› steve@sfbg.com
Consider the perspective of Marie Harrison and her political allies in Bayview — including the owners and writers at the San Francisco Bay View newspaper — whose support for Proposition 90 has put them at odds with the progressive political community.
Harrison, who is running for supervisor against incumbent Sophie Maxwell, lives on Quesada Avenue just off Third Street, in a diverse neighborhood bustling with vitality. Residents have transformed the wide median on her street into a gorgeous community garden. Almost all the houses are owner-occupied and well maintained.
“Blight” is not a word that most people would use to describe this neighborhood. Yet that is the word city officials have used to justify their decision earlier this year to turn this neighborhood and the rest of Bayview–Hunters Point into the biggest redevelopment area in city history over the strident objections of Harrison and others.
Redevelopment is a process that collects annual property tax increases into a fund that the San Francisco Redevelopment Agency uses to subsidize favored development projects, usually working with big developers and often bundling properties together for them to use, seizing the land by eminent domain if need be.
“The Redevelopment Agency is like a monster,” Dr. Ahimsa Porter Sumchai, a physician who covers the environment for the Bay View, told the Guardian while sitting in Harrison’s house.
For Harrison and others who moved to this neighborhood after being forced out of the Fillmore by another redevelopment effort that began in the ’60s, redevelopment means one thing: displacement of existing residents, or “repeopling,” a disturbing term that Harrison said she found in some Redevelopment Agency literature. They see it as simply a land grab by greedy developers working in cahoots with Mayor Gavin Newsom and the political establishment.
“Yeah, we’d like to see our community built up and look nice. But does that mean I don’t get to live here?” said Harrison, who, like many Bayview residents, owns her home but struggles to get by: she works, and her husband has two jobs, but they still live month to month.
It is that fear that caused Harrison to support Prop. 90 even after editors at the Guardian and other progressive voices tried to convince her that the state measure’s damaging aspects far outweigh its protections against eminent domain.
While Harrison admitted, “I see some things in Prop. 90 that scare the shit out of me,” she said, “desperation has set in.
“They’ve taken all hope. I see that I have to protect my community. Somebody has to remove the fear…. In this community, [Prop. 90 is] a hope and a chance.”
Where Maxwell and city leaders who favor redevelopment see progress, Harrison and others see an insidious conspiracy to take control of Bayview away from the people who live there.
And the narrative that city government is out to get Bayview has recently been reinforced by other actions: Newsom’s announcement that he wants to use Bayview–Hunters Point as a staging ground for the 2016 Olympics; expanded plans for upscale housing development around Candlestick Park; City Attorney Dennis Herrera’s rejection of a seemingly successful referendum drive challenging the Bayview Hunters Point Redevelopment Plan and the refusal of the Board of Supervisors to allow a vote on the matter; city staffers issuing regular citations to Bayview property owners to make improvements or risk fines; the Housing Authority’s failure to properly maintain the projects it manages; Herrera’s decision this month to seek civil injunctions preventing the free association of purported members of the Oakdale Mob; and the Redevelopment Agency’s Oct. 17 decision to let Lennar Corp. out of its pledge to build rental units on Parcel A of the former Hunters Point Naval Shipyard.
Add it all up, and it becomes understandable why many Bayview residents buy into the vision that Bay View publisher Willie Ratcliff has repeatedly put on the front page of his newspaper: “the bulldozers are at our borders,” just waiting to turn Bayview into one more white yuppie enclave and make a handful of politically connected developers rich in the process.
Officials strenuously deny this is true, arguing that this redevelopment project is all about helping the area by building more affordable housing, infrastructure, and open space and noting how the plan strictly forbids the seizure of residential property by eminent domain.
“The agency has that historical baggage, but we haven’t done anything like that in many years,” Marcia Rosen, director of the Redevelopment Agency, told us.
That hasn’t allayed fears in Bayview or among its allies outside the community, most notably Brian Murphy O’Flynn, whose North Beach property was seized by the city in 2003 to be turned into a park.
“I thought, ‘These people are getting steamrolled,’” O’Flynn told us. “The people there are going to be displaced…. It comes down to money. [Powerful people] want that neighborhood. It’s right on the water, and it’s going to make some people rich.”
Nonetheless, O’Flynn has concerns about the other impacts of Prop. 90, so much so that he has parted ways with his Bayview allies on the measure and refused requests by Prop. 90 advocates to join the campaign.
“I have no position on 90,” O’Flynn said. “But I understand how it came about.” SFBG
Government
Josh Wolf meets Eminem meets Nelson Mandela
By Sarah Phelan
Got a letter from jailed videographer/blogger Josh Wolf, saying he remains hopeful. Here are 3 reasons why.
1. Legendary lawyer Martin Garbus has joined Wolf’s team as Lead Attorney. That puts Wolf in the company of Eminem, Nelson Mandela, Daniel Ellsberg, Amy Tan, Al Pacino, Spike Lee, Sean Connery, Robert Redford and Michael Moore, to name a few of Garbus’ high profile clients. Garbus is also working on the case of the two SF Chronicle reporters, Lance Williams and Mark Fainaru-Wade, who face possible jail time for refusing to name the source who revealed transcripts from a grand jury investigating Barry Bonds and steroid use in organized sports.
2. Josh’s attorney’s have filed an appeal in the 9th Circuit, refuting that panel’s decision that the court doesn’t have the power to create a common-law privilege, claiming that this ruling contradicts a previous decision, the Jaffee case, which established a privilege for psychotherapists in the case of a police officer who had gone into therapy following a disputed shooting.
3. Justice Sandra Day O’Connor is going to do some cases in the 9th.
Wolf’s advice to San Franciscans? “Keep talking, refuse to be silenced.”
His advice to San Francisco? ”Cut all fiscal ties with the federal government. It’s a radical approach, but it has value beyond protecting journalists—it spares the city from the vice-like grip of No Child Left Behind, for example.”
