History

Of borders and love songs

Steven T. Jones
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0
Of borders and love songs

esilvers@sfbg.com

LEFT OF THE DIAL The way in which Diana Gameros first came to America is a world away from the heart-wrenching images we’re currently seeing in the news media of children who’ve been sent, on their own, to the U.S. border from Honduras, Guatemala, and El Salvador. At 13, she arrived on an airplane from her home city of Juarez, Mexico; the plan was to stay with an aunt who lived in Michigan for the summer. When Gameros visited her cousin’s school there, and saw that it had a swimming pool, among other luxurious-seeming facilities, her aunt asked if she wanted to go to that school and learn English. Gameros couldn’t say yes fast enough. She wound up staying three years, returning to Mexico for the second half of high school, and then moving back to the U.S. for college.

So no, no one ever sent her out on foot for the border, hoping that on the other side lay someone or something that could mean a brighter future.

And yet: “I’m kind of a fanatic when it comes to following this country’s immigration system and its history,” says Gameros, a fixture in San Francisco’s singer-songwriter scene for her thoughtful, melodic story-songs that contain both English and Spanish (she’s been referred to as the Latin Feist).

“I think there’s a lot that most American people don’t know. You hear people judging, calling these parents irresponsible…it’s so much more complicated than that,” she says. “People don’t know how the U.S.’s actions have affected these countries. People are risking their children’s lives because they need to be here. It’s not for the American dream, they’re not here to buy a nice car, a big house. They’re here because they want to eat, have a roof over their heads, fulfill basic necessities. It’s frustrating. There’s so much ignorance.”

Her unique perspective on border issues is one reason Gameros was selected to perform at MEX I AM: Live It to Believe It, a nearly weeklong festival organized by the Yerba Buena Center for the Arts in conjunction with SF’s Consulate General of Mexico. Bringing together musicians, actors, visual artists, and academics from throughout Mexico from July 31 through Aug. 5, the festival includes classical, indie, and pop music and dance, lectures and discussion of Mexico’s achievements and challenges, and a meeting of minds around border issues.

The program in which Gameros will perform, on the evening of Friday, Aug. 1, is called “Ideas: North and South of the Border,” and aims to explore innovation in the sciences, arts, and culture in Mexico. Among the other speakers: astronaut Jose Hernandez, who grew up in the Central Valley as the son of immigrant farmers; he’ll discuss his journey from childhood (he didn’t learn to read or speak in English until he was 12) through getting a degree in electrical engineering and eventually being tapped by NASA. Rosario Marin, the first Mexican-American woman to serve as Treasurer of the United States, will also be present, along with Favianna Rodriguez, a transnational visual artist whose work “depicts how women, migrants and outsiders are affected by global politics, economic inequality, patriarchy and interdependence” and the director of CultureStrike, an arts organization that works to organize artists, writers, and performers around migrant rights.

On the afternoon of Saturday, Aug. 2, actress-dancer Vicky Araico will perform her award-winning monologue Juana In a Million, which chronicles an undocumented immigrant’s quest to find home.

The other musical performances throughout the week run the gamut from Natalia Lafourcade, a two-time Latin Grammy winning pop singer, to Murcof + Simon Geilfus, an electronic audio-visual collaboration, the award-winning percussion ensemble Tambuco, renowned composer and jazz musician Hector Infanzon, and more.

Gameros, whose 2013 album Eterno Retorno (Eternal Return) features a song called “SB 1070” (after the racist Arizona law designed to prosecute undocumented immigrants), says she thinks her music can be a subtle form of education, an artistic entry point for people who might not know or think much about immigration issues.

“It’s a topic that touches me deeply, so my protest music is my offering, my way to say I’m with you and I stand with you,” she says. “Though if you listen to my lyrics you might think many [songs] are love songs, or written to a lover who didn’t treat me right.”

Gameros adds that she hopes the Latino community in San Francisco will embrace the festival and show up, a sentiment that carries a particular weight as housing prices in areas like the Mission are changing the local face of the local Latino population. “Unless its the symphony doing something with a Mexican artist, we don’t really have access to events like this that are mainstream cultural celebrations, normally,” she says. “And there’s such a fascinating group of people all here for it — I just hope as many people as possible take advantage of it, that they come and hear these stories we have to tell.”

 

MEX I AM: LIVE IT TO BELIEVE IT

July 31 through Aug. 5, prices and times vary

Most events at Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2700

www.ybca.org/mex-i-am

Shots fired

Michael Redmond
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2
Shots fired

cheryl@sfbg.com

FILM “The First World War holds the distinction of being America’s most popular conflict while it lasted, and the most hated as soon as it was over,” writes Russell Merritt in the intro to his guest-curated Pacific Film Archive series “Over the Top and Into the Wire: WWI on Film.” Though World War I is a much less popular cinematic subject than WWII, or even the Vietnam War, its complexities mean that the films it did inspire continue to fascinate.

The PFA series kicks off Sat/2 with Charlie Chaplin’s Shoulder Arms (1918), in which the Little Tramp heads “over there” and becomes a most unlikely hero. Included in that same program are Disney short Great Guns (1927), and Winsor McCay’s The Sinking of the Lusitania (1918), a fiery argument in favor of America going to war, as well as one of the first animated documentaries.

“Over the Top” also includes two silent epics (D.W. Griffith’s 1918 Hearts of the World, and Alexander Dovzhenko’s 1929 Arsenal); three certified classics (Jean Renoir’s 1937 POW saga Grand Illusion; Lewis Milestone’s harrowing 1930 All Quiet on the Western Front; and Stanley Kubrick’s 1957 Paths of Glory, starring an impeccably furious Kirk Douglas); and a Washington-set oddity: Gregory La Cava’s 1933 Gabriel Over the White House.

I spoke with Merritt, an adjunct professor in UC Berkeley’s Film and Media Studies Department, just days before the 100-year anniversary of the war’s outbreak on July 28, 1914.

SF Bay Guardian How did you become interested in World War I films?

Russell Merritt For me, World War I is the event that shaped the 20th century, more than the Depression or World War II — and to see how films contributed is one of those endlessly interesting kinds of problems. They were mainly part of the war hysteria that gripped the country starting in 1917, and that in itself is of interest, because we were so opposed to the war just a few years before that, and we became even more opposed to the war after it was all over. The movies reflect that. Trying to account for these dramatic mood swings is part of the fascination.

SFBG How did you select the films in the series?

RM I tried to find both classics and some off-center ones. I suspect nobody who does a series on the First World War is going to forget All Quiet on the Western Front, Grand Illusion, or Paths of Glory, but few would think of Dovzhenko’s Arsenal or Gabriel Over the White House — though those enable us to get to some hidden aspects, or lesser-known aspects, of the ways in which the war was considered.

Of the war films that were made during the war, the only two that anybody remembers are a cartoon [The Sinking of the Lusitania] and a comedy featurette [Shoulder Arms]. Meanwhile, the most popular war film made during the war, D.W. Griffith’s Hearts of the World, with Lillian Gish, is all but forgotten.

SFBG World War I coincided with the early days of cinema. What bearing do you think the two had on each other?

RM In the case of Hearts of the World, it has a direct bearing. This production was unique in that Griffith is the only filmmaker — the only American filmmaker, the only fiction filmmaker — to be allowed onto battlefields, and onto the training grounds in England, to use the armies more or less as extras. It represents this great effort at trying to use motion picture fiction films as what would have been called “informational films” back then — today, we would call them war propaganda films. It reflects this fascination with movies as the latest medium with which to try to influence public opinion.

One of the most fascinating things about this film is Griffith is an American, world-famous for [1915’s] Birth of a Nation. He is invited by the British to make a feature film that will encourage Americans to join the war, or at least to be sympathetic to the Allied side of the war.

But by the time he arrived in Europe, the war had already come to America. So the project changed, and he created an American story about the war. I’m shortening a story that goes on even longer, but this kind of crazy wandering from one project to another reflects the difficulty of trying to find an image for the war other than making the Germans hideous, lustful barbarians. How do you portray the battles, the French, the Americans? That’s all being changed as he’s making the film, and he starts falling back on the patterns that he used when trying to sell the Civil War [in Nation].

All of this relates to your question, because today we have a quite pronounced way of selling government, or more frequently anti-government documentaries. Back then were the very beginnings of this effort to use film for these types of social purposes.

SFBG Hearts used real soldiers, and some of the films, like Grand Illusion, don’t depict any battles, but some of the special effects in the other films are surprisingly impressive. Disembodied hands gripping the barbed wire in All Quiet on the Western Front…

RM That is an unforgettable image, even all these years later. There was also a silent version made of that, with that same shot in it. In some ways, Paths of Glory is the most shocking of the films in the series, because it’s so angry. But the sheer horror of the war, I think, has never been better illustrated [than in All Quiet].

This leads to a subtext in this series: In some ways, you could regard this as a kind of cross-section of the kinds of films that represent the war. But I have a particular argument to make, which is that the films help perpetuate the illusion that the war that Americans fought was interchangeable with the war that Europeans fought. All Quiet is a great example of that. To this day, we think the Americans fought in trenches, that our cause was as confused and as hopeless to understand as was the European cause, and so on.

But in fact, we fought quite a different war. Our reasons for going into the war were quite different, and the experiences we had in the war were quite different. You can ask a class, as I do, “How many of you had relatives that were killed in the First World War?”, and just a sprinkling of hands will go up. Ask the same question in Europe, and it doesn’t matter if it’s France, England, or Germany — all the hands will go up. That gets blurred over in these films, and I’d like [audiences] to reconsider that.

The other thing I want to do is show how the war was used as the teens gave way to the 1920s, and into the 1930s. It had different functions, especially during the Depression, [when it was] interpreted so that it was appropriate to this great economic disaster. That’s the reason I’m including Gabriel Over the White House. And it has a much different purpose when it’s being incorporated into Soviet history; that’s why I’m showing the Ukranian film, Arsenal.

SFBG Perhaps it’s due to those complexities, but World War I hasn’t become a part of pop culture, for lack of a better phrase, the way World War II has.

RM I can’t think of a modern film about America’s involvement in the First World War. I suspect with the American centennial coming up in 2017, that will change. But even documentary filmmakers haven’t touched it. There was a 10-part British documentary series that was made 10 years ago, but we have nothing like that; Ken Burns isn’t going to do something on World War I. The strange part is, it may be as influential as any war we ever fought, certainly more than World War II, in shaping what kind of country we became.

SFBG Why did you only choose one film that was made after World War II? Is it because there just aren’t very many?

RM That’s one reason. And they’re not as interesting, since they more or less recycle the party line on World War I: it was terrible, it was unfair. There’s no new news coming out about the First World War after Kubrick’s movie, as far as I can tell.

SFBG Do you have a favorite among the movies you’re showing?

RM No, I love all my children [laughs]. When you see Grand Illusion, how can you not respond to Renoir’s humane view? This is the most generous view of the war, of officers, and of POWs, that you’ll ever see. It’s not exactly a comedy, but it’s this remarkable way of reconciling enemies, and officers and enlisted men.

Paths of Glory never gets old. It’s based on a historic event that took place in 1914, and kept on taking place; soldiers were frequently being executed for mutiny or cowardice when a military operation became a disaster.

