, get a bed.

For the bed, it instructs, you have to go to a resource center and make a reservation. Some of the resource centers are also shelters. Some aren’t. Some are just reservation stations. They all have different operating hours and are located all over the city, but mostly in the Tenderloin and South of Market.

It takes me a while to puzzle out which ones are open, where exactly they are, then which is closest to me. Phone numbers are also listed, so I assume it’s like making a hotel reservation and dial one up on my cell phone.

The first number doesn’t work. There’s a digit missing. Dialing methodically down the list, I discover that none of the numbers connect me to a person. This is obviously not the way to go.

The way I ultimately get into a shelter is not the way you’re supposed to. In San Francisco’s system, you’re not supposed to just walk up to a homeless shelter and get a bed, but that’s what I do.

At first the woman behind the counter at MSC South tells me the only open beds are across town, at Ella Hill Hutch in the Western Addition. Then another staffer looks at the clock and says he’s not sending me out there. He’ll "drop" beds instead.

The city’s 1,182 beds for single adults are managed through an electronic database called CHANGES. It’s a modern-day improvement on people roaming from shelter to shelter everyday, putting their names on lists for possible beds. Launched in 2004, CHANGES now does that electronically and maintains profiles of people who use the system. If you’ve been kicked out of a shelter, missed your tuberculosis test, or not shown up for curfew, CHANGES knows and tells on you.

Every day around 8 p.m. shelter staff trawl through the reservations and drop the no-shows, cancellations, and reservations that have expired or whose makers have moved on to hospitals, rehab, the morgue, or — less frequently — housing.

MSC is allowed to make reservations for any shelter except itself — that’s against policy. I learn this the next morning, and I’m told it’s because there’s too much corruption and favoritism. MSC is apparently one of the better shelters, so to keep clients from cutting deals with staff, the policy doesn’t allow clients to reserve a bed there.

But after half an hour the staffer hooks me up for a two-night stay, bending the rules to do so. While I’m waiting, he turns away a client who had a seven-day bed but didn’t show up the previous night. The guard confiscates his fifth of vodka, and he gets an earful about drinking.

When the city’s shelter system was born in 1982, it was first come, first serve at the doors of churches and community centers. President Ronald Reagan’s cuts to federal domestic spending landed hard on low-income people, so then-mayor Dianne Feinstein called on local organizations to temporarily house and feed the growing number of street sleepers.

Throughout the ’80s wages stagnated while the cost of living soared: between 1978 and 1988 the average rent for a studio apartment in San Francisco jumped 183 percent — from $159 a month to $450. Twenty years later it’s $1,114. In 1978 the Housing and Urban Development budget was $83 billion. Today it’s $35.2 billion, almost nothing by federal budgetary standards, and almost no new public housing units have been built since 1996, while 100,000 have been lost.

Every year the federal government spends almost twice as much on a single attack submarine as the Department of Housing and Urban Development spends on homeless assistance. State and local governments have been left to pick up the hefty price tag.

San Francisco spends more than $200 million on homelessness, through services, financial aid, supportive housing, emergency care, and shelter beds. There are 13 city-funded shelters, four resource centers, and three reservation stations in San Francisco. The Human Services Agency spends $12.5 million per year on shelters through contracts with nonprofit managers. The Department of Public Health also manages two contracts, for a battered women’s shelter and a 24-hour drop-in center.

But it’s not enough: the nonprofits supplement operating expenses with grants and private donations and recently relied on a special allocation of $300,000 to purchase basic supplies like soap, towels, hand sanitizer, sheets, pillows, and blankets.

James Woods, a spry 51-year-old wearing a red Gap parka barely zipped over his thin, scarred chest, rattles off the places he’s lived: Detroit, Atlanta, Seattle, San Francisco, Louisville, Ky., and his hometown, Nashville, Tenn. "Out of all the cities I’ve been in, this is the only city where you have to go and make a reservation for a bed at the rescue mission all the way across the city in order to come back to the place you started," he says, jabbing the floor of MSC with his cane. "I can’t even make a reservation here for a bed here. They’ll send me across the city to another place to do that."

Woods has been pounding the pavement between MSC and the Tenderloin AIDS Resource Center for eight months. Every day around 3:30 p.m. he heads to the Tenderloin, where he gets in line for a bed. Woods has a fractured hip and arthritis, pins in his knees and feet, and hepatitis C. He’s been HIV-positive since 2002. He walks with a limp that can transform into a springy, stiff-legged canter when he chases the 27 bus down Fifth Street.

Rather than tote all of his possessions with him, he hides them in the drawer of an emergency bed at MSC, so it’s imperative that he get back there every night. Sometimes he waits hours for an MSC bed to open up.

Though Woods speaks highly of some city services, swooning a little when he mentions his doctor at the Tom Waddell Health Center, the daily bed hunt has left him exhausted and disgusted with the city. "They’ve got the program designed to run the homeless off," he says. "They have it as hard and difficult as possible for you to take a breath, take a rest, get a routine."

While a person can reserve a bed for one to seven nights and, if on General Assistance, make arrangements through a caseworker for 30- to 90-day stays, Woods has rarely been able to procure a bed for longer than one night. "Maybe twice I’ve gotten a seven-day bed," he says.

The inability to connect people with beds is not lost on city officials. Mayor Gavin Newsom’s recently hired homeless policy director, Dariush Kayhan, told me, "I really want to solve the issue of the juxtaposition of vacant beds and homeless people on the streets. That to me is untenable."

However, he only discussed the issue in terms of people who’ve chosen not to use the shelters and are sleeping in the street. To him, empty beds signify that there’s more than enough shelter for people. "At this time there’s no plan to expand any shelter beds, and I think homeless people, in many ways, many of them vote with their feet and have decided that shelter’s not for them," he said.

But the Guardian found that even if you are willing and waiting for a bed in a place where someone can presumably connect you with one, it often doesn’t happen.

According to the 2007 Homeless Count, there are 6,377 homeless people in San Francisco. The nine year-round single-adult shelters have enough beds to accommodate one-third of that population. Other emergency facilities shelter some of the overflow on a seasonal basis. The remaining homeless sleep in jails and hospitals, respite and sobering centers, parks and sidewalks.

People also pile up at Buster’s Place, the only 24-hour drop-in resource center in the city, where they slump all night in chairs, forbidden by staff to sleep on the floor.

It took Guardian writer Bryan Cohen five nights to find a spot at a shelter. He spent Jan. 20 and 21 at Buster’s waiting to see if a bed would open up. None did. According to the shelter vacancy report for those two nights, there were 108 and 164 beds set aside for men that went unfilled. On an average night this January, a month marked by cold weather and flooding rain, 196 beds were empty.

Buster’s does not have access to CHANGES but can apparently call shelters and ask about empty beds. I was at the Providence Foundation shelter one night and overheard a call come through and shelter staff tell whoever rang that no, they couldn’t bring more people here. There were four empty mats beside me.

Laura Guzman, director of the Mission Neighborhood Resource Center, said CHANGES was a breakthrough in getting people into beds, but when it was first launched in 2004, things were different. "You had a choice. Shelter of choice was much easier to achieve. Then Care Not Cash happened," she said.

Most of the city’s beds are assigned to beneficiaries of certain programs, like Swords to Ploughshares and Newsom’s signature plan Care Not Cash, or to people with mental health or substance abuse issues who have case managers.

Though beds can be turned over to the general public when they are dropped after curfew, one wonders how effectively that happens.

The challenges are worst for Latinos, refugees, and immigrants, who face language barriers and the potential hurdle of illegality.

As a result, they flood one of the few places they can get in. Dolores Street Community Services reported the second-lowest vacancy rate in January, just 5 percent. The 82-bed program hosts a waiting list and is one of the more flexible in the city — deliberately so, as many of its Latino participants have jobs or work as day laborers. Marlon Mendieta, the executive program director, says, "They have a plan and just need to save up some money to move into a place."

However, rising rents have made moving on difficult. "We have people who are basically just cycling from one shelter to another," Mendieta said. "We see some who exit our shelter, find housing, but might end up back at the shelter if rent goes up or they lose work."

Providence is one of the sparest of homeless facilities and is located in a Bayview church. Unlike at other shelters, there’s no hanging out here. When the doors open at 9:30 p.m. about 90 people with reservations are already lined up in the rain on its dark side street.

We receive one blanket apiece, and the men shuffle into the gym while I follow the other females into a smaller side room, where 12 mats are laid out on two ratty tarps. Several women immediately lie down, speechless.

The cook gives a quick blessing when plates of food arrive on two sheet pans: spaghetti, heavily dressed salad, limp green beans mixed with cooked iceberg lettuce, and a very buttery roll. It’s all heavy and slightly greasy, but also warm and a closer approximation of a square meal than any of those offered by the other shelters I’ve stayed in so far.

Moments after I finish eating the lights are turned off, even though a couple of women are still working on their meals. A shelter monitor comes through and confiscates our cups of water, saying she just refinished the floors in here and doesn’t want any spills. I notice that unlike at other shelters where I’ve stayed, none of the women here have bothered to change into pajamas. Some haven’t even removed their shoes. I follow suit, tucking my jacket under my head for a pillow and pulling the blanket around me.

When the lights come back on at 5:45 a.m., I understand why no one changed: there’s no time to get dressed. Shelter monitors enter the room, rousting sleepers with catcalls to get up and get moving. One turns on a radio, loud. They’re brisk and no-nonsense, grabbing blankets and shoving them into garbage bags, pulling mats into a stack at the edge of the room.

A woman becomes perturbed by being hustled and talks back to the shelter monitor. A verbal battle ensues, with the client picking up her mat and throwing it across the room, scattering her possessions. "What a woman, what a woman," the shelter monitor yells. "We’ll see if you get a bed here tonight."

Another staffer comes through with a toxic-smelling aerosol, which she sprays around us as we get ready to leave. The bathroom, the cleanest I’ve come across in the city’s shelter system, is still a clusterfuck as a dozen women wait to use the three toilets and two sinks. One stall has a broken door, and the only morning conversation is apologies to the occupant.

