Environment

The new (open) world order

Jesse Hawthorne Ficks
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The new (open) world order

YEAR IN GAMER In 2010, year-end awards were dominated by one game: Red Dead Redemption. Published by Rockstar Games, the title was a sweeping, epic Western in the best American tradition. Using a proprietary game engine, Rockstar stitched together a giant swath of imaginary frontier, a teeming open world that seems to leap straight from the imagination of John Ford or Sergio Leone.

Now that 2011 is nearly done, it’s clear that Red Dead Redemption‘s success was merely a sign of things to come. Rival publishers must have watched contentedly as the game’s accolades stacked up. They were about to make 2011 the year of the open world game, ushering in a glut of go-where-you-want, do-what-you-want, slay-who-you-want titles that would dominate both discourse and sales.

Rockstar themselves were the first to get in on the action, taking a second bite at the apple in May with L.A. Noire. Developed by now-shuttered Australian studio Team Bondi, the game takes place in a meticulously recreated version of late-40s Los Angeles. Like Red Dead Redemption, Team Bondi’s title is an engrossing pastiche of classic cinema, drawing on the tropes, mopes, and molls of vintage noir. While critics rightly complained that the game’s open world offered little except the opportunity to drive around and sightsee, the simulated city’s presence added atmosphere and heft to an already immersive game.

Explore L.A. Noire‘s carefully art-directed metropolis, and the most dangerous thing you’re likely to encounter is fast-talking dame with nothing to lose. Not so in Dark Souls, an October release by iconoclastic Japanese studio From Software. From’s open world is a foreboding, twisted take on fantasy gothic, full of decaying grandeur, uncanny creatures, and fetid environs. Players must creep forward against their better judgment, dreading whatever horror lurks around the next corner. Though the game’s uncompromising difficulty acts as a deterrent, Dark Souls‘ labyrinthine, deadly world and endless creativity are well worth the frustration.

In Batman: Arkham City, British developers Rocksteady Games put Batman in his place: perched on the roof of some crumbling Gotham pile. The game’s titular open world is a vast outdoor prison, an entire urban zip code done up in hyperbolic neon-noir, then filled with psychopaths and super-villains. While he’s not using Rocksteady’s impressive, flowing combat system to put the hurt on Gotham’s criminal underclass, Batman can deploy gadgets like the Batclaw to swoop around. Though Arkham City mostly serves as a backdrop for a fairly linear narrative, but there are also dozens of collectible, lime-green “Riddler Trophies” scattered around, giving gamers an incentive to explore every inch of the game’s open world.

For sheer size and scope, you can’t top The Elder Scrolls V: Skyrim, released in November by Maryland-based Bethesda Game Studios. Bethesda have made open worlds something of a specialty in recent years, and Skyrim is the company’s most ambitious effort to date. Set in a frigid, arctic landscape, the game showcases natural beauty on a grand scale, rendering icy peaks, swampy tundras, and furtive wildlife darting among snow-dappled pines. Players will spend hours completing hundreds of quests, scaling the world’s highest heights and descending into the bowels of its darkest dungeons. Though the game makes it easy to follow a floating arrow directly to you current goal, Skyrim’s best moments are often the product of getting hopelessly lost.

When it comes to the sheer joy of exploring an open world, Minecraft reigns supreme. Created on a lark by Swedish programmer Markus Persson, the game randomly generates a gargantuan new environment every time you tell it to. Comprised entirely of chunky, Lego-like blocks, the world can be altered at will — dedicated players have spent hours moving blocks one-by-one to create replicas of things like the USS Enterprise. Minecraft is an impressive indie success story — first released in its alpha version in 2009, the game now boasts nearly 242 million logins per month.

What lessons will open world games learn from the class of 2011? Will 2012’s vast gaming environments be welcoming or forbidding? Will players be given long lists of collectibles to hunt, or simply asked to explore for its own sake? Dec. 20, thousands of people logged into Star Wars: The Old Republic for the first time, a big-budget MMORPG from local publishers LucasArts and Electronic Arts. Not content with the vast worlds already available to them, these intrepid gamers opted for an entire galaxy — a galaxy far, far away.

Revolutionary bedfellows: What Occupy has in common with the sex-positive movement

Andrew Lam
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Revolutionary bedfellows: What Occupy has in common with the sex-positive movement

Guardian reporter Yael Chanoff embedded at the Occupy SF and Occupy Oakland encampments during the months-long protest. Here, she reflects on the non-monogamy movement and what it could mean for the 99 percent

Temperatures were running high at Occupy San Francisco. After a day of hard work, the protesters were decompressing. Talented musicians shared their instruments with friends and strangers in impromptu jam sessions. 

The evening in question took place during Occupy SF’s early stages, back when police would swarm at the first sign of a tent being propped up, and all of the 200 or so people who camped out that night mingled and slept in the open air. I sat with two young women and three young men who were all topless, leaning on each other and using laps as pillows. 

Another occupier, who said he had arrived that day, wandered by. “So,” he asked, “Is this thing about free love?”

“I don’t know” the guy next to me replied. He shrugged at the newcomer. “But we’re definitely doing that.”

RADICAL INTIMACY

One week later, I was sitting in the midst of a very different kind of alternative community. We were inside the Supperclub nightclub, in a hot room scattered with beds. The event’s attendees wore sparse Adam and Eve-themed costumes and glittery pasties winked here and there. A video of bonobos copulating was playing. 

It was a “second base” party, one of the many social calendar offerings of San Francisco’s sex-positive community.  The night – dubbed “Sex at Dawn” after author Christopher Ryan’s book by the same name that explores the historical roots of non-monogamy – would feature a panel discussion with several of the leading lights in the alternative, kinky, political sex community. 

Among the night’s speakers: Dossie Easton, Carol Queen, Philippe Lewis, people who have devoted their lives to creating intellectual and physical spaces where free love is unquestioningly ‘what it’s about.’

Their passion notwithstanding, the party that would follow their talk was not a sex party, strictly speaking. Event producers and Club Exotica founders Philippe “Fuzzy” Lewis and Jocelyn Agloro describe their gatherings as “co-created pieces of temporary social art,” places “for people to explore intimacy, relationships, sensuality, and sexuality — in community.” 

In some ways, the two nights were similar. But in other ways, they were quite different. The cost of admission, for example (Occupy SF: free; Club Exotica’s party: $10-35). And the numerous beds. But I couldn’t help being struck by the similarities. 

Both spaces were populated by humans whose need for connection wasn’t being met anywhere else, humans brought together by an experiment in revolutionary ways of relating to each other based on sharing and compassion. 

As I see it, the two communities have important lessons to share with each other.

THE FUTURE OF LOVE?

Occupy SF’s merry encampment is just a memory now. Justin Herman Plaza is empty these days, and somewhat unsettling – a grim square of concrete, bocce courts, and dead grass where 200 thrilled, at times confused, yet fiercely committed individuals spent two month trying to make a better world. 

But the movement is not over. It’s just in the process of reinventing itself. Forums on “Occupy 2.0” are happening around the country.

And as I think back on that night with those free loving campers, I have to wonder, will Occupy hook up with the sexual liberation movement?

When it comes to sex at Occupy, experiences varied among the individuals I interviewed. One young man who has been involved in polyamorous relationships for several years said he didn’t see anything of the sort at camp. “People have met and started dating here,” he said, “but it’s usually monogamous.”

Be that as it may, more than a few people assured me that “there’s been at least one orgy in the tents.” 

Two campers who had been occupying since late September told me that they were in a polyamorous relationship with a third occupier, and knew of other of other threesomes that had developed at camp. One of them, a calm, smiling young man, said the Occupy SF camp was an environment that definitely encouraged this kind of free love.

“I think it’s because you’re around each other all the time, in this rapid exchange of revolutionary ideas, and that’s another way you connect.”

But is sexual revolution part of the Occupy ethos?

The calm man’s partner was an energetic twenty-year-old known to start dance parties at 4 a.m. when camp was still around. She didn’t think so. 

“I mean, we talk about it with each other,” she said. “But it’s not really a part of the political side of the movement.”

Others found that Occupy had at least encouraged more sexual license, albeit unaccompanied by sex-positive theory. With wide-eyed disbelief one long-time camper told me, “I don’t understand it. I’ve been with more women since I’ve been here, homeless, than I ever did when I was housed.” 

It appeared that societal notions of monogamy were being sloughed off at Occupy SF – but without any of the underlying theories of polyamory espouses by the city’s sex-positive community. Many occupiers I spoke had never heard of any theory of non-monogamy, and agreed that a workshop teaching about alternative relationship models at camp could have helped sort out a lot of their ambiguous sexual experiences. 

Ironically, some of the city’s most qualified teachers might have been in the tent next door to these potential students.

SEXPERTS IN THE TENTS

Joani Blank, founder of Good Vibrations and longtime sexual liberation activist, spent time at Occupy Oakland. She told me that she saw ideas of love, sharing, and interpersonal connection brewing in that camp. 

Said Blank, “the camps encouraged love and acceptance and egalitarianism. With Occupy, there’s been a significant opportunity for the nature of love and friendships to change and be more open, and a lot of people [are] relating to other people who are very much not the same as they are. A variety of relationships are being encouraged and supported because everybody’s united.”

Blank thinks that the camps bred sexual experimentation. “[The occupiers] will jump into sexual experiences they’ve never had. So, for them it’s very liberating. I felt that energy myself the night I stayed there, and it translates easily into other kinds of excitement.”

In the ambiguity that surrounds Occupy’s future, one thing seems clear: this movement won’t survive unless it’s built on our love for our peers. That’s the focus of parties like “Sex At Dawn,” where attendees are not allowed to have intercourse, but instead are encouraged to open up sensually to those around them. 

The quest to open up in ways not traditionally encouraged within the bounds of capitalism was seen by many as a keystone of Occupy. The viral video-upcoming documentary The Revolution is Love focuses on Occupy and protesters’ search to replace consumerism with intimacy. 

Polly Pandemonium, founder of sex club Mission Control and its popular swinger’s party Kinky Salon told me that “the sexual liberation movement and the Occupy movement…we are all working towards the same future. It’s homo sapiens natural predisposition to share rather than hoard and fight. The mutual goal is to help people realize that it’s safe to share, and that they won’t be left out in the cold, and to create a culture which supports and rewards that kind of behavior.”

Even in its current transition phase, Occupy continues to capture the imagination of millions, including many involved in our sexual liberation movement right here in San Francisco. With a new, restless crowd of thousands who saw how community sharing could be applied to sexual relationships at the Occupy camps, some new sexual revolution may be stirring. 

For now, Occupy and the sexual liberation movement are just getting acquainted. But if activists stick with the core notions of sharing and love, we might be seeing the start of a beautiful relationship. 

 

Progressives split on bag ban, ex-cons

Zelda Bronstein
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Progressives split on bag ban, ex-cons

A couple of interesting votes at the Board of Supes Dec. 6. Sup. Ross Mirkarimi lost two pieces of legislation — a mandate that stores charge for bags at checkout counters and a tax credit for companies that hire ex-offenders.

The bag ban went down 7-4. Well, actually, it was continued to February, by which time Mirkarimi will be gone. Sup. Jane Kim said she wanted to see more outreach to minority businesses, and was quoted in the press saying she would support it at a future date, but I suspect the delay marks the end of the bill. Without Mirkarimi around to push it, the measure will probably just die. It’s odd because San Francisco used to be on the cutting edge of environmental issues; the bag ban is getting picked up by other cities and will probably be law all over the country in a decade.

Voting for the continuation were three supes who said they supported the “concept” — Scott Wiener, David Chiu and Kim.

The ex-offender tax credit went down 6-5 — and on this one, Sup. Malia Cohen, who is not always with the progressives but whose district has the largest number of parolees in the city, supported Mirkarimi. So did Kim, Eric Mar, and David Campos. The swing vote: Sup. John Avalos, the progressive leader in the mayor’s race and one of the most solid left votes on the board.

Avalos told me that he doesn’t support tax breaks; he’s been consistent on that, and I understand. I don’t support tax breaks, either. I don’t think they’re very effective and they cost the city money. But there are two elements that make this unusual — for one, if anyone actually used the tax credit and hired an ex-offender, the money the city would likely save by keeping that person from going back to jail would greatly exceed the amount of the tax reduction.

Besides, I was waiting to see Lee come up with an excuse to veto the bill — particularly at a time when more and more ex-offenders are going to be released in San Francisco. I know this is just petty politics and all that, but this was a tough decision involving a very unpopular group (nobody wants to be nice to former criminals) — and Lee got off easy.

Get read!

Jesse Hawthorne Ficks
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ROCK AND ROLL ALWAYS FORGETS

By Chuck Eddy

Duke University Press

352 pp., paper, $24.95

Chuck Eddy glides through music criticism like a grumpy fanatic. Each article included in Rock and Roll Always Forgets — culled from Eddy’s vast back catalogue of music journalism articles, beginning with the early 1980s — is packed with cultural references, touchstones, facts, witty asides, a dash of snark, and acknowledgments of once-obscure acts. Yet, he approaches each band like he’s the first to have discovered it. He’s a musical anthropologist, but also, archeologist, digging up the remains of musicians past, lest we forget. Take a piece on a Marilyn Manson show, written in 1996. More than simply describing the stage and the crowd (which he does, expertly: “[they] wore too much black makeup, but they didn’t scare me — most seemed to be upper-middle-class Catholic school teens from the burbs…”). He wanders near profundity, dissecting Manson’s overall persona, his ticks, his own cultural references, and those who came before him, namely Alice Cooper, but a great many more. Most importantly, Eddy alludes to why that all matters in the least. (Emily Savage)

 

TROPIC OF CHAOS

By Christian Parenti

Nation Books

295 pp., hardcover, $25.99

Through historical research and on-the-ground reporting in Kenya, war-torn areas of Afghanistan, and other regions marked by intense conflict, Christian Parenti offers an unusual and compelling analysis of violence through the lens of the environment. Tropic of Chaos: Climate Change and the New Geography of Violence teases out the idea that increasingly unstable weather patterns stemming from climate change have fueled conflict throughout impoverished areas of the Global South. In the savannahs of northwest Kenya, for instance, deadly cattle raids have intensified as intertribal warfare heats up in the face of water scarcity. Recurring droughts and floods in Afghanistan have made it exceedingly difficult for farmers raise traditional crops, making them increasingly reliant drought-resistant poppy — the raw ingredient for heroin — for economic survival. Parenti also turns a sharp eye upon the repression, surveillance, and counterinsurgency that first-world nations have employed to combat growing violence in water-scarce, conflict-ridden regions, and calls for a more enlightened approach. (Rebecca Bowe)

 

CAFE LIFE SAN FRANCISCO

by Joe Wolff

Interlink Books

224 pp., paperback $20

Small quirks in this guide to the city’s cafes and coffeehouses — the sixth in a series that includes Sydney, New York, and Venice — will let you know its not strictly, strictly for locals. Java Beach is lumped in with more gearhead-oriented Mojo Bicycle Cafe and Ninth Avenue’s Arizmendi Bakery is filed under the catchall “Sunset District and vicinity.” The introduction’s discussion of “San Fran” versus “Frisco” versus “the City” is one that became boring long ago. But those things matter little. In-depth histories of some of your favorite cafes, from Java Beach to Philz’ to Caffé Baonecci are lucid looks at the facts and rewards of small entrepreneurship in the city. And Roger Paperno’s loving photography of velvet crema and foccacia sheets combines with words to create an ode to the city’s third spaces that any caffeine-laptop addict will appreciate in their stocking. (Caitlin Donohue)

 

LIONS OF THE WEST: HEROES AND VILLAINS OF THE WESTWARD EXPANSION

By Robert Morgan

Algonquin Books

497 pp., hardcover, $29.95

Biography can be the best history; stories of the people who changed the world (for better, and often for worse) are more compelling than turgid texts of dates and places. Lions of the West recounts the development of the American frontier from the end of the Revolutionary War to the Civil War era through the lives of 10 men. Yeah, all men. In fact, Morgan (by choice or by the longtime bias of American historians) makes it appear as if all of the great and evil deeds done as the nation moved Westward Ho were the province of the male of the species. At times, the profiles are a bit over the top (I don’t really care that much about Kit Carson’s personal life.) Overall, though, it’s a detailed, lively, and informative book that minces no words, especially when discussing the theft of much of the southwest from Mexico. San Franciscans will enjoy learning who Stockton, Sloat, Castro, Winfield, and a few other streets were named after. (Tim Redmond)

 

VHS: ABSURD, ODD, AND RIDICULOUS RELICS FROM THE VIDEOTAPE ERA

By Joe Pickett and Nick Prueher

Running Press

272 pp., paper, $14

Found Footage Festival founders and comedy writers Joe Pickett and Nick Prueher are apparently the Indiana Joneses of VHS, unearthing remarkable video package cover art that would otherwise be relegated to hoarder basements, bonfires, and anywhere else the worst (a.k.a., the best) videotapes go to die. I salute these dudes, even though the captions they tag each page with aren’t always funny or necessary. Truly, the covers (soft-focus and garish, tacky and baffling) speak for themselves, direct dispatches from ye olden days, long before YouTube brought WTF-ness to anyone with an Internet connection. You see, children, back in the 1980s or 90s, home viewers had to seek this shit out: instruction in squirrel-calling, chair-dancing, seduction, hairstyling (“What the Heck Am I Going to Do With My Hair?”), baby-proofing, spotting counterfeit Beanie Babies, etc. Straight-to-video masterpieces (F.A.R.T.: The Movie). Horrible exercise fads (“Bunnetics: The Buttocks Workout”). Well-meaning but also ghoulish-looking self-improvement vids (“Face Aerobics”). Every page is magical. Your mind will be blown. (Cheryl Eddy)

