International

Green City: The baby question

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› amanda@sfbg.com

GREEN CITY I remember exactly where I was — sitting on a BART train, reading yet another magazine article about global warming — when it hit me harder than ever before: the year 2050 is going to suck.

Predictions suggest it’s going to be hotter, colder, drier, wetter, and stormier in all the wrong places. Sea levels will be up. Resources will be down. The view from 2007 is not good. So how can I, an educated, middle-class American woman, reasonably consider having a child with such a future to offer?

To have or not to have is the baby question everybody asks. I’ll admit I’ve been on the fence for a long time. A survey of my female role models reveals that exactly half took the motherhood plunge (including my own mother), yet the other half refrained. I’m clearly drawn to the childless life for a number of reasons, and reading the International Panel on Climate Change reports released this year has given me one more.

By virtue of our existence, we’re all contributing to global warming, and my impact will be at least doubled by every child I have. According to Al Gore’s carbon calculator (at www.climatecrisis.net), I’m emitting 2.35 tons of carbon dioxide per year, well below the national average of 7.5. But that would certainly increase if I were to have a baby. I’d need a bigger place to live, and that would require more heat and electricity. More flights back East to see Grandma and Grandpa would be in order, and I’d probably buy a car, not to mention all that crap that babies need.

I would become more like the average American, who has a life span of 77.8 years and, according to estimates by the Mineral Information Institute in Golden, Colo., needs 3.7 million pounds of minerals and energy fuels to construct and support a lifetime of stuff — from cars and roads to batteries and soap.

It seems like an effective way to cut our impact on the earth would be to cut population, yet such a strategy almost never comes up.

"In the entire discussion of climate change, there’s been no mention of population," Paul Ehrlich, Bing Professor of Population Studies at Stanford University, told me.

The IPCC’s fourth assessment, released in November, discusses mitigation measures but never suggests decreasing population — except as the unintended result of a natural disaster. Historic attempts to limit population growth have never been popular. China has been chastised for its one-child policy, as were environmental groups like the Sierra Club, which called for limiting immigration in the 1970s to curb population growth in the United States.

"It’s an incredibly personal decision," environmentalist and author Bill McKibben told me. "In our culture it’s not one that’s easy for people to talk about." He addressed it in Maybe One (Simon and Schuster, 1998), in which he explains his decision to have a child after years of saying he and his wife wouldn’t.

McKibben says he wrote the book to uncover the weak mythology that only children are spoiled, myopic brats, to show how religious beliefs have been manipulated, and to point out that an increasing population is really an economic advantage.

Ehrlich, who thinks the US should at least have a population policy, also had one child with his wife, Anne. The realization that having more would contribute to an unsustainable future for their daughter led them to author numerous books on the subject, including The Population Bomb (Ballantine Books, 1968), one of the bellwethers on the impact of unchecked population growth. Since then the issue has essentially disappeared from public consciousness, and Ehrlich thinks that’s because the world’s total fertility rate has, in fact, dropped — from five children per woman to three. In the US it’s decreased even further, to less than the replacement level. This has created the impression that population is no longer a problem.

But that’s not entirely true. While birthrates may be down, the overall population has still grown, because life expectancy has increased. Most of us don’t die when we give birth. We go on living, breathing, eating, drinking, shitting, idling in traffic, jetting between cities, and consuming more and more of the dwindling resources we have — with a child or two at our side.

And the equation is simple, right? The more people, the bigger the problem.

"Well, it’s not a direct multiplier," McKibben said. He offers as an example an Amish family of eight "living simply" and having less of an impact than the average American Brady Bunch. "In global terms it’s so much more about consumption."

Ehrlich and McKibben agree that’s really the problem. "An important point, which is usually missed, is the next 2.5 billion people are going to have a much bigger impact than the last 2.5 billion," Ehrlich said.

According to his research, we’ve surpassed the earth’s carrying capacity, and Americans are only able to overconsume because Africans, Indians, Asians and other developing countries are underconsuming.

If the entire world population ate and drank and drove around like Americans — which is the aspiration of many — we’d need two more Earths.

"The current population is being maintained only through the exhaustion and dispersion of a one-time inheritance of natural capital," the Ehrlichs and Gretchen Daily wrote in the 1997 book The Stork and the Plow (Yale University Press), in which they grapple with the question of a sustainable population for Earth.

Their answer: about two billion. How many are we now? Worldwide, 6.5 billion, which will rise to about 9 billion by 2050 — with most of the growth slated for developing countries. Family planning and education are largely considered the primary factors in keeping the US population under control, and that’s where international efforts have focused, according to Kristina Johnson, population expert for the Sierra Club.

This has required an artful dance around the Mexico City Policy, in place in one form or another since 1984, when Ronald Reagan refused aid to any international agencies that use any monies for abortions. So while we’ve managed to handle our head count at home, we’ve done the opposite abroad.

As for how to deal with our enormous abuse of natural resources, technology has long been hailed as the solution. The guiding principle has been that our children will be smarter than we are, so we’ll leave it up to them to figure it out. However, as the Ehrlichs conclude in their most recent book, One with Ninevah (Island Press, 2004), "The claim that ‘technology will fix the problems’ has been around for decades — decades in which the putative advantages of claimed technological ‘fixes’ have often failed to appear or proved to be offset by unforeseen nasty side effects."

For example, we essentially avoided large-scale famine by figuring out how to reap more crops from our soil. But we haven’t mastered how to do this without the use of pesticides and, increasingly, genetically modified organisms that have transformed diverse farms into precarious monocultures.

Today we’re counting on technology even more, but some of the proposed solutions still raise questions. Do we have enough acreage to grow biofuels? What would be the long-term impacts of capturing carbon emissions and burying them underground? Ditto for spent nuclear fuel.

And all of these variables factor in those 2.5 billion people to come, without suggesting people consider not having children.

If there’s a mantra for any concerned citizen to adopt, it should be less. Use less. Buy less. Be less of a draw on the system. But as Richard Heinberg writes in Peak Everything (New Society, 2007), "People will not willingly accept the new message of ‘less, slower, and smaller,’ unless they have new goals toward which to aspire."

Cutting carbon emissions is a serious goal, and it looks like leadership is going to have to come from within. The Bali talks have produced no binding agreement except … more talks.

Our elected representatives have finally raised US fuel-economy standards for the first time since 1975, to the slightly less shameful level of 35 miles per gallon by 2020. Environmentalism is peaking as a popular movement, but the credo to consume less has been divorced from its consciousness.

"Green" products are now the fastest-growing consumer market. In fact, this holiday season you can buy a pair of chic Little Levi’s for your kid. They’re just $148 at Barney’s, and "a portion of proceeds" will go to the Trust for Public Land. How much? Who knows? The company isn’t saying. Just shut up and shop and don’t worry about it — they’re organic. *

Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.

Green Gala

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By Amber Peckham

You may have heard of Global Green: it’s the US affiliate of Mikhail Gorbachev’s brainchild Green Cross International, an organization with the hazy but admirable goal of a “sustainable and secure future”. However, odds are that you haven’t heard they’re throwing a party in San Francisco for the third year in a row, because it’s a highly exclusive event. Tickets to attend the cocktail party are $250,. But to participate in everything the party has to offer – a patron dinner, live “ecotastic” auction, eco-friendly fashion show, and organic spa — will set you back a cool $5k per person. Pricey, but all the proceeds go toward Global Green’s efforts to rebuild a sustainable New Orleans, as well as advance the cause of affordable green housing and schools.

Of course, everything at the party is sustainable, including the alcohol. VeeV, the first eco-friendly spirit, is the sole option at this year’s party. VeeV is made from açaí berries, small dark fruits found only in Brazilian rainforests. For every bottle sold, Veev donates $1 back to the communities that harvest the berries. A bottle runs around $33, and a dollar in Brazil usually equates to between two and three Brazilian real.

whomightbethere.jpg
Isn’t $5k a small price to pay for the chance to run into well-known celebrity Global Green supporters like Orlando, Leo, and Ms. Cruz? Or maybe not…

Year in Music: Keep on truckin’

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› a&eletters@sfbg.com

I do a lot of driving, which sucks. I don’t like cars. They stress me out, they mess up the environment, and even 10-year-old minivans are stupidly expensive, but I live in the sticks and do a lot of traveling to places where public transportation is an urban myth, so I don’t have much of a choice. However, one thing makes long trips in the car bearable: DJ mixes. Whether it’s neck-snapping hip-hop (perfect for manning up and not letting that 18-wheeler cut you off) or relentless techno (tailor-made for the final miles of an eight-hour jaunt to Oregon), a solid DJ mix is the perfect accompaniment to hours spent trying to go as fast as possible without getting yet another speeding ticket.

This year offered more than the usual share of potential candidates for the perfect driving mix. In addition to the typically top-notch offerings from the likes of Fabric (check James Murphy and Pat Mahoney’s Fabric 36 for a spectacular romp along the edges of past and present disco) and the typically abysmal efforts by DJs voted number one by tasteless trance lovers all over the world (Armin van Buuren’s Hoover festival Universal Religion 2008 on Ultra, replete with synchronized crowd noise and snare rolls, tops that list), two stuck out in particular.

More often than not I found myself reaching for Future Soul Sessions Vol. 1 (Bagpak), on which the stop-and-start rhythms’ broken beat perfectly matched the stop-and-go traffic one usually faces when attempting to escape the Bay. Ernesto Vigo of Elevations Radio on Harlem’s WHCR did a stunning job of charting a trip through broken beat’s best, from international figures like Ty, whose flowing rap for "What You Want" is up to his usual smooth snuff, to New York cats like Bagpak boss Yellowtail, who teams up with Alison Crockett for "You Feel Me," an absolutely smashing future soul classic with a vocal break that had me frequently causing consternation in nearby drivers with my attempts to match Crockett’s vocal prowess.

Once free of the urban congestion, I invariably turned to some good old four-on-the-floor. Only one mix survived my periodic pogroms of the iPod Shuffle that stores my house and techno mixes: "Hot Oven Hand," by San Francisco’s DJ Worthy. Worthy is a rising star within the twisted techno world centered around the dirtybird Records camp, and "Hot Oven Hand" came from the label’s Web site, though there isn’t a single dirtybird track in the mix. Fair enough, since I already have all of their damn stellar output and look to mixes for the new. Instead, we’re treated to the pop-locking percolation of "Back the Beat," by Ran Shani on CR2, and the spaced-out synth swirl of Swag’s "Just Pull It Dub" of Jimpster’s "Don’t Push It" on Freerange. Yet the highlights of the mix are Worthy’s compositions, particularly the grin-inducing, squelchy bounce of "Crack El" (Leftroom) and the speaker-testing tension of "Bass Quake," on his Katabatic Records. With an absurdly stuttering, chittering hook and a progression that belies its creator’s relative newcomer status, "Bass Quake" was one of 2007’s high points. But be warned: although the impulse to stupidly wave your hands in the air is perfectly acceptable on the dance floor, it’s not advisable while doing 90 over the Tehachapi Pass in a thunderstorm. *

TUNES FOR DANCING IN YOUR CAR


1. LCD Soundsystem, "Someone Great" (DFA/EMI)

2. Baby Oliver, "Primetime (Uptown Express)" (Environ)

3. Square One, "Vesuvius (Justin Martin Mix)" (Freerange)

4. Bassbin Twins, "Woppa" (Bassbin)

5. Lanu, "Disinformation" (Tru Thoughts/Ubiquity)

6. Riton, "Hammer of Thor (Roman Fluegel Mix)" (Souvenir Music)

7. Sebo K and Metro, "Transit" (Get Physical)

8. Chateau Flight, "Baltringue (Henrik Schwarz and Dixon Mix)" (Innervisions)

9. Titonton Duvante, "Oishii Manko" (Refraction)

10. Paranoid Boyz, "Paranoid" (mothership)

Year in Music: Sub obsession

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When listeners go mad for a track they hear on London’s dubstep pirate radio station Rinse FM, the DJ quickly backspins the vinyl or CD turntable and says, "All right, from the edge!" It’s an apt metaphor for music that has San Franciscans like myself clinging to bass bins and feverishly tracking the music’s forward march from South London across the globe.

Dubstep was 2007’s most fun and relevant electronic music form. The sound encompasses our war-weary planet’s apocalyptic throb, with the promise of technology’s tones twinkling in the distance. It welds dub reggae’s weighty bass with UK garage’s insistent rhythmic pulse and, like a massive black hole, draws in techno, grime, industrial, drum ‘n’ bass, and other electronic subgenres.

This year, seven years after its gritty South London birth, dubstep music was everywhere in the Bay Area, from small bars like Underground SF to multiple Burning Man camps. Parties like Grime City, Narco Hz, Brap Dem, and Full Melt drove the music, while promoters like SureFire booked big out-of-town acts. Brit expat Emcee Child ruled the mic with Axiom and Audio Angel contributing vocal vibes, and DJs like SamSupa!, Djunya, Ripple, Cyan, Subtek, Kozee, Jus Wan, and Kid Kameleon sorted the platters.

So why dubstep, and why now? Well, house, techno, hip-hop, and mashups have mined familiar, even worn, territory for years, addled by heaps of cocaine and mediocre productions. Meanwhile, innovation is dubstep’s main component: London’s Benga dropped electro-influenced steppers, local artist Juju gave us dub-fueled tunes, Skream issued acidy tracks, and new names like Elemental offered glitchy breaks as dubsteppers broke all the rules. This inspired a clutch of devoted SF enthusiasts to launch a full-scale takeover, with club nights, legal and pirate radio shows, and labels and local producers getting international acclaim. SF is now respected internationally as America’s dubstep ground zero.

The good news: this scene is more down-to-earth than the city’s notoriously cliquey drum ‘n’ bass crews were in their mid-’90s prime. The first time you go to a dubstep party you’re more apt to be handed a shot than shot down as a newbie. And remember: when you hear a sick dubplate rinsed out there, don’t forget to put five fingers in the air and shout, "From the edge!"

