Environment

Bridgeworthy

-
0
Bridgeworthy

 

Clouds of Sils Maria (Olivier Assayas, US/France/Switzerland/Germany) A cunning backstage drama occupying the middle ground between Olivier Assayas’ naturalistic dramas and reality-bending puzzles, Clouds of Sils Maria is set in the Swiss Alps and more nearly in the charged intimacy between an aging actress (Juliette Binoche) and her young assistant (Kristen Stewart). The grand dame has been cast in the same play in which she made her name decades earlier, only now she’s playing the older half of a Sapphic duo. “The play’s the thing,” and as actress and assistant rehearse lines they are simultaneously testing the bounds of their shared privacy. Further complicating things, Assayas’s brash characterization of the young starlet (Chloë Grace Moretz) cast opposite Binoche in the play invariably recalls Stewart’s own tabloid trials; like any hall of mirrors, entering Clouds of Sils Maria is much simpler than finding your way out. Assayas certainly isn’t the first filmmaker to examine slippages between actor and role, and yet he seems uniquely sensitive to rendering performance as simultaneously being a matter of artifice and absorption — the fact that it’s never entirely one thing or the other is what keeps things interesting. Fri/3, 8:45pm, Sequoia; Mon/6, 1pm, Smith Rafael. (Max Goldberg)

Dracula vs. Frankenstein (Al Adamson, US, 1971) MVFF had the bright idea this year of inviting Metallica to be its artists-in-residence, with each of the four members selecting a new or revival feature for the program. The most eccentric choice by far is guitarist and diehard horror fan Kirk Hammett’s. Drive-in schlock king Al Adamson’s 1971 cult classic is a triumph of lurid incoherence starring genre veterans Lon Chaney Jr. and J. Carrol Naish (both in their last film appearances), the director’s busty peroxided wife, Regina Campbell, Russ Tamblyn of 1961’s West Side Story (and Adamson’s 1969 biker epic Satan’s Sadists), and as Count Dracula, one Zandor Vorkov — aka Roger Engel, a goateed stockbroker who got the part because the filmmakers couldn’t afford forking out $1,200 for their first choice, John Carradine. Cobbled together from stock footage, a prior abandoned feature, and whatever trendy ideas came to mind (LSD, biker gangs, etc.), Dracula vs. Frankenstein is the ultimate exploitation-movie example of make-do disorder so profound it achieves a sort of surrealist genius. Fri/3, 10pm, Smith Rafael. (Dennis Harvey)

 

Imperial Dreams (Malik Vitthal, US) Focused on survival rather than violence, Malik Vitthal’s accomplished first feature offers a strong riposte to those who dismiss crime in African American communities as some kind of pervasive racial characteristic. Released from a prison stint on an assault charge, Bambi (John Boyega) wants nothing more than to keep his nose clean and reconnect with his four-year-old son (played by twins Ethan and Justin Coach). The latter has been raised — if you can call it that — by Bambi’s strung-out mother (Kellita Smith) and drug-dealing uncle (Glenn Plummer); the boy’s own mother (Keke Palmer) is still stuck in prison herself on an unrelated charge. It’s no healthy environment for a kid, or an adult either, since the uncle keeps trying to force Bambi back into illegal doings. Our protagonist can’t get a job without a driver’s license; can’t get a license without paying the back child support his imprisoned ex didn’t even file for; as a parolee, can’t move into government housing with his brother (Rotimi Akinosho); and can’t seem to make a move without local cops suspecting the worst of him. This low-key, Watts-set drama is sobering but not hopeless, and the tenderness between father and son never feels like a sentimental ploy. Sat/4, 5:30pm, Lark; Sun/5, 2pm and Oct 8, 11:30am, Smith Rafael. (Harvey)

 

Diplomacy (Volker Schlöndorff, France) Based on Cyril Gely’s play — itself inspired by real-life events — this drama from Volker Schlöndorff (1979’s The Tin Drum) is set during the waning days of World War II and stars the actors who originated the stage roles: Niels Arestrup as weary German military governor von Choltitz, and André Dussollier as crafty Swedish consul-general Nordling. Diplomacy puts a tighter focus on chaotic Paris, circa August 1944, than previous works (like 1966’s similarly-themed Is Paris Burning?), with most of the action confined to a hotel suite as the men discuss von Choltitz’ orders, handed down from a spiteful Hitler, to blow up Paris as the Allies loom. Nordling’s negotiating skills are already known by history, but how he got there, as imagined here, makes for tense, tightly-scripted and -acted viewing. Sat/4, 8pm, Sequoia; Oct. 8, 3:30pm, Smith Rafael. (Cheryl Eddy)

 

Charlie’s Country (Rolf de Heer, Australia, 2013) David Gulpilil memorably made his film debut as the nameless aboriginal youth whose ability to live off the land in harsh Outback terrain saves two lost British children in Nicolas Roeg’s 1971 Walkabout. Forty-three years later he’s an embittered hostage to “civilization” yearning for that near-extinct way of life. Living on a reservation in northern Australia, chafing under the regulations of well-intentioned government overseers (or “thieving white bastards,” as he calls them), he tries to regain some sense of independence and harmony with nature by hunting — only to have his weapons confiscated. Peers who remember traditional ways are dying out or being hauled off to urban hospitals where they feel completely alienated. This latest from ever-idiosyncratic Aussie director Rolf de Heer (2006’s Ten Canoes, 1993’s Bad Boy Bubby) is one of his more conceptually simple efforts, sans elements of fantasy, black humor, or outrageousness. But it’s all the more poignant for its clear-eyed purity of intent. Sun/5, 7:45pm, Lark; Oct. 8, noon, Sequoia. (Harvey)

Gett: The Trial of Viviane Amsalem (Ronit Elkabetz and Shlomi Elkabetz, Israel/France/Germany) Ever felt trapped in a relationship? Odds are what you went through was nothing compared to the maximum-security imprisonment suffered by the titular protagonist in siblings Ronit and Shlomi Elkabetz’s Israeli drama. The former plays a middle-aged woman who was married off at age 15, and three decades of incompatibility later has decided the only solution is divorce. (By this point she’s already lived separately with most of their children for several years, supporting them with her own work.) But that can only be granted by a Rabbinical Court whose three members seem to see almost no reason why man should put asunder what God purportedly joined together in matrimonial contract. Seemingly out of sheer spite, the strictly religious (and humorless) husband played by Simon Abkarian further drags the process out for months, even years by refusing to cooperate when he doesn’t flat-out refuse to show up for mandated court sessions. Set entirely in the plain courtroom, this Israeli Oscar submission is claustrophobic both physically and psychologically — the strangling sensation of being in a situation our heroine’s culture and laws won’t permit escape from is excruciating at times. Mon/6, 7:30pm, Sequoia; Oct. 8, 6pm, Smith Rafael. (Harvey)

 

What We Do in the Shadows (Jermaine Clement and Taika Waititi, US/New Zealand) Before you groan “Oh no, not another mockumentary horror spoof,” be informed that this is THE mockumentary horror spoof, rendering all other past and prospective ones pretty well unnecessary. Vijago (Taika Waititi) is our 379-year-old principal guide as a film crew invades the decrepit Wellington, New Zealand, home he shares with three other undead bloodsuckers: Callow newbie Deacon (Jonathan Brugh), who refuses to do his assigned domestic chores; medieval Transylvanian warlord Vladislav (Jermaine Clement), still “a bit of a perv” torture-wise; and Nosferatu-looking mute Petyr (Ben Fransham), who’s scarier than the rest of them combined. When the latter recklessly “turns” local layabout Nick (Cori Gonzalez-Macuer), his loose lips — really, you don’t want to go around telling every pub acquaintance “I’m a vampire!” when you really are — threaten this fragile commune of murderous immortals. Though it loses steam a bit toward the end, Shadows is pretty hilarious for the most part, with its determined de-romanticizing of vampire clichés from Bram Stoker to Twilight. Tue/7, 7:45pm, and Oct. 9, 4pm, Smith Rafael. (Harvey)

The Theory of Everything (James Marsh, UK/US) It’s instant attraction when Stephen Hawking (Eddie Redmayne) meets Jane Wilde (Felicity Jones), though a dark cloud passes over the sweet romance between the Cambridge students when Stephen learns he has motor neuron disease. The odds are against them, but they get married anyway; as Stephen’s fragile condition worsens, his fame as a brilliant physicist grows. Though The Theory of Everything suffers from biopic syndrome (events are simplified for dramatic convenience, etc.), director James Marsh (2008’s Man on Wire), working from Jane Hawking’s memoir, does offer an intimate look at an extraordinary marriage that ultimately failed because of utterly ordinary, ultimately amicable reasons. In the end, the performances are far more memorable than the movie itself, with Redmayne’s astonishingly controlled physical performance matched scene for scene by Jones’ wide-rangingly emotional one. Oct. 9, 7pm, Smith Rafael. (Eddy)

In Order of Disappearance (Hans Petter Moland, Norway/Sweden/Denmark) Stellan Skarsgård makes like Liam Neeson in this bloody yet droll revenge saga. His unfortunately named Nils Dickman is a Swedish émigré living in a remote Norwegian community, working as a snow plowman. When their only son is kidnapped and killed — the innocent victim of a co-worker’s stupid plan to steal cocaine from major-league drug traffickers — his wife bitterly assumes he must have been the hapless addict that circumstances paint him as. But Nils refuses to accept that explanation, his own dogged investigations (and heavy fist) soon exposing a complex web of goons responsible, most notably rageaholic vegan racist villain Ole (Pal Sverre Hagen). He triggers full-scale war between local and Serbian crime factions to eliminate those few perps he doesn’t off himself — an ever-rising body count marked by onscreen titles commemorating each latest casualty. Hans Petter Moland’s film has been compared to Tarantino, and indeed there are similarities, but the frozen-north setting and bone-dry humor are Scandinavian as can be. Oct. 10, 5:45pm, Smith Rafael; Oct 12, 2:45, Sequoia. (Harvey)

MILL VALLEY FILM FESTIVAL
Oct 2-12, $8-14
Lark Theater
549 Magnolia, Larkspur
Cinearts@Sequoia
25 Throckmorton, Mill Valley
Smith Rafael Film Center
1118 Fourth St, San Rafael
www.mvff.com

Ralph Nader writes a letter to Rep. John Boehner

-
0
Ralph Nader writes a letter to Rep. John Boehner

September 22, 2014

Dear Speaker Boehner,

While millions of hardworking Americans are working more and more for less and less, you and your House of Representatives seem to have no problem working less and less for more and more.

If a mother of one in Butler County, Ohio — your home county — working at the Ohio minimum wage ($7.95 per hour) wanted to make a living wage — according to MIT’s Living Calculator for the county — she would have to work 88 hours a week, which adds up to a little over 12 hours of work per day, 7 days a week. You once defended the placement of Ten Commandments on public property. If this mother wanted to obey the Fourth Commandment — “Remember the Sabbath Day to Keep it Holy” — by not working one day a week, she would have to work over 14 hours per day, leaving her with only two hours left to spend with her child, given eight hours of sleep. For millions of Americans, the fair deal of eight hours of work, eight hours of rest, and eight hours of discretionary time has been broken.

Meanwhile, the work schedule of you and your fellow Representatives cannot be more different. You took a month in August off, as well as the first week in September. Last week you worked a four day week to start the month and then another four in the second week, and then cancelled a four day session that was set to begin on September 29. As one count pointed out, over the course of 103 days between the start of August and the middle of November, you will have been in session for eight days. You are out of control. Give a listen to Republican Rep. David Jolly:

“I believe in the radical notion that Congress should work. Congress should govern. And Congress should work more, not less…By increasing the days that we are in session, I believe we will create an environment where Republicans, Democrats and Independents can work together, substantively, thoroughly, and with great deliberation. We will create a Congress that works.” (http://1.usa.gov/1obUcMi)

Congresspersons are paid $174,000 a year, meaning that your pro-rated salary for 103 days of the year is $49,101. Presuming a 10-hour work day during those eight hard days of work in September, you earned the following hourly wage: $614 per hour. That mother of one making the Ohio minimum wage of $7.95 in Butler County would have to work 77 hours to make the $614 hourly wage for your colleagues during your September House session. (This is all without mentioning that specifically you, as Speaker of the House, make $223,500 a year, meaning you make $63,070 during this 103-day period this fall: a $788 per hour wage for your eight days in session, which would take the Butler County mother of one working minimum wage 99 hours of work to catch up to your earnings for one hour of work.)

