Events

Wholly noise

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Trying to fathom the arcane and somewhat frustrating demeanor that shrouds a Bay Area noisenik is like cross-examining Walt Disney on LSD. I’ve been at the mercy of Rubber O Cement’s Bonnie Banks for the past week, meticulously querying the mumbo jumbo he (or she, as Banks likes to be referred to) sends in response to interview questions while nagging him for answers to my more dogged inquiries. One e-mail reply might yield a pensive thought, only to be followed by a farrago of chaotic imagery — swarms of schizo babble about vocal chord mulch, mosquito broccoli, and rabid zombie snowmen. When asked what people can expect from the impending Brutal Sound Effects Festival, Banks answers that performers “will present the sound of a stuffed horse and cat calliope skidded via hydroplane base into a volcano of semi-liquid thorium pellets.” In another e-mail he writes that he hopes people will come to the event “adorning their larger-than-life scramble nightmare Bosch slip-and-slide mask.”
Though put off at first by Banks’s excursive, seemingly psychotomimetic rants, I soon realize this is his world. What I mistook as some puerile screwball who’s simply fucking with me — I’m still convinced he’s doing that to a degree — is actually the eccentric, visionary heart of the Bay Area noise scene.
Since the early 1980s, Banks has exhaustively chiseled San Francisco into the West Coast hub for underground noise by playing in prominent acts such as Caroliner, bringing up young bands (his musical influence has extended from Wolf Eyes to Deerhoof), and encouraging others to engage in the scene. In 1995 he established the Brutal Sound Effects Festival — a musical community of misfits who, according to Hans Grusel of Hans Grusel’s Krankenkabinet, “didn’t fit in anywhere else.” Shortly afterward, Banks founded an online BSFX message board where people could discuss noise acts, events, and other bizarre topics.
Now in its 40th incarnation — Banks is said to organize four to five events a year — the forthcoming BSFX Festival includes some of the Bay Area’s renowned noise addicts: Xome provides power noise onslaughts, and Nautical Almanac’s James “Twig” Harper indulges in electronic cannibalism. Other notable acts include Anti Ear and Bran (…) pos of Beandip Troubadours, Skozey Fetisch, and Joseph Hammer of the Los Angeles Free Music Society in Psicologicos Trama, offering “a fun way to sample experimental sound,” says Joel Shepard, film curator at Yerba Buena Center for the Arts, which is hosting the event for the first time. Each act will integrate improvised film and video clips into a short performance, creating what Shepard describes as “a real multimedia sensory overload event.” If something seems boring, he adds, there will be another performance in minutes.
“I’ve been really impressed with what he’s been doing,” Shepard says, referring to the industrious Banks. “I find what he’s doing to be a very important part of the art and cultural scene in San Francisco, and I want to show my support.”
The freaks and geeks of BSFX push performance art to its limits, playing under unpronounceable aliases and often incorporating elaborate costumes and scenery unlike anything you see at conventional concerts. Musicians execute a medley of odd sounds using home-wired equipment and analog gadgets at warehouses like the Clit Stop and Pubis Noir. Blistering resonance is one element at these shows. Relying heavily on feedback and distortion, artists such as Xome, Randy Yau, and Tralphaz create a getting-sucked-through-a-vacuum effect by hooking up 20 guitar pedals and feeding them into each other. But don’t be fooled — not all noise acts use volume as an instrument. The Spider Compass Good Crime Band, a duo that will play the upcoming BSFX show, is described by its members as “giant vultures who play instrumental music based around a keyboard.” Their YouTube video is just as outlandish: two costumed performers (one dressed as a giraffelike character, the other as a flamingo) dance and fiddle with samplers; the chamber-driven organs and rubber-sounding belches resemble industrial surf pop.
It’s easy to get sucked into the abstract, visual noise. Costumes range from the cuckoo-clock masks of Hans Grusel to the moss-covered floor crouching of Ecomorti. “Some performers will move an entire set of scenery into a show, which takes two to three hours to set up, and then play a 15-minute set,” Grusel says over the phone. “That shows the dedication people have to this sort of thing.”<\!s>SFBG
BRUTAL SOUND EFFECTS FESTIVAL
Fri/8, 7:30 p.m.
Yerba Buena Center for the Arts
701 Mission, SF
$6–<\d>$8
(415) 978-2787
www.ybca.org

Guardian Guide: Hotspots for fresh crab

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As winter rolls into the Bay Area, a happy tradition takes hold: Crab fever! Dungeness crabs have been flooding Fisherman’s wharf longer than the tourists have and this December is no exception. Just like all things inherently San Franciscan, there’s a flavor for every palette. Whether you like it plain, Vietnamese, Italian, Cajun or Californian, like it you will. Check out some of our picks for fresh Dungeness delight.

PPQ Dungeness Island Vietnamese Cuisine

Moderate prices and a casual atmosphere keep crab lovers focused on what’s important, the house specialty — whole garlic roasted crab. For variety you can also try the peppercorn crab. Either way the complementary plastic bib is right, “It’s time to get crackin!”
2332 Clement, SF; 415- 386-8266, www.ppqdungeness.com
Lunch: Wed-Mon 11am-5pm
Dinner: Wed-Mon 5pm-10pm
Closed Tuesdays

R & G Lounge

Located just outside of San Francisco’s historic Chinatown, R&G Lounge provides Cantonese style crab for all occasions. If you’re dressed to impress or looking for a good place for a business meal, the upstairs area provides crab lovers with a fine dining atmosphere. The casual downstairs area is perfect if you’re with the kids or just looking to relax with friends. No matter where you sit the live battered crab, deep-fried and sprinkled with salt and pepper, is delicious. Reservations recommended. Parking validated.
631 Kearny, SF; 415- 982-7877; www.rnglounge.com/
Open 7 days, 11am-9:30pm

Hayes Street Grill

When the chef makes a daily morning call to the fish man to find out what looks good that day and bases the daily menu on the report, you know this is a must-eat destination during crab season. The Hayes Street Grill is centrally located in Civic Center near the Performing Arts Center, the Opera House, and Davies Symphony Hall. On performance nights, if you don’t want to sit at the bar, reservations are essential. On non-performance nights reservations are recommended, but walk-ins are also welcome. This season’s special: Cracked half Dungeness crab with aioli, avocado, and dirty girl (pink and white) beet salad. Prices are reasonable, especially considering other nearby options.
320 Hayes, SF; 415-863-5545, www.hayesstreetgrill.com
Lunch: Mon–Fri 11:30 am-2 pm.
Dinner: Mon-Thu 5pm-9:30 pm, Fri 5pm-10:30pm, Sat 5:30pm-10:30 pm, Sun 5pm-8:30 pm.

Swan Oyster Depot

For those of us looking for no-frills fresh Dungeness crab, Swan Oyster Depot has our lemon waiting. The season’s specialties are Crab Louie, crab cocktail and ½ cracked crab. Arrive early and wait your turn to cozy up with other restaurant-goers at the long, narrow marble bar. Don’t worry, the owners are friendly, the staff entertaining and your neighbors are ready to meet you. If you want to skip the social gathering and take the Dungeness party home, Swan Oyster Depot is also a market with competitive prices and fresh seafood.
Nob Hill, 1517 Polk, SF; 415-673-1101
Mon-Sat 8am-5:30pm
Closed Sundays

Thanh Long

Thanh Long was founded by the An family in the ‘70s as one of San Francisco’s first Vietnamese restaurants. It has since evolved into right of passage for high-end crab loving adventurers, who are not afraid of a commute to the Outer Sunset. The garlic roast crab is the house specialty, composed of a fresh roasted Dungeness Crab, An’s garlic sauce and secret spices.
4101 Judah, SF; 415-665-1146, www.anfamily.com
Tue-Sun 4:30pm-10pm, Fri-Sat 4:30pm-11pm
Closed Mondays

Crustacean

If you’re in the mood for a dressed up crab night, Crustacean supplies chic décor and Euro- Vietnamese fusion. One of the two sister restaurants to bud from Thanh Long, Crustacean offers all the secretly prepared house specialties of its predecessor, but includes dishes with more European influences. These long kept family secrets are well guarded at Crustacean; there is a separate kitchen that only family members are allowed to enter from which waiters receive the food through a slot. If you’re not curious yet, you will be after your first taste. Valet parking.
1475 Polk Street, 415.776.2722
Lunch: Fri-Sun 11:30am–3:30 pm
Dinner: Sun-Thu 5pm-9:30 pm, Fri-Sat 5pm-10:30pm

Scoma’s Fisherman’s Wharf

Located in the hub of fisherman’s wharf, Scoma’s offers a thorough Dungeness crab experience for both tourist and native alike. Using their mother’s recipe collection, the Scoma brothers founded this Italian style seafood restaurant 40 years ago. What started as a breakfast and burger spot for fishermen has since turned into a 350-seat family restaurant, equipped to satisfy every seafood lover’s need. Scoma’s even has its own fish receiving station where you can watch the Dungeness crab being loaded off the boats and into the kitchen. Recommended this crab season are the crab leg sautee and the Crab Louis. Portions are large enough to justify the prices, and some of mom’s recipes are available online, which is better than a doggie bag.
Pier 41 Al Scoma Way, SF; 415-771-4383 www.scomas.com
Sun-Thu 11:30am-10pm, Fri-Sat 11:30am-10:30 pm

Eagle Café

No matter what the time of day this crab season, the Eagle Café is a great place to casually enjoy the view off Pier 39. If you’re a (crabby) morning person, try their a Dungeness crab omlette or the Crab Cake Benedict for breakfast. You can even wash it down with a Crabby Mary, a Dungeness Bloody Mary that comes with a straw, a fork and crackers. For a post-sunset visit, try their signature WOW crab sautéed with ginger, garlic, scallions and oyster sauce. For the basics, a cold Dungeness is served half or whole with freshly grated horseradish.
Pier 39, SF ; 415-433-3689, www.eaglecafe.com
Open 7 days, 7:30am-8pm
Bar open until 10am

Andrew Jaeger’s House of Seafood and Jazz

For three generations the Jaeger family served up authentic Cajun and Creole fresh local seafood in New Orleans to the tune of nightly jazz music. A year ago, Chef Andrew Jaeger decided to bring the Jaeger tradition to North Beach. With live jazz every night starting at 7:30pm and fresh Cajun/Creole Dungeness crab specials, Jaeger’s truly has something to offer that you can’t get anywhere else in North Beach – and, at present, anywhere in the country. The original restaurant is currently closed due to the events following Hurricane Katrina. So if you love jazz, or just like jazz but love crab, try the Crab-o-rama (crab cakes AND a half a crab) or the BBQ crab. If you’re local (SF and Bay area residents included), sign up for a Jaeger card and receive 25% off drinks by the glass, get pre-fix specials round the clock and free admission on weekends to the bar for you and all your guests, which is usually
300 Columbus, SF; 415-781-8222, www.condorsf.com
$3-5.
Mon-Thu 5:30pm-after midnight, Fri 5:30pm-2am, Sat-Sun 2pm-2am

Newsom should comply with Prop. I

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OPINION Much has been said about Mayor Gavin Newsom’s stunning defeat at the ballot Nov. 7. Newsom’s slate of endorsements went down in flames — from supervisorial candidates Rob Black and Doug Chan to the contenders he hoped would take control of the school board to a host of progressive ballot propositions, including worker sick leave and relocation assistance for evicted tenants. Every incumbent supervisor was also reelected, indicating an overall approval level of the Board of Supervisor’s performance. And the voters took a further unprecedented step with the passage of Proposition I, which asked the mayor to appear before the board in person once a month to discuss city policy. The voters sent a clear message that they want the mayor to work with the supervisors rather than against them.
Will Newsom respect the mandate and comply with Prop. I? It’s anyone’s guess right now. The measure is not legally binding, and he vehemently opposed it. Here are five reasons why Newsom should comply with Prop. I:
1. The voters asked him to. Newsom claims to care about the will of the voters. He cited the “will of the voters” as his basis for vetoing a six-month trial of car-free space in Golden Gate Park — even though a trial has never been voted on. Will he respect the voters this time?
2. The status quo is not working. The homicide rate, traffic deaths, and Muni service have gotten worse every year under the Newsom administration. Commissioners aren’t being appointed on time, police reform is off track, promised low-income housing is delayed, all bicycle improvements are on hold, and our roads are falling apart. Popular public events such as the North Beach Jazz Fest are under attack by a city government that can’t keep Halloween revelers safe. Meanwhile, the mayor focuses on political damage control related to his apparent loss of the 49ers in 2012 and the Olympics in 2016.
3. Newsom consistently opposes ideas coming from the Board of Supervisors but doesn’t seem to have any of his own. The homicide rate is at an all-time high and keeps getting worse. But Newsom has opposed every significant measure proposed by the supervisors, including funding for homicide prevention and assistance for victims’ families via Proposition A, as well as police foot patrols. Fare hikes and service cuts haven’t solved Muni’s problems, but Newsom sided with the local Republican Party in opposing Proposition E, which would have provided much-needed funding for Muni through an incremental increase in the car parking tax.
4. Newsom has been missing in action too long. The mayor spent almost the full first three years of his four-year term fundraising around the country to pay off his 2003 campaign debts. This busy fundraising schedule, combined with the demands of his relentless PR machine, has sent the mayor chasing photo ops in China; Italy; Washington, DC; Los Angeles; Chicago; New York; and a host of other places. The majority of the voters are now siding with progressives, the Guardian, and even the San Francisco Chronicle in asking “Where is the mayor?”
5. The voters asked him to. Really, that should be enough. No? SFBG
Ted Strawser
Ted Strawser is the founder of the SF Party Party.