I haven’t seen All Quiet on the Western Front in a long time, and yet for me it’s unforgettable. The big battle scene comes toward the beginning of the film, rather than where it usually comes at the end, and that makes all the difference. *

OVER THE TOP AND INTO THE WIRE: WWI ON FILM

Aug 2-27, $5.50-$9.50

Pacific Film Archive

2575 Bancroft, Berk

bampfa.berkeley.edu

 

What she sees

Michael Redmond
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1

cheryl@sfbg.com

SFJFF The San Francisco Jewish Film Festival opens July 24 with The Green Prince, a documentary based on the memoir of Mosab Hassan Yousef. The son of a founding member of Hamas, he worked as an undercover agent for the Israeli secret service for 10 years, sharing a profound trust with his Shin Bet handler. The closing night film is also a documentary about a conflicted childhood that paves the way for tough choices later in life — but if Little White Lie is also a personal story, it’s a far less political one.

It’s a thoroughly American story, telling the tale of filmmaker Lacey Schwartz, who was raised by her parents — both products of “a long line of New York Jews” — in the decidedly homogeneous town of Woodstock. All of Schwartz’s grade-school friends had light skin and straight hair, while Schwartz was dark, with coarse curls. Lovingly recorded snapshots and home movies of her Bat Mitzvah and other occasions suggest a happy young life, but the “600-pound gorilla in the room,” as one relative puts it, was that Schwartz did not look white, despite ostensibly having white parents. Once she reached her teenage years — and particularly after she enrolled in a high school that had African American kids among its population — she began to realize the go-to family explanation (yeah … that one Sicilian way back in the family tree …) was nothing but a flimsy excuse holding back a mountain of denial.

Now in her 30s, Schwartz has overcome years of identity confusion and is self-confidently assertive in a manner that suggests years of therapy (and indeed, we see footage of sessions she filmed for a student project at Georgetown, where she found a supportive community among the Black Student Alliance). Her parents, however, are not quite as psychologically evolved, although her mother — a pleasant woman who has nonetheless been content to spend her life surfing the waves of passive-aggression — eventually opens up about the Schwartz family’s worst-kept secret. The aptly-titled Little White Lie clocks in at just over an hour, but it packs in a miniseries’ worth of emotional complexity and honesty. Schwartz will be on hand at the film’s San Francisco and Berkeley screenings — the Q&As are sure to be lively.

Another, rather different tale of women using cameras in pursuit of the truth surfaces in Judith Montell and Emily Scharlatt’s In the Image, a doc about Palestinian women who work with Israeli human-rights NGO B’Tselem. Group members, who include high school girls and middle-aged mothers, are given small video cameras to keep an eye on protests, harassment, and anti-Palestinian violence perpetrated by Israeli soldiers and settlers. (In one disturbing clip, we see a small child launch a giant spitball at the lens.) Able to capture footage in areas deemed off-limits to mainstream journalists, In the Image shows how B’Tselem brings investigative reporting to the front lines, and then to the world (thanks, YouTube). It’s also an empowering outlet for the camerawomen-activists, for whom career opportunities are otherwise as rare as are opportunities for artistic expression.

Women are also front and center in a number of SFJFF’s stronger narrative entries. Writer-director Talya Lavie won Best Narrative Feature and the Nora Ephron Prize at Tribeca for Zero Motivation, a pitch-black comedy about female frenemies jammed into close quarters while doin’ time in the Israeli Defense Forces. Most movies prefer to show soldiers in combat, and Zero Motivation does just that — if “combat” means fighting to avoid boring admin work, to achieve the highest score at Minesweeper, to fuck up the most extravagantly, or with staple guns. “There’s a war going on — get a grip!” a superior officer reminds self-centered slacker Daffi (Nelly Tager), and that’s more or less the only current-affairs statement uttered in a film that’s mostly concerned with the agonizing task of achieving responsible young adulthood.

Another coming-of-age tale unfolds in Hanna’s Journey, director and co-writer Julia von Heinz’s drama about a Berlin business-school student (Karoline Schuch) whose résumé is lacking in the sort of warm-fuzzy community service that’ll elevate her in the cutthroat job market. Her estranged mother, who works with a German group placing volunteers in Israel, proves unexpectedly helpful, and Hanna is soon winging her way to work with developmentally disabled adults in Tel Aviv, leaving her sleek wardrobe and yuppie boyfriend behind.

Hanna’s Journey has all the potential to be a pat story about a German woman coming to terms not just with her own life choices, but with complicated family history (hint: it involves World War II) only a trip to Israel can unearth. There’s also a conveniently hunky Israeli (Doron Amit) in the mix. But! Schuch, who resembles Jessica Chastain, brings authenticity to a character who morphs from superficial to soulful in what might otherwise seem like too-rapid time. She also benefits from a subtle, nicely detailed script, which avoids stereotypes and oversimplification, and is not without moments of wicked humor (“German girls are easy — it’s the guilt complex!”)

Less successful at achieving subtelty is For a Woman, writer-director Diane Kurys’ latest autobiographical drama. Here, she explores her parents’ troubled marriage, inspired by a photograph of an uncle nobody in the family wanted to discuss. The fictionalized version begins as Kurys stand-in Anne (Sylvie Testud) and older sister Tania (Julie Ferrier) have just buried their mother, who was long-divorced from the girls’ ailing father.

For a Woman takes place mostly in flashbacks to post-war Lyon, where young Jewish couple Léna (Mélanie Thierry) and Michel (Benoit Magimel) settle and have Tania soon after. Russia-born Michel is a devoted Communist, and he’s overjoyed — yet understandably suspicious — when long-lost brother Jean (Nicolas Duvauchelle) suddenly appears in France, having somehow escaped the USSR. Michel’s political paranoia blinds him to the fact that Léna — who married him to escape a death camp (he didn’t know her, but couldn’t resist her icy blond beauty) — is bored with her stay-at-home-mom life, and has taken an unwholesome interest in his mysterious little bro.

There’s more to the story than that, of course, but For a Woman never goes much deeper than a made-for-TV melodrama: entertaining in the moment, but ultimately forgettable. And even gorgeous period details (Michel’s car is to die for) can’t make up for a frame story that feels rather wan next to the film’s cloak-and-dagger main plotline. 2

SAN FRANCISCO JEWISH FILM FESTIVAL

July 24-Aug. 10, most shows $10-$14

Various Bay Area venues

www.sfjff.org

 

Article details bullying and retribution by the Mayor’s Office

Sasha Cuttler
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Article details bullying and retribution by the Mayor’s Office

People are talking about this article from Sunday’s San Francisco Chronicle about how much three fall ballot measures will cost the city, but many progressives and political outsiders are more focused on the juicy details lower down in the article about the spiteful, bullying political tactics practiced by the Mayor’s Office these days.

Mayor Ed Lee and his top aides are said to be “fuming” that Sup. Scott Wiener and five of his colleagues placed a measure on the fall ballot that would give Muni more money as the city’s population increases — and that “the mayor’s office seems to be hinting that it will target programs important to the six supervisors who voted to place Wiener’s proposal on the ballot.”

The measure is retroactive to 2003, the last time Muni had an increase in its funding from the city General Fund, so it would mean an immediate funding bump of $20 million or more, which the mayor is disingenuousnessly casting as budget buster. Keep in mind this same mayor unilaterally ended Sunday meters this year, costing Muni about $10 million a year, and supports corporate welfare programs that cost the city $17 million last year.

This spiteful and retaliatory approach to public policy by Lee, the elected official with the most control over the city’s pursestrings, and his minions was also a big factor in Sup. Jane Kim’s capitulation to the Mayor’s Office on her housing balance measure. Sources tell the Guardian that affordable housing advocates were threatened with reduced city funding from the Mayor’s Office if they continued to push for Kim’s original measure.

The Chronicle article was based largely on a Controller’s Office memo claiming the three ballot measures — the Muni measure, a proposal to increase the minimum wage to $15 by 2018, and reauthorization of the Children’s Fund — would be the “largest voter-directed increase in general fund spending in a single election in city history,” costing $104 million by 2018.

More than half of that is from the minimum wage increase, which will increase the city’s cost of contracting low-paid nonprofit workers to perform public services. But in this increasingly expensive city, does anyone really think $15 per hour is an unreasonable wage? Should the city itself be exploiting workers?

After the city recently slashed building and planning fees charged to developers, and in a city that continues to coddle big corporations and landlords rather than tax them fairly, the Mayor’s Office ire over policies that help low-wage workers and Muni riders is particularly telling of its values and priorities.  

Monday music video mayhem

Steven T. Jones
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Monday music video mayhem

Just in case you’ve been living under a rock slightly behind on your local music coverage for the past couple weeks, allow us to remind you of a crazy little 48-hour contest called the Music Video Race, which saw yours truly judging some rather impressive entries from 16 different local band/filmmaker posses, and which culminated with a premiere party at The Independent on July 20.

In honor of the teams’ hasty, ambitious efforts — and in honor of this amazing time-suck/curated exercise in pop culture history — we’ve decided to spend the rest of the day watching music videos. It’ll be kind of like coming home from school and zoning out in front of TRL, only you don’t have to look at Carson Daly. Join us, won’t you?

First, here are a few of the winning videos from the competition:

The Tropics‘ “Sons and Daughters” took home Best Video, with this otherwordly feast for the eyes that looks like it took way longer than 48 hours:

 

…while the ever-ingenious/usually pretty insane Bill Baird was the runner-up with “Soggy Soul,” featuring this kaleidascopic naked-cartwheel-on-the-beach party. 

 

Lemme Adams took Best Song with “Toys”…

 

And Mission-based man-about-town Doctor Popular won hearts and Best On-Screen Performance with “Rumspringa,” a song crafted using a GameBoy Advance. 

 

Still with us? Good. Here are a few new videos from local bands (not part of the MVR) that did take longer than 24 hours, that are still very worth your eyes and ears:

There’s this trippy orange business for “Always,” by SF’s Melted Toys, off their new release: 

 

Then there’s this dreamy, unabashed love letter to our home state in “I Love California,” from Be Calm Honcho:

 

And this hypnotic offering for “No Werewolf,” by LA hooligans the Allah-Las, off their upcoming full-length:

 

Finally, there’s this adrenaline-fueled sprint for “Story 2” from clipping., a three-man rap crew also based in LA, but we have it on good authority that two out of three of ’em grew up in the East Bay.

 

 

Landlord plaintiff in eviction fee case has history of tenant law violations

Sasha Cuttler
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37
Landlord plaintiff in eviction fee case has history of tenant law violations

San Francisco landlord attorneys filed a lawsuit on Thursday against San Francisco and five tenants in an effort to overturn Sup. David Campos’ new law requiring higher relocation assistance payments to tenants evicted under the Ellis Act, but the main plaintiff in the case may not be the helpless victim the suit purports him to be.  

Under the recently implemented measure, landlords must now pay the difference between their tenants’ current rent and the cost of “comparable” units for two years, as determined by the City Controller’s Office. Though many property owners haven’t been deterred by the measure, as evidenced by the Ellis Act evictions that continue to sweep the city, a group of landlords and their attorneys filed a lawsuit (Jerrold Jacoby et al. v. City and County of San Francisco, et al.) claiming the new law is unjust.

“The city has tried to change the rules on them,” said attorney Andrew Zacks, who represents the plaintiffs. “We don’t think that is allowed under the law.”

Jacoby, the lawsuit’s main plaintiff, is an 80-year-old property owner who, according to tenant attorney Joseph Tobener, is a “slumlord” who has mistreated his tenants and failed to adequately maintain his valuable rental property.

