By Steven T. Jones
Gov. Arnold Schwarzenegger’s latest hypocritical move to undermine California’s efforts to reduce greenhouse gas emissions shouldn’t surprise anyone. He has always been a political opportunist who seized the environmentalist label last year simply to score political points. The LA Times did the definitive piece on the ruse a couple months back, which closes with Arnold’s own secretly recorded admission about the fraud. Most recently, The Economist magazine analyzed how unlikely California is to meet its lofty goals for addressing climate change. But that’s the idea, right? Politicians set ambitious goals that make them look good today, with deadlines set for well after they’re out of office.
The only surprise here is that anyone is surprised. Then again, the Chronicle did endorse the guy last year (facilitating a deceptive and rapid rehabilitation of his once tattered image), so maybe they’re feeling a little foolish in retrospect.
Green
Arnold’s thin green veneer
What is the new new “low” in city politics? It sure isn’t Daly, Newsom, and the cocaine use charges. Public Power SOS: scroll down for the news and the action alert
By Bruce B. Brugmann
On the front page of today’s San Francisco Chronicle, June 2l, Mayor Gavin Newsom is pictured, grim, scowling, arms clenched, over this caption:
“Mayor Gavin Newsom denies Supervisor Chris Daly’s suggestion that he has used cocaine. “That’s how low politics now has gotten in this city, and I seriously thought it couldn’t get much worse.”
The story by City Hall Reporter Cecilia M. Vega had this head: “CITY HALL UPROAR AT COCAINE CLAIM,” with this subhead, “Angry Newsom blasts Daly for bringing politics to a new low.”
This jolly back and forth, I submit, is far from a new low. (See City Editor Steve Jones’s blog in our politics blog.)
For starters, I would submit there is a new new low and a most timely new new low at that. This new new low is the fact that Newsom, despite the public power mandates of the federal Raker Act, the U.S. Supreme Court, and the crucial Ammiano/Mirkarimi CCA legislation approved by the Supervisors only last Tuesday, reversed his public pledges supporting CCA and public power and clambered into bed in hot embrace on Tuesday with PG&E. (See my previous blog.) He allowed PG&E to call the shots in a PG&E-arranged and PG&E- promoted press conference at the Presidio announcing that the city in effect was turning over its public study of tidal power to the private utility that has perpetuated the PG&E/Raker Act scandal for decades.
This is the new new low: the scandal of how the mayor of the City and County of San Francisco, after PG&E has privatized and stolen the city’s cheap, green Hetch Hetchy power, and after PG&E helped privatize and steal the Presidio, was in effect turning over the choppy waters of the bay and the ocean to PG&E to privatize and steal. Incredible. Newsom was doing his damndest to put PG&E in the catbird seat on the next giant step on power generation and to further entrench the illegal private utility in City Hall. No wonder Newsom gets so “agitated” over the handy dandy issue of whether he did or did not use cocaine.
Canton Seafood and Dim Sum Restaurant
› paulr@sfbg.com
If children should be seen but not heard, and writers should be read but neither seen nor heard, what does this tell us about restaurant signage? Certainly that it should be seen and, ideally, read. Signage isn’t everything, but it tells us a lot about a place even before we step inside. If signage is going to be conspicuous, it ought to be stylish, as at Dosa and Ziryab, and if it’s going to be inconspicuous, as at many of the highest-end places around town, then the place had better be so good that we’ll find it despite the lack of a beckoning beacon. The splendor inside had better balance the lack or near lack of street presence.
What, then, are we to make of conspicuous but unstylish signs, such as the one that hangs above Canton, a Cantonese seafood and dim sum restaurant on Folsom I’ve zoomed past a million times over the years without pausing to consider because the cheap, blaring, generic yellow sign above the door all but dared me to stop in for some mediocre, greasy food, and who needs that? Bad Chinese food isn’t hard to find in San Francisco, alas, and one of the easier ways to find it is to look for those turmeric yellow signs that are the Asian equivalents of all-American roadside-diner signs, complete with a Coke (or Pepsi) blurb and logo.
Canton, moreover, has hung its jaundiced shingle in a part of town that’s moved notably upmarket in the more than 20 years the restaurant has dwelled in the neighborhood. The old warehouses and industrial plants are gone or transformed now, and the area’s restaurants are tuned into the tourist and convention frequencies being broadcast from the nearby Moscone Center and its coterie of hotels and museums. Canton looks like a throwback, a piece of old furniture abandoned by the curb with a hand-lettered "free" sign taped to it but it is not.
For one thing, the restaurant is one of a handful in town to offer the Cantonese specialty nor mai gai ($20), the skin of a whole chicken, stuffed with sausage-dotted sticky rice and deep-fried. The dish is more interesting for its presentational value and as a textural adventure than as one of taste, since in the mouth it’s basically rice with a hint of salty sweetness (from the Chinese sausage) and a bit of poultry crunch (from the skin). Much of the flavor comes from the accompanying mystery sauce, a kind of sweet-sour vinaigrette laced with rounds of scallion.
We could not say where the rest of the chicken went, though some of the meat might have found its way into the chicken chow mein ($7), fat noodles tossed with chopped scallions and a soy-based sauce. And the remainder of it, cut into strips and sautéed to a golden crispness, might have ended up in the excellent chicken salad ($7.50), with a thick honey-soy vinaigrette served on the side. The kitchen, in fact, does a nice job all the way around in the crispy department, from salt and pepper spare ribs ($8.50) to the similar but even better salt and pepper sea bass ($18), slightly curly flaps of creamy flesh within a delicate golden envelope.
Cantonese cooking is known for its seafood variations and for its mild subtleties. These themes intersect in the seafood combo ($12), a large clay pot filled with prawns, squid, and scallops atop a medley of vegetables, among them snow peas, water chestnuts, and shreds of carrot and napa cabbage. The broth that hydrates this little world tends toward reticence, but you will find that the vegetables, when you reach them, have been tarted up nicely with ginger, whose clear, strong flavor shines like a light in a dim room.