The morning after

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› gwschulz@sfbg.com
The plight of newspapers is a popular news story these days, from a late-August cover package in the Economist (“Who Killed the Newspaper?”) to National Public Radio’s On the Media last week (“Best of Times, Worst of Times”).
It’s usually told as the story of an industry on its deathbed, bleeding from self-inflicted wounds and those delivered by Wall Street, Main Street, Craigslist, and the blogger’s laptop. Ad revenues have nose-dived in recent years. Circulation is down nationwide. Journalism scandals and shortcomings have damaged the whole profession’s credibility.
And staff newspaper blogs alone won’t be enough to bring a new generation of tech-savvy Americans back to hard-copy publications that even smell stodgy and old.
Yet the bottom line is still the bottom line. The truth of the matter is that many publicly traded newspaper companies have healthy profit margins ranging between 15 and 20 percent. But the tendency of the doom and gloom business press to sensationalize bad news may actually make things easier for William “Lean” Dean Singleton, the cost-cutting king of Denver-based MediaNews Group, which recently announced a round of staff reductions at its Bay Area newspapers. The cuts came amid claims of a massive dip in ad income just a few months after Singleton promised that his company’s buyout of local newspapers wouldn’t diminish the quality or quantity of journalism here.
“Given continued declines in revenue, we need to reduce expenses significantly, and thus have no alternative but to implement a reduction in [the] work force,” George Riggs, who was recently appointed to lead the company’s Northern California operations, told employees in a memo Oct. 20. Several such memos have now been posted on the Internet.
If this is how quickly the news biz can turn ugly, it’s a wonder MediaNews was attracted to print journalism in the first place. Who knows what newspapers around here will look like in another few months? How much fat can they trim before they start hitting bone?
They aren’t just cutting staff. The Bay Area’s newspaper establishment is now outsourcing work to circumvent those pesky labor unions. The press operators’ union at the San Francisco Chronicle — which was the sole union holdout against management’s demand for expanded control and decreased benefits — could disappear in three years as a result of a new printing contract with a Canadian company. MediaNews recently announced plans to outsource ad production positions to India.
Consolidation already has amounted to fewer reporters covering individual stories that are distributed to several publications, including at least one story about the latest layoffs. That means fewer editorial perspectives on key public policies (and possibly fewer editorial positions) for readers in a market that’s notorious for its high intellectual demand and robust political participation.
Only an ongoing federal Justice Department investigation and a civil lawsuit threaten to slow down big changes going on at the Bay Area dailies. A federal judge ruled just before deadline in real estate mogul Clint Reilly’s antitrust claim against the Hearst Corp., publisher of the Chronicle, and MediaNews that for now, at least, the two could not combine circulation and advertising operations to save money.
The companies had secured a court order sealing key records unearthed during discovery, including depositions and exhibits, citing the right to protect confidential trade secrets. It’s an ironic move for a group of papers that have regularly sued government agencies for public records and made a great show of their First Amendment pieties.
Federal Judge Susan Illston on Nov. 28 blocked the two companies from merging some advertising and distribution operations, a consolidation she said was probably illegal under antitrust laws. And she sounded her concern that Hearst isn’t the “passive equity investor” it had represented itself in court to be. She also revealed the contents of letters written in March and April by company executives: “Hearst and MediaNews will enter into agreements to offer national advertising and internet advertising sales for their Bay Area newspapers on a joint basis, and to consolidate the Bay Area distribution networks of such newspapers, all on mutually satisfactory terms and conditions, and in each case subject to any limitation required to ensure compliance with applicable law.” (For more extensive information on the ruling and related coverage, see www.sfbg.com.)
For those who regard newspapers as more of a public trust than an engine for deep profits, the future is starting to look a bit unsettling.
When Singleton expanded his control over the Bay Area threefold last summer, he temporarily quelled some discontent by assuring skeptics that there were no planned changes in staffing and salaries as a result of the transactions.
“We’re looking forward to doing a lot of good things here in Northern California,” Singleton told San Jose Mercury News staffers, according to the paper’s story on the buyout.
But employees at the papers still had every reason to be nervous about Singleton’s $1 billion takeover of the Contra Costa Times, the Mercury News, and other papers from the Sacramento-based McClatchy Co.
MediaNews already owned the Oakland Tribune, the San Mateo County Times, and the Marin Independent Journal among others in California before it carved excess properties out of McClatchy, which had grown too large following its purchase of the Knight Ridder chain earlier this year.
The purchases allowed Singleton to seize almost complete control of 14 metropolitan and suburban media markets. The only remaining daily print competitor in the Bay Area was the Chronicle and its parent company, the Hearst Corp., which subsequently purchased $300 million in MediaNews stock, a deal the feds are still investigating. When the transaction with Hearst was finalized, top executives at MediaNews were collectively awarded about $2 million in bonuses.
Some profiles of Singleton have depicted him as a good old-fashioned newspaper journalist, but knowing his cost-cutting reputation, only a fool would assume there were no plans to consolidate major operating functions to save money regardless of any promises made. Singleton has always been more about business than news.
Clustered ownership and shared management were prominent features of the company that MediaNews presented to investors at a Deutsche Bank “Global High Yield” conference in October. An April letter that reappeared in federal court last week during a hearing in Reilly’s suit confirmed that MediaNews and Hearst hoped to shed costs by possibly combining circulation and advertising operations.
Layoffs are also a big part of Singleton’s MO. Respected but tough Contra Costa Times editor Chris Lopez was let go in October because he’d become “redundant,” according to a memo company executive John Armstrong sent to employees.
“That came as a shock to a lot of people in the newsroom,” one source at the paper told the Guardian. Known for handing cash rewards out of his wallet to reporters who nailed concise stories for the front page, Lopez had attempted to play down Singleton’s reputation when the purchases were announced. Lopez had been at the paper for more than six years and had helped earn Singleton a Pulitzer Prize during a six-year stint at the company’s flagship Denver Post, received for its coverage of the Columbine shootings.
“In better times, we might have found a way to ignore an extra position or two or even three,” Armstrong wrote in the memo.
Lopez insisted to the Guardian in a phone interview that he had proposed his own termination to ease anticipated cuts elsewhere.
“My layoff from the paper was not unexpected,” Lopez said. “It caught the staff off guard, but I saw it coming. I made the recommendation. I was trying to save some jobs in the newsroom.”
The loss of an experienced editor may have saved some jobs … for now. But maybe not for long. Reporters have been asked to summarize their beats for managers to determine how they can cover single subjects for a number of papers. The idea seems to be maximizing staff output rather than ensuring broad coverage of the communities.
A story about Lopez’s departure written by a Times reporter also appeared on the Merc’s Web site. MediaNews is also looking into multimedia deals with local TV stations and arming reporters with cameras for podcasts, one source told us.
Armstrong told the Guardian in a phone interview that opinion columnists, for instance, could still cover the same stories. “But we had found some situations where reporters were sent to the same events like Oakland [Raiders] away games.” He said offering buyouts to staffers has been “successful,” but it wasn’t enough to stem declining revenue, triggering the need for “involuntary” layoffs.
All of this may make sense from a strictly economic perspective. After all, doing more with less is a widely accepted imperative for profit-driven corporations. But there is a public price that will be paid for this reality: Bay Area citizens will get less original reporting and fewer perspectives on the news.
A former senior staffer at a major Bay Area daily wrote an open missive outlining recent major stories covered by fewer reporters: “Three months after MediaNews Group added two major Knight Ridder dailies to its far-flung Northern California newspaper group, news coverage is well on its way to being homogenized in this formerly competitive market.”
The observation is borne out by a Guardian survey of three major MediaNews papers. Out of 10 top recent cultural and political stories in the Bay Area, nine were covered by the same reporter, who wrote the same article for all three papers. (For details, visit www.sfbg.com.)
Under the recent layoff announcement, the Merc could lose up to 101 employees, half from its newsroom, while more than 100 business-side positions will be reportedly moved to a new, nonunionized San Ramon office of the California Newspapers Partnership (CNP), a consortium of companies including Gannet Co. and Stephens Group that helped MediaNews fund its recent purchases. The centralized San Ramon space could continue to fill up with employees from the business side of the papers who have been forced to reapply for their jobs under the CNP corporate moniker. They would presumably fall out from under union protection.
The company’s Peninsula and East Bay papers saw cuts across their operations from Walnut Creek to San Mateo. Armstrong told the Times the layoffs were “broad but not deep.” East Bay Express writer Robert Gammon, a former Tribune reporter and union organizer, revealed in early November that MediaNews planned to leave behind the Tribune’s historic downtown tower and move many of its staffers to the San Ramon office. News-side functions could be moved to a cheaper spot across from the Oakland Coliseum.
“The question is how do we continue to put out a paper people want to read if we continue to cut further?” Luther Jackson, executive officer for the San Jose Newspaper Guild, which represents almost 500 workers at the Merc, asked the Guardian. “I have a concern that when newspapers face increased competition for advertising, why are we cutting service? Does it work for readers? Does it work for advertisers?”
The Bay Area isn’t alone. In the complex transactions that took place over the summer, Hearst bought the St. Paul Pioneer Press from McClatchy and shifted it to MediaNews in exchange for stock in the company. At the Pi Press, as it’s known in Minnesota, 40 positions were cut in November. A MediaNews paper in Los Angeles, the Daily News, recently axed its publisher and 20 other workers.
MediaNews enraged union workers at the Merc when it offered them a contract during September negotiations that was unlike anything they’d seen at the paper before. The company has since toned down some of its harsher demands but asserted that if a tentative agreement were accepted by Nov. 30, the Merc might see fewer layoffs, Jackson told the Guardian.
The proposal would grant management the right to modify insurance coverage without telling the union, freeze the paper’s pension plan and replace it with a 401(k), and change the types of work that could be assigned to nonunion employees. It would also allow the paper to hire new workers at “market-rate” salaries, which means their pay increases could be capped at lower rates.
The company may choose to simply not replace costly veterans who are retiring or accepting buyouts, meaning cub reporters could find themselves with fewer seasoned mentors around to help teach them government and private sector watchdogging.
The guild foresees losing nearly 200 members if the full number of layoffs and worker transfers are carried out. And many guild members fear it may also mean the beginning of the end of newspapers as we know them.
Corporations have the right to see to their bottom lines. But communities and individuals also have a right to the fruits that independent, competitive journalism bestows. And that’s the right being asserted now in civil court by Clint Reilly.
While federal and state investigators have largely been idling, Reilly sued Hearst, MediaNews, and its other business partners last summer. He asked Judge Illston to temporarily halt the transactions until the trial begins in his antitrust claim against the companies. She denied Reilly’s initial request for a preliminary injunction, in part because the Hearst investment had not been officially inked, even though the trial isn’t expected to start until this spring.
In her opinion, however, she suggested parts of the deal were troubling and has not ruled out forcing MediaNews to give up some of its newly acquired assets. Earlier this month Reilly’s attorney, Joe Alioto, again asked the judge for an injunction. The renewed appeal was inspired in part by the recently announced job cuts.
The plaintiffs are arguing Hearst and MediaNews previously withheld a letter from the court that the two companies had signed agreeing to discuss the possibility of combining some circulation and advertising functions to save money. In his request Alioto told the judge the companies were “rapidly consolidating, commingling, and irrevocably altering their San Francisco Bay Area newspapers so as to frustrate this Court’s ability to provide an effective remedy for their antitrust violations.”
During a tense hearing last week on the matter, Alioto asked that top Hearst and MediaNews executives be ordered to testify immediately. He suggested Hearst’s board of directors would never have agreed to invest $300 million in MediaNews if it couldn’t also merge distribution and ad sales with its competitor.
“I don’t think there is any doubt that they intend to end up with newspapers that are very different than they are today,” Alioto said. He wants any such discussions stopped by the court, adding, “We believe they intend to wipe out the possibility of any of these papers to remain freestanding. These papers will not be the same within a very short amount of time.”
Hearst attorney Daniel Wall angrily fired back that no one was trying to deceive the court with a price-fixing agreement and that the companies were merely discussing the possibility of “pro-competition collaboration,” which Wall described as a business partnership lawfully permitted by the Justice Department. He disclosed that the Chronicle was bleeding millions of dollars annually, partially because of lost revenue to the Web, and exclaimed that drastic cost reductions were necessary to keep the paper alive.
“These are tough times for newspapers, and they need to take cost out of the system,” Wall told the judge. “They need to find new revenue streams.”
Hearst has already faced something akin to all of this before. Reilly sued it in 2000 when the company bought the Chron and attempted to nix competition by shutting down its long-held San Francisco Examiner. Reilly didn’t block the deal, but the Justice Department forced Hearst to keep open the reliably conservative Examiner, today owned by another Denver-based company.
This week Illston ruled that Hearst and MediaNews must temporarily stop any agreements to combine advertising sales and distribution networks until Dec. 6, when she’ll decide whether to extend her prohibition on merging business operations.
Reilly has emerged over the last decade as a serious pain for corporate media executives and unshakable critic of concentrated newspaper ownership in the Bay Area. His most recent lawsuit charges that the Hearst and MediaNews partnership would dilute fair competition and limit alternatives for both readers and advertisers.
“They started the blood flow with the firings,” Alioto told reporters after the hearing. “We think when they’re done with this they’re going to have entirely different newspapers.”
Recent job losses don’t stop at just MediaNews. The Chronicle is getting in on the action too.
Divisive contract negotiations between the Chronicle and the Web Pressman and Prepress Workers Union Local 4 over the last two years ended recently when the union “reluctantly approved” an agreement, union treasurer Paul Kolter told us. The union was the last holdout at the paper to accept drastically reduced workers’ rights.
By successfully pushing its will on the unions, Hearst has virtually ensured that the press operators won’t pose much of a threat to the company anymore, because around the same time it signed a $1 billion outsourcing deal with the Canadian printing company Transcontinental.
The union’s new contract is up in about three years, and there are no assurances Local 4 will have any workers in the new plant Transcontinental has promised to build. That could mean the end of its relationship with the Chronicle and about 225 workers from the paper that it represents.
The previous contract ended in the summer of 2005, and under the paper’s new publisher, Frank “Darth” Vega, management called for drastic cuts in salaries and benefits. The two groups spent several intervening months battling over the proposed changes.
In July, Vega prepared the paper for a strike, issuing a memo that outlined exactly how to keep the paper operating throughout a work stoppage, and hired a notorious security firm that specializes in handling labor disputes.
The union points out that while the Chronicle complains of massive financial bloodletting, its parent company, Hearst, has somehow scraped together enough money for a brand-new $500 million office building in midtown Manhattan, the construction of which was completed over the summer. The company also sold the sprawling 82,000-acre ranch that surrounds Hearst Castle to the state early last year for nearly $100 million. It was once home to the notoriously belligerent and imperialistic newspaper magnate William Randolph Hearst.
Union members say there are wide ramifications to what’s happening here. In July the World Association of Newspapers published a report describing how more news services globally, including the New York Times, were outsourcing major tasks, even news reporting, to save money.
“There are a lot of labor unions that have an interest in what is happening with us,” Local 4 organizer and press operator Bruce Carlton told members at a meeting in late October. “If this flies, it will be a blueprint on how to break unions. We will be sent back into the ’30s.”
The mood is dark for many employees working under MediaNews and Hearst. The scrappy feel and hard-driving reportage of the CoCo Times under Lopez and Knight Ridder are believed by some to be at risk following the purchases. “No one thinks we’re going to be a better newspaper because of this,” one source at the paper told us.
In another memo MediaNews executive Armstrong wrote to Bay Area staffers last week, he stated that the company, in fact, predicted its “advertising revenue challenges.”
“We have no additional job reductions planned due to economic conditions, but we cannot guarantee that additional reductions might not be necessary in the future,” he wrote. “Our job level is dependent on our revenue performance.”
The memo also shows that the company plans to sell an office in Danville and two parking lots in downtown Oakland.
News accounts depicted third-quarter earnings for MediaNews based on Securities and Exchange Commission filings as a windfall profit caused by its purchases of the Times and the Merc. But the company’s ad revenue and circulation are actually down a few percentage points, and it made $16 million from the July sale of an office building in Long Beach, which offsets a simple analysis of its financial standing.
It’s still a company that topped $1 billion in revenue last year, a figure that has increased steadily since 2002, but Singleton has never feared doing business with loads of debt on the books, which he’s always used to fuel new purchases. For the Bay Area papers, MediaNews took on a $350 million bank loan in August.
MediaNews has still managed to take recent dire economic forecasts to a fever pitch despite its confidently large debt burden, enabling the company to implement a business model that’s hardly new for Singleton. He knows how to make money. Interestingly, for an industry that’s supposedly on the ropes, several billionaires (who didn’t become wealthy by investing poorly) have in the last few weeks publicly expressed interest in purchasing some of the nation’s largest dailies.
The Boston Globe noted earlier this month that rock industry tycoon David Geffen and grocery chain investor Ron Burkle were considering a bid for the Tribune Co., which owns the Los Angeles Times. That paper recently endured a major shakeup when a top editor was fired for refusing to execute job cuts demanded by the company. Former General Electric CEO Jack Welch has considered a run for the Globe, and more buyout rumors have floated around the Baltimore Sun and the Hartford Courant. Such deals could signal a fundamental shift in how newspapers are regarded with respect to their newsgathering responsibilities.
“Geffen has reportedly told associates that he’d be happy with returns comparable to the 3 or 4 percent he might get from municipal bonds,” the Globe wrote. Others have discussed turning individual newspapers into nonprofits.
But Singleton probably isn’t going anywhere, and a lot of people are going to have to learn how to get along with him around here, Texas drawl and all, unless the feds shut down his party.
Knight Ridder was a respected newspaper chain before investors grew restless and demanded greater short-term profit margins. It was sold earlier this year to McClatchy (begrudgingly for some top execs and Pulitzer-wielding journalists who openly fought with Knight Ridder’s financial backers prior to the sale). Knight Ridder posted a profit margin of nearly 20 percent in 2004.
Employees of the chain wrote a chilling open letter shortly before it was sold: “Knight Ridder is not merely a public company. It is a public trust. It must balance corporate profitability with civic purpose. We oppose those who would cripple the purpose by coercing more profit. We abhor those for whom good business is insufficient and excellent journalism is irrelevant.” SFBG

