Independent

Stealing an election — and more

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news@sfbg.com

OPINION The emergence of apparent voter fraud that mars San Francisco’s mayoral election rightly resulted in calls for a federal investigation and federal monitors. It’s not the political interests of rival candidates that are at issue. It is the consequences of a dishonest election process for our city and its future.

Almost exactly 20 years ago, the McArthur Foundation, home of the genius awards, recognized the Democracy Index for showing the connection between voter participation and election and campaign reforms. The group found that the greater the transparency in political contributions, the stronger the protections against pay-to-play politics, and the greater protection against voter fraud, the higher voter participation climbed.

Today it doesn’t take a genius to recognize that sleazy tactics, end-runs around campaign rules, and dubious voting schemes do as good a job suppressing voter interest as the Republicans did in Florida in the 2000 election victory of George W. Bush, or poll taxes did in the past.

In this year’s mayoral election, we appear to be headed toward the bottom of a slippery slope. Campaigns hungry for advantage aren’t slow to recognize loopholes; soon a loophole becomes a strategy. What follows then is to push the envelope over the line. A candidate’s honorable intentions too quickly fall prey to the politics of convenience.

This year, with an interim mayor pledged not to run for election and thus avoid the entanglements of political self-interest, the expectation was raised high.

“My goal is to restore the trust in the mayor’s office of the past,” Mayor Ed Lee said in an interview just two weeks after assuming office.

In the ensuing months, Lee’s posture changed. He would be no better than the minimum standard required in the law, he said in his interview with the San Francisco Examiner.

He would not release the names of his finance committee, he claimed that a Run Ed Run effort was blameless after the Ethics Commission found a loophole that left them outside the city’s campaign laws, he complained that keeping track of contractor contributions was burdensome paperwork that he should be spared, and he maintained a close relationship with the leaders of independent expenditure committees while insisting he knew nothing of their activities.

When new tools can provide citizens with near instant access to everything from when the next bus comes to restaurant inspection scores, Lee’s campaign is supported by efforts that are deliberately opaque, designed to misinform if not to mislead.

Clearly this is not a mayor trying to leave the city, or its political process, better than he found it.

A 2011 mayoral victory under fraudulent terms would make everyone a loser, regardless of candidate preference.

It’s not just an election that might be “stolen” by unethical or illegal manipulation.

We would be defrauded of what we are entitled to have: the chance for all of us to forge a better future for the city without our optimism shattered by dishonest, unethical practices. That should not be sacrificed for anyone’s political advantage…

Larry Bush publishes citireport, a journal of politics and money

 

Editor’s notes

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tredmond@sfbg.com

I say it over and over again, because some people clearly aren’t paying attention:

Corruption matters.

When the mayor of San Francisco surrounds himself with people who don’t show any respect for campaign finance or ethics regulations, who think it’s fine to skirt (and possibly break) election laws, it undermines faith in local government.

And at a time when conservatives at the national and state level are mounting a concerted campaign to shrink, weaken and ultimately burn down government, the last thing San Francisco needs is to give them fuel.

Listen: When Willie Brown was mayor, a tax lawyer named Ron Chun was running for assessor. Generally a good guy, generally progressive, full of creative ideas. But when I asked him about how to get more revenue into the city, he said:

“Why should we bring in more revenue? Willie Brown’s just going to waste it on his cronies anyway.”

He wasn’t alone. A lot of generally progressive people felt as if paying taxes was throwing money down the sewer. Because everyone knew that Brown was hiring unqualified people, pouring cash into contracts for his pals, handing out raises and benefits to city workers who supported him — and treating critics as if they were traitors to the nation.

Mayor Lee says he doesn’t approve of what looks an awful lot like voter fraud and doesn’t support what the independent expenditure committees are doing in his name. But anyone with any sense knows that the IE groups and the Lee campaign and the Lee administration are all parts of a permanent floating crap game where the players move around but everybody knows everybody else and there’s no way to keep communications completely shut off. If Lee wanted these “independent” groups to quit using stencils to make sure voters choose him for mayor, these operators would stop.

But he talks to people like Brown, people who have disdain for honest, open government, and they tell him not to worry. These things blow over. Once he wins the election, it won’t matter.

But when you have a mayor who invites corrupt actors into the house, it does matter. It matters a lot.

Rep Clock

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Schedules are for Wed/26-Tues/1 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6.66. “Christian Divine’s Eco-Horror Spooktacular,” Sat, 8.

BALBOA 3630 Balboa, SF; www.unaff.org. $10. “United Nations Association Film Festival: Education is a Human Right:” Because We Were Beautiful (van Osch), Wed, 5:30; Paradise Hotel (Tzavella), Wed, 6:50; Forerunners (Wood), Wed, 8:10; Butterflies and Bulldozers (Dunsky and Dunsky), Wed, 9:20.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-15. “Berlin and Beyond Film Festival:” 100 Years of Hollywood – The Carl Laemmle Story (Christiansen, 2011), Wed, 2:30; Lila Lila (Gsponer, 2009), Wed, 4:30; If Not Us, Who? (Veiel, 2011), Wed, 7. For tickets (most shows $12) and more information, visit www.berlinbeyond.com. Metropolis (Lang, 1927), with Giorgio Moroder’s 1984 score, Thurs, 3:30, 5:30, 7:30, 9:15. “Kevin Smith’s Halloween Extravaganza:” •”Jay and Silent Bob Get Old: Live!”, Fri, 7, and Red State (Smith, 2011), Fri, 9:30. •The Red Shoes (Powell and Pressburger, 1948), Sat-Sun, 2:30, 7, and Black Narcissus (Powell and Pressburger, 1947), Sat-Sun, 4:55, 9:30. Closed Mon-Tues.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Margin Call (Chandor, 2011), call for dates and times. The Women on the Sixth Floor (Le Guay, 2011), Wed-Thurs, call for times. Gainsbourg: A Heroic Life (Star, 2010), Oct 28-Nov 3, call for times. !Woman Art Revolution (Hershman Leeson, 2011), Sun, 4:15.

LOST WEEKEND VIDEO 1034 Valencia, SF; www.lostweekendvideo.com. $5. “Zombie Battle Royale:” Kárate a muerte en Torremolinos (Temboury, 2003) with “Attack of the Zombie Luchadores!” (Bandera, 2011), Sun, 8.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10 (reservations required as seating is limited). “CinemaLit Film Series: Discovering Myrna Loy:” Love Crazy (Conway, 1941), Fri, 6.

NINTH STREET INDEPENDENT FILM CENTER 145 Ninth St, SF; www.cutthefilm.com. $6. Cut: Slicing Through the Myths of Circumcision (Ungar-Sargon), Sat, 7.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Alternative Visions:” “Films of Chick Strand” (1964-86), Wed, 7:30. “The Outsiders: New Hollywood Cinema in the Seventies:” The Private Files of J. Edgar Hoover (Cohen, 1978), Thurs, 7. “Rainer Werner Fassbender: Two Great Epics:” Berlin Alexanderplatz, Parts XII-XII, Epilogue (1979-80), Fri, 7. “A Theater Near You:” Summer (Rohmer, 1986), Sat, 6:30 and Sun, 4; Four Adventures of Reinette and Mirabelle (Rohmer, 1987), Sat, 8:30. “UCLA Festival of Preservation:” Waiting for Godot (Schneider, 1961), Sun, 6. “Kino-Eye: The Revolutionary Cinema of Dziga Vertov:” “Kino-Pravda Nos. 18, 20-22” (1924-25), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. San Francisco Documentary Film Festival, Wed-Thurs. For tickets (most shows $11) and more info, visit www.sfindie.com. Gainsbourg: The Man Who Loved Women (Forneri, 2011), Oct 28-Nov 3, 7, 9 (also Sat-Sun, 3, 5). “Halloween Spooktacular:” The Hunger (Scott, 1983), Fri, 7; Nadja (Almereyda, 1994), Fri, 9:30. “20th Anniversary Celebration for David Lynch’s Twin Peaks:” Laura (Preminger, 1944), Sat, 7; Twin Peaks: The Pilot (Lynch, 1990), Sat, 9; Twin Peaks: Fire Walk With Me (Lynch, 1992), Sat, 11. Zombie (Fulci, 1979/2011), Sat, 3, 5; Sun, 3, 5, 7,9; Mon, 7, 9. Some Guy Who Kills People (Perez, 2011), Tues, 7, 9. SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $12-13. “French Cinema Now:” Bachelor Days Are Over (Lewcowicz, 2011), Thurs, 6:15 and Sun, 9; Goodbye First Love (Hansen-Løve, 2011), Thurs, 9 and Sat, 4; Beautiful Lies (Salvadori, 2010), Fri, 1:30 and Sun, 6:30; The Moon Child (Gleize, 2010), Fri, 4 and Sat, 1; The Kid With a Bike (Dardenne and Dardenne, 2011), Fri, 7 and Sun, 4:30; The Long Falling (Provost, 2011), Fri, 9 and Sun, 1:30; The Minister (Schoeller, 2011), Sat, 6:30 and Mon, 9; Four Lovers (Cordier, 2010), Sat, 9:30 and Tues, 9; The Screen Illusion (Amalric, 2011), Mon, 7; Angèle and Tony (Delaporte, 2010), Tues, 7. SAN FRANCISCO PUBLIC LIBRARY Koret Auditorium, 100 Larkin, SF; www.sfpl.org. Free. “Thursdays at Noon Film Series: When Women Got the Vote:” Standing On My Sister’s Shoulders (2002), Thurs, noon. VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $5 donation. “The Vortex Incarnate:” •Phantom of the Paradise (De Palma, 1974), Thurs, 9, and Poor Devil (Scheerer, 1973), Thurs, 11. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “Mexico Rising: The Films of Nicolás Pereda:” Perpetuum Mobile (2009), Thurs, 7:30. Diary of a Country Priest (Bresson, 1951), Sat, 7:30; Sun, 2. New 60th anniversary print restoration.

