Energy Archives — Page 100 of 103 — San Francisco Bay Guardian Archive 1966

East Bay races and measures

October 10, 2006

Editor’s note: The following story has been altered from the original to correct an error. We had originally identified Courtney Ruby as running for Alameda County Auditor; the office is actually Oakland City Auditor.

Oakland City Auditor
COURTNEY RUBY
Incumbent Roland Smith has to go. He’s been accused of harassing and verbally abusing his staff and using audits as a political weapon against his enemies. The county supervisors have had to reassign his staff to keep him from making further trouble. And yet somehow he survived the primary with 32 percent of the vote, putting him in a November runoff against Courtney Ruby, who led the field with 37 percent. Ruby, an experienced financial analyst, would bring some credibility back to the office.
Peralta Community College Board, District 7
ABEL GUILLEN
Challenger Abel Guillen has extensive knowledge of public school financing and a proven commitment to consensus building and government accountability. In the last six years Guillen, who was raised in a working-class community and was the first in his family to go to college, has raised $2.2 billion in bond money to construct and repair facilities in school districts and at community colleges. Incumbent Alona Clifton has been accused of not being responsive to teachers’ concerns about the board’s spending priorities and openness.
Berkeley mayor
TOM BATES
This race has progressives tearing at each other’s throats, particularly since they spent a ton of cash last time around to oust former mayor Shirley Dean and replace her with Tom Bates, who used to be known as a reliable progressive voice.
Bates’s reputation has shifted since he became mayor, and his record is a mixed bag. This time around, he stands accused of setting up a shadow government (via task forces that duplicate existing commissions but don’t include enough community representatives), of giving developers too many special favors instead of fighting for more community benefits, and of increasingly siding with conservative and pro-landlord city council member Gordon Wozniak.
The problem is that none of Bates’s opponents look like they would be effective as mayor. So lacking any credible alternative, we’ll go with Bates.
Berkeley City Council, District 1
LINDA MAIO
Incumbent Linda Maio’s voting record has been wimpy at times, but she is a strong proponent of affordable housing, and her sole challenger, Merrilie Mitchell, isn’t a terribly serious candidate. Vote for Maio.
Berkeley City Council, District 2
DONA SPRING
A valiant champion of every progressive cause, incumbent Dona Spring is one of the unsung heroes of Berkeley. Using a wheelchair, she puts in the energy equivalent of two or three council members and always remains on the visionary cutting edge. If that weren’t enough, her sole challenger, Latino businessman and zoning commissioner Raudel Wilson, has the endorsement of the Berkeley Chamber of Commerce. Vote for Spring.
Berkeley City Council, District 7
KRISS WORTHINGTON
Incumbent Kriss Worthington is an undisputed champion of progressive causes and a courageous voice who isn’t afraid to take criticism in an age of duck and run, including the fallout he’s been experiencing following the closure of Cody’s on Telegraph Avenue, something conservatives have tried to link to his support for the homeless. His sole challenger is the evidently deep-pocketed George Beier, who describes himself as a community volunteer but has the support of landlords and the Berkeley Chamber of Commerce and has managed to blanket District 7 with signage and literature, possibly making his one of the most tree-unfriendly campaigns in Berkeley’s electoral history. Keep Berkeley progressive and vote for Worthington.
Berkeley City Council, District 8
JASON OVERMAN
Incumbent Gordon Wozniak postures as if he is going to be mayor one day, and he’s definitely the most conservative member of the council. During his tenure, Wozniak has come up with seven different ways to raise rents on tenants in Berkeley, and he didn’t even vote against Gov. Arnold Schwarzenegger’s special election last year. Challenger Jason Overman may be only 20 years old, but he’s already a seasoned political veteran, having been elected to the Rent Stabilization Board two years ago. Vote for Overman.
Berkeley city auditor
ANN-MARIE HOGAN
Ann-Marie Hogan is running unopposed for this nonpartisan post, which is hardly surprising since she’s done a great job so far and has widespread support.
Berkeley school director
KAREN HEMPHILL, NANCY RIDDLE, NORMA HARRISON
With five candidates in the running and only three seats open, some are suggesting progressives cast only one vote — for Karen Hemphill — to ensure she becomes board president in two years, since the job goes to the person with the most votes in the previous election.
Hemphill has done a great job and has the support of Latino and African American parent groups, so a vote for her is a no-brainer.
So is any vote that helps make sure that incumbents Shirley Issel and David Baggins don’t get reelected.
Nancy Riddle isn’t a hardcore liberal, but she’s a certified public accountant, so she has number-crunching skills in her favor. Our third pick is Norma Harrison, although her superradical talk about capitalism being horrible and schools being like prisons needs to be matched with some concrete and doable suggestions.
Rent Stabilization Board
DAVE BLAKE, HOWARD CHONG, CHRIS KAVANAGH, LISA STEPHENS, PAM WEBSTER
If it weren’t for the nine-member elected Rent Stabilization Board, Berkeley would have long since been taken over by the landlords and the wealthy. This powerful agency has been controlled by progressives most of the time, and this year there are five strong progressives running unopposed for five seats on the board. We recommend voting for all of them.
Oakland City Council
AIMEE ALLISON
When we endorsed Aimee Allison in the primary in June, we pointed out that this was a crucial race: incumbent Patrician Kernighan has been a staunch ally of outgoing mayor Jerry Brown and Councilmember Ignacio de La Fuente — and now that Ron Dellums is taking over the Mayor’s Office and a new political era could be dawning in Oakland, it’s crucial that the old prodevelopment types don’t control the council.
Kernighan’s vision of Oakland has always included extensive new commercial and luxury housing development, and like De La Fuente, she’s shown little concern for gentrification and displacement. Allison, a Green Party member, is the kind of progressive who could make a huge difference in Oakland, and she’s our clear and unequivocal choice for this seat.
From crime to city finance, Allison is well-informed and has cogent, practical proposals. She favors community policing and programs to help the 10,000 parolees in Oakland. She wants the city to collect an annual fee from the port, which brings in huge amounts of money and puts very little into the General Fund. She wants to promote environmentally sound development, eviction protections, and a stronger sunshine ordinance. Vote for Allison.
East Bay Municipal Utility District director, Ward 4
ANDY KATZ
Environmental planner Andy Katz is running unopposed. Despite his relative youth, he’s been an energetic and committed board member and deserves another term.
AC Transit director at large
REBECCA KAPLAN
Incumbent Rebecca Kaplan is a fixture on the East Bay progressive political scene and has been a strong advocate of free bus-pass programs and environmentally sound policies over the years. A former public interest lawyer, Kaplan’s only challenger is paralegal James K. Muhammad.
Berkeley measures
Measure A
BERKELEY PUBLIC SCHOOLS TAX
YES
This measure takes two existing taxes and combines them into one but without increasing existing rates. Since 30 percent of local teachers will get paid out of the revenue from this measure, a no vote could devastate the quality of education in the city. Vote yes.
Measure E
RENT STABILIZATION BOARD VACANCY
YES
Measure E seeks to eliminate the need to have a citywide special election every time a vacancy occurs on the Rent Stabilization Board, a process that currently costs about $400,000 and consumes huge amounts of time and energy. The proposal would require that vacancies be filled at November general elections instead, since that ballot attracts a wider and more representative group of voters. In the interim, the board would fill its own vacancies.
Measure F
GILMAN STREET PLAYING FIELDS
YES
Measure F follows the council’s October 2005 adoption of amendments that establish the proper use for public and commercial recreation sports facilities, thereby allowing development of the proposed Gilman Street fields. Vote yes.
Measure G
GREENHOUSE GAS EMISSIONS
YES
Measure G is a nice, feel-good advisory measure that expresses Berkeley’s opinion about the dangers of greenhouse gas emissions to the global climate and advises the mayor to work with the community to come up with a plan that would significantly reduce such emissions, with a target of an 80 percent reduction by 2050. Vote yes.
Measure H
IMPEACHMENT OF PRESIDENT GEORGE BUSH AND VICE-PRESIDENT DICK CHENEY
YES
In left-leaning Berkeley this is probably the least controversial measure on the ballot. Do we really need to spell out all over again the many reasons why you should vote yes on this issue?
If this measure passes, both Berkeley and San Francisco will have taken public stands in favor of impeachment, which won’t by itself do much to force Congress to act but will start the national ball rolling. Vote yes.
Measure I
AMENDING CONDO CONVERSION ORDINANCE
NO, NO, NO
Measure I is a really bad idea, one that links the creation of home ownership opportunities to the eviction of families from their homes. It was clearly cooked up by landlord groups that are unhappy with Berkeley’s current condo conversion ordinance, which allows for 100 conversions a year. Measure I proposes increasing that limit to 500 conversions a year, which could translate into more than 1,000 people facing evictions. Those evictions will hit hardest on the most financially vulnerable — seniors, the disabled, low- and moderate-income families, and children. With less than 15 percent of current Berkeley tenants earning enough to purchase their units, this measure decreases the overall supply of rentals, eliminates requirements to disclose seismic conditions to prospective buyers, and violates the city’s stated commitment to fairness, compassion, and economic diversity. Vote no.
Measure J
AMENDING LANDMARK PRESERVATION ORDINANCES
YES
A well-meaning measure that’s opposed by developers, Measure J earns a lukewarm yes. It establishes a nine-member Landmarks Preservation Commission; designates landmarks, structures of merit, and historic districts; and may approve or deny alteration of such historic resources but may not deny their demolition. It’s worth noting that if Proposition 90 passes, the city could face liability for damages if Measure J is found to result in substantial economic loss to property — all of which gives us yet another reason to say “vote no” on the horribly flawed Prop. 90 while you’re voting yes on Measure J.
Oakland Measures
Measure M
POLICE AND FIRE RETIREMENT BOARD INVESTMENTS
YES
Measure M would amend the City Charter to allow the board that oversees the Oakland Police and Fire Retirement System (PFRS) slightly more leeway in making investment decisions. The board claims that its current requirements — which bar investment in stocks that don’t pay dividends — are hampering returns. That’s an issue: between July 2002 and July 2005, the unfunded liability of the PFRS grew from $200 million to $268 million — a liability for which the city of Oakland is responsible. We’re always nervous about giving investment managers the ability to use public money without close oversight, but the new rules would be the same as ones currently in place in San Francisco and Los Angeles.
Measure N
LIBRARY IMPROVEMENT AND EXPANSION BONDS
YES
Oakland wants to improve and expand all library branch facilities, construct a new main library at the Henry J. Kaiser Convention Center, and buy land for and construct two new library facilities in the Laurel and 81st Avenue communities. The upgrades and construction plans come in response to residents’ insistence that they need more space for studying and meeting, increased library programs and services, tutoring and homework assistance for children, increased literacy programs, and greater access to current technology and locations that offer wi-fi.
This $148 million bond would cost only $40 a year for every $100,000 of assessed property. Vote yes.
Measure O
INSTANT RUNOFF VOTING
Ranked-choice voting, or instant runoff voting, is a great concept. The city of Oakland is using it to elect officials in the November election without holding a prior June election. There’s only one problem: so far, Alameda County hasn’t invested in voting equipment that could make implementing this measure possible. Voting yes is a first step in forcing the county’s hand in the right direction. SFBG

Escape pods

October 3, 2006

› superego@sfbg.com
SUPER EGO Ladies and gentlemen, we are floating in space. Moonlight kisses the city’s knockoff gold metallic Fendi slingbacks, the ones with the sparkly diamantine heels, and slides up the back of its dime-store disco-ball dress — a little slap here, a little tickle there — until it reaches the ragged sunburst of hair at the nape of its neck and launches into daylight, where the real party is these days. And here we all are in our hot-pink neon escape pods, canoodling with the oceanic music, zipping past the anguished twists and turns, the endless downs and downers of the real world, with all the trashy grace and alien style we can muster. Because really, what else can we do? The real world’s moving on without us, easing its oily fingers into annihilation’s tight black hole, ringing torture’s doorbell, its xanthochroous eyes frothing like a million zillion bubbles of electronic beer shampoo. Kure kure takora! Gimme, gimme octopus!
Whoa. What was in that magic truffle? Oh, that’s right. Drugs. Never trust a tranny dressed as Little Bo Creep bearing gifts at a street fair.
Thing is, I’m pretty sure I never ate it — too many empty calories. But in the past month I really wouldn’t have had to. With LoveFest, the Folsom Street Fair, the new Summer Music Conference, and umpteen outdoor parties, we’ve finally found a way to stretch the wondrous, hallucinatory panties of Burning Man across an entire month.
Suits me just fine. Hey, some of us ain’t rich enough to spend a whole week toodling around the high desert in a crotch-scented sarong. Better we get the Man delivered right to our back door. (Oh, and to all you fabulous burners: I’m still waiting for my thank-you gifts. While you were out spiritually saving the universe, I was covering for your sandy, goddess-loving cracks at work.)
So with all the amazing things going on — the herd of giraffes raving outside City Hall, the leather corsets winking in the sunshine like semaphore come-ons, the perverts and the children joining hands — it was easy to let one’s mind wander, to drift like a sea monkey up to the top of the tank and climb out for a better look.
Was there any meaning to it all? Thousands and thousands of shiny, happy lovers taking to the streets again and again, completely unencumbered, it seemed, by any overt political message. Totally stripped of any frustrated protest. After a while it got kinda weird. I admit, I’m a little old-school. When people used to tell me it was foolish to think parties could change the world in a practical way, I’d hand my two good earrings to the sister standing next to me and tear into their skinny, cynical asses like a wet gremlin. But the whole “change the world” pie in the sky no longer seems on the menu.
I raised a brow this year when one of the LoveFest organizers told me the party’s big ambition was to be a “shining star of love in the current night.” I howled with laughter at the folks who paid $90-plus to go to one of the giant Folsom-oriented leather parties. (Guess we’re not all in this together.) And hardly a single call to any real-world revolution did my Cuervo-crossed eyes see, not even an artistic one. (What a horrible drag all that political stuff is. Embarrassing.)
Was it too much to ask for even just one giant Bush puppet? There was a time not long ago when you couldn’t climb out of the Dumpster without the papier-mache fingers of one of those goddamn things getting caught in your brand-new used wig.
Of course things happened behind the scenes. Folsom donates thousands of dollars to organizations for people in need. Burning Man and LoveFest and all the rest “keep the creativity flowing.” And who would argue that no greater good can come from a monthlong blast of mind-blowing music or a tattooed musclebear from Paris trying to pick you up? (Too bad I’d seen his pornos. I just couldn’t deal with his “sex face.”)
But I had some classic grumpy-hippie flashbacks: Where was all the anger!? What the heck are we fighting for!? Fuck the man! Have we become so disillusioned with our own outspokenness after six long years of virtual political ineffectiveness that we now channel all our practical energy into the personal realm? Or did we just need, for once, to escape the endless fighting and get it on? Are parties now just cosmic battery rechargers? I wondered: what exactly is “the love”?
Then I threw on my banana yellow poncho and break-danced with a blue gorilla, sparkling like a Texan’s sequined chaps. Truffle, anyone? SFBG