The people’s party

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› a&eletters@sfbg.com
Sake 1 isn’t your typical DJ. Holding a graduate degree in social work from UC Berkeley, he volunteers for Caduceus Outreach Services, providing aid to mentally ill homeless adults. He is in the middle of a year initiating as a priest of Elegua in the Lucumi faith (more commonly known as Santeria) and, among other restrictions, must wear white from head to toe, refrain from sex, alcohol, and drugs, and avoid physical contact with others. His weekly party Pacific Standard Time regularly donates a portion of its proceeds to community organizations such as DiverCity Works and the Center for Young Women’s Development. And he has continued to be an in-demand hip-hop and soul DJ, playing parties like Little Ricky’s Rib Shack in NYC and mixing compilations for outfits like Fader magazine, while relentlessly maintaining an optimistic outlook — even though 2006 saw the deaths of his brother; his best friend, DJ Dusk; and his protégé, DJ Domino.
“It has been hard to lose my best friend, my brother, and a student-friend all in the span of four months,” Sake said from his home in the Mission the week before he was to play a memorial party in New York for his brother, house producer and DJ Adam Goldstone. “But it reminds me where I come from and why I do what I do as a DJ. And I have angels all around me …”
ANGELS FROM THE AVENUES
Sake 1 (the name is his tag from his graffiti days) grew up Stefan Goldstone in the Fillmore and the avenues and graduated from Washington High School before attending UC Santa Cruz and finally UC Berkeley. He learned to mix by using records like Public Enemy’s “Night of the Living Baseheads” and Ultramagnetic MC’s “Ego Tripping” on one turntable while listening to KPOO on Sunday afternoons. His older brother in New York expanded his world with Red Alert, Pete Rock, and Marley Marl tapes, and Sake 1 soon began visiting the North Beach Tower Records, which at the time had an extensive selection of 12-inch singles. House parties in Santa Cruz followed when he went to college, and to this day the mood of those early parties is something he treasures. “I always feel like that’s something I’m trying to recapture, that house party vibe where you know everybody, where you feel safe even though it’s kinda out of control.”
Following a long list of steadily higher profile events that included Church, Soulville, and Luscious, Sake’s latest attempt to have a club that feels like a house party is Pacific Standard Time, where he is the resident DJ. The PST started in the spring of 2005 at Bambuddha Lounge, eventually moving to Levende Lounge in search of a bigger dance floor. Reflecting Sake’s diverse selections, which range from hip-hop to disco to broken beat, guests have included Daz-I-Kue from Bugz in the Attic, house producer Osunlade, and local favorites such as Mind Motion.
“Pretty much from June of 2005 until [now], it’s been packed every week, so it’s been a blessing,” Sake said. “The struggle part has been trying to keep the music progressive, keep the ideas and the organizations that we support at the forefront, and not fall back on ‘Well, we’re successful, we’re making money, and people like it, so let’s wild out and just have this bacchanal thing.’ When things become successful, it’s almost like a gift and a curse, because then people expect it to be a certain way every week, and it makes it hard to keep it changing. When it’s not successful, you can change, and nobody’s really trippin’, because nobody’s coming!” he laughed.
REACHING OUT
Saying that the party’s crowd has evolved with its success, Sake acknowledged that at times he finds it hard to strike a balance between playing the more obscure tracks he may personally favor and keeping the party rocking. At the same time, he is well aware that being successful allows him not only to reach a broader audience but to make a bigger impact when he does use his party for benefits. And keeping that success rolling may mean tempering his philosophy of selecting tracks by artists from other countries, female artists, and those that represent genres not easily slotted into the Clear Channel and MTV pigeonholes.
“At PST we struggle with trying to be this sexy, cool, tastemaker thing and then doing these community organization parties,” he reflected. “And the community organizations come and bring their bases, and their bases don’t want to hear SA-RA Creative Partners necessarily. They want to hear commercial rap, because that’s what a lot of our folks listen to.”
Nevertheless, at 11:20 on a recent Thursday night, Levende was rapidly filling up, and the already packed dance floor had no problem getting down to SA-RA’s “Hollywood.” But half an hour later there was a markedly bigger response when Sake dropped “Keep Bouncing,” a track by Too $hort featuring Snoop Dog and will.i.am that the majority of DJs digging SA-RA joints wouldn’t let near their crates.
“DJs should break records, and nightclubs should be places for not just new music but new ideas,” Sake explained. “People should be open to new sounds … and people should be open to having a nightlife experience that isn’t [divorced] from thinking about what is going on in the world outside — that [doesn’t just accept] that you have to step over homeless people to get into the nightclub, you have to disrespect the bar staff to get your drink quicker, you have to touch a girl’s ass if she won’t dance with you.” Walking the line between educating and entertaining, Sake 1 is making San Francisco a better place with a party that might just have it both ways. SFBG
SAKE 1 AT PACIFIC STANDARD TIME
Thursdays, 10 p.m.
Levende Lounge
1710 Mission, SF
$10
(415) 864-5585

Gimme back my Bone?

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› a&eletters@sfbg.com
When pressed to define obscenity, Supreme Court Justice Potter Stewart famously opined, “I know it when I see it.” For me, a more honest answer would go something like “I know it when I masturbate to it.”
Rock music, like smut, offers an equally simple metric for discerning authenticity: if listening to a band inevitably leads to a stoned argument about the fighting prowess of Bruce Lee, then it is probably real rock. I’ve debated so many Bruce Lee combat hypotheticals while listening to Black Sabbath — Bruce Lee versus genius hammerhead shark, Bruce Lee versus Loma Prieta earthquake, one-armed Bruce Lee versus Willy Wonka — that I never question their place as the supreme suicide-inducing, vengeance-advocating rock band.
The biggest Bay Area radio station that claims to rock is 107.7 the Bone. The Bone consciously sells itself as “classic rock that rocks.” When I moved to San Francisco in 2001, it was the only station that reliably got the Led out. It played a ton of Judas Priest, Led Zeppelin, and Black Sabbath — all the bands that scared me as a small boy because I knew in my heart they possessed evil powers and could, with their music, summon from the soil of the Amazon rainforest an army of cloned Adolf Hitlers. The Bone always comforted me, because it — along with Madalyn Murray O’Hare, pony kegs, bringing M-80s to school, and backward masking — inhabited the same demon-haunted rock-metal world I lived in as a frightened but fascinated child.
FLIRTING WITH DISASTER AND LADY REEBOK
So I’ll never forget where I was the first time I heard the Verve’s “Bittersweet Symphony” on the Bone. It was 2 a.m. earlier this year, and I was driving west on Fell Street at 60 mph, my 1986 convertible LeBaron catching the timed lights one second after they turned green (Fell’s timed lights work at 30, 60, even 120 mph). I wanted rock and prayed for the Bone to twist me up a threefer of Ronnie James Dio. Instead, I found myself thrust into a Lady Reebok ad: vaguely self-infatuated and optimistic about everything but nothing in particular. I defensively smashed my car into a parked Cooper Mini, did a hundred push-ups and sit-ups next to the twisted wreckage, and ran off into the night. As with all time-bifurcating events — 9/11, the Kennedy assassination, being told my seventh-grade “sweats” were actually parachute pants — it’s often hard to remember what life was like before.
Joe Rock, the Bone’s most metal-friendly DJ and assistant program director, told me recently that the station tweaked its format following a 2004 listener-driven “Classic Rock A–Z Weekend” that saw requests for bands like Pearl Jam and Temple of the Dog supplant classic-rock lifers like Derek and the Dominoes and Bad Company. The switch from “metal-oriented classic rock,” the station’s previous Arbitron-monitored format, to “heritage rock,” a mix of old metal, new guitar-based grunge and post-grunge, and both old-school and contemporary Reebok rock, elicited a mild-to-moderate shitstorm from old-school Boneheads.
Why change the formula? I think the economics of commercial radio came into play. Few listeners in the 18-to-34-year-old demographic really care about Deep Purple deep tracks anymore, so the Bone started dropping in Staind and Godsmack amid Jimi Hendrix and Ozzy Osbourne. If you’re an old-school Bonehead, the change means that now you only hear KISS once in a while, unless you count all the time you and Strutter, your albino python, lock yourselves in your room and listen to every single KISS song on tape, vinyl, CD, CD box set, digitally remastered CD, and digitally remastered CD box set. If, however, you believe Stone Temple Pilots and Buckcherry are where Ted Nugent would have ended up if he didn’t OD on elk jerky and NRA propaganda, then you feel much like John Hinckley probably did after his psychologist let him watch Taxi Driver on DVD: deeply appreciative but still wondering what all the fuss is about.
THE SONG NOT THE SAME?
The mythology of classic rock holds that everything used to be one big fantasy sequence from The Song Remains the Same: coked-up druids, trashed Hilton suites, and roadies deep into black magic. The reality is that the vast majority of classic rock is nerdy or nonthreatening. You’re more likely to hear Supertramp, Fleetwood Mac, Yes, Journey, and Jethro Tull on an Aflac commercial than see them carved into the arm of a berserker teen. The Bone has always needed to appeal to men and women, hawks and doves, parolees and nonparolees. Until the change in format, ubiquitous classic rock loser ballads like the Who’s “Behind Blue Eyes” and Pink Floyd’s “Mother” represented the shadow self of the average Aleister Crowley–worshiping Bonehead. After the tweak the Bone forced its aging listeners to ask themselves a fundamental and humbling question: “Am I getting too old for this I-Roc?” Bone listeners older than 40 — who weren’t impressionable suckers when music, fashion, advertising, and public relations merged with movies, television, and politics in the late ’80s — had to swallow a bitter pill: it’s really all the same now, just younger.
The old Bone — despite its marketing and popularity with grown men who paint their faces silver and black and dress up as Norse war gods for their children’s Pop Warner football games — always played an embarrassing amount of lame music. For every “Dirty Deeds (Done Dirt Cheap)” or “Kashmir,” there were two pieces of shit like “Gimme Three Steps” and “China Grove.” The new Bone basically employs the same formula: Rainbow, Metallica, and Alice in Chains but now with acoustic Nickelback and blink-182 thrown in for the women and the younger sensitive guys.
This, objectively, is no wimpier than the old wimpy stuff, just more corporate and more easily marketable. The new Bone plays songs that strippers born after 1984 can lap dance to and still seem credible to their under-30 clientele. A lot of the new Bone stuff — by so-called active rock bands such as Audioslave and Velvet Revolver — easily out-rocks anything by Don Henley — and anything he ever touched.
Sometimes it’s better to just sound good than appear consistent. What rocks for me doesn’t necessarily rock for my next-door neighbor, unless Alice Cooper is now living in a pupuseria on 24th Street and Harrison. As for the ultimate judge, Bruce Lee’s legacy, I say the Bone still facilitates a Bay Area dialogue, even if it’s only seen Enter the Dragon and the first 10 minutes of Game of Death. SFBG

The Santa Rosa Press Democrat/New York Times: still no answers on why it once again censored and mangled Project Censored and its stories on Bush and Iraq et al

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On Sept. 10, 2003, while the New York Times and the Santa Rosa Press Democrat and affiliated papers were running Judith Miller’s stories making the case for the Iraq War and then seeking to justify it, the Guardian published the annual Project Censored list of censored stories.

Our front page had a caricature of Bush, standing astride the globe holding a U.S. flag with a dollar sign, and a headline that read, “The neocon plan for global domination–and other nine other big stories the mainstream press refused to cover in 2002.”

The number one story was “The neoconservative plan for global domination.” Our introduction to the timely censored package made the critical point: “If there’s one influence that has shaped world-wide politics over the past year, it’s the extent to which the Bush administration has exploited the events of Sept. ll, 200l, to solidify its military and economic control of the world at the expense of democracy, true justice, and the environment. But President George W. Bush hasn’t simply been responding to world events. The agenda the administration has followed fits perfectly with a clearly defined plan that’s been in place for a decade.”

In many cases, we noted, the neocon story and the other censored stories laying out the dark side of the Bush administration and its drumbeat to war got little or no play–or else were presented piecemeal without any attempt to put the information in context. (The number two story was “Homeland security threatens civil liberties.” Number three: “U.S. illegally removes pages from Iraq U.N. report.” Number four: “Rumsfeld’s plan to provoke terrorists.” Number seven: “Treaty busting by the United States.” Number eight: “U.S. and British forces continue use of depleted uranium weapons despite massive evidence of negative health effects.” Number nine: “In Afghanistan poverty, women’s rights, and civil disruption worse than ever.”)

Project Director Peter Phillips told us at that time, “The stories this year reflect a clear danger to democracy and governmental transparency in the U.S.–and the corporate media’s failure to alert the public to these important issues. The magnitude of total global domination has to be the most important important story we’ve covered in a quarter century.” In our summary of the neocon plan, we wrote that “it called for the United States to diversify its military presence throughout the world, offered a policy of preemption, argued for the expansion of U.S. nuclear programs while discouraging those of other countries, and foresaw the need for the United States to act alone, if need be, to protect its interests and those of its allies.”

And we then asked the critical and timely question. “Sound familiar?”

In that critical year of 2003, only months after the ill-fated Bush invasion of Iraq, the timely and relevant Censored project and stories were not published in the New York Times and the Press Democrat and affiliated papers either censored or mangled the coverage. This year, as Iraq slid into civil war, U.S. war dead rose toward 3,000, and the U.S. public was well ahead of the media in turning against the war, the New York Times should have finally recognized its annual mistake and published the Project Censored story. It didn’t (and it never has). The Santa Rosa Press Democrat should have been all over the story, since it was a local and national story out of nearby Sonoma State University, it was reseached by local professors and students, and it was the project’s 30th anniversary highlighted with a special conference at the school. Instead, the PD did a front page hatchet job on the story and then refused to run a decent number of complaining letters, according to Phillips.

However, The PD did run an op ed piece in this morning’s paper by Phillips (see link below). Which is to the good.
But the paper never answered any of the questions and complaints submitted by Phillips, the project founder Carl Jensen (retired and living in nearby Cotati), or the Guardian (see previous blogs and links). Why? No explanation.
The key point is that the Times and the PD have once again demonstrated in 96 point Tempo Bold the point of Project Censored and the value of alternative voices.

Postscript: More impertinent advice: TheTimes papers that marched us into war, with their flawed front page reporting and backup editorials, ought at minimum to start covering the project and the stories and the voices who had it right before, during, and after Bush committed us to the worst foreign policy blunder in U.S. history. Repeating: the PD ought to invite Jensen, Phillips,and the Project in for a chat and discuss why they have so much trouble handling a local story. B3

Why the public deserves to hear alternative views on 9/11

SFBG Project Censored

What you can do

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What: Free Josh Wolf!
When: Thursday, December 7th 2006, 7:30pm
Where: Balazo, 2183 Mission Street @18th, 415-255-7227

On December 7th, journalists, activists, and local leaders will come
together to call upon the United States Government to free independent
videographer and freelance journalist Josh Wolf. He is currently in
“coercive custody” at the Federal Detention Facility in Dublin, California.
He is not charged with any crime. Please join us for a night of music,
inspiring speakers, and action in support of Josh Wolf and to demand that
Congress pass a Federal Shield Law protecting journalists and freedom of the

press. $10 Suggested Donation. No one turned away for lack of funds. For
more information about Josh Wolf go to www.joshwolf.net. Contact:
andy.blue@yahoo.com.

To read Josh’s prison blog, click here

Free Josh Wolf Support Update
11/14/06

http://joshwolf.net/blog/
http://freejosh.pbwiki.com

*****************************
In this email:
1) Legal Update
2) Josh Wins Society of Professional Journalists’ Journalist of the Year
Award
3) Josh Wins 2 Vloggy Awards
4) New Flyers!
5) Josh Can Receive More Books
6) How Can I Support Josh?
*****************************

1)Legal Update

See story

*****************************

2) Josh Wins Society of Professional Journalists’ Journalist of the Year
Award http://www.spj.org/norcal/
http://www.indybay.org/newsitems/2006/11/10/18328773.php

“On Thursday, November 9th, Northern California Chapter of the Society
of Professional Journalists held their annual banquet. Of the many
honors that were bestowed on people, arguably the most prestigious,
Journalist of the Year, went to imprisoned video documentarian, Josh
Wolf, along with other grand jury subpoena resisters, San Francisco
Chronicle sports writers, Lance Williams and Mark Fainaru-Wada.

