Independent

Crystal magic

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› kimberly@sfbg.com

SONIC REDUCER Light a candle, burn a wand of sage, and singe your bangs. Then fondle a frosty pink hunk of rose quartz and ask the goddess, "Are crystals the new wolves — or at least the new bears? Maybe even the new alps/mountains?" ‘Cause I swear, I’m not a miner — ’49-er, tweenie-bopper, or otherwise — but I can almost smell the crystals everywhere. Especially when it comes to artist-band names like Crystal Castles, Crystal Stilts, Crystal Waters, and wow, now juxtaposing crystal with defensive head-growths, Crystal Antlers.

I clash gently this sparkling SOMA morning with said smiling, scruffy, shambolic Long Beach combo — half chimney sweeps by day and all capable of metamorphosing magically into fierce psych-garage warriors by the light of a mountain-wolf-bear moon. The obvious question goes to tousled vocalist-bassist Jonny Bell, his hoodie bunched over his brow in the very un-Cali cold and just roused from his slumber at Closer Recording where the band is completing its first full-length: what is it about crystals that resonates? Is this a conspiracy (of beards)? And more importantly — the goddess craves a response after spotting those vaginal folds on the cover of Crystal Antlers’ recent self-titled Touch and Go EP — do you believe in crystal magic?

"Yeah, well, we came up with the name three years ago, so we didn’t know about those other bands," mumbles Bell, weary of being given the crystal shit. "We’ve done a lot of interviews where they ask about that, and I’ve given a lot of sarcastic answers." The non-sarcastic rejoinder? "It sounded fragile."

No wonder the band leader is a wee bit wary about conjuring a name for the Crystal Antlers’ album, due out in April, which he says sports mellow and ambient musical percolations as well as "more of a soul influence." Crystal Antlers have been gobbling up old soul from ’60s Miami like Della Humphrey and George McRae and spilling out their own revamp — strained through the filter of their punk background and miles away from the well-inked and -oiled Daptone/Mark Ronson new-old-school. Judging from the EP produced by Mars Volta’s Isaiah "Ikey" Owens, Crystal Antlers roam another neck of the woods altogether: a noisier, more distorted dead meadow where hirsute beasties like Comets on Fire and Mammatus roam near Holy Mountains, where Andrew King’s careening guitar skirts squalling psych-cacophony and Victor Rodriguez’s textural, low-screaming organ revels in a garage-goth parking lot, out behind the rock ‘n’ roll wilderness preserve.

"We wanted to try to play beyond our abilities," Bell says of the recording. "I think we’re always trying to push our limits, and a lot of stuff on the EP was really difficult for us. None of us have any formal training." Noisy, dark matter far from the manic weekday traffic tearing down Howard Street as the Crystal Antlers tuck into eggs and bagels at a café near the studio.

It’s the kind of recession-strapped, pre-Christmas week — a ruthless admixture of hope and fear — that brings out the take-that holiday light displays in the Mission and makes it a great moment to get your fill of your friendly neighborhood Bay Area bands, as the clubs stock up on local talents choosing to staycation. Instead Crystal Antlers are here, forsaking primo chimney sweep season ("I can write songs while laying bricks," explains Bell. "It’s a nice contrast to sitting in a van") to record with engineer Joe Goldring (the Enablers, Touched by a Janitor). Today they’ll track keyboards, saxophone, and vocals, though Bell caught a cold from bunking down in their veggie-oil van during last week’s hail.

At least they’re out of the vehicle — now convalescing on a SoMa byway — though Bell is proud that it got the band out and on tour on a single tank of diesel. "Ten thousand miles and we only used one tank of diesel fuel the whole time. We were able to find vegetable oil all around the country," he says. "We filled up when we were leaving for the tour. We didn’t go to a single gas station the whole time on the way back." The group’s recent Fuck Yeah tour with Monotonix, Dan Deacon, the Death Set, and others was similarly veggie-oil-fueled, though somewhat nuttier from the sound of the stories of smashed vans and spilled instruments that drummer and kindred chimney sweep Kevin Stuart regales me with. There was also that time when Crystal Antlers were in Oakland, touring with Canada’s Fucked Up, and Bell offers, munching, "Kevin forgot to lock the trailer."

"Hey, I didn’t forget it!" Stuart protests. "That was Fucked Up’s fault!"

"We started driving," continues Bell, "and all their stuff started falling out onto the freeway." Word from the goddess: unlock that Crystal power — with limits. *

CRYSTAL ANTLERS

With Two Gallants and the Tallest Man on Earth

Fri/26, 9 p.m., $20

Fillmore

1805 Geary, SF

www.livenation.com

LOCAL POTION

QBERT


Hamsters unite! The Invisibl Skratch Pikl re-emerges. With Mochipet and Joyo Velarde. Fri/26, 9 p.m., $20. Independent, 628 Divisadero, SF. www.theindependentsf.com

ZIGABOO MODELISTE


The Meters percussion mainstay whoops it up for his b-day. With Bhi Bhiman. Sat/27, 9 p.m., $20. Café du Nord, 2170 Market, SF. www.cafedunord.com

BLACKALICIOUS


Gift of Gab’s Mighty Underdogs project weighs in at this hefty indie hip-hop hoedown. Sat/27, 9 p.m., $26.50. Fillmore, 1805 Geary, SF. www.livenation.com

CRACKER AND CAMPER VAN BEETHOVEN


Having a cracked Cracker-Camper Christmas comedown — and how good it is. Sat/27, 9 p.m., $23. Independent, 628 Divisadero, SF. www.theindependentsf.com

MICHAEL TALBOTT AND HELENE RENAUT


The Brooklyn-by-way-of-SF wolf king grows starry-eyed with the winsome Brittany-born Beam warbler at an Antenna Farm convo. With the Naked Hearts. Sat/27, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

TOMMY GUERRERO’S GET RAD SIX


Skating, designing, music-making — Tommy Guerrero veers off from Jet Black Crayon with his birthday bash band at this SF Food Bank benefit. With Marc and the Casuals. Tues/30, 8 p.m., $6–$10 sliding scale. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

Powerless

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> amanda@sfbg.com

GREEN CITY Sup. Sophie Maxwell, who represents a disproportionately polluted district that is host to the city’s only fossil fuel-burning power plant, has introduced legislation to change the way energy flows into and around the city.

The ordinance collates some past resolutions already affirmed by the Board of Supervisors — to close the Mirant Potrero Power Plant as soon as possible and to request that the San Francisco Public Utilities Commission conduct a transmission-only study to update the city’s Electricity Resource Plan (which is currently based on building a new peaker power plant in the city in order to shutter Mirant’s older, more polluting facility).

Maxwell’s legislation further calls on the city to provide 100 percent clean energy by 2040 — a mandate lifted directly from Proposition H, a clean energy and public power act that was voted down in November.

But the three elements of the ordinance, which was co-signed by outgoing Sup. Aaron Peskin, are somewhat lacking.

The clean energy goals outlined by Maxwell only apply to the SFPUC — not to anyone who gets a Pacific Gas and Electric Co. bill — and SFPUC power is already almost 100 percent clean, consisting mostly of Hetch Hetchy hydroelectric, solar, biomass, and a small amount of cogeneration. (Large hydro and cogeneration do not meet the state’s definition of renewable, but they are considered among the greenest kinds of "brown" power.)

Prop. H would have required the city to conduct an energy study, and specifically stated that the option of city-owned and operated power be considered as part of the study. Subject to board and mayoral approval, the city could have public power if it was determined to be the most efficient and economic way to provide 100 percent clean energy to all citizens by 2040.

Neighborhood and environmental activists, including Julian Davis, who ran the Prop. H campaign, Tony Kelly of the Potrero Boosters, and John Rizzo of the Sierra Club, said they weren’t consulted or even clued in that the Maxwell legislation was being introduced. Rizzo called the clean energy goals "window dressing," and said, "It doesn’t accomplish what Prop. H does."

"I was surprised by the Maxwell ordinance," said Sup. Ross Mirkarimi, one of the authors of Prop. H, which Maxwell, Peskin, and six other supervisors endorsed. "We hadn’t learned of it until the day it was introduced. I believe it’s going in the right direction but I’d like to see it more committed to its insistence on public power — not just elements of Prop. H, but public power so that we are able to be clear about what forms of energy independence, clean energy, renewable that the city should administer."

Maxwell’s aide, Jon Lau, said they did reach out to Mirkarimi’s staff, as well as Mayor Gavin Newsom’s office, and the legislation was written broadly so that there was "something here for everybody if you’re interested."

"The ordinance she introduced is sort of agnostic toward public power," he said. "But it could and should be part of the analysis to the extent that we study residential needs in the city. It’s totally relevant to have a public power analysis." He called public power a "flash point," and said, "The whole conversation would be about that."

Rizzo said the legislation doesn’t demand anything of PG&E, in terms of clean energy goals, but Lau said they don’t have the authority to legislate a private company’s energy procurement. "We can’t just dictate goals for PG&E."

The board doesn’t have the authority to close Mirant either — the gas and diesel power plant operates with a Reliability-Must-Run contract and the state’s grid operator, California Independent System Operator (Cal-ISO), has said Mirant must run or be replaced by some other in-city, instantly available power generation.

The plant also operates with a water permit from the Regional Water Quality Control Board, and though City Attorney Dennis Herrera, Maxwell, and Peskin recently sent a letter urging no renewal of the permit, which expires Dec. 31, the water board seems to be waiting for the plant to close by some other means rather than taking up the issue. "I’m currently reworking the permit reissuance schedule without Potrero because Potrero’s status is really more like ‘to be determined’ at this point," wrote water board staff member Bill Johnson in an e-mail to the Guardian. Because the board hasn’t acted on it, the permit will automatically be extended on Jan. 1, 2009, meaning the plant will be operating indefinitely until the water board makes a final decision or some other way to close it is found.

There’s almost unanimous approval throughout the city that beefing up transmission lines would be better than building a power plant or allowing Mirant to keep operating. Transmission is also one way the city could gain more control of energy resources and potentially save, and even make, some money.

On Dec. 15, Barbara Hale, assistant general manager for power, sent a request to Cal-ISO asking that two new SFPUC transmission proposals be considered as part of the state’s regional planning. They include upping the voltage of existing lines between the Hetch Hetchy dam and Newark, and adding a new line between Newark and Treasure Island, which would allow Hetch Hetchy power to travel exclusively on city-owned lines. The city currently pays PG&E $4 million per year to carry Hetch Hetchy power from Newark into the city — a fee San Francisco has been paying since 1925 when the city, during construction of the transmission lines between Yosemite and the Bay, mysteriously ran out of copper wire just a few miles shy of PG&E’s Newark station.

The new line would run under the bay, using an existing SFPUC water pipeline right-of-way. "This pathway will allow transmission lines to traverse the environmentally sensitive Don Edwards Regional Wildlife Preserve [in Newark] that is likely to be a bottleneck between PG&E’s pivotal Newark substation and the substation serving the Peninsula," the letter states. The SFPUC also predicts some possible cost recovery from Cal-ISO for building the Newark line because it would improve regional reliability. The agency also says it’s exploring partnerships with other municipal utilities for joint ownership.