Shades of green

October 3, 2006

› news@sfbg.com
An assembly of the nation’s premier green architects, engineers, academics, and policy makers was gathered Sept. 28 in the Bill Graham Civic Auditorium, patiently awaiting a keynote address from Mayor Gavin Newsom. The speech was supposed to inaugurate this year’s West Coast Green, the largest residential green building conference in the country.
But the anticipation of the crowd quickly turned to ill humor when it was announced that the mayor had decided to attend another event instead — the grand opening of the biggest Bloomingdale’s west of the Continental Divide.
“I knew it!” one woman at West Coast Green lamented. “I knew he wouldn’t come.”
“He’s at Bloomingdale’s,” another chided.
Newsom spokesperson Peter Ragone said the mayor believed he was scheduled to speak at the conference Sept. 30, and he did. But that was a day for the general public to come and learn about the frontiers of green building. By then, many of the disgruntled architects and planners had already left.
“I have to say that we are all full of contradictions, and we would not be here today unless we were,” said Jim Chace, the director of Pacific Gas and Electric’s Pacific Energy Center, who spoke in the mayor’s slot Sept. 28.
“I promised I wouldn’t take any shots [at Newsom], but this should not be so easy,” Chace continued cheerily. “The fact is that there’s a contradiction here, and contradictions are just a sign in our lives that it is time to look at change.”
Newsom has regularly touted San Francisco as a leader in the emerging field of green building. But the conference and the mayor’s speech snafu raise the question of where the city really stands when it comes to building — not just talking about — green structures.
Green architecture starts with common sense. It’s about properly orienting buildings to the sun and the wind, making sure that insulation actually insulates, and using recycled material instead of finite or environmentally harmful ones.
But in the eyes of industry and government professionals, a building isn’t officially considered green until it passes a national rating system known as Leadership in Energy and Environmental Design, or LEED. Buildings that earn enough credits get one of four LEED ratings: certified, silver, gold, or best of all, putf8um.
When it comes to LEED certified buildings, San Francisco can claim just seven, three of which belong to green architecture firms. That puts the city in fifth place, behind Pittsburgh, Pa. (8); Atlanta (10); Portland, Ore. (11); and Seattle (14).
“There really isn’t much,” Fred Stitt, founder and director of the San Francisco Institute of Architecture, told the Guardian. “About three years ago, I wanted to organize a tour of green buildings in San Francisco, and I couldn’t find any.”
That was before the work had begun on the LEED gold Federal Building and the LEED putf8um Academy of Sciences, which Stitt called “a masterpiece.” Nonetheless, he said San Francisco’s reputation as a driver of the green building movement was undeserved.
“Everyone thinks that Berkeley is a liberal bastion,” Stitt said. “But if you live here, it’s just a Midwestern town with a bunch of homeless people…. San Francisco’s reputation is manufactured the same way.”
Certainly some other cities are doing as much, if not more than San Francisco. This city’s most important green building ordinance requires all new municipal buildings larger than 5,000 square feet to meet LEED silver standards. Yet there are no requirements or incentives for the private sector to build green in San Francisco.
Santa Monica also requires government buildings to be green, but it offers grants up to $35,000 for LEED certified buildings, including those in the private sector. In addition, Santa Monica requires most developers to incorporate four kinds of recycled material into their buildings and to recycle at least 60 percent of their construction and demolition waste.
Likewise, Portland, Ore., was just voted America’s most sustainable city in the 2006 SustainLane Rankings, largely because of its attitude toward green building. Beyond its 11 LEED certified buildings, Portland is brimming with small natural structures like benches and kiosks made from clay, sand, and straw. The city also boasts an entire community of sustainable homes for the homeless, known as Dignity Village.
“Their natural building has totally transformed the spirit of their community, and it feels different than if you walk through Oakland or San Francisco,” Marisha Farnsworth, an architect with the Natural Builders in Oakland, told the Guardian. “I got together with some architects, builders, and designers, and all of us said, ‘Wouldn’t it be great to have city planners come down from Portland and explain to our officials what’s going on up there?’”
That isn’t to say officials in San Francisco have completely missed the memo. The San Francisco Department of the Environment just finished negotiations with the Department of Building Inspection for a new priority permitting program set to be rolled out in the coming weeks. It would allow developers who pledge to build green to get fast-tracked through the bureaucratic morass of the city’s permitting process.
Department of the Environment officials have also worked to reduce the amount of time and money it takes to get a rooftop solar permit. And with the opening of the Orchard Garden Hotel at Union Square on Oct. 12, San Francisco will soon become the first city in the country with a LEED certified hotel.
The point of West Coast Green was to ask how this city and the rest of the country can do more. Should we offer rebates for efficiency consultants to assess how energy is being wasted in our homes and businesses? Can the city offer larger incentives to the private sector or require more rigorous standards for developers? Should PG&E be pressured into pledging more of its public benefit money toward green building?
“Green architecture is still very much emerging,” Eric Corey Freed, one of San Francisco’s top green architects and a host at West Coast Green, told the Guardian. “And although San Francisco is the capital, even here it hasn’t reached the point of ubiquity that we expect it to. We’re still very much in our adolescence. We’re like teenagers with pimples and crackly voices.”
In 100 years, Freed added, history will likely look back on our time as the era of the green revolution. If he is right, perhaps San Francisco will have done enough to be deemed a nucleus of the movement — and important conferences like West Coast Green will take priority over the opening of new shopping malls. SFBG

Green as in money or green as in the environment?

September 29, 2006

By Andrew Tolve
For a politician who often projects himself as environmentally conscious, Mayor Gavin Newsom dealt his reputation a blow Thursday when he missed his keynote address at West Coast Green, the largest residential green building conference in the country. Mayoral spokesperson Peter Ragone told us Newsom had planned to speak Saturday and did. But the fact that he missed the slot printed in the schedule chafed more than a few in the audience.
Nearly 7,000 architects, contractors, developers, and policy makers have arrived in San Francisco for the weekend conference (Sept. 28-30), many of whom were left searching for answers on Thursday when the event’s inaugural speech at the Bill Graham Civic Auditorium was left unspoken.
It turned out Mayor Newsom was just a few blocks away, celebrating the opening of San Francisco’s new Bloomingdale’s instead.
“I have to say that we are all full of contradictions, and we would not be here today unless we were,” said Jim Chace, director of PG&E’s Pacific Energy Center. Despite Chace’s commendable record with environmental issues, the fact that a PG&E representative was making the announcement only heightened the irony of the moment. “I promised I wouldn’t take any shots (at the Mayor), but this should not be so easy,” Chace continued. “The fact is that there’s a contradiction here, and contradictions are just a sign in our lives that it is time to look at change.”
The Mayor’s absence aside, embracing change is the fixture of this year’s West Coast Green Conference. Presentations about the feasibility and the implementation of green building techniques will continue Friday and Saturday at the Bill Graham Civic Auditorium. Saturday the event is open to the public.
“Clearly there’s nothing more powerful than an idea whose time has come,” said Christi Graham, the event’s founder and executive producer. “I do think that we might look back one day and recognize the impact of our gathering here.”

Tidal (public) power

September 26, 2006

EDITORIAL Mayor Gavin Newsom, perhaps looking for a big issue to bring to a star-studded environmental meeting in New York City last week, suddenly discovered the value of tidal energy. There’s actually nothing new about the idea: although Newsom didn’t give anyone but himself credit, the plan was first floated by Matt Gonzalez in the 2003 mayor’s race. It was picked up by Supervisors Jake McGoldrick and Ross Mirkarimi and has been on the agenda at Mirkarimi’s Local Area Formation Committee (LAFCo) for more than a year.
But whatever — if the mayor’s on board, fine. There’s a tremendous amount of potential in the concept — huge amounts of renewable energy with little significant environmental impact (and no greenhouse gases). The technology appears to be available, and there’s every reason for the city to move forward rapidly — as long as the power generator is owned, operated, and totally controlled by the city. And that’s not at all guaranteed.
A pilot project would cost about $10 million — peanuts compared to the revenue potential but a chunk of change nonetheless. Newsom, who is looking for state money, is also considering the possibility of seeking private-sector partnerships. And one company that has its greedy eye on the potential energy in the ocean tides is Pacific Gas and Electric.
PG&E is trying desperately to buff up its tarnished image, spending millions on slick ads promoting itself as a green company. It’s crap: among other things, PG&E still operates a nightmare of a nuclear plant on an earthquake fault in San Luis Obispo and is trying to get the plant’s operating license extended. But environmentalism sells in California, and the state’s largest and most rapacious private utility has no shame.
The San Francisco Chronicle reported Sept. 19 that city officials were negotiating with “a number of companies that could help run the turbines and cover the costs” and added that “Pacific Gas and Electric Company is among them, said Jared Blumenfeld, director of the city’s Department of the Environment.” Blumenfeld told us he was misquoted and that officials are only discussing with PG&E the prospects for connecting to the PG&E-owned grid in the city.
But Blumenfeld explained that a private company called Golden Gate Energy already has a federal license to develop tidal energy in the San Francisco Bay — and PG&E has a stake in that venture. The Golden Gate Energy license expires in 2008, and it’s unlikely the company will be able to start work by then, Blumenfeld said. Given that nobody actually has a working model of a tidal generator of this scale, that’s probably true.
Still, it shows that PG&E isn’t going to give up easily on the idea of owning or running what could be a source of energy that could power a sizable percentage of San Francisco. The reason is obvious: if the city operates the tidal power plant, it will be a huge boost for public power. Between tides, $100 million worth of solar energy that’s in the pipeline, and the Hetch Hetchy dam, San Francisco would come pretty close to generating enough renewable energy to power the whole town — and PG&E could be tossed entirely out of the picture.
Of course, that assumes that the city is serious about creating a full-scale public power system, which involves taking over PG&E’s transmission grid. Newsom says he supports public power. So does Susan Leal, general manager of the San Francisco Public Utilities Commission. But while both are ready to cough up $150,000 for a study into the benefits of tidal power (and a possible $10 million for a pilot project), neither has ever been willing to spend a penny for a study into the costs and benefits of taking over the grid.
Mirkarimi told us that LAFCo will begin hearings on tidal power next month and get to the bottom of what the mayor has in mind. The supervisors should allow no shadow of doubt about the policy for pursing this energy source: it can only be done as part of a larger plan to bring public power to the city — and if PG&E or any other private energy company has even the tip of a finger anywhere near it, the deal is dead in the water. SFBG

Casting off

September 26, 2006

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

Gregg the Ripper

September 25, 2006

You’re walking down the street in the dark. You can hear the steps of a beast with many feet behind you. Every second it’s getting closer and bigger. One minute it’s got the juicy spirit of a young Biggie Smalls and a waterfall piano melody that inspires visions of a tiny dancer. The next, its Ciara-stamped “O” pulses over the metric bump and grind of an Elastica connection. Just when you think you have its ID down, it changes again, shifting sounds and songs at a rate of a dozen a minute. It’s tapping you on the shoulder. It’s gotten inside your brain. It’s Night Ripper, the newest album by Girl Talk.
Gregg Gillis has made three albums under the Girl Talk moniker, but this year’s Night Ripper (Illegal Art) is the one that’s making that moniker famous — maybe because it’s a monster of an album that leaves most mashup ideas and practices in the dust. And to think that the title comes from a simple T-shirt. “There’s this shirt I’ve had for years that shows this skateboarder dude with all these fluorescent colors and skulls everywhere, and it just says ‘Night Ripper’ on it,” Gillis, who lives in Pittsburgh, Pa., explains via phone before a Friday night show. “I wanted an aggressive name [for the album] that also had a party feel.”
Night Ripper’s 16 tracks add up to a seamless 42-minute burst of manic energy. It’s no surprise to learn that Gillis composed the album as one big song. “I built it in three different chunks, so in case I got stuck in one area I could move to another,” he says. “Eventually, I had this whole piece.” The result possesses the type of megamix acceleration you’d find on the late-night Detroit radio stations that bred the likes of DJ Assault. But Gillis says that while he’s heard his share of CeCe Peniston–style techno pop and has nursed a childhood passion for New Jack Swing, neither count as a direct form of inspiration. “In high school I was into John Oswald and People Like Us and Evolution Control Committee and Plunderphonics-y experimentation. I fell into this mode of making megamix-style music through that.”
On his first album for Illegal Art, 2002’s Secret Diary, Gillis drenched Lil’ Romeo and others in static white noise. His flair for harshly comic juxtapositions was already there, present in a track (“What Iff”) that — thanks to Big Tymers — changed Joan Osborne’s infamous “What if god was one of us?” query into “What if god were a project bitch?” One track on 2004’s Unstoppable, his follow-up for the label, the jaw-dropping “Bodies Hit the Floor,” forecasted where Gillis was headed. Over frenzied beats, he ricocheted the “you say” verses of two radically different girl pop songs — Kelly Osbourne’s “Shut Up” and Lisa Loeb’s “Stay” — off each other and threaded Ludacris’s “Move Bitch,” Justin Timberlake’s “Cry Me a River,” and a ghostly Bone Thugs ’n’ Harmony warrior ode through them.
“I think if you put Secret Diary and Night Ripper together, it’s kind of like Unstoppable,” Gillis says, his analogy suggesting an incessant urge to combine and fuse material. “I’ve made an experimental album, then more of an IDMish album, and now a pop record.” A berserk record that swallows pop music whole. It’s easy to imagine The Simpsons’ sometime market researcher and sexual predator Lindsay “be warm — but edgy-cute” Naegle having an aneurysm upon hearing it. Night Ripper is packed with funny split-second moments, such as a transition in which the hooting synth melody of Paula Abdul’s “Straight Up” is answered in a birdcall manner by the keyboard hook of Mariah Carey’s “It’s Like That.”
Yet for all its Dirty South meets AOR meets soft rock meets alt-rock meets gangsta meets grunge meets ’80s bubblegum appeal, don’t assume Night Ripper is a Frankenstein built only from other people’s parts. One of its purest blasts of adrenaline stems from Gillis’s own instrumentation, when he adds an accelerating guitar track to the “Girl, shake that laffy taffy!” chorus of D4L’s “Laffy Taffy.” The factoid masters at Wikipedia have already compiled an extensive list of Night Ripper’s samples, nabbing 190 sources. But their efforts can’t convey the sheer goofy your-peanut-butter-in-my-chocolate joy of Young Jeezy colliding with Nirvana or a magnified version of Biggie’s trademark beat-fucking “uh” sound (from “Hypnotize”) giving way to an equally exaggerated bump and grind burst from Billy Squier’s onanistic “Stroke.”
With Night Ripper, Gillis has built a popular culture landmark somewhere between a Stars on 45 hit and the copyright-flouting 1987 United Kingdom chart attack of the Justified Ancients of Mumu. He uses a Plunderphonics-like practice to create something that might have mass appeal. “I’m making this music that is challenging yet pop,” he agrees. “I could have gone over the edge and doubled the number of sources and made it insanely crazy to listen to as an experimental piece or I could have slowed it down and made this easy-to-dance-to sort of record. It was a fine line, and I wanted to make something that was fun but at the same time interesting to listen to as a composition.” (Johnny Ray Huston)
For a complete interview with Gregg Gillis, go to Noise at www.sfbg.com/blogs/music.