Even though the contract between Providence and the HSA says the former will provide shelter until 7 a.m., it’s a little after 6 a.m. and all 90 of us are back out on the street, rubbing sleep from our eyes, shivering in the dark dawn, and waiting for the Third Street T line. When the train comes, most of us board without paying and ride back toward the city center to get busy finding some breakfast and making preparations for where to stay tonight. I have four hours before I have to be at work.

Shucrita Jones, director of Providence, later tells me the shelter’s materials have to be cleaned up by 7 a.m. because the church is booked for other activities. "We turn the lights on at 6. The clients have at least until 6:10 to get up. We encourage everyone to be out of there by 6:15 so we can be clear of the building by 6:30," she says. To her defense, she adds that the shelter monitors often let people in earlier than the contracted time of 10 p.m. and that when the weather is particularly nasty she’ll open the doors as early as 8:30 p.m. to let people in out of the cold.

As for the discrepancy between empty mats in the shelters and people going without beds, she blames the reservation system. "CHANGES has a lot of glitches," she says. "It’s got a lot of errors the city and county [are] trying to fix."

What I witness isn’t as bad as what I hear. In the shelters everyone has a horror story — some are about how they got there, others about what’s happened to them since they arrived. Nearly all include a questionable experience with staff — from witnessing bribes for special treatment to being threatened with denial of service for complaining. Their observations echo mine: the administration and certain high-level staffers exhibit genuine concern and an ability to help when you ask, but lower-tier workers aren’t as invested in providing good service.

Tracy tells me she sent her daughter to private school and considers herself a victim of the dot-bomb era and an illegal eviction that landed them at the Hamilton Family Center. "We were given one blanket. It was filthy. It had poo on it, and, I’m not kidding, there were even pubic hairs," she says.

She describes the shelter’s intake process as similar to that of jail bookings she’s seen on television. Six days later she and her child were thrown out. No reason was given, though she’s convinced it’s because a staff member overheard her complaining about a recent incident involving another client sneaking in a gun. When she was told to leave immediately, she wasn’t informed that she had the right to appeal. So she and her daughter hastily gathered their things and hit the dark Tenderloin streets.

A grievance system exists for people who’ve been hit with denial of service, or DOS’d, the colloquial term for kicked out. But the process can take months. Shelter managers I spoke with don’t deny that stealing is rampant, favoritism exists, and complaints occur — the greatest number about staff and food.

General complaints are supposed to be handled within the shelter, though they may be copied to the city’s Shelter Monitoring Committee. The SMC submits quarterly reports to the Board of Supervisors, Mayor Newsom, and the public, which show regular instances of inconsistent and unsafe conditions, abusive treatment, and a lack of basic amenities like toilet paper, soap, and hot water.

Those reports prompted Sup. Tom Ammiano to sponsor legislation mandating standards of care for all city-funded shelters (see "Setting Standards," 1/30/08). The new law would create baseline standards and streamline a complaint and enforcement process.

According to the HSA, many of these standards are already policies included in the contracts with the nonprofits that run the shelters, requirements such as "provide access to electricity for charging cell phones."

During my stay at the Episcopal Sanctuary, I asked the shelter monitor on duty where I could plug in my cell phone and was told I couldn’t. When I asked why not, the only reply was that it’s against shelter policy. At Ella Hill Hutch Community Center, Cohen was told he could plug in but at his own risk — his unattended phone would probably be stolen.

I reviewed all of the contracts between the city and the nonprofit shelter providers, as well as the shelter training manual that’s given to staff. I was unable to find the same list of policies the HSA gave to the budget analyst. I asked HSA executive director Trent Rhorer how these policies have been communicated to the shelter staff, but he did not respond by press time.

While the ability to charge a cell phone seems relatively minor, its ramifications can be huge. The first time James Leonard met with his case manager at Next Door shelter, he knew exactly what he needed to get back on his feet: bus fare to get to and from three job interviews he’d already scheduled, a clothing voucher so he’d have something nice to wear when he got there, and a couple of dollars for the laundry facilities at the shelter. He also needed to charge his cell phone to confirm the interviews. He said he was denied all four things.

The standards of care, if passed, could improve access to those basic provisions, but some in the Mayor’s Office have balked at the estimated $1 million to $2 million price tag. The budget analyst’s final report is scheduled for release Feb. 14, in time for a Feb. 20 hearing at the Budget and Finance Committee.

Deborah Borne, medical director of the DPH’s Tom Waddell clinic, is a proponent of the standards from a public health perspective. "For me, I’m looking at decreased funding and how can I best affect the most population with what remains," she said.

Dirty shelters can help spread disease outside their four walls, as clients leave every day to use municipal services like buses, libraries, trains, and restaurants, which we all enjoy. Borne says this is something that’s been tackled by other facilities that house large numbers of people and is long overdue in the shelters.

"You can argue about whether we should or shouldn’t have shelters, but there are no city, state, or federal regulations for them. There are tons of regulations for the army, for public schools and colleges, but we put people in shelters and there’s none," she said. To her, San Francisco is on the cutting edge of care with this legislation. "I can’t wait until we do this on a state level," she said.

Kayhan said he and the mayor support the spirit of the legislation and have no problems with most of the no-cost items, but the price tag for staffing, training, and enforcement is a concern. "I think when you’re looking at how much money you’re going to spend on homelessness overall," he told us, "I would rather allocate additional resources to create another unit of housing for someone as opposed to enhancing the service model of the shelters."

Every day he’s on duty in the Tenderloin, police captain Gary Jimenez comes across homeless people — or people who seem homeless but aren’t.

"One day on Turk Street, I came by a long line of people drinking. I was walking with a Homeless Outreach Team officer, and he said he knew them all. Only about 20 percent of them were actually homeless. They don’t want to sit in their rooms drinking. We give people housing but we don’t acclimatize them, get them used to being inside. They want to do what they’ve been doing, and they go out on the streets to do it. It’s social," he said.

Larry Haynes agrees. "It’s lonely and depressing in your room," he says. He lost his Beulah Street apartment through an Ellis Act eviction and has been living in the Vincent Hotel for three years, after a nine-month stint in the shelter system. He’s a tenant representative now, advocating for improved conditions in the SROs, which still beat the shelters.

"The criticism I hear from people on the streets is that there are some good shelters but you can’t get in them," Jimenez said. "Then there are shelters that are open that you can go to, but you wouldn’t want to because they’re really bad."

He tells me he’s visited shelters but finds it difficult to get a feel for how valid the complaints are. "I can’t tell without waking up there or knowing what it’s like to be thrown out on the street at 6 a.m. in the cold when there’s nothing open," he said.

The Shelter Monitoring Committee has requested that HSA staff stay in shelters at least once to get firsthand experience, but it’s yet to receive confirmation that this has occurred. When we asked Rhorer about the policy, he said, "There are 1,800 employees who work for HSA, so there is no way of knowing if any of them have been homeless and used the shelter system."

In our first conversation, Kayhan told me he had never stayed in a shelter. In a later interview, when I asked what he thought about the public perception of the shelters, he said, "I’m just not sure that the criticism that I hear around the shelters as being dangerous hellholes — or whatever has been said — matches what I see in the shelters or what I read with respect to incident reports or what I hear at the Shelter Monitoring Committee or at the shelter directors’ meetings. So perception is reality."

"Housing first" has been Mayor Newsom’s modus operandi for handling homelessness, and it’s a good one — the idea being to stabilize people, whatever condition they’re in: drunk or sober, clean or using, ill or able, young or old, alone or with family.

The city’s 10-Year Plan to End Chronic Homelessness, released in 2004, recommended 3,000 units of supportive housing to get the chronically homeless off the streets. Kayhan confirms the Mayor’s Office of Housing is on track to meet that goal through master-leasing SROs and building or renovating new affordable units, where occupants will get supportive services.

The chronically homeless, a catchall term for folks who stick to the streets and don’t or aren’t able to use the system, have been the mayor’s target and Kayhan’s priority. This makes sense because they’re the most visible face of homelessness.

Last year’s city budget allowed a tripling of staff for the Homeless Outreach Team, which works diligently to move the most entrenched homeless off SoMa side streets and out of encampments in Golden Gate Park. A special allocation of shelter beds was set aside for them, and those who refused shelter were put directly into stabilization units in SROs, bypassing the shelter system entirely.

For some, this has been great. It’s how Leonard finally started to make some progress. He bailed on the shelters after having his possessions thrown out three times by staff and hit the streets, where HOT found him, deemed him "shelter challenged," and moved him into a stabilization unit.

"I feel almost as good today as the day before I became homeless," he tells me one afternoon in January. The Bay Area native is hoping to transition into a subsidized rental soon.

Twenty-five percent of shelter staff are required to be homeless or formerly homeless. Some shelters hire up to 80 percent. Tyler is one of them — he lives at MSC South but works for Episcopal Community Services, which runs Sanctuary, Next Door, and the Interfaith Emergency Winter Shelter Program. He shows me his pay stub to prove it, and I note that every two weeks he takes home more than I do. "Yeah, I make good money," he agrees.

He’s been looking for an apartment, but rents are high and he hasn’t found anything good. A plan to move in with a family member fell through, so he’s just hanging out on the housing wait list. "What I really want to do is see what they’re going to do for me. I’ve been on [Personal Assistance Employment Services] for six months. Where is my SRO if I can afford to pay for it? So obviously that shit doesn’t work," he says.

He’s bitter about the effect the Golden Gate Park sweeps have had on the SRO stock. "They got SROs right away," he said of the 200-plus people who were removed from the park by HOT, put into stabilization beds, and transitioned to SROs. "They took them right away ’cause Gavin had to clean that shit up," he says.

Tyler, like many people I spoke with, keeps as sharp an eye as possible on City Hall. They read the papers and have opinions informed by firsthand experience about programs like Care Not Cash. They know Kayhan is making $169,000 per year and they’re making $29 every two weeks.

One morning, coming out of the bathroom at Sanctuary, I stop to study a posting for affordable housing on a bulletin board. It’s a studio for $863 per month, more than I pay for my one-room Mission flat. The longer I stay in the shelters and the more people I talk to, the less secure I feel in my economic stability.

Ruby Windspirit has been homeless since Jan. 14, two days before I started my tour of the shelters. The 59-year-old Irish Navajo was attending school in Portland, Ore., studying photography and science, when she became ill with bone cancer. She came to San Francisco to convalesce closer to her daughter, who lives in a one-bedroom apartment in the Castro with three other people.