Allison inspires youth
OPINION I first saw Aimee Allison, District 2 candidate for the Oakland City Council, when she addressed a large, enthusiastic crowd of high school students, mostly students of color, from Oakland Tech, McClymonds, and Skyline. She spoke about the ruin and costs of war, the need for decent jobs, and practical ways and means for overcoming poverty in Oakland.
What impressed me about the young, vivacious candidate from the Grand Lake–Chinatown district was not just her Ron Dellums–like vision of Oakland, where “a better world begins.” It was her special ability to break through youthful feelings of despondency, the Generation X cynicism that continues to impede social progress. Allison has a special asset that her adversary, incumbent Pat Kernighan, lacks: an ability to inspire hope and activism among youth, including the struggling students in the least affluent sections of our city.
On Sept. 17, Constitution Day at Laney College, students hosted a debate between Kernighan and Allison. After the debate I talked with Reginald James, a 24-year-old Laney College student. He told me other students agreed that Kernighan was unprepared. “She was unable to relate to youth, to find common ground.”
James said Kernighan tended to blame the federal government for Oakland’s problems, deflecting responsibility from the City Council on which she serves. In contrast, Allison said incumbents should accept accountability for their failures, and she challenged the students to become active in their own cause.
During the debate Kernighan was almost fatalistic. “When there are not enough resources, we have to make hard decisions,” she argued. After the debate, Oakland teacher Jonah Zern summarized Kernighan’s presentation: “Pat continuously stated that she was powerless to change the problems of Oakland, that it was the state and federal government that need to make changes. It made me wonder. Why was she running for City Council?”
It was not her political positions as such or even her record that irked the youthful audience. One student asked Kernighan why the streets in the flatlands are not as clean as those above the freeway. She replied, “They don’t sweep the streets up there because the people do not tend to throw their trash out in the street.” The insinuation that people in the hills are superior to less-fortunate folk upset some students. Allison’s remarks, in contrast, were well received. Allison said, “In rich neighborhoods, parents can raise money for their kids’ sports teams. In others, schools don’t have teams. In rich neighborhoods, they can send their kids to music lessons, while in poor neighborhoods, music and art programs are being cut. Every child deserves an opportunity.”
Kernighan works hard. She knows the ins and outs of city government. But she has no vision, no plan to address the structural defects of Oakland’s social life. As a successful businessperson, Allison responds well to the needs and feelings of the middle class. But unlike most politicians, she maintains close relations and ties with the young and poor of Oakland. She has a valuable talent for enlisting youth in the fight against crime, for uniting our diverse cultures.
Understanding the needs and longings of young Oaklanders, tapping their potential to become agents of change, is a precondition of effective leadership on the City Council. If the Laney debate is an example, Kernighan is out of touch. SFBG
Paul Rockwell
Paul Rockwell is a writer living in Oakland.
Static shock
› a&eletters@sfbg.com
REVIEW When it premiered in New York two years ago, Sam Shepard’s latest play was timed to influence the outcome of the presidential election — an enticingly bold agenda. Of course, if you want to influence elections, as everybody understands by now, you need to be more than bold. You need to be Diebold. And anyway, what politician worries about what’s on an Off-Broadway stage? As political theater goes, Hugo Chávez calling George W. Bush the devil and sniffing out his sulfuric farts before the United Nations has much more oomph to it, in addition to getting at least as big a laugh. Chávez also backed up his warm-up zingers with a real political program. And he reads Noam Chomsky!
Two years and another flagrantly stolen election later, The God of Hell remains less interesting for any recyclable reference to the electoral contest between Democrats and Republicans (two packs squaring off again for dominance in the same corporate-owned kennel) than for the reflection in its bleak farce of something larger: an attempt to redraw the psychic and social landscape. Shepard’s ostensibly simple political broadside — whose call to alarm rings more with absurdist resignation than Brechtian defiance — has nonetheless a wily power curled up inside.
The play — sharply directed by Amy Glazer and leading off the 40th anniversary season of the Magic Theatre, Shepard’s old stomping ground — opens on the home of a dying breed: a Wisconsin dairy farmer and his wife. Emma (played with just the right suggestion of guileless good humor and native smarts by Anne Darragh) loves her indoor plants, which she compulsively waters to within an inch of their lives. Frank (John Flanagan), meanwhile, “loves his heifers,” as his affectionate wife readily explains to Frank’s old friend and their current houseguest, the jumpy and radioactive Graig Haynes (Jackson Davis), hiding from some unspecified disaster out west at a mysterious place called, in a name redolent of real-life nuclear disasters, Rocky Buttes. On the one hand, the couple looks primed to live happily heifer after. On the other, they appear stuck in a semiparadisial oasis amid unforgiving winter and a sea of agribusiness, isolated, alone, stoic, lonely, a little loony, and lost without knowing it — yet.
Emma is in the act of coaxing Haynes from the basement with some frying bacon when a stranger at the door interrupts her. As the pork sizzles, the man (Michael Santo), a business suit we later learn goes by the name Welch, appears to be selling a host of patriotic paraphernalia out of his attaché case. But his pushy demeanor quickly goes beyond the usual sales routine, his interest in Emma’s loyalty and her basement growing downright creepy, exuding an unctuousness and a sly arrogance that perfectly suggest the totalitarian turn in what Frank calls a “country of salesmen.” (Santo, whose face stretched into a thin grin bears an eerie resemblance to our real-life torturer-in-chief, is altogether perfect in the part.)
Shepard’s farmers, while purposefully cartoony, aren’t country bumpkins. Nor are they merely atavistic 1950s farmers, existing wholly in the past and detached from the present (as Welch, with telling condescension, likes to imagine them). Locally speaking, they are savvy and sure. (It’s no joke holding your own as an independent dairy farmer amid government-subsidized corporate behemoths.) Emma in particular is rooted to the very house itself, born on a patch of floor Hayes finds himself standing on at one point.