 

BI-RITE MARKET’S EAT GOOD FOOD

By Sam Mogannam and Dabney Gough

Ten Speed Press

297 pp., hardcover, $32.50

Bi-Rite Market is the ultimate neighborhood grocery. Shockingly small (with ambition to expand), it’s jam-packed with the best in organic produce, meats, cheeses, and artisan food products, much of it local. Now, Bi-Rite founder Mogannam has a new book loaded with recipes for such inviting delectables as white bean puree with prosciutto crespelle and strawberry rhubarb pie. But don’t relegate it to the cookbook category. Hewing to Bi-Rite’s mantra of creating community through food, the authors share extensive tips on shopping seasonally and locally for the healthiest and best-tasting products, no matter where you may live. You’ll learn what to look for at the grocery, storage and usage tips, and more. Well-illustrated sections feature produce (broken down by season), wine, beer, cheese, deli meats, butchery, baked goods, and even farmer profiles. Bonus: stay tuned for Sweet Cream and Sugar Cones, Bi-Rite’s ice cream and frozen treats recipe book from its renowned creamery, out this April. (No word yet on whether it’ll tell us how to beat the ever-present line outside.) (Virginia Miller)

 

DAMNED

By Chuck Palahniuk

Doubleday

247 pp., hardcover, $25

Welcome to Hell, as seen through the eyes of 13-year-old Madison Spencer, the daughter of a jet-setting yet eco-hyperconscious movie starlet and philanthropist. This is Dante’s Inferno meets The Breakfast Club, a film that overtly informs the plot and its main characters. As in Palahniuk’s breakout novel Fight Club, it’s hard distinguish between reality and perception as Maddy leads readers past the Vomit Pond, across Dandruff Desert, and right into Satan’s black Town Car. As she recalls her final weeks on earth, you’re pretty sure that she didn’t really die from a marijuana overdose. Clearly, things are not what they seem as the novel looses an American teenager’s perspective on modern life in both the underworld and earthly realm, with wry commentary on everything from pop culture and capitalist excess to the defeated religions whose fallen gods roam Hades. The gags alone — like the telemarketing and chatroom porn the damned deliver to Earth, and Hell’s endless loop of The English Patient — make this a tough book to put down, all the way to its slightly unsatisfying conclusion. (Steven T. Jones)

 

BEST AMERICAN COMICS 2011

edited by Alison Bechdel

Houghton Mifflin Harcourt,

352 pp., paperback $25

Chris Ware’s textbooky flowcharts; Angie Wang’s Technicolor, spiraling pistil-armed super-flower-heroine; Peter and Maria Hoy’s intricately plotted cause-and-effect grid art — the sixth year of this hardcover assemblage of the year in superlative strip art soars as a holiday gift for your fave comic nerd. Visual trickery and innovative page staging aside, many of the graphic narratives in this book hold up on plot alone. An excerpt from Kevin Mutch’s Fantastic Life effectively mines zombie philosophy, dating paranoia, and begging drinks off your service industry friends for comic gold. Many of the best pieces, perhaps indicative of the graphic novel mood these days, explore the darker side of the human psyche. But what graphic novel fan is unfamiliar with complicated? (Caitlin Donohue)

 

THE TIPSY VEGAN

By John Schlimm

Lifelong Books/Da Capo

164 pp., paper, $17

Every time I think we’re past the stereotype of the sullen, uptight vegan, I get another comment like, “Wait, don’t you only eat vegetables?” Why yes, I do eat plenty of veggies, but I also eat decadent dishes such as The Tipsy Vegan‘s Party Monster Pancakes, loaded with the sweet nectar of amaretto and drenched in syrup. This book is a carnivorous teetotaler’s nightmare, boasting 75 boozy recipes stuffed with everything from “beer to brandy” for the liquor-loving vegan cooks among us. It’s not, as I initially imagined, a book on vegan cocktails — that would be far too easy. Written by John Schlimm (Ultimate Beer Lover’s Cookbook), a member of “one of the oldest brewing families in the United States,” the book includes booze-infused treats for parties, brunch, and supper: fried avocados, slur-baaaaked peaches with Cointreau, “Bruschetta on a Bender” — all of which kind of sound like stoner food to me. An nice touch: glossy food porn shots on every page. (Emily Savage)

 

PROJECT DOG

By Kira Stackhouse

self-published

352 pp., hardcover, $34.99

Local photographer Kira Stackhouse experienced an inspiration so intense that she ditched her high-profile marketing job to pursue it: she would photograph specimens of the 50 most popular canine breeds officially registered with the American Kennel Club (“purebred dogs”) that had been purchased from professional breeders — and pair them with photos of the exact same kinds of dogs found in local dog rescues and shelters. The purpose was to start a dialogue about the effects of professional breeding and highlight the many kinds of dogs available for adoption (and also to change peoples’ perceptions about rescue dogs). But a major part of the story — and what makes this book so fantastic — is the wonderful doggy photography and sumptuous layout. Dogs are posed, or pose themselves, against iconic Bay Area backdrops, accompanied by often hilarious, always revealing, biographies and profiles. Project Dog became an online sensation: this book cements its reputation. Available at www.projectdog.net. (Marke B.)

 

LISTEN TO THIS

By Alex Ross

Picador

384 pp., paper, $18

In the expanded paperback edition of his absorbing and erudite collection of essays, Alex Ross of the New Yorker writes what could be called his mantra as critic: “I have always wanted to talk about classical music as if it were popular music, and popular music as if it were classical.” Ross listened exclusively to classical until he was 20, something he admits may sound “freakish.” But whether he’s describing Björk in her recording studio in Iceland, or composer John Luther Adams’ sound and light installation in Alaska, Ross draws from an immeasurable well of knowledge and plunges into his subject with gusto. He can find commonalities between Radiohead’s “Pyramid Song” and Stravinsky’s Firebird Suite, clear away the myths that have clouded both Franz Shubert and Bob Dylan, and thoroughly explain why OK Computer and John Cage’s 4’33” are equally astonishing. Informative, eye opening, Ross is every lover of music thrown harmoniously into one. (James H. Miller)

 

MY FAMILY TABLE

By John Besh

Andrews McMeel Publishing

272 pp., hardcover, $35

To know anything about New Orleans’ dining scene is to know John Besh. As one of Nola’s great chefs, he has a number of restaurants, including the acclaimed August, elevating local cuisine in forward-thinking ways. His original book My New Orleans is a striking post-Katrina tome to one of the greatest cities in the world and its vibrant culinary history. It’s a gorgeous coffee table volume packed with photos of the region’s people, places, and foods — more than 200 recipes from Mardi Gras specialties to gumbo, many with a contemporary twist. Besh just released, My Family Table, with welcoming, everyday recipes he cooks with his family that are healthy, fresh, simple, and heartwarming. Besh’s star power (Iron Chef champion and James Beard award-winner that he is) never dominates. Like New Orleans, it’s a visually beautiful book, but this time themed by “School Nights,” “Breakfast with my Boys,” and recipes like “Curried Anything” or “Creamy Any Vegetable Soup.” Closing with the key element of cooking, the communal, he writes: “If asked what my last meal would be, I’d reply, ‘Any Sunday supper at home, cooked with love, for people I love.'” (Virginia Miller)

 

FOUR SEASONS OF YOSEMITE: A PHOTOGRAPHER’S JOURNEY

By Mark Boster

Time Capsule Press

128 pages, hardcover, $34.95

John Muir would have loved this book, the spectacular result of a passionate love affair with Yosemite National Park involving all of the principals in this impressive project. Muir helped glorify and preserve Yosemite with his voice and pen. Robert Redford, who fell in love with Yosemite as an 11-year-old boy recovering from a mild case of polio, wrote an eloquent introduction to the book. Photojournalist, Mark Boster was smitten by the beauty and grandeur of the Yosemite when he first visited the park as a child with his family. He spent a year in the park detailing its seasonal changes in more than 100 magnificent pictures. “I felt the breezes, analyzed the light, listened to the sound of the rivers and falls, and tried to capture the images that moved me,” he writes in his introduction. Catherine Hamm’s delicate haiku add a poetic touch to many scenes. (The two principals who brought this project to life with loving care are Narda Zacchino, a former editor of LA Times and the Chronicle, and Dickson Louie, a former executive at both those papers. Zacchino serves as publisher and editor and Louie as president and CEO of Time Capsule Press, which specializes in creating books by using the archival content of newspapers and magazines.) Available at www.fourseasonsofyosemite.com (Bruce B. Brugmann)

 

THE PDT COCKTAIL BOOK

By Jim Meehan

Sterling Epicure

368 pp., hardcover, $24.95

Few bars have made as much impact on the New York cocktail (and thus the international) scene than PDT. Known as an early mover in the speakeasy trend, PDT revives classic recipes and invents new ones in the classic spirit. Bartender Jim Meehan put PDT on the map, and he’s since gone on to write about drink and educate bar managers and tenders everywhere. In the PDT Cocktail Book, he shares more than 300 cocktail recipes in a comprehensive collection inspired by classic tomes like The Savoy Cocktail Book. There are recipes from generations of hard-working bartenders, tips on glassware, bar tools, equipment, garnishes, techniques, a listing of seasonal ingredients, even a spirits primer. In keeping with PDT’s connection to neighboring Crif Dogs who serve creative dogs in the bar, there’s a section of hot dog recipes from big-name chefs who are regulars at the bar, including David Chang (Momofuku), Wylie Dufresne (WD-50), and Daniel Humm (Eleven Madison Park). From the comfort of home, cook up a Mason Dog fried in cornmeal and huitlacoche (corn smut/fungus, a Mexican specialty) to go with the Little Bit of Country cocktail, which mixes bourbon, maple, and jalapeño. (Virginia Miller)

 

EVERYTHING IS ITS OWN REWARD: AN ALL OVER COFFEE COLLECTION

By Paul Madonna

City Lights

240 pp., hardcover, $27.95

Like Ben Katchor’s classic “Julius Knipl, Real Estate Photographer,” local artist Paul Madonna’s “All Over Coffee” — published every Sunday in the Chronicle and on essential Web zine The Rumpus (www.therumpus.net) — draws me into a psychic space that is at once serene and troubled, surreal and hyperreal. The effect comes as much from the drawing style as the dreamlike non-narrative: both are direct descendants of Winsor McKay’s “Little Nemo.” Madonna gets an extra chills-up-the-spine boost from his illustrations of semi-familiar San Francisco architecture and intersections, lucid as etchings of bleached Kodachrome shots. For this second collection of the strip, he broadens his nib to include not only the City by the Bay, but Paris, Rome, Buenos Aires, and Tokyo. Overheard quotes, snatches of philosophical discourse, interior monologue snippets, existential doubts, random observations, and short stories are floated over the images to capture a peculiarly lovely eddies in the zeitgeist.

 

I DON’T WANT TO KILL YOU

By Dan Wells

Tor

320 pp., paperback, $11.95

Some of this is sick shit. You need a warped sense of humor and a love for random violence to enjoy the tale of a young man who lives with his mom in a mortuary and fights a demon made of black goo who takes over the minds and bodies of humans. But it’s a different type of thriller — complete with its own kinda sweet moments of teenage love and angst — and it’s packed with great detail. (Did you know that undertakers use Vaseline to fill up bullet holes? Cool.) John Wayne Cleaver, perfect name for a demon hunter, is a sociopath who is beastly to his mother and can’t get along with the other kids . Except for a super-hot chick who he thinks must be a demon, otherwise why would she like such a loser geek? The demon is nasty and gouges out eyes, cuts off tongues, sticks bodies on poles … you gotta check it out. (Tim Redmond)

 

RICE AND CURRY: SRI LANKAN HOME COOKING

S.H. Fernando, Jr.

Hippocrene Books

224 pp., paperback, $19.95

After a tongue-inflaming visit to the East Village’s fantastic Sigiri restaurant in NYC a couple weeks back, my interest in — and lust for — spicy Sri Lankan treats like kiri hodhi (coconut milk gravy), rossam (coriander-tamarind broth), kool (seafood soup), Jaffna goat curry, and ulundu vai (savory donuts) was, er, inflamed. Fortunately for me, author “Skiz” Fernando recently spent a year on the island rediscovering his roots and delving into the varied cuisine (later serving as a guide for that cheeky culinary colonist Anthony Bourdain). The punchy, informative Rice and Curry is the result, and includes nice introductions to Sri Lankan geography and history, as well as tips on what to stock in your cupboard to achieve the certain Sri Lankan “oomph” that sets the cuisine apart from Indian. A particular passage that profiles Leela, Fernando’s aunt’s ancient maid, offers some real insight into the island’s food tradition and customs — and yields a marvelous, corruscating crab curry from her hometown of Chilaw, just in time for Dungeness season. (Marke B.)

 

HEDY’S FOLLY: THE LIFE AND BREAKTHROUGH INVENTIONS OF HEDY LAMARR

By Richard Rhodes

Doubleday

261 pp., hardcover, $26.95

An author best-known for his 1986 Pulitzer-winning The Making of the Atomic Bomb, Richard Rhodes might seem like an unlikely biographer for movie stunner Hedy Lamarr, who lit up Golden Age films like Cecil B. DeMille’s 1949 epic Samson and Delilah. But her above-average qualities (she was called “the most beautiful woman in the world”) extended beyond the superficial. After escaping her gilded-cage marriage to an Austrian munitions magnate, Lamarr found success — and five more husbands — in Hollywood; between roles, she started inventing “to challenge and amuse herself.” During World War II, she got serious about her hobby. Showbiz circles led her to avant-garde musician George Antheil, renowned for his groundbreaking composition for 1924 short Ballet Mécanique. As Rhodes writes, “[Lamarr] began thinking about how to invent a remote-control torpedo to attack submarines just at the time she met Antheil, who knew quite a lot about how to synchronize player pianos.” Together, the “charming Austrian girl” and “the bad boy of music” worked on that torpedo, as well as “spread-spectrum radio,” an innovation that paved the way for contemporary wireless technology. Unlikely? Yes. Fascinating? Indeed. Never underestimate a beautiful woman — or a skilled writer’s ability to humanize complicated characters and bring drama to a tale loaded with tech-speak. (Cheryl Eddy)

 

COME, THIEF

By Jane Hirschfield

Knopf

98 pp., hardcover, $25

As it happens, one of Bay Area poet Jane Hirschfield’s passages currently adorns the famous Kahn and Keville auto repair shop’s marquee in the Tenderloin: “What some could not have escaped/ others will find by decision/ each we call fate.” Well, you could never blame her for not thinking big. As a well-known and approachable poet, she sports a blurb from O, The Oprah Magazine on this, her ninth collection, the first in six years since releasing her arresting After. And while her slightly witchy, be-scarved, grandiloquent persona screams marketable poetess, there’s some understated magic in her latest poems. These ones are full of plums and glass and vague Zen spells that give off, in their overall effect, an rueful, anticipatory sigh. Some childlike wonder seeps in: “Another year ends./ This one, I ate Kyoto pickles,” says “Washing Doorknobs,” my favorite from the collection. “But one thing you’ll never hear from a cat/ is Excuse me” goes “A Small-Sized Mystery.” Sometimes you can almost Hirschfield her straining for ambiguity, the poems’ heavy life lessons tearing through her delicate webs of observation. Still, each poem here showcases Hirschfield’s incisive power. (Marke B.)

 

PLENTY

By Yotam Ottolenghi

Chronicle Books

287 pp., hardcover, $35

Recently I returned to London, eating my way extensively through the city. One of my gustatory highlights was Yotam Ottolenghi’s beloved bakery and restaurant, Ottolenghi (with four locations). Not only were his baked goods otherworldly delights, his straightforward but elegant dishes using pristine ingredients were among the freshest and satisfying of my London travels. Plenty, his new cookbook, is a cleanly designed book with vivid photos of recipes like broccoli gorgonzola pie and mushroom herb polenta. Most impressive? Ottolenghi’s recipes are 100% vegetarian. The meat-free aspect is barely emphasized, and one feels no lack in the diverse range of flavors (with Middle Eastern influences) presented. Since 2006, Ottolenghi has penned the UK Guardian’s vegetarian column — and he’s not even a vegetarian! This speaks to how respected he’s become as a chef in his use of veggies and grains. Plenty shows this talent off, but most importantly delivers approachable, easy-to-replicate recipes to tickle our palates. (Virginia Miller)

 

HILLBILLY NATIONALISTS, URBAN RACE REBELS, AND BLACK POWER

By Amy Sonnie and James Tracy

Melville House

201 pp., paper, $16.95

Gazing back in time to the era when the Black Panthers were serving up free breakfast to low income youth and coming into the crosshairs of COINTELPRO, few may be aware that an interracial coalition of radical organizers included a contingent of poor white southerners bent on fighting capitalism in solidarity with communities of color. Written by a cofounder of the Center for Media Justice and a longtime San Francisco housing activist, this detailed bit of radical history spotlights the organizing efforts of poor whites, transplanted from rural Appalachia to the low-income Uptown neighborhood of Chicago, to build coalitions of poor people in solidarity with civil rights leaders. Groups like Jobs or Income Now (JOIN), the Young Patriots, and Rising Up Angry launched campaigns against neglectful landlords and cops who brutalized their youth. They represented the white arc of the multiracial Rainbow Coalition, initiated by the Black Panthers in Chicago as “a code word for class struggle.” Bizarre as it may seem, “It became common to see [Panther] Fred Hampton ‘give a typically awe-inspiring speech on revolutionary struggle, while white men wearing berets, sunglasses, and Confederate rebel flags sewn into their jackets helped provide security for him.'”