If the 1968 minimum wage kept pace with inflation, it would be $10.92 per hour, over three dollars higher than the paltry $7.25 per hour level to which Congress has let it erode. Should not hard, full-time work pay at least as much as minimum wage workers made 46 years ago? As twenty-six Republicans, spearheaded by Rep. Frank LoBiondo, wrote in a 2006 letter to you when you were Majority Leader urging you to raise the minimum wage: “nobody working full time should have to live in poverty.”

Yet you continue to prevent even a House floor vote on raising the minimum wage — a cause that is supported by a large majority of Americans. It’s time to ask yourself: while you and your colleagues make over $600 per hour of in-session work between August and November this year, do not the hard working low-wage Americans who cook, clean, farm, serve and care for people like you deserve a vote on restoring their minimum wage to its mid-century inflation-adjusted level?

Why don’t you ask the people back in your Congressional District — residents of Troy, Hamilton, Greenville, Tipp City, Eaton, and Springfield, Ohio; residents of a Congressional District where 62,000 workers would receive a raise if you allowed a vote on a minimum wage raise to $10.10; residents of a state where over 527,000 children live with a parent making less than $10.10 — these questions?

Sincerely,

Ralph Nader

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the San Francisco Bay Guardian.  He was the founding editor and with his wife Jean Dibble the co-founder and co-publisher of the Guardian, 1966-2012). 

TBA TBD

Michael Redmond
-
0
TBA TBD

arts@sfbg.com

THEATER The sunny skies over Portland, Ore. were added incentive to bask in the summer coda offered by the Portland Institute for Contemporary Art’s Time-Based Art Festival, which ran Sept. 11-21. But the pretty green sheen that appeared one day on the surface of the Willamette River turned out to be a toxic species of blue-green algae. Scientists called it unprecedented for the river but an increasingly common problem in the Northwest due to the warming environment. And this unwelcome intrusion was like the best work seen in the final weekend of the festival, rousing one from a complacent slumber into something resembling a world out of balance.

One work in particular: Ground and Floor by chelfitsch, the brilliant Japanese company led by playwright-director Toshiki Okada. And, with limitations and reservations, the much-talked-about theater offering from France’s Halory Georger and Antoine Defoort, Germinal.

Germinal, which has been making the festival rounds, proved a deftly executed and designed work as well as a crowd-pleaser. The piece begins with supine bodies motionless on a darkened stage. Then the houselights begin to dim in a teasing back-and-forth pattern, and a dim orange pool of light collects on the stage with a similar coming and going, both calling attention to the mechanical artifice of the stage.

The four performers gradually sit up or stand, fiddling in silence with some portable consoles. Their manner is affectless, emotionally muted, like freshly shaped clay figures. Still, each has a distinct personality. One, Halory, discovers that by a certain manipulation of his console he can cast his thoughts (as supertitles) on the back wall of the stage. Soon the others are trying it. Soon one is doing it without the console. How about that? They think. They throw the consoles away. They can all do it!

They explore further. Who is whom, exactly, among these cartoon-like thought bubbles appearing on the back wall? It’s confusing, until Halory suggests they put their names before any thought. The question of being naturally follows for Arnaud, who ponders his name and its meaning. “It’s just that it raises a few questions about identity,” he explains. He, Halory, and the other male, Antoine, all sit and think on this as the woman, Odine, takes a pick-ax to the stage and unearths a live microphone. “I found something,” she tells her companions.

In this fashion, half-detached confusion and excitement intermingle with the humorous unfolding of dawn — the beginnings, it turns out, of a new world circumscribed by the physical and technological limits of the theater — as the characters not only explore and expand the possibilities for communication, but begin the process of classifying their world and its terms in what becomes an elaborate, evolving Venn diagram projected on the back wall.

This is a charming and intriguing beginning, and its elaboration over the course of the play offers more laughs and surprises, as the four continue to manipulate the elements of their world. But the conceit recapitulates philosophical and scientific categories without doing much more. This parallel universe might have been more interesting had it chosen to be truly different. But it starts to feel too familiar, without the critical distance that might have made the trip worthwhile. The play’s affirmative key rings out literally at points (as the four characters discover music as another “tool for communication”). But in the final crescendo, a chorus of affirmations grounded in an old-fashioned celebration of Reason, even the multiverse starts to feel a bit cramped.

If the optimism in Germinal came to feel like a retreat into comfortable certitudes, the brooding misgivings in Ground and Floor felt more in touch with the spirit of the times. Even playwright Okada’s setting of the play in some “future Japan” was riddled with a kind of ambivalence — the supertitle was followed by an afterthought that made it the “near future” instead. Ambivalence is the key of this piece of “musical theater with ghostly apparitions,” and it’s just for that reason that it remains rigorously, confidently, defiantly of this time and place.

The play concerns a family in which the living, the dead, and the unborn are all in an uneasy, imperfect relation to one another. A woman resists acknowledging the ghost of her mother in an attempt to shield her soon-to-be-born son from — what? “I am not going to see anything unpleasant,” she insists. Her husband gives a her weak encouragement as if from some distant place she barely registers. Her brother meanwhile announces he has at long last secured a job, and is restoring himself to a respectable position. But what is his job? No one asks, and he is wary of saying.

A wood stage raises the actors slightly, and a screen cut into the shape of a wide, squat cross acts as a screen for Japanese and English supertitles. The cast establishes a gentle, contemplative pace, delivering its performances with a kind of melancholy that resonates like a dream or the stunned aftermath of a disaster. The six scenes comprising the play are carefully juxtaposed to a shimmering, musing prerecorded score by Tokyo instrumental band Sangatsu.

The characters barely interact with one another, but are comfortable addressing the audience and commenting on the subtitles, pointing out the untranslatable gaps attendant on translation. These are maybe analogous to that gap between the living and the dead expressed here. The social fabric, covering time and space, is rife with holes. And the production succeeds by limning them quietly, pensively, even mysteriously, without any firm answers or blunt messages. Unlike the prototype-universe in Germinal, this weary place may be winding down but it does not feel yet like a closed system. *

http://pica.org/programs/tba-festival/

 

Flooding the streets

Michael Redmond
-
0
Flooding the streets

news@sfbg.com

In New York City’s Times Square on a muggy, gray Sunday afternoon at the historic People’s Climate March, everything went silent for a minute as a massive crowd, led by indigenous people from around the world, raised fists in the air to support communities suffering the harshest effects of climate change.

In this canyon of glittering commerce, surrounded by corporate icons such as Chase Bank, Bank of America, Gap, McDonald’s, and Dow Jones, the silent coalition then burst into a thunderous crescendo meant to symbolize action and demand climate justice.

On Sept. 21, a veritable ocean of humanity, estimated at up to half a million people — a diverse global tapestry hailing from South Bronx to South Dakota, Kenya to the Philippines — flooded Manhattan’s streets with calls for climate change action two days before a major United Nations Climate Summit that few expected to produce much, if any, change. The next day [Mon/22], a more confrontational “Flood Wall Street” civil disobedience action drew thousands.

The New York march, part of a worldwide day of action spanning more than 2,700 rallies in 159 countries, represented the largest, loudest sign yet that the world is waking up en masse to the climate crisis. Stretching for miles through Manhattan’s mid-section, wave after wave of contingents illustrated the crisis’ universal effects and broadening response: Indigenous people’s groups from around the world, labor unions, faith and LGBTQ groups, low-income communities of color. More than 1,400 organizations endorsed the march.

The People’s Climate March also reflected the urgency and rising response from communities of color and indigenous people who bear the brunt of climate disasters. As many attested, these climate-hammered communities are bringing economic and ecological justice issues to the forefront of a movement often criticized for being predominantly white.

“I’m here because I have a chronically asthmatic daughter,” said Tanya Fields, a 34-year-old mother of five and executive director of the Bronx-based Black Project. In poor waterfront communities from New York’s Far Rockaway and the Bronx, to New Orleans, “communities are not being prepared for the inevitable repercussions” of climate change, Fields said. “When you look at the intersection of climate change and capitalism, those who are have-nots clearly are much more vulnerable. When we talk about creating a more resilient world, we’re also talking about protecting the most marginalized.”

Iya’falolah Omobola, marching with a Mississippi environmental justice group called Cooperation Jackson, said her community has been hit hard by a confluence of climate change, poverty, and health struggles.

“We have a lot of issues directly related to climate, but also to the fact that there are no jobs, there’s no public transportation to get people to jobs,” she said. “There has to be a community-led solution as opposed to the system that keeps compounding the problem.”

Behind a banner stating, “Climate affects us the most,” 300 or so marched from the Brooklyn-based El Puente Leadership for Peace and Justice, including many youth.

“Many of our young people are from the Dominican Republic and Puerto Rico. We know what’s happening to our people there in terms of climate change, so we’re coming together,” said El Puente Executive Director Frances Lucerna. “The connection between what happened here when Hurricane Sandy hit and what’s happening in our islands, in terms of beach erosion and extinction of species, is devastating.”

Marchers from Africa, Latin America, South Asia, and beyond highlighted the underlying “first world” causes behind the climate crisis. Marifel Macalanda, of the Asian Pacific Indigenous Youth Network in the Philippines, said she was in New York “in solidarity with indigenous peoples worldwide,” urging corporations to “stop plundering our resources. They are the primary reasons we are having this climate crisis right now.”

Meima Mpoke, who traveled from Kenya along with 20 of his compatriots, added, “We are here to say to the industrialized world, you are the cause of this.” The UN Summit, Mpoke said, “should produce some action, particularly to show who is causing the climate change.”

Marching with a large Bronx contingent of Percent for Green, Alicia Grullon emphasized similar struggles in poor US communities. The South Bronx is “a dumping ground” for New York’s toxins, and “the asthma capital of the country,” she said. The UN summit presented “an unusual gift for policymakers to do something new … and we’re afraid they’re not going to do that and we’re here to remind them of that great opportunity they have.” However, she added, the Summit gave corporations a big seat at the table: “That’s not representing needs of the people.”

Mychal Johnson, co-founder of South Bronx Unite, was one of just 38 civil society representatives invited to attend the UN Summit. “I won’t have a speaking role,” he said, but “our presence hopefully will speak volumes.” The gulf between the massive public march and the closed-doors UN summit was “a grave contrast,” Johnson said. “A great deal of corporations have been invited, but for so long, the voices of the many have not been heard. We know what corporations are doing to cause harm to the planet, and hopefully this [march] will show people coming together all over world to make sure that legally binding agreements come out of these climate talks.”

 

DIM HOPES FOR UN SUMMIT

Billing itself as “catalyzing action,” Tuesday’s UN Climate Summit issued bold pronouncements ahead of its proceedings — but social justice groups from around the world were not buying it.

“The Climate Summit will be about action and solutions that are focused on accelerating progress in areas that can significantly contribute to reducing emissions and strengthening resilience,” the Summit website promoted. “Eradicating poverty and restructuring the global economy to hold global temperature rise below 2 degrees Celsius are goals that — acted on together — can provide prosperity and security for this and future generations.”

But critics blasted the UN climate agenda for emphasizing voluntary reforms and “partnerships” with businesses and industries that are fundamentally part of the problem. One week before the People’s Climate March, global social movements including La Via Campesina, Grassroots Global Justice Alliance, and Indigenous Environmental Network — representing a total of more than 200 million people — issued a statement decrying the “corporate takeover of the UN and the climate negotiations process,” Common Dreams reported.

“The Summit has been surrounded by a lot of fanfare but proposes voluntary pledges for emissions cuts, market-based and destructive public-private partnership initiatives such as REDD+, Climate-Smart Agriculture and the Sustainable Energy for All Initiative,” according to the statement. “These are all false solutions of the green economy that seeks to further commodify life and nature and further capitalist profit.”

 

BIGGER TENT, SMALLER MESSAGE?

Despite concerns about the Summit, the People’s Climate March drew criticism from some activists for not making any demands, and for spending big on public relations while opting for a nonconfrontational “big tent” that some said diluted the movement’s message and impact.

A “Flood Wall Street” direct action Monday drew thousands for civil disobedience, issuing a strong message: “Stop Capitalism. End the Climate Crisis. Flood, blockade, sit-in, and shut down the institutions that are profiting from the climate crisis,” the event’s website urged. “After the People’s Climate March, wearing blue, we will bring the crisis to its cause with a mass sit-in at the heart of capital.”

Flood Wall Street’s more confrontational approach and its naming of capital illustrates unresolved differences about where the movement should focus its energy: Will it work for market reforms, such as 350.org’s popular fossil fuels divestment campaign, or press for larger systemic change? As it erects a big political tent drawing broad mainstream support, will the climate movement be able or willing to push bold demands that may confront capital and corporate power?