“He is in the business of landlording. That is all he does,” Tobener, who represents three of the five tenants being sued in the lawsuit, told the Guardian. “The lawsuit against the City only used Jacoby as plaintiff because he is a senior…They think this guy Jacoby, a slumlord, is a perfect plaintiff, but they misrepresent this story in their complaint.”

One of Tobener’s clients, Judith Barrett, is a 62-year-old single mother who teaches English at Galileo High School in San Francisco. She has lived in her current unit for 25 years, and she lives paycheck-to-paycheck.

Barrett, who Jacoby recently evicted using the Ellis Act, has been involved in protracted legal proceedings with her landlord in the past. Tobener said Jacoby and unit co-owner Jeanmarie Hryshko (Jacoby’s ex-wife) have collected more than $22,500 in illegal rent since October 2009, according to a ruling by the San Francisco Rent Board. That’s just the tip of the iceberg, according to Tobener, who said there was “much more prior” but that it extends beyond the statute of limitations.

Using a clause in the San Francisco Rent Board’s regulations, Jacoby claimed “financial hardship” when sued by Barrett over the illegal rent collection. “He tried to file a hardship exemption for the $22,500 at the Rent Board and he lost,” said Tobener, who also noted that Jacoby and Hryshko still owe Barrett an additional $8,000 because they executed the eviction before the reduced rent could cover the landlord’s debt to his tenants.

Barrett’s eviction, according to Tobener, was prompted by a lawsuit filed by tenants that claimed the landlords wouldn’t make “even the most basic repairs to the subject unit.” The lawsuit, which is still pending, claims that Jacoby and Hryshko have saved hundreds of thousands of dollars over the years, though they have an equity of $1.8 million on the two-unit property.

“That’s flat out untrue. There is a chronology that completely undercuts Mr. Tobener’s statement,” Zacks said, noting that aggressive moves by the tenants—specifically ”legal threats” from Tobener—ultimately resulted in the Ellis evictions. “This is exactly why we have the Ellis Act and why it’s an important right for property owners. The notion that [Jacoby] should have to pay $100,000 to stop being a landlord is not only unfair, it’s illegal by state law.”

The “aggressive moves” in question are chronicled in Tobener’s letter to David Wasserman, an attorney involved in the case. Tobener believes Jacoby and Hryshko have no intention of living together, and that they instead hope to rid their debt by evicting their rent-controlled tenants.

“If we are successful in proving that your clients have ulterior motives or are retaliating against the tenants, we will then file a wrongful eviction action against your clients,” Tobener wrote. “By now, I am sure your clients have wrongful eviction insurance. Perhaps they take comfort in the protections this insurance will provide them should they lose their unlawful detainer bid. But, what your clients may not know is that their insurance policy will not cover our largest seam of gold — the treble-damages penalties under the San Francisco Rent Ordinance for wrongful eviction.”

In the event of an unfavorable ruling, Zacks said he and his client don’t plan to remain complacent. “If the local judge agrees with the city,” he said. “We will appeal.”

Indeed, could be just the beginning of epic court battles between landlord and tenants advocates in San Francisco, where the hot housing market has triggered an eviction epidemic. The November ballot includes a tax on real estate speculation, which landlord groups have already threatened a lawsuit to challenge.

“Ellising a two-unit building is a real estate speculation play,” Tobener told the Guardian. “They are going to remodel and sell as TICs [tenants-in-common] to wealthy new owners. They cannot re-let the units, so they have to remodel and sell.”

 

Psychic Dream Astrology: July 23 – 29, 2014

Michael Redmond
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0

July 23-29, 2014

ARIES

March 21-April 19

If you accept your passions you can work to bring them into fruition, Aries. You are ready to take a huge leap, and while it may be a leap of faith, it needn’t be uninformed. Explore your desires (even the hidden, murky ones) and hold them up to the landscape of your circumstances to make the best possible choices.

TAURUS

April 20-May 20

Honor your feelings without getting swayed by your moods, Taurus. You need greater mastery over your emotions so you’re not stuck in a state of reaction, and instead get to enact more of what you want. Follow your truth, be damned the emotional intensities, this week. Make your life more wholly your own.

GEMINI

May 21-June 21

You’ve got this, Gemini! Now is the time to stay present, as so many things are coming together for you. Leverage your opportunities wisely by choosing to act in balanced and well-considered ways. Remember your goals and values, so that those of the people around you don’t sweep you up and take you off course.

CANCER

June 22-July 22

Don’t get tripped up by pridefulness. You may suffer disappointments or setbacks this week, but as much as it sucks they’re only temporary and can be dealt with. Try not to react too self protectively, Moonchild. Humility will help you win better than any defense strategy you come up with can.

LEO

July 23-Aug. 22

You are growing and changing, Leo, and there’s a big set of responsibilities on your shoulders now. Resist the urge to bring your old, familiar ways with you as you build new (and hopefully better!) foundations for yourself. Things don’t need to be settled quite yet; they only have to be positioned to help you move in the right direction.

VIRGO

Aug. 23-Sept. 22

Sometimes you’ve got to be firm with yourself, Virgo. Instead of wallowing in the complex and compelling realm of your mind, try having some restraint. If you don’t let yourself linger too long on the negative you will all of a sudden find yourself with all this space for contemplating the positive. Give it a try!

LIBRA

Sept. 23-Oct. 22

You are moving through some deep stuff and your attitude is 50% of what will carry you through this week. Don’t be scared of hoping for the best, even if you feel it’s prudent to prepare for the worst, at the same time. You are on your way to bigger and better things, Libra, so set the stage right.

SCORPIO

Oct. 23-Nov. 21

You’re able to see yourself and your world as they really are, so jump in and proactively deal with things. As cheesy as it sounds, every ending is opportunity for a new start, Scorpio; you only need to be brave enough to make things happen. Take risks that promise greater happiness this week.

SAGITTARIUS

Nov. 22-Dec. 21

Take it easy! This is not the week for running with knives, taking on new, nonurgent responsibilities, or generally pushing your luck. There’s nothing better than knowing yourself. Enjoy life without needing to keep on testing the limits of what you can handle. Pursue happiness, Sag.

CAPRICORN

Dec. 22-Jan. 19

The trouble with building a house in earthquake country is that no matter how solidly it’s built it’s the land itself that will decide if it stays or goes when the big one comes. There’s a lot that’s in your control, but even more that’s not, Cap. Embrace the parts of your life that are secure and go with the flow everywhere else.

AQUARIUS

Jan. 20-Feb. 18

If you don’t learn from your past, you’re nowhere. If you can’t step into your present, you’ll be unhinged. This is the time to dig into your own history and look for lessons that apply to where you’re at now. You have changed, but the core issues underlying your patterns have not, my friend. Go deep to live large.

PISCES

Feb. 19-March 20

Practice saying YES, dear Pisces. If fear doesn’t factor into your thinking, what might you see and do differently? Take chances to make your life happier and fuller. There is so much creative potential humming through your week that the only thing that can hold you back is your own self.

Want more in-depth, intuitive or astrological advice from Jessica? Schedule a one-on-one reading that can be done in person or by phone. Visit www.lovelanyadoo.com

 

Snap sounds

Michael Redmond
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1
Snap sounds

THE SOFT PINK TRUTH

Why Do The Heathen Rage? (Thrill Jockey)

How can you love music that hates you? Drew Daniel grapples with this question throughout his third album as The Soft Pink Truth, which seeks to reconcile his homosexuality with his love of black metal — a genre with a history of hatred and violence. His thesis: Black metal is already pretty gay. Why Do The Heathen Rage? consists of 10 disco covers of black metal songs, and in this context, the “blasphemers” and “fornicators” who inhabit these songs could easily be gay men as seen through a prejudiced lens. It’s a powerful thought, but it’s also kind of funny.

Why Do The Heathen Rage? is an admirable project, not least because Daniel is making himself a walking target for those who add to black metal’s hateful reputation. But it’s also a great listen. Humor is key to the album’s appeal, especially when Wye Oak’s Jenn Wasner puts on her best diva voice to sing about penetration and desecration. But there are also some gorgeous moments — the slow house chord that surfaces at the end of “Sadomatic Rites” is nothing short of breathtaking. This is one of the most audacious experimental albums I’ve ever heard, and easily one of the year’s best albums.

KIWI TIME

It’s Kiwi Time EP (Granted Access)

There are a million indie pop bands in the world, and it’s becoming increasingly obvious that most of them are just in it for the money. It’s increasingly rare to hear an indie pop band that sounds like it actually wants to play indie pop, and Kiwi Time is one of these. The San Francisco-via-Belarus quartet’s debut EP, It’s Kiwi Time, showcases a style that’s anything but original but nonetheless possesses a certain passion and respect for pop music history that’s all too rare in this field.

Opener “Butterfly” starts out sounding like a Spotify commercial, but the disco-esque vocals quickly lift the song to another plane. “Be My Love” uses the Beatles-pioneered trick of ending much faster than it should, and it’s a relief to hear a band use this tactic in a post-club era where songs often stretch far too long for anywhere but the dancefloor. Both of the album’s guitar solos are seamlessly integrated and lack any irony or tastelessness. Though It’s Kiwi Time is unlikely to elevate its creators above their countless ilk, it’s refreshing in that it fits as comfortably into the universal pop tradition as the indie-pop trend.

A SUNNY DAY IN GLASGOW

Sea When Absent (Lefse)

Shoegaze is one of those genres that seems spent if only because it’s easy to just slap the term on anything. Just as any garage band without a singer can be “post-rock,” any band with a shy vocalist and a lot of pedals can be “shoegaze.” Now more than a quarter of a decade after My Bloody Valentine dropped its debut, A Sunny Day In Glasgow is still pushing the style’s boundaries on their new Sea When Absent. The secret to the band’s success is viewing shoegaze as an approach rather than a genre, and as such, members are not picky about what they slather in reverb.

Rock, dance, hip-hop, and metal sounds swirl around in the maelstrom of this album, never settling but tearing by at thrilling speeds. Sea When Absent‘s kitchen-sink approach most likely owes to the fact that the band members mostly assembled this album via e-mail chain. (The slowed-down coughing at the end of “Double Dutch” suggests kind green buds may also have been involved, especially in tandem with the track’s name.) Though Sea When Absent is uneven and messy, it’s never dull — a rare quality in a genre that anyone with enough cash to blow on pedals can play.

A hard look at ‘A Hard Day’s Night’

Michael Redmond
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0
A hard look at ‘A Hard Day’s Night’

arts@sfbg.com

More than any other Beatles album, A Hard Day’s Night — which turned 50 last week — embodies the clichés surrounding the band’s early period. The cheesy harmonies, the “whoa”s and “yeah”s, the sappy love songs: All are there in abundance. It’s also the most obvious manifestation of the John/Paul dichotomy. Though the idea of John as the bad boy and Paul as the balladeer is largely accepted as a myth by Beatles fans, that dynamic is a lot closer to the truth than folks give it credit for, and on no album is it clearer than A Hard Day’s Night.

Paul’s songs are a bit silly, but spectacularly well-crafted. “And I Love Her” repeats the word “love” incessantly, but the twinkling background makes it seem transcendent. You’re more likely to come out of it remembering the four-note guitar riff that frames the song anyway. Better yet is “Can’t Buy Me Love.” The song’s chorus looks absurd on paper (“can’t buy me love/everybody tells me so/can’t buy me love/no no no no”), but it’s so catchy it’s hard not to ignore the lyrics.