But not all Cantonese subtlety has to do with seafood. Snow peas beef ($8.50) proves that meat too can show well with gentle handling, although it must be said that beef is among the most forgiving of ingredients and is often excellent with little or no help at all. Here the supporting cast includes a shower of snow peas, bright green as spring, and a slightly sweet sauce with flecks of crushed peppercorn.
Practically every Chinese restaurant of note in town offers some version of duck buns, and Canton ($13) is no exception, although there is a twist. The half duck is brought tableside and first stripped of its reddish gold skin, which is then served in steamed buns, along with plum sauce and scallion tips shredded to look like pieces of frisée. While these are eaten, the skinless bird is carved up and the meat passed around the table. I liked this little drama in two acts, but I did find the skinless, bunless meat to be a bit naked.
Although Chinese artistry in soup making cannot be doubted, and although I have had some excellent dessert soups over the years fruit soups, mainly I just don’t warm to the sweet red-bean soups that bring many a Chinese dinner to a close. Canton’s entry ($3) looked quite familiar, like muddy river water with bobbing unmentionables, and it tasted like what it was: cooked beans with some sugar added. I would recoil less, I think, if it weren’t served hot. Heat, on the other hand, became the shredded pork soup ($3.50), an early-on course made memorable by the ghostly intensity of dried scallops.
Canton is modestly if neatly fitted out, but the space is magisterial: as enormous as a ballroom, with a coffered glass ceiling and a far wall lined with aquariums in which the more alert members of the day’s catch await some sign that their turn is imminent. *
CANTON SEAFOOD AND DIM SUM RESTAURANT
Daily, 10:30 a.m.9:30 p.m.
655 Folsom, SF
(415) 495-3064
Beer and wine
AE/MC/V
Comfortable noise level
Wheelchair accessible
Free Carolyn Knee! Free Carolyn Knee from the unethical clutches of the Ethics Commission!
By Bruce B. Brugmann
There is a phrase I like to use to describe the power that PG&E has exercised in City Hall since the beginning of time, or at least since the federal Raker Act was passed in l9l3 mandating that San Francisco get public power from its Hetch Hetchy dam.
When PG&E spits, City Hall swims.
That is the phrase I used when I testified Monday night June ll at the Ethics Commission hearing in the infamous Carolyn Knee case. “You’re all swimming in it,” I told the commission.
I was trying to illustrate my key point: that the Commission, which had been created to expose and penalize the campaign and financial muscling of PG&E and the big guys in town, was now picking on the little guy, in this case Carolyn Knee, the woman who volunteered for the thankless job of being the treasurer of two citizens’ groups that put initiatives on the ballot in 200l and 2002 to do what the city had never done. And that was to kick PG&E out of City Hall, enforce the public power mandates of the Raker Act, and bring our own cheap green Hetch Hetchy public power to the residents and businesses of San Francisco. PG&E, the groups maintained, had an illegal private power monopoly and the citizens were forced to take this law and order issue into their own hands and go to war with PG&E.
Speed thrills
› a&eletters@sfbg.com
Whither beauty? Withered on the prickly postmodern vine. Sour grapes, you say? Just look around: A chemical haze obscures formerly fragrant, now fallow fields of flowers across which long-legged lovelies strolled arm in arm under pin-striped parasols; poisonous waste washes up on the shores of previously pristine beaches where carefree bathers whiled away their weekends; and corporate conglomerates co-opt every available surface of soccer field and skating rink, once the open-air arenas of athletes for whom sport was merely child’s play dressed up in soft cotton jerseys and sensible shoes. Autumn afternoons no longer linger for a sun-dappled eternity, elegance is a disease of conceit, and Fred Astaire is long gone. With a tip of the woefully unfashionable top hat to Simone Signoret, nostalgia isn’t what it used to be.
But what good is sitting alone in your room? Slink over to the San Francisco Museum of Modern Art and spend many a restorative hour among the unknown pleasures of "Martin Munkácsi: Think While You Shoot!," a joyous retrospective that traces the rise and fall of beauty as a panacea, placebo, moral absolute, and vicious myth. The myriad surprises here refute rumors of beauty’s untimely demise, or at least temporarily revive those long-lost days of languorous lounging when everyone was gorgeous and speed meant velocity. Munkácsi’s photographs depict a world not quite ours, but layered with remnants and reminders of what was and what again could be, when everything’s gone green ceaselessly in motion. Neither the artist nor his subjects ever slowed down, hence the simultaneity demanded by the exhibition title. (For a guide on how best to experience the show on the first of the many visits it merits, check out the trio of would-be crooks racing through the Louvre in Jean-Luc Godard’s Band of Outsiders.)
Born in Hungary in 1896 and restlessly embarking on peripatetic journeys around the world, camera in tow, until his 1963 passing, Munkácsi was a modernist master of photography whose remarkable yet often overlooked achievements encompassed the prewar innocence of Budapest and the privileged leisure of Weimar-era Berlin. He shot mining disasters in Alsdorf and the landing of the Graf Zeppelin in Brazil, the pastoral villages of the Lengua tribe and the fabulous glamour of old Hollywood. He was everywhere and always in good company, swimming with the in-too-deep denizens of Copacabana, hobnobbing with the Hearsts at San Simeon, and marching with military troops in Liberia.
Beauty in form and function, as hallowed intention and blessed happenstance suited Munkácsi’s joie de vivre. His exuberant images of motorcyclists careening through the countryside, operetta starlets kicking up their heels, naked boys running into the surf at Lake Tanganyika, and Louis Armstrong letting loose with an endless smile seem the very essence of life lived fully, without worry, and with a keen appreciation for surface perfection and the complex mélange of conviviality and yearning beneath. An unapologetic aesthete, Munkácsi Jewish and in the wrong place at the wrong time might even have been temporarily blinded by beauty to the ugly truths that eventually sent him packing for the States. How else to explain the eerily graceful compositions of army ranks lined up like statues at the opening of the Reichstag in Potsdam, the portraits of Adolf Hitler and Joseph Goebbels tainted with a veneer of Nazi chic, or the startling shots of Triumph of the Will director Leni Riefenstahl expertly traversing tricky ski slopes? These images work as reportage, of course, but crafted with Munkácsi’s customary élan, they are nearly too revealing and pleasing for comfort.