TOP 10 FROM DJ TOMAS, A.K.A. DUB I.D. DUBSTEP


1. Various artists, Hotflush Presents: Space and Time (Hotflush)

2. The Bug featuring Killa P and Flow Dan, "Skeng" (Hyperdub)

3. N-Type’s Sunday radio show, Rinse FM

4. Benga, "The Invasion" (Big Apple)

5. SamSupa!, Fallinginto DJ mix

6. Cotti and Clue Kid, "The Legacy" (–30)

7. Burial, Untrue (Hyperdub)

8. Babylon System, "Loaded" (Argon)

9. Coki, "Spongebob" (DMZ)

10. Skream, "Skreamizm Vol. 4" (Tempa)

Club Guide

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PHOTO BY LYLE OWERKO

AMNESIA


853 Valencia

(415) 970-0012

ANNIE’S SOCIAL CLUB


917 Folsom

(415) 974-1585

ARGUS LOUNGE


3187 Mission

(415) 824-1447

ASIASF


201 Ninth St

(415) 255-2742

ATLAS CAFE


3049 20th St

(415) 648-1047

BALAZO18


2183 Mission

(415) 255-7227

BAMBUDDHA LOUNGE


601 Eddy

(415) 885-5088

BAOBAB


3388 19th St

(415) 643-3558

BAZAAR CAFE


5927 California

(415) 831-5620

BEAUTY BAR


2299 Mission

(415) 285-0323

BIMBO’S
365 CLUB


1025 Columbus

(415) 474-0365

BISCUITS
AND BLUES


401 Mason

(415) 292-2583

BOHEMIA LOUNGE


1624 California

(415) 474-6968

BOOM BOOM ROOM


1601 Fillmore

(415) 673-8000

BOTTOM
OF THE HILL


1233 17th St

(415) 621-4455

BROADWAY
STUDIOS


435 Broadway

(415) 291-0333

BRUNO’S


2389 Mission

(415) 643-5200

BUBBLE LOUNGE


714 Montgomery

(415) 434-4204

BUTTER


354 11th St

(415) 863-5964

CAFÉ CLAUDE


7 Claude

(415) 392-3515

CAFE COCOMO


650 Indiana

(415) 824-6910

CAFE DU NORD


2170 Market

(415) 861-5016

CAFE INTERNATIONAL


508 Haight

(415) 665-9915

CASANOVA LOUNGE


527 Valencia

(415) 863-9328

CATALYST
COCKTAILS


312 Harriet

(415) 621-1722

CAT CLUB


1190 Folsom

(415) 431-3332

CITY NIGHTS


715 Harrison

(415) 546-7938

CLUB CALIENTE


298 11th St

(415) 255-2232

CLUB DELUXE


1509 Haight

(415) 552-6949

CLUB NV


525 Howard

(415) 339-8686

CLUB SIX


60 Sixth St

(415) 863-1221

CONNECTICUT
YANKEE


100 Connecticut

(415) 552-4440

CRASH


34 Mason

1-877-342-7274

DALVA


3121 16th St

(415) 252-7740

DANNY COYLE’S


668 Haight

(415) 431-4724

DELIRIUM


3139 16th St

(415) 552-5525

DNA LOUNGE


375 11th St

(415) 626-1409

DOLCE


440 Broadway

(415) 989-3434

DOLORES PARK CAFE


501 Dolores

(414) 621-2936

DOUBLE DUTCH


3192 16th St

(415) 503-1670

DUPLEX


1525 Mission

(415) 355-1525

EAGLE TAVERN


398 12th St

(415) 626-0880

EDINBURGH CASTLE PUB


950 Geary

(415) 885-4074

EIGHT


1151 Folsom

(415) 431-1151

ELBO ROOM


647 Valencia

(415) 552-7788.

ELEMENT LOUNGE


1028 Geary

(415) 571-1362

ELIXIR


3200 16th St

(415) 552-1633

ENDUP


401 Sixth St

(415) 357-0827

FAT CITY


314 11th St

(415) 861-2890

FILLMORE


1805 Geary

(415) 346-6000

540 CLUB


540 Clement

(415) 752-7276

FLUID ULTRA LOUNGE


662 Mission

(415) 615-6888

FUSE


493 Broadway

(415) 788-2706

GLAS KAT


520 Fourth St

(415) 495-6626

GRAND


1300 Van Ness

(415) 673-5716

GRANT AND GREEN


1371 Grant

(415) 693-9565

GREAT AMERICAN MUSIC HALL


859 O’Farrell

(415) 885-0750

HARRY DENTON’S STARLIGHT ROOM


Sir Francis Drake Hotel

450 Powell

(415) 395-8595

HEMLOCK TAVERN


1131 Polk

(415) 923-0923

HIFI


2125 Lombard

(415) 345-TONE

HOMESTEAD


2301 Folsom

(415) 282-4663

HOTEL UTAH SALOON


500 Fourth St

(415) 546-6300

HOUSE OF SHIELDS


39 New Montgomery

(415) 495-5436

ICON ULTRA LOUNGE


1192 Folsom

(415) 626-4800

INDEPENDENT


628 Divisadero

(415) 771-1421

IRELAND’S 32


3920 Geary

(415) 386-6173

JACK’S CLUB


2545 24th St

(415) 641-5371

JAZZ AT PEARL’S


256 Columbus

(415) 291-8255

JELLY’S


295 Terry Francois

(415) 495-3099

JOHNNY FOLEY’S


243 O’Farrell

(415) 954-0777

KATE O’BRIENS


579 Howard

(415) 882-7240

KELLY’S MISSION ROCK


817 Terry Francois

(415) 626-5355

KIMO’S


1351 Polk

(415) 885-4535

KNOCKOUT


3223 Mission

(415) 550-6994

LASZLO


2534 Mission

(415) 401-0810

LEVENDE LOUNGE


1710 Mission

(415) 864-5585

LEXINGTON CLUB


3464 19th St

(415) 863-2052

LINGBA LOUNGE


1469 18th St

(415) 355-0001

LI PO LOUNGE


916 Grant

(415) 982-0072

LOFT 11


316 11th St

(415) 701-8111

LOU’S PIER


300 Jefferson

(415) 771-5687

LUCID BAR


580 Sutter

(415) 398-0195

MAD DOG IN THE FOG


530 Haight

(415) 626-7279

MADRONE LOUNGE


500 Divisadero

(415) 241-0202

MAKE-OUT ROOM


3225 22nd St

(415) 647-2888

METRONOME DANCE CENTER


1830 17th St

(415) 252-9000

MEZZANINE


444 Jessie

(415) 625-8880

MIGHTY


119 Utah

(415) 626-7001

MILK


1840 Haight

(415) 387-6455

MOJITO


1337 Grant

(415) 398-1120

MOOSE’S


1652 Stockton

(415) 989-7800

NICKIE’S


466 Haight

(415) 255-0300

OLD FIRST CHURCH


1751 Sacramento

(415) 474-1608

111 MINNA GALLERY


111 Minna

(415) 974-1719

PARK


747 Third St

(415) 974-1925

PARKSIDE


1600 17th St

(415) 252-1330

PIER 23


Pier 23

(415) 362-5125

PINK


2925 16th St

(415) 431-8889

PLOUGH AND STARS


116 Clement

(415) 751-1122

PLUSH ROOM


York Hotel

940 Sutter

(415) 885-2800

POLENG LOUNGE


1751 Fulton

(415) 441-1710

PUBLIC


1489 Folsom

(415) 552-3065

PURPLE ONION


140 Columbus

(415) 217-8400

RAMP


855 China Basin

(415) 621-2378

RASSELAS JAZZ


1534 Fillmore

(415) 346-8696

RED DEVIL LOUNGE


1695 Polk

(415) 921-1695

RED POPPY ART HOUSE


2698 Folsom

(415) 826-2402

REDWOOD ROOM


Clift Hotel

495 Geary

(415) 775-4700

RETOX


628 20th St

(415) 626-7386

RICKSHAW STOP


155 Fell

(415) 861-2011

EL RINCON


2700 16th St

(415) 437-9240

EL RIO


3158 Mission

(415) 282-3325

RIPTIDE BAR


3639 Taraval

(415) 240-8360

RITE SPOT


2099 Folsom

(415) 552-6066

ROCCAPULCO
SUPPER CLUB


3140 Mission

(415) 648-6611

ROCK-IT ROOM


406 Clement

(415) 387-6343

ROHAN LOUNGE


3809 Geary

(415) 221-5095

ROYALE


1326 Grant

(415) 433-4247

RUBY SKYE


420 Mason

(415) 693-0777

SAVANNA JAZZ


2937 Mission

(415) 285-3369

SHANGHAI 1930


133 Steuart

(415) 896-5600

SHINE DANCE LOUNGE


1337 Mission

(415) 421-1916

SKYLARK


3089 16th St

(415) 621-9294

SLIDE


430 Mason

(415) 421-1916

SLIM’S


333 11th St

(415) 255-0333

SOLUNA CAFE AND LOUNGE


272 McAllister

(415) 621-2200

SPACE 550


550 Barneveld

(415) 550-8286

STUD


399 Ninth St

(415) 252-7883

SUEDE


383 Bay

(415) 399-9555

SUGAR LOUNGE


377 Hayes

(415) 255-7144

SUITE ONE8ONE


181 Eddy

(415) 345-9900

SUPPERCLUB


657 Harrison

(415) 348-0900

1015 FOLSOM


1015 Folsom

(415) 431-1200

330 RITCH


330 Ritch

(415) 541-9574

TOP OF THE MARK


Mark Hopkins Intercontinental Hotel

1 Nob Hill

(415) 616-6916

TRANSFER


198 Church

(415) 861-7499

TUNNEL TOP


601 Bush

(415) 986-8900

12 GALAXIES


2565 Mission

(415) 970-9777

26 MIX


3024 Mission

(415) 826-7378

222 CLUB


222 Hyde

(415) 864-2288

UNDERGROUND SF


424 Haight

(415) 864-7386

VELVET LOUNGE


443 Broadway

(415) 788-0228

VODA


56 Belden

(415) 677-9242

WARFIELD


982 Market

(415) 775-7722

WISH


1539 Folsom

(415) 431-1661

BAY AREA

ALBATROSS PUB


1822 San Pablo, Berk

(510) 843-2473

ANNA’S JAZZ ISLAND


2120 Allston Way, Berk

(510) 841-JAZZ

ASHKENAZ


1317 San Pablo, Berk

(510) 525-5054

BECKETT’S


2271 Shattuck, Berk

(510) 647-1790

BLAKES


2367 Telegraph, Berk

(510) 848-0886

CAFE VAN KLEEF


1621 Telegraph, Oakl

(510) 763-7711

DOWNTOWN


2102 Shattuck, Berk

(510) 649-3810

FOURTH STREET TAVERN


711 Fourth St, San Rafael

(415) 454-4044

FREIGHT AND SALVAGE COFFEE HOUSE


1111 Addison, Berk

(510) 548-1761

JAZZSCHOOL


2087 Addison, Berk

(510) 845-5373

JUPITER


2181 Shattuck, Berk

(510) THE-ROCK

KINGMAN’S LUCKY LOUNGE


3332 Grand, Oakl

(510) 465-KING

MAMA BUZZ CAFE


2318 Telegraph, Oakl

(510) 465-4073

19 BROADWAY


19 Broadway, Fairfax

(415) 459-1091

924 GILMAN


924 Gilman, Berk

(510) 525-9926

NOMAD CAFÉ


6500 Shattuck, Oakl

(510) 595-5344.

PARAMOUNT THEATRE


2025 Broadway, Oakl

(510) 465-6400

RUBY ROOM


132 14th St, Oakl

(510) 444-7224

SHATTUCK DOWN LOW


2284 Shattuck, Berk

(510) 548-1159

STARRY PLOUGH


3101 Shattuck, Berk

(510) 841-2082

STORK CLUB


2330 Telegraph, Oakl

(510) 444-6174

SWEETWATER


153 Throckmorton, Mill Valley

(415) 388-2820

TIME OUT BAR AND PATIO


1822 Grant, Concord

(925) 798-1811

21 GRAND


416 25th St, Oakl

(510) 444-7263

UPTOWN


1928 Telegraph, Oakl

(510) 451-8100

WHITE HORSE


6551 Telegraph, Oakl

(510) 652-3820

YOSHI’S


510 Embarcadero West

Jack London Square, Oakl

(510) 238-9200

Polishing SPUR

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› amanda@sfbg.com

Wedged among the commerce, tourism, and white-collar businesses north of Market Street is the slim entry to 312 Sutter, easy to miss unless you happen to be searching for the San Francisco Planning and Urban Research Association. SPUR occupies the fourth and fifth floors of the building — and occupies them completely. Cubicles are close and overstuffed. Conversations compete. Space for meetings is a hot commodity. Four bicycles, ridden to work by staff members, are crammed in a side room where languish a half century’s worth of policy papers, photographs, and planning documents generated by the active public interest think tank.

It looks more like a struggling nonprofit than one of the most influential policy organizations in town, one supported by the city’s richest and most powerful interests.

"This is why we’re building the Urban Center," said Gabriel Metcalf, the youthful executive director of the 48-year-old organization, clad in a dark suit and sipping from a Starbucks coffee cup while he roams the fourth floor office space searching for any available real estate to sit and talk.

He settles on an open-faced workroom with empty seats. They circle a table covered with a thick ledger of plans for SPUR’s new Urban Center, a $16.5 million, 12,000-square-foot four-story building at 654 Mission that the group is building with more than $8 million in public money.

Plans for the center include a free exhibition space, a lending library, and an evolution of the group’s current public education program, now consisting of noontime forums, to include evening lectures and accredited classes. Though the center will house meeting rooms for SPUR’s committees and offices for its staff, the suggestion is that the new space will be a more public place.

And SPUR seems to be searching for a new public image.

For years the organization was synonymous with anything-goes development, ruinous urban renewal, and an economy policy that favored big business and growth at all costs. Today SPUR’s staffers and some board members present a different face. The new SPUR features open debate and seeks consensus; phrases like sustainability and public interest are bandied about more than tax cuts and urban renewal.

But San Francisco progressives are a tough crowd, and SPUR’s history — and, frankly, most of its current political stands — makes a lot of activists wonder: Has SPUR really changed its spurs? And can a group whose board is still overwhelmingly dominated by big business and whose biggest funders are some of the most powerful businesses in town ever be a voice of political reason?

As one observer wryly noted, "I’ve yet to see SPUR publicly denounce a development project."

SPUR considers itself a public policy think tank, a term that conjures an impression of lofty independence. But the group has, and has always had, a visible agenda. SPUR members regularly advocate positions at public meetings, and the group takes stands on ballot measures.

And it has a painful legacy. "We have a dark history," Metcalf admits, referring to the days when "UR" stood for "urban renewal," often called "urban removal" by the thousands of low-income, elderly, and disabled people, many African American and Asian, who were displaced by redevelopment in San Francisco.

That history — and the fact that SPUR’s membership is largely a who’s who of corporations, developers, and financiers — has caused some to raise questions about the public money the group has received for the new Urban Center.

"They’re not an academic institution," said Marc Salomon, a member of the Western SoMa Citizens Planning Task Force who’s butted heads with the group. "There’s no academic peer review going on here. The only peer review is coming from the people who fund them."

Yet prominent local progressives like artist and planning activist Debra Walker, veteran development warrior Brad Paul, and architect and small-business owner Paul Okamoto have joined the SPUR board in recent years. "There’s a bunch of us that have come in under the new regime of Gabriel Metcalf because there’s a real aching need for a progressive dialogue about planning," said Walker, who thinks SPUR is making concerted efforts to inform its policies with the points of view of a broader constituency. "I think SPUR is engaged in those conversations more than anyone."

SPUR defines its mission as a commitment to "good planning and good government." Though a wide range of issues can and does fall under that rubric, the 71 board members and 14 staff tend to focus on housing, transportation, economics, sustainability, governmental reform, and local and regional planning, and their agenda has a dogged pro-growth tinge.

SPUR likes to trace its history to the post–1906 earthquake era, when the literal collapse of housing left many people settling in squalid conditions. The San Francisco Housing Association was formed "to educate the public about the need for housing regulations and to lobby Sacramento for anti-tenement legislation." A 1999 SPUR history of itself places its genesis in the Housing Association, though other versions of the group’s history suggest a slightly different taproot.

According to Chester Hartman’s history of redevelopment in San Francisco, City for Sale (University of California Press, 2002), the 1950s were a time when corporate-backed regional planners were envisioning a new, international commercial hub in the Bay Area. They were looking for a place to put the high-rise office buildings, convention centers, and hotels that white-collar commerce would need. Urban renewal money and resources were coming to the city, and San Francisco’s Redevelopment Agency identified the Embarcadero and South of Market areas as two of several appropriate places to raze and rebuild.

