History

Public weighs in on dueling museum proposals at Presidio Trust hearing

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The fate of development Crissy Field is still up in the air after a townhall meeting last night [Mon/27] at the Presidio, where nearly 150 community leaders and residents spoke out on three rival museum proposals, in addition to a large group that supports no proposal at all.

“I don’t think any of them are taking history into consideration,” said SF resident Mike Brassington. “It’s a national historic landmark, and to my knowledge none of the groups care about the history.”

The three groups in question are vying for the highly coveted spot on mid-Crissy Field now occupied by Sports Basement, and each has submitted a proposal to the Presidio Trust laying out its development plans. The first is a project from Star Wars creator George Lucas, who hopes to open an interactive museum dedicated to illustration, digital art, and animation. The proposed facility, which would be funded from Lucas’ personal finances, has already been endorsed by influential leaders such as Rep. Nancy Pelosi, Gov. Jerry Brown, and SF Mayor Ed Lee.

“Arts education is critical to our students, and the whole city of San Francisco is their classroom,” said SF Board of Education Vice President Hydra Mendoza on behalf of the Mayor’s Office, speaking to the Presidio Trustees during the meeting. “The Lucas Cultural Arts Museum will create a rich new environment for our students.”

The Golden Gate National Park Conservatory (GGNPC) is the official sponsor for the second proposal, the Presidio Exchange, which is more commonly referred to as the PX. The PX — which is endorsed and funded by powerful groups such as National Geographic, the California Academy of Science, and the Aspen Institute — would be a conservatory and cultural center for both locals and tourists. The PX building, at 55,000 square feet, is the smallest facility and just over half the size of the other two.

“All of our partners can bring a lot of content to the Presidio,” said David Shaw, member of the GGNPC. “This is the most important issue of our time: the intersection of human culture and the natural world.”

The third and final proposal, known simply as The Bridge, is seen as the least competitive due to its lack of funding. Indeed, a spokesperson for The Bridge admitted to the Trustees that while the project had “no firm or solid” financial resources, they “do have the right idea.” While their efforts are noble, the “right idea” isn’t likely to earn a vote of confidence when millions of dollars are on the line.

Using the couple hundred members in the audience as a gauge, the PX project seemed to be the most popular, receiving the most robust applause out of the proposals. During the public comment portion, when any community member can hold the floor for up to two minutes, many people asked the Trustees to hold off on a decision. Virtually everyone who suggested a postponed decision also made clear that the PX was the least of the three evils, and if something had to be built, it should be the Presidio Exchange.

Charlotte Hennessy, who is on the board for the Presidio Historical Association and carries a sign that reads, “May the farce be with you,” agrees that the best solution is to put Crissy Field back as it used to be before all of the over-development. Just as a police officer arrives to escort Hennessy off of the premises toward the “First Amendment area” for carrying a sign, she shares her ideal vision for the future of the Presidio.

“Space,” Hennessy said. “Just open space.”  

The Presidio Trustees gave no timeframe for making a decision.

This Week’s Picks: January 22 – 28, 2014

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WEDNESDAY 22

JD Wilkes and The Dirt Daubers

As the wild frontman for The Legendary Shack Shakers, Col. J.D. Wilkes brought

together a wide array of blues-infused and swampy sounding rock n’ roll, earning them

the admiration of fans and invitations to tour with noted performers such as Robert Plant.

Wilkes—a bonafide Kentucky colonel, hence his title—formed The Dirt Daubers in

2009 with his wife, Jessica, and added guitarist Rod Hamdallah and drummer Preston

Corn for the band’s most recent album, Wild Moon (Plowboy Records). Produced by

iconic punk rocker Cheetah Chrome (The Dead Boys), the album finds them back in the

vein of mixing traditional sounds with an infectious rock attitude and approach. (Sean McCourt)

8pm, $10-$12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

Sweat Lodge

Spend a minimal amount of time on the stretch of Mission between El Rio and The Knockout, and you’ll probably hear of these lo-fi punks. Not simply since one member is a fixture at the former bar, cooking up Indian tacos and sweet frybread on the back patio. No, it’s because Sweat Lodge seems to be a favorite of discerning music aficionados and drunkards alike. The last unprompted recommendation came from a guy who had literally just picked himself off the sidewalk (his back hurt) and said, “That dude’s band fucking rocks” as Rocky passed. Perhaps sensing jaded skepticism he added, “and I don’t give praise lightly.” But I’ve checked the tumblr and the tapes, and can’t disagree. (Ryan Prendiville)

With Giggle Party, Nasty Christmas

9pm, $8

Bottom of the Hill

1233 17th, SF

(415) 612-4455

www.bottomofthehill.com

 

THURSDAY 23

Napoleon Dynamite 10th anniversary screening

Flippin’ sweet! It’s time to polish up your dance moves, sketch out some ligers, and get out the vote for Pedro — and if you have no idea what I’m talking about, clearly you’ve never seen the 2004 cult comedy classic Napoleon Dynamite. As part of this year’s SF Sketchfest, join actors Jon Heder, Jon Gries, and Efren Ramirez for a 10th anniversary screening of the film and a live, in-person Q&A session, where you can ask them anything you ever wanted to know about the oddball movie, or perhaps even life in general&ldots;like, “Do the chickens have large talons?” (Sean McCourt)

7pm, $25

Castro Theatre

429 Castro, SF

http://www.sfsketchfest.com/

 

FRIDAY 24

Dave Alvin

First displaying his formidable guitar chops as a member of The Blasters in the early

1980s, singer/songwriter Dave Alvin has also played with X and The Knitters, and has

gone on to a distinguished solo career, with his most recent record, Eleven Eleven (Yep

Roc) coming out in 2011. Hailing from the working class town of Downey, the Grammy Award-winning Alvin absorbed a host of musical influences growing up,and his soulful songwriting exudes the best of that Americana and roots-based music — he comes to the city tonight for a special acoustic show with Nina Gerber and Christy McWilson. (Sean McCourt)

8pm, $25

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

Dent May

Over three albums, Dent May has been a bit of a indie pop chameleon. Take the fabulous lounge kitsch of The Good Feeling Music Of Dent May & His Magnificent Ukulele. Or the drum machine disco revival on Do Things. And May’s latest, Warm Blanket, is predictably unpredictable: see the Bowie styled “Let’s Dance” intro that quickly upshifts into an afrobeat groove on “Let Them Talk.” Still, one thing May shares with his label bosses Animal Collective is a shared affinity for Brian Wilson, and it’s the biggest referent, with a track like “Corner Piece” sounding like it could have spun off of Pet Sounds, and it’s the perfect opportunity for May to get increasingly open-hearted and romantic. (Ryan Prendiville)

With Chris Cohen, Jack Name

9pm, $12

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Francesca Lombardo at Heart Phoenix’s HIGHER

Sometimes it feels like watching reruns. The one where the DJs idle behind the decks, doing their best to seem effortlessly cool, making adjustments with a cigarette in hand (and another drooping from their bottom lip). Worse than than that, the occasional amped up excitement, hiding the fact that the webcast probably won’t translate 100 percent, and in any case, the scenester crowd will look bored. Francesca Lombardo’s recent Boiler Room run avoided both pitfalls. Centered around her vocals, and orchestrated with strings, Lombardo’s music took a middle path through deep house — somewhere between Maya Jane Coles and Nicolas Jaar — confident but with enough of a nervy edge befitting her recent addition to Crosstown Rebels. (Ryan Prendiville)

With Christian Martin, Galen, shOOey, Gravity, Layne Loomis, Ding-Dong, and more

9pm-4am, $15-20

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SATURDAY 25

 

Jessy Lanza

We’ve seen a major resurgence of UK R&B-circa-’89 over the past few years, but while songstresses like Jessie Ware tackle those Lisa Stansfield-ish stylings with showy emotivity, Canada’s Jessy Lanza takes a borderline-shoegazer’s approach to her vocals, filtering ambiguous yearnings and half-confessions through delay and echo until they’re just another instrument in the mix, as stark and percussive as they are ethereal and melodic. Released on the much-fetishized Hyperdub imprint, and produced/co-written by Junior Boys’ Jeremy Greenspan, Lanza’s icy, prickly, spacious debut LP, Pull My Hair Back (2013), updates a flashy throwback genre for introverted, LCD-immersed times, in which the people can’t quite be trusted to say what they mean, or vice versa. This Saturday’s Popscene-curated show marks Lanza’s second-ever West Coast appearance, and might elucidate a persona that, similarly to those of labelmates Hype Williams and Laurel Halo, remains well concealed. (Taylor Kaplan)

With Running in the Fog

9pm, $10

Amnesia

853 Valencia, SF

(415) 970-0012

www.amnesiathebar.com

 

SF Mr. Transman 2014 Competition

Be a part of San Francisco history as the Elbo Room hosts the city’s first ever Mr. Transman Competition! Six local FTM transmen of diverse backgrounds will compete in the categories of platform, swimsuit, interview, talent, and evening wear for a chance to be crowned the first Mr. Transman San Francisco. Hosted by Murray Hill, the creator of the first Mr. Transman competition in New York in 2011, this vibrant showcase will be judged by a panel of stars, including Shawna Virago, Michelle Tea, Ashley Fink, and Brontez Purnell. The contestants are James Darling, Mason J, Lynne Breedlove, Loren Mattia, Andrew Onthago, and Dawson Montoya. One of them will receive a huge trophy, a cash prize, and a spread in Original Plumbing magazine! (21+). (Kirstie Haruta)

8pm, $15-20

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

Project Agora’s Mother Tongue

When Kara Davis was actively dancing, she seemed to be everywhere, performing (superbly) with choreographers as different as Janice Garret, Margaret Jenkins, Robert Moses, and Kathleen Hermesdorf. Then she started to choreograph not solos and duets like most beginners, but (excellent) company pieces of a dozen dancers more. That’s before she traveled to the Middle East. Now she is working with an international cast of a visual artist, dancers, and musicians to find a common language — both culturally and artistically — with which to create a piece. The largely improvised Mother Tongue was a hit at the Museum of Performance and Design last fall. It’s now back at the same venue on Friday before traveling a couple of blocks South to the Garage for the Saturday performance. (Rita Felciano)

Fri/24: 8pm, $10-15

Museum of Performance and Design

893B, Folsom, SF

(415)255-4800

www.mpdsf.org

Sat/25: 7pm and 8:30pm, $15

The Garage

715 Bryant, SF

http://715bryant.info

 

SUNDAY 26

Wootstock

While nerds have been picked on and made fun of for generations, with the advent of

the 21stcentury computer age and the mainstream success of all manner of tech-related

products (and even the acceptance of watching sci-fi movies and reading comic books!) we can now proudly come together for a celebration of our collective inner geek! Join

special effects guru/TV host Adam Savage from Mythbusters, singers Paul and Storm and author Pat Rothfuss for a night of comedy, music, readings and much more that embrace geek pride. Turn off that re-run of Big Bang Theory, get off the couch, and nerd out! (Sean McCourt)

1pm, $35

Marines Memorial Theatre

609 Sutter, SF

www.sfsketchfest.com

An Evening with Mike Mills

History, says artist Mike Mills, inspired his three-part Project Los Altos. But the past isn’t all that Mills is getting at — our present and future make up history before they happen, and currently, technology is happening. This Sunday at the Roxie, Mills gives a Q&A on the “future” third of his piece, a documentary entitled A Mind Forever Voyaging Through Strange Seas of Thought Alone: Silicon Valley Project (2013). The film interviews children of tech industry workers about their predictions of the future. It’s dark, even spooky, to hear this envisioned world, which has less intelligence and fewer plants and animals, because ultimately, the children’s imaginations reflect a world we don’t realize we might already be living in. (Kaylen Baker)

7pm, $10 

Roxie Theater

3117 16th St, SF

(415) 863-1087

www.roxie.com

 

MONDAY 27

Noir City

Set in a world of murder, mystery and mayhem, the film noir genre of movies blasted their way across theater screens in the 1940 and 50s, often pitting wrongly accused men against femmes fatales, or gangsters against unscrupulous lawmen. Celebrating these often overlooked Hollywood gems for the 12th year in a row is Noir City, a festival that features both those pictures considered to be classics, along with the long lost, nearly forgotten B-movies that rounded out matinees. Look for a variety of foreign films on this year’s program: Jan. 27 brings us to Germany for The Murderers Are Among Us and Berlin Express, known as “the first German film to directly deal with the wounds of WWII” and the first American film shot on location in Allied-occupied Berlin, respectively. (Sean McCourt)

Times vary, $10 per program, $120 for festival pass

Castro Theatre

429 Castro, SF

www.noircity.com

 

TUESDAY 28

Open Mic Night at Bottom of the Hill

Open mic nights at cafes can be great, but if you’re a musician craving more of a real show experience, don’t miss Bottom of the Hill’s open mic night. For one night only, the popular venue will open its stage to musicians of all genres to play one song – originals and covers both welcome! Worried your setup is too complicated? Fear not! Bottom of the Hill will set you up for a beautiful performance, with the help of sound engineer Dan Foldes and House Drummer Trent. Drum kits are not allowed, but light percussion is fine, and the venue can provide mics, cables, and a keyboard. Sign-ups are first come, first serve, starting at 7pm. Don’t miss out! (21+). (Kirstie Haruta)

7pm, Free

Bottom of the Hill

1233 17th St, SF

(415) 626-4455

www.bottomofthehill.com

 

Robert DeLong

How do you gauge the frequently overreaching world of one-man bands, when pushing multitasking to its limit is part of the draw? Seemingly taking compulsive loopster Merrill Garbus’ cue (and facepaint), Robert DeLong is a live-sampling and track-layering singer with an alternative pop bent, as likely to switch over to drums as he is to a modified Wii-mote or Sidewinder joystick in his performances. It’s an approach that puts him at least in distinctive territory: Neither the minimalist and, despite all the effort, not quite a maximalist, DeLong is more likely to get featured in Wired than written up on Pitchfork, and doesn’t quite fit into the EDM arena, where going alone is more ordinary. At the moment he seems to be orbiting in a little world of his own. (Ryan Prendiville) With Mystery Skulls, DJ Aaron Axelsen

8pm, $15

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

Rep Clock: January 22 – 28, 2014

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Schedules are for Wed/22-Tue/28 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $7-10. Screaming Queens: The Riot at Compton’s Cafeteria (Stryker and Silverman, 2005), Sat, 8. With filmmaker Susan Stryker in person.