Munkácsi’s wanderlust, zest, and brilliant eye his gift for homing in on kinetic narratives and telling details greatly influenced Henri Cartier-Bresson’s crucial notion of the "decisive moment" in photography led him to document the oddly parallel ascendancy of fascism and fashion as era-defining movements that shaped the intertwined fates of Europe and America and motivated his own travels to far-flung locales. Whether studying the drape of a Halston headdress on a beachcombing model, observing Fritz Lang at work in his Berlin apartment, or conveying the gory excitement of a bullfight simply by training his camera on the spectators’ wildly expressive faces, Munkácsi applied his groundbreaking aesthetics to epochal scenes of 20th-century life. He shot while he thought, and beauty lies bleeding. *
MARTIN MUNKÁCSI: THINK WHILE YOU SHOOT!
Through Sept. 16
Mon.Tues. and Fri.Sun., 11 a.m.5:45 p.m.; Thurs., 10 a.m.8:45 p.m.; $7$12.50 (free first Tues.)
San Francisco Museum of Modern Art
151 Third St., SF
(415) 357-4000
How is that gratitude?
› amanda@sfbg.com
GREEN CITY Doing the right thing often costs a little more. Organic food, solar panels, and compact fluorescent lightbulbs are all pricier than conventional options. But Café Gratitude is now adding legal fees to the cost of going green for terminating a linen service contract in order to use unbleached cotton napkins in its four restaurants.
It’s hard to imagine how a restaurant could be any more humane, sustainable, and environmentally conscious. Café Gratitude’s raison d’être is encouraging deeper human relationships with one another and the world while serving strictly raw, vegan food. Wheatgrass grows on its counters, and if it’s not organic, it’s not on the menu.
Terces and Matthew Engelhart opened the first restaurant in the Mission District in 2004 and have since spread to the Sunset, Berkeley, and San Rafael, with a Los Angeles location on the way. Each spot has compact fluorescent lightbulbs, toilets that flush with a low-flow gush, high-output hand dryers, and cornstarch to-go containers.
In order to eliminate plastic from their entire supply chain, the Engelharts have leaned on their bulk-food carriers to use fusti containers (large, stainless-steel casks provided by the café) instead of those ubiquitous, unrecyclable five-gallon buckets when shipping their raw goods. A recent raw food recipe book by Terces was printed on 100 percent recycled paper at her insistence. The cafés frequently host fundraisers for local nonprofits. Of course they compost, recycle, and buy local. The delivery van putters along on biodiesel.
Yet in the process of seeking to further green their business, the issue of bleached napkins came up. The Engelharts have always used cloth napkins rather than paper. Once washing napkins themselves became infeasible for their growing business, they contracted for clean cotton napkins from Mission Linen Supply. From the start, they asked the company for an unbleached alternative, but none was available.
Anyone with a bottle of Clorox can read the warning label cautioning against allowing its contents anywhere near your skin, mouth, or eyes. The use of chlorine bleach in laundry produces chloroform, a human carcinogen, and additional industrial uses create another 177 organochlorine byproducts, including dioxin, the stuff found in pesticides like DDT and Agent Orange. No level of exposure to dioxin is considered safe, but it has pervaded the environment so deeply that it typically turns up in breast milk and semen, drinking water, and the fatty tissue of the fish we eat. Dioxin can lead to hormone imbalances, reproductive disorders, kidney and liver diseases, and cancer of all kinds.
So the Engelharts decided to switch from Mission Linen to another nationally known company, Aramark, which offers unbleached cotton cloth rags, often used in the auto industry. The rags, which are a creamy beige color and look like they could have come off a shelf at Crate and Barrel, would have a first run at Café Gratitude, then be recycled for their next job, wiping oil dipsticks. "We thought this was a great green solution," Terces said.
But now Café Gratitude is being sued for $25,000 by Mission Linen for breach of contract.
Before terminating their contract with Mission Linen, the Engelharts continued to press the company for a green solution, but no dice. They decided to keep the bleached supply coming to the Harrison Street location, but as new cafés opened, they’d use Aramark’s unbleached alternative, which is the same price.
After repeatedly requesting a greener laundry service from Mission Linen, they reviewed their contract and determined it could be terminated if Mission Linen couldn’t provide a product or service of the quality found at a similar laundry in the area. Mission Linen did not return calls for comment, but according to the Engelharts’ lawyer, Fania Davis, the linen company interprets that language more narrowly and is suing for the estimated lost profit. The Engelharts offered a settlement, and the company turned them down, so the fight continues, but the Engelharts still think it’s unfair.
"We were more committed to green than to continuing to bleach in ever-increasing numbers," Terces said.
Matthew added that the point isn’t to cast Mission Linen in a bad light but to bring attention to an important need in the restaurant community for more environmentally friendly laundry options.
"We’re not doing this for us," Matthew said. "It’s for everyone, our children and grandchildren." *
Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.
Gunning for Boots
› kimberly@sfbg.com
SONIC REDUCER Where have all the outlaws gone? Now that Paris Hilton seems like the highest-profile sorta-one-hit wonder to run afoul of the law, it’s easy to believe that pop’s rep for rebellion is seriously in question. (And with Warner Bros. jettisoning the overexposed jet-setter, who knows if she should even make the tally?) Yet just how disturbing or subversive is it to glom on to corporate punks like Good Charlotte or hitch your fortunes to soaking-in-it onetime gangstas like Snoop "Soul Gravy Train" Dogg? How revolutionary is it to play music your parents might approve of, à la white-bread soul poppers Maroon 5?