It’s the world beyond the farm and Wisconsin that the main couple find hard to grasp. In the play’s central irony, Frank and Emma tentatively mark the outer world by reference to a standard pop-cultural conspiracy narrative. But significantly, it’s just that laughable (at first) recourse to the formula of a TV thriller or sci-fi movie that points in the direction of the truth, helping Emma and Frank chart the terrain opened up by the arrival of Haynes and Welch. Long before his old friend resurfaces, Frank has already imagined for him, however vaguely, just the kind of intrigue and danger he turns out to have been undergoing. After passing the seeds of this narrative to his wife (who, as it were, dutifully overwaters them), Frank turns around and mocks her paranoia of government vehicles: “Dark cars. Suspicious. Tinted windows. Unmarked Chevies. Black antennas bowed over.” But we already know she’s right. The terrain of conspiracy, like the empire it limns, stretches in all directions, making borders meaningless except as a demagogic strategy in Welch’s fascist, state-centered patriotism.
The play invokes borders mainly to undermine, comically deflate, or cynically manipulate them. The overall and overwhelming implication is their irrelevance to an imperial might that recognizes no boundaries in the exercise of its will (things don’t need to escalate far before Welch threatens to send a bunker buster through Emma’s kitchen window). The vastness of the system confronting Emma and Frank comes across most dramatically in the unstoppable reach of plutonium — named after Pluto, the god of hell — which here serves as both a literal threat of the system and the ideal metaphor for its poisonous, apocalyptic reach. It’s this geography (real, metaphorical, potential) that the play wants us to pay attention to, since survival depends on some grasp of the lay of the land. SFBG
THE GOD OF HELL
Through Oct. 22
Tues.–Sat., 8 p.m.; Sun., 2:30 p.m.
Magic Theatre
Fort Mason Center, bldg. D, Buchanan at Marina, SF
$20–$45
(415) 441-8822
www.magictheatre.org
Deconstructing Destruction
“The shattering of paradise” is how Kali Yuga director Ellen Sebastian Chang refers to the 2002 bombing in Bali in which 202 people from 22 nations died. A series of attacks in 2005 killed 23 more. A world indeed had crashed, not only for the Balinese people but for the music and dance lovers who have made pilgrimages to that magical isle where art is integrated into the texture of daily life.
Gamelan Sekar Jaya was particularly hard-hit. With both Balinese and American members, the El Cerrito–based music and dance group has had an ongoing, close relationship with Balinese culture. In 2000, during its last tour, the group received a Dharma Kusuma award, Indonesia’s highest artistic recognition, never before given to a foreign company. So Gamelan Sekar Jaya wanted to address the tragedy in artistic terms. Its members also realized, says company director Wayne Vitale, that “what happened in Bali is a worldwide problem.”
The result is Kali Yuga, directed by Sebastian Chang and choreographed by I Wayan Dibia, with music composed by Vitale and Made Arnawa. Two years in the making, the work will receive its world premiere Oct. 14 at Zellerbach Hall. “We want this to be a gift to the Balinese people,” Vitale explains.
Working closely with poet-journalist Goenawan Mohamad, a vocal critic of the Indonesian government, the collaborators found the seed for the 70-minute piece in the Mahabharata: during the Kali Yuga — the age of chaos and destruction — a prince, challenged by his brother, gambles away everything he owns, including his wife. From this story of male testosterone and female humiliation arises a contemporary parable about the gambling we do with Mother Earth.
At a recent rehearsal in a warehouse in West Oakland, one could sense a little of Bali’s community-minded spirit. Kids roamed freely around the periphery of the performance space. One of the dancers had a baby slung over her shoulder; another would periodically step out to gently redirect the energy of a particularly rambunctious little boy. For a sectional rehearsal, Sebastian Chang knelt on the floor, coaxing the required laughs and stories from two six-year-old girls. Minutes earlier, they had exuberantly twirled all over the place; now they focused diligently on the task at hand.
The team has conceived Kali Yuga as a conflict between two parallel universes, one visible, the other not. Even in the piece’s unfinished state, it appeared that the dancers were keeping to the parameters of Balinese drama. The villain — who in the original tale humiliates the woman by attempting to strip her naked — is wonderfully raucous; the heroine is soft and pliant.
However, even traditional forms allow for innovation, as Sebastian Chang knows from experience. A writer as well as a director, she has worked within many genres and often with young people, hip-hop artists and the poets of Youth Speaks among them. In conceiving Kali Yuga, she wondered about the people in that Balinese nightclub. They must have been young. But who were they? What kind of music did they listen to on that fateful night? What were the dance moves that those bombs cut off so fatally?
Rhythmic sophistication, she also knows, is not unique to gamelan music. Rashidi Omari-Byrd is an Oakland-based rap artist and hip-hop dancer with whom Sebastian Chang has worked in the past. He had never heard gamelan music. Nor was he was familiar with Kecak, the percussive chanting originally performed by Balinese male ensembles. But the match was perfect. In Kali Yuga, Omari-Byrd — a tall, lanky performer who towers over everyone in the show — raps Mohamad’s poetry and break-dances to the musicians’ snapping heads and chack-chacking chant. (Rita Felciano)
KALI YUGA
Sat/14, 8 p.m.
Zellerbach Hall
Lower Sproul (near Bancroft and Telegraph), UC Berkeley, Berk.
$20–$32
(510) 642-9988
www.calperfs.berkeley.edu
EDITOR’S NOTES
› tredmond@sfbg.com
I get a little nervous when I hear prominent Democratic leaders talking about how important it is to elect John Garamendi lieutenant governor. Republican Tom McClintock, his ugly-right Republican foe, is such bad news that he must be stopped; the checkbooks need to come out and the boots need to hit the ground.
I don’t disagree on one level — but the prospect of a bad lieutenant governor isn’t by any means the scariest thing that could happen in November. In fact, the prospect of another four years of Governor Arnold Schwarzenegger isn’t the scariest thing. That designation is reserved for Proposition 90.
And the situation with Prop. 90 is pretty damn scary.
This is a measure that would effectively end the ability of state and local government to regulate business. It would prevent any new law reguutf8g rents or condo conversion. It would halt most new zoning (and would allow developers to build almost anything they want in Southeast San Francisco). It’s awful, awful, awful.
And right now, it’s way ahead in the polls.