BALBOA THEATRE 3630 Balboa, SF; cinemasf.com/balboa. $10. “Popcorn Palace:” Kung Fu Panda (Osborne and Stevenson, 2008), Sat, 10am. Matinee for kids.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-12. •Chinatown (Polanski, 1974), Wed, 7, and The Fortune (Nichols, 1975), Wed, 5:10, 9:25. SF Sketchfest: Napoleon Dynamite (Hess, 2004), 10-year anniversary celebration with Jon Heder and other stars in person, Thu, 7; “Tribute to Tenacious D: An Evening of Conversation, Clips, and Songs with Jack Black and Kyle Gass,” Thu, 9:30. Tickets ($25) and more program details at www.sfsketchfest.com. “Noir City:” •Journey Into Fear (Foster and Welles, 1943), Fri, 7:30, and The Third Man (Reed, 1949), Fri, 9; •Border Incident (Mann, 1949) Sat, noon, In the Palm of Your Hand (Gavaldón, 1951), Sat, 2, and Victims of Sin (Fernandez, 1951), Sat, 4; •Too Late for Tears (Haskin, 1949), Sat, 7:30, and The Hitch-Hiker (Lupino, 1953), Sat, 9:30; •Drunken Angel (Kurosawa, 1948), Sun, 1:15, 6, and Stray Dog (Kurosawa, 1949), Sun, 3:30, 8:15; •The Murderers Are Among Us (Staudte, 1946), Mon, 7:15, and Berlin Express (Tourneur, 1948), Mon, 9; •Death of a Cyclist (Bardem, 1955), Tue, 7:15, and Death is a Caress (Carlmar, 1949), Tue, 9. Advance tickets ($10) and more program details at www.noircity.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-$10.75. The Girls in the Band (Chaikin, 2011), call for dates and times. The Past (Farhadi, 2013), call for dates and times. A Touch of Sin (Jia, 2013), call for dates and times.

CLAY 2261 Fillmore, SF; www.landmarktheatres.com. $10. “Midnight Movies:” The Rocky Horror Picture Show (Sharman, 1975), Sat, midnight. With the Bawdy Caste performing live.

COBB’S COMEDY CLUB 915 Columbus, SF; www.sfsketchfest.com. $15. “Say Hello To My Little Funny: A Night of Short Films Made By Stand-Up Comedians,” Tue, 8. Part of SF Sketchfest.

EXPLORATORIUM Pier 15, SF; www.exploratorium.edu. Free with museum admission ($19-25). “Saturday Cinema: Experimental Films for Kids,” Sat, 1, 2, and 3.

KAISER CENTER 300 Lakeside #206, Oakl; documented.eventbrite.com. $15-20. Documented (Vargas, 2013), with filmmaker and Pulitzer-winner journalist Jose Antonio Vargas in person, Tue, 7:30.

KANBAR HALL JCCSF, 3200 California, SF; www.jccsf.org. $25. “Mark Cantor’s Giants of Jazz: Treasures from the Archives,” Sat, 8.

MECHANICS’ INSTITUTE 57 Post, SF; milibrary.org/events. $10. “CinemaLit Film Series: Over the Top: Precode Hollywood:” Skyscraper Souls (Selwyn, 1932), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Cinema:” “Introduction to Film Language plus Avant-Garde Shorts,” Wed, 3:10. “Funny Ha-Ha: The Genius of American Comedy, 1930-1959:” It Happened One Night (Capra, 1934), Wed, 7; The Bank Dick (Cline, 1940), Fri, 7; His Girl Friday (Hawks, 1940), Fri, 8:40. “The Brilliance of Satyajit Ray:” The Bicycle Thief (De Sica, 1948), Thu, 7; The Music Room (Ray, 1958), Sat, 6:30; Ray: Life and Work of Satyajit (Ghose, 1999), Sun, 3; The River (Renoir, 1950), Sun, 5:10. “African Film Festival 2014:” Mother of George (Dosunmu, 2012), Sat, 8:30; Le Président (Bekolo, 2013), Tue, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. The Square (Noujaim, 2013), Wed-Thu, 6:45, 8:45. “Sundance Short Films,” Wed, 7. A Touch of Sin (Jia, 2013), Wed, 9. “Ruth’s Table Benefit:” Ruth Asawa, Roots of an Artist (Toy), with “Hearing Voices: The Ruth’s Table Story” (Butnaru), Thu, 7. This event, $30. “Roxie’s Future Filmmakers Program: SFFS Youth Filmmaker Showcase,” Sat, noon. SF Sketchfest film screenings with artists in person, Sat-Sun and Feb 1. Visit www.sfsketchfest.com for program details. “SFMOMA on the Go: An Evening with Mike Mills,” Sun, 7.

TANNERY 708 Gilman, Berk; berkeleyundergroundfilms.blogspot.com. Donations accepted. “Berkeley Underground Film Society:” “LOOP Presents: Cartoon Carnival #3,” short films, Sat, 7:30; Breathless (Godard, 1960), Sun, 7:30.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. “Ravishing, Radical, and Restored: The Films of Jack Smith:” No President (1967-70) with “I Was a Male Yvonne DeCarlo” (1967-70), Thu, 7:30; •Ray Cohn/Jack Smith (Godmilow, 1995), Sun, 2, and “Shorts and Ephemera,” Sun, 3:45. *

 

Events: January 22 – 28, 2014

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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 22

“Black Widow Stars: Vengeful Star Corpses” Smithwick Theater, Foothill College, 12345 El Monte, Los Altos Hills; foothill.edu/ast. 7pm, free (parking, $3). Stanford’s Dr. Roger Romani delivers an illustrated, non-technical talk on the intriguingly violent “black widow” star corpses discovered by NASA’s Fermi Gamma-ray Space Telescope.

Kirsten Chen Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. Chen discusses her “foodie love story” Soy Sauce for Beginners with fellow author Aimee Phan.

FRIDAY 24

Gem Faire Marin Center Exhibit Hall, 10 Avenue of the Flags, San Rafael; www.gemfaire.com. Noon-6pm, free. Also Sat/25, 10am-6pm; Sun/26, 10am-5pm. Over 70 importers, exporters, and wholesalers gather to showcase fine jewelry, costume jewelry, precious and semi-precious gemstones, crystals, minerals, jewelry-making tools, and more. Jewelry repair, cleaning, and ring-sizing services will also be available.

SATURDAY 25

Golden Gate Kennel Club Dog Show Cow Palace, 2600 Geneva, Daly City; www.goldengatekennelclub.com. 8:30am-5pm, $7-12 ($30 for both days for a family of four). Also Sun/26. Nearly 1,500 dogs representing over 135 breeds vie for the coveted “Best in Show” title at this long-running competition. The event also features a “dog rally” grading dog-handler partnerships as well as a dog fashion show and “dog dancing.”

Chris Johanson Adobe Books and Arts Cooperative, 3130 24th St, SF; www.adobebooks.com. 6-10pm, free. As part of indie stalwart Adobe Books’ 25th anniversary, the Mission School artist signs copies of his new book on Phaidon Press. With live music by Ovarian Trolley.

“Knitting Hour” Berkeley Public Library, 2090 Kittredge, Berk; www.berkeleylibraryfriends.org. Sat/25, 3:15-4:45pm. Free. Learn how to knit at this intergenerational knitting group, aimed at all ages 8 and above and all skill levels.

“MakeArt: Aluminum Foil Sculpture” Museum of Craft and Design, 2569 Third St, SF; ww.sfmcd.org. 1:30-3:30pm, $10. No tin-foil hat jokes here — this workshop (aimed at kids ages 8-12, or kids 6-7 with parent participation) guides kids in creative fun inspired by “A Sense of Balance: The Sculpture of Stoney Lamar.”

San Francisco Fine Print Fair Golden Gate Club, Presidio Trust, 135 Fisher Loop, SF; www.sanfrancisco-fineprintfair.com. 10am-6pm, free. Also Sun/26, 11am-5pm. The International Fine Print Dealers Association presents this annual survey of printmaking by renowned artists, with a full gamut of goods: traditional Japanese woodcuts, 19th century etchings, contemporary works, and more.

“Vascularium: Closing Show for Freya Prowe” Accident & Artifact, 381 Valencia, SF; (415) 437-9700. 7pm, free. A closing reception for artist Freya Prowe’s “Vascularium,” an exhibit filled with inky, visceral works inspired by arteries, roots, and tentacles.

TUESDAY 28

Jessica Alexander Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author discusses her memoir, Chasing Chaos: My Decade in and Out of Humanitarian Aid.

Melinda Chateauvert Books Inc., 2275 Market, SF; www.booksinc.net. 7:30pm, free. The author discusses Sex Workers Unite: A History of the Movement from Stonewall to Slutwalk. Visit sexworkersunite.brownpapertickets.com for info on Chateauvert’s participation in a fundraiser for the Litigate to Emancipate Fund this week.

“Dennis McKenna: The Brotherhood of the Screaming Abyss” Emerald Tablet, 80 Fresno, SF; www.emtab.org. 7-8:30pm, free. The younger brother of late philosopher, writer, and counterculture icon Terence McKenna discusses their relationship at this event co-hosted by City Lights.

“The Shape of Sound” Saylor’s Restaurant, 2009 Bridgeway, Sausalito; www.acs-sfbay.org. 7-9pm, $5 suggested donation. The San Francisco Bay Area American Cetacean Society presents this talk by Mark Fischer on his work creating images from the sounds of birds, whales, and dolphins using the Aguasonic process.

“Sutro’s Glass Palace: The Rise and Fall of Sutro Baths” St. Philip’s Catholic Church, 725 Diamond, SF; www.sanfranciscohistory.org. 7:30pm, $5. Ever wondered about those ruins out by the Cliff House? Get the full story on the Sutro Baths at this San Francisco History Association-hosted talk by fourth-generation San Franciscan and professional researcher John Martini. *

 

New, final Presidio museum proposals are in

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The final round of project proposals for the Crissy Field Presidio site are in, and boy do they sure look… almost exactly the same as the last round. 

The Presidio Trust was fairly critical of each of the three finalists for the current site of the Sports Basement, which will soon lose its prime real estate. The Bridge Institute, the Golden Gate National Parks Conservancy’s Presidio Exchange, and Star Wars creator George Lucas’ personal pop art collection are all duking it out for a little patch of green (which is worth a lot of green) by the Golden Gate Bridge. 

Everyone in San Francisco has an opinion on who should win the spot: Mayor Ed Lee and tech venture capitalist Ron Conway want George Lucas’ museum to win (as do most tech folks with money), every environmental group out there wants the Presidio Exchange to get the space (including the Sierra Club), and the Chronicle’s design writer John King just wants Lucas to use the old Palace of Fine Arts site, dammit.

The Presidio Trust, a presidentially appointed entity, has the final say. And what it said last time was this: give us new proposals.

The Lucas proposal was too big, and the Trust felt it needed to be “redesigned to be more compatible with the Presidio.” The Presidio Exchange, it said, struggled to find a theme programatically. It lacked focus. As for the Bridge Institute? The Trust was worried it didn’t have the money to build with at all. 

Now everyone is back with new plans, in force.

George Lucas responded to the critique that his museum was just too darn big:
“Relative to the issue of ‘ensuring the building’s compatibility with the Presidio’ we are submitting two new design concepts for your consideration that we believe address the issues of massing and height. We have worked diligently the past few weeks with our architects at Urban Design Group and other members of our team to develop a new design that we believe will meet the criteria outlined by the Trust while providing the best home for the collection and its diverse cultural and educational programs. We are submitting two designs for your consideration, with the intent that if the Lucas Cultural Arts Museum is chosen for the Crissy Field site, you will identify the design you would like to see further developed.”

So it’s the same beast, just you know, smaller.

The Presidio Exchange folks, on the other hand, decided that since their programs lacked clarity, they’d make a flow chart. It’s good to know that they strive for consistency.

pdxgraph

pdxfinal

The final conceptual image of the PDX.

And as for funding the Bridge Institute? It wants to put a member of the Presidio Trust to work helping it raise money.

“The trust and Trust Board would make its network of contacts available to the BRIDGE fundraising team, and assist in making positive contacts with those contacts as part of the fundraising efforts of the organization,” it wrote. In other words, Presidio Trust, help us raise the dough, please. Presidio Trust President Nancy Hellman Bechtle is wealthy, but there’s no telling if she’d tap her wealthy friends to help the Bridge Institute. 