A flawed energy bill

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EDITORIAL Two months after Pacific Gas and Electric Co. spent $10 million to defeat a clean energy measure on the San Francisco ballot, Sup. Sophie Maxwell has stepped into the battle, introducing a mild ordinance that lifts some of the language from the Clean Energy Act but would accomplish very little. We’re glad to see Maxwell stepping up her efforts to close the dirty Mirant Power Plant in Potrero Hill, but her legislation needs some significant amendments.

Maxwell’s ordinance, cosponsored by Sup. Aaron Peskin (who is one meeting away from being termed out), would make it city policy to "take all feasible steps" to close the Potrero plant. That’s a laudable goal. It also borrows the aggressive environmental goals from the Clean Energy Act, stating that the city needs to meet all its energy needs by 2040 with renewable power. But unlike the Clean Energy Act, Maxwell’s mandate ignores PG&E, which supplies the vast majority of the electricity in San Francisco and which can’t even meet the state’s weak alternative energy standards. Her requirement would apply only to the city’s own power supplies, which come mostly from the Hetch Hetchy hydroelectric project and thus already meet the 2040 standards. So the part of the bill that deals with climate change and greenhouse gas emissions is utterly useless.

The measure calls on the San Francisco Public Utilities Commission to study the ways the city can meet its energy goals without the Potrero plant — again, a fine idea. But it ducks the central question: who’s going to control the local electric grid, and thus the city’s energy future? Will PG&E continue to call the shots (in which case San Francisco will never meet credible green-power goals)? Or will the city take control of the distribution system, which would allow lower electric rates and far higher environmental standards?

As Amanda Witherell reports on page 17, Maxwell’s aide, Jon Lau, said the ordinance is "sort of agnostic toward public power." That’s a mistake — leaving public power out of the equation amounts to a capitulation to PG&E and a guarantee that nothing substantial will change in the city’s energy portfolio.

Maxwell wants to close the Potrero plant as quickly as possible, and so do we. The best way to do that is to block the plant’s water permit when it comes up next year (see "Water board can close Mirant," 11/25/08), and Maxwell and City Attorney Dennis Herrera are moving on that front. But the California Independent System Operator (Cal-ISO), which controls the state’s grid, has in the past argued that the city needs a certain amount of generating capacity within its borders, and could force the Potrero plant to keep running.

Maxwell originally supported a plan to replace the in-city generation capacity by installing city-owned combustion turbines that would run only during periods of peak demand. But that plan failed after both environmentalists and PG&E opposed it. Now she’s pressing an alternative that would use new transmission cables, one owned by PG&E, to eliminate the need for power plants in the city.

That might work — but it would still leave the city in PG&E’s clutches, and while it would eliminate a source of pollution in southeast San Francisco, the city would still be using dirty power from PG&E’s nuclear and fossil-fuel plants elsewhere.

The best long-term solution is to build city-owned renewable generation to replace Mirant. The city’s community choice aggregation plan is moving in that direction. But ultimately, San Francisco will only reach aggressive clean energy goals if it controls its own fate.

Maxwell’s ordinance should be amended to clearly mandate a study that examines the feasibility of a public power system in San Francisco. If that’s not in the final version, the bill should be voted down.

Alert: A flawed energy bill

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A flawed energy bill (Scroll down to read Amanda Witherell’s Green City column with more on the clean energy/public power/Mirant plant battles)

EDITORIAL

Two months after Pacific Gas and Electric Co. spent $10 million to defeat a clean energy measure on the San Francisco ballot, Sup. Sophie Maxwell has stepped into the battle, introducing a mild ordinance that lifts some of the language from the Clean Energy Act but would accomplish very little. We’re glad to see Maxwell stepping up her efforts to close the dirty Mirant Power Plant in Potrero Hill, but her legislation needs some significant amendments.

Maxwell’s ordinance, cosponsored by Sup. Aaron Peskin (who is one meeting away from being termed out), would make it city policy to “take all feasible steps” to close the Potrero plant. That’s a laudable goal. It also borrows the aggressive environmental goals from the Clean Energy Act, stating that the city needs to meet all its energy needs by 2040 with renewable power. But unlike the Clean Energy Act, Maxwell’s mandate ignores PG&E, which supplies the vast majority of the electricity in San Francisco and which can’t even meet the state’s weak alternative energy standards. Her requirement would apply only to the city’s own power supplies, which come mostly from the Hetch Hetchy hydroelectric project and thus already meet the 2040 standards. So the part of the bill that deals with climate change and greenhouse gas emissions is utterly useless.

The measure calls on the San Francisco Public Utilities Commission to study the ways the city can meet its energy goals without the Potrero plant – again, a fine idea. But it ducks the central question: who’s going to control the local electric grid, and thus the city’s energy future? Will PG&E continue to call the shots (in which case San Francisco will never meet credible green-power goals)? Or will the city take control of the distribution system, which would allow lower electric rates and far higher environmental standards?

As Amanda Witherell reports on page 17, Maxwell’s aide, Jon Lau, said the ordinance is “sort of agnostic toward public power.” That’s a mistake – leaving public power out of the equation amounts to a capitulation to PG&E and a guarantee that nothing substantial will change in the city’s energy portfolio.

Maxwell wants to close the Potrero plant as quickly as possible, and so do we. The best way to do that is to block the plant’s water permit when it comes up next year [tk: still need a date for this: (see “Water Board can close Mirant,” 11/25/08), and Maxwell and City Attorney Dennis Herrera are moving on that front. But the California Independent System Operator (Cal-ISO), which controls the state’s grid, has in the past argued that the city needs a certain amount of generating capacity within its borders, and could force the Potrero plant to keep running.
Maxwell originally supported a plan to replace the in-city generation capacity by installing city-owned combustion turbines that would run only during periods of peak demand. But that plan failed after both environmentalists and PG&E opposed it. Now she’s pressing an alternative that would use new transmission cables, one owned by PG&E, to eliminate the need for power plants in the city.

That might work – but it would still leave the city in PG&E’s clutches, and while it would eliminate a source of pollution in southeast San Francisco, the city would still be using dirty power from PG&E’s nuclear and fossil-fuel plants elsewhere.

The best long-term solution is to build city-owned renewable generation to replace Mirant. The city’s community choice aggregation plan is moving in that direction. But ultimately, San Francisco will only reach aggressive clean energy goals if it controls its own fate.

Maxwell’s ordinance should be amended to clearly mandate a study that examines the feasibility of a public power system in San Francisco. It that’s not in the final version, the bill should be voted down.

Loose canon

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› kimberly@sfbg.com

Pet Sounds (Capitol, 1966) not Sgt. Pepper’s Lonely Hearts Club Band (Capitol, 1967). For that matter the Plastic Ono Band rather than the Beatles, and Brian Wilson before Paul McCartney. Scott Walker, not Paul Simon. Arthur Russell, not David Byrne — though regards to the Talking Heads. ‘Fraid no Bruce Springsteen but plenty of Neil Young. The Band not … well, Bob Dylan hangs on despite the unfortunate I’m Not There (2007), the seeming party-stopper in a never-ending stream of Dylan books and arcana. Prince, in lieu of Rick James, bitch.

Low-budg bedroom production, not Chinese Democracy (Interscope). Not reggaetón but Krautrock. Not Afro-Cuban but African. Not doo-wop but girl group. Nope to Phil Spector but yes to Lee Hazlewood or, better, Lee "Scratch" Perry. Stock on the Replacements and Hüsker Dü is way down, but Bad Brains and Black Flag shares are up. Sorry, the Who isn’t all right but Zep’s song remains the same. Nevermind Nirvana but hello, Sparks — and no, not Jordin Sparks. And oddly enough, not the Tubes or Huey Lewis and the News, but Journey — and specifically "Don’t Stop Believin’."

Now repeat, twirl around, pat your head whilst rubbing your stomach, click your heels together twice, and commit the aforementioned to memory: this is your new rock canon.

Just trust me on this. I’ve read a lot of music stories and CD reviews in ’08, and since I’m missing the crucial math gene, I can’t quantify the exact number of times the hallowed names of Arthur Russell, Neil Young, or Brian Wilson have been invoked, but believe me, they have, more times than group-think-phobic music writers care to admit. And that’s not to say the artists and recordings these canonical creators have displaced are now worthless: even admitting that a canon (or three or four) exists, let alone articuutf8g one, can be a dicey proposition — whether you’re among lit professors or cruising music crit circles. The very idea evokes exclusivity, hierarchy, neocon grandstanding, worries about exclusion, and allusions to dead white men. "I think most professors would not want to say there’s a canon but if you teach a course on American literature there are still things you want to teach," opined one tenured prof pal. "They’re critical of a canon but they still are creating a canon. It’s very implicit and unconscious in some ways."

Yet anyone who’s cared deeply enough about pop to critique it can’t help but notice the seismic shift in the ’00s — even as the state of criticism seems to wax and wane with the fortunes of a music industry still searching for an uploadable business model; music mags busily folding or scrambling for lifestyle advertising; and newspapers gutting their staffs and substituting arts criticism with reviews wrought by, say, sports copy editors. Meanwhile blogs generate a still-fluid mixture of earnest criticism, bracing truth-telling, and hands-free promotion. A canon — or the very idea of classics and common musical references that all agree on — presupposes a foundation of critical thought, and who can afford to judge amid the hand-wringing desperation of today’s music marketplace?

Who instigated this changing of the guard, this revised rock ‘n’ roll canon? Tastemakers, tastefakers, marketing minons, and branding blowhards? Writers, DJs, musicians, music store staffers, promoters, and Robert "Dean of American Rock Critics" Christgau? All Tomorrow’s Parties, Arthur, Pitchfork, and the Chunklet writers who dreamed up issue 20’s music journalist application form ("Would you admit to not actually being that familiar with your frequent points of reference you name-drop [e.g., Captain Beefheart or Gang of Four]?")? This very humble independently owned, independent-minded rag? We’ll never admit it — because the very notion of forging a new pop canon in this fragmented, un-unified, de-centered vortex of music-making, consumption, and collecting seems utterly ridiculous, if not downright moronic. Yet a generational aesthetic realignment has occurred, and as a wise friend once told me, shift happens.

KIMBERLY CHUN’S VITAMIN-FORTIFIED TOP 10-PLUS


BEAT SUITE Benga, Diary of an Afro Warrior (Tempa); Flying Lotus, Los Angeles (Warp); Portishead, Third (Mercury/Island)

EXOTICA Gang Gang Dance, Saint Dymphna (Social Registry); High Places, High Places (Thrill Jockey)

J-HEAVY Acid Mothers Temple and the Melting Paraiso UFO, Recurring Dream and Apocalypse of Darkness (Important); Boris, Smile (Southern Lord)

LIVE LOVES Fleet Foxes at Bottom of the Hill; High on Fire at Stubb’s; Jonas Reinhardt at Hemlock Tavern; MGMT and Yeasayer at BOH; My Bloody Valentine at the Concourse; Nomo at BOH; Singer at Rickshaw Stop; Stars of the Lid at the Independent

LOCALS ONLY The Alps, III (Type); Faun Fables, A Table Forgotten (Drag City); Tussle, Cream Cuts (Smalltown Supersound); Dominique Leone, Dominique Leone (Stromland); Mochipet, Microphonepet (Daly City)

PLEASANT NODS Beach House, Devotion (Carpark); Growing, All the Way (Social Registry); TV on the Radio, Dear Science (Interscope)

POP NARCOTIC Crystal Stilts, Alight of Night (Slumberland); Magnetic Fields, Distortion (Nonesuch); Times New Viking, Rip It Off (Matador)

PSYCHED Guapo, Elixirs (Neurot); Mirror Mirror, The Society for the Advancement of Inflammatory Consciousness (Cochon)

PUNX Fucked Up,The Chemistry of Common Life (Matador)

YESTERDAYS La Dusseldorf, Viva (Water); Graham Nash, Songs for Beginners (Rhino); Linda Perhacs, Parallelograms (Sunbeam); Rodriguez, Cold Fact (Light in the Attic); Dennis Wilson, Pacific Ocean Blue (Sony)

>>MORE YEAR IN MUSIC 2008

Purple canon

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One of the hot discs in Oakland back in 2004 was In Thugz We Trust (Rap-A-Lot/Asylum) by Thug Lordz, a duo of mob music veterans Yukmouth and C-Bo. It was dope but it underscored a problem: all the big Bay-associated artists established careers in the ’90s, before radio play and major label action dried up. During the pre-hyphy drought, it was tough to achieve any fame outside the hood.