There’s a reason for that: the right-wing backers have carefully hidden the worst of the measure behind language about halting the abuses of eminent domain. If you ask California voters whether the government should be able to seize someone’s house to hand it over to a private developer who wants to build a Wal-Mart, 90 percent of them will say no. And if we hit Nov. 7 and the majority of the electorate thinks of this proposition as a way to protect homeowners, it’s going to pass.
The No on 90 message is a bit more complicated. That’s the problem with this sort of Trojan horse initiative — it’s hard to explain why it’s bad in a 30-second sound bite. But it’s possible: every single public safety group in the state (cops, firefighters, etc.) is against it, as is every major environmental group and some of the big taxpayer-rights groups, who say it will cost the public a fortune and lead to bogus lawsuits.
Explain it right and the voters will get it — but in California, that’s a very expensive proposition.
The airwaves are choked with political TV ads right now. Schwarzenegger and Phil Angelides are beating each other up, the tobacco companies and the health industry are battling over the cigarette tax (Proposition 86), the oil companies and environmentalists are going at it over Proposition 87 — and needless to say, with all the numerical alphabet soup, the public’s attention is a bit scattered.
Without a really big splash in the next few weeks, it will be hard for No on 90 to be heard above the din.
The campaign isn’t by any means floundering. The two main No on 90 committees have raised more than $3 million and have about half of that still in the bank. But $1.5 million isn’t going to be enough to make the case in a huge state where TV time is really expensive.
Most of the money right now comes from political action committees controlled by the League of California Cities, the State Association of Counties, and a few well-heeled businesses. But everyone needs to step up here; all these Democrats who have big stashes of money (Carole Migden, John Burton, etc.) need to get on the stick before we run out of time. SFBG
Back to Black
By Steven T. Jones
These are busy days, so I suppose I’ll just have to dump out the District 6 dirt just a little at a time. That’s cool, considering tomorrow’s deadline for filing pre-election campaign statement will allow me to plow into the freshest compost for y’all. We’re also having a few technical difficulties in getting the audio from Rob Black’s endorsement interview with us online, but that problem should be solved in the next couple days. And it’s worth the wait to hear him squirm in his seat over tough and legitimate questions about how he’s been doing the bidding of the wrong people for awhile now. Stay tuned.
For now, let’s recap yesterday’s Black press conference (which was held in the City Hall Press Room, despite state laws against campaigning in government offices not open to the general public, and just as the Board of Supervisors meeting was starting down the hall).
Editors notes
› tredmond@sfbg.com
There’s something scary happening in Bayview–Hunters Point, and it’s not the redevelopment bulldozers.
For some reason that I find hard to understand, community leaders like Willie Ratcliff and Marie Harrison, who are opposed to the Redevelopment Agency’s plan for that neighborhood, have signed on with a frightening gang of radical right-wing property rights advocates. The result: Harrison was standing at an antiredevelopment rally last week urging voters to support Proposition 90, almost certainly the worst piece of legislation to face California voters since Proposition 13 devastated local government in 1978.
Prop. 90 would indeed limit the ability of government agencies to seize private land for other private projects. That’s why the redevelopment foes like it. But it goes much, much further. Under Prop. 90, no local government could do anything — anything — that might reduce the value of private land without paying the owner compensation. That means no new tenant protection laws (which could cost a landlord money). No more zoning laws that reduce the maximum development potential of a lot (of course, that means no zoning controls against luxury condos that would displace local business and residents in Bayview). No new environmental or workplace safety laws.
It also places a swift and powerful kick to the midsection of any effort to seize Pacific Gas and Electric Co.’s local grid and create a real public power system; under Prop. 90’s rules, that would be prohibitively expensive.
I talked to Harrison about this, and she told me she “didn’t read the law that way.” But this isn’t just a matter of opinion; it’s clear fact, and everyone with any sense realizes it.
It gets worse: I was at a New College event Sept. 29 when Renee Saucedo, the immigrant rights lawyer, asked everyone to vote yes on 90. She told me she trusted Ratcliff and Harrison.
Prop. 90 is almost unimaginably bad. If its supporters can make inroads in San Francisco, I’m very afraid. SFBG
DARK DAYS
by Amanda Witherell
Despite the liberal signing spree that’s left most of the Dems in the state giddy with success, the guv dropped his darkened Terminator-era specs over open government by vetoing Mark Leno’s AB2927. The bill, which had unanimous approval from the House and Senate, would have improved online services for public records requests on all state agency websites, including a simple form to fill out and file electronically. It also would have allowed citizens with denied requests to appeal to the Attorney General for a review and written decision within 20 days. In a press release, Scwarzenegger said that task would be too burdensome for Lockyer’s office, and that because the Attorney General already advises state agencies who may have denied the requests, it would be a conflict of interest.
Cal Aware lawyer and open government expert Terry Franke, pointed out that anyone who read the bill would see that the Attorney General would have the right to request a 30-day extension to the response time in the case of an “unmanageable workload.” In addition, if the denial came from the Attorney General or the Department of Justice, members of the offices not involved with the original decision would be mandated to respond to the review. Also, attorney-client privilege would have trumped this bill, effectively dealing wtih the conflict of interest issue.
This bill really would have just simplified a process and added a layer of unbiased scrutiny to attempts to undermine the public’s right to know.
This is the fourth time a bill of this sort has been vetoed. Stay tuned for round five…
Really scary
By Tim Redmond
I had a really scary moment tonight.
it started well — I was moderating a discussion on immigration politics at New College, featuring Justin Akers Chacon, who has written a new book called “Nobody is Illegal.” Renee Saucedo, a longtime advocate for immigrants and day laborers, was on the panel, too, and we had a great discussion — until the very end, when Saucedo starting talking about how she was trying to build coalitions between immigrants and African Americans in Bayview Hunters Point, organizing around opposition in that neighborhood the the redevelopment plan.
And out of nowhere, she urged everyone to vote yes on Proposition 90.
For the record, Prop. 90 is almost indescribably horrible. It’s a radical right wing property-rights measure that would instantly halt any new environmental laws, any new rent-control laws, any new workplace safety laws, any new zoning laws, any limits on evictions or condo coversions … it would effectively stop government regulation of private property in California.