“We appreciate the effort each team has made to further develop its proposal for the Mid-Crissy Field site,” Becthle said, in a press release. “In the weeks ahead we will evaluate the revised proposals, weigh the wide range of public comments, and make a decision that will stand the test of time. This is a remarkable opportunity for the Presidio and San Francisco and we look forward to the public’s continued engagement.”

Love the designs or hate them, the public’s last chance to comment will be at the Public Board  of Directors Meeting to be held on Monday, Jan. 27, 6:30 pm in Herbst at the Presidio.

You can read all the museum proposals for yourself, here.

And while you’re at it, check out our front page story covering the founding of the Presidio, and how that history shaped the museum proposals.

 

The secret life of Sylvia Fein

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arts@sfbg.com

VISUAL ART In 2012, I ran down to the Los Angeles County Museum of Art for “In Wonderland,” a massive exhibition of women surrealist artists working in the US and Mexico from the 1930s through the ’60s. Among the artists — from big names like Frida Kahlo and Leonora Carrington to obscure figures like Bridget Tichenor and Julia Thecla — there were only two living participants: Yayoi Kusama and Sylvia Fein. I was familiar with Kusama’s polka dots and happenings, but Sylvia Fein was altogether something else, a figurative painter whose gleaming egg-tempera-on-gesso works from the ’40s and ’50s suggested at once the allegorical portraiture of the Renaissance and the alchemical surrealism of Remedios Varo.

As it happens, Fein lives out near Martinez, and I soon found myself making pilgrimages to her house. Nor was I the only one, and among the people to have sought her out in the wake of “In Wonderland” are curator Travis Wilson and Jasmine Moorhead, owner of Oakland’s Krowswork Gallery. Together Wilson and Moorhead have mounted an ambitious retrospective, “Surreal Nature,” spanning the whole of Fein’s career but particularly emphasizing her output of the last decade, which has never been publicly shown.

Still using egg tempera on gesso, the spry 94-year-old painter continues to create her most astonishing works today, paintings that defy the usual division between abstract and representational; an eye, for example, might float in the middle of an otherwise wholly abstract cosmos, as in Crucial Eye (2011) or Marble Galaxy (2010). And while the catalog to “Surreal Nature” indicates she has rejected such labels as “surrealist” since her mid-20s, Fein has softened her stance somewhat over the ensuing years.

“I really don’t think that’s the word even though we use it all the time,” Fein says. “I think most paintings are surreal because they’re in another dimension. Sur-real, but in the right sense. Because it is above the ordinary.”

 

EARLY SPELLS

Certainly Fein’s career has been anything but ordinary; while studying painting as an undergraduate at the University of Wisconsin, Madison, in the early ’40s, Fein became part of a six-person group of “magic realists” led by Marshall Glasier and including fellow “In Wonderland” artist Gertrude Abercrombie. Along with group member John Wilde, Fein earned a show at the university’s gallery in 1941, a rare honor for undergrads. World War II brought a period of intense anxiety over the fate of her enlisted husband, Bill Scheuber, expressed in such works as The Lady with the White Knight (1942-43), but it was during a stay in Mexico (1944-46) that her art fully flowered.

“I lived in a place where there was no running water and no flushing toilets,” she laughs, relating such elemental conditions to her artistic maturation. “God, that really fit my personality. And here I grew up in Milwaukee!”

In 1947, after her husband’s return from the war, the couple moved to the Bay Area, where Fein would receive an MFA from the University of California, Berkeley, participating in a pre-Beat bohemia that included the likes of dancer Anna Halprin and composer Harry Partch. But her real education, she maintains, was at the hands of art theorist Henry Schaefer-Simmern.

“He’d been brought to teach at Cal and his ideas were so revolutionary that technically they threw him out and he started his own art institute,” Fein recalls. “I was one of his first students, and he was teaching that there was an evolutionary artistic intelligence, that most art begins with scribbles, then it starts to get formation, it evolves into circles and out of circles children make other lines. Not only that, but if you look at the history of the world and primitive societies, you see the same evolutionary things, whether in caves or rocks, scribbles on hides.

“I worked with him for 20 years. He was writing books; I did research for him, and then I did drawings for his books, in ink, of historical subject matter, so it was like I was studying the history of the world all over again then delineating it for him. That’s like a secret part of my life nobody has ever mentioned.”

 

LATE MAGIC

At the same time, Fein managed a successful career as a painter. By the mid-’50s, when monumental abstraction was in, she was working nearly in miniature, painting tiny landscapes and seascapes. Nothing could have been less fashionable, but she still sold well on both coasts. Yet in the early ’70s, she began a 30-year hiatus from painting, as she wrote and self-published two books inspired by her work with Schaefer-Simmern, Heidi’s Horse (1976), an analysis of her daughter’s drawings of horses between the ages of 2 and 16, and First Drawings: Genesis of Visual Thinking (1993), a related account exploring the development of visual logic in children, primitive societies, and other artists. Only in the early 2000s did she return to painting, in time for rediscovery by curator Robert Cozzolino, who staged a show of the ’40s magic realist group, “With Friends,” at the University of Wisconsin in 2005. This show led directly to her inclusion in the 2012 LACMA exhibition.

While both “With Friends” and “In Wonderland” focused on the ’40s and ’50s, “Surreal Nature” is the first opportunity to see Fein’s present work, even as the curators have done an excellent job of contextualizing it in terms of her overall development. One need only juxtapose The Lady with the White Knight with her most recent series of memorial “trees” for her husband Bill — who died in 2013 after some 70 years of marriage — to see how her own version of surrealism has transformed from an image-based style to a more directly experiential art of brushwork and materials.

“It sure is flowering in my late age,” Fein remarks. “I’m so lucky that’s happening. You can’t make yourself do this.” *

SURREAL NATURE

Jan. 18-Feb. 22

Thu-Sat, noon-6pm and by appt.

Krowswork

480 23rd St (side entrance), Oakl.

www.krowswork.com

 

This Week’s Picks: January 15 – 21, 2014

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Word spears to pierce the stoniest of hearts

THURSDAY 1/16

 

“Ravishing, Radical, and Restored: The Films of Jack Smith”

Legendary underground filmmaker Jack Smith gets the Technicolor-red carpet treatment in this series co-presented with the San Francisco Cinematheque, which screens sparkling 16mm restorations of his films, plus two Smith-centric documentaries. First up is his best-known work, Flaming Creatures (1962-63), a film so “obscene” and “orgiastic” it was, of course, banned upon release. Upcoming programs include Jack Smith and the Destruction of Atlantis (2006), Mary Jordan’s excellent doc, and unfinished extravaganza Normal Love (1963-65), which just may convert you to the church of Maria Montez — Smith icon and star of 1944’s lavishly camp Cobra Woman. (Cheryl Eddy)

Through Jan. 30

Flaming Creatures tonight, 7:30pm, $8-$10

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

 

 

Reflecting China in a California Vision

Tired of hearing the same old techno-dystopian nay-saying about San Francisco’s growth? Get thee to our dear city’s urban planning think tank, SPUR, for some solutions-oriented and original thoughts about how we might skim some brilliant urbanization ideas for another booming place — China. For anyone who’s keeping score on high-speed rails: China, more than 6,000 miles of active tracks; California, zero, but maybe 520 miles in 2029 if we’re lucky? With our state’s population projected to grow about 30 percent by 2050, it’s time we start taking notes. (Rebecca Huval)

6pm, $10 for non-members/free for members

SPUR Urban Center

654 Mission, SF

www.spur.org

 

 

Fresh and Freaky Fiction

George Saunders sits on a make-believe throne as the king of the short story of our time. His writing often takes us into a futuristic, dystopian Midwestern America, where completely average and unusual events converge in dry, hilarious, and sometimes disturbing ways. Karen Russell dances ahead of the Pied Piper to the lyrical composition of her own prose, which flows and sings and rushes like water. Her writing lures readers into her wild imagination, be it the marshes of the deep South or the thorny forest behind Madame Bovary’s backyard. Together, these authors create dynamite, discussing their out-of-bounds genres, surreal realities, and literary inspirations. (Kaylen Baker)

7pm, $25-45

JCCSF Kanbar Hall

3200 California, SF

www.jccsf.org

 

FRIDAY 1/17

 

 

YBCA presents Wayne McGregor

I can’t think of a choreographer, besides Mark Morris, who so easily moves between Ballet — SFB will reprise his Borderlands on Feb. 18 which is influenced by Josef Albers’ color studies—and Modern Dance—he has his own Random Dance Company—as Wayne McGregor. His work is conceptually so far out that your brain begins to vibrate; his dancers are out of this world and yet so very human. It’s a fascinating approach to what the human body—the complete dancer—can do. For its second SF appearance, Random will present the West Coast premiere of Far, based on McGregor’s reading of a historical analysis of the Enlightenment. No need to get out your history books, just stay tuned. (Rita Felciano)

Jan.17/18, 7:30pm, $30-60

Jan. 19, 2pm

Lam Research Theater, YBCA

700 Howard, SF

www.sfperformances.org

 

 

Bad News

Replicant Presents’ electronic and experimental noise reaches into Oakland again with a dose of “weird core,” industrial and straight-up sounds out of a horror-film soundtrack. BR-OOKS will have the home-court advantage and push the boundaries of any genre, then the more palpable Names will bring a dancier, more rhythmic approach, while maintaining roots in the realm of noise. But the true industrial strength will be heard when Bad News takes over. This commanding SF/LA guitar and synth duo, composed of Sarah Bernat and Alex Lukas, should whip you into shape with sounds of precision and perfection. But before they totally slay you, you’ll reflect on any angst past or present and why it feels so right. Look for their new material in 2014! (Andre Torrez)

With Names and BR-OOKS

9pm, $7

The Night Light

311 Broadway, Oakland

www.thenightlightoakland.com

 

 

Big Trouble in Little China

Once upon a time, a big-mouthed big-rig driver named Jack Burton (Kurt Russell) barreled into San Francisco’s Chinatown on the Pork Chop Express — and blundered into a strange world controlled by Lo Pan (James Hong): crusty old businessman by day, evil magician by night. And thus begins Big Trouble in Little China, John Carpenter’s wacky, Western-comedy-martial arts extravaganza, which was way too high-concept (or just too insane) for audiences in 1986 but achieved immortality thanks to the wonders of home video and late-night cable. Fittingly, it has a three-night stand in the Clay’s midnight series, so you’ll have plenty of time to prep your favorite quotes. “The check is in the mail!” (Eddy)

Through Sun/19, midnight, $10

Clay Theatre

2261 Fillmore, SF

www.landmarktheatres.com

 

SATURDAY 1/18

 

 

Edwardian Ball

Legendary illustrator Edward Gorey created a delightfully ominous world full of creepy curiosities out of pen and ink, inspiring and entertaining generations of fans. Celebrating and honoring his work, the 14th Annual Edwardian Ball & World’s Faire offers revelers the chance to travel back in time. Partygoers dress in fantastic Edwardian period fashion, gothic attire, and steam punk costumes that look like they could have stepped from the pages of Gorey’s books. Expect a wide variety of live entertainment, including music, dancing, games, circus performances, and even a stage show re-creation of one of his stories at this truly one-of-a-kind event. (Sean McCourt)

8pm, $40-$95

The Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

www.edwardianball.com

 

 

An Evening with Big Tree, Idea the Artist, and The Parmesans

They may hail from Brooklyn, but Big Tree members have taken root in the Bay Area if the latest single off of their EP My, How You’ve Grown is anything to go by. With the song recorded at Tiny Telephone and the music video shot and edited by local media group Three Thirds Visual, “Like a Fool” is the product of an inspiring setting, as well as the inspiring emotion of frustration. The band is releasing the track for the low price of free, and what better way to say thank you than to join them for a night of some of the best indie music the Bay Area has to offer? With Idea the Artist’s tremulous, heartfelt melodies, and The Parmesans’ harmonious, bluesy folk on strings, listeners are in for an evening of moving tunes. (Kirstie Haruta)

8pm, $7-10

Brick & Mortar Music Hall

1710 Mission, SF

www.brickandmortarmusic.com

 

SUNDAY 1/19

 

 

“In the Name of Love”

Music played a key role in Dr. Martin Luther King Jr.’s teachings, and today, amid his legacy of nonviolent protest and charismatic speechmaking, songs like “We Shall Overcome” remain an important part of his civil rights message. Appropriately, much joyful noise will ensue at Living Jazz’s 12th annual tribute to the humanitarian. Talents on tonight’s bill: “rebel soul” singer-songwriter Martin Luther McCoy; the acclaimed Marcus Shelby Jazz Orchestra with guest vocalist Faye Carol; the 55-member Oakland Interfaith Gospel Choir; the 300-member Oakland Children’s Community Choir; and the Oaktown Jazz Workshops. (Eddy)

7pm, $8-$23

Oakland Scottish Rite Center

1547 Lakeside, Oakl.

www.mlktribute.com

 

 

Queer/Trans* Night

Celebrate being queer in the New Year with Gilman’s first Queer/Trans* Night of 2014, when MC Per Sia hosts a night of hard-hitting punk from some of the coolest queers in Bay Area music. The show features masked trio Moira Scar, San Cha, DADDIE$ PLA$TIC, Oakland punks Didisdead, post-punk duo Bestfriend Grrlfriend, and Alice Cunt all the way from LA. Show goers can also look forward to DJ Johnny Rose and a video booth by Lovewarz. This is a safe and sober show, so leave the booze and drugs at home, as well as any racism, misogyny, transphobia, or homophobia. (Kirstie Haruta)