Lee under fire over voter fraud accusations (VIDEO)

    Just over two weeks before election day, allegations of voter fraud carried out by agents of an independent expenditure committee created on behalf of Mayor Ed Lee threw a curveball into the San Francisco mayor’s race. Lee has been the clear front runner for months.

    Volunteers for Sen. Leland Yee, a mayoral candidate, accused Lee supporters working on behalf of the San Francisco Neighbor’s Alliance in Chinatown of marking ballots for San Francisco voters, guiding ballot selections with stencils, and collecting ballots in a bag, in apparent violation of election law. Videos of a voting station where the activity occurred were shot by Yee volunteers and aired on major media outlets.

    An onslaught of questions about these accusations were directed at Lee at a campaign event Oct. 24, in which Lt. Gov. Gavin Newsom, the former San Francisco mayor, announced his endorsement for Lee’s candidacy. Lee sought to distance himself from the independent expenditure committee in question, saying his own campaign has kept things clean. The mayor said he supported his rivals’ calls for investigation into any “fishy business,” and supported the idea of bringing in federal election monitors.

    Here’s a video of Lee getting the third degree from reporters at the press event, which was held in the office of a SoMa-based tech company called BranchOut.

Video by Rebecca Bowe

A vote-fraud video primer

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The Leland Yee campaign has produced a nice little video primer on the Ed Lee vote scandal. It’s short, to the point, and gives you a sense of what has been going on with volunteers who are supposedly independent from the official Lee campaign. Check it out after the jump.

Ed Lee’s voter fraud problem

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I realize that Mayor Ed Lee has denounced what appears to be clear voter fraud, but he has a problem and it’s not going to go away. Lee has allowed himself to be surrounded by the same sort of sleaze artists who circled around the administration of Willie Brown, doing the same sorts of things. And simply calling this crew and its actions “moronic” isn’t going to cut it.

Does anybody really believe that there’s no connection at all between Lee and the San Francisco Neighbors Alliance or the other independent expenditure committees working for Lee? No way that Rose Pak, Lee’s friend who meets with him regularly, is communicating with Enrique Pearce, the consultant for the IE, who worked with Pak on the Run Ed Run committee?

Does anybody really believe that this kind of activity would continue if Lee really wanted it to stop?

Lee’s supporters say the guy is new to this level of politics and is a little naive about the rules. Sorry — that’s not an excuse. The last thing we need is a mayor who doesn’t understand how important honest, open government is and who can’t figure out how to keep the likes of Enrique Pearce in line. Because then we get Willie Brown all over again.

Brown’s administration was full of lobbyists and so-called independent operators who had the mayor’s ear, got what they wanted — and had no accountability to anyone. Brown also had some problems with election laws.

This is a bad sign, and the district attorney ought to be investigating, fast — and releasing the results before Election Day.

 

Live Shots: Anika and Peanut Butter Wolf at the Independent

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“Sound check,” some dude yelled after the first song on Wednesday night. His voice was particularly loud, because at the Independent, there wasn’t much of a crowd. As if to clarify to his friends that he wasn’t just an obnoxious dick, he added, “Seriously, though.” Anika looked at him with a slightly amused glare. It was the largest reaction anyone would get out of the singer that night.

Were there sound issues? Well, Anika’s vocals weren’t exactly clear, but that was consistent with the sound of her debut record. Produced by Portishead’s Jeff Barrow and released in the the US on Stones Throw, the self-titled Anika album has an underwater, hollowed tone to it, as the singer runs through covers and a few original compositions. The Stones Throw label, which take pride in releasing material that’s as fun as it is challenging, called it an “experience in uneasy listening.” Which seems to be going a bit far: on the original ‘No One’s There,’ Anika’s seductively flat Nico voice combines with a dub beat and some snappy breaks in the chorus for a perfectly catchy effect. When they played it live, it got immediate recognition from the part of the crowd that came to hear it.

If anyone came to connect with the performer, however, they were most likely disappointed. A few times it looked like she was going to say something, before catching herself and pulling back. The occasional stretch of silence hung between songs, punctuated by what seemed to be the same person yelling, “You’re so sexy!” which didn’t seem to ease the tension between the singer and the audience.* Maybe the shyness is a calculated image, but mostly Anika just seemed awkward and not comfortable with being in front of a (small) audience. Which makes sense, given that the singer reportedly met Barrow while working as a political journalist in Berlin last year. It’s been a short road to where she is now.

Even seasoned artists had a hard time Wednesday night. The Starving Weirdos and Jel got sacrificed as openers, essentially just laying down material before a politely unenergetic crowd. Peanut Butter Wolf, the founder of Stones Throw, was a late addition to the lineup, perhaps to try and boost sales. (If there is crossover between Anika fans and Barrow’s, it wasn’t evident. Portishead plays a sold out show at the Greek Friday.) As a DJ, PBW can definitely get things going – his 45 party with Dam Funk at Public Works last spring was fantastic — but at best I can say it was a subdued performance. “I’d tell you to come up to the front of the stage,” PBW said before starting, “but you’d have to pull your chairs up,” referring to the cocktail tables the venue put in the back to make the place seem less empty. His VJ set, full of oddball clips of mostly quirky rock and roll, should have been a bonus, but the seated aspect made it sedate.

Anika’s voice has a lot of familiar character. Her covers of “Love Buzz” and “In the City” midway through had flattering Grace Slick elements to them. But closing the show with Talking Heads’ “Once in a Lifetime” made clear that she still has a ways to go as a performer. Maybe reading the lyrics out of a notebook is in keeping with the zeitgeist of studio recording – wherein Barrow reportedly told the singer to not rehearse – but there’s a difference between getting a live quality on record, and actually being live.

Peanut Butter Wolf partial VJ Set List
Public Image Limited — Bad Life
Kenneth Anger/Mick Jagger — Invocation of Demon Brother
Sparks — Beat the Clock
Josef K — Sorry for Laughing
New Order — Blue Monday
Jimi Hendrix — Hear My Train A Comin’
The Cure – 10:15 Saturday Night

Anika Set List
1 – Terry (Twinkle cover)
2 – End of the World (Skeeter Davis cover)
3 – No One’s There
4 – He Hit Me (And It Felt Like a Kiss) (The Crystals cover)
5 – Yang Yang (Yoko Ono cover)
6 – I Go To Sleep (Ray Davies cover)
7 – Masters of War?
8 – Love Buzz (Shocking Blue cover)
9 – In the City (Chromatics cover)
10 – Officer Officer
11 – Sadness Hides the Sun (Greta Ann cover)
12 – Once in a Lifetime (Talking Heads cover)

*If it’s creepy/inappropriate to yell something at a woman walking down the street, her standing on a stage probably doesn’t make it better for anyone.

The selling of Ed Lee

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steve@sfbg.com

Ed Lee has gone through a remarkable makeover in the last year, transformed from the mild-mannered city bureaucrat who reluctantly became interim mayor to a political powerhouse backed by wealthy special interests waging one of the best-funded and least transparent mayoral campaigns in modern San Francisco history.

The affable anti-politician who opened Room 200 up to a variety of groups and individuals that his predecessor had shut out — a trait that won Lee some progressive accolades, particularly during the budget season — has become an elusive mayoral candidate who skipped most of the debates, ducked his Guardian endorsement interview, and speaks mostly through prepared public statements peppered with contradictions that he won’t address.

The old Ed Lee is still in there somewhere, with his folksy charm and unshakable belief that there’s compromise and consensus possible on even the most divisive issues. But the Ed Lee that is running for mayor is largely a creation of the political operatives who pushed him to break his word and run, from brazen power brokers Willie Brown and Rose Pak to political consultants David Ho and Enrique Pearce to the wealthy backers who seek to maintain their control over the city.

So we thought it might be educational to retrace the steps that brought us to this moment, as they were covered at the time by the Guardian and other local media outlets.

Caretaker mayor

The story begins quite suddenly on Jan. 4, when the Board of Supervisors convened to consider a replacement for Gavin Newsom, who had been elected lieutenant governor but delayed his swearing-in to prevent the board from choosing a progressive interim mayor who might then have an advantage in the fall elections. Newsom and other political centrists insisted on a “caretaker mayor” who pledged to vacate the office after serving the final year of the current term.

It was the final regular meeting of the old board, four days before the four newly elected supervisors would take office. What had been a bare majority of progressive supervisors openly talked about naming former mayor Art Agnos, or Sheriff Michael Hennessey, or maybe Democratic Party Chair Aaron Peskin as a caretaker mayor.

When then-Sup. Bevan Dufty said he would support Hennessey, someone Newsom had already said was acceptable, the progressive supervisors decided to coalesce around Hennessey. That was mostly because the moderates on the board had suddenly united behind a rival candidate who had consistently said didn’t want the job: City Administrator Ed Lee.

Board President David Chiu was the first in the progressive bloc to breaks ranks and back Lee, saying that had long been his first choice. Dufty became the swing vote, and he abstained from voting as the marathon meeting passed the 10 p.m. mark, at which point he asked for a recess and walked down to Room 200 to consult with Newsom.

At the time, Dufty said no deals had been cut and that he was just looking for assurances that Lee wouldn’t run for a full term (Dufty was already running for mayor) and that he would defend the sanctuary city law. But during his endorsement interview with the Guardian last month, he confessed to another reason: Newsom told him that Hennessey had pledged to get rid of Chief-of-Staff Steve Kawa, a pro-downtown political fixer from the Brown era who was despised by progressive groups but liked by Dufty.

Chiu and others stressed Lee’s roots as a progressive tenants rights attorney, the importance of having a non-political technocrat close the ideological gap at City Hall and get things done, particularly on the budget. So everyone just hoped for the best.

“Run, Ed, Run”

The drumbeat began within just a couple months, with downtown-oriented politicos and Lee supporters urging him to run for mayor in the wake of a successful if controversial legislative push by Lee, Chiu, and Sup. Jane Kim to give million of dollars in tax breaks to Twitter and other businesses in the mid-Market and Tenderloin areas.