The agency, however, was dysfunctional and couldn’t seem to get plans for the Yerba Buena Center — a convention hall clustered with hotels and offices — off the ground. The Blyth-Zellerbach Committee, "a group the Chamber of Commerce bluntly described as ‘San Francisco’s most powerful business leaders, whose purpose is to act in concert on projects deemed good for the city,’<0x2009>" as Hartman writes, commissioned a report in 1959 by Aaron Levine, a Philadelphia planner, which identified the Redevelopment Agency as one of the worst in the nation and recommended more leadership from the business community. The San Francisco Planning and Urban Renewal Association was born, funded by Blyth-Zellerbach, whose leaders included some corporations that still pay dues to SPUR, like Bechtel, Bank of America, Wells Fargo, and Pacific Gas and Electric Co.

John Elberling, a leader of the Tenants and Owners Development Corp., a group representing the people who were trying to stay in the area, was one of many activists who litigated against the city’s plan and managed to wedge some affordable housing into the developers’ vision of South of Market. SPUR, he told us, was "explicitly formed to support redevelopment issues in the ’60s and ’70s."

By 1974, when Paul began fending off redevelopment efforts around the Tenderloin and directed the North of Market Planning Coalition, "all through that period SPUR was viewed by the community as a tool for the Chamber of Commerce," he said.

In 1976, "Urban Renewal" became "Urban Research," a move away from the tarnished term. The 1999 commemoration of SPUR’s 40th anniversary is a somewhat sanitized history that never presents the faces of the people who were displaced by the program; nor does the analysis nod significantly toward the neighborhood groups and activists who were able to mitigate the wholesale razing of the area.

That’s still a soft spot for SPUR, some say. "They’re uncomfortable with questions of class. Those questions tend to be glossed over," said Tom Radulovich, executive director of Livable City and a SPUR board member from 2000 to 2004.

Metcalf doesn’t duck the issue. "If you’re a city planner, you’ve got to meditate deeply on urban renewal, even though you didn’t do it. It’s the only time in urban history that planners were given power, and that’s what they did with it," he said.

Besides a long friendship with powerful businesses, SPUR has frequently enjoyed an intimate relationship with city hall. "They morphed in the ’80s into a good-government, good-planning group, but in fact they were really tight with the [Dianne] Feinstein administration," Elberling said. "One of the ways you got to be a city commissioner was by being a member of SPUR. Feinstein’s planning and development club was SPUR."

Mayor Feinstein’s reign is often remembered as a boom in downtown development — at least until 1985, when San Franciscans for Reasonable Growth succeeded in passing Proposition M, a measure severely limiting annual high-rise development. SPUR opposed the measure and still supports increased height and density along transit corridors in the city.

"SPUR always goes with more," Radulovich said. "Sometimes there’s a trade-off between sustainability and growth, and I don’t have much confidence they won’t go with growth."

A March SPUR report, "Framing the Future of Downtown San Francisco," is one example of a cognizance of other options, weighing the pros and cons of expanding the central business district or transforming it into a "central social district": "While office uses remain, the goal of a CSD is to create a mixed-use, livable, 24-hour downtown neighborhood." Another line in the report offers a telling look at how SPUR thinks: "Economic growth in the CSD model may be diminished as the remaining sites for office buildings become used for new residential, retail, or other non-office uses."

Retail means, in fact, economic growth. A 1985 Guardian-commissioned study of small businesses in San Francisco, "The End of the High-Rise Jobs Myth," found that most of the new jobs created in the city between 1980 and 1984 were not in the downtown office high-rises but around them. Businesses with fewer than 99 employees had generated twice as many jobs as those with more employees.

While the numbers may be different today, the concept that neighborhood-serving retail keeps a local economy healthy has only grown stronger, as has public sentiment against chain stores. Yet SPUR opposed a proposition calling for conditional-use permits for formula retail, which voters approved in 2006.

Over the years SPUR’s political record has been checkered. Though the group talks the good-government talk, it opposed propositions establishing the city’s Ethics Commission and reforming the city’s Sunshine Ordinance. According to Charley Marsteller, a founder of Common Cause and a longtime good-government advocate in San Francisco, "Common Cause supported initiatives in 1995, 1997, 1999, 2000, 2002, and 2005. SPUR opposed all of them."

This November, SPUR came out in favor of Proposition C, which calls for public hearings before measures can be placed on the ballot, but opposed Question Time for the mayor. The group gave a yes to the wi-fi policy statement and approved establishing a small-business assistance center — contrary to past stances.

SPUR isn’t afraid to defend its positions. "Those who disagree with a conclusion SPUR reaches object to us presenting our ideas as objectively true rather than as values based," Metcalf notes in the May SPUR report "Civic Planning in America," in which he surveys other similar organizations.

"And in truth, evidence and research seldom point necessarily to one single policy outcome, except when viewed through the lens of values. We want to stop sprawl. We want housing to be more affordable. We want there to be prosperity that is widely shared…. Perhaps it’s time to grow more comfortable with using this language of values," he writes.

Paul, who’s now program director for the Haas Jr. Fund and has served on the SPUR board for seven years, says the group is indeed changing. "Over the last six to eight years I’ve noticed a real shift on the board," he said. "We have really intense and interesting discussions about issues. People feel they can speak their mind."

Okamoto, a partner in the Okamoto Saijo architectural firm, thinks this is the result of a fundamental shift in planning tactics, due to a more recent and deeper comprehension of the coming environmental crises. "Global climate change is moving things. I think SPUR’s going in the same direction," he said. Okamoto joined SPUR "because I’d like to see if I could influence the organization toward sustainability. Now we have a new funded staff position for that topic."

And yet the fact remains that only 5 of the 71 board members — about 7 percent — can be described as prominent progressives. At least half are directly connected to prominent downtown business interests.

And a list of SPUR’s donors is enough to give any progressive pause. Among the 12 biggest givers in 2006 are Lennar Corp., PG&E, Wells Fargo, Westfield/Forest City Development, Bechtel, Catellus, and Webcor.

In the past 10 years SPUR’s staff has doubled, signaling a subtle shift away from relying mainly on the research and work of board members. One of the newest positions is a transportation policy director, and that job has gone to Dave Snyder, who helped revive the San Francisco Bicycle Coalition in 1991, founded Livable City, and spent seven years on SPUR’s board before taking the job.

Having occupied the new post for a year, he said, "If I left, it wouldn’t be because I didn’t like SPUR. The debates we have at the staff level are more open than I expected."

Proposition A, the November transportation reform measure, is one example of the group’s new approach. The group voted a month earlier than usual to endorse a measure that was directly in opposition to the interests of one of its biggest funders, Gap billionaire Don Fisher (the Gap is also a member of SPUR). According to Walker, when the SPUR board vetted the endorsements the number of no votes for Prop. A was in the single digits. "I was so surprised," she said.

SPUR opposed Proposition H, a pro-parking countermeasure largely funded by Fisher, and worked with progressives on the campaign.

Metcalf noted it was the ground troops who made all the difference. "We don’t have [that kind of] power, and there are other groups that do. We wrote it, but we didn’t make it win. The bike coalition and [Service Employees International Union Local 1021] did," he said.

Sup. Aaron Peskin, who brokered much of the Prop. A deal, called it a sign of change for SPUR. "They probably lost a lot of their funders over this."

Radulovich is still dubious. He jumped ship after witnessing some disconnects between the board and its members. Though SPUR asks members to check their special interests at the door, Radulovich couldn’t say that always happened and recalled an example from an endorsement meeting at which a campaign consultant made an impassioned speech for the campaign on which he was working.

As far as his board membership was concerned, Radulovich said, "there were times I definitely felt like a token…. Development interests and wealthy people were much better represented."

Some say that isn’t about to change. "SPUR has been, is, and I guess always will be the rational front for developers," said Calvin Welch, a legendary San Francisco housing activist. "The members of SPUR are real estate lawyers, professional investors, and developers. Its original function was to be the Greek chorus for urban renewal and redevelopment."

Welch and Radulovich agree SPUR doesn’t represent San Franciscans, and Welch suggests the Dec. 4 Board of Supervisors hearing on an affordable-housing charter amendment was a case in point. "The people who got up to speak, I’d argue that’s San Francisco, and it doesn’t look a fucking thing like SPUR."

SPUR recently applied for a tax-exempt bond capped at $7 million from the California Municipal Finance Authority to help pay the cost of SPUR’s new Urban Center. It’s a standard loan for a nonprofit — SPUR is both a 501(c)(3) and 501(c)(4) — but some neighborhood activists raised questions about whether SPUR’s project is an appropriate expense for taxpayer cash.

"There’s no city money going toward the Urban Center, but by using tax-exempt bond financing they’re depriving the US Treasury of tax revenues," Salomon said. "The people who are funding SPUR can afford to buy them a really nice building, with cash."

The Urban Center also received a $231,000 federal earmark from Rep. Nancy Pelosi, whose nephew Laurence Pelosi is a former SPUR board member. Another $967,500 will come to SPUR from the California Cultural and Historical Endowment, which voters set aside through Proposition 40 to fund projects that "provide a thread of California’s cultural and historical resources."

Metcalf said SPUR isn’t sitting on a pile of cash: "We’re not that wealthy. We just don’t have that level of funding." The group’s endowment is small, and according to its 2006 annual report, revenues were $1.8 million, 90 percent of that from memberships and special events. The annual Silver Spur Awards, at which the group celebrates the work of local individuals, from Feinstein to Walter Shorenstein to Warren Hellman, is one of the biggest cash cows for SPUR, typically netting more than half a million dollars.

So far most of the funds for the Urban Center have come from donations raised from board members, individuals, businesses, and foundations. Metcalf defends the use of public funds. "For a group like SPUR that needs to be out in front on controversial issues, our work depends on having a diverse funding base. The Urban Center is part of that," he said.

The new headquarters is modeled on similar urban centers in Paris and New York, places that invite the public to view exhibits and get involved in answering some of the bigger planning questions cities are facing as populations increase and sprawl reigns. According to SPUR, this will be the first urban center west of Chicago, and the doors should open in 2009.

Walker, who’s been a board member for about a year, isn’t ready to say SPUR has been transformed. "It’s in my bones to be skeptical of SPUR," she said. "I have a different perspective than most of the people who are on SPUR, but the membership is different from the people who are funding it. I still think we need to have a more progressive policy think tank as well."

Walker recruits for SPUR’s membership development committee and said some of her suggestions have been well received. "The reality is, the progressive community is really powerful here when we come together and work on stuff. You can’t ignore us. Rather than fight about it, SPUR is offering some middle ground."

Converting the rock

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› news@sfbg.com

Native American spiritual leader Marshall "Golden Eagle" Jack admits he was just a kid in 1969 when a group of American Indians occupied Alcatraz Island. They claimed that the island’s reclassification as surplus property following the 1963 closure of Alcatraz Prison entitled them to take possession of the iconic island.

But Jack says he knows enough people from the American Indian Movement, which began advocating for urban Indians in the late ’60s, to understand that "the people standing up for their rights back then didn’t have enough clout in the legal system" to keep the island and build an American Indian cultural center on its craggy slopes.

Instead, the island became part of the Golden Gate National Recreation Area, which is operated by the National Park Service. Today it attracts 1.5 million visitors per year, the GGNRA’s chief of public affairs, Rich Weideman, says. But having a brutal former prison as one of San Francisco’s top tourist attractions is unsettling to some.

So Jack and AIM founder Dennis Banks, Chief Avrol Looking Horse, Laynee Bluebird Woman, and Rose Mary Cambra of the Muwekma Ohlone tribe have sponsored Proposition C, a nonbinding declaration on the February 2008 ballot that would make it city policy to explore acquiring Alcatraz Island and setting up a global peace center in place of the prison.

They envision a white domed conference center, a labyrinth, a medicine wheel, and what their campaign literature calls an "array of architecturally advanced domed Artainment [sic] multimedia centers," which sounds more like a new age resort than a Native American cultural center. But Jack said the most important thing is turning the page on the island’s bleak modern history.

"My bottom line is getting the actual prison off the island," Jack explains. "There’s a lot of crystal energy, spiritually wise, on the island. It’s an icon for a lot of tribes around the Bay Area who were here way before the Europeans. A Global Peace Center idea is just an option, but if it doesn’t manifest that way, if it becomes an ecological center, fine."

Jack serves as assistant director of the Global Peace Foundation, a branch of the nonprofit San Francisco Medical Research Foundation, which Mill Valley resident Da Vid founded in the late 1970s — about the time he first had a vision of domes on Alcatraz.

"I saw them during a Celestial Healing Festival on Mt. Tam in 1978, seven years after the Indian occupation ended," says Da Vid, who says he is a medical doctor and artist — and currently serves as treasurer of the Alcatraz Conversion Project, a political action committee whose coffers contain $30,000 from Da Vid’s mother, Miriam Ornstein.

Da Vid is also the founder of the Light Party, which he describes as "a spiritualpolitical party using its resources to promote the Alcatraz Conversion Project in order to garner support for the construction of a Global Peace Center."

But to the San Francisco Republican Party, Prop. C represents nothing but a tax burden. "Were this proposal implemented the burden of maintaining and operating Alcatraz would shift from the federal government to San Francisco taxpayers," San Francisco Republican Party chair Christine Hughes writes in an official ballot argument against the measure, also claiming the measure’s sponsors are "an unaccountable and loosely organized nonprofit which envisions a billion dollar project administered by a local-international trust."

Yet GPF assistant director Kevin Ohnsman told the Guardian, "We feel that the Republican Party’s opposition to Prop. C is our best endorsement.

"Once acquired by the city, a portion of the considerable revenue from the ferryboats will be shared with the city," Ohnsman said. "This income will be more than sufficient to cover the minimal administrative costs for maintaining Alcatraz."

Currently ferry tickets to Alcatraz cost $16.50 each, of which about 25 percent, or $4.5 million annually, goes to the GGNRA, with the bulk of those monies covering Alcatraz’s night security and maintenance of the buildings and sewer.

According to San Francisco controller Ed Harrington, "should the proposed policy statement be approved, it would not increase the cost of government."

But that’s only because the policy statement wouldn’t do anything.

"However, should San Francisco actually work to acquire Alcatraz Island from the feds," Harrington adds, "there would be significant costs."

But Da Vid says there’s something more important at stake than money. He asks, "The bottom line is, do we want an old, decaying prison to continue to be a prominent landmark for the Bay Area or do we want to create a new Alcatraz, which will define a new emerging paradigm committed to progressive, enlightened values?"

Weideman cites Alcatraz’s landmark status and the 10,000 birds that nest on the island each spring as major hurdles in Vid’s path: "To remove the prison, which is a national historic monument, along with the Civil War–era fort beneath it, would take an act of Congress."

In the spirit

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› culture@sfbg.com

Beyond the lingering lines of the Westfield San Francisco Centre and past the furiously paced gift wrappers of Stonestown Galleria, like a lost menorah in a holiday haystack, there lies the oft-forgotten meaning of all of this mistletoe madness: the act of giving. The Guardian knows that decades of doling out dollars for obligatory gifts can make even the most blissful person feel like Scrooge. So this year, akin to the chain-clad ghost of Jacob Marley, we’re here to remind you that the Tiny Tims of the Bay Area need your help more than that tubby teen cousin of yours needs another toy. Here are some ways you can make a real difference for someone’s holiday:

HANDS ON BAY AREA


The local chapter of this international alliance of volunteer organizations is a great place to start for would-be civil servants. Its Holiday Help program connects prospective volunteers with various holiday festivities, like the Support for Families of Children with Disabilities skating party, which gives the city’s disabled kids a chance to get onto the ice for a little winter fun. Volunteers help them maneuver on the rink, whether in wheelchairs, on folding chairs, with tennis shoes, or on old-fashioned ice skates. Can’t skate? No problem — you can hand out desserts and gifts. Go to the Web site, register, then show the kids that pirouette you think you can still do.