5pm, $5 + $2 membership

924 Gilman St.

924 Gilman, Berkeley

www.924gilman.org

 

 

MONDAY 1/20

 

 

Winter Fancy Food Show

Three Twins sea salt caramel ice cream. Fava Life hummus. Bacon Hot Sauce. Camembert from Caseificio Dell’Alta Langa. Moon Dance biscotti. Amella caramels. Drooling yet? We’ve only just begun — these food items represent just a handful of the 13,000 producers coming from all over the globe to display their edible wares at the 39th annual Winter Fancy Food Show. This year, 360 food artisans represent California, showing off everything from luscious micro-greens to rainbow-colored, homemade kombucha. Whether you’re a home cook or a Michelin-starred-restaurant buyer, this market is great for stocking up on strange, rare, and quality food items, discovering in-state artisans, and creating new ideas for your next cooking adventure. (Kaylen Baker)

10am-5pm Sun-Mon, 10am-4pm Tues, free entrance

Moscone Center 747 Howard, SF www.specialtyfood.com Bringing the Noise for Dr. Martin Luther King Jr. If you want to feel the power of King’s legacy on MLK Day, look no further than the fierce spoken word from literary organization Youth Speaks. These teens spin rhymes that will make you bristle at the sorry state of the world and might even inspire you to start a protest. They’ll also have you wanting to smack your younger self around for playing video games instead of forging word spears sharp enough to pierce the stoniest of hearts. See the future of activism for yourself at this annual celebration. (Rebecca Huval) 7-9pm, $5 youth/$10 adults Nourse Theater 275 Hayes, SF www.youthspeaks.org TUESDAY 1/21 Armistead Maupin “Mary Ann Singleton was twenty-five years old when she saw San Francisco for the first time.” So begins the famed Tales of the City series by Armistead Maupin, originally a serialized fiction project for The San Francisco Chronicle, depicting the impressions and day-to-day discoveries of a fresh young newcomer to San Francisco in the ’70s. Amassing fans through its humor, quick chapters (the perfect Muni bus-stop read), and on-point depictions of diverse, vibrant characters in three decades and eight novels, Maupin has finally drawn the story to a close, in the recently published The Days of Anna Madrigal. Find out how 92-year-old transgender landlady Anna Madrigal has been keeping busy by coming down to Book Passage, and get a copy signed by Maupin himself. (Kaylen Baker) 12:30pm, free Book Passage 1 Ferry Building, SF www.bookpassage.com

Slice of local soul

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LEFT OF THE DIAL Looking back with the sense of perspective that four and a half decades can provide, the year 1969 seems almost implausibly momentous. The US government instated the draft for Vietnam. Neil Armstrong walked on the moon. John and Yoko got in bed and stayed there; Jimi shred the Star-Spangled Banner. And the Mets were really, really good.

In San Francisco, Sly and the Family Stone went into the studio — Pacific High Recording, on a tiny street near the 101 between Market and Mission, to be specific—and emerged with a record that would change the course of funk and soul music forever. Stand! was the fourth album from the Vallejo-bred seven-piece, catapulting into the mainstream a band the likes of which popular music had never seen: Two white folks and five black folks, both men and women, who sang about racism, poverty, peace and violence, sex, and other provocative topics in an honest yet irresistably danceable way. At the wheel was Sly Stone (born Sylvester Stewart), a charismatic sometime-soul DJ for SF radio stations and a musical prodigy of sorts who played the keyboard, guitar, bass and drums by age 11.

The record sold more than 3 million copies, propelled by singles like the title track, “Everyday People,” and “I Want to Take You Higher.” It was the apex of the band’s success. Three months later, they would give one of the best performances of their career at Woodstock, at 3:30am on a Sunday. By the end of 1969, after a move to LA, Sly and other Family Stone members were addicted to cocaine; by 1970, tensions were brewing in the studio and on the road. Despite producing a handful of other critically acclaimed records, drug problems and personal rifts grew steadily, and the band dissolved in 1975.

Still: “There are two types of black music,” wrote Joel Selvin in Sly and the Family Stone: An Oral History. “Black music before Sly Stone, and black music after Sly Stone.”

Of the 100-plus Bay Area musicians participating in “UnderCover Presents: Sly and the Family Stone’s Stand!” Jan. 17-19, it’s safe to say most came of age in the latter era — regardless of ethnicity — with popular music that bore Stone’s influence. For three consecutive nights at the Independent, nine artists from diverse genres will recreate the iconic album from start to finish, with each band performing its own unique arrangement of the track they were assigned. A record of all the performances was produced at San Francisco’s Faultline Studios in the weeks leading up to the show.

UnderCover has been producing large-scale shows like this every few months for the a little over three years, each time honoring an influential album with a different bill of Bay Area bands and a different guest musical director: Past shows have included reinterpretations of Joni Mitchell’s Blue, Nick Drake’s Pink Moon, and Radiohead’s Kid A. But Stand! represents new ground for a couple reasons: From a technical standpoint, the sheer quantity of musicians participating is daunting, thanks to guest director David Möschler’s 50-person Awesöme Orchestra, a Berkeley-based collective that holds monthly orchestral rehearsals that are free and open to anyone who wants to play.

Perhaps more importantly, this will be the first show honoring a local musician — one whose legacy still commands so much local respect. Recruiting bands who were excited about the chance to honor Sly and the Family Stone, says Möschler, was the easy part.

“If you’re talking innovation, if you’re talking community, if you’re talking Bay Area, that’s Sly,” says Möschler, a Berkeley-based musical director and conductor who comes from the world of orchestra and musical theater. “It was a natural choice.” He pitched Lyz Luke, UnderCover’s director, after being “blown away” by the Joni Mitchell show last January. Möschler said it was time for an Undercover show highlighting an artist of color — and that, while tribute nights to Michael Jackson, Prince and even Stevie Wonder are in no short supply, Sly’s oeuvre seemed to be under-trodden territory.

Why Stand!? “Every song is so powerful and yet so economical. There are these huge political statements — ‘Don’t Call Me Nigger, Whitey,’ ‘Everyday People,’ ‘You Can Make It If You Try’ — but it’s also just extremely good songwriting. And then there’s this 13-minute jam with ‘Sex Machine,'” says Möschler with a laugh. “You can hear that they were at the height of their creative powers as a band.”

Möschler reached out to Bay Area artists that felt like family bands, as Sly’s was. Seemingly impossibly, every artist, from the acclaimed jazz composer/bassist Marcus Shelby to the hip-hop/funk/Latin 10-piece Bayonics, listed a different first choice of song to cover.

“I think we said yes within two minutes,” says Daniel Blum, drummer for the Tumbleweed Wanderers, a folky soul-rock outfit who’ll be performing “Everyday People.” “We were huge fans of the band, but we didn’t want to fall into just covering the song. We played with harmonies, added some signatures of our sound.” Aside from the thrill of reinterpreting Stone’s music, UnderCover presented a rare opportunity to work with a slew of other artists the band respected, said Blum.

“Every show we do, we have artists tell us that they made connections they might never have otherwise, saying ‘You have to keep doing this,'” says Luke. She had the idea for UnderCover late one night three years ago, over drinks at the Latin American Club with Jazz Mafia founder Adam Theis and Classical Revolution’s Charith Premawardhana, then stayed up until morning crafting a dream-team lineup. “Our very first show [a Velvet Underground and Nico night in which Liz Phair and Third Eye Blind’s Stephan Jenkins took part], there were musicians running out from backstage just to see the next band, exchanging numbers afterward — they were in awe of each other.”

Theis has since watched the shows evolve as both an organizer and a musician. Though it hasn’t been the case with this show, “More than one previous UnderCover artist has told me that they actually didn’t really dig the song they ended up with at first, but that it brought them to a place where they had to dig and search for what the song meant to them,” says Theis, whose ensemble will be performing “You Can Make It If You Try.” “For me, that’s brought me to new musical places that I never would have gotten to just by staying in my comfort zone.”

Speaking of comfort zones: Nothing’s official, but this may be the first UnderCover show featuring members of the band being honored. Sly Stone famously fell on hard times in the early ’80s, suffering from addiction, financial problems and alleged mental illness; the musician, who is believed to live in Vallejo again, has made public appearances only sporadically since. But at least a few other original members have happily said they’ll be there. And Sly definitely knows about the show, thanks to Jeff Kaliss, a former Chronicle entertainment reporter who in 2008 penned the only authorized biography of the band, including the first in-depth interview with the elusive musician in over two decades. The verdict: Sly supposedly thinks it sounds “very cool.”

“The number of people from Sly’s community who have reached out has been truly amazing,” says Luke. “We’re talking major, famous funk guys going ‘We’re on board, we’ll help you. I think the community was waiting for this. I don’t think I realized what he means to the Bay Area.”

UnderCover Presents Sly & the Family Stone’s “Stand!”

Fri/17 – Sun/19

The Independent

628 Divisadero, SF

www.theindependentsf.com/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bee true

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arts@sfbg.com

FILM It’s January, and our premiere German language film festival, Berlin and Beyond, is back to its rightful place on the cinematic calendar after a year off for regrouping, kicking off the neues Jahr with films from Germany, Austria, and Switzerland — as well as Turkey and France.

It’s not a bad way to begin 2014, unless your resolutions happen to be cutting back on bier and weltschmertz. Even though the B&B selections feel a bit dated — thanks, perhaps, to that one-year hiatus — there are still a few solid picks, including the Oscar-shortlisted Two Lives (2012). The documentary slate also holds plenty of appeal, with films that explore the globally human instincts to interfere, to intervene, and to seek atonement.

Swiss-German-Austrian documentary More Than Honey (2012) offers an alarmingly frank exposé of the ongoing demise of the domesticated honeybee from California to China, and the implications that this population implosion holds for the future of food production. Honey bumbles onscreen like a bee in flight, seemingly directionless yet always with purpose. Director Markus Imhoof weaves his family’s own history of beekeeping with that of modern-day bee husbandry, comparing the techniques of his ancestors with the equally old-school methods employed by elderly Swiss beekeep Fred Jaggi; the industrial-scale beekeeping of “nomadic” John Miller, who transports his bees cross-country each year to pollinate crops from Northern California to North Dakota; and the renegade experimentation with fearsome “killer bees” employed by Arizona-based Fred Terry, who equates Americans’ fear of Africanized bees to our more generalized fear of invasion.

Squeamish masses beware, you will be subjected to extreme close-ups of larval chambers, mid-air bee sex, and ruthless varroa mite infestations, while getting more information about queening, foulbrood, hand pollination, and bee-whispering than you probably realized existed. Like raw honey, the film is both sweet and murky, and the prospects for peaceful cohabitation with a creature driven to possible extinction thanks to our careless treatment of its preferred habitats, which also happen to be where all of our food is grown, don’t appear to be weighted on the side of good news.

One documentary with no less a fascinating premise, albeit a less polished presentation, is Miles and War (2013), which highlights the working life of professional conflict mediators. A side project filmed and directed by Anna Thoma — who has worked as a videographer for the Centre for Humanitarian Dialogue, and therefore had privileged access to three of the Centre’s top mediators — Miles dives into conflict regions, where mediators arrange meetings between warlords or rebel factions and hammer out agreements between them in painstakingly slow increments. Or, as Centre co-founder and former Executive Director Martin Griffiths observes halfway through a negotiation so secret even Anna is not allowed to be in the room, “You need to be a lot more patient than you want to be, because everything is going to take so much longer than it needs to.”

In truth, because mediation is a confidential process, Thoma’s film winds up on the sidelines more often than not, a so-close-yet-so-far teaser of the tense, often solitary downtime between mediations, seemingly composed of endless one-sided phone calls, plane flights, and scheduling blips.

“It’s a life controlled by others,” Griffiths tells Thoma almost ruefully, before slipping away to his secret meeting. “[Waiting] for someone to say yes.”

Another love letter to an institution is Redemption Impossible, aka Unter Menschen (2012), a layered portrait of a group of “retired” lab chimps at Gut Aiderbichl, an Austrian animal sanctuary. After being infected with HIV and hepatitis, the chimps were isolated and experimented on by pharmaceutical company Immuno-AG, for several years, in a bid to discover an AIDS vaccine. When Immuno was taken over by Baxter in 2002, the vaccination trials ended, but the issue of where to send the infected, unsocialized lab chimps became an open controversy. After the chimps were shuffled around in various states of limbo, championed by their self-effacing caretaker Renate Foidl and her small staff of bright-eyed, ponytailed assistants, their care was taken on by GA in 2009, and their conditions increasingly improved upon.

Though the first half-hour of the film is a bit slow going — with real-time footage of the laborious, day-to-day care of the chimps, some of whom still live in isolation, too traumatized to be in the same room with their peers — the tale of the cloak-and-dagger intrigue surrounding their illegal importation into Europe adds a crime thriller dimension to the primates’ unfortunate plight. Money and influence, of course, is the root of this evil, and the implicated players represent a broad spectrum of political figures, big pharma, game poachers, and even wildlife conservation organizations.