Jesus — not again

September 20, 2006

By Tim Redmond

Mayor Gavin Newsom and the San Francisco Public Utilities Commission are interested in pursuing tidal energy off the Godlen Gate. This is an excellent development, something that Matt Gonzalez pushed for when he was running for mayor. It’s a way to generate huge amounts of renewable energy for the city and apparently is cost-effective.

There’s only one flaw – and as far as I’m concerned, it’s fatal.

From the Chron story Sept 19:

“The city is in negotiations with a number of companies that could help run the turbines and cover the costs. Pacific Gas and Electric Co. is among them, said Jared Blumenfeld, director of the city’s Department of the Environment. ”

Holy shit, here we go again.

PG&E, which stole the city’s renewable electric power 80 years ago when the dam at Hetch Hetchy Valley began generating electricity, now wants to steal the power of the Golden Gate tides, too.

Memo to the PUC and the Department of Environment: Any tidal energy project has to be built, run and controlled by the city, as part of a public-power system. If PG&E has even the tiniest bit of involvement in the deal, it will be shot down as corrupt and unacceptable. Don’t even think about it.

Bringing Knives out

September 19, 2006

› a&eletters@sfbg.com
Emily Haines is not known for keeping her thoughts to herself.
As part of Toronto’s Metric, the notoriously outspoken singer-keyboardist incorporates her political beliefs into wildly infectious synth-rock songs. On 2003’s Old World Underground, Where Are You Now? (Everloving) and last fall’s Live It Out (Last Gang), Haines tackled such unlikely pop-song subject matters as war, Big Brother, and the emptiness of consumer culture with thrilling, often thought-provoking results. “Buy this car to drive to work/ Drive to work to pay for this car” — from “Handshakes” — is a typical sentiment. She’s even more articulate in Metric interviews, discussing everything from voter disenfranchisement to the futility of trying to create real change through music.
It’s strange, then, that Haines is tight-lipped when it comes to her solo debut, Knives Don’t Have Your Back, out Sept. 26 on Last Gang. During a phone conversation from England, where Metric performed at Reading Festival two days prior, she sounds annoyed by the mere idea of talking about her album’s lyrics. “Do you think you can put it in words?” she icily counters when asked to elaborate on the central theme. “If I have to name the narrative, then there’s no point in having had one there at all.” Clearly, she prefers to keep her own songs open to interpretation.
Thing is, Knives is such a huge artistic departure both musically and lyrically for Haines that some insight might prove helpful. Rather than rely on the propulsive energy and shout-it-out choruses that define Metric’s sound, Haines (who also moonlights in Broken Social Scene) has recorded an album of soft, piano-based hymns more intent on capturing a mood — and a seriously somber one at that — than whipping audiences into raucous, dance-floor frenzies. Recorded with help from members of Sparklehorse, Stars, and Broken Social Scene, the album is hardly recognizable as the work of the same feisty woman who fronts Metric.
Haines, however, insists she didn’t approach Knives’s songs any differently than those of her band. “I spend all my time at the piano,” she explains. “For Metric, we’ve always just adapted my piano songs into a rock ’n’ roll format. So it was interesting [for Knives] to keep some of them for myself and leave them as is. Because I’ve always written more music than anyone could be asked to digest, I just chose the songs that I realized it’d be kind of sad if I never, ever put them out. It’s taken me a while to get up the nerve to release them though.”
The product of a rather lengthy incubation period, Knives was written over four years and recorded in as many cities — namely, Toronto, Montreal, Los Angeles, and New York. So it’s a bit surprising that the album comes off as such a cohesive collection of, as Haines puts it, photographs from her past. “It ended up feeling like snapshots over that period of time,” she says. “When I look back and listen to these songs, I feel like the last four years have been some of the most intense.”
As song titles such as “Our Hell” and “Nothing and Nowhere” suggest, the result is almost abysmally bleak. Turning her focus from political anger to personal turmoil, Haines ruminates extensively on pain, loss, loneliness, and despair. “Are we breathing? Are we wasting our breath?” she sings in “Crowd Surf off a Cliff.” Even more unnerving, “The Last Page” finds her cryptically singing, “Death is absolutely safe.” But while the entire album could pass as a heartrending document of one woman’s extremely troubled times, all Haines will say (and only after much prodding) is that Knives is “essentially about being grateful for what you have, even when your life is shit.”
When she comes to San Francisco this week — a sequel to her July 2004 Cafe du Nord appearance, where she offered a rare sneak preview of an in-progress Knives — Haines will be accompanied by bassist Paul Dillon and Sparklehorse drummer Scott Minor, whom she’s enlisted to help her “nail that Plastic Ono Band vibe.” She’ll then head back to England for another Metric tour and to start recording the band’s third album. Later, if time allows, she hopes to play more solo gigs and eventually perform again with Broken Social Scene.
In other words, while fans may find it odd that Haines is suddenly mum about her solo music, they can take comfort that she’s fast becoming one of the busiest artists in indie rock.
“It’s weird,” she says. “When people say to me how busy my life is, I suppose that I really am ridiculously busy. But to me, it just feels like being a musician. That’s what I wanted to do and that’s what I’m doing. I’m making music. It’s not a job. It’s my life. It’s my friends and my family. So the more the better.” SFBG
EMILY HAINES AND THE SOFT SKELETON
Fri/22, 9 p.m.
Cafe du Nord
2170 Market, SF
$12
(415) 861-5016
www.cafedunord.com

Live bait

September 19, 2006

› kimberly@sfbg.com
Sneak a peak at the California Cereals factory — a gray, boxy concrete sprawl looming over an otherwise peaceful West Oakland neighborhood lined with wood frame houses and a sugary spray of Victorians — and you immediately expect that mulchy aroma of processed wheat products to assault the senses. So why do you detect … barbecuing oysters? But that’s the overriding scent du jour — and the improvisatory, fly-by-the-seat-of-your-fun nature of the Cereal Factory, one of many unpermitted party outposts where the city’s rock, improv, noise, and punk scenes have survived and even thrived in the Bay Area despite fin de siècle real estate insanity, party-killing neighbors, and ticket-threatening cops.
Scruffy, T-shirted kids lounge on the front steps of Jason Smith’s two-story home, dubbed the Cereal Factory for the genuine, sugar-coated article churning out Fruity Pebbles and generic raisin bran across the street. Down a side path, in the small backyard, music scenesters, fans, punks, indie rockers, and cool dudes mingle on the grass and down the canned beer and grillables they’ve brought as CF housemate Daniel Martins of Battleship throws more oysters on the barbie. Double back, and in the basement you find a dark, humid, tiki-embellished crash pad, not uncomfortably crammed with bodies shaking to Italian punk-noise band Dada Swing. Or you catch Bananas, Mika Miko, or Chow Nasty killing the rest of the early evening for gas money.
“My whole thing is to make it free, make it so that people can go to it,” the extremely good-natured Smith says much later. “If there’s a touring band, I always run around with a hat and kind of strong-arm people into coughing up some change or a couple bucks to give them some gas, but otherwise the bands all play here for free. I just provide the coals, and I buy two cases of beer for the bands.” As for the oysters, he adds, “shit like that happens! People are just, like, ‘I caught this huge fish — let’s smoke it.’”
Smith is one of the proud, brave, and reckless few who have turned their homes into unofficial party headquarters, underground live music venues. San Francisco and Oakland are riddled with such weekly, biweekly, and even more sporadic venues — some named and some known by nothing more than an address. But oh, what names: Pubis Noir, 5lowershop, an Undisclosed Location, Club Hot, Noodle Factory, Ptomaine Temple, and the Hazmat House. Some, like the Cereal Factory, are only active during the summer barbecue season; others, like LoBot Gallery, host shows and art exhibits year-round. Why go through the headache of opening your home up to a bunch of hard-partying strangers, music lovers, and the occasional psycho who trashes your bathroom? Some, such as Oakland’s French Fry Factory, have bitten the dust after being busted for allegedly selling beer at shows. Others, such as 40th Street Warehouse and Grandma’s House, have bowed to pressures external (neighbors, landlords) and internal (warehousemates), respectively. Why do we care?
CULTIVATING NEW AND UNDERSERVED SCENES
The Clit Stop can take credit for being one of the first venues in San Francisco to dream up the now-familiar cocktail of noise, indie rock, jazz, and improv. Ex-Crack: We Are Rock and Big Techno Werewolves mastermind Eric Bauer and Bran Pos brain Jake Rodriguez began booking shows in 1998 in Bauer’s 58 Tehama space, once dubbed Gallery Oh Boy. Shows began on time at 8 or 9 p.m. so that East Bay listeners could BART back before midnight, and as a result Bauer and Rodriguez would often open, under assorted monikers. A May 2000 lineup at the Clit Stop (named after Bauer’s band Planet Size: Clit by Caroliner’s Grux) combined scree-kabukists Rubber O Cement with improv rockers Gang Wizard, indies Minmae, and Bauer’s dada-noise Aerobics King; another bill matched the angsty indie-electronica of Casiotone for the Painfully Alone with the noise-guitar-funk of Open City and the jazz sax of Tony Bevan. The common thread? The fact that Bauer and Rodriguez both liked them. “It was kind of hard sometimes,” Bauer says today. “We got requests from tons of shitty bands, and it was, like, ‘No, no, we don’t like you guys.’”
A year after Clit Stop began, Kimo’s started showcasing the same combination of rock and noise characterized by such varied Clit Stop players as Cock ESP, No Neck Blues Band, and Nautical Almanac — a mix that has filtered to the Hemlock Tavern and 21 Grand and into the sounds emerging from Bay Area bands like Deerhoof, Total Shutdown, and the pre–Yellow Swans group Boxleitner, all of whom played the Clit. “The weirder and more fucked up, the better,” Bauer continues. “We wanted to push boundaries — we wanted to annoy people.” Bauer moved out in 2000, leaving Rodriguez to continue to book shows at the venue under, Bauer says, the name Hot Rodney’s Bar and Grill. Bauer went on to put on the first noise-pancake shows with ex–Church Police member and Bauer’s Godwaffle Noise Pancakes co-overlord Bruce Gauld at Pubis Noir, a former sweatshop at 16th Street and Mission. Gauld is expected to put out a DVD of Clit Stop performances this year.
GIVING UNDER-21 KIDS ACCESS TO CHEAP ART
“The cheapness factor is a huge part,” says Cansafis Foote, sax player for the No Doctors. “In Oakland right now, you have a lot of kids who are trying to make a go at being an artist or being a musician or whatever, and almost all of them are broke. But they’re all really excited about people making stuff, so they’ll go to Art Murmurs on the first Friday of the month or they’ll go to warehouse shows, and maybe at the end of the day they won’t have any money in their pocket — and we’re still going to let ’em in to see the show. That, or they’re underage.”
An improv seminar leader at Northwestern University and onetime music teacher in Chicago, Foote was accustomed to instigating music- and merrymaking when he took the lease in February 2005 at Grandma’s House in Oakland. “Everything was kind of funneling out of that experience and just having the background with Freedom From [the label the No Doctors ran with Matthew St. Germain] and free exploratory music.” Grandma’s House had already been putting on shows in the massive warehouse it shared with Limnal Gallery (and at one time the Spazz collective), and Foote threw his energy into doing two to three shows a month — including performances by Sightings, Burmese, Hustler White, Saccharine Trust, and Warhammer 48K — until March, when, he says, an especially loud show by USA Is a Monster brought the police on a noise complaint. Foote, a.k.a. Grandpa, was already bummed because housemates who had initially said they’d help with shows “totally weren’t coming through on that. So I was sitting in my car and watching the gate while everyone was watching the show and I was, like, ‘What’s the point of doing this? I don’t even get to see the show.’ So I took a ladder and put it outside the window. I thought it was fun too, because it was like a clubhouse and people could come up the ladder and through the window into Grandma’s House, and then the cops came, and one told me they’d unlock the seventh door to hell if I did it again.
“I was actually kind of excited — should I allow him to unlock the seventh door to hell for me? Is there going to be a special fire-breathing dragon there for me? It was amazing. It’s, like, ‘Dude, there’s some 16-year-old kid who’s going to shoot some other 16-year-old kid down the street — go deal with him.’”
The next show was the deal breaker: police returned twice to open that door as a brouhaha broke out at a Grey Daturas show between audience members and various warehousemates. Warehouse denizens put pressure on Foote to halt the shows, and now he’s moving out: “It was the only reason I was living there. It’s not real glamorous to be living in a warehouse with little mice and weird bugs in the summer.”
BRINGING ART, THEATER, MUSIC — AND STRAIGHT-EDGED VEGETARIANS TOGETHER
House-party spaces have come and gone, but one of the saddest passings had to be 40th Street Warehouse in Oakland, which put on rock, folk, and hip-hop shows, queer cabaret, and art events from 1996 until the collective shuttered last winter with a last loud musical blowout (This Bike Is a Pipe Bomb headlined) and a commemorative zine. From Monument to Masses guitarist Matthew Solberg lived there for three years and recalls that the onetime auto mechanic shop’s shows were initially started by members of the experimental Noisegate.
By 2003, Solberg says the Temescal space was putting on shows, plays, or benefits every weekend, with an emphasis on rock and metal: Parts and Labor, Tyondai Braxton, High on Fire, Ludicra, Merzbow, Masonna, Melt Banana, a Minor Forest, Lesser, Curtains, Neon Hunk, Hair Police, Deep Dickollective, Thrones, X27, Soophie Nun Squad, Toychestra, 25 Suaves, Monitor Bats, the Intima, Lowdown, the Coachwhips, Hammers of Misfortune, the Vanishing, Mirah, Gravy Train!!!!, Eskapo, and Microphones (last on the Microphones bill, beneath Loch Nest Dumpster, is Devendra Banhart, described as “acoustic ardor from San Francisco’s shyist [sic]”), with bands like Numbers getting a running start with multiple performances there.
The schedule, however, took its toll. “People would move into the warehouse and be really stoked to have that autonomous space, but they didn’t really know what they were getting into. They usually lasted six months, and then they’d be, like, ‘I can’t stand this anymore!’” Solberg says. “But certain people adapted because they were passionate about being able to create that sort of space and making it work: a DIY show space where 100 percent of proceeds went to the bands — and obviously, we’d cover some expenses, like electrical and providing food for the bands. But apart from that, the house didn’t take any money. It was all done out of, I dunno, community service.”
The collective itself got a reputation as a straight-edged vegan cabal that forbade hard drugs and meat in the fridge that sat on the outskirts of the barnlike communal show space. “We didn’t want to succumb to the crash pad–flophouse thing,” Solberg explains. “We just wanted to preserve sanity.”
All that came to an end when in 2004 the Oakland City Council passed the Nuisance Eviction Ordinance, which took aim at crack houses but covered “noise” as a reason for eviction. “The people at 40th Street all believed that was the reason we got so much police attention the last year we were there,” Solberg says. After joining his fellow tenants in a winning fight against their landlord, who had given them a month’s eviction notice in order to convert the space to condos, Solberg moved to Ptomaine Temple, which continues to stage experimental noise shows.
BACK AT THE FACTORY
And despite the rewards, good times, and appreciative bands that get play and earn gas money to their next show, shutdowns are still a threat, casting a shadow even over spots like the Smith-owned Cereal Factory. After a neighbor began objecting last year to the soused kids milling in the street and lined up out the Factory’s front door to go to the bathroom, the Mothballs drummer slowed the shows, built a discreet bathroom in the basement, and then carefully began the music once more. Why bother? The chuckle-prone Smith, who works in the live-music department at KALX, bought the house with the intention of having shows. “At the risk of sounding like a stupid hippie, I think it’s important to contribute things,” he says before the last show of summer 2006 on Sept. 16, with Them There Skies, Sandycoates, and Dreamdate.
This last show likely went off smoothly: the model property owner checked in with his neighbors that evening during his walk home. “I said, ‘Donny, we’re having a barbecue show this Saturday.’ And he said, ‘OK, OK, baby, you’re cool. You’re cool.’ I’m hoping to have everything done by 9 o’clock, and that’s pretty tame on a Saturday night,” Smith explains. It’s guaranteed there won’t be any problem on at least one side of his summer house party — “there’s this Argentinean woman named Pepper and she’s fucking awesome. She’ll be, ‘Aw, yeah, it better be fucking loud because that’s how I know you’re having a good time. You gotta live life!’ SFBG