John’s love songs are far more bitter and sarcastic. But it’s important to remember that John Lennon was more than just a media-ready “bad boy.” His reputation as a peacenik and a member of the most (supposedly) infallible paragon of pop music in history has sadly clouded his history of alleged neglect and abuse toward his children and various lovers. Knowing the latter gives an unpleasant context to the Lennon songs on this album.

I find “You Can’t Do That” unlistenable for this reason. The song is told from the perspective of a man whose girlfriend has been talking to another boy. He warns her that if he catches her doing it again, he’ll “let her down” and “leave her flat.” It’s hard not to interpret those as a reference to domestic violence, given that Lennon’s first wife, Cynthia, was a victim of such abuse. And the theme of the song evokes Lennon’s own worries concerning his second wife, Yoko Ono, whom he often dragged into the studio out of fears she would abscond with another man if left alone.

Another prominent theme is Lennon’s pride and his fixation on the shame of having had his girl cheat on him. This theme surfaces on “You Can’t Do That” (“if they’d seen you talking that way they’d laugh in my face”). It’s as bad on “If I Fell.” John asks his potential girlfriend if she’d “hurt my pride like her” then bluntly tells her how much he’d enjoy his ex’s misery at seeing the two of them together.

It’s less rational to believe that these songs are told from the perspective of an abuser so much as they illustrate Lennon’s own viewpoint as a real-life abuser. There’s nothing in these songs to suggest he’s playing a role of any sort. On one song, he does. “I’ll Cry Instead” finds Lennon simulating the illogical thoughts that come in the wake of anger and sadness. His girl left him, and he’d like to go out and “break hearts all ’round the world” as revenge, but he can’t, so he’ll cry instead.

The point of this song isn’t that he’d like to hurt her, but that he’s thinking irrationally — he’ll feel better once he’s had a good cry. Thus, I find it easier to separate this song from its creator. Nonetheless, A Hard Day’s Night is one of those albums — at least for me — where art and artist are too firmly entwined for the album not to suffer.

It would be ridiculous to accuse anyone who enjoys this album of being a misogynist. But I would object to anyone denying these issues are present. If these moral questions inhibit you from enjoying the art, so be it. But to dismiss these issues in order to preserve your prior appreciation of the music would be tantamount to ignoring those issues in the first place.

There are two Lennon songs that truly warm my heart on this album. The first, “When I Get Home,” is an ecstatic love song that finds its protagonist rushing home to be with his girl. That he has “a whole lot of things to tell her” suggests he’s actually interested in conversing with the girl, not just having sex. And he’ll love her the next day too, and accordingly make the same voyage. Now that’s love.

Second is the title track. On no other Beatles song is the interplay between John’s voice and Paul’s more effective. It’s difficult to even notice that the vocalist has shifted until the end of the first chorus. But it’s the gradual build in emotion that makes this song so brilliant. By the time the chorus is about to transition back into the verse, Paul is emoting relentlessly — and then in comes the verse again, with John’s dry voice snapping satisfyingly into place and contrasting icily with Paul’s catharsis. This song elevates the album substantially by itself, though A Hard Day’s Night remains my least favorite of the Beatles’ “great albums” (i.e. the ones with only original songs).

Though I generally avoid discussing my own sentimental attachment to albums in reviewing them, I’ll close this review by saying A Hard Day’s Night is by far the most important album in my life. As the first rock album I ever listened to, it ended my 12-year streak of aversion to music due to my sensory processing disorder. But I haven’t gone back to it much — simply because I listened to eight other Beatles albums immediately afterward, and every single one of them puts A Hard Day’s Night to shame.

 

Events: July 23 – 29, 2014

Michael Redmond
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0

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 23

Mission Bay Hidden Water Walk Meet at CalTrain station (south side plaza), Fourth St at King, SF; www.laborfest.net. 10am, free. Walking tour of the rapidly-changing Mission Bay area. Part of LaborFest 2014.

James Nestor Mechanics’ Institute, 57 Post, SF; www.milibrary.org. 6pm, $15. The author discusses Deep: Freediving, Renegade Science, and What the Ocean Tells Us About Ourselves.

“Taxi, Tech, and Rideshare” Redstone Building, 2940 16th St, SF; www.laborfest.net. 7pm, donations accepted. Forum and video screening on the subject of Uber and similar companies that are affecting the taxi industry. Part of LaborFest 2014.

THURSDAY 24

Tom Barbash Hattery, 414 Brannan, SF; www.booksinc.net. 7pm, free. The author discusses his work and writing, including Stay Up With Me, his recent short-story collection.

State of the City Forum Modern Times Bookstore Collective, 2919 24th St, SF; www.mtbs.com. 7-9pm, free. Discussion of gentrification issues with SF poet laureate Alejandro Murguia and community guest panelists.

FRIDAY 25

“Bike Design Project Reveal Party SF” PCH Lime Lab, 135 Mississippi, SF; www.oregonmanifest.com. 6-9:30pm, free. Check out next-generation bikes created by top designers and bike craftspeople at this reveal party, featuring custom-brewed, “bike-inspired” beer from Deschutes Brewery.

Gilroy Garlic Festival Christmas Park, Gilroy; www.gilroygarlicfestival.com. 10am-7pm, $10-20. Through Sun/27. Garlic is the pungent star of this annual food fair. Garlic ice cream gets all the press, but don’t sleep on the garlic fries, 2012’s most popular purchase (13,401 servings!)

Squeak Carnwath University Press Books, 2430 Bancroft, Berk; www.universitypressbooks.com. 6pm, free. The Oakland-based painter discusses her new book, Horizon on Fire: Squeak Carnwath Works on Paper, 1977-2013, containing over 90 images of her works from the past 35 years.

SATURDAY 26

Berkeley Kite Festival Cesar E. Chavez Park, Berkeley Marina. www.highlinekites.com. 10am-6pm, free. Through Sun/27. Because where else are you gonna see the world’s largest octopus kite?

Oakland 1946 General Strike Walk Lathan Square (meet at fountain), Telegraph at Broadway, Oakl; www.laborfest.net. Noon, free. Revisit key sites of Oakland’s historic “Work Holiday,” the last general strike ever to occur in the US. Part of LaborFest 2014.

“Off the Wall” Mission Cultural Center for Latino Arts, 2868 Mission, SF; www.missionculturalcenter.org. 7:30pm, free. Mission Grafica hosts this closing reception for its current screenprinting and woodcut exhibition, with a silent auction of pieces from the archives.

Ohtani Summer Bazaar Berkeley Higashi Honganji Buddhist Temple, 1524 Oregon, Berk; www.bombu.org. Today, 4-8pm; Sun/27, noon-5pm. Free. Japanese food is the focus of this two-day fest, with homemade Kushikatsu, sushi, teriyaki chicken, and other tasty treats. The temple is also known for its (American-style) chili.

Pedalfest Jack London Square, Broadway and Embarcadero, Oakl; www.pedalfestjacklondon.com. 11am-7pm, free. Celebrate biking at this festival, with bike-themed entertainment (“daredevils performing in a 30-foot Whiskeydrome”), “pedal-powered food,” a vintage bike show, bike demos, and more.

“Perverts Put Out! Dore Alley Edition” Center for Sex and Culture, 1349 Mission, SF; www.sexandculture.org. 8pm, $10-25. Readings by Jen Cross, Princess Cream Pie, Philip Huang, and others; hosted by Dr. Carol Queen and Simon Sheppard as a benefit for the CSC.

Vintage Paper Fair Hall of Flowers, Golden Gate Park, Ninth Ave at Lincoln, SF; www.vintagepaperfair.com. Today, 10am-6pm; Sun/26, 11am-5pm. Free. Huge vintage paper fair featuring antique postcards, prints, photography, Art Deco items, movie memorabilia, and more.

SUNDAY 27

LaborFest Book Fair Mission Cultural Center for Latino Arts, 2868 Mission, SF; www.laborfest.net. 10:30am, free. Numerous authors share their labor- and union-themed books and this day of readings and discussions. Part of LaborFest 2014.

Up Your Alley Fair Dore between Howard and Folsom, SF; www.folsomstreetfair.com/alley. 11am-6pm, $7 suggested donation. Folsom Street Fair’s naughty little brother fills Dore Alley with leather-clad shenanigans.

TUESDAY 29

Christopher Pollock St. Philip’s Catholic Church, 725 Diamond, SF; www.sanfranciscohistory.org. 7:30pm, $5. San Francisco History Association hosts this talk by the author of Reel San Francisco Stories: An Annotated Filmography of the Bay Area. *

 

What she sees

Michael Redmond
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3
What she sees

cheryl@sfbg.com

SFJFF The San Francisco Jewish Film Festival opens July 24 with The Green Prince, a documentary based on the memoir of Mosab Hassan Yousef. The son of a founding member of Hamas, he worked as an undercover agent for the Israeli secret service for 10 years, sharing a profound trust with his Shin Bet handler. The closing night film is also a documentary about a conflicted childhood that paves the way for tough choices later in life — but if Little White Lie is also a personal story, it’s a far less political one.

It’s a thoroughly American story, telling the tale of filmmaker Lacey Schwartz, who was raised by her parents — both products of “a long line of New York Jews” — in the decidedly homogeneous town of Woodstock. All of Schwartz’s grade-school friends had light skin and straight hair, while Schwartz was dark, with coarse curls. Lovingly recorded snapshots and home movies of her Bat Mitzvah and other occasions suggest a happy young life, but the “600-pound gorilla in the room,” as one relative puts it, was that Schwartz did not look white, despite ostensibly having white parents. Once she reached her teenage years — and particularly after she enrolled in a high school that had African American kids among its population — she began to realize the go-to family explanation (yeah … that one Sicilian way back in the family tree …) was nothing but a flimsy excuse holding back a mountain of denial.

Now in her 30s, Schwartz has overcome years of identity confusion and is self-confidently assertive in a manner that suggests years of therapy (and indeed, we see footage of sessions she filmed for a student project at Georgetown, where she found a supportive community among the Black Student Alliance). Her parents, however, are not quite as psychologically evolved, although her mother — a pleasant woman who has nonetheless been content to spend her life surfing the waves of passive-aggression — eventually opens up about the Schwartz family’s worst-kept secret. The aptly-titled Little White Lie clocks in at just over an hour, but it packs in a miniseries’ worth of emotional complexity and honesty. Schwartz will be on hand at the film’s San Francisco and Berkeley screenings — the Q&As are sure to be lively.

Another, rather different tale of women using cameras in pursuit of the truth surfaces in Judith Montell and Emmy Scharlatt’s In the Image, a doc about Palestinian women who work with Israeli human-rights NGO B’Tselem. Group members, who include high school girls and middle-aged mothers, are given small video cameras to keep an eye on protests, harassment, and anti-Palestinian violence perpetrated by Israeli soldiers and settlers. (In one disturbing clip, we see a small child launch a giant spitball at the lens.) Able to capture footage in areas deemed off-limits to mainstream journalists, In the Image shows how B’Tselem brings investigative reporting to the front lines, and then to the world (thanks, YouTube). It’s also an empowering outlet for the camerawomen-activists, for whom career opportunities are otherwise as rare as are opportunities for artistic expression.