In mid-May, Pak and her allies created Progress for All, registering it as a “general civic education and public affairs” committee even though its sole purpose was to use large donations from corporations with city contracts or who had worked with Pak before to fund a high-profile “Run, Ed, Run” campaign, which plastered the city with posters featuring a likeness of Lee.

Initially, that campaign and its promotional materials were created by Pak (who refuses to speak to the Guardian) and political consultant Enrique Pearce (who did not return calls for this article) of Left Coast Communications, which had just run Kim’s successful D6 victory over progressive opponent Debra Walker, along with Pak protégé David Ho.

During that campaign, the Guardian and Bay Citizen discovered Pearce running an independent expenditure campaign called New Day for SF, funded mostly by Willie Brown, out of his office, despite bans of IEs coordinating with official campaigns. That tactic would repeat itself over the coming months, drawing criticism but never any sanctions from the toothless Ethics Commission. Pearce was hired by two more pro-Lee IEs: Committee for Effective City Management and SF Neighbor Alliance, for which he wrote the book The Ed Lee Story, a supposedly “unauthorized biography” filled with photos and personal details about Lee.

Publicly, the campaign was fronted by noted Brown allies such as his former planning commissioner Shelly Bradford-Bell, Pak allies including Chinatown Community Development Center director Gordon Chin, and a more surprising political figure, Christina Olague, a progressive board appointee to the Planning Commission. She had already surprised and disappointed some of her progressive allies on Feb. 28 when she endorsed Chiu for mayor during his campaign kickoff, and even more when she got behind Lee.

Olague recently told us the moves did indeed elicit scorn from some longtime allies, but she defends the latter decision as being based on Lee’s experience and willingness to dialogue with progressives who had been shut out by Newsom, noting that she had been asked to join the campaign by Chin. Olague also said the decision was partially strategic: “If we get progressives to support him early on, maybe we’ll have a seat at the table.”

Right up until the end, Lee told reporters that he planned to honor his word and not run. During a Guardian interview in July when we pressed him on the point, Lee said he would only run if every member of the Board of Supervisors asked him to, although about half the board publicly said that he shouldn’t, including Sup. Sean Elsbernd, who nominated him for interim mayor.

And then, just before the filing deadline in early August, Lee announced that he had changed his mind and was running for mayor, the powers of incumbency instant catapulting him into the frontrunner position where he remains today, according to the most recent poll by the Bay Citizen and University of San Francisco.

Lee the politician

With his late entry into the race and decision to forgo public financing and its attendant spending limits, one might think that Lee would have to campaign aggressively to keep his job. But most of the heavy lifting has so far been done by his taxpayer-financed Office of Communications (which issues press releases at least daily) and by corporate-funded surrogates in a series of coordinated “independent” groups (see Rebecca Bowe’s story, “The billionaires’ mayor”).

That has left Lee to simply act as mayor, where he’s made a series of decisions that favor the business community and complement the “jobs” mantra cited relentlessly by centrist politicians playing on people’s economic insecurities.

Yet Lee has been elusive on the campaign trail and to reporters who seek more detailed explanations about his stands on issue or contradictions in his positions, and his spokespersons sometimes offer only misleading doublespeak.

For example, Lee’s office announced plans to veto legislation by Sup. David Campos that would prevent businesses from meeting their city obligation to provide a minimum level of employee health benefits through health savings accounts that these businesses would then pocket at the end of the year, taking $50 million last year even though some of that money had been put in by restaurant customer’s paying 5 percent surcharges on their bills.

Although Campos, the five other supervisors who voted for the measure, four other mayoral candidates, and its many supporters in the labor and consumer rights movements maintained the money belonged to workers who desperately needed it to afford expensive health care, the San Francisco Chamber of Commerce said it was about “jobs” that would be protected only if businesses could keep that money.

Lee parroted the position but tried to push the political damage until after the election, issuing a statement entitled “Mayor Lee Convenes Group to Improve Health Care Access & Protect Jobs,” saying that he would seek to “develop a consensus strategy” on the divisive issue — one in which Campos said “we have a fundamental disagreement” — that would take weeks to play out.

After a frustrating back-and-forth with Lee Press Secretary Christine Falvey by email, it’s still unclear how to resolve the contradiction between whether businesses could seize these funds or whether they belonged to employees, with her latest statement being, “The Mayor absolutely wants these funds spent on providing access to quality primary and preventative health care because this is the business’s obligation under HCSO. Making sure that these funds go to pay for health care is the most important objective.”

Similarly, when police raided the OccupySF encampment on Oct. 5, Lee’s office issued a statement that was a classic case of politicians trying to have it both ways, expressing support for the movement and its goal to “occupy” public space, but also supporting the need to police to clear the encampment of those same occupiers.

But now, in the wake of a repeat raid on Oct. 16 that has inflamed passions on the issue, the question is whether Lee can run out the clock and retain the office he gained on the promise of being someone more than a typical politician.

Line blurred between Ed Lee campaign and “independent” expenditures

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From the public’s perspective, it’s hard to tell where the official Ed Lee for Mayor campaign – with its $500 limit on campaign donations – ends and where the various independent expenditure campaigns that we cover in this week’s issue begin. And that’s a problem given their ability to raise cash in unlimited amounts, coordinate with one another, and essentially act in concert with the official campaign.

For example, when San Francisco voters recently got telephone calls that began, “Hi, how are you? May I speak with ______. My name is ______ and I am a volunteer for Mayor Ed Lee. Will you support Mayor Ed Lee this upcoming election?”

The average voter would probably assume that the caller was a volunteer for the Lee campaign, but the phone banking was actually done by a group called Committee for Effective City Management, although that was never identified in the script that it was required to file with the Ethics Commission.

Campaign consultant David Looman, who runs the group, disputed that interpretation, telling us, “It doesn’t present as part of the campaign.” When we noted that was the obvious impression it left, he still wouldn’t budge, “It doesn’t say I’m a part of the campaign or anything of the sort.” When we asked whether they are required to identify themselves as an independent expenditure, he responded, “I’m not clear about that.”

Ethics Commission Executive Director John St. Croix said it is a clear violation of the law for an IE to identify itself as part of the official campaign. When he read him the script, he responded, “I don’t like it, but I can’t say off the top of my head it’s absolutely a violation because that isn’t the exact name of the campaign, which is Ed Lee for Mayor 2011.”

But clearly, voters are left with the impression that it’s a Lee campaign volunteer calling, right? “I think that’s a legitimate layman’s perspective on this, yes,” St. Croix responded.

Will the Ethics Commission do anything about this, or the numerous other campaign finance law violations that CitiReport, Bay Citizen, and other media outlets have been unearthing? Don’t bet on it, particularly because of the commission’s history of ignoring problems and overcomplicating its role in watchdogging even the most obvious violations.

For example, at tonight’s Ethics Commission hearing, the body is considering relaxing rules that require the reporting of big campaign finance expenditures within 24 hours, pushing that requirement back to the last week before the election — right after the Guardian’s final pre-election issue hits the streets. 

The bad old days

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tredmond@sfbg.com

Willie L. Brown, according to the Chronicle’s John Cote, is “a tremendously popular figure in the city, viewed by many as an avuncular man-about-town, elder statesman and a uniquely San Franciscan character.” The Ed Lee Story, a hagiographic campaign book, refers to Brown’s “characteristic showmanship and hypnotic charm.” Even Randy Shaw, the housing activist who clashed with Brown over gentrification once upon a time, now says in BeyondChron that Brown’s first term “was the most progressive of any mayor in modern San Francisco history.”

I feel as if I’m living in some sort of strange parallel universe, something out of Orwell or North Korea or the Soviet Union of the 1950s. It’s as if history never happened, as if the years between 1996 and 2004 have just vanished, have been deleted from San Francisco’s collective memory. It’s crazy.

I wonder:

What about the thousands and thousands of people who lost their homes and were tossed out of the city like refugees from a war? What about the rampant corruption at City Hall? What about the legions of unqualified political cronies who got good jobs and commission posts? What about the iron-fisted machine rule that kept local politics closed to all but the loyal insiders? Doesn’t any of that count?

Here are some things that absolutely, undeniable, demonstrably happened while Willie Brown was mayor:

Rents on the East Side of town, particularly in the Mission, tripled and sometimes quadrupled between 1996, when Brown took office, and 2004, when he left. Evictions more than tripled, too, and at one point more than 100 people a month were losing their homes. Most of those people were low-income, long-term tenants. They were forced out because richer people were moving into town during the dot-com boom and could pay more for those apartments. We called it the “Economic Cleansing of San Francisco.”

Every day, it seemed, we’d be out at another rally as the Tenants Union and the Mission Antidisplacement Coalition tried to save another family from the forces of gentrification. Every week, it seemed, another group house full of artists would be served an eviction notice. Everywhere you looked, nonprofits and small businesses were losing space to high-tech companies with plenty of money.

I watched the wrecking crew tear down a studio complex on Bryant Street, forcing more than 100 painters and photographers to leave, to make way for a high-tech office project that was approved even though it violated the local zoning laws — and then was never built. For two years, I walked to get my lunch past the empty hole in the ground that had once been a thriving community.

That was typical. Every developer who waved money in front of the mayor got a building permit, no matter how crazy, illogical or illegal the project was. The Planning Department and the Bureau of Building Inspection were little more than fronts for the lobbyists and Brown cronies who determined development policy in the city.

In October, 1999, the author Paulina Borsook wrote a famous piece in Salon called “How the Internet Ruined San Francisco.” I agreed with the sentiment; the influx of the dot-commers was wrecking all that was cool and weird about the city. But she got one point wrong: The Internet didn’t ruin anything. The Internet was, and is, a technology, a tool, something that, like most technological advances, can be used for good or evil.

Mayor Brown didn’t create the dot-com boom. Although he took credit for an awful lot of things, even Willie didn’t claim to have invented the Internet.

But what he did — and what ruined many San Francisco neighborhoods, and ruined the lives of many San Franciscans — was to let the economic cleansing of the city happen, without raising a finger to slow it down or prevent the evictions or protect the most vulnerable people in the city. Over and over, he encouraged it — by appointing commissioners and supervisors and department heads who allowed evictions and development and displacement in the name of growth and prosperity.