But ultimately it’s the gradual rehabilitation of the chimps themselves that provides the documentary’s real human interest, and watching them step into the sunlight for the first time in 30 years is a triumphal catharsis.

“To me this does not really ‘make up for things’,” Foidl explains emotionally as she watches the outdoor play space being built after years in the planning stages. “It’s awful what was done to them. It can’t be undone … I don’t think there can be any talk of ‘redemption’.” Perhaps not, but compassion, it would appear, can still command a central role. *

18TH BERLIN AND BEYOND FILM FESTIVAL

Wed/15-Sun/19, $7-$20

Castro Theatre

429 Castro, SF

Mon/20-Tue/21, $10

Goethe-Institut

530 Bush, SF

www.berlinbeyond.com

 

The good foot

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arts@sfbg.com

DANCE The fourth FRESH Festival sounds like something that might attract foodies. In fact you do need an appetite — for thinking way outside of the box. The participating dancers, musicians, designers, and writers feed on each other’s disciplines to stretch their own thinking about who they are and what they want to do. If sometimes the “how” intrigues more than the “what,” so be it. Watching new modes emerging can be such an upper.

The opening weekend (Jan. 3-4 at Kunst-Stoff Arts) presented three dancer-choreographers who took the audience into what was, for me, terra incognita. The trip was more than worth it. What impressed in Christine Bonansea’s Floaters #1, Sara Shelton Mann’s Hybrid 3, and ALTERNATIVA’s apparition was the clarity of purpose, and how — though by no means “choreographed” — these experiments were steeped in a dancer’s awareness of the body.

Bonansea structured her site-specific film noir Floaters #1 into four loosely connected sections that opened with a murky image of herself that fused with the dancer slithering down a fire escape. Thrown into pitch-black darkness, she trotted around the audience seated center stage. The dancer could have been a speed skater except that her feet hammered out percussive patterns (perhaps done in point shoes). Here Bonansea was present as sound — just like those ominous steps in the night we know from crime flicks. In the most dancerly part of the piece, she put her exceptionally lithe and pliable body into black tights, aviator glasses, and a sequined helmet to metamorphosize into scintillating, indefinable creatures — animals, plants, humans, and robots. And then she simply slipped away.

Mann, with her calm demeanor and smoky voice, sat herself center stage and read a manuscript — a script for a show she is planning — that roamed around a universe of autobiography, natural history, and feelings personal and social. All you could do was follow her along on the ride. And what a pleasure it was, to enter a mind like hers.

For apparition, ALTERNATIVA — Kathleen Hermesdorf, a brilliant performer, and longtime collaborator Albert Mathias — used video technology to play with concepts of reality. Almost like a shaman, Hermesdorf both fought and collaborated with those fragile images. Effects “sliced” her torso into layers, so that her shadow looked more reflective of her humanity than her bodily presence. With a flick of her wrist, she also turned a sewing machine, that ultimate tool of domestication, into a sputtering machine gun. If that was not turning reality inside out, and upside down, I don’t know what is.

 

LIGHTS UP

Across the city at Z Space, scenic and lighting designer Matthew Antaky once more worked his magic with Liss Fain Dance for Fain’s new, intensely private After the Light, inspired by fragments of Virginia Woolf’s writing. Antaky surrounded a square stage space with a series of arbors through which the audience watched the dancers — who, in contrast to the elegant set, wore undershirts, pants, and suspenders (by Mary Domenico). Again we were invited to walk around with the promise of multiple perspectives. Most of us stayed stationary and become visual elements within the set’s graceful arches. The coexistence of an easy formality with casualness, however, set a welcoming tone for another of Fain’s intelligent rethinkings of literary sources.

Excerpts from The Waves (read by Marty Pistone and Val Sinckler) interwove with Dan Wool’s original score; together they generated and commented on the choreography. A few tiny narratives emerged. The heat rose momentarily to party level to the strains of Mendelssohn as the dancers (in their suspenders) remembered ballet phrases. It was a charmingly telling moment, because in the back of Fain’s mind ballet is ever present, though she rarely uses its vocabulary. Hers is a deep but not literal kinship to the tradition.

Once, all six dancers broke into a series of side hops as if engaged in a game. At another spot two people “died” and were mourned with an encircling dance by sister team Shannon Kurashige and Megan Kurashige. But these moments evaporated, leaving no traces — perhaps like memories, perhaps like passing thoughts. My sense, however, is that better familiarity on my part with the text might have yielded more insights on just how Fain used her literary sources.

Her dancers are individualists — wonderful to watch in unisons when circling the stage or hanging on to each other in a chain or a follow-the-leader section. In repeated duets the lanky Jeremiah Crank partnered a short and fierce Carson Stein, while tall Katharine Hawthorne paired with compact Alec Lytton (who promptly flipped her). One of After’s particularly intriguing traits was a plethora of unexpected stops and broken connections, with dancers waiting and watching from the sidelines much like we did. At times you felt that these people knew each other, but their encounters also seemed controlled by serendipity, as if they just happened to bump into each other. *

FRESH FESTIVAL 2014

Through Sun/19

CounterPULSE UnderGround

80 Turk, SF

Kunst-Stoff Arts

1 Grove, SF

www.artsbuildingconsortium.org

 

Left turn?

27

rebecca@sfbg.com

Dan Siegel, an Oakland civil rights attorney and activist with a long history of working with radical leftist political movements, joined a group of more than 150 supporters in front of Oakland City Hall on Jan. 9 to announce his candidacy for mayor.

With this development, the mayor’s race in Oakland is sure to be closely watched by Bay Area progressives. Siegel’s bid represents a fresh challenge from the left against Mayor Jean Quan at a time when concerns about policing, intensifying gentrification, and economic inequality are on the rise.

Siegel is the latest in a growing list of challengers that includes Joe Tuman, a political science professor who finished fourth in the 2010 mayor’s race; Oakland City Councilmember Libby Schaaf; and Port Commissioner Bryan Parker.

In a campaign kickoff speech emphasizing the ideals of social and economic justice, Siegel laid out a platform designed “to make Oakland a safe city.” But he brought an unusual spin to this oft-touted goal, saying, “We need people to be safe from the despair and hopelessness that comes from poverty and long-term unemployment. We need safety for our tenants from unjust evictions and … gentrification.”

Siegel voiced support for raising the city’s minimum wage to $15 an hour. He also called for shuttering Oakland’s recently approved Domain Awareness Center, a controversial surveillance hub that integrates closed circuit cameras, license plate recognition software, and other technological law enforcement tools funded by a $10.9 million grant from the federal Department of Homeland Security.

He spoke about pushing for improvements in public education “to level the playing field between children from affluent backgrounds and children from poor backgrounds,” and described his vision for reorganizing the Oakland Police Department to foster deeper community engagement.

Among Siegel’s supporters are East Bay organizers with a deep history of involvement in social justice campaigns. His campaign co-chair is Walter Reilly, a prominent Oakland National Lawyers Guild attorney who said he’s been involved with civil rights movements for years. “This is a continuation of that struggle,” Reilly told the Bay Guardian, adding that leadership affiliated with “a progressive and class-conscious movement” is sorely needed in Oakland.

Left Coast Communications was tapped as Siegel’s campaign consultant. Siegel’s communications director is Cat Brooks, an instrumental figure in Occupy Oakland and the grassroots movement that arose in response to the fatal BART police shooting of Oscar Grant, whose Onyx Organizing Committee is focused on racial justice issues.

Olga Miranda, an organizer with San Francisco janitors union, SEIU Local 87, also spoke on Siegel’s behalf during the kickoff event. “San Francisco has become for the rich, and we understand that,” she said. “But at the same time, Oakland isn’t even taking care of its own.”

Referencing a recent surge in Oakland housing prices due in part to an influx of renters priced out of San Francisco, she added, “Dan understands that if you live in Oakland, you should be able to stay in Oakland.”

Siegel’s decision to challenge Quan for the Mayor’s Office has attracted particular interest since he previously served as her legal advisor, but their relationship soured after a public disagreement.

In the fall of 2011, when the Occupy Oakland encampment materialized overnight in front of Oakland City Hall, Siegel resigned from his post as Quan’s adviser over a difference in opinion about her handling of the protest movement. Police crackdowns on Occupy, which resulted in violence and the serious injury of veteran Scott Olsen and others, made national headlines that year.

“I thought that the Occupy movement was a great opportunity for this country to really start to understand the issues of inequality in terms of wealth and power,” Siegel told the Bay Guardian when queried about that. “And I thought the mayor should embrace that movement, and become part of it and even become a leader of it. And obviously, that’s not what happened.”

Since then, his relationship with Quan has been “Cool. As in temperature, not like in hip,” he said during an interview. “I don’t want to make this personal. But we have a difference about policy and leadership.”

With Oakland’s second mayoral election under ranked-choice voting, the race could prove fascinating for Bay Area politicos. Also called instant runoff voting, the system allows voters to select their first, second, and third choice candidates. If nobody wins more than 50 percent of the vote, the last-place candidates are eliminated in subsequent rounds and their vote redistributed until one candidate crosses the majority threshold.

Quan, who ran on a progressive platform in 2010, was elected despite winning fewer first-place votes than her centrist opponent, former State Senate President Don Perata. She managed to eke out an electoral victory with a slim margin (51 percent versus Perata’s 49), after voting tallies buoyed her to the top with the momentum of second- and third-place votes, many gleaned from ballots naming Councilmember Rebecca Kaplan as first choice.

Early polling conducted by David Binder Research showed Quan to be in the lead with the ability to garner 32 percent of the vote, as compared with 22 percent for Tuman, who placed second. That’s despite Quan’s incredibly low approval ratings — 54 percent of respondents said they disapproved of her performance in office.

When Schaaf announced her candidacy in November, Robert Gammon of the East Bay Express opined, “Schaaf’s candidacy … likely will make it much more difficult for Quan to win, particularly if no true progressive candidate emerges in the months ahead.” But Siegel’s entry into the race means there is now a clear progressive challenger.

The Guardian endorsed Kaplan as first choice in 2010, and gave Quan a second-place endorsement. While there has been some speculation as to whether Kaplan would run this time around — the David Binder Research poll suggested she would be a formidable opponent to Quan — Kaplan, who is Oakland’s councilmember-at-large, hasn’t filed.

Siegel, meanwhile, cast his decision to run as part of a broader trend. “I feel that not only in Oakland, but across the country, things are really ripe for change,” he told the Guardian.

Indeed, one of the biggest recent national political stories has been the election of Kshama Sawana, a socialist who rose to prominence during the Occupy Wall Street movement, to the Seattle City Council.

“When you have a city like Oakland where so many people are in poverty or on the edge of poverty, or don’t have jobs or face evictions,” Siegel told us, “it’s no wonder that the social contract falls apart. It seems to me that what government should do is elevate the circumstances of all people, and particularly people who are poor and disadvantaged.”

New arts high school would cost $240 million

0

Art advocates have tried to move the Ruth Asawa School of the Arts high school to its new home on Van Ness street since 1987. On Jan. 7, the dream moved one step closer, the only barrier is cost.

At a packed San Francisco Board of Education meeting, planners revealed the move’s sticker price, and it’s a big one: $240 million. Board of Education President Rachel Norton’s face sunk into one hand as she heard the news.

“There’s a big challenge going forward,” said David Goldin, chief facilities officer of the San Francisco Unified School District. “I don’t want to minimize that challenge for one minute. But for the first time in a long time, we’re close to having an architectural reality.”

The school is named for one of its founders, artist Ruth Asawa, with deep roots in San Francisco history as an arts and education activist. It has a unique education model: students attend academic classes in the morning, but spend two hours every afternoon learning a specific art discipline.

SotA is currently housed at the old McAteer campus on Twin Peaks, with its sister school, the Academy of Arts and Sciences (disclosure: I taught students video editing at SotA as a contractor until last summer). Collectively they have 1,000 students enrolled.

The cost of moving the school to the site on Van Ness is steep for a number of reasons, SFUSD spokesperson Gentle Blythe told us. SotA’s new home was formerly the High School of Commerce, and was granted historic landmark status — meaning the facade, at the very least, must be preserved. The building needs a seismic retrofit as well.

Most importantly, though, the cost is so high because the new site would be crafted with the arts in mind.

“It’s a high school for the performing arts with non-standard design considerations, including height of ceiling, and sophisticated electronics,” Blythe said. The building will be crafted for dance studios, orchestra rooms, multimedia facilities and more. It’s also not just a school: the district would also build an on-site auditorium that could seat 47,000 attendees.

By comparison, the new Willie Brown Middle School comes is budgeted at $55 million, Blythe told us. But the chief facilities officer said the price to move SotA was comparable to the cost of newer public arts schools in the US.

San Francisco artists came out in force to advocate for the move. First up to the podium to speak was the music director of the San Francisco Orchestra, Michael Tilson Thomas.

“I’m 10,000 percent behind this idea,” he told the board. “My dream is to do a Big Brothers Big Sisters program with all the grades, to share that vision with younger people.”

Confronting the speculators

34

rebecca@sfbg.com

A group of tenant advocates has upped the ante in the ongoing protest movement against San Francisco evictions, publicizing the names, photographs, property ownership, and corporate affiliations of a dozen landlords and speculators they’ve deemed “serial evictors.”

The Anti Eviction Mapping Project, a volunteer-led effort that snagged headlines last fall when it released data visualizations charting long-term displacement in San Francisco, released its Dirty Dozen list Jan. 10.