So why was Saucedo, a smart lawyer and strong progressive, supporting it? Because Willie Ratcliff, the publisher of the San Francisco Bay View, and Marie Harrison, a candidate for supervisor from District 10, are so dead-set against redevevelopment that they’ve signed on with the worst of the right-wing nuts in the state to endorse a measure that claims to be limiting eminent domain but is so much, much more.
I’ve discussd this with Harrison; she totally doesn’t get it. Neither, for now, does Renee Saucedo. I understand their fear of redevelopment seizing people’s homes — and I understand Saucedo’s desire to build ties with and follow the lead of African American community leaders. But get a clue, my friends. This is embarassing.
If people like Renee Saucedo are getting duped into supporting the worst law to come along in California since Prop. 13, we’re in serious trouble.
Lennon’s boom
› kimberly@sfbg.com
SONIC REDUCER Which John Lennon did you know? Initially, I was too young to know him as anything more than the moptop behind the chipped bobble-headed garage-sale find — and as one of the songwriters behind my parental units’ token soft-rock gatefold, the Beatles’ Love Songs (Capitol, 1977) (the “White Album”’s “acid rock,” as Moms described it, went way beyond the pale). That’s all the Lennon I could grasp until the Rolling Stone cover pic that accompanied news of his 1980 murder — that coverlineless image picturing a nude Lennon fetally curled around a clothed Yoko Ono. If you dug the raw romanticism of that Annie Leibovitz image and Lennon’s 10-point program to success, excess, then bread-baking, Sean-rearing semiretired rock-star redemption, then you were with us. If you didn’t and you were disgusted, you weren’t — go hang with the Yoko-booing minions at, say, the recent Elvis Costello–Alan Toussaint Paramount show. It was that simple when you were an already media-saturated brat ready to draw battle lines and take pop music dead seriously.
Nowadays, the very undead but still much-pondered Bob Dylan may inspire a higher page count than Lennon when it comes to critical essays, encyclopedias, and that ilk. But I’d venture that Lennon’s influence continues to echo subtly through the culture, starting with the recommended banishing of “Imagine” from Clear Channel airwaves shortly after 9/11 and continuing through to some recent docs, DVDs, and dispatches from his estate.
Ignore the critically mauled 2005 musical Lennon and don’t wait for a Martin Scorsese PBS-approved documentary treatment — though, oh, to glimpse Abel Ferrera’s charred take on Lennon’s Bad Lieutenant–style “lost weekend” with Harry Nilsson. For somewhat unvarnished, intimate footage of Lennon with Ono in their Ascot, England, estate studio and shooting hoops with Miles Davis, check Gimme Some Truth: The Making of John Lennon’s “Imagine” (2000) — the material of Lennon warbling “Jealous Guy” and trianguutf8g in the studio with a very active Ono and a stoic Phil Spector is eye-cleansing.
After sampling Lennon and Ono’s frank BBC interview there, you’ll want even more truth — so turn to last year’s The Dick Cavett Show: John and Yoko Collection DVD, which collects three 1971–72 episodes featuring the gabby couple. It encompasses some of Lennon’s most in-depth US TV interviews, as the relaxed, wise-cracking musician sparred and jabbed with the clearly nervous and very deeply tanned Cavett in between sizable excerpts of Ono’s great Fly and Lennon’s Erection, a cinematic “construct” if there ever was one. Even more astounding than Cavett’s half-baked monologues are the lengthy stretches of airtime devoted to Lennon and Ono explaining their 1972 deportation case — one suspects even Jon Stewart would yelp, “TMI!” — and the pair’s impassioned, controversial performance of “Woman Is the Nigger of the World” (worth it alone to Bay Area–philes when Lennon pulls out a Ron Dellums quote to back up the lyrics) and Ono’s still-nervy, saxed-up “We’re All Water.” The versions of Lennon visible here are familiar and complementary — John as the willful dreamer and the provocative righter of wrongs, be it the plight of American Indians or the lack of consideration given Ono’s art. And one wonders, will network TV ever be quite this maddening — and challenging — again?
Scenes from both The Dick Cavett Show: John and Yoko Collection and Gimme Some Truth surface in The US vs. John Lennon, a new feature film revealing the latest Lennon iteration: the musician as a political animal hounded by the Nixon administration and threatened with deportation. Lennon considered a peace-promoting concert tour following Nixon’s reelection jaunt around the country — and posed a serious enough threat to Tricky Dicky, in the very year millions of 18-year-old Beatles fans were given the vote for the first time, that the US government moved to stop him. Focusing on Lennon’s significance as an activist who devoted his personal life (transforming the Lennon-Ono honeymoon into the peacenik, media-lovin’ bed-in) and considerable platform to antiwar efforts, filmmakers David Leaf and John Scheinfeld (Beautiful Dreamer: Brian Wilson and the Story of “Smile”) worked with documents released as a result of a Freedom of Information Act suit (aided and abetted by Jon Weiner, who consulted and wrote Gimme Some Truth: The John Lennon FBI Files) to make their film. Supported by commentators ranging from Ono and Noam Chomsky to Angela Davis and G. Gordon Liddy, the two have fashioned a sleek, informative primer on the importance of being Lennon and the historical context he emerged from. The only images they wish they had included but didn’t, Leaf told me, were World War II pictures of a bomb-besieged Liverpool and war-torn Japan.
“What’s important to note is that being for peace meant more than being nonviolent for John and Yoko,” he explained from an office in Century City. “This was in their bones, if you will. John saw firsthand what war caused.”