In fact, when reporters from the zine Maximum Rock ‘n’ Roll asked Brown about the problems facing poor people, he told them that the city had become so expensive that poor people would be better off living somewhere else.

Because he didn’t care about poor people, or tenants, or artists, or anyone who lacked money and flash and dazzle and clout. He was the worst kind of imperial mayor.

Here’s how we put in it in our 33rd anniversary issue in 1998:

“Let’s say the next major earthquake that hits San Francisco is of roughly the same magnitude of the Loma Prieta quake of 1989, or maybe just a bit stronger. Let’s say it wipes out right 1,000 houses and leave some 5,000 people homeless … and lets say a few unscrupulous profiteers take advantage of the shortages of critical supplies and charge desperate residents triple the normal rate for food, blankets and drinking water….

“The profiteers, speculators and charlatans would be exposed in the press and roundly, loudly denounced by every political and community leader in the city. The ones who didn’t wind up in jail would be forced to leave town in disgrace.”

Or else they wouldn’t. Because when an economic earthquake ravaged San Francisco during his term, Brown — the most powerful mayor in modern history, a guy who could have had an immense impact on what was happening — went to meet the speculators and profiteers with outstretched arms, welcomed them to the city and partied with them at night.

And when he ran for re-election, they thanked him by funding an astonishing $5 million campaign.

Then there was the corruption. Not only did Brown raise pay-to-play to a new art form, he filled the city payroll and key commissions with campaign workers, former political allies, and cronies, subverting the civil service system and undermining both the function of city agencies and public respect for local government. At least seven Brown appointees were indicted or investigated for criminal misconduct. While sentencing a Housing Authority official to five years in prison, U.S. District Judge Charles Legge decried what he called Third World-style corruption at San Francisco City Hall.

When Mayor Ed Lee, who is now seeking a full four-year term, was asked to give Brown a grade for his eight years in Room 200, Lee said: A-Plus.

Which makes us a little nervous. To say the least.

I’ve been going back through the Guardian archives over the past couple of weeks, picking out some great covers to reproduce (see page 18) and looking at four and a half decades of alternative news coverage of San Francisco. And if there’s one theme that emerges from the stacks and stacks and stacks of papers, it’s that local government matters.

In the 1960s, when the underground press was talking about sex, drugs and dropping out, the Guardian was talking about the ways big corporations were stealing the taxpayers’ money at City Hall. (Okay, the Guardian wrote about sex and drugs too. But sex and drugs and political scandals.)

The difference between the independent alternative press and the underground papers of the era was more than just thematic. The underground publishers were having a great time and celebrating culture, but none of those publications was built to last. From the day they published their first issue in October, 1966, Guardian founders Bruce Brugmann and Jean Dibble intended their paper to become a permanent part of San Francisco.

The Guardian quickly demonstrated that it had a different approach than a lot of the “New Left” — particularly when it came to electoral politics. At a time when some were saying that it made no difference whether Ronald Reagan or Pat Brown won the 1966 governor’s race, the Guardian made the key point about Reagan.

“California cannot afford the luxury of this kind of conservatism,” a Nov. 7, 1966 editorial stated. “Because of the millions of people coming to California, because San Francisco and Los Angeles soon will have the greatest concentration of urban power in history, because farm land and open space is vanishing at a suicidal rate, because technology is putting vast populations out of work, because of the social neglect of our cities and the uglification of our countryside, because we now have the knowledge to bridge the gap between the rich and the poor.”

And while the paper devoted considerable space to reporting on and opposing the war in Vietnam, it was also developing a reputation for local investigative reporting. One June 7, 1971 story showed how the city had all of its short-term deposits in local banks that paid no interest at all. The story parked an investigation by the city’s budget analyst, the resignation of the city treasurer — and a new investment policy that brought the city at least $1 million more revenue a year. (Adjusted for inflation, that’s about $5 million a year, times 40 years is a lot of money that the Guardian brought into the city coffers).

And from the start, the Guardian was a nonpartisan, independent foe of corruption, secrecy and undue influence at City Hall. So while the paper eagerly endorsed Phil Burton (and later his brother, John) for Congress and lauded their antiwar and environmental policies, the Guardian also blasted the Burtons for exercising undue influence back home. The paper strongly endorsed George Moscone for mayor — then denounced him when he fired Harvey Milk from a commission post after Milk had the gall to challenge the Moscone/Burton candidate for state Assembly.

The 1999 Sunshine Ordinance, which dramatically opened up City Hall records, was sponsored and promoted by the Guardian. Willie Brown and his cronies hated it.

It’s probably a misnomer to say that the Burtons, who were a dominant force in local politics in the 1970s and 1980s, ran an old-fashioned machine. They didn’t have the iron control over local politics and the patronage jobs system that the word “machine” implies.

But when Brown became mayor of San Francisco, he had all of that. Brown controlled eight solid votes on the Board of Supervisors (and through various political machinations, had managed to appoint most of them). “He ruled the building,” Assemblymember Tom Ammiano, who was a supervisor during those years, recalled. “If you defied him, you were radioactive.”

And one of the people who rose through the ranks as a loyal Brown appointee was Ed Lee. Who to this day thinks things in that administration were just dandy.

 

The Lee campaign complains about “guilt by association,” and that’s a legitimate point. Ed Lee isn’t Willie Brown. He’s a lot more open, a lot (a lot) more humble, and as numerous progressives have pointed out to us, his door is open. He doesn’t have the history of sleaze that pretty much defined Brown’s political career.

There will be no “Ed Lee Machine.” In fact, with district elections of supervisors pretty much guaranteeing more diffuse political power in the city, there will never be another mayor able to rule the way Brown did.

And these days, Brown’s clout could easily be overstated. Until he engineered the selection of Ed Lee as mayor, his power seemed to be waning. And even Mayor Lee hasn’t done everything that Brown wanted.

Of course, the Chronicle, which he helped immensely when Hearst Corp. bought the paper and had trouble with federal regulators, has helped Brown by giving him a column that created a new, sanitized persona.

But the important thing about the Brown administration was not so much who was in charge but who benefited. The landlords, the developers, the big corporations got pretty much what they wanted from City Hall. The rest of us got screwed.

And now those same interests — in some cases, the exact same people — who supported, promoted and worked with Willie Brown are backing Lee for mayor. If they thought he was going to be an independent progressive, that money and support wouldn’t be coming in. There are people who miss the machine days — and if they think Ed Lee is their guy, it’s reason to worry.

Corruption matters. When people lose faith in local government because they see the kind of sleaze that was daily business under Brown, then they stop wanting to pay taxes for public services. After all, the mayor is wasting our money already. Lee may be a decent guy — but some of the people he hangs out with, some of the people who are supporting him, have a long and very unpleasant history in this town. And all the time he was sitting there at City Hall, while Brown was running a corrupt operation that did lasting damage, Lee never raised a public finger in protest. I hate to see all the history forgotten when people decide who to support for mayor in November, 2011.

Maiden voyage

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arts@sfbg.com

MUSIC In 2010, while Franki Chan contemplated the pros and cons of bringing back his much-beloved Los Angeles-based Check Yo Ponytail party concert series, he wasn’t entirely sure where it all might lead. All he knew is that he’d become detached from the rapid takeover of the DJ scene and the lackluster dance parties that were becoming the norm.

At the urging of a friend, he resurrected the popular event from a two-year hiatus, knowing there was an undercurrent of exciting electronic artists and bands just waiting to break out. Now, less than a year and a half later, Chan is excitedly discussing the first ever 10-stop, two-week, cross-country Check Yo Ponytail tour featuring Spank Rock, the Death Set, Pictureplane, Big Freedia — and DJ Franki Chan.

Chan, who also runs the IHEARTCOMIX record label, started the first version of Check Yo Ponytail in 2006 at a downtown Los Angeles club called Safari Sam’s. The shows quickly developed momentum, filling a niche that perhaps people hadn’t yet realized they’d been yearning for.

“At the time, we were one of the first parties in town to put a focus on the breaking electro scene,” Chan says. “And that attitude of mixing bands, electronic artists, and DJs was part of what made it feel different.”

Soon word spread outside of Southern California and Check Yo Ponytail began drawing high-profile acts such as Justice, The Horrors, Boys Noize, Das Racist, even Andrew W.K., whose relentless party anthems actually might best encapsulate the underlying spirit Chan strives for at his shows.

Though it tends to favor electro, rock, and hip-hop most, the characteristics of a Check Yo Ponytail show go beyond genre limitations. Chan doesn’t care what kind of music an artist or band makes as long as it’s fun and adds to the whole tight-knit, projector screen visual-fueled, dance-minded feel of the evening.

“There’s a linear feeling in these bands’ outlook that is expressed in their energy and how they perform,” he says. “We want it to feel like a very family style show and we invite all the performers to join each other onstage. We hope audiences will come and want to be there from the start to the finish. It’s run like a show, but it feels more like a party.”

Spank Rock, a.k.a Naeem Juwan, is of those performers expressing energy on the tour — fresh off the release of his long-anticipated sophomore LP, Everything Is Boring and Everyone Is a Fucking Liar. Forgoing some of the straight-up party rap and Baltimore club bangers of his debut for a decidedly more all-over-the-map approach, the album’s excellent mashing of pop, electro, hip-hop, and rock sounds like a business card for the Check Yo Ponytail “sound.”

“I just get bored with the same genres, dealing with the same sounds,” Juwan says. “I think it’s a pretty cohesive album, but the parts that might feel weird or schizophrenic about it I think are just because it’s my album,” he continues, referencing his decision to release the album on his own label and break free of his previous one producer approach.

Juwan was very familiar with Check Yo Ponytail even before Chan asked him to headline its maiden tour voyage, describing it as “one of the few parties in LA where you get to be exposed to a lot of new independent dance and rock music together.” He’s also well acquainted with New Orleans bounce rapper Big Freedia, who guest stars on his new album, and the Death Set, after befriending the Australian electronic punk group during its stint living in Baltimore. This familiarity will no doubt come across at a show that is essentially a big group of friends traveling around the country, partying, and playing music together.