Fast-forward to post-hyphy 2008: the canonical list of Bay Area rappers has expanded considerably. Despite receiving no local airplay through an ongoing dispute with KMEL musical director Big Von Johnson and continued hedging by Atlantic to release his album, Mistah FAB managed to dent national consciousness with his hook on Snoop’s single "Life of Da Party." The increasing clout of SF independent label SMC raised newer acts Beeda Weeda and J-Stalin to the regional stardom necessary to go further. Winner of the Guardian‘s reader choice poll for hip-hop, Beeda had one of the most successful discs of the year with Da Thizzness, while Stalin’s Gas Nation topped the rap best-seller list at Rasputin Music the week of its release, Sept. 23. Other acts like Eddi Projex have cracked the airwaves to remain hot, while the Jacka — whose career began at the tail end of the ’90s as a member of C-Bo’s Mob Figaz — had the biggest local single of the year, "All Over Me," from his highly anticipated album Tear Gas, due in March.

The older acts haven’t disappeared, however, as witnessed by new discs from San Quinn and E-40. A notable development of the past two years has been the solo career of former Delinquent G-Stack. Taking a page from Mac Dre’s book, Stack has developed new personae like Purple Mane and George W. Kush to release four purple-themed compilations, plus a solo EP, preparatory to his SMC full-length, Dr. Purp Thumb, slotted for February. Along the way, he’s begun developing newer acts like Deev Da Greed, a co-owner of Stack’s 4 the Streets Entertainment and, along with Qoolceo and Tay Peezy, a member of the HEEM Team.

"I can rap but that wasn’t my dream," Deev confesses at the Grill studio in Emeryville. "When we opened the label, I was in the lab [the studio] a bunch, so I was, like, let me do a verse." Despite these casual origins, Deev acquired serious buzz this year with his effortless flow — he just floats over any beat — and clever wordplay, co-signing Stack’s fourth comp, Abraham Reekin (4 the Streets).

The accidental rise of Deev illustrates the difference four years has made. The glacial pace of change during the pre-hyphy period has become torrential as fresh acts like Stevie Jo, Philthy Rich, and Yung Moses continue to bubble to the surface. This is partly technological — the fruit of a Pro Tools and YouTube generation — but it’s also inspirational. Unlike the first half of this decade, there’s a place to rise to. The prospect of attaining fame as a Bay Area rapper is still unreasonably difficult, but FAB and others have at least proved the prospect still exists. (Garrett Caples)

GARRETT CAPLES’ TOP 10


1. J-Stalin, Gas Nation (Livewire/Thizz/SMC)

2. Beeda Weeda, Da Thizzness (PTB/Thizz/SMC)

3. G-Stack, My Purple Chronicles (4 the Streets)

4. The Jacka, Fed-X, and AP.9, Mob Trial III (Sumo)

5. Mistah FAB, Playtime Is Over (Demolition Men)

6. Shady Nate, The Graveyard Shift (Demolition Men)

7. G-Stack and Deev Da Greed, Abraham Reekin (4 the Streets)

8. Livewire Da Gang, Pay Ya’self or Spray Ya’self (Livewire)

9. Ise Lyfe, The Prince Cometh (7even89ine)

10. San Quinn, From a Boy to a Man (Done Deal/SMC)


>>MORE YEAR IN MUSIC 2008

You heard it here first

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› a&eletters@sfbg.com

The first time I noticed that my city of art and innovation was getting short shrift was when The New York Times started going on about "freak folk," Joanna Newsom, and Devendra Banhart and really, you know, getting rhapsodic about these baroquely retro space-folk flavors.

And somehow it never quite came up that these people are San Francisco people, and that their music is San Francisco music. I mean, yes, Banhart has a rep as being a bit of a drifter. Yes, Newsom is really from, you know, Nevada City … and yet, where else could they have first truly taken root, where else could they have first broken through the topsoil, drunk of the dew, and soaked up the dappled sunlight, except in the rich, loamy cultural compost heap that is San Francisco, the Bay Area, and its wooly NorCal surround?

This germination of culture, color, sound, and flavor is, in the most organic sense of it, completely cyclical. Ken Kesey’s garden parties put out roots and rhizomes and threw up spores that took hold almost immediately among music lovers in the region. The result was a distinctly American growth medium for the archetypes of Dionysus, Pan, and Astarte; for the mystic and mythic yearnings of the Victorians; and for the willful, self-starting proto-anarchism of the English Diggers. Cross-pollinate that with the intellectual and aesthetic rebellion of situationism and free jazz, borne in with the gusting, blowsy Beat generation, and you have yourself a rather fecund and folkloric little bramble — one that got even more biodiverse with all the punk rock springing up like weeds in the 1970s.

This polyglot epoch of musical discovery gave us so much. Not just the Dead’s first three records, the Airplane, or even David Crosby’s If I Could Only Remember My Name (Atlantic, 1971) — what about Blue Cheer, Moby Grape, Fifty Foot Hose, the Flamin’ Groovies, the Avengers, and the DKs? Rather a multifaceted mix, but relevant, because Bay Area bands like these set the pattern for divergent waves of underground music-making during the next three or four decades.

The last 15 years in particular have seen these retro sounds made new in the Bay Area and then breaking into the critical, and sometimes commercial, mainstream somewhere else. Usually New York is quickest to take all the credit. Like with that whole garage rock revival. Yeah, yeah, the Strokes, blah, blah, the latest in NYC retro-cool. It’s not that we were first, here in SF. It’s just that we’ve been playing that stuff on KUSF-FM for years, and fabulous local bands have been cranking out that sound for years, and suddenly the Big Apple is basking in the hipniz.

Or in the glorification of Williamsburg, which totally followed the Mission District in terms of exuberantly youthful, excruciatingly hip, oft-naïve, and fearlessly spasmodic creative gusto. Dang, before there was a TV on the Radio, Kyp Malone was working at the One World Cafe on McAllister and Baker streets, making music with Rocket Science and the Nigger-Loving Faggots and handing out fresh-pressed records to the community-radio DJ down the street. OK, so that’s not the Mission, but it sort of was a suburb of the Mission.

Or with the whole freak-folk thing. Back in 2004 or thereabouts The New York Times started noticing there were hairy kids playing spacey and folkoric acoustic sounds. They quickly championed the term "freak folk," and in 2006 even ran a big, lushly illustrated, front-page article in the "Sunday Arts & Leisure" section, Will Hermes’ "Summer of Love Redux," that curiously never once mentions San Francisco, despite bolting the whole thesis down with repeated references to Banhart, Newsom, Vetiver, Comets of Fire, the Six Organs of Admittance, and Jolie Holland.

Now we see, from the foggy depths, a new rising of fuzz and hair, the shambling and very organic children of Blue Cheer. Parchman Farm was an early bloomer, as was Comets on Fire, and now the Bay Area is throbbing with shaggy combos exploring the idiom. Assemble Head in Sunburst Sound, Sleepy Sun, and so many of those Frisco Freakout acts — how will these vibrations resonate across the nation over the next five years? And will New York City somehow take credit for that, too? I think not. They’re just too damn cool to grow out their bangs past the uncomfortable midlength stage.

Philly, though, which gave us Bardo Pond, Brother JT, Siltbreeze Records — there’s a hairy, done-it-all scene stealer I can live with.

JOSH WILSON’S TOP FIVE

1. Godwaffle Noise Pancakes closing show at the former ArtSF, Nov. 8

2. William Hooker, Hemlock Tavern, July 24

3. Heavy Metal (1981) and Conan the Barbarian (1982, with James Earl Jones and some other guy) at the Castro Theater’s "Analog Adventures" showcase

4. All Tomorrow’s Parties, Monticello, NY, Sept. 19-21

5. Expo for Independent Arts moves to Dolores Park and triples in size, Sept.

>>MORE YEAR IN MUSIC 2008

Mercury Rev

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PREVIEW "Snowflake in a Hot World," the opening track off Mercury Rev’s new Snowflake Midnight (Yep Roc), seems to touch lightly on the perishable nature of the band’s homegrown psych experiments. The New York combo has been around for more than two decades — often lumped with Flaming Lips due to their common musical explorations and the fact that de facto member Dave Fridmann is also the Lips’ longtime producer — which is long enough to fall into routine. But that’s not the way to make a Snowflake, so the band took a few new approaches to crystallizing the glimmering, moody yet surprisingly urgent psych-pop recording.

Moving blues played a part: Mercury Rev had to relocate its studio twice and was forced to purge unused equipment in the process. The tools that remained explain the electronic textures infusing the album. The group also played tiny clubs in the Catskills and the Hudson Valley area, buried on bills as the Harmony Rockets, and they’d try out one simple idea on generally unsuspecting audiences: "It could be a very simple motif," explains keyboardist Jeff Mercel from Boston. "We’d just take it and embellish and spin it out for 45 minutes in a live, electronic, improvisational sort of way." Back at the studio, the musicians also developed Snowflake Midnight‘s sound via improvisation. "I don’t think any of us wanted to sit by candlelight and try to write the perfect song and then impose it on everyone else," Mercel says. After a year, Mercury Rev had hundreds of hours of instrumental music. The pieces that "kept insisting you pay attention to them slowly rose to the top," says Mercel. The result, as "A Squirrel and I (Holding On…and Then Letting Go)" goes, was "something more beautiful but strange."

MERCURY REV With the Duke Spirit. Wed/17–Thurs/18, 8 p.m., $25. Independent, 628 Divisadero, SF. (415) 771-1422, www.theindependentsf.com

Free Press Welcomes News of Next FCC Chair

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WASHINGTON — According to news reports, President-elect Barack Obama will appoint Julius Genachowski as chair of the Federal Communications Commission.

Josh Silver, executive director of Free Press, issued the following statement:

“Under Julius Genachowski’s leadership, the FCC’s compass would point toward the public interest. President-elect Obama has provided a clear roadmap of his media and technology priorities. We share Obama’s goals of creating a more diverse, democratic media system and providing fast, affordable, open Internet access for everyone. We greatly look forward to working with Mr. Genachowski to put the president-elect’s plan into action.