(415) 541-7716, www.handsonbayarea.org

THE VOLUNTEER CENTER


This Bay Area organization serves more than 1,500 nonprofits in San Francisco and San Mateo counties, providing do-gooders with plenty of ways to make the world a better place. The preeminent local organization to find onetime and ongoing volunteer opportunities has far-ranging humanitarian prospects. Check out its Web site to make a real change in someone’s life — and see a real change in your own.

www.volunteercenter.net

THE SALVATION ARMY


A tried-and-true supporter of the holiday spirit, the Salvation Army has lifted hearts in the Bay Area for more than 120 years. Help one of the country’s most established and effective charity organizations by collecting donations as an iconic bell ringer, becoming a personal shopper for a low-income parent, or preparing and delivering holiday meals to the needy. Or play Santa at Toy ‘n’ Joy, an event that turns a warehouse into a wonderland where needy parents choose from unwrapped toys to give to their families. You can also ship toys to Santa Clara for the Caltrain Holiday Train Toy Collection. Contact Leya Copper at volunteer@tsagoldenstate.org for all of the info you need to help stuff stockings that would otherwise go empty.

www.salvationarmyusa.org

CITY IMPACT


You might not find Santa’s workshop in the heart of the Tenderloin, but you’ll meet plenty of his collaborators at this faith-based community center. During the holiday season, City Impact kicks into gear by enlisting hundreds of volunteers to help with its annual Christmas toy giveaway and Christmas Day Block Party, held on a closed-off street near Jones and Eddy and featuring a "message of hope," a warm meal, and grocery handouts. Check the Web site for information on how to register to help the homeless.

(415) 292-1770, www.sf911.com

SAN FRANCISCO SPCA


It may not deal in reindeer, but the San Francisco Society for the Prevention of Cruelty to Animals does dip its paws into holiday cheer. The animal advocates annually decorate the windows of Macy’s Union Square store with adorable and adoptable critters. Volunteers greet the public, solicit donations, provide information about adoption, and, of course, frolic with all of the fuzzy little orphans. The event runs through Jan. 1, 2008.

(415) 554-3000, www.sfspca.org

Getting involved with any of these groups should add some good old-fashioned, what-it’s-all-really-about cheer to your holiday season. And if you really want to maximize your impact, keep these things in mind when volunteering:

(1) Always register for an event before showing up.

(2) Expect some dirty work. Volunteering isn’t all about handing out toys to kids. You may need to do a number of unglamorous duties associated with setting up big events.

(3) Consider volunteering more than two hours out of your busy year or making a contribution to an organization that speaks to your heart. How about Wavy Gravy favorite the Seva Foundation (1786 Fifth St., Berk.; 510-845-7382, www.seva.org), which gives aid to needy people internationally — from health support in Guatemala to eye care in Tanzania? Or Heifer International (www.heifer.org), through which you can send gifts of llamas, rabbits, and goats to communities that need them? And don’t forget local nonprofits, including those helping to clean up the oil spill. *

War and law

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The San Francisco-based War and Law League has just released a survey of this year’s presidential candidates, who are actively questioning whether the U.S. is now conducting an illegal war in Iraq that should be ended or properly authorized immediately. Or least that was the basic position taken by the only three candidates to respond: Democrats Dennis Kucinich and John Edwards and Republican Ron Paul. Kudos to the trio for stating their positions on a controversial question that might become painfully relevant in the coming years: Was the U.S. invasion of Iraq legal? Because if it wasn’t, as many legal scholars believe, then the leaders who started it might someday be called to account for war crimes and other violations of international law.
The questions and issues raised, which were vetted by Golden Gate University of Law professor Peter Keane and touch on everything from the legality of nuclear strikes to Bush’s preemptive war doctrine, are fascinating to read and consider. And the answers — as well as the lack of answers from strong anti-war candidates like Barack Obama and Bill Richardson — are telling indicators of where our country could be headed.

Shelf help

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› lit@sfbg.com

WISH LIST My family of origin is so nuclear that on smoggy days a mushroom cloud can be seen above the suburb where my parents still reside. During the holidays we gather there to rehearse and stage the roles we will alternately perform and resist in the ensuing year. While Dad tracks holiday cards sent and received on an Excel spreadsheet, Mom dons a pair of felt antlers and holes up in the kitchen. As for me, I revert to fatigued, endless reading, as if by some cruel law of repetition I have returned to that sullen moment in junior high when my only friend suddenly became popular, leaving me with nobody but books as my companions. Without intervention, I might remain in this half-hypnotized state, rereading Flowers for Algernon until the world outside grows dim, like a dream I can barely remember. This year, however, I’m readying myself with an eclectic batch of new books, books that make me want to participate instead of turning into a listless blotch of angst. These titles provide critical frameworks for dissent, suggest avenues for engagement, and probe cultural blind spots — generating new aesthetic possibilities along the way.

I, for one, like to kick off the holiday season with a powerful dose of well-researched feminist analysis, supplied this year by Susan Faludi in The Terror Dream: Fear and Fantasy in Post-9/11 America (Metropolitan Books, 368 pages, $26). It’s akin to taking vitamins to ward off the winter cold that’s going around the office. I read some Faludi, I ask my brother to help out in the kitchen. Faludi argues that a highly gendered mythology reasserted its virulent hold over the national psyche (as writ large by the national media) in the wake of Sept. 11. Drawing from an abundance of sources, she parses out the myth: strong male heroes rescue helpless girls, feminism is dismissed as a frivolous and dangerous mistake, and cowboys and manly men rise again to keep the home soil safe. In debunking this overblown narrative, Faludi demonstrates that it doesn’t actually help those it valorizes, nor does its rehearsal expedite an increase in national security or political accountability.

Investigating the symbolic construction of identity and myth from the angle of art, Tisa Bryant’s Unexplained Presence (Leon Works Press, 167 pages, $15.95 paper) takes up "black presences in European literature, visual art, and film." Fusing criticism, film theory, and fiction with a keenly poetic ear, Bryant reenters cultural artifacts to open up these symbolically loaded but structurally silenced or backgrounded characters and motifs. Her stories trace the ways in which black subjectivity is distributed or denied within pictures and plots, between viewers and artworks and artists, and in acts of conversation and debate, of queer identification or refusal to see. What is most remarkable is how Bryant transforms these elisions into acts of imagination, restoring or reconfiguring partially glimpsed subjects via fleet and surprising sentences that traverse the distance between representation and meaning.

Renovating symbolic systems can be hard work, and nothing restores a fatigued body and mind like making changes to the physical infrastructure — such as sawing through your drainpipes to divert "barely used" household water from sewers to gray-water systems for gardening and washing clothes. Sexily linking the macro to the micro, the locally grown junta known as the Greywater Guerrillas has expanded its how-to know-how into Dam Nation: Dispatches from the Water Underground (Soft Skull Press, 416 pages, $19.95 paper), a collection of essays that examine the global plight of water misuse and attendant broad-scale ecological impacts. I don’t think it undermines the gravitas of the issue to mention that portions of the book are a sheer pleasure to read, especially when editors Cleo Woelfle-Erskine, July Oskar Cole, and Laura Allen (illustrations were supplied by Annie Danger) detail their efforts to "disengage from the water grid" by taking plumbing into their own hands.

What James Kochalka takes into his hands in American Elf Book Two: The Collected Sketch Book Diaries of James Kochalka (Top Shelf Comics, 192 pages, $19.95) is his life, tidbits of which he transforms into daily diary comics. Visually and verbally, Kochalka risks a silly, reckless sweetness — a sampling of titles includes "Romance of Life" and "Everything was fine until the old wakey wake." The strips are also a little bit perverted and weirdly honest, as Kochalka’s elf-eared stand-in catalogs a receding hairline, farty dairy hangovers, and arguments with his beloved and salty-mouthed wife. As the pages and days pile up, the effect is infectious, such that, while under the diaries’ spell, I began to sense secret fissures of creative potential and magic in the mundane flow of everyday life.

Isa Chandra Moskowitz, Terry Hope Romero, and the army of flavor lovers they run with have changed the landscape of vegan cooking. In Veganomicon: The Ultimate Vegan Cookbook (Marlowe and Co., 336 pages, $27.50), Moskowitz and Romero draw inspiration from a variety of international cuisines, without making any claims to authenticity. The resulting recipes (mole, saag, and lasagna, to name a few) are adventures in surprising flavor combinations. A helpful foreword details how to stock a vegan pantry, and tips offered alongside the easy-to-follow recipes instruct on where to find specialty items or how to organize your cooking tasks — advice that, as an unskilled, distractible cook, I found particularly useful. An appendix of menus ranges from rich party foods to low-fat and easy-to-prepare options.

Printed in large type, so it’s easy to read when splayed open next to a bicycle, the repair-manual portion of the illustrated Chainbreaker Bike Book: A Rough Guide to Bicycle Maintenance, by Shelley Lynn Jackson and Ethan Clark (Microcosm Publishing, 256 pages, $12), builds from the ground up. Starting with the ethics and rewards of skill sharing, it moves on to detail parts, tools, and instructions for system-by-system checkups and repairs. The book’s second half comprises reprinted issues of the Chainbreaker zine, originals of which were lost when zinester Jackson’s New Orleans home flooded after Katrina. The zines complement the how-to portions with a wider view of the bicycle’s cultural impact — e.g., the role of bikes in the women’s clothing revolution, the democratizing potential of this low-cost form of transportation. Note: the book hits shelves in February, but aspiring bike enthusiasts can order it now at www.microcosmpublishing.com.

And to come full circle … Sherman Alexie’s first young adult (and graphic) novel, The Absolutely True Diary of a Part-Time Indian (Little, Brown Young Readers, 240 pages, $16.99), reminds me that a return to YA reading can be the opposite of mind-numbing — when undertaken with a book that’s emotionally spring-loaded, linguistically gymnastic, and devastatingly funny in turns. Drawing from his experiences growing up, Alexie tells the story of Junior (a.k.a. Arnold True-Spirit Jr.), a comic-drawing Indian kid who leaves his reservation to attend an all-white high school. Between racism at school and conflict with friends on the reservation, Alexie nails the ups and downs of a young artist learning to navigate by his own radar, amid competing claims from family and a sometimes encouraging but often deviously indifferent world. Ellen Forney’s inspired illustrations channel Junior’s manic, tell-it-like-it-is sensibility and provide a visual anchor for Alexie’s loquacious narrator.

IAPA in Venezuela: The international press advocacy group stresses deep concern over the climate of press freedom in Venezuela

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By Bruce B. Brugmann

CARACAS, Venezuela (Nov. 20, 2007) It was an amusing and telling moment in the history of freedom of the press.

On the morning of Monday, Nov. 19th, as the press mission of the Inter American Press Association (IAPA) started its 10th mission to Venezuela to check on President Hugo Chavez’s accelerating crackdown on the press, Chavez sent a message to the delegation:

It was a half page advertisement from the Venezuelan National Assembly, in the big morning Caracas daily paper El Universal, reprinting a copy of a congresswoman’s resolution urging the Executive Branch to declare IAPA “not welcome” in Venezuela. Click here to view the ad. This set the tone for our mission: The congresswoman refused IAPA’s invitation to meet with our delegation and no member of the three branches of the Venezuelan government and of the National Electoral Council agreed to meet with IAPA despite many contacts made in recent weeks from IAPA headquarters in Miami.

Nobody in the governement would meet with IAPA but Chavez, who was all over television and the newspapers for his trip to Iran and France, did send a Chavista group who called themselves Journalists for the Truth.
The president of the group told the IAPA mission that there was complete freedom of the press in Venezuela and then promptly told the press outside the meeting room that IAPA had been “duped in good faith by the reports prepared by the “opposition” Venezuela press. Gonzalo Marroquin, chairman of IAPA’s Commmittee on Freedom of the Press and Information, immediately retorted to the press that “it would seem that the journalists were at another meeting.” Gonzalo, director of Diario Prensa Libre in Guatemala, and a former television newsman, was widely interviewed on IAPA’s findings on radio and television.

The mission met with members of the Venezuelan Press Bloc, a constitutional attorney, representatives of a human rights group, polling experts, the mayor of Chicao, the head of the National Press Workers Union., and other civilian experts. The mission and its final press conference was widely covered in the Venezuelan press. There were no violent incidents nor any attempt to scare or demonstrate against the IAPA mission. B3

Click on the continue reading link to read the IAPA press release. Scroll down for the Spanish version.

Editor’s Notes

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› tredmond@sfbg.com

Sup. Aaron Peskin hates billboards, and mostly I agree with him — the whole damn world feels like a commercial these days, and it’s nice to be able to walk around a few parts of the city and not be surrounded by giant illuminated ads. But as Election Day approached this fall, I felt like something was missing from San Francisco.

October in this city used to mean brightly colored campaign festoonery on lampposts, utility poles … anywhere anyone could legally stick a sign promoting or attacking a candidate or ballot measure. Yeah, it got a bit ugly, and yeah, it was one more way that people with money were able to get their message out and get a leg up on the people who weren’t well funded. And it was always a mess in late November, when the campaigns conveniently forgot to take their posters down. But it also, I think, served to remind everyone that an election was coming up.

That doesn’t matter so much when the office of the president of the United States is on the ballot, because most people at least know that’s going on. But this year only about 30 percent of voters bothered to go to the polls — and since San Francisco has elections at least twice per year and not all of them feature a high-profile race, it’s not a bad idea to do something festive to get everybody thinking about them.

So while I didn’t oppose Peskin’s ordinance banning campaign signs on public property, I’m thinking maybe we should modify it a bit. I’m not sure exactly how; maybe we set aside a small amount of money from the public campaign fund and give local artists modest grants to come up with wild and colorful posters announcing the election and encouraging people to vote. We let churches and nonprofits hang signs celebrating anniversaries and special events — why not public art celebrating our semiannual bout of obsessive democracy?

Just a thought.

And here’s another:

I have friends who are employed in the world of philanthropy (that is, they either administer grants or seek them), and we were all complaining the other day about how people like Bill Gates get to set international health policy. When Gates decides something’s a problem, it suddenly has vast resources — and his opinion about world health isn’t always shared by experts in the field.

In a better world we would tax Gates and Microsoft at a level that would provide adequate resources for our elected representatives to make choices about global problems, but these days the rich don’t pay taxes yet they can set policy. So I had a suggestion:

What if Gates decided to give, say, a billion dollars to some needy urban public school district? I don’t know — Detroit or Jackson, Miss., … or San Francisco. My friends, who understand how these things work, said I was nuts; much of that money would immediately be lost to corruption.

Maybe — but what if it weren’t a lump sum? What if the Bill and Melinda Gates Foundation just doubled the annual budget of the San Francisco Unified School District for the next 10 years? What if the "project," so to speak, was to demonstrate how effective the public sector can be at educating kids if the resources are available?

And maybe after 10 years the Gates folks could do a massive public relations campaign and people would realize that higher taxes for public schools might make for a better society.