In a widely read critique for Counterpunch, writer Arun Gupta argued that the focus on drawing a big crowd came at the expense of a sharper message and impact. “[W]hen the overriding demand is for numbers, which is about visuals, which is about PR and marketing, everything becomes lowest common denominator. The lack of politics is a political decision.”

In an e-mail comment, Bobby Wengronowitz, who helped organize for the Flood Wall Street actions, said he supported the big march, but added, “We need to match the scale of the crisis. We need to get the US and other rich countries on a 10 percent emissions reductions per year plan. That requires white privileged folks to do what indigenous people have been doing for 500 years — to put their bodies on the line … I’m all for big tent, but this march, even if the final tally is 500K does NOT do it.”

A three-day Climate Convergence, featuring talks, films, and teach-ins, offered protesters a dose of critical thinking, urging, “Demand an end to fossil fuels, mobilize for system change, living wage jobs now!” At an event on climate change and the public sector, a panel of organizers and authors raised questions about the focus on market-driven approaches, discussing the potential for addressing climate change through a revitalized public sector.

 

NEW COALITIONS AND HOPE

On the day of the big march, the sheer immensity of the gathering and the expressions of hope were palpable.

“Today I marched peacefully alongside humans of all class and race, of all gender and sexuality, among anarchist, indigenous, labor unions, different political parties and so many more,” said Patrick Collins, who rode the People’s Climate Train from San Francisco. “[S]eeing the over 1,000 different groups come together in the march who all have different ideologies but are willing to look past differences and agree on common ground does give me some sort of hope.”

Many marchers also expressed hope for new coalitions to pack a potent punch in the fight for climate justice. Labor unions were out in force — teachers, nurses, janitors, food workers, and farmworkers — marching for economic justice, green jobs, and more.

Erin Carrera, a registered nurse and member of National Nurses United, said it was “a monumental moment to be here today with all these labor organizations, because labor and environmentalists have not always been on same page—but I think everyone’s coming to realize that there are no jobs on a dead planet.” Organized labor, Carrera said, “needs skin in the game, because it’s the working class that’s going to be most vulnerable … today gives me so much hope that we have turned a corner in people waking up and working together.”

 

 

 

Aboard the People’s Climate Train

As our cross-country People’s Climate Train passed through Azure, Colo., above a stunning crimson and white rock gorge under a deep-blue sky, James Blakely delivered a presentation on the ecological crisis in the Alberta Tar Sands. Blakely, an activist with 350.org in Idaho, described toxic tailing ponds filled with mining refuse, polluted waterways, dust clouds, and buffalo die-offs. Aboard the train, one of two ferrying hundreds from California to New York’s mass mobilization, our group — ranging in age from 19 to 68 — alternated between snapping photos of the awe-inspiring beauty outside, to probing conversations about rescuing our imperiled planet. Through the Amtrak window, California’s drought-withered cornfields stood wilted and barren, skeleton-like. In the Sierras, forest fires blurred the horizon with smoky haze. Late at night in the Nevada desert, huge factories and refineries churned away. Coal trains traversed the land, spewing fossil fuels. There were reminders of beauty, too. At about 5am, my sleepless eyes took in an ethereal pre-dawn scene. Gnarled sandstone rock formations rose near the tracks in Utah like moon faces; followed by a salmon-hued sunrise splashing across mesas tufted with sage and juniper. Liz Lamar, an activist with the Sierra Club and the Climate Reality Project in Oxnard said the cross-country passage made her “even more passionate about going on the march, by passing through such beautiful scenery.” The People’s Climate Train provided an apt backdrop for workshops and conversations about the causes and victims of climate crisis, and the prodigious challenges ahead. Sonny Lawrence Alea, a recent environmental studies graduate from San Francisco State University, said the ride offered “a great reminder of what we’re going to New York for. This land is full of opportunities, and we get to connect with the environment, take in the beauty, and reflect on the history of the land.” (Christopher D. Cook)

Good bad things

Erica Hanna
-
0
Good bad things

arts@sfbg.com

SEX Most of the college-aged gay guys I’ve met aren’t terribly into music, so I’m generally the one to pick the sexy-time jams. Toward the beginning of my sophomore year, I finally met a dude who was at least something of a music geek, at least in the sense that his music taste resembled that of a reasonably hip and musically open-minded straight guy. I was thrilled — until one night he had the bright idea to put his “chill mix” on shuffle while we were getting it on. The results were, to say the least, interesting. Here’s how it went, um, down.

Toro Y Moi – “Blessa.” Toro Y Moi’s Causers Of This is an album I generally associate with comfortable situations, such as walking through a park or sitting quietly on a couch in some comfy stoner den. It was the first song to appear on shuffle, and though it was awesome for when we were tearing each other’s clothes off, it honestly could have worked at any point throughout the night.

Flying Lotus – “Physics For Everyone!” I don’t know what this song was doing in a “chill mix,” but I’m (mostly) glad it was there. With its high-energy rhythm and weird, suction-y effects, it’s practically the sonic equivalent of a good blowjob, and as such, I gave the best head of my life as it was playing. I got the sense he was slightly turned off by the fact that I was doing it to the rhythm, but how could I not?

Madvillain – “Raid.” This is where things started to get really wacky. Madvillain’s MF Doom is one of those artists I generally associate with straight guys, and a very particular set of straight guys at that — the ones in my high school math class, almost all of whom I wanted to fuck and many of whom thought of me as the class “retard.” If only they could see me now, I thought as my partner went down on me and the rapper who once devoted an entire song to dissing gay superheroes spat fire from the dorm-room speakers.

Bon Iver – “Holocene.” For the duration of Bon Iver’s slowest, most starry-eyed ballad, we consciously trying to avoid one of those cheesy “moments” where we lock eyes and think about how much we like each other. Maybe if we were actually a couple I might have been OK with it, but we were strictly fuckbuddies and content to keep it that way. On the bright side, at least it wasn’t “Skinny Love.”

Wu-Tang Clan – “C.R.E.A.M.” I hear “C.R.E.A.M.” at parties so much I barely even noticed what was playing for about two minutes. When I finally processed what we were listening to, I found it hilarious — not only because it might be the all-time Straight College Boy Anthem (give or take “’93 ‘Til Infinity”), but because it was one of the best songs I’ve ever fucked to. Good sex music should be unobtrusive but still set the mood, and “C.R.E.A.M.” was the perfect accoutrement to my environment. I was on a college campus — why wouldn’t I be listening to “C.R.E.A.M.?”

Andrew Jackson Jihad – “Bad Bad Things.” If you haven’t heard “Bad Bad Things” (or are unfamiliar with Andrew Jackson Jihad and the band’s typical subject matter), it’s a song about a dude killing another dude’s family. I’ll never forget how awkwardly his boner flopped around as he ran across the room to change the song.

 

Water with a price tag

Erica Hanna
-
0
Water with a price tag

Rebecca@sfbg.com

At the tail end of a dry, dusty summer, California continues to weather the effects of an extraordinary drought.

Wildfires have swept through forestlands in the Sierra Nevada foothills, Mendocino County, and near Yosemite recently, making for smoky skies and glaring red sunsets. Meanwhile, shrinking reservoirs have prompted the state to issue formal crackdowns on watering lawns and washing cars.

These extreme circumstances may be linked to why voter support for Proposition 1, a $7.5 billion general obligation bond for water-related projects, has initially registered high. Elected officials have trumpeted Prop. 1 as a measure that will alleviate the worst impacts of the drought.

In the Bay Area, 62 percent of likely voters said they’d vote in favor Prop. 1, while that support came in at 52 percent statewide, according to a recent Field Poll. The bill that became Prop. 1 won bipartisan support in the Legislature after lawmakers struck a deal to kill an earlier $11 billion proposal and replace it instead with the slimmed-down version.

Despite the rare consensus, opponents charge that Prop. 1 won’t actually address the water crisis.

“We really don’t deal with the drought here,” said Connor Everts, executive director of the California Watershed Alliance, after reviewing the details.

Everts spoke during a Sept. 11 conference call organized by opponents of Prop. 1. They reject the water bond mainly because it dedicates a significant chunk of funding, $2.7 billion, toward new dam projects. They view this as an unacceptable tradeoff.

“We can’t conjure water out of thin air with new dams,” pointed out Barbara Barrigan-Parilla, the opposition campaign director, who runs a grassroots organization advocating for sustainable management of the Sacramento-San Joaquin Delta. More should go toward conservation measures, she said.

The Delta has suffered hefty ecological impacts from freshwater pumping to feed the state’s water-delivery system. “Protect the Sacramento-San Joaquin Delta” is the first guiding principle to appear in a policy document establishing the basis for Prop. 1, but Barrigan-Parilla and others remain skeptical. Friends of the River has also come out against Prop. 1, as have many members the Environmental Water Caucus, a statewide coalition of grassroots organizations.

State lawmakers have been trying to pass a water bond since 2009, but earlier versions were shot down as bloated and pork-laden, failing to gain traction.

In June, Gov. Jerry Brown called for a $6 billion bond that would throw $2 billion toward dam projects, but the needle moved after Republicans — taking advantage of the fact that it needed a two-thirds majority vote to pass — withheld support unless they were promised more money for dams.

Water storage is a high priority for agribusiness farmers, whose sprawling croplands soak up vast quantities of water. A whopping 70 percent of all water rights claims issued by the State Water Resources Control Board are for agriculture, according to a University of California at Davis study.

“If these dams actually get built, we believe they will take more water out of the rivers that are dammed, and there will be less to come out of all of the environmental benefits,” envisioned by other provisions in the bill, said Carolee Krieger, executive director of the California Water Impact Network (C-WIN). “In the long run, we believe it would be way worse for the environment.”

Adam Scow, speaking during the conference call on behalf of San Francisco-based Food and Water Watch, pointed out that California desperately needs to invest in basic water needs, like fixing old leaky pipes. Nevertheless, Prop. 1 is “just prolonging these fights over new, silly dam projects,” Scow said.

Significant Prop. 1 funds would also be committed toward cleaning up groundwater, restoring damaged watersheds, advancing water-treatment technology, and ensuring safe drinking water access for low-income communities. The Sierra Club issued a statement announcing that while it’s supportive of these good programs, its official stance on Prop. 1 is “no position.”

Opponents of Prop. 1 noted during the call that California faces a fundamental problem that won’t be addressed by the water bond: The amount of water allocated by water rights claims is five times higher than what actual river flows provide in an average year.

“The one thing that must be done is to balance water rights claims to actual supplies,” Krieger said. The difference between real supplies and what’s promised in a contract, she added, is called “paper water.” This means many users receive less water in practice than what they’re technically promised, but those unrealistic promises make for confusing and conflict-heavy management of scarce water resources. The bizarre dysfunction is well-documented in a UC Davis study published in February. Of 27 major rivers, the study found, 16 had allocation levels “greater than 100 percent of natural supplies.”

The state “simply does not have accurate knowledge of how much water is being used by most water rights holders,” the UC Davis study noted, making it “nearly impossible” to reduce consumption or manage water supplies in a way that’s more equitable and environmentally responsible.

If voters grant their stamp of approval for the $7.5 billion water bond, the state may well move forward with important environmental initiatives, as well as multi-billion dollar dam projects that will take decades to build.

But no matter what happens, money still can’t buy snowfall in the Sierras, and it’s going to take more than cash to get to the root of California’s water woes.

Activists form human barricade to protest crude-by-rail facility

Sasha Cuttler And Mary Magee
-
0
Activists form human barricade to protest crude-by-rail facility

This morning [Thu/4], at 7am in Richmond, Calif., four environmental activists used U-locks to fasten themselves by the neck to the fence of an oil shipping facility operated by Kinder Morgan. 

They were interlocked with another four activists, who had their arms secured with handmade lock-boxes. “I’m locked to a lock box connected to my partner, Ann, who is locked with a U-lock to the fence,” Andre Soto, of Richmond-based Communities for a Better Environment, explained by phone a little after 8am.

At that time, Soto said several Richmond police officers had been dispatched to the scene and were calmly surveying the human barricade. He wondered out loud if they would be arrested.

The environmentalists risked arrest to prevent trucks from leaving the Kinder Morgan facility for area refineries with offloaded oil shipped in by train. 

Crude-by-rail transport at Kinder Morgan’s bulk rail terminal, located in the Burlington Northern / Santa Fe railyard in Richmond, is the subject of a lawsuit filed in March by Earthjustice on behalf of the Sierra Club, Communities for a Better Environment, the National Resources Defense Council, and the Asian Pacific Environmental Network.