Wolf’s mother, teacher Liz Wolf-Spada, accepted the award on behalf of
her son. Wolf, who had been imprisoned, released and then
re-imprisoned, has served a total of 82 days in a federal penitentiary
for refusing to turn over his unedited video footage of a July 2005
San Francisco protest. From: Indybay.org

Read Josh’s Acceptance Speech: http://www.joshwolf.net/blog/?p=277

*****************************

3) Josh Wins 2 Vloggy Awards

Josh’s video, All Empires Must Fall, received the Judge’s Choice Award
for Most Controversial Video and the People’s Choice Award for Best
Male Vlogger.

Read Josh’s Acceptance Speech: http://www.joshwolf.net/blog/?p=273

*****************************

4) New Flyers!

Thanks to Njeri for making these awesome flyers!

You can download them here:
http://freejosh.pbwiki.com/f/joshwolf_flyer.pdf
And view them here: http://freejosh.pbwiki.com/Flyers%20and%20Graphics

*****************************

5) Josh Can Receive More Books

Josh is ready for more books! THANKS!
http://freejosh.pbwiki.com/Send%20Josh%20Books

Please consider sending a book to Josh while he is being held in
prison. It’s a great way to show your support for him!

Josh’s Book Wish List:
Days of War, Nights of Love – The Crimething Ex-Workers Collective Logic
and Contemporary Rhetoric – Howard Kahane

*****************************

5) How Can I Support Josh?

10 WAYS TO SUPPORT JOSH http://freejosh.pbwiki.com/Help%20Support%20Josh

There are lots of things we can all be doing to help Josh.

Here are the top 10 ways

1) SEND LETTERS and maintain correspondence with Josh while he is
incarcerated. We need to let Josh know that we are thinking of him and
supporting his courageous and important stand. Visit:
http://freejosh.pbwiki.com/Write%20Josh%20Letters for info on how to
send a letter to Josh. Please remember that all of Josh?s letters are
read by the prison authorities and it may take a while for your letter
to reach him.

2) SEND A BOOK to Josh. Find Josh’s book wish list and info on how to
get him a book visit: http://freejosh.pbwiki.com/Send%20Josh%20Books

3) READ HIS BLOG from prison. Josh’s blog is still being updated by
his family and friends. Letters from Josh will be posted as they are
received. http://joshwolf.net/blog/

4) DISTRIBUTE FLYERS about his case:
http://freejosh.pbwiki.com/Flyers%20and%20Graphics

5) DONATE to Josh’s support fund via Paypal:
http://joshwolf.net/grandjury/donate.html

6) PLAN BENEFIT CONCERTS AND EVENTS to raise money. There have been
several concerts and fundraisers thrown recently to support Josh. If
you are interested in hosting a concert or other type of fundraiser
please contact Josh’s support team at: freejosh(at)joshwolf.net so we
can assist you with publicizing your event.

7) JOIN AND PARTICIPATE in the Support Josh Wolf Email List:
http://lists.riseup.net/www/info/supportjoshwolf

8) PROMOTE JOSH’S CASE. Write letters and articles of support for Josh
to your local media. Blog about his case. Link to his blog and wiki.
Post “support Josh” banners on your blogs and webpages:
http://freejosh.pbwiki.com/Flyers%20and%20Graphics

9) SEND LETTERS to the other inmates who are being incarcerated along
with Josh at FCI Dublin. You can get their contact information at:
http://freejosh.pbwiki.com/Write%20Josh%20Letters

10) BECOME INVOLVED WITH THE SUPPORT TEAM. Email:
freejosh(at)joshwolf.net or the Email List if you are interested in
getting more involved. We still need people willing to help with tech
support, organizing, fundraising, graphic design, publicity, media and
legal support. Send an email to the support team indicating how you
would like to help and we will plug you in!

Daring Darin Klein – and that Thing

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Before I ever met Darin Klein I used to see him: this cute-hot, friendly-looking, tall skinny guy with eyeliner and tattoos who’d show up and have fun at Q-Tip (Queers Together in Punkness) events back when the Epicenter by 16th and Valencia still existed. Then, as years went by, I’d hear about him: one friend would talk about something Darin had made for her, another about an event Darin put together. Sometime around 2000, Darin threw a one-night show of book arts at New College, and that’s when I knew for sure he did awesome things. Others definitely agree, because some people who took part in that largely buck-for-a-book party have gone on to sell works for hundreds or thousands of dollars (or sell thousands of works).

penisart1.tif
(Friendly Skies by Young Chung, from Darin Klein’s book/box compilation Exes Editions: Relationships I’ve been in usually ended with a break-up).

Now that I’ve had a few chances to hang out with him, I can say for sure that I admire the damn funny, unpretentious, and whip smart Darin Klein. No one has better stories about mistaking Gwen Stefani for a drag queen or attempting to give Kenneth Anger customer service. He lives in LA now, so I recently emailed him about some of his video curating and book projects, including his most recent compilation, the staple-bound penis art collection Thing.

Preparing for scary

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› sarah@sfbg.com
Nine people were shot during this year’s big Halloween celebration in the Castro, prompting city officials to announce the convening of a task force that will examine the event and its future in San Francisco. Supporters and event planners say such early attention is crucial for a gathering of this magnitude — and that the lack of proper planning contributed to this year’s problems.
Concerns that the event has gotten out of control prompted some Castro residents and Sup. Bevan Dufty to announce in July that they wanted the event cancelled, moved, or drastically scaled back. Instead, the plan was hatched to increase the police presence by 25 percent, adopt a zero tolerance policy for public drinking and other crimes, and end the event at 10:30 p.m., which they announced just days before Halloween.
More than 100,000 people showed up anyway, passing big groups of police clumped at the edges of the event but rarely undergoing even cursory searches for weapons and other contraband as they entered the cordoned area. Just after the music was turned off at the one stage (down from three last year) and police announced, “The party is over,” a conflict between two San Francisco gangs escalated, with someone being hit by a bottle and then someone pulling out a gun and opening fire in retaliation. There were no fatalities, and the shooter escaped.
Other than that one incident, which most attendees weren’t aware of until the next day, the event was pretty tame. More striking and upsetting to most who came was the fact that the event ended just as its numbers were peaking and that the end was reinforced at 11 p.m. by water trucks and street sweepers that cleared the still-large crowd.
Mayor Gavin Newsom seemed to acknowledge the lack of preparation when he told KRON-TV, “We’re not going to wait until the last few months before the event. We’re going to start planning right away.” Nonetheless, both Newsom and Dufty praised the police and the planning efforts, with the mayor telling the Chronicle, “We’d done everything we could imagine doing.”
Yet critics say that if that’s the best city officials can do, we’re in no shape to host other large events, such as the 2016 Summer Olympics, which Newsom is bidding for.
“If San Francisco wants to host the Olympics, it can’t go around telling the world that it can’t keep a party under control one night a year,” Ted Strawser of the SF Party Party told the Guardian. “Halloween is like gay Christmas. It’s a travesty to talk about canceling it.”
Other cities seem to be up to the task. Take New York’s Village Halloween Parade. Twenty-five years ago, when its crowds first topped the 100,000 mark, New York celebration artist Jeanne Fleming began working closely with local residents, schools, community centers, and the police to maintain “a grassroots feel and prepare for future growth.”
Today, the New York Village Halloween Parade is the biggest in the world, a fact organizers actively advertise on their Web site to attract sponsors and fill the city’s coffers with $80 million worth of tourists’ money annually, thanks to two million spectators and 60,000 parade participants.
And while Newsom, Dufty, Police Chief Heather Fong, Fire Chief Joanne Hayes-White, and Sheriff Michael Hennessey deliberate whether the party should continue and how to make it securer if it does, the NYPD hails the Village parade as a valuable public service that makes Halloween safe for New Yorkers.
“Maybe the SFPD needs to talk to the NYPD,” Fleming told the Guardian, noting that the Village parade has changed routes four times over the years in response to merchants’ fears and neighborhood concerns without losing its original identity. “Instead of putting up walls, San Francisco needs to open up its mind.”
That’s what Alix Rosenthal (the domestic partner of Guardian city editor Steven T. Jones) had been urging during her campaign against Dufty for his seat on the Board of Supervisors.
“Bevan Dufty has accused me of playing politics with Halloween, but he should have started working on this plan at least six months ago,” Rosenthal said at a day-after press conference. She believes that more entry points, entrance fees (with higher fees for uncostumed attendees), and a parade leading away from the Castro would be helpful. “Getting out the word that there are going to be changes has to be a huge PR effort.”
Paul Wertheimer of LA-based Crowd Management Strategies told the Guardian that talk of canceling the event is “an understandable reaction if you know you can’t do it right.”
“Organizers often fail to recognize the changing demographics and popularity of events,” Wertheimer said, pointing to the success of New Orleans in managing its Mardi Gras parades despite narrow streets and huge crowds. “You can’t have a hippie, anything-goes mentality. Once an event gets bigger than 3,000 to 5,000 people, it has to be organized and planned with the proper resources, but it can be done, because the techniques and plans are already laid out.”
Wertheimer hopes the SF Halloween task force will assess what worked and what didn’t, take a break, then begin planning no later than six months out. “And merchants’ issues have to be addressed. Merchants are always concerned, but if they can be shown ways they can benefit and be protected from vandalism, they’ll be for it.”
Or as Strawser put it, “We need to put the dollars into better management, not police overtime. Former mayor Willie Brown learned that lesson in 1997 when he tried to cancel Critical Mass. We’re a city that handles the Love Parade, Gay Pride, and Bay to Breakers. To cancel what began as a gay event because of fear of gay bashers and violence would be to give in to the terrorists.” SFBG

Pelosi’s perplexing pledge

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› news@sfbg.com
When my friend Salli Martyniak heard that Nancy Pelosi would be featured on the CBS news program 60 Minutes, she got excited. Like a lot of professional women who have been turned into political activists by six years of Bush-Cheney-ism, Martyniak’s doing everything she can to end Republican control of the House of Representatives. She’s got the right campaign signs in her yard, she’s writing checks and hosting fundraising events, and she’s knocking on doors and making calls in a politically competitive precinct of the battleground state Wisconsin. And she has always lit up at the prospect of the first female speaker of the House.
But when Pelosi’s segment aired on 60 Minutes three Sundays before the election, Martyniak said, “I was shouting at the television. How could she say that? How could she so miss the point of being an opposition leader?”
What was it that so infuriated my friend and millions of other Americans who want this election to be about holding an out-of-control presidency to account?
Pelosi, the House Democratic leader who may well surf a wave of voter resentment against the Bush administration and Republican misrule into the speaker’s office after the votes are counted Nov. 7, bluntly declared that it would not be the purpose of a Democratic House to restore the rule of law, despite the fact that more than three dozen members of her own caucus are calling for an inquiry into possibly impeachable offenses by the administration, led by Rep. John Conyers of Michigan, who is in line to become chair of the Judiciary Committee if the Democrats retake the House.
“Impeachment is off the table,” Pelosi declared.
“And that’s a pledge?” asked CBS’s Lesley Stahl.
“Well, it’s a pledge in the — yes, I mean, it’s a pledge,” Pelosi responded. “Of course it is. It is a waste of time.”
A waste of time?
Not in the eyes of the American people. A majority of those surveyed last fall in a national poll by Ipsos Public Affairs, the firm that measures public opinion on behalf of the Associated Press, agreed with the statement “If President Bush did not tell the truth about his reasons for going to war with Iraq, Congress should consider holding him accountable by impeaching him.”
It was not entirely surprising that 72 percent of Democrats favored impeachment. What was more interesting was that 56 percent of self-described Independents were ready to hold the president to account, as were 20 percent of Republicans. And given what has been learned over the past year about the deceits employed to guide the United States into Iraq and about the quagmire that has ensued, support for impeachment has undoubtedly risen.
So why has Pelosi been so determined to disassociate herself and her potential leadership of the House from talk of impeachment?
Is she, like former House speaker Carl Albert, the Democrat representative from Oklahoma’s “Little Dixie” region who cautiously approached the issue of impeaching Richard Nixon, fearful that challenging a president who is still popular with conservative voters will cause trouble at home? Spare me. Pelosi represents what may well be the most impeachment-friendly congressional district in the country.
The San Francisco Board of Supervisors voted last February to ask Congress to pursue Bush’s impeachment for leading the country into war in Iraq and undermining civil liberties. And on Nov. 7, San Francisco voters are all but certain to approve Proposition J, urging impeachment. If anything, Pelosi creates political problems at home by being on the wrong side of the impeachment issue, as the spirited challenge she faces this year from proimpeachment Green Krissy Keefer well illustrates.
Since it is impossible to imagine that the House Democratic leader honestly disagrees with the merits of calling the president and vice president to account — especially when, if seen through to its conclusion, the successful impeachment of Bush and Cheney could make her president — she must believe that impeachment is bad politics on the national scale.
But is impeachment really a political loser? Not if history is a guide. There have been nine attempts since the founding of the republic to move articles of impeachment against a sitting president. In the cases in which impeachment was proposed by members of an opposition party, that party either maintained or improved its position in Congress at the next general election. In seven instances the party that proposed impeachment secured the presidency in the next election.
Pelosi’s problem appears to be that she doesn’t want to be accused of repeating the partisan misuse of impeachment that Republicans perpetrated in 1998 and 1999. But the misdeeds of Bush and Cheney are precisely the sort of wrongdoing that impeachment was designed to check and balance.
As a political reporter who has spent a good many years trying to unlock the mysteries of the contemporary Democratic Party, I contend that an openness to impeachment is not just good but essential politics for Pelosi and her caucus. If Democrats retake the House on Nov. 7, it will not be because the party proposed a bold agenda and won on it. Pelosi has shied away from making presidential accountability a central theme of the campaign; arguably, she has shied away from central themes in general — except, of course, to promise that Democrats will behave more admirably than Republicans.
Russ Feingold, the senator from Wisconsin who learned a hard lesson about his party’s interest in accountability when he mounted a lonely effort to censure Bush for authorizing illegal spying on telephone conversations, argues that Democrats are doing well this fall in spite of, rather than because of, their cautious approach. “I hope that people don’t think we are winning because of our meekness,” Feingold said. “We are being handed a tremendous gift, but the voters are going to expect us to do something with it.”
To “do something” that will matter in the long term, something that will give Democrats the moral authority and the political pull that will allow them to correct the country’s course, Pelosi and her fellow partisans must abandon the ahistoric and hyperstrategic politics of a contemporary status quo, which seeks to keep both political parties operating within the narrow boundaries that prevent surprises for entrenched officials, wealthy campaign contributors, and powerful lobbyists. And the first step in that process involves embracing the oath members of the House take — to “support and defend the Constitution of the United States against all enemies, foreign and domestic.”
It is impossible to support and defend the Constitution in this era of executive excess while at the same time taking impeachment off the table. As long as impeachment is wrongly portrayed as the political third rail by Pelosi, standards of accountability remain low, and prospects for fundamental improvement in the national condition are diminished. When it pulls its biggest punch, the opposition party that covets power is limited in its options, tempered in its approach, and muted in its voice.
The benefit of an impeachment fight to an opposition party comes not in the removal of an individual who happens to wear the label of another party. Rather, it comes in the elevation of the discourse to a higher ground where politicians and voters can ponder the deeper meaning of democracy and the republican endeavor.
When the whole of a political party finally concludes that it must take up the weighty responsibility of impeaching a president, as Democrats did in 1974 but Republicans never fully did in 1998, its language is clarified and transfigured. What Walt Whitman referred to as “long dumb voices” are suddenly transformed into clarion calls as a dialogue of governmental marginalia gives way to discussion of the intent of the founders, the duty of the people’s representatives, and the renewal of the republic.
When a political party speaks well and wisely of impeachment, frustrated voters come to see it in a new way. It is no longer merely the tribune of its own ambition. It becomes a champion of the American experiment. To be sure, such a leap entails risk. But it is the risk-averse political party that is most likely to remain the permanent opposition. This is the requirement of politics, not as the game that is played by both major parties but as the essential struggle in which the founders engaged.
If Pelosi hopes to build a new and more vital relationship with the American people, a relationship that runs deeper than any particular issue or individual, she must overcome the irrational fear of presidential accountability in general and impeachment in particular that have so paralyzed Democrats as an opposition force. If Democrats win Nov. 7, it will be because the voters recognize that America needs an opposition party, not to reshuffle the deck chairs on the Titanic that a federal government thrown off course by neoconservative foreign policies and neoliberal economic policies has become, but to turn the ship of state in a new direction.
Pelosi owes it to Salli Martyniak and all the other activists who are pouring themselves and their dollars into making her the next speaker of the House to put impeachment back on the table. Pelosi owes it to her San Francisco constituents who so clearly favor impeachment. Most importantly, Pelosi owes it to the republic that as speaker she will have it in her power to restore and redeem. SFBG
John Nichols, a political writer for the Nation, is the author of The Genius of Impeachment: The Founders’ Cure for Royalism (The New Press). He will discuss the book and impeachment Nov. 1 at 12:30 p.m. at Stacey’s and 7 p.m. at the New College Cultural Center.