Leaf and his partner have had the film in mind since the mid-’90s, when Lennon’s FBI file was opened. After the disappointments of 2004, it’s intoxicating to imagine an artist and his listeners changing history, and at the very least The US vs. John Lennon allows one to dream, even briefly. Why was Lennon such a menace? “I think what terrifies power the most is truth,” Leaf says. “When truth is spoken without fear of consequence, it is threatening, and when John and Yoko embarked on their campaign for peace, they weren’t promoting themselves or a record but peace or nonviolence.” SFBG
THE US VS. JOHN LENNON
Opens Fri/29 in Bay Area theaters
See Movie Clock at www.sfbg.com
Be a liver
› andrea@altsexcolumn.com
Dear Andrea:
Many years ago, I contracted the Hepatitis C virus (HCV). I had many partners before tests became available. None, to my knowledge, has contracted HCV from sexual contact with me. I know it’s possible to pass it through sexual contact but it’s very rare. It requires blood to blood contact: someone would need to stick their bloody penis in some equally bloody orifice on my body — not gonna happen! I’m always safe when it comes to anal sex. As for oral, well, that does give the opportunity to examine my partner more closely. Am I obligated to tell every partner I have about my HCV status?
The Centers for Disease Control and Prevention (CDC) consider HCV to be a sexually transmitted disease, but health departments of other countries — Australia for example — do not. My faith in the truthfulness of an agency of the US government in the current political climate is doubtful, especially when it comes to sexual matters.
I’m not a slut, but I satisfy my needs when they arise. I’ve never had an STD of any kind. I don’t know if it matters, but I’m a transsexual woman.
Love,
Liver It Up
Dear Liv:
Nope, doesn’t matter a bit!
It is maddening that we still know so little about sexual transmission of hep C. There are studies, but they contradict each other, are too specific to generalize from, or are otherwise just not capable of answering the big question: can you for sure get this from fucking? Seeing as the virus is pretty common though, there really ought to be more cases of transmission between monogamous non-drug-injecting partners. The cases just aren’t there, so it is tempting to shrug and say, “Guess it isn’t sexually transmitted after all.” If hep C were the common cold, I’d be cool with that, but seeing as it’s the leading cause of liver transplants in the United States and can totally kill you, we can’t be quite that cavalier about it.
It’s worth noting that while the CDC groups HCV with the sexually transmitted diseases on its Web site, it has little to say about actually getting it through sex. Click on the link and you get a list of risk factors (transfusion or organ transplant before routine testing was implemented, injection drug use, etc.) with nary a mention of sex of any sort. And when you dig a little deeper you find this: “HCV can be spread by sex, but this does not occur very often. If you are having sex, but not with one steady partner: You and your partners can get other diseases spread by having sex (e.g., AIDS, hepatitis B, gonorrhea or chlamydia).”
This is really a nice bit of legerdemain: “Sure, it could happen, but we don’t want to be quoted saying it could happen to you, so, uh, don’t get the clap.” I was guilty of the same sort of sleight of hand way back when I was working as a women’s safer-sex educator but really didn’t believe that the population we were reaching was actually at the slightest risk of contracting HIV through sex. No matter how stridently the AIDS establishment insisted that everyone was at equal risk, it wasn’t and still isn’t true, so I’d hand the girls the AIDS-prevention pamphlet I was paid to distribute and then tell them how not to get warts. Win-win, as far as I was concerned.
So do you have to tell everyone? This may be more of a question for that ethics guy than for me, but I kinda want his job anyway, so I’m going to have to say yes. You can play it down, you can say the chances of exchanging enough blood during sex are extremely low and you’ll be using condoms anyway, but since there have been cases of sexual transmission (no, we don’t really know what those people were doing, only what they say they were doing), we can’t pretend that there’s zero risk. “Almost zero” isn’t zero. I’m really sorry.
I had to do this, kind of. I discovered that a forever-ago partner had developed the disease, and as much as I would rather have sporked my own eyes out, I called the people I’d seen since (thankfully, there weren’t many of these) and informed them of the teensy-weensy risk. Nobody cared. I do hope I called them back after I finally got tested … um … all clear, guys, OK?
As for the right-wing antisex conspiracy, well, I’m with you as far as not trusting this administration as far as I could throw them — and really, really wanting to throw them — but the CDC is not so bad (and anyway the World Health Organization agrees with it about HCV). Look up Dr. Julie Gerberding, the Bush-appointed director of the CDC, and you’ll find her support for safer-sex education reviled and her appointment tsk-tsked on the Web sites of Focus on the Family, Concerned Women for America, and Accuracy in Media, among others. The enemy of your enemy is your friend.
Love,
Andrea
Andrea Nemerson has spent the last 14 years as a sex educator and an instructor of sex educators. In her previous life she was a prop designer. And she just gave birth to twins, so she’s one bad mother of a sex adviser. Visit www.altsexcolumn.com to view her previous columns.
Angelides says bring our troops home
By Jonathan Beckhardt
Trailing by as much as 20 points in his race for governor, Democrat Phil Angelides has turned to the Iraq War — the issue supposed to galvanize the nation’s left — and made it a state issue by today vowing to “do everything in [his] power” to bring home the approximately 800 California guard troops deployed in Iraq.
“A Governor’s first responsibility is to ensure the safety of the people of California,” Angelides said at a rally at San Francisco State University devoted to the issue. “And a governor cannot do that without a strong National Guard, [which is] our crucial defense against domestic disorder and natural disaster.”
“What does Governor Schwarzenegger say about the pressure the war has put on our precious citizen soldiers, on their readiness for earthquake, flood, or fire?” Angelides said.
Angelides said he will “put in a formal request to President Bush to return our National Guard units” on his first day in office. Then he will “mobilize governors from across this nation to force a change in national policy- so guard units can be used for their intended purpose, not propping up the Bush-Cheney-Rumsfeld excuse for a foreign policy.”
Though not saying what legal options he might be able to exercise, Angelides said he would “take any action, including going to court,” to carry out his pledge.
The new stand differs from the position he took in May, where at a Primary debate he said governors do not have the power over the Pentagon to bring state Guard troops home from war.
According to the California National Guard, the federal government provides about 85 percent of the funding for the National Guard, though this varies according to the amount the Guard is serving the federal government. The guard is under the command of both the state and federal government, though the federal government’s power over the force supersedes the state’s power over the force.
According to the Angelides campaign, 275 Californians have died in Iraq, 21 of whom have been members of the Guard.