The suit, targeting Kinder Morgan as well as the Bay Area Air Quality Management District (BAAQMD), charges that Kinder Morgan was illegally awarded a permit for crude-by-rail operations without going through a formal environmental review process, which would have necessitated public hearings and community feedback. The case asks for operations to be halted while the project undergoes review under the California Environmental Quality Act. A hearing will be held in San Francisco Superior Court at 1:30pm tomorrow.

Ethan Buckner of Forest Ethics, who was also locked to the fence, said activists were especially concerned that the crude oil being shipped into Richmond, much of which originates in North Dakota, was volatile, presenting safety concerns.

“The oil trains are … very old tank cars that are subject to puncture, and have been known to fail over and over again while carrying oil,” Buckner said. Much of the oil shipped into the Richmond transfer point by rail originates from the Bakken shale region, which has been dramatically transformed by the controversial extraction method known as fracking.

“Nobody was notified that these oil trains were going to be rolling in,” Buckner said. That morning’s protest, he added, was meant to “send a clear message to Kinder Morgan and the Air District that if we can’t count on our public agencies to protect our communities, we’re going to do it ourselves.”

In the end, none of the activists were arrested. They voluntarily unlocked themselves from the fence and left the railyard around 10am. “After three hours we decided thsat we had made our point,” Eddie Scher of Forest Ethics said afterward, speaking by phone.

Along with a group of around ten others participating in the civil disobedience action, the activists who locked themselves to the fence were affiliated with Bay Area environmental organizations including 350 Bay Area, the Asian Pacific Environmental Network, the Sunflower Alliance, the Martinez Environmental Group, and Crocket Rodeo United to Defend the Environment.

Reached by phone, Ralph Borrmann, a spokesperson for BAAQMD, said, “We have no comment on the current litigation, or any actions relating to it.” He added that more information would come out during the Sept. 5 hearing.

When the Bay Guardian asked Kinder Morgan for a comment on the matter, spokesperson Richard Wheatley responded, “You’re not going to get one. We’re not going to comment on it.” Asked for a comment on the lawsuit, Wheatley said, “We’re not going to comment ahead of that hearing. And we’re not going to comment on the protesters.”

No place like home

Michael Redmond
-
0
No place like home

arts@sfbg.com

THEATER Out at the Headlands Center for the Arts in Marin, just after sunset, the darkness and the silence are real presences in themselves, not just a context for something else. They’re right now pressing their respective noses against the windowpanes of the large, beautifully-worn army barrack–turned–artist studio in which Saya Woolfalk is pouring some dark red concoction from a squat glass jug.

She begs her guests not to try to translate the hokey Portuguese label on the bottle, brought back from Brazil by her husband, an anthropologist, as she hands each of us a crimson thimbleful in a plastic dentist cup. Looking like NyQuil but tasting more like some berry-based moonshine, it gives me an almost instantaneous headache but is otherwise kind of nice. Anyway, it does the trick. We’re now prepped to enter the mandala.

Standing there with me are Marc Mayer and Annie Tsang, both of the Asian Art Museum, as well as Brian Karl, the Headlands’ program director. The mandala corresponds, for now, to a tape mockup on the floor next to us. It’s a circular shape about four feet in diameter, with concentric and crisscrossing lines. At four equidistant corners outside the circle are small freestanding pieces of heavy paper representing alcoves, on the outside of which a slide projector illuminates a colorful figure in exotic garb. Behind each alcove, Woolfalk explains, a dancer will be tucked away.

Also standing around are two department store mannequins, each draped in a careful clash of fabrics and traditions: a skirt of pink-and-gold-striped glitter cloth from the Mission, a tourist version of a Chinese vest from Grant Street, a batik shoulder wrap brought back from Africa.

It’s all just the smallest hint of the Brooklyn-based artist’s elaborately extensive portfolio and practice, which blends visual design, sculpture, textiles, film, live performance, original musical soundscapes, ethnographical narratives, and invented ritual into playful, extraordinarily vivid and enveloping explorations of the limits and promise of hybrid identity.

Woolfalk’s dance-performance installation — the scale model of which was still being toyed with and adjusted when I visited her temporary studio — has been developed during a residency at Headlands under a commission from the Asian Art Museum, where it will run Thu/4 in the AAM’s capacious upper chamber in conjunction with the exhibition Enter the Mandala: Cosmic Centers and Mental Maps of Himalayan Buddhism (ongoing through Oct. 26). The piece, called ChimaTEK: Hybridity Visualization Mandala, culminates a seven-year project by Woolfalk that has received exhibitions and rapt attention around the country.

It began in No Place, which Woolfalk describes as “a utopian paradise in which hybrid identities flourish in tolerant communities with elaborate cultural rituals.” Its alternative narratives and reconfigured systems of representation took multiple forms across an integrated set of media, an environment unto itself, including a six-chapter ethnographic film documenting No Place made in collaboration with anthropologist Rachel Lears.

In the second iteration of the project, the narrative of No Place advances in time. Now its inhabitants have evolved into beings called the Empathics, who have developed a way of sharing their hybrid consciousness with others, while conducting research through their own nonprofit, the Institute of Empathy.

In this third and final stage, the Empathics have redirected their technology into a for-profit model, namely a corporation called ChimaTEK, a virtual world enterprise in which customers buy access to different Chimeric identities and consciousness through their own personalized virtual avatars. The chimera (which here refers simultaneously to the mythological she-monster made up of different body parts and to an organism with two or more genetically distinct tissues) ends up the repository and agent of corrupted utopian impulses.

As a tool for spiritual guidance, the mandala represents the universe, while helping to train the mind on essential insights and untapped potentialities. Made in collaboration with four local dancer-choreographers working in disparate ethnic traditions — with essential input from DJ Dr. Sleep (Melissa Maristuen) and a “virtual” DJ (none other than Paul D. Miller, or DJ Spooky that Subliminal Kid, who composed the original score) — ChimaTEK will be a kind of contemporary mandala, manifesting a chimeric state of being in which participants remix identities through virtual avatars in a virtual space. Fact and fiction blend so freely here that the distinctions between them might be called into question. So might the degree to which this virtual space is coextensive with the universe itself, or at least our tangled and conflicted corner of it. *

CHIMATEK: HYBRIDITY VISUALIZATION MANDALA

Thu/4, 6-9pm, free with museum admission ($5 after 5pm)

Asian Art Museum

200 Larkin, SF

www.asianart.org

 

Nuclear shakeup

Michael Redmond
-
0
Nuclear shakeup

It was more than six years ago that Jeanne Hardebeck, a seismologist at the US Geological Survey’s Menlo Park Earthquake Science Center, started to zero in on a pattern. “I was looking at small earthquakes,” she explained. “I noticed them lining up.”

 

She and other earthquake scientists also detected an anomaly in the alignment of the earth’s magnetic field off the California coastline, near San Luis Obispo. It all added up to the discovery of an offshore fault line.

What made Hardebeck’s discovery truly startling was that the sea floor fracture, now known as the Shoreline Fault, lies just about 300 meters from Diablo Canyon Nuclear Power Plant, California’s last operational nuclear power plant. In the general vicinity of the facility, which is owned and operated by Pacific Gas & Electric Co., there are also three other fault lines.

These discoveries have raised safety concerns and fed arguments by activists who want the Diablo Canyon reactors shut down, at least until the danger can be properly assessed.

When the final construction permits for Diablo Canyon were issued more than 45 years ago, engineers assumed a lower seismic risk. PG&E’s federal operating license to run Diablo Canyon is based on those assumptions. But the new information suggests that the ground is capable of shaking a great deal more in the event of a major earthquake than previously understood — leaving open the possibility that a temblor could spark sudden and disastrous equipment failure at Diablo Canyon.

The Nuclear Regulatory Commission, the federal agency charged with overseeing the safety of nuclear facilities, has determined that the plant’s continued operation is safe. But Michael Peck, a senior NRC staff member, recommended that the reactors be shut down until a safety analysis could prove that the plant would successfully withstand a major earthquake. In the time since Peck began to sound the alarm about the potential seismic hazard, he’s been transferred from Diablo Canyon to a NRC training facility in Chattanooga, Tenn.

As The Associated Press reported on Aug. 25, Peck, who served as a resident on-site safety inspector at Diablo Canyon for half a decade as part of his 33-year career with the NRC, called for the plant to be temporarily shut down in a Differing Professional Opinion (DPO) filed in June 2013. Such a filing signifies a formal challenge to an agency position, and the NRC standard is to rule on these findings within 120 days.

More than a year later, however, Peck’s findings still haven’t been addressed. Since the DPO is technically classified — someone leaked it, and Peck says he wasn’t the source —the NRC hasn’t even publicly acknowledged its existence. The NRC did not return calls seeking comment.

Meanwhile, the Bay Guardian has learned that the NRC’s actions go beyond just foot-dragging on addressing Peck’s findings. Following a series of exchanges in the years since the discovery of the Shoreline Fault, PG&E filed a request to the NRC for its license to be amended so that it could continue operating Diablo Canyon in spite of the outmoded design specifications. As part of its request, the company performed its own studies concluding that the continued operation of the plant was safe in light of the new seismic information.

Yet the NRC technical staff rejected PG&E’s proposed methodology for analyzing the earthquake safety risk. Rather than amend the license, the NRC asked PG&E to withdraw its request. Despite this formal response, in a letter dated Oct. 12, 2012, an NRC project manager quietly gave PG&E the green light to update its own safety analysis report to incorporate the new seismic information, effectively allowing for the amendment without jumping through the hoops of the formal license amendment process.

“It appears that the licensing manager basically worked around the process,” Peck told us. Asked why he thought something like that might happen, he said, “I think there’s a prevailing viewpoint that … the plant is robust, and that even though it doesn’t meet its license requirements, it’s safe.” Nevertheless, “when our technical reviewers did a detailed review of the actual methodology, they said, we can’t approve it. It’s beyond what we can approve. I think that surprised a lot of people.”

Peck explained that the safety evaluations assess whether power plant equipment can be expected to remain “operable” in the event of an earthquake, in accordance with the agency’s technical standards. “In my opinion, their evaluation didn’t meet the standard,” he said.

That’s what prompted him to file two objections to the NRC’s decision to continue operating the facility despite the looming safety concerns. Peck stressed that he could not discuss the DPO, since it’s not a public document, but did speak about the concerns he raised in his first objection, which is publically available.

Peck emphasized that while he wasn’t saying outright that Diablo Canyon is unsafe, having the safety concerns out there as an unresolved question is unacceptable.

“How much will the plant shake? There’s not a clear consensus,” he told us.

When he performed his own analysis, concluding that PG&E’s evaluation wasn’t adequate, he based his assumptions on PG&E’s seismic calculations. Even by those numbers, which aren’t universally accepted, the peak ground acceleration in the event of an earthquake is “almost double” what PG&E’s operability standard is based on. PG&E did not return calls seeking comment.

Hardebeck, the seismologist, said that while the engineering questions are a point of contention, there’s little dispute about the earthquake science. “An earthquake on any one of these faults is very rare,” Hardebeck noted. The Shoreline Fault, for example, has an expected probability of rupturing in a major earthquake — of magnitude 6.5 or 6.7 — once every 10,000 years.

However, the existence of numerous fault lines in proximity means that if one ruptured, more earthquakes could be triggered along the other fault lines.

“It was only in the 1970s that some geologist found the Hosgri Fault — which turns out to be the biggest fault in the region,” Hardebeck said. “The Shoreline is sort of a little strand of the Hosgri Fault,” she added.

Seismologists predict that the Hosgri Fault could trigger a large earthquake, up to magnitude 7.5, once every 1,000 years. Also near Diablo Canyon are the Los Osos and San LuisBay faults, which Hardebeck said aren’t as well-understood by seismologists but could potentially rupture and cause earthquakes of a 6.5 magnitude.

Dave Lochbaum, who worked at the NRC prior to his current position at the Union of Concerned Scientists, provided some perspective by pointing out that nobody had expected the natural disaster that triggered the Fukushima nuclear meltdown in Japan in March 2011.

“For context, the odds of a tsunami wave exceeding the protecting sea wall was one in 3,480 years,” he noted. “You’re in the same ballpark.”

Lochbaum said the Union of Concerned Scientists agreed with Peck’s analysis on Diablo Canyon. “He believes in nuclear power,” Lochbaum pointed out. “He’s not trying to say this plant can never split another atom. This plant is outside those rules and it needs to be fixed. … Technically, the plant has no legal basis for operating.”

The day after the AP article was published, the environmental nonprofit organization Friends of the Earth filed a 92-page petition with the NRC, calling for the Diablo Canyon to be shut down.

“Since Diablo is not operating within its licensing basis, as Peck asserted, the plant must suspend operations while the NRC considers a license amendment,” its petition states.