But those petty pop-crit worries wane on hearing about the Coup mastermind Boots (né Raymond) Riley’s Memorial Day misfortune. In the early-morning hours, long before most locals were firing up the grill and chugging microbrews, Riley was looking down the wrong end of a San Francisco Police Department gun barrel while innocently attending a get-together at a friend’s warehouse in SF’s Dogpatch-Waterfront zone. Why? Likely for nothing more than driving while black.
Riley had just parked his car near the warehouse when he was blinded by flashlights, and he realized that he was surrounded by cops. "They were saying, ‘Don’t fucking move, don’t fucking move,’ and came straight at me," Riley told me from his Oakland home, where he had just fed his kids their Sunday breakfast. "They put my hands above my head, searched me, and searched my car, even though they were looking for someone who was stealing tires. You know, if they had a description of a light-skinned black man with a big Afro and sideburns, maybe they should have taken me in. But they were yelling, ‘Are you on probation? Do you have a warrant?’ And every time I said no, they said, ‘Don’t lie to us. Don’t fucking lie to us.’"
Neighbor Hoss Ward had been walking his dog by the warehouse when he spied officers with flashlights lurking between parked cars amid the trash on the street. "I thought that was weird. They didn’t question me, but I’m a white man," he said later, verifying that Boots parked, got thrown against his car, and had guns pulled on him. "It’s not unusual for someone to pull up in a beater car," Ward said. Yet this incident smelled like racial profiling: "That’s what the vibe felt like."
"I walked over there and said, ‘What the hell is going on?’" recounted Riley’s friend Marci Bravo, who lives at the warehouse. Eventually Riley was released, but, Bravo continued, "It was really messed up. We fire off fireworks, burn things in the street, and there’s been no problems with cops. They’ve actually come and hung out before.
"It’s just a nasty case of police profiling."
In the end, Riley said, the officers didn’t even check his ID. At press time, police representatives had not responded to inquiries about the incident, and Riley was planning on filing a grievance with the city watchdog agency the Office of Citizens Complaints, a process that the longtime activist is, unfortunately, familiar with. After a 1995 Riverside performance with Method Man, Riley and kindred local hip-hoppers Raz Caz, E-Roc, and Saafir were pulled over and pepper-sprayed in their car seats following a yelling argument at a club. Then there was the incident during the Coup’s 2006 tour around, ironically, their Epitaph album Pick a Bigger Weapon. Shortly after the tour manager urinated next to a semi at a Vermont rest stop, the tour vehicles were stopped by plainclothes officers who claimed to be surveilling a cocaine deal in the truck. "Half the band woke up with guns in their faces," the Coup leader recalled.
Riley’s experiences in and out of our enlightened for some city bring home the ugly, everyday reality behind the entertaining anecdote with which the Arcade Fire’s Win Butler regaled the Greek Theatre crowd June 2: he was almost arrested for the first time that day when Berkeley police dragged him out of a rec facility for arguing over the use of a public basketball court. "They called for backup and everything," Butler marveled onstage.
"There are stories all the time," Riley offered matter-of-factly. "Everyone knows you used to get fucked with in San Francisco and Berkeley."
"Usually it’s not anything with me specifically being a rapper," he continued. "I might have even more protection because of that. Like at this get-together, somebody came up and said, ‘Don’t you know who this is? This is Boots Riley.’ They might not have known who I am, but they realize this isn’t the regular case where they can do whatever they want." *
ALIGN YOUR CHAKRAS, CAMPERS
Talk to underground trance DJs, and they’ll point to the Harmony Festival as the hot spot forest ravers will be orbiting. Indeed, one of the main organizers, Howard "Bo" Sapper who, along with Sean Ahearn, Scott McKeown, and Jeff Kaus, is putting on the 29th music and camping fest agrees that a healthy, fire-breathing portion of the expected 40,000 at the three-day event will be die-hard burners drawn to the seven-year-old techno tribal night. Sapper also points proudly to the diversity of the musical lineup, including Brian Wilson, Erykah Badu, Rickie Lee Jones, the Roots, Common, moe., and Umphrey’s McGee. "I’m not sure if we’re going mainstream or the mainstream is coming to us," Sapper said, listing the green exhibits and this year’s theme, Promoting Global Cooling. "It’s part of the paradigm shift going on in America."
OVERNIGHT MUST-HAVES
•Earplugs
•Air mattress
•Plenty of water
•Patience
HARMONY FESTIVAL
Fri/8Sun/10, $20$500
Sonoma County Fairgrounds
1350 Bennett Valley Road, Santa Rosa
Downtown’s sneaky parking plan
OPINION Two years ago this week, the mayors of many of the world’s largest cities gathered in San Francisco for World Environment Day and pledged to make their cities more livable and sustainable places.
San Francisco justly prides itself on being an environment-minded city made of diverse and livable neighborhoods. Thanks in large part to the city’s historic neighborhoods, designed around walking and public transit, San Franciscans generate fewer greenhouse gas emissions per capita than residents of any city in the country except New York.
Unfortunately, one of the most environmentally unfriendly measures to come along in a decade may be headed to the ballot. A shadowy coalition of downtown interests is gathering signatures for a measure, the brainchild of Republican financier Don Fisher, that would impose a one-size-fits-all parking "solution" on San Francisco’s distinct neighborhoods while removing protections for pedestrians, cyclists, and public transit from the city’s Planning Code.
This measure, blandly titled the Parking for Neighborhoods Initiative, threatens to reverse decades of progress toward a sustainable and livable San Francisco.
If this measure becomes law, it will negate the ability of neighborhoods to plan their own future, to provide affordable housing options, and to make their streets safe and livable. It will, in a stroke, overturn many years’ worth of neighborhood-based planning efforts, from downtown and South of Market through Hayes Valley and the Mission to Balboa Park.
Reduced-parking requirements, limitations on creating new parking spaces, have become a useful tool for decreasing traffic congestion, encouraging walking, cycling, and public transit use, and making housing more affordable in the city’s most dense and transit-rich neighborhoods. The city’s Downtown Plan, adopted in the 1980s, encouraged the area to grow as a diverse commercial, industrial, and residential district, oriented to transit rather than the automobile.