Women are also front and center in a number of SFJFF’s stronger narrative entries. Writer-director Talya Lavie won Best Narrative Feature and the Nora Ephron Prize at Tribeca for Zero Motivation, a pitch-black comedy about female frenemies jammed into close quarters while doin’ time in the Israeli Defense Forces. Most movies prefer to show soldiers in combat, and Zero Motivation does just that — if “combat” means fighting to avoid boring admin work, to achieve the highest score at Minesweeper, to fuck up the most extravagantly, or with staple guns. “There’s a war going on — get a grip!” a superior officer reminds self-centered slacker Daffi (Nelly Tager), and that’s more or less the only current-affairs statement uttered in a film that’s mostly concerned with the agonizing task of achieving responsible young adulthood.

Another coming-of-age tale unfolds in Hanna’s Journey, director and co-writer Julia von Heinz’s drama about a Berlin business-school student (Karoline Schuch) whose résumé is lacking in the sort of warm-fuzzy community service that’ll elevate her in the cutthroat job market. Her estranged mother, who works with a German group placing volunteers in Israel, proves unexpectedly helpful, and Hanna is soon winging her way to work with developmentally disabled adults in Tel Aviv, leaving her sleek wardrobe and yuppie boyfriend behind.

Hanna’s Journey has all the potential to be a pat story about a German woman coming to terms not just with her own life choices, but with complicated family history (hint: it involves World War II) only a trip to Israel can unearth. There’s also a conveniently hunky Israeli (Doron Amit) in the mix. But! Schuch, who resembles Jessica Chastain, brings authenticity to a character who morphs from superficial to soulful in what might otherwise seem like too-rapid time. She also benefits from a subtle, nicely detailed script, which avoids stereotypes and oversimplification, and is not without moments of wicked humor (“German girls are easy — it’s the guilt complex!”)

Less successful at achieving subtelty is For a Woman, writer-director Diane Kurys’ latest autobiographical drama. Here, she explores her parents’ troubled marriage, inspired by a photograph of an uncle nobody in the family wanted to discuss. The fictionalized version begins as Kurys stand-in Anne (Sylvie Testud) and older sister Tania (Julie Ferrier) have just buried their mother, who was long-divorced from the girls’ ailing father.

For a Woman takes place mostly in flashbacks to post-war Lyon, where young Jewish couple Léna (Mélanie Thierry) and Michel (Benoit Magimel) settle and have Tania soon after. Russia-born Michel is a devoted Communist, and he’s overjoyed — yet understandably suspicious — when long-lost brother Jean (Nicolas Duvauchelle) suddenly appears in France, having somehow escaped the USSR. Michel’s political paranoia blinds him to the fact that Léna — who married him to escape a death camp (he didn’t know her, but couldn’t resist her icy blond beauty) — is bored with her stay-at-home-mom life, and has taken an unwholesome interest in his mysterious little bro.

There’s more to the story than that, of course, but For a Woman never goes much deeper than a made-for-TV melodrama: entertaining in the moment, but ultimately forgettable. And even gorgeous period details (Michel’s car is to die for) can’t make up for a frame story that feels rather wan next to the film’s cloak-and-dagger main plotline. 2

SAN FRANCISCO JEWISH FILM FESTIVAL

July 24-Aug. 10, most shows $10-$14

Various Bay Area venues

www.sfjff.org

 

Framing fame

Michael Redmond
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0
Framing fame

arts@sfbg.com

SFJFF Given the seemingly endless one-step-forward, two-steps-back nature of peace negotiations in the Middle East, it seems a fair bet that the San Francisco Jewish Film Festival (July 24-Aug. 10) will never stop being among the most politically charged among umpteen annual Bay Area film festivals. But considerably older than the state of Israel — and all attendant controversies — is an aspect of Jewish history that reliably provides a counterbalance to the inevitable heavyweight documentaries and dramas. That would be the ubiquity of Jewish talent in popular entertainment, as performers, presenters, and in every other necessary role.

An old saw that never exactly went away but nonetheless has come back with a vengeance in our alleged post-racial era is that perpetual complaint of the envious, paranoid, and prejudiced that “the Jews run Hollywood.” While it’s true that the movie biz has always has employed a large number of Jewish people, anti-Semites have only themselves to blame for originating this state of affairs. It was the entertainment industry’s lack of respectability in its fledgling years that created an opening for an industrious and imaginative minority who were frequently discouraged from sullying more prestigious art forms with their participation. For decades (arguably even now) many stars, studio moguls, and others tried to downplay or entirely hide their ethnic identity; the silent era, in particular, was a hotbed of biographical revisionism among Hollywood players. Nonetheless, Jewish business, tech, design, and acting talents established deep roots in moviemaking well before Hollywood as idea or physical entity existed, precisely because flickers were initially viewed as a lowbrow novelty unfit for the higher working castes. A very sad microcosm of that semi-hidden Jewish industry presence’s early heights and depths is offered offered by David Cairns and Paul Duane’s multinational documentary Natan, about a hugely important yet lamentably overlooked figure in French cinema. Romanian-born Bernard Natan went from projectionist to cinematographer, producer, film laboratory owner, and more in the medium’s early days. An innovator in the use of sound, color, wide screen, and other techniques, he helped rebuild French film production whole in the aftermath of World War I (in which he volunteered for military service, despite not yet being a legal French citizen).

His extraordinary, tireless enterprise made him an ideal candidate to take over pioneering and powerful, but financially teetering, Pathé Studios in 1929. He virtually rescued it from ruin, while steering it successfully into the talkie era. But despite his efforts, Pathé went bankrupt at the height of the Depression in 1935. Natan was the designated fall guy because he’d used legally questionable means in an attempt to cover losses created largely by people and institutions outside his control. There was a strong whiff of then-increasingly-fashionable anti-Semitism to his pillory: He was accused not only of fraud, but of hiding his Jewish heritage, and of being a pornographer.

The latter charge was accepted with remarkable gullibility by historians until quite recently. But as this doc suggests, painting Natan as a predatory perv making potentially career-ending stag reels makes as little sense realistically as it makes great sense propagandically. (We also see how vague the resemblance is between him and the dude or dudes in “smokers” he’d said to have performed in.) That taint helped usher him to prison in Nazi-occupied France, then to an unrecorded demise at Auschwitz. Shamefully, as late as 1948 his estate was still being sued by an invigorated Pathé. Natan is a belated reclamation of a forgotten cultural giant’s abused reputation.

Whether or not he ever actually had anything to do with filmed erotica, Natan would have been amazed by the career of another cosmopolitan Jew launched just a few years after his life’s end. Wiktor Ericsson’s A Life in Dirty Movies pays bemused biographical homage to what Annie Sprinkle calls “the Ingmar Bergman of porn.” Joe Sarno’s micro-budgeted features targeting “the raincoat crowd” from 1962 onward were exceptionally moody, complex and tortured psychodramas focused on being “as hot as you could without showing anything.” He met his soul mate in aspiring off-off-Broadway actress Peggy, who “could discuss John Ford and Truffaut and Renoir” while juggling all the logistical and fiscal details he was naturally oblivious to as a genu-wine artist.

It’s hard now to imagine the mixed excitement and bewilderment that must have been experienced by 42nd Street grindhouse patrons as they witnessed the likes of 1962’s horrors-of-swingerdom melodrama Sin in the Suburbs, or 1967’s claustrophobic self-portrait-of-a-neurotic-artist All the Sins of Sodom. Strangely not glimpsed in this documentary is the artistic apex of Sarno’s color softcore career, 1972’s Pirandello-esque Young Playthings.

The marketplace soon muscled him into hardcore. He was unhappy enough chronicling graphic XXX action to seriously risk financial ruin — and Peggy, still very much the histrionic type, is seen here swanning about as protector of his legacy. It’s lovely when his unexpectedly big 2010 New York Times obit affirms at last to her that he’s “famous like everybody else,” just as he’d always hoped, and as her scandalized Establishment parents figured he’d never be.

Other features in this year’s SFJFF area focus less on impresarios than on performers. The festival’s Freedom of Expression Award goes to the subject of Theodore Bikel: In the Shoes of Sholem Aleichem. This is one of those occasional, simultaneously valuable and dubious documentaries that enlarge upon a well-traveled celebrity solo stage showcase (Sholem Aleichem: Laughter Through Tears). The 90-year-old Bikel has done Aleichem’s characters (especially Tevye the Dairyman) so much that the excerpts here feel worn into a groove that congratulates both veteran performer and veteran viewers who recognize bits they’ve already seen. Who can object? He’s like a tabby grooming itself, essential adorability undeniable.

But he never allows himself an unrehearsed moment in what comes off first as an awfully self-congratulatory self-portrait, and secondly as a workmanlike salute to the single greatest shaper of all American Jewish cultural tropes. Shoes is the kind of proud, way-back machine tribute that makes you feel like you’re watching its 12th pledge week replay. Why are the likes of Gilbert Gottfried and Dr. Ruth the principal interviewees here? Because everybody else has moved on, maybe. Aleichem will always be classic, but to what extent do contemporary US Jews recognize themselves in his worldview?

Other entertainers showcased in SFJFF 2014 include The Secret Life of Uri Geller: Psychic Spy?, about the Tel Aviv-born “spoonbender” phenomenon. This UK documentary assumes a campy, skeptical stance re: his paranormal fame, while actually providing evidence that he’s far from a fraud. Go figure. An even more swinging figure of the era is the subject of Quality Balls: The David Steinberg Story. The dapper latter epitomized smart, improv-based standup comedy on a national stage once he’d left Chicago’s Second City for TV — surviving the 1969 cancellation his edgily political material purportedly forced upon the hugely popular The Smothers Brothers Comedy Hour. Those looking for an additional peek behind the comedic curtain might also check out documentary feature Comedy Warriors, about disabled Iraq and Afghanistan veterans taking the standup stage; Little Horribles: An Evening With Amy York Rubin, drawn from the popular online series; and thematic program “Jews in Shorts.”

Then there’s this year’s major excavation from the treasure-trove of forgotten US Yiddish cinema: 1938’s Mamele, in which late pixie queen Molly Picon plays a cheerfully suffering yenta Cinderella awaiting justice for her many sacrifices to a selfish family. She cooks, she cleans, she sings — what more do you want? Of course there’s a happy ending. 2

SAN FRANCISCO JEWISH FILM FESTIVAL

July 24-Aug. 10, most shows $10-$14

Various Bay Area venues

www.sfjff.org

King of the commons

Michael Redmond
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9
King of the commons

steve@sfbg.com

When Susan King attends the Aug. 24 Sunday Streets in the Mission District — the 50th incarnation of this car-free community gathering, coming the week before her 50th birthday — it will be her last as director of an event she started in 2008.

That successful run was made possible by King’s history as a progressive community organizer who also knew how to do fundraising, a rare combination that has made Sunday Streets more than just a bicycle event, a street faire, or a closure of streets to cars that the city imposes on its neighborhoods on a rotating basis.

Instead, King took the ciclovia concept that started in Bogota, Colombia in the late ’70s — the idea was creating temporary open space on streets usually dominated by cars (See “Towards Carfree Cities: Everybody into the streets,” SFBG Politics blog, 6/23/08) — and used it as a tool for building community and letting neighborhoods decide what they wanted from the event.

“I regard the organizing as community organizing work rather than event organizing, and that’s significant,” King told the Guardian. “We’re creating the canvas that community organizations can use.”

San Francisco was the third US city to borrow the ciclovia concept to create open streets events — Portland, Ore, was the first in June 2008, followed quickly by New York City — but the first to do one that didn’t include food trucks and commercial vending, which Sunday Streets doesn’t allow.