Yet by subverting the formal license amendment, as NRC public records show, the regulatory agency effectively skipped over a public process with an adjudicatory hearing that would have allowed concerned citizens to weigh in.

In the days following the AP report, US Sen. Barbara Boxer said she would submit a hearing request at the Senate Environment and Public Works Committee to ask the NRC about the matter. But aside from the checks and balances provided by the Senate and congressional oversight committees, the NRC is “the only game in town” when it comes to determining whether Diablo Canyon should continue operating or be shut down, said Lochbaum, who worked as a nuclear engineer for 17 years.

In a blog posted on the Union of Concerned Scientists website, Lochbaum said he had researched the history of how the NRC had treated similar situations.

“In all prior cases, I found that the NRC did not allow nuclear facilities to operate with similar unresolved earthquake protection issues,” he wrote. “For example, in March 1979 —two weeks prior to the Three Mile Island accident — the NRC ordered a handful of nuclear power reactors to shut down and remain shut down until earthquake analysis and protection concerns were corrected. Thus, Dr. Peck’s findings are irrefutable and his conclusion consistent with nearly four decades of precedents. What is not clear is why DiabloCanyon continues to operate with inadequately evaluated protection against known earthquake hazards.”

 

 

Local movers

Leo Herrera
-
0
Local movers

arts@sfbg.com

FALL ARTS I wish somebody could come up with a better word than the ugly “locavore,” particularly since it was originally used for cattle. But the idea of eating locally-grown food is fabulous: it’s good for the environment, the wallet, and the state of one’s psyche. The same approach also rings true for the way we feed our spirits. Local artists seed, tend, and harvest a crop that needs and deserves our attention. The sheer variety of Bay Area-cultivated dance offerings this fall could make gluttons out of many of us. Here is a baker’s dozen to whet your appetite. All but a few are world premieres.

For The Imperfect is Our Paradise, Liss Fain Dance’s Liss Fain fashioned her choreography from the cadences of William Faulkner’s prose in The Sound and the Fury. Imperfect promises to be another of her translucently intelligent dances, here performed in designer Matthew Antaky’s reconfigured ODC Theater. Sept. 11-14, ODC Theater, SF; www.lissfaindance.org.

In This is the Girl, Christy Funsch of Funsch Dance Experience reaches out — big time. Known for her exquisite solos, Funsch steps back into ensemble work, with seven dancers, six taiko drummers, and a chorus of singers. Never fear, the core of this look at womanhood is still that wondrous partnership between Funsch and Nol Simonse. Sept. 12-14, Dance Mission Theater, SF; www.funschdance.org.

The world premiere of Multiple Mary and Invisible Jane, by Jo Kreiter’s Flyaway Productions, takes place on the exterior wall of the UC Hastings College of the Law in San Francisco’s Tenderloin. The work gives voice to the homeless women who live in the surrounding neighborhood, whose lives have become even more difficult because of San Francisco rapid gentrification. Multiple is another of Kreiter’s finely crafted, emotionally resonant choreographies that also serves the political and social aspirations so basic to her artistry. Sept. 12-20, 333 Golden Gate, SF; http://flyawayproductions.com.

Jose Navarrete and Debbie Kajiyama’s NAKA honors the late Anastasio Hernandez-Rojas with The Anastasio Project. Mexican citizen Hernandez-Rojas, a longtime US resident, died in 2010 after being taken into custody by the US Border Patrol after re-entering the country. For the multidisciplinary Anastasio, NAKA collaborated with the Oakland Eastside Arts Alliance, whose youth are subjected disproportionally to violence and discrimination — and sometimes lose their lives — in conflicts with authority. Two years in the making, NAKA’s project aimed to help these artists develop their own voices. Sept. 19-21, Eastside Arts Alliance, Oakl; http://nkdancetheater.com/anastasio.

Now with a permanent home at Kunst-Stoff, the Mark Foehringer Dance Project/SF has taken on its most ambitious project yet. Besides choreography, Dances of the Sacred and Profane inspired contributions from motion-capture and digital artists and electronic musicians. Dances offers a high-tech encounter with the French Impressionists — radicals in their own days. Sept. 13-14 and 19-21, Cowell Theater, SF; http://www.mfdpsf.org.

Besides being a choreographer for her own Push Dance Company, Raissa Simpson has also a well-defined entrepreneurial spirit. Following the adage that if you want something done, ask a busy person, Simpson put together a two-program “PUSHfest,” spotlighting artists she thought would mesh well together. The idea is to establish cross-cultural communication in a field where too often, you only go and see what you already know. Sept. 19-21, ODC Theater, SF; www.pushdance.org.

Joe Goode Performance Group is bringing back two radically different works that complement each other poignantly. What do they have in common? They speak of vulnerability, self-awareness, and longing. The 2008 Wonderboy, a collaboration with puppeteer Basil Twist, is tender, poetic, and musical. Goode’s solo 29 Effeminate Gestures, now performed by Melecio Estrella, dates back to 1987; it is fierce, proud, and angry. Sept. 25-Oct. 4, Z Space, SF; http://joegoode.org.

A few years ago kathak master Chitresh Das teamed very successfully with tap virtuoso Jason Samuel Smith. Watching and listening to them, you felt dance approaching a state of pure music. Now, in Yatra: Masters of Kathak and Flamenco, Das has perhaps found an even closer spirit in Antonio Hidalgo Paz, whose flamenco ancestors came to Europe from northern India. Sept. 27-28, Palace of Fine Arts, SF; www.kathak.org.

With Jenny McAllister’s 13th Floor Dance Theater, you never know what you’ll get — except that it’ll be wacky, with a skewed sense of humor. For A Wake, the company’s latest excursion into absurdity, McAllister draws inspiration from James Joyce’s Finnegans Wake. I have always been told that the book is a comedy, and perhaps now we’ll find out why. Oct. 16-19, ODC Theater, SF; www.13thfloordance.org.

Dohee Lee is a phenomenon unto herself. Steeped in Korean shamanistic traditions, masked and contemporary dancing, Korean-style drumming, and extended vocal techniques, she brings all of these into play in MAGO, an installation piece in which she looks at the upheaval created by developer of her home island, Jeju. Nov. 14-15, Yerba Buena Center for the Arts, SF; www.doheelee.com.

Both a scientist and a dancer, Katharine Hawthorne asks questions about time — via clocks geological, chronological, biological, and mythic — and the way it manifests itself in our physical bodies. For the intimate Pulse, she recorded her dancers’ heartbeats to explore how their internal senses of time related to external clock time. In The Escapement, she looks at the history of time-keeping, and the way it affects our sense of darkness and light. Nov. 20-23, ODC Theater, SF; www.khawthorne.net.

In its 40th year of teaching and performing, Diamano Coura West African Dance Company reminds us of Oakland’s importance as one of the country’s pre-eminent preservers of deeply held African and Pan-African cultural values. This year’s annual repertory concert includes a piece called M’Balsanney. Nov. 29-30, Laney College, Oakl; www.diamanocoura.org.

Former ODC dancer Private Freeman, who was a soldier and a dancer, inspired Deborah Slater Dance Theater’s world premiere, Private Life. Now in its 25th year, Slater’s company creates intelligently conceived and thoughtfully realized work that challenges established thinking on stage and off. Dec. 11-14, ODC Theater, SF; www.deborahslater.org. *

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Koch brothers and other right-wing outsiders challenge Bay Area minimum wage measures

Sasha Cuttler
-
0
Koch brothers and other right-wing outsiders challenge Bay Area minimum wage measures

In recent months, San Francisco and Oakland have unveiled ballot measures that would raise minimum wage for workers currently struggling with the Bay Area’s rising cost of living. But as November draws closer, a network of right-wing organizations — with ties to the infamous Koch brothers — have been funding campaigns aimed at convincing workers that low wages are actually better for their livelihoods.

“Two of the richest men in the world are spending millions to hold down low-wage workers and that is just immoral,” said Roxanne Sanchez, President of Service Employee International Union Local 1021, who organized Raise the Bay, a series of efforts to raise minimum wage in cities around the Bay Area. 

SEIU leaders and local journalists have chided the Koch brothers and their right-wing ilk for funding campaigns aimed at dissuading the public from voting on higher minimum wages in the area. The Koch brothers are heirs to an oil fortune and are notorious for influencing national and state politics through so called “dark money” groups, which are not obligated to disclose financial information, including their donors.

An initial $200,000 campaign was launched by the Charles Koch Foundation in July. A well-produced advertisement, which ran in Wichita, Kansas, asserts that people earning $34,000 are already on the “road to economic freedom.” Charles Koch later told the Wichita Eagle newspaper that minimum wage is an obstacle preventing workers on limited income from “rising up.”

In the Bay Area, conservative media outlet CalWatchDog — which is funded by a group of right-wing investors, including the Koch Brothers — criticized Oakland politicians for voting down a diluted alternative to Oakland’s primary minimum wage initiative, Raise Up Oakland. CalWatchDog claimed the local leaders’ decisions were largely influenced by labor union contributions, which was later proven to be a case of political chicanery.

Similarly, in San Francisco, conservative lobby group Employment Policies Institute funded a billboard that reads: “With a new $15 minimum wage, employees will replaced by less costly, automated alternatives.” It also advertises a website called BadIdeaCA.com, which shares similar predictions.

Employment Policies Institute receives donations from Lynne & Harry Bradley Foundation, a Wisconsin nonprofit that also contributes to anti-abortion, anti-environment, and anti-LGBTQ campaigns. The Lynne & Harry Bradley Foundation also donates to CalWatchDog.

In San Francisco, income inequality is growing at an alarming rate, and San Francisco’s ballot initiative hopes to help workers survive in the changing economic landscape.

And leaders of SEIU Local 1021 say they will continue to challenge the Koch brothers and their campaigns to thwart Bay Area wage increases. “The Koch Brothers might be billionaires, but they don’t have enough money to hold us back,” said Pete Castelli, executive director of Local 1021. “We challenge them to crawl out from under their rock, shine a light on their plans, and publicly debate workers about raising the minimum wage.”

Treasure Island challenge appealed to California Supreme Court

Sasha Cuttler
-
0
Treasure Island challenge appealed to California Supreme Court

Critics of current plans to build 8,000 new homes and acres of commercial and office space on Treasure Island — despite the challenge of radiological contamination and rising seas — will now have one last chance to send the project back to the drawing board before planned construction begins next year.

Citizens for a Sustainable Treasure Island, headed by Aaron Peskin and Saul Bloom, has dug deep and appealed its previous judicial denials to the California Supreme Court. “We have spent a lot of money on this case because this is extremely important,” Bloom told us. “It’s important that the city is transparent with its plans.”

Bloom and the appeal contend the the project’s approved Environment Impact Report is inadequate because it doesn’t take into account the full impacts of a project that has continued to evolve and that still doesn’t have a full fleshed out plan for dealing with transportation or other realms.

“It’s touted to be a sustainable development, but we don’t see how a 20,000-person development in the middle of a rising bay with one way on and off, plus a ferry terminal, can ever be sustainable,” said Bloom, who has also tangled with project developers Lennar Urban over its long-stalled Hunters Point Shipyard development.

Lead developer Wilson Meany didn’t immediately return Guardian calls for comment on the appeal. Just this week, a study of the site by the city, state, and US Navy found new evidence of radiological contamination on the island, a holdover from the days when it was a Navy base that housed ships used in nuclear testing in the Pacific.

“It’s ironic that on the day we appealed this case to the Supreme Court, Treasure Island Development Authority and the US Navy found more elevated levels of radiation out there, including under an occupied home,” Peskin told us.

Officials have pledged to seek more public input as details of the development plan are finalized later this year, something Bloom said should have happened before the EIR was certified, calling for it to be deemed a program EIR rather than a project EIR, which would then subject the development to further study.

While the Appeals Court ruled that deficiencies in the EIR can be dealt with in supplemental EIRs later, the group is calling on the Supreme Court to require more detailed study now before allowing the project to proceed. As Bloom told us, “Change the project EIR to a program EIR and we’ll go away happy.” 

Teachers prepared to strike

Michael Redmond
-
0
Teachers prepared to strike

rebecca@sfbg.com

The first day of school was Aug. 18 in the San Francisco Unified School District, but a group of teachers started the day with a press conference announcing the possibility that they could soon go on strike.

The teachers union, United Educators of San Francisco, announced the results of a strike authorization vote held the previous Thursday. The vote, which was the first of two required to authorize a strike, resulted with an overwhelming “yes” with 99.3 percent of teachers saying they would take that step if necessary.