“Every act has a ton of energy,” Juwan says. “So if people are packed in there, I’m expecting it to get pretty wild.”

CHECK YO PONYTAIL TOUR

With Spank Rock, The Death Set, Pictureplane, Big Freedia, and DJ Franki Chan

Fri/21, 9pm, $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

Our Weekly Picks: October 19-25

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THURSDAY 20

Gabrielle Hamilton

Gabrielle Hamilton is a chef, first and foremost. Food critics praise her homegrown 30-seat New York City restaurant Prune. The James Beard Foundation (think the foodie Emmys) named her the Big Apple’s top chef this year. She topped Bobby Flay in an Iron Chef showdown. But when she’s not roasting duck breast or braising lamb shank, Hamilton is writing about cuisine for the New York Times, Saveur, Bon Appétit, and Food & Wine. She draws the connections between family and food in her earnest and unsparing New York Times bestselling memoir, Blood Bones & Butter: The Inadvertent Education of a Reluctant Chef. Tonight, she appears in conversation with with fellow food writer Kim Severson at Herbst Theater. (Kevin Lee)

8 p.m., $17–$27

Herbst Theater

401 Van Ness, SF

(415) 392-4400

www.cityarts.net

 

John Doe

Continuously proving himself a multi-talented singer-songwriter-actor and jack-of-all-artistic-trades, John Doe has been hitting the stage for more than three decades now, from his time with punk icons X, the Flesheaters, and the Knitters, to his solo releases and collaborations with a wide variety of other artists. His latest effort, Keeper (Yep Roc 2011) is his eighth solo foray, and features both stellar tunesmithing and punctuating contributions from guests including Patty Griffin, Jill Sobule, Don Was, and Steven Berlin. (Sean McCourt)

With Dead Rock West

8 p.m., $20

Great American Music Hall

859 O’Farrell St., SF

(415) 885-0750

www.gamh.com


FRIDAY 21

Four Tet Kieran Hebden a.k.a. abstract eclecticist Four Tet played two shows in the Bay Area last year: one headlining at the Independent and another an afternoon set at the Treasure Island Music Festival. The difference was night and day, illustrating that not so surprisingly, Four Tet was most at home in a particular setting. Underlining this point is a recent entry for super club Fabric’s FabricLive series. Not simply a typical set, Four Tet’s mix is designed to replicate a night out, a heady mix of UK garage, that’s at once full of steadily driving breaks and hypnotic backing tracks, as much about getting lost in the music as a particular space. (Ryan Prendiville)

With Rub N Tug (Thomas Bullock DJ Set), Jus Wan, Shawn Reynaldo, DJ Dials, Chris Orr, Eug, Ryury

10 p.m., $15-20 presale

103 Harriet, SF

(415) 431-1200

www.1015.com


Kendrick Lamar

On stage at a concert in Los Angeles this past August, Snoop Dogg, Dr. Dre, and Game “passed the torch” to a teary-eyed Kendrick Lamar, officially pronouncing him the new King of the West Coast. Born and raised in Compton, the 24-year-old rapper has gained swift notoriety thanks to a series of popular mixtapes including the critically acclaimed Section.80. He cites Tupac as his greatest influence, but he sounds more like underground legends Souls Of Mischief or the Pharcyde. In November, Lamar will head east to embark on a brief tour with none other than Drake. Before he does, you can catch him headlining the New Parish on Friday. (Frances Capell)

9 p.m., $23–$35

New Parish

579 18th St., Oakl.

(510) 444-7474

www.thenewparish.com


DJ Shadow

Like everyone else, I got lost in the instrumental hip-hop collages found on Endtroducing (1996), the first album from DJ Shadow. That album literally introduced turntablism to people like me who imagined it was merely that scratching sound heard on Beck and Garbage. I can even remember my conservative father (this is saying a lot) being intrigued by Endtroducing. Since then though, the progenitor of vinyl sampling has moved on to other, unforeseen sonic experiments. On his first studio album in five years, The Less You Know, The Better, Shadow builds up everything from bluesy jazz to rock and heavy metal; an experiment that may alienate some, perhaps, but thrill Shadow’s most devoted. (James H. Miller)

9 p.m. $35–$38

Regency Ballroom

1290 Sutter, SF

(800) 745-3000

wwww.theregencyballroom.com


SATURDAY 22

Masquerotica What this town really needs right about now is a Masquerade Ball — it must have been at least two weeks since the last one! Oh, I jest. But seriously, what we never can have too many of are large-scale Halloween bashes, alternatives to the sleeping giant of the currently-banned Castro Street frenzy. Adding another AnonEvent to the year’s calendar ‘o’ fun, Masquerotica will be an all-you-can-eat buffet of sensory overload, with nine separate stages showcasing acts as diverse as punk jazz-circus rock ensemble the Mutaytor, Kinky Salon’s zombie strippers, Unkle Paul’s Dark Kabaret, Asian Diva Girls a’plenty, and Annie Sprinkle and Margo St. James holding court at the Hooker’s Ball Brothello. There will be music, masques, a food court, and some very sexy people. Maybe you too? Costumes required. (Nicole Gluckstern)

8 p.m., $45–$100

Concourse Exhibition Center

635 Eighth St., SF

www.masquerotica.com


SUNDAY 23

Cashore Marionettes

Perhaps the universal attractiveness of puppets comes from the fact that they look so alive when we know full well that they are just a bunch of rags and wires. Borrowing his title from the Shakers, who danced to transport themselves into ecstasy, Joseph Cashore named his latest show after their most famous hymn “Simple Gifts.” He has been making and performing with marionettes for more than 20 years and has grown a master of his craft. There is nothing “simple” about the sophistication of his artistry and sheer acts of love he showers on his audiences. If you go with a child, you’ll open a world; if you don’t have an easily-available kid, take a friend. You’ll both be transported back to the time when “pulling strings” meant bliss. (Rita Felciano)

11 a.m. And 3 p.m. $24.

Cal Performances, Wheeler Hall, Berk.

(510) 642-9988

www.calperformances.org

 

Mammatus

Named after that most awe-inspiring of all cloud formations, Mammatus is as epic sounding as its meteorological namesake is visually stunning. Hailing from the wooded and misty hills of Santa Cruz, the three-piece reaches spectacularly ripping heights with songs like “Excellent Swordfight,” “Dragon of the Deep,” and “The Coast Explodes” (among others) that bridge the gap between jam band technical wizardry and space rock headbangery. Speaking of wizards, Mammatus used to perform with one, and although he no longer shares the stage, the atmosphere remains one friendly to bearded magicians with pointy hats and a long pipe filled with something pungent. When Gandalf indulges in “Longbottom Leaf,” (nudge, nudge, wink, wink) he listens to Mammatus. (Cooper Berkmoyer)

With Swanifant and San Francisco Watercooler

9 p.m., $10

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

Anthrax

Anthrax might be a junior partner when it comes to the massive “Big Four” concerts recently held in L.A. and New York, but it’s a giant on every other bill. The NYC-based band stayed ahead of the curve back in the day by embracing hardcore and hip-hop, and this year it put its arena-filling colleagues to shame with Worship Music, an urgent, heavy album that stands in sharp contrast to dreck like Lulu or Death Magnetic. At the head of a potent tour that includes Bay Area heroes Testament and Death Angel, Gotham’s finest thrashers plan to demonstrate their undiminished ferocity. (Ben Richardson)

With Testament, Death Angel, and Chimaira 6 p.m., $35 Warfield 982 Market, SF (415) 345-0900 www.thewarfieldtheatre.com


MONDAY 24

1Q84 release party

It goes without saying that Green Apple Books loves the written word. Just the other day, I was browsing its stacks and saw a staff note by an Ambrose Bierce collection that read, “If you haven’t read Ambrose Bierce you must be very, very sad.” It seems Green Apple also loves Japanese novelist Haruki Murakami. So much so that it’s hosting a release party, complete with a taco truck camped out front, for the author’s new novel, 1Q84. If you pre-order a copy of 1Q84 before it becomes available at midnight, Green Apple hooks you up with a taco and a beer, and then enters your name into a raffle to receive a signed copy — free of charge. Which are reasons, in turn, to love Green Apple. (Miller)

9:30 p.m. Free

Green Apple Bookstore

506 Clement, SF

(415) 387-2272

www.greenapplebooks.com

 

“An Injury to One”

Travis Wilkerson’s An Injury to One is nearly 10 years old, but I haven’t seen another American documentary since that comes close to matching its fire. The film takes up the buried history of Frank Little, an organizer murdered for aiding the workers of the aptly named Anaconda Mining Corporation in their efforts to unionize. Wilkerson deploys a radical form of graphic rhetoric to engage with this incendiary content. He’ll have nothing to do with the polite distance maintained in mainstream documentary (just think of all those nonfictions of ostensibly radical solidarities that come packaged in a conservative style made to order for HBO and PBS). Anyone with even a passing interest in political cinema and American class warfare needs to see this film. (Max Goldberg)

6:30 p.m., $9–$11

New People Cinema

1746 Post, SF

(415) 525-8630

www.sffs.org


TUESDAY 25

Gold Panda

I paid $10 to see Gold Panda. Supposed to be $15, but the woman gave me a deal, since the show’d been on for a while. Couldn’t tell from the crowd. Aside from a few people in the front, everyone was still. Eyes closed, a few were touching themselves. (No, not like that.) Just rubbing their neck or arm, minds so inwardly withdrawn and focused on hearing that their bodies wanted attention. The song was from 2010’s Lucky Shiner (a mix for DJ-Kicks comes out this month), mostly an airy drone, overlaid with choked, tightly modulated samples. Totally warm. After about fifteen seconds, the set was done, and I’ve meant to catch the rest ever since.(Prendiville)

With Jonti, and Blackout Make Out

8 p.m., $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


TUESDAY 25

Male Bonding

If you’ve heard Male Bonding’s Endless Now (Sub Pop), there’s a good chance it’s still stuck in your head. The noisy English trio swapped the lo-fi grunge of its debut Nothing Hurts for a sunny, slightly more polished pop-punk aesthetic on its second full length release. Despite its differences, a ’90s Seattle slacker rock influence remains clear throughout the short, infectious album. Endless Now boasts so much slurry, layered guitar, the band enlisted an additional member for tour. Put on a flannel and check ’em out. (Capell)

With WATERS and Lilac

8 p.m., $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

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Two words Ed Lee doesn’t want to hear

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There are two words no candidate wants to hear a month before Election Day:

“Criminal investigation.”