Oral histories

September 19, 2006

By Marke B.
› marke@sfbg.com
Thousands of fantastically perverse revelers (most of them gay) will flood San Francisco for the Folsom Street Leather Fair on Sept. 23, ensuring that every cranny of the city brims with wanton copulation — which really is the way it should always be in our famously lewd burg, no? Too bad that for the other 364 days of the year, good ol’ slutty San Francisco is considered by erotic tourists to be one of the most prudish cities in the world.
Unlike other civic dens of iniquity, San Francisco has no gay bathhouses, no sleazy back rooms in bars (well, none that the cops have sniffed out yet), and a dwindling amount of mischief in the bushes. This sorry state of affairs is due partly to the advent of Internet hookup sites in 1996 (thanks, AOL) and partly to the break in gay traditions caused by the loss of a generation to AIDS. But mostly it’s due to the “sex panic” of 1984, when well-meaning gay activists looking to protect gay men from their supposedly unsafe urges convinced the city to ban all bathhouses and enforce rules that separated public sex from any sort of alcohol consumption and unmonitorable activity. Gay folks would just have to go to Berkeley to get wet and have sex. That may have made BART more fun, but for many it seemed like a forced expulsion from SF’s sexual garden by Big Brother.
In 1996, gay city supervisor Tom Ammiano tried to get the baths reopened by proposing a set of HIV-risk-reducing regulations that included no private rooms, no alcohol consumption, safer-sex education materials and condoms on-site, brighter lighting levels, and the presence of staff monitors to ensure against unsafe activity. Pretty oddly, the city adopted most of his proposed regulations — leading to the rise of today’s slick, commercially licensed sex clubs — but kept the bathhouse ban. This means that it’s now OK to pay to have sex with strangers in a public setting, but if there’s any kind of water running other than from a broken toilet, you’re in trouble.
Whether or not gay men in San Francisco should be left to their own sexual devices is still a matter of polemical debate. Or is it? Not many people seem to talk about it anymore. But you can’t stop the party. From 1989, when the last bathhouse was closed by a city lawsuit, to 1997, when San Francisco began using commercial licenses to approve sex clubs, a vibrant sexual underground ruled. Often subject to raids by police, the underground included anonymous-encounter mainstays like Blow Buddies and Eros, both of which opened on a members-only basis in hopes of circumventing any legal trouble. It also included less formal play spaces like the Church of Phallic Worship and Orgasm, naughty nooks that live on only in legend.
This dark period — or golden age — of underground sex clubs (and with the lights off, it was probably both) has largely been forgotten. But exciting tales of the past still issue forth from it, and with the current revival of ’70s bathhouse nostalgia, it’s interesting to note that bathhouse culture extended well into the ’80s — yep, folks were dropping towel to Paula Abdul’s “Cold Hearted Snake” — and poured out into the underground sex clubs of the early ’90s before being sucked toward the Ethernet of now. We asked a few of the scene’s regular, anonymous players for their memories of some clubs of the time.
NIGHT GALLERY, A.K.A. MIKE’S PARTY
“You’d ring a little bell at this house a few doors down from the Powerhouse — tingaling-aling — and they’d open the door, and at the top of this long flight of thickly carpeted stairs, there’d be this guy sitting in a chair who would say in this flat, uncommitted voice, ‘Welcome to my party. Friends tend to chip in $5 to help cover costs. My roommate’s in the kitchen if you want to check your stuff.’ That was Mike, and it was funny he said roommate, because you know no one really lived there.
“At the top of the stairs was this long hallway full of amateur erotic art — not like Tom of Finland, more like a horny Grandma Moses. I stole a drawing that I think was supposed to be of an S-M twink but more resembled a Christmas pixie in irons. I don’t remember much about the sex rooms, except there was a shoddy maze in the back and a sign that said ‘No talking in the fun zone.’
“In the kitchen there was a beer keg and a big aluminum bowl of shiny-looking Cheez-Its that I could just never bring myself to snack on. I knew where those Cheez-Its had been. There was also this kind of ‘Your Own Carnival Hot Dog’ maker that was more like a filthy aquarium with gray franks in tepid hot dog water that no queen would touch — despite the metal tongs provided ‘for your protection.’”
TROUBLE
“Conga-line dance-floor fucking was what I remember most about this place. Which is pretty darn difficult if you take varying heights into consideration. Trouble was a totally anything goes kind of club — after-hours alcohol served, a big dance floor with professional-looking lighting, out-in-the-open nasty sex. Like Studio 54 if Liza was a go-go whore and, you know, a sexy guy. It was in SoMa around Folsom and, I think, First.
“There were dark rooms and a maze upstairs — it was in a big warehouse space with a high ceiling. It got raided three or four times before they finally shut it down. It only lasted like eight months. During the raids the cops weren’t all, like, ‘Let’s get the faggots,’ they were more, like, bored, flashing their lights around and saying in a polite voice, ‘Please leave — you have to go now,’ like they were ushers and we had overstayed our welcome at the opera.”
THE BLACK HOUSE
“The Black House was freakin’ scary. It was this old Victorian off Castro painted completely black. I had just moved here — in 1994. I was 23 and thought the Black House was where Anton LaVey used to live and they had Satanic rituals there, but really it was just a bunch of naked guys fooling around in the basement. I don’t remember exactly where it was, but somehow my drunk feet took me there after the bars closed.
“Mostly the guys were cute in a hustler sort of way — this was when tweakers left the house to get laid. But there would be some letches. One guy followed me around telling everyone I looked like an Etruscan statue. I got really embarrassed and had to leave and go look up Etruscan. One time the hot young guy doing coat check took out his teeth to blow some other guy. I wonder whatever happened to him.”
ORGASM
“Orgasm was across the street from Endup on Sixth, so you could just stumble there and have sex at any time of the day or night, it seemed. There was this huge stage, 10 feet deep, where they had live sex shows and some really crusty Goodwill couches. One time I tricked with a guy who asked me to drop him off at Orgasm, and the minute he got there, he shed his clothes and got up onstage for a show. Where did he get the energy?
“Like most other clubs, it was in a warehouselike space, very minimal. There was a door guy and another guy inside with a clipboard, but that was just to look official — there was never anything on the clipboard. The space was divided by curtains for ‘privacy’ and had a long overhead shelf with candles on it, which added atmosphere to the ‘lovemaking.’ There were turntables, and I remember it was around the time that Boy George came out with ‘Generations of Love,’ which was a surprisingly good record.”
CHURCH OF PHALLIC WORSHIP
“I think the Church in SoMa used to have ads in the back of the Bay Area Reporter, but everyone just seemed to know about it. It had a real rough, underground feel. I don’t know if it was officially religiously affiliated, but maybe they got free parking out of it. They served beer after hours — it was like a one-stop shopping hub of gay socializing: backyard barbecue, glory holes, music, the works.
“It was run by a Santa Claus–type character called Father Frank, and every time you called the info line, he’d answer the phone by reciting a homoerotic limerick in this hilariously effeminate voice, like Rona Barrett on 33 1/3. It was a cross between a house and a warehouse — pretty big, but it could get way too overcrowded. What was so great was that it went all night, yet no one seemed like they were on speed. Everyone was just drunk and having a great time.”
1808 CLUB
“This was a big house down by Guerrero and Market near where the LGBT Center is now. I remember this huge door with a tiny window you had to knock on, like it was a speakeasy in Communist Czechoslovakia. This totally hot bald guy would answer, and I’d kind of be intimidated because he was so muscular. Years later he became my personal trainer at Gold’s Gym.
“The place was painted all black on the inside and was on two levels, one overlooking the other. Balconesque, as the French would put it. There were these little cubbyholes all over the place that two people could fit in, and maybe you could squeeze in three on occasion. On weekends it was packed. It was cheap too: $5 for the whole night, and they’d stamp your hand so you could get in and out. I didn’t go too much, because it was in my neighborhood and I like being a little incognito. That’s a little more classy.” SFBG

Camp Hip

September 12, 2006

› paulr@sfbg.com
Everybody seems to love Thai food, but the oohing and aahing is generally confined to the cooking. You don’t hear much about the stunning designs of Thai restaurants. In one sense, this is just fine; good food is its own reward, and overclever interior decoration can lead to sensory overload. Still, Thai restaurants tend to be plain Janes more often than not, many fitted out with those steel-frame chairs that look like they’ve been salvaged from the mess hall of some battleship that’s being put into mothballs, or scrapped.
You will not find such chairs at Be My Guest, a Thai bistro that opened recently along inner Clement. You will find, instead, curvy white plastic numbers that look like halves of giant eggshells mounted on bird legs. Have we stumbled onto the set of an early Woody Allen movie, Everything You Always Wanted to Know About Sex, maybe, in which Woody plays spermatozoa anxiously awaiting to launch to … he knows not where? One would not say the overall bleachiness of Be My Guest’s look — white walls and curtains complete the laundry-day motif — is beautiful, exactly, but it does command attention and does strike a certain balance between camp and hip. (Camp hip, is this a permissible term?) And those who detect a slight LA edge in the playful tackiness will not be surprised to learn that there is a sibling restaurant, Gindhi Thai, in the southland.
The chairs are not particularly comfortable. They have a water-slide quality, and one has to be careful not to end up on the floor while shifting one’s legs, which must serve as braces. But that is really my only misgiving about a place that otherwise is a worthy addition to the already formidable array of restaurants along Clement between Arguello and Park Presidio. Be My Guest might not quite be a destination restaurant on its own, but it is part of, and contributes to, one of the city’s premier destination zones, those stretches of street you can meander along, studying menu cards, until you find a place that appeals and pop in, knowing you aren’t likely to be disappointed. (NB: parking is an ordeal.)
Like a number of Thai places I have visited recently, Be My Guest is rather effortlessly vegetarian friendly. To make sure, I paid a visit with a vegetarian friend, who immediately picked up the flavor of shrimp in the basket of delicious rice crisps of many colors set before us, to nibble as we pondered the menu. (With this quibble duly noted, we nibbled them together.) She went on to detect the presence of fish sauce in the delicious tofu larb ($6.95), minced (and slightly rubbery, but not in a bad way) bean curd mixed with lime juice, mint, and chiles and heaped on romaine spears useful for scooping. Since I am just a part-time vegetarian, it would never have occurred to me that fish sauce — which is as central to the Indo-Chinese cuisines as soy sauce is to the cooking of China and Japan — would raise an issue. Full-time vegetarians will want to plan accordingly.
No flag was raised over the sweet-potato fritters ($6.95), which resembled dragonflies cast in bronze and would have been even better if there’d been some kind of sauce to dip them in. (The fritters were presented with cucumber two ways: as slices linked together in paper-doll fashion, and diced into a vinegary little salad with carrot threads.) And we knew beforehand that the panang curry ($9.95), fettucinelike strips of boneless chicken awash in a well-tempered red sauce, would present no vegetarian issue, since no vegetarian would go near it despite its rich deliciousness. (Panang curry is a coconut-milk curry enhanced with ground peanuts — a Malaysian touch.) On the other hand, the veg curry corner ($9.95) — a crock of soupy, basil-scented green curry laden with broccoli florets, chunked eggplant, snow peas, and green beans — passed vegetarian scrutiny like a traveler, divested of shoes, watch, belt buckle, loose change, and toothpaste, sailing through a security checkpoint at the airport.
Given the egg-shaped chairs, it follows that we would find an omelet ($6.95) on the noontime menu — a vegetarian omelet no less, filled with mixed greens, spinach, asparagus, mushrooms, and tofu and given a definite Southeast Asian perfume by ginger and lemongrass. But the wider possibilities of lunchtime are grouped under the rubric “Afternoon Delight,” which provides (for $7.25) a choice of starter and of main course, along with soup, salad, rice, and seasonal fruit. One day’s soup, of celery and tofu in a pale vegetable broth, we found to be no better than serviceable, the salad was a wallflower heap of mixed greens, and the fruit consisted of some grapes and orange wedges. But the fish cake, though texturally a bit of a rubber sponge, was intensely tasty (and a pretty caramel color), while a red vegetable curry was rich and just spicy enough to conceal the plebeian character of its carrot-and-potato ballast.
Thai bistro. I choke slightly on this expression while accepting that, at least in its American sense, it does apply to Be My Guest. The place captures just the right balance of hominess and style: its hours are liberal and its prices moderate, and it draws (especially on weekend evenings) a diverse crowd, tilting toward youth and bubbling with energy. And that’s everything you always wanted to know. SFBG
BE MY GUEST THAI BISTRO
Dinner: daily, 4–10:30 p.m.
Lunch: daily, 11 a.m.–3 p.m.
951 Clement, SF
(415) 386-1942
www.bemyguestthaibistro.com
Full bar
AE/MC/V
Moderately noisy
Wheelchair accessible