Many neighborhoods may not choose reduced-parking requirements, but where they fit, residents have embraced them as a way to preserve their neighborhoods’ livability, character, and affordability. Nearly a third of San Francisco households live without a car. A UC Berkeley study showed that units without parking spaces are affordable to twice as many households as units with them.
The measure would also prohibit programs to make San Francisco’s mean streets safer places for all of us, particularly children, elders, and the disabled. It arrogantly asserts the right of developers to cut new driveways and garage entrances wherever they want, regardless of the number of pedestrians, cyclists, and Muni riders who would be inconvenienced or even endangered.
Proponents of the measure are trying to give it a green gloss, invoking provisions about car sharing and low-emission vehicles. Don’t be fooled this ill-conceived measure will make our city less sustainable, less livable, less affordable, and less safe. Don’t sign the petition! *
Tom Radulovich is executive director of Livable City (www.livablecity.org).
Cab it forward
› news@sfbg.com
GREEN CITY Eight San Francisco cabbies fed up with their money-devouring gas guzzlers have founded a taxi company that is friendly to the environment and to workers.
Green Cab hit the streets April 25, flaunting its ideology with bright paint jobs. The driver-owned cooperative has about 14 drivers and three hybrid vehicles, and it plans to purchase two more cars next month.
"We’re the only cab company in San Francisco where every driver is going to have an opportunity to participate in the decision-making process," cofounder Mark Gruberg, a taxi driver of 20 years, said. "We’re driver owned and driver operated."
The business is blazing a trail that others may soon follow if Mayor Gavin Newsom realizes the goal he announced last October of having all SF taxis be clean and green by 2011. On June 12 the San Francisco Taxicab Commission will discuss ways of meeting this goal of, in a sense, transitioning the city’s cabs from yellow to green or at least greenish. Of the 1,351 taxis in 34 fleets that operate in the city, there are 140 Crown Victorias that run on compressed natural gas (CNG), which is made mostly from the greenhouse gas methane, and 40 hybrids, most of which are Ford SUVs. By October of this year, another 25 alternative-fuel or hybrid taxis are expected to be on the streets.
Heidi Machen, executive director of the Taxicab Commission, told us that taxis are required to be replaced after they’ve clocked 350,000 miles. On April 24 the commission decided to hold off on a policy that, she said, "would have restricted any replacement vehicles to be hybrid or alternative-fuel vehicles."
A key reason the policy was not approved, Machen said, was concern that the replacement alternative-fuel vehicles would be mostly those that run on CNG, which burns more cleanly than gasoline but still produces greenhouse gases and gives vehicles worse fuel efficiency than hybrids have. "[CNG] is an improvement, but only an improvement over something terrible to start with," Gruberg said.
Hybrids, unlike purely gas-powered vehicles, have engines that switch to electric power when the cars are stationary due to, for instance, traffic jams or stoplights. According to Gruberg, hybrids get about 40 miles to the gallon for city driving a drastic improvement over the 12 mpg of standard Crown Victorias. Hybrids emit 13 pounds of carbon dioxide into the atmosphere for every 30 miles they drive, compared with the 40 pounds that Crown Victorias produce.
So, besides hybrids, what’s the next efficient upgrade to the Green Cab fleet: Hydrogen? Electric? Biodiesel? "We’re open to anything that’s going to have beneficial effects to the environment," Gruberg said, adding that the company’s always looking for more ideas and envirofriendly car donations.
Joe Mirabile, another Green Cab cofounder, emphasized the urgency of the company’s role in fighting or at least lessening the adverse effects of global warming.
"We have to move fast," Mirabile said. "Hybrids aren’t going to do everything, but they’re one small piece of the puzzle."
At its next meeting the Taxicab Commission will discuss possible monetary incentives, such as a higher gate fee, to make it easier for cab companies to purchase green vehicles. Newsom press secretary Nathan Ballard also told us that grant money is the key to putting more Priuses on the street.
"The Mayor has made a commitment to seek additional grant funding at the federal, state and regional levels to help taxi companies finance the more expensive vehicles," Ballard wrote in response to Guardian questions.
But even if Newsom can’t get those grants or otherwise fails to meet his goal, at least San Franciscans have Green Cab, which Gruberg said has been getting 50 to 60 customers per day and lots of goodwill from passersby. "People will wave and honk in the street," Gruberg said. "They’ll come up to the window and say, ‘How can I support you?’ A lot of drivers are asking if they can work for the company. Why wouldn’t they? Instead of paying $40 to $50 a day for gas, they can be paying $10 to $15." Machen likewise expressed her enthusiasm for the growing fleet.
"[Green Cab] is a business model," she said. "They show the direction the industry is going and the direction San Francisco is going." *
Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.
The convention was no bust
Run, Ross, Run
By Tim Redmond
No, we didn’t walk away with a candidate for mayor, and yes, that was disappointing to a lot of us. I actually thought for a brief moment that the chants of “Run Ross Run” as Sup. Mirkarimi took the stage late in the day would make a difference, that he would realize he has a constituency and that running for mayor would be a good move for him politically, but that didn’t happen. After a strong speech proclaiming that “somebody” has to take on Gavin Newsom, Mirkarimi made clear that it wasn’t going to be him.
And Chris Daly, who had at one point said that he would run if noboby else did, bowed to the reality of the fact that he has a young child and another on the way, and took a pass.
But overall, the convention was uplifting, inspiring and productive. Whatever the daily papers may say, Daly made the right point at the end: The state of the progressive moment in San Francisco is strong. Progressives control the Board of Supervisors, the School Board, and a number of other top positions; half of the elected officials in San Francisco now put themselves under the progressive banner, Daly noted.
And the green and blue baloons and beads represented what could be a very hopeful future trand — the left wing of the Democratic party and the Green party, working together on what is for most a shared aganda.