“It’s not a street fair, it’s about meeting your neighbors and trying new things,” King said, referring to free activities that include dance, yoga, and youth cycling classes and performances. “It’s a really different way of seeing your city. A street without cars looks and feels different.”

Now, after seeing how Sunday Streets can activate neighborhoods and build community, and watching the concept she helped pioneer be adopted in dozens of other cities, King says she’s ready for the next level.

“I want to apply what I know on a larger scale, ideally statewide,” King said of her future plans. “This really opened my eyes up to the possibilities.”

 

WORKING WITH COMMUNITIES

After a lifetime of progressive activism — from grassroots political campaigns to city advisory committees to working with the Green Party — King knew the value of listening to various community stakeholders and earning their trust.

“We try to be culturally competent and work with each neighborhood,” King said. “We want to work with the neighborhood instead of dropping something on the neighborhood.”

That distinction has been an important one, particularly in neighborhoods such as Bayview and the Western Addition, where there is a long history of City Hall officials and political do-gooders trying to impose plans on neighborhoods without their input and consent.

“We worked really closely together and she gave me a lot of leeway to do Sunday Streets in a way that it worked for the community,” said Rebecca Gallegos, who managed public relations for the Bayview Opera House 2010-2013. “I can’t say enough great words about Susan. She was a truly a mentor to me. They’re losing someone really great.”

The first Sunday Streets on Aug. 31, 2008, extended from the Embarcadero into Bayview, opening up that neighborhood to many new visitors. King cited a survey conducted at the event showing 54 percent of respondents had never been to Bayview before.

“Susan wore a lot of hats. Not only did she create community in all the neighborhoods in San Francisco, but she knew how to go after the money,” Gallegos told us. “She walks the walk and doesn’t just talk the talk.”

Meaghan Mitchell, who worked with the Fillmore Community Benefits District, also said King’s skills and perspective helped overcome the neighborhood’s skepticism about City Hall initiatives.

“Susan came in and was very warm and open to our concerns. She was a joy to work with,” said Mitchell, who went on to work with King on creating Play Streets 2013, an offshoot of Sunday Streets focused on children.

The neighborhood was still reeling from a massive redevelopment effort by the city that forced out much of its traditional African American population and left a trail of broken promises and mistrust. Mitchell said King had to spend a lot of time in community meetings and working with stakeholders to convince them Sunday Streets could be good for the neighborhood — efforts that paid off as the community embraced and helped shape the event.

“It was nice to know the Fillmore corridor could be included in something like this because we were used to not being included,” Mitchell told us. “Community organizing is not an easy job at all because you’re dealing with lots different personalities, but Susan is a pro.”

 

ROUGH START

It wasn’t community organizing that got King the job as much as her history with fundraising and business development for campaigns and organizations, ranging from the San Francisco Symphony to the San Francisco Women’s Building.

At the time, when city officials and nonprofit activists with the Mode Shift Working Group were talking about doing a ciclovia, King was worried that it would get caught up in the “bike-lash” against cyclists at a time when a lawsuit halted work on all bike projects in the city.

“I thought that would never fly,” King said. “We started Sunday Streets at the height of the anti-bike hysteria.”

But her contract with WalkSF to work on Masonic Avenue pedestrian improvements was coming to an end, she needed a job, and Sunday Streets needed a leader who could raise money to launch the event without city funds.

“I know how to raise money because I had a background in development,” said King, who raised the seed money for the first event with donations from the big health care organizations: Kaiser, Sutter Health/CPMC, and Catholic Healthcare West. And as a fiscal sponsor, she chose a nonprofit organization she loved, Livable City, for which Sunday Streets is now a $400,000 annual program.

King had a vision for Sunday Streets as an exercise in community-building that opens new avenues for people to work and play together.

Immediately, even before the first event, King and Sunday Streets ran into political opposition from the Fisherman’s Wharf Merchants Association, which was concerned that closing streets to cars would hurt business, and progressive members of the Board of Supervisors who were looking to tweak then-Mayor Gavin Newsom, whose office helped start the event.

City agencies ranging from the Police Department to Municipal Transportation Agency required Sunday Streets to pay the full costs for city services, something that even aggressive fundraising couldn’t overcome.

“We were in debt to every city department at the end of the second year. It was the elephant in the room going into that third year,” King said.

But the Mayor’s Office and SFMTA then-Director Nat Ford decided to make Sunday Streets an official city event, covering the city costs. “It was the key to success,” King said. “There’s no way to cover all the costs. The city really has to meet you halfway.”

King said that between the intensive community organizing work and dealing with the multitude of personalities and interests at City Hall, this was the toughest job she’s had.

“If I would have known what it would be like,” King said, “I would never have taken the job.”

 

SUNDAY STREETS SOARS

But King had just the right combination of skills and tenacity to make it work, elevating Sunday Streets into a successful and sustainable event that has served as a model for similar events around the country (including at least eight others also named Sunday Streets).

“The Mission one just blew up. It was instantly popular,” said King, who eventually dropped 24th Street from the route because it got just too congested. “But it’s the least supportive of our physical activity goals because it’s so crowded. It was really threatening to be more of a block party.”

That was antithetical to the ethos established by King, who has cracked down on drinking alcohol and unpermitted musical acts at Sunday Streets in order to keep the focus on being a family-friendly event based on fitness and community interaction.

Even the live performances that Sunday Streets hosts are required to have an interactive component. That encouragement of participation by attendees in a noncommercial setting drew from her history attending Burning Man, as well as fighting political battles against the commercialization of Golden Gate Park and other public spaces.

“It was my idea of what a community space should look like, although I didn’t invent it…We really want to support sustainability,” King said. “We’re not commodifying the public space. Everything at Sunday Streets is free, including bike rentals and repairs.”

As a bike event, the cycling community has lent strong support to Sunday Streets, with the San Francisco Bicycle Coalition strongly promoting it along the way.

“The success of Sunday Streets has been a game changer in showcasing how street space can be used so gloriously for purposes other than just moving and storing automobiles. At every Sunday Streets happening we are reminded that streets are for people too,” SFBC Director Leah Shahum told us. “Susan’s leadership has been such an important part of this success.”

Anti-Eviction Mapping Project highlights Urban Green’s record of displacement

Sasha Cuttler
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Anti-Eviction Mapping Project highlights Urban Green’s record of displacement

The Anti-Eviction Mapping Project’s latest creation illustrates the eviction history of Urban Green Investments, a San Francisco-based real estate company that was recently put in the spotlight with its controversial attempted eviction of 98-year-old Mary Elizabeth Phillips.

The Mapping Project’s graphic shows the properties owned by Urban Green and its affiliates, assets that number 385 units in more than 15 buildings. According to the Mapping Project, they have displaced “numerous tenants in the San Francisco Bay Area,” led by the efforts of CEO David McCloskey.

“The Anti-Eviction Mapping Project created this map to expose how large and interconnected the Urban Green and McCloskey network is,” said Erin McElroy of the Anti-Eviction Mapping Project. “We have been shocked at how many tenants they have pushed out and in how many cities they are flipping properties.”

Urban Green’s website advertises the company as a “fully integrated real estate company with brokerage, property management and development capacities.” The company’s strategy is to acquire property, then add value by “increasing efficiencies, enhancing entitlements, and employing carefully calibrated green renovations.”

In recent years, Urban Green has been busy displacing tenants, including in October 2012, when it purchased a multi-family portfolio with 130 units in San Francisco. According to the Mapping Project, the company is involved in around 40 LLCs, “many of which they use to evict tenants and then flip buildings.”

“Companies like Urban Green wouldn’t be evicting tenants like Mary Phillips if we stopped the profiting of buying up then evicting whole buildings just to sell them quickly,” San Francisco Tenants Union Director Ted Gullicksen said in a statement. “We need to pass a surtax on transfers of apartment buildings within five years of last sale this November if we are to stop these displacement practices of speculators like Urban Green.”

Gullicksen referred to the anti-speculation tax that tenant activists and progressive members of the Board of Supervisors has place on the November ballot. Representatives of Urban Green have not returned Guardian calls for comment, but we’ll update this post if and when we hear back.  

Even residents outside the Bay Area have not escaped the reach of the McCloskey family, which has a long history of evictions. Urban Green is currently a subsidiary of the business run by David McCloskey’s Thomas McCloskey: Cornerstone Holdings. The family owns property in Colorado (where Cornerstone is based), New York, Hawaii, and California, according to the Mapping Project. Perhaps most controversially, the family owns 300 acres of land in Hawaii, called Kealia Kai, which greatly angered the Kaua`i people in the 1990s. After buying the land for $17 million, McCloskey unsuccessfully attempted to build a private beach community with his land.

More than 2,000 miles of sea separate Hawaii from Phillips’ apartment, but the residents of both areas are suffering similar fates at the hands of the McCloskeys. And though Urban Green stated last week that it would not continue its attempt to evict Phillips, attorney Steve Collier of the Tenderloin Housing Clinic issued a statement making it clear that the company’s efforts are not over. According to Collier, Urban Green’s new strategy is to force out Brant, which would remove Phillips by default because she relies on Brant’s care.

“This has been my home for over 40 years and I don’t want to leave. . . I am just too old,” said Phillips, according to the Mapping Project’s website. “I didn’t sit down and cry, I just refused to believe it. They’re going to have to take me out of here feet first. Just because of your age, don’t let people push you around.”

Jimmy Cliff high-kicks his way through 50 years of music at the Fillmore

Steven T. Jones
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Jimmy Cliff high-kicks his way through 50 years of music at the Fillmore

Jimmy Cliff is a goddamn maniac. It’s about 45 minutes into his 90-minute set at the Fillmore on Saturday night [July 19], and while the sheer volume of ganja smoke in the packed room is making real movement — beyond the standard shuffle/sidestep, white reggae fan head-bob, and occasional 30-second pogo accompanied by the triumphant fist-in-the-air move — seem an insurmountable challenge for most everyone on the dancefloor, 66-year-old Jimmy Cliff is onstage in matching bright yellow-and-red pants, a robe, and a hat, quite literally running circles around everyone.

He’s high-kicking. He’s goose-stepping. He’s pouring buckets of sweat, but his stage presence is magnetic, his control of the room masterful. He never stops grinning. And, supported by a guitarist, a drummer, a bass player, a saxophone player, two keyboard players, two backup singers, and the Fillmore’s very dialed-in sound system, Jimmy Cliff sounds better than the last dozen 25- to 34-year-old rock stars I’ve heard live. He definitely has more energy.

jimmy

His voice is strong and somehow heartbreakingly clear, whether on songs from his most recent album, 2012’s Tim Armstrong-produced Rebirth — like “Afghanistan,” an update on the classic “Vietnam,” or the upbeat, surprisingly modern-sounding “One More” — or on theclassics, which are almost too many to list: “The Harder They Come,” of course, “You Can Get It If You Really Want,” a chill-inducing “Many Rivers To Cross,” “Sitting In Limbo,” etc., etc., etc. —  Cliff stomped and shouted through the last 50 years, darting back and forth not only throughout, you know, linear time and political movements, but the evolution of reggae and Jamaican music itself, tracing the genre from from ska to rocksteady to dancehall. Forget your knowledge of or even affinity for these genres; the weight of the air feels different in the presence of an artist who’s been through, and influenced, so much of what you take for granted as musical history. And I’m pretty sure that wasn’t just the ganja.