Windspirit knew she couldn’t stay on the couch for too long and made a reservation for a $27 per night hotel in the Tenderloin. Despite the reservation, she couldn’t get in for two days and the bed she was ultimately given was two box springs with a piece of plywood for support. The sheets were dirty. She left after two weeks and entered the shelter system. She says Next Door is "150 percent better" than the hotel. She has a bed off the floor and the extra blanket her doctor recommended, though she was scolded for trying to plug in her phone.

I try to imagine what people like Windspirit would do if there weren’t shelters. But the Ten Year Council also recommended a phasing out of shelters within four to six years, to be replaced by 24-hour crisis clinics and sobering centers.

There are 364 fewer shelter beds in San Francisco than when Newsom became mayor. This year more may go. The city is currently requesting proposals to develop 150 Otis, which serves as a temporary shelter and storage space for homeless people, into permanent supportive housing for very-low-income seniors. About 60 shelter beds will be lost.

The HSA confirmed there are currently no plans to open any more shelters in San Francisco. The last plan for a new shelter — St. Boniface — fell through, and the money that was set aside for the project still languishes in an HSA bank account. Midyear budget cuts proposed by the mayor put that money on the chopping block.

Buster’s Place is also on the list of cuts. By April 15, the only place where someone can get out of the elements at any time, day or night, could be closed for good.

Kayhan, who previously oversaw Project Homeless Connect, Newsom’s private-sector approach to the problem, agreed that shelters will always be needed. What he worries about are the people who become dependant on them and refuse housing offers, although he’s also thinking about ways that shelters could be more amenable.

"I’d like to look at the next step with Homeless Connect to try and institutionalize that in the way we do business specifically in the shelters," he said, imagining a shelter pilot of one-stop shopping for services.

But just three weeks into his new job Kayhan was reaching out to constituents to try to figure out what isn’t working. He told us, "What I’m trying to do since I came into this position is be on the street and measure the impact the system is having on those that are on the street day in and day out and try to see what part of the system isn’t working properly or needs to be resourced differently so that we don’t see homeless people, long term, on the streets."

One night at MSC, in the bathroom before bed, a young woman tells me her story while I brush my teeth and she washes off her makeup. Not too long ago she drove here from Florida to meet up with her boyfriend. They were hanging out on the street one night when a cop came by, cited him for an open container, and discovered he had a warrant. Now he’s in jail in San Rafael.

She started sleeping in her Suburban while she looked for job and a place to stay. One night while she slept, parked at Castro and Market, she was hit by a drunk driver. She lifts a hank of long blond hair and shows me a bright pink tear of stitches above her temple. An ambulance took her and the drunk to the hospital. Her totaled car was towed. When the hospital found out she had no place to go, it sent her here.

"Now I’m in a fucking homeless shelter," she says, genuinely aghast at the situation and truly lost about what to do. She has her bed for five more days.

She could get a job. She says, "I have hella references," from working in restaurants for years. She could sleep in one of her friends’ cars, but it seems like so much work: waking up in the car, going to a resource center or shelter to wash up, then going to work.

We joke about living in the shelter. "Yeah, you can come over," she imagines telling her friends. "Dinner’s at 4:30."

"You’ve got to leave by 10," I say.

"It’ll be fun. We can hang out and smoke on the patio," she says.

I don’t know what else to say, except "Good luck." I know what it’s like to chase a boyfriend to San Francisco. I remember sleeping in my car when I was 21, during a strange time between graduating from college and getting a place to live for the summer in a town where housing was tight. I think about my little sister, packing up her Subaru one day and taking off to Miami, where she didn’t know a soul. You have a little money, a lot of hope, and that youthful sense of invincibility, but sometimes it all comes down to luck.

I bid her good night, pack up my toiletries, and wipe my face with my shelter-issued towel. It smells vaguely of bleach and shit.

› amanda@sfbg.com

Bryan Cohen contributed to this report.

SPORTS: Pants on fire

0

By A.J. Hayes

Host Allen Ludden and regular panelist Larry Hovis, of Hogan Heroes fame, may have passed on ages ago, but look for the Liar’s Club

to make a big return to television on Wednesday.

This time the star will be none other than ace pitcher Roger Clemens, and his audience will be members of Congress and baseball fans desperately seeking closure to the steroids era.

Like a Clemens strikeout pitch, expect the untruthfulness to come fast and furious.

Despite being sworn to tell the truth, Clemens will do anything to get around the accusations that he used performance-enhancing drugs to take his baseball career to a higher level at an age when pitchers have traditionally moved to mop-up roles.

The Fisher queen

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› deborah@sfbg.com

There are two questions that can really get on Carrie Fisher’s nerves: What was it like playing Princess Leia? And what’s it like having Debbie Reynolds for a mom? As if nothing else had ever happened in her life — not the drugs, the bad marriages, the great kid, the best-selling novels, or the wild, manic upswings that colored her world in its brightest hues and caused her to topple everything in her path.

Stupidly, when I enter Fisher’s suite in Berkeley’s Resort and Spa, the first thing I mention to her is that my parents named me after their favorite actor, her mom. Insipid conversation about how I never liked the name and neither did Carrie’s mom, who was born Mary Frances and renamed by MGM, ensues.

"She wouldn’t answer to it for two years," says the fiftysomething offspring of the Singin’ in the Rain star and the heartthrobby ’50s pop crooner Eddie Fisher as she curls her bare feet under her, leans back in a comfy chair, and lights up a smoke.

And yet how could I avoid asking a Hollywood royal about her famous parents and her larger-than-life role in the original Star Wars trilogy? Particularly as these are major subjects in her solo show Wishful Drinking, which opens at the Berkeley Repertory Theatre this week. And because she is wearing a draping black jersey version of the robe she wore in Episode IV. And especially since her mom always wanted her to do some kind of live act, in spite of her daughter’s reluctance.

"In my family the biggest act of rebellion is not doing a nightclub act," Fisher purrs with her throaty voice, oft given to delivering a snappy one-liner. "She wanted me to be a singer, but I had stage fright. Really terrifying."

In fact, Fisher frequently says in interviews that she never really wanted to go into the family business. The whole Star Wars thing was just a lark. She thought it would never make it beyond midnight movie cult-film status. But having made the nightclub rounds with her mom as a young teen — even singing in her act — and having studied drama in London, she seemed perfectly groomed for the thespian life. If you go to YouTube and check out a nowhere-near laughingly bad clip from the Star Wars holiday special, you’ll see Fisher in princess garb singing some hack’s weird idea of an outer-galactic spiritual. As goony as the whole thing is, it’s undeniable that Fisher has impressive pipes.

Despite her talent, she didn’t exactly become a box office giant — preferring to take small roles in good films like Hannah and Her Sisters. To some it might look like Fisher disappeared from the universe, much like Leia’s home planet.

I decide the way to go is ask her about writing instead, since I love her work. She’s funny, nimble with language, and not only has a vivid imagination but also totally delivers on the juicy details of what rich and famous people are really like. I almost envy her bipolar disorder, which has a way of stirring up the winds that take her on her wild flights of wordplay — and make it all too easy for her to compose lines like "They say that religion is the opiate of the masses. Well, I took massive amounts of opiates religiously."

Of her first novel, Postcards from the Edge, which won her a Los Angeles Pen Award for Best Novel in 1987, she says, "Writing was a sort of a way of kind of coping for me. You know, organizing. I used to read books and underline what I loved about them. I love all the things you can do with words, the alchemy of taking something that might in someone else’s hands become some tragic boo-hoo story and making it funny."

If you’ve read her books or seen the movie version of Postcards starring Meryl Streep, you know that post–Star Wars, Fisher was well on her way to self-destructing. The dryly witty roman à clef chronicles the life of a young actor named Suzanne Vale, who, floundering in a sea of drugs, ends up like so many of her colleagues, overdosing and paying her first of many visits to rehab. But as the book demonstrates, Fisher wasn’t just another actress on drugs: she’s gifted, and she transcends the kiss-and-tell genre by aptly capturing the inner lives of Hollywood’s own and revealing the human side — in all of its embarrassing detail — of a woman who turns out to be not unlike our mortal selves.

Fisher tells me none of the material for her show has been gleaned from her novels. It’s all new stuff. And with the help of director Tony Taccone, she’s reworked the premiere version she did in LA two years ago so that it’s more like a conversation you’d have with someone in your living room.

At long last she’s finally following through on her mom’s plans for her. Fisher once said in an interview that when she first read the script for Star Wars she wanted to play Han Solo. She didn’t get that role, but in Wishful Drinking she does get to perform solo. And sing too.

WISHFUL DRINKING

Through March 30, $13.50–$69

See Web site for schedule

Berkeley Repertory Theatre

2015 Addison, Berk.

(510) 647-2949

www.berkeleyrep.org

G-Spot: Nookie by the numbers

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› culture@sfbg.com

We asked and you answered — oh, how you answered. More than 200 of you responded to our questions about what goes on between your sheets, or at least between your legs. And although there are lots of you happily living your vanilla-and-roses love lives (straight! Missionary style! Share my partner? Never!), there are plenty more proving our city’s reputation for alternative gender and orientation identities, kinky sex, and free love is well deserved. Check out our poll results, as of Jan. 31, below. (Numbers are percentages.)

1. How do you identify, in terms of your sexual orientation?

Straight 59

Gay 12

Queer 10

Bi 9

Depends on how much I’ve had to drink 5

Alternative answers include four kinds of bisexual with caveats such as "bi-affectional" or "bi for political reasons," one transsexual, and one person who identifies simply as "feral." Meow.

2. How often do you have sex?

Once a day 11

Once a week 37

Once a month 10

Once upon a time 2

Alternate answers give even more specific frequencies, most often three to four times per week, as well as the fabulously Victorian answer "fortnightly." Several people said it depends on relationship status (though there was no mention of whether frequency increases or decreases with commitment). The one we identify with most? "As much as possible. Every day if you count with myself."