(Rebecca Bowe)

 

MR. KILL

By Martin Limon

Soho Press

376 pp., hardcover, $24

Korea in the 1970s. The United States has 50,000 troops in country, mostly near the Demilitarized Zone, and they don’t always behave. In general, the Korean authorities allow the military to police its own — but when a young Korean woman is brutally raped on a train to Seoul, and the assailant appears to be an American, all hell breaks loose. Martin Limon lived in Korea for ten years, and he does a (fairly) good job of presenting a portrait of the Cold War tensions between the two supposed allies. There’s a little bit of American bias — the author is former military himself — and his potrayal of Korean society isn’t as sensitive or oddly loving as John Burdett’s descriptions of Thailand in the Bankok 8 series. Limon’s great storytelling and his lively and compelling protagonists, Sergeants George Sureno and Ernie Bascom, pull readers past those issues. Perfect gift for someone who likes international crime thrillers. (Tim Redmond)

 

THE RECIPE PROJECT

By One Ring Zero

Black Balloon Publishing

116 pp., hardcover, $24.95

It’s part cookbook, part music journalism, part rock opus, and hell, part coffee table book. The Recipe Project (subhead “A Delectable Extravaganza of Food and Music”) is a concept spearheaded by New York-based gypsy-klezmer act One Ring Zero. The band’s co-founders, Michael Hearst and Joshua Camp, created songs using the recipes of well-known chefs (Mario Batali, Isa Chandra Moskowitz, Chris Cosentino) as the word-for-word lyrics. The meals themselves served as musical influence; each recipe inspired a different sound. While the songs are not likely ones you’d listen to say, on a long lonesome drive, they do have a glint of childlike glee. It’s conceptual. The true genius of this project is its overall cohesiveness. It’s an all-in-one package. Follow the recipe, listen to the song, get some interesting background factoids. The Recipe Project also includes full recipe playlists, articles by rock journalists, and some pretty interesting interviews with chefs. (Emily Savage)

 

CARY GRANT: DARK ANGEL

By Geoffrey Wansell

Arcade Publishing

192 pp., hardcover, $24.95

Back in print (it was originally released in 1996), this paen to the dapper star of North By Northwest (1959), An Affair to Remember (1957), Notorious (1946), His Girl Friday (1940), and approximately 10 zillion other classic films is somewhere between a biography and a coffee-table book. It’s worth picking up for the lavish black-and-white photos alone, illustrating the span of Cary Grant’s career with film stills, behind-the-scenes shots, and the occasional almost-candid image (did he ever take a bad picture)? The accompanying text is straightforward, but — as its title suggests — doesn’t shy away from Grant’s well-documented countercultural experiments. (“Grant became so enthusiastic about the value of LSD that he extolled its virtues during the shooting of his next picture.”) Nor does it gloss over Grant’s vices (he smoked 30 to 40 cigarettes a day) and sometimes troubled personal life (he was married five times). But the book’s chief focus is Grant’s brilliant career. As Stanley Donen, who directed him three times, remarks to author Geoffrey Wansell, “He’s thought of as a man who achieved a certain elegance and savoir faire. But in truth he was a fantastic actor.” (Cheryl Eddy)

 

NATURAL HISTORY OF SAN FRANCISCO BAY

By Ariel Rubissow Okamoto and Kathleen M. Wong

University of California Press

352 pp., paperback, $24.95

Drag queens, beat poets, burlesque dancers, hyphy rappers, dot com techies — the human species of the Bay Area have been well-documented, but information on the non-human dwellers of the bay itself has been left to scattered guidebooks, obscure blogs, and academic sources. Authors Rubissow Okamoto and Wong have collected a wealth of biological and environmental information in their book, published this November. The cross-country saga of the striped bass, the hidden beauty of eelgrass, the varied contentions of the California water wars are presented in highly readable, easily digestible sections. The emphasis here is on environmental impact and recent conservation developments — I did not know that it’s officially dangerous to eat more than one pound a month of fish from the bay! — and the history of decades of restoration triumphs and setbacks is related sleekly and straightforwardly. Absorbing all the information in this illuminating primer helped me appreciate the seething loveliness and churning forces that make up the place I call home. (Marke B.)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

More backroom policy talks with the California Public Utilities Commission

Sasha Cuttler And Mary Magee
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1

On Dec. 8 and 9, high-ranking state government officials will attend a private conference with executives from Pacific Gas & Electric Co. (PG&E), Chevron, AECOM, and other major energy industry players at Cavallo Point, a luxury resort in Marin County to talk about distributed generation, a decentralized system for renewable power. It’s a gathering of top governmental officials and industry leaders to talk about policy issues with far-reaching effects on California’s energy future, but members of the general public are not invited.

As officials pack their bags for the conference at the plush resort, California Sen. Leland Yee is preparing two separate pieces of legislation designed to promote transparency within the California Public Utilities Commission (CPUC) and to make it harder for energy company executives to transition seamlessly into posts at the CPUC, the governing body that regulates utilities.

The conference is being organized by the California Foundation for the Environment and the Economy (CFEE), a nonprofit funded by investor-owned utilities and other corporations that wield tremendous influence in the Bay Area.

The Guardian spotlighted CFEE in an article about California Public Utilities Commission (CPUC) President Michael Peevey, who regularly participates in educational travel excursions funded indirectly by the companies his commission oversees.

When CFEE spokesperson PJ Johnston was interviewed for that article, he justified CFEE events by saying, “The idea for us was that it made sense to have someplace where it was nonconfrontational to engage in policy, work-type discussions,” and added they’re “all about policy, on the 30,000-foot level.”

Peevey will be attending this conference, according to a list of participants posted on CFEE’s website. So will PUC commissioners Mark Ferron, Michael Florio, and Nancy Ryan. By press time, the CPUC had not returned calls seeking comment about why commissioners are participating.

More than a dozen California senators and assembly members are listed as conference participants, as are the director and deputy director of Gov. Jerry Brown’s Office of Planning and Research, Ken Alex and Wade Crowfoot. (Crowfoot previously served in former Mayor Gavin Newsom’s administration as an environmental advisor. Newsom now serves at the state’s lieutenant governor.) Executives from Shell Energy North America, the Alliance of Automobile Manufacturers, Southern California Edison, and other heavy hitters in the industry will attend the conference too.

The conference agenda features educational sessions on distributed generation and state renewable energy goals. Several environmental and consumer advocacy groups will be present as well.

Mark Toney, executive director of The Utility Reform Network (TURN), a consumer advocacy group, also plans to attend. “Events like this give the utility industry and energy regulators an opportunity to have policy discussions and to influence policy decisions outside of the political process. It’s a privileged space,” Toney acknowledged. “We don’t think this is a good way to make policy.”

Yet he said advocacy groups like his own face a dilemma when deciding whether to participate in such events. “On one hand, we could decide we want to have nothing to do with it. But if TURN isn’t represented, then the view of ratepayers and consumers won’t be represented by anybody.” He stressed that while TURN attends daylong conferences hosted by CFEE in order to gain access and hopefully have a positive influence within that priveleged space, the group does not participate in travel excursions organized by the organization, which have drawn controversy in the past. “It’s kind of a judgment call,” he added.

Closed-door, backroom policy discussions aren’t the only CPUC transparency problem drawing scrutiny lately. Recent press reports have spotlighted instances of the CPUC denying public access to safety reports, a highly sensitive issue given the fatal pipeline explosion that destroyed a neighborhood in San Bruno last year.

On Nov. 29, Sen. Yee announced he would introduce legislation in early 2012 to subject the CPUC to the California Public Records Act, by stripping away provisions that allow the commission to block the release of information. It would place the body on the same footing as other state agencies with regards to information sharing.

“If you want anything out of the PUC, it takes an affirmative vote of the commission,” explained Adam Keigwin, Yee’s legislative aide. Secretary of State and former Assembly Member Debra Bowen initiated a similar push for transparency at the CPUC in 2006, but the effort did not go anywhere. On Nov. 30, Yee sent a letter to Peevey, the CPUC president, asking for the results of a study on transparency issues that the commission was supposed to undertake nearly six years ago when Bowen was pushing for the bill.

Keigwin added that Yee is also looking at legislation that would bar utility executives from serving on the PUC for a certain length of time, so as to prevent undue influence.

The Performant: Hamburger helpers

Jesse Hawthorne Ficks
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0

There’s certainly no shortage of live comedy in the Bay Area, but you have to hand it to Club Chuckles for keeping it weird. Avoiding line-ups packed with middle-aged men whining about their therapy bills, or cosmonaut princesses with pubic hair obsessions, Club Chuckles can often be found lurking in the rock-saturated shadows of the Hemlock Tavern’s back room performance space, infused with the kind of punk rock vibes you’ll never pick up at the buttoned-down, two-drink minimum comedy clubs. The sold out, eight-year anniversary show at the considerably swankier digs of the Verdi Club might have been better lit, but the rowdy element still prevailed, as an entire line-up devoted to the comedy of the awkward braved the hecklers to bring the laffs.

Imagine if you will an idiot savant of the yo-yo who turns out to just be an idiot, and you’ve got a good idea of what to expect when Kenny “K-Strass” Strasser takes the stage. The befuddled alter-ego of Mark Proksch, “K-strass” is a yo-yo wielding man-child out to save the environment from the ill-effects of too much toilet flushing. Determined to wow the crowd with one of his patented yo-yo tricks, The William Tell, Strasser put a bucket and an apple on the head of his first of two volunteers, who quipped, “is this like Guantanamo?” “I don’t know him,” Strasser responded immediately, nervously readying his yo-yo to fly, uncontrolled, in the general direction of the apple.

The most traditional comic of the evening, affable Duncan Trussell delivered a stand-up set filled with references to medical marijuana, tripping at Great America, and the embarrassment of being human. But then he veered into prop comedy territory with a long rambling story about his Wiccan parents and The Book of Shadows, which culminated in an impromptu séance and an appearance by ventriloquist dummy “L’il Hobo”. A classic, hinge-jawed variant, L’il Hobo became apparently possessed by Lucifer halfway through the otherwise standard dummy/ventriloquist act, culminating in an eerie duet of “Wish You Were Here,” and the devil’s gruff demand for worship.

Dressed like a turn-of-the-nineteenth-century butterfly collector, Tim Heidecker of Tim and Eric Awesome Show fame, launched into his bumbling act clutching a cheat sheet like a lifeline, dropping his punchlines as often as he dropped the mic. Declining to indulge in any of his recently released Herman Cain-inspired anthems (“Cainthology: Songs in the Key of Cain”), he instead turned his affection to Newt Gingrich’s presidential aspirations, and introduced an ambitious high-speed rail project dubbed “Zazz Rent-a-Train.” “Why own when you can rent?” intoned the movietone narrator of the video-screened infomercial on the rail project designed to connect all the continents by rail.

Kicking the emotionally tone-deaf dial to eleven, headliner Neil Hamburger emerged at last, his trademark greasy comb-over and bow-tie suggesting the desperation of the small-time Vaudeville circuit. “Get some drinks up here asshole,” he snarled at booker Anthony Bedard, before launching into a series of dead-weight knock-knock jokes, a lengthy segment focused on the dubious “talents” of Britney Spears, embittered rants against various oddience members (“laugh your fool head off…this is fun. Everyone else is having fun…with your girlfriend”), and “an award-winning tribute to ice cream” which segued into a ribald joke about Ben and Jerry’s and prostitutes.

Like Kenny “K-Strass” Strasser, the Hamburger character is a long-inhabited alter ego, whose public appearances often appear more painful for the character than for his cringing fans, who really ought to have some kind of convenient moniker by which to call themselves, like “Hamburger-heads,” or “total masochists.” And indeed, by the show’s end only the true total masochists remained, each empty seat in the rows attesting to that peculiar comedic format of anti-success that Hamburger wields so well.

Swing, shift

Jesse Hawthorne Ficks
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0
Swing, shift

arts@sfbg.com

DANCE Have you ever climbed a steep mountain but were unsure that your lungs or legs would hold up to get you to the top? Or felt a relationship slip through your fingers before you were barely aware of what happened? How about feeling your feet firmly planted, only to land suddenly on your behind? The performers in Stacey Printz’s new Hover Space, her most ambitious project yet, are finding out that their dance floor is putting the lie to such basic concepts as grounding, balance, gravity, or momentum. The space moves up and down and tilts at precarious angles, and yet the dancers appear to have the times of their lives.

At a late rehearsal in Z Space at Theater Artaud for the upcoming Hover Space, they giggle and struggle, accommodate and resist the demands of this unstable environment. The 75-minute work may be physically challenging, but thematically Printz believes that it rests on a solid, if volatile, base.

“How do long-term relationships sustain themselves?” the dancer, choreographer, wife, and mother asked herself. “What does it look like in a place of contentment when you have peace and support, though you have learned to listen and compromise?” For Printz it means being feeling grounded, and therefore being secure enough to take larger risks, “do crazier things” and expand into more new worlds. For some people that solidity comes through relationships, she says; others find it in themselves though “this space cannot be static because the moment you lose the ebb and flow, it’s dead.”

It’s good reasoning from a dancer-choreographer who has always refused to be pinned down. Still an awesomely strong performer, Printz draws on jazz, modern, some ethnic forms, and hip-hop, disciplines in which she has both trained and performed. If the term “fusion” didn’t suggest borrowing, perhaps even an essential lack of artistic independence, she wouldn’t mind the description. “But this is who I am,” she says. “This is how I push myself the most.”

Having a foot in several worlds has given Printz access to a creative freedom that informs the choreography for her own company but which is most strongly seen in her own dancing. For instance, last October’s WestWave Dance Festival piece If You Knew — a duet with beatboxer-musician Tommy Shepherd — was a fulminating explosion of rhythm and motion, with the two of them challenging each other to an ever-higher degree of virtuosity. But she has also challenged her own (and other) dancers to step beyond their own comfort levels. In the 2009 spitfire Cross Talk, the members of the National Folk Theatre of Ireland loosened up their torsos while Printz’s barefoot dancers shone in pristinely precise footwork.

In addition to choreographing for her own 11-year old company, Printz regularly collaborates with Marc Bamuthi Joseph on his multi-genre theater pieces. “I have known him for a long time, and I know how his body moves, so I can give him what he needs within a specific context,” she explains. But working with Bamuthi gives Printz what few choreographers working on someone else’s show get: time and respect. “He is brilliant and has the resources and a big umbrella under which we all can work together for months,” she says.

She also learned that “if you bring in collaborators, let them do what they do best.” Bamuthi lets her make her own gifts to his projects.

Printz’s primary collaborators for Hover Space are her 12 dancers, the largest group she has ever worked with locally. The choreography of a dozen or so distinct episodes includes looks at the relationships of three very different couples. While she often uses pre-recorded music, for her first evening-length piece Printz has invited DJ-composer Kraddy (a.k.a. Matthew Kratz) to join the team. Designer Sean Riley suspended the 12×15 movable platform from Z Space’s ceiling. David Szlaza created the lights; Catherine Myre signed on for the costumes.

HOVER SPACE

Wed/30-Sat/3, 8 p.m., $22–<\d>$25

Z Space at Theater Artaud

450 Florida, SF www.brownpapertickets.com

It’s all in the angle

Jesse Hawthorne Ficks
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0
It’s all in the angle

caitlin@sfbg.com

SEX “It’s hard when you’re making out with a babe and it’s really hot and you realize you’ve been videotaping a wall for two minutes.”

No one ever said that making self-filmed feminist porn was easy. But for local self-proclaimed “slut kitten” Maxine Holloway, it’s an important — and incredibly arousing — process. Holloway is the newest webmistress on Femina Potens gallery founder and sex activist Madison Young’s Feminist Porn Network. Holloway’s sub-site Woman’s POV (www.thewomanspov.com) is perhaps the first to feature only shoots which are filmed by the actors themselves — the letters in the title standing in for “point of view,” of course.

Hence, her phone interview with the Guardian last week had turned to tricky camera angles. It can be incredibly difficult to film your own orgasm, Holloway says. But she’s learned a lot since her first POV scene (in case you were wondering, it involved a passel of “Italian babes” and a hotel room). The key, she says, lies in reconfiguring the way you look at having sex on camera — which inevitably involves spending a lot more time in your viewfinder.

Which is not necessarily a bad thing. “You see things that you wouldn’t normally have the time to focus on,” Holloway explains. “Twitching fingers, a hand on a thigh that looks amazing.”

And she’s hoping that fingers will walk to the site to check out its clothes-on segments, also. “We have these really sexy, amazing, vivacious women on our website, and I want people to lust and jerk off to them. But I also want them to hear what they have to say.” Woman’s POV has posted interviews with Kink.com fetish model Eden Alexander on what it’s like to work in the porn industry. Holloway has penned educational letters to the syphilis infection (Hitler, Van Gogh, Beethoven, and Lincoln, it says, were all rumored to be victims of the STI), and conducted an interview with erotic comedian and dandigrrl AfroDisiac.