Happy Thanksgiving. *

Pyramental

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› superego@sfbg.com

SUPER EGO Books are cool, and they can make you taller. Often they even tell you things, things you never thought you’d want to know. They’re like platform heels that talk! But they speak in a flippant whisper, and what they say is delicious.

Sure, books may not be able to dish on how Tyra got rid of her "vag arms" this season (hello, Scotch tape in her hairy pits) or why that one annoying girl on the 22 Fillmore’s still pumping that goddamn "Hot Pocket, drop it" song on her tinny-ass cell phone over and over, a mound of discarded sunflower seed shells scattered around her pastel Superfecta IIs. (Please go download some Lupe Fiasco "Superstar" to your knockoff Chocolate already, sweetie. Seriously. It’s November.)

What books can tell you sometimes is that you’re right. I love that! Take The Warhol Economy: How Fashion, Art, and Music Drive New York City, by Elizabeth Currid, a new spine that fingerless-gloved intellectuals are cracking all over the Muni. It basically argues that — fuck Wall Street — the arts are the real forces that drive Manhattan’s hopping money market. (Too bad the best new artists can only afford to live in Queens now.) And guess where the linchpins are? Where art, fashion, and music intersect and all the brainy hotties trade lucrative ideas? That’s right: night clubs. All the fabbest deals are made on the dance floor, Ms. Elizabeth says, and nightlife, in which "creative minds set the future trends," should be boosted to top priority by any wannabe successful city, extralegal activities be damned. Of course she’s talking about New York, so her tome’s a tad inapt for our little blow jobs–for–tourists trade show here. But still, nightlife rules! One day it’ll make us all rich and famous! In your face, space coyote.

Speaking of books: I once dated a tech bear. It was the mid-’90s, the Interweb was still shiny, and bears hadn’t morphed into hedge-trimmed candy ravers yet. Don’t hate! Tech bears were hot — I’m still an all-day sucker for them — and this one, like so many others of his ilk, not only could build a Unix server out of two Cherry Coke cans and a pizza box but also spent his nights tripping on krunk and composing ambient electronic odes to his heroes Brian Eno and Arthur Russell. I couldn’t drag his ass onto a dance floor to save my life, but his windowless bedroom in the Tenderloin was a glittery cornucopia of strobe effects and rapid-fire bleeps. Go figure.

If only there had been some kind of school for him to attend, some place that would have guided him toward a career in digital-audio arts before he blew his mind on meth and moved back to the Midwest to become a gay trucker for Montgomery Ward!

Better late than never, maybe; now there is. Pyramind, a full-on media music and production school, is taking over SoMa and providing some of San Francisco’s brightest club-music makers with the skills to conquer the digital world. I recently found myself being chaperoned, somewhat bewildered, through Pyramind’s labyrinthine main campus by director and president Greg Gordon, in the company of old-school dance floor mover and shaker Paul dB. As they led me from one cavernous, soundproofed room to the next, each full of top-flight equipment, giant projection screens, a plethora of enormous monitors, and some mighty fine-looking students, I realized: maybe I should just give up writing and start composing the soundtrack for Halo 4. I could help launch a puke-colored Mountain Dew energy drink in 2009!

My temporary flight of fancy — how could I ever give up getting kind of paid to down well-vodka cosmos and introduce you to several psycho drag queens almost every week? — wasn’t such a pie in the sky. Pyramind’s hooked up with major prestidigitalators like Apple, Ableton, Digidesign, M-Audio, and Propellerhead. Students get possible career leads and exposure to some of the biggest biggies — Pyramind calls these companies "strategic partners," but to me a strategic partner is someone you sleep with to get back at your ex.

But the school is just part of a grand master plan. Pyramind is octopoid, with recording studios, a distribution service, international programs, a music label called Epiphyte headed by industry legend Steffan Franz, a well-established musical showcase–club night called TestPress that’s expanding to other cities (and has spawned an Epiphyte-released CD of bouncy tunes), and, with the recent acquisition of another huge campus a few doors down from the main one, an independent party venue. Pyramind’s stacked. And hey, in case any terrorists were thinking of hijacking any future Pixar productions (although wasn’t Cars terrifying enough?), Pyramind’s got the seal of approval, I shit you not, from Homeland Security. Calling all tech bears: drop that Cheeto and get in the digi-know now.

www.pyramind.com


www.epiphyterecords.com/

Pick up the beat

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› a&eletters@sfbg.com

Bop City. The Blackhawk. The Jazz Workshop. The Both/And. Keystone Korner. Kimball’s.

San Francisco’s world-renowned jazz club heritage has always been a part of the city’s matchless cultural identity. But the je ne sais quoi’s been missing for decades, because there hasn’t been a jazz club regularly booking national and international touring musicians into the city for more than 20 years.

That all changes this month with the Nov. 28 opening of Yoshi’s San Francisco. There’s been a Yoshi’s in Jack London Square for 10 years, the descendant of a North Berkeley sushi bar that morphed into a restaurant and music venue on Claremont Avenue in Oakland. Down by the waterfront, Yoshi’s became synonymous with jazz and was revered as both an artist- and an audience-friendly venue.

The brand-new club and restaurant at 1330 Fillmore holds down the ground floor of the freshly minted Fillmore Heritage Center, a 13-story mixed-use development that hopes to jump-start a renaissance in the scuffling Western Addition historic area. "Truthfully, I really don’t know why there hasn’t been another jazz club in San Francisco," says Yoshi’s artistic director, Peter Williams, the man charged with making sure the music part of the business stays in business. He’s been booking the artists at Yoshi’s for the past eight years. "Jazz is very risky," he continues, "and maybe people were feeling like they didn’t want to take the chance. These owners felt there was an opportunity."

The owners are Kaz Kajimura, one of Yoshi’s founders, and developer Michael Johnson. Their opportunity is costing $10 million, with the San Francisco Redevelopment Agency kicking in a $4.4 million loan as part of the total $75 million redevelopment project helmed by Em Johnson Interest, Johnson’s company.

Their idea of a new jazz club in the Fillmore District took shape four years ago, after a series of false starts with other developers and other discussed flagship venues, such as the Blue Note. Johnson sent out requests for proposals to jazz clubs around the country; Kajimura received one, and when he met with Johnson, the two hit it off. "Michael could see Kaz’s vision, and vice versa. That made it happen," Williams says. The building, designed by Morimoto, Matano, and Kang Architects, has a performance venue of 417 seats, 317 on the ground level and 100 more on a mezzanine. The restaurant, serving a modern Japanese cuisine created by executive chef Shotaro "Sho" Kamio, seats 370 in its combined dining and lounge areas. Success on the food side is a likely slam dunk — it’s in jazz presenting, much like three-point shooting, that percentages decline.

Williams is counting on Yoshi’s reputation among jazz professionals — musicians, managers, and agents — as a starting point. "We’ve put a lot of care into presenting the music in as respectful a setting as possible," he says. "I think that’s paid off for us."

CLUB DECLINE?


But jazz club culture has receded in the past 20 years, with the music finding support from institutions like SFJAZZ, which stepped into the developing void in the city 25 years ago. SFJAZZ executive director Randall Kline has always looked to organizational models like the San Francisco Symphony in terms of sustaining and growing the jazz art form. "What has happened is jazz has moved more into the concert hall and into more of a special-events format than a club format," Kline says. "There hasn’t been a great growth of jazz clubs in the country. But there’s a proliferation of festivals."

There are jazz clubs — Jazz at Pearl’s, under the strong stewardship of Kim Nalley and Steve Sheraton, is certainly a necessary element of North Beach, and farther north on Fillmore is Rasselas — but Kline believes there just aren’t as many live music clubs as there once were.

Still, despite the fierce competition for eyes, ears, and dollars, the fact remains that musicians need to play. Performance has always been one of the most effective ways for jazz artists to sustain themselves and build their audience. Not only is there no substitute for hearing the music live, but venue sales have also become a larger part of the overall sales picture, observes Cem Kurosman, director of publicity for Blue Note Records.

"Now, with fewer and fewer TV, radio, and mainstream press outlets covering new jazz artists, touring has become more important than ever," Kurosman says, "although there are fewer jazz clubs on the national circuit than ever before."

The Bay Area is one of the top four jazz markets in the country, and it behooves artists to gain exposure here. That wasn’t really a problem while the region was consistently supporting the music, when the music was here in the clubs and jazz seemed to swing up from the streets.

But times have changed, and no one recognizes that better than Todd Barkan, who ran Keystone Korner in North Beach. When Keystone closed in 1983, it was one of the last San Francisco clubs to regularly book national and international touring jazz groups. Barkan is now the artistic director of Dizzy’s Club Coca-Cola, the jazz club operated by Jazz at Lincoln Center in New York, and he’s also a highly regarded producer who works with numerous domestic and European jazz labels.

"The reason there hasn’t been anything in San Francisco proper for some 20 years is that it’s a new era," Barkan says. "San Francisco is not the bohemian place that it was when I started the Keystone in the early ’70s, which itself was a holdover from the psychedelic era."

While Barkan’s place could not rightly be called a dive, it was a funky little crowded club. From the stage to the bar, the setup at Keystone was significantly removed from the state-of-the-art amenities at Yoshi’s. In some ways, Yoshi’s splits the difference between the club and the concert experience, the hope being that the artists and the audience get the best of both worlds.

Barkan says the primary jazz audience now has different expectations than it used to. "It took a number of years to get the business set up to have the right kind of a club that could really be competitive and cater to a much more upscale audience, which is where the real jazz audience is now overall," he says. "For better or worse that’s where it’s at."

That audience is also spread throughout the Bay Area, which is important for a San Francisco–situated club to keep in mind. "San Francisco’s a little town," Barkan says. "With all due respect, ‘the city’ is only about 800,000. The Bay Area is 4.5 to 5 million people, but it’s very spread out." His North Beach club got a tremendous benefit from the freeway off-ramp at Broadway, which made getting into that part of the city from the Bay Bridge simpler.

But Yoshi’s San Francisco won’t survive on jazz alone, as Barkan and Williams acknowledge. "To do the kind of numbers and volume Yoshi’s needs, you have to have a diversified musical program," Barkan says.

Williams spins the challenge of putting butts in the seats as an opportunity to be creative. "I’ll have to branch out a little bit in what we do," he agrees. "I don’t think we’ll be able to do just jazz all the time." At Yoshi’s Oakland, Williams has added salsa dance nights on Mondays, and he consistently books fusion and smooth jazz performers like Keiko Matsui and neosoul acts like Rashaan Patterson.

The San Francisco spot will likely see a similar mix, though the inaugural performers are a mainstream ensemble called the Yoshi’s Birds of a Feather Super Band, which includes vibraphonist Gary Burton, saxophonists Ravi Coltrane and Kenny Garrett, trumpeter Nicholas Payton, and bassist John Patitucci. Veteran drummer Roy Haynes leads the band, which Williams created specially for the club’s opening.

Taj Mahal and the Phantom Blues Band follow, and later in December, Chick Corea, Charlie Hunter, and Rebeca Mauleón will perform. Next year will see guitarist Pat Metheny, pianist Gonzalo Rubalcaba, vocalist Cassandra Wilson, and guitarist Bill Frisell in multinight runs at the club. Williams will try various things, particularly in the early months. "December is mostly artists coming to San Francisco with one band and then going to Oakland with another," he says. Corea, Hunter, and Taj Mahal will all pull double Yoshi’s duty.

"It’s gonna be a learning experience to find out what works and what doesn’t and how the two clubs can work together," Williams says. He will also have bands play the first part of the week in San Francisco and then Thursday through Sunday in Oakland, reasoning that San Franciscans are looking for more things to do early in the week. And he wants the club to be a platform for local artists — probably early in the week as well — but says Yoshi’s will have to focus on national touring acts simply to get people into the club.

Local saxophonist Howard Wiley is bullish on the new club, hoping that, if nothing else, it brings some notice to jazz instead of more exploitative forms of expression. "I’m so tired of hearing about Britney [Spears] and strippers and all that stuff," he says. "I’m hoping and praying the pendulum will swing back and people will cherish things of value again. I always love it when more attention can be brought to the music."

Currently Intersection for the Arts’ composer in residence, Wiley put out the self-released Angola Project earlier this year. The music is based on African American prison spirituals with roots primarily in songs and stories from the Louisiana State Penitentiary in Angola, La. While Wiley hopes Yoshi’s can bring in artists like Billy Harper and David Murray, not necessarily household names even in mainstream jazz homes, he recognizes the reality of booking the club. "I’m not so into Rick Braun, but I understand," he says with a laugh, referencing the smooth jazz trumpet icon. "I just hope the club represents the music to its fullest, because it’s the only American contribution to global art."

ACCESSIBLE AVENUES


Former club owner Barkan hopes the new Yoshi’s anchors a reinvigorated jazz scene in San Francisco, one that can support another, smaller club as well, something with around 150 seats and less of an overhead, which a savvy veteran promoter like, say, himself might book. A smaller room certainly would make music more accessible to audiences. It might also underscore the notion that there just aren’t the headliners in jazz that there once were — the names needed to fill a room the size of the new Yoshi’s. "When the Keystone was up and running, we had Dexter Gordon, Elvin Jones, Gene Ammons, Art Blakey, Cannonball Adderly, Rashaan Roland Kirk, Freddie Hubbard," Barkan says. "The list was pretty inexhaustible.

"More than anything, jazz needs committed, dedicated presenters," he continues. "Yoshi’s is to be commended for what it does. They’re unsung heroes of this whole scenario."

The long-ago memories from San Francisco’s jazz club past sound like misty urban legends. Bop City, for instance, was the spot where Billie Holiday and Charlie Parker played. Saxophonist John Handy was just 18 when he joined John Coltrane onstage. Across town in North Beach, Miles Davis recorded his first live album at the Blackhawk. Charles Mingus recorded one of his best live LPs at the Jazz Workshop, and Adderly got famous from the one he recorded there. Do you remember Sun Ra’s expansive band flowing off the tiny stage at Keystone Korner? Jazz fans may have to resign themselves to the fact that it may never be like that again.

But there’s a San Francisco jazz continuum that includes those clubs, writers like the late Phil Elwood, producers such as Orrin Keepnews, and musicians including Joe Henderson, to name just a few. There have been many other forgotten heroes and great moments. And even though CD sales have slumped in recent years, reflecting the faltering music industry as a whole, there are as many good musicians around as ever, and most observers think an audience is there as well. For any live music scene to work, there have to be the players, the audience, and the venue to bring them together, and Yoshi’s hopes to do that for the Fillmore. "I just hope the Bay Area jazz community will band together, check this out, and make it work," Williams says. "It’s a huge undertaking. It’s going to be a beautiful room, there’ll be beautiful music, and if people come, it’ll be a success."

ROY HAYNES AND YOSHI’S BIRDS OF A FEATHER SUPER BAND

Nov. 28, 8 and 10 p.m., $100

Yoshi’s

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

This oil spill — and the next

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EDITORIAL The first headline the San Francisco Chronicle ran after the Cosco Busan crashed into a Bay Bridge protective fender Nov. 7 implied that nothing terrible had happened. It read, almost comically, "CRUNCH!" Initial reports suggested that only a few hundred gallons of fuel oil had spilled from the gash in the 810-foot freighter’s hull. Caltrans assured the public that the system had worked: the fender had absorbed the blow, the bridge had suffered no damage, and motorists had no cause for concern.