3. What’s the kinkiest thing you’ve done or would do?

Sex before marriage 15

Spanking 24

Suspension 16

"Two Girls, One Cup" 11

Alternative answers include bondage, multiple partners at one time ("ye olde three-way"), role play, sex in public places (bookstore? Hot), snowballing, sex with someone else’s date, anonymous encounters, homosexual dalliances, and the winner for Most Likely to Have Come from Lolita: "I got my chewing gum caught in a guy’s pubic hair once."

4. Where’s the craziest place you’ve ever had sex in San Francisco?

Mission Bar 8

16th and Mission Bart stop 4

My bed (missionary position, of course) 26

We’ve clearly been shopping in the wrong places. You people are having sex in Noe Valley storefronts, butcher shops, the dressing rooms of upscale retailers (Saks, JCrew, Banana Republic), and phone booths and against a wall in the Haight. How’d we miss this? Perhaps we were too busy with the rest of you in parks (Golden Gate, Balboa, Dolores), parking lots, school yards, and hot tubs. Some of our awards? Most original goes to "bowling alley in the back with the pins." Most ambitious? "Nothin’ crazy yet, but it’s only 9am. Give me a chance to wake up."

5. How polyamorous are you (or were you in your last committed relationship)?

Love is limitless and meant to be shared (my partner and I have other partners) 8

Love has limits, but sex is meant to be shared (my partner and I have other bed buddies) 13

Love and sex have limits, but some fantasies are meant to be shared (my partner and I occasionally invite others into bed with us) 12

Love, sex, and fantasies have limits, but dinner is meant to be shared (my partner and I have friends) 58

Most of you don’t want to share your partners — "I’m a jealous bitch," one person responded — though at least one of you wishes you could. But a good amount of you are open to all kinds of couplings, including the most open-minded of all: "AMA — all mammals allowed."

6. What gets you in the mood?

Gary Danko — foie gras and a 1985 Angelos Gaja 6

Amber — Pabst Blue Ribbon and a shot of well whiskey 15

The Stud — tequila and Trannyshack 8

What doesn’t? 54

For some of you, all you need to do is see your beau or betty and you’re ready for love. Others need drugs (weed and coke are favorites) and porn. And congrats to those of you who know exactly, specifically, without a doubt what you need: Morrissey and a Georges Bataille novel, horny thoughts and Spanish-language TV channel Azteca America, molasses coffee with grits, Madagascar chocolate from Recchiuti Confections, or rain. We love the answer "long tones." (Let’s talk about sax, baby.) And we’re not sure how to feel about the person who needs "a pint of Malibu and a good swift kick in the jewels."

Endorsements

0

President, Democrat

BARACK OBAMA


This is now essentially a two-person race for the Democratic nomination, and no matter how it comes down, it’s a historic moment: neither of the front-runners for the White House (and by any standard, the Democratic nominee starts off as the front-runner) is a white man. And frankly, the nation could do a lot worse than either President Hillary Clinton or President Barack Obama.

But on the issues, and because he’s a force for a new generation of political activism, our choice is Obama.

Obama’s life story is inspirational, and his speeches are the stuff of political legend. He can rouse a crowd and generate excitement like no presidential candidate has in many, many years. He has, almost single-handedly, caused thousands of young people to get involved for the first time in a major political campaign.

The cost of his soaring rhetoric is a disappointing lack of specific plans. It can be hard at times to tell exactly what Obama stands for, exactly how he plans to carry out his ambitious goals. His stump speeches are riddled with words like change and exhortations to a new approach to politics, but he doesn’t talk much, for example, about how to address the gap between the rich and the poor, or how to tackle urban crime and poverty, or whether Israel should stop building settlements in the occupied territories.

In fact, our biggest problem with Obama is that he talks as if all the nation needs to do is come together in some sort of grand coalition of Democrats and Republicans, of "blue states and red states." But some of us have no interest in making common cause with the religious right or Dick Cheney or Halliburton or Don Fisher. There are forces and interests in the United States that need to be opposed, defeated, consigned to the dustbin of history, and for all of Obama’s talk of unity, we worry that he lacks the interest in or ability to take on a tough, bloody fight against an entrenched political foe.

Still, when you look at his positions, he’s on the right track. He wants to raise the cap on earnings subject to Social Security payments (right now high earners don’t pay Social Security taxes on income over $97,000 a year). He wants to cut taxes for working-class families and pay for it by letting the George W. Bush tax cuts on the rich expire (that’s not enough, but it’s a start). He wants to double fuel-economy standards. His health care plan isn’t perfect, but it’s about the same as all the Democrats offer.

And he’s always been against the war.

It’s hard to overstate the importance of that. Obama spoke out against the invasion when even most Democrats were afraid to, so he has some credibility when he says he’s going to withdraw all troops within 16 months and establish no permanent US bases in Iraq.

Hillary Clinton has far more extensive experience than Obama (and people who say her years in the White House don’t count have no concept of the role she played in Bill Clinton’s administration). We are convinced that deep down she has liberal instincts. But that’s what’s so infuriating: since the day she won election to the US Senate, Clinton has been trianguutf8g, shaping her positions, especially on foreign policy, in an effort to put her close to the political center. At a time when she could have shown real courage — during the early votes on funding and authorizing the invasion of Iraq — she took the easy way out, siding with President Bush and refusing to be counted with the antiwar movement. She has refused to distance herself from such terrible Bill Clinton–era policies as welfare reform, the North American Free Trade Agreement, and don’t ask, don’t tell. We just can’t see her as the progressive choice.

We like John Edwards. We like his populist approach, his recognition that there are powerful interests running this country that won’t give up power without a fight, and his talk about poverty. In some ways (certainly in terms of campaign rhetoric) he’s the most progressive of the major candidates. It is, of course, a bit of a political act — he was, at best, a moderate Southern Democrat when he served in the Senate. But at least he’s raising issues nobody else is talking about, and we give him immense credit for that. And we’ve always liked Dennis Kucinich, who is the only person taking the right positions on almost all of the key issues.

But Edwards has slid pretty far out of the running at this point, and Kucinich is an afterthought. The choice Californians face is between Hillary Clinton and Barack Obama. And Obama, for all of his flaws, has fired up a real grassroots movement, has energized the electorate, and is offering the hope of a politics that looks forward, not back. On Feb. 5, vote for Barack Obama.

President, Republican

RON PAUL


We have a lot of disagreements with Ron Paul and his libertarian worldview. He opposes the taxes that we need to make civil society function and the government regulations that are essential to protecting the most powerless members of society. From its roots in the Magna Carta and Adam Smith’s economic theories to the Bill of Rights, it’s clear the United States was founded on a social compact that libertarians too often seem to deny. And Paul compounds these ills in the one area in which he departs from the libertarians: he doesn’t support federal abortion rights. He’s been associated with some statements that are racially insensitive (to say the least). He clearly shouldn’t be president.

But he won’t — Paul isn’t going to win the nomination. So it’s worthwhile endorsing him as a protest vote for two reasons. His presence on the ballot serves to show up some of the hypocrisies of the rest of the GOP field — and he is absolutely correct and insightful on one of the most important issues of the day: the war.

Paul is alone among the Republican candidates for president in sounding the alarm that our country is pursuing a dangerous, shortsighted, hypocritical, expensive, and ultimately doomed strategy of trying to dominate the world militarily. He opposed the invasion of Iraq and thinks the US should pull out immediately. It’s immensely valuable to have someone like that in the GOP debates, speaking to the conservative half of our country about why this policy violates the principles they claim to hold dear.

Paul is absolutely correct that if we stopped trying to police the world, ended the war on drugs, and quit negotiating trade deals that favor multinational corporations over American families and workers, we would be a far more free and prosperous nation.

President, Green

CYNTHIA MCKINNEY


We endorsed Ralph Nader for president in 2000, in large part as a protest vote against the neoconservative politics of the Bill Clinton administration (the North American Free Trade Agreement, the General Agreement on Tariffs and Trade, welfare "reform," etc.). And Nader’s Green Party campaign had a place (particularly in a state the Democrats were going to win anyway). We’ve never been among those who blame Nader for Al Gore’s loss — Gore earned plenty of blame himself. But four years later we, like a lot of Nader’s allies and supporters, urged him not to run — and he ignored those pleas. Now he may be seeking the Green Party nomination again. Nader hasn’t formally announced yet, but he’s talking about it — which means he still shows no interest in being accountable to anyone. It’s too bad he has to end his political life this way.

Fortunately, there are several other credible Green Party candidates. The best is Cynthia McKinney, the former Georgia congressional representative, who has switched from the Democratic to the Green Party and is seeking a spot on the top of the ticket. McKinney has her drawbacks, but we’ll endorse her.

The real question here is not who would make a better president (that’s not in the cards, of course) but who would do more to build the Green Party and promote the best course for a promising third party that still hasn’t developed much traction as a national force. We’ve been clear for years that the Greens should be working from the grass roots up: the party’s first priority should be electing school board members, community college board members, members of boards of supervisors and city councils. Over time, leaders like Mark Sanchez, Jane Kim, Matt Gonzalez, and Ross Mirkarimi can start competing for mayor’s offices and posts in the State Legislature and Congress. Running a presidential candidate only makes sense as part of a party-building operation. (That’s what Nader did in 2000, and for all the obvious reasons he’s incapable of doing it today.)

But the Greens insist on running candidates for president, so we might as well pick the best one.

McKinney has a lot to offer the Greens. She’s an experienced legislator who has won several tough elections and taken on a lot of tough issues. As an African American woman from the South, she can also broaden the party’s base. She was a solid progressive in Congress, where she was willing to speak out on issues that many of her colleagues ducked (she was, for example, one of the few members to push for an impeachment resolution).

McKinney has her downside — in recent years she’s been flirting with the loony side of the left, getting a bit close to some Sept. 11 conspiracy theories that hurt her credibility (although she’s also made some very good points about the attacks and the lack of a serious investigation into what happened). And some of her supporters have made alarmingly anti-Semitic statements (from which, to her credit, she has attempted to distance herself). But she has to come out now, strongly, to denounce those sorts of comments and show that she can build a real coalition.

With those (serious) reservations, we’ll give her the nod.