Embedded: A Q&A with Iraq in Fragments director James Longley

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It only takes a few minutes of watching Iraq in Fragments to recognize that the film stands apart from the Iraqumentary pack: dazzling cinematography in place of the dull visuals of the evening news, slice-of-life narration instead of talking heads. Divided into three sections, director James Longley’s reportage shows us the everyday chaos in Baghdad and beyond with dramatic vividness — a vividness that, if nothing else, makes us realize how degraded most of the imagery we receive from Iraq is at the moment. Longley’s style owes as much to neorealism as it does to vérité documentary, with an emphasis on rhythm, ritual (school, shaving, washing feet), and — somewhat tiresomely — child perspectives. The director doesn’t explicate politics and often drops us into complex situations without explanation — he expects a lot from his audience but at the same time knows that the tangled human emotions cast before us will give the film meaning. It’s the kind of ambitious work one imagines a director like Gillo Pontecorvo (The Battle of Algiers) would have made if he’d had access to digital technology.
Though the film nabbed a couple of major awards at Sundance, it’s taken months for Iraq in Fragments to get a proper theatrical release here. Fortunately for Longley, the film’s material is evergreen, not tied to specific events, and still wholly relevant to the unfolding devastation. I spoke with the director during last spring’s San Francisco International Film Festival.
SFBG: How did you decide to make a documentary about Iraq?
JAMES LONGLEY: In 2002 I premiered Gaza Strip [his first feature-length documentary] up in Seattle, and someone asked me what I was going to do next. By then it was already clear that we were going to invade Iraq … and I just said I was going to make a film about Iraq. I didn’t know how I was going to do it, I didn’t know what to expect, but I just decided [to] dive in no matter what.
SFBG: After getting kicked out of the country in the immediate buildup to the US invasion, when and how did you return to Baghdad?
JL: I waited for [the war] to end in Cairo. The last two weeks in April, the war was running down, the statue fell, and I flew immediately from Cairo to Amman, Jordan, and then drove across the border, which was totally open. I just kind of settled in. I had my camera and found an apartment. I found people to work with as translators and started filming.
SFBG: It’s striking how comfortable the film’s subjects seem around your camera, especially since you’re an American. How do you go about getting embedded in this way?
JL: Mostly it’s just a matter of making friends with people and hanging out…. It was a conscious choice to have that feeling of being a fly on the wall. When you make that choice, you do whatever it takes … and really, what it takes is a lot of patience. I went through 12 different translators. The difficult thing for them was when I would go out to a farm or wherever I was filming and just stay there from morning until night, just hanging out. Most people demand some kind of action, but in this case the work was really in action, punctuated by really fast decision making. You’re going to be a fixture in this place. Everyone’s going to know who you are, and you’re going to have to say hi to everyone and drink tea with everyone day after day…. If you’re willing to do that, after a while people won’t think it’s such a big deal when you’re filming.
SFBG: Given the on-the-fly nature of the scenes, Iraq in Fragments is also a powerfully cinematic documentary. How does this level of film style factor into your direction?
JL: When I was shooting the film, I was definitely thinking of cinema, not of television. I grew up hating TV and never actually had one…. Conceptualizing the movie while shooting it, I was always thinking, “What’s this shot going to look like on the big screen?” Having that in your mind the whole time changes the way you imagine it, changes the way you shoot; it changes everything. I want to shoot the next film in high-def 3-D [laughs]. (Max Goldberg)
IRAQ IN FRAGMENTS
Opens Nov. 10 in Bay Area theaters
www.iraqinfragments.com

Assassin fascination

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› cheryl@sfbg.com
Four presidents have been killed in office: the two you hear about (Abraham Lincoln and John F. Kennedy) and the two you kind of don’t (James A. Garfield and William McKinley). But any time a political figure meets a violent death, post-traumatic stress can echo through generations — particularly because Hollywood is so fond of assassination cinema. Oliver Stone’s JFK is the most exhaustive example but certainly not the first; John Wilkes Booth pops up in 1915’s Birth of a Nation.
You don’t even have to be president to get your own assassination narrative (see: this fall’s Bobby) or be a successful target, for that matter. The Assassination of Richard Nixon spun would-be Tricky Dick killer Samuel Byck into a Travis Bickle–by–way–of–Sept. 11 man with a twisted take on the American dream. Fictitious films like Nashville and The Manchurian Candidate also pick up the assassination thread; Taxi Driver went one further by actually inspiring John Hinckley Jr. to take aim at Ronald Reagan.
Images of Reagan’s shooting outside the Washington, DC, Hilton clearly influenced Gabriel Range’s made-for-British-television mock doc Death of a President, by my count the first to imagine the death of a sitting president. The murder takes place Oct. 19, 2007, outside a Chicago hotel surrounded by angry antiwar protesters. Actors playing secret service agents, speechwriters, and sundry witnesses recall their experiences; the events themselves unfold via staged and real footage, some massaged with special effects to make the holy shit! moment as authentic as possible.
But the holy shit! is what you expect — and once Death of a President segues into the President Dick Cheney era, it assumes the far less salacious task of exposing post-9/11 America’s darker corners. A Muslim man is nabbed for the crime; his home country of Syria is taken to task as the FBI scrambles to make a motive out of terrorism. PATRIOT Act Three is passed. Civil liberties become even more restricted. But is the suspect really the killer? Is he a patsy? Or is he guilty only of wrong time, wrong place, wrong race?
In many ways, Death of a President resembles The Confederate States of America — a fake TV doc beamed from a reality where the South won the Civil War — rather than its assassination-obsessed cinematic predecessors. This, despite all the controversy surrounding the film’s sensational suggestion that someone might think the world a better place with Bush in the grave. Ultimately, Range is more interested in using Bush’s untimely death as a way to address issues that already exist in 2006, notably the lose-lose repercussions of a hopeless, never-ending Iraq war. Alas, there’s nothing shocking about that. SFBG
DEATH OF A PRESIDENT
Opens Fri/27
Lumiere Theatre
1572 California, SF
(415)267-4893
Shattuck Cinemas
2230 Shattuck, Berk.
(510) 464-5980
www.deathofapresident.com

Welcome to the CSA

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› annalee@techsploitation.com
TECHSPLOITATION I love a good alternate history yarn for the same reason I love science fiction. Both genres analyze present-day trends by projecting them into another reality. That other reality might be the future or simply a transformed version of the present.
In the United States, there are two incredibly popular alternate history scenarios: 1. What if the South had won the Civil War? and 2. What if Germany had won World War II? C.S.A: The Confederate States of America, a fake British documentary made by Kansas filmmaker Kevin Willmott, answers both questions.
After its limited release in the theaters two years ago, the movie achieved cult status in DVD form, which is really its natural medium. It’s fascinating to watch CSA on a television set because the movie is meant to resemble a snippet from a TV station, complete with freaky commercials and news breaks, that is airing a “controversial” British documentary about the history of the CSA.
Blending dark humor with painstakingly researched historical revisionism, Willmott begins the movie with a fake commercial for insurance. The clip looks exactly like something you might see on ABC, including the fact that everyone in it is white. Then the announcer says, “Our insurance protects you and your property,” and the camera pans over to a smiling black boy who is clipping a hedge. This is a present day in which slavery still exists.
The British documentary reveals how this came to pass. After the South wins the Civil War with the help of France and England, the president heals the rift between North and South by offering Northerners slaves to help reconstruct the bombed-out cities of New York and Boston. Deposed president Lincoln flees to Canada, followed by 20,000 abolitionists including Fredrick Douglass and Henry David Thoreau.
Shortly thereafter, Chinese laborers in California are also declared slaves. The CSA annexes South America and becomes entrenched in a Cold War with what politicians call Red Canada. Several African nations collude with the CSA to maintain the slave trade, and we see historical footage of an African leader reassuring his people that only the “inferior tribes” are sold as slaves.
Hitler retains control over Germany when the CSA refuses to intervene in World War II, although the president does say it’s too bad the Germans are killing Jews instead of enslaving them.
What’s sheer genius about this alternate history is how much of it is drawn from actual US history. We hear about Native Americans being rounded up and put into orphanages, which actually happened; and the fake commercials advertising things like “Darkie Toothpaste,” “Niggerhair Cigarettes,” and “Coon Chicken” are all based on real products sold long after the abolition of slavery.
More chilling are ads for anti-depressants aimed at controlling slaves, and for a TV show based on Cops called Runaway. The message may be heavy-handed, but it nevertheless rings true enough to be thought-provoking: US popular culture is only one degree removed from being that of a slave-owning nation.
The same goes for US political culture. Historical figures and events in CSA also remain virtually unchanged. Kennedy is elected president and calls for abolition right before being assassinated, and the Watts Riots are portrayed as a “slave uprising.” Reagan’s presidency heralds a new spike in the slave trade. Experts explain how the Internet has helped rejuvenate interest in the science of slave control, and we see clips from the Slave Shopping Network, where bidders can choose to break up a family or “buy the complete set.”
Willmott has said in several interviews that CSA is not about what could be, but what is. He points out that African Americans and other people of color may not view the film as an alternate history so much as a reflection of a true history that many whites still can’t quite see. Maybe that accounts for why the film, which received an enthusiastic reception at Sundance in 2004 and critical raves, didn’t make it onto DVD until quite recently. Freed from the confines of traditional movie theater distribution, I think this flick will at last find the audience it deserves in online communities, where people can simultaneously watch, discuss, and recommend it.
In fact, I can’t think of a better movie to share in small pieces on
YouTube or MySpace, enticing people to rent or buy it and get the whole story. Its message should be out there, spreading like the world’s most virulent antiracist media virus, infecting the nation one computer screen at a time. SFBG
Annalee Newitz is a surly media nerd whose other favorite alternate history is about what would have happened if Martin Scorsese had directed ET.