EDITOR’S NOTES

September 12, 2006

› tredmond@sfbg.com
I was six when they assassinated John F. Kennedy. It was warm and sunny in Dallas, but I remember the cold and snow in Rochester, NY. We were visiting my grandparents; I was walking with my mother to the grocery store when a guy driving by shouted the news out of his car window: “Did ya hear about the president? He was just shot.” We turned around and raced back to listen to the radio.
For the next few hours, the grown-ups in the big, roomy apartment were distracted, sort of shell-shocked. My grandpa, a solid Republican, never liked Kennedy the politician, and my dad didn’t particularly like Kennedy’s economic policies, but there was no joking about his death, no talk of covert government plots, no political speculation. Just sadness and respect.
The guy was the president. He fought in WWII. He came home and became part of a generation of optimism, just like my parents. Some lunatic had killed him, and that was just awful. “He was a great man,” my father told me later. “He wasn’t a great president, but he was a great man.”
It wasn’t until much, much later that I began to believe that a lot of what we’d been told about the assassination probably wasn’t true. Long before Watergate happened, Nov. 22, 1963, became a defining moment for baby boomers, the first major, world-changing event from which we developed a passionate distrust for the official government line. Today, I don’t think I know a single person my age who actually thinks Lee Harvey Oswald acted alone.
My son, Michael, won’t remember Sept. 11, 2001. He was barely two years old. But I’ll never forget the nervous feeling I got when I dropped him off at day care that morning. And I’ll never forget the realization that from the moment I started hearing news reports, I knew the government was lying to me.
I can’t sort out all of the Kennedy conspiracies and honestly, I don’t know exactly what happened on the day after my parents’ wedding anniversary five years ago. But I know that I will never tell my son that the president was a “great man.” When Michael asks me where I was Sept. 11, 2001, I’ll tell him it was a Tuesday morning and I was at work, writing a column for the next day’s paper that was as critical of the president of the United States as it was of the people who had just killed 3,000 Americans.
This doesn’t make me terribly comfortable.
See, I’m still a public sector kind of guy, someone who believes that for all its problems, democratically elected government is better than private corporatocracy, that for all the corruption, waste, and fraud, it’s still possible to have national health insurance, a progressive national housing policy, sound public education, and a lot of other things that probably wouldn’t have sounded all that weird to the folks who were my age in 1963.
So let me indulge in a truly strange conspiracy theory.
If I were a Bad Guy and I saw the baby boomers with all their energy and idealism and potential and I wanted to be sure that they never became a threat to the total dominance of private capital in America, I would have killed a president, covered it up, gone to war for no good reason, spied on them or their friends — and given an entire generation every reason to see that government was the enemy.
And it would have worked. SFBG

Eat your politics

September 12, 2006

› culture@sfbg.com
A lot has happened since Californians first rebelled against the canned food and Jell-O molds of the postwar industrialization era. The American food politics revolution is very much alive and well and thriving in the Bay Area, where the movement started. And California is still the food basket of the United States — it’s been the top grower in the country for more than half a century. The dialogue about sustainable growing practices and environmental impact is open, and the fight for more mindful production practices is still on.
We are home to around 100 farmers markets — including Alemany, which, at 63 years old, is the granddaddy of local markets. Alice Waters’s groundbreaking Chez Panisse restaurant celebrated 35 years of organic-minded Epicureanism this year. CSAs (Community Supported Agriculture farms) — started in the United States in the 1980s — are going strong. Local groups and organizations that continue to educate and activate the revolution around here include but certainly aren’t limited to San Francisco Food Systems, Food Not Bombs, Food First, and the Brentwood Agricultural Land Trust, which protects farmland against development. Blogs like the Eat Local Challenge, written by authors across the United States, and resource Web pages like those of the Center for Urban Education about Sustainable Agriculture, the organization that runs the Ferry Building farmers markets, offer a plethora of information about the local food politics movement.
And then there’s Larry Bain — restaurateur, activist, and founder and executive director of Nextcourse. He doesn’t just eat his politics, he feeds them to the Bay Area. Bain has a hand in a few of the finest and fanciest restaurants in town (Acme Chophouse, Jardinière), but his work through Nextcourse in San Francisco jails and schools and with the Golden Gate National Recreation Area narrows “the food divide” and shows how eating well doesn’t mean breaking the bank for artisanal olive oil. We talked to him about his organization and some of the major issues it’s taking on in the quest to bring mindful eating practices to the larger community.
SFBG What inspired you to found Nextcourse?
LARRY BAIN I’ve been a food activist since 1983, when I opened [Zola in San Francisco] with the intention of creating a new model for restaurants. Restaurants use more energy per square foot than any other retail operation, so the consumption of water, gas, electricity, and the generation of greenhouses gases tend to have a very deleterious impact on the environment. Then there’s the cleaning solutions used in restaurants. And the amount of garbage generated, the packing, and then of course the stuff we know and think first about restaurants, where food comes from, the fossil fuels used in the creation and transportation of food. Every year I owned a restaurant, I got more excited about the positive impact restaurants could have and about finding ways to influence other restaurateurs. Because nobody wakes up in the morning and says, “I want to be the cause of 17 trees being felled in the redwood forest.”
But I wasn’t big enough to take it all on. Every issue is far more complex than you’d think. Whether it’s a straightforward Atlantic salmon or a Chilean sea bass, there are layers of impact. Even eating local — what does that do to communities that depend on people in America buying their coffee beans or some other product? I wasn’t sure where to focus until I went to a seminar that was given at the UC Berkeley School of Journalism. All of my heroes were up on the stage: Vanda Nashiva, Orville Schell, Wendell Berry, Michael Pollan, Carlo Petrini. They were being eloquent and brilliant about the future of food and where we needed to be going, touching many things close to my heart.
As always happens at one of those gatherings, some smart-ass stood up and asked, “Excuse me, if we were going to make the transition from conventional to organic tomorrow, would we still be able to feed the world?” It’s the argument always thrown out by Archer Daniels Midland: “This is the only way to feed the world, through genetically modified crops and by conventional methods of distribution. All of this organic stuff is just pie in the sky.” And everybody, all of my heroes said, “Oh yes, organic farming is superproductive. You get a lot more nutrients out of every acre planted.”
Berry said, “We just don’t have enough farmers. If you went to the unemployment office and said, ‘OK, all you three guys over there, tomorrow you’ll be organic farmers’ — it requires tremendous wisdom and experience and we’ve lost that. Before we can talk about changing our food system, we have to be cognizant of the supply, and we don’t have the farmers and we don’t have farmland.” It was at this point that I thought, OK, this is going to be my passion, growing farmers.
I don’t know anything about agriculture. My area of expertise is the world of commerce, and I know what farmers need is a good path to sell their product. And because farmers cannot survive through Chez Panisse alone, they need a broader base of consumers that might be willing to buy things that aren’t as exotic as a $5 peach but greens or even fruit that is delicious but not beautiful.
SFBG Has cooking become some exoticized thing?
LB Elitist thing. People go to the Ferry Building not to buy their food but to accessorize their meals, and so what they’re going to eat is pretty standard stuff that they might get at Safeway or Whole Foods, and then they go to the Ferry Building to get this little bunch of herbs or this little piece of cheese that will make it a special dinner. And so how do you make shopping in farmers markets and cooking for your family more of a way of life rather than a lifestyle. When you’re living in a neighborhood filled with tension and stress and toxic materials, food becomes even more important to help you survive that, to help you keep a strong immune system. So Nextcourse started in the San Francisco county jail working with women who are moms, mostly, and who, once they get out, need to feed their family.
SFBG When did the cooking in jail program start?
LB I got a phone call from a teacher at a school in Emeryville to come and talk to students there about healthy eating. I took the chef and sous-chef from Acme Chophouse, and we cooked with the kids. A friend of mine said this would be a great program at juvie hall. And so I called juvie hall — it was a bureaucratic nightmare. The same friend said, “Well, I know someone who does work at the county jail. She’s a public defender.” So, I called her up and told her, “We want to do cooking classes in the jail. I’ve got these great chefs, and they know how to show people how to cook things that are delicious, nutritious, easy, cheap, fun. Can you help us out?” Within a week we met with the sheriff, who loved the idea.
In the classes, we talk about the importance of nutrition and the how-to. A lot of these women know that eating good food is important for their kids. They know this, and yet they think, “What can I do about this? I can’t afford to go to Whole Foods, and I can’t afford to eat at Chez Panisse.” So we show them where to shop, and every class has a menu. The teacher will shop the day before, both at Safeway or FoodCo or one of these cheap stores and at a farmers market — not at the Ferry Building but at Heart of the City or at Alemany or sometimes just at stores in the Tenderloin. And we line the ingredients up side-by-side and invariably the ingredients from the farmers market, aside from being more nutritious and delicious, are cheaper because we shop seasonally.
All of the cooking takes place with minimal equipment. In the jail we can’t use knives. Everything can be done — a salad, a main course, a vegetable — in 25 minutes, and for less than $5 a person. Cooking quickly is all about being organized. We teach them those skills as well.
SFBG How many women have gone through this program?
LB I think it’s about 750 now. One of the things that we’re moving forward with is finding a way to connect with the women after they leave. One of the new initiatives is working with a postrelease program where there’ll be a kitchen so we’ll be able to do the classes on an ongoing basis.
SFBG Something that a lot of people don’t know is that people who have a felony drug offense can’t get food stamps.
LB It was part of that whole clean up drugs thing. It’s changed slightly so that now if you have a minor drug offense, you can get food, but if you have a heavier felony offense, it’s still not possible. [Assemblymember] Mark Leno is working on fixing it.
SFBG Have you kept in touch with the women from the program?
LB Yeah. We have one woman who found us because we also offer the courses to women who provide day care. She told us, “When I was in jail, I was thinking this was all bullshit. I can’t do that. It’s going to be too expensive. It’s just you white people blowing smoke up our ass. But I got out and now I’m going to the market every week and my kids love it.”
SFBG You’re also coordinating food service for the Golden Gate National Recreation Area?
LB Yes, coordinating purchasing so the prices are better, but also coordinating so some people can get products that there hasn’t been enough demand for. The great thing about McDonald’s is that it represents this huge buying power, and if McDonald’s says, “We want an alternative to Styrofoam,” people say, “OK, we’ll do that.” So when 17 food services here say, “We really want cornstarch knives or sugar-based packaging material” … companies will see this opportunity and figure it out.
I started talking to the people in the national park for two reasons. One is that the park feeds a lot of people. Golden Gate Park is 75,000 acres, the largest urban park in the country, and feeds 17 million people a year, whether they’re dining at Greens, which is a park partner, or the Cliff House or some little café. The park also sits on a tremendous amount of good agricultural land, some of which is being used up at Point Reyes National Park. Cowgirl Creamery, Strauss Dairy, Hog Island Oyster, Sun Farm — all those are on park land. We want the park to become not only a purchaser of good sustainable, healthy food but also a producer.
SFBG One of the reasons why Nextcourse is interesting is that it addresses the “food divide,” actually doing outreach into the community that is not going to show up at the Ferry Plaza Farmers Market. What do you think needs to be done? It feels like the gap is getting wider rather than narrowing.
LB That just represents what’s happening in our society. Truly, you can’t change the food system without looking at every other aspect of the economic system. You’ve heard it before, but there’s all these wonderful catchphrases like “the high cost of cheap food.” People shouldn’t be asking why this beautiful piece of fruit is so expensive, they should be asking why this other piece of fruit is so cheap. And the reason it’s cheap is because of the way our economy is structured, with lobbies, subsidies, and oil companies having such a strong vested interest. The real problem with food costing “X amount” is that we can’t survive just on food. We need housing, we need education, we need health care. The government is no longer in the public service business: they’ve privatized all of those things, and they’re driven by profit. People can’t afford more expensive food because they’re spending so much on rent, health care, and more expensive schools.
We’ve created a society that’s increasingly divided the rich and the poor. Food is just symbolic. If we want a just society, this is just one aspect — don’t stop at food, but see food as the beginning, a way to engage in a better world.
SFBG What about the conceptual problem? It’s fine to repeat the mantra that cheap food is more expensive, but when it’s not immediately visible …
LB We’re encouraged to not see beyond our own noses. It’s not in the interest of economy for us to think of long-term effects, to see the net. We just see “cheap.” This is the money I have in my pocket at the moment. I’ll worry about the hospital when I have to go to a hospital, and in fact, it’s best not to think about that. So in order for things to change, food people need to see that while they need to collaborate among the food community, they also need to collaborate among the social justice community as a whole. The food community has to see that people struggling for immigration rights, workers’ rights, health care rights are their natural friends.
SFBG What are some organizations around the Bay Area that are doing good work?
LB On a really grassroots level, I think la Cocina is fantastic — an industrial kitchen facility that brings in mostly Latina women with the hope that they’ll be able to have their own kitchen or restaurant someday. The Columbia Foundation, particularly through their Roots of Change program. Something new to the Bay Area is the Community Alliance for Family Farmers that is trying to bridge the gap between farms and urban centers.
SFBG What are the top issues facing the Bay Area — in terms of food and our ecology — in the next decade?
LB The offshoring of our food production. It’s going to happen unless we start yelling and screaming, because it is so much cheaper to grow and produce food in developing nations. A lot of these agribusiness companies want to get out of the US. They want to be someplace where there are no labor laws, there are no environmental restrictions. That’s what keeps me up at night. I wake up in the middle of the night screaming, “They’re offshoring our food production.”
Environmentally, water is the biggest issue that we’re facing. What’s happening is that farmers are saying, ‘I could sell my water for much more money than I could ever make growing food.’ Because all of our communities, particularly those built in deserts, are so desperate for water that they will pay anything for it. So as water becomes more politically contentious and expensive, anybody doing agriculture will go someplace where there isn’t necessarily more water but they can get it for free or get it illegally. SFBG

CENSORED!