Proposition 91 (use of gas tax)

NO


Prop. 91 is essentially an effort to ensure that revenue from the state’s gas tax goes only to roads and highways. It’s a moot point anyway: Proposition 1A, which passed last year, did the same thing, and now even proponents of 91 are urging a No vote.

But we’re going to take this opportunity to reiterate our opposition to Prop. 1A, Prop. 91, and any other ridiculous effort to restrict the use of gasoline tax revenues.

It should be clear to everyone at this point that the widespread overuse of automobiles is having far bigger impacts on California than just wear and tear on the roads. Cars are the biggest single cause of global warming, and they kill and injure more Californians than guns do, causing enormous costs that are borne by all of us. Driving a car is expensive for society, and drivers ought to be paying some of those costs. That should mean extra gas taxes and a reinstatement of the vehicle license fee to previous levels (and extra surcharges for those who drive Hummers and other especially wasteful, dangerous vehicles). That money ought to go to the state General Fund so California doesn’t have to close state parks and slash spending on schools and social services, as Gov. Arnold Schwarzenegger is proposing.

Proposition 92 (community college funding)

YES


Prop. 92 is another example of how desperate California educators are and how utterly dysfunctional the state’s budget process has become.

The measure is complicated, but it amounts to a plan to guarantee community colleges more money — a total of about $300 million a year — and includes provisions to cut the cost of attending the two-year schools. Those are good things: community colleges serve a huge number of students — about 10 times as many as the University of California system — many of whom come from lower-income families who can’t afford even a small fee increase. And, of course, as the state budget has gotten tighter, community college fees have gone up in the past few years — and as a result, attendance has dropped.

Part of the way Prop. 92 cuts fees is by divorcing community college funding from K–12 funding — and that’s created some controversy among teachers. Current state law requires a set percentage of California spending (about 40 percent) to go to K–12 and community college education, but there’s no provision to give more money to the community colleges when enrollment at those institutions grows faster than K–12 enrollment.

Some teachers fear that Prop. 92 could lead to decreased funds for K–12, and that’s a real concern. In essence, this measure would add $300 million to the state budget, and it includes no specific funding source. This worries us. In theory, the legislature and the governor ought to agree that education funding matters and find the money by raising taxes; in practice, this could set up more competition for money between different (and entirely worthy) branches of the state’s public education system — not to mention other critical social services.

But many of the same concerns were voiced when Prop. 98 was on the ballot, and that measure probably saved public education in California. The progressives on the San Francisco Board of Education all support Prop. 92, and so do we. Vote yes.

Proposition 93 (term limits)

YES


This is pathetic, really. The term-limits law that voters passed in 1990 has been bad news, shifting more power to the governor and ensuring that the State Assembly and the State Senate will be filled with people who lack the experience and institutional history to fight the Sacramento lobbyists (who, of course, have no term limits). But the legislature isn’t a terribly popular institution, and the polls all show that it would be almost impossible to simply repeal term limits. So the legislature — led by State Assembly speaker Fabian Núñez, who really, really wants to keep his job — has proposed a modification instead.

Under the current law, a politician can serve six years — three terms — in the assembly and eight years — two terms — in the senate. Since most senators are former assembly members, that’s a total of 14 years any one person can serve in the legislature.

Prop. 93 would cut that to 12 years — but allow members to serve them in either house. So Núñez, who will be termed out this year, could serve six more years in the assembly (but would then be barred from running for the senate). Senators who never served in the assembly could stick around for three terms.

That’s fine. It’s a bit better than what we have now — it might bring more long-term focus to the legislature and eliminate some of the musical-chairs mess that’s brought us the Mark Leno versus Carole Migden bloodbath.

But it’s sad that the California State Legislature, once a model for the nation, has been so stymied by corruption that the voters don’t trust it and the best we can hope for is a modest improvement in a bad law. Vote yes.

Propositions 94, 95, 96, and 97 (Indian gambling compacts)

NO


We supported the original law that allowed Indian tribes to set up casinos, and we have no regrets: that was an issue of tribal sovereignty, and after all the United States has done to the tribes, it seemed unconscionable to deny one of the most impoverished populations in the state the right to make some money. Besides, we’re not opposed in principle to gambling.

But this is a shady deal, and voters should reject it.

Props. 94–97 would allow four tribes — all of which have become very, very wealthy through gambling — to dramatically expand the size of their casinos. The Pechanga, Morongo, Sycuan, and Agua Caliente tribes operate lucrative casinos in Southern California, spend a small fortune on lobbying, and convinced Gov. Arnold Schwarzenegger to give them permission to create some of the largest casinos in the nation. Opponents of this agreement have forced the issue onto the ballot.

The tribes say the deals will bring big money into the state coffers, and it’s true that more gambling equals more state revenue. But the effective tax rate on the slot machines (and this is all about slot machines, the cash engines of casinos) would be as little as 15 percent — chump change for a gambling operation. And none of the other tribes in the state, some of which are still desperate for money, would share in the bounty.

The big four tribes refuse to allow their workers to unionize. While we respect tribal sovereignty, the state still has the right to limit the size of casinos, and if the tribes want the right to make a lot more money, they ought to be willing to let their workers, not all of them Indians, share in some of the rewards. We’re talking billions of dollars a year in revenue here; paying a decent salary is hardly beyond the financial ability of these massive operations.

The governor cut this deal too fast and gave away too much. If the tribes want to expand their casinos, we’re open to allowing it — but the state, the workers, and the other tribes deserve a bigger share of the revenue. Vote no on 94-97.

Proposition A (neighborhood parks bond)

YES


This $185 million bond has the support of a broad coalition of local politicians and activists, Mayor Gavin Newsom, and every member of the Board of Supervisors. It would put a dent in the city’s serious backlog of deferred maintenance in the park system.

The measure would allocate $117.4 million for repairs and renovations of 12 neighborhood parks, selected according to their seismic and safety needs as well as their usage levels. It would also earmark $11.4 million to replace and repair freestanding restrooms, which, the Recreation and Park Department assures us, will be kept open seven days a week.

The bond also contains $33.5 million for projects on Port of San Francisco land, including a continuous walkway from Herons Head Park to Pier 43 and new open spaces at regular intervals along the eastern waterfront. While some argue that the Port should take care of its own property, it’s pretty broke — and there’s a growing recognition that the city’s waterfront is a treasure, that open space should be a key component of its future, and that it doesn’t really matter which city agency pays for it. In fact, this bond act would provide money to reclaim closed sections of the waterfront and create a Blue Greenway trail along seven miles of bay front.

One of the more questionable elements in this bond is the $8 million earmarked for construction and reconstruction of city playfields — which includes a partnership with a private foundation that wants to install artificial turf. There’s no question that the current fields are in bad repair and that users of artificial turf appreciate its all-weather durability. But some people worry about the environmental impact of the stuff, which is made from recycled tires, while others wonder if this bond will end up giving control of 7 percent of our parkland to the sons of Gap founder Don Fisher (their City Fields Foundation is the entity contributing matching funds for city-led turf conversions). Although the Rec and Park Department has identified 24 sites for such conversions, none can take place without the Board of Supervisors’ approval — and the supervisors and the Rec and Park Commission needs to make it clear that if neighbors don’t want the artificial turf, it won’t be forced on them.

Prop. A also earmarks $5 million for trail restoration and $5 million for an Opportunity Fund, from which all neighborhoods can leverage money for benches and toilets through in-kind contributions, sweat equity, and noncity funds.

And it includes $4 million for park forestry and $185,000 for audits.

With a 2007 independent analysis identifying $1.7 billion in maintenance requirements, this is little more than a start, and park advocates need to be looking for other, ongoing revenue sources. But we’ll happily endorse Prop. A.

Proposition B (deferred retirement for police officers)

YES


We’ve always taken the position that relying exclusively on police officers to improve public safety is as useless as simply throwing criminals behind bars — it’s only part of the solution and will never work as an answer all on its own.

But we’re also aware that the city is suffering a dramatic shortage of police officers; hundreds are expected to retire within a few short years, and those figures aren’t being met by an equal number of enrollees at the academy.

So we’re supporting Prop. B, even if it’s yet another mere stopgap measure the police union has dragged before voters, and even though the San Francisco Police Officers Association is often hostile to attempted law enforcement reforms and is never around when progressives need support for new revenue measures.

Prop. B would allow police officers who are at least 50 years of age and who have served for at least 25 years to continue working for three additional years with their regular pay and benefits while the pension checks they’d have otherwise received collect in a special account with an assured annual 4 percent interest rate.

The POA promises Prop. B will be cost neutral to taxpayers, and the city controller will review the program in three years to ensure that remains the case. Also at the end of three years, the Board of Supervisors, with a simple majority vote, could choose to end or extend it.

POA president Gary Delagnes added during an endorsement interview that department staffers in San Francisco who reach retirement age simply continue working in other police jurisdictions. If that’s the case, we might as well keep them here.

No other city employees are eligible for such a scheme, which strikes us as unfair. And frankly, one of the main reasons the city can’t hire police officers is the high cost of living in San Francisco — so if the POA is worried about recruitment, the group needs to support Sup. Chris Daly’s affordable-housing measure in November.

But we’ll endorse Prop. B.

Proposition C (Alcatraz Conversion Project)

NO


We understand why some people question why a decaying old prison continues to be a centerpiece of Bay Area tourism. A monument to a system that imprisoned people in cold, inhumane conditions doesn’t exactly mesh with San Francisco values.

But the Alcatraz Conversion Project, which proposes placing a half–golf ball–like Global Peace Center atop the Rock, is a wacky idea that looks and sounds like a yuppie tourist retreat and does little to address the island’s tortured past. People don’t have to support everything with peace in the title.

The proposal includes a white domed conference center for nonviolent conflict resolution, a statue of St. Francis, a labyrinth, a medicine wheel, and an array of what proponents call "architecturally advanced domed Artainment multimedia centers."

We agree with the ideal of dedicating the island to the Native Americans who fished and collected birds’ eggs from this once guano-covered rock for thousands of years and whose descendants carried out a bold occupation at the end of the 1960s. But this proposal seems based on wishful thinking, not fiscal or environmental realities.

The plan is backed by the Global Peace Foundation, which is a branch of the San Francisco Medical Research Foundation, a Mill Valley nonprofit founded by Marin resident and Light Party founder Da Vid. It’s just goofy. Vote no.