“We’re showing the wholeness of what makes women attractive,” she says. “It’s not just their breasts or how they fuck, it’s what’s on their minds.” Bay Area women will have a chance to be featured on the site at Mission Control’s monthly queer sex-dance party Velvet on Fri/2 — Holloway and Young will be trucking out a dirty videobooth for self-filmed couplings (or singlings), not to mention conducting a workshop on the empowering and relationship-boosting aspects of filming your hook-ups with a partner. It will be a “fun and safe place for people to explore their exhibitionism on camera,” promises Holloway.

This kind of multi-lateral approach to sexuality is just what Young intended when she started her first website, Madison Bound, in 2005. Although she was already a successful sex performer who had been curating sex-art shows at Femina Potens for five years — having recently pulled together “White Picket Fences”, a multi-disciplinary look at what family and future mean to local queer artists and sex workers — she found the web to be a particularly useful tool when it came to advocating alternative sexualities.

“The Internet has the capacity to reach a lot more people,” she told the Guardian on a recent afternoon in the large, white Mission-Bernal Heights studio that is serving as the Femina Potens office space while the gallery is between brick and mortar locations. “I’m a girl from Southern Ohio and I’m always thinking about the girl from back there.” Despite her central role in a burgeoning alt sex community here in the Bay Area, she feels a responsibility to make images of queer sex available for Middle America. “You’re just not going to have this stuff happen in front of you in Iowa.” Other subsites on the Feminist Porn Network include Perversions of Lesbian Lust, a slutty take on lesbian pop novels, and Femifist, a site devoted to the much-maligned practice of fisting.

Young has known Holloway for years — Holloway has hosted many of Femina Potens’ “Other View” panel discussions on BDSM, consent, and the anti-rape movement — and over the past two has watched her develop a distinctive voice when it comes to directing porn. “I wanted Woman’s POV to be a place where she could explore that voice,” she says. “It’s super empowering for [the webmistresses and actors] because they’re able to find out what they think is hot. Women aren’t usually put in that position to be able to find what turns them on. People are like ‘oh my god that’s hot. Oh my god that’s me!'”

That kind of discovery, Holloway says, isn’t just sexy — it strikes back at the disempowering way that society treats sex workers. She mentions that she sees the site as an important step in the sex workers’ rights movement. When asked to elaborate, she says that the movement’s about “the ability to support yourself safely and creatively.” In other words, it’s not enough to have a safe working environment for adult film actors — although that’s important too. It’s important that sex workers have the opportunity to portray the kind of intimacy that turns them on. What better way to do that than hand them the camera? 

VELVET

Fri/2 8 p.m.-2 a.m., $20 free membership required

Mission Control

Private location, see website for details

www.missioncontrolsf.org

www.womanspov.com 

 

The food divide

Jesse Hawthorne Ficks
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4
The food divide

news@sfbg.com

Antonia Williams is part of a slow, quiet food revolution. After battling obesity for much of her adult life, the 26-year-old lifelong Bayview resident did some research. “I realized it had a lot to do with the food I consumed,” she told us. “As a result of growing up in the neighborhood, I suffer from obesity. I’m overweight because of the lack of options for good healthy food.”

“It’s what I grew up on, McDonald’s and a lot of fried food for dinner,” she recalls. “The grocery stores in the area were very limited in what they offered. I believe my parents weren’t as educated or aware” about health and nutrition.

Williams managed to escape this bad foods trap, change her personal diet, and now works as a “food guardian” for the nonprofit Southeast Food Access (SEFA), helping to bring more nutritious fare to the Bayview.

The complex of challenges Williams faced simply to eat well—the fast food all around her, the dearth of grocery stores, and lack of awareness—reflects the array of systemic barriers to good food that keep tens of thousands of San Franciscans in chronically poor health.

Under the weight of recession and double-digit unemployment, San Francisco’s chronic food divide has grown deeper and wider. From regions of the city like Bayview, Excelsior, and other Southeast neighborhoods, to seniors surviving on marginal fixed incomes, to the city’s swelling unemployed and underemployed who rely on food pantries, access to fresh food is a daily geographic and economic battle.

Roughly one in five San Franciscans each day has no reliable source of adequate sustenance and must scramble for food from soup kitchens, food pantries, or other “emergency” supplies that have become a structural part of the city’s food system, according to the San Francisco Food Bank.

Each month, more than 100,000 families rely on the Food Bank to help feed themselves — nearly double the amount from 2006. Economic recession has dramatically increased the number of city residents using food stamps (known as “CalFresh”) each month, rising from 29,008 in 2008 to 44,185 in 2010.

Yet even that rise belies a far deeper need: only 47 percent of those qualifying for CalFresh are actually accessing benefits, according to a data analysis by California Food Policy Advocates; at minimum, more than 40,000 additional city residents are entitled to get this help, and thus eat better.

Across the city, parallel economic and food divides compound one another, spelling serious trouble for people’s basic nutrition and health — in turn depleting their energy, cognition, and ability to do everything from succeeding in school to getting a job.

 

BEYOND GROCERY STORES

In Bayview, where poverty and unemployment run about double citywide averages, these geographic and economic food divides come to a head. District 10, encompassing Bayview/Hunters Point (BVHP), features some of the city’s most grocery-impoverished neighborhoods, and has the highest rates of CalFresh usage.

This confluence of lack and need—compounded by a prevalence of fast food and liquor stores over fresh food offerings—has inspired Antonia Williams and other residents to fight for better food in their neighborhoods.

As one of four paid Food Guardians for SEFA, Williams spends about 20 hours a week examining grocery store shelves in Bayview, talking with consumers and food retailers, and educating both about the need for more fresh non-processed foods.

One recent victory: armed with customer survey data, she convinced the Bayview Foods Co. to stock low-sodium tomato paste. Next on Williams’ food improvement list is getting more low-sodium products, less cholesterol, and more fiber on the shelves.

These may sound like small steps, but they’re part of a larger effort to get healthier food in Bayview, where chronic diseases such as obesity, diabetes and heart disease are rampant. “I think a lot of people just don’t know the link between the food we are eating and these chronic diseases,” says Williams.

The Bayview is among the city’s most food-deprived districts, with just 63 percent of residents living within a half-mile of a supermarket (in Excelsior, it’s 57 percent), compared with 84 percent citywide. That ratio improved somewhat with the arrival this August of Fresh & Easy supermarket on Third Street, but access to fresh produce remains limited — a situation that numerous studies show contributes greatly to chronic undernourishment and disease.

Indeed, statistics show Bayview area residents suffer by far the city’s “highest rates of everything negative,” as former district supervisor Sophie Maxwell puts it: obesity, diabetes, heart disease, and cancer.

Ironically, the Bayview’s Third Street is home to the city’s bustling produce warehouses, which rattle early every morning with trucks and crates full of fruits and vegetable, “but you have to go out of the district to get it,” says Maxwell, who helped spearhead a Food Security Task Force while in office. “I was very much aware of [the food access problem] because of what I had to do to get food myself.”

Much of Third Street remains a boulevard of liquor stores and fried and fast food. According to Tia Shimada of California Food Policy Advocates, “A lot of what we see instead of food deserts is food swamps, where the amount of healthy nutritious food available is overwhelmed by all the fast food and junk food.”

Despite a seemingly diverse landscape of food businesses, “There’s a saturation in neighborhoods with unhealthy choices,” SEFA’s Tracey Patterson argues. “When the cheapest choice in front of you is fatty comfort food and fast food, that’s what you get accustomed to eating. The easier options quickly become habit.”

Kenny Hill, a 23-year-old food guardian and Bayview resident, puts it like this: “What we have in our community, that’s what we eat.” But he says history and culture play a role, too. “We need to change the culture of what’s considered good…Growing up eating salad, people would say, ‘Why are you eating that? That’s white people’s food.'”

In other words, it takes more than getting a grocery store—which itself involved a nearly 20-year struggle for Bayview residents and leaders. “Food access is just one part of the issue. Even if you get a grocery store, that doesn’t solve the problem,” says Patterson, whose group, SEFA, espouses “three pillars” to fix the area’s food problems: more grocery stores; education and health literacy; and expanded urban agriculture. “None on their own is enough.”

 

HUNGER CROSSES LINES

Getting a job isn’t enough either, statistics show. A recent study by the USDA cited by the Food Security Task Force shows that 70 percent of families nationwide with “food insecure” children have at least one member working full-time. And in San Francisco, the task force found, “39 percent of the households that receive weekly groceries through the SF Food Bank include at least one working adult. Only 18 percent of clients are homeless.”

At least by federal definitions of poverty, food insecurity isn’t just for poor people anymore — particularly in San Francisco, where exorbitant housing and other costs compound people’s struggles to meet their food needs. “If you just look at the poverty level, you’re missing a lot of people who are struggling to make ends meet,” says Colleen Rivecca, advocacy coordinator with St. Anthony’s Foundation. “Hunger and health and housing are so interconnected.”

Indeed, while the Federal Poverty Level for a family of three is $18,310, cost-of-living research by the INSIGHT Center for Community Economic Development found that in San Francisco, this family would need almost $40,000 more than that to make ends meet.

Rivecca says the ongoing recession is simultaneously deepening the food divides and undermining efforts to address it. For instance, SSI recipients must make do with $77 a month less than they got in 2009, while California is the only state where SSI cannot be supplemented by food stamps.

According to the Food Security Task Force, San Francisco “has an inordinately high number of residents who are elderly, low-income and/or blind and disabled — over 47,000 residents receive SSI.” Many are homebound, socially isolated, and living in SRO units without kitchens, and no means of preparing their own food. So it’s no surprise that these same people, who need help the most, often get it the least.

Due to “misconceptions about what qualifies,” says CFPA’s Kerry Birnbach, only 5 percent of Californians eligible for Social Security participate in CalFresh. “Senior citizens are more isolated, and the more isolated you are, the less likely you are to know about it.” Birnbach says that leads to lower nutrition, less energy, and greater hospitalization rates. “It’s not having food on the table — choosing between food and medicine.”

A 2006 study by the San Francisco Department of Aging and Adult Services found that while the city’s elders “received approximately 12.2 million free meals through all of the programs in the City including food pantries, free dining rooms, and home delivered meals, the gap between the number of meals served and the number of meals needed was somewhere between 6 [million] and 9 million meals annually.”

 

BAND-AID FOOD SYSTEM

As television cameras made clear on Thanksgiving, there’s no shortage of food and meal giveaway programs, soup kitchens run by churches and nonprofits — a whole constellation of ad hoc benevolence spread across the city. But this kind of “emergency food assistance” has become a structural part of the city’s dietary landscape.

Another main ingredient in the city’s food infrastructure is seemingly cheap fast food, which for many poor people becomes the diet of first and last resort. Sup. Eric Mar recalls meeting with teenage mothers and hearing one parent speak about dumpster diving at McDonald’s for what she called “fancy dinner.”

“The cheapest possible food like McDonald’s is seen as a luxury,” says Mar, who last year passed legislation preventing fast food chains from selling kids meals with toys unless they improved their nutrition content. “Poor people rely on whatever’s out there, and when McDonald’s or Burger King sells cheap, it undercuts families’ efforts to get healthy.”

District 10 Sup. Malia Cohen sees the impacts of fast food and junk food every day in Bayview. “There is no infrastructure out there to de-program people” from long-standing fast food habits. “I don’t fault people for eating fast food, but I do want them to think twice and know they have a choice.”

So what is the choice, and how will the city address its deep food divides, which cut across geographic and demographic lines?

So far, it’s a patchwork project. As one step, the supervisors in April passed a new zoning ordinance designed to encourage more urban food production. In Bayview, Cohen says, “We’re looking at urban agriculture as something that’s viable” to feed low-income residents.

Despite the arrival of Fresh & Easy, BVHP remains a critical flashpoint for the food security fight. Markets for fresh produce are few and far between. In 2006 the Department of the Environment teamed with Girls 2000 and Literacy for Environmental Justice to create the Bayview Hunters’ Point Farmers Market, but for a variety of reasons, the customer base wasn’t sufficient for farmers to keep selling there, and the project stalled. Now there is talk of reviving a farmers market in the area.

But for larger, more structural change to take hold, Mar argues, the food gap “has to be a citywide goal and priority.” And, he notes, bigger forces — notably agribusiness lobbies and congressional agriculture committees — make local progress more difficult. “It’s hard because the Farm Bill allows these food companies and commodity groups to keep their prices lower, and small businesses and producers have a hard time keeping their prices low,” encouraging more fast food and obesity and other diet-related diseases.

 

GREEN GLIMMERS

On a chilly gray late afternoon the day before Thanksgiving, we met with Patterson, Williams, and two other food guardians at Bridgeview Community Garden on the corner of Newhall and Revere in Bayview. Perched on a small chunk of slope overlooking houses and freeway traffic, the plot offers a thriving little harvest of tomatoes, kale, leeks, basil, and other vegetables and herbs. It’s not a lot of food, but along with other nearby agriculture, such as Quesada Gardens and the larger Alemany Farm, it helps bolster residents’ weekly dose of fresh produce.

Equally important, it gives budding food activists like Antonia Williams and Kenny Hill reason to believe things can change. After yanking a healthy crop of leeks from the soil, fellow food guardian Jazz Vassar, 25, notes, “There are a lot of community organizations doing good work here. We have high hopes to change things.”

Even as they work to nourish a different food future, the food guardians are acutely aware of the jagged rocks and stubborn old roots that need to be cleared. Asked what the city should do about Bayview’s many-layered food struggles, Hill responds: “Realize there is a problem in Bayview, and allocate resources here. There are statistics that this is a food desert, there are high rates of crime—people have to wake up and see that people here have been disenfranchised.”

It’s not about having the city do it for them, says Hill. “Give us something to latch on to so we can help ourselves.”

Former Bay Guardian city editor Christopher D. Cook is the author of Diet for a Dead Planet: Big Business and the Coming Food Crisis.

Whose park?

Jesse Hawthorne Ficks
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150
Whose park?

news@sfbg.com

Golden Gate Park and Ocean Beach have long been destinations for locals and tourists to take in natural beauty within an urban setting, but a controversial plan to build a complex of artificial turf soccer fields at their intersection is drawing opposition from neighbors and environmentalists.

The project seems to belie the original intent of Golden Gate Park as a uniquely wild setting. The Master Plan for Golden Gate Park, drafted in 1995, emphasizes environmental stewardship and maintaining the park in a natural, multi-use way. Among its provisions are “major meadows and lawns should be adaptable to host a wide variety of activities, rather than designed for a specific use.”

But the Recreation and Park Department (RPD) and sports advocates are pushing a plan to install seven acres of synthetic turf fields, complete with 60-foot, 150,000-watt lighting that will shine until 10 p.m. year-round.

The project will have its first major public hearing before the Planning Commission on Dec. 1 at 5 p.m. in Room 400 at City Hall. Public comments on the project’s Draft Environmental Impact Report, which was released in October, will be accepted at the Planning Department until 5 p.m. on Dec. 12.

Critics of the plan, including the Ocean Edge Steering Committee, have been distributing educational materials and trying to energize people to oppose a project that the group says runs counter to the park’s purpose and which will harm wildlife and cause other negative impacts.

The fields are slated to be installed over the four existing run-down grass fields in the Western Edge of Golden Gate Park, which sits directly across from Ocean Beach and next to the Beach Chalet historical building and restaurant. The project is projected to cost up to $48 million, about $20 million of which comes from the Clean and Safe Neighborhood Parks bond measure approved by city voters in 2008.

Advocates for the synthetic fields — most notably the City Fields Foundation, the main proponent of converting grass to turf in city parks (see “Turf wars,” 10/13/09) — say that this project will only take up a fraction of the natural space in the park, and that turf has many benefits over natural parkland.

“You can put a grass field in, but then you have to limit public access,” said Patrick Hannan, communications director for the City Fields Foundation. “If you want to have grass, there’s only so much sports play that can happen.”

Hannan says that this project is a response to the high demand for usable athletic fields and the limited play provisions of grass fields and availability of usable fields also limits the number of adults and children able to play sports.

RPD spokesperson Connie Chan was not responsive to Guardian questions about the project’s consistency with the Master Plan, and on the main project, she referred to a statement on the RPD website: “We are proposing to renovate the dilapidated Beach Chalet Athletic Fields in the western end of Golden Gate Park with synthetic turf, field lights and other amenities because Beach Chalet is one of three primary ground sports fields in San Francisco but unfortunately, these fields are in abysmal condition, often closed, and lacking spectator seating.”

But activists say the RPD shouldn’t disregard its own planning documents. “It took a long time to draft the Master Plan,” said Shawna McGrew, an activist who worked at RPD for 30 years. “They have no legal obligation, but a moral obligation to uphold the Master Plan.”

The grass soccer fields have been run down due to lack of maintenance and a continuing gopher problem. But environmental advocates argue that installing the planned light fixtures and synthetic turf will interfere with the wildlife, particularly the nesting birds.

“It’s been referred to as the mothership landing,” said Nature Trip tour guide and bird watcher Eddie Bartley, discussing the impact of the proposed lighting fixtures.

Environmentalists are seeking a greener alternative to this project.

“We feel that there’s a compromise alternative that should really satisfy the concerns that everyone has,” said Katherine Howard of the Ocean Edge Steering Committee. She said her group’s goal is “to renovate the athletic fields, but to do it with real grass. They need a good drainage system, a state of the art irrigation system, gopher control barriers, and top notch grass.”