It wasn’t until much later in the day that the public learned just how big an ecological disaster was unfolding in the bay. And the most disturbing evidence is only now becoming clear: this was an accident waiting to happen. The regulations and processes in place to prevent a catastrophic oil spill in the bay — where thousands of ships with tanks carrying foul and toxic fuel oil sail through a fragile ecosystem every year — were, and are, tragically inadequate.

Just look at the record so far:

The Coast Guard’s Vehicle Traffic Service on Yerba Buena Island, which has extensive radar and electronic tracking devices, was clearly aware that the container ship was heading for a collision — but was unable to stop it.

The fog was thick, and the ship, which had just made a wide S turn out of the Port of Oakland, was far from the center of the 1,200-foot-wide channel under the bridge. The Coast Guard could hardly have missed what was going on.

In fact, according to news reports, a VTS staffer radioed the bar pilot at the helm of the ship minutes before the crash and warned him that he was on an errant course. "Your [compass] heading is 235. What are your intentions?" the VTS staffer asked (essentially saying, in nautical-radio speak, "What the hell are you doing?"). The pilot, John Cota, insisted he was heading right for the center of the span and not to worry, his lawyer told reporters.

Imagine, for a moment, what would happen if air traffic controllers at San Francisco International Airport saw a commercial jet flying off course in zero-visibility fog and heading for the top of San Bruno Mountain. The controllers wouldn’t ask the captain what his intentions were; they would announce an imminent crash and order him to immediately increase altitude, change course … whatever was necessary. The captain wouldn’t argue that his or her instruments said everything was fine; the airliner would change course at once and sort out the question of instrument accuracy after it was out of harm’s way.

But traffic regulators on the bay operate under different rules. Even a minor course change would have prevented the accident — but according to VTS rules posted on the Web, the Coast Guard has no authority (other than in times of national-security alerts) to directly order preventative action. Under centuries-old rules of the sea, the captain of a ship is in total control and can’t be told what to do, even if a disaster is looming — and modern safety regulations haven’t caught up to that tradition.

The ship was sailing under terrible conditions, with almost zero visibility, and even some bay captains say running a 70,000-ton vessel in an area like this in fog that thick is a bad idea. But the shipping companies have so much money on the line that nobody wants to slow down the schedules.

It’s no secret where the fuel tanks are in a ship like this. The moment the ship took a gash that size in the hull, the authorities should have assumed that a sizable and extremely dangerous spill was in the works and begun immediate emergency containment procedures. But somehow just about everyone seemed to believe the initial reports that the crew of the ship had transferred the fuel away from the hole and only a trivial amount had escaped.

Remember, we’re talking about a rip of 100 feet, one-eighth the length of the ship, right in the part of the hull where half a million gallons of nasty bunker fuel were stored. Emergency responders should have known a spill was inevitable and gone into action right away.

Yet hours passed. No public warning was issued. Bay swimmers continued to take their morning natations — and some came back covered with oil. Nobody knew what was going on.

The day after the spill, when it was clear an ecological disaster was happening in the bay, San Francisco mayor Gavin Newsom split town and went on vacation.

So far, the taxpayers are picking up the tab for the cleanup — and in the end, it may prove difficult to get the owner of the ship to pay, even if faulty navigation equipment on the Cosco Busan was at least partly the cause of the spill. The companies that own these big ships use layers of dummy corporations, legal tricks, and secretive contracts to protect them from liability. In this case, the Chronicle has reported, the Cosco Busan is a Chinese vessel owned by either a company in Cyprus or one in Hong Kong and managed by a separate Hong Kong outfit. It’s going to take years to get to the bottom of who should pay for this mess.

Meanwhile, the crab-fishing industry is out of business, and the economic impact will be dramatic.

There are obvious lessons here — and the first is that the public and all of the regulatory and response agencies at every level of government have to stop taking a nonchalant, hands-off attitude toward the ships that represent an ecological time bomb in the bay.

Shipping is part of the lifeblood of the local economy, and everyone who lives in the Bay Area has to live with the fact that giant steel vessels loaded with toxic fluids are going to be passing through a diverse and easily damaged ecosystem every day of every year for the foreseeable future. But there’s a lot that can be done to make it safer.

For starters, the VTS ought to have the mandate and the authority to regulate shipping traffic in the same way that air traffic controllers regulate planes. Among other things, the service should keep ships in port when the fog is that thick and conditions aren’t safe. Sen. Dianne Feinstein is mad about the spill response, and that’s fine — but she and her Bay Area congressional colleagues ought to push for legislation that would allow the Coast Guard to ensure this doesn’t happen again.

There’s a desperate need for a bay spill early-warning system, something that could go into effect the moment there’s a possibility of oil fouling the water — and get containment crews on hand quickly and let the public know the hazards. That’s something the State Legislature should move on immediately.

Perhaps Congress should mandate that ships passing through US coastal waters post an accident bond to ensure they don’t escape liability for disasters. But for now, the federal government needs to seize the Cosco Busan, impound its cargo, and make it clear that nothing is going anywhere until the bill for this catastrophe is settled.

And the state and federal governments need to compensate the crab fishers — and then collect the money from the ship’s owners to cover those costs.

True grace

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By Rita Felciano

Bay Area Odissi dancer Asako Takami died on November 3, 2007 in San Francisco after a four-year battle with ovarian cancer. She was 47 seven years old. Founder and artistic director of the East Bay-based Pallavi Dance Group, Takami was an exquisite dancer and much-revered teacher of who had lived in the Bay Area for fifteen years. As a sign of their love and affection for this remarkable woman and artist, the Bay Area dance community honored her in a benefit at the Cultural Integration Fellowship in San Francisco on October 27, 2007.

asako.jpg

asako_small.jpg

Born in Nigata, Japan, Takami became interested in Odissi, the Indian classical dance style from the state of Orissa, at the age of 20. In 2000, in an interview with Hinduism Today she explained her fascination with the art. “I’d never seen women who were really beautiful and really powerful. That energy I’d never felt in anything — that was my first impression. I could not forget it.” For the next 15 years she studied with Smt. Kumkum Lal and Guru Kelucharan Mohapatra in India and Japan. She gained international attention through her participation in Ralph Lemon’s Tree, part two of “The Geography Trilogy.” The work was performed at Yerba Buena Center for the Arts in October 2000.

Mythili Kumar, Artistic Director of Abhinaya Dance Company in San Jose, remembers Takami for her “exquisite grace and perfect technique.” Her death, she said, “is a tremendous loss to the dance world but I feel so fortunate that we got to know such a wonderful, humble and sweet person. We will miss her so much.” Takami is survived by friends and her partner Ralph Lemon. A memorial service will take place Sun/18 at 2 p.m. in the Bolinas Community Center, 14 Wharf Road, Bolinas.

Goldie winner — Film: Kerry Laitala

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A casual observer might simply call Kerry Laitala a filmmaker and leave it at that. But anyone who’s seen her spooky, intricate, delightfully creative works, including 2003’s Out of the Ether, 2005’s Torchlight Tango, and 2006’s Muse of Cinema, would certainly disagree. A self-described "media artist-archaeologist" whose art hinges not just on subject matter but on the physical manipulation of film stock, Laitala makes movies for viewers who’re willing to leave their preconceived notions about cinema at the screening-room door.

"Ninety-nine point nine percent of the people in the world don’t know what [experimental film] is," she said from the living room of her San Francisco apartment. The eclectic decor includes an array of Halloween decorations that Laitala displays year-round, stacks and stacks of books, and curiosities seemingly plucked from a cabinet of dusty Victorian delights. "A lot of people don’t like [experimental film] because it doesn’t fulfill their expectations of what cinema should be. They’re not interested in engaging with something that they’re not familiar with. That’s just human nature."

Having a limited audience doesn’t bother Laitala, who’s been making films since high school. She was first inspired after seeing a 16mm archival print of the Hindenburg explosion. "I was blown away by the paradox of how beautiful it was and how tragic it was too. How horrific and simultaneously incredible it was."

In college at the Massachusetts College of Art and grad school at the San Francisco Art Institute, Laitala pursued experimental filmmaking. At MassArt, "I saw Joseph Cornell’s Rose Hobart when I was 18 or 19 years old. That was where I became interested in experimental film and working with a medium in a way that’s more personal."

Since the late 1980s, Laitala has completed an impressive array of short films, installations, and projector performance works (including 2007’s Hocus Pocus, ABRACADABRA, recently staged at Francis Ford Coppola’s Napa Valley winery). Her art has screened all over the United States, Europe, and Asia, and she’s about to head down under for her Australian debut. The reason for her international popularity is clear: even if only point-one percent of the population embraces experimental film, Laitala’s works are exceptional — and anyone with a pair of eyeballs, even a befuddled popcorn-movie fan, can see it. Muse of Cinema, a 20-minute re-creation of the experience of going to the movies when movies were still being born, makes use of a serendipitous flea market find: antique magic lantern slides. The result is inspired, multilayered, and visually astonishing.

Five years in the making, Muse of Cinema also highlights Laitala’s technical skills. I asked her to explain hand processing, the technique she uses to create her vivid images. She told me, "After you’ve exposed your film in the camera, you have an image on the film, but you can’t see it. It’s a latent image. In order to bring the image out to the viewer’s eyes when you project it, you have to process it. You can either have a lab do that or you can do it yourself. When you process it yourself, you can manipulate the material. You’d have the pay a lab a lot more money to do that, but also [when you do it yourself] you have a lot more control. Oftentimes it has a handmade look to it because there might be certain kinds of idiosyncrasies with the way that you do the hand processing that’s different than how a lab would do it, where everything’s in a very standardized, sterile setting. With hand processing you can get a lot of interesting effects that are very hard to replicate digitally."

Muse of Cinema‘s soundtrack, created in collaboration with Robert Fox, is similarly complex, an evocative mix of sound effects and music snippets. Because they require her to gather plenty of material for her images and her soundtrack — and endlessly manipulate both to achieve the effects she desires — Laitala’s films are labor-intensive, which is part of the reason she enjoys making them. "I get a lot of ideas during the process of working with the material," she said. "You discover things that you would never set out to achieve if you had everything mapped out from beginning to end. I think a lot of artists work that way. People keep saying, ‘You gotta stop using the phrase experimental film, because experimental film makes it sound like you don’t know what you’re doing.’ It’s a really tricky thing. A lot of people call themselves film artists. You’re working with a medium in the same way that a painter would work with paint. You’re working directly with the stuff itself."

In a follow-up e-mail after our meeting, Laitala further explained herself: "My process is organic, utilizing elliptical forms, allowing my projects to evolve and become entities unto themselves. I am more interested in ideas that arise in a nonlinear fashion where my images can carry myriad meanings, for literal connotations are limiting." And there’s no limit to what this talented artist can achieve.

www.othercinema.com/klaitala

Goldie winner — Visual art: Colter Jacobsen

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Four years ago this month Colter Jacobsen got his biggest break, his most bruising teardown, and his greatest opportunity in one 24-hour period. He’d been tapped to do a project in a much-talked-about exhibition, "17 Reasons," alongside John Baldessari, Jeremy Deller, Trisha Donnelly, and Chris Johanson, organized by California College of the Arts curator Kate Fowle and Mission gallerist Jack Hanley. Jacobsen worked for weeks on the sort of public art-slash-intervention the curators wanted, "inserting new works into street life," and finally draped the midsize bronze commemorative tablet erected by the state at the corner of Albion and Camp with a sculptural suite of water-stained packing boxes and fruit crates, altered with paint, glue, collage, watercolors, and pencil into a text-laden carousel of raw forms (and, incidentally, a tribute to Kylie Minogue). When the art walk began all was well, but as afternoon wore into evening road workers discovered the desecration, and by morning the piece had been demolished. Luckily, Matthew Higgs, whose work was also in "17 Reasons," had viewed Jacobsen’s project just before dusk and invited him to stage an even grander installation at White Columns in New York City.

And when New York Times reviewer Roberta Smith singled out Jacobsen’s work at the resulting 2005 exhibition, his crew in San Francisco cheered from afar. Since then it’s been one thing after another for our lad. (He appears in and created the titles for The Key of G, Robert Arnold’s 2006 documentary on the struggles of Gannet Hosa-Belonte, who lives with Mowat-Wilson syndrome in the Mission. Jacobsen was one of his caregivers for several years.) Finally, with gallery representation and a growing international fan base, Jacobsen, now 32, can devote himself to his art full-time. In a town rich with brilliant visual and conceptual artists of all stripes, it can be hard to get attention; in some ways Jacobsen’s lucky, and he knows it. You won’t find a humbler guy.

At a recent Jack Hanley Gallery show Jacobsen tried a lot of new things, but you couldn’t get away from the doubling. A found photograph of a baptismal scene in a spooky arts and crafts church hung low on one wall. Across the gallery, just as low, Jacobsen had hung a tiny painting of the same scene — same muddy colors, same dimensions. His delicate drawings seem to be already in ruins, as if commenting on the urban realities of life in the Mission. Many are what he calls memory drawings — each an image taken from life and then matched with an identical one drawn from memory. The work’s sort of scary that way, recalling Mr. Memory in Alfred Hitchcock’s 39 Steps, who keeps the terrorists’ secrets locked up in his brain and recites them under compulsion.

Just as impressive as Jacobsen’s draftsmanship is his brilliant infusion of old-school, Mission school, DIY junk assemblage with a sophisticated gay semiotics. When the poet and curator Bill Berkson uncovered a series of texts he’d written 25 years back, he decided, well, Joe Brainard’s no longer around to do the job, so why not ask Jacobsen? (The result, Bill, in 20 panels, was included in the spring exhibit at Hanley.) I wonder if you can judge a person by their artistic heroes; Jacobsen’s wild grab bag includes Brainard, Fran Herndon, Jack Smith, Jess, Kenward Elmslie, Denton Welch, and Jack Spicer — artists and writers with a vision off-kilter and sublime. Just like a burning radio, Jacobsen gives off sparks and a crazy echo of music.

www.jackhanley.com

www.daftalliance.com/artists/colter.html

A polluter could cash in

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› amanda@sfbg.com

Mayor Gavin Newsom wants to give Mirant Corp. a $2 million credit to shut down its Potrero Hill power plan and is offering to devote two full-time staffers to helping the company move forward a new development for the site, documents show.

An Oct. 30 agreement between the Mayor’s Office and the Atlanta energy company, obtained under the Sunshine Ordinance, lays out a generous city program to encourage the shutdown — even though city officials say the pollution-spewing plant will almost certainly be closed anyway.

Negotiations are moving forward on the city’s plan to construct a new fossil fuel–burning power plant with two "peakers" between the Dogpatch and Bayview neighborhoods — a project that supporters say will make the Mirant plant economically unviable and lead to its closure.

The 145-megawatt single-cycle natural gas–burning power plant, part of San Francisco’s Electric Reliability Project, is necessary to meet a need for in-city energy reliability, according to the California Independent System Operator, a state agency that controls the power grid.

But the city’s Public Utilities Commission argues that the peakers will obviate the need to keep the Mirant plant running — and Cal-ISO has agreed to pull the company’s lucrative contract for providing power and transfer it to San Francisco once the new city-owned turbines are in place.

Critics are worried that the southeast part of the city could wind up with the worst of all worlds — that Mirant would keep its plant open and the peakers would operate too, increasing the level of airborne pollution in a neighborhood that has suffered environmental injustice for decades.

Now it appears the city has secured a solid guarantee that Mirant will shutter its Potrero plant — at a price.

"Mirant is committing to shut down once the plant is no longer needed for reliability," Jesse Blout, chief of staff of the Mayor’s Office of Workforce and Economic Development, told us. "It’s not economic to run that plant once our plant’s in place."