September 5, 2006

› sarah@sfbg.com
Last month, two news stories broke the same day, one meaty, one junky. In Detroit, US District Judge Anna Diggs Taylor ruled that the Bush administration’s warrantless National Security Agency surveillance program was unconstitutional and must end. Meanwhile, somewhere in Thailand, a weirdo named John Mark Karr claimed he was with six-year-old beauty queen JonBenet Ramsey when she died in 1996.
Predictably, the mainstream media devoted acres of newsprint and hours of airtime to the self-proclaimed beauty queen killer, including stories on what he ate on the plane ride home, his desire for a sex change, his child-porn fixation, and — when DNA tests proved Karr wasn’t the killer — why he confessed to a crime he didn’t commit.
During that same time period, hardly a word was written or said in the same outlets about Judge Diggs Taylor’s ruling and the question it raises about why Bush and his power-grabbing administration repeatedly lie to the American public.
The mainstream media’s fascination with unimportant stories isn’t anything new. Professor Carl Jensen, a disenchanted journalist who entered advertising only to walk away in greater disgust and become a sociologist, says the media’s preoccupation with “junk food news” inspired him to found a media research project at Sonoma State University about 30 years ago to publicize the top 25 big stories the media had censored, ignored, or underreported the previous year.
That was the beginning of Project Censored, the longest-running media censorship project in the nation — and it drew plenty of criticism from editors and publishers.
“I was taking a lot of flak from editors around Project Censored’s annual list of the top stories the mainstream media missed,” recalls the now-retired Jensen. “They said the reason they hadn’t covered the stories was that they only had a limited amount of time and space, and that I was an academic, sitting there criticizing.”
But Jensen had an answer: there was plenty of time and space, but it was just being filled with fluff.
Since 1993, Project Censored has been running not only the stories that didn’t get adequate coverage but also the “junk food news” — the stories that were way, way overblown and filled precious pages and airtime that could have been used for real news.
While Jensen would love to be able to claim that Project Censored solved the media’s problems with censorship and junk food news, that didn’t happen.
“If anything, it’s gotten worse,” Jensen says, pointing to increased media monopolization.
Project Censored’s current director, Peter Phillips, says entertainment news may be addictive, but that’s no excuse for the media to push it.
“Massacres, celebrity gossip — we’re automatically attracted,” Phillips says. “It’s like selling drugs. But we don’t tolerate the drug dealer on the corner. For the democratic process to happen, we have to have information presented and made available. To just give people entertainment news is an abdication of the First Amendment.”
Art Brodsky, a telecommunications expert at Public Knowledge, an advocacy group based in Washington, DC, says some of the problems with censorship are a product of journalistic laziness. Brodsky, who has written extensively on network neutrality, which is the number one issue on this year’s list, says the topic hasn’t received enough coverage, partly because the debate has largely remained couched in telecommunications jargon.
“Network neutralilty is a crappy term, other than its alliterative value,” Brodsky says. “It’s one of those Washington issues that gets intense coverage in the field where it happens but can be successfully muddied, and it’s technical. So a lot of editors and reporters throw their hands up in the air, a lot like senators.
Following are Project Censored’s top 10 stories for the past year.
1. THE FEDS AND THE MEDIA MUDDY THE DEBATE OVER INTERNET FREEDOM
In its relatively brief life, the Internet has been touted as the greatest vehicle for democracy ever invented by humankind. It’s given disillusioned Americans hope that there is a way to get out the truth, even if they don’t own airwaves, newspapers, or satellite stations. It’s forced the mainstream media to talk about issues it previously ignored, such as the Downing Street memo and Abu Ghraib prisoner abuse.
So when the Supreme Court ruled that giant cable companies aren’t required to share their wires with other Internet service providers, it shouldn’t have been a surprise that the major media did little in terms of exploring whether this ruling would destroy Internet freedom. As Elliot Cohen reported in BuzzFlash, the issue was misleadingly framed as an argument over regulation, when it’s really a case of the Federal Communications Commission and Congress talking about giving cable and telephone companies the freedom to control supply and content — a decision that could have them playing favorites and forcing consumers to pay to get information and services that currently are free.
The good news? With the Senate still set to debate the Communications Opportunity, Promotion and Enhancement Act of 2006, as the network neutrality bill is called, it’s not too late to write congressional representatives, alert friends and acquaintances, and join grassroots groups to protect Internet freedom and diversity.
Source: “Web of Deceit: How Internet Freedom Got the Federal Ax, and Why Corporate News Censored the Story,” Elliot D. Cohen, BuzzFlash.com, July 18, 2005
2. HALLIBURTON CHARGED WITH SELLING NUCLEAR TECHNOLOGY TO IRAN
Halliburton, the notorious US energy company, sold key nuclear reactor components to a private Iranian oil company called Oriental Oil Kish as recently as 2005, using offshore subsidiaries to circumvent US sanctions, journalist Jason Leopold reported on GlobalResearch.ca, the Web site of a Canadian research group. He cited sources intimate with the business dealings of Halliburton and Kish.
The story is particularly juicy because Vice President Dick Cheney, who now claims to want to stop Iran from getting nukes, was president of Halliburton in the mid-1990s, at which time he may have advocated business dealings with Iran, in violation of US law.
Leopold contended that the Halliburton-Kish deals have helped Iran become capable of enriching weapons-grade uranium.
He filed his report in 2005, when Iran’s new hard-line government was rounding up relatives and business associates of former Iranian president Hashemi Rafsanjani, amid accusations of widespread corruption in Iran’s oil industry.
Leopold also reported that in 2004 and 2005, Halliburton had a close business relationship with Cyrus Nasseri, an Oriental Oil Kish official whom the Iranian government subsequently accused of receiving up to $1 million from Halliburton for giving them Iran’s nuclear secrets.
Source: “Halliburton Secretly Doing Business with Key Member of Iran’s Nuclear Team,” Jason Leopold, GlobalResearch.ca, Aug. 5, 2005
3. WORLD OCEANS IN EXTREME DANGER
Rising sea levels. A melting Arctic. Governments denying global warming is happening as they rush to map the ocean floor in the hopes of claiming rights to oil, gas, gold, diamonds, copper, zinc, and the planet’s last pristine fishing grounds. This is the sobering picture author Julia Whitty painted in a beautifully crafted piece that makes the point that “there is only one ocean on Earth … a Mobiuslike ribbon winding through all the ocean basins, rising and falling, and stirring the waters of the world.”
If this world ocean, which encompasses 70.78 percent of our planet, is in peril, then we’re all screwed. As Whitty reported in Mother Jones magazine, researchers at the Scripps Institution of Oceanography and the Lawrence Livermore National Laboratory in 2005 found “the first clear evidence that the world ocean is growing warmer,” including the discovery “that the top half-mile of the ocean has warmed dramatically in the past 40 years as the result of human-induced greenhouse gases.” But while a Scripps researcher recommended that “the Bush administration convene a Manhattan-style project” to see if mitigations are still possible, the US government has yet to lift a finger toward addressing the problem.
Source: “The Fate of the Ocean,” Julia Whitty, Mother Jones, March–April 2006
4. HUNGER AND HOMELESSNESS INCREASING IN THE UNITED STATES
As hunger and homelessness rise in the United States, the Bush administration plans to get rid of a data source that supports this embarrassing reality — a survey that’s been used to improve state and federal programs for retired and low-income Americans.
President Bush’s proposed budget for fiscal year 2007 includes an effort to eliminate the Census Bureau’s Survey of Income and Program Participation. Founded in 1984, the survey tracks American families’ use of Social Security, Medicaid, unemployment insurance, child care, and temporary assistance for needy families.
With legislators and researchers trying to prevent the cut, author Abid Aslam argued that this isn’t just an isolated budget matter: it’s the Bush administration’s third attempt in as many years to remove funding for politically embarrassing research. In 2003, it tried to whack the Bureau of Labor Statistics report on mass layoffs and in 2004 and 2005 attempted to drop the bureau’s questions on the hiring and firing of women from its employment data.
Sources: “New Report Shows Increase in Urban Hunger, Homelessness,” Brendan Coyne, New Standard, December 2005; “US Plan to Eliminate Survey of Needy Families Draws Fire,” Abid Aslam, OneWorld.net, March 2006
5. HIGH-TECH GENOCIDE IN CONGO
If you believe the corporate media, then the ongoing genocide in the Democratic Republic of the Congo is all just a case of ugly tribal warfare. But that, according to stories published in Z Magazine and the Earth First! Journal and heard on The Taylor Report, is a superficial, simplistic explanation that fails to connect this terrible suffering with the immense fortunes that stand to be made from manufacturing cell phones, laptop computers, and other high-tech equipment.
What’s really at stake in this bloodbath is control of natural resources such as diamonds, tin, and copper, as well as cobalt — which is essential for the nuclear, chemical, aerospace, and defense industries — and coltan and niobium, which is most important for the high-tech industries. These disturbing reports concluded that a meaningful analysis of Congolese geopolitics requires a knowledge and understanding of the organized crime perpetuated by multinationals.
Sources: “The World’s Most Neglected Emergency: Phil Taylor talks to Keith Harmon Snow,” The Taylor Report, March 28, 2005; “High-Tech Genocide,” Sprocket, Earth First! Journal, August 2005; “Behind the Numbers: Untold Suffering in the Congo,” Keith Harmon Snow and David Barouski, Z Magazine, March 1, 2006
6. FEDERAL WHISTLEBLOWER PROTECTION IN JEOPARDY
Though record numbers of federal workers have been sounding the alarm on waste, fraud, and other financial abuse since George W. Bush became president, the agency charged with defending government whistleblowers has reportedly been throwing out hundreds of cases — and advancing almost none. Statistics released at the end of 2005 by Public Employees for Environmental Responsibility led to claims that special counsel Scott Bloch, who was appointed by Bush in 2004, is overseeing the systematic elimination of whistleblower rights.
What makes this development particularly troubling is that, thanks to a decline in congressional oversight and hard-hitting investigative journalism, the role of the Office of Special Counsel in advancing governmental transparency is more vital than ever. As a result, employees within the OSC have filed a whistleblower complaint against Bloch himself.
Ironically, Bloch has now decided not to disclose the number of whistleblower complaints in which an employee obtained a favorable outcome, such as reinstatement or reversal of a disciplinary action, making it hard to tell who, if anyone, is being helped by the agency.
Sources: “Whistleblowers Get Help from Bush Administration,” Public Employees for Environmental Responsibility (PEER) Web site, Dec. 5, 2005; “Long-Delayed Investigation of Special Counsel Finally Begins,” PEER Web site, Oct. 18, 2005; “Back Door Rollback of Federal Whistleblower Protections,” PEER Web site, Sept. 22, 2005
7. US OPERATIVES TORTURE DETAINEES TO DEATH IN AFGHANISTAN AND IRAQ
Hooded. Gagged. Strangled. Asphyxiated. Beaten with blunt objects. Subjected to sleep deprivation and hot and cold environmental conditions. These are just some of the forms of torture that the US military in Iraq and Afghanistan inflicted on detainees, according to an American Civil Liberties Union analysis of autopsy and death reports that were made public in response to a Freedom of Information Act lawsuit.
While reports of torture aren’t new, the documents are evidence of using torture as a policy, raising a whole bunch of uncomfortable questions, such as: Who authorized such techniques? And why have the resulting deaths been covered up?
Of the 44 death reports released under ACLU’s FOIA request, 21 were homicides and eight appear to have been the result of these abusive torture techniques.
Sources: “US Operatives Killed Detainees During Interrogations in Afghanistan and Iraq,” American Civil Liberties Union Web site, Oct. 24, 2005; “Tracing the Trail of Torture: Embedding Torture as Policy from Guantánamo to Iraq,” Dahr Jamail, TomDispatch.com, March 5, 2006
8. PENTAGON EXEMPT FROM FREEDOM OF INFORMATION ACT
In 2005, the Department of Defense pushed for and was granted exemption from Freedom of Information Act requests, a crucial law that allows journalists and watchdogs access to federal documents. The stated reason for this dramatic and dangerous move? FOIA is a hindrance to protecting national security. The ruling could hamper the efforts of groups like the ACLU, which relied on FOIA to uncover more than 30,000 documents on the US military’s torture of detainees in Afghanistan, Iraq, and Guantánamo Bay, including the Abu Ghraib torture scandal.
With ACLU lawyers predicting that this ruling will likely result in more abuse and with Americans becoming increasingly concerned about the federal government’s illegal intelligence-gathering activities, Congress has imposed a two-year sunset on this FOIA exemption, ending December 2007 — which is cold comfort right now to anyone rotting in a US overseas military facility or a secret CIA prison.
Sources: “Pentagon Seeks Greater Immunity from Freedom of Information,” Michelle Chen, New Standard, May 6, 2005; “FOIA Exemption Granted to Federal Agency,” Newspaper Association of America Web site, posted December 2005
9. WORLD BANK FUNDS ISRAEL-PALESTINE WALL
In 2004, the International Court of Justice ruled that the wall Israel is building deep into Palestinian territory should be torn down. Instead, construction of this cement barrier, which annexes Israeli settlements and breaks the continuity of Palestinian territory, has accelerated. In the interim, the World Bank has come up with a framework for a Middle Eastern Free Trade Area, which would be financed by the World Bank and built on Palestinian land around the wall to encourage export-oriented economic development. But with Israel ineligible for World Bank loans, the plan seems to translate into Palestinians paying for the modernization of checkpoints around a wall that they’ve always opposed, a wall that will help lock in and exploit their labor.
Sources: “Cementing Israeli Apartheid: The Role of World Bank,” Jamal Juma’, Left Turn, issue 18; “US Free Trade Agreements Split Arab Opinion,” Linda Heard, Aljazeera, March 9, 2005
10. EXPANDED AIR WAR IN IRAQ KILLS MORE CIVILIANS
At the end of 2005, US Central Command Air Force statistics showed an increase in American air missions, a trend that was accompanied by a rise in civilian deaths thanks to increased bombing of Iraqi cities. But with US bombings and the killing of innocent civilians acting as a highly effective recruiting tool among Iraqi militants, the US war on Iraq seemed to increasingly be following the path of the war in Vietnam. As Seymour Hersh reported in the New Yorker at the end of 2005, a key component in the federal government’s troop-reduction plan was the replacement of departing US troops with US air power.
Meanwhile, Hersh’s sources within the military have expressed fears that if Iraqis are allowed to call in the targets of these aerial strikes, they could abuse that power to settle old scores. With Iraq devolving into a full-blown Sunni-Shiite civil war and the United States increasingly drawn into the sectarian violence, reporters like Hersh and Dahr Jamail fear that the only exit strategy for the United States is to increase the air power even more as the troops pull out, causing the cycle of sectarian violence to escalate further.
Sources: “Up in the Air,” Seymour M. Hersh, New Yorker, December 2005; “An Increasingly Aerial Occupation,” Dahr Jamail, TomDispatch.com, December 2005 SFBG
For the next 15 of Project Censored’s top 25 stories, go to www.sfbg.com.

Josh Wolf leaving jail

August 31, 2006

By G.W. Schulz

Josh Wolf is finally on his way out of jail. An appeals court ruled that his argument against being required to turn over video he captured from a demonstration last year is in fact not frivolous.

He could still see more jail time, however. Another panel will review the contempt order, which a federal judge previously slapped him with, and if it’s ruled as legit, he could go back to jail until next July. For now, he’s out on bail.

Wolf, of course, was hit with a subpoena commanding that he testify and turn over his video to a grand jury that’s investigating an alleged attack by anarchists on a cop and a patrol car during an anti-G8 protest. Wolf insisted journalist’s privelege protected him from having to do so. The feds and the SFPD, for their part, appear to be on little more than a fishing expedition.

So what will Josh do first? We hear he’ll probably being getting to a computer as fast as he can to circulate a message to his supporters.

By the way, when was the last time law enforcement in the Bay Area put this much energy into solving homicides?