Howard has spent a significant amount of time approaching people at Golden Gate Park to inform them of the upcoming plans. She believes that not enough park users have been notified about the proposal to install the synthetic turf.

“I had no idea that they were going to do that,” native San Francisco resident Rick Rivero said in response to Howard’s description of the plans. “I played soccer in this field myself and I don’t want to see them changed.”

Rivero said that he hadn’t seen any flyers around the park mentioning plans to change the soccer fields.

RPD originally tried to do the project with conducting an EIR to study alternatives and environmental impacts, but groups like the Golden Gate Audubon Society and Ocean Edge objected. The resulting DEIR stated that, after a few alterations and formal recommendations, the project will have a “less than significant impact” on the biological resources of the area. But environmentalists are dissatisfied with the report.

Among their objections was the report labeling some trees as “tall shrubs” in order to allow for their removal. Studies cited in the DEIR state that water toxicity from the runoff of synthetic turf fields — which can contains plastic and other waste products — “decreased over time” and should have no effect on those using them.

But there have been conflicting studies of that issue, the subject of controversy through the country. Environmentalists noted that water used in natural fields filters down into the underground aquifer where it can be reused, whereas runoff from the turf will be need to be treated as wastewater, a fact given short shrift in the DEIR.

“In our opinion, the EIR is inadequate and incomplete,” Howard said. “And we will be submitting letters to that effect before Dec. 12th, as well as testifying to that on Dec. 1st.”

But the DEIR doesn’t wholly endorse the project. For example, it also states that the project’s impact on cultural resources, referring to the original intent of Golden Gate Park, will be “significant and unavoidable.”

Some parents and sports enthusiasts are disappointed with this backlash and argue that the turf fields will provide an important asset to the city.

“I’m 60, but a few decades ago I played soccer on the Beach Chalet Fields. They were in crappy condition [then] and they’re still in crappy condition,” said Tim Colen, a “soccer parent” we were referred to by Hannan. Colen is also executive director of the San Francisco Housing Action Coalition and someone who regularly testifies at City Hall in favor of large development projects.

“It surprises me that a small minority of people has been able to obstruct this project,” Colen said, noting that many parents support the project because the shortage of fields is forcing families out of the city and toward the readily available fields in the suburbs.

Community meetings and even mayoral forums have addressed the proposed Beach Chalet fields. As reported by the RichmondSF blog, mayoral candidate Joanna Rees showed up to a debate wearing her daughter’s soccer jersey and voiced opposition to the artificial turf. Board of Supervisors President David Chiu also reminisced about the joy of playing soccer on grass fields.

Other community meetings have been flooded with youth soccer players from San Francisco and beyond advocating the installation of the turf fields. But local environmentalists say Golden Gate Park was meant to be a refuge for all city residents and visitors.

“Golden Gate Park was created as a place for people to get away from the city,” Howard said. “The amount of contiguous park land is very important.”

Our Weekly Picks: November 23-29

Andrew Lam
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0

WEDNESDAY 23

Immortal Technique

“So now that it’s proven, that a soldier of revolution/ Or head of an empire, disguised in a constitution/ Can not escape the retribution or manipulation/ Of the self-appointed rulers of the planet’s corporations.” So says Afro-Peruvian rapper Immortal Technique on new mixtape The Martyr (Viper Records). Born Felipe Coronel, Tech seizes every opportunity to eviscerate American class warfare and excoriate the United States government’s complicity. Tech’s angry sermons get a little lost in the first half of Martyr because of distracting riffs taken from the Beatles, Aerosmith, and The Goonies soundtrack, though there is a clever reworking of ABBA’s “Money, Money, Money” in reference to this generation’s “Rich Man’s World (1%).” Pure, undiluted Tech shines through on the mixtape’s second half. Swill with care. (Kevin Lee)

With Chino XL, Da Circle, DJ GI Joe

8 p.m., $32.50

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

 

MOM’s Family Funk’tion

Before you indulge in caloric binges, first endear yourself to the soulful 1960s sound that has always sounded sweeter during the holidays: Motown. No one knows and appreciates this more than the masterminds behind MOM (Motown on Mondays) who bring originals, remixes, and “close relatives” of Motown label songs to venues and events across San Francisco, including Madrone Art Bar, Public Works, SF Funk Fest, even the Treasure Island Music Festival. The first MOM’s Family Funk’tion goes down the night before the turkey funeral that is Thanksgiving at Brick & Mortar, with DJs Gordo, Timo, Phleck, and Matteo spinning the tracks that get the tail-feathers shaking. The crew from MOM promises to provide “toasty soul and fresh funk jams.” (Emily Savage)

10 p.m., $5

Brick & Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com

 

tUnE-YarDs

Before her set at Pitchfork Music Festival last summer, we were all given tubes of neon yellow warpaint so we could emulate tUnE-YarDs’ Merrill Garbus. Though we may have resembled her, it was no use. We would never be as badass as the woman on stage looping ukulele, smashing drums, and wailing something fierce. With help from additional saxophonists and drummers, the playful jams of Garbus’ quirky hit album w h o k i l l (4AD) burst forth into the calculated cacophony that is tUnE-YarDs. (Frances Capell)

With Pat Jordache

8 p.m., $23

Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com

 

FRIDAY 25

“Sing-A-Long Sound of Music”

Chances are “Sing-A-Long Sound of Music,” the classic musical from 1964 with lyric subtitles so the whole theater can burst into song, is your mother’s dream come true — unless I am the only one who has watched their mom caper around the house, singing “My Favorite Things” (a possibility). It’s fortunate that “Sing-A-Long Sound of Music” should show the weekend after Thanksgiving. If mom’s in town, it’s your best bet. Additionally, the theater hands out goody bags, holds a pre-film concert featuring organist David Hegarty, as well as a costume contest. Your mom can dress up as Maria, of course, and you can dress as one of the Von Trapp children. Come on, do it for family. (James H. Miller)

7 p.m., $15

Castro Theater

429 Castro, SF

(415) 621-6120

www.castrotheater.com

 

Nadastrom

Are there a lot of orphans in the DJ community? Why are they active the weekend after Thanksgiving, when touring bands are presumably in food comas? Thankfully, there’s still down and dirty shows like this to sweat the gravy out, featuring a big lineup of international and SF DJs including Nadastrom, the progenitors of the bastard toddler of Dutch house and reggaeton: moombahton. Put on by Soundpieces, Camp?, and Irie Cartel, the proceeds of the event will benefit DJs Bogl and Benjammin Taylor, who lost their home in the fire above the Haight and Fillmore Walgreens a couple months back.(Ryan Prendiville)

With Truth (NZ), Stylust Beats (CAN), Lorne B (CAN), Tuffist (SP), Dnae Beats and more

10 p.m., $15 advance

103 Harriet, SF

(415) 431-1200

www.1015.com

 

“Velveteen Rabbit”

There is a lovely tradition in English children’s books that dresses issues around growing up with imagination and a gentle but firm hold on reality. Winnie the Pooh and Wind in the Willows are two of them. Marjorie Williams’ 1922 The Velveteen Rabbit is another. ODC/Dance’s KT Nelson, a young mother at the time, choreographed it 24 years ago. Today, it’s as fresh and imaginative as ever, with wonderfully colorful costumes, Benjamin Britten’s splendid score and Geoff Hoyle’s intimate narration. The two-person high Nana has just a touch of Victorian strictness about cleaning up the nursery but her efficiency is more than held in check by the toys who have minds of their own. Opening performance is Grandparents’ (20 percent off) and photo day (Rita Felciano)

Through Dec. 11, times vary, $15–$45

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF

(415) 978-2787

www.ybca.org

 

“Great Dickens Christmas Fair”

Do not discount the Dickens Fair’s potential for holiday weekend shenanigans. Opportunities for hijinx abound, and not just because the fair’s 800 performers — from dirty-overcoated “guvnah!” drunks to crinoline-encased ladies who tea — are encouraged to interact in character with passers-by (mess with them gently! They love it!) The fair fills the cavernous Cow Palace, and houses a corsetry with live models coordinated by local cinchers Dark Garden, an adventurer’s salon where you can share your rollicking tales of shot glass exploration with fantastically mustached gents — and yes, you can booze your face off. Four bars, people! Including an absinthery in an alley, where you can mix chemically-induced hallucinations in with your environment-induced ones. (Caitlin Donohue)

Through Dec. 18, $22–$25

Cow Palace

2600 Geneva, SF

1-800-510-1558

www.dickensfair.com

 

Boys Noize

Here’s a great way to shed those new extra turkey (or Tofurkey) pounds — waddle into the Mezzanine Saturday night in your most comfortable tight jeans and dance your ass off. Boys Noize throws down the kind of relentlessly squelchy music that might make pioneers of Detroit’s minimal techno scene wince. Noize, actually the moniker of German DJ Alex Ridha, has been busy as of late, pushing releases on his record label, BoysNoize Records and its digital offshoot BNR Trax. The label’s sounds range from acidy techno to sinister electro, with a sprinkle of wobbly dubstep and a dash of oddball, leftfield sounds — much like the label’s creator himself. (Lee)

10 p.m., $30

Mezzanine

444 Jessie, SF

415) 625-8880

www.mezzaninesf.com


SUNDAY 11/27

Jeffrey Luck Lucas and Nebulous Orchestra

The Mission District’s Episcopal Church of St. John the Evangelist is no ordinary church — sure, it holds regular worship services, but it is also highly progressive (vocally supportive of LGBT rights, for example), boasts a colorful mural on one of its exterior walls, and is staunchly community-oriented, welcoming the occasional secular event into its historic (circa 1910, after being rebuilt post-1906 quake) building. Tonight’s performance features Mission troubadour Jeffrey Luck Lucas, heading up an “orchestra” (pipe organ, oboes, clarinets, strings, and more) comprised of other local musicians. You can bet that the acoustics in the church — itself known for a strong music program — will render the experience even more amen-worthy. (Cheryl Eddy)

With Gloaming Boys

6 p.m., $8–$20 (no one turned away for lack of funds)

Episcopal Church of St. John the Evangelist

1661 15th St., SF

www.saintjohnsf.org


MONDAY 11/28

“You Are All Captains”

A beguiling and beautiful meta-fiction, You All Are Captains grew out of Oliver Laxe’s experience teaching film workshops to local kids in Tangiers. Everyone plays themselves in this reflexive movie, though Laxe casts himself as the fool — a presumptuous European director guiding students to his own ends. The disguise allows him to realize sly but substantive reflections upon the ontology and ethics of filming. It’s fitting that You All Are Captains is making its local premier in a classroom: a U.C. Berkeley student group flying under the banner of “Picturing Neo-Imperialism” has invited Laxe to present his debut in person more than a year after it won the FIPRESCI critics’ award at Cannes. (Max Goldberg)

7 p.m., free

UC Berkeley

Dwinelle B-4, Berk.

www.pnwg.wordpress.com/events


TUESDAY 11/29

Metal Mother

By some standards, Oakland’s Tara Tati came into music fairly late: she didn’t take up the piano seriously until she was 23. But you wouldn’t guess as much listening to her ethnic fusion project, Metal Mother. On the debut album Bonfire Diaries, the singer-songwriter builds up a bold and elemental sound. With its trudging percussion and distinctly dark temper, Metal Mother invokes ’80s goth rock, ethnic fusion bands like Dead Can Dance, and at times, world ambient soundscapes. And yet, at heart, Tati sounds like a pop artist in the same vein as Björk circa Homogenic, and that alone implies talent. (Miller)

With Horns of Happiness, Mortar and Pestle, Birdseye

8 p.m., $10

Cafe Du Nord

2170 Market, SF

(415) 861- 5061

www.cafedunord.com

 

Retox

Is the Locust a joke? With its speedy deliver, high vocals, beepy attack synth, and masked personas, I never could quite decide. And yet, who cares? The energy level was always high, the shows always masterful absurdist romps. Justin Pearson and Gabe Serbian from the screamy ’90s-born Three One G act have now formed Retox — like Locust 2.0. Masks now off, and sounds a bit filled in (but really, just a smidge — its new album clocks in at 13 minutes total), it’s shinier, thicker, less jokey. It’s helter-skelter rock’n’roll, minus the screeching buzz-saw, the painful intro to “Boredom is Counter-Revolutionary” notwithstanding. The band is matched well with frantic experimental Japanese noise-punk act Melt-Banana. Anticipate high-energy, non-medical spasms. (Savage)

With Melt-Banana, Peace Creep

9 p.m., $14

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Standing room only

Andrew Lam
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0
Standing room only

arts@sfbg.com

DANCE We go to dance performances to be entranced, or at least intrigued, by well-physicalized movement ideas. But it helps if choreographers work with collaborators who not only enhance basic concepts but also bring their own perspectives to the dance-making process. Two programs last weekend, Liss Fain Dance’s playfully evocative The False and True Are One and LEVYdance’s delicious ROMP, showed just how successful the result of that kind of cooperation can be. Interestingly, Liss Fain and Benjamin Levy also contributed to the recent trend of abandoning the proscenium theater — too expensive? Too hierarchical? Too restrictive? — in favor of “installations” in which audiences move around the performance space.

Choreographers seem to feel that nudging audiences out of their seats will engage them more actively because they can choose when they want to focus on something. Personally, I am not convinced that this process involves a viewer more intently. However, the format’s informality, its sense of being invited in, suggests a welcoming atmosphere that can make dance watching, at least for a time, a lot of fun.

Perhaps the greatest gain that the installation format offers is the closeness it offers between audience and dancers. To observe muscles stretching less than a foot away, to hear the breathing that accompanies a strenuous lift, and to see a tiny adjustment to balance and gravity that a dancer makes is a gift that a traditional theater cannot provide. What you loose in overall perspective is compensated for by the intimacy between observer and performer.

For that to happen, choreographers need designers who can create the appropriate environment. False and True‘s Matthew Antaky and ROMP‘s Jack Beuttler chose the square as a basic format. Both modulated the idea to support the choreography to excellent effect.

Antaky’s transparent fiberglass panels made for muted perspectives on the four squares within the bigger square that the dancers inhabited. The design looked a little like a board game and was airy enough to allow for a number of pathways for the dancers. Into the absolute center he placed a slightly raised podium — suggesting a private writing and thinking space — for narrator Nancy Shelby, whose reading of Lydia Davis’ musings set False and True‘s tone. Fain’s controlled yet free-flowing choreography for nine dancers — the uneven number was most refreshing given Antaky’s strict geometry — constantly shifted between all the available spaces and groupings. Dancers picked up and modified sequences in a game of unstated rules, but they also became part of the audience, watching their colleagues or listening intently to Shelby.

Beuttler’s square for the rambunctious ROMP at first suggested a town plaza in which people, i.e. the audience, had pulled chairs around into an informal café setting. In the latter part of the work, tables around the periphery reseated the audience banquet-style; they both framed a central performing area and then became the platform for a moving menu of passing delicacies as dancers slithered, cavorted, and leapt in close-up. The audience ate it up, laughing, talking, and taking pictures. I wouldn’t have been surprised if they had tried tip the artists.

Levy’s fast-paced and exuberant choreography for himself, Mélodie Casta, and Scott Marlowe pulled in a group of nine auxiliary dancers — some of them still students — who raced and dove between the seated audience without a single misstep. Their energy was that of kids released at the end of the school year, but their discipline and exactitude was that of professionals. An intricately structured trio for Levy’s own dancers highlighted their eccentric individuality but gradually deepened into cheek-to-cheek slow dancing.

As for that audience participation that both choreographers wanted, Levy’s public lustily participated. But a funny thing happened during False and True. Despite the exhortation to move around, the audience mostly stood and sat. Seeing those dancers be so vigorous and intent and yet so quiet — Dan Wool’s score was a modicum of discreteness — cast a spell that you didn’t want to break.

J’Accuse: An open letter from a UC-Davis professor

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I

Madeline Perez, our correspondent on the scene at the University of California-Davis, reports that Nathan Brown, an untenured  assistant professor in the Department of English, has written an eloquent  open letter to Chancellor Linda P.B. Katehi  demanding her  immediate resignation. She emailed his letter to the Guardian. Perez  says it has  further electrified the campus and given an emotional rationale to the Occupy Davis movement and unified the students in calling for Katehi’s resignation. As a result of his letter, Brown has become an instant campus hero and given his department new distinction. He was interviewed Monday morning  on Amy Goodman’s “Democracy Now” show on KPFA Pacifica radio  and then on Monday night  MSNBC cable television shows. 

Brown in his interviews emphasized the point in his letter that “the fact is, the administration of UC campuses systematically uses police brutality to terrorize students and faculty, to crush political dissent on our campuses and to suppress free speech and peaceful assembly. Many people know this.  Many more people are learning it very quickly.”

Brown opens his letter by saying that he is a junior faculty member “who has taken an active role in supporting the student movement to defend public education on our campus and throughout the UC system. In a word, I am the sort of young faculty member, like many of my colleagues, this campus needs. I am an asset to the University of California at Davis. You are not.”

He concludes: “I call  for your resignation because you are unfit to do your job. You are unfit to ensure the safety of students at UC Davis. In fact: you are the primary threat to the safety of students at UC Davis. As such, I call upon you to resign immediately.”