Top 5 TIFF moments
(1) Sarah Polley makes her public debut as a director in the glitzy embrace of a Roy Thompson Hall gala for Away from Her, with the seats packed to the rafters, and gives the audience a manifesto on the importance of government funding and support for Canadian cinema. Yeah! Sarah Polley for cultural ambassador. Now that Lions Gate has picked up the film for distribution, there’s even a happy ending.
(2) Waiting in the green room backstage, I meet Anna Paquin, the little girl from The Piano, all grown up and articulate and serving as a member of the jury making the award decisions on Canadian cinema. We discuss the crowds of fans this year and the odd relationship between acting and celebrity. “Most actors are very shy and timid, you know,” she told me. “Those other people aren’t really actors. They’re celebrities who appear in movies.”
(3) In Away from Her, Julie Christie plays a wise, smart, ironic woman who begins to disappear into an Alzheimer’s fog. During one scene, in which her character, Fiona, seems barely aware of her surroundings, she suddenly snaps to attention as the TV news shows footage of the Iraq war. “Have they forgotten Vietnam?” she asks — more cogently than any administration official these days.
(4) At the “Dialogues: Talking with Pictures” event with Albert Maysles, who was accompanied onstage by documentarian Barbara Kopple, there was a screening of his new film composed of outtakes, The Beales of Grey Gardens. Edith “Little Edie” Bouvier Beale explains in one scene why she’s agreed to do this film with the Maysles brothers. It’s because someone had approached her to do a fiction film based on her life and the notion horrified her. “Imagine, they wanted Julie Christie to play me! I couldn’t have that.”
(5) OK, so not all my top moments are upbeat. On the morning of Sept. 11, I woke up in my room at the Delta Chelsea Hotel to the phone ringing. When I answered, a voice said, “Oh, thank god it wasn’t you.” Huh? It was my friend Susan, who had just heard the news of a triple murder-suicide in a room five floors below mine. I was here on this same date five years ago too. (B. Ruby Rich)
For five more of Rich’s top TIFF moments and additional coverage of the festival, visit www.sfbg.com/blogs/pixel_vision.
Weather channeling
› a&eletters@sfbg.com
Dancer-choreographer David Dorfman is a poet of the ordinary. He digs below the commonplace and lets us see what’s underneath. Early in his career, with Out of Season, he paired football players with highly trained dancers. Ten years ago he invited his ensemble’s family members to join in performances of Familiar Movements. Both pieces revealed fresh ideas about dance, community, and beauty. They also showed Dorfman to be an artist of sparkling wit with a generous spirit.
In the two pieces that his David Dorfman Dance company made its Bay Area debut with last year, he worked single conceits into exuberant, athletic choreography that resonated beyond its voluptuously evocative appeal. In See Level, sprawled bodies on a studio floor suggested maps of continents, with individual countries that were self-contained yet had relationships with each other. A naked lightbulb inspired Lightbulb Theory, a meditation on death. Is it better, the piece asked in densely layered images, to die quickly or to flicker for a while?
Dorfman’s newest work, the 50-minute underground, opens the Yerba Buena Center for the Arts’ new Worlds Apart series, which according to executive director Ken Foster features artists who “create work that inspires us to think deeply and become responsible citizens of the global village.”
For underground, Dorfman started with history, using local filmmaker Sam Green’s Oscar-nominated documentary The Weather Underground as a jumping-off point. The film documents the activities of the Weathermen (later, Weather Underground). In the 1960s and ’70s, this radical offshoot of Students for a Democratic Society advocated violence to incite change. For Dorfman, the film and his associated research raised questions about individual and social responsibilities when faced with injustice. He also began to wonder about the effect of age on one’s perspective and decision-making process.
Speaking from his home in Connecticut, Dorfman explained that he was a Chicago teenager during the Days of Rage — four days in 1969 when stores and public buildings were attacked in protest of the Chicago Seven trial. “Now, I wanted to look at the idea of resistance against an unwarranted war from the perspective of a man with a 50-year-old body.”
Dorfman’s underground will strike a raw nerve with audiences, though he refuses to narrowly assign blame for the causes of societal unrest. He wants to unearth root causes, not apply Band-Aids. “Yes, of course I feel burned by the elections of 2000 and 2004 and the shameful behavior of our government. But this is not just about the current administration. Much damage was done before,” he said, pointing out that our conversation happened to be taking place on the anniversary of 9/11.
“I try hard to be a good global citizen, and I mourn the needless loss of life. So I want my generation and younger people to look at the nature of activism and what, if anything, justifies the use of force and violence.”
After the June premiere at the American Dance Festival, which occurred during the Israel-Lebanon conflict, a young audience member told Dorfman that he wanted to get off his backside and do something. “I don’t know what that something is,” Dorfman responded. “But we have to talk about it.”
The show stitches documentary footage, photo collages, spoken and projected text, and a commissioned score by Bessie winner Jonathan Bepler to Dorfman’s choreography for his nine dancers — plus some 20 local performers whom he auditioned this month. Though he still loves to work with people he calls “folks who don’t think they can dance,” underground’s choreography requires professionally trained artists.
Reminded of his ideal “to get the whole world dancing,” Dorfman is quick to point out that while realistically war may not always be avoided, perhaps we could learn to tolerate each other, and that dance — “nonsexual, noninvasive physical contact” — just might help.
Besides, he said, “If people are dancing, for that one brief moment they cannot kill each other.” SFBG
UNDERGROUND
Thurs/21 and Sat/23, 8 p.m.;
Sun/24, 2 p.m.
Yerba Buena Center for the Arts Theater
700 Howard, SF
$19–$25
(415) 978-ARTS
www.ybca.org
A vote on Oak to Ninth
In just 30 days, the Oak to Ninth Referendum Committee collected the signatures of 25,068 Oakland residents who want a chance to vote on a massive development project that would bring 31,000 new homes to the Oakland waterfront. But the matter may never be on the ballot: on Sept. 6, Oakland City Attorney John Russo directed the city clerk to invalidate the petition because it didn’t conform to the requirements of state election law.