We ought to do this sort of thing more often.
A few great moments:
Catching the tail of BALLE
Gazelle Emami checks out Berkeley’s film-oriented BALLE Conference ….
The purpose of educational films—bear with me—are to inform the public. But here’s where they bump into their biggest obstacle. Unless Al Gore is at the helm, they’re probably not going to get wide viewing beyond festivals that are specifically geared toward showing films of their kind. Enter the first ever Business Alliance for Local Living Economies’ (BALLE) Conference Film Festival, a two-day event that was held this past Tuesday and Wednesday at UC Berkeley’s Wheeler Auditorium. The festival’s goal was to build positive sentiment for the BALLE Conference this weekend, kind of like a pep rally for the big game. BALLE, which represents 47 local networks and more than 15,000 small businesses and community organizations, holds an annual conference gathering the preeminent leaders in green industries to discuss pressing issues facing the economy.
Still from Manufactured Landscapes, a film the opened the conference
According to festival organizer Lisa Katovich, she knew they would be preaching to the choir for the most part. Therefore, Katovich and others tailored the festival’s content to approach the subject matter from a difference angle. So it didn’t really matter that only about 30 people were scattered around an auditorium that can hold roughly 700. By the end, at least all 30 left the room a little more enlightened, as opposed to the hundreds that left Spiderman 3 disappointed, if not a little dumber.
Green libertarians
› annalee@techsploitation.com
TECHSPLOITATION It sounds crazy, but it just might work: green libertarianism could become the new reformist movement in politics and cultural life.
In the 1980s, suggesting that green culture could be combined with libertarianism would have been worse than foolish. Those were the days when libertarians protested having to get their cars smog-checked because it represented government control of their personal property. But now that even staunch Republicans like Governor Arnold Schwarzenegger are promoting ecofriendly policies and business leaders like Silicon Valley venture capitalist Vinod Khosla are hanging out at the Sierra Club, it seems that the times, they are a-changin’.
Over the past decade, experts have slowly and quietly been publishing studies on how to bring green sensibilities into line with the free-market agenda of libertarians. Natural Capitalism, published in 2000, was one of the first books to advance this idea. Last year two Yale environmental researchers, Daniel Esty and Andrew Winston, published Green to Gold, which explores ways that companies like Wal-Mart are attempting to bring sustainability into their business models. Though Esty and Winston conclude that there are no companies currently doing enough to be truly green, they acknowledge that some are on the right track.
They also explain quite succinctly why free-market leaders have joined what they call the Green Wave. No, it’s not out of the goodness of their hearts. "Behind the Green Wave are two interlocking sources of pressure," they write. "First the limits of the natural world could constrain business operations, realign markets, and perhaps even threaten the planet’s well-being. Second, companies face a growing spectrum of stakeholders who are concerned about the environment."
A lot of Green Wave entrepreneurs are probably disingenuous. One imagines they’re like the antihero of underrated movie I Heart Huckabees, a slimy corporate type who feigns interest in green development to sucker a community into signing over its land to condo and mall developers. But I believe some real-life Green Wavers are genuinely fascinated by strange new ideas that could encourage economic growth and sustainable development. These are people who are talking about carbon credits, emissions trading, and various financial incentives for entrepreneurs who limit their environmental impact, recycle, use alternative energy sources, or encourage their employees to carpool.
The question is why would anybody want to marry green and libertarian values? It sounds like a way of letting business do an end run around international bodies and governments, groups that have traditionally set limits on industry. There’s no doubt that states should have a role in setting policies for local corporations, but those corporations need rewards for their good behavior too. That’s where capitalism comes in. Combining libertarianism with green values might be a pragmatic way to convince some of the worst polluters to cut back by essentially bribing them with cash. The state can step in to punish bad actors who refuse to try for the carrot.
On a less cynical note, one might say that libertarians and greens go together because both are focused on maintaining economic development in the long term. They aren’t looking at next quarter: they’re looking at next century. A green libertarian has realized that the freedom of future markets depends on maintaining a healthy environment.
If green libertarianism prevails, I’m guessing the future will look nothing like ecotopia and nothing like capitalist Utopia either. Business will behave more like government, limiting its growth for the sake of sustainability. And ecology as we know it will probably be a lot more engineered and synthetic than ever before because communities will carefully plan their ecosystems to remain healthy and whole alongside cities and corporations. We will reach a stage in our technological development when we have to manage our natural environments as well as our economic ones. Perhaps one day the capitalism that results from green libertarianism will know itself to be only one piece of a healthy social ecology. That’s the kind of capitalism that even a grumpy old Marxist like myself can get behind. *
Annalee Newitz is a surly media nerd who thinks the next best thing to smashing capitalism is changing it entirely.
Little green burners
› steve@sfbg.com
GREEN CITY Today’s environmental problems global warming, peak oil, drastically dwindling biodiversity, an unsustainable economic system that pollutes and consumes too much are big. And there are many big solutions proposed by big governmental bodies, big individuals, and big corporations.
A major commitment is truly needed, but perhaps it’s the million small innovators and gestures that are most likely to add up to the most fundamental shift. Could these people, linked together, with enough freedom and support to pursue their visions, save the planet?
Burning Man founder Larry Harvey threw a stone into this pond last September when he chose Green Man as the theme for this year’s event, a decision that has rippled through the thousands of creative, capable people who spend much of the year tinkering in workshops around the Bay Area and across the country. People like Jim Mason.
Mason heeded Harvey’s call in his typically exuberant fashion, developing an innovative gasification system that turns biomass waste products into a usable fuel similar to natural gas. Collaborating with fellow artists and engineers in the Shipyard space that he created in Berkeley, Mason has been doing groundbreaking work.
The group converted a 1975 pickup truck owned by impresario Chicken John to run on substances like wood chips and coffee grounds, and Mason and John have been working principally with artists Michael Christian and Dann Davis to develop a fire-spewing, waste-eating, carbon-neutral slug called Mechabolic for Burning Man this year.