Open Letter to Chancellor Linda P.B. Katehi
Linda P.B. Katehi,

I am a junior faculty member at UC Davis. I am an Assistant Professor in the Department of English, and I teach in the Program in Critical Theory and in Science & Technology Studies. I have a strong record of research, teaching, and service. I am currently a Board Member of the Davis Faculty Association. I have also taken an active role in supporting the student movement to defend public education on our campus and throughout the UC system. In a word: I am the sort of young faculty member, like many of my colleagues, this campus needs. I am an asset to the University of California at Davis.

You are not.

I write to you and to my colleagues for three reasons:

1) to express my outrage at the police brutality which occurred against students engaged in peaceful protest on the UC Davis campus today

2) to hold you accountable for this police brutality

3) to demand your immediate resignation

Today you ordered police onto our campus to clear student protesters from the quad. These were protesters who participated in a rally speaking out against tuition increases and police brutality on UC campuses on Tuesday—a rally that I organized, and which was endorsed by the Davis Faculty Association. These students attended that rally in response to a call for solidarity from students and faculty who were bludgeoned with batons, hospitalized, and arrested at UC Berkeley last week. In the highest tradition of non-violent civil disobedience, those protesters had linked arms and held their ground in defense of tents they set up beside Sproul Hall. In a gesture of solidarity with those students and faculty, and in solidarity with the national Occupy movement, students at UC Davis set up tents on the main quad. When you ordered police outfitted with riot helmets, brandishing batons and teargas guns to remove their tents today, those students sat down on the ground in a circle and linked arms to protect them.

What happened next?

Without any provocation whatsoever, other than the bodies of these students sitting where they were on the ground, with their arms linked, police pepper-sprayed students. Students remained on the ground, now writhing in pain, with their arms linked.

What happened next?

Police used batons to try to push the students apart. Those they could separate, they arrested, kneeling on their bodies and pushing their heads into the ground. Those they could not separate, they pepper-sprayed directly in the face, holding these students as they did so. When students covered their eyes with their clothing, police forced open their mouths and pepper-sprayed down their throats. Several of these students were hospitalized. Others are seriously injured. One of them, forty-five minutes after being pepper-sprayed down his throat, was still coughing up blood.

This is what happened. You are responsible for it.

You are responsible for it because this is what happens when UC Chancellors order police onto our campuses to disperse peaceful protesters through the use of force: students get hurt. Faculty get hurt. One of the most inspiring things (inspiring for those of us who care about students who assert their rights to free speech and peaceful assembly) about the demonstration in Berkeley on November 9 is that UC Berkeley faculty stood together with students, their arms linked together. Associate Professor of English Celeste Langan was grabbed by her hair, thrown on the ground, and arrested. Associate Professor Geoffrey O’Brien was injured by baton blows. Professor Robert Hass, former Poet Laureate of the United States, National Book Award and Pulitzer Prize winner, was also struck with a baton. These faculty stood together with students in solidarity, and they too were beaten and arrested by the police. In writing this letter, I stand together with those faculty and with the students they supported.

One week after this happened at UC Berkeley, you ordered police to clear tents from the quad at UC Davis. When students responded in the same way—linking arms and holding their ground—police also responded in the same way: with violent force. The fact is: the administration of UC campuses systematically uses police brutality to terrorize students and faculty, to crush political dissent on our campuses, and to suppress free speech and peaceful assembly. Many people know this. Many more people are learning it very quickly.

You are responsible for the police violence directed against students on the UC Davis quad on November 18, 2011. As I said, I am writing to hold you responsible and to demand your immediate resignation on these grounds.

On Wednesday November 16, you issued a letter by email to the campus community. In this letter, you discussed a hate crime which occurred at UC Davis on Sunday November 13. In this letter, you express concern about the safety of our students. You write, “it is particularly disturbing that such an act of intolerance should occur at a time when the campus community is working to create a safe and inviting space for all our students.” You write, “while these are turbulent economic times, as a campus community, we must all be committed to a safe, welcoming environment that advances our efforts to diversity and excellence at UC Davis.”

I will leave it to my colleagues and every reader of this letter to decide what poses a greater threat to “a safe and inviting space for all our students” or “a safe, welcoming environment” at UC Davis: 1) Setting up tents on the quad in solidarity with faculty and students brutalized by police at UC Berkeley? or 2) Sending in riot police to disperse students with batons, pepper-spray, and tear-gas guns, while those students sit peacefully on the ground with their arms linked? Is this what you have in mind when you refer to creating “a safe and inviting space?” Is this what you have in mind when you express commitment to “a safe, welcoming environment?”

I am writing to tell you in no uncertain terms that there must be space for protest on our campus. There must be space for political dissent on our campus. There must be space for civil disobedience on our campus. There must be space for students to assert their right to decide on the form of their protest, their dissent, and their civil disobedience—including the simple act of setting up tents in solidarity with other students who have done so. There must be space for protest and dissent, especially, when the object of protest and dissent is police brutality itself. You may not order police to forcefully disperse student protesters peacefully protesting police brutality. You may not do so. It is not an option available to you as the Chancellor of a UC campus. That is why I am calling for your immediate resignation.

Your words express concern for the safety of our students. Your actions express no concern whatsoever for the safety of our students. I deduce from this discrepancy that you are not, in fact, concerned about the safety of our students. Your actions directly threaten the safety of our students. And I want you to know that this is clear. It is clear to anyone who reads your campus emails concerning our “Principles of Community” and who also takes the time to inform themselves about your actions. You should bear in mind that when you send emails to the UC Davis community, you address a body of faculty and students who are well trained to see through rhetoric that evinces care for students while implicitly threatening them. I see through your rhetoric very clearly. You also write to a campus community that knows how to speak truth to power. That is what I am doing.

I call for your resignation because you are unfit to do your job. You are unfit to ensure the safety of students at UC Davis. In fact: you are the primary threat to the safety of students at UC Davis. As such, I call upon you to resign immediately.

Sincerely,

Nathan Brown
Assistant Professor
Department of English
Program in Critical Theory
University of California at Davis

Her way

Jesse Hawthorne Ficks
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4
Her way

arts@sfbg.com

DANCE Early in the 20th century, Ezra Pound declared “the artist is the antenna of the race.” True or false? Do artists have the ability to predict the future, or are they stuck in the present?

Krissy Keefer, artistic director of Dance Brigade and Dance Mission Theater, tends to side with Pound. While she wouldn’t go as far as writer-performer Guillermo Gómez-Peña, who considers the artist a shaman, she does think that “there is something about the artistic process that opens your brain to see into the future, to see things happening before they actually happen.”

This weekend Keefer and her troupe are celebrating the 35th anniversary of Dance Brigade and its antecedents the Wallflower Order. The performances, all with free admission, include a retrospective of works spanning the last three decades, plus the 2009 Great Liberation Upon Hearing, based on the Tibetan Book of the Dead; Keefer created the work after losing two close friends within the same year.

Women taking charge of their own fate may not be news today, but in 1975, Wallflower’s five female warriors were pioneers. The turmoil of the post-Vietnam era and the rise of feminism had created a climate in which audiences hungered for dance that spoke to their lives. Many of them were women. The company was made up of contentious women, strong dancers, committed activists. They were not about to be stopped, much like their “grandmothers” Isadora Duncan and Martha Graham or, in terms of politics, the characters in 1964 Chinese ballet The Red Detachment of Women.

Most remarkably, Keefer’s commitment to make art addressing issues that matter has not waned — she’s as ready as ever to mount the barricades and make her voice heard through art. In retrospect, it is surprising how much of her past work was highly prescient.

She recently called my attention to my reservations about her having drenched one section of the 2002 Cave Women in images of extreme destruction and war. (At the time, the bloodiness seemed over the top). Almost immediately, all hell broke loose in Afghanistan and the Middle East. Revolutionary Nutcracker Sweetie, a huge success from 1987-1997, features one-percenters the McGreed family, an abused undocumented servant in Clara, and a homeless Sugar Plum Fairy. Issues that were under the radar at the time have become headlines.

Appearing in Nutcracker — with an excellent, Tchaikovsky-based score by jazz composer Mary Watson — were then-little-known artists like Axis Dance Company and aerial dance pioneer Terry Sendgraff; Keith Hennessy played the McGreed’s renegade son.

For all her predilection for “making art that includes themes of social responsibility and dealing with real situations with real people,” Keefer is also very much a creature of the theater. The work has to stand on its artistic feet, perhaps not surprising for a woman who trained as dancer at age six — long before she knew what she wanted to dance about.

The 2005 Dry/Ice, a look at the effects of global warming, for instance, was a commission from the San Francisco International Arts Festival. Now who else, except someone who besotted by the stage, would lug a cast-iron bathtub, weighing over 300 pounds, into Theater Artaud for two performances? “I just wanted to do something about the environment,” she recalls. (Al Gore’s An Inconvenient Truth came out the next year.)

In the 2004 Spell, a collaboration with Hennessy, Keefer became a raging goddess-witch figure doing an exorcism for peace and economic justice. It was a power performance that, given the lives many people have today, probably would play well in the suburbs.

Keefer also takes her social activism outside the theater. In 2000, when she felt that the criteria for acceptance to the San Francisco Ballet School were unjustifiable — based on the experiences of her daughter, eight years old at the time — she complained loud and clear. It started discussions about the female dancer’s body at the time when academics had barely touched the subject. In 2006, she was so furious about the country’s priorities that she ran for Congress. Of course, she knew that she wouldn’t win — but she wanted to take a stand. Even her parents encouraged her to do so. “I can’t believe that I ran against Nancy Pelosi when she was poised to become Speaker of the House,” she laughs today.

Meditation has helped Keefer step away from anger, what she called her “habitual response” to injustice. The resolve was shaken, however, this past summer, when — coming back from a successful East Coast and Caribbean tour with Liberation — all the costumes (transported via Greyhound, the only shipping the company could afford) were stolen. “What can you do?” she shrugs. This Mother Courage of dance will just put her shoulder to the wheel a little harder. 

 

“FROM WALLFLOWER ORDER TO DANCE BRIGADE: A 35-YEAR RETROSPECTIVE CELEBRATION”

Fri/18-Sat/19, 8 p.m.; Sun/20, 2 p.m., free

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF www.dancebrigade.org

“MORE THAN THE SUM OF ITS PARTS:” LOCAL ARTS LUMINARIES TOAST DANCE BRIGADE

 

DANCE From Brady Street to Dance Mission and beyond, Krissy [Keefer] has been one of the true champions of our dance community, in no small part due to her own artistry. The spirit of her work is visually and musically rich, fundamentally diverse, and deeply committed to social relevance — attributes she’s manifested on so many levels in a long and vital career. Rob Bailis, Former Artistic Director, ODC Theater

In the dance ecology of the Bay Area, Dance Brigade, and especially Krissy Keefer, play such vital role. I can’t think of anyone else as fierce about what she believes in, what she cares about, and how she creates work to reflect those beliefs. In many ways she is our conscience when we might waver in the face of budget cuts and the endless struggle to get money to do work. Because she is so strong about this herself, I really count on her to keep us honest around our vision and our integrity of purpose. Kenneth J. Foster, Executive Director, Yerba Buena Center for the Arts

Krissy Keefer’s life energy is totally invested in professional, community-based, inclusive, and affordable feminist art. She has consistently supported women artists for over 30 years. It is no easy task to maintain an artistic vision and a financially secure organization, and to be able to deal with the high volume of traffic that is required to run a studio anywhere, much less in the most expensive city in the U.S. That piece of real estate at 24th and Mission has always been a port in the storm for the dance community. Mary Alice Fry, Artistic Director, Footloose Dance Company and Shotwell Studios

What makes Dance Brigade’s work special and important is how they take on the big issues facing the world and then find a way to make us laugh. Krissy Keefer is the Jon Stewart of the dance world! Krissy’s perspective, passion and tenacity are testament to the company’s longevity; that a Dance Brigade show dealing with war, greed, or even addressing violence towards women, can be entertaining is powerful. Krissy, in her wonderfully brash and focused manner, has the ability to remind us that we are citizen-dancers, that we need to participate, and that big messages, abstract dance and the hope for social change can happily co-exist on stage. Wayne Hazzard, Executive Director, Dancers’ Group

Dance Brigade’s legacy in the Bay Area is huge. By not allowing their company to become mainstream, they paved the way for alternate companies to see that there is a place at the table for work that is not shiny, slick and influenced by institutional homogenization. Dance Brigade has demonstrated by example that contemporary dance can be messy, political, and uncomfortable. By blurring the lines between politics and art, a whole new generation of politicized artists have been given permission to emerge and that has infused Bay Area dance with a lot of new ideas and energy. Joe Landini, Director, The Garage

Krissy and the Dance Brigade have been at the forefront of bringing political concerns into the theater. They have paved the way, both artistically and practically, for dozens of politically engaged artists who may or may not identify with their work. To me, Dance Mission is a physical embodiment of the importance of the Dance Brigade’s values of democracy. It’s not easy to separate the artistic and the community legacy of Dance Brigade’s work; it’s the combination that makes them so powerful. Jessica Robinson Love, Executive and Artistic Director, CounterPULSE

When Dance Brigade emerged in San Francisco in the mid-’80s as an outgrowth of the nearly-mythical Wallflower Order, they brought together a number of tendencies that were already percolating in the dance community: using dancers of widely varying body types, introducing world music (sometimes performed by the dancers), spoken word, and text narrative, circus and vaudeville tricks and, always, no-holds-barred political content. Dance Brigade inspired other companies to be braver through their example of what might be called gonzo feminist dance. Krissy and her dancers and collaborators took these disparate influences and turned them into powerhouse performances where the whole was more than the sum of its parts. Kary Schulman, Director, Grants for the Arts. (Compiled by Rita Felciano)

Wag the dog: The SF kennel that makes your apartment look like kibble

Andrew Lam
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Wag the dog: The SF kennel that makes your apartment look like kibble

Wiggle that paw into your trusty Birkin for a spare $150 this holiday season — you’re staying in the best room in town. Of course, the hospitality staff there is going to be a little hands-on. They’ll wake you at 6 a.m., feed you breakfast, put you in a play group with future-friends that share your weight, age, and temperment. They’ll read you a short story during nightly “cuddletimes” and make sure your owners can see you on the livefeed at all times. Also, in this scenario you are a dog.

“People don’t want a kennel these days,” Jose Gonzales, director of guest services at the Mission’s Wag Hotel, is showing me through his kennel’s state-of-the-art facilities. “They want a safe, clean, convenient place to leave their pet.”

Wag’s first branch opened in Sacramento in 2005, at which time Gonzales tells me “we really, literally redefined pet care.” Redefined it to mean luxury summer camp for the dander set, that is.

Where’s my mint. Guardian photo by Caitlin Donohue

The center is open 24 hours a day. In Wag’s parlance, its human customers are “parents,” individuals who need only peek at their iPhones and the hotel’s playroom livestreams shown thereon to determine whether Pawla Abdul needs another dog biscuit (Gonzales says he is wont to call in requests that employees give snacks to his own pooch when he leaves his furry friend to Wag). 

Wag smells more like air freshener than canine as the two of us explore its bowels, Gonzales imparting a stream of information and myself dutifully following after. Here are the glistening, occasionally flatscreen-bedecked two-room enclosures that house steerage boarders (the dog bowl in the door means the “room” has been serviced), the vast playrooms looked down upon by even more vast skylights. 

There are 239 of these quarters at Wag. Usually there are less than 100 dogs staying in them, although at peak times over holidays, there can be enough to necessitate 50 to 60 employees, when it’s “all paws on deck,” as Gonzales puns. There is a rooftop garden for dogs that love to feel the sun on their furry faces, even report cards given to each parent at their offspring-from-another-bitch’s terminus at Wag. These rate Puppy’s bowel movements, and cite the friends they’ve made at Wag by breed and name. There are special activities planned intermittently, like the 12 Days of Winter event from Dec. 1-16 that will afford the dogs opportunities to take photos on Santa’s lap and have staff members design stockings for them that suit their personalities. 

Reading selections in the Wag Suite. Guardian photo by Caitlin Donohue

But for some, this comfort is not enough. And there is still a chance for your young pup to be the first guest at the $150 a night Golden Gate Suite.

This is the grand finale of Gonzales’ tour. Here, in a secluded hallway far from the whines and yelps of steerage, a genteel canine can while away the three to four days that constitute the average stay at the hotel, in jet-setting style. 

A double bed (slung low to the floor, no jumping for the dogs of the one percent) with organic sheets, layers of pillows, and a faux fur throw is the centerpiece of the room, which rather resembles a slick private double in a high-end hostel. Upon the pillows rest a box of doggy “chocolates” made by a local artisan and a plush remote control, which does not operate the large flatscreen on one side of the room where room occupants will view their owners each night for a heart-warming Skype chat. 

There is also a stack of books for storytime on a coffee table. “I personally like The Giving Tree,” Gonzales tells me. “But that’s a personal favorite.”

“A lot of people thought that the room was built to be over the top,” he reflects, shortly before we call in a golden labrador named Montana to lounge for my camera on the bed and whine impatiently for the box of artisan treats Gonzales has safely hid behind his back. “But we built it to be practical. We looked at what a dog needs and what will make the client and dog super-happy.”

This super-happiness, Wag has decided, lies in bridging the gap between pet and human when the two must be geographically separated. To mimic the home environment, Golden Gate Suite patrons can even sit down with hotel employees to determine which Pandora channel their beloved four-legger will listen to. 