 

Jimmy Cliff “One More” from dan sampson on Vimeo.

In between songs, he bantered (fan: “We love you Jimmy!” Jimmy: “I love you more!” Another fan two minutes later: “We still love you Jimmy!” Jimmy: “I love you double!”), gave history lessons (focused mostly on artists he claims responsibility for discovering: Sam Cooke, Bob Marley), led an audience-participation section for a new song he’s working on, and pretended the show was over and he wouldn’t be coming back on at least three times. And then he came back, three times. The encore fake-out was such that by the time the band walked off stage for real and the house music came over the speakers, the stoned, smiling masses didn’t believe it, chanting “one more,” for a good 10 minutes, until a stage hand who looked like she hated life at that moment walked on to unplug something; she was greeted with a collective groan.

jimmy

It should be said here: I do not generally identify as a “reggae fan.” Having grown up in the Bay Area and having gone to Reggae on the River once when I was 10 (long story) and having attended a public California university full of dudes with board shorts and blacklight posters, I do not have fantastic associations with large throngs of mainly white people dancing to reggae music.

And yet: I found it difficult to dislike the bro-y, backward cap-sporting contingent at this show, which is a really weird feeling for me. They all just seemed too damn happy. Whatever Jimmy Cliff’s doing at age 66 to keep on doing what he did on Saturday, it’s keeping him healthy, and joyful, and it’s clearly catching. We should all be so lucky.

 

Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

Sue Vaughan
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Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

“We stopped checking for monsters under our beds when we realized they were inside us,” reads a quote often misattributed to the Joker in 2008’s The Dark Knight. The presenters at July 14’s “BAASICS.5: Monsters” event at ODC Theater capitalized on this concept, examining both modern monsters (though not “cars and corn syrup,” as one emcee mentioned at the beginning of the event) and monsters of yore. 

In past years, the organization has explored provocative topics such as the future (more weighted toward a possible uprising of robots rather than the nagging question “What am I going to do with my life?”) and psychiatric and neurologic disorders by juxtaposing science and art. It’s easy to find the right balance between the two for these past themes, but I wasn’t quite sure what to expect from this year’s event. 

It ended up being a lot less grisly than I’d imagined — with the exception of a video clip depicting maggots violating a honeybee. (I can never unsee that.) I felt as though I were in a college lecture hall, viewing PowerPoints — which were much more aesthetically pleasing than the Papyrus-laden slides my freshman year history professor used — and listening to professors, each with an exceptionally dry sense of humor. 

Presenters, ranging from shark conservationists to artists, shared their definitions of a monster, often turning the tables on common misconceptions. David McGuire revealed that more people die from vending machines than from shark attacks, emphasizing how it’s truly a man-eat-shark world out there today. (Ahem, shark fin soup…) Closing presenter Brynda Glazier tackled societal expectations of beauty and normalness, drawing inspiration from her personal life as her brother is disabled, expressing this through seemingly ugly and monstrous sculptures. 

BAASICS’ associate content producer Georgeann Sack — described in the program as a “neuroscientist by day and science communicator by night” — also performed low-key acoustic songs as a segue between presentations. In fact, her music was so low-key that I often had trouble hearing and understanding her, although I’m sure the lyrics to her song “Vampire Love Song” were clever. Sack’s standout performance was her rendition of the Creepshow’s “Zombies Ate Her Brain,” which sounded a little like a singer-songwriter’s DIY GarageBand-recorded music. 

However, the biggest letdown of the event were the short videos. With topics such as malaria research and glowing plants, the videos had potential but ultimately came off as too sterile. The two video shorts seemed as though they were filmed with a cheap digital camera — that highlighted distracting background noise while researchers spoke — and edited in iMovie. Other audience members were just as unimpressed as my friend and I were — I heard some people in the row behind us begin a slow clap after the second video. 

Art and science weren’t exactly joined in holy matrimony at this event. To me, BAASICS.5 was more like an evening well spent in your friend’s apartment — you know, the friend with a great appreciation for art who’s basically a living, breathing encyclopedia of weird shit — and can talk endlessly about it. Bring up Bigfoot and they’ll mention how the highest number of reported Bigfoot sightings originate from Humboldt County and slyly attribute this to the inhabitants’ altered perceptions. And did they mention how there’s a pseudo-porno titled Bigfoot’s Wild Weekend? (Here’s looking at you, Jill Miller!) Maybe zombies are more up your friend’s alley and they created an amazingly detailed zombie survey for people to fill out. (Your hard work definitely paid off, George Pfau.)

As for me, I checked off “Zombies are Vaudeville performers,” “The apocalypse is ‘the big one,’” and “After death, you take harp lessons” as my answers to Pfau’s zombie survey, which I picked up in the lobby afterwards. The real highlight of the event was being exposed to modern takes on tales as old as time, if the outside of the survey brochure, a Where’s Waldo-inspired scene even featuring Michael Jackson from his “Thriller” days, is anything to go by. 

San Franciscans could make death penalty ruling stick

Sasha Cuttler
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24
San Franciscans could make death penalty ruling stick

In the wake of yesterday’s [Wed/16] judicial ruling that California’s death penalty system is unconstitutional — with federal District Judge Cormac Carney calling it arbitrary and so subject to endless delay that it “serves no penological purpose” — San Franciscans could play a key role in converting the ruling into an abolition of capital punishment.

Right now, the ruling applies only to the execution of Ernest Dewayne Jones, who was sentenced to death in 1995 for a rape and murder, and not all 748 inmates now on Death Row in California. But yesterday’s ruling would end the death penalty in California if appealed to and upheld by the SF-based Ninth Circuit Court of Appeals.

The decision about whether to file that appeal and possibly a subsequent appeal to the US Supreme Court falls to Attorney General Kamala Harris, who has maintained her opposition to capital punishment since her days as San Francisco’s district attorney, where she bravely endured lots of political heat for refusing to file capital murder charges in the death of San Francisco Police Officer Isaac Espinoza.  

San Francisco Public Defender Jeff Adachi today issued a public statement praising yesterday’s ruling and calling for Harris not to appeal it: “Today’s ruling, which found California’s death penalty unconstitutional, is a monumental victory for justice. I commend U.S. District Judge Cormac Carney for his courage and wisdom. Not only is the death penalty arbitrarily imposed, as the judge noted, its history is fraught with racial bias and haunted by the hundreds of death row inmates who were later exonerated. I am hopeful that California Attorney General Kamala Harris will choose not to appeal this decision.” 

Harris spokesperson David Beltran told the Guardian that she hasn’t yet made a decision whether to appeal the case: “We are reviewing the ruling.”

Yet former Los Angeles District Attorney Gil Garcetti, who worked with SF-based Death Penalty Focus on the 2012 initiative campaign to repeal the death penalty (losing by less than 4 percentage points), told the Guardian that Harris has a tough choice to make.

“It’s an interesting decision. If the Attorney General doesn’t appeal it, then it applies just to this case, period,” Garcetti told us.

Although appeals in other cases could cite the logic of yesterday’s ruling, it has no precedent value unless affirmed by the Ninth Circuit. And Garcetti called Carney’s ruling “a pretty persuasive decision” that could be easily be affirmed, depending on which judges are assigned to the case. If so, that ruling would end the death penalty in California, just as 17 other states have already done.   

“The more interesting question is whether she would then appeal that ruling [to the US Supreme Court],” Garcetti said.

California voters have affirmed their support for the death penalty three times at the ballot, but those results and public opinion polling show that support for executions has been steadily eroding, in much the same way that generational change has led to overturning bans on same-sex marriage across the country.

Garcetti said he regularly speaks publicly about capital punishment, often to very conservative groups, and he said that the arguments against it have become so strong — including its high cost, racial and class bias, and lack of deterrent effect — that “over 95 percent of [death penalty supporters] change their opinions by the end of my talks.”

As for why the 2012 initiative fell about 250,000 votes short of success, Garcetti said, “We simply ran out of money to get the facts out. Once people hear the facts, it wins them over.”

Carney’s ruling reinforced many of the arguments that opponents have been made against the death penalty, noting that federal guarantees of due process create such long delays that a death sentence has become something “no rational jury or legislature could ever impose: life in prison, with the remote possibility of death.”

Aside from this ruling, California is also currently under a federal moratorium on executing prisoners until it can reform its lethal injection procedures, which a federal judge has said now amounts to cruel and unusual punishment.

“Justice requires that we end this charade once and for all,” Death Penalty Focus Executive Director Matt Cherry said in a prepared statement. “It’s time to replace California’s broken death penalty with life in prison without the possibility of parole. That’s the best way to ensure that convicted killers remain behind bars until they die, without wasting tens of millions of tax dollars every year on needless appeals. That’s justice that works, for everyone.”

#TBT: That time we called for California’s break-up

Jesse Hawthorne Ficks
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#TBT: That time we called for California’s break-up

So another scheme — in a long and rich history of such schemes — is attempting to break California into more digestible parts, and gaining national attention. Venture capitalist Tim Draper’s Six Californias is all but on the ballot, attempting to rechristen the Bay Area as Silicon Valley. Good luck with that! (Although we have to say, it might create the first openly weed-driven state economy — Northern California — which would be fun to see.)

In 2009, we, too, put forth a proposal to split California up — building on an idea from conservative Central California, and echoed in Daily Kos. It was a doozy, but a logical one, with some actual Six Californias affinity.

Our May 27 cover story, written by Rebecca Bowe and Tim Redmond, proposed to split Cali up for better management, representation, and economic/social justice, creating the playfully named states of Greenland, Sierrastan, Pinkostan, Coastland, Palm Sprawl, North Mexico, and Disney. (The accompanying cover, designed by Ben Hopfer and shown above, aped the New Yorker’s famous “New Yorkistan” cover.)  

The cover story itself grew from a Politics Blog post Tim Redmond had written in March of 2009, asking “Should California be split up?” — read the post below. As for creating states, we’ll be dreaming of Puerto Rico …

SHOULD CALIFORNIA BE SPLIT UP?

By Tim Redmond

It’s an interesting question. Nothing new, really — folks up in the northern part of the state have been talking about secession since the 1940s.

But these days, the talk has shifted from North-South to Central Valley-Coast.

There’s plenty of discussion going on — the New York Times
reports on a move by farmers in Visalia, who say those of us in the more liberal western regions don’t understand what it’s like in the center of the state:

Frustrated by what they call uninformed urban voters dictating faulty farm policy, Mr. Rogers and the other members of the movement have proposed splitting off 13 counties on the state’s coast, leaving the remaining 45, mostly inland, counties as the “real” California.

The reason, they say, is that people in those coastal counties, which include San Francisco and Los Angeles, simply do not understand what life is like in areas where the sea breezes do not reach.
“They think fish are more important than people, that pigs are treated mean and chickens should run loose,” said Mr. Rogers, who said he hitched a ride in 1940 to Visalia from Oklahoma to escape the Dust Bowl, with his wife and baby son in tow. “City people just don’t know what it takes to get food on their table.”

A former Assembly member is pushing a vertical split, too :

“Citizens of our once Golden State are frustrated and desperately concerned about the imposition of burdensome regulations, taxation, fees, fees and more fees, and bureaucratic intrusion into our daily lives and businesses,” declares downsizeca.org, the movement’s website.

And all of this comes as reformers form both the left and the right are talking about a new Constitutional Convention.