"Chicken’s shitty truck is going to be sitting in front of the Silicon Valley’s big alternative-energy conference for venture capitalists," Mason told the Guardian on May 22 as he headed to the Clean Technology 2007 confab, an illustration of the place little innovators are starting to find amid the big.
The New York Times featured Mechabolic in a technology article it ran earlier in May about the Green Man theme, and the project has been a centerpiece of the green evangelizing being done by Burning Man’s new environmental director, Tom Price.
Price has been working with hundreds of innovators like Mason to turn this year’s Burning Man, at least in part, into a green-technology exposition where creative types from around the world can exchange ideas. "It’s the Internet versus the big three networks" was how Price compared the big and small approaches to environmental solutions. "The goal is to show how easy and do-it-yourself profound solutions can be."
But ragtag approaches like Mason’s don’t fit well into institutional assumptions about art and technology, as he discovered May 11 when Berkeley city officials ordered him to shut down the Shipyard or bring it into immediate compliance with various municipal codes.
"They need to temporarily leave while they seek the permits that ensure it’s safe to be there," Berkeley planning director Dan Marks told us May 18. He criticized the Shipyard for using massive steel shipping containers as building material, doing electrical work without permits, and not being responsive to city requests.
The move stopped work on gasification and other projects as the Shipyard crew scrambled to satisfy bureaucratic demands but it also prompted a letter-writing campaign and offers of outside help and collaboration that convinced Mayor Tom Bates and city council member Darryl Moore to meet with Mason on May 21 and agree to help the Shipyard stay in business.
Berkeley fire chief David Orth and other officials fighting the Shipyard say that Bates has asked for their cooperation. "A request has been made to see what can be done to keep the facility there but bring it into compliance," Orth told us.
All involved say the Shipyard has a long way to go before it’s legal and accepted by the city. Among other things, Mason must prove that the old, recycled oceangoing shipping containers (which enclose the Shipyard and other Bay Area artists’ collectives) are safe. But he and others are hopeful, driven, and convinced that they’re onto something big.
"Places like the Shipyard, which is a cauldron of ideas, don’t fit into the traditional model of how a city should work," Price told us. "The fringes, where the rules are a little fuzzy, is where surprisingly creative things happen." *
Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.
Green City
› amanda@sfbg.com
GREEN CITY I spent my undergraduate years at a microscopic liberal arts college set in the shadow of a national park on an island in Maine a remote idyll where people abhor locking their doors and you can almost smell the Atlantic whale migration when a southeastern wind blows.
The college is overtly environmental and so small it’s possible to practice what’s preached: food is grown on the school’s farm, students cycle around on communal bikes, ceremonies strive to be zero-waste. My graduation in 2000 was the largest the 31-year-old school had ever hosted, and all 97 of us stood in a haphazard row listening to keynote speaker and hobo musician Utah Phillips. After Phillips counseled us on how to avoid becoming a "blown-up" (his word for a bloviating grown-up), my friend Dan turned to me and said, "When I came to this school, I was, like, ‘Aah, here’s my tribe.’"
I had the same feeling a few weeks ago when I stumbled upon the Urban Alliance for Sustainability. Maybe I’ve finally found my people. In the 18 months that I’ve lived in San Francisco, I’ve watched global warming go from a marginalized theory to a universally acknowledged threat. That’s triggered a lot of hyperactivity about how to be green, which seems more commercial than communal. Companies are setting up booths to hawk magic elixirs, but carbon offsets seem about as realistic as get-out-of-jail-free cards. They don’t really shift what actually needs seismic adjustment: the bottom line in your life.
The UAS is different. This is a group with the serious intention of living what it believes. On top of that, it wants to help you do the same.
The organization’s basic mission is so simple it seems like it must have been done already be a clearinghouse for all the environmentalist activity in the Bay Area. The Web site www.uas.coop lists events, and the hotline answers questions, but the coolest thing the UAS is doing is using the delicious blossom of technology to connect people who really ought to know each other by now.
For example, the group tracks members’ addresses, and when it has enough in the same area, it facilitates a potluck so everyone can meet and discuss how to green their streets. As someone who’s participated in some funky social networking experiments, I think this is simply brilliant. In a world rife with a cruel suspicion of strangers, city living can be hard duty, and trust hard-won. This is kind of like finding your tribe.
Membership isn’t free, and in the interest of full disclosure, the UAS just gave me one after I expressed interest in it while working on another story for the Guardian. But the group is a cooperative, and kicking in gets you discounts to events and something called a sustainability consultation. Mine was a meeting I approached with suspicion. Remember: I went to a hippie school where the Earth Day piñata was full of natural cotton tampons. I already ditched my car and store my quinoa in old yogurt containers. What could this guy tell me about sustainability?
But this was much more than I expected. Kevin Bayuk sat in my yard for two and a half hours, and we discussed practically every aspect of my life what I eat, how I get around, what I read, how I take care of my health. His suggestions were realistic, and he reminded me of things I let go of back when I ripped up my rural roots. I hadn’t even considered composting here, but he told me where to get a worm bin and offered me some worms from his to get started. He knew what kinds of edible plants could grow in the shade under the jasmine in my garden and the cost of a permit to rip up the sidewalk to grow food.
People often move to San Francisco because this is a city that can handle them. The uniqueness of the citizenry and the genuine desire to do good are what I love most about this place, but there are things I deeply miss about where I came from the smell of freshly turned dirt in the sunshine, the shimmer of uninterrupted moonlight on water, the silence in the absence of cars. But I love this place, and I’m not going anywhere. Those things are just going to have to come to me. *
Green City, the Guardian‘s new weekly environmental column, will be a mix of staff-written stories and contributions from experts and provocative thinkers. Submissions may be sent to news@sfbg.com.