Next week: Alameda County endorsements.

SPORTS: Are the A’s history?

0

If MLB is serious about contraction, Oakland could lose its team

By A.J. Hayes

Several seasons ago, before performance-enhancing drugs started dominating baseball’s off-the-field news, an equally troubling situation was starting to take hold in the perpetually hand-wringing sport – contraction.

In 2001, back when team owners claim they had no clue about baseball’s growing steroids problem, Commissioner Bud Selig floated his scheme to eliminate two major league clubs – his choices at the time were Montreal and Minnesota – to help stave off baseball revenue problems.

For any number of reasons, the contraction plan fizzled and has rarely been heard from since.

But now in 2008 don’t be surprised if talk returns to putting one or more of the game’s 30 clubs on the chopping block – if for no other reason than to divert talk from exactly what pharmaceutical products were injected into Roger Clemens’ buttocks.

Clubz: Please nuke the gayz of Williamsburg

0

I knew it! I knew that once that trashy pole of nightlife fakulousness, Misshapes in NYC, closed, all the raunchy club kidz it spawned would either run for corporate cover (you can now hire the famous Misshapes DJs for corporate events — will they displace Michael Bolton at next year’s Oracle convention?) or hit the tragic talkshow circuit. Or hit the tragic talkshow circuit AND start their own “rap” band. Well, Johnny Makeup (aka Scotty Mouthbreather) is hitting that last option hard. Watch and wince, darlings:

PLUS: He — along with the rest of his “V.I.P. Party Boys” will be featured on the Tyra Banks show this Wednesday discussing “how sex and drugs get tangled with fame.” Um, don’t you need to be famous first? Good luck to all!

PS: I’ve just received sad word that the other trashy pole of fakulousness (but in a seriously good way), Hot Dog in LA has closed. I’m hoping Mario Diaz, possibly the hottest promoter in the world, will now be free to lodge himself firmly in my Dumpster. Even if he did go a little too far into go-go boy territory at the end with his club …

mario1.jpg
Hi Mario! Call me, k?

Get your ’08 FLOAT on

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By Justin Juul

Doesn’t it sometimes seem like the world is working against you? It’s bad enough those days when you wake up feeling like shit for no reason, but it really sucks when things just get worse from there. And it’s always their fault, isn’t it? The dickhead at the liquor store forgets to stock your brand of cigarettes. Some yuppie in a fancy car nearly runs you off the road. Your manager fires you, your landlord evicts you, your friends diss you. Sometimes other people are just too much to bear. Don’t you wish you could just make them all disappear for a while? Or better yet, don’t you wish you could disappear?

I mean let’s face it, even if you could temporarily get rid of all those other assholes, you’d still be stuck with the biggest asshole in the world: yourself.

float.jpg
Keep reading …

When the wheel of contentment begins to rotate downward, most of us turn to drugs, go into workaholic mode or — for those who can afford it — go on a vacation. But all that stuff is too predictable and it often leaves us feeling worse. What if there was a way to temporarily disconnect from life without any of the usual consequences?

Well, if you’ve ever seen Altered States, you know all about sensory deprivation chambers, those weird water-tanks psychology students use to study brain chemistry or whatever. It’s supposed to be the coolest experience in the world, something like meditating on acid.

In a deprivation chamber you are utterly alone. Your body is suspended in warm Epsom-water, your ears are submerged so you can’t hear a thing, and it’s totally dark, odorless, and soundproof. After a minute or two in an isolation-tank, the entire world melts away and you’re left with raw brain waves. Outside of a bad ketamine trip, it’s the most detached experience humanly possible. Sounds great right? The only problem is that the tanks are hard to get access to unless you work in a medical lab or live in Spain or London where they’ve become fashionable for some reason. Not anymore.

The owners of FLOAT, an urban art gallery in Oakland, got their hands on some tanks a couple years ago and are offering their services to the public. A psychedelic dip in one of FLOAT’s tanks is the perfect cure for those post holiday-with-the-family blues. Just strap on some Speedos, shut your eyes, and forget about those assholes (and yourself) for a while.

New Year Package at FLOAT – 3 Floats for the Price of 2 ($140.00)
1091 Calcot Place, #116 Oakland
510-535-1702
www.thefloatcenter.com

Editor’s Notes

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› Tredmond@sfbg.com

A friend of mine used to play defensive end for one of the big football schools, one of those places that are constantly in the top 10, win a few national championships, and send a couple of people to the NFL every year. The football players had their own dorm, far away from everyone else on campus. The mirrors in the bathrooms were stainless steel instead of glass, so they wouldn’t get broken when the guys got a bit out of control.

Everybody juiced. That’s what my friend told me. If you wanted to star at the national level and you thought you had a chance at the pros, you took steroids. You just did. It was part of the deal.

So I had a hard time getting agitated about the Barry Bonds scandal, and I’m still having a hard time getting agitated about the Mitchell Report. What, nobody knew there were drugs in major-league baseball? Does anyone believe the owners weren’t encouraging it? Buffed-up players sell tickets.

And now there’s talk of asterisks — the idea that anyone who may have used steroids shouldn’t remain in the record books or in the Hall of Fame without some sort of formal indication that the milestones might be tainted — which strikes me as silly. How will we know for sure who did what when? Are we basing all of this on Mitchell Reportstyle hearsay? How about the people who may have juiced or may have just worked out harder and suddenly started performing better?

How about the fact that almost every professional athlete today has the advantage of better nutrition, better training, and better medical care than even the most lucky and privileged had 50 years ago?

Besides, steroids are chickenshit.

See, when I look out the window of my office near Mission Bay, I see this fancy new University of California complex that’s going to be home to a huge, brand-new industry based on genetic technology. I’m in favor of stem-cell research, and I have no problem with using embryonic cells, but I think we need to understand what we’re doing here before unregulated private and public sector researchers start doing some truly funky stuff.

Tali Woodward wrote about this in the Guardian three years ago, and plenty of others have been talking about it. It’s going to be possible pretty soon (in 10 years? 20?) to alter the genetic makeup of a fetus to select for or enhance certain characteristics. Some couples may want a boy or a girl. Some may want to avoid a family history of hemophilia or heart disease.

And some may want a kid who can run really, really fast or has exceptional vision, lightning reflexes, and the strength to hit a baseball 500 feet.

Lee Silver, a molecular biologist at Princeton, talked about this in 1997 in a book titled Remaking Eden (Avon Books). His thesis, in part, was that certain human beings — the "GenRich" — will be born with powers and abilities far beyond those of the weaker "Natural" class.

And which people do you suppose will play professional sports?

When there’s so much money at stake and the private sector is running the game, steroids are going to seem like lemonade. That’s what we should be getting agitated about.

Check it twice

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ALEXIS GEORGOPOULOS’S TOP 10


WRITER/EDITOR, ARP


<\!s><0x0007>Panda Bear, Person Pitch (Paw Tracks). One of the few albums that deserved the hype, Person Pitch delivered what Animal Collective could not.

<\!s><0x0007>Various artists, Zanzibara, Volume 3: Ujamaa (Buda Musique). Ujamaa focuses on 1960s Tanzania and recalls the ecstatic languidity of Tabu Ley Rocehrau and the imprint’s Angola ’60s compilations.

<\!s><0x0007>Various artists, Dirty Space Disco (Tigersushi). Parisians Pilooski and Dirty Sound System are some of the most exciting discoveries of the year.

<\!s><0x0007>Thomas Fehlmann, Honigpumpe (Kompakt). This was the year I got back into minimal techno after a few years away. Lodged somewhere between Kompakt’s "Pop Ambient" series and Superpitcher, Fehlmann made his strongest album since 2004’s Visions of Blah.

<\!s><0x0007>Lilith Records. In 2007 the enigmatic new label that appears to come from the Russian Federation reissued lavish vinyl versions of Caetano Veloso’s Araca Azul, Harmonia’s De Luxe, Tim Hardin 2, No New York, Claudine Longet’s Colours, Black Merda’s Black Merda, and Cluster’s Zuckerzeit. The only reissue imprint that rivals them in scope and quality is the Bay Area’s Water Records.

<\!s><0x0007>Iasos, Inter-Dimensional Music (Iasos Unity/Em, 1975). With so many new artists taking the easy electronic-prog route, it’s good to realize there’s much more where that came from — in the place between space rock and new age. This makes me think of Alice Coltrane and Robert Fripp and Brian Eno’s Evening Star (Editions Eg) but doesn’t really sound like any of them. The sleeve is incredible.

<\!s><0x0007>Niger: Magic and Ecstasy in the Sahel DVD (Sublime Frequencies). The last 15 minutes, focusing on Tuareg musicians, contain some of the most ecstatic and tranced-out jams I’ve heard or seen.

<\!s><0x0007>Various artists, Brazil 70 (Soul Jazz). No longer borrowing from John Cage or the Beatles, Jards Mascale, and Novos Baianos ushered in what may be the most exciting time in Brazil’s musical history.

<\!s><0x0007>Frank Bretschneider, Rhythm (Raster-Noton). He may be working in the domain of clicks and cuts, but instead of pursuing pure sine wave research, Bretschneider — picking up where SND left off but surpassing them — mimics the rhythms of dubstep, minimal techno, and hip-hop. Listen loud and your mind will be rearranged.

<\!s><0x0007>Shit Robot, "Chasm"/"Wrong Galaxy" (DFA). Yes, the name is awful. Nevertheless, DFA’s recent signing of this Markus Lambkin project is too good to pass over. Lambkin has been learning from the best of Carl Craig and Berlin and Cologne techno, and his full-length is eagerly awaited.