It’s likely that from a legal standpoint Russo’s determination is correct. Nevertheless, the decision exposes flaws in California’s election system that the state legislature should fix. In the shorter term, the Oakland City Council ought to recognize that there’s strong public sentiment for a referendum on the project and put Oak to Ninth before the voters.
It’s tough to force a referendum vote on an act of local government: you need to gather a significant number of signatures within 30 days of the passage of the bill — and there are no second chances. If the petition doesn’t meet every possible legal standard — and the standards are high, the rules complex — then the referendum is dead forever.
Erica Harrold, communications director for Russo’s office, told us she sympathized with the plight of Oak to Ninth foes and acknowledged that the current rules applying to referendum petitions are “draconian.” Russo, she said, is seeking reforms to the current system, including establishment of a new rule that would not start the 30-day period until the city provides a certified final version of an ordinance to petition sponsors. That was a key issue in this conflict: the Oak to Ninth Referendum Committee apparently had to rush to gather signatures to meet the deadline and for various reasons did not submit the version of the ordinance that Russo and the City Council consider the final draft (additionally, the committee did not include certain attachments to the ordinance that the City Attorney’s Office says were required).
The legislature should follow Russo’s suggestion and change the deadlines. It should also consider allowing petition sponsors to cure unintentional defects in their petitions.
State legislative reform can’t come quickly enough to remedy the current situation involving the Oak to Ninth petition. But the City Council can still act: it’s well within the authority of local officials to simply acknowledge the public interest in (and demand for) a citywide vote on a project that will change Oakland forever — and place the entire matter on next June’s ballot.
There’s no rush to break ground here — in fact, we’ve long argued that the project shouldn’t have final approval until the incoming mayor, Ron Dellums (who has expressed real concerns with the deal), takes office. Legal technicalities aside, the bottom line is simple: Oakland residents deserve a chance to be heard on Oak to Ninth. SFBG
PS Stop the presses: on Sept. 19, San Francisco City Attorney Dennis Herrera ruled that petitions demanding a vote on the redevelopment plan for Bayview–Hunters Point were invalid — on a legal technicality similar to the one that undermined the Oakland petitions. Again, Herrera may well be legally correct (and we’re under no illusions here — the referendum was financed in part by a private housing developer) — but when in doubt, the desire of the voters to weigh in on an issue should be paramount. The supervisors should determine whether it’s possible to put this plan on the ballot anyway.
The terror of Prop. 90
OPINION San Francisco could see an end to rent control — and minimum-wage requirements and a lot of zoning regulation and environmental protection laws and much more — if Proposition 90 passes this November. We could see an end to limits on condo conversions and an end to requirements that developers build affordable housing units and even an end to limits on the height and density of new developments. That’s because Prop. 90 is a clever trap that purports to restrict the use of eminent domain but in reality eliminates all government regulation of land use.
Prop. 90 really says little about eminent domain; it just uses the notion of restricting the ability of government to seize private land as the bait. Most of the initiative is aimed at ending all government regulation of property. Its concept is simple: if any government regulation reduces the actual or potential value of property — even by a dollar — then the government would have to reimburse the property owner the difference.
For example, if a landlord would be able to get $3,000 a month on the open market for an apartment but rent control limits what a long-term tenant has to pay to $1,500, then the landlord would be able under Prop. 90 to sue San Francisco for the difference. Think about that: about 200,000 rental units in the city are under rent control. Say the average difference between the market rent and the rent-controlled amount is $500 per month. That would mean landlords could collectively sue San Francisco for $200 million each month, or $2.4 billion each year. Since San Francisco obviously can’t afford to put half its annual budget into compensating landlords, there would be no choice but to repeal rent control.
Landlords would also be able to sue for the difference between what their buildings are worth as rental properties and what they are worth as condominiums. Any property owner denied the ability to convert to condominiums could then sue for that difference in value. Since a property subdivided into condos is worth about 50 percent more, this bill would be huge.
The list of disasters goes on and on. If a developer is required to make 15 percent of the units in a housing project affordable, then the developer could sue to make San Francisco pay for the lost income. If zoning laws limit heights in a neighborhood to three stories but a developer wants to build a 10-story condo tower, the developer could sue the city for the lost value of those seven stories of condos.
And it’s not just land-use and tenant protection. The city and the state both have minimum-wage laws; potentially, every business owner could sue to demand compensation for the loss of income that came from mandating higher wages than the market might have allowed. That would be the end of minimum-wage laws. Environmental protection and mitigation could face the same fate.
Prop. 90 is by far the worst measure on this year’s ballot; in fact, it’s the worst measure to come along in quite some time. It’s a plot by right-wingers to gut the ability of government at any level to force businesses and property owners to accept even basic standards of behavior in the name of the public good. The measure hasn’t gotten a whole lot of media attention, but defeating it should be a top priority for every decent Californian. SFBG
Ted Gullicksen
Ted Gullicksen is director of the San Francisco Tenants Union.
One strike and you’re out
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DVD available from Choices Video.
My introduction to director William Gazecki came with his 1997 debut, the Oscar-nominated doc Waco: The Rules of Engagement. I distinctly remember sitting alone at the Red Vic, my jaw on the floor, watching the damning footage he’d unearthed solve the riddle of who fired first (’twas our government, not the Branch Davidians). In 2002, he released Crop Circles: Quest for Truth, which happened to come out the same year as Signs, marking some kind of crop-circle zeitgeist that may or may not have been informed by occupants of inteplanetary craft. (The doc — which was not nearly as well-received as Waco — doesn’t prove it either way, alas).
Between this pair of films, in 2000, Gazecki released Reckless Indifference, newly available on DVD. The doc recounts the 1995 crime that’s been held as an example of what’s wrong with California’s felony murder rule. (Read CBS News’ take on the case here.) Picture a Larry Clark-directed episode of American Justice, and you’ll get a feel for the cast of very real characters: a teenage drug dealer who operated out of a backyard “fort;” a gaggle of middle-class white kids whose suburban boredom inspired them to drink and commit mean-spirited pranks; and parents who took an interest only when it was far too late.