PG&E’s extreme makeover

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› steve@sfbg.com
Mayor Gavin Newsom called a meeting with Pacific Gas and Electric Co. president Thomas King in July to let the utility chief know that the city intended to pursue public power projects on Treasure Island and Hunters Point.
“It was just to tell him that we’re going to do it,” Newsom spokesperson Peter Ragone said of the meeting. “The mayor thought it was a gentlemanly thing to do.”
King used the occasion to start an aggressive new offensive — and to preview PG&E’s latest political strategy.
In an Aug. 10 letter to Newsom, King promised not to fight the city’s plans in court and pledged to develop a better relationship with the city.
“We know that it was in this spirit of cooperation that you approached us last month, and we want to foster this spirit and forge an even stronger partnership in efforts to protect our environment in the years ahead. That’s why I wanted to respond to your questions and suggestions — and to share with you some ideas of my own,” King wrote, listing one of those ideas as helping the city develop energy from tidal power at the mouth of the bay, which Newsom had recently announced a desire to pursue.
The day after PG&E wrote the letter, Newsom and San Francisco Public Utilities Commission (SFPUC) head Susan Leal announced the city’s intention to supply public power, mostly from clean solar and hydroelectric sources, to the redevelopment project on Parcel A of the former Hunters Point Naval Shipyard, where the politically connected Lennar Corp. (which is also part of the team with the rights to build on Treasure Island) has the contract to build 1,600 new homes.
“What we want to provide is a green community at a rate that meets or beats PG&E,” Leal told the Guardian, noting the history of environmental injustices that have been heaped on the southeast part of town. “We’re very excited about what’s going on at Hunters Point. . . . It’s important that the city do the right thing for that community.”
And just as PG&E was pledging cooperation, it aggressively set out to undermine the city’s plans with competing bids and continued its fiercely adversarial posture in another half-dozen realms in which it must work with the city, battles that have cost San Franciscans millions of dollars.
“This is a competitive world and this is fair game, don’t you think?” PG&E spokesperson Darlene Chiu — who used to be Newsom’s deputy press secretary — told us of company efforts to subvert the public power projects.
Last month PG&E also hired away SFPUC commission secretary Mary Jung, who had been privy to closed-session discussions about various city strategies for dealing with PG&E. Jung, who did not return a call for comment, was required to sign a confidentiality agreement and threatened with criminal charges if she spills city secrets, although city officials acknowledge that would be difficult to prove.
PG&E has also launched a high-profile public relations offensive designed to repackage the utility as a clean and green crusader against global warming and a supporter of community programs such as the mayor’s pet project, SF Connect, to which it contributed $25,000 last month.
“The company has a long and continuing history of fighting against the city rather than working with the city on issues involving municipal power, improved reliability, connecting city facilities, and protecting ratepayers,” Matt Dorsey, a spokesperson for City Attorney Dennis Herrera, told us. “If PG&E wants to demonstrate its good corporate citizenship, it can start by changing the nature of its relationship with the city.”
BIG BUCKS
If anyone from the Bay Area needs a reminder about the big money, bare-knuckle approach PG&E uses when its interests are threatened, they need only look up the road to what’s happening in Sacramento and Yolo counties.
PG&E has so far spent more than $10 million fighting Propositions H and I in Yolo County and Measure L in Sacramento County, which together would allow the Sacramento Municipal Utility District (SMUD) to annex more than 70,000 customers in Davis and surrounding communities.
The PG&E effort has saturated mailboxes and the airwaves with messages that inflate the cost of taking over its transmission lines, imply threats of a drawn-out legal battle, and make bold claims of its being an environmentally friendly utility (for example, including nuclear power in its calculations of how “green” PG&E is).
“They’re trying to spread fear and confusion,” Davis-based public power advocate Dan Berman told us. “A new thing comes out every day. But we keep citing the message of lower rates and better service.”
In fact, SMUD has rates that are about 30 percent lower than PG&E’s and a power portfolio that includes significantly more energy from renewable sources than PG&E uses. Even King’s claim that PG&E is “the leading solar utility in the county, having hooked up more than 12,000 solar-generating customers” is misleading. The number is large because PG&E has the largest customer base in the country, but the solar rebates were state mandated and SMUD inspired and come from ratepayer surcharges.
Still, PG&E justifies its aggressive campaign in Yolo County in terms of warding off a hostile takeover of its customers. For residents there and new customers in San Francisco that the SFPUC wants to serve, PG&E’s Chiu repeats the mantra that “we have an obligation to provide services.”
Yet critics of the company say the campaign is about more than just holding on to those customers. Right now more than a dozen California communities are pushing for public power, most involving community choice aggregation (CCA) — which allows cities to buy power on behalf of citizens, potentially bypassing PG&E.
“That’s one of the reasons they’re pulling out all the stops in Davis, because if this goes through, it will embolden other communities,” Barbara George of Women’s Energy Matters told us.
San Francisco was an early city to pursue CCA, but plans to implement it have moved slowly, and now other communities — including Marin County and the cities of Oakland and Berkeley — are even further along.
“San Francisco is way behind in community choice,” George said. “The mayor is giving PG&E a lot of time to put out its claims to be green in order to fight this.”
Part of that push involves a slick 16-page mailer sent out in August by “The New PG&E” outlining “a proposal for an unprecedented and far-reaching partnership with the city of San Francisco to create the cleanest and greenest city in the nation.”
Sup. Ross Mirkarimi — a longtime public power advocate — is skeptical. “I welcome it, but I don’t buy it,” he said. “Their desire to work with us is typically predicated on the receding of our efforts to pursue public power.”
In fact, King seemed to say as much in his letter to Newsom when he wrote, “We see the investment of time, money and political capital in the public power fight as a distraction from the real need — providing clean, reliable and safe power to San Francisco.”
Chiu denied that there is a quid pro quo here, saying, “It is our intent to help San Francisco become clean and green, whether or not it comes with the city’s blessing.”
Yet Leal said the company seems more interested in stopping public power than going green. Rather than trying to undermine the city’s plans for the area, she questioned, “Why don’t they have the rest of Hunters Point, which are already their customers, be a green community?”
COMPETING WITH PG&E
Lennar is expected to announce in the next week or two whether it will go with public power or PG&E at Hunters Point. “No final decision has been made at this point,” Lennar spokesperson Jason Barnett told us.
Yet it didn’t have to be this way. Lennar’s redevelopment project is being subsidized with public funds that could have been conditioned on public power. Even as late as Oct. 17, when the San Francisco Redevelopment Board agreed to change Lennar’s contract to let the company out of building rental units, public power could have been part of the trade-off. Agency chief Marcia Rosen did not return Guardian calls asking why the public agency didn’t take advantage of this leverage.
For her part, Leal said, “I’m not afraid of competition.” It was a point echoed by Ragone, who said Newsom believes the city shouldn’t be afraid to compete with PG&E on Hunters Point or Treasure Island or to stop a PG&E bid to help develop clean tidal power.
But Mirkarimi doesn’t necessary agree. “Why do they have that right?” he asked, arguing the city shouldn’t let PG&E take control of new energy resources or customers who should be served by public power. “The tentacles of PG&E haven’t receded any less at City Hall and we should always be on our guard.”
Leal and Ragone each acknowledged that competing with PG&E isn’t always a fair fight. After all, in addition to having the resources of nearly 10 million customers paying some of the highest rates in the country, PG&E is also alleged in a lawsuit by the city to have absconded with $4.6 billion in ratepayer money during its 2002 bankruptcy, in what Herrera called “an elaborate corporate shell game.” On Oct. 2, the US Supreme Court denied review of a Ninth Circuit Court of Appeal ruling favoring the city, sending the case back to the trial court to determine just how much PG&E owes ratepayers.
That is just one of several ongoing legal actions between the city and PG&E, including conflicts over the city’s right to power municipal buildings, PG&E’s hindrance of city efforts to create more solar sites, and battles over the interconnection agreement that sets various charges that the city must pay to use PG&E lines.
MONEY IN ACTION
A good example of PG&E tactics occurred during the July 26 meeting of the Metropolitan Transportation Commission, which is overseeing work on the Bay Bridge. As part of that work, a power cable going to Treasure Island needed to be moved, but the Treasure Island Development Authority didn’t have the $3.4 million to do it.
So PG&E executive Kevin Dasso showed up at the MTC meeting with a check made out for that amount, offering to pay for the new cable and thus control the power line through which the SFPUC intends to provide public power to the 10,000 residents who will ultimately live on the island.
“This deal with Treasure Island was really egregious. They came in like a game show host and held up a check to try to stop this baby step toward public power on Treasure Island,” said Sup. Tom Ammiano, who also sits on the MTC board. “It shows PG&E is not asleep at the wheel by any means, and anybody who’s elected is going to need to stay vigilant.”
Ammiano was able to persuade the MTC to loan TIDA the money and preserve the city’s public power option. PG&E officials are blunt about their intentions. Chiu said, “We both want to provide power to Treasure Island.” So officials note the importance of being vigilant when it comes to PG&E.
“There will be other meetings where PG&E will wave around $3.4 million checks,” Leal said. “And at some of those meetings, we won’t be there to stop them.”
So public power advocates are concerned that public officials are letting PG&E rehabilitate its public image. Newsom has recently shared the stage with PG&E executives at a green building conference in San Francisco and the Treasure Island ceremony where Gov. Arnold Schwarzenegger signed the landmark global warming measure that PG&E long opposed before ultimately supporting. Ragone said neither these events nor PG&E’s contribution to SF Connect nor his direct dealings with King indicate any softening of Newsom’s support for public power.
“We’re going to do what’s in the best interests of the city of San Francisco,” Ragone said. “This is the first mayor to support public power, and that hasn’t changed at all.” SFBG
To see the letter from King to Newsom and other documents related to this story, go to www.sfbg.com.

SPECIAL: Scary monsters and supercreeps

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› a&eletters@sfbg.com
Halloween is the season for self-expression in all of its many glorious forms: costumes, music, dance, art, theater, and maybe even a few forms that can’t be classified. Whether you’re a trash-culture junkie or a splatter-movie freak, a pagan ritual follower or a brazen exhibitionist, you’ll definitely find something chilling, somewhere in the Bay Area. Here’s a sampling; for more Halloween and Día de los Muertos events, go to www.sfbg.com.
PARTIES AND BENEFITS
FRIDAY 27
The Enchanted Forest Cellar, 685 Sutter, SF; 441-5678. 10pm-2am. $5-10. Silly Cil presents the seventh annual Enchanted Forest costume ball; woodland nymphs and mythical creatures are welcome. DJs McD and Scotty Fox rock the forest with hip-hop and ’80s sounds.
Hyatt Regency/98.1 KISS FM Halloween Bash Hyatt Regency, 5 Embarcadero Center, SF; 788-1234. 8 pm. $28.50 advance ($30 door). KISS Radio’s Morris Knight MCs an evening of costumed revelry. DJ Michael Erickson brings the dance mix.
Rock ’n’ Roll Horror Show Rickshaw Stop, 155 Fell, SF; 820-3907. 7:30pm. $5-10 donation. Rock out and scream loud for a good cause: proceeds go to the ninth SF Independent Film Festival. A screening of 1987 B-movie Street Trash is followed by the sounds of Sik Luv, Wire Graffiti, Charm School Drop Outs, and Madelia.
SambaDa: Afro-Brazilian, Afro-Exotic Halloween Extravaganza Elbo Room, 647 Valencia, SF; 552-7788. 10pm. $8-10. Don’t feel like ghosts and goblins and blood and guts? How about samba and bossa nova grooves to keep your feet busy?
BAY AREA
Halloween Madness Speisekammer, 2424 Lincoln, Alameda; (510) 522-1300. 9pm. Free. Skip Henderson and the Starboard Watch offer hard-drinking sailor songs. Come in costume and get a free rum drink, matey.
SATURDAY 28
Exotic Erotic Ball Cow Palace, 2600 Geneva, SF; 567-2255, www.exoticeroticball.com. 8pm-2am. $69. P-Funker George Clinton, ’80s icon Thomas Dolby, and rapper Too Short are among the musical guests at this no-holds-barred celebration. Put on your sexiest, slinkiest number and admire the antics of trapeze artists, fetish performers, and burlesque show-stoppers, as well as those of the attendees.
SUNDAY 29
Fresh/Halloween T-Dance Ruby Skye, 420 Mason, SF; www.freshsf.com. 6pm-midnight. $20. Sassy, slinky, and sexy costumes abound at this Halloween dance party. DJ Manny Lehman spins.
MONDAY 30
Dead Rock Star Karaoke Cellar, 685 Sutter, SF; 441-5678. 8pm-2am. Free. Elvises, Jim Morrisons, and Kurt Cobains deliver heartrending renditions of favorite songs.
TUESDAY 31
A Nightmare on Fulton Street Poleng Lounge, 1751 Fulton, SF; www.polenglounge.com. 8pm-2am. $5-10. The third annual Holla-ween showcases a rich harvest of fat beats, thanks to the DJ skills of Boozou Bajou.
Scary Halloween Bash 12 Galaxies, 2565 Mission, SF; 970-9777. 8pm. $10. All dressed up but not feeling like heading to the Castro? Want to hear a marching band? No, wait, come back. It’s the Extra Action Marching Band, which specialize in baccanalian freak-shows. Sour Mash Jug Band and livehuman leave you grinning beneath that rubber mask.
FILM/MUSIC/THEATER/ART
WEDNESDAY 25
Art Hell ARTwork SF Gallery, 49 Geary, suite 215, SF; 673-3080. noon-5:30pm. Free. Bay Area artists render darkness, death, and all things devilishly creepy. Sale proceeds go to the San Francisco Artist Resource Center. Also open Thu/26-Sat/28, same hours.
THURSDAY 26
Babble on Halloween Dog Eared Books, 900 Valencia, SF; 282-1901. 8pm. Free. There’s nothing like shivers up the spine to go with cupcakes and wine! Bucky Sinister, Tony Vaguely, and Shawna Virago creep you out with spooky stories and bizarre performances.
A Second Final Rest: The History of San Francisco’s Lost Cemeteries California Historical Society Library, 678 Mission, SF; 357-1848. 6pm. Free. Trina Lopez’s documentary tells the story of how San Francisco relocated burial grounds in the wake of the 1906 earthquake and fire — ironically sending some of the city’s settlers on a last journey after death.
Shocktoberfest!! 2006: Laboratory of Hallucinations Hypnodrome, 575 10th St, SF; 377-4202. 8pm. $20. The Thrillpeddlers are back with a gross-out lover’s delight: public execution, surgery, and taxidermy in three tales of unspeakable horror. Also Fri/27-Sat/28, 8pm.
FRIDAY 27
BATS Improv/True Fiction Magazine’s Annual Halloween Show Bayfront Theater, 8350 Fort Mason Center, SF; www.improv.org. 8pm. $18 ($15 advance). Madcap improvisational comics of True Fiction Magazine transform audience suggestions into hilariously bizarre pulp fiction–inspired skits. In the spirit of the season, TFM is sure to throw ghoulish horror into the mix. Also Sat/28.
Hallowe’en at Tina’s Café Magnet, 4122 18th St, SF; 581-1600. 9pm. Free. What’s Halloween in San Francisco without any drag? Before you consider the sad possibilities, let Tina’s Café banish those thoughts with a deliciously campy drag queen cabaret show. Mrs. Trauma Flintstone MCs.
Rural Rampage Double Feature Alliance Française de San Francisco, 1345 Bush, SF; www.ham-o-rama.com. 7:30pm. Free. Those midnight movie aficionados at Incredibly Strange Picture Show unreel a shriekingly tasty lineup from the “scary redneck” genre: Two Thousand Maniacs and the original Texas Chainsaw Massacre.
SATURDAY 28
11th Annual Soapbox Pre-Race Party/Halloween Show El Rio, 3158 Mission, SF; 282-3325. 9pm. $7. What better way is there to get revved up for the Oct. 29 Soapbox Derby in Bernal Heights? With a full evening of good ’n’ greasy garage rock and rockabilly, thanks to the All Time Highs, Teenage Harlets, and the Phenomenauts, this party gets you in touch with your inner speed demon.
Pirate Cat Radio Halloween Bash Li Po Cocktail Lounge, 916 Grant, SF; www.piratecatradio.com. 8pm. $5. The community radio station presents an evening of crazy rock mayhem with Desperation Squad, the band now famous for getting shot down on TV’s America’s Got Talent! Wealthy Whore Entertainment, the Skoalkans, and Pillows also perform.
Shadow Circus Vaudeville Theatre Kimo’s, 1351 Polk, SF; p2.hostingprod.com/@shadowcircus.com. 9pm. $5. Shadow Circus Creature Theatre hosts a variety show of ukulele riffs, comedy, burlesque, and filthy-mouthed puppets.
Spiral Dance Kezar Pavilion, Golden Gate Park, 755 Stanyan, SF; www.reclaiming.org. 6pm. Free. Reclaiming, an international group observing pagan traditions, celebrates its 27th annual Spiral Dance with a magical ritual incorporating installations, drama, and a choral performance.
BAY AREA
Flamenco Halloween La Peña Cultural Center, 3105 Shattuck, Berk; (510) 849-2568, ext. 20. 8:30pm. $15. Flametal brings the evil to flamenco with mastermind Benjamin Woods’s fusion of metal and the saddest music in the world.
Murder Ballads Starry Plough, 3101 Shattuck, Berk; (510) 841-0188. 9pm. $8. Murder, misfortune, and love gone really, really wrong — all sung by an impressive array of garage rockers, accordionists, and female folk-metal songstresses. There’s even a duo who specializes in suicide songs! Dress up so no one can recognize you weeping into your beer.
SUNDAY 29
The Elm Street Murders Club Six, 60 Sixth St., SF; www.myspace.com/theelmstmurders. 7:30pm. $20. Loosely based on A Nightmare on Elm Street, this multimedia interactive stage show promises heaping helpings of splatter.
MONDAY 30
The Creature Magic Theatre, building D, Fort Mason Center, SF; 731-4922. 8pm. Free. Reservations required. Black Box Theatre Company gives a single performance before a studio audience of their new podcast adaptation of Mary Shelley’s Frankensten. This version tells the story from the monster’s point of view.
Independent Exposure 2006: Halloweird Edition 111 Minna Gallery, 111 Minna, SF; 447-9750. 8pm. $6. Microcinema International assembles a festively creepy collection of short films from around the world, focusing on the spooky, unsettling, and just plain gross.
TUESDAY 31
Bat Boy: The Musical School of the Arts Theater, 555 Portola, SF; 651-4521. 7pm. $20. It’s back: a Halloween preview performance of the trials and tribulations of everyone’s favorite National Enquirer icon, Bat Boy. Camp doesn’t get any better than this.
Cramps Fillmore, 1805 Geary, SF; 346-6000. 8pm. $30. Don’t get caught in the goo-goo muck. The Demolition Doll Rods and the Groovie Ghoulies also whip you up into a rock ’n’ roll frenzy.
One Plus One (Sympathy for the Devil) San Francisco Art Institute Lecture Hall, 800 Chestnut, SF; 771-7020. 7:30pm. Free. Before the Rolling Stones became some of the richest people on earth, Mick, Keith, and the boys dabbled on the dark side. At a rare screening of Jean-Luc Godard’s One Plus One, you get a chance to see them at the height of their flirtation with evil, performing the still-mesmerizing “Sympathy for the Devil.”
EVENTS/FESTIVALS/KID STUFF
FRIDAY 27
Haunted Haight Walking Tour Begins at Coffee to the People, 1206 Masonic, SF; 863-1416. 7pm. $20. How else can you explain all of those supernatural presences drifting between the smoke shops and shoe stores? Here’s a chance to find out about the more lurid chapters in the neighborhood’s history. Also Sat/28-Tues/31, 7pm.
SATURDAY 28
Boo at the Zoo San Francisco Zoo, 1 Zoo, SF; 753-7071. 10am-3pm. Free with zoo admission. Costumed kiddies can check out the Haunted Nature Trail and the Creepy Crawly Critters exhibit. Live music, interactive booths, games, and prizes keep little ghosts and goblins delighted.
Children’s Halloween Hootenanny Stanyan and Waller, SF; www.haightstreetfair.org. 11:30am-5pm. Free. The Haight Ashbury Street Fair folks provide children ages 2 to 10 with games, activities, theater, and food. Costumes are encouraged.
Family Halloween Day Randall Museum, 199 Museum, SF; 554-9600. 10am-2pm. Free. Trick-or-treaters play games, carve pumpkins, create creepy crafts, and take part in the costume parade. Jackie Jones amazes with a musical saw and dancing cat; Brian Scott, a magic show.
Hallo-green Party Crissy Field Center, 603 Mason, SF; 561-7752. 10am-2pm. $8. It’s never too early to teach your children about environmentalism. The party includes a costume contest and a chance to bob for organic apples.
House of Toxic Horrors Crissy Field Center, 603 Mason, SF; 561-7752. 10am-2pm and 4-8pm, $8. Ages 9 and older. No, it’s not a Superfund site, but it should be equally educational: the center’s first haunted house addresses the scary world of environmental horror. Sludge and smog lurk behind every corner.
BAY AREA
Boo at the Zoo Oakland Zoo, 9777 Golf Links, Oakl; (510) 632-9525. 10am-3pm. Free with zoo admission. Dress up the kids and bring them over to the zoo for scavenger hunts, crafts, rides on the Boo Choo Choo Train, puppet shows, and musical performances. Also Sun/29, 10am-3pm.
SUNDAY 29
Halloween’s True Meaning Shotwell Studios, 3252-A 19th St., SF; 289-2000. 1-3pm, $5-15 sliding scale. Kids are encouraged to come in costume for this afternoon of interactive theater led by Christina Lewis of the Clown School. Enjoy Halloween history, storytelling, role-playing, and face-painting.
Pet Pride Day Sharon Meadow, Golden Gate Park, SF; 554-9427. 11am-3pm. Free. Dress up your pet in something ridiculous and head down to Golden Gate Park to laugh at all of the other displeased pups! The pet costume contest is always a blast, as is the dog-trick competition.
BAY AREA
Haunted Harbor Festival and Parade Jack London Square, Oakl; 1-866-295-9853. 4-8pm. Free. Families can check out live entertainment, games, crafts, activities, and prizes. The extravagantly decked-out boats in the parade are not to be missed.
Rock Paper Scissors’ Annual Street Scare Block Party 23rd Ave. and Telegraph, Oakl; www.rpscollective.com. Noon-5pm. Free. Who doesn’t love block parties? The kid-friendly blowout has something for everyone: fortune-telling, craft-making, pumpkin-carving, and all sorts of wacky games and prizes. And barbecue — witches love a good barbecue.
MONDAY 30
Halloween Heroes Benefit Exploratorium, Palace of Fine Arts, 3601 Lyon, SF; (650) 321-4142, www.wenderweis.org. 6:30pm. $185 for a parent and child. A benefit for the Exploratorium Children’s Educational Outreach Program and the Junior Giants Baseball Program, this lavish costume party for kids promises to be equally fun for the parents. Many of the exhibits are turned into craft-making and trick-or-treat stations.
TUESDAY 31
Halloween in the Castro Market and Castro, www.halloweeninthecastro.com. 7pm-midnight. $5 suggested donation. You and 250,000 of your new best friends — reveling in the streets and getting down to thumping beats. Don’t even think of driving to get there, and don’t forget: no drinking in the streets.
Vampire Tour of San Francisco Begins at California and Taylor, SF; (650) 279-1840, www.sfvampiretour.com. 8pm. $20. This isn’t Transylvania, but San Francisco has had its share of vampires. Just ask Mina Harker, your fearless leader, if you dare take this tour.
DÍA DE LOS MUERTOS
ONGOING
BAY AREA
‘Laughing Bones/ Weeping Hearts’ Oakland Museum of California, 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm. $8. Guest curator Carol Marie Garcia has assembled a vibrant collection of installations produced by local artists, schools, and community groups, all celebrating the dead while acknowledging the sorrow of those left behind. Through Dec. 3.
THURSDAY NOV. 2
Death and Rebirth Precita Eyes Mural Arts Center, 2981 24th St, SF; 334-4091. 7-10pm. Free. Precita Eyes Muralists will be celebrating the work of founder Luis Cervantes with a breathtaking mural exhibit and celebration.
Día De Los Muertos Procession and Outdoor Altar Exhibit 24th St and Bryant, SF; www.dayofthedeadsf.org. 7pm. Free. Thousands of families, artists, and activists form a procession to honor the dead and celebrate life, ending at the Festival of Altars in Garfield Park, at 26th Street and Harrison. Local artists have created large community altars at the park; the public is invited to bring candles, flowers, and offerings.
Fiesta De Los Huesos’ Gala Opening Reception Mission Cultural Center for the Latino Arts, 2868 Mission, SF; 643-5001. 6-11pm. $5. Curator Patricia Rodriguez has put together a family-oriented party, with musical performances, mask carving, sugar skull–making, videos, and other tempting creations among the exhibits, altars, and installations. The exhibition opens Oct. 27.
BAY AREA
Día De Los Muertos Benefit Concert 2232 MLK, 2232 Martin Luther King Jr., Oakl; www.2232mlk.com. 7pm. $8-20 sliding scale. Hosted by the Chiapas Support Committee, this benefit concert features Fuga, los Nadies, la Plebe, and DJ Rico. Early arrivals get free pan dulce and hot chocolate.
SUNDAY NOV. 5
Dia De Los Muertos Family Festival Randall Museum, 199 Museum, SF; 554-9681. 1-5pm. $100 and up for family of five. The family event benefits the museum’s Toddler Treehouse and other toddler programs. Arts and crafts, food, and entertainment make this a rewarding educational experience for kids. Attendees learn how to make masks and sugar skulls and to decorate an altar. Los Boleros provide festive entertainment.
BAY AREA
Día De Los Muertos Fruitvale Festival International Blvd., between Fruitvale Ave and 41st Ave, Oakl; (510) 535-6940. 10am-5pm. Free. With the theme “love, family, memories,” the Unity Council in Oakland has put together a full day of family celebration. Five stages showcase music and dance performances by local and world-renowned artists. More than 150 exhibitors and nonprofits highlight wares and services. Art and altars are on view, and the Children’s Pavilion promises to be a rewarding educational experience for kids of all ages.
THURSDAY NOV. 9
Mole to Die For Mission Cultural Center For Latino Arts, 2868 Mission, SF; 643-5001. 7-10pm. $5. Try it all at this mole feeding-frenzy and vote for your favorite.