“The challenges facing the next FCC are enormous — a vast digital divide, an open Internet in jeopardy, consolidated media ownership, newsrooms in economic freefall and entrenched industries invested in maintaining the status quo. This moment calls for bold and immediate steps to spur competition, foster innovation and breathe new life into our communications sector. With his unique blend of business and governmental experience, Genachowski promises to provide the strong leadership we need.”

Wall Street Journal: Obama to Nominate Genachowski to Head FCC

Read 2009 Media & Tech Priorities: A Public Interest Agenda: http://www.freepress.net/wp-content/uploads/sites/2/2009techpolicy.pdf

###

Free Press is a national, nonpartisan organization working to reform the media. Through education, organizing and advocacy, we promote diverse and independent media ownership, strong public media, and universal access to communications. Learn more at www.freepress.net

Hustle in hard times

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› a&eletters@sfbg.com

U Don’t Hustle U Don’t Eat, the appropriate title of the March 2009 album by up-and-coming Menlo Park-East Palo Alto rapper A.G. Cubano, pretty much sums up the state of the once vibrantly lucrative local rap music economy. Profit-wise, it has steadily slid and deteriorated during the past decade amid an extremely tough and competitive environment, forcing artists into creative ways of generating cash.

"It’s ugly out there," said Walter Zelnick of City Hall Records in San Rafael, which has distributed independent local hip-hop since its beginnings in the 1980s. "Numbers are down all around. The numbers of stores out there are down. I don’t think kids even buy CDs anymore." San Francisco’s Open Mind Music, which closed on Halloween, and Streetlight Records in Noe Valley, which closes Jan. 31, are just two of latest retail victims.

"Just getting in the stores is hard as fuck nowadays. I didn’t realize it had gotten so bad," said Dave Paul, whose prolific long-time local indie label just released the Bay Area artists-filled Bomb Hip-Hop Compilation, Vol. 2, a sequel to the 1994 premier volume, which sold way more than the "maybe 600 or 700 CDs" he expects to move of the new disc.

Zelnick also fondly recalls the golden 1990s when local rap compilations like D-Shot’s Boss Ballin’ (Shot, 1995) and Master P’s West Coast Bad Boyz: Anotha Level of the Game (No Limit, 1995) would sell in numbers that now often qualify as No. 1 on Billboard‘s national pop albums chart. "When [E-40’s group] the Click first came out, they were selling over a 100,000. But then sales for artists went down to 50,000 or 40,000," Zelnick said. Now "average CD sales are more like 2,000. And many people are lucky to sell that."

"It’s not as nearly as easy as it once was out here when we could fuck around and sell 50-, 60-, 70,000 copies independently," said longtime Fillmore rapper San Quinn who just released From a Boy to a Man (SMC) and will soon follow up with the collaborative Welcome to Scokland (Ehust1.com) with Keak da Sneak. "I literally grew up in this Bay Area independent rap scene."

Known for his affiliation with JT the Bigga Figga’s Get Low Playaz and more recently for his ongoing feud with his cousin rapper Messy Marv, the 30-year-old rapper is a well-established artist. But even a high-profile performer like Quinn accepts that he will be lucky if he sells the 22,000 that his last solo CD, The Rock: Pressure Makes Diamonds (SMC) tracked on SoundScan. That was in 2006, two long digital years ago. As with many veteran rappers, downloaded music has hurt San Quinn. "The majority of my fans are white boys and Latinos and Asians that have that shit mastered," he said. "And it’s even harder for someone like me who is based out of the capitol of technology here in the Bay Area, home of Silicon Valley."

"Since the selling of CDs in stores has gone down, way down, everyone has had to step up their game," Cubano said. Two months before the release of U Don’t Hustle U Don’t Eat, the shrewd rapper will pave the way with the Feet to the Street mixtape in collaboration with Oakland’s Demolition Men, the accurately self-described "Bay Area mixtape kings," whose trusted brand has helped further fuel the careers of such local rap faves as J-Stalin, the Jacka, and Shady Nate. San Quinn and the Jacka, as well as C-BO and Matt Blaque, are among the names the ever-resourceful Cubano has enlisted for his upcoming releases.

"But then there are so many different ways to make money nowadays," Cubano added. "You can get money out of ringtones. You can sell your songs one at a time for $1 a piece on iTunes or from your MySpace even now. I love MySpace. It is great in so many ways, like connecting with artists straight away and not beat around the bush, waiting for a phone call, or waiting for a nightclub to see someone."

MySpace is also San Quinn’s lifeline where, the rapper said, his music’s daily plays are in the thousands. San Quinn generates money beyond CD and digital music sales. "I do ringtones. I do shows. I have a San Quinn skateboard that I put out through FTC," the rapper said. "On our first pressing we just had, I sold a thousand skateboards at $50 a piece and I get $25 off every skateboard."

He also makes a tidy income doing guest appearances or "features" on other artists releases ("They pay me for a verse"). "I’ve done over 3,000 features," he said of the feat that earned him an inclusion in Guinness World Records for the most collaborations with other artists. Landing on television or video game soundtracks can be highly profitable but also highly competitive.

But for an up-and-coming Bay Area hip-hop artist, it is even more challenging to make a buck. On one recent evening on the Pittsburg/Bay Point-to-San Francisco BART train, Macsen Apollo of Oakland’s V.E.R.A. Clique was putting a new spin on the "dirt hustlin’" sales approach pioneered in the 1990s by Hobo Junction and Mystik Journeymen by walking from car to car hawking copies of his hip-hop group’s CD, keeping a watchful eye out for BART police, in an effort to make some money from his music.

Meanwhile back at the City Hall Records offices and warehouse, where Zelnick works on orders for new releases from local rap cats Balance and Thizz artist Duna, things have changed a lot in a decade. "We’re really at a turning point here," he said. "We’re still here and someone is buying music, but I don’t know how much longer." Last week in the UK, with just a few weeks till Christmas, Britain’s key indie label distribution company Pinnacle Entertainment declared bankruptcy, leaving 400 imprints with no way to get their music into the diminishing number of music retail stores.

"Next year I ‘m going to put out Return of the DJ, Vol. 6 and that will be the final physical release I will ever do," said Bomb’s Paul, who believes the only way for rap artists to make money is to be increasingly innovative and to constantly tour and sell merchandise, including music, along the way. "In the very near future I think the only place left to buy a CD is to go a show. Artists have to come up with new ways to generate cash. I heard of some artists who will sell backstage passes for $300 — or whatever they can get."

Cubano concurs. "If you’re sitting around waiting for that call, it ain’t gonna come," he quipped. "You have to get out there. You gotta be in traffic. People have to expand their hustle. Otherwise you don’t eat."

Hank Plante busts the mayor!

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Why did Mayor Newsom buy a $51,000 Chevy car in Colma when the only Chevy dealership in San Francisco is going out of business? Scroll down for the KPIX video showing how Hank Plante busts the mayor.

By Bruce B. Brugmann

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Photo by Paula Connelly

Newsom’s driver and new Chevy Hybrid Tahoe SUV vehicle, parked in front of the Ark toy store on 24th Street, during a press conference launching the Shop Local–Get More campaign. The city bought the car from a dealership in Colma for $51,000.

It was marvelous. Simply marvelous. Hank Plante busts the mayor.

Let me set the scene: The reporters and small business leaders on Wednesday (Dec. 5) were packed in the Ark, a toyshop on 24th Street, for a press conference to launch formally the “Shop Local–Get More” campaign aimed at getting San Franciscans and everyone else to shop local in San Francisco this holiday season.

Steve Falk, president of the San Francisco Chamber of Commerce, laid out the chamber’s extensive program for its members to give substantial discounts to customers. Gerald Johnson, owner of the Ark, explained how his store would give 10 per cent off your next purchase with a purchase of more than $100. Mayor Newsom, who rolled in late in his city car, gave a zippy little talk about the values of shopping local and helping out the merchants and business community during tough times.

Newsom is at his best at these informal occasions, a little pep talk here, a genial smile and gesture there, lots of jutting jaw, no tough questions please. Then came time for questions and Newsom visibly relaxed for what he hoped would be some Noe Valley soft balls.

Hank Plante, the savvy political editor of KPIX Television (Channel 5), was positioned in the front of the crowd with his television cameraman and his camera was whirring away. He led off with a timely question.

“Mr. Mayor, you want people to shop in San Francisco. You know the car dealerships are in trouble. Can you tell us why you didn’t buy your new official city car here in the city?”

Newsom replied testily, “Uh, I have no idea. Thanks for the Gotcha question and I don’t have a clue. I didn’t have anything to do with the purchase of that car.” He said he would find out what happened and get back with the answer.

Plante reported the exchange in the KPIX newscast that night. He said, “We’re losing our last Chevy dealership” in San Francisco. He said that the new car was a Chevy Tahoe Hybrid SUV that cost $51,000 at a dealership in Colma. He pointed out that the Chevy was one of the “most visible purchases the mayor made this year.” Marie Brooks, from Ellis Brooks Chevy dealership on Van Ness Avenue, told Plante, “I think it’s wrong for one of our city officials to buy anything outside the city.” Ellis Brooks is a family-owned car dealership and one of the oldest and most famous local names in selling cars in Northern California.

Plante reported that Newsom kept ducking the question and later refused to allow the press corps to take a picture of him leaving the press conference in his gleaming black hybrid car parked in front of the toy store (see pic above.) KPIX showed video footage of Newsom not getting into the car and walking down 24th street.

Plante had nailed a point that has been agitating the small (and big) business community for years. Scott Hauge, a prominent small business leader and founder and president of Small Business California, was at the press conference and picked up on the point immediately. In his followup email to small business people in the city, Hauge noted he had attended the press conference “where the mayor was promoting a shop SF campaign.

“I applaud the mayor and others like the SF Chamber, Bay Guardian, Small Business Commission and Hotel Council for their efforts. What I didn’t hear was anything the city will do to require SF City agencies to buy from SF companies located in SF.”

Then Hauge zeroed in. “SF government does not have a very good track record in this area. In fact the mayor was asked why he did not purchase his hybrid vehicle in SF and he said he didn’t know why. Now is the time to push this issue. SF businesses have a higher cost of doing business because of mandates imposed on us. It seems to me that the least the city can do is buy from SF businesses.” I think he’s spot on.

And so Plante, Hauge, the Guardian, and small (and big) business in San Francisco are waiting anxiously for Newsom’s explanation why he bought a $51,000 city Chevy vehicle in Colma and not in San Francisco where our last Chevy dealership is on hard times and going out of business. And we are all waiting even more anxiously to hear what the mayor plans to do to correct this Shop- outside -San Francisco-syndrome and get the city working to spend its tens of millions of dollars of city tax dollars on businesses and services in San Francisco.

P.S. Full disclosure: the Guardian is a sponsor of the Shop Local campaign. And we sent a delegation to the press conference: Sales and Marketing Director Jennifer Lachman, Vice President of Operations Daniel B. Brugmann, Online and Print Advertising Coordinator Rebecca Frank, Assistant to the Publisher Paula Connelly who took the press conference photos, and myself. We are happy to pitch in on this critical and timely endeavor to put as much instant cash as possible into our local businesses and our community.

Our contribution, as a locally owned, independent newsweekly, is our own Shop Local campaign featuring a key marketing line derived from an analysis provided by the Business Alliance of Local Living Economies (BALLE), using a formula created by the consulting firm Civic Economics. This data is dramatic. It shows that if our 600,000 or so Guardian readers would spend $l00 with locally owned, independent businesses in San Francisco during the holiday season, that would inject $99 million into the San Francisco economy. Immediately.