I give District Attorney George Gascon credit — I didn’t think he’d ever really go after municipal corruption, but he’s showing at least a bit of political spine here, launching an investigation into the dubious campaign contributions of Ed Lee. Lee’s campaign immediately said there would be full cooperation:

Last week, Mayor Lee’s campaign returned 23 contributions associated with Go Lorrie’s Shuttle company as a result of the campaign’s own concerns and compliance review. On Friday, the campaign reached out to the District Attorney’s Office, the U.S. Attorney’s Office, the Ethics Commission and the Fair Political Practices Commission to offer its full assistance in any investigation or review. It is important to note that there is nothing about the District Attorney’s statement or initiation of an investigation that suggests that Mayor Lee’s campaign is a target.

And at this point, there’s no way to know how far the investigation will go or what it will turn up. But the very fact that the D.A. is looking into all of this looks bad for Lee.

And if Gascon’s office scours not only the Go Lorrie’s money but the rest of Lee’s campaign contributions — and the independent expenditure committees that aren’t supposed to be coordinating with each other or the main campaign — he might find more.

Bill Barnes, who works with the Lee campaign, told me that he was doing everything possible to make sure the contributions were all on the up-and-up. “I can’t control the i.e.’s,” he said, “but we are very careful to follow the law.”

He also said that it’s possible there were mistakes, like the Go Lorrie’s money. “We’re raising a lot of money in a short period of time,” he said.

But you see, that’s part of the problem. You enter the race late, refuse to accept public financing (and abide by spending limits) and start trying to raise more than a million bucks in a few weeks, and it’s too easy to get sloppy. Add in the fact that people like Willie Brown, who never cared much for campaign contribution or ethics laws, are involved in the fundraising, and you have a recipe for real trouble.

 

The Ed Lee Story: Gack!

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I finally got a copy of The Ed Lee Story — a 132-page paperback hagiography written by campaign flak Enrique Pearce — and it’s way, way over the top. I shouldn’t even compare it to the lives of the saints — I read that stuff in Catholic School, and none of it was a sappy, drippy and utterly lacking in perspective as this. The Ed Lee Story reads like what it is — a giant, extended campaign flier, produced by a supposedly independent group backing Lee for mayor.

Willie Brown appears in the first chapter, speaking with “characteristic showmanship and hypnotic charm.” Pearce once worked for Matt Gonzalez — who ran for supervisor as a strong opponent of Brown’s administration and was such a critic of the City Hall corruption that the mayor represented that he didn’t even return Brown’s call congratulating him on winning a seat on the board. But he has either forgotten or utterly sanitized that era.

Rose Pak appears a page later, described as a “community leader and Ed’s longtime friend,” which is one way of putting it.

I haven’t been able to reach Pearce; if he calls me I’ll update this post. But in other news accounts, Pearce insists that Lee had no role in the great work — it’s described as an “unauthorized biography,” and Tony Winnicker, the press spokesperson for the official Ed Lee for Mayor campaign, told me his crew had nothing to do with it. Pearce must have gone to great lengths to get all those high school and college photos.

Most of the footnotes cite the San Francisco Examiner and BeyondChron, but Pearce interviewed a number of Lee’s old friends. This was a fair amount of work, including a lot of research.

But here’s the thing: Pearce (who’s had problems with keeping independent campaigns independent in the past) supposedly wrote this book without any help or support from any of the people who are involved in the Lee adminstration or in his campaign. I don’t know, maybe he did. But that’s the problem with these “independent expenditure” committees — it’s hard to believe that there’s truly zero coordination between the various groups that are working to get Lee elected.

The Chron notes at least one indication that it’s not all as independent as it seems:

Pearce said he never spoke with Lee or his family for the book. However, at a golf tournament at the Olympic Club on Monday to benefit the nonprofit Chinese Hospital, Lee’s wife, Anita, beamed as she signed copies.

Plus, he clearly worked with Pak on the book:

Pearce swears all those family photos in the book were gleaned from various websites and family friends. And where did Pearce get Lee’s favorite recipe for “No-longer secret Poongaloong” (basically spaghetti with frozen peas, corn and a half-bottle of Del Monte ketchup thrown in)?

“The recipe was from Rose,” he said. Of course it was.

And we know that Pak meets with the mayor regularly.

Independent expenditure committees have a huge advantage — they can raise unlimited money, in unlimited amounts. In San Francisco, candidates for mayor can only take money in $500 chunks, and can’t accept contributions from corporations or entities that have contracts with the city. The folks who funded this book — and we still don’t know who they are — were under no such regulations.

The trade off is that the “real” campaign — the one financed with regulated money — can’t have any contact at all with the “independent” campaign.

Meantime, Enrique Pearce wrote 132 pages about Ed Lee, complete with childhood anecdotes, pictures, interviews with old friends and testimonial statements — and the mayor’s office and campaign had no input, connection, information, coordination or anything? Geez. Maybe Kitty Kelley’s got some competition.

 

Live Shots: Prince Rama, Gang Gang Dance at the Independent

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A few things Prince Rama –  show openers at the Independent last night –  and Gang Gang Dance –  headliners – have in common: a whole lot of rhythm, standing tribal drumming (Gang Gang also has a more Western seated drummer), psychedelic visuals (damn, should have brought those drugs the kids take), and high, reverberating, Bollyhood-recalling vocals.

Sanskrit chanting-synth act Prince Rama, somewhat of a baby-Gang Gang-in-training, had a lesser stage show, but the crowd still dug it. As noted by Taraka and Nimai Larson, their families were in attendance (I peeked a whole lot of them dancing up front and in the balcony) –  wait, are they really sisters? No matter, midway through the set, there was a trust fall, during the song “Trust,” off the band’s newest release Trust Now (Paw Tracks). That’s a whole lot of trust for such a sparse front row. Also on stage: the folded-over visuals producer, mixing warped live feeds of the Larson girls, eerily recalling Grace Slick’s color-saturated turn in Jefferson Airplane’s “White Rabbit.”

Gang Gang had such a strangely unceremoniously beginning, each musician casually making their way to the stage, then slowly grabbing the instruments; with singer-percussionist Lizzi Bougatsos –  wearing an over-sized skeleton vest, winged patterned blouse, and killer heels – holding up a large drum and banging. It did help build momentum, likely the point. Once the thumping bass and beats got going, it was a memorizing set, full of rave-like whimsy and “positive energy” (the floating triangle projected on the screen behind included those words, and vibrated with the rest of the sound). Bougatsos moved effortlessly from standing drums to mic to rhythmic dance-off with peculiar on-stage “spirit guide” Taka Imamura (who spent much of the set maneuvering a plastic bag covered stick). The wicker-tree-hat-dance was an odd moment, but thankfully brief.

Gang Gang played nearly every song off newest release Eye Contact (4AD), and saved the older tracks for the encore. All the while, a figure in one of those Scream masks filmed from the sidelines and drank straight tequila. Clearly, an entertaining night. Though I can’t help but recognize that the areas of the crowd where plumes of smoke rose were likely having the most fun.

Our Weekly Picks: October 12-18

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WEDNESDAY 12

EMA

“Fuck California. You made me boring,” South Dakota-born Erika M. Anderson declares defiantly on “California,” the breakout single from her cathartic, crushing first proper release, Past Life Martyred Saints (Souterrain Transmissions, 2011). I find that hard to believe. Not the bit about our fair state — living in LA made me about as interesting as an insurance seminar. But the notion that anything could make the person who created this album boring seems completely implausible. An emotional haymaker of an album, the only thing less tedious than the ex-Gowns singer’s lyrics — dealing with topics like self-mutilation, drug addiction, violence, and sex with stunning, often uncomfortable clarity and candor — is her exceptionally versatile musical palette. Anderson tosses touches of drone, punk, indie, folk, and noise rock into a sonic stew that veers as wildly as her moods. If this is what a boring EMA sounds like, I shutter to think what an engaged one could do. (Dan Alvarez)

With Sister Crayon and Alexis

8 p.m., $12 The Independent 628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


Mary Roach

There goes Oakland’s Mary Roach, delving into the scientific questions we all ponder (and some we’re not smart enough to think of). In the past, she’s brought readers on her fringe forays into sex, dead bodies, and the afterlife. Her latest book, Packing for Mars, explores the weird, the unsavory, and the absurdity found in astronaut space exploration and on-earth preparation. What are the health risks associated with cramped space shuttles without showers? What does dispelled urine look like in space? In Packing, named the 2011 selection for One City One Book: San Francisco Reads, Roach provides the answers in grisly and entertaining detail.(Kevin Lee)

7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com


THURSDAY 13

“Flight of Poets”

Does a pinot grigio complement Matthew Zapruder’s charismatic poems, or would a spicy zinfandel? How about Jane Hirshfield’s disciplined lines and forceful resolutions, do they call for a bold merlot? Wine steward Christopher Sawyer puts these questions to rest at “Flight of Poets,” LitQuake’s poetry reading and wine bash, curated by Tess Taylor and Hollie Hardy. Sawyer matches a wine with each of the evening’s poets, including Gabrielle Calvocoressi, Robert Polito, Rachel Richardson, and C. J. Sage in addition to Zapruder (Come On All You Ghosts, 2010) and Hirshfield (Come, Thief). In the words of Charles Baudelaire: “It is time to be drunk!” (James H. Miller)

7 p.m., $15

Hotel Rex

562 Sutter, SF

(415) 440-4177

www.litquake.org

 