The city is now seeking a legally binding agreement to secure that closure — and offering a sweet deal to get it.

According to a copy of the current term sheet that’s being negotiated between San Francisco and Mirant, in exchange for the company agreeing to close the plant once it’s no longer needed for reliability, the city "will agree to immediately designate a senior staff member from each of the Mayor’s Office of Economic and Workforce Development and the Planning Department" and "agree to review and process on a priority basis a completed application for a proposed site plan."

Additionally, the term sheet reads, "In light of the public benefits associated with expediting closure of the Potrero Power Plant, the city will agree that … Mirant will receive a credit of up to $2,000,000 — without interest — against certain city fees and costs, as described below, that would otherwise be payable in connection with review and approval of the site plan and any development project."

Felicia Browder, director of media relations for Mirant, confirmed that closure of the plant is imminent, once the state contract is terminated. However, she would not discuss details of the future use of the 27-acre site, as the deal is not finalized, something that’s supposed to happen this week.

Blout told us a deed restriction prohibits residential use of the land, and he predicted some kind of light industry for the area. The property, located at the bay’s edge between 22nd and 23rd streets, is also home to some of the toxic spoils of industry, which Pacific Gas and Electric Co., the original owner of the site, agreed to clean up to nonresidential standards when it sold its holdings to Mirant.

PUC members expressed satisfaction with the pending shutdown and voted unanimous approval of an Oct. 31 resolution authorizing the commission’s general manager, Susan Leal, to move forward with the plan. The resolution also includes clauses banning the sale of energy for profit from the three combustion turbines at the in-city facility and exploring whether two instead of three CTs could meet reliability needs.

The financing and control of the peaker project is also changing. Initially, the city negotiated a public-private partnership with JPower, a Japanese energy company with an Illinois subsidiary, to finance the $230 million project for two plants — the 145 MW in-city facility and another 48 MW plant located at San Francisco International Airport. Under the original deal, JPower would own and operate both plants for a period of some years before turning them over to the city. Now, however, the city is committing to financing the project and owning it outright, and the contract with JPower will be for operation and maintenance. "It makes more policy sense," Blout said, adding that after 12 to 14 years, "we will own the units free and clear." He said the city plans to issue tax-exempt bonds but at this point was uncomfortable stating how much they would be for.

Though JPower will be staffing the plant for the city, it will not be making a profit. "In the contract it will stipulate they can only run when Cal-ISO calls for them for reliability," the PUC’s Tony Winnicker said.

However, the 48 MW plant located at the airport will still be owned and operated by JPower for a 30-year period, and that plant is licensed to operate for 4,900 hours a year. "JPower will be able to operate that unit up to its limit," Winnicker said. "That’s part of what makes the deal profitable for JPower."

A mixed bag of environmentalists, social justice advocates, and Bayview and Potrero residents who are neighbors of the new and old plants still opposes the city building any new fossil fuel power plants. The Brightline Defense Project is currently representing the A. Philip Randolph Institute, Californians for Renewable Energy, and two citizens in litigation seeking to halt the building of the new plant.

Eric Brooks of Our City, a local public interest group, expressed skepticism of the plan to swap one power plant for another. "We would send the worst possible message to the world by building a fossil fuel power plant in our city limits at the very beginning of what must be a renewable-energy century," he told us. He’s also urging the city to let lapse Mirant’s water and air permits, which are set to expire in 2008 and 2010, respectively.

Other opposition to the city’s power plants has come from PG&E, through the Close It! Coalition, a group the utility company founded and financially supports. "These new plants will further our reliance on fossil fuels and contribute to global warming," the group states on its Web site. However, PG&E has a 20-year contract with a similar peaker plant under construction in Fresno and is building three new fossil fuel plants of its own in Antioch, Eureka, and Colusa. PG&E, of course, also wants to keep any hint of public power out of San Francisco.

Endorsements: Local offices

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Mayor

1. QUINTIN MECKE


2. AHIMSA PORTER SUMCHAI


3. CHICKEN JOHN RINALDI


Let us be perfectly clear: none of the people we are endorsing has any real chance of getting elected mayor of San Francisco. Gavin Newsom is going to win a second term; we know that, he knows that, and whatever they may say on the campaign trail, all of the candidates running against him know that.

It’s a sad state of affairs: San Francisco has been, at best, wallowing helplessly in problems under Newsom, and in many cases things have gotten worse. The murder rate is soaring; young people, particularly African Americans, are getting shot down on the streets in alarming numbers. The mayor has opposed almost every credible effort to do something about it — he fought against putting cops on foot patrol in the most violent areas, he opposed the creation of a violence-prevention fund and blocked implementation of a community policing plan, and he’s allowed the thugs in the Police Officers Association to set policy for a police department that desperately lacks leadership. The public transportation system is in meltdown. The housing crisis is out of control; 90 percent of the people who work in San Francisco can’t afford to buy a house here, and many of them can’t afford to rent either. Meanwhile, the city is allowing developers and speculators to build thousands of new luxury condos, which are turning San Francisco into a bedroom community for Silicon Valley. Newsom only recently seems to have noticed that public housing is in shambles and that the commission he appoints to oversee it has been ignoring the problem.

The mayor is moving aggressively to privatize public services (including turning over the city’s broadband infrastructure to private companies), and he’s done little to promote public power. He’s cracking down on the homeless without offering adequate alternatives to long-term housing. Much of the time, he seems disconnected, out of touch with the city; he won’t show up and take questions from the Board of Supervisors and won’t even comply with the Sunshine Ordinance and release his daily calendar so the voters can see what he’s doing all day. He rarely appears in public, unless his handlers have complete control of the situation.

In fact, almost all of the significant policy discussions and initiatives that are happening in San Francisco today (including the universal health plan that Newsom likes to take credit for) have come from the Board of Supervisors.

There are good things to say about Newsom. We were among the huge number of San Franciscans who applauded when Newsom directed the city to start issuing marriage licenses to same-sex couples. He did more than make a political statement, more than allow hundreds of couples to get married; he put one of the leading civil rights issues of our time on the center stage of the political agenda. And he made all of us proud to be San Franciscans. We were happy to see him stand up against the big international hotel chains and support striking hotel workers. In some ways, he’s brought modern management to the city — the 311 system, which connects callers directly to the proper city services, actually works, and sometimes works well.

But San Francisco is one of the world’s great cities, and it’s in serious trouble, and the person in charge isn’t offering much in the way of leadership — and he certainly isn’t offering the sort of progressive agenda that this city ought to be showing the nation. Newsom doesn’t deserve another term.

And yet the progressives in the city, who have come so very far since the return of district elections in 2000, were unable to field an electable candidate. We could spend pages dissecting why that happened. Matt Gonzalez should have made a decision much earlier in the process. Ross Mirkarimi should have run. The entire movement needs to be better about developing and promoting candidates for citywide office. But right now the issue on the table is this: who should the progressives, the independents, the neighborhood activists, the tenants, the people who have been dispossessed during the Newsom years, who don’t like the prospect of this mayor waltzing into another term atop a landslide majority, vote for Nov. 6?

We aren’t in the habit of endorsing for a big-league elective office people who haven’t put in their time in the minors. And Newsom’s challengers are not exactly a varsity squad. But many of them are raising important issues that Newsom has ignored, and we commend them all for taking on the difficult task of mounting a campaign against a mayor who most observers say is unbeatable. Our endorsements are, to be honest, protest votes — but we hope they’ll send a message to Newsom that there are issues, communities, and ideas he can’t just ignore after his coronation. The smaller the mayor’s margin of victory and the more votes the candidates who are pushing the progressive agenda collect, the less of a mandate Newsom will take into a second term that could be a truly frightening time.

Quintin Mecke has the strongest progressive credentials and by far the best overall approach to issues facing the city. He’s never held elective office (and had never run before), but he’s been involved in local politics for a decade. A volunteer with Tom Ammiano’s campaigns for supervisor and mayor and with Gonzalez’s mayoral campaign, Mecke went on to serve on the civil grand jury and the task force on redistricting, where he helped stave off attempts to chop up progressive supervisorial districts. He helped organize the South of Market Anti-Displacement Committee and now runs the Safety Network Partnership, a nonprofit that works to fight crime and violence in the city’s neighborhoods. He’s on the committee that monitors the city’s homeless shelters.

Mecke told the Guardian that "it’s hard to find an innovative, non-PR-type initiative out of the Mayor’s Office." He supports community policing, a progressive gross-receipts tax that would exempt small businesses, and a moratorium on market-rate housing until the city can determine how it will build enough affordable units. He complains that there’s no standard of care in Newsom’s homeless shelters. He opposes the privatization of public programs and resources.

Mecke tends a bit to bureaucratspeak; he talked about "horizontal conversations" instead of taking some issues head-on. And we’re concerned that he didn’t seem serious or organized enough to raise the modest amount of money it would have taken to qualify for public financing and mount a more visible campaign. But he’s a solid candidate, and we’re happy to give him the nod.

Ahimsa Porter Sumchai is a remarkable success story, an African American woman who grew up in the housing projects and wound up graduating from UC San Francisco’s medical school. She’s running primarily on the issue of environmental justice for southeast San Francisco — and for years has been one of the loudest voices against the flawed Lennar Corp. redevelopment project at and the reuse plan for the contaminated Hunters Point Shipyard. Sumchai says the shipyard can never be cleaned up to a level that would be safe for housing, and she suggests that much of it should be used for parks and open space and possibly maritime and green-industry uses. She’s highly critical of the low levels of affordable housing in market-rate projects all over the city, arguing that the developers should be forced to provide as many as 25 percent of their units at below-market rates. Sumchai is a physician, and she talks like one; her scientific language and approach sometimes confuse people. She suggested that one of the main causes of the homicide rate in the city is mental illness. "You can medically address people who are violent," she told us, saying the first step is to properly diagnose and treat depression in men. "Just as we looked at AIDS as an epidemic," she said, "we should look at violence as an epidemic." Which is, at the very least, an interesting approach.

Sumchai has some innovative ideas, including a universal child-care program for the city, paid for with a "fat tax" on unhealthy food. She’s a strong supporter of public power and a longtime critic of Pacific Gas and Electric Co.

She can be abrasive and temperamental, but she’s talking about critical issues that almost everyone else is ignoring. She deserves support.

Chicken John Rinaldi is the political surprise of the season, an artist and showman who has managed a traveling circus, run a bar in the Mission, put on unusual performances of every kind — and somehow managed to be the only person running for mayor who could qualify for tens of thousands of dollars in public funding. On one level Rinaldi’s campaign is a joke — he told us repeatedly he has no idea what he’s doing, and that if by some wild chance he were elected, he would hire people like Mecke and Sumchai to run the city. He’s the Dada candidate, with his entire run something of a performance art piece.

But Rinaldi has a real constituency. He represents a dying breed in the city: the street artists, the writers, the poets, the unconventional thinkers with economically marginal lifestyles, who were once the heart and soul of San Francisco. It’s hard to pin him down on issues since he seems to disdain any policy talk, but in the end, the very fact that he’s running speaks to the pressure on artists and the lack of support the unconventional side of the art world gets in this increasingly expensive city.

Rinaldi is the protest candidate of all protest candidates, but he’s going to get a lot of votes from people who think San Francisco needs to stop driving some of its most valuable residents out of town — and if that leads to a more serious discussion about artist housing, affordable housing in general, arts funding, and the overall crackdown on fun under Newsom, then it’s worth giving Chicken John a place on the ticket.

There are several other candidates worthy of consideration. Josh Wolf, a video blogger, served 226 days in a federal prison rather than turn over to the authorities tape of a demonstration he was filming. It was a bold and courageous show of principle (anyone who’s ever done time knows that spending even a week, much less month after month, behind bars is no joke), and it speaks to his leadership and character. Wolf is talking about some key issues too: he’s a big supporter of municipal broadband and sees the Web as a place to promote more direct democracy in San Francisco.

Lonnie Holmes, a probation officer, has roots in the African American community and some credible ideas about violent crime. He favors extensive, direct intervention in at-risk communities and would fully fund recreation centers, after-school programs, and antiviolence education in elementary schools. He thinks a network of community resource centers in key neighborhoods could cut the crime rate in half. He’s a little conservative for our taste, but we like his energy, commitment, and ideas.

Harold Hoogasian, a third-generation florist, registered Republican, and small-business activist, is a self-proclaimed fiscal conservative and law-and-order guy who complains that the city budget has skyrocketed while services don’t seem to have improved. Yet somewhat to our surprise, he told us he supports the idea of a moratorium on market-rate housing and a ballot measure that would force developers to build housing more in tune with San Francisco’s real needs (even if he wants to start with ownership housing for cops). He supports public power, wants more sunshine in government, and opposes privatization. He also brings a much-needed critique of the remaining vestiges of machine politics in this one-party town and speaks passionately about the need for outsiders and political independents to have a seat at the table. We’re glad to have him in the race.

In the end, though, our picks in this first ranked-choice vote for San Francisco mayor are Mecke, Sumchai, and Rinaldi — on the issues, as a political statement, and to remind Newsom that his poll numbers don’t reflect the deep sense of distrust and discontent that remains in this city.

District attorney

KAMALA HARRIS


We’re always nervous about unopposed incumbents. And since Kamala Harris unseated Terence Hallinan four years ago, running as an ally of then-mayor Willie Brown with the backing of a corrupt old machine, we’ve been nervous about her.

In some ways she’s been a pleasant surprise. Harris quickly showed that she has courage and integrity when she refused to seek the death penalty for a cop killer despite the fact that the police rank and file and much of the brass excoriated her for it. She remains one of the few district attorneys in the nation who oppose the death penalty in all situations. She’s created a public integrity unit and aggressively filed charges against Sup. Ed Jew. She’s made clear to the Police Department that she won’t accept sloppy police work. She talks constantly about making crime and criminal justice a progressive issue.

But there are plenty of areas in which we remain nervous. Harris hasn’t been anywhere near as aggressive as she could be in prosecuting political corruption. She doesn’t pursue ethics violations or Sunshine Ordinance violations. The San Francisco DA’s Office could be a national leader in rooting out and prosecuting environmental and political crime, but it isn’t.

Meanwhile, the murder rate continues to rise in San Francisco, and Harris and the police are pointing fingers back and forth without actually finding a workable solution.

And lately, Harris, to her tremendous discredit, has been stepping up the prosecution of so-called quality-of-life crimes — which translates into harassing the homeless. She’s made sure there’s a full-time prosecutor in traffic court, pressing charges for things like public urination, sleeping in the park, and holding an open container of beer. That’s a colossal waste of law enforcement resources.

We expect a lot more from Harris in the next four years. But we’ll back her for another term.

Sheriff

MIKE HENNESSEY


Mike Hennessey has been sheriff for so long that it’s hard to imagine anyone else holding the job. And that’s not a bad thing: Hennessey is one of the most progressive law enforcement officers in the country. He’s turned the county jail into a center for drug rehabilitation, counseling, and education (the first charter high school in America for county prisoners is in the SF jail). He’s hired a remarkably diverse group of deputies and has worked to find alternatives to incarceration. He’s openly critical of the rate at which the San Francisco police are arresting people for small-time drug offenses ("We’re arresting too many people for drugs in the city," he told us). He took a courageous stand last year in opposing a draconian and ineffective state ballot initiative that would have kicked convicted sex offenders out of San Francisco and forced them to live in rural counties without access to support, services, or monitoring.