WILL YORK’S TOP 10


WRITER


(1) <0x0007>Miles Davis: The Complete On the Corner Sessions (Sony Legacy)

(2) <0x0007>Ace Records: Bob Lind, Elusive Butterfly: The Complete Jack Nitzsche Sessions; various artists, Phil’s Spectre III: A Third Wall of Soundalikes; and various artists, Hard Workin’ Man: The Jack Nitzsche Story, Vol. 2

(3) <0x0007>Bloodcount, Seconds CD/DVD (Screwgun)

(4) <0x0007>Clockcleaner, Babylon Rules (Load)

(5) <0x0007>Terminal Sound System, Compressor (Extreme)

(6) <0x0007>ugEXPLODE label: Nondor Nevai, The Wooden Machine Music, and Flying Luttenbachers, Incarceration by Abstraction

(7) <0x0007>Down, Over the Under (Down)

(8) <0x0007>The Pipettes, We Are the Pipettes (Cherry Tree/Interscope)

(9) <0x0007>Slough Feg, "Tiger! Tiger!," Hardworlder (Cruz del Sur)

(10) <0x0007>Tesla, "Ball of Confusion," Real to Reel (Tesla Electric Co.)

MARCUS CROWDER’S TOP 10-PLUS


WRITER


<\!s><0x0007>Aretha Franklin, Aretha Live at Fillmore West (deluxe edition) (Rhino). So electric you’ll get goose bumps.

<\!s><0x0007>Jason Lindner Big Band, Live at the Jazz Gallery (Anzic)

<\!s><0x0007>Charles Mingus Sextet with Eric Dolphy, Cornell 1964 (Blue Note)

<\!s><0x0007>Sam Yahel Trio, Truth and Beauty (Origin). Talented friends get into the groove of a young man and his keyboard.

<\!s><0x0007>Joshua Redman Trio, Back East (Nonesuch)

<\!s><0x0007>Joe Henry, Civilians (Anti-). Fiercely literate adult rock without acronyms.

<\!s><0x0007>Wayne Shorter Quartet at the Mondavi Center, UC Davis, Feb. 2.

<\!s><0x0007>Jason Moran with T.S. Monk and ensemble, the Monk Town Hall Concert, Herbst Theatre, May 19. A large band swings very, very hard.

<\!s><0x0007>SFJAZZ Collective, Live 2007: Fourth Annual Concert Tour (SFJAZZ). Smart arrangements with the necessary new blood of underrated pianist Renee Rosnes.

<\!s><0x0007>Kiki and Herb, American Conservatory Theater, July 13. We need their holiday show.

<\!s><0x0007>The Sea and Cake, "Up on Crutches," Everybody (Thrill Jockey). The song I couldn’t stop playing.

AMANDA MARIA MORRISON


WRITER


<\!s><0x0007>MIA, Kala (Interscope)

<\!s><0x0007>Feist, The Reminder (Cherry Tree/Interscope)

<\!s><0x0007>Calle 13, Residente o Visitante (Sony)

<\!s><0x0007>Chamillionaire, Ultimate Victory (Motown)

<\!s><0x0007>Kanye West, Graduation (Roc-A-Fella)

<\!s><0x0007>Apostle of Hustle, National Anthem of Nowhere (Arts and Crafts)

<\!s><0x0007>Jose Gonzalez, "In Our Nature" (Mute)

<\!s><0x0007>El-P, I’ll Sleep When You’re Dead (Definitive Jux)

<\!s><0x0007>The Federation, "It’s Whateva" (Southwest Federation/Reprise)

<\!s><0x0007>Chingo Bling, They Can’t Deport Us All (Asylum)

THEO SCHELL-LAMBERT


WRITER


(1) <0x0007>Aaron Ross, Shapeshifter (Grass Roots Record Co.). The Hella member’s solo LP is ragged singer-songwriter stuff that seems to do everything wrong. It’s strident, too long, and too loud; it’s chirpy and pained; it must have broken a guitar’s worth of strings. And then, somewhere around the point it stops being ugly, it becomes transcendent — an album with more heart than any I’ve heard in a while.

(2) <0x0007>The Arcade Fire, Neon Bible (Merge). How quickly you realize the stunning last song, "My Body Is a Cage," will be a testament to the trust the Montreal group has built, understood, and not yet defaulted on. Few groups have a better sense of what they are and mean, and the Arcade Fire know what they do right: write hymns.

(3) <0x0007>MIA, Kala (Interscope). On her second album, Maya Arulpragasam turned a government-forced world tour into an excuse to make her music even better traveled.

(4) <0x0007>Ferraby Lionheart, Ferraby Lionheart EP (Nettwerk). Lush, antique, richly sung pop that plays like an argument for Jon Brion. Wes Anderson will one day base an entire script on a Lionheart disc.

(5) <0x0007>Robert Plant and Alison Krauss, Raising Sand (Rounder). The best moments on this gorgeous, out-of-nowhere release are when you’ve been listening to sweetheart old-time country pop, then realize you are listening to Robert Plant. There’s a whisper of "Gallows Pole" in "Fortune Teller" and "Going to California" in "Please Read the Letter," and that’s the great pleasure here: an almost mystical Led Zeppelin overlay in music that’s nowhere near classic rock.

(6) <0x0007>Black Moth Super Rainbow, Dandelion Gum (Graveface). Psychedelia wouldn’t have a bad name if more of it were like this. The rural Pennsylvania group counters séance vocals and guitar and keyboard spazz-outs with focus and snappy drums.

(7) <0x0007>St. Vincent, Marry Me (Beggars Banquet). Anne Clark is a Sufjan Stevens crony, but Marry Me is eventually hers alone. Sinister electrofuzz, deft polyrhythms, and scarily chameleonic vocals give her indie pop a postmodern turn.

(8) <0x0007>Blitzen Trapper, Wild Mountain Nation (Lidkercow). At turns pure classic rock — all jammy blues riffs and sun-dappled vocals — countrified songwriter stuff, and something loudly proggy and textural, Wild Mountain Nation sends salvos in several directions.

(9) <0x0007>UGK, UGK: Underground Kingz (Jive). Bun B and Pimp C sound ecstatic to be back at it, and they turn in a two-disc Southern hip-hop epic with cameos that are actually exciting. André 3000 is drawly and perfect on "Int’l Players Anthem," and hearing Dizzee Rascal over this beat is a treat.

(10) <0x0007>Miracle Fortress, Five Roses (Secret City). Montreal’s Graham Van Pelt shoots straight for the Beach Boys here, which means his songs sound a little derivative and a lot lovely. Pop’s melodic purism, dressed up for audiophiles.

BROLIN WINNING’S TOP 10


442 RECORDS, MP3.COM


<\!s><0x0007>Percee P, Perseverance (Stones Throw)

The long-awaited solo album from Bronx legend Percee P does not disappoint, with its intricate rhyme schemes and exceptional production from Stones Throw’s resident maestro Madlib. Alarmingly dope from start to finish, with collabos with Diamond D and Vinnie Paz. Look for the remix album in January.

<\!s><0x0007>Prodigy, Return of the Mac (Koch)

A lot of older fans gave up on Mobb Deep years ago, and their horrible last record seemed to be the final nail in the coffin. But on this independent release, Prodigy comes alive, spitting flagrant murder raps over Alchemist’s outstanding blaxploitation-style beats. Unfortunately, P is heading into a three-and-a-half-year bid — I hope he finishes his new solo joint first.

<\!s><0x0007>Kamackeris, Artz and Craftz (Mindbenda)

Also known as Kwite Def or KD, Kamackeris is a New York rapper best known for his work with Monsta Island Czars and a show-stealing appearance on the first MF Doom album. He’s blessed with one of the grimiest voices in hip-hop, and his rugged yet introspective wordplay shines over X-Ray’s cinematic tracks. Completely slept on but crazy good.

<\!s><0x0007>Camp Lo, "Ticket For 2" (self-released)

These cats have been MIA for a minute, and it’s been a full decade since their classic debut, but Cheeba and Suede come back something serious on this ultrasmooth single produced by longtime homey Ski Beatz. Unfortunately, it’s not on their recent album, but it’s all over the Internet.

<\!s><0x0007>Snoop Dogg, "Sexual Eruption, a.k.a. Sensual Seduction" (unreleased)

Man! While T-Pain, Akon, and countless others assault the airwaves with their hypercomputerized, later-era Cher-style "R&B," Big Snoop takes it back to the Roger Troutman essence, freaking the (virtual) talk box on this ode to female orgasm. The song is awesome enough, but the throwback video, complete with flying saucers and a keytar, is something to behold.

<\!s><0x0007>50 Cent, "I Get Money," Curtis (Aftermath/Shady/Interscope)

He lost the sales battle with Kanye West, G Unit is fading fast, and Curtis is his worst LP to date. However, even his millions of haters have to admit: this song is a banger.

<\!s><0x0007>Devin the Dude, live at South by Southwest, March 14

Mild-mannered but funny as hell, Devin has been putting it down for a long time now, winning fans with his mellow storytelling rhymes, low-key singing, and affinity for all weed and women. I saw him live three times this year, but this show in his home state was the best: he rolled with the Coughee Brothaz and injected some much-needed funk into the indie-centric convention.

<\!s><0x0007>Third annual Brooklyn Hip-Hop Festival

Unlike the more hyped-up "Rock the Bells," this festival got everything right. Free show, great location on the water in BK, and all-day performances from Ghostface, Sean P, Large Professor, El Michaels Affair, Dres from Black Sheep, and others. Throw in surprise appearances from Chubb Rock and Jeru, and you’ve got middle-aged rap fan heaven.

<\!s><0x0007>Sonic Youth at the Berkeley Community Theatre, July 19

As part of the "Don’t Look Back" concert series, in which artists perform a classic album in its entirety, Thurston Moore and the gang revisited their 1988 epic Daydream Nation (DGC) to the delight of a sold-out crowd. Next time I hope they do Bad Moon Rising.

<\!s><0x0007>ZZ Top at Konocti Harbor, April 21

All I can say is "wow." Despite my driving several hours to and from Clear Lake and getting rained on the entire time, this was amazing. These dudes are mad old, but they put on a better show than most kids a fraction of their age.