Daniel Francis Doyle

When his band broke up in 2005, Austin, Texas’s Daniel Francis Doyle needed a quick fix for performing live. He began experimenting with guitars duct-taped to amps and quickly evolved into a noisy force to be reckoned with. The one-man music machine uses a loop pedal, drum kit, and headset microphone to make a ruckus that’s frenetic, exhausting, and surprisingly melodic. After developing a respectable body of solo work, he’s come full circle — writing and performing with a backing band as well. Catch him shredding solo and showcasing collaborative work in a single fun-filled evening at Club Paradiso. (Frances Capell)

With Clarissa, and Hazel’s Wart

8 p.m., $5

Club Paradiso

2272 Telegraph, Oakl.

(510) 735-9095

www.disolounge.com

 

“Doc”

Novelist Paul Auster called him “a ravaged, burnt-out writer who had run aground on the shoals of his own consciousness;” Norman Mailer said he wanted to be “dictator of the world.” At any rate, everyone who knew H.L. “Doc” Humes agreed that he was a genius. Co-founder of The Paris Review, and author of two lauded political novels, Doc was integral to New York’s literary and jazz scenes in the 1950s. However, in the 1960s, Doc plunged into madness and paranoia, started ranting about government conspiracies, and gave up writing altogether. Doc (2008) is the documentary directed by his daughter, Immy. With interviews with Auster, Mailer, Timothy Leary, and others, the film traces the life and times of this eccentric genius. (Miller)

7:30 p.m., $12

Oddball Film+Video

275 Capp, SF

(415) 558-8112

info@oddballfilm.com

 

Enslaved

Musical evolution can be risky. For every storied success, there’s a fan-alienating failure. Thankfully, Enslaved belongs in the former category. Though begun in 1991 as a traditional Norwegian black metal outfit, the Bergen-based band gradually began introducing textural flourishes, epic, narrative arrangements, and tasteful clean singing. Now they rank among the most fascinating, progressive-inflected extreme metal bands in the business. Headlining a full American run should show off the quintet at its enveloping best — who says songs about Vikings can’t be psychedelic? Haunting, costumed buzz band Ghost had to drop off the bill due to visa issues, but Enslaved’s copious talent should staunch all complaints. (Ben Richardson)

With Alcest, Junius, and the Swizard

7:30 p.m., $17

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com


FRIDAY 14

Jeffrey Eugenides

It’s been nine long years since the publication of Jeffrey Eugenides’ ambitious, Pulitzer winning epic, Middle Sex (2002), and eighteen years since his stunning debut, The Virgin Suicides (1993), which makes the author’s new novel, The Marriage Plot, without a doubt one of the most anticipated of the decade (by those who have a good memory anyway). The Marriage Plot probes the lives of three Brown University seniors in the 1980s — Mitchell, Leonard, and Madeline — and the love triangle that emerges between them over the course of one year. At this free event at Books Inc., Eugenides (at long last) reads from his new novel. (Miller)

7 p.m., free

Books Inc. Opera Plaza

601 Van Ness, SF

(415)-776-1111

www.litquake.org

 

Frank Turner & the Sleeping Souls

It comes as no surprise that British folk-punk singer-songwriter Frank Turner is rapidly ascending as a cult hero here in the States. Though he often references geography, you don’t have to be from Winchester to identify with the punk poet’s themes of mortality, self-deprecation, and living life to the fullest. Prior to the release of his fourth album England Keep My Bones (Epitaph), Turner toured North America, completely selling out every date. Now the hardcore singer turned folk-troubadour returns to San Francisco with backing band the Sleeping Souls for a rowdy, beer-soaked night to remember. (Capell)

With Andrew Jackson Jihad and Into It. Over It.

8:30 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com


SATURDAY 15

“An Afternoon of Soccer Culture”

Soccer fans — football fans elsewhere in the world — might know Simon Kuper thanks to his Freakonomics-styled best-seller Soccernomics. In his latest, Soccer Men, the veteran sports journalist compiles the profiles he’s written over the past 15 years for papers like the Financial Times and the Times of London. Though the chapter titles are a superstar roll call (Messi, Rooney, Drogba, etc.), there’s no fawning here; instead, Kuper offers thoughtful, witty insights into what makes a particular player (or coach) valuable, distinctive, or well-liked (or hated) by the masses. He hits up local footy hotspot Edinburgh Castle to discuss “the beautiful game” with San Francisco author Alan Black (The Glorious World Cup). Only 970-something-ish days until Brazil 2014! (Cheryl Eddy)

3 p.m., free

Edinburgh Castle Pub

950 Geary, SF

(415) 885-4974

www.castlenews.com

 

“The Hula Show”

A sort of armchair travel, Na Lei Hulu I Ka Wekiu’s The Hula Show 2011 stops in India, Samoa, Turkey, Spain, and Wai’anae, blending traditional and contemporary forms of hula. The group brings the art back to California with a suite of chants called Hanohano Kapalakiko, which illustrate the bond between Hawaii and San Francisco. Following opening weekend of The Hula Show, performances on Oct. 22 and 23 feature guests from the Golden Gate Men’s Chorus. If you can’t make the trip to Hawaii this month, pick up a one-way ticket to The Hula Show, for a small taste of the culture. (Julie Potter)

8 p.m. also Sun/16, 4 p.m., $35–$45

Palace of Fine Arts Theater

3301 Lyon Street, SF

(415) 392-4400

www.naleihulu.org


SATURDAY 15

JFK of MSTRKRFT

Jesse F. Keeler, perhaps better known as JFK to fans of MSTRKRFT and Dim Mak Records, has not been neglecting his dance floor duties. Even while reuniting with Sebastien Grainger for the highly anticipated Death From Above 1979 reunion tour, JFK has been putting in time on the decks, frequently double slotted at festival dates. DFA 1979 is easily one of the biggest draws of this year’s Treasure Island Music Festival and JFK will follow the band’s sure to be frenzied dance-punk (emphasis on punk) performance on T.I. with a live DJ set back at Mezzanine, which will likely contain some extremely headbanging electro floor stompers. (Ryan Prendiville)

With Chain Gang of 1974, Sticky K, and DJ Morale

9:30 p.m. Doors, $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

Never Knows

A Korg-load of brainiacs are still making techno in this town (yay!). But how many of those brainiacs are merely getting in the way of their machines? “There’s something beautifully pure about techno. Too pure. That pristine, precise sound needs to be undermined, soiled and sullied. Electronic dance music usually relates a narrative that is predictably written. The only way I see out of this trap is to be more of a mediator between the machines as they each take turns telling their own side of the story: sometimes harmonious, sometimes revelatory, often conflicted.” That’s Marc Kate (a.k.a. Silence Fiction, a.k.a.Husband), one of SF’s more vital underground fixtures, whose latest, kind of spooky incarnation as Never Knows channels a tasty bank of live equipment as it folds old-school goth atmospheres into sweeping techscapes. Ensorcel much? Strap in for his debut at the essential, experimental monthly O.K. Hole party. (Marke B.)

With Water Borders and Total Accomplishment

9 p.m., $5

Amnesia

853 Valencia, SF.

(415) 970-0012

www.amnesiathebar.com

 

TUESDAY 18

Opeth

Iconoclastic. Idiosyncratic. Inimitable. Whichever “i”-adjective you prefer, Opeth has long occupied its very own metal subgenre, blending limber, tuneful death metal with progressive excursions and mournful clean singing. Despite melodic accomplishments, the music was often quite heavy, which is why Heritage, the band’s brand-new album, came as a surprise. Largely abandoning distorted guitars, Opeth perplexed critics and fans by releasing a full-fledged 70’s prog album, leaning heavily on organ parts and mastermind Mikael Âkerfeldt’s dulcet vocals. A national tour should help head-scratching headbangers embrace Opeth’s new direction, combining King Crimson-style epics with the band’s blast-beaten back catalogue. (Richardson)

With Katatonia

8 p.m., $27

The Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com


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Classic style

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arts@sfbg.com

MUSIC “We were listening to these old [Jamaican]records that were just incredibly psychedelic and very alive — breathing and pumping with groovy consciousness,” says Alex deLanda, bassist of San Franciscan outfit, Extra Classic. “But they were recorded on four-tracks.”

As deLanda gushes about this style of music, vocalist-keyboardist  Adrianne “Dri” Verhoeven (formerly of emo-pop’s the Anniversary) nods in agreement, stroking the couple’s tangerine-colored cat, Carol. Their other cat, King Jonezers, circles as they sit in the living room of their Richmond District apartment.

To simulate the sonic texture on old recordings of Jamaican music, Verhoeven and deLanda made a conscious decision to record Extra Classic’s full-length, Your Light Like White Lightning, Your Light Like a Laser Beam (Manimal Vinyl), all-analog on eight-track tape with equipment from the ’60s and ’70s. To celebrate the album’s vinyl release, Extra Classic will play the Make-Out Room with King Tuff and Audacity on Oct. 26; but first, a gig opening for Moonface at the Independent this Tuesday, Oct. 18.

Working on old cars and working on vintage recording equipment is basically the same thing, deLanda says recalling memories of working on his father’s Chevys from the ’40s and ’50s. “I’m underneath [the recording equipment], cussing, and trying to solder some wires together — trying to make it work,” deLanda laughs. “It just made sense [to record all-analog].” Vanhoeven joins in the laughter, her pants now blanketed in cat fur.

The technological limitations of analog exaggerated the interconnectedness of Extra Classic’s songwriting process and recording method, rendering it challenging at times. “[We had] to think inside of eight tracks,” Verhoeven says. DeLanda (formerly of Casiotone For The Painfully Alone and the Papercuts) adds, “If we weren’t able to express ourselves with eight tracks, then we needed to go back to the drawing board.”

The absence of ProTools notwithstanding, Extra Classic masterfully braids elements of Jamaican music, which include dub, reggae, Caribbean music, and American R&B/soul/pop — among others — into its own brand of multidimensional grooves. Despite technical constraints, they were able to create a kaleidoscopic album that impeccably honors the style of music that they love dearly.