That’s nearly $15 million more dollars than the city would see if that money were spent on chain stores that send their revenues back to headquarters. That’s because money spent at local businesses tends to stay and circulate in the community and create more local jobs and economic activity and of course more tax dollars for the city. The Guardian is also leading a national Shop Local campaign among alternative papers that would put several billion dollars in total into local economies all over the country. As Guardian Executive editor Tim Redmond puts it, “A sustainable community needs a sustainable economy, and that starts with locally owned, independent businesses.”

Unsolicited advice for the mayor and anybody else at City Hall who keeps sending our money outside of town: check the policy of the San Francisco International Airport that mandates locally owned small businesses get most of the juicy airport franchises. That policy works and works well. When I go through the airport, I always stop to get something to eat at Klein’s Deli. Klein’s was named after Deborah Klein, a Guardian circulation manager in the mid- 1970s who became a restaurant entrepreneur in San Francisco. For many years, she ran Klein’s Deli on 20th Street atop Potrero Hill. B3

Click here to watch yesterday’s KPIX newscast.

Click here to see Guardian photo coverage of the press conference.

Shop Local, get more

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By Paula Connelly

Today Mayor Newsom held a press conference to announce the ‘Shop SF. Get More’, an economic promotion campaign for December / January. This promotion is a collaboration between SF Economic & Workforce Development, SF Office of Small Business, SF Convention and Visitor Bureau, SF Chamber of Commerce, Hotel Council, MTA, MUNI, DPT, BART, Chronicle, Examiner, Business Times and Bay Guardian to encourage people throughout the nine county Bay Area to shop in San Francisco. The Bay Guardian has been promoting small business and sustainable economic programs for years and this holiday season is urging its readers to spend $100 of their holiday money at locally owned, independent businesses – a move that would pump nearly $100 million into the city’s recession-plagued economy.

The press conference was held Wednesday, December 3, 11:45am, at the Ark Toy Store, which is located at 3845 24th St (near Sanchez), in Noe Valley San Francisco.

Visit the San Francisco Visitor and Conventions Bureau’s website: www.onlyinsanfrancisco.com to lean about Shop Local offers from participating businesses or visit www.sfbg.com/local to find out how to win $500 in the Guardian’s Shop Local Reader’s Contest.

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Ark Toy Storefront in Noe Valley

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Gavin Newsom kicks off the Shop Local campaign
http://cbs5.com/video/?id=42754@kpix.dayport.com

Streetlight serenade

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› kimberly@sfbg.com

SONIC REDUCER ‘Tis the season to max out with shopping merriment, and San Francisco still being a record-picking spot of worldwide renown, it’s bittersweet to flip through this year’s handsome UK gifty-paperback, Old Rare New: The Independent Record Shop (Black Dog), and spy the "hi-de-ho"-ing Cab Calloway logo of the late, lamented Village Music in Mill Valley. Such an overflowing vinyl goldmine till it shuttered last year — another victim of high rents and a wildly fluctuating music marketplace. The book is far from perfect: was Amoeba Music ever called Amoeba Records, and why isn’t Grooves listed in the US store directory?

But Old Rare New has its heart in the right place in its offhand celebration of brick ‘n’ mortar music trolling, filled out with short Q&As with collector-head artists like Chan Marshall, Quiet Village’s Joel Martin, and Cherrystones’ Gareth Goddard. It’s refreshing to get an eyeball of Byron Coley’s contrarian ‘tude: if independent music stores are going bye-bye, he writes, "Don’t blame me or my record scum buddies. We’re still as idiotically interested in fetishizing vinyl product as we ever were, but we’re all getting goddamned old, and we’re not being replaced in a fast and timely manner."

Nonetheless, it’s sad to see Open Mind Music in the US store directory, still listed at 342 Divisadero even though owner Henry Wimmer closed that locale long ago, reopened at 2150 Market, and then — argh! — closed that storefront at the end of October to concentrate on online sales (a small Open Mind record enclave, however, remains within the collective-run Other Shop II at 327 Divisadero). Also not listed — and why not with such reissue jewels as Brigitte Fontaine and Areski Belkacem’s L’Incendie (Byg, 1974) and Humble Pie’s Town and Country (Immediate, 1969)? — is Streetlight Records in Noe Valley, set to close on Jan. 31.

Codgers in the know will recall the days when Aquarius sat a few doors down from Streetlight, making the spot a twofer destination for serious LP trawling. Streetlight took up the indie and avant slack in the area when Aquarius moved to Valencia Street: amid its substantial vinyl selection, you can dig up Les Georges Leningrad’s Deux Hot Dogs Moutarde Chou (Les Records Coco Cognac, 2002) on red vinyl and TITS’ and Leopard Leg’s estrogen-athon split-LP Throughout the Ages (Upset the Rhythm, 2006). Deals can be had with the 10 percent-off-everything sale that kicked off on Black Friday.

The ever-increasing gentrification of the street — the mob in front of Starbucks was nutty on a recent Sunday morn — has definitely had an impact on the shop, according to manager Sunlight Weismehl, who has worked at the 32-year-old flagship store for more than two decades. "I believe over the years the area has become a destination for high-end houses," he says, "and the artists and working class have been pushed aside as they have in many neighborhoods. Because of that we don’t get as many people coming in during the day." The San Jose and Santa Cruz Streetlights are doing fine, and the Streetlight at Market and Castro reaps the benefit of better foot traffic.

One twist concerning the 24th Street store’s demise: Streetlight isn’t getting kicked out by greedy out-of-town landlords — they’re closing themselves down. Streetlight owner Robert Fallon owns the Noe Valley shop’s building. "I believe he feels that the rent in the neighborhood is higher than what we’re paying," explains Weismehl.

In an effort to stay afloat and pay its way, the manager says the store tried to "touch on everything. We certainly tried to have strong international, jazz, and roots sections and to try to serve the neighborhood as much as possible. Half crazy obscure things and half whatever the neighborhood is looking for."

And Noe Valley music mavens have reacted in kind. "We’ve been getting a lot of responses ranging from writing letters to the owner to just saying they’ll be sad when we’re gone. Some say it’s the last thing they came down to the street for," Weismehl says, adding that with Real Foods gone and the neighboring video store closed, "it’s a question of how much [the remaining] shops serve the neighborhood." Not to mention the fact that there’s one less accommodating spot that will keep on a touring musician: Weismehl recalls such staffers as Rova’s Bruce Ackley, Comets on Fire’s Noel Harmonson, Sebadoh’s and Everest’s Russ Pollard, and Unwritten Law’s Pat Kim. And after Jan. 31? I’m going to have borrow a baby stroller to feel even remotely at home in the hood.

LET THE GAMES BEGIN

NO AGE AND TITUS ANDRONICUS


ShockHound music site parties up its launch with a free show by the LA noise duo and the Glen Rock, N.J., rock five-piece, now signed to XL. Thurs/4, 7 p.m., free with RSVP at www.shockhound.com. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

A FOGGY HOLIDAY 2008


SF indies give it up for this Talking House CD of carols. With the Trophy Fire, the Heavenly States, and more. Fri/5, 8:30 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

MURS


Expect a jammed club for the prescient Murs for President MC. Fri/5, 10 p.m., $15–<\d>$20. Shattuck Down Low, 2284 Shattuck, Berk. www.shattuckdownlow.com

SOULFUL HOLIDAY PARTY


The now-NorCal-dwelling soul-OG Darondo is spreading the deep magic. With Wallpaper and Nino Moschella. Fri/5, 9 p.m., $16–<\d>$21. Slim’s, 333 11th St., SF. www.slims-sf.com

ENERGY ANNIVERSARY BLAST


Energy 92.7’s takes off for the fourth year with Cyndi Lauper, Michelle Williams, Lady GaGa, Morgan Page, and others. Sat/6, 8 p.m., $36–<\d>$46. Grand Ballroom at Regency Center, 1300 Van Ness, SF. www.ticketmaster.com

HANK IV AND MAYYORS


The SF garage-punk scrappers return from their luminary-littered East Coast tour and join the souped-up Sacto rock unit. With Traditional Fools. Sat/6, 9 p.m., $7. El Rio, 3158 Mission, SF. www.elriosf.com

RAILCARS


Xiu Xiu’s Jamie Stewart produced the SF band’s Cities vs. Submarines EP (Gold Robot) in his kitchen. With Religious Girls and Halcyonaire. Tues/9, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Heaven-sent hip-hop?

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Everyone loves a young artist on the verge. When a new, talented voice emerges from nowhere, we all buzz and titter. As a result, John "Blu" Barnes isn’t talking to the press at the moment. According to the Los Angeles rapper’s manager, Jonathan Kim, Blu is "trying to clear his head before he starts working on his next album," which will probably be made for a to-be-confirmed major label. "Clearing his head" means tuning out the noise of the blogs, magazines, fanboys, and hip-hop critics that lavished attention on him.

It may be the first time Blu’s been silent by choice. He has stoked fans with sharp-tongued linguistics all year, issuing two albums — Johnson&Jonson, with producer Mainframe, and as C.R.A.C. (Collect Respect Anna Check) with producer/rapper Ta’raach, The Piece Talks (both Tres) — and scores of guest appearances on others’ rap tracks. The avalanche of material brought his smack-talking, pussy-hunting abilities to the fore — with increasing acclaim.

But in the high-stakes, winner-take-all world of hip-hop, one false move will not only get your ass dropped from a label roster like a kidney stone, it’ll get your album shelved indefinitely. In its December issue, XXL magazine inducted Blu into the "Freshman Class of ’09." It also included a brief "Graduation" story on last year’s picks, nearly all of whom have fallen victim to stalled careers, waning audiences, or artistic malaise.

Years ago, when Blu was a hungry teenage striver in Southern California, he referred to this dangerous world of superstars, prodigies and has-beens as heaven. Below the Heavens: In Hell Happy with Your New Imaginary Friend (Sound in Color, 2007), his collaboration with producer Alec "Exile" Manfredi, "was a concept I came up with in high school," he told me back in January. "I thought all the people I was associated with were so-called below the heavens because we all want to get to heaven, and heaven was the mainstream, like, commercial success. And we were below the heavens."

Blu’s path to heaven began with the help of Exile, whose career courses from underground to mainstream circles, from Emanon (his longtime indie-rap group with singer-rapper Aloe Blacc) to thug pioneers Mobb Deep. At the time, Blu was a self-described freestyler, the type of dude who battled other prospective rappers in huddled "cipher" circles outside LA nightclubs. Exile pushed him to write lyrics that were more than just invectives and put-downs.

"I was always pushing for a more personal record from him," Exile said. "He definitely resented me for that a little bit because he wanted to get his raw MC-type shit out. I helped him polish his style."

Blu still manages to talk a gang of shit on Below the Heavens. On the first track, "My World Is," he brags, "Back when I was a young spitter bitches used to ask me to kick a flow to them. Next thing you know I’m strokin’ ’em." But he’s also disarmingly sensitive and poetic. On "Simply Amazin’<0x2009>" he describes rapping "until I buckle and become winded / And all the air from out my lungs slips into the sky like weed smoke." On "The Narrow Path," he admits, "I need a pen, I need a pad, I need a place to go, to get this shit lifted off of my soul." Through deft linguistics, Blu yearns for better days, rapping to not only save his life, but improve it.