On the occasion of my visit, classical is playing throughout the hotel. “We’ve had different feedback from clients that they don’t want their dog listening to classical,” says the director of guest services. “Maybe they want movie noise. Yeah, dogs don’t watch movies. But we want them to feel at home.”

 

Wag Hotel

25 14th St., SF

(415) 876-0700

www.waghotels.com

Timber war returns

Jesse Hawthorne Ficks
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5
Timber war returns

Protestors in flashy animal costumes picketed the appearance of infamous logger Archie “Red” Emerson, who was giving a guest lecture to the Forestry Department, at the University of California Berkeley campus on Oct. 14 to bring awareness to the increasing use of environmentally destructive logging practices.

The protesters were admittedly having fun parading around as skunks and beavers, but there was a heavy point to go with the theatrics. Emerson’s company, Sierra Pacific Industries (SPI) is being targeted by a new campaign to curtail and eventually eradicate the destructive logging technique called “clearcutting.”

The Redding-based Battle Creek Alliance, in cooperation with the Sierra Club, wants Californians to push for environmental protection measures that would ban clearcutting on the state level.

“We’re building a statewide coalition of people from all across the state — and hopefully, eventually, all across the country — who can be helping to call on the state of California and Gov. Brown to stop clearcutting and to protect our forests, watersheds, and wildlife,” said Sierra Club member Sarah Matsumoto, an East Bay resident who has joined the Battle Creek Alliance.

Those living close to clearcut areas say that the damage is devastating

“I live about a mile from most of the clearcutting,” said Patty Gomez, a resident of the Battle Creek area. “We like to call it ground zero.”

The term clearcutting describes the complete eradication of trees and shrubs from forest areas, some the size of Golden Gate Park. The area is then doused with thousands of gallons of herbicides and then replanted as a tree farm.

“Industrial tree farms are sterile and lifeless,” said Juliette Beck, coordinator of the Sierra Club’s Stop Clearcutting Campaign. “This particular method is incredibly ecologically destructive.”

SPI is the largest private landowner in California, owning 1.9 million acres. It owns 24 industrial facilities and employs approximately 3,400 workers.

“SPI own[s] so much land and potentially controls the fate of the forest,” said Beck. “SPI is the poster child for the one percent.” Because of SPI’s scorched-earth policy of completely clearing an area and sterilizing it for replanting, biologists are concerned that crucial plant species will soon become extinct.

“After clearcutting, there is a huge flush of sprouting natural regeneration of native species,” said veteran biologist Vivian Parker, who has lived in the Battle Creek area for 30 years and has worked for the U.S. Forest Service. “When the newly sprouting plant layer is sprayed with chemical herbicides and thus eliminated, the plants do not get a chance to grow and shed their seed.”

Parker argues that this interruption of natural regeneration over several periods of clearcutting will destroy the natural growth of plant life necessary to maintain a healthy forest.

This copious use of herbicides has also been suspect in a strange phenomenon affecting wildlife in North America. According to a study conducted by UC Berkeley professor of endocrinology Tyron Hayes, the use of herbicides, even at extremely small amounts, have been linked to biological mutations such as male frogs growing ovaries.

SPI is insistent that its practices are environmentally sound and internally regulated.

“We monitor all of our own activities to see where we have room for improvement,” Mark Pawlicki, director of Corporate Affairs and Sustainability at SPI, told the Guardian. “In many cases we’ve changed our practices.” New research on the effects of these herbicides have shown that current regulations don’t always address the cumulative impacts of chemical applications and other practices.

“We now know that it is the very diluted amounts of chemicals that [have the potential to] cause the most damage because they behave just like hormones,” Parker said. “The quantities are so small you can barely measure [them], but they have a disproportionate effect.”

Hayes’ study was publicized in a press release several years ago by ForestEthics, an environmental nonprofit intimately involved with campaigning against SPI’s environmentally destructive practices.

“After that release, we started getting calls from families,” said ForestEthics communication director Will Craven. “One family had a six-year-old daughter who developed brain cancer.”

Craven said the family lived across from one of SPI’s mills and close to clearcut areas. He had heard of families developing severe endocrine issues where they could no longer digest fruit or sugar.

Pawlicki cites studies done internally by scientists about the biodiversity of SPI’s land, stating that the proper measures have been taken to put aside enough land for endangered species like the spotted owls and that the effect of the herbicides are negligible if not insignificant.

“People make allegations all the time about us but there’s just no proof,” said Pawlicki. “Show us the proof, tell us the evidence that we’re harming anything.”

Marily Woodhouse, a resident of the Battle Creek area who has been a particularly passionate adversary of SPI, has spearheaded efforts to collect sufficient information in order for the Central Valley Regional Water Quality Control Board and the California Natural Resources Agency to take legal action; a process she said SPI has tried to undermine.

“SPI has given out the Water Board report and disparaged the way we collected the sample at public meetings,” Woodhouse said in an email conversation. “We collected the sample the way the lab instructed us to.”

However, these studies have a financial limit. Some tests can cost up to thousands of dollars, and ensuring that the tests are targeting specific herbicides used by SPI can be a guessing game. SPI is only required to disclose chemical use to the California Department of Pesticide regulation once a month and a yearly report can be requested, but this information is not disclosed to the public at the time of application.

The Water Board, a subsidiary of the Environmental Protection Agency, has conducted water tests and found no significant amount of chemicals in nearby watershed, but Parker said she believes this is because the agency doesn’t test for the specific chemicals used by SPI.

“Although they could request this information from the industry, the water board doesn’t know which chemicals are used, the quantities, or locations where they are applied,” Parker said. “Lack of information and inadequate testing ensures that the company is able to continue doing business.”

Residents and environmental groups have filed several lawsuits against SPI for more than 34 environmental and health policy violations, but have not been successful in curbing SPI’s destructive practices. According to legal experts, this is not necessarily because they don’t have a valid case.

“When you’re challenging these actions by SPI, what you’re really doing is challenging a decision by a state agency for approving their logging plan,” said Justin Augustine a staff attorney at the Center for Biological Diversity. “The agency can get deference from the court when it makes a good decision or a bad decision.”

The state agency Augustine is talking about is the California Department of Fire and Forestry Protection (Cal Fire). In the hierarchy of state agencies, Cal Fire sits next to the Department of Fish and Game and both are directly under the Natural Resources Agency. Each department plays a role in monitoring and enforcing logging practices and code violations.

Logging companies are required to file a Timber Harvesting Plan that describes the biodiversity of plant life, acreage, and wildlife of an area meant for harvesting. Cal Fire then approves or rejects the plan within 10 days of receipt. This approval process shields SPI from directly facing charges in court because Cal Fire is ultimately responsible for approving the plan.

Sierra Club and the Battle Creek Alliance are now fighting for legislation that will bar the use of clearcutting altogether.

“[SPI] could minimize clearcutting. The method is not appropriate to today’s forests,” said Beck. “We are demanding that they make the change to completely stop clearcutting.”

A new report by the State Water Resources Control Board regarding SPI is scheduled to be presented at a Board of Forestry hearing on Nov. 9, describing whether or not sediment from the clearcuts is reaching the creeks and harming the valuable salmon recovery project. The report is available on the Board of Forestry website.

“[There has been] a lot of evidence that the logging roads have to do with the sedimentation,” said Richard Stapler, deputy secretary of communications at the Natural Resources Agency. “It was brought to our attention by Marily Woodhouse, and is very much worth review.”

The review may bring about protections for the Battle Creek watershed, but activists remain focused on legislation to prohibit clearcutting on a broad scale. “Right now the only things valued are the short term profit for the timber industry,” said Beck. “There needs to be a change in the way the forests are managed”

GOLDIES 2011: Katie Faulkner

Jesse Hawthorne Ficks
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0
GOLDIES 2011: Katie Faulkner

GOLDIES In 2005, in deference to the shaky ground we walk on, choreographer Katie Faulkner dubbed her new ensemble little seismic dance company. For an upstart, it seemed an oddly modest name — considering the waves she’d been making, something grander might have been more appropriate. But then that’s not Faulkner’s style. Her choreography doesn’t shout; it grabs you because her dances are full of surprises, finely crafted, and have a strong sense of identity.

Most exhilarating about Faulkner’s work is its sense of adventure. You never know what this North Carolina-born choreographer will dive into next. She thrives on intimacy — a solo physicalizing the process of dying in the Road Ahead — as well as the messy process of choreographing by committee. She created Terra Incognita, Revisited, shown last summer at the 2011 WestWave Dance Festival, with colleagues Kara Davis, Manuelito Biag, and Alex Ketley. For We Don’t Belong Here, a recent commission for the Dancers’ Group ONSITE series, she needed 20 dancers. So she held “very stringent auditions,” explaining, “I needed people who could hold their own and also contribute to the process.”

Perhaps Faulkner developed her appetite for the untried through an early interest in theater. An inspiring teacher in a playwriting class encouraged her to “take myself more seriously as a creative person.” She never did finish that play, opting for what she thought dance would give her over the precision of language: “a sense of looseness and abstraction.” But it’s not by chance that she has worked so often with former ODC dancer Private Freeman, an intensely physical and dramatic performer.

Perhaps joining AXIS Dance Company straight out of Mills College (she earned her MFA in 2002) also created possibilities a more conventional company might not have offered. Not only did Faulkner’s four years with AXIS challenge her to perform a wide range of repertoire, she also watched experienced choreographers step into what was for them virgin territory. It was at AXIS that Faulkner had her first taste of choreography. The intricate, yet crystal-clear Decorum looked at sibling rivalry within a constrained environment. In it she remembered having grown up in a community “where there was a right and wrong way to look and to be.”

Faulkner, who calls her own work “imagistic,” also has made intriguing dance films and will, if she has anything to say about it, do more. The duo Loom (2008) is set on San Francisco’s rooftops; for the quartet High Tide (2006) she traveled to the edge of the continent. Up next is a still vague project about multiple perspectives. She might want to take a look at Rashomon.

Rat trap

Jesse Hawthorne Ficks
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0
Rat trap

news@sfbg.com

The contents of the ubiquitous bright yellow packages of a common household product are making some local activists go green. Residents are roiling against rats in Berkeley, Marin is trying to attract owls to eat them, and San Francisco is busy persuading stores to stop selling some of the most popular rat baits even before the federal government pulls the plug on pellet-type rodent poisons.

A battle is brewing between the $1 billion pesticide industry that makes D-Con and other common pellet-form rat and mouse poisons and the Environmental Protection Agency, which said June 4 it would either cancel and ban them or, depending on what they contain, require them to be sold with a childproof device.

Several of the makers of the rodenticides have gone to court to fight the proposal, which was supposed to go into effect by now. And four of the companies — Woodstream, Inc., Liphatech, Inc., Reckitt Benckiser, and Spectrum Group — won’t commit to stop making the products during the appeal process. In a press release, Reckitt said its anti-rat pellets are safe and "lawful for sale" unless a court orders otherwise. After the ban announcement, Alan Pryor, Liphatech’s sales director, called the EPA "an agency run wild."

In January, the EPA sued Reckitt in an attempt to instigate misbranding proceedings against the firm’s pellet products instead of canceling them, which could take courts a year or two to decide. But a district court ruled in favor of the company, calling the agency’s bid to speed things up via misbranding "arbitrary, capricious, an abuse of discretion and contrary to law."

The stakes are enormous. Rodent pellet products are strong sellers at hardware stores. Rodent prevention "is an issue throughout the year," says Paulino Tamayo, pest control buyer for San Francisco’s Cliff’s Variety. "Customers are constantly inquiring about it."

One reason: up to 4,000 children under the age of five are reportedly bitten by rats, which carry more than 70 known diseases, in large cities in the U.S. per year, according to the Centers for Disease Control & Prevention. It’s not just children who are seeing the rats.

On Sept. 20, disgusted subway workers demonstrated at New York’s Jamaica Central Terminal, where rats were reported multiplying and even infiltrating train cars. Claiming cutbacks by the MTA were contributing to increased trash and waving a banner reading "New Yorkers Deserve A Rat-Free Subway," members of Transport Workers Union Local 100 persuaded thousands of riders to sign a web petition. The New York Daily News reported the MTA is eliminating 254 cleaning jobs.

Steve Owens, assistant administrator for EPA’s Office of Chemical Safety & Pollution Prevention, said the EPA issued the change to "keep our children and pets safe from these poisons." Every year, the American Association of Poison Control Centers receives 12,000-15,000 reports of kids under the age of six being exposed to rodent bait.

Some analysts think the unreported exposure rate could be 10 times as high; the EPA estimates it’s four times as much. A 2006 EPA study found that of 68,005 children under six exposed to rodenticides, 18,084 had to be treated at a health care facility.

And according to the ASPCA’s National Animal Poison Control Center, tens of thousands of pets, livestock, and wildlife are being poisoned by rodenticides per year. "It’s common," says Dr. Camille DeClementi, senior director of the NAPCC. "Dogs frequently get into bait."

The EPA wants to ban 20 products with brodifacoum, which is in D-Con, and three other chemicals (bromadiolone, difethialone, and difenacoum) for use in residences. But pesticides with the chemicals could still be used by exterminators and farm owners. On Sept. 7, the agency said it would meet Nov. 29 to consider "scientific conclusions" supporting its decision; it’s accepting comments through Nov. 15.

One looming question: will the ban work? Some mom and pop shop owners are so desperate for sales in the recession that they’ve turned to offering dirt-cheap but illegal rat poisons, often from China. On Sept. 19, 12 people were arrested in New York City’s Chinatown for selling brodifacoum and sodium fluoroacetate-laced products which, because they look like cookies, could attract children, Manhattan District Attorney Cyrus Vance said at a news conference. The U.S. has forbidden use of sodium fluoroacetate against rats since 1972.

And while commending the EPA "for trying to reduce the risk of poisoning," DeClementi says that although the new regulations would stop most cats from being poisoned, many dogs will simply chew open the poison-strewn blocks, called "bait stations," that will be required if the regulations take effect. "Dogs," she says, "explore the world with their mouths. The same thing that makes the bait attractive to rodents will make it attractive to dogs. Dogs will seek the stations out."

Worse yet, DeClementi, a veterinarian who’s been with the ASPCA since 1999, predicts that the ban will produce an unintended consequence: if they lose in court, pest control companies will switch to selling a class of other, even more deadly poisons known as "first generation" rodenticides.

And their two most likely choices, believes DeClementi, will be bromethalin, a neurotoxin which causes paralysis or seizures that are almost impossible to treat, and cholecalciferol, a form of vitamin D which, in high doses, induces kidney failure that requires lengthy and expensive treatment.

"I wonder if sterlizing rodents would work better?" she asks. "But would eating rats on birth control also kill birds of prey?"

For now, she favors products that catch rodents "in a little house," such as rat zappers, and telling bird lovers to "keep their bird seed in containers instead of bags."

Others favor more natural approaches. After rats seeking warm places to nest caused a reported $5,000–<\d>$7,000 in damage to vehicles by chewing their carpets and other parts in the garage of the Marin County Civic Center, the county, in cooperation with the Hungry Owl Project, spent less than $1,000 to put up six barn owl boxes adjacent to the San Rafael building September 10. Each owl family can consume up to 5,000 of the voracious vermin per year.

Meanwhile, not everyone is waiting for the EPA’s rules to go into effect. Retailers around the USA are starting to withdraw rat pellet bait products.

Now that the EPA has published its rule change, stores in New York must, under state law, take the rat bait products off their shelves. And after the discovery of four dead Cooper’s hawks, three of which tested positive for rodenticide poisoning, activists in California say they will press for the enactment of a similar law.

"I’m outraged at the makers of these rodenticides for not caring about people or the welfare of animals," says Lisa Owens Viani, who founded Raptors Are The Solution (RATS) this summer after a Cooper’s hawk was found dead on a sidewalk off Berkeley’s Bancroft Street, four years after three other Cooper’s hawks died in her Berkeley neighborhood. Tests by the University of California at Davis showed the sidewalk hawk had ingested the rodenticides brodifacoum and diphacinone; two of the other birds tested positive for brodifacoum.

"The companies that are fighting (the EPA) are some of the same ones that make rodent traps," she says. "They will still have plenty of other products to sell."

Owens Viani, who led a jam-packed organizing meeting of RATS August 26, says part of her motivation to act is "a personal thing. I have lots of animals. My vet told me he’s seen lots of dogs, cats, and horses that have been poisoned by rats."

"A little girl was devastated to come across the young juvenile hawk that had bled to death on the sidewalk," she says.

"At first, I went door to door and passed out fliers, asking if anyone else was finding dead birds, for a five block radius," remembers Owens Viani. She discovered that although most bird books say Cooper’s hawks eat other birds, a local photographer had shot images of them also feeding rats to their young.

RATS plans to urge hardware and chain stores in the San Francisco Bay Area to immediately stop selling the products named by the EPA. "We want to push them along," says Owens Viani. "People are really concerned about this problem. They are tired of relying on poisons."

Meanwhile, on Sept. 9, San Francisco sent letters to about 140 hardware stores, big box stores, and garden centers, asking them to voluntarily "pledge to stop ordering" the affected products by Sept. 15. Signed by Melanie Nutter, director of the city’s Department of Environment, the letter included a list of "alternative rat and mouse baits" that meet the EPA’s standards.

"The EPA is being hamstrung" by the court battle, says Chris Geiger, San Francisco’s green purchasing manager. "The products in question are highly toxic. We think we owe it to the people of San Francisco to let them know about this situation and to encourage them not to sell or buy this stuff."