We’ve had some issues with Hennessey. We wanted a smaller new jail than he ultimately decided to build. And we really wish he’d be more outspoken on local law enforcement issues. Hennessey told us he wants to stick to his own turf, but if he were more visible on police reform, criminal justice, and law enforcement, the city would benefit immensely.

Hennessey’s only opponent is David Wong, a deputy sheriff who was unable to make a case for replacing the incumbent. We’re happy to endorse Hennessey for another term — but since this might be his last before retirement, we urge him to take his progressive views and push them onto a larger stage.

Romania dreamin’

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› a&eletters@sfbg.com

Programmers in the film festival, cinematheque, and rep-house exhibition worlds are forever hunting for undiscovered cinematic flavors. They are like truffle-sniffing pigs. No offense intended — after all, truffles are valuable for their rarity. During the past few years, such programmers have witnessed a stunning renaissance of native film activity in Romania, which has no business being so exciting onscreen because (a) it’s Romania, for god’s sake, still hobbling out of Nicolae Ceausescu’s 20th-century dark ages, and (b) it only produces six features per year. They can’t all be good, can they?

Oh yes, they can. Romanian movies are sweeping international prizes and have even scored a couple of theatrical releases in a US art-house market resistant to intelligent, complex, starless films in a foreign tongue. Cristian Mungiu’s Cannes Palme d’Or winner 4 Months, 3 Weeks and 2 Days reaches US theaters next year, and Cristian Nemescu’s California Dreamin’ is likely to follow.

You can catch California Dreamin’ now in the Pacific Film Archive’s "Revolutions in Romanian Cinema" series. The process of severance from the Ceausescu dictatorship — Communist Eastern Europe’s most paranoiac and corrupt — is, naturally, a frequent subject. Catalin Mitulescu’s warmly observed The Way I Spent the End of the World (2006) views the regime’s final chapter in 1989 from a teenage girl’s perspective. Radu Muntean’s The Paper Will Be Blue (2006) is a gritty you-are-there reenactment of the street chaos and random shootings that occurred on the night of the government’s overthrow. Corneliu Porumboiu’s 12:08: East of Bucharest (2006) ingeniously reexamines the same events as antiheroic satire, with the contradictory recollections of a TV call-in show’s guests making hash of the revolution’s already mythologized story. Another fascinating flashback, Alexandru Solomon’s The Great Communist Bank Robbery (2004), provides documentary scrutiny of an infamous crime in a nation where folks were too terrified to rob anyone, let alone the all-powerful government, suggesting that the case was quite likely a frame-up designed to rid the party of its high-ranking Jewish members.

Other films look beyond Ceausescu to the more recent past and still-problematic present. Cristi Puiu’s acclaimed The Death of Mr. Lazarescu (2005) is like Sicko as directed by Aki Kaurismäki, a deepest-black comedy whose hapless elderly protagonist complains of chest pains — though it’s his endless, Kafkaesque odyssey through a broken-down public health system that kills him. California Dreamin’, subtitled Endless because it will never truly be finished (its 27-year-old writer-director died in a car crash before completing the final edit), is nonetheless a marvelously accomplished, sprawling, affectionate, barbed canvas. Set in 1999, it finds a top-priority NATO mission commanded by gung ho veteran jarhead Cpt. Jones (Armand Assante) waylaid by provincial officials who stubbornly demand paperwork, even if the bureaucratic logjam creates an international incident. Forced to cool heels, the visiting soldiers enjoy free-flowing local booze and celebrations in their honor. This cross-cultural tragicomedy might have been shorter had Nemescu lived to complete postproduction. As is, it’s close to perfection.

These new Romanian films are special for their attentiveness to individual characters and larger social scales, for their balance of rueful humor and genuine sympathy, and for the unpredictable yet organic intricacy of their narrative courses. Technically, they’re all highly polished, without a whiff of the stylistically self-indulgent territorial pissing typical of young filmmakers. The new Romanian cinema isn’t personal in the familiar auteurist sense. It’s populist — a term not to be confused with stupid in this case — storytelling, accessible to anyone willing to brave the Balkan barrier of subtitles. *

REVOLUTIONS IN ROMANIAN CINEMA

Nov. 3–Dec. 9, $5.50–$9.50

Pacific Film Archive

2575 Bancroft Way, Berk.

(510) 642-1124

www.bampfa.berkeley.edu

The Guardian Iraq War casualty report (10/30/07)

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For a breakdown of the positions that relevant politicians are taking on the war in Iraq, visit the slate.com link below. 36 U.S. soldiers were killed this month, which means at least one U.S. soldier was killed for every day that passed. Click here to view.

Casualties in Iraq

U.S. military:

3 U.S. soldiers were killed today by a roadside bomb, bringing the total of U.S> soldiers killed this month to 36, according to Reuters.

4,113: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

128
: Died of self-inflicted wounds, according to http://www.icasualties.org/.

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to: www.cnn.com

To view a breakdown of U.S. military casualties by state of residence, click here.

Iraqi civilians:

654,965 more Iraqis may have died since hostilities began in Iraq in March 2003 than would have been expected under pre-war conditions, according to a Johns Hopkins University study.

98,000: Killed since 3/03

Source: www.thelancet.com

75,971– 82,776: Killed since 1/03

Source: http://www.iraqbodycount.net

For a list of recent events that have resulted in Iraqi casualties, visit :
http://www.iraqbodycount.org/database/recent/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Iraq Military:

29 Iraqi policemen were killed by a suicide bomber yesterday, according to the New York Times.

30,000?: Killed since 2003

Source: http://www.infoshout.com

Journalists:

200 journalists have been killed since the start of the war in March 2003 through August 2007, according to Reporters Without Borders.


Refugees:

Read a first hand account of how Iraqis are being treated when attempting to enter Jordan for a vacation.

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

2.2 million:
Iraqis displaced internally

2 million: Iraqis displaced to neighboring states

Incessant violence across much of Iraq’s central and southern regions has forced tens of thousands of people to leave their homes every month, presenting the international community with a humanitarian crisis even larger than the upheaval aid agencies had planned for during the 2003 war, according to United Nations High Commissioner for Refugees’ estimates.

U.S. Military Wounded:

28,171: Wounded from 3/19/03 to 8/31/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (10/30/07): So far, $464 billion for the U.S., $58 billion for California and $1 billion for San Francisco.

Compiled by Paula Connelly

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

For more information on what the war is costing the United States, visit the American Service Friends Committee website here.

On the verge

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The title of Barbet Schroeder’s new documentary, Terror’s Advocate, evokes Keanu Reeves’s role as Kevin Lomax, a lawyer seduced by Satan (Al Pacino) in 1997’s The Devil’s Advocate. Reeves’s character crosses the line into evil when he gets a child molester off on a technicality; next thing you know, he’s living in Manhattan, making big bucks, and being seduced by the lesbian minions of Satan in an elevator while his wife (Charlize Theron) has her womb ripped out. In Terror’s Advocate we follow the equally colorful career of lawyer Jacques Vergès, which begins with ideological and erotic clarity — defending gorgeous Algerian bombers during their struggle for independence from France — but spirals into mystery and monstrosity.

The point where Vergès crosses the line that leads him into relationships with dictators, Nazis, and Carlos the Jackal is less distinct than the line crossed by Reeves’s lawyer in The Devil’s Advocate. Schroeder frames Vergès’s story as a mirror of the recent history of terrorism in Europe, with attention to all of the ambiguity that term implies. If one person’s terrorist is another’s freedom fighter and the term itself a strategy to disparage the warfare of those without governments, it doesn’t follow that every act of terror is ethically equivalent. "There’s a magnificent, heroic heart, which is Algeria," Schroeder has said, discussing the film. "This is the matrix, the place where our lead character finds himself, reveals himself, and experiences the most intense moments of his life…. All of this is something very beautiful, very pure: an ideal."

On Armistice Day in 1945, the French massacred 10,000 to 45,000 Algerians for waving their flags. During the years that followed, Algerian attempts to purge their boorish occupiers would include blowing up European establishments in the African capital. In 1957, Djamila Bouhired was found guilty of placing a bomb in the Milk Bar and condemned to death. She became an international sensation, partially through the inspired efforts of her lawyer — Vergès. He developed what became known as the rupture defense — instead of having his clients apologize or plead for mercy, he provoked the opposition and used the trial to redefine the terms of the debate, calling attention to the French use of torture.

His tactics paid off. Bouhired was pardoned and released from prison, after which she returned to Algeria and married Vergès. But in the ’70s he abandoned her and his children and vanished for eight years under circumstances that remain unclear, despite Terror’s Advocate‘s sometimes tedious examination of that narrative gap. By the time Vergès finally reappeared, the lines had begun to blur — between political action and sociopathic adventuring, between terrorism and foreplay. One of Schroeder’s most inspired subtexts is that organized violence, whether state sponsored or revolutionary, offers an arena for unconventional erotic pleasures, such as rape, torture, or simply rescuing sexy women involved in the deaths of others — like Bouhired or Vergès’s other great love, Magdalena Kopp, girlfriend of Carlos the Jackal.

In Reversal of Fortune (1990), Schroeder fictionalized the relationship between Claus von Bülow and Alan Dershowitz, the lawyer who defended him against charges that he’d lethally poisoned his wife. Did von Bülow get away with murder or was he innocent and akin to Frankenstein’s monster at the hands of the lynch mob? Schroeder has always been interested in monsters — his documentary subjects include Idi Amin, Charles Bukowski, and Koko the gorilla — and drawn to moral ambiguity, the seductive power of evil, and the erotic appeal of violence. Combine Before and After (1995), Our Lady of the Assassins (2000) and Murder by Numbers (2002), and you have an oeuvre with more murderous teenage boys than anything this side of William Burroughs. In his Single White Female (1992), Kiss of Death (1994), and Desperate Measures (1997) there is a twinship between monsters and heroes and a surprising sympathy for the violently unhinged. Consistently, Schroeder examines people of conscience who are seduced into doing evil’s bidding, and he lets them speak for themselves. Even Vergès’s defense of Nazi butcher Klaus Barbie is framed as an opportunity to attack French hypocrisy, imperialism, and butchery. Asked if he’d defend Hitler, Vergès says, "I’d even agree to defend [George W.] Bush. But only if he agrees to plead guilty."

Terror’s Advocate is dense with information. Its structure is complex and indirect and requires unfaltering attention. Yet Schroeder succeeds at creating a surprising amount of suspense, especially considering the amount of screen time given over to talking heads. Meanwhile, he quietly explores what must be one of the central enigmas for our tortured planet, the human relationship to violence. Violence and money, violence and sex, violence and political change, senseless violence and goal-oriented violence — Schroeder nimbly navigates all of the above, creating a visceral ethical disquiet. *

TERROR’S ADVOCATE

Opens Fri/2 in Bay Area theaters

A shot from the Sahel

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Many moons ago, when I moved as a child to Africa, my mother, my sister, and I resided in the Sahel. To be precise: we lived in Bamako, the vibrant capital city of Mali — not to be confused with the medieval empire of the same name. To reside there as a Western black was strange; our Americanness placed us in the novel position of being regarded as de facto aristos, somewhere between such elevated classes as wealthy, regal descendents of the Keita clan and the dispossessed, which included Imazighen exiles. To see beautiful but abject so-called Tuareg women and girls begging in the dusty streets of Bamako from the windows of our funereal Lincoln Town Car — the incongruity of them huddled at roadsides and traffic stops in their indigo or floral clothes, their grace surpassed only by the Wolof women to the northwest in Senegal — was a mind-blowing experience that has stayed with me in the decades since.

The complexities of centuries of intraracial warfare and political mayhem derived from poisonous North African colonial legacies were largely beyond my eight-year-old mind’s grasp. As Madame l’Ambassadeur, my late mother was the one to travel up-country and beyond, nearer the heart of the Sahara, and she worked tirelessly to have any impact on the volatile situation in the country. I was restricted by the quotidian business of school and play, but my far-roving mind began a lifelong romance with Mali’s two most fabled folk of the Western Sudan, the Dogon and the Imazighen. The star-walking Dogon were remote and mysterious at the Bandiagara escarpment, but the grave injustices being done to the proud, rebel Imazighen were plain to see in Bamako rush-hour traffic.

When I listen to the music of Africa’s greatest rock ‘n’ roll band, Tinariwen (translated from Tamasheq, "the deserts"), from L’Adrar des Iforas, this baggage comes with me, weighted with shame at not following in the career footsteps of my selfless Africanist mother and fear that people of the West will never truly comprehend the vital importance of the many Africas to their own humanity. With or without Tinariwen’s great Amassakoul and current Aman Iman (both World Village; 2004, 2007) on my iPod as I ride the Manhattan subway, when I see disenfranchised people begging down the aisle I am always jolted back to the visceral yet illusory sensation of extending my thin, childish arm through the steel of the Lincoln to help a reddish-brown-skinned Amazigh girl in elegant rags, no different than me in that she was the child of parents who wanted to be free.

Whereas my parents’ generation of young black revolutionaries sought to forge strong pan-Africanist links all the way from DC to Dar es Salaam, and their cult-nat elements experimented in folk, soul, rock, and funk genres to express the hopes and fears of the 1960s era of deliverance from Jim Crow, there in Bamako, as a child at the turn of the ’80s, I was witnessing at a remove the rise of radical culture spawned by Kel Tamasheq ishumaren (unemployed) forced to abandon traditional nomadic ways by poverty and drought. These black folks’ rebel music, tishoumaren, has found its apotheosis in Tinariwen since the group first emerged from a Libyan military camp in 1985, moving from guns to guitars in the process of wresting messages of uplift from chaos. They weave a sound web linking traditional instrumentation (like the tehardant, or lute), Maghrebi music (think Nass el Ghiwane), James Brown, Jimi Hendrix, Bob Marley, and even rap ("Arawan" on Amassakoul) — superbad, indeed.

The droning, hallucinatory blues of the Blue Men of the Ténéré may have increasingly wowed exogamous audiences since the acclaim Tinariwen’s Kel Tamasheq musicians received from jamming with Robert Plant at the 2003 Festival in the Desert, but there lies a deep source of crisis beneath the band’s international success. Recorded in Bamako, Aman Iman‘s "Soixante Trois" captures guitarist-singer Ibrahim ag Alhabib recalling the brutally suppressed 1963 Imazighen rebellion against the government of newly independent Mali. Tinariwen’s spare sound brings great joy on purely aesthetic grounds, the masterful harnessing of rolling electricity and overlapping ululation indelibly making a mark on the diasporic continuum stretching from Mali’s Ali Farka Touré to Mississippi’s Otha Turner and back again.

Yet it must never be forgotten that the mysteries of Al Baraka, the hardships of desert life and the hardcore realities of war, inform these songs, and such has been the lot of the aboriginal peoples of Tamazgha from the time of Roman and Islamic imperial incursions onto the North African sands up through current attempts to further disenfranchise the Imazighen in order to appropriate their oil-rich ancestral lands. Aman Iman‘s very title — meaning "water is life" — refers not merely to the primal law of the desert but also to the very real, enduring crisis afflicting the region’s ecology and society. As you rightly enjoy Tinariwen on tour, please remember and act on the fact that for the headliners, the fight continues on every front. *

TINARIWEN

Sun/4, 7 p.m., $20–$55

Palace of Fine Arts theatre

3301 Lyon, SF

1-866-920-JAZZ

www.sfjazz.org