Back in January, Blu told me: "As I started formuutf8g the album, it seemed to be like a collection of my life on earth, which is striving to make it to heaven. I felt since that was what the record was turning out to be about, I felt the title fit in both ways." When Blu said "both ways," he referred to heaven on earth as well as the spiritual afterlife. "I definitely wanted the respect from [Below the Heavens]," he continued. "I just wanted people to hear me, and cats wonder who I am. And it did that plus more. Now I’m looking to step it up for the people."

In the year that followed, Blu fully indulged his "raw MC-type shit" with The Piece Talks and Johnson&Jonson. If neither album approaches Below the Heavensspiky brilliance, they at least confirmed that Blu’s lyrical talent was undeniable. Now he’s on the cusp of entering the heaven of mainstream rap world — and an uncertain future.

BLU

With U-N-I, Richie Cunning, and Fashawn

Tues/9, 9 p.m., $12–<\d>$14

Independent

628 Divisadero, SF

(415) 771-1422

www.theindependentsf.com

Boys to men

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› a&eletters@sfbg.com

Longevity in rap is the exception, not the rule, but those exceptions are glorious: witness E-40, who dates his career from his 1988 self-released 12-inch as a member of MVP. After 11 years with Jive Records, 40 signed to Lil Jon’s Warner Bros.-distributed BME for his 2006 Gold-certified album, My Ghetto Report Card. Now the 41-year-old Vallejo veteran has returned with The Ball Street Journal, which dropped Nov. 24, a Monday, to increase first week sales.

The same day, San Francisco independent SMC released From a Boy to a Man, the long-awaited seventh solo album by Fillmore legend San Quinn, who began recording in 1991 at age 14. "My competition was Kriss Kross," he told me in a phone interview several days earlier, neatly putting his endurance in perspective.

Though Quinn, now 31, released a handful of discs in his late teens on JT the Bigga Figga’s then-Priority-distributed Get Low Records, his success has always depended on his loyal local fanbase. Fueled by his regional radio hit, "Hell Yeah," his last disc, The Rock (SMC, 2005), is his biggest seller yet, moving more than 20,000 copies.

Yet despite good independent numbers and 17 years in the game, the powerfully deep-voiced Quinn is still hungry. "I’ve yet to blow all the way up," he said. "I want to be known worldwide, and I’m still slowly climbing that mountain."

THE BALLITICS OF RAPPIN’


Quinn makes a good point: if your audience keeps expanding, you can’t be said to have fallen off. A major label rapper like Yung Joc may have debuted with a triple-putf8um single — "It’s Goin Down" — in 2006, but where is he now, let alone 17 years from now? The overinflated major label economy of scale means Joc could sell 200,000 and still be a failure, whereas Quinn’s independent grinding has kept him viable with only a tenth of that figure. I somehow suspect Joc’s artistic legacy won’t compare with Quinn’s in terms of length or depth, regardless of sales.

"Lotta these new dudes is ringtone rappers," E-40 remarks on BSJ‘s "Tell It Like It Is." After 15 years of major-label activity, 40 knows whereof he speaks. He pioneered the "rapper as independent label head" model with his Sick Wid It Records, forcing the industry to take notice when his 1993 EP, The Mailman (Sick Wid It), debuted at no. 13 on Billboard‘s R&B chart with no major-label distribution deal.

While signed to Jive, 40 frequently complained the imprint never gave him that superstar push. He knew he could be bigger, and in an era of shrinking album sales, the fact that the well-promoted Ghetto Report Card scored 40 his first Gold since 1998’s The Element of Surprise (Sick Wid It/Jive) proved him right. (His 1995 Gold album for Jive, In a Major Way, went Putf8um in 2002, showing more artistic longevity than many an instant Putf8um disc.)

The push is not without its price, however. Don’t get me wrong: BSJ, to me, is clearly the best major-label rap disc of the year. Like every such recording, it’s too longand where Jive gave 40 free rein, the corporate hand of Warner Bros. is evident. For example, the Akon collection, "Wake It Up," is an admittedly catchy pop single though it sounds more like an Akon song showcasing 40. Similarly, the marquee power of Snoop Dogg can’t disguise the fact that his verse on "Pain No More" sucks, which is a shame, since 40’s verse rocks.

But overall, BSJ is a more distinctively E-40 disc than Ghetto, inasmuch as its tempo and feel varies more than the hyphy-fueled onslaught of its predecessor. (BSJ had 12 producers, where Ghetto had five.) "Earl," an atypical slice of moody mob music from Lil Jon, is the most classic-sounding E-40 track in years, while the more spiritual "Pray for Me," produced by longtime 40-collaborator Bosko, is a close second.

"It’s got an old-school, 1989/1990-kinda feel," said 40 by phone a month ago. "But I mixed it all up for the new generation." The new generation, to be sure, is much in evidence: in the strong contributions from 40’s producer/son Droop-E and rapper/protégé Turf Talk, especially the hyphied-out mob banger "Got Rich Twice." Rick Rock’s three spacious, sample-laden beats are, as usual, way ahead of their time. The rapper’s collaboration with Too $hort, "Sliding Down the Pole," might sound like old times, but the whistling Willy Will beat is as fresh a post-hyphy groove as anything on BSJ.

GROWING PAINS


Where BSJ is like a big-budget cinematic thriller, Quinn’s From a Boy is more like an autobiographical novel, with an emphasis on storytelling and a socially responsible undercurrent.

"If you want to know how a young black man feels in San Francisco, you can tap into this record," said Quinn. Yet his disc belies this everyman characterization. It’s saturated with Quinn’s personal history, from his mother’s struggles as a single parent on the title track, to his relationship with his sibling, Fillmore rapper Bailey, on "My Brother," to his advice to his 11-year-old son, Lil’ Quinn, who raps alongside his dad on "Billionaire." "Billionaire" displays a very different conception of the uses of wealth than most street rap: "College education for your children," Quinn raps. "That’s what we call livin’."

The extraordinary thing about From a Boy is how Quinn holds its various themes together, sounding neither preachy nor hypocritical. While nominally a gangsta rapper, Quinn is much more a "kill you if you fuck with me" than a "kill you because I enjoy it" MC. His crack-dealing persona is there — as on the infectious single "Rockin’ Up Work" — but the overwhelming impression the full-length leaves is cautionary. Opening with actual KTVU sound clips about a deadly Fillmore shooting, "They’re All Waitin’ on Me" reminds me of Paris in its depiction of the urban war zone and is much more typical of the album’s vibe.

Quinn admits he’s not the best beat-picker, and given how incendiary the Traxamillion-produced bonus track, "Do Ya Thizzle," is, I wish there were a couple of more A-list collaborations. Quinn’s protégé, Filipino producer Dexbeats, is a great find, and the songs are so well-written, they render such second-guessing moot.

All told, both 40 and Quinn have reaffirmed their OG status in Bay Area rap. It’ll be interesting to see whether BSJ will equal the success of 40’s first Warner Bros. disc and whether the increasingly national visibility of SMC will get Quinn any extra regional play.

Sonic Reducer Overage: Mixmaster Mike, Los Amigos Invisibles, Wu-Tang Clan, Morning Benders, and more

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Say hello to my little invisible friend: Los Amigos Invisibles’ “Cuchi Cuchi.”

Ask and the city provides – good times and solid sounds for all. Here’s the good schtuff that didn’t make it to print.

WU-TANG CLAN
The Wu is with you – though RZA and Ghostface Killah were MIA when the group last played Ess Ef. Wed/3, 8 p.m., $45. Grand Ballroom at Regency Center, Van Ness and Sutter, SF. (415) 421-8497.

LOS AMIGOS INVISIBLES
This year the Venezuela group impressed at Outside Lands and threw out its first live DVD – and a new studio album is said to be in post-production. With Funky-C and DJ Felina. Thurs/4, 9 p.m., $22. Independent, 628 Divisadero, SF. (415) 771-1421.

Little Joy

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PREVIEW Few had a clue about Little Joy as we watched them gather on the outdoor stage at Big Sur’s Fernwood campground this fall. The Los Angeles band had slipping onto the Festival in the Forest bill the weekend before it was to perform at the Independent alongside Devendra Banhart side project Megapuss, and the ramshackle crew — which included vocalist-guitarist Binki Shapiro, multi-instrumentalist Rodrigo Amarante (Los Hermanos), and drummer-multi-instrumentalist Fabrizio Moretti (the Strokes) as well as Banhart and producer Noah Georgeson — took its time setting up. And why not? The sky was clear, the nightmarish Big Sur fire was behind us (though the Henry Miller Library was preparing to close for fear of mudslides), the green and gold mountains above the stage were a fantastic, organic distraction, and there was plenty of spectacular autumnal parkland to wander

As the group began to fiddle with its instruments in earnest, hipsters hailing from the Bay, Monterey, and LA suddenly materialized — like headbanded, bejeweled elves in designer sandals — from woods. Something special was going down. Yet little did we realize how sweet it would be: behind those scenester shades onstage came the most dulcet pop tunes, lightly scented with classic Brill Building songwriting and a whiff of Cali languor. Sounding for all the world like louche, beachbound Dion and the Belmonts, Little Joy sported an El Lay too-cool-for-you exterior that was simultaneously attractive and off-putting, but their songs — now collected on a self-titled Rough Trade debut — bid you to come closer, closer.

LITTLE JOY With the Dead Trees and Red Cortez. Tues/9, 8 p.m., $13. Slim’s, 333 11th St., SF. (415) 522-0333, www.slims-sf.com

Blitzen Trapper

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PREVIEW The pitter-pattering primal heartbeat of Blitzen Trapper’s whole-grain, acousti-organic stunner of an album, Furr, comes early in the recording, at track three with the title song, as songwriter-producer Eric Earley lightly rasps the tale of a boy turned wolf, turned human once more — haunted by dreams of running wild through the snow: "You can wear your fur like a river on fire<0x2009>/But you better be sure if you’re making god a liar<0x2009>/I’m like a rattlesnake, babe. I’m like fuel on a fire<0x2009>/So if you’re going to get made<0x2009>/Don’t be afraid of what you’ve learned."

"It’s metaphorical in a lot of ways," says Earley, 31, on the road with the band to Asheville, N.C. "But it’s an ancient story, in a way. It deals with the basic idea of the struggle between civilization and wilderness and the desire to return to a simpler state, which is impossible for us humans to do. But that battle is going on."

O what a lovely tussle it is, coupled with bravura organ-spiked, folk-rock opener "Sleepytime in the Western World," tooth-ache-sweet pop shot "God and Suicide," brash classic rocker "Gold for Bread," and glam nugget "Fire and Fast Bullets." With Wild Mountain Nation (Lidkercow Ltd., 2007) and now Furr, it’s as hard to pin down the Portland, Ore., beasties as ever before. At least there’s a pack for Blitzen Trapper to run with: one that includes current tourmates Iron and Wine, Fleet Foxes, and Bon Iver. "There has been more of a revival in natural music, using acoustic instruments and the human voice," offers Earley, whose first instrument was banjo, taught by his bluegrass musician father. "I’m not sure why that is, but I think it depends on whether there’s anyone around making that music well, twisting and turning it into something modern and unique."