Borrowing its moniker from the eponymous album by reggae legend, Gregory Issacs, Extra Classic was also inspired by Jamaican music thematically. “I drew inspiration, as a singer, from the amount of feeling and soul in [this] whole genre of music,” Verhoeven says. “Times are tough. You got a lot of shit stacked up against you, but [you find] some sort of way out and hope.”

This is strikingly evident in “You Can’t Bring Me Down,” an anthem of strength, resilience, and empowerment. Upon a cursory listen, it’d be understandable if someone was to categorize Extra Classic as a reggae band. But in songs such as “Angel Eyes,” Verhoeven’s vocals gently hover above an airy arrangement, recalling ’50s American pop, à la Patti Page. In the closer, “Give Me Your Love,” her richly nuanced and soulful voice emanates more of an R&B vibe.

Verhoeven attests to the band’s inherently eclectic sound, “I’d say we’re influenced by reggae music. But, I wouldn’t say that’s the kind of band we are. I would say we’re psychedelic dub rock.”

Petting King Jonezers, deLanda interjects, “It’s like the rock and roll’ers think we’re reggae. And the reggae guys think we’re rock and roll.” 

EXTRA CLASSIC

With Moonface Tues/18, 8 p.m., $15

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

With King Tuff and Audacity

Oct. 26, 10 p.m., $10

Make-Out Room

3225 22nd St., SF

(415) 647-2886

www.makeoutroom.com

Chronicle taps Chiu, opening up the mayoral field

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David Chiu has snagged the mayoral endorsement of the San Francisco Chronicle, beefing up his fairly paltry list of endorsers and giving his campaign something to trumpet with its hefty cash reserves in the final weeks. Most importantly, the endorsement opens up the race and probably hurts perceived frontrunner Ed Lee.

After the Examiner endorsed Lee as its top pick, it would have solidified the appointed incumbent mayor’s standing as the consensus pick of pro-business centrists – who always have a strong influence in the mayor’s race – if the Chron had also gone that way. But now, both that vote and the Chinese-American vote will be divided, with some of the latter also picked up by Leland Yee, who got the top endorsements of the Labor Council, Sierra Club, and other influential groups.

The Chronicle endorsement probably gives the biggest advantage to Dennis Herrera, who has placed second in most public opinion polls as well as many endorsements, including getting the second place nod in the Guardian, Examiner, Labor Council, Milk Club, San Francisco Democratic Party, and others – an impressive array that covers the full spectrum of San Francisco politics.

Lee, Herrera, and Jeff Adachi also got praised by the Chronicle in a companion editorial entitled “Three other candidates to consider,” and that will also help Adachi with his left-right punch and outsider appeal, making him another candidate who can’t be counted out just yet.

By opening up the mayor’s race and creating a more complicated calculus in the city’s ranked choice voting system, the varied list of endorsements and the dethroning of Lee as a done-deal could also be a boon to John Avalos, the consensus pick of the city’s left who has a long list of first place endorsements (including those of the Guardian, Milk Club, SF Democratic Party, and many others). Avalos could capitalize on the rising frustration with corporate America that is embodied to the Occupy movement, which he has been nearly alone among the mayoral field in actively supporting.

(You can read an Excel file of the endorsements of various San Francisco organizations, which we’ll periodically update, here.)

While the Lee campaign and the many independent expenditure groups that back him are expected to vastly outspend the rest of the field, obscene displays of corporate cash could end up backfiring this year, particularly against the backdrop of OccupySF and the business community’s raid on employee health care funds and deceptive surcharges on restaurant bills, which Chiu and Lee have been supporting.

Bottom line: with four weeks left until Election Day, the mayor’s race is still up for grabs.

The Performant: They Might be Giants

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Stagewerx and SF Olympians Festival go big

It’s been a turbulent year for independent theatre and its venues. In truth, every year is. But there have been some notable successes too. Boxcar Theatre’s addition of a new studio space on Hyde Street. Bindlestiff Theatre’s move into a new permanent space. Pianofight’s acquisition of the old Original Joe’s in order to create a hybrid performance space-kitchen-bar right on the cutting edge of the downtown theatre district. 

And just in case you’d missed it, this is the month that Stagewerx, which has been occupying the literal theatrical underground in the basement of 533 Sutter since 2007, has opened the doors of its community-supported digs at 446 Valencia — the old Intersection for the Arts space. 

Following a big-ticket Kickstarter campaign* and months of hard labor, rebuilding one venue from scratch while running another, the Stagewerx crew’s labor of love has finally put down its expansive roots in the Mission District.

It was a low-key but convivial christening, a bevy of Stagewerx supporters and performers (and supporter-performers) poking around the nooks and crannies of the strangely familiar, yet revitalized space. The evening’s emcee, Mikl-em, presided over a variety show of musicians and comedians (and musician-comedians), including a special guest appearance from Carol Channing, as well as one by Sean Owens, who mysteriously often appears on the same bill as Channing. (It’s rumored they share a booking agent.) 

Other acts included Circus Finelli, Tom Sway from Undergroud Sound, Joe Klocek from Previously Secret Information, Tom Jonesing, Don Seaver, and Gerri Lawlor. No sooner was the party over, Stagewerx hit the ground running with a Monday performance of the Picklewater Clown Cabaret and a four-weekend whirlwind of sketch comedy dubbed PanderFest 2011, co-starring Pianofight’s Mission CTRL and Crisis Hopkins. 

Meanwhile downtown, another theatre festival of quietly epic proportions. The SF Olympians Festival, opened with staged readings of new full-length plays by Thunderbird Theatre Company and Megan Cohen and a veritable constellation of shorts, kicking off a four-weekend run of its own on the EXIT Theatre mainstage. 

In its second year, the SF Olympians Festival uniquely fuses ancient Greek mythology with modern-day theatre-making, with each play featuring a different mythological figure—from Andromeda to Zephyrus—and a different local playwright (there are 29 represented in this festival of 32 plays). 

On Friday, a three-play bill of two shorts and one full-length work debuted, thematically clustered around Orion, one of the most recognizable of all constellations. Claire Rice’s very short, “Dog Day”, starred Benji Cooper as Canis, who morphed into the narrator of stage directions for Megan Cohen’s full-length “Hunter and Hunted,” which turned the Orion myth into an updated crime noir. 

Starring Matt Gunnison as the beleaguered “Joe Ryan,” an old-school detective on the trail of the Scorpio gang, Cohen’s often humorous play turned the otherwise familiar streets of San Francisco, from North Beach to the Panhandle, into a giant playground for the infamous Scorpio gang. 

Rounding out the evening with a case of constellation envy was “Scorpio,” a short penned by Seanan Palermo, starring an exasperated John Lennon Harrison as the titular character, fruitlessly pursuing Orion across the deserts of Arizona. There’re still three weekends left of the festival, each night more ambitious than the last, and at just ten bucks a pop, repeat visits are not only possible, but recommended.   

*Full disclosure, the author of this piece made a kickstarter donation to the Stagewerx campaign.


PanderFest 2011

Through Oct. 29

Various times, $20

Stagewerx

446 Valencia, SF

www.stagewerx.org/446.html

www.panderexpress.com

 

SF Olympians Festival

Through Oct. 29

 Various times, $10

Exit Theatre

156 Eddy, SF

www.sffringe.org

www.sfolympians.com

 

 

Ed Lee’s funny money

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The break on the big campaign news of the week goes to the Bay Citizen’s Gerry Shih, who tracked down a couple of employees of GO Lorrie’s and got them to admit that they had no idea who Ed Lee was and had given him $500 because their boss had agreed to reimburse them in cash. Now the other candidates are making an issue of it — Dennis Herrera has called for a criminal investigation, David Chiu has issued a somewhat weaker statement and Jeff Adachi’s campaign is calling the whole thing sleazy.

What makes this so interesting is not just that someone at GO Lorrie’s may have been laundering contributions — the airport shuttle company has been lobbying the city to try to change the rules around where the shuttle vans get to park. So it’s not just a funky operation to push money to the mayor — it’s money from a company that has a big financial stake in a decision made by city officials (and by the way, the airport commissioners are appointed by the mayor).

Matt Dorsey, a spokesperon for Herrera’s campaign, told us that “there’s a point where campaign activities stop being cute and questionable and become illegal.” He noted that Mayor Lee, while vowing to return the tainted money, hasn’t called for a further inquiry.

“If laundered campaign contributions came to the attention of the Herrera campaign, the first person to call for an investigation would be Dennis Herrera,” Dorsey said.

Chiu’s statement: “These revelations raise deeply troubling questions that merit a full investigation by state authorities.  City Hall cannot be for sale.  Pay-to-play politics has no place in San Francisco, and will have no place in a Chiu administration – you can count on that.”

More: “Incidents like these are a reminder of the backroom deals and crony politics that San Franciscans are sick of,” said Colin Dyer, field director for Jeff Adachi. “This is just another in a long line of questionable activities surrounding Ed Lee and his powerful special interest backers. He promised to be a different sort of mayor, Ed Lee is just more of the same.

The big question, of course, is whether this will finally start to take the edge off the Ed Lee Teflon. And that depends in part on the San Francisco Chronicle — which put a far less relevant story about Dennis Herrera (one that didn’t involve illegal money laundering) right on the front page in the lead space above the fold.

The Chron, weakened as it is, still helps define the daily news cycle in this town. But guess what? The Chron didn’t break this story. The Bay Citizen did. And it there’s one thing I’ve found to be consistent about the ol’ Chron over the years is that the paper tends to ignore stories broken by the competition.

But this ought to be front-page news everywhere, not just because it’s a potential felony but because it represents the side of Ed Lee that we’re all worried about. In the Bad Old Days, Willie Brown’s operation did stuff like this all the time. Money went in and out of shadow committees and independent expenditure groups and it was almost impossible to keep track of who was giving how much to Brown — except that anyone who wanted to do business with the city had to pay up.

If Ed Lee’s folks are starting to play those same games, then it’s a very bad sign.