KANDIA CRAZY HORSE’S TOP 10


WRITER


(1) <0x0007>Rufus Wainwright, Release the Stars (Geffen)

(2) <0x0007>Tinariwen, Aman Iman (World Village)

(3) <0x0007>Robert Plant and Alison Krauss, Raising Sand (Rounder)

(4) <0x0007>Betty Davis, Betty Davis (Light in the Attic)

(5) <0x0007>Miles Davis, The Complete On the Corner Sessions (Sony Legacy)

(6) <0x0007>Donnie, The Daily News (SoulThought Entertainment)

(7) <0x0007>Gogol Bordello, Super Taranta! (Side One Dummy)

(8) <0x0007>Hanson, The Walk (Three Car Garage)

(9) <0x0007>Babyshambles, Shotter’s Nation (Astralwerks)

(10) <0x0007>Beirut, The Flying Club Cup (Ba Da Bing)

VICE COOLER’S TOP GIGS


XBXRX, HAWNAY TROOF, KIT


<\!s><0x0007>Playing to a confused crowd in Beijing, China, then riding on the back of a motorcycle cab. The next day I was eating at a vegan buffet in a mall where you paid not by what you ate but by how quickly you finished.

<\!s><0x0007>In the Netherlands, I performed to 550,000 people on drugs who think that camping out in sewage is "awesome." Lots of moms and dads with huge glazed eyes, hula-hooping and juggling glow sticks at 4 a.m.

<\!s><0x0007>XBXRX having to sleep at a (dirty and unkempt) brothel. There were bloodstains and tire treads (?) on my pillow. *

For more lists, go to www.sfbg.com/blogs/music.

Year in Music: Grievous angel

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› a&eletters@sfbg.com

An archival recording can assume many forms, contexts, meanings. This year saw the reissue of an album unappreciated in its time (Jim Ford’s The Sounds of Our Time [Bear Family]), the compilation of genre-bound obscurities (Numero Group’s Eccentric Soul series), the live performance (Gram Parsons Archive, Vol. 1 [Amoeba]), the stripped acoustic set (Neil Young’s Live at Massey Hall 1971 [Reprise]), the radio sessions (Judee Sill’s Live in London: The BBC Recordings 1972–1973 [Water]), the reconstructed unfinished work (John Phillips’s Jack of Diamonds [Varese Sarabande]), the singles collection (Vashti Bunyan’s Some Things Just Stick in Your Mind: Singles and Demos 1964–1967 [FatCat/Dicristina]), and, perhaps closest to the bone, the fabled home recording.

Of course, some vocalists bend these categories by the nature of their performance style. This is certainly the case with Cotton Eyed Joe (Delmore), a double CD documenting a lovely set by Karen Dalton at a Colorado coffeehouse in 1962. It might as well be a home recording for the intimacy of the performance space — owner Joe Loop explains in the liner notes that his club held only 50 — and the entrancing, private nature of Dalton’s folk arrangements. Such a record is notable for a performer as studio-phobic as Dalton: she only recorded two albums in her lifetime (1969’s It’s So Hard to Tell Who’s Going to Love You the Best [Koch] and 1971’s In My Own Time [Light in the Attic]), and rumor has it the takes for her debut were captured on the sly, when she didn’t know the tape was rolling.

All of this would be mere intrigue if it weren’t for the fact that Dalton was one of the major talents of the first folk revival, though mostly unappreciated in her own time. She died in 1993 after a bitter struggle with drugs and alcohol. Cotton Eyed Joe is educational in contextualizing this mystery voice in terms of the coffeehouse circuit, but any such historiography quickly fades when faced with her strange, time-stopping interpretations of traditionals and tunes by the likes of Ray Charles, Woody Guthrie, and Fred Neil. The voice shakes with unresolve, surrounding you and then disappearing before you can pin it down, buckling with some unknowable duress, slipping into untold dimensions.

It only takes a few bars of Dalton’s possession of Charles’s "It’s Alright" to cast the spell. Her minimal 12-string guitar work drags on the tune, her voice searching the depths of the verse for a smoldering, emotional core. Elsewhere Dalton runs through the songs she would record for her studio albums, and it’s bracing to think how long she lived with these ballads. Forty-five years later, we hear a unique act of disembodiment, a self-eulogizing worthy of critic Greil Marcus’s illustrious "Invisible Republic."

Each glimpse deepens the appeal of so many other performers from that era, and it’s tempting to see these collections as filling a specific niche in today’s music market: a hunger for mystery, substance, and story in the face of a downloader’s paradise. As more music is rendered instantly accessible, many of us wish to burrow further into the secret histories of rock, folk, and soul. We sift for treasure, perhaps wondering if the Internet isn’t inherently anathematic to the idea of discovering forgotten greatness. Such recoveries can and will proliferate online, but ground must first be broken elsewhere — in a magazine or a basement, among audio tapes or old notebooks. Performers and promoters are becoming increasingly canny in using the Web to deliver icons and bylines, but it takes a set like Cotton Eyed Joe to make the singer a saint. *

TOP 10


Panda Bear, Person Pitch (Paw Tracks), and Animal Collective at the Fillmore on Sept. 17

Jim Ford, The Sounds of Our Time (Bear Family)

Jana Hunter, There’s No Home (Gnomonsong)

Karen Dalton, Cotton Eyed Joe (Delmore), and Judee Sill, Live in London: The BBC Recordings 1972–1973 (Water)

Entrance at the Ben Lomand Indian Summer Music Festival on Sept. 1 and at the Cafe du Nord on Nov. 18

The Dirty Projectors, Rise Above (Dead Oceans)

Lightning Bolt at LoBot Gallery on April 9

Michael Hurley at the Cafe du Nord on April 18

Neil Young, Live at Massey Hall 1971 (Reprise)

Little Wings, Soft Pow’r (Rad)

Sleep tight

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› andrea@altsexcolumn.com

Dear Andrea:

I am newly married and have a great, fulfilling sex life with my husband. A while ago, I told him that I’m really turned on by the thought of him rousing me out of sleep with sex. Months have passed since I told him my fantasy, and, thinking he just wasn’t interested, I recently asked him why he hadn’t tried it yet. His response was "I have, but every time I do, you mumble incoherent stuff and roll over." I’m really bummed that I don’t remember his advances, and even more bummed that my deep slumber is depriving me of potentially awesome sex! Is there anything I can do about this issue, or is this a fantasy that must remain only in the mind?

Love,

Sleepy

Dear Sleep:

I’m not sure if it’s my job to rate people’s fantasies, but hey, what the heck? Good fantasy. It just ever so gingerly starts to poke a toe into kinkier water: unconsciousness, inability to give consent, a little bit of the more wholesome sort of necrophilia — good stuff! — and yet it’s very sweet, very harmless, and very married. I give it a 9, and I’m sorry it’s been such a bust for you so far. Happily, though, you’ve hardly exhausted the possibilities. Give it here, and let’s see what we can do.

Your poor sweet husband is doing the equivalent of the would-be dom who, when the disappointed bottom complains, "You had me all tied up! You had a flogger! Why didn’t you whip me?" says, "Um, you said, ‘Please don’t!’<0x2009>" That’s why we have safe words: not so much so the top will stop as so he or she will start. The main problem, obviously, is that you have not worked out with your husband what you mean by rousing, nor have you determined just how awake you have to be in order to for him to continue his ministrations. If you’re going to push it toward my (admittedly, liberally editorialized) version above, then you hardly need be conscious at all. You’ve also apparently failed to give him explicit permission to wake you up. Which was sort of the point, wasn’t it? Your husband is simply being too considerate, and if he’s to take the role of the sort of brute who would rouse a lady from her slumbers just to satisfy his base lusts, he’d better get with the program: either he wakes you or he has his way with your somnolent self. Either way, he has to press the issue. He can’t just let you snore on! Talk about unclear on the concept. Apparently he needs express permission to pester you, so grant it and go to bed.

As I was answering this, something about it began to seem familiar, and after a while I realized I was remembering that long, deeply strange period in Alt.Sex.Column’s history (starting, I think, in 2004) when sleep sex and sleep rape simply would not go away and leave us alone. There was the guy who’d mounted his male partner in the latter’s sleep; there was the story of the woman who’d get in her car, drive to bars, and pick up strangers for sex, all in her sleep; and there was this guy who claimed he’d had accidental anal sex with his wife in her sleep and is still kind of freaking me out at several years later:

Since then I have done this again, with a growing sense of excitement. She will stir and wake up … so I always get out before she wakes. I want to do it when she’s awake but I don’t know how to tell her…. [February 2004]

He didn’t wait for my answer ("She will kill you!") before he confessed to her and then seemed a little surprised when she nearly killed him. And there was the molesting priest who had the boy sleep over repeatedly, got him drunk, took him out to bars and parties, and did who knows what to him under cover of night, then blamed it all on some sort of parasomnia. What I don’t think I ever followed up on, though, was whether those stories about sleep-driving, sleep-slutting around, and so on, were ever tied retroactively to use of Ambien and similar sleep drugs, which, it was revealed last year, can certainly have that sort of effect on the poor, hapless, really tired people who take them. If Ambien can (and it can, it can) cause people to wander down to the kitchen in the wee hours to stuff their faces, why couldn’t it make people stuff other things as well, all unawares?

None of which has anything to do with you, Nice Married Lady. You simply want to be roused by something, well, arousing. And you have every right to be, if you ask me.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

The left and Ron Paul

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ronpaul.jpg

It’s tempting to want to promote the GOP’s dark-hourse phenon, Rep. Ron Paul, because all he can do in the primaries is beat up and damage the front runners. And in fact, he’s gotten a lot of unexpected support, particularly from young people, because he’s so strongly against the war (and because he’s a libertarian sort who hates the war on drugs and supports medical marijuana). There have even been rumors about a Dennis Kucinich/Ron Paul ticket.

There’s a somewhat softball Chronicle interview with Paul here. (Amazing how gentle the Chron editors are on these politicians; not even any tough follow-up questions. If you’ve ever listened to a Guardian political interview, things are a little different around here ….).

But even the cursory stuff in the Chron interview should be enough to make any progressive very, very nervous about Ron Paul. Among other things, the man who insists “I don’t think the government should be interfering in your personal life” is strongly anti-choice, opposed to Roe v. Wade and apparently sees no federal right to privacy. (The Chron editors never pursued the issue with him and let him get away with a rambling and inconsistent answer, which was rather lame of the Fifth and Mission journos.)

He’s also against income taxes and national health care. And he’s against gun control. And he against any sort of amnesty for undocumented immigrants.

I’m not saying he’s any worse than the rest of the Republicans in the field; I’m just saying that he’s not exactly the sort of candidate who ought to get the young progressives in the Bay Area excited.