BLITZEN TRAPPER With the Parson Red Heads and Mt. St. Helens Vietnam Band. Tues/2, 8 p.m., $12–$14. Independent, 628 Divisadero, SF. (415) 771-1421, www.theindependentsf.com

Shaken, stirred

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Everyone has a tale to spin as part of the AC/DC piecemeal mythology/collective unconscious: the moment when the band’s music scored the cementing of a lifelong friendship, triggered a scarring bar brawl, or set off a particularly torrid tussle in the otherwise-antiseptic CD aisle of Wal-Mart. Mine occurred in Barstow, during a particularly soused night kicking off a college-ending road trip down Route 66, falling for my long-lashed, ringleted, metal guitar player boyfriend, tossing back Jack and Cokes, and dancing in cutoff hot pants in an almost-empty cow bar to "You Shook Me All Night Long." It’s basically impossible to mess up on the dance floor when it comes to that song: all you need to do is wiggle your pinky back and forth to the can’t-miss-it-with-a-sledgehammer beat — good times. American thighs and all.

But that was a lifetime ago: how relevant is AC/DC today — apart from providing the fodder for godawful cover versions of "You Shook Me All Night Long" by Celine Dion and Shania Twain? We won’t even go into Shakira’s wretched "Back in Black." When near-anonymous, rarely grandstanding band members emerge from the silence between albums, they purvey the image of a hard-working, headbanging, rigorously hard-rock constant in a world in the throes of change, an audience-friendly reliable in an unsettled music industry that gives the fans what they want, free of undermining irony and unfamiliar moves. The rock-solid conservative choice for rattled times.

True to its components’ working-class roots, the group is the blue-collar rock ‘n’ roll equivalent of Joe the Plumber: rockers who are pro-rock, hence the innumerable tunes with "rock" in the title and the banishment of power-ballad softness. Get thy Guns N’ Roses operatic self-indulgence away from these manly men, churning out the hard stuff as if from a devilishly well-oiled engine à la their current "Rock ‘n’ Roll Train" stage set. In AC/DC’s hands, all is reduced, or elevated, to rock and its all-too-evident properties: solidity, earthiness (hence those free-floating big balls and bombastic babes), and physicality (thus the band’s refusal to allow its songs to be sold as MP3s). On the new Black Ice, the juggernaut only slightly slows for the ironclad blues-rock figure of "Decibel." Rockism is almost beside the point — what isn’t rock, can’t be rocked, won’t be rocked doesn’t exist in the AC/DC universe. Post-modernist pastiche? Hip-hop? Electro? Psychedelia? Neu-rave? Huh?

That’s not to say that AC/DC is rocking in a void, a timeless Platonic plane completely divorced from encroaching reality. The group that appealed to punkers with its disciplined songcraft and streamlined riffs — and nodded to skinheads with the "oi!"s that decorate "T.N.T." — has at various times embraced a palpable sense of danger (witness Angus Young impaled bloodily on a guitar in the video for "If You Want Blood [You’ve Got It]") while also allowing its music to be licensed to the US Military for use in recruitment ads. Yet Black Ice‘s "War Machine" offers other ways to parse lyrics like, "Make a stand, show your hand / Call in the high command / Don’t think, just obey / I’m like a bird of prey / So better get your name, come on in / Gimme that thing and feed your war," apart from simply "Go Army."

This crack in the armor of certainty — from a combo that hails from ye olde days of rock-as-rebellion monoculture, when big, bad guitars were the only option for revolt in town — reads like a cap tug toward increasingly murky times. And the marketplace concession of giving Wal-Mart exclusive rights to sell the Black Ice CD — even in Wal-Mart-free towns like San Francisco — complicates matters because independent merchants like Amoeba Music are forced to purchase new copies from the big-box retailer, relinquishing their mark-up, in order to provide the disc as a service to their customers (the vinyl Black Ice is not exclusive to Wal-Mart). "It’s a slap in the face for indie record stores and AC/DC fans, especially for a band like AC/DC that has always had a reputation of delivering what the fans want," comments Amoeba Music product manager Tony Green. Note to AC/DC: Wal-Mart does not equal working class — or a passion for music. Give these dogs their bone.

The coal question

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> news@sfbg.com

GREEN CITY Over the past few years, a growing number of environmentalists have called for greatly curtailing the burning of coal, a practice that threatens the health of people and the planet. On Nov. 14-15, Rainforest Action Network (RAN) held protests in San Francisco and more than 50 other cities against Bank of America and Citibank, two of the largest financial backers of coal projects.

RAN cites data showing that coal is responsible for nearly 40 percent of US global warming emissions, and claims in a press release that Citibank has provided financial support to "45 companies that have proposed new coal power plants."

According to RAN, Bank of America is "involved with eight of the US’s top mountain top removal coal-mining operators, which collectively produce more than 250 million tons of coal each year."

Mountain top removal is a process in which explosives are used to gain access to underlying coal, devastating ecosystems and polluting watersheds to extract an energy source that emits far more climate-altering carbon than even other fossil fuels. RAN’s Joshua Kahn Russell cited Bank of America’s $175 million financing of Massey Energy, a coal producer that was sued in 2006 by the US Environmental Protection Agency for more than 4,500 violations of the Clean Water Act. Early this year, Massey agreed to a $20 million settlement rather than pay potential fines of $2.4 billion.

RAN has named Bank of America CEO Kenneth Lewis the "Fossil Fool of the Year" for his company’s role in coal. But on the bank’s Web site, Lewis disputes the characterization, citing the company’s promotion of hybrid vehicles and its other efforts to combat global warming, which won an award this year from the Natural Resources Defense Council.

"Our environment initiatives reflect our commitment to addressing climate change, conserving natural resources and building a sustainable economy — for today, and generations to come," Lewis says on the Web site. Similarly, Citibank officials tout what they say is a $50 billion initiative over the next 10 years to promote renewable energy sources.

As the US limps toward an energy policy that relies less on fossil fuels, coal is the big target for environmentalists. But getting off of it won’t be easy, considering it supplies about a quarter of the nation’s energy and helps fuel the faltering economy.

President-elect Barack Obama has made mixed statements about coal. In an election-season interview with the San Francisco Chronicle, he favored a cap-and-trade program that would limit the use of coal and charge new plants "a huge sum for all that greenhouse gas that’s being emitted."

Yet he has also repeatedly voiced support for a so-called clean coal technology known as carbon capturing and sequestration (CCS) that could theoretically prevent coal emissions from entering the atmosphere but that many environmentalists believe to be a myth.

Russell said CCS, which involves capturing carbon emissions from the air and placing them deep underground, is still theoretical and may not be as cost-efficient as switching to cleaner energies. If CCS is a viable alternative, the Intergovernmental Panel on Climate Change (IPCC) has said that coal plants with CCS could reduce carbon emissions by 80-90 percent.

RAN organizer Scott Parkin pointed out that even if clean-coal technology works, the "coal still has to come from somewhere," and the process of extracting it has inherent environmental problems. But coal advocates say we need to be realistic about meeting the nation’s energy needs.

Bank of America spokesperson Britney Sheehan told us, "As a nation, 50 percent of electricity comes from coal." Even in California, 32 percent of electricity is derived from coal, according to the California Independent System Operator. Sheehan said the bank is actively funding renewable energy initiatives to help make the transition to cleaner burning fuels and it is making strides to reduce greenhouse gas emissions.

Yet many say such incrementalism belies the seriousness of the climate change threat. Dr. James Hansen, head of NASA’s Goddard Institute of Space Studies, was quoted by RAN as saying, "The science is clear: a moratorium on new coal-fired power plants, and phase-out of existing coal plants, is essential if we want to preserve creation, the life on our planet, for young people and future generations." 2

Fueling change

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EDITORIAL As a lame duck Board of Supervisors winds down, and the economic crisis and bloody budget cuts absorb most of the political focus at City Hall, there’s a major environmental issue creeping toward a January deadline — and city officials need to present a united front.

At issue is the Mirant power plant in Potrero Hill, an aging fossil fuel dinosaur that has been belching pollution into the southeastern part of the city for years. It’s been hard to shut down — the California Independent System Operator (Cal-ISO), the regulatory agency that controls the electric grid, wants some sort of generating facility inside the city lines. Sup. Aaron Peskin, backed originally by Mayor Gavin Newsom, sought to replace the Mirant plant with city-owned combustion turbines — so-called peakers — that would run only when needed. But Pacific Gas and Electric Co., fearing city ownership of power production, fought that proposal, and some environmentalists, arguing that the city should build no new fossil fuel plants at all, also opposed the plan.

On May 5, seven PG&E lobbyists descended on the Mayor’s Office and gave Newsom his marching orders: drop the peakers proposal or we’ll spend whatever is necessary to kill it. Newsom suddenly decided he didn’t like the peakers after all, and started pushing a PG&E-backed alternative: the Mirant plant, which runs on diesel and natural gas, could be converted to run entirely on natural gas, thereby reducing emissions.

The emissions numbers are pretty complicated. If the city ran the natural-gas-fired peakers for only a limited amount of time, they would emit less pollution than the Mirant plant. Obviously neither option is pollution-free; neither is sustainable; and neither is perfect.

Still, the worst of all possible alternatives would be allowing Mirant to continue to operate a private plant. At least the peakers would be city-owned and city-run. The city would have some control over how often they were fired up and could shut them down when more renewable technology becomes available. The Mirant plant — even after a retrofit — would continue burning fossil fuels; the private company would continue to profit; and the city would have no control at all.

Besides, it’s not clear that the plant even can be retrofitted for natural gas. The project that Newsom, PG&E, and Mirant are proposing has never been done before. Mirant may not be able to get the financing; the technology may not exist.

Which means that it’s entirely possible nothing will change. If all goes the way PG&E wants, the city will abandons the peakers, the dirty Mirant plant will continue to run without a retrofit, and the people of southeast San Francisco will continue to suffer.

But there’s a problem facing Mirant, and it could potentially change the whole picture. The plant sucks 200 million gallons of water out of the bay every day for cooling — and its Regional Water Quality Control Board permit expires at the end of this year. The board has said it’s not inclined to renew the permit, since the plant can’t meet modern water-quality standards. So as of January, Mirant could be forced to shut the plant anyway — unless the company, and Cal-ISO, find a way to force the water board to back down.

That’s where the city comes in. The mayor, the supervisors, and City Attorney Dennis Herrera should publicly inform both the water board and Cal- ISO that San Francisco does not want the permit renewed for the current Mirant plant. Even if Newsom thinks the facility can be upgraded, it’s hard to argue that the existing plant is anything but a disaster. And unless and until there’s a credible, peer-reviewed retrofit plan, Newsom has no business siding with Mirant and PG&E.

The water board could force the issue. If the Mirant plant has to close, the city either needs to come back with a peaker plan that environmentalists can accept or find a way to meet Cal-ISO’s mandates without new fossil fuel generation. That sounds like an excellent outcome to us. *

Tyranny of the majority

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› steve@sfbg.com

When the California Supreme Court agreed last week to decide the legality of Proposition 8 — which a slim majority of Californians passed Nov. 4, taking from same-sex couples the marriage rights that the court had established in May — the debate shifted to a concept far older than that of gay rights.