Outrageous fortunes

August 29, 2006

› kimberly@sfbg.com
This too may pass, but let it be said that “outrageous” is currently one of Mission District artist Keegan McHargue’s favorite descriptors — applied with equal enthusiasm to the thugs who smoke blunts down the street, his waxy-eyed portrait by Japanese artist Enlightment, Heavy Metal Parking Lot sequel Neil Diamond Parking Lot, and a new art book with a cover font composed of turds — and one that could easily apply to the refreshingly direct, boyish painter himself. Not many young artists are in the position to tell national television to take a cold shower in a couple hot minutes, but that’s just where McHargue is: he isn’t your archetypal stylist-damaged celebutante or attention-ravenous art star. The 2004 Goldies winner — last sighted at that award’s soiree shaking his sharp, narrow suit on the dance floor alongside beat legend Bruce Conner and hip-hop crew Sistaz of the Underground — warily considered this interview and then consented.
“Seriously, it’s crazy. Recently, all sorts of different people have been interested in me for different reasons. It’s pretty strange,” he marvels, leaning back in front of a recent large acrylic ready to be packed off to New York, where it will be exhibited in “Control Group,” McHargue’s solo show at Metro Pictures opening Sept. 21. CBS Sunday Morning was one such caller. “But I just said, ‘Fuck you.’ Kinda. I told ’em straight up, ‘I was, like, y’know, really flattered, but I don’t know if your demographic is exactly who I even want to know who I am.’
“If I’m doing that, I’m probably doing something wrong!”
It may sound like the arrogance of youth on line one — who wants to cater to the crowd who’s even up on Sunday morning? Yet it’s gotten to the point where Devendra Banhart (who described McHargue as his “favorite living artist”), Interview, and even Spin have lined up to lavish praise on the 24-year-old artist, with the last naming him one of the top 25 hottest people under 25, beating out Nicole Richie. “Outrageous!” exclaims McHargue. “Seriously, I swear to god. I don’t know what the general consensus is. It’s weird. It’s strange. I’m just a normal person who makes artwork and just happens to be an artist for a living.”
Perhaps this miniature media frenzy is linked to the fact that the self-taught McHargue is so young and makes such intriguing, increasingly exploratory work: paintings and drawings that swing between clean, Byzantine sophistication and fresh, obsessive energy, bright pop abstraction and darkly foreshadowed storytelling. His latest extravagantly hued, sprawling acrylics — a new series that differs from those in McHargue’s “Air above Mountains” show (named after a Cecil Taylor free-jazz disc) at Galerie Emmanuel Perriton in Paris earlier this year — revolve around true crime and headline news narratives populated by murderous mothers, power plants, dozing or dead kittens, and sinuous streams of toxic runoff. Picture the Yellow Submarine adrift beneath a mushroom-clouded sky.
As ripe and exciting as this week’s tabloids and likely less perishable, the canvases reflect McHargue’s latest ideas and techniques. “I’m just basically trying to constantly be expanding the scope of my practice or something,” he says, puttering around the tidy studios in the top-floor flat he shares with another artist — this despite the fact that his works have landed in such collections as the Museum of Modern Art in NYC. “I guess the long and short of it is now I’ve got tons of time on my hands and all I have to do is make art, so the bottom line is to just continue making better and better pieces.”
Psychedelic is almost too easy an adjective for his enigmatic imagery, the natural product of a childhood steeped in art, courtesy of his watercolorist mother. “That would make me instinctively want to change what I was doing,” says McHargue, who moved to San Francisco from his native Portland, Ore., five years ago. “I understand that people want to belong to cliques. But that’s not where my head’s at right now. I would just like to make some paintings that are insane to look at. Just hurt some people’s brains a little bit.”
Small pieces by Barry McGee, Will Yackulic, and others are clustered on the mantel above a Roland SP808, a drum machine, and an iPod emanating keening noise collaborations between McHargue and fellow artist Ry Fyan — the work of what McHargue describes as a Whitehouse tribute band. Some of the music will probably be released later this year by Tarentel’s Jef Cantu, along with a Japanese book surveying his work. “I’m just a hardcore music fanatic all across the board,” the artist explains. “Luckily, I live close to Aquarius, and I collect records too. That’s where I get inspiration for the work, from listening to music. It’s really, really important to me.”
And it’s an increasingly necessary hobby — preferable, he cracks wise, to “photography or yachting.” After working almost continuously for more than a year on consecutive gallery shows and finding himself on a rotating exhibition schedule stretching to 2012 (2007 will see shows at Jack Hanley Gallery in San Francisco and Hiromi Yoshi Gallery in Tokyo), McHargue is hoping to take it easy at last — following the “Control Group” opening and his partner Tauba Auerbach’s October show at Deitch Projects — and spend his autumn months in New York City. “It’s like all of a sudden I’m totally grown up and doing this all the time,” he says. “I need to cool out. Between now and the fall, I’m just going to kick it.” SFBG
www.supervisionstudy.org
www.metropicturesgallery.com

Cutting taxes the right way

August 29, 2006

EDITORIAL Finally the Democratic Party in California is starting to talk seriously about tax policy. It’s an important change in the political winds, and if state treasurer Phil Angelides can get beyond the tepid-to-hostile press and use his promise of a middle-class tax cut to gain ground on Gov. Arnold Schwarzenegger, it may signal the end of decades of regressive and deeply harmful economic policy.
Schwarzenegger, who knows he’s in a tough race, has been trying to smear Angelides by saying that the Democratic candidate is pushing for tax hikes. Yes, he is — tax hikes on the likes of Arnold Schwarzenegger (and Phil Angelides), people with incomes of more than $500,000 a year. For the record, these are people who have seen their taxes drop dramatically under the Bush administration and are the direct beneficiaries of an alarming national trend of wealth concentration among the richest Americans.
Angelides isn’t talking about radical tax hikes; all he wants to do is restore the top state income tax rate to the level it was under Republican governors like Ronald Reagan and Pete Wilson. Still, raising taxes never plays well in the polls, so Angelides is now doing what he needed to do from the start of his campaign: he’s proposing to cut taxes on middle-class working families.
It’s a risky strategy: pundits on the right will accuse him of “class warfare,” and the details of his plans will get obscured by negative political ads and lousy media coverage. But it’s the right approach: he’s actually talking about shifting the tax burden upward, about changing the national trend in tax policy, about giving the majority of the voters tax breaks and paying for it by making a few wealthy people pay more.
But if it’s going to work, he needs to be a lot clearer on exactly how the dollars pencil out — and he needs to offer more than what seems like a relatively modest tax cut. Right now, his plan calls for $788 million in tax reductions for families earning less than $100,000 a year and $5 billion in tax hikes for the wealthy. He’s also offering to find $1 billion in state waste.
For a family living on $46,000 a year, the program would amount to $660 a year in tax relief.
We understand that the tax cuts have to be lower than the tax hikes — the state is deeply in debt, and there are all sorts of badly needed social programs that ought to be funded. But in the end, his plan sounds pretty mild: there’s a lot more than $1 billion in waste, corporate tax loopholes, and uncollected revenue out there, and a California family earning $46,000 a year, facing the insane housing market and rapidly rising energy costs, could use a lot more than $50 a month in extra cash.
Let’s remember: the transfer of wealth from the middle class to the rich (and especially the very rich) that’s taken place in the past two decades is unprecedented in the postwar era and quite possibly unprecedented in American history. A few bucks here and there aren’t really going to make that much difference. If Angelides is serious, he should revise his plan to at least double the tax cuts for the middle class, hike the tax credits for low-income families — and pay for it by creating another tax bracket altogether, for Californians who earn more than $1 million a year.
But this is an excellent start — and Angelides deserves tremendous credit for opening a discussion that should have taken place years ago. SFBG

Excerpts from freelance journalist Josh Wolf

August 23, 2006

What follows are excerpts from an Aug. 14 letter that freelance journalist Josh Wolf wrote to reporter Sarah Phelan from inside Dublin Federal Correctional Institute. Wolf has been held at Dublin FCI since Aug. 1 refusing to give a federal grand jury unpublished footage from a July 8, 2005 anti-G8 protest that turned violent.

Aug. 14, 2006

Dear Sarah,

Thanks for writing to me about my case;

On Judith Miller:

“The issue of Judith Miller is a complicated one. My reservations about the Judith Miller situation are as follows: She should be protected, but should she have published it in the first place? I’m very thankful that she has helped publicize my case and I have talked to her on the phone and wouldn’t want it to seem like I’m ungrateful for the support.”

On the injuries that a SFPD officer sustained during the July 8, 2005 anti G8 protest:

“The officer’s injury is a sad and unfortunate incident, and I do not in any way condone violence against any living creature. However, as tragic and unjust as it may have been, it is a potential crime which falls under state and not Federal jurisdiction and although the Assistant US Attorney has brought up the injured officer repeatedly, he has never asserted that this potential crime is part of the grand jury investigation and is therefore nothing more than an effort to sensationalize the case.

Furthermore, my mother’s statement is accurate, I neither witnessed nor filmed the alleged assault on the officer – I learned of the incident after hearing “officer down” by several bystanders. At that point in time, I was filming the aforementioned officer’s partner choking Gabe Myers whom has been charged with the conspiracy charge of attempting to lynch himself, along with resisting arrest and rioting. The published video illustrates this fairly well and can be accessed through http://joshwolf.net/grandjury/ along with the all the legal documents up until I became incarcerated and could no longer maintain the site.”

On the alleged arson to a SFPD patrol car:

“Another important factor in the police’s story of what happened that night is their claim that the Styrofoam sign (for the 500th time, there was no mattress) became lodged in front of their car, therein disabling it. While the Styrofoam sign may have been lodged – I have trouble believing that a piece of Styrofoam could actually force a modified Crown Victoria to a stop. As a rear-wheel drive car with more-than-ample horsepower, I believe it would’ve been able to push the sign along indefinitely, if not able to completely rise over the top of it. Beyond that, the officers immediately jumped out of their vehicle and chased after the 2 people they believed were originally holding the sign.

By the way, these officers – Shields + Wolf (no known relation to myself) were not assigned to the protest and were responding to some sort of complaint. These police officers attempted to disperse the crowd by accelerating their vehicle towards us – it was at that point that the sign carriers in the back of the crowd dropped their sign and dived out of the car’s path. The most accurate description I heard of the event came from Attorney Ben Rosenfeld who spoke at one of my press conferences, the video can be accessed at the URL I mentioned previously.”

On the grand jury investigation:

“As I’m sure you are aware, the subject of the grand jury investigation, or the reason that I’m in jail, is the alleged attempt to destroy property that the federal government may have had a fiscal interest in, the SFPD patrol vehicle. If this pretense for a federal interest is allowed to stand, then would not all public property – be it city, state, or federal serve to trump state protections such as the California Shield law. This would not only include streets, schools, and sidewalks, but also city hall itself.

Perhaps you recall Matt Gonzales last art exhibit as Supervisor – the Supervisor arrange to have graffiti art sprayed onto his office wall. Now, obviously he did this with the approval of the city, but could the federal government have intervened under the claim that this art damaged Federal Property? Obviously they wouldn’t, but according to the logic of the US Attorney, I imagine they might feel they could legitimately do so. The analogy is a stretch and borders on being cartoonist, but is it really any more outrageous than throwing me in prison for refusing to comply with this order to turn over a videotape regarding a police vehicle that apparently wasn’t even damaged – we’ve yet to see any repair orders for the squad car.
Both myself and my attorney have filed declarations to the fact that I did not film any attempts at arson on a police car. It seems highly unlikely that the US Attorney doesn’t believe us as I imagine lying in a declaration would result in perjury for me but could also, to my best understanding; result in my attorney facing even more serious repercussions than that. Neither myself nor my attorney would be stupid enough to behave that irresponsibly. I remember Alger Hiss.”

On Alger Hiss, McCarthyism and Black as the new Pink:

Speaking of Hiss, I feel that given the circumstances, this witch hunt could very likely be a witch hunt akin to those of McCarthey’s blood thirsty quest to expose communists. If that in fact is the case, then instead of a red-scare, this is a black scare.

Keep in mind, that each subpoena I have received not only demands the unpublished materials, but also my testimony. I do not feel that is paranoia which leads me to think that I would be compelled to identify anyone on the footage whom I might know in an effort to create a list of political dissidents and anarchists in the bay area.

Yes, the idea is alarmist, but; it happened in this country 50 years ago – and anyone with a decent education is painfully aware that history has a way of repeating itself. There is no way this much money and energy has been expended simply to investigate some kid throwing a firework four days after the 4th of July, and as the government has not been forthcoming, I have no reason not to assume the worst.

On life inside Dublin Federal Correctional Institute:

“In your letter you also asked me about Dublin; I don’t have a whole lot to say about my experience here, but I can say that the experience is nowhere near the nightmare I had expected. I’ve never felt like my personal safety is in jeopardy, and I have made friends with many of the inmates. There’s food which is edible during every single meal, and 90% of the staff have behaved with the utmost professionalism. At the same time, visits are limited to immediate family, and I only get to feel air on my face for an hour each day; 5 days a week.

Living in captivity is emotionally very difficult, and you find yourself missing the simplest of things. Not having my music, for one, has been very hard for me. The experience is akin to being a young child in man ways, and almost all decisions have been robbed from you. Regulations which serve no purpose abound – we are prohibited from doing laundry after 2pm; I have no idea why.
I have the opportunity by being here to catch up on a lot of reading; however, and I’ve written more letters by hand over the last two weeks than I’ve composed throughout my 24 years up till now. I miss email. I’ve also been inspired to create a new organization, but I can’t share the details just yet about that one.”