The project spotlights property owners who’ve moved to evict tenants under the Ellis Act, a controversial state law that allows landlords to oust tenants even if they aren’t in violation of lease terms. In practice, the Ellis Act tends to be waged against longtime residents with low monthly rental payments, frequently impacting elderly or low-income tenants who benefit from rent control.

The Anti Eviction Mapping Project’s list gets up close and personal, publishing details such as landlord’s cell phone numbers, home addresses, and histories of legal entanglement.

It’s an edgy use of public records that seems to raise a slew of questions about free speech, privacy, and the use of information sharing and public shaming as a protest tactic in the digital age.

Erin McElroy, a volunteer and lead organizer of the project, said the goal was to spotlight landlords “who are disproportionately impacting senior and disabled tenants,” and to raise public awareness about “people who are making millions at the expense of tenants.”

She added that there is a budding effort to push for Ellis Act reform in Sacramento, and noted that a goal of this project was to fuel that statewide effort by providing easily accessible information.

Among those individuals named on the Dirty Dozen list was David McCloskey of Urban Green Investments, a company that owns more than 15 San Francisco properties. Urban Green has been a frequent target of San Francisco housing activists, in part due to the company’s ongoing attempt to evict Mary Elizabeth Phillips, a Dolores Street tenant who will turn 98 in April.

Another landlord who made the list, Elba Borgen, has also attracted past attention from tenant activists due to her history of pursuing Ellis Act evictions at six different San Francisco properties. A tenant currently residing in a 10th Avenue property, where Borgen’s LLC has filed for eviction, is 90 years old and suffering from Alzheimer’s, according to an interview with her daughter Vivian Montesdeoca posted to the mapping project website.

The Bay Guardian‘s efforts to reach landlords who were spotlighted on the Dirty Dozen list were largely unsuccessful. We did manage to contact Tom Iveli, president of Norcal Ventures, who spoke briefly before excusing himself, saying he had to take another call. Iveli clearly wasn’t aware that he and his business partner Bob Sigmund had been singled out.

McElroy said the Dirty Dozen list was the product of an in-depth research project which entailed filtering through property records, San Francisco Rent Board data, and information gleaned from the website Corporation Wiki.

The Anti Eviction Mapping Project initiative has attracted around 15 volunteers and will be partnering with Stanford University students to produce an oral history project showcasing the narratives of San Francisco tenants facing eviction, McElroy said.

Some of the same activists involved in recent high-profile blockades of tech buses were also part of the Anti Eviction Mapping Project effort.

“We’re not, you know, anti-tech by any means,” said McElroy. “We’re anti- speculative real estate,” and wary of policies like the Ellis Act and city government’s tendency to give deep-pocketed corporations a free pass, regardless of the consequences.

“It’s that linkage that is kind of the crux of the issue,” she added.

Solomon: Why the Washington Post’s new ties to the CIA are so ominous

1

American journalism has entered highly dangerous terrain.

A tip-off is that the Washington Post refuses to face up to a conflict of interest involving Jeff Bezos — who’s now the sole owner of the powerful newspaper at the same time he remains Amazon’s CEO and main stakeholder.

The Post is supposed to expose CIA secrets. But Amazon is under contract to keep them. Amazon has a new $600 million “cloud” computing deal with the CIA.

The situation is unprecedented. But in an email exchange early this month, Washington Post executive editor Martin Baron told me that the newspaper doesn’t need to routinely inform readers of the CIA-Amazon-Bezos ties when reporting on the CIA. He wrote that such in-story acknowledgment would be “far outside the norm of disclosures about potential conflicts of interest at media organizations.”

But there isn’t anything normal about the new situation. As I wrote to Baron, “few journalists could have anticipated ownership of the paper by a multibillionaire whose outside company would be so closely tied to the CIA.”<–break->

The Washington Post’s refusal to provide readers with minimal disclosure in coverage of the CIA is important on its own. But it’s also a marker for an ominous pattern — combining denial with accommodation to raw financial and governmental power — a synergy of media leverage, corporate digital muscle and secretive agencies implementing policies of mass surveillance, covert action and ongoing warfare.

Digital prowess at collecting global data and keeping secrets is crucial to the missions of Amazon and the CIA. The two institutions have only begun to explore how to work together more effectively.

For the CIA, the emerging newspaper role of Mr. Amazon is value added to any working relationship with him. The CIA’s zeal to increase its leverage over major American media outlets is longstanding.  

After creation of the CIA in 1947, it enjoyed direct collaboration with many U.S. news organizations. But the agency faced a major challenge in October 1977, when — soon after leaving the Washington Post — famed Watergate reporter Carl Bernstein provided an extensive expose in Rolling Stone.

Citing CIA documents, Bernstein wrote that during the previous 25 years “more than 400 American journalists … have secretly carried out assignments for the Central Intelligence Agency.” He added: “The history of the CIA’s involvement with the American press continues to be shrouded by an official policy of obfuscation and deception.”

Bernstein’s story tarnished the reputations of many journalists and media institutions, including the Washington Post and New York Times. While the CIA’s mission was widely assumed to involve “obfuscation and deception,” the mission of the nation’s finest newspapers was ostensibly the opposite.

During the last few decades, as far as we know, the extent of extreme media cohabitation with the CIA has declined sharply. At the same time, as the run-up to the U.S. invasion of Iraq attests, many prominent U.S. journalists and media outlets have continued to regurgitate, for public consumption, what’s fed to them by the CIA and other official “national security” sources.

The recent purchase of the Washington Post by Jeff Bezos has poured some high-finance concrete for a new structural bridge between the media industry and the surveillance/warfare state. The development puts the CIA in closer institutionalized proximity to the Post, arguably the most important political media outlet in the United States.

At this point, about 30,000 people have signed a petition (launched by RootsAction.org) with a minimal request: “The Washington Post’s coverage of the CIA should include full disclosure that the sole owner of the Post is also the main owner of Amazon — and Amazon is now gaining huge profits directly from the CIA.” On behalf of the petition’s signers, I’m scheduled to deliver it to the Washington Post headquarters on January 15. The petition is an opening salvo in a long-term battle.

By its own account, Amazon — which has yielded Jeff Bezos personal wealth of around $25 billion so far — is eager to widen its services to the CIA beyond the initial $600 million deal. “We look forward to a successful relationship with the CIA,” a statement from Amazon said two months ago. As Bezos continues to gain even more wealth from Amazon, how likely is that goal to affect his newspaper’s coverage of the CIA?

________________________________________

Norman Solomon is co-founder of RootsAction.org and founding director of the Institute for Public Accuracy. His books include “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death.” Information about the documentary based on the book is at www.WarMadeEasyTheMovie.org. 

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the Bay Guardian.  Bruce is the former editor and co-publisher of the Bay Guardian with his wife Jean from 1966-2013.) 

Dan Siegel announces candidacy for Oakland mayor

Oakland attorney Dan Siegel, known for a long history of involvement in Bay Area social justice movements, joined a group of more than 150 supporters in front of Oakland City Hall this morning to announce his candidacy for mayor.

In a speech emphasizing his campaign ideals of social and economic justice, Siegel called for shutting down Oakland’s recently approved Domain Awareness Center, raising the city’s minimum wage to $15 an hour, making improvements in public education “to level the playing field between children from affluent backgrounds and children from poor backgrounds,” and shifting the city’s approach to policing by reorganizing the police department to foster deeper community engagement. We caught a few moments from his speech here:

Guardian video by Rebecca Bowe

Siegel’s campaign co-chair is Walter Reilly, a prominent attorney affiliated with the National Lawyers Guild who said he has a long history of involvement with civil rights and social justice movements. “This is a continuation of that struggle,” he said, adding that Siegel’s affiliation with “a progressive and class-conscious movement” is sorely needed in Oakland.

Left Coast Communications was tapped as Siegel’s campaign consultant. Siegel’s communications director is Cat Brooks, who was previously an organizer and sometimes spokesperson for Occupy Oakland.

In 2011, when the Occupy Oakland encampment sprung up in front of Oakland City Hall, Siegel resigned as a legal advisor to Mayor Jean Quan over a difference in opinion about her handling of the protest movement. Police crackdowns on Occupy, which resulted in violence and the serious injury of veteran Scott Olsen, made national headlines that year. 

Olga Miranda, an organizer with San Francisco janitors union, SEIU Local 87, also spoke on Siegel’s behalf. “San Francisco has become for the rich, and we understand that,” she said. “But at the same time, Oakland isn’t even taking care of its own.” Referencing gentrification, a term that seemed to be everyone’s lips, she added, “Dan understands that if you live in Oakland, you should be able to stay in Oakland.”

Asked why he’d decided to run, Siegel told the Bay Guardian, “I feel that not only in Oakland but across the country, things are really ripe for change. When you have a city like Oakland where so many people are in poverty or on the edge of poverty, or don’t have jobs or face evictions … it’s no wonder that the social contract falls apart. It seems to me that what government should do is elevate the circumstances of all people, and particularly people who are poor and disadvantaged.”

Local heroes

0

joe@sfbg.com

LIT Comics have grown a lot since their humble early days, when superheroes seemed confused as to whether their underwear belonged on the inside or the outside of their tights. Now anti-heroes and tales of personal tragedy guide the ink on the page as often as not, and Berkeley-based publisher Image Comics leads the pack in pushing comic stories to wonderfully dark places.

This year’s Image Expo is an opportunity to rub noses with comic authors whose work is still cool, dammit, even if their work is crossing into the mainstream. We’ll forgive Walking Dead creator Robert Kirkman for letting his comics get turned into a TV show and videogames, if only because they expand the captivatingly complicated, zombie-infested universe he first created on paper.

Image publisher Eric Stephenson attributes the company’s success to its creator-owned model, which might explain why the Telltale-made Walking Dead video games are so good — Kirkman owns the rights to his Walking Dead, allowing all the creative control that entails. Though Kirkman may be one of the shiniest stars at the expo (he gets his own panel, by his lonesome!), he’ll be one of over a dozen comic creators to nerd out over.

Heavy-hitters like Jonathan Hickman (East of West and The Nightly News), Matt Fraction (Sex Criminals and Satellite Sam), Nick Dragotta (East of West), and Kelly Sue DeConnick (Pretty Deadly) will all be on hand. East of West in particular has garnered critical acclaim, and made the New York Times best seller list in October. It has much to love, but the setting is as interesting as any of its characters. It’s an alternate reality-history-dystopian future yarn pitting the Four Horsemen of the Apocalypse against the president of the United States. What’s not to love?

The expo also offers a good opportunity to meet newer artists too, if only to say you knew them before they were a big deal. Ales Kot is one of those up and comers, and his series Zero is an espionage and war story in the near future with disturbing echoes of the present — from Manning’s leaks to our near constant state of war. It’s frank about its brutality, neither glorifying nor hiding it away.

Locals are making their mark with Image as well. Bay Area author Antony Johnston and artist Justin Greenwood’s Fuse concept is “what if a detective story was set on Battlestar Galactica?” (Thanks Johnston, you’ve got me frakkin’ excited now.) It won’t be out until February, but a preview of the comic had my sci-fi loving self drooling over a Babylon 5-like cylindrical space station — but the story is almost Sherlock-like, a genuine whodunit.

With WonderCon’s recent move to SoCal, Image Expo’s Bay Area foothold is more vital than ever. But though it will no doubt yield a handful of cosplayers and swag-hunting fans, Image’s event — now in its second year in its current format — tends to be a lot cozier than WonderCon (or the mightiest behemoth of them all, Comic-Con). With just 600 attendees in 2013, compared to Comic-Con’s 100,000-plus, the comic creators were able to chat with readers at length.

Image’s Stephenson will be my main reason for bum-rushing the expo. Taking time away from his duties as publisher, he penned the recently anthologized Nowhere Men, which rocked, hard. The story of a Beatles-like group of scientists (because science is the new rock ‘n’ roll), it tells a tale similar enough to Frankenstein’s monster — but watching the characters justify their choices is fascinating. Sure, they end up ruining the lives of their test subjects and turning them into twisted super powered monsters, but they meant well, right?

The series will continue through the year, but it can’t come soon enough. (Maybe new Nowhere Men developments will be revealed at the expo?) Though there are only a dozen comic-creator attendees listed on the event’s website, an email from Stephenson hinted that unannounced surprise guests would bring the count of artists and authors to over 20. The slated panels center around the comic artists, the “eccentric” lives of comic authors, and an “interrogation” whose purpose is to deduce where comic creators get their inspiration.

“We have a very ambitious year ahead of us in 2014, and I think some of what we reveal at Image Expo is going to surprise a lot of people,” Stephenson said. *

IMAGE EXPO 2014

Thu/9, 9am, $20-$50

Yerba Buena Center for the Arts

701 Mission, SF

imagecomics.com/expo

Rise of the machines

3

joe@sfbg.com

CAREERS AND ED As digital gizmos invade our pockets and our lives, the fear of machines replacing human work is as pervasive as ever. But of course that fear isn’t unique to the computer age.

As far back as the 1800s folk legend John Henry competed against a great railroad-building machine, hammering holes for railroad tracks in dirt and rock with the power of his arms.

In that tall tale of flesh versus steel, man won against automaton, and time marched on. The industrial revolution’s tech advances put farmers out of jobs, industrial robots put American factory workers out of jobs, calculators put abacuses out of jobs. So what’s new this time around?