Athough some of the proponents are clearly nutty, the idea isn’t. As the noted political economist Gar Alperovitz wrote two years ago

The United States is almost certainly too big to be a meaningful democracy. What does “participatory democracy” mean in a continent? Sooner or later, a profound, probably regional, decentralization of the federal system may be all but inevitable.

He was talking about California becoming its own nation, but I’d argue that the same problem applies here. The budget crisis, the gridlock in Sacramento … all of it suggests that maybe California itself is too big to govern. There’s also clear evidence of dramatic regional differences. If you take the Central Valley from about Redding on down, and wrap in Orange County, you have a red state within a blue state where most of the residents say they want lower taxes and smaller government. Along the coast from about Sonoma County down to the southern part of Los Angeles County, you have people who generally would like to see taxes pay for public services. If the coast were a state, we could repeal Prop. 13 and build world-class schools. We’d have same-sex marriage and single-payer health insurance. And we’d still be one of the biggest states in America.

Now, I’m not sure the people in the central valley quite realize the problem with their plans, which is illustrated in this wonderful chart that comes from the office of Assemblywoman Noreen Evans of Santa Rosa (PDF).

The chart shows that the people who dislike and distrust government and don’t want to pay taxes are in fact the beneficiaries of the tax dollars that the rest of us pay. In California, tax money from the coast winds up paying for services in the central valley.

But that’s okay — if they don’t want our money any more, maybe we should tell them we’re fine with that. Maybe we should split the state not just in two but into three: Let the northern counties become the state of Jefferson, where pot will be legal and the residents will be so wealthy from taxes and exports of that cash crop that they’ll make oil-richAlaskans seem like paupers. Pot will be legal in the coastal communities, too, and will generate tax revenue.

We’ll have a Democratic governor, and overwhelmingly Democratic legislature, fewer prisons, better schools, cleaner air, no Ellis Act, rent controls on vacant apartments, more money for transit, strict gun control, support for immigrant rights … and no more of these ugly battles over budgets held hostage by right-wing Republicans.

And in the central valley, they can have their low taxes and conservative values, and watch their roads, schools, and public services go to hell. Maybe eventually they’ll figure it out.

Of course, we’d have to figure out the water rights. The folks in Jefferson would have control over much of the water that now goes South, and there would have to be some long-term water contracts between the states, but that shouldn’t be an insurmountable roadblock.

And the solution would create its own problems; The GOP would control the central state, and would move to abolish the Agricultural Labor Relations Act and make life even more miserable for farmworkers. But then, maybe Jefferson would turn off the water and big agribusiness would be SOL anyway.

As part of the break-up, all parties would have to agree to create a special relocation fund to help lonely, sad liberals from Modesto come west and to help lonely, sad Republicans in San Francisco to move east. I wonder which way the net migration would go.

Meanwhile, Evans has introduced my favorite tax bill of the year, AB 1342, and it’s related to this entire discussion. She wants to allow counties to levy their own income taxes and vehicle license fees. “We went through this difficult process of trying to arrive at a budget,” her spokesperson, Anthony Matthews, told me. “For those communities that have a different view of government [than the Republicans], this bill would let them raise their own taxes to fund their priorities.”

 

More funding promised to Central American child refugees, Lee warns of new influx

Erica Hanna
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More funding promised to Central American child refugees, Lee warns of new influx

Thousands of Central American children fleeing drug wars and poverty are overwhelming the San Francisco nonprofits who care for them, but new information from the mayor shows this may just be the beginning.

Yesterday, just hours before Supervisor David Campos’ resolution to bolster funding to aid the incoming refugees passed, Mayor Ed Lee warned the Guardian and other journalists that San Francisco is bracing for another influx of even more children in need.

“I met with the federal Health Service System to prepare our city for the possibility of a higher influx [of refugees],” he said. “The numbers seem to be coming in, though they haven’t reached us yet.”

Campos’ measure to focus funding on the needs of Central American child refugees passed by unanimous vote, likely because its sorely needed. Nonprofits in San Francisco like the Central American Resource Center (CARECEN) and other sounded the alarm: there are too many refugees, and not enough caregivers and legal aid to help them. More than 36,000 Central American children (often unaccompanied) entered the US illegally between Oct. 2013 and May this year, according to widely reported federal data. The number of Mexican children entering the US dropped to about 17,000. 

But why are they coming here? Many reasons, but mostly they’re fleeing violence. Honduras, for instance, was the murder capital of the world, with 79 people murdered in every 100,000, according to Reuters. Neighboring El Salvador didn’t do much better, with the second highest murder rate per capita in the world. 

“I am from Honduras and I just turned 16-years-old,” a teenager named Juan said, in a statement from CARECEN, “I came after my father was murdered and I feared for my life that I was next. If I go back I’m not sure that I can go back and live a good life. I want to go to school and live so I can grow up to do something good.”

False rumors in Central America that the US is offering permisos, meaning, permanent status, also spurred an influx of refugees. 

CARECEN’s Washington D.C., Los Angeles and San Francisco locations are advocating for President Barack Obama to declare a state of emergency and aid these refugees. But as the federal government grasps at possible solutions, local government is stepping in to help those reaching the city. 

“There’s a long history on this board on calling out against injustices we’ve seen in different parts of the world,” Campos said at the board yesterday as he introduced his measure, adding “They’re escaping not just political turmoil but violence in their lives.”

“These are children,” he said. 

Lee said one of the biggest challenges in helping these children may be a cultural one.

“I’m trying to wrap my arms around the fact that many of these kids don’t speak Spanish,” Lee told the Guardian yesterday. “They speak Mayan and different languages. This will test our cultural competency.”

Campos is planning a hearing on how best to focus funding to aid the child refugees, but hasn’t yet settled on a date for said hearing. 

At 50, turning a critical eye on ‘A Hard Day’s Night’

Steven T. Jones
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At 50, turning a critical eye on ‘A Hard Day’s Night’

More than any other Beatles album, A Hard Day’s Night — which turns 50 this week — embodies the cliches surrounding the band. The cheesy harmonies, the “whoa”s and “yeah”s, the sappy love songs, the teen-idol cuteness: All are there in abundance. It’s also the most obvious manifestation of the John/Paul dichotomy. Though the idea of John as the bad boy and Paul as the author of silly love songs is largely accepted as a myth by Beatles fans, it’s a lot closer to the truth than folks give it credit for, and on no album is it more clear than A Hard Day’s Night.

Every song on this album is a love song, befitting the Beatles’ stature at the time as teen idols and encouraging the tide of Beatlemania — at that time at its peak. Paul’s are quite silly, but the music is so effective it’s easy to forget the lyrics are a bit ridiculous. “And I Love Her” repeats the word “love” incessantly, but the twinkling background makes it seem transcendent. You’re more likely to come out of it remembering the four-note guitar riff that frames the song anyway.

Better yet is “Can’t Buy Me Love.” The song’s chorus looks absurd on paper (“can’t buy me love/everybody tells me so/can’t buy me love/no no no no”) but is so catchy it’s hard not to ignore the lyrics.  It’s also one of the most brutally short Beatles hits. Befitting a song rejecting materialism, there’s no excess or indulgence — just hooks. It goes by before you know what hit you, but it takes on a new life once it’s stuck in your head.

John’s love songs are far more bitter and sarcastic. But it’s important to remember that John Lennon was more than just a media-ready “bad boy.” His reputation as a peacenik and a member of the most (supposedly) infallible paragon of pop music in history has sadly clouded his history of neglect and abuse toward his children and various lovers. Knowing the latter gives an unpleasant context to the Lennon songs on this album.

I find “You Can’t Do That” unlistenable for this reason. The song is told from the perspective of a man whose girlfriend has been talking to another boy and who warns her that if he catches her doing it again, he’ll “let her down” and “leave her flat.” It’s hard not to interpret those as a reference to domestic violence given that Lennon’s first wife, Cynthia, was a victim of such abuse. And the theme of the song evokes Lennon’s own worries concerning his second wife, Yoko Ono, whom he often dragged into the studio out of fears she would abscond with another man if left alone.

As grievous is Lennon’s focus on his own pride and the shame of having had his girl cheat on him. This theme surfaces on “You Can’t Do That” (“Everybody’s green cuz I’m the one who won your love/But if they’d seen you talking that way they’d laugh in my face”). It’s as bad on “If I Fell.”  John asks his potential girlfriend if she’d “hurt my pride like her,” then bluntly tells her how much he’d enjoy his old girlfriend’s misery at seeing the two of them together.

It’s less rational to believe that these songs are told from the perspective of an abuser so much as illustrating Lennon’s own viewpoint as a real-life abuser. There’s nothing in these songs to suggest he’s playing a role of any sort. On one song, he does. “I’ll Cry Instead” is one of my favorite songs on the album. No song I’ve heard better captures the irrational thoughts that come with anger and sadness. His girl left him, and he’d like to go out and “break hearts all ’round the world” as revenge, but he can’t, so he’ll cry instead.

The point of “I’ll Cry Instead” isn’t that he’d like to hurt her, but that he’s angry and is thinking illogically as such. The sense is he’ll feel better once he’s had a good cry. Thus, it’s a bit easier to separate this song from its creator. Nonetheless, A Hard Day’s Night is one of those albums — at least for me — where art and artist are too firmly entwined for the album not to suffer.

It would be ridiculous to accuse anyone who enjoys this album of being a misogynist. But I would take issue with anyone who approaches this album with a mindset of denial. If these moral questions inhibit you from enjoying the art, so be it. But to dismiss these issues in order to preserve your prior appreciation of the music would be tantamount to ignoring those issues in the first place, and that would be an injustice.

There are, however, two Lennon songs that truly warm my heart on this album. “When I Get Home” is an ecstatic love song that finds its protagonist rushing home to be with his girl. The voyage home becomes an obstacle course — he’s telling people to “get out of my way” as he dreams of the night they’ll spend together. That he has “a whole lot of things to tell her” suggests he’s actually interested in conversing with the girl, not just having sex (though sex is certainly a part of it). And he’ll love her the next day too, and accordingly make the same voyage. Now that’s love.

Second is the title track — and that unplayable opening chord isn’t even half of it. On no other Beatles song is the interplay between John’s voice and Paul’s more effective. It’s difficult to even notice that the vocalist has shifted until the end of the first chorus. But it’s the gradual build in emotion that makes this song so brilliant. By the time the chorus is about to transition back into the verse, Paul is emoting relentlessly — “feeling you holding me TIIIGHT, TIIIIIGHT YEAH” — and then in comes the verse again, with John’s dry voice snapping satisfyingly into place and contrasting icily with Paul’s catharsis.
 
“A Hard Day’s Night” is by far the best song on the album, which would suffer without it. The only Beatles albums that have aged worse than A Hard Day’s Night are the psychedelic albums, and even those contain more moments that still confound than this album. Though it contains some truly transcendent songs and remains a milestone in the Beatles’ musical songwriting, A Hard Day’s Night remains the worst of the Beatles’ “great” albums.

Though I generally avoid discussing my own sentimental attachment to albums in reviewing them, I will close this review by saying A Hard Day’s Night is by far the most important album in my life. As the first rock album I ever listened to, it ended my 12-year streak of aversion to rock due to my sensory processing disorder, which made it nearly impossible for me to listen to music until then. But I haven’t gone back to it much — simply because I listened to eight other Beatles albums immediately afterward, and every single one of them puts A Hard Day’s Night to shame.

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