Thanks again, for covering the story and in the words of Edward R. Murrow,
Goodnight and Good Luck,
Josh

Regaining consciousness

August 22, 2006

› a&eletters@sfbg.com
“I want to be a mainstream artist,” says East Oakland rapper and spoken word poet Ise Lyfe, discussing his rejection of the label “conscious rap.” “I’m not trying to be some backpack cat performing in Davis. I want to be …”
The 23-year-old trails off thoughtfully. “I think the only way to do it harder than Jay-Z is to have a real movement, something tangible that will effect change in the world through music. I’d like to be that big but at the same time put a dent in the Earth.”
At first glance, it’s hard to imagine a rapper less like Jay-Z than Ise Lyfe, whose 2004 self-released debut, SpreadtheWord, is devoid of the big pimpin’, cheese-spending exploits that have endeared Jiggaman to millions. But like James Baldwin — who once said he didn’t want to be the best black novelist in America, he wanted to be Henry James — Ise isn’t talking about betraying his identity for success. He’s simply saying he wants to be the best, period. If there’s anything common to all four of these artists, it’s the awareness that in order to be the best you must change the game. With the rerelease of SpreadtheWord, complete with new artwork, a bonus DVD, and a mildly retooled track list, on fledgling independent Hard Knock Records, in addition to his recently concluded nationwide tour with the Coup, Ise Lyfe is hoping to do just that.
Born in 1982, Ise was raised in Brookfield, deep in East Oakland next to the notorious Sobrante Park. “I grew up as a young kid right when the crack epidemic was flourishing and having a real effect on our families,” he says. “My father had been affected by drugs. For me, growing up in a single-parent home was the manifestation of that existing in our community. But I also came up amongst a large level of social justice activity and youth organizing. That influences my music. I think Oakland has a history that unconsciously bleeds into everyone from here.”
The legacy of this history — which includes a spoken word scene at least as old as Gil Scott Heron’s mid-’70s albums for underground label Strata East — endures in Oakland, where Ise first made a name for himself as a teen slam poet. “I would be three years deep into performing spoken word before there was any place I could go and perform hip-hop,” he says. “Hip-hop was all 21-and-up venues, where I was the number one slam poet in the country when I was 19.” Repping the Bay in 2001 at the Youth Speaks National Poetry Slam, Ise would achieve a modicum of fame through appearances on HBO’s Def Poetry Jam.
“When I started recording,” he confesses, “folks didn’t even know I was making a hip-hop record. They thought it was a spoken word record, but I fused both in there.” The success of this fusion of art forms is all the more apparent on the rereleased SpreadtheWord, the continuity of which has been improved by a few judicious edits. Ise’s flow is so dexterous that the moments of purely a cappella poetry enhance rather than disrupt the musical experience. In fact, musicality underscores an important difference between SpreadtheWord and most conscious hip-hop recordings, for most of the beats on even otherwise impressive efforts sound like they were made sometime in 1993. The lack of curiosity about the sound of contemporary hip-hop gives such music a perfunctory air, while the tracks on SpreadtheWord are infinitely fresher even after two years. While it’s not exactly hyphy, a tune like “Reasons” still sounds like a Bay Area slap that would work on a mixtape with other new tunes.
“My fan base is predominantly young people of color,” Ise says, articuutf8g his other major difference from most rappers who fall under the conscious rubric. “I think it’s all good. The music is for everybody. But I’m proud of seeing the music connect with who it’s really written to, directly from, and for. I don’t want to be distant from the community.” In the face of the failure of so many conscious rappers to continue to appeal to their original listeners, it’s hard not to attribute Ise’s own success to his closeness to both his audience and hip-hop.
“It’s important for me to have real community work behind what I say,” he explains, commenting on a busy schedule that includes everything from teaching classes to street sweeping to performing at the Youth UpRising community center on the bill with Keak Da Sneak on Aug. 25.
Moreover, his refusal to place himself in opposition to the hyphy movement despite his very different approach to hip-hop lends him a credibility unavailable to others.
“I consider myself just the other side of hyphy,” he concludes. “I don’t think there’s anything different in what I’m saying than what they’re saying. Those cats is positive — they’re talking about uniting the Bay. I just think it’s important that we set a standard for what’s acceptable. When we calling a 13-year-old girl a ripper, it’s just abusive music. But even in its industrial prepackaged form hip-hop comes from the hood, and I think that going dumb or getting hyphy is revolutionary in principle. I’m-a jump on this car, I’m-a shake these dreads, I’m-a be me. I think that it’s a positive energy.” SFBG
ISE LYFE
Youth UpRising’s “Lyrical Warfare”
with Keak Da Sneak
Fri/25, 4–7 p.m.
8711 MacArthur, Oakl.
(510) 777-9909
Free
www.youthuprising.org

EDITOR’S NOTES

August 22, 2006

› steve@sfbg.com
There’s an intriguing confluence of anniversaries coming up that together offer an opportunity for societal awakening.
This week I’ll be among thousands of Bay Area residents leaving for Burning Man and the 20th birthday of the most significant countercultural event of our times. Five years ago, right after my first Burning Man, the Sept. 11 attacks ushered in radical changes to US foreign policy and political dialogue. And last year during the festival, Hurricane Katrina hit the Gulf Coast, another event of international significance, which New Orleans writer Jason Berry explores in this week’s cover story commissioned by the Association of Alternative Newsweeklies.
Burning Man, Sept. 11, Hurricane Katrina — aside from the timing of their 20th, 5th, and 1st anniversaries, what’s the connection? Before I answer that, let me layer on a more personal anniversary: this summer marks my 15th year working as a reporter and editor for various California newspapers.
I got into the business mainly because I felt like the American people were being duped, at the time about Iraq’s invasion of Kuwait, a war used by the first President Bush as a pretext for establishing permanent US military bases in the oil-rich Middle East.
American bases in Saudi Arabia caused Osama bin Laden to threaten a terrorist war against the United States unless we withdrew — a threat that we seemed to ignore while he carried through with a series of attacks that culminated in Sept. 11. Rather than reevaluating our relationships with oil and the Islamic world, this Bush administration upped the ante: invading and occupying two more Islamic nations, adopting energy policies that increased our oil dependence, and withdrawing the United States from international accords on global climate change and human rights.
Then Hurricane Katrina hit, opening up a second front of attack on the choices this country is making. I was already at Burning Man, in an isolated bubble of ignorant bliss that was eventually popped by the news. As we left the playa, burners gave significant money, supplies, and people to the relief effort. An eight-month cleanup and rebuilding encampment turned into a movement dubbed Burners Without Borders, which is still developing ambitious goals for good works and greening the event.
I believe Burning Man will be using its 20th birthday as a transition point. We’ve built our community and allowed it to mature, and now we’re talking about where we go from here. Most of those discussions are happening right here in San Francisco, where Burning Man was born and is headquartered. There is tremendous will to use our creation as a force for good.
Progressives will use the anniversaries of Sept. 11 and Katrina to urge our government to reevaluate its relationships with oil, other countries, and its own cities and poor people. Unfortunately, San Francisco isn’t where those decisions will be made.
But if there is a will to change this country’s direction, what better place to launch that movement than here? And what better army than Burning Man’s attendees, expected to number more than 35,000 — people known for their resourceful ability to build a city from scratch, clean it up, and leave no trace?
We’ll be back in a couple weeks, ready for what’s next. SFBG

SUNDAY

August 16, 2006

Aug. 20

Music

Ozomatli

The last day of Stern Grove’s free outdoor music series features LA’s hip-hop flavored Afro-Latin political rabble-rousers Ozomatli. Critical success came via a Grammy Award in 2005 for Best Latin Rock/Alternative Album, but this 10-piece orchestra has been turning heads since their 1998 debut, Ozomatli (Almo). Support is provided by Oakland hip-hop squad the Crown City Rockers, who perform their high-energy approach to Latin-rock-meets-hip-hop and give the finger to the Bush administration. (Joseph DeFranceschi)

2 p.m.
Sigmund Stern Grove
19th Ave. and Sloat, SF
Free
(415) 252-6252
www.sterngrove.org

Dance

ChoreoFest 2006

As is the case every year, the festival brings together well-known and yet-to-be known dancers, choreographers, and troupes. Last year curator Brechin Flournoy decided to try a little experiment: she organized the performers so that they could create a context for each other. The experiment worked so well that this year Flournoy has put together a lineup that builds bridges between genres, some more clear-cut than others. Bring sunscreen and sweaters. (Rita Felciano)

Today and Aug. 26, 1 p.m.; Aug. 21-25, 12:30 p.m.
Yerba Buena Center Gardens,
Fourth St. at Howard, SF
Free
(415) 543-1718
www.ybgc.org

Northern composure

August 15, 2006

› a&eletters@sfbg.com
Four years ago, a high school junior named Britney Gallivan managed to fold a piece of paper in half 12 times, surpassing the eight-fold limit with a 4,000-foot-long piece of special toilet paper. For this girl, origami became more than paper frogs, cootie catchers, and hope-giving cranes. But those cranes are still essential. The four sprightly members of Shapes and Sizes do a lot of musical origami and showy unfolding on their self-titled debut. They make cranes with at least two heads, constantly pulling in multiple directions: toward fairy tales and woodsy rock, unexpected bursts and clap-along accents.
Shapes and Sizes fit on the energetic Asthmatic Kitty roster, but I wouldn’t have expected it. Neither did the band. “We sent out around 50 demos, and three or four labels responded. Asthmatic Kitty got back to us quickly and were excited,” said vocalist-guitarist Rory Seydel and vocalist-keyboardist Caila Thompson-Hannant, speaking at the same time on a conference call from Victoria, British Columbia.
“It took a while, though, to get to where we are now with them,” Seydel added. “We met up with the heads of the label while we were on tour, and they agreed to produce the album.”
“The whole process took a year,” Thompson-Hannant chimed in.
The full-length is the demo, unchanged. Some of the songs had been living in their heads for years. Old high school friends, Thompson-Hannant and Seydel wrote the first Shapes and Sizes ditties when they were only 18. “It’s a long departure. I think we’ve grown up a little,” laughed Seydel, who just turned 22.
When they headed into Victoria’s Lucky Mouse Studios — also home to Frog Eyes — Shapes and Sizes planned on recording a seven-song EP. But, said Thompson-Hannant, they decided to “really go to town,” laying down some tunes that they’d never even practiced and adding a cavalcade of other instruments, from saxophones to vibraphones, trumpets to violas. With the help of Frog Eyes engineer Tolan McNeil, they achieved a panoramic sound.
They will not be touring with a horn section, said Seydel, but that’s fine, since they can just turn up their guitars “really loud.”
He’s only half kidding. Their show tunes–influenced melodies are designed to expand in the live environment, a giddy indie-rock cabaret. The youthful duo cuts, collages, and boldly displays myriad shapes of stories and sizes of sounds, as drummer Jon Crellin and bassist Nathan Gage add rhythmic color to this melodic union. Because they play almost exclusively originals (save for a cover of the Magnetic Fields’ “Come Back from San Francisco” last Valentine’s Day), their songs continue to morph in front of their eyes and they are constantly working on new material.
“It seems like the songs are always changing,” said Thompson-Hannant with the same sense of awe that lifts her singing. “I’ve come undone … another wire linked up to my heart,” she croons on “Northern Lights.” Seydel joins this dramatic unraveling on the Pavement-influenced “Rory’s Bleeding,” singing a cappella at the start: “Why is Rory bleeding?/ Placed between black and white/ Phew, I was dreaming/ I couldn’t see his eyes.”
Shapes and Sizes inhabit a delightfully brisk and very bright way-Northern version of Architecture in Helsinki’s Australia. A deeply collective energy is present on both bands’ debuts, but it’s only in hearing Architecture’s greatest achievement, In Case We Die (Bar/None, 2005), that their earlier efforts appear as the treasure maps that they are, diagrams on origami paper about to become 3-D unicorns. It’s a sure bet that Shapes and Sizes too will continue to expand. Inside their paper cranes are the scribbled notes of castaways happily ignoring borders and ready to hitch a ride. SFBG
SHAPES AND SIZES
With Oh No! Oh My!
Tues/22, 8 p.m.
Independent
628 Divisadero, SF
$12
(415) 771-1422
www.independentsf.com

Confessions of a Gofessional

August 15, 2006

› a&eletters@sfbg.com
Things move fast in rap. By the time their second album, World Premiere (Moedoe/Koch), dropped in April, the Team already had a new single, the “Hyphy Juice” remix, which now rivals “It’s Getting Hot” as their biggest radio hit. Since then, Moedoe label head K.O.A.B. has inked a deal for Hyphy Juice, the energy drink he co-owns with the group, to be sold at 7-11 stores nationwide, while Team member Clyde Carson just signed as a solo act to Capitol Records. Carson’s ambitious project, Theater Music — consisting of one multisong, album-length track à la Prince’s Lovesexy (Warner, 1988) — will appear next year, cobranded by Moedoe as well as the Game’s Black Wall Street.
Yet my appearance at the Team’s condo concerns none of these matters. Instead, I’ve been summoned by Kaz Kyzah to discuss The Gofessional, his new mixtape with KMEL managing director DJ Big Von Johnson. Consisting of 19 tracks of mostly original material, The Gofessional is part of a growing trend in the Bay Area mix scene — like Husalah and Jacka’s Animal Planet and Beeda Weeda’s Homework — of blurring the distinction between the carefully crafted album and the “anything goes” approach of mixtapes. What makes The Gofessional unique, however, is its method of distribution: it’s available for free at bigvon.com.
In the first week alone, the mixtape was downloaded 7,000 times on the strength of two singles currently spinning on KMEL: “Cocaine,” a soulful love-as-addiction metaphor over a 9th Wonder beat, and the LT-produced original “Love” (featuring Jimmie Reign), an R&B-infused investigation of more serious subjects often neglected by the Bay’s current “go dumb” ethos.
STALLED PREMIERE?
Before beginning, however, Kaz clears up the lingering mystery around World Premiere’s release, not, as anticipated, through major label Universal but rather through independent powerhouse Koch.
“We were on a label of a Mexican artist, Lil Rob, and it wasn’t the place for us,” Kaz says, referring to the Universal-distributed Upstairs imprint, which caters primarily to Latino rap. “When we got over there, it wasn’t what we wanted. But it worked out where we could use it to get the album done and move on. We didn’t have to pay any bread. We actually came out winning.”
“At the same time, I was going through legal trouble,” he continues, describing continuing fallout from a robbery charge he caught at age 18. “I was worried about going to jail and house arrest. I did end up spending a couple of months in jail, so it was a real hectic time.”
While the delays of label jumping and legal woes may have muted World Premiere’s impact, the period of house arrest last year proved productive for Kaz, who with West Oakland rapper J-Stalin and East Oakland producers Tha Mekanix formed a side group called the Go Boyz and recorded an album at the condo. These late-night sessions featuring an ankle-braceleted Kaz were the genesis of the current Go Movement, which already constitutes a third front in the Bay’s hyphy and thizz campaigns.
“What I want people to understand about the Go Movement,” the Hyphy Juice shareholder stresses, “is it’s not not about getting hyphy, going dumb. But it encompasses a whole lot more and that’s what makes it so powerful. Like when I talk to Dotrix [of Tha Mekanix], we’ll use go 1,500 times and have an in-depth conversation.
“It was Dot who said, ‘You the Gofessional, man.’ And that was one of my favorite movies, The Professional, so I used it for my mixtape. I didn’t want to come out with the Go Boyz, and nobody know what Go is all about. I was talking to some people from Marin, they never even heard of the Go Movement. To us it’s old, but a lot of people are still catching on.”
GOING FOR THE STREETS
The free download format of The Gofessional is proving to be an effective means of spreading the word. (Another 5,000 hard copies have already been distributed for the benefit of those not online, and more are on the way.) For Johnson, who apart from Kaz is the author of this largess, the free mixtape is designed to boost record sales as well as keep the Bay’s current buzz alive.
“I got 7,000 downloads in a week, when I know artists who put out records that took seven months to reach that in sales,” Johnson says later that day at KMEL. “There are a lot of big artists, a lot of songs on the radio, but sales aren’t adding up. So I feel like, give some away. Instead of trying to break a song, I’m trying to break an artist in the streets. I definitely think this will stimulate album sales.”
It’s refreshing to hear such a statement these days, when the “free download” has been blamed for bringing the recording industry to its knees. To me, Johnson’s logic is irrefutable; I’m more likely to check out something for free than for $15, and I’m way more likely to buy a $15 album from someone whose previous work I have and like. As The Gofessional is easily better than dozens of albums I’ve actually purchased, the odds of me buying an eventual Kaz Kyzah solo album are extremely high. Given the current excitement in Bay rap and Carson’s deal with Capitol, the interest in Kaz’s mixtape hasn’t failed to attract the attention of majors as well.
“I got a lot of labels looking at me,” Kaz confesses. “I ain’t put out an album. They’re checking for me off of mixtapes, which is weird, but it’s a beautiful thing. People be, like, this is hotter than people’s albums. But I’m a perfectionist, so doing a solo album is going to take a minute, really sitting down and figuring out what I want to do with it. And not being too quick to jump on the wrong deal.” SFBG

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