Apparently, it’s a matter of speed.

MIT professors Andrew McAfee and Erik Brynjolfsson, authors of Race Against The Machine: How the Digital Revolution is Accelerating Innovation, Driving Productivity, and Irreversibly Transforming Employment and the Economy (Digital Frontier Press) say our modern robots are becoming so advanced, so quickly, that we can’t retrain our workers fast enough to keep up.

“Now the pace is accelerating, it’s faster than ever before in history, as a consequence we’re not creating jobs at the pace we need to,” Brynjolfsson told 60 Minutes anchor Steve Kroft in a segment on robots in November.

The nation’s unemployment rate was 7 percent last November, the most recent number available from the Bureau of Labor Statistics. That’s not counting the millions of underemployed people in the United States, working low or minimum wage jobs that don’t pay the bills.

Those workers are slowly being replaced by machines, from bank tellers (ATMs) to the Golden Gate Bridge toll takers (“pay-by-plate” systems). San Francisco weathered the job loss well, at least on paper. As Mayor Ed Lee is quick to tout, the city’s unemployment rate was at a low of 5.3 percent in September last year.

Maybe that’s because we’re in the eye of the storm. The Bay Area tech boom is a robotics boom too, and even small startups could innovate, upending entire industries.

San Francisco-based Momentum Machines calls its upcoming burger maker the “next generation” of fast food. They don’t mean Captain Picard serving up beef patties; they do mean burger disruption.

Momentum Machines’ burger machine can do everything a human can do, faster. It makes 360 hamburgers per hour, medium rare, or well done (if you please). It slices tomatoes, doles out pickles, and throws everything on a bun. The company promises this will “democratize” fast food — because everything in tech must be itemized, democratized, and then evangelized.

The company said this will, in the words of its website, “free up” all the hamburger line cooks in the restaurant.

Perhaps more telling is this section of its website, tucked well down at the bottom of its page.

“We want to help the people who may transition to a new job as a result of our technology the best way we know how — education. Our goal is to offer discounted technical training to any former line cook of a restaurant that uses our device,” they wrote.

Momentum Machines declined to be interviewed, citing a busy upcoming project. (Double-cheeseburgers?)

We also reached out to Super Duper Burger, and a spokesperson straight-out laughed at the idea of a robot burger cook. But that doesn’t mean economic forces won’t push the machines to eventually take over.

If thousands of fast food workers were replaced by machines, what would their next jobs be?

If the MIT professors are right, the robot revolution will not be stopped. Like the Terminators, they keep coming, and John Connor won’t save us. But maybe we can find peace and coexist.

That’s what they do at Kink.com.

Deep inside the Mission District brick fortress known as the Armory, over 35 robotic porn stars sit on shelves, waiting. They’re the talent of the website Fucking Machines, started by the Bay Area’s fine purveyors of pornographical pleasure, Kink.com.

John Henry has nothing on a fucking machine named Fuckzilla, a “Johnny 5” (from the movie Short Circuit) look-alike whose arms operate as high-power vibrators. While two women mount his appendages and scream for their lives, a webcam mounted in his face gives viewers an up-close view of the action.

The actresses who use them were not available for interview. But the filmmakers say they go gaga over it.

“The directors ask the girls ‘why do you like machines more?’ They always say it’s because (the machines) don’t get tired,” Sam, a videographer at Kink.com told us.

The machines are powerful too. The Intruder MK II has a fucking speed up to 500 RPM and exerts a torque (twist strength) of 3 foot-pounds. “One of our highest counts was a woman who went through 58 orgasms in a four hour period,” Kink.com videographer Aaron Farmer said.

I asked the pornographers if they lost any porn star employees since gaining the high-stamina bots. Turns out it was a noob question: most talent are freelancers and contractors in the industry, unless they run their own website.

So the machines aren’t displacing any jobs there. But they did create some.

“I was hired for Fucking Machines,” Aaron Farmer, the five-year videographer and sometimes director at Kink.com told us. They even have a machine shop in the armory, which while used for other purposes, also helps maintain the nearly 40 Fucking Machines on site, and even builds new ones.

Somewhere along the way, Kink.com outsmarted us all, riding the wave of tech disruption that one day may affect us all. Let’s hope we’re ready.

 

Preserve existing rental housing

8

San Francisco’s housing affordability crisis has become the main threat to the livability of the city for hundreds of thousands of residents. One glimmer of hope came last month, as the Board of Supervisors reformed decades-old laws that permit, and often encourage, the loss of affordable rental units.

When San Francisco adopted its zoning laws in the 1960s, it assigned a zoning district to every parcel in the city. Each zoning district set a maximum number of dwelling units allowed per parcel. These density limits effectively forbade adding units to existing buildings across most of the city, and deemed approximately 51,000 dwelling units “nonconforming.”

Nonconforming units are allowed to remain for the lifetime of the building, but could not be enlarged or improved. The controls on merging dwelling units actually encouraged the loss of units if the units were nonconforming or denser than the neighboring buildings. The planners’ intent was that nonconforming units would be eliminated over time, as buildings are remodeled or rebuilt.

The 2009 General Plan Housing Element moved in a different direction, calling for preservation of dwelling units, especially affordable and rent-controlled housing, and favoring in-kind replacement of affordable units lost to conversion, demolition, and merger. Two ordinances, sponsored by Sup. John Avalos and based on proposals from Livable City, have now brought the Planning Code in line with the Housing Element policies.

One ordinance amended the controls on residential demolition, conversion, and merger to reflect the Housing Element goals. It strengthens requirements that lost units be replaced with similarly affordable units, and restricts mergers in buildings with a recent history of Ellis Act or owner-move-in evictions. It also clarifies the legal status of dwelling units where the permit records are ambiguous, making them legal unless there is conclusive evidence that the units are illegal. This will improve housing security for thousands of San Franciscans who dwell in older, rent-controlled buildings that are denser than the Planning Code currently allows.

A second ordinance permits the improvement and expansion of nonconforming units that exceed current density limits, so long as they remain within the existing building envelope. This allows owners to enlarge units by converting space in existing buildings to dwelling space. To protect tenants from speculative evictions, improvement and expansion are not permitted in buildings with a recent history of Ellis and owner move-in evictions.

In addition, Sup. David Chiu introduced legislation in November to permit legalization of thousands of existing rent-controlled units that were built without planning permission. This ordinance will protect these rent-controlled units from conversion and merger, and allow them to be brought up to building and housing code.

Bolder measures will be needed to make San Francisco an affordable city for all, but preserving more of our affordable housing moves us in the right direction.

Tom Radulovich is the executive director of Livable City.

A look back: The “Candlestick Swindle” in ’68

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San Francisco spent this week saying goodbye to its beloved foggy stadium, Candlestick Park. Amidst the farewells, the Guardian spotted a post from sports blog Deadspin, which reprinted one of our articles from 1968  titled, “Before We Build Another Stadium… The Candlestick Swindle.” 

When we saw the post, we started thumbing through our archives looking for the article. Though Deadspin said it was from 1972, we found it in Vol. 2, Issue no. 10, May 14, 1968, it’s a down and dirty tale of intimidation, bypassing voters through dummy corporations, profiteering, and racism. Candlestick has a colorful history, to say the least. 

The author, Burton H. Wolfe (Burton, not “Mr. Wolfe,” he wrote via email), gave us permission to re-publish it in full here. Just for fun, we’re also embedding the original issue as a PDF, which can be download and printed. Looking through the issue, it’s heartening (and disheartening) how much, and how little, changes.

 

The Candlestick Swindle

It all began early in 1953. Mayor Elmer Robinson’s administration—and local businessmen—decided to import big league baseball for San Francisco’s economic and recreational benefit. A downtown stadium was adequate for San Francisco’s AAA minor league club, the Seals, but not for major league fare.

Hence, Robinson asked the Board of Supervisors to approve a $5 million bond proposition to construct a new stadium. Among the supervisors in approval: George Christopher, soon to become mayor; Gene McAteer, headed for the state senate; Francis McCarty, a future judge; Harold Dobbs, restaurateur and budding Republican candidate for mayor, and John Jay Ferdon, future district attorney.

In July of that same year, 1953, a local multi-millionaire contractor named Charles Harney purchased 65 acres of land at Candlestick Point from the city of San Francisco for $2,100 an acre.

Next year, a band of publicists headed by Curley Grieve, S.F. Examiner sports editor, beat the drums and called the natives to pass this bond issue proposition:

To incur a bonded indebtedness in the sum of $5 million for the acquisition, construction and completion of buildings, lands and other works and properties to be used for baseball, football, other sports, dramatic productions and other lawful uses as a recreation center.

Major league baseball, they proclaimed, would bring untold wealth to the city for a mere $5 million, a price that would be returned many times. After voters approved this in November, 1954, the search began for a site. If there were any doubts the stadium would cost more than $5 million, they were dispelled in a personal meeting between Robinson’s successor, Mayor Christopher, and the owner of the New York Giants, Horace Stoneham.

In April, 1957, Christopher and McCarty flew to New York to talk Stoneham into bringing the Giants to San Francisco. The Giants were losing money in New York, and scouting the country for a new home base.

To prove San Francisco’s support for professional baseball, Christopher waved the $5 million stadium bond issue at Stoneham. According to testimony reported by the 1968 grand jury investigation, Stoneham replied contemptuously:

Any figure other than 10 or 11 million dollars shouldn’t even be discussed because there would be no possibility or probability of a major club moving to that particular community.

Back in San Francisco, Christopher reported the need for more money to other city leaders and businessmen. Since the proposition suddenly to double the original bond issue might run into trouble with the voters, they decided to create a non-profit corporation called Stadium, Inc., as a legal arm of the city.

Bypassing the Voters

Operating through this dummy corporation, the Christopher administration could bypass the voters to raise more money.

Harney and two of his employees were selected as the first board of directors of Stadium, Inc. Christopher told Harney that he would be the contractor to build the new stadium, and his 41 acres of Candlestick land would be the heart of the 77-acre location.

In 1957, Harney sold back 41 acres of the parcel he had purchased from the city in 1953 at $2,100 an acre. The 1957 price the city paid to Harney for its own former land was $65,853 an acre. That’s a crisp total of $2.7 million.

The city’s Real Estate Department approved the deal even though other land adjacent to Harney’s was bought at about the same time for just $6,540 an acre. Harney made a profit of $2.6 million on the four-year land ownership switch.

Not so, Christopher and Harney later contended. Harney had graded and filled the land, and so naturally he was paid for his improvements. One fact raised doubts about that explanation: a $7 million fee awarded to Harney to construct the new stadium included $2 million for stadium construction, $2 million for grading and filling and $2.7 million for real estate.

Had it not been for the creation of Stadium, Inc., the Christopher administration would have been required to hold open, competitive bidding for the contract, and voters would have seen the price tags.

By operating through Stadium, Inc., Christopher was able to evade the city charter and arrange the contract in a privately negotiated deal.

Through the same apparatus, his administration was able to float another $5.5 million bond issue without voter approval. The interest rate on these bonds was set at 5% whereas the interest on the original $5 million bond issue was only 2.4%, a difference that would eventually cost the city hundreds of thousands of dollars.

Evading an Investigation

In February, 1958, Harney and his employees were removed from the board of Stadium, Inc., after, as the grand jury report later pointed out, “Three influential men then were substituted to represent the city’s interest—Alan K. Brown, W.P. Fuller Brawne and Frederic P. Whitman.”

The maneuver came too late to prevent Henry E. North from instigating a Grand Jury investigation into the strange transactions.

North, like Christopher, was a Republican and a conservative member of the San Francisco business community. Until his retirement, at 70, he had been executive vice-president of one of the largest property owners in the city: the Metropolitan Life Insurance Company. He had a strong sense of civic duty, however, and the Candlestick Park deal smelled to him of garbage.

The report North issued, as the result of the Grand Jury investigation, was potential dynamite. It showed that, shortly before the city purchased Harney’s land at $65,853 an acre, adjacent pieces of tideland were sold by the city for less that $4,000 an acre. It did not make sense that Harney’s land, partly under water, should have brought $61,000 more from city coffers.

On Dec. 2, 1958, the San Francisco Chronicle carried partial coverage of the Grand Jury report. On page 5, the year Harney purchased the city land was stated as 1933 rather than 1953. Of course, the 20-year difference would provide a reason for the tremendous increase in value, because the initial purchase price would have been at depression levels.

Undoubtedly, it was a typographical error. And no doubt it was by unintentional omission that other salient features of the Grand Jury report were omitted altogether and never printed by the Chronicle or any other major newspaper.

North charged that all bond issues negotiated by Stadium, Inc. were illegal evasions of the city charter. Bond payments had to be made from city funds, not the dummy nonprofit corporation, and so the whole deal amounted to legal subterfuge; a way to make taxpayers foot the bill without letting them vote on it.

The report, drafted by North and signed by 18 other citizens, estimated annual payments on the bonds of $990,000 for the first 15 years of the debt period. Against that, the city was to draw $225,000 a year in rent from the Giants and $225,000 a year from advertising and parking revenues, leaving a balance of $640,000 to be paid annually from taxes or city funds. It was estimated that the city could make up the balance by commanding the juicy television rights; instead, Christopher arranged for rights to go exclusively to the Giants.