UESF President Dennis Kelly noted that 2,251 teachers had voted, and all but 16 were in favor of authorizing the union to go on strike if contract negotiations with the school district do not result in an acceptable settlement. “It’s pretty unequivocal,” noted UESF spokesperson Matthew Hardy, “and it demonstrates the need for teachers to have a wage that allows them to live in San Francisco.

On Aug. 14, teachers streamed onto the grounds at George Washington High School to cast ballots for the first strike authorization vote. Among them was Kelly Lehman, a first grade teacher at Mira Loma Elementary, who said she’d recently been forced to leave her longtime Mission District residence under threat of eviction.

“I am one of those people who has been ‘Googled’ out of the city,” she said. “I used to be able to afford the city.”

Since she relocated in Marin County, Lehman said her commute has gone from 10 to 40 minutes each way. “It means either less time with my family, or less time with my class,” she noted, adding that she ended up purchasing a car and now drives to work.

Public school teachers’ contract ended June 30, but contract negotiations began months earlier, in February. In June, the negotiations went into impasse, which means the union and district were unable to meet without the presence of a mediator. If mediated negotiations now underway don’t result in a settlement, the process would move to fact finding, where parties on either side of the bargaining table would make presentations to a neutral party, who would in turn prepare a report and make recommendations. If that still doesn’t result in an agreement, the district could impose its last and best contract offer and the union could opt to go on strike, provided it wins approval in a second strike vote.

Hardy said it would likely take weeks before a final outcome is determined, but he stressed that “the goal is to get a settlement.”

While there are several issues of contention, the major point of disagreement comes down to teachers’ salaries. Teachers have demanded a 21 percent pay raise over three years, saying that amount is necessary for educators to be able to provide for themselves in San Francisco. But the district, which has made an offer that would raise pay by 8.5 percent instead, maintained in a statement that it “has not received increases in revenue sufficient to raise salaries enough to keep up with the high cost of living in San Francisco.”

Ken Tray, a UESF organizer and longtime social studies teacher at SFUSD, said he was alarmed by the trend of schoolteachers being forced out of the community. “Today there are many, many teachers facing eviction,” he said. “One of my oldest teacher friends, who was voted best teacher at Galileo High School and then at Lowell High School, is leaving San Francisco because he is losing his apartment. So that is a loss not only to him and his wife, but it’s a loss to his community. What kind of community drives its…best teachers out of town? What about the soul of San Francisco?”

The next mediation session is scheduled for Sept. 2. “We are currently in mediation with UESF and remain hopeful that we can resolve our differences and reach a fair and equitable compensation agreement,” SFUSD Superintendent Richard A. Carranza told the Guardian via email. “We are a public agency and our revenues and expenditures are carefully monitored and audited on a regular basis. Anyone can view our detailed budget and auditors reports online. We are committed to giving our employees much deserved raises but we are also committed to being fiscally responsible which means submitting a balanced three-year budget to the state with a minimum reserve.”

The SFUSD statement indicated that the district expects the total cost of salary and benefits for teachers to increase by at least 18.5 percent over the next three years. But Hardy was skeptical of those figures. “That’s crazy,” he said after reviewing the district statement. “I don’t know how they ran those numbers.”

Claudia Delarios Moran, a former paraprofessional at SFUSD and Restorative Justice coordinator, started her comments at the Aug. 18 press conference by saying she was excited to be taking her kids to their classrooms for the first day of school. “They’re so eager to find out who their teachers are, which of their friends are assigned to their class, and to settle back into the warmth and familiarity of their school site, which is filled with staff who are consistently affectionate toward them and interested in their academic and social development,” she said. “These days, that kind of environment for students and families is more crucial than ever, given what they’re up against. Many of our students and families are living on the margins, due to their immigration status, their language capability, and their limited income. They’re stressed out — due to fear that they’ll be displaced from their homes and never find another place in their neighborhoods that they can afford. … And though the work is hard, educators know that it is a great privilege to serve our children — to help the working families of San Francisco survive here.”

 

Too many parking tickets in SF

Michael Redmond
-
0
Too many parking tickets in SF

 

By David Hegarty

OPINION San Francisco made $87 million in parking citation revenue in 2012; roughly double what the city made off actual paid parking meter revenue.

Let that sink in for a minute.

It’s become so hard to park a car in San Francisco that its citizens are paying almost $281,500 a day simply to park, and then they’re cited for doing it wrong.

The San Francisco Municipal Transportation Agency should be responsible to the people — to create and maintain clean, orderly streets and transit systems that work for the people who use them.

The responsibility of the SFMTA is not to incentivize government agents to write more tickets and make citizens a passive revenue stream because it’s convenient. Parking citations, in their current form, do not support an ethical citizen-focused approach by the city to parking law and violations.

The simple fact that revenue gained for parking citations is roughly double that of legal, paid parking meter revenue shows an inherent flaw in the system. If it is easier for the city to make money by writing citations, why would it change its systems to create more revenue through meters or alternative means such as license fees or permitting, even if it significantly benefitted citizens of San Francisco? It makes more financial sense to incent its relatively small fleet of parking authority officers to write more tickets.

But is this ethical? Absolutely not. Is this the way a government agency should make decisions? Absolutely not. Purposefully criminalizing citizens and then slapping them with the highest citation rates in the country due to convenience is not how a government agency should be “serving” its people.

Parking ticket fees in San Francisco are the highest in the country by nearly 14 percent and they continue to rise, a punitively expensive bandage on a citywide transit problem. There are 111 ways to violate the parking code, a parking code that is so intentionally opaque and vague that 3.9 tickets are written per registered car per year, nearly 1.5 million tickets total.

Our parking law should not be so confusing that it can’t be followed consistently — including by its own agents. Of the tickets processed by Fixed, we are able to contest 85-90 percent — 75 percent of which due to enforcement error. The city’s own parking authority agents are unable to accurately (and consistently) enforce the existing parking code.

Conflicting rules and regulations between systems are also a common issue in San Francisco — often signs will contradict themselves or other SFMTA systems, with no clear indication of which rules precede the others. Meters are inconsistent with other regulatory systems in use, permanent parking restriction signs are sometimes missing, hidden, or poorly maintained, and temporary restrictions are often inaccurate — creating grossly unfair conditions for people parking, and incorrectly written tickets by parking enforcement officers.

A recent anecdote is a clear example of this problem. A Fixed user’s car was towed after parking in a variable tow away zone — the tow away zone was in effect for only two blocks of the street during specific hours. The street-level parking sign of the spot in question stated “no parking” 4-6 pm, but the meter allowed the user to pay all the way up to 6pm with no indication of a tow away. This error, due to conflicting systems and misleading meter information, cost the user (but netted the city) $500.

Both driver and parking control officer are victims of a system that turns parking infractions into a revenue stream instead of a tactic to discourage behavior that doesn’t benefit the public at large.

Ethical parking law would be a clear, mutually fair system which benefits citizens of San Francisco, creates revenue for the city through legal, noncriminal means, and enables a parking environment where citizens can easily follow the rules. Parking law should be optimized for clean, orderly streets and transit programs that are profitable and reliable — instead of convenient revenue.

There must be another way to achieve SFMTA budget requirements than to make the people this government agency should be serving into unintentional criminals.

David Hegarty is the founder of Fixed (www.getfixed.me), a company that helps customers contest parking tickets.

 

Innocent bay stander

Michael Redmond
-
0
Innocent bay stander

arts@sfbg.com

THEATER Sarah Cameron Sunde will be standing in the water at Aquatic Park this Friday. She’ll stand from low tide, at 9:26 that morning, through high tide at 4:09 in the afternoon, and back to low tide again at 10:31 that night. Thirteen hours and five minutes of being still, while everything around her changes.

When it comes to the near and distant impacts in store from sea level rise brought on by the planet’s changing climate, Bay Area residents might be expected to know more than most. The bay’s distinctive shape is already being modified by creeping water levels. New efforts at shoreline protection are underway, but with an expected rise of six feet by the end of the century, the bay and San Francisco are destined to be different places no matter what.

How conscious we are of that fact remains a question. It’s one thing to know the figures and another to “feel the rise,” as Sunde puts it in her invitation to locals. For the New York–based theater director and interdisciplinary artist, the awesome movement of the daily tide shift acts as a visceral metaphor for larger cycles, and momentous changes afoot. Even those who choose to watch from the shore might grasp something of this larger theme, tucked into an ephemeral moment, merely by registering the bay’s embrace of a human tidal gauge.

That, anyway, is Sunde’s hope as she embarks on the third iteration of her 36.5 Water Project. The venture began last August in Maine, while Sunde was at an artist residency near Bass Harbor. But its roots go back a little further, to 2012 and Hurricane Sandy.

“When Hurricane Sandy hit New York,” she says, “it was the first time I truly, deeply understood that everything is temporary.” This despite being married to a water engineer from the Netherlands, whose first impression of New York City was tantamount to a liver specialist encountering Dean Martin. “And I didn’t believe him,” she admits. “Then [the hurricane] hit, and I understood. It changed the way I think about these things.” Sunde realized there was a real and dangerous deficit in long-term vision. “We know how to rally after a disaster but there’s no forward, future thinking.”

Sunde — whose theatrical work has largely revolved around her position as deputy artistic director of New York’s New Georges theater company, as well as her role as the foremost American translator and director of the famed contemporary Norwegian playwright Jon Fosse — was at that time also moving away from new play development toward her roots in more experimental, devised performance-making with a group of interdisciplinary collaborators collectively known as Lydian Junction. Its experiments, informed in part by the writing of Norwegian writer Knut Hamsun and by issues of sustainability in the arts, explore art’s relation to suffering and sacrifice.

“In Maine, I was thinking about all these things. I was thinking about New York sinking. I was thinking about art and sacrifice and suffering, sustainability. And I was on this bay, this tidal bay, where there is a ten-and-a-half foot tidal shift. That meant that it was a mudflat during low tide, and then during high tide it was a bay, a full-on bay of water. I had never seen the environment change so drastically with the tide before. I was watching this huge rock out in the bay get swallowed. There was something really beautiful about this.”

Suddenly, an image came to her director’s eye.

“I thought, I see a human being standing there up to the neck, and then the water going back down again. I thought, I have to do this. How can I create this spectacle? I thought about my collaborators and I thought, shit, they’re not going to do it; I guess I’m going to have to do it myself. I decided to do it three days later because it was my half birthday — I always try to do something that is related to my own tracking of time. I’m a little obsessed with time, the expansion, the contraction of it, the perception, all of it, the routine, the anti-routine. That’s why it’s called 36.5, because I turned 36 and a half that day.”

Since then, Sunde has developed some more thinking around the shape of her piece and its intentionally simple design. She plans to travel to six continents, drawn to places with some personal connection. (Having grown up in Palo Alto, Sunde has roots in the Bay Area that run especially deep.) Each iteration will involve specific local partnerships. Aptly enough, the after party for Friday’s performance takes place at the Long Now Foundation at nearby Fort Mason. And the number in the title ends up being significant in several ways: The average person needs 36.5 cubic meters of water a year; at the current rate of climate change, oceans could rise 36.5 inches by the century’s end; and ditching the decimal point leaves the number of days in a year. The connotations underscore the way the personal and universal remain deeply entwined here.

The invitation to the public to test the waters with her, meanwhile, adds a new wrinkle in this globetrotting project, granting space for direct participation in the experience. At the same time, it means the performance becomes a collective action, however peripheral or absurd it may appear on the surface. Small steps just might sound greater depths. *

36.5 WATER PROJECT

Fri/15, 9:26am-10:31pm, free

Aquatic Park

Hyde at Jefferson, SF

www.365waterproject.org

 

Cubicle cult

Michael Redmond
-
0
Cubicle cult

arts@sfbg.com

FILM For anybody who has ever had to put up with a creepy boss, annoying co-workers, or a soul-sucking work environment — and that is most likely all of us, at some point in our lives — Mike Judge’s 1999 comedy Office Space has become a supremely entertaining and highly relatable touchstone for its razor-sharp take on office politics and corporate culture.

Written and directed by Judge, who also created Beavis and Butthead and King of the Hill, along with the recent HBO show Silicon Valley, the movie has gone on to become a cult classic, with a variety of quotable lines (“Yeah, I’m gonna need you to go ahead and come in tomorrow … that would be great”) and cultural references (do you have the requisite pieces of flair?)

https://www.youtube.com/watch?v=_IwzZYRejZQ

Office Space fans are in for a treat this weekend when SF Sketchfest presents a special 15th anniversary screening in 35mm at the Castro Theatre, with actor Stephen Root — who plays the stapler-obsessed Milton — in person for the festivities.

“I don’t think there’s a set that I go on where some part of the crew doesn’t have something for me to sign from Office Space — it’s its own little animal, much like Rocky Horror was in its day,” says Root.