Essentially, it will decide whether this is a case of the "tyranny of the majority," a phrase Alexis de Tocqueville coined in his classic 1835 book Democracy in America, drawing on a concept from the ancient Greeks that was the philosophical underpinning of the US Bill of Rights and the central paradigm of constitutional democracy.

The founding principle is that basic rights — such as the freedoms of speech, religion, and association — are not subject to majority approval and can’t be taken away by a simple popular vote. So the question now before the judges is whether the right to marry, which the court ruled had been unconstitutionally withheld from same-sex couples, is among those core rights.

"The whole notion of equal protection is to protect minority interests from the periodic discriminatory impulse of the majority," Robert Rubin, legal director for the Bay Area chapter of the Lawyers Committee for Civil Rights, told the Guardian. "And [upholding Prop. 8] would turn that on its head."

‘CONSTITUTIONAL CRISIS’


Even before the votes were counted election night, the San Francisco City Attorney’s Office and its counterparts in Santa Clara County and the city of Los Angeles were developing their challenge to the legality of Prop. 8, which they filed Nov. 5.

Both Prop. 8 proponents and the California Attorney General’s Office agreed that the high court should immediately take the case rather than let it rattle around the lower courts for months or years. "Review by this Court is necessary to ensure uniformity of decision, finality and certainty for the citizens of California," Attorney General Jerry Brown wrote to the court.

Brown had previously ruled that the roughly 18,000 marriages performed since May were legal and that Prop. 8 is not retroactive, something proponents of the measure dispute and which the Supreme Court also has agreed to decide in this case. But two of the three "issues to be briefed and argued," as the high court ruled Nov. 19, were more fundamental: "1) Is Proposition 8 invalid because it constitutes a revision of, rather than an amendment to, the California Constitution? (see Cal. Const., art. XVIII, 1-4) 2) Does Proposition 8 violate the separation of powers doctrine under the California Constitution?"

Narrowly framed, the first question asks whether the process of banning same-sex marriage in the constitution should have gone through the more cumbersome revision process, which involves winning a two-thirds vote in the California Legislature before submitting the measure to voters. And the second concerns whether the legislative branch of government (in this case, through a direct vote of the people) can legally override this decision by the judicial branch.

But more broadly framed, both questions go to the same basic issue: can a simple majority of voters take away rights from a protected minority group, one the judicial branch has already ruled is entitled to the same marriage rights as heterosexual couples? The implications of that answer are so profound that City Attorney Dennis Herrera, in a City Hall press conference after the court announced its decision, cast the matter as no less than a "constitutional crisis."

"The cases before the Supreme Court today are no simple rematch. To be candid, the principles implicated here are of far greater consequence than marriage alone," Herrera said. "In short, this case has gone beyond the simple issue of marriage equality. And no matter what your view of same-sex marriage is, it’s important to understand that the passage of Proposition 8 has pushed California to the brink of a constitutional crisis."

He then explained why.

"This measure sought to do something that no other constitutional amendment has ever done here in the state of California, and that is to strip a fundamental right from a protected class of citizens and in doing so, it did not merely undo a narrowly disfavored Supreme Court ruling. Its legal effect is nowhere [near that] simple or elegant. Rather, it upended a separation of powers doctrine deeply rooted in our system of governance. It trounced upon the independence of the state’s judicial branch and it eviscerated the most fundamental principle of our state’s constitution. And if allowed to stand, Proposition 8 so devastates the principle of equal protection that it would endanger fundamental rights of any potential electoral minority, even for protected classes based on gender, race, or religion. And it would mean a bare majority of voters could enshrine any manner of discrimination against any unpopular group, and our state constitution would be powerless to disallow it," Herrera said.

That’s why he said 12 cities and counties have joined this suit — including Los Angeles and Alameda counties, which were not part of the original same-sex marriage case — along with supporting roles being played by the NAACP, the Mexican-American Legal Defense Fund, the Asia Pacific American Legal Center, and California Council of Churches.

There is some irony to the Council of Churches’ involvement given that religious groups, particularly the Catholics and Mormons, provided the backbone of financial and volunteer support for the Yes on 8 campaign. Yet the council argues that Prop. 8 is an attack on religious freedom.

"It is kind of ironic, and I don’t they they’re paying attention to the big picture, to be honest with you," Eric Isaacson, attorney for the Council of Churches, told the Guardian. "But history tells us that religious groups are often the victims of such persecution."

He cited laws that have taken rights from Jews in many countries and instances of majorities in the United States going after Jehovah’s Witnesses and the Mormons, a group driven from state to state by discriminatory mobs until they finally settled in Utah to enjoy religious freedom.

Beyond the historical and precedent-setting nature of the case, the council’s executive director Rick Schlosser told the Guardian that Prop. 8 discriminates against Episcopal, Unitarian, and other churches that believe all people have the right to marry.

"We work on a lot of religious freedom issues and there’s a huge number of churches that support the right of people to marry," Schlosser said. "There are a lot of churches that think it’s their religious duty to perform same-sex marriages."

CONFLICTING TRADITIONS


Frank Schubert, who managed the Yes on 8 campaign, scoffs at attempts to frame this debate around larger constitutional issues: "This is simply about marriage and what the definition of marriage will be."

He called the chances of overturning the measure "minuscule," and said, "the constitution belongs to the people." Rather than an initiative upsetting constitutional traditions, Schubert blamed the Supreme Court for reinterpreting marriage: "It’s the first time in California that rights that did not exist were granted on a narrow court decision and the people corrected that."

Yet the traditional gender structure of marriage is now in conflict with traditions of equal protection and separation of powers, something same-sex marriage advocates say needs to be the subject of a concerted public education campaign.

"There is a major civics education to be undertaken," Rubin said, recalling how he was also criticized publicly in 1994 for his role in winning a restraining order against Proposition 187, which sought to withhold government services from undocumented immigrants. "Yet the notion that protecting minority interests is not subject to popular will is not that hard to understand."

Maybe, but some constitutional law scholars say the formulation is not quite that simple. "The notion that a majority can’t take away a minority group’s rights, that just isn’t true," said UC Berkeley’s Boalt School of Law professor Jesse Choper. He takes a less philosophical view of the case, noting that California law explicitly allows the constitution to be amended, essentially however the people see fit, a process far easier than the one to change the federal constitution.

Choper said the specific question before the court is whether voters can remove same-sex marriage rights from the constitution. "And the answer is yes, if they do it properly," he said. That determination will come down to whether the judges believe this change is a mere amendment, or a more serious revision. Choper said the case law on that question isn’t well-established, but his reading of it is that plaintiffs face a real challenge in arguing that a simple change to the constitution — albeit a weighty one — requires the revision process. "It’s uphill," he said. "They’ll have to cut a new cloth."

But Herrera and his fellow plaintiffs don’t agree. While he characterized the coming legal battle as difficult and complicated, he expressed confidence in their ability to show that Prop. 8 changes core constitutional principles.

"That’s why I think this is a revision rather than amendment, because it would so radically change the balance of power and responsibility between our branches of government," Herrera said.

Santa Clara County Attorney Ann Ravel, who joined Herrera’s press conference, agreed, stepping up the podium to say, "Let me just add something to that. If this is not a case of revision, it’s hard to imagine any case that the court might find there to have been a revision, and there have been some."

While Choper may not agree with the plaintiffs on how the court will decide the equal protection questions, he does agree that the outcome could have serious implications for minority rights and the ability of voters to target disfavored groups. "If they can do it to this minority, they can do it to other minorities," Choper said.

Rubin said the religious groups pushing Prop. 8 are being short-sighted: "What they may like today when they have 51 percent of the vote, tomorrow they may be on the 49 percent side and may not like that basic rights come down to majority rule."

And that’s why the issue gets elevated to the larger question of whether this is a case of tyranny of the majority, something that could become an issue for the federal courts, which is likely to see cases challenging whether lax California standards on precedent-setting initiatives might run afoul of bedrock principles in the US Constitution.

"Yes of course you could challenge it in the federal court," Choper said. "If Prop. 8 stands, someone will bring a case about whether discrimination against gay marriages violates the equal protection clause of the federal constitution."

Herrera said he doesn’t want to go there yet, but he left that door open in response to a question from the Guardian: "Are there potential federal issues down the road that could be raised or discussed? It’s no secret that’s potentially there, but at this point, I don’t think that’s something that we’re going to focus on."

THE LONG VIEW


While the judges and lawyers in this case may focus on narrow legal concepts and definitions, Herrera is seeking to present the case in a far grander context.

"Equal protection under the law is what separates constitutional democracy from mob rule tyranny and it is a principle that reaches back eight centuries to the Magna Carta and it has guided the founding of our nation and our state," he said. "So I understand that on same-sex marriage, the emotions on both sides run high, but it’s important to understand the legal stakes are even higher. The cases before the high court today are no longer about marriage rights alone. They are about the foundations of our constitution. And as citizens we share the blessing of a common jurisprudence, and I refuse to accept that it is beyond us to find common ground in its enduring and deeply American principles: equality under the law, separation of powers, and an independent judiciary."

Ravel reinforced Herrera’s perspective, telling reporters, "The Supreme Court is going to decide, as Dennis said, a question that goes to the very foundation of our democracy and that will also impact every city and county in the state. The court has held, previously, that all couples have to be treated equally when it comes to the important institution of marriage. A majority of voters can’t undercut the court’s role in protecting minorities in our society."

Essentially, this is no longer a case about same-sex marriage.

"The merits of the case are different than they were back in May. The fact of the matter is the California Supreme Court found there was a fundamental right to marry and that LGBT couples are entitled to that right. The issue here is should Prop. 8 be struck down because it was an improper amendment versus a revision," Herrera said. "So I think everybody is focused on the right issues." *

Sonic Reducer Overage: Lyrics Born, M83, Herbaliser, and more

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Change Nation: Lyrics Born’s “I Changed My Mind.”

You’re gonna be stuffed, you’re going to be stressed, you’re going to be tired of watching football… Then, you’ll want to go out – and be among kindred spirits fleeing family and taking refuge in solid sounds.

LYRICS BORN
You like him, you love him. The Bay MC ushers in the holidaze. With Raashan Ahmad and Mavrik. Wed/26, 9 p.m., $25. Independent, 628 Divisadero, SF. (415) 771-1422.

SISTERS OF MERCY
The band that launched a jillion black dye jobs hasn’t released new material since 1993. Wed/26, 8 p.m., $35. Warfield, 982 Market, SF. (415) 421-8497.

“Traditional marriage”

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Kristof, this Sunday, in the New York Times, writing about Pakistan:

“One new cabinet member, Israr Ullah Zehri, defended the torture-murder of five women and girls who were buried alive (three girls wanted to choose their own husbands, and two women tried to protect them). ‘These are centuries-old traditions, and I will continue to defend them,” Mr. Zehri said of the practice of burying independent-minded girls alive.'”

Just putting that out there for both sides of the Prop 8 divide. Are these kinds of traditions something we really want to fight for — either to “defend the definition of” or to be a part of? As for me: Of course queers should have the same rights and access under the law as straights. But from a broader perspective, not only do I think that single people shouldn’t be ostracized (or taxed more, in some cases) and that religion should have nothing whatsoever to do with a civil contract, but also that, you know, maybe this whole marriage thing is kind of ridiculous to begin with … but that’s just me, and I have a severe case of he radical vapors.