Altogether, it was a marvelous deal for the Giants. In their last New York season, attendance at the Polo Grounds plummeted to 684,000. The club had gone broke and it was almost impossible to give away its stock. After the Giants first season in San Francisco in 1958, attendance tripled over its last year in New York, and their stock soared to $1,000 a share. In terms of revenue, the increase in gate receipts alone meant $3 million the first year.

While the Giants were reaping enormous profits at taxpayers expense, City Hall and the local newspapers were trying to make it appear that San Francisco, too, was earning money. The News-Call Bulletin, the now defunct Hearst paper, once stated that when all returns are in, the season just ended (1960) will have yielded the city about $530,000. The fact was that the sole revenue to the city was $50,000 received to maintain buildings and grounds.

The other Hearst paper, the Examiner, stated, on the other hand: City Hall officials said $375,000 of the revenue figure will be used to pay the annual cost of the city’s $5 million bond issue. The Chronicle published this figure: Of the remaining $527,000, the first $375,000 must go toward payment of the city’s $5 million stadium bond issue.

The fact was that all revenues from the ball park and its parking lot had to be used to pay off the $5.5 million worth of bonds issued by Stadium, Inc., with the exception of the $50,000 maintenance income. The other $5 million worth, issued by the city, had to be paid off through real and personal or property taxes collected by the city.

The result: a projected loss, not profit, of $640,000 the city must pay from taxes or other general city revenues (according to the Grand Jury report), and a loss this year of at least $360,000 (according to figures supplied to The Guardian by the city controller’s office and Mike Barrett, the Bank of America executive who handles Stadium, Inc.’s trustee account.)

Some annual loss on Candlestick Park will continue until 1993, when the stadium will finally be free of debt and owned completely by the city—unless, it is torn down before then or reconstructed, which will add more debt.

There was another interesting development at Candlestick: Stevens California Enterprises, which got the food and beverage concession at the ball park, bought all its milk until two seasons ago from Christopher’s milk company, Christopher Dairy Farms. The Borden Co. now has the lucrative contract.

Even though City Hall and the newspapers were misstating facts about the Candlestick story, San Francisco restaurateurs, hotel owners and shopkeepers at least began to realize that they were not making any money from the ball park, as promised by the ballyhooers. Only the Giants, Harney, and Christopher were making money. The Giants were attracting few additional tourists to San Francisco, and area fans who journeyed to isolated Candlestick Point, several miles away, did not stop to patronize downtown establishments. Some downtown business men were angry, and if North’s crusade were given time and publicity, they might cause an uncomfortable controversy.

Christopher sent emissaries to North, but he would not be wooed or pressured from his stand. To the contrary, he made even more vigorous attacks on Christopher and the ball park deal. The lives of future generations had been mortgaged by this shoddy piece of business, he maintained. Christopher was diverting city funds from various departments: $1.4 million from street improvement bonds, $1.2 million from state gasoline taxes given to the city for road improvements, $1.5 million from sewer bonds for services to the Giants ball park.

A Hidden Payoff?

Already the cost was $15 million, and it might exceed $20 million when various exits, entrances, widened access streets and the like were built to handle the anticipated large crowds. Privately, North informed civic and business leaders that there was an underhanded payoff in the deal, and he intended to expose it.

Christopher reacted viscerally to North’s charges. With newspapermen present, he asserted North was drunk, incoherent, and fixable. The description was published in the newspapers.

North went to Nate Cohn, one of the foremost criminal lawyers in California, and they filed a $2 million libel suit against Christopher. In a pre-trial hearing, Christopher’s attorney filed a thick brief with 45 motions for dismissal of the suit, hoping to tie up the case inextricably. In just an hour and a half, Superior Court judge Preston Devine threw out all 45 motions, indicating clearly that Cohn and North had a good case.

Breaking Down North

Christopher’s friends in the business community went to work on North. The publisher of one of the three daily newspapers, North told me, called on him and said, “Henry, why don’t you play ball? You’re giving the city a bad name, stirring things up like this.”

At the Pacific Union Club across the street from the Fairmont Hotel on Nob Hill, where North was already in disfavor for bringing Jewish guests despite the no-Jews-allowed policy, fellow Republican business executives started a snub-North routine. One day, for example, an old business friend greeted North:

“Say, Henry, I see in the papers there’s some fellow named Henry North filing a suit against the mayor and stirring things up. Must be another Henry North in this town, huh?”

“No, that’s me,” North told him.

“Is that so?” the old friend said. He turned his back on North and never spoke to him again.

I talked to North several times during the siege because I was publishing articles about Candlestick Park in my magazine, The Californian (now defunct). In those days he was full of fight, willing to take on City Hall and the entire business establishment even if it meant losing every friend he had. He promised to tell me the names of the men involved in the payoff, and he excoriated Christopher.

“You know what I call men like George Christopher? Black Republicans. Men who never did anything in their lives for the good of the common people. They’ve never realized that this country as a whole is no better off than the great masses of its people.”

The Fateful Fifth

Then they went to work on his wife. Unlike Henry, she was not involved in politics and her life revolved around her friends and social affairs. Her friends snubbed her and she no longer received invitations. She cried, she pleaded, she begged Henry to call off the ball park investigation and the lawsuit, when that did not move him, she threatened him with divorce. Henry began hitting the bottle.

On June 2, 1960, shortly after I published a detailed article by Lewis Lindsay called “The Giants Ball Park: A $15 Million Swindle,” the press broke the story that North had buried the hatchet with Christopher. In its first edition, the Chronicle correctly reported that North and Christopher had drunk a fifth and a half of Scotch together at Christopher’s home, and praised each other for publication. “He’s a great mayor,” North said—and agreed that legal entanglements were finished. The Chronicle dropped mention of the Scotch in later editions that went to most of its readers.

Cohn was outraged. “We had this suit won,” he told me. “North assured me he was going through with this no matter what happened. But they got to him through his wife, the poor old bastard. You see how they do things in this city? It’s so goddamned rotten you can’t believe it.”

When I called on North again, I found a complete transformation in his appearance. The look of a peppery fighter with ruddy cheeks had given way to a physical wreck; a baggy-eyed, tired, meek looking man weighed down by defeat.

The saddest part of the story was that his wife divorced him anyway. Not long afterward, North died of a heart attack. Harney died in December, 1962.

With North out of the way, with the daily newspapers blacking out the most important parts of the Candlestick Park story, with The Californian reaching only a few thousand citizens, it looked as though the scandal would never be investigated. In an effort to stir up something, I personally appeared before the Finance Committee of the Board of Supervisors and urged their help. One committee member, Al Zirpoli, had said before that he would favor an investigation.

No committee member challenged any facts I presented. When I finished, John Jay Ferdon, Committee Chairman, said only that he would not favor an investigation. He did not say why. (Six years later, when he had become District Attorney, he told me I was right about Candlestick.) Zirpoli, later to become a federal judge and the judge to hear draft resistance cases, said, “I agree with what Mr. Ferdon says.” He suggested, “If there is wrongdoing, your best course of action is a taxpayers’ suit.”

I went looking for wealthy liberals to finance a taxpayers suit, but none were in season. Cohn would have taken the suit if I could have found somebody to pay him for his time. All that he could do now was take me to business friends and introduce me.

The typical reaction came from Sam Cohen, owner of a plush restaurant on Maiden Lane said:

“Sorry, Burton, I can’t get involved. Do you know what Christopher can do to me with his power at City Hall? A Health Department inspector can find something wrong with this restaurant any time he wants. A door is too narrow, my stove does not meet regulations, anything to run me out of business. That’s how they do it. You can’t fight them.”

Since nobody in the city would fight, I asked Sen. Estes Kefauver, chairman of the Antitrust and Monopoly Sub-Committee of the Senate Committee on the Judiciary, to investigate. He replied: “As interesting as a study of how the San Francisco ball park deal took place would be, I do not conclude that it is a matter that should be gone into on the federal level. I think that it is entirely a local or state matter, and that the Subcommittee would perhaps be criticized if it moved into this area.”

Now Another Ballpark

Here we are eight years later, with a Candlestick Park that enrages so many people that a new mayor, Joe Alioto, wants to scrap it for a new stadium. His announced philosophy is that great public projects should not be waylaid just because all of the people aren’t getting enough spaghetti and zucchini. And no doubt many San Franciscans believe that a ball park is a great public project, greater than a school, housing complex or a modern transportation system. That attitude could be the most tragic part of this story.

 

Pop psychology

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By Sara Maria Vizcarrondo

arts@sfbg.com

YEAR IN FILM When Labor Day‘s sexpot convict Josh Brolin holds Kate Winslet and her son hostage in their home, you know he’s dangerous even though he’s not exactly threatening. He starts cooking and fixing stuff around the house, and quickly slips into the role of surrogate father-husband. He’s not just doing it because Winslet’s hot divorcee could use company or her son could use a manly example, he’s filling a void left by an inferior dad whose apology for leaving began, “If I were a better man…” (Labor Day opens in SF next month.)

From fallen fathers to dishonest daddies, 2013’s movies featured a lot of bad providers. Some were crooks, others were benign fuckups, and their stories didn’t necessarily end with redemption or comeuppance. What’s more, most of the men stumbled into fatherhood — and none more clumsily than Delivery Man‘s David, played with surprising pathos by Vince Vaughn.

David’s just gotten excited about his girlfriend’s pregnancy when he learns that his years-ago decision to bank enough sperm to finance a European vacation has resulted in 533 “surprises.” (Director Ken Scott helmed both Delivery Man and its Canadian inspiration, Starbuck.) Oh, and a group of his offspring have filed a class-action lawsuit, intent on discovering who their father is. Granted, it seems unfair to judge him as a parent. He’s blindsided by the existence of his adult kids — and his reaction is to do the embarrassing, heartwarming shit dads do to get to know their teenagers. He may be dumb enough to pile up mob debt, but he’s sticking his neck out as far as it’ll go for relative strangers. (Now that’s the kind of setup — speaking of Brolin flicks — that could almost make Oldboy plausible.)

And then there’s Irving Rosenfeld, Christian Bale’s upwardly mobile con artist in American Hustle. Irv cheats on his wife, but he’s loyal as hell to his stepson, and he stays on the take to provide for the little guy. The Wolf of Wall Street‘s manic maniac Jordan Belfort (Leonardo DiCaprio) swindles the one percent purely to satisfy his own ego. The obscenely rich Quaalude addict could easily buy an island for the world’s orphans. He hires hookers instead.

Wolf is full of drug-fueled sequences that are played for laughs, until the ugliest, most over-the-top scene, which transpires in front of Jordan’s toddler daughter. Finally, the line is crossed. Long having left that line in the dust, along with his dignity, is Kyle Chandler’s weary dad in The Spectacular Now — an alcoholic whose wasted life serves as a warning to his teenage son, whose own boozy habits suggest history is about to repeat itself.

If all you had to go on was 2013’s movies, you could believe someone had to grift, jerk off, and/or do time to be a man. Even foreign releases featured patriarchs with bad judgment. Asghar Farhadi’s The Past begins as Iranian Ahmad (Ali Mossafa) travels to France to finalize his divorce to anxious Marie (Bérénice Bejo); before long, he’s playing traffic cop and detective in a morass that involves Marie’s new boyfriend (Tahar Rahim) and an array of children (none of whom are Ahmad’s). What some people call help, others call “codependence.”

At least Ahmad’s no Charles Dickens. Betcha didn’t know the man behind Tiny Tim talked a lady into making her daughter his concubine, as depicted in The Invisible Woman (also out next month). Worse, Mom (Kristin Scott Thomas) approves because she knows the pretty lass (Felicity Jones) will never receive a better offer. Ralph Fiennes, who also directs, plays Dickens like a daddy with deep pockets and deeper emotional issues. We know he can always pay the girl’s expenses and return to his baby-wrecked wife — but by all means, let’s celebrate the great writer! While I’m on the tangent of fleeing fathers: someone needs to tell Inside Llewyn Davis‘ title character about condoms. (Preferably not Anchorman 2‘s Brian Fantana, however.)

But the honorary Oscar for Best Portrayal of a Wayward Provider goes to Colin Farrell. It’s mesmerizing how the man can be so lovable and yet so simultaneously disappointing. In Saving Mr. Banks, he’s Travers Goff, a banker who nips bourbon in the office and tells the most drunk-mazing stories. The world he gives his children, including Mary Poppins author P.L. Travers, is filled with wonders; the one he forces his wife to occupy is oppressive and darkly real. When he develops consumption (less insulting than the clap but still bad), an imposing agony aunt (Rachel Griffiths) comes to rescue the family, and a legend is born.

When she’s wooed by Walt Disney (Tom Hanks), who’s intent on bringing the Banks family to the big screen, prim Mrs. Travers (Emma Thompson) resists. She’s protective of Mr. Banks, the father in Mary Poppins — a character she created as an act of catharsis. Meanwhile, Disney assumes the role of patriarch to America’s children for his own bleak-childhood reasons. Banks may be one of the few films about daddy issues that doesn’t look like Girls Gone Wild.

Making a living can be hard and taking care of loved ones can be messy. Enter Spike Jonze’s Her, a movie about the ultimate no-fuss girlfriend: a witty, adoring computer operating system blessed with the voice of Scarlett Johansson. Her is the biggest campaign against childbearing since 1997’s Gattaca. We all have issues with our parents — but between 533 happy endings and the positioning of an escaped convict as the ideal man, we should caution against looking for answers in the movies. If you get confused, ask your father. *