Economy class

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› superego@sfbg.com
SUPER EGO “Please pass the grilled Moroccan spice-rubbed lamb loin,” I dewily asked the cute investment banker from Philadelphia on my left.
Me and Hunky Beau were seated under the Saturday stars at Escondida, a “hidden kitchen” — a.k.a. renegade restaurant in someone’s home or backyard — deep in the Outer Mission, at a table that also included four hip lady lawyers and a postgrad neurobiologist from UCSF who makes headphones for birds. (Don’t ask. Well, OK — first you implant screws in the skulls of small finches, and then you jury-rig a sort of “fly-pod” out of two Q-tips and an old transistor in order to test their hearing skills. Someday, I swear, those poor, deaf birds will have revenge on us all.)
Hidden kitchens are big these days, especially since the permit processes for restaurants and clubs seem to be getting more complex by the minute, and most of the time the underground menus are cheaper than the real thing: you get multicourse gourmet eats plus drinks in a lively underground setting for the price of appetizers at Andalu. And there’s a naughty inspectors-be-damned thrill to boot. (It’s all very hush-hush, but you can usually find hints about upcoming covert cucina events on chowhound.com or Craigslist — just don’t sue me if you get botulism. I got nothin’ for ya.)
The food and company were delish. But me? I was more interested in shoving as much entrée as I could into my faux-leopard baguette handbag — the Hunkster and I were due on a plane to Honolulu in a few hours to attend the biggest gay wedding of the year in Waikiki. And a girl can’t survive a five-hour ride on $4 minicans of Pringles alone. It was bad enough I had to pack my in-flight Stoli in three-ounce saline solution bottles just to get past the damn check-in.
Waikiki? Why not, I say. But first, a real drink to get the whole aloha ball rolling. So we hit up Jet, the new Greg Bronstein joint in the Castro where the Detour used to be, and ordered us up some primo alco-Dramamine. Although I partially miss the hurricane-fence decor and tragic queen atmosphere of the Detour, Jet’s awfully cute, with black padded leather walls, Broadway marquee lighting, and a fuzzy pink double bed in an alcove in the back. There’s also a small dance floor, rare these days in the Castro without a giant video screen playing Kylie Minogue. The club, in all its luxuriant gay sleaziness, is either a pint-size Studio 54 or Liza Minnelli’s future mausoleum. Probably both. Right now, the music is all hip-hop lite — pretensions to be the next Pendulum? — and there’s a velvet rope on weekends — as if! — but something could definitely be done with the place.
Lemme tell you though, Honolulu in October is fabu. The mangoes are huge, the agua is aqua, the gay scene is horrid — new club coming in November: Circuit Hawaii! — and the 14-year-old tranny hookers in six-inch clear plastic heels are gorgeous. Plus there’s, like, five military bases nearby, for those into raping drunk Marines. And who isn’t? Me and Hunky were hopping around like we had humuhumunukunukuapuaas in our Volcoms.
My dearest amigos from the old EndUp days, ChrisP and Armando, got betrothed right on the water in a tear-jerking all-hula celebration bursting with orchids and sunlight. There weren’t any conch shell blasts or caged white doves (or earthquakes), but the grooms were rowed into the friends-and-family ceremony on an outrigger by four hot muscle dykes in sports bras — an ancient tradition, I’m told. It was the second amazing gay wedding I’d been to this year, and although I used to rail against such things politically — why be normal? — I cried like Tonya Harding at the 1994 Winter Olympics. Love is real. And so was the open bar, which me and my sadly, gloriously bare ring finger quickly sidled up to for a post–gay marriage mai tai, studiously avoiding the moony-eyed intimations Hunky Beau was sending my way. I’m not quite done playing hard to get yet. Or am I? Aloha! SFBG
JET
2348 Market, SF
8 p.m.–2 a.m.
www.jetsf.com

Surfing new turf

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› a&eletters@sfbg.com
Listening to the warm analogs, e-bowed guitar, and post-jazz swing that manifest on “Medium Blue” off Surf Boundaries (Ghostly International) — one of two new albums by Christopher Willits — you might assume that the instrumentation was performed by an ensemble of helping hands rather than simply the Bay Area electronic musician. And you’d be half right. The 28-year-old Kansas City, Mo., native executes many of the album’s compelling melodies and fizzling, ambient textures on guitar, laptop, and synths — aided at times by compañeros including Adam Theis, Brad Laner, and notably, R&B-pop vocalist Latrice Barnett on the calming orchestrations of stringed instruments and horns.
“My name’s on the record, but tons of collective energy came into making it happen,” explains Willits at a Mission District bar. “I outsourced some things to the brilliant friends around me.”
Their impact is evident: the CD shifts dynamically from the usual guitar-run-through-a-laptop drone and fuzz of Willits’s live sets. He says that he hopes to someday put together a band to perform a release like Surf Boundaries on tour. That plan isn’t a surprise, considering Willits’s determination to always have a full plate.
The Mills College graduate’s musical career has quickly taken flight since his move to the Bay in 2000. It’s amazing that Willits even has time for solo endeavors between playing with Flössin — his side project with Hella’s Zach Hill featuring guest noisemaking from Kid606, the Advantage’s Carson McWhirter, and Matmos — and ongoing collaborations with avant-garde musicians such as Ryuichi Sakamoto, and former Tool bassist Paul d’Amour. When not on tour, Willits spends his time at the Bay Area Video Coalition in San Francisco, where he began teaching digital audio workshops five years ago. With John Phillips, he also founded Overlap.org, an online community that aims to give exposure to electronic and experimental artists through blog feeds, podcasts, and live music events.
Much of Willits’s work as a solo artist and a collaborator is documented on labels such as Taylor Deupree’s 12K and Sub Rosa, but his recent alliance with the Midwestern electronic imprint Ghostly International may prove the most promising. “I really like Ghostly, because they’re more into artist development rather than boxing in artists’ sounds and constraining them from branching off,” Willits says.
Likewise, his latest offerings are all over the sonic map. The art alone for Surf Boundaries illustrates its ethereal mood: soft hues delicately wash images of animals scattered around a portrait of Willits. The music within strikes a wonderful symphonic balance between electronic composition and live instrumentation as Willits and his collaborators frolic with a blend of jubilant French pop, glitchy guitar, and shimmering psychedelia.
Along with Surf Boundaries’ cozy, sleepy appeal comes Willits’s shrill wake-up call with guitarist Brad Laner (Medicine, Electric Company) — the North Valley Subconscious Orchestra. The space pop–oriented unit gives the Creation Records class of ’91 competition with white-noise guitar treatments and alt-rock rhythms.
The duo met through mutual friend Kid606, and for Willits the collaboration was a dream come true.
“Laner is one of my guitar heroes,” he says, adding that when he first listened to his old Medicine cassette in high school, he mistook Laner’s nails-on-chalkboard approach to guitar playing for a stereo malfunction.
“I realized that the way he’s making that sound is that he’s running all his guitar effects into a shitty four-track and then cranking the preamps up on it, so it’s getting this full …” — Willits makes a fast, circular motion with his arms — “whish!”
Released in August as Ghostly’s first full-length available exclusively via download, NVSO’s The Right Kind of Nothing highlights Laner’s signature guitar bluster and Willits’s ability to dabble subtly in an aggregation of soundscapes. What results is a continuous squall of beaming shoegaze discord that feels like sunshine bursting into a dark room — only to be broken by heavy kraut rock tempos and Swervedriver guitars.
Though Surf Boundaries and The Right Kind of Nothing radically differ in sound and structure, both discs showcase Willits’s ambition to crack the electronic mold and move toward a contemporary vein of experimental rock.
“All I’m trying to do is feel out my own energy and relationship to my creative process,” Willits explains. “I could have never envisioned the albums sounding the way they do. I love being surprised by my own creativity.” SFBG
CHRISTOPHER WILLITS
With Daedelus, Caural, and Thavius Beck
Fri/20, 9 p.m.
Bar of Contemporary Art
414 Jessie, SF
$10
(415) 777-4278
www.sfboca.com
www.overlap.org