Gui, your music looks terrific
› johnny@sfbg.com
The first clue that Gui Boratto’s Chromophobia is an extraordinary Kompakt disc a song collection that places the German label back at the forefront of the best electronic music can be found on its cover art. Since its inception, Kompakt has had a signature clean design style for its releases. Developed by one of the label’s three co-owners, Wolfgang Voigt, it’s made great use of simple circles and basic color combinations. For Chromophobia, the São Paulo, Brazil, musician called on his friend Felipe Caetano to create a cover. Caetano came up with a beautiful piece of color theory that layers a series of primary-color Kompakt circles over the edges of one another to form a variety of new-hued combinations.
"Our first idea was to do a black-and-white cover, but we decided that was cliché," Boratto says from São Paulo, referring to the title word, a term for the fear of color. "The decision to make the cover colorful was ironic. But for me, chromophobia is like simplicity the same type of meaning as monochromatism within an architectural point of view."
Got that? The affable Boratto is no club drone whose scope of experience remains as narrow as a programmed and endlessly looped 4/4 beat. He’s a married father of one who has studied architecture in addition to music. "I think architecture and music are almost the same thing," he says, his accent bringing an alternately questioning and singsong quality to English words. "They’re different means of expression, but they treat spaces in the same way."
In Chromophobia, Boratto builds and creates a variety of attractive spaces, without pretension but with a sensibility perhaps informed by a love of modernist architectural pioneers such as Ludwig Mies van der Rohe. "Within the modernism movement, you can find the same ramp used in the garage and in the dining room," he observes. Such functionality could be ascribed to many tracks on Chromophobia, which entwine rhythmic and melodic complexity and simplicity in a manner that can add vivid atmosphere to private interior settings, natural panoramas, and though not in all cases the dance floor.
COLOR ME GLAD
A major part of Chromophobia‘s appeal apparent from the crystalline descending melody of the opening track, "Scene 1" is that Boratto knows how to construct a strong simple motif or riff. "My first instrument was guitar, and when I was 10 or 11, I was really into Black Sabbath and Led Zeppelin," he says, breaking down his musical background into shorthand. "But in the mid- to late ’80s, my older brother lived for a while in the south of France and then in London, and when he came back he brainwashed me."
The glorious results of that brainwashing are apparent in Chromophobia‘s most-discussed track, "Beautiful Life," on which Boratto’s wife, Luciana Villanova, plays the role of a female Bernard Sumner, quietly singing some affirmative words alongside a mammoth guitar line that invokes the unmistakable bass lines of New Order’s Peter Hook. "It was really a joke," Boratto says with bashful enthusiasm when asked about the track, which Web sites such as Resident Advisor have singled out for special praise. "There’s no complex textures [to "Beautiful Life"], as there are on some of the other songs [on Chromophobia]." True, but the song is no mere retro exercise: as much as New Order, the sunny feminine grace of "Beautiful Life" also calls to mind Ricardo Villalobos’s epic 2006 update of his own "La Belle Epoque," probably the only time Boratto and the Chilean Villalobos have crafted a similar definition of techno.
Still, Chromophobia‘s truest pleasures might be subtler ones, such as the alternately shuddering and sinuous propulsive energy of "Terminal" and "Gate 7" (the latter of which takes its title from the number of the TAM Airlines boarding gate for all of Boratto’s flights to Europe). On "Acróstico," Boratto provides a reprieve from this momentum, fashioning the electronic equivalent via an array of low-key chirps and whirring sounds of a nature scene at dawn or dusk.
"The title of ‘Acróstico’ stems from the fact that the high bass notes complete the lower notes if you see a drawing of the notes, it looks like an acrostic," Boratto explains. For a musician who specializes in instrumental tracks, Boratto has a flair for linguistic matters. After bringing up Franz Kafka in response to a question about Chromophobia‘s final track, "The Verdict" which takes its name from a Kafka tale often published in volumes of The Metamorphosis he comments on a certain similarity: "One thing I noticed is that with Metamorphosis‘s Mr. [Gregor] Samsa, if the two s‘s in his name turn into k‘s, and the m‘s turn into f‘s, you have Kafka. It’s fiction, but it’s his story."
THE AMERICAN FRIENDS
By no means is Chromophobia Kafkaesque. But a dynamic between colorful optimism and an undercurrent of gloom gradually courses through the album, growing deeper as it progresses. On the penultimate track, "Hera," Boratto crafts a coda so poignant that it easily eclipses the best recent tracks put forth by Booka Shade and other instrumental acts on Get Physical, perhaps the one German label to overshadow Kompakt in recent years. Kompakt is definitely on a roll as of late, thanks to the long-awaited and underrated second volume of label cohead Michael Mayer’s Immer (2006) and the ambient in comparison to Boratto allure of the Field’s acclaimed From Here We Go Sublime. The Field’s Axel Willner is inventive enough to tap into the so-ghostly-it’s-frightening essence of the Flamingos’ "I Only Have Eyes for You" (also a touchstone on the soundtrack of Kenneth Anger’s 1950 film Rabbit’s Moon), yet Boratto’s palette is broader, connecting techno’s chillier reaches with the warmth of Antonio Carlos "Tom" Jobim.
Jobim may be "the master," in Boratto’s words, but the man behind Chromophobia also loves US brands of soul especially Al Green and Stevie Wonder. Likewise, while the "little Paris" known as Prague might be Boratto’s favorite city in architectural terms, he’s looking forward to his SF visit. "I really love San Francisco," he says, remembering the "mainstream" charms of a club like Spundae, where he once saw Boy George. "I actually lived near Berkeley, in Pinole, for six months in 2001. I studied in Berkeley, and I had two American friends. This one friend had a big house in a nice neighborhood in Berkeley, where we had barbecues and never-ending parties. We used to party in San Francisco too, at some clubs and friends’ apartments."
This week, as Boratto returns to the Bay Area, he’s going to find a lot more than just two American friends or at least American fans at his party. And deservedly so he’s made one of the best records of this year. *
KOMPAKT TOUR
With Gui Boratto and Michael Mayer
Thurs/24, 9 p.m., $15 advance
Mezzanine
444 Jessie, SF
(415) 625-8880