“For me it’s a constant amazement that it continues to get a new audience; people who weren’t born [when it came out] get it, people who enter the work force get it, and it keeps a life of its own. It’s about the interplay of the people in the office. That’s universal.”

While Root has fond memories of working on the film, he says that bringing the mumbling, mistreated, and bespectacled Milton to life did present some challenges, particularly when it came to wearing the character’s signature glasses.

“They were a nightmare!”, he remembers. “They were about a half an inch thick at least, and I had to wear contact lenses behind those glasses to be able to see at all. I didn’t have any depth perception whatsoever, so whenever I had to reach for something during a scene I had to practice it because I couldn’t tell where it was — just reaching for the stapler and putting it to my chest, I had to practice that, because I could have reached out and missed it by five inches.”

That stapler, the red Swingline that Milton prizes (and loses), has gone on to become a pop culture icon of its own — a fact that still makes Root laugh.

“There was no red Swingline stapler [when the film was made]. I have one of the props, and Mike [Judge] has another one. Who knew it would start a cottage industry for staplers? I see them every week — people want me to sign them. It is what it is, it’s crazy, but it’s great, and it makes me smile.”

While he has appeared in many other films and television shows (including NewsRadio, King of the Hill, and Boardwalk Empire) since Office Space, Root admits that he’s recognized as Milton most of the time — and that’s fine with him.

“I always tell everybody, my obituary will be ‘Milton’s dead!'” Root laughs. “And I’m okay with that!” 2

OFFICE SPACE 15TH ANNIVERSARY CELEBRATION

Sat/16, 9pm, $12

Castro Theatre

429 Castro, SF

www.sfsketchfest.com

 

Touch of class

Michael Redmond
-
0
Touch of class

culture@sfbg.com

 

INPUT AS NOISE MUSIC WORKSHOP

Bask in the simplest element of electronic music — noise — and tickle your tech fancies simultaneously. This workshop is described as “not so much, or not only, a software workshop, but rather a composition course in electronic music which takes as its starting point the use of noise.” So treat your ears to the basics of sound and your imagination to the endless possibilities of music, without having to take your fingers off your precious electronics.

Aug. 23, noon, $10 suggested donation. NOHspace, 2840 Mariposa, www.tinyurl.com/noiseworkshop

 

HOMEMADE FETA

Have you stood in the cheese aisle at your favorite market, marveling at the choices, but feeling a little guilty for buying something you could make? 18 Reasons is offering a class that will give you the skills to finally create homemade creamy deliciousness. Cheese veteran Louella Hill, aka the San Francisco Milk Maid, will teach you everything you need — and want — to know about cheese and making feta.

Aug. 25, 6pm-9pm, $65 for non-members/$55 for members. 18 Reasons, 3674 18th St, www.tinyurl.com/homemadefeta.

 

LEATHERWORKING

Up your street cred by having your nice leather belt — and making it, too. The class, taught by SF crafter and owner of leather shop Tilt Adornments, will teach you to make a custom leather belt, totally personalized, with perfectly placed holes. All supplies for dyeing and assembling your belt are provided. Bonus points: There will be alphabet stamps and beer.

Sept. 4, 7pm-10:30pm, $68. Workshop SF, 1798 McAllister, www.tinyurl.com/makeabelt.

 

ACID TEST

Acid isn’t just for hippies. Editor, journalist, and two-time Pulitzer Prize-winner Tom Schroder will discuss psychedelic drugs’ ability to heal and help those with Post Traumatic Stress Disorder, depression, and addiction. Recent trials show that drugs now associated with trippy artwork, the 60s, and Ken Kesey may be the secret to mental health. This lecture will cover the past, present, and future of psychedelic therapy. Far out.

Sept. 25, 7pm-9pm, $20 for non-members, $15 for members at door. CIIS, 1453 Mission, www.tinyurl.com/acidlecture

 

NINJA ROLLING AND FALLING WORKSHOP FOR CYCLISTS

Cycling past backed-up car traffic in SF feels badass enough, but the danger adds an extra edge. Prepare mentally and physically for accidents, whether they’re car- or pebble-induced, in a padded environment. This workshop is designed to help cyclists save face (and limbs) in the event of a collision. Plus, what motorist would want to mess with a cyclist who has ninja skills?

Sept. 9/Oct. 5, 1pm-3pm, Free. Mission Yoga, 2390 Mission, www.tinyurl.com/ninjacyclist

 

WINE TASTING FUNDAMENTALS

Award-winning sommelier Eugenio Jardim will lead you through the wafting and sipping and lip smacking of wine tasting. This class promises to provide the necessary skills for enjoying great wines and being able to talk about them. Six wines will be tasted during the class. And after you’ve mastered the fundamentals, you can pour your skills into the SF Cooking School’s region-themed tastings, including New Zealand, France, and Italy.

Oct. 2, 5:30pm-7:30pm, $85. San Francisco Cooking School, 690 Van Ness,

“>

Science of inclusion

Michael Redmond
-
1
Science of inclusion

news@sfbg.com

Tammie Jean Bellinger had been unemployed for 14 years, and when she was 48, she decided to enter the tech industry. “My son told me that if I wanted to start my life over, I should do it in San Francisco,” Bellinger said. “He said no one would notice my age, or anything about me.”

She’s Hispanic, Native American, a little bit Ashkenazi, and female. That doesn’t sound like the tech industry, where data illustrates the lack of workforce diversity. Between 60 and 70 percent of employees at Google, Facebook, LinkedIn, and Yahoo are men, while 91 percent of U.S. employees at Google, Facebook, and LinkedIn are white and Asian.

Bellinger, however, wasn’t setting her sights on the software or programming sectors but rather biotech, where female representation in major companies like Genentech is now over 50 percent, according to Fortune. In 2010, women held 46 percent of all positions in the biological and life sciences. A far cry from the frat boy image often associated with tech, things are different in the science-based field that tinkers with the building blocks of life.

First, though, Bellinger needed a way in. She found it at City College of San Francisco’s Bridge to Bio program, which accepts students who have no prior background in science. And it’s affordable. In-state students pay $46 per unit at City College, far below the $3,000 price tag for a full semester at San Francisco State University. Bellinger found herself learning alongside an eclectic mix of former school bus drivers, cooks, ballerinas, and bartenders. Many were female, people of color, and over 30.

Before long, Bellinger found herself completing internships in science labs where she cataloged human tissue, urine, and blood samples for cancer research.

“I know it sounds stupid, but a light bulb went off. My whole family has been affected by cancer,” Bellinger said. “I’ve been that family member. The doctor is on the other side, and there’s nothing you can do. I just hope that the person reading the tissue has as much passion as I do. That’s all I want.”

 

FUTURE SCIENTISTS

When Bellinger went to look for jobs, she was concerned about her age, but her worries vanished when she was offered a lab tech position at Genomic Health. “Biotech is different. Pretty much all … the recruiters are all women,” she said. “My knowledge is all new. If I talk the talk, and walk the walk, and it’s all updated, they’ll take me in.”

But even now, she has trouble seeing herself as a scientist. “I feel like an artist,” she said. “If you can stain a perfect nuclei and bring that cell to life when they’re performing cancer treatment, that’s kind of an art. The tissues come alive. They tell a story.”

Bellinger wants all young girls to see themselves as future scientists. This September, she’s going to start a program called Tech Bridge for those in the Livermore area. With a coral reef she built with her son, she’ll teach the Livermore Girl Scouts how to test water and play around with nitrates.

Tech Bridge is mirrored after Nexgene Girls, launched by Bridge to Bio graduates Jeanette Wright and Marlena Jackson. Through Nexgene Girls, young girls in Bayview-Hunters Point complete internships where they work alongside professional scientists and conduct their own experiments, like extracting DNA from bacteria in the salt marshes of Heron’s Head Park. By 2015, Nexgene Girls is looking to take a science field trip to Botswana.

Before Jackson became a scientist, she drove a school bus. In Hunters Point, where she grew up, breast cancer rates among women under age 50 are twice above average.

“I looked around and I thought, ‘I’ve got to do more’,” Jackson said. “You look around at the divisions in Bayview Hunters Point, and science seems like a way you can really change the community. My mother survived breast and cervical cancer. I know the power of medicine.”

After graduating from Bridge to Bio, Jackson got a job at Genentech in 2006. At that time, there weren’t many African Americans employed by the company. “I looked around, and I realized there weren’t many women that even looked like me,” she said. “That was how I started thinking about how I could go and give back to my community. I wanted to inspire young women to see themselves differently.”

Now, when young girls complete NexGene Girls programs, Jackson said, they have a different perception of what a scientist looks like. “They come in with the perception that a scientist is a guy, and he’s white,” Jackson said. “But when they’re done, and they’re asked to draw a scientist, they draw a girl. They’re not even drawing a woman. They’re drawing themselves.”

While Nexgene Girls focuses on inspiring young girls, another women-led biotech organization in the Bay Area — part of a larger, national network — is Women in Bio. For them, the mission is not to introduce more women to biology-related fields, where women already make up a substantial percentage of the workforce, but to bring females to leadership positions. Of the 18 Bay Area life sciences companies that had gone public since the start of 2012, women made up only 12 of the 129 board posts. Ten of the companies have no women on their boards.

Chris Meda, now CEO of medicine consulting firm RxDxLink and the chair of the San Francisco Chapter of Women in Bio, found herself struggling to find female mentors when she entered the industry 30 years ago. “If you look at my resume, you can see how many companies I’ve worked for. I wasn’t willing to wait around. If they didn’t want to give me the opportunity, I would find someone that would,” she said.

Now, her mission is to mentor young women through Women in Bio, which also runs monthly programs including workshops to help women network, start their own companies, and gain technical skills.

 

CURIOSITY AND GLOWING PLANTS

Others, like Sunny Allen, have found their bridge to biology outside of the industry and within DIY bio hackerspaces, like BioCurious in Sunnyvale. That’s where Allen learned how to make algae glow in the dark.

“I’m the poster child for the kind of girl all these STEM programs are trying to reach,” said Allen, who grew up in Kentucky. “In the seventh grade, I fell in love with the micro-science world. I wanted to be a marine biologist. I applied for this magnet school for high school. I got in. But then I hit a wall. I got kicked out of the program, and I thought, ‘This is too hard for me. I can’t do it.'”

Later, she fell for a programmer and followed him to the Bay Area, where she felt alienated by the male “brogrammer” culture. “You have guys making six figures and taking Adderall to see who can code the most,” Allen said. “And they have these girlfriends who aren’t programmers, because most girls aren’t programmers. Suddenly there’s this imbalance of power. Women take care of them like infants. They’re like coding monkeys.”

But at BioCurious, she said, it was different. “Out there, I finally felt like I could do something. Biology is accessible tech for women,” she said. “For me, what really happened was that a lot of succeeding in biology is not dependent on being able to do the problem sets, like the physics and the math, but a lot of it is reading comprehension. I could get in.”

She soon launched Biomonstaaar, an open source bioreactor project (a bioreactor is an engineered system that supports a biological environment). She now lives in a hacker house in Sunnyvale and has big dreams of escaping the service industry through the world of robotic sex toys. Indeed, she’s now the creative director of a yet-to-be-named robotic sex toy company with a launch date three weeks away and a crowdsourcing campaign on the horizon. She’s in charge of testing the sex toy, and critiquing it. The other two scientists involved are men.

“They needed a woman’s touch,” she said.

This robotic sex toy is like a vibrator that knows exactly what the user wants: It senses pressure and motion, and then reacts to it. After trying out the prototype, Allen wrote to other scientists involved, “Congratulations, we’ve invented a new kind of sex.”

Jihyun Moon is another female scientist who found her place in biology through DIY bio roots. When Moon saw an advertisement calling for scientists who might like to help make a glowing plant, she signed up.

Now, she works at the Glowing Plant Project, a controversial endeavor that uses synthetic biology with DNA laser printing to create plants that glow in the dark. The project raised more than $450,000 on Kickstarter and drew national media coverage, becoming the focal point of a debate over DNA modification. The bioengineered plants are expected to ship later this year. “I’m the scientist here,” Moon proclaimed from her lab in SoMa. “I make DNA.” Her job is to take the enzyme genes from fireflies and marine bacteria, and put those pieces of DNA into plants.

Moon says that as far as she’s concerned, DIY bio is the gateway to biology. For other women, biology is the door to biotech. And that’s the door to a whole lot else.