"The good thing is that there are other things people will buy instead," adds Geiger.

It isn’t the first time San Francisco’s been involved in the rodenticides controversy. In 2007, it virtually banned the use of rodenticides on city-owned properties, except for sewers, "where," says Geiger, "there’s nothing else we know of that can be used" to kill rats.

Sensing a potentially explosive issue that could pit environmentalists against people with health concerns about rats, Geiger says the city is trying to work with store owners in order to avoid trouble. "We want to help vendors not have people picketing outside their hardware outlets," he says. In coming weeks, San Francisco plans to hold community meetings to deal with consumer concerns about rodenticides.

So far, more than 15 stores have complied with the request. Among them: Sloat Garden Centers’ entire chain, including its stores in San Francisco, Mill Valley, San Rafael, Kentfield, Novato, and Danville; Papenhausen Hardware, in West Portal; and Cliff’s Variety, in the Castro.

Says Cliff’s Tamayo: "We’re selling out what little we have left of the old products and have already restocked our shelves with new items." At first, Tamayo considered slashing prices to lure worried customers back to the store. "I thought I might have to put them on sale," he says. But after getting only four complaints, Cliff’s is, at least for now, staying the course.

As for Owens Viani, she says it’s also now time to push the state to do what San Francisco is doing but on steroids, by having the Golden State order harmful rodenticide products removed from stores. "We want California to pass a law, so we are going to approach a legislator to get a bill going," says Viani, who lives in the flatlands of Berkeley, which is a prime breeding area for rats.

For information about the next meeting of RATS or to help the group succeed, please go to www.hungryowl.org/kboib or contact Owens Viani at lowensvi@sbcglobal.net.

Alerts

Andrew Lam
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0

alert@sfbg.com

WEDNESDAY 9

Student Day of Action

ReFund California begins its Make Banks Pay week of action by organizing a protest to shut down a local branch of Wells Fargo, a contributor to the financial collapse of 2008 and the current foreclosure crisis. Students from City College and the San Francisco State University will join forces to call for banks to help restore the deep cuts to higher educations that they helped cause.

Noon, free

Gather at SFSU Quad to take the M bus to West Portal and march to the bank

www.makebankspaycalifornia.com

 

THURSDAY 10

Poor People’s Decolonization

Join Occupy Oakland, POOR Magazine, and other groups for a march on four government offices that promote the criminalization and deportation of poor people from around the world: the Oakland Police Department, Oakland Housing Authority, Alameda County Social Services, and U.S. Department Immigration and Customs Enforcement.

Noon, free

Gather at the OPD

455 Seventh, Oakl.

www.occupyoakland.org

 

 

Picket Hotel Frank

Wells Fargo and its Hotel Frank management company, Provenance, refused to recognize the Unite Here Local 2 contract, increased the workload for employees, and haven’t paid any medical or pension coverage. The National Labor Relations Board has found Hotel Frank guilty of violating federal labor laws, including firing and disciplining workers for engaging in union activities, but only this daily picket seems capable of making a difference.

3-5:30pm, free

Hotel Frank Geary and Mason, SF

www.hotelfranksf.info

 

FRIDAY 11

Bay Area Resilience

Help formulate regional plans by community groups, social movements, and public planners for a strong economy, climate adaptation, and emergency preparedness. Bay Localize, Communities for a Better Environment, Global Exchange, and other groups are coming together for this Bay Area Convening on Resilience and Equity. Come and join the movement.

9am-3pm, $7-10 (includes lunch)

California Endowment Conference Center 1111 Broadway, Oakl

leanne@baylocalize.org

colin@baylocalize.org

 

SATURDAY 12

OccupySF Teach-In

Learn about the OccupySF movement and what it’s all about by attending the General Assembly at noon followed by a march to downtown at 3pm. Meet at the “SF Free School” poster.

Noon- 4:30 p.m., free

Justin Herman Plaza

Embarcadero and Market, SF

www.occupysf.com

 

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Author Christopher Ryan and the socio-evolutionary reasons for non-monogamy

Andrew Lam
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0
Author Christopher Ryan and the socio-evolutionary reasons for non-monogamy

Love your partner and love to fool around with other people? Author Christopher Ryan says that’s perfectly natural. A psychologist and historian who insists that human beings are not cut out for sexual monogamy, Ryan’s hitting SF next week (Wed/9-Thu/10) to talk about the evolutionary reasons for why that’s so.

Sure the freaks will be out in force for his events, but Ryan says that his book’s message is not just for people who already embrace alternative sexuality identities. 

“Sex At Dawn shows that they’re not freaks because they find so-called traditional, strict monogamy to be stilted and unnatural for them. There’s a good reason for that, it is unnatural for them, and for the rest of us.” Ryan told the Guardian in a recent interview.  

But Sex at Dawn is not about modern non-monogamous types. It’s an ancient history that traces human evolution and focuses on pre-agricultural societies. Ryan explains, “Our ancestors evolved for 95 percent or more of our existence as a species of nomadic hunter-gatherers. In nomadic hunter-gatherer society, the central organizing principle is sharing. Sharing of childcare, sharing of food, defense, shelter, access to the sprit world, medical shamanic principles.”

His book argues that sexual pleasure was a no less communal practice for these early humans. 

“You look at our bodies, you look at anthropology, you look at all these different sources of information and you see, no, they weren’t possessive about sexuality in a way that they weren’t about anything else.”

But he has little idea on how to apply these historical tendencies to a modern society hooked on the one-plus-one-equals-two arrangement.

That’s partly why Andrew Sullivan, the organizer of next weeks’ events, wanted to present Ryan’s theories with the work of San Francisco’s esteemed sex activists. The expert panel backing up the author at Club Exotica will include relationship coach Marcia Baczynski, the founder of Kinky Salon Polly Pandemonium, and sex-positive icon and founder of the Center for Sex and Culture Carol Queen.

Says Sullivan: “Ryan talks about this pre-agricultural state, but he doesn’t really talk about — well, what do you do. He doesn’t deal with that. And that’s why I wanted to have him do this presentation, provide the science, provide the motivation for the work.”

He thinks these events will attract Bay Area residents from all walks of life.

“The cross-sections of life that are intersecting around this book are extremely diverse. You’ve got Republicans on the other side of the tunnel who are coming to an event like this because it hits them. They’re like, that’s part of my life, but its something they hide from out there, and they’re afraid of. All of a sudden they’re at the same event with somebody whose got a whip and rope and somebody else who is in a completely different socio-political mindset than they are, but they’re all going ‘we share something in common here.’”

The party that follows the Nov. 9 panel is sure to bring people together on whole other level. Sullivan says the event will “transition into an actual environment, this essential erotic environment that actually facilitates these kinds of connections. That’s why I call it the full spectrum event. It’s all right here. It’s like Woodstock for alternative relationships.”

On Nov. 10, economists and alternative currency advocates will gather to discuss sex and scarcity. Ryan says the talk will compare pre-agricultural society to our current system. “Our ancestors’ societies were based on sharing resources, which means they’re based on a notion of plenty — there will always be enough. Whereas post-agricultural societies, like our own, shifted 130 degrees to an orientation of scarcity. There’s never enough.” 

Ryan applies this scarcity theory to modern-day relationships. 

“You say well, I have to have my sex partner, I have to have my lover because she’s the one who gives me sexual pleasure, the stuff that I need, companionship, intimacy, security. If I lose her, I’m screwed, I’m alone. Because we live in that sort of fractured world. But our ancestors didn’t live in that sort of world, they lived in a world where hey, it doesn’t matter. I’m with her, I’m with her, she’s with her, she’s with him. You know we’ve all got multiple lovers, so if one relationship isn’t working, it’s not the end of the world.  It allows the social groups to function much more smoothly without all this conflict.”

He’s even found a way to connect this scarcity-plenty conundrum with the zeitgeist of our times.

Says Ryan, “I think that the message from the Occupy Wall Street movement, and Occupy different cities all around the country, is that no society can last if we lose sight of the fact that we’re in this together. That we are a species that evolved sharing resources and taking care of one another. And the more we lose sight of that, the more miserable we become. I don’t care how rich you are. I’ve known a lot of very wealthy people in my life, and they are not the happiest people I’ve known. The happiest people I’ve known are the ones who are living in communities where they’re taking care of each other and there’s a sense of unity and fairness that people respect. So I think that’s their message. That we have to get back to this understanding of what sort of animal we are and what sort of social system works best for us.”

 

Club Exotica presents Sex at Dawn

Wed/9 8 p.m.-2 a.m., $10-$35

Supperclub

657 Harrison, SF

www.clubexoticapresents.com

 

 

“Sex at Dawn: Modeling a New Culture of Sharing”

Thurs/10 free for members, guests $20 

Mission Control 

www.missioncontrolsf.org

 


 

Deep south

Jesse Hawthorne Ficks
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0
Deep south

cheryl@sfbg.com

FILM It’s a sunny day in Los Angeles, and Omi Vaidya is puttering around, looking for a neighbor who’ll loan him a lawnmower. Vaidya is an actor of the “working” (as opposed to “unemployed” or “superstar”) variety, with bit parts on shows like Arrested Development and The Office dotting his resume. Finding work as an Indian American actor can be frustrating — “a lot of it is typecasting,” he notes. Computer nerds and such.

But thousands of miles away in Mumbai, Vaidya’s star is about to explode. Accompanied by a film crew comprised of pals from UC Santa Cruz, he makes the trek to India to attend the premiere of 3 Idiots — a massive movie even by Bollywood standards — in which he has a small but showy part. Big in Bollywood tracks Vaidya’s journey from unknown to chased-down-the-street famous, a process that begins happening literally halfway through the film’s very first screening. (This being Bollywood, the movie is so long there’s an intermission.) Vaidya doesn’t speak much Hindi, but neither does the buffoonish character he plays; the film’s breakout joke, on the scale of “Show me the money” or “I drink your milkshake,” hinges on his confusing the word for “miracle” with the word for “rape.” (Indian audiences find this hilarious, and Vaidya is so endearing it’s almost easy to let that ickiness go.)

Working in a totally unfamiliar environment, directors Bill Bowles and Kenny Mehan, both of whom are slated to appear in person at Big in Bollywood‘s screening at the 3rd I International South Asian Film Festival, are forced to go gonzo at times. Amazingly, fake press passes identifying them as “Hollywood Kitchen” correspondents are all it takes to get their camera onto 3 Idiots‘ red carpet, and later, backstage at a glitzy awards show, where new sensation Vaidya is both co-host and nominee.

As Vaidya enjoys his success, Bowles and Mehan capture an insider’s view of how different the Bollywood and Hollywood industries are. Massive fame, however, evokes the same reaction in any language: “It feels like a zombie movie!” Vaidya exclaims, breathless after dodging an enthusiastic hoard of fans. Despite the adulation, he remains humble — thanks in part to his supportive mother, once an aspiring actress herself, and understanding wife, a PhD student who’s due back for class in SoCal just as Omi-mania starts to overtake India. Having his buddies film his every move probably also helped keep his ego in check, though he doesn’t seem prone to diva-ish behavior anyway: soon after he goes home to L.A., Vaidya — whose imdb.com profile suggests he’s not hurting for gigs — is back tending to his lawn, apparently unruffled about his return to anonymity.

While the 3rd I festival isn’t, alas, screening 3 Idiots, you can get your Bollywood fix with Delhi Belly, which looks to be in the same song-and-dance-infused screwball vein (with a poop-joke title). In a tidy illustration of how insular the industry is, Imran Khan, nephew of 3 Idiots star Aamir Khan (producer of Delhi Belly), plays the lead.

Other fest selections worth noting include Sanjeewa Pushpakumara’s grim (if overly long and rambling) Flying Fish, one of several films from Sri Lanka in this year’s program; its multiple stories are united not by overlapping characters but by a sense of despair in a country ravaged by war. In a program of short films about gender and sexuality, The Boxing Ladies, a doc about a trio of rebellious Kolkata sisters who shock their Muslim family with their shared passion for pugilism, is a standout.

3RD I SAN FRANCISCO INTERNATIONAL SOUTH ASIAN FILM FESTIVAL

Nov. 9-13, $12

Roxie Theater

3117 16th St., SF

Castro Theater

429 Castro, SF

www.thirdi.org/festival

WTF, Chuck?

Zelda Bronstein
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18
WTF, Chuck?

And now for a new installment in the ongoing saga of What the Fuck, Chuck?, our attempt to figure out the unfathomable positions of the Chron’s local columnist, C.W. Nevius. Today’s episode: Why is Nevius so determined to stir up a clash between the police and the OccupySF protesters?

Although the Oakland cops have rousted Occupy Oakland — with a nightime raid, arrests, and the works — things have been pretty mellow in San Francisco for the past week. Police Chief Greg Suhr has tried to avoid sending riot troops in to evict the camp. The campers are working with city officials to get a permit for a stove. The camp is largely peaceful; nobody’s hurting anyone or anything.

Oh, but Chuck is nervous:

Many of the city’s homeless residents have gravitated there, the sanitation is a nightmare, there are rats, and car batteries are neither a safe nor ecological energy source.

Well, there were rats there before the protesters arrived. City officials have offered to set up portable toilets. Car batteries aren’t perfect, but if you charge them by riding a stationary bicycle, the energy is pretty darn ecological. And really, unless you knock the battery over and it cracks and spills, car batteries are pretty safe; the don’t explode or emit fumes. The acid and lead are toxic, but they’re pretty well contained. There are more than 300,000 car batteries on the streets of San Francisco already; every car has one.

And so what if “many of the the city’s homeless residents” have gone to join the protests? Some are eager for the free food and shelter, which is fine — putting the more middle-class radicals side by side with homeless people isn’t a bad thing at all. In fact, it’s about the most radical thing that OccupySF is doing. Homeless people are the most visible victims of the economic injustict that the occupyers are protesting; shouldn’t they be part of the action?

I realize that some homeless people have mental health and substance abuse issues, but those didn’t start with OccupySF. Instead of whining about the situation, the city ought to be taking advantage of it — here’s a group of hard-to-reach folks who social workers can probably connect with more easily in an environment and community that’s supportive.

But Nevius can’t imagine anything good coming of any of this:

As Occupy SF gets bigger and louder, the potential for trouble only increases.

I guess Nevius doesn’t believe it’s possible for an alternative community that includes a wide range of activists and homeless people to grow and make its voice heard without “trouble.” And the only way out is to send in the troops.

What the Fuck, Chuck?

 

 

Weed Wars

Jesse Hawthorne Ficks
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0
Weed Wars

HERBWISE “I always knew that doing this show would be a risk,” says Harborside Health Center founder Steve DeAngelo in a phone interview with the Guardian. A medical marijuana dispensary could probably always be considered controversial fodder for a nighttime reality TV program, but DeAngelo’s enterprise rose above standard controversy when it became the target of the IRS, the federal agency ruling that it could no longer write off common business expenses. It now owes $2 million — an amount that left the rest of the industry quaking with concerns over its future.

The perfect time for an on-air debut, right? DeAngelo thinks so.

“If the American people see how we use this medicine, how we distribute it, they’re going to support it,” he says. “They’ve only gotten a chance to see the government’s side, the propaganda side.”

Especially nowadays. In the past few weeks, the feds have launched a multi-lateral attack on medical cannabis dispensaries (see the Oct. 12 Herbwise column, entitled “Feds crack down”). The Treasury Department convinced banks to close dispensaries’ accounts. The Department of Justice has sent out numerous cease-and-desist letters to dispensaries. The notifications insist that the trafficking illegal substances is occurring, and that it must be stopped — a turnaround from the Obama administration’s earlier pledge that it would not stand in the way of a patient’s access to medicine.

DeAngelo claims that Harborside is among the top 10 highest tax payers to the city of Oakland. The dispensary has gone through disputes over taxes paid before, but this latest persecution has meant a diminished sense of security for the dispensary’s 120-person staff at its San Jose and Oakland locations — not to mention among patients.

“They’re terrorized,” says DeAngelo. “I have 60, 70, 80-year old patients who are terrified.”

It’s high drama stuff. Ironically, filming for Weed Wars — save a few remaining pickup shots — had already concluded by the time of the ruling. Surely Discovery Channel executives are smacking their foreheads, having shot the relatively boring chunk of 2011 at Harborside.

“It does seem like the cameras got turned off at just the wrong time,” says DeAngelo.

The dispensary founder says that his people thoroughly vetted Braverman Productions prior to signing any deals — it wasn’t the only offer they got to be the subject of such a show. He’s confident the company will shy from the “unreal setups” so prevalent on other reality TV series. And he hopes that despite the current drama (which might make its way into the final episode of the program’s season), producers will portray the dispensary in a way that’s respectful and shows an accurate image of what day-to-day operations look like.

But whether or not that will be the case remains to be seen. An article written by a staff member in the September 2011 edition of the Harborside newsletter questioned the use of “weed” in the show’s title (a faux pas in the medical marijuana industry). In such a volatile political environment, the temptation to sensationalize cannabis dispensaries might run pretty hot. Or on the contrary, maybe Weed Wars will make the sale of state-legal marijuana seem as normal as being a Coloradan bounty hunter or a Kardashian.

Regardless of what happens, DeAngelo’s not ruing the day he decided to go into medical marijuana.

“We decided when we opened our doors that it was worth the risk. I still think it was worth that risk.” *

Weed Wars premieres November 27 at 10 p.m. PST on the Discovery Channel

 

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