Breakfast with Dr. Bish

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This weekend brings a major event: the rare return of Bruce Baillie — whose visions of San Francisco are just as brilliant and uncanny, if not as famous, as Alfred Hitchcock’s — to a movie screen in the city. Contemporary filmmaker Apichatpong Weerasethakul, the director making the most revelatory commercial features today, cites Baillie as his favorite experimental filmmaker. Though Baillie primarily made short films, the philosophical rivers of beauty that run between their works are deep. The moment seemed more than right for a conversation between Baillie and filmmaker Michelle Silva, who helps run Canyon Cinema, one of the two organizations (along with SF Cinematheque) that Baillie founded. They got on the phone and let the tape roll. SFBG We’re recording. BRUCE BAILLIE How do they say that in the industry? SFBG “For quality assurance, we’re recording this conversation.” BB Well, for the recorder’s sake, I might be mumbling a little, because I’m still eating my second bowl of cereal. It’s the famous Dr. Bish’s elixir, which all filmmakers require. SFBG You’ve built a monumental body of cinema now housed in our Library of Congress. You’ve also founded two distinguished organizations, the avant-garde film distributor Canyon Cinema and the experimental film and video exhibitor San Francisco Cinematheque, which both began in your own backyard over 40 years ago. At the beginning, did you have any forethought about the significance of your work and the movement you would initiate? BB To give a generic response, probably not. People don’t operate that way generally. Adolf Hitler probably had a pretty grand idea at the beginning, but it was ill founded. Theater was always one of the bases. I was very taken by Balinese theater and Noh theater. Also [Jean] Cocteau’s admonishments that all theater must arise from local familiarity. We had all those ingredients there, almost like baking bread, and it did arise very nicely and warmly and simply. We had a theater in the woods with the neighbors coming over and putting up park benches. There was a big old willow tree by our house and conveniently, a hill behind that held the big surplus screen nicely. I always say to myself, “What is theater made of?” and it really is any collage collection of sticks and stones. It can be highly technical or it can be like the charred bones and the fire out in the desert of Mongolia. If it’s done with that kind of ancient mind-set, that kind of respect and adulation of the content — and also the Irish tradition of the manner of presentation — then you’re all right. It could be under the apple tree that I’m looking at now while we speak. I’m not too worried about all the modern stuff, aside from the problem of the way semiconscious people identify with the mere technology of it and become two-dimensional. Then you don’t have theater, you have President Bush at Harvard taking business administration. SFBG When I watch your films, such as Here I Am, the tightly framed faces reveal unconventional beauty. Could you talk about the people who do appear in your films? BB I will try … I’m going to have to wash the Bishery off my teeth. The only trouble with the Bish formula at breakfast is that it not only gives you thick ankles eventually if you keep eating it, but it’s also hard on the dentures or teeth. We don’t like to admit it on the labels. We have a big business shipping this stuff out of the house in a dehydrated form to all the filmmakers in the world. Especially in Asia, it’s very popular. We sent a batch to South Korea for a festival. I just got their booklet back, from a Dr. Kim. I didn’t realize she was such an esteemed colleague of the doctor here. Apparently the huge batch of dehydrated Bishery was rejected by most of the younger people there, who prefer their own diet, so they sent it up to North Korea. I don’t know what’s going to come of that. I might be able to save us from the bombs and everything they’re trying to throw over here. Anyway, avante, as my old friend would say — on to the question. There’s all kinds of references in our literature, especially, I suppose, in the holy works like the Gita and the writings of the Buddha, which run across the idea of direct perception. Just seeing. Or in the Bible, the Old Testament. Or the Tibetan teachings for the acolytes who were becoming monks and priests — they used to sit up above the road, maybe one at a time, and observe the faces coming up from the world below. For some reason, when most people take a camera in hand and click on a face, all they get is a two-dimensional representation. I don’t see why I’d wanna be satisfied by that. When you photograph, you photograph what is, not what is merely apparent or not. That’s the assignment, really, and it’s not completed and shouldn’t be exceptional. SFBG The spiritualism in your films, like Mass of the Dakota Sioux, Tung, and On Sundays, seems to be combined with a little bit of disdain for modern civilization. There’s that mixture. BB Well, there’s what Jesus called hatred of the world — which is something one might be able to teach his or herself along the way, to give up all the appearances and become one with the continuity of life flow itself. That’s a whole process. Some people, like myself, are born with a disdain, yes, for the world in that other sense. For example, my totem animal is a wolf, and I’ve never liked my neighbors. That’s a horrible thing, but I was born with that in my portfolio and I work with that every day. Some people really are very fond of going to the supermarket and the malls and are able to behave themselves when they’re buying a pair of shoes. Actually, whether they believe in it all or not doesn’t seem to come into any question, and overall it’s quite wonderful that they’re able to be not only very kind but loving with all of these comings and goings. To me, going to the aerodrome to pick up the Alaska Air number 387 is the most frightening kind of experience that anyone could have devised in purgatory. In my own case, since you’re asking me, this person, not someone else, about the images they project, the images are contaminated with not only a great universal love but at the same moment a great hatred for the goings on of worldly affairs and events and shapes and forms. So as I get into nature I find it less contaminated by man’s touch, but it’s also frightening in its own way, of course, with all the monsters at the edge of the world that are ready to devour you when you’re out on your sailboat in the Atlantic. And the tigers in the night and the ragings of the great beasties. SFBG In your work there will sometimes be a shot where the subject is the mist or the fog. Those two aspects cut together create a tension that has an emotional effect. How would you say your palette developed and matured over time? BB I lived my life with the camera and I deliberately took on nothing else. No family, which is the main thing one gives up to live that kind of life, and I lived en route, always on the move. Living in my car, just seeing and trying my best to get it through that little eyepiece, that little Bolex viewfinder — the first version, which was half the size of the later version. I can’t see through it anymore, it’s so small. There’s no reason at all to settle for anything less than a grand attempt at bringing back from the unknown what is there. The what is of this. Part of it can kind of humorously involve a practice that I used to throw out when I was teaching, that is, to learn to become invisible. I would line all my students up and say, “OK, everybody close their eyes,” and then I would run around the corner [laughs] and disappear. We’d go into it a little further, where I’d say, “What I really meant was we have to learn not to use the camera, just the way a policeman has to learn not to use his or her pistola.” It’s a weapon, a medium, that exists between self and other. One must become selfless, invisible, in order to relate to the other or vice versa. “When you meet the tiger on the trail, you become one with him instantly by your training so that there’s no fear.” Rather than ignorantly involving one’s self in confrontational relationships, one intelligently unifies the selfhood between the two appearances and it becomes one reality. That’s how you work with a Bolex. (Intro by Johnny Ray Huston; interview by Michelle Silva)

Pumped!

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

Writing wrongs

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› a&eletters@sfbg.com
If there’s one person you would expect to condemn the present state of America’s political affairs, it would be Billy Bragg, right? Surely Britain’s punk poet laureate should be grabbing every microphone within reaching distance to decry the evils of our current administration. But surprisingly, his reaction is quite the opposite. “I’m encouraged by the results of the last two elections, because I believe that America has not yet decided what kind of country it’s going to be in the 21st century,” he says on the phone from Winnepeg.
Bragg is currently on a bit of a multitasking tour to showcase his two latest works: Volume II (YepRoc), a box set, and The Progressive Patriot, a book. While Volume II is an expected retrospective that covers the second half of Bragg’s career from 1988 onward, The Progressive Patriot is uncharted territory for the singer-songwriter, a treatise that addresses Britain’s national identity, the emergence of organized racism, and the political road that weaves between the two.
Much as in Britain, Bragg sees battles of ideology as a key proving ground in the future of our country and agrees with the concept of “two Americas” as it pertains to the states’ political climate. “On one hand you’ve got the neoconservative Christian right, who are getting everybody to vote and still can’t get a majority,” he says, “and on the other side you’ve got the more compassionate idea of America as a multicultural society, which just can’t get everybody to vote.” Yet as bleak and insurmountable a problem as this may seem, Bragg takes the long view. “I’m in a fortunate position. I have the opportunity to travel around and meet people trying to manifest that ‘other’ America. Reading local newspapers in America, you see all sorts of things that are going completely against the neoconservative agenda in some states.” Volume II picks up at a crucial period of Bragg’s career, kicking off with his 1988 release, Workers Playtime (Go! Discs/Elektra). The album marked Bragg’s transition from punk iconoclast to, as he would later affectionately come to be known, the “Bard from Barking.” Instead of using just his guitar and a portable amp as on his earlier recordings, Bragg included bits of orchestration on Workers, plus a band to accompany his songs of law, love, and everything in between. “The album of lost love. It’s my great lost soul album!” he says with a wistful chuckle.
At the heart of that bittersweet collection is the amazing “Valentine’s Day Is Over,” a woman’s lament over her lover, rough economic times, and the beatings that result. “That economy and brutality are related / Now I understand,” the protagonist explains wearily. Bragg feels a particular satisfaction with that song and the topics it tackles. “I often cite that as the ideal Billy Bragg song because politics and ‘the love song’ overlap in that song. It’s a really hard thing to do, rather than being a ‘love song writer’ or a ‘political song writer.’ I hate it when people divide those two. Life isn’t divided like that.”
The ever-encircled worlds of life and politics also led Bragg to write the new book, with the ideas spurred by everything from recent elections in his hometown to raising his young son. “A far-right political party called the BNP earned a seat on the council in my hometown of Barking, East London,” the songwriter says. “That was a real shock to me because these were the people that I came into politics fighting. I realized that it needed something more than just writing a song.” Being a father further drives his desire for intelligent debate around the future of his country. His concerns about nationalism are expressed in the interest of cohesion, not the racist ideal of exclusion. He explains, “I’m interested to hear your background, but what is important to me is how my children and your children are going to get on with each other. Everything else is secondary to that.”
As you might expect, Bragg’s MySpace page also bears the mark of his beliefs and ideas. It also contains his songs: items that were conspicuously absent during his recent showdown with the networking Web site. Having successfully lobbied MySpace to retool their artist agreement so that the site doesn’t “own” any artist’s uploaded content, Bragg is now taking on MTV Flux, another networking site that features an upload ability similar to YouTube. A video featuring his challenge to Flux dots the page, along with archival footage of him at various events, such as a concert in Washington, DC, in 2002. That day he addressed the crowd and warned them of a greater looming evil — not of conservatives or imperialism but of cynicism.
He still stands behind that message. “I know from personal experience that cynicism eats away your soul,” Bragg says. “God knows Tony Blair’s been spreading cynicism around for the last few years. I’ve had to fight my own.” SFBG
BILLY BRAGG
Thurs/5, 8 and 10:30 p.m.
Great American Music Hall
859 O’Farrell, SF
$30–$35
(415) 885-0750
HARDLY STRICTLY
BLUEGRASS FESTIVAL
Sat/7, 4:40 p.m.
Speedway Meadow
Golden Gate Park, SF
Free
www.hardlystrictlybluegrass.com

Restoration Hardcore

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Davis might not have those frog signs along the westbound side of Highway 80 anymore — “Live in Davis because it’s green, safe, and nuclear free…. It’s academic!” — but there’s certainly no shortage of wondrous music happening there.
Exhibit A: KDVS — the UC Davis radio station, a longtime champion of alternative music and the only entirely student-run station in the UC system — is about to put on the fourth edition of “Operation: Restore Maximum Freedom,” a twice-a-year one-day music festival, the likes of which have seldom been undertaken by Northern California college radio stations.
Unlike other music festivals hawking themselves as “alternative,” O:RMF is the real thing, presenting strictly music of the compellingly weird variety without sponsored stages and pricey merch tables — by sheer dint of student-volunteer willpower. “It’s a good time out in the sunshine,” said Erik Magnuson, who DJs at KDVS in addition to holding down the station’s assistant programming directorship. “We’re able to get great acts without having to worry about advertising to offset costs.”
The festival isn’t a station fundraiser — all profits go toward future incarnations of the event — but is instead an earnest offering of experimental sounds chosen democratically in committee by station volunteers. Those volunteers run O:RMF at Woodland watering hole Plainfield Station, which KDVS events coordinator and O:RMF organizer Brendan Boyle described as a “biker bar with a quasi-Libertarian vibe.” O:RMF itself fully “represents the radio station,” Boyle continued. “We’re free-form, which is a real anomaly, and it’s a reaction to our current political climate.” Hence the military-operation-inspired name.
The first, all-ages O:RMF in May 2005 was headlined by elastic noise psychos Sightings and Elephant 6 pop oddities a Hawk and a Hacksaw, and the subsequent fests have featured bands like the increasingly relevant, drift-ambience peddlers Growing and the splendidly hard-angled post-punkers Erase Errata. In each case, KDVS has looped in some of the most keenly unconventional artists around, and the upcoming festival looks the best yet.
This time it’s drawn 17 artists of various marginal modes, all of great repute in their respective scenes: longtime glitch-head Kid606 started the Tigerbeat6 label, and quirk-folk guitarist Michael Hurley was a luminary in Greenwich Village’s 1960s folk scene. Hop around to the dance punk of Numbers and the disorienting, psychedelic hip-hop of Third Sight. The garage-punk component is damned impressive by itself: the Lamps, one of Los Angeles’s finest and an In the Red mainstay, will crack their bass-heavy fuzz whip along with Th’ Losin Streaks, whose famously fun live show begets a cleaner, more Nuggets-like, ’60s garage vibe.
Suffice to say that few stations have the guts and the cavalier student base to put on an event like this, especially one that’s plainly not out to make money. As Boyle puts it, “it’s a very real event with no bullshit attached,” and with any luck, attendees will get as stoked on smashing music industry conventions as KDVS is. (Michael Harkin)
OPERATION: RESTORE MAXIMUM FREEDOM IV
Sat/7, noon–midnight
Plainfield Station
23944 County Road 98, Woodland
$15, $10 advance; all ages
For tickets and the complete lineup, go to www.myspace.com/maximumfreedom

SATURDAY

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Oct. 7

Visual Art

ArtSpan Open Studios

Art, it’s often argued, is in the eye of the beholder. During ArtSpan’s 31st Open Studios, you’ll have the opportunity to behold a lot of it as more than 700 working artists open their studios to the public over the course of four weekends. Art aficionados like the Open Studios event as a time to spot emerging trends; artists like it for the chance to display and sell their backlog; plebs such as myself enjoy the accompanying Havarti cubes and two-buck chuck. There will also be a number of events held at SomArts, including a free opening reception on Fri/6 from 5:30 to 8:30 p.m., plus an exhibition of over 400 pieces. (Nicole Gluckstern)

Through Oct. 29
Times and locations vary
(415) 861-9838
www.artspan.org

Dance

Smuin Ballet

You can pick any of three reasons to see Smuin Ballet this month. Reason one: the dancers. Each of the 15 is a strong, well-trained, uniquely talented individual – including the three new ones. Reason two: the rep. It’s a pungent mix of the new and the old. Top billing has to go to the world premiere of Amy Seiwert’s Revealing the Bridge, based on Claude Monet’s painting The Japanese Bridge. Michael Smuin’s new Obrigado, Brazil, set to João Gilberto’s music, probably will rouse the bossa to the point where you wish you could join the dancers. Smuin is also bringing back Shinju, which will be performed to Paul Chihara’s magical score. This piece just might be the most erotic you’ll ever see in ballet form. Reason three: the Palace of Fine Arts. With good sight lines and a relaxed setting, it’s the perfect theater for a company of this size. (Rita Felciano)

Through Oct 15. Opens Sat/7, 8 p.m. Runs Tues.-Sat., 8 p.m. (also Sat., 2 p.m., except Sat/7); Oct 15, 2 p.m.
Palace of Fine Arts
Bay and Lyon, SF
$40-$55
(415) 978-2787
www.smuinballetorg

The people’s program

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OPINION San Francisco progressives have spent years getting on the political power map. We have achieved amazing victories, such as the 2000 sweep that defeated the Brown machine and ushered in an independent Board of Supervisors. At times we’ve gotten mired in sectarian clashes that have prevented unity around a common vision. However, such obstacles and stumbles have taught us valuable lessons that can be the building blocks for a vibrant people’s movement. To be successful, we progressives need to have a clear vision and to keep asking ourselves questions. What does it mean to be progressive and for progressives to have power? Assuming we all agree that progressive unity is a necessary foundation for social change, what should unity look like today? And if we’re successful at maintaining power, what do we want to look like five and 10 years from now? In the first year following its founding convention and with these questions in mind, the San Francisco Peoples’ Organization (SFPO) has chosen to focus on three issues central to the lives of all San Franciscans — health care, affordable housing, and violence prevention. Over the past year, this fledgling organization has logged a long list of achievements and participated in many exciting causes. The SFPO has: •worked with the Alliance for a Better California to defeat Governor Arnold Schwarzenegger’s special election measures in November 2005; •assisted in the development and passage of Supervisor Tom Ammiano’s Worker Health Care Security Ordinance, creating universal health care for local residents; •advocated for Supervisor Chris Daly’s recently passed legislation to increase mandatory levels of affordable housing in new housing developments; •took a leadership role in uniting communities of color and progressives to fight for Proposition A’s homicide and violence prevention efforts, including a host of new budget initiatives addressing some of the root causes of violence; •launched an e-mail dispatch that reaches over 5,000 constituents and highlights local progressive issues, campaigns, and events; •played an active role in the UNITE-HERE Local 2 contract campaign, attending pickets, planning meetings, and participating in civil disobedience. Part of our effort involves critically analyzing the policy agendas of our elected lawmakers and making recommendations. Mayor Gavin Newsom, through his highly visible work to legalize same-sex marriage, rightfully gained the respect and admiration of progressive San Franciscans. However, same-sex marriage is only one issue; Mayor Newsom should not be given carte blanche among progressives for this single act. The SFPO’s second annual convention will take place Sept. 30 at St. Mary’s Cathedral. Please join us. We cannot wait to work together. The future of our city — who we want to live here, who we want to work here, who we want educated here — is being determined now. SFBG Jane Kim and John Avalos The writers are president and vice president, respectively, of the San Francisco Peoples’ Organization. For more information about the SFPO and the Sept. 30 convention, go to www.sfpeople.org.