The school principal who raps

Sasha Cuttler And Mary Magee
-
4
The school principal who raps

Picture your former principal in a rap video. Oh, mama. It hurts, psychologically and emotionally, doesn’t it? That’s because, following the guidelines set by many mainstream rap videos, said principal is probably wearing a gold necklace the size of a newborn baby, performing a circus act of smoking weed, simultaneously taking a bubble bath with scantily clad women while also, somehow, driving a flashy red Jaguar.

OK, that’s an exaggeration. Not all rap videos are like that. But Rappers Ain’t Sayin’ Nothin’ is indeed a far cry from the norm. The music video features Academy of Arts and Sciences Assistant Principal Joe Truss, proving that it’s possible for school principals to be in touch, talented — maybe even hip.

With two of his former Lowell High School classmates, Carlos Teasdale and Daniel Velarde, Truss formed rap group Some of All Parts back in 2007. Now, when kids are sent out of class and walk into his office, he plays his rap for them. “And they’ll be like, ‘Is that you rapping?’” Truss laughed. “We’ll talk for fifteen or twenty minutes about rap, and then I’ll be like, ‘So. Why did you get kicked out of class? How can we get you back in?’”

His attempts to connect with students through music follows recent outcry over the number of students facing suspensions at the SFUSD. This past February, the Board of Education voted unanimously to shift their policy of suspension for “willful defiance” to a new system featuring restorative practice, positive behavior intervention, and support for teachers over a three year span. All that might sound like throwing happy, feel-good keywords into the air and seeing what happens, but according to recent reports, suspensions really are decreasing throughout the SFUSD.

“There’s too many African American students failing and getting pushed out of schools,” Truss said. “Now teachers are talking about it a lot more. Principals are talking about it and saying, ‘How do we get kids to stay in class? Maybe they’re tired of these old books. Maybe they want to read books written 5 years ago by someone who looks like them. We’re much more understanding of where kids come from and where they want to go.”

In the video for ‘Rappers Ain’t Sayin Nothin’, a wannabe rapper throws his corn row wig off his head, his leather jacket on the ground, and realizes that the messages in many rap songs are idiotic. Some of Truss’ students at the Academy appear in the video, doing the Bernie Lean together in harmony.

Most of Some of all Parts’ songs are heartwarming like that. ‘On the Block’ talks about growing up in the Tenderloin and in the Fillmore. It’s also about heartbreak, relationships, and…everything. “We wrote a song about Oscar Grant and police brutality. We have a song about working out, because that’s what we do,” Truss said. “We have a song about riding bikes, song about going green, the environment, and the economy. If it’s a social issue, it comes up in our songs.”

Truss recently got funding at the Academy for a music studio, including sweet mixers, mics, and editing software. He plans on teaching kids how to rap.

Students can connect to that. And, on the whole, it seems like there’s less of a disconnect between students and staff in the SFUSD.

A recent report by the San Francisco Board of Education revealed that student suspensions had decreased significantly, from 2,311 in 2011 to to 1,177 in 2012. African American and Latino student suspensions decreased by 50 percent that same year. These decreases even occurred before schools officially removed “willful defiance” as a reason to suspend students in San Francisco, under the new Safe and Supportive School Policy set to kick in this fall.

Who knows? Maybe some of the rowdy students are even being deferred to Assistant Principal Joe Truss, where making beats, writing rhymes, and becoming rap stars might just be the new meaning of getting sent to the principal’s office.

On September 12th, Some of All Parts will be performing in Hip Hop for Change’s “Fire from the Underground!” show in San Francisco’s Elbo Room. Allegedly, it’ll be fat, or is it phat? Ask Principal Truss. Check out more of Some of All Parts music here.

Locals Only: Tom Rhodes

Steven T. Jones
-
1

There are artists who are known for being shy and reclusive — for producing their best work while holed up in their room, or in a cabin in the woods, or on a solo bender.

And then there are those who feed off the energy of an audience. The magic of a live performance is in the interaction, right? In the knowing that, though you’re just a face in a crowd at a venue like thousands of others across the country, the experience you’re having with a musician live on stage is unique to that evening; whether it’s a drum coming in a millisecond later than it did the previous night or banter that changes based on what the band drank backstage.

With Or Without, the fourth self-released album from East Bay singer-songwriter Tom Rhodes, has taken the concept of a live album — the attempt to capture that specific face-to-face, performer-audience magic — and distilled it like a fine whiskey. Created over the course of four separate live performances in November in front of intimate studio audiences at San Francisco’s own Coast Recorders, the resulting music sounds like you’ve been snuck into something secret and awesome: There’s a particularly liberated-sounding husk in Rhodes’ voice (one could guess he falls into the latter camp of artists), an excitingly un-tucked feeling behind pedal steel man Tim Marcus’ guitar, and the overall feeling of the band playing directly to you; this album would be particularly welcome on a solo road trip.

Perhaps relatedly, Rhodes has traveled extensively, and also swerved between genres a good deal. Ahead of his show with fellow local alt-country/folk heavyweights The Lady Crooners (who also appear on his album) and Kelly McFarling this Wednesday, Aug. 13 at the Freight and Salvage Coffeehouse, we caught up with Rhodes to hear about the inspirations for this album and, of course, his favorite foods.

SF Bay Guardian How and when did you first start playing music? Who are the songwriters you look to for inspiration? What’s the first record you really remember loving?

Tom Rhodes I have been playing music for as long as I can remember. As a very young child I remember my mother teaching me piano, singing at home and at church; instruments were all over the house and I was never told that I was too young or clumsy to experiment with them. My mother is a classically trained singer and multi-instrumentalist (she played the oboe, clarinet, piano, and guitar) and my father is an incredibly passionate music collector. So I wound up in this perfect environment for creating a child who would grow up to be a musician: A kid in a house filled to the brim with instruments and parents who were constantly listening to music on top of the line stereos, and discussing that music with parents who really dove into it themselves. My dad’s record collection numbered in the thousands, we had a room that was filled with shelves of records and I would play them all the time. Then it was tapes, then CDs.

The music that I came of age to was so diverse that I can’t begin to list even my favorites…it’s everything…they all had pretty equal weight, but the first “songwriter” that I remember falling in love with lyrically and musically was (and still is) Paul Simon. It’s really a toss-up between him and the older Jackson Browne stuff for me when it comes to a benchmark that I have always tried to get close to. The first record that opened up huge doors in my head as far as songwriting goes was Paul Simon’s Graceland. It has this scope, and tenderness, and insight that continues to this day to have new and deeper meanings to me, and it was like nothing I had ever heard.

SFBG From your bio, it sounds like you’ve lived all over. Do you think your style has changed with geographic location? How are you influenced by the place you live? What led to the fuller band sound on this album?

TR Living in lots of places has definitely affected my style. Everywhere I go I try to find the music that makes that spot special and dig into it. In the Bahamas I would follow around the musicians in the Calypso bands trying to figure out how their crazy rhythms worked. In New Orleans I fell in love with Zydeco and Second Line…I played with local cats and tried to catch their vibe. I’ve busked everywhere I have lived, and I always check out the local buskers…they will tell you where the heart of the city is quicker than any overpriced bar. San Francisco is a bit different on its influence on me. It has been less musical and much more intellectual. For the first time in a long time I have had the social freedom to explore some concepts about humanity and myself by being surrounded by other people on a similar quest. San Francisco has such a diverse and transplanted population that it’s style seems to be more about what you’re saying than how you are saying it. That has rubbed off on me a bit. 

As far as the fuller sound on the album, that has come from the amazing musicians that I am surrounded by.  The musicianship in the Bay Area is top notch right now, and some very special stuff is going to start emerging from it very soon.  I look at SF as a town on the brink of being a center of music in the next 5-10 years.

SFBG Can you tell me a bit about how the way this album was recorded, using live sessions? How do you think it affects the overall sound/feel of a record?

TR This album was a concept before the first note was recorded. The concept was to create a record that would be the most real and honest piece of art I had ever made.

The record is self-financed, and even the crowd funding was done in a way that didn’t ask for donations but rather I asked people to hire me to do work with the knowledge that the money I made was going into making this album. I wanted to walk away from the process with a piece of art that I would pay $15,000 for, and I have it.

To create that we had to do everything the hard way (i.e. the right way). I brought in Charlie Wilson (SonicZen Records) to help me build a band around these songs that I had labored over for almost three years and record them live in a top shelf studio. We rented out Coast Recorders for four days, invited in a small audience each night, and played the album for them live. We took the best takes and that’s the record that you hear.

Recording live is very hard and very risky, so it is very rare to see artists attempting it these days, unless they are trying to make a record on the cheap.  There are so many variables that can go wrong (you can lose your voice, there can be technical issues that take up recording time, the band can make mistakes, some small thing can be out of tune) and if any of them happen, you wind up with a bad sounding album and no back-up plan.  Most records are tracked separately these days to avoid that, but to me it takes all of the real life out of it, and it tells me almost nothing about the person who recorded it.

Another thing is doing it in front of an audience. I am a live performer by trade really, I spend 90 percent of my time in music with a guitar strapped to my chest and singing to real, live, human beings (and sometimes my dog). Performing is what I do best, so why go into a studio and do anything other than that? I find tracking vocals in a booth takes all of the emotion out of it for me, and I have to put it back into the music in some fake kind of way. Why not just do it the right way and record it? (The answer most producers and engineers would tell you is that most people can’t do that. They make too many mistakes, don’t know their songs, it’s hard to isolate the voice and guitar from each other to edit them later.) One of the amazing things that Charlie Wilson did in this whole process was to not back down from those challenges.

So in the end we have this album.  It is exactly what I wanted.  It is a collection of songs that say exactly what I want them to say, and it doesn’t just sound like what we sound like when we play as a band… it IS us playing as a band.  Performing these songs with our hearts wide open.  But when someone hears the record I hope that they don’t hear that it’s live, I hope that they FEEL that it’s real.

SFBG How do you describe your genre, when forced to? (Sorry.) There have been some pretty real shifts from album to album — is that conscious/intentional/inspired by anything in particular?

TR I’m ok with this [question] now…This album is Americana. It’s a weird term, but it’s where this record sits, probably the last one too. The stylistic shifts aren’t just from album to album, they are from song to song inside of those albums. Those shifts aren’t actually purposeful (other than being strongly guided to have more of a rock record for “No Apologies”) as much as they are a byproduct of the way that I write. I don’t write music to fit a genre, I just write the songs that come to my mind in the most effective way that I can to get the idea across. Sometimes that requires a completely different feel than other songs that I write. Each song needs to be served to the best of my abilities, regardless of what sort of music is expected of me. I grew up listening to and learning such a diverse collection of music that I have a pretty broad pallet in my head to choose from. It’s actually pretty coincidental that this album has such a singular vibe that way. Even on this album there are some genre swings; “Dying is Easy” is what I would call an R&B tune, “Nobody’s Listening” is pretty poppy, but the band and the circumstances gave this record a much more specific vibe, and we recorded it live so we couldn’t go back later and alter that feel. Not that I would do that in a million years.

SFBG Plans for the coming year?

TR This year is all about trying to spread the word about this record. That is the absolute hardest part about being an independent musician, just getting in front of new eyes and ears.  There are some big shows lined up, some tours in the works, music videos to be released…hopefully I can find people who can help me with that. That is my goal for this year, find a team of people who can help to spread this music around. I think that this album has what it takes, now I just need to show it to the world.

SFBG Where in the Bay do you live? What’s the one Bay Area meal/food item you couldn’t live without?

TR I live in the East Bay, in the Emeryville/Oakland area. There is a Mexican place out here that has the best burritos in the area, called Chili Jalapeño. It’s a hole in the wall, but I honestly daydream about their food.

SFBG Other Bay Area bands you love?

TR I love The Lady Crooners (not just because they are on my album!). They have some of the best harmonies in the business, and they make me smile every time I see them. Con Brio is an absolute must-see if you like to dance. Quiles and Cloud destroy me with their tight two-part harmonies and dark beautiful songs. When it comes to local songwriters, Lia Rose, Andrew Blair, Kelly McFarling…there is an awesome scene in this city right now, it’s bubbling under the surface, and someone smart is going to come along and figure that out. When the top blows off of the kettle I just hope to be around to see it.

Tom Rhodes, Kelly McFarling and the Lady Crooners

Wednesday, Aug. 13, 8pm, $17

Freight & Salvage Coffehouse

2020 Addison, Berk.

www.thefreight.org

Locals Only is our shout-out to the musicians who call the Bay Area home — a chance to spotlight an artist/band/music-maker with an upcoming show, album release, or general good news to share. To be considered, drop me a line at esilvers@sfbg.com.

123...48Page 1 of 48

48hills.org is the official publication of the non-profit San Francisco Progressive Media Center.
Contact us: info@48hills.org